HIKAYAT is the title given to the eleven tales, in Persian verse but in Gurmukhi letters, in the Dasam Granth, immediately after the Zafamamah. The title `Hikayat` does not occur in the actual text, but most of the tales have a verse, coming after two or three invocational lines in the beginning, which contains the phrase ` hikdyat shumdem` (we have heard the story of…). Hikdyat, being the plural of Hikdyat (story, tale), is adopted as the title for these tales. Each tale is meant to emphasize a moral lesson. The subject matter of the tales is in keeping with the literary taste and style of medieval India and ranges from the romantic and chivalrous to the fantastic and the macabre. Six of these eleven tales are Hindi tales retold in Persian. Hikayat 4 is Chritra 52 of the Chritropdkhydn, where an intrepid ran? defeats the obdurate Raja Subhat Singh in battle in order to marry him. Hikayat 5 is the Persian version of Chritra 267. Some other stories from Chritropdkhydn have likewise found their way into these hikdyat. All the verses as well as hikdyatsare numbered, but hikdyat one is not traceable.
The first talc which comes after the Zafarndmah is numbered two. Some scholars have suggested that Zafamamah proper should be treated as hikdyat number one while others give number one to the first four verses occurring at the beginning of hikdyat two. These verses arc in praise of God and are mainly in Sanskritixcd Braj. The first (tale 2) hikayat is about a rajas four sons who were tested for their fitness to rule. The three elder sons were given great wealth which they soon squandered.
The youngest son was given some seeds which he planted. From the harvest he was eventually able to build cities like Delhi a possible lesson for Emperor Aurarigzib and his sons. The Hikdyat reaches the climax of horror in tale 12, where a Pathan woman from fear of her husband kills her lover, cooks him, and serves him up as a special feast to her hungry husband and his friends, thus winning his approval.
References :
1. Ashta, Dharam Pal, The Poetry of the Dasam Granth. Delhi, 1959
2. Loehlin, C.H., The Granth of Guru Gobind Singh and the Khulsa Brotherhood. Lucknow, 1971
3. Jaggi, Ratian Singh, Dasam Granth Parichaya. Delhi, 1990
4. Padam, Piara Singh, Dasam Granth Darshan. Patiala, 1990
Hikayat
Overview and Context
Hikayat (the plural of the Persian word for “tale” or “story”) refers to a collection of narrative episodes inserted within the Dasam Granth. Although the title “Hikayat” does not appear explicitly within the text itself, later scholars have grouped these tales under this designation because many of them open with lines invoking the formula “hikdyat shumdem” (“we have heard the story of…”). These narratives are composed in Persian verse (rendered in Gurmukhi script) and reflect the literary taste of medieval India, influenced by Persian literary conventions. While they form a relatively smaller subset within the vast corpus of the Dasam Granth, their purpose and style set them apart from the devotional hymns and martial ballads elsewhere in the collection.
Literary Style and Structure
- Language and Form:
The Hikayat texts embody the refined yet vivid narrative style common to Persian storytelling. Their verses are crafted to evoke a range of moods—from romance and chivalry to the fantastic and even the macabre. Despite being written in Gurmukhi, the use of Persian diction and rhetorical devices is evident, linking these tales to a broader Indo-Persian literary tradition. - Structure:
Typically, these narratives are grouped together immediately after sections like the Zafarnamah in the Dasam Granth. Many of the individual hikayats begin with a few invocatory lines that signal “we have heard the story…” before delving into the narrative. Some manuscripts and later commentaries enumerate these tales (often cited in various studies as numbering between 11 to 12), although the exact count has been a matter of scholarly debate. Each tale is self-contained and usually concludes with an implied moral lesson or a reflection on divine justice—a hallmark of didactic storytelling. - Relationship to Other Narratives:
While the Dasam Granth encompasses various forms—from hymns of praise (like Jaap Sahib) to martial compositions (such as Chandi Charitar)—the Hikayat stands apart by offering narrative episodes. They share thematic and stylistic similarities with other story-based segments like the Charitropakhyan, yet they are distinct in tone. The Hikayat are less focused on erotic or bawdy elements and tend to emphasize moral, romantic, or heroic episodes drawn from both historical events and legendary lore.
Themes and Moral Lessons
- Allegory and Moral Exhortation:
Each hikayat is designed not only as a story to entertain but also as a vehicle for conveying ethical and spiritual truths. The narratives often center on the consequences of pride, the inevitability of divine justice, and the importance of ethical behavior. In many cases, the tales serve as allegories that illustrate the pitfalls of worldly desires and the benefits of righteousness. - Varied Subject Matter:
The subject matter of the Hikayat ranges widely. Some tales recount the adventures and challenges of kings and warriors, intended to remind the listener that even rulers must submit to the supreme will of the Divine. Other stories dwell on romantic or chivalric exploits, using these narratives as vehicles to praise virtues such as loyalty, honor, and humility. - Reflection of Contemporary Concerns:
The inclusion of these tales in the Dasam Granth can be seen as a response to the literary and political context of the time. By employing a narrative form common in Persian literature, Guru Gobind Singh (or his court poets) could address the complexities of human behavior, leadership, and the interplay of fate and free will in a manner that resonated with both the philosophically inclined and the common devotee. - Didactic Purpose:
Even as they recount dramatic and sometimes fantastical events, the hikayats conclude by hinting at a higher moral order. The idea is that worldly actions—be they brave or base—do not exist in isolation; they participate in a cosmic order where divine justice ultimately prevails. This reinforces a recurring theme within Sikh teachings: that moral discipline and adherence to the Guru’s path are indispensable for spiritual liberation.
Scholarly Perspectives
- Textual Integrity and Compilation:
Scholars have long debated the origins and compilation of the Hikayat within the Dasam Granth. Some argue that these tales were composed contemporaneously with other sections by Guru Gobind Singh, while others suggest they were later integrations, shaped by courtly literary traditions. Nonetheless, their integration into the Dasam Granth demonstrates an effort to encompass a wide range of literary genres and human experiences. - Cultural Synthesis:
The Hikayat reflects a unique synthesis of cultural influences. By borrowing from Persian and Indian narrative traditions, these tales illustrate how Guru Gobind Singh and his contemporaries navigated complex inter-cultural exchanges. They represent an attempt to speak both to local Punjabi sensibilities and to the broader literary currents of medieval India.
Concluding Thoughts
The Hikayat in the Dasam Granth remain a fascinating and multi-layered segment of Sikh literature. Through these narrative episodes, the text provides not only entertainment but also incisive moral lessons designed to guide the devotee toward righteousness and divine alignment. Their rich language, diverse themes, and narrative structure underscore the sophistication of Guru Gobind Singh’s literary vision and his commitment to conveying universal moral truths.
