History of Hindi Literature

ii.
The Sacred Rural. H. A. POPLBY, B.A., Madras.

Indian Sculpture. Dr. STELLA KRAMRISCH, Calcutta.
Subjects proposed and volumes under preparation

THE PHILOSOPHIES.
An Introduction to Hindu Philosophy. The late J. N. FARQUHAR
and PRINCIPAL JOHN MCKBNZIB, Bombay.
Readings from the Upanishads. M. H. HARRISON, Ph.D.,
Bangalore.
The System of the Pali Buddhist Books. PROF. V. LBSNY, Prague.
FINE ART AND MUSIC.

The Hindu Conception of the Beautiful. K. RAMASWAMI
SASTRIAR, Cuddapah.
HISTORIES OF VERNACULAR LITERATURE.

BengSli. C. S. PATBRSON, M.A., Calcutta.
Tamil. PROF. F. KINGSBURY, B.A., Colombo.
Malayfllam. T. K. JOSEPH, B.A., L.T., Trivandrum.
VARIOUS.
The Aryan Languages of India. PROF. R. L. TURNER, London.
Prikrit Literature. A. C. WOOLNBR, Lahore.
The Hindu Family System. C. W. MILLER, Pasumalai.
EDITORIAL PREFACE
Finally, brethren, 'whatsoever things are true,
whatsoever things are honourable, whatsoever
things are just, whatsoever things are pure, whatso-
ever things are lovely, "whatsoever things are of
good report; if there be any virtue, and if there be
any praise, think on these things*
No section of the population of India can afford to neglect
her ancient heritage. The treasures of knowledge, wisdom,
and beauty -which are contained in her literature, philosophy,
art, and regulated life are too precious to be lost. Every
citizen of India needs to use them, if he is to be a cultured
modern Indian. This is as true of the Christian, the Muslim,
the Zoroastrian as of the Hindu. But, while the heritage of
India has been largely explored by scholars, and the results of
their toil are laid out for us in books, they cannot be said to
be really available for the ordinary man. The volumes are in
most cases expensive, and are often technical and difficult.
Hence this series of cheap books has been planned by a group
of Christian men, in order that every educated Indian,
whether rich or poor, may be able to find his way into the
treasures of India's past. Many Europeans, both in India
and elsewhere, will doubtless be glad to use the series.
The utmost care is being taken by the General Editors in
selecting writers, and in passing manuscripts for the press.
To every book two tests are rigidly applied: everything must
be scholarly, and everything must be sympathetic. The
purpose isto bring the best out of the ancient treasuries, so
that it may be known* enjoyed, and used.
ft/fh
THE HERITAGE OF INDIA SERIES
A HISTORY OF
HINDI UTERATURE
BY
F. E. KEAY, M.A.
Christ Church House, Groenburgval 42, Amsterdam, SoSUmd
AUTHOR OF
'ANCIENT INDIAN EDUCATION*
SECOND EDITION
Y.M.C.A. PUBLISHING HOUSE

5 RUSSELL STREET, CALCUTTA
LONDON: OXFORD UNIVERSITY PRESS
NEW YORK, TORONTP, MELBOURNE
BOMBAY* CALCUTTA AND MADRAS
First Edition, 192O
Reprint, 1933
The Right of Translation it Reserved
PKINTBO m IHDIA ta THE

BBSS AMD PuBXjnciNOHow
Mnon CRT 1993
PREFACE TO FIRST EDITION
THE purpose of these volumes of The Heritage of India
Series on the vernacular literatures is to provide, in each case,
a clear and trustworthy outline of the history of the literature.
Necessarily, nothing more can be compressed into a hundred
pages ; and, when one of the greater literatures comes under
review, it is impossible, within the limits, to do justice to the
whole. In this volume great care has been taken to sketch
the historic movements down to the time of Harischandra;
but no attempt has been made to give a detailed account of
more recent literature.
Amongst the many persons who have supplied information,
or given other help, I must especially thank the Editors of
this Series; the Rev. G. J. Dann, who kindly read the book in
manuscript and offered valuable criticisms ; and the Rev. Dr.
W. C. Macdougall and Mr. M. T. Kennedy, who have care-
fully readthrough the proofs. I am also much indebted to
Mr. Kallu Singh and Mr. Sakhawat Masih, masters of my
own school, for help in translating some of the extracts.
FRANK E. KBAT.
yubbulpore, August, 1920.
CONTENTS
PAOB
MAP ... ... ... ... Facing title page

I. THE HINDI LANGUAGE AND ITS NEIGHBOURS ... I
II. A GENERAL SURVEY OF HIND! LITERATURE ... ... 7

III. EARLY BARDIC CHRONICLES (115O-14OO) ... ... 11
IV. EARLY BHAKTJ POETS (1400-1550)... ... ... 17

V. THE MUGHAL COURT AND THE ARTISTIC INFLUENCE IN
HINDI LITERATURE (1550-1800) ... ... ... 31
VI. TULSI DAs AND THE RAMA CULT (1550-1800) ... 46

VII. THE SUCCESSORS OF KAB!R (155O-180O) ... ... 56
VIII. THE KRISHNA CULT (1550-1800) ... ... ... 65
IX. BARDIC AND OTHER LITERATURE (1550-1800) ... 73
X. THE MODERN PERIOD (FROM 1800) ... ... ... 79
XI. SOME GENERAL CHARACTERISTICS OF HINDI LITERATURE 91
XII. PRESENT POSITION AND PROSPECTS OF HIND! LITERATURE 95

BIBLIOGRAPHY ... ... ... ... ... 99
INDEX ... ... ... ... ...
THE HINDI LANGUAGE AND ITS
NEIGHBOURS
The Indo-Aryan Languages. The Indo-Aryan languages
form one branch of the great Indo-European family of lan-
guages, which are now spoken over Europe and a large
part of Western and Southern Asia. Somewhere near the
borderland of Europe and Asia lived the people who spoke
the original language from which these various languages have
been derived. One great class of this people, called the
Aryans, migrated eastwards towards the Oxus, but as they
advanced further were split up into two sections, and their
language also developed on two different lines. One of these
two forms of language became the parent of the Iranian
family of languages (Medic, Pablavi, Persian, etc.). The other
branch of the Aryan people pushed on into the valley of the
Kabul,, and thence into the plains of North India. The
migration of these peoples was spread over a long period of
time. Those who came into India are known as Indo-Aryans.
The Indo-Aryan language received a literary culture in quite
ancient times and its literary form became known as Sanskrit,
that is the 'purified* language. This polished literary dialect
became fixed, but the ordinary speech of the people, which is
called Prfikrit, that is 'natural/ or 'unartmcial,* gradually
changed. Diphthongs and harsh combinations were
but the language still remained, like Sanskrit, synthetic. The
dialects of different areas began to differ more and more from
one another. Some of the older forms of the Prikrits mân-
while, like Sanskrit, became fixed and received literary culture,
such for instance as Pali. In the last stage of the Pr&rita,
before the modem Indo-Aryan languages developed from
them, they are known as Apabhram&as. These are the direct
2 A HISTORY OF HINDI LITERATURE
parents of the modern vernaculars of North India, namely,
Hindi, Punjabi, Mar&thl, etc., which came into existence
somewhere about A.D. 1000, though the date differs consider-
ably in the case of different languages. These modern
languages are no longer synthetic but analytic.
Hindi. It is most important to understand clearly what
we mean by Hindi, as the word is often used ambiguously.
It is often, for instance, applied in a loose sense to the
vernacular speech of the whole of North India between the
Punjab and Sindh on the West, and Bengal on the East. But
the philological researches of scholars, such as Sir George
Grierson, have shown that there are really four chief languages
in this area, namely, Rajasthani, Western Hindi, Eastern
Hindi, and Bihari, each having a different parentage. Bihari
really belongs to a group of languages of which Bengali is
another member. Western Hindi is closely connected in
origin with Punjabi. The word Hindi is also often used to
denote modern literary High Hindi in contra-distinction to
Urdu; but both High Hindi and Urdu were, as will be shown
below, developed from a dialect of Western Hindi. Hindustani
(or Hindostani) is also a name used sometimes to denote the
vernaculars of all Hindustan, that is the country between the
Punjab and Sindh and Bengal, but is also sometimes used to
mean the simpler speech which is the lingua franca of modern
India, and of which both Urdu and High Hindi are literary
developments.
Scope of this Book. The literature whose history will be
described in this book will include Rajasthani, Western
Hindi, Eastern Hindi and Bihari literature, but not Urdu. It
may seem at first sight somewhat arbitrary to group together
the literatures of these languages which are believed to have
been distinct in development, and when Western Hindi, for
instance, is more closely connected in origin with Punjabi, and
Bihari with Bengali ,than with die other languages here grouped
with them. Moreover Urdu, whose literature is here exclud-
ed, is developed from a dialect of Western Hindi. But the
justification for grouping these literatures together lies in this,
that whereas Punjabi and Bengali and Urdu have developed
modern literatures which are proceeding each on its own
lines, tfce languages whose literary history is contained in this
HINDI LANGUAGE AND ITS NEIGHBOURS 3
book have become closely connected in their literary develop-
ment. In the areas where they are spoken 'High Hindi* has
come to be accepted as a literary langauge by almost all those
who do not use Urdu, and though the older vernaculars are
still used for poetical compositions, not one of them is deve-
loping a separate prose literature of its own. Moreover,
though considered by scholars as distinct, they are closely
related languages which have mutually influenced each other,
and the literature of any one of these vernaculars is to a large
extent understood by those who speak one of the others.
These languages are spoken by over a hundred million
people.
As the literature dealt with in the following pages is really
connected with distinct though cognate languages it is more
accurate to describe it, as Sir George Grierson has done, as
the Modern Vernacular Literature of Hindostan.' But for
4
the sake of convenience and to avoid circumlocution it will

generally be referred to here as 'Hindi Literature.* The
bulk of it is written in Western Hindi or Eastern Hindi.
Bihari literature is not very extensive and, except for the
lyrics of Vidyapati, not very important. Rajasthani literature
mostly consists of bardic chronicles.
Urdu as a literary language has an important point of
difference from Hindi in the metres it employs. These follow
Persian models, and the substance of Urdu poetry is largely
influenced by Persian themes.
Dialects. The chief dialects of Rajastham are Mewati,
MarwSri, Jaipur! and MSlvi. Of these Marwari is the chief
literary dialect. It is also called Pingal, and in this connec-
tion is distinguished from Pingal, the name given in Raj-
putana to the Braj Bhasha dialect of Western Hindi, which
was also used in this area as a literary dialect.
Western ffiw& has as its principal dialects, Bangaru, to the
west of the Ganges in the highlands of the South-Eastern
Punjab; Braj Bhishft, the language spoken in Muttra and the
surrounding district, which is the chief dialect of Western
Hindi for poetry; KanaujI (very similar to Braj Bhishd),
which is spoken in the lower part of the central Doab and
the country to the north; Bundeu*, In Bundelkhan< and a
good portion of the Naxbada valley in the Central Provinces;
and another dialect spoken in the neighbourhood of Delhi
and Meerut. Delhi being for a long time the headquarters
of the Muhammadan conquerors of North India, it was from
the dialect of this district that the lingua franca of the Mughal
ip originated.
_^
A great many words
.
^ m _
of Persian and_* Arabic
j
origin were introduced into this dialect as well as those of
Punjabi and Rajasthani, and the Persian character was used
for writing The word *Urdu* literally means 'Gamp.*
it.
Urdu was the camp language. Muhammadan influence
extended its use far and wide, and it eventually became
a literary language. Modern 'High Hindi* was developed
from Urdu by the exclusion of Persian and Arabic words and
*the substitution of those of pure Indian origin, Sanskrit or
Hindi. The name Khari Boli (i.e. 'pure speech') is some-
times used by Indian scholars both for the original dialect of
Delhi and Meerut, and for the modern High Hindi developed
by Lallu Ji Lai; but they are not identical, as will be shown
later in a subsequent chapter when the circumstances of the
formation of modern literary Hindi are related.
The dialects of Eastern Hindi, from North to South are
Avadhi, Bagheli and Chhattisgarhl. Of these the chief
literary dialect is Avadhi, spoken in the country of AyodhyS
(Oudh). Avadhi is also known as Baiswari.
Bihari has three principal dialects, namely Maithili, Bhoj-
puri and Magahl. Maithili is the chief literary dialect, and
practically all the works which have come down to us are in
this dialect. It is spoken in the region which formed the old
kingdom of MithilS, that is in Bihar north of the Ganges.
The Hindi Alphabet and Written Character. The alpha-
bet used for Hindi and the other languages included with it
in this book is the same as that of Sanskrit, and is arranged
in the same way, that is on phonetic principles. One or two
of the Sanskrit letters are not used however in Hindi. The
written character is generally what is called the Devanigari
(or Nagarl), which is also used for Sanskrit. But other
toons are also used. Mahgianf (or Sarrafl) and Bamaufi are
only used in business. They are both modifications of
K*yathi (or KaithI). This word is from Kiymth, or Kfiyasth,
the name of the writer-caste amongst the Hindus. KlysthI
character was originally derived from the Devanagarf by slight
HINDI LANGUAGE AND ITS NEtOHBOURS 5
alterations which better adapt it to die purpose of writing
quickly. It is used chiefly in the Eastern portion of the
area
with which we are concerned, but even there is not so com-
mon as DevanSgari.
Vocabulary. The vast majority of words used in the
languages we are considering are those which have come
today
ings from Sanskrit. These are called Tatsama words ('the
same as that') to distinguish them from Tadbhava words (*of
the nature of that'), which are those that have undergone
change in the long process of development. In many cases*
Tatsama and Tadbhava forms of the same word or root co-exist
in the language, such as Yogy and Jog ('fit, worthy*). Words
have also been borrowed from Persian. We
find these even in
the works of the great writers such as Tulsi Das, and though
some modern authors affect to write 'pure Hindi/ few books
can be found which do not contain some words of Persian
origin. Some Portuguese, and nowadays many English words,
have also found their way into the language.
Hindi Prosody. There is probably no language in which
prosody has been more elaborately developed than in Hindi.
Its system is derived ultimately from the principles which
govern Sanskrit poetry. It does not, like English, depend on
accent, but, like the classic poetry of Greece and Rome, is
based on the quantity of the syllables, long or short* But
rhyme is also used almost universally, and in Hindi poetry a
rhyme means that not only the last syllable of a line, but the
last two syllables at least, correspond with those of another
line. A
good deal of liberty is allowed in respect of ortho-
graphy and even of grammatical construction, but the rules for
the various metres are very complicated. The result, however,
in the hands of a skilful poet is the production of poetry the
form and rhythm
" of which has a wonderful charm,* pr
_ _ .
-
__ -^_
not surpassed in any language. The number of metres

recognized in books of Hindi prosody is very large* lew A
only of the principal ones can be mentioned here. 4bM A
(or dokra) is a couplet each line of which contains twenty-
four JMtifjrot or instants, divided up again into feet
to a recognized plan. A mdtra denotes the length of time
occupied in the utterance of a short vowel. Long vowels and
diphthongs are regarded as consisting of two mdtras. The
dohd is the most popular and frequent of all metres. The
sorathd is an inverted dohd> that is the second half of each
line of the dohd changes place with the first half. The chaupia
ranks with the dohd in popularity. It consists of four lines,
each of which has sixteen mdtras. Other much-used metres
are the kuntfaltyd, the chhappai, the kdvya, the savaiya and the
kavitta. Many metres are specially used in the composition
of verses which are intended to be sung. In these the same
rhyme is often continued throughout all the lines of the
poem.
The Family of Indo-Aryan Languages

(The languages whose literature is described in this book are
printed in thick type.)
(.Modern
(Apabhramfas) Languages)
Unknown Kashmiri
Unknown Kohistani
Unknown Lrahndi
(Western Punjabi)
Vrachadi Sindhi
Gaurjari GujarSti
Prakrits 5 Punjabi
auraseni
(Vernacular) { Western Hindi
Avanti 5 Rdjasthdnl
\ Pahari
ArdhamSgadhi Eastern Hindi
r Bihari
Indo-Aryan I
Bengali
Language Migadhi 1 Oriyfi
L Assamese
Mahftristi
Sanskrit
(Literary)
II
A GENERAL SURVEY OF HINDI

LITERATURE
AFTER the death of King Harsha (A.D. 646 or 647), who
had built up a large Empire in North India, there was a long
period of confusion and disorder. The unity of Indian
history is lost until the Muhammadan conquests again
restored a government strong enough to become a paramount
power. During this period the Rajput clans came into
prominence and various Rajput principalities took shape
which were destined to play an important part in subsequent
history. These kingdoms were often at war with one another,
but the inroads of the Muhammadans from the West
frequently united them to meet the common foe. Although
Kabul, the Punjab and Sindh had previously fallen into the
hands of the Muhammadan invaders, the real conquest of
India did not begin till A.D. 1175 when Muhammad Ghori
commenced his attacks. In 1191 the Muhammadan progress
induced the Hindu kings to compose their quarrels and form
a great confederacy under Prithiraj (also called Prithviraj or
Rai Pithora), the Chauhan ruler of Ajmer and Delhi. The
Hindus were at first victorious in a battle at Tarain, but in
the following year were defeated in the same place and
Prithviraj was captured and Delhi was soon occupied
killed.
and the Muhammadan advance continued till, under Muham-
mad-bin-Tughlak in 1340, it attained its maximum extent.
But though many Hindu kingdoms fell, and many strongholds
in Rajputina were captured, the Rajput clans reasserted
themselves and were never completely subdued. Many new
kingdoms were set up, and later Muhammadan sovereigns
often found it more profitable to make alliances with the
Rajput monarchs than to attack them.
g A HISTORY OF HINDI LITERATURE
It was during this period that the modern vernaculars of
India were taking shape, and the earliest modern vernacular
literature of Hindustan appeared in the form of the bardic
chronicles of Rajputana. The stirring times in which they
lived produced ample themes for the royal bards, and the
liberal patronage of monarchs encouraged their labours.
Though full of panegyric and embellished with many legends,
and therefore not to be taken as sober history, their poems
nevertheless are a stirring record of the desperate struggles
between the Hindu kingdoms and their Muhammadan inva-
ders, and of the heroism and chivalry which such a period
called forth. The greatest name in the literature of this period
is that of Chand Bardai, the bard of Prithviraj. Contemporary
with Chand was Jagnayak, while a famous bard of the middle
of the fourteenth century was Sarang Dhar, who sang the
prowess of the valorous Hammlr, Prince of Ranthambhor.
This rise of the worship of Rama, which took place about
the beginning of the fifteenth century, gave another great
impetus to vernacular literature. One branch of Vaishnavas
worshipped Vishnu under the form of Krishna and this form
of worship had long been popular. Now, largely owing to the
great influence of Ramananda, others made Rama their prin-
cipal object of worship. A later development, due in some
isure to Muhammadan influence, and in which Kabir
was the first great teacher, was in the direction of a non-
idolatrous theism. All these various movements were part of
a great religious revival which was widespread amongst the
people, and all began to use the vernacular for their literature.
From this time on the vernacular literature was mostly
dominated by religious ideals and almost entirely on the lines
which had been laid down by the Vaishnava reformers. This
period begins about 1400 and includes such poets as Namdev,
Kabir, Vidyapati, Mira Bal and Malik Muhammad. The
earlier bards of Rajputana wrote in a time of transition, using
a language which was still full of Prakrit forms, and this was
the period of the infancy of Hindi literature. But when
the poets of this next period composed their works, the
language spoken was practically the same as the vernacular
speech of today; and, as the earliest authors in this langu-
age, they had to feel their way, for in using the vernacular
GENERAL SURVEY OF HINDI LITERATURE 9
for their poems they were making a great venture. This was
the period of the youth of Hindi literature.
The golden age of the vernacular literature of Hindustan
begins about 1550. The Mughal sovereigns not only estab-
lished a strong rule, but were liberal patrons of literature and
art. Under Akbar (1556-1605), Jahangir (1605-1627) and
Shah Jahan (1627-1658) the Muhammadan rule in India
reached its highest point of outward magnificence and this
was also the period of the greatest glory in Hindi literature.
It has often been pointed out how it synchronizes with the
Elizabethan age of English literature, and that at this very
time England and India first came into real contact with each
other. This period was marked by the introduction of an
artistic influence into the literature, leading to a greater polish
in versification and form, and the first attempts to systematize
the art of poetry by such writers as Kes*av Das and others.
This was the age of the greatest stars of Hindi literature
Tulsi Das, Sur Das and Bihari Lai, as well as of other great
writers like the Tripathi brothers, Dev Kavi and Senapati.
It was the period when the Sikh Granth was compiled and
when many new sects were formed, like the Dadupanthis,
which produced a great deal of religious verse of a high
order. The end of the period however, during the eighteenth
century, coinciding with the time of the decay of the Mughal
Empire, was a time of decline in the high quality of Hindi
literature, and does not contain many writers of first-rate
excellence.
At the beginning of the nineteenth century a new influence
came into Hindi literature through contact with the culture
of Europe. In the eighteenth century the English had been
struggling in India with the French for mastery, but now that
conflict had been decided and the English supremacy was
further established by the break-up of the old Mughal Empire
and the weakening of the Marafha power. English influence
now began to make itself more and more felt in Indian
affairs, and amongst other things the contact of India with
the culture of the West had the effect of stimulating many
new ideas, while the sense of security which freedom from
internal disorder gave, encouraged the native genius of India
to reassert itself. Hence there began about this time a
mighty literary renascence in India which is still in progress.
At the beginning of this period Lallu Ji Lai laid the founda-
tion of modern Hindi prose and also created the literary
dialect which was to be its principal medium. The printing
press now began to spread literature far and wide. The
revival of Hindi poetry was led by Har&chandra, and this
period saw also the rise of the Hindi drama.
The principle adopted in this book in dividing up the
literature into periods is as follows: First of all the infancy
of Hindi literature, connected with the bardic chronicles, is
described; and after that a new period is dated from each
point where an important new influence begins to modify the
literature. These periods begin (1) about 1400, when the
religious influence of the Vaishnava movements began to
affect Hindi literature; (2) about 1550, when a new artistic
influence makes itself felt; and (3) about 1800, when the
literature began to be affected by the modern influence which
came from contact with the West. In each period the litera-
ture that shows the new spirit in its fullness will first of all be
described and then the other forms in turn, and something
will be said as to how far each group or each writer is
influenced by the new ideas.
Ill
EARLY BARDIC CHRONICLES

(1150-1400)
The Earliest Poets. During the time when the Rajput

clans were establishing their power, and while they were
struggling with the Muhammadan invaders, every court had
its bards who celebrated in song the valour and heroism of
their patrons and their race. These bards belonged to guilds,
which were also castes, and there are said to have been
Charanas, Bhajas, Sevagas and Pancholis. The Charanas
and Bhaas both claimed Brahmanic descent. The language
used at first by these bards must have been the local Prakrit,
but gradually the Prakrit developed into the modern verna-
cular. A number of bards are mentioned by tradition as
having composed poems between A.D. 700 and 1150. The
chief of these are Ptishya (or Punda), Kedar, Ananya Das,
Masaud, Qutub Alt and Akaram Faiz. Their work, however,
has not survived, and it is therefore impossible to say whether
the language they used is to be reckoned as Prakrit or as the
modern vernacular. A poetic chronicle of the ruling family
of Mewar, called the Khumdn Rasa, which dates from the
sixteenth century, is said to have been founded on a work
written in the ninth century, but no fragment of the original
has survived. In 1 143 a certain Kumar Pal became king of
Gujarat, his capital being at Anhilwar. In 1159, under the
influence of the Jain scholar, Hemachandra, he became a Jain,
and at a rather late date Hemachandra wrote a romantic
poem in Prakrit entitled Kumara Pdla Charitra. An anony-
mous bardic chronicle, called by the same name, in the early
speech of the modern vernacular is said to date from the
middle of the thirteenth century, and is probably a free
adaptation of the Prakrit poem. Visala Deva (Bisal Dev)
was the king of Ajmer in A.D. 1001, when Mahmud of
Ghazni made one of his raids into India. He
celebrated
is
in a short poem called Btsdl Dev Raso, the date of which
is unknown, but which has been considered by some to
belong to the thirteenth century. Till these poems are
dated and their language thoroughly examined by scholars, it
is not possible to say what evidence they give as to the date
when the modern vernacular became clearly distinguished
from the earlier Prakrit, and as even the Pritt Raj Rdso,
which is dated in 1191, is said by such an eminent authority
as Sir George Grierson to be 'abounding in pure Apabhramsa
Sauraseni Prakrit forms,' it would be rash in the absence of
further evidence to place the date of the emergence of the
modern vernaculars of Hindustan much earlier than the
beginning of the twelfth century.
Chand Bardai. PrithI Raj (also called Prithvi Raj or Rai
Pithora), who was born 1159 and killed in 1192, was the
Chaiihan ruler of Ajmer and Delhi at the time of the battles of
Tarain, in the second of which he was captured and afterwards
slain. He was a great patron of literature, and besides Ananya
Das, mentioned above, his court was also attended by the
famous bard Chand Bardal. Chand Bardal belonged to an old
family of bards, and the famous poet, Sur Das, is said by some
to have been one of his descendants. He came to the court of
PrithI Raj and was appointed as his minister and poet laureate.
His poetical works were collected by Amar Singh of Mewar
in the seventeenth century, and it is probable that they were
then recast and partially modernized though still full of
archaic language. Chand's chief work is the PritJn Raj Rdso.
In this famous poem of sixty-nine books and 100,000 stanzas
he gives the life of his patron and the history of the tune in
which he wrote. Chand Bardal and his patron were both
killed after the battle of Tarain in 1 192. Legend and fiction
are mixed up with history in the Pritfu Raj Roto. The
repeated conflicts related to have taken place between PrithI
Raj and Sultan Shihabuddln seem to be quite unhistorical, and
the Mughals are brought on the stage thirty years before they
really appeared in Indian history. It is therefore doubtful
whether the document in its entirety is a contemporary poem,
but the language used* which is transitional in character and
abounds in strange forma which have long since ceased to be
EARLY BARDIC CHRONICLES 13
used, makes it seem likely that the original core of the poem
is certainly the work of Chand Bardai, and that it is one of
the earliest poems in Hindi which have survived. Owing to
the difficulty of the language it is a poem not easy to read
even for scholars, but those who have studied it have a high
opinion of its literary merits. It is of immense value from
the point of view of linguistic study.
The following lines are taken from the twentieth book of
Chanel's epic. The fair Padmavati, daughter of Padam Sen,
an opponent of Prithi Raj, had heard of the nobility of
Prithi Raj, as he had of her beauty, and when her marriage
\vas arranged with another, she sent a message by a parrot to
Prithi Raj to come and rescue her. Prithi Raj came with an
army to seize her as his bride:
Watching the road in the direction of Delhi,
Happy was she when the parrot returned,
Hearing the news, glad were her eyes ;
The maiden was elated with the tokens of love,
She tore off the dirty clothes from her body,
Purified, and anointed, and adorned herself with robes,
Called for priceless jewels (for her person) from head to foot,
Arrayed 'with the tokens of the king of love.
Filling a golden tray with pearls,
Lighting a lamp she waved it round.
Taking her confidante with her, boldly the maiden
Goes as M
Rukmini went to meet ur&ri ;
Worshipping Gauri, revering Sankar ;
Circumambulating and touching their feet.

