Meerabai – Saint, Singer and the soul in Sojourn

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Sea is a difficult subject to write on. Not a mystery it lies
wide-spread before eyes, but whatever the measurement in hand,
its length, width, depth, height to which its waves rise, its
sublime quietude or fury, are always beyond the compass. Mira’s
case is hardly different. A Rathor princess wedded to the house
of Sisodias, the two earliest and the most reputed ruling
dynasties of Rajputana, Mirabai was essentially within the
periphery of history, the history of our times, not of far gone
days. However, with history’s all parameters and research
techniques applied even her parentage, husband’s name,
birthplace, dates, or rather years, of birth, death, matrimony.
could not be finally determined. Scholars, especially those
trained in European methods of researching plumbing court records
and those of genealogists and families of bards, are trying to
discover the historical Mirabai, a Mirabai in ‘modern historical
sense’ though despite such efforts, and a set of ever emerging
new arguments, even now her birth swings from one date to other
over a period of almost hundred years or more, from 1403 to 1506
C. E., and whatever is claimed as widely accepted is merely a
broad consensus. And, efforts at discovering this historical
Mirabai are not mean by any standards. Scholars world-over are
exploring various records and interviewing people in anyway
linkable to Mira; Rajasthan’s royal houses are searching their
stores to find their Mira-connections in mass of rags; and women
of Rajasthan are re-visiting past for discovering in Mira’s life
the contexts that glorified Rajput womanhood. In October, 2002,
the University of California and the Los Angeles’ County Museum
of Art had jointly held at Los Angeles an international
conference on Mirabai with participants from world over. As
reveal the papers presented, the conference underlined
international efforts to locate Mirabai into history but Mira
still transgresses it and declines to transform into a chain of
dates or what are called ‘the historically established events’.

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History’s strange predicament is that it has of Mira hardly
anything conclusive on record, but still it cannot write her off
from its pages. The dilemma of many modern scholars aft is that
they seek to apply same parameters for spanning a rock which they
apply for measuring water. What is appropriate in case of a king
may not be so in case of a saint. One cannot determine the moment
of a saint’s attaining enlightenment the same way as he does the
date of a prince’s ascendance. Hence, more significant than
choosing the kind of methodology is to determine to which kind of
person one has to apply it. Mira was not a king in whose life
dates, individuals, events, personal things – birth, marriage,
death, or whatever, mattered much. In a king’s life they do. If
not the Babur’s son, history would not have known Humayun. If the
date of his death was not conclusively determined, the date of
Akbar’s ascendance, or indeed the sequence of all subsequent
events in his life and indeed in the polity of the subcontinent
would have muddled. It is entirely different with Mira. Mira
would not have been any different if Rao Duda was not her
grandfather, or Rao Ratan Singh, not her father, or if Kumbha was
her husband, not Bhojaraj. It is not in any of them that Mira
seeks her relevance. Actually, Mira has her relevance in Mira, in
her love, sufferings, devotion and complete submission to
Krishna, in her power to inspire and generate confidence among
those pursuing the path of truth, and above all, in her
forbearance and unique courage in facing every moment bringing
her death with a smile on face, not in individuals, material
world, or even in her historicity. Nida Fazali, a known
contemporary poet, in one of his widely sung verses, paid to Mira
perhaps the most appropriate tribute. He perceives in Mira the
strength to transform into the light of life the instruments of
death – the cup filled with poison, or the deadly cross.

MEERA

In a world full of lies, liars and hypocrites Mira stood for
truth and gave it strength. He perceives in Mira’s mad devotion
such intensity that the temple’s inoperative votive deity would
not remain confined in the idol, but the all powerful One would
come out of it and extend His bliss and divine aura into all
directions. He finally prays to God to let the temple have a mad
Mira once again.

