Mirabai

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Sant
Mirabai
Kangra painting of Mirabai, the female Bhakti saint.jpg
Kangra painting of Mirabai playing the veena
Personal life
Born
Jashoda Rao Ratan Singh Rathore

c. 1498 (1498-01-26UTC09:57:36) [1]
Kudki, Kingdom of Marwar (present-day Rajasthan, India)
Diedc. 1546(1546-00-00) (aged 47–48)
Dwarka, Gujarat Sultanate (present-day Gujarat, India)
Spouse
​
​
(m. 1516;died 1521)​
Parent
  • Ratan Singh (father)
Known forPoems, Bhakti for Krishna
Other names
  • Meera
  • Meera Bai
  • Mira
  • Jashoda (Birth name)
Religious life
Religion Hinduism

Meera, better known as Mirabai, [2] and venerated as Sant Meerabai, was a 16th-century Hindu mystic poet and devotee of Krishna. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition. [3] [4] [5] She is mentioned in Bhaktamal , confirming that she was widely known and a cherished figure in the Bhakti movement by about 1600. [6] [7] In her poems, she had madhurya bhava towards Krishna.

Contents

Most legends about Mirabai mention her fearless disregard for social and family conventions, her devotion to Krishna, and her persecution by her in-laws for her religious devotion. [1] [6] Her in-laws never liked her passion for music, through which she expressed her devotion, and they considered it an insult of the upper caste people. It is said that amongst her in-laws, her husband was the only one to love and support her in her Bhakti , while some believed him to have opposed it. She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details. According to a legend, when her in-laws attempted to murder her with poison, Mirabai tied a thread on Krishna's idol, trusting in his divine protection, through which she was saved by Krishna through divine intervention. This legend is sometimes cited as the origin of the ritual of tying rakhi to God's idol. [1] [8]

Millions of devotional hymns in passionate praise of Krishna are attributed to Mirabai in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two hymns, most were first written down in the 18th century. [9] Many poems attributed to Meera were likely composed later by others who admired Meera. These hymns are a type of Bhajan, and are very famous across India. [10]

Some Hindu temples, such as Chittor Fort, are dedicated to Mirabai's memory. [1] Legends about Mirabai's life, of contested authenticity, have been the subject of movies, films, comic strips and other popular literature in modern times. [11]

Biography

Meera's temple to Krishna at Chittor Fort, Rajasthan Rajasthan-Chittore Garh 09.jpg
Meera's temple to Krishna at Chittor Fort, Rajasthan

Primary records about Meera are not available, and scholars have attempted to establish Meera's biography from secondary literature that mentions her.

Mirabai was born into a Rathore Rajput royal family in Kudki (modern-day Beawar district of Rajasthan), and spent her childhood in Merta. She was the daughter of Ratan Singh Rathore and grand daughter of Rao Dudaji of Merta. [12] [13]

Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516. [14] [15] Her husband was wounded in one of the ongoing wars with the Delhi Sultanate in 1518, and he died from battle wounds in 1521. Both her father and father-in-law (Rana Sanga) died a few days after their defeat in the Battle of Khanwa against Babur, the first Mughal Emperor. [13]

After the death of Rana Sanga, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried to assassinate her multiple times. These attempts included sending Meera a glass of poison and telling her it was nectar, and sending her a basket with a snake instead of flowers. [2] [14] According to hagiographic legends, she was not harmed in either case, with the snake miraculously becoming, depending on the version, a Krishna idol or a garland of flowers. [8] [14] In another version of these legends, she is asked by Vikram Singh to drown herself. When she attempts to do so, she merely floats on the water. [16] Yet another legend states that the third Mughal emperor, Akbar, came with Tansen to visit Meera and presented her with a pearl necklace. Scholars doubt this happened, as Tansen joined Akbar's court in 1562, 15 years after Meera's death. [16] Similarly, some stories state that Ravidas was her guru (teacher), but there is no corroborating historical evidence for this. [16] [17]

Painting of Bhagat Mirabai and Girdhar, from a folio within an illustrated manuscript of the Prem Ambodh Pothi Painting of Bhagat Mirabai and Girdharji (Krishna), from a folio within an illustrated manuscript of the Prem Ambodh Pothi.jpg
Painting of Bhagat Mirabai and Girdhar, from a folio within an illustrated manuscript of the Prem Ambodh Pothi

As of 2014, the three oldest records that mention Meera [18] are all from the 17th century and written within 150 years of Meera's death. Neither mentions anything about her childhood, the circumstances of her marriage to Bhojraj or that the people who persecuted her were her in-laws or from some Rajput royal family. [19] Nancy Martin-Kershaw states that to the extent that Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause was political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.

Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna after being poisoned by her brother-in-law in 1547. [1] [2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Krishna, composing songs of devotion, and was one of the most important poet-saints of the Bhakti movement period. [2] [16] [20]

Poetry

Most of Meera's poems are dedicated to God in the form of Krishna (left) and some poems include Radha (right), the chief consort of Krishna. Krishna N Radha.jpg
Most of Meera's poems are dedicated to God in the form of Krishna (left) and some poems include Radha (right), the chief consort of Krishna.

A number of compositions by Meera Bai continue to be sung today in India, mostly as devotional songs ( bhajans ) towards Krishna, though nearly all of them have a philosophical connotation. [22] Her poems describe her love, salutation, and separation from Krishna, and her dissatisfaction with the world. [13] One of her most popular compositions remains "Payoji maine Ram Ratan dhan payo" (पायो जी मैंने राम रतन धन पायो।, "I have been given the richness of God's name blessing"). [23] [24] Meera's poems are lyrical padas (metric verses) in the Rajasthani language. [16] Several meters are used within her padas, but the most common meter found is mātric (syllabic) poetic line. Rāgas or melodies are attributed to these padas, allowing them to be sung. [13] While thousands of verses are attributed to her, scholars are divided as to how many of them were actually penned by Meera herself. [25] There are no surviving manuscripts of her poetry from her time, and the earliest records with two poems credited to her are from the early 18th century, more than 150 years after her legendary disappearance in 1547. [9]

Hindi and Rajasthani

Mirabai surrounded by devotees, c. 17th-18th century Mirabai. Provincial Mughal. Possibly Jaipur.jpg
Mirabai surrounded by devotees, c. 17th–18th century

The most extensive collection of Meera's poems exists in manuscripts from the 19th century. To establish the authenticity of the poems, scholars have looked at various factors such as the mention of Meera in other manuscripts, as well as the style, language, and form of the poems. [9] [27] John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. [...] There must always remain a question about whether there is any real relation between the poems we cite and a historical Mira." [28]

In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side in a spiritual marital bliss. [9] Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centred on Krishna. [27]

My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels, and adornments, and cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her God, she doesn't even want to live.

— Mira Bai, Translated by John Stratton Hawley [29]

Meera speaks of a personal relationship with Krishna as her lover, God and mountain lifter. The characteristic of her poetry is complete surrender.

After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's God is the clever Mountain Lifter, and I am his, a slave to his lotus feet.

— Mira Bai, Translated by John Stratton Hawley [30]

Meera is often classed with the northern Sant bhaktis, who spoke of Krishna.

Ravidas as Mira's Guru

There is a small chhatri (pavilion) in front of Meera's temple in Chittorgarh district of Rajasthan which bears Ravidas' engraved foot print. [31] [32] Legends link him as the guru of Mirabai, another major Bhakti movement poet. [33] [34]

Queen Mira Bai composed a song dedicated to Guru Ravidas where she mentioned him as her Guru. 

Sadguru sant mile Ravidas
Mira devaki kare vandana aas
Jin chetan kahya dhann Bhagavan Ravidas

-- "I got a guru in the form of Sant Ravidas, there by obtaining life's fulfillment." [35]

Sikh literature

Manuscript of the Adi Granth from the Bhai Banno recension named "Bhai Banno Vali Bir" which contains compositions of Mirabai within it. Kept at Gurdwara Bhai Banno Sahib, Kanpur Uttar Pradesh, India Manuscript of the Adi Granth from the Bhai Banno recension named "Bhai Banno Vali Bir", kept at Gurdwara Bhai Banno Sahib, Kanpur Uttar Pradesh, India.jpg
Manuscript of the Adi Granth from the Bhai Banno recension named "Bhai Banno Vali Bir" which contains compositions of Mirabai within it. Kept at Gurdwara Bhai Banno Sahib, Kanpur Uttar Pradesh, India

