Legends of Jagannatha

 

Legends of Jagannatha

(2 min read)

God following Devotees

The relationship between God and the devotees, especially that between Jagannatha and His bhaktas, is no one-way traffic.

Kabir sang of total surrender to God, and found solace in following God wherever He led him. He became Mutia, a pet dog on a leash held by the Supreme One. Kabira kutta Ram ka, mutia mera naam….

Salabega, the 17th century devotee and Odia bhakta-kavi visualised Jagannatha following His devotee as lovingly as a calf follows its mother. God following the devotee, in a reversal of roles.

Jagannatha’s Compassion

Of the many legends of Jagannatha, the following two relating to Rathayatra illustrate His infinite compassion.

Salabega

Salabega was born to a Muslim father and a brahmin mother. Though raised a Muslim, he was an ardent devotee of Jagannatha and Sri Krishna and composed several bhajans and jananas which are popular even today. However, he could not enter the Srimandira owing to his religion, and had to await darshan of his favourite God during Rathayatra.

There is a legend related to one of his poems. Salabega had gone on a pilgrimage, and had timed his return to Puri for Ratha Yatra, but got delayed owing to sickness. He offered a fervent prayer and petitioned Jagannatha:

Jagabandhu, he Gosain!* 

Tumbha sricharana binu anya gati nahin .....

Moha jiba jaen Nandighoshe thiba rahi.

O, Friend of the World!

O, Lord and Master!

There is no salvation

Except upon surrender at your auspicious feet, .....

Please stay put on Nandighosha,

Till I reach You.

The gracious Lord granted his prayer, the ratha did not budge despite the effort by thousands of devotees pulling the thick ropes. Only after Salabega’s arrival and darshan of Jagannatha did the ratha move forward on its journey.

On Bada Danda (Grand Avenue) near Balagandi, Salabega’s mazar is at the spot where he is believed to have sighted Jagannatha and offered his prayers. During Rathayatra, out of affection for His devotee, Jagannatha’s Nandighosha makes a brief halt here. An amazing gesture of the Compassionate Lord for his Muslim devotee!



Balaram Das

There is another legend associated with Ratha Yatra. Balaram Das was one of the Pancha Sakhas, the five pre-eminent sant-kavis of the 16th century; and the only non-brahmin of the five. He authored Jagamohan Ramayana, and the hugely popular Lakshmi Purana which is still read in every Odia home. He also wrote many beautiful bhajans for Lord Jagannatha.

Once, he was prevented from mounting the Lord’s ratha since he had come unwashed after spending the night with a woman of ill repute. Deeply hurt, Balaram Das withdrew to the sea-shore, made a ratha of sand and worshipped Jagannatha all alone.

Nandighosha got stuck and could not be pulled forward despite all effort. Jagannatha appeared in the dream of the King of Puri, and told him the reason why the ratha was stuck. Next morning, the king and the pandas went to the seashore, and invited Balaram Das to join the ratha yatra. As soon as the dear devotee touched the ratha’s rope, it began moving effortlessly.

Jagannatha is not juggernaut; He is Krupasindhu, the Ocean of Mercy!


12-feet tall Sand Sculpture on this legend by Sudarsan Pattanaik who won the Golden Sand Master award at International Sand Sculpture Festival, July 4 - 12, 2024 at St. Petersburg, Russia. 


***

 * Link for a beautiful rendition of this Odia Bhajan by Bhikari Bala: https://youtu.be/fC4WuQbMuR0


The Parable of the Chariot

  

The Parable of the Chariot

Rathe tu Vamanam drustva…

During the annual Rathayatra at Puri, commentators often mention a popular shloka: Rathe tu Vamanam drustva, Punarjanma na vidyate – Upon sighting Vamana atop His ratha, the devotee is released from the endless cycle of birth and death. She will be permanently stationed in Vishnuloka, and spared from the pain and suffering of mortal life, it is implied.

The full shloka is:

Dole tu DolaGovinda,

Chape tu Madhusudana,

Rathe tu Vamanam drustva,

Punarjanma na vidyate.

Exemption from rebirth is assured upon darshan of DolaGovinda on the swing; Madhusudana on the boat; and Vamana on the ratha. Since the shloka does not prescribe sighting of Vishnu during all the three specified festivals as essential, it is presumed that any one of the three would suffice.

Dolayatra, Chandanayatra, and Rathayatra are among the most popular of the Dwadasha Yatras, the twelve annual festivals of Srimandira, Puri. Each of the twelve lunar months of the Hindu calendar has a specific Presiding Vishnu[i]; DolaGovinda, Madhusudana, and Vamana are the Presiding Vishnus for the respective months in which Dolayatra, Chandanayatra, and Rathayatra are held.