History’s fallacy is that in search of Mira it looks into the
doors that not only threw her out but generations after
generations kept washing their floors, walls and all records lest
any of her imprints are left behind. It forgets that a postal
address is not Mira’s home-address, and one does not reach her by
knocking that door. She certainly had an abode, the soul’s as
well as the body’s, the bones’ as well as the bricks’, but she
lived in neither. A saint, Mira lived beyond both, the body and
the bricks, and certainly not in the palatial abodes of her
in-laws or even father. In the world Mira was a soul in sojourn,
a traveler in a transit house, yearning to reach home where lived
her Lord : ‘Janyugi main nah rahungi piva bina pardesa’ –  I will
go, I will not stay here, without my Lord this land is foreign.

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Life Story Of Mirabai

Most of the details of Mirabai’s birth, parentage, matrimony,
circumstances of death . are just approximate arrived at by broad
consensus. Unanimity does not prevail even in regard to her name.
Dr. Barthaval contends that Mira was not her actual name but the
term’s literal meaning being ‘Consort of Ishvara -God’ it emerged
as Mira’s popular name. Purohit Harinarayana, another scholar,
claims that Mira, developed from ‘Mir’, the title of the
descendants of the family of Muhammad, was a name inspired by
Shah Sufi of Ajmer, though in view of Rajputs’ great dislike for
Shah it is not likely that any Rajput would inherit from Shah
anything, even a holy syllable, for naming his daughter. Scholars
like Dr. Padmavati and Dr. Bhagwan Das Tiwari among others
mention Mirata, Miram and Miran as Mira’s three other names.
Mirata, divisible as Mira+ta, is linked with Merata, one of the
places associated with her birth. It broadly means ‘one from
Merata’. In early 17th century genealogy of Munhata Nainsi Mira
has been mentioned as Miran, and in one or two others, as Miram,
though these are only local phonetic variations of the term Mira.

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It is alike with the date of her birth which swings from 1403 to
1506. Though no conclusive evidence has so far come to light
supporting it, 1500 C. E. has wider acceptance. Apart that a
local scholar from Mewar Devashri barrister claims it as the date
of Mira’s birth, the dates that scholars like Dholerava Bhat,
Kunwar Sukhvira Singh Gahlot, Munshi Deviprasad, Harvilas Sarda
among others fix as the date of her birth are also around 1500 C.
E., that is, in between 1498 to 1506 C. E. Citing some secondary
evidences Jhaveri takes the date of Mira’s birth back to 1403, G.
A. Grierson and W. G. Archer, to 1420, Thakur Chatur Singh
Rathor, to 1457-58, and F. E. Keay to 1470. W. G. Archer’s
opinion is somewhat significant. In his ‘The Loves of Krishna’ he
contends that Vallabhacharya was Mira’s follower, and as
Vallabhacharya was born in 1478, Archer takes back the date of
Mira’s birth to 1420. Vallabha’s Pushtimarga had begun taking
shape when he was in his thirties, approximately around 1520-30,
the period when Mira, having relinquished the houses of both,
Rathors and Sisodias, was passing through the prime period of her
‘bhakti’ life. Strangely, Vallabha’s Pushtimarga immensely
influenced all Vaishnava devotional poets, Surdasa and others;
however, nothing of it is traceable in Mira’s writings, and that
too when he had his seat in Mewar itself, one of the two most
significant places in Mira’s life. It strongly suggests that Mira
might have preceded Vallabhacharya.

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Merata, a medium size town situated at Delhi-Jodhpur train route,
is now widely accepted as Mira’s birthplace, though some scholars
yet contend, Parashurama Chaturvedi being quite firm, that her
birthplace was Kukari, and a few others, that it was Chokari.
Kalyanamal Shekhavat has a far different opinion. He claims that
Mira was born at Bajauli, though she lived at Kuraki for
sometime. In his ‘Annals and Antiquities of Rajasthan’ Col. J.
Tod mentioned at two different places Rao Duda and his son Ratan
Singh as the names of Mira’s father. Mewar records, collected by
Munshi Devi Prasad, too, confuse between Duda and Ratan Singh as
her father’s name. However, despite such initial confusion it is
now almost unanimously accepted that Ratan Singh was Mira’s
father. Similar confusion prevails in regard to her mother’s
name, which in some sources has been mentioned as Kusum Kunwar
while in others, Virakumari. It is popularly believed that Mira’s
mother died soon after Mira’s birth, though some scholars contend
that it was not so. In his ‘Bhaktirasabodhini’, the early 17th
century commentary of Bhaktamal, Priyadas claims that Mire’s
parents, both mother and father, were alive for long.

