The Creator of the “Common Man”: (The not-so-common) RK Laxman

 

Whenever I open The Times of India, particularly these days, I sorely miss that cartoon on its front page that could both make me think, as well as laugh out loud at the things I saw all around -- RK Laxman’s “You Said It.” Over the years, I have met many fellow-readers who have all confessed to missing the same daily dose of his cartoon creation “The Common Man.” This addiction to the daily pocket-sized dose of daily humour had been predicted by his colleague, Khushwant Singh, the eminent novelist/journalist/editor, Laxman's colleague for more than a decade. “Laxman is the pillar that sustains The Times of India. The day his cartoons stop appearing on its front pages, Indians who start their day with a smile will have nothing left to smile about."

Laxman's front-page cartoon inevitably featured the ubiquitous Common Man, a balding, middle-aged fellow, with tufts of hair sticking out from the sides of his pate and a bulbous nose, wearing his trademark dhoti and checked coat, round spectacles; it was one of the most well-known faces in India, at least to newspaper readers. He would continually wear a bemused, incredulous expression at the doings of India's politicians. With his gentle sarcasm, his sharp wit and observation, he made us see the lighter side of things.  He became the silent, the ‘incidental’ observer of the daily predicaments of thousands of Indians; their dreams, their hopes, their common quirks and faults. Asked to explain the strengths of the Common Man in an interview, Laxman singled out his silence. "He simply listens," he said. 

With the passage of time, we have learnt to appreciate the depth of Laxman’s talent even more -- as a good cartoonist/humorist/social commentator all rolled into one, he was beyond compare. 

I often wonder if he would have lasted in today's era of censorship. He was sarcastic, acerbic but never vitriolic -- neither abusing nor provoking to call attention to himself. This was probably what saved him from the ire of politicians even during his days. He commented gratefully: "They have not taken care of the country, but me." 

His contribution towards being able to make us laugh at ourselves has become rare, indeed is becoming rarer, with every passing day. As it is said (in another context), “Raam toh har yug mein aaye/par Laxman jaisa kabhi koi paida nahin hua (Ram was reincarnated in every era/but the likes of Laxman was never born again).” 

But did you know that this institution of an artist was largely self-taught? At the beginning of his career,  when Laxman applied to the JJ School of Arts in Bombay, he was refused admission. His application carried the comment “lacked the talent to qualify for enrolment".

So the incomparable skill that could change the meaning of an entire cartoon with the single stroke of a brush, was a mix of equal parts of inborn talent, practice, studious observation, and attention to detail. It is said that he was influenced (as were many other cartoonists all over the world) by New Zealand’s pioneering caricaturist David Low.  He started out by making political cartoons for local newspapers and worked at the Free Press Journal alongside Bal Thackeray. But soon he had a disagreement with the owner of the newspaper who had forbidden him from making cartoons of communists. In 1951 when he found employment with The Times of India, he created the Common Man, his front page cartoon strip which featured on the front page for the next six decades. Over the years, as Khushwant Singh said, almost everything in the paper was dispensable, but there were three things it could not touch: God and religion, titillation and RK Laxman. As a tribute to his genius, the JJ School of Arts today has a statue of the Common Man on their campus in Mumbai. 

All of us are familiar with the “Common Man” but few know that he was also an illustrator par excellence. He illustrated his older brother (the great RK Narayan’s) autobiography titled “My Days,” his novel, "Swami and Friends." He also created "Gattu" the Asian Paints mascot in 1954. 

image credit: startuptalky.com

He illustrated his wife Kamala Laxman stories for children.  His work for the latter has to be seen to be believed. He has transferred human emotions to animals with brilliance.  The expressions of Thama, the baby elephant, as he searches the forest for his lost mother in Kamala Laxman’s “Thama and his Missing Mother” (India Book House Education Trust/Echo Books, first published in 1975, priced an unbelievable Rs 3.00) are a treat to behold.  

