The legends of the Panjâb

:: 

THE LEGENDS OF THE PANJAB. 

BY 

CAPTAIN R. C. TEMPLE, 

BENGAL STAFF CORPS, 

PKLLOW OV THE ROYAL &EOGRA.PHICAL SOCIETY, MEMBER OF THE BOYAL ABIATIO, 

PHILOLOOICAL, AND FOLKLORE SOCIETIES, THE ANTHROPOLOGICAL INSTITTriH, 

THE ASIATIC SOCIETY OF BENGAL, ETC., 

COBRRSFONDINa MEMBER OF THE NUMISMATIC SOCIETY OF PHILADELPHIA, 

ASSOCIATE OF THE TICTOBIA INSTITVTB, ETC. 

^ o Xj TJ nvc E I. 

BOMBAY 

Education Society's 

Peess. 

LONDON 

Teubnee & Co.

BOMBAY : PE-INTED AT THE EDUCATION SOCIETY S PEESS, BYCTTLLA.

— 

CONTENTS OF VOLUME I. 

PAGE 

I. 

The Adventures op Eaja Rasal6 v 1 

II. 

SakhJ Saewae and Dan! Jatti 66 

III. 

IV.^ 

Dhanna, the Bhagat 82 

Three Fragments about Saewae 91 

V. 

The Marriage of Ghazi Salae 98 

VI. 

VII. 

The Legend of Guru Gugga 121 

The Ballad of Isa Baniya 210 

VIII. 

The Ballad of Isa Bapaei 216 

IX. 

X. 

Princess Adhik Anup Da! 225 

The Legend of Sila Dai 243 

XI. 

The Story of Eaja Mahi Parkash of Sarmor... 367 

XII. 

The Story op Syama, Lord of Sohini 380 

XIII.—The Song of NegJ Bahadur 400 

XIV. 

Madana the BravEj Lord op Chaura 404 

XV. 

XVI. 

The Legend of Sapidon 414 

Princess Niwal Dai 418 

XVII. 

The Genealogies op Lal Beg 529

PREFACE TO VOLUME I. 

It has been said that old wives' tales are but memories of the 

recitations of bards, and that in countries where the bardic 

element has died out, they contain in a form of simple narrative, 

suited to rustic ears, the poetic efiFusions of earlier times. If 

this idea be a correct one—as I believe it to be—then it follows 

that where the 

folktale and the bard's poem exist side by side, 

as in the PanjS,b, the latter is the older 

and the more valuable 

form of the same growth, though, of course, the influence of the 

folktale will react on the poem. It follows again that it is even 

more important, from the point of view of the folklorisfc—to 

use an Americanism which seems to be steadily gaining ground 

all the world over—to gather and record accurately the poems 

than the tales. Hence the task I have set myself in this work. 

There is another point about a folk-poem that renders it 

more valuable than a folktale as a true reflex of popular notions. 

Neither are ever recorded on pajjer by those who preserve them, 

and both the old wife and the bard almost invariably trust to memory, 

with the inevitable result that their individuality comes 

into play and no two reciters narrate alike. The rhythm of the 

verses—and where the poem is rhymed the rhyme more 

especially—limits the vagaries of the bards to a wholesome 

extent, whereas there is nothing but the poverty of the rustic 

imagination,—which is very much greater than is generally 

thought,—to limit the variations of the village story teller. 

may be fairly stated that 

It 

half a dozen bards singing the same 

story in the same metre to the same accompaniment will sing it 

in the same way, occasional verbal variations excepted; but any 

one who has experience of collecting folktales knows, that the only 

satisfactory way of getting down a story is from the mouths of 

manypersons and recording that form which is mostly in vogue. 

Now I hope to show here abundantly that the bardic poem and

VI 

PREFACE. 

the folktale are constructed on precisely the same lines as far 

as the pure story goes, even where the former is fastened on to 

really historical characters and mixed up with the harrative 

of hona fide historical facts. The folktale is very often in fact a 

mere scene, or jumble of scenes, to be found in the poem, where 

only the marvellous story has been remembered, while the names 

and surroundings of the actors to whom it was attributed 

has been forgotten. Hence, again, I would urge the importance 

of accurately and comprehensively collecting popular poems 

wherever found. 

In some ways it is an easier matter to collect versified 

legends than folktales, for, having caught your bard, all you 

have to do is to take down what he says, whereas it is only 

from the lips of many witnesses, and after the exercise of infinite 

patience, that you get your folktale. But it is not nearly such 

interesting work, and hence, perhaps, the reason that the latter 

has found so many more votaries. The folktale is always 

quaint, interesting and pretty, for that is why it has been 

remembered, and did it not possess these qualities, children and 

rustics would rapidly cease to retain it, whereas the bard's 

poem is remembered and appreciated for quite other reasons. 

He sings at stated festivals, on great occasions of conventional 

enjoyment, and for remuneration, being often paid according 

to the amount he knows and the time it takes him to get 

through his repertory. 

Consequently his recitations are prosy, 

long drawn out and full of irritating and uninteresting 

repetitions, 

but they are valuable in so far as the inflexible nature 

of their matrix, as it were, has obliged generation after generation 

to reiterate the same stories in much the same words. 

How 

closely the modern legend repeats in form, that of the classics 

on the same subject may be seen by a comparison of the 

stories of Nala and Damayanti (Raja Nal) and of Bhatrihari 

(Raja Gopi Chand) and of the Holocaust of Snakes 

(Princess 

Niwal Dai) as found in these volumes and in the classical 

authorities. 

In a country like the Panj4b the process of the bardic 

legend breaking down into the ordinary folktale is constantly

: 

PEEFAOE. 

Vll 

met witli. The first story of all in tliis collection is a case in 

point. The ' Adventures of Eajfi, RasaW is a discursive aggregate 

of tales fastened on to that great legendary hero and 

told in prose interspersed with frequent verses. Later on in the 

work are given at length versified legends relating the details of 

these stories, and there can be little doubt to the careful reader 

of both that the story in prose arose out of the story in verse. 

Again, in these ' Adventures ' it is to be observed that many of 

the verses are unnecessary as 

it were, not being introduced, as 

is usual, to point a moral or to raise a laugh, or for reasons of style 

and much that is in verse might just as well have been in prose 

—in fact ought to have been in prose, unless we concede that 

the narrator recorded as many of the verses of the original 

poem as 

he could remember, and told the rest of the story in 

everyday language. By far the best parts of the story 

are the portions recorded in verse, and it is to be observed 

that the couplets are all in the same metre and in the same 

language, viz., the rough local dialect, which is always that of 

your true bard, whereas the prose is the ordinary current 

Urdii of the day. 

In the Panjab the folktale is abundant everywhere. It 

lives in every village and hamlet, in every nursery and zenana, 

and wherever the women and children congregate. At the same 

time the folk-poem is still very far from dead, but that the 

wandering bard is beginning to ' die out is becoming clear in 

many ways. Already he has begun to leave the towns, and confine 

his peregrinations to the villages. In Patiala, the headquarters 

of the Native State of that name, I could find no 

bards at all, although they were specially searched for. In 

former days they were honoured 

visitors and often pensioners 

of the native chiefs and nobles, and now I find that these 

people are rather ashamed td own that they have any about 

them. But if you only know how to recognize them when 

ôu see them, and to catch them when you have lighted 

On them, you will find the bards still wandering over the 

country by the score, so the harvest still to be gathered is 

a very large one.

) 

Tin 

PEEFACE. 

There are several kinds of bards. 

There is the bard proper, kept 

at the courts of native grandees who sings, inter alia, national 

legends and warlike feats, and is the depositary of the genealogy 

and family history of the local chief, which alas ! 

he shifts 

and changes to suit the exigencies of the hour, till a mushroom 

family develops a linfeage adequate to its present position. 

is not always a very reputable personage, and is a fair representative 

of the lower classes that hang about an Indian chief's 

palace. Then there is the priestly depositary of the sacred 

legends of the Hindus, who with his company sings swangs, 

those curious semi-religious metrical plays that are partly acted 

and partly recited, and are of such unconscionable length. He 

is called in—on payment always—to performat the various stated 

festivals—at the Holi (in Spring) and at the Dasahra (in Autumn 

especially. Of the same description is the wandering devotee 

who attaches himself to some saint—Hindii or Musalman—and 

sings laudatory legends at the festivals peculiar to his hero. 

He frequently makes it his business to collect alms for the 

benefit of his patron's shrine, often situated at a great distance 

from the scene of his labours, which alms are faithfully collected 

and clubbed with those of others similarly engaged, and then 

divided between themselves and the shrine. 

He 

There is also the professional 

ballad singer or mlrasi, who accompanies dancing girls, 

and sings for hire at the various joyous ceremonies connected 

with marriages and the like. He will sing any kind of song, 

from a fine national legend to the filthiest dirt imaginable, and 

he is invariably a most disreputable rascal. 

Quite another kind 

of being is he who performs, as one of themselves, at the feasts 

and festivals of the low 'out-castes' of India—in imitation of the 

Brahman reciter of the true swang. With a prodigious 

memory and some notion of verse and metre he will drone 

away in language suited to himself and his humble audience 

through hundreds of lines of legend, sometimes a story picked 

up from the regular professional singers, and sometimes a tale 

connected with the object of worship peculiar to his class or 

sect, and always valuable. And lastly, thei-e is the rough 

villager—especially in the hills—with a turn for poetry and

PEEFACE. 

II 

recitation, wlio relates stories strictly local in 

their scope to an 

admiring crowd of his friends and neighbours, in language that 

is at once the joy of the philologist and the plague of the 

folklore collector. 

This is hardly the place to enter into details of the personal 

appearance of these people, as no amount of description would 

be equal to a practical acquaintance with them, and no one who 

reads these pages would benefit by it except those who meant 

to follow up the same line of research, and these hardly 

need it, for they would necessarily have an extensive acquaintance 

with the native of India in his myriad varieties. 

Suffice 

it to say that my methods of proceeding to catch my bards have 

been as follows :—I have attended at festivals and fairs and 

feasts and marriages and swangs and shrines, in fact at all 

places and times where it was likely that a bard would turn up, 

and made successful overtures to the performers to play for my 

private benefit. I have had cases before me which turned on 

disputes arising out of such occasions and have succeeded in 

unearthing the singer who officiated, and inducing him to sing to 

me, and sometimes, in the case of a literate performer oiswangs, to 

send me his private MS. copy of his plays. 

I have met—only in 

the hot weather by the way—the wanderingyogii, the mirasi, the 

bharain, and such folk in the streets and roads, and stopped them, 

and in due time made them divulge all they knew. It has 

often been my lot to receive and converse with the agents and 

emissaries of native chiefs and nobles—a class of persons 

always ready to do anything to ingratiate themselves,—and a 

hint to that effect has produced more than one legend for me. 

And lastly, personal interviews and correspondence with all 

kinds of people, black and white, likely to help, has procured 

me much, and I take this opportunity to acknowledge gratefully 

the courtesy and kindness with which my appeals have always 

been received. 

But as in the old English cookery days the cook had first 

catch his hare and then to make his soup, your labours 

have hardly begun when you have caught your bard. The 

next thing is to induce him to sing. He performs, of course. 

to

X 

PEEFAOE, 

for payment, but, many as the vices and faults of these people 

are, avarice is not one of them. 

The bhat, the mirdsi, the hliaraiii, 

tiie jogl, the faqir and all of that ilk are in truth but a sorry 

set of drunkards as 

a rule—tobacco, opium, and a little food 

sufficing for their daily wants, and I have found that a small 

payment, say one or two rupees for each separate song, and 

their keep in 

food and an abundance of their favourite drugs 

while employed, has amply Ba,tisfied them, and in some cases 

has been inducement sufficient to send other of their 

to me. 

brethren 

One man, whose stories are duly recorded in the pages 

of this book, would recite nothing until he had imbibed enough 

opium to kill an ordinary human being. In the case of 

the more respectable people, as the Brahman swang singers and 

the priests of the low castes—a small payment and a chit—that 

letter of commendation in which every native seems to have 

such an extraordinary fanatical faith—is all that is necessary. 

Sometimes the latter only suffices, and when the performer 

is the paid retainer of a chief it is a necessary adjunct to any 

payment that may have been made. 

We now come to the actual recording. By far the largest 

portion of the Legends have been recorded under my own 

superintendence, but several have been communicated through 

the kindness of others duly acknowledged in the proper 

place. All these last have been sent me in vernacular MSS. 

taken down by a native, and I have reason to believe 

them to be accurate. My own procedure is this :—when once 

the bard has begun there is nothing for it but to let him go 

straight through his poem and write down after him whatever 

he says, sense or nonsense. To stop him in order to make 

him explain himself is fatal. He becomes thrown out and 

confused, and is apt to lose his head and forget the verses. 

any case he would have to hark back before he could go on 

again, and much time would be lost over each interruption. 

A bard will go through about 300 to 400 lines at a time and 

then have a rest, and this, by the way, is as much as an 

ordinary man can with comfort write at a sitting. 

In 

The recitation 

done, the MS. is carefully read over to him, and then

PBEFACE. 

XI 

is the time to go into unintelligible words and passages^ but 

if you expect much in the way of elucidation from him you 

will 

be disappointed, for he is always very ignorant and often 

very stupid to boot, having learnt his task purely by rote, 

with at best but a traditional knowledge of the meaning of 

obsolete words. I have found by experience that the surest 

way to solve a knotty point is to trust to strict philology and 

a literal translation of the words, never however neglecting the 

bard's traditional rendering if there be one, for after all he 

may be right. Now it is clear that the above procedure involves 

a very tedious processand would inevitably take up much 

time, would fully 

occupy indeed such leisure as a busy Indian 

official like myself can never hope to have. I had therefore 

to vary it, and as a matter of fact I carefully trained muhshis 

of my own to the work of recording, in itself by no means an 

easy task, for the Indian Kterati have an immense contempt 

for the language of the vulgar and will never acknowledge it on 

paper if they can help it. 

Indeed the itch they possess for ' improving 

' the language of the bards is so great, that it requires 

much patience on the master's part to see that they successfully 

resist it, and added to this difficulty is the inbred niental 

langour of the ordinary pative that makes him slur over 

everything difficult. At first, of course, I had to see everything 

done under my own eye, but when I became satisfied that 

the munshh could be trusted to record accurately, the procedure 

finally adopted, and that now in use is to have the recitation 

taken down roughly as related, then carefully copied out in a 

clear Persian hand, and corrected and explained by the bard, 

his explanations being marginally noted. I then transcribe the 

whole into Roman characters myself, and translate it. The 

Roman transliteration and the translation is then gone over by 

the munshi who heard the song sung, and both are revised by 

myself finally in consultation with him. 

In case it may be thought that the above savours too much 

of mere egotism, I would point out that the contents of this 

work purport to, be based on facts that cannot be verified, and 

therefore those that do me the honour to read these pages are

2ii 

PEBFACB. 

entitled to be expressly told on what grounds my claim to 

accuracy rests. As to the relation of my method of procuring 

legends and stories^ I have been so often asked by others desirous 

of laboaring in the same field, how I set to work, "that I 

have thought it advisable now to state my procedure at 

at the risk of the charge of egotism. 

This is 

length 

no place for a dissertation on the historical bearings 

of the Legends, even if the time had arrived for their adequate 

discussion, nor in the absence of proper libraries—a standing 

want in India—can an enquiry into the relation of the stories 

to general folklore be satisfactorily taken in hand. All that 

will therefore be attempted here will be to show that the legends 

are bona fide Indian folklore of the ordinary modern sort, and 

for this purpose they will be compared with the four chief 

collections of folktales of the present day, viz.. Old Deccan 

Days, Indian Fairy Tales, FolMales of Bengal and Wide-AwaJce 

Stories.* These four books cover nearly the whole area of the 

Indian Aryan population, and contain between them over 120 

tales, so that they serve the purposes of comparison very fairly. 

It should be remarked here that owing to the necessities of the 

case, no systematic order has been observed in recording the 

Legends. No. I., ' The Adventures of Eaja R^salu,' No. IX., 

' Princess Adhik Anup Dai/ and No. X., ' Sila Dai,' belong to the 

heroic class, and to what may be safely styled the RasMu cycle. 

To the same class belong No. XV., ' The Legend of Safidon' and 

No. XVI., 'Princess Niwal Dai,' but these must be included in the 

cycle represented by the Mahabharata in the classics, and which 

may be styled the Pandava cycle. No. VI., ' Legend of Gurii 

Gugga,' is of the same nature as the above, but occupies a place 

as it were between the heroic and the hagiological classes of 

legends. 

Nos. II., III., IV., V., VII., VIII. and X VII. are pure 

hagiology, but of these No. II.,'Sakhi Sarwar' and 'D^ni,'No.IV., 

' 

Three Fragments about Sakhi Sarwar,' Nos. VII. and VIIL, 

* The Ballad of Isa,' belong to a set now so numerous as to form 

* Mr. Swynnerton's Bdjd BasdU was advertised, but not procurable 

wien. tMs was written.

PREFACE. 

XUl 

what may be styled the Sakhi Sarwar cycle, while No. III., 

'DhannS, the Bhagat/ No. V., 'The Marriage of Ghazi Salar/ and 

Nos. XI. to XIV., inclusive, the stories of ' RaJEl 

No. XVII., 'The Genealogies of Lai Beg,' relate stories of miscellaneous 

saints. 

Mahi Parkash of Sarmor,' of Sy^ma ' Lord of Sohini,' of ' Negi 

Bahadur ' and Madan& ' the Brave Lord of Chaura,' belong to 

the class of local heroic legends. 

In examining these legends with a view to extracting the 

folklore the first subject to attack is the actor. We find that 

these include the hero and his companions, ogres or giants, 

serpents (Nags), saints, faqirs or religious mendicants, and 

witches or wise women, much in the same way as do all the sorts 

and varieties of folktales in India. Thus Raj^ EasaM in the 

first legend starts off with three companions, two human 

and one non-human, to seek his fortunes, just as 

in the Bengal 

Folktales, the sons of the prime minister, of the chief constable, 

and of the richest merchant of the place, go off together, and in 

Wide-Awake Stories, the hero and his three friends, the Knifegrinder, 

the Blacksmith and the Carpenter, start in company. 

Eaja Easalu's case it is a Goldsmith, a Carpenter and a Parrot that 

accompany him, and it is the Parrot that is faithful to the end. 

In all folklore the companionship of animals with human 

beings is 

based on the supposition that they can talk, and accordingly, 

all through these Legends, wherever the non-human 

animal creation appear in this capacity, they always talk. 

In 

Later 

on in the same story of Raja Rasalu's Adventures we find that 

he leaves a parrot and a maina as guardians over his faithless 

queen as Tier friends. The maind plays the part of the foolish 

friend, and openly remonstrates with her, 

and is killed for her 

pains, but the parrot by a trick escapes from the queen and 

flies off to Rasalu and informs him of her proceedings. 

Again, 

in Old Deccan Days, the companion of the hero is born on the 

same day and in the same hour as himself, and agreeably to this 

notion we now find that R&ja Rasalu's favourite horse and 

constant friend was born in the same place and at the same 

time. This same horse, when the Raja gets into hopeless 

diflBculties in his gambling match with his enemy, shows

xiv 

PREFACE, 

him tlie way out of his troubles: but this is going into the 

question of the deus ex machind—which I take to be the 

' 

miraculous deliverer '—to be treated later on. One of Raja 

EasMft's great adventures is his victory over the ralcshasas, 

the proper rendering of which is ogres or giants; The ogre 

of these Legends is the ordinary ogre of Indian folklore 

in appearance^ attributes and doings. The tale told here, too, 

is but a variant, and that a slight one, of those told in Wide- 

Awahe Stories, Bengal Folktales and Indian Fairy Tales. The 

main story is that the ogre eats up one inhabitant of a city 

in turn daily, together with a cake and a goat, varied as a 

basket of bread and a buffalo. 

It comes to an old woman's turn 

to go, so the hero offers himself in her place and thus fights and 

kills the ogre. And there is one chief variant of this tale which 

turns on an ogress swallowing one of seven companions every 

night while on their road to fortune, till she comes to the hero 

who conquers her. This is essentially the story told of Raja 

Easalu. 

His adventures open with a variant of the old old tale of 

Potiphar's wife, common enough in India, though not to be 

found in the 

other collections under review, because these are 

told for children, and not because it does not exist. Here the 

tale is that the hero's father's young wife falls in love with him 

and detracts him when rebuffed. Not so unlikely a tale in 

Indian as in European life, because R^j^s were always marrying 

as long as they lived for many reasons—mostly 

political—and 

the wives were always young girls who had ho sort of interest 

in their husbands, and hence troubles with the younger members 

of their husbands' families. These stepmothei's appear in most 

collections of tales, and generally as the enemies of the hero and 

heroine. Sometimes they are surviving co-wives and sometimes 

successors to deceased wives, and I fear that in some 

at least of these latter cases the Christian notions of the translators 

have been brought into play. The serpent is common 

enough in Indian folklore, and obviously must be so if it be 

considered how large a part the ancient serpent races played 

in early A.ryan History in India, the totem probably being 

confused with the race. Here they appear in the stories of

PREFACE. 

XV 

Rajd Easalil, of GurA Guggd and of Niwal Dai, and always with 

the same characteristics, having power to kill and restore to 

life, with power of metamorphosis, of flying through the 

air, and of scorching with their breath. The humanity of the 

' 

serpent race ' very clearly comes out in the tradition alluded 

to in the Legend of Safidon, which attributes the leprosy still 

found in the Panjab to the eflects of the sacrilegious acts of Eaja 

Basak, the King of the Serpents. A large proportion of the 

legends of the Bast is taken up with hagiology. Saints and 

holy men are still a living power in the India of to-day, and 

miracles are worked all round us as a matter of daily occurrence 

and of not much wonder. I have conversed with a man who 

fully believed that his father had been raised from the dead 

(see page 68) as an ascertained fact of general notoriety. 

Miracle-workers must therefore be of constant occurrence in the 

folklore of the period, and we accordingly find them in all the 

collections under review. They perform any and every miracle 

that man can conceive 

or want done for him, froni raising his 

dear ones to life to giving him a lump of sugar for his breakfast. 

Of celebrated miracles recorded in these Legends may 

be mentioned restoring a dead child to life and also a dead 

horse, curing a camel's broken leg, restoring a blind man to 

sight, a eunuch to full manhood, and a leper to health, all performed 

by Sakhi Sarwar ; speaking from his mother's womb by 

Guru Gugga; restoring a dead calf to life by N^mdev; and 

vivifying an idol by Dhanna the Bhagat. There is yet another 

class of actor to be dealt with, the witches. In Indian story the 

use of the witch is almost always to capture the heroine for her 

enemy, though she sometimes acts as the wicked stepmother 

and the supplanter of the calumniated wife, but always as 

the enemy of the hero or heroine. She sets about her work in 

the usual diabolical ways, can perform wonders of a malicious 

sort, and has unlimited powers of metamorphosis. She can find 

anything on earth, can open the sky and patch it up, can 

restore to life, set water on fire, turn stone into wax, and so on. 

Her appearance is very various, an old woman, a beautiful 

girl, a white hind, and any kind of animal she chooses to

: 

XVI 

PEEFACB. 

become. 

She compassesherobjectbyany foul meansin herpower, 

especially by mean and dirty tricks, and nearly always succeeds. 

Here she turns up in the story of Sila Dai as the go-between 

sent 

to the heroine by her enemy to tempt her, but is eminently 

unsuccessful after plying her usual arts. 

Having got your characters wherewith to start the tale, the 

next thing is to set it going. A very common motif is seeking 

fortune. For many and various reasons, but always merely preliminary 

circumstances 

unconnected with the movement of the 

real tale, the hero or heroine starts off to seek fortune in folklore 

all the world over,—sometimes alone and sometimes with the 

companions above described. Raja Rasalu, starting off in an 

aimless way with his Carpenter, his Goldsmith and his Parrot, is 

a case in point, and it is only by this device that his many 

adventures, really a miscellany of unconnected stories, are held 

together. Another common device is a dream, and for this purpose 

there are warning dreams and prophetic dreams. Thus in 

the Legend of ' Princess Adhik Anup Dai ' the hero. Raja Rasalu, 

dreams of his future bride, and the story is fairly started, for she, 

of course, has to be found . The effects of a dream often also form 

the motif of a tale, 

or an important incident, and usually thus 

the hero has a dream and follows it up religiously, bringing 

himself into dreadful trouble, out of which he is eventually 

rescued. This is very frequent in Old Deccan Days, and comes 

into play in the story of Niwal Dai here. Another universal 

device is to summon the absent, which is done by many different 

means, but these may be summed up as follows : enchanted 

articles, as a fan, a bell, a flower, a pin in a i)ird's beak, a drum, 

a horse, flowers floating on the water, a flute, or a ring; crying 

in the streets and proclaiming feats, as that hero or heroine 

will play at dice with anybody, is a great physician, is selling 

wonderful plums or wood at fabulous prices, varied as 

answering 

a proclamation to do an impossible task ; requesting the 

performance of an unintelligible request, as the finding of 'sabr ' 

of the ' sunjewel box, ' or of ' Ram ' 

; and lastly miscellaneous 

devices. 

In his adventures Raja Rasalu takes up Raja Sirkap's 

challenge to play at chaupur with him for his head, and wins

PREFACE. 

XVll 

and the serpent Tatigj after killing the heroine by poison ia 

the GurA Gugga Legend, proclaims himself a physician that 

caa heal her, and does so. A. very important item also in the 

construction of folktales is the notion of temporary death, for 

based on this are the innumerable tales involving the death of 

the hero or actors, and their restoration to life and the means 

taken both to slay and make alive. The persons most affected 

by this notion are the hero and heroine, and the sleeping 

beauty wherever she occurs ; sleep being eminently the twin 

brother of death in her case. The methods of restoration to 

life are various and frequent in these Legends. They are 

usually restoration by eflSgy,*—the ashes or bones of the dead 

being collected and made into an image into which life is 

breathed,—occurring in Indian Fairy Tales, Wide-Awahe 

Stories and Bengal Folktales : by granting extension of life 

after death, in Indian Fairy Tales : by causing the slayer to 

restore to life, serpents being made to do so, both in Wide- 

Awake Stories and in Panjdb Legends (Eaja RasaKi and 

Niwal Dai) : by miraculous cui'es generally, of which examples 

abound in this book in the stories of Saints. A curious 

rider to this idea is the healing and revivifying powers of 

blood, of the little finger for choice, which runs through the 

whole of Indian folklore and crops up here in the story of Sila 

Dai. A corollary also to the idea of temporary death is the 

notion of the life index, which may be defined as an object very 

difficult of access existing outside the life of every human 

being which faithfully indicates his fortunes and the restoration 

of which, when injured, to its pristine condition, restores to 

life. It may be anything, a bird which droops when the connected 

life is in 

danger, loses a wing to an arm, a leg to a leg, 

feathers to skin, and so on, and dies when the life dies ; or a 

sword which rusts when the life is diseased and falls to pieces 

when the life dies, but when it is put together the life comes 

back and when polished up the life is again healthy. This 

idea runs through all the collections, but in the Panjab Legends 

* Of wliioh burning in effigy still practised in civilized Europe is 

no doubt a survival.

XVin 

PEBFACE. 

it peeps out only as a survival in a very interesting custom 

(page ,50). When Eaja EasaW has won a bride from Kaja 

Sirkap, he is given a new-born infant and a young maogotree 

which is to flower in twelve years, and when it flowers 

the girl is to be his wife. Here the tree is obviously intended 

to be her life index. Lastly, the calumniated wife is a worldwide 

incident, and in India she turns up in all sorts of shapes, 

for subjection to calumny, as a viotifior the tales in the collections 

now being examined, is extended to the hero and heroine, 

a wife, a nurse, a sister-in-law, co-wives, and a husband, the 

cause being always jealousy. The victims in the Punjab 

Legends are the hero's elder brother in Eaja Easalil and the 

hero's mother in Guril Gngga. 

We now pass on to matters affecting the progress of a story. 

All stories are worked on the same principles. You collect your 

actors, start them in life, and then get them into difficulties 

and out again; ' no mess no story' is an unconscious law that 

guides story-tellers all over the world from the successful novelist 

of the day to the old crone by the fireside. The Indian 

tellers have their own methods of both getting their characters 

into their troubles and out of them, and chief among these is the' 

deus ex machina. He is sometimes a god, as his name implies, 

but not often. In these Legends in the story of Sila Dai a god 

only comes in once as the direct extricator from difficulty, and 

then it is a most.stupendous one that has to be surmounted ; both 

the heroes and the heroine are all dead together 

and must be 

brought to life if the story is to end happily, as it ought in 

propriety to do, so Mahadeva is introduced for this purpose. 

The gods appear again in the Legend of Niwal Dai, but it is 

more as ordinary actors in the tale than in any marvellous capacity. 

Oftenest the deus ex machina is a talking animal, showing 

the way to fortune, warning of danger, explaining the situation, 

aiding the actors in reward for services rendered, and performing 

other feats necessary to the onward flow of the tale. In 

these Legends the parrot is largely employed in this capacity 

by ESja EasaM, but so also is a serpent, a hedgehog and a 

cricket! In the other collections every conceivable animal is 

all

PBEPACE. 

XIX 

brought under contribution, tigers/parrots, crocodiles, peacocks, 

jackals, camels, rats, cats, and snakes and all sorts. Failing 

a talking animal a talking plant will do just as well. Accordingly 

we find mangoes, plantains, pipals, and what not,^ stepping 

in at the nick of time, to say nothing of the bed's legs in 

Indian Fairy TaZes and a river and a fire in Wide-Awake Stories. 

An important form of the deus ex machind is ' hair,' human for 

choice, but any kind will do; an idea based obviously on the old 

world notion of the natural virtue of hair which is se&n in the 

Biblical story of Samson and Delilah. The usual form is a hair 

given to the hero to be burnt when he is in danger. In Wide- 

Awake Stories it is a hair of the mannikin's beard that is so 

used; in the Legends it is a cricket's feeler. But hair performs 

many other miracles in these collections, it cuts down 

trees, burns up forests and enemies, and leads the heroine intoher 

enemy's clutches on more than one occasion. 

the 

Lastly, sometimes 

the deus ex machina is a ship that carries off the heroat 

the right moment. Tricks aro a very common device for 

helping on the tale, and of course occur in the Panjah Legends 

frequently. They are difficult to classify or to notice with the 

brevity necessary here, so suffice it to say that we have specimens 

of most sorts, humorous, malicious and cheating, even to 

the lie direct in the story of Sila Dai ; this last being ascribed 

to the heroine, who is held up to posterity even in her very 

name (The Lady of Virtue) as the embodiment of all the 

virtues ! The characters of Indian folktales are enabled to go 

about their business in three ways—in a miraculous vehicle, by 

metamorphosis, and by disguises. Anything acts as a vehicle, 

whatever its nature, being endowed for the nonce with power 

to do what is wanted for the moment, viz., to get immediately 

from here to there. Accordingly, in the animal creation a 

golden deer, an eaglet, a parrot, a snake, a fish, an alligator, 

a camel, and a horse, with and without wings, are all employed. 

So too are a paper boat, a bed, a palanquin, a balloon, a club, 

a rope and a box of ointment ! The memory of all which 

wonderful things still survives in our own witch's broom-stick. 

Sometimes, howevei', the vehicle is dispensed with and tha

XX 

PREFACE. 

actors simply fly through the air, as in the case of GurA 

G-orakhnath going to help his friends in the story of Sila Dai. 

Metamorphosis plays a large and important part in Indian 

story, as it inevitably must where half the population believe 

that the proper and natural course for the human soul to take 

after death is to go into some other animal, and that this 

process with regard to their own individual souls has been 

going on for an indefinite period. Accordingly we find in the 

folktales metamorphosis of the most startling kind constantly 

called into requisition. There is metamorphosis of the dead 

into the living; metamorphosis of the dead into inanimate 

objects ; of the deities into animate objects {avatara or incarnation) 

and into inanimate objects ; 

so also of superhuman personages, 

as ogres, angels, jinns, vampires, mannikins, fairies 

and ghosts ; of living things one into another and into inanimate 

things with the most wonderful results ; and of inanimate 

things into each other. Lastly, we have a variant of the 

temporary death notion in the temporary form of metamorphosis 

or change of skin. Metamorphosis is very common in the 

Panjah Lngends, especially in the stories of Gurd Gugg^ and 

Niwal Dai, and its general prevalence in Indian folklore, even 

in the most grotesque shapes, has been noticed by Mr. Ralston 

in his introduction to Indian Fairy Tales. Disguise for 

folktale 

purposes may be described as metamorphosis with the 

marvellous left out, and though a careful survey of disguises 

shows that they are apt to run in grooves as it were, the 

same disguise constantly occurring in different tales, yet they 

are not of sufficient importance to deserve more than a passing 

mention here. They are constantly employed. Enchanted 

beings and things are a very useful ingredient in the composition 

of a folktale, and occur in every collection, but, 

owing to the great diversity of these and of their qualities, 

I cannot do more now than notice that the invariable 

object of their introduction is to help on the hero or the 

tale. There is one other essential to the progress of a stoiy 

which is found in the Panjah Legends, the identification of 

the hero. It is clear that, after having been killed and

; 

PEEFAOE. 

XXI 

brought to life, lost, metamorphosed and disguised, it must be 

sometimes difiBcult for his friends and relatives to recognize 

him, and so proofs of identity become indispensable. 

These are 

such as might be looked for, riugs of sorts, wounds, scars, 

necklaces, kerchiefs, bracelets, caps, &o., and also occasionally 

the correct recollection of former life and surroundings. The 

idea is varied into signs of the coming hero which the actual 

hero of the tales fulfils, as in the case of Raj^ EasaM whose 

heel-ropes tie up and whose sword kills the ogres unbidden, 

whose arrows pierce seven frying-pans and seven ogres placed 

one behind the other, and shoot the golden cup off the challenge 

standard, and into whose skirt fall the enchanted mangoes : 

of which marvels are signs prophesied of the true Rasalu. 

We have now done with the essentials of the stories and have 

only some of the more important incidental matters to discuss. 

Of these we cannot pass over ordeals. Though not common 

in the collections under discussion they are only too common 

in folklore generally, especially in that unhappy and cruel form 

of it,—the finding and punishment of witches. In the Legends 

Sila Dai passes through 

all 

two ordeals to prove her chastity, the 

ordinary one of fire by bathing in boiling oil, and a curious one 

of throwing a certain total with dice previously fixed on. Under 

her other name of Chandni, or Moonlight, in the Rasalii Legend, 

she performs a sheer impossibility with the same object, by 

drawing water from a well in a pitcher of nnburnt clay by a 

rope of a single strand. Marriages, of course, occurin every tale, 

and sometimes considerable trouble is taken, as in the Niwal 

Dai Legend, to show that, although the bride was carried away 

by force, she was still regularly married in the orthodox way 

nevertheless they are oftener irregular. The sleeping beauty 

who probably, in Indian folklore at any rate, represents the raped 

bride, or at best a stolen girl of the superior sort, is nearly always 

married to the hero without any ceremony, and sometimes it 

stated that the marriage meant merely an exchange of garlands, 

recalling the gandharva-vivdha, or marriage by mutual consent 

peculiar to the military class iu the classical days. In all 

modern folktales there is another survival of a by-gone custom 

is

SXU 

PREFACE. 

in the public 

choice of a husband by the heroine, seen here in 

the Legend of Princess Adhik Anilp Dal. 

This is nothing but 

the swayamvara of the classics, though generally it has degene'- 

rated into the princess having sworn she will only marry him 

who can perform certain absurd impossibilities. These often 

take the form of riddles, as in the Easalu and Adhik Anup Dai 

Legends, or, like Eaja Rasalu, the hero has to do sometliing more' 

or less obviously impossible, e.g., to 

separate the minute' seeds 

of millet from sand, to kill demons, to beat a drum ia heaven^ 

to cut down a tree with a wax hatchet, to 

tame a vicious horse, 

to find the silver tree with leaves of gold and flowers of pearl 

that grows under the waters, et hoc genus omne. Another 

common incident that recalls well-known classics is the common 

story of gambling extraordinary. Eaj& EasaM plays Raja 

Sirkap at chawpur, first game his 

arms, second his horse, third: 

his head. The whole game is played in a miraculous kind of 

way by both sides, and ends in EasalA's winning- Sirkap'a 

head. The same notion occurs twice in Bengal Folktales, 

where in one instance it is the heroine, oddly enough, that is 

the successful gambler. The dropping of jewels involuntarily 

when speaking is a curious and persistent notion, occurring 

in every collection. Adhik Aniip Dai fills a basket with flowers 

when she laughs and a platter with pearls when she weeps. 

Heroes, too, drop rubies when they laugh and pearls when they 

weep, and heroines 

drop pearls and precious stones when they 

walk or speak, constantly in Indian tales. Has not figurative 

language here usurped the place of exact description, and the 

abstract become the concrete As every hero and heroine has 

an enemy, it is due to poetical justice that he shall be punished, 

and it is curious to note the forms that vengeance takes in 

folklore. Vindictiveness comes painfully to the froB.t here. 

The unfortunate enemies are cut to pieces, buried in the desert, 

burnt to death and the ashes sent to their mothers, buried up 

to the neck in the earth and shot to death with arrows^ 

buried alive with thorns, buried alive and the grave ploughed 

up, buried alive with scorpions and snakes and the grave 

walked over by the hero and heroine. In the Rasalfl Legend

PEEFACB. 

XXm 

unchastity is punished by making the wife eat her lover's 

heartj and suspected unchastity in Sila Dai by flogging and 

dressing her up as a menial and setting her to scare crows. 

Lastly, an incidental circumstance of constant occurrence and 

some importance must be noticed here, especially as it takes us 

back to the Puranic period of Indian literature. Every Hindu, 

for the sake of future salvation, must have a son somehow or 

other, so endless nostrums are tried by barren women with this 

object to the present day, not the least serious of which is 

burning down their neighbour's huts ! The idea occurs frequently 

of course in the Punjab Legends. The form is nearly 

always the same now as in the story related in the Harivansa 

of the birth of Visvimitra, whose mother was given a certain 

dish to eat as a nostrum for procuring an extraordinary son. 

This tale no doubt faithfully reflects the folklore of the middle 

ages. In modern days it is a pomegranate flower, a mango, 

a drug, a Uchi, a barleycorn, a grain of ricCj or a flower, that 

given to the would-be mother. 

One more point, and I have done. 

is 

Numbers in folklore are 

always interesting, and those occurring in the Legends will be 

briefly touched on. The numbers found in Panjah Legends run in 

the same grooves as do those of the other collections. One occurs 

chiefly in the numerous only sons and daughters that are heroes 

and heroines. Two, its double four, its quadruple eight, and 

its octuple sixteen, seen in the modern currency and measures, 

occasionally occur. Three is very common, so is seven, . and 

twelve is commonest of all. Six, eighteen, twenty -four, thirty 

six, and forty -eight occur, connected more or less consciously 

with twelve as multiples and divisor. So does nine appear to 

be used consciously as a multiple of three. There are indications 

al|(0- of the conscious employment of five, an important 

numeral, as the remainder, as it were, between twelve and 

seven and between seven and two. Its aliquot parts, two and 

a half smi one and a quarter, are in constant requisition, and 

are besides often to be seen in the conventional family subdivisions 

of several Indian tribes. In the same way one and a 

half seems to be used consciously as the halfof three. Atthesame

— 

Xxi\r 

PEEPAOE. 

time miscellaneous 

numbers are not disregarded, and ttirteen, 

fourteen, nineteen, twenty, twenty-one and twenty-two all occur 

more than once. Of the larger numbers, we have the universal 

one hundred and one and on6 thousand and one, and as large 

multiples of twelve, sixty and three hundred and sixty, and 

curiously one hundred and sixty. Seventy also occurs, and of 

course the old Indian magic number eighty-four. 

Sketchy and incomplete as is this analysis of the chief 

folklore points in the pages of this book, it is the result of considerable 

research, and has become possible only owing to the 

elaborate enquiry into these matters prepared for Wide-Awake 

Stories and now in course of publication, but I think enough 

has been said to prove, prima facie at any rate, 

with which I started 

viz., that the bard's recitation is 

that the theory 

merely 

the folktale in its poetical phase, and that the latter is the 

outcome of the former—is correct. 

I have now to turn to the pleasant task of gratefully 

acknowledging much help kindly and ungrudgingly given. To 

my coadjutrix in other labours, Mrs. F. A. Steel, I owe many a 

legend, some of which have been published in this volume ; to 

Mr. J. G. Delmerick I owe the valuable story of Raja Easalft's 

adventures, and to Messrs. Ibbetson and MacauliflPe, of the Civil 

Service, stories I hope to publish later on. 

I am also indebted 

in the same way for materials for future volumes to Sirdar^ 

Atar Singh of Bhadaur, to Ghulam IJussain Khan of KasAr, to 

Lala Ganeshi Lai of Ambala, to 

Maulvi Sayyid 'Abdu'llah of 

Simla, to Sarfaraz Hussain of Ambala, to Mr. Manuel of 

Dharmsala, and to Maya Das of Firozpur. I also take this 

opportunity to acknowledge with many thanks the patient 

labours of Ohaina Mall and his assistants in recording the 

originals of many of the Legends and in checking my 

translations of all that have appeared. Some, who have not 

directly helped me, have sent me bards from whom legends 

have been extracted. 

Among these I have to thank Col. Boyle 

of the Xlth Bengal Lancers, Mr. Rivaz of the Civil Service, 

and Mr. Delmerick.

PREFACE. 

XXV 

In explanation of the form in which the book has been 

printed, I would say that it is frequently urged that the reader 

has too often to trust his author in original works on 

folklore 

in matters requiring accuracy. One reads a racy translation, 

but who knows if it is correct, or how much of himself the 

author has imported into his text How often one sees complaints 

in reviews of a particular folklore work that ib is suspiciously 

free in its renderings To avoid this reproach at any cost 

I have given in nearly all the Legends both text and rendering, 

so that exports can see for themselves how far my translations 

are accurate, and those that have to take them on trust can go 

to experts for help in this respect if they think they require it. 

The texts have another value, in that they faithfully record the 

dialects of the various bards, and therefore of various parts of 

the country, and will show at least that the rules for terminations 

and grammatical forms are not nearly so hard and fast as the 

literati and conventional examiners in languages would have us 

believe. There is many a passage in this volume that would 

' spin^ the reciter in an ordinary government examination in 

the languages, as conducted in India, but they teach us their 

lesson for all that, and so are worth recording for themselves. 

I have also endeavoured to show the instability of form that 

many words have by strictly adhering to what the man said 

in preference to what he ought to have said, and so it has 

occurred that the same words have sometimes been spelt differently 

in different parts of the same poem by the same reciter 

of ' malice prepense.' Some of the ballads, especially from the 

Himalayas, are, I venture to think, valuable as additions to our 

very limited stock of knowledge of those dialects, and I have 

thought it expedient to add vocabularies in some cases^ For 

purposes 

of typographical and general convenience the texts 

have been given in Roman characters, the transliteration adopted 

being that long in use in the Indian Antiquary and similar 

works, and so needing no further comment here. In the few 

cases, where the text was in the ordinary literary 

language of 

the day, understood by all who read, write, or speak Hindustani, 

I have not thought it worth while to give the original, but

XXVI 

PEBPACE. 

ttese are the only instances in which I have allowed myself 

such license. The preliminary notes and footnotes have been 

purposely made very short, and are expressed in tentative 

language for these reasons ;—Most of the subjects they touch on 

are hardly yet 

ripe for decisive and detailed annotation, and in 

making them I have practically had to look to my personal 

knowledge and research, which I naturally distrust, and to my 

own limited libra.ry. 

It will be as well also to explain that in this collection so 

much prominence has been given to the stories of saints and 

holy personages, because it is really by a careful study of 

such 

things that we can hope to grasp the religious and superstitious 

ideas that dominate the bulk of the 

Indian populations. 

If once the student of Indian religions, as practised, 

properly 

understands the full signilBcance of such a production as the 

Marriage of Sakhi Sarwar, he will have learnt more than 

volumes of lucubrations by scholars in Europe can teach 

him, when based, as they often are, upon researches into 

the glorified imaginings of philosophic recluses and self-interested 

priests. 

I may be forgiven if I make an appeal here to others able 

and willing to do so, to help on the good work of recording the 

bardic effusions of Aryan India. The Panjab is by no means 


only part of the country where the bards flourish, nor is 

it even the best field for researches into their songs. All 

along our frontiers, wherever the Balochki and the Pushto 

languages are spoken, the bard has a natural home, and in Sindh 

he has become a proverb. In Kachh and Kathiaw^r and in. 

RajasthSin he is to be found at the Court of each 

of the .innumerable 

'kings' that hold sway over those vast tracts of 

country, and again further east we find him flourishing in full 

vigour in Orissa, and once more we find him cherished and 

carefully tended along the whole line of the Hill States from 

Kashmir to Kumaun. The conditions of his "existence in the 

Panjab proper are practically those under which he flourishes 

throughout the North-West Provinces and Awadh. Vast 

then is the field and unrivalled the opportunities. Those of

— 

PEEFAOB. 

XXVU 

my readers who are acquainted with the books about the 

Slavonic nations of Europe, will probably have been 

surprised 

to find how closely, allowing for difference ofreligion and climate, 

the manners and customs of the peasants resemble those to be 

seen every day in Aryan India, and how very similar the 

functions of the bards of the two peoples are. But within the 

last 50 years, 

i.e., since the time that Tod wrote his still 

sta,ndard work on Rajasthan—the songs and folklore of the 

Slavonians have been copiously recorded by writer after writer, 

the Russians, the Poles, the White Croatians, the Servians, the 

Moravians, the Wends, the Ruthenians and others having been 

fqlly dealt with. In India, however, where the ruling race 

prides itself on its 

superior intelligence, the high education of 

those sent to represent it and the lofty aims of its 

the work can hardly be said to have commenced. 

Government, 

In conclusion, I must add that I am painfully aware of the 

many signs of haste apparent in these pages, and that there are 

more mistakes in them than there should be, but in extenuation 

I would urge that this book is not the production of a 

man of leisure, but is the result of working in spare hours, 

when most men play or rest, by a hard-worked official who 

has no ready access to any public library. 

Amhala, May 1884. 

R. C. TEMPLE.


No. I. 

THE ADVENTURES OF 

RAJA RASALTJ, 

AS TOLD IN THE RiWAL-PlNDt DISTRICT. 

[laken down by a patwBtt in 1869 for J. G. E'elmerick, Esq , Par.jSb Commission. 

The prose portion of this tale, as recorded by thepaiuiirS, is of no 

linguistic value, and has therefore not been printed in original. Every 

verse, however, has been given exactly as found in the MS., even where 

the wording shows that the transcriber has probably not exactly followed 

what the narrator said.] 

[This Legend of Easfild, the sob of Sfllivahan of SiSlkot, is of unusual value both 

for its historical and its folklore bearings. It gives a hint of the true history 

of that Indo-Soythian hero, who may yet be identified with Sri 

Sy-alapati Deva, whose coins are still found in such abundance all over the 

Panjab, and who must have flourished between the first Arab invasions of 

Sindh and Edbul and the rise of the Ghaznavide Dynasty. It also contains 

in places the most remarkable analogies to the almost universal 

stories of the Seven Wise Men, the germs of which are to be found in the 

Sukasa/ptati and Panchatantra, in India, and in the Story of Sindib&d in 

Europe and Asia, repeated in Arabic in the AlifLaila, in Persian in the Sindih&dndma 

and the TUtin&ma, in Greek and Syriao in the Story of Syntipas, in 

the Hebrew Mishie Sandabar and in Spanish in the Lihro de los Bngannos de 

ias Mugeres, besides many modern versions in most of the languês of 

Europe and in the b&z&r books of modern India. The best book to 

consult on the subject is Prof. Oomparetti's Bicherche intorno al Libra di 

Sindib&d, of which an admirable translation by Mr. Ooote has been published 

in vol, XX. of the Folklore Society's Puhlioations, ,1882, in which 

volume also appears a rendering by Mr. Coote of the valuable Spanish 

work, Libro de los Engcmnos et los Asayamientos de las Mugeres (Book of 

the Tricks and Deceits of Women), Mr. Clouston's Bakhty&r N&ma is 

another good book for the purpose.] 

In the year of Christ 80, or 1,789 years ago, there was a 

Eajslj called Salbahan, who lived at Sialkot. He had two 

queens named Achhran and Lonan, and the Eanl Achhran had 

a son, called Puran, who afterwards became a celebrated saint, 

and was called P&ran Bhagat. When Puran was still a young 

man the R4ni Lonan £ell in love with him and called him into

2 LEGENDS OF THE PANJAB. 

her palace to commit sia with him^ but he being a holy and 

God-fearing man, would not agree to her request, and ran away 

from the palace. 

After this Rani Lonan fell into such, a state 

of mind, that, without counting the cost, she complained to 

the Eaja, and made him believe by her persuasive ways that 

Puran had forced her to commit sin with him. The Raja, believing 

her, had Puran's hands and feet cut off and had him 

thrown into a well, which remains to this day on the high road 

between Sialkot and Kallowal. And by reason of the holiness 

of this well the women of those parts believe that if one of 

them bathe at it she will become fruitful and bear children. 

For a long time Puran dwelt in the well, but after a while 

good fortune befell him, for Guru Gorakhnath* chanced to 

wander by it and halted there. Finding a poor wretch living 

in the 

well he had him taken out, and knowing by his miraculous 

knowledge that PAran Bhagat was innocent of the charge 

laid against him he prayed to God to restore him his hands 

and feet, and God did so. Then GurA Gorakhnath bored his 

ears and made a disciple of him. 

Soon after this the Gurft gave Puran Bhagat leave to visit 

his parents at Sialkot, so Puran journeyed there, and lived in 

the garden in which he had been brought up as a child. It 

had been so long neglected that it had become quite dry, 

but Puran prayed to God to make it green once more, and 

sprinkled water over it in the name of God and immediately 

every tree in the garden became green. When the people 

of the city saw what had happened they believed in Piiran, and 

the name of Puran Bhagat became renowned throughout the 

land, but he did not make himself known to his parents. By 

degrees the news of the dry garden haying been made green 

by the 

faqlr reached the ears of Raja Salbahan, and so he set 

out to see it with his two Ranis. 

Now the Rani Achhran had become blind from weeping over 

her son Puran, and went to the faqir to be cured of her blindness. 

Puran recognised hsr as his mother, but said nothing to 

* Guril Gorakhnath was the Brahmanical opponent of the medieval 

Indian Reformers, and seems to have flourished about 1,400 A..D.

—— 

— 

EAJA EASALU. 6 

her about it. When he saw her he prayed to God to restore 

her sight, and God did so, and she saw as before. 

After this 

asked for a son. 

miracle Raja Salbahan and Rani Lonan came together and 

Then said the faqir, speaking from his miraculous 

knowledge 

" Raja Salbahan has already had a son, where is he nov* 

Tell me the truth about him, and I will pray to God to make 

the Rani fruitful." 

Then the Rani having a great desire for a son told the whole 

truth to the faqir how she had fallen in love with Puran and 

had caused her husband to cut off his hands and feet. And 

this too in the presence of Raja Salbahan. The faqir was 

very pleased that she told the truth and said to her 

" Behold in me that same Puran." 

And he gave Lonan, his stepmother, a grain of rice to eat, 

and told her that after a long while she would bear a son, who 

would be learned and brave and holy, but that he would not 

remain with her, and that she would weep as she made Eani 

Achhran to weep. 

After this Piiran Bhagat took leave of his parents and went 

to his Guru, Gorakhnath. In due course Rani Lonan became 

pregnant by Raja Salbahan, and shortly before the child was to 

be born three jogis came to beg at her gate. She filled a plate 

with pearls, and giving it to the jogls, asked if 

her child would 

be a boy or a girl. 

Then answered the youngest of them- " 

: Your child is a boy, 

and was conceived on a Sunday, and will be born on next 

Tuesday, and will be a great man. But if either his father or 

his mother see him for 12 years after he is born they will die 

at once. So you must shut him up in a cellar for 12 years, 

and then he must bathe in the river, put on a new dress, and 

come to visit his parents. And his name shall be Raja 

Rasalu." 

When RSja Salbahan heard of this he did not believe it, but 

sent for the jogis and set before them a she-goat heavy with 

young and said 

" Tell me whether she has a male or female kid inside her."

— 

— 

4 lEGENDS OF THE PANJAB. 

And they told him correctly. After this he beliered, ana 

rewarding them greatly he sent them away. 

On the following Tuesday U&ni Lonan brought forth a 

beautiful boy, and sent news of it by a slave to Eaja Salbahan 

to his court. And the slave said 

Wich KacJiahri haithid, gliar de jujmdn ! 

Awwal ghiu gw mangade, phir do hakre alwan, 

Na alwdndh paslidh, na majmdndh dand ! 

Teh hujhdrai bujhJee, ghar do jald ehalband ! 

sitting in Court, your successor has come home ! 

First they ask for ghi and sugar, next for two female kids. 

Neither have the goats ribs, nor has the guest teeth ! 

Understand this riddle and come home quickly. 

Answered R^ja Salbahan 

Bang hagge, muhh sdhwale, jamman par sarw. 

Yeh bujhdrat iujh lai, jdhar do khand te hhir. 

Fair of colour, black of mouth, bursting the body they are bom. 

Understanding this riddle, go and give her rice and milk. 

After this the Raja sent for his wise Wazir and said " 

: Send 

the child that is 

just born a wet-nurse, some clothes, arms and 

a colt which has been born to-day. Also a parrot and every 

thing necessary for his comfort, and put him into a cellar and 

keep him there for 12 years. And tell the nurses to teach him 

each in her appointed hours all matters of learning and skill.'' 

The Wazir did as he was bidden, but after 11 years R§ja Ras&lu 

said to his nurses " 

: I want to see who they are whose voices I 

hear outside." 

" You must stay here one year more," said they. 

" I stay no longer," said he, and though the nurses tried 

veryhard to prevent him, he armed himself, and having had his 

horse saddled, which had been born the same day as himself, 

he went away. 

" Child," said his nurses, " go first to the river side and 

bathe yourself, 

and then wash your clothes yourself and then 

return here. And before these things are done mind you 

speak to no one."

— 

— 

: 

: 

eajI easali). 5 

And the bards also sing thus, that on the day RSja RaSalA 

was shut up in the cellar the daughter of a certain R§ja 

resolved in her mind to marry him. So she built a house on 

the road side between the cellar and the river, and waited for 

the coming of Raja Rasalu. And she made a vow not to leave 

that place for 12 years until the Raj4 should come out for 

his bath. When the Raji: came out, the nurse showed him 

the right road, and so he passed the building in which the 

princess sat on the look out for him. When she saw the Raja 

coming she said to him 

Jis din da tuhjamid, main iaitM dhaular pa : 

Je tun rdjput hain, tdn main nun muhh dilchld. 

The day thou wast born I built this palace and lived in it : 

If thou be the prince, then show me thy face. 

The Raja said nothing, and went on to the river side. 

Now 

the princess had the power of turning into what she chose, so' 

she became a kite, and flying into the 

air shaded Raja Rasalu 

from the sun with her wings. Then said the Raji to her : 

Ulo, gagan hhaundie, laneti ddam let : 

Tarkash haddhdn main hdnidn, nilcdlun terd pet. 

Tun dweh meridn pairidn de heth. 

kite, flying in the heaven, a man lies under thee : 

Taking arrows from my quiver I will tear out thy entrails. 

And thou wilt come under my feet. 

Then answered the princess 

Taman mdran tdmni, shdh pandh de aswdr. 

Itnidh rdjidn na mdrid; tun hyunkar mdranhdr 

Good shots strike the standard : kings ride on fairies 

So many kings have missed me : why shouldst thou hit me 

Presently the Raja arrived at the fiver side, where, too, the 

princess, taking her own form again, sat down, and as soon as 

she saw him, she said to him 

Dhohtd Jcdpre dhondid, dhoih dhoti, jdmd, pag 

ChicM anguU pdni main hhardh, til mere gal lag. 

O DhoU washing clothes, wash loin-cloth and coat and 

turban.

— 

—— 

have 


For thee I have drawn water with my little finger* so fall thou 

on my neck. 

For seeing him washing his own clothes she called him a 

dhoU. And the E^ja answered her 

Joh pardi, hhum opri, aur tun hegdnt dU : 

Maikpardesi nilh wal pawe, to haun chhurdweji 

The pasture is another's, the land is a stranger's, and thou 

art a stranger's child : 

If I be ensnared in a strange land, who will save my life 

Answered the princess 

Chandan cUrdn, Bdjid, chilehd handwdhjdg nun Idwdn ag. 

Je tu pardesi nun wal pawe, to sar mardh tere lag. 

For thee, Raja, I will split the sandal wood, and build a pyre 

and set fire to the whole world.f 

If thou fall into a snare in a strange land, I will be burnt and 

die with thee. 

When the Eajti had finished washing his clothes he asked 

her the way to the city, and she said 

Bdhh uldrdh tan dise, munh holdk te dand. 

Woh jo rukh disde, oM mdnwdn de pind. 

Eaising my arm I show my breasts, opening my mouth I show 

my teeth : 

The trees which you see there are at thy mother's home. 

So Raja Ras&.lu followed her directions and reached Sialkot, 

and found the women of the city drawing water from the well 

which is near the entrance of it, and he began throwing stones 

at their earthen pitchers and broke them all. 

to Eaja Salbahan to complain against EajS. Rasalu. 

The women went 

" He is iny 

son," said Raja Salbahan, " and I love him greatly. So take 

you pitchers of iron and brass. Those who . them not 

may get them from the treasury." 

So the women went with iron pitchers, and the poor got 

theirs from the treasury. Bat when they went to draw water 

from the well Raja Rasalft made holes in all the pitchers with 

* i.e. Set my teart on tliee : slaved for thee. 

t Idiom for " I will renounce tlie whole world."

! 

— — 

— 

EAJA BASALU. 7 

his iron-lieaded arrows. Then the women went to Raja S§,1- 

b4haa again to complain, and he in his fear that RSja RasalA 

would come into his house, ordered a broom-stick and some 

wooden shoes to be placed by the gate, so that Kaja Rasalu 

might know he was not to come inside.* He did this thinking 

to keep Raj4 Rasald away for one year more. 

Meanwhile Raja Rasalu came to the palace and saw the 

broom-stick and the wooden shoes and came away, and went into 

the hall of audience where Raja Salbahan was sitting in 

state and saluted him. But Raja Salbahan turned his back on 

him,. and Raja Rasald said 

Mnin dyd thd saldm nun, tun haithd pith maror ! 

Main naMh ierd raj wanddhundd ; main nun, nahih rdj te lor. 

I came to salute thee, and thou hast turned thy back on me ! 

I have no wish to share thy kingdom : I have no desire for 

empire. 

Raja Salbahan fearing the word of the jogis answered 

nothing, as the twelve years were not yet passed. So Raj& 

Rasi^ld left the hall of audience and passed under the palace 

where Rani Lonan was sitting, and said to her 

MaMan de wicJi haithie, tun ro ro na sund ! 

Je tun men mdtd hain, hot mat hatld ! 

sitting in the palace, let me not hear thee weeping ! 

If thou be my mother give me some advice. 

Then Rani Lonan answered 

Matte dendi hai mdn tain nun,putar . gin gin jhoU ghat ! 

Chare khmtdn tuii rdj hare, par ohangd ralchin sat ! 

Thy mother doth advise thee, son ; stow it carefully away 

in thy wallet 

Thou wilt reign in the four Quarters, but keep thyself good 

and pure. 

Then Raja Rasalu took leave of his mother and made ready 

for his journey, taking with him a goldsmith's lad, a carpenter 

lad, and his parrot, which had been brought up with him in 

* A common custom signifying " Not at home."

— 

— 


the cellar. As lie was starting on his journey his mother saw 

him and said to him 

Thord thord, beta, tun disin, aur hakoti disi d%ur .• 

Putrjinun de tur ehale, aur mdwdh ohiknd chur.* 

It is little I see of thee, my son, but I see much dust. 

The mother whose son goes away on a journey becomes as a 

powder. 

Journeying at their ease Raja RasalA and his companions 

reached an uninhabited jangal and halted there. And the 

three of them. Raja RasalA, the goldsmith lad, and the carpenter 

lad, divided the night into three watches. The first watch 

the carpenter kept while the others slept. As they were 

going off to sleep said the goldsmith to Raja Rasalu 

Agge sowen lef nihdlmh, ajj sutd suthrd ghds ! 

Sukh wasse yeh des, jahdn de ajj di rdi. 

Before thou didst sleep on quilts, to-day thou hast slept on 

clean grass ! 

Mayst thou live happy in this land whither thou hast come this 

night. 

Then the R&ja and the goldsmith went to sleep, and the 

carpenter kept watch. Presently a serpentf came out of the 

jangal and went towards Raja Rasalft as he lay asleep. 

" Who are you " said the carpenter, " and why have you 

come here " 

" I have destroyed every thing within 12 miles round," said 

the serpent, " and who are you that have dared to come here " 

Then they began to fight, and the carpenter killed him and 

hid him under his shield. 

Presently it came to Raja Rasalu's turn to keep watch, and the 

carpenter went to sleep without saying anything about the 

serpent. While Raja Rasalu was on guard a great horrorf 

appeared, and he went up to it and said to the horror, " who 

are you " 

* Reduced to great misery. 

t Most probably by this is meant a man of the " Serpent" 

Naga, or Taka, or Takshak. 

Races : a 

J Afat is the word used throughout.

sadd 

— 

— 

BAJA BASALT^. 9 

" I have destroyed everything within 48 miles round/' said 

the horror, " and who are you that have dared to come here " 

Whereon Eaja Rasalii struck the horror with an arrow and 

it ran away, but the Kajsl followed it into a cave, and they had 

a great light there. After a while the E§.ja killed it there and 

came back. 

In the morning the R&ja woke his companions, and the carpenter 

showed them the serpent he had killed, and told the whole 

story about it. 

When the Hijh saw the serpent, he said, " this 

is only a small snake, come and see what I killed in the cave." 

So the goldsmith and the carpenter went into the cave and 

saw what Raja Rasalu had killed. Then they became very 

frightened and said to him, " you are a prince and a R^ja and 

can fight such horrors, we are only ordinary people, and are 

afraid that some day we may be killed if we follow you," and 

they begged and prayed to be let go home again, and so the 

Rsbja gave them leave. 

So they went home, and Raj& RasalA said 

Soda na phulan tormh, nafrd : sadd na Sdwan hoe ; 

8add najoban thir rdhe : sadd na jhoe hoe : 

Sadd na rdjidh huMmi .- 

Sadd na howe ghar apnd, nafrd : 

na rdjidn des : 

iJiath pid pardes.* 

Torts-f do not always flower, my servant : it is not always the 

rainy season. 

Youth does not always last : no one lives foi" ever : 

Kings are not always rulers : kings have not always lands : 

They have not always homes, my servant; they fall into great 

troubles in strange lands. 

Saying this Raja Rasalu went on and came upon a 

sandalwood 

tree, which was burning, and he asked his parrot why ifc 

was : and it turned out that a serpent had bitten the tree and 

caused it to burn ! And there flew a young swan out of the 

tree which came before the Raja, and the Raja said to it 

" You are a bird, why do you destroy your life in the fire 

why don't you fly away " 

' 

* See FaUon, New Hin. Diet. s. v. thir. f A kind of mustard plant. 

2

—— 

— 

— 

— 

10 LEGENDS OP THE PANJAfi. 

And the cygnet answered 

Mitthd mewd Ichddd, IJiavde pdni chlidn : 

Je hane sir us de satke kidhar jan 

I have eaten sweet fruit and drank cool water : 

How shall he save his life on whom evil falls 

Then said the Eaja 

Miilhd hhddd i mewd, hansd, Ihandi raU chhdit . 

Baldi agg bujM wekMh,jo Babb sune men ban. 

I, too, have eaten sweet fruit, swan, and the shade was 

cool : 

You will see the burning fire put out, if God hear my prayer. 

And then by the miraculous power of the RS,ja the tree 

became green again, and he went to sleep in the shade of it. 

As soon as the tree had become green again the young swan 

iew into it and said to the Raj§, 

Ihe bhaure palioh JRdjd, pharere hoJce son : 

Hie tu jîti-sati mard : 

ike Saqqdni pvr. 

O Raja brought up at your ease, sleep by thyself : 

For thou art a holy and virtuous man and a saint of God. 

When he heard this the R&ja got up and journeyed four 

hos. He then came upon a serpent, whose eyes were full of 

sand blown into them by a violent storm, and as soon as the 

serpent heard the 

was riding he called out 

sound of the horse's hoofs which the Reija 

MdTi-Tpadhdoh jdndid, bJiojan sddd pah ! 

Akliioh kanhar kaddh ! Jd dharmi lagen bhard ! 

Suhe ohole Edsak-ndgnt khari dekhdi ruh. 

traveller going along, eat of my food ! 

Take the sand from my eyes, and become as my brother ! 

My wife stands looking for me in her red gown ! 

And then the Raj^ asked his parrot's advice 

" This serpent is the enemy of all inankind, Hindft and 

Muhammadan alike, how shall I treat him " 

And the parrot answered 

" The result of goodness is always good."

— 

EAJA EASAlt. 11 

So the EajSk toot tlie parrot's advice, and getting off his 

horse took the sand out of the serpent's eyes with his kerchief. 

And then he mounted again, but the serpent stood in his way 

and prevented him from going on. 

" Is this the way you reward my kind treatment " said the 

R&ja. 

But the serpent bowed down his head and said 

" Be pleased to stay in my humble house to-night and go on 

your way to-morrow." 

And so the Raja went with him to his cave, and when they 

were near it the serpent stopped the R4ja outside, while he 

went in to speak to his wife, the Basaknagni. In a short time 

the serpent came out again and took the Raja into the cave. 

And that night the RajS slept in the same bed as the serpent. 

In the morning the Raja got up and asked to be shown the road. 

So the serpent came out of the cave and said, " Protector 

of the world, your road lies that way, mine lies this way." 

Then said the R&ja, "I have been banished from my country,. 

and that is why I wander about from country to country, but 

tell me why your road lies this -waj." 

" I cannot get any thing to eat here," said the serpent, 

"and so I go this way and bite a man and then I eat his flesh."" 

And saying this he slid away into the grass. Bat the Raja 

said to himself, 

"now that he is gone I will go and see what 

his wife is like." So he went into the cave and found her 

asleep on a golden bed, which was placed on a stone dais. 

Close 

to her was lying a large lizard, and presently they began to 

play and jump about. When the Rajl, saw this he became 

very jealous and angry that such a mean thing as a lizard 

should play with this beautiful N^gni, and be determined to kill 

him. He got oat his sword and struck at the lizard, but 

the Nagni protected it with her tail, which got badly cut. Then 

the Raja was very grieved, for said he,. " I struck at the lizard 

with a good object, but evil has resulted instead of good." 

And getting on Bhauiir 'Iraqi,* his horse, he said to him., 

" Gallop as fast as you can," And away galloped the horse, 

* Should be Bhaiiiiri Eakhi.

— 

— 

12 LEGENDS OP THE FANJAB. 

but after 12 Jeos the Eaja became very tired, and dismonnting 

under a shisham* tree he fell asleep. Meanwhile the 

serpent returned home to his cave, and when his wife heard 

his hissing she stood before her husband and made this 

complaint 

Bdh rrmsdfir jdnde, ghar wich derd dend chdhe : 

Dere drike autre : mangan lage sej : 

Sy na ditti mahgwik : meri dwn chaldi tegli. 

A traveller passing on the road wished to halt at my house : 

His staying was wicked, wanting to come to my bed : 

I gave not my bed for his asking, he struck my tail with his 

sword. 

When the serpent had heard his wife's 

complaint he asked 

her at what time the traveller had come to her, and she 

answered, " In the middle of the night." 

Then said the serpent, " What you have said is not true at 

all, 

for he slept beside me the whole night, and I know he is 

a truly holy man." 

But the Nagni insisted on her tale, and the serpent went after 

the RaJEi. In a moment he arrived at the shisham tree where 

the Raja was sleeping, and found the Raja's parrot sitting on the 

horse's saddle. Gut of respect for the Raja the serpent did 

not then and there go and bite him, but went into 

one of his 

shoes, and said to himself, " When the Raja gets up he will put 

on his shoe and then I will bite him, and find out if what my 

wife says is true or not If he tells the truth I will keep my 

poison back, but if he tells a lie I will bite him a second time 

and kill him.'' Shortly afterwards the R&ja got up and went 

up to his shoe, but the parrot called out 

Duron did chalke, jore learid de ! 

JhdrJce mauzd tun pdih : an-jhdre bard gundh ! 

Coming from afar he has entered thy shoe ! 

Shake thy shoe and put it on : not to shake it will be a 

great mistake. 

* Tte Dalbergia Sissoo.

— 

eajA easalt), 13 

Wten the serpent heard the parrot say this 

he came out of 

the shoe and said 

" E4j§., you treated me very well, but how have you 

treated my wife " 

" I have done you no wrong," said the Raja, " you may kill 

me now, or after you have heard what I have to say, just as 

you please/' 

But the serpent said, " If I had intended to kill you I could 

have killed you while you were asleep. Tell me the real 

truth." 

Then the RaJEi said, "1 went into the cave and found a 

lizard jumping about and playing with your wife, and this made 

me very angry. So I struck at him with my sword, but your 

wife put her tail over him and saved him. She lost her tail 

in saving her friend, and this 

vexed me, and so I came away 

here." 

" But why did'nt you strike another blow to kill the 

lizard 

" said the serpent. 

" I did," replied the E&j4, " but he got away into his hole, 

and my sword only struck his buttocks : and then I came 

" I consider," said the serpent, " that no ofEence is proved 

against you." He had seen the lizard playing with his wife 

himself. 

After this the Raja went on and came to a jangal of nothing 

but chachrd* trees, in which a buck and a doe were playing 

and galloping about, and the R^ja wished to shoot them. But 

the parrot said, " R&.ja this is a strange land, and perhaps 

they belong to some prince of these parts. Don't shoot them, 

but throw away your bow and arrow, and watch them." And 

the Raja did as he was bidden, and throwing away his bow 

and arrow began to watch them. 

Presently he saw a hunter, disguised by some chachrd leaves, 

come stalking up behind the deer, so that they did not know 

he was a human being, but thought him to be a bundle of 

* Dhdk, the hutea frondosa.

— 

: 

— 

: 

— 


chachrd leaves. The buck stopped to look at him, and the 

doe began walking round him. Then the hunter began playing 

on a reed-pipe, and the buck, when he heard it, began to weep 

bitterly. Whenever the doe had her face towards the hunter 

he stood still, but when she had her back to him he advanced 

two or three paces. This went on for two hours, and at last 

the doe found out that he was a hunter and her enemy, and she 

said to the buck 

Jangal jami, hart, pali, te ban wich merd was : 

'Ajab tumdshd wehhid, je pairik chalan palus ! 

Born in the jangal, bred in the forest am I, and my home is m 

the forest 

I have seen a wonderful thing when the palds* tree goes on 

feet. 

But the buck replied 

Jangal jami, ban paU, te ban wich terd was : 

Bitthe hdjh na hilsdh : toren sikhdii charhan kabdh ! 

Born in the jangal, bred in the forest wert thou, and thy home 

is in the forest 

Without seeing I will not move, though they break me up into 

roast meat and put me on the spits ! 

Meanwhile the hunter, putting his reed-pipe between his 

teeth, shot an arrow which struck the buck with such force 

that he was hurled back seven paces. As soon as this happened 

the doe bounded off and saved herself. The hunter then 

went up to the buck and took out his knife to cut his 

throat, but the buck, finding himself wounded, said to the 

hunter 

TirhM cJihwn chaldndid Bdjd, hhundi eJihuA ckald ! 

Jablag sdhs harang men, tablag hvn hajd ! 

O Raja cutting my throat with a sharp knife, cut with a 

blunt knife ! 

While the breath is in my body play on thy pipe ! 

So the hunter killed the buck and laid his knife in the grass, 

* Another name for the dhdle as above.

— 

—— 

— 

EAJA EASALt. 15 

but it happened that the knife went into the belly of a serpent 

that chanced to be underneath it, and at that moment the 

hunter was looking towards the buck. 

As soon as the serpent 

felt the pain of the knife it bit the hunter, and so it happened 

that all three began rolling on the ground : the deer from 

his wounds, the hunter from the bite of the serpent, and the 

serpent from the knife-wound. On seeing this the Eaja said 

to the parrot 

" I think we had better go on." 

But the parrot said, " Protector of the world, wait on and 

you will see another sight. You saw how faithful the doe was 

to her husband in his life, you will now see how faithful she 

will be in death." 

While he was speaking the doe ran up, and rushing on to 

the horns of her husband died at once. 

Then said the E&ja, " Let us go on now." 

" Not so, my great master," said the parrot, " lOok at those 

jackals." 

A male and female jackal had come up to the dead bodies 

and began talking as to the best way of eating them, when the 

male said to his wife 

" Perhaps they are not dead bodies but goatherds sleeping, 

and perhaps one of us will be hurt by them. I may escape, 

but you may be caught." 

At last he gave in to his wife and came up to the hunter, 

and as he did so the wind moved the chachra leaves with which 

the hunter had covered himself. 

his wife called out 

This frightened the jackal, but 

" coward ! what are you running away for " 

So the jackal said he would try again and went close up 

to the hunter. He spied the bow, and saying to himself 

that crooked things are the root of all evil, he determined first 

to remove it out of the way. With this very proper idea he 

took it up by the string and took it to his wife and said 

" You eat off the leather from the bow and then I will go 

back."

— 

— 

16 LEGENDS OP THE fANJAB. 

" But it is very Hard and tougli," she said, " I can't manage 

it. You take one end and I will take the other." 

" Never mind," said the jackal, "I'll break it up myself." 

So he took the bow and put one end under a large stone, and 

put his own head at the other and broke it in two. But when 

the bow broke the end under the stone stuck fast and went 

into the jackal's brain. His wife saw the bow break and 

was rejoiced to think' the broken end had not gone into his 

belly as she had expected. But when she went up to him 

and looked carefully she saw that he was dead, and in her 

great grief she threw herself on to the other end of the bow 

and died. 

" Now," said the Raja, " six of them are dead ; let us go on." 

So they went on and came to a city. In the hdzdr they heard 

the sound of something jingling, and the Eaj^, asked his parrot 

what it was, as there appeared to be no one but themselves in 

the city. 

Meanwhile they came upon a beautiful woman and a 

butcher's shop. The woman went into the butcher's shop 

and said 

" My husband has been away hunting for the last two or 

three days, and I am waiting for him. 

to get ready for him when he comes back." 

Give me a ser of meat 

She got the meat and went out into the street, and Raja 

RasaM said to her 

Wich hdzdr phirendie, tere gal Idldn de hdr ! 

Nile chachrewdld hhddd i Bdsak-ndg. 

wanderer in the hazar with garlands of rubies round thy neck ! 

The serpent has bitten the man with the grey chachra leaves ! 

Then the woman asked the Raja where it was that the man 

had been bitten by the serpent, and asked him to show her the 

place. So he went back with her and showed her where the 

hunter's dead body lay. She took off the chachra leaves, and 

seeing the body to be her husband's she fell into great grief 

and determined to kill herself. She drew the dagger from his 

girdle and thrust it into her belly, and so died.

—— 

— 

: 

: 

! 

Raja TtASALiy. 17 

Thea said tlie 11S,]1 

Th marandidA do mue; do mane se ehdr; 

Char rname se sat mue : char mard, tinn ndr ! 

From one dying two died j from two dying four died 

From four dying seven died ; four male, three female ! 

Then the Raja left that place and arrived at Nila* City. 

Then he sav an old woman weeping and laughing and making 

chupdtls, and the Raji said to her, " Why do you weep and 

laugh, mother, while you make the chupath " 

But she replied, " Why do you ask what will you gain by 

asking " 

" Tell me the truth," said the Raja, " and one of us will 

benefit by it." 

Then the old woman said, " I had seven sons, and one by 

one they have been killed by a giant,t till only one has remained, 

and it is his turn to die to-day. I am making chupath, 

because the king of this city has ordered that with the man 

who is sent every day for the giant's dinner there shall be sent 

a basket of bread and a buffalo. 

Then said Eija Easalfi 

Nd ro, mdtd hholie ; nd aswdn dhcdkde 

Tere beie JA 'kcaz muih sir desdh chde. 

Weep not, foolish mother ; 

drop no tears 

I will give up my head for thy son. 

And the old woman replied, " But who will really risk his 

life for another " 

"I give you my word of honour," said the Eaja, "that 

I will risk my life for your son." And saying this he dismounted 

and sat down on her bed. 

At that very moment the Kotwal of the city came up to 

Raja Rasalu, and the old woman said 

NUe-ghorewdlid, Edjd ; 

munh dhurt, sir pag., 

Wohjo dehkte dunde,jin hhdid sard jag. 

* This may be for Sila : it is more probably near the site of the ford 

over the Indus at Bagh Nilab to the south of Atak. 

t Bdhhas=Bdkshasa.

— 

18 LEGENDS OF THE PANJIb. 

Grey-horsed Rajd ; bearded face and turban on liead. 

He whom you see coming is he who has destroyed my life.* 

R§j]l Easaift said to the guards who were with the Kotwil, 

" Don't trouble the old woman " 

! 

" That is all very well," said the KotwM,'" but if her son does 

not go at once the giants will come and disturb the whole city. 

A man a day has been fixed by the king as the giant's dinner-" 

When Raj4 Rasalu heard this he said to the Kotwal, " I will 

give myself to the giant in place of her son." 

" He is only a traveller/' said the guards, " what has he to do 

with it " And they began to threaten the old woman's son. 

But Eaja Easalu mounted his horse and started off to find 

And he 

the giant with the basket of bread and the buffalo. 

told the bufialo to go by the straightest road. When he got 

near the giants' house he met a water-carrier of the giants with 

a bag of water on his back, and when the water-carrying giant 

saw Eaja Easalii coming along with his horse and the buffalo 

and the basket of bread he was much pleased, for said he to 

himself, "We are to have a horse extra to-day. I think I will 

eat it myself before the other giants get hold of it." So he 

put his hand into the basket of bread, but Eaja Easalu struck 

off his hand with one blow of his sword, and the giant ran 

away to his sister the giantess, who called out to him 

" Where are you running to so fast " 

And the giant said, " Eaja Easalu on horse-back is after 

me, and look, he has cut off one of my arms with his sword." 

When the giantess heard this she began running too, and 

they went to the other giants, saying, " Eaja EasalA is after 

us." 

Nasso, hhajo, hhdio ! Dekho hoi gall ! 

Jehn agg dhonkdi, so sir te an tali ! 

Siijhanhdri sujh gae ; hun laiJindi charhdi jde ! 

Jithe sdnuh suhh mile, so jhatpat haro upde ! 

Fly, fly, brethren ! look out for some road ! 

Such a fire is burning that it will come and burn our 

heads ! 

* Lit. The whole world.

— 

: 

— 

EAJA RASALT)'. 19 

Our fate has come, we shall now be destroyed ! 

* 

Make some plan at once for our relief. 

When the giants heard this they went to a giant who was 

an astrologer, and said to him, " Look in your almanac and 

see if Raja RasaM has been born- into the world yet.'' And 

when he answered that the Rsbja was born, they began to be 

very frightened and to run away in all directions. Meanwhile 

the great Raja Ras&.lfl came up to where the giants were all 

collected together, and they said to him 

" Who are you and why have you come to disturb us all V 

Then said he, "I am Raja Rasalft, son of RSja Salbahan, 

and the enemy of the giants." 

And one of the giants answered him, "I have eaten many 

Rasalus like you." 

Aisd nidruh gurjand, Tchad TiTiad harun ehde 

Aisd situn wdhelte^ jithe pawen jde. 

I will so strike thee with my mace that I will tear 

pieces. 

thee in 

I will so throw and hurl it that thou shalt be thrown down. 

After this the giants said to Raja Rasalu that the proper 

signs of Raja Rasaln are these:—His heel-ropes will bind us 

and his sword cat us up of its own accord. Then Raja 

Rasalu at once loosed the heel-ropes from his horse and dropped 

his sword out of his hand, and the heel-ropes bound the giants 

atnd the sword cut them in pieces. 

But the giants said, " The other sign of Raja Rasalu is this : 

His arrow will pierce seven frying-pans placed together one 

behind the other." And saying this they put seven fryingpans 

one behind the other, and behind these they put seven 

giants, who were own brothers, one behind the other. Raja 

Rasalu shot an arrow from his bow which pierced the seven, 

frying-pans and the seven giants a& well, and then he went up 

to them and cut oS their heads. 

The giantess, their sister, however, escaped, and ran away 

* Lit. What was to be seen has been seen : we shall now go east and 

west.

— 

— 


from Eaja RasSlu into a cave in the Gandgari* mountains. 

Eaja Easalu followed after 

And 

her, and had a statue of himself, in 

full armour, placed at the entrance of the cave, and after 

that 

he went into the garden of Rfkja Hari Chand.f 

When the people heard of his bravery they all came out to 

see Raja Rasalu, and at night the daughter of Raj^ Hari Chand, 

who was called SaunkhnJ, came to see hirn with sixty attendants. 

And Ukjh Rasalu said to her 

Bat andheri, jal gliand ; M dasse phohdr 7 

Amhe Jiefh hharofte, tere dast kangan, gal hdr : 

Ike konte jhirMh ike pd,i mar 

The night is dark, the rain is heavy : what dost thou see in 

these torrents 

Standing under the mango tree with bracelets on thy arm 

and necklace on thy neck : 

Dost thou fear thy husband, or has he beaten thee 

Replied Rani Saunkhni 

Bat andheri, jal gliand : mer& dast kangan, gal hdr : 

Nd main konten jhirkidn : nd di hai dhudkdr. 

Alidn ddlchdh ghar pakkidn, Bdjd ! jdkar maujdn mar ! 

Inndn galldh vnch Idhh naMh hai : log hunde han Jehwdr. 

The night is dark, the rain is heavy : bracelets are on my 

arms, necklace on my neck : 

I fear no husband : 

nor have I been cursed. 

Green grapes are ripe at home. Raja 3 

go and enjoy them ! 

There is no profit in these things, but sorrows to mankind. 

Saying this she went home again, but regretted all the way 

Lome that she had made such a hard speech. In the morning, 

when the sun was up, Raj^ Rasalu went to wash his clothes in 

a certain tank, and it so happened that one of Rani Sauiikhui's 

female slaves went there for water and recognized 

Raja Rasalu. 

Going home she told the Rani how she had met Raja RasalA at 

the tank. The Rani listened to what she had to say and then 

* The well kno-wn line of hills, called now Gandgarh, abutting on the 

Indus to the north of Afcak. 

t Other legends tend to show that this is meant for the celebrated 

Harischandra of fefole.

— 

— 

— 

eajA rasal^. 21 

told her to go on with her daily duties. As soon as she was 

fairly occupied the Rani disguised herself as a female slave 

and went off to the tank as if to fetch water. As she filled 

her pitcher she looked straight at the Raja, and he saw her doing 

so, but being a pious man he turned his back on her and went 

on washing his clothes. So the Rani said to him 

Sir par Tcapre dhondid Bdjd, jdnid dhoin suti paff : 

Phuia gharoU main hJiari, hidh mul na IcUi sudh. 

Mdn Tdto apne rup dd, delcar haithio hand 

Such munh thin hoi, Bdjd, tu shdhad phiren hi ihag 

RaJEb, washing clothes up stream, wash thy coat, clothes and 

turban. 

1 have filled my pitcher drop by drop, thou hast paid me no 

attention at all. 

Art thou proud of thy own beauty, that thou sittest with thy 

back to me 

Speak truth with thy mouth. Raja; art thou a true man or a 

deceiver 

Answered Raja Rasalu 

Des hegdnd, hhum opri, 

ar tu hegdni dhiv. 

Jo pardesi dd dil pawe, to haun chhurdwe jiv 

The land is strange, the couotry is a stranger's, and thou art a 

stranger's child. 

Who will save his life that falls in love with a stranger 

But said the Rani 

Chandan cMrdn, chihh hihdn, phuh lagdwdh dg. 

Je pardesi dd dil pawe, tdh, Mirdh, main tere gal Idg. 

I will split sandal-wood, and sit on the pyre and set it on fire. 

If thou art in love with the stranger, then. My Lord, I will fall 

on thy neck. 

The R^ja answered 

Singh na hhdri goendh, phal na hhdri ruhh : 

Us rukh ho hyuh seviije jis hi chhdoh na dhup. 

Cow's horns are not heavy to them, fruit is not heavy to the tree 

Why should we nourish that tree which gives neither shade 

nor scent

— 

— 

22 LEGENDS OY THE PANJAB. 

Eeplied the Eanl— 

Pdni bJiarsdn, dliarmi Edjd : nUi dehh, na hhul ! 

Jihd mere ghar Tcont hai, us hi hdnh hd nahifi terd mUl t 

I will fill thy water for thee, holy Raja : do not mistake my 

intention. 

Thou ai't not worth an arm of my husband at home ! 

Answered the Raja 

Afrid dp saldhto, Rani : ghar saldhio ydr. 

Ghar jo chhori istri, us Tee gal phuloh he hdr. 

Jis Bdni dd betrd, us hidh tudh jehidn panihdr ! 

Thou hast praised thyself, R^ni ; thou hast praised thy 

husband. 

The wife I have left at home has a garland of flowers on 

her neck. 

Thou art but a water-carrier to the Rani whose son I am I 

Then said the Rani 

Apnd dp saldhio, Bdjd : 

ghar saldhio joe. 

Mere jeM, Sdjd, istri jangal-bele hirni hoe. 

Thou hast praised thyself, Raja : thou hast praised thy 

wife. 

There is no antelope of the forest like me. Raja. 

And the Raja replied 

Sirni hyd saldhio, Bdni jehri danddh hhdwe gydh .- 

Nit jo dwen herwdn yd shihdrwdn jangal ditte kutte Id. 

TudJijehidn ka% ahhadidn ; 

jdke bahan bdzdr ! 

Why hast thou 'praised the antelope. Rani They eat 

grass with their teeth. 

Hunters and beaters are always coming to the jangal, and 

when they see them they loose their dogs. 

I have dismissed many like thee : 

the hdzdr. 

Meanwhile the sixty female slaves of the 

began to 

they are to be found in 

Rani came up and 

quarrel with the Raja, saying, " Who is this washinghis 

clothes in the tank "

: 

; 

— 

eaJa uasalO. 23 

'' I did not know that the Eini was a gentlewoman," said 

the Eaja, " I am a stranger, and now that I have washed my 

clothes I will go away." 

And as he got upon his horse he said to the Ejlni, who 

began to bathe with all her sixty attendants in the tank 

UncM lamM Rdnie, tere tiliar Ices pawant 

Das, Tiihdn mujhho wartn thole pant de chalant 

Bahan ulardh, IcucTih nangi ; munh se haule dant 

Bo jo dissan rukhre, hhole pant de chalant. 

Tall and stately Ean}, thy oiled tresses fall about thee. 

Say : 

what wouldst thou have of me under the pretence 

of fetching water 

Eaising thy arms thou hast shown thy charms 

thou hast 

spoken mincingly. 

Thy breasts were two that thou didst show under the 

pretence of fetching water. 

And then he asked his way of Edni Saunkhnl and started off 

for Hodinagarj.* Arriving there he found two long bamboos 

planted in the ground, and asked the people what they meant, 

and they told him that they were planted there by order of 

Eaja Eari Chand against the coming of Eaj^ Easalfl, son of 

EajS; 

Sahilwan of Sialkot, and that this prince would shoot his 

arrows at them and strike them, and then marry Eani Saunkhnt, 

the daughter of Eaja Hari Chand. 

Then Eaja Easalu asked them if any prince had ever hit the 

bamboos before, the people said that many Eajas had come, 

calling themselves Eaja Easalfi, but had been unable to hit the 

bamboos, and had had to go home greatly ashamed of themselves. 

When he heard this the Eaja shot an arrow and 

struck the bamboos on the top where two golden cups were 

placed, and the cups fell off into the bazar. A boy chanced 

to pick them up and took them to Eaja Hari Chand, who 

asked him who had knocked them ofE the bamboos, bat the 

boy replied that he had not seen them knocked off. 

* In this instance most likely meant for Rani Throd in the Chittar 

Pahar, abutting on the Indus below Atak.

24 LEGENDS OP THE PANJAB. 

"I only found an arrow and these cups in the hamr. The 

arrow I could not pull out of the ground, but the cups I have 

brought." 

Then Raja Hari Ohand knew by these signs that RaJEl, 

Rasalu had been born, so he sent a servant to find out all aqout 

him. The servant went and found the Raja fast asleep in 

Ra,ja Hari Ohand's garden, and came back to his master and 

said. 

" Raja RasSiia is certainly born, and is fast asleep in your 

garden." 

" I don't believe it," said Raja Hari Ohand, "there are 

many who can shoot well with bow and arrows. However, 

there is a mango tree in the garden, and on it there are two 

mangoes which never fall, growing on a branch which never 

rots, but is always green. The people say that when the real 

Raja Rasi-lu comes he will knock them down. Go and see." 

So the servant went into the garden again, and then he 

found the two mangoes lying 

in Raja Rasalu's skirt as he lay 

asleep. One of them was whole, but the other was partly 

eaten, and he took up the partly eaten one and brought it to 

Raja Hari Ohand, saying, 

" Protector of the world, the mangoes have^ fallen, but I 

cannot say whether they fell of themselves or have been knocked 

down. I found them lying in Raja Rasalu's skirt, and one of 

them partly eaten. This one I have brought you to see." 

Then Raja Hari Ohaad knew for certain that RajS, RasalA 

had come, and made preparations for marrying him to his 

daughter Saunkhni. He made the tlkd mark on R§ja Rasalu's 

forehead with some rungti^ that was in a cup, and the music 

for the marriage of Raja Rasalu and Rani Saunkhni began to 

sound. Then all the women of the city of Hodinagari escorted 

Raja Rasalu to Raja Hari Ohand's house, and the learned men 

were collected together to fix an auspicious time for the 

marriage. But these could not be got to agree about ' 

it, and 

at last Hari Ohand asked a poor Brahman to tell it to him, who 

replied. 

* Powdered liquid saffron.

— 

BAJA EASAHl). 25 

" Spare my life, Master of tlie world, and I will tell you 

the truth." 

" Speak on," said Raja Hari Chand. 

Then said the Brahman, " The RaDi Saunkhnl will never 

marry Raj4 Rasalft ; 

she will be married to a goldsmith's son," 

To this RciJEi Hari Chand replied never a word, and the 

other Bi-S.hmans began to beat their poor brother who had told 

such unwelcome news to the Maharaja. After this all the 

learned men went home, and Raja Hari Chand, considering 

that there was truth in the poor Brahman's words, had every 

goldsmith turned out of his city. 

Three or four months after this a goldsmith from the village 

of Dohman* came to the city for pleasure, but meanwhile the 

king had ordered his trusty servants to bring every goldsmith 

who might come into the city to him, " Because," said he, " I 

have two thousand rupees' worth of ornaments to make up for 

•BAni Saunkhni." So as soon as the goldsmith from Dohman 

had arrived he was taken before the Raja. 

The goldsmith went on to make the ornaments, and worked 

away for two^months, and then his wife at home began to weep 

bitterly because he did not return. At last her son asked her 

why she wept, and she said 

" Tour father, when he left us, said he would return within 

fifteen days. If he did not return, then we were to give him. 

up and mourn for him as dead. He has been gone two months 

now, and must have died somewhere." 

" I will go and look for him," said her son. 

"How long will you search, my son V said the mother. 

"Until I find him," replied the son. 

So the goldsmith's son took leave of his mother, and disguising 

himself as a merchant, started for Hodinagari with a 

quantity of merchandise. As he came near the city and was 

going to enter it he saw Ram Saunkhni walking in her 

garden with her sixty attendants. When the Rani saw the 

* The site of this is probably near Bagh Nilab, perhaps the modern 

Tillage of DAmal. 

4

2$ LEGENPS 01" TfiE PANJAB. 

goldsmith's son from Dohman she asked him who he was and 

where he was going to. 

He replied, "My name is Dohtoan. I am a stranger here, 

and have come to search for my father," and then he told her 

all his story. 

The Rani fell in love with him at once, and said, "I will find 

put all about your father : you remain here till I return." 

And Dohman, the goldsmith, waited patiently for her there 

till she returned and said, " Follow me, I will show you where 

to go." 

fie followed her into the Bazar, and she showed him the house 

where his father was making ornaments for the Eani Saunkhni 

and said, 

"Go in and see if your father is not making ornaments in 

there.'' 

He went and found his father, who cried out, 

"Alas,, my dear son, no goldsmith is allowed into -this city. 

An evil fate brought me here, but why have you come, too, 

to lose your life in this place" 

But meanwhile Rani Saunkhni came in and said, "Be easy 

in your mind. There is no fear for you " 

Saying this, she carried off Dohman, the goldsmith, and took 

him home. She gave him money to live on, and hired him 

a house, so that he might want for nothing. And Dohman, 

the goldsmith, went there, put up his horse, and got ready his 

dinner. After his dinner he went to sleep, and next morning 

he went again to his father. Rani Saunkhni again met him 

there, and said to him. 

" At night you should stay in the house I have got for youj 

but in the day time go to my father's garden, and there you will 

find a man who lives under the pipal tree, which stands to 'the 

west of the palace. You should make his acquaintance and 

play chaupur with him." 

Dohman did as she told him and went into the garden and 

began playing chaupur with Raja Rasalu. Meanwhile RS,ni 

Saunkhni went into her palace, and standing at the window 

made a saldm with both her hands towards Dohman. Dohman

— 

: 

— 

EAJi EASALfr. 27 

teard the sound of her bracelets and looked up at the window 

and saw her there. EajS, Rasalfl saw this and began to 

wonder what the boy saw in the Rani's window. He looked 

up, toOj but the E.§,ni had shut the window. 

Raja RasS,lft said 

nothing, but filling a cup with water put it on the chaupur 

board and went on playing. Presently R9.ni Saunkhni opened 

the window again and looked out towards Dohman. RajaRasalu 

saw exactly what she was doing by the reflection in the cup of 

water, andhearing the jingle of her bracelets he said to Dohman 

Bdzu-band latalcdi sone rupe ndl ; 

Kar tasUm, chal gm; his Teont di ndr 

Her bracelets are hung with gold and silver 

She saluted and went away ; whose wife is she 

Dohman replied 

iJai andheri, Rdjid, mere leaf re IMjan-hdr : 

86idi'i, hech/mr khdwande : rahio asdde kdr : 

Kar taslim, chal god; kydjdnun his hont di ndr 

The night was dark, Raja, and my clothes got wet : 

Selling my needles, I supported my life : my work left me. 

She saluted and went away : how should I know whose wife 

she is 

Then Saunkhni saw that Raja Rasald was angry, and she 

motioned to Dohman to leave him or his head would bebroken. 

So Dohman, the goldsmith, got up and took his leave of R§ja 

Rasalu, and went to his father, where Ranf Saunkhni went 

also. Dohman began complaining very loudly of his treatment 

by Raja Rasalu, and said he had been abused, a thing 

that had never happened to him up till then. 

"I will revenge you on Raji, RasalA," said Saunkhni, ''you 

come and sit under the leafless ^JpaZ tree at ten o'clock to-night 

and I will come to you." 

Then Dohman went home and had his dinner, and at ten 

o'clock he made ready to do as Rani Saunkhni had bidden him, 

but it came on to rain heavily, and thinking it useless to go 

out he lay down and went to sleep. Meanwhile the RSni had 

asked her attendants.

! 

28 LEGENDS OP THE PANJ^B. 

"If any one makes a promise, should it be fulfilled or 

broken" 

And they had all answered, 

"It is certainly best to fulfil it.'' 

So Eani Saunkhni, taking all kinds of nice things with her, 

set off to meet Dohman, the goldsmith. But when she began 

to leave the city her attendants said, 

" It is ten o'clock now, and it is not good for women to leave 

the city at this time of night." 

But Saunkhni would pay no attention, and went on, followed 

by all her attendants. When they got to the right place she 

told them that a man called Dohman, the goldsmith, was tinder 

the pipal tree, and that they were to fetch him to her as she 

wanted to speak to him. So they began calling out "Dohman 

Dohman 1" but there was no Dohman, as he had not come, 

owing to the rain. 

However, an old Jatt, called Phabbat", a shopman, happened 

to be under the tree, and when he heard the voices he became 

very frightened, thinking they must be fairies, and that Dohman 

must be some demon they were calling to, and he fell 

down in a swoon from fright. And as the Rani and all her 

sixty attendants were searching everywhere for Dohman, the 

foot of one of them struck against Phabbar's head. In the 

darkness they thought it was Dohman, who, they supposed, 

had become senseless from the cold, and so they began to 

feed him with the good things they had brought. The old Jatt 

ate up all they had brought, weighing about ten sers, and the 

attendants went and told the Hani that they had none- left, 

for this sweet delicate la'd had eaten up fifteen sers of sweets at 

a sitting. 

" Then he can't be Dohman," she said, and made the slave 

that had a lamp hidden in a vessel bring it out. Then they 

found that it was not Dohman at all, but only old Phabbar, the 

Jatt. This made the Eani to grieve greatly, as she said to 

herself, "A fine husband Dohman would make that cannot 

keep a promise,"

The 

—— 

" 

" Open the door at once ! 

BAJA EASaLU. 29 

And she said to the ptpal tree 

Main puchhaindi, pipld, teri ddli hhart Tcapur, 

Sach muhh te hoi ; kahdn hai Dohman shahr hi dur 

I ask thee, pipal tree, with thy branches full of camphor. 

Tell the truth with thy mouth : where is Dohman In the 

city or away 

In the mean time Raja Rasalu's parrot flew into the pipal 

tree, and answered Rani Sauhkhni 

Tan man jlurd Icambid, Bdni : cJihuthi Bahhan di wae. 

Jo chukden pdlrd, to Dohman deun inilde. 

My living body and soul are trembling with cold. Rani, 

from the wicked south wind. 

If thou wilt take away my cold I will bring thee to 

Dohman. 

" Come down from the tree," replied the Rani, "into my lap, 

and the cold will leave you." 

So the parrot came down and sat in her lap, and when he 

had got better from his cold Rani Saunkhni asked him to show 

her where Dohman was. ' parrot took her to the gate of 

his house and said, 

" He went in here to-day, bat I can't say whether he is 

there now or not." 

The Rani went up and knocked at the gate, and Dohman's 

father came out and said that no one was inside but 

himself, as he recognized the Rani by her voice. Now Dohman 

was really asleep inside, and the Rani got very angry and said, 

And the old man being very frightened of her, opened the 

door, and the Rani went in, and she and Dohman sat and talked 

there all night, till the morning broke. Then Raja Rasalu's 

parrot went up to Rani Saunkhni and said 

— 

Surij rasmdh chhoridn, lage urdu hdzdr. 

Hun Teamm, aukhd hogayd ; 

jdsi hyunkar ghdr 

The sun's rays have risen : 

the people are in the streets. 

The job is now diflBcult : how will she get home

— 

— 

— 

30 LEGENDS OP THE PANjIb. 

And Dohman answered the parrot 

Surij rasmdn chhoridn, lage urdu hdzdr. 

Pahin Tiamdre hapre, lah hanJike Tiathydr, 

Wich hdzdr jdsid* wekhe hul sansdr. 

The sun's rays have risen : 

the people are in the streets-. 

Putting on my clothes^ binding my arms round her waist. 

She will go into the hdzar, that the whole world may see her. 

Saying this, Dohman, the goldsmith, went out and brought 

back sixty 

clubs from the hazdr, and making the Rani's sixty 

attendants dress up as men, started off through the city. 

Presently they met E&ja Rasalu, who said- 

" Among you sixty how many are weak and how many 

strong t" 

Ghhail cTihahilid. gahrud, sajj'd qadam sambfidl ! 

Dil dd hhed das-hhdn ; tu mard haih Iti ndr 

O beautiful and comely company, watch yonr right feet ! 

Tell me the secret of your hearts—are you men or women f 

Then Eani Saunkhni answered 

Band gharde pahdridh : Jiatoiridn Icuh pat si des : 

Oawwdn dhundan main gai, Tear marddn dd hhes.. 

My teeth are strong as the hills : the sound of my hammer 

resounds in the land : 

J 

I went to search for my cows disguised as a man. 

Then said the Raja, " Who are you and where have you 

come from " 

They answered, "Our home is the Chenab, and we are 

Balochis. We have lost our camels and we are looking for 

them." 

" What have camels to do in the hdzars " said the Raja. 

" We stayed here this night," they answered " and are going 

to search for our camels in the wilds." 

"Very well," said Raja Rasalu, "I lost my wife there last 

night, and I will go with you and search for her."' 

* Masoiiline form used to show that she had dressed up as a man. 

t The native idea is that men start 

women -with the right. 

off -walking with the left foot, 

X I.e. I am a very famous personage.

—— 

RAJA KASAL&. 31 

II&J3, 

Presently RajS. Rasalii and all the company passed before 

Hari Chand, and RajS, RasaM said to him, 

" Of all this company are there any that belong to you " 

And Raja Hari Chand said, 

" None of them belong to me." 

Then RajS. Ras§,lft took four sticks and made ready for the 

marriage of Dohman, the goldsmith, and Rani Saunkhni. 

" But," said Raja Hari Chand, '' these two are men how can 

you marry them together " 

"Indeed!" said Raja Rasalii "this is Dohman, the goldsmith, 

and tJiis is the Rani Saunkhni, your daughter " 

! 

At this Raja Hari Chand became very angry, but RaJEi 

Rasalu said to him, 

" What have you to do with it she is betrothed to me, and 

I can do with her what I please." 

And so Raja Rasalu married the Rani Saunkhni to Dohman, 

the goldsmith, and went back into Hodinagari. Presently he 

reached the house of Rani Sundran, and saw an old jogi sitting 

by the side of his sacred fire in front of her door. 

" Tell me why you are doing this," said RSja Rasalu. 

" Two and twenty years have I waited thus to see the Rani 

Sundran," said the jogu 

" Make me your pupil," said the RSja. 

"You can work miracles already," said the jogi, ''what 

need of your becoming a faqir " 

But the Raja pressed him, and so the jog'i made a pupU of 

the Raja, and boring his ears put on the jog s earrings. 

At night the jogi went begging, and brought food from four 

houses. The food from two houses he ate himself, and the rest 

Now when two men eat one 

he gave to his pupil. Raja Rasalu. 

man's food both starve, but Raja Rasalu being a really holy man 

cared nothing for food. The ô^'J however felt starved. Next 

day the jogi went and begged food from four houses, and again 

he ate half, and half he gave his pupil, and again he felt starved. 

At last he said to his pupil 

" my disciple, I made you a pupil that you might beg and 

feed me, but I find that I have to starve to feed you,"

— 


"You gave me do orders," said the pupil, "how could I beg 

without your orders, my master " 

" Very well," said the Guru, " I order you now ; 

go and beg 

enough to feed both yourself and me." 

So the disciple went and did as the Guru had ordered him, 

and standing at the door of Eani Sundr^n cried out " Alakh, 

dlakh!"* 

Jde buhe te kilhid : Ud ndm Khudd : 

Buroil chalice, Bdni Sundrdn, terd nd : 

Je, Bdni, tu sakU hain, Mair faqirdk pd. 

Coming to the threshold I called out : I took the name of 

God: 

Coming from afar, Eani Sundran, on account of thy name. 

If thou art generous, Eani, .the beggars will obtain alms. 

When Eani Sundran heard the voice of the faqir she sent 

out alms by a maid-servant, but the maid fainted away when 

she saw the beauty of the faqir, and so Eaja Easalu called out 

again, " ! 

Alms, Eani, alms " Theu the Eani sent another 

maid, but she too fainted as soon as she saw the beautiful jogi 

So Eani Sundran herself got up and came out to see what was 

the matter with the maids, and what the faqlr was like. She 

saw that the faqir was indeed perfect in beauty, and bringing 

the maids to their senses again she picked up all the alms that 

had fallen from their hands and took them into the house. 

She then filled a plate with jewels, and with her own hands 

gave it to the jogi, who took the plate and was going away, 

when the Eani said 

Kah Id pdi mundrdn hah led liud faqir 

Kis ghatd mdnion his hd lagd Mr 

Kete mden mangid mere ghar hi mangi bhikh 

When didst thou get thy earring when wast thou made a 

faqlr 

What is thy pretence whose arrow of love has struck thee 

From how many women hast thou begged what alms dost 

thou beg from my house 

* Tie cry of the jogis when hegging.

: 

— 

—: 

; 

eM basaliJ. 33 

Answered the jogi— 

Kal ki pdi mund/rdn : 

Teal hd hud faqh' 

Na ghat, mdidn, mdnidn : Teal Jed lagd tir. 

Kuchh nahin mdnh mangi : Tcewal tere ghar Tci bMlch. 

Yesterday I got my earring : yesterday I became a,faqir : 

I make no pretence, mother : yesterday the arrow struck me. 

I begged nothing : 

only from thy house do I beg. 

So the pupil took the alms and went to his Guriij who was very 

much astonished at the jewels, and said he Ought to give them 

back and bring cooked food instead. Back went the pupil at 

once to Rani Suudran and cried out " Alakh, dlakh." The 

Eanl thought it must be some other jogi, but when she got up 

and saw that it was the same one she said 

" I have given you a great deal already. Tell me what you 

really want. 

This begging is a pretence." 

Targas jarid tir motw,n ; 

Idldh jari Jcumdn 

Pinde ihasam lagdid ; yeh naindn aur rang ; 

Jis hhihhid hd lahM hain, tu woM hhihhid mang ! 

Thy quiver is full of pearly arrows : thy bow is set with 

rubies 

Thy body is covered with ashes : thy eyes and thy colour thus : 

Ask for the alms thou dost desire. 

Answered th.ejogi— 

Targas jarid ynerd motidii ; 

Ldl najdnd hechke, moti he-wattd. 

Moti a;pne pher lai ; 

My quiver is set with pearls ; 

Idldnjari kuindn. 

sdnun pdkM tdm diwd. 

my bow is set with rubies. 

I know not how to sell rubies or pearls without loss. 

Take back thy pearls ; 

give me some cooked food. 

At his request the Rani took back the jewels and told him 

to wait for an hour while she got the food cooked for him. She 

then sent a maid into the hdzar for two rupees' worth of sweets, 

and when they were brought to her she gave them to the jogi, 

and as she dismissed him she said 

5 

Kahdn tumhdrd nagari kahdn tumhdfd thdon 

Kis Bdjd kd heird, jogi kyd tumhdrd ndoh

—: 


Where is tliy city where is thy home 

What king's son art thouj jogi what is thy name f 

Answered the jogi— 

Sidlhot hamdri nagari : woM hamdrd thdon 

Bdjd Sdlwdhan kd main hetrd : Land pari merd mdoii. 

Pinde hhasam lagde, dehhan terijdoh. 

Tainun dekhke chalid : 

Bdjd Basdlu merd ndon. 

Sialkot is my city : that is my home : 

I am E§,ja Salwahan's son : the fairy Lona is my mother. 

Ashes are on my body, (my desii'e was) to see thy abode. 

Having seen thee I go away : RajS, Rasalu is my name. 

Saying this, the jogi ran off to his master, and said, 

" Here is the cooked food, get up and eat." 

But when the master saw it he said to his pupil^ 

"You have been robbing some confectioner's shop. 

Take 

these back to where you got them." 

The pupil thought him mad, and in order to test his power 

he struck him two or three blows with a cane. Finding he 

had no power to retaliate the pupil said, 

" It is such a long time since you had your ears bored that 

you have forgotten who you are," 

and with that he ran away, 

for he feared that since Eani Sundran knew who he was and 

all about him she might make a prisoner of him. 

Meanwhile Rani Sundran dressed herself and went to see the 

Guru. When she reached him she asked him where his pupil was. 

" Oh/' said the jog'i, " I have eaten him up." 

" But," said the Rani, " I sent you a plate of jewels and a 

plate of sweets. 

off your pupil satisfy you '' 

If these have not satisfied you, will your meal 

" I do not know," said the jogi, " all I know is that I put 

ihim on a spit, roasted him and eat him up." 

" Then roast and eat me too," said the Rani, and she jumped 

into the sacred fire and became sati for the love of R&ja RasaM. 

After this Raja Rasalu determined to try for a while what 

it was to be a king, so he snatched the throne from Raj^ Hari 

Chand, One day some one said to Raja Rasalu

— 

RAJA RASALt. 35 

" bountiful Lord, Eajas always employ a wMtr, but you 

have none. You should appoint some able man. to be wazir. 

A kingdom without a wassir is a roof without a pillar/' 

Kdja Rasalu took the advice and appointed Mahita OhoprS,* 

to the post of wazir. Shortly after this Eaja Rasald asked his 

tvazlr to tell him what he thought most worthy of praise 

in the 

world, Mahita Chopra thought to himself that the three things 

most praiseworthy in the world were really folly, youth and 

power. " But," said he to himself, " if I say so, the king will 

want me to get them for him at once." So Mahita Chopra 

passed these things by and began to praise his wife, the Mnl 

Chandni, saying 

" Master of the world, there is nothing in the world to 

be compared to my wife. Rani Chandni." 

Then thought the Eaja to himself, " He praises nothing but - 

his wife, so how can I answer him " And the matter dropped, 

but after a month he said to Mahita Chopra, " What is most 

worthy of praise in the world " And again the wazlr praised 

his wife beyond all things, and this made the Eaja determine 

to see the Rani Chandni, to see her beauty, and to try her 

virtue. So he sent away Mahita Chopra on an errand to buy 

him some things from a distance, and as soon as he had gone, 

that same evening he went up to Mahita Chopra's house to see 

Eani Chandni. At the door he found a blind man sitting, 

who asked him who he was. 

And Eaja Easalu said to himself, 

" He must be blind indeed not to know that I am Eaja Easalu." 

And in reply the Eaja asked for the keys. 

"The keys," said the blind man, "are with Mahita 

Chopra." 

But by his miraculous power the Eaja opened the seven locks 

without the keys. He then opened the locks of seven doors, 

but the eighth door had been bolted by the Eani Chandni 

herself from' the inside, who was sleeping. Raja EasalA could 

not open this door, as his hand could not reach the lock, so. 

* There is a long separate legend about Raja Rasalfi's doings in connection 

with this worthy.

— 

— 

: 

! 

36 lEGENDS OF THE PANJAB. 

pretending to be Mahita Ohopr^, he stood outside and said to 

E^ni Ch§,ndnJ— 

Rat andheri, ram-jhamidn M harse trel 

Trelon pahine kapre, sir par cMrd derh hazar ! 

Kore kdffhaz bhij gae, to lekhd he-shumdr ! 

Vth-khdn, Bdni autie; luhd Idh, kam-zdt ! 

The night is dark and the rain falls heavily and straight. 

The clothes I wear are wetj and my turban is worth fifteen 

hundred rupees. 

My paper is wet, and I have countless things to write. 

Geb up, sleepy Rani^ open the door^ thou bad ivoman 

When she heard this Rani Chandni got up from her sleep to 

open the door, but Mahita Chopra's dogs began to bark and 

this made the Rani doubt whether it was really their master 

who was standing at the door. However in her fright she 

opened the door and Raja Eas^lct went in. Then said the 

Rani to the dogs 

Ghuptcar raho, we Sdgrd Bdgrd ! So oJianddt ! 

Woh naffari kaise hase, jis kd Jtdjd hud badnit 1 

Be quiet, Sagra and B^gra ! have patience ! 

How shall that city prosper whose Raj& is wicked 

Then the Eaj^ toTd Eani Chandni to light the lamp, and 

when she had done so he sat down on her bed, which was 

covered with a white Counterpane, and the E'ni sat down on a 

low stool with her face veiled. 

So the Eaja said to her. 

Bhdrak hole wich dhani, Bdni ; totd bole han-khand : 

Awandidh sajndn pardesidn, Bdni, de na bahie ghand ! 

Muhh se mitthd boliye ; 

jo sare so khdiye wand. 

The maind talks in the cage : the parrot in the jangal. 

When a friendly stranger comes, Eani, sit not with veiled 

face. 

Let us speak sweetly and divide what food we can. 

Then the Rani took ofl' her veil, and the Eajl saw her great 

beauty, and praised her very much and said 

" Come, sit down on the bed and shampoo me, that my 

fatigue may depart."

— 

— 

— 

: 

EAJA EASALU. 37 

But the Eani said, " I am a faithful wife, and will touch no 

stranger." 

And the Eaj^ pressed her very much, but she was not pleased 

at all and said 

Thai je hharid mungdn, chdwaldh, Bdjd; chhand bharid gMu 

Manni murshid apnd : tu hdbal, main dMu. 

I have filled a plate with rice and pulse, R&ja; I have 

filled it with peas and ghl. 

I acknowledge thee as my teacher : thou art father and 

I am daughter. 

The Raja answered 

Ojhar rdtm main turdn, Bdni : 

dehhke tursdn rah. 

Dehh, aziz da hetrd, Rani, dhm desdn parnd. 

I walk on a dark night. Rani ; 

picking my way I will walk. 

Behold a beloved son. Rani : I want no daughter. 

And then he said, " Come now and shampoo me.'' But the 

Rani said 

Wich ujdre main wasdn, leJcar terd ndon. 

Manm murshid, apnd, Bdjd ; tu Brahman, main gdon. 

I will live in the jangal under thy protection. 

I acknowledge thee as my teacher. Raja ; thou art Br&hman, 

I am thy cow. 

Answered the Raja 

Jinhdn dindh kijanmi, Bdni, main laindd teri su : 

Aggofi piohchhon jotke, Bdni, gau hM laisdn chu. 

I have kept thee in mind since thou wast born, Rani. 

Binding the cow in front and behind. Rani, I will even 

take her milk. 

But the Rani replied 

Tu hai merd rdjrd, tu hai merd mdn : 

Main teri hun Brdhmani, tu merd jujmdn. 

Woh M rdjd saldhiye, jo juth hegdni khan. 

Thou art my king, thou art my fountain of honour ! 

I am thy Brahmani, thou art my client. 

How shall we praise that raja, who takes other's leavings.

— 


Still the RSja went on at her " Come, Rani, and shampoo 

me." So at last the Rani gave in, and sat on the bed and' 

began to shampoo Raja Ras41il. And the Raja first turned 

one side and then the other to her, and then he put his ring 

under the bed clothes. After this he told the Rani to stop 

shamppoing, and get him some dinner. So the Rani put some 

rice and water into an earthen pot and placed it on her br,easts, 

where by the miraculous power of the Raja it became cooked, 

and the Rani, after adding some sugar and ghi, placed it before 

the Raja and said, 

"You are a holy man, so get some water for yourself at your 

own command, that you may wash and eat.'' 

Whereon the Raja took up a stone, and from under it there 

gushed a fountain of water. Then the Raja ate his fill and 

said to Rani Chandni, 

"You are as my sister and I your brother, but say nothing of 

this to Mahita Chopra. He will find it out for himself presently. 

I shall send for you and then you must come to me fearlessly 

veiled from head to foot." 

After this Raja RasaM went to his palace, and soon afterwards 

Mahita Chopra came home, ate his dinner, lay down on his bed, 

and told Rani CMndni to shampoo him. Suddenly the ring 

ran into his back, and he put his hand under the clothes and 

saw what it was. As soon as he saw it he was so overcome 

with grief that he fell off his bed in a faint. The Rani picked 

him up and made him sit down on the bed, but after a couple 

of hours he fainted 

again, whereon the Rkm asked him what 

had enchanted him to make him faint so often. 

Mahita Chopra replied, " You are the enchantress that have 

made me faint so often." 

" What have I done " said the R^ni. Then MahitS. Chopra 

showed her the 

clothes, saying, 

ring which Raja RasiM had hidden under the 

" This is your enchantment." 

Rani Chandni replied, " That is no fault of mine, you must 

have put it there yourself."

BAJA EASALIJ. 39 

" I gave this ring to Eaja Rasalu when I went to buy the 

horses. 

No one but he can have put it here." 

All that night MahitS. Chopr^ was in great grief, and next 

day he took all the papers of his office and laid them before the 

Eaj^, and the ESJEi said to him, 

" I sent you to buy horses, and instead you have brought me 

your papers, what is the reason of this " 

" king." said Mahit^ Chopra, " neither are you holy, nor 

Rani Chandm virtuous, nor I your servant." 

" Why speak you like this " said the E^ja. 

Then Mahita Chopra took the ring and showed it to the 

Eaja. 

"Chastity and virtue," said the Eaja' 

"are not destroyed by 

words." 

Bat the minister was not satisfied, and the Eaja had him 

beaten, and said again, 

" Do you believe me now or not" 

"If the Rani Ohandni will spin a single thread of cotton 

yarn, and if with it you will both draw up water in an unburnt 

earthen pot from the wells I will believe you."* 

So the Raja sent for Eani ChandnJ, and she spun the single 

thread, and with it they drew water from the well in an unburnt 

earthen pot, and then Mahita Chopra believed. 

Then said the Eaja, " Why did you disbelieve before " 

'' 

Because," said the Minister, " men are jealous where women 

are concerned." 

Whereon the Eaja struck him two or three times with a cane, 

and said, 

" Are you not ashamed then of praising your wife in the 

public court " 

After this Eaja Rasalfi gave up his kingdom and started for 

the City of Raja Sarkap.f Before he had gone very far he came 

* An absolute impossibility, because a single thread of yam has very 

little cohesion, and an unburnt pot melts on contact with water. 

f As far as this tale is concerned this seems to be Kot Bithaur, near 

Atak, overhanging the Indus.

— 

— 

— 

; 

; 

: 


upon a cemetery, where he found a headless corpse lying» and 

he said to it 

Bdre andar pid harangld, na is sds, na pds. 

