CHAMKAUR GARHI SAHIB | RANA ROOPCHAND GHOREWAHA - IMMORTAL RAJPUTS

Gurdwara Garhi Sahib commemorates the spot of the bloody Battle of Chamkaur. After the attack at the river Sirsa, Guru Govind Singh, his two eldest sons and 40 Sikhs made it to the town of Chamkaur while being pursued by the hordes of mughals. Guru Govind Singh and the 40 Sikhs sought shelter in a mud-built double story house. They were attacked by the enemy on December 21, 1705.Against these overwhelming odds, the Sikhs ventured our in small groups to fight the enemy and bravely lay down their lives. Thirty Seven Sikhs were martyred that day including Guru Govind Singhs two eldest sons as well as three of the Five Beloved Ones (the first baptized Khalsa).

Guru Govind Singh makes a reference to this battle in his victory letter Zafarnama.

Guru Govind Singh leaving Anandpur Sahib (Makhowal)

Doors of Kot Kapura After Guru Govind Singh left Anandpur on the night of December 5 and 6, 1704, he crossed the Sirsa river and en route from Machhiwara, after staying at Dina, reached Kot Kapura. Chaudhary Kapura Brar was the chief of Kot Kapura and chief of eighty-four villages. Guru Govind Singh asked Chaudhary Kapura for his fort to fight the pursuing Mughal army. Kapura was a Sikh, but did not want to earn the ire of the Mughals by helping Guru Govind Singh openly in his war with them. Chaudhary refused the entry by shutting the doors of the fort to the guru.

Gate of Kotkapura

Chaudhry Kapura, being repentant of his disgraceful act of not helping Guru Govind Singh, later came to see the guru and asked for forgiveness. Later, in the battle of Muktsar in 1705, Chaudhary Kapura helped Guru Govind Singh. In 1708, Kapura was slain by Tse Khan Manj Muslim Rajput chief of Kol Tse Khan in Firozpur district. His grandson, Jodh Singh, built a fort near Kot Kapura in 1766, but fell the following year in a battle with Raja Amar Singh of Patiala. Kot Kapura eventually came under the control of Maharaja Ranjit Singh and was restored to tlie Faridkot family only in 1847. 

Dhilwan Sodhian

After refusal from Kot Kapura, Guru Govind Singh reached the village of Dhilwan Kalan (at that time called Dhilwan Sodhian), where his relatives received him with great cordiality. At Dhilwan Kalan, one of the Prithi Chand's descendants, Kaul Sodhi, presented Guru Govind Singh with new clothes. The guru took off his blue robe which he had been wearing since he left Machiwara, and tearing it piece by piece burned it in fire. The historic words that Guru Govind Singhji are said to have uttered on this occasion are memorable: "I have torn the blue clothes which I wore, and with that the rule of the Turks and Pathans is at an end". Descendants of Kaul Sodhi’s family has the possession of a "Selhi Topi" believed to be of the first guru, Nanak Dev-ji, and a "chola" (cloak), socks and turban, two daggers believed to belonging to Guru Govind Singh.

Blue Chola of Guru Govind Singh

Garhi of Chamkaur

A small gurdwara was first constructed here around 1930 by Sardar Bahadur Dharam Singh (1881-1933), a well known philanthropist of Delhi. The present building was raised in 1963 by Sant Piara Singh of Jhar Sahib. It duplicates the design of the central building of the older Gurdwara Qatalgarh Sahib a square sanctum on the ground floor within a square hall, and a domed room above the sanctum with decorative cupolas at the corners. The Gurdwara is managed by the Shiromani Gurdwara Parbandhak Committee through a local committee, with offices located at Gurdwara Qatalgarh Sahib.

Guru Gobind Singh arrived at Chamkaur on December 20, 1704. The Guru sent some of his disciples to request Rana Jagat Singh and asked permission of the chief for shelter to rest for the night in their Garhi or haveli. The Garhi belonged to Rana Jagat Singh and his younger Rana Roop Chand. They were Rajputs, who migrated from Aamer near Jaipur in 1134. Their elders were granted rights over 65 villages in the Chamkaur belt by rulers of that time. According to some chronicles, the names of the owners of the property were Budhi Chand and Gharibu. According to Guru shabaci Ratnakar Mahan Kosh, Guru Govind Singh had been here once before when he was on his way to Kurukshetra in 1702.

Chamkaur Garhi - Original State

Rana Jagat Singh, for fear of the rulers wrath, refused, but his younger brother, Rana Rup Chand, asserting his right as a coowner of the house, allowed Guru Govind Singh to enter. 

Guru Govind Singh camped in a bagh (garden) that belonged to the Rana family. At that place now, Gurdwara Dumdama Sahib has been built. The elder brother Jagat Singh was worried that the presence of Guru and Sikhs will invite trouble to his fort and family. But younger brother Roop Chand approached the Tenth Guru and requested him to shift from the tent in the garden to their fortress - Garhi.

