Template:Short description Template:For Template:Redirect Template:EngvarB Template:Use dmy dates Template:Infobox religious biography
Meera, better known as Mirabai,<ref name=brit1>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref>Karen Pechelis (2004), The Graceful Guru, Oxford University Press, Template:ISBN, pages 21-23, 29-30</ref><ref>Neeti Sadarangani (2004), Bhakti Poetry in Medieval India: Its Inception, Cultural Encounter and Impact, Sarup & Sons, Template:ISBN, pages 76-80</ref><ref>Template:Cite book</ref> She is mentioned in Bhaktamal, confirming that she was widely known and a cherished figure in the Bhakti movement by about 1600.<ref name="asher">Catherine Asher and Cynthia Talbot (2006), India before Europe, Cambridge University Press, Template:ISBN, page 109</ref><ref>Annals And Antiquities of Rajasthan Vol. 1 Page no. 75</ref> In her poems, she had madhurya bhava towards Krishna.
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.<ref name="tushomaniralife" /><ref name="asher" /> 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.<ref name="tushomaniralife" /><ref name="nancy">Nancy Martin-Kershaw (2014), Faces of the Feminine in Ancient, Medieval, and Modern India (Editor: Mandakranta Bose), Oxford University Press, Template:ISBN, pages 162-178</ref>
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.<ref name="hawley">John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, Template:ISBN, pages 301-302</ref> Many poems attributed to Mirabai were likely composed later by others who admired Mirabai. These hymns are a type of Bhajan, and are very famous across India.<ref>Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, Template:ISBN, page 254</ref>
Some Hindu temples, such as Chittor Fort, are dedicated to Mirabai's memory.<ref name="tushomaniralife" /> Legends about Mirabai's life, of contested authenticity, have been the subject of movies, films, comic strips and other popular literature in modern times.<ref>Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, Template:ISBN, page 242</ref>
BiographyEdit
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.<ref>Template:Citation</ref><ref name=":1">Template:Cite journal</ref>
Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516.<ref name="usha13">Usha Nilsson (1997), Mira bai, Sahitya Akademi, Template:ISBN, pages 12-13</ref><ref>Nancy Martin-Kershaw (2014), Faces of the Feminine in Ancient, Medieval, and Modern India (Editor: Mandakranta Bose), Oxford University Press, Template:ISBN, page 165</ref> 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.<ref name=":1" />
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.<ref name="brit1" /><ref name="usha13" /> 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.<ref name="nancy" /><ref name="usha13" /> 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.<ref name="usha17">Usha Nilsson (1997), Mira bai, Sahitya Akademi, Template:ISBN, pages 16-17</ref> 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.<ref name="usha17" /> Similarly, some stories state that Ravidas was her guru (teacher), but there is no corroborating historical evidence for this.<ref name="usha17" /><ref name=":0" />
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As of 2014, the three oldest records that mention Meera<ref>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, Template:ISBN, pages 131-135</ref> 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.<ref>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, Template:ISBN, pages 131-135</ref> 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.<ref name="tushomaniralife" /><ref name="brit1" /> 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.<ref name="brit1" /><ref name="usha17" /><ref>John S. Hawley (2005), Three Bhakti Voices: Mirabai, Surdas, and Kabir in Their Times and Ours, Oxford University Press, Template:ISBN, pages 128-130</ref>
PoetryEdit
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.<ref>Template:Cite book</ref> Her poems describe her love, salutation, and separation from Krishna, and her dissatisfaction with the world.<ref name=":1"/> 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").<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref> Meera's poems are lyrical padas (metric verses) in the Rajasthani language.<ref name=usha17/> 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.<ref name=":1"/> While thousands of verses are attributed to her, scholars are divided as to how many of them were actually penned by Meera herself.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref name="hawley" />
Hindi and RajasthaniEdit
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.<ref name="hawley" /><ref name="edwinsongs">Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, Template:ISBN, pages 244-245</ref> 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."<ref>John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, Template:ISBN, page 302</ref>
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.<ref name=hawley/> Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centred on Krishna.<ref name=edwinsongs/>
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<poem> 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. </poem> {{#if:Mira BaiTranslated by John Stratton Hawley<ref>John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, Template:ISBN, page 303</ref>|{{#if:|}}
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Meera speaks of a personal relationship with Krishna as her lover, God and mountain lifter. The characteristic of her poetry is complete surrender.
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<poem> 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. </poem> {{#if:Mira BaiTranslated by John Stratton Hawley<ref>John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, Template:ISBN, page 304</ref>|{{#if:|}}
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Meera is often classed with the northern Sant bhaktis, who spoke of Krishna.
