Meera
Meerabai
Born	c. 1498 Rajasthan, India
Died	c. 1547 Rajasthan, India
Philosophy	Sant tradition of the Vaishnava bhakti movement

Part of a series on
Hindu philosophy
Schools
Samkhya · Yoga · Nyaya · Vaisheshika · Mimāṃsā · Vedanta (Advaita · Vishishtadvaita · Dvaita · Dvaitadvaita · Achintya Bheda Abheda)  · Saiva (Pratyabhijña · Pasupata · Siddhanta) · Tantra
Personalities
Philosophers-Acharyas Samkhya Kapila · Yoga Patañjali · Nyaya Akṣapāda Gotama · Jayanta Bhatta · Raghunatha Siromani · Vaiseshika Kanada · Mimamsa Jaimini · Kumārila Bhaṭṭa · Prabhakara · Maharshi Dayananda · Advaita Vedanta Gaudapada · Adi Shankara · Vachaspati Mishra · Vidyaranya · Madhusudana · Vivekananda · Nigamananda · Ramana Maharshi · Narayana Guru · Sivananda · Chinmayananda · Nisargadatta Maharaj · Swami Dayananda · Vishishta-Advaita Nammalwar · Yamunacharya · Ramanuja · Pillai Lokacharya · Vedanta Desika · Manavala Mamunigal · Dvaita Madhvacharya · Jayatirtha · Vyasathirtha · Raghavendra Swami · Dvaita-Advaita Nimbarka · Shuddha-Advaita Vallabha Achintya-Bhedabheda Chaitanya · Nigamananda · Prabhupada · Tantra / Shakta Abhinavagupta · Nigamananda · Ramprasad Sen · Kamalakanta Bhattacharya · Bamakhepa · Anandamayi Ma · Poet-Saints Purandara Dasa · Kanakadasa · Jagannatha_Dasa · Basava · Dnyaneshwar · Srimanta Sankardeva · Jayadeva · Namdev · Ramananda · Kabir · Tulsidas · Guru Ravidas · Mira Bai · Narsinh Mehta · Surdas · Samarth Ramdas · Tukaram · Tyagaraja · Annamacharya · Bhadrachala Ramadas · Alvars · Nayanmars · Muthuswami Dikshitar · Syama Sastri · Yoga-Guru Nigamananda · Integral-Yoga Sri Aurobindo · Kriya-Yoga Yogananda · Academician-Philosophers Coomaraswamy · Radhakrishnan ·
v t e

Meerabai (c. 1498 – c. 1547 AD) (alternate orthographies: Meera, Mira, Meera Bai) was an aristocratic Hindu mystical singer and devotee of Lord Krishna from Rajasthan and one of the most significant figures of the Sant tradition of the Vaishnava bhakti movement. Some 1,200–1,300 prayerful songs or bhajans attributed to her are popular throughout India and have been published in several translations worldwide. In the bhakti tradition, they are in passionate praise of Lord Krishna.

