Tuesday, July 22, 2008

The Lord of Confluence

I bought 'The Lord of the Meeting Rivers' (K.V.Zvelebil/Motilal Banarsidas) yesterday from a local second hand book shop. There are many 'vacanas' - sayings - of Basava, where he expounds his ideology of the Virashaivas, woven into devotional poetry that is offered to Shiva. The vacanas have no metrical line or stanza, they are uttered 'on the spur of the moment', and are the reflection of spontaneous devotional experience. They have essentially an oral origen and quality to them and are often sung and so may be called songs. In one verse he states:

I know nothing of prosody,
of time-beat or of metre,
nor do I know the count of rhythm or of tone.
I don't know this variety of feet or that.

O Lord of Confluence,

since nothing will offend you,
I shall sing to your tune of love.

Basava was a bramin by birth who gave up his brahminhood at an early age tearing off his sacred thread and disregarding wealth and propriety. he left home and came to Kappadi Sangama - the place where two rivers meet. The temple of Kudala Sangamadeva, the Lord of Confluence, was erected at the junction of the rivers Krsna and Malaprabha. There he worshipped Shiva who later appeared in a dream and told him that the next day he would present himself, through the mouth of Nandi. The next day Basava waited, and whilst leaning against Nandi in the temple, Shiva formed a Linga in the heart lotus of Nandi which passed onto Nandi's tongue and dropped into Basava's hand, thus initiating him.

This is Basava's prayer at this time:

"Your wideness is the wideness of the world,
the wideness of the firmament, and wider still.
Your feet go deeper than the underworld,
Your crown is higher than the universe,
You Linga, who are imperceptible, past understanding, unlimited, incomparable.
By coming to the hollow of my hand you shrink to almost nothing.
O Lord of confluence.

The following poems are a random selection from the book:

You can't just do this thing called bhakti.
Like a saw it cuts when it comes, it cuts when goes
Place your hand in a pitcherwith a hooded snake: Won't it bite?

O Lord of the Meeting Rivers
------------
To give me birth, Maya bore me - as mother
To delight me, Maya was born - as my daughter
To embrace me, Maya shared my bed - as my wife
So many different ways she has, Maya, To worry and trouble me!
It's not in my power to unhinge this Maya!
And you are amused,

O Lord of the Meeting Rivers
----------------
Melt my mind, O Lord, and purge its stains,
Test it on the touchstone for its colour, and refine it in fire
Cut it and beat it to pure shining gold,
and hammer from it anklets for the feet of your devotees.

O Lord of the Meeting Rivers
------------------
Come Lord and pour down the nectar of thy name upon me.
until my heart bursts forth
until my mind is drenched
until my tongue reverberates with joy!
Let my heart like a blown bud rest upon the flowers of your holy feet

O Lord of the Meeting Rivers
----------------------
Make of my body, O Lord the pole;
Make of my head the gourd
Of my nerves the strings,
O Lord,Of my fingers the plectrum
Intone your two and thirty notes
and press my heart and play

O Lord of Confluence
--------------------------

I am no worshipper
I am no servant
I am not even a beggar, O Lord
Without your grace
O Shiva
Whenever the maid feels worn out and tired
the mistress of the house does the work
Do it all yourself

O Lord of Confluence
-----------------------

To become a devotee is to surrender one's devotion.
To become a fit man is to surrender one's fitness.
To enter Union is to surrender one's ego.
Self-surrender must be in everything.
The worth of this surrender
The lord of Confluence alone knows.

The Genius of Pratbha. Is the Poet greater than the Philosopher?

Bhatta's Kavykantaka

"There are two paths of the goddess of speech; one is sastra (philosophy), the other is kavikarma (poetry). The first arises from intellectual ability (prajna) the second from genius (pratibha)".

Abhinavagupta on Pratibha:
"Creative imagination. The form of intelligence which is able to create new things".

