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Vignettes from an Extraordinary Life: A Historical Dramatisation by Aruna Chakravarti

Narendranath Datta (1863 to 1902)

The year was 1881. The city — Kolkata. Its people, caught in the throes of a social and spiritual awakening the like of which they had never seen before, were sharply divided. Spinning between two worlds—one dying; one struggling to be born–they were all protagonists, all engaged in battle. Some to keep alive and perpetuate the old; others to hasten its death and bring about the birth of the new. But there were also those who felt the pull of both. Old and new. Traditional and modern. Science and faith. One such was Narendranath Datta, eldest son of Advocate Bishwanath Datta of Shimle.

Eighteen-year-old Naren was a fine figure of a man already. Tall and muscular, with broad shoulders and a heavy frame, his large, dark eyes flashed with spirit and intelligence from a strong, handsome face. He was a brilliant student and an even better sportsman. He could fence and wrestle and was an excellent boxer. Only last year he had won the Silver Butterfly at a college contest. With all this he was a fine singer and could play the pakhawaj and esraj[1].

That afternoon, he was pacing up restlessly up and down Hedo Lake Park under a sullen monsoon sky. Classes were over for the day, but he didn’t want to go home.

 Naren: “What shall I do? Where shall I go? Home? Na! Na! Ma has filled the house with matchmakers. But I… I can’t even think of marriage just now. Life is short. Life is precious. I must discover the truth of it first. The worth of it.

“Shall I walk down to the Brahmo Mandir? I’ve gone there often with Dipendra. I like the prayers and sermons. I even join in singing the hymns. But…the experience remains on that level. Once, unable to control the curiosity that burns continually in my breast, I was guilty of a grave impertinence. ‘Have you seen God?’ I asked the Maharshi. But he had evaded the question. ‘You have the eyes of an ascetic,’ he had replied. ‘Abandon all enquiry and give yourself over to Him. With prayer and meditation, you will experience Him some day.’  The answer told me nothing.

“I’ve read the works of Western philosophers–Descartes, Hume and Herbert Spencer and have tried to make Logic and Reason my watchwords. I’ve tried to dismiss religion as the prop of the blind and weak. But…but certain religious customs have entrenched themselves in our culture from time immemorial! Can we wipe them out in an instant. And, even if we could, wouldn’t that create a terrible void?”

He laughed self-consciously.  Was this a consequence of my meeting with Ramakrishna?  Na Na. Not that. Never …

A few days ago, his uncle Ramchandra Datta had asked him to accompany him to Dakshineswar. And Naren, eager to escape the matchmakers, had agreed. He had been charmed with the place. The wide flight of steps rising from the river! The immense chataal[2] dotted with temples! The river itself — vast and unending as the sea! And, then, he had been led to a tiny room in the north west corner where, on a simple wooden chowki[3], sat a little dark man with a gap between his teeth and tiny, twinkling eyes. His hair and beard were unkempt and his coarse, half-soiled dhuti[4]rose to his knees. But the sacred thread that lay across his bare torso was thick and shining white. “Thakur,” Ramchandra Datta led the boy forward, “This is my nephew Naren. He sings well.”  The man smiled and nodded encouragingly. And Naren, who enjoyed singing, dropped to the floor and sitting cross legged, a hand at one ear, commenced in a rich baritone…Mono Cholo Nijo Niketane…mind go to your own abode …

Ramakrishna in a trance

Ramkrishna went into a trance. He returned to consciousness and rushed up to Naren.

Ramakrishna: “I know you, my Lord! You are my Narayan! Why did you take so long in coming to me?”

Naren: (to himself) “The man is mad. Stark, raving mad! What do I do now? (Aloud) Let go of me. Please let go…”

Ramakrishna: “I will. If you promise to come again.”

Naren: (sternly) “I promise but I want to ask you a question first. Have you seen God? Tell me the truth.”

Ramakrishna: “Yes. I have seen God. As clearly as I see you standing before me.”

Naren had promised Ramakrishna that he would go to him again. But he had no intention of keeping his word. His reasoning told him that the man was a liar and a lunatic. But why was his heart saying something else? Why was it urging him to redeem his promise? He made a fresh resolve. He would go to Dakshineswar one last time and tell Ramakrishna, politely but firmly, that their worlds lay apart and he had other things to do.

A few days later Naren and his friends were enjoying a meal in an English hotel when he suddenly rose to his feet and walked out leaving everyone gaping in astonishment. Walking all the way to Dakshineswar, he barged into Ramakrishna’s room.

Naren: “I have just eaten what Hindus call forbidden meat. (His eyes challenged the priest) Now do what you need to do with me!”

 Ramakrishna: “O re! Do you think My Mother will peep into your stomach to see what you hide in there? Beef and pork? Or vegetables and greens? She looks only into the heart. And yours is as pure as gangajal[5].” He put his arm around Naren’s shoulders. “See. I have touched you. Am I changed in any way?”

Naren: (aggressively) “How do you know where Your Mother looks or does not look? You claim you see Ma Kali and talk to Her. But I say your claim is false. I believe, like the Brahmos, that God is an abstraction–neither seen nor heard.”

Ramakrishna: (murmurs) “God? …. God is akin to a vast sea; an unending stretch of water. But when true faith is breathed upon it the water congeals and turns into ice—solid, tangible.  And only then one sees God. Don’t I see you, one of the seven rishis, standing before me?”

Naren came home and thought long and hard. What did it all mean? Why had Ramakrishna called him one of the seven rishis[6]? Was the man mad? Or did he truly believe what he was saying? And, as the boy groped, his heart beat out the answer — dim and muffled but consistent. He, Naren, had assumed that faith and logic were polar opposites, and one could survive only by denying the other. But what if the two were one and the same? Ramakrishna saw faith as empathy in any relationship — human or divine. He saw Naren as that part of himself he considered his Godhead.  Which was why his faith in him was unassailable.  What a wonderful concept that was! Could he, Naren, ever establish that kind of empathy with anyone? Man or God? Wouldn’t his spirit deepen; grow richer if he could?

And now Naren understood one thing clearly. He was special because Ramakrishna thought him so. And he would have to carry the burden of love and faith placed on him, throughout his life, and make himself worthy of it…

A few months later Naren’s life changed dramatically. His father died and, as the eldest son, the responsibility for the family fell on him. Bishwanath Datta had been a prosperous advocate but, having always lived beyond his means, had died a pauper. What was worse he had left a trail of debts. Death had come to him so swiftly and suddenly — his wife and children reeled under the blow.

Vivekananda or Naren’s ancestral home in modern day Kolkata

With the creditors baying like a pack of wolves outside the door, Naren was forced to look for employment. He had no idea it would be so difficult. The streets were flooded with job seekers.  Naren ran from pillar to post then, weak and exhausted with starvation and fatigue and crushed under a sense of defeat, he decided to run away from it all; to become a sadhu[7] and wander among the mountains. People would blame him for evading his responsibilities. They would call him an escapist. But he didn’t care…

Dakshineswar

Somehow, he didn’t know how, Ramakrishna got wind of his resolution and sent for him. Naren didn’t want to go. The man aroused all sorts of strange sensations in him. His body vibrated violently to Ramakrishna’s touch; his head swam, and his limbs felt weightless. Waves of rapture passed over his soul. Then, suddenly, he became his old, tormented, doubting, questioning self. He couldn’t bear these contradictions and decided to keep away. But Ramakrishna drew him like a magnet. Naren struggled against a current he didn’t understand for days, then succumbing, went to Dakshineswar. Ramakrishna took the boy’s hands in his and burst into tears. Something like a giant wave of light passed from those gripping hands and washed over Naren’s soul. His body trembled with ecstasy, and, in an instant, the truth lay bare before him. This little priest of Kali knew everything; saw everything. He sensed Naren’s suffering and suffered with him. The fire went out of the headstrong, stubborn boy. Loud sobs racked his chest and he clung to Ramakrishna’s hands as if they were his only hope.

Ramakrishna: “Naren re! It’s been so long since I’ve seen you. S-o-o long!”

Naren: (blubbering like a child) “You say you talk to Ma Kali. Why don’t you ask her to give us some food? I’ve heard you call her the Goddess of Mercy; the succour of the poor and wretched. Am I not poor and wretched? Why doesn’t she cast her eyes on me? My mother and brothers are starving…”

Ramakrishna with Naren

Ramakrishna: “Why don’t you ask her yourself?”

Naren: “How can I do that? I don’t know her.”

Ramakrishna: “You don’t know her because you don’t care to know her. I have an idea. Today is Tuesday. Go to her quietly when she’s alone and tell her what you want from her. She’ll give it to you.”

Late that night, when everyone was asleep, Ramakrishna sent Naren, practically by force, to the temple of Kali. The torch of knowledge trembled as enlightened India took her first cautious steps into an unknown realm. A vision, dim and shadowy, of something beyond the tangible world was driving out judgment and debate. Reason was about to surrender to faith, logic to intuition, as Naren stepped into the womb of the temple where Ma Kali stood. An earthen lamp, flickering in a corner, cast a soft glow over the naked form, black as night and of breath-taking beauty. A pair of glittering eyes gazed intently into Naren’s as he walked on unsteady feet and sank to his knees before Her…

Suddenly, a tremor passed through his limbs, making the blood leap up in his veins. He had seen — yes, he was sure he had seen the exquisitely chiseled lips part in a smile. He shut his eyes and opened them again. Yes — there it was. A smile of love and tenderness.  And was it, could it, be… triumph? He thought he saw the image sway gently. But the room was full of shadows. Perhaps he was imagining it all! In his desperation he tried to revive all his old arguments; to summon up the logic and reason that had sustained him all these years. But he felt them slipping away. His eyes were glazed. Strange currents were running in his blood — sweeping him away. In the poorly lit room, swaying between patches of light and shadow, the image of the smiling goddess was trembling into life.

Naren: “Ma…Ma… Ma go! [8]” Naren called again and again; stopped and looked around as though puzzled. “Why am I calling out to her? What do I want from her? Ah! Yes. I want food for myself and my family.” He shook his head vehemently.  “Na Na.  She’s the Mother of the three worlds! And she has smiled on me. How can I ask her for mundane things like food and clothes?” Naren knocked his head on the floor and cried out wildly.  “Give me knowledge! Give me faith! Give me light! And above all these give me strength. Strength to suffer and endure! Strength to renounce!”

Ramakrishna was ill. He had been suffering from a bad throat and violent fits of coughing for some months now. His disciples had moved him from Dakshineswar, where the river air was cold and clammy, to a house in Baranagar. They had also sent for several doctors who diagnosed his ailment as Clergyman’s Sore Throat. But their treatment wasn’t working.  Ramakrishna’s health was deteriorating day by day. His tongue was bloated to twice its size and was covered with sores. And to drink even a drop of water was agony.

At length Dr. Mahendralal Sarkar was called in. He was the most reputed doctor of Kolkata. He was also the harshest and most unpredictable. Yet, looking at the slight figure lying on the wooden chowki, he asked with a rare gentleness, ‘Where does it hurt?’

‘I feel a swelling in my throat the size of a rose apple.’

‘Open your mouth. Let me take a look.’

Ramakrishna obeyed, his eyes fixed fearfully on the stern face above his. Looking down at the torn, bleeding, ravaged organ the doctor’s eyes softened and he shook his head thoughtfully. “What is the diagnosis doctor?” Naren whispered, drawing him aside.

Karkat Rog.” A shadow passed over Mahendralal’s face. “The sahebs call it cancer.” But within seconds he was his usual cut and dried self. Turning to the patient he said roughly, “I’m leaving some medicines. Take them regularly. And talk as little as possible. The world can do without your eloquence…”  

Naren’s face reddened. “He’s our guru,” he said angrily, “Our link with God. He merits your respect.”

“Hunh!” The doctor gave a snort of contempt. “Why can’t man leave God alone and do his work on earth as best as he can? Why…”

“His work is the discovery of God,” Naren interrupted, his face flaming, “Just as yours is the spread of Science.”

Mahendralal laughed. “Has any man obsessed with God, be he Jesus, Chaitanya or Buddha, been content to make it a personal quest? No. He has to scream his lungs out and pull crowds along with him. Anyway– they were not my patients so what they did is none of my business. But this man is.” Fixing his large, fiery eyes on Ramakrishna he said sternly, “Remember what I said. No sermons and homilies. Give your voice a rest — for the present at least.”

Two days later Ramakrishna vomited blood — great globs splattering on his clothes, bed and all over the floor. Groaning with pain he beckoned Naren to his side, and holding his hands, looked deep into his eyes. “I give you all I have,” he said in a hoarse whisper, “From this moment I’m a pauper. I have nothing left. Nothing.” Then, his glance falling on his wife, Saradamoni, as she stood weeping in a corner, he said, “I leave her in your care.” Fixing his eyes on his wife’s pale, drawn face he said, “Do not weep. Naren will be to you the son you never bore.”

At these words something stirred in Naren’s brain. An image rose before his eyes — of a bleeding, battered body hanging from a cross; a pale emaciated brow crowned with thorns; a dying voice murmuring…  “Mother…Behold thy son.” Sharp, scalding tears rose to Naren’s eyes and he wept like a child.

Ramakrishna died after midnight, two days later. His disciples thought he was in bhav samadhi[9]. For his eyes were open and his fingers twirled in the air. A thin whirring sound, like that of a clock work toy, was coming from his half open mouth. They moved around him chanting mantras and singing kirtans[10] — all except Naren, who jumped to his feet and ran all the way to Mahendralal Sarkar’s house. But the doctor, when he came, didn’t even touch the patient. “Start making arrangements for the cremation,” he said quietly, “He’s gone.”

One of the disciples, fearful of a sharp rebuke, murmured nervously, “He’s in bhav samadhi Daktar Babu.”

The doctor’s eyes were somber and his voice gentle as he answered, “I’m an ordinary physician who was given the privilege of ministering to a great soul. But I recognise the end when I see it. He is not in a state of bhav samadhi this time. It is maha samadhi[11].

Swami Vivekananda and other disciples at the Mahasamadhi of Ramakrishna on Sunday, August 15, 1886.

There were a few distinctive features about the funeral procession that wended its way to Neemtala. One of the mourners held a Hindu trident, another a Buddhist spud. A third had a Christian cross in his hands and a fourth a replica of the crescent moon and single star– symbol of Islam. Ramakrishna had preached the concept of jata mat tata path (there are as many paths to God as there are faiths) and, even in their hour of desolation, his disciples hadn’t forgotten it.

Not many people had heard of Ramakrishna. Consequently. the number of mourners was pitifully small. The funeral processions of some other sadhus of the city had contained thousands. Ramakrishna’s numbered a little over a hundred. But one of them …was equal to a million.

