Mirabai : Saint, Singer And The Soul In Sojourn

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Mirabai : Saint, Singer And The Soul In Sojourn

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Sea is a difficult subject to write on. Not a mystery it lies

wide-spread before eyes, but whatever the measurement in hand,

its length, width, depth, height to which its waves rise, its

sublime quietude or fury, are always beyond the compass. Mira's

case is hardly different. A Rathor princess wedded to the house

of Sisodias, the two earliest and the most reputed ruling

dynasties of Rajputana, Mirabai was essentially within the

periphery of history, the history of our times, not of far gone

days. However, with history's all parameters and research

techniques applied even her parentage, husband's name,

birthplace, dates, or rather years, of birth, death, matrimony.

could not be finally determined. Scholars, especially those

trained in European methods of researching plumbing court records

and those of genealogists and families of bards, are trying to

discover the historical Mirabai, a Mirabai in 'modern historical

sense' though despite such efforts, and a set of ever emerging

new arguments, even now her birth swings from one date to other

over a period of almost hundred years or more, from 1403 to 1506

C. E., and whatever is claimed as widely accepted is merely a

broad consensus. And, efforts at discovering this historical

Mirabai are not mean by any standards. Scholars world-over are

exploring various records and interviewing people in anyway

linkable to Mira; Rajasthan's royal houses are searching their

stores to find their Mira-connections in mass of rags; and women

of Rajasthan are re-visiting past for discovering in Mira's life

the contexts that glorified Rajput womanhood. In October, 2002,

the University of California and the Los Angeles' County Museum

of Art had jointly held at Los Angeles an international

conference on Mirabai with participants from world over. As

reveal the papers presented, the conference underlined

international efforts to locate Mirabai into history but Mira

still transgresses it and declines to transform into a chain of

dates or what are called 'the historically established events'.

 

History's strange predicament is that it has of Mira hardly

anything conclusive on record, but still it cannot write her off

from its pages. The dilemma of many modern scholars aft is that

they seek to apply same parameters for spanning a rock which they

apply for measuring water. What is appropriate in case of a king

may not be so in case of a saint. One cannot determine the moment

of a saint's attaining enlightenment the same way as he does the

date of a prince's ascendance. Hence, more significant than

choosing the kind of methodology is to determine to which kind of

person one has to apply it. Mira was not a king in whose life

dates, individuals, events, personal things - birth, marriage,

death, or whatever, mattered much. In a king's life they do. If

not the Babur's son, history would not have known Humayun. If the

date of his death was not conclusively determined, the date of

Akbar's ascendance, or indeed the sequence of all subsequent

events in his life and indeed in the polity of the subcontinent

would have muddled. It is entirely different with Mira. Mira

would not have been any different if Rao Duda was not her

grandfather, or Rao Ratan Singh, not her father, or if Kumbha was

her husband, not Bhojaraj. It is not in any of them that Mira

seeks her relevance. Actually, Mira has her relevance in Mira, in

her love, sufferings, devotion and complete submission to

Krishna, in her power to inspire and generate confidence among

those pursuing the path of truth, and above all, in her

forbearance and unique courage in facing every moment bringing

her death with a smile on face, not in individuals, material

world, or even in her historicity. Nida Fazali, a known

contemporary poet, in one of his widely sung verses, paid to Mira

perhaps the most appropriate tribute. He perceives in Mira the

strength to transform into the light of life the instruments of

death - the cup filled with poison, or the deadly cross.

 

Illustration: http://www.exoticindia.com/artimages/poison_bowl.jpg

 

In a world full of lies, liars and hypocrites Mira stood for

truth and gave it strength. He perceives in Mira's mad devotion

such intensity that the temple's inoperative votive deity would

not remain confined in the idol, but the all powerful One would

come out of it and extend His bliss and divine aura into all

directions. He finally prays to God to let the temple have a mad

Mira once again.

 

History's fallacy is that in search of Mira it looks into the

doors that not only threw her out but generations after

generations kept washing their floors, walls and all records lest

any of her imprints are left behind. It forgets that a postal

address is not Mira's home-address, and one does not reach her by

knocking that door. She certainly had an abode, the soul's as

well as the body's, the bones' as well as the bricks', but she

lived in neither. A saint, Mira lived beyond both, the body and

the bricks, and certainly not in the palatial abodes of her

in-laws or even father. In the world Mira was a soul in sojourn,

a traveler in a transit house, yearning to reach home where lived

her Lord : 'Janyugi main nah rahungi piva bina pardesa' - I will

go, I will not stay here, without my Lord this land is foreign.

