INTRODUCTION
introduction
thepoetkabîr,aselectionfromwhosesongsishereforthefirsttimeofferedtoenglishreaders,isoneofthemostinterestingpersonalitiesinthehistoryofindianmysticism.borninornearbenares,ofmohammedanparents,andprobablyabouttheyear1440,hebecameinearlylifeadiscipleofthecelebratedhinduasceticrâmânanda.râmânandahadbroughttonorthernindiathereligiousrevivalwhichrâmânuja,thegreattwelfth-centuryreformerofbrâhmanism,hadinitiatedinthesouth.thisrevivalwasinpartareactionagainsttheincreasingformalismoftheorthodoxcult,inpartanassertionofthedemandsoftheheartasagainsttheintenseintellectualismofthevedântaphilosophy,theeratedmonismwhichthatphilosophyproclaimed.ittookinrâmânuja'spreachingtheformofanardentpersonaldevotiontothegodvishnu,asrepresentingthepersonalaspectofthedivinenature:thatmystical"religionoflove"whicheverywheremakesitsappearanceatacertainlevelofspiritualculture,andwhichcreedsandphilosophiesarepowerlesstokill.
thoughsuchadevotionisindigenousinhinduism,andfindsexpressioninmanypassagesofthebhagavadgîtâ,therewasinitsmediævalrevivalalargeelementofsyncretism.râmânanda,throughwhomitsspiritissaidtohavereachedkabîr,appearstohavebeenamanofwidereligiousculture,andfullofmissionaryenthusiasm.livingatthemomentinwhichtheimpassionedpoetryanddeepphilosophyofthegreatpersianmystics,attâr,sâdî,jalâlu'ddînrûmî,andhâfiz,wereexercisingapowerfulinfluenceonthereligiousthoughtofindia,hedreamedofreconcilingthisintenseandpersonalmohammedanmysticismwiththetraditionaltheologyofbrâhmanism.somehaveregardedboththesegreatreligiousleadersasinfluencedalsobychristianthoughtandlife:butasthisisapointuponwhichcompetentauthoritiesholdwidelydivergentviews,itsdiscussionisnotattemptedhere.wemaysafelyassert,however,thatintheirteachings,two—perhapsthree—apparentlyantagonisticstreamsofintensespiritualculturemet,asjewishandhellenisticthoughtmetintheearlychristianchurch:anditisoneoftheoutstandingcharacteristicsofkabîr'sgeniusthathewasableinhispoemstofusethemintoone.
agreatreligiousreformer,thefounderofasecttowhichnearlyamillionnorthernhindusstillbelong,itisyetsupremelyasamysticalpoetthatkabîrlivesforus.hisfatehasbeenthatofmanyrevealersofreality.ahaterofreligiousexclusivism,andseekingaboveallthingstoinitiatemenintothelibertyofthechildrenofgod,hisfollowershavehonouredhismemorybyre-erectinginanewplacethebarrierswhichhelabouredtocastdown.buthiswonderfulsongssurvive,thespontaneousexpressionsofhisvisionandhislove;anditisbythese,notbythedidacticteachingsassociatedwithhisname,thathemakeshisimmortalappealtotheheart.inthesepoemsawiderangeofmysticalemotionisbroughtintoplay:fromtheloftiestabstractions,themostotherworldlypassionfortheinfinite,tothemostintimateandpersonalrealizationofgod,expressedinhomelymetaphorsandreligioussymbolsdrawnindifferentlyfromhinduandmohammedanbelief.itisimpossibletosayoftheirauthorthathewasbrâhmanorsûfî,vedântistorvaishnavite.heis,ashesayshimself,"atoncethechildofallahandofrâm."thatsupremespiritwhomheknewandadored,andtowhosejoyousfriendshiphesoughttoinductthesoulsofothermen,transcendedwhilstheincludedallmetaphysicalcategories,allcredaldefinitions;yeteachcontributedsomethingtothedescriptionofthatinfiniteandsimpletotalitywhorevealedhimself,accordingtotheirmeasure,tothefaithfulloversofallcreeds.
