INDIAN MYSTIC MEERA
Meera, also known as Meera Bai or Mirabai,was a 16th-century Hindu mystic poet and devotee of Krishna. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition.
Meera Bai was born into a Rajput royal family of Kudki district of Pali, Rajasthan, India. She is mentioned in Bhaktamal, confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE. Most legends about Meera mention her fearless disregard for social and family conventions, her devotion to god Krishna, her treating Krishna as her husband, and she being persecuted by her in-laws for her religious devotion. She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.
Thousands of devotional poems in passionate praise of Lord Krishna are attributed to Meera in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two poems, most were written down only in the 18th century.Many poems attributed to Meera were likely composed later by others who admired Meera. These poems are commonly known as bhajans, and are popular across India. Hindu temples, such as in Chittorgarh fort, are dedicated to Mira Bai's memory. Legends about Meera's life, of contested authenticity, have been the subject of movies, comic strips and other popular literature in modern times.
BIOGRAPHY
Authentic records about Meera are not available, and scholars have attempted to establish Meera's biography from secondary literature that mention her, and wherein dates and other moments. Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516.[10][11] Her husband was wounded in one of the ongoing Hindu-Muslim wars of the Delhi Sultanate in 1518, and he died of battle wounds in 1521. Both her own father and her father-in-law were killed within a few years after her husband,during a war with the Islamic army of Babur – the founder of Mughal Empire in the Indian subcontinent.
After the death of her father-in-law, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried many times to execute her, such as sending Meera a glass of poison and telling her it was nectar or sending her a basket with a snake instead of flowers.According to the hagiographic legends, she was not harmed in either case, with the snake miraculously becoming a Krishna idol (or a garland of flowers depending on the version). In another version of these legends, she is asked by Vikram Singh to go drown herself, which she tries but she finds moment floating on water. Yet another legend states that the Mughal emperor Akbar came with Tansen to visit Meera and presented a pearl necklace, but scholars doubt this ever happened because Tansen joined Akbar's court in 1562, 15 years after she died.
Similarly, some stories state that Raidas was her guru (teacher), but there is no corroborating historical evidence for this and the difference of over 100 years in the birth years for Raidas and Meera suggest this to be unlikely.
The three different oldest records known as of 2014 that mention Meera,[15] all from the 17th century and written within 150 years of Meera's death, neither mention anything about her childhood or circumstances of her marriage to Bhojraj, nor do they mention that the people who persecuted her were her in-laws or from some Rajput royal family.[16] Nancy Martin-Kershaw states that to the extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause were political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.Further, the diversity and inconsistencies in Meera's stories suggest that her biography was likely invented and molded by all sides, long after her death, for political goals through the medium of historical rewriting.
Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.[1][2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Hindu deity Krishna, composing songs of devotion and was one of the most important poet-sant of the Bhakti movement period.
Poetry[edit]
Meera poems are dedicated to Krishna (left), calling him the Dark One or the Mountain Lifter. Some Meera songs remind of Radha (right), the mythical lover of Krishna.
Meera's poems are lyrical padas (metric verses).While thousands of verses are attributed to her, scholars state that only a small fraction of those are authentic. There are no surviving manuscripts of her poetry from her century, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died. The largest collection of poems credited to her are in 19th-century manuscripts. Scholars have attempted to establish authenticity based on both the poem and Meera being mentioned in other manuscripts as well as from style, linguistics and form.John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. (...) there must always remain a question about whether there is any real relation between the poems we cite and a historical Mira."
In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side unto a spiritual marital bliss.Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centered on Krishna.[20]
My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels and adornments, cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her Lord, she doesn't even want to live.
— Mira Bai, Translated by John Stratton Hawley
Meera speaks of a personal relationship with Krishna as her lover, lord and mountain lifter. The characteristic of her poetry is complete surrender.
After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's Lord is the clever Mountain Lifter, and I am his, a slave to his lotus feet.
— Mira Bai, Translated by John Stratton Hawley
Meera is often classed with the northern Sant bhaktis who spoke of a formless divinity.
After the death of her father-in-law, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried many times to execute her, such as sending Meera a glass of poison and telling her it was nectar or sending her a basket with a snake instead of flowers.According to the hagiographic legends, she was not harmed in either case, with the snake miraculously becoming a Krishna idol (or a garland of flowers depending on the version). In another version of these legends, she is asked by Vikram Singh to go drown herself, which she tries but she finds moment floating on water. Yet another legend states that the Mughal emperor Akbar came with Tansen to visit Meera and presented a pearl necklace, but scholars doubt this ever happened because Tansen joined Akbar's court in 1562, 15 years after she died.
