DASAM GRANTH

DASAM GRANTH (lit. the Tenth Book, generally signifying the Book of the Tenth Guru) is how the collection of compositions attributed to the Tenth Guru, Guru Gobind Singh, is named to distinguish it from the earlier work, the Adi Granth, the First or Primary Book, compiled by Guru Arjan, the fifth in the spiritual line from Guru Nanak and to which Guru Gobind Singh added the hymns of the Ninth Guru, Guru Tegh Bahadur, for bearing from adding any of his own. His own compositions were gathered into a separate volume. According to Kesar Singh Chhibbar, Bansavalinama Dasan Patshahian Ka, the two volumes sat in gurdwaras separately when in Sammat 1755 (AD 1698), Sikhs, says Chhibbar, proposed to Guru Gobind Singh that the two Granths be got bound together into one volume. But the Guru spoke, “This one is Adi Guru Granth, the root book; that one is only for my diversion.

Let this be kept in mind and let the two stay separate.” Earlier, too, Guru Gobind Singh had, when concluding the story of Lord Krishna, versified by him, stated that the purpose of the composition was nothing but to acclaim the righteous war.Although the Dasam Granth is revered equally with the Guru Granth Sahib and in some gurdwaras is seated side by side with the latter, it does not enjoy the same status nor does it rank theologically as Shabad Guru as does the Adi Granth. Even the authorship and authenticity of some of the writings in it are sometimes questioned.

The volume was compiled at Amritsar by Bhai Mani Singh, one of his devoted followers, some two decades after the passing away of Guru Gobind Singh. What with the intrigues of the jealous hill rajas and the hostility of the Mughal satraps, those were perilous times.Guru Gobind Singh continued to patronize bards and poets who had gravitated to Anandpur and encouraged them to produce translations into bhakha (vernacular) of martial episodes from the Puranas and other ancient texts. Many of the manuscripts from his own pen and from those of the poets were lost at the time of the final evacuation of Anandpur in December 1705.

Mani Singh spent years tracing and collecting whatever could be salvaged or whatever had been preserved by Sikhs who had retained copies of some of the texts in their possession. From this material came the first recension of the Dasam Granth.A second recension was prepared by Baba Dip Singh, chief of the Shahid clan at Damdama Sahib. The bulk of the contents of these recensions was common to both.

Yet another recension was got up by Bhai Sukkha Singh, an officiant at Takht Sri Patna Sahib. Several other recensions, copies and copies made from copies, appeared successively, not without some mutual textual variations. During the Singh Sabha days, the Khalsa Diwan, Amritsar, took up the question of verification and standardization of the text of the Dasam Granth. The work was entrusted to Gurmat Granth Pracharak Sabha, established in March 1885.

Bhai Manna Singh, son of the secretary to the Sabha, Bhai Agya Singh Hakim, undertook to finance the project. Thirty two copies of the Granth were collected from different places and brought to the Akal Takht, where a group of eminent scholars pored over them, studying and discussing them threadbare between 8 Savan 1952 Bk/ 5 July 1895 and 5 Phagan 1952 Bk/ 17 February 1896. Among these scholars were Bhai Manna Singh Hakim, Bhai Narain Singh, Bhai Thakar Singh, Bhai Sant Singh (son of Giani Gian Singh), Bhai Bishan Singh, Sant Gopal Das Udasi, Mahant Amir Singh, et al. Opinions were invited from a wider circle by correspondence, and a complete report on the deliberations was published on 1 Kartik 1954 Bk / 14 October 1897.

The result was the recension now current. It was first published by Wazir Hind Press, Amritsar, in October 1902. A few of the compositions in the Dasam Granth bear the signature title, Sri Mukhvak Patshahi X, literally, holy word from the mouth of the Tenth Sovereign, i.e. the Tenth Guru, Guru Gobind Singh. Some compositions are preceded by simply, Patshahi X. Two or three, covering about 75 pages of the Dasam Granth, bear no signatures at all. In general, those with the full signature title are accepted as written or dictated by the Guru himself, whereas those with the abbreviated title, or those with no title, may or may not be so accepted.

