Archive for April 25th, 2011

From: “Laksmii Devii”

To: am-global@earthlink.net

Subject: My Beloved in “Madhupur”

Date: Mon, 25 Apr 2011 19:26:40 +0530




Throughout the ages, great devotees and spiritualists – like Vidyapati,

Kabir, & Tagore – have employed metaphors in their songs and poetry to

describe the ecstasy of divine love.

Such metaphors – given in plain and simple language – help inspire

common people understand that there are higher aspects of devotional

life. In turn, a section of the population will seek out the deeper

meaning via inquiry and sadhana. Hence, there is great benefit to such


By His grace, our Sadguru Baba has also used indirect language, double

entendre, and metaphors to describe the more intimate relation that

develops in higher dhya’na. By this way, we are aware about and strive

to realise that type of mystical love and communion in our own sadhana.

At the same time, in the past with regards to the writings of Vidyapati

and Kabir as well as in the present with Prabhat Samgiita, there are

some leaders who have misinterpreted those metaphorical teachings and

led the common people astray.

By gaining a clearer insight as to the meaning of metaphors in

spiritually-oriented literature, we can all move more pointedly toward

out Goal, both individually and collectively.


Language is inherently limited – it cannot capture nor express the full

gamut of human emotions and feelings. Just as a young couple in love

cannot put into words the feelings they have for one another – let alone

try and explain it to others, the same is true on the path of sadhana.

Those more intimate thoughts and feelings of dhya’na like madhura bhava

are not easily expressed in words. Yet those feelings exist and are well

within the range of human experience. It is just that language is often

incapable of conveying those subtle devotional states.

Guru bob se shiis’a’ ka’l…

Baba says, “It has been said that when someone wants to tell another

about Parama Purus’a, at the time of speaking neither is the

symbolization of the words possible, nor is the symbolization of what is

heard by the listeners possible. That is, for both speaking and

listening the symbolization of words is difficult. It is indeed a

difficult state and the Guru becomes dumb and the disciple becomes deaf.

What can the Guru [do] except become dumb? Because of the limited scope

of language, He cannot express Himself. How can Parama Purus’a be

symbolized in words?” (AFPS-6)

Thus, given the inherent limitation of language, yet the very real need

to convey a particular idea, great poets have expressed their

realisation through metaphors, using common language and analogies to

hint at their main idea.


The great sadhaka Vidya’pati has written many poems about higher sadhana

experiences, one of which is “Hari gela’ Madhupura’ ha’ma kulaba’la'”.

In this poem Sri Vidya’pati is using very common words to convey a

sublime idea. That way the general population can at least get a glimpse

of what he is talking about. In the end, those with a little bit of

insight will understand that Vidya’pati is indirectly describing a very

high state of mind, whereas some will just take it as face value. And it

is the former who should and will educate the common people as to the

meaning of those writings.

Hari gela madhupur can be misinterpreted in two ways.

Hari is a boy’s name, Madhupur is a city in North Bihar, ha’ma means I

am, kula means prestigious family, and ba’la means daughter.

Thus the literal meaning is that, “I am a daughter of a prestigious

family and I am on my way to see my boyfriend Hari in the town of Madhupur.”

That is one way to understand – albeit a grossly literal one – and

interpret Vidyapa’tis poem.

Of course those with greater curiosity and insight will understand that

the meaning must be something more than that. After all, Viaya’pati was

a great sadhaka and poet – surely his intention was something more.


By Baba’s grace, He has given us the ideal explanation of the metaphor

which Vidya’pati has used in his poem.

Baba says, “The kulakun’d’alinii resides in the kula, that is, in the

last bone of the vertebral column. In Sanskrit kun’d’alinii means

“coiled”, “serpentine loop”, “serpentine coil”. Jilipii [a fried sweet]

is also called kun’d’alinii in Sanskrit because it is coiled. The poet

Vidya’pati has said: Hari gela’ Madhupura’ ha’ma kulaba’la’ [“The Lord

is in Madhupur, that is, in the sahasra’ra cakra; I am kulaba’la’”].”

“Where is Hari [the Lord]? He is in Madhupur. “Madhupur” means the

sahasra’ra cakra. In Vaes’n’ava Tantra, the sahasra’ra is “Madhupur”.

From “Madhupur”, “Madhura” and “Mathura” have been derived. So Mathura

is not only the town in Uttar Pradesh, it is also the sahasra’ra cakra.

