पांडुरंगकांती दिव्य तेज

 

पांडुरंगकांती दिव्य तेज

Panduranga Kanti

I write this upon a request from dear friend Shubha Nafrey. Both of us share the love for sant kaavya or literature from the poet saints of India.

 While all saints were ardent devotees and professed great love for God, each of their messages carried teachings about spiritual progress and showed a path of righteous living, yet there was something really special about Dnyaaneshwar. His language had a softness and sweetness so unique that it is easy to identify the poet, even from a single line. There is a rare confluence of eloquence and brilliance in his writing. The sensitivity comes straight from the heart and sensibility from personal experience. For a student of spiritual literature like me, the joy that comes from reading and trying to delve into the sublime meaning contained in his poetry is incomparable to any other in the same genre. 

This particular poem is very familiar to me. I have heard it on the radio since I was a little girl. The imagery projected in the opening verse invariably creates a picture in my mind where Panduranga is standing in his classic pose of hands on the hips but his image is blurred by the immense light reflected in all directions around him. Listening to this song in that familiar voice of Asha tai Bhonsle takes me back to those sunny days of my childhood and brings a feeling of rejuvenation when the illumined image comes to mind.

If Shubha tai had not brought this up, I would probably have never paid close attention to the entire song and its meaning. I would continue to count it in a category of abhangas dedicated to describe the physical beauty of Panduranga like Tukoba’s abhanga “ sundar tey dhyaan”. 

For the first time in nearly six decades I paid attention to all the six verses in this song. In fact, it surprised me to realize there are not one or two but a total of six verses. 

Many words in these have more than a single meaning. It becomes challenging to understand which meaning is implied by Dnyaaneshwar here. A commentator’s bias unfortunately tends to cast a shadow on the original poet’s thought in such situations. I seek forgiveness in advance for such misadventure, from Panduranga, Mauli ( Dnyaaneshwar) and from the readers. 🙏🏼🙏🏼 I would be happy to stand corrected by someone more qualified, if and when I err. 🙏🏼🙏🏼

Having said this, I make a rather naive attempt at interpreting this exquisite abhanga.

It must be noted that Dnyaaneshwar has adopted a feminine identity for the devotee in him and projected the deity as masculine. It tells the story of a female soul expressing her feelings for her beloved Parmatma. 

Pandurang Kanti Divya Tej

पांडुरंगकांती दिव्य तेज

Panduranga kanti divya tej zalakati 

Ratna keel phaakati prabha 

Aganit laavanya tej punjaalale

Na varnavey tethichi shoba 

पांडुरंगकांती दिव्य तेज झळकती ।
रत्‍नकीळ फांकती प्रभा ।
अगणित लावण्य तेजःपुंजाळले ।
न वर्णवे तेथींची शोभा ॥१॥

kanti = complexion or aura

Divya= divine, bright, heavenly 

Tej= illumination, energy, brightness, brilliance 

Zalakati= shines, reflects, displays

Ratna= gems

Keela=light

Faakati= spread, fan out, emit

Prabha= rays 

Aganit= uncountable, immeasurable, infinite 

Punjaalale=overwhelmed, overflowed, intense

Na= no, unable

Varnave = to describe 

Tethichi= in that place, belonging to

Shobha= beauty, grace, splendor 

Panduranga’s aura/complexion shines brilliantly with divine radiance. It appears as light emerging from gemstones and the rays spreading out in all directions. His beauty is infinite and energy profound. My words fall short to describe the splendor of HIS PRESENCE .

कानडा हो विठ्ठलु कर्नाटकु ।

तेणें मज लावियला वेधु ।
खोळ बुंथी घेऊनि खुणाची पालवी ।
आळविल्या नेदी सादु ॥२॥

Kaanadaa ho Vitthalu Karanaataku

Tene maj laaviyalaa vedhu 

Khol boonthi ghevuni 

Khunaachi paalavi 

Aalavilyaa nedi saadu 

Kaanadaa = beyond comprehension, unreachable . In Marathi, agamya.

Karanaataku= dramatic, disguised, mischievous, from Karnataka

Tene= he who, who thus

Maj = to me

Laaviyelaa= made 

Vedhu= turn towards, seek, want, desire, run after, obsess, pursue 

Khol= a garment to wrap

Boonthi = curtain, covering, screen

Ghevuni=taking

Khunaachi= hinting, pointing, using sign language 

Paalavi=calling, making

Oh Vitthala 

You are elusive, beyond the reach of my senses

You come in disguise and trick me constantly. That makes it so hard for me to find you. As a result, my mind has been relentlessly seeking you. 