The Japu, the opening meditation in the Dasam Granth, is one of the morning prayers of the Sikhs and one of the hymns recited as part of the Sikh initation ceremony. It is a stotra or panegyric, a well established poetic form used in devotional Sanskrit literature. The Japu consists of 199 stanzas in which ten different metres have been used. God is described by a variety of names which are all notable for their linguistic and poetic ingenuity. The Japu is placed at the head of the Dasam Granth as is the Japu at the head of the Adi Granth.

The Japu is all a hymn of laudation to the Lord who is remembered by many different names and attributes of Sanskrit, Arabic and Persian origin.Guru Gobind Singh has tried in the Japu the novel experiment of just aposing oriental and Semitic terminology by using compound expressions derived from both sources; for examie: ki saraban kalimai; kiparaman fahimai (saraban kalimai = all eloquence, paraman fahimai most wise). At places he used a and an which are Sanskrit prefixes denoting negative sense with Arabic and Persian words to a very telling effect; for example, namastan amajabe and anranj bat (a = without, majabe = religion; amajabe = without any religion; an = without, ranj = rancour; anranj = without rancour).The Japu carries the signature title, Mukhvak Patshahi X.

The text may be taken as an example of the blending of Indian and Semitic linguistic cultures. The Akal Ustati, spelt “Ustat” in the original (Praises of the Timeless), occupying 28 pages in the Dasam Granth edition comprising 1428 pages, is a poem mixing stotra and didactic forms of verse. The real purpose of man, according to this poem, is to live and remember God. The poet becomes attuned to the Supreme Being as he utters the expression tu hi (Thou alone art, Thou alone existest). He repeats the expression 16 times (verses 6970). 

The Akal Ustati focusses upon the unity of all mankind, saying that the temple and mosque are the same.All mankind is one. It is but error to see it divided. Guru Gobind Singh commences this poem with an invocation to God, All Steel, and ends it picturing Hindus and Muslims, in fact people the world over, as one, seeking the same God whose blessings they cherish. The Bachitra Natak (Play Marvellous) carries the signature Sri Mukhvak Patshahi X. It consists of 14 cantos.

The style is autobiographical. Guru Gobind Singh tells us how he was called into the world by the Almighty himself: “I cherish thee as my own son and charge thee to go out into the world, to extend faith.” Says Guru Gobind Singh, “I assumed birth for the purpose of upholding dharma, saving the saints and destroying tyrants. The fierce battles between the armies of Lava and Kusa are described in grim detail. Vultures and foul spirits abound.

Gorgeously robed houris fly about the battlefield wheedling the warriors. Death on the battlefield is reckoned glorious. Among the battles described is that of Bhangani (18 September 1688) in which Guru Gobind Singh himself took part. The poem contains many a personal allusion and allusions to participants on both sides. The opening invocation to the Creator and Saviour hailed as the Sword sets the mood for the battle scenes.

Verses of war and worship intermingle and a picture emerges of an ideal warrior saint. The text comprising 14 chapters is part of the larger Bachitra Natak Granth which also includes the Chandi Charitra, I and II, Chaubis Autar, Brahma Avatar and Rudra Avatar . Some stories of the avatars such as that of Krishna are based on the “Dasam Skandh” of the Bhagavat Purana, whereas those of the Chandi Charitra, I and II, are based on Markandayapurana. Chandi di Var is the only long composition in Punjabi in the Dasam Granth. Chandi Charitra, I and II, and Chandi di Var describe battles between Durga and the demons, allegorically the cosmic conflict between good and evil.

The opening verses of the Punjabi Var now form part of the ardas or daily supplicatory prayer of the Sikhs.The verses run as under: Meditate first on God and then turn your thoughts to Guru Nanak. Angad Guru, Amar Das, each with Ram Das, be our protectors. Arjan and Hargobind, remember them and remember Sri Hari Rai. Remember Sri Har Krishan whose very sight dispels all sorrow.

Think of Guru Tegh Bahadur; So will all the nine treasures throng thy door. May they, the Gurus, be our guides, our protectors in all places. Gian Prabodh (Consciousness of Knowledge), comprising 336 stanzas in all, is a mixture of praises of the Timeless and of pantheistic poetry, riddles, and stories from the Mahabharata. Shabad Patshahi X (Verses of the Tenth Sovereign) are ten in number and might be a part of a larger collection.