Mira’s Marriage

The event of Mira’s marriage, about the date of which greater
unanimity prevails, has strange undertones, and from here Mira
seems to take two different directions, one, the essential or
fundamental to which her essential being inclined, and the other,
incidental, which as human-born she was obliged to take. It was
largely at this juncture that the traditional or popular Mirabai
whom accumulated faith of generations across centuries
constructed and people’s memory retained, something like the
spiritual Mirabai, emerges. The human-born Mirabai was married in
1516, when barely sixteen, though till recently confusion
prevailed as to the name of her husband, which some sources – J.
C. Omen, Colonel Tod, G. A. Grierson among others, claimed was
Rana Kumbha, and other, Bhojaraj. Perhaps the historical Mira
temple constructed close to Rana Kumbha’s Victory tower at
Chittor, confused Col. Tod to relate Mira and Kumbha with each
other. This temple dedicated to Mira enshrines Krishna, and Mira
seated close to his feet, sings and plays on lyre for him in
perpetuity. However, a wider consensus evolved in favor of
Bhojaraj as Mira’s husband.

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Unlike her matrimony in human-birth, there is hardly any confusion in regard to the matrimonial status of the popular or spiritual Mirabai. This Mira was wedded to One Infinite who manifested in human, personal, beatific and joyous form of Krishna. Krishna was her Lord and to Him she was wedded with ties of love beyond fetters of this world, rigid modesty norms and chains of family life. She was married to Him in every birth, and in every birth she yearned for him in love and was thus ever his spouse and ever his maid. This Mira, the pure soul, a part of the Supreme separated from Him, was thus ever wedded and was ever – births after births, a virgin : ‘Charana Sarana ri dasi Mira, janam janam ri kwanri’ – a servant at her Lord’s feet Mira was a virgin, births after births. Strangely, scholars jump from one date of Mira’s marriage to another and from one person to the other as her husband but as for Mira, she claimed to be ever a virgin – ‘Janam janam ri kwanri’, and if she was dyed in colours of anyone’s love, it was Krishna’s – ‘Shyam rang ranchi’ – dyed in Krishna’s blue. History, a coward, does not have the courage to look into the eyes of the Mira who is both, ever wedded and ever a virgin. This eternal consort of the Supreme, and His virgin ever in sojourn till he meets her and she unites with him in inseparable union, is hardly discoverable in debris of history

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Unlike her matrimony in human-birth, there is hardly any
confusion in regard to the matrimonial status of the popular or
spiritual Mirabai. This Mira was wedded to One Infinite who
manifested in human, personal, beatific and joyous form of
Krishna. Krishna was her Lord and to Him she was wedded with ties
of love beyond fetters of this world, rigid modesty norms and
chains of family life. She was married to Him in every birth, and
in every birth she yearned for him in love and was thus ever his
spouse and ever his maid. This Mira, the pure soul, a part of the
Supreme separated from Him, was thus ever wedded and was ever –
births after births, a virgin : ‘Charana Sarana ri dasi Mira,
janam janam ri kwanri’ –  a servant at her Lord’s feet Mira was a
virgin, births after births. Strangely, scholars jump from one
date of Mira’s marriage to another and from one person to the
other as her husband but as for Mira, she claimed to be ever a
virgin – ‘Janam janam ri kwanri’, and if she was dyed in colors
of anyone’s love, it was Krishna’s – ‘Shyam rang ranchi’ – dyed
in Krishna’s blue. History, a coward, does not have the courage
to look into the eyes of the Mira who is both, ever wedded and
ever a virgin. This eternal consort of the Supreme, and His
virgin ever in sojourn till he meets her and she unites with him
in inseparable union, is hardly discoverable in debris of history.

