What Did Sambhaji’s Contemporary Say About Him?

 Sambhaji (1657–1689), the son of Chhatrapati Shivaji, ruled the Maratha Empire from 1680 to 1689 as his father’s successor. Details about Sambhaji’s life and character are found in Storia do Mogor (1653–1708), written by Niccolao Manucci, a Venetian traveler and historian. Manucci personally met and conversed with Sambhaji, making his observations particularly valuable. Contemporary accounts like his are considered historically significant and relatively impartial.

Manucci’s remarks about Sambhaji, recorded at various points, are as follows:

1. Shivaji’s Concerns About Sambhaji: Despite Shivaji’s many victories, he was constantly worried about Sambhaji, who had uncontrollable vices. Sambhaji was known for seizing other men’s wives, prompting numerous complaints from officials and nobles to Shivaji. Fearing that Sambhaji’s misconduct could spark rebellion, Shivaji decided to imprison him in a fort. He planned to declare his younger son, Ram Raja, as his successor. Learning of this, Sambhaji allied with Aurangzeb’s general, Diler Khan, and sought his protection. (Manucci, p. 204, Vol. 2)
2. Sambhaji’s Seizure of Power: Upon hearing of Shivaji’s death, Sambhaji left Bijapur and entered his father’s kingdom. He imprisoned his younger brother, Ram Raja, whom Shivaji had named as heir, and seized power. He executed officials who opposed his rule. Once, Sambhaji showed Manucci his sword, boasting that he had beheaded 30 men with it and gouged out the eyes of many others during this power struggle. (Manucci, p. 233)
   (Note: Upon taking control, Sambhaji confiscated the property of Annaji Datto, a minister under Shivaji, and had him trampled by elephants. He sentenced Soyarabai, Shivaji’s second wife and Ram Raja’s mother, to death. He also killed numerous officials and relatives who supported Ram Raja’s claim to the throne. History of the Mahrattas, Grant Duff, 1878, pp. 136–7)
3. Sambhaji’s Victories: Sambhaji’s successes were not due to his own prowess but to the competence of his officials. (Manucci, p. 258)
4. Conflicts with Officials: Sambhaji’s inappropriate behavior toward other men’s wives led to frequent disputes with his officials. (Manucci, p. 257)
5. Sambhaji’s Downfall: Vices become ingrained habits. Sambhaji’s obsession with women led to his capture by Aurangzeb. While stationed at Sangameshwar, his minister Kab Kalish informed him of a beautiful married woman in a nearby village. Determined to possess her, Sambhaji set out. Kab Kalish betrayed this plan to Aurangzeb, who sent 5,000 cavalry to apprehend Sambhaji. He was tied to a camel and paraded around tents. His eyes were gouged out, his heart was torn open, and his body was thrown onto a garbage heap as food for dogs. (Manucci, pp. 310–312)
   (Note: Manucci’s account does not mention Aurangzeb demanding Sambhaji convert to Islam or Sambhaji refusing. Such emotionally charged narratives of religious defiance may have been later fabrications.)
6. Sambhaji’s Capture: When Mughal forces surrounded him, Sambhaji’s soldiers fled. In a brief moment, he shaved his beard, donned a monk’s robes as a disguise, and hid in a basement. Mughal soldiers discovered the location and identified Sambhaji by his pearl necklace and rings. They bound his hands, seized him by the hair, and took him to Mughal commander Mukarrab Khan. (House of Shivaji, Sir Jadunath Sarkar, p. 231)

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Analysis of Sambhaji’s Character

Manucci’s account portrays Sambhaji as a flawed human driven by base instincts and fear for his life. In the medieval era, wars, plundering, torture, and killings were commonplace. Labeling one person a peacemaker and another a tyrant is misguided—none were saints. Each pursued their own survival and ambitions. Killing or being killed was a way of life, a pattern seen across all religions. Judging historical figures as “good” or “bad” without considering the context of their time only serves to divide people and fuel hatred.

In the India of that era, notions like patriotism or independence were absent. The driving force was territorial ambition and the ruthless instinct to secure and maintain power, often coupled with carnal desires. Beyond this brutal political landscape were ordinary people, merchants, and nobles living in constant fear of violence and insecurity. Such was life in the medieval age.

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The Responsibility of Cinema

Cinema is an artistic medium, but when depicting historical events, it carries a responsibility to be accurate. Portraying one religious group as heroic and another as villainous fosters discord between communities. Few have the patience to research historical truths, often accepting cinematic narratives as fact. Today’s generation, swept by emotions, makes vows in theaters and weeps uncontrollably, swayed by powerful storytelling. Such is the influence of cinema.

In this context, stoking baseless beliefs and false emotions is morally reprehensible and poisons impressionable minds. History is a collective memory. Attempts to erase certain groups or vilify them are not artistic freedom but social betrayal.

By Bolloju Baba

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References

1. Storia do Mogor (1653–1708) by Niccolao Manucci
2. History of the Mahrattas by Grant Duff, 1878
3. House of Shivaji by Sir Jadunath Sarkar, p. 231
4. History of the Mahrattas by Edward Scott Waring
5. Historical Fragments of the Mogul Empire by Robert Orme