MEERABAI
Mirabai (मीराबाई) (c.1498-c.1547CE) (alternate orthographies: Meera; Mira; Meera Bai) was an aristocratic Hindu mystical singer and devotee of Krishna from Rajasthan and one of the most significant figures of the Sant tradition of the Vaishnava bhakti movement. Some 12-1300 prayerful songs or bhajans attributed to her are popular throughout India and have been published in several translations worldwide. In the bhakti tradition, they are in passionate praise of Krishna.
Details of her life, which has been the subject of several films, are pieced together from her poetry and stories recounted by her community and are of debatable historical authenticity, particularly those that connect her with the later Tansen. On the other hand, the traditions that make her a disciple of Ravidas who disputed with Rupa Goswami are consonant with the usual account of her life.
Meera, a Rajput princess[1] was born in Kudki (Kurki), a little village near Merta, which is presently in the Nagaur district of Rajasthan in northwest India. Her father, Ratan Singh Rathore, was a warrior of the Rathore clan, the son of Rao Jodha of Mandore (1416-1489 CE), founder of the city of Jodhpur in 1459.
As an infant Meera became deeply enamoured of an iconic doll of Krishna owned by a visiting holy man she was inconsolable until she possessed it and probably kept it all her life. Her mother was supportive of her religious tendencies but she died. and went to heaven
Meera’s marriage was arranged at an early age, traditionally to Prince Bhoj Raj, the eldest son of Rana Sanga of Chittor. However her new family did not approve of her piety and devotion when she refused to worship their family deity and maintained that she was only truly married to Krishna.
The Rajputana had remained fiercely independent of the Delhi Sultanate, the Islamic regime that otherwise ruled Hindustan after the conquests of Timur. But in the early 16th century CE the central Asian warlord Babur laid claim to the Sultanate and some Rajputs supported him while others ended their lives in battle with him. Her husband's death in battle (in 1527 CE?) was only one of a series of losses Meera experienced in her twenties, including the death of her mother. She appears to have despaired of loving anything temporal and turned to the eternal, transforming her grief into a passionate spiritual devotion that inspired in her countless songs drenched with eroticism and separation.[2]
Meera's devotion to Krishna was at first a private thing but at some moment it overflowed into an ecstasy that led her to dance in the streets of the city. Her brother-in-law, the new ruler of Chittorgarh, was Vikramaaditya, an ill-natured youth who strongly objected to Meera's fame, her mixing with commoners and carelessness of feminine modesty. There were several attempts to poison her.[3] Her sister-in-law Udabai is said to have spread defamatory gossip.
At some time Meera declared herself a disciple of the guru Ravidas[4] ("guru miliyaa raidasjee") and left for the centre of Krishnaism, Vrindavan. She considered herself to be a reborn gopi, Lalita, mad with love for Krishna. Folklore informs us of a particular incident where she expressed her desire to engage in a discussion about spiritual matters with Rupa Goswami, a direct disciple of Chaitanya and one of the foremost saint of Vrindavan that time who, being a renunciate celibate, refused to meet a woman. Meera replied that the only true man (purusha) in this universe is lord Krishna. She continued her pilgrimage, "danced from one village to another village, almost covering the whole north of India".[5] One story has her appearing in the company of Kabir in Kashi, once again causing affront to social mores. She seems to have spent her last years as a pilgrim in Dwarka, Gujarat।
Perhaps the most remembered and quoted woman in India history is a sixteenth century poet, singer and saint called Mirabai, or Meera. Versions of her songs are sung today all over India, and she appears as a subject in films, books, dances, plays and paintings. Even Mohandas Gandhi promoted her, seeing Mira as a symbol of a woman who has the right to chose her own path, forsake a life of luxury, and in nonviolent resistance find liberation.
Mirabai belonged to the Rajput aristocracy. From an early age, she worshiped the image of Krishna. Her form of worship was influenced by a number of her male relatives who were devotees of a mystical form of Hinduism called Bhakti. In the Bhakti tradition, one approached one's god through pure love, without any restrictions of caste, color, or gender. Many Bhakti followers gave up their worldly life and left their families to became wandering teachers or live together in like-minded communities. Their message usually was spread through deeply personal poems through which they conversed with their chosen God. Female devotees who aspired to live this life also had to give up their husbands and family. They had to live among people from a variety of castes, including those considered forbidden to them. In spite of what many felt were acts of subversive, some who overcame obstacles to follow their spiritual quests in time became respected and even revered.