From wikipedia on Sphota

Sphota (literally "bursting, opening") denotes the "internal and imperceptible element of sounds and words and the vehicle of the idea which bursts or flashes on the mind when a sound is uttered" (Monier-Williams). The concept was introduced by Bhartrihari in ca. the 6th century AD. The notion of "flash or insight" or "revelation" central to the concept has induced much learned debate in Indian philosophy of language.
Bhartrihari refers to the meaning of an utterance that is not affected by variations in performance, taking the "bursting forth" to refer to the idea that by uttering of certain sounds is induced as a mental state in the listener in a flash of recognition or intuition (pratibhā "shining forth")

Friday, July 18, 2008

Ghosts in the City of Widows

From a New Statesmen article, by Jeremy Seabrook
Published 16 December 2002

When their husbands die, devout Indian women make the pilgrimage to Vrindavan, where they will pray for others, and await their own deaths
Vrindavan is a city of widows, of ashrams, temples and lodging-houses for the wasted women of India, whose husbands have died and whose children have rejected them. They have made the pilgrimage to one of the holiest sites in India to await death. No one quite knows how many widows live here; certainly there are thousands, in dusty white saris (the weeds of Indian widowhood), and they lead lives of extreme penury and hardship, but sometimes, also, of high religious exaltation.
The town is close to Mathura, the birthplace of Krishna, and is part of the holy ground where he spent his boyhood and youth. His dalliance with the gopis, young herdswomen of the countryside, is commemorated in carvings and pictures all over India. The elderly women who have come here are themselves a caricature of the gopis, evicted from society by the ancient stigma of widowhood. Theirs is a kind of psychological suttee: instead of immolating themselves on their husband's funeral pyre, they migrate into this city of ghosts.
The testimony of the women is strikingly similar; it is a story of the privilege of dying in a state of extreme purification; but at the same time, tears smear their faces, tears of grief at their exclu- sion from family and homestead. They spend the day chanting bhajans, devotional songs, in the temples, two sessions of four hours daily. Each receives two and a half rupees per session (less than five US cents). Some have the option of taking payment in the form of food - 100 grams of rice or dhal.
HelpAge India brings its mobile clinic here once a week. Its medical personnel have found malnutrition, eyes veiled by cataracts, breathing difficulties, infections, intermittent fevers, stomach disorders that weaken and dehydrate bodies already desiccated by age.
Tulsi Chatterjee, like many, is from West Bengal. Here, traditionally, widows were forced to shave their heads in order not to provoke desire in men other than their dead husbands - a kind of posthumous policing of chastity. She came here six years ago, "for the sake of religion". She said: "I had married my children, and now I have to find my way into the other world. I thought while I can still move independently, I should go. If I stay at home and cannot move, I will become a burden and they will wish for my death sooner. I fled without telling them where I was going. Children do not want to look after their parents."
Suhila Mandal's husband, a landless labourer, died 12 years ago. She had two sons and two daughters; her younger son is dead. "I was not getting food at home. My older son would not let me stay with him. Nobody took care of me.
"I am happy here - whoever is not happy to be in Vrindavan will not be happy anywhere in the world. I recite bhajans in the Mirabai temple, and pay 50 rupees a month to the ashram where I stay. That leaves me 100 rupees ($2) a month for food. I do not beg in the streets, but I accept what people give."
Lalbhai is 70, from a village about 70 kilometres from Vrindavan. She came eight years ago, when her children turned her out of her home. "Sometimes I eat once a day, sometimes twice, often not at all. I have no place to stay, so I sleep in the temple. Even if I have money, I have no place to cook, no utensils. I have two saris, that is all. I recite bhajans in the Radheshyan temple. I get frightened sometimes, when the fever comes. There is no one to look after me. Sometimes" - and she indicates the surrounding circle of old women, eyes glittering in their ghost-robes - "my sisters help. When we are sick, we must depend on the charity of sisters."
Some women have stories of extreme hardship: married in early childhood, their husbands died within months or weeks of marriage. They were regarded as ill-omened infant brides, guilty of having lost their husbands even before the marriage was consummated, and condemned to a destiny of permanent widowhood.