Similarly, some stories state that Raidas was her guru (teacher), but there is no corroborating historical evidence for this and the difference of over 100 years in the birth years for Raidas and Meera suggest this to be unlikely.
The three different oldest records known as of 2014 that mention Meera,[15] all from the 17th century and written within 150 years of Meera's death, neither mention anything about her childhood or circumstances of her marriage to Bhojraj, nor do they mention that the people who persecuted her were her in-laws or from some Rajput royal family.[16] Nancy Martin-Kershaw states that to the extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause were political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.Further, the diversity and inconsistencies in Meera's stories suggest that her biography was likely invented and molded by all sides, long after her death, for political goals through the medium of historical rewriting.
Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.[1][2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Hindu deity Krishna, composing songs of devotion and was one of the most important poet-sant of the Bhakti movement period.
Poetry[edit]
Meera poems are dedicated to Krishna (left), calling him the Dark One or the Mountain Lifter. Some Meera songs remind of Radha (right), the mythical lover of Krishna.
Meera's poems are lyrical padas (metric verses).While thousands of verses are attributed to her, scholars state that only a small fraction of those are authentic. There are no surviving manuscripts of her poetry from her century, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died. The largest collection of poems credited to her are in 19th-century manuscripts. Scholars have attempted to establish authenticity based on both the poem and Meera being mentioned in other manuscripts as well as from style, linguistics and form.John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. (...) there must always remain a question about whether there is any real relation between the poems we cite and a historical Mira."
In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side unto a spiritual marital bliss.Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centered on Krishna.[20]
My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels and adornments, cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her Lord, she doesn't even want to live.
— Mira Bai, Translated by John Stratton Hawley
Meera speaks of a personal relationship with Krishna as her lover, lord and mountain lifter. The characteristic of her poetry is complete surrender.
After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's Lord is the clever Mountain Lifter, and I am his, a slave to his lotus feet.
— Mira Bai, Translated by John Stratton Hawley
Meera is often classed with the northern Sant bhaktis who spoke of a formless divinity.
Mystic Meera Story of love
Osho – So love is the first door. Through it, you can move away from time. That is why everyone wants to be loved, everyone wants to love. And no one knows why so much significance is given to love, why there is such a deep longing for love. And unless you know it rightly, you can neither love nor be loved, because love is one of the deepest phenomena upon this earth.
We go on thinking that everyone is capable of love as he is. This is not the case – it is not so. That is why you are frustrated. Love is a different dimension, and if you try to love someone in time you will be defeated in your effort. In time, love is not possible.
I remember one anecdote. Meera was in love with Krishna. She was a housewife – the wife of a prince. The prince became jealous of Krishna. Krishna was no more; Krishna was not present, Krishna was not a physical body. There was a gap of five thousand years between Krishna’s physical existence and Meera’s physical existence. So really, how can Meera be in love with Krishna? The time gap was so great.
One day the prince, her husband, asked Meera, ”You go on talking about your love, you go on dancing and singing around Krishna, but where is he? With whom are you so much in love? With whom are you talking continuously?” Meera was talking with Krishna, singing, laughing, fighting.
She looked mad – she was, in our eyes. The prince said, ”Have you gone mad? Where is your Krishna? Whom are you loving? With whom are you conversing? I am here, and you have completely forgotten me.”
Meera said, ”Krishna is here – you are not here – because Krishna is eternal; you are not. He will always be here, he was always here, he is here. You will not be here; you were not here. You were not here one day, you will not be here another day, so how can I believe that between these two non-existences you are here? How is an existence possible between two non-existences?”
The prince is in time, but Krishna is in eternity. So you can be near the prince, but the distance cannot be destroyed. You will be distant. You may be very, very distant in time from Krishna, but you can be near. It is a different dimension, however.
We go on thinking that everyone is capable of love as he is. This is not the case – it is not so. That is why you are frustrated. Love is a different dimension, and if you try to love someone in time you will be defeated in your effort. In time, love is not possible.
I remember one anecdote. Meera was in love with Krishna. She was a housewife – the wife of a prince. The prince became jealous of Krishna. Krishna was no more; Krishna was not present, Krishna was not a physical body. There was a gap of five thousand years between Krishna’s physical existence and Meera’s physical existence. So really, how can Meera be in love with Krishna? The time gap was so great.