Je Manila is nun zindd hare, do hdtdn hare hamdre sdth. 

The corpse has fallen under the hedge, nor breath in him, 

nor any one near. 

If God grant him life he may talk a little with me. 

And God restored the corpse to life at once, as Raja RasalA 

wished, and the Raja said to the man 

Laihndion charM hadali, hdthdh pdid zor : 

Kehe 'amal hamdio, je jhaldi naMii gor 

The clouds rose in the west and the storm was very fierce : 

What hast thou done that the grave does not hold thee 

And the man replied 

Asih T}M hadin durhiydn te inTidn the 

Bdjd wal degridn pagdn banhde, 

Turde paibdn ihdr. 

Aunde tara, na chdunde tara, 

Sdnke sawdr, 

Zara na mittM jhaldi, Bdjd ; 

Hun sau mandn dd hhdr. 

I, too, was once on the earth thus 

Fastening my tarban awry like a king, 

Walking erect. 

Coming proudly, taunting proudly, 

I drove off the horsemen. 

The grave does not hold me at all, 

Now I am a great sinner. 

RajS, 

Meanwhile the night passed, and in the morning the restored 

corpse asked Raja Rasalii who he was, and where he had come 

from, and the Raja replied that he had come from Sialkot, 

and 

was going to play at chaupur with Raja Sarkap. 

" You had better not," said the restored corpse, " I was his 

brother, and I know him. Every day before he has his breakfast 

he cuts off the heads of two or three men. One day he 

could not get a convenient head, so he cut oflF mine, and he will

— 

— 

EAJA RASALU. 41 

Jbe'sure to take off yours. However if you really want to go 

take some bones from here and have your dice made from them, 

and then the enchanted dice which he plays with: will have no 

effect. 

Otherwise he will never lose." 

So the EajA did as he was advised, and taking some bones 

from the cemetery he started off. Presently he came to the 

banks of a river in which he found a hedgehog floating, who 

called out to him 

Jhm, dndi wiydheJce, andi doJi pde : 

Jhdi mangid pdni, te main gaid sharmde : 

LaiJee lold-chalid, jd paJiuneha Khivdjd daryde. 

Ik bharid, ik waithid, dujd lid wahde. 

Dant Icampe, main dhai-pid, rurh-pid daryde. 

Wdstd Sri Nardnlcdr da, jJidh nun lai waohde ! 

I married my hedgehog-wife, and brougbt her in the doll : 

My hedgehog-wife wanted water and I became ashamed : 

Taking my lota I went to the bank of a large river : * 

I filled it and I fell in and then I floated. 

My teetli are chattering, I am fallen in, I am floating in the 

river. 

For the sake of the Holy Narayan save the bedgehog. 

So the R^ja did as the hedgehog wished, and took him out 

of the river with the end of his bow, and threw him into a 

hedge. Then said the hedgehog 

Hike andherion kadio , duje ditio pde. 

Larke dioan shahr de khil dori lain hande. 

Mdre mdre zindkadhaii, chhoran jdnon jde. 

Wdstd tainun Rahh dd, Bdjd, lai chal sdnun hhagde. 

Thou hast saved me from one evil and placed me in another. 

The boys of the city will come and bring ropes for play.f 

They will kill me and take my life and leave me for dead. 

For thy God's sake. Raja, take me off with thee. 

So the Raja put the hedgehog into 

his horse's nose-bag, and 

* Lit., Kliwaja KHzar's river. 

t Native cliildreii are very fond of won-ying hedgeliogs to death by 

trying to aiake them swim, and also by making them open out and then 

tying a slip-knot round their necks and dragging them about. 

6

' 

— 

42 LEGENDS OE THE PANJAB. 

continued his journey. By and by he came to a forest on fire, 

and in the forest was a cricket in danger of being burnt up, 

who called out to him, 

" traveller, for God's sake, save me from the fire.'' 

And Eaja Easalu saved him from the fire. Then the cricket 

pulled out one of his feelers, and said, 

" Whenever you are in difficulties warm this hair in a fire, 

and I will come and help you at once." 

Said the Eaja, " What help can you give me " However 

he kept the hair. 

After a while Eaja EasalA reached the bank of another river, 

where he found the Eani Chodhal sitting. She was the 

daughter of ESja Sarkap, and asked him who he was, where 

he came from, and where he was going. 

Eaj^ Eas^lft replied, "My darling, I am come from Sialkofc 

and am going to play chawpur with Eaja Sarkap." 

"Play with me first," said Eani Chodhal, "and then go and 

play with Eaja Sarkap." 

But Eaja EasaM, said, " I cannot play with a woman, I am a 

virtuous man." 

Then Eani Chodhal said, " I have a riddle which you must 

solve, or your head will be cut off." 

" Have you ever cut off any one's head V said the Eajd, 

" or am I to be the first " 

" My father, EajS. Sarkap," said the EeLuI, " cuts off a head 

every day, but I cut off ten heads 

" 

! 

" Then go on with your riddle," said Eaja EasaM. 

Then the Eani said 

AiJi patan, nau leridn, cTiaudd ghumar-gJier ! 

Je tun, Rdjd, jati-sati hain, tan pdni Mine ser 

Eight ferities, nine boats, fourteen whirl-pools ! 

If thou be virtuous and true, Eaj&, say how many sers of water 

Answered the Eaja 

Aih patan, nau hermn, chaudd ghumhar-gher ! 

Ambar tare gin dasin; main dasdi'i pdniitne ser! 

Jitne ban b an pattar laJcn, pdni itne ser !

— 

— 

! 

: 

RAJA BASALU. 43 

Eight ferries, nine boats, fourteen whirl-pools ! 

Count the stars in the sky, and I will tell thee how many 

sers of water. 

As many leaves and sticks as are in the forest, so many 

sers are there of water. 

After this the Raja went on and arrived at the city, where 

he found the other daughters of Raja Sarkap standing, and 

when they saw him one said to him 

NUe-ghorewdlid Bdjd, mweii neze ah ! 

Agge RdjA Sarleap hai, sir laisi y,ldh ! 

Bhald chdhehjo apnd, tdn pichhe M mwr jdh ! 

Grey-horsed Raja, come with lowered lance I 

Before thee is Raja Sarkap, he will take thy head ! 

If thou seek thy own good, then turn thee back 

Raja Rasalu answered— 

' 

Duroft bird chuhid, * ithe pahnta ae : 

Sarkap da sir Jcathe tote hassdn char. 

Tainun handsdn wohtri, inaih bansan mikrdj ! 

I have come here from afar under a vow of victory 

I will cat off Sarkap's head, and cut it into four pieces. 

I will make thee my little bride, and will become the 

bridegroom. 

When he had said this she fell in love with him, and the 

others said to him 

" If you wish to make her your wife you must do one thing 

for us." 

" What is that " said the Raja, " tell me and I will do it." 

Then the girls mixed a mayi of millet seed with a man of 

sand and told him to separate the one from the other. So the 

B^ja fell into a difficulty, but remembering the hair which the 

cricket had given him he put it into the fire and immediately 

a flight of crickets came round him. The cricket whose life he 

had saved was among them, and said to him, 

" What is your difficulty, that you have heated the hair in 

the fire" 

* Bird chuknd is to undertake a task of extraordinary difficulty, 

and to solemnly promise to go through it under all circumstances.

— 

— 


" T want you to separate this millet seed from the sand," 

said the Raja. 

"Is that all" said the cricket; "if I-had known it was so 

small a job that you wanted us for, I would not have assembled 

so many crickets/' and with that he made them all set to 

work, and in one night the millet seed and the sand were separated. 

After this the girls wanted the Eaja to swing them one by one, 

in their swings, but he said, " No, there are seventy of you, ^ 

All get into one swing and I will swing you all together." 

So they all got into one swing, and Raja Rasalu drew up the 

swing with one end of his bow and let it go, when the swing 

returned he cut the strings with his sword, and all the girls 

fell out. _Some broke their arms, and some their legs, and 

some got hurt in other places, exoept the one they had betrothed 

to the Raja, who fell out last and so escaped unhurt. 

After this the R§,ja went some ten or fifteen paces beyond 

the swing, and came upon some drums which had been placed 

there. The people told him that if he struck them one by one 

Raja Sarkap would know that some prince had come to play 

ehaupur with him. , He did so and broke them all. Next he came 

to seventy gongs, and these also he broke with a large mallet. 

Then the girl who had been betrothed to Raja RasaM went to 

Raja Sarkap her father, and said 

Ihjo did rdjput hardd mdromdr, 

Patke Idshdn Jcapidn sitlid sine bhdr. ; 

Dharin dhann hheren bhanidn aur hhane gharidl ! 

Tain nun, Bdjd, marsi ate sdnun Icharsi ndl ! 

A prince has come and is making havoc; 

He cut the long strings and threw us out headlong. 

The drums placed out are broken, and broken are the 

gongs. 

; 

He will kill thee, Raja, and take me with him ! 

Raja Sarkap replied 

Chhoii nagan da wasJein, Rdni, wadi hart pukdr : 

Jdn main nihldn hahar, tan men tan nachdwe dhdl, 

Fajre roti tan hhdsdn, svr laisdn utdr. ; 

>

eM EASALt. 45 

Princess, thou hast brought a great complaint about a 

dweller in a small city. 

When I come out his shield will dance for fear of my 

valour. 

In the morning I will eat my bread and cut off their heads. 

Meanwhile Raja. Rasalij went into the city and stayed at the 

house of an old woman, where Raja Sarkap sent him some 

food, which was poisoned, by some slaves. But Raja RasalA 

said to the slaves, " Tell your master I have nothing to do 

with Raja Sarkap. I am his enemy, and it is unlawful for me 

to partake of his hospitality. However, as you have brought 

the food, put it down." 

And the slaves did so, and Raja Rasalfl gave it to the dogs, 

which had come with the slaves and belonged to Raja Sarkap. 

The dogs ate up the food, and fell dead on the ground. Then 

said Raja Rasalu to the slaves, 

"You deserve to lose your heads, but I am a God-fearing 

man, and so I will not injure you." 

, 

And the slaves replied, " Master, it is not we that are to 

blame : we can but obey the orders of our master." 

"Go to your master,'^ said Raja Rasalu, "and tell him from 

me that it is no act of bravery to kill a man by treachery." 

And they went away, and Raja Rasalu lay down and took 

his rest all night. Next day at sunrise Raja Sarkap sent a 

message to Raja Rasalu saying, "I am not well to-day, but in 

the evening we will play chaupur together." At the same 

time he sent a messenger to the old woman and told her that if 

she wished to please him she was to take Raja Rasalu into a 

certain garden where lived a venomous snake, and to make 

the snake bite and - kill him. So the treacherous old woman 

took the Raja into the garden, and gave him a place in it to 

live in. There the Raja dwelt, and one day after his breakfast 

he lay down to sleep about noon. 

Now in that garden dwelt two things of evil omen : 

one was 

a scorpion, called Kalir, who scooped out men's eyes, and the 

other was a serpent, called .Talir, which sucked out men'sblood. 

'

— — 

! 


When Kalir, the scorpion, saw Raja Rasalu asleep he went to 

Talir, the serpent, and said, 

" Here is a man asleep. You go and bite him and suck 

out his blood, and I will eat out his eyes." 

But said Talir, the serpent 

Tera merd jhagrd ah sahib di dargdh ! 

Landi ham dd tm betrd, KaMr terd nd. 

Our quarrel shall go to the court of our master ! 

Thou art the son of a crop-tailed crow : Kalir is thy 

name ! 

Answered Kalir, the scorpion 

Gohan ten md si, 

Jcohrd Tcarkald terd piu. 

Terd merd jhagrd Bdjd Sarhap hoi. 

Thy mother was an iguana, and thy father a leprous lizard 

Our quarrel is before Raja Sarkap. 

Then Talir, the serpent, through fear of Rajl Sarkap, came 

down from his shtsham tree, and, having bitten Raja RasalA, 

climbed up again quickly. And then Kalir, the scorpion, 

called out to 

his brother scorpions and went with them to eat 

out the Raja's eyes. Meanwhile the hedgehog, which Raj^ 

Rasalii had saved from the river and brought with him, was 

out eating fruit in the garden. Suddenly he heard the crows 

making a noise over-head and thought that most likely the 

serpent had come down and bitten Raja Rasalu. 

So he went back and found out what had happened, and 

seeing no better plan, he sat on the Raja's neck where the 

wound of the serpent's bite was, and when Kalir, the scorpion, 

came up on to the Rajahs breast, near where the wound was, 

the hedgehog caught him by the leg. 

" Jcrdn Icran* I" and the serpent said to him, 

" What is the matter with you " 

The scorpion called out, 

" Something has caught my feet," cried out the scorpion. 

" I see you are black" said the serpent, "and there is some 

thing black at your feet. 

I see nothing wrong there." 

* The scorpion's cry or noise.

— 

eAjA easAl^. 47 

Then the hedgehog made himself known to the 

serpent by 

taking the scorpion by the legs and turning him upside down. 

"Who are you" said the serpent, "what kind of animal 

are you V 

"lama hedgehog," said the hedgehog, taking the scorpion's 

legs into his mouth. This made the scorpion cry out " hrdn 

hrdn ! " again, and he said to the serpent, 

" my friend, don't bother him any more." 

Ldwd ghul men jhdh, huljhdhdn dd Sarddr : 

" KaMr mdriin iihe, TaVi/r piehJie jde. 

Talir warsi ghar wieh, desdnjhoTce j)de. 

Kadi tdn dusi hahr, lailce aisdh mukde." 

Cried out the hedgehog, being chief of all the hedgehogs 

" I will kill KalJr here and afterwards Talir. 

Talir will enter his hole and I will burn him out. 

Soon he will come out and I will take and finish him." 

Then Talir the serpent called out, 

" Friend hedgehog, let go my friend, and I will suck the 

poison out of the E^jl." 

" Very well " said the hedgehog, " you suck out the poison, 

while I feed your friend with fruit in the garden." 

" Then please take him away quickly, " said Talir the serpent. 

So the hedgehog began dragging the scorpion through the 

thorns, and weiit on so long that the scorpion died. Meanwhile 

the serpent sucked the poison out of Eaja Easald, and when 

the Eaja came to himself the hedgehog told him to kill the 

serpent, and the Eajei did so. 

While all this was going on the day passed, and it became 

evening, and the Eaja went towards the city with the 

intention of playing chaupur with Eaja Sarkap, and on the way 

he met a cat, which was roaming about some potters' kilns, 

and the Raja asked her what made her wander about the kilns 

like this, and she said, 

" My kittens are in a pot which has been put to bake in these 

kilns by the potters, and that is why I am wandering about." 

Then Eaja Easalfi asked the potter how much he wanted for 

the pots in his kiln.

48 LEGENDS OV THE PANJaB. 

" Oh," said the potter, "this kiln is not baked yet, the" fire 

is only lighted as yet on one side of it. What is the use of 

Belling the pots now " 

However at last the E^j^ induced him to name his price, and 

gave him what he asked. So he was able to give the kittens 

back to their mother. 

But the cat gave him one of them, and 

said, 

" It will help you when you are in difficulties." 

The Eaja took the kitten and went off to R^ja Sarkap, who 

asked him some riddles, which were answered, and then they 

made agreements about their game of chaufur. RajS. Sarkap 

fixed the following stakes for himself: first game, his whole 

kingdom ; second game, the wealth of the world ; third game, 

his own head. And Raja Rasdlu fixed the following for himself: 

first game, his arms j second game, his horse; third game, his 

own head. Then the two R^jls began to play. 

It fell to EaJEl Rasalu to begin the game, and when he began 

Raja Sarkap let loose his rat, called Dhol Raja, nobody knows 

why.* Dhol Eaj^, the rat, upset the chaupur pieces, so that 

Eaja Sarkap won the first game, and E4ja Easalu gave up his 

arms. At the second game Eaja Easalu lost his horse in the 

same way, and the horse said to him 

— 

Sahh'i, samundar jamidn, Rdjd lio tkoI zar mde : 

Ao to charho inen pUh te, hot tudh hhardn tarpde : 

JJrde panTcM main na desdh, jo dauran laTch haror. 

Je tudh, Bdjd, pdsd Tchelnd, jeb hdth to pde. 

my beloved, I was born in the ocean, and the RaJEl bought 

me with much gold. 

Come and jump on my back and I will take thee off with 

thousands of bounds. 

Wings of birds shall not catch me, though they go thousands 

of miles. 

If thou wouldst gamble, E&ja, keep thy hand on thy pocket. 

When the horse had said this, Eaja Sarkap told his slaves 

* Dhol Raja is tlie name of tlie hero of a celebrated Punjabi popular 

love-tale.

— 

— 

EAJA EASAL&. 49 

to take him away as lie was giving Eaja RasalA advice. And 

the slaves did so, and when the horse was being taken away 

he began to weep, and Eaja RasaW was in great grief, and then 

the horse said again to the EajS. 

Na ro, Edjid hholid ; nd main charsdn ghdh, 

Nd main tursdn rah. 

Dahnd dasi uthdehe jeh de wieh pdh ! 

Weep not, foolish Eaja, I shall not eat their grass, 

Nor shall I go away. 

Take thy right hand and put it in thy pocket. 

Then the Eaja understood something of what he meant, 

and 

the slave took him away. So the Eaja put his hand on his thigh 

and the kitten started up, and the Raja said to Raja Sarkap. 

"Leave my horse and arms here for the present; you can 

take them away when you have won my head." 

Raja Sarkap agreed, and gave an order to all the women of 

his palace to dress themselves up and stand before Raja 

Rasalu to distract his attention, so that their lord and master 

might win the last game. But Raja Rasalu paid them no 

attention at all, and said to Raja Sarkap. 

" We have been playing with your pieces all this while, 

suppose we play with mine now.'^ 

And they began to play with Raja RasMd's pieces. Meanwhile 

the kitten went up and sat by the window where the rat 

Dhol Raja used to come from. 

After a while Raja RasalA began to win, and the Raja 

Sarkap called his rat, Dhol Raja, who came to the window, 

looked out, and went back. He then sent his mother, who 

came out, but, being afraid of the cat, she went back too. While 

this 

was going on Raja Rasalu won the first stake, and took his 

arms back, and then he won the second stake and took his 

horse back. On this Raja Sarkap said 

Dhal, we^pdsd dhalwen, ithe hasantd lolc ! 

Sardn dhardn han hdzidn, jehri Sarlcap hare so ho ! 

O moulded pieces, favor me : a man is here ! 

Heads and bodies are at stake : as Sarkap does so let it be ! 

7

— 

— 

50 • 

LEGENDS 

OF THE PANJaB. 

Eaja Rasalu answered 

Dhal, we jpdsd dhalweh, ithe basantd lole ! 

Sardn dhardh te bdzidn ! 

O moulded pieces, favor me : 

Heads and bodies are at stake ! 

Jehri Allah, hare so ho! 

a man is here ! 

as God does so let it be. 

After this Raja Easalii began to win, and first Raja Sarkap 

lost his kingdom, then his wealth, and at last on the whole 

game he lost his head. 

Just then one of his slaves came up to congratulate him on 

the birth of a daughter. 

" Kill her," said Raja Sarkap, " she has been born at an 

unlucky moment, and has brought me bad luck." 

Bat Raja Rasalu said to him, 

" If you will give me your word by drawing a line on the 

ground with your nose* that you will 

never play this game 

again for another's head, and will give me this child that is 

born to-day to wife, I will spare your head now." Raj& 

Sarkap agreed, and placing a mango branch and the little 

girl, Kokilan, into a large plate he gave them to Raja Rasalu. 

And Raja Rasalft left that place, and as he was journeying 

along he met some prisoners, who cried out to him 

Hor rdje murffhdMdn, tu rdjd shdKbuz ! 

Bandi-hdndA de hand hhalds har ! tmiar teri drdz ! 

Other kings are wild-fowl, thou art a royal hawk ! 

Unbind the chains of the chain-bound and live for ever'! 

So Raja Rasalu told RaJEl 

Sarkap to release them, which he 

did, and then Raja Rasalu went to the MArtl Hillsf and planted 

the mango branch there. There he had the Rani Kokilan 

placed in an underground palace, and said, 

" When the mango branch blossoms then will Rani Kokilan 

arrive at her full youth." 

After twelve years the mango tree began to blossom and 

give forth frait, and the Rani Kokilan became a woman. One 

day she said to Raja Rasalu, 

* A form of oath or irrevocable promise, 

t Near Rawal-Piadi to the South West of it.

— 

EAJA EASAL^. 51 

"Wtat is it that people say happens when you shoot an 

animal in the jangah '^ 

RajS, Ras&lii replied, " when I bit an animal with an arrow 

it falls down in a faint, after running seven paces towards m e." 

" This is a very wonderful thing," said the Runi, " and I shall 

not believe you till I see it with my own eyes.'' 

So next morning the Eaja made Rani Kokilaii ride 

on a pillion 

behind bim, and he wore some coarse clothes over his 

own, so that her perspiration should not injure him.* In tbisway 

he went forth into the jangals to shoot. Presently he 

shot a deer, and the deer as soon as it was wounded ran 

sevea 

paces away from him and fell down. 

" Last night " said the Eani KokiMn^ " you told me that 

when you bit an animial it would fall seven paces towards you, 

but this has fallen seven paces away from you. Your words 

have not come true." 

" My virtue has left me," said the Raja, " because you havebeen 

riding on the same horse as I." 

" I will catch the deer with my bands, RaJEi," said the Rani,, 

*' 

and will bring them to you." 

And so she opened out seven locks of her scented, hair, 

and 

sat on a tower of the palace, and the sweet scent of her hair 

filled the air. Two deer, called Hira and Nila, came to wbereshe 

was sitting, attracted by the scent of her hair, and stood, 

by her. Then Raja Rasalu determined to- try the- power of the 

attraction of Rani Kokilan's hair, and frightened the deer with, 

his bow. As soon as the deer Nil a heard the twang of the 

bow be ran for bis life, but the deer HliI was so attracted by 

the scent of Rani Kokilan's hair that be remained where he was.. 

"It would be a pity to kill this deer that is sofondof my wife," 

thought the Raja, " but I will mark him well." So be cut off itstail 

and ears to mark him, and then the deer Hira said to the Raja 

Nan main Tchet ujdrid, nan main hhanni war 

Kyun tain puahh hatio i Mtd M ziyun. 

Main IM hiran Wn hdlejangal led, dhaular Idsdn chor. 

* A superstition:, the woman's perspii-ation would take his "virtue"' 

out of him.

— 


I have apt injured thy fields, nor have I broken thy hedge : 

Why hast thou cut my tail what damage have I done 

I am but a deer of the thick jangal, I will bring a thief 

into thy palace. 

Saying this the deer Hira went off to his kinsmen, but they 

cast him out of their herd because he had no ears or tail. 

So he 

became very sorrowful and went into the kingdom of E^ja Hodi,* 

son of Eaja Atki Mall, where hejoine d a herd of deer. 

After a while 

he brought the whole herd into Raja Hodi's garden and destroyed 

it. As soon as Eaja Hodi heard of this destruction he sent in men 

to catch the deer, and they all ran away except the deer Hira, who 

remained hidden in the garden. 

Presently E^j^ Hodi came himself 

into the garden, and then the deer Hirtl ran off, followed by 

the Raja on a horse. 

The deer Hlr^ led Raja Hodi to the palace 

of Eaja Rasalii, in the Murti Hills, and then he said to the Eaja, 

" Why have you followed me so far " 

"Why did you destroy my garden" said the Raja, "I 

have followed you to kill you." 

" I destroyed your garden," said the deer, " because Rani 

Kokilan ordered it.'"' 

" Where is she " asked the Rajl. 

" She is sitting in that little latticed window above in the 

palace," said the deer. 

When he heard this the Raja looked up and saw the Rani 

Kokilan, and the pair began to talk, meanwhile the deer Hira 

hid himself in a bush. 

Said the Rdni 

Mahldn heth pMrandid Bdjd ; shdhid phinh, Id chor 

lice Bdjd mere dd wairi haih ike khard i dhor 

Raja wandering beneath the palace : art thou a true man or 

a thief 

Art thou an enemy to my Raja or does an animal stand there 

* The kingdom of this celebrated hero appears to have extended from 

Atak to as far as Jalalabad beyond the Khaibar Pass. Atki Mall as a 

name seems to have an obvious referrence to Atak. For the purposes 

of this tale his residence was apparently Ohind on the Indus, opposite 

Atak. His date was probably A.n. 250 or later. Thomas suggests that 

he is Kidara of the Scythian (Kushan) coins.

— 

EAJl basalt), 53 

Said the Edja— 

Chordn maile Itapre, Sdni ; shdhid iJce rang Jio : 

Na main tere Bdjd dd wairi hun, na Miard % dhor : 

Merion dndd dur se, ithe Tchardid zor. 

Thieves wear dirty clothes, Raui ; true men clean : 

Nor am I the Raja's enemy, nor does an animal stand here : 

I came from afar after my quarry : I stand here of necessity. 

And then he said 

Badaloh dhatM jhar-hadalt : Mn ghari sunidr 

Nak talwdr dd pipld, hoth pdnd de Mr ! 

Kis Bdjd di hetri his Bdjd di ndr 7 

Tain nih dhaular chorhJee Teahdn gaid gahwdr 

The black rain-clouds fall from the clouds,* what jeweller 

made thee 

thou of the nose ornament ; lips red with the betel 

leaves ! 

What king's daughter art thou what king's wife 

Leaving thee in the palace, where has the fool gone 

The Eani replied 

Na main hadalon dhafMdn, Bdjd ; na ghari sunidr 

Nah talwdr dd fifld ; lioth pdnd de Mr. 

Bdjd SarJeap di main betri : Bdjd Basdlu, di main ndr. 

Main nun dhaular chorhlce johl de Tcarikar gaid shihdr. 

1 fell from no rain-cloud, Eaja ; no jeweller made me : 

My nose is a sword-point .-f 

betel leaves are on my lips, 

I am Eaja Sarkap's daughter : I am Eaja Easalu's wife. 

Leaving me in the palace he has gone to hunt in the 

river-side swamps. 

And then she said 

Kahdn tumhdri nagari, Bdjd leahdn tumhdrd thdon ^ 

Kis Bdjd dd hetrd Jcyd tumhdrd ndon 

Where is thy city, Eaj^ where is thy home 

What king's son art thou What is thy name 

: 

* Apparent reference to the dark complexion of Kokildn 

t That is, I am very fascinating.

—— 

— 

— 

: 

: 

r 

64 LRGENDS OF THE PANJABr 

The Raja replied 

Sindh to men nagan* Bdni : Atah hai merd thdon. 

Bdjd AtJd Mall da belrd : 

Bdjd Eodi merd ndon. 

Sindh is my city, Rani : Atak is my home. 

I am Eaja Atki Mall's son : Raja Hodi is my name. 

Said the Rani 

Alidn ddhhdn pdlikidn ; 

cho cho paun andr 

Aisd hoi na jamidn awe Bdjd de darhdr. 

The green grapes are ripe: the pommegranate drips 

None such (as thou) can have a footing in the Raja's 

house. 

Then said Raja Hodi to her, " Show me how to get to you." 

And the Rani pointed out where the steps were, and said, 

''There is a large stone at the entrance of the staircase, 

you have only to remove that and come up." 

The Raja did as he was bidden, but could by no means 

remove the stone, so he said 

Main banjdrd Sindh dd, heahdn halt hapur : 

Jo saudd loren mangwdn, to sadhe le hazuo-. 

I am a pedlar of Sindh, I sell black camphor: 

Take into thy presence what merchandise thy heart dotb 

desire. 

Then 'Rim KokiMn pointed out another flight of three steps, 

but the Raja said, when he saw the steps, " I am not a bird that I 

can fly. 

If you really want me, let down a rope for me to climb up." 

So Rani KokiMn let down a rope, and Raja Hodi climbed up 

it. He found in the palace two cages, in one of which was a 

maind and in the other a parrot. 

As soon as the parrot saw Raja Hodi Jie hid his head under 

his wing, and told the maind to do the same. And the maina 

did so, while R&ja Hodi climbed up the rope and got on to th© 

first step. Then she said to the parrot 

Sun, he tote Iddle, Idd-bdware ; suno hamdri hdt 

Tfthe na basie, totid^ jithe ang na sdh. 

Ajab tumdshd dehhid : 

Jean hhdive Bdjd di ddhh. 

* Nagari, city, is frequently used for country or home : Sindh is for 

the R. Indus.

: 

— 

— 

: 

: 

HaJa easalu. 55 

Listen; beloved parrot, loved best of all : listen to my 

words : 

Stay not here, parrot, where is nor friend nor relative. 

I have seen a wondrous thing : a crow eating the Baja's 

grapes. 

" What have you to do with it, maind " said the parrot, 

" be quiet and hide your head under your wings." 

Meanwhile Raja Hodi had climbed on to the second step, and 

the maind said to the parrot 

Sun, be tote ladle, Idd-hdware ; suno Jiamdri hat: 

Tithe na hasie, totid, jithe sdk na wir 

Ajdb tumdshd dehhid, kuttd hhdwe Ithir.* 

Listen, beloved parrot, loved best of all: listen to my 

words : 

Stay not there, parrot, where is nor friend nor brother : 

I have seen a wondrous thing : 

a dog eating the rice. 

But the pa.rrot frightened the maina again, and meanwhile 

Raja Hodi reached the third step, and called out. Then the 

maind said again 

Sun, be tote Iddle, Idd-bdware ; suno hamdn bat: 

Tithe na basie, totid, jithe ang na, sdli 

Ajab tumdshd dehhid, hhotd hinke Rdjd de darbdr. 

Listen, beloved parrot, loved best of all ; listen to my 

words 

Stay not there, parrot, where is nor friend nor relative : 

I have seen a wondrous thing ; an ass braying in the Raja's 

palace. 

Then the parrot said to the maina again, "I have often told 

you to be quiet, but you pay no attention." 

But the maind said, " This thief comes into the house and 

shouts. 

This is what makes me angry and prevents me from 

being quiet." 

In the mean time the Raja had got in, and being very thirsty 

asked the Rani for water. The water however could not be 

* A pottage of rice and milk.

: 

— 


easily got, and they both began to break away the atones at 

the brim of KS,ja Easalu's well to get at the water. 

After a while 

Rani Kokilan got up some water in a pitcher and gave it to 

Eaja Hodi to drink. The Eajl stopped two or three hours 

with Rani Kokilan and then began to enquire about going 

away again. 

" Stay all night," said the Rani, but he was afraid and would 

not stay. So the Rani began to weep bitterly, and when the 

Raja saw her tears he said he would be back in four or five 

days, and he wiped away her tears with his own hands. Her 

eyes were covered with Mjal,* and as he wiped them, his hands 

got black from it. 

" I will be back in three days," said the Raja, as he got ready 

to go. 

"You made me a promise before and broke it," said the Rani, 

" and when you get among the women of your palace you will 

forget me and never return at all." 

"There are no women in my house," said the Raja, " I will 

not wash my hands of this Icdjal, nor will I eat again, till I 

come to eat with you here.'" 

Saying this he started that night for Atak, and reached the 

banks of the river Sindh. Being very thirsty he lay down 

on the bank and drank water with his mouth like an animal, 

for he was afraid of washing the hdjal from his hands if he used 

them. A dhohi was washing on the opposite bank, and seeing 

Raja Hodi drinking like a wild beast he said to his wife 

Sun, n Dhohan Iddlt, Idd-bdwan, suno hamdri hdt. 

Pdroh did rdjput, na wis sang na sdth 

Merion wdngan pdm pt gaid : ushe Tidthoh Ico hi hasd 

Listen, wife beloved, loved best of all: listen to my 

words. 

On the far side has come a prince : nor friend nor company 

with him. 

He drinks water like a deer, what is the matter with his 

hands 

* Lampblack for beautifying tie eyes.

: 

: 

: 

— 

— 

: 

RAJA easalt). 57 

Said the dhohan,

! 

—— 

— 


She is aiaking fair her arms, Rajaj wash thou thy hands. 

How many husbands has the swan, Eaja young women 

are in thousands. 

So Raja Hodi washed his hands^ as the dlioban said^ and 

entered into his palace. 

Meanwhile Raja Rasalu had come home from hunting, and 

Rani Kokilaii said to him 

NUe-ghorewdlid Sujd ! nile da sawdr ! 

Tarhash hharid moiidn ! Idldiijan Itumxin ! 

DTialjari teî hiridh ! hlidsd sane rumdl ! 

TTiumM ghord! JJas jd, teri ndr lagdh lei hhain 

grey-horsed Raja, riding the grey horse ! 

Thy quiver full of pearls ! thy bow studded with rubies ! 

Thy shield studded with diamonds and fastened by a muslin 

kerchief 

Riding a prancing horse ! Tell me am I thy wife or sister 

Answered Raja Rasalii 

Pdsd jithe ddar sat, Hani chhorih chdr. 

Bdgh lagdyd tere shauq ho, dru, amh, andr, 

Khdke mewd paltin, Bdni : hoih chhail mutidr. 

Main, Bdjd Basdlu, terd hinrd ; tu, Kohildii, men ndr. 

Is gun rakhi nd-gunih : oho paahhdni sdr. 

I won the stake with care, leaving four Ranis behind. 

I gave thee a garden to thy desire^ peaches, mangoes, pommegranates. 

Thou hast fattened on the fruit. Rani : thou art fair and wellliking. 

I, Raja Rasalu, am thy bridegroom : thou, Kokilan, art my wife. 

For this reason I kept thee unread : thus I know thy character. 

Saying this R&ja Rasalu dismounted and went up to Ran} 

Kokilan. And seeing that the brim of the well was broken in, and 

that there were human footprints about, he said to Rani Kokilan 

Kin merd Icator gerid, Bdni hin hhant nisdr 

GJiarioa pdni Tcin Via kin sitti hanhdr 

Mahl merd leaun torid mahliii pid dhaslcdr ! 

Sej meri haun letid dhilU pai niwdr !

! 

— 

! 

EAJA EASALI^. 59 

Who fclirew down the well-brim, Rani who broke the platform 

Who has taken out the water in pitehers who has thrown 

down the stones 

Who has broken into my palace footmarks are in the palace 

halls 

Who has lain on my bed the niwdi* is loose 

The Rani answered 

Main ne Tchuh gerid; 

main ne hJiani nisdr; 

Gharinn pdni main lid ; main ne silti, hhanglidr. 

Maina hod% khoid, tote khoid gale dd hdr. 

Chhorwdhar Sdjd, main ndi: 

Sul men di sej letid : 

dhilli jpdA niwdr. 

mahldn pid dhaskdr. 

I broke down the well ! 

I destroyed the platform 

I took ont the water in pitchers ! I threw down the stones ! 

The maind loosened my hair and the parrot broke my necklace. 

Releasing myself, Raja, I ran away : my 

footmarks are in 

the palace. 

My enemy lay on the bed and loosened the niwdr. 

When the Rani Kokilan said this the Raja beat the parrot, 

and the maind said to the parrot, 

" It is well that the Raja has beaten you, because you prevented 

me from telling him in the beginning the evil deeds of the Rani." 

After this the Raja went to sleep, 

and nest morning before 

the sun was risen, he started off for the hunt again, and the 

parrot said to him, 

"If we happen into any trouble while you are away, where 

shall we find you " 

And the Raja answered, "If anything happens within the 

next three or four days I shall be found by the river-side 

swamps. If anything happens within the next two or three 

months I shall be found hunting in the Kashmir mountains," 

and then the Raja went away to the river-side swamps. 

After two or three days, Raja Hodi came to the palace, and 

dismounting from his horse went to see Raui Kokilan, and the 

pair laughed together for joy. 

* Cotton tape stretched across the bedstead.

— 


Then said the maim to Rani Kokilan, " The first tihie you 

spoke evdl 

of me and the parrot to KajS Raaaia, what will you 

say to him now Believe in God and leave off playing and 

laughing with a stranger," 

But the Eani became very angry and said, 

Kut-kut churi tainuh maindeun, maind ; 

Inhdhgalluh ndl terd kyd matlah 

tu baithi adh lihde, 

tu thandhd ^dni pio. 

Yeh pardesi dur de uth jdsan apne ghar. 

I give thee minced cakes, maind : thou sittest in thy cage 

and eatest. 

What bast thou to do with this matter Be silent !* 

This foreigner will go off to his distant home. 

Replied the maind— 

Kut-7cut cMndn ape hhak, Bdni ; 

lidjd merd dusi, Ram : 

harsdn lun haldl. 

sddi wmaid Khudde. 

Eat thy minced cakes thyself, Rani : I put my faith in God, 

My Raja will come. Rani : I will be true to my salt. 

When the maind had said this 

the Rani said to her, " You 

faithless bird, you have eaten frpm my hand always. Will 

you be untrue to my salt The RajS, wanders about in the 

jangals : and will you rather be true to him " 

So she took the maind out of the cage and cut off her bead, and 

taking the cage she broke it into pieces and threw them away. 

Then she went up to the parrot's cage to kill him as well. But the 

parrot spoke caressingly to her in order to save his life, and said 

Bhald Md, jo sJidrah mdrio i, Bdni : aid chughalddr ! 

Banndn dil chirhivdh: asdn marddn dil daride, 

Kaddh-kJidn, Bant, pinjarioh ; main weJchdit Bdjd de rdj. 

Thou didst well to kill the maind, Rani : that was such a 

backbiter I 

Female minds are vexed by such things, oar men's 

minds 

are above them.f 

Let mo out of the cage. Rani : I wish to see the king's 

country. 

* Lit., Do tliou drink cold water. 

t The word maind is feminine and the word totd is masculine : 

hence 

the point of this speech.

— 

RAJA EASALtJ. 61 

Saying this he remained silent, and the Rani thought to herself 

that after all he had never said anything against her, and 

moreover that he had always corrected the maina when she 

had spoken roughly, so considering him faithful she let him 

out of the cage, and then the parrot said, 

" Let me go, and I will give the maina two or three kicks 

and revenge myself for the annoyance she has given vne." 

So the Rani, being very pleased, let him loose, and then the 

parrot, to please the Rani more, gave the 

dead maina two or 

three kicks, and then he asked the R6,ni for a bath, " For," 

said he, " I am a good Hindfl, and I have touched a deadbody." 

So the Rani, who had now become very fond of him, threw 

some water over him and wetted him, and then the parrot asked 

for some food. So the Rani mixed flour and sugar and ghl, 

and made cakes of it which she gave the parrot to eat. 

When 

the parrot had eaten his fill he flew away to the top of the 

palace and began to weep, and the Rani asked him why he 

wept, 

" Rani, live for ever," said the parrot, " but you have killed 

my friend the maina. and have made me very miserable." 

Said the Rani 

Totid we parosid, na jam hd zor : 

Ik jo maind ham ne mdri, das maina desdh hor. 

Man^d apne Rabb nun murdwUi mere Icol ! 

Dulth terd main mutdwdngi : tu mandd bol na bol ! 

Friendly parrot, go not incontinently away ! 

For the one maind I killed I will give thee ten more. 

For thy God's sake come back to me. 

I will take away thy grief: 

speak not harsh words. 

And though the Rani coaxed and comforted him much he 

would not remain, and flew ofl" to R4ja Ras§,lu, who was sleeping 

under a tree in the hills by the river-side swamps. When he 

found the Raja, the parrot went into a pool, and making his 

feathers all wet and draggled he sat on a branch of the tree 

just over Raja Rasalu. As he sat there he shook himself to

— 

— 

; 

— 


dry his feathers, and the water from them was sprinkled over 

the Kaja,, who, thinking it was rain, got up, and then the 

parrot said to him 

E^Jcar heth sutid, Bdjd, munh se palld Idh. 

Bdni hathi Icholid, kardi banaj hupdr. 

lie jo did rdjput us cMk chik hadhe hhdr, 

Raja, sleeping beneath the lukar* tree, take thy sheet 

from off thy face. 

The E^ni has opened her shop and is selling as a trader. 

A prince who came has fastened her bundle tight. 

Answered RSja Easalfl 

Afh maind, das shdrMh, hdri hdrt mor 

Itne sMhiddn hundidh, totid ; hyun dhaular lage chor 

Eight mainds, ten mainas, a peacock at every window. 

So many witnesses, parrot : why has a thief entered the 

palace 

Then the parrot said, "0 Raja, the Rani has killed the maind 

and I only escaped after many devices and stratagems." 

When he heard this, Raja Rasalu fastened his cooking spit 

in his girdle and mounted his horse, for when he went shooting 

he always took two spits with him. On one he cooked his own 

food which he had killed, and on the other the Rani cooked hers. 

As he was journeying home, he passed Margala, and neared 

Sang Jane,t and then his horse got so tired that he could hardly 

crawl. So the Raja said to his horse, " Bhaunr 'Iraqi, you 

used to fly along like a bird, and now when my enemy has come 

you have become lazy and crawl along.'' And the horse replied 

Andarund torid adidn, Rdjd : 

Jis roz tu janamid, meri LakM sui 

mere tan te chot na mar. 

mde. 

Je tu hhonre palid, main hadhon uthejde. 

Je tu nikalid Tiain hahir, main darpar hhald de. 

Je tu charion meri pith par naMh ditti hdzi hdr. 

Jinhdn eh shohgandldn toridn, liadin sir hhi desdn elide. 

* Acacia Arabiea : called also habiU. 

f The. Margala Pass : Sang Jane is a village near the Pass. The 

place is close by the site of the memorable struggle between Mahmiid 

of Ghazni and Pirthi Raj on the Chach plains.

— 

: 

: 

; 

' 

BAJA RASAlO. 68 

Thy spurring breaks my heart, E§,ja; injure not my body. 

The day thou wert born, my mother Lakhi brought me 

forth. 

When thou wert brought up 

in the cellar, I was fastened 

there. 

When thou didst come outside, I stood at the door. 

When thou didst mount me the stakes were never lost. 

They have broken their oaths, some day I shall lose my 

head. 

Then Bhaunr 'Iraqi, the horse, thinking his master to be really 

in need of him, went cheerfully, and Jik^h Rasalu reached his 

palace in the Murti Hills. 

There, too, he found Raja Hodi. 

A flight of sixty steps led down from the palace, and E3ja 

Hodi descended thirty of them, and Eaja Rasalll called out to 

him from below. 

" mine enemy, strike me first, and I will see what I can do 

afterwards." 

But Raja Hodi replied, "It is not right that I strike you first." 

"Shoot at me first with your arrow," said RSja Rasalu, "and 

I will shoot afterwards. And we will shoot alternately thus." 

So Raja Hodi shot an arrow at Raja Rasald, but Raja Rasalu 

parried it and cut it in half with his sword. Then Raja Hodi 

got ready another arrow, and Raja Rasalu called out, 

"I said you were to shoot iAej^rsf arrow, and you are preparing 

another. Very well, shoot on, and no further desire can 

remain to you." 

And Raja Hodi shot another arrow, but Raja 

Rasalu put it 

aside with his shield, and then he took an arrow from his 

quiver to aim at Raja Hodi, while Raja Hodi got ready a 

third arrow. So Raja RasaM said 

PahiU Jcdni mdrid, Itdjd, Khudd Ud hachde 

Dusri Icdm mdrid, main gaid Tiun Jehiside 

Tisri hunt sddhid, sacM sdt lage de. 

Thou didst shoot the first arrow, Raja, and God saved me 

Thou didst shoot a second and I was vexed. 

Thou hast got ready a third and my good luck has come.

— 

64 LEGENDS OP THB PAN.TaB. 

As he spoke Rajallodi's bow broke in half, and he said to 

Rajl Rasalu— 

Thuman nezd merd ghar rahd, Bdjd : gliar rahd talwdr, 

Sau pag toieh sarddr huii : hhdt hain ham char. 

Aj roz turn mu'df Icaro, phir na dun tere dwdr. 

My standard is at home, Raja : my 

sword, too, is at home. 

I. am head of a hundred clans : we are four brothers. 

Forgive me to-day and I will come .to thy doors no more. 

Then said R^ja RasUlu, "You wretch, have you come on 

such an evil errand and have brought nothing to fight with 

will only shoot at you with this little arrow,—be careful that it 

does not hurt you I And then you can be master of the arrow 

and everything else for that matter, for I will leave this place 

for ever." 

And with that he shot the arrow at Raja Hodi, who fell senseless, 

and Raja Rasalu tore out his heart with his hands and 

stuck it on the spit which had no meat on it. For his own 

spit had meat on it, but the Rani's was empty. He took both 

spits to Rani Kokilan into the palace, and the Rani' asked him 

"what makes my lord so pleased to-day " 

And the RSj3 said, " Let us have a great feast. We have 

hitherto roasted each his own food on his own spit, but to-day 

I will roast your food and you must roast mine." And saying this 

he gave the RAni the spit with venison on it and the Raja's 

heart he put on the spit he had kept for himself. When the 

roasting was over they exchanged meat and began to eat, and 

before the RS,ni had finished her food she said, "How very 

good the meat is to-day " and ! the Raja replied 

Jiundidn maujdn mdnidit, Bam : 

muidn Madye mas. 

Jinhdn ndljo maujdn mdnidn, un he gosht hyuii na dewe suwdd 

I 

Living thou didst enjoy him. Rani : 

flesh. 

dead thou hast eaten his 

- Why 

shouldst thou not relish his flesh who did enjoy thee 

The Rani threw down the remainder of the meat quickly, and 

said, " What are you saying*"

— 

: 

EAJA EASaLU. C5 

Then the Raja took her by the hand to the corpse of Riija 

Hod}, and when the Reini saw it she at first denied all knowledge 

of it, 

but at last she said 

Rdjd, haithidh desi mihmdn aur hhalidh desi gal 

Jinhdn dd sdnuh mihndh hai, marnd asdn bM unhdn de ndl. 

Raja, sitting he will reproach me : 

I, too, must die with him who is my reproach. 

standing he will abuse me. 

And saying this Rani Kokilan leapt down the palace wall and 

was sorely wounded. The Raja picked up the wounded Rani, 

and tied her on to one side of Raja Hodi's horse, and the corpse 

of the Raja he tied on to the other side, and sent it away to 

Atak, to Raja Hodi's country. And thus the adventures ended. 

After this Raj& RasalA set out from Murat to Sialkot, and 

here it was that a Jhlnwar* took the Rani Kokil&n to wife and 

cured her wounds. And here, too, after a while she bore him 

three sons, from whom are sprung the three Jhinwar Gets, who 

dwell there to the present day, viz., 

Sabir, Gabir, and Sir.f 

* The carrying caste: especially of tlie "bteestie" (bahishti) or 

water- carrying class. 

t It would be very interesting and valuable to try and find if these 

clans really exist, and what legends they have of their own origin.

: 

! 

;! 

No. II. 

SAKHI SARWAR AND DANI 

JATTI, 

AS RECORDED BY A MUNSHl IN FIBOZPUR FOR 

Mbs. F. a. steel in 1879. 

[This is quite a modern legeDd, for the present writer has conversed with the 

lambarddr or headman of the village of LAndeke, in the FirozpAr District, 

who claimed to be the son of the boy whom Sarwar raised from the dead 

for D4m. He was a SiddhA Jatt. The author or composer of the legend as 

recorded is said to have been one Nihdlfi, a Bharfiin, or professional singer in 

honour of Sakhi Sarwar. Sayyid Ahmad Sakhi Sarwar Sultan Lafch- 

Akti, usually known as Sarwar, or Sakhi Sfirwar, is the most popular 

modem Saint of the Panj&b. He is a typical saint and belongs to that 

class of ascetics which came over and settled in the neighbofirhood of 

Multdn in the 11th and 12th centuries A. D. Sarwar himself probably 

flourished later, sometime in the 13th Century. His shrine is at Nig^hS 

at the foot of the Sulim&n mountains and at the entrance of the Sakhi 

Sarwar Pass in the Deri Grh&zi Khfin District, a spot eminently calculated 

to foster an austere life, as it is " the last place that any one, who in 

the least regarded his personal comfort, would choose as an abode." A 

crowded fair is held there every Baisikh (April-May) attended by all sorts 

and classes of Fanj&bis, Hindis, Musalmfins and others. The shrine is 

kept up by hereditary muj&wirs, or attendants, and by wandering iJia/r&ihs, 

or bards, who sing the Saint's praises and collect pilgrims from all parts. 

Besides the above places Sarwar is personally connected with several 

others in the Lfihor, Gujr£nw41S and Gujr&t Districts.] 

TEXT. 

Sakhi Saewae da mo^jiza Dan! JattI de nal. 

Sabh taufiq^n Sain Sachche 

Jumlian de Rabb parde kajje ! 

Jo kujh chahe so i karda 

Lore kaun hataid 

5 Ape dend^, ape lenda; 

SMiib D&ta sakal jlan da 

Ik lakh kai chaurasi judeI, 

MauUa rizaq puchaia 

Parbat andar Sarwar wasse,

: :; 

;; 

Sikhaii sevak^n bania nata, 

B^ran warhe vifi.hJ nfln guzre, 

JJani rir manaia. 

Dani nun Rabb beta ditt^, 

Kutfce chArmS. kare tayyari 

Dani sbekb sadaia. 

Dsini nM samjhaia 

" Sun, Pira, merian faryad§,n 

SAKHI SAEWAE AND DANI JATtI. 67 

10 Farzanddii de dan bigasse, 

Anhe korhi change kard4 

Lagge dard gawaia. 

(Agge) Qaumto de vich hain san zatM: 

15 Dhuron darg§.hon hunde ae ; 

Lore kaun hataia 

20 Sewad&r Pirdn dti kita 

Jad shekh ne ake solhe gê, tad Dani de khavind nun, 

jo Guru Nsinak da sewak si, b^har khun utte kbawwar hoi 

usse Tele ghar nun aia, te Dani utte bahot ghusse hoia, te 

bolia. 

" Murke is da na nahin lena." 

25 Dani nfln phar andar ditta 

Buhe vich dhamkhaia: 

Andar ditti kare awazan, 

" Tun s4mbh payandi rakhna hi lajan." 

30 Bhairfin Chhari4 Sarwar Pira 

Chheti nM ghalaia. 

Bhairun Chhari^ chheti wagge ; 

Sutte an jagae sabhe ; 

Dewar, jeth, qabila sara 

35 Chharie pakar dabaia. 

Din charhi^, sab rat guzri, 

Sabhe baithe le jo 'uzri 

Din charhde nal kiti tayyari, 

Ghio gur turt mangaiS,. 

40 Pinnian karke pîan palle, 

D&ni, Karma, tinne challe. 

;

68 LEGENDS OP THE PAWAE, 

" Ealke tussan Pir Bhai janan/' 

Qabile samjMia. 

Vidia ho gharS-n thin challe, 

45 Kharchi karke pai palle, 

Shahr Gurd de dera hoia 

Kita sang utara. 

Khair kamawan, bolan mittha ! 

Dayam nur Nigahe ditta, 

50 Do do lal milan sabhan nun 

Sarwar do darbara ! 

Wajan dhol te ghulan damame, 

Sarwar mere de shadiane, 

Sang pohte ja Multane, 

55 Sarwar de darbara. 

Jad MultSn pahunche, tad Dani ne, jo oh ne waddi waddi 

changi chhit 

te hor changiS.n chizan vekhian, tad ji vich kiha, 

ke "jekar tohfe wangar ehn^n vichon kujh shai mill lekar 

main apne watan nun lejawan te apne sahelian nun dewan 

tan ohnan da dil wadda r&zi howegS.; par ki karan Mere 

kol sabh, ikki moharan hain, waste niaz Sakhi Sarwar te 

zarAri kharch safar de hain. Ik tadbir zartir ho sakdi hai, 

ke jekar 

ehnan ikki moharan viohonj jo main Sakhi Sarwar de 

waste le ai han, addhi moharan apne kol rakh lean, tan apne 

sahelian te sakan de waste dhoe mul leke jawan," 

Is waste os 

ne eh badniyat kiti, te Sakhi Sarwar ne oh nun be-im^n 

samjhia. 

Pirari dk kujh orak nahin, 

Apo apna saya. 

Grhauns Bahau'ddin, Shah kul 'alam, 

Ziarat karda sari •'alam, 

GO 

Ziarat karke karan rasoi 

Chhapreti chhapar laia. 

Tirmft langhe Siddh Eaja di; 

Sangan utte Sarwar rajl; 

Haji Khanion gae WadWare 

65 Dhond Pir manilia.

; 

SAKHi SARWAR AND DANI JATTI. 69 

Jad Dani Tirmu Darya de par langhi, tad Sakhi Sarwar ne 

azmane waste (oh Dani nun pahle vi jandS, si, ke isne s^de niaz 

vichoii addha rakh len di niyat karke be-iman ho chukki hai) 

apne Wazir Bhairun Jati niin Danl de kol Brahman di sArat 

banake ghallia, te os ne jake Danl de kol kujh kharat dene di 

'araz kiti, par Dani oh niin jhunjhlake boli, ke " main sari raste 

vich tuhade logan de sawalan ton lutt gai han : koi Brahman 

banke siwanda hai^ koi Sayyid banke awanda hai ; main nahin 

jandi aine Brahman te Sayyid is bhukki zamin utte kitthon a 

gae hain. Hun main kissi nfln ik kaudi vi na deangi." Jekar 

BhairAn Jati 

ne bahot khushamad te minnat kiti, par Dani ue 

oh nun kujh na ditta, te mor ditta. Pher Sakhi Sarwar ap 

•Sayyid di shakal banke Dani de kol gae, oh nfln vi ohjiha 

jawab milia jihojiha Bhairun Jati nun. Ehnan batari ton naraz 

hoke Sakhi Sarwar ne oh de larke nun jan ton mar ditta. Eh 

da zikar agle git vich hvegL 

Ayya Dhode di chankandi, 

Jitthe sewakan shakar wandi 

La 'adalat Dhoda baindha^ 

Lakh da wajjon sunwîa. 

70 Ayya Eane dian Beri, 

Jitthe sarwar Kakki pheri, 

Ikne sutte, ikne baithe, 

Ikna Eabb dhyaia. 

Chheh ghariaii shab rat guzri 

75 Maulla Wahi ghalaia. 

Larke nun pakar Wahi dabave : 

Larke jusse talkhi ^ve, 

Utth khiloti man vilave : 

Chh6ti de nal utthi Dani, 

80 Larka mumme paia. 

Dani diaq. do dastan vichoii 

Larka hi kungraia. 

Jandon turke chashme awan, 

Karkar khiishian sewak nhawan : 

88 Pakar kinare goshe Dani 

Larka ja nhawaia.

70 LEGENDS 01" THE PANJAb. 

Jad Dani ne vekh lia^ ke larka mar gia hai, pher os ne eh gall 

mashhur na karni chahi, kyunke os ne khial kita, " Jekar eh 

gall 

mere gharwale te duje sakan arigan nun maMm hov^gi, tte 

oh bahot ghusse hSnge, to mera bura hal karange, 

kyunke ese 

larke de jamman di khushi nM main ai, te edi dur d^ safar kita, 

te apne gharwale te sakan angan nun nal le M han. Te hnn eh 

larka mar gia hai, eh gall zardr hai, jadon eh khawwar mer^ 

gharwale te sak ang sunange, tan oh safar di taklif n^haqq 

ufch^ne de sabab bahot ghusse honge, te Sakhi Sarwar nun 

jhuth^ janange, te mainun bahot ahmaq jS,nke marange/' Is 

lie Dani ne larke de maran di khawwar kissi nun na ditti, te ap 

alag ik kone vich jake nhate te larke nun dikhawan waste nhawaia, 

te os nun kapre n^l kaj ditta. Jadon nha dhoke vehli 

hoi tadon oh de khandan de shekh ne ake akhia, ''main muddat 

ton tuhade kh&ndan da do'ago 

han, te mere kol koi gan nahin 

hai ; es karke mere larke bale dudh dahin te ghio nahin pa 

sakde. Main bara lachar han, es karke 'arz karda han, ke tun 

main niin ik gEln bakhsh d&." Tad Dani ne jawab ditta, ke 

"jadon meri mur^d puri ho ja%i, tadon siwa gan de tainun 

mahin dewangl inam karke." Tad Shekh ne akhia " Hun ki 

murad teri b§.qi hai Rizaq tuhade ghar agge hai, te larka bhi 

jo tu mangia si, oh Sakhi Sarwar ne tainun bakhshia.-" Eh 

sunke Dani chup ho rahi, kyilnke oh dardi si, ke larke de maran 

di gall munhon na nikal jave. 

Tad Dani ne jake akhia. 

Eauze di eh bhalli 'imarat, 

Khalqat ave teri ziarat. 

Us sewak da wajjon likhave 

Jis ne eh banwaia. 

90 Sang jo j^nda pahli wari 

Sarwar bahnda ho bapari 

Hire, moti, la'al, jawahir, 

Pir baz§,r lagaia. 

Jad darbar vich bahot rat gazar gai, tad log apne apne ghar 

nun challe gae : par Dani darbar de ik kone vich chhip gal, te 

mujawir, eh janke ke hun darbtir vich koi nahin, darwaza darbar 

da band karke challa gia. 

Dani ne jadon vekhi^ ke hun darbar

! 

; 

; 

: 

SAKHl SAEWAE AND DANI JATTi. 71 

vich koi naliin te darwElza bhi darbar da band hai^ tad darbar 

de vicb ake baith gai te boli. 

Larke nun pawandi pae, 

95 Sarwar agge 'arzi likliae 

Bare paware Sarwar jitte 

Sunne andar pS,ia. 

Bdni. 

Tu sun, Zainu'l-'abadln de jae ; 

Sikhan de ghar assi viahe ; 

100 Sikh s^ware puttar parae : 

Daman ter^ pharke ae, 

Bthe de jawab khiloton, 

Agge kaun langMia 

Sarwar. 

^ 

A.gge 'amal langhawan chokhe : 

105 Kharian nal na ralde khote. 

Bela hove main kat gawawan ; 

Moia kia jawaiS, 

Ddni. 

Rahoj Pira ! kydn karwae arfan 

Sukhian baran karwae harian : 

110 Poh mahine mahan siale 

Wan tan mewa laia ! 

Sarwar. 

Jitne jangal de wasninde 

Ealke 'arz kiti Piran de 

Eabb ohnan di sun binti. 

116 Wan tan mew^ laiS-. 

Ddni. 

Dani akhi, sun, arbele ; 

Fuqran khS,de aiyar chhele ; 

Sabit kar mawan nAn mele : 

Sirian, khuriarij khallan andar 

120 Kin si ruh pawaia

: 

; 

: 

: 

: 

; 


Sarwar. 

Tin sai sath malang Allah da 

Othe naMn si qadam asada ; 

An faqiran kite na^'are 

Sahib ne sun paia. 

Bdni 

125 Sabhan wadde, tun^ Pir, chhota 

Tere jiha koi na khota ! 

Hila baM das asa nun, 

Lore kyun parchaiS, 

Te Dani boli, "Nama Chhimba, jo ik kamin zat da si, oh 

de kapprian di pand di thokar nal gan mar gai si, te os ne gaii 

niin pher zinda kita. Te Dhanne Jatt ne pattar vichon Thakur 

da darshan kita. Kya ap ehojeh admian de barabar nahin " 

 

Tad Sakhi Sarwar ne jaw&b ditta. 

NamS, Chhimba Badshah pharia 

130 Maran nun oh bahar turia ; 

Dana p&ni si oh da laria : * 

Gao jaw&i ; tkh oh bachia. 

Nahin si dard vich &ia. 

Dhanne Bhagat di pak kamai, 

135 MM Name gao jawai 

Poh mahine mahan siale 

Sattar wari nhaia 

Badshah de darwaze agge 

Wachha chadd chunghaia 

Ehnaii kahke Hazrat ne apne wazu de pani da chhatta Dani 

utte maria. Oh be-hosh ho gai, te 4p Sakhi Sarwar suboh 

di namaz vich lage. 

140 Sarwar de man mihar jo bhani, 

Pher gisb dargah Rabbcini 

Allah agge 'arzian karda, 

" Tunhin Bakhshanhara." 

* For ralid.

! 

! " 

163 Tiln mawan puttar milaia ! 

SAKHI SAEWAll ANP DANl JATTI. 73 

Eh ayat parhi " wat 'iziz-i-man tosh& : wat zill-i-man tosha. 

Jekar larka na jiviau tan main nun zillat hovegi, te jekar ji piS, 

tail meri 'izzat hovegi." 

Allah mere da farmaiS,; 

145 Oh farishta jhabb ghalaia : 

Larke andar jan jo paindi 

Larka khedanhara. 

Jad mujawir suboh Sakhi Sarwar de darbar da darwtlza kholia, 

tfin Dani apne behoshl ton hoshiar hoi^ te khauf de mare, ke 

mujawir eh nftn kah baithe, ke " rat nun darbar kyun rahi si 

te bahar kyun na gai " chup chap dflje raste ton bahar bhajj 

gai. Os nun eh khawwar hoi, ke mera larka ji pia hai. Jad 

mujS,wir andar aia, tan os ne vekhia, ke ik bacha khed riha hai: 

OS nun god vich laike awS-z ditte, ke " rat nun kidha larka darb&r 

vich rah gaia si" Dani awaz sunke jhatt ai te boli " mera munda 

hai." Tad mujawir ne akhia. 

Mujawir. 

Tun sun, bholi te diwani 

Larke di kujh das nishani ! 

JJaru. 

] 50 Kanni mundaran te ter taragi, 

Kanni syonew&lian. 

Khushi nal muradan dinnari hain. 

Tun Pir NigahewaUa ! 

Jad Dani apne larke patta nishan ditta. t^n os nfln muJ£kwir 

ne larka de ditta. 

Dani de log hoe udaloj 

1 55 Dani log puchanwale ; 

" Hal haqiqat das asa nun, 

Ki wartia wartaia " 

 

Bdni. 

" Jis din san main Beri ai 

Rabb hazur bulaia. 

160 Kharchi dindi wand, ji: 

Sir sadqa farzand, ji. 

Dhan, kamai, Sarwar, teri 

10

—: 

; 

!: 

; 

' 

74 LEGENDS Of THK PANjAb. 

TRANSLATION* 

SakhI Sarwar's Miracle with DanJ, the Jatt Womaw, 

True Master of all power ! 

May tlie God of (us) all throw a curtain (over our sins) ! 

(He that) doeth whatever he listeth j 

Who hath thwarted his desire 

5 He giveth and lie taketh away 

Master and Giver of all life : 

In the Idhh and some eight-four lives f 

God hath given sustenance ! 

Sarwar dwelt in the mountains, 

10 And gave sons in charity. 

Making whole the blind and leprous 

If there was pain, he put it away. 

(Next). There are a hundred castes in the Tribes : 

He joined follower and follower f together: 

15 As they used to be from the beginning. 

Who hath thwarted his desire 

Twelve years of wedded-hfe had passed. 

And Daui prayed to the Saint. 

God gave Dani a son, 

20 And made him a follower of Saints 

Making ready a thank-offering 

Dani called a bard (of Sarwar). 

When the bard came he sang his song, and news of it reached 

Dani's husband who was a follower of Gurft Nanak, while he 

was (working) at his well outside. He came home at once and 

was very angry with Dani and said 

" Thou shalt not take this one's name again." 

And he threatened Dani 

25 He took D§,ni and thrust her inside 

And threatened her at the threshold. 

* A metrical version of this tale appeared in the Calcutta Beview 

for 1881 by the author. 

t Xe. in the transmigration of souls: an idiom. Should be 84 Idkhs 

of lives. 

X J.e. followers of one kind of saiat to those of another.

! 

! 

; 

: 

: 

SAKHi 3AEWAR AND DANI JATTI. 75 

Thrust inside she cried aloud, 

" Saint, listen to my complaint. 

Thou shouldest preserve the honour of thy follower." 

80 Bhairiin, * the Dread, (to her) Sarwar, the Saint, 

Sent immediately. 

Bhairun, the Dread, came forthwith 

Came and awakened all the sleepers : 

The younger and the elder brother, and the whole 

household 

35 The Dread One seized and harried. 

The day broke, all the night had passed, 

They all sat down and made excuses 

At break of day she made preparations. 

And sent quickly for sugar and ghi. 

40 Making dried-cakes she tied them in their clothes 

Dani and KarmSi and the threef went off. 

" Go you together to the Holy Saint," 

Said the household. 

Taking their leave they went from their home, 

45 Making food-for-the-way they tied it in their clothes. 

And encamped in the city of the Gurfl, J 

And sojourned together. 

Act uprightly, speak sweetly ! 

The light of Nig&M§ hath ever shone ! 

60 May two sons each be granted to all 

At Sarwar's shrine 

Beating drums and sounding timbrels () 

The drums of my (Lord)' Sarwar. 

Going together they reached Multan, (near) 

55 The shrine of Sarwar. 

When they reached Multan, Dani, seeing (there) very beautiful 

clothes and other excellent things, said to herself, " If I 

* I.e. Bhairava, a form of Siva. Treated always as Sarwar's 

messenger 

t D^ni, Karmd her husband and Dharma his brother. 

1 Jhandiala, the City of " GurU " Handel, in the Amritsar District. 

§ Sarwar's shrine.

: 

76 LEGENDS OF THE PANJAB, 

buy something of wonderful thiaga like these and take tbem 

home and give them to my companions they will be very 

pleased in their hearts. Bat what can I do I have (bat) 

21 gold-pieces all-told for the offering to Sakbi Sarwar and 

the necessary expenses of the way. One plan is certainly 

possible. Suppose I keep back from these 21 gold-pieces which 

I have brought for Sakhi Sarwar, half of themj then can I buy 

presents for my companions and relations." So she acted 

with an evil intent, and Sakhi Sarwar considered her to be 

dishonourable. 

There is no fathoming of the Saints : 

They are their own glory ^sha,dow}. 

GhaunsBahau'ddinj* Saint of the whole World, 

(Whom) the whole world worships, 

60 They worshipped, and cooked ^ their food) 

And planted their Sag and halted. 

They crossed the Trimmu at Royal Siddhil 

And Sarwar was pleased with the pilgrims. 

From Haji Khan they went to Wadawar (Vador) 

65 And worshipped Saint Dhoda-f 

When Dani had crossed the Tfimmft River, Sakhi Sarwar 

to try her, (for he knew from the first that Dani had kept back 

half of her offering for some purpose of her own, and had already 

become dishonourable) sent his minister Bhairun, the 

Holy, to Dani disguised as a Brahman. And he going to D&ni 

begged alms, but Dani being vexed at him said, " All the 

way I have been robbed by the begging of you people. Some 

come got up as Brahmans and others got up as Sayyids. I 

don't know whence so many Brahmans and Sayyids have com© 

to this hungry land. And now I will not give even a cowry 

to any one." Though BhairAn, the Holy, flattered and be- 

Bought her much, still Dani gave him nothing and pushed him 

away. Then Sakhi Sarwar went himself to D&ni disguised as 

• The great Saint of MultSn. Shekh. Baha'ud'din Zakaria who 

flourished 1170-1266 a.d. 

t Sarwar's brother. He is buried at Baghdad, but has a shrinfe at 

Vador.

; 

SAKE SAEWAE. AND DANI JATt!. 'i7 

a Sayyid, and he got the same answer as Bhairiiii, the Holy. 

Being displeased at these things Sakhi Sarwar slew her son 

as the coming song will relate. 

They came to Dhodd's shrine, 

Where the pilgrims distributed sngar (in alms) 

(There) Dhodsl sits holding court 

Hearing the prayers (voices) of thousands- 

70 They came to Rank's Tree,* 

Where Sarwar caracoled (his mare) Kakki : 

Some were sleeping, some were sitting. 

Some meditated on God. 

Six hours of the night had passed, 

75 God sent the Angel of Death. 

The Angel of Death seized and harried the boy : 

Distress came upon the boy's body, 

And his mother got up and coaxed him : 

Quickly got up Dani 

80 And gave the boy her breast. 

From between Dam's two hands 

The boy fell dead. 

Leaving the jand treesf early they came to the springs. 

And the pilgrims washed with joy : 

85 Going to a corner by the bank Dani 

Went and washed her boy. 

When Dani saw that the boy was dead she did not wish to 

let it be known, because she thought that if it became known 

to her husband and her kith and kin they would become very 

angry and make it wretched for her, as she had come (to Nigaha) 

from joy at the birth of the boy, and had journeyed thus far 

bringing her husband and kindred with her. And now that the 

child had died her husband and kindred were certain to become 

very angry if they should hear of it, because of taking all 

the trouble of the journey for nothing, and would think that 

Sakhi Sarwar was false, and would beat her for being a great 

fbol. So D&ni told no one of the death of the boy, a ad going 

* Rana, the son of Sarwai'. The tree was a 6er, zigyphus jujuba. 

[ t The same as the ber.

. 

Great 

— 

— 

: 


apart into a corner bathed herself and bathed the child too, just 

for show, and wrapped it up in her clothes. When the washing 

and bathing was over the bard of her family came to 

and said, " I have been a servant in your family for a long while, 

and I have no cow, so my children can get neither milk, nor 

curds, nor ght. I am in great straits, and so I make you my 

petition to grant me a cow." 

her 

Then answered Dani, " When my 

desire shall be fulfilled, then I will give you a buffalo* instead 

of a cow as a present." Then answered the bard, " What desire 

is left you Plenty is in your house, and the son you 

wanted Sakhi Sarwar has granted you." When she heard 

this Dani held her peace as she feared to let the news of her 

son's death pass her lips. 

Then Dani went (to Sarwar) and said 

(In) this beautiful building and dome 

The people come to worship thee. 

That the praises of that foUowert may be recorded 

90 Who built it. 

(To) the pilgrims who go for the first time, 

Sarwar sitting and becoming a trader. 

Diamonds, pearls, rubies, jewels 

Hath the Saint offered in trade. 

When much of the night had been passed in praying, the 

own homes, but Dani hid herself in a 

people went off to their 

corner of the shrine, and the attendant, thinking that there was 

now no one in the shrine, shut the dooi- and went away. When 

Dani saw that there was now no one in the shrine, and that the 

door of the shrine was shut, she went into it and sat down 

and spoke to him 

95 She placed the boy at his feet 

And addressed her petition to Sarwar : 

victories hath Sarwar gained 

She placed (the boy) inside in an empty place. 

* The buffalo being preferable as supplying more milk, 

t 'Isa Baniya in the time of the Emperor Aurangzeb.

: ; ; 

! 

: : : 

sake! SARWAR and DANI JATTi, 79 

Ddni. 

Listeiij thou son of Zainu-'l-'abadin ;* 

100 I married into a Sikh's Louse 

My husband's family are Sikhs and strangers' children : 

Seizing thy skirt I am come, 

If in this thou disappoint me 

Who will support me in future 

Sarwar. 

105 In the future good deeds will bring salvation. 

The bad cannot mix with the good. 

If it be a pain (colic) I can cure it 

(But) who hath restored the dead to life 

Bdni. 

Hold, Saint ! why dost vex (me) 

110 Thou didst make the dry forest green : 

In the coldest month of January. 

The wan f tree brought forth fruit 

Sarwar. 

All the people of the forest 

Together made petition to the Saints 

115 God heard their prayer 

And the wan tree brought forth fruit. 

Ddni. 

Said Dani, " Listen, babbler 

The/agw's ate the kids of the flock 

Made whole they were restored to their mothers 

120 Into the heads and hoofs and skins 

Who had put the life 1" 

Sarwar. 

They were three hundred and sixty men of God 

No hand (foot) of mine was there 

Coming (together) the faiîrs made a prayer 

125 God heard and granted it. 

; 

; 

; 

* Name of Sarwar's father. 

t Quercws incana : bears fruit in Jiily.

; 

: ; " 


Ddni. 

All (saints) are great, art thou, Saint, less (than they) 

There is none false as thou 

Show me some good plan; 

Why hast put away my desire 

And Danl said, " Nama, the Dyer,* was of low caste. His 

cow died from a blow from his bundle of clothes, and he 

restored the cow to life. And Dhauna, the Jatt,t made God 

himself to appear from the stone. What art thou not equal 

to such men as these V Then answered Sarwar 

130 The king seized Nama, the Dyer ; 

He went outside to slay him 

His bread and water were yet mixed :f 

He restored the cow to life and was saved. 

Else he had been in trouble (pain) 

135 The actions of Dhanna Bhagat were holy. 

Nama restored the dead cow to life 

In the very cold month of January 

He bathed seventy times : 

Before the gate of the King 

140 He loosed the calf and made him suckle. 

Saying this the Saint sprinkled some of his own holy water 

over Danl. She became insensible, and Sakhi Sarwar began 

himself to repeat the morning prayer. 

When compassion entered into Sarwar's mind, 

Then he went to the throne of Gl-od : 

Before God he made his petition, 

" Thou alone art the Giver of Gifts ! 

And he made this quotation (from the Quran ! 

!), " My good 

report is with Thee and my eyil report is with Thee. If the 

child 

does not live then will dishonour be to me, and if he live 

then will honour be to me." 

— 

* Namdev, the celebrated Bhagat and Poet. 

t Dhanna Bhagat, hero of a very popular tale. 

1 I.e. he had still to live : an idiom.

:;! 

! 

" 

SAKHi SAEWAE AND DANI JATTI. 81 

145 God, at my request, 

(He) sent that angel quickly : 

When life entered into the child 

The child began to play. 

When the attendant in the morning opened the door of 

Sakhi Sarwar's shrine D§,ai had recovered from her swoon. 

And through fear, lest the attendant should ask her why she 

had remained in the shrine all night and had not gone out, 

she ran away quietly by another way. But she knew that her 

child was alive again. When the attendant went inside he 

saw that a child was playing about. He took it up in his arms 

and called out, " Who left a boy in the shrine all night 

And Dani, hearing the call, came at once and said, " The child 

is mine I" Then said the attendant 

Attendant. 

— 

Listen, thou fool and idiot 

150 Canst show me any marks of the child 

Ddni. 

Rings in his ears and crooked zone-of- silver-beads, 

Golden rings in his ears ! 

CheerfaUy hast thou granted my desires. 

Thou saint of Nigaha. 

When Dani gave the signs and marks of the child the attendant 

delivered the child to her. 

155 Dani^s friends became pressing 

Dani's friends asked questions 

" Tell us the whole truth. 

What chance hath happened " 

Ddnt. 

160 The day we came to the ber tree, 

God called (my son) to his presence. 

I gave and distributed alms, sir ; 

A thank-offering for my son, sir. 

Good hath been thy deed, Sarwar, 

165 That brought the son to his mother 

II

: 

: 

! 

No. 

III. 

DHANNA, THE BHAGAT. 

As srNG BY MiBAN Bakhsh and GHtrNNA, Peofessional Singers 

OF THE DaEBAB SaHIB OB GolDEN TeMPLE AT AmRITSAR, 

BEFOBE THE AuTHOB IN 188Q. 

[Though Dhannfi is acknowledged to have been one of the Bhagata, and his 

story, 

as here told, is very popular and widely known, yet it appears to be 

almost hopeless to try and clear up the obscurity in which his historical 

existence is involved. He was a JAt cultivator and a follower of Rim^nand, 

and as a few verses in the Adi Qranth are attributed to him, he must 

have flourished in the 15th Century.] 

TEXT. . 

Dhanne da Shabad. 

TeTc. 

Dhanne da Har se laga neh : 

Dhanne da nische laga neh 

Par-brahm, puranj abnashi, 

Har se laga neh. 

5 Dhanna jangal gawwan chare. 

Brahman* niklio ae 

Nhae, dhoe, piija visthare, 

Baitha dhy§,n lagae. 

Dhanna kahnda, " Sun, Bhal Dada ; 

10 Sa nfln vi bhagti lae." 


I. 

11, 

etc, 

Brahman kahnda, " Sun, Bhai Dhannia 

Hun di ghari guzar. 

Tain nun Thakur chang^ dewan, 

* The Blaagat Tarlocli or Trilocliaii. His history is very obscure 

but lie is supposed to have been a fellow countryman and contemporaxy 

of the famous Namdev, the Bhagat and Marafcha poet, who was bom 

at Pandharpiir in the Dakban and flourished in the time of Sikandar 

SbabLodt (1488-1512).

; " 

: 

; 

DHANNA, THE BHAGAT. 

15 Bar& koi mutiar 

Sabhnan da piii ghar hai sade. 

TAn chal sade nal." 

Dhanae dd Har se laga neh : etc. 

III. 

Braliman de ghar Dhanna aia, 

20 " Dada, TMkur deh.» 

Dhund-bhal chausei-a ditta, 

" bhannia, Thakur eh ! 

Pahle bhet charhavin main nun ; 

Sufal hove tere se ! 

25 Dhanne da Har se laga neh : etc. 

lY. 

Dhanne gau laveri ditti, 

Le Thakur, bahir aia : 

Tobhe utte bhagat arambhi, 

Bhiira sitt vichaiS,: 

3Q Nhae dhoe Thakur bithlaia 

Ghar se bhatta aia. 

" Je tun khavin, tan main khawaii," 

Dhanne dirchit laia. 

Jananharftj Purakh Vidhata, 

35 Govind bhog lagaia. 

Dhanne da Har se laga neh : etc. 

Y. 

Kahio Narayan, " Sun, Bhai Dhanni 

Tain paia Har bhev " 

83 

Kahio NarS,yan, " Sun Bhai Dhannia ; 

40 Tain kini meri sev. 

PherS,n halt,* kiare khaddan, 

Kam karesan ev; 

Gawwah charan, kam sawaran, 

Sabhe janan bhev. 

45 Tain tan main nild tan man arpia : 

Sufal hove teri sev." 

Dhanne dk Har se laga neh : 

* For rahat, a Persian wheel. 

etc.

: ;: 

: ; " 

Tain Thakur bukkha mare ! 

84 LEGENDS OP THE PANJAB, 

VI. 

Har de kam hawdle karke 

Dhanna ghar nun aia : 

50 Aggoii istri puchchhan \kg% 

" Baliir kaun bithaia 

Kheti da kam khara oghara 

Kis bharose aia V 

" Dade asa nal chang! kiti 

55 Kama bbala ralaia." 

Dhanne da Har se laga neb: etc. 

XII. 

Dhanna kahnda^ " Snn, Bbai DadS.; 

Thakur gawwan cbare 

Gbar de kam saware sare, 

60 Asin koi na sare :* 

Tere Thakur oh de kede 

Asan, Bhai, mutiare : 

Sade Thakur raj raj khanda ; 

65 Dhanne da Har se laga neh : 

VIII. 

etc. 

Brahman kahnda, " Sun, Bhai Dhannia 

Tain paia Har bhev :t 

Nische dori Har se lagi, 

MiliS, Naranjan Dev 

70 Main nte darshan karaviii, Dhannia ; 

Main tera gur-dev." 

Dhanne da Har se laga neh : etc. 

IX. 

Brahman nun lai b&hir k\k : 

Sham charae gaen. 

75 " Oh vekh, Dada, gwal-mand a 

Sabhe kam karaen." 

* For sawdre. 

t For bhed.

; :; 

; : ; 

: ; ; 

DHANNA, THE BHAGAT. 85 

Dlianne niln Har nazri iia ; 

Brahman nuii disda nahin. 

Dlianne da Har se laga neh : et^. 

80 Br§,hman kahnda^ " Sun, Bhki DKannia 

Main nun darshan karain 

Gnranji udhare sikh hazar^n 

Sikh udharan kain. 

Main vi han wadd bhagi, Dhannia 

85 Jor paia tain hanhin. 

Asade tarfon bintl karke, 

Dhaike pairi pain." 


; 

XI. 

etc, 

Dhanne di Har madat hoia ; 

90 Jo S/khe^ so manne : 

Bakalian d! tind chabai 

Bhan chupae ganne 

Roti utte sag khawaia 

Chhah piai chhanne. 

95 " Mere gur ko darshan dije " 

Kuk sunaia kanne. 

Dhanne da Har se lagS, neh : 

XII. 

etc. 

Dhann^ kahnda, " Suuo, Narayan ; 

Mere gur ko darshan dijo : 

100 Eha darshan deOj Narayan 

Kirpa karkar, rijho." 

Kahio Narayan, " Sun, Bhai Dhannia 

Main is niin na dijun, 

Janam janam da kapti Br&hman, 

105 Karm bhalle na Mjo 

Sari umar ganwai evin; 

Ajj hi nun man na bhijo.'' 

Dhanne da Har se laga neh: etc.

: 

; : 

; ; 

XIII. 

Kahio Narayan, " Sun, Bhî Dhaniiiel 

110 Main han Krishn Murari, 

Jo jo mere sarni îa, 

Kya purakha, kya nari 

Jinhan jinMn Parmeshar bhajjia. 

So prani main tari. 

115 Brahman di hamayat waddi : 

Oh vi utreg^ pari." 

Dhanne da Har se lag§i neh : etc. 

XIV. 

Dhannia kahnd^, " Suno, Narayan 


Prabal teri maya 

120 Jinhan nun tfin ap wadavin, 

Kaun bulave raya " 

Parmanand sadh di sangat 

Dhanne dhan kahaia. 


Teh. 

etc, 

: 

125 Dhanne da Har se laga neh : 

Dhanne da nische laga neh : 

Par-brahm, puran, abnashi, 

128 Har se laga neh. 

TRAJSTSLATION. 

The Sacked Song of Dhanna. 

Refrain. 

Dhanna's devotion was to Hari : 

Dhanna's devotion was sincere : 

To the supreme, infinite and immortal 

Hari was his devotion. 

5 Dhanna was grazing cows in the jungle 

(When) a Brahman* came out of it 

I. 

* Said to have been Tarloch or Trilocliaii the Bhagat. The tala 

purports to relate the rebuke of DhannS. to the Brahmans.

: 

!; 

: 

: 

: 


He bathed, washed, spread out his gods for 

Sat down and began to meditate. 

Saith Dhanna, "Listen, Friend Brahman; 

10 Bring me also the saintship." 

Dhanna's devotion was to Hari: etc. 

worship. 

II. 

Saith the Brahman, " Listen, Friend Dhanna ! 

Wait now a little while. 

I will give thee a good God, 

15 Big and somewhat stout 

The father of all (the gods) is my house. 

You come with me." 


etc. 

III. 

Dhanna came to the Brahman's house, 

20 

'' 

Brahman, give me the God." 

He searched about and gave him a iour-ser weight 

(stone), 

" Dhanna, this is the God 

(But) first confer on me a gift 

That thou mayest succeed." 

25 Dhanna's devotion was to Hari : etc. 

IV. 

Dhanna gave him a milch cow. 

And taking his God, went outside 

He commenced his worship at a pool. 

And spread out a blanket 

30 Bathed, washed, and placed his God 

His dinner * came from his house. 

(Said the God), " If you eat I will eat." 

Dhanna plucked up his courage 

(And) the Knower-of-hearts, the Creator of 

35 Gobind, fell to eating. 


etc. 

man, 

* The day's food broaght to husbandmen in the fields.

; 

: 

; 

V. 

Said Narayan* " Listen, Friend Dhanna 

You have found out Hari^s secret." 


Said Narayan, " Listen, Friend Dhanna 

; 

40 You have done me service. 

(So) I will drive your Persian-wheel, I will dig your 

field, 

Thus will I work 

I will graze your cows, I will work carefully, 

I know all the art. 

45 As you have .given yourself, body and soul, to me, 

Your service shall be fruitful." 


VI. 

Handing over the work to Hari, 

Dhanna went home : 

etc. 

50 Whereon his wife began questioning, 

"Whom have you set (to work) outside 

Field work is very difficult. 

Confiding in whom have you come " 

(Replied Dhanna) " The Brahman has done me a good 

turn; 

65 And given me a good workman." 

: 


etc. 

' 

VII. 

Saith Dhanna, '' Listen, Friend Brahman 

The God is grazing the cows : 

He watches over all the house and work, 

60 I look after nothing 

Your God is just as he was; 

Mine, Friend, is well-liking : 

My God eats his fill ; 

You are starving your God to death." 

65 Dhanna's devotion was to Hari : etc. 

* Hari, TKakur, Gobind, Narayan, Naranjan, Kristn, Murarl, and 

Sham, are all names for the same God ; our word is Krishna usually.

; 

; 

: ; 

; 

VIII, 

Saith the Bi'&hman, " Listerij Friend Dhanna, 

Thou hast found out Hari's secret 

Thy sincere devotion* was to Hari, 

Naranjan, the God, hath met (thee) : 

70 Show him to me, Dhanna; 

I am thy priest." 

Dhanna's devotion was to Hai'i: etc. 

IX. 

He took the Brahman outside : 

Shi,mi- was grazing the cows. 

75 " Look at him, Brahman, among the herd 

He is doing all the work." 

Dhanna could see Hari 

He did not show himself to the Brahman. 

Dhanna's devotion was to Hari : eta, 

X. 

80 Saith the Brahman, " Listen, Friend Dhanna 


Make him show himself to me : 

The Gurus have saved thousands of followers. 

I (too) 

would save some followers. 

I also am very fortunate, Dhanna, 

85 In that I have consorted with you. 

Praying on my behalf; 

Fall at his feet. 


etc. 

XI. 

Hari was the helper of Dhanna ; 

90 As he said, so he obeyed : 

He ground for him pots of boiled millet 

Plucked him sugar-cane to chew 

Gave him a relish (greens) to his bread, 

And butter-milk in a brass cup to drink. 

95 " Be pleased to show thyself to my priest " 

He called out to him with a loud voice. 


eta. 

* Literally, String, rope, cord. f Sanskrit, Byama. 

12

: 

: 

: 


XII. 

Saith Dhanna, " Listen, Narayan; 

Be pleased to stow thyself to my priest 

100 So show thyself, Narayan, 

That thy kindness be pleasing to thee." 

Said Narayan, " Listen, Friend Dhanna ; 

I will not show myself to him. 

In life after life hath the Brahman been deceitful, 

105 He hath done no good work : 

All his life hath passed thus : 

To this very day is his mind not upright."* 


etc. 

XIII. 

Said Narayan, " Listen, Friend Dhanna ; 

110 I am Krishn Murari, 

Those who give me adoration. 

Whether men or women ; 

Those who repeat (the name) of the Supreme God, 

I bring to salvation. 

115 The Brahman (too) is under good patronage; 

He too shall cross over (to salvation)." 

Dhanna's devotion was to Hari : etc. 

XIV. 

Saith Dhanna, " Listen Narayan ; 

Thy (power of) fascination is very great 

120 They whom thou thyself exaltest 

Who shall call a miistard-seed, (of no account) " 

The company of holy men is most blessed : 

Dhanna, hath well said. 


etc. 

Refrain. 

125 Dhann§,'s devotion was to Hari 

Dhanna's devotion was sincere : 

To the .su;f)reme, infinite and immortal 

1 28 Hari was his devotion. 

* Ut, Wet.

: 

; 

! 

: 

: 

; 

No. 

IV. 

THREE FRAGMENTS ABOUT SARWAR, 

As EECOBDED BY A MuNSHI AT FiBOZPftE FEOM THE LIPS 

OF THE LOCAL BiRAlifS OB BaEDS, FOE MeS. P. A. StEEL, IN 1879. 

[Thoae fragments, given origioally as the wliole tale of Sakhi Sarwar (!), are 

very useful and valuable in filling up gaps and explaining obscure points 

in more elaborate legends.] 

TEXT. 

Sakhi Sabwar db Gawan. 

I. 

Sarwar jammia, hoia shadJ, 

Agge razi hoiS. Zainu'l-'abdin 

Piran de man shadian 

Shadidne wajwae. 

5 Lliq hoiaj 'ilm wacMre j 

Parhi^ 'ilm kitabaii cMre. 

MM 'Aesha de farzanda 

Mehnat utte dil dliaria. 

Mehnat karda wall Allah dd 

10 Ayyar pichchhe chhiria. 

Ayyar chare atte parhe Qaran, 

Majlisan piran d4 ahsan : 

'Aesha eh kamai kiti 

Bakhshish oh nun milia. 

15 Vich wanan pir chhachhS, chare 

Roza, khair^ namaz guzare 

Sarwar khoran sanjh rachai ; 

Nadi kinare kanak bijwai : 

Eakha ja khalaria khoraii; 

20 Nazar sher de charhia. 

Dujt wari Sarwar ai: 

Dhan, tu jaia 'Aesha Mai 

Khetar de vich ja khilota, 

Sarwar ghar thin turia.

: ; : ! ; 

" 

Sarwar utte ghiiri pave 

Agge Sarwar namaz parlid^, 

Pakar khanda maria. 

Sarwar, mere vitte pa gar ae I 

Badshah laggi turt ghalae ; 

Kan p&chhal doven waddh le ae, 

(Ahi dMe Sanha)* " Piran da karah karSe ! 

92 LEGENDS OF THE PAKJAB. 

25 Ake sher kalilan khave, 

30 Sher jehe tun, Pir, mar gawae 

Ghanun Pathdn bakhsh bakhshaii, 

35 Sarwar razi kitS. 

Is Pathan karamat dekhkar, 

Ghora, jor§,, poshak ditt&. 

Fuqriin sawal Khuda da paia : 

Sarwar ghorS, dast pharaia, 

40 Kapar par kitian lirah, 

Langoti paimiln karia. 

Dutian jake chughli khai 

Ghanun Pathan baiafc mangwai. 

Upar ghora Sarwar anda ; 

45 Dekhkar Pathan hoia dil raanda. 

Ik fuqran juUi pal, 

Sahib agge faryad sunai: 

Eh ghora jora 'arshon aia ; 

An hawale karia. 

60 " Kya teri qudrat, Ghanun Pathana, 

Main par zor chalaia " 

Badshah hoke khala nim^na. 

Pair piade aia. 

" Gunah ch&bakhshin, Sayyida 

55 Kissi bhulle bhullaia." 

Mil matte gall samjhai, 

Hukm shara' dS. rah batae 

Matti di khaiiayat changi; 

Aqibat par langhave. 

* A very curious aside ; as it were a stage direction.

Kakki 

: 

: 

: 

; 

THREE PRAGMKNTS ABOUT SARWAE. 93 

60 Bfii di kui-mai ai 

Piran dushale ditte 

Laggi razi kita. 

Majlis karke gandhe paian, 

Khabaran piran te pahunchaian; 

65 Kal Pathan de sak karia : 

MauUa eh kuchh kita, 

Mayan paia Sarwar dana : 

Ealke huran baddha gana. 

Sarwar de biah nun gana 

70 Likhia harf Qurana ! 

Change mel sadae 

Ma! 'A.esha hukm karae, 

'Arshon huian pari3,n aian, 

Ghara gharoli bharke le aiaii. 

75 , 

jammi ghS,r tarkhanan ; 

Dekh Sarwar mul karaia an : 

Sarwar agge baith hoi Kakki, 

Pithon chauri te titar lakhi. 

Lakkh khurakan kitian Sarwar 

80 Mar palake charhia. 

Jad Sarwar Kakki de warisan de ghar gia, tad unhuii ne 

inkar kita : karamat nal Kakki bol uthi, 

Wan§,n wak&ran 

Pir dian kaharan 

Pilun mang mothon lia. 

Poh Magh bar lagM, 

85 Wan darakht mewa lagaia. 

III. 

Dani akhe, "Rauza-khanS, 

Baitha raj kare Sultana. 

Le tur an Nigahe awan 

Sarwar de darbare, 

90 Dani nun pir beta ditta.

This 

; 

; 

: 


Sewad§.r Sarwar da kita : 

Kuttin churian kare tayyari 

Piran sadwaian. 

Unhaii piriiii asadar chele kite 

95 Sarwar de unhan ustut kiti 

Khatam darud akhwaiS.. 

Bahiron aia Karma Dharma, 

"Kiha shor machaia " 

Dani akhe, " Sarwar Pira ; 

100 TJs vich was nahm kuchh mera." 

Sarwar was born •, 

TEANSLATION. 

Songs about Sakhi Saewae. 

rejoiced 

And moreover satisfied was Zainu'l-'abdin : 

* 

The hearts of the saints rejoiced 

And they beat drums. 

5 Growing up he acquired knowledge ; 

He learnt knowledge in the Four Books : t 

The son of Mai 'Aesha J 

Applied his mind to labour. 

Labouring, the saint of God 

10 Followed his flock to pasture. 

-He grazed his flock and read the Quran^ 

(Becoming) chief of the assemblies of saints. 

'Aesha's earning was this : 

This gift was given her.§ 

15 The saint grazed the goats in the jungles ; 

(and) 

Passed his life in fasting, charity and prayer. 

Sarwar formed a partnership with his enemies. 

And sowed wheat by the river-banks. 

His enemies set him (in the field) as a watchman 

20 He fell under the gaze of a tiger. 

* Name of Sarwar's father. 

t Qui'an, Tauret, ZaMr, Anjil : i.e. Quran, Pentateuch, Psalms of 

David, Gospek. 

X Sarwar's m.otlier. 

§ Idiom ; was the kind of son 'Aesha here.

§ "; 

:; 

! 

THREE FRAGMENTS ABOUT SAUWAR. 95 

Sarwar'a turn came a second time 

Well done ! Thou son of mother 'Aesha 

To stand in the midst of the field 

Sarwar left his house. 

25 The tiger came and showed his teeth. 

And gazed fiercely at Sarwar : 

Then Sarwar repeating prayers. 

Seized his staff an d slew him. 

Sarwar, come and be my helper ! 

30 Thou saint (that) hast slain such a tiger ! 

The king sent messengers at once 

They cut off both the tail and the ears and brought them. 

{Said Abi to Sanhd*) " Let us make sweetmeats 

(In honour) of the saint ! 

35 Ghanun, the Pathan,t gave gifts 

And satisfied Sarwar. 

Seeing his miraculous power, the Pathan 

Gave him a horse, and a suit of clothes and raiment. 

The faqirs begged (them of him) in the name of God .J 

Sarwar gave up the horse, 

40 And tore the clothes into strips. 

And made waist-cloth and drawers (of them). 

Spies went and slandered him 

Ghanun, the Path§,n, assembled his Court. 

Sarwar came (riding) on the horse 

|| ; 

45 Seeing this the Pathan was ashamed in his mind. 

Together the faqirs had prayed, 

And told their trouble to God : 

This horse and clothes came from heaven 

And they gave them over (to Sarwar). 

50 (Said Sarwar) " What power have you, Ghanun Pathan,, 

That you applied force to me " 

The king stood fuU-of-grief 

* Wife and Husband : followers of Sarwar. 

t Said to have been ruler of Mtiltan. 

J The ordinary way oi faqirs begging. 

§ Whereon the faqirs ate it up, as other legends show. 

(I 

Restored to life.

: 

f 

— 

96 LEGENDS OP THE PANJaB. 

And came (to meet him) on foot. 

" Forgive my fault, Sayyid, 

55 Some one has misled me." 

Together the assembly explained the matter (to the king). 

And showed the way and orders of the Law ; 

The charitable decision of the assembly was good 

And brought (them) to salvation. 

60 Bai was betrothed (to the Saint) :* 

They gave shawls to the saints, 

And satisfied the hangers on. 

Collecting an assembly they tied the marriage-knot, 

And sent news (of it) to the saints. 

65 They made (the saint) a relative of the Pathan (king). 

This much did God (for Sarwar). 

Sarwar the wise underwent (the usual) seclusion. . 

Hurls meeting them tied the marriage-knot. 

The marriage-knot at Sarwar's marriage 

70 Was inscribed with words from the Quran! 

A grand assemblage was called : 

Mai 'Aesha issued all the instructions. 

I'luris and fairies came from heaven 

Bringingthe pots aud pitchers filled (with water). 

II. 

75 KakkiJ was born in the carpenter's house : 

Sarwar saw her and came and bought her 

Kakki lay down before Sarwar, 

Broad in the back and brown as a partridge. 

Sarwar gave her endless food 

80 And lept on to her back. 

When Sarwar went to the house of Kakki' s owners they 

refused her : and Kakki miraculously spoke out (as follows) : 

In the woods and forests 

The saint's doll-he&vevs 

* Ba;i was Ghanto Pathan's daughter and Sarwar's wife. This was 

" the chai'itable decision." 

t The concluding ceremony of a man-iage. 

X Sarwar's mare.

THREE FRAGMENTS ABOUT SAEWAE. 

^7 

Asked me for some inlu* fruit. 

In January and February the forest became green, 

85 And tlie wcwif tree bore fruit. 

Said Dani, 

III. 

"In tlie domed-building 

Sultanf sits and rules." 

They started and went to Nigaha, 

To Sarwar's shrine. 

90 The saint gave Dani a son, 

She made him a follower of Sarwar : 

Making ready cakes and sweetmeats 

She called the saints. 

The saints made him a follower and disciple, 

95 And sang songs in praise of Sarwar, 

And repeated texts from Quran. 

Karma and Dharma came from outside, 

" Who is making this noise 

Said Dani, " Sarwar the Saint ; 

100 I had no power in the matter." 

* Quercus arcana bears fruit in June- July, 

t Same as pilu. J Sarwar. 

13

; 

: 

No. V- 

THE MARRIAGE OF GHAZt SALAR, 

As RECORDED POE THE AriHOR PROM THE PRIVATE KilTHl MS. 

KEPT BY' A Singer for his own information. 

This man is in the habit of coirdng annually to the Ambdld Cantonment in 

May to sing this song at the Chhari hd Meld, or Fair of the Flags, 

which is held in honor of Mas'îd Sdldr Ghdzi, the great Saint of 

Bahrdich, and now Patron Saint of the inhabitants of the British 

Cantonments in Northern India. 

[The song, which gives internal evidence of considerable antiquity, is valuable 

for itR language. 

It has proved exceptionally difiBoult to translate.} 

[SdUr Ghftzi, Bare Miydh, Bdle Miyka or Mas'iid SaUr Ghdzi, as he is variously 

called, was the son of SahA Sal&r and nephew of Mahmiid of Ghaznt. He 

was fanatically opposed to Hinduism, and was killed when only 19 at 

Bahrdich in Awadh, in an outbrealc caused by his fauatibism on 15th June 

1033 A. D. Vernacular accounts of this celebrated hero are to be found 

in the Persian work Mirdt-i-Mas'lliU by 'Abdu'r-EahmAn Chisht! and in 

the T) rd d abstract of the same entitled Khuldsa Tawdrikh-i-Mas'ildi by 

Sayyid Akbar 'AU.] 

TEXT. 

Git Shadi Saytid Salae Sahib ka. 

PahilS. Khand. 

Sayyid Rana ne kari tayyarij 

Ang pMle nahid samae. 

Sahar Radauli Gajan ko lae. 

Tuk. 

Sahar Radauli lae Gajan ko 

5 Sab log dekhne dhae. 

Dhan kok, jahan Sayyid paida 1 

Banra sab ke man bahae. 

Sayyid Raaa ne kari tayyari 

Sab pharas phaniis karae. 

10 Biobhe gulam galiche, tane lal chûdni, 

Gotakie hal lagae. 

Sattar Salar ki baithi majlis : 

O sarbat pan mangae. 

Gulhal gulal chhirak dia,

: 

! 

: 

; 

; 

THE MARRIAGE OP GHAZl SALAR. 99 

15 Upar rahe jis ke atar bas mahkae. 

Kh§,aa tayyar tha Sayyid ke 

sab ke dast dhuli,e, 

KhanS, khilS-e, hiie the pbarig : 

Bivi ne Bhamman ko big bnlae. 

20 Bhamman bulwae lia majlis men 

patri hal khulae : 

Greh chalis pare Gajan ke : 

Pandit ne h^l batae. 

Sakhi sahili gaoti mangal 

25 Mamul dil hubb badhae : , 

Hansi khosi men kati rain, 

Je o sab ko bida karae. 

Kald. 

P&nch pakheru chale age ko, 

jad Mamul ghar ae. 

30 Khusi khusial bhain Mamul'; 

Bivi ne kul kurmi khes bulae. 

Bivi Mamul ne suratdhari thi bhari, 

Bivi ne sahnak ki kari tayyari 

Saton suhagan to avon, 

35 Sahnak Bivi ke bharaven : 

Bivi man men hulsaven, 

Biri Gajan ko khiMven: 

Bivi Allah Easul ko manaven ; 

"Kiakaram tullahi!" 

40 Eaina Allah ki jaga^ 

Sunio jethe, bare bhai 

Rahya yun hi chali ai. 

Bivi muUan makdiim ko khilave. 

Hare hare bans to katave^ 

45 Mamul marwa jochhwave : 

Sandal ke khumbe jo garave, 

Eire lal to takave : 

Bivi jau se kalas gothave : 

Lale lale chandwa to tanave,

: 

: 

; 

: 

: 


50 Sandal cLauki to bichbave, 

Jis par Gajan ko bitbave 

Daston kangan to bandbave : 

Miyaii ke kaman tel cbarbave, 

to sakbian tbin suraug 

65 Macba tel vicb rang: 

bari bain suraug 

Bdje tal aur mardang. 

Jharti. 

O to jbumar kbub macbaen. 

Mirasan jo aven gbare dbola to bajaveri : 

60 Blvi dana to lutaven : 

Kbari bel to waban par paven 

Bivi baitbi dan to lutaven. 

Eala. 

Bivi Mamul ne man rakba sabbon ka-; 

"Turn Gajan bo autare '" 

65 Sayyid Kana buls^ve, 

Atis bajon ko bulae 

Un ka dam to cbukave : 

Tbal mehdi ka bbaraye. 

Waban sab Sayyid jama bbi ae. 

70 Sayyid Rana ne mebdi ka thai sanware : 

Sabu Salar ke gbar ki cbalne ki kari tayyari. 

Kbub rawais ki^ Sayyid ne, 

Anginti saj 

sanw^ra. 

Gulbal gulal bandbe takbton se, 

75 Sobine bo ajab bajara : 

tîtne pbulware bandbe takbton se 

Jaise gagan cbitak rabe tara ! 

Kele kanwal bane at kbaae, 

Sarbon ka per nirala. 

80 Main kya taripb kariin pblilon ki 

Rabe un ka bbau nirala. 

Age sawari cbali Sayyid ki 

Picbbe log sab jata. 

Ja pabuncbe Babraich sabar men ;

; 

THE MAREIAGB OF GHAZl SALAR. 101 

85 Sab log dekhne jlttl. 

Jaijoi chhaten, hath phulre, 

Anr chhuten mahtab jhalkara. 

Kitne pahar par gae raushni 

Chamke akas bich satara. 

90 Charkhi hath phul chhutae lage; 

Wahan karta shor anara. 

Main bhui champa ki kya karun 

Sipat rahe yun kath gae Nath Mall Lala. 

Eaushan phanfts jalen : 

mom ki batti rahij 

95 Jis ka jot ujala. 

Dhum gajar se pahunchi mehdi, 

Aar pahunche Mamul ke dware. 

Hota rag, rang bajte naubat, 

Lut gae khilone sare. 

100 Bibi adar man rakha sajan ka, 

Mehdi ka thai utar(3 : 

Khana khila dia Sayyid ko, 

Aur sajan ko bida karave : 

Mehdi dast rachi Gajan ki, 

105 Bibi kul kunbe khes bulave. 

Kald. 

Racha biyah mere pir ka; 

Makh barse nur upar. 

Leke phauj Raja Sohal charha : 

Anginti sajhi dhar. 

110 Anginti sajhi dhar, ji, aur mastak : 

Bhag un ka bhala. 

Nathu, Nand Lai gwal rahe khet men, 

So le gaian Raja Sohal chaM. 

Le gaian Raja Sohal chala 

115 Khari Jaso bal lae, 

" Gahona teg, Miyan Gajana, 

Nahin, Jaso bahur khae." 

Tuk. 

Mamul ghar anand badhen, 

Raina biyah ki jo aen :

. Eaja 

; ; 

' 

JJiart'i. 

" 

Jhartt. 

Tu kya dekhega teg hamar ' 


120 Sohal khabariii sun paen 

Miyan ki gaian le churaen. 

Ab kyS, Bidhna ne bant banai 

gaian le j^ve. 

Khara Nanda pachtave, 

125 Apne ji men ghusse kMve 

Aur kuchh kaha na j§,ve. 

Yeh kya karta hai khel Ilahi 

Bole Nanda to ghumir, 

"Suno Bhaij turn Ahir; 

130 Dil men bandlio apne dhir 

Yad karo Gajan turn pir. 

Jake kamar pur karo, Bhai ! 

Pai gwalan ne khabar. 

Sab mil bandhe kamar, 

135 Chhaka Sohal ke dagar. 

" Ab tain javega kidhar 

Tain ne Bale sang daga kamai." 

Bola Nande ghusse khae, 

" Sohal, bhaga kahan jae 

140 Kya tain ji men na darae 

Kya tere ajal to lae " 

Nanda ne apne sang uthae. 

Bol^ Sohal, o Eao, 

" Nanda §,ge kyuh na ao 

145 Kya tu dhamki dikhlao 1" 

" Gajan banre ko bulao : 

Ean men Ghosi hai Ahir, 

Dil men sahwara Gajan pir ; 

150 Mareh khabaraura tir, 

Barga bhari pare bhir : 

Gwalah ne jalim mar machae. 

Raja Sohal hai be-pir,

! " 

THE MARRIAGE OF GHAZl SAI.AB. 103 

Jis ne kato sab Ahir. 

155 Nadi Sarjil ke tir 

Bahoti rukat se nir. 

Jhartl. 

Eajti gaiaii le chala jave. 

Jaso chhaka lene jave : 

Dekhke ran ko dahlave 

160 Aur kuchh kaha na jave. 

Apne ji men uktave, 

Jfiso ulti pichhar khave, 

Bura hal to banave. 

Chira lohu meu dabave, 

165 Sare badanon men lagave : 

Ake banie ko dikhave. 

Jhartl. 

Jaso sar ke bal kbari nocbe. 

Jaso narJ 

To pukari 

'' 

1 70 Sun pharyad tu hamari 

Raja gaian le gia sari, 

Aur julam kar gia bbari ! 

Jhartl, 

"Miyan kat gae gwal sab tumhari." 

Miyan ke sine cLarbta tele ; 

175 Banra baitba cbaupur khele. 

Sang men ajab bain naurele ; 

Mubammad Gbori albele. 

Jhart't. 

Hu&n par Brabna Baba chanwar dhuMve ; 

Jaso kiik to macbavOj 

180 Banra cbaupur ko utbave : 

Hath se kangan toraj bhai, 

Daston mebdi dbuwai. 

Jhafti. 

Gaji Miyan gbare shamsber ko utbaven,

! " 

: 

!" 

104 LEGENDS OF THE PAN JAB. 

Kald. 

Ghusse jor Gajan dil kbave, 

185 Chalke pas amman ke ave. 

"Mamul, ghat ko jo sambhale. 

Kin pe sajl jula hale 

Amman baten sun hamari 

Raja le gil galan sari, 

190 Aur julam kar gia bhari." 

Jhart'i. 

" Ham se Jaso ne anke kahS., re ! 

Kala. 

"Beta, tare biyah ki kari tayyari 

Tain tie kya thani 

Gajan, dil jani ! 

Tuk. 

195 "Tain ne kya tMni 

Gajan, dil janl 

Beta, main tera biyah kar laftn : 

; 

! 

Tera karuri biyah, dulhan ghar laun. 

Beta, jab dil ke hubb mitaiin. 

200 Beta, mere dil meA yehi khusi rahi, 

Tera julwa wakt dilaun. 

Aj ki rain biyah ki, beta ! 

Tera saryat sahra parhaim. 

Mera kaha man le, beta ! 

205 Aur main teri bal jaun." 

Wahan palt jawab dia Gajan ne, 

"Main jaldi se phir aun" 

Bahi nain to nir 

Nahin bandhi dhir. 

210 "Suno, Gajan Pir; 

Ai beta, main teri bal jauii ! 

Turn ne dala kangan tor, dho dali mehdi 

Beta main dola kis se banaun '' 

" Tum khatar jama rakho, meri amman 

215 Main jaldi se phir aim.

: 

: 

: 

; 

: 

THE MAREUOE Off GhAzI SALAR. 105 

on 

Mere dil men chain paregi jad hi, 

Jad gaian phir lAdri. 

Kya ! gaian clilior, baith raliftn ghar men 

Kya jag men munh dikhlaun 

220 Mujhe sub milke kya kahen, ' bhala re ! ' 

Kya kul men dagh lagailn 

Maid katun sis Sohal Raja ka, 

Aur jad main biyah rachaun. 

Jaisa phiri^n, jab karim biyah re, 

Nahin sahra kabar charhaun." 

Eald. 

" Bakso sir, tuphel Khuda ke ! 

Sun, Mamul, meri maen ! . 

kaisa gabar jabbar kahlave 

Main jharun us ki gumrahi [" 

Kald. 

230 Baksa sir mihar kia mai 

" Ja, beta ! tere phatte karegtl Ilahi I" 

Gajan sir baksavo 

Lilli ghori khol mangave : 

Jin pakhar kaswave 

235 Dohri tarkas lagave. 

Jhartt. 

Age jin ke tabal dhara.re. 

Age nakiba to phirave : 

Sattar yar wahan par ave ; 

Bana jangi banwave 

240 Nahiii koi dhila to lagave. 

Jharti. 

Sab Sayyid jama to bhiri 

Gajan Rabb ke dil jani 

Phaujen bane Bhubani, 

Sunke Dharti dahlani 

245 Raja Basak ne Bhu mani. 

Mere rakhio laj, Khuda re ! 

14 

Sattar yar wahan par thare ,;

: ;" 

: ! 

;" 


Muhammad Ghori siladhan. 

Gajan dulha ne lalkare, 

250 Pahunohi ptauj hi ki dhdri. 

J ad lohri par phil chilare. 

Kald. 

Marft tabal baja ua ran menj 

Sun kair ki siirat bhulani. 

Charhe Sayyid to Salar 

255 Kuchh lagi nahiri bar 

Bahi Lilli par aswar, 

Pakre hathori men hathiar. 

Jab khabar ambar sun pEli. 

DtSEi KHAlJfB. 

Sobha jalu detl hain phaujen : 

:260 Miyan ke laskar umar chalen sab phaujen ! 

TuJc. 

Miyan ke laskar chalen sab phaujen, 

Aur kaha, " Karam Rabb bhina ! 

Niyat khair ka parha phatihS, 

Harawal ajit ko kina. 

265 Umri phaujen sab saras din ki, 

Us ko jae Sarju par lina. 

Jab donon phaujen hui barabar, 

"Tain sun, chatar rang bhina ! 

Tain ne mare gwal, chhin len gaian 

270 Tain, kaphar, daga jo kina. 

Turn mS,no ! Din chhor ! Do gaiad ! 

Nahin, torun terS, sina ! 

" Teri gaian na phirenge, Turka ! 

Tain sun, Sahu ke lal dulari 

275 Chhattardhari dekhun teg tumhari." 

Raja Sohal jawab yun dina. 

Pakar shamsher Gajan Gaji, 

Gai-ha ghamân wahan par kina.

! 

: 

;: 

! 

! 

: 

! 

: 

THE SIARBIAGE OF GHAZt SALAR. 107 

Larfce Sayyid baghli, jin ke daston Miyaae sele- 

280 UnhoH ne kitne dil pele, 

Ran men chachar jaise khele. 

Jhartl. 

Age jin ke tabal dhar^ re 

Age kaphar karte choteri. 

Sayyid sar mukh jad hoten 

285 Pare lunde munde lofchen 

Wahan I'othon par loth pare re ! 

Larte Bhim balkari 

Ran men ghau karte kari 

Raja Sohal ne himmat hari; 

290 Jad hoti us ki khwdri. 

Jhart'i. 

Us ne pichhe ko surat dhart re 

Ran men khumba wahan gara 

Aur rah barso lohu sara : 

Gajan dulha ne lalkara : 

295 Kitne kapharon ko mara 

Jhart't. 

Jad Jogan khappar bhara re !' 

KaM. 

Maru tabal baja us ran men. 

SunOj Sohail bhag chala re ! 

Rabb ne rachna yeh rachai. 

300' Palta suniyo mere Bhai 

!' 

Us ka kuchh na bas ae. 

Kya karam Ilahi 

Wahan ran khumba gara re !! 

TlSRi. Kha^p 

Cfajan Miyan ran men ji kia dalil : 

305 Umak pith Lilli eharhe ;. sft paka^r Mth mênv 

Umak pith Lilli cha/rhe : s

5 

: 

: ;" 

" 

: " 

"Age ao, Turka, jin ne bhai mare ! 

31 

" Kah4n jae bh^g^ 1 dge ao, Raja ! 

LillJ par sambhalo, Salar ! kuchh tain bhasam bhula ! 


Raja Sohal ne phauj phir nal sahwM. 

Donon phaujon ke bich marii mast bajS. 

310 Lare E%iit Ghori, 

Pahine surkh jori. 

"Rakhiyo laj, Shambu !" kahtd Eajl. 

Brahnd jodha, y^ron ke bicb ay4, 

Ghiissa jor khake, aur sonta ghumaya : 

Lare -Nirmal par-hiyM^ sobM, matwala : 

Un ne a,nke ran ke bacli bhochkS, dala. 

"Yaro, Gajan ke nimak ke rakhiyo turn laja \" 

Lare ab ajab : nahin mukh mora 

320 Miyto jabar ghabar k&, o to sis tor^. 

Gaen bMg phaujen, age bhum baja. 

Lare Muhammad Ghori, bandhi dast katari 

Chhaken gidgidan Jogan dakari 

Gaen bhag phaujen : lia gber Raja. 

325 Raj4 haiik mari 

DhM pkauj sari. 

Itni bat kahkoj Raja hathi saja. 

RajS. farmave 

330 Topen dagwave : 

Chhuten kahkaha karke, bijli turptlve. 

Marfca tlr talwar ohala ave Raja. 

Kahte ap Salar, Sahd ka dulari; 

"Laro an Sohal ! kydn tum ran men tbai-i 

335 Dekhun teg teri ! Tu kaisa hi Rajil " 

Raja hathi holS. 

" Suno, Gajan dulha, 

Mar^ khainch unsij 

340 Kia jor duna. 

Kia jor dun^, 

Gia tut sinS. 

Gia war khali : milen hath Rajil. 

Gajan ghussa kina :

; 

THE MARRIAGE OP QHAZI SAbAR. 109 

345 Lilli ko ir dina. 

Uri cliai Lilli : nahiri bdr kina, 

" Kalian jae bMga tain sun, Solial bhina 

" 

! 

348 Lia khaiiicli shamsher mar dala Raja. 

TRANSLATION. 

The Sono op the Makeiaqe oe 

First Part. 

Sayyid Eana* made preparations ; 

Sayyid Salar Sahib. 

His swelling body cotild not contain itself (for joy). 

They brought Gajanf to Radauli Cityf 

Song. 

They brought Gajan to Radauli City 

5 All the people came to look on. 

Fortunate the womb in which the Sayyid was born ! 

The bridegroom pleased the minds of all. 

Sayyid Rand made preparations : 

Made (ready) the carpets and lamps, 

10 Spread the carpets and rugs, stretched the red canopies, 

And shook out the large cushions. 

Seventy sat down in Salar's company : 

He procured sherbet and betel. 

He sprinkled red powder 

15 After which it came to the perfuming with'atar (of roses). 

The Sayyid's feast was ready 

And he washed all their hands : 

He gave them 9, feast and when they had finished 

The lady (of the house) § 

quickly called a Brahman. 

20 She called the Brahman into the company : 

He explained the state of the horoscope. 

Forty planets influenced Gajan : 

(As) the pandit explained. 

Maids and women sang joyfully. 

25 And kindled love in Mamul'sll heart. 

* The bride's father. f 

J In the Bara-Banii District, Awadh. 

§ Ghazi Salar's mother. 

Name of 

II 

Ghazi Salar's mother. 

Ghazi Salar.

. 

: 

; 

: 

: 

§ 


They passed the night in laughter and jokes. 

Till he bade farewell to all, 

Tiine. 

Five birds* went forth. 

When they went to Mamul's house. 

30 Pleased and happy were the sisters and Mamul 

The lady called all the kith and kin. 

The lady Mamul was very intent (upon it). 

The lady made ready the Lady's Plate :t 

The seven wives came 

35 And filled the Lady's Plate 

The lady was happy in her mind, 

And gave Gajan betel-leaves to eat 

The lady called on the Prophet and God, (saying). 

''Thoii hast shown grace, God." 

40 She kept the vigil of God. 

Hear elder brother ! 

Thus went the proceedings as usual. 

The lady fed the priests and high-priests. 

Cutting fresh and green bamboos 

45 Mamul set up the house-of-rejoicing : 

J 

When she set up the sandal-wood posts 

She set diamonds and rubies in them : 

The lady twisted green-barley round the pitchers. 

She spread several red canopies 

50 And placed a couch of sandal-wood. 

On which she sat Gajan. 

She fastened the marriage-bracelets on their wrists : 

The Miyan's matrons anointed him with oil. 

Her maidens were beautiful 

55 And anointed (him) with oil amidst laughter. 

They were very beautiful. 

And the drums were sounded and they clapped their hands. 

* Sign of good fortune and success. 

t Oft'oring to Fatima, Muhammad's daughter. 

1 I. e., tlie temporary shed under which the marriage takes place. 

§ In token of the future good fortune of the wedded pair.

t 

: 

THE MAEEIAOE OF GHAZi SALAE. Ill 

Drums. 

They sang the chorus loudly. 

Songstresses came to the house and beat drums 

60 The lady distributed gifts : 

Standing she gave them presents : 

Sitting the lady distributed gifts liberally. 

Time. 

The lady M^mUl honored them all. 

( Saying) " Gajan thou art a handsome man ! 

65 Sayyid REina was pleased 

And called the makers of fireworks : 

And settled their price : 

And filled the plate of myrtle. 

Then all the Sayyids collected. 

70 Sayyid Rana prepared the plate of myrtle. 

And made ready to go to the house of Sahd Salar.* 

The Sayyid made grand preparationSj 

And set out things innumerable. 

Red flowers were fastened on planks, 

75 Resplendent with a thousand wonders : 

Many fireworks were fastened on planks. 