Dolayatra is a spring festival. On Phalguna Purnima, three deities - DolaGovinda, Bhudevi, and Shreedevi – are taken to Dola Vedi, offered dry prasad, and thereafter, placed on swings festooned with flowers, and tugged gently. The Presiding Vishnu for Phalguna (Feb-Mar) is Govinda, who when put on the dola (swing) is called DolaGovinda.

Chandanayatra, held in Vaishakha (Apr-May) commences on Akshaya Trutiya, and lasts for 42 days. Madanmohan, Rama, Krishna, Bhudevi, Shreedevi, and Pancha Shivas (interestingly called Pancha Pandavas) are placed on decorated boats (chapa in Odia) and enjoy summer boating at Narendra Tank. For Vaishakha, the Presiding Vishnu is Madhusudana, the Destroyer of Madhu- a demon. Hence, Madhusudana is deemed to be on the boat though the idol is of Madanmohan. Everyone knows that Vishnu has as many as one thousand names. Call Him by whatever name, He listens.

Rathayatra is held in Ashadha (June-July), and for this month, the Presiding Vishnu is Vamana. Hence, Jagannatha atop Nandighosha is deemed to be Vamana. That is the rationale for the shloka – Rathe tu Vamanam drustva…

Vishnu in His Vamana avatar was deceptively small, but grew and grew and grew to envelope all the earth and the skies. With two steps he obtained from Bali the earth and the heaven and with the third step on Bali’s head sent him to patala.

The Vamana or Self inside the human body is capable of similar lofty expansion.

Vishnu Shodasa Nama Stotram[ii]
The Parable of the Chariot

Vishnu Shodasha Nama, the sixteen names of Vishnu, provide for remembrance of a specific Vishnu for a specific purpose or occasion. During travel or journey, Vishnu’s Vamana name is to be chanted: Gamane Vamanam

During Rathayatra, both the deity and the devotee are on a journey; Jagannatha and the accompanying deities travel from Srimandira to Gundicha temple to Srimandira; and the devotees travel to Puri to participate in the festival.

Ratha or chariot is more than a grand vehicle for transport; it is a metaphor for the human body. The title of this piece is a quote from S. Radhakrishnan’s commentary on Katha Upanishad: Shloka - 1.3.3

aatmaanam rathinam viddhi shariram ratham eva tu

buddhim tu saarathim viddhi manah pragraham eva ca

“Know the Self as the lord of the chariot and the body as, verily, the chariot, know the intellect as the charioteer and the mind as, verily, the reins.”

(The Principal Upanishads[iii] by S. Radhakrishnan)

In Katha Upanishad, upon Nachiketa’s prayer Yama explains the mystery of Death, and inter alia about the essence of life, and Brahma and atman.

Rathayatra reminds one of the parable of the Self as the lord of the chariot. The devotees who pull the ropes may be under the illusion that they are manoeuvring the ratha; but the lord of the chariot is Vishnu or Vamana.

Human body is a chariot, and the atman, though invisible, is the lord of this chariot. He controls the intellect which reins in the five senses and guides the ratha to the destination of a fulfilled life and liberation.

***

 



[i] Presiding Deity               Month               Period

1. Vishnu                          Caitra                  March–April

2. Madhusudana             Vaisakha             April–May

3. Trivikrama                    Jyestha               May–June

4. Vamana                        Asadha               June–July

5. Sridhara                       Sravana               July–August

6. Hrsikesa                       Bhadrapada       August–September

7. Padmanabha               Asvina                 September–October

8. Damodara                   Kartika                October–November

9. Kesava                          Margasirsa         November–December

10. Narayana                   Pausa                  December–January

11. Madhava                   Magha                January–February

12. Govinda                     Phalguna            February–March

Purusottama                   Adhika                Intercalary Month

 

[ii] Link to listen to this stotram: https://youtu.be/1-2IPRI2tqc

[iii] The book can be downloaded from: https://archive.org/details/129481965theprincipalupanishadsbysradhakrishnan/mode/2up?q=The+Principal+Upanishads+by+S.+Radhakrishnan

Rathayatra: When Puri Becomes a Vast Temple

 

Rathayatra:
When Puri Becomes a Vast Temple

 

Why is Rathayatra much awaited?

Rathayatra may have been purposely designed to provide open-access darshan of the deities to devotees regardless of their caste or religion.

Here is a Sambalpuri couplet by a distressed devotee:

ଉଡ଼୍‌ସା ଯିମି ବଲି ଘିନିଥିଲିଁ ପାଟ

ଉଡ଼୍‌ସାର୍‌ ଲୁକ ଆମ୍‌କୁଁ ନାଇଁ ଛାଡ୍‌ଲେ ବାଟ

Udsaa jimi bali ghinithilin paata

Udsaar luka aamkun naain chaadle baata.