Exactly four hundred years ago, to the day, a Italian sailor named Christopher Columbus had set sail on a discovery of India and landed, instead, on the shores of America. To mark that epoch making event a great festival was being organised in the city of Chicago of which an important feature was the coming together of spiritual leaders from all parts of the world. Invitations had been sent to Jews, Muslims, Buddhists, Confucians, Taos, Shintos and Zoroastrians along with representatives from the Roman Catholic, Greek Orthodox and Protestant Churches. Even Brahmos and Theosophists had been invited. The only religion left out was Hinduism. And that was because Americans knew nothing about it. From what they had heard, it was a savage, primitive cult whose members worshipped monkeys, elephants and rivers. The speakers sat in rows on either side of Cardinal Gibbons –Head of the Catholic Church of America. There was a young man among them; a youth in his twenties with strong, handsome features and dark, flashing eyes. He wore a loose robe of orange silk and a turban of the same material. There was something riveting about his appearance and many eyes turned to look at him.

“Who’s he?” Someone whispered from the audience.

“A Hindoo.” Another whispered back, “From India. His name is …let me see…S-o-a-m-i…very difficult to pronounce…S-o-a-m-i Viv…Viveka…Ananda.”

Naren’s metamorphosis from a whimsical lad to a representative of Hinduism at the Parliament of Religions was owing not so much to his own efforts as to a sequence of events that had carried him on its wings. After Ramakrishna’s death he took serious stock of his situation. ‘Who am I?’ he asked himself, “And what should I do with my life?” The answer came to him readily. He was an ascetic. And the true ascetic was rootless and free like a river that needed to flow to keep its waters pure and clear. He took a decision. He wouldn’t stagnate in this little Bengal. He would explore every inch of this huge country and see what it was like.

And thus, Naren’s travels began. He went from place to place without aim or direction. If anyone gave him food, he ate it. If not, he went hungry equally cheerfully. Sometimes someone bought him a railway ticket. But, more often than not, he had only his legs and lathi to take him forward. Everywhere he went he impressed everyone with his knowledge, dignified bearing and fluent English. Gradually his fame spread. More and more people were talking of the scholarly young man who was steeped in the wisdom of the East yet as liberated in thought and spirit as any European. He started receiving invitations from the royals of India. From Hyderabad, Alwar, Kota and Khetri.

While staying in the palace of Raja Ajit Singh of Khetri, Naren had an experience he would never forget. One evening, on entering the Durbar Hall, he was surprised to see a woman sitting on a carpet facing the Raja who lay sprawled on satin cushions surrounded by his courtiers. She was beautiful, though somewhat past her youth, and dressed in rich silks and jewels. She was singing a love song with smiles and provocative gestures. Naren’s back stiffened and his nostrils dilated in distaste. The choleric temperament and intolerance he had taken such pains to subdue flared up in him and he turned to leave the room. Suddenly the woman rose to her feet. Abandoning the song, she was singing she started on another. The song was a bhajan[12],  Prabhu avagun chitta na dharo — Lord, hold not my sins against me.

Naren stood at the door, his feet rooted to the ground. His heart thudded painfully and a voice within him whispered, “You call yourself a sadhu! Yet you judge this woman!”  Suddenly Ramkrishna’s eyes swam into his vision. Soft and sad. Holding oceans of mercy! And, in a flash, he saw the woman — not as she stood before him, wanton and voluptuous — but as a human being who carried within her a spark of that same godhead that irradiated his own soul. His eyes softened. He entered the room and took his place with the others.

Naren wove back and forth like a shuttle over the vast tapestry that was India. And, wherever he went he saw illiteracy and superstition, poverty and abuse of power. The caste system was like an insidious web trapping and choking the life breath out of the people. “To hell with Hinduism!” he muttered bitterly. “What is the worth of a religion which humiliates and rejects its own followers? True morality lies in feeding the hungry, nursing the sick and comforting the comfortless.”

Kanyakumari with the Vivekananda rock Memorial, where Naren attained enlightenment

It took Naren four years to tour the whole country. Then, one day, he came to the end of his journey. Reaching Kanya Kumari, he sat on a rock jutting out of the sea. A vast expanse of blue green water stretched, as far as the eye could see, on three sides. Behind him was India. Sick, starving, suffering India! Burying his face in his hands he wept; deep harsh sobs racking his starved, fatigued body. But his mind was clear. He had to find food for his countrymen. He could think of their souls and his own afterwards. But how was that to be done? Science was the answer. Scientific knowledge and modern equipment had to be imported from the West and used to grow more food for the masses. But no one gave anything for nothing. What could his country give in return?

He thought for hours and, slowly, the answer came to him. Weak and enfeebled though she was, India had something the West had lost. Christianity was under severe stress, reeling under a weight of doubt and speculation. Despair was setting in. But India had a spiritualism that went back thousands of years. It had survived the shocks and traumas of innumerable invasions and still stood firm. Give us food and we will give you a philosophy. That could be India’s slogan. He would take this message to the West. But how? Suddenly an idea struck him the enormity of which made him spring up, trembling, to his feet. He would go to Chicago and speak at the Parliament of Religions.

Implementing the decision was easy. Funds were raised by his admirers –the largest donation coming from Raja Ajit Singh of Khetri. And it was the latter who designed the costume he would wear at the Conference and gave him his new name. And thus, Narendranath Datta became Swami Vivekananda[13].

Swami Vivekananda at the Chicago Parliament of religions (1893)

 And now the hour, for which he had undertaken a long and hazardous journey, was at hand. Naren walked towards the rostrum his heart thudding violently, his mind blank. Looking with glazed eyes at the sea of faces before him he tried to think of his guru Ramkrishna, tried to recall Ma Kali’s face as he had seen it on the night of his first spiritual experience. But, strangely, another face swam before his eyes — the face of Saraswati, the Goddess of Learning.  “Have mercy on me Ma!”  he prayed, “Unlock my tongue and give me speech.”

 Taking a deep breath he began: “Sisters and Brothers of America.” As an opening sentence, this was an unusual one. People started clapping, a few at first, then more and more joined in. Naren was puzzled. Western audiences were generous with their applause. He knew that. But this was something more than ordinary applause; something he couldn’t fathom. Stirred by an emotion he had never experienced before, his fears fell away. His voice rose sonorous and strong:

“I am proud to belong to a religion which has taught the world both tolerance and universal acceptance… As different streams, having their sources in different places, all mingle their water in the sea, so Oh Lord, the different paths that men take through different tendencies, various though they appear, all lead to thee…”

The applause rose to a crescendo. Like a mighty storm it washed over the vast hall, in wave after deafening wave. People rose from their chairs and ran towards the rostrum. The other speakers stared at one another. What had the young man said that they hadn’t? Everyone had, at some point or the other, advocated tolerance of other religions. What they didn’t realise was that their discourses had been academic exercises. Naren had spoken from the heart and, in doing so, had won over the hearts of the Americans.

Swami Vivekananda was in a fix. As soon as it became evident that the young ascetic had the power to draw crowds the go-getting Americans lost no time in making a few dollars out of it. A Chicago firm, The Sleighton Lysium Bureau, offered to organise tours in various towns and cities of the United States for the dissemination of his message. Vivekananda signed the three-year contract with alacrity but regretted his decision within a few months. His managers drove him relentlessly from forum to forum and what began as a joyous interaction soon became a painful drudgery. He also found himself out of sync with the average American mindset. They attended his meetings in thousands but most of them looked at him as though he were a rare and exotic animal and asked absurd questions.

“Hey Mr Kanand!” A man addressed him once. “Is it true that in your country mothers throw their babies into a holy river to be eaten by crocodiles?”

“Well,” Vivekananda smiled, “If my mother had done so would I be standing here before you?”

“Boys are not thrown,” another voice was heard. “Only girls…”

“Is that so?” Vivekananda’s lips twitched. “But if all girls are eaten by crocodiles, I wonder how males are born. Perhaps one of you can enlighten me.”

“Even if you deny female infanticide,” an angry voice boomed, “Can you deny suttee?”

“No. But sati has been punishable by law for many years. Now, may I ask you a question? Have you heard of Joan of Arc of France? Or of the thousands of women who were branded as witches and burned at the stake in all parts of Europe? You haven’t? That’s what I thought. The West has conveniently forgotten its own history. You will never question a Frenchman about Joan of Arc. But the moment you see an Indian you’ll make it a point to ask him about sati.”

However, not all Americans were this insensitive. Some came in a genuine spirit of enquiry and listened to him with interest. One of them was a wealthy widow named Ole Bull. Another was a charming, vivacious woman in her thirties. Josephine Macleod, for that was her name, attended all his lectures and, over the years, became a good friend and an ardent admirer.

But, in faraway England, another young woman was waiting for the call. A woman whose destiny would become synonymous with Vivekananda’s, who would, in time to come, make India her home, imbibe her spirit and culture and work for her people as though they were her own…

Margaret Noble was thirty years old–the daughter of an Irish clergyman and a spinster. Love had come to her drab, lonely existence twice but she had been robbed of them both times. Once by death and once — desertion. This last blow was harder to bear than the first and it was in this frame of mind that she first saw Vivekananda.  Listening to him, she felt herself transported to another world. She saw herself standing by a well beside a banyan tree under which an ascetic, bathed in the hues of sunset, was murmuring verses in a strange, exotic tongue. The spell broke in a few seconds, and she went home. But, for days afterwards, his face swam before her eyes– a bright golden face with large dark eyes burning with power and passion. She tried to shake it off, but it kept coming back.

After this she started attending Vivekananda’s lectures regularly — though in a spirit of non-acceptance. Her education had given her rational views and she was atheistic by temperament. But though she rejected the Hindu yogi’s doctrines, she couldn’t stay away from him. Vivekananda was amused. Perhaps he heard in the young woman’s vehement denials, an echo of his own. He had ranted against Ramakrishna but gone to him again and again. Margaret, he knew, was going through a similar experience.

There was one thing, though, that had a profound impact on her. Vivekananda never once touched on the negative aspects of the human race. The word ‘Sin’ was missing from his vocabulary. He always appealed to the highest and noblest instincts of humans. “The world needs men and women,” he said once, “who can find the courage to…abandon their own small families and seek out a larger one…” These words fell like blows on Margaret’s heart. She had sought love; a husband and children–a family of her own. But they had eluded her. She didn’t desire them anymore. She would answer Swamiji’s call. She would walk in his footsteps and seek out a larger world.

Vivekananda returned to India after four years — a conquering hero! A special Reception Committee, set up by the Maharaja of Dwarbhanga, met him at Khidirpur dock and escorted him all the way to Sealdah. As the train chugged its way into the station, the air rang with a tremendous cry and the platform shook under the feet of thousands of people pushing, jostling and treading on each other’s toes to catch a glimpse of the man who had left the country as obscure, penniless Naren Datta and returned as the universally acclaimed Swami Vivekananda. Not that everyone came in a spirit of respect. Many were mere onlookers. Some others came to carp and criticise. “The man is no longer a Hindu,” they whispered to one another. “He has eaten forbidden meat and slept with mlecchha[14] women. Besides, what call has a Kayastha to don a sadhu’s robe? What is our great religion coming to! Chhi! Chhi! Chhi!”[15]

Vivekananda was unfazed–touched neither by adulation nor censure. He had his work cut out. The first thing to do was to go to Alambazar and seek the help of his co-disciples in opening a mission in Ramakrishna’s name.

“A mission in Thakur’s[16]name!” the inmates exclaimed, “Like the Christians?”

“Yes.” Squatting on the floor and taking deep puffs from a hookah, Vivekananda said, “I intend to put together a band of committed workers who will go from village to village, providing succour to the poor and needy and educating the masses especially the women of the land. And by education, I don’t mean literacy. That too. But the need of the hour is the inculcation of self-respect and self-worth in our people. India must awake from her stupor.”

From that day onwards Vivekananda turned all his energies into establishing the Mission of his dreams. It couldn’t have come at a better time for plague had broken out in the city and a severe famine was raging in many parts of Bengal. The disciples formed groups and moved from slum to slum and village to village, distributing rations, nursing the sick, burning the dead and teaching the unafflicted how to protect themselves from the dread disease. As for Vivekananda–he drove himself relentlessly though the strain was unbearable. After four years of living in a temperate climate, his body had lost its ability to cope with the heat and humidity of Bengal. He suffered from bouts of fever and dysentery but wouldn’t let up for a second.

He had his misgivings though. Funds were being organised by Ole Bull and Josephine Macleod. But how would he organise a band of women? Women, in this conservative society, refused to interact with males. He wondered what to do. Should he send for Margaret Noble?

The first glimpse of grey was paling the inky darkness of a winter night when a great ship inched its way into the estuary. Margaret Noble stood on the deck shivering, not so much with cold as with apprehension. She had severed all her links with England and come out to India. But would her new country accept her?

After Swamiji’s return, he had written to her a couple of times. Short, dry missives informing her that the Ramkrishna Mission had been established and that Ole Bull and Josephine Macleod were already there supervising the work. Not a word about her joining them. Then, six months later, the letter she had longed for and awaited, had come. A letter that had set her pulses racing despite the formal courtesy of its tone:

“Dear Miss Noble,

“I am now convinced that you have a great future in the work for India. India cannot yet produce great women, she must borrow them from other nations. Yet the difficulties are many. You cannot form any idea of the misery, the superstition, the shunning of the white skin. Then the climate is fearfully hot, not one European comfort is to be had in places out of the cities. You must think well before you plunge in. If you fail or get disgusted, on my part I promise you, I’ll stand by you unto death–whether you work for India or not.”

I will stand by you unto death…– a tremor of ecstasy passed over Margaret’s frame every time she thought of the words. Now, with doubt and fear gnawing at her heart, she repeated them over and over again like a mantra.

Belur Mathh

On alighting she sought his face eagerly in the crowd. Suddenly, a deep musical voice came from behind her. “Margot!”  She spun around and got a shock. It was Vivekananda but how he had changed! He was only 34 but he looked close to 50! She didn’t know that he had been extremely ill. Diagnosed with diabetes he had been advised to make substantial changes in his diet, take a lot of rest and keep his mind calm and free. But he had shrugged off the doctor’s counsel particularly the latter part. The mathh[17]in Alambazar had been gutted by a fire and another one was coming up in Belur. Tension and anxiety had become part of his life. There was nothing he could do about it.

Sister Nivedita (1867-1911)

One evening, as they sat together looking out at the river in Belur, Vivekananda fixed his large dark eyes on Margaret’s clear blue ones and said softly, “I’m giving you a new name Margot. A new identity. From henceforth you shall be known as Nivedita. Do you know what that means? It means One who has dedicated herself.”

