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CHAITANYA AND THE VAISHNAVA POETS OF BENGAL

THE INDIAN ANTIQUARY, A JOURNAL OF ORIENTAL RESEARCH

R.. who afterwards under the name of Nityânand became the chief disciple of his more famous brother.navism. and winds up with the usual closing and valedictory hymns. &c. so arranged as to exhibit a complete series of poems on the topics and tenets which constitute the religious views of the sect.rish. &c. [Footnote: The facts which here follow are taken from the "Chaitanyacharitâmrita. In form it is a collection of songs written by various poets in various ages.R. a Brahman. May 2002} CHAITANYA AND THE VAISHNAVA POETS OF BENGAL. her first-born child.na.nava sect in Bengal. the book is one of the oldest extant works in Bengali. BY JOHN BEAMES. but even so. &c. M. FOLKLORE. LANGUAGES.C.S. a task for which I had not leisure. M. STUDIES IN BENGALI POETRY OF THE FIFTEENTH AND SIXTEENTH CENTURIES. 1486. PHILOSOPHY. rather than actually founded.D. THE PADKALPATARU.IN ARCHÆOLOGY. BURGESS. Bisambhar (Vishvambhara) Mišr was the youngest son of Jagannâth Mišr.A. and marked some of the salient points for me. the capital of Bengal. The style has unfortunately been much modernized. It is noted that there was an eclipse of the moon on that day. or 'wish-granting tree of song. J.] His mother was Sachi Debi. the rise and progress of the mutual love of Râdhâ and K. By the aid of these indications those who care to do so can find out . Before beginning an analysis of this collection so remarkable from many points of view.S. and the principal features of the religion which he developed. however.R. She bore to Jagannâth eight daughters who all died young. HISTORY.A. corresponding to the latter part of February or beginning of March A. who had emigrated before the birth of his son to Nadiya (Nabadwîpa).. Bisambhar was born at Nadiya in the evening of the _Purnima_ or day of the full moon of Phâlgun 1407 Sakábda.G. My esteemed friend Babu Jagadishnath Ray has kindly gone through the book. &c.' may be considered as the scriptures of the Vaish. Weimer. it will probably be of some assistance even to those who have studied the history of Vaish. LITERATURE. was a son named Biswarúp. RELIGION.. EDITED BY JAS. the greater part of which was probably written by a contemporary of the teacher himself.. and takes the reader through the preliminary consecration.S. VOL. The book has been put together in recent times. Education Society's Press] {Scanned and edited by Christopher M. native of the district of Sylhet in Eastern Bengal. if I state briefly the leading points in the life of Chaitanya.S. invocations and introductory ceremonies. daughter of Nilámbar Chakravarti. II.--1873 [Bombay." a metrical life of Chaitanya. F.