 

To visit Jagannath Puri,

I bought a pata saree;

Alas, the temple gate-keepers refused us entry!

A poignant couplet capturing the anguish of a deprived devotee, a woman from western Odisha, inhabited mostly by scheduled tribes, scheduled castes, and backward castes. Obviously, she belonged to a caste that was not permitted entry into Shreemandira. She and her accompanying kin were unaware that darshan of Jagannatha may be denied to a devotee. They had made the arduous, risky, and expensive journey with prayer on their lips and Jagannatha in their heart and soul. How crestfallen they must have been when denied access to the temple!

Puri: A Temple without Walls

During Rathayatra, something magical happens. Puri metamorphoses into a vast temple. A temple without walls. The presiding deities ascend their rathas and are dotingly pulled by thousands of devotees and taken to Gundicha temple. Shreemandira expands its sacred sphere to embrace and include the Bada Danda (Grand Avenue), Gundicha temple, the rest of the pilgrim city, and the millions of devotees who have travelled from far and wide.


(Source: wikimedia commons - By I, G-u-t, CC BY 2.5, https://commons.wikimedia.org/w/index.php?curid=2472322)

Rathas as Mobile Temples

“During the ratha yatra when "the Lord of the Universe" leaves his "jewelled lion throne" (ratnasimhasana) in order to appear to his devotees, even the most humble, the ratha thus transforms the separate temple buildings of the "divine palace" into one, drawn by devotees from all social strata and pilgrims from all quarters of the Hindu world….

Puri's rathas are thus an example of "mobile architecture" ….. Their consecration on the eve of the ratha yatra and their outer shape identify them as the main temples during ratha yatra. Moving from the "Lions Gate" (simhadvara) in front of the Jagannatha temple … to the Gundica temple, a distance of about 3 km, they extend the ritual and sacred sphere of the temple into major parts of the town, thus transforming Puri (=town) into a veritable temple city.”[i]

Today, Ashadha Shukla Dwitiya, 20th June, 2023, is the auspicious Rathayatra, also called Shree Gundicha Yatra.

May Lord Jagannatha bless all!



[i] RATHAS AND RAJAS: THE CAR FESTIVAL AT PURI by Hermann Kulke:

The special issue of "Art and Archaeological Research Papers" ( aarp, London ) vol. XVI, Dec. 1979, on "Mobile Architecture in Asia : Ceremonial Chariots. Floats and Carriages". p. 19-26.)

 

Jagannatha, NOT Juggernaut!

 

Jagannatha, NOT Juggernaut!

The word Jagannatha, a conjunction of jagat (the world) and nath (master), means Lord of the World, and is one of the many names of Vishnu, the Supreme Godhead for the Hindus. However, it specifically refers to the presiding deity of Srimandira, Puri.



The English word juggernaut is derived from Jagannatha, but has acquired an unfortunate negative connotation contrary to Jagannatha’s religious significance for Odias and Hindus.

Merriam-Webster provides the history of the word: “In the early 14th century, Franciscan missionary Friar Odoric brought to Europe the story of an enormous carriage that carried an image of Hindu god Vishnu (whose title was Jagannath, literally, “lord of the world”) through the streets of India in religious processions. Odoric reported that some worshippers deliberately allowed themselves to be crushed beneath the vehicle’s wheels as a sacrifice to Vishnu. That story was probably an exaggeration or misinterpretation of actual events, but it spread throughout Europe anyway. The tale caught the imagination of the English listeners, and by the 19th century, they were using juggernaut to refer to any massive vehicle (such as a steam locomotive) or to any other enormous entity with powerful crushing capabilities.”

The first European description of the festival is by Friar Odoric (c. 1321). (https://www.etymonline.com/word/juggernaut)

First known use of juggernaut was in 1841 in the sense of a large heavy vehicle.

Thus, Jagannatha, a most compassionate deity for His devotees, was misinterpreted by the English and the Europeans as a malevolent, cruel, blood-thirsty god.

Tagore's Poem

The same event, Ratha Yatra, reminded Tagore of the Upanishadic concept of nirakara Brahma, with the idol as a proximate visualisation of the Supreme Godhead for the masses;

(Original Bengali verse)

রথযাত্রা লোকারণ্য মহা ধুমধাম

ভক্তেরা লুটায়ে পথে করিছে প্রণাম

রথ ভাবে আমি দেব পথ ভাবে আমি,

মূর্তি ভাবে আমি দেবহাসে অন্তর্যামী

(English transliteration)

Rathayatra lokaranya maha dhumdham

Bhaktera lutaye pathe kariche pranam

Rath bhave ami dev Path bhave ami,

Murti bhave ami dev hase Antaryami.