When the Adi Granth was compiled in 1604, a copy of the text was given to a Sikh named Bhai Banno who was instructed by Guru Arjan to travel to Lahore to get it bound. While doing so, he made a copy of the codex, which included compositions of Mirabai. These unauthorized additions were not included in the standardized edition of the scripture by the Sikh gurus, who rejected their inclusion. [36] [37] [38] [39]

Prem Ambodh Pothi, a text attributed to Guru Gobind Singh and completed in 1693 CE, includes poetry of Mira Bai as one of sixteen historic bhakti saints important to Sikhism. [40]

Mirabai's compositions

Influence

A modern painting of Mirabai Meerabai painting.jpg
A modern painting of Mirabai

Scholars acknowledge that Meera was one of the central poet-saints of the Bhakti movement, a period in Indian history rife with religious conflicts. Yet, they simultaneously question the extent to which Meera was a canonical projection of social imagination that followed, where she became a symbol of people's suffering and a desire for an alternative. [41] Dirk Wiemann, quoting Parita Mukta, states,

If one accepts that someone very akin to the Mira legend [about persecution and her devotion] existed as an actual social being, the power of her convictions broke the brutal feudal relationships that existed at that time. The Mira Bai of the popular imagination, then, is an intensely anachronistic figure by virtue of that anticipatory radical democracy which propels Meera out of the historicity that remains nonetheless ascribed to her. She goes beyond the shadowy realms of the past to inhabit the very core of a future which is embodied within the suffering of a people who seek an alternative.

— Dirk Wiemann / Parita Mukta, On Meera [41] [42]
Modern stage performance about Mirabai Meera Bai-The Pure Devotee of Load Krishna.jpg
Modern stage performance about Mirabai

The continued influence of Meera, in part, has been her message of freedom, her resolve and right to pursue her devotion to Krishna and her spiritual beliefs as she felt drawn to despite her persecution. [41] [42] Her appeal and influence in Indian culture, writes Edwin Bryant, is from her emerging, through her legends and poems, as a person "who stands up for what is right and suffers bitterly for holding fast to her convictions, as other men and women have", yet she does so with a language of love, with words painting the "full range of emotions that mark love, whether between human beings or between human and divine". [17]

English translations

English translations of Meera's poems titled Mystic Songs of Meera and The Devotional Poems of Mirabai have been written by A.J. Alston and V.K. Subramanian respectively. [43] [44] Some bhajans of Meera have been rendered into English by Robert Bly and Jane Hirshfield as Mirabai: Ecstatic Poems. [45] Schelling and Landes-Levi have offered anthologies in the USA. [46] [47] Snell has presented parallel translations in his collection The Hindi Classical Tradition. [48] Sethi has selected poems which Meera composed presumably after she came in contact with Ravidas. [49]

Mirabai Museum Merta Mirabai Museum Merta.JPG
Mirabai Museum Merta

Composer John Harbison adapted Bly's translations for his Mirabai Songs.

The 1997 novel Cuckold , by Kiran Nagarkar, features her as one of the central characters.

In 2002, Indian film director Anjali Panjabi released a documentary film about Meera, titled A Few Things I Know About Her. [50]

In 2009, Meera Bai's life was interpreted as a musical story in Meera—The Lover…, a music album based on original compositions for some well known bhajans attributed to her. [51] James, a Bangladeshi musician, dedicated his song "Mirabai" to her. [52]

The Meera Mahal in Merta is a museum dedicated to telling the story of Mirabai through sculptures, paintings, displays, and a shaded garden. [53]

Film and TV adaptations

Two well-known films of her life have been made in India: Meera (1945), a Tamil language film starring M. S. Subbulakshmi, and Meera (1979), a Hindi film by Gulzar, in which she is portrayed by actress Hema Malini. Other Indian films about her include: Meerabai (1921) by Kanjibhai Rathod, Sant Mirabai (1929) by Dhundiraj Govind Phalke, Rajrani Meera /Meerabai (1933) by Debaki Bose, Meerabai (1936) by T. C. Vadivelu Naicker and A. Narayanan, Sadhvi Meerabai (1937) by Baburao Painter, Bhakta Meera (1938) by Y. V. Rao, Meerabai (1940) by Narasimha Rao Bhimavarapu, Meera (1947) by Ellis Dungan, Matwali Meera (1947) by Baburao Patel, Meerabai (1947) by W. Z. Ahmed, Meerabai (1947) by Nanabhai Bhatt, Girdhar Gopal Ki Mira (1949) by Prafulla Roy, Raj Rani Meera (1956) by G. P. Pawar, Meera Shyam (1976), Meera Ke Girdhar (1992) by Vijay Deep. [54]

