Review
of the book “ The Mystic And The Lyric “
(Four
women poets from Kashmir)
by Neerja Mattoo
Published by Zubaan Publishers Pvt.
Ltd.
Price
Rupees 450/=
Neerja
Mattoo taught English at Government College for Women in Srinagar .She
is Chief Editor of the quarterly journal
Miraas published from Delhi. Apart from the book under review , she has also
published below mentioned books:-
(1) Saktyullasah
Sharika Devi: A Yogini of Kashmir
(4)
(5)
All these books have been well received , widely read
and appreciated . She has also written
innumerable articles , write ups and participated in many
seminars , talks and literary
discussion either in person or online
held within or outside the country . She lives in Kashmir .
Through her present book ‘The
Mystic and the Lyric ‘, Neerja
Mattoo presents the life and poetry of four women poets of Kashmir . All the
four have been women of extraordinary caliber who continue to command respect and affection in the Kashmiri society across the Hindu-
Muslim divide. I mean Lal Ded , Rupa Bhawani, Habba Khatun and
Arinmal. First two for the depth of
spiritual experience and the last
two for the elegant and unrivaled lyricism in their poetic work. The
translation of select verses done
by the author is simple , to the point and convincingly appropriate . The reader is instantly able to catch up with the essence of the verses . This stupendous translation adds to the charm of
the accompanying narration . It feels good to know that the author has
consulted and sought help from Padamshri
Bettina Baumer while translating the verses of Rupa
Bhawani. I have always felt that Rupa
Bhawani’s verses are profound and
full of deep spiritual philosophy based on Upnishads , Yog-Sadhana and
highly advanced philosophy of Kashmir’s Shaiva Darshana as a result of which ,these verses have not
been so popular . And the beautiful translation of Neeraja Mattoo proves me right . For the first
time, through this book, I have feasted
on something that I always wanted to have under one roof. I mean Lal Ded , Rupa Bhawani , Arinmal and Habba Khatun.
The
book comes in 223 pages out of which about 75 pages ( 6 to 81 ) have been devoted to Lal
Ded, about 50 ( 85 to 135) to Habba Khatun, about 59 to (
140 to 199 ) to Rupa Bhawani and the remaining to Arinmal’
Lal Ded is believed to have been born in
early fourteenth century . Enough is written about her life and verses . I
believe her to be the torch bearer of not only
Kashmir’s rich Shaiva Darshana but also a foremost pillar of the Bhakti Movement of the country. Transcending all dogmatic religion, Lal Ded is the first poet to have
propounded the concept of Shunayata
(Nothingness) in verses
or Vaakhs . She also
believes that the limitless and transcendent Shiva is the destroyer of darkness
leading to emergence of light . For Lal Ded , Shiva is not only the destroyer
from the Trinity of Brahma ( Creator ) Vishnu ( Preserver ) and Mahesha (
destroyer ) but the essential supreme ruler of Shunya or Nothingness.
Once an Individual realizes that the
final truth or reality is Emptiness or Nothingness , he carries a
different outlook on qualms of mundane existence . This enlightenment also
enables him to rise above the painful concerns of routine life . And
accordingly , this concept of Nothingness comes up with a positive transformative
power.
Though deeply rooted in Kashmir’s Trika Shaivite creed , Lal Ded
had risen much above the world of creeds or labels. One can safely call her as
a torch light of ‘Medieval Mysticism’
and Bhakti Movement of the country .
Ramanand ( 1400-1470 ) Kabir (1440-1518
) ,Guru Nanak ( 1489-1538 )and Sant Tukaram ( 1577-1650 ) followed her .