You hide under the cover of various forms. 

I can get the hints from time to time

Yet when I reach out, you don’t answer my call.

शब्देंविण संवादु दुजेंवीण अनुवादु ।

हें तंव कैसेंनि गमे ।
परेहि परतें बोलणें खुंटलें ।
वैखरी कैसेंनि सांगें ॥३॥

Shabde vina samvadu 

duje vina anuvaadu 

Hey tava kaiseni gamey 

Parehi paratey bolane khuntale 

Vaikhari kaiseni saangey

Shabda = word

Vina= without 

Samvadu = dialogue 

Duje = another

Anuvadu= conversation, understanding,   interpretation 

Hey= this 

Tava= you

Kaiseni= how

Gamey=possible, accomplish, can do

Paraa= a form of speech

Parate = returns

Bolane= talking, interaction

Khuntale= interrupted, stopped 

Vaikhari= a form of speech 

Saangey=tells, narrates 

A dialogue without words

A conversation without presence of another person 

How do you make this seemingly impossible phenomenon possible?

Paraa vaani returns unsuccessfully 

Vaikhari vaani admits she can’t utter a word

पाया पडूं गेलें तंव पाउलचि न दिसे ।
उभाचि स्वयंभु असे ।समोर कीं पाठिमोरा न कळे ।
ठकचि पडिलें कैसें ॥४॥

 Paayaa padu gele tava paaulachi na dise 

Ubhachi swayambhu asey

Samor ki paathimora na kaley

Thakachi padile kaise

Paayaa=at the feet

Padu=bow

Gele=go, try , attempt 

Tava=your

Paaulachi=feet

Na=not

Dise=see, find

Ubhachi= standing 

Swayambhu=independent, without beginning or end

Asey=present 

Samor= in front, facing front 

Ki= or

Paathimora= turned back, backwards facing

Na=not

Kaley= understand 

Thakachi = stunned, fooled

Padile=stood, remained

Kaise=how

When I attempt to bow and touch your feet I can’t find them!

You stand support less, independent 

I am unable to make out if you are facing me or turned backwards!

क्षेमालागी जीव उतावीळ माझा ।
म्हणवूनि स्फुरताती बाहो ।
क्षेम देऊं गेलें तंव मीचि मी एकली ।
आसावला जीव राहो ॥५॥

Kshemaa laagi Jeeva utaavil maaza

Mhanavuni sphurataati baaho 

Kshem devu gele tava

Mi chi Mi ekali 

Aasaavalaa jeeva raaho 

Kshema=embrace, meet, convert by coming in close contact, provision, wellbeing 

Laagi= for

Jeeva=soul

Utaavil=eager, restless 

Maaza =my, mine

Mhanavuni=therefore 

Sphurataati=inspired, eager, aspiring 

Baaho=arms

Devu=give 

Gele=went, tried

Tava=you

Mi=me

Chi=only

Ekali=alone

Aasaavalaa=yearning, thirsty, unfulfilled 

Raaho=remain(ed)

My soul is eager to meet you and hug you 

My arms go up in anticipation to hold you 

But when I attempt to embrace you 

You are not there at all!

It is me and me alone! 

And my soul remains thirsty and waiting ( for you).

बाप रखुमादेविवरु हृदयींचा जाणुनी ।
अनुभवु सौरसु केला ।
दृष्टीचां डोळां पाहों गेलें तंव ।
भीतरीं पालटु झाला ॥६॥

Baap Rakhumaa Devi Varu

Hridayichaa jaanuni 

Anubhavu saurasu kelaa

Drishtichaa dolaa paaho gele tava

Bheetari paalatu zaalaa 

Baap =father

Rakhuma Devi =Rukmini

Varu=husband 

Hridayi chaa= belonging to the heart

Jaanuni=knowing 

Anubhavu=experience 

Saurasu=indulge, by oneself

Kelaa=did

Drishtichaa=of vision

Dolaa=eye

Paaho=look

Gele=tried, attempted 

Tava=you

Bheetari =inside, within

Paalatu=change,transformation 

Zaalaa=occurred, happened, became 

Oh father, the husband of Rakhuma Devi,

Realizing that you reside in the heart,

 I immersed myself deep within to seek you there.

In order to get a first hand experience ( knowledge) 

I turned my vision inwards( no longer seeking you outside).

And as soon as I did this, a big transformation occurred within me.

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That was the word by word, line by line, and verse by verse translation of the poem.