Mirabai, a 26-episode series based on her life, starring Mrinal Kulkarni, was produced by UTV in 1997. [55] Meera , a 2009 Indian television series based on her life, aired on NDTV Imagine. Shree Krishna Bhakto Meera , a 2021 Indian Bengali mythological television series based on her life, aired on Star Jalsha. Her life was also chronicled in the longest running mythological show, Vighnaharta Ganesh, where Lord Ganesh narrates her story to one of Lord Shiva's gana, Pushpadanta. Mira was portrayed by Lavina Tandon, while Krishna's role was essayed by Hitanshu Jinsi. [56]

YearNameNotePlayed byChannel
1997Mirabai26 episodes; Director : Ved Rahi Mrinal Kulkarni Doordarshan
2009Meera135 episodes; Director : Mukesh Singh, Swapnil Mahaling (Shahane)Aashika Bhatia, Aditi Sajwan NDTV Imagine
2021–present Shree Krishna Bhakto Meera Director : Amit Sengupta Arshiya Mukherjee, Debadrita Basu Star Jalsha

See also

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  2. 1 2 3 4 "Mira Bai". Encyclopædia Britannica. Archived from the original on 4 December 2018. Retrieved 30 July 2015.
  3. ↑ Karen Pechelis (2004), The Graceful Guru, Oxford University Press, ISBN   978-0195145373, pages 21-23, 29-30
  4. ↑ Neeti Sadarangani (2004), Bhakti Poetry in Medieval India: Its Inception, Cultural Encounter and Impact, Sarup & Sons, ISBN   978-8176254366, pages 76-80
  5. ↑ Ryan, James D.; Jones, Constance (2006). Encyclopedia of Hinduism. Infobase Publishing. p. 290. ISBN   9780816075645.
  6. 1 2 Catherine Asher and Cynthia Talbot (2006), India before Europe, Cambridge University Press, ISBN   978-0521809047, page 109
  7. ↑ Annals And Antiquities of Rajasthan Vol. 1 Page no. 75
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  10. ↑ Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN   978-0195148923, page 254
  11. ↑ Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN   978-0195148923, page 242
  12. ↑ "Founding of Sahitya Akademi", Independent India, 1947-2000, Routledge, p. 11, 8 October 2018, doi:10.4324/9781315838212-36 (inactive 1 November 2024), ISBN   978-1-315-83821-2 , retrieved 9 February 2024{{citation}}: CS1 maint: DOI inactive as of November 2024 (link)
  13. 1 2 3 4 Pandey, S. M.; Zide, Norman (1965). "Mīrābāī and Her Contributions to the Bhakti Movement". History of Religions. 5 (1): 54–73. doi:10.1086/462514. ISSN   0018-2710. JSTOR   1061803.
  14. 1 2 3 Usha Nilsson (1997), Mira bai, Sahitya Akademi, ISBN   978-8126004119, pages 12-13
  15. ↑ Nancy Martin-Kershaw (2014), Faces of the Feminine in Ancient, Medieval, and Modern India (Editor: Mandakranta Bose), Oxford University Press, ISBN   978-0195352771, page 165
  16. 1 2 3 4 5 Usha Nilsson (1997), Mira bai, Sahitya Akademi, ISBN   978-8126004119, pages 16-17
  17. 1 2 Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN   978-0195148923, page 245
  18. ↑ are Munhata Nainsi's Khyat from Jodhpur, Prem Ambodh from Amritsar, and Nabhadas's Chappy from Varanasi; see: JS Hawley and GS Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN   978-9004264472, pages 131-135
  19. ↑ J. S. Hawley and G. S. Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN   978-9004264472, pages 131-135
  20. ↑ John S. Hawley (2005), Three Bhakti Voices: Mirabai, Surdas, and Kabir in Their Times and Ours, Oxford University Press, ISBN   978-0195670851, pages 128-130
  21. ↑ Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN   978-0195148923, page 244