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Mira Transformed

Interestingly, Mira’s utmost poetic imagery and devotional idiom
center on marriage, particularly its bonds that tie the two
together, resulting union and its delight, and separation and its
pangs. She presents herself as her Lord’s virgin, bride, humble
servant, one willing to live the way he liked . Mira seems to
have discovered in marriage love’s essential idiom – formal and
intrinsic; and, it is somewhat natural for it was an event of
marriage that transformed the human-born Mirabai into the
spiritual Mirabai; to some extent, the spiritual Mirabai was born
out of an event of marriage. As the popular tradition has it,
once when yet a child, Mira saw a marriage procession reaching
her neighborhood. A curious mind, she asked her mother what for
so many richly bejeweled and costumed men riding horses and
palanquins had come there. When told that it was a marriage
procession and that the most richly bejeweled youth riding as
splendidly saddled horse walking ahead of others was the
bridegroom come to marry their neighbor’s daughter, Mira
innocently asked her mother where was her groom. Mira’s mother
smiled at her innocence and to amuse her picked the idol of
Krishna and giving it to her said that he was her groom. Mira’s
adolescent mind believed it. She recalled how, though not in a
procession, her groom had likewise come. A few days ago a ‘yogi –
ascetic, carrying this idol of Krishna, came to her house. With
its mesmeric beauty the idol bewitched the child and she insisted
to have it but the ascetic did not concede and went away, and the
eyes of a sad Mira followed him till he was visible. But, a
little later, the ‘yogi’ came back, gave the idol to Mira and
left. It is said that no other than Raidasa, the ‘jogi’ heard a
divine voice, after he had left Mira’s village, instructing him
to go back and give the idol to the child.

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Mira’s mind was so deeply influenced by this association of the
Krishna’s idol with the ‘yogi’ that in many of her songs Mira
addressed Krishna as ‘jogi’ and herself as his ‘jogin’. It
actually shaped Mira’s vision of Krishna on two lines. She was
his bride completely devoted to him but unlike the Krishna of
Jaideva’s Gita Govinda Mira’s Krishna was not indulgent in
sensuous love. Hers was more often a yogi.

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The distress of Radha in Gita Govinda, or even her Sakhi’s, is in
context to other Gopis, but Mira rarely sees her Krishna beyond
her own contexts. She yearns for Krishna but these are her own
yearnings, not Krishna’s. She does not drag him to her level of
sensuous yearnings. This ‘jogi’ Krishna struck the imagination of
Kishangarh artists too, and they painted him as ‘yogi’ and Radha,
perhaps a transform of Mira, something quite unusual to Krishna’s
iconography.

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Mira venerated Raidasa as her ‘guru’ – teacher, in some of her
verses, and so contended the popular tradition, though
chronologically Mira and Raidasa, broadly accepted period of
Raidasa being from 1394 to 1418, weren’t contemporaries. It is
said that Raidasa had led her to the path of Vaishnava ‘bhakti’.
It seems that this might have led the common mind to link ‘yogi’
and Raidasa for they both led her to the path of Krishna.

Mira’s Pre And Post Marriage Life

Slightly varying is the contention that Mira’s mother died early
and Mira was the sole charge of a fond grandfather Rao Duda, a
staunch Vaishnava. Reciprocally, Mira the child took care of her
grandfather’s religious activities – lighting lamp and incense,
making sacred food for offering, dressing up the idol, arranging
things in order, and when rites began chanting hymns along with
him and herself prostrating before the idol. This Vaishnavite
atmosphere was Mira’s initial training and the factor that shaped
her personality. Whatever her inspiration, by the time of her
marriage with Bhojaraj her mind had become fully absorbed in
Krishna so much so that when on her lips were the marriage-rites
related hymns within her heart were thoughts of Krishna. She
earnestly believed that she was being married to Krishna, not to Bhojaraj.