Like stars glittering in the heavens ! 

Plantainst and lotusesf were made very beautiful, 

And exquisite mustard-plants. 

80 How shall I praise the fireworks 

Their form was very beautiful. 

On went the Sayyid's cavalcade, 

And all the people followed it. 

Fireworks were let ofi^ 

hand-fireworks blazed, 

85 Glittering moonsf were let off. 

The blaze lighted up many a hill. 

As stars glitter in the heavens ! 

Wheelst and hand-fireworks were let oS" 

As pommegranatest buzzed there ! 

* Gliazi Salar's father. t Kinds of tircworks. 

''

112 LEGENDS OE THE PANJAb. 

90 How shall I tell the beauty of the jasmines* 

Solemnly saith Nath Mall Lala.f 

Lamps were lighted and there were wax candles. 

Whose light was very brilliant. 

In the early morning the myrtle reached, 

95 And they reached M^mul's house. 

There was singing, and many kinds of music was played. 

All the toys were distributed. 

The lady treated the guests with honor and respect. 

And took the plate of myrtle. 

100 She gave a dinner to the Sayyid 

And bade farewell to the guests : 

Gajan's liands were stained with the myrtle. 

And the lady called her family and kith and kin. 

Time. 

My saint's marriage was celebrated : 

105 His face shone forth with a great light. 

The Eaja came up with his army, J 

An innumerable following of bandits. 

An innumerable following of bandits, sir, and furious : 

And their fate was propitious. „ 

110 Nathu§ and Nand Lal,§ herdsmen were in the field. 

And Raj4 Sohal took away the (saint's) cows. 

Raja Sohal took away the cows : 

Jaso|| stood and made herself a sacrifice,^ 

"Bind on thy sword, MiyS,n Gajan, 

115 Or Jaso will take poison" (said she). 

Song. 

Mamul received happy congratulations in her house. 

When the night of the marriage arrived : 

Sohal had news of it 

And stole the Miyan's cows. 

* Names for fireworks. t Composer of the song. 

X Taking this opportunity to steal the Saint's property, 

§ Servants to Salar. 

|| 

Wife of Nand Lai. 

^ Swore vengeance.

; 

: " 

THE MAREIAGE OF GHAZ! SALAB. 113 

Drums. 

120 What hath Fate achieved now 

The Raja took away the cows. 

Nanda stood and grieved, 

And was wrathful in his heart 

And could not speak (for anger). 

125 What caprice of God was this 

Said then Nanda, the wise, 

"Listen, Friend, thou Herdsman 

Have patience in thy heart 

And remember Gajan, thy saint. 

130 Go and arm thyself completely, Friend ! 

The news reached the herdsmen, 

They all collected and armed themselves, 

And overtook Sohal on the road. 

"Where are you going to now " 

135 " You have cheated Bala *" (said they). 

Spake Nanda in his wrath, 

" Sohal, where are you running to 

Why have you no fear in your heart 

Why have you brought on your hour of death " 

140 And Nand^ up-lifted his crook. 

Spake Sohal, the king, 

"Nanda, why don't you come on 

Why do you (only) threaten V 

Drums. 

"Go and call thy beloved Gijan : 

145 How can you face my sword " 

In the pasture were Milkmen and Herdsmen, 

And they remembered Grajan, the saint, in their hearts; 

They shot penetrating arrows. 

Which fell in very great multitudes 

150 The Cowherds raised up a very violent disturbance. 

Raja Sohal was without faith,* 

* GMzi samr. 

t Lit, Without a saint, i.e. beyond the pale of ordinary religion. 

15

! 

: 

; ; " 

114 LEGENDS OF THK PANJAB. 

And he slew all the herdsmen. 

On the banks of the River Sarju 

The water was (red) with' much blood. 

Drums. 

155 The Eaja took away the cows. 

Jaso went to draw butter-milk 

Saw the pasture and was very agitated 

And could not speak (for grief). 

She was distressed at heart. 

160 Jaso fell backwards (in a swoon) 

And was in a bad way. 

She dipped her clothes in the blood 

And spread it over her whole body : 

And came and showed it to the bridegroom. 

Drums. 

165 Jaso stood tearing the hair of her head. 

J§.sOj the womanj 

Then cried out, 

" Hear thou my complaint 

The Raja has taken off all the cows 

1 70 And great oppression has been committed ! 

Drums. 

" Saint, all thy cowherds have been slain." 

The saint's breast was anointed with oil 

The saint was sitting playing at chaupur 

Grand people were in his company, 

1 75 And worthy Muhammad Ghori.* 

Drums. 

There Baba Brahnaf was waving a fan : 

Jaso cried out loudly. 

The bridegroom picked up the chawpur : 

f 

* Protably an historical confusion and meant for the great ShaMbu'ddin 

Miihamniad Ghori, who flourished two centm-ies after GhS.zt 

Salar. 

t He appears to have been merely some personal attendant on the 

Saint. 

X Stopped the game. 

•

; " ! 

THE MABRIAQE 01' GhAzi SALAR. 115 

Tore off the marriage-bracelets from his arms, 

180 And washed the myrtle-stains from his hands. 

Drums. 

Gaji Miyan took his aword from his house. 

Time. 

Gfljan was very angry in his heart, 

And went to his mother. 

" Mamul, that art steadfast in thy mind, 

185 Upon whom have the robbers made war 

Mother, hear my words : 

The Eaja has taken off all the cows, 

And great oppression has been committed." 

Drums. 

" Jaso came and told me this, alas ! 

Time. 

190 " My son, I got ready thy marriage ! 

What hast thou resolved on 

Gajan, my heart's darling \" 

Song. 

' " 

What has thou resolved on 

Gajan, my heart's darling. 

195 My son, I must marry thee : 

I must marry thee and bring home the bride. 

My son, I must strengthen the love of thine heart. 

My son, only this joy in my life remained, 

To bring thee the time of the unveiling (of thy bride). 

200 To-night is the wedding night, my son 

I must bind the bridal chaplet on thy head. 

Listen to my words, my son. 

And I will be thy sacrifice." 

And then Gajan gave her a ready answer, 

205 " I will soon come back." 

Then flowed the tears from her eyes, 

Nor was she patient. 

" Hear Gajan, my saint

: 

: 

: 

1 16 LEGENDS OF THE PANJAS. 

Ah, my son, I will be thy sacrifice. 

210 Thou hast torn ofif the bracelet, washed off the myrtlestains 

! 

My son, whose marriage must I perform" 

" Rest assured in thy heart, my mother ; 

I will soon come back. 

My heart will then' rejoice, 

215 When I bring back my cows. 

What ! shall I leave the cows and sit at home 

How should I show my face in the world 

What would all men say of me Well done ! 

Shall I cast a stain on my family 

220 I will cut off Raja Sohal's head 

^ 

And then will I prepare for the marriage. 

Just as I return will I perform my marriage. 

Else will I place my chaplet in my tomb." 

Time. 

"Grant me of thy milk,* for the grace of GodJ 

225 Hear me, Mamul, my mother ! 

What a mighty man he has made of himself 

I will correct his foolish ways." 

Time. 

She gave him her milk, (for) his mother was gracious ; 

" Go my son t God grant thee Tiqtory I" 

230 Gajan was granted the milk 

He sent for his mare Lilli 

And fastened on cloth and saddle 

And buckled on a double quiver. 

Drums, 

Before him the drums and timbrels were sounded. 

235 Before him went the heralds : 

Seventy friends came there (to him) j 

Dressed in the habiliments of war ; 

None delayed at all. 

* By way of oatli.

; 

! : 

" ; ; 

THE MAEBIAGE OF GHAZI SALAR. 117 

Drums. 

All the Sayyids collected in crowds, (to) 

240 Gajan, the beloved of God's heart ; 

Bhawani* collected the army. 

And hearing it earth trembled 

Raja Basakf felt the earth. 

Protect thou my honor, God 

245 Seventy friends gathered there : 

Muhammad Ghori was "standard-bearer: 

Gajan the bridegrom raised the war-cry. 

And the army collected in crowds, 

Till elephants screamed in the field. 

Time. 

250 Drums and timbrels were beaten in the pasture 

They that heard them forgot their courage. 

Sayyid Salar went on 

There was no delay : 

He mounted and rode on Lilli, 

255 And held his arms in his hands. 

Till the news of it reached the heavens. 

Second Paet. 

The army made a splendid retinue : 

All the Miyan's army and camp went forward together. 

Song. 

On went all the Miyan's army, 

260 And said, " Gracious is the glorious God [ 

They repeated the prayer of good-fortune 

And the heralds made him glorious. 

The army of each and all his servants collected 

And overtook him (Sohal) at the Sarju. 

265 When the two armies met together 

(Said Gajan) "Hear you dextrous one and well-favored! 

You killed my herdsmen and took away my cows 

You were an infidel when you didjihe wickedness. 

* A name of Devi. 

t Vasuki, the Serpent, wio supports the earth.

!; 

: } : 


Hear you ! Let go my servants ! Give me the cows ! 

270 Else I will break your breast !" 

" Your cows will not return, you Turk ! 

Hear, you beloved son of Sdbu ! 

I would see (the prowess of) your royal sword," 

Thus answered Eaja Sohal. 

275Gajan, the Ghazi, seized his sword, 

And made a great slaughter there. 

Fighting the Sayyids vaunted, with daggers and spears 

in their hands. 

And pierced many a heart, 

280 As if they were dancing chdchar* in the pasture. 

Drums. 

Before them were sounded drums and timbrels ! 

And the infidels were hurting them. 

When the Sayyids met them face to face 

Corpses fell lopped and shorn 

285 There they fell corpse on corpse. 

Fighting like the warrior Bhim,t 

They inflicted mighty wounds in the pasture ; 

Raja Sohal's courage failed him : 

And trouble came upon him. 

Drums. 

290 He bent his mind to flight 

In the field (Gajan) set up pillars (of victory) 

And all the blood was spilt upon the way 

GSjan the bridegroom set up the war-cry : 

And killed many infidels. 

Drums. 

295 And a blood offering was made to Jogan ! 

Time, 

Drums and timbrels were beaten in the pasture. 

' 

Hear ye ! Sohal fled away ! 

* A dance round a pole at the Holi festival, 

t BMma, one of the Pandavas. 

t Yogini, i.e. Durga or Kali.

; " 

come on Raja ! " Where are you running to 

THE MAEEIAGE OP GHAZl SALAR. 119 

God performed this deed. 

Hear the revenge ! my friends ! 

300 His (Sohal's) power came to naught. 

How great is God's mercy ! 

They set up pillars (of victory) in the pasturefchere ! 

Thibd Part. 

G^jan Miyan thought it over in his mind : 

All at once he mounted Lilli and seized his sword in his hand. 

Song, 

305 All at once he mounted Lilli and seized his sword in his hand. 

On went Sayyid Salar : he the well known Ghazl. 

The Eaja raised again a new army. 

In both armies loud drums were beaten. 

Ghori fought the Rajput, 

810 Clothed in a scarlet suit. 

" Have mercy, Shambu " * ! said the Raja. 

Brahnaf the warrior came amidst his friends. 

He was in great wrath and whirled his staff, (saying) 

315 He fought with Nirmal,J the brave, the splendid, the 

furious : 

Coming in to the pasture he astonished them. 

"My friends, be true to the salt of Gajan !" 

They fight continuously : no face turned back 

The Miyan struck off the head of the swaggerer. § 

320 Away fled that army and songs (of victory) were sung. 

Muhammad Ghori fought with his dagger in his hand : 

Trembling seized them and they called on Jogan. 

Away fled that army and the Raja was surrounded. 

The Raja gave the word, 

325 And his army rushed forward. 

* I. e'. Siva. t Salar's servant. 

§ I, e. Sohal's brother.

; 

" 


" " 

Come on, you Turk, that killed my brother ! 

Saying this, the Eaja got ready his elephant. 

The Eaja gave the order 

And the cannons were let off: 

330 And being let off thunders bellowed and lightnings 

flashed. 

Slaying with arrow and sword on came the RSja. 

Then spake SaMr himself, the beloved of Sah6, 

" Come and fight, Sohal ! why do you tarry in the 

pasture 

I would see your valour (sword) ! what sort of Baja 

are you !" 

335 The Raja goaded his elephant 

" Hear, Gajan bridegroom. 

Look to yourself riding on Lilli, Salar ! you have made 

a mistake 

" 

! 

He drew his sword and struck; 

He used immense force. 

340 He used immense force 

And hurt his chest. 

He missed his aim and the R§.ja fell into the (Sayyid's) 

hands. 

Gajan was very angry, 

And spurred on Lilli. 

345 Swiftly went Lilli and made no delay, 

" Where are you running to Hear you fine Sohal ! 

347 He drew his sword and slew the Eaja.

No. 

THE LEGEND OF 

VI. 

GURU GUGGA, 

AS PLATED AJ^NUALLT AT JAGADHRt AT THE HOLI 

FESTIVAL IN THE AMBALI DISTRICT. 

pt has been difficult to describe this poem. In the vernacular it is called a 

Sw&ng or metrical play, and as such it ia actually played by the natives. 

In it however are introduced purely narrative passages in the third person, 

and some passages also which merely explain the movement of the tale. 

On the other hand characters are constantly made to speak without 

introduction as in a real play. In practice the characters are assigned to 

different persons, and these speak the narrative and explanatory portions 

of their parts as portions of their speeches.] 

[The whole story of GuggS is involved in the greatest obscurity. He ig 

nowâ-days one of the chief Muhammadan saints or objects of worship of 

the lower classes of all sorts, and is also known as Zahir Pir. In life he 

appears to have been a Hindu and a leader of the Chauhan RSjp&ts against 

MahmAd of Ghazni about a.d. 1000. His habitation was probably in 

Bikaner. This tale would connect him with the R^jpAts reigning in 

Kabul before the Musalm^n rule there, but Tod disputes the identity of 

the Eajput Gajni with Ghazni. The story here given of Guggd's marriage 

with a princess of what appears to be the line of the Aham rulers of 

Kdmrilp in Assam is very curious. Tod, Malcolm and Elliot all mention 

Guggd : Tod does so three times, and each time with a distinct tale.] 

16

! 

! 

! 


TEXT. 

SwANG GuGE Eajp^t Bagar Des ka. 

Sarad Mat^, tu bari ! Dharte tera dhyhn ! 

Kirpa apni kijtye ! karo chhand ka gy^n ! 

Karo clihand k§, gjkn, M4t meri ! man ichhEi. bar paM. 

Tu hai, Mata, buddh kt data ! Oharnon ab niwauri. 

5 Karo buddh parg&sh ! anke nis din tujhe manaiin. 

Kar hirde man bashj s^ng Guge kS, cbliand banaun ! 

Ari Shakumbbari Mai 

Teri hai jot siwî, 

Kahta Bansi Lai; 

^nke karo sahM! 

10 Bagar Des suhauna ; Jewar Raja nam. 

Rahe dharm men nit : sada nahm pslp se kam. 

TRANSLATION. 

The Legend op Guga, the Rajput, 

mother Saradf thou art great ! 

of Bagae.* 

Blessed be thy worship 

Grant me thy grace ! Give me knowledge of poetry ! 

Give me knowledge of poetry, Mother mine, that I may 

obtain the desire of my heart. 

Thou, Mother, art the giver of wisdom ! 

thy feet. 

I lay my head at 

5 Grant me the light of wisdom, that day and night I may 

come and worship thee ! 

Dwell in my heart and soul, that I may sing the legend 

of GftgEi. 

Ah, Mother Shakambharl !f 

Excellent is thy light 

Saith Bansi Lai, come thou and ' 

help !' 

10 Pleasant was the land of Bagar, Jewar was the Raja's 

name. 

He dwelt ever in the law and never at all committed sin. 

* Bagar is usually placed in Bikauer. It was reaUy however a tract, 

occupied by Cliaulian Bajpftts mostly, and situated ia parts of what is 

now Gujarat and Malwa. 

t I.e. Saraswati, the Goddess of Learning. 

J The Herb Cherisher, a name of Devi, the great Goddess.

! 

! 

THE LEGEND OP GUEU GUGGA. 123 

Nahln p^p se kdm : 

rahe beakul din rati. 

NaMn chit ko chain : 

ren nindr^ nahfri ati. 

Hdjd Jewar. 

"He Prabhiiji ! Na age sautan : jatan kuchh ban nahin ave. 

15 Yeh Karmon ki rekh likht : ab kaun hatave 

Na age koi putar raj ka thamanhara, 

Sochat hiin din ren : kaun kinl, Kartara 

Prabhu, yeh kya gat kini 

Hul, dukh mujh ko bhari : 

20 Karm rekh balwan, nahin tartl hai tari." 

Bdnl Bdchhal. 

" Dosh kaun ko dijiye Apna nirbal bhag ! 

Bina putar, Raoji, lagi badan men ag. 

Lagi badan men ag : 

suno yeh bat hamarl. 

He had committed no sin, (yet) remained uneasy 

day and night. 

No joy was in his heart and sleep came not at night. 

Bdjd Jewar. 

" Lord ! I have no offspring to leave, nor have I any 

resource 

15 This is the decree of Pate : who shall now withstand it 

I have no son to leave as guardian of the kingdom. 

I brood over it day and night, what hast thou done to 

me, God 

Lord, what misery is this thou hast caused 

My grief is very great : 

20 The decree of Pate is strong and waits not for 

postponing." 

Queen Bachhal. 

" Whom wouldst thou blame Thy fate itself is evil 

Without a son, Eaja, thy body is aflame.* 

Thy body is aflame : listen to these my words. 

* I.e. In very great grief.

124 LEGENDS OF THE PANJAK. 

Main kis ko duri dosh 

mairi liin Karmon kl marl f 

25 Ai Prabhuji ! kabhi nahin dina dan : man Har kai nakmlina I 

Yun hin umar dl klioi : bhajan man men nabin kina, 

Picbble kini pap : 

wabi ab age ae. 

Jis bidh likb die ank, soi main ne bhar pê.'' 

Edjd Jewar. 

" He Rani ! Is jagat men Har bin kaun saMi 

30 Bin karni sansar men kaun par ho jae 

Kaun par ho jae jagat men I ochhe bbag likbaven f 

Bina putar nabin gati jagat men shakal bed sab gaveo. 

Is duniya ke bich anke birtha janam ganwayen. 

Yeh sansar saupan ki may§, j nit soche pachhtaven. 

35 Ik awat, ik chala j^t hai ; karam kare pbal pave. 

Main nir-bhag, kaFam ka hina, soch mujhe nit khave." 

Whom should I blame I, too, am Fate's victim \ 

25 Lord ! I gave no alms : I took not the name of Hari !* 

Thus I wasted my life : I praised thee not in my heart. 

I committed sins in my former lives :t now have they 

come up against me. 

The decree that fate has written down against me have 

I suffered in full." 

Rdjd Jewar. 

" Queen 1 without Hari what help is there in the world 

30 Who can be saved in this world without good deeds 

Who can be saved in this world our fate has been 

recorded as wretched ! 

Without a son is no salvation in the world, (as) all the 

scriptures have sung. 

Our life has been wasted fruitlessly in this world. 

This world is an illusory dream; we ever sorrow and grieve. 

35 One comes, another goes ; if fate will they reap a reward. 

I am unfortunate and the victim of fate; sorrow ever 

* Yishnu. 

wears me out." 

t Allusion to the doctrine of the transmigration, of souls.

: 

THE LEGEND OP GUBU GUGGA. 125 

Edni Bachhal. 

" Eajaji ! Sun lijiye man mere kl bS.t. 

Bina putar be^kul ratlin, j (in chakwi ko rat 

Jun chakwi ko rat, 

Rao, main raMn beakul din r^ti. 

40 Na balak khela angan men, bhar bharave chbathi. 

Kya, Bidhna, tain likhi karam men 

Main nir-bhagan part taraphti ; 

Eajd Jewar. 

nit sis dhanu pacblitati. 

na kuchb. par basati." 

" He Rani ! Sun lijiye : kyun socbe din rat 

Man ki chinta ddr kar : bbale karen Ragbunath. 

45 Bhale karen Ragbunath. Suno turn man chit lake. 

Jab pfiran ho bh^g us se din ap bulake. 

Queen Bachhal.* 

"0 Raja, listen to the thoughts of my heart. 

Without a son I am uneasy as a chahwif at night. 

Like the chakwi at night. Raja, I am restless day and 

night. 

40 No child plays in the yard and my heart is very full, 

What, Fate, has thou written in my fete that I grieve 

with lowered head. 

I unfortunate have fallen into sorrow, nor have I any 

resource." 

"0 Queen ! Listen : why 

Bdjd Jewar. 

grieve day and night 

Keep the sorrow of your heart afar : God J 

is gracious. 

45 God is gracious. Listen with heart and soul. 

When our fate is accomplished He will Himself call us to 

pleasure. 

* BacKhal was the favorite wife of Raja Jewar. 

t The chakwi is a water-fowl, the anas casarca. It has a very plaiative 

cry at night, which is the conventional simile for the cry of unrequited 

love in India, and also for cries of grief. 

J Raghunath in the text: i.e. Rama, or in modem times, simply 

God.' 

'


He Raniji ! karam dharam ik bara ; inhin chhoro mat koi. 

In ke bal se Surg mukat donori gat hoi. 

He Raniji ! Jo hoti auMd karam meij turn se boti. 

50 Pare Swat k^ bund, sip bin hoi na moti." 

Pandit Bangdchar. 

" Rao, soch mat na karo : bhale karen Raghbir. 

Man ki chinta dur kar : man men rakho dhir. 

Man men rakho dhir, Rô : ab soch karo mat bhari. 

Is maya sans§,r bich men dukh bahot nar nari. 

55 Honge putar tin, Maharaja : vaino bS^t hamari. 

Ik putar ais§; ho, r^ja parja niwen sare ! 

Queen ! Faith and works are a great thing ; let go 

neither of them. 

Through their aid Heaven and salvation will come to us 

both. 

O Queen ! If posterity had been decreed in my fate, it 

would have been through you. 

60 Drops of rain may fall in Swat,* (but) without sheila 

there are no pearls." 

Pandit Eangachdr.t 

" Raja, grieve not : God J is gracious. 

Keep the sorrow of thy heart afar : keep courage in thy 

heart. 

Keep courage in thy heart, Raja : grieve now no more 

greatly. 

In this illusory world is much sorrow to many men and 

women. 

55 There wiU be three sons, Maharaja : mark my words. 

One son shall be such, that all kings and subjects (alike) 

shall bow to him ! 

* Swdt is Arcturus : the popular belief is that if a rain drop fall into 

a shell when the moon is in Swdt it becomes a pearl. 

f Pandit Rangachar was the family priest of Baja Jewar. 

J Raghbir in the text is the same as Raghunath.

• 

Jo 

; 

THE LEGEND OF GUKU GUGGA. 127 

Is chinta ko diir karo ; hM ptiran as tumliari. 

Yeh tujh ko bar dia, Rao : main sach: mano kahi hamari I" 

Ik same ke bich. men pabunclie Gorakhnath 

60 Bagh bich bistar Ml ; 

pilran hain karamat, 

Piiran hain karamat : nith ne bistar dia lagae. 

Ho gae pAran kam Rao ke ; btag jagi chhin manhin. 

kuclih kare ap woh karta, us ke hath sahai : 

Bina bhag nl mile jagat men, kara na birtha jae. 

66 Mali aya daurke. 

Malt. 

" SunOj Rao MahS,raj ; 

Ake utara bagh men ik sadhu hai aj. 

Ake utara aj bagh men : 

piiran bhag tumhari. 

Keep this sorrow afar, for your desire is fulfilled, 

I have told you this wordj Raja : I am true : mark my 

words." 

In the mean time Gorakhnath* arrived. 

60 He rested in the garden : full is he of miraculous power. 

Full is he of miraculous power : 

the saint made his bed to 

rest himself. 

The object of the king is fulfilled ; his fortune prosperous 

in the twinkle of an eye. 

What can be done he (the saint) doeth; protection is ia 

his hand. 

Without (the favour of) fate nothing is obtained in the 

world, and good deeds are never useless, 

65 The gardener came running. 

Gardener. 

" Listen, Sir King, 

A saint has come into the garden to-day. 

He has come into the garden : your fate doth prosper. 

* He appears to have been the Bralimaiucal opponent of the Freethinking 

reformers of mediaeval India headed by Ramanand, Kabir and 

others, who flourished ia the 14th and 15th centuries A,d.

. 

: 

! 

128 LEGENDS OF THE PANJaB. 

Chalo hamare sang^ Raoji ; mano bachan hamar!. 

Chand chakor surij kl kiren aisi rtip niliari 

70 Darslian karo j 

pap kat jange ; mukat rup lio jari" 

Raja Jewar. 

" Sadhu darshan ki mujhe rahtl soch liainari. 

Ab chalke darslian karun. Kaisa bai darvesh, piari 

Kaisa bai darvesb^ piari manl bat tumbari. " 

Mall 

" Ratb, gbora aur pinas palki, saj ki cbali sawari." 

75 Salj dosbala, moti, mdnge, bbar kancban ki tbali 

Hatb jor parnam kare^ dbar deni baith agari. 

Kajd Jewar. 

" Sadb darsban bai durlab ! kariln man lake sewa ! 

Katen janam ki pap ; 

par bo jata kbewa 

" 

! 

Come witb mOj Eaja ; bearken to my words. 

His beauty is glorious as tbe glories of tbe sun. 

70 Visit bim and thy sins will be forgiven and tby salvation 

will be glorious." 

Raja Jewar. 

" My anxiety is to see tbe saint. 

I will go now and visit bim. What sort of saint is be 

my friend. 

Wbat sort of saint is be, my friend I bearkened to tby 

words.'' 

Oardener. 

" Carriages, borses and ^pdllus ; be comes witb a splendid 

retinue." 

73 Sbawls and hangings (be took), and filled a golden 

platter witb pearls and coral j 

Witb joined bands be made salutation, placed them down 

and sat before (tbe saint) 

Rdjd Jewar. 

" To visit saints is honorable ! I serve tbee heart and soul 

May my sins be forgiven 1 may Ireacb tbe farther shore "* 

! 

* May I obtain salvation.

: 

! 

THE LEGEND OF GURU GTJGGA. 129 

Rani Buchhal. 

'« He Mn^}, jaldi jao ! yeh hi karo turn kdr ! 

80 Kaisa ghulba ho raha mahilon ke darbar 

Mahilon ke darbar, ri Bandi ! abhi jhapatke jao ! 

Kaisd shor hua hai, Bandi jaldi an sunao. 

Jake pftchho dwarpal se : mat dil men ghabarao ! 

Yeh hi bat turn piichho jake : pbir mujhe samjhao." 

85 Itni sun, bandi chali : nahin lagai bar. 

Kaisa raula mach raM 

Bhif jori pachwar : 

Bhir jori pachwai\ 

kari hai sundar saji sawari 

Eath, ghora aur pinas palki, soran jaii anbari. 

Bandi Hira Dei. 

" Na ghar janama putar Eao ke : ho rahi jaisi jikari ! 

90 Dwarpal, jald se mujhe kaho haqiqat sari." 


" My maid, go quickly ! this is your work ! 

80 A great disturbance is going on in the court of the palace. 

In the court of the palace, my maid ! 

Run off now and 

quickly ! 

What is this noise (about), my maid Come and tell 

me quickly. 

Go and ask the door-keeper and do not lose your head ! 

This is what you must ask and then explain to me." 

85 Hearing this the maid went off and tarried not. 

There was a great noise and a crowd assembled in the 

courtyard. 

A crowd assembled in the courtyard; they were preparing 

a beautiful and splendid cavalcade. 

Carriages, horses and pdlkis covered with untold gold. 

TJie 

Maid Hird Dei* 

"No son is born to the king and they hold such rejoicings 

90 Door-keeper, tell me quickly the whole story." 

17 

* Rani Bachhal's private servant.

. 

: 

; 

: 

1 30 LEGENDS OE THE PANJAB, 

• 

Sipdhi. 

" Hira Dei Bandi, suno ! kahiin tumhare pas. 

Ik shAht utara bagh men ; bai sArij ki parg^sb 

Hai surij ka pargasb : kbila bai jaise pbul bazare 

Moban marwa, rai, cbambeli ; di rabi ajab bbari. 

95 Darshan karne lags Raja; is karan saji sawari. 

Sun, Hira Dei, bat: 

kabi main tujbe baqiqat sari." 

Bdndi Hira Dei. 

" He R4ni ! Is bagb men a utara parmans: 

Aisi astlifca kar rabe, jun Sarwar ka bans. 

Jim Sarwar ka bans, bagb men utara ae. 

100 Main kabti kar jor, karo turn darsban jae. 

Ais^ sundar rup, kaben sab nar aur nari; 

Door-heeper. 

" Tbou maid, Hira Dei, listen and I will tell tbee. 

A saint bas come into tbe garden as glorious as tbe sun 

As glorious as tbe sun is be ; blooming as a tbousand 

flowers. 

Sweet marjoram, mustard, jasmine : 

wonders. 

be is sbowing great 

95 Tbe Raja goes to visit bim, and for tbis is tbe glorious 

cavalcade. 

Mark my words Hira Dei : I bave told tbee tbe wbole 

tale." 

The Maid ffira 

Del 

" Queen ! a migbty saint* bas come into tbis garden. 

Tbey praise bim as being like tbe swan of Sarwar.f 

Like tbe swan of Sarwar be bas entered into tbe garden. 

100 I tell tbee witb joined bands and to go and visit bim. 

Very great is bis beauty say all men and women 

* Parmans in the text : should be param hans, i.e., an ascetic of the 

highest order 

t For the Mansarobai- Lake, the fahled dwelling of the hanJa on Mount 

Kiilasa in the Himalayas. Sansh. Manasa—sarovara. It is used later 

however in this song for a lalce in the garden.

THE LEGEND OP GURU GUQGA. 131 

M ladr&san bich rflp kisi ko hai bhari. 

Ho Raniji ! Sab mil darshan karo. BS.t yeh man hamarl. 

Main kahti kar jor, 4s puran bo tumbari," 

105 Jab Rani ne turt hi solab kl singar, 

Karl, panjp&n, jhanwaran, sab abran lia sar : 

Sab abran lia sar : bath men motin thai sujaya ; 

Khil rahi jot akas gagan, jun bhan nikas chhaya. 

Hath jor chin guru charnon men sis niwaya. 

Edni Bdchhal. 

110 « Ho tumhari partap, Natb } jab sil ho gai kaya !" 

Gurii Oorahhndth. 

" He Mai ! Tu kaun hai yehan ai kis kam 

Kaun tumhara nagar hai kaun tumhara nam 

No (maid) in Indra's Court* hath greater beauty. 

Queen, let us all visit him together. Hearken to my 

words. 

1 tell thee with joined hands, thy desires will be fulfilled." 

105 Then the Queen at once dressed herself in her best.f 

Bracelets, rings and anklets, each and all her ornaments; 

Each and all her ornaments : and took a platter of 

pearls in her hand. 

Her glory shone as a star in the heavens, as the sun 

driving away the shadows. 

With joined hands she bowed her head at 

the Guru there. 


the feet of 

110 "If thou cherish me. Saint, then will my body rejoice." 

Gurti 

Gorakhndth. 

"My lady ! who art thou Why hast thou come here 

Where is thy home What is thy name 

* The conventional abode of beauty and licentiousness. 

t Lit, Put oa the 16 appliances for decoration.


Kaun tumhara nam 

kaho turn mukh se saclii b^nJ. 

Ai Mai, tu dekM mujliko bhale gharon ki Rani." 

Bant Bdchhal, 

115 " Na kuchh man men chao !" 

Ronke boli mukh se bani. 

Itni kabke bat, nath ke bhara nam se pani. 

Rani Bdchhal. 

"Hatkjor binti karun; suno, Guruji, bat. 

Main to bina aulad ki hun, be^kul din rat. 

Hun beakul din rat : rati tan ki sudh jati. 

120 Hath malfln, sir dhunnun, nahin kuchh par basati. 

Bina putar, Maharaj, rahun man bich udas, 

Jaise jal bin mln rahe thai iipar piyas. 

Main dokha dokhi bhari ; karo meri pratipala ! 

Mujh papan ka aj karo mukh chandar ujala." 

What is thy name 

Tell the truth with thy lips. 

lady, thou seemest to me to be a Queen of a great 

line." 


115 "1 have no pleasure in my heart." 

"Weeping (thus) spake she with her lips. 

When she spake thus the saint's eyes filled with tears. 

Queen Bachhal, 

"With joined hands I pray thee: hear. Saint, my words. 

1 am without a child, miserable day and night. 

Miserable day and night am I : pleasure hath left my 

body. 

120 I wring my hands, I dash my head, I have no resource. 

Without a son, Maharaj,* sorrow remains in my heart, 

As a fish without water lies thirsting on the sands. 

I am a great sinner ; be thou my protector ! 

Make thou my sinful face bright and happy to-day." 

* Form of address to Br&limaiis.

! 

THE LEGEND OE GDEU GUGGA. 133 

Guru Goralihnath. 

125 " Is maya sansar men dukh hai athori jam. 

He Mai, is jagat se nahin mujhe kuchh kam. 

Nahin mujhe kuchli kam jagat se ; alakh-purakh, abinas, 

Brahma wohi, Bishn wohi hai, sahasr wohi rup Kailas : 

Us ka nam le : mukat hfli likh, chhut ja jfln cham-asi. 

130 Jao mahil ke bich, Msli ; kyAn rudan kare hai yehaii si " 

Rani Bdchhal, 

" He Guru Gorakhnathji, turn ho kirpa nidhan ! 

Main dasi hun charan ki; puran kijo kam. 

Puran kijo kam : dhyan charnoh se laun. 

Dijo mukh se bachan, dan putar ka paun. 

135 Khan pan sab te ja rahun beakul din rati, 

Guru Gorakhndth. 

125 "In this illusory world grief is always present.* 

My lady, I have nothing to do with this world. 

I have nothing to do with this world : the invisible 

Being, the imperishable, 

Brahma is he, Bishnf is he, KailasJ is he of the thousand 

forms : 

Take thou his name : 

salvation is written down for thee 

(by fate), thou art released from the eighty-four 

lives. § 

130 Go to thy palace, Lady: Why art thou grieving here " 

Queen Bdchhal. 

"0 Guru Gorakhnath, thou art the home (ocean) of 

mercy 

I am (but) a slave-girl at thy feet : fulfil my desire. 

Fulfil my desire : 

I worship at thy feet. 

Speak a word from thy lips and I shall obtain the gift 

of a son. 

135 I cannot eat~or drink at all, miserable day and night, 

* Lit., Throughout the 8 watches. 

t Vishnu. 

t «iâ. 

§ The eighty-four Idhhs of lives: the conventional expression for 

the transmigration of souls.

: 

; 

: 


Jun jangal ke blch phiri hai makna Mthl, 

Jui bhojan bin raM hai durbal kayS,. 

Main papan nirbMg ! nahtd sukh main ne p^yS.." 

Bdni Kdchhal. 

" He Bandi ! turn se kabiiri ; 

yeb hi karo turn kar. 

140 Olialo sangat, ham se abhi dekhan bagh bah^r. 

Dekhan bagh bahar, ri Bandi : kahftn tujh se samjhake, 

Pan^ supari, mewa, misri, lao thai men pake. 

Khabar kisi ko na ho, piari : suniyo chit lag^ke. 

Jaun b^gh men utara s§,dhuj kijun darshan jake." 

Bandi. 

145 " Bachan tumhara manke abhi karun tatkal 

Ab tumhare hukum ko nek karun, nahin tal 

Nek karui, nahin tal ; suno, Eani, ik arzi ham^ri. 

As a tuskless elephant wandering in the forests. 

As a body growing weak without food. 

I am a miserable sinner ! 

Queen Kdchhal.^ 

I have received no joy .'" 

" My maid, I tell thee, this must thou do. 

140 Come with me, we must visit the beautiful garden at 

once. 

See the garden at once, my maid ; 

Betel leaves and nuts, fruits, 

a platter. 

I tell thee. 

sugar-candy, bring me on 

Tell no one, my dear : listen with all thy heart. 

The saint that has come into the garden must I go and 

visit." 

Maid. 

145 " Obeying thy order I will do it forthwith 

I will now carry out your order well, there shall be no 

delay 

I will carry it out well without delay ; 

have a tale. 

Listen, Queen, I 

* Sister of Queen Bachlial. The scene changes here.

: 

; 

!: 

THE LEGEND OP GDEXJ GUGGA. 186 

Wa gal darshan karan sant ke, Bachhal bahin tumMri : 

Jab woh ave mabil bich men kaMn Laqiqat sari 

150 Dhiraj kar^ Rfliii, man man : yeh mano kaM hamarl." 

Jab Rani ne soch men baithi sangam rat ; 

Rani Kachhal. 

" He Bandi, nth jflgiye ! hun lagl prabMt 

Hun lagi prabhat 1 karo sukh ! Har simran uth, pi3,n. 

Jal se yeh. bhari dhari sundar kanchan ki jhari 

1 65 Li^ jaldi ashnan karM : kya karti soch bachdri V 

Phir basan bhoshan Edni sang sakhi hM sari 

A charnon men pari. 

Rani Kachhal. 

" Guru I hove puran as hamari 

Turn ho apdayya^ sukh sagar, nam dharam, Brahmchari !" 

She has gone to visit the saint, has Bachhal, thy sister 

When she returns to the palace I will tell the whole story. 

150 Have patience, Queen, keep a (brave) heart: hearken 

to my words." 

The Queen then remained in sorrow all night. 

Queen Kachhal. 

" My maid, wake up, it is already dawn. 

It is already dawn ! take comfort ! get up and worship 

Harij my dear. 

This beautiful golden ewer filled with water has been 

placed here ; 

155 Taking it I will quickly wash: why should I grieve 

sorrowfully " 

Then donning ornaments the Queen with all her attendants 

Came and fell at (the saint's) feet. 

Queen Kachhal. 

" Guru ! may my hope be accomplished ! 

Thou art full of pity and mercy,* observer of the law, a 

teacher of religion !" 

* Lit, Pitiful and an ocean of pleasure.

! 

! 


Guru Gorakhndth, 

" He Mai, td kaun Lai kaho mukh sachi bit. 

160 Kaun nagar se auna kaun nagar ko jat 

Kaun nagar ko jat Bat to kah de mukh se, Mai. 

Kya hai kam Kako jaldi se. Kis Mran yehan ai 

Tu hai kutal kathor nar ! tain ckhalke diiniya khae ! 

Marun bans ! Chali ja yehan se I kyun marti biu ai V 

Bant 

Kdchhal. 

165 " Hath jor binti kardn : kijo meri sahai. 

Bera pari samundar men : dijo par langhae. 

Dijo par langhae ! kar jor ! sahai 

Turn ho puran, brahmthari, maya nahin pai 

Ho tumhara partap^ rahe jag nam tumhara. 

1 70 Jo ho ja ik putar ap ka ji jikara." 

Guru Gorahhmth. 

" My Lady, who art thou Tell the truth with thy lips. 

160 From what home hast corne To what home art going 

To what home art going Tell me with thy lips. Lady. 

What is thy desire Say quickly why hast thou come 

here 

Thou art a black and hard-hearted woman ! 

Thou hast 

deceived the whole world ! 

I will beat thee with a bamboo ! Be off from here ! Why 

dost thou court death " 

Queen Kdchhal. 

165 " With joined hands I pray : be my protector. 

My bark is on the sea ; make it to cross over. 

Make it to cross over ! With joined hands ! Protection ! 

Thou art perfect, a spiritual guide, without illusion. 

May thy splendor (increase), and my name remain in 

the world ! 

170 If there be a son through thee may thine heart 

rejoice."

; 

; 

THE LEGEND OF GURD GUGGA. 137 

" Ik baclian mera suno : man 

Is chintz ko diir kar : 

Gum Gnrakhnath. 

men bandho dhir. 

sadS- bhajo Raghbir. 

Sad& bhajo Raghbir, bawari ! Kyim dil men ghabarao 

Sadh sant ki sewa karni, man ichha phal pao. 

175 Yeh sagar sansar karam ka ; kyftn nahaqq pachhtao 

Yeh mano tum bachan hamarft. Abhi mahil ko jao/' 

Us rat nakhand gai sab jag karat ai-am 

Rani* mahilon se chali dhar Gorakh ka dhyan : 

Dhar Gorakh ka dhyan; jabhi Rani bagh men ai, 

1 80 Hath jor, adhin hui, charnoh men sis niwai, 

Ednt Bddihal. 

" Bina putar main phirdh taraptl tan man hua sudai. 

I'Jh- 


" Hear one word of mine : take courage in thy heart. 

Keep this grief afar: worship always Raghbir. 

Worship always Raghbir, thou fool ! why art confounded 

in thy heart 

Serve saints and holy men, and receive the desire of thy 

heart. 

This world is full of fate,t why dost grieve for nothing 

" 

Hearken to these my words. Go to thy palace at once ! 

That night at midnight when all were at rest 

Queen (Bachhal) left the palace and worshipped 

Gorakhnath. 

Worshipped Gorakhnath : when the Queen came into the 

garden 

180 With joined hands she saluted him and bowed her head 

at his feet. 


" Without a son I live in sorrow ! my body and mind 

are in trouble. 

18 

* 8cil. Bachhal. t ^^^-i Ocean of fate.


Karo, Nath, man ichbd puran : 

Guru Gorahnatli. 

is karan chal ai." 

" Ja k^ tam tashna adhik so andha kar deh ; 

Pap pun jane nakin chahat karan sneh 

185 Chahat karaa sneh : kahun main mukh se sachi bani. 

Yeh duniya hai khan kapat ki : tun kyiln hM diwani 

Jo kuchh ank likha Karta ne, lag gal karam nishani. 

Ja ghar I Baith raho mahilon men, Har se dhyan lagani." 

E&ni B&chhal. 

" Jo ch§.ho, SOI karo ! Turn sat ho, Gorakh ! 

190 Is duniy& ke bich men nam mahara rakh ! 

Nam mahara rakh : Mth tumhari hai dori ! 

Jo ch§,ho, so karo ! tumhen kis ki hai chori 

Bhu sagar men bahi ! karo mera nastara ! 

Dhirag jiun jagat bich ; 

bina putar hai hara." 

Fulfil, saint, the desire of my heart : for this am I come." 

Guru Gorakhnath. 

" Whose body is full of envy it makes him blind. 

Not knowing right from wrong he would be loving : 

185 He would be loving : I speak truth from my lips- 

This world is a pit of deceit : why art become mad 

The fate that god has written, the sign of that fate has 

been made. 

Go home! sit in the palace, worshipping Hari." 

Queen Bdchhal, 

" Do as thou wilt ! Be thou true, Gorakhnath ! 

190 Protect my name in this world ! 

Protect my name : the power* is in thy hand ! 

Do as thou wilt ! whom dost thou fear t 

I am afloat on the sea of the world ! 

: 

Grant me salvation 

Accursed I live in the world, ruined (by being) without 

a son ! " 

* Lit., The thread. 

t An idiom. Lit., Prom whom is concealment to you 

!

: 

! 

THE LEGEND OF GUH^ GUGfiA. 139 

Rani Kuchhal.. 

195 " Hatli jor h'mii karuu^ he Guru Goi-akhnath !. 

Ballot dinoii sewa kari : laj tumhare LatB. 

Laj tumhare hatb, Gavt. ! 

main turn se •'araz lagai: 

Jis par kirpjl hiu tumJiarij pftrkaro- chhiaiEae.. 

Dhan dhan bhS,g pilran hain un ko, jis ghar janam; 

le ae ! 

200 Amar mm un ka hai jag men ! Dhan hai janti mai I" 

Jholi men se nath ne d'o phal lie 

nikal. 

Ourn Gorahhnat'h. 

" Ja M'aij. tujh ko die ! janamenge do la'l :. 

Janamenge do la'l. Jao^ ab- mat na kijo deri. 

Jan lia 

main bahot dinon sewa kari gheri. 

205 Phir kabhi ana nahin. yehan se ! kahi maniye meri. 

Queen 

Edchhal.* 

195' ''Withi joined lia,nds I prajj GarA GroraRhnath 

honor' is in thy 

Many days have I served tliee : my 

hands^ 

My honor is in thy hand's, Guru. T 1 make my prayer 

to thee 

On whom is thy mercy is saved' at once. 

Happy fates were folfiUed' to them in whose house thou 

wert born ! 

200 Immortal is their name in the world ! Happy is thy 

bearing mother !." 

The saint took two flowers from out of his wallets 

Oiiru Gorakhnath^ 

" Go lady^ I have given to thee !. Two sons wiM be born :: 

Two sons will be born. 

Go, make no delay now. 

I know that thou hast done me many days of service 

and worship. 

205 Come here again no more ! Hearken to my words : 

* The scene changes here.

!" 

! 

: " 

Guru Gorakhnath ! " Have mercy always, 


Kis kis ko den putar dolti den^ phiri bahoteri." 

Bhar li4 garwa dudh k^ : M apne hath 

Rani Bdchhal. 

" Dayy^ karo hamesha apni, ai Guru Gorakhnath 

" 

! 

Bagni, 

" Karo kirpa, Guru mere ! 

210 Charan ki dasi hiiri teri ! 

Yeh hi kah ro pari Rani. 

Nain men bhar aya pani. 

" Putar bin hin hiin nari 

Ren chakwi ko jftn bhari^ 

215 Yeh hi gat ho rahi meri 

Guru, main dasi hun teri 

Karo puran meri asa ! 

Met man ka 

" 

shakal sansa ! 

Shall I give a son to every one Child-giving is a constant 

request." 

ghe*filled a cup of milk and gave it (the Guru) with her 

own hands. 


Song. 

" Have mercy, my Guru ! 

210 I am a slave at thy feet ! 

" 

Saying this the Queen fell to weeping. 

And her eyes were full of tears. 

" I am indeed a woman without a son ! 

As the night is wearisome to the chahvi, 

215 So is this evil plight to me. 

Guru, I am thy slave ! 

Fulfil my desire ! 

Wipe out all my sorrows from my heart ! 

" 

I.e., Baohhal not Kachhal. 

Scene changes again.

THE LEGEND OF GURU GUflGA. 141 

Ouru Goralthntith. 

" Ja, landi ki 1 Bhilg ja ! jo jiwat chtllie prdn. 

220 Tirya ko nahii marntl; hot dharm ki ban. 

Hot dharm ki hfln. Chali jl I mat n^ si^rat dikhlave ! 

Kal dini do phal tore ko ; zard ]aj nahin ave ! 

Is duniya se rahe akeM : na kisi ko patyslve ! 

Is kal jug ka yeh hi rdp hai : sab dharm ur ho jave !" 

Rani BacJihal, 

225 " Jhut bachan bolftn nahin, he Gurfl Gorakhndth 

Koi turn ko chhal le gai tirya chanchal zS-t. 

Tirya chanchal zat 'aqal har le gai tumhari. 

Kyun bhole, Maharaj ulat qismat gai mahkvi ! 

Na tumhara kuchh dosh : phiruh karmon ki mari 

Oiirit 

Gorakhiiath. 

" Go, thou daughter of a cur ! * Be off ! If thou wouldst 

preserve thy life. 

! 

220 One should not strike a woman ; it is against the law.f 

It is against the law. Be off ! show thy face no more ! 

I gave thee two sons (fruits) yesterday; thou hast no 

shame at all 

One must live alone in this world and trust no one ! 

This is the condition of this age : 

J 

away ! " 


all religion has fled 

! 

! 

225 "1 speak no lie, Guru Gorakhnath ! 

Some wanton woman has deceived thee. 

Some wanton has misled all thy discrimination. 

Why dost frown, Maharaj My fate has become unfortunate 

! 

No blame is yours : 

I live a victim of fate. 

* A term peculiar to faqirs as abuse. 

f I.e., religious law. 

X The Kali Yuga, the 4th or present age of the world, always considered 

as very degenerate.


230 Juii chakwi ko ren hui, aisi gat xnahari 

Jiln yatim bin rain rahe sab abran phika ! 

Juii jal bin rahe min, hal bite meri ji ka 

Ouru Gorakhnath. 

" He Eani, roiye mati ! kyiiii soche bar bar 

Ja ! 

Tere sat hovega Gug^ Eajkunwar 

235 Guga Eajkunwar hovega, sur, bir, kalladhari. 

Janamat sar lage gin par, jis se parja bhuni sari. 

Ghar ghar thapi di nagar men : gaven mangal ndri. 

Jo ham ko woh le gai chhalke, he p§,pan hatyari 

Janamat sar maregi janni : payi nipat ati bhari 

240 Barah baras ki hiii 'umar ki. Eakhiye yad hamari." 

Rdnl Bdchhal, 

" Aj mujhe yeh bar hua, man men kia anand. 

Janam janam ke kat gae mere shakal dukh phand." 

230 As the chahwi's at night, so has my plight become (evil) 

As a deserted wife without a husband remains devoid 

of ornaments ! 

As from a fish without water the joy of my life 

has departed 

! " 

" Weep not, my Queen ! Why 

Go ! 


art always sorrowful 

Thy son will be the Prince Guga ! 

! 

! 

! 

: 

! 

235 The Prince Guga will he be, beautiful, brave, miraculous. 

From his very birth shall he work miracles that the 

In every 

whole world may be his subjects. 

city : 

house shall be congratulations throughout the 

the women shall sing songs of rejoicing. 

The woman who deceived me, the deceitful sinner 

She shall die at their birth, very heavy sorrow shall 

on her. 

240 Twelve years shall their life last. Eemember my words." 

QiteeJi 

Bachhal. 

! 

fall 

"To-day has my boon been granted, rejoicing my heart. 

The meshes of the sorrows of all my lives have been cut." 

!

! 

! 

! 

THE LEGEND OF UURU GUQGA. 143 

Edgni. 

" Kate dukh janam ke sare ! 

Bhag nirmal hue mahare ! 

245 Hfti kirpa Guru tuhari 

PLiriin thi karani ki mari : 

Eakk, lajja lie mahari ! 

Guru ! main dasi hun tuhari. 

Bipat men sukh mujlie dina : 

250 So phal jag men Ma jina." 

Sabir Dei. 

" He Bachhal ! Is jagat men taia di laj ganwae ! 

Jogi rakha bagh men : 

nit uth us par jae. 

Nit uth us par jae : bhuri zara laj nahin M. 

Nit uth ta'na di bain sarike : 

ho gai jagat hansai. 

Song. 

" The griefs of all my lives have been blotted out 

My fate has become propitious ! 

245 Thy mercy, Guru, has come upon me ! 

The victim of fate did I live, 

But thou hast preserved my honor ! 

Guru ! T am thy slave. 

Thou gavest me joy in my sorrow : 

250 So my fruit hath ripened in the world."* 

Sahir Dei.f 

" Bachhal ! Thou hast destroyed thy honor in the 

world 

Thou didst keep the jogi in the garden, always going to 

him. 

Always going to him : no shame came to thee at all. 

Oar relatives are always blaming thee, and the whole 

world jeers. 

* The desire of my heart is accomplished, 

t The sister of Raja Jewar.

" 

! ! 

word ! 

1.44 LEGENDS OE THE PANJAB. 

255 KTioi di kul ki marjlda jab se biyElM ai. 

Gbar gbar charcbS, rabe r^tan: baiiste log lagê.' 

Is jine se marnl bebtar : ab kyun surat dikbai 

Aisa zulm kia tain, plpan : zarS, Ej nabiri ai." 

Bant Bdchkal. 

" P§,p pun janAn nabin : suno bam§.ri b^t. 

260 Kyiin kbote mukb se kahe na ave kucbb b^th. 

Na ave kucbb batb : kabe mukb koti bani. 

Kyun karti badnam : ap bo, beti, sy&ni ! 

Bin dekban, bin suaan, kabe jo mukb se bani. 

Ya le ! Niscbe jS,n ! Narak men jae prS,ni, 

265 Bigrat bai parlok dbarm apnd jo bare. 

Un k§, sat na rabe kaba pati ka jo date \" 

255 Tbe bonor of tbe family bas been lost since tbou wast 

married into it. 

All nigbt are scandals in tbe bouse and tbe people bave 

begun to'jeer. 

Better die tban live tbus : bow canst tbou sbow tby 

face now 

Sucb wickedness bast tbou done, tbou sinner, tbat no 

sbame comes at all 


" I know nor good nor evil : listen to my words. 

260 Wby speak evil witb your lips No good comes of it. 

No good comes from speaking evil witb tbe lips. 

Wby do you give me a bad name : tbou art a wise 

woman, my girl 

Speaking evil witb your lips witbout seeing and witbout 

bearing. 

Take tbis (to beart). Know tbis for certain! Tby life 

will be passed in Hell. 

265 Wbo forsakes tbe law will be destroyed in the next world. 

Her virtue remains not wbo disobeys her husband's

! 

! 

THE LEGEND OP GURU OOGGA. 145 

Sablr Dei. 

" Jo batdii tain ne karJ : aisi kari na koi. 

Bagar des Chauhan ki die laj 

sab khoi. 

Die lij sab khoi, Bahii : main sun Kachhal se ai. 

270 Awandi Jewar bhayya ko diin mahilon se kharwai. 

Nahm kam mahilon men tera : jit cMhe ut jaiye ! 

Kyi mukhra dikUave jag men: maro, zakar bas kkaiye." 

Rani Bdchhal. 

" Jo karni so kar chuko ! mat na kijo tar ! 

Jo mukat men likh dia na koi metanhar. 

275 Na koi metanMr : karo jo turn ko bhaye. 

Tujh ko tin talaq mahil se na kharwave. 

Jo tu mukh se pher kahegi khoti bani, 

Marungi katari khae : tajungi ab zindagani. 

Sabir 

Dei. 

" As thou hast done hath no one done. 

All the honor of the Chauhans* of Bagar is lost. 

All the honor is lost, my sister: I heard it all from 

Kachhal. 

270 I will go to my brother Jewar and have thee turned out 

of the palace. 

Thy place is not in the palace : go where thou wilt 

Why dost show thy face in the world : take poison and 

" 

die ! 


" Do you what you have to do ! Delay not 

What is written in one's fatef none can blot out. 

275 None can blot out : do as you please. 

I swear to thee thrice. Get me turned out of the palace! J 

If you speak evil words again with your lips, 

I will stab myself and die : I will destroy my life at once. 

* Gilga was a Chauhan RajpiJt. f A curious use of muJcat. 

X I.e. do your -worst. 

19

! 

; 

: 

! 


Na jiun pal ik : 

pran chhin men kho dungJ 

280 Dhur dargahori bich pakar pallA tera lAngi I" 

8abir Dei. 

" Are bhai Jewar mere f kahun turn hin se aj ! 

Bagar des ChauMn ki tar dhari hai laj 

Tkv dhari hai laj bairan men ; samjhaM tujh koi. 

Aisa zulm kia Bachhal ne jag men hua na hM. 

285 Jogi rakh bagh men : le bhojan nitjae: 

Adhi rat nikhad gai thi jab mahilon men &i. 

Zulm is ne kia bhari 

Laj sab khoi hamari. 

De mahilon se karh ! 

290 Nahin, ua ko de mari 1" 

I 

I will not live a minute: I will destroy my life in a 

moment 

280 I will bring you to account for it in the next world*" 

Sabir Dei. 

" Ah Jewar, brother mine ! I would speak with you today 

! 

The honor of the Chauh^ns of Bagar has been taken away. 

Honor has been lost through an enemy : 

t I will tell it 

all 

(to you). 

Such wickedness as BSchhal has done has not been since 

the world has been. 

285 She kept the jogi in the garden and was always going 

and giving him food : 

It was dead of night at midnight when she returned to 


Great wickedness has she done 

All our honor is gone. 

Turn her out of the palace 

290 Or else destroy her." 

* Lit., I will seize and take the hem of thy garment in the midst o£ 

the distant court. 

f J. e. Bachhal: hairaniem.

THE LEGEND OF GURU GUOGA. 147 

Raja Jewar. 

" Sunke tumhare bachan koj gid krodh tan chhae : 

Ab jiwat chhoriin nahin : dunga pran ganwae. 

Dunga pran ganwae : abhi mahilon se dun kharwae. 

Mar koriinj khal urd dAn : rata krodh tan chhao. 

295 Main janun tha hai satwaut! ; augun rahi chbipae. 

Tirya jat âqal mat hini ; 

Maha kapat ki khan jan lie ! 

Itni hi sanjog likba tha : 

Ai BhM, soche mati : 

Sab'ir Dei. 

na mukh karo baiae. 

hogi jagat hansae. 

Bidhna bat banai." 

kijo ik up4e. 

300 Kya tu bhijwa us ke bap ko : nahin dijo jan ganw&e. 

Nahin dijo jan ganwae: baran maiikahuntujhesamjhake. 

Nahin chori ki bat rahi : tu puchh mahil men jake. 

Rdjd Jewar. 

Hearing your words my body is full of anger : 

I will not now let her live ; 

I will destroy her life : 

at once. 

I will destroy her life. 

I will turn her out of the palace 

I will beat her and flay off her skin : my body is full of 

anger. 

295 I thought her virtuous and secretly she was vile. 

Womenkind are without thought or mind : praise them 

not with thy mouth. 

Hold them as the very pit of deceit ! The world will 

jeer (at her). 

My connection with her is at an end : 

* Fate hath done 

this." 

Sabtr Dei. 

" Ah Brother, grieve not : make a plan. 

300 What Send her to her father ; do not destroy her life. 

Do not destroy her life : 

It is no secret : 

I will tell thee a plan. 

go and ask the whole palace. 

* Lit., This much connection (fate) had written.

! 


Dekh ! turt mukaregi Rani, sau sau qasmai khake. 

Mat na karo 'itbar kisi ka : 

ruare zahar khilake. 

305 Mat karo soGh bichar : baran kya hath lage pachhtake 

Anhoni hul rit hamari isi jagat men ake." 

Rdjd Jewar. 

" Itna hi sanjog tha : Bidhna rachi upar." 

Jhat khunti se tarke lia hath katar. 

Lia hath katar. 

Bdja Jewar. 

" Piari, kadhi kam nahiri aya. 

310 Ai parir sar, Bhaij main jis khatir tu hataya/' 

Aisi kahke bat, Rao ke nainon men jal cLhaya. 

Nahin miyln ko chhore khanda ! 

He Gorakh ki maya I 

See ! the Queen will at once deny^ swearing a hundred 

oaths. 

Believe none of them : 

they will kill thee with poison. 

305 Grieve not : what sorrow has come to grieve about 

An unexpected evil has come upon in this world." 

Raja Jewar. 

" So long we were connected : fate hath decreed separation." 

He took his dagger in his hand immediately from off 

the peg. 

He took his dagger in his hand. 

'Bajd Jewar.* 

''My belovedj never have I used thee." 

310 A heavy sorrow, friend, has come for which I draw thee. 

When he said this the king's eyes filled with tears. 

The blade would not leave the scabbard, through Gorakhnath's 

power 

* Speaking to the dagger.

" 

Tell me the truth. Thou art my God and protector ! 

THE LEGEND OF GURU GUGGA. 149 

Rani Bachhal. 

" Bina khatS,, taqsir birij kyun maro Maharaj 

Kaun pap ham se hua kya bigia kuchh kaj 

315 Kya bigra kuchh. k^j, Pati sun 'araz hamari. 

Kyfln tain kina krodli nir nainori se jan 

Kyun lia khand§- hath men surkhi kyuri chhai 

Dijiye sach batae. Turn hih hai Ram dohai V 

Bajd Jewar. 

" Jo, Eani, tu ne kari aisi kari na koi. 

320 Bahh pakarke dhar dina adhar daboi. 

Dina adhar daboi : tii hai kamzat kigai. 

Jab se prit kasi jogi se, ho gai jagat hansai. 

Yah Bidhna ke hath bat hai : jit chahe awat jae. 

He p§.pan nirbhag, samajh le : tujhe soch nahin ai \" 


"Why slayest thou (me), Raja, without crime, without 

fault 

What crime have I committed What injury have I 

done 

315 What injury, O my Lord ! Hear my prayer. 

Why art thou angry Why fall tears from thy eyes 

Why hast thou taken the sword in thy hand Why are 

(thine eyes) full of redness 

Bajd Jewar. 

" Queen as thou hast done none hath done. 

320 Seizing my arm thou hast plunged me into the stream 

(of sorrow). 

Plunged me into the stream : 

thou art an evil woman. 

Since thou hast made love to the jogi the world has 

laughed. 

This matter is in the hands of Fate, which does as it 

pleases. 

miserable sinner, listen : thou didst not dread (the 

result)!"

! 


Rant Bachkal. 

325 " Kaiin Bidhata dukh dia kijo an sahai 

Kyun biptS. dini mujlie, jo dukh siha na jke 1 

Jo dukh siha na jae, Bidhl : tain kysi, gat kari hamari 

Tap tap ansii pare dharan par : nir nain se jkri." 

Kis bidh karat bilap mahil men Jabhi klik mukh man. 

Rani Bachhal. 

330 " Yah man uthat biyog : martin, main tan men khae 

katM." 

Chali mahil se bahir nikas ; 

jhat kari turt aswari. 

Rani Bachhal. 

" Likhi karm ki rekh, dekhiyo, yeh gat hiii hamari. 

He Prabhu ! sun lijiye ! L^j tumhare hath ! 


325 " Pate what misery hast thou given come and protect 

me 

Why hast given me such grief that I cannot bear the 

pain (of it) 

I cannot bear the pain. Pate ; why hast thou made me 

so wretched 

My tears drop upon the ground : tears fall from my eyes." 

What wailing there was in the palace when she cried 

out from her mouth ! 


330 " My heart will (not) bear this separation : I will die, 

stabbing myself with a dagger." 

She went outside the palace and at once entered a 

carriage.* 

Qiieen 

Bachhal. 

See, this was written in the lines of Fate : this misery 

of mine. 

God ! Hear me ! 

My 

honour is in thy hands ! 

* A rath or native lady's carriage drawn by bullocks.

" ": 

THE LEGEND OF GURU GUGGa. 151 

Bina bulai main chali : kyS, kalienge pitu mat 

335 Ky^ kahenge pitu mat mujhe ab ' kis karan tu ai ' 

Garh G-ajni ki hid rasta, lamba kAncb karai. 

Is bidh karat bichar : bh^n jhat gi^ sukh par ai. 

Rani Bachhal. 

" Char gliari bisram karo ; 

yehan jal, pio, lo nahae. 

Yeb bipta ban ghor hi: garji an pari mujh pae. 

340 KyS, janiin thi aisi bogi deti pran ganwae ! 

Gariwan. 

" Char gbari bisram kar : sikhar bhan gia ae. 

Main in bailon ko abhi yehSii laun jal piae." 

Tehin laiin jal piae." 

Bail le jhat s&gar pe aya 

I go uninvited ; what will my parents say 

335 What will my parents say to me 'why hast thou come 

now'" 

Her road lay to Ghazni Port, a long march she made. 

Sorrowing thus (was she when) the sun rose quickly and 

she rested herself. 


" Let us rest an hour* : here is water, let us drink and 

bathe. 

This is a dreadful grief that has come upon me : 

received the sorrow that has come' to me. 

I have 

340 Had I known it would be thus I would have destroyed 

my life." 

Coachman. 

" Let us rest an hour : the full sun has come (on us). 

I will drink these bullocks and return here soon. 

I will drink them and return here." 

He took the bullocks at once to the river : 

* Chdr ghari = 96 minutes.

" 

! 

in vain ! 

152 LEGENDS OF THE PANjiB. 

Lage piwan pani sagar men bhachir dhang lagaya. 

345 Kat-sar gir pare dharan par : bhawar Baikuijth lok ko 

dhaya. 

Laga shish dharni se maran : kiik mkv mukh roya. 

Gariwdn. 

" Ai Bachhal, sua le mujh ko : Bhive ne an dabaya ! 

Tm to phiri Karne ki mari ! main kya pap kamaya " 

Rani Bachhal. 

" He Bhave, tain kya kari, is jangal men ê 

350 Bail h.amare mar gae j lie sarap ne khae. 

Lie sarap ne khê : die bipta kyun bhari 

Na jiwan ki as : chali ab jan hamari. 

Is jangal ke bich nahtn koi hamra s^thi. 

Hath malun, sir dhunnfin : ghari wob mere hitli na ati !" 

355 Is bidh karat bilap^ jab tan murchha gae ae. 

Tbey began to drink in the river where a serpent was 

on the bank. 

3i5 Bitten they fell to the ground, and their life went to 

the next world.* 

He began to dash his head on the ground and cried out 

and wept. 

Coachman. 

" Bachhal, hear me : Fate has come and destroyed me 

Thou art the victim of Fate ! but what harm have I done " 


" Ah FatCj what hast thou done in this desert 

350 My bullocks are dead, bitten by a snake. 

Bitten by a snake: why hast given me great sorrow 

I have no hope of life : now will my life depart. 

In this desert I have no friend. 

I wring my hands, I dash my head : do what I will it is 

355 Thus did she cry out till she swooned away 

* Baikimth, Paradise.

utar 

; 

! 

THE LEGEND OF GUEU GUGGA. 153 

Jab Guge ne udar man parch4 dia lagae. 

Parcha did lagae. 

Gngd. 

" Soch mat karni Mat ham'S.ri S 

Gadi niche khara nib : ik toro us ki dali 

Le Gorakh ka n4m : 4n sudh lega abhi tumhari. 

360 Kaun chiz hai zahar .' 

]ie, lage na pal ki deri. 

Ik taka dhar Guru Gorakh ka : ho piiran as tamhari. 

Itna kam karo, Mata; yeh mano kahi hamari!" 

Rani BachhaL 

" Yeh supna mujh ko aya : kya kahwri kahi na jae ! 

Gadi niche nib ka pera did batae. 

365 Perd did batae nib ka : aisd supna aya. 

Hai ik balak bara sohana sa : pas hamare aya. 

Then did GAga from within her womb work a miracle. 

Work a miracle. 

Gtiga.* 

" Grieve not, mother mine ! 

Near the carriage stands a wmf tree, cut one of its 

branches j 

Call on Gorakhnath : he will come and protect thee. 

360 What is there in poison (after all) It will go away 

without a moment's delay. 

Lay aside a mite for Guru Gorakhnath and thy hope 

will be fulfilled. 

Do this much. Mother, and hearken to these my words!" 

Queen Bdchhal.% 

''Thus did I dream ; what shall I say I cannot say it 

It showed me a tiim tree near the carriage. 

365 It showed me a nim tree ; such was my dream. 

It was a very lovely child that came to me. 

20 

* Speaking from his mother's womb. 

t Melia indica. 

t To the coachman.

" 

; 

154 IjBGends -of the panjab. 

Bhoja pakarke kar lie baithe^ yeh mukh se farm^ya 

' Gurd Gorakh ka nsim bata ! gae 

Kalam Ram Bachhal ka Ouru Gorakhndth se. 

" Ai Gunx Gorakhnathji ! kariye meri saLai !" 

•370 Ijekar dall nib ki : dhar dia taka chauhai. 

Dhar dia taka cha>uh4i ; 

jabM mukb "Gorakhndth man%a. 

Parh pai-h mantar ast kuli ke jab g§.iar ko gaya. 

Utara zahar jabhi ik ohhin men, jab oh ne sis hilaya. 

Turfc khare ho gae bail ! Giige ne parcha liya ! 

Bikrd Bdohhal. 

575 " Kirpji hui Gorakhnath ki : sari hamari kaj j 

Sab jag palanhar ho ! bare ghartb nawtj -! 

He caught my arm, took my hand, sat down and said 

with his lips. 

^Call on GurjJ Gorakhnath.' The difficulty will go as 

you worship 

" 

! ' 

Prayer of Queen Bachhal to Guru Gorakhnath. 

" Gurft Gorakhnath ! Be thou my helper ! 

antar dhyan lagae ! ' " 

370 She took the branch of the rum tree and placed the 

offering of a mite. 

Placed the offering of a mite : 

and called on Gorakhnath. 

She repeated the charms for the eight kinds (of snakes) 

and then sang the praises of the charmer. 

Then the poison went away in a moment, and they lifted 

their heads. 

And the bullocks stood up immediately ! 

this miracle J 

Guga worked 


375 " (Through) the mercy of Gorakhnath my desire has been 

fulfilled. 

Thou art the supporter of the whole world: the great 

cherisher of the humble !

THE LEGEND OP GURU GUGOA. 

1'5& 

Bare gharlb nawaj, Mthji ! 

Pahile tujhe manadn! 

S80 

Ab jaD lia nische u nit charnori dhyan lagaAn ! 

Kari kirpi mujh

156 LEGENDS OE THE PANJAE, 

Mdta Rani BaeJihal Id. 

" He beti, kyi!iri roti Kyvkn man kiS- udas 

Kaun bat k§, dukh tujhe Kaho ham^re pas ! 

Kaho hamare pas^ ai beti ! Kyuri man udan lagae 

390 Kya pati, nand, babin teri ne mukh bhar ta'n sunae 

Kadbl nabin itna dukh paya Jab se janam le M, 

Ab mukb se kah de, tA beti \ Kis karan cbal " ai 

B,ant 

"He Mata, sun lijiye! 

Bachhal. 

kabun, tumhen sanajhae. 

Jogi utara S,nke, kari sewa maa lae. 

39 & Kari sewa man lae nath ki : man charnon ctit lae. 

Nand meri ne ja Eaja se aisi cbughli khai. 

' Jogi rakbe, tar dia hai : si.ra mal Int.ae. 

Ya tu dijiye mar, nabin mabilon se die kbarwae/ 

Bari socb rahti mmjhe, n^ jiwan ki as I 

The Mother of Queen Baehhal. 

"My daughter, why dost wee-p Why dost sorrow in thy 

heart 

What troubles thee 

Tell me I 

Tell me, O my daughter I Why is sorrow in thy heart 

390 What reproaeh haye husband, sister-in-law aod sister 

east on thee with their lips 

I have borne no such sorrow as this since I was bom. 

Tell me with thy lips, my daughter I Why hasteonae here " 


" O mother hear me 1 I will explain and tell it yoB. 

A jogi came (int& the garden), I went and worshippect 

him. 

S&5 I went and worshipped the saint : I laid my heart an3 

soul at his feet. 

My sister-in-law went to the Eaja and slandered me thus. 

' She has kept the jogi and bestowed, gifts on him and 

squandered all her property. 

EitheT do yon kill her or tarn her orat of the palace.' 

|So) I am in great sorrow and have no hope in life !

! ! " 

400 NaLin bS,lak paidS. hua, laga barwiri mas ! 

Lagd barwin mas, ri MatS, ! kytt gat bui hamari 

Jab se paia gharab men mere ya gat hui hamari 1 

Ty§,g die Eaja ne mujh ko, aisi bat bicbari. 

Main nir-bh^g janam ki ! Aisi bun papan hatyari ! 

" " 

THE LEGEND OP GURU GUGGA. 157 

Kaldm G{tge M Shikam men. 

405 " Mat ham&ri korahi ya cbinta din rat. 

Us ka dukb niw&r do, he Gurft Gorakhnath ! 

He Guru Gorakhn&th ! anke kijo big sahai ! 

Mat hamari man apne men rahi bahot dukh pae. 

Hoga mujh ko ta'n jagat men, jo yeban janam le ae. 

410 Pita mere ko de parcha, meri matSr ko le jae. 

'Araz sun lijo mahari, dhyan charnon se laya ! 

He Guru Gorakhnath ! Bava dukh pSya ! 

400 My child is not yet born, though this is the twelfth 

month (of my pregnancy). 

Though this is the twelfth month, Mother ! what a sad 

plight am I in 

Since he came into niy womb I have been in sorrow I 

The Eaja dismissed me thinking such (evil) things. 

I was bom ill-fated 1 1 am such a dreadful sinner 1 

Giiga sjpeahs from the 

Wortib. 

405 "My mother lives in sorrow day and night. 

Take away her sorrows, Gura Gorakhnath 

GurA Gorakhnath I come and succour her quickly ! 

My mother lives on with great sorrow in her heart. 

1 shall suffer great reproach in the world if I am bom 

here. 

410 Show my father some miracle that he take back my 

mother. 

Hear my prayer that worship at thy feet 

O Guru Gorakhnath, we are in grât trouble \"

: 

158 LEGENDS OP THE PANJAB, ' 

Bdjd Jewar. 

" Sowan th^ sukh chaia meij sukh se S,san lae. 

Nahiri hosh tan ki rahi, paia dharan par jae : 

415 Para dharan par jae ; meri sab rahi sudh jati. 

Beakul hua, hosh. nahin mujh ko, na mukh barni jatl. 

Kahe mujh ko, ' Sun, murakh Raja ; kyiln 'aqal rahi jati ' 

Jo Eani ko nahin lavega, mar pare din rati/ " 

Hath jor Mantri kahe. 

Mantn. 

" Suno Rao Maharaj- 1 

420 Rani ko Mo abhi sidh hoin sab kaj. 

Sidh hoin sab kaj, Raoji ! Mano bat ham^ri. 

Jo Rani ko nahid 14oge jaegi jan tumhari. 

Tun har Chatihan bair lag jaegS. : jaldi karo tayyari. 

Raja Jewar.* 

"1 was sleeping in ease and comfort r I lay d)0wn at ease. 

I lost consciousness of myself and lay on the ground 

.415 I lay on the ground and lost all consciousness. 

I was restless though unconscious :. no words came from 

my lips. 

(Something) said to me, ' listen, foolish RSja ;. why havethy 

senses left thee 

If thou bring not thy Queen back, sorrow will fall on* 

thee day and night.* " 

Said his Minister with joined hands : 

Minister. 

" Hear my Lord Maharaja 

!' 

420 Bring back the Queen at once, and all will be well. 

All will be well. Sir King ! Hearken to my words. 

If you bring not the Queen back your life will be lost. 

All the Chauhans will be your enemies : so make ready 

quickly. 

* SpeaKing to his minister: the scene changes.

' " 

cavalcade.'' 

thine honor ! 


Kath, hatWj aur pinas palki, leja sab aswari." 

-435 Itaii sunkar bat, Eao ne man men yeh hi bichari 

Raja Jewar. 

" Ganpat Deo manae, dekb mahurat ko karM tayyari. 

Ad Sarda simarke dhara Ganpat ka dhyan ; 

Ast sidh nau nidh ke bar dayak Hanuman ! 

Bar dayak Hanuman ! Rakbiyo 1 yeh M laj tumhari I" 

430 Garh Gajni ke bo lie rasta ; kiincb majal kia bhari. 

Ja pahunche bain bagh bicb men, sundar saji sawari. 

Jab yeh khabar hui R^ja par, kushi hM man bhari. 

Carriages, elephants, and pdlkh; take your whole 

425 When he heard this the Eaja thought thus in his mind. 

Raja Jewar. 

"I will worship Ganpat,* find out the favourable time 

and make ready. 

First I will worship Saradaf and then I will worship 

Ganpat. 

O Hanumanf grantor of the heart's desire § 

Grantor of desires, Hanuman ! Preserve us ! This is to 

430 He took the road to Gajni Fort ; and marched many 

stages. 

He reached the garden with a splendid and glorious 

cavalcade. 

The news of 

pleased. 

it reached the Eaja and his heart was very 

* Ganesa, tlie Elephant-lieaded God. He is always worshipped on 

tlie commencement of any project, such as a journey, a new house, 

a new well, a new book of accounts, and so on. 

t Sarada = Saraswati. 

J The Monkey-God. 

§ Lit.^ The 8 perfections and the 9 riches. 

:

: 

! 


Itni sun Eaja chalet le mantri ko sang : 

Hath jor age kharaj man men bahot umang. 

435 Man men bahot umang. 

Bdja Chandarbhan. 

Bari kirpa hui ham par, Raja : 

"Ba:& jagat men bhag hamara ! 

darshan hAa tumhar^. 

Kushal tumharf des ! kushal hai sab parwar tumhara ! 

Bahot dinoii se milne ki nit kar raha soch bicharli. 

Ab pillran hui as hamari mahilon men pag dhara. 

440 Hath jorke pave charan men : main hun das tumhara." 

Baja Jewar. 

''Ab rukhsat mAhe dijo. Suno Rao Maharaj. 

Ab Har ne puran kie shakal tumhari kaj 

Shakal tumh§,ri kaj, Rao. 

Bahot roz ho gae^ Mahdraj ; 

Ik mano bat hamari. 

jaldi karo tayyari. 

Hearing (of it) the Raja came^takinghia minister with him. 

With joined hands he stood, very pleased in his heart. 

435 Very pleased in his heart. 

Baja 

Chandarbhan. 

" Great is my good fortune in the world I 

Great is thy kindness to me, Eaja, that thou hast 

visited me, 

Happy be thy country ! Happy be thy household ! 

For many days have I had a continual desire to see thee 

Now is my desire fulfilled since thou hast put thy foot 

in my palace. 

440 With joined hands I fall at thy feet : I am thy slave," 

Itaja 

Jewar. 

" Grant me leave now ! Hear, my Lord Maharaja. 

Now hath Hari granted all thy desire. 

All thy desire, Raja. Hear a word from me. 

Much time has passed, Maharaja : let us make ready 

quickly.

t 

"THE LEGEND OP OUufj GUGGA. 161 

445 Ab icliM haigi chalne ki ; mujhe soct hai bhari. 

Chhan-chliim hot, a bair mere ko 

-. soch rahe nar nari. 

Hdth jof adhin kahuii : ab mnkh se baram bari. 

Aiye mahil se b&hir, Rao 

-. 

ab Bam Ram' ' lo hamari." 

Jab Raja walian se chale, man men bahot umang, 

450 Dabiae titar bolta, aur baven rahe Bhubang. 

Pandit Rangdchdr, 

" Baven rahe Bhumang, Rao : main changa shngam 

bichara. 

Hoga putar kalladhara : hai piiran bhag fcumliara. 

Khub tarah se khoj khoj jotish ka ank nikala. 

Janamat sar dekh, Maliaraj : nivega jag sara. 

455 Bhadon tith hai ashtami, jin men zahir diwan. 

4 1'5 Now my desire is to go ; my anxiety is very great. 

Quarrels arise, my enemies come upon me z all men and 

women are anxious. 

With joined hands I pay my respects : answer me with 

yomr lips. 

Gonae out of the palace, Raja, and bid adieia to me."* 

When the Raja departed thence he was very pleased im 

his heart ; 

4S0 On the right a partridge called, and on the left was a 

snake. 

Pandit Bangachar. 

"On the left is a snake. Raja; I think the oraen good. 

Thy BOH will be a miracle-worker : thy good fortune is 

accomplished. 

I have examined the decree of the stars thoroughly. 

Look to the commenoemênt of his life, MaharajfU all the 

world will honour him. 

4S5 The eighth day of Bhadhou-f is the propitious time (for 

21 

his birth), in which he will make his appearance. 

* Lit., 

' 

Take my Bcirn, -Bttm' my parting salutation, 

• 

t Signs of good omen 

j The month of August-Septcmbci-.

: 

: 


Phulon ke pankhe charhe aur nile chha;i iiisMn, 

Nile chhari nisMn." 

Rdo ne janam lia adh-rati. 

Ji jikdr hui maliilori men : pariSri tnangal gati. 

Naubat-khana 

, bajei Rao ke : ik hve, ik jate. 

460 Ghar gbar hna anand : kahe koi, Na ' karmori ka sathi' 

Rao ne bhale bichare: 

Dan kla hai bhari 

Bagar Des anant rahe : 

Ho ji jikari. 

Raja Jewar- 

465 " He Mantri tam se kahun : kar hirde men gyan. 

Rajtilak de Kanwar ko : kaM hamara man. 

They will use fans of flowers and set up blue standards. 

Set up blue standards !"* 

The Raja (Guga) was born at midnight. 

The palace rejoiced : lovely maidens sang songs of joy. 

The drums of the Raja were sounded, f one after the 

other. J 

460 Every house rejoiced : saith one, There ' is no fathoming 

fate.' 

The Raja thought that it was well 

He gave very many gifts. 

The land of Bagat- rejoiced, 

And was glad at heart. 

Raja Jewar. 

465 " O Minister, I say to thee : take it to thy heart. 

Put the sign of royalty on the Prince ( Gugai) : obey 

my command. 

* A tall pole covered over witli a blue and vliite striped clotli, sui-- 

mounted witli a large tuft of peacock's feathers, is tlie peculiarity of 

Gugga's festival in the autumn. 

t The custom at the birth of a 6oi/. 

X Lit. One comes, another goes.

: 


Kalia hamarti mdn : 

abhi pandit ko big bulao. 

Jab ka nikse lagan mahurat, so bam ko batlao. 

Rahe rat din soch mujhe: yeh suna meri manao. 

470 Mangal char karo mabiloii men : baje sublie bajao." 

Pandit Rangachdr. 

" Bachan tumhara mflnke, abhi chalun tat kal. 

Jo Raja ka hukum bo kaise kar dun tal 

Kaise kai- dun ta] Bachan main manun tuhare. 

Le yiiii pushtak bath, chalun main sang tumhare, 

475 Kis karan men aj Rao ne big bulaya 

Kaho hamare pas : nahin Kyun bhed bataya 

Ae Raj darbar, kahuh mukh imrat bani 

' Kaho mukh se, Maharaj, ap jo man men 

" 

thani !' 

Bajd Jewar. 

" Charan tumhare main lagun, he Pandit dujraj ! 

Obey my command : send for the priest at once. 

When the auspicious moment has been found, tell me. 

Day and night have I thought this over : obey my 

command. 

470 Let there be rejoicing in the palace : let joyful music 

be played." 

Pandit Rangdchar.* 

" Hearing thy command, I will go now without delay. 

How shall I delay the Rdja's orders 

How shall I delay them I will obey thy order. 

Taking the book thus in my hand I will go with thee. 

475 Why has the Raja sent for me so quickly to day 

Tell me : 

no why make it a secret 

When I reach the Raja's presence I will speak sweet 

words with my lips. 

' 

Say with thy lips, Maharaja, what thou hast resolved 

in thy mind!'" 

Raja Jewar. 

" I fall at thy feet, thou High Priest^ 

* Speaking to tte Minister.

104 MTGENDS m 5JBK PAKJAS. 

480 Dekh mahuraj khojke raj ttJak kk saj. 

Raj tilak ka aaj :. 

yeh ha ablakh hamari, 

Jo kijoge tilak khusli bain sab nar nari. 

Yeh jag awan jan^ bam jhuti rushnai, 

Khat, muni, jan, sant, baid ne nische gae, 

4S& 

' 

Na pitUj mata, bbarat . nabiri apna hai koi 

Sab swarath. ke nit; janam yeh britha jlie." 

Faiidit 

Rangachar. 

" Khab bat tumi ne kahi ; main ne Me bicbar. 

Aj mahurat asal se : kai'O raj ka kar. 

Karo raj ka kar, Eao : mere yeh hi samajb men ai, 

490 Is larke saraj athon gae aj se ai. 

Hoga bahot anand, Eao ; knchh dijo dan karae. 

Nahinkarnikiaehh soch,Rao> kuchhbhalekai-en Raghae/' 

480 Enquire and ascertain the auspieious moment foF 

putting on the signs of royalty:; 

For putting on the signs of royalty : 

this is »y desire. 

All the men and women are pleased that you should 

put on the marks (on Guga). 

This world is fleeting, its appearances false. 

Sages, saints and doctors have always sung this. 

4Qb Nor father, nor mother, nor brother, nor any one is a 

490 

friend. 

All are always for self: 

this life is wortblesSv" 

Pandit Bangachar. 

" Thou hast well spoken ; I have thoagbt it over. 

To-day is the really auspiciouiS time ; make the investiture. 

Make the investiture. Raja : this is what I think. 

From to-day this boy will enter on the eight kinds of 

wisdom. 

There will be great rejoicing. Raja ; 

grant me some alms. 

There is no necessity for anxiety, Rajt : God* will grant 

some blessing." 

* Eagliae=Ragunatli=Raglibjr=Eama, as before.

make 


Bdni Bachhal. 

" lie Eaja ! sun lijiye: kahun tumlidre pas. 

Us din Pandit ne kaha laga dusra mâ. 

495 Laga dusra mas, Eao ; 

sun araz hamari ! 

Abj kaliun, g3,e ho bliul jaun hirde men dliari. 

Main kahti, kar jor ; araz meri sun lijo. 

De gad] bithlae ! der pal ki na kijo \" 

Raja Jewar. 

" Ganpat Deo manaeke leni panch bulae. 

500 Hath jor turn se kahun kariyo meri sahM. 

Kariyo meri sahM : Bipr ke charnon sis niway^.. 

Dekh mahArat lagan gha:i : kya main turn ko farmdyi 

Ab na kijo der, Guru : main charnon sis niwaya. 

Hat jorke khaia agari, bar bar samjhaya/' 


" Raja, hear me ; I would speak to thee. 

It is two months since the day the Priest spoke. 

495 It is two months, Eaja ; hear my prayer ! 

I tell thee, thou hast now forgotten the intention of 

thy heart. 

I tell thee with joined hands : hear my petition. 

Seat him on the throne '. not a moment's delay !" 

Raja Jewar. 

" Worshipping Ganpat I have sent for the nobles. 

500 With joined hands I say to you do my desires. 

Do my desires : I have laid my head at the Brahman s 

feet. 

See the auspicious hour and moment : 

have I not ordered 

thee 

Make no delay now, Guru : I lay my head at thy feet. 

With joined hands I stand before thee, earnestly* do I 

beseech thee. 

* Lit., Time after time.

! 

! 

' 

166 LEOENDS OF THE PANJAF, 

505 Prat liui : uthkar jabhi, aisi kari bichar. 

Giiga. 

" Ya mere man men ai, kahin chalen shikar. 

Kalim chalen shikar : aj aise man ko bhAe. 

Dina ghoia chher chala, chalun main is jangal ke maia. 

Ham Chhatri Rajput, phire bin na kabhi baithl jae." 

510 Ho yehan bhan sarchhaya, tan murchha gae ae. 

Dina ghoia chher, Rao jhat khui par gae ae, ' 

Guga, 

" He Dadi ! mujhe pani pila de ! nahin mukh bola jae. 

Mujhe p3.ni de piae, 

Khun men tumh&re tain. 

5] 5 Hiia Ml behal 

Nahin mukh bola jae/' 

505 It was dawn, and when he (Guga) arose thus thoughthe.* 

Guga. 

" This is in my heart, that 1 go somewhere for the chase. 

I will go for the chase somewhere : this is the desire of 

my heart to-day. 

I will spur on my horse and will go into this forest. 

I am a Rajpiit warrior, I can never stay at home without 

wandering (at times) ." 

510 The sun's rays here became scorching and his body 

was aweary. 

He spurred on his horse and the Raja quickly reached a 

weU. 

Giiga. 

" Brahmani ! Give me a drink of water ! 1 can hardly 

speak with my lips. 

Give me a drink of water. 

Prom the well by you. 

"J 5 I have come into misfortune 

I can hardly speak with my lips." 

* Scene changes : very probably a quantity of verses have been forgotten 

here.

; 

TH^ LEGEND OP GVUts GUGGA. 167 

Srdhmani. 

" Ai beta Gfiga mere, kahun tumheri samjMe. 

Mati ka bartan mera : kis bidh deuri pilae 

o'20 

Kis bidh defm pilae, ai beta 

sun le bat haraarl. 

Jo lag jage chliint bigar ja hai mati ki jhari." 

Is bidh kahke bat, jabhi chalne ki kari tayyari. 

Tbakar doghar dhare sis. Man karti soch bichari. 

Itni sunkar bat, jab dhar Gorakh ka dhyan, 

J hat kandhe se tarke lini hath kuman. 

625 Lini hath kuman, jabhi man krodh hua hai bhaii 

Mare khainch gulel, jabhi yeh phut gai har jhari. 

Bhij gae sab bashan, jabhi man ron kari hai bhari. 

Jitne the wahah khare khilnin pe soch karen ati bhari. 

Brahmani. 

" Oh, my boy Guga, I will tell thee and explain. 

My pitcher is an earthen one : how can I give thee to 

drink (without pollution) 

How can I give thee to drink, my boy Hear my words ! 

520 An earthen pot is polluted if even a drop of water* falls 

on it." 

Having said this she made ready to go. 

She lifted up and put the two pitchers on her headf 

He (Guga) was grieved in his heart (at the insult) ; 

Hearing her words he worshipped Gorakhnath. 

Quickly he took his bow from his shoulder into his hand. 

526 He took his bow in his hand and was angry in his heart. 

He drew his bow and let fly and both pitchers broke at once. 

All her body was drenched and she began to weep (and 

sorrow) in her heart. 

And all who were standing by the well began to be 

very anxious. 

* I.e., from the mouth of one of a lower caste. . 

t The doghard or doghar is the practice of carrying two pitchers on 

the head, one on top of the other.

! 

LEGENDS 01 THE PANJAB. 

Brahmani. 

" Jaise tain kari waise kari na koe 

168 ' 

Nakhai, nabilsdi:" 

! 

! 

530 Yun kahti ro roe. 

Bagni. 

" KaMn mukh se yeh M bani: 

Na ho jag men teri jiw3,ni 

Maro, Gug§., terS, yana ! 

Nahid tuk ho kabhi syaya ! 

£35 Lago dhoka tujhe dhan ka 

S iO 

Hal dekho mere tan ka : 

Phor do garhe die mahare : 

T^r gharat lie s&re." 

Bant Bachhal. 

" HS.th jor binti karun : mat na ho dilgir. 

Jo bhij gae hain si\tru, leja resham chir. 

Brahmani. 

" As thou hast done hath no one done. 

530 Mayest thou not live or prosper !" 

Thus spake she weeping. 

Song. 

" I tell thee this from my lips : 

Mayest thou not live in the world ! 

Gftga^ may thy children die : 

May their youth be never attained ! 

535 May thy good fortune come to naught 

Look at the state of my body. 

Thou hast broken my two pitchers, 

And made me thoroughly ashamed." 


" With joined hands I pray thee : be not sorrowful. 

L'lO For thy coarse clothes that have been wetted, take 

silken cloths.

! 

: 

THE LEGEND OF GURU GDGGA. 169 

Leja resham chir : 

phflt gae gagir teri j 

Wa mati ki gai : 

jao kathor le kalas jhari. 

Bole bachaa kathor : nahin lai'zi hai kaya 

Yd balak nad-3,n, inhin barjo bban koi. 

54-3 Na ia ko kuchh gj^n : kareii man ave soi." 

Raja Sanjd. 

" He Pandit, sun lijiye : ya mujli ko ablakh. 

Cbliariyal Eujkunw&r ka jae karo kahln sak. 

Jae karo kahin sak : kahm dekko sundar Eajkunwara, 

Ja jaldi se : der karo mat : mano kaha hamara. 

550 Hai ik bhlp Des Bagar ka ; aisa Jewar nam ucbara 

Ho kul changa silwant : koi acbha ho gharbara. 

Age bhag raha beti ka : nahin kisi ka chai^ 

Take silken cloths : thy pitchers were broken. 

They were of earth, go and take pitchers of brass. 

Thou hast spoken hard words and thy body does not 

tremble J 

This is an unthinking child : there is no confidence ia 

his deeds. 

545 Nor has he any wisdom, however much you warn him." 

Haja Sanja.* 

" Thou Priest, listen ^ this is my desire. 

Ooand find somewhere a match for the Princess Chhariyal. 

Go and find her a match ^ seek somewhere a handsome 

prince. 

Go quickly : delay not; hearken to my words. 

550 There is a king of the land of Bagar: they say his 

name is Jewar. 

He is of a good virtuous line ; his family has some wealth. 

The rest is my daughter's fate, (over which) none hath 

power, 

* Scene changes again. Sanja, king of () Xamrftp in Assam, was 

father of Ohhariyai. Sariyai, or Siriyal, wife of GGga. Her namemay be 

a cori-uption of Saradya Devi, still worshipped at the Kamakhya shi-me 

near Gauhati in Assam. Saradya=Saraswati. 

22

; 

! 

! 

170 LEGENDS OV THE PA5.JAB. 

Jaldi ja : mat der karo : ab mat kar soch bicbara." 

Pandit Gunman, 

" Khub b^t turn ne kahi : pAran ho gai k^j. 

655 GaBpat Deo manaeke, sidh karuri, Mahar^j. 

Sidh karuD, Maharaj. 

Aj main Ganpat Deo manaya. 

Purabj Pachhamj Utarj Dakhan ; cb4r diss^ pbiraya. 

Chheb mahina ho gae phirte, nahin mujhe bhar paya. 

Ai Siriyal ! tu bhi dukh bhariye, jaisa main dukh paya 

560 Kaun ghari khofci thi shîd* men ghar se chal aya V 

Is bidh soch hiii man men, chal ghar Jewar ke %a, 

Haja Jewar. 

" Charan tumh^re main laguii, he Pandit Gunman ! 

Kaun des se auna kaun nagar asthan 

Go quickly : delay not : waste not time in thinking." 

Pandit Gunman.f 

" Well hast thou said : the work shall be accomplished, 

555 Worshipping Ganpat^ I will complete it, Maharaja. 

I will complete it, Maharaja. To-day will I worship 

Eastj 

Ganpat. 

West, North, South, all four hare I seen wandering.J 

Pour months have I spent wandering and attained 

nothing 

Siriyal ! may yon suffer aa I have suffered (for you) 

560 What an evil hour it was, the moment of my leaving 

home I" 

Grieving thus in his mind, he reached Jewar's house. 

Bdjd Jewar. 

" I fall at thy feet, Pandit Gunman ! 

From what land hast thou come where is thy home 

and city 

* For Sa'at. f Family priest to Raja Sanja. 

% There is a break here, and this speech is said on the road to Raja 

Jewar's house.

5C5 

! 

! 

THE LEGEND OP GUEU ODGGA. 171 

Kaun nagar ^sthan kaho turn mukh se imrat biini. 

A A I 

pani 

Kah de sachi bat ap mukh, jo hirde mea thani." 

Raho sukh se nit mahil bich men, he Pandit surgyani. 

KyAn nit uth rahe soch tere ko nahin bhave an 

Pandit Chmmdn. 

" Sat samundar par hai Dhupnagar asthan. 

Raja Sanj^ nam hai, jis ka karun bakhan. 

570 Jis ka karun bakh3,n, Rao : main char khunt phir aya. 

Yeh Bidhna ke hath, Rao : ji aj mujhe paraya. 

Kariin sagai Guge ki ; 

Tilak karun Raja ke mastak : 

main is karan chal aya, 

yeh mere man bhaya." 

Kfaabar hM yeh mahil men : 

khAsh hui man mahin. 

Where is thy home and city 

thy lips. 

Speak pleasant words with 

565 Remain at thy ease in my palace, sage Pandit. 

Why art thou ever in thought that thou canst neither 

eat nor drink 

Tell the truth with thine own lips, what thing thy heart 

hath resolved." 

Pandit 

Gunman. 

" My home Dhupnagar is across seven rivers.* 

The Raja's name is Sanja, whose order I obey. 

570 Whose order I obey. Raja : I have wandered over the 

four Quarters. 

This is in the hands of Fate, Raja, that to-day I have 

succeeded. 

I would betroth Guga : 

for this am I come hither. 

I would put the marriage-mark on his forehead : this 

is the resolve of my heart." 

The news reached the palace and joy entered their 

hearts. 

• * Ooaventional expression for a long way oft'.

! 

! 

! 

! 

172 LEGENDS OP THE PANJAF, 

S75 

Bhaiband sab nagar ke lini turt bulae. 

Lini turt bulae. 

Bajd Jewar. 

" Laj jeh hatli tumha;re, BhaJ. 

Jis bidh ns se samajh tumhare, kyuh nahin hamen sunai 

Ai lachhmi ka nahin hataMj lunga man chit lae." 

Ho raha mangal-char mahil ; 

Pandit Gunman. 

Guge ki hia sagai. 

580 " He Eaja, sun lijiye, puran hue sab kam. 

Eukhsat ham ko dijiye; khushi rahojujman ! 

KhusM raho jujman ! 

Ya hai men sis^ Eaoji : so phal hamari bani 

na mukh jit bakhani 

Hire, moti^ lal, jawahir ; 

tumhari sada raho rajdhani I 

585 Kari sagai bida hua : mere man ka brahm mitani." 

575 They sent for all their relatives in the city at once. 

At once they sent. 

Baj& Jewar. 

" My honor is in your hands, Friends. 

As the matter seems to your understandings why do you 

not explain to me 

I will not rebuff the bride that has come, I will take her 

heart and soul." 

There was joy in all the palaces : 


Giiga wa;a betrothed. 

580 O R&ja, listen : all the work has been performed. 

Give me leave : may my patrons rejoice ! 

May my patrons rejoice! may'st thou ever remain a 

ruler 

This is my blessing, Eaj4 : 

may my words be fruitful 

Diamonds, pearls, rubies, jewels : so the blessing leaves 

my lips ! 

585 The betrothal over I take my leave: the anxiety of my 

heart is blotted out.

! 

! 

! 

THE LEGEND OP GURU GUGOA. 173 

Bani Bdchhal. 

" He Bhave ! tain kya kari kyim bipta die dar 

Maa k] man man rah gai ! piyaji gae Surg sidhar ! 

He Piyaji, turn gae Surg sidhar! kaun gat hfii, ji, 

590 

hamari 

Na koi thambanhar ! Di bipta kyfin bhari 

Ai Prabhuj] 

! 

sukh men dukh de dia ! Nahid karmon ka 

âthi 

Nahin nikat hain pran : 

pari taraphun din rati. 

Ho gae ang be-dhang ! hamen kit chhoro jae 

Ik bar mukh se bol, hamen dijo batlae V 

Raja Sanja. 

" Hui soch mujh ko ghani : jagi badan men ag, 

595 Ai beti Siriyal meri ! Khoti teri bhag ! 

Queen Bachhal.* 

" Ah Fate ! what hast thou done why hast thrown 

misfortune (on me) 

The desires of my heart have remained in my heart If 

My husband has gone to Heaven. 

O Husband, thou art gone to Heaven ! what misery is in 

heart 

There is none to protect (me) ! why 

given (to me) 

is such trouble 

590 O Lord ! thou hast given grief in the midst of joy 

There is no fathoming Pate. 

My life will not go : I am fallen in grief day and night. 

My body has become unkempt ! whither hast gone 

leaving me 

Speak one word with thy lips and tell me !" 

" Great is my anxiety : my 

Raja Sanja J 

body is aflame. 

595. Ah Siriyal my child ! untoward is thy fate 

* Scene abruptly changes, for Raja Jewar is now dead. 

f I.e., have been unsatisfied. 

X At his own place on hearing of Raja Jewar's death.

. 

: 

: 

174 LEGENDS OF THE PAN.TAB. 

Khoti teri bhag, ri beti, jis din se tii jM. 

Nahin rahS, sukh un ke ghar men, jab kari sagai, 

Hai nirbMg janam ki bini kboti qismat la^. 

Rah gal man ki man men mere ; na kucbh honi pai. 

main ddn us ko parnai.' 

' 

600 Yeb tha cbao mere man man, 

Yeb Bidbna ke b^tb : nabin kucbb boti man ki obai," 

Jab aisi cbittbi likbi, man men karat biyog. 

Baja Banjo, Id CMtthl. 

" Ham nata karte nabin : na de nam sanjog. 

Na de nam sanjog, JRaoji : suniyo bat bamari. 

605 Nabin karen bam biyab tumbS,ra ' 

: Eam Earn' lo bamari." 

Is bidb cbittbi likbi Rao ne : 

die bat kab s§.ri. 

Itni sunkei b^t Rani ne, jabbi kuk mukb m§,ri. 

Untoward was tby fate, my girl, from tbe day tbou 

wert born. 

Tbere bas been no joy in tbe (bridegroom's) bouse from 

tbe time of tby betrotbal 

An evil fate brougbt a bad and wretched destiny at thy birth. 

Tbe desires of my heart have remained in my heart 

nothing bas been accomplished. 

600 This was the desire of my heart, that I should promise 

thee to him (Guga) 

It was in the hands of Fate that tbe desire of my heart 

should come to naught." 

Then be wrote a letter that be desired a separation. 

Baja Sanjd's Letter (to Guga). 

" I will not make the connection : take not tbe name of 

relationship. 

Take not tbe name of relationship, Raja : hear my words. 

605 I will not give her in marriage : take my adieus." 

Thus tbe Raja wrote tbe letter : said all his say. 

As soon as the Queen* heard it she cried out. 

* Bachhal.

: 

: 

: 

! 

: 


Edni Bachhal. 

" Ai Prabhu ! taii:i kyh di bipta E4ja mare pachhtari 

Nahiii janfln thi aisi hogi jag men bans hamari !" 

Gugd. 

610 "He Mata, kyiin roti kyda hui Ml be-Ml 

Kyun mukh se nahld boltl kyun pare sir bal 

Kyiin pare sir bal, ri Mata kyun man ron lagae 

Pichhli batan, lie Mata, kya yad tumhari ai 

De ham kd batlae, ri Mata ! tujh ko nath dohai 

615 Kya kisi ne tujh ko mukh se koi khoti bat sunai" 

Rani BdrJihal. 

" He beta, sun lijiye man mere ki bat 

Hui sagai hat gai ; 

yun sochM din rat. 

Yim sochun din rat, Kariwar : 

meri khoti qismat ai. 


" Lord ! what misfortune has thou brought I was 

grieving for my dead Eaja 

And I did not know that the world would thus jeer 

at me !" 

Guga. 

610 " Why dost weep, my mother Why art so miserable 

Why dost thou not speak Why dost thou tear the hair 

of thy head 

Why dost thou tear the hair of thy head, 

mother Why 

is grief in thine heart 

Why dost thou brood over things that are past, mother 

Tell me, mother ; may the saint protect thee ! 

615 What Has any one spoken evil to thee with his lips " 


" My son, hear the words that are in my heart 

Thy betrothal is broken off: that is why I sorrow day 

and night. 

Thus do I sorrow day and night, Prince ; 

on me. 

an evil fate is

: 

: 

17G LEGENDS OP THE PANJAB. 

Pita tumhare Surg sidhare jab yeh hati saga:. 

620 Kia kisi bhat dushman ne, ja khoti khari sunai. 

Na jiwane ka dharam hamara raha jagat ke mahin." 

Mata ka sunke bachan gia krodh tan chhae 

Ja jangal bayaban men l!ni bin banae. 

Lini bin banae Eao, jab Gorakhnath manave, 

625 Kahiri tarwar ki baith chhau men Rag Bhairavi gave 

Chheli ragj chhattis r%ni, sabhi bin men gave. 

Moh lie parsii panchhi ban ke murli adhar bajave. 

Jab Basak ne awaz suni haij man apne khansave. 

Bdsalc Nag. 

" Aisa kaun bali hM jag men, sote nag jagave 

When thy father went to heaven the betrothal was 

broken ofi. 

620 Some unfriendly relative has done this, going and 

speaking evil. 

I have no right to live on in the world now." 

Hearing his mother's words his body was filled with anger. 

Going into the wild forest he took and made a flute. 

The Raja made a flute and called on Gorakhnath. 

625 Sat somewhere under the shade of a tree and sang the 

Bag Bhairavi* 

Six rags and thirty-six ragnis,f all he played on his flute. 

He played his flute with his lips so that the beasts and 

birds of the forest were pleased. 

When BasakJ heard the sound he was displeased in his 

heart. 

Bdsalc 

Nag. 

" Who hath such power in the woi'ld, that he should 

wake the sleeping snake 

* The Song of Defiance and War. 

t The conventional movements of a complete musical composition. 

i Saimk, Vasuki, the chief of the snakes.

! ! ' " 

* Ky4 biptd tum par pari mukh se bol sunao ! 

T^tig Nag. 

" Ai Bhai, tu kaun hai kaho mukh sachi bat! 

Kaun tumhara nagar hai kaun tumhari zat 

Kaun tumbari zat Hameti to de sachi batlae. 

Is jangal bayaban bich men kyun tain bin bajae 

Nahtn, marun phunkar kop ke, turt bhashan ho jae ! 


630 Kaun bali paid4 hflaj die mukh bin bajae 

Mrit-mandal ke bich men die sab nag jagae 

Die sab nag jagav«. Kbabar jald se jakar lao. 

KyAfi die bin bajS,e yeh hi sab hdl puchhke ao. 

635 Sabbi bdt puchho : yeh jake zara der mat lao," 

640 Main bhija R^ja Basak ne, kahiye, tumbari tarn. 

630 Who is this strong man that is born that plays the flute 

with his mouth 

He has waked all the snakes in this transitory world ! 

He has waked all the snakes. Go quickly and bring 

uews (of him). 

Why has he piayed the flute Go and ask the whole 

story, 

' What misfortune has failen on thee 

lips r 

tell me with thy 

635 Ask the whole tale : Go now and make no delay." 

Tatig Nag* 

" My friendjt ^^'° ^^ ^^^^ - speak the truth from thy 

lips 3 

Where is thy city What is thy caste 

What is thy caste Tell me the truth. 

Why art thou playing the flwte in the wild forest 

640 Eaja Basak has sent me to speak to thee. 

(Speak) or I will blow on thee ia anger and thoik wilt 

at once become ashes." J 

* The servant and priest of B&sak Nag. 

t Speaking to Gflga. 

, , , , , 

J It is a common Jiotion that the breafch of the oobi-a can scoroJi, 

23

; 


Ovgd, 

" Pot^ Raja Amar ka, Gard Darera gao6, 

Beta Jewar Rao ka, G-iiga mera naon. 

Guga mera nS-m : Gorakhnath ne yeh hi tahray^. 

'645 HM sagdi liat gai meri. Is karan chal aya. 

Sat samundarori par kahiri hairi; 

Bihar pare main yad karen hain. 

Basalc Nag. 

Saoja nam batayL 

Is karan chal aya." 

" He Tatig, tvim se kahun ; ab suniye man lae 

Jo GAge ka hukum hai, abhi karo turn jae. 

'650 Abhi karo turn jae ; der pal ki na mati lagao. 

Hai Gorakh ka chela piyari, us ka hukum bajao. 

Bina hukum jana nahin, Bhai : kyui socho pachhtao 

Abhi khabar lao jald se, pas ham§,re ao." 

Guga, 

" I am grandson of Raja Amar, my village is Gard 

Darera.* 

I am Raja Jewar's son, my name is Guga. 

Giiga is my name, given me by Gorakhnath. 

645 My betrothal has been broken off. This is why I have 

come. 

He (the injurer) lives across seven rivers ; his name 

they call Sanja. 

I came to the forest to complain. This is why I have 

come." 

Basak Nag. 

" Tatig, I tell you : listen now with all your heart. 

Whatever Guga orders go and do thou now. 

650 Go and do thou now ! delay not a moment. 

He is the beloved follower of Gorakhnath,t obey his orders. 

Leave him not without his command, my friend : why do 

you hesitate and think 

Go now and bring me news of him, and come back to me." 

* Probably Darera in Bikaner. 

t Gprakhnath is fabled to have had special power over snakes.

" 

THE LEGEND OP GURU GI/GQA. 17^ 

Tat'tg Nag. 

Soi karAnga kar ap ne jd mukb se farmaya. 

Jaban kabln bibar pare, Mabaraj, kariye meri sabai ! 

"Jo bat turn ne kahi main lie khub bicbar. 

655 Jo mukh se turn ne kabi, soi kariinga kar. 

Itne kabke mukb apne se cbal Gftge pe aya. 

Hatb jor parnam kari, cbamon men sis niw^ya. 

Tatlg Nag. 

660 "Jo kucbb bukum kabo mukb sati : pas tumbare kjL 

Main Ba&ak ne tum pe bbij^, bin sune utb dbyaya."_ 

Gvga. 

" He Bbî, tum se kabun : aisa kijo kam. 

Sat samundaron par bai; Dbupnagar bai nam. 

Dbiipnagar bai nam ; Rao ki Siriyal Eajdulari. 

665 Kari sagai -, mukar gia bai. Wa bai mang bamari. 

Tat'tg Nag. 

" I bave tbougbt carefully over wbat you bave said. 

655 Wbat you bave ordered witb your Hps, I will do it all. '^ 

I will do it all as you bave spoken witb your lips. 

Wberever I may be in the forestj Mabaraja, be my belp !" 

Saying tbis witb bis lips be went to Guga. 

Witb joined bands be saluted bim and bowed bis 

at bis feet. 

head 

Tatig Nag. 

660 "If thou bast any command say it with thy lips : I am 

come to tbee. 

Basak Nag sent me to tbee : worshipping tbee without 

hearing thee." 

Ougd. 

" My friend, I command tbee : do tbis. 

It is across seven rivers : 

its name is Dbupnagar. 

Its name is Dbupnagar : the king's daughter is Siriyal. 

665 She was betrothed (to me) and then be drew back. 

Tbis is wbat I want.

180 LEGENDS OF THE PAWJAB. 

Ye itDa M kam hamara ; 

kahi haqSqat s&ri. 

Kkrii Hes, Kamachhya Debi^ 'ilm ghazab hai bhari/' 

Tatig Nag. 

" Dhiipnagar asthan ka sunftfi jabhi se n^na, 

Rom rom men bas gia^ as badan men pran, 

670 Ae badan men pran j abhi main Dhi^pnagar ko jite- 

Ik phiF ka hai rasta, n^ dil men gbabaraun. 

LAng^ k^ya palat sarap ki, Brahman ka r&p banauri. 

Is bidh mahilon bich jae Siriyal ki darshan paiin." 

Giiga. 

*' 

Jo chaho so hi karo, hai tumhara ikhtiy^r. 

675 Laj hamari rakh le, anr biyah de Siriyal nar, 

Biyah de Siriyal nstr^ hamari sab sadh bisrê. 

This is all I want ; I have told the whole facts. 

The country is K&ru j the Goddess Kamachhy^ ;* (the 

people) are great soreerers." 

Tatig Nag. 

" Since I heaird the name of the city of Dhupnagar, 

It has dwelt in every bair (of my body) life has emim 

into my body >t 

670 Life bas come into my body. I will go to Dhupnagar 

at once. 

It is a jouTney of a moment and I will not lose my head. 

I will drop my snake's body and assume the form of 

a Brahman. 

Going thu& into the palace I will see Siriyal." 

Gttga. 

" Do as thora wiltj it rests with yow. 

675 Guard miy honour and marry me to Siriyal, the damsel. 

Marry me to Siriyal, ther damsel ; and all my joy will 

eome aboat. 

* KamaksM, a form of Devi woisMpped at KSmakhya near GauhAtS 

in Assam. This celebrated sbrine is in the District o£ Kajnrllp=^p) K&r^ 

If SOI Dhflpnagar is Gauhati. 

idiom. 

•f 

Meaning, I can never forget : common


Mukh se karte ta'n sarlke jab se hfli 

Aisl khoti boll Mni mukh se log lagae. 

sagal. 

Nit uth ron kari hai B3,chlial, yeh dukb suhan jae." 

680 Jab itne mukh se sune, bhar^ nain men nir. 

Taiig 

Nag. 

''He Guru Gorakhnathji, ^n bandhao dhir. 

An bandhao dhir; nir nainon sejari. 

Is bipta ke bich an sudh le hamari." 

Chhor dia sab des nagar Sanj§, ke aya : 

685 Phirke charon taraf, aur bagh men bistar lay^. 

SS,t saheli sangat hain Siriyal Eajkanwar> 

Awat dekhi bagh men. Lie dharti nichkar. 

Lie dharti nichkar ; bana koi hai budha Brahamch&ri, 

Hath lathia, k^ndhe dhoti, jab durbal de dh&ri. 

My relatives have reproached me with their lips ever since 

the betrothal. 

Very wicked words have the people said with their lips. 

Continually is B^chhal weeping : 

charm away her grief." 

680 When he (Tatig) heard this from his lips, his eyes filled 

with tears. 

Tattg Nag. 

" Guru Gorakhnath, come and give me courage. 

Come and give me courage : my eyes are dropping tears. 

Come and give me joy in the midst of this misfortune." 

He left all the country and came to the city of Sanja. 

685 He wandered all round it and rested himself in the 

garden. 

The Princess Siriyal was with her seven maidens. 

She came to see the garden. He was lying quietly on 

the ground. 

He was lying quietly on the ground, dressed up as an 

old Brahman priest : 

Stick in hand, kerchief on shoulder, and lean in 

appearance.

! 

"; 


Taiig Nag. 

Siriyal Bdjkamvar. 

Ari Saheli puchhiye ! kyuri para hamare khiyal 

Para hamare khiyal, ri Bandi ' piiohho us ko jae." 

695 Nau mashe ka angustan^ dina kadh lag4e. 

Siriyal Rajkanwdr. 

" He Budhe, tu th^ le is ko ! dia tumh^re tanin ! 

690 " Dijo daa ! maha pun hogk 1 HAn budha Brahamchari ! 

Dharm phaile babal ghar tere ! yeh hai asis ham&ri 

" 

! 

" Yeh Brabman kyS. m§,ngta aur ho raha hk\ behM ! 

Tatig 

Ndg. 

" Maila dS-a nahin lene kk, yeh nir-phal ho ]ke." 

Jab Siriyal jhfllan lagi, gk rahi rag tilar; 

Tattg Nag. 

690 " Gjve alms ! it will be a good work ! lam an old Brahman 

priest 

May -virtue increase in thy father's house ! This is my 

blessing [" 

Princes/s Siriyal. 

" What does this Brahman want why is he so 

wretched 

Ho, my maid, ask him ! why does he trouble about me 

Why does he trouble about me, my maid Go and ask 

him." 

695 She gave him a ring of nine nidshas* covered with dirt. 

Princess Siriyal. 

" Here, old man, take thou this ! it is given thee !" 

Tatig Ndg. 

" I cannot take a dirty gift, this would not profit thee." 

Then Siriyal began swinging and singing a song 

* A mdsha is -^^ tola or j 

jth weigh.t of a rupee.

: 

; 

; 

; 

TH]g LEGEND OF GUEU GUGGA. 183 

Bahofc khushi man ko hui, ab daii lagakar tar, 

700 Daft lagakar tar, jabhi yeh palt lie jhiikaya 

Ui ke ja baitha dali par, basir rup banaya. 

Sahaj sahaj kar laga utarne, racbke apni maya ; 

Palak utbake dekhi Siriyal, paii dharan bbae khaytl.. 

Tatig Nag. 

" He Prabbu, tain kya kari aj hamdre sath " 

705 LagS, daun, khali gae, roe mal mal hath 

Eoe mal mal hath. 

Tat'ig 

Ndg. 

" Bat yeh gai : hath nS ave ! 

Aur jatan kya karuri aj men Na kuchh par basave. 

Aisa karta jatan &j men, jo mere man bhave 

Jo lag jata daiin hamara sab s

: 

; 

: 


Siriyal 

Rdjkanwdr, 

710 *' Ake sarwar tal par lagi sakhi sab nahan 

Khai tM, par bach gal ; 

lie bachsl tan praa. 

Lie bacba tan prS,n, SakM j main kya kahun mukh se 

b^ni 

Dekh sftrat bhae laga, mere ko kal nislj§,n]. 

Thl gudiyon men nagdaun, mere nakin kisl ne ani." 

715 Itni kak mukh ron kari j kai bhar& nain men pani. 

Jab Siriyal ne turt hi bistar lie utar 

Lagi saheli nahS.n,sab karke man man piyar: 

Karke man mS,n piy&r. Jabhi mukh Gorakhnath man^yS. 

Nahin lag&i bar, tart hi basir riip banaya. 

720 Jae barha pani ke bhitar j nazar kahin nahin ayL 


710 " I came to the lake to bathe with all my maidens. 

I was nearly killed, but was saved : I saved the life in 

my body. 

I saved the life in my body, my maids ; how shall I tell 

it with my lips 

I saw him (the snake) and was very much afraid, the 

signs of death were on me. 

I had a specific * among my playthings and no one 

would come to me (and bring it)," 

715 Saying this she began to weep, and shed many tears. 

Then Siriyal quickly spread out her sheets and took off 

(her clothes). 

And all her maids began to bathe loving her in their 

hearts 

Loving her in their hearts. 

Then he called on Gorakhnath. 

He made no delay, quickly put he on the snake's form. 

720 Went into the water and no one caught sight of him. 

* Nagdaun is. a fabulous kind of wood for taking off fetters, curing 

snake-bite, &c.


Tatig 

Nag. 

" PhirAn dMndta Siriyal ko, main jis karan chal ^ya." 

Jab wahan dkt lag4 aisa gunth pe dank lagaya, 

Pir hdi tan ko us ke bhad; itna dukh paya. 

Itnl bat kahi Siriyal ko karh phana dikhlayd. 

Siriyal Rdjkanwdr. 

725 " Khae lie main is basir ne, jabhJ zahar charhaya. 

Is basir ne khde ! 

Zahar tan men cbarhae ! 

Nahin bachti hai jan ! 

Kal ne an dabae 

" 

! 

730 Udan kari, beakul Mi, pari dharan par jae. 

Siriyal khae sarap ne, gia zahar tan chhae. 

Gi4 zahar tan chhae, jabhi Eaja pe khabar pahunchal. 

Tatig 

Nag. 

" I wander searching for Siriyal, for whom I am come." 

When an opportunity came, then he so bit her on the toe. 

That great pain came into her body and she was in 

great trouble. 

Having done this to Siriyal* he showed his hood. 

Princess 

Siriyal, 

726 " This snake has bitten me and the poison ran up me 

at once. 

This snake has bitten me ! 

The poison has run up my body ! 

My life cannot be saved ! 

Death has come 

" 

upon me ! 

730 She moaned and became restless and fell upon the 

ground. 

The snake bit Siriyal and the poison ran up her body. 

The poison ran up her body and the news reached the Raja. 

* Lit., Having said so mucli to Siriyal : probably some passage has 

been omitted. 

24.

' 

! 

!; 

: 

186 LEOENDS OF THE TANJAB. 

Saheli. 