An article related to Hinduism
Hindu • History
Deities Trimurti Brahma • Vishnu • Shiva Devis and Devas Saraswati · Lakshmi · Parvati Shakti · Durga  · Kali Ganesha · Subrahmanya · Ayyappa Rama · Krishna Hanuman Prajapati · Rudra Indra · Agni · Dyaus Bhumi · Varuna · Vayu
Philosophy Concepts Brahman · Om · Ishvara Atman · Maya Karma · Samsara Purusharthas (Dharma · Artha · Kama · Moksha) Nirvana Schools Astika-Orthodox Samkhya · Yoga Nyaya · Vaisheshika Purva mimamsa Uttara mimamsa (Vedanta) (Dvaita, Advaita, Vishishtadvaita) Nastika-Heterodox Charvaka Buddhism Jainism Other Orthodox Schools Pasupata · Saiva Pratyabhijña · Raseśvara Pāṇini Darśana
Scriptures Vedas Rigveda • Yajurveda Samaveda • Atharvaveda Divisions Samhita, Brahmana, Aranyaka, Upanishad Upavedas Ayurveda • Dhanurveda Gandharvaveda • Sthapatyaveda Vedangas Shiksha · Chandas · Vyakarana Nirukta · Kalpa · Jyotisha Upanishads Rig vedic Aitareya Yajur vedic Brihadaranyaka · Isha Taittiriya · Katha · Shvetashvatara Sama vedic Chandogya · Kena Atharva vedic Mundaka · Mandukya · Prashna Puranas Brahma puranas Brahma · Brahmanda Brahmavaivarta Markandeya · Bhavishya Vaishnava puranas Vishnu · Bhagavata Naradeya · Garuda · Padma Shaiva puranas Shiva · Linga Skanda · Agni · Vayu Itihasas Ramayana · Mahabharata Other scriptures Bhagavat Gita Dharma Shastra · Manusmriti Artha Shastra · Yoga Vasistha Sutras · Stotras · Tantras Yoga Sutra others Classification of scriptures Śruti · Smriti Timeline Hindu texts
Practices Worship Puja · Japa · Bhajana Tapa · Dhyana Yajna · Homa Tirthadana · Naivedhya Temple · Vigraha · Bhakti Samskaras Garbhadhana · Pumsavana · Simantonayana · Jatakarma · Namakarana · Nishkramana · Annaprashana · Chudakarana · Karnavedha · Vidyarambha · Upanayana · Praishartha · Keshanta · Ritushuddhi · Samavartana · Vivaha · Antyeshti Varnashrama Dharma Varna Brahmin · Kshatriya Vaishya · Shudra Ashrama Brahmacharya · Grihastha Vanaprastha · Sanyasa Festivals Navaratri Vijayadashami (Dasara) Deepavali · Shivaratri · Holi Kumbha Mela · Ratha Yatra · Vishu · Bihu · Baisakhi · Puthandu Ganesh Chaturthi · Onam Rama Navami · Janmashtami Raksha Bandhan
Philosophers Ancient Gautama · Angiras · Ashtavakra · Jaimini · Kanada · Kapila · Pāṇini · Patañjali · Uddalaka · Valmiki · Vyasa · Yajnavalkya Medieval Adi Shankara · Basava · Dnyaneshwar · Chaitanya · Gangesha Upadhyaya · Gaudapada · Jayanta Bhatta · Kabir · Kumarila Bhatta · Madhusudana · Madhva · Namdeva · Nimbarka · Prabhakara · Raghunatha Siromani · Ramanuja · Srimanta Sankardeva · Vedanta Desika · Tukaram · Tulsidas · Vachaspati Mishra · Vallabha · Vidyaranya Modern Aurobindo · Coomaraswamy · Dayananda Saraswati · Gandhi · Krishnananda · Narayana Guru · Prabhupada · Ramakrishna · Ramana Maharshi · Radhakrishnan · Sivananda · U. G. Krishnamurti · Vivekananda · Yogananda
Other topics Hindu denominations Hinduism by country Mythology • Hindu calendar Hindu law • Hindu iconography Hindu nationalism • Hindutva Hindu pilgrimage sites Persecution • Criticism Glossary
Hinduism Portal Hindu Mythology Portal v t e

Details of her life, which has been the subject of several films, are pieced together from her poetry and stories recounted by her community and are of debatable historical authenticity, particularly those that connect her with the later Tansen. On the other hand, the traditions that make her a disciple of Guru Ravidas who disputed with Rupa Goswami are consonant with the usual account of her life.

Biography[link]

Meera's temple to Krishna at Chittorgarh Fort, Rajasthan

Meera, a Rajput princess was born in Kudki (Kurki), a little village near Merta City^[1] which is presently in the Nagaur district of Rajasthan in northwest India. Her father, jai Singh aman, was a friend of the Rathore clan, the son of Rao Duda of Merta. Rao Duda was son of Rao Jodha of Mandore, founder of Mandsaur.

As an infant Meera became deeply enamored of an iconic idol of Krishna owned by a visiting holy man; she was inconsolable until she possessed it and probably kept it all her life. (But some myths say that Meera saw a wedding procession of a bride-groom and asked her mother about her husband, then her mother took her in front of the family deity Lord Krishna. ) Then she was just five years old. She was highly influenced by her father as he was a sole worshipper of Krishna. But because she would not be able to keep the Lord happy the holy man took away the idol. Then she, her friend Lalita and her male cousin, Jaimal, went to the holy man or saint's house to get the idol back. When they went they saw that whatever the saint was offering to the Lord was not accepted. Then some ancient myths say that the idol started crying. Then next day the idol was given back to Meera and since then it remained with her. This made a bond between her and Lord and she was called "stone lover". She even organized a marriage with the idol. And she considered herself as spouse of Lord Krishna.

