Lalleshwari, devotionally known as Lal Ded, Lalla and Lal Maej occupies an overpowering presence in the social matrix and literary landscape of Kashmir. She, as a mystique poetess was an outstanding verse maker and a trendsetter in Kashmiri poetry. The brilliant poetry famously called as “Lall Vaakh” in Kashmiri weaves a phenomenal literary tapestry of several hidden meanings, insightful truths, profound wisdom and innerness of the intent.
She is regarded as a majestic, unchallenged transcendental poetess and meditative thinker. The rhythmic compositions for Lal Ded were a mode of expression for her lofty feelings and powerful intellect. The robustness of the ethereal discernment never seen before is abundantly visible in her “Vaakhs”. From a social perspective, she was not a mute spectator to the apparent happenings but was a firebrand poetess who was both, vocal and forthcoming. This aspect is quite visible in some of her Vaakhs:
“Moodus Gyanich Kaeth No Wanizay, Kharus Goar Dinie Raavi Doh…..”
In this Vaakh, the poetess says that it is pointless to educate a blockheaded person if the intended person is uninterested in the Godly pursuits. Her castigating tone is also eloquently seen in other Vaakhs like the one below:
“Khen Khen Karaan Kun No Waatakh, Na Khenae Gatchak Ahankayri…”
In the above Vaakh, Lal Ded states that eating mindlessly takes one nowhere and on the contrary, avoidance can make one boastful.
In yet another Vaakh, Lal Ded sounds a note of caution about the gorge underneath about which one is oblivious and unconcerned. She lets out a rebuke and advocates a modest and austere way of living.
“Taley Chui Jous Tae Paethae Chuk Nachaan, Vuntae Maliy Mun Kaethae Pachaan Chui, Soruyi Soumbrith Yeti Chui Mochaan, Vuntae Maliy Aun Kaethae Rouchaan Chui”
Her poetry is highly complex, being full of mystical symbolism, many times acquiring an allegorical aspect. This feature becomes vivid in many of her Vaakhs.
“Dihchi Larie Daari-Bur Trouprim, Praan Tchoor Rotum Tae Dyutmus Dum,
Hridyachi Koothri Ander Gondum, Omki Choubukou Tulamus Bum”
Centrality of Shaivite Thought
The Shaivite thought occupies a central place in her Vaakhs as it adds a vibrant backdrop to her poetry. She, as a true seeker, merges her mind into the Eternal Truth and in the process achieves a state of spontaneous bliss. The urge to unite with the Infinite is profound in many of her Vaakhs. To achieve this, she discards the limiting space of the mind, loses her individuality and merges with the Supreme Soul. For Lalla, the integration of the mind into the infinite truth means both, the absoluteness and truthfulness. To attain this, she believed in solitude, contemplation and exercised aloofness from the distracting mundane attachments.
Spiritual Aspect of Lal Ded’s Vaakhs
The poetic outpouring of Lal Ded takes an abstract hue resulting in a corresponding impact on the sub-conscious. It forms a sort of precursor for the spiritual awakening in a seeker and puts the aspirant on the path of virtuous and pure life. An appropriate reflection is found in many of her Vaakhs.
“Lall Bae Tseyus Syamana Baghabarus Vuchum Shivas Shakti Meelith Tae Vah,
Tatie Lai Kaermus Amritsarus, Zindai Marus Tae Mae Kari Kyah”
The whole set of embellishments in the form of the visual imagery, similes and metaphors employed by Lalla in her Vaakhs have an enormous roll over effect on the readers due to heightened effect they generate. The powerful imagery seen makes a reader feel to be a part of the imagined happenings as it creates a strong sensory experience.
This potent combination also presents a never seen before poetic spectacle as it appeals both, to the mental faculties and sensibilities while at the same time, creates a heart felt bondage with the reader. The thoughtfully selected powerful words not only lend an element of rare tenderness to the Vaakhs but also facilitate a heightened involvement of the reader at an individual level. Her plain speaking and outspokenness is noticeable in other Vaakhs where self restraint and equanimity is advocated.
“Maarukh Maar Booth Kaam Kroodh Loobh, Natae Kaan Barith Maarnus Paanai…”
Or
“Loobh Maaroun Sahaz Vaechaar, Droug Zaanoun Kalpun Traaav…..”