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As reveal most sources and even the tradition, Mira did not have
problems with Bhojaraj but her real ordeal began with his death
in 1523. Under rigid customs of ‘sati’, Mira, a Rajput widow, was
required to immolate herself, which Mira declined. She argued
that wedded to Krishna who was ‘Avinashi’ – indestructible, not
to anyone other than him, she was not a widow. Immolating herself
would disgrace him whose consort she was. This incensed everyone’s
anger in the family and even beyond including her father who
thought the same way. Now Mira, the bride of the house of
Sisodias, was the object of everyone’s disdain. Ungenerous
treatment apart, she was subjected to various atrocities, mental
and physical, to include even attempts on her life, to which
everyone in the family was a party. Her father-in-law Rana Sanga
was a little considerate, but he died in 1527 fighting against
Babur and with this the reins passed into the hands of Ratan
Singh, and a little after, Vikramaditya Singh, Mira’s worst
oppressors. The Bhaktamal, its various commentaries, and other
early records evade mentioning the names of tormenters, but
enumerate a number of atrocities, including a few attempts on her
life, to which Mira was subjected. Mira’s atrocities, especially
the attempts to kill her, also feature in the 17th century poetry
of Priyadasa, Dhruvadasa, Nabhadasa and Dayabai among others.
However, the list of atrocities and occasions when attempts on
Mira’s life were made, and divine miracles which every time
aborted them, is quite large in the popular tradition. In some
more recent literature, as in Ananda Swami’s ‘Miram
Sudha-Sindhu-Swami’, this list has been further exaggerated.

Some of the attempts made on Mira’s life have exceptional
unanimity. As the Bhaktamal and almost all other texts have it,
considering Mira’s life and ways derogatory to Rajput values the
Rana, chronologically Rana Ratan Singh, decided to end Mira’s
life. She was sent a cup full of poison which Mira drank but it
did not harm her. It is believed that Krishna had taken on him
poison’s evil effect with the result that his image turned blue.

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The Bhagavata’s Krishna is also blue-complexioned but the
Nathdwara Krishna is bluer perhaps for manifesting him who drank
Mira’s poison.

When this attempt failed, he sent a wicker-basket with a deadly
cobra in it; however, when Mira opened it, it revealed just a
Saligrama, a symbolic form of Vishnu. The Mira Mandir at
Vrindavana has a Saligrama icon claimed to be the same into which
the cobra sent to kill Mira had transformed. As popular is the
event of Rana’s encounter with Krishna in Mira’s apartment. It is
said that Krishna often appeared in Mira’s chamber and she spoke
to him. Hearing her talk to someone privately Rana’s sister
Udaibai reported the matter to her brother. With a naked sword in
hand Rana, perhaps Vikramaditya, stormed her chamber shouting
where her lover was. When he found none except Krishna’s image,
he left shamefaced. In slight variation, he flung his sword on
one behind the curtain wherefrom a disc – Vishnu’s Sudarshana
Chakra, emerged and struck his sword, and in sheer horror he
left. As some sources have it, Rana passed the night almost in
fearful trauma. In the morning, in complete inversion of the
values that he so far venerated, the king and his wife went to
Mirabai and submitted to her as her devotees.
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Whatever, after the atmosphere of the royal household, where lust
for power and sensuous pursuits overrode piety, became throttling
Mira decided to relinquish it. As have some sources, she first
went to Merata, her father’s abode. Her uncle Rao Viramdeva and
cousin Jayamala were cordial and she was allowed to have her own
way but subsequent political events, reducing Merata to Jodhpur’s
suzerainty in 1538, and Rao Maladeva pressurizing Mira’s uncle to
mend Mira’s ways or banish her, forced Mira to leave. She first
went to Vrindavana and then to Dwarika. Now her devotional life
was in full swing. She moved in sadhus’ company, danced and sang
in temples and beyond breaking all barriers that rigid society
and its customs imposed. In visual representations the Mira of
palaces was a wanderer of roads with songs on lips and a ‘vina’ –
stringed instrument, in hands.

When at Vrindavana, Mira heard that the known Krishna-devotee
Jiva Goswami was at Vrindavana. She desired to meet him, but
under a vow not to cast his eye on a woman, he refused to see
Mira. Thereupon Mira sent him words that she was under the
impression that in Vrindavana there was just one male and all
others, His Gopis. Now she finds that there is another male
parallel to Him and identifies his separate entity. Jiva Goswami
did not fail to understand the underlying meaning and ashamed
rushed to meet her.

