Charitar 16
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The moral of stories in Charitropakhyan are based on Gurmat, Guru's wisdom. There is no historical significance of these stories. A Gurmukh will interpret, analyse and learn from the Gurmat issues and morals highlighted in these stories. No Manmat ideas are acceptable or should be linked to these stories. If you have any comments, please discuss them here |
Charitar 16, also called Tale of Chajjia, is a Charitar (tale of trickery) mentioned in Charitropakhyan, a Bani complied by Guru Gobind Singh. It is about a Manmati (self-centred) prostitute named Chajjia, who played a trick in an attempt to seduce a King. The King, however, was devoted to Dharam (path of righteousness) and held steadfast to his duty to stay on the path of Dharam.
The prostitute tried many avenues to get her way; stooping to the lowest limits of human behaviour. The King on the other refuses to bow to lowly behaviour and attempts to reason with her to get her to give up her attempt to convince him to lower his morals, however she does not accept his rejection and continues her attempt to corrupt his path.
She tries to trap the King by calling out "thief, thief....". The King then realises that he must think quickly to find a way out of the situation - otherwise he will indeed be trapped! Finally, he manages to escape from this prostitute by himself playing a trick on her to save his Dharam and stay dedicated to the path of righteousness.
Some people claim it to be event of Guru Gobind SIngh's life which is a fake claim which is explained further in this article.
Gurbani says:
| ਪਰ ਧਨ ਪਰ ਨਾਰੀ ਰਤ ਨਿੰਦਾ ਬਿਖ ਖਾਈ ਦਖ ਪਾਇਆ ॥ ਸਬਦ ਚੀਨਿ ਭੈ ਕਪਟ ਨ ਛੂਟੇ ਮਨਿ ਮਖਿ ਮਾਇਆ ਮਾਇਆ ॥ |
| Par ḝẖan par nĝrī raṯ ninḝĝ bikẖ kẖĝ▫ī ḝukẖ pĝ▫i▫ĝ. Sabaḝ cẖīn bẖai kapat na cẖẖūte man mukẖ mĝ▫i▫ĝ mĝ▫i▫ĝ. |
| Caught in slander and attachment to the wealth and women of others, they eat poison and suffer in pain. They think about the Shabad, but they are not released from their fear and fraud; the minds and mouths are filled with Maya, Maya. |
This is Dharma or religion. The King knew that he was faced with fraud and to save his religion he would have to do something - so his Triya (mind) plays a charitar (trick) on the prostitute.
Background of Charitropakhyan
Charitropakhyan is conversation between a wise adviser (minister or "manteree" ਮੰਤਰੀ s ) to Raja (king) Chitar Singh; each charitar or trick is mainly in connection with the wiles of women (plus a few connected with men) and other worldly tales of life, in order to save his handsome son Hanuvant from the false accusations of one of the younger ranis (queens). The minister tries to explain to the Raja that there can be trickery in human behaviour and that one needs to analyse the situation carefully before drawing any quick conclusions. Charitar means Function or behavior
Guru Gobind Singh has given these "opakhyan" (already told) stories to Khalsa, as a guide to upholding morality. The tales highlight Human psychology and behavior, by people driven by desires, lust, jealousy and/or greed, ignorance etc. and tell how these evil doers can utilize tricks or deception or charm or other activity to cover their tracks. The purpose of the stories is for us to learn about negative(Manmat) and positive(Gurmat) human behaviour by people who are driven by evil intent. One needs to tread carefully in life and understand the many negative traits exist in some evil doers. These Charitars includes Male and Female Charitars.
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The first part of Charitropakhyan is Chandi Charitar. This is the writing of Guru Gobind Singh describing the positive Charitars of Chandi (Vivek Budhi) and asking for blessing of Almighty before the rest of this bani is narrated. The second tale, Charitar 2 is the narration of the conversation between the The Wise Minister and Raja Chiter Singh. He has a long communication with his Minister on Charitropakhyan lasting for many days. The First charitar ends with ਇਤਿ ਸ੍ਰੀ ਚਰਿਤ੍ਰ ਪਖ੍ਯਾਨੇ ਚੰਡੀ ਚਰਿਤ੍ਰੇ ਪ੍ਰਥਮ ਧ੍ਯਾਇ ਸਮਾਪਤਮ ਸਤੁ ਸੁਭਮ ਸਤੁ ॥੧॥੪੮॥ਅਫਜੂੰ॥ (iti sree charitr pakhyaanay chandee charitray pratham thhyaai samaapatam (ends)- satu subham satu ॥1॥48॥afjoon॥) which means "Here Sri Charitr-pakhyan's Chandi Charitar the first citation ends - true good and true". All the other charitars end with ਇਤਿ ਸ੍ਰੀ ਚਰਿਤ੍ਰ ਪਖ੍ਯਾਨੇ ਤ੍ਰਿਯਾ ਚਰਿਤ੍ਰੇ ਮੰਤ੍ਰੀ ਭੂਪ ਸੰਬਾਦੇ ਦੁਤਿਯ ਚਰਿਤ੍ਰ ਸਮਾਪਤਮ ਸਤੁ ਸੁਭਮ ਸਤੁ ॥੨॥੭੮॥ਅਫਜੂੰ॥ (iti sree charitr pakhyaanay triyaa charitray mantree (minister) bhoop (king) sanbaathay (between) thutiy charitr samaapatam (ends) - satu subham satu ॥2॥78॥afjoon॥) which means "Here Sri Charitr-pakhyan's Triyaa Charitar between Minister and King duality trickery ends - true good and true" This itself shows that these Charitars from number 2 onwards were the discourse between King Chitra Singh and his minister. Charitar number 2 tells us how a foolish and quick decision which a person takes with their eyes closed, without analysing the situation and not going into the fact of reality; acting foolishly according to the words of their wives, girl-friends or other loved ones can lead to serious injustice and distortion of the truth. Guru Ram Das said such person is foolish - ਜੋਰਾ ਦਾ ਆਖਿਆ ਪੁਰਖ ਕਮਾਵਦੇ ਸੇ ਅਪਵਿਤ ਅਮੇਧ ਖਲਾ ॥ ਕਾਮਿ ਵਿਆਪੇ ਕੁਸੁਧ ਨਰ ਸੇ ਜੋਰਾ ਪੁਛਿ ਚਲਾ ॥ Jorā ḏā ākẖi▫ā purakẖ kamāvḏe se apviṯ ameḏẖ kẖalā.Kām vi▫āpe kusuḏẖ nar se jorā pucẖẖ cẖalā. Men who dance to the orders of overbearing women are impure, filthy and foolish. Enslaved by lust, these impure men walk according to their women's wishes. |
Overview of Charitar
Charitar 16 is about a King who live on the banks of Satluj and a beautiful prostitute named Chajjia (known to the King as Ladhia or "Lovely"). Motivated by money and attracted to the King she wanted to trap him; but the King showed no interest in her. She used all her charms and magic too, to get the King's attention but he was unimpressed with her attempts.
