Nagri Pracharini Patrika Part 13

This document is a collection of articles published in the Nagri Pracharini Patrika, Part 13, edited by Gaurishankar Hirashankar Oza and published by the Nagri Pracharini Sabha. The catalog link leads to a digital version of this publication. The provided text focuses primarily on article #12, "Kavi Jatal Rachit Gora Badal Ki Bat" (The Tale of Gora and Badal by Poet Jatal), authored by Mahamahopadhyay Rai Bahadur Gaurishankar Hirachand Ojha.

Here's a summary of the content, focusing on the main article and briefly touching upon others for context:

Overall Structure of the Publication:

The publication, Nagri Pracharini Patrika, Part 13, is a scholarly journal containing various articles on history, literature, and language. The provided text includes a table of contents (विषय-सूची) listing articles on topics like the Bharashiva dynasty, the unknown Kshatriya dynasty of Gora, the Singhal island of Padmavat, Buddhist art of Mathura, pronunciation of Sandhyakshars, Bundelkhand's history, musicology, the Hammir Mahakavya, and literary works by poets like Jatal, Premrang, and Khuman.

Detailed Summary of "Kavi Jatal Rachit Gora Badal Ki Bat" (The Tale of Gora and Badal by Poet Jatal) by Gaurishankar Hirashankar Ojha:

This article by Gaurishankar Hirashankar Ojha critically examines a poetic rendition of the "Gora Badal ki Baat" (Tale of Gora and Badal) by the poet Jatal.

• Introduction and Discovery: Ojha states that the story of the heroes Gora and Badal, who aided Sultan Alauddin Khilji's invasion of Chittor, is famous throughout Rajputana. He recounts his visit to the historic fort of Bhatner (Hanumangarh) in Bikaner, where he met Thakur Ramsinghji M.A. and Swami Narottamdasji M.A. He was delighted to learn that these scholars were editing the ancient tale of Dhola-Maru and also a poetic work titled "Gora Badal ki Baat." They showed him their edited versions, which he read during his stay. This article aims to present the essence of Jatal's "Gora Badal ki Baat" for readers and provide historical analysis.

• Comparison with Malik Muhammad Jayasi's "Padmavat": Ojha notes that Jatal's narrative shares similarities with Malik Muhammad Jayasi's "Padmavat," but also contains several differences. He speculates that Jatal might have seen or heard of Jayasi's "Padmavat" as it predates his work by 83 years.

• Narrative Summary of Jatal's "Gora Badal ki Baat":

  • The story begins with Raghav Chetan being expelled from Chittor after a king's suspicion arose from observations in the Nagri Pracharini Patrika (this seems to be a narrative device within the story itself, or a misunderstanding by Ojha). Raghav then travels to Delhi and encounters Sultan Alauddin Khilji.
  • Raghav, through his musical skills, impresses Alauddin. When asked about the most delicate thing, Raghav describes Padmini, praising her qualities, her scent of musk, and the fragrance from her mouth, which attracts bees. He classifies women into four types: Chitrini, Hastini, Shankhini, and Padmini, praising Padmini the most. He also classifies men based on compatibility with these female types.
  • Alauddin, intrigued, wants to see Padmini. Raghav describes her as being in Singhal Island. Alauddin marches to Chittor to demand Padmini from King Ratan Sen.
  • After a 12-year siege, Alauddin, advised by Raghav, pretends to retreat. He then tricks Ratan Sen into visiting his camp under the pretense of reconciliation. Ratan Sen is captured.
  • Alauddin tortures Ratan Sen and demands Padmini. Padmini, despite the suffering of her husband, refuses to be handed over, valuing her chastity and honor. She devises a plan with Gora and Badal.
  • Gora and Badal, disguised as guards within 500 palanquins, infiltrate Alauddin's camp. They disarm the guards and free Ratan Sen. A fierce battle ensues.
  • During the battle, Gora is killed by a royal officer. Badal fights valiantly, avenges Gora, frees Ratan Sen, and returns to Chittor.
  • Padmini welcomes Badal and honors his bravery. Gora's wife, upon hearing of her husband's valor, chooses to become Sati with his turban.