 

Illustration: http://www.exoticindia.com/product/BI47/

 

 

Life Story Of Mirabai

 

Most of the details of Mirabai's birth, parentage, matrimony,

circumstances of death . are just approximate arrived at by broad

consensus. Unanimity does not prevail even in regard to her name.

Dr. Barthaval contends that Mira was not her actual name but the

term's literal meaning being 'Consort of Ishvara -God' it emerged

as Mira's popular name. Purohit Harinarayana, another scholar,

claims that Mira, developed from 'Mir', the title of the

descendants of the family of Muhammad, was a name inspired by

Shah Sufi of Ajmer, though in view of Rajputs' great dislike for

Shah it is not likely that any Rajput would inherit from Shah

anything, even a holy syllable, for naming his daughter. Scholars

like Dr. Padmavati and Dr. Bhagwan Das Tiwari among others

mention Mirata, Miram and Miran as Mira's three other names.

Mirata, divisible as Mira+ta, is linked with Merata, one of the

places associated with her birth. It broadly means 'one from

Merata'. In early 17th century genealogy of Munhata Nainsi Mira

has been mentioned as Miran, and in one or two others, as Miram,

though these are only local phonetic variations of the term Mira.

 

It is alike with the date of her birth which swings from 1403 to

1506. Though no conclusive evidence has so far come to light

supporting it, 1500 C. E. has wider acceptance. Apart that a

local scholar from Mewar Devashri barrister claims it as the date

of Mira's birth, the dates that scholars like Dholerava Bhat,

Kunwar Sukhvira Singh Gahlot, Munshi Deviprasad, Harvilas Sarda

among others fix as the date of her birth are also around 1500 C.

E., that is, in between 1498 to 1506 C. E. Citing some secondary

evidences Jhaveri takes the date of Mira's birth back to 1403, G.

A. Grierson and W. G. Archer, to 1420, Thakur Chatur Singh

Rathor, to 1457-58, and F. E. Keay to 1470. W. G. Archer's

opinion is somewhat significant. In his 'The Loves of Krishna' he

contends that Vallabhacharya was Mira's follower, and as

Vallabhacharya was born in 1478, Archer takes back the date of

Mira's birth to 1420. Vallabha's Pushtimarga had begun taking

shape when he was in his thirties, approximately around 1520-30,

the period when Mira, having relinquished the houses of both,

Rathors and Sisodias, was passing through the prime period of her

'bhakti' life. Strangely, Vallabha's Pushtimarga immensely

influenced all Vaishnava devotional poets, Surdasa and others;

however, nothing of it is traceable in Mira's writings, and that

too when he had his seat in Mewar itself, one of the two most

significant places in Mira's life. It strongly suggests that Mira

might have preceded Vallabhacharya.

 

Merata, a medium size town situated at Delhi-Jodhpur train route,

is now widely accepted as Mira's birthplace, though some scholars

yet contend, Parashurama Chaturvedi being quite firm, that her

birthplace was Kukari, and a few others, that it was Chokari.

Kalyanamal Shekhavat has a far different opinion. He claims that

Mira was born at Bajauli, though she lived at Kuraki for

sometime. In his 'Annals and Antiquities of Rajasthan' Col. J.

Tod mentioned at two different places Rao Duda and his son Ratan

Singh as the names of Mira's father. Mewar records, collected by

Munshi Devi Prasad, too, confuse between Duda and Ratan Singh as

her father's name. However, despite such initial confusion it is

now almost unanimously accepted that Ratan Singh was Mira's

father. Similar confusion prevails in regard to her mother's

name, which in some sources has been mentioned as Kusum Kunwar

while in others, Virakumari. It is popularly believed that Mira's

mother died soon after Mira's birth, though some scholars contend

that it was not so. In his 'Bhaktirasabodhini', the early 17th

century commentary of Bhaktamal, Priyadas claims that Mire's

parents, both mother and father, were alive for long.