Mira’s Death

When in her forties, Mira came to Dwarika. Now every moment of
her life was devoted to Krishna. In the meantime her cousin
Jayamala succeeded in wrestling Merata back and regain his
supremacy. He sent messengers to Mira asking her to return. Some
of the messengers stayed at Dwarika pressurizing her that they
would not go back unless she accompanied them. As the tradition
has it, she asked them to wait for the night, and when the night
fell, all alone she entered into the temple, in some legends,
into deep forest, for bidding farewell to Shri Ranachhoraji. She
sang two songs; with the one, her spiritual being merged into the
image of the Lord, and with the other, merged into Him her mortal
form. Those who had seen her entering the temple never saw her
coming out. Her mortal body was never found. Another tradition
puts it with some difference. With her wide open eyes she looked
at her Lord praying Him not to separate her from Him. It is said
that thereupon the Lord stepped out of the idol, entered into her
through her eyes, occupied her spiritual being, and let the
discarded mortal body fall.mirabai-you-tube-dot-com

Mira’s Popularity, Poetry And Nature Of Bhakti

What an irony that Mira, who during her lifetime was not only
despised by her kin but even the common man’s head did not bow to
her, out of fear or whatever, is perhaps the most popular saint
of India. As compared to three to four films attributed to other
saints Mira has not less than ten movies made on her life. The
most popular Hindi book series Amar Chitra Katha has published
Mira on number 36, while Kabir appears on 55, Tulsi, on 62 and
Surdasa, on 137.

Not merely that country has a number of temples devoted to Mira,
even structures earlier to Mira herself, such as the 14th century
Mira Mandir at Ahad, Udaipur, Rajasthan, are renamed after her.

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Kabir, Surdasa, Tulsi, Nabhadas. were ‘bhakti’ poets. ‘Bhakti’
was their poetry’s essence but basically they were poets.

Mira sometimes sang like Kabir : ‘Jantar mantar kachhu na janun
ved parhi nahi Kasi’ – neither adept in cosmology or the science
of syllables nor I have read Vedas or visited the holy Kashi, but
she was just an uncut naive ‘bhakta’. When she danced, in her
legs revealed her surrender to her Lord; when she sang, in her
words revealed her yearning to unite with Him. Neither a dancer,
nor singer, Mira was ‘bhakti’ incarnate – surrender in love, a
surrender beyond questions, calculations, fear, and all thoughts
of profit or loss, something that Chaitanya called Gopi-bhava –
single-pointed submission as Gopis had for Krishna. It is said
that once sage Narad saw Narayana tormented by acute headache. A
bewildered Narad asked him if he could do anything that would
relieve him of pain. Narayana told him that the dust of someone’s
feet alone could do it. Narad could give the dust of his own feet
but how could he, an humble devotee of Narayana, do it? He went
to Narayana’s spouses but considering it a sin they too declined.
Narad thought he could find someone in Brij who could give his or
her feet’s dust. He went to Brij, met Gopis and told them all
about Narayana’s pain and the remedy he sought. Not a moment of
hesitation, Gopis collected a basketful dust of their feet and
gave it to Narad. A sin or virtue, beyond all calculations of
profit and loss the concern of Gopis was their Lord’s relief –
the Chaitanya’s Gopi-bhava. This was the form of Mira’s ‘bhakti’,
and in this Mira discovered her ultimate strength to face
whatever came her way : ‘Koyi nindau koyi bindau main chalungi
chal aputhi’ -whether condemned or lauded Mira would go the way
not treaded ever before.