 

(Translation by this blogger):

Rathayatra, the grand spectacle, proceeds

Amidst a vast congregation,

Devotees offer prostrate salutations on the road;

The chariot thinks, “I am God,”

So does the path,

The idol, too, thinks, “I am God,”

One who knows everything from within, the Supreme Spirit, smiles!

 Manoj Das

Manoj Das mentions in ‘Legends of Jagannath’ (Myths, Legends, Concepts and Literary Antiquities of India by Manoj Das, a Sahitya Akademi publication) that when he was aged four or so his mother used to recite this little verse from Tagore. “The verse woke me up to the truth, with a pleasant jolt, that the Divine, the Antaryami, was something much more sublime than even the image we adore. This left such a deep impression on my subconscious that even today, the moment I look at the deity, I feel that he was smiling and asking how far I had succeeded in knowing the Antaryami behind the mask!”

Sarkari Stumble!

Surprisingly, a few years ago, the Government of Odisha had marketed Odisha as an attractive investment destination by using the word juggernaut in full-page ads in national dailies and in prime-time television. Clearly, the ad agency, and the state government officials had not bothered to check the history of the word juggernaut, and were unaware of its negative connotation!

Ocean of Mercy

Jagannatha is spelt with an ‘a’ at the end of the name, because that is how the name is pronounced in Odia, with a rounded ‘tha’ (Ja-ga-nnA-tha). The British could not pronounce the deity’s name, and hence called him Juggernaut, and assigned a meaning far removed from what Jagannatha means for the Odias and Hindu; not a capricious but a compassionate god, not a killer god but Krupasindhu, Ocean of Mercy, sakha (friend), sahodara (brother), and atmiya (kin).  

***

 26/07/2023

Today's Economic Times (Indore/Bhopal) carries a full-page ad by Government of Odisha. The logos used in the ad caught my attention.


The logo in the middle is imaginative in its use of Lord Jagannatha's chaka akhi (round eyes) as symbolic of the glorious and sacred heritage of Odisha; but the logo to the right is problematic.

The word JUGGERNAUT has unmistakable negative connotations, as I have discussed in my blog above. It is unfortunate that Odisha government, InvestOdisha, and IPICOL continue to use the logo with the caption: COME JOIN THE JUGGERNAUT to promote Odisha as a destination for industrial investment.

Gods in Quarantine

 

Gods in Quarantine

Deities in Distress

The presiding deities of Srimandira, Puri are currently unwell and in quarantine. On Jyestha Purnima (4th June, 2023), they enjoyed such a lavish bath that they got fever which will take two weeks to abate. Snana Yatra is an annual festival, and the anabasara confinement and recuperation of the deities are part of an elaborate, time-honoured ritual.

Humans seek medical help for simple ailments, and divine cure for incurable diseases; but in a curious role-reversal the ailing deities of Srimandira need human care for their treatment and convalescence. Possibly, they are the only gods who get fever, and are quarantined for two weeks of medication, restricted diet, compulsory rest, and recuperation.

During this period, they also get a paint job, and are readied for the Naba Joubana Besha (new, youthful attire and visage) and Netrotsava (painting the eyeballs, signalling the new look) as preparatory for Ratha Yatra, the most important of more than a hundred annual festivals in the calendar of Srimandira.

Why do the deities fall ill?

No one knows for sure, but many reasons are suggested.  

Under the scorching sun at the height of summer, they bath in chilled water, and hence contract fever. On Jyestha Purnima, Jagannatha, Balabhadra, Subhadra, and Sudarshana are taken out of the Garbha gruha (sanctum sanctorum), placed on the Snana Mandapa, the bathing platform, and bathed with 108 pots of water drawn from the Suna Kua, the golden well.

Humanised Gods

These gods are so human that every day they  wake up to soft music, brush their teeth with a traditional twig, use a golden tongue-scaler, take a daily bath, look at their own visage reflected from a kansa (bronze) metal mirror, have breakfast and several meals thereafter, enjoy siesta, listen to music, retire to bed, participate in various festivals, change dress several times during a day and don beshas for special occasions, go for boating, fall ill, and die once in about 12 years.

When they fall ill, they are given herbal medication, and a special diet plan. No loud bhajans, only soft tunes are hummed by the Daitapatis, Jagannatha’s kinsmen. Availing annual sick leave of two weeks, they are not required to give darshan to the devotees since morning till late evening (how tiring that must be, entertaining millions of petitions, round the year for about 350 days!), the gods rest and recuperate.

Why only four gods fall ill?

The seven deities (saptadha murti) placed on the Ratna Simhasana in the Garbha Gruha are the principal deities of Srimandira. However, only four of them – Jagannatha, Balabhadra, Subhadra, and Sudarshana are taken to the Snana Mandapa, and 108 pots of fragrant water are poured on the first three; no pot for Sudarshana possibly because he is Vishnu’s weapon, and hence a secondary deity.