One day the prince, her husband, asked Meera, ”You go on talking about your love, you go on dancing and singing around Krishna, but where is he? With whom are you so much in love? With whom are you talking continuously?” Meera was talking with Krishna, singing, laughing, fighting.
She looked mad – she was, in our eyes. The prince said, ”Have you gone mad? Where is your Krishna? Whom are you loving? With whom are you conversing? I am here, and you have completely forgotten me.”
Meera said, ”Krishna is here – you are not here – because Krishna is eternal; you are not. He will always be here, he was always here, he is here. You will not be here; you were not here. You were not here one day, you will not be here another day, so how can I believe that between these two non-existences you are here? How is an existence possible between two non-existences?”
The prince is in time, but Krishna is in eternity. So you can be near the prince, but the distance cannot be destroyed. You will be distant. You may be very, very distant in time from Krishna, but you can be near. It is a different dimension, however.
osho on Meera
Osho : Meera is a launching place for your pilgrimage. Her scripture is the scripture of love. Perhaps calling it scripture is not right. Take Narada’s BHAKTI SUTRAS — sutras of devotion — that is scripture. There one finds reasoning, method, fixed precepts. It is a system of devotion. Meera herself IS devotion. You won’t find systematic argument. Fixed logic is not found there. There lightning has struck the heart.
In Meera, found nowhere else, is a natural expression of love. There have been other devotees, but they all pale before Meera; they become the background. Meera’s star is a very bright, shining star.
Come, let us go toward this star. If just a few drops of Meera’s juice rain on your life, flowers will bloom in your desert. If in your heart just a few tears make rain clouds like Meera’s rain clouds, and in your heart a melody begins playing as it played to Meera, it is enough. One drop will color you and make you new.
So don’t listen to Meera logically, intellectually. Meera has nothing to do with logic and intellect. Listen to Meera with feeling, with devotion. Look with the eye of trust. Push aside logic, leave it to crawl along the bank. For a little while, let yourself go completely mad with Meera. This is the world of the mad. This is the world of lovers. Only then can you understand, otherwise you will miss.
First, a few things about Meera. Meera’s love for Krishna did not begin with Meera. Such a rare expression of love cannot begin just like that. The story goes back. This Meera is one of the GOPIS — devotees — who was with Krishna. Meera herself has declared it, but the scholars can’t accept it, as there is no historical proof for it.
I accept what Meera says. I am not interested in measuring true and false. To me it is pointless whether it is history or not. Meera’s statement — my agreement; when Meera herself says it, the matter is finished. The question does not arise of someone else raising further doubts about it. And those who raise doubts like this, they won’t ever be able to understand Meera.
Meera says, “I was Lalita. I danced with Krishna in Vrindavan, I sang with Krishna. This love is ancient.” Meera insists, “this love is not new.” And it entered Meera’s life in such a way that it is clear from the very beginning that the pundits were wrong and Meera was right.
Meera was little, some four or five years old, when a SADHU was a guest at her house. When this monk got up in the morning, taking out his idol — a statue of Krishna hidden away in his bag — to set it up to worship, Meera went completely mad.
DEJA VU happened. A memory from a previous existence came. That statue was such that picture after picture began opening. That statue became a catalyst — and once again the story began. It shocked her. Krishna’s form returned to her memory. Again that dark face, those wide eyes, that crown of peacock feathers, the flute-playing Krishna — Meera went back thousands of years in her memory.
She started to cry. She began begging the sadhu for the statue. But the sadhu also had great affection for his idol. He refused to give it; he traveled on. A whole day passed. She ate no food, and drank no water. From her eyes tears flowed — on and on she cried. Her family was alarmed, now what can be done? The sadhu has gone, where can he be found? And will he give it up? Very unlikely.
And this statue of Krishna was certainly very lovely — the rest of the family felt it too. They had seen many idols, but in this one there was something alive, there was something alert, the aura of this statue was something more.
Certainly someone had carved it with love, not just for trade. Someone had carved it with feeling. Someone had put his total prayer, his full worship into it; or someone who had once seen Krishna had carved it. But the statue was such that Meera was gone, she simply forgot this world. For her the idol must be brought back to stay, if not she will die. This is the beginning of VIRAH — deep longing for God — at the age of four.