meerabai_for_her_krishna_was_love_supreme_idg830

Mira sometimes sang like Kabir : ‘Jantar mantar kachhu na janun
ved parhi nahi Kasi’ – neither adept in cosmology or the science
of syllables nor I have read Vedas or visited the holy Kashi, but
she was just an uncut naive ‘bhakta’. When she danced, in her
legs revealed her surrender to her Lord; when she sang, in her
words revealed her yearning to unite with Him. Neither a dancer,
nor singer, Mira was ‘bhakti’ incarnate – surrender in love, a
surrender beyond questions, calculations, fear, and all thoughts
of profit or loss, something that Chaitanya called Gopi-bhava –
single-pointed submission as Gopis had for Krishna. It is said
that once sage Narad saw Narayana tormented by acute headache. A
bewildered Narad asked him if he could do anything that would
relieve him of pain. Narayana told him that the dust of someone’s
feet alone could do it. Narad could give the dust of his own feet
but how could he, an humble devotee of Narayana, do it? He went
to Narayana’s spouses but considering it a sin they too declined.
Narad thought he could find someone in Brij who could give his or
her feet’s dust. He went to Brij, met Gopis and told them all
about Narayana’s pain and the remedy he sought. Not a moment of
hesitation, Gopis collected a basketful dust of their feet and
gave it to Narad. A sin or virtue, beyond all calculations of
profit and loss the concern of Gopis was their Lord’s relief –
the Chaitanya’s Gopi-bhava. This was the form of Mira’s ‘bhakti’,
and in this Mira discovered her ultimate strength to face
whatever came her way : ‘Koyi nindau koyi bindau main chalungi
chal aputhi’ -whether condemned or lauded Mira would go the way
not treaded ever before.
Meerabai
To Mira, the ties between her Lord and her were those of love,
the love that looked like this world’s. Not an inhabitant of this
world, Mira discovers in it the frame for her Lord’s picture, in
the world’s sensuous ways, her Lord’s ways, and in its idiom, the
diction to communicate with Him. Not a symbolic or elemental
merger, Mira desired, with her body, soul and all faculties, that
her Lord, when He met her, rushed to her, smiled and embraced
her – ‘Uthi hans kantha lagao’. In love, her form of devotion and
its essence, Mira sought release from the cycle of birth and
death : ‘Jana Mira Kun Girdhara milaya, dukha metan sukha bheri,
Ruma ruma sata bhayi ura mein, miti gayi phera pheri’ – the
moment Mira met Girdhara, sorrows vanished and happiness emerged,
all agitations of mind and body extinguished, and the cycle of
birth and death is destroyed.

To Mira, the ties between her Lord and her were those of love,
the love that looked like this world’s. Not an inhabitant of this
world, Mira discovers in it the frame for her Lord’s picture, in
the world’s sensuous ways, her Lord’s ways, and in its idiom, the
diction to communicate with Him. Not a symbolic or elemental
merger, Mira desired, with her body, soul and all faculties, that
her Lord, when He met her, rushed to her, smiled and embraced
her – ‘Uthi hans kantha lagao’. In love, her form of devotion and
its essence, Mira sought release from the cycle of birth and
death : ‘Jana Mira Kun Girdhara milaya, dukha metan sukha bheri,
Ruma ruma sata bhayi ura mein, miti gayi phera pheri’ – the
moment Mira met Girdhara, sorrows vanished and happiness emerged,
all agitations of mind and body extinguished, and the cycle of
birth and death is destroyed.

Mirabai-2


This article by Sri P. C. Jain and Dr. Daljeet


Bibliography:
Bhaktamal
Chaurasi Vaishnavan ki Varta
Mewar Records
Pada-prasanga-mala, commentary on Bhaktamal by Nagaridasa
Bhakti-rasa-bodhini, commentary of Bhaktamal by Priyadasa
Dhruvadas : Bhakta Namavali
Ananda Swarupa : Miram-Sudha-Sindhu-Swami
Col. J. Tod :  Annals and Antiquities of Rajasthan
G. A. Grierson : The Modern Vernacular Literature of Hindustan
J. N. Farquhar : An Outline of Religious Literature in India
F. E. Keay : A History of Hindi Literature
W. G. Archer : The Loves of Krishna
J. S. Hawley : Saints and Virtues
S. S. Mehta : A Monograph on Mirabai, the Saint of Mewar
V. K. Subramanian : Mystic Songs of Mira
John Stratton : Three Bhakti Voices
K. P. Bahadur : Mira Bai and Her Padas
Usha Nilsson : Mir Bai

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Atma Jñani (Sarva Devata Svarupini)

Visionary, Seer, Yogini, Komyo Reiki Do Ocuden, Peaceful way-shower-lightworker, High Priestess, optimist oriental dancer and tribal fusion lover, Fashion designer-stylist, arts+crafts addict, a secret kitchen witch, always in love with him<3

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