xiii. [Footnote: There was an eclipse of the moon before midnight Feb. O.na. however.' but in the special and technical sense in which the teacher himself adopted it. is written throughout on this supposition. For forty-eight years visibly he sported. the Charitâmrita treats us to a long series of stories about Chaitanya's childish sports among the young Hindu women of the village. No one but the father and mother and priest know the real name. In accordance with the usual Bengali superstition that if a man's real name be known he may be bewitched or subject to the influence of the evil eye. tall (six feet). 18. Chaitanya. and are probably purely fictitious. but another name is given by which the individual is usually called.rish.rish. for instance.na made visible to the senses of mankind.) is to be considered as historical. I. it appears to mean perceptible.rish. The exact (date) of his birth (is) Šaka 1407. iii. and his brother Nityânand as a re-appearance of Balarâm.e.S.] The passages in the original are:-Šrî K.rish. with expressive eyes._ I. In person. the real name given at birth is not made known at the time.rish. and by this he was generally known to his neighbours. with long arms. In order to keep up the resemblance to K. if such pranks as are related in the Charitâmrita were quietly permitted to go on. how. seems to have been eccentric even as a youth. in contrast to the Krishna of the Bhagvat who is represented as very black. A great deal is said about his hallucinations and trances throughout his life. and very sweet and winning manners. K. he defeated in argument the most learned Pandits. The name Chaitanya literally means 'soul. The Charitâmrita being composed by one of his disciples._." _i. intellect.na the Visible became incarnate in Nabadwip. He took the name Šrî K. When he was about eighteen his father died. or the pale moon. in colour a light brown. a sonorous voice. and he soon afterwards . the pale. and we may perhaps conclude that he was more or less insane at all times.na. Chaitanya is always spoken of as an incarnation of K. or rather he was one of those strange enthusiasts who wield such deep and irresistible influence over the masses by virtue of that very condition of mind which borders on madness. if the description of him in the Chaitanyacharitâmrita (Bk. He is frequently called "Gaurang" or "Gaurchandra. And again-On the full moon of Phâlgun at even was the lord's birth At that time by divine provision there was an eclipse of the moon. wonderful stories are told of his powers of intellect and memory. Bisambhar's usual name in childhood was Nimâi. in other words. 1486. --_Ch. 38. the Bengalis of to-day must be very different from what their ancestors were. They are not worth relating.the exact day.na Chaitanya to intimate that he was himself an incarnation of the god. or appreciable by the senses. In 1455 he returned to heaven. he was handsome.

when he was about 23 years of age. whose custom it was. to have kept to this quiet life for long. I.married Lachhmi Debi.na in the avatar of Chaitanya. "It was now. "that he openly condemned the Hindu ritualistic system of ceremonies as being a body without a soul. and were quite private. preached the efficacy of adoration and love and extolled the excellence and sanctity of _the_ name. emblems of . after performing his daily ritual. The probability is that Adwaita.-The teacher Adwaita is a special portion of god. vi. The Charitâmrita veils the priority of Adwaita adroitly by stating that it was he who by his austerities hastened the coming of K. they found on the door-step red flowers and goats' blood. --Ch. and a good deal of mockery. taking in pupils whom he instructed in ordinary secular learning. This custom is still adhered to by Vaish. concerning whom nothing further is said. begging and singing. but appears to have borrowed it from his neighbour Adwaita Achârjya." Chaitanya. the meetings took place in the house of a disciple Sribâs. to go to the banks of the Ganges and call aloud for the coming of the god who should substitute love and faith for mere rites and ceremonies. disowned the institution of caste as being abhorrent to a loving god all whose creatures were one in his eyes.navas. and entered on the career of a _grihastha_ or householder. Soon after he went to Gayâ to offer the usual pi.g. however. Thus in Sanskrit verses at the head of that chapter which sings the virtues of Adwaita: by in the Bengali portion of the same chapter it is asserted that Adwaita was himself an incarnation of a part of the divinity. he went off on a wandering tour all over Eastern Bengal. daughter of Balabhadra Achârjya.da to the _manes_ of his ancestors. His brother Nityânand was now assumed to be an incarnation of Balarâm. and he married again one Bishnupriyâ. like the majority of his countrymen. He does not appear. and is said to have collected a great deal of money and made a considerable name for himself. By whose favour even the ignorant may perceive the (divinity) personified.n. One night on leaving their rendezvous. On his return he found his first wife had died in his absence. The new religionists met with some opposition. The practice of meeting for worship and to celebrate "Sankîrtans" was now instituted. expanded into a faith which moved and led captive the souls of thousands. as the Babu points out. however. and took his place as second-in-command in consequence. and the uttering and singing of _the_ name of god as infinitely superior to barren system without faith. It was on his return from Gayâ. And the author goes on to say that Adwaita was first the teacher then the pupil of Chaitanya.rish. I praise that revered teacher Adwaita of wonderful actions." writes Babu Jagadishnath. was not the originator of this theory. e. was more addicted to meditation than to action. The idea which in his mind gave rise to nothing more than indefinite longings when transfused into the earnest fiery nature of Chaitanya. that he began seriously to start his new creed.