 

 

Mira's Marriage

 

The event of Mira's marriage, about the date of which greater

unanimity prevails, has strange undertones, and from here Mira

seems to take two different directions, one, the essential or

fundamental to which her essential being inclined, and the other,

incidental, which as human-born she was obliged to take. It was

largely at this juncture that the traditional or popular Mirabai

whom accumulated faith of generations across centuries

constructed and people's memory retained, something like the

spiritual Mirabai, emerges. The human-born Mirabai was married in

1516, when barely sixteen, though till recently confusion

prevailed as to the name of her husband, which some sources - J.

C. Omen, Colonel Tod, G. A. Grierson among others, claimed was

Rana Kumbha, and other, Bhojaraj. Perhaps the historical Mira

temple constructed close to Rana Kumbha's Victory tower at

Chittor, confused Col. Tod to relate Mira and Kumbha with each

other. This temple dedicated to Mira enshrines Krishna, and Mira

seated close to his feet, sings and plays on lyre for him in

perpetuity. However, a wider consensus evolved in favor of

Bhojaraj as Mira's husband.

 

Illustration: http://www.exoticindia.com/artimages/mira_mandir_chittor.jpg

 

Unlike her matrimony in human-birth, there is hardly any

confusion in regard to the matrimonial status of the popular or

spiritual Mirabai. This Mira was wedded to One Infinite who

manifested in human, personal, beatific and joyous form of

Krishna. Krishna was her Lord and to Him she was wedded with ties

of love beyond fetters of this world, rigid modesty norms and

chains of family life. She was married to Him in every birth, and

in every birth she yearned for him in love and was thus ever his

spouse and ever his maid. This Mira, the pure soul, a part of the

Supreme separated from Him, was thus ever wedded and was ever -

births after births, a virgin : 'Charana Sarana ri dasi Mira,

janam janam ri kwanri' - a servant at her Lord's feet Mira was a

virgin, births after births. Strangely, scholars jump from one

date of Mira's marriage to another and from one person to the

other as her husband but as for Mira, she claimed to be ever a

virgin - 'Janam janam ri kwanri', and if she was dyed in colors

of anyone's love, it was Krishna's - 'Shyam rang ranchi' - dyed

in Krishna's blue. History, a coward, does not have the courage

to look into the eyes of the Mira who is both, ever wedded and

ever a virgin. This eternal consort of the Supreme, and His

virgin ever in sojourn till he meets her and she unites with him

in inseparable union, is hardly discoverable in debris of history.

 

Illustration: http://www.exoticindia.com/product/OS13/

 

 

Mira Transformed

 

Interestingly, Mira's utmost poetic imagery and devotional idiom

center on marriage, particularly its bonds that tie the two

together, resulting union and its delight, and separation and its

pangs. She presents herself as her Lord's virgin, bride, humble

servant, one willing to live the way he liked . Mira seems to

have discovered in marriage love's essential idiom - formal and

intrinsic; and, it is somewhat natural for it was an event of

marriage that transformed the human-born Mirabai into the

spiritual Mirabai; to some extent, the spiritual Mirabai was born

out of an event of marriage. As the popular tradition has it,

once when yet a child, Mira saw a marriage procession reaching

her neighborhood. A curious mind, she asked her mother what for

so many richly bejeweled and costumed men riding horses and

palanquins had come there. When told that it was a marriage

procession and that the most richly bejeweled youth riding as

splendidly saddled horse walking ahead of others was the

bridegroom come to marry their neighbor's daughter, Mira

innocently asked her mother where was her groom. Mira's mother

smiled at her innocence and to amuse her picked the idol of

Krishna and giving it to her said that he was her groom. Mira's

adolescent mind believed it. She recalled how, though not in a

procession, her groom had likewise come. A few days ago a 'yogi -

ascetic, carrying this idol of Krishna, came to her house. With

its mesmeric beauty the idol bewitched the child and she insisted

to have it but the ascetic did not concede and went away, and the

eyes of a sad Mira followed him till he was visible. But, a

little later, the 'yogi' came back, gave the idol to Mira and

left. It is said that no other than Raidasa, the 'jogi' heard a

divine voice, after he had left Mira's village, instructing him

to go back and give the idol to the child.

 

Mira's mind was so deeply influenced by this association of the

Krishna's idol with the 'yogi' that in many of her songs Mira

addressed Krishna as 'jogi' and herself as his 'jogin'. It

actually shaped Mira's vision of Krishna on two lines. She was

his bride completely devoted to him but unlike the Krishna of

Jaideva's Gita Govinda Mira's Krishna was not indulgent in

sensuous love. Hers was more often a yogi.