She then disguised herself as an ascetic or Jogi or Yogi; the King being religiously minded became happy; he thought that he should learn some charms - mantras, exercises and postures from this Jogi. So the King sent his adviser to this Jogi. The Jogi (Chajjia) asked the adviser to send the King to his (her) apartment after midnight and said that "..... with the blessings of Gorakh Nath, he would not return home disappointed".
The King reached (the Yogi's) place at the appointed time; the Ascetic (chajjia) sent instruction, through the King's advisor, for the King to send everyone away and to bring festival lights, flowers and the best wine before he would starts his teaching session. When they were alone, he told the king that he would start with a miracle and then teach him some magical yoga charms. First, he said, he would change himself into a woman and then back into a man. "Then becoming a man again, I will teach you charms and, then turning into a woman I will indulge in sexual play with you." The King was interested in learning the charms, but he told the Jogi that he was not interested in any "indulgence in sexual play"..
Angered, Chajiya showed her real face and demanded sex. She said that one should fulfil sexual needs of any lady if she demands it else one will go to hell. She threatened to call out to her neighbors, if the King did not do as she asked. She tried her best to convince the King, but the King said that he is in favour of Dharma (path of righteousness) and that he would not discard this path.
She then raised her voice to call out to her neighbours, to stall for a moment the king pretended to be considering her proposal, so that she would send her neighbours back. The King then realised that he needed to think quickly to get out of this situation.
Then the King played a trick to save his dharma; he said to the woman to bring marijuana, cannabis, opium and wine so that we can get in the right mood and then we can enjoy each other for the whole night. At this, she became happy.
The excited woman brought all the intoxicants and prepared everything; the King start giving the wine to Ladhiya and even began to praise her; he gave her many cups of wine and showered extraordinary affection on her; it wasn't long before Ladhiya passed out under the influence of the wine. The King then left her and returned safely to his home.