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  26. ↑ Khanuja, Parvinderjit Singh; Taylor, Paul Michael; National Museum of Natural History (U.S.), eds. (2022). Splendors of Punjab heritage: art from the Khanuja family collection (1st ed.). New Delhi, India: Lustre Press/Roli Books. pp. 74 (figure 89). ISBN   978-93-92130-16-8.
  27. 1 2 Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN   978-0195148923, pages 244-245
  28. ↑ John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, ISBN   978-0195151381, page 302
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  31. ↑ Singh, Mahendra (2006). Dalit's Inheritance in Hindu Religion. Gyan Publishing House. ISBN   978-81-7835-517-7 . Retrieved 29 August 2024.
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  33. ↑ Peter Heehs (2002), Indian Religions: A Historical Reader of Spiritual Expression and Experience, New York University Press, ISBN   978-0814736500, pages 368-370
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  35. ↑ Shri, Satya (23 January 2017). Demystifying Brahminism and Re-Inventing Hinduism: Volume 1 – Demystifying Brahminism. Notion Press. ISBN   978-1-946515-54-4 . Retrieved 29 August 2024.
  36. ↑ Clary, Randi Lynn. 'Sikhing’a husband: Bridal imagery and gender in Sikh scripture. Rice University, 2003.
  37. ↑ Singh, Pashaura. "Recent Research and Debates in Adi Granth Studies." Religion Compass 2.6 (2008): 1004-1020.
  38. ↑ Zelliot, Eleanor. "The Medieval Bhakti Movement in History: An Essay on the Literature in English." Hinduism. Brill, 1982. 143-168.
  39. ↑ Singh, Pashaura. "Scriptural adaptation in the Adi Granth." Journal of the American Academy of Religion 64.2 (1996): 337-357.
  40. ↑ JS Hawley and GS Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN   978-9004264472, pages 113-136
  41. 1 2 3 Dirk Wiemann (2008), Genres of Modernity: Contemporary Indian Novels in English, Rodopi, ISBN   978-9042024939, pages 148-149
  42. 1 2 Parita Mukta (1998), Upholding the Common Life: The Community of Mirabai, Oxford University Press, ISBN   978-0195643732, pages viii-x, 34-35
  43. ↑ Subramanian, V. K. (2005). Mystic Songs of Meera. Abhinav Publications. ISBN   978-81-7017-458-5.
  44. ↑ Alston, A.J., The Devotional Poems of Mirabai, Delhi 1980
  45. ↑ Bly, Robert / Hirshfield, Jane,Mirabai: Ecstatic Poems, Boston, Massachusetts 2004
  46. ↑ Schelling, Andrew, For Love of the Dark One: Songs of Mirabai, Prescott, Arizona 1998
  47. ↑ Landes-Levi, Louise, Sweet on My Lips: The Love Poems of Mirabai, New York 1997
  48. ↑ Snell, Rupert. The Hindi Classical Tradition: A Braj Bhasa Reader, London 1991, pp 39, 104–109.
  49. ↑ Sethi, V.K.,Mira: The Divine Lover, Radha Soami Satsang Beas, Punjab 1988
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  51. ↑ "Vandana Vishwas: Home". Archived from the original on 24 February 2020. Retrieved 12 October 2020.
  52. ↑ "জেমসের 'মীরা বাঈ' গানের মীরা বাঈ-এর গল্প!". egiyecholo (in Bengali). 2 October 2020. Retrieved 9 September 2023.
  53. ↑ Sengar, Resham. "Experiencing the presence of Meerabai at Meera Mahal in Rajasthan". The Times of India. Archived from the original on 13 November 2019. Retrieved 21 February 2020.
  54. ↑ Rajadhyaksha, Ashish; Willemen, Paul (1999). Encyclopaedia of Indian cinema . British Film Institute. ISBN   9780851706696 . Retrieved 12 August 2012.
  55. ↑ "Ved Rahi's serial 'Meera' to telecast on DD1". India Today. 30 April 1997. Retrieved 30 September 2021.
  56. ↑ "Lavina Tandon feels 'blessed' to play 'Mirabai'". The Times of India. 31 August 2021. ISSN   0971-8257 . Retrieved 27 August 2024.

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