Battle of Chamkaur

From the garden, the Guru and his men shifted to the Garhi to establish defenses against the invading armies of Malechs. GURDWARA GARHI SAHIB marks the site of the fortress like double storeyed house, with a high compound wall around it and only one entrance from the north, which was used by Guru Gobind Singh as a temporary citadel in the unequal battle on 7 December 1705. On occupying the house during the night of 6-7 December, he had assigned 8 Sikhs each to guarding the four sides, while another two, Madan Singh and Kotha Singh, were posted at the entrance.

Guru Gobind Singh, with his sons Ajit Singh and Jujhar Singh and other disciples, took up position on the first floor of the house in the centre. The imperial army, now inflated with reinforcements from Ropar, Sirhind and Malerkotia, arrived and surrounded the garhi. Mughal now sorrounded the `Garhi'. The battle raged throughout the day. The battle raged throughout the day. Successive efforts of the besiegers to storm the citadel were thwarted. As the ammunition and arrows in the fortress ran out, the Sikhs started coming out in small batches to engage the enemy in hand to hand fight. Sikhs started coming out in small batches to engage the enemy the hand to hand fight. Two such successive sallies were led by the Sahibzada Ajit Singh and Sahibzada Jujhar Singh, 18 and 14 years old respectively, who like the other Sikhs fell fighting heroically. In the battle, that continued for two days, the two elder Sahibzadas — Ajit Singh (16) and Jujhar Singh (14) — attained martyrdom along with three — Bhai Mohkam Singh, Bhai Himmat Singh and Bhai Sahib Singh — of the famed Panj Piaras.

Guru at Chamkaur Garhi with two sons

Poet Sainapat, writes, that Sahibzada Jhujar Singh made such a terribly lightening attack upon the enemy, with such vigorous determination, that it became impossible for hundreds of the enemy to locate his position, as many fell to his sword.

Apart from that, the Bhat Vehi give another good source of information. A number of poets have written poems on this episode, particularly about the two sons of the Guru Sahib.

Guru watching Martyrdom of son - Sahibzada Ajit Singh

Poet Nandlal Nurpuri wrote a blood raising lyric, "chum chum rakho ni ih kalgi jhujar di". It became so famous that many would sing this.

Martyrdom of Sahibzada Jujhar Singh

A Moslem Poet Alah Yaar Khan, wrote a memorable poetry, wherein displayed the valor of the young sons of Guru Ji so poignantly narrated and the same was recited by him in the early quarter of last century. Says he, there is no place more pious than the place where the two young ones became martyrs.

By nightfall Guru Govind Singh was left with only five Sikhs in the fortress. These five urged him to escape so that he could rally his followers again and continue the struggle against oppression.

The Guru agreed. He gave his own attire to Sarigat Singh who resembled him somewhat in features and physical stature, and, under cover of darkness, made good his way through the encircling host slackened by the fatigue of the day\’s battle. Daya Singh, Dharam Singh and Man Singh also escaped leaving behind only two Sikhs, Sarigat Singh and Sant Singh. Next morning as the attack was resumed, the imperial troops entered the garhi without much resistance, and were surprised to find only two occupants who, determined to die rather than give in, gave battle till the last.

Upon the fall of Sirhind to the Khalsa in 1764 when this part of the country came under Sikh domination, the fortress at Chamkaur came to be preserved as a sacred monument. Maharaja Karam Singh of Patiala had a gurdwara constructed here. It was called Garhi Sahib ; also, Tilak Asthan (Anointment Site) in the belief that Guru Govind Singh\’s act of obeying the five Sikhs with regard to his escape and giving his dress, turban and plume to Bhai Sarigat Singh were symbolic of anointing the Khalsa as his successor to guruship.

Gurdwara Garhi Sahib

Gurdwara Garhi Sahib is situated at Chamkaur in Ropar district and is connected by road to Ropar and Ludhiana-Chandigarh highway at Samrala and Morinda. The Gurdwara marks the site of the fortress like double storeyed house, with a high compound wall around it and only one entrance from the north, which was used by Guru Govind Singh Ji as a temporary citadel in the unequal battle of Chamkaur on 7th December, 1705.

Gurdwara Garhi Sahib

Chamkaur Garhi 

Today All historical buildings, including Chamkaur-di-Garhi, from where Guru Gobind Singh, his two elder Sahibzadas and other “Singhs” fought a great war against the armies of Turks, have been removed from the scene over the years. They have been replaced by modern Gurdwaras made of marble. No trace of the original history of the Guru’s period has been left by those who were made the custodians of the Sikh heritage. All old buildings surrounding the original Garhi have also been demolished to build a new gurdwara. “Future generations would never forgive those who have played havoc with the Sikh heritage,” says a Sikh historian.