Let us delve deeper into the subject matter in these lines. 

The poem encompasses the journey of a spiritual seeker from overt bhakti to sakshatkar! Devotion to self realization! Graduation from a state of duality to non duality ( dwait to Adwait). 

It also describes the dual nature of God, saguna and nirguna. With and without attributes. Form and formless. Visible and invisible. 

In the beginning the devotee is enthralled by the physical attributes of the favorite deity. An ordinary person would see a stone idol of Vitthala standing on a brick , hands on his waist. But a devout seeker would appreciate much beauty and feel lot of tender emotion upon seeing the same idol. The spiritually advanced and poetically gifted Dnyaaneshwar could perceive an illuminating splendor in the physical form of Vithoba. He visualized divine rays of light emanating from the idol which he likened to the sparkle emitted from precious gemstones. 

He has used some intriguing adjectives when describing Panduranga. 

Aganit laavanya! Infinite beauty!

Aganit in Marathi really means that which cannot be counted ! 

 Beauty is not an object that can be counted. Therefore uncountable is a strange way to describe beauty. Dnyaaneshwar is certainly not someone who would use a word erroneously. So how does one make sense out of this quantitative adjective used for an abstract concept such as beauty?

 Beauty is not just physical beauty. It can represent different facets or attributes. There is beauty in compassion, love, humility, innocence, simplicity, generosity, friendship, intelligence, forgiving, selflessness and many other virtues. One can find beauty in the abundance of creation, or in the guidance of a teacher, protectiveness of a sibling.  Dnyaaneshwar recognizes the infinite virtues of Panduranga and sees beauty in each of these qualities. These beautiful and extraordinary qualities shine so brightly, he describes them as Tej punjaalale. A burst of brightness! 

And despite such profuse praise and vivid imagery he concedes that the actual splendor of the Lord could not be expressed in words!!

Hereon Dnyaaneshwar’s voice switches to a tone of deep affection mixed with a faux grievance.

He refers to Vitthala as Kaanadaa, one who can’t be reached by touch or other senses and Kara naataku, one who deceives, plays games, takes disguise.

( There is some debate amongst scholars regarding the use of these two names. Will add a note after the discussion on the abhanga is completed.)

He recognizes Panduranga when he identifies divine qualities from time to time in various people. One moment there is someone who is extremely knowledgeable. Another person is of saintly disposition. Someone has rare musical talent. Yet another has great generosity. He says Panduranga is teasing him by such sporadic appearances. Dnyaaneshwar sees these as the Lord teasing him, dropping hints and thus calling out to him from behind the disguises. ( Tyaa fulaanchyaa gandh koshi poem has similar theme. )

Yet when he returns the call there is a deafening silence.

This hide and seek begins to create even more separation anxiety in Dnyaaneshwar’s heart and he longs to meet the lord and hold him tightly to never separate again! He blames Vitthala for creating this longing! Tyaane maj laaviyelaa vedhu !

The entire interaction between the devotee and the beloved deity, comprising of the teasing, hiding, seeking, complaining, longing, the feeling of unfairness, believe it or not, occurs without a single exchange of words!!

He makes a reference to two forms of speech, Para (परा)and Vaikhari (वैखरी).

Four distinct levels of speech are described in Vedic literature. Para (परा), Pashyanti (पश्यंती), Madhyamaa (मध्यमा) and Vaikhari (वैखरी).

Vaikhari is audible or visible speech. It may be said aloud or whispered through the mouth or expressed via facial or hand gestures or in writing. This is the level that permits common place communication between two or more people. It is the most gross form as well as most practical one. In terms of subtlety it is the lowest of the four.

Before words reach level of Vaikhari they may pass through one or more levels. 

 When we talk to ourselves without mouthing a word, at day to day level of consciousness it is Madhyamaa. It is at the thought level but has structure of well defined speech, not loose, random thoughts. 

In real life we come across some patients with a stroke who lose the ability to express their thoughts in words. It is called expressive aphasia. Their speech is restricted at the level of madhyamaa. It cannot convert to vaikhari.

 

 Beyond madhyamaa is Pashyanti. It is one level deeper in our psyche than madhyamaa. Often times we are unaware of it and it may come into the window of awareness when mind is relatively quiet. For example a realization that ” something is missing in life.” Or becoming aware of someone else’s difficulties without being told. It is at the level of awareness. 

Most sublime is Para which is the direct medium of communication between the soul and higher consciousness. All sublime inspiration comes through Para and from there descends to Pashyanti , passes on to madhyamaa and eventually expresses through Vaikhari in spoken or written speech. 