kabîr'sstoryissurroundedbycontradictorylegends,onnoneofwhichreliancecanbeplaced.someoftheseemanatefromahindu,somefromamohammedansource,andclaimhimbyturnsasasûfîandabrâhmansaint.hisname,however,ispracticallyaconclusiveproofofmoslemancestry:andthemostprobabletaleisthatwhichrepresentshimastheactualoradoptedchildofamohammedanweaverofbenares,thecityinwhichthechiefeventsofhislifetookplace.
infifteenth-centurybenaresthesyncretistictendenciesofbhaktireligionhadreachedfulldevelopment.sûfîsandbrâhmansappeartohavemetindisputation:themostspiritualmembersofbothcreedsfrequentingtheteachingsofrâmânanda,whosereputationwasthenatitsheight.theboykabîr,inwhomthereligiouspassionwasinnate,sawinrâmânandahisdestinedteacher;butknewhowslightwerethechancesthatahinduguruwouldacceptamohammedanasdisciple.hethereforehiduponthestepsoftheriverganges,whererâmânandawasaccustomedtobathe;withtheresultthatthemaster,comingdowntothewater,troduponhisbodyunexpectedly,andexclaimedinhisastonishment,"ram!ram!"—thenameoftheincarnationunderwhichheworshippedgod.kabîrthendeclaredthathehadreceivedthemantraofinitiationfromrâmânanda'slips,andwasbyitadmittedtodiscipleship.inspiteoftheprotestsoforthodoxbrâhmansandmohammedans,bothequallyannoyedbythiscontemptoftheologicallandmarks,hepersistedinhisclaim;thusexhibitinginactionthatveryprincipleofreligioussynthesiswhichrâmânandahadsoughttoestablishinthought.râmânandaappearstohaveacceptedhim,andthoughmohammedanlegendsspeakofthefamoussûfîpîr,takkîofjhansî,askabîr'smasterinlaterlife,thehindusaintistheonlyhumanteachertowhominhissongsheacknowledgesindebtedness.
thelittlethatweknowofkabîr'slifecontradictsmanycurrentideasconcerningtheorientalmystic.ofthestagesofdisciplinethroughwhichhepassed,themannerinwhichhisspiritualgeniusdeveloped,wearecompletelyignorant.heseemstohaveremainedforyearsthediscipleofrâmânanda,joininginthetheologicalandphilosophicalargumentswhichhismasterheldwithallthegreatmullahsandbrâhmansofhisday;andtothissourcewemayperhapstracehisacquaintancewiththetermsofhinduandsûfîphilosophy.hemayormaynothavesubmittedtothetraditionaleducationofthehinduorthesûfîcontemplative:itisclear,atanyrate,thatheneveradoptedthelifeoftheprofessionalascetic,orretiredfromtheworldinordertodevotehimselftobodilymortificationsandtheexclusivepursuitofthecontemplativelife.sidebysidewithhisinteriorlifeofadoration,itsartisticexpressioninmusicandwords—forhewasaskilledmusicianaswellasapoet—helivedthesaneanddiligentlifeoftheorientalcraftsman.allthelegendsagreeonthispoint:thatkabîrwasaweaver,asimpleandunletteredman,whoearnedhislivingattheloom.likepaulthetentmaker,boehmethecobbler,bunyanthetinker,tersteegentheribbon-maker,heknewhowtocombinevisionandindustry;theworkofhishandshelpedratherthanhinderedtheimpassionedmeditationofhisheart.hatingmerebodilyausterities,hewasnoascetic,butamarriedman,thefatherofafamily—acircumstancewhichhindulegendsofthemonastictypevainlyattempttoconcealorexplain—anditwasfromoutoftheheartofthecommonlifethathesanghisrapturouslyricsofdivinelove.herehisworkscorroboratethetraditionalstoryofhislife.againandagainheextolsthelifeofhome,thevalueandrealityofdiurnalexistence,withitsopportunitiesforloveandrenunciation;pouringcontempt—upontheprofessionalsanctityoftheyogi,who"hasagreatbeardandmattedlocks,andlookslikeagoat,"andonallwhothinkitnecessarytofleeaworldpervadedbylove,joy,andbeauty—thepropertheatreofman'squest—inordertofindthatonerealitywhohas"spreadhisformoflovethroughoutalltheworld."[footnote:cf.poemsnos.xxi,xl,xliii,lxvi,lxxvi.]