Why do only these four deities fall ill, and the remaining deities on Ratna Simhasana – Bhudevi, Sridevi, and Nilamadhava; and the numerous deities of Srimandira – Lakshmi, Vimala, Mukta Nrusingha, Kashi Vishwanath, Ishaneshwar Mahadev, Ganesha, Garuda, and others – do not fall ill?

Is it because only these four deities are made of wood, and the idols having been exposed for a year to saline humid air, incense smoke, and moisture from flowers and food offerings, need an annual inspection for maintenance and repair, and a paint job?

Annual Leave

Further, the thousands of servitors need annual earned leave to mind their domestic responsibilities. Since Akshaya Tritiya, the devotees – most of them farmers in the rural hinterland - get busy ploughing and preparing their lands for the monsoon paddy crop. Thus, lean season for all stakeholders.

De-Sanskritization: Return to Roots

Scholars suggest a deeper motif. Beginning with Snana Purnima till the conclusion of Ratha Yatra, a period of about a month, the custody and management of the affairs of Jagannatha pass from the brahmin priests to the Daitapatis, the progeny of Vidyapati (brother of King Indradyumna’s rajpurohit) and Lalita (daughter of Vishwavasu, the Sabara chieftain and the original custodian and worshipper of Nilamadhava).

It is believed that Jagannatha was originally worshipped by the aboriginal sabaras, appropriated by the Hindus and Sanskritized as Vishnu. But by tradition, the temple affairs are managed by three categories of servitors many of whom are tribals, some have mixed parentage - the progeny of Vidyapati and Lalita, and others are brahmin priests.

The Hindus appropriated their god, but the sabaras did not surrender their claim on Jagannatha, their kinsman, and hence the negotiated arrangement of dual and participative management. A wonderful example of accommodation between two different cultures that decided to peacefully co-exist and collaborate.

Detox and Diet-plan

On a lighter vein, the two-week confinement is an annual detox regimen with a diet plan (only fruits and pana -traditional drink appropriate for patients), medicines (only herbal), and total rest (no work). Much needed since they savour daily chappan bhog - 56 delicacies, and have little opportunity for exercise!

The madhyanha dhupa served at 1.00 PM is an elaborate meal. “In 1910, this mid-day meal consisted of 435 dishes. A feast for divinity!” (indianculture.gov.in)

Anabasara or Anasara?

Though commonly named anasara, this word has no meaning in Odia, unless it is a proper name given to this ritual in the past for reasons that are not known. Prana Krushna Acharya in his Odia book ‘Shri Jagannatha Mahatmya O Itihasa’ suggests that the correct name is anabasara, a conjunction of ana and abasara, meaning a ritualistic service of the deities without any break. The deities are ill, and need looking after round the clock including at night. Who attends the sick in such situations? Only members of the family, and the Daitas claim they are family to Jagannatha. That is why they perform the funeral rites when the deities die prior to nabakalebara festival, and the birth ceremony when the brahma padartha, the core holy substance or element, is transferred from the old idols to the new ones at the dead of night with the chosen daitas blindfolded and their hands wrapped in silken cloth so that they may not see or even directly touch and feel the enigmatic brahma.

On Snana Purnima, the deities are dressed in Hati or Gajanana Besha. Image Source: Wikicommons.

Pati Dion

The Anabasara area is screened off with bamboo mats, and traditional Orissan pattachitra paintings of the deities on starched cloth, called pati dion (literally, gods on mats) are hung on the bamboo mats, and these gods are offered token service daily.  

Significantly, the three principal pati dions are all four-armed (chaturbhuja), and named Narayana, Vasudeva, and Bhubaneshwari. I am not sure if Sudarshana is also portrayed as a four-armed god and worshipped as pati dion.

Get Well Soon

You will be delighted to know that the ailing deities are doing very well, and will soon be discharged from the quarantine; on 19th June they will grant Naba Joubana Darshana to devotees, and will participate in Netrotsava; on 20th June they will ride their respective rathas to Gundicha mandira, the premises where they were born.

***

 

 

 

 

 

कबीरा गाया बाज़ार में

 

कबीरा गाया बाज़ार में

Today, I received a WhatsApp video forwarded by Bhabani Dixit, a friend. He had read my recent blog on Kabir, and thought the video may be of interest to me. I seldom play the many videos I receive but made an exception today. I am glad I did.

An amazing video. Ashwini Bhide Deshpande, a famed classical singer of the Jaipur-Atrauli Khayal Gayiki gharana, singing somewhere (possibly on a street near a railway station in Mumbai) a Kabir bhajan impromptu, mesmerised by the tune played on a simple, hand-crafted sarangi by a street-side musician.