He also penned a collection of short stories (The Distorted Mirror) and wrote novels (The Hotel Riviera, The Messenger) as well as his autobiography "The Tunnel of Time," but he is best remembered for his inimitable cartoons which told the stories of our lives in a small space. We miss you! 

As a tribute to the genius in his birth centenary year (He was born Rasipuram Krishnaswami Iyer Laxman in Mysuru in the year 1921), SAB TV has produced a new season of the iconic Doordarshan 90s sitcom Wagle ki Duniya (based on Laxman’s characters, Srinivas Wagle and his wife Radhika Wagle from Wagle’s World). Leftrightthodasa center.blogspot.com brings you this post dedicated to RK Laxman, offering you glimpses of his “quintessential common man” and his illustrations for children’s books.

Don’t forget to comment, and as always share, follow, and subscribe!  (Image credits: TOI, Pinterest, IBH/Echo Books)

My sketch of the Creation being friends with the Creator

                                                                               

Madhubala: Queen of Hearts

She was, she is and will always remain the queen of millions of hearts,  as long as Hindi cinema exists. 

Madhubala - A Sketch by Myself

Madhubala (a girl (bala) as sweet as honey (madhu)) was a leading film star of the Hindi films of the 50s. Born on February 14,  Valentine's Day, she is often called the Marilyn Monroe of her times; she had a vivacious, charming personality that won over hearts easily. 

Born Mumtaz Jahan Dehlvi, she started out in Hindi movies as a child star (“Basant” in 1942) when she just seven years old. She got her first starring role when she was merely 14, in a film called “Neel Kamal” and after that, there was no looking back. She had a persona made for the silver screen – a powerful aura of charm, intrinsic talent and of course, mesmerizing beauty that leapt out at the unsuspecting viewer, making him a slave for life.  Thousands of cine-goers will testify to that shining luminous quality she brought with herself every time she appeared on screen.  Proof of this is the article captioned: “The Biggest Star in the World – And She is not in Beverly Hills” that appeared in the August 1952 edition of the “Theatre Arts Magazine” with a full-page photograph, wherein Sidney Cheney, the American author and critic, testified to her on-screen magnetism.  

 

She was born to be superstar, and she was one….the undisputed, reigning queen of Bollywood until the early 60s. The same year as the article came out, she got offers from Hollywood, but her father refused.  

All of us have our own favourite Madhubala songs.  And there just cannot be only one. For me, I can never forget the Renu in paanch rupaiya barah aanaa in “Chalti ka Naam Gaadi” nor Anarkali, in pyar kiya toh darna kya in the iconic “Mughal-e-Azam” nor Shabnam, the poet’s muse in maine shayad tumhe in “Barsaat ki Raat nor Edna, the crooner in aaiye meherbaan from “Howrah Bridge”. The mind boggles at the endless possibilities of what might have come to pass had she moved on to Hollywood.

But as it is said, what God gives with one hand He takes away with the other. Her very debut in the movies was to support her large family of numerous sisters, for whom she was the sole breadwinner. She was born with a ventricular septal defect of the heart that went undetected until she was in her 30s. And for someone so angelically beautiful, she had an unbelievably tragic love-life. The intensely symbolic scene from Mughal-e-Azam, where after the quawwali competition, Salim hands a full-blown rose to the winner Bahar Begum (played by Nigar Sultana) and the thorn-covered stem to Anarkali (played by Madhubala) saying, "Mohabbat karnewalon ke naseeb mein kaante hi hote hain"...that for me will always symbolize the story of Madhubala's personal life.

Believe it or not, the likes of Zulfiquar Ali Bhutto hung around the sets of Mughal-e-Azam, hopelessly smitten by her charms. Her famed nine-year long relationship with Dilip Kumar came to nought, due to her objecting father. They were a match made in heaven: she, a beautiful, charming, vivacious, coquette; he, introvert, handsome, a silent powerhouse of talent. I often imagine what good-looking, talented offspring their union would have produced. But it was not to be.  And finally, when she did marry the charismatic and talented Kishore Kumar on the rebound in 1957, the fatal defect in her heart came to the fore. She passed away in 1969 when she was just, hold your breath, 36! Yes, at 36, just like Marilyn Monroe. 