Fortunately for Vivekananda, the pestilence disappeared from the city as suddenly as it had come. But the grinding work and sleepless nights had taken their toll. He became very weak and had difficulty in breathing. The doctors were alarmed and ordered him to leave the dust and fumes of the city and go to the hills where he could imbibe some pure, clean air. Vivekananda had wanted to go on a pilgrimage to Amarnath for many years and he decided to do so now. Nivedita insisted on accompanying him. He was reluctant at first. It was an arduous, dangerous climb over steep jagged rocks and ice-covered terrain. The weather was wild and inclement, while the most basic amenities were missing. But Nivedita stood firm. She hadn’t come to India to enjoy a holiday, she pointed out. She had abandoned her own country and was trying to put down roots in this soil. She wanted to gain all the experience she could; to merge with the people and become one with them. Why couldn’t she do what he; what so many others were doing? Hadn’t she given herself to this country? Was not her name Nivedita?

On a dark cloudy day at dawn, a party of about three thousand pilgrims set off for Amarnath. Vivekananda and Nivedita walked side by side for a while. Then, suddenly, he left her and strode off to a ledge where a group of ascetics were flailing their arms and crying, “Hara! Hara! Bom! Bom![18]”  Nivedita craned her neck to catch a glimpse of her guru. But she couldn’t see him. A throng of pilgrims had swallowed him up.

And thus, it was throughout the journey. He avoided her most of the time. Occasionally he would appear to make a gentle enquiry about her well-being or to bark out a command to the porter to secure her tent against the wind and rain and put a hot water bottle in her bed. Then he would be gone again. Nivedita walked in a crowd but alone. Footsore and weary; limbs aching with exhaustion; heart heavy as lead.

Along the mountain path the pilgrims walked, the line winding and unwinding like a giant snake. And now the path wound upwards, dramatically, over slippery snow-covered rocks for about two thousand feet. This was the last lap and the most dangerous part of the journey. Nivedita’s heart beat fast. Would she be able to negotiate it without him by her side? What if she failed? So many pilgrims lost their footing and fell down the treacherous precipices to lie there forever — buried under drifts of snow. What if she too…? Even as the thought came to her a voice, rich and resonant as a roll of thunder, called out her name. Startled she looked up to see Vivekananda leaning against a boulder smiling down at her. “Look Margot,” he said, “Look ahead of you.”

Following his pointing forefinger, she saw a stretch of level ground covered with a blanket of freshly driven snow which glimmered like a ghostly sea of silver in the light of the fading moon. At the same time, a shout of jubilation came to her ears. Singing and ululating, the frenzied pilgrims ran forward, slipping, falling, helping each other up. The perils of the journey lay behind them. Amarnath was less than a mile away.

Nivedita wanted to wait for Vivekananda. But the crowd engulfed her carrying her along on its waves. On and on she went propelled by the force of faith behind her, feet flying, arms outstretched; deafened by cries of “Hara! Hara! Bom! Bom!” Was this the merging she had envisaged and yearned for? Then why did she feel so restless? So empty?

Amarnath Temple with its shining pillar of ice

Nivedita entered the cave. In front of her was the shining pillar of ice that was the phallus of Shiva. But all she felt was a sense of anticlimax. Was this all there was to see at the end of this seemingly endless, nightmarish journey fraught with so much pain and peril? Water dripping from a crack in the roof of a cave and solidifying into a column of ice?

Vivekananda came in after a while. He had bathed in the river and his dripping body was naked except for a flimsy bit of saffron that covered his genitals. His eyes were stark and staring and his feet unsteady as he ran towards the linga[19] and flinging himself, face downwards, knocked his head on the ground. Then, rising, he stood eyes closed, head bowed over his hands, lips moving in a silent chant. Nivedita noticed that his body was swaying from side to side. As though he would lose his balance, any moment, and fall to the ground. But Vivekananda did not fall. He turned and, fixing his large bloodshot eyes on hers, cried out in a wondering voice.

Naren: “I saw Him Margot. He revealed himself before me. He who is the first in the pantheon! Deb Adideb Mahadeb[20] stood before me in a cloud of blinding light…. And you…you Margot?”

Nivedita: (shamefacedly) “To tell you the truth, I saw nothing and … and felt nothing. Nothing at all. The famed linga thousands come to see is nothing but a natural phenomenon. I’m sure there are dozens of such ice pillars in Europe.”

 Vivekananda: “The eyes of your mind are shut like a newborn child’s and your soul sleeps within you. You understand nothing. Yet the great pilgrimage you undertook will not go waste. You’ll receive its fruits when you awaken–older and wiser.”

 Returning to Kolkata Vivekananda flung himself into all his self-appointed tasks. But the old energy was gone. He looked and felt like a ghost of his former self. The doctors told him that his heart was severely damaged. It had gone into a shock and stopped the moment he had plunged his body, steaming and quivering with the rigours of the strenuous climb, into the icy waters of the river at Amarnath. He could have dropped down dead that very minute. But, since all organs have a way of recovering themselves, his heart had started beating again on its own. However, the muscles had slackened and it was, now, hanging an inch longer than it should. It was a dangerous condition and his condition could not improve. It could only deteriorate.

Vivekananda had lost touch with his family for many years now. But these days he found himself thinking of them often. He yearned particularly for his mother and went to see her one day. The old lady was shocked to see her son looking so sick and frail and insisted that he rest, excusing himself from his excruciating schedule. Extracting a promise from him to take her on a pilgrimage to Langalbandha, on the banks of the Brahmaputra, where Parasuram had been absolved of the sin of matricide, she cooked a meal for him and fed him with her own hands as though he was a child.

On his way back from Langalbandha, at Dhaka, Vivekananda had an unforgettable experience. It was a hot humid evening and, exhausted from meeting streams of people, he was standing on the balcony in the hope of catching some cool air when he noticed a phaeton at the gate surrounded by people clamouring in agitated voices.

A few minutes later, two women entered the room. One was stout and elderly; her face coarse and darkened with the ravages of her profession. The other was young and a ravishing beauty. “Sadhu Maharaj,” The older woman knocked her head on the ground at Vivekananda’s feet. “This is my daughter. No one would guess, looking at her, that she is very sick. She suffers from asthmatic attacks so severe–she screams with agony. We’ve come to you from very far with a lot of hope.”

“But I’m not a doctor,” Vivekananda smiled. “I try to cure the ills of the mind. And even in that I’m not very successful. I know nothing about the body.”

“Everyone says you are the greatest sadhu living. Read a mantra over my child’s head and release her from her suffering.”

“If I knew such a mantra, I would read it over myself. I’m an asthma patient, too, and suffer excruciating pain at times.”

“You’re testing me my lord!” The woman burst out weeping –harsh, racking sobs rasping out of a chest congealed with years of repressed grief. “I’m a lowly woman led astray in my youth…”

“I’m not testing you Ma,” Vivekananda shook his head sorrowfully. “Sadhus are human like the rest of mankind. If they had the power of bestowing life and health would they not be immortal themselves?”

The woman continued to weep and plead. “Touch my daughter and give her your blessing,” she begged. “That will be mantra enough for her.”

Suddenly the girl rose to her feet and pulled her mother up by the hand. Hate and anger flashed into her beautiful surma-lined[21] eyes. “You’re wasting your time Ma,” she said. “We’re fallen women–despised by everyone. He won’t touch me.”

Vivekananda smiled. Stretching out his hand he placed it on the girl’s head. “If by blessing you I can soothe your pain away I do so with all my heart. Now you must do something for me. If you find a doctor or a sadhu or anybody who can cure your asthma be sure to let me know. I suffer such terrible agony at times– I would be grateful for some relief.”

Nivedita was on a tour of Europe and America to collect donations for the Ramakrishna Mission. Away from the country she gained a clearer perspective. She saw India’s poverty, ignorance and subservience under an alien rule. She felt her pain and humiliation as she had never felt before. She told herself that the first task before anyone who loved India was to rid her of the foreign yoke.

 While in America she heard of the great Japanese philosopher, Count Okakura, and his dream of creating a vast Asian race that could overpower the European. Okakura was in India, already, meeting people and pledging support on behalf of his own and several other countries of the east — not moral support alone but military and financial as well. An overjoyed Nivedita decided to abandon what she was doing and throw herself into Okakura’s movement. Swami Vivekananda heard about Nivedita’s return and felt disturbed and angry.

Nivedita: “Count Okakura is launching a movement for the independence of India. He wants me to accompany him to Mayawati. I’ve come to take your permission.”

 Vivekananda: “Independence. Hmph! Is it a piece of candy you can snatch away from the British? Who doesn’t know or admit that living under a foreign rule is humiliating? But backwardness, ignorance and superstition are deep rooted social evils which have to be removed first. Freedom will follow. You’re chasing a mirage, Margot.”

Nivedita: “Why do you say that? Count Okakura…”

 Vivekananda: “The most important task before you is to educate the women of the land. And that is what you should be doing.”

Nivedita: “I’m not a simple school teacher. I’m a daughter of India. You have dedicated me to her service. That is why I am Nivedita.”

Vivekananda: “No. I haven’t dedicated you to the service of any country. You’re a disciple of my guru Ramakrishna Paramhansa. I brought you here to serve humanity.”

Nivedita: “I haven’t strayed from the path of service. Is not freeing the enslaved service to humanity?”

Vivekananda: “We are ascetics. Politics is not for us. You have two options before you. To stay with the order and obey its rules or sever your connections with the math and follow your own inclinations. I cannot allow the Mission to be threatened.”

Nivedita’s face turned a deathly white. Stooping she touched Vivekananda’s feet and walked out of his presence. Two days later she left for Mayawati with Okakura.

Vivekananda was stunned on hearing the news. But strangely, what he felt most was neither outrage nor a sense of betrayal. He was overwhelmed by a feeling of loss. Nivedita had left him. Not because she had wanted to but because he had compelled her. Had he been too harsh? Too intolerant? He wanted to go to her and soothe her with a few kind words. But every time he thought of crossing the river his spirit quailed. He felt acutely exhausted and breathless these days and the slightest strain brought on severe palpitations. Yet, one day, he went. Dropping into a chair he said with a desperate urgency in his voice. “Come to the mathh Margot. Come as soon as you can.”

Vivekananda meditating

Nivedita went, early one morning, a few days later. She looked very beautiful in a flowing dress of white silk and a string of rudraksha[22] beads around her neck. 

Vivekananda: “You came because I asked you. Not because you wanted to.”

Nivedita: “I wanted to with all my heart,” She murmured with tear-filled eyes.

Vivekananda: “You must be hungry. I’ll cook you some breakfast.” He went out and returned with a thala[23].

Nivedita: “Won’t you eat with me?”

Vivekananda: “Today is Ekadasi[24].”

She ate. He washed her hands and wiped them tenderly finger by finger.

 Nivedita: “What are you doing Swamiji? It is I who should be serving you.”

 Vivekananda: “Jesus washed the feet of his apostles…” he murmured so low that it sounded like he was almost speaking to himself, “on the last day… “

Nivedita: (shocked) “Why do you say that? There are many years before you. You have so much more to give…”

Vivekananda: “No Margot.  I’ve given everything I had. I’ve nothing left.”

 Nivedita: (bursting into tears) “Who else but you? Who else but you?”

Vivekananda: “Sometimes it becomes necessary to cut down a large tree to enable the smaller ones to grow. I must make room for you.”

Vivekananda woke up, the next morning, feeling as though he had never been ill in his life. Rising he walked to the balcony without any pain or breathlessness. And, strangest of all, it seemed to him that his vision had improved.  Was the sky really as blue as it looked today? The grass and leaves as green? Then a sensation, long forgotten, stirred in his belly. He was hungry. Prodigiously hungry. He yearned for ilish –thick wedges of the delicate fish — some fried crisp in its own fat, some nestling in a rich spicy mustard curry and some in a sweet and tart sauce.  He fell hungrily on the food as soon as it was served. Pouring the fried fish along with its oil on a mound of smoking rice he crushed some sharp green chillies into it and ate big handfuls with noises of relish. When the last course, the sweet and sour fish, came he cleaned the thala with his fingers and licked them, “Yesterday’s fast has left me very hungry,” he said, “I’ve never enjoyed a meal so much.”

He spent the whole afternoon talking to some visitors, who had come to the mathh, without betraying a trace of uneasiness or fatigue. But the moment he retired to his room for a rest he exclaimed, “Why is it so hot in here? And so dark? Is there a storm brewing outside?”

His face was streaming with sweat and he was breathing in loud painful gasps. Throwing himself on the bed, he commanded his young disciple Brajen, “Open all the windows, Byaja, and fan me.” Despite the strong breeze that blew in from the open window and Brajen’s frenzied fanning, he cried over and over again, “I’m sizzling all over. This heat is killing me.” Suddenly his head slid from the pillow and fell over the edge of the bed. Brajen leaned over his guru and shrieked in fear. And now, before his amazed eyes, Vivekananda straightened his head slowly and lay on his back. A deep sigh escaped him…then all was still.

 In a few minutes the room was full of people. The doctor was sent for. But no one thought of informing Nivedita…

The news reached her the following morning. Snatching up a shawl she ran out of the house, just as she was, and came to Belur. Swamiji’s room was crammed with people, weeping, chanting Ramakrishna’s name and talking in agitated whispers. They made way for her as she walked in softly, on bare feet, and knelt by the bed. He looked exactly as he had yesterday except that his eyes were as red as hibiscus and runnels of blood had congealed around his nose. Asking for some damp cotton wool she wiped the blood tenderly away.

Around two o clock in the afternoon someone said to her. “You must rise now. It is time.” Nivedita moved away without a word. Fingers of ice clutched at her heart as she watched the disciples bathe the body in gangajal and dress it in new saffron robes. Then they carried their guru to a sandalwood pyre set up under a huge bel tree in front of the mathh. Nivedita looked on as the sanyasis[25] chanted mantras and placed his belongings, one by one, on the pyre. Among them was the shawl he had worn the day he had come to see her. “Can I have that?” Nivedita asked the senior most disciple, Saradananda, timidly. “As a keepsake?” Saradananda hesitated a little. “Everything a sanyasi had used in his earthly life is supposed to burn with him. But if you are very keen…”

“No, no,” she said hastily. “There’s no need to break the rule.”

The pyre was lit, and the flames rose to the sky. Nivedita noticed that no one was talking to her. No one had offered her any consolation. She was an outsider already.

Hours went by. The sun changed from a white-hot blur to a ball of fire that resembled the dancing flames on which Nivedita’s eyes were fixed. Suddenly she felt a warmth, a melting in her ice locked heart. Startled, she looked down. A piece of the shawl she had wanted as a keepsake had come flying from the pyre, grazed her breast, and fallen into her lap.