A view of the demolition work at the old Garhi Sahib Gurdwara where a new gurdwara in marble has come up in Chamkaur Sahib. — A file photograph

Kar Sewa to demolish Chamkaur Garhi

Rana Roop Chand’s descendants — Rana Mohinder Singh, his son Bhup Chand and his grandson Arjan Singh — now live here at a short distance from Gurdwara Garhi Sahib. Rana Mohinder Singh is from the sixth generation of Rana Roop Chand. Rana Mohinder Singh’s brother Krishan Kumar and his son Bhim Singh also live here.

DOWNSIZED WONDER???? PERCHED ON THE TERRACE OF MAGNIFICIENT MAN MANDIR VEDSHALA

Anyone who thinks they're important is usually just a pompous moron who can't deal with his or her own pathetic insignificance and the fact that what they do is meaningless and inconsequential. - William Thomas

Just general insignificance

Varanasi is said to be older than the traditions and the history of mankind too. The Ghats here are the ones that make the city more lively. Right from Assi to Aadikeshav Ghat each Ghat has its unparalleled importance. 

Man Mandir Ghat , Varanasi

One of these Ghats is Maan Mandir Ghat which is situated near the Dashashwamedh Ghat. 

This Rajputana style of architecture Ghat is also known as ‘Maan Mahal’ and ‘Maan Singh Vedshala’. Earlier the name of this place was Someshwar.

The Man Mundil, Or Hindoo Observatory, James Prinsep, Benares.

The imposing Man Mandir Palace is one of the major central landmarks along the string of ghats that line the west bank of the great Ganga in Varanasi (Banaras, Kashi). 

The palace was built in 1585 by the Mirza Raja Man Singh, the Rajput king of Amber (Jaipur in present day Rajasthan) and General of the Mughal Army.

Large empty hall within the Man Mandir Palace, with traces of a decorated ceiling

The interior of the Palace has a number of rooms that act as a sort of information centre, although quite a lot of the space is very sparsely used. 

A few artifacts are on display mostly relating to the Amber dynasty.

Being located so central to the ghats with literally thousands of visitors walking by every day, anyone would felt that a lot more could be done here to provide some detailed historical context to Varanasi. This is after all one of the oldest cities on the planet, 

so rich in history and stories, and yet none of that was portrayed very successfully at all.

To be perfectly honest, The Man Singh Palace wasn’t for anything inside the building, 

Despite the disappointment of the Man Mandir interior..the attraction of it was waiting on the roof. The roof of the Man Singh Palace has a surprise in stall or anyone with no prior knowledge of what to expect. 

Here a set of futuristic looking astronomical instruments of a Hindu observatory Was Erected at Man Mandir Ghat Palace built by the astronomer (not astrologer) Sawai MahaRaja Jai Singh II of jaipur state in 1737, a descendant of Man Singh.

https://lifeispreciousnotrace.blogspot.com/2017/10/jantar-mantar-is-perfect-place-for.html?m=1

Which is One of the five oldest observatories in the world! 

Sawai Jai Singh II

https://lifeispreciousnotrace.blogspot.com/2019/09/narendra-modi-grandfather-of-india.html?m=1

Sawai Jai Singh II was a great admirer of science and technology, and he was particularly passionate about astronomy. In the early 18th century he sent his scholars to several countries to study design, construction, and technology of observatories. The scholars returned with their observations and manuals on astronomy, after which Jai Singh embarked on a campaign of constructing his own observatories between 1724 and 1737 in five locations; Jaipur, Mathura, New Delhi, Ujjain and Varanasi.

Panoramic of the rooftop observatory 

An architect named Sardar Mohan from Jaipur, who worked under the vigil and guidance of Sadashiva, accomplished his work.

This is three of the five such Hindu observatory survived in India, the others being in Jaipur and Delhi. The difference here is that the instruments have been distributed in quite a compact fashion across the split roofs of the Man Mahal, as opposed to being more dispersed in open space at ground level.

Despite the obvious limitations for space, most of the instruments in the observatories in Jaipur and Delhi can also be seen here, just not to the same scale. 

plan of the instruments

Sadly the urbanisation of Varanasi in the proceeding 300 years since these instruments were built has rendered some of them non-functional in the early mornings and late evenings, as the sunlight is blocked by taller surrounding structures.

Some of the instruments you can see here are as follows :

Brihat Samrat Yantra

Sometimes known as the “Supreme Instrument”, the Samrat Yantra is an equinoctial sundial of enormous proportion. It measures time in a similar way to a sundial, but to a precision that had never been achieved before. the larger the Samrat Yantra, the more accuracy that can be achieved.

Lâghu Samrat Yantra (Small Equatorial Sun-Dial)

The two Samrat Yantras here at Varanasi are relatively small, 

The largest one in the world can see is in Jaipur which amazingly is capable of measuring time to an accuracy of two seconds.