itdoesnotneedmuchexperienceofasceticliteraturetorecognizetheboldnessandoriginalityofthisattitudeinsuchatimeandplace.fromthepointofviewoforthodoxsanctity,whetherhinduormohammedan,kabîrwasplainlyaheretic;andhisfrankdislikeofallinstitutionalreligion,allexternalobservance—whichwasasthoroughandasintenseasthatofthequakersthemselves—completed,sofarasecclesiasticalopinionwasconcerned,hisreputationasadangerousman.the"simpleunion"withdivinerealitywhichheperpetuallyextolled,asalikethedutyandthejoyofeverysoul,wasindependentbothofritualandofbodilyausterities;thegodwhomheproclaimedwas"neitherinkaabanorinkailâsh."thosewhosoughthimneedednottogofar;forheawaiteddiscoveryeverywhere,moreaccessibleto"thewasherwomanandthecarpenter"thantotheself—righteousholyman.[footnote:poemsi,ii,xli.]thereforethewholeapparatusofpiety,hinduandmoslemalike—thetempleandmosque,idolandholywater,scripturesandpriests—weredenouncedbythisinconvenientlyclear-sightedpoetasmeresubstitutesforreality;deadthingsinterveningbetweenthesoulanditslove—
theimagesarealllifeless,theycannotspeak:
iknow,forihavecriedaloudtothem.
thepurânaandthekoranaremerewords:
liftingupthecurtain,ihaveseen.
[footnote:poemsxlii,lxv,lxvii.]
thissortofthingcannotbetoleratedbyanyorganizedchurch;anditisnotsurprisingthatkabîr,havinghishead-quartersinbenares,theverycentreofpriestlyinfluence,wassubjectedtoconsiderablepersecution.thewell-knownlegendofthebeautifulcourtesansentbybrâhmanstotempthisvirtue,andconverted,likethemagdalen,byhersuddenencounterwiththeinitiateofahigherlove,preservesthememoryofthefearanddislikewithwhichhewasregardedbytheecclesiasticalpowers.onceatleast,aftertheperformanceofasupposedmiracleofhealing,hewasbroughtbeforetheemperorsikandarlodi,andchargedwithclaimingthepossessionofdivinepowers.butsikandarlodi,arulerofconsiderableculture,wastolerantoftheeccentricitiesofsaintlypersonsbelongingtohisownfaith.kabîr,beingofmohammedanbirth,wasoutsidetheauthorityofthebrâhmans,andtechnicallyclassedwiththesûfîs,towhomgreattheologicallatitudewasallowed.therefore,thoughhewasbanishedintheinterestsofpeacefrombenares,hislifewasspared.thisseemstohavehappenedin1495,whenhewasnearlysixtyyearsofage;itisthelasteventinhiscareerofwhichwehavedefiniteknowledge.thenceforthheappearstohavemovedaboutamongstvariouscitiesofnorthernindia,thecentreofagroupofdisciples;continuinginexilethatlifeof'tleandpoetoflovetowhich,ashedeclaresinoneofhissongs,hewasdestined"fromthebeginningoftime."in1518,anoldman,brokeninhealth,andwithhandssofeeblethathecouldnolongermakethemusicwhichheloved,hediedatmagharneargorakhpur.
abeautifullegendtellsusthatafterhisdeathhismohammedanandhindudisciplesdisputedthepossessionofhisbody;whichthemohammedanswishedtobury,thehindustoburn.astheyarguedtogether,kabîrappearedbeforethem,andtoldthemtolifttheshroudandlookatthatwhichlaybeneath.theydidso,andfoundintheplaceofthecorpseaheapofflowers;halfofwhichwereburiedbythemohammedansatmaghar,andhalfcarriedbythehindustotheholycityofbenarestobeburned—fittingconclusiontoalifewhichhadmadefragrantthemostbeautifuldoctrinesoftwogreatcreeds.
ii
thepoetryofmysticismmightbedefinedontheonehandasatemperamentalreactiontothevisionofreality:ontheother,asaformofprophecy.asitisthespecialvocationofthemysticalconsciousnesstomediatebetweentwoorders,goingoutinlovingadorationtowardsgodandcominghometotellthesecretsofeternitytoothermen;sotheartisticself-expressionofthisconsciousnesshasalsoadoublecharacter.itislove-poetry,butlove-poetrywhichisoftenwrittenwithamissionaryintention.