Ravidas as Mira's GuruEdit
There is a small chhatri (pavilion) in front of Meera's temple in Chittorgarh district of Rajasthan which bears Ravidas' engraved foot print.<ref>Template:Cite book</ref><ref>Chittauragarh Fort: An Enigma with a Thin Line between History and Mythology Template:Webarchive. 24 August 2009, Ghumakkar.com</ref> Legends link him as the guru of Mirabai, another major Bhakti movement poet.<ref name=peterheehs>Peter Heehs (2002), Indian Religions: A Historical Reader of Spiritual Expression and Experience, New York University Press, Template:ISBN, pages 368-370</ref><ref>Template:Cite news</ref>
Queen Mira Bai composed a song dedicated to Guru Ravidas where she mentioned him as her Guru. <poem> Sadguru sant mile Ravidas Mira devaki kare vandana aas Jin chetan kahya dhann Bhagavan Ravidas </poem> -- "I got a guru in the form of Sant Ravidas, there by obtaining life's fulfillment."<ref>Template:Cite book</ref>
Sikh literatureEdit
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.<ref>Clary, Randi Lynn. 'Sikhing’a husband: Bridal imagery and gender in Sikh scripture. Rice University, 2003.</ref><ref>Singh, Pashaura. "Recent Research and Debates in Adi Granth Studies." Religion Compass 2.6 (2008): 1004-1020.</ref><ref>Zelliot, Eleanor. "The Medieval Bhakti Movement in History: An Essay on the Literature in English." Hinduism. Brill, 1982. 143-168.</ref><ref>Singh, Pashaura. "Scriptural adaptation in the Adi Granth." Journal of the American Academy of Religion 64.2 (1996): 337-357.</ref>
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.<ref>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, Template:ISBN, pages 113-136</ref>
Mirabai's compositionsEdit
- Raag Govind
- Govind Tika
- Raag Soratha
- Meera Ki Malhar
- Mira Padavali
- Narsi ji Ka Mayara
InfluenceEdit
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.<ref name="dirkparita">Dirk Wiemann (2008), Genres of Modernity: Contemporary Indian Novels in English, Rodopi, Template:ISBN, pages 148-149</ref> Dirk Wiemann, quoting Parita Mukta, states,
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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. {{#if:Dirk Wiemann / Parita Mukta|{{#if:|}}
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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.<ref name="dirkparita" /><ref name="parita" /> 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".<ref name=":0">Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, Template:ISBN, page 245</ref>
English translationsEdit
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.<ref name="books.google.com">Template:Cite book</ref><ref>Alston, A.J., The Devotional Poems of Mirabai, Delhi 1980</ref> Some bhajans of Meera have been rendered into English by Robert Bly and Jane Hirshfield as Mirabai: Ecstatic Poems.<ref>Bly, Robert / Hirshfield, Jane,Mirabai: Ecstatic Poems, Boston, Massachusetts 2004</ref> Schelling and Landes-Levi have offered anthologies in the USA.<ref>Schelling, Andrew, For Love of the Dark One: Songs of Mirabai, Prescott, Arizona 1998</ref><ref>Landes-Levi, Louise, Sweet on My Lips: The Love Poems of Mirabai, New York 1997</ref> Snell has presented parallel translations in his collection The Hindi Classical Tradition.<ref>Snell, Rupert. The Hindi Classical Tradition: A Braj Bhasa Reader, London 1991, pp 39, 104–109.</ref> Sethi has selected poems which Meera composed presumably after she came in contact with Ravidas.<ref>Sethi, V.K.,Mira: The Divine Lover, Radha Soami Satsang Beas, Punjab 1988</ref>
Popular cultureEdit
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.<ref>Template:Cite news</ref>
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.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> James, a Bangladeshi musician, dedicated his song "Mirabai" to her.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The Meera Mahal in Merta is a museum dedicated to telling the story of Mirabai through sculptures, paintings, displays, and a shaded garden.<ref>Template:Cite news</ref>
Film and TV adaptationsEdit
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.<ref name="RajadhyakshaWillemen1999">Template:Cite book</ref>
Mirabai, a 26-episode series based on her life, starring Mrinal Kulkarni, was produced by UTV in 1997.<ref>Template:Cite magazine</ref> 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.<ref>Template:Cite news</ref>
| Year | Name | Note | Played by | Channel |
|---|---|---|---|---|
| 1997 | Mirabai | 26 episodes; Director : Ved Rahi | Mrinal Kulkarni | Doordarshan |
| 2009 | Meera | 135 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 alsoEdit
ReferencesEdit
Further readingEdit
- Robert Bly and Jane Hirshfield (2004), Mirabai: Ecstatic Poems, Beacon Press, Template:ISBN
- Chaturvedī, Ācārya Parashurām(a), Mīrāʼnbāī kī padāvalī,(16. edition)
- Goetz, Hermann, Mira Bai: Her Life and Times, Bombay 1966
- Levi, Louise Landes. Sweet on My Lips. The Love Poems of Mira Bai. Cool Grove PrBrooklyn NY, 1997, 2003, 2016
- Mirabai: Liebesnärrin. Die Verse der indischen Dichterin und Mystikerin. Translated from Rajasthani into German by Shubhra Parashar. Kelkheim, 2006 (Template:ISBN)
- Hawley, John Stratton. The Bhakti Voices: Mirabai, Surdas, and Kabir in Their Times and Ours, Oxford 2005.
- Sethi, V.K.: Mira—The Divine Lover; Radha Soami Satsang Beas, Punjab, India; 1988
- Template:Cite book
External linksEdit
- Mīrābāī and Her Contributions to the Bhakti Movement, S. M. Pandey and Norman Zide (1965), History of Religions, Vol. 5, No. 1, pages 54–73
- Without Kṛṣṇa There Is No Song, David Kinsley (1972), History of Religions, Vol. 12, No. 2, pages 149–180
- Mirabai in Rajasthan, Parita Mukta (1989)
- Template:Cite journal
- Feminist and Non-Western Perspectives in the Music Theory Classroom: A Study of John Harbison's "Mirabai Songs, Amy Carr-Richardson (2002), College Music Symposium, Vol. 42, pages 20–36
- "By the Sweetness of the Tongue": Duty, Destiny, and Devotion in the Oral Life Narratives of Female Sādhus in Rajasthan, Antoinette E. DeNapoli (2009), Asian Ethnology, Vol. 68, No. 1, pages 81–109