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Later Raja Jai Singh married a young wife and, lost in her love, didn't step out of his harem for over a year, also neglecting his state duties and his other wives. That was when his ministers and his senior wife coaxed Bihari to send the following couplet to him hidden amidst the flower petals meant
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Holland, Barron, "The Satsai of Bihari: Hindi poetry of the early Riti Period: Introduction, Translation, and Notes". Dissertation, University of
California, Berkeley, 1969. 394 pp. University Microfilms, Ann Arbor, Michigan, Order Nr. 70-17.578, and Dissertation Abstracts International, Vol. XXXI,
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Reading these lines in the morning, the Raja was immediately brought back to his senses. Later he asked Bihari to write a couplet for him every day, and in turn he would reward the poet with a gold coin each time. Seven hundred verses later, the Raja asked that his verses be compiled in book form;
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The literary background of the Satsai contains many Indian literary and poetic traditions, including a tradition of self-contained single-verse poems, a tradition of rhythmic stanzas originally inserted into larger works and later collected in anthologies, and a tradition of poetics borrowed from
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The majority of the couplets deal with love, presenting a visual portrayal of a heroine or hero (nayika or nayak) in separation from or in union with a lover. Of 713 couplets, 315 include at least one word and often several words related to the visual sense, such as "eyes," "glances," "saw," or
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Thus, although in one sense a devotional work, the couplets are meant to be judged mainly as expressions of poetic virtuosity and secondarily as expressions of devotion and love. Many of the couplets exhibit an aggressive tone different from the reverential attitude of the earlier
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poets in similar aspects of their respective traditions—particular themes and imagery, the couplet form, poetic figures and alliteration. Although outwardly a Hindu work, the Satsai embodies much that is Mughal in spirit. .
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The didactic couplets express values one might expect of a poet in an era of patronage. In the following couplet, Bihari is concerned that each person should seek his own proper environment:
127:"There is no pollen; there is no sweet honey; nor yet has the blossom opened. If the bee is enamoured of the bud, who can tell what will happen when she is a full-blown flower."
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hence the collection of the 'Bihari Satsai' was born out of a poet's need to impress his patron and a state's need to have its king back from the quagmire of sensual pleasure.
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and Turko-Persian, traditions, and Bihari was supported by one of the foremost Hindu nobles of the Mughal court. As a result, the prestige of
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464. Seeing the husband's hand-army rush to raze the cover, / Shyness stayed hidden in the fortress of eyes within the forest of lashes.
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320. As if drawing me with her glance, she looked, lazily went inside, / And the deer-eyed one's eyes made a desire to peer again arise.
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Although the Satsai is available in many recensions, the
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71. How long I've humbly called you, Syam, but you give no relief; / The world-wind has caught you, too, O world-guru, world-chief!
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553. Flaming from parting's fire, flowing with the fluid of the eyes, / On a sigh's wind, twenty-four hours a day, her heart flies.
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influenced the Hindu poet in his selection of non-Persian literary traditions, and there was a simultaneous interest of both
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276. The very name urbane is scorned and mocked by all; / Gone to the vulgar village, all pride and merit fall.
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Related to the visual theme is an imagery of light and fire, particularly of the "fires of separation":
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299:बिहारी-रत्नाकर,श्रीजगन्नाथदास "रत्नाकर",बी.ए., वाराणसी: ग्रन्थ-कार, नवीन संसकरण 4, 1965.
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The historical period of Bihari (1595–1664) was a time of increased contact between the
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The story of the origin of the 'Bihari Satsai' is rather intriguing. When Raja
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As for subject matter and imagery, the Satsai borrows from the
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to embellish his couplets and provide them with much hidden meaning.
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Illustration from a manuscript of the
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