kabîr'ssongsareofthiskind:out-birthsatonceofraptureandofcharity.writteninthepopularhindi,notintheliterarytongue,theyweredeliberatelyaddressed—likethevernacularpoetryofjacoponedatodiandrichardrolle—tothepeopleratherthantotheprofessionallyreligiousclass;andallmustbestruckbytheconstantemploymentinthemofimagerydrawnfromthecommonlife,theuniversalexperience.itisbythesimplestmetaphors,byconstantappealstoneeds,passions,relationswhichallmenunderstand—thebridegroomandbride,theguruanddisciple,thepilgrim,thefarmer,themigrantbird—thathedriveshomehisintenseconvictionoftherealityofthesoul'sintercoursewiththetranscendent.thereareinhisuniversenofencesbetweenthe"natural"and"supernatural"worlds;everythingisapartofthecreativeplayofgod,andtherefore—eveninitshumblestdetails—capableofrevealingtheplayer'smind.
thiswillingacceptanceofthehere-and-nowasameansofrepresentingsupernalrealitiesisatraitcommontothegreatestmystics.forthem,whentheyhaveachievedatlastthetruetheopatheticstate,allaspectsoftheuniversepossessequalauthorityassacramentaldeclarationsofthepresenceofgod;andtheirfearlessemploymentofhomelyandphysicalsymbols—oftenstartlingandevenrevoltingtotheustomedtaste—isindirectproportiontotheexaltationoftheirspirituallife.theworksofthegreatsûfîs,andamongstthechristiansofjacoponedatodi,ruysbroeck,boehme,aboundinillustrationsofthislaw.thereforewemustnotbesurprisedtofindinkabîr'ssongs—hisdesperateattemptstocommunicatehisecstasyandpersuadeothermentoshareit—aconstantjuxt'itionofconcreteandmetaphysicallanguage;swiftalternationsbetweenthemostintenselyanthropomorphic,themostsubtlyphilosophical,waysofapprehendingman'scommunionwiththedivine.theneedforthisalternation,anditsentirenaturalnessforthemindwhichemploysit,isrootedinhisconcept,orvision,ofthenatureofgod;andunlesswemakesomeattempttograspthis,weshallnotgofarinourunderstandingofhispoems.
kabîrbelongstothatsmallgroupofsuprememystics—amongstwhomst.augustine,ruysbroeck,andthesûfîpoetjalâlu'ddînrûmîareperhapsthechief—whohaveachievedthatwhichwemightcallthesyntheticvisionofgod.thesehaveresolvedtheperpetualoppositionbetweenthepersonalandimpersonal,thetranscendentandimmanent,staticanddynamicaspectsofthedivinenature;betweentheabsoluteofphilosophyandthe"suretruefriend"ofdevotionalreligion.theyhavedonethis,notbytakingtheseapparentlyincompatibleconceptsoneaftertheother;butbyascendingtoaheightofspiritualintuitionatwhichtheyare,asruysbroecksaid,"meltedandmergedintheunity,"andperceivedasthecompletingoppositesofaperfectwhole.thisproceedingentailsforthem—andbothkabîrandruysbroeckexpresslyacknowledgeit—auniverseofthreeorders:becoming,being,andthatwhichis"morethanbeing,"i.e.,god.[footnote:nos.viiandxlix.]godisherefelttobenotthefinalabstraction,buttheoneactuality.heinspires,supports,indeedinhabits,boththedurational,conditioned,finiteworldofbecomingandtheunconditioned,non-essional,infiniteworldofbeing;yetutterlytranscendsthemboth.heistheomnipresentreality,the"all-pervading"withinwhom"theworldsarebeingtoldlikebeads."inhispersonalaspectheisthe"belovedfakir,"teachingandcompanioningeachsoul.consideredasimmanentspirit,heis"themindwithinthemind."butalltheseareatbestpartialaspectsofhisnature,mutuallycorrective:asthepersonsinthechristiandoctrineofthetrinity—towhichthistheologicaldiagrambearsastrikingresemblance—representdifferentandcompensatingexperiencesofthedivineunitywithinwhichtheyareresumed.asruysbroeckdiscernedaplaneofrealityuponwhich"wecanspeaknomoreoffather,son,andholyspirit,butonlyofonebeing,theverysubstanceofthedivinepersons";sokabîrsaysthat"beyondboththelimitedandthelimitlessishe,thepurebeing."[footnote:no.vii.]