 

Ae baad-e-saba zara dheere se chal

Yahaan soi hui hai Anarkali……

Today on her death anniversary, leftrightthodasacenter.blogspot.com pays tribute to this Venus of Bollywood, who shall remain the uncrowned queen of our collective hearts for all times to come.

Do comment and let us know if your heart skips a beat too when you see her... and as always, remember to share, follow and subscribe!

Shivaji - The Virtuous Warrior King

 

On February 19 every year, India lays aside all its differences to celebrate the birth anniversary of the great Maratha King Chhatrapati Shivaji Maharaj. To commemorate this day, Left, Right and 'Thoda sa' Centre brings you a post written by a guest author, Ms Poonam Nakade. She graciously accepted our request to pen a few lines on this immortal personality, who has carved an everlasting niche for himself in the pages of Indian history.  Over to Poonam --

Chhatrapati Shivaji Maharaj is venerated as God in Maharashtra.  While we celebrate his 391st birth anniversary today, I would like to share one of his stories that had impressed me as a girl and continues to impress me as a woman.  Having been born and educated in Maharashtra, studying in detail about Chhatrapati Shivaji Maharaj was inevitable. It is a well-known fact that he was a great warrior, administrator, and leader but he was also a very sensitive human being.  There are many stories that reveal this side of Maharaj that are not known outside of Maharashtra.  Today, I would like to share one such story that made the first strong impact on my mind.   It was a story narrated by our Marathi teacher.  The immense respect that our teacher had for Maharaj eventually led her to recite “ashich aamuchi aai asti sundar rupmati....”(had my mother been as beautiful as you are...).  Though she was teaching a lesson on "Hirkarni Buruj", she recounted a totally unrelated story that I repeat here.

The story was about an attack carried out by the Maratha army on the fortress of Kalyan to defeat the custodian of the fort, Ahmed, who was committing unmentionable atrocities on his Hindu subjects. The Maratha army not only seized the fort but also captured some prisoners of war that included the subedaar and his family.

The news of the Maratha victory and the captives spread like wildfire. Next day, the common people thronged the court hoping to see Maharaj heap insults on the captives. Consequently, the father-son duo was presented in chains before a crowded darbar, with the subjects filling up every available inch of space in the common hall, and even spilling out into the corridors outside. People craned their necks to see what fate would befall the hapless prisoners of war. Maharaj issued immediate orders for their release from bondage. Then Abaaji Sondev, a commander in the siege of Kalyan, stepped up to the throne and brought it to Maharaj’s attention that there had been one more arrest. When asked to produce  the captive in court without delay, the commanders led the Subedaar's daughter-in-law into the darbar and presented her before Maharaj. A deathly hush descended over the crowds surging to get a better look at the lady being led to the throne in chains. She was famed for her beauty throughout the land.

Completely taken aback at this unprecedented move on the part of his chieftains, Maharaj lowered his eyes for a few moments. With his eyes still lowered, he asked his commander as to what action was expected to be taken.

The chieftain replied in a loud tone, made bold with emphasis, “Maharaj, she should be kept in the natyashaala (the dancing girls’ quarters), as this is the practice followed by the Mughals with any women taken captive in war.” A ripple of assent ran through the audience hanging on to his every word.

A young boy dressed up as Shivaji Maharaj

All eyes were now on Maharaj. “Abaaji Sondev,” he said, loudly and clearly, deliberating on every word as he spoke, “I want to let it be known that I don’t believe in the principle of ‘an eye for an eye.’ I cannot disregard humanity and make laws that perpetuate injustice, merely because our enemies believe in doing so.”  

His righteous words and dignified demeanour gave the captive woman the courage to look up at him. The silent entreaty was not lost on Maharaj. He looked at her for an instant and then turned away, uttering the words that I remember to this day -- “had my mother have been as beautiful as you are, I too would have been handsome.” He ordered Abaaji to escort the Subedaar, his son and daughter-in-law to their home forthwith, and to see to it that the lady was extended the same courtesies as would have been extended to Jijamata.