The theme is laudation of the Creator Lord. Verses titled “Khayal” (of the Tenth Sovereign) etch a picture of a true devotee. Savaiyyas are quatrains comprising 33 four line stanzas. The text carries the signature Sri Mukhvak Patshahi X. Truth is sifted from falsehood.

“One in whose heart the light of the Perfect One shines is a true member of the Khalsa.” Sastra Nam Mala (The Necklace of the Names of Weapons) consists of 1318 verses, with “Patshahi X” appended at the beginning as the signature of the Tenth Master with their Pauranic background. It is a catalogue of weapons used in warfare of olden days. Weapons of war are praised as protectors and deliverers.

Largest number of pages are reserved for tupak, a kind of firearm, reckoned to be the deadliest of weapons. Chritropakhyan (Tales of Deceit) covering 7555 verses of Charit Kavya is the largest composition in the Dasam Granth. “Patshahi X” is mentioned at the very beginning of the work as the signature title. The date of completing this compilation is given in the last verse as Sunday, sudi astami of Bhadon 1753 Bk / 24 August 1696.

The 404 tales may be divided into categories such as tales of the bravery, devotion, or intelligence of women, 78 in number; of the deceitfulness and unscrupulousness of women, 269; of the deceitfulness of men 26.Tales come from foreign lands as well. Tale 201 comes originally from the story of Joseph and Potiphar\’s wife in the Bible, Genesis chapter 39. In the Qur\’an it is Yusuf and Zulaikha.

Zafarnamah (The Letter of Victory), bearing the signature title Sri Mukhvak Patshahi X, was sent to Emperor Aurangzib from Dina in the southern Punjab in December 1705. It consists of 111 verses in Persian and is a homily on the sanctity of one\’s pledged word. The Emperor has been taxed with breaking faith, Paimahshikan, oath breaker, referring obviously to the violation of the pledge of safe conduct given the Guru by the Emperor\’s generals at Anandpur. Hikayat comprises stories in the Persian language, written in Gurmukhi characters.

They are placed at the end of Dasam Granth after the Persian Zafarnamah. Several of these tales are Persian duplicates of some of the Braj tales. Hikayat 4 is Charitra 52: Hikayat 5 is Charitra 267; and 9 is Charitra 290. Guru Gobind Singh\’s poetry is marked by a very vast range of metres he employed.

There is much innovation and novelty he introduced in his prosodic schemes. In Indian classical prosody the time required to pronounce the syllables, according to their phonetic makeup, is designated into two forms: short (laghu) and long (guru) known by the signs I and S, respectively. In words comprising specific placement of consonants, long and short vowels enhance the intensity of their musical content and hence the flow and incision are elicited.Poetry and metre have existed together all along.

On account of different rhythms produced by different metres they have acquired different names. Metres in their present form have come down to us passing through many changes and varieties in Sanskrit, Prakrit, Apabhransa and old Hindi languages with concomitant extensions. These are divided into matrik (in which syllabic instants are counted) and varnik (in which order and number of short and long vowels are taken into account). In earlier Sanskrit literature only varnik metres were popular and at a later stage, due to the influence of Prakrit and Apabhransa languages, poets of Sanskrit also turned to the use of matrik metres.

The Hindi verse has recognized both the metrical categories, matrik and varnik, but to facilitate the development of poetry, Hindi poets have increasingly relaxed and modified certain conditions of varnik metres like kabitt and savaiyya to suit the flow of expression. Before the advent of devotional poetry in Hindi, Doha, Sortha, Tomar, Totak, Gaha, Chhappaya, etc., were popular metres. Devotional poetry was mostly composed in padas. Other important metres were Doha, Chaupai, Tribharigi, Jhulana, Totak, Nagsvarupini (Nagsarupl), Basant, Tilka, Kirit, Maiti, Malini, Kabitt, Savaiyya, Bhujarigprayat, etc.