The video is shot from a smartphone by a person accompanying the singer, it seems. Lalchand is sitting on the pavement with Kavita, his wife to his left and their little son, Bheem at the back. Lalchand does not know Ashwini Bhide Deshpande. He has never gone to any musical concert. He may be a migrant from the rural hinterland playing his humble instrument to earn a living, hoping that passers-by may drop a note or a coin.

When the singer begins singing in her amazingly rich voice, picking up a Kabir bhajan which fits perfectly to the tune Lalchand is playing, the street-musician is perplexed. Why is a distinguished lady and a gifted singer singing to his modest tune, and why is a video being shot? He is stunned for a moment, but the gentle singer brings out a smile of recognition, a camaraderie between a musician and a singer. She asks, ‘Are you playing jhini jhini?’ and Lalchand nods, and she proceeds to sing further:

चदरिया झीनी रे झीनी,

राम नाम रस भीनी,

चदरिया झीनी रे झीनी ।

He syncs his music to the singer’s voice and rhythm. How would he know that the gifted singer was trained in classical Indian music, had cut many music albums, and had held concerts across the globe? Or, that she has a Doctorate in Microbiology, and quit her job at Bhabha Atomic Research Centre to pursue her passion for music.


Lalchand, Kavita, and Bheem

I have not checked the authenticity of the video. In my view, there is no need to. It is not a promo for the singer, for she is not even in the frame. Nor is it for Lalchand for even his location is not mentioned.

But who heard whom in this video?

कबीरा गाया बाज़ार में  ..

The voice of the 15th century poet transcended the limitations of time and space and reached a new audience through the golden voice of the singer and the wonderful music by the street-side musician.

If that is not divine, what is?

***

1. A link to Dr. Ashwini Bhide Deshpande's soulful rendition of 'Ajapa Jaap Japo Bhai Sadho': https://youtu.be/TesKj1FR8kE

2. A friend sent his feedback, 'I believe this is not her. Somebody who knows her well apparently contacted her and she denied it was her. FYI.' My reply to my friend: Thanks, but that doesn't diminish Kabir or the anonymous singer or the humble musician!

3. A few other readers mentioned that the video had been circulated a few years earlier, but some of them enjoyed the video better after reading my blog, and I am thankful to them. One reader mentioned that the video was shot at Jaipur.

4. There are sites and portals which claim to fact-check upon request, and even share their WhatsApp numbers; but I'm not sure if these are Trojan horses to invade my contacts list, so I haven't tried!

***


 

Thus Spoke Kabir

 

Thus Spoke Kabir

कहे कबीर सुनो भाई साधो

Kabir composed no epic; only dohe, sakhi, and pada. To feed the family, his body toiled at a loom in the dingy quarters of a narrow by lane of Kashi’s poorest area; but his spirit soared high above; he drank from the waters of Assi Ghat, and took in the soul-nourishing fragrance of the choicest flowers of diverse religions and faiths that invigorated the air of the ancient religious city. Kashi was teeming with wise men, mendicants, sants and sufis; and a lesser man would not have dared to share his wisdom, but Kabir had a voice that boomed with the conviction of truth, could not be stifled, and still rings loud centuries after he is gone.

If you are a Kabir fan like this blogger, you may have enjoyed Kabir’s dohe and vani by many excellent singers, and may have noted that some of these songs on You Tube have clocked millions of ‘views.’ Why are these songs so popular – the excellence of the singer, the beauty of the poetry, or the deep philosophical musings of Kabir, the Sant-Kavi? Kabir’s thoughts resonate even today because of his poetic genius of presenting the essence of religion and life with utter simplicity and brevity.

Kabir: An Enigma

Kabir is a much-loved devotional poet, but his life is shrouded in mystery. Was he a Hindu or a Muslim? Did he preach a different faith or initiate a new sect? He is eloquent about his religiosity, but silent about his religion.  

His compositions – dohe, sakhis, and songs – tell much about his thoughts and beliefs. The first compilation of Kabir’s songs was made by his disciple Dharam Das in 1463, during Kabir’s lifetime. Kabir’s hymns – 240 dohe and 227 padas - were included in the Guru Granth Sahib.

Kabir: A Heretic?

Was Kabir a heretic? Well, his dohe and songs, have a lot that greatly annoyed both Hindus and Muslims of his time, and Kabir suffered persecution including calumny and physical violence from both.

He laughed at the Hindus for their idol-worship:

लोगा ऐसे बावरे , पाहन पूजन जायँ

घर की चकिया काहे न पूजै जेहि का पीसा खायँ

People (Hindus) are so stupid that they worship stone idols. Why not worship the grinding stone at home which feeds them, he asked?