This story is just one of the many examples which demonstrate that Shivaji Maharaj was not only a great warrior, administrator, and a great leader of men, but also a ruler immensely respectful of women and acknowledged their contribution towards the building of a just and honourable society and thence, a just and honourable state.

It is this human side of Shivaji Maharaj that never fails to stir my heart every time I recollect the story. Here was a battle-hardened warrior so feared by all his enemies, but loved and held in high regard by all his subjects who have continued to keep him on a pedestal at par with God for generations.

Whether we know him as the “Father of the Indian Navy” or a warrior king skilled in guerilla warfare, his sensitive side always makes me proud to be his descendant. 

Will we ever see another like him? Perhaps when Time turns a full circle, and Satyug comes round again.

So what did you think of Poonam’s stirring post? Don’t forget to leave your much-awaited comments in the section below, and as always, do share, subscribe and follow us.

About Poonam:

In spite of being busy with the family commitments and almost in love with all of it, I still grab some time for myself. Teaching Math gives me the necessary adrenaline rush and words, the coveted peace. Every time I pen down a quote, poem or an article it leaves me with heartfelt satisfaction. Words and thoughts are my most loved toys to dwell with.

A lot of people think Math and creativity don't go hand in hand. Maybe. But they definitely are the best of both the worlds for me.

Disclaimer:  This article is a reader contribution and all views and opinions in the article are those of the writer alone.  Other readers who may be interested in contributing to this blog may mail their articles with a short biography and a profile pic to left.right.tcenter@gmail.com.  The right to publication rests with the blog owners.

Basant Panchami: The Herald of Spring

 

Welcome to Vasant (or Basant) Panchami….the festival that heralds the end of winter chill and signals the arrival of Rituraj Vasant or Spring, the King of Seasons. 

On every fifth (panchami) of the moonlit-half of Magha in the Hindu lunisolar calendar (which generally coincides with late January or the first half of February), the balmy breeze and the warmth of the sun trumpet “Let it be known throughout the land that His Royal Highness, Spring, the King of all Seasons, has set out from the abode seasons and shall arrive 40 days hence!” 

This clarion call goes out to India, Pakistan, Bangladesh, Nepal and (hold your breath) far-flung Indonesia and Bali too, believe it or not!

In the subcontinent, Basant Panchami marks the 40-day countdown to Holi, when Spring is said to officially arrive. Celebrated as the ‘Great Day of Saraswati’ or ‘Hari Raya Saraswati’ in Bali and Indonesia, it marks the beginning of Pawukon, the Balinese calendar that has 210 days. 

The puranas narrate an interesting tale about the origin of Saraswati. The story goes that when Brahma created the universe, it was completely soundless; filled with an all-pervading stillness and  silence. He realized there was something vital that was missing, and called upon Vishnu, the sustainer of the universe. Together they tried to identify what it was that was lacking, but they couldn’t quite put a finger on the missing element. He summoned Devi Adi Shakti, who with her feminine empathy, understood what they were hinting at.  Even as they spoke, a blinding light emanated from her that revealed itself to be a divine, celestial female form. It sat on a swan, radiating a calm, serene, beauty, full of repose -- seemingly focused on consciousness deep within herself.  She held a veena in one hand and a book in the other. Another hand held a rosary.

This radiant avatar of Durga then struck the chords of her veena, and lo and behold! Everything in the universe found a voice. 

The Gods named the creator of the divine musical note, “Saraswati” -- the Goddess of Expression, of all that lends enjoyment, taste and flavor to life and living, who would be variously called Sharda, Bhagwati, Vagishwari, Veenadevi, Veenavadini; she would personify the highest form of consciousness, and be the custodian of all human tendencies, behaviors, intelligence, learning, knowledge and instinct.  Devi Adi Shakti departed but not before prophesying that Saraswati would someday become Brahma’s wife and assist him with his powers in the same way Lakshmi assisted Vishnu and Parvati, Shiva.