Dakshino Bhitti Yantra

This is used to measure the altitude of astral bodies. 

detail of Dakshino Bhitti Yantra 

It assisted in the calculation of summer and winter solstices as well as the equinoxes, and thus the progress of the seasons could be tracked.

Nadi valaya Yantra (Northern Hemispherical Sun-Dial)

This is an equatorial sundial used for measuring the local solar time at the latitude of Varanasi.

Chakra Yantra

This instrument measures the declination of the sun, moon and stars, together with their hour angle from the meridian.

Digamsha Yantra (Azimuth Instrument)

This measures the azimuth, the angle of an astral body relative to a specific observation point. This is the only instrument that is visible from ground level on Man Mandir Ghat, but all you can see is the hint of the curved outer wall.

Whilst you’re up here looking at the instruments, it’s well worth heading over to the east of the rooftop to catch a glimpse of the ghats below.

1869 :: Man Mandir Ghat , Varanasi

By the middle of the 19th century the observatory was in a dilapidated condition. 

it was gradually sliding into decay. In 1912, Pandit Gokul Chand Bhavan, the then court astronomer to Maharaja Sawai Madho Singh of Jaipur, carried out major restoration work.

Man Mandir Ghat Night View

At the present this Ghat Palace is being looked after by the Indian Archaeological Department.

and the work of constructing a virtual museum at the Maan Mandir Ghat is under the process. 

 At present, it houses a Varanasi experiential museum created by Indian National Trust for Art and Cultural heritage @INTACHIndia inaugurated by the prime minister modi in 2019. 

Excellent effort to revive a place.

 The Jantar Mantar instruments up on the roof are well worth visiting, especially if you have not recently seen their larger siblings in either Jaipur or Delhi. 

These structures with their striking combinations of geometric forms still have a futuristic feel to them after 300 years, and offer something a little different in the ancient city of Kashi.

प्रारब्धका खेल - हँसके खेल या रोके झेल - Immortal Rajputs

 

चाहे हम व्यापारी हों, चाहे पारिवारिक हों और चाहे सामाजिक हों, जब कभी भी कोई समस्या हमारे सामने  आती है तो हमें चाहिए कि हम उस समस्या का सामना बुद्धिसे करें, विवेक एंव विचारसे करें। परंतु समस्याके समाधानका सबसे आसान तरीका यह है कि हम प्रारब्धकी बातको स्वीकार करें। 'प्रारब्ध' एक ऐसा शब्द है जिसके अंदर एक शब्द में हज़ारों, लाखों, करोड़ों व्यक्तियों को सुख-शांति देने की शक्ति है। अगर आप और हम कोई अच्छा कार्य कर रहें है तो निश्चय ही इस सत्कर्मका हमारे भविष्य में बनने वाले प्रारब्ध पर अच्छा प्रभाव पड़ेगा। यह प्रश्न कई बार मनमें आता है, विशेषकर उस व्यक्ति के मनमें, जो लोगोंकी सेवा करता है, लोगों की मदद करता है, किसीको धोखा नही देता, किसको कष्ट नही पहुँचता, किसी का दिल नही दुखाता, फिर लोग उसे धोखा क्यों देते है, लोग उसे परेशान क्यों करते है? इस प्रश्न का उत्तर बार-बार वह अपने मनसे पूछता है, परंतु मन जवाब नही दे पाता। लेकिन जब वह आध्यात्मिक जगत्से सम्बन्ध स्थापित करता हुआ अध्यात्मसे भाव-भावान्वित होता हुआ हमारे आध्यात्मिक ग्रन्थोंको पड़ता है तब उसके मनको शान्ति मिलती है और तब उसे पता चलता है कि उसके पुराने प्रारब्ध खराब थे। उसीके कारण वर्तमान में स्वयं अच्छा होते हुए, स्वयं किसीको दुख नही देते हुवे भी वह व्यक्ति परेशान हो रहा है और कष्ट उठा रहा है तथा लोग उसे तंग कर रहे हैं। ऐसी स्थितिमें कई बार मनुष्यका मन विचलित हो जाता है है- वह किंकर्तव्यविमूढ हो जाता है और सोचता है कि आखिर मैं क्यों अच्छा रहूँ, अच्छे कार्य करूँ? जब अच्छा  ररहने और अच्छे कार्य करने पर भी लोग मेरे प्रति अच्छा व्यहवार नहीं करते, तब इन सत्कर्मों एंव सदाचरणों से क्या लाभ? इस सोचना केवल स्वयंकी ही कमजोरी है; क्योंकि अगर आज हम किसीका अच्छा कर रहे हैं, भला कर रहे हैं तो उसका पुण्य हमारे आने वाले प्रारब्ध को अच्छा करेगा। इसलिए हमें चाहिए कि अगर आज हमें किसी प्रकारकी परेशानी हो रही है तो वह हमारे प्रारब्ध का ही खेल है- उसीका प्रतिफल है, जिसे चाहे हम हँसके खेलें या रोके झेलें।