Both kinds of metres (syllable or varnik and syllabic instants or matrik) are employed in the Dasam Granth, but varnik metres have been used more frequently and with perfect ease. Apart from the above two main varieties of Indian origin, the bait, a metre of Persian poetry, has also been used. Secondly, out of a total number of about 150 metres used in the Dasam Granth, over one hundred metres have their origin in Sanskrit, Prakrit, Apabhrarisa and old Hindi languages. The remaining metres, either new or traditional ones, appear under new names to suit the flow of narration.

Guru Gobind Singh invented new metres which contribute a great deal to the realization of sentiments (rasa) in their sublimity. Keeping the contents in view, he gives many alternative names to some of the metres. In the Dasam Granth, the Chaupai metre has been used to the maximum followed by Dohara and Savaiyya. In the Dasam Granth the battle scenes have been described through the metres Kabitt, Savaiyya, Padhistaka and Bisnupada. Savaiyya hitherto had been generally used for sensuous love poetry, but Guru Gobind Singh used it with consummate artistry for heroic poetry.

To capture the sounds as well as the swift movements on the battlefield he has used small metres like Padhistaka. Metres are changed frequently with a view to describing different types of combat. In this process the similes and metaphors are sometimes relegated to the background but where similes and metaphors dominate, the metres remain mostly unchanged. Through Bisnupadas, which are held to be highly musical, the battle scenes are portrayed with the help of onomatopoeic words. Guru Gobind Singh also introduced for the first time in his Chandi di Var blank verse in Punjabi poetry: the metre used was Sirkhindi.

Following is a note on the different metres used in the Dasam Granth, with their prominent features and frequency of their usage in different compositions. Of them, the first ninety seven are examples of metres regulated by syllables (varnik chhand) and the rest are of those regulated by syllabic instant (matrik chhand): SYLLABLE (VARNIK) METRES 1. Achkara is of 12 syllables having four ragans (SIS) in each line. It is a new name and alternative names for it are Sragvini, Kamini Mohana and Lakshmidhara.

It has been used 12 times in the Rudra Avatar (Paras Nath).2.Ala is of 8 syllables having yagan (ISS), ragan (SIS), laghu (I) and guru (S) consecutively in each quarter. It is a new name and the alternative name for it is Arijan. It has been used thrice in the Chaubis Autar (Nihkalariki). 3. Ajba is of 4 syllables having magan (SSS) and guru (S) consecutively in each quarter. It is a new metre and alternative names for it are Akva, Kanya and Tirna. It has been used 19 times in the Chaubis Autar (Rama) for the purpose of reproducing the sound of the actual action in the battlefield.

4. Akra is of 5 syllables having nagan (III) and yagan (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Anaka, Anahad, Anubhav, Sasivadna, Chandrasa and Madhurdhuni.It has been used 16 times in the Chaubis Autar (Rama). 5. Akra having one sagan (US), two jagans (ISI) consecutively in each quarter is a new name. It has been used eight times in the Chaubis Autar (Rama). 6. Akva is of 4 syllables having magan (SSS) and guru (S) consecutively in each quarter. It is a new metre and alternative names for it are Ajba, Kanya and Tirna.

It has been used six times in the Chaubis Autar (Nihkalanki) for the purpose of reproducing the sound of the actual action in the battlefield. 7. Alka is of 12 syllables having nagan (III), yagan (ISS) nagan (III) and yagan (ISS) consecutively in each quarter.It is of Sanskrit origin and the alternative name for it is Kusamvichitra or Kusambichitra. It has been used six times in the Chaubis Autar (Rama). 8. Anad is of 8 syllables having magan (SSS) yagan (ISS), guru (S) and laghu (I) consecutively and pause at 4 syllables in each quarter. It is also called Vapi.

It has been used eight times in the Chaubis Autar (Rama). 9. Anant Tuka Bhujang Prayat: An unrhymed 12 syllable metre with four yagans is a new name and the alternative name for it is BhujangPrayat. It has been used eight times in the Chaubis Autar (Rama). 10. Anhad is of 6 syllables having nagan (III) and yagan (ISS) consecutively in each quarter.Alternative names for it are Akra, Anaka, Anubhav, Sasivadna, Chandrasa and Madhurdhuni.