Vishnu was beside himself with happiness, and he decreed that from then on, Saraswati would be worshipped on this day, and it would be celebrated as Basant Panchami. 

This is the story behind Saraswati puja performed today in Bengal and Odisha, the north-eastern states and even Bangladesh; students and teachers in  their homes, schools and colleges, prepare to worship the fount of learning, inspiration and sadhana; books, pens, inkpots, anklets, musical instruments of their daily use are placed at Her feet before they can be used for initiation to gain her blessing. 

This day is of great significance for children; those that are beginning to speak have a drop of honey placed on their tongues and taught to say “Om” as their first learned word; those who attain school going age have chalks or pencils or new books placed into their hands for the first time. This is called hatey khori/vidyarambha/khadi chuan.  

The significance that Vijayadashmi holds for soldiers and their weapons, that Deepawali holds for traders/businessmen, their weighing scales, weights and book-keeping, Vasant Panchami holds for artists – whether they are poets or playwrights or authors, singers or musicians, dancers or performers, all of them begin the day with the worship of the objects that they use in the practice of their art, and offer prayers to Goddess Saraswati.  She symbolizes creative power, energy and inspiration.

Basant Panchami is also celebrated as “Madan Panchami.” Madan is another name for Kamadeva, the God of Love. He is said to arouse and awaken the passions in the earth that fills it with new life in the form of greenery, flowers, crops and seeds.

This is the day when Gods approached Kamadeva to break the penance of Shiva by arousing desire in him. He shoots arrows of love made of strings of fragrant flowers with bees trailing them from his bow of sugarcane, so that Shiva opens his eyes and becomes conscious of Parvati’s efforts to woo him. 

But it also makes Shiva open his third eye and Kama is burnt to ashes. Due to the prayers of his wife Rati, Shiva then grants him rebirth as Pradyumna, the son of Krishna and Rukmini.

In Gujarat, people sing songs dedicated to Kama and Rati, to Krishna and Radha who are worshipped as the avataars of the former and offer garlands of yellow flowers and mango leaves. All over Chhattisgarh, UP, MP and even Maharashtra, people worship Shiva and Parvati, similarly offering flowers of the mango tree that begins to flower in this season as well as the first ears of wheat from their fields. South of the Vindhyas, in Andhra Pradesh, it is celebrated as Sri Panchami, also dedicated to the worship of Saraswati. 

In Punjab, Maharaja Ranjit Singh, the founder of the Sikh empire in times of the British rule, encouraged Sikhs to celebrate Basant Panchami in gurudwaras and would organize and sponsor Basant fairs in various towns of Punjab such as, Amritsar, Kapurthala, Patiala and Hoshiarpur. 

This tradition of Basant melas continues to this day, when kite-flying competitions and military sports are held. Due to a part of Punjab having gone to Pakistan as a result of the Partition, kite-flying from rooftops has continued to be a major feature of celebration in the Pakistani towns of Lahore for example, where there is a large concentration of Punjabi Muslims.

 

Sufi Indian Muslims, particularly those who follow the saint Nizamuddin Aulia in Delhi, also observe the practice of wearing yellow and offering yellow flowers at the grave of the saint. 

But by and large, the day is celebrated as a harvest festival all over North India and Nepal, marking the ripening of the mustard crop. 

Everywhere people wear yellow/orange/gold-coloured saris, lehengas, dupattas and head-dresses or turbans.

It is the colour of the flowers of the mustard plant, and also said to be Saraswati’s favourite color.  All things yellow are considered auspicious on this day.

People prepare and eat yellow-coloured snacks and sweets, adding kesar or saffron to foods such as rice, sandesh, jalebis and laddus.  Special offering of the jujube (ber) is made to Saraswati as the fruit of the season. From the day before, the Goddess’ temples are filled with offerings of such fruits/dishes so that she can join her devotees in the feasting and celebration in the morning.