He was equally critical of the rituals of Muslims:

मुल्ला होकर बांग जो देवे

क्या तेरा साहब  बहरा है

*किडी के पग नेवर बाजे

सो भी साहब सुनता है

O Mulla, why do you scream like an over-zealous cock in the morning, is your god deaf? Don’t you know that God listens even to the faintest, subtle jingle from an insect’s anklets?

Someone later changed kidi (insect or worm) to chinti (ant)!

Kabir’s Ram is not Ramayana’s hero, the son of Dasharath; but nirgun, nirakar in sync with the Upanishadic concept of the Supreme Being. Kabir is neither a jogi (a follower of Gorakhnath), nor a Hindu, nor a Muslim; his God is in everyone.

जोगी गोरख गोरख करई , हिन्दू राम-नाम उच्चरई  

मुसलमान कहे एक खुदाई ,

कबीरा को स्वामी घट -घट रह्यो समाई

 

सोई पीर है  जो जाने पर पीर

As per a legend, Muslim clerics complained to Badshah Sikandar Lodi about Kabir’s heretical claim to miraculous powers, and recommended the death penalty for him. When Kabir was presented in chains before the Badshah, Kabir stood in silence. The Kazi shouted at him, ‘Kaafir, why haven’t you bowed to the Badshah?’ Kabir, cool and composed, replied with the following doha:

कबिरा सोई पीर है जो जाने पर पीर

जो पर पीर न जानई सो काफ़िर बेपीर

One who feels the pain and sorrow of others is a true Pir (saint), one who doesn’t is no Pir but a kaafir (heretic).

Gandhi’s favourite hymn Vaishnava jana toh tene kahiye je pir parai jane re borrows the phrase from Kabir’s doha.

Kabir was hated even more because he was an unlettered, low-caste, poor weaver. How dare he make fun of the time-honoured religious practices of Hindus and Muslims and preach new truths? Only after his death, and owing to his immense popularity with the masses, both religions staked claim to appropriate his legacy with Hindus regarding him as a Vaishnava Sant Kavi, and the Muslims hailing him as a Sufi Pir.

Dispute after Death

Death at Kashi ensures moksha (liberation), and that at Maghar takes you to hell, believed the Hindus. Being the iconoclast that he was, Kabir travelled from Kashi to die at Maghar. That was his last laugh at the silliness of such superstitions.

As per a legend, when Kabir died, both Hindus and Musims fought for his body which miraculously vanished and under the shroud was found only flowers which the disputants divided equally, with the Hindus cremating it at Kashi and making a samadhi, and the Muslims burying it at Maghar where Kabir’s mausoleum is still present.

Famous Dohe and Padas

A selection from his most popular dohe and padas is given below:

On Guru’s Importance

गुरु गोविन्द दोऊ खड़े, काके लागूं पांय

बलिहारी गुरु आपने गोविन्द दियो बताय ।।

A graphic image – both Govind (not Krishna, but Kabir’s nirgun, nirakar God), and Guru are before the devotee, whose feet should he touch first? A difficult choice. Kabir suggests, it’s better to first bow before one’s Guru, for he is the one who has led the disciple to find God.

Essential Oneness of Hinduism and Islam

काबा फिर कासी भया, राम भया रे रहीम

मोट चून मैदा भया, बैठि कबीरा जीम ।।

Once you realise, O Kabir, that there is no distinction between Kaaba and Kashi, or Ram and Rahim; the coarse atta of gross reality transforms to delectable fine maida of divinity.

On Total Surrender to God

कबीर’ कूता राम का, मुतिया मेरा नाउँ

गले राम की जेवड़ी, जित खैंवे तित जाउँ ।।

Kabir is Ram’s dog. My name is Mutiya, on my neck is Ram’s belt, and I go wherever he pulls me.

Divine Spark: Fire in the Wood

साहिब तेरी साहिबी, सब घट रही समाय

ज्यों मेंहदी के पात में, लाली लखी न जाय ।।

Just as red colour is contained within mehendi leaves but is not visible; God is inside of everyone, but invisible.

On Impermanence/Transitoriness of Life

पानी केरा बुदबुदा, अस मानस की जात

देखत ही छिप जायेगा, ज्यों सारा परभात ।।

Human life is short-lived like water bubbles, and disappears like stars upon the arrival of morning.

On Introspection

बुरा जो देखन मैं चला, बुरा न मिलिया कोय

जो दिल खोज्यो आपना, मुझसा बुरा न कोय ।।

Why waste time and energy if finding fault with others? Look inside yourself, you’d realise the need to reform yourself before counselling others.

On Humility

दास कहावन कठिन है, मैं दासन का दास

अब तो ऐसा होय रहूं, पांव तले की घास ।।

On Fleeting Youth

कबीर गर्व न कीजिए, इस जोबन की आस ।

टेसू फूला दिवस दस, खंखर भया पलस ।।

A striking metaphor, common-place but spectacular, a Flame-of-forest tree in blossom, and thereafter.