Ha’ma kulaba’la’ – “I am kulaba’la’,” that is, “I am the jiivashakti

[divinity of the individual] sleeping in the last vertebra.” Kulaba’la’

does not here mean “the daughter of a [prestigious] family”.” (DKG)

Thus by Baba’s elaboration the meaning is perfectly clear. Hari refers

to Parama Purusa, Madhupur means the sahasrara cakra (madhu means nectar

and pur means place) or the place where nectar secretes, kul refers to

the base cakra, bala refers to the unit being. The overall meaning is

that, “I the jiivatma am restless to go see my Lord in Madhupur.” It

refers to a sadhaka’s deep desire to bring the mind from the lower most

point up to the crown cakra, the place of divine communion.

So Vidyapati’s poem is full of full spiritual meaning and significance

and he used such simple yet indirect language both to attract the common

people and because words in general fail to fully convey a sadhaka’s

sublime experience in dhya’na. Thus he had to resort to a metaphor which

even common people could begin to understand.

Verily, over the course of history, so many greats – from Jayadeva in

the Giita Govindum to Kabir in his poetry to Tagore in Ravindra Samgiita

– have described high spiritual experiences using metaphors in plain and

simple language.

Baba Himself has validated this approach.


For instance, when Baba visited the famous Konark temple in Orissa, then

during that field walk He talked about the carvings on the walls of the

temple. Those carvings graphically display male and female bodies

engaged in a deep embrace and union. And Baba is telling to Ac

Raghunathji and others present on that field walk that this carving

depicts divine love.

Baba pointed out that if one looks at the facial expression and manner

of the eyes, then it is quite clear that those devotional artists are

not talking about crude sexual matters but rather highly spiritual love.

Just those artists used the metaphor of physical attraction to convey

the ecstasy that can be experienced in sadhana. They had no other words

nor images by which to communicate their intention to the common people.

But those citizens with just a little bit of insight and curiosity

understood well that those high-minded sages and artists had a more

subtle message to share.


Given the fairly widespread use of metaphors in spiritual songs, poetry

and literature, it then becomes the duty of those with more spiritual

insight to unravel that metaphor so all can understand at least a little

of what is being conveyed.

All in all it needs strong sadhana to understand and explain those


The same can be the said of Prabhat Samgiita. Deeper realisation is

needed to give a proper purport of Baba’s songs.

Unfortunately, unqualified or selfish people invariably put forth their

own interpretation that misguides the common people. We even see this

happening within our Marga.

If a person simply misunderstands a spiritual poem or passage, that can

be easily forgiven and corrected. But when a person of a certain post or

social status broadcasts their misguided interpretation to advance their

own agenda, then that obviously has to be addressed in a stronger manner.


We all know that Baba’s divine world of Prabhat Samgiita describes the

full range of realistions, emotions, and devotional states felt by

sadhakas. Through Prabhat Samgiita, Baba is communicating with us and

giving us a medium to express our most intimate feelings.

Of course, so many sincere sadhakas have developed a link with Baba’s

compositions of Prabhat Samgiita, and this has greatly enhanced their

sadhana and devotional feeling.

Yet there are some others who have severely misinterpreted Baba’s songs.

Here are a few examples of certain leaders who could not understand the

spirit of Baba’s Prabhat Samgiita. You can decide for yourself to what

degree they politicized their interpretation.



There is an entire genre of Prabhat Samgiita that fall within the

category of melancholic songs. In such songs, the sadhaka is in a high

state of mind – a deeply devotional bhava – and feels the close

proximity of Parama Purusa, but not the extreme closeness that he yearns

to have with Baba.

Because of this, the sadhaka feels a sense of separation and pain, i.e.

melancholia. And in that deeply devotional state of melancholic longing,

the sadhaka may say, “Oh my dearmost Parama Purusa, where have You gone,

why have You left me.”

The inner meaning is that, “Baba even if you are one inch away from me

that is too far, or even if you are coming in my dhyana, still that is

not enough, I want you even more close. I want to lose myself in You


So that is the direction in which those songs are moving. With a sadhana

oriented mind-set one can easily understand the deeply devotional nature

of these melancholic songs. They represent an intimate connection

between the bhakta and Parama Purusa.

In no way, shape or form is that meaning of the song that Parama Purusa

has really gone away somewhere – forever. Rather Baba is employing a

common, easy-to-understand metaphor to depict a sadhaka’s longing in


Yet some in the Tiljala camp have propagandized these melancholic songs

as Mahaprayan songs as a means to justify their dogmatic program that

Baba has left. Either they really think that Baba has gone so they feel

that these melancholic songs point in that direction, or they are so

infatuated with making the Kolkata Mahaprayan program into a huge event

that they are even willing to ruin Baba’s Prabhat Samgiita to suit their

groupist agenda. Which is the case, that is for others to decide.