• Key Differences between Jayasi and Jatal: Ojha then details significant differences in the narratives:

  • Introduction of Padmini: Jayasi attributes Padmini's beauty to a magical parrot (Hiraman), while Jatal attributes it to a Bhat (bard).
  • Ratan Sen's Journey to Singhal: Jayasi depicts Ratan Sen becoming a yogi and undertaking a long, perilous journey to Singhal, accompanied by princes. Jatal states that a yogi chanted a mantra from a deer skin, magically transporting Ratan Sen and the yogi to Singhal.
  • Padmini's Marriage to Ratan Sen: Jayasi describes Padmini's initial encounter with Ratan Sen through the parrot, their meeting during Vasant Panchami, and their eventual marriage after facing hardships, with Shiva's intervention. Jatal states that upon Ratan Sen's arrival in Singhal, the yogi introduced him to the king as a suitable match for Padmini, leading to their marriage.
  • Ratan Sen's Return from Singhal: Jayasi describes Ratan Sen's recall due to his first queen, Nagmati, sending him a message via a bird, and his arduous journey back with Padmini. Jatal claims Ratan Sen, Padmini, and the yogi returned to Chittor in a flying chariot (Vimana).
  • Raghav Chetan's Role: Jayasi portrays Raghav Chetan as a skilled sorcerer who reveals Padmini's beauty to Alauddin, leading to the Sultan's obsession. Jatal depicts Raghav accompanying Ratan Sen from Singhal to Chittor in a flying chariot and being later expelled by Ratan Sen due to suspicion. Jatal further narrates Raghav's encounter with Alauddin in Delhi, his musical prowess, and how he described Padmini and other women to the Sultan.
  • The Siege and Capture of Ratan Sen: Jayasi mentions an 8-year siege, followed by Alauddin's cunning request to see Chittor for a short period, leading to Ratan Sen inviting him and then being captured through a trick involving a mirror reflecting Padmini. Jatal states a 12-year siege, followed by Alauddin's feigned retreat and a deceitful offer to Ratan Sen (making him a Mansabdar, treating him as a brother, granting territories), leading to Ratan Sen being captured after being lured out of the fort.
  • Padmini's Plea and the Escape Plan: Jayasi mentions an old woman being sent by the king of Kumbhalner to lure Padmini. Jatal details Padmini's refusal to comply with ministers' advice to surrender and her seeking help from Gora and Badal. The escape plan involves soldiers hidden in palanquins.
  • The Rescue Operation: Jatal's account of the rescue operation involves 500 palanquins with two warriors each, lifted by four warriors. Weapons are hidden inside, and they present themselves as bringing Padmini, then launch an attack to free Ratan Sen and kill Alauddin.
  • The Battle and its Aftermath: Jatal describes the battle, Gora's death, Badal's victory, freeing Ratan Sen, and Padmini honoring Badal. Gora's wife becomes Sati upon hearing of her husband's valor.

• Historical Aspects: Ojha concludes that there is historical truth in both narratives: Ratan Singh (Ratan Sen) was the king of Chittor, Padmini his queen, Gora and Badal his commanders, and Alauddin Khilji the Sultan of Delhi who invaded Chittor for Padmini.

• Jatal's Biography and Work: Ojha provides details about Jatal, stating he was the son of Dharmasi, son of Nahar, of the Nahar gotra (clan) of the Oswal Mahajan community. He completed his work in Sambat 1680 (1624 AD) in Sambala village. His language is described as eloquent, with many Rajasthani-Dingle words. Ojha notes that Sambala's location is unknown but Jatal was likely not from Mewar, as he incorrectly identified Ratan Sen of Chittor as a Chauhan instead of a Guhilot. Ojha refutes Jatal's claim of a 12-year siege, stating Alauddin captured Chittor in six months. He also notes that the Mansabdari system was not in place at that time.

• Further Analysis: Ojha discusses the historical inaccuracies in both Jayasi and Jatal regarding Padmini's father, lineage, and the journey to Singhal, suggesting that "Singhal" might refer to Singoli in Rajputana rather than Ceylon. He also mentions that another version of "Gora Badal ki Katha" by Jatal exists in prose and verse, differing from the purely poetic version he reviewed.

Brief Mentions of Other Articles:

• Article #13: "Kathiawad Adi ke Gohil" (Gohils of Kathiawad and Other Regions) by Muni Jinavijay: This article discusses the history of the Gohil dynasty in Kathiawad, asserting their connection to the Mewar branch and refuting claims of their Chandravanshi lineage, attributing such ideas to Bhats and Charans.
• Article #14: "Premrang tatha Abhas Ramayana" (Premrang and Abhas Ramayana) by Brajratnadas: This article introduces the poet Premrang (Indra Dev), his works like "Abhas Ramayana" and "Garbaavali," and discusses the development of Khadi Boli Hindi, referencing the debate on its origins.
• Article #15: "Khuman aur unka Hanumat Shikhanakh" (Khuman and His Hanumat Shikhanakh) by Akhouri Gangaprasad Singh: This article details the life and works of the poet Khuman, highlighting his devotion to Hanuman and analyzing his poem "Hanumat Shikhanakh," which describes Hanuman's physical attributes.

In essence, this section of the Nagri Pracharini Patrika provides a scholarly review and analysis of historical and literary works, with a particular focus on the "Gora Badal ki Baat" by Jatal, drawing comparisons with Jayasi's "Padmavat" and offering historical context and critique.