Then on seeing King Prithi Raj,
She smiled bashfully, hiding her face through shame.
Seizing her hand, putting her on horseback,
The King, the Lord of Delhi, took her away.
The rumour spread that, outside the city,
They are carrying off PadmSvatI by force.
>rums are beat, there is saddling of horse and elephant,
They
*
ran, armed, in all directions.
Seize ! Seize I * shouted each warrior.
Rage possessed the heroes and their king.
When King Prithi Rfij was going in front
With all his army behind him,
There the horsemen advancing arrived;
King meeting King, the warriors joined in battle,
When Prithi Rfij the King turns rein,
The heavens stand still, the world-serpent shakes.
The chiefs and heroes all look (awful) as death,
Eager for blood on rushes the King,
The bows let fly countless arrows,
The deadly blades draw blood.
From the sweat of the wounds of die heroes on the field
A thick stream flows, and dyes the sand,
As warriors of the bardt smote,
On the field fell heads and headless trunks of the foe.
The foe on the field of battle;
fell
Turning his face towards Delhi,
Having won the battle, went Prithi Raj,
All the chiefs were glad.
He took Padmlvati with him
Rejoicing, King Prithi Raj. 1
Chand Bardai's son, Jalhan, is also said to have been a poet

and possibly some parts of the Rdso were composed by him.
Jagnayak. Jagnayak (or Jagnik) was a contemporary of
Chand Bardai and attended the court of Paramardi (Parmal)
of Mahoba in Bundelkhand, who was a rival of Prithi Raj. His
works have not survived, unless we have in the Mahoba Khand
(or Alhd Khand), which has been described as a spurious
canto of Chand' s epic, a poem which was written by Jagnayak.
This poem has been handed down by oral tradition and exists
in many recensions which differ from one another both in
language and subject matter. It is still sung by professional
singers in India and the language is always modernized to
suit the dialect of the reciter. The
heroes of this poem are
Alha and Odal (or Udan). Portions of one recension have
been translated into English ballad metre by Mr. Watejrfield,
under the title of 'The Nine-Lakh Chain or the Maro Feud.'
A few stanzas will give some idea of this poem. It relates
Alha's victory over King Jambay:
The warriors staggered, they scattered and broke,
In hope their lives to save ;
When Jambay saw they fled, he spoke,
And his elephant onward drave.
'Mahob&'s champion, Devi's son,
Now settle thy cause with me ;
Alive from the field shall go but one,
So turn by turn strike we.'
*
I may not strike, by the Chandel law;
Do them strike first, O King';
Translation by Mr. John Beames, in Vol. XXXVIII of the
1
Journal of the Asiatic Society of Bengal (1869), pp. 152, 153.

EARLY BARDIC CHRONICLES 15
Then a good red bow did Jambay draw,
And fitted the notch to string.
The aim was good, the string did twang,
Fast did the arrow fly;
Across the howda Alhfi sprang.
And the shaft went whizzing by.
Then his javelin flew as near they drew,
Now how may Alha bide ?
Queen Sarada's care at his right hand there
She turned the spear aside.
'Now hear, Banaphar,* Jambay spake,
Twice hast thou foiled my blow
*
;
In peace thy way to Mahoba take,
For thrice thou 'scap'st not so. 9
But Alha there his breast made bare,

And did to the Raja cry ;
*
No part of aKshatri's trade it were,
From the battle trench to fly/
4
There are homes in heaven stand ready for all,
Tomorrow if not today ;
And if in Maro this tide shall fall,
My name shall live for aye.'
*
One chance is left thee, King, to save,
And see thou miss no more '
:
Then drew the King his shining glaive,

And thrice he smote full sore.
No hurt on Alha's body happ'd
His shield was lifted high;
At length the sword of Jambay snapp'd,
Then wist he death was nigh.
I have hewn down elephants with this blade,
*
And lopped their limbs away;

Its master's need has it now betrayed,
My life is lost today I
'
'Now, RajS, now my stroke take thou/

And his elephant on he drove;
Howda to howda, tusk to tusk,
Close met the champions strove.
Then Alha forward dash'd his shield,
With the boss he dealt a blow;
The elephant's driver was hurl'd to the field,
And he waver'd to and fro.
Then Jambay drew his dagger keen,
Lrong time their steel they plied;
On Alh&'s body no hurt was seen,
'Now bind the foe,' he cried.
Pachsawad whirl'd his iron chain,
Dashed the howda to the ground ;
Soon AlhS lighted on the plain,
And fast his arms he bound. 1
Sarang Dhar. Sarong Dhar, a bard -who flourished in the
middle of the fourteenth century, is said to have been a
descendant of Chand Bardai. He is the reputed author of
two poems known as the Hamnur Rasa and the Hammtr
ICavya, which are chronicles of the royal house of Rantham-
bhor. The valour of Hammir in his struggle against the
Emperor Ala-ud-din, at whose hands he received his death, is
very famous. Sarang Dhar is also the author of an anthology
of Sanskrit lyric stanzas called the Sdrngadhara Paddhatt,
which was published in 1363.
These early bards had a long line of successors, some of
whom will be mentioned later on. Their chronicles are
valuable not only as literature, but as a record of the times in
which they lived. Like the old chronicles of other lands, they
contain much that is legendary and unreliable as history, but
the light which they throw on the period in which they were
written is nevertheless of very great value.
Other Poets of this Period. One or two other -writers
who are considered to belong to this period may also be
mentioned. These are Bhupati, who wrote at the end of the
thirteenth century; and Nalla Singh, Mulld Ddud, and Amir
Khusro, "who flourished about the fourteenth century. The
latter was a Persian poet to whom Hindi verses are also
ascribed. There is also a certain Gorakhnath who is regarded
as the founder of an order of Yogis, and as the author of both
Sanskrit and Hindi works. Some doubt has been expressed
as to his being a historical person at all, but it seems likely
that he was, and that he lived about A.D. 1200. The Hindi
works, which include one in prose, are almost certainly not
written by him. They are probably the works of his followers.
They have been placed by some as early as the middle of the
fourteenth century, but their date at present must be regarded
as very uncertain.
Calcutta Review, Vol. LXIII (1876), pp. 414 ff.
IV
EARLY BHAKTI POETS
(1400-1550)
The Vaishnava Revival. A new development in Hindi

literature was caused by the growth of the Vaishnava move-
ment in North India. The Muhammadan conquest had been
a time of great difficulty for the Hindu religion. Scholars
had been dispersed, idols broken, and temples cast down.
But though Hinduism suffered severely it was not destroyed,
and a great impetus was to be given to the Vaishnava form
of the Hindu faith. The Vaishnava religious movements of
North India at this time fall into three groups, Ramaite,
Krishnaite, and deistic. But all the various sects have many
points in common. A personal God, who is full of love and
pity for his devotees, is the object of worship, and towards
him devotion (bhakti) is demanded as the most important
requirement from those who would obtain release. The
movement as a whole was a revolt against the cold intellec-
tualism of Brahmanic philosophy and the lifeless formalism
of mere ceremonial. It was essentially a popular religious
movement, and this is emphasized by its use of the vernacular,
rather than Sanskrit, in the vast amount of literature it
produced. This constitutes the importance of the movement
from the point of view of Hindi literature.
Ramananda's Predecessors. It is generally agreed that
it was Ramananda who gave the greatest impulse to the
religious revival in North India about this time, but there
were others who were his predecessors and the harbingers of
the movement. The Adi Granth of the Sikhs, compiled by
Guru Arjun in 1604, has preserved some of the earliest
specimens we possess of Hindi poetry of the bhakti move-
ment. Among those devotees (bhagats) of whose composi-
tions fragments have been preserved in the Granth, and
who are earlier than Ramananda, are Sadna and Namdev.
The Granth contains also a fragment of a certain Jaidev who
has sometimes been identified with Jayadeva, the author of
the Sanskrit Gltd Govinda y who lived towards the end of the
twelfth century. But the identification is more than doubtful
and the date and the circumstances of this Jaidev are
unknown.
Sadna, who
probably flourished about the beginning of the
fifteenth century, is said to have been born in Sindh and to
have been a butcher (kasdt). He gave up his trade and
became a devotee. Only a couple of his hymns are preserved
in the Granth.
Namdev belonged to the Maratha country and was a
devotee of Vithoba at Pandharpur. He probably flourished
between about 1400 and 1430. By caste he was a tailor, and
according to the legends preserved about him he showed
great devotion in his boyhood, but afterwards for a time
lived an evil life in company with a band of dacoits. He
repented, however, and became a great devotee. He is the
author of a considerable number of Marahi hymns, but he
was a noteworthy religious leader in the north of India also,
and wrote many verses in Hindi. A considerable number of
hymns composed by him are in the Granth. Namdev is a
most interesting figure and probably one of the first leaders
of the new religious revival which began about this time in
North India.
Ramananda, who lived probably from about 1400 to 1470,
was an ascetic who somewhere about the year 1430 began to
preach that the eternalGod should be worshipped under the
name of Rama, that Rama alone was the source of release
from the evils of transmigration, and that this should be
sought by fervent devotion (bhakti) towards him. The way
had already been prepared oy the preaching of others on
similar lines, and Ramananda evidently met with such success
that he took up his residence in Benares and made that the
headquarters of the new movement. He was undoubtedly
one of the most important Hindu religious leaders in North
India, for not only is the sect of RamSnandis, 'which acknow-
ledges him as its direct founder, still very large, but a great
many other sects owe their first impulse to the movement he
EARLY BHAKTI POETS 19
initiated, or else were founded by those who were originally
his disciples or members of his sect. As a writer, however,
Ramananda does not hold an important place. Hymns in
Hindi purporting to have been written by him are still
preserved, one of them in the Adi Granth. In this hymn he
seems to be declining an invitation to go and worship Vishnu
in a temple, on the ground that God is all-pervading and
that he has found God in his heart. It must not be inferred
from this, however, that Ramananda forbade idolatry though
he may have criticised it. He preached a vivid faith in the
reality of the one personal God, spiritual and invisible, whom
he called Rama, but no break was made with idolatry, the
Hindu pantheon, or the old mythology. Nor did Ramananda
throw over the system of caste. It is true that, like other
bhakti teachers before his day, he was willing to acknowledge
that even outcastes, by means of bhaktt, could obtain release,
and that amongst his personal disciples there are said to have
been not only a Sudra, a Jat, and an outcaste, but even a
Muhammadan weaver and a woman. But there is no evidence
that he modified the social rules of caste in the slightest.
From the point of view of Hindi literature the significance
of the movement initiated by Ramananda was depending
for its literature almost entirely on the vernacular. The
followers and successors of Ramananda practically gave up
the use of Sanskrit, and this of course gave a great impetus
to the development of Hindi literature.
Ramananda's Disciples. The immediate personal dis-
ciples of Ramananda were, according to tradition, twelve in
number, and Hindi compositions of some of these have been
preserved. Pipd was the Raja of Gagaraungarh and is said
to have been born in the year 1425. On becoming a disciple
of Ramananda he abdicated his sovereignty and became a
mendicant. Dhand, the Jat, is said to have been born in
1415. Sen was a barber at the court of the Raja of Rewah.
Of these three disciples of Ramananda only a few hymns
have been preserved in the Adi Granth. Bhawdnand, another
disciple, is the reputed author of an explanation in Hindi of
the Vedknta system of philosophy in fourteen chapters, called
the Amrit Dhar. Rat Das was the chamdr disciple of Rama-
nanda, and attained great celebrity as a devotee. More than
thirty of his hymns have been preserved in the Adi Granth.
The following, in which he describes his relation to God, is
a specimen:
If Thou art a hill, then I am Thy peacock ;
If Thou art the moon, then I am Thy chakor;
God, if Thou break not with me, I will not break with Thee ;
If I break with Thee, whom shall I join ?
If Thou art a lamp, then I am Thy wick;
If Thou art a place of pilgrimage, then I am Thy pilgrim.
1 have joined true love with Thee ;
Joining Thee I have broken with all others.
Wherever I go there is Thy service;
There is no other Lord like Thee, O God.
By worshipping Thee Death's noose is cut away.
Rai Dfis singeth to obtain Thy service. 1
Kabir. The greatest of the disciples of Ramananda,
whether as a poet or a religious leader, was the Muhammadan
weaver Kabir (14401518). According to legend he was
really the son of a Brahman widow, who, in order to conceal
her shame, exposed the infant in the Lahar Tank near
Benares, where it was discovered by Niru, the Muhammadan
weaver, and his wife Nima, and brought up by them as their
own child. Another version gives an entirely miraculous
account of his birth. Even as a boy he is said to have given
offence both to Hindus and Muhammadans. The former
he angered by putting on a sacred cord though of low caste,
and the latter by using Hindu names for God though he
was a Muhammadan. He was taunted also with being a
nigura, that is one without a guru. Desiring to remove
this reproach he wished to become a disciple of Ramananda,
but feared that he might not be accepted. He therefore
had recourse to a stratagem. Lying down upon the steps
of the ghat which he knew Ramananda visited, he hoped
that in the dark the guru might stumble over him, and that
probably then no words would rise so readily to his lips as
the mantra of his order. This hope was realised and Rama*
nanda uttered the words ' Ram, Ram/ Kabir claimed that he
had been initiated and Ramananda admitted the claim. After
this initiation Kabir is said to have visited his guru regularly,
but though a disciple of Ramananda he went far beyond his
1
Macauliffe, The Sikh Religion, Vol. VI, p. 331.
master in his teaching. Whether he was originally a Muham-
madan or not, there is no doubt that Muhammadan influence
can be traced in his ideas. He was the founder of the deistic
movement in India. He uses the name Rama for God (as
well as other names such as Hari, Govind, Allah, etc.) and
has Vedantic ideas, but he rejected entirely the doctrine of
incarnations, and with no unsparing voice condemned idolatry
and most of the Hindu ceremonies and rites. The influence
of Kabir, both direct and indirect, has been enormous. Not
only is the sect of Kablrpanthis, which claims him as its
founder, still very numerous, but many other sects owe to
him the leading ideas of their theology. Many of these sects
will be mentioned later on in connection with the literature
which their leaders produced. There are many legends but
not very much reliable information about the life of Kabir.
His interest in religious questions to the neglect of his weav-
ing seems to have brought him sometimes into conflict with
his family, but even more trouble came to him from the
opposition of both Hindus and Muhammadans, who were
offended in turn at his denunciation of many of their
practices. He seems to have been persecuted by the Emperor
Sikandar Lodi, after being denounced by both Hindus and
Muhammadans as a troublesome person, and finally was
exiled from Benares by the Emperor's orders. He went to
live at Maghar in the Gorakhpur district, where he ended
his days.
The poems composed by Kabir are very numerous. It is
probable that he himself did not commit them to writing, but
that they were remembered and treasured up by his disciples.
Various collections of poems ascribed to Kabir have come
down to us, but there is a strong probability that there is
much in these collections that is not his genuine work. One
collection is to be found in the Adi Granth of the Sikhs,
which was compiled in 1604. Another collection is contained
intheBijak (literally 'invoice,* or 'account-book,' or perhaps
'a document by which a hidden treasure can be located').
This work was produced in connection with the Kabir Panth
after the death of Kabir, probably as a book of instruction.
It is often said to have been compiled by Bhago Das, one of
Kablr's immediate disciples, about the year 1570. The Bijak
is a collection of verses in various metres. The Ramaims are
short doctrinal poems. The Sabdas are similar, but in a
different metre. The Chaunttsd is an exposition of the
religious signification of the consonants of the Nagari
alphabet. In the thirty verses of the Vipramatln an attack is
made on the orthodox system of the Brahmans. The Kahards,
Vasantas, BeKs 9 Chdncharis, BirhuRs and Hingolds are religious
verses in the metres so named. The collection ends with over
four hundred Sdkfas, or short apophthegms, each consisting
of a single dohd, and the Sdyar Bijak Ko Pad, which sums up
the whole matter. Neither the verses contained in the Adi
Granth nor those in the Bijak can be regarded in their
entirety as the work of Kabir. Besides these there are a very
large number of Sdkhis (of which over five thousand have
been collected) and other verses ascribed to Kabir which are
still current in India. At the Kabir Chaura, which is
the headquarters of the Kabir Panth at Benares, there is
said to be a collection of the -works of Kabir, called the
Khds Granth, which includes about twenty different books.
Many of these are evidently the works of disciples or succes-
sors, though few of them have been published. The dialect
used in the compositions contained in the Bijak is the old
Avadhi dialect of Hindi. The poetry of Kabir is rough and
unpolished, and the style and language make it not always
easy to understand. Words are often loosely strung together
with very little regard to grammatical accuracy, and the
sentences are often elliptical and full of colloquialisms. The
frequent play on words and the obscurity of many of the
similes used increase the difficulty. But in spite of all this
Kabir must be given a very high place in Hindi literature.
The amazing boldness with which he attacked the religious
practices of his day, tolerating no shams and demanding
reality in all those who were seeking after God, and the moral
earnestness of his appeal to men to put the things of God
first, would in itself give his work an outstanding importance.
But besides this, the stinging satire which he has at his com-
mand, and his ability to produce striking epigrams, and the
fascinating rhythm of his verse, all combine to give a wonder-
ful power to his poetry. He has been called the pioneer of
Hindi literature and the father of all Hindi hymns; but
though, in view of the predecessors we have already mentioned,
such a claim can hardly be allowed, it is certainly true to say
that it was he, more than any others before him, who
popularized Hindi religious literature and vastly extended its
influence, and Hindi literature of the same type subsequent
to Kabir owes to him a great debt*
Translations of his poems give very little idea of the charm
and force of his style, but a few extracts may help to give
some idea of the kind of literature he produced. Here are
one or two of the SdkMs ascribed to him:
Everything is from God and nothing from His servant;
He can change a mustard-seed into a mountain and a mountain
into a mustard-seed.
The house of God is distant, as is a tall palm ;
He who climbs to the top tastes of heaven; he who falls is
ground in pieces.
Consider the parable of the sieve ; it suffers the flour to pass, but
retains the husk;
So men pass what is good and swallow what is useless.
let 1
The lines below illustrate Kablr's theological standpoint:

If God be within the mosque, then to whom does this world
belong ?
If Ram be within the image which you find upon your pilgrimage,
then who is there to know what happens without ?
Hari is in die East; Allah is in the West. Look within your
heart, for there you will find both Karim and Ram ;
All the men and women of the world are His living forms.
Kabir is the child of Allah and of Ram : He is my guru, He is
my Pir.*
One more extract will illustrate the poetical merit of
Kablr's verse:
No one knew the mystery of that weaver : who came into the
world and spread the warp.
The earth and sky are the two beams the sun and moon are two
:
filled shuttles.
Taking a thousand threads he spreads them lengthways today :
he weaveth still, but hard to reach is the far-off end.

Says Kabir, Joining Karma with Karma, woven with unwoven
threads, splendidly the weaver weaves.*
1 Translations from Westcott's Kabir and the Kabir Panth, pp. 86,
93, 95.
* Translation by Sir Rabindranath Tagore, Kabir** Poems, 69.
*
Bijak, Ramaiû, 28 (Rev* Ahmad Shah's translation).
3
The son of Kabir, named Kamal, is also said to have been
a poet, and his couplets to have been made in refutation of
the sayings of his father, whom he seems to have opposed.
Hence arose the proverb, * An unlucky family was Kabir's, in
which the son Kamal was born.'
Nanak:. Of the many movements which owe their inspira-
tion to the teaching of Kabir none is more important than
the religion of the Sikhs, which was founded in the Punjab
by Nanak (1469-1538). It is said that Nanak, when twenty-
seven years of age, met Kabir, and the influence of the latter
is seen not only in the large number of Kabir's compositions
afterwards included in the Sikh Granth y but in the doctrines
of Nanak, which are very similar to those of Kabir, and
undoubtedly owe a great deal to him, though Nanak stands
nearer to Hinduism than Kabir. Nanak made journeys in
several directions accompanied by his disciple Mardana, who
played the rebeck while Nanak sang. His hymns and other
poetical utterances were in a mixture of Punjabi and Hindi.
Although he is not equal to Kabir as a poet, yet his verse is
clear and pithy, and not lacking in poetical excellence.
Nanak soon gathered a number of followers and one of his
most famous compositions is the Japjt, a collection of verses
which he arranged for their daily use in praise and prayer.
Besides this he composed a very large number of other verses
which are included in the Sikh Granth. The following is one
verse from the Japjii
There no limit to God's praises; to those who repeat them
is
there no limit.
is
There is no limit to His mercy, and to His gifts there is no
limit.
There is no limit to what God seeth, no limit to what He
heareth.
The limit of the secret of His heart cannot be known.
The limit of His creation cannot be known; neither His near nor
His far side can be discovered.
To know His limits how many vex their hearts.
His limits cannot be ascertained;
Nobody knoweth His limits.
The more we say, the more there remains to be said.
Great is the Lord, and exalted is His seat.
His exalted name is higher than the most exalted.
Were any one else ever so exalted.
Then He would know that exalted Being:
How great He is He knoweth Himself.
Nanak, God bestoweth gifts on whom He looketh -with favour
and mercy. 1
The Krishna Cult. The followers of Ramananda, as well
as those of Kabir and Nanak, generally gave the name of
Rama to the Supreme God, though other names were some-
times used. The followers of Ramananda accepted Rama as
an incarnation, and permitted idolatry, but the doctrine of
incarnation and the use of images were both rejected by
Kabir and Nanak. It was indeed still bhakti to Rama which
they preached, but to Rama as the invisible God, not as an
incarnation. There was, however, another group of Vaishnavas
who worshipped God under the form of another incarnation,
namely Krishna. Like the Ramaite cult the worship of Krishna
also had its beginnings in the centuries before this period,
but about this time received a new impetus, which was
marked, as well as furthered, by the use of the vernacular for
its religious literature. Sometimes it was the child Krishna
who was especially thought of as an object of worship, but
more often it was that aspect of Krishna's life which was
concerned with his relation to Radha and the other Gopis that
received most attention.
Radha-Krishnaite verse goes back to the Sanskrit Gltd
Govinda of Jayadeva in the twelfth century, and as early as
the fourteenth century Krishna hymns appeared in Bengali.
Between 1450 and 1480 there flourished a Gujarat! poet
named Narsingh Mehtd who wrote Radha-Krishna lyrics in
that language. He is also credited with having composed
similar verses in Hindi.
Vidydpati Thdkur, who lived at Bisapi, in the Darbhanga
district of Bihar, in the middle of the fifteenth century, is one
of .the most famous Vaishnava poets of Eastern India. He
was the founder of a school of master-singers which afterwards
spread all over Bengal. Little is known of his life, but he
was the author of several Sanskrit works. His chief fame,
however, rests on his sonnets in the Maithili dialect of Bihari.
In these he uses the story of the love which Radha bore to
Krishna as an allegory to describe the relation of the soul to
1
Japjl, XXIV; translation by Macauliffe, The Sikh Religion,
Vol. I, 208.
God. Many of these wereafterwards adapted to Bengali and
made popular by Chaitanya, and Vidyapati has had many
imitators. His poems possess great literary merit and he has
had a great influence on the literature of the Eastern part of
India.
Umdpati was probably a contemporary of Vidyapati, and
also wrote Kpshnaite songs both in Maithili and in Bengali.
Mira Bai. About the same time as Vidyapati, or perhaps
a little later, there flourished in the west of Hindustan a
writer whose poems helped to popularize the Krishna cult in
that region. This was Mtrd Bai (fl. 1470), the most famous
of Hindi poetesses. There has been a great deal of confusion
as to her date and the details of her life. But it seems that
she was a princess of Rajputana who was married to Bhojraj,
the heir-apparent of Kumbha, Maharana of Mewar. Her
husband died before he came to the throne, and Kumbha
was put to death by another son, Cdekaran (or Cda), who
seized the throne in 1469. Mira Bai, who was a devotee of
Krishna even from her childhood, seems already to have given
offence to the family of her husband by her refusal to con-
form to their particular form of Hindu worship, and her
frequent lavish expenditure in the entertainment of sadhus,
and when her brother-in-law Odekaran had gained the throne,
he persecuted her so much that she fled from Chitor and
became a disciple of Rai Das, the chamdr disciple of Rama-
nanda. This must have been about the year 1470. She is
said to have been especially devoted to that form of Krishna
known as Ranchhor, and a legend says that one day, while
worshipping with great devotion, she was taken up into the
image and disappeared. Rai Das, as a follower of Ramananda,
was a worshipper of Rama, and it is not clear why Mira Bai
chose him as her guru, or whether Rai Das in any way modi-
fied her views, but he is mentioned two or three times in the
poems ascribed to her. The lyrics of Mira Bai are occupied
with intense devotion to Krishna, though in some of them
she uses the name of Rama also for God. They are written
in the Braj Bhasha dialect and are graceful and melodious
verses. There are many similar lyrics in Gujarat! which are
also ascribed to Mira Bai. The following is the translation of
one of her Ivrics:
God (i.e.Kfishna) hath entwined my soul, O Mother,
With His attributes, and I have sung of them.
The sharp arrow of His love hath pierced my body through and
through, O Mother.
When it struck me I knew it not; now it cannot be endured, O
Mother.
Though I use charms, incantations and drugs, the pain will not
depart.
Is there any one who will treat me? Intense is the agony, O
Mother.
Thou, O God, art near; Thou art not distant; come quickly to
meet me.
Saith MirS, the Lord, the mountain- wielder, who is compas-
sionate, hath quenched the fire of my body, O Mother.
The Lotus-eyed hath entwined my soul with the twine of His
attributes. 1
Vallabhacharya. The spread of the worship of Krishna,