Lal Ded opines that the silence, the cessation of all kinds of sound bestows tranquility and composure to the spiritual seeker. It ensures detachment amongst the worldly attachments resulting in single minded devotion of the absolute reality, as reflected in this Vaakh
“Damae Damae Kormus Damun Aalaey, Prouzlayoum Deep Tae Nanayum Zaath…”
Shunyata
The concept of “Shunyata” or “Shunya” meaning the inner emptiness, though a Buddhist thought finds a reference in some of the Shaivite texts like “Vijnana Bhairav” Tantra etc. In this, it is suggestive of the supreme truth and absoluteness of the Lord Shiva Himself. In the said text, the absolute void is equated with the Bhairav, the source of all manifestation.
“Shunyuk Maidaan Kodum Paanus, Mae Lalli Roozum Na Boudh Na Hosh…”
In other words, Lalla equates blankness with the Nirakaar aspect of Lord Shiva due to which one becomes oblivious of both, the intellect and mindfulness of the self.
“Dilchi Lari Daari Bur Troprim, Praan Tsoor Rotum Tae Dyutmus Dum
Hridyachi Koothri Aundar Gondum, Omki Chobukee Tulamus Bum”
According to Lal Ded, the surrender in devotion is synonymous with Om, the Infinite. It amounts to downright offering of the self to the all powerful Universal Spirit. The God’s graciousness or “Anugrah” as per Lalla is an essential requirement both for the spiritual advancement and ultimate attainment of liberation.
The unquenchable yearning for God’s realization, merger with the Ultimate Param Shiva, realization of the Divinity and the consequential liberation or ‘Moksha’, are the recurring themes in the Vaakhs of Lalded. Her poetic flow has to be understood at a deeper level involving cognitative, reflective and meditative realms. They cannot be taken figuratively or on a subjective plane. Likewise, the word, “Nangai Nachun” used in one of her Vaakhs has been taken literally and at the face value, ignoring the concealed esoteric connotation embedded in the said words.
“Gorun Vounnum Kunui Vachun, Nebrae Doupnum Aendree Achun
Sui Gav Lalli Vakh Tae Vatchun, Tavai Mye Hyotum Nangai Nachun”
The presumed wandering in the undressed state or without proper drape seems to be discordant in the context of highly conservative social set up that existed in that period of time in Kashmir. It not only seems unthinkable but also unbelievable, given the traditional socio-cultural milieu of those days.
The paradox called life regulated by a mix of duality and dissemblance also finds space in her Vaakhs. The use of sarcastic punches aimed at those who are engaged in the outwardly exhibition of devotion and the supposed engagement with God is also seen in some of her Vaakhs like the one below:
“Deev Vataa Devur Vataa, Paeth Boun Chui Iekvaath, Pooaej Kus Karakh Hoout Bataa, Kur Manus Tae Pavanas Sanghaath”
It is apt to mention that ‘Vaakh’ having a Sanskrit origin has semblance with Goddess of Speech, Communication and Spiritual Wisdom, also known as Vaakh Devi. ‘Vaakh’ at the literal level means to articulate or to express. It is identified in the Hindu religious scriptures with the cosmic sound which is said to be responsible for the manifestation of the Universe.
Role of Guru
Laleshwari was under the spiritual care of her Guru, Pt Srikanth, reverentially also known as Saed Bouy and Sidh Moul. He initiated her into the ethereal ambience of spirituality. In the Shaivite tradition, only a Guru can lead a disciple to the highest state of spirituality called consciousness. The Guru-disciple relationship echoes in some of her Vaakhs.
Personal Life
Lal Ded is said to have been born in the middle of 14th Century in the rustic ambience of “Puranadhishthan”, the present day area of Pandrenthan, in the outskirts of Srinagar city. A folkloric quote “Nagare Neerith Pandrenthan” seems to confirm Pandrenthan to be her actual place of birth. However, it is disputed by others, who believe her birthplace to be at Sempur, a village near Pampore town. Her date of birth is also variously spoken off as 1317 A.D, 1320 A.D, 1392 A.D. She was married at an early age of about 12 years into a Pandit family of Drangbal, Pampore. Unfortunately, she was not blessed with marital bliss and was forced to come out of her wedlock and abandon her home when she was about 24 years old, or some say 26 years.
Undeniably, the rich poetic tapestry of Lalleshwari, soaked in divinity and spirituality is a timeless literary heritage of Kashmir. The display of meaningful words having spiritual wisdom have a clear message of putting one’s life on a righteous path. The unique treasure trove in the form of her Vaakhs is a robust assertion of literary dazzle in the Kashmiri language, never seen before. The immortality of Lal Ded and her Vaakhs will continue to inspire generations for a long time to come.
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