Meera’s marriage was arranged at an early age, traditionally to Prince Bhoj Raj, the eldest son of Rana Sanga of Chittor. She was not happy with her marriage as she considered herself already married to Krishna. Her new family did not approve of her piety and devotion when she refused to worship their family deity- Tulaja Bhawani (Durga).

The Meera Museum in Merta City

The Rajputana had remained fiercely independent of the Delhi Sultanate, the Islamic regime that otherwise ruled Hindustan after the conquests of Timur. But in the early 16th century AD the central Asian conqueror Babur laid claim to the Sultanate and some Rajputs supported him while others ended their lives in battle with him. Her husband's death in battle (in 1527 AD) was only one of a series of losses Meera experienced in her twenties. She appears to have despaired of loving anything temporal and turned to the eternal, transforming her grief into a passionate spiritual devotion that inspired in her countless songs drenched with separation and longing.

Meera's love to Krishna was at first a private thing but at some moment it overflowed into an ecstasy that led her to dance in the streets of the city. Her brother-in-law, the new ruler of Chittorgarh, was Vikramaditya, an ill-natured youth who strongly objected to Meera's fame, her mixing with commoners and carelessness of feminine modesty. There were several attempts to poison her.^[2] Her sister-in-law Udabai is said to have spread defamatory gossip.

According to some myths Meera's brother-in-law Vikramaditya, who later became king of Chittor, after Bhojraj's death, tried to harm Meera in many ways, such as:

• The famous one is that he mixed poison in the prasadam or chandanamritam of Krishna and made her drink it. But by God's grace, Krishna changed it to Amrit.
• He pinned iron nails in Meera's bed, but, again by God's grace they turned into rose petals.
• He put a snake in a flower basket and told her that it was a gift from him to her Lord, but when she opened it actually became a gift- a garland.

There are many more in a similar vein.

At some time Meera declared herself a disciple of the guru Ravidas^[3] ("guru miliyaa raidasjee") and left for the centre of Krishnaism, Vrindavan. She considered herself to be a reborn gopi, Lalita, mad with love for Krishna. Folklore informs us of a particular incident where she expressed her desire to engage in a discussion about spiritual matters with Rupa Goswami, a direct disciple of Chaitanya and one of the foremost saints of Vrindavan at that time who, being a renunciate celibate, refused to meet a woman. Meera replied that the only true man (purusha) in this universe is Lord Krishna.^[4] She continued her pilgrimage, "danced from one village to another village, almost covering the whole north of India".^[5] One story has her appearing in the company of Kabir in Kashi, once again causing affront to social mores. She seems to have spent her last years as a pilgrim in Dwarka, Gujarat. It is said that Mirabai disappeared into the Dwarkadhish Murti (Image of Lord Krishna) in front of a full audience of onlookers.

Poetry[link]

Meera's songs are in a simple form called a pada (verse), a term used for a small spiritual song, usually composed in simple rhythms with a repeating refrain, collected in her Padavali. The extant versions are in a Rajasthani and Braj, a dialect of Hindi spoken in and around Vrindavan (the childhood home of Krishna), sometimes mixed with Rajasthani.

That dark dweller in Braj

Is my only refuge.

O my companion, worldly comfort is an illusion,

As soon you get it, it goes.

I have chosen the indestructible for my refuge,

Him whom the snake of death will not devour.

My beloved dwells in my heart all day,

I have actually seen that abode of joy.

Meera's lord is Hari, the indestructible.

My lord, I have taken refuge with you, your maidservant

Although Meera is often classed with the northern Sant bhaktis who spoke of a formless divinity^[6],there is no doubt that she presents Krishna as the historical master of the Bhagavad Gita who is, even so, the perfect Avatar of the eternal, who is omnipresent but particularly focused in his icon and his temple. She speaks of a personal relationship with Krishna as her lover, lord and master. The characteristic of her poetry is complete surrender. Her longing for union with Krishna is predominant in her poetry: she wants to be "coloured with the colour of dusk" (the symbolic colour of Krishna).