[1] Musical instruments

[2] Yard

[3] A low seat

[4] A long loincloth

[5] Holy water of the Ganges

[6] sages

[7] Mendicant

[8] Mother…Mother…O Mother

[9] Escatic consciousness borne of religious meditation and fervour

[10] Devotional hymns

[11] A state of having attained Mokshya or enlightenment after death

[12] Hymn

[13] A conglomerate of the Sanskrit words: viveka and ānanda, meaning bliss of discerning wisdom

[14] Foreign

[15] An expression indicative of shame

[16] Ramakrishna was referred to as Thakur or Godhead too

[17] Monastery for Hindu monks

[18] Chants for Shiva

[19] The column of ice that was seen as the phallus of Shiva

[20] The divine form of Shiva

[21] Kohl-lined

[22] Holy beads

[23] Plate

[24] Eleventh day in the lunar cycle, a day when many Hindus fast.

[25] mendicants

Aruna Chakravarti has been the principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator with fourteen published books on record. Her novels JorasankoDaughters of JorasankoThe InheritorsSuralakshmi Villa have sold widely and received rave reviews. The Mendicant Prince and her short story collection, Through a Looking Glass, are her most recent books. She has also received awards such as the Vaitalik Award, Sahitya Akademi Award and Sarat Puraskar for her translations.

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Categories
Essay

The Oral Traditions of Bengal: Stories and Songs

Narrated by Aruna Chakravarti

Agomoni (1878–1883), Metropolitan Museum of Art, Kolkata

Bengal — and here I refer to undivided Bengal — with her plurality of religions, cultures and sub-cultures and her numerous linguistic forms and dialects, provides a wonderful kaleidoscope of thoughts and ideas through her oral utterances. Multiple streams of expressions provide a fascinating study for the researcher.  This cultural heritage is deeply enmeshed in the life of a Bengali enfolding Hindu and Muslim alike. In the present scenario of divisive identity politics, it is imperative that we draw upon this common heritage constantly and consistently.

In this essay, we will highlight practices in which there was equal participation of Hindus and Muslims, with each community infusing and enriching the traditions of poetry, music, narrative and ritual. What is observed is a readiness to dissolve religious differences in a common cultural pool of assimilated identities.

A large body of the oral literature of Bengal is rooted in the worship of demonic powers. As is to be expected in a tropical region and a primitive, rural society, certain deities are seen as holding human lives in thrall by their control of natural calamities, animal attacks and epidemics. Though Islam sanctions worship of none other than Allah, the Muslims of Bengal are equal participants in the propitiation of these deities. Interestingly, most of these are female deities, indicating that Bengalis have seen the powers of destruction and preservation as vested in women from time immemorial.

Olai Chandi

Let us begin with the Saat Bibir Upakhyan, the legend of the seven sisters who hold in their hands the power to unleash and contain some of the deadly diseases that strike rural Bengal from time to time. The eldest and most feared is Ola Bibi or Bibi Ma –the goddess of cholera or olauthaola, in the rustic dialect meaning diarheoa and utha –vomiting. When the two symptoms appear together the villagers see it as Ola Bibi’s curse and rush to offer prayers and sacrifices. So great is their awe and terror of this deity that they invest her with the most flattering attributes. Worshipped by both Hindus and Muslims alike, she is represented as a woman of surpassing beauty, striking personality and noble mien. The Hindu version of the idol, Olai Chandi, has a bright yellow complexion and long slanting eyes. She wears a blue sari, has open hair and is adorned with the jewellery wealthy Hindu women wear – bangles, necklaces, armlets and a nose hoop. The Muslims visualize her as a high-born Muslim maiden in Islamic attire – loose pyjamas, shirt, cap, veil and nagras[1] on her feet.

The worship of Ola Bibi continues vibrantly into the present in Nadiya, Bankura, Birbhum, Bardhman and even Kolkata, sometimes singly, sometimes along with her other six sisters –Jhola Bibi, Ajgai Bibi, Chand Bibi, Bahurh Bibi, Jhentuni Bibi and Asan Bibi. Her puja is performed out in the open under the trees or by the river. But some places are earmarked as Saat Bibir thaan or Ola Bibir thaanthaan being a corruption of the word sthaan meaning place. The rituals, even when the devotees are Brahmins, are performed by Muslims or drawn from the lowest rung of the caste ladder –the Hadis or Doms.

The second sister Jhola is the goddess of pustules – the full range from the harmless measles to the killer smallpox. But at least one of the seven sisters is a benevolent deity.  The youngest, Asan Bibi, makes things easy for women who invoke her aid.

Asan Bibir brata katha[2] tells the story of Shireen, the first brati or invoker of the deity’s aid. Shireen’s father Sultan Isa Khan ordered his daughter to be killed at birth to save her from falling into the hands of the pirates of Arakan who descended on his kingdom, periodically, to loot, plunder and rape. But his purpose was foiled by his eldest son Chand, who escaped with his sister into the forest, far away from the civilised world and its cruelties to women. When Chand was forced to go out to seek a livelihood, he gave his sister seven munia[3] birds and charged her solemnly to give them their gram and water everyday and keep them alive, for his life was bound up in theirs. Young Shireen, in a playful mood, forgot her duty one day and was shocked to find that the birds had died. She set up a wail hearing which Asan Bibi appeared before her. Commanding Shireen to find seven married women and make them sit around the birds and listen to her story, Asan Bibi brought the birds and Chand back to life.  

This was the first Asan Bibir puja[4]. Isa Khan’s cruelty to his daughter, with all its implications of female infanticide and honour killing being foiled by his rebel son –an enlightened man and champion of women’s rights — is as relevant today as it was then. Asan Bibi is not only a deity. She is the manifestation of woman power. The seven bratis symbolise the bonding and coming together of women in a bid to protect each other from masculine cruelty and domination.

 Asan Bibi is a Muslim deity but, as part of an appropriation and assimilation that has gone on for centuries and is typical of Bengalis, the legend of Asan Bibi is enacted, to this day, by Hindu women not only in Bengal but all over India. The offerings are gram and water and the birds are represented by clods of earth

The rituals of this puja display a fascinating blend of Hindu and Muslim practices. The square of red silk on which the pot of water is placed, the silence observed when the tale is being told and the prasad being eaten out of the pallus[5] of the women’s saris, are pure Muslim. But the water in the pot is Gangajal[6], the pot is adorned with a swastika and the clods of earth have to be taken from the base of a tulsi bush[7]. Sindoor, alta and paan[8] with which the chief brati or pledger greets the other six women are the other Hindu elements of the puja.

Another women’s brata[9] is centred around Bhadu — a folk deity worshipped extensively in Rarh and its surrounding districts. Bhadu puja is performed throughout the month of Bhadra, that is the middle of August to the middle of September. The main component of the puja is the community singing by women in which the tale of young Princess Bhadreswari of Manbhum and her tragic, untimely death is told. Bhadu gaan or the ballad of Bhadu expresses the hopes and aspirations of young maidens in ordinary, everyday village life. This puja has no religious basis. No mantras are required and no priests to conduct the rituals. The devotees, like in the Asan Bibir brata, are all women. But despite the non-Aryan nature of the puja and the absence of mantras, there are references to Kali and Krishna in the ballad. The drums announce the coming of Bhadu from Brindaban but, at some point, in her journey she must have stopped at Kailash for her hands are covered with blood red sandal paste, like Kali’s, and a garland of hibiscus hangs around her neck.

Thus, Vaishnav and Shaivaite ideologies are mixed and mingled in the worship of Bhadu, and Shyam and Shyama come together. Yet Bhadu is human – a young girl. She is petted and pampered by her devotees and called Bhadu Rani and Bhadu Dhan[10]. Young girls form eternal friendships with her using the tradition of Soi patano – the exchange of symbolic names with special girl friends. In the song that follows a devotee makes Bhadu her soi picking phul (flower) as a name for her. But what is she to give Bhadu as a gift? Flowers and garlands, of course.

To go back to the deities who hold the key to human suffering and happiness we have Ghentu – the patron deity of skin ailments like sores, itches, scabies and carbuncles. Like Jhola Bibi of the pustular menace, Ghentu appears in spring which, though a season of sweet breezes and mellow sunshine, is particularly conducive to skin afflictions. But Ghentu is not accorded the same respect as Jhola. Though feared, like her, he is also hated and held in contempt. This, perhaps, is owing to the fact that he is only capable of causing minor irritations. He doesn’t have the power to kill or wreak serious damage.

 Ghentu Puja is performed by women, mainly mothers, in the twenty-four parganas and the Bardhaman / Bankura belt through the month of Chaitra[11]. There are no temples to Ghentu and no images. A well-worn household pot of black clay is placed on a broken winnowing tray. A pat of cowdung on the pot forms the face and two cowrie shells the eyes of the god. He is made to look bizarre and ugly because Ghentu, though a Deb Kumar[12], had to take birth among the ghouls following a curse by Vishnu. The offerings denote the contempt the idol is held in. Ghentu phul (a foul-smelling flower) parboiled rice (also foul-smelling) and masur dal[13] which is considered unholy for some reason (caste Hindu widows are not allowed to eat it) are placed before the pot with the left hand and not the right. There are no mantras but some verses, insulting and derogatory, and meant to drive him away, are chanted.

Ghentu puja

On the last day of the puja the clay pot is beaten with sticks and kicked to pieces by an excited crowd.  This extraordinary humanising of deities and the concept of irreverence as a form of worship is admissible only in Hinduism and never better expressed than in Ghentu puja.

Agrarian societies are almost totally dependent on the whims of nature. Droughts, floods, storms and pests might bring to naught months of hard labour in the fields. Thus, fear and uncertainty dog the lives of peasants and they can breathe easy only after the harvest is reaped and safely stowed away in their paddy bins.

The harvest festival of Bengal starts on Makar Sankranti or the Winter Solstice when the crops begin to ripen. In some districts this festival is known as Tush Tushulir Brata and in others Tushu. Tushu is neither a goddess nor a human like Bhadu. Tush or the husk that protects the precious grain for the whole period of ripening is the object of worship here.

The puja is performed by women irrespective of age or status. Young girls, married women, matrons and widows are all allowed to participate in the rituals which go on for three days. An earthen plate filled with husk is placed in a room where the women of the household assemble chanting verses in praise of Tushu. On the third day one of them carries the plate on her head to the pond and sets it afloat. The rituals vary from region to region but the practice of bauri bandha is prevalent in most parts of Bengal. The outer surface of a clay saucer is smeared with rice paste then filled with water and placed on the fire. As the rice paste bakes and hardens and gets stuck to the pot women chant and sing for joy, for the ritual of bauri bandha symbolises the binding of the grain. It is now firmly in the household and cannot escape. It is only on the conclusion of this ritual that the preparing of peethe puli – an array of sweets made from new rice, coconut and mollases –can commence.

The emotions that spark off the festival of Tushu are relief and gratitude for being spared the prospect of starvation for another season. What better way to express these feelings than in song?  Song which liberates the mind and relieves fears and anxieties? Tushu gaan[14] is similar to Bhadu gaan in many ways but whereas the latter focuses on the dreams and aspirations of young maidens Tushu expresses the hopes and fears of an entire community and is represented as a rustic lass celebrating a bountiful harvest with her friends –boys as well as girls.

The literature of rural Bengal is studded with references to these deities. Brata katha and katha katha, stories with a moral lesson at the end, were told by professional narrators or kathak thakurs at religious gatherings from as early as the 5th or 6th century AD.  The practice continues vibrantly into the present. At some point down the years they were given a structured form called panchali, a story chanted in verses. Still later, they were textualised by erudite versifiers or pada kartas in a form called Mangal Kabya[15].

The worship of Satyanarayan or Satyapir is performed by both Hindus and Muslims. The rituals are identical, but the deity is called by different names –Satyanarayan by Hindus and Satyapir by Muslims. The offering is identical too – a thick gruel like substance made of flour, milk, mashed bananas and mollases called shirni, which seems to be a corrupted form of the Persian word phirni. Satyanarayan puja in Hindu households is performed by Brahmin priests learned in the Shastras. A Shalagram Shila[16](symbol of Vishnu) is placed on a square of carpet called an asan. Five small plates surround it each containing a betel leaf, a supari[17], a banana, a batasha[18] and a coin. These are called mokams. A metal object, usually a knife or blade, is placed next to the Shalagram Shila.

There is some debate on what came first – the Islamisation of Satyanarayan or the Sanskritising of Satyapir. The latter seems to come nearest to the truth for the following reasons:

  1. The presence of a metal object on the asan of the Shalagram Shila is totally alien to any form of worship sanctioned by the Shastras.

 2.   The words Satya and mokam are Arabic in origin.

      3    Shirni, as an offering, is not seen in the worship of any other Hindu deity.

The truth probably is that someone called Satyapir actually existed at some point of time and was subsequently raised to the status of a deity by his followers. Since Islamic shariat does not sanction worship of any other than Allah, Satyapir remained on the fringes till caste Hindus, ever eager to swell the ranks of their pantheon, appropriated him and made him their own. The rituals remained the same. The only thing they added was the concept that Satyapir was an incarnation of Vishnu in Kaliyug[19]. Hence the Shalagram Shila.

Several eminent pada kartas have written of the exploits of Manasa, the daughter of Shiva and Ganga, another name for whom is Bishhari (conqueror of poison). Of these the most popular version is the one by Ketakadas Khemananda and is still performed by theatrical troupes in the small towns and villages of Bengal.

Manasa Devi (1920) by Jamini Ray (1887-1972)

Manasa worship is said to have emanated from that of the goddess of snakes Manacha Amma of Karnataka — the ch sound having changed to sh in provincial Bengali. There are several versions of how the concept arrived from South India to Bengal of which the most reliable one is that it was brought by bands of Bedeys –nomadic snake charmers who wandered from place to place exhibiting their skills in taming snakes and making them dance to the trilling of their pipes. Bedeys — a community that still exists in Bengal, though Muslim, are fervent worshippers of Manasa.

Manasa puja is traditionally performed at the base of a phani manasa bush – a wild plant with thick, spiky leaves edged with thorns. The bush is supposed to be the protector of snakes and hence their favourite haunt. Though a pre-Aryan deity, Manasa puja is performed by Brahmin priests in accordance with Vedic rites. The goddess is offered flowers, paddy, incense and sindoor. But the bhog – a meal of rice, dal and vegetables– has to be cooked the previous night and offered stale. Manasa puja is also performed in Bangladesh, often by Namazi Muslims who see no contradiction between their worship of Allah and this indigenous deity.

 Manasa Mangal or Manasar Bhashan is a long-drawn-out narrative set to music. The versification is rudimentary – composed of octosyllabic couplets interspersed with occasional quatrains. The story line is simple and the tunes primary and repetitive. The ballad tells the story of the complete humiliation and defeat of the merchant Chand Saudagar at the hands of the snake goddess Manasa. Puffed up with pride at his wealth, his seven sons and his fleet of ships that carry expensive cargo from one port to another Chand Saudagar refuses to pay Manasa the homage due to her. Manasa decides to teach him a lesson. His seven sons die of snake bite. Seven of his ships, in some versions it is fourteen, are lost at sea. But the youngest son Lakhinder’s wife, the great sati[20], Behula, saves her father-in-law from Manasa’s wrath. She refuses to cremate her husband or don widow’s weeds. Making a raft of banana trunks, she sets herself afloat on the Ganga with her husband’s head on her lap. The river takes her to the abode of the gods where she wins Manasa over with her devotion and humility. Manasa forgives Chand Saudagar and all ends well with Chand acknowledging Manasa’s divinity and Manasa returning to him all she had taken.