 

Illustration: http://www.exoticindia.com/artimages/yogini_mira.jpg

 

The distress of Radha in Gita Govinda, or even her Sakhi's, is in

context to other Gopis, but Mira rarely sees her Krishna beyond

her own contexts. She yearns for Krishna but these are her own

yearnings, not Krishna's. She does not drag him to her level of

sensuous yearnings. This 'jogi' Krishna struck the imagination of

Kishangarh artists too, and they painted him as 'yogi' and Radha,

perhaps a transform of Mira, something quite unusual to Krishna's

iconography.

 

Illustration:

http://www.exoticindia.com/artimages/krishna_and_mira_as_radha.jpg

 

Mira venerated Raidasa as her 'guru' - teacher, in some of her

verses, and so contended the popular tradition, though

chronologically Mira and Raidasa, broadly accepted period of

Raidasa being from 1394 to 1418, weren't contemporaries. It is

said that Raidasa had led her to the path of Vaishnava 'bhakti'.

It seems that this might have led the common mind to link 'yogi'

and Raidasa for they both led her to the path of Krishna.

 

 

Mira's Pre And Post Marriage Life

 

Slightly varying is the contention that Mira's mother died early

and Mira was the sole charge of a fond grandfather Rao Duda, a

staunch Vaishnava. Reciprocally, Mira the child took care of her

grandfather's religious activities - lighting lamp and incense,

making sacred food for offering, dressing up the idol, arranging

things in order, and when rites began chanting hymns along with

him and herself prostrating before the idol. This Vaishnavite

atmosphere was Mira's initial training and the factor that shaped

her personality. Whatever her inspiration, by the time of her

marriage with Bhojaraj her mind had become fully absorbed in

Krishna so much so that when on her lips were the marriage-rites

related hymns within her heart were thoughts of Krishna. She

earnestly believed that she was being married to Krishna, not to Bhojaraj.

 

As reveal most sources and even the tradition, Mira did not have

problems with Bhojaraj but her real ordeal began with his death

in 1523. Under rigid customs of 'sati', Mira, a Rajput widow, was

required to immolate herself, which Mira declined. She argued

that wedded to Krishna who was 'Avinashi' - indestructible, not

to anyone other than him, she was not a widow. Immolating herself

would disgrace him whose consort she was. This incensed everyone's

anger in the family and even beyond including her father who

thought the same way. Now Mira, the bride of the house of

Sisodias, was the object of everyone's disdain. Ungenerous

treatment apart, she was subjected to various atrocities, mental

and physical, to include even attempts on her life, to which

everyone in the family was a party. Her father-in-law Rana Sanga

was a little considerate, but he died in 1527 fighting against

Babur and with this the reins passed into the hands of Ratan

Singh, and a little after, Vikramaditya Singh, Mira's worst

oppressors. The Bhaktamal, its various commentaries, and other

early records evade mentioning the names of tormenters, but

enumerate a number of atrocities, including a few attempts on her

life, to which Mira was subjected. Mira's atrocities, especially

the attempts to kill her, also feature in the 17th century poetry

of Priyadasa, Dhruvadasa, Nabhadasa and Dayabai among others.

However, the list of atrocities and occasions when attempts on

Mira's life were made, and divine miracles which every time

aborted them, is quite large in the popular tradition. In some

more recent literature, as in Ananda Swami's 'Miram

Sudha-Sindhu-Swami', this list has been further exaggerated.

 

Some of the attempts made on Mira's life have exceptional

unanimity. As the Bhaktamal and almost all other texts have it,

considering Mira's life and ways derogatory to Rajput values the

Rana, chronologically Rana Ratan Singh, decided to end Mira's

life. She was sent a cup full of poison which Mira drank but it

did not harm her. It is believed that Krishna had taken on him

poison's evil effect with the result that his image turned blue.

 

Illustration:

http://www.exoticindia.com/artimages/krishna_takes_poison_effect.jpg

 

The Bhagavata's Krishna is also blue-complexioned but the

Nathdwara Krishna is bluer perhaps for manifesting him who drank

Mira's poison.