however, owed most to Vallabhacharya. He was the son of
a Brahman from South India and was born at Benares in
1479. He established an image of Krishna at Gobardhan in
the Braj country, and from this as his headquarters spread
the doctrine of his sect in many parts of India. He wrote
many works in Sanskrit, but nothing in Hindi, though the
movement he initiated has produced many Hindi writers.
He died in 1531 and was succeeded as leader of the sect by
his son Vifthalnath.
Vitthalnath, who lived from about 1515 to 1585, not only
became the leader of the sect which his father had founded
but is also credited with having been a Hindi writer.
Besides Hindi verses the genuineness of which is doubtful,
he is also said to have been the author of a short prose work
called Mangan dealing with the story of Radha and Krishna,
which must be one of the earliest extant prose writings in
Hindi. It is written in Braj Bhasha. Four of the disciples
of his father Vallabhacharya, together with four of his own
disciples became the celebrated Ashta Chhap, who are men-
tioned in a later chapter.
Divisions of the Bhakti Movement. During this period
(1400-1550) the various bhdkti movements of Hinduism fall
into three groups, namely (1) those who worshipped Rama as
1 Translation by Macauliffe, The Religion of the Sikhs, Vol. VI,
356.
an incarnation and practised idolatry; (2) those who worship-
ped God under the name of Rama, but rejected idolatry and
the doctrine of incarnation; and (3) those who worshipped
Krishna. In each group during this period Hindi literature
came to be used and was one of the great factors which
helped to spread the various movements, while they, on the
other hand, helped to stimulate the growth of Hindi litera-
ture. Almost the whole of subsequent Hindi literature is
impressed with one or another of these forms of Vaishnava
doctrine.
Malik Muhammad Jayasi. The bardic chronicles had a
much more local currency than the religious verse described
above, and outside Rajputana contributed little to the develop-
ment of vernacular literature, but one remarkable poem of
this period seems to show how even the poetry of the bards
had been affected by the religious revival. This was the
Padumavati of MaUk Muhammad Jayast , who flourished about
1540. Malik Muhammad was a Muhammadan devotee, but
was acquainted with Hindu lore, and profoundly affected by
the teaching of Kablr. He was much honoured by the Raja
of Amethi, who attributed the birth of a son to the prayers
of the saint, and his tomb is still to be seen at Amefhi.
Besides the Padumavati^ he wrote also a religious poem called
the Akhardvat. In the Padumdvati he tells the story of a
certain Ratan Sen, who, hearing from a parrot of the great
beauty of Padumavati, or Padmini, journeyed to Ceylon as a
mendicant and returned to Chitor with Padmini as his bride.
Ala-ud-din, the ruling sovereign at Delhi, also heard of
Padmini, and endeavoured to capture Chitor in order to gain
possession of her. He was unsuccessful, but Ratan Sen was
taken prisoner and held as a hostage for her surrender. He
was afterwards released from captivity by the bravery of two
heroes. He then attacked King Dev Pal, who had made
insulting proposals to Padmini during his imprisonment.
Dev Pal was killed, but Ratan Sen, -who was mortally wound-
ed, returned to Chitor only to die. His two wives, Padmini
and another, became sati for him, and while this was happen-
ing AlS-ud-din appeared at the gates of Chitor, and, though
it was bravely defended, captured it. At the end of the poem
MaUk Muhammad explains it all as being an allegory. Chitor
isthe body of man, Ratan Sen is the soul, PadminI is wisdom,
Ala-ud-dln is delusion, the parrot is the guru, and so on,
and thus a religious character is given to the story* Malik
Muhammad's poem is based on the facts connected with the
actual siege of Chitor, which took place in 1303, but he has
considerably modified the details and borrowed also from
other stories* The poem is written in the vernacular dialect
of Malik Muhammad's time, tinged slightly with an admixture
of Persian words and idioms. It was originally written in the
Persian character. It is a work of great originality and poetic
beauty, and must be reckoned as one of the masterpieces of
Hindi literature.
The following translation of an extract from Malik
Muhammad's description of Ceylon will give some idea of
his excellence as a poet:
When a man approacheth this land, 'tis as though he approacheth
Kailasa, the mount of heaven. Dense mango-groves lie on every side,
rising from the earth to the very sky. Each tall tree exhaleth the
odours of mount Malaya, and the shade covereth the world as though
it were the night. The shade is pleasant with its Malaya breeze; e'en
in the fiery month of Jye?fha [May-June] 'tis cool amidst it. It is as
though night cometh from that shade and as though from it cometh
the greenness of the sky. When the wayfarer cometh thither suffering
from the heat he forgetteth his trouble in his blissful rest, and whoso
hath found this perfect shade, returneth ne'er again to bear the
sun-rays.
So many and so dense are these groves, that I cannot tell their
end. The whole six seasons of the year do they flower and fruit, as
though it were always spring.
The pleasant thick mango-groves bear fruit, and the more fruit
they bear, the more (humbly) do the trees bow their heads. On the
main branches and trunks of the jack trees, the jack fruit ripen, and
fair appeareth the barhal to him who looketh. The khirm ripeneth
sweet as molasses, and the black wild plum, like black bees (among
its leaves). Cocoanuts ripen and ripeneth the khurhur; they ripen as
though the orchards were in Indra's heaven. From the mahud doth
such sweetness exude, that honey is its flavour, and flowers its scent;
and in these princes' gardens are other good fruits, good to eat, whose
names I knew not. They all appear with nectar-like branches, and he
who once tasteth them remaineth ever longing for more.
Areca and nutmeg, all fruits, are produced there luxuriantly. On
every side are thick groves of tamarinds, of palmyras, and of date-palms.
There dwell the birds, singing in many tongues, and sporting
joyfully as they look upon these nectar-branches. At *dawn die
honey-suckers are fragrant, and the turtle-dove cries out, Tis thou
f
and only thou* (eka-i tu hi). The emerald parroquets sportively

rejoice, and the rock-pigeons cry kurkur and fly about. The hawk-
cuckoo crieth for its beloved, and the skulking warbler shouted
tittwfi Afcf. KuhQ, kuhu ever crieth the cuckoo, while the king-crow
speaketh in many tongues. 'Tyre, tyre* \dahi, daht\ crieth the
milkmaid-bird, while the green pigeon plaintively telleth its tale of
woe. The peacock's cry kuA kuA sounded sweet to the ear, and loudly
caw the crows.
Filling die orchards, sitteth every bird that hath a name, and
each praiseth the Creator in his own tongue.1
Other Poets of this Period. Two other poets of this period

may also be mentioned Narottam Das (fl. 1530) wrote the
Sudama Charitr and the Dhruv Charitr. These works are
stories in verse. He was also the author of detached poems.
Kripd Ram (fl. 1540) was the author of a work, entitled Hit
Tararigim, written in Braj Bhasha. Its importance lies in its
being the earliest extant work in Hindi dealing with the art
of poetry, and it shows how the way was being prepared for
the work of Kes*av Das.
1
Padumdvati, Canto II, 27-29; translation by Sir George A.
Grierson and Pandit Sudhakara Ehvivedi, in Bibliotheca Indica of
Asiatic Society of Bengal; New Series, No. 877, Vol. I, 15, 16.
THE MUGHAL COURT AND THE ARTISTIC
INFLUENCE IN HINDI LITERATURE
(1550-1800)
The New Influence in Hindi Poetry. Although the

religious language of the Muhammadans was Arabic, the
literary language they used in India, and the language of the
court, was Persian. This language possessed a large literature,
which had already developed a highly artistic character before
the Muhammadan power was established in India. Many
Hindus who were connected with the court came to learn this
language, and when Urdu literature developed it was fashioned
after Persian models. Though Hindi developed on its own
lines, without any direct influence from Persian, it seems not
unlikely that the polished Persian verse with which many
Hindus became acquainted may have suggested a higher
artistic standard in Hindi literature than there had been
before. At all events, about the middle of the sixteenth
century there appeared a new artistic influence in Hindi
literature, which was developed under encouragement from
the Mughal court.
Previous Muhammadan rulers had encouraged literature,
but it was Akbar who first extended patronage to those who
wrote in Hindi. The reign of Akbar (1556-1605) was marked
by its brilliance and splendour. Not only was he successful in
war and in establishing a strong and, on the whole, good
government, but he was also a great patron of art and litera-
ture. Architecture, music, painting and calligraphy were all
encouraged. The emperor established a large library of
books of various languages, and had translations made
from Sanskrit into Persian and the vernacular. Poets were
patronized and rewarded with great liberality. The magni-
ficence of such a reign, like the glorious reign of Queen
Elizabeth in England which was contemporary with it, could
not but exercise a stimulating influence on all sides, and this
was felt in Hindi literature as well as in other directions.
Even those writers who lived far away from the influence of
the court were helped by feeling that they could carry on
their labours in peace under a government strong enough to
secure good order, and tolerant towards Hindus as well as
Muhammadans. Akbar pursued a deliberate policy of
protection and encouragement of Hindu learning. The
patronage extended by him, and others in high position, to
Hindu as well as to Muhammadan writers, stimulated a great
outburst of literary activity, and encouraged improvement in
the standards of poetic art. The influence was of course felt
most by those writers who lived in close touch with the court.
Poets at Akbar's Court. Akbar himself is the reputed
author of a few detached verses in Hindi, in which he signs
himself Akabbar Ray. They were probably composed in the
emperor's name by the court musician, Tan Sen. Some of
Akbar's great ministers of state were also authors. It was
largely due to the influence of Raja Todar Mai (1523-1589)
in making Hindus learn Persian that Urdu was developed and
accepted as a language. Besides translating the Bhagavata
Purdna into Persian, Todar Mai was the author of some
Hindi verses, the best being on morals (niti). Raja Birbal
(15281583) was a Kanauji Dube Brahman, and was at first
a poet at the court of the Raja of Jaipur. The latter sent him
to the court of Akbar, where his ability soon brought him
into favour. He was not only skilled in business so that he
soon rose to a high position, but also possessed great musical
and poetical talent. Akbar gave him the title of Kaoi Ray
(poet-laureate) and he received rapid promotion. He was
famous as a poet for his short verses of a witty and humorous
character. No complete work by him has survived, but many
verses ascribed to him are still current. When he reached a
high position he himself became a patron of other poets.
Raja Manohar Das (fl. 1577), another of Akbar's courtiers,
was also a poet. Maharaja Man Singh (1535-1618) of Jaipur,
one of Akbar's generals, was a great patron of literary men,
MUGHAL COURT AND HINDI LITERATURE 33
and reputed to have given as much as a lakh of rupees for
is
a single verse. Abul Faiz (or Faizi) was brother of Abul
Fazl, -who wrote the Ain-i-Akbari. Both were friends of
Akbar. Abul Faiz was not only a Persian poet but the
author of many Hindi couplets.
The most skilled Hindi poet amongst Akbar's great
ministers of state was Abdul Rahim Khankhdna (1553-1627).
He was the son of Bairam Khan, through whose aid Akbar,
in his youth, had been established on the throne. He was
acquainted with Arabic, Persian, Sanskrit and Hindi, and
besides being a poet himself "was a great patron of poets,
especially of Gang Kavi. His Hindi verses, especially those
on morals (mti) are very much admired, and he was a poet
of a high order. Amongst the several works he produced is
the Rahim Sat Sat, in which some of his best poetry is found.
Tan Sen (fl. 1560-1610) of Gwaiior, a Hindu convert to
Islam, was the most celebrated musician at Akbar's court and
indeed of his age. After service at other courts he was
summoned by Akbar in 1563, and the first time he performed
Akbar is said to have given him two lakhs of rupees. Besides
being a singer he also wrote poems in Hindi. He lived on
into the reign of Jahangir. Amongst his compositions are the
Sarigit Sar and the Rag Mold. Ram Das of Gopchal, the
father of the great poet Sur Das, was another great singer of
Akbar's court, regarded as second only to Tan Sen. Among
other Hindi poets who attended Akbar's court were the two
friends, Karnes (or Koran) and Narhari Sahay. The latter
was given by Akbar the title of Mahapdtr^ the emperor
saying that other bards were vessels of virtue (Gun ha patr),
but that Narhari Sahay was a great vessel (Mahapatr).
A more famous poet connected with Akbar's court was
Ganga Prasad, who is more commonly known as Gang Kavi.
He lived probably from about 1533 to 1617. Very little is
known of his life, and though he was very much honoured in
his day only about thirty or thirty-five of his verses are still
extant. On
one occasion Abdul Rahim Khankhana, who was
his special patron, is reported to have given him as much as
thirty-six lakhs of rupees for a single verse. He is said to
have excelled in the comic style and also in his description
of battles.
The Art of Poetry. Besides the many poets who were
closely connected with the court, the reign of Akbar was the
period when such great poets as Tulsi Das and Sur Das
nourished. These will be dealt with in later chapters in
connection with the religious movements with which they
were connected. But more closely in touch with the court
was a movement to systematize the art of poetry itself.
While great writers like Tulsi Das and Sur Das were far
beyond their contemporaries in the success they achieved in
the handling of metres and the polish of their verse, earlier
poets had often failed in this respect. But the artistic
influence which had been brought to bear on Hindi poetry
now became self-conscious in various works, themselves in
verse, which determined the canons of poetic criticism.
Kesav Das. Kripa Ram, who is mentioned in a previous
chapter, was prpbably the forerunner of this movement, but
the first great writer on the art of poetry was Keiav Das
Sana<piya Mi&ra (1555-1617) of Orchha in Bundelkhand.
His first important work was the Vigydn Gita, which he
dedicated to his patron Raja Madhukar Shah of Orchha. His
most admired work is his Kavi Priyd, in which he describes
the various literary qualities which should mark a good poem
and other matters connected with the art of poetry. This
-work, which has made Kesav Das an authority on poetry,
was dedicated to a famous courtesan of those days, named
Pravin Ray Pdturi, who was also the authoress of numerous
short poems which have a great reputation. The Ram
Chandrikd of Kes'av Das was inscribed to Indrajit Singh, son
of Madhukar Shah. It was Kes'av Das who, through Raja
Birbal's instrumentality, got Akbar to excuse Indrajit from a
heavy fine he had imposed upon him, and Kes'av Das was
greatly honoured by Indrajit. Kes'av also wrote the learned
Rasik Priyd on poetical composition (sdhitya) and the Ram
Alankjitmanjan on prosody. These works on poetry and
kindred subjects were not only concerned with giving rules,
but also provided original illustrations, so that each work is
also a collection of verse of great poetic merit. The poetry
'
of Kes'av Das is not easy reading, but there is no doubt of his

being a poet of very great skill, and his name is to be
reckoned amongst the foremost. Very many commentaries
on his principal works have been written, and he has had
many imitators. The translation of a few of his lines, which
is all that we have space for here, can give only a very
inadequate idea of his poetry:
Keav
*****
says ray [grey] hairs have done to
cannot do;
Maidens with a countenance
now call me Baba
fair as
[father].
me what my enemies
the moon, and eyes like deer,
Do
Do
Keav
*****
not employ a Brahman who is greedy of fees ; do not make
a fool your friend
full of defects.
;
not serve an ungrateful master; do not praise poetry that is
says. When I see glancing eyes my good resolutions go,

and the opinion of the world is no longer heeded;
My ears become deaf to instruction; and my eyes closed to all
*****
discernment of right and wrong ;
The chariot-like motion of the good intentions of my mind
becomes stopped like a river that has ceased to flow.
May the Creator forbid that such a woman should fix her eyes
on me.
Avoid a horse with an unsteady gait, a servant who is a thief, a
mind which is fickle, a friend without intelligence, a master
who a miser.
is
'Taking food in another's house, dwelling in dog -kennels, travel-
ling in the rainy season these things, says Keav Das, give a
lot of trouble.
Keeping company with sinners, a woman under the control of
Cupid, a son of ill-fame these are hurtful to the mind.
Folly, old age, sickness, poverty, falsehood, anxiety these things,
says Kegav, are a hell upon earth.
Some Contemporaries of Kesav Das. The brother of
Keav Das, whose name was Balbhadra Sanddhya MUra*
wrote several works which include a commentary on the
Bhagavata Puraya. His most famous poem is a Nakhtikh,
which is recognized as a standard work. This is a form of
literature which is common amongst Hindi writers, and is
closely connected with works on the art of poetry. In a
Nakh&kh every part of the body of a hero or heroine from the
toe-nail (nakh) to the top-knot of the hair (tikh} is described
with illustrative verses. Such a work was intended to be used
by other poets in want of ideas. A
similar kind of work is a
work on lovers, or a Nayak-Ndyikd Bhedy in which various
kinds of heroes and heroines are described and classified with
a minuteness which is often pedantic and absurd. Other
writers on the art of poetry of this period were Bdl Krishna
Tripdthl (fl. 1600) and Kofi Ndth (fl. 1600), the former of
whom wrote a good prosody called Ras Chandrikd.
Artistic Poets of the time of Jahangir and Shah Jahan.
The effects of the encouragement given to Hindi literature by
Akbar lasted long after his death. Jahangir (16051627) and
Shah Jahan (1627-1658) very largely continued Akbar's policy
of encouraging poets. Dara Shukoh, the son of Shah Jahan,
was a great patron of learning and literature with a strong
leaning towards Hinduism. Even in the time of Aurangzeb
(1658-1707), although he was unfavourable to Hindu learning,
the title of Kavi Ray continued to be given to deserving poets.
Sundar (fl. 1631) was a Brahman who held the title of Kavi
Ray at the court of Shah Jahan. He wrote a work on poetical
composition called Sundar Sringdr, and was also the author
of a Braj Bhasha version of the Singhdsan Batttst, which was
afterwards translated into Urdu by Lallu Ji Lai.
Sendpati was born about 1589 and died after 1649. He
was a Kanauji Brahman and a devotee of Krishna. His
principal work was the Kavitta Ratndkar, which is dated 1649,
and deals with various aspects of the art of poetry as well as
other matters. He excelled in his description of nature, and
is especially famous for
his description of the six seasons, in
which he isconsidered to have excelled all Hindi poets with
the exception of Dev Datt. Another work of his is the
Kdvya Kalpadrum. His poems were probably written as
detached verses and collected afterwards. The following is
from his description of spring (basant):
During the sportive spring the polos trees are in full bloom,
with red flowers, parts of which however appear from their blackness
to have been dipped in ink. Swarms of bees are going to them to
gather honey. The mild south wind is blowing fragrance in the
gardens and forests. The poet Senflpati says, 'In the spring, by
constantly looking at these flowers the idea of writing poetry has been
strongly brought to my mind.' The red glow of the upper part of
the flowers clearly portrays the burning desire and yearning of a
lover, while the blackness of the lower part, like a fire burnt out
completely and turned to charcoal, suggests the pangs of separation.
The Tripathi Brothers. Ratnakar Tripathi was a KanaujI
Brahman who lived at Tikvampur in the district of Cawnpore
and had four sons, all of whom became famous Hindi poets.
They flourished in the reigns of Shah Jahan and Aurangzeb,
in the latter half of the seventeenth century, and amplified
and developed the work of Keav Das. The eldest was
Chintamani Tripathi who was patronised by several rulers as
,
well as by the Emperor Shah Jahan. He is regarded as one

of the great authorities on the subject of poetical composition
(sahitya). Among his works are Chhand Bichdr, a treatise on
prosody, Kavya Vivek y Kavi-kul Kalpataru, and Kavya
Prakdt. He was also the author of a Rdmdyan in kavitta and
other metres. The name of the youngest brother was Ja$a
Sankar or Nil Kanth Tripathi. Both Chintamani and Nil
Kanth were excelled as poets by the other two brothers,
Bhushan and Mati Ram.
Bhushan Tripathi visited the courts of several kings, but
his special patrons were &iv Raj (or Sivajf) of Sitara and
Chhatrasal of Panna. On one occasion the latter monarch
helped with his own shoulder to carry the poet's palanquin,
and Siv Raj bestowed lavish rewards upon him, giving on
one occasion five elephants and twenty-five thousand rupees
for a single poem. The principal work of Bhushan is the
J$n> Rdj Bhushan, which is an excellent account of rhetoric as
used in poetry, and each figure of rhetoric is illustrated by a
verse in honour of Siv Raj. It was composed between 1666
and 1673. Some of the works of Bhushan have been lost.
But besides the iv Rdj Bhushan there are extant other verses
in praise of &iv Raj and of Chhatrasal. Bhushan is con-
sidered to have excelled in the tragic, heroic, and terrible
styles, and holds a very high rank amongst Hind! poets. He
is especially famous for his keen interest in the progress and
glory of the Hindus, and this is one of the features of his
poetry which is very much admired. It was this interest
which attached him so much to ivaji, the Marafha hero, who
did so much to weaken the Muhammadan power. Here is a
translation of one of his verses :
As Indra subdued Jambha, as the bdrav fire overcomes the sea, as
Rftmachandra overcame the hypocrite Ra*van, as the wind overpowers
the waters, as ambhu overcame Cupid, as RSma, the Lord of Brah-
mans, overcame Sahasra Bal, as fire overcomes the branches of a tree,
as a leopard overcomes a herd of deer, as a lion overcomes elephants,
as light overcomes darkness, as Krishna overcame KSnha, so, Bhushan
says, the lion fiv Raj overcomes the Muhammadans.
Matt Ram
Tripdttn lived first at the court of Maharaja Rav
Bhau Singh of Bundi and afterwards at that of Raja Sambhu
Nath Sulanki. In honour of his first patron he composed a
-work on rhetoric called Lalit Laldm. Among the illustrative
verses are many in praise of his patron as well as love verses
and others. His work is considered to give a very clear and
easily understood account of the subject of rhetoric. It was
composed about 1664. The Chhand Sdr Pingal is a treatise
on prosody composed in honour of Sambhu Nath. The Ras
Raj is a treatise on lovers containing a Ndyikd Bhed and is
considered to be a very excellent work. Mati Ram also com-
posed the Sat Sal Mati Ram. As a poet he is famed for the
purity 2uid sweetness of his language, the excellence of his
similes, and for his descriptions of the dispositions of men.
JMany of his dohds are considered equal to those of Bihar! Lai.
Other Poets of the time of Shah Jahan. Raja Sambhu
Nath Singh of Sitara (fl. 1650) was the friend and patron of
Mati Ram and other poets. He was the author of a Ndyikd
Bhed and a Nakhiikh which are much admired. The latter
is sometimes considered to be the best work of its kind extant.
Sarasvatl (fl. 1650) was a Brahman of Benares, learned in
Sanskrit composition. At the instance of Shah Jahan he took
to writing poems in Hindi. His chief work of this kind was
the Kavindrd Kalpa Latd t in which there are many poems in
praise of his patron as well as of Prince Dara Shukoh and the
Begam Sahiba.
Tulsi (fl. 1655) was only a mediocre poet himself, but in
1655 he compiled an excellent anthology of poetry, called
the Kavi Mate, which includes poems by seventy-five differ-
ent authors from 1443 to 1643.
Another writer of this period was Veddng Ray (fl. circ.
1650). He was the author of the Pdrsi Prakai* a work
describing the manner of counting the months, etc., by
Hindus and Mnharnmadana, which was compiled by the
orders of the Emperor Shah Jahan.
Bihari Lai Chaube. The most celebrated Hindi writer in
connection with the art of poetry is Bihdri Ldl Chaube (circ.
16031663). He issaid to have been born in Gwalior and to
have spent his boyhood in Bundelkhand. On his marriage he
settled at Muttra, the home of the Braj Bhasha dialect, in
which his verses are composed. His patron was Raja Jai
Singh of Jaipur, who gave him a gold ashrafi for each doha.
Bihari Lai's fame as a poet rests upon his Sat Sat (1662),
which is a collection of approximately seven hundred dohas
and sorathds. The majority of the couplets take the shape
of amorous utterances of Radha and Krishna, but each
couplet is complete in itself. They are intended to illustrate
figures of rhetoric and other constituents of a poem. As the
verses do not connect themselves into a story the order of
their arrangement can be changed and they have come down
in different recensions. The most famous is that made for
Prince Azam Shah, the third son of the Emperor Aurangzeb,
and hence called the Azam Shahi recension. A brief descrip-
tion of this -work will help to indicate the nature of Hindi
works on poetics. The vast amount of literature of this type
seems to indicate that in India the dictum that a poet is born
and not made would have to be reversed. In the Azam Shahi
recension there are first a few miscellaneous verses. Then
there are verses applicable to each of four kinds of hero
(nayak), followed by nearly two hundred verses which describe
the varieties and sub-varieties of heroine (ndyika). Next
there are verses illustrating the various constituents of poetic
style (ras) t its excitants and its ensuants, among which
verses about a hundred and seventy deal with the pangs of
love in separation. The third section is a Nakhiikh t and
ends with verses descriptive of the six Indian seasons.
In the fourth part there are moral apophthegms and
allusive sayings and a collection of verses illustrating
sentiments appropriate to various occasions. In the last
part, besides the conclusion and other verses, there are
verses illustrating the different styles (ras) of poetry, which
are considered in India to be nine in number. These are
hasya (comic), karund (pathetic), raudra (furious), vira
(heroic), bhayanaha (terrible), bibhatsa (disgustful), adbhiUa
(marvellous), idnta (quietistic), and fftngdra (erotic). Only
the first eight are referred to in this part of the Sat S<&9
as the last (sririgdrd) had already been dealt with at length
in an earlier part of the recension.
Bihari Lai was not the originator of this form of composi-
tion. Similar works had appeared in Sanskrit, one of which
is called Sapta Satikd, the Sanskrit equivalent of the Hindi
Sat Sat (* seven centuries,' i.e. of verse). Tulsi Das had
written a Sat Sat before the time of Bihari Lai, as well as
other Hindi poets. But Bihari Lai undoubtedly achieved very
great excellence in this particular line, and his work has had
a large number of commentators (as many as thirty in number)
and many imitators. Hari Prasad (fl. circ. 1775) of Benares
translated the Sat Sat into Sanskrit. Each couplet had to be
complete in itself, and yet in such a small space the poet
must give an entire picture. Conciseness of style was there-
fore an absolute necessity, and besides this all the different
artifices of Indian rhetoric had to be illustrated in turn. The
work of Bihari Lai is a triumph of skill and of felicity in
expression. He is perhaps at his best in his description of
natural phenomena, as when he describes the scent-laden
breeze under the guise of a way-worn pilgrim from the
south. Naturally a work of this kind abounds in obscurities
and on account of the peculiarity of its style is very
difficult to translate. In the following verse Bihari Lai gives
a riddle:
At even came the rogue, and -with my tresses
Toyed with a sweet audace with ne'er a 'please*
Snatched a rude kiss then wooed me with caresses.
Who was it, dear ? Thy love ? No, dear, the breeze.*
'
Jaswant Singh. Maharaja Jaswant Singh of Jodhpur