The story of Behula predates Brahminical Hinduism and established caste structures. The names—Behula, Sonoka and Lakhinder serve as evidence to the fact. Yet the moral is rooted in patriarchy.  A woman’s chastity and steadfast loyalty to her husband, as integral to the welfare of family and community, has been valorised in ‘Manasa Mangal‘ and to this day Behula’s chastity is seen to be on par with that of the great satis of the epics, Sita and Savitri.

Agomoni, verses sung in preparation for Durga’s coming by itinerant minstrels, both Hindu and Muslim, got its first structured form in the songs of the sage Ramprasad who, along with Horu Thakur, Ramnidhi Gupta and other pada kartas from the Twenty-four parganas, Bardhaman, Bankura and Murshidabad, imbued the form with extraordinary sensitivity and human feelings.

At the end of the monsoons when the first clear light of Autumn suffuses the skies, when the lotus blooms and the waving kaash is reflected in the waters of ponds and rivers, Bengal villages come alive with the singing of Agomoni, the legend dear to Bengali hearts, of the coming of Uma. For the great goddess, the ten-armed Mahashakti and the vanquisher of Mahishasur, comes to her earth mother’s lap in the form of her little Uma. The emotional Bengalis, ever ready to humanise their deities and form relationships with them, rejoice at her coming.

Agomoni song by former folk artiste, Amar Pal (1922-2019)Giri Ebar Uma Ele… Kaaro Katha Manbo Na (Giri, when Uma comes, I will not listen to anyone), A song composed by Ramprasad Sen (1718 or 1723 -1775)

 Agomoni is an expression, pure and simple, of the everyday life of women in a rural community –their joys and sorrows; hopes and fears. Agomoni opens with Menaka’s grief at the plight of her daughter Uma married, by a careless, indifferent father, to the wayward, half crazed beggar Shiva who covers his nakedness with ash, gets stoned with bhang and consorts with ghosts and spirits. Maneka’s impassioned plea to her husband Giri Raj to bring her darling to her, if only for a few days, echo the yearning of all mothers for a daughter married far away from home.

Giri Raj, like most men, likes to believe what suits him. Convinced that his daughter is perfectly happy in her husband’s home, he dismisses his wife’s fears and tries to placate her with vague promises. But Menaka won’t let him off so lightly. She tells him that she won’t send Uma back to her husband’s house when she comes next. She’ll turn a deaf ear to what people say and, if Shiva insists on taking her back, she and her daughter together will give her son-in-law the tongue lashing he deserves. This song, composed by Ramprasad Sen in the eighteenth century, touches a chord in every mother’s heart for all women, including Menaka, know that this show of rebellion is worth nothing and will be quelled by Giri Raj before he has even heard her out.

 Uma comes but Menaka has to reckon not only with her husband but with a daughter whose other name is Sati and who smiles away her mother’s suggestion of keeping her permanently with her. The three days of Uma’s visit pass quickly, too quickly. A desperate Menaka changes her tune. She appeals to her daughter to persuade her husband to come to his father-in-law’s house and stay a few days. Dropping her aggressive stance, she promises to pamper him and give him everything he wants including his favourite bhang.

But that, of course, is not to be. Shiva, incensed with Giri Raj for past insults, won’t even step across the threshold. Nabami[21] night comes. Only a few hours to dawn and Uma will go back. Menaka breaks down and weeps.   Alas, her desperate plea to the night of the ninth moon to embrace eternity and never see the face of dawn remains unheard and unanswered.

From the complex compound of anxiety, nostalgia and hope that is Agomoni, we move to another area of cultural memory—the legend of Kerbela. Through the month of Muharrum the Muslims of rural Bengal enact the legend of the battle of Kerbela and the massacre of the prophet’s grandsons Hassan and Hussain. The tale is sung in verse known as jaari gaan—the word jaari, derived from Persian, denoting mourning. It is accompanied by the playing of musical instruments like drums and cymbals and body movements like leaping and dancing. About twenty young men, with gamchhas[22] on their shoulders and ghungroos[23] on their feet, make up a jaari troupe. They go from door to door, the lead singer telling the tale—the others singing the refrain.

Jaari is presumed to have originated in the 16th century with its roots in the Muharrum legend. But the form evolved and came to incorporate other tragic legends—not all of them Muslim. For instance, a very popular Jaari theme is that of Chandidas and his ill-fated love for the washer woman Rami. And, over the years, Jaari has moved on bringing every form of human suffering within its ambit. While retaining old myths and legends in its repertoire, present day Jaari explores and foregrounds the adversities and afflictions of common folk – the fears and terrors that make up their day-to-day existence – poverty, sickness, failed harvests and natural disasters. A famous Jaari gaan reflects this transition. It begins with a heart-rending account of the trials and tribulations suffered by the adherents of Allah after losing the battle of Kerbela—the miles of walking in the desert under a white-hot sun, feet on fire against the burning sand, chests crackling with thirst.

Allah Megh De: Pani De (God give cloud, give water): Jaari song by legendary folk singer Abbasuddin Ahmed (1901-1959)

But soon the focus moves from the plight of the faithful in distant Arabia to the plight of the ryot in rural Bengal. From a song of worship it becomes a song of livelihood. Peasants, who live by the soil, in the grip of the whims of Nature, look up at a drought hit sky and call upon to Allah to send rain.

Music runs in the Bengali blood, particularly in that of the rural masses.  Work and song are so closely inter-woven that every livelihood is expressed in song. All working people whether potters or weavers, cowherds or blacksmiths, peasants or palanquin bearers sing as they work.  But being a land of many rivers and waterways and sailing being a way of life here, perhaps some of the most poignant forms of folk music are to be found in the songs sung by the boatmen of Bengal.

Bhatiyali is the song of the lone boatman as he drifts down the river, wide as the sea from monsoon rains, far away from his loved ones, braving storms and tempests, the fear of never reaching his destination in his heart. The boatman pours out his love and longing, dreams and hopes in a melody that is as slow and tranquil as the flow of the water. Of all the folk songs of Bengal, nothing matches the subtle and sensitive blending of word and image, tune and rhythm that characterises Bhatiyali. The boatmen are both Hindu and Muslim and their songs, though reflecting their distinctive lifestyles, throb with the same emotions of nostalgia and despair.

Like Bhatiyali, Saari Gaan is essentially a collection of river songs. But these are sung during regattas when rows of boatmen need to ply their oars in synchrony to attain maximum speed. In fact, whenever a group of men or women try to accomplish a physically demanding task – be it weeding a field, threshing paddy, washing jute or rowing a boat — they tend to chant or sing to give a rhythm to their movements and to relieve the tedium of the work. In that sense all the songs sung collectively by the labouring class comes under the category of Saari Gaan – saari meaning row or line. But Saari Gaan, like Bhatiyali, is linked in the minds of Bengalis primarily with the movement of a boat – quick and rhythmic in Saari; slow and languorous in Bhatiyali. The other, more fundamental difference between the two is that Bhatiyali is sung in a single voice—Saari in a chorus of voices.

Boat races are organised, and Saari Gaan sung, extensively in Rajshahi, Dinajpur, Dhaka, Mymensingh and Barisal, on both Hindu and Muslim festivals such as Sravan Sankranti, Bijoya Doushami, Eid ul fitr and Eid ul zuha. They have a wide range of themes. The songs sung before the starting of the race are usually paens of praise to the deities with the idea of invoking their blessings. After the boats set sail, the singing becomes loud and clamorous and is accompanied by the beating of drums and the clanging of metal plates. These songs are loaded with comic jibes, contempt and invective for the rival group. Sometimes the main singer is seen dancing on the boat to the rhythm of the oars.

On the return journey, the mood changes. The singing becomes somber and pensive; the language thoughtful and imbued with philosophy.

Bhavaiyya is essentially a wonderfully lyrical love song expressing the full range of emotions that sway the heart of a woman in love. Sung mainly in Rangpur, Cooch Bihar Assam and Jalpaiguri, Bhavaiyya describes the rapture of union and surrender and the anguish of parting and loss. But, somewhere down the line, the fate of the abandoned woman is fused with the tragic destiny of the mahout—the dangers he faces as he guides his elephant through impenetrable forests. These songs are also known as Goalparar gaan—after a forest of Assam where, presumably they had their origin. 

Jhumur is the name given to a style of folk music common to many parts of India such as Bengal, Bihar, Madhya Pradesh and Gujarat. The language differs from region to region, but the tune and style of singing is more or less similar. The bordering areas of all these states, being hilly terrain covered with forests, are inhabited by adivasis of whom the ones in Bengal and Bihar are santhal.  Santhali Jhumur having come under the influence of Bengali folk and classical traditions, has evolved into something different in terms of form, tune, language and expression.

Santhali performance in spring

Santhali Jhumur is made up of three-line verses. The singing is accompanied by dancing and the playing of musical instruments like the madol (a kind of drum) and banshi (flute) The themes are mostly those that pertain to everyday adivasi life – such as the agony of a girl whose father, lured by a large bride price, marries her off to a man from a distant village or the aspirations of a vivacious lass who wishes to dress and walk as gracefully and elegantly as the women of the city.

But soon the girl’s flirtatious charm is revealed for what it really is– a thin veneer. Her real self is laid bare in the heart broken lament that follows; of a woman for whom poverty and deprivation are constant companions; whose children die because she cannot feed them.

We now come to the two universally acclaimed traditions of music in Bengal. Keertan and Baul, which while transcending the traditionally religious, and social and community needs and concerns, yet absorb and assimilate them all in the rich fabric of  their complex plurality.

Cultural movements such as Bhakti and Sufi, spanning time and territory, entered Bengal in successive waves creating a syncretic culture in which music, poetry and other fine arts were amalgamated. Bhakti and Sufi found their creative expression in several parallel musical forms in Bengal. These forms, though distinct from one another, have some attributes in common. The presence of a mystical fervour which celebrates the unity of God and man and a philosophy of humanism which rejects rigid and stifling religious orthodoxies and stresses the equality of all human beings irrespective of caste, class, race, gender or religion is common in Keertan and Baul.

Keertan, derived from the word keerti or deed, is a form that showcases the attributes and exploits of the gods, humanising them to an extent that makes them part of the everyday lives of ordinary men and women. Keertan is said to have emanated from Sri Chaitanya Mahaprabhu. Vaishnavas believe him to be the eleventh incarnation of Krishna. It is said that Radha wept a hundred years after Krishna’s desertion –- that is his departure from Brindavan to assume the kingship at Mathura. But, as the legend goes, Radha didn’t stop at tears. Her grief and yearning were transmuted into a burning rage in the throes of which she cursed Krishna with another incarnation. He would be born among the common people, she said, bearing his own form but her heart, mind and senses. He would experience for himself the breathless rapture and the excruciating agony of Krishna love. Great God though he was, Krishna could not shake off Radha’s curse. He came down to earth as Nimai of Nadiya. But he didn’t come in his own aspect. The cloud complexioned god took on the hue of a golden lotus, Radha’s hue, becoming Gouranga or He of the Fair Form. The itinerant minstrel sings…

Nimai was Krishna’s natural incarnation in infancy – playfull and mischievous, the bane of his mother Sachi’s life. Then gradually she, whose heart, mind and senses he bore within his body, began asserting herself and he was drawn towards Krishna as a moth is to a flame. In the grip of a divine frenzy that could only be matched by Radha’s for her Madanmohan, Nimai found himself drowning in a sea of Krishna consciousness. He would stop in his tracks whenever he heard the God’s name then, lifting his arms above his head, he would close his eyes and start swaying and pirouetting, chanting …hare Krishna  hare Krishna[24]

This was the origin of Keertan. Naam Keertan (reciting the names of the god) swelled as villagers, both Hindu and Muslim, started veering around Nimai in twos and threes. Then, with the passing years, a large band of devotees was formed and Nimai the wayward and incorrigible was metamorphosed into the great saint and sage Sri Chaitanya Mahaprabhu who preached a religion of humanism and founded the Vaishnava cult.

As the numbers grew, Naam Keertan changed in form and content. Sang Keertan (sang meaning together or in a chorus) added adjectives and descriptive phrases to the names and used drums and cymbals to liven up the singing which became loud and clamorous. The Mahaprabhu often took the lead himself and the rest took up the refrain. Sang Keertan parties moved from village to village in the manner of troubadours disseminating the Mahaprabhu’s message.

From these humble beginnings Keertan passed, by degrees, into the hands of skilled versifiers and came to be known as Padabali Keertan – pad meaning verse. Haridas Thakur, Narottam Thakur, Jnandas Thakur and Raghunandan Thakur were some of the padakartas[25] from whose creative genius Keertan evolved into the intricate, meticulously structured musical form it is today. But though it had its genesis in the Radha Krishna legend, Keertan moved, over the years, towards the Shaivaite tradition imbuing it with its philosophy of humanism and love. Down the river from Nadiya was Halishahar where the great Kali sadhak[26], Ramprasad sang Kali Keertan which humanised the goddess of terror and turned her into a mother whose eyes held oceans of mercy.

Concentrated mostly in Kushthia, Shilaidaha and Sajadpur in East Bengal (now Bangladesh) and Murshidabad and Birbhum in West Bengal, Baul is a folk tradition rooted in the lives of the rural people. Though traces of other influences are seen in Baul gaan its main flow is from two strong sources—Muslim Sufi and Hindu Vaishnav. Hence the equal presence of Hindu and Muslim bauls in the villages of Bengal. Though they dress differently –Muslims wear robes of motley-coloured rags and carry a hookah and chimta[27]and Hindus don saffron and have sandalwood markings on their brows and ektaras[28] in their hands – their message is one and the same. Nurtured by great composers like Lalan Fakir, Duddu Shah, Madan Baul, Gagan Harkara and Fikir chand, Baul songs disseminate a message of harmony between man and man rejecting religious codes like Shariat and Shastras, caste differences, and social conventions and taboos as barriers to a true union with God. But where is one to find God? Gagan Harkara, an unlettered rustic whose livelihood was carrying the post from village to village sang as he went: “Ami kothai pabo tar amar moner manush je re…”[29]

And how does man find this moner manush—the being within himself. Only by freeing himself of all external forms of worship and trusting the flow of his own spirit.

The Baul (the word is derived from bayu –air) moves spontaneously towards God the way air flows in and out of all created things. The term could also be derived from the Arabic bawal meaning mad –in this case, mad with love of God.