Thence for six years he roamed all over India preaching Vaish.' Some writers give a longer series of . the resemblance has often been noticed. Chaitanya suddenly took it into his head to become a Sanyasi or ascetic. and to cover himself with blood from scraping all the skin off his forehead. [Footnote: Conf.). 89 et seqq. thus we read of his dancing on the shoulders of Murari Gupta. and the principle is exemplified and illustrated by the mutual loves of Râdhâ and K. He wandered off from his home. and lastly rises to _Mádhurya_ or earnest. his craziness seems now to have reached its height. in the first instance. and from it he passes into _Dâsya_ or the practice of worship and service.--ED.navas. Graham's paper 'On Sufiism. to Purî to see the shrine of Jagannâth. which warms into _Bâtsalya_. W.' and the fourth _hakîkat_ or 'the truth. the second _tarîkat_. 'On the Rosheniah Sect.na. Râjendralâla Mittra's valuable introduction to the _Chaitanya Chandrodaya_ (Biblioth. 165-207. The young students at the Sanskrit schools in Nadiya naturally found all this very amusing. His Bengali followers visited him for four months in every year and some of them always kept watch over him.' _Bombay Literary Soc. He had starved and preached and sung and raved himself quite out of his senses.the worship of Durgâ.na had done Chaitanya must do too. III. The Bhakta or devotee passes through five successive stages. Chaitanya cursed him for his practical joke. on another he walked into the sea in a fit of abstraction. Ind. _Sânta_ or resigned contemplation of the deity is the first. 'the way' of spiritualism. In January 1510. and abominations in the eyes of a Vaish. J.D. and returned at last to Purî. one of his adherents. the third _´arûf_ or 'knowledge. and Leyden. others say it was done in consequence of a curse laid on him by a Brahman whom he had offended. In adopting this illustration of his principle. and cracked jokes to their hearts' content on the crazy enthusiasts. Res. Res. whence to _Sákhya_ or friendship. The leading principle that underlies the whole of Chaitanya's system is _Bhakti_ or devotion. where he passed the remaining eighteen years of his life and where at length he died in the 48th year of his age in 1534 A._ Vol. like himself. Every thing that K.nava.rish. however. and was fished up half dead in a net by a fisherman.rish.na. His friends took it in turns to watch by his side all night lest he should do himself some injury. I.. These were put there by a Brahman named Gopal.' _As. XI. Chaitanya followed the example of the Bhagavad Gîtâ and the Bhâgavat Purâ. &c. and we are told that he became a leper in consequence. had fits. Be this as it may. provoked by the Vaish._ Vol. On one occasion he imagined that a post in his veranda was Râdhâ. much after the fashion of some revivalists of modern times..] With the latter the first degree is _nâsût_ or 'humanity' in which man is subject to the law _shara_. and embraced it so hard as nearly to smash his nose. pp. pp. The opposition was to a great extent. Some say he did this to gain respect and credit as a religious preacher. also Jones' 'Mystical Poetry of the Persians and Hindus. pp. and his followers. and need here only be briefly traced. and he was probably also influenced in the sensual tone he gave to the whole by the poems of Jayadeva. and went off into convulsions. for he was now quite mad.' _Asiat.navism. who seem to have been very eccentric and extravagant in their conduct. Capt. foamed at the mouth._ Vol. ii-iv and xv. all-engrossing love. filial affection. Vaish. Trans. and received initiation at the hands of Keshab Bhârati of Katwa. pp. 363-428.navism is singularly like Sufiism.

