Timeless Verses: A Modern-Day Reading of Vidyapati https://doi.org /10.5281/zen od o.14973915

Timeless Verses: A Modern-Day Reading of Vidyapati
https://doi.org /10.5281/zen od o.14973915

Author(s): Aditi Mishra

DOI: https://doi.org/10.5281/zenodo.14973915

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Volume 16 | Issue 1 | Feb 2025

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The Criterion: An International Journal in English Vol. 16, Issue-I, February 2025 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
Timeless Verses: A Modern-Day Reading of Vidyapati
Aditi Mishra
M.A. (English Literature),
University of Lucknow.
Article History: Submitted‐28/01/2025, Revised‐06/02/2025, Accepted‐21/02/2025, Published‐28/02/2025.
Abstract:
This paper discusses Vidyapati as a poet through his Maithili song ‘Piya Mor Balak’ and
its scope in the present day. The study aims to raise awareness regarding the society about which
he wrote and to help contemplate his relevance in today’s world, evaluating how much change has
occurred in relation to women’s issues.
India has been home to many intellectuals, thinkers, artists, and revolutionaries. Literature today,
recognizes some of the greatest writers and poets who wrote in their native language. The writings,
mainly composed of songs and poetry, were understood in the cultural context within which they
existed. Many different cultures gave birth to such dignified artists. Their profound understanding
of society and its inhabitants was so acute that their applicability persists in many aspects of life.
Vidyapati, being one among them, belongs to the Maithil culture and can be read through a modern
lens, and it would be surprising to notice how relevant he is in the current scenario.
His most renowned work, which is also his most extensively studied composition, is his ‘Love
Songs’. The devotional compositions continue to captivate audiences and his compositions have
been passed on as folk songs or regional melodies. His significant works are composed in Sanskrit
but he employs the Maithili language for his songs. Vidyapati took up the language spoken in
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Mithila as the medium of his popular song and gave it a literary expressiveness as sweet and
entrancing as could be found only in Sanskrit (Jha, 2017:20). Most of these are performed at
Maithil weddings. They provide insight into his unique perspective on life in Mithila during that
period, maintaining considerable relevance for contemporary women, and paying due attention to
its pleasure aspect. Vidyapati made that pleasure easy for everyone to enjoy and chose topics for
treatment in his songs that could appeal to the common men and women, including the lowest in
society but not excluding the highest and the noblest. (Jha, 2017:20)
Keywords: Vidyapati, Maithli, timeless verses, literary expressiveness.

INTRODUCTION
Vidyapati, a Maithili poet of the 14th-15th century, is renowned for his lyrical compositions that
delve into the depths of human emotion and the divine love between the god Krishna and his
beloved Radha. Maithili, the language in which Vidyapati wrote, is one of the 22 official languages
of India, with a rich literary tradition and a large speaking community (Roy, 2020:1).
Vidyapati often focused on themes of love, devotion, and human experience, with his Maithili
songs serving as poignant expressions of these universal themes. He is credited with elevating the
status of the ‘people’s language’, Maithili, by influencing the Maharaja of Darbhanga with the
quality of his poetry (Roy, 2020:1). Vidyapati and his works have been a source of inspiration for
many, and his legacy continues to be celebrated and studied by scholars and enthusiasts alike. This
paper aims to provide a translation and explanation of one of Vidyapati’s Maithili songs, shedding
light on the cultural and linguistic nuances that imbue his work and offer profound insights into
the human condition.
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For this study, we are mainly concentrating on the song “Piya Mor Balak”. The purpose of taking
up this song is that it does not explicitly deal with the gods. In this study we aim to translate the
song and study its literal and symbolic meaning. While doing so, we will also look at how we can
interpret it in a modern context. The poem discusses the inner turmoil of a young adult woman
who has been married off to a child.
It is noteworthy that Vidyapati was born in 1352, and was commonly referred to by the epithet
Maithili Kavi Kokil. Given the prevalence of patriarchal structures during that historical period,
the concept of a young adult female marrying a significantly younger male appears improbable.
However, considering the abundance of folksongs and traditions based on such unions, it can be
inferred that, while not a widespread practice, such occurrences did transpire in certain instances.
For example, astrological practices during Vidyapati’s era exerted substantial influence on marital
arrangements. Consequently, these practices contributed to such unions. Widow remarriages,
although infrequent, were not absent even within that orthodox Hindu community. Furthermore, a
woman deemed socially compromised before marriage could potentially find herself in such
circumstances.
It is also possible that the work is a manifestation of Vidyapati’s creative ingenuity. Existing in a
highly patriarchal world where women as young as fourteen to fifteen years were married off to
much older men for the sake of social, economic, and religious compatibility, even if it meant
compromising physical, emotional, and intellectual aspects of the same, Vidyapati could have
written this song, reimagining the relationship to explore how the power dynamics and emotional
intricacies of the interaction shift in such contexts.
Another possible explanation for the inspiration behind this particular poem lies in its cultural
context. Mithila takes pride in the fact that it is the only culture where Vishnu manifested as a son-
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in-law, in the mighty form of Ram. Like all marriages in Mithila, Lord Ram also experienced the
mockery and playful humour of the maithilanis. As the custom goes, during the wedding both,
Ram and Sita, are said to have found themselves receiving gentle jabs from the Sita’s friends and
relatives. Because in many versions of Ramayan, Sita was older than Ram, this song could be a
part of the same custom, popularly known as ‘Gair’.
Lastly, the implied meaning may also be more metaphorical and symbolic. The young boy here
might be an adult man with an immature mindset, short temper, and irresponsible tendencies, all
of which torment the newly married woman, manifesting as an exaggeration in the poem.
People have passed down many of Vidyapati’s songs; from generation to generation. Vidyapati is
said to have had a wonderful insight into a woman’s heart and he depicted the secret emotions of
a woman so very faithfully and realistically that women were able to connect to these songs on a
deeper level. It was, therefore, the women who learned these songs and disseminated them
through oral tradition till someone put them down in a notebook. (Jha, 2017:44)
DISCUSSION