Since God is believed to reside within man, the human body is looked upon as the site of the ultimate truth; that which encompasses the entire universe. This tenet of Baul philosophy is known as dehatatwabad—the belief that the soul being pure the body that houses it, together with all its functions, is pure and true. Lalan Fakir expresses this philosophy in a song so complex in idea and image as to be almost abstruse. The body is likened to a cage from which the godhead flits to and fro. The Baul spends a lifetime trying to capture it but the bird remains elusive.

Khachar Bhitor Ochin Pakhi( An unknown Bird in a Cage) Song by Lalan (1772-1890) sung by Kartik Das Baul, a contemporary Baul singer

In such a philosophy there is, one would think, no place for Guruvad[30]. If the godhead you seek resides within you, where is the need for a middleman? Yet, strangely enough, guru, peer, murshid and sain are extolled in Baul lyrics and often take the place of God. Baul philosophy, like a gigantic honeycomb, seems to have a slot for all human needs.

I would like to end this piece, with an account of the life of the greatest of Baul composers Lalan Fakir. Not much is known of him except what has come down to us in the form of anecdotes. Lalan was born in the year 1774 in the village of Bhadara in Nadiya district, to a kayastha family with the surname Kar or, as some academics maintain, Das. He lost his father in infancy and was married while still in his teens. As a young man he went on a pilgrimage to Puri and on the way back was stricken with small-pox. His fellow travellers abandoned him or, as per another account, set his body adrift on the Ganga thinking him dead. He was found, alive but badly pitted and blinded in one eye, by a Muslim woman who nursed him back to health. In this village, he met an itinerant Baul singer named Siraj Sain who became his murshid or mentor. There are frequent references to Siraj Sain in Lalan’s compositions.

Lalon by Jyotindranth Tagore. The poet Tagore and his family brought Lalon’s music to limelight… as much as they could.

At some point Lalan went back to his native village but was not accepted by his family and community because, having lived among Muslims and eaten with them, he had lost caste and was no longer acceptable as a Hindu.  Many of Lalan’s songs question this aspect of Hinduism. But Lalan’s rejection is not only of the discriminations practiced by the Hindus. He questions the very basis of the divisive walls created by religion between man and man.

Shocked and hurt by his rejection Lalan renounced his family, community and religion and started keeping company with Siraj Sain. On the latter’s death, Lalan set up an akhra [31]in Chheuria village on the banks of the Gorai River and gradually a band of followers gathered around him. Lalan was an inspired singer and could only sing when the Muse was on him. But being totally illiterate, he could not record what he sang. Thus, many of his songs are lost to us. Later a disciple started writing them down the moment they issued from his lips. And his collection is what we have today. Though he didn’t go through any formal process of conversion or adopt Islamic religious practices, Lalan lived like a Muslim and among Muslims till his death in 1890 at the age of 116. In Lalan’s life and art is seen the confluence of the two greatest religions of this world in its truest and most humane form. He lies buried in Chheuria —a place of pilgrimage for all Bauls of Bengal, Hindu and Muslim.

[1] Slip on shoes

[2] Invoking the story of Asan Bibi (translation from Bengali)

[3] Lonchura striata, related to sparrows and finches

[4] Worship

[5] Loose end of women’s sarees

[6] Water of the holy Ganges

[7] A holy plant used in prayers of Hindus

[8] Sindoor is the red vermilion worn by married Hindu women. Alta is a red dye used by married women to decorate their feet. Paan is betel leaf.

[9] Fast

[10] Treasure in Bengali

[11] March-April in the Hindu calendar

[12] A son of Devas or Gods

[13] Red lentils

[14] Song

[15] Holy verses for well-being

[16] A special rock

[17] Arecanut

[18] A sweet made of sugar

[19] Hindu ages – Kaliyug is the present age

[20] Chaste

[21] The fourth day of the five day festival of Durga Puja, the last day of Uma’s stay with her parents and the ninth day of Navratri, the Hindu festival.

[22] Towels made of rough cotton fabric

[23] Bells

[24] Hail Krishna

[25] Padabali Maestros

[26] Seeker and follower

[27] Clappers

[28] One-stringed musical instrument

[29] Where will I find… a being within myself …

[30] A guru is seen as a middleman who will help you reach out to God.

[31] An enclosure where they would live and practice their beliefs

Aruna Chakravarti has been the principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator with fourteen published books on record. Her novels JorasankoDaughters of JorasankoThe InheritorsSuralakshmi Villa have sold widely and received rave reviews. The Mendicant Prince and her short story collection, Through a Looking Glass, are her most recent books. She has also received awards such as the Vaitalik Award, Sahitya Akademi Award and Sarat Puraskar for her translations.

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Review

The Warrior Queen of Awadh

Book Review by Somdatta Mandal

Title: Begum Hazrat Mahal: Warrior Queen of Awadh

Author: Malathi Ramachandran

Publisher: Niyogi Books

Over the past few decades there has been a surge in the publication of Indian historical fiction where the authors are fascinated by India’s rich past, and the many human stories of love and loss buried beneath the larger narratives. Simplistically speaking, historical fiction is a literary genre in which the plot takes place in a setting related to the past events, but is fictional.  An essential element of historical fiction is that it is set in the past and pays attention to the manners, social conditions, and other details of the depicted period. Authors also frequently choose to explore notable historical figures in these settings, allowing readers to better understand how these individuals might have responded to their environments. After The Legend of Kuldhara (2017) and Mandu (2020), Malathi Ramachandran has now presented us with a fascinating novel, Begum Hazrat Mahal: Warrior Queen of Awadh (2023). She endeavours in her novel not just to re-create history as it happened long ago, but to also explore the lives and relationships of those who lived in those times.

The setting of the novel is Lucknow, 1857 where the First War of Independence against the British is fought. Wajid Ali Shah, the last Nawab of Awadh has been exiled by the British to Calcutta along with his courtiers and his coterie some months ago. Only his second wife, the beautiful queen Begum Hazrat Mahal, who had refused to accompany her husband to Calcutta stays back with her young twelve-year old prince Birjis Ali. Hazrat vows to fight the British and win back her beloved Awadh for her people and the crown for her son. She builds a rebel army and high drama ensues as they besiege the Residency, the walled British cantonment, for five months. A fictional saga based on actual events, this book takes us within the walls of the Residency where love and passion rage alongside the battle, and into the world of Begum Hazrat and her loyal band. From the beginning we encounter Hazrat’s interactions with Major Kenneth Murphy, the Company’s liaison officer who is enamoured by the beauty of the Begum and succumbs to her machinations. She wants his help to crown Birjis Ali the next Nawab and win back their lands and their properties. Then there are many stereotypical British characters – women who came from England to seek husbands and worked in evangelical missions, doctors, sergeants, and officers who took up native women for sexual gratification, and the like.

When Hazrat decides on action against the Angrez1, she forms baithaks2 comprising of the rich and poor, powerful and subordinate, Hindu, Muslim and Christian, all of whom feel that they had had enough of subjugation by these tyrants from another land. They would not take any more of their religious conversions, their oppression on the streets, their suppression in the garrisons. Her friendship with Jailal Singh, based on a shared love for Hindustan, blossomed and he promised her his allegiance in the fight against the British. She had found in Jailal a confederate, an able accomplice.

A large section of the narrative is then devoted to the details of the fight that ensued. There were times when the natives thought that they had managed to restrict the British soldiers from winning; at other times the tide of fortune turned in their disfavour when even after forming women’s brigade and defiant groups among the natives, success didn’t come in their favour. The reader is kept guessing whether the rebel army would storm the British bastion before their relief forces arrived or the tide would turn in a wave of loss and grief, crushing Hazrat Mahal’s dream for Awadh and her son. In November 1858, after more than nine months of fighting in Lucknow, and finally establishing complete control over North India, the Governor General, Lord Canning, presided over the Queen’s Durbar in Allahabad and read out the Proclamation from Queen Victoria. The territories of India, up until now governed by the East India Company, would now come directly under the Crown, and be governed by the Queen’s civil servants and military personnel.

After several turns of incidents Hazrat realises that defeated she and her army may be, but they would never be vanquished in spirit. In her chamber in the Baundi fort, she paces back and forth, the printed proclamation crumpled in her hand. Her close supporters watched in mute frustration. She would never agree to the British offer of clemency with all its benefits. She would rather live in penury than become one of their vassals. Deep inside the stone fortress, she sits huddled in her quilt, and feeling the loneliness and desolation of one who had fought and lost everything. The story ends with Hazrat and her son silently leaving the already orphaned Awadh and heading into the forests to cross over to Nepal on the other side and seek asylum there.  

Malathi Ramachandran must be appreciated for the racy narrative style of the novel that does not weigh down under the plethora of historical events. Here one must mention the similarity of incidents narrated about the plight of another Indian queen in another historical fiction titled The Last Queen written by Chitra Banerjee Divakaruni. This novel also tells us the story of Jindan Kaur, Maharaja Ranjit Singh’s youngest and last queen, his favourite. She became regent when her son, Dalip, barely six-years-old, unexpectedly inherited the throne. Sharp-eyed, stubborn, passionate, and dedicated to protecting her son’s heritage, Jindan distrusted the British and fought hard to keep them from annexing Punjab. Defying tradition, she stepped out of the zenana, cast aside the veil, and conducted state business in public. Addressing her Khalsa troops herself, she inspired her men in two wars against the ‘firangs3.’ Her power and influence were so formidable that the British, fearing an uprising, robbed the rebel queen of everything she had, including her son. She was imprisoned and exiled. But that did not crush her indomitable will. Like Begum Hazrat Mahal, she also had to live the last years of her life in exile, shorn of all her power and wealth. In both the novels, we learn about the strong and determined will power of Indian women who wanted to retain the pride of their motherland despite all odds and machinations of the British. A perfect blending of fact with fiction, the novel is strongly recommended for all categories of readers, serious and casual alike.

  1. British ↩︎
  2. Concerts ↩︎
  3. Foreigners ↩︎

Somdatta Mandal, author, critic and translator, is former Professor of English at Visva-Bharati University, Santiniketan, India.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Categories
Interview Review

Is Mitra Phukan a Modern-Day Jane Austen?

In Conversation with Mitra Phukan about her latest novel, What Will People Say? A Novel , published by Speaking Tiger Books, March 2023

What will people Say? A Novel by Mitra Phukan, a well-known writer from Assam, plays out like a sonata with fugues introducing complexities into the narrative. It concludes in a crescendo of hope with an acceptance of love. At the end, Phukan writes: “It was love. A love great enough to conquer all the ‘What Will People Says’.”

What is remarkable about the novel is the light touch with which it deals with major issues like communal tensions, acceptance of love across divisive human constructs and questioning of social norms. She elucidates: “I have written What Will People Say in a conversational, everyday style, sprinkled liberally with humour, even though the themes are very serious.”

Phukan’s novel moves towards a more accepting world where social norms adapt to changing needs — perhaps an attitude we would all do well to emulate, given the need for a change in mindsets to broach not only divisive societal practices but the advancing climate crises which calls for unconventional, untried steps to create cohesive bonds among humanity.

The story is set in a small town in Assam called Tinigaon. Where the protagonist, Mihika, a widow and a professor, upends accepted social norms with her budding romance to a Muslim expat, a friend of her deceased husband. She has strong supporters among her family and friends but faces devastating social criticism and even some ostracisation. This makes her think of giving up the relationship that drew her out of the darkness of widowhood.

Suffering during widowhood is a topic that has been broached by many Indian writers ranging from Tagore, Sunil Gangopadhyay to many more. Before the advent of these writers, in 1856, the Hindu Widows’ Remarriage Act was brought into play by the efforts of Ishwar Chandra Vidyasagar, who had also written on the issue. But despite the law, has it as yet been accepted by conventional society? And how would such a society which bases its perceptions on rituals and traditions respond further to a relationship that discards marriage as a norm? These are questions that Phukan deals with not only in her novel but in the conversation that follows.

The plot showcases an interesting interplay of different perspectives. In certain senses, it has the delightful touch of a Jane Austen novel, except it is set in India in the twenty first century, where relationships are impacted by even social media. Phukan, herself, sees “ageism” and female bonding and friendship” as major issues addressed in the novel. She says that women’s bonding is a theme that “has not been focused on enough, at least in Assamese writing”, even though, it is a fact that this has been the focus in other literature like, Jane Austen’s novels written in the nineteenth century and in subsequent modern-day take-offs on her novels, like the The Jane Austen Book Club by Karen Joy Fowler, published in 2004. In the sub-continent, Begum Rokeya described a full woman’s utopia in Sultana’s Dream (1905), though Rokeya’s story is essentially a feminist sci-fi. Unlike Rokeya’s book, Phukan’s is not an intense feminist novel. The protagonist, Mihika, has men well-wishers and men friends-cum-colleagues too. The tone is lighter and makes for a fabulous read, like Austen’s novels.

As if rising in a fugue to Mihika’s romance are two more relationships of a similar nature. One is between her daughter and a young boy from a traditional, respected, conventional home. The other, which I found more interesting, and I wish Phukan had explored a bit more, is a relationship between Mihika’s Bihari beautician, Sita, and a tribal boy. While the girl is from a traditional vegetarian strictly Hindu family, the boy is an orphan, a tribal. It is a romance that is outside the conventional affluent, middle-class circle. And is used as a contrast to Mihika’s and her daughter’s experiences. Sita’s narrative highlights how the conventional finally accept the unconventionality of a romance that in the past might have been completely rejected.

The novel rises above victimhood by looking for resolutions outside the accepted norms subtly. The plot weaves the triangular interplay of relationships with notes of harmony. The story, devoid of gender biases and darker shades of drama, delves into serious themes with a feathery touch.

The structuring of the novel arrests the reader with its seeming simplicity but each is fitted into the composition to create a fiction that touches your heart and leaves you pining for a bit more… like the strains of a composition that has the deftness and neatness of a Jane Austen novel, written in the context of twenty first century Assam.

Phukan herself is a trained vocalist in Indian classical, a columnist, a translator and a writer. In this conversation, she reveals more about the making and intent of her novel and her journey as a writer.

You wear a number of hats — that of an Indian classical vocalist, a columnist, a children’s writer, a translator and so much more. How does this impact your work as a novelist?

I feel everything is related; everything flows seamlessly into the other aspects. Yes, I am a trained Shastriya Sangeet[1]vocalist, though I have retired from performances now. But at one time that was my life…even now, I write extensively about music through essays and reviews. And I’m always listening to music, of many genres.

I began writing, hesitantly comparatively late, though I always enjoyed it, getting prizes in school and college. Later, I began to write stories, etc, for magazines such as Femina, Eve’s Weekly. Mainly though it was the paper The Sentinel and its editor D N Bezboruah which gave me a platform through middles, short fiction, essays and other genres. My children were very young at the time, and somehow the children’s stories came to me at that point. Now that they are grown up, those stories don’t come any more…and I regret that.