In 1516 Mirabai was married to Prince Bhoj Raj of the Rajput kingdom of Mewar, the most powerful Rajput state in the early 16th century. It's capital was Chittor. From the start Mira was a problem. She refused to worship her husband's family's goddess (devi), claiming that she already had offered herself to Lord Krishna and considered herself married to him. She refused the family's gifts of silks and jewels. She insisting on associating with the community of bhaktas. And when her husband died after only three short years, Mirabai refused to join him on his funeral pyre, a practice at the time expected of high caste Rajput widows. Instead she claimed that now she was free to devote herself completely to the worship of Krishna.
Mira's devotional practices became increasingly intense. She often sang and danced herself into ecstasies, even in public places like temples. News about her spread all over India and she soon attracted a following of devotees from all social groups and castes.
Mira lived in a time and place when the sexual virtue of women was fiercely guarded. Her husband's family was shocked by her actions and finally locked her inside the house. In her songs Mira says that on two occasions they tried to kill her, but she was miraculously saved both times. At some point she left the palace and city of Chittor and returned to her birth family. They too disapproved of her actions. Sometime around 1527 she set off as a wanderer, traveling to places of pilgrimage associated with the life of Krishna. Her popularity grew. Before she even arrived at the site, people gathered singing her songs. Mirabai returned once briefly to her home, but in the face of further family harassment decided to leave the kingdom of Chittor for good. She passed her last days in Dwarka on the coast of the Arabian sea, the site believed to be that of Krishna's youth.
Mira's life resonates in the hearts of many in India today for many reasons। First there are her words, which with beauty and joy express a kind of female liberation. In them, her rejection and even disdain of the wealthy and their life of riches also appeals to the poor. Then there is her rebellion, which is seen as being against injustice within the family and within kinships groups in general. While valuing women as mothers above all, India also reveres the self-expression of Mira, a childless woman who is identified as having rebelled against her husband and in-laws.
As the more famous (than Andal or Akkamadadevi) of the female saints of India, Bhakti Mira or Mirabai can be considered as one of the foremost mystics of the world. Worldly comforts never attracted these mystics. They have left beautiful songs and hymns to posterity which are sung to this day.
To Andal, Akkamahadevi and Mira, the soul was the eternal bride and the Lord their eternal Bridegroom the eternal Bridegroom . All the three excelled in the life of renunciation and divine realization. They lived in entirely different regions, wrote in their respective language in different age and Milieu, but became legends in their lifetime itself, by the austere life and single purpose of pursuit of God and finally divine attainment. This life is extremely difficult irrespective of gender to practice and attain salvation.
Refusal to Commit Sati and Marriage to Krishna
She was married to crown prince of Chittore. But shortly after, her husband Bhojraj and father-in-law Rana Sangh died. Mira refused to commit Sati, as was the practice among Rajputs. She was by conviction wedded to Giridhar Gopal, and death of "earthly" husband had no meaning to her. She spent all her time in praying, meditation, singing and dancing before her beloved idol, installed in the palace premises. The place started attracting many devotees, wandering saints and spiritual seekers. Mira found great solace in their company.But this strange behavior was not acceptable to royal household and the ruling king, her brother-in-law. They thought of various modes of diverting her attention and save the glare of public. (Rajput women then and even now (year 2001) observe strict purdah) .Some songs of Mira reflect the agony and persecution she had to undergo. But her Giridhar Gopal always proved her savior.
"The Rana sent Mira a basketful of flowers with a snake inside. Mira absorbed in worship, put her hand into the basket to take flowers. Oh God! The snake had changed into a Saligrama! (Saligrama is a small round shaped black stone from the Gandaki river in Himalayas and is worshipped as a symbol of Vishnu).
Determined to kill Mira, the Rana sent a cup of poison. She prayed to Gopal and drank it. The poison turned into nectar. The Rana got a bed of sharp nails and Mira was made to lay down on it. But the nails turned to flowers. Mira was saved from all these dangers by none other than her Lord. Now intoxicated with immense love, she wanders all over in search of her Lord, dedicating herself to him entirely" she sang.
When many plots failed to kill Mira, it is said that Rana, the new king, cursed her "Why shouldn't this ignoble woman drown herself and die?"
Mira came to know about this wish and thought it would be a great relief to her royal relations if she put amend to life by jumping into the river. But in the nick of time divine voice addressed her. "It is a great sin to kill oneself... go to Brindavan."
So she undertook pilgrimage to Brindavan. It is considered sport field of Lord Krishna. Brindavan, a sacred place, was abode to several holy men. Jeeva Goswami had taken a vow never to see a woman--even her shadow! So, disciple of Goswami stopped her. "The Swamiji will not see any woman."