That night the sadhu saw a dream. Far away in the next village he slept. A dream in the night — and Krishna was standing there. He said, “Return the statue to whom it belongs. You have kept it for many years, this was a guardianship, but it is not yours. Now don’t carry it on unnecessarily. You go back and give the statue to that girl. It is hers, give it back. It is hers, your caretaking is over now. You have arrived where you were to deliver it, now the matter is finished.” The idol is for the one whose heart contains love for it. Who else?
The sadhu was scared. Krishna had never shown himself to him before. For years he had been praying and worshipping to this same idol — flowers were offered, bells were rung. Krishna had never appeared. He became very frightened. He fled back in the middle of the night. Arriving at midnight he woke everyone up and said, “You must forgive me, I have committed a great wrong.” He fell at the feet of that little girl, gave her the statue and went back.
This event, happening at the age of four or five, reopened her vision. Again the love flowed, again the journey began. Thus a deep relationship with Krishna was started again by this Meera in this lifetime.
This small, accidental event, happening when she was four or five years old… and a revolution happened. Meera remained ecstatic, as if she’d drunk liquor. By the time Meera was thirty-two or thirty-three years old, all those who had been important in her life until then had died. Everyone that her affection went out to, that she had loved, they all died.
Those who have written books about Meera, they all say, “unfortunately.” I can’t say that. I will say, “most fortunately,” because for me there is no such feeling toward death that it is necessarily some form of curse. It all depends on you. Meera used it rightly. Wherever love was torn out, each and every vessel of love gone, she offered this love of hers up to God.
The last stage was staying with her father. Her mother died, her husband died, her father died. There were five deaths passing in a continuum. All her attachments in the world were broken.
She made good use of it. She turned broken worldly attachments into detachment towards the world. And the love that became freed from the world, she offered up to the feet of God. She submerged herself in the passion-song for Krishna.
And these deaths did one more fortunate task — she was shown one thing, that everything in this universe is momentary. If the beloved is to be sought, seek in the eternal. Here nothing is yours. Don’t go astray here, don’t lead yourself astray. Here everything touched will go away. Here death, and death only, increases. This is a graveyard. Don’t get any idea of dwelling here. No one has ever remained here.
All that she’d seen with her own eyes… Thirty-three years old is not very old. She was young. So many deaths happened in her youth that the thorn of death showed her totally, clearly, that life is momentary. And then her mind turned away from all this. Turning away from this one can turn towards the divine.
First Meera danced only at home, before her Krishna statue. Then love began to rise like a flood, and the house could not contain it. Then she danced in the village temples, in the sadhu’s SATSANGS. Then love started rushing in such a flood that she was no more conscious. She drowned, she became absorbed, she became filled with Krishna.
Naturally, as she was a lady of the royal household, of a respected family, trouble came to the family. The family always becomes troubled. A thousand kinds of rumors began to spread in the community, because the matter went beyond the tradition.
You can imagine — Rajasthan of five hundred years ago — women didn’t come out from behind their veils; their faces were never seen in public. And in the royal household, even more difficult. And she began dancing in the streets, she began dancing in the midst of the common people. Even though the dance was for God, to her relatives dance was still dance — there was no difference for them. And those who had been the closest to her were all gone.
Her brother-in-law was on the throne. Wherever Meera sings that the king sent poison, that the king sent a snake in a basket, that the king had thorns scattered in her bed, it indicates her husband’s younger brother. Her husband had passed away.
Her brother-in-law was Vikramajit Singh. He was an angry youth, an ill-natured youth. And this was too much to hear… Meera’s fame was insufferable to him. Meera was so famous, people began coming from far away. Ordinary people came for her darshan; saints, monks, respectable people came too. Hearing the news of Meera they came from afar. The fragrance began to spread. The perfume was like the musk deer; everyone whose nostrils got a whiff of musk had to come.
This is a very surprising thing. From every part of the country people came, but the blind family members couldn’t see. Those people coming became the cause of more difficulty for the family because Meera’s fame was a shock to their egos. The king on his throne thought, “Someone in my own family higher than me? This is unbearable.”
Then he found a thousand excuses, and all the excuses logical — fault can never be found in them: “She is mixing with the commonfolk, with her veil aside. She is dancing in the streets; sometimes while dancing she doesn’t pay attention to her clothes. This is unbecoming. It is not proper for a lady of the royal household.”
But consider the stories: poison was sent and in Krishna’s name Meera drank it; and it is said that the poison became nectar. It must have become! It’s bound to. With so much love, so much welcoming — if someone drinks even poison it must turn into divine nectar. And if in anger, in violence, in hate, in enmity you drink ambrosia it too will become poison.