“Piya mor balak, hum taruni ge;
Kaun tap chklaun, bhelun Janani ge.”

“I have got a child for a lover, which
penance did I fail at;
that I did not become a wife but a
mother?”

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These lines form the chorus of the song and thus encapsulate the entire message of the song. Here,
we can see the woman lamenting the fact that her husband is very young, and she feels as if she
has already become a mother. We see her dejection when she points out that she feels like a failure.
In Mithila, as in numerous cultures, it is believed that a woman who has performed intense
penance, akin to Parvati, is rewarded with a husband possessing qualities similar to Shiva:
handsome, righteous, and devoted. Shiva as a husband holds great significance in Hinduism. His
love for Sati caused him to go mad, walking miles away with the burnt body of Sati in his arms.
His devotion toward Parvati is also unmatched and hence, he is often held in great admiration.
Women all over India observe fasts on holy days like those of Mahashivratri and Sawan, hoping
to find a husband like him even in this day and age. Therefore, we can see how not getting a good
husband is often viewed as a woman’s fault. The philosophy behind victim blaming is being
questioned.
In contemporary society, men who lack emotional maturity relative to their age continue to pose
significant challenges, as their behaviour negatively impacts women. Similar to societal attitudes
in the fourteenth century, modern society in the twenty-first century often attributes blame to
women and their circumstances for entering into such relationships. Even if the song in question
was intended as a satirical commentary, its relevance persists in the present-day context.
The lines above also prove that the woman was unaware of who she was getting married to, before
the wedding. In 1792, in her book ‘A Vindication of the Rights of Women’, Mary Wollstonecraft
said ‘I do not wish women to have power over men; but to have power over themselves’. This
power is, unfortunately, still a luxury for most women. The fact that a woman is but a mere
spectator in events as important as her marriage is ludicrous (Wollstonecraft, 1792).

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“Piya lel kora main; challi bazzar,
hatiya ke log puche; kela rup tohar,
nahi mor devar; nahi chot bhai,
bidhna likhal chal balam u hamar.”

“I lift him up and take him to the vegetable
shop too.
The people there ask me, who is he to you?
I assure them that he is not my brother-in-law
or my brother,
but what destiny has given me in the form of a
lover.”

Here, Vidyapati continues to shed light on the plight of this woman. He conveys how this
incompatible age gap is a matter of embarrassment and shame for her. According to her, even at
the vegetable bazaar, people question her relationship with her husband. When studied
symbolically it appears as if the husband’s lack of patience and fiery temper becomes a topic of
discussion and mockery among the vegetable sellers. The above lines in that case make use of
exaggeration and hyperbole to state how embarrassed the woman is of her childish husband. This
absence of emotional stability and indignity of actions might be triggering dismay and hostility
from sellers, manifesting into taunts that they throw towards the woman.
Even today, women often find themselves victims of blame and mockery for the immature ways
of their husbands. It is almost as if people believe that the woman is not a wife but a mother who
needs to change the wild ways of the man, making him gentler and more civilized. Today, feminists
are questioning such beliefs, compelling women to give up this societal pressure of mothering the
men in their lives.
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In 2016, Jennifer Lopez put forward a song illuminating this idea through her song ‘Ain’t Your
Mama’. Debuting at number 92 on the U.S. Billboard Hot 100, its popularity among the ladies
remains apparent and concerning.