Bhakti Movement

Kabir is a continuum in the line of Sants and Pirs who shared their distilled wisdom with the masses. He is one of the leading lights of Bhakti movement in north India; and the predecessor of the famous 16th century Bhakti poets – Guru Nanak, Tulsidas, Surdas, Dadu Dayal, Rahim Khankhana, and others. In Kabir’s poems, echoes can be heard of the Vedas, Upanishads, Buddha, Mahavir Jain, Adi Shankar, Ramanuja, Gorakhnath, Jaydev, Baba Farid, Namdev, and others.

Kabir was unlettered, but he shared his faith in simple devotion to realise the nirgun, nirakar god in crisp dohe and padas in the language and idiom of the common people. He was the saint who like a winnowing implement removed the chaff and presented the grains.

Hindi Poetry

Of the medieval Hindi poets, Kabir is the Adi Kavi. In the 15th century, it was not fashionable to write in Hindi or khari boli since Sanskrit, Persian, and Arabic were the preferred language of the Courts and the elites. But Kabir composed in the language of the people – khari boli, purbia, and unhesitatingly picked up words from Sanskrit, Urdu, Punjabi, and Marwadi.

Before Tulsidas, considered by many as the greatest Hindi poet ever, Kabir wrote in Hindi, the language of choice for the bhakti poets of the 16th century and later.

Kabir Songs and Famous Singers

Several singers have soulful renditions of Kabir’s songs – Kumar Gandharv, Prahlad Tipania, Anup Jalota, Jagjit Singh, Sabnam Virmani, Abida Parveen, and many others. The very large viewership of these You Tube songs is an indication of the enduring popularity of Kabir’s timeless songs.

Kabir’s similes and metaphors

Simple, yet striking metaphors, picked up from everyday life which the common people can instantly relate to. No erudition or study of vyakarana or scriptures is required to get Kabir’s message. Kabir could be abstruse at times, possibly by choice, when handling deepest philosophical issues; but he consciously avoids poetic artifice. He speaks from his heart and effortlessly reaches the heart of his audience.   

Some of his most memorable metaphors are:

जाति न पूछो साधु की, पूछि लीजिए ज्ञान

मोल करो तलवार की, पड़ा रहन दो म्यान ।।

न्हाये धोये क्या हुआ, जो मन का मैल न जाय

मीन सदा जल में रहे, धोये बास न जाय

चलती चक्की देख के, दिया कबीरा रोय

दुइ पट भीतर आइके, साबुत गया न कोय ।।

जब मैं था तब गुरु नहीं, अब गुरु हैं मैं नाहिं।

प्रेम गली अति सांकरी, तामें दो न समाहिं।।

Kabirpanthis

Kabir did not set up any sect, but his disciples established Kabirpanth: the Path of Kabir. His disciple Surat Gopal set up the panth at Kashi, and the other disciple Dharam Das took it to Bilaspur, now in Chhattisgarh. Kabirpanthis admit both Hindus and Muslims and have no caste bar, but they have developed elaborate rituals including diksha, wearing janeu and kanthi – something Kabir is unlikely to have approved. That is how great saints are powerless against the affection and bhakti of their chelas and bhagats. Kabirpathis are teetotalers, vegetarians, and have an elaborate manual for right living and conduct.

Kabir means ‘Great’

Kabir in Arabic means great, and is a synonym for Allah. There is a story about his naming ceremony. Kazi, to name the child, opened the Quran, and the page that opened had Kabir. Maybe, since the boy was from a poor, low-caste julaha family, the Kazi did not think of Kabir as a fit name. He closed the holy book, and opened it a second time, and then a third time, and every time, the book opened at the same page. He had no choice but to name the boy Kabir. In a way, the Kazi’s hesitation was borne out and Kabir was infamous for his heretical dohe, shabads, and vanis during his lifetime. Only long after his demise was he reckoned as a voice that spoke the truth unafraid of the consequences.

Kabir’s philosophy, bhakti, and poetry continue to appeal to the hearts not only of Kabirpanthis but of people from other faiths and persuasions. That is how Kabir has fulfilled the import of his name: Kabir is Great.

A commemorative postage stamp on Kabir issued by India Post on 1st October 1952.

***

Resources:

1.    Makers of Indian Literature: Kabir, Prabhakar Machwe, Sahitya Akademi, New Delhi, Fourth Reprint: 2014

2.    Kabir Granthavali, Ed. By Dr. Shyamsundar Das, Vani Prakashan, New Delhi, Fourth Edition: 2022.

3.    

 

Ganga-Bhuji

  Ganga-Bhuji In my previous blog – Demystifying Medical Prescriptions – I had discussed ‘Doc-write’ - the illegible prescriptions with m...