'boughs. and will probably end by establishing its power as firmly in this sect as in any other. The _Padakalpataru_. and hung up. as Vaish.n. The principal performer then sings one song after another.] Bidyapati. the others playing the drum and cymbals in time. 'love. and joining in the chorus. has begun again to creep into Vaish. 'unity. 'ecstacy. to keep up the metaphor of its name throughout. Since his time.' and each of these into 8 or 10 _pallabas_ or smaller branches.navism aspires to be a religion for the masses. though sensual. "Ut matrona meretrici dispar erit atque discolor. and .di Dâs both preceded Chaitanya.' _istighnâh_. a fortunate circumstance which renders this vast body of literature extremely valuable to the philologist. The singing of hymns about Râdhâ and K.' _tauhîd_. 'insight. however long it may be._ 'seeking after god. and the childish intricacy of ceremonies which formed the religion of the mass of ordinary Hindus. The Bengali Kîrtan in fact resembles very much the Bhajans and Kathâs common in the Marâ. admitting men of all castes. There is first a consecration both of the performers and instruments with flowers. which seems so ineradicable from the soil of India. the flesh from the spirit.' _hairat_. the aim of its supporters has always been to write in the vulgar tongue. to his sect.navism necessarily ignores the distinctions of caste. and his contemporaries and followers added largely to the number. were certainly a great improvement on the morbid gloom of Šiva-worship. Although the institution of love towards the divine nature.grades. is divided into 4 _šakhas_ or 'branches. thus--_talab. but the impression I still retain is that it was in many parts far too warm for European tastes. and roll about on the ground.navism differ from true religion. and Chaitanya was perfectly consistent in this respect. Not to mention Jayadeva and his beautiful. and I believe it is always customary to go through at least one Pallab at a sitting. and the doctrine that this love was reciprocated. as the performance goes on many of them get excited and wildly frantic. the poems of the _Padakalpataru_ in consequence are of all ages from the fifteenth century downwards. the earliest of Bengali poets.' and lastly _fanâ_. 'satisfaction.' It should be explained that the kîrtans are celebrated with considerable ceremony.rish. however. since it can be relied on as representing the spoken language of its day more accurately than those pretentious works whose authors despised everything but Sanskrit. 'absorption.' Dealing as it does with God and Man as two factors of a problem. There seems to be something almost contradictory in representing the highest and purest emotions of the mind by images drawn from the lowest and most animal passions. Vaish. the colourless negativeness of Buddhism. This is called the _adhibás_. Several performances go on for days till a whole Šakhâ has been sung through. incense. moreover.' _m´arifat_. and he himself is stated to have been fond of singing their verses. the impure from the pure. and sweetmeats. still we cannot find much to admire in it. There was therefore a considerable mass of hymns ready to his hand. including Muhammadans.' _´ishk_. and each poem in length.navism. When the performance is over the drum is respectfully sprinkled with _chandana_ or sandalwood paste.na is much older than Chaitanya's age.tha country. [Footnote: It is many years now since I read Gitagovinda as a text-book at college. that strange love of caste-distinctions. Gîtagovinda." So must also Vaish. and Cha.