" Siriyal Eajkanwar tumhari abhJ sarap ne khae. 

N^ ave mukh sans, pari hai tan ki sudh bisrae. 

735 Nahin bachan ki as, Raoji; main kahe tumhare tain." 

Raja Sanja. 

" Jab Janami kyfin na man, Siriyal Eajkanwar 

Ab mujb ko dukh di chali ! ky4 kini Kartar 

Ky& kini Kartar Hua dukh mujh ko bhari 

Ik bar mukh se bol, meri pranoii kl piy§,ri " 

740 Ho gia mahil andher, ron karte nar nan ; 

Sab beakul hue pare, kareii mukh 'ha ha' kari. 

'Nahin mani tain kahi : bagh men pekhan ai 

Thi khoti woh ghari, lie basir ne khae ! 

Maiden. 

" A snake has just bitten thy royal daughter Siriyal. 

No breath comes from her mouth and her body lies 

lifeless. 

735 There is no hope of saying her, Eaja, I tell thee." 

Raja Sanja. 

" Siriyal, my daughter, why didst thou not die at thy 

birth 

What Now grieving me thou art gone ! 

done 

What has God done 

Great is my grief 

Speak but one word with thy lips, thou 

life \" 

740 Dark was the palace, men and women wept 

has God 

darling of my 

All were miserable, crying ' ah ! ah ! ' with their 

lips. 

• Thou didst not obey, we told thee : thou wouldst go to 

see the garden : 

Unhappy was the hour : the snake bit thee !'


: 

Tatig Nag. 

•' Main turn se yfln puchht^, kaho mukh se bat 

745 Na cliuriS,n karian thari ! kyun nahiii nak men n&th 

Kyftnuahin nak mennath Des menbliondiclialtumliari! 

Na mukh se kare bain ; nain men bhare nir kyfln th^ri 

Tap tap ansA pare nain se, basban bhij gai sai*i 

Aisi ghar gbar phiro daulati, jun phirti hatiyari \" 

Panhdr't. 

! 

750 " He Dada, sun lijiye : mukh 

se kahi na jS,e. 

Siriyal, beti Rao ki, lie sarap ne kh4e ! 

Lie sarap ne kh§,e ; nagar men is bidh sog ho ae ; 

Des des ke ae gSiTU, na kuchh par basSe. 

Gard Darera mang lie, hati rahi bina purani. 

Tailg Nag* 

" I ask this of thee, tell me with thy lips : 

745 ThoQ wearest neither bracelets or anklets! why hast 

thou no ring in thy nose 

Why hast thou no ring in thy nose wretched is thy 

plight in the land ! 

Thou speakest not with thy lips ; why are thine eyea 

filled with tears 

The tears drop from thine eyes and all thy clothes are 

wet (with them) 

Thou goest from house to house *ith uncertain step as 

wanders a disgraced woman \" 

(Female) Water- Bearer. 

750 " Brahman, listen : I can hardly say it. 

The king's daughter, Siriyal, has been bitten by a snake ! 

Has been bitten by asnake: so there is weeping in the city : 

The charmers of every land have come, but they availed 

nothing. 

She was betrothed at Gard Darera, it was given 

not carried out. 

* To the female vrater-bearer, in his form of a Brahman. 

up and

; " 

; 


" 

755 Jakar nahati lagi sagar pe, khoti qismat al ! 

Tatig Nay. 

" Panharlj sun lijiye ! kaho Eaja pe jae, 

' 

Aya hai ik gairu ; lijo us se bulae 

Lijo us se bulae^ Raoji, kahun tumhare tain. 

Woh kahta hai mukh apne se, dunga us se jiwai 

760 Hai kya chiz zahar mere &ge dunga turt urae ; 

Gae sans paida kar diinr ik hai bidhia mujh pai.'" 

Itni sunke, Rô ke a gae tan pran. 

Bdjd Savja. 

" Lao jald se abhi; hai pandit gunwan ! 

Bagn'i. 

" Abhi jald se le ao ! 

765 Der pal kl mati Jao. 

Chalo, Pandit Maharfija, 

755 She went to bathe in the lake (ocean) and an evil fate 

befell her \" 

Tatig Nag. 

" Water-bearer, listen ! Go and tell the RajS., 

' 

A charmer has come' : send for him. 

Send for him, Raja, I tell thee. 

He says with his lips, ' I will restore her to life 

760 What is poison in my presence I will send it off at 

once J 

Fleeted breath I will restore : it is an art I haye 

acquired !' " 

Hearing, life 

(and hope) came into the Raja's body. 

Baja Sanja. 

" Bring him here at once, he is a worthy ptiest I" 

Song. 

" Bring him here at once ! 

765 Delay not a moment. 

Come, Sir Priest,

: 

THE LEGEND OF OUR& GDQGA. 189 

H^th tumhare rahe laja ! 

Shakal dukh kat gal hamElri 

Guru (larshan kle thin." 

770 Chir mukh se jabhi tari, 

Awan man men kyS, bhari 

Tatig Nag. 

A 

" An sahM kijo, he Guru GorakLnath ! 

Ab is ko baitlii karo, laj tumhare hath. 

Laj tumhare h&th." 

Nib ki daii lie mangai. 

775 Pahile lia likhae jabhi Guge ka biy§,h sagdi. 

Parh parh mantar, laga jh&rne, jab Siriyal muskfii. 

Le gae gonth mukh apne men, lia chus chhin main. 

Bdja Sanja. 

" TIkth jor binti karuh^ charnon sis niwae : 

My honor is in thy hands ! 

All my grief is taken away : 

(Since) 

the priest's visit had delighted me." 

770 When he removed the shroud from her face, 

How great was the grief in his heart ! 

Tatig Nag. 

" Come and succour us, Guru Gorakhnath ! 

Make her sit up now, the matter is in thy hand. 

The matter is in thy hand." 

He borrowed a branch of a nhn tree : 

775 But first he obtained in writing (a promise) of betrothal 

and marriage to Gilg^. 

He repeated some charms and began to exorcise, and 

then he moved Siriyal. 

He took her toe in his mouth and sucked out the poison 

^t once. 

Raja Sanja. 

" I adore thee with joined hands,Ilaymyheadatthyfeet,

190 LEGENDS 0 THE PANJAK. 

Siriyal Rajkaiiw^r ki die liain pr^n bachae. 

780 Die hain pran bachae ! b&t main kah di apni man kJ, 

Sat roz ka biyali dia main, kami nahin koi dhan ki. 

Ckale ao, le kbatke biyS,han ; samajh lie^ hai man ki, 

Puran as hui hai mab&rf, der nahin chhan pal ki." 

Jab chitthi biyah ki lie^ puran htie sab kam. 

785 Chalne ki tayyari kari, dhara Guru k^ dhy^n. 

Tatig Nag. 

" Dhara Gurfl ka dhyan, chala, main ik phir men aya. 

Sab chintd hui dlir hamari ; man ichha phal payii. 

Yeh hai chitthi biy§.h ki apni. Kyuh dil menghabarayS,'^ 

Sat roz rah gae phire men, jab man man bhae kh&ya. 

Thou hast saved the life of the Princess Siriyal. 

780 Thou hast saved her life. I will tell thee my heart's 

desire. 

In seven days shall her marriage be ; there shall be no 

lack of wealth. 

Come and obtain the bride ; hearken 1 it is my desire. 

My hope has been fulfilled : delay not a moment." 

Then he (Tatig) took the letter of (consent to the) 

marriage, and his work was accomplished. 

785 He made ready to go and worshipped the Gurft 

(Gorakhnath). 

Tat'ig 

Nag. 

" Worshipping the Gurft I started and I came in a 

moment. 

All my anxieties are afar, the fruit of my desire is fulfilled. 

Here is his own letter of (consent to the) marriage. 

Why should I be disconcerted 

It was seven days to (the time of) returning (to Dhupnagar) 

and fear came into his 

(Guga's) mind.* 

* Because the time given him was so short.

: 

my 

! 

THE LEGEND OF GOEU GUGGA. 191 

Giigd. 

790 " in khabar lijo abhi, he Gurii Gorakhn&th ! 

BMr pare ke bich men! laj tumhare hdth." 

Rdgni, 

" Laj rakho, Guru, maMrJ, 

Karo ab biyah ki tayyari. 

Soch mujh ko Lui bban: 

795 Bipat aisi mujhe dari. 

Par kijo mera khew4 ! 

Tfl hai Pat ! Rakhiye diwa ! 

Bkagat tain ne sabhi tan : 

Men bar kyun hui niyM " 

Guru Gorahhnath. 

800 " KyAii soche bbu men para Man men bandho dhir. 

Uth jaldJ : ashnan kar : orh. basanti chlr. 

Guga. 

790 " Come and tell me noWj Guru GoraklinS,th ! 

I am fallen into the midst of trouble .' 

honor is in 

thy hand 

" 

i 

Song. 

" Preserve my honor. Guru, 

Make ready my marriage now. 

I am in great trouble : 

795 Great anxiety overwhelms me. 

Bring me to the other shore.* 

Thou art Lord ! Preserve my honor 

Thou hast aided all the saints 

Why has my turn been otherwise " 

Gu,ri6 

Gorahhnath. 

800 " Why art fallen on the ground in grief Take courage 

in thy heart ! 

Get up quickly and bathe and put on splendid garments. 

* Of the ocean of trouble.

: 


Orh basanti chir, baore ! kyiin man ron lagae " 

Le GAge ko sang jabhi ik chliin men pahunche jie, 

Dhftpnagar ke gaure jake tambu die lagae. 

805 Hem Natb aur Khem Nath, hain yeh mere Gur bhî 

JAsi chautarfa gher, anke aisi nadh bajae : 

Eath, Mthi aur pinas palki, na ginti ginti gae. 

Dekh barat bosh gae sab ke. 

Baja Saiija. 

" Yeh kya afat ai 

" Nahin janun tha aisi hogi ! khoti qismat M ! 

810 HSith jor binti karun, turn sir ka sirtaj. 

Main tiim ko beti die : rakh hamari laj ! 

Put on splendid garments, thou fool ! 

heart " 

why art sad at 

Taking Giig^ with him then he (Tatig) arrived in the 

twinkling of an eye. 

Arriving at 

tents. 

the fields of Dhupnagar they pitched their 

805 Hem Nath and Khem Nath (were there), my brother 

Gurus.* 

They wept all round it and sounded their conchs. 

Carriages, elephants and palkis, beyond all number. 

Seeing the procession all were astonished. 

Maja Sanja. 

I did not know it would be like this ! An 

hath come ! t 

" What devilry is this 

evil fate 

810 With joined hands I adore thee, thou art the crown of 

my head. 

I gave thee my daughter : preserve thou my honor ! 

* Of Goraklmatli. 

t The procession was so large, jtiat he felt unable to stand the expense 

and attend to their wants, and feared that therefore Gorakhnath would 

curse him.

: 

! 

: 

THE LEGEND OF GUfiU QUGGA. 193 

Rakh hamari laj : Eij main damangir fcumharS, 

Chahe rakho, cliihe rakro mujh. ko, karo merS, nistar^ I 

Yeh jitne jati sati sant hain, main kariin darshan ik bara. 

815 Main adhin sarau lie tumh^rij kaMn mukh b^ram b^ra \" 

Jab Eaja ne turt bi hatbi lie sangar 

Hirej moti, la'l hi, bbar lie kancban thar. 

Bbar lie kancban tbar ; Rao ne Mtb men thaya : 

Le Gorakb ke dhara agari, charnon sis niwaya. 

820 Lie janetj kari sewal, bbojan kbiib jamayd. 

Karak lagan men bainge pbere; pandit ne batMya. 


" He RS,j&, sun lijiyo : man hamari b^t. 

Lagan sam^ ab a gia, rabi phir ik rat. 

Preserve tbou my bonor : to-day I am tby bumble 

servant. 

Keep me or slay me, but be my salvation 

I would visit once eacb of these holy and revered saints. 

815 Respectfully I place myself under thy protectionj speak 

" 

a word to me ! 

• 

Then the Raja quickly got all bis elephants : 

With diamonds, pearls, rubies he filled a golden platter. 

He filled a golden platter : the king took it in his own 

bands. 

He placed it before 

feet. 

Gorakhnath and laid his head at his 

820 He received the procession and worshipped and spread 

25 

a grand feast; 

The marriage was held under Cancer,* as the priest 

directed. 

Pandit Ounman. 

" Oh Raja, hear me : listen to my .words. 

The proper time has now come, there remains 

night. 

* The most propitious time of all. 

had 

but one 

__^_^_—

" ! ! ! ! 

! " 


Eahi phir ik rat, Eao : main dekha lagan lagê." 

825 Jab Pandit ne bedt rachke Gorakh M bulae. 

Ganrl sut karke pujan, pheri die diwê. 

Ga rabi mangalcbar sakhij sab saj arta lae : 

Koi gorl, koi patli sundar, nainon men chhab chbae ! 

Man men hua anand, ' aj Siriyal k^ biyah rachae.' 

830 Bida hue, ghar ko chale, bahot kia het piyar. 

Rani. 

" He Siriyal, meri lad It, gal bbayan le d^r ! 

Gal bhay^n le dar ! Aj ham se hM niyari 

Jhat gia ham se neb, hua dukh mujh ko bh&ri 

Ho gia mahil andher, meri pranon ki piyari 

835 Na jlwan pal ik : m^rungi khae katari ! 

There remains but one night, Eaja : I have ascertained 

the time." 

825 Then the priest raised an altar and called on GorakhnSth 

He worshipped Gauri's son* and performed the 

marriage. 

The maidens sang songs of joy and all the ceremonies 

were performed. 

Some were fair, some were slim and beautiful, their 

beauty filled all eyes ! 

Their hearts rejoiced, ' To-day have we performed 

Siriyal's marriage/ 

830 They bade adieu and went home with many a loving 

parting. 

The Queen, f 

" Ah, Siriyal, my darling, put thy arms round my neck I 

Put thy arms round my neck ! I am desolate to-day 

My love has left me and great is my grief 

Darkened is the palace, darling of my life ! 

835 I will not live a moment ; I will stab myself and die 1 

* I.e. Ganesa, before commencing the cerem.onies. 

t Siriyal's mother.

! 

! 

" 

THE LEGEND OF GUBU GUGGA. 195 

Siriyal 

Bdjkanwdr. 

" He Mata^ sun lijiye mujh bharan ki bat. 

Main turn bin kaisi jiun ; bhachar gae pitu mat. 

Bhachar gae pitu mat ; aj se yeb gat h.M hamari. 

He Mata, main pran 

" 

tajungi ; na hui ik pal niyarl ! 

840 Itni kahke bat, mat ke gal men bhayan dari. 

Kabhi nahin bhachari thi ik pal, jab se surat sambhali. 

Siriyal Edjkanwdr. 

" Kalian gai meri sang saheli thi pranon ki piyari 

! 

Na man ki rati hosh, ronkar bhM gai sudh sari 

Guru Gorakhndih. 

" ' 

Ram Ram ' sab ko kabun, jitne bMp nares ! 

845 Dudb putar, dhan sab pbalon, khushi tumbara des ! 

Princess 

Siriyal. 

" Ah Mother, listen to my wretched words. 

How shall I live without thee ; 

lost are my father and 

mother. 

Lost are my father and mother : 

sad plight. 

from to-day is this my 

mother, I will leave this life : I never had a moment's 

" 

grief (till to-day) ! 

840 Saying this, she threw her arms round her mother's neck. 

Never had she been parted from her for a moment since 

she had made her appearance (been born). 


" Where have my maiden companions gone They were 

the beloved of my " 

life ! 

Reason left her mind and weeping she forgot all joy 

Guru Gorakhndth, 

" I pay my adieus {Ram ! Bam ! ) to all you kings and 

rulers ! 

845 May you have flocks and herds, sons and all wealth, and 

happiness to your land !

: 

: 


Khushi tumhara des, Eaoji ; 

yeh hi asis hamara." 

Hath jor parnam kare, jhat blr lie aswari 

Ae gae hajn Gard Darere, khushi hui nar nari. 

Gurii Qorakhnaih, 

" Ho Baohhal, tnaiii la di biyah ki Siriyal bahii tumhari. 

850 Eaho khush mahilon men apne, mit gai soch tumhari." 

Itni kahke, chale Nathji, mau mco yeh hi bichar. 

G'dga. 

" He Mata, turn se kahun, jor agari hath 

Un jauron ko milan ki hai chinta din rat. 

Hai chinta din rat, Mdt ri, man men yeh hi hamari. 

855 Woh bhai mawasi ke bete, haihge pran hamari. 

Bin dekhe nahin chain mujhe, we hain surat mitware. 

Happiness to your land, Eaja : 

these are my blessings." 

With joined hands they adored him, and quickly the 

cavalcade started : 

They reached Gard Darera ; all men and women rejoiced. 

QuTU GoraJihndth. 

"O Bachhal, I have brought in marriage to thee thy 

daughter Siriyal. 

850 Eejoice in the palace, all thy sorrows are blotted out." 

Saying this the Saint went away, thinking thus in his 

heart. 

Giigd* 

" Mother, I say to thee with joined hands before thee : 

I have a desire day and night to visit the twins.f 

I desire it day and night, Mother : 

this is in my heart. 

855 They are the sons of my aunt and very dear to me. 

Without seeing them no joy is in me, pleasant are they 

to behold. 

* Scene completely changes. 

t Urjan and Surjan, sons of Kachhal, as promised to her by Gorakhnath 

through her deceit.

! 

: 

: 


Jab se mera janam Ma, mam ik din nahin bisare." 

Lie bitha godi men apni, hit karke puchkari. 

Gdga. 

" Bin dekhe nahin chain nanjhe ; main kahta pas tumhare." 

Surjan. 

860 " He Bhai, tumhare bina nahin hamen chit chain. 

Bin dekhe kaise jien na nakse mukh bain ! 

Na nakse mukh bain ! Rahi hai bina pati jun nari 

Jaisi ren sasa bin suni, ya gat hui hamari 

Bin dipak suna hai mandar, kaun kare rakhwali 

865 He Bhai, ham ko dijo, kuchh ave samajh men tuhari." 

Gugd. 

" Ai Bhai tain kya kahi aisi khoti bat 

Kyun bole karwe bachan na ave kuchh hath ! 

I have not forgotten them a moment since I was born." 

She sat him on her knee and loved and caressed him. 

Guga. 

" Without seeing them I have no joy, I tell thee." 

Surjan. 

860 " Ah Brother, I had no joy in my heart until I saw thee. 

How could I live without seeing thee nor could I speak 

with my lips 

Nor could I speak with my lips ! I was like a woman 

without her lord. 

My life was desolate like a night without the moon : 

this 

was my state. 

As a house without a lamp (son), who shall guard it 

865 Ah Brother give me something* as it beseems thy 

heart \" 

Gugd. 

Ah Brother, why hast spoken such evil words 

Why speak bitter words They come to no good ! 

* I.e., a share in the hereditary property.


Na ave kuchli hath ! Are Bhai, kis ne tujhe bahkaya 

Lakh bar samjhaya tujh ko, nahin samajh men aya. 

870 He mArakh, nadan, dekh ! Kya bataii kahke laya 

Bahot dinori se rahe fikar yeh na man ko samjhaya !" 

Surjan. 

"Adha mujhe batae de, n^ is men kuchh zor : 

Tu apna man samajh le, bole bachan khor. 

Bole bachan khor^ Baran; tain kya man men jani 

875 Ham len adhon adh batS-e, bole khoti bani. 

Ja piichho ab Man Bachhal ko ; wo kya haigi yani 

' In ko mile jawab,' aj tain yeh hirde men thani. 

Jo mukh se kuohh buri kaheg^, khus jagi rajdhari. 

In baton men hath na ave, jo tain man men thani." 

Gugd. 

880 " He Mata, sun lijiye man mere ki bat. 

They come to no good ! Ah Brother, who has led thee 

on 

Thousands of times I have told thee and thou hearest not. 

'870 Ah fool and ignorant, look ! What is it you have said 

Long have I grieved that you. did not understand this !" 

Surjan. 

" Give me half in share ; there is no unfairness in that : 

You look to your interests and speak hard words. 

Speak hard words, my brother : what is in your heart 

875 Wo will take half shares each ; you spoke evil words. 

Go and ask Mother Bachhal; is she a fool 

'They have been disinherited/ this is resolved in your 

heart to-day. 

If you speak evil words from your lips, you will lose 

your kingdom. 

No good will come of the thing you have resolved in 

your heart." 

Giiga. 

880 " Mother, hear the words of my heart.

! 

: 


Surjan ne mujh ko buri an sunai bat. 

An sunai bat; kahuri, sun, MM, pas tumhare. 

Chahiye rate surkhi nainoii men, bole bachan karare 

' 

Ya til bant bamen de adha, bbala chabe jo piyari.' 

885 Le man socb bichar. Mat: main kab die pas tumbare. 

Samjbao un ko bulwake, mat bo biran niyari 

Jo tumbarl wob kabt m^n len, mat kariyo sochbicbari." 

Emii Bdchhal. 

" Ai beta Surjan mere, kyun bota dilgir 

Raj karo. Beta, rabo man men bandho dbir. 

890 Man men bandbo dbir : Putar, main turn par wari. 

MS,n mat ke bacban, mati kar socb bicbari. 

Jbuta sansar bua : 

bani sab jbuti maya. 

Jbuta bai sansar, jhut ke bas men ay&. 

Jb.uta pati, sut, nar : jbut ne dbaram ganwaya. 

895 Is maya ke bicb anke man bbar maya." 

Surjan came and said an evil tbing to me. 

He said an evil tbing : I will tell tbee, Motberj listen I 

Your eyes will become red, be spoke (sucb) bitter words, 

' 

Give me balf (tbe property) as my sbare, if you would 

keep your loved ones safe.'' 

885 I am grieved in my beart, Motber : and I have told tbee. 

Call tbem and make tbem bear, tbat brothers be not 

separated. 

Tbey will bear tby words, be not anxious." 

Queen Baclihal. 

" Ab Surjan, my boy, why art tbou down-hearted 

Be a king, my son ; keep courage in tby heart. 

890 Keep courage in thy beart : my son, I am thy benefactor. 

Hear thy mother's words, and do not grieve. 

This world is false : it is all a false illusion. 

This world is false : we are in the power of falsehood. 

False is husband, son and wife : 

religion. 

falsehood has destroyed 

895 The mind is full of illusion in tbe midst of this illusion !"

! 

: 

! 

: 

200 LEGENDS 01* THE PANJaB. 

Surjan. 

" He Mats., aisi kahi gytln tath ki Mt 

Ky6n nahin hamen diwati jo aisi hai dhartnat 

Jo aisi hai dlLarmat : 

Mat, hamen gy^n sunai. 

Hai tere ikhtiyar. Mat ri, jo tumhare man bhave. 

900 Ham ko kahti bar bar, naliiri Giige ko samjhave. 

Kyun badnami le naliaqq main socli aur pachlitSve.'' 

Hatli jor age khara, kar man men hit piyar. 

Surjan. 

" A, BMi, khilan chalen ham tum aj shikar. 

Ham tum £lj shikar : hamare aisi man men ai. 

905 Ham Chhattri Eajput ; hamara yeh hi dharm hai, Bhai.'* 

AisS. gera jal 4nke, turt lia bharmae. 

Surjan, 

" Mother, that speakest such words of wisdom 

Why dost thou not give me (my share) If thou be so 

upright 

If thou be so upright ! Mother, thou hast taught me 

wisdom. 

It is in thy power, Mother j 

as thy heart desires. 

900 You speak to me often, you do not speak to Guga. 

Why did you blame me needlessly I am grieved and 

sorrowful.^' 

He stood before him (GugS,) 

him in his heart. 

Surjan. 

with joined hands, loving 

" Come Brother, let us, you and I, go hunting to-day. 

Let us, you and I, go hunting to-day : this is in my 

heart. 

905 We are Rajput warriors : this is a law to us, Brother." 

Thus he came and spread a net (of deceit) and quickly 

beguiled him.

; 

! 

! 

! 


Ho glio.-e aswar par, pal ki nd turt lagai. 

Is jangal bayaban bich men nd. kuchh dla dikhai. 

Kliel ralia sar kal, phiren yim tinon hue siidae. 

Gdgd. 

910 " He, Bhai Surjan mere, hiia chifc behal. 

Lagi piyas, bedkul hue ; 

kije kaun ahw£ll 

Kije kaun ahwal aj yeh hiii kaun gat mahari 

Na januii is jangal meii ab jaegi jan hamari 

Lie kal ne gher anke, gia bhftl sudh sari. 

915 He Guru Gorakhnath, bUt yeh, aisi kaun bichari " 

Urjan. 

" He Rliai, sun lijiye ; kydh dil men ghabarae 

Kaun soch turn ko hui dijo sach batae ! 

Dijo sach batae : aj kyuh man men soch batae " 

Ja"b Urjan ne turt bithake baton Rao bharmac; 

They mounted their horses : there was not a moment's 

delay. 

Nothing could see them in that wild forest. 

Death hovered overhead and thus these three 

madly.* 

Gitgd. 

910 "0 Brother Sui'jan mine, my heart is in distress. 

wandered 

Thirst is on me, I am wretched : who will help us 

Who will help us what plight is this we are in to-day 

Who can tell whether we shall save our lives in this forest 

Death has surrounded us, all our joys are forgotten. 

915 Guru Gorakhnath, who would have thought such a 

thing as this (would happen) \" 

Urjan. 

" A.h Brother, listen, why art upset in thy mind 

Why art in grief Tell me the truth 

Tell me the truth : why dost show such grief to-day V 

Then Urjan sat him down and beguiled the R§.ja with 

words 

* I.e., not knowing what was in store, rushed madly on death. 

26

202 LEGENDS OF THE PANJAb. 

920 Jab Surjan ne khaincli miyan se paLili war chalM. 

Hai Bidhna ke hdth bat j 

jhat lina Eao bachae. 

Phir dusri kia war, jab na kuchh par basae. 

Surjan iva JJrjan. 

" Bin mare ham nahiii chhorenge ) denge pran gaiwai 1" 

Gugd. 

" He Gnrii Goraklmfitliji, kya mujh ko gie bhul 

925 Kya mere ber so gae baith rahe kahin tul 

Baith rahe kahiii tul Anke lijo khabar hamari. 

Phir ake kya karo, Guru, jab jaegi jan hamari 

Khainch miyan se, lia hath men jhat Urjan ke mare. 

930 Duja war kiS. jaldi sBj lina sis ntare. 

' 

Ab ki war laga hai mera/ kahtd him lalkari 1 " 

Lae lia, 

ghore ke hanne dhar dia, jae agari. 

920 And then Surjan drew (his sWord) from the scabbard 

and struck him one blow. 

The matter was in Fate's hands and she saved the Eajl 

at once. 

He again struck a second time, but nothing came of it. 

Surjan and Urjan. 

" We will not leave you alive, we will take your life I" 

Gugd, 

" Guru Gorakhnath, why hast thou forgotten me 

925 What Hast gone to sleep at my turn for help Is he 

sitting in some assemblage 

" Is he sitting in some assembly Come and help me. 

What is the good of returning, Guru, when my life has 

gone 

'Now is my turn to strike/ say I in defiance."* 

He drew (his sword) from the scabbard and quickly took 

it in his hand and struck Urjan. 

930 Quickly he struck a second blow and struck off his head. 

He took it, put it on his horse's pommel and went on. 

* This line he addresses to the brothers.

: 

! 

! 

THE LEGEND OF GUKU GUGGA. 203 

Gugd. 

" Lie surafa pahchiin, Man mere ! mat na kijiye deri 

Htifcli jorke khaiaagari, 'Ram Ram' le mere I" 

Dekh silrat ko ro par}, Imi jabhi pahclian. 

935 Ho beakul dliarni pai-i, nd tan men rafaJ pran 

Na tan men rahi pran. 

Kyunkar tere Mfch bage the, 

Rant BdchJial, 

" Ai Beta, yeh kya zalm guzari 

he papi, hafciyari 

Aisa zulm kia hai tain ne, nahin larzi nain hamare, 

Na apna darshan dikhldve ! na dekho an hamare 

" 

! 

Oicgd. 

940 " He Mata, turn se kahun, man men sachi jan ! 

Kahe bachan; phirte nahin; hamen Guru naki an. 

Gugd. 

" Look at it, recognise it. Mother mine ! and delay not. 

I stand before thee with joined hands, receive my 

greeting {Ram ! Ram !) 

\" 

She saw it and began to weep as soon as she recognised 

it. 

935 In her grief she fell on the ground, nor did any life 

remain in her body : 

Nor did any life remain in her body. 

Queen Bdchhal, 

" Ah my son, what wickedness have you done 

wretch- 

Why did you stretch forth your hands (to slay), 

ed sinner 

Such a crime as you have committed my eyes cannot 

bear! 

See me no more, nor let me see you again!" 

Gugd. 

940 " Mother, I tell thee, know the truth in thy hfeart 

Thou spakest the word ; it goes not back ; we are the 

sport of the Guru.

! 

! 

204 lEf4BNDS OF THE PANJAI3. 

Haneii Guru naki an^ ri Mata; jo tain bachan uchara. 

Ham Chhatfcri Eajput jan le, yeh hi dharm hamara. 

Hai saklii Bliagwanj nahin man dai'slian karim tumhara. 

945 Sat janam lag rahe Narak, kaM mat pita ka dala ! 

Hath jor binti kai'uii, suno, Dhartri Mat 

Mujh ko ap samae le, nahiii karun pran ab ghat ! 

Nahin kai'un pran ab ghat! Nahiri koi jag men mera ! 

Maiii tere lie saran : 

kal ne mujh ko ghera. 

950 Mat na kijiye der; mujhe le aj sarnae. 

Mujh ko tin talaq milun MatS- ko jae. 

Ya tu ut sarap ; 

jahan bhije, wahan jaun. 

Dijiye mujhe batae^ pakar tere pe lauh." 

Dharti Mdtd. 

"lie Betfij turn se kahuiij kyun tu hiia nadan 

955 Musalman niche gare, Hindu chale masan. 

We are the sport of the Guru, Mother: thou hast 

spoken the word : 

Know me for a Rajput warrior, it is law to me. 

Bhagwan* is my witness that I wiUnever see thee again, 

945 May I live seven lives in Hell if I disobey the command 

of my father and mother ! 

With joined hands I pray thee, Mother Earth ! 

Take me into thyself, or else I will kill myself now 

Or else I will take my own life now. I have no 

friend in the world 1 

I beseech thee, for death hath encompassed me. 

950 Delay not, but take me to-day. 

I have thrice vowed that I will see my mother (no more). 

If thou wilt take the cui'se (on thee) I will ô whither 

thou sendest me. 

Tell it me and I will fetch and bring it thee." 

Mother Earth. 

" Ah my son, I tell thee, how is it that thou dost not 

know 

955 Musalmans are buried below, Hindils go to the pyre. 

* I.e. God

" ; 

HindA chale masdn, re Beta, tujh ko dii batae. 

Jao pfls Rattan Hajl ke; lo Kalima pa.hw&e. 

Jo itntl, kare kam, jabhi main tujh ko lun samae. 

Siriyal de sar3.p mujlie, Raja Sanja ki jai I" 

Gilga. 

960 ' 

"Mata ne mujh'ko kahi aisi khoti bat ; 

Kya tujh pe barnau kardn Suno, Dhartri Mat 

965 Dia sarap mujh M3.ta ne, us ko kaun hatave 

THE LEGEND 03 GURU QUGGA. 205 

Suno, Dhartri Mat; mujhe kyuii bslr bar bathkave 

' 

Guru Gorakhnath kl rin tujh pe jo tii hatke ave ! 

Jaisi main taraphun joron ko aisa tft dukh pave ! 

Dhartl Matd, 

"He Beta, jaldi jao ; tujh ko dia batae ; 

Isi waqat Ajmer men. Beta, dhyan lagte. 

Beta, dhyan lagae, abhi jh : mat nk der lagao. 

! 

' 

.Hindus go to the pyre, my son, I tell thee. 

Go to Rattan Haji* and learn the (Musalman's) Creed. 

When thou hast done this I will take thee to myself. 

Siriyal, Raja Sanj&'s child, will curse me !" 

Gvgd. 

960 ''My mother spoke most wicked words to me 

How can I tell them thee Hear, Mother Earth ! 

Hear, Mother Earth, why dost always put me off 

(She said), 'The curse of Guru Gorakhnath be upon thee 

if thou return ! 

As I mourn for these twins so mayest thou know 

sorrow V 

965 My mother cursed me, who shall put it aside V 

Mother Earth. 

" My son, go quickly : I have shown thee. 

Go now, my son, and worship in Ajmer. 

My son, go now and worship : make no delays. 

* This must be KhwajaMu'ainu'ddin Ohishti of Ajmer, who flourished 

in the 12th and 13th centuries a.d.

: 

" 


Hai Khwaj Khidhar izzat ka pura : pas us ke jao. 

970 Na bolo kuchh mukh apne se, sora Ml batao. 

Hogi puran as tumhari ; ja^ Kalima parh ao." 

Giiga. 

"He Mata, sachi kaM tan ineri gai samae. 

Ab pahunchto ik phir meri; gae mere man bbae. 

Gae mere man bhae, abM chalne ki karun tayyari. 

975 Age jaun Ajmer bich^ ho puran ds hamari." 

Rattan âji aur Khwaj Khidhar, jo dekhe khare agari. 

Hath jor adhih hue ; kahe 

Giiga. 

" Suniyo bat hamari. 

Bahot dinon se milne ki yeh to mujh ko intizari. 

De Kahma parho ! Hae, mujhe Mata ne boli mari ! 

— 

He (the saint) is as full of honor as Khwaja Khizar : 

to him. 

970 Say nothing (false) with thy lips : tell him the whole 

tale. 

Thy hope will be fulfilled ; 

Guga. 

go 

repeat the Creed and come." 

" Mother, thy true words have entered into my heart. 

I will go now in a minute : the fears of my heart have 

departed. 

The fears of my heart have departed : 

to go at once. 

I will make ready 

975 I will go onwards to Ajmer and my hope will be 

fulfilled." 

When he saw Rattan Haji and Khwaja Khizar he stood 

before them. 

He saluted them with joined hands and said : 

Guga. 

" Hear ye my words. 

Many days have I waited to see you. 

Teach me the Creed ! Alas ! my Mother's words have 

slain me."

THE LEGEND OF GURU GUGOA. 20i 

980 

Rattan Hdji. 

" He Bhai, tu kaun hai kyun dil men gLabarae 

Kaun tumhara nam hai 

Dijo sach batae." 

Edgni. 

" Hamen batlae de, BMi; 

Der itni kyim tain lae 

Jat, kya nam hai tera 

985 Tujhe kya waham ne ghera 

Parhan Ealima tu hai aya, 

Jat, nahiii nam batlaytl! " 

"Hun Goi'akhnath ka: 

Giigd. 

Bagar hai asthan. 

Guga mera ntim hai, j3,ne mulk jahan : 

990 Jane mulk jahan. Mere the do mae ke jtle. 

Kia kapat mujh se ik bhari; 

le jangal men ae. 

Pahile mujh ko lag9. marne, phir main mar ganwayS,. 

Rattan Haji. 

980 " My friend, who art thou why is thy mind upset 

What is thy name Tell me the truth." 

Song. 

" Tell me the truth, friend : 

Why dost make such delay 

What is thy name and caste 

985 What misfortune hath encompassed thee 

Thou comest to learn the Creed, 

And dost not tell thy name and 

" 

caste ! 

Gugd. 

" I am Gorakhnath's disciple : Bagar is my home. 

Guga is my name, the whole world knows me : 

990 The whole world knows me. I had two (brothers) sods 

of my mother's (sister). 

They deceived me greatly : they took me into the forest. 

They first tried to slay me and then I slew them.

: 


Le donon ke sis^ jabhi Mata ko hn dikhae. 

Dekhat sar jabhl Mata ne khote bachan sunfle 

995 ' Jo mujh ko mukh an dikhave pare Narak men jae V" 

Rattan 

Hdji. 

"Jab itni bipt3, suni gai mere man bhae. 

A Bacha, yahau baith ja : Kalima dun parhS,e. 

Kalima dun parhae, jabhi kanoii men azan sunae. 

Hindu ya Shekh Musalman, jab Kalima dia parhae. 

1000 Ja, Bacha, Gard Darere, legi tohe samae. 

Ham naMn hun gunahgar kisi se : Karmon yeh hi likhae." 

Oicgd. 

"Azan sune^ Kalima parha^ ayS, tumhare pas. 

He Mata, man ki meri purau kar de as. 

Puran kar de as, ri Mata; bahota dukh paya. 

I took both their heads, and came and showed them to 

my mother. 

When my mother saw theheads she said evil words to me. 

995 If thou come and show thy face again mayest thou go 

down into Hell!" 

Rattan Hdji. 

" My heart is fall hearing all this evil. 

Come, my son, sit down here : 

I will teach thee the Creed. 

I will teach thee the Creed, and repeat the call to prayer 

in thy ears. 

Be thou Hindu or Musalman I teach thee the Creed. 

1000 Go, my son, to Gard Darera, (Mother Earth) will receive 

thee. 

I am responsible to no one (for this) : Fate hath 

decreed it." 

Gitga. 

" I have heard the call to prayer, I have learnt the Creed, 

I come to thee : 

Mother (Earth), fulfil the desire of jny heart. 

Fulfil the desire of my heart. Mother ; much trouble 

have I borne.

THE LEGEND OF GUR^ GUGGA. 209 

1005 Jin M sat raha hai, jag men phir na hatke aya. 

Dekh Hari Chand; sat ke karan nahin apna dharam 

ganwaya." 

Itni kahke bat jabhi jhat Dharti bich samay^. 

Sarad sis niwaeke, dharAn Ganpat ka dhydn. 

Sang sampuran kar dia ; karo mera kalyan ! 

1010 Karo mer9, kalyan, Mat I main man ichha bhar pay4. 

Jis din main saran lie hai bbiile chliand bataya. 

Sat dip, nav khand bicb men nahin pai ten maya. 

Kahta Bansi Lai ; 

Mat, meri karo sahai, 

1015 Char Bedon men gai, 

Jo dharte haiii dhyan, 

1017 Gyan dijo, Maha Mai! 

Mat, Gflge ka sang banaya. 

1005 Whose virtue remains will not come back to this world,* 

See Hari Ghand,t he lostnothis faith throughhis virtue.^' 

When he had said this the Earth took him to herself 

at once. 

Sarad, I adore thee; 

Ganpat, I worship thee. 

I have finished the whole legend ; 

be ye my salvation. 

1010 Be thou my salvation, Mother (Selrad). 1 have fulfilled 

my desire. 

From the day I worshipped thee, thou hast shown me 

the forgotten verses. 

In the seven climes and the nine quarters thou art not 

fathomed. 

Saith Bansi Lai; Mother, I have finished Giiga's Legend. 

Mother, be my help. 

1015 That art sung in the Four Vedas, 

To him who worships thee, 

1017 Grant eternal knowledge, Great Mother ! 

* Be bom again in a transmigration of souls, 

27 

t Raja Hariscliandra famed in fable. 

.

: 

! 

; 

: 

: : 

! 

" 

; "! 

No. 

VII. 

THE BALLAD OF ISA BANIYA, 

AS SUNG IN THE PATIAlI STATE. 

[This queer little ballad expreaaes in homely phrase the legends which have 

arisen to account for the expensive restoration of the shrine of Sakhi 

Sarwar at NigAhS in the DerA Ghflzi Khflri District, by one 'lai, a, rich 

merchant of Agrfl or Dilli, in the time of Aurangzeb, about 1675 A.D.] 

TEXT. 

A 

ISA Baniya. 

Is4 Baniya jahaj ladde^ ji 

Te jotishian nhn puchhe, ji : 

" Sada, jahaj kiwen banne lage, ji 

Jotishi akhdd, ji 

5 " Sawa lakh rupae di aukh sukho, ji 

Us wakht jahaj banne lage, " 

ji ! 

Jahaj banne lagia, ji 

Hire, moti, la'l wechda, ji, 

Ik lakh toil kae lakh nafa-safa kita, ji 

10 Murke Isa Banij'a bhi^l g]§,, ji, 

Te sawa lakh di aukhna bhuliS,, ji. 

Koi din pa phir Isa chalia, ji 

Moti, la'lkhfrida, ji: 

Karhe leke chalia, ji; 

15 Age a Shahkot de gaure utara, ji. 

Latit karhe di tutti, ji, 

Te Isa Karman nun pitte, ji 

Hor bhai gharan nun chale, ji 

Isa Baniya baitha rondS, ji. 

20 Othe a khala hoia Saj'yid Ahmad, ji, 

Puchhe, " tusi kyun, Bhai, ronde, ji, 

Isa akhe, "main nun muaiwat bani, ji; 

Bhai, tusi mera ki niwarna, ji 

Main nfln dukh pia sir bhari, ji

:: 

; 

: ; ! " 

Bhai, maiii nun kalle n(in clihadd gae, ji ! 

THE BALLAD OP iSA BANIYA. 211 

25 Bhai, maiante sab chhadd gae, ji 

Sayyid akhe, "BMi, tu kol picthli sukh ydd karo, ji! 

Isa akhe, "Bhai, main tan koi sukh mania naliiii 

Mere tan yad kujjh nahin." 

30 Sarwar akhe, " sawa lakh rupae di sukh si sadi, 

Jo tiin sir na dharia, ji." 

Ose vele Isa sukh sir dhare, ji. 

Sawa lakh rilâe oh de na da gunah vich bhare, ji : 

Sangan de n^l chale, ji 

35 Sarwar de ot chale, ji. 

Anke Isa utar painda, jl 

Nal de bhaian nftn kahinda, ji 

" Main tan khotian de gdnan lahwan, ji, 

Te Sarwar di sukh charhawan, ji." 

40 Leke rupae Isa Baniya turbat banai, ji. 

Tin jatan nto sadae, ji 

Ik korhi, ik anha, ji, 

Ik khusra, ji. 

Oh de makan de utte chhadda, ji. 

45 Anha akhe, " main niin tagid nahiii." 

Osi vele Sayyid Ahmad awanda, 

Te anhe di doraugi mitawanda 

" Chal, Bhai, chashme de utte." 

Le chashme da pani nohawanda. 

50 Jadoh anhe ne muiih dhoia, 

Ohdon sftjakha hoig,. 

Oh nun wekh korhi akhda, 

" Mere man vich dorangi ai." 

Oh n

! 

; 

! 

! 

: 

: ; 


Oh di dahi Sarwar Allah to sabit karawanda. 

Phir Isa gharan nun turia, ji. 

Anke Sarwar nAn bhulia, ji. 

65 Isa Baniya ne k'k.ha, " main Sarwar jauda naMn." 

Chiragh sab bhanA, ji 

" Sarwar mallomalli da tel jalda, ji." 

Ise de man vich phir dorangi ai, jj ; 

Osi vele Ise di deh phat gai, ji. 

70 Miirke sang de kol ae, ji. 

Pakkan bakre rijhan rot, ji 

Ise Baniya ne kitS, khot, ji! 

' 

Oh di 'aurat Ise nun akhe, ji 

"Tun niyat man saf kar, ji, 

75 Murke Sarwar nun yad kar, ji; 

Tun apne man nM samjha, ji, 

Te muhre sangan de lit ja, ji 

Sangan nun akh, 

' Bhaiyo, mere faryad sunô, ji, 

80 Meri deh phat gai, ji 

Main nfin Sarwar bahurda nahin.' " 

Pher 'aurat akhe, " Ja sangan de tain." 

Sang karam faryadi, 

Te Allah pak karam kare, ji. 

85 Ise di deh sabit hoi 

Ise Baniya ne chiragh bati sSji, 

Khub tarh&n nkl chiragh bale, 

Te Sarwar nfin nit sambhale. 

89 Ise da bharat kah sunaia 

TRANSLATION. 

Isa Banita. 

Isa Baniya loaded up his ship, sir ; 

And asked the astrologers, sir : 

" How shall my ship journey (safely), sir" 

The astrologers said, sir : 

5 " (If) you vow a vow of one and a quarter lakhs of 

rupees, sir,

" 

; 

! 

;! 

" 

THE BALLAD OF iSA BANIYA. 213 

Your ship will at once cross over (safely), sir ! 

The ship crossed over (safely), sir 

Selling diamonds, pearls and rubies, sir. 

He made many Ukhs of profit out of one lakh, sir ! 

10 Returning (home) Isa Baniya forgot (his vow), sir. 

And forgot his vow of one and a quarter lalchs, sir. 

Some time afterwards Isa journeyed again, sir : 

Bought pearls and rubies, sir 

Took camels and journeyed, sir : 

15 Going along he rested at Shahkot* town, sir. 

The leg of his camel broke, sir, 

And Isa lamented his fate, sir: 

All his friends went on to their homes, sir : 

Isa sat down aad wept, sir. 

20 Sayyid Ahmadf came and stood there, sir. 

And asked, " why art weeping, friend, sir V 

Said Isa, " a misfortune has come on me, sir 

Friend, what help can you give me, sir 

My trouble has fallen heavily on my head, sir 

25 Friend, they have all left me and gone on, sir ! 

Said the Sayyid, " Remember, Friend, something of 

your last vow, sir ! 

Friend, they have left me alone and gone on, sir ! " 

Said Is&, " Friend, I made no vow at all 

! 

I have no recollection at all!" 

30 Said Sarwar, " The vow to me was a lakh and a quarter 

of rupees. 

Which you have not completed, sir." 

Isa completed it at once, sir. 

He put a lakh and a quarter of rupees into bags in his 

(Sarwar's) name, sir : 

And went on with the pilgrims, sir : 

35 He journeyed under the protection of Sarwar, sir. 

Arriving (at Nigaha) Isa rested, sir ; 

* Near Multan : where Sayyid Zainu'l-'abadin, SakM Sarwar's father 

first settled, 

t The real name of Sakhi Sarwar.

: 

; 


He said to his friends, sir 

" I will take the bags ofi the asses, sir. 

And fulfil my vow to Sarwar, sir/'* 

40 Taking the rupees IsS. B^niya built a shrine, sir. 

He sent for three sorts of men, sir 

A leper, a blind man, sir. 

And a eunuch, sirt 

And left them in charge of 

the building, sir. 

45 Said the blind man, " I have no faith (in Sarwar), sir." 

Sayyid Ahmad came at once, 

And blotted out the blind man's unbelief; 

(Saying) " Come, friend to the fountain." 

He bathed him in the water of the fountain. 

50 When the blind man washed his face, 

Then he became able to see. 

Seing this said the leper, 

" Unbelief has entered into me." 

Said Sarwar to him, 

65 " Come, Friend, to the fountain." 

He bathed him at the fountain 

And made his body whole. 

Seeing this said the eunuch, 

"In my mind, too, is unbelief." 

60 Said Sarwar, " Go, Friend to the fountain." 

He bathed the eunuch at the fountain 

Sarwar and God made his body whole. 

(After this) Isa again went home, sir. 

And reaching it forgot Sarwar, sir. 

65 Said Isa Baniya, " I know not Sarwar." 

He broke all the lamps, sir, 

(Saying) "Sarwar burns the oil uselessly, sir." 

Unbelief again entered IsSi's mind, sir. 

Isa's body at once broke out (into leprosy), sir. 

* I.e., build up his shrine. 

t These men are reputed to have been the first followers of Sarwar 

and named Kulung, Kahin and Shekh. From them are descended the 

present Miijawirs or guardians of Sarwar's shrine. They were necessarily 

long anterior to Isa's tim.

: 

; 

; 

; 

; 

THE BALLAD OF ISA BANIYA. 215 

70 He went back on a pilgrimage, sir 

Roasted goats and baked bread, sir.* 

Isa had wrought deceit, sir ! 

Said his wife to Is£k, 

sir 

" Make upright thy heart and soul, sir ; 

75 Go back and remember Sarwar, sir 

Make thy own heart understand, sir, 

Go and lie down in front of the pilgrims, sir : 

And say to the pilgrims, sir, 

' 

My friends, pray for me, sir. 

80 My body has broken out, sir 

Sarwar doth not hear m^ cry.'" 

Again his wife said, " Go to the pilgrims." 

The pilgrims prayed. 

And God was gracious and merciful, sir 

85 Isa's body became whole ! 

Isa Baiiiya placed lamps and candles. 

And lighted excellent lamps. 

And ever had a care for Sarwar. 

89 I have sung the ballad of Isa. 

* For the benefit of the saint.

; 

: 

— 

No. 

THE BALLAD OF 

VIII. 

ISA BAPARI, 

AS SUNG IN THE JALANDHAB DISTRICT. 

[In this ballad the eame story is told in a somewhat different fashion as is 

found in the last ballad, but in the same quaint and homely language.J 

VO 

TEXT. 

A 

IsA Bapar!. 

Is^ Agra da baplri, 

LattM de Samundar tari. 

Hire, moti, la'l wiajhe, 

Dam bahot kharchae. 

5 Bera banne lawan karan 

An mallah disae. 

Mallahari niin ki IsEt akhe 

" Ginke haq dinna main ape 

Bera merS, banne lao 

Damre lo ginae." 

Ise nun mallah ki kahinde 

—Usi Samundar utte rahinde, 

" Seiniin ki tt deve, Isia 

Tethon Eabb diwawe." 

15 Ginke haq mallah^n litta, 

Bera pa Samundar ditta 

Lahr&n wekh nadi di^n, bera 

Dukke-dole khae. 

BerSi jae Samundar bahinda^ 

20 Isa piran nun sewan bahinda, 

" Aiaa hi pir hazir bohre, 

Je koi bera banne lae." 

Dobe la'l jawahir panna : 

Tad aia Bai da banna, 

25 " Aisa hi pir h§,zir bohre, 

Mera bera banne lae."

:; 

: 

THE BALLAD OF ISA BAPARf. 217 

Bei-a lattlia ahu khane 

Isa yad kare Hultane; 

" Aisa hi pJr hazir bohre, 

30 . Mera bera banne lae." 

Kiti satJi paste de tain, 

Khubbe dast utaban jain. 

Kbwaj kbizar khabar na hoi, 

Bera banne laia. 

35 Banne la hir moti Lala, 

Te Isa hoia bahot khusala : 

De do'aain pir nuii, 

Jin sukhin par langhaia. 

Lang samundaron Isa aia, 

40 Te parbat bich dera paia. 

Bare andar karha guzrane, 

Magar chhadde charwane; 

Ise otbe an utara kita, 

Jitthe Bai Pir samae. 

45 Khan piwan de hoe ahar, 

Degan dho charMe. 

Turt baturti khane ae, 

Chinian vich saudagaran pac ; 

Khanu khae shukarana parhiaj 

50 Earn dahi nun ae. 

Ise othe deg chai-hai 

Babat ho bani si kai 

Hargiz ag jo balio nahiii. 

Isa sasdil hoia tain. 

55 Phir charhai, chhikmau kiti, 

Ape Sarwar bohre kiti. 

Ag bali te razi hoia : 

Degi het jalae. 

Jiuri jiun ag bale het degi 

60 Thanda hunda jae. 

Isa de dil ghussa ave, 

28 

Degi niiii chak madhiave : 

Fani sa, so lahii ho turia,

: 


Jind cliariwalari vich pae ! 

66 IsS, dil vich jhiiran laga : 

" Tain kujrat kehe banal, Eabb^ 

Jiwen rakliiii, main tiwen ralma : 

Ter& ant na pîa j&e \" 

Subab hoi, ladde karwana; 

70 Bare karhe di tang rah jana 

Wukht Isa nM pae ! 

Sathi ladd gharan nun chale, 

Karh^ Isa rahe akalle. 

Bhaian kolon widia raangda, 

75 Gall vich bahan lae. 

" Deo snehiei mere bhrawan. 

Sukh hoi ghar tain awan 

Sansa mera rati na karna," 

Bhaian nun akh sunaia. 

80 Bhaian kolon aisl saria, 

Baithe nun chhadd ae. 

Bai akhe Sarwar tain, 

" Bakhsh gunah Isa de tain" 

Ise Sakhl Sarwar kolon 

85 Gunah bakhshae. 

Ise nazar pahchan pal, 

Mughal aia koi, baran Khudde. 

Es Mughal de panj hatiara, 

Kakki karha nachae. 

90 Ise nun pir puchhna kitl, 

" Es mulak tun kyun aia si 

Bajh bharawan 

Aikal bahan, 

Kyun Elia mulak parae 1" 

95 Ise karke bat sunai, 

" Main nM chhadd gae si bhai : 

Bhaian kolon eh hi saria, 

Baithe nun chhadd jae \" 

Ap hakim bane phir Lanja, 

100 Karha tain kar dla chang4.

THE BALLAD OF ISA BAPARL 219 

Lalan motiaii d^ salit^ 

Goshe nM uthai^. 

Ise pir nun pucLhna kiti, 

" Ter& nan disae." 

105 " Naoi merS, Sarwar Sultana, 

Babel Zainu'l-'abadin dS,na> 

Khan Dhodi te Sayyid Rana, 

Asi Aishan de jae." 

Sakhi Sarwar karha turaia, 

110 Ise nvln phir widia karaia. 

Pahari te tur Ise nte 

Agra de rah paia. 

Khalqat hoi aa udale, 

Ise nun log puchhanwMe, 

115 " Sach kaMn tAu sanun, Isia, 

Kithe ban hamsae " 

Ise karke wdr sunai, 

" Main nun baithe nfin chhadd de. 

Bhaian kolon eh hi saria, 

1 20 Kalle nun chhddd ae." 

Bk lakh palle teuna laha 

Sagle qaraz utdre. 

Isa phir Nigahe nun jave, 

Ate korhi niin nal lejave, 

125 Ate korhi nun chashme ja nahlave, 

Te osi vele dahi os di sabit karave. 

Isa onven Nigahd jave, 

Mulchak te raj mangave. 

Eaj vekh tatviran karde, 

130 Nian chak barabar dharde, 

Dhakhan wal darwaza dharde. 

Bane Nigah^ pir da, 

Jithe nur ota pae. 

PirS. OS da sewak di wajA likhain, 

135 Jin tera Nig&ha banaia. 

Snnke sewak kare salaman, 

" Teri raj badhe SuMna."

; 

—! 

: 

220 

' 

LEGENDS 0¥ THE PANJAB. 

Sadhi sair da kamana 

Es zamane khote pehre 

140 Sewa dian phal paia. 

Es zamane kallu kal de 

1 42 Zahir parat vikhaia. 

TRANSLATION. 

IsA, 

Isa, the Trader of Agra, 

THE Trader. 

Crossed the River * and rested. 

Bought diamonds, pearls and rubies 

And spent much money (on them). 

5 To take his boat across 

He came and asked the boatmen. 

What said Isa to the boatmen 

" I will count and give you your dues myself: 

Take my boat across 

10 And count and take your dues." 

What said the boatmen to Isa 

—They that dwell on that river 

" What will you give, Isk 

That God may give jou (the same).'' 

15 The boatmen counted and took their dues. 

And took the boat across. 

Feeling the waves of the river, the boat 

Began to toss up and down. 

The boat began to sink into the river, 

20 Isa began to worship the saints, 

"May the saint be ever present thus, 

If my boat ever get across I" 

The jewels and rubies were buried in the mud : 

He remembered the husband of Bai,t 

25 " May the saint be ever present thus 

And take my boat across \" 

The boat sank deeply and stuck 

* Lit. Ocean. Must be tlie Indus, 

t The name of Sai'war's wife.

; 

; 

; 

THE BALLAP OF ISA BAPARl. 221 

Isa remembered Sultfln ; 

* 

" May the saint be ever present thuSj 

30 And take my boat across." 

He threw with his dice, 

They went over his left hand^f 

Khwaja KhizarJ had no news (of him), 

And the boat got across. 

35 The merchant got across his diamonds and pearls^ 

And Isa was very happy : 

He made prayers to the saint, 

Who had got him safely across. 

Isa came aci'oss the river, 

40 And rested in the mountains. 

They put the camels into the pasture 

And let them loose to graze. 

Isa came and rested there, 

Where the Saint Bai is enshrined. § 

45 The time for eating and drinking came. 

He washed and set on the cauldrons. 

The food was quickly distributed. 

The merchants took it in China cups 

They eat their food and gave thanks, 

60 And rest came to their bodies. 

Isa (too) set on a cauldron there 

But there was something wrong about it. 

The fire would not burn at all. 

Isa became worried, 

55 Again he put on the cauldron and cleaned it. 

Sarwar himself appeared 

The fire burned and (Isa) was pleased. 

And lighted it under the cauldron. 

(But) as the fire burned under the cauldron 

60 It became cold. 

Isa was angry in his heart 

* I.e., SakM Sarwar. 

t Apparently means that lie cheated Khwaja Khizar. 

X Nowadays merely the god of rivers. 

§ At Nigalia.

; 


And upset the cauldron. 

There was water (in it) and it ran out blood, 

And maggots were found in the rice. 

65 IsS, began to grieve in his heart 

" What power hast thou shown, God 

I will remain (thine) as far as I can : 

There is no fathoming Thee 

" 

! 

It became morning and the camels were loaded up 

70 The leg of his largest camel broke. 

Grief came upon Is& ! 

His companions loaded up and went to their homes, 

Isa and his camel remained alone. 

He bade adieu to his friends, 

75 And threw his arms round their necks :* 

" Give a message to my brethren. 

I will go home when (the camel) is well. 

They ai'e not to be anxious about my grief," 

Thus he besought his friends. 

80 Thus his friends behaved to him 

And left him sitting. 

Bal said to Sarwar, 

" Forgive Isa's sin." 

Sakhi Sarwar 

85 Forgave Isa's sin. 

Isa saw coming 

A Mughal, a friend of God.f 

The Mughal was (armed) with the five arms ;J 

Galloping on a brown mare § 

90 The saint began asking Isa, 

" Why hast thou come into this land 

Without a friend 

All alone 

Why art in a strange land " 

* Idiom, begged very hard. 

t I-e., one who commands respect. 

X Sword, dagger, battle-axe, lance, and bow and arrows. 

§ Kakki, which was also the name of Sarwar's mare.

THE BALLAD OF ISA BAPAR!. 223 

95 Spake Isa and said, 

" My friends have left me and gone on. 

This is the behaviour of my friends. 

That they left me sitting and went on !" 

Lanja* then professed himself a doctor, 

100 And made the carael well. 

The bagt of pearls and rubies 

He lifted up with the end of his how, 

Isa asked the saint, 

" Tell me thy name." 

105 " My name is Sarwar SuMn ; 

My father is the wise Zainu'l-'abadin ; 

Dhoda Khan and Sayyid Eana 

And I are the sons of Aishdn. J 

" 

Sakhi Sarwar sent on the camel, 

110 And bade adieu to Isa. 

Isa left the hills 

And found his way to Agra. 

Crowds surrounded (him) 

And began asking Isa, 

115 " Tell us the truth, isa, 

Where are thy companions " 

Isa told them the story : 

" They left me there sitting. 

This was the behaviour of my friends ; 

1 20 They left me by myself." 

From one lakh of capital he gained three lakhs (treble), 

And paid all his liabilities. 

Isa went again to Nigaha 

And took a leper with him, 

125 And bathed the leper in the fountains. 

And at the same moment his body became whole. 

Isa forthwith went to Nigah^ 

* Lanj is a name for Nigaha, whence Lanja for Sarwar. 

t SalUd, a large bag of coarse canvas used on camels. 

X 'Aesha was the mother of Sarwar, Dhoda was his brother, Rana is 

usually his son. They have shrines near Nigaha.

t 


And procured masons from Miilchak* 

The masons drew up plans 

130 And dug deep and good foundations, 

And placed the door to the south. 

They built the Nigaha of the saint. 

Where splendor was lavished. 

" Saint, procure a record of the good work of this 

disciple, J 

135 Who built thy Nigaha." 

Hearing this the disciple pays his respects (saying), 

" May thy service flourish. Sultan. 

Protect Sadhi the poet ! 

In these times good and bad 

140 Eeceive the reward of service." 

In the midst of this Black Age § 

142 He (Sarwar) has displayed mii-aculous power. 

* I.e., Multan. Would not tMs name give " Mftla's Well " or " Mlila's 

Property " as the derivation o'f the name of the modern town P 

t Saints' tombs are built—head to N. and feet to S., so that the 

pilgrims can pray to the W., i.e., in the direction of Makka. 

X In the record of life in heaven. 

§ Kalla Kal for Kali Tug.

: 

No. IX. 

the Panjabi Legends which have sprung up round the 

of the famous Begam Samrtl's fief, near Merath, is 

tend to bridge over the distance between Atak and Kanauj. 

family of the Aryan King of Kanauj .] 

TEXT. 

Mahal Rani Adhik Andp Dai, 

Hath jor Mata kahe, " Sun, Puran, meri bat 

Aise bacTiaa boliyo, jo paida hove put \" 

Puran Mata se kahe, " Sun, Mata meri bat 

Paida Rasalft hovega, aur Ghhaliya us ka nam. 

Itni sunke cbal pari, aur mabil lie surang. 

10 Das mabine ka bo gaya wob mabilon men khair. 

Char baras ke bo gae, aur Mabita lia bulae. 

Rang mabil men kbelte Mabita Raja do. 

Itni sun Mabita kabe, " Sun, Raja, meri bat 

PRINCESS ADHIK ANUP DAI, 

AS RECORDED PROM THE LIPS OP A "WANDERING 

BARD PROM JALANDHAR. 

[This legend belongs to what may be called the Scythian or non-Aryan cycle of 

memory of Efija 

Easftlii. It purports to give an account of the nuptials of Eftui Adhik 

AuAp Dai, daughter of Eajfi. Sirkat (or Sarkap), whom we have already 

found in the first legend as playing at chawpwr for ESjd Easftl4's head at a 

place which appears to be Kot Bithaur near Atak. Here, however, he is 

described as being King of Kanaaj. Who Sarkap really waa it would be 

well worth ascertaining, as he is thus found to be at Atak and Kanauj, 

places very widely separated, but there are other tales connecting him with 

the banks of the Jamn^ in the Amb&14 district, and Sardhan^ the name 

locally said to have been 

founded by him, and its name to be by rights Sardhun^. These stories 

This particular 

legend appears to show that EasdlA, the Scythian, married into the 

[The natives call this very rugged specimen of a village poem a makal, or 

canto, or division of an epic or long poem. They say the whole poem of 

Easfilti consists of ten malials, of which this is one. I have never yet 

seen a man who professed to know more than five or six of them.] 

Beti Eaja Siekat Ki. 

5 Tin sai sath rani cbhalega, aur kisi ke na rahega sang." 

Mata khusbian kar rabi, aur ghar gbar bo rabe rang. 

29 

Easalu paida bo gaya, aur gbar ghar bo gae rang. 

Ik mabina, do mabine, cbbanvin rakbe pair : 

: 

:

: : : ::: 

: : 


Aisi batan karo, jis men rahi do bat." 

15 RajS, Mahite se kahe, " Sun, Mahite, meri bat 

Rang mahil men so rata, aur supn^ a gaya vkt. 

Rat ke supne ki kya kahiin Sun, Mahite, meri b^fc. 

RS,ni Sbahr Kanauj men, Adhik Anup Dai n^r 

Hanse jo bhar de pMlon ki dalri : roe bhar de motioa 

kl tMl. 

20 Us Rani ko mild de : is bargS, nahin ahsan." 

Itni sun Mahita kahe, " Sun, RSja, meri bat 

Tote apne ko bulaiyo, paryal dega s&r." 

Bole Raja sunke, " Sun, Tote, meri b§.t 

Misri kuja khilailn ; thanda parii dun pila. 

25 Khabaran m de Adhik Anftp ki. Tun, Totd, bain Rao I" 

Itni sun tota kahe, " Tii sun. Raja, meri bat 

Rasta haiga dfir ka, mere se jaya na jae." 

Itni sun Raja kahe, " Sun, Tote, meri bat 

Khabaran Id de Adhik Anflp ki : nahin, khak e mar i\nkatar." 

30 Itni sun tota kahe, " Sun, Raja, meri bat 

Pair ghara de sone ki penjni ; 

gal hira ki kanthi de dal 

Par baju sone marha de ; sir par rakh de lal 

Khabarafi la dun Adhik Anup ki, tab Tota mera nam." 

Itni sun Raja kahe, " Sun, Tote sarnfim : 

35 Maya karan koi mar de aur ja lakhon ki jan :" 

" Raja maya ka lobhi ban gaya, aur ishk ki khabar 

kuchh nan ! 

Je Rdni tujhe dekhni, de singar lagae." 

" Tain niin sone ka pinjra gharde dun, seun dtix lakhae." 

Rdja tota chal pare : 

chale jangal ko jan. 

40 Din se rat ho gai aur kahin sone ka karo bisraftn. 

" He Raja, tu pichhe ulat ja ; main khabar dflh lae." 

Raja ghar ko chal paia, aur tota kare salam, 

Kar salam tota ur gaya aur pahuncha Shahr Kanauj. 

Us Rani ke bagh men dera did lagae. 

45 Totd boli boldd aur tote lie bulae : 

" Is Rdni ke bagh men mewi leo khae. 

Pakka pakka kha leo, aur kachcha deo ger." 

Dekh mali ro raha, tote urde nahin. 

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: 

: 

PRINCESS ADHIK ANI^P DaI. 227 

EondS, mall aunda is ES.nJ ke pas ; 

50 " LakkHon tote ^ pare, Edni, tere high. 

Mew4 tha, sab kha lia aur kachcta kar dM, nas." 

Itni sun Eani ghabara}, phandigar lie bulae : 

" Un toton ko pakar leo aur lao hamare pas." 

Itni sun phandigar ae E&,ni ke pas. 

55 " Apni jali lekar deo bagh men od. 

Sab toton ko mar do aur lao mere pas." 

Itni sun Sawan kahe, " Suno, toto, meri bat 

Ah, bh&ij turn ur jao, nahin tumhara kam." 

Sare tote ur gae aur kalla rah gaya ap. 

60 Un phandi ko dekbke barb gaya kile ki goh. 

Phandigar dekh, akar kahe is Eani ke pas 

" Tote the, sab ur gae, koi ua aya hath." 

Itni sun E^ni kahe, " Sun, Mali, merl bat 

Tote seh the, woh kahan gae tu aya hamare pas." 

65 " Ohalo bagh men dekh lo, chalo hamare sath." 

Itni sun Eani chali, ai nau-lakkhe bagh : 

Bagh s^ra dekhti, tota na paya ik. 

Mali se Eani khaji, " Tain kyun bolen hai jhAth " 

Itni sun Mali kahe, " Sun, Eani, meri bat 

70 Isi bagh ke blch men tote dekhe aj." 

" Tote the, who kahan gae Suno, Mali, meri bat 

Ya to tote batae do ; nahin, phansi dun lagae." 

Itni sun tota kahe, " Sun, Eani, meri bat 

Is mall se kya kahe Tu suno ham^ri bat." 

75 Itni sun Eani kahe, " Sun, bandi Har Dai ; 

* 

Is tote ko marke tu lao hamare p^s." 

Bandi chali daurke, ai tote ke pas. 

Tota mar udari ur gaya, na gaya Eftni ke pas. 

Laundian bandi^n phir rahin : tota na aya hi,th. 

80 Eani ghabarake so rahi is palang ke sath. 

Tota dil men sochta, " Ab kaise karun aj 

Is Eani ki gat men chiinch deiin laga." 

Urkar tota a gaya is Eani ke pas. 

* Hardas according to some baids, in which, case the word should be 

probably ardds^'ami. 

;

: 

: : : : 

: 


Apne dil men aoehta, " Ohuncli deun laga." 

85 Gahri chunch marta is Rani ki gat. 

Mukh par chunch lagae di is Eani ki gat. 

Rani uthi tauli, tota lia dabae. 

Rani ke mukh par Surkhi khir rahi, aur bandi kare jawab. 

" Rani, tote ko kyS, dekhti Tere muiih ka hua behal !" 

90 " Mnnh ko mere kya kahe Main tota lia dab&e. 

PakrS, tha, par mar gaya mujh Rani ke hath." 

Koi bandi kya kahe " Sun Rani meri bat 

Tote ko tum rakh do, aur mukhra leo sambhal." 

Itni sun Rani ne dhar dia is palang darmiyiin. 

95 Rani surkhi ponchhti apne mukh ki ap. 

Rani ghair khiyal hogai aur tota hiia udas : 

Mar uiari ja raha is kile ki goh. 

Rani dil men sochti, " Tota nahin, koi aur." 

" Ohhathi dun baithn&i, munh mange so khae : 

' 

100 Ab ke pas ae ja, mnnh mange so khae." 

Itni sun tota kahe, " Sun, Rani, meri bat 

Tere dil men pap hai : kabhi na aM tere pas. 

Rani, jis Raja ka main tota hun, us barga na koi. 

Jaisi batan tu kare us men bahoti hoi." 

105 Rani yiU kahe, " Sun, Tota, meri bat 

Us Raja ko milae de : la tu hamre pas." 

" Yun, Rani, main na laun ; sun tu hamari bat 

Likhke chitthi de de apni pairin S,p." 

Likh deke chitthi Rani kahe, " Sun, Tote, meri bat 

110 Jaldi Raja ko bhej de in pairoii ke sath." 

Itni sun tota kahe, " Sun, Rani, meri bat 

Gal men chitthi pae de ; 

jaiin Raja ke pas." 

Lekar chitthi chal para us Raja ke pas. 

Raja dekhke yftn kahe, " Sun, Tota, ardas : 

115 Kaise phere le aya Ham ko de bat&e. 

Un pheron ko dekh lun, Tote, tere pas." 

Lekar chitthi haiis para yeh Raja niris. 

Ath din ke phere, navin din ki na as. 

" Ghaudan sai kos hai, sat samundar par: 

120 JanewMa koi hai nahin : kya karen ab bat "

: :: 

: " " 

Itni sun totS, kahe, " Sun, Raj^^ ardas : 

Ghore, fil^ bahot hain, aur khare tumhare pas." 

Itni sun Eaj^ kahe, " Sun, Tot^, meri bat 

H^tL. par mere baith ja, aur chalo hamare sath. 

125 Hathi karhon ke bick men karo chalke do bat." 

Dekh karhe bans pare. Raja se karen jawab, 

" Kyun auna ho gaya sunOj Eajaj ardas : 

Jo kahna farmae do, chaleii tumhare sath." 

" Phere Adhik Anup ke deo turt diwae. 

130 Sare chaudah sai kos hai, aur ath din ki rae ! 

Itni sun karhe kahen, " Sun, Raja, meri bat: 

Ham se jayil na jae us Rani ke pas." 

Itni sun Raja kahe, " Suno, karho, meri bat 

Dagha dia hai adhar men ; ab kaun karhe hai sath 

135 Ai Tote, tain kyd kari phere laya ap ! 

Ab ham kya karen koi na chala sath ! 

Hire ki kani kha marun, aur nahin jine ki as ! 

Aisi Rani na mili hai, chandi, mahtab ! 

He karhe ! tum ne kya kari dia hamen jawab ! 

140 Ai Tote, tum ur jao, aur nahin, chalo hamare sath." 

Sfit katar Raja jauhar kare* us tote ke pas : 

" Ta Rani ko milae de, nahin, marun tumhare pas ! 

: 

PRINCESS ADHIK ANUP DAf. 229 

Itni sun totS. kahe, " Sun, Raja, meri bat 

Us pawan-pankhi karhe ko tum ne dia dohag: 

145 Jo ab Rani dekhni chalo karhe ke pas. 

Hath jor karo bandagi, karhe se karo jawab : 

' 

Bhir pari ; tumhare pas aya ; mere karij karo siddh : 

Rani Adhik Anup ko mujh ko deo milae. 

Phere Adhik Anup ke, phere deo diwae.' " 

150 Itni sun karha kahe, " Sun, Raja, meri bat 

Main karha : tain dia chhor ; dia des tiyag. 

Ab tu mujh ko chherna : apna dil karo khiyal. 

Mere se phere na diwae : ja : ghar apne baith !" 

Itni sun Raja roya : bhar rudan machaya : 

156 "Ta to Rani milae de, nahin, marun katara khae !" 

Itni sun karha kahe, " Sun, Raja, meri bat 

* Obsolete poetical expression.

:;: 

: 

" 


Ath din to bahut ham, aur din ke din jana ap." 

" Ai karha, ham se kare makhol ; us Eani ko le chal." 

Itni sun karha kahe, " San, Eaja meri bat 

160 Jaldi kapre pae lo, ho ja mere as war." 

Eaj4 jaldi naha rahsi, aur kar raha apne singar : 

Tota pinjra bith^ lia aur aya karhe ke pas. 

Shahr ikattha ho gaya us karhe ke pas. 

Eaja upar charh raha aur log kare makhol. 

165 " RaJEi jhall4 ho gaya is karhe ke sang \" 

Salkot se chal pare le tote ko sang. 

Raja wahan se chal paia, ae Shahr Kanauj, 

Dera lagae bagh men, Eaja kar rahe mauj. 

" Ai TotOj ab kariye kya Eani deo milae." 

170 M^r udari tot4 chal para, kyk Eani ke pas. 

" Ai Eanij tii kya kare Sun hamri ardas : 

Eaja baithe hkgh men aur kar rahe tumhari as. 

Us Eaja ko dekh le, aur hainge bahut jawan ! 

Jo kahnS, ho, so kah le us bagh ke man." 

175 Itni sun Eani kahe, " Sun, Tote, meri bat 

Us Eaja ko bhej de aj hamre pas." 

Itni sun tota chala nau lakkhe bagh : 

" Ai Eaja, tum chalo us Eani ke pas." 

Bole Eaja, yun kahe, " Sun, Tote, meri bat 

180 Hamre sath tum chalo, kalle se na hove bat." 

Tota Eaja chal pare us Eani ke p&s. 

Deori men a gae ; bS-ndi kari jawab : 

Bandi Eaj^ se kahe, " Sun, Eaja, meri bat 

Gur se mlthi kya chiz hai Aur phul bina kya khushbo 

^185 Adar bina jal jae baithna ! Meri tinon batan de bata ! 

Itni sun Raja kahe, '' Sun, Tote, meri bat: 

Bandi dohrS, kah rahi, is ka do jawab." 

Itni sun tota kahe, " Sun, Bandi, meri bat 

Gur se mitha tera bohrS, aur neki ki khushbo ! 

190 Matbal* phans4dushmanke barmen S,dar milo chahe nan." 

Itni sun B4ndi kahe, " Sun, Eani, meri bat 

Tota nahin; koi aur hai ; dohra dia batae ! 

* For matlah.

! 

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PRINCESS ADHIK ANOP DAf. 231 

Is Edja ko pAchh lo aur kah lo man ki bat." 

Itni sun R&ni kahe, "L&o hamre pas : 

195 BatEin us se kar lAn aur kah Mn man ki hkt." 

" Jaise b§.tan batde de, pliere Mn apne ^p." 

Itni sun Eaja ohaM aur hya, Rani ke pds 

SArat dekhi Eani ki aur hoia Eaja betab. 

"R^nlnahin; koiaclihra; R§.ni hai anflp. 

200 CMttlii, E§,nij dekh lo aur phere deo batae." 

Itni sun Eani, kahe, " Sun, Eaja, meri bat 

Dohra hamra batla do aur phere le lo aj." 

Itni sun Eaja kahe, " Sun, Etini, meri bat 

Apna dohrS, kah le aur kah le man ki bat ." 

205 E^ni kah rahi dohra, " Sunlyo, chatr sujan : 

"Ankhan men phakan janmi§,n : jal sui bidh : 

Kachat hai Kam Kamni, bochat hai bidh :" 

Itni sun tote kahe, " Sun, Eani, meri bat 

Aisa dohra ky& kahe mere paron par lag rahe tin sau 

sath " 

210 E§,ni tote se kahe, " Sun, Tota, meri bat 

Yeh dohra batla de, phere le le aj." 

Itni sun tota kahe, " Sun, Eani, meri bat 

Jangal bay4ban men para hai ik sis : 

Us sis ke bicli men bache die chiri ne do : 

215 Fajar ka waqt tha, jal sui par bidh. 

Nachat thi Kam Kamni, bochat tha sidh." 

Itni sun Eani kahe ; nai lia bulwae ; 

Ghar ka Brahman a gaya us Eani ke pas. 

Phere Eani ke ho rahe mahilon ke darmiyan; 

220 M^n aur b^p yun kahe, " Sun, Beti, meri bat 

Chhalia Eaja a gaya ab hamri mahil darmiyan : 

Phere, Beti, mat le us Eaja ke nal." 

Itni sun beti kahe, " Sun, Babal, meri bat 

Jo qismat men lildai thi, ho gai woh par." 

225 Eaj^ Eani yM kahe, " Sun, Beti, meri bat: 

Is se phere le le ,• 

suniyo hamri bat." 

ESja Edni khush hue aur khushi hoia parw^r. 

Jude mahil Rani ko die, Eaja Rani do. 

:

: : : 

Tote ka pinjr^ dhar^, dhara maliil ke bioh ; 

230 JKhusliian Rtliii kar rahi us tote ke sath. 

" He Tote, batae de Gur apne ka nam ! 

Kis ka haiga balka Tera kya hai Bam " 

" Guru Gorakh ka balka : Rasalu mer^ nam." 

Khuslii§,n Rani kar rahi us tote ke sath. 

235 Itni sun tota kahe, " Sun, Rani, meri bSt. 

Raja hamra yun kahe, ' obalo mahil darmiyan.' " 

Itni sun. Rani chali, k\ mahil ke bich. 

Raj^ Rani se kahe, " Sun, R4ni, hamri bat 

Mai khizana bahot hai aur bahot gbana sa raj 

240 Sialkofc k§, Badshah : Raja Rasald hai nam. 

Chalo hamre mahil men : chalo hamre s^th. 

MM bap dekhte rahe hamri tumhari as." 

Itni sun Rani kahe, " Suno, Raja, ardas : 

Dola jaldi p§.r lo ; main chalun tumhari sath." 

245 Itni sun Raja kahe, " Suno, kaharo, bat 

Jaldi dola lao is Rani ke pas. 

Rani baithi dole men, chale kahar ap. 

Manzil manzil a gae Sialkot ke pas. 

Raja Rani yiin kahen, " Suno, kaharo, bat 


250 Dola zara tham do is Shabr ke pas." 

Raja Shahr men a bare : dekhe khalqat. 

! 

Mata aur bap yun kahen, " Sun, beta Rasal 

" 

Ghane dinon men phir ê, turn beta Rasal ! 

254 Jude mahil de die : sab karne lage piyar. 

The Canto of Peincess 

TRANSLATION. 

Adhik Anup Dai, Daughter 

OF Raja Siekat. 

With joined hands his mother* says, "Puran,t hear 

my words : 

Give me an oracle, that a son tnay be born (to me)." 

Saith PAran to his mother, " Mother, hear my words : 

* Lonan, tlie wife of âlivatana. 

f Son of oalivaliana by AdLhraii, and the celebrated Bbagat. 

was his stepmother. 

Lonan

; 

PRINCESS ADHIK ANUP DAI. 233 

EasS,lft will be born (to thee) and his name shall be the 

(gay) Deceiver. 

5 Three hundred and sixty Princesses shall he deceive, 

and will remain with none." 

Pleased was his mother, and joy was in every house. 

Hearing this she went away and adorned her palace. 

Easalft was born and joy was in every house. 

One month ; two months ; in the sixth month he 

kicked (in the womb) ; 

10 In ten months* there was joy in the palace. 

When four years had passed, Mahitit was sent for. 

They played in the decorated palace ; the pair, Mahitii 

and the Prince. 

Hearing this J said Mahita, "Prince, hear my words : 

Do something which shall result in marriage§" 

15 Said the Prince to Mahit&, " MahitS, hear my words ; 

I was sleeping in the decorated palace, and a dream 

came in the night. 

What shall 1 say of this dream of the night Mahitsi, 

hear my words. 

(I saw) a Princess of the City of Kanauj, Adhik Aniip 

Da}. 

When she laughs she fills a basket with flowei'S : when 

she weeps she fills 

a platter with pearls. 

20 Bring me to that Princess : no kind office (of yours 

would be) equal to this." 

Hearing this said Mahita, " Prince, hear my words : 

Send for your parrot, the bird will give you all (you 

desire)." 

Hearing this said the Prince, " Parrot, hear my words : 

I will feed thee with crystalised sugar : I will give thee 

cool water to drink. 

* Natives calculate pregnancy by ten lunar months, 280 days, 

t This is the Maiita Chopra of the first Legend. 

1 The bard has evidently forgotten something here. 

§ Lit. do such things in which shall remain hvo words (yes and yes) 

idiom for bringing about a marriage. 

30

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: 

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234 LEGENDS OF ^THB PANJAB. 

25 Tell me about Adhik AnAp. Thou arfc'a I'oyal Parrot."* 

Hearing this said the parrot, " Prince, hear thou my 

words. 

The road is long and I cannot manage it." 

Hearing this said the Prince, " Parrot, hear ray words 

Tell me about Adhik Anup, else I will stab myself with 

my dagger and die.'''' 

80 Hearing this said the parrot, " Prince, hear my words : 

Make golden anklets for my legs > 

pat a necklace of 

diamonds round my neck ; 

Gild my feathers and wings ; 

put a ruby on my head 

And 1 will tell all about Adhik Anup^ and then shall 

my name be Parrot (indeed)." 

Hearing this said the Prince, " Hear, glorious Parrot 

35 Some one will slay thee for thy bi'ave show and thy 

invaluable life will be lost." 

" The Prince has become greedy of his riches and there 

will be no news of his love I 

As (you would that) the Princess should see you, give 

me my ornaments." 

"I will make for thee a golden- cage, I will see thee 

across my border."t 

The Prince and the parrot went off together and went 

into the j an gals. 

40 The day passed into night and they laid themselves to 

rest somewhere. 

" Prince, turn thou back : 

I will bring thee news (of 

her)." 

The Prince went home and the parrot took his leave. 

Taking his leave the parrot flew off and reached the 

city of Kauauj. 

In the Princess's garden he stayed. 

45. The parrot gave a scream and called (other) parrots : 

" Eat up the fruit in this Princess's garden. 

Eat up all the ripe fruit and throw down the unripe." 

* A play on the names of Totd and Bdo for a parrot, 

t This phrase is idiomatic for " seeing off a friend."

! 

: 

PRINCESS 'adhik anup da!. 235 

The gardener saw it and grieved, but the parrots flew 

not away. 

Grieving the gardener goes to the Princess : 

SO " Thousands of parrots. Princess, have come into thy 

S5 

garden. 

What fruit there was, they have eaten it all, and spoilt 

the unripe fruit." 

Hearing this the Princess was agitated and sent for 

snarers. 

" Catch the parrots and bring them to me." 

Hearing this the snarers came to the Princess. 

" Take your nets and cast them round the garden. 

Kill all the parrots and bring them to me.'' 

Hearing this said Sawan,* " Parrots, hear my words: 


Friends, fly you away now, you have nothing (more) to 

do." 

All the parrots flew away and he remained alone. 

60 Soeing the snarers he went into a lizard's hole. 

The snarers saw (the garden) and came and told the 

Princess : 

" Parrots there were, but all have flown, none have 

fallen into our hands." 

Hearing this the Princess said, " Gardener, hear my 

words : 

Parrots there were, where have they gone you came to 

me." 

65 (Said the gardener). " Come into the garden and seej 

come with me." 

Hearing this the Princess went into the nine lakh-\ 

garden 

Looked through all the garden : found not a single 

parrot. 

The Princess was vexed with the gardener, " Why have 

you told me a lie " 

* The name of RasaM's parrot. 

t Worth nine Wclis of rupees : conventional expression for vôrth 

a great deal

: 


Hearing this said the gardener, " Princess, bear my 

words. 

70 I saw a great many parrots in the garden to-day." 

" Parrots there were ; where have they gone Gardener, 

hear my words 

Either you show me the parrots, or else I will hang you.^' 

Hearing this said the parrot, " Princess hear my words ' 

What has it to do with this gardener Hear thou my 

words." 

75 Hearing this said the Princess, "Listen, Har Dai*, my 

maid . 

Kill this parrot and bring him. to me." 

Away ran the maid and came to the parrot. 

The parrot flapped his wings and Sew away : he went 

not near the Princess, 

Girls and maids wandered about, but the parrot fell not 

into their hands. 

80 The Princess- aston-ished slept on her couch. 

The parrot thought in his mind, " Now what shall I do 

to-day 

I will thrust my beak into the Princess's body." 

The parrot flew off and came to the Princess. 

Thinking in his mind,, he thrust in his beak. 

85 He thrust his beak deep into the Princess's body. 

He thrust his beak into her face. 

The Princess got up quickly and seized the parrot. 

The blood stood upon the Princess's face and the maid 

asked her, 

" Princess, why look at the parrot thy face is injured." 

90 " What do you say about my face I have caught the 

parrot. 

I had seized it and it died in my royal hands." 

" What V said a maid, " Hear my words, Princess ; 

Put down the parrot, and look to your face." 

Hearing this the Princess put the parrot down on the 

bed. 

* There is a doubt as to this name : see note to text.

; 

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PRIKCESS ADEIK ANUP DAI. 237 

95 And the Princess herself wiped the blood from her face. 

The Princess forgot him and the parrot became 

sorrowful. 

He flapped his wings and flew into the lizard's hole. 

Thought the Princess in her mind, " This is no parrot, 

but something else." 

" I will seat thee on my breast, thou, shalt eat what 

thy mouth demands : 

100 Come to me now, eat what thy mouth demands." 

Hearing this said the parrot, " Princess, hear my words : 

Evil is in thy heart : never will I come to thee. 

Princess, the Prince whose parrot I am has not his 

equal. 

. What thou hast said has made the matter worse." 

105 Thus spake the Princess, " Parrot, hear my words : 

Let me meet that Prince : do thou bring him to me." 

" Thus I cannot bring him : Princess, hear thou my 

words. 

Write a letter and give it me quickly." 

Writing the letter said the Princess, " Parrot hear my 

words : 

110 Take it quickly to the Prince." 

Hearing this said the parrot, " Princess, hear my 

words : 

Pasten the letter round my neck : I will goto the Prince." 

Taking the letter he went to the Prince. 

Seeing it thus spake the Prince, " Parrot, hear my 

prayer : 

115 How have you arranged the marriage Tell me. 

I would see the marriage you have brought, Parrot." 

Taking the letter the unhappy Prince laughed (ironically) 

The marriage was to be in eight days, no hope even for 

the ninth day.* 

" It is fourteen hundred kos and across seven riversf 

* I. e., on the ninth day it would be declared ofE. 

t This is meant to mean a long way : it is a great exaggeration of 

actual facts.

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: 


120 No one can go (in the time) : what shall we do now " 

Hearing this said the parrot, " Prince, hear my prayer : 

Horses and elephants are many and stand by you." 

Hearing this said the Prince, " Parrot, hear my words : 

Sit on my hand and go with me. 

125 Come among the elephants and camels and say a few 

words to them." 

Seeing them the camels laughed and answered the 

Prince. 

" Why have you come hear, Prince, our prayer. 

As you order us, so will we go with you." 

"Bring me quickly to the marriage with Adhik AnAp. 

130 It is fourteen hundred and fifty lios and eight days are 

for the road 

" 

! 

Hearing this said the camels, " Prince, hear our words : 

We cannot go to the Princess. " 

Hearing this said the Prince, "Camels, hear my words 

You have disappointed me: what camel is with me now 

135 Parrot, what hast thou done arrange the marriage 

thyself! 

What shall I do now ; none comes with me 

I will swallow a diamond and die, and have no hope 

in life 

Such a Princess I have not met, lovely, beautiful 

Camels ! what have you done you have refused me ! 

140 Parrot ! fly thou away or else come with me." 

Drawing his dagger the Prince (threatened to) commit 

suicide before the parrot. 

" Either let me meet the Princess, or I will die before 

you \" 

Hearing this said the parrot, " Prince, hear my words : 

Thou didst turn away thy wind-winged camel 

145 If thou wouldst now see the Princess go to that camel. 

With joined hands beseech him, make the camel answer 


' Trouble has fallen on me : I am come to thee, take 

away my pain

: 

PRINCESS ADHIE ANUP DAI. 239 

Bring about the meeting of Princess Adhik AnAp with 

me. 

The marriage with Adhik AnAp : the marriage bring 

to me.' " 

150 Hearing this said the camel, " Prince, hear my words 

I am a camel ; thou didst neglect me ; didst separate 

me from my home. 

Now art thou teasing me : nor dost thou keep thy 

thoughts in thy own heart. 

I cannot manage this : go 

: 

stay in thy own house \" 

Hearing this the Prince wept, and cried aloud in his 

weeping : 

155 " Either bring me to the Princess, else I will stab myself 

with a dagger and die !" 

Hearing this said the camel, " Prince, hear my words : 

Eight days are plenty, I will go myself within the time." 

" Camel, thou art jesting with me ; take me to the 

Princess." 

Hearing this said the camel, " Prince, hear my words 

160 Put on thy garments quickly, and mount me." 

Quickly bathed the Prince and put on his ornaments. 

Put the parrot into his cage and came to the camel. 

All the city collected round that camel. 

The Prince got up and the people began to joke : 

165 " The Prince is mad about this camel I" 

They went from Sialkot taking the parrot with them. 

The Prince went from there and came to the City of 

Kanauj, 

Fixed his abode in the garden, and the Prince enjoyed 

himself. 

" Parrot, what will you do now make the Princess 

meet me." 

1 70 Flapping his wings off went the parrot and came to the 

Princess. 

" Princess, what art thou doing Hear my prayer : 

The Prince is sitting in the garden sighing for thee. 

See the Prince for he is quite young !

' 

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: 

: 

; 


What thoii wouldst say, say it in the garden." 

175 Hearing this said the Princess, " Parrot, hear my words : 

Bring the Prince to me to-day." 

Hearing this the parrot went into the nine lakhs garden 

" Prince, go thou to the Princess." 

Spake the Prince, saying thus, "Parrot, hear my words; 

180 Come with me, I can manage nothing alone." 

The parrot and the Prince went off to the Princess. 

They came to the door, and the maid asked a question 

Said the maid to the Prince, " Prince, hear my words : 

What thing is sweeter than sugar what has scent 

without a flower 

185 (To be) without respect is to sit and burn ! Answer my 

three " 

riddles ! 

Hearing this said the Prince, " Parrot, hear my words 

The maid is asking riddles, give her th'e answer." 

Hearing this said the Parrot, " My Maid, hear my words : 

Thy speech is sweeter than sugar and goodness hath a 

good smell 

1 90 If thy business be at thy enemy's gate thou dost not 

want respect." 

Hearing this said the maid, " Princess, hear my words : 

It is no parrot j it is something else : it has answered 

my riddles. 

Ask the Prince and say thy heart's desire." 

Hearing this said the Princess, " Bring him to me : 

195 I will speak to him and say my heart's desire." 

" As you answer my riddles 1 îll marry you myself." 

Hearing this the Prince went up and came to the_ 

Princess : 

Seeing the Princess's face the Prince became restless 

(with love). 

" She is no Princess : she is some fairy ; the Princess 

is a peerless beauty. 

200 Princess, see thy letter and give me thyself in marriage." 

Hearing this the Princess said, "Prince, hear my words 

Answer my riddle and be married to-day."

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: : 

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PRINCESS ADHIK ANUP DA!. 241 

Hearing this said the Prince, " Princess, hear my 

words 

Say the riddle and say thy heart's desire." 

205 The Princess said her riddle, "Listen, thou bright 

intelligence : 

A thorn is born in the eyes: the needle pierces the 

water 

Love and his wife are dancing and the sage is catching 


Hearing this said the parrot, " Princess, hear my words. 

Why set such a riddle three hundred and sixty are in 

my feathers \" 

210 Said the Princess to the parrot, " Parrot hear my 

words : 

Show me this riddle and I will be married to-day." 

Hearing this said the parrot, " Princess, hear my words 

In the pathless jangal is lying a head 

In the head a bird hath laid two eggs 

215 It was morning time, the water was pierced by the 

needle 

Love and his wife were dancing, and the sage caught 


Hearing this said the Princess " Send for the barber.*" 

The family priest came to the Princess. 

The Princess was married in the palace 

220 Thus said her father and mother, " Daughter, hear our 

words 

The deceitful Prince has now come into the palace : 

Daughter, be not married to this Prince." 

Hearing this said the Princess, "Father, hear my words : 

What was written in my fate, has already come to pass." 

225 Thus spake the King and Queen, " Daughter, hear our 

words 

Marry him then : hear our words." 

The King and Queen were pleased and pleased were the 

31 

household. 

* To arrange the wedding : it being his business.

! 

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: 

! 

" 

242 LEGENDS OF THK PANJi-B. 

They two, the King and Queen, gave the Princess a 

separate palace. 

They put there the parrot's cage, they put it into the 

palace. 

230 The Princess played with the parrot. 

" Parrot, tell me thy Ourd's name 

Whose pupil art thou what is thy name " 

" I am Gurii Gorakh's pupil : Rasalft is my name." 

The Princess played with the parrot, 

235 Hearing this* the parrot said, " Princess, hear my 

words 

Thus saith my Prince, come ' to my palace.' 

Hearing this the Princess went into his palace. 

Said the Prince to the Princess, "Princess, hear my 

words 

Goods and money have I much, and very great is my 

kingdom. 

240 Of Sialkot am I king : Eajl Rasalu is my name. 

Come to my palace : come with me. 

My father and mother look anxiously for thee." 

Hearing this said the Princess, " Prince, hear my 

prayer 

Get ready my doU quickly : 

I will go with thee." 

245 Hearing this said the Prince, " Bearers, hear my words: 

Bring the Princess her dolt quickly." 

The Princess sat in her doll and the bearers went on. 

Stage by stage they came to Sialkot. 

Thus spake Prince and Princess, " Bearers, hear our 

words 

250 Stop the doli awhile near the city." 

The Prince went into the city, and the people saw him. 

Thus spake his father and mother, " Hear, Rasalu, our 

son 

After many days thou hast returned, EasaM, our son !" 

254 They gave them a separate palace : and all the people 

loved them. 

* Something apparently forgotten here.

No. X. 

THE LEGEND OF 

SILA DAi, 

AOOOBDING TO THE VERSION PLATED AT JAGADHRt 

IN THE AMBALA DISTRICT. 

[This legend is anotlier of the teu mahals or divisions of the full story of R^jfl 

Basfilfi. Like the story of Gurd Gugg^ it is composed in the form of a 

swing or metrical play, and is so played annually at the Holi Festival. 

Like that too, however, it is not strictly a play according to our ideas. 

It is a most popular story, and its details are very widely known.] 

Pt has been divided herein into two portions. The Ist of 964 verses and the 

2nd of 528 verses, because the bard who began it could not remember the 

latter portion, and it was taken up aud finished by the same man that 

sang for me the Legend of Gurd Guggd. The style of composition is not 

quite the same in the two portions, though they are composed on the same 

lines and tell precisely the same story. In the first part the metre never 

varies, and there are no songs ; the narative portions too are not introduced, 

as in the latter part, into the speeches of the actors, but are assigned 

in complete stanzas to the Brihman RangôhSr, who appeared in the 

Gugga Legend as the family priest of Gurd Gugg^. The composition 

displays considerable dramatic talent, and the story is well put together, 

but it is very long drawn out in order to suit the taste of the audience.] 

[The story has been already referred to in the 'Adventures of ESjA RasAld 

where he plays a trick on his Minister MahitA Choprfl in order to test the 

boasted virtue of the latter's wife, Rfini Chfindni. Chfindni now appears 

as SilA Dai, and this story is a variant of the former one. It is to be observed 

that in the former legend Mahiti appears as a Chopra, one of the 

septs of the PanjSbi caste of the Khatris, whereas in this legend he is mads 

out to be a member of the AgarwAl sept of the Hinddi caste of the Cauiyds, 

and to come from their original seat at Agrohd near Hissdr.] 

[Eas&ld appears here as Ris£l and Eisal, and the scene of those parts of the 

play, which is not laid at Agrob^, is at Si&lkot, frequently called herein 

Risdlgarh or Eisalgarh. The anthromorphism, too, which raises Gurd 

Gorakhn&th almost to the level of a god and reduces Siva aud Pdrvatl 

almost to that of mortals, is very noticeable.] 

[The game of chavpur occurs so frequently in these legends, and its 

teohnioalities 

play so important a part in them, that I give here an account of it. 

The chaupur board is generally made of cloth, and is in the form of a 

cross. Each arm of the cross is divided into 24 squares in 3 rows of 8 each, 

12 red and 12 black : in the centre, where the arms meet, is a large black 

square. The cross is called ehaupur, the arms are called phihada and


tho squares, kliinas. On this board are played two games, both often 

called chaupwr ; 

but teohuioally one which is played with dice is called 

pMhsd, and the other which is played with hauris is called yacASsl] 

[The game with dice, or pMhsd, is played with 3 dice called p/idmsAs or d&ls, 

and IG men or nards. The men are distributed 4 to each arm of the cross, 

and are painted red, green, yellow and black. The dice are 2| inches long 

and i inch square at the ends. Their 4 faces (mulchs) are marked 1,2,5 

and l). Thus .,:,:.',:::. Ph&hsA requires 2 players, one of 

whom takes the red and yellow men, and the other the green and 

black. The game is played by repeated throws of the dice and moving 

the men accordingly, until the whole of them on one side are moved into 

the large square in the centre of the board. This generally takes soma 

time and requires considerable skill in adjusting the moves to the throws. 

Gambling can be carried on by betting on the various throws and on the 

result of the game. The technicalities of the game are as follows :— luthe 

dice the ace (1) is called poran ; the deuce (2) do ; the five p&hch and the 

six cM. A throw of the dice is called d(Jo to throw the dice is pAilmsd 

.- 

plienknA : to count the throws is d&o ginnd : to bet, or fix the throw is 

idmi hadhnd or dS,o iadhnS, : and to settle the stakes is shait lagAnd. 

It is important also fgr these legends to note the technical names for the 

various throws of the dice which are 20 in number. 

Thus :— 

1

: 

THE LEGEND OF sIlA DAf. 245 

The throws 10, 25, or 30 count an extra aoe, pauh : and any of these gives 

the right to a Becond throw, and if they again fall then to a third, all 

three counting ; but if they fall a third time a fourth throw must be made 

and it only couDts. The four players are two and two partners (sdhji) 

and the partners take stations on opposite sides of the cross and 4 men 

each. That side wins which gets all its 8 men into the black centra 

square first according to the throws of the kauris, no throw under 10 

counting' at all. Betting can be made on the game or on any throw. The 

technical terms of the game are the same as in pMhsd, except that to 

throw the kauris is kauri p/iere/md.] 

TEXT. 

Mahal Sila Dai. 

Bayan Pahile Bhdt led. 

Pirtham GurA manaeke, jag ka palanhar ! 

Phir pichhe se kijiye aur jagat ke kkv. 

Kar karfln aur sabhi kam banauri 

Main pahile dil bich Guru Nath manaAn. 

5 Main saran gahi aj Guru Gorakh teri ! 

Is phase ke ksith laj rakh le meri. 

Mahitd, 

" Sat ko sat kar man le ! sat ko sat kar jan ! 

Sat karan sab tham rahe dharti aur asm§.n ! 

TRANSLATION, 

The Canto of 

Sila Dai. 

According to the First Bard. 

First let us worship the Guru ; 

* cherisher of the world I 

And then let us do the work of the world. 

I will work and do all the work; 

But first will I worship the Lord Gurii in my heart. 

5 To-day I fall at thy feet, Guru Gorakh ! 

Make me to succeed in this my undertaking.f 

Mahita. 

" Remember truth is truth ! know 

truth for truth ! 

The heavens and earth are upheld for truth's sake ! 

* Gorakhnath. f Lit. preserve my honor in this throw of the dice.

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Dhartl asm an khari sat kl tani ! 

10 Yeh sat ka hai sil jagat bioli nishani. 

Us Sila ke nam mera pli§,risa rdzi 

Jo chahe Kart§,r as se deve bazi." 

Edja Rasalu. 

" 

' Sila ! Siia, ! ' ky^ kahe aur sabiik^r ke M 1 

Tere Sila kaun hai 

hamen sunao hal. 

15 Hll kaho ham se tum batian sari : 

Woh Sila hai kaun^ teri dil ki piari 

Tain chhor^ Gur Dev ! Kya man ko s^nsS. 

Le tirya ka nam tii phenka phansa 

" 

! 

MaMta. 

" Beti Harbans Sahî ki : Sila Dai hai vkn : 

The heavens and earth are stretched on truth's warp 

10 This is the sign of the virtue of truth in the world. 

In my Sila's* name will my throwing (with the dice) be 

lucky : 

God gives the game to whom He wills/' 

Raja Rasalu. 

" Why art (always) saying, ' 

Sil^, Silei' that art a 

merchant's son 

Who is thy Sila Tell me all about her. 

15 Tell me all aboat her and her whole story. 

Who is that Sil4, thy heart's darling 

Thou haat given up (playing in the name of) Gur 

Dev ! 

t what is the anxiety of thy heart 

That taking a woman's name thou dost throw the dice ! 

Mahita. 

" She is the daughter of Harbans SahM ! Sila Dal is her 

name : 

* sua means 'the virtuous.' 

t GorakluiS.th.

! 

": 

" 

Satwanti hai n§.rj meri ghar ki Eanl ! 

She is a virtuous woman, the Lady of my house ! 

THE LEGEND OF SILA DA!. 247 

20 Mere maliil men nar hai : nahln aur se kslm. 

Kdm nahin rakhta main aur se, Rajtl. 

Us Sila k^ sat mere dil par kijL 

Main rakhta hftn nam : ycid us ka piarS. 

Sab hotfi, hai kar mere dil k^ sark. 

25 Sat kar tft man, yehi meri b§.ni: 

Raja Rasalu. 

" Til beta sahiikar ka : Mahita tera nim. 

Tirya sis charhaune yehi murakh ka kam ! 

Hai mArakh ki kam : bachan merS. mano : 

30 Tum Sita si satl nahin duji jano. 

Woh bhW gae Earn bachan, kar mitM 

20 She is my wife in my palace and no one else is of any 

value (to me). 

I place no value in any one else, EajL 

The virtue of Sila has taken hold of my heart. 

I take her namej her memory is dear to me. 

All the desires of my heart are fulfilled (in her). 

25 Know this for truth, this is my advice. 

Raja Rasalu, 

" Thou art a merchant's son : Mahita is thy name. 

To raise the head of (praise) a woman is the action of 

a fool 

It is the action of a fool ! 

mark my words. 

30 Thou wilt never know a second to the virtuous Sita.* 

She forgot Eam's command and destroyed the protecting 

line.t 

* Wife of Rama Chandra and the modern synonym for virtue in a 

woman. 

t In allusion to the very interesting tale of the abduction of Sit4 

by Ravana. In modem days she is described as stepping beyond tbe Tedr 

"or protecting line, and so being liable to be carried ofE ; while imsiSe it 

no harm could happen to her. See Growse, Bdmdyana, ed. 1883, pp. 

352 fE. Indian Antiquary, vol. viii. p. 267 ; xi. pp. 36-6.

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248 LEGENDS OF THE PANJAb.' 

Tft bhM gia Sila ke sat par, Bhai 

" 

! 

Mahita. 

" Raja, chupke ho raho ! mati karo takr4r 

TA apne sa man jantS, sab ka man ik s^r 

35 Ik sar naliin, Eaja, sab hirde dhare 

Kisi nagar ke bich na bon papi sari. 

Ho ik shahr bich pati birta Eani 

Tu dil men sach man, hai yeh Bed ki ban! 

" 

! 

Raja Basdlu. 

• Main jo gia tha b&,gh men, aur Mahita kh§,s Diw§.n, 

40 Pandit Kaiisi ke mile, bachan kahe parw&n. 

Parwan bachan Pandit woh mukh se bole 

' 

Yehan ave ik bar jal takhta dole. 

Thou hast lost thy head* over Sila's virtue, friend." 

Mahita. 

" Be silentj Raja, and quarrel not 

Thou judgest the minds of others by thine own mind 1 

35 All hearts are not made alike, Rfija. 

In no city are all (the people) sinners. 

There must be in the city one Lady (who is) a help to 

her husband ! 

Know this for truth in thy heart ; this is as true as tha 

Vedas \" Raja, Rasdluf 

" When I went into the garden, Mahita, my own minister, 

40 I met a priest from Kansi (Banaras) that spake words of 

truth. 

Words of truth spake that priest with his lips : 

' One day there wiU come a terrible shocking flood. 

* A play tere on the senses of the verb bhMjdnA. 

t Change of subject here.

" 

THE LEGEND OF SILA DAt. 249 

Jo ghore daryai hath five tere, 

To bach jage jan, laj bahotere 1 ' 

Mahita. 

45 " 5ukm karo bulaeke^ bhejo khas dalal : 

Pahile dam chukAeke, phir kharido nial. 

Phir kharido mh\, Raja, jo chahe so lejo. 

Jitne dam lageii ghorofi ko jara khauf na kijo." 

Eaja Basfilu. 

" Sun, Mahitd sahukar ke, tu hai taeva yar. 

50 Tere bin& sarta nahin aur kisi se kar. 

JahaD chukao wahm bhej di\ii 

chitthi se, bhav lijo, 

Jo jananwale achhe hon un bin chhantke lijo. 

Kar karo mera, lo sawarran to;-e ; 

Turn jao, Eattasnagar hain ghoife. 

If there be sea-horses* with thee, 

Thy life will be saved and much land (to thee) !' " 

Mahitd. 

45 " Order and send for them, send your private dealer. 

First settle the price and then buy the property. 

Then buy the property, Eaja, take what you want; 

Be not afraid of the price of the horses." 

Eaja Easalu. 

"Listen, Mahita, thou merchant's son: thou art my 

friend. 

60 No one but you can do this job (for me). 

Wherever you settle the price I will send (the money) 

by letter ; take your fill. 

Choose out those that are good goers. 

Do my business {for me), take platters (full) 

Go to Eattasnagarf where the horses are. 

of gold. 

* The expression is here used evidently for a fabulous horse. It 

means usually the hippopotamus. 

t This place ocouring under several names in this poem must be the 

celebrated fort of Rotas in the Jhelam District built by Sher Shah Sftr 

(1540-1545 A. D.) a fact •which points to the modern nature of the -whole 

legend. The horses to bo got there appear to have reference to the 

once famous breed of Dhanni horses from the Jhelam District.

! 

! 

250 'legends of the pan jab. 

56 Main dhai karor di4 tujh ko khizanS. 

Jo chahe mangwae bhej big parwan^." 

Mahitd. 

" Mahil mere ke bich men hai Sila Dai ndr : 

Us ke man ki puchhke phir karftng^ kar. 

Kar karun ap, mahi] andar jaAri, 

60 Us Sila, ke mukh ki zara aggya pMn. 

Main jaM Rattasnagar karke tajyari 

Jo mure na Sila kuchh bat hamari." 

Raja Rasalu. 

" TA beta sahukar ka, Mahita mere yar ! 

Tirya ke bas tu pa a aur bana nar se n^r 

65 Pm'kha se nar bana kya sukh pave 

Th man mera kahna, mat bat hatave. 

55 I will give thee two and half karors* (of rupees) from 

the treasury. 

Send quickly letters for whatever (amounts) you may 

want." 

Mabita. 

" Sila Dai, my wife, is dwelling in my palace : 

I will first ask her advice and then do the work. 

I will do the work myself (after) going to my palace, 

60 And taking a little advice from Sila's own mouth. 

I will (thee) get ready and go to Rattasnagar, 

If Sila does not oppose ray project.'' 

Raja RasdUi. 

" Thou art a merchant's son, my friend Mahita ! 

And hast fallen under the power of a woman and hast 

become a woman from being a man ! 

65 From a man turned woman what pleasure (in life) canst 

thou have 

Obey my commands and go not back from them. 

* 25 miUionB of rupees or roughly £2,500,000.

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THE LEGEND OF Îla DAL 251 

Sil^ ke p&s bat m4tide meri, 

Nahin, to tiUegi prit aj meri ted." 

Sili 

Dm. 

" KaMn sftrat bisi-^yd kyAn hue nda3 f 

70 Jo tAta bo mal k^, likhi\ja babal paa. 

Babal ke pS^s likhftn ab parwana 

Jo cbahe mangwê le bbej big khizdnli. 

Man ki turn bat kaho apni sari 

Kjflri pagya ke peoh kbuli £lj turnhM V 

Mahita. 

75 " Risal ab ham se yun kabe, ' Jô Garb Bathes 

Gbore lao kharidke jaldf mere p^s.' 

' Jaldi ' kabe, 'big pas gbore 14o. 

Gbarbar tajo apna, pardes ko jao.' 

Wob kahta bai, 

' Aj b&t mino mei'i 

80 Nahin, cbutegi prit pbir meri teri/ " 

(But) go to Sila and disclose my commands to her, 

And tben my and thy friendship is gone from to-day." 

81la Dal* 

" Why is thy face sorrowful why art full of grief 

70 If thou hast bad losses T will write to my father. 

1 will write a letter now to my father 

Take what you want, he will send the money at 

once. 

Tell me all the trouble of thy mind t 

Why are the folds of thy turban unloosed to-day "t 

Mahita. 

75 " RisalJ has just said thus to me, 

' 

Go to Fort Rathas j 

Go and buy horses and come quickly back to me.' 

' 

Quick,*^ said he ; 

' 

quickly bring me the horses. 

Leave thy family and go to the strange land.' 

Saith be, ' Obey my commands to-day ; 

80 Or my and thy friendship shall be lost.' " 

* Scene changes to Sila's palace. 

t I.e., why is thy dress disordered from grief 

J RasalQ always goes by this name in this portion of the poem.

! 

; 


Slid Bat. 

" Bani banaven baniye, turn: ho sahukar ! 

Bol rahen din jaenge, karo samajhke k^r,. 

Kar karo ap jahan bhejen Raja r 

Jo dam lageri hatb karo nn kl kaja. 

85 Is Risal ki bat, pij'a, mat na moro r 

Aur Raji, ke sath prit mat na to.o/" 

MaUta. 

" Rlsal hanse kbelta ik din phansu sar 

: 

Sat teri ka a gaya. chanpui- pe takrar. 

Takrar ki^, Risal ne ghiissa khaja: 

W Is waste pardes mera gawan tharaya. 

Hai cbhal ki yeh khaa : suno bat hamari. 

Turn Kiho hoshiar : daga dega bhari." 

S'lU Bed. 

" A shopkeeper would do what he could and thou art a 

merchant 

The days will go in talking, do thy work thoughtfully. 

IDo thy work wherever the Raja may send thee 

Whatever it may cost thee do his commands. 

85 Go not back from the commands of Risal, my love ; 

And destroy not thy friendship with the Raja." 

MaJiita. 

" Risal one day was playing a game (with me) for 

amusement. 

And there was a dispute at the (game of) ehaupur over 

thy virtus. 

And Risal disputed and became angry about it. 

90 This is why he determined to send me to a foreign 

land. 

He is a (very) pit of deceit: mark ray words. 

Be thou careful (or) he will play some great trick.'*

THE LEGEND OP SiLA DA!. 263 

Slid 

Bdl. 

"Risal ab chhal kyS; kare aur mere mabil men tin 

Sat mere ki chaukasi rakhenge Bhagwan, 

95 Rakhen BhagwS,n drirh dil ko mere : 

Aur Raja jhak m^r karo sau sau phere. 

Turn jao Rattasuagarj karke tayyarl. 

Wola rakhenge Kartar laj hamari." 

Mahita. 

" Apne pahre jagiyo aur mat raho par so. 

100 Na jane chhin ik men pahra kis ka ho. 

Pahra kis ka ho, Bhal; tu kaha manlyo mera. 

Char ghari din rahi bhenyo sankal kulaf* sawera. 

Sawa pahar din charhe khollyo phatak, ji, sawera. 

Jo is men kuchh chuk paregi bai-4 khot ho tera ! 

" 

Sild Dai. 

"How can Risal play any tricks now or (even) come 

into my palace 

God will keep guard over my virtue. 

95 God will surely guard my mind. 

Even if the Raja were to come a hundred times and talk 

folly. 

Do thou get ready and go to Rattasnagar. 

God will preserve my honour." 

MaUtd.f 

" Keep awake at thy post and never fall asleep : 

100 No one knows what may happen in one moment. 

What may happen, friend ; hear thou my words. 

Fasten the chains and bolts early an hour before sunset, J 

And open the gates five hours§ after sunrise, friend, in 

the morning. 

If thou neglect this at all it will be very hard for thee !" 

* For qufal, a lock. 

t To the door-keeper. 

X Lit. while 4 gharis (96 minutes) of the day yet remain. 

§ Lit. a watch and a quarter after sunrise.

; 

254 LEGENDS OF THE PANJAK. 

Darhdn. 

105 "Pahve pe h§,zir rahfln : jagftn sari rat. 

Jo turn mukh se kah chuke maniinga woh b^k 

Maniin woh bat ; suno hakim mere ; 

Bidhna, ki rekh, kaun in ko phere 

Main j^giiii sab rat bhala apni bari. 

110 Jo kah chale ho 4j karun waisi sari.'" 

Raja Basalti. 

" Kya ae ho puchhke Sila Dai se beit f 

Ghar Sila ne kya kaha kaisi mani bat 

Sila ne btit teri kaisi mani 

Ta kah de woh bat jo tain man men than!. 

115 Jo jana ho ap gawan jaldi kijo. 

Is Mt k& jawab hamen, Mahit^, dij'o." 

Mahita. 

" JMn Garh Rattas ko, bat tumhari man. 

Door-keeper. 

105 " I will remain at my post : I will be awake all night. 

I will obey the command you have given with your lips. 

I will obey the orders : listen, my master 

Who can vary the lines of Pate 

I will be well awake all night during my turns. 

110 And what you have said to-day I will exactly do." 

Bdjd Easdlu. 

" What Hast come after asking Sila Dai's advice 7 

What said SilS. at home How did she take thy worda T 

How did Sil^ take thy words 

Tell me what is passing in thy mind. 

115 If thou art going depart at once. 

Answer me as to this, Mahita." 

Mahita. 

" I will go to Fort Ratt&s, obeying thy commands, 

'

THE LEGEND OF bJLA DAI. 255 

Lefeha Kai savva lakh ka, dhara t^q darmiy^n. 

Taq darmijan lekba dharEl, main mahilori jaftn. 

120 Hai us ke pas qalamdan jarao. 

Hai Utar kl ov mahil mei-i ala. 

Main jS,un ab hai, us se thokftn ti\L" 

Edjd Basalu. 

" Pandit main piichhian anr laga mahftrat ^n. 

SawS, lakh kja chiz bain, jo baohe hamari jau 

125 Bach jage jan jo tii lave ghore ; 

Main mal die tin karor ginke tore. 

Jaldi kar gawan big, sa'at achhi ! 

Mat der kare, yar ; bat hove kachl." 

Mahita. 

" Gharbar apna chhorke jaun hiin pardes : 

My book (showing dealings) to a lakh and a quarter* 

(of rupees) is placed on my shelf. 

(Leaving) the book placed on the shelf. I will go from 

my palace. 

120 Near it is my jewelled writing-case. 

My shelf is to the North side of the palace, 

I will go now at once and fasten the locks." 

Raja Easalu. 

" I asked the priest and he says the lucky moment has 

arrived (for starting). 

What is a lakh and a quarter of rupees if my life be 

saved 

125 My life will be saved if thou bring me the horses ; 

I have had three karorsf (of rupees) counted out for 


Make ready to go quickly, the moment is propitious ! 

Delay not, my friend, or the matter will be incomplete.'' 

Mahita. 

" Leaving ray family I am going to a strange land. 

* 125,000 rupees, f 30,000,000 of rupees.


130 Turn Eaja ho garhpatij karim tumhen updes. 

Updes yeh mera, turn man inea mano. 

Hai ghar ki men nar silwanti, jano. 

Main jaiin tun Ml, bat mano meri. 

Hai Saiii ke hath laj rakhi meri." 

Raja Rasdhi. 

135 " Paik, jao nagar meii; man hamari bat, 

Ik duti lao chhantke jaldi apne sath. 

Lao turn sath, chhant jaldi ana. 

Mat der kare, sath us se jaldi to lanfi.. 

LS.0 turn sath jo ho duti dana. 

140 Kar de woh kam jo main ne dil men thana." 

Paik. 

" Tum men duti kaunsi 'aqalmand hoshiar 

Sath hamare tum chalo, yad kare Sarkar. 

Sarkar kare yad, chalo sath hamare. 

Ho chaukas hoshiar, karo big tayyarl. 

130 Thou art a mighty Raja and I give thee an advice. 

My advice is this, mark it in thy heart. 

Know that I have a virtuous wife in my house. 

I am going at once; (so) mark my words. 

My honor is placed in the hands of the Lord." 

135 " Ho Messenger ! Go 

Raja Rasalu*. 

to the city : hear my command. 

Choose and bring me a witch quickly with thee. 

Bring her with thee and choose her and return quickly. 

Delay not and bring her quickly with thee. 

Bring with thee any witch that is wise. 

140 Do the work that I have set my heart on." 

Messenger. 

" Which among you is a clever and wise witch 

Come with me for the Court calls you. 

The Court calls you, so come with me. 

Be careful and wise and get ready quickly. 

* The sceuc changes here.

: 

THE LEGEND 0¥ sIlA DAL 257 

145 Chalke darbar bich kijo kaja, 

Aur bahota hi inam tujhe denge Raja.'' 

Dutidn. 

" Paik, tere sang ckalen, nabiri karen takrar. 

Bhag hamare bahore jo yad kare Sarkar. 

Sai'kar kare yad, chalen sath tumbare. 

150 Aur mudat men bhag khule &j hamare. 

Dhan dhan din aj \k jo Rabb ne jora ! 

Ham sath chaleri tere, ab milke jora." 

Paik. 