The underlying message is same as of charitar 21,22,23.
Charitar
Part 1
| ਤੀਰ ਸਤਦਰਵ ਕੇ ਹਤੋ ਰਹਤ ਰਾਇ ਸਖ ਪਾਇ ॥ ਦਰਬ ਹੇਤ ਤਿਹ ਠੌਰ ਹੀ ਰਾਮਜਨੀ ਇਕ ਆਇ ॥੧॥
ਅੜਿਲ ॥ ਛਜਿਯਾ ਜਾ ਕੋ ਨਾਮ ਸਕਲ ਜਗ ਜਾਨਈ ॥ ਲਧੀਆ ਵਾ ਕੀ ਨਾਮ ਹਿਤੂ ਪਹਿਚਾਨਈ ॥ ਜੋ ਕੋਊ ਪਰਖ ਬਿਲੋਕਤ ਤਿਨ ਕੋ ਆਇ ਕੈ ॥ ਹੋ ਮਨ ਬਚ ਕਰਮ ਕਰਿ ਰਹਿਤ ਹਰਿਦੈ ਸਖ ਪਾਇ ਕੈ ॥੨॥ ਦੋਹਰਾ ॥ ਨਿਰਖਿ ਰਾਇ ਸੌ ਬਸਿ ਭਈ ਤਿਸ ਬਸਿ ਹੋਤ ਨ ਸੋਇ ॥ ਤਿਨ ਚਿਤ ਮੈ ਚਿੰਤਾ ਕਰੀ ਕਿਹ ਬਿਧਿ ਮਿਲਬੌ ਹੋਇ ॥੩॥ ਯਹ ਮੋ ਪਰ ਰੀਝਤ ਨਹੀ ਕਹ ਕਸ ਕਰੋ ਉਪਾਇ ॥ ਮੋਰੇ ਸਦਨ ਨ ਆਵਈ ਮਹਿ ਨਹਿ ਲੇਤ ਬਲਾਇ ॥੪॥ ਤਰਤ ਤਵਨ ਕੋ ਕੀਜਿਯੈ ਕਿਹ ਬਿਧਿ ਮਿਲਨ ਉਪਾਇ ॥ ਜੰਤਰ ਮੰਤਰ ਚੇਟਕ ਚਰਿਤਰ ਕੀਝ ਜ ਬਸਿ ਹਵੈ ਜਾਇ ॥੫॥ ਜੰਤਰ ਮੰਤਰ ਰਹੀ ਹਾਰਿ ਕਰਿ ਰਾਇ ਮਿਲਯੋ ਨਹਿ ਆਇ ॥ ਝਕ ਚਰਿਤਰ ਤਬ ਤਿਨ ਕਿਯੋ ਬਸਿ ਕਰਬੇ ਕੇ ਭਾਇ ॥੬॥ ਬਸਤਰ ਸਭੈ ਭਗਵੇ ਕਰੇ ਧਰਿ ਜਗਿਯਾ ਕੋ ਭੇਸ ॥ ਸਭਾ ਮਧਯ ਤਿਹ ਰਾਇ ਕੌ ਕੀਨੋ ਆਨਿ ਅਦੇਸ ॥੭॥ ਅੜਿਲ ॥ ਤਿਹ ਜਗਿਯਹਿ ਲਖਿ ਰਾਇ ਰੀਝਿ ਚਿਤ ਮੈ ਰਹਿਯੋ ॥ ਜਾ ਤੇ ਕਛ ਸੰਗਰਹੌ ਮੰਤਰ ਮਨ ਮੋ ਚਹਿਯੋ ॥ ਤਿਹ ਗਰਿਹਿ ਦਿਯੋ ਪਠਾਇਕ ਦੂਤ ਬਲਾਇ ਕੈ ॥ ਹੋ ਕਲਾ ਸਿਖਨ ਕੇ ਹੇਤ ਮੰਤਰ ਸਮਝਾਇ ਕੈ ॥੮॥ ਚੌਪਈ ॥ ਚਲਿ ਸੇਵਕ ਜਗਿਯਾ ਪਹਿ ਆਵਾ ॥ ਰਾਇ ਕਹਿਯੋ ਸੋ ਤਾਹਿ ਜਤਾਵਾ ॥ ਕਛੂ ਮੰਤਰ ਮਰ ਈਸਹਿ ਦੀਜੈ ॥ ਕਰਿਪਾ ਜਾਨਿ ਕਾਰਜ ਪਰਭ ਕੀਜੈ ॥੯॥ ਦੋਹਰਾ ॥ ਪਹਰ ਝਕ ਲੌ ਛੋਰਿ ਦਰਿਗ ਕਹੀ ਜੋਗ ਯਹਿ ਬਾਤ ॥ ਲੈ ਆਵਹ ਰਾਜਹਿ ਇਹਾ ਜੌ ਗਨ ਸਿਖਯੋ ਚਹਾਤ ॥੧੦॥ ਅਰਧ ਰਾਤ ਬੀਤੈ ਜਬੈ ਆਵੈ ਹਮਰੇ ਪਾਸ ॥ ਸਰੀ ਗੋਰਖ ਕੀ ਮਯਾ ਤੇ ਜੈਹੈ ਨਹੀ ਨਿਰਾਸ ॥੧੧॥ |
| Dohira There lived a Raja at the banks of river Satluj. Enticed by the lure of his wealth, a prostitute came over.(1) Arril She was called Chhajia and, to her rich patrons, she was known by the name of Ladhia. Any body who saw her felt a seductive sensation through her beauty.(2) Dohira She fell in love with that Raja but the Raja did not get into her trap. She commenced on her designs how to meet him.(3) Arril The Raja was contented to see an ascetic and thought he could learn a few charms from her. The Raja sent one of his attendants to learn some magical faculties.(8) Chaupaee The attendant walked over to her house and conveyed her the Raja’s intention. ‘Please do me a favour and enable me learn some charms.’(9) Dohira The Jogan opened her eyes after a period of three hours and said, ‘If you want to learn the charms then bring the Raja here.(10) |
Part 2
| ਚੌਪਈ ॥ ਸੇਵਕ ਤਾ ਸੋ ਜਾਇ ਸਨਾਯੋ ॥ ਅਰਧ ਰਾਤਰ ਬੀਤੇ ਸ ਜਗਾਯੋ ॥ ਤਾ ਜਗਿਯਾ ਕੇ ਗਰਿਹ ਲੈ ਆਯੋ ॥ ਹੇਰਿ ਰਾਇ ਤਰਿਯ ਅਤਿ ਸਖ ਪਾਯੋ ॥੧੨॥