अपने प्रारब्धकर्मोंका ही परिणाम है कि आज एक व्यक्ति बहुत अमीर है तो दूसरा अत्यंत गरीब। अब तो हम अपने पूर्वनिर्मित प्रारब्धके बारे में कुछ कर नहीं सकते, परंतु भविष्यमें अपना प्रारब्ध अच्छा बने, उसके लिए तो हम सत्कर्म कर ही सकते है। अतः हमको चाहिए कि हम अपने पुराने प्रारब्धको दोष न दें, अगले जन्मके प्रारबधको पवित्रम और श्रेष्ठतम बनाने के लिए  उत्कृष्टतम सत्कर्म करते रहें; जिससे पुराने प्रारब्ध के दोष इसी जन्ममें समाप्त हो जायँ और इस समयके किये सत्कर्मों से  भविष्यके अच्छे प्रारब्ध का निर्माण हो।

परिवारमें अशान्ति, व्यापरमें साझेदारद्वारा धोखा, सामाजिक संगठन में अपने ही मित्रों द्वारा विश्वासघात - यह सब नाशवान् जगतकी बातें हैं। हमें इन बातोंसे लगाव न रखकर अपने प्रारब्ध के ऊपर आस्था रखनी चाहिए। ऐसी आस्था रखनेपर हमारा वर्तमान और भविष्य निश्चित रूपसे सुदृढ़ होगा और। हमें किसी प्रकारकी मानसिक चिंताएँ तथा तनावग्रस्त करनेवाली शक्तियाँ हरा नहीं सकती। अतः हमारे जीवनमें  अगर कोई परेशानी, कोई समस्या आती है तो धैर्यपूर्वक अविचलित भावसे हमें केवल अपना कर्तव्य करते रहना चाहिए। जब हम ऐसा करते रहेंगे तब हम पाएंगे कि अच्छे कर्मोंके सम्पदनसे ही पुराने संचित कर्म या प्रारब्धके पाप कटते जाते हैं।

मनकी शान्तिका नाम है प्रारब्धकी आस्था, जिसे हम चाहे हँसके मान ले या दुखी होकर झेलते रहें। इसी कर्मयोगका संदेश देते हुवे भगवान्  श्रीकृष्ण जी ने कहा है- 

कर्मण्येवाधिकारस्ते मा फलेषु कदाचन ।

मा कर्मफलहेतुर्भुर्मा ते संगोऽस्त्वकर्मणि ॥

अर्थात ( हे अर्जुन) तेरा कर्म करनेमें ही अधिकार हैँ, उसके फलोमें

 कभी नहीं। इसलिये तू कर्मोंके फलका हेतु मत हो तथा  तेरी कर्म न करनेमें भी आसक्ति न हो।

अभिप्राय यह है कि प्राणिमात्रको प्राप्त सुख- दुःखादि  द्वंदात्मक परिस्थितियों में अनुद्वेग एवं दृढ़ स्थैर्यभावसे निर्लिप्त होकर निष्काम पूर्वक अत्यन्त उत्साहसे कल्याणकारी सत्कर्मों का सम्पादन करते रहना चाहिये, क्योंकि निष्काम कर्मयोगका आश्रय ग्रहण कर प्राणिमात्र  त्रिविध दुःखों से मुक्त होकर आत्यन्तिक निवृति (परमात्मा) - को प्राप्त कर लेता है।

 

उत्साह.....?

 

_/\_सभी सनातनी राष्ट्रवादियों को शौर्य दिवस पर हार्दिक शुभकामनाएं _/\_

जीवन में सफलता प्राप्त करने के सभी साधनोंमें  उत्साह का प्रमुख स्थान है। इसके बिना अपनी उन्नति के किसी भी कार्यक्रम में आप सफल नही हो सकते या युं कहिये की उत्साह का सहारा लेकर ही आप अपने परिश्रम का पूर्ण लाभ उठा सकते हैं। जीवनमें आपको जो कुछ भी करना है चाहें- एकाग्रता का पाठ पढ़ना चाहें, अथाह शक्ति अर्जित करना चाहें अथवा आत्मोन्नति करना चाहें- सभीमें उत्साह का कार्यशील बनाता है, कार्यरत रखता है और उन्नतिकी ओर अग्रसर करता है। किंतु यह उत्साह क्षणिक नहीं बल्कि स्थायी होना चाहिए।

उत्साह बडा ही प्रेरणापद है। बिना उत्साह के बड़े ही प्रभावशाली तर्क-वितर्क भी आपको कार्यशील नहीं बना सकते। किसी भी कार्य में यदि आप श्रेष्ठता प्राप्त करना चाहते हैं अथवा करके शिखर पर पहुँचना चाहते हैं; चाहे वह आपका प्रिय व्यापार हो, आपका दैनिक कार्य हो या आपके अध्यन्नका विषय हो तो इसके लिए आपको पहले अपनेमें उत्साह उत्पन्न करना पड़ेगा और फिर उस तीव्र उत्साहको बनाये रखना पड़ेगा।

