From the Jacket:
Mystic Songs of Meera presents (probably for the first time) the original text in Devanagari, side by side with English transliteration and English translation of 101 songs of Meera, the mystic saint of Rajasthan who lived in the 15th-16th century A.D.
Bridal mysticism marked Meera's spritual approach to God. Krishna, whom she endearingly called Giridhar, the Lord who upheld the mountain, was her Beloved, and she expressed the imagery of human love to delineate the agony of separation from Him and the intense desire to be united with Him.
Childlike simplicity, deep devotion, intense spiritual yearning and soulful poetry make the God-oriented songs of Meera a national heritage of India, transcending regional, lingual and time barriers.
This volume should prove useful to all those interested in the spiritual heritage of India, especially the life and work of mystics of India, whose devotional lyrics can be savoured as spiritual nectar, by all.
The Raga (melody) in which each song is to be sung has been given for the benefit of musicians, choreographers etc.
About the Author:
Vadakaymadom Krishna Iyer Subramanian (b. 1930, Kerala, India) is an eminent scholar, whose life mission is to present to the world the treasures of ancient India, in the fields of art, literature, philosophy and religion.
He has already translated several ancient texts into English.
These include: Saundaryalahari, Sivanandalahari, Sacred Songs of India, Wondrous Whispers of Wisdom from Ancient India, Maxims of Chanakya and Sri Rudraprasna.
As a consultant for holistic health and spiritual development, he has spelt out the regimens in this regard in his popular book: The Holistic Way to Health, Happiness and Harmony.
Subramanian's prolific literary output covers a variety of subjects ranging from Astrology to Art. He has been an astropalmic counselor for over 35 years.
A retired officer of the Indian Audit and Accounts Service (which he joined in 1953), Subramanian is also a reputed painter, who has held 22 one-man shows and whose paintings (some of them in the Chandigarh Museum) have won wide acclaim from leading art crisis of India.
All the illustrations in Subramanian's books are done by himself.
Subramanian who has traveled extensively in India, now lives in United States of America.
Among the mystic saints of India, Meera, the royal princess of Rajasthan, occupies a pride of place.
Women mystics are only a few among the many mystics who lived in various regions of India, in different periods of time and poured out their God-oriented devotional lyrics.
Karaikkal Ammaiyar, the Tamil saint who lived in the 5th century A.D.
Andal, the Tamil saint, who lived in the 7th century A.D.
Mahadevi Akka, the Karnataka saint who lived in the 12th century A.D.
Lal Ded (Lalla Yogeswari) of Kashmir who lived in the 14th century A.D.
Meera, the Rajasthani saint who lived in the 15th 16th century A.D.
Bridal mysticism marked the approach to God of this quintet of women mystics, of which Meera is the most recent and most well-known.
Loving God intensely through the spiritual path of devotion or Bhakti necessitates two things:
One: an image or a manifestation of Divinity (since God is spirit and loving requires a concretized object of love).
Two: loving requires the adoption of an attitude. There can be five different types of attitude available in loving God:
1. Bridal mysticism or treating God as the Lover or Beloved
2. Loving God as a parent
3. Loving God as a child
4. Loving God as a friend
5. Loving God as a servant would a Master.
Different mystics have adopted different attitudes.
As earlier stated, the women-mystics have all adopted bridal mysticism. Many male mystics like some Alwars and Nayanmars and even mystics like Raskhan and Rahim have also treated God as the Beloved.
Mystics like Vidyapati, Jayadeva, Chandidas, Chaitanya and others have invoked the person of Radha as a symbol of bridal mysticism to delineate the yearning of the individual soul for union with the Supreme.
In the beautiful words of Swami Vivekanada: "We are all women, there are no men in the world; there is but One Man and this is He, our Beloved."
All the mystics who have adopted bridal mysticism have used the imagery of human love between man and woman to express their love for God and the restless yearning for union.
Meera is no exception. Hence, in all her songs, we find the pain of the separated lover seeking to unite with the Beloved and the description of joy in union.
The manifestation of God, which Meera chose to adore, is Krishna, the cowherd lover, whom she endearingly calls Giridhar, the Lord who upheld the mountain.