brahma,then,istheineffablefactcomparedwithwhich"thedistinctionoftheconditionedfromtheunconditionedisbutaword":atoncetheutterlytranscendentoneofabsolutistphilosophy,andthepersonalloveroftheindividualsoul—"commontoallandspecialtoeach,"asonechristianmystichasit.theneedfeltbykabîrforboththesewaysofdescribingrealityisaproofoftherichnessandbalanceofhisspiritualexperience;whichneithercosmicnoranthropomorphicsymbols,takenalone,couldexpress.moreabsolutethantheabsolute,morepersonalthanthehumanmind,brahmathereforeexceedswhilstheincludesalltheconceptsofphilosophy,allthepassionateintuitionsoftheheart.heisthegreataffirmation,thefontofenergy,thesourceoflifeandlove,theuniquesatisfactionofdesire.hiscreativewordistheomor"everlastingyea."thenegativephilosophywhichstripsfromthedivinenatureallitsattributesanddefininghimonlybythatwhichheisnot—reduceshimtoan"emptiness,"isabhorrenttothismostvitalofpoets.—brahma,hesays,"mayneverbefoundinabstractions."heistheonelovewhopervadestheworld.,discernedinhisfullnessonlybytheeyesoflove;andthosewhoknowhimthusshare,thoughtheymaynevertell,thejoyousandineffablesecretoftheuniverse.[footnote:nos.vii,xxvi,lxxvi,xc.]
nowkabîr,achievingthissynthesisbetweenthepersonalandcosmicaspectsofthedivinenature,eludesthethreegreatdangerswhichthreatenmysticalreligion.
first,heescapestheexcessiveemotionalism,thetendencytoanexclusivelyanthropomorphicdevotion,whichresultsfromanunrestrictedcultofdivinepersonality,especiallyunderanincarnationalform;seeninindiaintheerationsofkrishnaworship,ineuropeinthesentimentalextravagancesofcertainchristiansaints.
next,heisprotectedfromthesoul-destroyingconclusionsofpuremonism,inevitableifitslogicalimplicationsarepressedhome:thatis,theidentityofsubstancebetweengodandthesoul,withitscorollaryofthetotalabsorptionofthatsoulinthebeingofgodasthegoalofthespirituallife.forthethorough-goingmonistthesoul,insofarasitisreal,issubstantiallyidenticalwithgod;andthetrueobjectofexistenceisthemakingpatentofthislatentidentity,therealizationwhichfindsexpressioninthevedântistformula"thatartthou."butkabîrsaysthatbrahmaandthecreatureare"everdistinct,yeteverunited";thatthewisemanknowsthespiritualaswellasthematerialworldto"benomorethanhisfootstool."[footnote:nos.viiandix.]thesoul'sunionwithhimisaloveunion,amutualinhabitation;thatessentiallydualisticrelationwhichallmysticalreligionexpresses,notaself-mergencewhichleavesnoplaceforpersonality.thiseternaldistinction,themysteriousunion-in-separatenessofgodandthesoul,isanecessarydoctrineofallsanemysticism;fornoschemewhichfailstofindaplaceforitcanrepresentmorethanafragmentofthatsoul'sintercoursewiththespiritualworld.itsaffirmationwasoneofthedistinguishingfeaturesofthevaishnavitereformationpreachedbyrâmânuja;theprincipleofwhichhaddescendedthroughrâmânandatokabîr.