Like Kabir , she also makes symbolic
use of swan ( Raaazhans ), grinding mill
( Gratta ), washerman ( Dhob), weaver ( Vovur ) , lotus flower ( Pamposh )
to put forth her spiritual thought . Her frequent use of Prakaash Dhaam or Prakash Sthaan is synonymous with Kabir’s ‘Anahad Naad’ or “ Baaje Anhad dol
“ or the musical chimes that are created when one arrives at the real self
transcending all worldly experiences. About Lal
Ded’s philosophy , Neerja Mattoo writes this :-
“ Lal Ded is far
above idol worship , yet she is fascinated by forms and shapes and symbolic
representations , as all artists are . She thinks of God in abstract terms , naming
his attributes as pure sound , pure form – the Naad ( sound ) and the Bindu
( the primal dot ) . But , for the Trikaites
as well as the Tantriks , there are
symbols of Shiva and Shakti respectively , so there is no escaping from
symbolism:
The unimpaired sound ,
the sound of the sky
The one with no name nor
family nor caste
Just the self-aware
sound and the Dot eternal
That God alone will
mount this horse .
This verse is beautiful, graphic representations of the
written and the spoken word , so important a tool for the poet . The sound in
the first line is the mystic symbol OM
, which when written down must carry the shape of the crescent and the dot to represent Shakti and Shiva on its back.”
The
author dwells on the core philosophy Lal Ded before presenting simple and to
the point translation of some verses . I quote two verses appearing in the
book translated into English by her :-
(1)
‘Gratta chhuyi Pheraan
Zeri Zeri
Ohukuyi zaani gratuk
thsal
Gratta yeli pheri tayi
zaevul neri
Goon vaati paanay
grata-bal’
(Slow and steady turns
the grindstone
The pivot alone knows
the secret of its skill.
As it turns it grinds so
fine
The grain will find its
way to the mill yard .)
(2)
“Razahans aasith sapdukh
koluy
Kustaam tsoluy kyahtaam heth
Grata guv bandh tay
gratan hyot goluy
Grata vol tsoluy phal
phol heth.”
(A swan you were but now
you are dumb
Someone stole something
from you .
The millstone stopped ,
its channel was choked
And the miller ran away
with the grain. )
After Lal Ded , we come across Habba Khatun ( 1554-1609 ) . She is a poet of love lyrics . Neerja Mattoo writes that in the entire work of Habba Khatun , we come across some
intense feelings through the realm of pure lyricism as she describes her abandonment in love or torture by her mother in law . She laments , seduces, invites
and complains .She makes no claims to sainthood . Her songs are meant to be
sung as these are highly musical in
rhyme , rhythm and cadence . The author also says this:-
“She touches upon various
moods of a woman in love , one who is not content to just love and worship from
a distance , but demands fulfillment. Though she lived in a historically
important time in Kashmir , in her verses we find no reference to the events like the removal of the last Kashmir
King , Yusuf Shah Chak and the
annexation by Mughal King Akbar __ she
is too wrapped up in her own affairs of the heart .” I quote two verses appearing in the book translated into English by Neerja Mattoo :-
(1)
“May kari tseyi kiti
poshi dasvaanay
Chhav myani daenay posh
Ba chhasay zameen tsu
chhukh asmaanay
Seeras tsu chhukh
sarposh
Bo chhasay nemath tsu
chhukh mezmaano
Chhav myani daenay posh
“
( Bouquets of flowers I
make for you
O come my love , revel
in the blooms
Bouquets of flowers I
make for you
Come my love revel in
the blooms .
I am the earth , you are
the sky
A covering for my
secrets are you
I am the banquet , you
are the guest
Come my love , revel in
the blooms )
(2)
“ Dil nith ratitham
goshay
Valo myani poshe madano
Vala vesi gathsavay
hande
Lanyan nyay kati ande
Lukmati kadnas rande
Valo myani poshe madano”
( You took my heart and
hid yourself
Come back, my flower
–decked lover !
Come friend , let us
look for dandelion leaves-
Who can erase what fate
decrees !
The mobs , they toss my
name about
Come back, my flower
–decked lover !)
After Habba Khatun ,
we come across Rupa Bhawani ( 1625-1721) , the mystic poet known as Alakheshwari or simply Saheb. Rupa Bhawani was born in the Dhar
family of Safakadal , Srinagar . About her verses, Neeraja Mattoo writes this:-
“ Due to esoteric , subtle nature of her experiences , her
poetic work is often enigmatic and inaccessible to the ordinary reader . This
is the main reason why her poetry has never been popular .Unlike most Kashmiri
poetry, her Vaakhs have never been sung, the form in which poems have been
preserved in Kashmir’s oral tradition.