The main idea is that in Prabhat Samgiita, Baba is not saying that He is

has really left. Dry minded people might interpret it that way. But

those with even a little spiritual wealth know that melancholic songs

describe the intimate longing between bhakta and Parama Purusa, and

there is no question that Baba has really left.

That is one area of misinterpretation of Prabhat Samgiita.



Then there is another type of song in Baba’s Prabhat Samgiita collection

that depict how a sadhaka is waiting desperately for Parama Purusa to

grace him by coming in dhyana. The sense is that the sadhaka has done

half-bath, sung bhajans and Prabhat Samgiita, performed shuddhis and the

various sadhana lessons, and is now yearning to have Baba in dhyana.

And in His Prabhat Samgiita lyrics, Baba may use the metaphor of a

female. The female has prepared her hair nicely with braids and flower

garlands and has done so much to attract her beloved, but alas He is not


In the above metaphor, Baba is employing an everyday common example that

everyone can relate with to express the universality of longing in

sadhana. He is teaching everyone the type yearning one should have and

cultivate in their devotional life. The above metaphor does not at all

imply that this is song exclusively for female sadhakas. No one should

take it in this way.

Rather Baba is teaching us all about a’kuti, strong spiritual longing.

Just as the female has anxiously prepared her hair and dress in excited

anticipation for her rendez-vous, a sadhaka has done so many

preparations like half-bath, kiirtan, 3rd lesson etc in order to get

Baba in dhyana.

So such Prabhat Samgiita songs like Toma’r ta’re nishi ja’ga’ (PS

#1068), are songs for all sadhakas, irregardless of one’s gender.

Yet in her book “Awakening of Women”, Didi A’nanda Rucira has grossly

misunderstood the inner meaning of Baba’s metaphorical language and

instead put forth the false notion that Baba has explicitly written such

songs for sisters / Didis.

When in reality, our AM does not differentiate between male and female

sadhakas. The devotional teachings are for all, irregardless of one’s

gender. Anyone with a bit of devotional insight will easily understand

that Baba is employing a common metaphor to teach the people that this

same type of yearning is also present in the spiritual realm – except it

is much deeper.

That is the idea that Baba is conveying in His Prabhat Samgiita. Yet

because this intimate feeling is not easy to put into words, He employs

the analogy of a young maiden in love. That way people can easily

connect with the feeling of the song and cultivate the notion that such

strong longing is an essential facet of deep sadhana.

So none should get swayed into thinking that Baba has written this

Prabhat Samgiita exclusively for sisters or that Baba is describing

goddess worship – both of which Didi Ananda Rucira advocates in her book.

Of course Baba has done so much for women’s welfare, women’s rights, and

the dignity of women. That cannot be denied – we are all familiar with

Baba’s vast selection of works and teachings in this regard.

Yet at the same time, in their confusion, no one should believe or

propagandize certain Prabhat Samgiita as beings songs for women due to

the gross misunderstanding of a simple metaphor.



In nearly all of Baba’s songs, especially the devotional order of

Prabhat Samgiita as opposed to the social songs for occasions like

birthdays etc, there is a distinct longing and attraction involved –

i.e. the desire to get Parama Purusa. This simple message every sadhaka

in AM understands.

Yet so-called performers like Jyotsna (SUVA) sing Prabhat Samgiita in

night clubs and pubs to wild crowds of drunken youths who are bound up

in lustful desires and Jyotsna is teaching and guiding them that these

songs describe what they are feeling.

This obviously is gross injustice to Prabhat Samgiita and if Jyotsna has

recently stopped this approach of hers then that is great and a public

apology will be delivered. But tragically for years and years, Jyotsna

has been using Prabhat Samgiita for her own fame as a nightclub

superstar and sending the wrong message to the people.

We have to remember that in the days of old – especially in India –

people were very strict in sexual matters so those poets would use the

analogy or metaphor of worldly love without fear that people would

indulge or misunderstand the message. But now in this present era of

extreme materialism, everything gets twisted in a sensual and sexual

manner- from songs to movies to advertisements etc. So people easily

think any type of attraction must refer to sexual attraction.

Such things happened with the misunderstanding of tantra, the Krsna –

Radha metaphor and so many others. These things got twisted in a sexual


That is why Baba is very careful and explicit that His Prabhat Samgiita

must not be played on the radio or be used as filmy songs. Because He

knows the common mass would misunderstand in this materialistic era.