Vidyadevi is in her sixties. Her son has two wives, the older of whom used to beat her. The younger one was kinder, but could not maintain her, because the older one forbade it. She has been here six years. She says: "It is fate that brought me here. If the Lord wants me to be hungry, I'll be hungry; if he wants me to eat, I'll eat."
Rajamati was one of the few women to express the horror of a life spent chanting bhajans. "I am not happy. Who can be happy? I do not want to sing bhajans, but this is my luck. I suppress these feelings and place them elsewhere in my mind. Only in the night they sometimes come back in dreams and I wake up crying."
I went to the Aamar Bari ashram ("Our Home" in Bengali), opened four years ago as a charity by a woman who had been chair of the National Commission for Women. This is one of the better ashrams, where necessities are provided, including food and medicine. Each woman has her own tiny room, and all are devotees of Krishna. Whatever sins they have committed, here they will find moksha (nirvana or peace), because the earth is purified and their wrongs will be washed away. Few of the 100 residents are visited by their children.
The regime relieves them of having to chant for their food. They rise at 5am to prepare for the day. Breakfast is at 7am, simple but varied. At 8.30, a yoga class is compulsory except for those who are bed-bound. It is followed by readings from the Bhagavadgita. HelpAge India sends a mobile medical unit here twice a month. Lunch is at 1.30pm. Today is a fast day, so the menu is modest - a bucket of rice and another of thin dhal stand outside the kitchen. On other days, there are vegetables, rice, cottage cheese, milk, and khir (a sweet milk pudding) twice a month.
At 2pm they clean the vessels and wash their clothes. The more active assist the helpless, bathe and feed them. From 2-4pm they rest. Then fruits are distributed, followed by tea. From 5-7.30pm there is meditation or bhajans. Dinner at 7.30 and milk at 8.30. By 10pm the whole ashram is sleeping. Occasionally, there are video films - mainly devotional, but sometimes a Hindi movie.
The ashram is constructed around a series of courtyards, which boast pots of tulsi, or holy basil. The rooms are tiny cubes - no more than a couple of metres, small windowless cells with green-painted doors. Above the central yard, wire mesh prevents the ubiquitous monkeys from stealing the food.
In spite of this, it was at this ashram that I saw one of the most distressing scenes in Vrindavan. An old woman, almost 90 years old, lies spreadeagled on a mat on the floor. She is very ill, and has a saline drip in her arm. To prevent her from tearing it out, her hands have been tied on either side to two bricks. The door is closed, and she lies silently in the dark, alone, waiting for death.
But I also met Shapla Sundheri here, a small cheerful woman, the embodiment of religious joy. She is 72, and was born into the royal family in what is now Bangladesh. She came to the ashram at 14 when her husband died. Her brother comes from Delhi to see her, and she sometimes visits her relatives. In her little room, the narrow bed is covered with a bright cloth. There is a mat on the stone floor, and a change of sari on a string. Shapla has built a shrine to Krishna: a box covered with gold and silver tinsel. Inside, a small lamp, and above, a picture of Krishna, and below him, a frieze of dancing gopis. In front of the shrine, she has placed a bowl of milk, slices of coconut, a banana and water in a metal tumbler.
Outside the ashram, Lokti Das was struggling up the steps leading to the entrance. A tiny, frail woman in her late eighties, with big spectacles that magnify her eyes, she has been here 60 years, and walks with the help of a rough stick. Her husband left her, and someone in the village gave her the money to travel from her native Agartala. She says: "Give me your blessing, so that I can go in peace to the other world. We are waiting to die, that is all. I am weak with pain and loneliness, but here you live so long you cannot count the years."
I went to a restaurant in Vrindavan. The owner, Banshi Chatterjee, a jolly rotund man in his fifties, sat behind the till, next to a glass counter of pyramids of sweets in gold and silver foil. "I don't ever want to leave Vrindavan, not even for one second of my life. I want my body to be burnt here only. It is a blessing for the widows that they can come here instead of facing the consequences of widowhood. To sing bhajans is good for them.
"Our business is best during [the festival of] Holi and the rainy months, especially at Janmashthami, the birthday of Krishna. There is one day, Akshay Tritiya, when the lord sits in a golden swinging chair, which goes in procession around the town. That day is like heaven. I stopped wearing shoes 15 years ago, so I can feel the holy earth beneath my feet."
Vrindavan is full of stories of material dereliction and abandonment. The expanse of tiny old faces beneath the neem trees, with their gestures of entreaty and supplication, are like the ghosts of all the women in the world, whose sacrificial love and generosity have been as measureless as they have been unrequited.