ਦੋਹਰਾ ॥ ਰਾਜਾ ਸੋ ਆਇਸ ਕਹੀ ਦੀਜੈ ਲੋਗ ਉਠਾਹਿ ॥ ਧੂਪ ਦੀਪ ਅਛਤ ਪਹਪ ਆਛੋ ਸਰਾ ਮੰਗਾਇ ॥੧੩॥ ਤਬ ਰਾਜੈ ਤੈਸੋ ਕੀਆ ਲੋਗਨ ਦਿਯਾ ਉਠਾਇ ॥ ਧੂਪ ਦੀਪ ਅਛਤ ਪਹਪ ਆਛੋ ਸਰਾ ਮੰਗਾਇ ॥੧੪॥ ਤਬ ਰਾਜੇ ਅਪਨੇ ਸਭਨ ਲੋਗਨ ਦਿਯਾ ਉਠਾਇ ॥ ਆਪ ਇਕੇਲੋ ਹੀ ਰਹਿਯੋ ਮੰਤਰ ਹੇਤ ਸਖ ਪਾਇ ॥੧੫॥ ਚੌਪਈ ॥ ਰਹਿਯੋ ਇਕੇਲੋ ਰਾਇ ਨਿਹਾਰਿਯੋ ॥ ਤਬ ਜੋਗੀ ਇਹ ਭਾਤਿ ਉਚਾਰਿਯੋ ॥ ਚਮਤਕਾਰ ਇਕ ਤੌਹਿ ਦਿਖੈਹੌ ॥ ਤਿਹ ਪਾਛੈ ਤਹਿ ਮੰਤਰ ਸਿਖੈਹੌ ॥੧੬॥ ਦੋਹਰਾ ॥ ਹੋਤ ਪਰਖ ਤੇ ਮੈ ਤਰਿਯਾ ਤਰਿਯ ਤੇ ਨਰ ਹਵੈ ਜਾਉ ॥ ਨਰ ਹਵੈ ਸਿਖਵੌ ਮੰਤਰ ਤਹਿ ਤਰਿਯ ਹਵੈ ਭੋਗ ਕਮਾਉ ॥੧੭॥ ਰਾਇ ਬਾਚ ॥ ਪਰਖ ਮੰਤਰ ਦਾਇਕ ਪਿਤਾ ਮੰਤਰ ਦਾਇਕ ਤਰਿਯ ਮਾਤ ॥ ਤਿਨ ਕੀ ਸੇਵਾ ਕੀਜਿਯੈ ਭੋਗਨ ਕੀ ਨ ਜਾਤ ॥੧੮॥ ਅੜਿਲ ॥ ਬਹ ਬਰਿਸਨ ਲਗਿ ਜਾਨਿ ਸੇਵ ਗਰ ਕੀਜਿਯੈ ॥ ਜਤਨ ਕੋਟਿ ਕਰਿ ਬਹਰਿ ਸ ਮੰਤਰਹਿ ਲੀਜਿਯੈ ॥ ਜਾਹਿ ਅਰਥ ਕੇ ਹੇਤ ਸੀਸ ਨਿਹਰਾਇਯੈ ॥ ਹੋ ਕਹੋ ਚਤਰਿ ਤਾ ਸੌ ਕਯੋ ਕੇਲ ਮਚਾਇਯੈ ॥੧੯॥ ਚੌਪਈ ॥ ਤਬ ਜੋਗੀ ਇਹ ਭਾਤਿ ਸਨਾਯੋ ॥ ਤਵ ਭੇਟਨ ਹਿਤ ਭੇਖ ਬਨਾਯੋ ॥ ਅਬ ਮੇਰੇ ਸੰਗ ਭੋਗ ਕਮੈਯੈ ॥ ਆਨ ਪਿਯਾ ਸਭ ਸੇਜ ਸਹੈਯੈ ॥੨੦॥ |
| Chaupaee The attendant conveyed to the Raja by waking him up at Past-midnight and brought him to the Jogan. At the sight of the Raja she sighed with relief.(12) Dohira She told the Raja to send all the courtesans away and fetch the festival lights, flowers and vintage wines.(14) Chaupaee The Raja remained alone with her and she said, ‘To begin with I will show you a miracle and, thereafter, the magical charms will be taught to you.(16) Dohira ‘I will convert a man into a woman and a woman into a man. ‘Becoming a man I will teach you charms and, then turning into a woman I will indulge in sexual play with you.’(17) Said the Raja ‘The man who confers the charms is the father and a woman the mother.' ‘One should provide them service instead of involving in sexual plays.'(18) Arril ‘By rendering service and bowing head in obeisance to the Guru for a long time, with great efforts, the charms are learnt. ‘You bow your head before him and to learn you perform playful actions.’(l9) Chaupaee Thereafter ascetic added, ‘To meet you I have disguised myself like this. ‘Now you bedeck my bed and enjoy sex with me.(20) |
Part 3
| ਦੋਹਰਾ ॥ ਤਨ ਤਰਫਤ ਤਵ ਮਿਲਨ ਕੌ ਬਿਰਹ ਬਿਕਲ ਭਯੋ ਅੰਗ ॥ ਸੇਜ ਸਹੈਯੈ ਆਨ ਪਿਯ ਆਜ ਰਮੋ ਮਹਿ ਸੰਗ ॥੨੧॥ ਭਜੇ ਬਧੈਹੌ ਚੋਰ ਕਹਿ ਤਜੇ ਦਿਵੈਹੌ ਗਾਰਿ ॥ ਨਾਤਰ ਸੰਕ ਬਿਸਾਰਿ ਕਰਿ ਮੋਸੌ ਕਰਹ ਬਿਹਾਰ ॥੨੨॥ ਕਾਮਾਤਰ ਹਵੈ ਜੋ ਤਰਨਿ ਆਵਤ ਪਿਯ ਕੇ ਪਾਸ ॥ ਮਹਾ ਨਰਕ ਸੋ ਡਾਰਿਯਤ ਦੈ ਜੋ ਜਾਨ ਨਿਰਾਸ ॥੨੩॥ ਤਨ ਅਨੰਗ ਜਾ ਕੇ ਜਗੈ ਤਾਹਿ ਨ ਦੈ ਰਤਿ ਦਾਨ ॥ ਤਵਨ ਪਰਖ ਕੋ ਡਾਰਿਯਤ ਜਹਾ ਨਰਕ ਕੀ ਖਾਨਿ ॥੨੪॥