" Duti laya chh&.ntke, sundar, chatr suj^n ; 

Hukm dia tha ik ko, do hazir kare an. 

155 Hazir main an kare chau se laya : 

Aur dhAnd gallon ghar in ka paya. 

Yeh sab men hoshiar ik diitl pai. 

Nam tumhare ke sdth uthke ai." 

145 Come and do the business there is (to do) at Court, 

And the Raja will give thee a great reward." 

Witches. 

"Messenger, we go with thee and make no objection. 

Fortunate is our fate that the Court remembers us. 

The Court remembers us, we go with thee. 

150 After a long while our fate has become propitious to-day. 

Happy happy is the day to-day that God hath granted 

us ! 

We go with thee, the pair of us together." 

Messenger. 

" I have, chosen and brought the witches, handsome and 

wise. 

I was ordered to find one, but two have I brought. 

155 I have brought them here with much diligence : 

Searching in the lanes I found their house. 

This one is the cleverest witch among them all 

She got up and came at (the mention of) your name." 

33

; 

: 

. 


Raja Rasdlu. 

" Turn men duti kaunsi 'aqalmand, hoshiar 

160 ChatrM se turn karo aj hamara kar. 

Kar karo : mera yeh kam banao : 

Kya hunar turn bicK hamen s&ch batao 

Turn solah singar bharo karke tayyari 

sua ko dekh ; sati kaisi bhari " 

B'&ti 

Ghatur Mamola. 

165 *' Dftti Mn durmat bhari aur Chatur Mamola nam. 

Jal men ag lagautij karti hAn yeh kam. 

Karti yeh kar, suno, Raja, bhari. 

Main deti dil par, karun wari niari. 

Jahan ho jae ik bar guzar did hamara, 

1 70 Wahan ur jae yun pritj jaise ag pe para." 

DiUi Sabrang. 

" Sabrang mera nam hai aur mulkon men sarn^m 

Raj&, RasdM. 

" Of you (two) which is the wisest and cleverest witch 

160 With cleverness do you my business to-day. 

Do the business : do this work for me. 

Tell me truly ; what skill is there in you 

Put on your best array'*' and get you ready 

And see how great is the virtue of Sila." 

The Witch Ohatur Mamola. 

165 "I am a witch full of craft and Chatur Mamola is my 

name. 

I can set water on fire : 

This difficult thing can I do ; 

this can I do. 

hear me. Raja. 

I can separate hearts, bringing constant disagreement. 

Where once my eye falls 

1 70 Thence flies love away, as quicksilver in the fire." 

The Witch Sabrang. 

" Sabrang is my name, celebrated in many lands. 

* Lit., the 16 kinds of ornaments.

! 

! 

" 

THE LEGEND OE SILA DAI. 259 

Joj Eaja, turn ne rache, kar dAnga woli kam. 

Kar dfln woh kar, meri sun le bant 

Ho patbar mom, meri bidya bhani 

1 75 Hai mohani ka yad mere mantar p

: 

2G0 LEGENDS OF THE PANJAB. 

Jo sun le do bat aj Sila meri. 

Main jati hun aj karM hunar sarL 

Sir ankaon se kam karun, Kaja, tuliElr^." 

Butidh. 

" Khabar karo, Darban, turn ja Sila se aj : 

190 Ham ai hain dur se, hai milne ki kaj. 

Milne ki kaj bari dur se ai. 

Dekhne ko surat meri us ko chahi. 

Turn jaldi kaho jae hal us ko mera. 

Le pancb mohar inatn : bbala hoga tera." 

Darhan. 

195 " A raj karun kar jorke aya tere pas. 

Ik Rani dar par kbari hai milne ki as. 

Milne ki i,s bari dur se ai 

Mujbe bhij^ turn pas ; kaba, pucbho ' Bhai.' 

That Sila may hear a word or two of mine to-day. 

I will go to-day and exercise all my tricks. 

I will do thy work, Raja, with heart and soul*." 


Witches.^ 

" Doorkeeper, go and tell Sil^ to-day 

190 We have come from afar to pay her a visit. 

To pay her a visit very far have we come. 

My heart desires to see her. 

Go you quickly and tell her about me. 

Take five (gold) mohars% for reward and it will be well 

with thee." 

Door-Tceejoer.^ 

195 " I am come to thee and beseech thee with joined hands. 

A lady stands at the door desiring to visit thee. 

She has come from very far desiring to visit thee. 

She sent me to thee ; said she ' Ask her, Friend.' 

* Lit., with liead and eyes. 

f Having now gone to Sila's palace. 

t 80 Rupees. § To Sila Dai.

THE LEGEND OF sfLA DAi 261 

Turn kali do bafc, jo woh mahilon dve : 

200 Nahin, kali do turn saf, ap ulti jave." 

Slid 

Dal 

" Bandij us ko dekhke lao apne sS,th. 

Ai hai, kis des se puchho do ik bat. 

Pftchho turn bat : karo mabiloi pbera : 

Aur adar sat kar karo us ka ghanera. 

205 Tnm jaldi se jae mati der lagao. 

Woh haigi ab kaun mere mahilon lao." 

Bdndi. 

" Ai hai kis des se sach kaho yeb bat. 

Sila Dai ke mabil men chalo hamare sath. 

Ao tum sath : yehan Sila Rani, 

210 TH ai kis kam kaho sachi bani. 

Haiga kya nam Apna des batao. 

Eani ke age sab Ml sunao." 

Tell me if she is to come to the palace : 

200 Ofj give thou a plain answer that she may go back." 

Slid 

Dal. 

" My maid, see her and bring her with thee. 

From what land has she come ask her a question or 

two. 

Ask her questions and show her the palace : 

And show her every respect and attention. 

205 Go quickly and make no delay. 

Who can she be Bring her to the palace." 

Slave. 

" From what land have you come Tell me truly. 

Come with me to Sila Dai's palace. 

Come with me : here is the Lady Sila. 

210 Why have you come Tell me truly. 

What is your name Tell me your home. 

Tell all about yourself before my Lady."

! 

262 LEGENDS OF THE PAN JAB. 

BMi Sahrang. 

" SirsS. merS, watan hai ; wah^n hai mer£i dham. 

Hte Sila ki masi : hai milne ka kam. 

215 Milne ki kaj kia main ne phera. 

Lae sab khabar jiu tarpa mera. 

Kuchh tirath parsad tere khatir lai : 

Lo &dar sat kar se yeh le ja^ jai." 

Slla 

Bat, 

"Bandi, ab tii dekh le us nakti ka hai 

220 Yeh duti durmat bhari, \A us ko de nikM, 

De us ko nikalj suno, bindi meri. 

Dijo t^ mar us se j mat kar deri. 

Tam mahilon se talle us ko goro. 

Jo ave yehan pher, us se jan se maro." 

The Witch 

Sahrang. 

" SirsEl is my home, there is my house. 

I am Sila's aunt : 

I am come to visit her, 

215 To visit her have I wandered (here). 

My heart thirsts for news of her. 

I have brought for thee a present from the shrines :* 

Take them with respect and honour, my dear." 

8iU Dal 

" My maid, see what a wanton woman this is ! 

220 This is a witch full of craft ; do thou turn her out. 

Turn her out : hear me, my maid. 

Beat her well ; and make no delay (about it). 

Kick her out of the palace. 

If she comes here again, beat her to death." 

* Tirath parsdd : lit., offerings at a place of pilgrimage.

THE LEGEND OP sIla DA!, 263 

" 

RdjcL Rasalu. 

225 " Diitij s^ch bata de, parat lagake h^th. 

Sila Dai ke tnaliil ki ham ko sunao b^t. 

HS,1 kabo bfit khabar us ki s^ri. 

Main dfingS. inam aj tujb ko bbari. 

Wahdn dekba jo hal kaho bam se sari. 

230 Kuchh bo jaegi kar Suno bat bamari." 

Buti Sabrang. 

" Raja, kya tum se kabun Dekb tii mera Ml 

Bandi se kabke meri urwM bai kbM ! 

Kbal uri meri, tumben bat sunM. 

Tum kbo mat jan, kabfin tere tain ! 

235 Wob karne ki bat, nabin tbaur, tikana. 

Jo jaoge, Rao, zara chaukas jana ! 

! 

Baja Bas&lu. 

225 " Witcb, tell me truly, placing tby band on my body*. 

Tell me what happened at 8ila Dai's palace. 

Tell me now the story and all about her. 

I will give thee a great reward to-day. 

Tell me everything thou sawest there. 

280 Shall I be able to do anything Hear what I say." 

The Witch Sabrang. 

" Raja, what shall I say to thee Look at me ! 

She told her maid and they have beaten me (till my 

skin was cut). 

My skin has been cut I tell thee ! 

Do not thou (go and) lose tby life, I tell thee ! 

235 It is not a safe place for doing as thou wisbest. 

If thou must go, Raja, go a little carefully! " 

* A very solemn form of oath.

: 

! 

264 LEGENDS OE THE PANJIb. 

Raja BasaM. 

" Sde re, ab turn suno, sundar, chatr sujan : 

Adhi r^t nakhand hai, chalo nagar darmiyan. 

Yeh batan kaisi Min, sue, sundar, cbatr sujau 

240 Aj rat ko sair karen ham nagar darmiyan. 

Nagar darmiyan chalen ; sun le bani. 

Ja dekhen ik bar sbahar : 

sun le kabani. 

Chal dekbenge suwad cbar niari niari 

Is nagari ke bach babot kam hamare." 

Duti Sabrang, 

245 " Eaja, Sodhi sbabar ke, dun main tumhen batS,e. 

Jaise Raja ap bo, parja wabi subhao. 

Parja us cbal jo had jaisS. RSja. 

Tuk man ko samjhaeke woh kijiye k&ja 

Kam Deo bJcb phiro marS, m§.ra : 

250 Turn mat kar yeh k§.m, janam apna hara." 

Rdjd Basalu. 

"Hear me, my parrot, beautiful and wise : 

It is dead of night at midnight, let us go into the city. 

How shall this be (that I wish), my comely and sagacious 

parrot 

240 Let us wander in the city to-night. 

Let us go into the city : hear my words. 

Let us take one turn in the city and hear what is 

going on. 

Let us go and taste pleasures of 'many kinds. 

I have much to do in the city." 


Witch Sabrang. 

245 "Raja, Lord of the city, I tell thee. 

As the king is so will his subjects be. 

The subjects' conduct is as the Raja's. 

Do thy desire but think a little (over it) in thy mind ! 

Thou dost wander now stricken by the God of Lust.* 

250 Do not thy desire and lose not thy life." 

* Kama or Kam Deo the Indian Cupid.

: 

! " 

Tere binei, main na karun bhala burd kuchh kir. 

Kdr karArij Mr chaMn jagat jjlke 

Jo hove, kuchh bat suneu Silk Dai ki. 

Chal sundar ke mandar, chit mera dola !" 

Pahili Sahell. 

''Hasti chhiita than se chala begani khet 

Madan sit&y^ yeh phire leta hai sab bhet. 

Leta hai bhet, suno, sathan meri, 

Turn lijo parcha : age jan na pave." 

Raja Rasdlu, 

" My parrot,* clever in all things : 

Without thee I do nothing good or bad. 

If it be possible, I will hear something of 

Come to beauty's abode, my heart is set on it ! 

THE LEGEND OP SUA DAL 265 

Rdjd Rasdlu. 

" Hiraman ki kh&n, tain sab baten hoshiar. 

255 Main dekhAiigSi aj sat kaise Bilk: 

260 Do paM men dal gyan us ki beri. 

Hai achraj yeh bat : khet bar apni khave ! 

I will do my desire, I will go skilfully about my work. 

255 I will see to-day what Rila's virtue is. 

First Maid.f 

Sila Dai. 

" The elephant has got loose from his stable and 

wanders in a stranger's field ! 

Afflicted with lust he wanders over its boundaries. 

He wanders over the boundaries ; hear me, my companion. 

260 Place the fetters of wisdom on his feet. 

It is a wondrous thing that the fence destroys its own 

field! 

Do thou stay him and let him not go further." 

*_ Lit., Thou mine of diamond stones. Htraman, Diamond- stone, is 

by itself a common expression for parrot. 

t Basaia has now reached Sila's palace. The maid sees him and 

addresses her companion in riddles, 

34

! 

: 

! 

!: 

§ 


Dusri Saheli. 

" Bagh tumMre ketki pak rahe zard an&r 

SM sembal seuni chale begane bar. 

265 B§.r chale, Eaja, kahan gy^n bisara 

Hai suwad sabhi ik, rang niara niara 

Bhojan ki sar koi bhukba pave 

Parghar insaf sabhi dena ave !" 

Raja Eas&ld. 

" Rabi chandnl dekhti; khiib khili gulzar. 

270 Ham chalen chamman ki sair ko dekhen bagh o bahar. 

Dekheiige phul chamman bagh bahari. 

Main §.ja jis k4m lagi kesar kiS,ri. 

TA charon taraf pher, b§.t chun chun lave 

Kydri chher kare ham se, tu rar barhave " 

Second, 

Maid.* 

"In thy own geivdenketJcisf and yellow pomegranates 

are ripe 

The parrot is valuing the cotton-tree,J going to a stranger's 

door. 

265 Going to the (stranger's) door, Raj^j where is thy 

conscience gone 

The taste of all is the same though the kinds be many ! 

The hungry man knows the value of food : 

And all must do justice to the stranger! " 

Eajd Rasalu. 

" Moonlit is the night, the garden is full of bloom. 

270 I am come to wander (in it) and to see its beauty. 

I will see the beauty of the garden flowers. 

I am come because the saffron is planted in the beds. 

Beating about the bush you speak ironically. 

Why do you tease me and create a quarrel with me " 

* To RasaW. t Pandanus odoratissimus. 

J Bomhax heptaphyllum. The tree is beautiful to look at, but quite 

valueless. 

, . ^ 3 

§ Lit., "Wandering on the four sides you bring cliosen words.

; 

: 

THB^ LEGEND OP SthA. DAI 2'67 

Tisri Sahell 

275 "Bsigh tere men ketki khile mahik ke phlil 

Tere jo btura chatakna gyan gayA sab bMl. 

BMlo mat gyaa : chamman dekho apn^. 

Hai zindagi mahman : jag jane supna. 

Is shabar ke biob tej terei hai bhsiri ^ 

280 Tiim rakbo ab laj. Main hte saran tumhari." 

Eajd BasaM. 

" Sun ]e, tirya bawari, hanien kare updes I 

Main ne apne aakh se dekhe charon des. 

Dekhe bain des main ne, Gaur Bang^la^ 

Td tbathe ki bat kare bam se, bala I 

285 Sodbi nahin ab tujhe apne tan ki 

TA jane kya bat aj mere man ki '* 

Third Maid. 

275 " Sweet ketkl flowers are blooming in tby garden. 

Since lust has conquered thee thy wisdom is forgotten. 

Lose not thy conscience, (but) look at thy own garden. 

Life is but a (passing) guest : the world is but a dream. 

Thy prestige is great in the City : 

280 So preserve thou thy honor. I am thy slave." 

Rdjd BasaM. 

" Listen, foolish woman ; I give thee an advice ! 

I have seen with my own eyes the countries on all 

I have seen the countries of Gaut* Bangal. 

Thoa hast been sporting with me, thou foolish girl ! 

sides. 

285 Thou hast no knowledge of thy own body ; 

"What canst thou know of the desires of my heart 

to-day" 

* The old capital of Bengal. Prohably meant here for Bengal itself.

: 

! 


Chauthi Saheli. 

" Jao apne mahil ko ; kaM hamara man ! 

EajS,, tere chalan ko jane mulk jahan. 

J&ne sansar karo jaisi kaja 

290 Turn dete sat tor, jahan j§,o, RSj^, 

Rajan Maharaj, bare Bhup kahao ! 

Turn Sila ko jsl mat dosh lagao." 

Raja Rasalu. 

" Sukhi^ sab sansar rahe mukh apne kl ot 

Ham dekhke jange ; 

kya lagi tumhari chot 

295 Chot lagi tumhari kya tan men kari 

Main Mnga, ab dekh, khabar kal tumhari ! 

Jab nikasega bh^n turn hal bulafin 

Chauki par baith thara niyaA chukMn." 

Chauthi Saheli. 

" Ham ne to achhi kahi, turn ko aya ros> 

800 Raja, turn dene lage ulti ham ko dos. 

: 

Fourth Maid. 

" Go to thine own palace ; hear my words ! 

Raja, the whole world knows thy character. 

All the world knows how thou dost act. 

290 Thou dost destroy virtue, wherever thou dost go. Raja. 

King of kings, thou dost call thyself a great Monarch ! 

Go not thou to Sila to bring shame upon her." 

Rdjd Rasalu. 

" All the world wears a veil of happiness on its face ! 

I am going to see (her) : what 

harm is it to you 

295 What harm, does it do your feelings (body) 

See now, to-morrow I will remember yout ! 

When the sun rises I will summon you early : 

And sitting on my throne I will do justice on you." 

Fourth Maid. 

"1 spoke for (thy) good, and thou art angry. 

300 RaJEl, thou hast brought undeserved blame upon me. 

f Khabar lend, idiom : to procure punishment.

: 

: 

THE LEGEND OF sSlA DAI. 269 

Ulti turn dos hameri kp dilao. 

Hai karnl parwan sabhi ^ge pao. 

KyM nahaqq ke bich, Rajl, bharam gum&ve 

Us SIE H sat tere Mth Da ave." 

Bajd Basalu. 

305 " Uttam jat Biihmani, mati kare takr^r ! 

Apne apne lag men lag raha sansar. 

Laga sansar lagan apne koi. 

KyAn der karo ap, yehan der lagae 

Turn chalke wahari, razi se kam banao : 

310 Is jhagre par mat na turn rar bai:hS,o." 

" A bira darbû ke, jaldi pbatak khol 

Sun mujhe manda hua, sun titar ka bol. 

Ik titar ka bol suna main ne btari 

Thou dost blame me undeservedly. 

Receive thou the just fate that is before all. 

Why bring disgrace on thyself needlessly, Eaja. 

Sila's virtue will never get into thy power." 

Bdja Basalu. 

305 "Brahmani of the highest class, quarrel not'witb (mo) ! 

The world is ever occupied each with his own concerns. 

Every one in the world is occupied with his own 

concerns. 

Why dost thou delay me, staying me here 

Go thou there* doing my bidding cheei-fully : 

310 And quarrel not (with me) disputing thus." 

" Come, friend Door-keeper, open the gate'quickly : 

J 

I had a bad omen, hearing a partridge's cry. 

I heard a partridge crying out loudly : 

* To Siia. 

X The RajS. is speaking now to the Door-keeper representing himself 

to be Mahit&.

: 

: 


Rathasnagar na kari main ne tayyarl. 

315 Tu tall de khol aj khundi, bhai. 

Ho gaya hai sun mujhe manda yahin." 

Darbdn. 

" Pahre ae chor ke tutl adM rat. 

Kya mukh seti kah gae 

yad karo woli bat. 

Yad karo woli bat, jo kuchh mukh se nikali. 

520 Yehan haigi nabin pas mere hath men tali. 

Hai r&t babot, tala nabin kbult^ tumbara. 

Turn jao ab, ap suboh kijiyo pbera." 

Bdjd Rasalu. 

" Main tujh ko samjbd gaya, ' tt. rabo bosbiar 

Rain same mat kyiyo duje ka 'aitbar. 

325 Mat kijiyo 'aitbar, koi gbair na ave.' 

Turn naukar bo : bam se kyM rar barbave 

Tu tali de kbol, hukm mane mera. 

Kyiin naukar se aj dusbman bane mera " 

And I did not make ready to go to Rathasnagar. 

315 Open the bolts and chains to-day, friend. 

I had a bad omen here." 

Door-keeper, 

" It is the time for thieves : half the night is gone. 

What said you with your lips Remember that command. 

Remember that command, which came from your lips. 

320 I have not the key with me here in my hand. 

It is dead of night and your locks will not open. 

Go away now, and come back in the morning." 

Raja Rasalu. 

" I explained to you that you were to remain awake 

' 

Put no trust in another during the night (said I). 

325 Trust in no one, let no stranger come.' 

dispute with me 

You are my servant : why 

Open the lock and obey my orders. 

Why have you, my servant, become my enemy to-day V

; 

: 

; 

: 

THE LEGEND OF s!lA DA!. 271 

Darban. 

" R^niji, uth jagiyo : aya h.M kuchh k4m. 

330 Koi shakhs dar par kha.tij le Mahita k^ ndm ! 

Mahita ka n§.m mujhe &n jag^ya. 

' 

Tu khol de kiwdr/ kahe hatke &y^. 

Woli kahta hai yeli b§.t, main ' to hatke aj&: 

Ik titar ka bol main ne manda paya V " 

8Ud Dal, 

335 " KaM hamara man le; ja pftchliOj Darban: 

Patte mahil ke puchlike hamen sunao an 

' 

An kahoj ham se turn batian sari 

Aur sis mahil bich bichhi sej tumhari.' 

Jabke woh bhed tujhe hal batave. 

340 Tu jaldi ab puchh : mati der lagave." 

Darhdn, 

"Jo turn Mahita ap ho : ho turn khas Diwan. 

Door-heeper. 

" My Lady, awake : I have come on business 

330 A man is at the gate who calls himself Mahita. 

In Mahita's name he has awaked me. 

' Open the door/ said he coming back. 

Thus says he, ' I have come back again : 

The cry of a partridge, a bad omen came upon me.' " 

Slid 

Dai. 

335 "Hear my command : go and ask him, Door-keeper : 

Ask him about the (details of the) palace and come and 

tell me. 

(Go and say) ' come, tell me all about it 

And where thy bed is placed in the mirrored palace.' 

And then he will tell thee all the secrets (of it). 

340 Go quickly now and ask, make no delay." 

Door-ieeper. 

" If thou be Mahita himself : if thou be the Privy 

Councillor.

" 

2 72 LEGENDS OF THE PANJAB. 

Sej tumhari bichh rahi sis mahil darmiysln. 

Sis mahil bich bichh§, palang tumliarS,. 

Do us ka ab bhed patta ham ko sdr^. 

345 KySi kya sab chiz dhari ndm batao 

Main kiw§.r khol ddri : 4p mahilon S,o. 

Tota. 

"Main tujh ko samjha raha : kyiin tA hue kharab 

Ab chipk^ kyiin ho raha denS, us se jawab ! 

Dena jawab : kahan gyan bisara 

850 ' Hai lekhe kS, kagaj us tdq hamara.' 

Tum jaldi do utar^ main gyan bat§,iln. 

' 

Hai khiinti ke pas qalamd&n 

" 

jarao.' 

Raja Rasdki. 

" Main tujh ko samjhaut8,j sun, bhai Darbaa : 

LekhS, hai sawa lakh k^ dhar^ taq darmiy&n. 

355 Darmiyan t§,q lekha, jS. dekh le, piara. 

Thy bed is laid in the mirrored palace, 

Thy bed is laid in the mirrored palace. 

Tell me now all the secrets of it. 

345 Tell me all the things that are placed (beside it). 

(And) I will open the door : come to the palace thyself." 

Parrot.* 

" I told thee often ; why art thou evil 

Why art silent now Thou must give him an answer ! 

Give him an answer ; where is thy wisdom gone 

350 (Say), The books ' of account are on my shelf.' 

Answer him quickly, I am giving the knowledge. 

(Say), My ' jewelled writing-case is by the peg.'" 

Edja Easalu. 

" I tell thee, listen, friend Door-keeper : 

My book (showing) accounts for a laJch and a quarterf 

is on the shelf. 

355 The book ia on the shelf, go and see, my dear friend. 

• To Raja RasaW. 

t 125,000 rupees.

: 

: 

THE LEGEND OF sJla DAt. 273 

Aur pas dhar^ us ke qalamd^n hamara. 

Utar kl or gar! chandan khiinti 

Aur pas bichhi us ke sej anAthi." 

Darbdn. 

" Sila, beti shah* ki, til chatar parbin ! 

860 Bhed mahil ki na kahe, woh patte batave tin. 

Tin patte mujh ko die Ml sun&ya. 

Sab lekhe ka kaghaz dhara taq bat§,ya : 

Utar ki or bichhi sej sunave. 

Aur pas dhara us ke qalamdan batave." 

SUd Dai. 

366 " Tin patte sache kahe ; sun^ bhai Darban, 

Ja, tu tala khol de ; hai woh KhasDiwan. 

Haiga o ; ap sabhi bhed batave. 

Tii jaldi dar khol, mati der lagave. 

Ab sachi kahi bat, patte tin batae. 

370 Kuchh sun hue mande, jo hatkar ae." 

And placed beside it is my writing-case. 

To the North side is fixed the sandal-wood peg : 

And nearit is placed my beautiful bed." 

Door-keeper. 

" Sila, thou daughter of the merchant, clever and wise. 

360 He explained no secrets of the palace, but he showed 

three things. 

Of three things he showed me the condition. 

All the sheets of his account-book are placed on the shelf. 

His bed is laid to the Northern side 

And near it is placed his writing-case." 

Sila Dai. 

365 " These three things are right ; hear, friend Door-keeper 

Go, open the lock ; he is (indeed) the Privy Councillor. 

It must be he ; 

he has explained all the secrets. 

Open the door quickly, make no delay. 

He has spoken the truth and shown the three things. 

370 He heard some evil omen, that he turned back." 

35 

* For sdh, and so too throughout this poem.

; 

! 

! 

274 LEGENDS OF THE PANJIb, 

Barhan. 

" SJla Dai ke hukm se main dena phitak khol. 

Mujhe nazar nahiii auta Mahite Shah ka bol. 

Mahite ka bol nahm, hakim mere 

Main ho gaya lachar^ patte sunkar tere. 

375 Kholen ham ph^tak: Eabb j^n bachave ! 

Yeh sur ki si chEil nazar tere ave." 

Tota, 

" Raj§., ipag age dharo, mat kar soch bichar. 

Sise jhalke mahil merij to nahin jal ki yeh dhar. 

Jal ke nahin dhar, suno Eaja gyani. 

380 Hal aine ki jhalak, nazar aya pani. 

Td dur se na dekh, tujhe Ram dohai 

Tu age chal ap palang upar, Bhai." 

Raja BasdM. 

" Mandi teri chandni ; sun, Diwe, meri bat. . 

Door-heeper. 

" I open the door ou Sil4 Dai's order. 

I do not recognise the voice of MahitS., the merchant. 

It is not the speech of Mahita, my master ; 

(But) I am helpless, hearing the three secrets. 

375 I open the door, and God preserve my life ! 

Thy appearance thus is like that of a thief." 

Parrot. 

" Go forward, Raja, think not over it. 

The mirrors gleam in the palace, it is not the gleam of 

water (that thou seest). 

It is not the gleam of water; hear, my wise Raja. 

380 It is the glimmer of glass that appears like water. 

Look not at it from afar : God is thy protection 

Go forward thyself to thy bed, Friend." 

Rdjd Rasdlu.* 

" Dim is thy light ; listen. Lamp, to my words. 

* To the lamp in his hand.

: 

! 

THE LEGEND OF slhl DA2. 275 

Kya tere men tel nahtn kya jale phuar ke Mth 

385 Kya phuar ke hath batti tert bati 

Mandi yeh jot nazar teri ati. 

Kyi sooh kare man men, nahin chau tumhare 

Tii jalta hai aj jaise gham k^ mare." 

" Jot meri yuii kam hui ; sun, Eaja, meri bat 

390 Chafi hamare jalan ka to tha Mahite ke hath. 

Mahite ke h§,th mera chau hai bhari. 

Jab lagti hai, jot meri jalti piari, 

M4no tum bat : nahin mahilon wkM ! 

Turn ae ho, ap pare mandar khali." 

Raja Rasdlu^ 

395 "Diwe, tu agy^n hai, kahe ghusse ki bat. 

Ham se Raja chhorke, ti^ jale karar ke sath. 

Sath kai'e jis ka tu chai^ ghanera. 

What is no oil in thee why dost burn in the fool's 

(Mahita's) hands 

385 Why is thy light bright in the fool's hand 

Dim doth thy light appear (in my hands). 

What care is in thy heart, that no delight is in thee 

Thou dost burn to-day as if stricken with grief." 

Lamp. 

" This is why my light is dim ; Eaja, hear ray words. 

390 My delight was to burn in Mahita's hands. 

My delight is great in Mahita's hands. 

When in his hands my light burns lovingly. 

Hear my words : the master is not in the palace 

When thou hast come the palace is 

Baja Rasdlu. 

(indeed) empty." 

395 " Lamp, thou art a fool to utter angry words. 

Leaving me, a Raja, you burn in the hands of the mean. 

Thou art (pleased) with him in whom thou hast great 

delight.

! 

! 


Woh Mahita hai, dekh, bhala naakar merS,. 

Kya, Diwe, ab m^ri gai akal terJ 

400 Main Mahite se bahot chkh rakhmx tere \" 

Totd. 

" Raja, niyau ohukave gaddi par ghanghor 

Sej begane pag dharo, bano sab se chor. 

: 

! 

Kyfin chor bano apna sab gyan bisara ! 

Kya Sila ka bagh tain ne an ujara 

405 Hai siina gbarbar, pare mandar khali. 

Yehan Mahite bin, yar, teri bigari lali 

Dipak se kya bolte jalan se kya k&m 

E^t karo sardar se, as bo jis kam. 

Ae ho jis Mm, kia mahilon phera. 

410 Kya atka hai kam bhala. Raja, ter^ 

In mahilon men an tain ne gyan bisara\ 

Tum ae yeh4n ; ap ghata man tumhara 1" 

He is (only) Mahita; see, after all he is (only)' my 

faithful servant. 

Why dost thon destroy thy sense, my lamp 

400 I will love thee far better than Mahita I" 

Parrot. 

" Raja, do justice thoughtfully from thy throne 

'. 

Putting thy foot on a stranger's bed is 

becoming a thief 

from (being) a true man. 

Why become a thief Thou hast lost all thy conscience 

Why hast thou come to destroy Sila's garden 

405 The house is empty, the palace is deserted. 

Here in Mahita's absence thy honor is lost, friend ! 

What sayest thou to the lamp why should it burn for 

thee 

Better talk to the master, for whom thou hast come : 

For whom thou hast wandered into the palace. 

410 What good work of religion. Raja, is thine here 

Coming into the palace thou hast lost thy wisdom 

Coming here thou hast lost thine honor \"

: " 

Jin ghar ' ho na baithna/ oh kafir be-pir. 

Td mukh se tuk bol ; kaho sachi bani." 

8Ud Dai. 

Jis se hai piyar, woh pardes sidhara. 

Ab rain same ae : kya _kam tumhara 

Tum Rajan Maharaj ! Jagat jano supna. 

Mat chhal-bal ke bich dharm kho apna ! 

THE LEGEND OF sfLA DAf. 277 

Eajd Basdld. 

"'Ao' kahen, so auM : 'baith^ kahei, so pir. 

415 Kafir be-pir wohi hote sare, 

Ghar ae ka ni4n nahin rakhte piS,re. 

Main dar pe tere aya huh, Sila Eani 

" Kyuh, Eaja, mahiloh ae kia man kya bichar f 

420 Sahukar ghar hai nahih, jis se terS, piyar. 

Bajd Rasdlu.* 

" Who say ' come' are holy men : who say ' sit down' are 

saints. 

In whose house is nor ' come' nor ' sit down' are 

irreligious infidels. 

415 Irreligious infidels are they all, 

Who hold not guests in loving respect. 

I am come to thy door, my Lady Sila, 

Say something with thy lips : 

8lla 

Dai. 

speak (to me) truly." 

" Why hast come to the palace, Raja what thought is 

in thy heart 

420 The merchant (Mahita) is not in the house, whom thou 

dost love : 

Whom thou dost love is gone to a foreign land. 

Coming in the night time, what is thy desire 

Thou art a king of kings ! know this world for a dream. 

Do not lose thy virtue in the midst of deceit I" 

* To sua Dai.

: 


Raja Basdlu. 

425 " Shude se ShAdS. milej mile chor se chor 

Sila, tere sil ka para nagar men shor. 

Shor para nagari moii Sil^ tera. 

Sunkar yeh bat dil chaha mera : 

' Chal, surat kor dekli ; sil kaisa paya ' 

430 Is waste main aj tere maliilon aya.'' 

Sila 

Dai. 

" Sil biran4 dekhke ayegS. kis kar 

Apne apne sil se to utarega sansar : 

Utareg§, sansar, bhala apni karni. 

Is jagat kl yeh hai rit, aphl karni bharni, 

435 Mandar ke bich, Eajaj apne jao : 

Ham dukhia hain : ap mati dos lagao " 

! 

Raja Rasdlu, 

425 " The mean consorts with the mean, the thief consorts 

with thieves. 

Sila, the fame of thy virtue is spread over the city : 

The fame of thy virtue is spread in the city. 

Hearing of it I desired in my heart 

To come and see thee and how thy virtue fares, 

430 For this am I come to thy palace to-day." 

Slid 

Dau 

" What is the good of coming to see another's virtue 

Each goes through the world by (the force of) his own 

virtue. 

(Each) goes through the world by his own good deeds. 

It is the way of this world, that each should perform 

his own good deeds. 

435 Go to thy own house. Raja. 

I am in trouble : put no shame (on me) ! 

"

: 

: 

" 

THE LEGEND OP sIla DaI. 279 

Rdjd Rasdlu. 

" Naina dekhan ko die, jagat ky^ gulz4r 

Bin dekhe jaun nahm, to sat Gur se sat k§,r. 

Sat Gur bin, gyan bina, dekhe manda 

440 Aur dekhne ki kar kie sArij chanda. 

Sab dekh dekh ohal chale parja sare : 

TA darshan de aj mujhe, 

" 

Slla piari ! 

Slid 

Dai. 

" Jao apne mahil ko, mati karo takrfir : 

Darshan dekar woh mile jo terl hove nar. 

445 Teri ho nar, darshan un ka pao. 

Mat chhir ka,ro ham se, turn rar bayhao. 

Hai piya pardes, mere ghar ka wall 

Tu aya, ab dekh, para mandar 

" 

khali ! 

Bajd Rasdlu. 

" Eyes are given (us) to see the beauty of the world. 

Without seeing (thee) I go not, I swear by the holy 

Guru.* 

Without the holy Guru, without knowledge, sight is 

worthless. 

440 And for seeing (only) were the sun and moon made. 

All people go to see each other's conduct.: 

So show thyself to me to-day, Sil&, my beloved !" 

Slid 

Dal. 

" Go to thy palace and dispute not. 

She will meet thee and show herself, who is thy wife. 

445 Who is thy wife, go and see her. 

Insult me no more, thou art creating a quarrel. 

My husband is abroad, the lord of my home. 

Thou hast come, and see now, my home is blank 

! 

* Gorakhnath.

: 


Bdjd Rasdlu. 

" Mahita mujli ko kah gaya mukli se baram bar ; 

550 ' Ghar mere ke chaukasi rabiyo tu hoshiar. 

Raliiyo hoshiar, hai gliar khali mera : 

Tiim rain same kijo walian apna pabra. 

Jo bove kucbb kar gbarori yeban se bbari.' 

Tiiri ay&, main pas tere, Sila piari." 

8Ud Dai. 

455 " AisI batan mat kaboj Raja^ apne ap. 

Mukb se jhuth iiik§,liia cbarba chauguna pap. 

Pap charbe bahotj tere batb nahiri ape. 

Is duniya ke bicb janam nirphal jave. 

Ky^ Gorakh ne gy4n tujbe aisS, diS. 

460 Tain mabilon men an cbbal bam se kiei " 

Raja Easalu. 

" MabitS, said oftentimes to me witb bis lips 

450 Keep tbou a safe guard over my bouse. 

Be tbou wary^ my bouse is empty : 

Be tbou tbyself on guard over it at nigbt time. 

Wbatever beavy business of tbine is to be done abroad 

(I will do it). 

Tbus bave I come to tbee, Stla my beloved." 

Sila, 

Dal 

455 " Speak not tbus, Raja. 

To speak un-trutb witb the lips is to be a fourfold 

sinner. 

The sin increases greatly and profits tbee not. 

Tby life will pass profitless in tbis world. 

What bas Gorakbnatb taugbt tbee such wisdom as 

tbis 

460 Tbat tbou coming to my palace bast practised deceit on 

me"

: 

! 

THE LEGEND OP sIlA DaJ. 281 

Tola. 

" KyAn, Rdj^, akal gaJ kalian bisar& gy&n 

Mailepan ko chhor de ; td kahnS, inera man. 

Kahn4 le mdn, bhala Raja mera. 

Ho sat se, ab par janam sudhre tera. 

465 Teh Sila satwant, til hai Gorakh chela. 

TA Devi kar m§,n, us se darshan mela." 

Rdjd Basdlu. 

" Slla pMtak khol de, mati kare takrar. 

Mere tere bich men hai Sach^ Kartar. 

Sacha Kartar ; bachan mano mere : 

470 Kuchli daga, dos, pap nahiii man men mere. 

Tum ao yehan pfi,s jara, bahina merf. 

Main blch dayya Ram kasm khaun tere." 

Slla Dai. 

" Joj Raja, tain ne kahi, phir na aveg^ yad, 

Jal men ag lagaeke mnjhe kia barbad ! 

Parrot. 

"Why has thy sense gone, Raja where hast lost thy 

wisdom 

Let go thy evil lust ; hearken to my words. 

Hearken to my words, my good Raja. 

Be virtuous, and mend thy life now. 

465 This Stla is virtuous and thou art Gorakhnath's disciple. 

Know her for a goddess and visit her (as such)." 

BAja Rasalu. 

" Sila, open the door and dispute not. 

The True God is between me and thee. 

The True God (is between us) ; hearken to my words. 

470 No deceit nor shame nor sin is in my heart. 

Come to me for a little, my sister 

36 

I swear to thee by the mercy of God," 

Slid 

Dai, 

" R4JS/, what thou hast said, thou wilt no more remember. 

Setting fire to water thou hast ruined me


" 

; 

May the infinite God keep my virtue ! 

475 Kia barbad ham ko ; 

kya khot hamara 

Mera tain bagh chamman an ujara. 

Kahe sach to bachan, bir hai tu mera. 

Sat rakben Bhagwan ; wobi aprampara 

" 

! 

Edjd Basdlu. 

" Phul dekhke sab ka, aya tere bar : 

480 Dharm bahin tu hai meri, nahin dusri kar. 

Kar nahin duji ; sun, Kaj dulari. 

Us Mahite ki bat sabhi dil men dhari. 

Yeh lijo tu mundra sawa lakh ka mer^. 

Tu bahina hai meri, main h(an bhai tera." 

Sila Dot. 

485 " Mundra tere hath ka nahin hamen dark§.r 

Mundra aisa dijiye jo ave s^hukar. 

475 Thou hast ruined me ; and what fault was mine 

Coming thou hast destroyed my garden. 

Speaking truly, thou art (to me) as my brother. 

Bdjd Basdlu. 

" To see the flower of thy virtue I came to thy door. 

480 Thou art my sworn sister, I had no other object. 

I have no other object : 

hear me, my Princess. 

I have borne in my mind all that Mahita said of thee. 

Take this ring of mine worth a lakh and a quarter. 

Thou art my sister and I am thy brother." 

Slid Dai. 

485 " I do not want the ring on thy hand : 

Give me such a ring when the merchant (my husband)* 

returns. 

* Allusion to the universal custom of tlie wife never mentioning her 

husband by name.

: 

THE LEGEND OP SflA DAf. 283 

Ave sahftkar aisa mundra dije : 

Is muudre kk nam mati ham se lije. 

Is soch bicli sukh gai jan hamari, 

490 Jab ave sahukar pare bipta bhari." 

Bdjd Rasalii. 

" Sila DaJj ab kyun daro aya tere bar 

Mam Mahite ke samhne nahiri k^ruii takrar. 

Mat kijo takrar jo yehan ave Mahita. 

Main sachi ab bat bhali turn se kahta. 

495 Jo mani tA hj kahi Sila meri, 

To bach jaegi laj aj sari teri." 

Slid 

Bat. 

" Tu apne se chaukas, mera hai Bhagwan. 

Mujh ko nazar yeh auta, woh chahe meri Jan. 

Jan gai sath kare apna chaha. 

When the merchant (my husband) returns, give me 

such a ring. 

Mention not the name of this ring to me. 

The anxiety (of this matter) has destroyed the happiness 

of my life. 

490 When the merchant (my husband) returns great misfortune 

will fall (upon me)." 

Edjd Rasdiu. 

" Sila Dai, why dost fear now that I came to thy door 

I will have no disputes with Mahita. 

Eaise thou no disturbance when Mahita comes. 

I speak true words and good to thee now. 

495 If thou listen to my words, Sila, to-day, 

So will all thy honor be saved this day." 

8Hd Dal. 

" Do thou mind thyself, God is mine. 

I see this clearly that he will desire my life. 

My life goes with the fulfilment of thy desires-

; 

! 

284 LEGENDS 0¥ THE PANJAB. 

500 Kya hdtli tere, Raja, is b§,t men aya 

Tain kar di barbad: mere khS,l uri,ve 

Woh rassi se bandh mujhe yehan latkS,ve/' 

Totd. 

" Bhflre, BMi, chal ! par jaga sans§,r ! 

Chalo, Raj, ghar apna jaldi se darbi.r. 

505 Tain jhftnta ab dos bhala us ko dia: 

Tain bheja pardes, chhala us k^ piya. 

Tain naukar ke sdth dag& pap kamave : 

Yeh nar daLi pake, janam nirphal j^ve." 

" Silwanti Rani suno, main panchhi darvesh : 

510 Is Raja ke qaid men rahta sang hamesh. 

Rabta hamesb, nahin mera char&. 

Main pinjre ke bleb rabuh ap becbara. 

500 Wbat profit. Raja, has tbis matter brought to thee 

Thou hast ruined me : he will beat me ; * 

He will bind me with a rope and hang me here." 

Parrot. 

" It is dawn. Friend, come ! The whole world wakes 

Come home. Raja, quickly to thy Court. 

505 Thou hast laid undeserved shame on the innocent. 

Thou didst send him abroad, deceiving her husband. 

Thou hast practised fraud and sin on thy servant. 

After having become a man in this life, it will pass 

fruitless 

(to thee).'' 

" virtuous Lady, hear me : 

bird. 

I am (but) a wandering 

510 I dwell always with this Raja in confinement. 

I ever live (thus) ; 

Helpless I live in the cage. 

1 have no alternative. 

* Lit. Cut my skin.

THE LEGEND OF Sthk DAI. 285 

In dos di^ jliiith, teri sar na jani. 

Jo likha Tftqdir kaun meê, Eanl " 

8Ua Dal 

516 " Ja, Bandij darbdn pe, kahiyo us se samjliae, 

' 

Jo sah pAclilite §,nke dijo matl batae. 

Wat dijo batlaOj kaM mano mera. 

Is men hai kot bliala, Bhal, mera.' 

Us Kart&. ki kar hua kotak bhari. 

620 Jo jdve to nat bachi jan hamari." 

Bdndi, 

" Slla Dai ne yfiii kaha, sun, bhai Darban, 

Man men apne sochke, kaha hamara man. 

Mano turn bat, hua kotak bhara. 

Hai is men qasur aj pakili th.ar&. 

He brought undeserved shame (on thee), not knowing 

thy value. 

What Fate has written who can blot out. Lady "* 

Slid Dai. 

51 5 " Go, my maid, to the Door-keeper and explain to him, 

'When the merchant (my husband) comes tell him 

nothing (of this). 

Tell him nothing and obey my words. 

This is greatly to my advantage. Friend.' 

By the deed of Fate a great fraud was (practised on me). 

520 If he say nothing (about it) my life is saved." 

Maid. 

" Thus said Sila Dai, listen, friend Door-keeper, 

Think it over in thy mind, and hearken to my words. 

Hearken to my words, a great deception has been 

(practised on us). 

Id the first place it was thine own fault to-day. 

* Exit the RS.ja and tte Parrot.

! " " 


525 Kaliti woh b4t aj Sila piari. 

' Turn jaaa ab nat, bachi jan 

" 

liamari.-' 

Darbdn. 

" SilS, Dai ne jo kahi, main mani baram bar. 

Apni ai sab mareii, main mara barani kS,r. 

Kdr mara us ki, meri lioni M. 

530 Na karne se chilk main ne apni kMi. 

Un t§,li dl hath, kia kotak bhari. 

Ab bigaregi bat, paii bahot kbwari." 

' 

Silwati ke hukm se khoi main ne Jan. 

535 Khoi hai jan, main ne khola tala. 

Jab kya karun jawab, an piichhe Lala 

Kuchh is men nahin. Rani, hai dos hamara ! 

Jo Bidhna ki rekh, kaun metanhara ' 

Bdndi. 

" Sila Dai, un yftn kahe mukh se woh darbaa. 

525 Thus saith Sila, my beloved, to-day. 

' Say nothing (about it) and my life is saved.' " 

Door-heeper, 

"What Sila Dai hath said I obey attentively. 

All 

die when their own (turn) comes, I die for another's 

sake. 

I die for her sake, my fate hath come. 

530 I forgot my duty through fate. 

She gave the key into my hand and deceived me greatly. 

Now is my life spoilt, and great sorrow will fall (on 

me)." 

Maid. 

" Sila Dai, thus said he with his lips, the door-keeper. 

' Through Sila's orders my life is destroyed. 

535 My life is destroyed, I opened the lock. 

What answer shall I give, when the merchant (my 

master) comes and questions 

My Lady, I am not to blame in this 

When Fate writes, who shall blot it out'

'! 

; 

THE LEGEND OP siLA DAI. 287 

Panihari, 

"Kaun des men ghar terS, kahan tera darb^r 

540 KyAn ghar apr.a chliorke aya hai, Sahftkar 

Aya^ Sahuk^r, kya hai k§,m tumhara 

Sahukaron ka kam kare chitthi sarS. 

Apua gliar chhor dia gyan bisara : 

Tu aya pardes phire mara mara 

" 

! 

Mahita. 

bib " Sialkot men ghar m era ; uncha mandar dham: 

Eaja Rasalu garhpati ; to bhija bun kucbh k§.m : 

Bhija him kam ; kaha, ' Lao ghoie ; 

To nau karor die ginke mM ke tore. 

Jo ghore dariyai pawan-begi paM, 

550 Main le karke mal pas us ke jauii." 

Water-carrior.* 

" In what land is thy home where is thy Court 

540 Why hast left thy home and come here, my merchant 

What business brought thee here^ my merchant 

Merchants' business is all carried on by letters ! 

Leaving thy home thou hast lost thy wisdom : 

Thou hast come to a foreign land to wander in trouble!" 

Mahiia. 

545 " My home is in Sialkot ; a lofty palace is my home. 

Raja Rasalu rules the fort; 

he sent me here on business. 

Sent me on business; said he, 'Bring horses' 

And counted me out on platters nine lahhs (of rupees) .f 

When I procure the wind-winged horses of the sea, 

550 I will take them and go to him." 

* A woman. The scene completely changes. Mahita is now at Rotas 

Fort, and is addressed by a water-bearing woman of the place, 

t Rupees 900,000.

! 

" !" 

" ! 

! 

Thou hast come abroad for unfair gain ! 

Rathasnagar ko sis hamari, tu basti rahiyo 1 


Panihari. 

" Unche mastak chalakte, parha milrakh pande ke sal 

Jin ghoron ka tt gahak phire woh tere ghur-sal 

We jae bandhe tere ghur-sal men ghore 

Tii lie pardes phire mal ke tore ! 

555 Sun, Mahita SahAkar, tujhe gyan batslya. 

Tain lobh kia kachS,, pardea men hy^ 1 

Mahita. 

" Ham jate hain watan ko, le lo mera parnam. 

Ohitthi men likh bhejo, ham laiq kuchh kam. 

Ham laiq kuchh kam, pi^ri ; likhti parhti rahiyo. 

660 Ram, Ram ka nata karke mukh se kahti rahiyo. 

Main jata h

: 

! 

THE LEGEND OF stLA DAI. 289 

*' Sachi kaho, darb^n ke 

mukh se bachan nikal. 

Mere plchhe tA raha kais^ kuchh hosbiar 

565 Hoshiar raha plchbe tft kaisa, Bhai 

Ab hal kaho ham se, de sanch batê. 

KabM R§,ja ne an kJa dar pe phera 

Main kab gia tha us ko, ' ghar khali mera.' " 

Darbdn. 

" Pahre pe chaukas raha jaga sari rat„ 

570 Karam rekh mitte nahiri, jo likhi Bidhata hath. 

Likbi Rabb hath qalam ap bagai 

Us se met sake kaun nahiri taqat, Bhai 

Turn kah gae the ap, Ghar khali mer& ' 

:' 

Ik roz kia Raja ne dar par phera." 

Mahitd. 

575 " Sila Dai, mano ; mere ho gai hai wiswas 1 

" Speak truly, let true words escape thy lips, Doorkeeper.* 

How wakefol didst thou remain after my departure 

565 How wakeful didst thou remain after my departure, 

Friend 

Tell me all about it, speaking the truth. 

Did the Raja ever come wandering about my door 

I told him that my house was empty." 

Door-keeper. 

" I kept guard at my post, wakeful all the night. 

5 70 The lines are never blotted out, which the hand of Fate 

hath written. 

It is God that writes (them) with his own pen. 

Who can blot them out None hath power. Friend ! 

Thou saidst thyself, ' my house is empty.' 

And the Raja came one day wandering about thy door." 

MaHtd, 

575 " Sil^ Dai, listen, I have become very anxious ! 

* MahitA is now at home again, and addresses liis door-keeper. 

«7

! 

! 

290 LEGENDS 01 THE PANJIB. 

Eaj^ chhal-bal kar gii, woh ^y^ tere pas ! 

Ay^ hai p^s tere ohhal-bal karke. 

Tft saohi kah b£it, hath gat pe dharke. 

Sachi kah ham se aj, Sil& Eani, 

580 Kabhi le gaya chhalbaliysl chhal karke p^ni " 

SUa Dai. 

" Hath git par na rakhui, sun mere bhartar ! 

Sat mere ka chaukas hai sacha Kart§,r 1 

Woh sachS, Eart^r mere sat k^ sakhi, 

Jin sline mandar men tek meri rakhl. 

585 In mahilon ke bich nahin Raj§, aya. 

Yeh jhAta wiswas tere dU pe chhaya." 

Mahita. 

" Beti Harbhaj S^h ki, kyM bole hai jhiith 

Kya mundra ak^s se jo par^ mahil men tAt 

The Rljl hath deceived (me) and hath been to thee 

Deceiving (me) he hath been to thee. 

Tell me the truth placing thy hand on my body.* 

Tell me the truth to-day^ my Lady Sil§.. 

580 Did the deceiver ever commit any wickedness " 

Si]& Dal 

" I will not place my hand on thy body ; hear, my 

husband 

The true God is the guardian of my virtue ! 

The true God is the witness of my virtue. 

Who preserved my honor in the lonely palace. 

685 The Raj^ came not into this palace. 

Needless anxiety this is that is come into thy mind." 

Mahita. 

" Daughter of Harbhaj Sah, why speakest thou hes 

Has this ring suddenly fallen from heaven into the 

palace 

* An oath, see above.

: 

; 

! 

THE LEGEND OF sIlA DA!. 291 

T-at par4 mundrS., yeh kaMn se aya 

590 Is mundre ko kauH mere mahil men %£l 

TA itnl ab mîi zard b&t ham^rl 

Jo guzra hai hal bat kab do saA." 

Slid 

Bai, 

" Gawan kiS, Rathasgarb turn ne gbore len : 

Main baitbi is mabil men kati bain din ren. 

595 Kati hai ren dinon bam ne bbari. 

Ab nabaqq ke bicb pari bam pe kbwari, 

Yeb dabi bbarS, mundra mere mabil men aya : 

Is mundre ko k^g mabil mere layS,." 

Mahita. 

" Jbdtb bacban kyun bolti, sun le, tiry^ nicb 

600 Kya kag utbaen^ mundra dbare sej ke bicb 

Yeh sej bicb mundra dbar kis ne dina 

J)e sacbi batla^ jo ab cbabe jina. 

A ring bas fallen suddenly (here) : whence came it here 

590 Who brought this ring into my palace 

Listen a little now to my words 

And tell me the truth of all that bas passed." 

Sild Dai. 

" Thou didst go to Rathelsgarb to buy horses : 

I spent the days and nights remaining in the palace. 

695 I spent the time wearily passing the days and nights: 

And now for nothing I am fallen into trouble. 

This ring came covered with curds into my palace : 

Some crow brought this ring into my palace. " 

Mahita, 

" Why tell lies Hear me, thou low woman 

600 Why should a crow take up this ring and place it on 

my bed 

Who put this ring on my bed 

Tell me the truth, as thou wouldst live.

: 

: 

' 

292- LEGENDS OF THE PANJAB. 

Main chabuk IM h&th badan tere marftn 

Aur koraron se mar mhr khal utariin." 

S'M Dal 

605 " Mat na maro korare : kyiin tarsao ]ir\ 

R^ja, tera nam le, aya mahil darmiyan. 

Mahilori darmiyan jabM Eaj^ aya. 

Main taki men baithke jab pat dbakayl. 

Woh boli., ' He Bahin, mere mundre lije ! 

610 Main us se kaba, ' Mundra ap SahAkar ko dije i' 

Un ne cbalti bar mera yeh khot nikal& 

Jin ne cborl kar mundra palang upar dMa." 

MaMta. 

" Bandi, abran cbbin lo, taro sabhi suhag. 

Bhes duy,gan k& karo, mabil urave kag. 

615 Mabilon ke bich pari kag urave : 

I will take a wliip and beat thy body ; 

And will cut the skin witb tbe strokes of my 

" 

whip ! 

Sila Dal 

605 " Strike me not with a whip : why dost desire my life 

The Raja, taking thy name, came into the palace. 

When the Raja came into the palace, 

I was sitting in the window and closed the shutters. 

He said, ' My sister, take my ring I' 

610 I said to him, ' Give the ring to the merchant (my 

husband.)' 

As he was going away he deceived me thus,. 

By putting the ring secretly on my bed." 

Mahita. 

" My maid, snatch off her ornaments, take off (the 

signs of) her wifehood. 

Put on her the widow's robes, set her to scare crows* in 


615 Set her to scare crows in the midst of the palace. 

* Conventional expression for the utter disgrace of a woman.

: 

: 

: 

THE LEGEND OF SilA DAt. 293 

Aur ktla. 

pahar bich ik bhojan p&vo. 

Jo tirya 'aitbar kiS. jag men bara. 

Tain jbiith bol, Sila ; 

Slid 

ghar kbo dia mahara." 

Bat. 

" Betl bfin main sab kJ ; sun le, Moban Bh&t 

620 Karbe die jin mM ke lade ladê satb. 

Satb die karbe, sabbi tbatb sanwara. 

Is gbar men kya h&l bft^, Moban, mabara 

Kysl bipta kl bat kabiin age tare 

Man bapon se aj kbabar kar de merJ." 

Mohan Bhdt. 

625 "Beti, Siia pas ja sis mabil darmiyari 

Us ke man ki piicbbke mujbe sunao an. 

An kabo bam se we batian sari. 

Let ber bave food but once in tbe eigbt watcbes.* 

Tbe woman I trusted bas destroyed my Hfe.t 

Tbou didst tell me a lie, Sila, and my bouse is ruined." 

Sila Bcd.X 

" I am a mercbant's daugbter j bear me, Moban tbou 

Bard,§ 

620 Tbat gave tbee sixty camels laden witb goods 

Tbat gave tbee sixty camels witb all tbeir trappings. 

(And see) wbat bas been my fortune in tbis bouse, 

Moban 

Wbat sball I say to tbee of my sufferings 

Go and tell my fatber and motber about me to-day." 

Mohan the 

Bard.\\ 

625 " My daugbter, go to SiM in tbe mirrored palace : 

Ask ber ber desires and come and tell me. 

Come and tell me all about ber. 

* The 24 tours. f J^H- The world, % In her disgrace. 

§ The bard in a family of standing had a position of some confidence, 

To his daughter. 

II

: 

: 

: 


Woh Sila behosh khari^ bipta bbari. 

TA jaldi j^ dekh yeh kya zulam guz&r^. 

680 Kyun jitl bhart^r bhes rand U dMra " 

Bhdtni. 

" Abbi, Pit^, main jlt bun Silwati ke p4s : 

Kya bipta us par pari bam karei us ki as." 

"As kareii teri, EajduMri 

Kya par gal bai bipat, kabo bam se, piari. 

635 Kyto abran singar tiyag turn ne dini 

Jlti bbartar bbes maili kini 

Apne to dil ka hal kab de, piari 

Main pita se jaOj kabun bipat tumbari." 

8Ua Dai. 

" Beti Moban Bbat kij sun le meri bat 

SiM is in great trouble^ in terrible affliction. 

Go quickly and see wbat grief bas come upon bar. 

630 Wby bas sbe put on a widow's robes wbile ber busband 

is yet alive " 

The Bard's daughter. 

" I go now, fatber, to Silwati. 

Wbat misfortune bas fallen on ber I will bring ber 

comfort." 

" I (am come to) comfort tbee, my Princess.* 

Wbat misfortune bas fallen (on tbee) Tell me, my 

beloved. 

635 Wby bast given up tby jewels and ornaments 

Wby wearest foul clotbes wben tby busband is alive 

Tell me tbe sorrows of tby beart, my beloved. 

I will go to tby fatber and tell bim tby misfortune." 

SUA Dai. 

" Daugbter of Moban tbe Bard, bear my words, 

* To Siia Dai.

: 

:! 

: 

!; 

' 

: 

640 K&ghaz, qalam, daw^t la ; main likhAn apne Lath. 

Likhto main Mth 'bari bipta bharj 

Hai zindagl se aj mujhe maut pi^rl 

Main chhori is des meri s^r na jS.ni 

Tehan ath pahar bich mile an aur panJ. 

645 Tehan jMtliEl ab dos meri sil ko Eya 

Koraron se m&r mar badan sujayS,.' 

Itn^ ab kam mera jaldi kijo : 

Meri mata ko jake kbat mera dijo," 

Blidtni. 

" Sila ne purza dia aur kahi yeb bat 

650 ' Yeh kbat tum ja dijiyo meri mata ke hath. 

Mata ke hath men khat dijo mera. 

Main taraphon bechain, bura hal hai mera. 

640 Bring paper, pen and ink, I will write (to him) 

myself. 

I will write myself, 'great and heavy is my misfortune 

! 

To-day is death dearer to me than life 

I leave this land where my value is not known. 

Here I get bread and water but once in the eight 

watches.* 

645 Here undeserved blame has been cast upon my virtue 

My body is swollen with the blows of a whip ! 

Do this much for me quickly 

Go to my mother and give her my letter." 

Tlie Bard's Danghter.f 

" Sila gave me a letter and spake thus 

THE LEGEND OF sIla DAI. 295 

650 ' Go and give this letter into my mother's hand. 

Give my letter into my mother's hand. 

I am miserable and wretched, hard is my lot. 

* In the 24 hours. f To her father.

" 

! 

296 leCtEnds of the PANJAB. 

Ab doa dia jhhutj meri sar na jlim: 

Aur ath pahar bich mile ham ko pan}.' 

Mohan Bhat. 

655 " Ugar Sain ke bans men, Harbhaj R^h sir mor 

Sila Dai parcha dia, main lajfi dauram daur. 

Laya danratn daur, Sahji, dil mera ghabaraya. 

Jo mar gai, woh mahil bich men, Sila ne bulsiya. 

Likhkar parcha dia hath men aur yah hal sunaya. 

660 Milna hai to milo pitaji, ' kal mer^ yehan aya !' " 

Harbhaj Sdh. 

" Sun, re Mohan Bhat ke, hamen sunao hal 

Sila ke gharbar men kya phaila janjS,! 

They put undeserved blame on me, not knowing my 

value. 

And in the eight vatches I get water butonce/ " 

Mohan, the Bard. 

655 " In the line of Ugar Sain* thou art the head, Harbhaj 

Sah! 

Sila Dal gave me a letter, I brought it'here very quickly. 

I have brought it here very quickly. Sir Merchant ; my 

mind is uneasy. 

Sila, who is undone in the palace, calls thee. 

Writing the letter with her own hand she told 

condition, 

me her 

660 (Saying) meet my father if thou canst (and tell him) 

' 

I am dying here 

" 

! 

' 

Harbhaj Sdh. 

" Hear, thou son of the Bards, Mohan, tell me about her. 

What sorrow has come upon Sila in her home 

* The bards have evidently desired in this legend to give_ MahitS, and 

his family descent from the great Agarwal clan of the BaniyA caste by 

making them inhabitants of Agroha. This Ugar (or Agar P) Sain may 

have been a leader of these before the Muhammadan destruction of 

AgrohS.

; 

! 

THE LEGEND OF sfLA DAi. 297 

Eya phaiE janjal kaisa zulura guzara 

Tt, Mohan, ab, Bhat, hal kah de sara. 

665 Kya ho gia ghabrat tej aisa bhari 

Kya Mahitd par an pari bipta bhari " 

Mohan Bhat. 

^' Kya kahun kuchh, Sahji mujh se kahS na jle ! 

Sila beti dekhke main bahot gia ghabarde. 

Bahot gia ghabara, Sihji : bhes duhagaii dhari 

670 Na solah sing§,r badan par, nahiii hai ial sari. 

Mahita ne kuchh dos lagaya, bhojan sabhi bisara. 

Mar koraron khal Uiai, tan se mas 

" 

utara ! 

Lachhrni Ndrdyan. 

" Mai khizane bahot hain mere ik dher 

S-ialkot ko chalo, lo Mahita ko gher. 

What sorrow has come upon her what injustice haa 

been done (her) 

Tell me now the whole story, Mohan. 

665 What trouble and heavy misfortune has come upon her 

What great trouble has befallen Mahita V 

Mohan, the Bard, 

"What can I say. Sir Merchant 

my lips cannot speak! 

Seeing Sil^, thy daughter, I was in great trouble. 

I was in great trouble. Sir Merchant : she had on widow's 

clothes. 

670 No ornaments on her body, no red garment.* 

Mahita had blamed her and spoiled all her life (food). 

Cut her skin by whipping and cut the flesh from her 

'body." 

Lachhmt Narayan.-^ 

" I have much money and goods stored up-. 

Go to Sialkot and en-compass 

Mahita. 

38 

* Sign of wifehood. f 

Sil4's brotKer.

: 

". 

: 

: 

298 LEOENDS OP THE PANJAb. 

•675 Lo MahitS. ko gher, paun dale berl: 

Woh Sila se bahin kag urS.ve meri 

Babal, mat der karo, that sujao. 

Us Mahitsi. ko b§,ndhke Agrohe Bo." 

Ha/rbhoj 

Sah. 

" Jin ko beti diji un ke niche pair. 

"680 Mahita seti na bane, Ml, ham§,rS, bair- 

Bair nahin banta hai, lal hamare.. 

Ham beti ke bap, chalen paidal sare. 

Sialkot upar hai kflnch hamara : 

Ja pAchhenge Sila ka dukhia sara. 

LacThhrni 

Narayan. 

»685 " Big tayyarl tum karo, Babal, fauj sangS,r 

Mahita se sahiikar ko ham rakhen charvedar. 

Eakhen charvedElr, bhaBji, jaisa hai woh Mahita, 

^675 

Encompass Mahit4 and put fetters on his feet 

That has set my sister Sila to scare crows. 

i680 

Father, delay not, make ready the means (of going) ; 

And binding Mahita bring him to Agroha."* 

Harhhaj Sdh. 

" To whom we gave our daughter we are inferior. 

Make not Mahita onr enemy, my son. 

He must not be made fin enemy, my son. 

I am the girl's father, let 

foot. 

us all go (humbly) to him on 

We must march to Sialkot 

And go and ask all about Sila's troubles." 

Lachhmi Narayan. 

685 " Father, get quickly thy retinue and cavalcade. 

I look on Mahita the Merchant as a (mere) menial. 

I look on a menial, my good sir, to be as good as Mahita, 

* Here the home of Silk's family. It is a ruined town near Hissar and 

was the home of the Agarwal class of merchants. It was destroyed by 

Shah&bu'ddm Ghori in a.d, 1194.

: 

: 

THE LEGEND OP sIla DAt. 299 

Tis gtar Sila kelg urave, khaia Bh&t yAn kahta. 

Babal, jag men jinS thora, Bad4 amar nahin raJitEi 

690 ' J^ Sm. badla lenge,' dil merd yflii kabta." 

Harbhaj 8dh. 

"Lachhmi Narayan kl bahfl, sua meri ik bat r 

Bahot dinan sang tu rahi Sila Dai ke sathi 

Sila ke sath raha piyar t»mha.ra : 

Turn us ke dil ka ab bhed kab do sirL. 

695 Kah do turn bat aj sacbi sari. 

Kabbi jake na bigre wahan 'izzat hamari."^ 

Laehhmi Ndmyan U Bahu^ 

" Sil4 ka sat jab dige, Dbarti digi Akaa 

Dal agin men dekh lo j 

jao us ke pas. 

Ja Sila ke pas; jbutb pal men lag&ya. 

700 Is bat ke "Jaitbar nahin mujb ko aya,. 

; 

In whose house the Bard says that Sila is set to scar© 

crows. 

Father, life is short in the world, we cannot remain immortal 

for ever. 

690 ' Revenge thyself for Sild/ saith my heart." 

Harbhaj 

Sati. 

" Thou wife of Lachhmi Narayan, hear a word of mine :: 

Many days hast thou dwelt with Sila Dai. 

And thy love was for SilS, 

Tell me now all the secrets of her heairt. 

695 Tell me all about her to-day truly. 

Perhaps by going there my honor may be lost." 

Lachhmi N&rdyan's 

Wife. 

" Sila's virtue falls when falls the Earth and Sky. 

Pass her through the fire and see ; 

go to her. 

Go to Sila ; they charged her of a sudden falsely. 

700 I haVe no faith in (the truth of) this matter.

: 

: 

: 

300. LEGENDS OF THE PANjAb. 

Hai Karta ki rekh, wo ab sab kk Wall r 

Aur dosh bina cMnd nabJn surij khali." 

Slid 

Dai M Mafa. 

" Phir mere Apar kya kare, sun lije, Sabukar 

Beg; tayyari turn kapo, ja Sila ke dwar. 

705 Sila ke dw§,r ab jaldi jao r 

Is dukbia 

jai ko men an milao. 

Tum jaldi ab kuncb karo s^z sanwari. 

Woh 

'* 

dekbi bai lih, men Sil kanwari ! 

Lachhmt Ndrdyan. 

" Sang apne le charho bSis sau umrao : 

710 Sialkot ke bicb men jlne waban ka Rao ; 

Jane wob, ' Rao yeb hai Agrobewala/ 

Aur jane kis satb tera bo jae cbala 

It is tbe line of Fate, tbafc is Master of all. 

Even tbe sun and moon are not without blame* " 

Sila Dai's Mother, 

" What wilt thou for me now ; hear, thou Merchant 

Get ready quiekly and go to Sila's door.. 

705 Go quickly now to Sila's door 

Bring my luckless daughter to me. 

Get ready now quickly and start. 

She is waiting for thee, is 

Lachhmi Narayan. 

Sila my daughter.'* 

" Take with- thee twenty-two hundred nobles -.f 

710 That tbe Raja of Sialkot may know thee ; 

That he may know thee for tbe Raja of Agroha. 

And who knows what fate may happen to thee 

* J.e., ttey are blotted by eclipses. 

t Sucb apparently fixed numbers as these are not at all uncommon in 

Indian songs and legends, nnxd do not moaji anything more than a vague 

large quantity.

: 

, 

THE LEGEND OP SILA DAL 301 

Tarn itui ab b§,t meri bhAl na j&o : 

Us Sila bahina ko meri jaldl \ko." 

Slid Dai W, Mata. 

715 " Banti ab bana les, sun lljo, Sa.liukar 

Jaisa turn se ho sake waisa kijo k§,r. 

KS,r karo aisa, sab kam banao. 

Is Sila ko aj 

mere mahilon lao. 

Is purze ko dekh mujhe au na bhave. 

720 Yeh Mohan ab Bhat khaia hal sun^ve." 

Harbhaj Sdh. 

" Karam rekh miti nahin io likha Rabb hath : 

Ao, Mohan Bhat ke, chalen tumhare sath. 

Chalen tumhare eath, re Mohan; woh Rabb laj 

bachave. 

Chalen dwkv ham us Mahita ke; kyfl. ham se ban ave 

725 Sialkot ko chaliye, Mohan, Sila jiti pave : 

Is Agrohe bich phir Data jita lave." 

But forget not now these words of mine, 

And bring Sila my sister, quickly to me." 

Slid Dai's Mother. 

715 "Do thou what thou canst, hear, thou Merchant. 

Do thy work as well as thou canst. 

Do thy work so that it be complete. 

And bring Sila to iny palace to-day. 

Seeing this letter I am unable to take my food. 

720 Mohan, the Bard, has told us of her condition." 

Harbhaj Sdh. 

" The lines of fate are not to be blotted out, which are 

written with God's own hand. 

Come, Mohan, the Bard, we go with thee. 

We go with thee, Mohan ; God will preserve our honor. 

We go to Mahita's door ;. let the result be what it may.* 

725 Go to Sii-lkot, Mohan, that we may find SiM (yet) alive : 

That God may grant her life in Agroha here again." 

* Lit. What, Itîng done by us, will come

: 

: 

; 


" Silwanti teri ma si, silwaiit& tera bap 

Sila, tujh ko woh kya bhala kaunsa pap 

Pap daha tujh ko kaunsS, bharl 

730 Tain khoi kyun laj bhala aj hamari 

Ab kah diye sach hal jo ke guzra s&ra 

Kyfin jiti bhartar bhes rand ka dhara " 

Slid Dai. 

" Silwanti meri man si, silwanta mera bap : 

Sil mera patya lo : 

satwanti Mn ap. 

735 Silwanti hAn dp, Rabb sakhi merS,. 

Us Eaja ne an kya chhal se phera 

Jab dekha main ne samhne se Bisal aya, 

Phir take men baitb main ne pat dhakaya 

Woh bola phir, ' Bahin meri, mundra lijo :' 

740 Main ne us se kaha, ' Mundrd Sahukar ko dijo/ 

" Virtuous was thy mother,* virtuous was thy father. 

Sila, what great evil has come upon thee 

What great sin has been charged to thee 

730 Why hast wholly destroyed our honor to-day 

Tell me now the truth of all that has happened : 

Why hast thou put on a widow's robes while thy 

husband is alive " 

Sila 

Dai, 

" My mother was virtuous, virtuous was my father. 

Test my virtue,- for virtuous am I. 

735 Virtuous am I and God is my witness. 

The Raj& came and deceived me. 

When I saw that Risal had come before me, 

I was sitting in the window and I shut the shutters. 

Then said he, • My sister, take my ring.* 

740 And I said to him, ' Give the ring to the Merchant (my 

husband).' 

* Speaking now to Sila at Sialiot.

: : 

THE LEGEND OF sIlI DAt. 303 

Un ne chalan bar mera yeh khofc nikala 

Jin chori se mundra palang lipar dalS. 

Yeh jhftthS, dia dosh mujhe, dekho, bh§,rJ. 

Is bat par yftn mar mar khal utarl." 

Harlhaj 8dh. 

745 " Sila, jhuth n& boliyo j 

jhilth pap ka mul. 

Sat jagat men amar hai : ant dhAl ki dhM. 

Aat sabhi dhul rahe khak ki dheri. 

Jo sat rahe aj : laj bach jae teri. 

Kya tilt gia sat chAk turn ne kbai 

750 Jo guzra, wohi hal kaho, meri 

" 

jai ! 

Slid Dai. 

• " Babalj meri bat ka kariyo tu 'aitbar 

Sat hare, pat na rahe ! Hai zindagi din ch^r ! 

Zindagi din char, sat kaisi harun 

And when he was going away he thus deceived me ; 

That he secretly placed the ring on my bed. 

This great and undeserved blame, see, he cast upon me. 

And upon this (my husband) with blows thus cut my 

skin." 

Harbhaj Sdh. 

745 " Sila, speak no lies : lies are the root of sin. 

Virtue is immortal in the world ; the end of dust is dust. 

The end of all dust is a heap of dust. 

If thy virtue last till to-day, thy honor will be saved. 

What Hast lost thy virtue Hast forgotten thyself 

750 Tell me all that has passed, my daughter !" 

Slid Dai. 

" Father, believe the truth of my story. 

If virtue be lost, honor remains not. Life is (but) for a 

few* days. 

Life is (but) for a few days, how shall I (then) ruin my 

virtue 

* Lit. For four days.

: 

: 

! 

! 

! 

: 


Jo ja«ti laj wohih j4n ko dhriLo. ! 

755 Main paida ik bar hM bind se teve 

Til dal agin bich, dekh sat ko mere !" 

Harhhaj Sdh. 

"Ik arajsun lo rheri, 

Mahita, tain ne kya kia 

Sahukar ke lal 

Sila ka hal taiii ne kyiiri banaya 

yeh Sila ka hal 

760 Ky^ tota ghar bich tere mal ka dya 

Main ne Sila die tujh ko ! kya pap kamaya 

Tain bandi se hal pare us k& banaya ! 

Kyfin, Mabit^, maBh pherta 

Agroh^ nahin dur 

Sila tujh ko biyah die, to yiin hi mera kasur. 

765 Mera kasftr die voi\ ke 'tore 

Main bandi din laundi, asbab karore. 

When my virtue goes then lay I down my life 

755 I was born once from thy body.* 

Put me through the ifire and prove my " 

virtue ! 

Harhhaj Sdh.f 

" Hear a word of mine, thou Merchant's son ! 

Mahita, what hast thou done, that this is Sila's condition 

Why hast brought Sila to this pass 

760 What harm has happened to the goods in thy house 

I gave thee Sila ! And what sin have I done (by that) 

Thou hast brought her to a condition worse than a 

slave's ! 

Why turn thy face (from me), Mahita Agroha is not far. 

Sila I gave to thee in marriage : 

that was my mistake. 

765 It was my mistake that I gave thee a platter of goods. 

I gave thee maids and slaves, and millions' worth of 

goods. 

* Allusion to the belief in tlie transtaigration of souls-. She means to 

gay that she was honored by being in one life bom the daughter of the 

_great merchant. 

f Addressing Mahita.-

: 

: 

; 

; 

'THE LEGEND OF SILA DAL 305 

Main ne Sila ke bagh tujheii rakM malt 

Tain ne dina ujai-j.bana pet k4 pllli. J" 

"Bagh die Siia Dai: 

M


Ttl jane de, Mahite, mat rar barhave. 

780 Jo bita le chbaiij wohi kirkil khave I" 

Mahita. 

" Chbati dekh lo, chirke pare jigar men radh. 

Ghar dar mera kar dia Risal ne barbad. 

Barbad kia mujh ko j ky^ khot hamara 

Main bhija pardes, aise chhal se mara. 

785 Kia naukarke sath dagha^ pap kamaya, 

Narki hai woh janam, dlioka khaya." 

Harbhaj Soli. 

" Raja, tere nagar men aisi haigi rit. 

Jan jae rakb laj 

ko, nahin karta partit. 

Nabin five partit ij ; 

sun le, Bhai : 

790 Na dharti asman tale tek lagai. 

Woh kahta yeh jhiith bacban, ' Sat ka hara: 

Mera tuta 'aitbar : kifl ' 

matlab 

" 

sar^ ! 

Let it go, Maliita, and make no disturbance. 

780 Who sifts too much devours sand \" 

Mahitd. 

" See my breast, foul matter hath filled and torn my heart. 

BasalA has destroyed my house. 

He has ruined me : and what fault was mine 

He sent me abroad and deceived me so. 

785 He deceived his (faithful) servant and sinned. 

In Hell will be his 

(next) birth, for he has deceived." 

Marhhaj Sdh* 

"Raja, thus has it happened in thy city. 

Come and save our honor : 

He believes us not to-day ; listen, BViend. 

790 Nor heaven nor earth supports our honor. 

He says an untrue word, Her ' (Sila's) virtue is gone: 

My faith in her is broken : my life is ruined ! 

" 

' 

he (Mahita) believes (us) not. 

* To Rasaia.

; 

: 

; 

THE LEGEND OP SILA DAf. 307 

Raja Rasalu. 

" Ao, Harbhaj Sahjl, lo mere paruam. 

Bari miliar turn ne kari, ae mere dhdm ! 

795 Ae ho dham mere, man badhae ; 

Agrohe ke Sah mere dware ae. 

Jo kam mere laeq ho, aggya paAn : 

Jo kar do ab hukm us se hal bajaAn." 

Harbhaj Sah. 

" Kyun, Raja, alak* gai kya khsle bhAl 

800 Mahita ke tain si§ par dhara phftl. 

Phul dhara Mahita ke sir par bhari. 

Khoi hai laj taiii ne aj hamari. 

Tain ne naukar ke sath bara julam guz^r^ : 

Aur bhija pardes tain ne chhal se mara 

" 

! 

Raja Rasalu. 

" Come, Sir Merchant Harbhaj, and take my blessing. 

Great kindness hast thou done in coming to my house ! 

795 Coming to my house thou hast increased my honor 

In that the Merchant of Agroha has come to my door. 

Tell me what I can do for thee 

I will do at once anything thou mayest wish." 

Harbhaj Sah. 

'' Where is thy sense gone, Raja Why hast forgotten 

thyself 

800 That thou didst place the flower (of disgrace) on 

Mahita's head. 

Thou hast placed a flower of great (disgrace) on 

Mahita's head. 

Thou hast destroyed my honor to-day. 

Thou hast done a great injustice to thy (faithful) 

servant 

And sending him abroad hast deceived him." 

* For 'aqal.

: 

308 LEaENDS OF THE PANJAB. 

Mdjd Rasalu. 

805 " Sunlyo, Harbhaj Sahjf ; karlyo mer! qab

;" 

: 

: 

THE LEGEND OF sIla DAf. 309 

Sath tumhare main chaliln us Mahite ke dwar. 

Mahite ke pas chalo milke sare : 

820 Un dosh dm jhuth, baia julam guzare. 

Main karke man saf gia us ke mandar 

Tum lije patiya mujhe ag ke andar ! 

Harhhaj Sah. 

" Eaja ko main le aya, Mahita, tare bar : 

Dil ke gudar mita le, 30 haiga takvar. 

825 Jo haiga takrar gudar met le sara. 

Jis bat pe tain, Mahita, yeMii julam guz^ral, 

Jo Sila k^ khot jacha man men tere 

To lena patiya aj age mere." 

Mahita. 

" Chhati dekho, chirke pari jigar men rad : 

830 Ghar dar mera kar dia Risal ne barbed. 

I go with thee to Mahita's door. 

Let us all go to Mahita together. 

820 He has laid undeserved blame (upon Sila) and done 

(her) great injustice. 

I went to his house with a clear conscience 

Test me in the fire." 

Harhhaj Sdh. 

" Mahita, I have brought the Eaja to thy door. 

Blot out the foulness of thy heart; 

was) has passed. 

what dispute (there 

825 What dispute and foulness have passed blot them out. 

(As to) the matter for which, Mahita, thou hast done 

injustice (to her) here. 

In that suspicion of Sila hath entered thy mind, 

Test her to-day (in the fire) before me." 

Mahita. 

" See my breast, foul matter hath filled and torn my 

heart. 

830 Risal has destroyed my house.

: 

310 LEGENDS OP THE PAN.TAB. 

Barbad kia^ ham ko dagha karke bharf 

Aur khoi sab laj aj b§it hamari. 

In kar die barbad dos ham ko dlna. 

Ab, jindagl barbadj bura lagtA jina \" 

Raja Easalu. 

835 " Sat bachan tum se kahunj kar, MahitS, 'aitbsir : 

Sila k^ sat na diga, sakhi hai Kart^r. 

Sakhi Kart^r sat Sila s^ncha : 

Ujal, parwar bara, kul ka achha ! 

Kuchh p^p ki nahiii kaj mahil dekha tera. 

840 Is bat ka 'aitbar karo, Mahita mera." 

Mahita. 

" Tu apni si kar chuka; ban ai sab kar. 

Ab ham seti mat kare jhAthe, Risal, rS.r. 

Kyftn jhuthe takr^r kare ham se, Raja 

Sab jane sansar jaisa karo kaj§.. 

He has ruined me, deceiving me greatly : 

And destroyed my Hfe and honor to-day. 

He has ruined me and brought shame upon me. 

And now, when life is ruined, it is an evil to live 1" 

Bajd 

Rasdlu. 

835 "I speak to thee truth ; Mahita, believe it. 

Sila's virtue has not fallen, Go"d is witness. 

God is witness that Sila's virtue is untouched, 

(It is that of) a high and great family and line. 

I saw thy palace without any sinful act. 

840 Believe the truth of this, my (friend) Mahita." 

Mahita. 

" Thou hast accomplished thy desires : all thy wish is 

done. 

And now create no needless quarrel with me, Eisal. 

Why create a needless quarrel with me, Raj^ 

All the world knows of thy (mode of) 

action.

; 

THE LEGEND 01' sfLA DAI. 311 

845 Tain khot ki^, yar^ paran mera pEtla. 

Ja ! Rabb ke Darbar terS. munh ho kala 

" 

! 

Raja Rasdlu. 

" Mahita, main tere giel; kar lena 'aitbar 

Sila Dal ke mabil men nahm dusri kar. 

Kai- nabin pap ki ; sun, mere bhai. 

850 Wob Sila hai babin, meri man ki jai. 

Hai jbAtba yeh khot jacha man men tare. 

Tain lena patiya : lo abhi, age mere 

" 

! 

Mahitd. 

" Jaisi karni taiii kare jane sab sansar : 

Nahin jagat ke bich men kami ka 'aitbar. 

855 'Aitbar nahin kami ka jag men bhari. 

Tu khata hai jhuth kasm sau sau bari. 

Main jauoii hun tujh ko : kyun bat banave 

Jaisa kia kam, tere age ave." 

845 Thou hast done me evil, friend, breaking thy promise to 

me. 

Go ! mayest thou be ashamed in the Court of God !" 

Edja RasaM. 

" Mahita, I went to thy house : believe me ; 

In Sila's palace I had no other (than a good) intent. 

1 did no sin ; 

hear my friend. 

850 Sila is my sister, my mother's daughter. 

This is a false suspicion that is in thy mind. 

Test it : test it now in front of me !" 

Mahita. 

" As thou what doest all the world knows. 

There is no trusting the libertine in this world. 

855 There is no great trust in the libertine in the world. 

A hundred times thou dost swear false oaths. 

I know thee : why try to deceive me 

As thou hast done^ so (is the result of) it before 

" 

thee !


" 

Edjd Basalu, 

" Chaupur men tu chatr hai, chalo dial anmol 

860 Mahita, phansa phefikke len^ sat ko tol. 

Sat ko lo tol, kaho mukh se bani. 

Turn Ifina pachharij ap hoge gyani. 

Jo Sila ka sat zara dekho Mra, 

Mere, maro talwar, sis kar do niara !" 

Harbhaj Bah. 

Sila ke sat ke yeh kasm ham ne khai. 

870 TA har jit karke ab dekh le, Bhai ! 

865 " Apne mukh se turn badho, Mahita, ginke dao. 

A panchon ke bioh men Rabb ap karenge niyao. 

Ap karen niyao, wohi Sarjanhara. 

Tum phenko, ho hath bahot pauh-bara. 

! 

Itajd Rasalu. 

" Thou art clever at chaupur, full of tricks untold I 

860 Mahita, throw the dice and test her virtue. 

Test her virtue and I tell 

thee with my lips. 

Take it and test it and know it for thyself. 

If thou find even a little fault in Sila's virtue, 

Strike ofi my head with a sword !" 

Earbhaj 

8dh. 

866 " Mahita, fix the throws with thy own lips and count 

the throws (and see). 

God Himself will come and do justice in the ordeal. 

May He do justice Himself, the Creator. 

Make a throw : the ace and twelve will be plenty.* 

I take this oath (the throw) as to Sila's virtue. 

870 Make tbou this test (the throw) and see. Friend." 

* I.e., a good throw : see preliminary note.

. 

" 

It is the will of God which way the three dice fall ! 

I'ttE LEGEND OP SIlA DaI. 313 

Mahita. 

"Sila ke hain panch do, satriih tera dao; 

Paun baraii haigi meri : phansa lia uthao. 

Phansa nachkai'i age ave. 

Ab jhathl kyikn batoii ko phir chalave 

875 Phansa die phenk, bachan ham ne mani, 

Qadrat ke khel pa;e tinoii kani," 

Harhhaj Sdh. 

" Sil4, sat ko yad kar le, le phansa hath, 

Jo tera sat sach raha^ to paro panch do sat. 

Sat pare, an rahe laj tumhari. 

880 Hai phanse ke h4th aj bat hamari. 

Phansa le h4th, Narankar manave: 

Jo sacha hai sil tere age ave," 

Mah ita 

" For Sila the five and two } for thee seventeen ; 

For me the ace and twelve : take up the dice. 

The dice shall decide the truth. 

Why invent untruths now 

875 I throw the dice and accept the challenge. 

Harlhaj Sdh. 

" Sila, remember thy virtue, taking the dice in thy 

hand. 

If thy virtue be true, then throw ' the five and two's 

seven.' 

If the seven fall, 

thy honor will be .established. 

880 Our life to-day is the power of the dice. 

Take the dice in thy hand and call on God.* 

If 

thy virtue be true it will come out." 

40 

* Lit. The formless one,

' 

"! 

^14 LEGENDS OF THE PANJAB. 

Sila Dai hd Do'a. 

" Meri sahai kijo, Trilokl ke Nath : 

Phansa satke dao se paro panch do sat \ 

885 Sat paro, an §,j sat par mere ! 

Ab bar jit hath die Rabb ne tere ! 

Is saikat ke bich mere j4n bach4o ! 

Turn phansa ke hath mera niyao chukao ! 

BAja Easdlu. 

" Sila ka sat amar hai, pare p^nch do sat 

890 GurA Gorakh \k nam le, lim phansa main hath. 

Phansa lun hath, paro an athara ! 

Yeh dharti asman khaia sat se sara ! 

Kya, Mahit& Sahukar, tujhe aya supna 

Til phansa le pheiik dao kahke apna." 

SUa Dai's 

Prayer. 

" Protect thou me, Lord of the Universe : 

May my throw of the dice be ' the five and two's 

seven ! 

885 Fall the seven and prove my virtue to-day ! 

God hath given the game into your hands (my dice) I 

Save my life in the midst of this distress ! 

Do thou (0 God) justice to me through the " 

dice ! 

Edja Hasalu. 

" Sila's virtue is immortal, (for her) ' the five and two's 

seven,', has fallen. 

890 Taking the name of Guril Gorakhnath I take the dice in 

my hand. 

I take the dice in my hand, and the eighteen falls ! 

The whole heaven and earth are supported by truth ! 

What has been thy dream, Mahita, thou Merchant 

Throw thou the dice making thy own game."

: 

THE LEGEND OF sIla DA!. 315 

Mahitd. 

895 "Pauii b§;r&n hainge mere ! jo mera dao ! 

PhaiisS, ke kuchh pat nahin : main dekha us ka uiyao. 

PhSoisa kl niyao nahiii, chhal hai bb&ri. 

Yebaii bare bare pir baitbe us pe )s.kvi. 

Is bat ka 'aitbar nahin mujh ko aya : 

900 Yeh Eaja chhalbaj racbi cbbal ki maya, 

" 

! 

HarhUaj Sah. 

" Jhuthi b§,tan mat kaho, dil se kaho bicbar. 

Kisi tarahj Mahita^ tujhe ave bbl 'aitbar 

Ave 'aitbar tujhe kaise, Bbai 

Ab phansa ka hal kaho sack batê ! 

905 TA lije patiyae, mati der lagave : 

Jis bat se 'aitbar tujhe^ Mahita, ave." 

Maliitd. 

" Tel karhai dal do, big Icaro tayyar 

Us men Sila naha le jab ave âitb&r. 

Mahitd. 

895 "The ace and twelve are mine ! the game I made ! 

There is no confidence in the dice; I know his (the 

Eaja's style of) 

justice. 

There is no justice in the dice, but great deceit. 

Many great saints protect his game here. 

I have no faith at all in this matter. 

900 This artful R^ja has played a delusive trick !" 

Harbhaj Sah. 

" Speak not untruths ; tell us the ideas in thy heart. 

In what way, Mahita, will belief come (home) to thee T 

How will belief come (home) to the Friend 

Tell the truth now about the fall of the dice ! 

905 Propose a test without making any delay : 

In that way which will give thee confidence, Mahita."" 

Mahita. 

" Put oil into a caldron, get it ready quickly. 

Let Sil^ bathe in it and I will believe.

: 


Ave 'aitb^r zara mere man ko : 

910 Pabimehl nahin ancb zarS us ke tan ko. 

Jo karna yeh kam mati der lagao. 

Ab jhuthi kyuQ baton ko paii- chalao " 

Snd Bat 

" Mahita k^ kahna karo, mat lagao dor : 

Dharo karhai tel ki, aur kam kar pher. 

915 Pher karo kam, big tel mangao. 

Karhai men dalkar, phir anch lagao. 

Jab ho jave tel garam kah do ham se : 

Le Sila ap nahae, male apne tan se." 

Mahita. 

" Tel karhai dalke de do jaldi ^neh : 

920 Uhak dhak bhathi kare jaise pakke kanch. 

Jaise pakke kanch aisi bhathi bali. 

Phir diir dur pahunchi us anch ki lali. 

Then will a little confidence be in my mind^ 

910 If no particle of fire touch her body. 

If you will do this delay not. 

Why stick to untruths now " 

8Ua Dai. 

" Do as Mahita says, and delay not. 

Put the oil into the caldron and do what there is to do.* 

915 Do what there is to do : send for the oil at once. 

Put it into the caldron and light the fire. 

Let me know when the oil is heated 

And let Sila bathe herself and rub it on her body." 

Mahita.'\ 

"Put in the oil and quickly light the fire. 

920 Let the furnace blaze, as when glass is made. 

As when glass is made so heat the furnace. 

And let the blaze of the fire spread afar. 

* I. e., heat it. f To his herald.

THE LEGEND OF s!la DAt. 317 

Sab p^p mite apne, yeh dil men thano : 

Turn kar do tayyar ; 

kahfi, meva mano. 

925 Jab lal hove tel, dekh us ko jake : 

Phir Sila se hukm karo naliae ake." 

Chohdar. 

'' 

Mahita ankhon kholke dekho us ka hal. 

Agin jale, loha tape, tel hua hai lal. 

Tel hua lal ; 

dekh, Mahita piara. 

930 Tarn dil ka bhar pftr karo matlab sara. 

Turn rakhiyo Bhagwan yad, Is manao. 

Jo. sacha hai sil, mati dec lagao 

" 

! 

Slid Bai Kd Do' a. 

" Mere sahai kijiye ab, Triloki ke Nath ! 

Khamb chir Pahlad ko ap lagaya sath ! 

All my doubts will (then) be blotted out, keep this in 

thy mind. 

Get it ready and heai'ken to my words. 

925 And when the oil is red-hot go and see it (for thyself). 

And then tell Sila to come and bathe in it.'^ 

Herald. 

" Mahita, see its (the caldron's) state with thy own eyes. 

The fire blazes, the iron is hot and the oil is red-hot. 

The oil is red-hot ; see, Mahita, my beloved (master). 

930 Do thou now fnlly all that is in thy mind. 

Kemember thou God, and call on the Lord. 

If her virtue be true, make no delay ! 

" 

S'da Dai's Prayer. 

" Protect thou me now. Lord of the Universe ! 

Bursting the column thou didst save Prahlada ! 

* 

* In allusion to the story of Prahlada in the Vishnu Purdna. Prahlada 

praised Vishnu to his father, the atheistic Daitya Hiraiiyakasipu, 

whei-eon Ms father enraged asked him if Yishnu, being everywhere, was 

in the pillar near him. Prahlada repUed that he was ; his father said 

' 

then I will kill him' and drew his sword to strike the pillar. On this 

Vishnu, is in his man-lion (nrininJia) avatdra, came out of thepiUar and 

slew him.

! 

! 

! 

! 

! 


935 Tain rakhi liai Mj kare Gaj ki sahai 

Aur Draupati ki chur sabha bicli bharai 1 

Narsi ki kaj kare big sanwari 

Is jalti agin bich laj rakhiyo hamari 

Tulsi ki mala phir bath uthai : 

940 Sila le nahg-e : nahin surkbi î 

" 

Harbhaj 8dh. 

" Karm likhS. KartS.r ne, karm sake hai bancb ! 

Mahita, ab til dekh le, cabin sSch ko S,ncb ! 

935 Protecting tbe Elephant*, thou didst preserve his honor ! 

And didst increase (the length of) Dranpadi'sf garment 

in the midst of the assembly ! 

And quickly didst Narsi'sf work (for him) 

Preserve now my honor in the midst of this blazing 

furnace ! 

I take my garland of tulsi beads§ in my hands : 

940 And Sila bathes and no wound comes (to her) ! 

Harhhaj Sdh. 

" 

" God hath written our fate ; one can read his fate ! 

Mahita, look now : 

truth cannot be injured. 

* Apparent reference to tlie stories connected with tlie birth of 

Ganesa, the Elephant-headed god, in the Brahmdvaivarta Purdna and 

in the Bhdgavata Purdna. 

f Reference to the well-known tale in the Mahdhhdrata where 

Tndishthira in gambling with Duryodhana stakes and loses himself, 

his family and his wife Draupati. Duhsasana, Duryodhana's brother 

then seizes Draupati and begins to tear ofi her clothes on the ground 

that being now a slave she could not object. Krishna, who was present, 

however, lengthened her garment as fast as it was rolled ofE. 

+ Narsi was a Nagar Brahman of Junagarh and one of the Bhagats. 

The allusion here is to a very popular song about him in which he 

gives a hundi (cheque) on Sawal Shah (Krishna) to two pilgrims en 

route from Mathura to Dwarka, which was cashed on anival by 

Krishna in the form Sawal Sh^h, a banker, who did not exist in 

the flesh. 

§ As a protection : the tulsi plant, sweet basil, ocymum sacrum, is 

considered sacred everywhere.

: 

! 

THE LEGEND OE SILA PAi. 319 

Nahiii sach ko ancli, re Maliita,; jane sab sansara. 

Sat ki Sila ap bane hai, us k§, Sarjan-har^ ! 

945 JhiUha dos lagS,ke, tain ne kyun Sila ko mara 

Jo Lachhrni Chand ab sunte woL khove jbeia tliara [" 

Maliita. 

" Mantar ko yeh zor hai ! tel Ma hai mand 

Yeh Gorakh kS. chelkaj kia karaha thand ! 

Thaiida dia mantar se tej agan ko : 

950 Is waste nahiii anch lagi is ke tan ko. 

Teh jadu se Raja S8.b kam banave 

Is waste ''aitbar nahin mujh ko ave." 

Harbhaj Sdh. 

"Siie kusambh4 pahir le, bahur karo singar. 

Sat tere ka a gia ham sab ko 'aitbar. 

955 Sab ko 'aitbar tere sat ka aya. 

Truth cannot be injured, Mahita^ as all the world 

knows. 

Sila's virtue is established, (it is) her saviour ! 

945 Putting undeserved blame on her why hast beaten 

Sila 

If Lachhrni Chand hears it he will destroy thee " 

Mahita. 

"This was by force of some charm ! the oil was cooled ! 

He (the Raja) is a disciple of Gorakhnath and cooled 

the caldron (by charms). 

He cooled the blazing fire by charms. 

950 This is why no fire touched her body. 

The Raja did all this by sorcery : 

And this is why I have no faith in it." 

Harbhaj Sah* 

" Put on thy red dress t and fasten on thy jewels. 

We all have faith in thy virtue. 

965 "We all have faith in thy virtue. 

* To Sila. f As a married woman.

820 LEGDNDS 01' THE PANJaB. 

Jo honi thi ho gai, rahi Rabb ki maya. 

Turn, Sila^ singar karo abran SEiro : 

Is jhagre ko dur karo gardan maro." 

SUa Dal, 

" Yeh dhang mera kar dia, kya meri taqsir 

960 Td janni mS.ta meri, yeh Mahita mera bir. 

Mahita hai bir mera eIJ dharm ka. 

Jo likha Taqdir mite nahiii karam ka. 

Ab dekh liS, mujh ko dal tel ke andar : 

Mat der kare, Babal j chal apne mandar I 

" 

BAYAN DUSRE BHAT KA. 

SUSl 

Dai. 

965 " Babal, rath jutwie de, ab mat kije der : 

Main bhojan yehari na karufi, hogi bari aber : 

Hogi baii aber, karo chains ki tayyari. 

What was to be has been ; 

SiM, put on thy jewels and dress. 

it is a mystery of God. 

Put off this trouble afar and destroy it." 

SUa Dai.*- 

" He has treated me thus : and what was my fault 

960 Thou art my bearing mother; this Mahita is my brother. 

Mahita is my sworn brotherf from to-day. 

What God hath written in fate cannot be blotted out. 

He (Mahita) has tried me in the fire. 

Delay not, my father and let us go to our home." 

CONTINUATION ACCORDING TO THE SECOND BARD. 

SUa Dai. 

965 " Father, put the bullocks into the carriage, make no 

delay now. 

I cannot eat (even) my food here and we shall be very 

late. 

We shall be very late, make ready quickly. 

* To her mother and father. 

t After tliis Siia could no longer be his ivife becoming his sidter. 

Is not this idea Muhammadan j*

" : 

: 

THE LEGEND OF SILA DAf. 321 

Na thairuji pal ik j kahl main man ki sM. 

Meri naata pas mujlie, Babal, le jao : 

S70 Bar bar main kahun, zara mat der lagô." 

Mahitd, 

" Chira utarun aarr* ka, gal jama chotar 

Kaua same bichhran kya bamre pran adhar " 

Bagne. 

"Pran liejat hai Sila : 

Prabhi\ I Tain kya rachi lila 

975 Chuta mera an jal pina. 

Bina Sila nahin jind. 

Nahin janiin tha yeh hogi 

Bantln chalke abhi jogi ! 

Harhhaj 

" Eadan karo Mabita, mati : mat 

SdJu 

na kboiye jan. 

I will not tarry a moment ; 

I have said all my say. 

Take me to my Mother, Father. 

970 Again and again I say, make no delay." 

Mahita. 

" I will pull off my gold-shot turban and robes from 

my body. 

Is this a time for parting Shall my life be empty " 

Song. 

" Sila is taking my life. 

God ! what wonders hast thou done 

975 I cannot take my food and drink (any more). 

1 cannot live without Sila. 

I did not know that this would happen. 

I will go now and turn myself into a jogi.*" 

Harhhaj Sdh. 

" Weep not, Mahita ; 

ruin not thy life. 

* Ecligioua mendicant.

! 

! 

! 

! 

322 LEGENDS OF THE PANJAB. " 

980 Ai biran Mahita mere, kaia haraara man. 

Kaha hamara man, biran ; main samihauii tujh ko, Bhai S 

Duji bahin aur Sila ki, woh tujh ko dun parnai. 

Sila pe kuchb zor na mera : 

bat suno hamri sari. 

Rath jutw4e chalun Agrohe; 'Ram, Ram,' sab lo, 

mhari 

" 

! 

Bdja Basalu. 

985 " Dhan,- Sila, terl mat ko ! Dhan pita mat, Kanwar ! 

Dhan tera parwar sab ! Dhan Mahita bhartar ! 

Dhan Mahita bhartar ! Hamari mu'af karo taqsir 

Tera sat raha hai, Sila : jun Ganga ka nir ! 

Khub jamao Bipr not ke sundar chanwal khir. 

990 Ab tu meri bahin dharm ki, main tera hiln bir." 

Sila 

Dai. 

" Dhan, Risal, garh nagar ko ! Dhan, Risal, tera nam ! 

980 O Mahita, brother mine ; listen to my words. 

Listen to my wordsj brother: I will explain to thee. 

Friend. 

Sila has got another sister, I will betrothe her to thee. 

I have no power over Sil^ : hear all my words : 

I will put (the bullocks into) the carriage and go to 

Agroha. Take all our adieus." 

Bdja Rasdlu, 

985 " Honor to thy mother, Sila ! Honor to thy father and 

mother, Lady ! 

Honor to all thy family ! Honor to thy husband Mahita 

Honor to thy husband Mahita ! Forgive my fault 

Thy virtue has triumphed, Sila, as the (sacred) waters 

of the Ganges 

Feed the Brahmans well with rice and milk. 

990 Now art thou my sworn sister and I am thy brother." 

Slid 

Bat. 

"Honor, Eisal, to thy fort and city ! Honor, Risal, to thy 

name !

! " 

: 

! 

!; 

all virtue and beauty ! 

THE LEGEND OP stLA DAI. 323 

Bar, Eaja, tujh de chali, suphal tumliElrS. dham ! 

Suphal tumhara dham ! Nagar men sukhi baso nar n^rl 

Ki4 lajja tM hath tumhari, rakhi Girwardhari. 

995 Itna hi sanjog likhS., na kuchh b^t bichari 

Hath jor adhin karhi hflri, 

' Earn, nkm,' lo mahdrl." 

Baja Basalu. 

" Hath jor binti karlin, suniye Sil Kanwar ! 

Til; Sila, sat nip hai: sat rakh^ Kartar. 

Sat rakha Kartar tera : tA dhan Sila jag men M. ! 

1000 Dhan to mat pite, tare ko rfip shakal gun adhk^ri 

Td, Sila, hai bahin dharm ki, main mukh bachan kah4 

fetai. 

" 

Turn khush raho, jao babal ke, sil shakal sobha pM ! 

Give thee my blessing ; Eaja, I go : may thy home be 

glorious ! 

May thy home be glorious ! May men and women live 

happily in thy city ! 

My honor was in thy hands ; the Lord* kept it. 

995 So much connection (with thee) was written (by fate) 

it was not imagined (by us). 

With joined hands I make my salutation j take my 

adieus." 

Baja Basalu. 

" With joined hands I pray thee, listen, my Lady Sila ! 

Thou, Sila, art the incarnation of virtue : God preserve 

thy virtue. 

God keep thy virtue : fortunate (it is that) thou earnest 

into the world 

1000 Fortunate thy father and mother (that gave) to thee the 

title to all beauty and virtue ! 

Thou, Sila, art my sworn sister : I thy sworn brother. 

Be thou happy and go to thy father's house to receive 

* Lit., The mountain-bearer, i.e., Krishna.

" 

! " 

Harhhaj Sah. 

" 

' Ram, Ram/ lijo mere, ai Nirp, chatr sujan I 

Sat Sila ka anke rakha Sri Bhagwan ! 

Slid Dai. 

And may thou have a son, beautiful and princely ! 

324 LEGENDS Oir THE PANJIb. 

" 

Sila Dai. 

" Eis&l, tfl jug jug jiyo ! Ba30 nag^r gulzar 

Ab tere sut h&vega sundar Eajkanwar " 

! 

Bdgnt 

1005 " Putr hoga tere, Eaj^, 

Bajeii chhattis ^han bS,ja, 

Nagar anand ho bliS,ri, 

Sabhi gaven jo nar nari. 

Karen chalne ki ham tayyari ! 

Nam Randhir to rakhJye. 

1010 Baclian hirde men to likhiye. 

Yeh hi asis hai mahari, 

" Risal, live for ever ! may thy city be prosperous E 

Song. 

1005 " Thou shalt have a son, Eaja. 

And the music shall be played in 36 places:* 

Thy city shall be very happy. 

When all the men and women rejoice. 

Name him Eandhir. f 

1010 Write my words in thy heart. 

This is my blessing, 

(While) we make ready to go \" 

Harbhaj 8ah- 

" Take my adieus, O wise and clever Eaja ! 

The Holy God came and preserved Sila's virtue ! 

" 

* In a large realm. 

t This gives us a name for a son of RasaW. I have not seen it elsewhere. 

As a large number of the chief families of the Panjab and the 

Panjab Himalayas claim descent from Salivahan and RasaW, it is probable 

from the presence of the name here that some of them, claim it through 

this Randhir.

THE LEGEND OP sIla DAL 325 

Ragni. 

1015 " Sil sat Ram ne rakh laya, 

Hiia man ka mere chaya. 

Unhon se daur thi maliari. 

Bat sun, Raoji, mahari. 

Wohi Trilok ka S^mJ. 

1020 Bane rahe tere rajdhani 

" 

! 

Jab tayyan sah ne karij sab ko sis niwae. 

Lajja rakhi Ram ne; 

lena rath jutwae, 

Lena rath jutwae sah ne Sila big bithai. 

Hath jor kahe ' Ram, Ram/ phir Ganpat Deo manae. 

Song. 

1015 " God preserved Sila's virtue. 

And the desire of my heart was fulfilled. 

My trust was in Him (Ram). 

Sir king, hear my words. 

He is the Lord of the Universe. 

1 020 May thy kingdom 

" 

ilourish ! 

When the merchant (Harbhaj) made ready he bowed 

his head to all.* 

God had preserved his honor ; he put the bullocks into 

the carriage. 

Putting the bullocks into the carriage, the merchant 

quickly seated Sila in it. 

With joined hands he bade adieu and did 

Ganpat Deo.t 

homage to 

* Bangaohar, the Brahman, who appears in the Legend of Guru 

Gugga as GnggS/'s family priest is here introduced to speak many of the 

narrative portions of this piece when it is played as a drama. He has 

no other connection with it. This is one of his speeches. 

t The Elephant God Gariesa worshipped always at the commencement 

of a journey.


1025 Agrohe ke ho lie rasta, lamb^ kunch karae. 

Phiv Mahita kare rudan chala jogi se 'araz lagsle. 

MuMdl. 

Mahitd, 

"BidMkihaigatniari! 

Soch mujh ko hfii bMri. 

Karam rekh balw&n, 

1030 Naliiri tarti hai tari ! " 

"'Kith, jor age karha, mukh se kahun ades. 

Kirpa karo, Gar Deoji; do jogi ka bhes. 

Do jogi ka bhes, Nathji ; kanon mundra pdo. 

Main jogi hone aya hun, zara der mat lao. 

1035 Tan ke bastar utar lo, mere ang bhut ramao. 

Jog bhekh dijo, MaharajS,; hamre pr^n bachao." 

102 5 They took the road to Agroha, making a long march of it. 

And then Mahitd weeping went and besought a jogt. 

Be/rain* 

Mahitd. f 

"This is the wondrous work of Fate! 

Great is my sorrow ! 

Powerful is the line of Pate, 

1030 And tarries not for putting off!" 

" I stand before thee with joined hands, and make 

salutation with my lips. 

Have mercy, my holy Gurfi ; put on me the jogi's dress. 

Put on me the jogi's dress, my Lord ; 

put the {jogi's) 

rings into my ears. 

I am come (to thee) to be a jogi, delay not at all. 

1035 Take the clothes off my body, rub ashes on my body. 

Give me dress of a jogi, Mahar§ja,J and save my life." 

* Tie muktdl is a piece of four short lines of the nature of a chorus 

or refrain. 

t To the Jogi. 

X Common form of address towards jogis.

! 

! 

; 

" 

. 

1040 Show me the way of saintship ! 

THE LEGEND OF SIlA DAf. 827 

Muktal. 

Ap, Gur, kirpa kijo : 

•"Araz mere sun lijo : 

Chiro mere kan 

1040 Jog k£i rasta dijo ! 

Jogi. 

" Ja, landi ke ! Bhag ja ! tu kya j^ne jog ! 

Jo dhare hai jog ko, tiyag sliakal man bhog. 

Tiyag sliakal man bhog : kathan hai jag men jog 

dahem 

Panclion mar, packis tiyag de : jab jogi ka chela. 

1045 Sab parwar tiyag kanwar, to jag men rahe akela. 

Baia bikat khande ki dhara ! yeh mat jan suhela \" 

Refrain. 

" Gurfi, have thou mercy : 

Here my petition. 

Pierce my ears. 

Jogi. 

"Go, thou son of a cur ! Be off ! what dost thou know 

of saintship 

Who takes the saintship, renounces all the desires of 

his heart. 

Renounces all the desires of his heart ; the saintship is 

hard and difficult in the world ! 

Put off the five (desires) and the twenty-five (lusts) : 

then canst thou be ajogi's disciple. 

1045 Renouncing thy whole family and sonSj live alone ia 

the world. 

The point of a sword is a very difficult thing (to rest on) 

Imagine not this (saintship) to be 

" 

easy !

: 

" : 

1060 And no comfort to be found in it ! 


Muhtal. 

" Bach^, ghar ko jao ! 

Kaheko mund mundao 

Bara katlian hai panthj 

1050 Nahin sukh is men pao \" 

Mahita. 

" PitSij m§,t, kul, nar, sab main ne kare niras. 

Ab ichha na bhog ki, jog karan ki as. 

Jog karan kl as, Nath ; main man men yeM bichara. 

Jog bliekh lene ko aya, tiytig shakal nar nari. 

1055 Sila, sil, shakal gun sagar, so thi jan hamari 

Us nagar men jaun, Nathji, banke aj bikhari." 

Jogi. 

" P^nchon indari bas karo; man madan lo mar. 

Refrain. 

" My son, go home. 

Why shave thy head. 

The road is very difficult. 

Mahita, 

" 1 have put away father, mother, family, wife and all. 

I have no desire for pleasure now; my hope is to 

become a, jogi. 

My hope is to be a jogi, my Lord : 

my heart. 

this is the longing of 

I came to put on the dress of a jogi, renouncing all the 

world. 

1055 Sila, the paragon (ocean) of all virtue and goodness was 

my life 

I will go to her home, my Lord, to-day dressed up as a 

mendicant." 

Jogi. 

" Renounce the five senses : destroy desire and lust.

THE LEGEND OF sIla DAf. 329 

Tan trishna jog ki mit6, jab ja jog upar. 

Jab ja jog upar, gykn se pancbon dur hatao. 

1060 K4m krodb ko bas kar rakho, dngdha, piyar, gbatao. 

Katban dbar kbande M, bacba, jog jis ko batô. 

Are Sbab* ke, j4 gbar apne : kis ka jog kamao " 

Mahitd. 

" Jog bbekb lene ayd, tajkar sabbi kales. 

Jab sat, sil, 

santokh ko lage na may& les. 

1065 Lagi na maya les, tumben kabtd samjbake : 

Jog bbekb main karun, Natbji, man cbit lake. 

Man cbit, budb, bankar aya bun dur batake. 

Cbiro mere kdn, jog k4 mantar sun4ke " 

! 

Blot out tbe lust of the world from tby beart, 

and tben 

put on tbe saintsbip. 

Put on tbe saintsbip and by knowledge (unto salvation) 

put off afar tbe five (senses). 

1060 Put away anger and lust and (so) lessen tby pain, my 

friend. 

The point of tbe sword is sharp, my son, which the 

saintsbip presents. 

thou son of tbe Merchant, go to tby own home : 

will the saintsbip profit thee 1" 

Mahitd. 

what 

"1 came for the jogi's dress, leaving all my cares. 

And tben no part of illusion will belong to virtue, honor 

and contentment. 

1066 No part of illusion will belong to them, as I tell thee. 

1 will put on the jogi's form, my Lord, with all my 

~ 42 

heart and soul. 

Putting oif my wisdom and knowledge from my heart 

I am come. 

Bore my ears and tell me the charm of the saintsbip ! 

* For 8dh. 

"


Jogi. 

" Mali^ bikat yeh jog hai ; khande ki si dhar. 

1070 OMk gia so rah gayS., bin cbuki wob par ! 

Bin cbuki woh par ; 

re BacbS,, jane kbatan faqiri 

Bhilkan basban sabbi tiyagoge, cbbnt ja sbakal amir!. 

Man anand nabin rabne ka, sada rabe dilgiri. 

Katban jog sadbne ka nabin : jao gbaron dbar dbiri." 

MaliitL 

1076 " Ab dbiraj man men dbarun tere cbaran ka dbyan. 

Der na kije, N&tbji ; cbiro mere kan. 

Cbiro mere kan, aj turn darsban pao. 

Lena &ya jog, mujbe turn kya bbarmao 

Hatb jorkar kabAri, zara mat der lagao. 

1080 Gyan tatb ki pbiiiik kan mere men pao." 

Jogi. 

" Very difficult is the saintsbip, as the edge of a sword. 

1070 Who fails remains behind, who fails not gets across. 

Who fails not gets across ; my son, know the saintship 

to be difficult. 

In hunger forego thy food, give up all the appearance of 

nobility. 

No pleasure for the mind, ever remaining distressed. 

Thou canst not bear the difficult saintship : go and 

take thy ease at borne." 

MaUtd. 

1075 " I will take courage in my heart, worshipping at thy 

feet. 

Make no delay, my Lord : 

Bore my ears, show me thyself to-day. 

bore my ears. 

I must become a jogi, why dost disappoint me 

With joined hands I say, make no delay. 

1080 Blow true knowledge into my ears."

! 

: 

! 

! 

THE LEGEND OP StLA DAi. 331 

Jogi. 

" Main tujh ko samjhauta, karo gy^n ki rit. 

Ja, ghar apna baitli ralio : cLhor jog se prit. 

Chhor jog se prit : jan le, Alakh purakh, Abinasi, 

Brahma wohi^ Bishn wohij hai woM rup Kailisi 

1085 Gbar ko jao : jog na lena; sun, Mahita biswasi 

" 

Chhin men mahilon pran taje teri Sil Kanwari dasi ! 

Maliita, 

" Dasi ka da'wa taj& : ho gae nipat niras 

Jab Sila ne ham taje, ae tumhare pas. 

Ae tumhare pas, Nathji, jog bhek \enk yehan se : 

1090 Ham ko tyag gae babal ke Sil Kahwar hamri dasi. 

Kya* tu bhek jog ka de de; nahin, pran tajun ban men. 

Jogl. 

" I tell thee, consider knowledge well. 

Go sit in thy home : give up the desire for the saintship. 

Give up the desire for the saintship : know him, the Immortal, 

the Imperishable : 

Brahma is he, Bishn-f is he, KailasJ is his form. 

1085 Go home : thou canst not take the saintship : hear thou 

foolish Mahita 

Thy wife, the Lady Sila will give up her life at once in 

thou become a, jogi.)" 

the palace (if 

lOSO 

Mahita. 

" I have given up my claim to my wife : I have no hope 

of her for ever. 

When Sila deserted me, I came to thee. 

I came to thee, my Lord, to put on the jogi's dress here. 

My wife, the Lady Si]a,has left me for her father's house. 

Either you give me the jog'i's dress or I destroy my life 

in the forest. 

* Kyd = yd. t Vishnu. J 6iva.

332 LEGENDS 0¥ THE PANjAb. 

Jab se bhichari pran, piari : 

bbae lage mere tan men." 

Kard uthai nath ne, kar Gorakb M dhy^n. 

Jog I. 

" A, bacha ; 

jehka baith ja : chiruii tere Mn. 

1095 OMrun tere kan." 

Jabhi kanon men phfink lagai. 

Kan cbirke mundaran geri, ang bbabhut ramM. 

Jogi. 

" Gur ka bachan man le ; BacM, tujhe yeb hi samjhai! 

Alakh jagake, bbicha lao : jog suphal ho jae I" 

" Jog bhek lekar chale, ang bhabhut ramae : 

When my life was ruined : fire (misery) entered my 

body." 

The jogi took ap his 

knife, calling on Gorakhnath. 

Jogt. 

" Come my son ; sit down here : I will bore thy ears. 

1095 I will bore thy ears." 

Then he blew into his ears. 

Bored bis earSj put in the rings and rubbed ashes on his 

body. 

Jogi. 

" Hear the Guru^s words : ray son, I teach thee this ! 

Call out ' alahh'* and beg food, and may thy saintship 

prosper 1" 

He put on the jogi's 

on his body.t 

dress and went, and rubbed ashes 

* " The imperisliable name " 

: the cry of mendicants begging. 

t He thus "became what is generally known as a hanphattd faqifr, or 

ear-pierced mendicant. They are followers of Gorakhnath, and are 

under a vow of silence. Nothing will make them speak as I know from 

experience.

THE LEGEND OP sJla DAI 333 

1100 Agrohe ke bagh men dene alakh jagtle. 

Dene alakh jagae bagh men bistar laya. 

Baith rata yeh akant sawal kisi se nahin paya. 

Alakh Purakh ka dhyan hirde bich lagaya." 

Mahitd, 

" Tft hai puran Brahm ; Ten pM nahln maya !" 

Mdlan. 

1105 " Bhojan kije ; anke main lae Maharaj: 

Pahile bhojan kijiye, phir karo kuchh kaj. 

Phir karo kaj ; mere sun prifcaa pran piari. 

Do roti aur sag sham ke khafcir lae tumhare. 

Chhoro charaSj tham do kuan, karij ho j^ thare : 

1110 Bhojan karo ; der mat kijo; mano bachan hamare." 

1100 And going into the garden (of Sila's father) at Agrohsl 

he called out 'alakh'. 

Calling out ' alalth', he spread his bed in the garden. 

He sat alone, and spoke to no one : 

Meditating on the Immortal in his heart. 

'' 

Mahitd* 

Thou art the true Brahma: Thy wonders are not 

fathomed \" Gardener's 

Wife.f 

1105 " Take the food I have brought thee, Maharaj. 

First take the food and then do something (for us). 

Then do something (for us) : hear, thou husband, beloved 

of my life. 

Two loaves and a relish have I brought thee for thy 

supper. 

Let go the bucket, 

stay thy work. 

stop the (working of the) well, and 

1110 Take thy food without delay : hear my words." 

* Addressing the Deity. 

t To her husband working in the garden at Agroha,

; 

334 LEGENDS OP THE PANJIb. 

Mall 

" Khub kJa yeh k^m, tain bhojan kia tayy§,r : 

La, Malan, bhojan kardn ; chhor dia sab k§,r. 

