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I got another info from another site. there they says there is different different versions. it is here u may like to know tat (ref: http://www.the-week.com/24feb22/curr...article10.html)
Prithviraj Chauhan-Samyogita
Forbidden love
Tales of yore thrived on bloody wars and lovelorn hearts. It is small wonder then that bards loved to sing of the love between the warrior Prithviraj Chauhan and the ravishing princess Samyogita.
Prithviraj, heir to the Chauhan dynasty, succeeded to the throne of Delhi after the demise of his father, Anangpal, in the latter half of the 12th century. His exploits are recorded in the Prithviraj Raso, a work by Chand Bardai, believed to be his court poet.
The story goes that the Chauhan dynasty was not on good terms with the nearby Gahadawala dynasty. Things would have been uncom-plicated had not Samyogita, daughter of king Jayachandra of Gahadawala, fallen in love with Prithviraj. Though she had never seen him, she had fallen in love with the tales of his bravery and decided to marry no one but him. Soon fate forced her hand.
Jayachandra had decided to celebrate winning a series of wars. He decided to use the occasion to hold a swayamvara and he invited all the neighbouring kings except Prithviraj. To add insult to injury, his statue, in the garb of a dwarapala (watchman), was erected at the doorway.
Samyogita was devastated. She wrote to Prithviraj, baring her heart, and asked him to come and claim her as his bride. He came incognito and hid behind the statue of himself. When the swayamvara began, Samyogita, not seeing her lover, garlanded the statue. At that, Prithviraj stepped out from the shadows and carried her away, after defeating those who opposed him.
A furious Jayachandra followed with his army. But in the fierce battle that ensued (some say it took place after the first battle of Tarain where Prithviraj defeated Muhammad Ghori, thus establishing the time as between 1190-92), he was defeated.
But this is where the romance ends. Many historians question the authenticity of Samyogita. According to D.C. Ganguly, the author of The Age of Prithviraj III (Bharatiya Vidya Bhavan's History and Culture of Indian People), the details of the marriage given in Prithviraj Raso are so improbable that its authenticity may be reasonably doubted. Roma Niyogi, another historian, offers a different viewpoint in History of Gahadawala Dynasty. "Though the story by Chand Bardai is romantically appealing, it is not corroborated by any authentic evidence," says Niyogi.
R.B. Somani thinks otherwise. In his book Prithviraj Chauhan and His Times, he has cited the four points on which the authenticity of Samyogita has been challenged:
u Prithviraj Raso is full of inaccuracies.
u Prithviraj Vijay (a more reliable work, which refers to Prithviraj's marriage with a princess of extraordinary beauty) does not speak about Samyogita by name.
u Other contemporary Persian works do not quote any incident of abduction.
u Two other works-Rambha Manjiri and Hamir Mahakavya-are silent about Samyogita.
Somani feels that the authenticity of characters popularly known through the centuries cannot be challenged on the basis of negative evidence alone. He says that the Prithviraj Vijay refers to Prithviraj falling in love with Tilottama, a heavenly nymph, who is reborn as a princess to marry him. This is similar to the Raso, which says that Samyogita, in her previous birth, was a heavenly nymph named Rambha.
Furthermore, both Tilottama and Samyogita are said to have fallen in love without seeing Prithviraj in person; and they both lived on the banks of the Ganga-Samyogita lived in Benares. "Both these characters are somewhat analogous," says Somani. "Though not the sole proof, this gives us an idea that there is some res-emblance between the story of Samyogita referred to in Prithviraj Raso and Tilottama mentioned in Prithviraj Vijay."
Whatever be the truth, for lovers everywhere it is the romance that counts. Let it rest at that
Prithviraj Chauhan-Samyogita
Forbidden love
Tales of yore thrived on bloody wars and lovelorn hearts. It is small wonder then that bards loved to sing of the love between the warrior Prithviraj Chauhan and the ravishing princess Samyogita.
Prithviraj, heir to the Chauhan dynasty, succeeded to the throne of Delhi after the demise of his father, Anangpal, in the latter half of the 12th century. His exploits are recorded in the Prithviraj Raso, a work by Chand Bardai, believed to be his court poet.
The story goes that the Chauhan dynasty was not on good terms with the nearby Gahadawala dynasty. Things would have been uncom-plicated had not Samyogita, daughter of king Jayachandra of Gahadawala, fallen in love with Prithviraj. Though she had never seen him, she had fallen in love with the tales of his bravery and decided to marry no one but him. Soon fate forced her hand.
Jayachandra had decided to celebrate winning a series of wars. He decided to use the occasion to hold a swayamvara and he invited all the neighbouring kings except Prithviraj. To add insult to injury, his statue, in the garb of a dwarapala (watchman), was erected at the doorway.
Samyogita was devastated. She wrote to Prithviraj, baring her heart, and asked him to come and claim her as his bride. He came incognito and hid behind the statue of himself. When the swayamvara began, Samyogita, not seeing her lover, garlanded the statue. At that, Prithviraj stepped out from the shadows and carried her away, after defeating those who opposed him.
A furious Jayachandra followed with his army. But in the fierce battle that ensued (some say it took place after the first battle of Tarain where Prithviraj defeated Muhammad Ghori, thus establishing the time as between 1190-92), he was defeated.
But this is where the romance ends. Many historians question the authenticity of Samyogita. According to D.C. Ganguly, the author of The Age of Prithviraj III (Bharatiya Vidya Bhavan's History and Culture of Indian People), the details of the marriage given in Prithviraj Raso are so improbable that its authenticity may be reasonably doubted. Roma Niyogi, another historian, offers a different viewpoint in History of Gahadawala Dynasty. "Though the story by Chand Bardai is romantically appealing, it is not corroborated by any authentic evidence," says Niyogi.
R.B. Somani thinks otherwise. In his book Prithviraj Chauhan and His Times, he has cited the four points on which the authenticity of Samyogita has been challenged:
u Prithviraj Raso is full of inaccuracies.
u Prithviraj Vijay (a more reliable work, which refers to Prithviraj's marriage with a princess of extraordinary beauty) does not speak about Samyogita by name.
u Other contemporary Persian works do not quote any incident of abduction.
u Two other works-Rambha Manjiri and Hamir Mahakavya-are silent about Samyogita.
Somani feels that the authenticity of characters popularly known through the centuries cannot be challenged on the basis of negative evidence alone. He says that the Prithviraj Vijay refers to Prithviraj falling in love with Tilottama, a heavenly nymph, who is reborn as a princess to marry him. This is similar to the Raso, which says that Samyogita, in her previous birth, was a heavenly nymph named Rambha.
Furthermore, both Tilottama and Samyogita are said to have fallen in love without seeing Prithviraj in person; and they both lived on the banks of the Ganga-Samyogita lived in Benares. "Both these characters are somewhat analogous," says Somani. "Though not the sole proof, this gives us an idea that there is some res-emblance between the story of Samyogita referred to in Prithviraj Raso and Tilottama mentioned in Prithviraj Vijay."
Whatever be the truth, for lovers everywhere it is the romance that counts. Let it rest at that
Kyunki Saas Bhi Kabhi Bahu Thi 2