ਅੜਿਲ ॥ ਰਾਮਜਨੀ ਗਰਿਹ ਜਨਮ ਬਿਧਾਤੈ ਮਹਿ ਦਿਯਾ ॥ ਤਵ ਮਿਲਬੇ ਹਿਤ ਭੇਖ ਜੋਗ ਕੋ ਮੈ ਲਿਯਾ ॥ ਤਰਤ ਸੇਜ ਹਮਰੀ ਅਬ ਆਨਿ ਸਹਾਇਯੈ ॥ ਹੋ ਹਵੈ ਦਾਸੀ ਤਵ ਰਹੋ ਨ ਮਹਿ ਤਰਸਾਇਯੈ ॥੨੫॥ ਦੋਹਰਾ ॥ ਕਹਾ ਭਯੋ ਸਘਰੇ ਭਝ ਕਰਤ ਜਬਨ ਕੋ ਮਾਨ ॥ ਬਿਰਹ ਬਾਨ ਮੋ ਕੋ ਲਗੇ ਬਰਿਥਾ ਨ ਦੀਜੈ ਜਾਨ ॥੨੬॥ ਅੜਿਲ ॥ ਬਰਿਥਾ ਨ ਦੀਜੈ ਜਾਨ ਮੈਨ ਬਸਿ ਮੈ ਭਈ ॥ ਬਿਰਹਿ ਸਮੰਦ ਕੇ ਬੀਚ ਬੂਡਿ ਸਿਰ ਲੌ ਗਈ ॥ ਭੋਗ ਕਰੇ ਬਿਨ ਮੋਹਿ ਜਾਨ ਨਹੀ ਦੀਜਿਯੈ ॥ ਹੋ ਘਨਵਾਰੀ ਨਿਸ ਹੇਰਿ ਗਮਾਨ ਨ ਕੀਜਿਯੈ ॥੨੭॥ ਦਿਸਨ ਦਿਸਨ ਕੇ ਲੋਗ ਤਿਹਾਰੇ ਆਵਹੀ ॥ ਮਨ ਬਾਛਤ ਜੋ ਬਾਤ ਉਹੈ ਬਰ ਪਾਵਹੀ ॥ ਕਵਨ ਅਵਗਯਾ ਮੋਰਿ ਨ ਤਮ ਕਹ ਪਾਇਯੈ ॥ ਹੋ ਦਾਸਨ ਦਾਸੀ ਹਵੈ ਹੌ ਸੇਜ ਸਹਾਇਯੈ ॥੨੮॥ ਮੰਤਰ ਸਿਖਨ ਹਿਤ ਧਾਮ ਤਿਹਾਰੇ ਆਇਯੋ ॥ ਤਮ ਆਗੈ ਝਸੇ ਇਹ ਚਰਿਤ ਬਨਾਇਯੋ ॥ ਮੈ ਨ ਤਹਾਰੇ ਸੰਗ ਭੋਗ ਕਯੋ ਹੂੰ ਕਰੋ ॥ ਹੋ ਧਰਮ ਛੂਟਨ ਕੇ ਹੇਤ ਅਧਿਕ ਮਨ ਮੈ ਡਰੋ ॥੨੯॥ ਚੌਪਈ ॥ ਰਾਮਜਨੀ ਬਹ ਚਰਿਤਰ ਬਨਾਝ ॥ ਹਾਇ ਭਾਇ ਬਹ ਭਾਤਿ ਦਿਖਾਝ ॥ ਜੰਤਰ ਮੰਤਰ ਤੰਤਰੋ ਅਤਿ ਕਰੇ ॥ ਕੈਸੇ ਹੂੰ ਰਾਇ ਨ ਕਰ ਮੈ ਧਰੇ ॥੩੦॥ |
| Dohira ‘My mind has been craving to meet you and every limb of my body is getting impassioned. ‘O my love! Come to my ravishing bed and enthral me with your company.(21) ‘But if you attempt to run away, I will get you caught by shouting “thief” and abuse you as well. ‘Therefore, my love! Forget all the apprehensions and indulge with me in fornication.(22) Arril ‘God gave me birth into the house of a prostitute and I disguised myself into an ascetic to meet you. ‘Now you be quick and adorn my bed. I am your maid, please don’t torment me.(25) Dohira ‘What if you are astute? You must not be proud of your youth. ‘I am afflicted with the arrow of separation, don’t let it dissipate.(26) Arril ‘Don’t lose this opportunity; I am in the grip (of Cupid) and drowning in the sea of passion up to the brim. ‘Don’t let me drown into the dense and dark cloudy night without sexual fulfilment.(27) Chaupaee The concubine implied numerous ploys, performed various blandishments, and executed several magical charms, But she could not win the favour of the Raja.(30) |
Part 4
| ਅੜਿਲ ॥ ਚੋਰ ਚੋਰ ਕਹਿ ਉਠੀ ਸ ਆਗਨ ਜਾਇ ਕੈ ॥ ਤਰਾਸ ਦਿਖਾਯੋ ਤਾਹਿ ਮਿਲਨ ਹਿਤ ਰਾਇ ਕੈ ॥ ਬਹਰਿ ਕਹੀ ਤਰਿਯ ਆਇ ਬਾਤ ਸਨ ਲੀਜਿਯੈ ॥ ਹੋ ਅਬੈ ਬਧੈਹੌ ਤੋਹਿ ਕਿ ਮੋਹਿ ਭਜੀਜਿਯੈ ॥੩੧॥ ਚੋਰ ਬਚਨ ਸਨਿ ਲੋਗ ਪਹੰਚੇ ਆਇ ਕੈ ॥ ਤਿਨ ਪਰਤਿ ਕਹਿਯੋ ਕਿ ਸੋਤ ਉਠੀ ਬਰਰਾਇ ਕੈ ॥ ਗਝ ਧਾਮ ਤੇ ਕਹਿਯੋ ਮਿਤਰ ਕੌ ਕਰ ਪਕਰਿ ॥ ਹੋ ਅਬੈ ਬਧੈਹੌ ਤੋਹਿ ਕਿ ਮੋ ਸੌ ਭੋਗ ਕਰਿ ॥੩੨॥
