TANSUKH LAHAURl, a devoted Sikh of Lahore who later lived at Ranthambore in Rajasthan. Tansukh had two of his sons living at Anandpur under the patronage of Guru Gobind Singh. They sent a copy of a translation of Hitopadesa, made by one of the Guru`s poets, Lakkhan Rai, to their father at Ranthambore. The prosodic forms used by Lakkhan Rai were doha, or rhymed couplet, and soratha or couplet with centre rhyme. Tansukh decided to reversify the contents using the form chaupal or stanza of shortlined rhymed couplets with other metres interspersed. He completed the work in 1684 and named it Rajniti Granth. Its language is Hindi.
References :
1. Bhalla,Sarup Das,Mahiina Prakash. Patiala, 1971
2. Sukha Singh, Gurbilas Dasvm Patshahi. Lahore, 1912
3. Padam, Piara Singh, Sri Guru Gobind Singh Ji de Darban Ratan. Patiala, 1970
4. Vidiarthi, Devinder Singh, Sn Guru Gobind Singh Abhinandan. Amritsar, 1983
Tansukh Lahauri’s translation of the Rajniti Granth is a fascinating example of the creative and intellectual ferment that marked Sikh literary culture in the late 17th century. Tansukh, originally a devoted Sikh of Lahore who later settled in Ranthambore, undertook an innovative reworking of a translation of the Hitopadesa—a classic work of Sanskrit wisdom—which had been rendered into a poetic form by one of Guru Gobind Singh’s esteemed poets, Lakkhan Rai.
Lakkhan Rai’s original rendition employed traditional prosodic forms, notably the doha (rhymed couplet) and soratha (a couplet with a central rhyme). However, Tansukh chose to “reversify” the contents by adapting the poetic form into the chaupal—a stanza composed of short-lined, rhymed couplets intermingled with other metrical patterns. This creative decision not only refreshed the aesthetic appeal of the translation but also allowed Tansukh to resonate with the evolving tastes and expressive needs of his contemporary audience. He completed this work in 1684, and it came to be known as the Rajniti Granth, rendered in Hindi.
The Rajniti Granth stands as a testimony to the rich interplay between spiritual discourse and practical wisdom. Its title—“Rajniti”—suggests a thematic focus on statecraft and ethical governance, a subject matter that was of considerable interest in an era of political turbulence and transformation. By choosing to rework a classical text using innovative poetic structures, Tansukh not only contributed to preserving the intellectual heritage of his community but also demonstrated how literary forms can be adapted to serve new cultural, political, and philosophical discourses.
This translation is significant as it embodies the dynamic synthesis of tradition and innovation within Sikh literature, highlighting the community’s commitment to both artistic excellence and the practical dissemination of wisdom. Tansukh Lahauri’s work bridges classical Sanskrit literature and the emergent vernacular expressive forms, enriching the legacy of Sikh scholarship.