English versions[link]

Alston and Subramanian have published selections with English translation in India.^[3][7] Schelling^[8] and Landes-Levi^[9] have offered anthologies in the USA. Snell^[10] has presented parallel translations in his collection The Hindi Classical Tradition. Sethi has selected poems which Mira composed presumably after she came in contact with Saint Ravidas.^[11] and Meera Pakeerah.

Some bhajans of Meera have been rendered by Robert Bly in his Mirabai Versions (New York; Red Ozier Press, 1984). Bly has also collaborated with Jane Hirshfield on Mirabai: Ecstatic Poems.^[12] Dr Prayag Narayan Misra has presented more than 20 devotional poems—available online in both Hindi and English languages.^[13]

Popular culture[link]

Composer John Harbison adapted Bly's translations for his Mirabai Songs. There is a documentary film A Few Things I Know About Her by Anjali Panjabi.^[14] Two well-known films of her life have been made in India, Meera (1945), a Tamil language film starring M. S. Subbulakshmi, and Meera a 1979 Hindi film by Gulzar. TV series, Meera (2009–2010) was also based on her life.

J. A. Joshi^[15][16] has written a novel "Follow the Cowherd Boy"^[17] published by Trafford Publishing^[18] in 2006. Meera Bai's life has been interpreted as a musical story in Meera—The Lover..., a music album based on original compositions for some well known Meera bhajans, releasing 11 October 2009.^[19]

Osho has given a commentary on Meera's bhajans.

Sagar Arts, the creator of mythological and historical serials such as Hatim Aladin, Chandragupta Maurya, Prithviraj Chauhan, Dwarkadheesh, Jai jai jai Bajrangbali, Mahima Shani Dev Ki, Ramayan etc., created a serial on July 27, 2009 – January 29, 2010. Younger Meera was played by Aashika Bhatia and elder Meera was played by Aditi Sajwan.

Bibliography[link]

• Chaturvedī, Ācārya Parashurām(a), Mīrāʼnbāī kī padāvalī,(16. edition)
• Goetz, Hermann, Mira Bai: Her Life and Times, Bombay 1966
• Mirabai: Liebesnärrin. Die Verse der indischen Dichterin und Mystikerin. Translated from Rajasthani into German by Shubhra Parashar. Kelkheim, 2006 (ISBN 3-935727-09-7)
• Hawley, John Stratton. The Bhakti Voices: Mirbai, Surdas, and Kabir in Their Times and Ours, Oxford 2005.
• Sethi, V.K.: Mira—The Divine Lover; Radha Soami Satsang Beas, Punjab, India; 1988
• Joshi, Jai A.: Follow the Cowherd Boy; Trafford Publishing,Canada, USA,Ireland and UK, 2006

See also[link]

• Aandaal
• Bhajan
• Sanson ki Mala Pe (popular bhajan/qwwali by Meerabai)
• List of Rajputs
• Rana Sanga

References[link]

External links[link]

Wikimedia Commons has media related to: Mirabai

• Mirabai at Kavita Kosh (Hindi)
• Bridal Mysticism: Story of Meerabai By Dr. Jyotsna Kamat

Mir Taqi Mir (Urdu: میر تقی میر) (born 1723 - died 1810), whose real name was Muhammad Taqi (Urdu: محمد تقی) and takhallus (pen name) was Mir (Urdu: میر) (sometimes also spelt as Meer Taqi Meer), was the leading Urdu poet of the 18th century, and one of the pioneers who gave shape to the Urdu language itself. He was one of the principal poets of the Delhi School of the Urdu ghazal and remains arguably the foremost name in Urdu poetry often remembered as Khuda-e-sukhan (god of poetry).^[1]

Life[link]

The main source of information on Mir's life is his autobiography Zikr-e-Mir, which covers the period from his childhood to the beginnings of his sojourn in Lucknow^[2]. However, it is said to conceal more than it reveals^[3], with material that is undated or presented in no chronological sequence. Therefore, many of the 'true details' of Mir's life remain a matter of speculation.