उत्साहको उत्पन्न करने और बढ़ाने के कितने ही नियम हैं। आप उन नियमों को पालन करने का प्रयत्न कीजिये, सफलता आपकी दासी बनकर रहेगी। अपने विषयमें विशेषज्ञ बननेका प्रयत्न कीजिये। आप विद्यार्थी हों तो अध्यन्नसे, चकित्सक हों तो गान-विद्या-विषयक अभ्यास सानुराग उत्पन्न कीजिये। अपने कार्यसे एकाकार हो जाइये। अपने विषयकी गहराइयोंमें प्रवेश कीजिये तो उत्साह बढ़ता ही जायेगा। उत्साह आपकी योग्यता और चतुर्यके साथ बढ़ता ही जायेगा। जैसे ही किसी विषयमें आपका उत्साह कम होने लगे, उस विषय की सूक्ष्मताओं की खोजमें लग जाइये।

जो भी कार्य कीजिये, उसमे नया जीवन फूंक दीजिये, हस्ते हुवे, मुस्कराते हुए, कीजिये। सदा सर्वत्र आपके मुखपर आशा और उमंगकी छाप होनी चाहिये।

अपनी विफलताओं पर निराश न होईये, उनको बार-बार मस्तिष्क   में स्थान न दीजिये। विफलताएँ  सफलता का रास्ता खोल देती है। अपनी सफलताओं और पूर्ण किये हुवे कार्योंके विषयमें दूसरे से बातचीत कीजिये ; परंतु ध्यान रखिये की अहंकार का भाव न आने पाये। अपने सौभाग्य के विषय में  दूसरों को बताइये अपनी विफलताओं और भूलोंके  विषय में दूसरोंको न बताइये। अपनी विफलताओं और भूलोंके के विषयमें चुप, परंतु सावधान रहिये आपका उत्साह दिन दूना रात चौगुना बढ़ेगा।

महापुरुषों की जीवनी पढ़िए, उनके-जैसे चरित्रवान् बनने का प्रयत्न कीजिये। जनरल ज़ोरावर सिंह की जीवनी पढ़िए जिसको हिमालय पर्वतने रास्ता दे दिया था और कुमार (सम्राट) स्कन्दगुप्त के जीवन से प्रेरणा लीजिये जिन्हें बरसात में बड़ी हुई नदी ने रास्ता दे दिया था। ये उत्साहके प्रत्यक्ष उदाहरण हैं।

हमारी मानसिक स्थिति का प्रभाव हमारे शरीर पर पड़ता है और हमारी शारीरिक दशा हमारे मानसको प्रभावित करती है। उत्साह मुस्कान, हँसी, लगन, शक्ति, ध्यान अथवा सावधानी के रूपमें प्रकट होता है। ये ही शक्तियाँ हमें सफलताकी और अग्रसर करती हैं। संसार के चित्रपट पर उत्साही पुरुषका अभिनय कीजिये। यथार्थ उत्साह स्वयमेव उपरकी शक्तियों को प्रकट कर देगा।

जीवनके हर पहलू मैं उत्साह ही मनुष्यको सामान्य या वशिष्ट बनाता है। एक विद्यार्थी, जिसके लिए विद्याध्ययन केवल कर्तव्य है, एक साधारण नागरिक ही बन पाता है, जबकि दूसरे विद्यार्थी यदि अपना कार्य साहस और उत्साहके साथ करता है तो महान् बननेकी योग्यता रखता है।

उत्साह आपके कार्यको उस प्रसन्नता और सफलता में बदल देगा जिसकी आप बहुत दिनों से आशा लगाये बैठे थे। उत्साह ही सफलताका रहस्य है जो कि आपके गुणों कों और समृद्ध बनाने में सहायक है।

THE REALITY OF RAJA UDAYBHAN RATHORE OF BHINAY

 

𝗪𝗵𝗼 𝘄𝗮𝘀 𝗨𝗱𝗮𝘆𝗯𝗵𝗮𝗻 𝗥𝗮𝘁𝗵𝗼𝗿𝗲 𝗥𝗲𝗮𝗹𝗹𝘆? 

 𝗪𝗵𝘆 𝗮 𝗴𝗿𝗲𝗮𝘁 𝘄𝗮𝗿𝗿𝗶𝗼𝗿 𝘀𝗵𝗼𝘄𝗻 𝗶𝗻 𝗯𝗮𝗱𝗹𝗶𝗴𝗵𝘁?

𝗔𝗻 𝗮𝗻𝗮𝗹𝘆𝘀𝗶𝘀 𝗼𝗳 𝘁𝗵𝗲 𝗺𝘆𝘁𝗵 𝗺𝗮𝗸𝗶𝗻𝗴 𝗶𝗻 𝗠𝗮𝗿𝗮𝘁𝗵𝗮 𝗵𝗶𝘀𝘁𝗼𝗿𝘆.