Chhor dia sab kar, piari, bhojan ham ko lao. 

Ik darvesh bagh men utara : 

jakar darshan p&o. 

1115 Ik roti ham ko de, Malan, ik us pe le j§,o. 

Sidh purus ko bhojan deke pas hamare ao." 

Malan. 

" Hath jor bintl karun, Jogiji MaharElj ; 

Bhojaa kijiye, Ndthji, Me tumhari kaj. 

Lae tumhari k^j, N^thji, charnon sis niwaun. 

1120 Bhojan karo baith, Maharajl, jal jhari bhar Miin. 

Mere kanth ne hukm dia hai, tumhare tahil bajaAn. 

Ap kaho so hi karun, Nathji : hukm ap ka chûn." 

Gardener. 

" Thou hast well done, getting ready my food. 

Let me take my food, my (gardener^s) wife : I have 

given up all the work. 

I have given up all the work, my beloved, bring me my 

food. 

A holy man has come into the garden, go and visit him. 

1115 Give me one loaf, my (gardener's) wife, and take one to 

him. 

Give the food to the holy man and come back to me." 

Gardener's Wife. 

" With joined hands I beseech thee. Sir Jogi, Maharaj 

Take the food, my Lord, I have brought for thee. 

I have brought it for thee, 

at thy feet. 

my Lord, and lay my head 

1120 Sit and eat the food, Mahar^j^, and I will bring thee 

water in a pitcher. 

My husband ordered me to do thy service. 

I will do as thou sayest, my Lord : 1 desire thy orders."

THE LEGEND OP SILA DAi. 335 

Mahita, 

" KhAb kM bhojan lae, man men ap bichar. 

Sun, Malan, Kartar ki maya apram par. 

1125 Maya apram par jagat men, nahin kisi ko pai. 

Sab se pit banJ thi hamri, jab Sila parnai. 

Munshi aur diwan rahen the mere thai ke mahin. 

Har gat param par, Malini, basi bhojan lae." 

Mdlan. 

" Kis pe bheji tain, piya kaisa woh darvesh 

1130 Mahita baitha bagh men kar jogi kabhes ! 

Kar jogi ka bhes Kanwar ne tan men khak ramai ; 

Mahita. 

" Thou hast done well to bring me food, considering me 

in thy mind. 

Listen, thou Gardener's Wife, the wondrous works of 

God are unfathomable. 

1125 His wonders in the world are unfathomable, and none 

hath fathomed them. 

I was friendly with every one when I was betrothed to 

siia. 

Clerks and officers lived in my house. 

The works of Hari,* thou gardener's wife, are wonderful, 

that now thou bringest me stale food." 

Gardener's 

Wife. 

'' To whom didst thou send me, my husband what sort 

of monk was he 

1130 It is Mahit^ that sits in the garden dressed up as a jogi I 

Dressed up as a jogi, my Lord has put ashes on his 

body. 

* God ; Vishnu.

! 

! 

! 

! 


Sir par dhae jat§, ; 

kin men mundra pal 

Ho gia mahil andher, kaiiwar jogi ban aya ! 

Tan man ki na hos bflgli men bistar laya !" 

Mhll 

1135 " Tu tirya kamzat hai ! nek dhare na dhir ! 

Woh to Mahita sMh th& : kaise bana faqir 

Kaise bana faqir, bawari Tu tiryl mat bin! 

Sat karori hai woh Mahita : 

yeh hai bat na honi 

Aisi kotal kator nar ! tain jhuth bat kah deni ! 

1140 Aise Mahita ko kahe jogi ; "aqal tere kin chhini t" 

Malan. 

" 'Aqal hamari na gai : jhuth b4t mat Jan. 

Mahita jogi ho gaya : 

kah§, hamara man. 

He has tied (his hair in) a knot on his head, and put 

rings into his ears. 

The palace has become dark ! Because its lord has 

become a jogi. 

Bringing his bed into the garden he has ease for his 

body or mind \" Gardener. 

1135 " Thou art a wanton woman ! Thou art confused !' 

Mahita was a merchant, how can he have become & faqir 

How can he have become a faqir, thou fool Thou 

woman without sense 

Mahita is (a man) of seven karors * and this cannot be ! 

Thou art a wicked wanton woman to tell such lies ! 

1140 Call such as Mahita a. jogi thou h-ast lost thy senses \" 

Gardener's Wife. 

" I have not lost my senses : think my words no lies. 

Mahita has become a jogi : 

listen to what I say. 

* I.e., worth Eujees 70,000,000. 

^

THE LE(3END OE siLA DAI. 337 

ICaha liamar4 man, piya ; main Sil Kariwar pai jaim. 

Mahita jogi hone ki jakar khabar sunMn. 

1145 Bina kahe main na hatne ki; piya^ tujhe samjhaftn. 

Sara hal sund Sila ko pichhe bhojan khaun." 

Socke hi malan bari ko man men dilgir. 

Mdlan. 

"HeBMve, tukyakari" 

Bake nain se nir: 

Bake nain se nir. 

rudan kar umang rakl kai ckalti. 

1150 Nikas bagk se ckali makil ko Sil Kaiiwar pe ati. 

Tap tap ansu paie nain se, na mukk barni jati. 

Malan. 

"Piya tnmhare pare bagk men, kyiin nakin darshan 

pati " 

Hear my words, my husband : I will go to the Lady 

Sila. 

I will go and tell her of Mahita's becoming ajogt. 

1145 I will not return without telling her : I tell thee, my 

husband, 

I will tell Sila all about it and then I will eat my food." 

And thinking it over, the gardener's wife was very sorrowful 

in her heart. 

Gurdener's Wife. 

" Fate, what hast thou done 1" 

Tears fell from her eyes. 

Tears fell from her eyes : very sorrowfully went she on. 

] 150 Coming out of the garden she went to Sila's palace. 

43 

Drop, drop fell the tears from her eyes, nor could she 

speak with her lips. 

Gardener's 

Wife. 

" Thy husband is in the garden, why dost thou not visit 

him"

! 

: " " 

So mujh se tain kaho, mati kar soch bichari ! 

Tell it me and be not so grieved and sorrowful ! 


8Ud Dai 

" He Malan, sacM kaho : kyun man kia udas 

Kyfln nainon jal cba raha kaho hamEire pas. 

1 155 Kaho hamare p4s : rudan karti kyAn ai 

Kya kuchh hua bigar mujhe de sach batae. 

Ky& kin bipta kaha tere ko deni gari 

Mdlan. 

" Sil Kanwar, main kya kahun dhare nahin man dhir ! 

1160 Woh to Mahita Shah ka baitha bana faqir. 

Baith^ bana faqir dekhke us ko ai. 

Kya mukh seti kahuh dekh tan hM saudai. 

Tumhare pati lia jog : kaun gat hui tumhari 

Yeh mujh ko afsos bai&: sun, Sil Kanwari 

SUa Dal 

" Thou Gardener's Wife, speak the truth : why art so sad 

in thy heart 

Why fill thine eyes with tears Come and tell me. 

1155 Come and tell me : why art so sorrowful 

Has anything been wrong with thee Tell me the 

truth. 

Has any one said anything harmful, giving thee abuse 

GardeMer's 

Wife. 

" My Lady Slla, what shall I say I have no joy in my 

heart 

1160 Mahita the Merchant's son sits in the garden having 

become a, faqir. 

Sits there a faqir; seeing him I am come. 

What shall I say with my lips when I saw him my 

body was all full of grief. 

Thy husband has taken the saintship : what misery is 

thine 

Great is this my sorrow : listen, my Lady Sila.

! 

" 

: 

: 

! 

THE LEGEND OF sIla DA!. 339 

1165 BalJ 'umar nad&n Prabbii ne kya gat kini 

Is 'umar ke bich tujhe bipfca yeh dini !" 

Sila 

Dai, 

" Ai Malaiij tain a &bhi buri sunle an ! 

Tan men baqi na rahi : 

nikasi jat bain pran." 

Ragni. 

" Pran jati abbi meri, 

1 1 70 Bacban, Mi,lanj jo sun tere. 

Bidbi, tain kaun gat kini 

Bipat aisi mujbe dini 

Nabin janun thi yeb bogi 

Aya pitam jo ban jogi. 

1175 Sabeli die lagen ta'na ! 

Tyag an jal dia kbana ! 

Socb mujh ko bui bbari. 

Bipat aisi mujbe dari ! 

1165 Wbat grief batb God given tbee in tby early and inexperienced 

youtb 

At sucb an age bas He brougbt tbee to misfortune 

" 

! 

8Ua Dal 

" O Gardener's Wife, sad tbings bast tbou told me 

In my body (life) remains not : my 

life departs." 

Song. 

" My life goes now, 

1170 Wben I bear tby words, tbou Gardener's Wife ! 

Fate, wbat misery bast tbou wrougbt 

Giving me sucb sorrow ! 

1 did not know it would be tbus 

Tbat my busband would come (to me as) a jogi. 

1175 My maids blame me ! 

I give up food and drink ! 

Great is my sorrow : 

Tbat tbou (Fate) bas brougbt me sucb grief!"

: 


SUa Dai lu Mata. 

" Sil Kanwar beti, suno : kyilii man men dilgir 

1 180 Kyftn bhojan karti nahlii bahe nain se nir 

Bahe nain se nir Thai kyiin pare, ri, bagaya 

Sach batao bbed, nahin kyun bhojan khaya 

Kyun tera badan malin phiri mukh pe zard fii ! 

Kya kin ne dini gal mujhe de sach batae. 

1185 Do main khal vAkv, jib duiigi katwae. 

Na rakhuh pal ik ; turt us ko marwae." 

Slla 

Dal, 

" Ai Matij turn se kahiin, lagi badan men ag. 

Shah ka jogi ho gaya, aya tumhare bagh. 

Ay a tumhare bagh: tumhen. main pir sanai. 

8ila. Dai's Mother- 

" Lady Sila, my daughter, hear : why is thy heart 

sorrowful 

1180 Why dost thou not eat (why) fall tears from thy 

eyes 

Fall tears from thy eyes why send thy plate away 

Tell me the truth, or else how can I eat my food 

Why dost wander with wizened form why is thy face 

pale 

Has any one abused thee 

Tell me the truth. 

11S5 I will severely beat him ; 

* I will have his tongue cut out 

Nor will I delay a moment: I will have him slain at 

once." 

SiU Dal 

" mother, I tell thee, my body is aflame. 

The merchant (my husband) has become a pgi, and has 

come into thy garden. 

Has come into thy garden ! (and now) have I told thee 

my grief. 

* Lit. May his skin.

THE LEGEND OP SILA DA. 341 

1190 Kauon mundrl pae, ang bLabhfifc ramai. 

Jab se chhore pati phir darshan nahiii p^y^. 

Mere karan kanth ap jogi ban aya. 

Yuii denk bhojan tjag : suno, turn tnkt hamari; 

Us kt adhat biyog, nir nainon se jari." 

Stla Dai Id Mdt&. 

1195 " Sil Kanwar betl, suno : karo soch ko dAr. 

Mahita ko ab mahil men lao aj 

zarflr. 

Lao aj zarur ; soch taj, Sil Kanwari. 

Man men rakho dhir^ mere pranon ki piari. 

Un bagbon men jae aj Mabit^ ko lao. 

1200 Yeb s§,ra ranwas usi ki thai bajao." 

8Ud Dal. 

" Mata, birkbam turn bano^ main samjbaun tfte . 

Jo tu laye mabil men jagat bansai bAe. 

1190 Putting rings into bis ears, be has rubbed asbes on his 

body. 

Since I left my husband I have not seen him again. 

My husband has become & jogi for my sake. 

So do I give up my food : listen, thou mother mine : 

For the grievous separation from him do tears fall from 

my eyes." 

Slid Dat's Mother. 

1195 "Lady Sila, my daughter, hear: put away thy sorrow 

afar. 

Thou wilt surely bring Mahita to thy palace to-day. 

Wilt surely bring him to-day : put away thy sorrow, my 

Lady Sila. 

Have patience in thy heart, thou delight of my life. 

Go into the garden and fetch Mahita here to-day. 

1200 The whole household shall do him service." 

8Ud Dai. 

" Mother, bring thou my husband : I tell thee. 

' 

If thou bring him to the palace the world will jeer.

! 


Jagat hansM hue, samajh tajh ko nahiri ^ve. 

ICal kahe, " ai bir " ; aj mahilori men lave 

1205 Jo honi so Mi : socli ky^ kije, Mai 

Chupke hoke baitli kare, mat jagat haiisae I" 

8tta Dai Jet Matd. 

" Packrang orko ckunri, kar solak siBgar : 

Sil Kanw^r betl^ jao dekhan bagh bahar. 

Dekkan bagk bakar satk lo sabhi, vi, sakeli. 

1210 Gao mangalckar, mati na jao akeli. 

Un bagkon men jae, kkabar pitam ki lao. 

Jo dekko kuckk bat anke mujkej ri, sunao." 

Mata ke m^ne backan, ko man men §,nand, 

Sab sakkion men saj raki, jun taron men ckand. 

The world will jeer : dost thou not understand 

Yesterday I called kirn " brotker^ " to-day I bring him 

into my palace ! 

1 206 What was to be has been : why dost grieve, mother 

Do thou remain silent, that the world may not laugh 

" 

at us ! 

Sila 

Dai's Mother. 

" Put on thy robe of five colours and thy sixteen ornaments 

: 

Lady SllS., my daughter, go and see the beauty of the 

garden. 

Go and see tke beauty of 

tke garden witk all thy maids. 

1210 Sing songs of rejoicing and go not alone. 

Go to the garden and learn about thy husband. 

And come and tell me all that thou mayest see." 

She obeyed her motker's word and was pleased in 

her 

keart, 

Eesplendent among all ker maids, as tke moon among 

the stars.

: 

THE LEGEND OP Slhl DAL 343 

1215 Jftii t^ron men chand chalan ki jab jan kari tayyari. 

Sabhi salieli sang bich men ho li Sil Kanwari, 

Ai bagh ke bich ; dekh man men Mahit^ socha bhari. 

Mahitd. 

" Karm rekh na mitej bhanwar to gay& chbor de 

A A J) 

sari." 

Muhtal. 

" Bidhi ki baigi gat niyari: 

1220 Karm rekh balwan, nahin tarti tari I" 

Pahili 

SaJcht. 

" Ham tere sanmukb khari sabbi sakhi, Maharaj : 

Kyiin mukb se nahin bolte karo kaun ki laj 

Karo kaun ki laj bachan mukh bol sunao. 

Utho hamare sang Kanwar mahilon men ao. 

1215 (Shining) as the moon among the stars she made preparations 

(to go). 

The Lady Sila in the midst of all her maids 

Came into the garden, and Mahita seeing them was 

very grieved in his heart. 

Mahita. 

" The lines of Pate cannot be blotted out, and my soul 

flies away leaving all (my body)." 

Refrain. 

" Wondrous is the work of -Pate 

1220 Strong is the line of Pate, and waits not for putting 

off." 

First Maid. 

" All we maidens stand before thee, Maharaj. 

Why dost thou not speak whom dost thou fear 

Whom dost thou fear speak a word with thy lips. 

Get up and come with us into my Lord's palace.

: 

. 

344 LEGENDS 01 THE PANJAB. 

1225 Hath jorke kahMj nain ke palak utMo. 

Dirg kholo, Maharaj ; 

dahi ki pir bhujao." 

Dusrl 8akhL 

Bolo, Mahita Shah ke, sundar bachan anup ! 

Sab bala be^kul hui dekh tumhara nip ! 

Dekh tumhara rAp, Shsih ke, aj ^n birhe ne gherl, 

1230 Ham d^si khari pas tumhare shakal charnan cheri, 

Kis karan, Maharaj, bata de, badan tera jo kum laya 

Hath jorke kahun bar bar, na mukh se kuchh farmlya ! 

PahiU SaJM. 

" Ai Sila, turn hi kaho pitam ko samjhae 

Ham seti bole nahln, ap gia sarmae, 

1235 Ap gia sarmae, tum hii. kaho, pran piari. 

Bolega tum sang ; 

kahega man ki sari. 

1225 With joined hands I beseech thee, lift up thine eyelids. 

Open thine eyes, Maharaj, and ease the pain from our 

bodies." 

Second Maid. 

" Speak, Mahita, thou Merchant's son, some sweet and 

pleasing words. 

All the household,* seeing thy beauty, are disturbed. 

Seeing thy beauty, thou Merchant's son, the pain of 

separation (from thee) hath possessed them. 

1230 All we maids are standing before thee to do thee service. 

Tell us, Maharaj, why thy body is so emaciated 

With joined hands we ask again and again and thou dost 

say 

" 

nothing ! 

First 

Maid. 

" Sila, speak to thy husband thyself. 

He will not speak to us, but is ashamed. 

1235 He has become ashamed ; do thou apeak, beloved of our 

lives. 

He will speak to thee and tell thee all his heart's (desire) 

* I.e., the female part of it.

! 

! 

! 

: 

f 

THE LEGENB OP siLl DAL 345 

PAchlio man ki b^t : jog tap kyun dhivi ! 

Mukh se boll^ naMn, hua dukh bahot apari." 

Slid Dal 

*' 

Suniyo meri binti, pltam pr&n adhar 

1240 'Araz karAn, dasi khari, gal bitih pallu dari 

Gal bich pallu dar ; Kanthj sun 'araz hamari. 

Mukh bolOj Maharaj ; khat^ turn bakhsho sari. 

Kyun Ma badan malin phire mukh par zard ai 

Hath jorkar kahun: bol mukhj sir ke Sain!" 

1245 " Pitam hamre chal base, suni rah gae khor 

Balepan ke bich men gai muhabbat tor ! 

Ask hiai his heart's (desire) : why 

he has taken on the 

saintship and penance. 

He would not speak with his lips, and pained us inenitely." 

8ila 

Dal 

''Hear my prayer, husband best beloved 

1240 1, thy slave standing (here), beseech thee, with garment 

round my neck* 

With garment round my neck, husband hear my prayer. 

Speak with thy lips, Maharaj : forgive all my fault. 

Why is thy body so emaciated why is thy face so pale 

With joined hands I pray thee, speak with thy lips, thou 

Lord of my head 

" 

! 

1245 "My husband has departed and left his body empty. 

Our loves have been torn (asunder) in the midst of my 

youth 

* I.e., dressed so as to honor the person supplicated : to be very 

liiimble. 

t Speaking now to her maid.

! 

! 

! 


Gai muhabbat tor ; 

piya mere bo gae jangal ke bdsi. 

Balepaa ke bich, saheli, ky^ Karta ne main tarasi 

Mere karan jog bhes lia, kan bicb mundra dali." 

1250 " Kahai cbale ho cbbor aj, Sil Kanwar si taj nari 

Kis ne lia tar, pati, yeb kan tnmhare ki moti 

Kahan gia chira, gulbaga, sbakhal bashan, resham dhoti 

Be^kul bahi yeh nar kahe, khari Sil Kanwar tumhari dasi 

Ik bar mukh se bol^ piya; nahin, pran tajtogi main 

yehan se." 

1255 " Ai Prabhii Dinanath, tA suniye meri pukar ! 

Kanth yogan maia khari, kahan gae bhartar V 

Our loves have been torn (asunder) : my husband has 

gone to inhabit the deserts.* 

My maid, what has God done to me in the midst of my 

youth 

For my sake he put on a jogi's dress, and put the rings 

in his ears." 

1250 " Whither hast gone to-day leaving thy wife, the Lady 

Silat 

Who tore out the pearls from thy ears, husband J 

Where is thy fine turban, all the beautiful robes for thy 

body and thy silken loin-cloth 

The Lady Sila, thy slave, stands here : with bewildered 

mind (body) she cries. 

Speak one word with thy lips, my husband : 

or I will 

destroy my life here." 

1255 " God, the Lord of Slaves, hear thou my prayer 

I stand here bereft of my husband : where has my husband 

gone " 

* I.e., has died: tlie Hmdns are always taken into the jangal, away 

from inhabited spots for burning. 

t Speaking now to her husband. 

, • 

• 

j.-u 

,.» 

t Most native merchants of the Baniya easte wear pearls mtheu-eais.

: 

!: 

THE LEOEND OF sIlA DAI. 347 

Ragni. 

" Gae bhartar ban jogl. 

Pia bin kaun gat hogi 

Prabhu, main ky& khata kini 

1260 Bipat aisi mujhe dini ! 

Mere pat rakbiye, Sami 

Bhagat bachbal Garur garni. 

Sakhij babal pe turn jao : 

Der pal ki mati lao. 

1265 Kaho mata pe turn ja, ri 

Cbita ki sab karo tayyari." 

" Chandan big mangae lo : mat man karo udas. 

Sati hAn, kosal racbun, chaluri piya ke pas. 

Cbalun piya ke paSj sakM, main tum ko 'araz sunauru 

Song. 

" My husband became a pgi. 

What will happen to me without a husband 

What sin have I committed, God 

1260 That thou hast given me this pain \ 

O Lord, preserve my honor 

Protector of 

the Saints and rider on Garuda.* 

My maid, go to my father. 

Delay not a moment. 

1265 O go thou to my mother 

And get ready all the funeral pyre.^'f 

''Get the sandal-woodf quickly: sorrow not in thy 

heart. 

I am sail, I make my pyre and go to my husband. 

I go to my husband, my maid, I tell thee. 

* I.e., Vishnu. 

t I.e., her husband heing now dead she intended to become sail and 

bum with him. 

X For the pyre.


1270 Sab samagri Mo mahil se. Rim Nam gun glun. 

Ab jine ka na phal mer§,j tum ko yeb samjhMn, 

Atal suhag milegS, mujh ko, piya milan ko jaun." 

Sun Sna M Ut ko Undl hM udds. 

Chali rudan kar mahil ko, ai Harbhaj Shah ke pas. 

1275 Ai Harbhaj Shah ke pas rudan ke nainon men jal chhayS. 

Bandi, 

" Woh to Mahita jogi hoke bagh tare men ayS. 

Na tan men pran bhanwar Baikunth Lok ko dhS,ya. 

Us ke sang prln taje, Sila ghl chandan mangwaya 1" 

Sun b4ndi ki bat ko ho man men dilgir. 

1280 Jsin men bS.qi na rahi, babe nain se nir. 

Babe nain se nir. 

1270 Get all the necessaries (for the pyre) from the palace, 

sing the Holy Name of God. 

I have no profit in living now, I tell thee. 

A very wifehood shall I obtain when I go to meet my 

husband." 

Hearing Slla's words the maid was sorrowful. 

She went weeping to 

Sab. 

the palace and came to Harbhaj 

1275 Came to Harbhaj Sah weeping, and tears filled her eyes. 

Maid. 

" Mahita came as a jogi into thy garden. 

No life was in his body and his soul has fied to Heaven. 

Giving up her life with his has Sila asked for sandalwood." 

Hearing the maid's words he sorrowed in his heart. 

1280 No (pleasure) remained in his body, tears fell from his 

eyes. 

Tears fell from his eyes.

THE LEGEND OF SfLA DAI. 349 

Harbhaj 8ah. 

" Bidhij tain yeh kya bat bichari 

Ai Bhagwan, an sukh mam did mujhe dukh bbari \" 

An bagh men dekh Sil ko kftk Shah ne mari. 

Karam rekh balw§,n kisi se na tarti hai tan. 

Harbhaj 8ah. 

1285 " Sil Kanwar beti, suno : kia chit kyim dhang 

Chalo mahil ke bich men, chhor piya ka sang. 

Chhor piyS. ka sang, Ladli, ap chale mahilon mahin. 

Pan dan kar sil badhao : yeh hi bat main samjhai. 

Is Mahite ke ap nam ka sada birt lagwao yeh^n se. 

1290 Us Mahite ke r&kho sil^ us ke upar tap karnajao Kanshi." 

resolved on 

Harbhaj Sah. 

" Fatej what is this that thou hast 

Godj thou hast given me grief in my joy 

" 

! 

Coming into the garden and seeing Sila^ the Merchant 

cried out. 

The lines of Fate are strong and wait not for any's 

putting off. 

Harbhaj Sah.* 

1285 "My daughter, Lady Sila, hear: why is thine heart 

dejected 

Leave thy husband and come into the palace. 

Leave thy husband, my darling, and come into the palace. 

Practice good works and charity and virtue : this is what 

I tell thee. 

Make a (religious) endowment for ever in Mahita's name 

here. 

1290 Keep thyself virtuous for Mahita's sake, go and do a 

penance at Kasi (Banaras) for his benefit." 

* He here attempts to dissuade SiM from becoming sail, as lie was 

bound by custom to do.


8Ua Bat 

" Us Brahma ne jo rachi, wohi bhogne bhog. 

Jag men apnS, hai nahm^ nadi nam sanjog. 

Nadi nam sanjog, Pitaji, dia dukh so hi sahna. 

Mat pita ne janam dl^ hai, phir qismat ka lahn^. 

1295 Jo kuchh dia Brahma ne kis ke age kahna 

Jis bidh rakh Ram^ Pitaji, us tarah se rahn&. 

Mat barjoj Babal, mujhe ; kyun leta sar pap 

Jaun hat§,vega mujhe dungi us se sr^p. 

Diiiigi us se srap, sati se jaun hatave. 

1300 Kitne hi jug hue mujhe wohi bar p^ve. 

Ab kangna bandhwae baithke sis ghundhaun, 

Kar solah singar piya milne ko jauh. 

Si/a 

Dai, 

" What God hath ordained, that must be done. 

None are thine own (true friends) in the world; all 

friendship is temporary. 

All friendship is temporary, my Father : we must bear 

the pain that is given us. 

Father and mother give us birth, and then we must 

submit to fate. 

] 295 Who can complain of what is ordained of God 

As God keeps us, my Father, so must we remain. 

Forbid me not, father : why take sin upon thy head 

Who prevents me (from being sati) him will I curse. 

Him will I curse who prevents me from becoming sati. 

1300 For many ages will I obtain the same husband.* 

Now will I have the marriage bracelet tied on, and my 

of souls. 

hair dressed. 

And putting on all my sixteen ornaments I will go to 

my husband. 

* I.e., by becoming sati : allusion to the belief in the transmigration

THE LEOEND OP SiLA DAi. 351 

Ky.uri karte ho der 

chit4 ki karo tayyari. 

Piya milaa ka chao mere man men hai bliari. 

1305 Tum ohandan mangwae sabhi samagrf lao. 

Hath jorke kahftn mujhe piya pas pahunchao." 

Harbhaj Sdh. 

" Sil Kanwar beti, suno ; mat na karo biyog. 

Yehan apna koi hai nahiii, nadi nam sanjog. 

Nadl nam sanjog, L^dli, mat man ko bharkave. 

1310 Ram Nam hirde men rakho, mat na bhai'am gaiiwaye. 

Jalkar chhai badan ki ho ja^ hath nahin kuchh aye. 

Kami kare mile balam pai ; bin karnt nahin pS,ve." 

Sild 

Bed, 

" Ai mere gyani pitaj khiib di§, updes. 

Jin ka sacha sil pai lage na maya las. 

Why do you delay Get ready the pyre. 

Very great is 

my longing to go to my husband. 

1305 Send for the sandal-wood and bring all the necessaries. 

With joined hands I beseech thee to bring me to my 

husband." 

Harbhaj Sdh. 

"Lady Sila, my daughter, hear : go not away (from us). 

We have no (real friend) here, friendship is transitory. 

Friendship is transitory, my darling : ruin not thy heart. 

1310 Keep the name of God in thy heart and lose not thy 

fair fame. 

By burning thy body will become ashes and will profit 

thee nothing. 

Thou wilt meet thy husband (in the next world) by good 

deeds : without good deeds thou wilt not obtain 

him." 

81M Dal 

"Ah, my wise father, good is thy advice. 

No part of illusion belongs to her whose virtue is real.


1315 Lage na maya les, sil jin ka hai par£l. 

Piya milan ko jae koi jag meri siira. 

Piya bina nahin jiwan ; 

jiven pi bin nahin hoe ; 

JaM piya ke pas, majhe barjo na koe. 

Dije chita banae, karo mat pal ki deri. 

1320 Piya milan ka ohail, majil kboti bo men." 

Sarhhaj Sah. 

" Hirde gyan apne karo, maya mati bisar. 

Yeb hi sati ka riip hai ; 

suniyej Sil Kanwar. 

Suniye, Sil Kanwari beti ; samajh soch le man men. 

Pun d^n kar sil badhao, babal ke angan men. 

1 325 Aisa dukh hu§. hai tujh ko a karke balepan men. 

Hon sati chhoro, ab, Beti, tere li saran main." 

1315 No part of illusion belongs to her whose virtue ia 

complete. 

Some noble (women) there are who go to meet their 

husbands. 

Without my husband I will not live : without my husband 

I cannot live. 

I will go to my husband ; let none prevent me. 

Get ready the pyre ; delay not a moment. 

1320 I desire to go to my husband, though the way be hard 

to me," 

Harhhaj 8dh. 

" Keep knowledge in thy heart, forget not (that these 

are) illusions. 

For such is the nature of sati : 

Listen, Lady Sila, my daughter: 

listen. Lady Sil^. 

think and consider it 

in thy mind. 

Do good works and charity and virtue in thy father's 

house. 

1325 Such grief hath come to thee in thy early youth ! 

Give up becoming sati now, my daughter, I beseech 

thee."

" 

: 

Sat} hon se mujhe koi mat 4j hatave ! 

THE LEGEND OF sIla DAL 353 

8Ud Dai. 

" B4bal, deri mat kare, kahun tumheri kar jor. 

Ab mere lag gai piy4 milan se dor« 

Piya milan se dor : mujhe ab kya samjhave 

1330 Kyiin le hai sar pap hath tere kya ave 

Pi ke sang thi pr4n ; kaho, ab kaun bacbave 

Sarbhaj Sdh, 

" Tarn mahari mani nahirij bahot rahe samjhae : 

Ai Beti, teri khushi piya milan ko jae. 

loo5 Piya milan ko jae : abhi chandan ki chita banaun. 

Sab samagri dhari chita men, tera hukm bajaun. 

Ur gia bans, rahi hai k§,ya ; kis ko gyan sunaun 

Tu to surg sidhari, Beti, Ram Nam 

" 

to laun ! 

Sila 

Dai. 

" Father, delay not, I pray thee with joined hands. 

A longing is upon me to 

A longing to meet my husband : why 

meet my husband. 

press me now 

1330 Why take sin upon thy head It will not profit thee. 

My life was with my husband ; tell me, who can save 

me now 

Prevent me not from becoming sati to-day 

" 

! 

Harbhaj Sah. 

" Thou wilt not hear me, though I greatly press thee. 

Ah, daughter, thy pleasure is to meet thy husband. 

] 335 To meet thy husband : I will get ready the sandal-wood 

45 

pyre at once. 

All the necessaries are placed on the pyre ; I obey thy 

order. 

The soul has fled : (it is but) the body (that) remains 

Thou art 

to what shall I teach knowledge 

of God ! 

gone to Heaven, daughter, I call on the nance 

"

354 LEGENDS OF THE PANjIb. 

Bdjd Basalu. 

" Ai Siihe, tu chatr hai ; 

jkne charon Bed. 

1340 Ab Mahita, kah de, kahan yeh hi batave bhed. 

Teh hi bata de bhed : kahan hai Mahita pran piyara 

Usi jaga ham pran tajenge : yeh hai nem hamar^. 

Kaun makan gia hai Mahit^ 

Tehi bat batla de, Suhe ; tere hath guzara." 

Totd. 

Hamen bata de sara. 

]345~ " Ai Raja Risal, suno j dharo idhar ko dhyan. 

Us Agrohe nagar man taj de j&e pran ! 

Taj de jae pran, Raoji ; sun le bat hamari. 

B^gh bich men us Mahite ki jal gai Sila pisiri. 

Bagh blch men un donon ki chita baui hai bhari. 

1350 Shah Harbhaj mahilon se aya le samagri sari." 

Raja 

EasalA.* 

" My parrot, thou art wise : knowing the four Vedas. 

1340 Tell me where is Mahita now Tell me the secret. 

Tell me the secret : where is Mahitl, my heart's beloved 

In the same place will give up my life :f this is my vow. 

Where has Mahita gone Tell me all about it. 

Tell me this, my parrot ; 

it will come from thee." 

Parrot. 

1345 " Eaja Rasalu, hear: give thy attention here. 

He has given up his life in Agroha City ! 

He has given up his life. Sir King : listen to my words. 

Mahita's beloved Sila has burnt herself in the garden. 

A large pyre is erected to them both in the garden. 

1350 Harbhaj Sah is come from the palace with all the necessaries." 

* Change of scene. f Live and die witli Hm.

! 

! " 

THE LEGEND OF sIla DAL 355 

Bajd RasaM. 

" Ab hamra na jlAn& ; hot dharam ki han, 

Ik dina, ik tithi ke the us ke hamre prau 

The us ke hamre praa, piari ; ab talke kahan jhnk 1 

Honhar to ho gal, Siihe ; ab kya jan chhapana 

1355 Ab Mahite ke mare pichhari mera nahln thikana. 

Mahari us ki ik bat thi : tain na bhed pachhanl ! 

" Agni matl lagsiiyo, isi chita men Sj. 

Aya Garh Eisal se main jalne ki kdj. 

Main jalne ki k4j nem Mahita sang mera. 

1360 Kya raha jag ke blch dharam jo apna hara 

Yeh ina,n 

Na jiun pal ikj us ke sang sidharun." 

uthe tarang bhasham tan ko kar dMun. 

Raja Ras&lu. 

" I will live no longer now : my honor is lost. 

My and his (MahitS,'s) lives were of one day and one 

moment 

(So) were his and my lives, my beloved: where shall 

I go now 

What was to have been has been, my parrot : 

my life now* 

1355 There is no hope for me after Mahita's death. 

why hide 

His and my fate were one : thou dost not understand !" 

" Light not the firef in this pyre to-day. 

I am come from Risalgarh to burn (on the pyre). 

I have a vow to burn with Mahita. 

1360 What remains in the world when one's honor is lost 

Great is the desire of my heart to make ashes of my 

body. 

I will live no longer but will depart with him." 

* Why live any longer 

t Scene changes again and RasiiM is now at Agroha speaking to 

Haxtliaj SSt.

! " " 

! 

356 LEGENDS OP THE FANJAB. 

Harbhaj 8dh, 

" Ai Eaja, mat na jale karo, parj& ki pal 

Kaun cMa ka dukh tnmlieii suniye, Rao Risal, 

1365 Suhiye, R&o Risal, tere bin sab ra'iyat dukh p&ve. 

Is Mahite ke sang, RS.oji, kyun tu pran ganwave 

Aisa bali nahin ko!, Eaja, tere sarnhne ave. 

Kaun bat pe jalo, Easala kyun ni bhed bative " 

 

Baja BasdM, 

" SMh Harbbaj, turn se kahun; man men karo bichar. 

11370 Mera us ka Ml tha, ik tMtM ik ba,r. 

Ik tithi, ik b4r bich men mei-a us ka mama. 

Mera us ka yeh ki dharam thaj ab pichhe kya karna 

Lakh, kaho main na hatne ka : Bsi chiti men jalna. 

Koi -ghari men a] jale, ham ab Mahite se milaa I 

Harihaj Sdh, 

" Rijl, protector of thy subjects^ bnrn not thyself 

What is troubling thee Listen, King Rasalu. 

1365 Listen, King RasMu, without thee thy subjects will 

suffer trouble. 

Why give up thy life. Sir King, with Mahita 

None should have such power over thee, Raja. 

What dost burn for. Raja why not tell me 

Bajd RasaM. 

"Harbhaj Sah, I tell thee : 

think it over in thy mind. 

1370 His and my life were of one moment and one time. 

His and my death are of one moment and one time. 

This was his and my honor : after him what can I do 

Speak for ever but I will not turn back : I will burn on 

the same pyre. 

Burn us some time to-day, I will meet Mahite now.**

THE LEGEND OP SILA DAI. 357 

Totd. 

1375 " Aji Nath, sun lijiye, karo ik tadbir. 

Nath, tumhEtre bar mei taj 

dun oj sarir. 

Taj dfin aj sarir, NS.thji ; ab jiwan kj'a mera 

Eao Rasalu gia maran ko^ tera charan kS, chera.* 

Agrohe men jalan gia hai, us se kal ne ghera. 

1380 Chalo hamare sang, Nathjlj karo idhar ko phera." 

Guru Gorahhndth. 

" Are bacha, mat na jale, dharo idhar ko dhy3,n. 

Chalo sang, ham bhi chalen ; bhale kareri Bhagwdn. 

Bhale karen BhagwS,n, re bacha ; man men rakho dhir^. 

Nahin marega Rô Easalu ; mat na taje sarira. 

1385 Ik Nam se dhyan lagô : sada bhajo Raghbira. 

' 

Honhar hatti nh,' sohi kah gae D^s Kabira.'' 

Parrvt.f 

1375 " Sir Saint, hear me, make some plan. 

At thy door, my Lord, I will give up my body to-day. 

I will give up my body. Sir Saint : why 

longer 

should I live 

Raja Ras&.lu, the disciple at thy feet, has gone to die. 

He has gone to burn at Agroha ; death is on him. 

1380 Come with me. Sir Saint : let us journey thither." 


" My son, bum not : turn thy attention here. 

Come with me, let us go together : 

God will bless us, my son : 

Raja Rasalu will not die : 

God will bless us. 

have patience in thy heart. 

(so) give not up thy body. 

1385 Worship the One Name (of God) : call always on 

Raghbir.J 

' 

What is to be is not put off,' 

so saith Kabir.§ 

* For eheld. f Prays to Gorakkaatli. J Rdma, i.e., God. 

§ Tie great mediaeval reformer, whose writings and sayings still form 

tie principal beliefs of the modern illiterate Aryan Indians. He flourished 

in the time of the Emperor Sikandar Shah Lodi, a. d. 1488-1512,

; 

358 LBUENDS OF THE PANJAB, 

Totd. 

'' 

Woh to baitli4 chita mefij mera badan gi& sukh. 

Phil" jake kya karoge, de holi se phflrikh. 

De holi se phunkh khabar le ; 

kyiln mujh ko tarsave 

1390 Chalo hamare sang, Nathji, hamre pr§,n bacMve. 

Jiwan ka phal jab kai mera, jo Rija mil jave. 

Aj mardnga tare b4r men, jo ni use jiave." 


" Chalj bach^, ab ckalat bain leni nadb utbae." 

Agroke ko ckal pare ckhin men pakunche ae. 

1395 Ohhin men pahunche ae, bagk men asan an lagae. 

Nadb bajake, ' alakh' jagake, jab nau Nath bulae. 

Jahan bagk men chit! bani tki, usi ckita pe ae. 

Amrit bund ger jogi ne, siddhon ke bar pae. 

Parrot. 

" He sits on tke pyre and my body is dried up (with 

grief). 

What wilt go and do now, blowing gently on him 

Blowing gently on him tell me : why play with me 

1390 Come with me. Sir Saint, and save my life. 

Life will be of use to me when I. meet the R§ja 

To-day will I die at thy door, if 

to life." 

Gixrii 

Oorahhidth. 

thou do not restore him 

" OomCj my son, let us go now taking my conch." 

They started for Agroha and arrived in a moment. 

1395 They arrived in a moment, and took their seat in the 

garden. 

Blowing the conch and calling ' dlalch ' they called the 

nine Saints.* 

And they came to pyre that was made in the garden." 

The jogl (Gorakhnath) threw on it a drop of holy water 

and received the blessing of the great saints. 

* Reference to tlie nine Naths of wliom'Goraklmath was the chief.

! 

! 

THE LEGEND OK siLA DA. 359 

Pdrbati. 

" Ai Pitam, is nagar men kya hM hah^ kar 

1400 Rudan ksire nagari sabhi, kar rahi bahot pukar. 

Kar raki bahot pukar ; Nathji, kaho sack ki bani. 

Kis pe bipafc pari hai bhari 

Yeh ham ne na janl 

Is ka bhed batao ham koj ap Nath gur gyani. 

In kk dukh mitega, Saml, jabhi pMngi pani." 

Mah&dev, 

1405 "Koi rove, koi hanse, jag men dukh a pas. 

Gyan disht kar dekh le jab jag hot binas. 

Jab jag hot binas, janiyo dukh sukh ka hai mela. 

Pdrbati.* 

" My husband,t what is this wailing in this city 

1400 All the city is weeping, and crying out greatly. 

Crying out greatly : my Lord, tell me the truth. 

On whom hath this great sorrow fallen I do not 

know of it 

Tell me the secret, thou that art a wise saint and teacher. 

O Lord| until this sorrow is blotted I will not drink 

water-" 

Mahddev. 

1405 " Some laugh and some weep, troubles come in the world. 

See with the eye of knowledge that the world is transitory. 

When the world is transitory, know that in it are mixed 

joy and sorrow. 

* This is a clear case of deus etc machind ; the poet having killed off 

all his characters, or rather put them into such difficulties as to ensure 

aU their deaths, invokes the supernatural aid of Biva and Parvati to get 

them out of their troubles. 

t I.e., Siva or Mahadeva. J Sdmi for Swdmi, i.e., îva.

. 

: 


Is mS,ya se koi bache hai pake gur ka chela. 

Jin maya, mohe, lobb, sab^ tyag&, chaurasi na khel^. 

1410 Ohali chalo age ko, Bholi, mat na karo jhamela ! 

" 

Pdrbati. 

"Ik nahm manOj piy&, lun in ka dukh dekh. 

Jab yehan se age chaMri : yeh hi mujhe hai tek. 

Yeh hi mujhe hai tek, Nathji : nahin S.gari jana. 

Man men samajh kare hai jo koi, us ka kya samjhand. 

1415 Bin puchhe main nahin chalungi : age nahin thikana. 

In ka dukh ptichh luii pahile, pichhe bhojan khana." 

Mahadev. 

" Is maya sansar men dukh hai ^thon jam, 

Chal, Bholi, age chalen : tujh ko kya hai kam 

Tujh ko kya hai k^m 

Piari, samajh soch apne man men. 

(But) saved from 

this wondrous thing is the disciple of 

a true teacher 

Who hath given up illusion, lust, greed and all, and 

passed over the eighty-four 

lives) 

(IdJths of migrations of 

1410 Pass on, thou foolish (goddess) and disturb me no more." 

Parbatl. 

" I will listen to nothing, my husband, I will see their 

grief, 

And then pass on from here : 

this is my vow. 

and I will not go on. 

This is my vow, my Lord ; 

To him who understands in his heart why explain any 

further 

1415 Without finding out I will not go; I have no hope else. 

First I will ask their griefs and then I will eat my food." 

Mahadev. 

" Trouble comes all day long in this illusory world. 

Come, thou foolish (goddess) and pass on : of what 

concern is it to thee 

What concerns it thee Think over it in thy mind, my 

love.


THE LEGEND OF SILA DaL 361 

1420 Kitne razi hai mast khwari kitne razi hain dhan men 

Jis ne Us kl tek li hai ab ake balepan meiij 

Unhiii Amarpur bas hua haij samajli dekh apne tan 

mei.." 

Pdrbnti. 

" Main to ab mano nalain : kya 

samjhaOj Natk 

Un ka dukh niwar do jabhi chaklngi sath. 

1425 Jabhi chahlngi sath, Nathji : yeh mere man ai. 

Chaluh aj bagh men, jogi puchhuhgi samjhae. 

'Kya dukh hua batao ham ko, kyun raul machae 

Kis ki chita jale bagh men Yeh do bhed batae.' " 

(jriiru 

Goralchndth. 

"Rao Rasalu jal gae us Mahite ki kaj. 

1430 In ko kp jiwae do ; kirpa karo, MaharSj ! 

1420 Some revel in pleasure : some revel in wealth. 

Who take His (God's) name in their early youth. 

Become inhabitants of Heaven :* understand this in 

thy heart (body)." 

P&rhati. 

" I will listen to nothing : why dost press me, my Lord 

Lessen their pain and I will go with thee. 

1425 Then will 1 go with thee, my Lord : .this is in my heart. 

I will go to the garden to-day and find out from the 

joylf 

' 

What is the trouble tell me, why do they raise this 

weeping 

Whose pyre is burning in the garden Tell me this.' " 

Gurit Ooraklmdth.X 

"Raja Rasalft has burnt himself for Mahita's sake. 

1430 Bring them to life ; have mercy, Maharaj ! 

* Amarpur = Amarapura = Amaravati : 

t Gorakhnath. 

46 

city of the immortals, 

% To Siva.

. 

! 

: 

362 LBGBNDSl OP THE PANJaB. 

Kirpa karo, Maharaj ! Inhin ko hatke ap jiw§,o. 

Turn ho puran Brahrn Sakat, jo in ke pran bachao. 

Kirpa karo, dukh hS,ro ham3,ra, zar& der mat lao. 

In ke prau bachake, Sakti, jab age ko jao." 

1435 Kirp^ hiii bai Sakat ki; hM Qudrat ka kbiyS.1. 

Apnl ungli chirke amrit lia nikal. 

Amrit lia nikal Sakti ne jabhi cbita pe dara. 

Tinoii bue cbita men baitbe mukb se Ram' ' ucbara. 

Nabin ant Us ki lila ka : kya jane sansara 

1440 Ik Nam bai sar jag at men, wobi sabbi ko piara ! 

Raja 

Rasalu. 

" Ab kirpa Gur ki bui sare bamari kaj. 

Sab jag palanbcir bo, bare gbarib-nawaj ! 

Have mercy, Mabiraj ! Bring tbem to life again. 

Thou art Creator and Almighty ; save their lives. 

Have mercy, take away my grief, and delay not. 

Save their lives, O Almighty, and then pass on." 

1435 The Almighty bad mercy : the Allpowerful considered 

tbem 

Cutting bis finger be drew forth the water of life.* 

The Almighty drew forth the water of life and threw it 

on the pyre. 

All three on the pyre sat up and called on God. 

There is no end to His (God's) mysteries : what knows 

the world of them 

1440 There is One Name in all the world, which all love. 

Raja 

Easdlii. 

"Now through the mercy of the Guru (Gorakbnatb) all 

my desire has been accomplished 

The nourisher of the whole world, great cberisher of 

the poor 

* This is a new origin for the ainrita !

THE LEGEND OF sfli DAt; 863 

Bare gharib-nawElj, jagat ki ]}1^ pMr racMo. 

Hatke janam hfia hai, in kk d'ftja biyMi karwao. 

1445 Aur sab picblie kariyo ; Pandjt big bnlao. 

Bedi racho biyah ki tayyari; baje sabbl bajao." 

Pandit big bul&eke sMha lia rachM. 

Mahita Sil Kanwar ke phere die diwae. 

Phere die diwae, waban sab a gae goti nati. 

1450 Sab parwar aya b^gh men, parda kbichen bdnS,ti. 

Mangalcbar bua bagh men, Gorakh charhe barati. 

Nar nari ranw§.s kbushi hon, sab parja gun gati. 

Jab unhen saM sajaeke die suta ko biyahe, 

Gbar gbar men anand bo, mabilon men uchbae. 

Great cberisher of the poor, perform another marvel 

for the world. 

They have been brought to life again, marry them a 

second time. 

1445 Do all the rest afterwards ; send for the priest at once. 

Make ready the marriage altar ; sound all the music." 

Calling the priest quickly they performed all the ceremony. 

And performed the marriage of Mahita and the Lady 

S114. 

They performed the marriage there and all the kith and 

kin came. 

1450 All the household came into the garden, and tents of 

cloth were pitched. 

Songs of rejoicing were (sung) in the garden and 

Gorakhnath started the procession. 

Men and women of the household were pleased and all 

their dependants sang their praises. 

When the propitious moment was fixed he (Harbhaj Sah) 

married off his daughter. 

Rejoicings were held in the houses and palaces :


1455 Mahilon meiii uchhaej dat hatke de bhari. 

Milne Sil Kanwar sakhi sab niari niarl. 

8Ua Dai, 

" Lije mujli ko, mat, abhl ri big bulae. 

Abhi, Mata miluii sas apni ko jae," 

Slid Dai la Mata. 

"Kusbal khem se turn jao, meri Sil Kanwar. 

1460 He Sila^ meri ladli, tan man darun war. 

Tan man darun war, meri pranon ki piari. 

Ldngi beg bulae ; nahin kijo man bliari. 

Jao sas ke pas, kliushi se mangal gao. 

Lungi beg bulae ; mati dil men ghabarao." 

1465 Kia majil dhar majil, pbir kuncli kia makan. 

Chand roz ke bich men ae Risalgarli darmiyan. 

Ae .Risalgarb darmiyan, ae hain sajkar sab nar nari. 

1455 Were held in the palaces, and a great dowry was given 

anew. 

And all her maids severally embraced the Lady Sila. 

8ila Dal. 

" Mother, send for me early. 

Mother, now would I go to meet my mother-in-law." 

Sila Dai's Mother. 

"Happy and joyful go thou, Lady Sila mine. 

1460 Sila, my darling, I sacrifice my body and soul (to thee). 

I sacrifice my body and soul, thou delight of my life. 

I will call thee eai'ly : be not anxious in thy heart. 

Go to thy mother-in-law, singing gaily in thy joy. 

I will call thee early : 

have no care in thy heart." 

1465 Stage by stage they went and reached again the house 

(of Mahita). 

After many days they arrived in Risalgarh. 

They arrived in Risalgarh, came all the men and women 

in their best (to meet them).

! 

THE LEGEND OP SILA DAI. 365 

Deoi-hidar 'araz barte taiii h^tli jor intazari. 

Age ghoiS. hai Mahite M, pichhe Sil Kanwari. 

1470 Ghar ghar meri anand hoiyo hai sunkar bat§.n s^ri. 

Slid 

Dm. 

" Charan tumhare main laguri, ai Sasur, main an. 

Jori an mila di hatke Sri Bhagw^n. 

Hatke Sri BhagwS,aj Sasji, hamen sukag dia hai. 

Din-diyal; Raghu kul, Naik, jis ka saran lia hai. 

1475 Rachanhar rachtave Samij jis ka khiyal bhaya hai 

A.mar nam un ka hai ; 

jag men dftja kaun hua hai" 

8Ud Dai M Sdtj. 

" Sukhi sada rahiye^ Bahu ; rahiyo tera suhag. 

Dudhj putFj dhanj sab phalon hoiyo burh suhag. 

The door-keepers 

joined hands. 

welcome them^ waiting for them with 

First went Mahita's horse, afterwards the Lady Sili. 

1470 Rejoicings were in every house when they heard all. 

8Ua Dai. 

" I am come to fall at thy feet, my mother-in-law. 

Once more hath the Holy God joined us two. 

Once more the Holy God, my mother-in-law^ hath given 

me wedded life. 

The helper of the poor, he of Raghu's race,* the Giver 

whom we worship. 

1475 He the Lord, the Creator hath re-created me, whose 

favour was on me. 

Immortal is his name ! Who 

world " 

is second to Him in the 

8Ua Dai's Mother-in-law, 

" Be ever happy, my daughter-in-law : may thy wedlock 

last. 

Milk, and sons, and wealth, a wedded old-age, all be thy 

lot. 

* Rama = God.

! 

! 

! 

! 

, 


Hoiyo bdili suh^g, yeh hai asis hamari. 

1480 Sada karo anand ; sukhi sab a gai kari. 

Turn pe kare sabal, ap awan GirwardhElri. 

Man men hfta ^nandj mile jo joii than. 

Sub sambatj sub ghari, sada sub kar tumhai-jl 

Shakal tumbare des, kusbal parwar tumbar^ 

1485 Gi,o mangalcb&r, so jao mahil atari. 

Hatkar rakhi laj, an Karta ne thari.^' 

Kirpa bui Jagtamba ki, dhar^ dbyû Jagdis. 

Sang sampuran turn ne kia, Parbati ke Is ! 

Parbati ke Is jagat men hamri kari sahai. 

1490 Sang sampuran karke, Mata, picbhe bbit ban§,e. 

Sur, munij jan, sankS,dik ne teri maya kabin na pai 

Kabte Bansi Lai, Mat, tft cb^r jugoh men dhyat 

Be thine a wedded old-age, this is 

my blessing. 

1480 Be bappy ever : all happiness hath come to thee. 

May he come and pi'otect thee, Girwardhari (Krishna), 

I was happy in my heart when he joined you two. 

Happy thy years, happy thy moments, happy be all thy 

work. 

Happy be thy land, happy be thy family. 

1485 Sing gaily and go into. the lofty palace. 

Once more hath God come and protected thy honor." 

Merciful hath been the Earth-mother, the Lord of 

Earth* hath been mindful (of me). 

Thou hast completed my lay, thou Lord of P^rvati. 

The Lord of P§,rvati hath protected me in the world. 

1490 Finishing my lay. Mother, I sing thy praises. 


Sages, saints, and the holy ones have not found thy 

mysteries. 

Saith, Bansi Lal,t Mother, thou art the supporter of the 

four ages (of the world) 

* Siva and Parvati. f The composer of the poem.

No. XI. 

THE STORY OF RAJA MAHI PARKASH OF 

SARMOR, 

AS TOLD BY TWO INHABITANTS* OF JUNGA, THE SEAT 

OF THE BAJA OP KYONTHAL. 

[Kyonthal is the Hill State whose territories lie about Simla, and this song 

relates the story of a well-remembered fight between the B&n& of Kyonthal 

and the R§jd of the neighbouring Hill State of Sarmor, more commonly 

known as N^han. The geogi'aphy of the song is strictly local, 

most of the places mentioned lying in the limited Territories of the fl^jd 

of Sarmor, and the remainder within those of the (now) K&jd of Kyonthal. 

Its history is, of course, strictly local, and excepting the chief heroes, it is» 

in the present condition of our historical knowledge regarding the Hill 

States of the Simla District, quite hopeless to ascertain who the many 

minor personages, that figure in it, were.] 

[The song is called the ."story of Mahi (or Mî) Parkfish, Eajd of Sarmor." 

This must be meant for Raj& Malhi Parkdsh, the fourth of the SArajbansi 

(RAjpiit) line of the Rdjas of Sarmor, who, according to a manuscript 

epitomised history tha.t 1 have in UldA of the Sarmor State, reigned in 

Samvat (Vikramaditya) 1165—1174, or a.d. 1118 to 1127. The territories 

along the R. Jamu4 in its mountain course, known as Sarmor, were conquered 

by one Sobhd Rawdl, a, Surajbansi BSjput, a son of Raw^l (not 

Efiwal) Ugar Sen of Jaysalmir (founded according to Tod, EajastMn, II., 

187, in Samvat 1212, or A. D. 1158, by Bhatti Rajputs), who established himself 

in the Rijbau forests of the Khyarda Dtln in Samvat. 1152, A. d. 1095, 

and called himself Svehabans Parkfish. He reigned from 1095 to 1099 

A. D., and was succeeded by R&j4 SalbShan ParkSsh, 1099-1102; Edj4 

BAlakchand Park^sh, 1102-1108; RSja Malhi Parkish, 1108-1117. Parkash 

is the peculiar designation of the Sarmor E^jSs, the present ESj4 

being Shamsher ParkSsh, the 45th of the line. I'he name Nihan for the 

title of these R^j^s is comparatively new, as that town was not occupied 

and repopulated till the time of the 31st E^jS, Karam Parkash, who reigned 

1616-1630 A. D. The discrepancy between Tod's date for the foundation 

of Jaysalmir and the local historical date for the foundation of Sarmor 

by a Jaysalmir prince is a slight one compared to those that follow.] 

[In the song Malhi (Mahi or M4i) ParkSsh fights AnAp (or Nup) Sen, RSnA 

of Kyonthal. According to the manasoript UrdA history cf these chiefs, 

R4na Anup Sen was 67th of his line, (the present chief R^jd [by British 

* Kolis, a oaate who are weavers and singers by profession.


pateut of 1857] Mahiudar Sen being 75th,) and was the person who fought 

Eajd Malht Parkdsh of Ndhan at the Deshu DhSr. But his date appears 

to have been A, d. 1070-1693, barely within 600 years of that of Malhi 

ParkSsh. Auftp Sen's contemporary was BiljS Budh (or Bidhiohand) 

Parkash, 34th Eaja of Sarmor, who reigned 1674-1694 A. D. 

Going back, 

however, I find that the 33rd KanA, Kfip Sen, was Malhi Parkash's contemporary, 

and perhaps this is the Chief meant.] 

[Four of the hill legends about Simla will be given in succession as they bear 

upon localities closely connected geographically and historically, and are all 

in the same dialect, known as the ICyonthali to students of these matters. 

The linguistic notes that follow are a guide to all the four stories.] 

[The language of these hill songs is very archaic and peculiar, and of considerable 

value in tracing the history of the modern Aryan dialects. I have 

therefore brought together here, for the benefit of scholars, all the forms 

and words that are new or peculiar. The lists also will be of use to those 

studying the text of the soags- 

I would remark in passing that the often 

observed sMlboleth (sh for s) of the hill peoples is strongly marked in 

these texts. One set of forms, that of the continuative participle, is 

worth remarking on here. It varies as iro, iro, ero, erU, (and ^re). In 

modern Hindi it is hcur, karlMr, Jcarlce and ke ; in old Hindi it was often i 

or t : in modern dialectic Panj^bi (hill dialects especially) it is often i. All 

the above are variations of the root Ttri, make, used an auxiliary termination, 

and I give, as a suggestion, that this iro, etc, is a double termination (like 

fear/car) t + ro, the ro representing the root of the auxiliary verb rahnd, to 

continue, to remain. In support of this view it is to be observed that in 

the songs {vide vocabularies) rdd, royd and roh& = rahd from rahnii : 

lod = lii/d: 

go& = gay&, gi& : Mioy& = lcMy6, : jog&=jagA. I would also draw attention 

to the various and indeterminate character of the nominal and verbal 

inflections. They are worth study. Further there is a change from a or 

d to i (e) and 1, which is noteworthy in tracing etymologies. Thus we 

have has = lcis; mhg6. = thag ; 

pig = pag; ghard = gMrd ; Aihgd^Mng; 

dive =j&ve; U del = land u, ; and more strongly both pooMA and pfcMd stand 

for cMchd. Again Ui-na is b&ndhnd, to bind, fasten. It is possible, therefore, 

that Wrnd and bimdhnd both represent the Sanskrit root handh (badh).'} 

GRAMMATICAL FORMS. 

ho ( 

= aO) O; °^dd, 

de, dt ( = mere), in: also { 

= vieh 

se) from inside, from : ex., jabe di = 

jab men, when. 

huge {=p6.s), near, by, to. 

#e ; iro, tro, ero, erA, the continuative 

participial termination: ex., 

dire : jdero : bhdgiro, j&iro, hdriro, 

handiro : jdiro : j&erib. 

hM — lco, 

to. 

1{M, kMye { = w&ste), for. 

Tiho ( = se) from : 

( = also ho) to. 

Id, le, U, the termination of the past 

and aorist tenses : ex. , basld, jo^pld, 

holla, jatld, old, dtld, hold, holS,, 

deld, bolUlA : larle, hole, dUe : 

bh

. 

bAjA MAHt PAEKASH OF SAEMOR. 369 

md, mdh : mi, m

. 

370 LEGENDS OF THE PAJJJ^B. 

ial^nA = hcmw&nA (e.f. nen& = len&) to 

get made. 

hAUiA = han&nA, to make. 

h&lto, a bracelet, wristlet. 

iS/mil, olotliea. 

bdmd ( = lag6M&) to begin, 

idw, clothing : ( = also silrat) appearance, 

iasM, rain. 

b(Un& ( = gAndn& but c.f. hattiA, to 

make) to knead. 

be(J»o, pepetrated (c./. Panj&bl l>mn&). 

iegi, Mgri ( = hahot) very, mnch. 

heo, Mo ( = Md), was: 

(c./. loA). 

herd = bM, a flock of cotton. 

hhalr& ( = bahot) much. 

bh&tale, oxen. 

bhAtri, arrow. 

bh&yo ( = h1l&), was. 

b/ioZJtd ( = bhwrnia) parched, half 

cooked. 

bh-UlA {= hud) 

MghA, broad. 

was. 

hior&i a change in music (time or tune). 

bir, village lands. 

bir&, an exchange. 

birn& ( = b&ndhm&) to bind. 

io& = tell, was (c.f. beo) 

ch&mb& ( = t&mb&) copper. 

chomrA ( = chauntrA) a verandah, platfoi:m. 

chaur& ( = thor&) a little : note ch = 

t; c./. cMmbd. 

eheori, cMort, (= isW) a woman, wife. 

cMrwA, a babe. 

chhArnA = chhadnA, to leave. 

cii^'4 

(sjiuj-d) fulfilled. 

chMji, chhijrt, third, i.e., tfoH; c./. 

dai = PanjAbi, dM, daughter. 

dagAsA ( = gandAsS) a small knife for 

cutting grass somewhat on the 

principle of an axe. 

dalickA {=gaUchA) a mat. 

d&pM { = lcoM) a room. 

de^mA {=jAnA) to go : it occurs in the 

forms, dtvA, diwA, dM, dive, devi, 

went. 

d&hg, a club. 

dihgnA ( = nikAlnA) to take out. 

dlse, dese, desM ( = din : Skr. divas, 

dyaus) the day. 

(fSue, imp : let us give, give : cf, leve. 

dhAchnA, to feed. 

dhAi { = dohAi') help. 

dh&i, on high. 

dMle, dhAM, on high. 

dharAU = ddftJ rilM, midnight. 

dheri, dMH, dhtre, dMr&, ( = din) the 

day, 

dhiso, dMshA = disil, visible. 

dillce, sunrise. 

^dm ( = Dom, a low caste) a menial. 

dwAgi { = nwq&r&) a loud drum. 

g&veh = gAil=gAt, a cow. 

gAveh = ffiiwtt, a village. 

3iM = gharA, an earthen pot. 

githi = a7igUhi, a fire-place, 

j'od, jioe, goi ; goyA = gayA, giA, went 5 

also the auxiliary passive form. 

hAdi, hAdH ( = bAt) word, thing. 

handnA ( = chalnA) to go, walk. 

JiAzirt ( = AduM-jpresent) an attendant, 

servant, follower. 

MrnA = hernA, to look at, 

jagro, the walls of a house. 

stare. 

japnA ( = 6oZ»d) speak: c./. jckpnA. 

to repeat (religion). 

jatna, jathnA { = b6bnA) to speak, 

jojfd = jo9'il,a place. 

TcAchh — TcinArA, a bank, 

kAng, a row, noise. 

Mrd, revenue (= 

IcAr). 

karego = TcaranglA, a corpse. 

kartA, great anxiety, 

is = M, or. 

khAH, revenue. 

klioyA = khS/yA, ate. 

%$2o, in the morning. 

koUi, koele, verandafi. 

kUkH, cuckoo. 

kydth, clouds.

EAJi MAHi PAEKASH OP SAEMOR. S71 

lehh&-joih& = lekli,&-~cholchA, 

computation. 

i^n&, to take ; also auxiliary 5 it occurs 

in the forms ; loe, IM, lot = UA, 

lie, liy&, Jije, took : ItwA, leve, live = 

liye, let us take. 

ltd& = laniA, crop-tailed. 

lira, a cry. 

WiS = r(l(i=roM, remained: see noj/4, 

tnAecho ( = mS, b&p) parents. 

majjat, an army. 

maitrii (_ 

= mcmg&i, sag&t) betrothal. 

medn { 

= wazir) a minister : a caste 

name. 

wilro, a roof. 

nai>&r&, past tense, pierced. 

nadri = nazari, sight : c.f. the common 

Fauj^bi, Jc&gad and Jc&gat = k&gkax. 

nah&r, gut, leather-string. 

n&i, nt, nth — nahin, not. 

nted = l&nA, to bring. 

wi/relo, narelt&, narelto, a vessel {= 

narel, a cocoanut : the vessel of a 

cTiillam or huqa). 

n&vi, (c/. Panjfibi ne&und, to bend to 

one's will) subject, ruled. 

negi, ntgi, ningi, a chief, military 

commander, () 

a caste name. 

nemii = len&, to take ; found in the 

forms, neih, nt&h, neHn, ntmA. 

neori, naviro, likeness. 

nikr&=nM&, small. 

noliM = a/noTcM, an unfair injury. 

o64 ( = dpcw) above. 

pagi, a vestibule, verandah. 

pagr& ( = z&hir) visible. 

pagrd, a follower (= pag, Panj^bi). 

p&kha/ro, opposition, enemy. 

p&n& ( = d6Xn&) to throw, place. 

pmidale, a verandah. 

pa/rcM = harcM, a lance. 

pehorO, Tcho ( = &ge Tto) next. 

pichid, pachiA ( = cAdcM) paternal 

uncle. 

pidart { = prU) love. 

pig ^ pag, foot. 

pionolt, yellow ink. 

pM=pirM, a generation. 

ponA, an ear of corn. 

pUchhnA— nitMtA = pUchhnA-gichhnA, 

to ask. 

puro, pure, purA,=pare, back, beyond. 

py&l^, pyHwal, a door. 

rabAM, a caress. 

raghes ( 

= matlab) a meaning. 

rAmhi, an instrument for uprooting 

grass, etc. 

rAngaH, a wife : fern, form of BAngar, 

a Rajpiit caste. 

raunA, ( = chaunti-A) a verandah, platform. 

rekhA, a rival (fern.) 

rigar-A, regard, member of the royal 

family :, HgaH { = log) the people, 

population. 

ro, rH, ( = aur) and. 

roi/d, rM, rove, rohA, forms of the 

verb rahnA, to remain : past tense. 

r^lhan {= rAbarA) before, in front. 

samAn (înArn) reward. 

sanoh ( = salAlc) treatment. 

sardA, plenty. 

sarlt, loud. 

seri, sairi j seti ( = tnaidan) a plain, 

flat place : for sir, sM, a swamp. 

shAdnA = saddhnA, to call, send for. 

sJiAh = sAh, life. 

sk5.4, 

( = 80,74^) made, completed. 

shari = scwS, opposed. 

sMgi, shihgi, quickly. 

shilA ( = sa«.) hemp. 

sMU ( = gtdar) a jackal. 

sh'irash = sarsoh, mustard. 

sTiokA= suM, dry. 

sibure, always. 

sijTA, altogether. 

soAh ( = sidhA) straight in front. 

tAtA pAnt, boiling water. 

t&ve, imp. of tAunA, — to warm up. 

thokart — hathkari, handcuff. 

ihthgA

: 

; 


TEXT. 

Hdr Baja Mahi Park&sh Raja Sarmor. 

Tabe bara baras Mai Eaj& jorl Kyonthal n^razi. 

Tabe Nahan si* Eaja taini fauj pai jori. 

Tabe ji dera ay^ tba Raja ra Balag ri serf. 

Tabe ji Balag ri bastaro goe bhagiro devi. 

5 Tabe Dharmi B^bmani mat li kamai 

Tabe Raja ayo goya charhiro dere aumi jae. 

Tabe thali bbari moti ri bheta Raja khi lie. 

Tabe Raj^ taini Mahi ghM pitbri pheri. 

Tabe " hekri, Raja, petbri dfini, S§,hiba, teri. 

10 Tabe jo til sune, Rajia, Babmani ri wazirif 

Teri babiii lao sunanganon ; tii ja Nahani pheri ! 

" 

Nabin sunda Babmani cbeori ra janL 

" Meri Kyonthal narazi khi jani bi J£in4. 

Tusi banorij cbakaro, pagaii ; 

pabiro sanjoya." 

15 Tabe aj hukum Raja r^ Nagni khi hoa. 

Tabe Nagni rigari goe bhagiro divi. 

Sunni chh§.ri goe Nagni to bae goe n^ shari : 

Tabe Nagni ri garhi goe begi dari. 

Tabe dheri ekki panjoef goe Nagan choti. 

20 " Tusi banon, ch^karo, pagarij shigi karo roti." 

Tabe aj hukum Raja ra Sainjuni khi boa. 

Tabe dera a goya Raja ra Sainjiim ri sairi. 

Tabe bara jiini§ darue Raja kia mahMay 

Tabe sare bhaiyo Kyonthal ra lambu jira hala. 

25 " Tusi banon, cbakaro, bugche ; 

pahiro sanjoyS,." 

Tabe aj hukum Raja ra Desu Dharo khi hoa. 

Tabe Dharo Raja Deshii ri kiri^ psly^ mahala. 

Tabe Kathri ri Koliye mat pai kamai 

Tabe Raja ayo goya MaiyS. dere aumi jê. 

* So in this text, but si is unintelligible; probably should be Ndhant. 

t For 'arzt 

J Pdnch ek, about five. 

§ Juni, a weight, one and a half 'mans. 

P For mahdvara 

\\ practise : vulgo mahdord. 

% For hili from khila a fort.

! 

: : 

EAJA MAhI PAEKASH OF SAEMOE. 373 

30 Tabe Kathri ri Koli r^ bar lekha do sera. 

Tabe jo basla, " RajS, Deshfie tis ri rayat hami." 

Dera le goe Mti rAbliaro ri dharati. 

Tabe Koliye devi goe Kathri Jonga re darbare. 

" Kisha sutta., Rgjia Saliib&, Deshi bairi ae " 

35 Tabe Raja Johgk re pagiye da girda pherft. 

" Tusi Ghile aindiyo Chhibbru, Dharte Bbileru." 

Tabe ji Ghila ayo goya Chhibbrii, Dharta Bhilerft. 

Tabe Raja tainiye Nilp Seni pucbhne loe teshi. 

" Tabe DesM feyo goy^. Maiy^; bami karmin kya " 

40 " Tabe dola devi, to dai rk, khoe, Saina Raja." 

Dai R&ja ri Sitala landi na rasoi. 

Tabe Ghili japla Dharta manru ri ghai. 

Jo jo tbi nikri* diijhi tain di karaz lai. 

" Ter4 desh khaya, R^jia, chakare ro gbore. 

45 Desu larle Dbaro di chakaro ro gbore. 

Bhat khaya tere chakare, picbh piti hami." 

Tu bhi lare, mere jo r^yat, adha kara chhorM. 

Tabe Ghile taine Ohhibbre mat ghM kamai 

Tabe Mahite mutsaddi khi k%az pahunchave. 

60 Tabe bhaef bhaiyo rati khi kilo fauj kathi.f 

Tabe bashi liia tha pai, jhumeii rahi kyuth. 

Tabe chhiri fauj RajS, ri, hoe dhaule dharo 

Tabe thara§ charhe Thakuro, pandra hazar : 

Tabe Deshua re Dharo da goya mo'amlalage; 

55 Tabe Deshua re Dharo di lagi goi lai-ai 

Tabe Hanumane Gosain ghaya pagra jape : 

" Ebe dhanw^ chharo bhathri dahgare sambhalo." 

Kati katiro bhar ghaya dharthi ro nalo : 

Tabe gahe lage goe mundii re karego re bare. 

60 Tabe Raja ri fauj ra gha re kata kiS,. 

Tabe DeshA ri Dharo di lagi goe jhiri. 

Tabe oba ^ya thfi. R4ja palagi da unda naya|| jiri.1[ 

Rajd Sainjft ri seri da surani gir^, 

" Mera ora a, ni tu MoMa, soini r^ narelo." 

* P For neg, rights. t For hue was. J P For ekatthd together. 

§ Yov athdrd. Ndnd^ldnd. 

\\ f Doubtful word.

: : ; : 


70 Tabe peborfi kbo bolM Nabani ra MeAn : 

" Tu Rajfi. Kyonthal lo jairo e ley^ saman " 

! 

Tabe esbu lagi goe boldi Raja ri Rani 

" R&ja, jab tba barji kas ra na tba mani 

65 Ti di solne re narelo da Debi r^ tM bar^. 

" Tabe tan lagi, Mji, narelo A, ban leyi bM sbtib." 

"Ebe Naban re, MolM, konJ murib jami. V 

Tabe esba \kgk tba bold^ Nahani rk Mthfi. 

"Tabe lide lide ebe ghorave ebe gdbnEl batba." 

Tu bbi Kyontbal lo jaero k^ ri kari &,ya " 

75 " Tan bi bolo, Saibib^ R^ni, nai mebna deve : 

Mera Desbft Dbaro r^ badla taini, 

TU bi Ratipani, Rani, dekbi kari tamasba." 

Tabe R§ja taini Nabani kari lo^ saman : 

Tabe bara sau kia ghorlu s^tbi lakb piad4. 

80 Tabe cbarbi fauj Raja ri Ratip^ni ^ya. 

Tabe tbarsi,* ji^ni darue Raja kia mobala. 

Onde jbftmaku Dbatri, oba Sargo MmhL 

Tabe dbaulie re gidie, kalia re kaga, 

Taine RatpS,ni bhayo goya moâmla lagi. 

Rani, dekbi. 

85 Tabe bira 14g^ bandAkon r^ megb jira goxi 

Tabe biia lag^ kamane ra jao jira pona 

Tabe bira laga talwari ri bijli ji cbamako. 

Tabe isM laga tba bold^ Mbani Raja : 

"Toin Desbu Dbaro bbayya Rajl Sabiba, tbi nokbi ki.» 

90 "Tabe ebe paki boi, Rajia, meri Sidbi ri waziri." 

" Tabe dAdb sarda meri Nabani ebe lai dima kbiri." 

Tabe esbH %§, boldei Sidba Waziro, 

Jfini pbat pardft, munb da pacbbo sai na pbero 

" Tabe teri DesbA Db§,ri da, Rajia, basb cbala nk tba mer4, 

95 Tabe ghane lage tbe mflndft re, karego re baro." 

Tabe esM l%a bolni Sidb4 Waziro. 

" TAni picbba Raji§. NAp Saina, jauEi pberi." 

Tabe Sidb^, Kot ra Tbakuro, baitba mebna dei. 

" Tabe DesbA jita tba, Rajia aj bariro d6wa." 

: 

* For athdrd.

" 

; 

: : 

: 

to Nahan ! 

Baja mah! paekash of sabmor. 375 

100 Tabe Mja goyEi seh Nup Saini pichhro hati 

Tabe ji R^ja aeh Maiya bigri hfia khush 

Tabe N^hini jAero kari loe bahot khusM. 

TRANSLATION. 

The Story of Edjd MaM Parhash of Sarmor. 

When MaLl was twelve years old the Eaja of Kyonthal 

quarrelled with him. 

Then the RajS, (Mahi) collected his army at Nahan : 

And the Raja took up his station at the plains of Balag,* 

And the people of Balag ran away. 

5 Then Dharmi, the Brahmani, made a plan^ 

(That) as the Rdja had come she would go to his camp. 

So she took a platter filled with pearls as a present to 

the Raja. 

But Raja Mahi turned his back upon her. 

Then said she " Sir Raja, thy face and back are one to 

me; 

10 If thou hear the Brahmani's petitionj Raj§,. 

Take golden-bracelets for thy wrists ; return thou back 

He heeded not the wisdom of the Brahman woman. 

" I must go on account of my quarrel with Kyonthal. 

Do you fasten on your turbans, my servants, and put 

on your armour." 

15 Then the Raja gave the order for (the march to) Nagni 

at once.t 

Then the people of Nagni ran away. 

N§.gni was (left) empty and no one opposed them at all 

And the people of Nagni were very frightened 

And about the fifth day Nagni was conquered. 

20 " Fasten on your turbans, my servants ; and quickly 

make your bread J." 

* About 15 miles from Nahan. 

t Lit. To-day. N^gnl is the second stage towards Kyonthal. 

X I.e., prepare for the way.

: 

: 


Then the Rajl gave the order for Sainjlini* at once, 

And the Eaja's camp came to the plains of SainjAni. 

Then the Raja fired off twelve junisf of gun powder : 

And all the brethren of Kyonthal shook like grass. J 

25 " Fasten on yoar bundles, my servants : put on your 

armour." 

Then the Raja gave the order for the Desu Dhar at once. 

And the Raj^ fired at the fort of Desu Dh^r, 

Then the bards§ of Kathri hit upon a plan, 

To go to the camp of RajS, Mahi. 

30 Two sers (of food) were ordered as a gift to the bards 

of Kathri. 

Then said they " We are the people of the R4ja of 

DesA."l| 

At dead of midnight the camp was robbed. 

Then the bards of Kathii went to the Court of Jonga 

(Kyonthal). 

" Why art sleeping. Sir R^ja, an enemy hath come to 

Desii" 

35 The Raja of Jonga was walking about his verandah. 

" Call you Ghiia, the Chhibbar, and DhartA, the BLiler." 

When Ghila the 

come 

Chhibbar and Dhart^ the Bhiler were 

Raja Anup Sen (of Kyonthal) began to ask them thus 

" Mahi has come to Desu ; what shall we do " 

40 "Give (thy daughter) in marriage (to him), R4j^ 

(Anup) Sen and enmity will be lost."^ 

Sitala, the Raja's daughter would not take her food. 

Then spake Ghlla and Dharta, settling the betrothal 

(And so) on what free rights they had (the RaJEi,) demanded 

double revenue. 

* Or Sain], tlie tMrd stage. f I.e., 18 mans or 1475 lbs. 

X Lambu = lamia, a grass, aristida depressa or setacea : see Panjah 

Plants, Stewart, p. 249. 

S KoU, a caste occupied as bards and weavers. 

I.e. of the conqueror : 

II 

% This is a very doubtful line. 

a flattering speecli.

: 

! 

— 

RAja MAHi PARKASH OP SARMOR. 877 

(So they said) " Thy country has been robbed, R4jeI, 

by thy servants and their horses. 

45 Thy servants and their horses are to fight at the DesA 

Dhar. 

Thy servants eat the rice, and we drink the ricewater," 

"Fight ye, too, (said the Raja) 

I 

remit half the revenue (from you)." 

that are my subjects and 

Then Ghila the Chbibbar thought of a plan : 

And sent letters (papers) to the ministers and clerks. 

50 When the night had passed away, the army collected 

in the morning. 

The rain was falling and the clouds lowered : 

And the Raja's army advanced and the hills became 

white (with their clothes). 

Then advanced the eighteen Lords* and fifteen thousand 

(men) : 

And the struggle began at the Desii Dhar ; 

55 The fight at the Desu Dhar 

Then spoke the follower of Hanuman Gosain.t 

"Throw aside bows and arrows here and look to your 

clubs." 

(With) slaying and slaying the earth and the hollows 

became filled 

And heads and corpses were piled up into fences. 

60 And the Raja (Mahi's) army was cut up like grass. 

Then they went through the bushes of the DesA Dhar. 

The Raja (Mahi) who had come (sitting) upright in a 

palanquin was carried back prostrate. 

The Raja came to his senses in the plain of Sainjuni. 

"0 thou Mahi, bring here my golden huqa " 

65 In the golden huqâ was the offering to Devi. 

" Raja, thou dost want the huqa ; I have but brought 

my life." 

* The 18 thdhurs or barons over whom the Kyonthal Raja ruled, 

t Meaning Hanuman, the monkey-god ; the god of warriors. 

48

: 

: 


" With what face shall we go to Mhan now, Mahi 

" 

Then thus spoke the Lord of NS-han : 

" The crop-tailed horses are now (only fit) for (treading 

out) grain."* 

70 Then next spake the Minister of Mhan : 

"Going to the Eaja Kyonthal thou hast taken this 

army 

" 

! 

Then thus spoke the Eaja's Queen : 

" Raj§,, when thou wast warned thou wouldst not listen 

to any one; 

Thou hast gone to Kyonthal and what hast thou 

done " 

75 " I tell thee, my Lady Queen, do not reproach me. 

Thou shalt see my revenge. Rani, for the DesA Lhar- 

Thou shalt see the affair at RatJpanl, my Queen." 

Then the Eajl of Nahan made his preparations : 

Twelve hundred horse and a hundred thousandinfantry.f 

80 And the Eaja's army reached Eatipani. 

The Eaja let off eighteen jiin'isX °f S^^ powder. 

Beneath the earth shook and above the heavens trembled. 

The white vultures and the black crows collected : 

And the struggle was then at Eatipani. 

85 Then the gans in exchange thundered like the clouds 

And the exchange of arrows was like the chaff from 

barley 

And the swords in exchange flashed like lightning. 

Then thus spake the EajS, of Nahan : 

"My brother Eaja (of Kyonthal), thou didst much 

damage at the Desd Dhar. 

90 The advice of my (Minister) Sidh^, E^ja, is very good. 

I (the Eaja) have plenty of milk in my Nahan, I will 

bring here khir^ 

(for thee)."i| 

* Bdthii, a species of chenopodium. 

t Meaning merely a vague large quantity. 

X le., 27 mans or over 2,000 lbs. 

§ A pottage of milk-and rice.- || Give thee a plenteous reward.

: 

eajA mahI parkash op saemor. 379 

Then thus spake Sidha, the Minister, 

Who was wounded in the face by a lance, and who did 

not turn back 

" In the Desil Dhar my power was useless, Eaja, 

95 And heads and corpses began to be collected into 

fences." 

Then thus spake SldhS,, the Minister. 

" Raja AnAp Sen, do thoa turn back." 

Then Sidha, the Lord of Kot, spake (these) reproaches : 

" Thou didst win at DesA, Raja, to-day shalt thou lose." 

100 Then was Raja Anup Sen driven back : 

And Raja Mahi was very pleased. 

And great rejoicings were held at Nahan.

No. 

XII. 

THE STORY OF SYAMA, LORD OF SOHINI, 

AS TOLD BY TWO INHABITANTS OF JUNGA, THE SEAT 

OF THE RAJA OP KTONTHAL. 

[The history of the legend is very mixed and confusing. It relates the quarrels 

of 'Rt^k Narpat (sic) of Sarmor with SySmA of Sohini, who is described 

as "jagtrd&r, pargan& Sohini, 'il&qa Sarmor," i. e., fief-holder in the 

Bub-division Sohini of the Sarmor State. But as far as the lists in my 

possession guide me there never was a Eiijfi Narpat ParkSsh of Sarmor. 

The 49th BSnfi of Kyonthal, however, was B^ni Narpat! Sen, and the legend 

may be explained possibly by supposing that the RajA of Sarmor's help 

was asked for in suppressing SySuia. Nevertheless the legend distinctly 

calls Narpat, 'RCjk of Sarmor, and states that Syfima's fief was in Sarmor 

territories. E£nA Narpati Sen of Kyonthal seems to have lived about the 

beginning of the Ifith century a.d. His contemporaries on the Sarmor 

throne have left apparently nothing but their bare names and dates behind 

them. The mention of the E/lj^ of Garhwal or Srinagar, as the helper of 

Sy£m&'s son Sundar, does not help us, for no name is given, and accoj'ding 

to Sarmor history there was more or less continuous fighting between these 

mountain neighbours from the time of Rt]k M^ndhfitfl Parkfish of Sarmor, 

A. D. 1634-1654 till the heginning of this century.] 

[SySm4 in the song is called the maw&wi of Sohini, a word I have variously 

rendered as independent, insurgent, rebel, etc., as the context warranted. 

In the M3. Kyonthal History the word is mdrf and is described as indi. 

cntive of a class, which it undoubtedly is. Ihey seem to have been independent 

landowners in the hills, holding usually very small estates, 

but acknowledging no master and paying no one revenue or tribute. The 

MS. history says " mavl, ya'ne khud sar log," i. e. " the mAvis, or masters 

of themselves." It is to be noted that SyfimS is in the song supposed to 

possess title-deeds in the shape of coppt'r-(plate)-Bheets. In short the 

whole question of these mAvis is very interesting, if not important. I 

have suggested that this modern word maw6m}i or mAvi, which I heard 

also 

pronounced inawdM and ma'&vl, is the Arabic word, and our Indian 

Official terra, nnu'&fi, rent-free lands.] 

[The geography and history of the legend are strictly local and call for no 

further remark here. It is quite impossible, ak present, to ascertain the 

history of the minor personages so frequently mentioned in it.]

: 

: 

THE STOEY OF SYAmI. 581 

TEXT. 

Hdr Syama, Jdg'irddr, Pargana Sohini, 'Ildqa Sarmor. 

Sj'ama Sohini va ban gaya mawawi.* 

KarS, mo'atnla Raja ra khai loa grahi. 

Gave maheshe parza ri ghai kare majiani.f 

Tabo dove jane Rigarue gallo pai lai. 

5 Raja Narpat pagiye di sunno : 

" Sach bole, mere Regaii, kare japa tosi " 

" Kene japa^ Sabibaj dukha sukhi lai " 

" Tosi sacli bolo, mere Regaru, Raja kolhu de pilo." 

" Hamen lai; Raja Sahiba, mawawi ri gallo." 

10 Manj Desliu da, Rajia, Syama bana mawawi. 

Mahil re badharo kho marigi ohambi ri bahi. 

Chambi ri bahi da kara Raja dekhS,. 

Sat hoe Rajawali kara bina ditta. 

" Kora ano mora kagat, kalam rft dawat. 

15 Pahil likho chithi da Ram meri salam 

Dfiji likho chithi da pionoli raghes. 

Kebe ave meri Nahan khi, kebe rove nan mere deshl." 

Tabe do Raja re chakaro Sohini khi dive. 

Sohini jairo go6 chaure baithi. 

20 Syami ri rangari mori manji dekhi 

Syami ri rangail bhari lai narilo ; 

Chaure khi ai hath ditta narelta. 

Bavin pairo bando. 

" Syama mawawi Sohini ra ghare hola ke gaven " 

25 " Syama sutti rove Jaiya bangali ri daphi." 

" Tisha bio koih adimi jo Syami deo jagavi " 

Tabe Thulie laya beti thali da chhenaka. 

Sutta honda seh Syama jhumkiru jaga. 

" TJba uthe, bapua, goe Ravale ave." 

80 "Kene khai na, betie, Ravele ri khati." 

Age nikalo bahiro khi sauri ro daliohe. 

Manji raune Sohini re bichi goi satranji. 

* () From mu'dfi, rent-free lands, f () Mu'dvaza, oompeaisation.

; " 

382 LEGENDS OE THE PANjAb. 

SyamS, donoi Jaiya tabe bahiro khi ae. 

Chilke sell la gae tabe kachahri de baithe. 

35 Vkge dk khole ti ne kagat ditti Syame re hath. 

Tabe Sy&me tine Jaiye barichne lai. 

Banchi batiohiro k§.gat pai githi de phftki. 

" Tusi done ave bolij charhero Raj^ ro Rani. 

Raja dima gôiito, Rani bhar lai pani. 

40 Kale kare in re muiihto, Mmbe deo dhS,ke." 

" Patha ditta, Sahiba, shirash gathri da bdni 

' Je kunke Raja ginero ma khi ethi fauj lave.' 

Patha ditta shirash ganthri del bani. 

Kunko Raja ginero enni aini kve. 

Tabe tinon Raja re chakaro de lambe ditte dh^ke. 

Tabe Sohini seh chakaro pure Nahan khi hate. 

45 Raja baith^ tha Narpat bara re dware. 

Tabe rigarue Reija boli, " jaik§,ri." 

" BolOj merio rigaro, oh Syama ri h^di." 

50 " Mere ntagi T4ru garh re ore leo shade. 

To ne, TMa nigia, Sohini khi jana. 

Tu to bhari lai ja fauj, badja s^man. 

Mare begi jae goa akra Sohini rk maw^wi. 

TarAa nigia, tA to a, bo, Sohini phuki." 

55 Tarue nigi lai fauj jori. 

Change change loe haziri, changi bandAko. 

Shinke daru re badre hathi ri bandhe pithe : 

Age nikale mohre de neze re nishan. 

Tabe cha;hi fauj Tarfte ri Jimte ri ghati. 

60 Ghat tias Jimte re kari ghaya mahala : 

Dhoin ri badali goya surjo jhima. 

Syam^ baitha Sohini thare pandale shflno. 

" Tambe bolo, mera Chorfta, kaun ngmk R^ja " 

" Raja koi ni ugma, TarA garh ra nigi." 

65 Tabe Taru ri fauj ai Sohini bare : 

Sohini ri baro di lai Tard re ago. 

Syam^ seh Sohini ra Iambi dila hako. 

" Dinroa, KinrM, meri dhai khi ave." 

" Tinon sanon khi, Syamiti, hamen koi na &min.

cedrela 

: 

; 

: 

THE STOEY OF SYAMA. 383 

70 B4rS, dhoe barash Dohchi d^ bbare. 

Ghar chine toin apne, tftne* kati mahari." 

Isho lagi boldi Sy^mi re n^ro : 

"Tare lave bazin^ mere jaero dAm." 

Tabe isho laga bolda SohinI ra Sy^ma : 

75 " Kadhi bhili ratri kadhi oE deshA " 

Tabe charhe aire mohre Dhagii Syama ra KesA. 

" Chorua.t KoMa, in dhiri khi ^k\i." 

Bhitaro da jatla sebe Chohuru Koltu: 

" TUvtL para nadii : lao, Syamaji, goli.-" 

80 Tinoii ri hadi khi SyamEt hasne laga : 

" Je banhiii tan di, meria ChAiua, landa koe niji goli " 

Sohini ri siri da goya mo'amla lagi ; 

Taru nigl ri fauj ra gha kata kia ; 

Taru ningi seh Nahan ri, tabe laga ronda : 

85 " Kati Kaja ri fauj, ban Deshu joga na honda.^' 

Tabe likhiro Tarue kagat N^han khi ditta. 

" Sada katij Tarua, ghaeni ra gha. 

Tii aj mawawi kho ore leve swas." 

Tes Taru ningi di ^yo goi dhiri. 

90 Jhura ro Rulia haziri Kalsi khi dive. 

Jab janda pari jandiye rain rA rat 

Tabe lage Dubi ri Kalsi pyuli re pat. 

Bahar da jatla Eulia rii JhAra ; 

" Pyuli ra Dubia tu pyuwal kholi." 

95 '' Tu kai ra admi kine joga aya." 

" Nahan ra han admi, Kalsi khi ay&." 

" Tu kare ebho, Jhoriaj bag manje dera. 

Tabe bare dima bakara bhalko re sabere. 

Hadi galo jabe landiye baithiye rain ru rat. 

100 Tabe khole Dubi ri Kalsi pyuli re pat. 

Tabe Jhuia Eaje ra haziri bhitaro khi diwa 

Tabe pag da khola kagat dit^ Dubi re hath. 

Hema Chand Dubi lua kagat btinchi. 

" Mahare begi jM goya akara Sohini ra mawawi 

* Toon wood : 

toona. 

f For the common opprobrious name Chrihra.

: 

: 

; 


105 Sat liui RaJEtwali Syama bala nS) cavi 

Tan kto mtingi, Dilbia, gai'li ri 

Changi live haziri ; 

Bhari live fauj, 

jamdt. 

chEingi Lahori Nali 

bhari lire saman." 

Tabe Hom^ Chand DAbi loi faoj jori: 

110 Tabe charhi fauj Hema Chaud re Kalsi ri DMro 

Dharo tine Kalsi kari paya mahala. 

Duji S,ya Hitna majliye Nahan re darbtlre. 

Raj^ baitha tlia Nahane rA b^radari. 

Hema Ohand Kalsi ra bole " jaikari." 

115 Tabe daia duje jaikari puchbo Raja nisho. 

" Mahare goya akara Sohini ra maw^wi ; 

R§,ja ri fauj ra gba kata kay^. 

Him^ Chand Dubia, Sohini khi jan^. 

Bhari lai ja fauj : bhari saman. " 

120 Oha.hi Dubi ri fauj Jimte re ghat. 

Ghat tine Jimte re kari paya mahalei. 

Jimte re ghat thai jamre re bute. 

Saz baue tine jamre goe jhuthi da chhoti. 

" Bidhnia Badharia* baitha ka td hire 

125 Dk'u bandde chakaro khi takari ro sere." 

Daru bandde chakare pai kang. 

Patha patha daru ra kikhe chakar mangd. 

Daril re badare di gae chamki ig. 

Adhi fauj Hima Chand ri goi darAe bandde jali. 

130 Adhi fauj Hima Chand ri Sohini khi charhi. 

Likhi Dubi kagat Syama mawawi'khi ditti. 

" Syama, tA or§, melo khi ave." 

" Chupa rove tu sharm khi KMsi ra Dubi. 

Kal chari mahesh, aj 

gira lobi.t 

1 35 Jape, tA, DAbia, kal manjo ri h&di 

Moveii dhacha tha, Diibia, chhai rd al." 

Adhi "fauj Hima Chand Sohini darbire. 

Sohini re b^ro di lai Himme ag. 

Tabe Sohini ri sairi da goy& mo'amla l^gi. 

* For banddrd, a distributor. f For lobhi.

THE STORY OF SYAMA. 385 

140 Bete nikale Syama re sih jai gunane. 

Ishft l%a bolda Sohini ra SyElma. 

"'Tuso boMrij mere betuori, in dhire khi pale." 

" Pore* jalo, Jaiya, ten langii khoti." 

Bai Jaiya tnusale adhi jagro chhoti. 

145 Bete Sy^ma re sairi klii dauiiro pare : 

, 

Sairi m^nje Sohini re goy^ mo'amla lagi. 

Bira laga kamane ra jS,o jaya pAna : 

Bira laga talwari ra bijli ri chamako : 

•Bi a laga banduk ra meheg jaga goi-o. 

150 Siri manji fauj ra lekha roya na jokha. 

Likhe Heme kagat Nahan khi ditto. 

" Jali goij Raja, karam ; 

jali goi bhag. 

Adhi fauj kati, 

Syama, adhi jali ag." 

" Sada kati, Hemeh, ghani ra ghao. 

155 Tu ora ave Nahan khi live apni Jan." 

Hinia Ohand hata Nahan khi pachho. 

Raja tine Nahan re mat pai kamai. 

Jamnu ro Syama sala hole bahinoi. 

Do Raja re regai il Jamnu khi dive. 

160 Jamnu Banayak ora Raja bulaya. 

Raja baitha tha Nahane ra bara re dware. 

" Mah^re begi goya akara Sohini ra mawawi. 

Syama andiye Sohini re, deAh nikra gauh." 

"Khota R4ja tu Sahiba, tan dhijda nahih." 

165 Raja tine Narpat chhiln paya janeu. 

"Raja, live aman jo Syama, katne na deiih." 

Gafl. re galo da Raja chauia taga. 

Tabe Jamnii Banayak Sohini khi diwa : 

Sohini jaero chaure da baitha. 

1 70 Syama ri rangari mori manji dekha. 

" Bhai I'i neori chaure da koifi baitha." 

Syama ri I'angav-i matri thai Syani. 

Bhari lai narelto lotia da pani. 

Syama ri rangari chaure khi ai. 

49 

* () "ear purd.

386 LEGENDS OP THE PANJAB, 

175 Tise hath dittsi narelfco, tabe paire bande. 

" Bag re phiilro, tii Mda ^ya " 

" Syam^ ro Jaiya ghar hole ke gaven " 

" Mawawi sutte rove Sohini re bangalS, da unche.' 

" Tisha beo kol admi jo obe deo jagave 

" 

180 Thiili Syama ri bet! bangale khi dive. 

Thuli 

beti Syaina paya jagave. 

" Uba utbe, bapua, mama rua S,vi. " 

Tabe Syama rit Jaiya bahiro khi ae. 

Syama milo Jamnun pidariye kande. 

185 " Tabe, JamnAa sk\a, kine joga aya " 

" Baja tine Nahane re taiii joga laya." 

" Kishi bani, Syam&, toeri Raja khi tan 

Syama nahin chalde man." 

Raja sathi, 

" Raja Sahiba, Jamnua, begi hola khota. 

190 Raja tis Narpat nahih dhijda anthi." 

" Churi mas barabari nahin, Syamaji, h6ndi ;" 

Ishii lagi boldi Syama ri naro. 

" Bahin bhanje re tan khi hatia lago. 

Raja tine Narpat chAn paya janefl. 

195 Bahn pandi lima apni, ghani na deun." 

Syama ri rangari matri syana ; 

" Syama nian jo Nahani khi ora seh na hato," 

" Tave, rangari, to s&jra gheo : 

Khota Raj^ Nahani ra nahin leunda jeo." 

2G0 Ishii lage bolde Dagi Syama ra kiso : 

" Sat jiti, bapUj mo'amlaj sat kini larM. 

Bbe, bS,pua, Nahane khi api handiro chala. 

Jabe di goya Nahane chalo mahara na basA." 

Syama ri rangari bhulbhulue rone. 

205 " Baithiro, ri^ngari, ji jama hatero ave." 

Tabe, Jamnu ro Sy&ma Nahan khi dive. 

Raja baitha tha Nahan ra bSsradwari. 

Syama Nahani ra Raja die jaikari. 

Dindiye jaikari RSja pithri pheri. 

210 " Hekri R^j^ pithri dUni Sahiba teri 1" 

Syama lai hadri Raja chupa shuno.

: 

: 

THE STORY OF SYAMA, 387 

" Terej shune, Sy^ma, sohni re moro." 

"Moro mere sohni re sahi, SahibS., the; 

Baht\ ro bete khelne khi nein" 

215 " BahA teri thi sobati, Eaja, bere khi th^ m^ngo." 

" Kheshiye khi kheshti, Sahib khi Runi. 

Joro zamin khi sada rifho, Sahiba, siro." 

Sidha Thakura, mat de kamai. 

" Ebe bada kurma Syama rk de Nahani ani." 

220 SyamS, kari paya, Jaiya, chakaro re hawale. 

HUth pai thokari, pairo di beri. 

Sat kampani* Raja ri Sohini khi divi. 

Bada kurma Syama ra paya Nahani anl. 

IshA lagi boldi Raja ri Rani ; 

225 " Bahu aai pai Syama ri : kas maha,lle pani " 

Tabe Syam& mawawi ra phati goy^ kaleja : 

" Ore leve rangaii ma khi pani ri alo." 

Sat bete Syami re bandi-khanl. de pai. 

Ishu lagi boldi Raja ri Rani 

230 " Syama gurawane khi tata karo pani." 

''Tabe t§,te pani, Rani, Sy4ma na guro." 

Ishfi lagi bolda Nahani ra Raja : 

" SyamS, katni Jaiya Jamna re kachh, 

Jo rajo rakte tano re Jamna re maohho." 

235 Sy^ma nein Jaiya Jamni re kachho 

Phat baya hongriro Chimna Ohamare ; 

RSje rakte tinori re Jamna re machhe. 

Sat beton bichA da ik bhagiro diva. 

Seh Syama ra Sundaro goya bhagiro diva. 

240 Jimte re ghat da Iambi di goy^ hako : 

"Sih diva bhagiro, gheri chakaro shili; 

Tabe jane ma Syama re jabe l&ma Nahani ag." 

Syama ra Sundaro jae diva Garhwale. 

Garhwalo jairo bhari bere da p^nl. 

245 Chah raahine Sundar re bharS, tite pani. 

* This word is purely English, meaning a company of soldiers, and its 

presence tere is very instructive as illustrative of the spread of English 

terms even among the most remote and backward of Indian populations.

; 

; : ; :" 

Sat ath kate gtar re, joru rakhi kbawasi." 

Sundaro ri araz begi R&niye soni. 

Rani seh Garhwalo ri Raja hage divi 

Beta Syama ra Sundaro tabe bhitara shada 

Raja Garhwalo ra tabe harkhe bhara : 

Cliarhi fauj Raja ri nia binyS. lekha. 

Age nikale mohere di neze re nishan. 

Slnke darAe re badre hathi rf pithe. 

Jo janda diwa jandiye Garhwalo re darbare. 

R&ja laiya Garhwaliye Syama ra beta." 

Oharhi fauj Raja ri Nahani re darbare : 

Syam4 ra Sundaro tabe deiyo hako : 

Raj^ Sijla mera badla aj goy^ chhiji." 

Raja diw& milo khi munh leve hathiar. 

" R^ja, meri chhare j^nri, jo bole ma kabftl. 


Chah mahlne Rani b41iiro khi ai 

Garhwalo ri R^ni paya Sundaro puchhi 

"Kai ra bhumi liola kas ra jaya " 

" Rani, Sohini ra bhflmiya ; Syaraa ra jaya." 

250 " Tais jaya soane* dk ete kini joga ^ya " 

" RaBij Raja tine Nahani re kiy4 satya nasho. 

255 Raja h&ge Rani pai araz kari: 

" Raja tine Nabani re ka kiya tera " 

" Raja bada kata mera kurma, joro rakhi khawaso.*- 

260 Tabe RajS. Garhwalo pai majjat jori. 

Ai fauj Raja ri Nahani ri nere. 

265 Raja Nahani ra baitha honda shuno. 

Dhari ghoi'o Kalsi Rawali duragi. 

" Saoh bolo, mere regaru, kaun ugma Rajli " 

''Raja Garhwalo ra goya charhiro kve." 

" Hamen khoya ni, rigarfio, tais Raja ra kin " 

270 " Syama ra Sundaro bhagiro tha diwa 

275 " Aj, mja Nahani, lai pai ag. 

Seh diwa tha jabe bhagiro, tabe goya tha boli. 

280 Chh&ri plie Raja N§,hani re Sundare joro: 

R^ja Garhwalo ra pura Garhwalo hatfir. 

* = suhdne.

: 

; 

; 

" 

THE STORY OP SYAMA. 389 

TRANSLATION. 

The Story of Sydmd, the Lord of Sohmi in Sarmor. 

SyS-ma of Sohini became independent, 

And ate up the R&ja's revenue and property by mouthfuls. 

He took away the people's cows and buffaloes as compensation 

(for revenue). 

Two men of the Princes brought complaints, 

6 Raja Narpat heard them in his verandah : 

" Speak truly, my Princes ; 

what is your complaint " 

" What complaint, my Lord, of our joys and troubles 

have we brought " 

" Speak ye the truth, my Princes, (or) the Eaja will 

work you in the oil-press ."* 

" We have brought, Sir Raja, a complaint against the 

insurgent. 

10 Syama has become independent in the midst of thy 

country, 

R^ja." 

(The Raja) demanded the copper plates (books) from 

the palace chests. 

The Raja saw the revenue (statements) in the copper 

plates .f 

For seven reigns the revenue had not been paid. 

" Bring me (a) clean (sheet of) paper, pen and ink. 

15 First write in the letter my salutations 

Next write the letter with yellow ink : 

' Either come to my Nahan, or remain not in my country.' 

Then two of the Eija's servants went to Sohini. 

Going to Sohini they sat in the vestibule. 

20 SyamEl's wife looked through the opening (in the wall) : 

Syama's wife filled a huqaX and brought it 

Coming into the vestibule she gave the huqâ into their 

hands 

* Work you as galley-slaves. 

t This is valuable as showing that they probably exist, if- they could 

only be got at. 

X Lit., a cocoanut.

! 

: 

: 


She bowed to their left feet.* 

"Is Syama, the independent of Sohini, in his 

in the village " 

house or 

25 " Syama and Jaiyaf are sleeping in a room in the house." 

" Is there a person who will awaken Syam^ 

" 

Then Thiilia, his daughter, clanged a (brass) platter 

30 

And Sy&ma sleeping awoke with a start. 

" Get up, father, the king's (oflBcers) have come." 

" I have not eaten, my daughter, any of the king's dues.'' 

First the carpets and rugs were brought outside. 

In the midst of the vestibule at Sohini the carpets were 

spread. 

Then Syama and Jaiya both came outside. 

At sunrise they held their Court. 

85 Opening their turbansj they (the messengers) gave the 

paper into Syama's hand : 

And Syania and Jaiya took and read it. 

Having read the paper they threw it into the fire and 

burnt it, 

"You two come to say that the Baja and R4ni will 

attack us. 

I will give the Raja a little village and aiie Sfcd shall 

fetch us water 

40 Blacken the faces § of these (men) and thmsr them 

away." 

They gave (the officials) a jpatha^ of mustard-êed tied 

up in a bundle (saying) : 

" Let the Raj^ count them and come here to fight." 

Then they thrust out the BSija's servants : 

And the Eaja's servants returned back to Nahan. 

45 R§.ja Narpat was sitting in his summer house 

And his ambassadors said to the RajSi, ' hail.' 

* A very notable custom : sister bowing to the brother, 

t His brother. 

J Allusion to the common native habit of tying up a paper or letter 

in the tiirban for safety. 

§ Disgrace them. 

|| A weight : two eers or four lbs.

; 

:: 

: " 

THE STOEY OF SYAUL 3 91 

" Tell me, my ambassadorSj the news about Syi.mL" 

" He gave us, my Lord, a pathd of mustard-seed tied 

up in a bundle 

(And said) ' Let the R§,j& count them and bring an army 

here for me. 

" 

' 

50 " Call hei'e, my Commander of the fort, Tarii. 

Tarfl, my Commander, thou must go to SohinJ: 

Take a large army and great equipments. 

My insurgent of Sohini has become very arrogant. 

Tarfl, my Commander ; do thou go and burn Sohini." 

55 Tard, the Commander, collected an army. 

He took good men and good guns 

And fastened bags of lead and gunpowder on the backs 

of elephants. 

First came on in front the standards of the spears 

And Taru's army advanced to the Jimâ Pass. 

60 They made a firing at the JimtS, Pass. 

Clouds of smoke obscured the sun. 

Syama sat on his seat in his house at Sohini and heard it. 

" Tell me, my Chorft, who is this great Raja " 

" It is no Raja, but Tarfl, the Commander of the fort." 

65 Taru's army came to the fence of Sohini : 

Taru set fire to the fence at Sohini. 

Syama of Sohini made a loud call. 

" Dinril and Kinru, come to my help." 

" On account of that treatment (of thine) Syama, none 

of us will come. 

70 For twelve years we bore thy burdens in Dohchi. 

You built your house and you cut down our toon trees 

(for it)." 

Thus spake Syama's wife : 

" Let thy attendants fight, and my servants go." 

Then thus spake Syama of Sohini 

75 " When will the night pass And when will it be day 

Then DhagA and KesH (sons of) 

'' 

Syama came to the front. 

Chord and Koltii I reared you for this day. '' 

Choru and Koltu called out from inside :

; " 

: 

: 

392 LEGENDS OF THE PANjAb. 

" Tani is within shot: let us shoot balls (at him), Sir 

Syam^." 

80 Syama laughed at their words. 

"If you have arms my Ohorft,why not shoot balls at 

(him) 

In the plain of Sohini the battle began : 

And the army of Tar

: 

: 

THE STORY OF SYAmA. 393 

I ask from thee, thou Dubi, the forces of thy fort. 

Take good men and good guns from Lahore. 

Take a vast army and take vast supplies." 

Hema Ohand, the Dubi, collected his army: 

110 And Hema Chand^s army advanced along the Kalsi hills 

And he practised firing on the Kalsi hills. 

Next Hema came into the assembly of the Nahan Court. 

The Raja of Nahan was sitting in the summer-house. 

Hemd Chand of Kalsi said (to him) ' hail.' 

115 When he returned the salute* the Raja spake to him 

thus : 

" My insurgent of Sohini has become very arrogant, 

And has cut up the royal army like grass. 

O Hema Chand Dubi, thou must go to Sohini. 

Take a vast army and vast equipments." 

120 The Diibi's army advanced to the Jimta pass: 

And they fired (guns) at the Jimta pass. 

There were jamrd treest in the Jimta pass. 

And the weight of the accoutrementsj uprooted the 

jamra trees. 

^' 

Bidhna, thou Treasurer, what art thou idly staring 

at 

125 Give out powder to my servants with scales and weights." 

As he distributed the powder the men made a 

disturbance 

Each man demanded a pdthd^ of powder. 

The bags of powder caught fire. 

Half Hema Chand's army was blown up in the distribution 

of the powder : 

130 And half Hema Chand's army went on to Sohini. 

The DAbi wrote a letter and sent it on to Syama, 

" Syama, come thou here and meet me." 

"Be silent for shame, thou Dubi of Kalsi. 

SO . 

* Lit., gaTe tlie second " hail." 

f Viburnum fcetens. 

J Lit., the accoutrements being fastened. 

§ 4 sers or 8 lis.

:" 

§ 

: 

: 

394 LEGENDS OF THE PANJIB. 

Yesterday thou didst graze my buffaloes, to-day tiou 

dost desire my life. 

135 Speak of what happened in the midst of the famine, 

thou Dubi 

(When) I fed thee, thou Dftbi, with curds and pumpkins'^." 

Half the army of HemS, Chand (reached the) 

Court of 

Sohini. 

Hema set fire to the fence at Sohini : 

And the struggle commenced in the plain of SohinJ. 

140 Syama's sons came out roaring like lions. 

Thus spake Syama of Sohiiu: 

"I tell you my sons, I reared you for this day." 

['' May thy bad lame leg burn, Jaiyaf." 

Jaiya took up his club and broke down half the housewall] 

145 The sons of Syama came running to the plain : 

And the struggle commenced in the midst of the SohiuJ 

plain. 

The exchange of the arrows was like the chaff from barley 

And the swords in exchange flashed like lightning 

And the guns in exchange thundered like the clouds. J 

150 la the plain the army could not be counted. 

Hema wrote a letter and sent it to N&han. 

" Our fortune is destroyed, Eaja, and our luck is gone. 

Half the army Syama has cut up and half the fire 

burnt up. 

" Hema, the grass of the pasture is always cut. 

155 Come here to Nahan and save thy life." 

Hema Chand retreated back to Kahan. 

The Eaja of Nahan contrived a plan. 

JamnA and Syama were brothers-in-law. 

* Al cucurhiia maxima: see Stewart, Panjdb Plants, p. 97. 

t The two lilies in brackets relate an incidental quaiTel between Syiaia 

and his brother. 

t This description seems to be conventional. 

5 Lit, were sister's husband and wife's brother (to eaoh other).

: 

: 

: 

THE STOXIY OF SYAMA. 395 

Two relatives of the Hkjh went to Jamnu 

160 And the Raja called JamnA, the Banayak. 

The Raja of Nahan was sitting in his summer-honso. 

" My insurgent of Sohini has become very arrogant. 

Bring me SyaQaa of Sohini and I will give thee a littlo 

village." 

" Sir Raja, thou art false, I believe thee not." 

163 (So) Raja Narpat touched his (sacred) thread.* 

" Raja, I will bring Syama, but I will not let him bo 

killed." 

The Raja tore the thread off the cow's neck.f 

Then Jamnu, the Banayak, went to Sohini 

And going to Sohini sat down in the vestibule. 

170 Syama's wife saw him through the window. 

" The likeness of my brother is sitting in the vestibule." 

S3ama's wife was clever and wise: 

She brought a huqa and a cup of water 

And Syama's wife came into the vestibule. 

175 She gave the huqa into his hand and fell at his feet.f 

" Like a flower of the garden, how hast thou come 1" 

" Are Syama and Jaiya in the house or in the village " 

" My lords are asleep in the upper part of the house." 

" Is there any one who will go up and wake them " 

180 Thuli, Syama's daughter, went to the house. 

Thuli, Sygma's daughter, waked them up. 

" Get up, father, my uncle § has come." 

Then Syama and Jaiya came outside. 

Sy3.ma fell on Jamnu's neck with affection. 

185 " Jamnu, my brother-in-law, whence hast thou come " 

" The Raja of Nahan hath called thee home. 

Why hast thou opposed the Raja, Syama 

Thou canst not be the equal of the Raja, Sj'ama." 

* By way of oath. 

t By way of a stronger oath. 

X This is a very remarkable custom and seems to 

It reverses the regular Panjabi custom. 

§ Mother's brother. 

hills. 

be universal in the

: 

: 

396 LEGENDS OE THE PANJIB. 

" The Lord Eaj^, Jamnfi, is Tery deceitful. 

190 I have no faith at all in the Raja Narpat." 

"Sir Syameij flesh and the knife cannot be equal 

(friends)." 

Thus spake Syama'^s wife :* 

" The murder of thy sister and nephew will be on thee :" 

" Eaja Narpat touched his (sacred) thread 

195 I will take him to my arms and not suffer him to be 

killed." 

Syama's wife was wise and clever : 

"If thon take Syama to Nahan, he will not return 

back." 

•' 

Warm for me, my wife, some fresh gU : 

I shall not bring my life back from the treacherous Raja 

of Nahan." 

200 Thus spake Dagu and Eesii, Syama's sons : 

" Father, we have won seven struggles and fought seven 

battles 

And now. Father, thou wouldst go to N&han. 

When thou hast gone to Nahan no power will remain 

to us." 

Syam&'s wife began to weep bitterly. 

205 " Sit still, my wife, if I go I will return." 

Then Jamnu and Syama went to Nahan. 

The Rajtl, of Nahan was sitting in his summer-house. 

Sy^ma said to the Raja of Nahan, ' hail.' 

As he was saluting him the Raja turned his back on him. 

210 " Thy front or back is the same (to me), my Lord."t 

The Raja heard Syama's speech in silence. 

" Syama, I have heard of thy golden peacocks."f 

" It is true, my Lord, that I had golden peacocks, 

(But) my son and his wife took them away to amuse 

themselves (with them)." 

* To Jamnrl. 

t This scene and expression seem to be conventionaL 

X Tlie signs of independence or royalty.

: 

: 

: 

: 

THE STORY OP SYAMA. 397 

215 "Thy son's wife was beautiful, and was asked (in 

marriage) for the Eaja's harem."* 

" Lowly women for the lowly, Queens for Kings ! 

For women and land, my Lord, heads are always rolling! " 

" my Lord Sidha,t think of some plan 

To bring the kith and kin of Syama now to Nahan \" 

220 Syama and Jaiya were handed over to the servants : 

Handcuffs were 

their feet. 

placed on their hands and manacles on 

Seven companies of the Eaj4 went to Sohini, 

And fetched Syama's kith and kin to Nahan. 

Thus spake the Raja's Queen 

225 " Syama's son's wife has been fetched ; in which palace 

shall we place her " 

Then was Syama, the rebel, heart-broken : 

" Bring me here, my wife, a cup of water." 

Seven sons of Syama were put into the prison-house. 

Thus spake the Raja's Queen : 

230 " Boil water and throw in Syama." 

Then (spake one) " Queen, throw not Syama into boiling 

water." 

Thus spake the Raja of Nahan 

" Slay Syama and Jaiya on the banks of the Jamna,J 

That the fish of the Jamna may satiate themselves with 

their blood and bodies." 

235 Syama and Ji,iya were taken to the banks of the Jamna : 

Chimna, the Chamar, roaring dealt them heavy blows. 

And the fishes of the Jamna were satiated with their 

blood. 

One out of 

the seven sons ran away. 

It was Sundar, Syama's son, that ran away. 

240 At the Jimta pass he gave a loud cry 

" The lion has escaped which you jackal servants (of 

!N4han) surrounded 

* Berd, a coilrtyard=liere obviously haramsard, a harem. 

t The Raja speaking. 

J The Sarmor State lies mostly within the basin of the River Jamua,

:: 

; 

S98 

LEGENDS OF THE PANJAB. 

You will know me for Syama's son when I set fire to 

Mhan." 

Syam&'s son, Sundar, went to Garhwal* 

Going to Garhwal he drew water in the Court (of the 

palace) .f 

245 For six months did Sundar draw water thus. 

For six months did the Queen come outside ; 

And the Queen of Garhwal fell to asking Sundar : 

" Of what land art thou whose son " 

" Queen, Sohioi is my country ; I am Syama's son !" 

250 " From that pleasant land why hast thou come here " 

" Queen, the Eaja of Nahan has ruined us ! 

Seven or eight of our house he slew and made our wives 

his slaves." 

Eagerly the Queen heard Sundar's prayer. 

The Queen of Garhwal went up to the Eaja 

255 And the Queen made a prayer to the Raja 

And they called in Sundar, the son of Syama : 

" What did the Raja of Nahan to thee " 

" The Raja slew my kith and kin and our wives ho made 

his slaves.^' 

Then was the Raja of GarhwM filled with anger. 

260 And the Raja of Garhwal collected his army. 

The army of the Raja advanced (in numbers) beyond 

reckoning. 

In the front went the spears and the standards : 

Bags of shot and powder on elephants' backs. 

The army of the ESja approached to Nahan. 

265 The Raja of Nahan sitting there heard it 

(and) 

(That) the drums of some king were being beaten on 

the Kalsi hills. 

" Tell me, my princes, who is this great Eaja " 

* Called also from its capital Srinagar. It is now a British hill 

district under the Gommissioner of Kumaun in the North- West Provinces. 

t Bera again used for a palace. 

water-carrier. 

Sundar has turned himself into a

THE STOEY OF STAMA. 399 

" The Raja of Garhwal has come." 

" We have done nothing to that Eaja, my princes." 

270 " S3-ama's son, Sundar, ran away to him : 

And running away went to the Court of Garhwal. 

It is Syama's son that has brought the Raja of Garhwal." 

Ihe army of the Raja advanced to the Court of Nahan : 

And Syiima's son, Sundar, gave a shout: 

275 "To-day, Raja of Nahan, have I brought fire. 

When I fled (from thee) I spake thus. 

Raja, my revenge has to-day been altogether effected." 

The Raja (of Nahan) went out to meet them and gavo 

up his arms.* 

"Raja, spare my life who give my consent to thy 

terms." 

280 The Raja, of Nahan released tho women of Sundar'a 

(family) : 

And the Raja of Gaihw&l returned back to Gaihwal. 

* Lit., witli Hs arms in his mouth. A curioiis custom.

THE SONG OP 

No. XITI. 

NEGI BAHADIJR, 

AS SUNG IN JUNGA, THE CAPITAL OF THE KTONTHAL 

STATE. 

[This is a love-song and probably refers to some intrigue in the hills about 

Simla which attained to local notoriety. Bah4dur or Sabdfi, as he is called 

in the song, is described as having been a Negt, or Military Commander 

in the Kyonthal State, but when he lived I have been unable to find out. 

There is nothing in this song which would give the least clue to his date.] 

[The geography of the song is local as usual, excepting as to one place which 

I was told was near Srinagar in Garhw^l.] 