In these events that have taken place in the lives of enlightened ones, I look for demonstration of this psychological truth. Meera receives the poison as nectar; then it becomes nectar. How you accept the world is how the world becomes. This world is created from your acceptance. This world is the extension of your vision.
It became difficult for Meera to remain in her village, so she left Rajasthan. She went to Vrindavan. “I’ll go to my beloved’s town,” she thought. She went to Krishna’s village, but the same troubles started up. Because he was not there now, Krishna’s village was under the yoke of pundits — brahmin scholar-priests.
There is a lovely episode. When Meera arrived at Vrindavan’s most famous temple, an attempt was made to stop her at the door, because entry to the temple was forbidden to women. The high priest of the temple had never seen women. Meera was a woman, so arrangements were made to stop her.
But those people who were standing by the door to stop her, they were struck dumb. When Meera came dancing, holding her EKTARA in her hand, playing music; and a crowd of devotees behind her, spreading wine in all directions, and all drunk — in that drunkenness those who stood guard were also stunned. They forgot they were meant to stop her until Meera had entered inside.
The breeze was as one wave — it went right in and reached the inner sanctum. The priest freaked out. He had been worshipping Krishna; the tray fell from his hands. He had not seen a woman for years. Women were not admitted to that temple. How had this woman come inside here?
Now think a little… the guards at the door became immersed in feeling, but the priest could not dive in! No, the priests are the most blind people in the world. And to find a more unintelligent person than a scholar is difficult. The guards too were drowned in this juice. This drunken woman, this ecstatic Meera came, came as a wave — they too forgot for a moment, forgot completely what their job was. They remembered only when Meera had gone past.
It was a thunderbolt. Once the EKTARA was playing inside and the crowd had gone in, then they became alert to what had happened. But the pundit did not plunge in. Meera came dancing in front of Krishna, but the pundit was not immersed. He said, “Hey woman, do you understand that women are not permitted in this temple?”
Meera listened. Meera spoke, “I had thought that besides Krishna no other man existed. Are you also a man? I had understood Krishna was the only man and the rest of the world were his beloveds, that all were celebrating with him. So you, too, are a man? I hadn’t thought that there were two. So you are in competition?”
He was shaken. The pundit didn’t understand how to answer now. Scholars have answers to fixed questions, but this question had never been raised before. No one had asked it before Meera, no one had ever asked, “Does there exist some other man? I have never heard of this. You are saying very strange things. Where did you get such arrogance? Krishna is the one man, the rest are all his beloveds.”
But troubles were beginning, after this event. Meera was unable to stay in Vrindavan. We have always given ill treatment to enlightened people. After death we worship them; living we misuse them. Meera had to leave Vrindavan. She went to Dvarika.
Years later the political situation changed in Rajasthan; the kingship changed and the youngest son of King Sanga ascended the throne, Udaysingh Mevar. He was King Sanga’s son and the father of King Pratap. Udaysingh had great feeling for Meera. He sent innumerable messengers to Meera to bring her back: “This is our disgrace. This is Rajasthan’s disgrace that Meera wanders from village to village, moving here and there. This stain will always remain on us. Let her come back. Bring her back. We ask forgiveness for our mistakes. That which has happened in the past is gone.”
People went, pundits were sent, priests were sent to explain and convince, but Meera always gave the explanation, “Now where to come or go? Where should I go now, giving up this temple of my life’s love?” She was ecstatic in the Ranchhordasji temple.
Still Udaysingh tried very hard. He sent a group of one hundred men and said, “Bring her back no matter what. If she doesn’t come, give her a threat. Tell her you’ll fast sitting at the door of the same temple.” And they gave the threat. They insisted, “You must come, if not then we’ll die right here.”
Then Meera said, “This again; if I am to go, then I will go and ask my love. Without his giving permission, I cannot go. So I’ll ask Ranchhordasji.” She went inside and the story is very lovely, very surprising, very significant. She went inside and it is said she never came out again. She disappeared into Krishna’s statue.
This too couldn’t be historical, but it should be, because if Meera cannot merge into Krishna’s statue, then who can? And she had dissolved Krishna so deeply into herself, couldn’t Krishna at least let her be merged into himself? If not then the whole foundation of devotion will be broken. Then the trust of the devotee will be broken. Meera has dissolved Krishna so deeply into herself, then Krishna too has a responsibility.