Mira laughed. "I though the only Man in Brindavan is Shri Krishan. now I see, there is a rival to him!"
In the Bhakti cult the love of the wife for her husband is said to be the best form of devotion. Hence all devotees in this world are women and God is the only man. In Brindavan the only man was supposed to be Krishna and other men and women were gopis, as gender distinction did not exist among real Bhaktas. If a devotee really felt as a gopi, he could never refuse to see another woman devotee. If anybody thinks himself a man it amounts to being a rival to god.
Mirabai's words stung Goswami and he at once understood the hidden meaning. He came out from cottage, bowed to the great lady and escorted to the hermitage.
From Brindavan she went to Dwaraka singing and praying. "I discovered the great secret in uttering the name and learnt it was quintessence of sastras. I reached my Giridhar through prayers and tears."
She gave many helpful suggestions to spiritual aspirants. "Oh my mind! You must do spiritual practice and worship.
"To love and live for Him" was the central theme of her songs. "Without pure love, the darling son of Nanda cannot be attained."
It is said that Mira got merged into the idol of Krishna in the temple of Ranchod at Dwaraka.
More than 400 songs ascribed to Mira known as Padas (lyrics) have been collected. She herself set tune to her songs and sang in soul-stirring divinely sweet voice. "Rag Govind" and "Rag Mira Malhar" are her creations. All her songs could be set to music easily and have become immensely popular throughout India, an indication to national solidarity established through Bhakti and through music.
MEERABAI'S poems
अच्छे मीठे फल चाख चाख, बेर लाई भीलणी।
ऎसी कहा अचारवती, रूप नहीं एक रती।
नीचे कुल ओछी जात, अति ही कुचीलणी।
जूठे फल लीन्हे राम, प्रेम की प्रतीत त्राण।
उँच नीच जाने नहीं, रस की रसीलणी।
ऎसी कहा वेद पढी, छिन में विमाण चढी।
हरि जू सू बाँध्यो हेत, बैकुण्ठ में झूलणी।
दास मीरा तरै सोई, ऎसी प्रीति करै जोइ।
पतित पावन प्रभु, गोकुल अहीरणी।
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अजब सलुनी प्यारी मृगया नैनों। तें मोहन वश कीधोरे॥ध्रु०॥
गोकुळमां सौ बात करेरे बाला कां न कुबजे वश लीधोरे॥१॥
मनको सो करी ते लाल अंबाडी अंकुशे वश कीधोरे॥२॥
लवींग सोपारी ने पानना बीदला राधांसु रारुयो कीनोरे॥३॥
मीरा कहे प्रभु गिरिधर नागर चरणकमल चित्त दीनोरे॥४॥
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अपनी गरज हो मिटी सावरे हाम देखी तुमरी प्रीत॥ध्रु०॥
आपन जाय दुवारका छाय ऐसे बेहद भये हो नचिंत॥ ठोर०॥१॥
ठार सलेव करित हो कुलभवर कीसि रीत॥२॥
बीन दरसन कलना परत हे आपनी कीसि प्रीत।
मीराके प्रभु गिरिधर नागर प्रभुचरन न परचित॥३॥
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राग रामकली
अब तो निभायाँ सरेगी, बांह गहेकी लाज।
समरथ सरण तुम्हारी सइयां, सरब सुधारण काज॥
भवसागर संसार अपरबल, जामें तुम हो झयाज।
निरधारां आधार जगत गुरु तुम बिन होय अकाज॥
जुग जुग भीर हरी भगतन की, दीनी मोच्छ समाज।
मीरां सरण गही चरणन की, लाज रखो महाराज॥
शब्दार्थ :- निभायां =निबाहने से ही। सरेगी =बनेगी। अपरबल =प्रबल, अपार। झयाज = जहाज,आश्रय।निरधारां =निराधारों, असहायों।
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अब तो मेरा राम नाम दूसरा न कोई॥
माता छोडी पिता छोडे छोडे सगा भाई।
साधु संग बैठ बैठ लोक लाज खोई॥
सतं देख दौड आई, जगत देख रोई।
प्रेम आंसु डार डार, अमर बेल बोई॥
मारग में तारग मिले, संत राम दोई।
संत सदा शीश राखूं, राम हृदय होई॥
अंत में से तंत काढयो, पीछे रही सोई।
राणे भेज्या विष का प्याला, पीवत मस्त होई॥
अब तो बात फैल गई, जानै सब कोई।
दास मीरा लाल गिरधर, होनी हो सो होई॥
KrsnaMeera Ji Ki Jai.........
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