 

Illustration: http://www.exoticindia.com/product/WH30/

 

When this attempt failed, he sent a wicker-basket with a deadly

cobra in it; however, when Mira opened it, it revealed just a

Saligrama, a symbolic form of Vishnu. The Mira Mandir at

Vrindavana has a Saligrama icon claimed to be the same into which

the cobra sent to kill Mira had transformed. As popular is the

event of Rana's encounter with Krishna in Mira's apartment. It is

said that Krishna often appeared in Mira's chamber and she spoke

to him. Hearing her talk to someone privately Rana's sister

Udaibai reported the matter to her brother. With a naked sword in

hand Rana, perhaps Vikramaditya, stormed her chamber shouting

where her lover was. When he found none except Krishna's image,

he left shamefaced. In slight variation, he flung his sword on

one behind the curtain wherefrom a disc - Vishnu's Sudarshana

Chakra, emerged and struck his sword, and in sheer horror he

left. As some sources have it, Rana passed the night almost in

fearful trauma. In the morning, in complete inversion of the

values that he so far venerated, the king and his wife went to

Mirabai and submitted to her as her devotees.

 

Whatever, after the atmosphere of the royal household, where lust

for power and sensuous pursuits overrode piety, became throttling

Mira decided to relinquish it. As have some sources, she first

went to Merata, her father's abode. Her uncle Rao Viramdeva and

cousin Jayamala were cordial and she was allowed to have her own

way but subsequent political events, reducing Merata to Jodhpur's

suzerainty in 1538, and Rao Maladeva pressurizing Mira's uncle to

mend Mira's ways or banish her, forced Mira to leave. She first

went to Vrindavana and then to Dwarika. Now her devotional life

was in full swing. She moved in sadhus' company, danced and sang

in temples and beyond breaking all barriers that rigid society

and its customs imposed. In visual representations the Mira of

palaces was a wanderer of roads with songs on lips and a 'vina' -

stringed instrument, in hands.

 

Illustration:

http://www.exoticindia.com/artimages/mirabai_and_her_joyous_bhakti.jpg

 

When at Vrindavana, Mira heard that the known Krishna-devotee

Jiva Goswami was at Vrindavana. She desired to meet him, but

under a vow not to cast his eye on a woman, he refused to see

Mira. Thereupon Mira sent him words that she was under the

impression that in Vrindavana there was just one male and all

others, His Gopis. Now she finds that there is another male

parallel to Him and identifies his separate entity. Jiva Goswami

did not fail to understand the underlying meaning and ashamed

rushed to meet her.

 

 

Mira's Death

 

When in her forties, Mira came to Dwarika. Now every moment of

her life was devoted to Krishna. In the meantime her cousin

Jayamala succeeded in wrestling Merata back and regain his

supremacy. He sent messengers to Mira asking her to return. Some

of the messengers stayed at Dwarika pressurizing her that they

would not go back unless she accompanied them. As the tradition

has it, she asked them to wait for the night, and when the night

fell, all alone she entered into the temple, in some legends,

into deep forest, for bidding farewell to Shri Ranachhoraji. She

sang two songs; with the one, her spiritual being merged into the

image of the Lord, and with the other, merged into Him her mortal

form. Those who had seen her entering the temple never saw her

coming out. Her mortal body was never found. Another tradition

puts it with some difference. With her wide open eyes she looked

at her Lord praying Him not to separate her from Him. It is said

that thereupon the Lord stepped out of the idol, entered into her

through her eyes, occupied her spiritual being, and let the

discarded mortal body fall.

 

 

Mira's Popularity, Poetry And Nature Of Bhakti

 

What an irony that Mira, who during her lifetime was not only

despised by her kin but even the common man's head did not bow to

her, out of fear or whatever, is perhaps the most popular saint

of India. As compared to three to four films attributed to other

saints Mira has not less than ten movies made on her life. The

most popular Hindi book series Amar Chitra Katha has published

Mira on number 36, while Kabir appears on 55, Tulsi, on 62 and

Surdasa, on 137.

 

Illustration: http://www.exoticindia.com/book/details/ACK62/

 

Not merely that country has a number of temples devoted to Mira,

even structures earlier to Mira herself, such as the 14th century

Mira Mandir at Ahad, Udaipur, Rajasthan, are renamed after her.

 

Illustration:

http://www.exoticindia.com/artimages/mira_mandir_ahada_udaipur.jpg

 

Kabir, Surdasa, Tulsi, Nabhadas. were 'bhakti' poets. 'Bhakti'

was their poetry's essence but basically they were poets.

