Birth Anniversary of Mirabai: Hindu mystic poet and devotee of Bhagwan Krishna; a renowned figure of Bhakti movement

Mirabai’s life is significant and has relevance today because her story nullifies the narratives of lack of creative life among Indian women folk in earlier times. Her life further substantiates the contrary common notion about Indian women that women were meant only to settle down, marry and devote their lives to their domestic obligations and “duties only. Her life adds a further lesson about women strength, power of devotion and enormous potential of creativity even in odd times in Bharatiya culture in general and Bhakti tradition in particular

• Her [Mira’s] childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual, and time barriers and are sung all over India.-Quoted in V.K. Subramanian’s “Mystic Songs of Meera”-2008, p. 1
• Mira’s Bhajans! How can they be not beautiful? I am very familiar with many bhajans of Mirabai. In my Sabarmati Ashram these bhajans are sung repeatedly and with love and devotion to Her. Such rare joy is experienced from her bhajans.-Mahatma Gandhi quoted in Others on Mirabai
• The saint Mirabai is the most famous of the women saints of India and can be ranked among the foremost of the mystics of the world.-Swami Yatishwaranandji in “Others on Mirabai”
• Love is something absolutely unselfish, that which has no thought beyond the glorification and adoration of the object upon which our affections are bestowed. It is a quality that bows down, worships and asks nothing in return. Merely to love is the sole request that true love has to ask. It is said of a Hindu saint (Mirabai) that when she was married, she said to her husband, the king, that she was already married.
  To whom?” asked the king.To God,” was the reply.-Swami Vivekananda in “Others on Mirabai”
• There is nothing highly wrought bout Mira’s style, and no erotic element in her poetry whatsoever.But with her they are instruments used to express a deep and personally felt emotion. She may use the marriage-bed as a symbol of mystical union with God in the manner of Saint — poets, or as a symbol of the devotee’s readiness to give the Lord all that is in his power. But in Mira’s poetry there is no tendency to luxuriate in devotional feelings tinged with eroticism.-A.J. Alston in “Others on Mirabai”
• Mira sang of her love for Krishna with such simplicity and directness that in her songs millions have found a voice and echo of their own God-yearning. Swarup, Ram (2000). Meditations: Yogas, gods, religions. p. 196
• The extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause were political chaos and military conflicts between the Rajput kingdom and the Mughal Empire. Nancy Martin-Kershaw (1995) Dyed in the Colour of Her Lord

Detailed Biography
Although, no authentic records are available about the exact birthdate of Meerabai but scholars have attempted to establish Meera’s biography from secondary literature. It is believed that Mirabai was born in 1498 AD in the Chaukari village of Merta, a feudatory estate in the state of Rajasthan. She was the daughter of Ratan Singh Ranthor- younger son of Rao Dudaji, the ruler of the kingdom. He spent most of his time away from home fighting the Mughals. He died at a young age while fighting in a battle. Her mother too died when Mira was around seven years old and therefore, as a child Mira got very little parental care and affection. Mira was brought up by her grandfather Rao Dudaji. From him Mira received lessons in religion, politics and government. She was also well educated in music and art.

The Ranthors of Merta were great devotees of Vishnu. Mira Bai was brought up amidst Vaishnava influence, which moulded her life in the path of devotion towards Lord Krishna. She learnt to worship Sri Krishna from her childhood. When she was four years of age, she manifested religious tendencies. Once there was a marriage procession in front of her residence. The bridegroom was nicely dressed. Mira, who was only a child, saw the bridegroom and said to her mother innocently, “Dear mother, who is my bridegroom?”. Mira’s mother smiled, and half in jest and half in earnest, pointed towards the image of Sri Krishna and said, “My dear Mira, Lord Krishna—this beautiful image—is your bridegroom”.

Some time later, a wandering sage came to Meera. He had an idol of Lord Krishna with him. Before leaving the fortress town, he handed over the idol to Mira. He also taught her how to worship the Lord. Mira was delighted.
Child Mira began to love the idol of Krishna very much. She spent much of her time in bathing and dressing the image. She worshipped the image. She slept with the image. She danced about the image in ecstasy. She sang beautiful songs in front of the image. She used to talk to the idol.

Remembering her mother’s words, Mira began to serve the idol of Lord Krishna as she would serve her husband. Time flew past and Mira’s devotion to her Lord grew to such an extent that she began to see herself as marred to Him.

Mira’s father arranged for her marriage with Rana Kumbha of Chittor, in Mewar. Mira was a very dutiful wife. She obeyed her husband’s commands implicitly. After her household duties were over, she would go to the temple of Lord Krishna, worship, sing and dance before the image daily. The little image would get up, embrace Mira, play on the flute and talk to her.

Gradually,, Mira began to devote more time to her spiritual practices. She danced and sang for hours in front of the deity in the temple. Devotees, consisting of common people, came from far and wide to listen to her songs.

Then Mira moved to Vrindavan. There she led the life of hermit, writing poems, having discourses with other sages and interacting at will with the devotees. She also undertook pilgrimages, visiting places associated with Lord Krishna.

Her popularity began to increase day by day and everywhere she went devotees gathered around her in the hope of listening to her words and to hear her sing.

She passed her last days at Dwarka, where Lord Krishna and his clan was said to have lived after leaving their original home at Mathura. Here in 1547, Mirabai left her mortal body to unite with her Lord. It is not exactly known how Mirabai died. According to folklore she merged into the idol of Lord Krishna and became one with Him.

It is extremely difficult to find a parallel to this wonderful personality—Mira—a saint, a philosopher, a poet and a sage. She was a versatile genius and a magnanimous soul. Her life has a singular charm, with extraordinary beauty and marvel. She was a princess, but she abandoned the pleasures and luxuries incident to her high station, and chose instead, a life of poverty, austerity, Tyaga, Titiksha and Vairagya. Though she was a delicate young lady, she entered the perilous journey on the spiritual path amidst various difficulties. She underwent various ordeals with undaunted courage and intrepidity. She stood adamant in her resolve. She had a gigantic will.

Today, Mirabai is considered one of the great female saints of India and her songs are still sung. Moreover, there have been hundreds of songs composed in her honour and there are festivals devoted to her that take place around the time of Dusshera in Rajasthan. She is still very much alive today in the hearts of Indians.