The mythical legend is that Indra, the chief of celestials, was angery that the cowherds of Brindavan began to worship Krishna (and not him!) and threatened to drown them with torrential rain. When the threat materialized, Krishna held up the Govardhana mountain as an umbrella on his little finger and saved his cowherd friends.
Though Giridhar is the most frequently used term to refer to Krisha, her Beloved, she also calls Him occasionally as Ram or Ramaiyya, seeing the identity of the two incarnations.
But the exploits of her Beloved she mentions are all those of the Krishna incarnation.
Biographical details about Meera are scanty and often mixed up with traditional myths and legends. But certain facts are widely accepted by scholars.
She was born in 1498 A.D. in a royal family of Mewar, Rajasthan. From childhood she became a devotee of Krishna.
She was married at the age of 8 to Bhojaraja, a son of Rama Sanga, who died while quite young.
Early widowhood helped Meera in her God-oriented ascetic life of prayer and devotion.
She was persecuted a lot by her husband's brother while in Chittor.
She was a contemporary of Saint Raidas (1500 A.D.- 1576 A.D.) as also of Surdas and Kabir.
Meera became a disciple of Saint Raidas and invited him to Chittor.
Unable to bear the persecution of her brother-in-law, Meera ultimately left Chittor and went to Brindavan.
Her last years were spent in Dwarka, Gujarat. Meera died in 1547 A.D.
Her childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual and time barriers and are sung all over India.
|1.||Tumre kaaran sab sukh cchoda||21|
|2.||Mai maine govind leeno mol||23|
|3.||Harigum gaavat naachoongee||25|
|5.||Maine chaakar raakho jee||29|
|Raga: Misra Kapi|
|6.||Hari tum harau||31|
|Raga: Durbari Kanada|
|7.||Pag ghunghroo baandh||33|
|8.||Mere to girdhar gopal||35|
|9.||Baso mere nainam mem nandlal||37|
|10.||Paayojee maine ram ratan||39|
|11.||Man re parasi hari ke charan 41|
|12.||Aaj main dekhyo girdhari||43|
|13.||Jab te mohi nand nandan||45|
|14.||Naina lobhee re bahuri||47|
|15.||Dars bin dukhan laage nain||49|
|Raga: Des Bilampat|
|16.||Main birahin baithee||51|
|17.||Neendladee naheem aaven saree raat||53|
|18.||Birahinee baavaree ree bhai||55|
|19.||Bhuvan pati tum ghar aajyo ho||57|
|20.||Nainaam more baan padee||59|
|Raga: Anand Bhairavi|
|21.||Sakhi! meree neend nasaanee ho||61|
|Raga: Pooriya Kalyan|
|22.||De maa girdhari, mohi de maa girdhari||63|
|23.||Mhaare janan maran raa saathee||65|
|24.||Pyaare darsan deejo aay||67|
|25.||Karunaa suno syaam meree||69|
|26.||Mat jaa mat jaa jogee||71|
|27.||Tum suno dayaal mhaaree arjee||73|
|28.||Ab to nibhaayaam saregee||75|
|29.||The to palak ughaado deenaanaath||77|
|30.||Mero man hari soon joryom||79|
|31.||Mero man laago hari jee soom||81|
|32.||Tu mat barjai maidee||83|
|Raga: Brindavani Sarang|
|33.||Ghar aangan na suhaave||85|
|34.||Maim roee akhiyaan raatee karoon||87|
|35.||Raanaa jee mohe yah badnaamee||89|
|36.||Chaalaam vaahi des preetam paavaam||91|
|37.||Barjee maim kaahoo kee naahi rahoom||93|
|38.||Jaldi khabar lenaa mehram meri||95|
|Raga: Yamuna Kalyani|
|39.||Do din ka mijmaan||97|