ਦੋਹਰਾ ॥ ਤਬੈ ਰਾਇ ਚਿਤ ਕੇ ਬਿਖੈ ਝਸੇ ਕਿਯਾ ਬਿਚਾਰ ॥ ਚਰਿਤ ਖੇਲਿ ਕਛ ਨਿਕਸਿਯੈ ਇਹੇ ਮੰਤਰ ਕਾ ਸਾਰ ॥੩੩॥ ਭਜੌ ਤੌ ਇਜਤ ਜਾਤ ਹੈ ਭੋਗ ਕਿਯੋ ਧਰਮ ਜਾਇ ॥ ਕਠਿਨ ਬਨੀ ਦਹੂੰ ਬਾਤ ਤਿਹ ਕਰਤਾ ਕਰੈ ਸਹਾਇ ॥੩੪॥ ਪੂਤ ਹੋਇ ਤੌ ਭਾਂਡ ਵਹ ਸਤਾ ਤੌ ਬੇਸਯਾ ਹੋਇ ॥ ਭੋਗ ਕਰੇ ਭਾਜਤ ਧਰਮ ਭਜੇ ਬੰਧਾਵਤ ਸੋਇ ॥੩੫॥ ਚੌਪਈ ॥ ਕਹਿਯੋ ਸਨਹ ਤਮ ਬਾਤ ਪਿਆਰੀ ॥ ਦੇਖਤ ਥੋ ਮੈ ਪਰੀਤਿ ਤਿਹਾਰੀ ॥ ਤਮ ਸੀ ਤਰਿਯਾ ਹਾਥ ਜੋ ਪਰੈ ॥ ਬਡੋ ਮੂੜ ਜੋ ਤਾਹਿ ਪਰਹਰੈ ॥੩੬॥ ਦੋਹਰਾ ॥ ਰੂਪਵੰਤ ਤੋ ਸੀ ਤਰਿਯਾ ਪਰੈ ਜ ਕਰ ਮੈ ਆਇ ॥ ਤਾਹਿ ਤਯਾਗ ਮਨ ਮੈ ਕਰੈ ਤਾ ਕੋ ਜਨਮ ਲਜਾਇ ॥੩੭॥ ਪੋਸਤ ਭਾਗ ਅਫੀਮ ਬਹਤ ਲੀਜੈ ਤਰਤ ਮੰਗਾਇ ॥ ਨਿਜ ਕਰ ਮੋਹਿ ਪਿਵਾਇਯੈ ਹਰਿਦੈ ਹਰਖ ਉਪਜਾਇ ॥੩੮॥ ਤਮ ਮਦਰਾ ਪੀਵਹ ਘਨੋ ਹਮੈ ਪਿਵਾਵਹ ਭੰਗ ॥ ਚਾਰਿ ਪਹਰ ਕੌ ਮਾਨਿਹੌ ਭੋਗਿ ਤਿਹਾਰੇ ਸੰਗ ॥੩੯॥ ਚੌਪਈ ॥ ਫੂਲਿ ਗਈ ਸਨ ਬਾਤ ਅਯਾਨੀ ॥ ਭੇਦ ਅਭੇਦ ਕੀ ਬਾਤ ਨ ਜਾਨੀ ॥ ਅਧਿਕ ਹਰਿਦੇ ਮੈ ਸਖ ਉਪਜਾਯੋ ॥ ਅਮਲ ਕਹਿਯੋ ਸੋ ਤਰਤ ਮੰਗਾਯੋ ॥੪੦॥ |
| Arril Then she jumped out to the courtyard and shouted, ‘thief, thief,’ To frighten the Raja. As he refused to have sex with her, she wanted to entrap him.(31) People, hearing the call of ‘thief’, came running. But she told them that she was shouting in her dream. When they had gone away, holding Raja’s arm she said, ‘Either you have sex with me or I will get you trammelled.’(32) Dohira Then the Raja contemplated, ‘It will be wise for me to play some trick to get out of this place.(33) Chaupaee ‘O my love! Listen to me. One’s birth is worthless if, after coming across a pretty woman like you, (36) Chaupaee Hearing this, that mindless was overwhelmed, and did not comprehend the real motive. Being too happy, she arranged all the intoxicants which were asked for.(40) |
Part 5
| ਦੋਹਰਾ ॥ ਪੋਸਤ ਭਾਂਗ ਅਫੀਮ ਬਹ ਗਹਿਰੀ ਭਾਂਗ ਘਟਾਇ ॥ ਤਰਤ ਤਰਨਿ ਲਯਾਵਤ ਭਈ ਮਦ ਸਤ ਬਾਰ ਚਆਇ ॥੪੧॥
ਅੜਿਲ ॥ ਰਾਇ ਤਬੈ ਚਿਤ ਭੀਤਰ ਕਿਯਾ ਬਿਚਾਰ ਹੈ ॥ ਯਾਹਿ ਨ ਭਜਿਹੌ ਆਜ ਮੰਤਰ ਕਾ ਸਾਰ ਹੈ ॥ ਅਧਿਕ ਮਤ ਕਰਿ ਯਾਹਿ ਖਾਟ ਪਰ ਡਾਰਿ ਕੈ ॥ ਹੋ ਸਾਠਿ ਮਹਰ ਦੈ ਭਜਿਹੋ ਧਰਮ ਸੰਭਾਰਿ ਕੈ ॥੪੨॥ ਦੋਹਰਾ ॥ ਰੀਤਿ ਨ ਜਾਨਤ ਪਰੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥ ਬਿਛੂ ਬਿਸੀਅਰ ਬੇਸਯਾ ਕਹੋ ਕਵਨ ਕੇ ਮੀਤ ॥੪੩॥ ਤਾ ਕੋ ਮਦ ਪਯਾਯੋ ਘਨੋ ਅਤਿ ਚਿਤ ਮੋਦ ਬਢਾਇ ॥ ਮਤ ਸਵਾਈ ਖਾਟ ਪਰ ਆਪਿ ਭਜਨ ਕੇ ਭਾਇ ॥੪੪॥ ਮਦਰਾ ਪਯਾਯੋ ਤਰਨਿ ਕੋ ਨਿਜ ਕਰ ਪਯਾਲੇ ਡਾਰਿ ॥ ਇਹ ਛਲ ਸੌ ਤਿਹ ਮਤ ਕਰਿ ਰਾਖੀ ਖਾਟ ਸਵਾਰਿ ॥੪੫॥ ਅੜਿਲ ॥ ਭਰਿ ਭਰਿ ਨਿਜ ਕਰ ਪਯਾਲੇ ਮਦ ਤਿਹ ਪਯਾਇਯੋ ॥ ਰਾਮਜਨੀ ਸੌ ਅਧਿਕ ਸ ਨੇਹ ਜਤਾਇਯੋ ॥ ਮਤ ਹੋਇ ਸਵੈ ਗਈ ਰਾਇ ਤਬ ਯੌ ਕਿਯੋ ॥ ਹੋ ਸਾਠਿ ਮਹਰ ਦੈ ਤਾਹਿ ਭਜਨ ਕੋ ਮਗ ਲਿਯੋ ॥੪੬॥ ਜੋ ਤਮ ਸੌ ਹਿਤ ਕਰੇ ਨ ਤਮ ਤਿਹ ਸੌ ਕਰੋ ॥ ਜੋ ਤਮਰੇ ਰਸ ਢਰੇ ਨ ਤਿਹ ਰਸ ਤਮ ਢਰੋ ॥ ਜਾ ਕੇ ਚਿਤ ਕੀ ਬਾਤ ਆਪ ਨਹਿ ਪਾਇਯੈ ॥ ਹੋ ਤਾ ਕਹ ਚਿਤ ਕੋ ਭੇਦ ਨ ਕਬਹ ਜਤਾਇਯੈ ॥੪੭॥ ਦੋਹਰਾ ॥ ਰਾਇ ਭਜਯੋ ਤਰਿਯ ਮਤ ਕਰਿ ਸਾਠਿ ਮਹਰ ਦੈ ਤਾਹਿ ॥ ਆਨਿ ਬਿਰਾਜਯੋ ਧਾਮ ਮੈ ਕਿਨਹੂੰ ਨ ਹੇਰਿਯੋ ਵਾਹਿ ॥੪੮॥ ਅੜਿਲ ॥ ਤਬੈ ਰਾਇ ਗਰਿਹ ਆਇ ਸ ਪਰਣ ਝਸੇ ਕਿਯੋ ॥ ਭਲੇ ਜਤਨ ਸੌ ਰਾਖਿ ਧਰਮ ਅਬ ਮੈ ਲਿਯੋ ॥ ਦੇਸ ਦੇਸ ਨਿਜ ਪਰਭ ਕੀ ਪਰਭਾ ਬਿਖੇਰਿਹੌ ॥ ਹੋ ਆਨ ਤਰਿਯਾ ਕਹ ਬਹਰਿ ਨ ਕਬਹੂੰ ਹੇਰਿਹੌ ॥੪੯॥ ਦੋਹਰਾ ॥ ਵਹੈ ਪਰਤਗਯਾ ਤਦਿਨ ਤੇ ਬਯਾਪਤ ਮੋ ਹਿਯ ਮਾਹਿ ॥ ਤਾ ਦਿਨ ਤੇ ਪਰ ਨਾਰਿ ਕੌ ਹੇਰਤ ਕਬਹੂੰ ਨਾਹਿ ॥੫੦॥ ਇਤਿ ਸਰੀ ਚਰਿਤਰ ਪਖਯਾਨੇ ਤਰਿਯਾ ਚਰਿਤਰੇ ਮੰਤਰੀ ਭੂਪ ਸੰਬਾਦੇ ਖੋੜਸਮੋ ਚਰਿਤਰ ਸਮਾਪਤਮ ਸਤ ਸਭਮ ਸਤ ॥੧੬॥੩੧੫॥ਅਫਜੂੰ॥ |