Mir was born in Agra, India (then called Akbarabad and ruled by the Mughals) ca. August or September 1723 in a family of Arab origins. His philosophy of life was formed primarily by his father, a religious man with a large following, whose emphasis on the importance of love and the value of compassion remained with Mir throughout his life and imbued his poetry. Mir's father died while the poet was in his teens. He left Agra for Delhi a few years after his father's death, to finish his education and also to find patrons who offered him financial support (Mir's many patrons and his relationships with them have been described by his translator C. M. Naim).^[4].

Some scholars consider two of Mir's masnavis (long narrative poems rhymed in couplets), Mu'amlat-e-ishq (The Stages of Love) and Khwab o khyal-e Mir ("Mir's Vision"), written in the first person, as inspired by Mir's own early love affairs^[5], but it is by no means clear how autobiographical these accounts of a poet's passionate love affair and descent into madness are. Especially, as France W. Pritchett points out, the austere portrait of Mir from these masnavis must be juxtaposed against the picture drawn by Andalib Shadani, whose inquiry suggests a very different poet, given to unabashed eroticism in his verse^[6]

Mir lived much of his life in Mughal Delhi. Kuchha Chelan, in Old Delhi was his address at that time. However, after Ahmad Shah Abdali's sack of Delhi each year starting 1748, he eventually moved to the court of Asaf-ud-Daulah in Lucknow, at the king's invitation. Distressed to witness the plundering of his beloved Delhi, he gave vent to his feelings through some of his couplets.

کیا بود و باش پوچھے ہو پورب کے ساکنو

ہم کو غریب جان کے ہنس ہنس پکار کے

دلّی جو ایک شہر تھا عالم میں انتخاب

رہتے تھے منتخب ہی جہاں روزگار کے

جس کو فلک نے لوٹ کے ویران کر دیا

ہم رہنے والے ہیں اسی اجڑے دیار کے

Mir migrated to Lucknow in 1782 and remained there for the remainder of his life. Though he was given a kind welcome by Asaf-ud-Daulah, he found that he was considered old-fashioned by the courtiers of Lucknow (Mir, in turn, was contemptuous of the new Lucknow poetry, dismissing the poet Jur'at's work as merely 'kissing and cuddling'). Mir's relationships with his patron gradually grew strained, and he eventually severed his connections with the court. In his last years Mir was very isolated. His health failed, and the death of his daughter, son and wife caused him great distress.^[7]

He died, of a purgative overdose, on Friday, 21 September 1810.^[1] The marker of his burial place was removed in modern times when a railway was built over his grave.^[8]

Literary life[link]

His complete works, Kulliaat, consist of six Diwans containing 13,585 couplets, comprising all kinds of poetic forms: ghazal, masnavi, qasida, rubai, mustezaad, satire, etc. ^[1] Mir's literary reputation is anchored on the ghazals in his Kulliyat-e-Mir, much of them on themes of love. His masnavi Mu'amlat-e-Ishq (The Stages of Love) is one of the greatest known love poems in Urdu literature.

Mir lived at a time when Urdu language and poetry was at a formative stage - and Mir's instinctive aesthetic sense helped him strike a balance between the indigenous expression and new enrichment coming in from Persian imagery and idiom, to constitute the new elite language known as Rekhta or Hindui. Basing his language on his native Hindustani, he leavened it with a sprinkling of Persian diction and phraseology, and created a poetic language at once simple, natural and elegant, which was to guide generations of future poets.

The death of his family members^[1], together with earlier setbacks (including the traumatic stages in Delhi), lend a strong pathos to much of Mir's writing - and indeed Mir is noted for his poetry of pathos and melancholy.

Faith[link]

What Mir was practicing was probably the Malamati or “Blameworthy” aspect of the Sufi tradition. Using this technique, a person ascribes to oneself an unconventional aspect of a person or society, and then plays out its results, either in action or in verse.

Mir vs Mirza Ghalib[link]

Mir's famous contemporary, also an Urdu poet of no inconsiderable repute, was Mirza Rafi Sauda. Mir Taqi Mir was often compared with the later day Urdu poet, Mirza Ghalib. Lovers of Urdu poetry often debate Mir's supremacy over Ghalib or vice versa. It may be noted that Ghalib himself acknowledged, through some of his couplets, that Mir was indeed a genius who deserved respect. Here are two couplets by Mirza Ghalib on this matter.

^*Shaikh Imam Bakhsh Nasikh of Lucknow, a disciple of Mir.