Be aware, don’t take this as a fact and sit thinking over it. This is truth and truth is very different from fact. Truth is far above facts. Just what is there in facts? Not worth two cents. Fact is not the limit of truth. Fact is that which man’s small intelligence can understand. It is a fragment of truth; truth is vast.
If you ask me, I say it is so. Is has to be. If not, the devotee’s trust is wrong. Meera must have said, “Now what’s your feeling, shall I go now? Where will I go? Either come with me or take me into you.” Ultimately that which you love, you become. Love with care and understanding. Make your friendships with awareness. Because this friendship is no ordinary matter. Meera’s friendship was with Krishna, and if finally she merged into his image then to me this seems to be completely right. It must be so. It is just so.
In Meera, found nowhere else, is a natural expression of love. There have been other devotees, but they all pale before Meera; they become the background. Meera’s star is a very bright, shining star.
Come, let us go toward this star. If just a few drops of Meera’s juice rain on your life, flowers will bloom in your desert. If in your heart just a few tears make rain clouds like Meera’s rain clouds, and in your heart a melody begins playing as it played to Meera, it is enough. One drop will color you and make you new.
So don’t listen to Meera logically, intellectually. Meera has nothing to do with logic and intellect. Listen to Meera with feeling, with devotion. Look with the eye of trust. Push aside logic, leave it to crawl along the bank. For a little while, let yourself go completely mad with Meera. This is the world of the mad. This is the world of lovers. Only then can you understand, otherwise you will miss.
First, a few things about Meera. Meera’s love for Krishna did not begin with Meera. Such a rare expression of love cannot begin just like that. The story goes back. This Meera is one of the GOPIS — devotees — who was with Krishna. Meera herself has declared it, but the scholars can’t accept it, as there is no historical proof for it.
I accept what Meera says. I am not interested in measuring true and false. To me it is pointless whether it is history or not. Meera’s statement — my agreement; when Meera herself says it, the matter is finished. The question does not arise of someone else raising further doubts about it. And those who raise doubts like this, they won’t ever be able to understand Meera.
Meera says, “I was Lalita. I danced with Krishna in Vrindavan, I sang with Krishna. This love is ancient.” Meera insists, “this love is not new.” And it entered Meera’s life in such a way that it is clear from the very beginning that the pundits were wrong and Meera was right.
Meera was little, some four or five years old, when a SADHU was a guest at her house. When this monk got up in the morning, taking out his idol — a statue of Krishna hidden away in his bag — to set it up to worship, Meera went completely mad.
DEJA VU happened. A memory from a previous existence came. That statue was such that picture after picture began opening. That statue became a catalyst — and once again the story began. It shocked her. Krishna’s form returned to her memory. Again that dark face, those wide eyes, that crown of peacock feathers, the flute-playing Krishna — Meera went back thousands of years in her memory.
She started to cry. She began begging the sadhu for the statue. But the sadhu also had great affection for his idol. He refused to give it; he traveled on. A whole day passed. She ate no food, and drank no water. From her eyes tears flowed — on and on she cried. Her family was alarmed, now what can be done? The sadhu has gone, where can he be found? And will he give it up? Very unlikely.
And this statue of Krishna was certainly very lovely — the rest of the family felt it too. They had seen many idols, but in this one there was something alive, there was something alert, the aura of this statue was something more.
Certainly someone had carved it with love, not just for trade. Someone had carved it with feeling. Someone had put his total prayer, his full worship into it; or someone who had once seen Krishna had carved it. But the statue was such that Meera was gone, she simply forgot this world. For her the idol must be brought back to stay, if not she will die. This is the beginning of VIRAH — deep longing for God — at the age of four.
That night the sadhu saw a dream. Far away in the next village he slept. A dream in the night — and Krishna was standing there. He said, “Return the statue to whom it belongs. You have kept it for many years, this was a guardianship, but it is not yours. Now don’t carry it on unnecessarily. You go back and give the statue to that girl. It is hers, give it back. It is hers, your caretaking is over now. You have arrived where you were to deliver it, now the matter is finished.” The idol is for the one whose heart contains love for it. Who else?
The sadhu was scared. Krishna had never shown himself to him before. For years he had been praying and worshipping to this same idol — flowers were offered, bells were rung. Krishna had never appeared. He became very frightened. He fled back in the middle of the night. Arriving at midnight he woke everyone up and said, “You must forgive me, I have committed a great wrong.” He fell at the feet of that little girl, gave her the statue and went back.