| Dohira The woman brought the marijuana, cannabis and opium, and Presented to him the thoroughly grounded cannabis along with seven times decanted wine.(41) Arril The Raja had determined the substance of her charm, (and planned,) ‘After enchanting her and making her to lie down in the bed. ‘Then leaving sixty gold coins, I will run away, and, thus, save my Dharma.(42) Dohira ‘She does not understand the essence of love - as money is her only passion. ‘How can a reptile and a prostitute think in good terms of their friends?’(43) Arril He had made her to drink cups after cups of the wine and showed extraordinary affection. When she went into deep slumber, he put sixty gold coins and took to his way.(46) Dohira Intoxicating the woman and leaving sixty gold coins, the Raja ran away. Without being noticed by anybody he returned and settled down in his own house.(48) Dohira ‘The same determination is abiding in my mind and I will never attend to another’s woman.(50)(1) Sixteenth Parable of Auspicious Chritars |
Is the Charitar linked to Guru Gobind Singh?
Historical Significance is not the main motive of these stories. Stories are given to read and to learn from them. Only positive mind will able to extract positive morals out of them, all other will remain tangle in histories. It's like to find the name of Rabbit from story Rabbit and Tortoise whose moreal is slow and steady wins the race. Many characters are generated from writers own's mind, many stories were famous those times, which were given just for teachings. There is no historical Significance of these stories, these are given for guidance only.
Still some groups claim that the charitar is related to Guru Gobind Singh. The character called "Rai", mentioned in this charitar is Guru Gobind Rai (the name of the Guru before baptism ceremony in 1699), To prove their point these masses say that this charitar took place on Banks of Satluj River and they even added that Anandpur is on banks of Satluj. So, they say that this Charitar must be Guru Gobind Singh because he was "Rai of Anandpur".