[It is valuable for its grammar and vocabulary, but its disjointed and spasmodic 

nature has made it very difficult to render the doubtful words and 

passages. It seems to consist of a, long string of locally familiar images 

and proverbial expressions, which it would require a native of Kyonthal 

to adequately explain, could one be found to do so.]. 

TEXT. 

Rag Nigt Bahadur. 

Nigi gawanda na Bah§,dur gale pare roya shoka : 

Chhoti rakam ri laichi live thande pani ra lota. 

Bahadur re ghartu dhishu dura da Dilli. 

Ishi raM jiu di mere jtshi dahm khi billt. 

5 Ghyo bharmiri gtiire, tel bharmin kuppe. 

Mana silgi maniye, dhuan honda na loe. 

Kothi pari Shimla,* Naliyet talao. 

Gujji lagi bedno, honda pagra na ghao. 

Jongo re bere da hola pathar rk miro. 

10 Ohatro rove jio da, murakh dio sarli lire. 

Devi re mandar di holi ghungru re m^la. 

Koe bhari akhti shigi lime sambhalo. 

Mahari biro kho soan dhiso Kanhar.J 

Dhire hoe bhalre, teri bhMi na naviro. 

* SHmla, tte local pronunciation of Simla, 

t Near Simla. J 25 miles from Simla.

: 

, 

THE SONG OP NEg! BAHaDUB^ 401 

15 MaMre ghar da dhishd bangal4 terei. 

Rati mintiye supne ho^ k8,lejl ri liro. 

Goro charo ganole, charo maheshi Karole.* 

E&tl mitiye supne jani banotl shirwe. 

lAm nan dosfci, Bahadura, hi dosti buri 

20 Hlshi Iflgo dilo di, jisbi m4s dl churi. 

DhM baitha s(irijo, BaMdura, g4di baitha mahant, 

Chandi ro pbAlro dimin, chbare dilo ra ant. 

Kali ban} main&, Bahadura, bari bani tota. 

Agge ditta tha asra, Bahaduraj picbbo da gota. 

25 Kale khae tere kljle, Babaduraj tnarij mathe re tike. 

Kori kbai prit, Bahadura, ghari pallo ri chite. 

Dilli bijmin sirasb, Dilli agere rai. 

Shag bholka horiye khaya, badi h&m di lal. 

Dhake phftla phftko raha dhak di ari. 

80 Je hola mhare baq ra, hala pharke pari. 

Bashi to kAkua khoro di ten. 

Dhira gala aj kk teri, Bahadura, jani ri ten 

Sogit ri sarak kya Bani r4 ekka. 

Jitthe lago dilre b&14 tithe jh^lda nan rekha. 

35 Hans chuugo samundare, Sabda, machhi nadi re 

bigha. 

Hemi sibure thi, bare khi tus6 biohhte shingi. 

Chand bichhre sArijo, Sabda, ghane ri tare. 

Hemen tosi nan bichhre, bhag bichhre mh§,re. 

Ath phutoj ra takhta, nau phut ri kari. 

40 Ik kMi gharto ra, Sabd^, diiji fikro thdri. 

Phul phulla julab ra, rakhS. pathar p^nde : 

Heme, ganda, th&ri tain, tosi pai nSn l&nde. 

Khara khariye shone araz meri. 

It karta ghar ra, diiji zarab teri. 

45 DhAro re' badli pande pari adhi. 

Bara k&,ti baras tere hukum badi. 

* Said to be near Srinagar in Garhwi,!. 

t Seven miles from Simla. 

, ,, -r, ,. . j.j. 4.> 

X Phuto,ph4t, very interesting corruptions of the English word toot. 

51

: 

: 


TRANSLATION. 

The Song of 

Nigi Bahadur. 

I cannot sing of Nigi Bahadur as my throat is dry 

Bring me small cardamoms in a cup of cold water. 

Bahadur's house seems as distant as Dilli.* 

(The longing) of my heart is as a cat's for the curds. 

5 I will fill pitchers with ghi and leathern-bottles with oil. 

My heart burns in my heart, there is no smoke nor flame. 

There is a house at Simla, a tank at Naliya. 

It penetrates unseen (for) the wound is not visible. 

The roof of the palace at JAnga is of stone. 

10 The wise remain in their hearts^f the fool cries aloud. 

In the temple of Devi is the circlet for the ankles. 

Why fill thy eyes (with tears) Quickly he will take 

care of thee. 

From my palace is seen Kachar before me. 

Many days have been, thy face is not forgotten. 

15 I can see thy house from my hut. 

Meeting thee in a dream of the night my heart was torn 

in pieces. 

The cattle graze in the pastures, the buffaloes at Karol. 

In a dream of the night I thought thy arms met (round) 

my head. 

Indulge not in lust, Bahadurj lust is wicked: 

20 Thus is the heart injured (by it) as flesh by the knife. 

The sun sits on high, Bahadur, as a high priest on his 

throne. 

I will give thee flowers of silver, if thou release the secret 

of thy heart 

A black-coated maind,X Bahadur, and green-coated 

parrot. 

First thou didst give me hope, Bahadur, and afterwards 

didst deceive me. 

* C.f. proverb DilU Mr hai, it is a far cry to Dehli. 

t Keep their own counsel. 

t I.e., the talking maind, which is much valued.

THE SONG OF NEG BAHADUR. 403 

25 The lamp-black in thine eyes, Bahadur, and the beauty 

of thy face have devoured me. 

Great love (for thee), Bahadur, and the devotion of 

(every) moment and hour devours me. 

I will sow sarson* in Dehli, and rat* in front of Dehli.f 

Another has eaten the half-cooked relish ; I have been 

disgraced. 

The flower bloomed on high, and on high it withered. 

30 Had it been my lot, it would have fallen quickly (into 

my lap)J. 

Cuckoo ! sitting on the branch of the walnut tree : 

Why should I waste the day in the (useless) hope of 

my beloved, Bahadur 

The Eani's eMcd^ has passed along the Sogi road : 

Where a girl's heart is attached she cannot tolerate a rival, 

35 The swans eat in the sea, || 

Sabda ! the fishes in the 

broad rivers. 

1 was (for loving thee) for ever, in the end thou didst 

quickly separate (from me). 

The moon parts from the sun, Sabda! the stars from 

the sky. 

I and thou are not separated, our fates are separated. 

The wood is of eight feet, and the beam (wants) nine feet. 

40 My first anxiety is for the house, Sabda, my second 

anxiety is for thee. 

The rose-flower bloomed and I laid it on a stone : 

It was for thee, ungrateful ! 

thou didst not receive it. 

Stand awhile and listen to my prayer. 

The first anxiety is for my house, the next for thy injuries. 

45 The cloud from afar has split in half. 

I have passed twelve years obeying thy commands. 

* Sarson, Brassica campestris ; rdi, Brassica juncea. They are tyro 

kinds of mustard. 

t This appears to allude to some proverb, or perhaps DilU may mean 

' in my heart!' 

t So interpreted, but hdld has not been really translated. 

§ A conveyance in which one pony is driven. 

According to a well-known myth. 

II

: 

No. 

XIV. 

MADANA THE BRAVE, LORD OF 

AS SUNG IN THE KYONTHAL STATE. 

CHAURA, 

[This exoeptionally fine and poetical legend relates to some war, or rather 

fight, between the neighbouring states of JAng& (orKyontbal) and Kahliir 

(or Bil&spdr) about the year a.d. 1680. The date can be fixed more or 

less approximately as being in the time of Efini An&p Sen of Kyonthal 

(1670-1692 A.D.) his contemporary on the BiMspur throne being Eaj4 

Bhim Chand, the 35th of bis line, (a.d. 1672-1693), according to the 

manuscript epitome of the history of that State in my possession, Rllj4 

Bhtm Chaud is there stated to have been the successful warrior this 

legend makes him out to be.] 

[The geography is again strictly local, and beyond what is above stated there 

is no history attached to it. The human interest, however, that the bard 

has infused into it is unusually great.] 

TEXT. 

Ear Madand Sardar, Mauza' Chaura, 'Jlaqa Kyonthal. 

" JoA Karûka,* toiii Chaure khi jana." 

Joua Karauk diwa Chyonti ri Dh^ro : 

Sot. Karauke jatha Madana Bharo ;t 

Jou Karauk, jatho, titiye shuno na koi 

6 Jou Karauke ditti piri A gali. 

Tabe Madane Bbare shona koili d& khare. 

'' 

Jithe tosi ave mard Koti re thiiige. 

AshyS, bharman Raja ra, tflso ghani gharman dinge. 

Joua Karluk to bishiye da hela. 

10 Bada Chaele tan deo nan koin thela." 

" Maeli ro Malangon^n ra nikaM dMan ! 

" 

Shoni da nan pire ra muan ! 

Odu ro Madana donoii chhJre kM sMde. 

" Raja Sabiba h&mun kadhi nan dMja ! 

15 Chhire kbi ke.sBi jao hemin pachiS, bbatija " 

"l&t cbbere khl tfiso jani jana paro." 

* Said to be the same as Ghaudhrt. f Bhar = Sarddr.

: 

; 

: 

: 

: 

MADANA THE BRAVE, LORD OP CHADBA. 405 

MadanS. Bharo goya thar-thar kambi. 

" Chale, ji UdA chachia, Chirmate jamiii 

SharrA Chanal da hemin dhanon balamin." 

20 UdA ro Madana donon Chirmate dive. 

" Shan-u ri Chanaliye ! Shapiu ghar ke g£lven " 

" Shanli Chanal hola bhitara sutia." 

" SharrA Chanaliye 1 Shapru ditta jagavi." 

Sha;rd Chanal thar-thar kamba. 

25 " Bharo ri dhanon khl meri nahar ni bania lamba." 

" Nahar ni je tere, Sharvua, hemeii bani de shile." 

Sharru Chanal tabs balda laga 

Odu ro donon Madana bhunen de baithe : 

SO 

SharrAe Ehai-o ri dhanon kari pai taiyar ; 

Odft ro Madana donon ghar khi ae. 

Buddhi mai bata tabe at^. 

Madana ro Udu tarkash shai. 

Buddha bapQ de kan da bere 

" Tu Bharo betia, janda tft pachhro bhire '' 

35 Odd ro Madana donon hoe taiyar. 

Bamue odwe tabe biro le pago : 

Donue seh maecho tabe uchhni lago. 

BamAe Bharo odwe ditto koele khi pego : 

Titniye tha Kachhiye chhirwe chhikha; 

40 Madana Bharo baitha betiye da jani : 

" Maele re chhiro da kabhi jiunda na hato." 

" Rabali lo khelave betre Kesii. 

Chhiro kho aela bhalre dese." 

Udu ro donon Madana Jungo khi ae. 

45 Raji baith^ Nup Sain baradwari 

Udu ro Madana bolo, 'jaikart.' 

Raja puchhne lai 

Dittiye "^jaikari' 

" UdA ro Madana, donon chhiro khi jao." 

" Rajia Sahiba, to kabhi nan dhijo hemo ; 

50 Chhero khi heme donen kishe lai loe pichid bhatijd '' 

" Palasho ri nkli lani dingiye jharl" 

Joua Karauk diwa Chyunti ri Dharo : 

JoM Karauk dharo da jathci.

; 

: 

: 

: 

: 


Tabe JoM Karauk diwa Chaure re biio 

65 " Ishu cMla chhiro khi kpe Sahib Raja. 

Latdhiriye thandkl sabhe Jungo khi shMe." 

Tabe Chaure PaMshii rl nali Jiihge M. 

Raja baithS, NAp Sain baradwari. 

Tissi fauj Raja boli 'jaikari.' 

60 " Kishi hi, RSjia, chhiro ri mh&ri barl." 

Tabe sari fauj Raja araz kari 

Rdja S&hiba araz ii4 m&ni. 

Raja lai SS-hib zabari ri zori. 

Apni fauj Bhare ki taiyar. 

65 Tidu da Bharo diwi, TAndalo Kawali. 

TAndalo Kawali da Bhar ghar khi jatho. 

" Mere maheshi ro bhafcale bhitaro khi b4no." 

Tide da chala diwa Bharo Tundalo ri seri. 

" Tetiye baso Bhaia bhain teri SihibS.." 

70 Gadambari bhain leiye dudh ra katora.' 

" Chiori jati di hondi na shudho : 

Chhiro khi jandiye lei namala dudh." 

Gadambari bhain ditti sarli liro : 

" Gadambari, to roi na piti: 

75 Aum&n jabe hatiro, nimah shadiro gharo. 

Soe dimS,n maheshi g8,bhano gavin," 

Tida ra chala diwa Beshi re panere 

T-» 1 A A Tl A A AA A 

Beshi ri bamani ai p.aneri. 

Beshi ri Bamani bharwe tango. 

80 " Dekhiyo, chioriyOj is Bharo ra rang 

" 

! 

Iksi B&mani tabe ' Bhaiya' bold : 

" Isi jawani koe chhiro khi obaM " 

" RajS. Sahiba man dhijll nan anthi.'' 

Tisse doe bain da balto khole : 

85 " To purS, hate ghar khi, tere dando khi hole." 

" Ethin baltoe mere dand nd chhijo." 

Tida ra chala diwa Bhar Seri ri ghat 

Seri ri ghat lai rasoi. 

Seri ri gh'at da linda M&eli khi dekho 

90 Maelt Malangane nikaia dhftan.

: 

: 

: 

" 

MADANA THE BRAVE, LORD OF CHAUA. 407 

Madane Bhare hukum fauj khi kiya 

" M&eli Malanganaii mS,n ktio dhishia dhu^n ; 

Bano tosi kamaroj shJg} karo roti." 

Tithe kto fauj divi MaelJ ri seri. 

96 " Samjhe, Bhara, tan khiye pakharo ai." 

Pahili inni khi tine p§,kari talwaro : 

Pahili fauj katiro dharnl bichave. 

" Samjhe, Bha.a Madand, dujrl innl." 

Duj(l fauj khi sambhali dhanon: 

100 Katiro fauj dharni bichai. 

'• 

Tft samjhe, Bhar^ Madan^, chhijri inni." 

Chhijri fauj khi Bhare pakaia dagasa: 

Chhiji Bhare fauj dharni rulan^. 

" Samjhe, Bhata Madana, chauthi ai inni." 

105 Chauthi Bhare inni khi pakari bandflk : 

Bandfik ri goliye ghai fauj dhai, 

" Samjhe, Bhaia Madana, panjvin inni." 

Panjvid pakhari khi dangaro sambhala: 

Katiro pakharo dharni rulavl. 

1 10 Chhei inni khi pakari rambi 

Ohhei inni Bhare dharni rulavi. 

" TA samjhe, BharS. Madana, satvi inni, Sdhibsl.." 

'' tJduEL cbachia, mere h&th nan rohS, kein ! 

Sakhn^ hath bairiye ebe mara, chachia 

" 

! 

1 1 5 Pure dk boMla KahMria Sau : 

* 

" Kebe bande chali, Bhara, kebe baroha bafln " 

" Sari KahMro, teri bandi na jao \" 

Kahluriye Saue ghaya barcha bai. 

Chhati bayS, barcha pithi nabara. 

120 "0 Udua chachia, ebe bairi m^r^ ! 

Grhar banati na mera lAtia liwS. 

Aman bole bapA hage, Bharo ' chakarikhi diw^.' 

Udue Chachiye tin,e kamaro kasha tai ri. 

Kamaro kashiro doli di chukka. 

125 Tide re chale ae Beshi re panhere. 

Beshi ri B^mani ai tabe panhere. 

* Sdu=8ard4r, 

"

: 


" Kal ka gabharll jo aj chukhiro ana." 

Beshi rt Barnaul lei dudh ra katora. 

Titiye tabe chhaj pai Bhare Madane pran. 

130 " Mathrua Tureba, ebe biora kare baja. 

Ethe ra bajna jo sbuno Jfinge Eaja, 

Hate aya Madana jai goja iiiS,ra." 

Tide ra chale ae Chaure ri biro. 

Buddha rA buddheri dile sarli lire : 

135 " Raj4 Sahiba, hemid kadhi nan dhija 

Chhiro khi do Me the pichia ro bhatija." 

KebrA ri seti di loe chitta banavi. 

Udile chache tine ditte Bharo de dago, 

TRANSLATION. 

Story of MadanA, Lord of Chaura in the 

Kyonthal Statg. 

" JoA Karauk, thou must go to Chaura."* 

Jod, the Karauk, went to the Chyonti Hills :t 

Jolij the Karauk, spake to the Lord MadanEi,; 

Jofl, the Karauk, called out, but no one heard him : 

5 (So) Jou, the Karauk, cursed his family. 

The Lord Madana standing in his verandah heard him. 

" All of you men that come from KotiJ are scoundrels. 

I will pay the Raja eighty (rupees as a fine) and beat 

thee well with a stick. 

Jofl, thou Karauk, thou art an habitual bribe-taker. 

10 In all Chael§ no one will give thee (even) a scrap (of 

food)." 

" Smoke has arisen in Mael§ and Malangan ! 

§ 

May " 

thy family perish for thy not hearing|| ! 

(Thus) were Odu^f and Madana called to the fight. 

* This is the order of the Raja of Kyonthal to Jofl to call MadanS. 

to help him in a battle, 

t Close to Chanra. 

I Near Chaura. 

§ Di-visions of Kyonthal State. 

Meamng that he had come to say that there was fighting, and that 

11 

these people would not hear his summons for help. 

% IJncle to Madana.

; 

; 

: 

J 

: 

; 

) 

madanI the beave, loud of ohauA. 409 

" The Lord MjS, never spares us !* 

15 How can wo, uncle and nephew, (both) go to the fight f 

" 

" You must go to this fight." 

The Lord Madana began to tremble violently. 

" Come, Sir Uncle OdA, kt us go to Chirmatarf 

We will have our bows mended by Shanil, the Chanal." 

20 Odil and Madanft went together to Chirmatd. 

" wife of Sharru, the Ohanal ! Is SharrA at home or 

in the village V 

" Sharrft, the Chanal, is sleeping within." 

" wife of Sharrft, the Chanal ! Awaken Sharril." 

Sharrfl, the Chanal, trembled violently. 

25 " I have no gut ready long enough for my Lord's bow." 

*' If you have no gut, Sharru, then make (the string 

for us of hemp." 

Sharnl, the Chanal, began to make (the string) 

Odfl and Madana both sat on the ground. § 

SO 

And SharrA made ready my Lord's bow ; 

And Odii and MadanS. returned home. 

The old mother kneaded the flour (for them) 

Madana and Odii filled their quivers 

The old father filled his ears with cotton :|| 

" my Lord, my son, if thou go, then fight in the rear." 

85 Odil and Madana were both ready. 

Then they put on their clothes and bound on their 

turbans 

And both their parents began to caress them. 

My Lord having put on his clothes went into tha 

verandah 

At that same moment his babe K§,chhi sneezed ;1[ 

40 And the Lord Madana knew that he would be defeated. 

"1 shall not return alive from the fight at Mael, 

(thought he)." 

* This is Odil and Madana's complaint. f In Chael. 

t Because he would have to work for nothing for the chiefs. 

§ To watch him. || 

That he might not hear the bad news, 

•jf 

A very bad omen. 

52

: 

: 

' 

: 

: " 

410 liEGBNDS OF THE PANJaB. 

(Spake he) " Let me caress and play with my child Kesft. 

I will return from the fight after many days." 

Odu and Madana went both to Jtinga. 

45 Eaja Anftp Sen was sitting in his summer-house : 

Odd and Madana said (to him), * hail.' 

When he returned the salute the Raja began to ask 

(after) them 

" OdA and Madana, you must both go to the war." 

" my Lord Eaja, thou dost never excuse us 

60 Why dost send us both, uncle and nephew, to the 

war" 

"1 will dig up the (very) bushes from the valley of 

Palish."* 

Jofl, the Karauk, went (again) to the Ohyonti Hills: 

And Jou, the Karauk, called out in the hills. 

Then Jou, the Karauk, went into the land of Chaura 

55 " The Lord Eaja is coming himself to this war. 

He has called every wearer of a silver zonef to Junga." 

Then the whole valley of Chauia and Palash came to 

J unga. 

A • A 

Eaj^ Anup Sen was sitting in his summer-house. 

To him the host said, ' Eaja, hail ! 

60 " How has our turn, Eaja, come for service (so soon) 

And all the host besought the Eaja. 

But the Lord Eaja heard not their petition. 

The Lord Eaja used oppression and force. 

The Lord (Madana) got ready his army. 

65 Then the Lord (Madana) went to Tundalo and Kawali:| 

At Tundalo and Kawali the Lord (Madana) called out 

thus to his house 

" Fasten my buffaloes and oxen inside.'" 

From thence my Lord (Madana) went to the Tundalo 

" 

plain. 

* In CMel. He means to say that he will impress the whole population. 

t I.e., all adult males. 

j Villages, a stage from Jilnga.

; 

: 

: 

MADANA THE BEAVE, LORD OP OHAURA. 411 

"My Lord, now is the Lady, thy sister, dwelling 

here." 

70 Gadambari, his sister, brought him a cup of (fresh) 

milk.* 

" Womenkind have no sense !" (said Madand). 

" On my way to the fight thou hast brought me (fresh) 

milk !" 

Gadambari, his sister, cried out aloud. 

" Weep not and lament (thus), Gadambari: 

75 When I return back I will bring thee to my house. 

I will give thee a milch buffalo and a cow heavy with 

young." 

Thence he went to the tank at Beshi.t 

The Brahmanis of Beshi came to the tank 

The Brahmanis of Beshi filled the place (with their 

numbers). 

80 " Behold, " said one, " my women, this Chiefs 

doing 

" 

! 

Then spake one of the Brahmanis, " my Brother 

Why go to the wars in this (time of thy) youth " 

" The Lord Eaja would not at all excuse me." 

She took off her bracelets from both her arms : 

85 " Go thou back home, these are for thy fine." 

" These bracelets will not pay the fine." 

Thence the Chief went on to the Sairi pass. J 

At the Sairi'pass he eat his food. 

From the Sairi pass he looked down into Mael 

90 The smoke was arising in Mael and Malangan. 

My Lord Madana gave the order to the army : 

" I see the smoke (arising) in Mael and Malangan ; 

Gird up your loins and hasten over your food." 

Thence the army went to the plains of Mael. 

95 " Have a care, my Lord, thou wilt be opposed."§ 

For the first assault the Chief seized his sword. 

* A bad omen. t Second stage from JfingS. 

X Third stage from JAnga. § The taunt of the enemy.

" 

: 

: 


lOO 

The first line were slain and strewed upon tbe 

ground. 

" Have a care, my Lord Madana, there is a second 

line." 

For the second line the Chief got ready his bows 

The (second) line slain were strewed upon the ground, 

" Have a care, my Lord Madana, there is a third 

line." 

For the third line the Chief seized his axe: , 

The Chief destroyed utterly the third line. 

"Have a care, my Lord Madana, the fourth line is 

come." 

105 For the fourth line the Chief seized his gun 

The bullets of the guns destroyed the fourth line. 

" Have a care, ray Txird Madana, for the fifth line." 

For the fifth (line of) enemies he got ready his battleaxes; 

The enemy were slain and levelled with the earth. 

110 For the sixth line he seized his knives: 

The Chief levelled the sixth line with the earth, 

'' Have a care, my Lord Madana ; there is a seventhy 

my Lord !" 

" Odfl, my uncle, there is nothing in my hand ! 

My enemy will now slay me empty-handed, my 

uncle 1" 

115 From the opposite side spake the Ldrd of Kahl4r. 

" Either be my captive, my Lord, or I thrust in my 

spear." 

" Thou wretch of Kahlur, I will never be thy captive \" 

The Lord of KahlAr thrust in his spear. 

The spear entered his breast and came out at his back. 

120 "0 my uncle Odii, the enemy has slain me I 

Take not my (blood-stained) robes back to my house: 

(But) tell my father and mother that ' my Lord is gou9 

on service.* 

His uncle Odii bound up his side. 

Binding up his side he placed him in a doW,

MADAnA the BEAVE, lord of CHAUpl. 413 

125 Thence they went (back) to the tank of Beshl. 

Then the Br§,hmani came to the tank : 

" The strong man of yesterday is carried back to-day." 

The Brahmanl of 

Beshi brought a cup of milk. 

(But) at that very moment the Lord MadanS, gave up 

his life. 

130 "0 Mathrft, thou Bard, change now thy music,* 

That when the Eeija of Jiinga hears the notes from here 

He may know that Madana is brought back dead." 

Thence they went to the land of Chauia: 

The old father and mother raised a loud cry; 

135 " my Lord Kaja, thou hast never spared us : 

Sending both uncle and nephew to the war." 

In the Kebru plain they built the pyre. 

And Odu, the uncle, burnt the Chief there. 

* I.e., The laard who accompanied the force must now change his 

martial music for that of a funeral.

No. 

XV. 

THE LEGEND OF SAFIDON. 

AS GENERALLY KNOWN IN THE PANJAB, AND AS 

TOLD BY AN INHABITANT OF SAFIDON. 

[The legends about Safidon, which pracfcioally relate the story of the holocaust 

of snakes by Janamejaya, and the events leading thereto, are very widely 

known throughout the Panjfib, and form perhaps one of the most impor. 

tant groups of the legendary lore of the people. The story—overladen 

however with much subsequent Brahmanical lore—is told in the Adi Pan& 

of the MahdbMrata, and again partially in the Bhdgavata Pur&na, and has 

beoQ the subject of endless speculation. It no doubt relates the war of 

extermination carried on by the Aryans about Dehli (Dill!) against the Nâ 

race of the Panjab, and is thus a tale of much historical importance.] 

[Throughout the legends, as related by the peasantry of the present day, the 

N&ga people are confounded with the Udg, or poisonous snake, which was 

perhaps their totem, and in this respect the tradition of to-day varies but 

little from that of the Sanskrit classical times. But so strongly does the 

humanity—so to speak—of the Nfigas of the story in all its forms come out 

that, wherever the word N&g, and sometimes where the word S&mp (snake)j 

has occurred, I have translated by the vague word Nag in preference to 

snalce or setpent. It is well worth remarking how clearly the modern 

Panj5.bi tradition tends to show that the real cause of the quarrel between 

the Aryans and the NSgas was the abduction of a princess of the latter 

race by Parikshit, the king of the former.] 

[The scene of the story is always laid in the Panjdb at the place variously called 

Safidam, Sattdon, Sapidan and Saphidan, which the more learned natives 

say represents Sarpa-damana. This would make the name to mean " the 

subduing of the snakes or NSgs." 

Safidoii is a town in the Jind State.] 

[I have not given the original of the following short prose legend of Saf!don> 

as it is merely the ordinary Urdu of B uropeans and the polite natives. 

only carries us as far as the abduction of the princess and does not relate 

the subsequent murder () of the seducer Parikshit and the terrible reprisal 

of his son Janamejaya. The MaMbh&rata story is mostly occupied 

with the deeds of Janamejaya and the death of Parikshit.] 

THE LEGEND OF SAFIDON. 

The town was founded by the P^ndavaS*' and its modern 

name is Safidam, or more populai'ly Safidon. In it there were 

* Usually tte sons of Pandn and heroes of the Mahdhhdrata,_ but 

here probably the descendants of Pandu, as Parikshit and Janamejaya, 

tie usual heroes of this legend, were 

' respectively grandson and greatgi-andaon 

of Arjuua the PaadaTa. In modern language the whole race 

are called Pandus. 

It

THE LEGEND OF SAfIdON. 4

416 LEGENDS 0¥ THE PANJAB. 

she was ready to curse Khwdja KWzar, the god of the water.* 

Bat Khwaja Khizar said that she should have no water unless 

she showed herself to him. Now Niwal Dai had never yet 

shown herself to any one except her own parents, and she felt 

very uneasy, but, being helpless, and out of affection for her 

father, she showed herself to the water, which rose up at once 

to the brim of the well. But in doing this it madesuchanoiso 

that the Pandavas heard it, and knew that Niwal Dal had come, 

for none but she had the power to open the well. 

Presently ths Pandava, to whom she had been betrothed, came 

galloping up to the well and determined to seize her, but she 

at once transformed herself into a Nagt (snake) and thrust 

herself into the brick platform round the mouth of the well. 

The Pandava remained there a long while urging her to come 

out, and assuring her of his good intentions towards her. 

She refused, 

and used all her tricks and devices to avoid him, 

but the Pandava Eaj4 would not budge an inch. So at last 

Niwal Dai made him swear an oath not to touch her, and 

promised to assume her proper human form and come out of 

the platform. The Eaja swore a great oath, and Niwal Dai 

assuming her human form came out and stood before him. 

And when the Raja saw her full beauty he tried to seize her 

again, but Niwal Dai reminded him of his oath and said " 

: The 

sea and the wind and the water are bound by their 

vows and' 

leave not their appointed places." 

" But," answered the Eaja, " your father betrothed you to mo 

and afterwards broke his word, and you will be married to 

another husband after me ! Is such a thing tolerable in the 

golden age The women of the Black AgeJ shall abandon 

* Often regarded as a Muhammadan saint and identified with the 

Prophet Elias : really he is the god of the flood, and probably represents 

an old cult engrafted on to Central Asian Muhammadanism. 

t This power of transformation is the main characteristic of the 

legendaiy Nagas, and repeatedly occurs in all stories regarding them. 

X Satjug, the golden age, represents in a loose way the Krita Yuga 

of Sanskrit, the first age of the world, when all men behaved well and 

there was no trouble. KAljug, the black age, represents the Kali Yuga, 

the fourth or present depraved age of the world, when righteousness 

has ceased and trouble has begun.

THK LEGEND OF SAfIdON. 4] 7 

their husbands for other men to whom they are not married, 

but this cannot be now ; so I will not let you return to your 

father." 

So Niwal Dai, seeing no other way of escape gave her word 

to the Raj4, that if he let her go now she would return to him 

soon. And the Rajl let her go. 

Niwal Dai went to her father and bathed him in the awrita 

all over, excepting his thumb, over which she placed her 

kerchief, because she intended to return to the well under the 

pretence of fetching more water to cure the thumb. As soon 

as tlie amrita touched Raja Basak he was cured of his 

leprosy, 

excepting his thumb. Seeing this he said to his daughter : 

" The leprosy has left every part of me except my thumb." 

On this Niwal Dai offered at once to fetch more amrita from 

the well, but her father did not wish it, as he feared that the 

second time the Pandavas would surely catch her. However 

she would not listen and went off to the well. 

As soon as she arrived, the Pandava, who had been awaiting 

her, seized her, and making a fire in the forest formally 

married her and took her to his palace.* 

But Raja Basak's thumb was never cured, and that is why 

leprosy is still rife among the people of the Panjab. 

* The walking round the fire by the bride and bridegroom is the 

crowning ceremony of the orthodox Hindu marriage. The nairator 

here means to say that Niwal Dai and her abductor went through all 

the forms of a real marriage. 

53

t 

! 

No. XVI. 

PRINCESS NIWAL DAI, 

AS SUNG BY TWO SCAVENGERS FROM BIBITAL 

VILLAGE NEA.R AMBALA. 

[This legend covers the whole ground of the story of the war between the 

Aryans and the N^gas, from the abduction of Niwal Dai, the daughter of 

Vasuki the N4ga monarch, by Parikshit the Pfindava king of Hastinfipura 

and the consequent murder of Parikshit by VAsuki's emissaries to the final 

destruction of the Njlgas by Parikshit's son Janamejaya in revenge for 

his father's death. It contains mucb that is not to be found in the Mahabhdrata 

and Bh&gavata versions, and also much that is obviously based 

on the same foundations as the classical story.] 

[The style is excessively uncouth, but the value of the tale is enhanced by 

the fact that the social isolation of the class that sing and retain it 

renders them peculiarly free from those Brahmanical influences with 

which the orthodox version of the Sanskrit classics is so overcharged.] 

TEXT. 

Rag Rani Niwal Dai Betl 

Awalan, Debi parbat man basni, 

Tere slier dardke bS,nke bhawan men 

Raja Bdsak Ici. 

Basak Raja see tha Dhartmandal men : 

TRANSLATION. 

The Song of Princess Niwal Dai, the Daughter of Raja 

Basak* 

First (I worship thee), Goddess dwelling in the 

mountains. 

The lions roar at thy splendid temple ! 

Raj^ Basak was sleeping in Dhartmandal. J 

* Basak is Vasuki, but I tave not been able to ascertain wio Niwal 

Dai represents, except it be Jaratkarii of the Mahdbhdrata Legend. 

t Parvati, the spouse of Siva. 

X Explained to be Patala, the fabled nether dwelling of the Nagas or 

Serpents, but it is really I think some portion of the Southern Panjab ; 

() the Multan Province.

; 

: 

; 

: 

PRINCESS NIWAL DAt. 419 

Padma Dal Rani pankM jholi. 

5 Sote R&jS, ko supna bh&y&: 

Jate kahiri gaya mirg shikar. 

Raja chamakke uthd. 

Padma Dai R4ni kare jawab : 

" Kya meri sewa men bhfll hAi 

10 Mujhe sacli batS, de, Rajl." 

"Na ter^ sewa men bhiil hM: 

Mujhe sote ko supna bhayet. 

Jan on main to gaya khelan shikar ; 

MSra sohan mirg." 

15 Paji ka beta buBya. 

" Pajij mer6 âraz suno : 

Mera hansla sa ghora pirke la." 

Paji daura daura ave 

Hansla ghoi4 chit sangarS, 

Rani Padma Dai* was fanning him. 

5 Sleeping the Raja had a dream, 

That he went somewhere a-hunting the deer. 

The RAja awoke with a start. 

Spake Rani PadmA Dai 

" What mistake have I made in my care (for thee) 

10 Tell me truly Raja." 

" There hath been no mistake in thy service 

A dream came to me in my sleep. 

I thought I went a-hunting. 

And slew a black-buck." 

15 He called his minion. 

" Minion, hear me : 

Saddle me my fine horse." 

The minion ran off 

And decked out the fine horse 

* Apparently Padmapriya or Padma.Tati=t]ie goddess Manasa, the 

sister of the Naga Eaja. There is probably a confusion of mythology 

here. Here she is the wife of VSiSuki and mother of Mwal Dai. 

.

: 

: 

: 


20 Raja B^sak ke p^s lay^. 

Bawan sum nachkarke paure pair dharave ; 

Sukh asan ave. 

Dhartmandal se ghoia daptaya, 

Clihejke biha-diini jangal jar men aya. 

25 Akar Raja Basak ne mirg uthaya 

Mirgan ke dar ko lalkara machaya. 

Jab mirg bhagkar chale 

Raj& Basak ne gtera payS.. 

Jis waqt tarkash men se kaani nik&ll, 

30 Ji par takai 

Jorke mirg ke sir meri lagai 

Uchalke mirg zamin par ae : 

Parde parde ki jan hawwa ho gat. 

Rdja ghore se niche kve : 

35 Khise men hath paeke chaqu nikali. ; 

20 And brought it to RajR Basak. 

Bending his left leg he put his foot in the stirrup,* 

And sat at ease. 

Galloping the horse from Dhartmandal, 

And spurring it he came into thick and boundless forest. 

25 There Raja Basak put up some deer, 

And shouted at the herd of deer. 

When the deer ran off 

RSja Basak brought them to bay. 

Drawing an arrow from his quiver 

30 He took aim. 

Taking aim he struck a deer on the head ; 

And bounding up the deer fell upon the ground : 

And its life went out as it fell. 

The Raja came down from his horse. 

35 Putting his hand into his pocket he drew out a knife, 

* It is lucky to mount -witli the left foot.

: 

: 

: 

PRINCBSS NIWAL DA. 421 

Pet chak karke kllja nikala. 

Phir kliise men Mth ddsre BAjk Basak ne payS,: 

Hath paeke dusrl pathavi nikali 

Us pathari nikalke sokhta lagayS,. 

40 Chugke lakt-i glnthtl* lagaya : 

Ginthe men kalja tikayet. 

Ginthe men se dhundhMr utha. 

Eaja Parag apne maliil ke upar charhd : 

Apne shikargah men dhundhkar dekhel. 

45 " Kaun jane koi R^ja utara 

Kaun jane koi Jogiji " 

Pirke ghora ckal par^, 

Biha-diini jangal njai- men ayk. 

Eaja Parag ko dekhkar Raja Basak hhkg chala, jl. 

And ripping up the (deer's) belly he took out the 

(liver). 

Then Raja Basak put his other hand into his pocket 

Putting in his other hand he drew out a flint 

Taking out the flint he applied it to fuel. 

40 Collecting sticks he made a fire, 

And on the fire he placed the (deer's) heart. 

A smoke arose from the fire. 

heart 

Raja Paragt was on his palace roof. 

And saw the smoke in his hunting-ground. 

45 "Who knows (said he) if it be some Raja that has come 

(there) 

Who knows if it be aoraejngi" 

Saddling his horse he went ofi". 

And came into the boundless deserted forest. 

Raja Basak seeing Raja Parag ran ofi.J 

* For angithd. 

t Pariishit. 

X From this point nearly every line ends with "ji, sir," wliioh is 

addressed to the audience. I have for reasons of convenience omitted 

this in the translation.

: : 

:; 

: ; 

Mar ganw&n dAn kisi thaur, ji." 

M&rke ghora glier4 p& dia, ji. 

auriga, ji." 

Putri deni hai, to de de : 

" I let not runaways escape alive 


50 Parag Raja ne dia tha lalkai'a, ji 

" Bhage ko jan nahin dAnga, ji 

Raja Parag samjhave Raja Basak ko, ji 

55 " Ik bat meri sun lijo, ji 

Ballot rcz se mere shikargah men shikar khelte phire 

hai, jij 

Ab main teri jan chhorne ka nahin, ji." 

" Raja Parag, ab ke ineri jan chhor de, phir kabhi nahin 

Raja Parag kahe, "mujh ko terS, 'aitbar nahin, ji. 

60 Mujh ko putri k& dola de, terl j§.n chhoiun, ji." 

Raja Basak kahe, " mere mahil men putri nahin, ji." 

Raja Parag kahe, " tu bai4 be-iman hai, ji. 

Putri tere mahil men paida hui hai, ji. 

50 Raj§, Parag taunted him 

; 

nahin, teri jan mar dftnga, ji." 

Somewhere or other I kill them." 

Flogging his horse he brought him to bay. 

Said Raja Parag to Raja Basak 

55 " Hear a word of mine : 

Many days hast thou been hunting in my huntinggrounds 

; 

Now will I let not thee escape with thy life." 

" Rlija Parag, spare my life now and I will never come 

again." 

Said Raja Parag, " I have no faith in thee. 

60 Give me thy daughter in marriage and I will spare thy life." 

Spake Raja Basak, " I have no daughter in my palace." 

Spake RaJEi P^rag, " Thou art a great hypocrite : 

A daughter has been born in thy palace. 

Thou must give me thy daughter, so give her, or I will 

destroy thy life."

: 

: 

PEINOESS NIWAL DAI. 423 

65 Hath jorke 'araz kare, " maindola tujh ko de chuka^ ji.'^ 

B.kjh Parag kahe, " mujh ko tere ''aitbar nahirij ji. 

Tin bachan Thakur ke mujh ko hkhkar de, jao, ji." 

Raja ne kora kaghaz, qalam, da'wdt jeb se nikali, ji. 

Apae tin bachan Thakur ke likhkar Raja. Parag ko die, ji. 

70 Apni ji ko parhkar santokh khaya, ji. 

Raja Parag ne kaha, ke " ab putri ka dola mujh ko dia, ji." 

Lek-salek* karke R^ja Basak Mandal ko ay a, ji. 

Raja Parag Shahr Safidoh ko aya, ji. 

Ake paji ka beta bulwaya, ji. 

75 Paji ne ake jhukkar kia salam, ji 

'' 

Kaho, Raja Parag, kyS, farmao, 

" 

ji 

R&ja Parag ne farmaya, " Begd Nai ko bulao, ji." 

65 With joined hands he (Raja Basak) spake, "1 have 

already given her thee in marriage." 

Spake Raja Parag, " I have no faith in thee. 

Write me down an oath three times (in the name) of 

God and go."t 

The Raja (Basak) took pen, ink and paper from his 

pocket 

And wrote down the oath (in the name) of God three 

times and gave it Raja Parag. 

70 Reading them himself he was satisfied. 

Said Raja Parag, " Now he has given me his daughter 

in marriage." 

Saluting him Raja Basak went on to (Dhart) Mandal. 

R^ja Parag went to Safidon City. 

Arriving (there) he called his minion. 

75 The minion came and saluted respectfully 

" RaJEi Parag, tell me ; what is thy command " 

Spake Raja Parag, " call BegA, the Barber." 

* For as-saldm 'alaikwm. 

t This expression, lit., " three words of God" is very common in the 

poem. It means a strong oath.

: 

: 

: 

: 

424 LEGENDS Oi' THE PANJAb. 

Begd Nai ne Sikar salam kiai ji 

" Ai Raja, mujh ko kj'a khidmat farmslo, ji." 

80 " Srinagal men jao, bhaich^ra ko bulao, ji." 

Srinagal men jakar bulawa dia, ji 

Jurke bhaichara Kacbahri men ae, ji. 

Ake bhaichara ne Ram, Ram' ' 

dhae, ji. 

" Kaho, Raja Parag, bhaicMra kimrat bulaya, ji " 

85 Raja Parag kahe, "Bhtiiyo, Basak roz khelne ave 

sbikargah, ji. 

Aj main Raja Basak pakar lia, ji. 

Main us ko pakarke marne laga tha, ji 

Is ne mujli ko putri ka nata A\k, ji. 

Tin bachan Thakui* ke likhkar de die, ji. 

90 Raj^ Btbsak se bair tha,: ab n§,ta ho gaya, ji." 

Jab Raja Basak apne mahil ko aya, ji, 

Ghora fcavela men bandh dia, ji. 

Begu, the Barber, came and saluted : 

" Raja, -what service dost thou command of me " 

80 " Go to Srinagal* and call my kinsfolk." 

Going to Srinagal he fetched them 

And the kinsfolk came and sat together in the Court. 

Coming the kinsfolk gave him salutation : 

" Say, Raja Parag, why hast called thy kinsfolk 

" 

85 Spake Raja Parag, " My brethren, Basak came daily 

hunting in my hunting-grounds : 

To-day I caught Raja Basak. 

Seizing him I would have slain him : 

(But) he gave me his daughter in marriage. 

He wrote me an oath three times (in the name) of God, 

90 Raja Basak was my enemy : now 

When Raja Basak reached his palace 

He fastened his horse in the stable. 

is he my relative.'' 

* Near Safidon.

: : 

: : 

tEINOESS NIWAL DaL 425 

Chalke mahil men Râi ke pas ay^, ji. 

Jab Rani ne kaha, "ai R^ja, turn ne der kahan " 

l^gai, ji 

95 Raja kahe, " roz roz main shikar khelan j^M thS., ji 

Aj mujh ko Raja P&rag ne apne shik^rgah men pakar 

lia, ji; 

Mere se us ne putri ka nata lena kia, ji. 

Tin bachan mere se le lia, ji. 

Tin bachan main deke mahilon ko a ga.ja, ji. 

Rani kahne lagi, " ai Raja, tum ne tin bachan die, ji 

Ab putri ka biyah de do, ji." 

100 Ab, Rani, tare ikhtiyar hai, ji/' 

Raja kahe, " hamdra us ka qadim se bair hai, ji 

Main putri ka doE nahin diinga, ji." 

105 Rani kahe, ''tin bachan tun die us ki hatya lagegi, ji." 

Raja kahe, " ai Rani, ab main kya karun, ji 

Man mukh se kahke sunao, ri, jii" 

Going into the palace he came to the Rani. 

Then spake the Rani, "Where didst delay so long 

Raja" 

95 Spake the Raja, " Daily I went a-hunting, 

And Raja Parag (at last) caught me himself in his 

hunting-ground. 

He made me give him my daughter in marriage. 

Thrice he took an oath from me. 

Giving him an oath thrice I am come to my palace. 

100 What wilt do now. Rani " 

Said the Rani, " Thou hast given thy oath thrice 

So marry thy daughter to him now." 

Spake the Raja, " He and I are old enemies, 

I will not give him my daughter in marriage." 

105 Spake the Rani, " Thou hast given thy oath thrice, its 

vengeance will fall on thee." 

Spake the Raja, " Rani, what shall I do 

Tell me thy advice with thy lips." 

H

: 

: 

Jiwan Singh Nag ko bul&o, ji 

Sankhchiir Nag kobulao, ji : 

RajS. Basak called his minion. 

" Call Kali Singh and Bhuri Singh 


Eani kahe, " btaJchara ko bulao, ji." 

Eaja Basak ne paji ka beta bulay^, ji. 

110 Paji ne ake jhukkar saMm kia, ji. 

Eaj^ ne hukm lagay^, " bhaichara ko bulslo, j!. 

Kali Singh, BMri Singh ko buldo, ji 

115 Sutak Patak ko bulao, ji." 

Paji ka beta chalk e Srinagal men ave, ji 

Ast kul, nau Nag ko bulawS. dekar lave, ji. 

Akar Kachahri men bhaiohara ne ' Ram R^m' dhiyae, ji. 

" Ai bhaiyo," hath jorke 'araz lagave, 

120 " Meri âraz suno, ji. 

Spake the Rani, " Call the kinsfolk." 

110 The minion came and saluted respectfully. 

The Raja ordered him to call the kinsfolk : 

Call Jiwan Singh, the Nag. 

Call Sankchiir, the Nag. 

116 Call SCitak and Patak.''* 

The minion went to Srinagalf 

And gave the invitation to the eight families and the 

nine Nags. J 

Coming into Court the kinsfolk made salutation. 

" my brethren," spake (the Raja) with joined hands, 

120 " Hear my prayer. 

* Popularly Jiwan Singh is the brother, Sankohlir is the father, and 

Sfltak and Patak are the sons of Baja Basak. Kali Singh and 

Bhiiri Singh are worshipped as godlings along with Gnrii Gugg&, and 

are in some way connected with him in the popular imagination. 

Sankchfir is prohably meant to be Sankha, one of the chief Nagas, but 

Vasuki's father is usually Kasyapa. There are long lists of the kinsfolk 

of the Nagas in the Mahdbhdrata, but I cannot trace these names 

among them. 

t It is very observable that this is the same place as that mentioned 

as being the home of Parikshit's kinsfolk. 

X These numbers are purely conventional. 

: 

:

: 

: 

; 

: 

PRINCESS NIWAL DA!. 427 

Main klielan gay& sliikdr, ji 

Ake mujh ko ESj^ P^rag ne pakar lid, ji; 

' 

' 

Teri marke ganwa dftii j&n, ji.' 

Raja mujhe na mariye, ji.' 

125 Main ne kaha, ' putri k§, doli dMga, ji.' 

Us Rajd ne men kuchh b^t na mdni, ji : 

Mere se tin bachan leke cbhora, ji. 

Ake Dhartmandal jnen ghorS, bdudh§, ghursal men mahilon 

men aya, ji. 

Rani ne akar 'araz lagai, ji : 

130 ' Ai Raja, itni der kalian lagai, ji ' 

Main ne kali&, « Rani^ mujb ko Raja Parag ne pakar 

lia, ji : 

Putri ka dola dekar %a, ji.' 

Main Rani se kaha, ' ai Rani, main putri ka dola dtega 

nahin.' 

Bole Rani, ' Raja, tin bachan Thakur ke katya lagegi.' " 

I 

went a-bunting 

Raja Parag came and seized me: 

(And said), 'I will destroy thy life.' 

(Said I), 

'Raja, slay me not.' 

125 And I said, ' I will give thee my daughter in marriage.' 

The Raja would not take my word 

He took from me an oath thrice and released me. 

Coming to Dhartmandal I fastened my horse in the 

stable and came into the palace. 

The Rani came to me and said : 

130 ' Where didst thou delay. Raja ' 

Spake I, ' Rani, Raja Parag seized me 

Giving away my daughter in marriage I am come.' 

And I said to the Rani, 'Rani, I will not give my 

daughter in marriage.' 

Said the Rani, ' Raja the vengeance of the thrice- 

/ repeated oath (in the name) of God will be on 

thee.' "

428 LEGENDS OF THE PANJAb, 

135 Hsitli j&;ke 'araz lagave j 

" Main jo karke ay^ so bata dia, jl." 

HO 

: 

: 

Bole bhaichara, " putri ka nUh de de, jl 

NaMn tin bachaii ki tujh ko hatiya \agegi, ji." 

Raja B^sak kahnS. harban* mane nahin 

" Main to nhta, Raja ko nabin deta, ji." 

Bolta bhaJch^raj " hamari 'araz suno 

Jaisi bam kaben : 

Dai -cbungai us ke satb de do, ji, 

is larke ko bhaunri men dal do, ji. 

Bar&h baras ka khana dana deke bbaunri men dtikhii 

karo, ji : 

145 Sawa sau man ke is par sil dal do, jl." 

Jab sawa sau man ki sil us par dal die, ji. 

Tab Raja jotishi pandit ko bulave : 

Pandit ankar kalyan dia, ji. 

Rsj^ ne bola, " Dada, pair lagAn, ji." 

: 

: 

: 

135 Witb joined bands be besougbt them : 

" I have told you all 1 have done." 

yaid the kinsfolk, " give bim thy daughter in marriage. 

Or the vengeance of the thrice-repeated oath will be 

on thee." 

Raj^ Basak would pay them no attention at all 

140 " I will never give the Raja my daughter in marriage " 

Said the kinsfolk, " Hear u&. 

As we speak : put thy child into a pit. 

Give her nurses and attendants. 

Put twelve years' supply of grain and food into the 

pit 

145 And put a stone (weighing) 125 mansf on its mouth." 

So when he bad placed the stone weighing 125 mans 

(on the pit's mouth) 

Raja (Basak) called the priests and astrologers. 

The priest came and gave his blessing. 

Said the Raja, " Father, I fall at thy feet." 

For hargiz. 

f 

I.e., about 5 tons.

" 

: 

: 

sawaya, ji ! 

PRINCESS NIWAL DAI. 429 

150 " Sukhl raho, jujm§.n ; tertl nichal tikd, jug jug 14j 

" Pusbtak bancho, Bed sunao, ji 

Tin bachan kl haty4 kaisi uijare 

Tin bacban main ne die/ji. 

Puabtak bancbo. Bed sunao, ji. 

155 Tin bacban ke lamb ka bacban batSiO, ji." 

Pusbtak bancbe, Bed sunave, jape Kisbn ka nam, ji. 

" Sacb kabun tu dije gbora : jbAtbe ko gardan dije 

A -A 

mar, ji. 

Je Eaja durlamb utare jag leo sarodh, ji. 

Saw^ ser dlidb suran gawwan ka le ko, jag men pao, ji 

160 Jab lekba lag jave, ji." 

1 50 " Be at peace my client ; 

* may tby son succeed tbee and 

tby bonour increase tbrougb the ages !" 

" Read tby books, expound tbe Vedas : 

How sball I escape tbe vengeance of an oatb thricerepeated 

 

Thrice I gave my oatb. 

Eead tby book, and expound tbe Vedas. 

155 Tell me tbe antidote to a thrice-repeated oath." 

He êad the books, be expounded the Vedas, be repeated 

the name of Krishna. 

" If I tell thee sooth, give me a horse : if I tell thee a 

lie, 

strike at my neck. 

If tbe Eaja would escape vengeance he should divinet 

by sacrifice. 

Procure 

a ser and a quarter J of yak's§ milk and throw 

it on the sacrifice. 

160 Then will fate be propitious, Eaja." 

* As far as this the expressions are stereotyped and are interesting 

as showing the usual salutation between priest and client. 

t sarodh or sarodhd is a species of divination by breathing through 

the nose. 

t 2i lbs. 

§ So in the text, but I think that merely a saci-ed cow is meant.

: 

: 

430 LEGENDS 01" THE PANJAB. 

BhMchara baitha ; h^th jorke Bashak ne 'araz lagî, jl 

" Bhai, jag sarodh ho Siji Pandit se ; sur^ gad kk diidh 

Sab bhaicharS, apne apne kam par khaia ho gay a, ji, 

Sutak Patag leke loti Siji Pandit ke ae, jt. 

165 Ae Siji Pandit^ ke "Dada, pa(iu lagen, ji." 

" Sukhi I'aho, jujman ; kimrat awan hua, ji " 

Bola Siitak Patag, " Ham ko sura gail ka diidh de de, ji 

Ham ne jag sarodh kia hai : jag men dudh pana, ji." 

Bole Sija Pandit^ " meri 'araz suno : 

1 70 Kanyan hain diidhadaran : an nahih khaven ; 

pani nahin 

piven. 

' Panchon kanyan, p§,nchori gawwan' ; 

woh kahej ji. 

Panchon apn^ apna dudh kadhke piveh, ji. 

The kinsfolk sat (in Court) : 

R§ja B^sak besought them 

with joined hands. 

" My brethren, Siji the Priest* will divine by the sacrifice 

: 

bring me yak's milk." 

All the kinsfolk took up their duties (at the sacrifice). 

Sutak and Patak bringing a pot came to Siji, the Priest. 

165 Coming to Siji, the Priest, (they said), " Father, we 

fall at thy feet," 

" Be at peace, my clients : why haye you come " 

Spake Sutak and Patak, " We bring thee yak's milk. 

We would divine by the sacrifice : put the-milk in the 

sacrifice." 

Said Siji the Priest, " Hear me : 

170 I have maidens who live on (that) milk: that eat not 

corn : 

that drink not water. 

' Five girls and five cows (yaks)', say they. 

Each of the five will draw her milk and drink it. 

* Usually called Sanj^, the family priest of Vasuki. TLe nam^ 

however probable recalls Sanjaya.the messenger to the Pandavas before 

the war broke out. 

See Mahdbhdrata, AM Parva.

;: 

: 

: 

PRINCESS KtWAL DAL 431 

Main kaunsi gafl ka dildh de dun, ji 

Jis k^ dAdh main dAnga us ki hatyS, lage, ji ! 

" 

175 Pandit ne di^ jaw§,b : 

GLusse hokar mahilon ko k gae, ji. 

Bole Basak, " meri 'araz suno : 

Siji ki batan mujh ko batlS, do, ji." 

" " 

Siji Pandit ne dia jaw§,b ! 

180 Basak Raja ghussa khaya, ji. 

Bis ki g&ndal khake tajk palt li : 

Bhari Nag ho gaya, ji ! 

Jangal ko chal para, ji : 

Nag banke jangal ko chal para, ji 

] 85 Sur^ gawwah ko dhundta phire, ji 

Thaliyan ki batik men gawwan mil gai, ji 

Sama pali soe tha ; 

gaww&,h chug rahi thi 

Which cow's (yak's) milk xshall I give to the sacrifice 

That (girl's) milk that I give will have vengeance on 

me!" 

175 The Priest refused them altogether. 

In anger they went to the palace. 

Said Raja Basak, " Hear me : 

Tell me what Siji said." 

" Siji, the Priest, refused us." 

180 Raja Basak was wrath. 

Taking a quantity of poison he changed his body,* 

And became a mighty Nag. 

He went into the wilds : 

Becoming a Nag he went into the wilds, 

185 And searched for the yaks. 

He met the yaks in a hollow in the wilds. 

Sam^, the neatherd, was sleeping : the yaks were 

grazing. 

* This is a universal attribute of the N&gas.

! 

: 

: 

: 


Eaja Basak ne dekhkar mara phunkar, ji 

Dang lagaya, ji 

1 90 Sura gawwan us ne dasi hati, jl. 

Jab Raja Basak mure, ji, 

[GaA ka pair sir par Nag ke lag4, ji 

Nag ka sir cliaura ho gaya, ji.] 

Gawwan ko daske Eaja Basak mahil ko chal para, ji. 

195 Mahil men ake apna rup sidhar^, ji. 

Sama pali sota utha, ji 

Dekhkar gawwan ro para, ji. 

Sir se pagri utarke rota ave, ji. 

Sama pali mahilon men jaisa §,ya, ji. 

200 Sija Pandit samjhakar puchhe, ji : 

" Kya kis ne manda bola kya kis no g§,li di, " ji 

" Karman ne mand^ bola ! Lekha ne 

" 

gali di, ji ! 

Raja Basak saw them and hissed 

And bit with his fangs. 

190 He bit the yaks with his fangs. 

Then Raja Basak returned. 

[The yak's foot came upon the Nag's head. 

And the Nag's head was flattened.*] 

Having bitten the yaks, Raja Basak went home to his 

palace. 

195 In the palace he put on his own form. 

Sama, the neatherd, got up from his sleep. 

Seeing the cows (dead) he wept. 

Taking his turban off his headf he wept, 

Sama, the neatherd, came thus to the palace, 

200 Siji, the Priest, spake and asked him : 

" What hath any one spoken evil What hath any 

one abused thee " 

" Fate hath spoken evil ! Destiny hath abused me 

" 

! 

* Probably thrown in as a well-knowa saying. It has no connection 

with, the passage. 

t Sign of hiunility and son-ow.

: 

! "! 

210 Sat Jug, sacka pahira barMe : Tere bachan na haran, ji ! 


Gawwarije Mgan ne daSi, khabar panchon kaniyS,ri pai 

pahunchl, ji. 

Ai kaniyai jin ki dudh piven ; Nagan ne dasJ, jl 

205 Panohon kaniy^n kesh khandaven, kapre pMrerij ji. 

Rona-pitna mahiloi men racMven, ji. 

Donon Mtli jorke Thakur ko ardas lagaven : 

" Jaisihamad gawwari dasen us ki kay4 ko bedan lage^ ji. 

Au na khaen, p4ni ni- piverij panchon kaniyan dudhadMran, 

ji. 

Basak soe th^ mahil men : Padma Dai Rani pankha phere : 

Panchon kaniyan lagi ard4s, kanchan si kaya k^ bedan 

!aggaya,ji! 

Raja Btlsak soe tha : 

sote ke Nag ki kumbal mur gai, ji 

Dekhke Padma Dai Eani zar-zar roi, ji 

The Nags slew the yaks and the news reached the five 

girls. 

The girls that drank their milk came, (but) the N%a 

had bitten them ! 

205 The five girls tore their hair and rent their clothes. 

Weeping and wailing they came into the palace. 

Joining their hands they prayed to God : 

" As he slew our yaks may leprosy attack his body. 

We eat not corn, we drink not water, we five maids 

take but milk. 

210 It is the Golden Age, it is the true time of prosperity : 

Thou canst not go back on Thy word 

" 

! 

Raja Basak slept in his palace : 

Rani Padma Dai fanned 

him. 

The five maidens' prayer was heard and leprosy attacked 

53 

his golden-hued body. 

Raja Basak slept: 

the sleeping Nag's nose fell in- 

Seeing this Rani Padma Dal wept bitterly,

: 


215 Rani ka aisA Raja ki cbhati par para, ji. 

Bflnd pare Raja ke ^nkh khul gae, ji. 

Bole Basak Mali§,rajaj Padma Dai se kare jaw&b 

" Indar na garji, ganir na ghori : meri chMti par bAnd 

kaise pare, " ji 

Boli Padma Dai R^ni, " R^j^, apni ksiya ko dekho, jl 

220 Teri kanchan ki kaya ko kusht lag gaya, ji. 

Tain pancbon kaniyan ki gawwan dasi, ji : 

lag gaya, ji." 

Dekhkar Raja Basak apni kaya ko roya, ji. 

Sri Thakur pai donon bath jorke âraz lagai, ji 

" He Tbakur, kaun kari bat, ji 

225 Mere kancban si kayS, ko kusbt lagayS,, ji. 

: 

: 

tujb ko sarlip 

Rani, mere Bbag ki likbi bai mere bag gai, ji." 

"R§ja, tiita manjS, bicba lo ; cbaukbandi men baitbo, ji; 

Kacbe bhande mangao ; ua men rasoi jimo, ji." 

Basak R&ja kabne se cbaukbandi men ave, ji. 

: 

: 

215 The Rani's tears fell on the Raja's breast. 

As the drops fell the Raja opened his eyes. 

Said Basak, the Maharaja, to Rani Padma Dai. 

" The heavens spake not : the clouds have not thundered 

bow then fell drops on my breast " 

Said Rani Padma Dai, " Raja, see thy own body. 

220 Leprosy has attacked thy golden-hued body. 

Thou didst bite the yaks of the five maidens, and they 

have cursed thee." 

When Raja Basak saw his own body he wept. 

With joined hands he prayed to the Holy God 

" God, what hast thou done 

225 Leprosy has attacked my golden-haed body. 

Rani, the decree of my Pate hath been passed upon me.'' 

"R^ja, take a broken bedstead, go to a separate cell:* 

Send for unbaked pots, and eat from them." 

Raja B^sak, as he was bidden, went to a cell. 

* The chaukhanM is the mound marking a village boundary. Here 

the translation gives the obvious sense.

" 

: : 

: 

MINOESS NIWAL DaL 435 

Rote pita ki awaz sunke E§,ni Niwal Dai dai ko samjha\re, 

ji: 

" Daij ham^re mahil men kaun ay^ 

Jo mil—mil roe, ji 

liamar^ mara 

Kaun jane yeh tika hamara dhala tM, mahilon men 

roven, ji 

" Nahin ham&rli koi ghora mara : nahih koi hathi mara 

tha : 

Boli terl Sandal Dai : tika koi na dhala, ji. 

Basak Raja dard ke mare apne rove, ji 

Rote pita ka mamta sunke kahe, ji 

" Dai, mujhe bhaunre se nikalo, ji 

230 Chaukhandi mei dnke tuta manj^ bichave, ji. 

Basak zar-zar roe, "Ai Sri Th^kurji, kaun kare, ji " 

235 Kaun jaae yeh ghora mara tha kaun jane koi hathi 

240 Sawarran si kaya ke kusht ho gaya, ji " 

230 Coming to the cell he took a broken bedstead. 

Raja Basak wept bitterly, "0 Holy God, what hast thou 

done" 

Princess Niwal Dai heard the sound of her father weeping 

and spake to her nurse : 

" Nurse, who has come into the palace 

That weeps so bitterly 

235 Who knows if it be a horse that is dead Who knows 

if some elephant be dead 

Who knows if the heir be laid low, that they weep 

in the palace " 

"No horse of ours is dead : no elephant is dead. 

Saith Sandal, thy nurse; no heir is laid low. 

It is 

Raja Basak that weeps in his pain. 

240 His golden-hued body is attacked with leprosy." 

Hearing the cries of her weeping father she said : 

''Taking me out of the pit, my nurse:

! 

: 

436 LEGENDS OF THE PANJAB. ' 

: 

Main apne Mbal ka mnkbra dekhun, 

" 

ji ! 

" Bole Sandal teri dai, meri 'araz suno, ri 

" 

! 

245 Sil sawa san man ke biaunre par dhare hain, ji : 

Chandar tu nahin dekha ) surij tu nahin dekha ; 

kis bid h 

bhaunre se nikaMn, ji, " 

Donon hatb jore Niwal Dai : 

" sila b&ja dftr, ji 

! 

Gall mSn palM p^ve Niwal Daij "meri sila ko Mr 

karo, ji !" 

Cbicbali ungal sila ke lagave bbaunre se bagal hatavOj ji 

250 Nikalke bhaunre se bahir ave, mata ke mahilon mea 

^ve, ji. 

M^ta ke galle se mil-milke rovej ji, 

Bhai bhatijan nun mile, ji r 

Earyal Paryal nui mile, ji. 

M§.ta ke milne ko ave, ji. 

255 " Mata, mere pita sarwan ko mila de, ji ! 

" 

I would see my father's face." 

" Saith Sandal, thy nurse : hear me 

245 There are stones (weighing) 125 wa^zs placed on the pil. 

The moon thou hast not seen: the sun thou hast not 

seen : how 

shall I take thee out of the pit " 

Joining her two hands, (prayed) Niwal Dai : 

stone be removed !" 

"May 


Placing her garments round her neck* (prayed) Niwal 

Dai : "May my stone be removed " 

! 

Putting her little finger to the stone she pushed it aside 

from the pit 

250 She came out of the pit and went into her mother's 

palace. 

On her mother's neck she wept bitterly. 

She met her brothers and nephews : 

Hai'yal and Paryalf she met. 

She went to meet her mother. 

* As a sign of earnest supplication, 

t Brothers to Niwal Dai.

! 

: 

!; 

! 

PETNOESS NIWAL DAi. 437 

Chaukliandi men para tha Basak E^ja ; us ki kanclian si 

kaya ko bedan lag g&j^, ji. 

" Mar jaeri tere bhai bhatije, tei4 sab parw&r, ji 

Acbhe, Mataj raj kare, yeb acbhe hukm barte the, ji 

Bhir pari men dia jawab, ji! " 

260 Pita milne ko ave cbaukbandi men Niwal Dai, ji 

Bhujjan pasarke milne lagi, ji. 

Bole Raja Basak, " Beti, mujh se mat na miliye : mere 

kancban si kaya ko bedan lag gaya, ji. 

Beti, mere sukh ke satM sab koi tbe : mere dukh ka 

sathi koi naMn." 

Itni kabke zar-zar roe, ji. 

265 Sunke chir utarke pita k§; mukbr^ poncbe. 

" Babal, t

; 

: 


Pandit jotish! ko buM le : 

Apne dard ke darii pftchhe, jt." 

Paji ke bete nftn bulwive. 

270 PSji daur^ kve jhuk-jhak kare salElm. 

Bole piji, " kyS, khidmat farmdoj ji " 

Bole Bftsak, " mere jotishi pandit ko bulao, ji." 

Paji daura jotishi pandit pe ave : 

" DadS., pair lagftn." " Teri sukhi raho jajman, ji. 

275 Kimrat aya Is ka bhed bata, ji." 

" Rsija Basak ne bulaya^ ji." 

Us waqt sunke tasri ki dhoti pahinai, ji 

Aur unchi pagri bandhi, ji. 

KhSrSa ka jam^ pher&, ji. 

280 Maude dopatta pake, pairori pawwo pake, hdth men 

brahmchhari leke, chaukhandi men ae, ji. 

A chaukhandi men kalyan kaha, ji. 

Eaja Basak bole, " Dada, paun laguh, ji." 

Call the priests and astrologers: 

Ask for medicine for thy pain." 

He called his minion. 

270 The minion came running and saluted respectfully. 

Said the minion, "What is thy command'^ 

Said Raja Basak, " Call my priests and astrologers." 

The minion ran to the priests and astrologers 

" Father, I fall at thy feet." " Be at peace my client. 

275 Why hast thou come Tell me the reason." 

" Raj4 Basak calls thee." 

As soon as he heard this he put on a silken loin-cloth, 

And bound on a lofty turban. 

He put on a cotton coat, 

280 And throwing a kerchief over his shoulder, putting 

wooden shoos on his feet, and taking his priest's 

staff in his hand, he came to the cell. 

Coming to the cell he gave his blessing. 

Said Raja Basak, " Father, 1 fall at thy feet."

" 

: 

: 

: 

: 

: 

: 

PEINOESS NIWAL DaI. 439 

" Sukhi rahoj jujm&n, ji." 

Sandal chanki bichliEl,}, ji 

285 Kharar par patii biclili§,e5 ji. 

Haryal Paryal bhai bhatije sab hatae bulae, ji. 

H§,tli jor 'araz lagave, " He Pa^ditji, 

Pushtak bdnchoj Bed suiiS,o, mere dard§,ri ke darA 

batao, ji." 

Pushtak b^nche, Bed sunave, jape Kislm ka nam, ji 

290 " Sach kahurij tu dije inam, jhiitlie ko deo mar, ji. 

Shalir Safidon k^ k]iera,"Us men sawarran kuan Pandon 

ka, ji: 

Us ka jal mangao, ji. 

Barah baras ki kaniyM khaidve, ji 

Sawarran kuan se jal bliarke lave, ji. 

295 RSja, us men ashnan karo, ji: 

Jab hatke teri sawarran kaya bane, ji." 

" Be at peace my client." 

They placed him a chair of sandal-wood 

285 They spread mats upon the carpets. 

Haryal and Paryal, and all the brothers and nephews 

were sent for. 

With joined hands prayed (the ESjd), " Sir Priest, 

Read thy books, expound the Vedas, tell me the cure 

for my pains. 

He read the books, he expounded the Vedas, he repeated 

the name of Krishna 

290 " If I tell thee sooth, give me reward, but slay the liar. 

In the suburbs of the City of Safidon is a golden well 

of the Pelndavas 

Send for its water. 

Send a maiden of twelve years. 

That she may bring the water of the golden well. 

295 Eaj^, bathe in it. 

And then once again will thy body become goldenhued."

: 

! 

: 

:! 

: 

: 

: 


Raja Basak bhMchara se 'araz lagave, ji 

" Kisi surat se mujhe sawarraa kAen ka jal mangw^ 

do. ji- 

Us men ashnan kariinga, ji." 

300 Bhaichara bole, " tft baia be-iman, ji 

Tu putri ka n&ta Parag ko dena karke mukar gstyk, ji 

Jo koi jaega, us ko woh jan se mS-r dega, ji." 

Sab bhaichara ne jawab de dia, ji. 

" Eaj§. Basak, hamara wahan koi nahii jae, jt ! 

" 

305 Kachahri men Raja B^sak ki beti Niwal Dai baithi, ji; 

Boli pitd se, " Sawarran kuen ka jal main Mn, ji." 

Raja bola, " Tu to, Beti, mat na jê, ji 

Mere bairi dushman ka mulk hai, ji 

Parag Raja na awan de, ji. 

310 Jo jine se marna bhala, ji 

Mere sattar kuli ko delgh lagega, 

" 

ji ! 

Spake Raja Basak to the kinsfolk 

" By some means procure me the water of the golden 

well. 

And I will bathe in it." 

300 Said the kinsfolk, " Thou art very faithless ! 

Thou hast gone back on thy promise to give thy 

daughter in marriage to R§ja Parag : 

If any one go (to the well the Raja) will slay him." 

All the kinsfolk refused (to go) : 

" Raja Basak, none of us will go there." 

305 In the Court sat Niwal Dai, the daughter of Haja B^sak. 

Said she to her father, " I will bring the water from the 

golden well." 

Said the RajS., " Daughter, go thou not 

It is in my enemy's land 

Raja Parag will not let thee return. 

310 Death were better than this life (to me then, as) 

A stain will be cast on my seventy* families." 

* Really a vague number.

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PRINCESS NIWAL DAf. 441 

Boll Rani Niwal Daij " Babal, meri 'araz auno, ji 

Aise aise NagS,n ki main beti potl, ji ; 

Aisa main to rup sidharon, ji, 

315' Bhari si Nelgin ban jaungi, ji. 

Dharke phunkara ais§. marun, ji, 

Ban ban&sati ko phftnk dungi, ji, 

Sathi 

" 

Rajs, Parag ko pMnk dAngi, ji ! 

Bole Raja Basak, " Beti, woh to Dhanhantar Baid ka 

chela, ji 

320 Tere tukrS, ban^ke, gaddon men ladke, mahilon men 

dakhil kare, ji." 

Suuke bat pita ki Niwal Dai ghussa kara, ji 

'' 

" Main s4r ki sui banke rete men ghus jadn, ji ! 

Bole Raja, " Beti, mat na jae, ji 

Said Princess Niwal Dai, " Father, hear me : 

I am the daughter of such Nags (as thou) : 

I will so change my form, 

315 That I will become a huge Nagin* 

So will I hiss. 

That I will burn up the leafy forest ! 

f 

I will burn up R§.ja Parag and his host ! 

Said Raja Basak, " Daughter, he is a disciple of Dhanwantar, 

the Leech : 

{ 

320 He will cut thee in pieces and load thee on carts and 

take thee to his palace." 

Hearing her father's words Niwal Dal became wrath : 

"I will become as a fine needle and mix with the 

sand ! 

Said Raja Basak, " Daughter, go thou not I 

* Female Nag or Serpent. 

t It is a common belief that a serpent's breath can set fire to any 

thing.—See Adventures of Raja Easaltl, ante. 

X Dhanhantar, Dhantar, Dhanantar, Dhanthar Baid, is the classical 

Dhanwantara, the conventional all-curing physician of the Hindds, as 

Luqman Hakim is of the Musalmans. 

50

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Woh rete ki chhalani men chliaiiw§,ke sui kamar men 

kgde, ji." 

^ 

325 R&ni Niwal Dai kahe, " main kahn^ nahin mS,n

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PEINCESS NIWAL DA!. 443 

Batti abhran, soMh singeir mangwa do, ji 

Nau Ekh ki cMnri mangwd do, ji.'' 

340 Raj4 Bdsak ne sab kuclili paida kia, ji, 

Aur sab Niwal Dai ko dia, ji. 

Thandd jal garam kare, ji 

Chandan chauki mangSive, ji 

DaM pbulel Rani mangle, ji 

345 Ang male, tan nhave ji 

Nhave dhove Karfce PArakh ko sblsh niwave, ji. 

SoMh aingar, batti dbhran lave, ji 

Bal bal moti, tal tal hir4 parove, ji 

Har, hameli, tat, bichhli, anbat, bichhave, ji 

350 Paunte, pazeb, jhanjan, pahiae, ji 

MAtba bandi sindhur ki, nain siyahi lave, ji 

Sir par salu Dakhani le liS., ji 

Get me the 32 jewels and the 16 ornaments * 

: 

Get me a kerchief worth nine Wchsf (of rupees)." 

340 Raja Basak procured all (she asked for). 

And gave them all to Niwal Dai. 

Cold water was warmed, 

A sandal-wood chair was placed. 

And the Princess sent for curds and perfumes, 

345 And she anointed her body and bathed her person. 

Bathing and washing she bowed her head to the Creator. 

They brought her the 16 ornaments and the 32 jewels. 

She put the pearls 

into her hair and the diamonds into 

her locks 

She put on the necklace and the forehead ornaments, 

the anklets and the toe-rings : 

350 She put on the anklets and the foot ornaments. 

She put the vermilion (spot) on her forehead and the 

lampblack to her eyes 

She put the DakhaniJ kerchief on her head 

* The full gala dress of a girl in a villager's ideas. 

t Rupees 900,000. 

J Southern Indian : a very vague term in the Panjab.

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Sir par indYi tikae, jl 

Indvi par ghara tikaya, ji 

Mondhe par lajju gere, ji. 

Dhartmandal se pagwan uthae, ji 

Pagwan uthake sawarran kflen ko dhyaa lagayS, ji. 

Jab Rani ne pagwan vith§.ya, ji, 

JhinkS^r ki awaz Raja Indar ne sune, ji : 

Sunke Indargarh chborke Rani Niwal Dai ko ghera 

paya, ji. 

Boli Rani Niwal Dai, " main nitxx kyun gher^ P^y^^ ji 


355 Ghare ke \ipar dol tikave, ji 

360 Sab zewar ka jhinkar par&, ji. 

" Rani, tere darshan ke piase, ji 

: 

365 Mujh ko darshan de, ji." 

Rani kahe, " main Raja Basak ki beti, ji 

Pat the pad on her bead. 

And the pitcher on the pad, . 

355 And the bucket on the pitcher. 

She threw the rope round her shoulders. 

And started from Dhartmandal. 

Walking she made for the golden well. 

As the Princess lifted her feet 

360 All her jewels tinkled. 

Raja Indar* heard the noise of the tinkling : 

Hearing it he left Indargarhf and encompassed Princess 

Niwal Dai. 

Said Princess Niwal Dai, " Why hast thou encompassed 

me 1" 

" Princess, I thirsted for a sight of thee : 

365 Let me look on thee." 

Spake the Princess, " I am Rgja Basak's daughter 

* Indra, the God of the Heavens. 

t Apparently meant for Amaravati, the capital of Indra's hearen. 

If it be a memory of the name Indraprastha, the city of the Pandavas, 

i.e., Dehll, its presence here is very interesting.

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PRINCESS NIWAIi DAI. 445 

Til tO) 

Raja Indar, mera lage dharm ka pita, ji. 

Putr! ka parda fahish na kariyo, ji !" 

Raja Indar resham tewar dekar mur para, ji 

370 Ghor-gharak Raja Indar mura, jJ. 

Chhoti chhoti badali wahan hui, ji 

Niki niki bAnden pari, ji. 

Bhij gai chiindri Niwal Dai ki tan se lagi, ji. 

Wahan se pagwan uthake sawarran kuen ko chal pari, ji. 

375 Chand aur Sdrij ne ake Niwal Dai ko ghera paya, ji. 

Chand Siirij bole, " Rani, tere darshan ke piase, ji, 

Ham clialke dur se ae, ji." 

Rdni Niwal Dai boli, " main Raja B§,8ak ki beti ; turn 

Raja Kasab ke bete, ji 

Bahin ka parda hargiz fahiah na kariyo, ji. 

380 Main to lagun dharm ki bahin, ji 

Thou, Raja Indar, art as my sworn father. 

- 

Seek not to shame thy daughter." 

Raja Indar gave her a silken petticoat and went back : 

370 With thunders Raja Indar went back. 

Small clouds gathered there, 

And light drops (of rain) fell. 

Niwal Dai's garment was wetted and clung to her body. 

Moving onwards thence she went on to the golden well. 

375 The Sun and Moon came and encompassed Niwal Dai. 

Said the Sun and Moon, "Princess, thirsting for a 

sight of thee. 

We have come from afar.'' 

Said Princess Niwal Dai, " I am Raja Basak's daughter; 

ye are Raja Kasab's* sons : 

Ye should never shame your sister. 

380 I am your sworn sister, 

* Kasyapa : the Puranic legends are doubtfully reproduced in this 

\ As the daughter of Vasuki she would be, according to the usual 

legend, grand-daughter of Kasyapa (but see line 115), and thus be niece 

to Sflrya; the Sun, and doubtfully so to Chandra, the Jkloon.

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Bahin bhai k& birwa para, ji." 

Resham tewar dekar mure, ji 

HEitlijopke kalien, " hamara gunah mu'af karo, ja." 

Hath jorke singhasan ko mure, ji. 

385 WaMn se Rani Niwal Dai pag uthake chali, ji. 

Raste men sohan mirg mil gay4, ji, 

Bole sohan mirg, " tere darshan ke ham piase, jij 

Jangal chhorke ae, ji."_ 

Boli RS.ni Niwal Dai, " Mirga, mere nain zahar se 

bhare, ji 

890 Mere nainan ka mara til mar 

" 

jêga, ji ! 

Purw^ pachhwa pawan chali, ji 

Mukh se pard^ dur hua, ji. 

Nain ka bijla jhhamka aisa laga, ji, 

Jaise badal se karke, ji. 

395 Jis waqt Rani ki nazaran mirg ki lagi, ji, 

Khake pichhar mirg gir para, ji. 

And there is (near) kinship between brother and sister."* 

Giving her a silken petticoat they went back. 

Saying with joined hands, *' forgive our fault." 

With joined hands they returned to their seats (in the 

heavens). 

385 Princess Niwal Dai went onwards thence. 

On the road she met a black-buck. 

Said the black-buck, " I thirst for a sight of 


And have left the forests and am come (to thee)." 

Said Princess Niwal Dai, " Thou deer, my eyes are full 

of poison: 

890 Stricken by my eyes thou wilt die." 

The winds blew east and west, 

And lifted the veil from her face. 

The flash of her eyes fell (on him). 

As the lightning's flash from the clouds. 

395 The moment the Princess's gaze fell on the deer. 

He started back and fell down. 

i.e., 

they are within the naturally forbidden degrees.

: 

PRINCESS NIWAL DaL 447 

"Rani utarke ghaia rone lagi, ji 

" TMkur, ineti hatiy^ ko utfiro : main to bipt^ ki marl, 

' 

ji!" 

Ohir men se tag^ nik^le apne chichi ungli ki bandha, ji. 

400 DAb se chichi ungli ko chir li, ji. 

Chirke lah

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Sawarran kAen clihip& tha, ji 

410 Us par sawa sau man M sil dhari thi, ji. 

Us ko dekhke Niwal I)a,i ghabarai, ji. 

" Sri Thakur, yeli kaun kari, " ji 

Niwal Dai hath jorke bandagi lag&.ve, ji : 

" Main bipta ke mare sawarran kuen par ai, ji. 

415 Chandar main nahin dekhl : Stirij main nahin dekha, ji. 

Jis din main mahilon men jami mujhe bhauiiri men ger 

dia, ji. 

Pita mere ko kusht laga, ji 

Bhaichara ne jawab de diS,, ji. 

Mere Thakur, mujhe bipta paii, ji 

420 Thakur mere, is bipta ko kato, ji 

KAen ke upar se sila ko tha* 

do, ji. 

Sawarran kuen se jal bhar lun, ji." 

Sawarran kAen pe pair ke gunthe se sila ko thave.f 

Jhukke jal ko na dekhe, ji 

The golden well was hidden : 

410 On it was placed a stone of 125 mans. 

On seeing it Niwal Dai was perplexed. 

" Holy God, what hast thou done " 

Niwal Dai prayed with joined hands : 

" I came to the golden well in my sorrow. 

415 I have seen not the Moon: I have seen not the Sun. 

The day I was born in the palace they put me into the 

pit. 

Leprosy,has attacked my father. 

And the kinsfolk have refused (to help him). 

Trouble has fallen on me, my God ! 

420 My God, take away my trouble ! 

Lift up the stone from the well. 

I would draw water from the golden well." 

She pushed away the stone with her great toe. 

She did not look at the water out of modesty, 

—f — — 

* For uthd. f For uthdve.

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fEINCBSS NIWAL DaI. 449 

426 Jal utar gayS tha patal men. 

Hazrat KliwEij^ le &e man^vej ji. 

pol ko khen men phir&n, 

Dol chhor am, ji. 

P&nl par dol nahin pahunche, ji. 

430 Rani zar-baz^r roi, ji 

" Sri Thakur, yeh kauri kari, ji 

Bibal, tera patwS., ji, mar jaiyo, ji 

Yeh chhoti lajjA banwa de, ji 

Tere Haryal Paryal mar jaiyo ! chhoti lajjA banwa de, ji 

435 Tera sab mar jae parw&r, ji ! 

Sir se chundri t§.ri Niwal Dai 

Us lajjA ki bandhi, ji. 

KhwBJa ne, darshan R3ini ke liye, ji, 

Pani umagke charha, ji. 

440 Sikra baith& thtl, rakhwali, ji 

*' 

426 And the water went down into the bottom (of the well). 

She prayed to the holy Khwaja (Khizar),* 

And swung the bucket over the well 

She let down the bucket 

But the bucket did not reach the water. 

430 The Princess wept violently. 

" Holy God> what hast thou done 

Father, may thy rope-maker die, 

That made the rope (too) short 

May thy Haryal and Paryal die I He made the rope 

(too) short I 

435 May all thy family die !" 

Niwal Dai took the kerchief from her head 

And fastened it on to the rope. 

Khwaja (Khizar), to get a sight of the Princess, 

Sent the water up bubbling. 

440 A falcon was sitting as watchman (of the well), 

57 

* The god of the waters : see Legend of Safidon.

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450 LEGENDS or THE FANJAB. 

Raja Parag pe khabarari sunM, ji 

" Jis Bani ke karan mujhe bithMya, wot sawarran kflei 

pe jal bharne ai, jl/' 

Mja ghore par pakhar pave : 

Bawaii sum nichkare sukh S,san &ve : 

445 Ohherke ghore ko chalsi tha. 

ibO 

Pahili ciol Niwal Dal nikale Khwaja Pir ko manave. 

DujS dol nikale chiri jatiwar ko jamae, ji, 

Maram maram gbore ko Raja Parag ave : 

Ghore ka paur bajta sun^ thS,, ji 

B^vin dahine dekhan lagij ji. 

Battis abhran Rani ne utare, ji- 

Pake ghare men kiien par mftndba mS.r dia, ji. 

Dliarke kaya pala,t li, ji. 

Chhoti SI Mgin banke baith rahi, ji. 

455 Klien ki man men baith gaij ji. 

And brought the news to R^ja Parag 

''The Princess for whom you set me (over the well), has 

come to draw water from the golden well." 

The Raj^ saddled his horse 

Mounting with his left foot he sat at ease (on it) : and 

445 Spurring his horse he went on. 

The first bucketful Niwal Dai offered to the Saint 

Khw^jd (Khjzar). 

The second bucketful she gave to the beasts and birds. 

Raja Parag came on flogging his horse 

The horse's hoofs were heard I 

450 She began to look right and left. 

The Princess took off her thirty-two jewels. 

Putting them into the pitcher she put it face downwards 

on the well platform. 

She changed her form. 

Becoming a little Nagin she remained (quiet) 

455 She remained (quietly) in the platform of the well.

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: : 

Gbore se niche utarke jawab kare, ji 

" Rani, tu jo bhala chahe, bahir i ja, ji 

PEINCESS NIWAL DAI. 451 

Parag ghork mdrke a gayti, ji. 

P3,rag Raja phir-ghirke to dekha thei. 

Indvi wa ghard man pe dharS, ji. 

E^ja Peirag pair ki jAti ko dekhe. 

460 Man men soch kare, ji. 

Lave dhore pkii'-phirke jangal men dekhe. 

Nahin pati phir khAen pe chal-chalke five ji, 

: 

465 Nahin to bichhu ka rup sidharun, ji ! 

Tob-tobke tujh ko babir nikalAn, ji. 

TA to sahansar Nagan ki beti poti ; 

Tain ne aisa rftp sidhara, ji, 

Kfien men barke tn baith gai, ji. 

470 Main to Dhanthar Baid ka chela, ji 

Flogging his horse Raja Parag came up. 

Raja Parag searched hither and thither. 

Saw the pad and the pitcher placed on the platform. 

Raja Parag saw the sandals of her feet, 

460 He pondered in his mind. 

He searched in the forest hither and thither and 

round 

about. 

Not finding her he came again and again to the well. 

He came down off his horse and spake (to her). 

" PrincesSj if thou seek thy good, come out (of the 

well) 

465 Or else I will put on a scorpion's form t * 

By degrees I will bring thee out. 

Thou art the daughter of a thousand N3.gs, 

Thou hast put on such a form, 

That thou canst enter into the well, 

470 I am a follower of Dhanwantar, the Leech : 

* Scorpions are supposed to kill snakes. See Adventures of Raj^ 

Basalu.

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Aisa Flip bichhu ka sidharAn, ji 

Toh-tohke tujh ko bahir laun, ji." 

Jab E^ja P&rag ne ifcuEi, kali&, ji, 

Wob ghabara gai, ji. 

475 Boll Elni Niwal Dai, ji 

" Meri 'araz suno, jaisi main kahftn, ji 

B,k]i Parag, pard& se ho j^j ji 

Main to b&hir hiih, ju" 

Itni sunke Eaja sarajhave, ji 

480 " Niwal Dai, meri 'araz suno, jaisi main kahun, ji 

Machb ka rtp sidharo, ji." 

Boli Eani Niwal Dai, " Eaja Para.g, ji, 

Tu to pardS, se ho ja, main bastar pahinijn, ji." 

Eaja Parag pardS. se hogaya, ji. 

485 Niwal Dai bahir akar kaya palti, ji, 

Nagin se Eani bani, ji 

Batti abhran lagave, solah singar, ji. 

So I will put on a scorpion's form. 

That I may draw thee out by degrees." 

When Eaja Parag had said this, 

She became frightened. 

475 Said Princess Niwal Dai: 

" Hear me, what I say 

Eaja P4rag, turn thy face from me 

And I will come out," 

Hearing this spake the Esbja ; 

480 ''Hear me, Niwal Dai, what I say ; 

Put on the human form." 

Said Princess Niwal Dai, " E^ja Parag, 

Turn thy face from me, that I may put on my clothes." 

Eaja Parag turned aside, 

485 Niwal Dai came out and changed her form. 

From a Nagin she turned into a Princess, 

And put on her thirty-two jewels and her sixteen 

ornaments.

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KAei kl man men EanJji baithi, ji. 

Bole Parag, " Rani Niwal Dai, merf 'araz suno, ji : 

490 Bahot dinan se chhal chhal jae the, jl. 

Rani, turn to mahilon ko chalo, ji. 

Dhartmandal men na jane dun, ji." 

Boll Rani Niwal Dai, " main Raja Basak ki beti, ji 

Meri •'araz suno, jaisl main kahun, ji. 

495 Raja, main to bipta ki mari, ji. 

Mere babal ki kancban si kaya nun kusht laga, ji. 

Sawarran kuen ka jal bhar le jadn, ji 

Apne babal ko karwaun asbnan, ji 

Sawarran kaya us ki ban jae, ji." 

500 Bole Raja, " tujhe jal nd bharne dun, ji." 

Bole Parag Raja, "tere pita ne bachan kare the; 

Woh to bacbanon se phir gaya, ji. 

Mujhe tbare qaum ka 'aitbar nabin, ji." 

Boll Rani Niwal Dai, " niujh se tia bachan le le, 

ji." 

The Princess sat down on the platform of the well. 

Said Raja P^rag, " Princess Niwal Dai, hear me : 

490 I have been deceived for many a day. 

Princess, come thou to my palace. 

I will not let thee go to Dhartmandal." 

Said Princess Niwal Dai, " I am Raja Basak's daughter 

Hear me, what I say. 

495 Raja, I am stricken with sorrow. ^ 

Leprosy hath attacked my father's golden-hued body. 

I would take water drawn from the golden well. 

And bathe my father in it 

And his body will become (again) golden-hued." 

500 Said the Raj&, " I will not let thee draw the water." 

Said Raja Parag, " Thy father swore to me. 

And he went back upon on his oath. 

1 have no faith in thy race." 

Said Princess Niwal Dai, "Take my oath thrice 

repeated."

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454) LEGENDS OP THE PANJAB. 

505 Bole Raja Parag, " Niwal Dai, ji, 

Mujhe tin bachan Thakur ke sache de do, ji." 

Tin bachan Th&kur ke Niwal Dai ne die, ji, 

Bole Parag, " td ne tin bachan to die, ji 

Ab til phir kis tarah se ave, ji 

510 Mujhe in M. bhed bata de, ji." 

Boli Eani Niwal Dai, " Eaja Parag, ji, 

Ik ghara main bharke le jaun, ji : 

Apne B^bal ka karakar ashnan, ji, 

Chalke tere mahilori ap aM, ji." 

515 Rani Niwal Dai ghara jaisi bhari thi: 

Hath jorke 'araz lag§.ve, ji: 

"R&ja, mujhe to lakha do, ji" 

Sir par indvi Rani ne tak&i, ji 

Indvi par ghara takaya, ji. 

520 Ghare par doi takaya, ji. 

Dol tak§,ke Dhartmandal ko chali, ji. 

; 

505 Said RIja Parag, " Niwal Dai, 

Give me thy solemn oath three times (in the name) of 

God." 

Thrice Niwal Dai gave him her oath (in the name) of God. 

Said Raja Parag, "Thou hast given me thy oath 

But how wilt thou come baek: again 

510 Tell me thy plan for this." 

Said Princess Niwal Dai, " Raja Parag, 

I will take one pitcher (of water). 

And I will bathe my father with it 

And then I will come to thy palace." 

51 5 So Princess Niwal Dai filled her pitcher. 

With joined hands she besought him 

"Raja, do thou escort me (to thy boundary)." 

The Princess put the pad on her head. 

And on the pad she put her pitcher 

520 On the pitcher she put the bucket. 

Putting on the bucket she went on to Dhartmandal. 

thrice.

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fRlNCBSS NlWAL CA^ 455 

Agge agge Rani chalij pichhe pichhe Raja chale^ ji 

Jangal se biha-dMni lakha 6d, ji. 

Murke R§-ja Pdrag to chala mahil ko, ji. 

525 Raj^ P§,rag ko lag gaya faraq^ ji. 

Rasta rast& par chauki&o. Raja ne bithave, ji. 

Raj^ Pa,rag uii ko samjhave ; 

" Yehiii ko avegi Niwal Dai, ji. 

Mujhe usi waqt batlaiyo, ji." 

530 Cliauki ke sipabi rastS, pe baithej ji 

Pabira to laga dia javBj ji. 

Rani Niwal Dai Dbartmandal ko ave 

Chaukbandi men Rani gbara utare. 

Cbandan cbauki Rani mangwave : sawarran ka 

gamd mangwave, ji. 

635 Chandan cbauki, ji, bicbbwave. 

Boli Rani Niwal Dai, " Babal, meri 'araz suno, ji 

; 

: 

Tbe Princess went on in front and tbe Raja followed 

bebind. 

He escorted ber tbrough tbe boundless forests. 

And tben R§ja Parag returned to bis palace. 

525 Tbe separation fell (beavily) on Raja Parag. 

Along tbe road tbe RajS, set guards : 

And Raja Parag conjured tbem : 

" Niwal Dai will come bere; 

Tell me of it at once." 

530 Tbe watcbmen remained at tbe guard. 

And sentries were posted. 

Princess Niwal Dai came to Dbartmandal. 

Tbe Princess put down tbe pitcber in the cell. 

Tbe Princess called for a sandal-wood chair : she called 

for a golden ewer. 

535 She set tbe sandal-wood chair. 

Said Princess Niwal Dai, " Father, hear me :

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456 LEGENDS OF THE PANJAB- 

Chandan chauki par baitho, ji." 

Basak Raja cbauM par baitta, jl. 

Bhar bhar game jal ke gere, ji. 

S'lO Pair ke giintlie se'giiijthEi dabave, ji. 

S^ri kay^ sawarran bargi ho gai, ji 

Pair ka guntha kushti raha tha, ji. 

Boll Niwal Dai, " meri âraz suno, ji 

Ik lota jal ka bbar lauii, ji." 

545 Bole Raja, " Beti, ab na jMyo, ji 

Us par khabar ho jaegi, ji. 

Beti, mere dushman ke mulk se, ji, 

Woh tujhe ane na dega, ji." 

Babal ka kahua nahin mani Niwal Dai, ji. 

550 Garwa leke sawarran kAen pe chal pari, ji. 

Garwa leke sawarran kflen pe ave, ji 

Lambi Iambi ave Niwal Dai, ji. 

Shahr Safidon ko raste hM, ji. 

Chaukidaron ko khabar hui, ji 

Sit thee on the sandal-wood chair." 

Raja Basak sat him on the chair. 

Filling the ewer she threw the water over him. 

540 With her great toe she covered his great toe. 

All his body become golden-hued. 

But his great toe remained leprous. 

Said Niwal Dai, " Hear me : 

I will bring thee a pot of (the) water." 

545 Said the Raja, " Daughter, go thou not 

He (Parag) will get news of it. 

Daughter from my enemy^s land 

He will not let thee return." 

Niwal Dai would not listen to her father's words. 

550 Taking the ewer she went off to the golden well. 

Taking the ewer she came to the golden well. 

With long strides Niwal Dai walked. 

Along the road to Safidoh City. 

The watchmen knew of it

; ! : : ": 

: "; 

; 

655 Jis waqfc chaukidaron ne dekhi^ jJ, 

Raja PSrag ke mahil ko chale, ji. 

Khabarah Raja Parag ko kai-te, ji 

" Rdm Niwal Dai " 

ai, ji 

Raja PS,rag sunat sar ghore ko pire, ji 

560 Bawan baw4n sum nichkare. 

Chhei'ke ghore ko chala fcha^ ji; 

Rani ke p4s £i gayd, ji. 

Dekhke khushian Rani ko kare tka. 

Bole Paragji Maharajd, ji 

565 " Tam chalo makil ke bich, ji." 

Boli Rani Niwal Dai, Raja Basak ki beti, ji 

"Main nahin jaunga mahil ke bich, ji. 

Kisi Brahman ko bulave, ji 

Phere le le biyah karwa le, ji. 

570 Ai Mahdraja, phere leke dola mangwa le, ji. 

Dekhe, to kya Pandit ave, ji ! 

555 When the watchmen saw her. 

They went to Raja Parag's palace. 

They gave news to Raja Parag 

" Princess Niwal Dai has come.^' 

As soon as Raja Parag heard it he saddled his horse, 

560 And mounted with his left foot. 

Sparring his horse he came on. 

And came to the Princess. 

Seeing the Princess he was delighted. 

Said Psirag, the Maharaja : 

565 " Come thou into my palace." 

Said Princess Niwal Dai, the daughter of Raja B^sak : 

"I will not go into thy palace. 

Send for a Brahman 

Making the circuit (round the fire) marry me. 

570 Maharaja, making the circuit send for the palanquin. 

Look, what Priest is this that comes 1 

58 

PRINCESS NIWAIi DAL 457

: 

: 

: 

: 


Brahman ko Raja ne bulaya, ji. 

" Dada, paM lagM." 

" Sukhi raho jajman, ji." 

'675 Bolta Parag, "Dada, turn sakha parho, ji.' 

Brahman Kishn ko manave, ji 

Sakha parhne laga, ji. 

Khise men hiith Raj§. Parag pave thaj ji. 

Us men se pathari nik^li, ji 

580 Sokhta men lagai, ji. 

Sokhti men ag lagake jhar ko lagai, ji. 

Jh§,r phuiike phere lie, ji. 

Sone ka taka Brahman ko dia tha, ji. 

Parag ne hukm di4 tha, ji. 

585 Char kahar dola mahil se mangave, ji. 

Leke dola jangal men ae baithe, ji. 

Niwal Dai to dola men baithi thi, ji 

The R^ja called the Brahman 

" Father, I fall at thy feet." 

" Be at peace, my client." 

576 Said RajS. Parag, " Father, perform the marriage." 

The Brahman called on Krishna, 

And began to perform the marriage. 

Raja P§,rag put his hand in his pocket, 

And took out of it a flint. 

680 He applied it to the tinder. 

Striking fire into the tinder he lighted a bush. 

Lighting the bush 

he performed the circuit (round the 

fire).* 

He gave golden coins to the Brahman. 

Raja Pirag gave orders, 

585 And sent for four (palanquin) bearers from the palace. 

They came with the palanquin into the wilds. 

Niwal Dai sat in the palanquin, 

* The crowning ceremony of an orthodox marriage.

• 

Baithke 

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dole men mahilon RSja Parag ke ai, ji. 

Turi-nuq4ra mahilon men banjeii, jl 

590 Tere lagi logon ae, ji 

" R4ja Parag, tfl ne biydh to karw&ya, 

" 

ji ! 

Dola mahilon layi, ji. 

Gaww8,n Bi-ihman ko dsin-pun karke di, ji. 

Domon ko ghore RSja ne die ji ; Apar ko dushala die, ji. 

595 Ghandi sone ke dan die the, ji. 

Bfahman Raj^ ne jam&e, ji. 

Khilwat mahilon men gaya, ji 

Dharfcmandal ko BS,sak pe ae Brahman, ji 

Kachahri men pagri utiirke mari, ji. 

600 " Sahansar Nagan ki befci poti, ji, 

R&ja Parag mahilon men le bar a, ji. 

Jhar phuke phere teri beti se lie the, ji." 

Sir m^re aur miinde dhunne tha, ji. 

And sitting 

in the palanquin, she came to Raja Parag's 

palace. 

Drums were beaten in the palace, 

590 And the hangers-on came, 

(Saying), "Raja Parag, thou hast married (her)." 

They brought the palanquin to the palace. 

They gave cows as alms to the Brabmans. 

The Raj^ gave horsds to the bards, and placed shawls 

on them. 

595 Silver and gold were given as alms. 

The Raja collected Brahmans (there) : 

And went into the private palace. 

The Brahman came to R&ja Basak at Dhartmandal 

And threw down his turban in the Court 

600 " The daughter of a thousand Mgs 

Hath entered into Raja Parag's palace. 

Lighting a bush he made the circuit with thy daughter." 

He beat his head and dashed his skull.

: : 

: " 

Bole Basakji MaliarS.j^, ji 

Jado Vakil Mg ko bulave, jiw 

Jado Vakil N% aya, ji. 

Beti meri Parag ne biyah le, ji ! 

" 

: 

daughter ! 

460 Legends of the panjab. 

605 " Tain kaun kare, Sri Bhagwan, ji 

Nangi nangi tegban dhare the, ji. 

610 Paai,n ke bire dhare the, ji. 

" Hai koi aisa nangi tegh ko miyan kare, ji 

Bire ko uthake Raja Parag pe chai-hai kare, ji 

P&rag Raja ko marke ave, ji " 

Jado Vakil ko samjhaio, ji. 

615 Jado Vakil ne huktn dia, ji 

" Chhimbe Nag buMo, ji." 

" Shahr Safidon nto JEto, ji 

Said Basak, the Maharaja 

605 "0 Holy God, what hast thou done " 

He sent for the Nag, Jado* the ambassador. 

The Nag, Jado the ambassador, came. 

(Said Raja Basak), " Raja Parag has married my 

Naked swords were placed (in the Court) 

610 Betel leaves were placed (there) :t 

"Is there any one (said the Raja) who will put the 

naked swords into their scabbards 

Any one who will take up the betel leaves and attack 

Raja Parag 

And come back after slaying Raji Parag " 

He explained to Jado the ambassador, and 

615 Jado the ambassador gave an order : 

" Call Chhimba the Nag " 

; 

(and the Raja said to him) 

" Go to Safidon City, 

* The modern name Jado represents the Sanskrit Yadava, but its 

presence here is not to be directly accounted for. 

t As a challenge : see Adventures of Raja R&salil, ante.

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PRINCESS NIWAL DAt 461 

P§,rag Efija ko inarke ave^ ji. 

Sattar kulJan-ko meri Parag ne dagli lagaya, ji. 

620 Jo Raja Parag n^n maregS., ji 

Us ko bahot inam-karam dunga, ji. 

Beti ka badla main nAn le do, ji." 

Chhimbe N^g ne tegMn ko miyan men kara, jf i 

Biia psln k&, uthay&j ji. 

625 PS,n k^ bira uthdkar mukli men ddla, ji. 

Dahine jhukkar kia salam, ji. 

Shahr SafMon ko chala, ji. 

Shalir ke dohre 9,ke 

dera lag&ya, ji. 

Khilwat khane men batan donon karen the. 

630 Boli Rani Niwal Dai, " meri •'araz sano, ji 

Sobha teri sifat men suno thi, ji 

Mirgan ka shikar khele th^, ji 

Bina shikar rasoi nahih jime tha, ji. 

Slay Raja P3,rag and return. 

Rdja Parag has disgraced our seventy families. 

620 Who slays Raja Parag, 

I will give him a great reward, 

I will have vengeance for my daughter." 

Chhimba the Nag put the sword into the scabbard. 

And took up the betel leaves. 

625 Taking up the betel leaves he put them into his mouth. 

He saluted respectfully with the right, hand. 

And went to Safidon city. 

He took up his abode in the suburbs of the city. 

They were talking together in the private chamber. 

630 Said Princess Niwal Dai, " Hear me 

I have heard the praise of thy glory; 

How thou didst go a-hunting the deer, 

And didst never eat food but after hunting

: 

; 

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462 LEGENDS Of THE PANJaB, 

Jab se main mahil men hi, feabhi shikar kbelte deKh^j ji/' 

635 Sej pe ta'na lag3.yS., ji. 

Bole Parag Maharaja, " meri 'araz siiuo, jl 

Bhalke hone de sawer&, jl ; 

Mera P^rag nSrm ; 

tujbe khila dun shik&r, ji." 

Janga] kt mirg§.nJ ko supnfl bliS,y&, ji j 

640 Mirg&ni Hire mirg ko samjh&ve, ji .' 

" Jani, ren ka supna ais& chandr& parS/, ji 

Jani, kisi beri ne mfi,r&, 

ji 

Ghar ghar men bh&ji batti parij ji. 

Jo mera kahna mane is thaire ko cbhoro, ji." 

645 Hira mirg kabe hai, " thali&n mere pitaki wa d^de ki 

haitij ji 

Je main aur tbali men marung^ raeri sattar kali Nark 

menjaveh, ji: 

Since I came into tbe palace, I have never seen thee 

hunting." 

635 Thus she blamed him (lying) on the bed. 

Said P&rag the Maharaja, " Hear me : 

But let it be day-break to-morrow, 

As Parag is my name I will show thee some hunting." 

A dream came to the doe in the wilds, 

640 And the doe said to Hira, the buck :* 

" My beloved, I had a very bad dream in the night ; 

My beloved, some hunter slew (thee). 

And the game (thy flesh) was distributed to the (huntsmen's) 

houses. 

If thou mind my words thou wilt leave this place." 

645 Spake Hira the buck, " These wilds were my father's 

and grandfather's; 

If I die in any other wilds my seventy families will go 

to Hell 

* Hird mirg is like sohan mirg Used for the black-buck or antelope, 

Usually Tcdld mirg. Here I think Hird is a proper name. See Adventures 

of Raja Ras^W.

: : 

PRINCESS NIWAL DAi. 46"3 

Je apni thali men mariiriga, meri sattar kuliSn Sarg 

men j^ven, ji." 

Hira mirg wa hirni donon hatki. karen, jl. 

Raja Parag paji ko bulave, jl. 

650 Paji jhukke kare salam, ji 

" TerS, jiwan hovSj ji 

Kahoj Raja Parag, kya khidmat farmao, ji " 

" Begu Mi ko bulao, ji." 

Begft NSi bulaya, jhukke kiEl salam. 

655 Bole Raja P^rag, " chandan cliauki, Ganga nir mangaiyo, 

•A 11 

Jl- 

Dahi phulel R&ja Papag Lar mangave, ji. 

: 

Sawarran garwa jal ka bharke ang mal-mal nhave, ji. 

Nhaya dhoya matha tilak lagaya, ji. 

Karte Purakh ko sbish niwave, ji. 

660 " Panchon lao, Paji, mei'e kapre ; 

p§,nchon lao hathiyar, ji." 

: 

If I die in my own wilds my seventy families will go to 

Heaven." 

Hira the buck and the doe talked together. 

Raja Parag sent for the minion. 

650 The minion saluted with respect 

" May thy life last 

Tell me, Raj&, Parag, what service dost thou command" 

" Send for Begu the Barber." 

Begu the Barber being called saluted with respect. 

655 Said Raja Parag, " Get my sandal-wood chair and the 

Ganges water." 

Raja Parag s^nt for curds and perfumes and his necklace. 

Pilling his golden pot he anointed and bathed his body. 

Bathing and washing he put the 

forehead, 

And bowed his head to the Creator. 

(sacred) spot on his 

660 .*' Minion, bring my five robes and bring my five arms."

:" 

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: 

464 LEGENDS or THE PANJAB. 

" Kahan dhare, Eaj^^ tere kapre kaMi dhare hathiystr, 

" Pitare dhare kapre : kMnti dhare hathiyar, jl." 

Pitare se Islya kapre ; khftnti se layS. Lathiyar, ji. 

Panclion lave kapre : panclion Mve hathiyar, ji. 

665 " Pajij hansla ghora chet singaro, ji. 

Lô deoiM ke bar, ji" 

Paji ka beta dauia kye, ji 

Hansla ghora lave deorhl ke b&r, ji. 

EajS, Parag bawan sum ghoie kb nichkar, ji, 

670 Jab pauri pair dhara chaiti ka tiit gaya tang, ji, 

Sukh asan nahin ata, ji. 

Rani Niwal Dai chaukat pakri khari, ji. 

" Ai, Raja Parag, mati nil jaiyo shikir, ji 

Mande ho gae sawan, ji 1 

675 Raja Parag kahna nahin m&nta, ji. 

Ghor& dabtaya bihi,-duni jangal-jhar, ji: 

" Where are thy robes placed. Raja where thy five 

arms " 

" The clothes are in the box, the arms are on the pegs." 

He brought the clothes from the box and the arms from 

the pegs. 

Five robes he brought : 

five arms he brought. 

665 " Minion, array quickly my fine horse. 

And bring him to the door." 

The minion ran ofl^. 

And brought the fine horse to the door. 

RS,ja Parag lifted up his left foot to the horse, 

670 When he put his foot in the stirrup the leather broke. 

He could not get his seat properly. 

Princess Niwal Dai stood with her hand on the doorway 

" Raja Parag, go not thou a-hunting ! 

An evil omen has befallen (thee) \" 

675 Raja Parag would not listen to her words. 

He gallopped his horse into the boundless forest wilds.

: ! : 

:; 

: ; 

Niche ki garda Apar ko charh gal, ji. 

Mirgini mirg dekhe koi sliik4ri kve, ji. 

Mirgani mirg se kahi, " " 

woli nere S, gae, ji ! 

680 Mirg kahe, " ab ke tA jMpa bacha le ji 

PRINCESS NIWAL DA!. 465 

Age ko samajhke chalmngd, ji." 

Boll push

: ! 

: :: 

: : 

: 

; 

Jab snnke mirg bh§.gkar chale, ji 

Eaja Parag ne ghora dabtake ghera pay^, ji, 

Tin-min karen jawab, ji 

Tin sau satb mirgant se mar lo do cbar^ ji," 

Jis din ka klielan laga shikar, ji, 

Mirgani pe kabhi chot nahin kare | 

Tarkash men se kani Raja nikSili, ji 

Dharke ji par mirg ke sar par tikave, ji. 

Uchhalke mirg zamin par ave, ji 

to bay. 

All things could speak their mind ! 

Said the black-doe to Raja Parag 

" Raja Parag, hungry hast thou come to the hunt 


695 Sat Jug sache pahire barten, ji 

Sohan mirgani Raja Parag ko samjhave ji: 

" Raja Parag, tu bhukha aya shikar ka, ji 

700 Bole Raja Parag, " Suno, mirgani, ji 

Mirgani phir kare jawab, ji : 

" Tin sau sath mirg§,ni ka yeh ik sardar, ji, 

mare hire mirg, ji." 

705 Je yeh mar gaya, tin sau sath mirgani rand hojaii, ji," 

When he heard this the buck bounded off. 

And Raja Parag galloped his horse and brought him 

695 It was the virtuous time of the Golden Age : 

Out of 360 does slay three or four." 

700 Said Raja Parag, " Hear, thou doe : 

Prom the day I began to hunt 

I have never (even) wounded a doe : I have slain the 

black-buck."* 

. Again spake the doe 

" This is the lord of 360 does ; 

705 If this one die 360 does will be widowed." 

The RSja took an arrow from his quiver 

Aiming it he struck the buck on the head. 

Bounding up the buck fell on the ground : 

* This sense oi Mrd mirg comes out clearly here.

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PEIKOESS NIWAL DAI. 467 

Parde parde ki skiis alag ho gai, ji. 

710 Tin sau sdth mirgani Hire mirg ko gher^ paven, ji. 

Ghera pake tin sau sath mirgani zar-zar roven, ji. 

EajSi Parag ghore se utarke kuman se thave, ji. 

Sab mirgani Eaja se kahen^ ji 

" Jaisi randan ham karen hoja teri Niwal Daij ji ! 

715 Uthake mirg ko ghore ki kunch se lagave, ji. 

Chherke ghoia mahil ko dhyan lagaya, ji. 

Jab Raja Parag ko piyas lagi tab khaka-bar ko ave, ji. 

Raja Parag ghore se niche ake mirg ko niche ger de^ ji. 

Zin-posh bichhake Raja baitha, ji. 

720 Ghore ko darakht se bandh dia^ ji 

Thakur se 'araz lagave, ji 

"Jaisi dhup men saya di, waisi gharz jal dej ji ! 

Nikalke katordan jhole men se niche rakhe, ji 

And as he lay his breath went out of him. 

710 The 360 does surrounded HirS,, the buck. 

Surrounding him the 360 does wept bitterly. 

Raja Parag came off his horse and frightened them off 

with his bow. 

All the does spake unto the Raja 

"As thou hast widowed us so may thy Niwal Dal be 

widowed " 

! 

716 Taking up the buck he put him on the horse's saddle. 

Spurring his horse he made for his palace. 

R9ja Parag became a-thirst and came to a fig tree.* 

Raja Parag came down from his horse and threw down 

the deer. 

Spreading his saddle-cloth the Eaja sat down. 

720 He tied his horse to the tree 

And prayed to God: 

" As thou gavest shade from the sun^ so give me water 

for my necessity." 

Taking his cup from the saddle-bag he put it down 

* Fieus caricoides, but see line 787 poet.

: : " 

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: ": 

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468 LEGENDS OP THE PAH.iAB. 

" Jaisi saya de, waisi jal de, jt I 

725 Chhoti chhoti badali niki niki pari bhawar, ji. 

Eaja Parag ko nind ave, ji. 

Sikre janwar ko kahe, "tft khabardar, ji ! 

Eaja Parag ko nind ave, ji 

R^ja Parag parke so raha^ ji. 

730 Chhimba Nag darakbt se niche utare^ ji 

Katordan ke pas ave, ji. 

Goral bbawar jorke katord3,n ko bbare, ji 

Chhimba Nag lipar ko charh gaya, ji. 

Sikr^ janwar man men soche, ji 

735 " Ai Sri Thakur, yeh kya kare, ji 

Eaja Parag ka main ne nimak pani khaya^ ji 

Eaja yeh pani zahar pikar mar jaega, ji." 

Jab Eaja Parag sota utha^ ji 

Eaja Parag katordan ke pas ave, ji. 

740 Katora uthake hath men rakh lia, ji. 

(Saying,) ''As thou gavest shade give me water!" 

725 Small clouds came, light drops of rain fell. 

Elija Parag feeling sleepy 

Said to his falcon, " Do thou watch." 

Eaja Parag felt sleepy, 

And the EajS, lay fast asleep. 

730 Chhimba the Nag came down from the tree. 

And came up to the cup. 

Gathering up a drop of poison he filled the cup. 

And Chhimba the Nag went up again. 

Thought the falcon in his mind 

735 " O Holy God, what hast thou done 

I have eaten of Eaja P&rag's salt. 

And if the Eaja drinks this poisoned water he will die." 

Eaja Parag got up from his sleep. 

And Eaja Parag came up to the cup. 

740 Lifting up the cup he took it in his hand.

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PEINCBSS NIWAL DAI. 

469 

Raja Parag rilmal nikalke muiih par phere, ji. 

Sikra man men aoohe, jl 

" RajS, pi javega mujhe hatiya lagegi, ji." 

Sikre ne marte jhapt^ katora niclie gira dia^ ji. 

745 Eaja Ptlrag man men sock kare, ji 

" Sikra mera kisi waqt ka bairi, ji. 

Mujk ko Parmeskar ne jal dia tha^ ji 

Sikra mera janam ka bairi, ji." 

Rajpiifc ko ghussa aya, pakarke zamin par mara^ ji 

750 Sikre ki jan kawwa bo gai, ji. 

Barb ke ilpar bole tin gataran, ji 

Raja Parag jorke nazar lagave, ji. 

Darakht par baitha Nag, ji. 

Tarkash kani nikalke Nag ko mare, ji. 

755 Nag niche ave, ji. 

Cbbote chbote tukre banave^ ji. 

Raja Parag took his kerchief and wiped his face. 

Thought the falcon in his mind : 

" If the Raja drinks the curse (of it) will be on me.'' 

The falcon struck out (with his claw) and threw down 

the cup. 

745 Thought Raja Parag in his mind 

" The falcon must have been my enemy for some time 

God gave me the water ; 

The falcon is an enemy to my life." 

The son of kings was angered, seizing it he threw it on 

the ground : 

750 The falcon's life departed. 

Above in the fig tree were three mainds* chattering. 

And Raja Parag cast his eyes upwards. 

In the tree was the Nag. 

Taking an arrow from his quiver he slew the Nag 

755 The Nag fell down. 

He chopped it into small pieces. 

* the gatdr is the common forest maind, acridetheres tristis.

Leaping 

: 

: 

: 

: 

: 


Sir ka tukra urke juti men para, ji. 

Raja Parag jilti kojab pahine, ji. 

Sir ke tukre ne guntte men dang mara, ji. 

760 Uchhalke Eaja Parag zamin pe gira tha, ji 

Pai-de pavde ki jan alag ho gal, ji I 

Sam^ Pali gawwan ko wahan lave, ji. 

Sama Pali pkir-ghirke dekhe tha, ji 

Jaisa ghoia Raja Parag ka khara, ji. 

765 Ghore ke pas mirg para, ji. 

Dekhe aur sikra mara para, ji 

Sikre ke pas Nkg ke tukre pare, ji. 

Agari dekhe Parag mara paia, ji. 

Rota hua mahil men chala, ji. 

770 Basanti Rani Mata Parag pe gaya, ji. 

Parag ki Mata ke pas khara hokar rove, ji. 

Parag ki Mata Sami Pali se puchhi, ji 

760 

• 

The head flew up and fell into his shoe. 

When Raja Parag put on his shoe, 

The head bit his great toe. 

up Raja Parag fell on the ground, 

And as he lay his life left him. 

Sama the neat-herd brought his cows there. 

SamS, the neat-herd looked about him^ 

And saw a horse like Raja Parag's standing there. 

765 Near the horse lay the deer. 

And again he saw the falcon lying dead, 

And near the falcon the pieces of the N^g were lying. 

Further on he saw Raja Parag lying dead. 

Weeping he went to the palace. 

770 He went to Rani Basanti,* Raja Parag's mother. 

Standing before Raja Parag's mother he wept. 

Raja Parag's mother asked S^ma the neat-herd 

* According to the Classics her name was Uttara, and she was 

daughter of the Raja of Virata (Baii-at near Jaypflr). Ought not the 

name in the text to be Biranti p

: : 

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! 

PB.INOESS NIWAL Da!. 471 

" Kyk, kisi ue gali di, ji kisi ne manda kaM, ji " 

Sama Ptlll hath jorke kahe^ ji 

775 " Karma ne mandd bola, Lekh ne g^K di, ji 

Beta ter^ Parag N4g^n se khaya^ ji." 

Sunke Basanti z^r-z^r roi, ji 

Kesh khandave, kapre phare, ji. 

" Jia din ke mahilon men Mwal Dai ai, ji, 

780 Nag hamare bairi ho gae, ji !" 

Boli da ta^na Niwal Dai ko chubha tha, ji, 

Phore donon hathon chuti, ji 

" Thakur mujhe dukhia laya, ji 

Ta'na sarir ko lagen, ji !" 

785 Char kaharan niln mangwave, ji. 

Dola men baithkar nib lekar chale, ji, 

Akhai-bar par S.kar dola utarwa, ji. 