The aforementioned lines indicate the absence of physical gratification experienced by the woman
within the marital relationship. The husband, having not yet reached puberty, is unable to fulfil her
physical needs. Consequently, when she adorns herself and observes her spouse, the reality
instigates humiliation and anger, causing her to engulf with rage that burns her like fire. With zero
awareness about the sexual needs of women at the time of Vidyapati, this dissatisfaction on the
woman’s part is not surprising. The lines indicate Vidyapati’s awareness of female sexuality and
the inadequacy of men in providing physical satisfaction to their female partners.

“Pahiral sakhi ek dakshin chir
Piya ke dekhat bhel dhagad sharir,
Baat re batohiya ke, toh mor bhai
Hamaro Babaji ke kahab bujhayi.”

“I wore a saree from the south one day,
However, the moment I looked at my husband,
my body was consumed by flames.
oh, dear traveller! You are like my cousin,
travelling to my home,
Please tell my father of what I proclaim.”

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Even today not many men pay due attention to the woman and her needs. Women who hope for
sexual satisfaction from their partners are disappointed when men continue to disdain their needs
and wants in a relationship.
In her work named ‘The Feminine Mystique’, Betty Friedan iterates the following lines,
“Instead of fulfilling the promise of infinite orgasmic bliss, sex in America of the feminine
mystique is becoming a strangely joyless national compulsion, if not a contemptuous mockery.”
(Friedan, 1963)
Friedan, through the above lines, contemplates the idea of marriage which is sold as a mode of
satisfaction to women until they realize that sex has turned more into a chore than a way of finding
pleasure. This notion resonates closely with Vidyapati’s idea of sex as an unfulfilling experience
for women in marriage.

“ Bechata bard gola kitna dhenu gaye,
Dudh piya ke posta jamai.
Nahi mor bard gola,
Nahi dhenu gaye,
Kaun jugut sakhi posab jamai.”

“Ask him to give his money and buy a cow to be
milked,
And on its milk, he shall rear his son-in-law.
I do not have any money, and neither do I own a
cow to milch,
How shall I bring up this boy who is his son-by-
law.”

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In this context, the woman asserts that her father should take on the responsibility of purchasing a
cow that produces milk and provide that milk to his son-in-law to help him mature into a man.
Considering the circumstances in Mithila during that period, a young woman had no means to
acquire a cow. Therefore, it is reasonable for her to seek support from her father regarding this
issue. However, a careful analysis of Vidyapati’s work indicates that the woman might be
critiquing her father’s choice to arrange her marriage to someone who displays childish and easily
angered traits. These qualities are inappropriate for someone of his age.
The above lines by Vidyapati not only highlight the relevance of the plight of women in modern
society but also the need to question the patriarchal authorities who make such distasteful
decisions. It is a well-known fact that even in the twenty-first century, patriarchy is more than
alive. Many women do not have the right to marry a man they love, and under parental pressure,
they often find themselves married to strangers. These marriages are nothing less than a gamble
which can take a bad turn. According to Vidyapati, fathers, brothers, and husbands should not be
given the privilege of having unquestioned authority. Especially at times like these, they must be
called out and held responsible.
John Stuart Mill along with his wife Harriet Mill wrote an essay called ‘Subjection of Women’,
wherein he discussed similar ideas. Written in 1869, he advocated for a model of marriage where
both partners have equal rights and responsibilities, emphasizing that a true partnership requires
shared decision-making and the freedom for both individuals to pursue their aspirations. (Mill,
1869) Mill’s progressive views were groundbreaking for his time and remain influential in feminist
thought. He not only advocated freedom for the daughters from their father’s patriarchal thoughts
but for the mothers who, when given a place in making decisions, would create much difference.

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“Banahi Vidyapati, sunahu brijnari
Dhayraj dharahu, milat murari.”

“Vidyapati thus consoles the women of Brij,
Hold your patience and you shall be redeemed
in the tranquillity, you will find him
Krishna the lord supreme.”

Vidyapati ends the song by asking the women to remain patient. He assures them that in this way,
they shall find Krishna, the supreme Lord. Vidyapati here gives a devotional touch to the poem,
thus emphasizing the fact that meeting the lord is the ultimate goal of life, and if one remains
patient and meditates upon the Lord, they will find divine strength that shall guide them.
In the contemporary context, Vidyapati continues to inspire women to contemplate the divine,
encouraging them to view their respective religions not as a weakness but as a source of strength.
In this instance, he refrains from mentioning Ram or Shiva, instead invoking the presence of
Krishna. Krishna is portrayed as the confidant of Draupadi, who saved her from humiliation, urged
her not to forget, and promised her vengeance. He is also depicted as the one who motivated Arjuna
to engage in warfare, even against his family members, to secure justice for Draupadi.
Furthermore, Krishna assisted Shrikhandini (Amba) in seeking retribution from Bhishma in her
current life. He also had more than sixteen thousand wives whom he married in order to restore
their dignity. Thus, Vidyapati exhorts women to believe that divine power enhances a woman’s
strength.
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There are a lot of popular works based on women and their journey towards healing. ‘Eat, Pray
and Love’ by Elizabeth Gilbert, written in 2006 is a self-help book and a memoir which addresses
the author’s journey toward healing. Pema Chodoron’s ‘When Things Fall Apart’, written in 2000,
and Marrianne Williamson’s ‘The Age of Miracles: Embracing the New Midlife’, written in 2008,
share aligned thematic interests.