Thus when anyone is promoting Prabhat Samgiita in nightclubs or any

other type of venue, then they are directly going against Baba’s wish

and we must oppose such things.


In order to understand Prabhat Samgiita or any of Baba’s devotional

teachings, strong sadhana is needed. Practical experience is required to

understand the devotional theory or philosophy.

It is just like how one cannot understand the taste of something sweet

until it is eaten. Likewise in the realm of devotion, theory alone is

not enough.

We must sincerely practice sadhana to understand Baba’s

spiritual-cum-devotional guidelines. When sadhana is high then one can

see and understand different aspects of AM literature, including Prabhat


Because during sadhana, Baba gives higher feelings in the mind. And with

that higher mind, one can understand His indirect teachings in the

proper way.

Those who do not practice sadhana properly and cannot appreciate the

idea of bhava, they cannot understand all the subtle points and

metaphors used in Prabhat Samgiita.

If anyone is a layman and they make a mistake due to their own blindness

then that is excusable. Whereas if a public official is openly promoting

a misguided idea like pornography then the situation is very serious and

must be addressed strongly.

Thus when certain people – i.e. a few people – in AM are promoting wrong

ideas, and when such people are long-time acaryas, famous performers, or

leaders of a group etc, then the situation is serious and those matters

must be met head on, lest common sadhakas get misguided and swayed by

those wrong things.

Here the overall aim is to clarify Baba’s use of indirect language and

metaphors for everyone’s benefit. We should all work together in this

regard and identify and reject any and all wrong interpretations.


By Baba’s grace when we practice sadhana sincerely and understand all

His teachings properly, then we are sure to reach the Goal.

Baba says, “Human beings have been aspiring for this final liberation

since time immemorial and those who have understood it should know that

they do not have to wait for it endlessly form one life to another. In

this very life convert your psychic symbolization into psycho-spiritual

symbolization and become and emancipated being.” (AFPS-6)




In the great poet’s Kabir’s songs and writings, He often employs

metaphors, indirect language, and double-entendre, something that can be

interpreted in two ways.

In one particular song, it is stated: My blanket is raining and the

water is drenching.

This of course does not make much sense.

With a more devotional application of mind though, we can understand the

meaning as, “I am crying for the Lord, my tears are raining down into my

palms, my palms are drenched in those tears of love.”

One of the main sources of confusion stems from the fact that the word

for hand and water is the same. Yet those who have done sadhana and

understand Kabir’s intention can properly understand and translate his

poems. They will be linked with the spiritual message of Kabir’s writings.


Here are some other points & misunderstandings about Prabhat Samgiita.

1) Not everyone in AM understands that the songs about Lord Shiva and

Lord Krsna are NOT meant to be sung by margiis. These are not our

devotional songs. Baba has given those songs for devotees of those other

two Taraka Brahmas. In His kindness, Baba does not want overlook any

bhatka. He has given something for all, even bhaktas of Lord Shiva and

Lord Krsna. A few margiis seem to think that songs of Lord Shiva and

Lord Krsna are for our devotional practices and they sing them at

paincajanya and dharmacakra etc, but this is not the proper approach. We

should keep a strict, one-pointed devotional approach and only sing for


2) In many, many songs, Baba makes use of indirect language such as

words like Bandhu (Friend), Sakha (Friend), Priyo (Dear), Priyatama

(Dearmost) etc. But we understand that these words have dual meanings

and apply the right one in our ideation. We do not think that the song

is for our friend at work, but rather Baba is goading the mind to create

a more intimate relation with Parama Purusa like that of friend or



“Toma’re smariya’ supath dhariya’ kariya’ ya’bo a’mi toma’ri ka’j…”

(P.S. 2181)


Baba remembering You, I will move on the righteous path. By this way I

will go on serving You– fulfilling Your desire. O’ the dearmost Jewel of

my mind, by Your grace always I will move towards You– forgetting the

past, removing the staticity, and avoiding all sorts of dogma. By Your

grace, with the stroke of my feet I will crush my selfishness. And by

Your grace I will look towards everyone’s needs and requirements. I will

engage myself in everyone’s service.

Everyone’s happiness is my happiness. This very idea I will contemplate

in a new way from today onwards. Baba, by Your grace, and thinking about

Your love, Your greatness, & ideating on You– I will become one with

You. All my narrowness will be destroyed and my whole existence will be

transformed into vastness, by Your grace. Baba, with Your divine touch,

my whole existence will be vibrated in ecstasy. And what way You bless

me, You will qualify me according to Your liking & I will be transformed

into that. And having all those things I

will serve You according to Your desire…

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