last,thewarmlyhumananddirectapprehensionofgodasthesupremeobjectoflove,thesoul'scomrade,teacher,andbridegroom,whichissopassionatelyandfrequentlyexpressedinkabîr'spoems,balancesandcontrolsthoseabstracttendencieswhichareinherentinthemetaphysicalsideofhisvisionofreality:andpreventsitfromdegeneratingintothatsterileworshipofintellectualformulæwhichbecamethecurseofthevedântistschool.forthemereintellectualist,asforthemerepietist,hehaslittleapprobation.[footnote:cf.especiallynos.lix,lxvii,lxxv,xc,xci.]loveisthroughouthis"absolutesolelord":theuniquesourceofthemoreabundantlifewhichheenjoys,andthecommonfactorwhichunitesthefiniteandinfiniteworlds.allissoakedinlove:thatlovewhichhedescribedinalmostjohanninelanguageasthe"formofgod."thewholeofcreationistheplayoftheeternallover;theliving,changing,growingexpressionofbrahma'sloveandjoy.asthesetwinpassionspresideoverthegenerationofhumanlife,so"beyondthemistsofpleasureandpain"kabîrfindsthemgoverningthecreativeactsofgod.hismanifestationislove;hisactivityisjoy.creationspringsfromonegladactofaffirmation:theeverlastingyea,perpetuallyutteredwithinthedepthsofthedivinenature.[footnote:nos.xvii,xxvi,lxxvi,lxxxii.]inaccordancewiththisconceptoftheuniverseasalove-gamewhicheternallygoesforward,aprogressivemanifestationofbrahma—oneofthemanynotionswhichheadoptedfromthecommonstockofhindureligiousideas,andilluminatedbyhispoeticgenius—movement,rhythm,perpetualchange,formsanintegralpartofkabîr'svisionofreality.thoughtheeternalandabsoluteiseverpresenttohisconsciousness,yethisconceptofthedivinenatureisessentiallydynamic.itisbythesymbolsofmotionthathemostoftentriestoconveyittous:asinhisconstantreferencetodancing,orthestrangelymodernpictureofthateternalswingoftheuniversewhichis"heldbythecordsoflove."[footnote:no.xvi.]
itisamarkedcharacteristicofmysticalliteraturethatthegreatcontemplatives,intheirefforttoconveytousthenatureoftheircommunionwiththesupersensuous,areinevitablydriventoemploysomeformofsensuousimagery:coarseandurateastheyknowsuchimagerytobe,evenatthebest.ournormalhumanconsciousnessissocompletelycommittedtodependenceonthesenses,thatthefruitsofintuitionitselfareinstinctivelyreferredtothem.inthatintuitionitseemstothemysticsthatallthedimcravingsandpartialapprehensionsofsensefindperfectfulfilment.hencetheirconstantdeclarationthattheyseetheuncreatedlight,theyhearthecelestialmelody,theytastethesweetnessofthelord,theyknowanineffablefragrance,theyfeeltheverycontactoflove."himverilyseeingandfullyfeeling,himspirituallyhearingandhimdelectablysmellingandsweetlyswallowing,"asjulianofnorwichhasit.inthoseamongstthemwhodeveloppsycho-sensorialautomatisms,theseparallelsbetweensenseandspiritmaypresentthemselvestoconsciousnessintheformofhallucinations:asthelightseenbysuso,themusicheardbyrolle,thecelestialperfumeswhichfilledst.catherineofsiena'scell,thephysicalwoundsfeltbyst.francisandst.teresa.theseareexcessivedramatizationsofthesymbolismunderwhichthemystictendsinstinctivelytorepresenthisspiritualintuitiontothesurfaceconsciousness.here,inthespecialsense-perceptionwhichhefeelstobemostexpressiveofreality,hispeculiaridiosyncrasiescomeout.
nowkabîr,aswemightexpectinonewhosereactionstothespiritualorderweresowideandvarious,usesbyturnallthesymbolsofsense.hetellsusthathehas"seenwithoutsight"theeffulgenceofbrahma,tastedthedivinenectar,felttheecstaticcontactofreality,smeltthefragranceoftheheavenlyflowers.buthewasessentiallyapoetandmusician:rhythmandharmonyweretohimthegarmentsofbeautyandtruth.henceinhislyricsheshowshimselftobe,likerichardrolle,aboveallthingsamusicalmystic.creation,hesaysagainandagain,isfullofmusic:itismusic.attheheartoftheuniverse"whitemusicisblossoming":loveweavesthemelody,whilstrenunciationbeatsthetime.itcanbeheardinthehomeaswellasintheheavens;discernedbytheearsofcommonmenaswellasbythetrainedsensesoftheascetic.moreover,thebodyofeverymanisalyreonwhichbrahma,"thesourceofallmusic,"plays.everywherekabîrdiscernsthe"unstruckmusicoftheinfinite"—thatcelestialmelodywhichtheangelplayedtost.francis,thatghostlysymphonywhichfilledthesoulofrollewithecstaticjoy.[footnote:nos.xvii,xviii,xxxix,xli,liv,lxxvi,lxxxiii,lxxxix,xcvii.]theonefigurewhichheadoptsfromthehindupantheonandconstantlyuses,isthatofkrishnathedivinefluteplayer.[footnote:nos.l,liii,lxviii.]heseesthesupernalmusic,too,initsvisualembodiment,asrhythmicalmovement:thatmysteriousdanceoftheuniversebeforethefaceofbrahma,whichisatonceanactofworshipandanexpressionoftheinfiniteraptureoftheimmanentgod.'