Famous Couplets[link]

Some of his impeccable couplets are:

At a higher spiritual level the subject Of Mir's poem in not a woman but God. Mir speaks of man's interaction with the Divine. What affect it has on man when God reveals Himself to man. Dikhaai diye yun ke bekhud kiya When I saw you God I lost all sense of self Hamen aap se bhi juda kar chale When You revealed yourself it separated me from myself

Mir Taqi Mir in fiction[link]

Khushwant Singh's famous novel Delhi: A Novel gives very interesting details about the fictional life and adventures of the great poet. His fictional memoirs and confessions, especially those about his illicit relations with elite women, mainly with the wife of the aristocrat Rias Khan who employed him as tutor to teach his children, are not only very entertaining but also provide a lot of insight into his mind and heart.

Major works[link]

• "Nukat-us-Shura" Biographical dictionary of Urdu poets of his time, written in Persian
• "Faiz-e-Mir" Collection of five stories about sufis & faqirs, said to have been written for the education of his son Mir Faiz Ali.^[10]
• "Zikr-e-Mir" Autobiography written in Persian language.
• "Kulliyat-e-Farsi" Collection of poems in Persian language
• "Kulliyat-e-Mir" Collection of Urdu poetry consisting of six diwans (volumes).

See also[link]

Poetry portal

• List of Urdu poets
• Ghazal

References[link]

Further reading[link]

• C. M. Naim. Zikr-i-Mir, The Autobiography of the Eighteenth Century Mughal Poet: Mir Muhammad Taqi Mir (1723–1810), Translated, annotated and with an introduction by C. M. Naim, Oxford University Press, New Delhi, 1999.
• Ralph Russell, Khurshīdul Islām. Three Mughal poets: Mir, Sauda, Mir Hasan, Harvard University Press, 1968
• Anna Suvorova. Masnavi: A Study of Urdu Romance. Karachi: OUP, 2000 (about love poems of Mir)
• Shamsur Rahman Faruqi, Shiʻr-i shor angez : ghazaliyāt-i Mīr kā muḥaqiqānah intikhāb Qaumī Kaunsil barāʼe Farogh-i Urdū Zabān, 2006 (4-volume study on ghazals of Mīr Taqī Mīr)

External links[link]

• Dewaan-e-Meer (Online)
• A Garden of Kashmir: the Ghazals of Mir Taqi Mir (maintained by Frances W. Pritchett)
• [1] Hindi translation of poets biography Zikr e Mir free pdf uploaded by Javed Hussen
• Mir Taqi Mir at the Internet Movie Database
• The Meer Pages
• Mir Taqi Mir at Kavita Kosh

Guru Hargobind depicted on a mid-nineteenth century miniature.

Guru Hargobind Sahib, (Punjabi: ਗੁਰੂ ਹਰਿ ਗੋਬਿੰਦ ਸਾਹਿਬ [ɡʊru həɾɡobɪnd sɑhɪb]) also Saccha Badshah (ਸੱਚਾ ਪਾਦਸ਼ਾਹ "True Emperor") (19 June 1595–2 March 1644) was the sixth of the Sikh gurus and became Guru on 25 May 1606 following in the footsteps of his father Guru Arjan Dev. He was not, perhaps, more than eleven at his father's execution.^[1] Before ascension, he nominated Guru Har Rai, his grandson as the next Guru of the Sikhs.

From the very beginning he was the deadly enemy of the Mughal Empire.^[2]

Early years[link]

He put on two swords: one indicated his spiritual authority and the other his temporal authority.^[2] He built the Akal Takht, the Throne of the Almighty.^[2] Guru Hargobind ji excelled in matters of state and his Darbar (Court) was noted for its splendour. The arming and training of some of his devoted followers began, the Guru came to possess seven hundred horses and his Risaldari (army) grew to three hundred horsemen and sixty gunners in the due course of time. Additionally, five hundred men from the Majha area of the Punjab were recruited as infantry. Guru Hargobind built a fortress at Amritsar called Lohgarh “Fortress of steel”. He had his own flag and war-drum which was beaten twice a day.

Personality[link]

The Guru was a brilliant martial artist (shastarvidya),^[3] and avid hunter.^[4] Hargobind encouraged people to maintain physical fitness and keep their bodies ready for physical combat. His policy was sometimes at odds with more established members such as Baba Budha Ji.

