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
(2) Kath : Stories from Kashmir
(3) The Stranger Beside Me
(4) Best of Kashmiri Cooking
(5) Sal A Feast Of Kashmiri Cuisine
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 )
Based on a work at http:\\autarmota.blogspot.com\.
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