Raja udaibhan Rathore of bhinay was great grandson of great Rao chandrasen Rathore and He was also a relatives of Mewar's Maharana Raj Singh, Their character has been shown very wrong in the movie where  (एक धर्म निष्ठ राजा उदयभान राठोड़ को एक विधवा स्त्री का अपहरण करने वाला दिखाया गया)

Bhinay thikana genealogy

https://www.indianrajputs.com/view/bhinai?tid=bhinai

Rao chandrasen

Ugrasena Rathore

Karmasena Rathore

Shyam singh Rathore

Udaibhan Rathore ( 5th head of bhinay thikana ) 

Kushal kunwar a Doughter of Raja udaibhan Rathore married Raja Bhim Singh Banera ( Son of maharana Rajsingh of mewar )

Source 

 1 Rathores of Rajasthan

 2 Rathore ri vighat

 3 Banera Rajya ka itihas

Bakidas ri khyaat also mention bhinay thikana genealogie.

The reality of history of Udaybhan Rathore and Tanaji

Udaybhan rathore was the head of Bhinai thikana (84 villages) in Ajmer. He was the direct descendant of the famous Rao Chandrasen, Raja of Marwar (4th generation) who resisted Akbar all his life and never made any alliance with mughals like Maharana Pratap. Later in 1783, Maharaja of Jodhpur gave title of Raja to Bhinai family for their military service. Bhinai family and their direct descendant Raja Sh Mayuraj Singh still lives in Ajmer. Anyway coming to Udaybhan Rathore and story of Tanaji. Jai Singh's march on Shivaji and treaty of Purandar (1665) is a well known episode to repeat here. After getting the hill forts from Shivaji under the treaty, Jai Singh didn't have enough man-power to man every one of the small forts because of his next campaign against Bijapur. Jai Singh personally took over a couple of important forts like Kondhana (Sinhgarh), Purandar etc. Others were given to some mughals or their fortification walls destroyed. Jai Singh died in 1667 near Burhanpur while enroute to the north.

The fort of Kondhana was under Udaybhan Rathore placed by Jai Singh not sent specially by Aurangzeb as shown in the movie. In 1670 the fort was captured by marathas after a sanguinary fight in which the maratha army leader Tanaji Malusare and Udaybhan Rathore both died. The reality was simple, marathas under Tanaji captured the fort from Udaybhan Rathore but as we will see, slowly this story expanded to one of the biggest fiction in maratha history. Start with contemporary evidence, there is not a single contemporary evidence of this. First mention of this fight is in Sabhasad bakhar written almost 30 years after the battle. The Sinhgadh campaign is given in detail, that there was one Tanaji malusure who commanded the army. Although this battle is described in detail, there was no exaggeration about Udaybhan which were made later.  Udaybhan was only mentioned as a great warrior who was the commander of the Kondhana fort. And that Tanaji climbed the fort with help of mawle soldiers who were expert in mountain climbing. 

Even Chitnis Bakhar which was written about 130 years later doesn't say anything wrong about Udaybhan. The event is also mentioned vividly by British historian Grant Duff's in his 'History of Mahrathas' written in 1826, story is same as Sabhasad bakhar. Nothing wrong against Udaybhan here too. Later in British period this story is deformed to another level. In 19th century one powada was composed allegedly by one Tulsidas shahir. The powadas are ballads; songs sung by wandering performers, there is nothing historical about it. In this powada Udaybhan is made a monster, some description about Udaybhan is as follows, Udaybhan eats one cow, one goat and more than a maund of rice in ONE MEAL. He has 18 wives and 12 sons (which is also fake as he had only one son and which wasnt in kondhana)

He remains drunk and doesnt go to fight until all his fake 12 sons get killed. Cherry on the top, it is shown that he also converted to Islam, goes to mosque and when he died he cried "Allah". In the ballad there are many other unbelievable things like how a ghorpad (monitor lizard) helps Tanaji to climb up the fort which was not true according to Sabhasad Bakhar, and like how ghorpad stopped climbing midway and then Tanaji asked her to climb but when she doesnt, Tanaji threatens her that he will cook her and will eat her if she doesnt climb. Then the ghorpad again starts climbing. HG Rawlinson who wrote 'shivaji the maratha' added an english translation of the powada, he himself say that there is no contemporary evidence of this story.

There are many other geographical mistakes too like how Rajgarh is confused with Raigarh by the composer. Although the story has little historic value, the story being interesting was copied by some colonial and pune writers. Later comes a man named Hari Narayan Apte, a historical novel writer who is hailed as Walter Scott of Marathi literature. He wrote in 1903 a novel named Gad aala pan sinh gela. He btw also wrote a novel named "Tiger of Mysore" on Tipu Sultan. He went a step further from Powadas and added in this an extra story of Kamal Kumari. And also made Udaybhan rathore an illegitimate son of Mewar Rana from a slave girl. And how did illegitimate son of a sisodia rajput adopted Rathore surname is a mystery that Apte didn't think over.