It has been used four times in the Chaubis Autar (Nihkalanki). 11. Anaka is of 6 syllables having nagan (III) and yagan (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Akra, Anhad, Anubhav, Sasivadna, Chandrasa and Madhurdhuni. It has been used sixteen times in the Chaubis Autar (Rama). 12. An up Naraj is of 16 syllables having jagan (ISI), ragan (SIS), jagan (ISI), ragan (SIS), jagan (ISI) and guru (S) consecutively in each quarter.

It is of Sanskrit origin and alternative names for it are Naraj, Bichitra Naraj, Narach and Bridhi. It has been used forty seven times in the Chaubis Autar (Rama 29; Nihkalanki 5) and Rudra Avatar (Datta 13). 13. Anubhav is of 6 syllables having nagan (III) and yagan (ISS) consecutively in each quarter. Alternative names are: Akra, Anaka, Anhad, Sasivadna, Chandrasa and Madhurdhuni. It has been used once in the Chaubis Autar (Suraj). 14. Apurab or Apurav is of 6 syllables having ragan (SIS) and tagan (SSI) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Arupa and Krira.It has been used 26 times in the Chaubis Autar (Rama).

15. Aruha is of 10 syllables having sagan (US), jagan (ISI), and guru (S) consecutively in each quarter. Alternative names for it are Sanjuta, Sariyukta and Priya. It has been used six times in the Chaubis Autar (Rama). 16. Arupa is of 4 syllables having yagan (ISS) and guru (S) consecutively in each quarter. Krira is the alternative name given it. It has been used four times in the Chaubis Autar (Rama).

17. Asta is 12 syllables having four sagans (US) in each quarter. It is of Sanskrit origin and alternative names given it are Kilaka, Tarak and Totak. It has been used five times in the Chaubis Autar (Nihkalanki).18. Astar or Astra is of 12 syllables having four yagans (ISS) in each quarter. It is of Sanskrit origin and alternative name for it is Bhujangprayat. It has been used twice in the Brahma Avatar (Mandhata Raja).

19. Bachitra Pad is of 8 syllables having two bhagans (SII) and two gurus (S) consecutively in a quarter. It has been used twice in the Rudra Avatar (Datta). 20. Bahir Tvil Paschami is of five syllables having sagan (US) and two laghus (I) consecutively in each quarter. Its formation is based on Pashto lyric and alternative name given it is Nayak. It has been used 19 times in the Gian Prabodh. 21.

Banturangam is of seven syllables having magan (III), ragan (SIS) and guru (S) consecutively in each quarter.It has been used four times in the Chaubis Autar (Nihkalanki). 22. Bell Bindram is of two kinds ; one is of eleven syllables having nagan (III), two sagans (US), laghu (I) and guru (S) consecutively in each quarter. The other is of ten syllables having sagan (US), two Jagans (ISI) and guru (S) consecutively. It has been used fifteen times in the Chandi Charitra II (11) and Chaubis Autar (Narsingh 2 and Suraj 2). 23.

Bhagvat for Bhagauti is of two kinds; one is of six syllables having two yagans (ISS) and the other is of 8 syllables having Jagan (ISI), sagan (US), laghu (I) and guru (S) consecutively in each quarter.It is of Hindi origin and Bhavani and Sri Bhagvati are the other names given it. The first kind is also known as Somraji or Sarikhanari. It has been used 141 times in the Japu (41), Chaubis Autar (Nihkalanki 17), and the Rudra Avatar (Datta 60; and Paras Nath 23). 24. Bharthua is of six syllables having two yagans (ISS) in each quarter.

The alternative name given it is Sankhanari and it suits the description of destruction in war. It has been used twenty five times in the Chaubis Autar (Nihkalanki). 25. Bhavani is of two kinds : one is of six syllables having two yagans (ISS), and the other is of eight syllables having Jagan (ISI), sagan (US), laghu (I) and guru (S) consecutively in each quarter.The alternative name given it is Bhagauti. It has been used six times in Chaubis Autar (Nihkalanki).

(See Bhagvati) 26. Bhujang is similar to Bhujangprayat. It has been used 317 times (Bachitra Natak (41), Chaubis Autar (55) and Pakhyan Charitra (221). 27. Bhujangprayat is of 12 syllables having four yagans (ISS) in each quarter. It is of Sanskrit origin and alternative names for it are Bhujang and Astar. It has been used 609 times (Japu (62), Akal Ustati (30), Bachitra Natak (72), Chandi Charitra II (70), Gian Prabodh (88), Chaubis Autar (117), Brahma Avatar (22), Rudra Avatar (Datta: 17 and Paras Nath: 65) and Pakhyan Charitra (66).