(Marwar) figures in history as an opponent of Aurangzeb.
He was born in 1625 and died in 1681. In 1634, while still
a boy, he came to the throne. In literature his chief fame
rests on his Bhdshd Bhushan, a work on rhetoric in 261
dohas. This work, which was founded on a Sanskrit one, has
had a large number of commentators. Though Keav Das
was the first great Hindi writer on this subject he is considered
heretical in some points, and for those who do not follow Kes'av
Das, the Bhashd Bhushan is the great text-book. Jaswant
1 Translation from Imperial Gazetteer of India, Vol. II, p. 423.
Singh was the author of several other poems which are
connected with the Vedanta philosophy.
Dev Kavi. Dev Datt, more commonly known as Dev Kavi
(circ. 16731745) was a Sanadhya Brahman who was born at
Etawah. At the age of sixteen he recited his first effort
before Prince Azam Shah. In search of a patron he visited
many places in India, but seems to have been dissatisfied with
each in turn. His most famous patron was Raja Bhogi Lai.
His various wanderings enabled him to give accurate descrip-
tions of the inhabitants of different parts of India. He was a
prolific writer and is credited by some with having composed
as many as seventy-two different works. Only about thirty
of these are extant. include a play called Dev Maya
They
Prapanch and works on the art of poetry. Amongst his most
famous works are the Jdtibilds y the Rasbilds y and the Prem-
chandrikd. Most of his verse is of an erotic character, but
from the point of view of form and language he is to be
reckoned amongst the greatest Hindi poets. He wrote in
Braj Bhasha, and his verse is adorned with all the recognised
ornaments of style. In his handling of rhymes, his use of
attributes, his drawing of comparisons, his knowledge of the
sayings current amongst men, and his description of heroines
who represent women typical of various parts of India, he is
considered to have shown the greatest skill.
Here are some translations of his verses:
Call me a wicked person, noble or ignoble, call me poor, or one
who to be blamed, call me a woman of ill-fame whether in this
is
world, the world of men, or in the best of worlds I dwell, neverthe-
less I am separate from all these worlds; whether my body is
love.
*****
destroyed, or the gods and gurus are destroyed, or my life is destroy-
ed, I will not give up my obstinacy. He who dwells in Brindftban,
wearing a crown and yellow garments, with him I am madly in
The work of a man of noble race, the gentility of a nobleman,

the wealth of a generous man, a woman of good character, the honour
of giving, generosity like that of Sur Das, the lustre of virtue, a woman
who walks like an elephant, water in the hot weather, the sunshine of
October, the smiling lightning accompanied by clouds during the
month of November, the full moon, the morning sun, the days of
the winter season, the nights of spring Dev says these are most
ellent.
Later Writers on the Art of Poetry. The reign of
Aurangzeb (16581707) was marked by the beginning of the
decay of the Mughal Empire. It was also the time when a
period of decadence in Hindi poetry set in. This, however,
was not felt at first, as is shown by the names mentioned
above. But towards the end of Aurangzeb's reign, and still
more after his time in the eighteenth century, the decline
becomes evident. While the number of poets still continues
to be great there are no names of such outstanding impor-
tance as marked the time of Akbar and his immediate
successors, and most of the writers are only imitators of
greater poets who preceded them. The severe Aurangzeb
was unfavourable to the arts and to Hindu learning, but the
court patronage of poets was not entirely 'withdrawn, and
many poets attended his court and also that of his son
Bahadur Shah (1707-1712). The following are some of the
writers on the art of poetry and kindred subjects from the
time of Aurangzeb down to the end of the eighteenth
century:
Kulpati Mtira (born circ. 1620) was a Chaube Brahman of
Agra and a nephew of Bihari Lai Chaube. He attended the
court of Maharaja Ram Singh of Jaipur. His chief work,
which is dated 1670, is the Ras RaJmsya a. work on poetics.
y
Ram Jt (born 1646) was the author of a Ndyikd Bhed as

well as other works.
Mandlan (born 1643), of Bundelkhand, wrote several works
on poetical composition.
Sukh Dev MUra (fl. circ. 1680), of Kampila, attended
several courts. The Raja of Gauf gave him the title of
Kavirdf. He wrote works on prosody, poetical composition
and other subjects and is considered a poet of very great
merit.
Netvdj (fl. circ. 1700) was a Brahman who lived at the
Court of Raja Chhatrasal of Panna. He was the author of a
play called the akuntald Ndtak as well as of many detached
verses.
Kdlidds Trivedi (fl. circ. 1700), of Banpura in the Doab,
was for many years in attendance at the court of Aurangzeb,
and afterwards at that of the Raja of Jambu. He is considered
to be an excellent poet. Among other works he compiled an
anthology, called Kdltdds Hajdrd, which contains a thousand
poems selected from the works of over two hundred npets
from 1423 to 1718.
Alam (fl. 1703) was a Brahman who fell in love with a
Muhammadan woman named Shekh Rangrezin, who was a
dyer by trade. He became a Muhammadan and married her.
Shekh Rangresin also -wrote poetry. Alam was in the service
of Muazzam Shah, son of Aurangzeb. His poetry is con-
sidered to be very beautiful.
Sripati (fl. 1720) is counted as one of the authorities on
poetical composition. His most famous work is the Kdvya
Saroj. He wrote several other works also.
Surafi Mi&ra (fl. 1729), of Agra, wrote a commentary on
the Sat Sat of Bihar! Lai, and also one on the Rasik Priyd
of Keidv Das. He also wrote works on rhetoric and other
subjects, including a Nakhtikh.
Ganjan (fl. 1729), of Benares, was a Brahman who was in
the service of Qamruddm Khan (the Vazir of the Emperor
Muhammad Shah), who gave the poet liberal rewards. At the
orders of his patron Ganjan wrote a work on poetics in which
there are many verses in praise of the Vazir. It is considered
to be a -work of great merit.
Guru Datt Singh (fl. 1734) was Raja of Amethl. He wrote
under the name of Bhupati. His principal work was an
excellent Sat Sal in imitation of that of Bihari Lai.
Tosh Nidhi (fl. 1734) lived at Singraur, in the district of
Allahabad. He wrote the Sudhdnidhi and other works on
poetics including a Nakhsikh, which are much admired.
Dalpati Ray, a merchant, and Bansidhar, a Brahman
(fl. 1735), both of whom lived at Ahmedabad, wrote in
collaboration the Alankdr Ratndkar. It was inscribed to
RajS Jagat Singh, of Udaipur, and is a kind of commentary
on the Bhasha Bhushan of Raja Jaswant Singh.
Somndth (fl. 1737) was a Brahman who was patronised by
a son of the Raja of Bharatpur. Among other works he wrote
the Plyush Nidhi, which is considered to be a standard work
on the art of poetry.
Ras LMn (fl. 1740), whose real name was Sayyad Gulam
Nabi, of BUgram, in the district of Hardoi, wrote several
works on poetics which include a Nakhtikh called Ang Darpan.
Vday Nath Trivedt (fl. 1740), of Banpura, in the Doab, was
the son of Kalidas Trivedi. He was the poet-laureate at the
court of the Raja of Amethl, and wrote on the subject of
poetics. His son Dulah Trivedi (fl. 1750) also wrote on the
same subject.
Bairl Sal (fl. 1768) wrote on the subject of rhetoric. His
Bhdshd Bharan is considered to be a standard work of great
excellence.
Kishor (fl. 1768) was an excellent poet whose various
detached verses are collected in the Kishor Sangrah. He is
considered to be very successful in his description of the six
seasons.
Datt or Dev Datt (fl. 1770) was the author of the
circ.
Ldlitya Lata, a work on rhetoric which is said to resemble
the Lalit Laldm of Mati Ram.
Chandan Ray (fl. 1773) attended the court of the Raja of
Gaur. He wrote many esteemed works on the art of poetry.
He had twelve pupils, all of whom became successful poets.
Raton Kavi (born circ. 1741) wrote works on poetics which
include the Fateh Shah Prakai and the Fateh Bhushan. He is
considered to be a poet of great merit. His examples are
mostly verses in praise of his patron Fateh Shah of
Bundela.
Mam Ram M-Ura (fl. 1772) has given, in the fifty-six verses
of his Chhand Chhappani, a very concise and well-written
account of the art of poetry. This poem, which somewhat
resembles the Sanskrit Sutras, is considered to be very
excellent.
Bodhd Flroxabadl (fl. circ. 1773-1803) was connected with
Panna. He was the author of the Ishqndmd and some detach-
ed verses which are much admired. He was a poet of love,
and his verses were written mostly in praise of a courtesan
named Subhan.
Jan Gopdl (fl. 1776) was the author of the Samarsdr, a work
which is said to be full of poetic feeling.
Devte Nandan (fl. 1784-1800) wrote the Sringdr Charitr,
which is a Ndyak-Ndyikd Bhed, and other much-praised
works connected with the art of poetry.
Than Ram, or Than (fl. 1791), a Bhat, was the author of a
work on poetics called Dalel Prakdi.
Bern (fl. 17921817) wrote works on poetics, rhetoric, etc.
His best verses are said to be verses of satire.
Bhaun (fl. 1794), a Bhat, who was skilled in all the graces
of poetry, wrote in Braj Bhasha works connected with the
poetic art.
Bhikdri Das (fl. 1734-1750) was a Kayasth of Pratapgarh,
in Bundelkhand. He is more generally known by the name
of Das. His patron was Hindupati, brother of Raja Prithvi-
pati. He borrowed phrases from other poets, especially from
Sripati, but is considered nevertheless to be an excellent poet.
Besides many works connected -with the art of poetry he also
translated the Vishnu Purdna into Hindi verse.
Gumdn Misra (fl. 1744) attended the court of Akbar AH
Khan. He translated the Naishadha of Sri Harsha and wrote
several works on poetics.
Raghu Ndth (fl. 1 745), of Benares, was the father of Gokul
Nath, who is celebrated as the translator of the Mahdbhdrata
into Hindi. Raghu Nath was a writer on the art of poetry,
his works being much admired. They include a commentary
on the Sat Sal of BiharI Lai.
Kumar Mani Bhatt (fl. 1746) was a very skilled poet, who
wrote a good work on poetics called Rasik Ratal.
Sambhu Nath Misra (fl. 1749) attended the court of
Bhagwant Ray Khichi, Raja of Asothar. He wrote several
much-admired works on poetics and was the preceptor of
&iv Arsela and other poets.
i&fo Arsela (fl. circ. 1750) wrote on poetical composition
and prosody.
Jagat Singh (fl. circ. 1770) belonged to the family of the
Raja of Gonda and Bhinga and was a pupil of Siv Arsela.
He wrote on prosody and rhetoric.
Thdkur (fl. circ. 1750) excelled especially in the savaiya
metre, and his works are mostly in the erotic style. His most
famous work is the Thdkur Satak. He also wrote a commen-
tary on the Sat Sat of Bihar! Lai.
Hari Charon Das (fl. 1778) was a Brahman, of Krishnagarh
(Marwar). He wrote commentaries on the Kavi Priya and
Rasik Priya of Kes~av Das, as well as on the Sat Sat of
Bihari Lai, and was the author of other works also.
VI
TULSl DAS AND THE RAMA CULT
(1550-1800)
Tulsi Das. The most celebrated name in Hindi literature

is undoubtedly that of Tulsi Dds 9 whose Hindi Rdmayan has
had great and deserved fame not only in India but throughout
the whole -world. The details of his life, apart from legends,
are very scanty. He is said to have been born about 1532,
and his father's name is given as Atma Ram and his mother's
as Hulasi. His own name was at first Rambola, but when he
became a devotee he took the name of Tulsi Das. The place
of his birth is not known with certainty. According to some
he was born at Hastinapur; according to others at Hajipur,
near ChitrakuJ. But the tradition which is most generally
accepted is that he was born at Rajpur, in the district of
Bnda. He was a Kanauji Brahman, and it is said that his
guru was Narharidas, who was sixth in preceptorial succession
from Ramananda. He himself tells us, in the introduction to
the Ramayan, that he studied at Sukar-khet, or Soron. When
he was a young man it is said that he loved his wife very
much, and one day, when she had gone home to her father's
house, Tulsi Das was greatly troubled on account of separation
from her. He therefore hastened after her, although it
involved crossing a swollen river in the dark. His wife,
however, rebuked him, saying that if only he would have as
great devotion to Rama, the earth would become gold. These
words acted as a call to Tulsi Das. At daybreak he left
home, and became a devotee of Rama, taking up his abode
at Benares. There he spent the greater part of his life,
though he also visited other places, such as Soron, Ayodhyi,
Chitrakut, Allahabad, and Brind&ban. Many legends are told
about him, but scarcely anything that is reliable. Nabha Das,
TULSI DAS AND THE RAMA CULT 47
the author of the Bhaktamdld, is said to have been his friend,
and Sur Das is also supposed to have visited him. He was
not directly connected with the court, though Raja Man
Singh and Abdul Rahlm Khankhana are said to have
befriended him, and no doubt he was affected by the artistic
influence in literature which was characteristic of the age in
which he lived. Tulsi Das died at Benares in 1624.
The great masterpiece of Tulsi Das is the Rdmdyan. This
is the name by "which it is generally known, but he himself
called it the Rdm-charit-mdnas, the 'Lake of the Deeds of
RSma.' It was commenced in 1575, according to his own
statement in the prologue. The story of Rama had been told
long before by the Sanskrit poet Valmiki, who lived probably
in the fourth century B.C., and it has been a frequent theme
of Indian poets in the various languages of India. The
Rdmdyan of Tulsi Das is not, however, a translation of that
of his Sanskrit predecessor. The general outline of the story
is the same, but there is a great deal of difference in treatment.
It is only in the broadest outline that the two agree. Not
only are there different episodes in each, but even in the
main story the incidents are differently placed and often have
quite a different complexion. The main difference, however,
between the work of Valmiki and that of Tulsi Das is in their
theological outlook. In books II to VI of Valmiki 's poem
Rama appears as a man and only a man, except in one
passage which has been interpolated into the sixth book. The
first book, in which Rama and his brothers are regarded as
partial incarnations of Vishnu, is considered by scholars
as a later addition. In the poem of Tulsi Das, however,
Rama appears throughout as an incarnation of the Supreme
God. The same theological position as that of Tulsi Das
was also characteristic of a Sanskrit work by an unknown
poet called the Adhydtma Rdmdyan* the date of which is
not earlier than the fourteenth century A.D. It is not
unlikely that it was this work which was the real precursor of
Tulsi Das's Rdmdyan. Besides their theological attitude they
have other points in common, but even a casual acquaintance
with the two poems will make it clear that the work of Tulsi
D5s is far superior in poetic merit. *
Tulsi Das was in line with that tendency of the bhakti

movement, which we have already noted in a previous chapter,
in using the vernacular for his great poem. But he knew he
would meet with his critics especially amongst the Sanskrit
pandits, who would affect to despise his work as a concession
to the uneducated multitude. There is quite a long passage
in the introduction to the Rdmdyan in which he vindicates his
style against the critics. 'My lot/ he writes, 'is low, my
purpose high ; but I am confident of one thing, that the good
will be gratified to hear me though fools may laugh. The
laughter of fools will be grateful to me as they have no taste
for poetry nor love for Rama I am glad that they should
laugh. If my homely speech and poor wit are fit subjects for
laughter, let them laugh ; it is no fault of mine. If they have
no understanding of true devotion to the Lord, the tale will
seem insipid enough; but to the true and orthodox wor-
shippers of Hari and Hara the story of Raghubar will be
sweet as honey.' The wonderful acceptance, however, which
the poem of Tulsi Das has received has been its greatest
vindication. Amongst all classes of the Hindu community in
North India, with the exception perhaps of a few Sanskrit
pandits, it is today everywhere appreciated and venerated
whether by rich or poor, old or young, learned or unlearned,
and it has sometimes been called the Bible of the Hindu
people of North India.
One most commendable feature of the Rdmdyan is its pure
and lofty moral tone, in which it compares very favourably
with the literature put forth by some of the devotees of
Krishna. In one passage, in which Tulsi Das has been
explaining why he calls his poem the 'Lake (or "pond") of
Rama's deeds,' he says, Sensual wretches are like the cranes
'
and crows that have no part in such a pond nor ever come
near it; for here are no prurient and seductive stories, like
snails or frogs and scum on the water, and therefore the lustful
crow and greedy crane, if they do come, are disappointed.'
This claim made by Tulsi Das was a just one, and it is this
feature of his poem which has given it so much value in
holding a high moral ideal before its readers.
up
The dialect which Tuls! Das uses is the old Baiswari, or
Avadhi, dialect of Eastern Hindi, and through his influence
Ramaite poetry since his day has generally been in this dialect.
He uses, however, many words fromother dialects, especially
from Braj Bhasha. His language abounds in colloquialisms,
and Tulsi Das has little scruple in altering a word, or adopting
a corrupt pronunciation, to make it fit into his metre or rhyme.
Like other Indian poets, he makes use of many conventional
similes and stereotyped phrases. The gem which is supposed
to be in the serpent's head, and the mythical power of the
swan to separate milk from the water with which it has been
mixed, and his constant use of such phrases as 'lotus-feet,*
are examples. But there are many other passages which show
that Tulsi Das was a true observer and lover of nature. In
one place he speaks of King Dasrath, in his great distress,
*
writhing like a fish in the scour of a turbid river,' a passage
which, Mr. Orowse us, puzzled commentators until
tells
someone discovered that this was a true phenomenon of
nature. Tulsi Das's love of nature comes out in many such
passages as the following, taken from the Aranya KdnqL:
The Lord -went on from there to the shore of the deep and
beautiful lake called Pampa ; its water as clear as the soul of the saints;
with charming flights of steps on each of its four sides ; where beasts
of different kinds came as they listed, to drink of the flood, like
crowds of beggars at a good man's gate. Under its cover of dense lotus-
leaves the water was as difficult to distinguish as is the unembodied
supreme spirit under the veil of delusive phenomena. The happy
fish were all in placid repose at the bottom of the deep pool, like the
days of the righteous that are passed in peace. Lotuses of many
colours displayed their flowers; there was a buzzing of garrulous
bees, both honeymakers and bumble-bees; while swans and water-
fowl were so noisy you would think they had recognised the Lord
and were telling his praises. The geese and cranes and other birds
were so numerous that only seeing would be believing, no words
could describe them. The delightful voice of so many beautiful birds
seemed as an invitation to the wayfarers. The saints had built them-
selves a house near the lake, with magnificent forest- trees all round
the champa, the ma.lsarit the kadamb and tamala, the pdtala, the kathal*
the dhak and the mango. Every tree had put forth its new leaves and
flowers and was resonant with swarms of bees. A delightful air,
oft, cool and fragrant, was ever in delicious motion, and the cooing
of the cuckoos was so pleasant to hear that a saint's meditation
would be broken by it. The trees, laden with fruits, bowed low to
the ground, like a generous soul whom every increase of fortune
renders only more humble than before. 1
* Translation by Mr. F. S. Growse.

Thestory is divided into seven chapters, or kdngs, named
respectively Bdl y Ayodhyd, Aranya, Kishkindhd, Sundar,
Lanka, and Uttara. Of these the second, which describes
the scenes at Ayodhya that led up to Rama's banishment to
the forest, is considered the best. The characters are con-
sistently drawn, and many of the scenes are full of deep
pathos. The grief of Das*rath, the filial piety, meekness,
generosity and nobility of Rama, the wifely devotion of Sita,
the courage and enthusiasm of Lakshman, the unselfishness
of Bharat, as the genius of Tulsi Das has described them,
cannot but awaken a response in the heart of the reader.
The object which Tulsi Das had in mind, however, was
not merely to tell in beautiful verse a wonderful story, but
to use it as a vehicle for preaching the supreme value of the
worship of Rama. Though Tulsi Das accepted, like other
leaders of the Vaishnava movement, the pantheistic teaching
of the Vedanta, it was tempered by belief in a personal God,
whom he identified with the incarnation Rama. His poem is
a passionate appeal to men to devote themselves to the
worship of this God. The theological digressions which
Tulsi Das sometimes makes, and the frequent hymns he
inserts, may be to some extent a drawback to the literary
value of the Rdmdyan, but they are excused by the purpose
which Tulsi Das had in view. In these hymns the powers of
Tulsi Das as a poet are manifest, and even those who do not
accept his religious ideas cannot but admire the spiritual
earnestness which the hymns display. The following is from
the Bdl Kdn4".
To the King of heaven be all glory given, refuge of creation in
distress and care,
Priests and kine befriending, hell's brief triumph ending, best
beloved of Lakshmi, Ocean's daughter fair.
Heaven and earth's upholder, who, than all men bolder, dares
to scan the secret of thy strange mysterious way?
Ever kind and loving, humble souls approving, may thy gracious
favour reach now to me, I pray.
Spirit all-pervading, fleshly sense evading, hail Mukund immor-
tal, lord of blissfulness supreme
Ever pure and holy, whom the Queen of Folly has no power to
tangle in her world-deluding dream.
Glory, glory, glory, theme of endless story, sung by saints and
sages in an ecstasy of love.
Daily, nightly gazing on the sight amazing, source of every
blessing, Hari, lord of heaven above.
Triune incarnation, who at earth's creation, wert alone presiding,
and other aid was none;
O
Though in prayer unable, and my faith unstable, great sin-des-
troyer, hear our hapless moan.
Life's alarms dispelling, all disasters quelling, comfort of the
be our succour now;
faithful,
All the gods implore thee, falling low before thee, with unfeign-
ed submission of body, soul and vow.
Lord God Bhagavana, Ved and eke Purana, SaradS and Seshn&g,
and all the saintly throng,
Find the theme too spacious, only know thee gracious; hasten
then to help us in our hour of wrong.
In grace excelling, Beauty's chosen dwelling, ark on life's dark
all
ocean, home of all most sweet,
God and saints and sages, now this tempest rages, fly in con-
sternation to clasp thy lotus feet. 1
The Rdmayan is undoubtedly a great poem, worthy to
rank amongst the great classical masterpieces of the world's
literature. It is not indeed without its literary defects, and
other Hindi poets, such as Sur Das, may have excelled
Tulsi Das in the polish of their verse and their handling
of metres. But the Rdmayan of Tulsi Das will always
hold its place as the work of a great literary genius. The
importance of its influence, too, cannot be exaggerated.
Tulsi Das founded no sect, and indeed added nothing to the
theology of that school of Hinduism to which he belonged,
but there is no doubt that the Rdmayan has been the most
potent factor in making Vaishnavism the accepted cult of the
vast majority of Hindus in North India today.
A brief mention must be made of the other literary works
of Tulsi Das. All of them have the object of popularizing
the worship of Rama. In the Ram Gftdvali, Tulsi Das tells
the story of Rama in verses which are adapted for singing.
The Dohdvall, or Doha Rdmayan, is a collection of dohds and
is not so much an epic poem as a moral work. Sir George
Grierson thinks that it is probably a collection of dohds from
other poems of Tulsi Das, made by a later hand. The
KavittdvaU, or Kavittsambandh, also deals with the story of
Rama and is written in kavitta metre. The Vinay Patrikd
* Translation by Mr. F. S. Growse.
is a collection of hymns to Rama and is a work which is very
much admired. The Sat Sal is a similar work to that which
Bihari Lai wrote fifty years later, but is connected with Rama
instead of with Krishna. It contains seven hundred em-
blematic dohds. It is dated 1585. A great many other works
also are ascribed to Tulsi Das, but with regard to the genuine-
ness of some of them there is a great deal of doubt. Although
the Rdm-charit-manas is undoubtedly his greatest work, his
poetic powers are also exhibited in the other works which he
composed.
The Bhaktamala. It marks the greatness of the achieve-
ment of Tulsi Das that amongst Ramanandis, or other
worshippers of Rama as the incarnation of the Supreme,
there seem to be fewer Hindi works of outstanding importance
than in other sections of the Vaishnava movement, and this
is no doubt due to the dominating influence of Tulsi Das's
great work. There are, however, some writers who must be
mentioned. The Bhaktamala was the work of Nabha Das
(fl. 1600), who was also known as N drayan Das. He was
the disciple of Agra Das, who according to some was a leader
of the Vallabha movement of Krishna worship, but by others
is said to have been a disciple of Ramananda. Nabha Das -was
a Dom by caste, and it is said that when he was a child he
was exposed by his parents during a time of famine to perish
in the woods. Agra Das found him and brought him up. It
was the suggestion of his preceptor that Nabha Das, when he
arrived at maturity, wrote the Bhaktamala probably some-
t
where between 1585 and 1623. The Bhaktamala or Roll of

,
*
the Bhagats,' is a poem in old Western Hindi, written mainly

in the chhappai metre. It gives an account of the principal
Vaishnava devotees, whether worshippers of Rama or of
Krishna, though it deals chiefly with those who -were worship-
pers of Rama. Nabha Das himself seems to have been a
RamanandL The style is very obscure and compressed.
Generally one stanza only is given to each devotee, and in
this his chief characteristics are described in the briefest
possible manner, with allusions to different legendary events
in his life. The Bhaktamala holds a very important place in
Indian religious history. It would, however, be almost
unintelligible but for the commentary which always accoxn-
panics it.This was written in the kavitta metre by Priyd
Dds in 1712. In this commentary further legends are added.
There have also been other later commentators, and their
work is often printed together with the original text of Ndbhd
Das and the gloss of Priyd Das. The Bhaktamdld has been
fully
translated and adapted in all the chief vernaculars of
India.
Maluk Das. Maluk Das who9 lived in the reign of
Aurangzeb, was the founder of a sect which is closely con-
nected with the Ramanandls. The Maluk Dasis worship
Rama as an incarnation of the Supreme and also use images.
The main difference between this sect and that of the Rama-
nandls seems to be that the teachers of the Maluk Dasis are
not ascetics, but, like their founder, laymen. Maluk Das was
a trader by occupation, and is said to have been born at Kara,
in the district of Allahabad, and to have died at Jagannath.
Monasteries of his followers at Kara and other places are
still in existence. The works ascribed to Maluk Das include
the following: Das Ratna ('The Ten Jewels'); Bhaktavatsal,
which deals -with Krishna's regard for his devotees; Ratna-
khdna, which is a dissertation on the soul and God. He is
also the reputed author of a large number of detached verses
and apophthegms which are still quoted amongst the people.
A famous one is translated as follows, and has been compared
with the teaching of St. Matt. vi. 26:
The python doth no service, nor hath the fowl of the air a duty
to perform (to earn its living);
Quoth Maluk Das, For all doth Rama provide their daily bread.
The idea of the couplet is based on the belief current in
India that the python (ajagard) is unable to hunt for its food,
but has to wait with its mouth open for its prey to walk
into it.
Other Works connected with the Worship of Rama. A
disciple of Tulsi Das, who was also his constant companion,
was Bern Mddhav Dds (fl. 1600). He_is said to have written
a biography of his master called Gosatn Charitr and was also
y
the author of other works, including a Nakhtikh, Besides the

jan (or Rdm-charit-mdnas) and other works of Tulsi
Das dealing with the story of Rama, there appeared during
this period several other -works connected with the same
subject. Chintdmani Tripdthi (fl. 1650), who is mentioned in
the previous chapter as a writer on the art of poetry, also
wrote a Rdmdyan in kavitta and other metres.
Man Das (born 1623), of Braj, wrote a Hindi poem entitled
Rdmcharitr, which is founded on two Sanskrit works, the
Rdmdyana of Vdlnuki and the Hanumdn Ndtaka.
Ishwdrl Prasdd Tripdthi (fl. 1673) wrote" the Ram Bilds
Rdmdyan, which is a translation of Valmlki's poem.
Bdl All (fl. circ. 1692) was the author of two works, both
in praise of Rama and Sita, and entitled Nehprakai and Slid
Ram Dhydnmanjari. Jdnk Rasiki Saran (fl. 1703) wrote the
Avadh Sdgar, which is a poem in honour of Rama. Bhagwant
Ray (fl. 1750) was the ruler of Asothar, in the district of
Fatehpur, and for several years resisted the attacks of the
Mughal Emperor, till he was killed by treachery in 1760.
He was the author of a Rdmdyan. Another work dealing with
the story of Rama was the Rant Bilds of Sambhu Ndth (fl.
1750). Tulsi Sahib (1763-1843) was the eldest son of the
Raja of Poona, but was unwilling to succeed to the throne.
He therefore left his kingdom and renounced the world, and
becoming a wandering ascetic finally settled in Hathras.
Besides many hymns, he wrote a work called the Ghat-
Rdmdyan. He claimed that in a previous birth he was none
other than the great Tulsi Das himself, and had in that birth
composed the Ghat-Rdmdyan, but as it aroused a great deal
of opposition it was not published to the world but the
Rdm-charit-mdnas was substituted in its place. His work
differs in style and language, as well as in subject matter, from
that of his more-renowned namesake, and is decidedly inferior
in character.
Madhu Sudan Dds (fl. circ. 1782), who was a poet of con-
siderable merit, was the author of the Rdmdfvamedh, in which
he describes the horse-sacrifice made by Rama. Like Tulsi
Das he was a devotee of Rama, and his poetry resembles
that of the great master.
Maniydr Singh, also called Ydr (fl. circ. 1785), was another
devotee of Rama who was a skilful poet. He was a
Kshatriya, of Benares. His works include the Saundarya
Lahari, the Sundarkdng, and the Hanumdn Chhabbisi, all of
TULSl DAS AND THE RAMA CULT 55
which deal with some of the legends regarding Rama and
HanumSn.
Ganesh (fl. 1 800), who was patronised by the Raja of Benares,
besides other poetical works, composed in Hindi verse a
translation of part of Valmiki's Rdmdyana.
VII
THE SUCCESSORS OF KABIR