Anyway in his story Udaybhan kidnapped Kamal Kumari, a Rajput widow against her wishes, she wanted to become Sati. Udaybhan is shown in much disgust in this book. Finally a man of honour Tanaji frees Kamal Kumari from Udaybhan's clutches so she can commit sati. This book of Apte gained quite popularity and became anchor point for further writings on Udaybhan and Tanaji. Many works on this were composed later, to name a few Acharya Chatursen a hindi novel writer's book "Sayadri ki Chattane" follows the same story of Udaybhan. There were marathi films made on this story before independence. And finally a hindi film Tanhaji in 2020 by a Marathi film maker Om Raut. This film is on another level, it takes all the story from these fictions but remove all those impossibles like eating cows and all to make story believable and also specifically mentions that Udaybhan is Rajput which was removed by censor board. He shows Aurangzeb as a simple guy weaving caps but made Udaybhan a vilest guy you could imagine, there was also a scene of Udaybhan killing his own mother because she was "neecha khoon", all this was removed by censor board not by film maker but by censor board. This is how character of Udaybhan was ridiculed beyond any imagination by slow process of fictional myth making.

The truth is much simpler, that Udaybhan was a mere soldier and was appointed by Jai Singh and was doing his duty. For siding with mughals, even Shivaji attacked many forts while serving under mughals. Shivaji's son Shambhaji also served under mughals. Shivaji's father Shahji also served under Mughals, Bijapur and Ahmadnagar Sultans as it suited him. But looks like Udaybhan got in the wrong side of Maratha myth-making. Finally I expect atleast descendants of Udaybhan in Bhinai and Badanwara would raise some awareness on this.

For people asking in DM abt dialogues in the movie, read the 1st change in the list of changes made by censor board. This is at 1hr 26 min in the movie where Kamal's brother tell the story of Kamal and Udaybhan's past to captured Tanaji.

We wanted to do a thread on this myself, didn't reach the trigger point to carry on with it though. Thanks, @Engr_Who for saving our effort 😅.

Historiography of the whole thing as traced by G.S. Sardesai comes from 'Ballads of the Marathas' by H.A. Ackworth, who also did the vernacular version with a certain Shankar Tukaram Shaligram in the 1890s.

Ackworth helped by some locals compiled the local stories in his work.

The Malusare story comes from 'Tanaji Malusare Yane Sinhghad Ghetla'/'The Ballad of Tanaji Maloosre', a ballad that is taken from the local lower-caste Koli community that sought and did see Sanskritisation and Upward Mobility in the Maratha ecosystem towards the late 1800s. The sole purpose of the Powada is to claim the Kolis as Kshatriyas, an assertion the powada tries to make again and again. This mythmaking attempts to compare and elevate the Kolis to communities Kolis locally percieved as of a relatively higher birth be it Maratha or Mughal. There is a multititude of supernatural impossibilities in the Powada - Goddesses materialising, spirits flying, lizards and elephants talking, bodies possessed, astral projections, dead resurrected, all of which when combined reach triple digits, so we will skip those here.

Udaybhan Rathore along with his sons is called a Mughal and at the same time a Kshatriya skilled in 5 weapons. These discrepancies were observed by H.A. Ackworth himself who brought forth the Powada first time in writing. The movie 'Tanaji' however doesn't derive from the Powada directly but from the Marathi Novelist Harinarayan Apte's 'Gad Ala Pan Simha Gela', that further embellishes upon the Powada.

The work has been called by authors as one that deals in "exaggerations" and "impossibilities".

Ackworth himself wasn't too sure about the authorship of Tulsidas as cited by the Powada who apparently didn't even write in Marathi but Braj. A supporting argument for this would be that Shivaji endorsed poets of the Braj Langauge like Bhooshan.

This explains the overreaching and repetitive themes of a Maratha Lower-Caste Koli Hindu Vs Northern Upper-Caste Rajput Imperialist in the Powada.

The battle was otherwise insignificant as Marathas couldn't hold the fort for more than 8 months. This further solidifies the point. While Maratha histories during the time of Phule and Shahu of Kolhapur were directed against local Brahmins of Pune, as the Imperial National establishment set in, their movement was infiltrated by those very Marathi Brahmins like Tilak, they turned vehemently anti-Rajput.

Marathi narratives directed against Rajputs are from a time when most of North India was under them, directly as Princely states or indirectly through Zamindaris. As the idea of nation changed for Marathis, the pretension of 'ownership' also changed, now it included whole India. It is unfortunate, how unreliable histories like these were weaponized as propaganda and used to target a community that has been at the forefront of protecting this part of the world for millennia so that people of a certain region can turn the North into a political colony.