In some of the old manuscript copies of the Japu, Aradh Bhujang is found written in place of Bhujangprayat. 28. Bidhup Naraj is of 8 syllables having Jagan (ISI), ragan (SIS) laghu (I) and guru (S) consecutively in a quarter. Alternative names for it are Aradh Naraj and Pramanika. It has been used six times in the Chaubis Autar (Nihkalanki). 29.

Biraj is of six syllables having two ragans (SIS) in each quarter. It is of Hindi origin and alternative names for it are Vijoha and Vimoha. It has been used four times in the Chaubis Autar (Rama). 30. Bisekh or Bisheshak is of sixteen syllables having five bhagans (SII) and guru (S) consecutively in each quarter.Alternative names given it are Asvgati, Manaharan and Nil. It has been used four times in the Chaubis Autar (Nihkalanki). 31. Bridh Naraj. See Naraj Bridh. 32.

Chachari is of two kinds one is of four syllables having jagan (ISI) and guru (S) and the other is of three syllables having one yagan (ISS). Alternative names given it are Sudhi and Sasi. It has been used 57 times in the Japu (32) and Chaubis Autar (Rama 6; and Nihkalanki 19). 33. Chamar is of 15 syllables having ragan (SIS), jagan (ISI), ragan (S1S), jagan (ISI), ragan (SIS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Somvallari and Tun.

It has been used two times in the Chaubis Autar (Nihkalanki). 34. Chanchala is of 16 syllables having ragan (S1S), jagan (ISI), ragan (SIS), jagan (ISI) and laghu (I) consecutively in each quarter. Alternative names given it are Chitra, Biraj and Brahmrupak. It has been used twice in the Chaubis Autar (Nihkalanki). 35. Charpatis of five syllables having bhagan (SII) and two gurus (S) or sagan (US) and two gurus (S) consectively in each quarter. It is of Sanskrit origin and alternative names for it are Uchhal, Hansak and Parikti.

It has been used 27 times in the Japu and Rudra Avatar (Datta) 19. 36.Dodhak is of eleven syllables having three bhagans (SII) and two gurus (S) in each quarter. It is of Sanskrit origin and alternative names for it are Bandhu, Modak and Sundari. In Chaubis Autar (Narsingh) this metre has been used for Modak with four bhagans (SII) in each quarter. It has been used 22 times, in the Chaubis Autar (Narsingh 3; Chand 4; and Rama 10) and Brahma Avatar (Mandhata Raja 5). 37.

Ek Achhari is of three types, i.e. Mahi with two syllables having laghu and guru (IS) in each quarter beginning with the same letters ; Mrigendra with three syllables in the formation of jagan (ISI) in each quarter beginning with the same letter ; and Sasi with three syllables in the formation of yagan (ISS) in each quarter beginning with the same letter.Alternative names given at are Ekakhari and Sri. It has been used eight times in the Japu. 38. Haribolmana (six syllables with two sagans (US), in each quarter) is also called Tilka.

It has been used 69 times, in the Japu (14), Chaubis Autar (Nihkalanki) (30) and Brahma Avatar (Manu Raja 1, Prith Raja 24). 39. Hoha is of four syllables having jagan (ISI) and guru (S) consecutively in each quarter. The alternative name for it is Sudhi. It has been used 14 times in the Chaubis Autar (Rama). 40.Jhula is of six syllables having two yagans (ISS) in each quarter. Alternative names given it are Somraji and Aradh Bhujarig.

It has been used four times in the Chaubis Autar (Rama). 41.Jhulna (24 syllables having eight yagans (ISS) in each quarter) is also known as Manidhar Savaiyya. It has been freely used by the poets of medieval period and one kind of it is also included in matrik metres. It has been used seven times in the composition Chaubis Autar (Krishna 4 ; Rama 3). 42. Kabitt is of 31 syllables with pause at 8,8,8,7 and guru (S) at the end of each quarter.