This event, happening at the age of four or five, reopened her vision. Again the love flowed, again the journey began. Thus a deep relationship with Krishna was started again by this Meera in this lifetime.
This small, accidental event, happening when she was four or five years old… and a revolution happened. Meera remained ecstatic, as if she’d drunk liquor. By the time Meera was thirty-two or thirty-three years old, all those who had been important in her life until then had died. Everyone that her affection went out to, that she had loved, they all died.
Those who have written books about Meera, they all say, “unfortunately.” I can’t say that. I will say, “most fortunately,” because for me there is no such feeling toward death that it is necessarily some form of curse. It all depends on you. Meera used it rightly. Wherever love was torn out, each and every vessel of love gone, she offered this love of hers up to God.
The last stage was staying with her father. Her mother died, her husband died, her father died. There were five deaths passing in a continuum. All her attachments in the world were broken.
She made good use of it. She turned broken worldly attachments into detachment towards the world. And the love that became freed from the world, she offered up to the feet of God. She submerged herself in the passion-song for Krishna.
And these deaths did one more fortunate task — she was shown one thing, that everything in this universe is momentary. If the beloved is to be sought, seek in the eternal. Here nothing is yours. Don’t go astray here, don’t lead yourself astray. Here everything touched will go away. Here death, and death only, increases. This is a graveyard. Don’t get any idea of dwelling here. No one has ever remained here.
All that she’d seen with her own eyes… Thirty-three years old is not very old. She was young. So many deaths happened in her youth that the thorn of death showed her totally, clearly, that life is momentary. And then her mind turned away from all this. Turning away from this one can turn towards the divine.
First Meera danced only at home, before her Krishna statue. Then love began to rise like a flood, and the house could not contain it. Then she danced in the village temples, in the sadhu’s SATSANGS. Then love started rushing in such a flood that she was no more conscious. She drowned, she became absorbed, she became filled with Krishna.
Naturally, as she was a lady of the royal household, of a respected family, trouble came to the family. The family always becomes troubled. A thousand kinds of rumors began to spread in the community, because the matter went beyond the tradition.
You can imagine — Rajasthan of five hundred years ago — women didn’t come out from behind their veils; their faces were never seen in public. And in the royal household, even more difficult. And she began dancing in the streets, she began dancing in the midst of the common people. Even though the dance was for God, to her relatives dance was still dance — there was no difference for them. And those who had been the closest to her were all gone.
Her brother-in-law was on the throne. Wherever Meera sings that the king sent poison, that the king sent a snake in a basket, that the king had thorns scattered in her bed, it indicates her husband’s younger brother. Her husband had passed away.
Her brother-in-law was Vikramajit Singh. He was an angry youth, an ill-natured youth. And this was too much to hear… Meera’s fame was insufferable to him. Meera was so famous, people began coming from far away. Ordinary people came for her darshan; saints, monks, respectable people came too. Hearing the news of Meera they came from afar. The fragrance began to spread. The perfume was like the musk deer; everyone whose nostrils got a whiff of musk had to come.
This is a very surprising thing. From every part of the country people came, but the blind family members couldn’t see. Those people coming became the cause of more difficulty for the family because Meera’s fame was a shock to their egos. The king on his throne thought, “Someone in my own family higher than me? This is unbearable.”
Then he found a thousand excuses, and all the excuses logical — fault can never be found in them: “She is mixing with the commonfolk, with her veil aside. She is dancing in the streets; sometimes while dancing she doesn’t pay attention to her clothes. This is unbecoming. It is not proper for a lady of the royal household.”
But consider the stories: poison was sent and in Krishna’s name Meera drank it; and it is said that the poison became nectar. It must have become! It’s bound to. With so much love, so much welcoming — if someone drinks even poison it must turn into divine nectar. And if in anger, in violence, in hate, in enmity you drink ambrosia it too will become poison.
In these events that have taken place in the lives of enlightened ones, I look for demonstration of this psychological truth. Meera receives the poison as nectar; then it becomes nectar. How you accept the world is how the world becomes. This world is created from your acceptance. This world is the extension of your vision.
It became difficult for Meera to remain in her village, so she left Rajasthan. She went to Vrindavan. “I’ll go to my beloved’s town,” she thought. She went to Krishna’s village, but the same troubles started up. Because he was not there now, Krishna’s village was under the yoke of pundits — brahmin scholar-priests.