yetinthiswideandrapturousvisionoftheuniversekabîrneverlosestouchwithdiurnalexistence,neverforgetsthecommonlife.hisfeetarefirmlyplanteduponearth;hisloftyandpassionateapprehensionsareperpetuallycontrolledbytheactivityofasaneandvigorousintellect,bythealertcommonsensesooftenfoundinpersonsofrealmysticalgenius.theconstantinsistenceonsimplicityanddirectness,thehatredofallabstractionsandphilosophizings,[footnote:nos.xxvi,xxxii,lxxvi]theruthlesscriticismofexternalreligion:theseareamongsthismostmarkedcharacteristics.godistherootwhenceallmanifestations,"material"and"spiritual,"alikeproceed;[footnote:nos.lxxv,lxxviii,lxxx,xc.]andgodistheonlyneedofman—"happinessshallbeyourswhenyoucometotheroot."[footnote:no.lxxx.]hencetothosewhokeeptheireyeonthe"onethingneedful,"denominations,creeds,ceremonies,theconclusionsofphilosophy,thedisciplinesofasceticism,aremattersofcomparativeindifference.theyrepresentmerelythedifferentanglesfromwhichthesoulmayapproachthatsimpleunionwithbrahmawhichisitsgoal;andareusefulonlyinsofarastheycontributetothisconsummation.sothorough-goingiskabîr'seclecticism,thatheseemsbyturnsvedântistandvaishnavite,pantheistandtranscendentalist,brâhmanandsûfî.intheefforttotellthetruthaboutthatineffableapprehension,sovastandyetsonear,whichcontrolshislife,heseizesandtwinestogether—ashemighthavewoventogethercontrastingthreadsuponhisloom—symbolsandideasdrawnfromthemostviolentandconflictingphilosophiesandfaiths.allareneeded,ifheisevertoestthecharacterofthatonewhomtheupanishadcalled"thesun-colouredbeingwhoisbeyondthisdarkness":asallthecoloursofthespectrumareneededifwewoulddemonstratethesimplerichnessofwhitelight.inthusadaptingtraditionalmaterialstohisownusehefollowsamethodcommonamongstthemystics;whoseldomexhibitanyspeciallovefororiginalityofform.theywillpourtheirwineintoalmostanyvesselthatcomestohand:generallyusingbypreference—andliftingtonewlevelsofbeautyandsignificance—thereligiousorphilosophicformulæcurrentintheirownday.thuswefindthatsomeofkabîr'sfinestpoemshaveastheirsubjectsthecommonplacesofhinduphilosophyandreligion:thelîlâorsportofgod,theoceanofbliss,thebirdofthesoul,mâyâ,thehundred-petalledlotus,andthe"formlessform."many,again,aresoakedinsûfîimageryandfeeling.othersuseastheirmaterialtheordinarysurroundingsandincidentsofindianlife:thetemplebells,theceremonyofthelamps,marriage,suttee,pilgrimage,thecharactersoftheseasons;allfeltbyhimintheirmysticalaspect,assacramentsofthesoul'srelationwithbrahma.inmanyoftheseaparticularlybeautifulandintimatefeelingfornatureisshown.[footnote:nos.xv,xxiii,lxvii,lxxxvii,xcvii.]