The Kabirpanthis. The great influence which the teach-
ing of Kabir exercised is shown by the large number of sects
which owe their origin to the ideas which he promulgated.
These sects have their literature in the vernacular. The
Kabirpanthis, who trace their direct origin to Kabir, have two
divisions. One has its centre at the Kabir-chaura in Benares,
and is also associated with Maghar, where Kabir died. The
other has its centre in Chhattisgarh, in the Central Provinces.
Each of these divisions is ruled by a mahant, and each has its
literature. The descent of the Benares mahants is traced back
to Surat Gopal, and that of the Chhattisgarh mahants to
Dharm Das. These are sometimes said to have been personal
disciples of Kabir, but probably lived a little later. Although
the Kabirpanthis have as a whole kept free from the worship
of images, Hindu influence has in various ways found its way
back into the sect. Kabir rejected the doctrine of divine
incarnation, but he himself is often now regarded as an
incarnation of the Supreme. Hindu practices which he
condemned, such as the use of the rosary, have been
introduced. Except the works ascribed to Kabir himself, the
large amount of literature belonging to this sect has been
scarcely examined by those outside the sect. The Bljak y
already mentioned in connection with Kabir, was probably
compiled about fifty years after his death. Two other works
belonging to .this sect may also be mentioned. These are the
Sukh Nidhdn, which probably belongs to about the middle of
the eighteenth century, and the Amor Mul, which is probably
as late as 1800.A Kabirpanthi who flourished about 1800 and
wrote some pithy verses in kunfaliya metre was Paltu Sahib.
The Sikhs. It has already been mentioned in a previous
THE SUCCESSORS OF KABlR 57
chapter that the religion of the Sikhs, founded by Nanak, was
greatly influenced by the teaching of Kabir. Nanak was
followed by nine gurus, most of whom were poets. The sacred
book of the Sikhs, called the Granth Sahib (or sometimes the
Adi Granth, i.e. * Original Granth,' to distinguish it from the
later Granth of the Tenth Guru), was compiled in 1604 by
Guru Arjun (15631606), who was the sixth Guru of the
Sikhs. It contains the compositions of Guru Nanak, Guru
Angad, Guru Amor Das, Guru Ram Das, Guru Arjun, Guru
Teg Bahadur (the ninth Guru) and a couplet of Guru Govind
Singh (the tenth Guru). The compositions of these last two
Gurus were added after the first compilation. Besides the
writings of these Gurus, the Granth also contains panegyrics
of the Gurus by the bards who attended on them or admired
their characters, and hymns of several bhagats, such as
Namdev, Kabir and others, whose teachings corroborated that
of the Gurus. The hymns are not arranged in the Granth
according to their authors but according to the thirty-one
Rags, or musical measures, to which they were composed. All
the Gurus, except the last, adopted the name of Nanak as
their nom de plume. At the beginning of the volume is placed
the Japjl, which was composed by Nanak, and then follow the
So-Daru, the So-purkhu, and the Sohila, which are extracts
from later parts of the books. All these pieces were intended
for devotional purposes, and therefore placed at the beginning
of the book. After the Rags at the end of the volume is the
Bhog y or conclusion, which contains flokas and panegyrics.
The whole forms a lengthy volume, the ideas which it
contains being repeated in endless variation. For the Sikhs
it is a hymn-book and prayer-book as well as a manual of
theology. The language varies in different parts, but for the
. most part the hymns are written in old dialects of Hindi with
some admixture of Punjabi. A hymn of Guru Nanak was
given in a previous chapter. The following is one of the
hymns of Guru Arjun:
On the way where the miles cannot be counted,
The name of God shall there be thy provision;
On the way where there is pitch darkness,
The name of God shall accompany and light thee;
On the way where nobody knoweth thee,
The name of God shall be there to recognise thee;
Where there is very terrible heat and great sunshine*
There the name of God shall be a shadow over thee ;
There, saith Nanak, the name of God shall rain nectar on thee. 1
The tenth Guru, whose name was Govind Singh, held office
from 1675 to 1708. was he -who developed the Sikhs into
It
a great military order called the Khalsa and organized them
to resist the Muhammadans* Under him many Hindu ideas
were introduced into the religion of the Sikhs. Govind Singh
composed many verses, mostly in Hindi (Braj Bhasha), but
some also in Persian and Punjabi. These works, together with
the translations and other verses of some in the Guru's
employ, were collected in the year 1734, after Govind Singh's
death, by Bhai Mani Singh into one volume, which is called
the Granth of the Tenth Guru to distinguish it from the Adi
Granth. It is used for the promotion of valour and other
purposes, but it is not regarded by the Sikhs as having the
same authority as the Adi Granth. Besides ihejapji, or hymns,
in praise of God, and many other religious verses, it contains
the Vichitr Natak, which is an account of the life and mission
of Govind Singh, and other poems calculated to stir up the
martial valour of the Sikhs.
The Dadupanthis. The founder of the sect of Dadupanthis
was Dadu (15441603), who was born at Ahmedabad, but
spent most of his life in Rajputana. According to common
report he was a cotton-carder by caste, but the tradition of his
followers that he was a Brahman is probably correct. His
spirit of forgiveness and kindness (daya) was so great that he
was called Dadu Dayal. His teaching is very similar to that of
Kabir, but is not so much affected by Muhammadan ideas.
Much of the Hinduism against which Dadu protested has
found its way back into the sect. Dadu rejected, for instance,
the teaching of the Vedanta, caste, and idolatry, but some of his
modern followers are Vedantists, and only twice-born Hindus
are allowed to read the Bdni, and the sect has no dealings at
all with outcastes. Moreover, Dadu's Bant is worshipped
with idolatrous rites. Dadu's teaching was spread by fifty-two
disciples. His doctrines are contained in the Barn, a book of
1 Translation by MacaulifTe, The Sikh Religion, Vol. Ill, 202.

about thousand verses. It is divided into thirty-seven
five
chapters dealing with such subjects as the Divine Teacher,
Remembrance, Separation, The Meeting, The Mind, Truth,
The Good, Faith, Prayer, etc. The verses of Dadu are very
attractive and have a musical rhythm, and hymns which are
included amongst them are set to music and used both for
public and private worship. The following is a translation of
a few of Dadu's verses:
Receive that which perfect into your hearts to the exclusion of
is
all besides; abandon things for the love of God, for this Dadu
all
declares is the true devotion.
Cast off pride, and become acquainted with that which is devoid
of sin. Attach yourselves to Rama, who is sinless, and suffer the
thread of your meditations to be upon him.
All have it in their power to take away their own lives, but they
cannot release their souls from punishment; for God alone is able to
pardon the soul, though few deserve His mercy.
Listen to the admonitions of God, and you will care not for
hunger nor for thirst ; neither for heat, nor cold ; ye will be absolved
from the imperfections of the flesh.
Draw your mind forth, from within, and dedicate it to God;
because if ye subdue the imperfections of your flesh, ye will think only
of God.
If ye call upon God, ye will be able to subdue your imperfections,
and the evil inclinations of your mind will depart from you; but they
will return to you again when ye cease to call upon him.
Dadu loved Rama incessantly; he partook of his spiritual essence
and constantly examined the mirror, -which was -within him.
He subdued the imperfections of the flesh, and overcame all evil
inclinations ; he crushed every improper desire, wherefore the light
of Rama will shine upon him. 1
The which Dadu founded has a very large literature
sect
in Hindi. Dadu's two sons were poets, and all his fifty-two
disciples are reported to have composed verses, as well as
many later followers. The most important poet amongst his
disciples was Sundar Das the younger (fl. 162G-1650), who is
also called Busar. By the Dadupanthis he is regarded as one
of the best Hindi poets, worthy to rank amongst the highest
names in Hind! literature. He was a voluminous writer.
Amongst his most admired works are his Savaiyas (sometimes
called the Sundar Bilds) and the Gydn Samudra. Ntichal Das,
1
Translation by G. R. Siddons, in The Journal of the Asiatic
Society of Bengal, Vol. VI (1837).
a later Dadupanthl poet, introduced Vedantic ideas into the
teaching of the sect.
The Lai Dasis. Lai Das, who died in 1648, was the
founder of a sect known as the Lai Dasis. He belonged to
Alwar, and came from a predatory tribe called the Meos.
Like other teachers whose doctrines can be traced to Kabir's
influence, he emphasized the value of the repetition of the
name of Rama. His teaching and hymns are contained in a
work called the Bant. The members of the sect often sing
the hymns to music.
The Sadhs. The sect of the Sadhs was founded in 1658 by
Blr Bhdn, and is found chiefly in the upper part of the Doab.
Bir Bhan claimed to have received his doctrines from a
superhuman instructor in the form of verses (sabdas) and
couplets (sdkhts). These were collected into a volume called
the Adi Upadefa ('Original Instruction'). These verses,
together with those of other teachers like Kablr, Nanak and
Dadu, are recited at the meetings of the sect.
Dharni Das. Dharnt Das was born in 1656 and lived at
the village of Manjhi, in the district of Chhapra. He was a
Kayasth by caste, and became a devotee. He founded a sect
which still survives. He is the reputed author of two Hindi
works, the Satya Prakaf and the Prem PrakdS.
Some Sufi Poets. A Muhammadan who wrote Hindi
verses was Yon Sahib (16681723). He seems to have been
a Sufi, and lived and taught at Delhi. Some of his disciples
also wrote Hindi verse, such as Keiai) Das and Build Sahib,
both of whom flourished about 1730. A disciple of Bulla
Sahib was Guldl Sahib, and the latter had a disciple called
Btukhd Sahib. Both of these flourished in the latter half of
the eighteenth century, and both are the reputed authors of
Hindi verse. Two other Hindi writers who may have been
connected with the same, or a similar movement, are Dariyd
Sahib of Bihar, and Dariyd Sahib of Marwar. Both of these
were Muhammadans and flourished in the first half of the
eighteenth century. Another Muhammadan writer of Hindi
verse who also lived in the first half of the eighteenth century
was Bulle Shah, and was probably a Sufi.
The Charan Dasis. Charan Das (1703-1782) belonged
to the fthusar caste of Banfyas. About the year 1730 he
founded a sect at Delhi, which still exists. He had many
disciples who spread his teaching, and he admitted as disciples
not only men but women also. His teaching is very similar
to that of Kabir and emphasizes such doctrines as the value
of the repetition of the name of God, the importance of the
word (iabda), the need of devotion (bhakti), and the necessity of
having a guru. Idolatry was denounced by Charan Das, but
has crept back into the sect. The guru holds a very important
place in the sect and is regarded as divine. Like similar
sects, it has a large literature in Hindi, and great stress is laid
on this amongst its members, the use of Sanskrit being
discouraged. The sect possesses translations in Hindi of the
Bhdgavata Purdna and the Bhagavad Gitd, which are said to
have been made, at least in part, by Charan Das himself.
Charan Das also composed many other Hindi works which
are much esteemed by his followers. Two of his women
disciples were poetesses. These were Sahajo Bat and Dayd
Bat. They are said to have been sisters and to have belonged
to the same caste as Charan Das. Their verses are of con-
siderable merit and full of devotion. The Dayd Bodh of Daya
Bai was composed in 1751.
The Siv Narayanis. N
iv drayan was a Rajput who lived
near Ghazipur. In 1734 he founded a sect which worships
God as Brahman without attributes, and rejects idolatry.
Siv Narayan is himself regarded as an incarnation by his
followers. Outward conformity to the observances of Hindus
and Muhammadans is permitted, and people of all castes are
admitted as members. It is said that the Emperor Muham-
mad Shah (1719-1748) became a member of the sect. The
founder was a voluminous writer and is credited with having
composed sixteen books of Hindi verse.
The Garib Dasis. The guru of Garib Das (1717-1782) is
said to have been Kabir, which, although an anachronism,
seems to show that the sect he founded sprang from the
Kabirpanthis. This sect, which is still in existence, consists
only of sddhus, who must belong to the twice-born castes.
The book which he composed, called the Guru Granth Sahib,
contains 24,000 sdkfos and chaupdts. Of these, however,
7,000 are said to be sdkhts of Kabir. Garib Das lived at the
village of Chhurani, hi the Rohtak district of the Punjab.
The Bam. Sanehis. The sect of Ram Sanehis was founded
by Ram Charon (born 1718), who lived in Rajputana. He
was at first an idolater, but gave up the worship of idols and
founded the sect of Ram Sane/us, or Lovers of Ram* The
*
sect is now represented merely by an order of sddhus. His

sayings and hymns have been collected into a Bam. The
third leader of the sect, named Dulhd Ram, who became a
Ram Sanehi in 1776, composed about 10,000 sabdas and
4,000 sdkhis. He died in 1824.
The Satnamis and Jagjivan Das. The sect of the
Satnamis seems to have been founded before the middle
of the seventeenth century, but the circumstances of
its origin are unknown. It was reorganised about 1750
by Jagjivan Das, who lived at Kotwa, between Lucknow
and Ayodhya. As the name of the sect implies, they
adore the True Name alone, the one God, who is with-
out attributes, but the Hindu pantheon is recognised and the
Hindu incarnations regarded as the manifestations of God.
Jagjivan Das is said to have been a Kshatriya by caste, but
the sect has spread mostly amongst the outcastes. The Hindi
verses of Jagjivan Das are in several works, which include the
Pratham Granth, the Mahdpralay, and the Gydn Prakaf. A
disciple of Jagjivan named Dulan Dds, who lived in the
district of Rai Bareilly, was also a Hindi poet. Other succes-
sors of Jagjivan who wrote Hindi verse were JaldU Dds and
Devi Das. A development of the Satnami sect occurred in
Chhattisgarh, in the Central Provinces, under a certain Ghazi
Das, between 1820 and 1830. He introduced the ideas of the
sect amongst the chamdrs of that district, though he did not
acknowledge his indebtedness to Jagjivan.
The Pran Nathis. Prdn Nath lived at Panna, in Bundel-
khand, at the beginning of the eighteenth century, under the
patronage of Raja Chhatrasal. He was the founder of a small
sect in which not only Hindu and Muhammadan but also
Christian influences were at work. By caste Pran Nath was a
Kshatriya, but he was versed in Muhammadan as well as in
Hindu learning, and he endeavoured to reconcile the two
religions. The members of his sect are sometimes called
Dhamis, from Dham, a name they give to the Supreme Spirit.
They eat in common, but continue to observe the Hindu or
Muhammadan practices of their own families. The works of
Pran Nath are fourteen in number, all in verse, but none of
them of very great length. Though the grammatical structure
is purely Hindi, the vocabulary is very largely Arabic or
Persian, and the language is very uncouth.
General Characteristics. All the writers who are men-
tioned in this chapter wrote in that poetic style which is
classified by Indian authorities as quietistic (ianta ras). Much
of their verse is smooth and rhythmical, and the artistic
influences which had come into Hindi literature were no
doubt felt by them to a certain extent. But their interest was
religious rather than literary, and few of them rank high
amongst Hindi poets. If their verses are less nigged than
those of Kabir, they are also often lacking in the vigour and
charm which characterise his work. The subjects dealt with
in these voluminous works are not very extensive. The need
of a guru and the respect due to him, the value of the
repetition of the name of God, the supreme importance of
devotion (bhakti) y the delusions of maya, the value of truth,
the duty of living a righteous and sober life, these and a few
kindred topics are repeated over and over again, in different
ways, at interminable length, in a manner which to the
ordinary reader is apt to be tedious. Nevertheless there are
many striking passages to be found which are full of beauty
and inculcate valuable lessons. During the greater part of
this period the north of India was passing through a time of
great political change. The reign of Aurangzeb (1658-1707)
was a long struggle against disintegrating forces, and after
him the political disorder grew worse. Internecine strife and
rebellion were frequent. The invasions of Nadir Shah (1739)
and afterwards of Ahmad Shah Durrani (1756) were a time
of terrible disaster. The Marthas also were constantly
attacking the Mughal Empire, which by the end of this
period ceased to exist except in name. It was a time of
frequent calamity, of persecution and tyranny; but during
this period many thoughtful men sought peace of heart in
piety and, quietism, and it was in such circumstances that
much of the religious verse referred to in this chapter was
produced. In these poems the writers not only expressed
their own aspiration and feeling after God, but gave forth
many beautiful thoughts which were a solace to others in
times of distress, and an incentive to them to live nobly and to
seek after the highest ends. The sects whose literature is des-
cribed in this chapter all owe something to Kabir, in some cases
the influence being direct and in others indirect. They all
stand, in theory at least, for a non-idolatrous theism, and a
great many of their theological conceptions are the same as,
or similar to, those which Kabir taught.
VIII
THE KRISHNA CULT

(1550-1800)
The Ashta Chhap. Vallabhacharya and his son Vifthal-

nath, -who have been mentioned in a previous chapter as the
early leaders of the Vallabhachar! sect at Gobardhan, near
Muttra, each had four disciples, all of whom were Hindi
poets. They are known as the Ashta Chhap or the Eight
>
Seals, or Diestamps, because the poems they produced are

regarded as standards for that dialect of Western Hindi in
which they wrote. This dialect was the Braj Bhasha, named
after the district in which they lived, namely Muttra and
Brindaban and the surrounding country. Since their time
almost all Hindi poetry connected with the Krishna cult has
been composed in Braj Bhasha, and it has also come to be
looked upon as the poetic dialect of Hindi par excellence t
though Tulsi Das and most of the worshippers of Rama
wrote in Eastern Hindi. The disciples of Vallabhacharya who
are included in the Ashta Chhap were Sur Das t Krishna Das
Pay Aharly Parmdnand Das and Kumbhan Das. Those of
Vifthalnath were Chaturbhuj Das, Chhlt Svami, Nand Das and
Govind Das. All these flourished about the middle or second
half of the sixteenth century.
Kfishna Das Pay Aharl seems to have been a rival of Sur
Das, though not equal to him in poetical merit. He was,
however, the writer of graceful and melodious stanzas. His
best known work is called the Premsattvanirup. Krishna Das
had several pupils who became poets. According to some,
one of them was Agra Das (fl. 1575), who was in turn the
preceptor of Nabha Das, author
of the Bhaktamald.
Nand Das holds, next to Sur Das, the highest place as a
poet amongst those who are included in the Ashta Chhap.
He was a Brahman, and some have believed him to be a
brother of the great Tulsi Das. There is a proverb about
him which says, Aur sab gariya, Nand Das jartya, * All others
are simply founders (or melters), but Nand Das is the
artificer (who joins the pieces of metal into a composite
whole).' He was the author of several larger works as well
as of detached verses. One of his compositions is a poem hi
imitation of the Sanskrit Gltd Govinda, called Panchddhyayi.
Sur Das. The greatest of all the Ashta Chhdp, however,
was Sur Das. The particulars of his life are very scanty and
uncertain. It is said that he was a Brahman and the son of
Baba Ram Das, who was a singer at the court of the Emperor
Akbar. At the age of eight he went with his parents to
Muttra, and became the pupil of a devotee. Afterwards he
removed to Oau Ghat, between Agra and Muttra, where he
became a disciple of Vallabhacharya. In the commentary
which he himself wrote to some of his emblematic verses he
says that he was a descendant of the famous bard Chand
Bardai, that his father's name was Ram Chandra, and that
his grandfather, Hari Chandra, lived at Agra. Some, however,
consider him to be a Brahman and regard the verse where
this information is given as spurious. His father lived at
Gopchal and had seven sons, six of whom were killed in
battle with the Muhammadans. He alone, blind (either
literally or figuratively) and worthless, as he says, remained
alive. He had a vision of Krishna, and thereafter *all was
darkness' to him, which may mean he became blind. He
went to live at Braj, and became one of the Ashta Chhdp.
Tradition places his birth in 1483 and his death in 1563, but
these dates are uncertain. All the traditions agree as to his
blindness, either from birth or from a later period of his life,
and he is often referred to as * the blind bard of Agra.'
Sur Das excelled in many styles of composition. A large
number of episodes and passages from the Bhdgavata Purdna
were reproduced by him in exquisite verse, and he was the
writer of a great number of lyrics in connection with the
worship of Krishna and Radha, which were collected together
in the Sur Sdgar and the Surdvati. The Sdhityalahari
contains emblematic verses (Drishtakuf), for which Sur Das
himself wrote an explanatory commentary. He also wrote in
THE KRISHNA CULT 67
Hindi the story of Nala and Damayanti. Altogether he is
credited with having composed as many as 75,000 verses.
Sur Das holds a very high place in literature. Some Indian
authorities would give him the foremost place amongst Hindi
poets, though most persons would reserve that honour for
Tulsi Das. An often quoted couplet referring to Hindi
poetry says, Sur is the sun, Tills! the moon, Kegav Das is a
*
cluster of stars, but the poets of today are like so many