There is a lovely episode. When Meera arrived at Vrindavan’s most famous temple, an attempt was made to stop her at the door, because entry to the temple was forbidden to women. The high priest of the temple had never seen women. Meera was a woman, so arrangements were made to stop her.
But those people who were standing by the door to stop her, they were struck dumb. When Meera came dancing, holding her EKTARA in her hand, playing music; and a crowd of devotees behind her, spreading wine in all directions, and all drunk — in that drunkenness those who stood guard were also stunned. They forgot they were meant to stop her until Meera had entered inside.
The breeze was as one wave — it went right in and reached the inner sanctum. The priest freaked out. He had been worshipping Krishna; the tray fell from his hands. He had not seen a woman for years. Women were not admitted to that temple. How had this woman come inside here?
Now think a little… the guards at the door became immersed in feeling, but the priest could not dive in! No, the priests are the most blind people in the world. And to find a more unintelligent person than a scholar is difficult. The guards too were drowned in this juice. This drunken woman, this ecstatic Meera came, came as a wave — they too forgot for a moment, forgot completely what their job was. They remembered only when Meera had gone past.
It was a thunderbolt. Once the EKTARA was playing inside and the crowd had gone in, then they became alert to what had happened. But the pundit did not plunge in. Meera came dancing in front of Krishna, but the pundit was not immersed. He said, “Hey woman, do you understand that women are not permitted in this temple?”
Meera listened. Meera spoke, “I had thought that besides Krishna no other man existed. Are you also a man? I had understood Krishna was the only man and the rest of the world were his beloveds, that all were celebrating with him. So you, too, are a man? I hadn’t thought that there were two. So you are in competition?”
He was shaken. The pundit didn’t understand how to answer now. Scholars have answers to fixed questions, but this question had never been raised before. No one had asked it before Meera, no one had ever asked, “Does there exist some other man? I have never heard of this. You are saying very strange things. Where did you get such arrogance? Krishna is the one man, the rest are all his beloveds.”
But troubles were beginning, after this event. Meera was unable to stay in Vrindavan. We have always given ill treatment to enlightened people. After death we worship them; living we misuse them. Meera had to leave Vrindavan. She went to Dvarika.
Years later the political situation changed in Rajasthan; the kingship changed and the youngest son of King Sanga ascended the throne, Udaysingh Mevar. He was King Sanga’s son and the father of King Pratap. Udaysingh had great feeling for Meera. He sent innumerable messengers to Meera to bring her back: “This is our disgrace. This is Rajasthan’s disgrace that Meera wanders from village to village, moving here and there. This stain will always remain on us. Let her come back. Bring her back. We ask forgiveness for our mistakes. That which has happened in the past is gone.”
People went, pundits were sent, priests were sent to explain and convince, but Meera always gave the explanation, “Now where to come or go? Where should I go now, giving up this temple of my life’s love?” She was ecstatic in the Ranchhordasji temple.
Still Udaysingh tried very hard. He sent a group of one hundred men and said, “Bring her back no matter what. If she doesn’t come, give her a threat. Tell her you’ll fast sitting at the door of the same temple.” And they gave the threat. They insisted, “You must come, if not then we’ll die right here.”
Then Meera said, “This again; if I am to go, then I will go and ask my love. Without his giving permission, I cannot go. So I’ll ask Ranchhordasji.” She went inside and the story is very lovely, very surprising, very significant. She went inside and it is said she never came out again. She disappeared into Krishna’s statue.
This too couldn’t be historical, but it should be, because if Meera cannot merge into Krishna’s statue, then who can? And she had dissolved Krishna so deeply into herself, couldn’t Krishna at least let her be merged into himself? If not then the whole foundation of devotion will be broken. Then the trust of the devotee will be broken. Meera has dissolved Krishna so deeply into herself, then Krishna too has a responsibility.
Be aware, don’t take this as a fact and sit thinking over it. This is truth and truth is very different from fact. Truth is far above facts. Just what is there in facts? Not worth two cents. Fact is not the limit of truth. Fact is that which man’s small intelligence can understand. It is a fragment of truth; truth is vast.
If you ask me, I say it is so. Is has to be. If not, the devotee’s trust is wrong. Meera must have said, “Now what’s your feeling, shall I go now? Where will I go? Either come with me or take me into you.” Ultimately that which you love, you become. Love with care and understanding. Make your friendships with awareness. Because this friendship is no ordinary matter. Meera’s friendship was with Krishna, and if finally she merged into his image then to me this seems to be completely right. It must be so. It is just so.
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