When describing the divine play and interaction Dnyaaneshwar has said that after coming face to face with Panduranga even Para was rendered ineffective and went silent. Then what to expect from Vaikhari? It had no words to describe the relationship.

There are some things that are best when realized without words. I don’t remember ever hearing the words “ I love you “ from my parents. Yet I knew/know without a doubt that they loved me. A look from my father would tell me if I had his approval or disapproval for anything.

There are some friends who I don’t hear from in months or years. Yet my heart knows that if ever they find out I am in need of help they will rush to my side without me having to call for help. 

Where there is strong bond of trust and love between two people often there is communication without words. Duje vina anuvadu. What one feels, the other can understand without being explicitly told.

Aalavilyaa nedi saadu !!

That is Dnyaaneshwar’s complaint against Panduranga!

You don’t answer my calls !!

Dnyaaneshwar has voiced what so many other devotees feel at one point or another. Why doesn’t God answer my call ? 

A father will not respond to every non specific cry from the child because the child must learn to navigate through life by himself or herself.  HE is simply watching because HE wants the devotee to reach further up. It’s a parent silently teaching the child to make an effort and gain first hand experience without spoon feeding everything. 

God keeps a silence that speaks louder than words. It is full of love and understanding. The communications with God are not comparable to our communications between humans.These are dialogues that occur without the aid of spoken word. Shabde vina samvadu.

When Dnyaaneshwar tries to bow at the feet of Vitthala he is puzzled to find no feet there. This is a figurative reference to the infinite nature of the Supreme Lord. There is no beginning or end to the source of the universe. No top or bottom. No front or back. HE is beyond Time and Space. HE is swayambhu….self sustaining, needing nothing or no one for His existence. Everything else needs Him for their existence. When a seeker tries to find God using a measure of size and shape he is going to be left entirely confused and lost. That’s how Dnyaaneshwar found himself at one point. Thak chi padile kaise ! Stunned! Baffled ! 

The allure of and desire for Panduranga was so powerful that his mind sought to get closer and hold the Lord in a tight embrace. But every time he tried to hold the Lord in his arms or touch HIS holy feet, he felt tricked. Like a mirage the physical form would instantly disappear. And all he found was himself there. The loneliness would hit hard. Mi chi mi ekali ! The longing would get worse and thirst remained unquenched.

Having realized that it is futile to search God in a physical form Dnyaaneshwar comes to accept the fact that God’s presence is in one’s heart. So he changes the direction of his search inwards into the heart and mind. This alludes to the practice of controlling one’s senses( compare with descriptions about Sthithapradnya in the Bhagwad Gita, a tortoise drawing its head and limbs into the shell) and practicing introspection and meditation on the higher truth. 

Here there were different challenges. He comes face to face with the inner workings of his mind and is confronted by the mischief of the ego. He tried to search for the Parmatma and instead there was just his own mind, intellect and ego.( Remember the runu zunu sound of the bhramar/ beetle). There was still no sign of Panduranga! Neti neti ! Not here, not here! 

Finally he turned his vision towards the inner eye! Drishti chaa dolaa paho gele! 

The eye behind the vision! 

 In Kenopanishad there is a beautiful reference to the universal soul or Brahman. In the second verse of this Upanishad the teacher answers the query of the student about how to identify the Lord of this universe. HE is the ear of the ear, mind of the mind, speech of the speech, breath of the breath and eye of the eye! 

Once Dnyaaneshwar found the source he had the experience of the Self and got the taste of Adwaita or Non Duality. His own identity merged with the Universal Soul and he began to enjoy that state of oneness.

 (This description mirrors Soyrabai’s experience of Avgha rang Ek zala! )

The culmination of the search into this Union resulted in a big transformation inside Dnyaaneshwar. Bheetari paalatu zala! 

Consider a caterpillar transforming into a butterfly. 

Once a seeker reaches the goal of self realization he will never be the same again. Like a river merging in the vast ocean. Or a doll made out of sugar immersed in water. The experience of being identical to the Universal Being as expressed by the Vedic declaration ( Maha vaakya) “ Aham Brahmaasmi “ ( I am that Brahman).

 The experience of identification with the physical body, mind and intellect is thereafter recognized as inferior. Once a person moves out of a slum dwelling to a bungalow he would never dream of returning to his old home. Once he obtains wealth he would never want poverty again. Imagine how it must feel to break free of constant restlessness of mind, from the pulling in all directions that comes from desires and disappointments, the anxieties of mortal life, and the spiritual suffering of separation from your beloved deity!! 