glow-worms, giving light here and there/ Sur Das is
undoubtedly a poet of great power. He is considered to
excel in his use of all the ornaments of style recognized by
the authorities on Hindi poetry and in his use of images ana
similes. An anonymous poet of Akbar's court said with
regard to him, 'Gang excels in sonnets and Birbal in the
kavitta metre; Keav's meaning is ever profound, but Sur
possesses the excellency of all three/
A few specimens of his work are given here:
All days are not alike ;
One day King HariSchandra had in his power wealth like Mount
Meru;
The next day he went to live in the house of a Chandal, and
removed clothes from the bury ing-ground.
One day a man is a bridegroom, attended by a bridal company,
and in every direction flags are placed ;
The next day he has to live in the forest, and there stretches
forth hands and legs.
One day Sita is crying in a very terrible forest ;
The next day, having become re-united with Ramchandra, both
go about in a balloon of flowers.
One day Raja Yudhishthir was reigning with Sri BhagwSn
(Krishna) as his follower;
The next day (his wife) DraupadI is made naked, and >uasan
takes away her clothes.
The doings of the former birth appear ; O
foolish mind, give up
anxiety;
Sur Das says, 'How far can I describe the qualities? True are
letters written by the Creator (on the forehead).*
* * * *
Without Gopal these bowers become like enemies.
In those days (when he was here) these creepers seemed very cool,
Now they have become a heap of fiery flames.
In vain die River Jamunft is flowing, and the birds twitter;
In vain the lotuses are blooming, and the black bee hunts;
Sur E)fis says, * Lx>oking for 9 the lord, my eyes have become red
like the ghunghchi seed.
Night and day my eyes shed tears ;
It is always the rainy season Syam went away.
with me, since
The collyrium does not stay on my eyes, my hands and my
cheeks have become dark,
The cloth of my bodice never gets dry, because the heart in the
midst of it is running like a stream of water.
My eyes have become rivers, my limbs tired, and the fixed stars
are moving away.
Sur Das says, ' Braj is now
*
being submerged (in tears), why do
you not deliver it ?
The Chaurasi Varta. An important work which belongs
to this period isthe Chaurasi Vartd (or 'Eighty-four Tales'),
reputed to have been written by Gokulndth (fl. 1568), the son
of Vifthalnath. It is earlier in date than the Bhaktamdld, and
whereas the Bhaktamdld contains accounts of devotees of
various Vaishnava sects, the Chaurasi Vartd is devoted
exclusively to stories, mostly legendary, of the followers of
Vallabhacharya. It lays a great deal of stress on the erotic
side of the Krishna legends. From the point of view of the
literature it is very important as being written in prose, of
which it is one of the earliest specimens. It is written in a
very clear and easy style, and although written three hundred
and fifty years ago the language used differs very little from
the modern Braj dialect.
Other early Vallabhacharis. Two or three other early
members of the Vallabhachari sect who were Hindi poets
must also be mentioned. Bhagwdn Hit (fl. circ. 1574) is said
have been a disciple of Vifthalnath. He was the author of
some Krishnaite lyrics of considerable merit. Raskhdn
(fl. 1614) was a Muhammadan at first and his name was then
Sayyad Ibrahim. He became a worshipper of Krishna and
wrote verses in his honour which are said to be full of
devotion and sweetness. Adisciple of Raskhan was Qddir
Baksh, who also wrote Hindi poetry.
The Radha-Vallabhis. A new sect was founded in
Brindaban about 1585 known as the Rddhd-VaUabhte. In this
sect Radha is placed above Krishna as an object of devotion.
Its founder was Hart Vamfa (also called Hit Haribans or Hit
Ji).
His father was a Gaur Brahman named Vyasa, who was
in the service of the Muhammadan emperor. Hari Vaxhsa
wrote in Sanskrit the Rddhd-sudhd-nidhi, which consists of
THE KRISHNA CULT 69
170 couplets. His principal work in Hindi is the Chaurasi
Pad (or Premlata). The erotic side of the Krishna cult is very
prominent in these works and they are full of sensuous
imagery, but Hari Vama possesses great skill as a poet and
holds a high place in Hindi literature. A few stanzas are
here given:
Whatever my Beloved doeth is pleasing to me; and whatever is
pleasing to me, that my Beloved doeth. The place where I would be
is in my Beloved's eyes ; and my Beloved would fain be the apple of
my eyes. My love is dearer to me than body,' soul, or life; and my
Love would lose a thousand lives for me. Rejoice, Sii Hit Hari Vans !
the loving pair, one dark, one fair, are like two cygnets; tell us who
can separate wave from water ?
O my Beloved, has the fair spoken? this is surely a beautiful
night; the O
lightning is folded in the lusty cloud's embrace. friend,
where is the woman who could quarrel with so exquisite a prince of
gallants ? Rejoice, ri Hari Vans i dear Radhika hearkened with her
ears and with voluptuous emotion joined in love's delight.
* * # * *
Come Radha, you knowing one, your paragon of lovers has
started a dance on the bank of the Jamuna's stream. Bevies of
damsels are dancing in all the abandonment of delight; the joyous
pipe gives forth a stirring sound. Near the Bansi-bat, a sweetly pretty
spot, where the spicy air breathes with delicious softness, where the
half-opened asmine fills the world with overpowering fragrance,
beneath the clear radiance of the autumnal full moon, the milkmaids
with raptured eyes are gazing on your glories lord, all beautiful from
head to foot, quick to remove love's every pain. Put your arms about
his neck, fair dame, pride of the world, and, lapped in the bosom of
the Ocean of delight, disport yourself with Syam in his blooming
bower. 1
Many members of this sect have been Hindi poets, amongst
whom we may mention Nagari Das, who flourished at the
end of the sixteenth century, Dhruv Das (fl. circ. 1630), who
was a very voluminous writer, and ri Hit Brindaban Das Ji
Chdchd (fl. 1743). All these were poets of some merit,
especially the last, who wrote many verses of great beauty in
praise of Krishna.
The Hari Dasis. Another sect at Brindaban is that of the
Hari Dsis. It was founded by Svaxni Hari Das, who lived
at the end of the sixteenth century and the beginning of the
seventeenth century. His teaching seems to be closely akin
*
Translation from Mr. F. S. Growse's Matkura, pp. 196 ff.
to that of Chaitanya. Besides works in Sanskrit he left poems
in Hindi. The best known are the Sddhdran Siddhdnt and
the Ras Ke Pad. Hari Das possessed considerable merit as a
poet. Here are a few stanzas of the Sddhdran Siddhdnt i
Set your affection on the lotus-eyed, in comparison with whose
love all love is worthless ; or on the conversation of the saints : that
so the sin of your soul may be effaced. The love of Hari is like the
durable dye of the madder ; but the love of the world is like a stain
of saffron that lasts only for two days. Says Hari Das, Set your affec-
tion on Biharl, and he knowing your heart will remain with you for
ever.
A straw is at the mercy of the wind, that blows it about as it will
and carries it whither it pleases. So is the realm of Brahma, or of
Siva, or this present world. Says Jri Hari Das: This is my
conclu-
sion, I have seen none such as Bihari.
Man is like a fish in the ocean of the world, and other living
creatures of various species are as the crocodiles and alligators, while
the soul like the wind spreads the entangling net of desire. Again,
avarice is as a cage, and the avaricious as divers, and the four objects
of life as four compartments of the cage. Says Hari Das, Those
creatures only can escape who ever embrace the feet of the son of
bliss.
Fool, why are you slothful in Hari's praises? Death goeth about
with his arrows ready. He heedeth not whether it be in season or
out of season, but has ever his bow on his shoulder. What avail
heaps of pearls and other jewels and elephants tied up at your gate ?
Says Sri Hari Das, Though your queen in rich attire await "you in her
chamber, all goes for nothing when the darkness of your last day
draweth nigh. 1
Hari Das was succeeded as leader of the sect by Vitthal
Vipul) and the latter by Bihdrini Das. Both these were Hindi
poets, Biharini Das being a very voluminous one. In his
numerous verses he uses the most erotic language to express
the intensity of his religious devotion. Sital (fL 1723), who
was a leader of the sect, was also a skilful poet. Sahachari
Saran (fl. 1763) also belonged to the Hari Dasis. Amongst
his works is the Lalit Prahai* which contains sayings of Hari
Ds, the founder of the sect.
Other Writers of Krishna Verse. Gadd Dhar Shaft (fl.
1565) was a Kjishnaite belonging to the sect of Chaitanya
and wrote verses of considerable merit in Krishna's honour.
Bihari Ldl Chaube* whose work has been described in a
* Translation from Mr. F. S. Growse's Mathura, p. 21O.
THE KRISHNA CULT 71
previous chapter as a writer on the art of poetry, -was also
connected with the Krishna cult. Most of the verses in his
famous Sat Sal deal with some phase or other of the story
of Krishna. Other writers on the art of poetry also wrote
Kfishnaite verse.
Tdjy who flourished in the first half of the seventeenth
century, was the wife of a Muhammadan, but was a worship-
per of Krishna. She wrote some much admired verses in his
honour.
Bhishma (fl. circ. 1650) translated the famous tenth chapter
of the Bhdgavata Purdna into Hind! verse, under the title
Bdl Mukund Llld.
Bakhshl Hansrdj 1732) was a Kayasth of Panna, who
(fl.
was a skilful poet. He wrote the Saneh Sdgar 9 which is an
account of Radha and Krishna, as well as some other works.
Man, a Brahman of Baiswara, wrote in 1761 a translation
of the Krishna Khanga entitled Krishna KalloL
A famous work in connection with the Krishna cult is the
Braj Bilds (1770). It was the work of Braj Bast Das, of
Brindaban, and contains a description of Krishna's life dur-
ing his residence at Brindaban. Braj Basi Das belonged to
the sect of Vallabhacharis.
Sundari Kunwari Bat (fl. 176O to 1798) was a princess of
the Rafhor family, and daughter of Raj Singh, Maharaja of
Rupnagar and Krishnagarh. She was married to Bal Bhadra
Singh, Maharaja of Raghavgarh. Many of her family were
poets,* and this lady wrote a large number of poems full
of religious devotion, many of which are in honour of
Krishna.
Manchit Dvij (fl. circ. 1779), of Bundelkhand, was the
author of Sitrbhiddnltid, which is an account of the childhood
of Krishna, and Krishndyan, which is a life of Krishna. His
poems are considered to be of a very high standard of poetic
excellence.
Bibi Raton Kuftwdr, of Benares, was born about 1842.
She was the grandmother of Raja Siv Prasad, who helped to
develop Hindi literature in the nineteenth century. In the
Prem Ratna she has given an account of the devotees of
Krishna, and in addition she was the authoress of many
other verses.
General Remarks on Krishnaite Literature. A great
deal of the poetry connected with the Krishna cult deals
with the amours of Krishna with the Gopls (milkmaids) of
Braj, and especially 'with Radha. The great Hindu teachers
of bhakti threw a mystical glamour over these stories.
Krishna was to them the Supreme Deity, from whom all
creation was but a sportive emanation, and who was full of
love to his devotees. Radha and the other Gopls stood for
human whom
souls, of Radha especially typified the devotee,
ready to offer her whole self in devotion to God. In the
literature connected with this form of the bhakti movement
the ^writers often use the most erotic language and sensuous
imagery to describe the soul's devotion, under the picture of
Radha's self-abandonment to her beloved. Many of the
verses could not be translated into English. Yet the writers
of these lyrics of passionate devotion were often men of real
religious earnestness, quite free from any impure motives in
composing them. That literature of this kind has, however, a
very dangerous tendency has too often been shown in the
history of the Krishna movement.
Many of the writers mentioned in this chapter were poets
of very high merit. The artistic influences which had come
into Hindi literature are to be seen in a very marked degree
in their work. Muttra, which was the centre of the move-
ment, was in close proximity to the Mughal court, and Sur
Das is said by tradition to have had some connection with
the court. But, through whatever channel the influence
came, there is no doubt that the poets of Braj felt very
strongly the tendencies towards the perfection of the poetic
art, and the excellency and fame of their poetry was so great
that from their time onwards Braj Bhasha came to be regard-
ed as the chief poetic dialect of Hindi.
IX
BARDIC AND OTHER LITERATURE
(1550>1800)
Bards of Me war. The succession of bards in the various

kingdoms of Rajputana and other parts of Hindustan was
continued right down to modern times, and Mewar was one
of the states where great encouragement was given to them.
A chronicle of the time of Rana Jagat Singh, of Mewar, who
reigned from 1628 to 1654, called the Jagat Bilds was writ-
y
ten by an unknown bard. The successor of Jagat Singh,

Rana Raj Singh (16541681), who was the famous opponent
of Aurangzeb, was a great patron of poets. The chronicle of
his time, called Raj PrakdJ, was also written by an anonymous
bard. At the suggestion of Rana Raj Singh his poet-laureate,
Man (fl. 1660), wrote the Raj Dev Bilds which describes the
y
struggle between Aurangzeb and Raj Singh. Another poet

who lived at his court was Saddsii) (fl. 1 660), who wrote his
patron's life under the title Raj Ratndkar. The son of Raj
Singh was Rana Jai Singh (16811700) and he also was a
patron of poets. A work which he had written by poets at
his court was the Jai Dev Bilas t which is a series of lives of
the kings whom he had conquered. Another author of a
bardic chronicle of Mewar, entitled Raj Pattand^ was Ran
Chhor, whose date is doubtful.
Bards of Marwar. In Marwar also great patronage was
given to poets. Maharaja Sur Singh is said in one day to
have distributed six lakhs of rupees to six poets at his court.
His son, Gaj Singh, was also a patron of poets, as well as his
grandson, Amar Singh. Amar Singhquarrelled with his
father and was exiled. He went to the court of the Emperor
Shah Jahan, but in revenge for a slight he attempted to
murder the emperor, and was cut down after killing a number
Among the poets patronised by Axnar Singh
of courtiers.
were Bamodn Ldl, who wrote a panegyric of his patron, and
Raghu Ndth Ray, both of whom flourished about 1634.
Maharaja Ajit Singh, of Jodhpur, in Mafwar (1681-1724),
had a work written entitled the Raj Rupakdkhydt, which
contains a history of his family from the commencement of
the solar race to 1724. Koran was the poet and bard of
Jodhpur at the time of Maharaja Abhay Singh (1724-1750),
son of Ajit Singh. In his poem, called the Surya Prdk&&* he
wrote a history of the period from 1638 to 1731 in 7,500
lines. Maharaja Vijai Singh y who reigned at Jodhpur from
1753 to 1784, was himself a poet, and he also had a work
written, entitled the Vijai Bilds, which gives an account in
100,000 couplets of the war between Vijai Singh and his
cousin Ram Singh.
Bards at Other Courts. Other courts also had their poets.
The rebellion of Jagat Singh, of Mhow, against Shah Jahan
was celebrated by a bard named Gambhlr Ray (fl. 1650). In
honour of Rav Ratan (fl. 1650), great-grandson of Raja Uday
Singh, an anonymous bard wrote a history called Rav Ratan
Rdysd. Jot Singh Sawdly of Jaipur (reigned 1699-1743), was
not only a patron of poets but wrote his own autobiography,
entitled Jai Singh Kalpadrum. Jai Singh Sawai's brother-in-
law, Buddh Rdv, Raja of Bundi, was also a poet and a patron
of poets. Jodhrdj (fl. 1 728) was a Brahman, who wrote the
Hammlr Kdvya at the orders of the Maharaja of Nimrana,
which deals with the same incidents formerly described by
the bard oarang Dhar, who lived in the fourteenth century.
Ghan Syam Sukla (fl. circ. 1680) attended the court of the
Raja of Rewah and wrote in his praise. He also attended the
court of the Raja of Benares. His poems are considered to
be of great merit. Harikesh (fl. 1731) attended the court of
Raja Chhatrasal, of Panna. He excelled in the heroic style.
Sudan (fl. 1750) was a Brahman, who was patronised by Sura]
Mai, a son of the Maharaja of Bharatpur. He wrote the
Sujdn Charitr, which is an account of the battles in which
Suraj Mai took part. Sudan is considered to be an excellent
narrative poet, especially in his account of the preparations
for a battle, but he was not equal to Lai Kavi in his descrip-
tion of the battle itself.A bard who wrote in the Maithili
BARDIC AND OTHER LITERATURE 75
dialect of Bihari was Ldl Jhd (fl. 1780), one of the most
famous poets of Mithila. He was the author of a poem called
Kanarpi Ghat Larat, which is a description of the battle of
Kanarpi Ghat, in which his patron Maharaja Narendra Singh,
of Darbhanga, was victorious.
Lai Kavi. At the court of Raja Chhatrasal (1646-1731),
who ruled at Panna in Bundelkhand and was himself a poet,
much encouragement was given to men of letters. The most
famous of these was Ldl, generally known as Ldl Kavi. His
full name was Goreldl Purohit. Besides writing a treatise on
lovers, he wrote in Braj Bhasha verse a celebrated work
entitled Chhatra PrakdJ. It gives an account of the wars and
order of succession of the ancient Rajas of Bundelkhand, and
the life of Chhatrasal and that of his father are related with
great detail. Lai Kavi achieved great excellence as a narrative
poet, especially in his description of a battle. The following
is the account in the Chhatra Prdkdi of Raja ChhatrasaTs
bravery at the battle of Deogarh:
Raja Chhatrasal, valiant in war, dreadful in battle, famed for
heroic achievements, active, vigorous, and powerful as a tiger, pene-
trated into the midst of the Deogarh Rajd's army ; while thousands of
balls and arrows discharged at him fell like rain around. Firm and
undaunted, redoubling his efforts he furiously attacked the numerous
troops by whom he was surrounded. Entirely disregarding balls and
bullets, he inflicted and received wounds in the enemy's ranks. The
foe was confounded. The gods were amazed at the fighting of
ChhattasaJ; and, while repelling the attack of thousands, and scatter-
ing death and destruction around, Kali delighted to see his sword-
dance. His progress no one could stop; for, as soon as an antagonist
had raised his sword, Chhatrasal, by superior dexterity, inflicted a
wound ; and he was equally skilful in the use of the spear. Separated
from his troops, and surrounded by foes, he fought his way from one
flank of their army to the other. Wherever he went, victory followed.
Disregarding severe wounds, he renewed the attack, fighting with
such impetuosity and fury, that the enemy, believing him to be KAl
Rudra, took to flight, and abandoned the field. Chhatrasal obtained
lasting fame and renown: for the enemy fled like deer from a tiger.
The kettle-drums sounded strains of victory, and Bahadur KnSn
ordered the camp to be pitched.*
Other Literature of the Period. Besides the literature we
have already mentioned in this and the preceding chapters,
there were many other writers on a variety of subjects during
1 Translation by W. R. Pogson, A History of the Boonddas.
the period. There are works dealing with the philosophy of
the Vedanta, works connected with the Jain religion, works on
morals (nttf), comic verses, and a great many other topics,
including text-books on such subjects as lexicography, agri-
culture, astronomy and veterinary surgery. A
few of the
authors may be mentioned here:
Ndth Kami (b. 1584), who dwelt in Braj, wrote poems on
the seasons and other subjects.
Mubarak AK (b. 1583), of Bilgram, in the district of Hardoi,
was the author of a large number of short verses which are
still current.
Ndzir before 1600), of Agra, was a versatile poet of
(fl.
considerable fame whose verses are very popular and often
quoted, though many of them are said to be indecent.
Bandrsi Das (b. 1586) was a follower of the Jain religion.
He lived at Jaunpur and died some time after 1641. His
'works are full of religious teaching and he is much admired
as a poet. In his most famous work he gives an account of
his own life.
<rt Dhar (b. 1623), of Rajputana, was the author of a work
in honour of Durga and Bhawdnl Chhand.
entitled
Ghost Ram (fl. circ. 1623) was a poet of considerable
merit, who wrote on love, morals and other subjects.
Puhakar (fl. 1634) was a Kayasth who lived during the
time of Jahangir. He was in prison for some offence and
while there composed the Ras Raton. When Jahangir heard
of this he pardoned him. The poem is in the form of a story.
Ddmodar Das (fl. circ. 1660) belonged to the sect of the
Dadupanthis. He translated the Mdrkaritfeya Parana into
Rajasthanl. This work is of interest as being in prose instead
of verse.
Chhatra (fl. 1700), a Kayasth of Anfer village, in Gwalior,
was the author of the Vijai Muktdvah. This is an abstract
of the Mahdbhdrata in Hindi verse.
Sabal Singh (b. 1670) belonged to a ruling family. He
also was the author of a condensed metrical translation of
24,000 verses of the Mahdbhdrata.
Baitdl (b. 1677) attended the court of Vikram Sahi. He
wrote moral and occasional verses and, though no complete
work of his is extant, his verses are much admired.
BARDIC AND OTHER LITERATURE 77
Devi Das 1685) belonged to Bundelkhan4- Under the
(fl.
patronage of Raja Ratan Pal Singh, of Karauli, he wrote a
much admired work on morals called Prem Ratndkar. He
was also the author of numerous other works.
Motl Ram (b. 1683) was the author of the Braj Bhasha
version of a story called Mddhonaly which was afterwards
translated into Urdu by Lallu Ji Lai.
Bhu Dhar Das (fl. 1724) was a Jain who wrote works
connected with the Jain religion, including the Jain Satak
and the Parsva Purdn. He is considered to possess consider-
able power as a poet.
Ghagh (b. 1696), of Kanauj, wrote on the subject of
agriculture. His aphorisms have a wide currency in North
India.
Gangd Pati 1719) was the author of a poem dealing
(fl.
with the different philosophical doctrines of the Hindus. It is
called Vigydn Bilds, and is written in the form of a dialogue
between a guru (teacher) and his chela (disciple). A mystic
life based on the Vedanta philosophy is advocated.
Kripd Ram (fl.1720) was an astronomer at the court of
Raja Jai Singh Sawai, of Jaipur, and wrote a work in Hindi
on astronomy.
Giri Dhar (b. 1713), of the Doab, wrote verses on morals
(mU) and occasional pieces which are much admired. He
used the kvndaliya metre, of which some critics consider him
to be the greatest master. His verses abound in colloquial-
isms and many of them have become proverbs.
Sri Ndgari Das (fl. 1723) was Maharaja of Krishnagarh in
Rajputana. His real name was Savat Singh, but he adopted
the name of Nagari Das as his nom de plume. He .was a
poet of considerable merit besides being
valour.
Nur Muhammad (fl. 1743) was the
'
aut
It is a love story similar to the PC dUkMuham-
mad. It is considered to be a well-writ
Manbodh Jhd (fl. 1750), also known
district of Darbhanga, was one of the
He
|
in the Maithili dialect of Bihari.

Harivamia t of which only ten sections
These, however, are very popular.
Nidhan (fl.1751) and Dayd Nidhi (b.1754) each wrote a
treatise on veterinary surgery under the title Sdlthotr.
Ram Chandra was a Brahman who flourished at the end of
the eighteenth century. He wrote a work in five books in
honour of the feet of Parvati, entitled Charon Chandrikd. It
is considered to be a work of great poetic merit.
THE MODERN PERIOD
(From 1800)
A NEW influence came intoHindi literature at the begin-