|40.||Dhik hai jag mem jeevan||99|
|41.||Hari mane paar utaar||101|
|42.||Karnaa fakiree tab kyaa||103|
|43.||Mero man raam hi raam ratai||105|
|44.||Mere man raam naam basee||107|
|45.||Piya tere naam lubhaanee ho||109|
|Raga: Darbari Kanada|
|46.||Jo tum todo piyaa||111|
|47.||Govind gaav man govind gaav||113|
|48.||Hari jan dhobia ve mail manaa||115|
|49.||Galee to chaaron bandh hui||117|
|50.||He ree maim to prem diwaanee||119|
|51.||Cchod mat jaajyo jee maharaj||121|
|Raga: Tilak Kamod|
|52.||Aao manmohanaa jee jovoon thaaree baat||123|
|53.||Aalee manmohanaa jee jovoon thaaree baat||125|
|54.||Syaam sundar par vaar||127|
|55.||Baadaldekh daree ho syaam||129|
|Raga: Gaund Malhar|
|56.||Aisee lagan lagaaye kahaan tu jaasee||131|
|57.||Hari mere jeevan praan aadhaar||133|
|58.||Aise prabhu jaan na deejai ho||135|
|59.||Bade ghar taalee laagee re||137|
|Raga: Peelu Barva|
|60.||Main girdhar ke ghar jaaoon||139|
|61.||Helee mhaasyoon hari binaa||141|
|62.||Meera magan bhaee hari ke gun gaay||143|
|63.||Dekhat raam hanse sudaamaa||145|
|64.||Param snehee raam kee nit oloom||147|
|Raga: Pooriya Dhanasree|
|65.||Maim girdhar rang raatee||149|
|66.||Hari bin kyoom jeevoom||151|
|67.||Sakhee mhaaro kaanoodo||153|
|Raga: Chaya Todi|
|68.||Ab so nibhaayaam saregi||155|
|69.||Aalee mhaane laage brindavan neeko||157|
|Raga: Brindavani Sarang|
|70.||Yaa braj mem kaacchu dekhyo ree tonaa||159|
|Raga: Madhumagh Sarang|
|71.||Re samvaliyaam mhaare||161|
|Raga: Nat Bilawal|
|72.||Raam naam ras peeje manua||163|
|Raga: Pooriya Kalyan|
|73.||Sisodyo roothyo to mhaare koi||165|
|74.||Mhaare ghar aao preetam pyaaraa||167|
|Raga: Cchaya Todi|
|75.||Aao saheliyam ralee karaam||171|
|76.||Girdhar roosanoon jee kyo gunhaa||173|
|77.||Mhaaraa olagiya ghar aayaa jee||175|
|78.||Ree mere paar nikas gayaa||177|
|79.||Piyaaa mohi darsan deejo ho||179|
|80.||Prabhujee the kahaan gayaa||181|
|81.||Maai mhaare hari jee na boojhee baat||183|
|82.||He mero man mohana aayo nahim||185|
|83.||Mhaare ghar hotaa jaajyo raj||187|
|Raga: Simh Bhairavi|
|84.||Mharee sudh jyoom jaano||189|
|85.||Aalii saamvare kee drishti||191|
|Raga: Hams Narayan|
|86.||Ho gaye syaam dooj ke chanda||193|
|87.||Bhaj man charan kamval||195|
|Raga: Chaayaa Nat|
|88.||Ho jee hari kit gaye neh lagaay||197|
|89.||Papiya re piv kee vaani na bol||199|
|Raga: Savani Kalyan|
|90.||Daaree gayo manmohan paasee||201|
|Raga: Ramdasee Malhar|
|91.||Hamaro pranaam baanke bihaaree ko||203|
|92.||Chalo man ganga yamuna teer||205|
|93.||Tanak hari chitavojee mori||207|
|94.||Koi kahiyo re prabhu aavan kee||209|
|Raga: Kosdi Kanada|
|95.||Jogiya som preet kiyaam dukh hoi||211|
|96.||Koi kachu kahe man laagaa re||213|
|97.||Maim to teree saran pari re||215|
|98.||Nainam banaj basaavoon||217|
|99.||Nand nandana bilmaaee||219|
|Raga: Madhumagh Sarang|
|100.||Meha barasavo kare re||221|
|101.||Tum bina meri kaun khabaraa le||223|
Item Code: IDF197 Author: V. K. Subramanian
Cover: Hardcover Edition: 2005 Publisher: Abhinav Publications ISBN: 8170174589 Language: With English Transliteration and Translation Size: 8.6" X 5.6" Pages: 223 Other Details: Weight of the Book: 468 gms