How did  you find this post on Basant Panchami ? Do let us know in the comment section. And as always, do not forget to read, share, follow and subscribe to leftrightthodasacenter.blogspot.com

Photo and image credits: Google/Pinterest

 

Ek Radha, Ek Meera - The Eternal Valentines

(Pic credit - Pinterest/Nidhi Rathore's pin)

Happy Valentine’s Day everyone – and love, always!

In my second novel, The Tainted Communion, Rudraaksh engraves a wooden plaque for Meera with a couplet from Sant Kabir:

 Akath Kahani Prem Ki, Kuch Kahi Na Jaye 

Goonge Keri Sarkara, Baithe Muskaaye

For eons, poets and musicians have indulged in myriad expressions of love. Yet, Sant Kabir chose ‘a mute man eating sweets’ to represent this intangible feeling that cannot really be put into words. It’s the metaphor that appealed to me the most too. Because, as they say - Maano to Bhagwaan, na Maano to Pashaan – so, is love. Its only definition and comparison is to itself, that applies to and is felt by the one who experiences it. So as people differ, the definition and comparison differ and the experience differs too. 

Ravindra Jain’s masterpiece - Ek Radha, Ek Meera – from Raj Kapoor’s last directorial venture, Ram Teri Ganga Maili (1985), captures this subjectivity beautifully. Much like the juxtaposition of a myth with present-day realities in the film’s theme, the song pits Radha (Krishna’s mythical consort) against Meera (the 16^th-century mystical poet-saint-devotee of Krishna from Rajasthan). Leaving that dichotomy aside, let’s focus on the symbolism, on this Valentine’s Day, to understand love a little differently.

एक राधा एक मीरा, दोनों ने श्याम को चाहा

अंतर क्या दोनों की चाह में बोलो

एक प्रेम दीवानी एक दरस दीवानी

 There is a Radha, and there is a Meera; both desired Krishna

Can you differentiate between their desires?

One longs for His love, one longs for the sight of Him

To each his own. Radha is emblematic of love (prem) and Meera of devotion (bhakti). In a restricted context, the former symbolises an equal relationship between two entities; the latter, the aspiring of an inferior towards something superior. One passion, the other surrender. Will it then be fair to say that Radha’s love was devoid of devotion and Meera’s devotion devoid of love? No, because love and devotion are different stages of the same emotion. At best, one paves way for the other and both lead to the same goal – Krishna. This is the jivatma aspiring for the paramatma – in its own unique way.

राधा ने मधुबन में ढूँढा, मीरा ने मन में पाया

राधा जिसे खो बैठी वो गोविन्द मीरा हाथ बिक आया

एक मुरली एक पायल, एक पगली एक घायल

अंतर क्या दोनों की प्रीत में बोलो

एक सूरत लुभानी एक मूरत लुभानी

एक प्रेम दीवानी एक दरस दीवानी

Radha searched for Him in Madhuban, Meera discovered Him in her heart

The one Radha loses, loses Himself to Meera

One is the flute on his lips, the other his anklet

One has lost her mind in love, the other is wounded

Can you differentiate between their affection?

One is smitten by the beauty of his face, one is smitten by the beauty of his idol

One longs for His love, one longs for the sight of Him

Radha, Krishna’s childhood sweetheart, was His companion in rasa lila in the groves and bowers of Madhuban. Every time He played His flute, she lost sense of time, space, and self, and ran to Him. Quite like Shiv (Supreme Consciousness) and Shakti (Power) or Purush-Prakriti, Radha (Lakshmi) is inseparable and indistinguishable from Krishna (Vishnu) and vice-versa. Yet, she lets him go to Mathura, never to see him again, and lives out her human avatar as someone else’s wife. She loses her beloved, as the world perceives it, but only she knows the ultimate truth. This is her source of strength that keeps her devoted to and one with Krishna spiritually despite the physical separation - Atma Tu Radhika Tasya (Radha, you are His soul).

Meera is married to a Rajput crown prince, but considers Krishna as her husband. She practices severe austerities, flouts all social conventions, writes and sings passionate songs of devotion, but remains steadfast on her path until the very end. To the world, she gains nothing tangible, rather loses everything. But so strong is her knowledge of the truth that nothing can veer her off course.