Relations with Jahangir and wars with Mughals[link]

The reasons for Guru Hargobind to arm his followers were many. Both externally and internally the situation was changing and the policy of the Guru had to be adjusted to a new environment. The organisational development of Sikhism had mostly taken place during the tolerant days of Akbar who had never interfered with it; he had, on the contrary, even helped the Gurus in various ways. But the execution of Guru Arjan at the hands of Jahangir and imprisonment of Hargobind definitely showed that sterner days were ahead and the policy of mere peaceful organisation no longer sufficed. Guru Arjan had foreseen and Guru Hargobind also clearly saw that it would no longer be possible to protect the Sikh community without the aid of arms.^[2] He had a stable of eight hundred horses; three hundred mounted followers were constantly in attendance upon him, and a guard of fifty six matchlock-men secured his safety in person.

Jahangir could not tolerate the armed policy of Hargobind and consequently imprisoned him, and ultimately released him. The relations between the Guru and Jahangir became friendly and continued to remain so.

During the reign of Shah Jahan, relations became bitter again, for Shah Jahan was intolerant. He destroyed the Sikh baoli at Lahore. The quarrels which originally started over hawks or horses between Mughal officials and the Sikhs subsequently led to risings on a large scale and were responsible for the deaths of thousands of persons on both sides.^[2] Battles were fought at Amritsar, Kartarpur and elsewhere. He defeated the Imperial troops near Amritsar. The Guru was again attacked by a provincial detachment, but the attackers were routed and their leaders slain.^[5] Hargobind grasped a sword and marched with his devoted soldiers among the troops of the empire, or boldly led them to oppose and overcome the provincial governors or personal enemies.^[6]

A childhood friend of Hargobind, Painde Khan,whose mother had been the nurse of the Guru, had become his enemy. The cause given, in some accounts, was a valuable hawk of a follower of the Guru which was taken by Khan and when asked for, was resented by him. Other accounts note Khan's vanity and his pride. This opportunity was used by Mughal officials, who saw Hargobind as an ever-present danger. Painde Khan was appointed leader of the provincial troops and marched upon the Guru. Hargobind was attacked, but the warlike apostle slew the friend of his youth with his own hand and proved again a victor.^[5]

There is an incident narrated by both Sikh and Muslim native accounts. During one of the battles, Hargobind was rushed upon angrily by a soldier. He not only warded off the blow but struck and laid dead the soldier at his feet. "Not so, but thus is the sword used"; an observation from which the influence is drawn that "Hargobind struck not in anger, but deliberately and to give instruction; for the function of the Guru is to teach".^[5] Hargobind had many difficulties of a similar kind, but his Sikhs always rallied around him.

Guru Hargobind breathed his last, peacefully, at Kiratpur Rupnagar, Punjab on 2 March 1644.^[6]

Effects[link]

During the era of Hargobind, the Sikhs increased greatly in number, and the fiscal policy of Guru Arjan and the armed system of Guru Hargobind had already formed the Sikhs into a kind of separate entity within the empire. The Guru was not unconscious of his latent influence but in his private life never forgot his genuine character, and always styled himself Nanak, in deference to the firm belief of his Sikhs, that the soul of their great teacher was alive in each of his successors.^[7] Hargobind had no regard for idol worship. One of his followers cut off the nose of an idol; on complaints from various neighboring chiefs, he summoned the Sikh to his presence; the culprit denied the act, but added, ironically, that if the idol bore witness against him, he would accept punishment willingly. "O fool" replied the chiefs, "how will the idol speak". Replied the Sikh "if he can't save his head, then how will he avail you."^[7]

Summary[link]

The following is a summary of the main highlights of Guru Hargobind's life:

• Transformed the Sikh fraternity by introducing martial arts and weapons for the defence of the masses following his father's martyrdom.
• Militarised the Sikh movement – carried two swords of Miri and Piri.
• Built the Akal Takht in 1608 – which is now one of five Takhts (Seats of Power) of the Sikhs.
• Founded the city of Kiratpur in District Jalandhar, Punjab.
• He was imprisoned in the fort of Gwalior for one year and on release insisted that 52 fellow prisoners be freed as well. To mark this occasion the Sikhs celebrate Bandi Chhor Divas.
• The first Guru to engage in warfare.
• Fought four battles against the Mughal rulers.
• The city Hargobindpur, in Majha region of Punjab, is named after him, which he won over from Mughals after defeating them in a battle.