Thursday, June 26, 2008

Kamadeva

Krishna is worshiped with the Kama Gayatri, establishing Himself as the transcendental Kamadeva of Vraja. The following sheds some light on the life of Kama as cupid, his lila, qualities and names, as told in the Kalika Purana:

Brahma created ten Prajapatis. After that he created a beautiful lady called Sandhya. Seeing her exquisite beauty he became perplexed, Brahma and the Prajapatis where irresistibly fascinated by her charm and sprang forth from their seats. All there thoughts converged on the same object. At his time an extremely handsome youth emerged from Brahma's mind, with a floral bow in his hands. On appearing he asked Brahma, "kam darpayami" - whom should I make proud? From this time onwards he was known as Kandarpa.
Brahma replied, let the minds of the living entities be the aim of your arrows... you will enter the hearts if all in an invisible form ( your flower arrows will pierce the heart)". Since he churned the mind of Brahma, he got the name 'manmatha' and since he was extremely attractive in appearance he came to be called Kama.

In the assembly of Brahma and the Prajapatis he shot five arrows:
Harsanam - Pleasing or gladdening
Rocanam - Attracting or tempting
Mohanam - Deluding or infatuating
Shoshanam - Weakening
Maranam - Killing

Braham beacame aroused by the arrows and all became infatuated by Sandhya. Sandhya was also excited and from her came 49 parts and 64 kalas (Arts).
From the drop of perspiration that fell on the ground from Daksha arose a beautiful woman and Daksha told Kama that this woman would become famous as Rati Devi, and gave her as his wife.

Kama's names in the Puranas:
Madana, Manmatha, Mara, Pradyumna, Minaketana, Kandarpa, Darpaka, Ananga, Pancasara, Sambarari, Manasija, Kusumeshu, Ananyaja, Puspadhanva, Ratipati, Makaradhvaja, Atmabhu, Iraja, Isma, Kinkira, Abhirupa, Grdhukalakeli, Kanjana, Ramana, Dipika, Madhudipa, Samantaka, Muhira, Rupastra, Vama, Puspaketana, makaraketu, Ratinayaka, Ragavrnta, Samsaraguru, Gadayitnu, Mapatya, Mayi.

Weapons: Bow of sugarcane, string of beetles, the arrows are tipped with flowers.
Vahana is the parrot and the sign on his banner is Makara.
The flowers on his arrows are: Aravinda, Ashoka, Cuta, Navamalika and Nilotpala. Also known as Unmada, Tapana, Shoshana, Stambhana and Sammohana.

Krishna is Saksanmanmathamanmathah - The essence of cupidity in Cupid himself.
Radha is known as Madan Mohan Mohini - She bewilders Him, who captivates even Cupid himself with His beauty.

Sunday, June 15, 2008

Prema Prayojana

Sri Caitanya taught that Bhagavan is the sambandha of all the Vedas. Sambandha is a technical term in rhetoric meaning the matter which is to be discussed. Bhagavan is that to be realised. The forms of bhakti which are the means of attaining Bhagavan are called abhidheya. From sadhana bhakti comes the sprout of prema. The great wealth of prema is the prayojana (the fifth end of man beyond artha, kama, dharma and moksha), which makes one taste the madhurya rasa of krsna. By prema, krsna is placed under the control of his own bhaktas; by prema one is able to relish the bliss of krsna bhakti. He states that all the Vedanta Sutras conclude on these three ends: sambhandha, abhidheya and prayojana.

The consorts of krishna are of three kinds:lakshmis, mahishis and vrajadevis, all emanate from Radharani. Radha is the cause of Govinda's bliss, the enchanter of Govinda. She is the be-all and end-all of Govinda; the crest jewel of all the consorts.

sloka 13 Brhadgautamiya Tantra
Radha is said to be devi, krsnamayi, paradevata, sarvalakshmimayi, sarvakanti, and the highest sanmohini.

Devi means 'She who is most brilliant', 'She of the utmost beauty', or the nagari 'the dwelling place of the play and worship of krsna. Krishnamayi is she whom perceives krishna within and without. She is the true form of krishna, full of prema rasa; as his shakti she is one with him. In her worship she fulfills the desire of krishna; thus her name is called 'Radhika'. Thus she is to be worshipped as the highest goddess. She is the preserver of all things and the mother of the world. She is the abode of all the lakshmis, in her reside all beauty and all splendour, the charm of all the lakshmis emanantes from her. Sarvakanti means that Radha fulfils all the desires of Krishna, all the desires of Krishna reside in Radha.

Krishna is Madan Mohan - the enchanter of the world; Radha is Madan Mohan Mohini - the enchantress of the enchanter; thus she is the Thakurani of all.

radha purna shakti, krishna purna shaktiman...