The line "ਤੀਰ ਸਤਦਰਵ ਕੇ ਹਤੋ ਰਹਤ ਰਾਇ ਸਖ ਪਾਇ ॥" means "on the banks of river Satluj lived one Rai". The word "rai" means "king". Nowhere is there any mention of Anandpur or anything else to point to the Guru; neither the name of Rai nor name of city! So how can these masses relate this charitar to the Guru? Are they ignorant?
If one analyses the Charitar, a few questions can be easily answered:
- It's right that Anandpur is on banks of Satluj, but the word Anandpur is not mentioned anywhere in the charitar. There are many charitars in Charitropakhyan where places are not mentioned. To relate charitar with Anandpur is nothing other than pure fabrication.
- Bank of Satluj: The Sutlej River (alternatively spelled as Satluj River) is the longest of the five rivers that flow through the historic crossroad region of Punjab in northern India and Pakistan. Its source is at Lake Rakshastal in Tibet near Mount Kailas, and it flows generally west and southwest entering India through the Shipki La pass in Himachal Pradesh. It irrigates the ancient and historically important region of Greater Punjab. The Sutlej joins with the Beas River in Hari-Ke-Patan, Amritsar, Punjĝb, India, and continues southwest into Pakistan to unite with the Chenab River, forming the Panjnad River south of ancient Multĝn. The Panjnad joins the Indus River at Mithankot. Indus then flows through a gorge near Sukkur, flows through the fertile plains region of Sindh, and terminates in the Arabian Sea near the port city of Karachi in Pakistan.
The river passes through various cities and towns. And their are many cities in Punjab and Pakistan which are on banks of this river and many of these cities had rulers or "Rai" too. So how can anyone say that it's about Anandpur when this is not mentioned in the text?
- Who is Rai? Nowhere is a name given. Moreover there are different meanings of Rai i.e Ruler, Swayer, Chaudhary, headman, leader, chief. The name of the Rai or ruler is not mentioned in Charitar 16; also Charitar sixteen is not written in first person like Guru sahib wrote Bachitar Natak.
So please prevent yourself from being mislead by such folks who do not have the depth of knowledge to understand this text.
Morals and Teachings of Tale(For Gurmukhs)
Many of it's teaching matches with Guru Granth Sahib.
Chajia disguised in attire of ascetic met the king who wanted to learn mantra of wisdom and yogi skills from the Yogi. However, Ladhia or Chajjia was only interested in satisfying her sexual cravings and was there just for sex; she tries desperately to convince and trap the king for sex. As King was strong in his dharma and clever, he played trick and escaped from the woman; within the limit of dharma and to save his dharma the king escaped; he also gave money to her because that possibly was her long term motivation to trap the king.
There are many lessons that a Gurmukh can learn from this charitar:
- One should act according to his Dharma, Dharma is most important thing, The King saved his Dharma and played Trick for saving his dharma only.
- Never go to Brothels or prostitutes or other's wives or ladies, It is against view of Dharma. Moreover pre-marital sex is also against view of Dharma.
- King also said that one who gives knowledge or wisdom is like Guru and if she is lady is like Mother and if male is like father. (ਪਰਖ ਮੰਤਰ ਦਾਇਕ ਪਿਤਾ ਮੰਤਰ ਦਾਇਕ ਤਰਿਯ ਮਾਤ ॥ ਤਿਨ ਕੀ ਸੇਵਾ ਕੀਜਿਯੈ ਭੋਗਨ ਕੀ ਨ ਜਾਤ ॥੧੮॥). This tells that King knew Dharma and he knew how to act with guru. If he would be some Manmat(i) he would be definitely gone for sex.
- The lady which can do positive for you do positive for her but a lady which is danger to Dharma then stay away from her, and don't share your things with such lady who is danger to your dharma. (ਜੋ ਤਮ ਸੌ ਹਿਤ ਕਰੇ ਨ ਤਮ ਤਿਹ ਸੌ ਕਰੋ ॥ ਜੋ ਤਮਰੇ ਰਸ ਢਰੇ ਨ ਤਿਹ ਰਸ ਤਮ ਢਰੋ ॥ ਜਾ ਕੇ ਚਿਤ ਕੀ ਬਾਤ ਆਪ ਨਹਿ ਪਾਇਯੈ ॥ ਹੋ ਤਾ ਕਹ ਚਿਤ ਕੋ ਭੇਦ ਨ ਕਬਹ ਜਤਾਇਯੈ ॥੪੭॥).
- It is said in charitar:
ਰੀਤਿ ਨ ਜਾਨਤ ਪਰੀਤ ਕੀ ਪੈਸਨ ਕੀ ਪਰਤੀਤ ॥
i.e Prostitutes are lover of just money, so king also left money before leaving. The teaching comes that Prostitutes are not good friends. They sell their body for sake of money only.
Guru Granth Sahib too says:
Thieves, adulterers, prostitutes and pimps, then
ਵੇਦੀਨਾ ਕੀ ਦੋਸਤੀ ਵੇਦੀਨਾ ਕਾ ਖਾਣ ॥
make friendships with the unrighteous, and eat with the unrighteous,
ਸਿਫਤੀ ਸਾਰ ਨ ਜਾਣਨੀ ਸਦਾ ਵਸੈ ਸੈਤਾਨ ॥
They do not know the value of the Lord's Praises, and Satan is always with them.
- In Charitar, it's said in charitar:
i.e If king do sex and son born that they would have no name they would be called as Bhaand and if daughter born she will too called prostitute,
Guru Granth Sahib said same:
Like the son, born into the house of a prostitute, his name is cursed. ||1||Pause||.
The faithless cynic is nameless, like the prostitute's son. ||3||.
References
Charitropakhyan : List of Charitars |
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 | 98 | 99 | 100 |