ning of the nineteenth century through contact with the
culture of the West. The eighteenth century had been
largely a time of literary dearth, but a renascence now began.
The East India Company, which had commenced its career
in India as a trading company, had now come into possession
of a vast Empire and was beginning to feel its responsibilities
towards those whom it was called upon to govern. This
responsibility was being continually urged by many in the
British Parliament. Amongst other responsibilities that were
recognised was the duty of fostering and helping the culture
and education of the peoples under the rule of the Company.
The introduction of the printing-press helped to diffuse
literary culture. The spread not only of vernacular but of
English education could not but have a vast effect upon the
life and thought of India. Just as in the case of the revival
of learning in Europe the study of the Latin and Greek
classics not only led to a stimulation of thought, but also
helped to revive the literature of the European vernaculars,
so also in India the study of English has been accompanied
by a great renascence of the vernacular literature of India.
The peace and security which the British rule brought to
India, after the long period of internecine strife and disorder
through which the country had been passing, also gave the
genius of Hindi literature the opportunity of reasserting itself,
and of recovering from the decay into which it had fallen
in the eighteenth century. This period is marked by the
creation of a new Hindi literary dialect and of Hindi prose.
Lallu Ji Lai. At the commencement of the nineteenth
century the head of the Fort William College at Calcutta was
Dr. John Gilchrist. With the help of the other European
officers of the College, such as Captain Abraham Lockett,
Professor J. W. Taylor, and Dr. Hunter, he gave a great
impetus to the cultivation of vernacular literature. Text-
books suitable for the study of the European officials were
collected, and a group of vernacular scholars gathered together
and encouraged to produce new literature. Most of the
work was in connection with the Urdu language, but Lallu
Jt Lal y who also wrote Urdu, and Sadal Mifra, did for Hindi
what was being done by other scholars for Urdu. The works '
which they produced, if not the first prose works in those
languages, were the first literary standards, and established
prose as a recognised form of literature. Lallu Ji Lai was a
Brahman whose family had come originally from Gujarat,
but had long been settled in North India. Under the
direction of Dr. John Gilchrist he and Sadal Mis*ra were the
creators of modern 'High Hindi.' Many dialects of Hindi
were, as we have seen, spoken in North India, but the vehicle
of polite speech amongst those who did not know Persian
was Urdu. Urdu, however, had a vocabulary borrowed
largely from the Persian and Arabic languages, which were
specially connected with Muhammadanism. A literary
language for Hindi-speaking people which could commend
itself more to Hindus was very desirable, and the result was
produced by taking Urdu and expelling from it -words of
Persian or Arabic origin, and substituting for them words of
Sanskrit or Hindi origin. The name Khari Bolt ('pure
speech*) is sometimes used for the dialect of Delhi and
Meerut, which was the language from which Urdu sprang,
as well as for the modern Hindi literary dialect. It seems to
be implied that Lallu Ji Lai was only restoring the Delhi
and Meerut dialect to its original purity and using it for
literary purposes. This, however, was hardly the case, for
though Urdu sprang originally from this dialect it had also
assimilated many words of Punjabi and Rajasthani as well as
those of Arabic and Persian origin. The Hindi of Lallu Ji
L91 was really a new literary dialect. This 'High Hindi,' or
'Standard Hindi* as it is also called, has had however a
great success. It has been adopted as the literary speech of
THE MODERN PERIOD 81
millions in North India. Poetical works still continue to be
written in Braj Bhdsha, or AvadkZ^ or other old dialects, as
High Hindi has not been much used for poetry. But whereas
before this time prose works in Hindi were very rare, from
now onwards an extensive prose literature began to be
produced. The first work in this new dialect, and one which
is regarded as a standard, was Lallu Ji Lai's Prem Sagar,
-which is a version of the tenth chapter of the Bhdgavata
Purdna. It was founded on a previous Braj Bhasha version
of Chaturbhuj Mis'ra, and -was begun in 1804 and completed
in 1810. The Rdjmti (1809), which is also much admired for
its language, was an adaptation of the Hitopadeia and the
Panchatantra, and is in Braj Bhasha. The Singhdsan Battisi
and the Baitdl Pachlsi are collections of stories in mixed
Urdu and Hindi. Besides other works in Hindi and Urdu,
Lallu Ji Lai also wrote a commentary on the Sat Sat of
Bihari Lai called Ldl Chandrikd, and gathered a collection of
poems in Braj Bhasha called Sabhd Bilds. Sadal Mifra (fl.
1 803) was the author of the Ndsketopdkhydn y which gives in
Hindi prose the well-known story of Nachiketas.
Serampore. In connection with the revival of Hindi
literature mention must also be made of the work being done
about this time by William Carey and his colleagues Ward
and Marshman at Serampore. Amongst the many translations
of the Christian Scriptures made by these missionaries were
some in the dialects of North India. The Hindi version was
Carey's own work. The first portions of his Hindi New
Testament -were published in 1809 and the Hindi translation
of the whole Bible was completed in 1818. Besides transla-
tions of the Scriptures, Carey and his colleagues also printed
editions of many vernacular works, amongst them being the
Rdmdyan. Most of these editions perished in a fire which
destroyed the printing-press at Serampore in 1812. In 1818
Carey began to publish a newspaper in Bengali, which was
the first newspaper printed in any oriental language, and was
the forerunner of the many newspapers now issued from the
vernacular press. All this work of Carey and his co-workers
helped greatly in the development of vernacular literature.
Raja Siv Prasad. The new literary dialect which Lallu
Ji Lai produced has not been without its critics. As it
includes many Sanskrit words it is a speech not easy to be
understood except by the learned. It tends to fall into the
same extreme as Urdu. Raja $iv Prasdd (1823-1895) is
especially remembered as one who tried to popularise a
literary speech midway between the Persian-ridden Urdu,
and the Sanskrit-ridden High Hindi, which he believed to be
nearer the colloquial speech of the people. The controversy
is by no means settled yet. Raja Siv Prasad was the grandson
of the poetess Bibi Ratan Kunwar. In his youth he was
Vakil to the Maharaja of Bharatpur, but afterwards he entered
the English service. He rose to the position of Nur Munshi
and became an Inspector in the Department of Public
Instruction. He was eventually granted the hereditary title
of Raja. Besides translations and other works, all of which
show the modern influence, he was the author of a great
many text-books for schools.
The Printing-Press. The outstanding feature of the
development of Hind! literature in modern times has been
the production of a very large number of works in prose.
This has been very much facilitated by the use of the
printing-press. It was at the College press at Fort William
that printing was first used for Hindi works, but at first the
expense hindered its rapid development, and the ungraceful
characters of the type were not regarded with favour. The
work of Carey and others at Serampore has already been men-
tioned. In 1837 a lithographic press was set up at Delhi, and
from that date onwards the publication of books in Hindi has
been increasing continually. The introduction of lithography
was soon followed by the publication of Hindi newspapers
and magazines, of which there are now a large number. All
kinds of books have been turned out from the press- trans-
lations of English books, books and pamphlets dealing with
religious and social questions, novels, educational text-books,
and books on many other subjects; but it cannot be said
with regard to most of them that a high literary standard has
yet been reached, and experience alone will show how many
of them are worthy to rank as standard works of Hindi
literature. Hindi prose literature is still feeling its way, and
its standards are not yet fixed. One book which has had
probably a greater circulation than any other Hindi work in
modern times (whether as a whole or in portions) is the
Hindi translation of the Bible, and owing to its large circu-
lation is bound to have an important influence on the life of
the people. The printing-press has also been used to produce
many of the older works of Hindi literature, which are now
accessible to the general public in a way which was before
impossible.
Harischandra. That the new influence from the West
revived rather than checked the cultivation of Hindi poetry
is illustrated in the case of Babu Harischandra (1850-1885),
of Benares, who is often called Bharatendu (' The moon of
India'). He was educated at Queen's College, Benares, and
was a prolific and successful writer of poetry in many styles,
having commenced to write at the age of sixteen. He wrote
altogether about a hundred and seventy-five different works.
Among these are eighteen plays, and Harischandra was the
real founder of the modern drama in India. In his plays
some of his best work is to be found, and they exhibit his
great desire for the progress of India and the development
of freedom.
its intellectual
Harischandra wrote also on various subjects, including
history, patriotism, religious devotion and love. He was also
the author of many humorous verses. His historical works
include the Kashmir Kusum, or history of Kashmir, and the
CharitdvcsMj a series of lives of great men both Indian and
European. Next to his plays his love poems are considered
to be the best part of his work. Love and mirth are pro-
minent characteristics of his poetry, which is full of power.
He must be reckoned amongst the great writers of Hindi
literature. He used chiefly the Braj Bhasha dialect. Haris*-
chandra also did much to cultivate interest in Hindi poetry.
To accomplish this he started a magazine called Haritchand-
rika, in which he published a number of old texts with
much other matter. He also produced anthologies of Hindi
poetry such as the Sundarl Ttlak, which contains poems in
the savaiyd metre from the works of sixty-nine poets, and
the Kavi Bachan Sudha, which is a collection of poems
dealing with the rainy season.
As an example of the poetry of Harischandra the following
translation is given:
O warriors, having put on your arms, arise for the fight, and fly
the flag of victory;
Draw your sword from the scabbard, and join the battle.
Having girded up your loins, put your arrow to your bow ;
Put on your safFron~coloured garments and the bracelet of battle
(as sign of a vow to conquer or die) ;
If die Aryans be united, and think of their own dignity,
They will give up quarrels amongst themselves, and support
the honour of their race.
Then the strength of the mean Amlrkfran cannot be great.
When a lion is roused, can a dog stand in battle against him ?
Even an ant trampled underfoot bites, although it is only insig-
nificant.
These are visible enemies, woe to those who ignore them.
Woe to those who, being Aryans, have a love to those who are
barbarians.
Woe to those who have any dealings with them.
Warriors, arise, and having put on all your weapons, plunge into
the battle.
Write -with a pen of steel the strength of the Aryans on the heart
of both (conquerors and conquered).
The Hindi and Bihaxi Drama. The Hindi drama is of
very recent origin. Some earlier writers produced what are
called ndtaks, or plays. Among these were Dev (fl. 1700),
the author of Dev Maya Prapanch; Newaj (fl. 1700), who
wrote the Sakuntala; Braj Basl Das (fl. 1770), who wrote the
Probodh Chandroday, and some others. But their works were
either -without entrances and exits of the characters, or
lacking in other essentials of dramatic poetry. The first real
play in Hindi was the Nahush Ndtak, written by Gopdl Chand
(alias Girt Dhar Das) in 1857. It deals with India's expulsion
from his throne by Nahush and his subsequent reinstatement.
Next came the Sakuntala (1862) of Raja Lakshman Singh
(18261899), which is very famous and much admired.
HarUchandra then began to write dramas, his first being
Vidyd Sundar. He wrote eighteen altogether. Other writers
of Hindi drama were rintvds Das % Totd Ram, Gopdl Ram,
KaH Ndth Khattrt, Purohit Gopt Ndth, Laid Sitd Ram,
besides many others. The first Hindi play was performed
in 1868.
In Bihar the dramatic tradition is very much older.
Vidydpati ?ftaftt<r, who belongs to the middle of the fifteenth
century, is reputed to be the author of two plays. Ldl Jhd
(fl. 1780) wrote a play called Gauri Parinay. In the early
part of the nineteenth century Bhdnu Ndih Jhd wrote the
Prabhdvati Haran and Harsh Ndth Jhd wrote the Ushd
later
Haran. The Bihari drama, however, differs from the Hindi
in one very important feature, for the characters speak in
Sanskrit and Prakrit, and only the songs are written in the
Maithili dialect.
Anthologies. The revival of interest in Hindi literature
and its appeal through the printing-press to a wider public is
illustrated by the large number of anthologies of Hindi verse
which have appeared in this period. Besides those of Lallu
Ji Lai and Haris*chandra, which have already been mentioned,
the following may be noted:
The Rdg-Sagarodbh&v Rag Kalpadrum contains selections
from the works of more than two hundred poets. It is a very
voluminous work and was compiled by a Brahman named
Krishndnand Vyds Dev, and completed in 1 843.
The Ras Chandroday, which is a collection of poems by
two hundred and forty-two poets, -was compiled in 1863 by
Thdkur Prasad Tripdtht.
The Dig-Vijai Bhushan was compiled in the year 1869 by
a Kayasth, of Balirampur, in the district of Gonda, named
Gokul Prasad. It contains selections from the works of a
hundred and ninety-two poets.
The $iv Singh Saroj was compiled from former antho-
logies by iv Singh Sengar. The second edition of this very
valuable "work was published in 1883.
Gokul Nath. A famous work belonging to this period
was the translation of the Mahabhdrata into Hindi verse.
This was begun by Gokul Ndth (fl. 1820), of Benares, being
undertaken at the instance of Raja Udit Narayan, of Benares.
Gokul Nath was the author of other works, including the
Govind Sukhad Bihar and the Chet Chandrikd, in the latter of
which he has described the family history of Raja Chet Singh,
of Benares, who was his patron. His greatest achievement,
however, was the translations of the Mahabhdrata. In this
work he was assisted by his son Gopl Ndth and his pupil
Mani Dev.
The Patronage of Courts. The modern influence on
Hindi literature did not spread all at once, and in many
places the old state of affairs still continued for some time.
The work of the printing-press did not penetrate into all
regions immediately, and poets still looked to the rulers of
states to help them by their patronage. At the courts of Parma
and Charkhari in Bundelkhand, of Rewah in Baghelkhand, of
Nagpur, Benares, Ayodhya, and other principalities, poets
and bards were still welcomed and encouraged, and several
rulers were themselves poets. Maharaja Man Singh of
Jodhpur (fl. 1810) was the author of various works, chiefly in
Rajasthani. Chandra Sekhar BdjpeyH (1798-1875), who was
at the courts of Darbhanga, Jodhpur and Patiala, excelled
in the erotic and heroic styles and was the author of the
Hammir Hath and other works. Maharaja Hindupati, of
Parma, was the patron of Mohan Shaft, as well as of Rup
Sdhi and Koran (fl. circ. 1800), the latter being a writer
on the art of poetry. Mohan Bhaft attended other courts
also. His son was a well-known poet named Padmakar Shaft
(see below), whoalso visited various courts. The Rajas of
Charkhari, named Khuman Singh, Vikram Sahi, and Ratan
Singh, were all great patrons of poets. Vikram Sdhi (1785
1828) was himself a successful poet. Among his works is a
Sat Sat, in imitation of Bihar! Lai's great work. The poets
who attended his court include Baitdl, Man, and Bdl Dev (all
fl.1820). Bihdrl Ldl, Avadhes, Rdv Rand, Gopdl, Ram Dtn
Tripatte(2\\ fl. 1840) attended the court of Raja Ratan Singh.
Surya Malta (fl. 1840), who was at the court of the Raja of
Bundi, wrote a long work called the Bani Shdskar, which in
the form of illustrative verses gives an account of the Kingdom
of Bundl. In Baghelkharid, at the court of Rewah, poets were
also encouraged both by Maharaja Jai Singh (fl. 17641834)
and his son Vitoandih Singh (1789-1854). Both these kings not
only patronised poets but were themselves authors. VisVanath
Singh wrote in Sanskrit and Hindi. In Hindi he composed
commentaries on the Btjak of Kabir and on the Vinay Patrikd
of Tulsi Das, as well as a work entitled Ram Chandra Id
Sawdri. The poetical traditions of this royal family were also
maintained by VisVanath's successor, Raja Raghu Raj Singh
(1823-1879), who came to the throne in 1858. He was
the author of a much admired translation of the Bhdgavata
Purdna and of a history of Hanuman, entitled Sundar Satak
besides many other works. Maharaja Man Singh (fl. 1850),
of Ayodhya, was another monarch who was both a poet and
a patron of poets.
The Art of Poetry. Many of the poets who attended the
courts of kings were writers on the art of poetry, and this parti-
cular form of composition continued to receive great attention.
Gurdtn Pdnde (fl. 1803) wrote an excellent work on the same
lines as Kekav Das's Kavi Priyd. Bern Prawn Bdjpeyi(ft. 181 7),
a Brahman of Lucknow, -whose poetry is full of excellent verses,
wrote several works connected with the art of poetry. One
of the most famous of writers of this period was Padmdkar
Bhatt (1753-1833), of Banda. He attended the courts of
various rulers and was richly rewarded for his poetry. He is
the reputed author of about seven works, mostly concerning
the art of poetry, which are very much praised. One of his
outstanding qualities is his skilful use of alliteration. His
best work is considered to be the Jagadvinod (1810). At the
end of his days he is said to have devoted his life to the
worship of the Ganges, and wrote a book entitled Gangd
Lahari. His grandson, Gadd Dhar Shaft (fl.1860), was also
a poet and -wrote on rhetoric. A contemporary and rival of
Padmakar was Gwdl, of Muttra, who wrote -works on the art
of poetry. His most famous work is the Yamuna Lahari.
About the same time or a little later flourished also Ram
Sahay Das (1820), of Benares, and Pajnes (1843), of Panna.
The former, who was a poet of considerable merit, took Biharl
Lai as his model. Pratdp Sdhi (fl.1828) was a devotee of Rama
and the author of several works connected with the art of
poetry. In the cleverness of his language he is said to resemble
Mati Ram. Biharl Lai Tripdthi (fl. 1 840) belonged to a family
which has produced many poets, being a descendant of Mati
Ram TripathL Navin (fl. 1842) wrote several works of high
standard on poetics. Gaitesh Prasdd Farukhabdd* (fl. 1847
1877) was a Kayasth, of Farukhabad, who wrote a Nakhtikh
and other works. Giri Dhar Das (fl. 1843) was the father of
Harischandra. His real name was Gopdl Chandra. He wrote
about forty different works. Sarddr (1845-1883), of Benares,
and Ndrdyan Ray flourished in the second half of the nine-
teenth century. The former was the author of several
works on the art of poetry, including commentaries on the
works of Keiav Das and on the Sat Sat of Biharl LSI,
and a commentary on some of the emblematic couplets of
Sur Das. The Sringdr Sangrah, another poem of Sardar,
IB a popular work on rhetoric, dealing with all branches of
the art of poetry. Narayan Ray was a pupil of Sardar. A
much admired work in the Marwari dialect is the Raghunath
Rtipak of Mania Ram, which was written about the beginning
of the nineteenth century. It is a prosody in which the
illustrative examples are so arranged that they give a con-
tinuous history of the life of Rama.
Bihari Poets. A few Bihari poets of the nineteenth
century may be mentioned, all of whom wrote in the Maithili
dialect. Bhanu Nath Jha (fl. 1850) and Harsh Nath Jha
(born 1847) both attended the court of the Maharaja ot
Darbhanga. Bhanu Nath's best known -work is a play
entitled Prabhdvati Haran. Harsh Nath wrote many songs as
well as plays. A popular account of the famine of 187374,
entitled Kavitta Akdll, was written by Phaturt Lai, a Kayasth
of Tirhut. Chandra Jhd, who flourished in the latter half of
the nineteenth century, was the author of a Rdmdyan in
Maithili, which is much admired.
Religious Verse. Though a great deal of the literature
already described has a religious connection, the output of
religious verse due directly to the various sectarian move-
ments seems to have been less since the beginning of the
nineteenth century than in previous times. Contact with the
new influences which have come from the West has led
indeed to a great deal of religious activity in India, but a
large part of the new movements has been in the direction
of religious reform. Prose literature, whether in the form of
pamphlets or newspapers, has come to be very much used
for the dissemination of religious as well as other ideas.
Still, the production of poetry in connection with the various
religious movements did not entirely cease. In 1806 Jai
Chand. of Jaipur, wrote a Sanskrit and Hindi work which
deals with the doctrines of the Jains, entitled Svdnu Karttike-
nupreksha, Alater Jain of considerable merit was Brinddban
(circ. 1791-1858), of Benares. Bakhtdtoar (fl. 1817), of
thras, in the district of Aligarh, who was a religious men-
dicant, wrote a book entitled Sunisdr, which was intended to
show that all notions of God and man are fallacies and that
nothing exists. There were several works also connected
with the Rama cult. Mun (fl. 1803) was the author of the
Ram Rdvan Yuddh and other works dealing with the stories
of Rama. Lalak Das (fl.1813), of the Lucknow district, wrote
the Satyopdkhydn, which relates the early life of Rama from
his birth to his marriage. The Rdmdyan in the Maithili
dialect, composed by Chandra Jhd 9 haa already been mentioned.
Sahaj Ram (born 1804), who lived in the district of Sitapur,
also wrote a Rdmdyan which is a translation of the Sanskrit
Raghuvamfa and of the Hanumdn Natoka. In the latter
half of the nineteenth century Raghu Ndth Dds y a Brahman
of Ayodhya, \vrote hundreds of hymns in honour of Rama, of
whom he was a devotee, 'while in the same period Jdnkt
Prasddy of the district of Rae Bareli, wrote several poems
dealing with the story of Rama which are considered to be
very excellent. Commentaries also were written on the works
of Tulsi Das, such as the Manas Sankdvall of Bandan Pdthak,
of Benares, which is a commentary on the Rdmdyan and the
Rant Tattva Bodharii of iv Prakd Singh, which is a com-
mentary on the Vinay Patrikd. These appeared in the latter
half of the nineteenth century. Of writers who were
devotees of Krishna the following may be mentioned:
Rasik Govind (fl. 1801), who -wrote works, which are much
praised, all connected -with the Krishna legends, and Lalit
Kishori (fl. 18601873), whose works are also connected with
Krishna and full of merit as works of poetry.
The spread of the Christian faith in India has also been
accompanied by the production of Christian hymns. Many of
these are translations of English hymns written in English
metres, which, judged according to Indian standards, sound
barbarous and uncouth. But a large number have also been
written in Hindi metres, and many of these have a popularity
far beyond the bounds of the Christian Church. Curiously
enough, one of the most famous writers of Christian hymns in
Hindi metre was a European named John Christian (died
about 1883). His most famous work is the Mukti MuktdvaK,
a life of Christ in verse.
Thus, while the nineteenth century was a period of great
change, characterised especially by the development of prose
literature, and the application of it to a large number of new
8
subjects, literature of the older type still continued to be
produced, though it generally exhibited little or no novelty in
its themes. The period has been largely a time of transition,
and in spite of its many past glories Hindi literature still
awaits its more complete development. No attempt is here
made to give an account of the writers in prose and poetry of
the last thirty or forty years. Many of these writers are still
living, and time alone will show how much of their work will
have a lasting fame and prove of real value.
XI
SOME GENERAL CHARACTERISTICS

OF HINDI LITERATURE
HAVING now traced the history of Hind! literature from its
earliest times to the present day, it may be helpful to mention
in this chapter some of its general characteristics, even at the
risk of some repetition of points already mentioned.
1. The first striking feature is that, during the time when
it grew and flourished through its own original force, Hindi
literature was dominated by a religious interest. Probably
much more than half of the literature directly springs from
the bhakti movement in one or other of its aspects. A great
deal of the remainder is concerned with the art of poetry;
and even in these works the illustrative verses, which form
the greater part of them, are often connected with one or
other of the various religious movements. The bardic
chronicles, and some other parts of the literature, are secular
in character, but even in these the religious interest is not
quite out of sight.
2. Until the beginning of the nineteenth century practically
the whole of the literature was in verse. There are indeed a
few exceptions. The works ascribed to Gorakhnath (though
almost certainly not by him) include one in prose, and if this
is correctly dated as belonging to the fourteenth century it is
the earliest Hindi prose work extant. Then we have the
Mangan of Vit$halnath and the Chaurdst Vdrta of Gokul
Nath in the sixteenth century, and Damodar Das's translation
of the Markandeya Purana in the seventeenth century.
Besides these, 'and the commentaries which accompanied
certain works, there is very little else till we come to
the time of Lallu Ji Lai. Even commentaries were often in
the form of poetry. The system of versification was very
complicated, but all authors seem to have found it more
natural to write verse than prose. When prose was first
employed, at the beginning of the nineteenth century, writers
at first found it more awkward and difficult to manage than
poetry. Even text-books on such subjects as veterinary
surgery, astronomy or lexicography were -written in verse.
3. From about the middle of the sixteenth century the
literature became self-conscious, and from the time of Kes*av
Das onwards an enormous number of works have appeared
dealing with the rules of prosody and the art of poetry
generally. Apart from verse of a directly religious character,
this was indeed the favourite subject of composition amongst
Hindi poets. The tendency to lay great stress on the form
rather than the substance, and to develop a certain amount
of artificiality could not, under such circumstances, be avoided.
It is considered a mark of a writer's ability if his words
are capable of more than one meaning, and ingenuity of
phrase, whether by -way of double entendre , or alliteration, or
any other literary device, is greatly admired. Even nowadays
there seems to be a tendency to appraise poets more
on account of their technical skill than on âccount of the
message which they have to give. But even so the writers
on the art of poetry, who include some of the best Hindi
writers, have produced a great deal of verse which is very
graceful and artistic, and it must be said that the strict
rules as to versification, and their great elaboration, have
helped to make Hindi poetry almost unrivalled for melody
and rhythm.
Conventionality in the use of metaphors is another feature
4.
of Hindi poetry. Some of these metaphors do not correspond
with the facts of nature, but Hindi poets are never tired of
repeating them. The separation of the chakwd bird from its
mate at night; the eager waiting of the chdtak bird, who is
supposed to drink only raindrops, for the beginning of the
rainy season ; the chakor bird, that is never happy except when
gazing on the moon; the swan that knows how to separate
milk from the water with which it has been mixed these
and many other stock metaphors are continually recurring
in Hindi poets. But many beautiful similes, drawn from a true
observation of nature at first hand, are also found not only
SOME GENERAL CHARACTERISTICS 93
in the works of Tulsi Das, but also in the verses of other
poets*
5. Another thing to be noticed in Hindi poetry is the
limitation of the range of its subject matter. Not only is the
religious interest dominant, but even in connection with this
the subjects dealt with are confined to well-worn grooves.
The stories of Rama and of Krishna form a very large part
of the subject matter, and have been told over and over again
by poet after poet. There are differences in treatment, but the
same details are constantly appearing again and again.
Those religious poets who
avoid these themes are very largely
occupied with such subjects as have already been noted
in a previous chapter, namely, the value of the guru, the
importance of bhakti, the evils of transmigration, the deceit
of mayd y the transitoriness of the world, and suchlike
subjects. One misses also the poetry of pure human love.
There is, indeed, a good deal of erotic poetry of a very
unhealthy type, but owing to the general practice of child-
marriage, and the secluded position occupied by women, the
romantic period of youth, which is the time of courtship,
does not come into the lot of young men and women in
India, and hence when love is described in Hindi poetry it
is too often in connection with the courtesan. But the fidelity
of PadmavatI, the wifely devotion of Sita, and some other
stories of the same type must not, on the other hand, be
forgotten. There was also a tendency to look to previous
writers for themes of poetic inspiration, and if a great poet
achieved success in any subject, he was sure to have a large
number of imitators. Thus there are whole realms of human
thought in connection with which Hindi writers have con-
tributed nothing, and great as their work has been, the original
and stimulating thoughts which Hindi literature contains
are confined within a somewhat narrow area.
6. Yet in spite of its limitations Hindi literature has many
excellencies, and is worthy of much greater study than it has
yet received. It has truly been described as a 'garden of
delights.' It possesses a system and variety
of versification
which has seldom, if ever, been excelled, and beauties of
thought and phrase, and expressions of deep feeling and noble
aspiration abound. It was moreover genuinely popular, and
being written in the dialects of the people, and often as a
tacit revolt against the literary exclusiveness of the Sanskrit
scholars, it appealed to the heart of the people, and reached
a very wide audience. Many of its thoughts and expressions
have become closely bound up with the life of the people,
and a close acquaintance with the vernacular literature is
most important for all who would fully understand the
peoples of India.
XII
PRESENT POSITION AND PROSPECTS

OF HINDI LITERATURE
WITH such a splendid record of past achievements what is
the present position of Hindi literature? What are its
prospects of development ? A brief answer to these questions
is all that can be attempted in this present chapter.
In the first place it is to be noted that Hindi literature has
to face many present difficulties, some of which it shares with
other Indian vernaculars, and some of which are peculiar to
itself. This is not the place to discuss the question whether
English or the vernacular should be the medium of instruction
in higher education. But it is certainly true that most educated
Indian people would be very sorry that their sons should
surrender the opportunity which a knowledge of English
gives not only of becoming acquainted -with the vast stores of
Western learning, but of carrying on intercourse with educated
people from other parts of India who possess a different
vernacular from their own. It is, however, almost unavoidable
that such a state of affairs should put Hindi somewhat at a
disadvantage, for if a writer -wishes to appeal to a -widespread
educated audience it is natural for him to use English rather
than the vernacular to express his ideas, and hence there is
sometimes a tendency to despise the vernacular as a medium
of literature, and to regard vernacular productions as more
intended for the unlearned than for the educated. This is a
condition of things in every way to be deplored, and it is
to be hoped that, without lessening the opportunities for
securing an acquaintance with English, the vernacular may
be given a much more important place in the future.
Hindi is also under a disadvantage because its standards of
prose have not yet been fixed. We have seen that not only
is the prose literature a plant of very recent growth, but that
the dialect of High Hindi which it uses is also a modern
production. There are scarcely any prose standards of the
past to look to, and the present state of the language is tran-
sitional. Some authors attempt to write in a language from
which are expelled, as far as possible, all words other than
those of Hindi or Sanskrit origin. But if this standard be
adopted the language is for the common folk very difficult to
understand. Other writers go to the opposite extreme and
admit a great many words not only of Arabic and Persian,
but also of English origin, even when there are simple and
well-understood Hindi words which could just as well express
their meaning. It seems indeed inevitable that for the expres-
sion of modern ideas a good deal of borrowing must take
place, but the limits to which this should go can only be
settled in course of time by the practice of good prose
writers. At present there is a great deal of variation, both in
translations and original works, with regard to the language
used, and the adoption of some generally recognised standard
is very much to be desired.
Owing to Hindi prose literature being written in a modern
artificial dialect, which has not proved itself very popular for
the purposes of poetry, it has come about not only that the
language of poetry is different from that of prose, but that
there are several different dialects still used for poetry. The
existence of a widely divergent standard between the
language of prose and that of poetry would be unfortunate
in many ways, and it cannot be said what the ultimate issue
of this matter will be, but there does seem a tendency
amongst some modern poets to use a language which is
approximating more to that of prose.
These disadvantages to the present development of Hindi
literature are, however, being counteracted by many favour-
able circumstances. The spread of education, with the
prospect that the day is not far distant when it will be made
compulsory, at least for boys, is helping to increase rapidly
the number of those who can read. Moreover, the modern
tendency to extend the franchise, and to give increased
political responsibility to large numbers of the people of
India will also make it necessary to acquaint them with
PRESENT POSITION AND PROSPECTS 97
various aspects of modern political, social, religious, and
other questions. It is impossible, with increasing education
and enlightenment, that a language which can be understood
by over a hundred millions of people should not eventually
develop a great modern literature, though it may not be easy
to forecast the exact lines of its development.
The existence of societies for the extension and improve-
ment of Hindi literature is also a sign of great hope. The
Ndgart Prachdrint Sabhd, whose headquarters are at Benares,
is doing most useful work. It conducts a systematic search
for old manuscripts, and publishes many good editions of the
older -works of Hindi literature. It also issues many useful
books in which a high standard is aimed at. It encourages
Hindi writers to produce original books and also to translate
important books from European languages. Amongst other
works it has undertaken the publication of a standard Hindi
dictionary in several volumes. Many others also are pub-
lishing the works of various Hindi authors, whose works up
till now have existed only in manuscript, and have often been
hardly known outside the particular sect to which the authors

belonged. Translations of many English and other works
are being produced in great numbers, making it possible even
for those who are unacquainted with English to gain some
knowledge of the culture of the West. Moreover, books on
subjects connected with politics, science, philosophy, morals,
history and religion are being constantly issued from the
press. A great deal of what is produced may not have great
value as literature, but it is all helping to cultivate and enlarge
the resources of the language to meet the needs of today.
A Hindi society which has its headquarters at Allahabad is
the Sdhitya Sammelan, which conducts examinations in
Hindi of a very high standard and grants diplomas, and is
trying to establish purely Hindi schools in all parts of North
and Mid-India.
Amongst other societies that are doing much to extend
Hindi literature, the North India Tract Society and other
Christian societies hold an important place. Through the
agency of these societies a great deal of Hindi literature has
been produced, not only of a directly religious nature, but also
stories, biographies, educational books, and books on social
and other subjects. Indian people themselves are often
largely unaware how much of the new movements for political
freedom, social emancipation, and religious reform are really
inspired by Christian ideals. India has seen the vision of a
future glory for herself and her children greater even than
her past achievements, excellent as these have been. New
ideals of righeousness and of duty, of brotherhood and of
service have come before her, and inspiration for these has
been very largely due to the life and teaching of Christ, who
in this, as in so many other ways, is the fulfilment of all that
is noble and excellent in Indian life. The ideas of the old
mythology, -which formed so large a part of the themes of
writers in the past, are on the wane, and the past ideals with
regard to many other matters are undergoing a change. India
is seeking out after a larger, a fuller, a more complete life
than she has lived in the past. In this development the
vernacular literature is bound to have a most important part
to play. The responsibility resting upon all writers, where
such great issues are at stake, is very great, but the situation
is one which should call forth the very best and noblest
work from all who are concerned in the production of
literature.
BIBLIOGRAPHY
HISTORY OF THE LITERATURE, ETC.
The Modern Vernacular Literature of Hindustan. Sir George
A. Grierson. 1889. Published by the Asiatic Society of Bengal
(Calcutta).
Miira Bandhu Vinod. (3 vols.) An account in Hindi of the
literature, with examples of the work of the chief authors, by the
Misra brothers. Published by the Hindi Granth Prasarak
Mandall (Khandwa and Allahabad).
Hindi Navaratna. An account in Hind! by the same authors of
nine great Hindi writers, viz. Tulsi Das, Sur E>as, Dev, Bihar!
Lai, Bhushan, Kesav t>as, Mati Ram, Chand Bardai, and
Harichandra. Publishers as above.
Kavita Kaumudi. By Ram Naresh Tripathl. Vol. I deals with
the literature down to the time of, but not including, Haxi-
chandra, and contains an account of 89 poets and gives copious
extracts from their work. Vol. II is not yet published. (Sahitya
Sammelan Office, Allahabad.)
Sanibam Sangrah. (2 vols.) Contains extracts from the works
of thirty-five Hindi religious poets, with notes. (Belvedere
Steam Printing Press, Allahabad.
Encyclopaedia Britannica. Edition XL
Vol. XIII, pp. 483-491.
Imperial Gazetteer of India. Vol. II.
Linguistic Survey of India. Sir George A. Grierson. Contains