Sri Radha is the full shakti and Sri Krishna is the container of full shakti. They are two principles, though non-different, as evidenced by the revealed scriptures. They are indeed the same, just as musk and it's scent are inseperable, or as fire and it's heat are non divided. Thus Radha and Krishna are one, yet they have taken two forms to taste lila-rasa. It is to teach prema-bhakti that Krishna assumed the beauty and bhava of Radha and advented as the avatara Krishna Caitanya.


C.C.1.1.5
radha krsna pranaya vikritir hladini asmadekatmanau api bhuvi pura deha bhedam gatau taucaitanyakhyam prakatam adhuna tad dvayam caikyam aptamradha bhava dyuti suvalitam naumi krsna svarupam

Radha is the manifested form of pure love for Krishna, His hladini shakti. Although one in identity, Radha and Krishna had previously assumed separate forms on earth, now these two transcendental identities have become united in the form of Sri Krishna Caitanya. I bow to him, identical with Sri Krishna enveloped in the radiance of the bhava of Srimati Radharani.

C.C.1.1.6
sri radhaya pranaya mahima kidrso vanayaivasvadyo yenadbhuta madhurima kidrso va madiyahsaukhyam casya mad anubhavatah kidrsam veti lobhattad bhavadhyah samjani scai garbha sindhu harinduh

Desiring to understand the glory of Radha's love, the wonderful qualities in Him that She alone relishes through her love, and the happiness she feels when she realizes the sweetness of his love, Hari endowed with her bhava, appears from the womb of Sacidevi, as the moon appears from the ocean.

Radha is the highest development of love for Krishna ; she is his svarupa shakti called hladini. Hladini causes krishna to taste bliss. By hladini he nourishes his bhaktas. The svarupa of krishna is made of sat cit ananda; his cit shakti also has three forms: the ananda part is hladini, the sat is sandhini, and the cit part is samvit, which is known as jnana. An amsa of the essence of sandhini is called suddha sattva, and the reality of Bhagavan has his refuge in this. Knowledge of Bhagavan is the essence of samvit. The essence of hladini is bhava; the highest state of bhava is called mahabhava. The form of mahabhava is Radha Thakurani.

That mahabhava is the essential crest-jewel; it fulfils the desires of krishna - that is its function. The crest-jewel of mahabhava is the svarupa of Radha. The sakhis are simply extensions of her form. The love of krishna toward radha is a fragrant ointment for the body; by it, her body the colour of glowing fire, becomes even sweeter in scent. The first bath is in the stream of the nectar of compassion; the middle bath is in the stream of the nectar of youth; and the final bath is in the stream of the nectar of beauty. The syama coloured sari which she wears is her own modesty. The passion of krishna is the dawn coloured cloth; her breast is hidden by the blouse of her mana and her love. The saffron is her beauty, her sandalwood the love of her sakhis, and the radiance of her smile is the camphor - with these three her body is annointed. The deciept of her hidden mana is the decoration of her hair, and the ground scent on her body is the quality of her own dhiradhira. Her lips burned with the red of the tambula of passion and the guile of prema is the kohl decorating her eyes. With the sattvika-bhava she is suddipta and with harsha and the other sancari bhavas; her body is covered with the ornamentation of all the bhavas. Decorated with the kilakicita bhava and others of the twenty - these clusters of gunas blossomed on her whole body like garlands of flowers. On her beautiful forehead the tilaka of good fortune glowed, and the jewel of prema-vaicittya was in the hollow of her heart. Fixed in her youth, her hand placed on the shoulder of her friends, directing their minds to the krishna lila. There is a beautiful conch in the fragrant abode of her own body; she remain ensconced on it, eternally thinking of union with krsna. The earrings of the glory and qualities of krishna dangle from her ear; the glory and qualities of the name of krishna flow from her lips. She causes krishna to drink the honey of her syama rasa and eternally fulfils all the desires of krishna. The pure prema of krishna is a mine of jewels, his body replate with many incomparable qualities. (CC. 2.8.121-142)

Her body is the swarupa of prema, she is prema manifest; the best of the beloveds of krishna, famed throughout the world. Loving service to her lotus feet is the prayojana - the ultimate goal, attainment and destination. To this end Raghunatha dasa Goswami prays:
Oh Devi! I shall never pray to you for anything else but the excellent service of your lotusfeet! I offer my constant obeisances to the idea of becoming your friend, but I really relish the idea of becoming your maidservant!