inthecollectionofsongsheretranslatedtherewillbefoundexampleswhichillustratenearlyeveryaspectofkabîr'sthought,andallthefluctuationsofthemystic'semotion:theecstasy,thedespair,thestillbeatitude,theeagerself-devotion,theflashesofwideillumination,themomentsofintimatelove.hiswideanddeepvisionoftheuniverse,the"eternalsport"ofcreation(lxxxii),theworldsbeing"toldlikebeads"withinthebeingofgod(xiv,xvi,xvii,lxxvi),ishereseenbalancedbyhislovelyanddelicatesenseofintimatecommunionwiththedivinefriend,lover,teacherofthesoul(x,xi,xxiii,xxxv,li,lxxxv,lxxxvi,lxxxviii,xcii,xciii;aboveall,thebeautifulpoemxxxiv).astheseapparentlyparadoxicalviewsofrealityareresolvedinbrâhma,soallotheroppositesarereconciledinhim:bondageandliberty,loveandrenunciation,pleasureandpain(xvii,xxv,xl,lxxix).unionwithhimistheonethingthatmatterstothesoul,itsdestinyanditsneed(li,i,ii,liv,lxx,lxxiv,xciii,xcvi);andthisunion,thisdiscoveryofgod,isthesimplestandmostnaturalofallthings,ifwewouldbutgraspit(xli,xlvi,lvi,lxxii,lxxvi,lxxviii,xcvii).theunion,however,isbroughtaboutbylove,notbyknowledgeorceremonialobservances(xxxviii,liv,lv,lix,xci);andtheapprehensionwhichthatunionconfersisineffable—"neitherthisnorthat,"asruysbroeckhasit(ix,xlvi,lxxvi).realworshipandcommunionisinspiritandintruth(xl,xli,lvi,lxiii,lxv,lxx),thereforeidolatryisaninsulttothedivinelover(xlii,lxix)andthedevicesofprofessionalsanctityareuselessapartfromcharityandpurityofsoul(liv,lxv,lxvi).sinceallthings,andespeciallytheheartofman,aregod-inhabited,god-possessed(xxvi,lvi,lxxvi,lxxxix,xcvii),hemaybestbefoundinthehere-and-now:inthenormal.human,bodilyexistence,the"mud"ofmateriallife(iii,iv,vi,xxi,xxxix,xl,xliii,xlviii,lxxii)."wecanreachthegoalwithoutcrossingtheroad"(lxxvi)—notthecloisterbutthehomeisthepropertheatreofman'sefforts:andifhecannotfindgodthere,heneednothopeforessbygoingfartherafield."inthehomeisreality."thereloveanddetachment,bondageandfreedom,joyandpainplaybyturnsuponthesoul;anditisfromtheirconflictthattheunstruckmusicoftheinfiniteproceeds.kabîrsays:"nonebutbrahmacanevokeitsmelodies."
"thisversionofkabîr'ssongsischieflytheworkofmr.rabîndranâthtagore,thetrendofwhosemysticalgeniusmakeshim—asallwhoreadthesepoemswillsee—apeculiarlysympatheticinterpreterofkabîr'svisionandthought.ithasbeenbasedupontheprintedhindîtextwithbengalitranslationofmr.kshitimohansen;whohasgatheredfrommanysources—sometimesfrombooksandmanuscripts,sometimesfromthelipsofwanderingasceticsandminstrels—alargecollectionofpoemsandhymnstowhichkabîr'snameisattached,andcarefullysiftedtheauthenticsongsfromthemanyspuriousworksnowattributedtohim.thesepainstakinglaboursalonehavemadethepresentundertakingpossible.
wehavealsohadbeforeusamanuscriptenglishtranslationof116songsmadebymr.ajitkumârchakravartyfrommr.kshitimohansen'stext,andaproseessayuponkabîrfromthesamehand.fromthesewehavederivedgreatassistance.aconsiderablenumberofreadingsfromthetranslationhavebeenadoptedbyus;whilstseveralofthefactsmentionedintheessayhavebeenincorporatedintothisintroduction.ourmostgratefulthanksareduetomr.ajitkumarchakravartyfortheextremelygenerousandunselfishmannerinwhichhehasplacedhisworkatourdisposal.
e.u.
thereferenceoftheheadlinesofthepoemsisto:
sântiniketana;kabîrbysrîkshitimohansen,4parts,
brahmacharyâsrama,bolpur,1910-1911.
forsomeassistanceinnormalizingthetransliterationweareindebtedtoprofessorj.f.blumhardt.