Its origin is not known though it is profusely found in old Hindi and Punjabi poetry. Tulsidas, Padmakar, Bhai Gurdas and Hirdya Ram Bhalla were quite fond of using it in their works. Alternative names for it are Dandak, Manaharan and Ghanaksari.It rhymes and ends with a guru. It has been used 154 times in the Dasam Granth Akal Ustati: 44, Chandi Charitra I: 7, Gian Prabodh: 8, Chaubis Autar.

69 (Krishna: 58 and Rama 11), Brahma Avatar (Vyas): 1, and Pakhyan Charitra: 25. 43. Kanth Abhukhan is of eleven syllables having three bhagans (SII) and two gurus (S) in each quarter. In Sanskrit it is called Dodhak. It has been used eight times in the Chaubis Autar (Rama). 44. Kilka is of twelve syllables having four sagans (US) in each quarter. Alternative names for it are Asta and Totak. It has been used twice in Chaubis Autar (Nihkalanki). 45.

Kripankrit is of seven syllables having sagan (US), nagan (III) and laghu (I) consecutively in each quarter. The alternative name for it is Madhubhar. It has been used 34 times in the composition Chaubis Autar (Nihkalanki) 12 and Rudra Avatar (Datta) 22. 46. Kulak or Kulka is of two kinds ; one, Kulak, has six syllables in order of bhagan (SII) mdjagan (ISI), and the other, Kulka, has six syllables in order of nagan (III) and yagan (ISS) in each quarter. It is of Sanskrit origin and the alternative name for is Sasivadana.

It has been used 23 times in the Chandi Charitra II (4), Chaubis Autar (Nihkalanki 11), and Rudra Avatar (Datta 8). 47. Kumar lalit is of eight syllables having jagan (ISI), ragan (SIS), laghu (I) and guru (S) consecutively in each quarter.It is of Hindi origin and the alternative name for it is Mallika. It has been used eight times in the Chaubis Autar (Nihkalanki). 48. Kusam Bichitra, also written as Kusum Vichitra, is of 12 syllables having nagan (III), yagan (ISS), nagan (III) and yagan (ISS) consecutively in each quarter.

It is of Sanskrit origin and was adopted by Keshav in his works. It has been used eight times in Chaubis Autar (Rama). 49. Madhurdhuni, is also known by the names of Akra, Anka, Anhad, Anubhav, Sasivadana and Chandrasa, is of six syllables having nagan (III) and yagan (ISS) consecutively in a quarter. It has been used 18 times in the Chaubis Autar (Rama 11, and Suraj 7). 50.Maiti is of twenty three syllables having seven bhagans (SII) and two gurus (S) consecutively in each quarter.

It is of Sanskrit origin and is a kind of Savaiyya. Alternative names given it are Indav, Bijai and Mattagyand. It has been used four times in the Chaubis Autar (Nihkalanki). 51. Manohar is of 23 syllables, having seven bhagans (SII) and two gurus (S) consecutively in each quarter. It is of Hindi origin and is a kind of Savaiyya. Alternative names given it are Bijai and Mattagyand.

It has been used 24 times in the Chandi Charitra II (I) and Chaubis Autar (Rama 23). 52. Mathan is of six syllables having two tagans (SSI) in each quarter.It has been used nine times in the Chaubis Autar. (Nihkalanki). 53. Medak or Totak is of twelve syllables having four sagans (US) in each quarter. It has been used five times in the Brahma Avatar (Vyas). 54.

Nagsarupini, also called Pramanika, is of eight syllables having jagan (ISI), ragan (SIS), laghu (I) and guru (S) consecutively in each quarter. It is of Sanskrit origin and has been used 10 times in the Chaubis Autar (Nihkalanki 6 ; and Rama 4). 55. Nagsarupini Aradh is of Sanskrit origin and is of 4 syllables having Jagan (ISI) and guru (S) in each quarter.Alternative names given it are Sudhi and Naraj laghu and it has been used five times in the Chaubis Autar (Rama). 56. Naraj, of Sanskrit origin and also called Narach, Nagraj, Panch Chamar and Vichitra, is of 16 syllables having jagan (ISI), ragan (SIS), Jagan (ISI), ragan (SIS).