Her Vaakhs are the
province of the ‘ initiated ‘,the verses generally being recited only at
gatherings of her followers at special occasions such as anniversary of her
death .”
From her verses , it is observed that Rupa
Bhawani was well versed in Upnishads , Vedas, Shaivism and Yogshastra . Apart from Sanskrit , she appears to be having good knowledge
of Persian, the official language of her
period. Neerja Mattoo makes
some complex Vaakhs very simple and
understandable through her apt and to the point translation. I quote two verses
appearing in the book translated into English by her :-
(1)
“Yus mani heye dyaan ta
paanastole
Kaanh na geli ta kansi
na gele
Zani haras ta laages
bele
Paanay paanas saeti suy
mele”
( The one who meditates
and weighs herself
She neither judges nor
is judged
She simply waits for his
benediction
She will merge with the
supreme self.)
(2)
“Mata pita su braata
paanay
Prath thaanay kath na
naye
Niraakaar roop laegith
paanay
Sath paanay ta kati
sanaa nay?”
( He is mother , father
, brother too
He is everywhere , where
is He not?
He assumed a formless
form
He is truth , where is
He not ?)
The fourth and the
last poet in the book is Arinmal (1737-1778). Arinmal is a poet
of Vatsun (lyricism ) genre . Born at village Palhalan in Kashmir, Arinmal was married to Bhawani Dass Kachru from Rainawari .
Bhawani Dass was an erudite Persian scholar in the court of Jumma
Khan, who was the Afghan Governor of Kashmir from 1788 to 1792 AD . As a common practice in the Afghan days, Arnimal was married in
her childhood. Before attaining the bloom of her youth, she was deserted by her
poet husband .
Like Habba Khatun, she too weaves musical rhymes and images through her poetry.
Her poetry brings forth her pathos , longing
and separation as her husband moved to Kabul Darbaar for many years making her to suffer in abandonment . About her poetry , Neerja Mattoo writes this :-
“ Her rich vocabulary and diction are proof of her mastery of
the craft of poetry .Like Habba Khatun, she weaves charming images and rhymes
to great effect. The beauty of fern and flower give her novel metaphors . Her
imagination , fed on these sights , blossoms into striking imagery. The
sensuous description transcends the emotions of pain . The sounds of the words
have a musical quality that turns the poems into songs. This is what makes them
easy to memorize and why they live on even though they were never written down
.”
I quote two verses appearing in the book translated into English by the author of the book under review :-
( 1)
“Arini rang gom Shraavana heeye
Kar yeeye darshun deeye
Shamsondhar Paaman bo laejis
Aama taavay kotah zaejis
Naama paeghaam tas kus
neeye
Kar yeeye darshun deeye”
( I was a summer jasmine
, with an ivory glow
Without luster , wan and
pale I wait
When will he come and
show me his face ?
Like blue Krishna he
left me to shame
I am scorched and
scarred by cruel mouths
Can no one carry a
whisper , tell him of my plight
When will he come and
show me his face ?)
(2)
“Kya vanyo mati kya vanayo
Yi gom paanas ta ti
nanayo
Lanyun nyay chhum ta ti
vanayo
Baagas myanis baadam
phulaya
Aadan raevus ta ti
vanayo
Kya vanayo mati kya
vanayo….”
( What shall I tell
you O Love , what ?
All that I suffered for
love of you ?
Or the judgment of Fate
should I tell ?
What shall I tell you O
Love , what ?
A burst of almond
blossoms fills my garden
But in my spring itself I was lost , should I tell ?
What shall I tell you O
Love , what ?
The hardbound book is covered in Jacket that has
a beautiful painting by well known artist Neelima
Sheikh . The subject of the painting
beautifully blends with the contents of
the book. Priced at Rs450/=, it is
currently available at discount provided
by the online distributors . I bought it for Rs333/=. By every standard ,
the book is worth its price and surely springs a surprise to the reader who
finds it something worth reading and possessing .
( Avtar
Mota )
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