Meerabai has poignantly described the turmoil of a devotee’s life :

Suli upar sej hamari 

Sovan kis vidh hoye

Gagan mandal par sej piya ki

Kis vidh milna hoye

Imagine the ecstasy that must accompany when that union ultimately happens!!

Bheetari paalatu zala…… 

Dnyaaneshwar has described his experience succinctly.

 It is however not enough to read and understand at face value. Each of us, when we tread the path laid down by the saints, must experience it ourselves to know what that transformation means and feels. Dnyaaneshwar can only lead us to that threshold. 

अध्यात्म विद्येचें करुनियां रुप । उजळिला दीप चैतन्याचा ॥

नामा म्हणे ग्रंथश्रेष्ठ ज्ञानदेवी । एक तरी ओवी अनुभवावी ॥

In praise of Dnyaaneshwar( after he composed Dnyaaneshwari), his contemporary Sant Namdev famously declared that Dnyaaneshwar has lighted the lamp of the Divine Consciousness by giving a physical form to the subtle Knowledge of Self (soul) through his words. But the reader must not linger and revel in the delightful words. He must try to EXPERIENCE at least one verse of Dnyaaneshwar’s composition FIRST HAND!

When I attempted sky diving in Utah 2 years back the critical moment was when I had to jump out of the plane out into open space, 13,000 feet above the ground. My sister, brother in law and other humans were in the plane. My husband was on the ground. So were my kids, mother and friends somewhere on the ground. I was throwing myself out into a zone that was completely outside of theirs. Completely outside of what I was used to. It wasn’t easy. 

Letting go identification with the body, mind and intellect….which is everything you know as YOU so far….is similar to the sky diving experience. You are throwing yourself away. In some ways it seems easier to imagine, but in reality much much difficult. Mind takes cover of denial, like an alcohol addict, when giving up identification with the body. It is really hard to get the mind out of the way. Blessed are those who are able to do it. 

For me sky diving was just a preparatory exercise. The real challenge lies ahead.

Foot note:

The reference to Panduranga as Kaanadaa or Karnaataku in this poem has been the subject of great debate amongst scholars and historians. Pandharpur is located in Maharashtra close to the border with the state of Karnataka. At one point the boundaries between Marathi speaking and Kannada speaking areas were blurred and not delineated as in present day. Kannada influence in the region was definitely present. Mangalvedhe which is in close proximity with Pandharpur was the home of  Basveshwara, a Kannada saint. 

When I visited Hampi a few years back I saw a Vitthala Mandir there amidst the ancient ruins. We were told by the guide that the Vitthala murti was shifted to that location from Pandharpur by the Hindu king when there was Muslim invasion and threat of demolitions. Few centuries later Sant Namdev came to take it back to Pandharpur. ( or something on those lines, it was sent from Hampi in Karnataka to Pandharpur in Maharashtra to protect from invaders. ??) 

The time lines of the events based on history of ancient kingdoms, Dnyaaneshwar’s existence and documentation however don’t match these theories. 

Hence scholars have given alternative interpretations of the words Kaanadaa and Karnataku. 

Pandit Hridaynath Mangeshkar who composed this beautiful song as well as his sister Asha tai who rendered it in her sweet voice have both endorsed the meaning of these two words in the way I have explained it above. 

But there remains room to wonder about the connection with the neighboring state and its people. Even to this day there is a large number of following in Karnataka towards Vitthala. There is a substantial population from Karnataka that participates in the Pandharpur wari each year. 

In any case, Vitthala cannot be restricted by time(era), space( region) or politics. HE belongs to anyone who believes and surrenders to HIM.

 All other considerations are simply for intellectual curiosity and academic indulgence. They are irrelevant and meaningless for a spiritual seeker. 

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Saree is a handloom cotton weave from Assam in bright turmeric yellow. The borders are stitched to the saree. There are traditional tree motifs on the body known as gos butta in local language. The last time I draped this one was during my trip to Assam and Meghalaya last November. I have fond memories of that day. We visited Cherapunjee from Shillong. There was a curtain of rain clouds hanging over the Khasi Hills that day. Today similar clouds loom over Pune. How I long to visit Khopoli but the rain has caused some serious road problems currently. Looking forward to roaming in the waterfall decorated mountains and greenery soon. 

I continue to experiment with selfie shots. I realized I can bring the flying pallu in the frame but not the sunrise or sunset. At least, yet !