much useful information as to the language and dialects.
The Encyclopaedia of Religion and Ethics. Contains articles on
several of the different sects whose literature is described in
this book.
TRANSLATIONS
Only a small portion of the vast quantity
quant of Hindi literature has
The fpllowi _ are some
been translated into English.
îsh. following of the trans*
lations (the list is not exhaustive) which have been made, and which
in most cases contain also information as to the authors and their
work.
Translation of the Rdmdyan of Tulsi Das. By F. S. Growse.
Matkurd. By P. S. Growse. Contains translations of some of the
poems of worshippers of Krishna.
The Sikh Religion. By M. A. Macauliffe. (6 vols.) Contains a
translation of the Granth. (Clarendon Press.)
A History of the Boondelas. By W. R. Pogson. (Calcutta, 1828.)
A translation of Lai Kavi's Chhatra Prakds.
The Btjak of Kalnr. Translation into English by the Rev. Ahmad
Shh.
The Padumdvati of Malik Muhammad Jaisl. Edited with a com-
critical notes, by Sir G. A. Grierson
mentary, translation, and
and MahamahopSdhyaya Sudhakar Dvivedi. (Asiatic Society of
Bengal, Calcutta.)
TEXTS
impossible to give a list of all the Hindi texts which have
It is
been published, but the following list of publishers of Hindi texts
may be of some use. I am indebted for this list to Pandit yam
Bihari Misra, of Allahabad.
1. The Venkateshwar Press, Bombay.
(Has published a good edition of the Sur Sagar of Sur Das.)
2. The Newal Kishore Press, Lucknow.
3. The Khadga Vilas Press, Bankipore, Bihar.
(Has published all the available works of Harischandra.)
4. The Bharat Jivan Press, Benares City.
(Has issued works of some well-known Hindi poets.)
5. The Bang Bosi Press, Hindi Bang Bosi Office, Calcutta.
(Has printed an annotated edition of Bihari Lai's Sat Sat.)
6. The Nirnaya Sagar Press, Bombay.
7. The Indian Press, Allahabad.
(Has published a good edition of the Rdmdyan of Tulsl Das.)
8. L. Ram Karayan Lai, Publisher and Bookseller, Katra, Allaha-
bad.
9. The Hindi Sahitya Sammelan Johnston Ganj, Allahabad.
Office,
10. The Kashi NSgari Pracharini Sabha, Benares City.
(Has published editions of Chand Bardfii's Rdso, Tulsl Das's
Ramdyan, Bhushan's works, and a great many other famous
Hindi works.)
11. The Bharat Mitra Press, Calcutta.
12. The Belvedere Steam Printing Press, Allahabad.
INDEX
ABDUL Rahlm
"- Khankfeana, Banars! Das, 76
33 f., 47 Bandan Pafhak, 89
Abul Faiz, 33 Ban! (of Dadu), 58
Adi Granth, 17 ff., 57 f. Ban! (of Lai Das), 60
Adi Upadesa, 60 Ban! (of R5m Charan), 62
Agra Das, 52, 65 Ban^ Bhaskar, 86
Akaram Faiz, 11 Bansidhar, 43
Akbar, 9, 31 ff., 42, 66 f. Banwari Lai, 74
Akharavat, 28 Bards, 8, 11 ff., 73 86
ff.,
Alam, 43 Benares, 21 f., 27, 38 f., 40, 43,
AlarikSr Ratnakar, 43 45, 46, 54 f., 56, 74, 83, 86, 87,
Alha Khand, 14 88, 97
Amar Das, 57 Ben!, 45
Axnar Singh, 12, 73 f. Ben! Madhav Das, 53
Amir Khusro, 16 Bern Pravln Bajpeyi, 87
Amrit Dhar, 19 Bhagavad Gita, 61
Ananya Das, 11 f. Bhagavata Purana, 32, 35, 61, 66,
Angad, 57 71, 81, 86
Ang Darpan, 43 Bhagwan Hit, 68
Anthologies, 85 Bhagwant Ray, 45, 54
Arjun, 17, 57 f. Bhaktamala, 47, 52 f., 65, 68
Ashta Chhap, 27, 65 Bhaktavatsal, 53
Axirangzeb, 36 f., 40 f., 42 f., 73 Bhakti, 17 rT., 25, 27, 47, 61, 63,
Avadhes, 86 72 91 93
Avadhi, 4, 22, 48, 81 Bhanu Nath Jha, 85, 88
Avadh Sagar, 54 Bharatendu, 83
Ayodhya, 4, 46, 50, 62, 86 f., 89 Bhasha Bharan, 44
Azam Shah, 39, 41 Bhasha Bhushan, 40 f., 43
Bhaun, 45
BAHADUR Shah, 42 Bhawanand, 19
Bairi Sal, 44 BhawanI Chhand, 76
Baiswari, 4, 48 Bhikhari Das, 45
Baital, 76, 86 Bhikha Sahib, 60
Baital Pachisi, 81 Bhishma, 71
Bakhshi Hansraj, 71 Bholan Jha, 77
Bakhtawar, 88 Bhu Dhar Das, 77
Bal Alt, 54 Bhupati, 16, 43
Balbhadra, 35 Bhushan TripathI, 37
Bal Dev, 86 Bible, The, 81 f.
Bal Mukund LilS, 71 Bihar!, 2 ff., 25, 75, 77, 85, 88
Krishna Tripafhl, 36 Bihar! I>al, 87
Bihar! Lai Chaube, 9, 39 ff., Dalel Prakag, 44
43 f., 45 f. 52, 70, 81, 87
f Dalpati Ray, 43
Bihari Lai Tripathi, 87 Damodar Das, 76, 91
Biharini Das, 70 DarS Shukoh, 36, 38
Bljak, 21 f., 56, 86 Darbhanga, 25, 75, 77, 86, 88
Birbal, 32 f., 34, 67 Dariya Sahib, 60
Bir Bhan, 60 Das, 45
Blsal Dev, 12 Das Ratna, 53
Bodha Firozabadi, 44 Daya Bai, 61
Braj Basi Das, 71, 84 Daya Bodh, 61
Braj Bhasha, 3, 26 f., 30, 36, 39, Daya Nidhi, 78
41, 45, 49, 58, 65, 68, 75, 77, 81 Delhi, 4, 7, 12, 28, 61, 80, 82
Braj Bilas, 71 DevanSgari, 5
Brindaban, 46, 65, 71 Dev Datt (Dev Kavi), 9, 36, 41,
Brindaban Ji, 88 84
Buddh Rav, 74 Dev Datt, 44
Bulla Sahib, 60 Devi Das, 62, 77
Bulle Shall, 60 Devki Nandan TiwSri, 44
Bundelkhand, 39, 42, 45, 71,
" 75, Dev Maya Prapanch, 41, 84
77,86 Dhana, 19
Dharm Das, 56
CAREY, William, 81 DharnI Das, 6O
Chaitanya, 26, 70 f. Dhruv Charitr, 30
Chandan Ray, 44 Dhruv Das, 69
Chand BardSi, 8, 12 ff., 66 Dialects, 4
Chandra Jha, 89 Dig-Vijai Bhushan, 85
Chandra S"ekhar Bajpeyi, 86 Doha, 5 f., 39 f., 51
Charan Chadrika, 78 Drama, 10, 84 f.
Charan Das, 61 Drishtakut, 66
CharitSvali, 83 DQlah Trivedi, 44
Chaturbhuj Das, 65 Dulan DSs, 62
Chaupal, 6, 61 Dulha Ram, 62
Chaurasi Pad, 69
Chaurasi Varta, 68, 91
Chet Chandrika, 85
P AST India Company, 79
Chhand Bichar, 37
Chhand Chhappani, 44 I7ATEH Bhushan, 44
r
Chhand Sir Pingal, 38 Fateh Shfih Prakfis, 44
Chhappai, 6, 52 Fort William College, 80, 82
Chhatra, 76
Chhatra Prakas, 75
Chhatrasal, 37, 42, 62, 74 f.
f ADA
**-"
Dhar
Gambhir Ray, 74
Bhatt, 70, 87
Chhattisgarhi, 4 Ganesh, 55
Chhit Swami, 65 Ganesh PrasSd Farukhabfidi, 87
Chintamani Tripathi, 37, 54 Gangs Lahari, 87
Christian, John, 89 Ganga Pati, 77
Christian Literature, 89, 97 f. Ganga Prasad (Gang Kavi), 33 f.,
67
58 ff. Ganjan, 43
DadQpanthis, 9. 58 ff., 76 Garib Dfta, 61
INDEX 103
Gauri Parinay, 84 INDO-ARYAN
1 Languages, 1, 6
Ghagh, 77 Indravati, 77
Ghan Sy&m S~ukla, 74 Ishqnama, 44
GhasI Ram, 76 Ishwarl Prasftd Tripathi, 54
Ghat-Ramayan, 54
JTAGADVINOD,
Gilchrist, Dr. John, 80 87
Giri Dhar, 77 Bilas, 73
Jagat
Giri Dhar Das, 84 Jagat Singh, 43, 45, 73 f.
Gita Govinda, 18, 25, 66 Jagjivan Das, 62 f.
Gokul Nath, 45, 68, 85, 91 JagnSyak Qagnik), 8, 14
Gokul Prasad, 85 Jahangir, 9, 33, 36, 76 f .
Gopal, 86 Jai Chand, 88

Gopal Chand, 84 Jaidev, 18
Gopal Ram, 84 Jai Dev Bills, 73
GopI Nath, 85 Jains, 76, 77, 88
Gorakhnath, 16, 91 Jain Satak, 77
Gosain Charitr, 53 Jai Singh, 86
Govind Das, 65 ai Singh Kalpadrum, 74
Govind Singh, 57 f. fai Singh Sawai, 74, 77 -
Govind Sukhad Bihfir, 85 aipur, 32 f., 39, 42, 74, 77, 88

Granth of the Tenth Guru, Jalali Das, 62
57 f. Jalhan, 14
Granth Sahib, 9, 17 f., 24 f., Jan Gopal, 44
57 f. Jgnki PrasSd, 89
Gulal Sahib, 60 jank RasikI Saran, 54
Guman MiSra, 45 Japji, 24, 57
Gurdin Pande, 87 japjf , 58
Guru Datt Singh, 43 Jaswant Singh, 40 f., 43
Guru Granth Sahib, 61 fata S~ankar, 37
Gwal, 87 ratibiias,41
Gyfin Prakas, 62 ayadeva, 18, 25
Gyan Samudra, 59 Jodhpur, 4O, 74, 86
Jodhraj, 74
LJAMMIR Hath, 86
** Hammir Klvya, 16, 74 8 f., 20 ff., 28, 56 f.,
Hammir Rasa, 16 6O63 f., 86
ff.,
HanumSn Chhabbisi, 54 Kabirpanthis, 21, 56 f., 61
Hanuman Nataka, 54, 89 KalidSs, Hajara, 43
Hari Charan Das, 45 Kaiidas Trivedi, 42, 44
Hari Das, 69 f. Kamai, 24
Harikesh, 74 Kanarpt Ghat Laral, 75
Hari Prasad, 40 Karan, 33, 74, 86
Harischandra, 10, 83 f.. 87 Karnes, 33
Harivaniaa, 69, 77 Kashmir Kusum, 83
Harsh Nath Jhfi, 85, 88 Kail Nath, 36
High Hindi, 2 fF., 80 f. Kail Nath Khatttf, 84
Hindi, 2 ff., 31, 80 f. Kavi Bachan Sudhfi, 83
Hit Haribans, 68 Kavi-kul Kalpataru, 37
Hitopadesa, 81 Kavi Mala, 38
Hit Taranginl, 3O Kavindra Kalpa Lat, 38
Kavi PriyS, 34, 45, 87 MahabhSrata, 45, 76
Kavitta, 6, 37, 51 f., 53, 67 Mahajani, 4
Kavitta Akfill, 88 Mahflpralay, 62
Kavitta Ratnfikar, 36 Mahoba Khan4, 14
Kavittfivali, 51 Maithili, 4, 25, 74, 77, 85, 88
Kftvya, 6 Malik ]Vfuhammad Tfiyasi, 8,
KSvya Kalpadrum, 36 28 77
ff.,
Kavya Prakas, 37 Maluk Das, 53 f.
Kfivya Saroj, 43 Mfin, 71, 73, 86
Kfivya Vivek, 37 Manas SankavaU, 89
KfiyathI (KaithI), 4 Manbodh JhS, 77
Kedar, 11 Manchit Dwij, 71
Kesav Das, 9, 30, 34 ff., 37, 40, Mandan, 27, 42, 91
43, 45, 67, 87, 92 Man E>as, 54
Kesav DSs. 60 Mani Dev, 85
KhankhSnS, 33, 47 Mani Ram Misra, 44
Kbari Boli, 4, 80 Maniyar Singh, 54
Khfis Granth, 22 Manohar Das, 32
Khumfin Rasa, 11 Mansa Ram, 88
Kishor, 44 Man Singh, 32, 47, 86 f.
Kishor Sangrah, 44 Markandeya Purana, 76, 91
Kripa Ram, 30, 34, 77 Mirwar, 45, 72 f.
Krishna, 25
8, ff., 36, 39, 48, 52, Marwari, 3, 88
65 ff., 89, 93 Masaud, 11
Krishna Ems Pay Ahari, 65 Mati Ram Tripafhi, 38, 87
Krishna Kallol, 71 Meerut, 4, 80
Krishipfinand Vyas Dev, 85 Mewar, 73
11, 26,
KrishnSyan, 71 Mira Bai, 26 f 8, .
Kulpati Misra, 42 Mohan Bhatt, 86

Kumar Mani Shaft, 45 Moti Ram, 77
Kumar Pal, 11 Mubarak All, 76
Kumbhan DSs, 65 Muhammad Shah, 43, 61
KundaliyS, 6, 56, 77 Mukti Muktavall, 89
MullS Daud, 16
I
*-
AKSHMAN Singh, 84 Mun, 89
Lalak DBs, 89 Muttra, 3, 39, 65 f., 72
Lfilfi SltS Rfim, 84
Lfil ChandrikS, 81
LSI Das, 60
NjABHA
1N DSs, 46, 52 f., 65
Nagari DSs, 69, 77
Lalit Kishor;, 89 Nagari Pracharinl Sabha, 97
Lalit LalSm, 38, 44 Nahush Nafak, 84
Lalit PratS*, 70 Nakhîkh, 35, 38 f., 43, 53, 87
Lfilitya Lata, 44 Nala and Damayanti, 67
Lfil Jhft, 75 Nalla Singh, 16
LSI Kavi, 74, 75 NSmdev, 8, 18, 57
LallQ Ji LSI, 4, 10, 36, 77, 79 ff., NSnak, 24, 57 f., 60
85,91 Nand Das, 65 f.
Nfirayap RSy, 87
1V/IADHONAL, 77 Narhari SahSy, 33
1VA Madhu Sudan Ds, 54 Narottaro DSs, 30
INDEX 105
Narsingh Mehta, 25 Prosody, 5, 34 ff., 87 ff., 92
NSsketopakhyan, 81 Puhakar, 76
Nath Kavi, 76 Pxirohit Gopi NSth, 84
Navin, 87 Pushya (Punda), 11
NSyak-NfiyikS Bhed, 36, 38 f.,
42,44 Bakhsh, 68
Nazir, 76 QADIR
Qutub Ali, 11
Nehprakaa, 54
Newaj, 42, 84 DADHA,
rv 25 ., 39, 66 ff.
Nidhan, 78 Rdha-sudh-nidhi, 68
Nil Kanth Tripathi, 37 Radha-Vallabhis, 68 f.
Nischal Das, 59 Raghu Nath, 45
North India Tract Society, 97 Raghu Nath Das, 89
Nur Muhammad, 77 Raghu Nath Ray, 74
Raghunath Rupak, C I
DADMAKAR
*
Bhan, 86, 87 Raghu Raj Singh, 86
Padmavatl, 13, 93 Raghuvamsa, 89
Padumavati, 28, 77 Rag Mala, 33
Pajnes, 87 Rag-Sagarodbhav Rag Kalpa-
Paltu Sahib, 56 Rahim Sat Sal, 33 [drum, 85
Panchadhyayi, 66 Rai Das, 19, 26
Panchatantra, 81 Rai Pithora. 7, 1 2
Panna, 37, 42, 44, 71, 74, 86, 87 RajasthanI, 2 ff., 76, 80, 86
Parmanand Das, 65 Raj Dev Bills, 73
ParsI Prakas", 38 Rajniti, 81
Par&va Puran, 77 Raj Pattana, 73
Phaturi LSI, 88 Rajputana, 7, 8, 28, 58, 62, 73, 76, 77
Pirigal, 3 Raj Ratnakar, 73
Pipa, 19 Raj Rupakakhyat, 74
Plyush Nidhi, 43 Rama, 8 18, 21, 25 ff., 46 ff.,
Poetesses, 8, 26, 34, 43, 61, 71 f. 88 f., 93
Prabhavati Haran, 85, 88 Ram Alankritmanjari, 34
Prabodh Chandroday, 84 Ramananda, 8, 17 ff., 25, 46, 52
Prakrit, 1, 8, 11 f., 85 Ramanandls, 18, 52 f.
Pran Nath, 62 Ramasvamedh, 54
Pratap Sahi, 87 Ramayan, 37, 46 ff., 54, 81, 89
Pratham Granth, 62 Ram Bilas, 54
Pravin Ray Paturi, 34 Ram Bilas Ramayan, 54
Premchandrika, 41 Ram Chandra ki Sa\vari, 86
Premlata, 69 Ram Chandrika, 34
Prem Praka^, 60 Ram Charan, 62, 78
Prem Ratna, 71 Ram-charit-manas, 47 ff.
Prem Ratnakar, 77 R5mcharitr, 54
Prem Sagar, 81 Rarn Das, 33, 57, 66
Premsattvanirup, 65 Ram Din Tripathi, 86
Printing-press, 82 Ram Gitavali, 51
Prithi Raj, 7, 12 Ram Ji, 42
Prithi Raj Raso, 12 Ram Ravan Yuddh, 89
Priyfi Das, 53 Ram Sahfiy Das, 87
Prose, 27, 76, 81 f., 88, 91, 95 f., Ram Sanehis, 62
R9m Tattva BodhanI, 89 Sarang Dhar, 8, 16, 74
Ran Chhor, 26, 73 Sarasvatl, 38
Ranthambhor, 8, 16 Sardar, 88
Ras, 39, 63 SarrafI, 4
Rasbilas, 41 Satnamis, 62
Ras Chandrika, 36 Sat Sal, 39 ff., 43, 45 f., 52, 71 , 81 ,
Ras Chandroday, 84 86 f.
Rasik Govind, 89 Sat Sal Mati Ram, 38
Rasik Priya, 34, 43, 45 Satya Prakag, 60
Rasik Rasal, 45 Satyopakhyan, 89
Ras Ke Pad, 70 Saundarya Lahari, 54
Raskhan, 68 Savaiya, 6, 45, 59
Ras Lin, 43 Sayyad Gulam Nabi, 43
Ras Rahasya, 42 Sen, 28
Ras Raj, 38 Senapatl, 9, 36
Ras Ratan, 76 Serampore, 81
Ratan Kavi, 44 Shah Jahan, 9, 36, 38, 74
Ratan Kunwar, 71, 82 Shekh Rangrezin, 43
Ratna-khana, 53 Sikandar Lodi, 21
Rav Rana, 86 Sikhs, 24, 56 ff.
Rgv Ratan Raysa, 74 Singhasan BattisI, 36, 81
Rewah, 19, 74, 86 Sita, 46 ff., 93
Rup Sahi, 86 Sital, 70
Sita Ram Dhyanmahjari, 54
CABAL
^ Singh, 76 Siv Arsela, 45
Sabdas, 22, 60 f. îv Narayan, 61
Sabh Bilas, 81 Siv Praka^ Singh, 89
Sadal Miara, 80 f .
Siv Prasad, 71, 81 f.
Sadasiv, 73 &v Raj, 37
Sadharan Siddhant, 70
Sadhs, 60 Siv Raj Bhushan, 37
Sadna, 18 Siv Singh Saroj, 85
Sahaj Ram, 89 Siv Singh Sengar, 85
Sahachari Saran, 70 Somnfith, 43
Sahajo Bai, 61 Soratha, 6, 39
Sahityalahari, 66 Sri Dhar, 76
Sfihitya Sammelan, 97 Hit BrindSban Das Ji Chacha,
Sakhls, 22 f., 60, 61 69
SakuntaU Na*ak, 42, 84 Nagarl DOs, 77
Sftlihotr, 78 SringSr Sangrah, 88
Samarsflr 44 SrlnivUs Das, 84
Sambhu Nath, 54 Sripati, 43, 45
gambhu Nath Misra, 45 Sudama Charitr, 30
Sambhu NSth Singh, 38 Sudhanidhi, 43
Saneh Sagar, 71 Sujan Charitr, 74
Sangit Sar, 33 Sukh Dev MWra, 42
Sanskrit, 1, 4, 17 ff., 25, 27, 31 f., Sukh Nidhftn, 56
39 f., 44, 47, 54, 61, 66, 68 f., Sundar, 36
82, 85, 86, 88, 96 Sundar Bilas, 59
INDEX 107
Sundar Das, 59 Nath Trivedi, 44
Sundxi Kunwari Bal, 71 UDAY
Umapati, 26
Sundari Tilak, 83 Urdu, 2ff., 32, 80 f.
SundarkSnd, 54 Csha Haran, 85
Sundar atak, 86
Sundar Sringar, 36 \7AISHNAVAS,
Sunlsar, 88 v Slff.,68
8, 17, 25, 50,
Surafi Misra, 43 Vallabhacharis, 65 ff., 68, 71

Suravali, 66 Vallabhacharya, 27, 65 f., 68
Surbhidanlila, 71 Valmiki, 47, 54 f.
Sur Das, 9, 12, 33 f., 47, 51, Vedang Ray, 38
65 ff., 88
72, Vedanta, 19, 21, 41, 50, 58 f., 76, 77
Sur SSgar, 66 Vichitr Natak, 58
Surya Prakas", 74 Vidyapati Thakur, 8, 25, 84
Surya Malla, 86 Vidya Sundar, 84
Vigyan Gita, 34
71 Vijai Muktavali, 76
Tan Sen, 32 f. Vijai Singh, 74
Vikram Sahi, 76, 86
Teg Bahadur, 57 Vinay Patrika, 51, 86, 89
Thakur, 45 Visala Deva, 11
Thakur Prasad Tripathi, 85 Vishnu Purana, 45
Thakur Satak, 45 Visvanath Singh, 86
Than Ram, 44 Vinhalnath, 27, 65, 68, 91
Todar Mai, 32 Vitthal Vipul, 70
Tota Ram, 84
Tosh Nidhi, 43
Tripathi Brothers, 9, 37 f.
Tulsi, 38
W
\J[/ESTERN
65
Hindi, 2 ff., 52,
Tulsl Dfis, 9, 34, 40, 46 ff., 65 ff.,

86, 93
Tulsi Sahib, 54
VAMUNA
1 Lahari, 87
YSri Sahib, 60
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What is the purpose of the Heritage of India Series?

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ii.

The Sacred Rural. H. A. POPLBY, B.A., Madras.

Subjects proposed and volumes under preparation

FINE ART AND MUSIC.

HISTORIES OF VERNACULAR LITERATURE.

Y.M.C.A. PUBLISHING HOUSE

The Right of Translation it Reserved

PKINTBO m IHDIA ta THE

MAP ... ... ... ... Facing title page

II. A GENERAL SURVEY OF HIND! LITERATURE ... ... 7

IV. EARLY BHAKTJ POETS (1400-1550)... ... ... 17

VI. TULSI DAs AND THE RAMA CULT (1550-1800) ... 46

XII. PRESENT POSITION AND PROSPECTS OF HIND! LITERATURE 95

the sake of convenience and to avoid circumlocution it will

not surpassed in any language. The number of metres

The Family of Indo-Aryan Languages

A GENERAL SURVEY OF HINDI

EARLY BARDIC CHRONICLES

The Earliest Poets. During the time when the Rajput

Worshipping Gauri, revering Sankar ;

Circumambulating and touching their feet.

Chand Bardai's son, Jalhan, is also said to have been a poet

Journal of the Asiatic Society of Bengal (1869), pp. 152, 153.

But Alha there his breast made bare,

Then drew the King his shining glaive,

And lopped their limbs away;

'Now, RajS, now my stroke take thou/

The Vaishnava Revival. A new development in Hindi

The lines below illustrate Kablr's theological standpoint:

he weaveth still, but hard to reach is the far-off end.

Vallabhacharya. The spread of the worship of Krishna,

and only thou* (eka-i tu hi). The emerald parroquets sportively

Other Poets of this Period. Two other poets of this period

The New Influence in Hindi Poetry. Although the

of Kes'av Das is not easy reading, but there is no doubt of his

not serve an ungrateful master; do not praise poetry that is

says. When I see glancing eyes my good resolutions go,

well as by the Emperor Shah Jahan. He is regarded as one

Jaswant Singh. Maharaja Jaswant Singh of Jodhpur

The work of a man of noble race, the gentility of a nobleman,

Ram Jt (born 1646) was the author of a Ndyikd Bhed as

Tulsi Das. The most celebrated name in Hindi literature

Tulsi Das was in line with that tendency of the bhakti

* Translation by Mr. F. S. Growse.

where between 1585 and 1623. The Bhaktamala or Roll of

the Bhagats,' is a poem in old Western Hindi, written mainly

the author of other works, including a Nakhtikh, Besides the

THE SUCCESSORS OF KABIR

1 Translation by MacaulifTe, The Sikh Religion, Vol. Ill, 202.

sect is now represented merely by an order of sddhus. His

THE KRISHNA CULT

The Ashta Chhap. Vallabhacharya and his son Vifthal-

Seals, or Diestamps, because the poems they produced are

cluster of stars, but the poets of today are like so many

Bards of Me war. The succession of bards in the various

ten by an unknown bard. The successor of Jagat Singh,

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