Translation happened because two stalwarts of Assamese literature, Jnanpith awardee Dr Indira Goswami and Sahitya Akdami awardee poet Dr Nirmal Prova Bordoloi encouraged me to try my hand at it by translating their work. I found I enjoyed it …and the journey continues!

Writing fiction, especially novels, needs the writer to have a wide view of life, I feel.  I love storytelling. I write from observation, but also, I learn a lot about the literature of the place I come from, Assam, through the works of the greats in Assamese.

Do your other passions, especially music, impact your writing?                   

Music, definitely. In What Will People Say, for instance, there are so many references to songs and music, to concerts and musicians. There is an entire chapter devoted to songs in Hindi and Assamese where the theme is music. Besides, my novel A Monsoon of Music is about the lives of four practicing musicians. Many of my short stories from A Full Night’s Thievery have music as a theme …’The Tabla Player’, ‘The Choice’, ‘Spring Song’, and so on.

Also, musical metaphors seem to creep in, unbidden, to my writing…

Among the other passions that are reflected to a greater or lesser degree in my writing are gardening, and of course food!

What led you to write What Will People Say?

My stories, whether long or short, are always triggered by events, people, that I see around me. Sometimes it could even be a sentence I overhear while waiting at an airport, or maybe an expression on somebody’s face. They are based on reality, though they are fictionalised as they pass through the prism of my mind, my imagination.

What Will People Say was triggered by the fact that I see so many older women who have lost their spouses spend their lives in loneliness and sometimes despondency. Yes, their children may be caring, they may have women friends, a profession, but that is not enough. Love, finding a romantic partner, even companionship, is very unusual as a senior. There are so many unwritten codes, so many taboos and restrictions, especially in the small, peri-urban places.

And yet I find that change is coming. After all, people are exposed to other cultures, where going in for a second relationship is not seen as a betrayal of the dead husband, as it tends to be here.

The need for social change and a questioning of norms is part of the journey you take your readers through in your novel. Were these consciously woven into the story or did the story just happen? Please tell us about the journey of the novel.

This was the theme I have had in my mind for a while now. It was a conscious decision, and not always an easy one to implement, because of the binaries involved. 

The place where I live, the larger society, prides itself on being “liberal”. And it is, compared to some other places on the planet, or in the country. But in the twenty first century, we are aware that there is much more that needs to be done, a much longer path to be traversed. The theme came first. After which I began to think of the storyline, the characters, the incidents that would make the theme come alive, all in a fictional way, of course.

What Will People Say, the line, is a kind of whip used to keep “straying” members of society, usually young people, within the fold. But here I have inverted it …it is the older members, those who are supposed to uphold the status quo, who are doing what, for many, would be the unthinkable.

Do you still see widow remarriage as an issue? Is it still an issue in Northeast India as your book shows?

Assam is a multi-ethnic, multi-lingual, multi-cultural and multi-religious society.

The community I am describing is what is known as the “caste Hindu” society, in which, traditionally, widow remarriage is not “allowed”. Even now, even in urban Assamese society, it is uncommon. There are unspoken taboos, unwritten codes of conduct. The extreme strictness of the past has lessened no doubt, but also a lot depends on the economic and social status of the woman. I never, for instance, saw my grandmother, a staunch Brahmin, wear anything but stark white after she was widowed. Her vegetarian kitchen was separate from the main kitchen …leave aside meat or fish, even onions, garlic were not allowed there. My mother wanted to follow the same route after my father passed away, but her doctor forbade her from doing that, while her children insisted, she wear colour. Today, my generation of women wear colour and eat non-vegetarian after the demise of their husbands, so things are slowly changing. But a second marriage, or a romantic relationship, in middle age is still very rare indeed.

Your book describes middle class liberals, conservatives as well as immigrants and tribals. What kind of impact have tribals and immigrants had in Assam over time?

There have been many waves of migration into this fertile valley of the Brahmaputra. As a result, it is a rich cultural and linguistic mosaic. Different influences are at play all the time, communities that live in proximity to each other are definitely influenced. But it is a slow process, naturally. And usually takes place over generations.

You have hinted that tribals are more liberal and out of the framework of Hindu rituals. Is that a fact?

Many tribes are, in general, indeed more liberal when it comes to widow remarriage, as are the large Muslim and also the Christian communities. It is the “caste Hindus”, especially those from the “top” of the caste pyramid, who mostly have these taboos. The original inhabitants of these valleys were different ethnic groups, which, because of the riverine, heavily forested aspects of the region, tended to remain in isolation from each other. As a result, cultural practices were unique to each one. Different waves of immigrants from both the East of the region, from Southeast Asia and beyond, and from the rest of India in the west brought in different influences, which were absorbed slowly. We see this in the food practices, the music, the weaves and clothes that we traditionally wear, and religious and social practices, among other things.  

How do your characters evolve? Out of fact or are they just a figment of your imagination?

All are creations of my mind, my imagination. But I try to keep them as real as possible. It is all fiction. I love adding layers to them as I go along, till they have their own individuality, their own body language, their own ways of thinking, speaking, their food preferences, everything. By the end, they are “real” to me, though they actually exist only within the pages of a book.

What writers/ musicians/art impact you as a writer? Is there any writer who you feel impacts you more than others?

My music gurus have impacted me in many ways, beyond music. Guru Birendra Kumar Phukan, especially, taught me …through his music …what it means to be steeped in spirituality, and how to aspire higher through Shastriya music, which, to him, and sometimes to me, too, was and is prayer.

As for writers, there are so many I admire deeply. Among the Assamese writers are the scholar and creative writer of the 15th-16th Century, the Saint Srimanta Sankardev, Jnanpith awardees Birendra Kumar Bhattacharyya and Indira Goswami. I am always deeply moved by their humanity. Their works, their characters, are drenched in it.

Among writers that I have read in English are the obvious ones, so many of them …but for style and humour, I think nobody can beat P G Wodehouse, and for irony, Jane Austen.  And my Go To book during the pandemic was Three Men in a Boat by Jerome K Jerome, for an instant lifting of spirits.

You have written a lot of children’s stories and written columns. Have these impacted you as a novelist? How is writing a novel different from doing a fantasy-based children’s story or writing a column?

I have written biographies, short stories and essays too. Basically, I see myself as a storyteller, though I write non-fiction too.  The children’s stories came from my observations of the child’s world at one time, the way they thought and reacted. My columns are commentaries on society, couched in different “rasas”, including the humorous, but are sometimes a narration in the form of a story. The practice of writing, whatever the genre, and the habit of observation, have all helped me in the marathon task of writing novels!

What can we look forward to from you next? Are you working on a new novel?

Yes. I do have a novel in the pipeline, am giving it some final touches now. But what is due to be published next is a biography of Dr Bhupen Hazarika, a monograph really. He is a musical icon and so much else for us. It is being published by Sahitya Akademi. And then there is a translation of a novella by Sahitya Akademi Awardee Dr Dhrubjyoti Borah, to be published later this year by Om Books. And then of course there are the columns which I really enjoy doing, since the paper that I write for, The Assam Tribune, reaches the deepest areas of rural Assam. Many of the readers of this column, ‘All Things Considered’ are first generation literates, and that makes me really happy.

Thank you so much for these lovely questions.

Thanks for giving us your time.

.

[1] Classical Indian music

Click here to read the book excerpt of What Will People Say?

(The book review and the online interview conducted through emails are by Mitali Chakravarty)

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL. 

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Review

In Search of the Divine

By Bhaskar Parichha

Title: In Search of the Divine: Living Histories of Sufism in India

Author: Rana Safvi

Publisher: Hachette India

Sufism was a liberal reform movement within Islam. It had its origin in Persia and spread into India in the 11th century. Most of the Sufis (mystics) were persons of deep devotion who disliked the display of wealth and degeneration of morals following the establishment of the Islamic empire.

 The word ‘Sufi’ is derived from ‘suf’, which means wool in Arabic. It also means ‘purity’.Sufism or mysticism emerged in the 8th century, The early known Sufis were Rabia al-Adawiya, Al-Junaid, and Bayazid Bastami. It was a well-developed movement by the end of the 11th century. Al Hujwiri is regarded as the oldest Sufi in the sub-continent. By the 12th century, the Sufis were organized in Silsilahs.

In Search of the Divine: Living Histories of Sufism in India by Rana Safvi is by far the most comprehensive history of this belief system. As a scholarly book, it does more than just explain Sufism. The book elucidates how the practice is influential and yet possesses a quiet dignity. The general perception of Sufism for those uninitiated is perhaps reduced to paintings and images of saints, in cascading gowns steeped in reverence for the Almighty. The images, while powerful are deeply reductive. Like with most other things, Sufism has been reduced to images, motifs, and symbols of faith.

Says the blurb: ‘Sufism, called the mystical dimension of Islam, is known for its inclusive nature, as well as its ethics of love and compassion, its devotional music, art, and architecture. In India’s syncretic culture, Sufism developed a distinct character, and harmoniously embraced the Bhakti traditions of North India.’

A renowned writer, scholar, and translator, Rana Safvi is a passionate believer in India’s unique civilisational legacy and pluralistic culture which she documents through her writings. Author of nine books on the culture, history, and monuments of India, her A Folk Tale and Other Stories: Lesser-Known Monuments of India is a commendable book.

Safvi writes, “As numerous mystics came and settled in the subcontinent, they drew from local Hindu influences and developed a unique form of Sufism here. There was a great and constant refertilisation of ideas. With their understanding, acceptance, and integration of local customs and influences, they carved their own unique space in the hearts of locals of every faith, class, and caste. They could speak the local language, and dialects and as tales of their Karamat (miracles) grew, so did their followers.”

She delves into the fascinating roots of Sufism, with its emphasis on ihsan, iman, and akhlaq[1], and the impact it continues to have on people from all communities. Safvi relies not only on textual sources but also on her visits to dargahs across the country, and the conversations she has with devotees and pirs alike. 

Safvi says dargahs aren’t spaces meant to accommodate the Muslim community alone. Sufi saints insisted on religious harmony. In the 18th chapter of the book titled Celebrating with the Saint, she quotes an oral account of tolerance and acceptance.

“Some Muslims were once passing through an area where Holi was being celebrated. Perhaps as a shararat (mischief), perhaps unwittingly, the Muslims got Holi colors on their clothes. This led to a flight among Hindus and Muslims. The news reached the darbar (court) of Hazrat Nizamuddin Auliya. The Muslims complained that they had been defiled.

“How would they offer namaz now?’ said Fareed Bhai.

“Hazrat Nizamuddin Auliya told them: my people, all colors come from Allah. Which color is that that does not come from Allah?

“Then Hazrat Nizamuddin Auliya told Hazrat Amir Khusrau to capture this in a couplet. And Hazrat Khusrau wrote the (following) lyric:

Aaj rang hai ri

Mere khwaja ke ghar rang hai ri, aaj rang hai[2].”

The book suggests in intense detail the sacred atmosphere she encountered: the reverent crowds, the strains of qawwali, and the fragrance of incense, as well as highlights the undeniable yet often forgotten contributions of women in Sufism. The wide-ranging study is contemporary and also a tribute to the rich and textured past.

The book doesn’t just explain Sufism to the lay reader, it coagulates the affinity shared between Sufism and Islam. Safvi’s book lends dignity to the millions of worshippers who otherwise inhabit an Islam-loathing world.

Apart from a historical account, the books deal with the oral narratives, the status of women, and the Prophet’s family who laid the foundation for faith as Muslims know it. The elegant study emphasises the power of faith, not just in a universal capacity but also as a personal one. Along with the book meant for review, Safvi writes in a note, “This book has been a deeply enriching experience for me.”

Safvi’s work does not make the case that Sufism is independent of Islam. She says it was a myth solidified by western academics. She clarifies that a lot of Sufi followers do consider Prophet Muhammad to have spearheaded the practice. The connection with Islam is unmissable and yet it took on the shades of other faiths in praxis.

Her exploration isn’t in any way, a means to legitimise Sufism. Safvi is humble enough to recognise that she doesn’t need to do that. If anything, her writing is to shed light on values of peace, austerity, and benevolence which often miss the eye’s mark when religion is discussed in a politically charged world.

Rana Safvi’s In Search of the Divine is dignified, powerful, engrossing. Weaving together facts and popular legends, ancient histories and living traditions, this unique treatise running into more than four hundred pages examines core Sufi beliefs and uncovers why they might offer hope for the future.


[1] Spiritual excellence, faith, act of goodness or virtue

[2] At my Khwaja’s home, there is jubilant colour
Today there is jubilant colour

Bhaskar Parichha is a journalist and author of UnbiasedNo Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Categories
Young Persons' Section

Sara’s Selections : May 2020

Everyone has a nose and an opinion on the new normal. It can get overwhelming sometimes. But there is one category whose views have been ignored and dismissed as ‘unimportant’ at a time when the world needs fresh voices and perspectives the most. 

That category is none other than children, the very same set who will inherit the world.

In a world obsessed with keeping children ‘engaged’, everyone is an expert on home-schooling and DIY ideas but no one pauses to ask children how they feel. 

How has life changed for the pre-teens and teenagers? What are family equations like? What do they miss? What are their aspirations? What moves them? What disappoints them? What surprises them? Who inspires them?

At Bookosmia, India’s premier writing platform for children, these are some of life’s intriguing answers the brightest young minds choose to share with Sara. 

Sara, the storyteller

Who is Sara? She is India’s first stereotype busting sports loving girl and storyteller. Sara is already a big hit amongst parents and kids alike. She was rightly and fondly called “our new best friend” by The Hindu and has since then been featured extensively for creating a repository of stories, poems and essays written by children, giving a unique insight into their minds. 

Sara wants every child to tell their story in their own words. 

And so, day after day, week after week, she is flooded by entries from bright 7-16 year olds in New Delhi, Gurugram, Bareilly, Vadodara, Mumbai, Chennai, Ranchi, Kolkata and even Switzerland exhibiting powerful emotions and viewpoints that are truly eye-opening.

Her latest writing prompt #GratitudeDuringCovid, an effort to encourage young voices during a difficult time was hailed by parents and children alike. 

While younger children wrote to her about being thankful for nature, getting to spend time with their parents and hearing the chirping of birds, the 12-year-olds and above shared pieces on becoming conscious of the privilege they have, of the freedom to “go inside themselves if not outside”, of empathy for their domestic staff and of exploring a new self. 

The series was a first of its’ kind insight into the minds of the children and was covered by national media like The Hindu and The New Indian Express. 

“While we see many memes on parents facing difficulties in handling their children during this long lockdown, we hardly bother to think about how these children might be feeling. But someone did think of them,” noted The New Indian Express while lauding Bookosmia’s writing platform for children. 