Both Radha and Meera are tormented by viraha or pangs of separation but it’s a pain they rejoice in equally. They are equally constant in their attachment that cannot be defined or understood in worldly or material terms. Ultimately, Krishna is equally accessible to both.

(Pic credit: Pinterest/Pin by Amita, saved to Krishna paintings)

मीरा के प्रभु गिरिधर नागर, राधा के मनमोहन

राधा नित श्रृंगार करे, और मीरा बन गयी जोगन

एक रानी एक दासी, दोनों हरि प्रेम की प्यासी

अंतर क्या दोनों की तृप्ति में बोलो

एक जीत न मानी एक हार न मानी

एक प्रेम दीवानी एक दरस दीवानी

He is Meera’s Giridhar Nagar, and Radha’s Manmohan

Radha adorns herself with ornaments while Meera relinquishes all and becomes a hermitess

One is His queen, the other His minion; both thirst for Hari’s love

Can you differentiate between their satiation?

One does not accept victory; the other does not accept defeat

One longs for His love, one longs for the sight of Him

This is my favourite part of the song! Despite the stark differentiation, here, Meera and Radha exchange places. If one looks deep, one realises that this verse applies to both the women.

Meera worships Krishna as Giridhar Nagar – the one who lifted the mountain (symbolising steadfastness of truth/faith against challenges). To Radha, He is Manmohan – the one who pleases or enchants the heart. Challenge and enchantment are interwoven in the myth of Radha as well as the history of Meera.

Radha is a milkmaid, but being the source of Krishna’s rasa (his pleasure potency), she does everything that pleases Him and becomes the queen of His heart. She is not only devoted to Him but is also the object of His devotion. Despite this, she does not accept her victory. She lets him go. According to a legend, years later, when Krishna falls sick and the only prescribed cure is the smearing of the dust of somebody's feet on His forehead, it is Radha who comes forth, thereby sacrificing years of tapasya and her chance of attaining moksha and trapping herself in the karmic cycle. It is not an easy choice, but to the true lover, it comes easily. By losing, she wins.

Meera is factually a queen, but she surrenders everything, including her self, to please Krishna. She gives up her royal privileges and luxuries, defies social norms, challenges Rajput patriarchy, escapes assassination attempts, and asserts her right to worship and live for Krishna. Despite all the challenges, she does not accept defeat. Her choices are no less difficult but she makes them easily. In her striving to win Krishna, she loses all.

Hence, the lover and the devotee are equally enamoured of the beloved but they attain Him in their own different ways. One’s adornment is as appealing to God as the other’s asceticism because He does not distinguish between the paths, only the sanctity and intensity of feeling – and there is no distinction there between Radha and Meera – prem and bhakti.

(Pic credit: Pinterest/Pin by ModAine SPIRITisTree)

Devotion is the principal way to love God (or anything else); and without true love, true devotion is not possible. When Meera (according to legends) merges with Krishna’s idol she dissolves into Radha too who is already a part of Krishna. Bhakti and prem become interchangeable.

Krishna, Radha and Meera – the worshipped/loved and the worshipper/lover, and the act of worshipping/loving itself - are therefore one and the same. It’s an example we can all learn from today. As Sant Kabir says in another couplet,

योगी जंगम जीवड़ा  सनियासी दरवेश |

बिना प्रेम  पहुँचे नहीं दुरलभ सतिगुरु देश |

No yogi, living being, ascetic, or mendicant (sufi) has ever reached God’s unattainable abode without love. And such love demands complete surrender of body, mind, and self (ego) – in other words, it demands true devotion. This is the path of Radha, and the path of Meera.

In our lives too, whatever it is that we aspire for – a person, an ideal, a thing, a goal, and even God – this is the only path to attain it.

So, which do you think is greater, love or devotion or an indefinable mix of both? Do let us know in the comments section. And as always, do like, share, follow and subscribe to leftrightthodasacenter.blogspot.com