References[link]

Further reading[link]

• Dr Harjinder Singh Dilgeer (1980), The Akal Takht, Sikh University Press
• Dr Harjinder Singh Dilgeer (2005), Sikh Twareekh Vich Akal Takht Sahib Da Role, Sikh University Press
• Dr Harjinder Singh Dilgeer (2011), Akal Takht Sahib (Concept & Role), Sikh University Press
• Dr Harjinder Singh Dilgeer (2008), Sikh Twareekh (5 volumes), Sikh University Press.

External links[link]

• The Sikh Web Site
• The Sikh History Web Site

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2008)

The topic of this article may not meet Wikipedia's general notability guideline. Please help to establish notability by adding reliable, secondary sources about the topic. If notability cannot be established, the article is likely to be merged, redirected, or deleted. (September 2010)

Shishir Parkhie born on 7 November 1967 at Nagpur in the state of Mahashtra, India is a singer, music composer and a live show performer.Shishir has been performing live Ghazal concerts at various places worldwide. Shishir uses various forms of music ranging from Ghazals, Bhajans, Sugam Sangeet, Hindi Film Songs to regional music. Several audio cassettes / ACD's / VCDs in various categories have been released by reputed music companies. He has voiced over and composed music for several jingles as well as for various television serials. He is specialised in total conceptualisation and production of musical theme shows, commercial jingles, audio and video albums.

Ghazal albums[link]

1. 'Once More' Ghazals - Audio CD by Shishir Parkhie Released by T-Series - SNCD 01/6109 in October 2009 ^[1]
2. AHTERAAM - A tribute to the legendary poets - SNCD 5587 released by T- Series in 2009.^[2][3]

Devotional albums[link]

T-Series

1. Mahima Sadgurunath Ki (SHNC 01/2875)
2. Bolo Jai Siya Ram (SHNC 01/2898)^[4]
3. Shree Mahalaxmi Jagadamba koradi (Amritvaani) (SHNC 01/3295)
4. Tere Naam Anek Tu Ek He Hai (SHNC 01/3318)
5. Avtaar Meher Baba Ki Amar Katha (SHNC 01/3459) ^[5]
6. Shree Sai Smaran Stuti Paath (SHNC 01/3673)
7. Raah Sai Ne Sachchi Dikhayee Hai (SHNC 01/)
8. Hum Bharat Ki Shaan Hai - With Suresh Wadkar & Sadhana Sargam (SHNC 01/1698)
9. Buddha Vandana Karu (Marathi) (SMNC 01/830)
10. Sheel Sugandha (Marathi) With Uttara Kelkar (SMNC 01/891)
11. Pratibimba Krantisuriyache (Marathi) With Uttara Kelkar (SMNC 01/892)

Audio CDs[link]

1. Shree Sai Smaran, Stuti Paath (SNCD 01/4773)
2. Rah Sai Ne Sachchi, Dikhayee Hai (SNCD 01/5166) ^[6][7]

Video CDs[link]

1. Mahima Sadgurunath Ki, Sampoorna Gurukunj darshan - Rashtrasant Tukdoji Maharaj, (CDVNF)
2. Aao Chalein Koradi - With Anuradha Paudwal, Sampoorna Koradi Devi Yatra Darshan, (CDVNF 01/3837)
3. Tere Naam Anek Tu Eh Hi Hai, Gurukunj Mozari Punyatithi Mohatsav Darshan- Rashtrasant Tukdoji Maharaj (CDVNF 01/3911)

Venus[link]

1. Shree Gajanan Maharaj Amritvaani

Times[link]

1. The Five Elements (Spiritual)
2. Bhojan Mantras

Others[link]

1. Prabhu Ke mangal Gun Gaao VCD R -Series
2. Ab Meri Awaaz Suno R- Series
3. Utha Gadya Arunodaya Zala R- Series (Marathi)
4. Mera Chakradhar- Krishna Music
5. Dhammakranti (Marathi) D- Series ^[8]