CONCLUSION
The following lines from the text called ‘Vidyapati’ by Raghunath Jha shed light on an important
facet of Vidyapati’s personality. He indeed can be called a man ahead of his time. Raghunath Jha
points out,
“Vidyapati was, indeed, very progressive in his views and considering the age in which he lived,
we would call these views almost modern. He was a staunch protagonist of women’s education.
In cultured families, girls’ education received proper attention during that age and the ladies of the
Oinabara Kings’ household were knowledgeable. Shiva Singha’s wife, Lakhima, Chandeshwara’s
wife of the same name, and Vidyapati’s daughter-in-law, Chandrakala, were poetesses of repute.
Vidyapati advocated this on a large scale and he composed Puruṣaparīkṣā with the avowed purpose
of providing a text-book “for the delectation of those ladies of the city who display a taste for the
mirthful arts of the god of love”. Imparting sex education to ladies was one of the purposes of his
love lyrics. In one of his songs, Vidyapati says that he wants to teach the qualities of a Ngarī. A
‘Ngarī’, though meaning etymologically a lady of the city, as Grierson translates it, has been used
in Sanskrit literature, as also by Vidyapati, to connote a lady who is cultured in the art of
lovemaking.” (Jha, 2017:21)
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The Maithil wedding song ‘Piya Mor Balak’ undergoes a significant transformation, evolving from
its traditional role as a light hearted composition used to playfully mock the newlyweds,
particularly the groom, into a more introspective and intellectually stimulating piece. It is even
more true when evaluated in the modern context. Its lines resonate with the age-old battle that
women have fought in terms of their ill-fated marriages with grown-up men, who have no
intellectual or emotional maturity. Be it their short temper or their disinterest in female sexuality,
men more often than not, end up disappointing women. When read in this light, it becomes evident
that women seldom gain anything in marriages. Nevertheless, the society expects to mother these
grown men who are so unappreciative of their efforts. Not only are these women victims of their
child-like emotions and unsurmountable ego, but they are also sexually unsatisfied. This feeling
of dissatisfaction is also prevalent among women in the twenty-first century. A survey conducted
by MsCheif reveals that the pleasure gap between genders is significant, with over eighty-one per
cent of women expressing dissatisfaction with the men in their lives.
In the latter part of the song, Vidyapati adopts a feminist perspective, calling for accountability
from the patriarchs who oversee marriage decisions without considering women’s needs. A recent
study by WeddingWire India indicates that approximately forty-four percent of Indians still engage
in arranged marriages, with women having less freedom compared to men, making the situation
particularly challenging for them. Therefore, if such marriages end in failure, who should be held
responsible?
Through the song, Vidyapati highlights the importance of moving beyond the notion of marriages
based on the compatibility of caste, religion, and social status among families. The primary
objective of a marriage should be to establish a partnership rather than a sense of ownership. Most
crucially, marriage should be viewed as a journey in which women evolves, learns, and empowers
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herself along with the man. Even in the current day scenario, people are ignorant of such
ideologies. Even after many years, feminism has failed to create awareness regarding such issues.
Amid everything, Vidyapati encourages women to uphold their spirituality. She should meditate
on the divine, and if need be, the supreme lord will be her refuge. Just as one needs nourishment
to engage in battle, anyone embarking on an intellectual or emotional struggle—especially one
that challenges long-established customs and traditions in her quest for self-empowerment and
women’s rights—will find that spirituality is the essential fuel for her spirit. This path also ensures
that she remains focused on her ultimate aspiration, not marriage but the pursuit of the divine.
The above discussion helps to bring awareness regarding feminism in India. Many think that
feminist thought came to India much later than the West. However, reading Vidyapati is a reminder
that feminist thought existed in the country way earlier. Many of the ideas that Vidyapati has
discussed in this song are found in the feminist essays of Mary Wollstonecraft, Simone De
Beauvoir, J.S Mill, Betty Friedman, Judith Butler so on and so forth. This provides evidence to the
fact that Vidyapati was but an early proponent of feminist thought in India.

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