It is in this context that we are stoked to bring select essays, poems and stories from our young writers at Bookosmia’s ‘Sara’s Corner’ to Borderless, a truly revolutionary international journal that has made such a deep impact within a short period. We can think of no better place than Borderless to encourage these young writers to write down the emotions they bottle up for fear of judgement. 

Through this association with Borderless (see rules of submitting in Submissions), we are confident that young writers will come home to exactly what they were looking for — a warm, welcoming, and healthy space to express, learn, discuss and debate. 

Let’s put those webinars and Zoom classes on hold for a bit. It’s time to listen to what the wise young ones have to say.

—-Team Bookosmia

Essays

Its OK Not to be OK

Nivedita Chawda

By Nivedita Chawla, 17

Michael Jackson said “stop existing and start living.”
I feel this lock-down was about slowing down and changing our yardstick of measuring things. 

Personally, my yardstick of happiness, was being productive. 

I love getting things done and checking them off my to- do list, and then I love making more to do lists. I would see my friends doing 100 push-up challenges, doing various courses on Coursera, cycling every morning and naturally I’d compare their progress to mine, and felt like i was lagging behind. But I realized that this is pandemic, not a productivity contest. 

Some days if i manage to get out of bed after a sleepless night, shower and sit for my political science class, its enough. It’s okay to have a dauntingly long to- do list and not get anything done on it, its okay to not have a to do list at all. This pandemic has made me realize that its okay to not be okay. You can’t change this situation, all you can change is how you deal with it. 

Being privileged in your AC rooms doesn’t necessarily mean you HAVE to be in an emotionally better place. Grateful that you’re in a better place than struggling migrant workers and failing businessmen? Sure. But your 17 year old self doesnt have to take up the responsibility to heal the world. Today, if all you do is water the plants, watch the sunset and play cards with your family, its okay. Amidst all your luxuries and comforts you can still choose to feel discomfort. The world is healing in its own ways, you can heal in yours.

***

Children look forward to future pandemics?

Meghna Girishankar

By Meghna Girishankar, 16

Children look forward to future pandemics?

During a time when the world has been massively hit by the effects of COVID-19, with almost every individual facing its brunt, there might actually be a  certain set of them who are loving what the pandemic has to offer. And they are children.

Before we can even attempt to fathom the logic behind this, pessimistic  thoughts would have already started coalescing in our minds: How can one be  so self-centered? Aren’t such ill-fated thoughts purely selfish? But as the  saying goes, “Don’t judge one’s choices without understanding their reasons.” In order to truly comprehend this seemingly inexplicable desire of children for wanting future catastrophes akin to the prevalent one, we must analyse their  thought- process behind the same.

Children like to receive their parent’s undivided attention and to be loved, by engaging with their family. In the pre-corona world where both parents were  working, getting to play a game of chess or having a family movie date was almost unimaginable and tantamount to a privilege, for children. Working  parents would be consumed with their work lasting till the wee hours of the night. As a result, they barely, if at all, could make time for their children, who, all along, have become accustomed to this treatment.

Now, anything that reverses this trend, with children seeing more of their  parents around and getting to experience more quality time with them would definitely provoke feel-good vibes. And this is just what the pandemic has achieved. As parents are working from home, they have more time to bond with their kids over activities like cooking, gardening and dancing. Children are certainly liking this whole new experience of having their whims and fancies being addressed, and would want it to continue in the future as well.

However, they are anxious that this might only be a ‘limited period offer’. Post rehabilitation, once economic activity resumes, things would go back to being the way it used to be. Ingenuous as they are known to be, children hence feel that the outbreak of such pandemics is a good omen for them. We cannot entirely blame them for such thoughts, as they are young and oblivious to the fact that what they consider fair might not actually augur well with the rest of the society.

In fact, parents are partly to blame. If they had ensured to set aside time off  their other commitments to bond with their children on a regular basis, this notion wouldn’t have even crept into children’s minds.

It is a parent’s duty to reason with their kids that what they see as right, might  not necessarily be so, since it is quintessential to take cognizance of a broader viewpoint. This will only be instilled in children when parents are more involved in their child’s life. Parents should therefore make a conscious effort to maintain a healthy work-life balance so that children don’t feel left out.

After all, children do not remain juvenile forever, but while they do, better to cherish those priceless moments with them!

***

Unlocking feelings in the lock-down

Devbrat Hariyani

Devbrat Hariyani, 16

Empty. Vacant. Bare. Abandoned. Deserted. Void. Dark.

These are the appellations I gave to my feelings before this lockdown. I was constantly overlooking my blessings. I did not know what I loved nor the things that I owned. It is the last two months that have allowed me to reflect. They have given me credence about my thoughts because believe me, I was just a lonely, friendless child before this turn of event.

The two little words in LOCK-DOWN have actually played a contrasting role to my thoughts and feelings. I have “unlocked” them and obtained wisdom through stories. Stories of people who made their lives worth living on this planet and left it while inspiring others through their creations, experiences, and their service to this world. These stories have allowed me to have a sagacious vision of how people function to make their lives meaningful. It has made me structure my long term goals of becoming an entrepreneur and making a difference in this evanescent world that we live in. In fact, this lock-down has taken care of the seemingly little things in my life – my sleep schedule, fitness, my connection with novels, and it has even helped me to end my addictive relationship with Netflix.

This lone time led me to ponder upon the ideas I never thought I had, such as how each and everything has a philosophical side to it and how faith, imagination and intuition have influenced us to perceive things in our own way. I started to observe the smaller fragments of the approaches people take towards a situation. I watched how my mom and dad work with each other, how my younger brother imagines his day before starting it, and how my grandfather integrates his religious knowledge into his tasks.

This lockdown has practically defined the word “growth” for me. Not for a moment did I believe that my life was going to ameliorate this way, but this short period has unleashed my imagination to its endless possibilities, and it has helped me reconstruct my beliefs.

I have been integrating several views of people around me to find the true perspective of the world and myself. I did this while building solid relationships with a few friends that I know will last a lifetime. Because, after everything that I will have achieved in the future, the things that will matter the most are these friendships that I spend time on now.

So the words that I would attribute my thoughts to are-
Appreciative. Creative. Developmental. Conscious. Magnified and finally, Introspective.

***

Poems

There is no one to blame

Lavishka Bajoria

By Lavishka Bajoria, 7 

I am thankful that we have beds to sleep,

Poor people who don’t have it, they weep.

.

I am thankful that I can wake up late,

By staying at home I am also  safe. Late and safe don’t rhyme.

.

In this lock-down I am in a happy mood,

I am also thankful that I get food.

.

We are always playing a game,

There is no one to blame.

***

Grandma’s Tale

Ahaana Kandoi

By Ahaana Kandoi, 13

“And there was no sign of an individual on the streets
Not even one where there used to be a myriad.
All engrossed in the news
Hoping that some positive message comes along.

That was the situation of the virus outbreak,
a disturbed time for all beings” said grandma.
“Both you and me were held captive in our houses
The towns had ceased to function.

Death rates increasing with the blink of an eye
And the infected were the hostages
There was the lot of the careless few,
Who were determined to not care
There was the lot of the educated illiterate
Who always seemed to be heedless.

However changes began as true leaders came forward.
Many people set good examples and they were followed.
Soon people disappeared into solitude
They began to follow the rules.
They stopped complaining and took to action
They were ready to give up on social lives
“We can get through this, we can do it,”
Were the words on everyone’s lips.

Development of technology began
Even in these terrible times
People began working from home
And brought about a progress in their countries.

And oh! The world how beautifully it evolved
The earth was once again replenished.
Turtles, dolphins and other creatures seen rarely,
Were now a common sight.

And if we look at the bright side
No theft, rape, abuse, slaughter occurring
And all were once again enthusiastic
The happiness again restored.

The people were now jolly and jovial,
7.8 billion smiles had driven the virus away.
So children, the lesson we learn today is the greatest one of all,
United we stand, divided we fall.”

***

The world is better because of you!

By Vansh Garg, 17

Ode to Mother

Mother

A being like no other

One capable of exuding so much love

So much inspiration to fly above

One capable of becoming equally as harsh

.

When your diligence and manners run scarce

As I wake up every morning,

My mom holds me close

Oh, I could enjoy this forever,

Alas, if only this moment forever froze

She lies there, a being infinitely wise

This feeling of warmth, it moistens my eyes

.

Years pass by, oh, there my youth goes

I’d never give up this feeling, her holding me close

The creator has created 

The perfect master plan

To run this world, on its own

Clan after clan

.

I’m part of this creation

As real as can be

Made possible by my mom

Who gave birth to me.

.

To her, I’m foolish

I am naughty and naive

Nevertheless, a part of her

Blessed to be alive

I may be annoying and childish

But my smarts are what mom gave me

.

I strive to be as infinitely selfless

As my mom, its epitome

I want to meet the creator

For them to feel the magnitude

Of, at being my mother’s son, my

unending gratitude

.

To all mothers, a Happy Mothers’ day

Achieving what you have I’ll never be able to

We dedicate to you this day

The world is better because of you.

***

Stories

Pumpkin Girl

By Ira Shenoi,6

#Sara’s Activities: Tangram # 10- Pumpkin Girl


Once upon a time there was little girl called Iri in a village very close to deep dark forest. She was walking in
the forest and found a small pumpkin. It was a magic pumpkin and started to grow bigger and bigger. It grew
so big that the girl decided to make it as her home. Slowly day by day she carved a bedroom, living room and
balcony for her inside the pumpkin. It was the cutest house and everyone called her pumpkin girl because she
lived inside a pumpkin.During the day she would go around the forest picking berries, nuts and fruits to eat. All
the animals in the forest like rabbits, butterflies, squirrels and bears were her friends.

But, other side of the village lived a big monster called Big Tummy Monster. He was called so because, he had
a big stomach and a huge appetite. No matter how much food he ate, he used to be hungry all the time.
People from the village had to cook for him and take food many times in a day, otherwise he would scream
and threaten villagers saying, “I will eat you all up!” People in the village were very sad and crying!
The pumpkin girl saw people crying and asked them what the reason was. They told her that all the food they
had was given away to the Big Tummy Monster and now they would not get anything to eat, even for their kids. If
they don’t give food, the monster would eat the up.

The girl thought of a plan, she went to the monster and said, “Hey Big Tummy Monster, you are hungry , right?
All you need is food, right? if you are really strong come and eat my pumpkin house!”. The monster came over and started eating the pumpkin, the pumpkin was so big that the monster could not finish it up. But the monster didn’t want to give up, and kept on eating and the stomach blasted out open, the monster ran away into deep dark forest in pain and was never seen again.

The pumpkin girl had rescued the villagers from monster, but now she didn’t have a house to live it. The
villagers thanked her and offered to build her a home. But she was not interested, she went to forest and kept
looking for a pumpkin. She found a small cute pumpkin. When she touched the pumpkin, it turned into a huge
one. She could make it as her new home, the villagers helped her turn into a home, and she was happy as ever.
“Do good and be kind.”

***

“Holi is for everyone,” it is said. Even for colour black?

By Anoushka Poddar, 10 

Bookosmia Holi is for everyone childrens story

“What in the world were you thinking?” the boss cried.
“Who would want to buy a black colour for holi? I know you are new but that doesn’t explain why you made a black colour. Now pack all of it up and throw it in the bin outside.”
The worker meekly agreed and did as he was told and I was tossed outside.
I was feeling very cramped and stuffy inside that packet. I tried wiggling out but ended up spilling a bit of me instead. My eyes widened in alarm as I lay still like a brick.
This new worker at Colours Factory had accidentally made me, a batch of black organic colour. Nobody would have played with black colour so the boss told him to throw me away. As I lay on the trash, surrounded by fruit peels and plastic bags, little black rose heart filled with self-pity and remorse, I asked myself what had I done to deserve this? I had only been myself! I guess
there is punishment for that too.
Many days passed as I lay in the garbage bin and Holi was very near. On the eve of Holi, a little beggar girl came wandering by. She started searching in the bin, looking for something she could use or sell. When she saw me her eyes lit up and filled with tears. Laughing and crying at the same time, she picked me up and started twirling me around. I felt so happy and at ease.
Me, a packet of black colour was giving someone so much joy.
I was on cloud nine. The girl immediately took me home. All her family members were so elated that they almost jumped with joy. They stored me on a wooden shelf, hoping to play with me on Holi.
The next day I was taken out and opened. The family had a wonderful time playing with me as they could not afford colours and very rarely got them. I was soon finished but the family was not sad. In fact they were very happy that they at least got to play with me.

This was a very quick end to my short and dramatic life but I felt amazing that I was able to help somebody have a good Holi. I felt that this is the true spirit of Holi. When they say ‘Holi is for EVERYONE’, they are right!

The Pied Piper of Hamelin- a retelling!

By Riddhiman Gangopadhyay, 13

Bookosmia Pied Pipe fairytale rehash

The rat infested city of Hamlin was in distress when the mayor finally decided to take some action
against the vermins.
A few days later he brought a funny dressed person with a pipe to drag away the rats.
The person said that his name was the Pied Piper and that he was worthy of removing the rodents from the city of Hamelin. Both the mayor and the Pied Piper had agreed on the sum of 1000 guilders. About a week later, the Pied Piper was out on the streets with an army of rats which was getting bigger and bigger with every joining rat following him. They followed him to a cave on the outskirts of the forest where the rats disappeared.
He went back to the mayors office to get his payment and leave the city. But the mayor jumped up on his chair when he heard that the payment of thousand Gilders had to be made as if the deal had never been made in the first place.
Riddhiman, a little boy of Hamlin was hearing impaired and although the other children laughed at him, he could never hear the sounds of the laughter. When people cried, he could never hear the sounds of sorrow either. But he knew that what God had taken from him in hearing he had gifted to him in curiosity and alertness. On the other hand, the Pied Piper was planning something that would certainly spell do for most of the people of Hamlin.
Next day, the Pied Piper was executing his plans. Children, chanted by the sound of the Pied Piper‘s piping came flowing out of every street. The parents did not have a chance to stop the children for they were under the spell of the pipe too. They were made into temporary living statues.

Bookosmia Kolkata Pied Piper rehashed

The young Riddhiman, driven by curiosity followed the group of the enchanted children. As he was deaf he could not hear the music and therefore was not under the spell of the Pied Piper but he understood that the Piper was kidnapping the children to take revenge on the mayor.
Riddhiman followed the children into the cave where the Piper had taken the rats. He pretended to be under thr spell too. He waited for the Piper to sleep then he slowly came out of the cave and locked the cave entrance by pushing a rock.

He then went to the mayor to strike a deal with him in sign language. He said that he would take 3000 guilders to tell them where the children were and hand over the Pied Piper as well. The mayor agreed.
With the children back home safely and the Pied Piper sent off with a reprimand, Riddhiman bought a cruise ship and sailed away into the seas like he had always dreamt about.

***

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