rit. That on Adwaita by his contemporary Brindaban Dâs gives a lively picture of the old Brahman.rish. once for all. victory to him who is love embodied to his own beloved.rîsh. The next six are in praise of the sect itself. to what is one of the principal charms of Vaish. as it is perhaps the best of the batch. 3 by Brindâban Dâs. and trip off the tongue with a lilt and grace which are irresistible. It runs thus:-23. containing only a succession of epithets linked together by jay! jay! The twenty-third begins the adhibâs or consecration. sitting in Adwaita's house.often in subject. Atha sankirtanasya adhibâsa. who is perhaps the most voluminous writer of all-are subsequent to him. beautiful and dear companions! hail to the charmer. Cha.na. is similar to the Abhangas of Tukarâm and others in that province. the object of the hope of Gobind Dâs!" I would call attention here. the incomparable Gora (Chaitanya)! hail to the mighty younger brother of Balarâm! hail! hail to Nityânand (who is) joy (personified)! Hail to him who destroys the fear of good men.] bound by love to him whose form is as a new cloud! hail to Râm and the rest. hail! hail to him who is the joy of the existence of his well-beloved! hail to the delight of the eyes of his comrades in Braj! hail to the charm of the sight of the women of Nadiya! hail! hail to Sridam. and the principal disciples.na and Râdhâ. It is by the old masters Parameshwar and Brindaban. Sudam. Jayadeva. of these 8 are by Gobind Dâs. then follow seven in praise of the Kîrtanias or the old master-singers--Bidyapati. nor anything specially interesting from a philological point of view as it is nearly all Sansk. and Arjun. The poem is in four parts and takes the form of a story how Chaitanya held his feast.di Dâs.n. K. lord of Râdhâ. the others-including Gobind Dâs. of Adwaita.nava hymns. The first Pallab contains 27 hymns. Brindâban Dâs and Parameshwar Dâs were contemporaries of Chaitanya. the rest by minor masters. Of the hymns themselves the first five are invocations of Chaitanya and Nityânand. They seem made to be sung. with the concluding portion by a younger master Bansi. then four on K. [Footnote: Names of Chaitanya's disciples. the exquisitely musical rhythm and cadence. it has no other special merits. the heart-charming dwelling of gods and saints. lover of the Gopîs. "Nand's son. the playful Syâm: _Is_ he. Subal. and identified with. spake the son . This hymn is interesting as shewing how completely Chaitanya is by his followers invested with the attributes of. and one is in praise of the ceremony of Kîrtan. There is nothing very remarkable in any of them. the Indra of Nadiya. and is curious less for its language than for the description it gives of the ceremonies practised. Number 5 may be taken as a specimen. 8 by Baishnab Dâs. "One day coming and smiling. Sachi's son.

di Dâs alone appear in this Pallab.na.e.navas crowding echo "Hari bol.' Hearing the lord's word." It contains 26 hymns by masters who are mostly of comparatively recent date. whispering together as they watch her from a distance (the punctuation {i.na Chaitanya's name. honey.rish.di Dâs represents two of Râdhâ's Sakhis. In No. bringing in the Vaish. Hari Dâs begins the song. converses with his beloved Vaish. man by man. Hari!' thus they consecrate the drum. he planned a great festivity. Gorang dances at the kîrtan celebration. not to the sense): . array the full pots. sitting in enjoyment. and curds consecrate the drum at evening-tide. Bringing all the Vaish.navas. ghee. and betelnut. "kindly visit us. there will be the enjoyment of the singing Šrî K. [Footnote: The poet's name is inverted to make a rhyme for Kîrtan in the preceding line. hang on them garlands of flowers." thus entreating she brought the honoured guests. First set up the plantains. To-day consecrate the drum and hang it up. joyfully saith Bansi sound victory! victory!! Having thus concluded the initiatory ceremonies in the lst Pallab. Cha.n. colon (:)} refers to the cæsura. Hearing this." to-morrow will be the great feast." The merits of the assembly of the devotees of Šrî K. the women shout jay! jay! and all cry Hari! Hari! Making the consecration with curds and _ghi_. all will be filled with delight. invite them separately.rish. they consecrate the feast. Of the old masters Gobind Dâs and Cha. 3. set out full pots painted with aloes and sandal-paste: plant plantains.navas.n. the virtue of Šrî K.' Thus Gora Rai speaking gave orders for an assembly: ' Invite the Baishnabs! Bring out the cymbal and drum.navas. or girl-friends. all display their joy.