Jagan (ISI) and guru (S) consecutively in each quarter. It has been used 150 times in the Akal Ustati (20), Bachitra Natak (33), Chandi Charitra 11 (21), Gian Prabodh (37), Brahma Avatar (8), Rudra Avatar (Paras Nath 30) and Pakhyan Charitra (1). 57. Naraj Aradh is of eight syllables having jagan (ISI), ragan (SIS), laghu (I) and guru (S) consecutively in each quarter.Alternative names for it are Nagsarupini and Pramanika. It has been used 21 times, in the Gian Prabodh (12) and Chaubis Autar (Suraj 4, Rama 5).

58. Naraj Briddh, also called Mahanarach, is of 16 syllables having jagan (ISI), ragan (SIS), jagan (ISI), ragan (SIS), jagan (ISI), and guru (S) consecutively in a quarter. It has been used 10 times, in the Chandi Charitra II (1) Gian Prabodh (5) and Chaubis Autar (Rudra) (4). 59. Naraj Laghu is of 4 syllables having Jagan (ISI) and guru (S) consecutively in each quarter. Alternative names given it are Sudhi and Hoha.It has been used 20 times in the Akal Ustati syllables having two nagans (III) and two laghus (I) consecutively in each quarter.

It has been used six times in the Chaubis Autar (Rama). 61. Nispal is of 15 syllables having bhagan (SII), Jagan (ISI) sagan (US), nagan (III) and ragan (SIS) consecutively in each quarter. It is also known by the names of Nispalika and Nisipal. It has been used four times in the Chaubis Autar.

(Nihkalanki). 62. Padhistaka is of 12 syllables having four sagans (US) in each quarter (See Sarigit Padhistaka). The alternative name for it is Totak, and it has been _iised twice in the Chaubis Autar (Nihkalanki) 63. Padhri Aradh, also named Madhubhar, 15 of five syllables having two gurus (S) and jagan (ISI) consecutively in each quarter.It has been used five times in the Brahma Avatar (Vyas). 64.

Pankaj Batika, of Sanskrit origin, is of 12 syllables having four bhagans (SII) in each quarter. The alternative name given it is Modak. In the books of prosody its composition is different, i.e. bhagan (SII), nagan (III), two Jagans (IS!) and laghu (I). It has been used twice in the Chaubis Autar (Nihkalanki). 65. Priya, of Sanskrit origin and also known as Aruha and Sanyut, is of ten syllables having sagan (US), twoJagans (ISI) and guru (S) consecutively in each quarter.

It has been used twice in the Chaubis Autar (Nihkalanki). 66.Raman is of six syllables having two sagans (US) in each quarter. Alternative names for it are Ramanaka and Tilka. It has been used four times in the Chaubis Autar (Nihkalanki). 60. Nav Namak, also named Narhari, is of 8,6,7. Rasaval is of six syllables having two yagans ISS) in each quarter.

It has been used in the compositions titled Japu (8), Bachitra Natak (90), Chandi Charitra II (69), Gian Prabodh (17), Rudra Avatar (17), and Chaubis Autar (179) having been named as Aradh Bhujarig in the Japu and the Bachitra Natak. 68. Ravanbad is of six syllables having two jagans (ISI) in each quarter. It has been used twice in the Chaubis Autar (Nihkalanki). 69. Rekhta is of 31 syllables having pause at 8,8,8,7. This is not the name of a metre but is a metrical composition of mixed Persian and Hindi words. In Chandi Charitra

References :

1. Ashta, Dharam Pal, The Poetry of the Dasam Granth. Delhi, 1959
2. Loehlin, C.H., The Granth of Guru Gobind Singh and the Khalsa Brotherhood. Lucknow, 1971
3. Sher Singh, Social and Political Philosophy of Guru Gobind Singh. Delhi, n.d.
4. Kohli, Surindar Singh, “Dasam Granth,” in Mircea Elide, ed.. The Encyclopaedia of Religion, vol. 4. New York, 1987
5. Gopal Singh, Thus Spake the Tenth Master. Patiala, 1978
6. Jaggi, Rattan Singh, Dasam Granth Parichaya. Delhi, 1990
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