 

Illustration: http://www.exoticindia.com/book/details/IDE125/

 

Mira sometimes sang like Kabir : 'Jantar mantar kachhu na janun

ved parhi nahi Kasi' - neither adept in cosmology or the science

of syllables nor I have read Vedas or visited the holy Kashi, but

she was just an uncut naive 'bhakta'. When she danced, in her

legs revealed her surrender to her Lord; when she sang, in her

words revealed her yearning to unite with Him. Neither a dancer,

nor singer, Mira was 'bhakti' incarnate - surrender in love, a

surrender beyond questions, calculations, fear, and all thoughts

of profit or loss, something that Chaitanya called Gopi-bhava -

single-pointed submission as Gopis had for Krishna. It is said

that once sage Narad saw Narayana tormented by acute headache. A

bewildered Narad asked him if he could do anything that would

relieve him of pain. Narayana told him that the dust of someone's

feet alone could do it. Narad could give the dust of his own feet

but how could he, an humble devotee of Narayana, do it? He went

to Narayana's spouses but considering it a sin they too declined.

Narad thought he could find someone in Brij who could give his or

her feet's dust. He went to Brij, met Gopis and told them all

about Narayana's pain and the remedy he sought. Not a moment of

hesitation, Gopis collected a basketful dust of their feet and

gave it to Narad. A sin or virtue, beyond all calculations of

profit and loss the concern of Gopis was their Lord's relief -

the Chaitanya's Gopi-bhava. This was the form of Mira's 'bhakti',

and in this Mira discovered her ultimate strength to face

whatever came her way : 'Koyi nindau koyi bindau main chalungi

chal aputhi' -whether condemned or lauded Mira would go the way

not treaded ever before.

 

To Mira, the ties between her Lord and her were those of love,

the love that looked like this world's. Not an inhabitant of this

world, Mira discovers in it the frame for her Lord's picture, in

the world's sensuous ways, her Lord's ways, and in its idiom, the

diction to communicate with Him. Not a symbolic or elemental

merger, Mira desired, with her body, soul and all faculties, that

her Lord, when He met her, rushed to her, smiled and embraced

her - 'Uthi hans kantha lagao'. In love, her form of devotion and

its essence, Mira sought release from the cycle of birth and

death : 'Jana Mira Kun Girdhara milaya, dukha metan sukha bheri,

Ruma ruma sata bhayi ura mein, miti gayi phera pheri' - the

moment Mira met Girdhara, sorrows vanished and happiness emerged,

all agitations of mind and body extinguished, and the cycle of

birth and death is destroyed.

 

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This article by Sri P. C. Jain and Dr. Daljeet

===========================================

 

Bibliography:

 

Bhaktamal

 

Chaurasi Vaishnavan ki Varta

 

Mewar Records

 

Pada-prasanga-mala, commentary on Bhaktamal by Nagaridasa

 

Bhakti-rasa-bodhini, commentary of Bhaktamal by Priyadasa

 

Dhruvadas : Bhakta Namavali

 

Ananda Swarupa : Miram-Sudha-Sindhu-Swami

 

Col. J. Tod : Annals and Antiquities of Rajasthan

 

G. A. Grierson : The Modern Vernacular Literature of Hindustan

 

J. N. Farquhar : An Outline of Religious Literature in India

 

F. E. Keay : A History of Hindi Literature

 

W. G. Archer : The Loves of Krishna

 

J. S. Hawley : Saints and Virtues

 

S. S. Mehta : A Monograph on Mirabai, the Saint of Mewar

 

V. K. Subramanian : Mystic Songs of Mira

 

John Stratton : Three Bhakti Voices

 

K. P. Bahadur : Mira Bai and Her Padas

 

Usha Nilsson : Mir Bai

 

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, " Aum " <beirut_ka_baba wrote:

 

> > I didnt think bhakti yoga was supposed to be painful, or detrimental

> to

> > the health. It just doesn't sound good to me when someone talks

>

> Farah this is not Bhakti....this happens when someone falls in love

> with God.

>

> Falling in love with a human being is so painfully blissful..what to

> talk of god..

>

> Remember yr first love??...the pain of not seeing your

> lover??...now multiply it with billions billions of times...:)That

> would be divine love in the beginning...ask Mirabai... or Radha

>

> Aum

>