[Footnote: Sîta was the wife of Adwaita. He himself giving garlands and sandal-paste.rish." Of the remainder of the adhibâs I give merely a paraphrase ommiting the numerous repetitions.] bring the Baishnabs here. On all sides the Vaish. and this Pallab and in fact the whole of the first Sâkhâ is on that phase called "pûrbarâga" or first symptoms of love.rish. Gobind taking the drum plays ta-ta-tum tum. to you and Vaish. Having prepared the entertainment she invites them.navas. Thâkurânî Sîtâ. this is my petition. Joyfully the Vaish. hither come the Vaish. the Brahman chants the Vedas. Parameshwar Dâs floats in enjoyment. joy is in the hearts of all. making pressing invitation to them: whoso can sing. by Gorang's order Adwaita goes to prepare the consecration of the drum. for the celebration of the Kîrtan. 2. giving them garlands and sandal-paste. adorned with twigs of the mango. to-morrow will be Chaitanya's kîrtan. the 2nd Pallab begins the real "Kîrtan.na Chaitanya singeth Brindaban Dâs. Adwaita lightly clashes the cymbals. come and see and complete the feast. whoso can play.na's sports. Sîtâ Thâkurânî coming spoke a sweet word: hearing that with joyful mind the son of Sachî spoke somewhat in regard to arranging the festival.navas came to the feast: "to-morrow will be the joy of the great festivity." he initiates the great feast. and the indwelling of Šrî Nityânand singeth Dâs Brindaban. having Nityânand with him and Adwaita. for the Kîrtan place joyfully. Jay! jay! in Nawadwip.of Sachî. 2. We now commence the long and minutely described series of emotions and flirtations (if so lowly a word may be used) between Râdhâ and K. in loving manner she made accordingly various offerings with fragrant perfumes: all cried 'Hari.navas with sound of "Hari bol.] 4. Sribâs keeps time. smiling with joy. sandal. 'Listen. With garlands.

rish. All these considerations. I hope still further to develop at some future time. and in No. this I conceive. streams flow from my eyes: I know not what manner of man it is who utters such words: I see him not. or to make remarks on the peculiarities of the language. . with its manner of penetrating making one well-nigh mad: My mind is agitated. now of fourteen years standing. of royal descent. enables me to say that Vaish. its peculiar _modus operandi_. where are her senses. (why) does her longing increase? I cannot understand her motives: from her conduct. in spite of. or perhaps in virtue of." I have left myself no space to finish this Pallab. and from a religious point of view the first awakenings of consciousness of divine love in the soul.navism does. It is nearly identical with the language still spoken in Tirhut. it flutters to and fro in hope of seeing him: When she sees him. she does not cover herself with the corner of her robe: she sits still for a while. but a large-souled charity may be perhaps able to admit that by this process. quoth Urdbab Dâs.di Dâs says with respect she has fallen into the snare of the black one (K. however. work a change for the better on those who come under its influence. I cannot stay in the house: My soul rests not. Youthful in age. the ancient Mithili. "In the kadamba grove what man is (that) standing? What sort of word coming is this: the plough of whose meaning has penetrated startlingly the path of hearing? With a hint of union. and a chaste maiden to boot: what does she desire. and in Munger and Bhâgalpur. the ancient Magadha.na). and it is not only philologically obvious that Bengali is nothing more than a further. trained to draw a broad distinction between the love of God and love for another human being.] Cha. and very modern development of the extreme eastern dialect of Hindi. there may have been some improvement wrought in the inner life of men brought up in other schools of thought. which in the older masters would more properly be called old Maithila than Bengali. she will find her soul. 5 Râdhâ herself breaks silence. strange though it be to its own habits and experiences. she has no fear of men. to enter into a state of feeling in which the earthly and sensual is made a type of the heavenly and spiritual. she looks towards the kadamba jungle. a hundred times restlessly she comes and goes: depressed in mind.n. As the Aryan race grew and multiplied it naturally poured out its surplus population in Bengal. she has raised her hand to the moon: [Footnote: She has formed some extravagant desire. _with_ frequent sighs. her ornaments fall with a clang." This poem vividly expresses the first symptoms of love dawning in the girl's heart. my heart is perturbed. It is difficult for the European mind. than modern Bengali. it cannot be still. or what god has possessed her? Constantly restless. Two more hymns on the same subject follow. Why has Rai (Radhikâ) become thus? serious is her error. and my own experience. then rises with a start."She stands outside the house.

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