Boll Eani Niwal Dai, " Kaharo, turn parde se, ji, 

" What ! 

hath any one abused thee hath any one 

spoken thee evil " 

With joined hands spake Sam^ the neat-herd. 

775 "Fate hath spoken me evil : Destiny hath abused me ! 

Thy son Raja Parag hath been bitten by snakes." 

Hearing this Eani Basanti wept sorely. 

She tore her hair and rent her clothes. 

" Prom the day Niwal Dai entered the palace, 

" 

780 Hath the Nag been our enemy ! 

Niwal Dai felt the sting of the reproach. 

She broke the bracelets on both her wrists. 

(Saying) " God hath brought trouble on me ! 

The reproach hath pierced my heart (body) 

" 

! 

785 She sent for four (palanquin) bearers. 

Sitting in the palanquin she went off with mm leaves.* 

Coming to the fig treef she had the palanquin set down. 

Said'Princess Niwal Dai, " Bearers, away from me, 

* As a oharm against snakes. 

t See line 717 ante. But here the name is for the date palm apparently 

: phcenix silvestris or tdri.

' 

: 

: 

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: 

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472 MGENDS 01 TfiU PANJAl!. 

Bahil- baitho, main dole ke bahir adn, ji.'- 

790 Dole se bihir cbalke ave, ji. 

Phir-gbirke bS,bir dekbe, ji. 

Char loth pare, ji 

Dekbke Bhagwan H kbauf kh§.ya, ji 

Sawa pabir ki puja Rani kari thi, ji. 

795 Hatb jorke palM pakej ji 

« Sri ThS.kur, cbaron men ji pSve, ji !" 

Pabile Rani mirg ke pas ave, ji. 

Sbisb gode par mirg M dbara, ji 

Ungli cMrke *araq munb men pay a, 

800 Mirg bbagkar jangal ko chala, ji. 

Utbke Rani sikre ke pas ave, ji. 

Prabhu us men jan pave, ji. 

Jati-sati ki awazan nere sune tha, ji 

Sikre men jan par gai, ji. 

ji. 

Sit apart, I am coming out of the palanquin." 

790 Sbe came out of the palanquin. 

And looked outside hither and thither. 

Four corpses were lying there. 

Seeing them the fear of God came upon her 

For four hours* the Princess worshipped (God). 

795 With joined hands and kerchief round (her neck, she 

prayed : 

) 

" Holy God, give them 

" 

all four life ! 

First the Princess came to the buck and 

Put the buck's head in her lap. 

Cutting her finger she put the blood into its mouth. 

800 The buck ran oif into the wilds. 

Getting up the Princess came to the falcon, 

God gave it life also. 

The prayers of the virtuous were heard. 

And life came to the falcon. 

* A watcL. and a quarter.

; 

: 

:; 

: 

: 

: 

PBINOESS NIWAL DAI. 473 

805 Tisri paliin Rani chalt th5, j} 

Nag ke tukre katthe karke milave, ji. 

Thakar pe hath jorti thi, ji 

Jâ us N&g men pari thi, ji. 

Nag uthke bhag chala, ji 

810 Nag ko Rani ne pakar lia, ji 

" Bhage ko jane nahln diingi, ji, 

Ai Chhimbe Mg, ji 

Qasm kha ja, ji, ' Shahr Safidoii ko, ji, 

Phir kabhi nahin 

" 

auiiga, ji !' 

815 Tin bachan Thakur ke die, ji. 

Jo sans Raja ke pie the, ji, 

Woh chhor die, ji ! 

Parag Raja pe Niwal Dai chal ave, ji. 

Suchcha to nib lia tha, jJ 

820 Apne Raja pe 'araz lagave ji. 

805 The Princess went on to the third place. 

And putting the pieces of the Mg together she joined 

them. 

She joined her hands (in prayer) to God, 

And life came to the Nag. 

The Nag got up to go away, 

810 But the Princess Seized the Nag, (saying) : 

" I will not let thee go, 

Chhimba, thou Nag 

Take an oath that to Safidoii City 

Thou wilt never come again 

" 

! 

815 He swore to her thrice (in the name) of God. 

Him, who had taken the Raja's life. 

She released ! 

Niwal Dai came to Raja Parag. 

She had brought the fresh Tiim leaves,* 

820 And spake a charm over her Raja. 

* nim leaves to be efficacious as a cliarm against snakes must be 

fresh. 

60

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! 

! 

! 

! 

! 

! 

! 

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! 

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Donon Eaal roli-bholi, 

Mantar. 

ji 

Tere sir men khak ramani^ ji 

Marun bis, bana dui pani, ji 

Jab^n taban se lafin bal, ji 

825 Kelun tere bot, dant, kapal, ji 

Sankcbur ka pbori, gal motion ke bar, ji 

Padma Dai pani Nagin nisri, ji ! 

Lauka men kia jawabir, ji 

Bia katUn, bis barun, ji ! 

830 Bis ki ridbuii kbir, ji 

Jbol jama dun gararu, ji 

Seun Basak parwar, ji ! 

Jag jag Bisiyar Deota, ji 

Tujbe Earn Cbandar ki dobai, ji 

835 Earn Cbandarji jagaue ae ji ! 

Charm. 

Botb Queens are simple-minded !* 

Put asbes on tby bead ! 

I will destroy tbe poison, I will turn it into tbe water ! 

Wberever it be I will boil it 

825 I will cbarm tby lips and moutb and skull 

Tbe staff of Sankcbdr, tbe pearl necklace of bis neck ! 

Padma Dai the Nagin spurts out water. 

She made her obeisance in Lanka. 

I will destroy tbe poison, I will cbarm tbe poison. 

830 I will make (a pottage of) rice and milk out of the 

poison. 

I will fill the wallets of tbe sorcerers (with food). 

I will worship tbe family of Basak ! 

Awake, demon of the poison ! 

I claim the protection of Eama Chandra against thee ! 

835 Eama Chandra hath come to awaken thee ! 

* Tliis ctai'iu occurs again at line 966fE. It is, as usual, difficult to 

make common sense out of it. 

t Ceylon.

! 

: 


Jhar jhapatke baitha kar lia, 

Bole Raja Parag, " Rani ; ham to bahot soe, jl \" 

Nazar uthake dekhe barh ke Biche baithOj ji, 

" Ai Ram Niwal Dai, tii kaisi jangal men M, jl " 

840 Boll Rani Niwal Dai, " Raja, tujhe samjli& rahi, ji, 

Mahil se mati jao, ji 

Mande sadn hAe the, mera kahna na mana, ji, 

Jo tu sair shikar ko aya, tujhe Nag ne dasa, ji. 

Til to, Raja, mara paia tha, tujhe jharke uthae, ji. 

845 Teri M4ta ne ta'na lagdke mahil so k&dhna shara' kia, ji. 

Jo til na jita teri mata mahil men mujhenabarne de, ji." 

Rani Niwal Dai Raja Parag chalke mahil men he, ji. 

ji. 

Raja ki mata mahil men ZLi,r-z9,r 

roi, ji. 

Raja ke gale se lipatkar roi, ji 

850 " Jab se Rani ai Nag hamare dashman ho gae, ji. 

Having exorcised and charmed she sat him up. 

Said Raja Parag, " " 

Rani, I have had a heavy sleep ! 

Lifting up his eyes he saw that he was sitting under 

the fig tree : 

" Princess 

• 

Niwal Dai, how earnest 

forest I" 

thou into the 

840 Said Princess Niwal Dai, " Raja, I told thee often, (to) 

Go not from the palace ! 

The omen was evil, and thou didst not hear my words. 

And when thou wentest a-hunting, the Nag bit thee. 

(I found) thee. Raja, lying dead,, and awoke thee by a 

charm. 

845 Thy mother reproaching me would have turned me out 

of the palace. 

Hadst thou, not lived thy mother would not have let 

enter the palace.^' 

Rani Niwal Dai and RSja went into the palace. 

The Raja's mother was weeping bitterly in the palace. 

Falling on the Raja's neck she wept : (saying), 

850 " From the day the Princess came the Nags have been 

our enemies. 

me

: 

; 

! 

: 


Sahansar Nag ki beti pati, ji 

Tujhe Raja Basakji na jine deve, ji 

Tujhe samjha rahi, mera kahna ne mana, ji." 

Raja P^rag khilwat khana men gae, ji. 

855 Dhartmandal men Oliliimba N^g j&ke dohai lagai, ji. 

Lek-salek karke chaukhandi men baith 

Raja se 'araz kari^ ji 

gaya, ji; 

Raja Basak piichhe, " Chhimba Nag, tft kis tarah aya, ji V 

" Raja Parag kbelan gaya tM shikar, ji 

860 Main akhai-bar par baitba, ji. 

Raja Parag ne jarh se gbora bandh dia, ji. 

Zin-posh utarke nicbe bicbba dia, ji. 

Thaili men se katordan nikalke rakha thS, ji. 

Sikra rakhwali bithla dia, ji. 

865 Main ne lipar se utarke, ji, 

Katordan ko pur di§,, 

ji. 

She is the daughter of a thousand Nags : 

Raja Basak will not let thee live 1 

I told thee and thou wouldst not heed my words." 

R^ja Parag went into his private apartments. 

855 Chhimba the Nag went to Dhartmandal and demanded 

protection. 

Saluting he sat down in the cell. 

And spake to the Raj^. 

Raja Basak asked him, " Chhimba, thou Mg, how hast 

thou come " 

(He answered) " Raja Parag went a-hunting. 

860 I sat in the fig tree. 

Raja Parag tied up his horse to the root's. 

Taking off the saddle-cloth he spread it on the ground. 

Taking his cup out of the (saddle-)bag he put it down. 

He set the falcon to watch for him. 

865 I came down from above, 

And filled the cup (with poison).

;: 


Katordan pui'ke Apar charh gaya, ji, 

Upar bolen gatar&rij ji. 

Eaja baitha ho gaya, ji. 

870 Raja ke nazar katordan par lagi, ji. 

Katordan jal se bhara, ji 

Piase ke man ohal dia, ji ; 

Bath katora par p&ya, ji. 

Sikra man men soche, ji 

875 Eaja ne yeh zakar pia, ji, 

Pite mar jaega, ji. 

Eaja ne mukk se katora lagaya, ji. 

Sikre ne marke nicke giraya, ji. 

Raja ko jab ghussa aya, ji, 

880 Sikre ko marke zamin par giraya, ji. 

Nazar uthake darakht par mujh ko dekha, ji • 

Tarkash kani nikalke mere tan men mari, ji. 

Marke mAjjhe zamin par gera, ji. 

Lekar kkanda mere chkote chbote pind banae, ji. 

Pilling the cup I went up again. 

Above mainds were chattering. 

The Raja sat up. 

870 The Raja's glance fell on the cup. 

(He thought that) the cup was full of water. 

The greed of thirst came upon him. 

And he put his hand to the cup. 

Thought the falcon in his mind, 

875 That the Raja would drink the poison : 

And that if he drank he would die. 

The Eaja put the cup to his lips. 

The falcon struck it and threw it down. 

Then the Raja was wrathful, 

880 And slaying the falcon threw it on the ground. 

Lifting up his eyes he saw me in the tree. 

Taking an arrow from his quiver he struck my body. 

Striking he brought me to the ground. 

Taking his knife he chopped me into little bits.

: 

: 

: 

; 


885 Sir ka tukra urke juti men para, ji. 

Jab Raja ne juti pahine mairi ne marke Raji Parag ko 

ger dia, ji. 

Ai teri beti, mujh ko paida kia, ji. 

Tin bachan lekar Dhartmandal ko bhij dia, ji: 

' Phir yehan aya, to jita na ckhorurij ji.' " 

890 Kaja Basak itni sunke gabhara gaya, ji. 

Dastana baja, RSja Jado "Vakil ko bulave, ji. 

Raja ke pas Jado Vakil aya, ji, 

Raj§, Basak zar-zar roe, ji 

" Dhar dastana aisS, bajao, ji, 

895 Ast kulian ko buMo, ji." 

Sara bhaichara bulake Kachahri lagai, ji. 

Nangi tegh, pan ka bira Kachahri men raklia, ji 

Bhaion se araz lagave, ji 

" Bhaij sahansar Nagan ki beti, ji, 

885 My head flew up and fell into bis shoe. 

When the Raja put on his shoe I bit Raja Parag and 

threw him down. 

Thy daughter came, and brought me to life. 

Taking an oath of me thrice (in the name) of God she 

sent me to Dhartmandal, 

(Saying) Come ' here again and I will not let thee go 

alive.' " 

890 Hearing this Raja Basak was astonished. 

The Raja clapped his hands and called Jado the Ambassador. 

Jado the Ambassador came to the RajS. 

Raja Basak wept bitterly: (saying), 

" So (loudly) clap thy hands, 

895 That thou call the eight families." 

Calling all the kinsfolk he held his Court. 

He placed the naked sword and the betel leaves in the 

Court, 

And he besought his kinsfolk 

" Brethren, the daughter of a thousand Nags,

: 

! 

! 

! 

PEINOESS NIWAL.DAi. 479' 

900 E§ja Parag biyahke le gayk, ji 

Meri sattar kuli ko dagh lagaya^ j. 

Hai koi aisa siirm^j ji, 

NangI tegh ko miy§;n kare, ji 

Pan kS, birO, uth§,ve, ji 

906 Shahr Safidon ko charh jae^ ji. 

Raja Pdrag ko marke ave, ji 

Khara Raj main us ko dfin, ji 

Bhaitha Raj main 

" 

kariin, ji ! 

SAtak Patak sunke utbe, ji 

910 Nangi teghan ko miyan karen, ji. 

Pan ka bira uthakar mukh men paven, ji. 

Sabha Kachabri ko salam karke Sbahr Safidon ko 

aven, ji. 

Sbabr Safidon ki gali kfincba ki sair kari, ji. 

Naka mori mahil men barne ki dekhen, ji. 

900 Hatb Raja Parag married and carried off 

Shame is on my seventy families. 

Is there any hero (here) 

To sheath the naked sword 

To take up the betel leaves 

905 And going to Safidon City, 

To slay Raja Parag and return 

I will give him real authority ! 

I will make his rule easy \" 

Hearing him Sutak and Patak stood up. 

910 They sheathed the naked sword. 

They took up the betel leaves and put it into their 

mouths. 

Saluting the Assembly and Court they went to Safidon 

City. 

They wandered about the streets and lanes of Safidon 

City. 

They looked for some entrance or hole in the palace.

: 

: 

: 

: 

: 

: 

480 LEGENDS OE THE PANjIb. 

915 Sham parij din dhal gay§., dhan ka lagS, bahir, ji. 

Baith gae gore donon bMij ji : 

Chalen mahil ke bich, ji. 

Mahilon men chhipke baith ralie, ji. 

Eani Niwal Dai kahi Rajl se, ji 

920 " Mujhe Nagan H kbuskbo dve, ji." 

Eaja Parag kahe, " \A to Nagan ki beti, ji, 

Tujhe roz roz kkuskbo ave, ji." 

Raja Eani sejon pe gae, ji. 

E§,ni boli, " mera kahna man le, ji 

925 Mere mahil men Nag aj a gae, ji. 

Pahila pahira, Parag, main ddngi, ji 

Duja pahira tum do, ji." 

Niwal Dai pahire par baithi, ji 

Adhi rati Eaja jaga dia, ji. 

930 Ghari sa'at Eaja jaga, ji 

rup Nag ka sidhareii, jl. 

915 The evening fell, the day grew dim, the (evening) crowd 

of cattle (returning from pasture) commenced. 

Both the brothers sat down in the neighbourhood (of 

the palace) and put on the form of Nags. 

They went into the palace. 

In secret they sat in the palace. 

Said Princess Niwal Dai to the Eaja 

920 "I smell the smell of Nags." 

Spake Raja Parag, " Thou art a daughter of 

The smell of the Nags is always on thee." 

The Eaja and the Princess lay on their bed. 

Said the Princess, " Hearken to my words 

the Nags, 

925 The Nags have (surely) come into my palace to-day. 

The first watch, Eaja Parag, I will keep : 

Do thou keep the second watch," 

Niwal Dai kept her watch, and 

At midnight she awoke the Eaja. 

930 The Eaja remained awake for an hour.* 

* A ghari=24! minutes.

: 

: 

: 


Ghari sa'at Mja baithdj ji 

Phir sej& pe ghafil par raM, j{. 

Rani ke chariwar palang se latke, ji. 

Chanwar se Sfttak Fatak ftpar charh gae, ji 

935 Pike Raja Parag ke sans mabil se gae, ji. 

Baliir 4ke apnA nip sidhar^, j} 

Dhartmandal ke r^ste hfte, ji. 

Raste men kfteri ke mAnh baith gae, ji 

Salah karen rasoi banaen, ji. 

: 

: 

940 Rsl,nl soti chatnak pari, ji 

Rsija Parag ko tohke jagave, ji. 

Raja ke sads sampon ne pi He, ji. 

Raja ko dekhke jaldi se bahir nikali, ji. 

Jis rastS, ki Sutak Patak gae tbe, ji, 

945 Us raste ko gai, ji. 

For an hour the Raja sat. 

And then lay on the bed in forgetl"ulnes3. 

The Princess' fan* hung from the bed. 

Sutak and Patak climbed np by the fan, 

935 And drinking up Raja Pdrag's life went out of the 

palace. 

Coming out they changed their form. 

And took the road to Dhartmandal. 

On the road they sat down at the mouth of a well, 

And arranged to take their food. 

940 The Princess started in her sleep, 

And shook RajS, Parag to awake him. 

The snakes (âgs) had drunk up the Rdja's life. 

Seeing the Raja's (state) she went out quickly. 

The road that Sfttak and Patak had taken, 

945 The same road she took. 

* Chanwar, the tail of the yak and a sign of royalty, used as a flapper 

to drive ofi flies. 

61

: : ; : ! : 


Chalke kfteii pe ave, ji. 

Nazar uthake donon bhaiyori ko dekhe, ji 

" Sri Thakur, ye to jimen rasoi, ji. 

Jab donon bhai rasoi jim lenge, ji, 

950 Tab donon ko pakarAngij ji." 

Easoi donon ne jimij ji 

Donon ke clidte pakar lie, ji 

Oh6te pakarke maliilon ko le chali, ji : 

Ji maWl men chote bandlike latka die, ji. 

955 " Mujh ko rand karke chale, ji 

Ya to Eaja Parag ki jdn p§,o, nahin, j^n se mS,rtin, ji." 

: 

Rani man men bichari, ji 

" Raja Parag mere bhaiyoii ko na m§.re, ji 

Pahile in ko cbbor dun, ji." 

960 Chalke bhaiyon ke pis avq, ji, 

Bhai ko samjh&ve, ji 

" Qasm turn ko mai bap ke, ji 

: 

Sbe came on to the well. 

Lifting up her eyes she saw both the brothers. 

" Holy God, they are at their food. 

When both the brothers begin to eat 

950 I will seize the pair (of them)." 

They both began their food. 

She seized them both by their hair. 

And dragged them by the hair to the palace. 

And going to the palace she hung them up by the hair. 

955 " You made me a widow and left me : 

Either you bring Eaja Parag to life or I slay you." 

(Then) the Princess thought in her heart, 

" It is not right that Raja Parag slay my brethren. 

(So) I will first release them." 

960 So she went to her brothers. 

And spake unto them : 

" I swear you on your father and mother

! 

! 

! 

! 

" 

! 

! 

! 

! 

PRINOESS NIWAL DAf. 483 

Jo 

" 

phir yehaii chalke ao, ji ! 

Siitak Patak ko nik^lke sliahr panah lakh&ve, jl. 

965 Sutak P^tak Dhartmandal ko aven, jt. 

R4ni Niwal Dai Edja pe hve, ji. 

Mantar parhe Rani. 

" Donon Eaui roli-boli tere sir men kh^k ramsll 

Marfln bis ! 

ban^ dun p^ni 

Jahan taban se laun bal 

970 Nagan kilun, hot, dant, palat 

SankcMr ki pori, gal motin ke bar ! 

Padman ke pani nisre, Lanka ki jobar ! 

Bis katuri, bis men barun 

Bis ke ridbiin kbir, jbol jama diin ! 

975 Gararu seun Bashak parwar ! 

Jag jag, Bisiyar Deota ! Tujbe Ram Chandar ki doLai 

" 

! 

Not to come here again 

" 

! 

Turning Sutak and P&tak out she saw them from the city. 

965 Siitak and Patak went to Dhartmandal. 

Princess Niwal Dai went up to the Eaja. 

The Princess charmed Mm.* 

" Both the foolish Queens rubbed ashes on their head ! 

I will destroy the poison ! 

I will turn it into water I 

Wherever it be I will burn it 

970 I will charm the Nags, lips, teeth, and skull 

The ulcer of Sankchiir, the pearl necklace on his neck ! 

Padma's poison spurted in rain at Lanka 

I will destroy the poison, 1 will cbarm the poison ! 

I will make (a 

and fill 

pottage of) rice and milk of the poison, 

(the sorcerer's) wallet 

975 I will work tbe sorcerer's and Basak's family ! 

Awake, awake, demon of poison ; the protection of 

Eama Chandra against thee ! 

* This is the same cliarm as that sung above.

: 

: 

484 LEGENDS OF THE FANJAB. 

Jagdwan ae. 

Jhara jamatke baitha ho gayi,, R&ja, jl. 

Sutak Patak ne dohM lagai, jt. 

Raja Basak ne J^do Vakil kd bulayS,, ji. 

980 Bole Raja Basak " meri 'araz suno, ji 

Shabr Sapidan ko faujan lekar charh jô, jl, 

Shahr ko aiyo njS.r, ji." 

Jado Vakil angustana bajat^, 

Sare Nag katthe kar liej jf, 

985 N&gaa ke Nag gbore sawar ho gae, ji. 

Chalke Raja Parag ke Shahr Sapidan ko ae, jJ. 

Rat ki sama men Shahr S&pid^n men bar gae, jl. 

Gall dar gali phiren, ji. 

Gali kunche men Nag phiren, ji. 

990 Mur-murke Jado Vakil pe averi, j5. 

Sara Shahr ra'iyat soe the. 

She awakened {Raja Parag.) 

The Raj^ sat np by the charm. 

Sutak and P^tak demanded protection. 

Raja Basak called Jado the Ambfissador. 

980 Said Raja Basak " Hear me 

Take thy army and advance on Safidon city. 

Make the city desolate." 

Jado the Ambassador clapped his hands. 

And all the Nag's collected together. 

985 The Nags rode on Nags' horses. 

And went to Raja Parag's city of Safjdon. 

In the night time they entered Safidon city. 

Street by street they wandered (through it). 

The Nags wandered in the streets and lanes. 

990 Coming back they went to Jido the Ambassador. 

All the people of the city were sleeping.

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: 

: 

: 

: 

; 

PEINOBSS NIWAL DAf. 486 

Bole bole N^g, " Jai Maharaja I" 

Bole JMo VakilJi: 

" Ea'iyat ke khan ineri siikh naluDj ji 

995 Marc EeIjS, Parag ko, ji. 

Dere thare yehai lage, jl." 

Bari fajar Mi, ji 

Ra'iyat ko fauj nazar pari, ji. 

Jake ra'iyat ne R&ja ko kaha, ji 

1000 " N§.gon ki fauj cliarhke ae, ji 

Koi bachne kS îlaj karo, ji. 

Kis bidh se shahr base, " 

ji 

Parag man men apne soche, ji. 

" Jaise main kahuii, ji ! 

", 

1005 Bbaiyon se 'araz kare, ji. 

Mali Mahite ko bulave, ji 

KliEin Subhan Wazir ko bulslve, ji 

Spake the Nags, " Vicbory Maharaja ! 

" 

Said Jado the Ambassador : 

" It is not well to slay the people ; 

995 Slay ye Raja Parag (only). 

This is your goal." 

It was early morning, 

And the people saw the army. 

And the people went and told the Raja. 

1000 "The army of the Nags hath come; 

Make some plan to save (us). 

How shall the city be saved " 

Thought Raja Parag in his mind. 

" (Do) as I tell you ! 

", 

1005 Besought he of the Brethren. 

He sent for Mali, the Minister. 

He sent for Subhan Khan, the Minister.* 

* Names evidently in mistake for some mythological ones. Observe 

the Mtihammadan form Subhdn Ehdn Wazir.

: 

: 

: 

: 

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: 

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Dandia chobdaron ko bulave^ ji 

Parde men Rani Niwal Dai ko haMve, ji 

1010 Jorke Kacbahri Haja Parag baithe, ji, 

Jorke Kachahri Parag baithe, ji 

Sab se 'araz guzare, ji : 

" Nagan ki faujan chiibi, ji. 

" 

Tir talwar in par na chale, ji ! 

1015 Sari Kacbabri boli, ji 

" Eaja Parag 'araz suno, jaise ham kaheri, ji 

Apne 'aqal se kam karo, ji." 

Parde men boli Rani Niwal Dai, ji 

" Meri 'araz suno, jaisi main kahun, ji : 

1020 Pita mera hankari tujhe jiwan n§. de, ji. 

Main to bahot tujhe samjha rahi, ji 

Mera kahna na manEl, ji. 

Jo mera kahna mane,, tujhe jine ki bidh batMn, ji. 

Shishe ke mahil banwa le, ji 

He sent for criers and messengers. 

He called Princess Niwal Dai to (sit behind) the screen. 

1010 RajS, PS.rag sat in his assembled Court. 

Raji Parag sat in the assembled Court, 

And spake unto all : 

" The army of the Nags has advanced (on us) 

Arrows and swords harm them not." 

1015 Said all the Assembly : 

" Raja Parag hear us ; what we speak. 

Make some plan of thy wisdom.^' 

Said Princess Niwal Dai from (behind) the screen : 

" Hear me ; what I say. 

1020 My warrior father will not thee live. 

Often have I conjured thee. 

And thou didst not heed my words. 

If thou wilt (now) heed my words I will show thee a 

plan for thy life. 

Build a palace of glass :

: 

: 

: 

: 

;: 

: 

PEINCESS NIWAL DAt. 487 

1025 Kumbhar khai khudwa le, ji 

Sui ka sanjar lag^ de, ji 

Pani cliirhw§.ke nAn girwa de ji." 

Kaha Pdrag ne Niwal Dai ka manziir kid, ji. 

Mahil banane ko hukm kar dia, ji. 

1030 Kumbhar khai khudwdne shuru' kare, ji. 

Sui ka sanjar lagne shurA' hM, ji. 

Shishe ka mahil banke tayyar hud, ji 

Apne mahil men Raja Rani rahen, ji. 

Jado Vakil ne faujaii ko hukm d% ji 

1035 " Raja Parag ne bandobast kia, ji 

Kisi surat se us ko maro, ji." 

Jado Vakil ki faujan chirhi, ji 

Mahil men jane ka rasta dekhen, ji. 

Kahin dM nahin lage, ji. 

1040 Sab Nag Jado Vakil pe aven, ji. 

" Raja Parag barS, hoshiar, ji. 

1025 Dig (round it) a wide ditch : 

Make a wall of needles (round it) : 

Sprinkle water and salt 

(over it)." 

Raja Parag approved of Princess Niwal Dai's words. 

He gave an order for the building of the palace (of 

glass). 

1030 He began digging the wide ditch. 

He began making the wall of needles. 

The glass palace was made ready, 

And the Rdja and the Princess dwelt in it. 

Jado the Ambassador gave an order to the army 

1035 " Raja Pdrag has made his arrangements; (but) 

By some means do ye slay him." 

Jado the Ambassador's army advanced. 

And looked for a way into the palace. 

No chance came to them. 

1040 All the Nags came to Jado the Ambassador : 

(And said), "Rajd Parag is very clever.

: 

: 

; 

: 

: 

: 


Shishe ke mahil banwê, ji 

KumbMr khai khudwal, jl 

Sui ka sanjar lagayl, ji. 

1045 Wahan Nagan ka dau nahin lage, ji." 

Itni sunke Jado Vakil gabharaya, ji. 

Dil men soche bicli^re, ji 

Jiwan Nkg ko samjhave, ji: 

" 

"Bhai, meri 'izzafc rakh le, ji ! 

1050 Jiwan Nag ghussa kliake Naulakkhe Bkgh men ive, ji 

Dharke kaya palti, ji 

Beri ke darakht men phal banke lage, ji. 

Mali bagh men phire, ji. 

Ptal, limu, anar torke dali lagave, ji. 

1055 Dali Bilja ke nazar kare, ji. 

Ber ko Raja hath men uthake dekhe, ji 

He has built a palace of glass. 

He has dug a wide ditch. 

He bas made a wall of needles. 

1045 There is no chance for the Mgs there." 

Hearing this J^do the Ambassador was puzzled. 

He thought and pondered in his mind. 

And spake unto Jiwan the Nag 

" Brother, save my honour." 

lOoO Jiwan the Mg in his wrath went into the Naulakkh4 

Garden* 

He changed his form, 

And became a fruit of the plum-tree.t 

The gardener wandered in the garden. 

Plucking fruit, and limes and pommegranates he put 

them into a basket. 

1055 He presented the basket to the Raj4. 

The Raja took the plum into his hand to look at it, 

* The Nxae-ldhh Garden : meaning by that the garden worth 900,000 

rupees, i.e., the splendid garden, 

t Zieyphus jujuba.

: 

: 

: 

PBIKOESS NIWAL DAL 489 

Ua se nak se lagakar sftnge, ji. 

Bisiyar ne dang lagaya, ji. 

Raj^ bebosh ho gaya, ji. 

1060 Mg rfip badalke chala gayi, ji. 

Jado Vakil pe ja khabar lagai, ji 

" Main to P^rag iii4r gaiiwdya, ji," 

Bote, "Jado Vakil, ji; 

E^ja Parag ko phunkke chaleii, ji." 

1065 Jab E^ja Parag gira, ji, 

Rona pitna makilori men para, ji. 

M^ta us ki zar-aar roi, ji 

" Yeh kaun kare, Sri Bhagw^n, ji " 

Ra'iyat ri'aya sab roe tha, ji. 

1070 Niwal Dai kljabaran sab ko gai, ji. 

Boll, "jhanja doli karke yehan lao, ji." 

Daure khusMmadi aaek, ji. 

And put it to his nose to smell it. 

The (poisonous) serpent (Nig) bit him. 

The Raja became senseless. 

1060 The Nag changing his form went away. 

Going to Jado the Ambassador he told him; 

" I have slain Raj& Parag." 

Said he *' Jado, thou Ambassador, 

They are taking Raja P^rag to the burning." 

1065 When Raja Hrag fell, 

There was weeping and wailing in the palace. 

His mother wept bitterly 

" Holy God, what hast thou done " 

 

All the people wept. 

1070 Niwal Dai heard all about it. 

Said she " Get ready the palanquin and bring it 

Running they saluted her. 

here."* 

* " And take me to the corpse." A line evidently omitted here. 

62

. 

: 

: 


Uthake Eanl Niwal Dai pe Ike, ji. 

Nim mangakar jhara de^ ji. 

1075 Jitne manliar tlie sab chalae, ji. 

Jiwan Nag ke kate ko ik manfcar nahin chala, ji. 

Tin roz men Eaja ki kaya suj gai, ji. 

Eani to lacMr Mi, ji. 

Likhke cHtthi sanani sawar ko di, ji. 

1080 " Mere hhld, ji, Dhanthar Bald pe le jk, ji. " 

Ohitthi Dhantliar pe gai, ji 

" Yehari Eaj^ ki kaya bahine lagi, ji." 

BctgnL 

Kapra uthake dekhe Niwal Dai. 

Kaya se pani bahi, ji. 

1085 Phor donon hath ki churi 

" Eaja mera samp ne khaya ! 

" 

Taking it up they brought it to Princess Niwal Dai. 

Calling for nim* leaves she made a charm. 

1076 She applied all the charms (she had). 

No charm prevailed against the bite of Jiwan the N^g. 

In three days the Eaja's body began to swell. 

The Princess became undone. 

Writing a letter she gave it to a camel-rider, (saying), 

1060 " Take it, my friend, to Dhanwantar, the Leech." 

The letter went to Dhanwantar. 

"The Eaja's corpse here has begun to ooze," (said the 

letter) 

Song. 

Lifting the cerements Niwal Dai saw 

Water oozing from the body. 

1085 She tore off the bracelets from both her wrists, (saying,) 

" A snake (Nag) hath bitten my Rajl ! " 

* See line 786.

: 

: : 

! 


Oalle men kesh to lapte 

N^k ki nath besar tM : randapji ho gayel bhari 

" Suno, halkaro,* meri bat 

1090 Is RSja ka bamela banake pMnk do, ji." 

Halk^roii ne, ji, 

Bam^n bana di&, ji. 

Baman men Eaja ko takdve, ji. 

Leke gore le ie, ji. 

1095 Parag Raja ko chita men takaven, ji. 

Lamba ig ka lagaven, ji. 

Kijk Rdj^ Pdrag ki jali tM, ji 

Nag sare khushi^n karen tke, ji. 

Raja ko pli

: 

: 

492 lEGENDS OF THE PANJIb. 

Anke sejiin bM lagM, ji 

E§,jS. P^rag ko jiwa dia, ji. 

1105 Parag uthke Gur ko sijdEi niwSve, ji. 

Dhantbar Baid Parag ko tMpi Uve, ji. 

*' 

Jao, Bacli^, matil! ko ji;0, ji." 

Niwal Dai dekhkar bahot kliHsh Mi 

Eaja R^ni mahil men ratine lage, ji. 

1110 Jado Vakil pe kbabar hM, ji. 

Jado Vakil kahe, " yeiari ham&ra dau nahia lage, ji 

Parag Dhanthar Baid ka chela, ji. 

YeMxi se dera cherhoj ji. 

Dbartmandal ko clialo, ji." 

1115 Dbanthar Baid bhi chal par^, ji. 

Dbartmandal ko cbalen faujai, ji. 

llaj& B^sak pe a gae, ji. 

Bole Nag, " Mabaraja, "araz suno, ji 

Jis waqt bam Sbabr Safidon meii gae, ji. 

: 

Coming be applied tbe life-giving berb,* 

And restored RajS. I^rag to life. 

1105 Raja Parag sitting up adored tbe Gnrfl. 

Bbanwantar tbe Leech gently touched Eajsi Parag, 

(Saying) " Go, my son, to thy palace." 

When Niwal Dai saw him abe was very pleased : 

Tbe Raja and the Princess dwelt in tbe palace. 

1110 Jado tbe Ambassador heard of this. 

Spake Jado tbe Ambassador, " Her© I have no chance. 

Eaja Parag is tbe disciple of Dhanwantar the Leech. 

Let us depart hence. 

And go to Dbartmandal." 

1115 Dhanwantar the Leech also went away. 

The army went to Dbartmandal, 

And came to RajS Basak. 

Said (Jado) the Nag, " MabarSjl, bear me: 

When I went to Safidon City 

* Sej4n = sij = ndgphani = Skr. sihunda, the ewphorhia anticpiorum 

or milk hedge. It is used as an antidote to snake poison.

: 

: 

: 

: 


1 1 20 E§,n! ne khauf khaya, ji. 

Shlahe ka mahil banwIySi, ji 

Sui k& sanJElr lag&ya, ji 

Kumbhar khai khudwai, ji. 

Ham ne Nagoii ko hukm dia, ji : 

1125 

' Phir-ghirke rasta dekho, ji 

!' 

Hamen rasta nahin mile th§,, ji. 

•Jiwan Nag Naulakkhe Bagh men gae, ji. 

Wahan jake rup sidhslra, ji : 

Darakht men ber bane^ ji. 

1130 ' Plial maii ne tore, ji 

M^li ber ko R&ja pe le jave, ji. 

Jab Raja ne ber hath men lia, ji 

Uthake jab ber suiighe, ji. 

Main ne nak men dang mara^ ji 

1185 Raja Parag mar gaya^ ji. 

Nim deg main ne sab kil die^ ji. 

1120 The Princess was frightened. 

She built a palace of glass. 

She made a wall of needles. 

She dug a deep ditch. 

I ordered the Nags 

1125 To look hither and thither for a way (into the palace). 

We found no road. 

Jiwan the Nag went into the Naulakkha Garden. 

There he changed his form, 

And became a plum on a tree. 

1130 ' The gardener plucked the fruit. 

And the gardener took the fruit to the Raj^. 

When the Eelja took the plum in his hand. 

He took it up and smelt the plum. 

(The Nag) bit him on the nose, 

1135 And Raja Parag died, 

I charmed all the nim leaves.

: 

: 

: " 

" 

494 LEGENDS 01 THE PANJAb. 

Gararii bhi sab kil die, ji. 

Kisi ka jMra Parag pe nahin chalEl, ji. 

Jab Eaja Parag phAnk did, ji : 

1140 Dhanthar Baid P^rag k^ gur6 aya, ji. 

Rakli katth^ karke Parag ko paida kar \ii, jt. 

P^rag chalke mahil ko gay&, ji.' 

Eaj& Basak, ham chalke tere pas ae, ji. 

Dhartmandal 

" 

ki laj gai, ji ! 

1145 Sunke Raj& Basak roe; ji 

" Meri asht kuli ko dagh lag^, ji 1 

Bhaichara bole, ji 

" Apne bh&nje Tatig Nag ko bul§, de, ji." 

Basak Raja bole, j! : 

1150 " Bare bare N% se na sar hM, ji.*' 

BhaicMra bola^ ji 

And I charmed all the sorcerers. 

No one's charm prevailed for RSja Parag. 

Then they burnt Raj3, Parag. 

Raja Basak, I came (back) to thee. 

Dhartmandal's honour is gone 

" 

! 

1145 Hearing this Raja Basak wept 

" My eight families are disgraced ! 

Said the kinsfolk : 

" Call thy nephew* Tatig, the Nagt 

Said Raja Basak : 

1150 " But all great Nags have failed 1 

1140 R^jd P&rag's Gurft, Dhanwantar the Leech came. 

He collected the ashes and brought Rajei P^rag to life. 

And Raja Parag went (back) to his palace.' 

Said the kinsfolk 

* Sister's son. . 

t Tatig is for Astika. He was the son of Jaratkaru by the sister of 

VS.suki, i.e., (P) by Padmavati or M&nas4. He plays an important part 

in the Mahdbhdrata Legend. He appears in Gurft Gugga's legend ante.

: 

: 

: 

PBINOBSS NIWAL BAL 495 

" Woh N&g bawan rftp§, hai : yeh kam us se sarbe, ji." 

Bdsak pftchhe, " woli kahan mile, ji 

" 

"BhaicharSi boleii Gokal nagari; 'ilm Qurana pothi 

parhori Gokal men, ji." 

1155 Sunke Raja ne Jado Vakil ko hukm dia, ji 

" Dharke dastana aisa baja do, ji, 

Sun p§,ve Bisiyar Nag, ji." 

Dastana ki awaz baji, ji. 

Sunke Tatig Nag chal para, ji. 

1160 'Ilm Qur§.ni pothian parh raha tha, ji. 

Larkon men baitha, baitha khara hoja, ji. 

Dharke kaya ko sidhari, ji 

Chhota sa Nag ban gaya, ji. 

Dharke to lave tha udari, ji 

1165 Dhartmandal ko chala ave, ji. 

"He is a Nag of fifty-two forms: this business will be 

accomplished by him.'' 

Raja Basak asked, " Where will he be found " 

Said the kinsfolk, " In Gokal City :* he is reading the 

books of the wisdom of the Qurant in Gokal." 

1155 Hearing this the Raja ordered Jado the Ambassador 

To clap his hands so 

That the poisonous Nag (Tatig) should hear. 

(Jado) clapped his hands. 

Tatig the N4g heard it and came. 

1160 He was reading the books of the knowledge of tha 

Quran. 

Sitting among the boys he stood up. 

He changed his form 

And became a little Nag. 

He put on wings 

1165 And came to Dhartmandal. 

* Gokula, in the neighbourhood of Mathura, is the scene of Krishna's 

boyhood : it is probably introduced merely as being a place famous in 

mythological history. 

t The scavenger caste in India generally mix up all the religions 

current around them in their beliefs.

: : 

: : " 

ThorS dtir anke baith gaya, ji. 

Dharke riip sidhara, ji 

Balak ka riip ban gaya, ji 

; 

Cbhote cbbote hath pair bane, ji 

Chal Kachahri men ^ve, ji 

Bande ke 

" 

s§,t salam, ji ! 

Bole bole Tatig mama se, ji 

" Nangi teghan kyAn dhari, ji 

Kis Eaja pe charhai, ji 

Us ka nam batao, ji. 

Seven lowly salutes (to thee) ! 


11 70 Sir par topi tikai, ji 

Hath men sone ki khundi leke, pairon pawwe pae, ji. 

Loe dhore phirke, ji, 

MamSi Basak ki gode dhore baithe, ji. 

1175 " Ik salam. Mama, mere ; do salam, ji, 

" Tere salam tum ko arjani ; teri 'umar draz, ji." 

1180 Pan ke bire kyM dhare, ji 

Coming a short distance he sat down. 


And became a small child, 

With little hands and feet. 

1170 On his head he had a cap. 

Golden bracelets on his wrists, wooden shoes on his feet. 

He came into the Court, 

And wandered up and down. 

He went and sat in his uncle Raja Basak 's lap. 

1175 "Uncle, one salute: two salutes : 

" I return thy salutes (nephew) : be thy life long." 

Chattered Tatig to his uncle : 

" Why are the naked swords placed (here) 

1180 Why the betel leaves 

What Raja is to be attacked 

Tell me his name I 

:

: 

! 

PRINCESS NIWAL T>\t 497 

Nangi teghan ko miyan kariiii, ji 

P4n ka bira 

" 

xxthaAxi, ji ! 

1185 " Shahr Safidon men Raja P4rag ko mare, ji. 

Jo koi Nag us se mare hai, 

Dhanthar Guri\ us ko jiwa le, ji- 

SMsh ke mahil us ne banwa le ji. 

Kumbliar khai, sfli ka sanjar banwaya^ jJ. 

1 1 90 Nagon ka sara bandobast kia, ji. 

NEigan ka dau nahiii lage, ji." 

Sunke nangi nangi teglian miyan kare, ji. 

Pan ka bira mukh men pake Sabha Kachahri ko salam 

kare, ji. 

Dharke kaya palti chhota sa Nag bana, ji. 

1195 Sada-Sibji ko manave, ji : 

MacLhandar Natb ko dbyave, ji 

I will sheatb the naked swords : 

I will take up the 

" 

betel leaves ! 

1185 (Spake the Eaja) " Slay Raja Parag in Safidon City. 

If any Nag slays him 

Dhanwantar the Leech restores him to life. 

He hath built a palace of glass. 

He hath made a deep ditch and a wall of needles. 

1190 He hath made all (possible) arrangements against the 

Nags. 

There is no chance for the Nags (now)." 

Hearing this (Tatig) sheathed the naked swords. 

Putting the betel leaves into his mouth he saluted the 

Assembly and the Court 

Changing his form he became a small Nag. 

1195 He adored the Eternal Siva, 

He remembered Machhandar Nath.* 

* Popularly the Ouru of Dhanwantar Baid. Eeally he was one of 

the early opponents- of the Bhagats and flourished in the 15th Century 

A.D. He preceded the more famous Gorakh Nath and is often coupled 

with him as here. 

63

i 

498 

: ; : 

: : 

! 

: " 

" 

LEGENDS OE THE PANJAB. 

GurA Gorakh ko manave, jl. 

Dharke udari Ikve, ji 

Shahr Safldoii men Raja Parag ke ave, ji. 

Nagar men ave, ji 

Ohalke mahiloii ko hve, ji. 

Jaga kahin barne ko nahin miltJ, ji 

Jati-sati ki awazan sunte tha 

Sat Jug pahira barta, ji. 

Indar Raja ko hukm kai'a, ji 

Dbarke r6p sidhara, ji 

Macbhli ka rup, ji. 

Jaise parn&la gireft the, ji, 

Maobbli ka rup sidhark'e Apar charh gaya, ji. 

He adored Gurd Gorakh jNath. 

He put on wings 

And came to Raja Parag's City of Safidon. 

He wandered in the garden. ' 

He came to the City, 

And went on to the palace. 

He could find no place to enter in ! 

" Bring rain, oh God ! Preserve my honor [ 

1200 Naulakkhe B^gh meri ave, ji. 

Baghan ke saila to kare tha, jt 

1205 H§,th jorke Sri TMkur pe 'araz lagSve, ji 

" Thakur, barkB karo, ji ! mera " 

lajja rakho, ji ! 

1210 Mini, barsan laga, ji. 

1200 He came into the Naulakkha Garden. 

1205 With joined hands he prayed to the Holy God 

The prayer of the virtuous was heard, (for) 

The Golden Age prevailed. 

(God) gave the order to R^ja Indar, 

1210 And the clouds began to rain. 

He changed his form. 

And. became a fish. 

When the (roof) spout began to pour (down water). 

In his fish's form he went up it- 

:

: 

: 

: 

PRmOESS NIWAL DA. 499 

1215 Upar mahil ke charhke jharoke men baraj ji. 

Chhipke mahil meri baith gaya, ji. 

Adhi ren ka pahra, ji 

Bisiyar kdU ptir-pbirke dekbe tha, ji. 

Raja Parag soe th^, ji. 

1220 Uchbalke palang par d^ng Ugk di^, ji. 

Dsing lagake zamia pe ave, jl. 

Jis r^ste ko aya tha, jij 

Usl rsiste mabilon se babir aya, ji. 

Dharke kaya babir mahiloii se sidhari, ji. 

1225 Brabman k§, rup us ne sidbara, ji 

Tilak, dhoti banai, ji: 

Pairoii men pawwe, bath men brahmchhari le li, ji 

Unchi pagrij nicha jam^ pahinke, raste pe baithe, ji. 

Kuchh mabilon ki s§,r leke do tin roz men cbale 

gaenji. 

1215 Going up into the palace he sat in the window. 

Silently he sat in the palace. 

At the mid watch of the night 

The black venomous (Nag) looked about him. 

R§ja Parag was asleep. 

1220 Leaping up to the bed he bit him- 

Biting him he came down again. 

By the way he came 

He left the palace. 

Outside the palace he put on his (human) body. 

1225 He put on the form of a Brahman. 

He put on the sacred forehead marks and a loin cloth': 

Wooden shoes he had on his feet and priest's staff in his 

hand. 

A lofty turban be put on and a long robe, and sat down 

by the road. 

Leaving the palace he went away after two or three 

days.

! 

: 

: 

: 

: 


1230 Niwal Dai soti uthe, ji. 

Apne Raja ko jagave, ji. 

EajS, mara para^ ji 

Niwal Dai Thakur se 'araz lagave, ji 

" Jane, kaunse Nag ne kha lia, ji 

" 

1 235 Dharke jantar chalavej ji. 

Rani se jantar na chale^ ji. 

Zar-zar roe, ji, Niwal Dai 

" Yeh kaun kare, Sri Bhagwan, ji " 

Sattar kuliyan ko jagavej ji. 

1240 Bidiya koi nakin ckali, ji. 

Chitthi Rani ne likki, ji 

" Dhantkar Baid, ter§. ckela Nagan ne kha lia^ ji 

Dandia ckittki leke ckala, ji. 

Nag Brahman raste men baitha, ji. 

1245 Br&hman dandia se puchke, ji 

" Jahan se musafir sack bata de, ji." 

1 230 Niwal Dai awoke from her sleep, 

And awakened ker Raja. 

The Raja lay dead. 

Niwal Dai prayed to God : 

" Who knows what NS-g hath slain him " 

1235 And she at once commenced her charms. 

The Princesses charms prevailed not. 

Niwal Dai wept bitterly : 

''What has thou done, Holy God " 

She awakened the seventy families. 

1240 No one's sorcery prevailed. 

The Princess wrote a letter : 

" Dhanwantar, thou Leech, thy disciple hath been 

slain by the Nags." 

She gave the letter to the messenger. 

The Nag (in the form of a) Brahman sat by the way. 

1245 Asked the (Nag) Brahman of the messenger, 

" Tell me truly whence thou comest "

: 

: 

: 

: 

PRINCESS NIWAL DAL 501 

Bole dandidj " Parag Eaj§, hamara, ji, 

Us ko Nagan ne kha M, ji. 

R§,ni us ki Hai betl Basak ki, ji 

1250 Us ne lakhoU jMre die, jl. 

Koi jhara nahin lage, j). 

Parag Dhanthar Baid ka chela, ji 

R§,nl ne mujlie dia chitthi^ ji. 

Jis din se Rani ai mahilon men rahe nit-brit sog, ji/' 

1 255 Brahman pAchhan laga, ji 

" Dhanthar Baid kahari rahe^ ji." 

Bole dandia, " woh to rahe Abu ban men, ji." 

Abu ban ko dandia chala, ji. 

Kale bisiyar ne riip sidhara, ji : 

1260 Brahman se Nag ban gaji, ji 

Dharke udari lagave, ji. 

Jake dandia ne chitthi di, ji. 

Said the messenger, " Oar Raja, Parag, 

Hath been slain by the Nags. 

His Queen is the daughter of Raja Basak. 

1250 She tried thousands of charms on him. 

No charm prevailed. 

ESja Parag is the disciple of Dhanwantar the Leech. 

The Princess (Niwal Dai) gave me this letter. 

From the day the Princess came to the palace have- the 

Nags been ever at enmity (with us)." 

1255 The (Nag) Brahman asked: 

" Where dwelleth Dhanwantar the Leech " 

Said the messenger, " He lives in Abu forest."* 

The messenger went to Abu forest. 

The black venomous (Nag) changed his form, 

1260 And from a Brahman became a Nag (again). 

And put on wings. 

The messenger gave the letter. 

* Mount Abu in Rajpfltana, the ancient Arbnda, probably here confovmded 

with the classical serpent (Nag) of that name.

: : 

: 

; 


Chitthi parhke chal pare, ji 

Shahr Sapidan chal para, ji. 

1265 Dhanthar Baid ko dekhke, ji, 

Bisiyar ne Brahman k& rup banay^, ji. 

Brahman puchhe, " Maharaj, kahan ko chale, ji 

Man ka bhed bata do, ji." 

Bole Dhanthar Baid, " Shahr Sapidan ko, ji, 

1270 Rajsl Parag pe jaM, ji. 

EajS, Parag Basak ke sampon ne khaya, ji. 

EajS Basak ki beti Parag ki Eani : us ke samp bair par 

gae, ji. 

Mali Parag ko jiwane ko jS,un, ji." 

Teh kahke Dhanthar Baid chal pare, ji 

1275 Pichhe se ik chela Dhanthar Baid kS, ave, ji. 

Bisiyar ne rup sidhara, ji 

Sone ki lathi ban gay4, ji. 

Raste men par gaya, ji. 

Reading the letter (the Leech) started off, 

And made for Safidon City. 

1265 Seeing Dhanwantar the Leech 

The venomous (Nag) put on a Brahman's form. 

Asked the Brahman, " Maharaj, whither goest 

Tell me the secret of thy heart." 

Said Dhanwantar the Leech, " to Safidon City 

1270 I go to Raja Parag. 

Raja Basak's serpents (Nags) have slain Raja Parag. 

Raja Basak's daughter is RSja Parag's Queen : on 

account is the enmity of 

I go to bring Raja Parag to life." 

the Nags. 

Saying this Dhanwantar the Leech went on. 

her 

1275 Behind him came a disciple of Dhanwantar the Leech. 

The venomous (Nag) changed his form. 

He became a golden staff, 

Lying in the way.

:; 

: 

; 

: 

: 

: 

PRINCESS NIWAL DAi. 503 

Chele ne lathi ko dekhkar uthaij jt 

1 280 " Apne Gurfi ko dung^, ji." 

Lake DMnthar Baid ko die, ji 

" GurA, raste men mujhe milJ, ji." 

Gurii, hath men le ie^ ji 

Bare khiish h&e, ji. 

1285 Dhanthar Baid lathi ko badan men phere, ji. 

Jab gardan pe lagave', ji 

Bisiyar ne kaya palatke d&ng mar^j ji. 

Dang lagake rete men gir para, ji. 

Ghas-phiis hoke age ko chal dia, ji. 

1290 Brahman ka rAp dharke darakht niche baith raha, ji. 

Bole Dhanthar Baid, " mere chelo, ji, 

Sumer Parbat pe jao, ji 

Darakht ke niche chiragh jale, ji 

Us ke niche sajfin rakhi, woh le ô, ji." 

1295 Chele chale sajftn ko, ji 

The disciple saw the staff and picked it up : 

1 280 " I will give it to my Guru." 

He took it to Dhanwantar the Leech (saying), 

" GurA, I found it in the road." 

The Guril took it in his hand 

And was very pleased with it. 

(saying), 

1285 Dhanwantar the Leech rubbed the stick on his body. 

When he put it on his neck, 

The venomous (Nag) changed his body and bit him. 

Biting him he fell into the sand. 

And becoming as (a blade of) grass went away. 

1290 (Then) putting on a Brahman^s form he sat under a tree. 

Said Dhanwantar the Leech, " my disciples. 

Go ye to Mount Meru, 

Beneath a tree is a lamp burning. 

Beneath it is the life-giving herb.* 

1295 The disciples went for the life-giving herb. 

* See line 1103 supra.

: 

: : 

! 

: 


Bisiyar ne rip sidhara^ ji. 

Un se pahile Sumer Parbat ko chala, ji 

Jake per ke niche hazdron chiragL. jala die, ji. 

Jo chele ake dekheri hazaron chiragh jal rahe, ji. 

1300 Murke GurA se kahen, ji 

" Wahari to hazaron chiragh jaleij ji 

Tu to ik batave tha, ji. 

Ham ko wahan biiti nahin mill, ji." 

Bole Dhanthar Baid, ji 

1305 " Cheloj ab vahxh nahin bachne ka^ ji. 

Ik to Raja Parag mar gaya, ji 

Ab to meri jan chali, ji. 

Mujhe sab pak^ke kha lena, ji 

Mera mas sab kat lo, ji. 

1310 Tum sab Dhanthar Baid ho jao, ji." 

Sari batan Bisiyar N^g sune, ji. 

Gaon men se logon ko bulave, ji 

: 

: 

; 

The venomous (Nag) changed his form. 

He reached Mount Meru before them. 

Beneath the tree he lighted thousands of lamps. 

When the disciples came they saw thousands of lamps 

burning. 

1300 Coming back said the Guru : 

" There are thousands of lamps burning there. 

Thou didst tell of one (only). 

The herb we could not find there." 

Said Dhanwantar the Leech 

1305 " Disciples, now I shall not be saved. 

First Eaja Parag has died 

And now my life will go. 

Do you all cook and eat me. 

Gut up all my flesh, 

1310 And you will all become as Dhanwantar the Leech." 

The venomous Nag heard all his words. 

He called the people from the village, (and said) :

: 

: 

: 

: 

i>EmcEss NiwAL daL 505 

*' 

Dekho yeh gaon men dak ufcare, ji. 

Logon ka mas katkar khaven, ji." 

1315 Tatig Nag ke sath zamindar hue, ji. 

Un se rukhsat hoke Raj^ Basak pe gaya, ji, 

Basak bahot kMsk Ma, ji. 

Chkuri ciaqft leke chele mas katen, ji. 

Apni apni handi men ckaraveri, ji, 

1320 Zamindaron ne chelon ko pathar mara, ji: 

Chelon men bbag pare, ji, 

Kawwe chil mas le gae, ji 

Gid barken mas le gae, ji. 

Pandit jake Niwal Dai pe kkabar kare, ji. 

1 325 Bole Bani se dandia, ji 

" Jis baid pe mujhe bheja, ji. 

Us ko raste men Nag ne khaya, ji: 

Chelon ne kat kat kar handi men paya, ji. 

Nag ne chhal kia, ji 

" See, into this village have robbers come, 

Cutting Tip the people's flesh and eating it," 

1315 The farmers went with Tatig the Nag. 

He left them and went to Eaja Basak, 

And Raja Basak was very pleased. 

With knife and steel the disciples cut up the flesh, 

And put it each into his cooking-pot. 

1320 The farmers stoned the disciples, 

And the disciples ran away. 

Crows and kites carried off the flesh : 

64 

Vultures and eagles carried ofi^ the flesh. 

The messenger went and told Niwal Dai. 

1325 Said the messenger to Niwal Dai 

" The leech to whom thou didst send me, 

A Nag bit him on the way. 

His disciples cut up his flesh and put it into their cooking 

pots. 

The Nag practised a deceit,

: 

: 

: 

: 

: 

: 


1330 Zamindaron ko bulaya, ji. 

Zamindaron ne pathar markar bhagaya^ ji." 

Hani aunke zar-zar roi, ji 

" Ai PrabM, mere lekhari ki likhi, ji 

Sri Bhagwan, kaun kare, ji 

1335 Mere man miri gai ! mere pah min gae 

" 

! 

Eani ro-roke boli, ji 

" Mja ko chita men pMnk do, ji." 

Sab bhMcliara ne Raj£l ko phiink dia, ji. 

Rani Mwal Dai ko char m§,h ka hamal tha, ji 

1340 Chhah mahine ba'd larka paida hM, ji. 

Dhaurisa nuqeira baje, ji. 

Ghar ghar khushian ho rahi, ji 

Mirasan bulake mangalchar gawaya, ji. 

Brahman jotishi bnlaya, ji 

1 345 " Dada paun lagM, ji." 

1330 And called the farmers. 

The farmers stoned and dispersed them." 

When the Princess heard this she wept bitterly 

" Lord, what hast thou written in my fate 

Holy God, what hast thou done 

1335 Grief is in me : grief hath come to me I" 

Said the Princess weeping : 

" Burn the Raja on the pyre." 

All the kinsfolk burnt the Raja. 

Princess Niwal Dai was four months pregnant. 

1340 After six months a boy was born. 

Drums and gongs were beaten. 

There was rejoicing in every house. 

They called for dancing-girls and sang songs of rejoicing. 

They called priests and astrologers, (saying), 

1345 " Father, I fall at thy feet."

" Sukhi raho, jujman, ji.'' 


" Pushtak bdnchoj Bed sunao, ji 

Larke ke lekh nasib sunao, ji. 

Kaisi mahurat larka jama, ji 

1350 Kaise laya bhag, ji " 

Pushtak bS,nche, Bed sunave, jape Kishn kS. nam, ji, 

" Achhi mahurat larka jama, acklie lay& bhag, ji 

Is ka nam Janmeji." 

Dan, jahez, sarwan gaww^n Brahman ko dilae. 

1355 Dom, Bhat bulae, Turki Tazi ka dan karae, ji. 

Sab lagi log bulake cbelndi sone ka dan karaya, jt. 

Ik din ka larka do din ka ho gaya, ji : 

Paach, sat, das roz ka ho gay^, ji 

Ik mahine, do mahine ka ho gaya, ji: 

1 360 Baras, do baras ka ho gaya, ji 


" Read the books, expound the Vedas. 

Tell us the fate and fortune of the boy. 

In what kind of moment was the boy born 

1350 What fate is his " 

He read the books, he expounded the Vedas, he repeated 

the name of Krishna : 

"The boy was born in a lucky moment; fortunate is 

his fate. 

His name is Janmeji." 

Gifts and alms and splendid cows were given to the 

Brahman s. 

1 355 Calling bards and genealogists they gave them Turkish 

and Arab horses as alms. 

Calling all the hangers-on they gave them silver and gold 

in charity. 

The boy grew from one day to two : 

To five, seven, ten days 

To one month and two months : 

1360 To one year and two years 

: 

: 

: 

: 

: 

:

: 

: 

508 LFGENM OF THE KiNJAK. 

Tin baras ka ho gayk, ji 

Char baras, panch kk ho gayS, ji. 

Sir par bal rakh dia, ji, 

Bahir larkon men khele, ji 

3365 Larkon men khelta phire, ji. 

8hahr ke larkon ko marta phire, ji. 

Mar-k^tke kisi larke ko^ ji, 

Mahil ko ave, ji. 

Jab barab baras ka ho gaya, ji, 

1370 Jotishi pandit ko bulave, ji. 

Jor Kachahri baithe, ji : 

Pandit ne akar kalyan dia, ji. 

" Dada, paun lagiin, ji ! 

" 

'' 

Sukhi rabo jujman, ji." 

1375 Chandan chauki, jazam pattu bicbhaye, p. 

Hal bichha do, ji. 

" Pushtak bancho. Bed sunao, ji. 

To three years r 

To four years and five years. 

When they shaved his head,* 

And he played outside with the boys. 

1365 He wandered about playing with the boys. 

He quarelled and wandered about with the city boys. 

He quarelled with some boys. 

And came to the palace. 

When he was twelve years old, 

1370 He called the priests and astrologers. 

He sat in the assembled Court, 

And the priest came and gave him blessing. 

(Said the boy) " Father, I fall at thy feet." 


1375 They (placed) a sandalwood chair and silken mats. 

They spread. a carpet. 

" Read the books,, expound the Vedas" (said he), 

* A customary ceremony.

: 

: 

:! 

! 

; : 

: : 

" 


Gaddi ka lekh bat§,o, ji." 

Pashtak banclie, Bed sunave, ji 

1380 Jape Kishn ka nam, ji. 

Bolta Panditji Maharaja 

" Janmeji, tare aohhi bhag, ji. 

Tu to gaddi pe baitbe, ji 

Tu kare yehan ka raj, ji 

1385 Chandi sone ka dan karo, ji. 

Hathi ghore k§, dan karo, ji. 

An ka dan karke, bastar ka dan karo, ji. 

Jab gaddi pe baitho, ji. 

Ikotar sai Brahman mahil men jamao, ji." 

] 390 Jaisa Raja baitha tha jori Kachahri, ji 

Jaisa Raja gaddi par baitha, ji 

Barah baras ki 'umar men, ji. 

Jin larkon men kheltS, phire tha, 

Woh larke kahen, ji 

" Tell me the fate of the throne." 

He read the books and expounded the Vedas, 

1380 He repeated the name of Krishna. 

Said the Priest, the Mahar&,ja * 

: 

" Janmeji, thy fate is propitious. 

Thou sittest on the throne. 

Thou wilt rule here, 

1385 Give me gold and silver in alms. 

Give me elephants and horses in alms. 

Give me grain in alms, give me clothing in alms. 

When thou dost sit on the throne, 

Collect one hundred and one Brahmans in the palace ! 

1390 So the Raja sat and assembled his Court 

So the Raja sat on the throne. 

In the twelfth year of his age. 

When he played about with the boys. 

They said to him 

* Merely a form of address to priests,

; 

: 

;: 

! 

; 

: 


1395 "Dekho, haram H larka gaddi pe baitli gay^, jl." 

Eaja Janmeji ko khabar h

: 

: 

; 

: 

PRINCESS NIWAL DaI. 511 

Jab main batlaun, ji." 

Eaja ne tin bachan Thakur ke die, ji. 

Mata kahe, " meri chhatise utaro, ji." 

1415 Chhati se utarkar baith gaya, ji. 

M^ta ne kaghaz, qalam^ daV^t mangai, ji: 

" Mujh se tin bachan Thakur ke likh de, ji." 

R^ja ne tin bachan Thakur ke likh die, ji. 

Boli, " main R§,ja Basak ki beti, ji. 

1420 Tera pita Raja P^rag, ji. 

Tera pita mar gay§,, ji. 

Chhah mahine ba'd tu paida hua, ji." 

Raja Janmeji bole, ji 

" Babal mera kis maraz men mafa, ji 

" 

1425 Boli mata, " mera pita Basak, ji 

Us ki kaya bigar gai, ji. 

Mera pita ko faujiin ne jawab de dia, ji. 

And I will tell thee." 

The Raja gave her his oath (in the name) uf God 

thrice. 

Spake his mother, " Get thee off my breast." 

1415 He got off her breast and sat down. 

His mother sent for pen, ink and paper, (saying) 

" Write me thine oath thrice (in the name) of God." 

The Raja wrote down his oath thrice (in the name) of 

God. 

Said she, " I am the daughter of R^ja Basak : 

1420 Thy father was Raja Parag. 

Thy father died. 

Six months afterwards thou wast born." 

Said Raj4 Janmeji 

" For what reason did my father die " 

1425 Said his mother, " My father Raja B^sak 

Became foul of his body. 

His servants foreswore him.

: 

: 

' 

: 

: 

: 

512 LEGENDS OF THE PA.NJIB. 

Main sawarran kfien par pant bharni ai^ ji 

Jab main pani bharne ki, ji, 

1430 Tere pitsi. ne mujlie glier lia, ji. 

Tere pita se main ne kabaj ji 

' Main sahansar Nagan ki beti, ji.' 

Main bahot hata rahi, ji 

Us ne mujh se Thakur ke tin bachan lie, 

ji. 

1435 Tere pit^ ne mujh. se shadi kar li, ji. 

Eisi ne Eaja Basak ko khabar dij ji 

' Teri kanwari beti rakh li, ji 

! 

Bara zulam kia, ji. 

Raja Basak faujan cbarliake aya, ji : 

1440 Tera bibal ko' Nagan ne kha lia, ji. 

Us ke guru DMnthar Baid ko kba lia^ ji. 

Main ne bahot tere bS,bal ko samjhaya, ji. 

Nagan ke mare kumbhar khai khudwai, ji. 

Sishe ka mahil banwakar, sui ka sanjar lagaya, ji." 

I went to the golden well to fetch him water (to cure 

him). 

When I came to fetch the water, 

1430 Thy father encompassed me. 

I said to thy father, 

' 

I am the daughter of a thousand Nags' 

I greatly dissuaded him ; 

But he took my oath thrice (in the name) of God. 

1435 Thy father married me. 

Some one told Eaja Basak of it 

' That (Eaja Parag) hath kept thy maiden daughter.' 

(My father) took a great revenge. 

Eaja Basak advanced with his armies, 

1440 And the Nags slew thy father. 

They slew also his Guru, Dhanwantar the Leech. 

I had warned thy father often, and 

He dug a deep ditch (to keep) off the Nags. 

He built a palace of glass and made a wall of needles."

: ! 

1445 ESjl Janmeji, jab m^ta kl bat suni, ji, 

ji- 

_ 

^ 

1450 Pita mera Nagan ne khaya, ji : 

' 

Main Ndgaii se larflnga, ji. 

Tin se badla IftngSj, ji, 

Nag&n se karke larai, ji." 

Pandit bole, " tu jit jave, ji 

PRINOESS NIWAL DAI. 513 

Pandit najftmi bul&ya, ji. 

" Dada, paun lagte, ji." 

" Sukhi ralio, jujman, ji." 

" Pushtak bancho ; Bed sunao ; 

japo Kishn ka nam, 

1455 Tir tere, Kaja, nahin lagega, ji. 

Barchbi tere nahin lage, ji." 

Kora kaghaz mangave, ji 

Likh likh cbitthi Dhartmandal ko bheje, ji. 

Raj4 BAsak ko daghl, se bulave, ji. 

1445 When Raja Janmeji heard his mother's words, 

He called the priests and astrologers, (and said to 

them), 

" Father, I fall at thy feet." 

(Said they), "Be at peace, my client." 

{Said he), "Read the books, expound the Yedas, repeat 

the Name of Krishna, 

1450 The Nags slew my father : 

I will fight with the Nags. 

I will take vengeance for him. 

Fighting with the Nags." 

Said the Priest, " Thou wilt win. 

1455 AJrrows, Raja, will not harm thee, 

65 

Spears will not harm thee." 

(The R^ja) sent for blank paper. 

Wrote a letter and sent it to Dhartmandal. 

With treachery he invited Rija Basak.

: 

: 

: 

' 

; 

" 

514 LEGENDS OP THE PANJAb. 

1460 Mna BS,sak pe chitthi pahunchi, " turn chale ao, jt 

Thara bairi Shahr Sap}d§,n men, ji, 

Woh to mar gaya, ji. 

Ast kuli ko leke yehan So, ji. 

Tujhe dokai Ram Chandar ki, j5 

1465 Shahr Sapldan men chalke a jô, ji. 

Barah baras kS. main hua, ji 

Til ne meri khabar na li, 

ji." 

Chitthian to Dhartmandal ko gai, ji 

Chitthi ko parbkar Basak soch bichar kare, ji. 

1470 Bhaicbara ko bulflvej ji, 

Ast kuli ko bulave, ji 

Jorke Kacbabri cbittbi dikhave, jl. 

" Mere bhalyo, meri "araz suno, ji, 

Jaise main kabun, ji. 

1475 DobtEi, merS, barab baras h^, ji 

1460 The letter reached his grandfather, R4ja Bdsak, 

(saying) " 

: Do thoa come. 

Thy enemy in Safidon City 

Is dead. 

Bring thy eight families here with thee. 

The protection of 'Rkma Chandra be on thee ! (so) 

1465 Come thou to Safidon City. 

I am twelve years of age, 

And thou hast never yet visited me. 

The letter went to Dhartmandal. 

Reading the letter Raja Basak pondered over it, 

1470 He called his kinsfolk : 

He called the eight families. 

Assembling his Court he showed them the letter. 

" My Brethren, hear me. 

What I say, 

1475 My grandson is twelve years of age.

:; 

: 

: 

PBINOESS NIWAL DAL 515 

Woh to gadd} pe baitha, ji. 

Woh ast kuli ko milne ko, ji, 

Apne p§.s bulave, ji." 

Bole bMioMra, ji 

1 480 " Mori 'araz suno, ji, 

Jaisa hukm do, ji, 

Waisa hi karen, ji." 

Eaja hukm dia, ji 

"Mam to nahin jaun, ji. 

1485 Jado Vakil faujan leke jae, ji. 

Dan jahez leke jao, ji." 

Sunke Eaja ka hukm, ji, 

Jado Vakil ne dan jahez lia, ji 

Chalke Shahr Sapidan ko chale, ji. 

1490 Chhattis baja to baje, ji: 

Shahr Sapidan men ae, ji. 

Dan jahez Brahman mahil men laven, ji. 

And sits on the throne-. 

He would see the eight families. 

And called them to him." 

Said the kinsfolk 

1480 " Hear us. 

As thou orderest 

So will we do." 

The Eaja gave the order : 

" I cannot go, 

1485 Let Jado the Ambassador take the army and go. 

Go with gifts and presents." 

Hearing the Eaja's order, 

Jado the Ambassador took gifts and presents, 

And went on to Safidon City. 

1490 Thirty-six bands were playing, (when) 

They came to Safidon City. 

The Brahmaus brought in the gifts and presents.

; 

; 

: 

:: 


Jis waqti khabarai hui thi^ 

Janmeji Eaja kMshiari kare, ji. 

1495 Bole Raja Brahmau se, ji 

" Meri 'araz suno, ji ; 

Kaun kaunse EajS, ae, ji 

Mujhe nam bata do, ji." 

Bole, " tera Dlna ke pandit, ji : 

1500 Kali Singh, Bhdre Singh, nahin ae, ji 

N& Raja Basak wa Nyoji Nag ae, ji. 

Siitak, Patak, Jado Vakil ae, ji." 

Sunke R&ja ne hukm dandia ko die, ji 

Tel ki karahi dhar die, ji. 

1505 Bhari bhari lakkar jorke tel khadh-badh pake, ji. 

Sub faujan ko mahil men bulave, ji. 

Jab faujen, mahil men bar gain, ji, 

As soon as he heard of this 

Raja Jaumeji rejoiced greatly. 

1495 Said the Raja to the Brahmans : 

" Hear me 

What Raja hath come 

Tell me his name." 

Said they, "The priests of thy grandfather (are we), 

1500 Kîli Singh and Bhure Singh came not, 

Nor Raja Basak, nor Nyogi the Ntlg 

But Siitak .and Patak and J§,do the Ambassador have 

come*." 

Hearing this the Raja gave orders to the messenger. 

And put a caldron of oil (on the fire). 

1505 Collecting large logs he boiled the oil. 

He called all the army (of the Nags) into the palace. 

When the army entered the palace, 

* It is not clear who Nyogi represents. The other names have been 

alluded to above.

: : 

! 

: ! ! 

PBINCESS NIWAI, DA}. 517 

Raja jande kunde lagave, ji. 

Do char Nagari ke sir tore, ji. 

1510 Tel ki karahi men ger de, ji. 

Nagan ke zahar cMse, ji. 

Jab sab tel men ger die, ji, 

Jado Vakil baqi ki fauj ko lekar bhag gaya, ji. 

Addhi keli ko lekar bhag gaya, ji. 

1615 Dhartmandal ko jake Kaja ko khabar di, ji. 

" Raja, tu ne sab faujan marwa di, ji 

Ab dhai kuli rah gai, ji." 

Bole Raja Janmeji, ji 

" Meri Mata, ji, 

1520 Pita ka badla nana se lia, ji 

Ab main Dhartmandal ko jaun^ ji 

The Raja bound them with chains and fetters. 

He broke the heads of three or four Nags. 

1510 He threw them into the caldron of oil. 

He sucked out the poison of the N%s. 

Then he put them all into the caldron. 

Jado the Ambassador ran off with the remains of the 

army. 

He escaped with half a family. 

1515 And going to Dhartmandal he told the news to the 

Raja (Basak). 

"Raja (Janmeji,)* thou hast destroyed all the families ! 

Only two and a half families have remained." 

Said Raja .Janmeji 

" my mother, 

1520 I have taken vengeance for my father 

Now will I go to Dhartmandal, 

* Sometliiiig is left out here apparently, for the scene abruptly 

changes in the midst of a conversation.

: :; 

: 

; 

: 

: 


Nana Basak ko marke iAh, ji." 

Boli Mata Niwal Dai, ji 

" Apne bachan samalo, jl 

1525 Jo tin bacMn likh die, ji/' 

Boli, " jaisa main kaMn waisa karo, ji. 

Nana apne ko na m§,ro, ji. 

Dhai kuli un ki rahi, ji 

Un ka nam na mitao, ji." 

1530 GLussa hoke Janmeji Dhartmandal ko ave, ji. 

Dekhe to Nana Basak soe, ji. 

Nani Padma Dai pankta jhole, ji. 

Raja Nana ko aliiste se thapar mare, ji. 

Raja Basak baitlia ho gaya, ji. 

1535 Dekhke Janmeji ko, ji, 

Jis ne sare Nag mare, ji 

" Teh to wahi 

" 

ghanim, hai, ji ! 

Bole Janmeji Raja se, ji 

And will kill my grandfather. Raja Basak, 

Said Queen Niwal Dai 

and return.' 

" Remember thy word : 

1525 The oath thou wrotest thrice." 

Said she, " Do as I tell thee. 

And slay not thy grandfather. 

He has but two and a half families remaining. 

Wipe not out his name (altogether)." 

1530 In wrath went Raja Janmeji to Dhartmandal. 

He found his grandfather Raja Basak sleeping 

And his grandmother Rani PadmEi Dai fanning him. 

The Raja slightly stroked his grandfather. 

And Raja Basak sat up. 

1535 He saw Raja Janmeji, 

Who had slain all the Nags. 

(Thought he) " " 

This is the very tyrant ! 

Said Raja Janmeji to the Raja (Basak) i

: 

: 

: 

: 

; 

: 

: 

PEINOESS NIWAL DAJ. 519 

" NanS, tujhe jan se na marAn, jl. 

1540 Jis ne mer^ pita ko mar&, ji. 

Us Nagko bats, de, ji." 

Darta darta Basak bat§.Te, ji 

"Gokal Nagari men, ji, 

'Ilm, Quran, potM parhe, ji. 

1 545 Us ka n&m Tatig tai, ji." 

Itni sunke chal para, ji, 

Gokal nagari men, ji. 

Gokal nagari ke rasta Eaja para, ji. 

Pandhe ki taksal* men ave, ji 

1550 Larkoh se piichlie, ji 

" Ik larks ko mujhe bata do, ji 

Dhartmandal se yehan £i 

Larke Eaja se bafclaven, ji. 

Tatig Nag ko batlaven, ji. 

gay a, ji." 

" Grandfather, I will not slay thee. 

1540 He who slew my father. 

Shew me that Nag." 

In his fear said Rajei. Basak 

" In Gokal City, 

He reads knowledge in the Quran and the books. 

1545 His name his Tatig." 

Hearing this (Raja Janmeji) went off 

To Gokal City. 

The Raja took the road to Gokal City 

He came to the pedagogue's school, 

1550 And asked the boys 

Show me the boy, 

Who came here from Dhartmandal." 

The boys showed him to the Raja. 

They showed Tatig the N%. 

* For

: 

: 

520 LEGENDS or THE PANJAB. 

1555 ESja ne us ki gardan pakari, ji. 

Paktirke le chala, ji. 

Easte men ae, ji, 

Tatig ne kaya palti, ji. 

Sadasibhji ko manave, ji : 

1560 Machhandar Nath ko manave, ji 

Gurii Gorakh ko manave, ji. 

Dharke kaya ko sidhare, ji. 

Nag ban gayaj ji. 

Dharke lave tha udari, ji. 

1565 Kajali ban men Gorakh pe pahunch gaya, ji. 

Raja sAt lag§,ve, ji. 

Eaja Guru pe akar ades lagave^ ji 

" A, bhaij ades ! kimrat Kajali ban men ae, ji. " 

1555 The Raja seized him by the throaty 

And carried him off. 

They went along the road, 

When Tatig changed his body. 

He adored the Eternal Siva. 

1560 He adored Machhandar Nath. 

He adored Guru Gorakh Nath. 


And became a Nag. 

He put on wings. 

1565 He arrived at the Kajali forest* to (Gurii) Gorakh 

(Mth). 

The Raja followed his tracks. 

The RajS. coming to the Gurii saluted him. 

"Friend, salutation ! How earnest thou to the Kajali 

forest " (said the Guru). 

* Said to be on the hanks of the Ganges in Garhwal : a memory of 

the Kajjalatirtha. ()

: 

: 

;: 

: 

PEINOBSS NIWAL DaI. 521 

" Gorakh, mera chor tera pas aya, ji 

1570 Mera chor ko de de, ji." 

Bolta Gorakh Maharajl, ji 

" Mere pas chor nahin ave, ji. 

Mere pas Rajaii ke bete pote aven, ji." 

Bolta R4ja Janmeji, ji 

1575 " Gurfl Gorakh, ji. 

Tin bachan Thakur ke de do, ji 

Tin bachan Gur

: 

: 

: 


1585 Nag bhagola ban gaya, jl. 

Chalke Sibhji pe ave, ji. 

Sumer Parbat meri ave, ji. 

Parbati se salam kare, ji 

Sibhji ades lagê, ji. 

1590 Zar-zar roe tha^ ji 

" Mujhe bipta parij ji. 

Guru, meri bipta ko kato, ji. 

EaJEi Janmeji ne mera pichha lia, ji. 

Saran pare ki lajja rakho, ji." 

1595 Bole Sibil MaMrdjJi: 

" Raja, tu ake tin bachan le le, ji.'' 

Jaise Sibhji Tatig se batan karen the, 

Raja Janmeji chalke ave, ji 

Batan karte ko dekh lia, ji. 

1585 He became a flying Nag. 

He went on to Siva. 

He came to Mount Meru. 

He made his salutation to Parbati, 

And saluted Siva. 

1590 He was weeping bitterly, (saying), 

" Sorrow has fallen on me. 

Guru, relieve my sorrow. 

Raja Janmeji is behind me. 

Preserve the honor of thy worshipper." 

1595 Said Siva the Maharaja,* 

" Raja,f (by) coming to me thou hast taken my oath 

thrice." 

Just as Siva was speaking to Tatig 

Raja Janmeji came up. 

He saw them talking together. 

* Observe how Siva is treated all tte way through as an ordiaary 

saint! 

t Addressing Tatig.

: : 

: 

: 

: 

1600 KutiyS, ke bar men §. gaya^ ji 

PRINCESS NIWAL DAL 623 

Kutiya ke pas ake ' alakh' man^ya, ji 

" Sadasibhji, terS kutiya meri, ji, 

Mera chor a bar^, ji." 

Sibhji bole, ji 

; 

1605 " Tera chor hamare bar nahin aya, ji. 

Chor apne ko duniya men dekh, ji." 

Bole Raja, " mera chor tera kutiya men, ji. 

Jo Brahman baitha, ji, 

Yeh hi mera chor hai, ji." 

1610 Bolta Sibh Maharaja, ji 

" Yeh Brahman hamare ghar ka hai, ji 

Tere chor nahin hai, ji." 

Bole Sibhji ko, " Maharaja, ji, 

Meri 'araz suno, ji 

1615 Jaisi main kahAn, ji. 

: 

: 

1600 He came up to the door of the hut.* 

Coming to the hut he called out ' alahh' : (and 

said) 

" Eternal Siva, into thy hut 

Hath entered my enemy." 

Said Siva 

1605 " Thy enemy came not into my doors. 

Go and look for the enemy in the world." 

Said the Raja, " My enemy came to the hut. 

The Br§.hman sitting (there) 

He is my enemy." 

1610 Said Siva the Maharaja: 

" This Brahman belongs to my house. 

He is not thy enemy." 

Said he to Siva, " Maharaja, 

Hear me 

1615 What I say. 

* Siva is usually represented as an ascetic.

; 

;: 

: 

: 

: 


Tin bachan Thakur ke do^ ji." 

" Tin bachan Thakur ke main nahih deta, ji ! 

", 

Bole Sibhji, ji 

Bolta Janmejij ji 

1620 " Is ko main bhagke na jane di\n, ji. 

Apne pita ka badala lAn, ji." 

Bole Sadasibhj ji 

" Teh bara siii^ma, ji. 

Is ki jan na m&re, ji. 

1625 Kisi waqt men tujhe kam de, ji." 

Bole, " main is se m3.r ganwa dun, ji.'' 

Bole Sibhji Mahi,raja, jl 

"Is Nag ki hatiya tiijh ko lage, ji." 

Bole Raja, " is ne mera pita mara, ji. 

1630 Main apne pita ka badala le luh, ji 

Sibhji ne us se age kar dia, ji." 

Give me thy oath thrice (in the name) of God." 

" I will not give thee my oath thrice (in the name) of 

God/' 

Said Siva. 

Said Janmeji, 

1620 " I will not let him escape. 

I will take vengeance for my father." 

Said the Eternal Siva 

" He is a great hero, 

Slay him not. 

1625 He will be of use to thee some day." 

Said he, " I will slay him." 

Said Siva, the Maharaja, 

" The vengeance of the Nag will be on thee." 

Said the Raja, " He slew my father. 

1 630 I will take vengeance for my father." 

Siva brought (the Nag) before him.

; 

; 

: 

: 

: 

; 

PEINCESS NIWAL DA. 525 

Banh as ke Raja pakare^ ji. 

Shahr Sapid^n ko l^ve, ji. 

Shahr Sapidan ko ê, ji. 

1635 Shahr SapidS,n ke gore ae, 

Apna riip ban&ve, ji 

Kaya dharke sidhari, ji. 

Uran ka Nag ho gaya^ ji. 

Dharke d^ri,* ji^ lagM, ji 

1640 Indarpuri men a gayS,, ji. 

Sri Thakur pe 'araz lagai, ji. 

" Nagon pe aisa paida kar dia, ji, 

Nagdri par pa dia dasot^j ji. 

He Prabhfl, yeh bipta kat do, ji ! 

" 

1645 Jaisa baten Sri Thakur se kare tha, ji, 

E^ja bhi chalke a gaya, ji. 

Hath jor dandaut kare, ji 

Dargah men bandagi bajave, ji 

And the Eaja seized him by the arm. 

He took him to Safidon City. 

He came to Safidon City. 

1635 He came to the suburbs of Safidon City. 

He (the Nag) took his own form : 

He changed his body. 

He became a flying Nag. 

He put on wings, 

1640 And came to Indarpuri.f 

He prayed to the Holy God 

" Thou hast created such (a being) for the Mgs, 

That a scourge hath come upon the Nags. 

Eemove this trouble, Lord 

" 

! 

1645 As he was praying to the Holy God, 

The Eaja also came up. 

With joined hands he saluted him 

He made his (humble) obeisance in the Court (of God), 

* Tor uddri. f i.e., Amrdvati, see line 362.

: 

: 

: " 


",Rabb Sache, Tere Dargah men, ji, 

1660 Mer^ chor luk gaya, ji. 

Mere chor ko bata de, ji, 

Mere Sri Th^kur, ji." 

Bolta Sri Thakurji, " Maharaja, ji, 

Is chor ko main na diiii, ji." 

1655 Bole Raj^ Janmeji, ji; 

"Tere Dargah men jalke marM, ji ! 

Bolta Thakurji, " Maharaja, ji. 

Turn suno jaisi main kahiiri, ji 

Eajei Janmeji, ji, 

1660 Tin bachan mujh ko de, ji 

Tere chor ko tujhe diin, ji." 

Raj§, ne tin bachan Thakur ko de de, ji. 

" Tatig ko to jan se na mariyo, ji ! 

" 

Us ke hath men hath pakara dia, ji : 

1665 Dhartmandal ki kari tayy^ri, ji. 

" True God, in thy Court, 

1650 Hath my enemy made him a sanctuary. 

Show me my enemy, 

piy Holy God." 

Said the Holy God, " Maharaja, 

1 will not give thee thy enemy." 

1655 Said Raja Janmeji 

" I will burn myself in thy Court 

!" 

Said the (Holy) God, " Maharaja, 

Hear what I say. 

Raja Janmeji, 

1 660 Give me thine oath thrice 

And I will give thee thy enemy." 

The Raja gave him his oath thrice (in the name) of God 

That he would not slay Tatig. 

He seized him by the hand, 

1665 And made ready for Dhartmandal.

: 

: : 

Sliahr Sapld&ii ko ave, ji. 

Chalke matilon ko Raja ave, ji. 

M§,ta ko jhuk-jhukke kare salam, ji 

" Mata, mere ik salam, do salam, ji 

PEINOESS NIWAL DAt. 627 

1 6 70 Bande kl SEit salam, ji 1" 

Boli Mata, " teri salam tujhe rajani, ji. 

Teri 'umar ho draz, ji." 

Sbalir meri khabaran Raja ki ho gai, ji 

" Jis Nag ne pit4 us ka kh& ja, ji, 

1675 Us Nag ko Raja pakarke laya, ji." 

Sara Shahr Eaja ke pas §,ve, ji. 

Jhuk-jhuk karen sal&m, ji, 

Tel ka karhawa charh§,ya, ji. 

Bhari bhari lakkar jalei, ji 

1680 Khadh-bndh karaha men tel pake, ji. 

Rdja Nag ko hath men pakare, ji 

Sri Kishn ka ntlm le, ji 

: 

. : 

He came to Safidon City. 

The Raja went on to the palace. 

He saluted his mother respectfully : (saying,) 

" Mother, one salute and two salutes, 

1670 Seven salutes from thy servant (son)." 

Said hia mother, " I return thy salute ; 

Be thy life long." 

The news of the Raja spread through the City, 

That the Nag who had slain his father, 

1675 The Raja had seized and brought. 

All the City came to the Raj&, 

And saluted respectfully. 

They put the oil caldron (on the fire) 

They lighted great logs, 

1 680 And the caldron began to boil. 

The R&ja seized the Nag by the hand. 

He took the name of the Holy Krishtia.

: : 

: : 

" 

528 LEGENDS or THE PAN.IAB, 

Us ke punch ko tel men daboe, ji. 

Dagh lagElkar chhor die> ji. 

1 685 Nag dharke darf Mve, ji 

Eaja Basak pe Dhartmandal men jave, ji. 

Ake Tatig Nag mama se kare salam. 

Piichhta, nlama se, ji 

" Kaun kaun Nag bache kaun kaun mare gae, ji 

1690 Bolta Basak Maharaja, ji 

" Dhai kuli bhagkar bachi, ji." 

Bole, " Mama, main to Sri Kishnji ke bachanon se 

bacha, ji." 

He plunged the (NS,g's) tail into the oil. 

Marking him (thus) he let him go. 

1685 The Nag put on wings. 

And went to Raja Basak in Dhartmandal. 

Tatig the Nag came and saluted his uncle. 

He asked his uncle 

"How many Nags escaped How many died" 

1690 Said the Maharaja Basak 

" Two and a half families ran away and escaped." 

Said (Tatig) " Uncle, T escaped by the mediation of the 

Holy Krishna."

No. XVII. 

THE GENEALOGIES OF LAL BEG, 

As RECORDED IN THE PRIVATE GrRMUKHf MSS., KEPT FOR 

THEIR OWN INFORMATION BY VARIOUS SCAVENGERS 

OF THE Ambala. and Karnal Districts. 

[L&l Beg, whose subsidiary names are LSI GurA, LAI KhSn, S&mali Beg, L4l 

Sh&b, MirSn Sh&h, Ldl-o-lal, and many another honorific title, is the 

tutelary saint of the scavenger castes of the Eastern Panjfib, and the 

pivot on which all their notions of religion turn. Owing to the state of 

complete ignorance in which the scavenger classes of India live, it is only 

with the utmost difficulty that anything can be elicited with certainty 

about him. The wildest and most contradictory stories as to his origin are 

told, bnt I have long been of opinion that the name should be Lfil Bhekh 

(hhikshu) or the Ked (saffron-clothed) Monk, and stories I have recently 

unearthed confirm this view : (See Panj&b Notes arial Queries, vol. I., 

1883-4). He is probably merely the personification of the priest of the 

scavengers, who is a " saffron-clothed monk," and all the legends about 

him emphatically point to this conclusion.] 

[Baimik, W41mlk, Bdlnlk, BMmlg, BSia Sh4h and NAri ShAh Bai4 are the 

variations of the name of a sacred personage in the scavengers' hagiology 

who occupies the place next to LAI Beg, and who is very frequently inextricably 

mixed up with him. He is without difficulty and beyond all doubt 

to be indentified with Valmiki, the low-caste author of the Sanskrit Bdmd- 

T/a»a.] 

[It is well known that the scavengers, or at any rate a large proportion of 

them in Northern India, are Ldlbegis or followers of LSI Beg, and that 

they have a religion of their own, neither Hindd nor Musalmfln, but with 

a priesthood and a ritual peculiar to itself. This religion may be best 

styled hagiolatry pure and simple, as it consists merely of a confused 

veneration for anything and everything its followers, or rather their 

teachers, may have found 

to be considered sacred by their neighbours, 

whatever be its origin. Thus we find in the PanjAb that in the religion 

of the scavenger castes the tenets of the Hindis, the Musalm4ns and 

the Sikhs are thrown together in the most hopeless confusion, and that 

the monotheism taught by the mediaeval reformers underlies all their 

superstitions.] 

[After repeated enquiries extending over several years all that I have been 

able, besides fragmentary tales related verbally, to obtaiu from tha 

67

: 

: 

: 

: 

: 

: 


scavengers up to date about their religion are the few TmrstndmAs, or 

shortly hwrsis, here given. The proper translation of the word lcursinS/m& 

is genealogy, and the scavengers do nsean their Teursfnd/mds to be genealogies 

of their great saints, but as a matter of fact they contain also their 

stories and their ritual, as much of them, at any rate, as they ever 

commit to paper. There is always some guril or spiritual guide, who lives 

at some town at a distance from the examinee, who has " the whola 

book," but I have never been able yet to unearth any such person.] 

I. 

TEXT. 

Kursinama Das Autdr BalniJc Ckiru Ldl Beg Ea. 

Balnik Sandokh Rikh ka : 

Sabad Rikh: 

Ansada 

Rikhi De 

Bikhi Dp 

Madadeo Sri Maharaj ke : 

Akal Purakh 

Andkande Markande ke. 

TRANSLATION. 

The Genealogy of the Ten Incarnations* of Balnik, the 

Guru of Ldl Beg. 

Balnik (was tlie son) of Sandokh Rikh: 

(The son of) Sabad Rikh: 

(The son of) Ansada : 

(The son of) Rikhi De : 

(The son of) Bikhi De 

(The son of) Mahadeo (the son) of the Holy Monarch 

(The son of) the Immortal Man 

(The son of) Andkanda (the son) of Markanda.f 

* In obvious imitation of tte ten incarnations of Vishnu. 

t There is hopeless confusion here. Santosha is Content personified 

as the son, of Dharma (Religious Law) and Tushti (/em. Contentment) 

in the classics. Shabd or sabad (Sansk. Sabda) is the dictum of a saint, 

more especially of one of the Gurfls in the Siih Religion, from whence 

it has in all probability been here borrowed and personified. AnsadS 

may possihly represent the Skr. amtiara, a demon. Rikhi De is

; 

: 

: 

! 

! 

II. 

TEXT. 

Kwslnama Pirdn da.* 

Awwal Pir Asa 

Dom Pir Khasa 

Som Pir Safa 

Charamf Pir Giljhapia. 

Jis din Miran Shah janamia, chaudah tabaq hoi rushnai 

Thapi mili Muhammadon 

Barhai mili Paighanibaron ! 

maqtuloii bang sunai. 

" Kholo bawan topi-chiraj" huran mangal gai 

THE GENEALOGIES OF LAL BEG. 631 

5 Hare k4 mal, jite ka pahilwaiij Sarjan ummat pai ! 

Sachche Shahe kala tikai 

10 Jhota jamia ban-khande men ; chhuta phira Dargah men 

Tale bage Jinda Dariyao, jithe pire ashnan lagai. 

Uchhe daliche satranjil,rij jithe pire mal pai. 

! 

! 

; 

Sone ki- tokri ! Eupe ka jharu ! 

15 KyS, kahti hai tokri kya kahtS. hai jharu '( 

Tokri kahti hai, " pak dar pak 

" 

! 

Eishabha the father of Bharata and well known in modem times as 

E/ikhab Der in tlie Hindi rescensions of the Bhdgavata Purdna. The 

Bikhi De which has been made to jingle with the preceding Eiihi De 

is probably merely the classical bhikshu, the Brahman in his fourth or 

mendicant stage. MahSdeo is of course Biva, and the name Sri Maharaj 

is very often applied to him as a title. Atal Pm-akh, or the Immortal 

Man, meaning God, is a central iigure in the Sikh Eeligion, and the 

hymn in his praise, the alcdl usiut, immediately follows the japji or 

chief prayer in Guri^ Govind Singh's Granth (Scripture) : the sect of 

Akalis are his especial followers : hence no doubt his presence here. 

Andkan.de I guess to be made to jingle with the more familiar Markande 

following : it may mean Siva in his character of Anda or Brahmanda, 

the egg principle of life. M^rkanda is the reputed author of 

the Mdrkan deya Purdn a, one of the most popular of the purdn as, because 

the most fiill of unalloyed folklore. The solely Hindfl character of 

this " genealogy" is to be remarked. 

* Clearly a text made up of fi agments of longer pieces. 

t For the Persian ordinals OMwal, doyam, soyam, chuhdram ; all in 

common use.

! 

: 

!: 

! 

) 

532 LEGENDS OF THE PANJIb, 

JharA kahti hai, " khak dar khak I" 

JMrA jharamian dil kar safa ! 

Le boria wa ke dere ko jae. 

20 Kas ki kanji kas ka tala 

Kaun hai kholnewala 

'Ishq ki kunji ! Prem ka taM ! 

Jibrail hai kkolnewSila 

Wahi ik hai 

II. 

TRANSLATION. 

' The Genealogy of the Saints. 

First (is) Pir Asa : 

Second (is) Pir Khasa 

Third (is) Pir Safa 

Fourth (is) Pir Giljhapra.* 

6 The warrior (in time of ) defeat, the hero (in time of 

victory, the Saviourf hath obtained a following. 

The True Lord hath arranged it 

When Miran ShahJ was born, the fourteen 

regions (of 

the world) were illuminated ! 

Muhammad patted him (on the back) ! 

The Prophets advanced him (to glory) ! 

10 The strong man§ was bom in the wilderness, and 

strayed into the Court (of God) and heard the 

call 

(to prayer) from the dead. 

"Open (your) turbans (ye) fifty-two (kinds of /ag'Jrs) ,"|| 

joyfully sang the angels ! 

* A confused allusion to Miihamniadan saints, &o. Asa is for 'tsa, 

i.e., Jesus Christ. KMs& is Khwaja Kbizar. Safa is for Safiu'Uah, 

tie usual title of Idris or Enooh (AklmOkli). Giljliapra is Lai Beg 

himself in allusion to the legend of his springing out of an earthen 

pot {gil). The Miihammadan tendency of the whole of this " genealogy" 

is very noteworthy. 

t Lai Beg. 

t Lai Beg. 

§ Lit., buffalo. 

fi 

I.e., pay respect. There are popularly fifty-two varieties of mendicants.

! 

! 

! 


Beneath him flowed the River of Life where bathed the 

saints. 

Above him (were spread) carpets and rugs, where the 

saints took their ease (swung themselves).* 

Golden basket ! silver broom ! 

15 What saith the basket what saith the broom 

Saith the basket ; " Clean and clean " 

! 

Saith the broom, " Dust and 

" 

dust ! 

20 

Sweeping with the broom clean the heart 

Take the bag to his house, 

Of what is the key of what is the lock 

Who is the opener 

Of love is the key ! of love is the lock ! 

Jibrailt is the opener ! 

He (Lai Beg) is the one ! 

III. 

TEXT. 

Kursindmd. 

Uth Mata Mainawanti sutie ! 

Babe Bfile lia aut^r 

Dhamak pari Paital men: chhuti gard ghobar ! 

Charian ai Kumba se, Khwaja ki pukar ! 

Kuhian, machh, chirhore, ud ud mange mas tandde 

5 Chher chhiri Ganesh ki Dera Ghazi Khan. 

Jotan jalen akas ud ude baithke jaga lie masan. 

Munh kajiMe s3,r ke kakki keli ke aswar. 

An khare Godhan tapashi Darb^r. 

Kunde san ke lagam die, ankan-sankan kan. 

10 An kharote Godhan tapashi band kharota hath. 

Chheran de agwan Abal mange, hun bal mange sandeh 

da. 

Dhian karahi churma aur bakre-sakre. 

13 WaWikl' 

* Describes what he saw in heaven. 

t The angel Gabriel : 

God's messenger in the Muhammadan religion.

Ganesa 

! 

! 

! 

. 

: 


TRASLATION* 

Genealogy 

Up, Mother Maiiiawantit sleeping ! Baba BalaJ hath 

put on the flesh 

A trembling hath come upon Patal : 

§ the dust (of his 

coming) ariseth! 

The standards are coming from Makka and the Khwaja|| 

is shouting 

Falcons, eagles, and birds of prey demand the flesh of 

milch auimals 

5 The army of , hath advanced to Dera Ghazi 

Khan.t 

The fires flame up to heaven and light up the pyre. 

Riding on a brown mare with curb of steel, 

Godhan** the ascetic standeth in the Court (of God). 

(In the mare's mouth) is a muzzle of rope and ornaments 

in its ears. 

10 Godhan the ascetic standeth with joined hands. 

The commander of the army asketh for might ; asketh 

for strength for his whole body. 

Dhiaiitt asketh fer sweets and offerings and goats and 

sheep 

13 He is the one. 

* This song is protably a mere fragment, or rather a collection of 

scattered and disjointed fragments, at any rate it is quite unintelligible 

as it stands. 

t Mainawanti ( Avanti or Ujjayini personified) is the mother of 

Gopt Ohand Bhartari (Bhartrihari) in the well-known legends regarding 

that author. 

X Baba Bala is B§,la Shah, i.e., Valmlki § Fatal is the land of the Serpents or Nagas: see legend of Niwal 

Dai, ante. 

Kumba was explained to mean Makka, but (P) should be Kunaba = 

11 

Madina, and Khwaja to mean BZhwaja Khizar. 

^ There is probably some terrible corruption here. 

** Godhan might be for Gordhan (Govardhana) often confused with 

Krishna, or it might be for Gautama = Buddha. But as Dera Ghazi 

Khai) is mentioned and also Kakki (the name of Sarwar's mare) perhaps 

Sakhi SaiTvar is meant. See legends about him, ante. 

ft Bibi Dhiani is often worshiped along with Lai Beg as his female 

relative. 

.

! 

! 

! 

! 

! 


IV. 

TEXT. 

Kurshidma. 

B'ism'illahi'r-Rahmani-r-Rahini ! 

Sir par dast Pir Murshid ka ! Sabit rahe yaqin ! 

Karm to Karima 

Ram* to RahimS. 

5 Neki to Nekahil ki 

Âzmat to 'Azazil ki 

Daur to Israfil ki 

Zamin ke daliclie : asman ke samete : simat siinat tu ! 

R^dshahat Muhammad ki^ ujm o barkat Deo ! 

1 Ap i'tqad ke malik ! Zikar sune the sare ! 

Khair to Allah Ta'ala ki, Nis-Ta'^ ki ! 

Daman Bibi Fatima ke ! 

Chhatar to Dilli kh : 

Taba' to Makke ka. 

15 Ajmer to Zinda Khwaja Maujdin ki, 

Hazrat Kati Katalmin manukh tan ke. 

Awwal aman ik Nastu : 

Dom aman do Nastu. 

Tiai'am aman ta Nastu. 

20 Charam aman lip Nastu. 

t 

Awwal Pir Asa. 

Dom Pir Hazrat Khwaja Khasa, 

Som Pir Safa. 

Charam Pir Dada Giljhapra. 

25 Pet ko roti ; tan ko kapra ! 

Neza to damauii !^ 

Sada sada bankra jaun 

* Tor raham. 

t For na'ss, a certain class of texts from the Quran.

! 

: 

:! 

! 


Pir merS, jami& : 

sab piran lar p§,ya. 

Jhag^ top} MM GaurjS. leke pahin^ya. 

30 Yeh mubarakl AlMli Nabbi ko ai. 

Wah! wah! Ji! mere Shah ki samali bel bahot si 

barhaJ 

Bale Shah Nfiri 

Saidar Sh^h Nflri 

abbu't-Ta'aia 'MM : 

35 Maulla Mushkil-kusha D^khdakh NAr}. 

Takht-bakht Rabbu'l-'Alamin Mrf. 

Bala Shah Nuri kis ke bete 

Amir Shah Nilri ke bete. 

Amir Shah NM kis ke bete 

40 Saidar Shah Mri ke bete. 

Saidar Shah Nfiri kis ke bete 

Habbu't-Ta'aia Mri ke bete. 

Habbu't-Ta'aia kis ke bete 

Maulla Mushkil-kusha Dakhdakh Nflri ke bete. 

45 Maulla Mushkil-kusha kis ke bete 

Takht-bakht Eabbu'l-'Alamin Nuri ke bete. 

Wah ! 

wah ! Ji ! Sat Jug men kyi bhana bart§,yS, 

Sone ka ghat. 

Sone ka mat. 

50 Sone ka ghora. 

Sone ka jora. 

Sone ki kunji : sone kS, tala : sone ke kiw^r. 

Dakhan munh mori: Uttar miinh diw^r. 

Lao kunji ; kholo kiwar : 

55 Le mere Sachche DMi Pir ke didar]! 

Shahanshah be-parwa 

WoM Ik Allah ! 

Tere Mm ka palla 

Th z^hir N&m Ik Allah ! 

60 Wah ! 

wah ! Ji ! Dw^par men kji bhslna bartay^

! 

! 

: 

THE GENEALOGIES OP LAL BEG. 537 

Chandi ka ghat. 

Chandi ka mat. 

Chandi ka ghora. 

Chandi ka jora. 

65 Chandi ki kunji : chandi ka tal4 : ch&ndi ke kiwar 

Uttar mAnh mori : Dakhan mAnh diwar. 


Le mere Saohche Dada Pir kadidar [ 

Shahanshah be-parwa J 

70 Wohi Ik Allah! 

Tere Nam ka palla 

Tft zahir Mm Ik Allah ! 

Kijo khairsala, 

Jumla fuqron ka 'ishq Allah I 

75 Wah ! wah ! Ji ! Trete Jug men kya bhana bartaya 

Tambe ka ghat. 

Tambe ka mat. 

Tambe ka ghora. 

Tambe ka jora 

80 Tambe ki kunji : timbe ka tala : tambe ke kiwar : 

Purab munh mori : Pachhan mukh diwar. 


Lo mere Sachche Dada Pir ke didar ! 

Shahanshah be-parwa 

85 Wohi Ik Allah ! 

Tere Nam ka palla ! 

Tu zahir Nam Ik Allah ! 

Wah ! wah 

! 

Mitti ka ghat. 

90 Mitti ka mat. 

Mitti ka ghora. 

Mitti ka jora. 

Ji ! Kal Jug men kya bhana bartaya 

Mitti ki kunji : mitti ka tala : mitti ke kiwar. 

Pachham munh mori : 

95 Lao kunji ; kholo kiwar : 

68 

Purab mimh diwar.

! 

! 

! 

!! 

:! 

: 


Lo mere Sachche Dada Pir ke didar 

Stahanshah be-parw^. 

WoMIkAmh! 


100 TA zHhir Mm Ik Allah ! 

Wah ! 

Mvkh. ! Ji ! Lal-o-lsil karenge nih^l 

Ghari ghari ke kateige kal 

Lai ghora. 

Lai jor&. 

105 Lai kalghi : lal nishan. 

Lai tambd ; lal pahilwan. 

Lal maidan. 

Sone ki tokri ; rupe ka jMrfl ; 

gal phiiloii ke har 

Ja khare bote Sachche Sahib ke Darbfir 

110 Kijiye chhutkara 

'All Sahib Paighambar Duldul sangara. 

Khabar hui Danon ko, kita dilkara. 

" Ya Pirji, mera bhi dil karta hai, jang men chalfingsl 

kar^ri." 

Chungi to niwala, 

115 Sarsabz rahe dumala ; 

'Arash pe kurush* men dhftni pa baithe Niiri Shah BalS,. 

'Arash se utara ghara wa piala. 

Hukm hua Samali Beg ko : pi gaya ; hHk matwal&. 

Siraria, tJgatia, sahna bida karna ik kinarS., 

1 20 Sai- ki chhari, Multain ki kuman, indal hasti, zard ambari 

Ai Dada Lal Beg Sachche Sat Gur Wali ki sawari. 

Ao Miyan Lal Khan Darbari ! 

Sattar do bahattar bala tumhare panje tale mari 

Chhaniinge dudh ka dudh, pani k& pani. 

* For hursi, heaven as the throne of God.

! 

! 

! 

! 

! 


125 Toslia wa kaMwa, bliet hai tumhari 

Kuchh kijo madad hainari 

Shah ke takht, Multan ke kuman, indal hasti, zard 

ambarf. 

Al Dada Lai Beg Sachche Sat Gur Wall ki sawari. 

Ao Miyan Lai Khan Darbarf ! 

130 Sarwar ki shahidi, Hazrat ka kalima pak : 

" La iMha ill'illaho, Muhammadi-r-EasMu']iaho." 

IV. 

TRANSLATION. 

Genealogy.* 

In the name of God, the Merciful, the Compassionate. 

The hand of the Priest, the Teacher, be on thy head : 

Be thy faith perfect 

Mercy (belongs to) the Merciful 

Compassion (to) .the Compassionate ! 

5 Goodness is Michael's ! 

Glory is "Azazil's ! 

The Message is Israfil's If 

The earth for thy carpet : the heavens for thy canopy : 

be thou under its protection ! 

J 

Empire is Muhammad's, by the will and blessing of God. 

10 Thou art (now) a master of the faith ! Thou hast heard 

the whole secret 

* This is really an initiatory rite into the sect of Lai Beg. Throughout 

it the priest is addressing his pupil. It is eminently a Musalman 

rite. 

f The text here is a confused jingle having a reference to the Musalman 

belief in the angels. Nekahil is for Mikftil, the Archangel 

Michael. Israfil is the Archangel who will sound the last trumpet. 

'Azazil is one of the evil spirits. 

J Samete, simat : the sense given is traditional : the words have 

otherwise no meaning here.

! 

: 


Welfare is God's the Most High, the Supreme F 

Seize the skirt of BibJ Fatima * ! 

Empire is Dilll's 

The law is Makk^'s. 

15 Ajmer (belongs to) the Immortal Khwajl Maujdin, 

The Holy Q^zi, Slayer of body and soul.f 

The first faith was the first Law. 

The second faith was the second Law, 

The third faith was the third Law. 

20 The fourth faith was the fourth Law J. 

First is Pir AsS. 

Second is the Holy Saint Khwaja Khasa. 

Third is Pir Saia. 

Fourth is the Holy Saint Giljhapra. 

25 May bread be to thy belly, clothing to thy body I 

I upraise (Lai Beg's) Standard ! 

I wish thee joy for ever and ever ! 

My saint was born : he was superior to all the saintis. 

Mother Gaurja brought and put on him his robe and 

cap.§ 

30 She hath come to congratulate the Prophet of God (!). 

Hail ! Hail ! Lord ! My Saint's family hath greatly 

increased 

* Seek her prote'ction. Ste was Mtiiammad's daughter. 

t Ktwaja Mauidin is Khwaja Mu'ainu'ddin OMsliti of Ajmer (see 

p. 205 ante), Maujdin being a corruption of Mu'izzu'ddin used by 

mistake. By Hazrat Kati Katalmin is meant the above by mistake 

for Muhammad ; Kati being for Qazi (compare our Cadi), and Katalmin 

being reference to Muhammad's title of 'Aliu'l-Qattal. The whole 

line has reference to the doctrine of jihdd or religious war against 

infidels (crescentade). 

X The reference here in a confused way is to the four sacred books of 

the Musahnans ; Taurdt, the Pentateuch ; Zah&r, the Psalms : Injil, 

the Gospels : the Qurdn. 

§ Gaurja, wife of Siva. The whole custom is Hindu be it noted.


Bale Shah, the Saint :* 

Saidar Shah, the Saint: 

The Beloved of the Most High, the Saint. 

35 The Lord, the Destroyer-of-difficulties, Dakhdakh, the 

Saint. 

(The Sitter on the) Blessed Throne, the Lord of the 

Two Worlds, the Saint. 

BaM Shah, the Saint : whose son is he 

The son of Amir Shah, the Saint. 

Amir SiAh the Saint : whose son is he 

40 The son of Saidar Shah, the Saint. 

Saidar Shah the Saint : whose son is he 

The son of the Beloved of the Most High, the Saint. 

The Beloved of the Most High, the Saint : whose son 

is he 

The son of the Lord, the Destroyer-of-difficulties, Dakhdakh, 

the Saint. 

45 The Lord, the Destroyer-of-difficulties, whose son is he 

The son of the (Sitter on the) Blessed Throne, the Lord 

of the Two Worlds, the Saiut.f 

Hail ! Hail ! Lord ! what were the rites in the Golden 

Aget 

Golden pitcher. 

Golden shrine. 

* Nuri of heaven, as opposite khdJci, " of the earth earthy." 

f The reciter of this genealogy can have no perception oFany real 

meaning in it. It is a mere string of familiar titles of sacred personages 

very much corrupted. Bala Shah is Valmiki. Saidar Shah is {) 

Haidar, that is, 'AU. Manila is universal in India as a synonym for 

God. MushkU-Kusha is a title of 'Ali. Dakhdakh unless it be for 

ddgh ddgh, celebrated, is unintelligible. Takht-bakht RabbuTAlamin 

is, they say, meant for Muhammad, but the latter is an universal title 

of God. 

J The reference in this and the succeeding passages is to the conventional 

four ages of the world in the Hindu cosmogony. The Krita 

Tuga or Golden Age : Treta Tuga or Silver Age : Dwapara Tuga or 

Brazen Age : Kali Tuga or Iron Age, the present one. It will be 

observed that the text has them'in the wrong order. It evidently relates 

the ritual of the scavenger classes.

! 

! 

: 

! 

! 


60 Golden horse. 

Golden clothes. 

Golden key : golden lock : golden door. 

Entrance* to the South : (back) wall to the North. 

Put in the key : open the door 

65 Behold my True Holy One, the Saint (LM Beg) ! 

King of kings and without care ! 

He is the One God ! 

In thy Name is refuge 

And Thy Name is openly the One God ! 

60 Hail I Hail ! Lord ! what were the rites in the Silver 

Age 

Silver pitcher. 

Silver shrine. 

Silver horse. 

Silver clothes. 

65 Silver key : silver lock : silver door. 

Entrance to the North : (back) wall to the South. 

Put in the key : open the door : 

Behold my True Holy One, the Saint (Lai Beg) 

King of kings and without care 

70 He is the One God 

In thy Name is refuge 

And thy Name is openly the One God ! 

Grant us welfare, 

God, the Beloved of all the Saints ! 

75 Hail ! Hail ! Lord ! what were the rites in the Brazen 

Age 

Brazen pitcher. 

Brazen shrine. 

Brazen horse. 

Brazen clothes. 

* Of the shrine.

: 

! 

THE GENEALOaiBS OF LAL BEG. 543 

80 Brazen key : brazen lock : brazen door. 

Entrance to the East : (back) wall to the West. 

Put in the key : open the door : 

Behold my True Holy One, the Saint (Lai Beg) ! 


85 He is the One God ! 

In Thy Name is refuge ! 

And Thy Name is openly the One God ! 

Hail ! Hail ! Lord ! what are the rites in the Black 

(Iron ) Age 

Earthen pitcher. 

90 Earthen shrine. 

Earthen horse. 

Earthen clothes. 

Earthen key ; earthen lock : earthen door. 

Entrance to the West ; 

96 Put in the key : open the door 

(back) wall to the East, 

Behold my True Holy One, the Saint (Lai Beg) ! 


He is the One God ! 

In Thy Name is refuge ! 

100 And Thy Name is openly the One God 

Hail ! Hail ! Lord ! He, the Enricher,* willbring liiee 

prosperity ! . 

Hour by hour will he subdue thy pain ! 

Red his horse. 

Red his clothes. 

105 Red his crest : red his standard. 

Red his tent : red his attendants. 

Red his abode. 

* Lai Beg.

! 

544 THE LEGENDS OP THE PANJAB. 

Golden his basket; silver his broom; garland of flowers 

about his neck. 

Goj stand in the Court of the True Lord ! 

110 Procure us release.* 

The Lord 'AH, the Prophet, adorned his horse Duldul.f 

The Jinns heard of it and gave him challenge : 

" Ho, Sir Saint, I too have a mind to make me ready 

for the fight. 

Eating at his ease, J 

115 Green§ (ever) remained his turban ; 

Niiri Shah Bala sat beside his sacred fire|| 

on his throne 

in heaven. 

From heaven descended a pitcher and a cup (to Lai 

Beg). 

Samali Lai Beg received the command : he drank and 

was drunken. 

Siraria, Ugatia,1f put aside our troubles afar. 

120 Staff of iron, bow of Multan, tuskless elephant, golden 

seat.** 

(Thus) came the cavalcade of True Perfect Teacher, the 

Lord, the Holy Lai Beg. 

Welcome thou Lord Lai Khan, thou Sitter in the Court 

(of God) 

* Probably something has been omitted here. 

t These lines no doubt relate to a fragment of some legend about 'Ali. 

Duldul was the name of his mule. Danon is for Jann, the first of the 

five orders of the genii in Muhammadan legend, generically known in 

India as Jinns. 

J Lit. by small mouthfuls. 

§ The orthodox colour for Musalman saints, and in India for men 

of learning and sanctity. 

^ Siraria is, the scavengers say, Bhairoii or Bhairava : see ante, 

legends about Sakhi Sarwar. Ugatia may be guessed to be Agastya, a 

central figure in many an Indian legend. 

** Multan bows and tuskless elephants are popularly the best of their 

kind. 

II 

DhUni is the sacred fire of the Hindu mendicants !

! 

! 

THE GENEALOGIES OF lAL BEG. 545 

The two and seventy and the seventy-two evils* are 

under thy hand. 

He will sift milk from milk and water from water.f 

125 The offerings and the huqqa are thy present ! J 

Give me somewhat of thy help ! 

Throne of kings, bow of Multan, tuskless elephant, 

golden seat. 

(Thus) came the cavalcade of the True Perfect Teacher, 

the Lord, the Holy LS,1 Beg. 

Welcome thou Lord Lai Khan, thou Sitter in the Court 

(of God) ! 

130 By the testimony of (Sakhi) Sarwar, (this) is the holy 

creed of the Saint : 

" There is no god but God, (and) Muhammad is the 

Prophet of God." 

V. 

TEXT. 

Kursi. 

Wohi ik Lal-o-lal karegi. nihal 

Ghari ghari ke kate kal ! 

Lai Beg Darbari sattar sai bala panje se mari 

Hare ke mal, jite ke pahilwan ; 

5 Jahan pare, mar wahan pare ! 

Lalkaro bolo, mominon ! 

§ 

Wohi Ik Allah ! 


* i.e., all evils. 

t Idiom for doing perfect justice. 

+ In allusion to the usual gifts given by the scavengers to their 

priests. 

§ For mumiiiin, the orthodox, the faithful Musalmans. 

69

' 

S46 

LEGENDS OP THE PANJAB. 

TRANSLATION. 

Genealogy. 

He, the one Enricher, will bring thee prosperity ! 

Hour by hour will he subdue thy pain ! 

Lai Beg, the Sitter in the Court (of God) hath destroyed 

by his hand the seventy hundred evils ! 

The warrior (in time of) defeat, the hero (in time of) 

victory ; 

5 Whereon he falleth there fall blows ! 

Shout challenge, 

He is the one God ! 

In Thy Name is refuge. 

ye faithful.

. 


BY 

CAPTAIN R. C. TEMPLE, 

BENGAL 

STAFJ. CORPS, 

FELLOW OK THIC ROl'VL GEOGRAPHICAL SOCIETY, MEMBEIt OF THE ROTAL ASIATIC, 

PHILOLOGICAj:-, AND FOLKLOKK SOCIETIES, THE ANTHEOPOLOGICAL INSTITUTE, 

THE ASIATIC SOCIETY OT BENGAL, ETC., 

CORRESPOXDIXG MEMBER OP THE NTJMISMAUP SOCIETY OF PHILADELPHIA, 

ASSOCIATE OF THE VXCTOEIA INSTITUTE, ETC. 

ITO- XIII. CTUXjIT 1884. 

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The legends of the Panjâb

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