Bhakti movement had been an energizing phenomenon that provided a concrete shape and an identifiable face to the abstractions of Sanskrit scriptures. As counterculture, it embraced into its fold all sections of people breaking the barriers of caste, class, community and gender. It added an inclusive dimension to the hitherto privileged, exclusivist, Upanishadic tradition. A primal instinct for unmitigated attachment, total surrender and craving for freedom are at the root of the bhakti tradition. From within, it performed a subversive, reformatory function that changed the dynamics of worship at religious level and challenged the hierarchies at social level. Bhakti literature was marked by spontaneity and ecstasy and hence it produced a rich body of verse born of the heart. The bhasa poets from different castes, regions and religions created a bountiful corpus of literature since eighth century AD in the form of metrical compositions, poems, songs, vachanas, bhajans, keertanas and padams. A heterogeneous group, they are distinguished by non-sectarian attitude, vernacular idiom, faith in divinity, dismissal of rituals and caste, and affinity with the underprivileged sections. Rooted in the age and the soil their literature is unique in that each of them bears his/her unique stamp of a distinct idiom in their dialogue with God who is like any other human being as He exchanged the roles of a lover, beloved, companion, benefactor and guide. Bhakti is as exciting as ever in that it attracts critics into its atmospheric zone over and again, and they come up with multiple interpretations and commentaries. The twenty seven articles in this volume trace the beginnings and growth of bhakti movement and literature as propagated by a number of poet-saints across India up to the twentieth century. The poet-saints discussed in the volume include Andal, Kanakadasa, Mirabai, Kabir, Vemana, Pothana, Annamayya and others. [Subject: Literature, India Studies]

India celebrates itself as a nation of unity in diversity, but where does that sense of unity come from? One important source is a widely-accepted narrative called the “bhakti movement.” Bhakti is the religion of the heart, of song, of common participation, of inner peace, of anguished protest. The idea known as the bhakti movement asserts that between 600 and 1600 CE, poet-saints sang bhakti from India’s southernmost tip to its northern Himalayan heights, laying the religious bedrock upon which the modern state of India would be built. Challenging this canonical narrative, John Stratton Hawley clarifies the historical and political contingencies that gave birth to the concept of the bhakti movement. Starting with the Mughals and their Kachvaha allies, North Indian groups looked to the Hindu South as a resource that would give religious and linguistic depth to their own collective history. Only in the early twentieth century did the idea of a bhakti “movement” crystallize—in the intellectual circle surrounding Rabindranath Tagore in Bengal. Interactions between Hindus and Muslims, between the sexes, between proud regional cultures, and between upper castes and Dalits are crucially embedded in the narrative, making it a powerful political resource. A Storm of Songs ponders the destiny of the idea of the bhakti movement in a globalizing India. If bhakti is the beating heart of India, this is the story of how it was implanted there—and whether it can survive.

This Text Is An Attempt To Reconstruct The Bhakti Movement From The 8Th Century Tamil Nadu To The 16Th Century Punjab, In Its Totality, As A Connected Organic Phenomenon And As Perhaps The Earliest Indian Voice Of Deconstructive Modern Thought.

BHAKTI POETRY OF INDIA An Anthology Translations & Introductions Paul Smith Bhakti is the love felt by the worshipper towards the personal God. While bhakti as designating a religious path is already a central concept in the Bhagavad Gita, it rises to importance in the medieval history of Hinduism, where the Bhakti Movement saw a rapid growth of bhakti beginning in Southern India with the Vaisnava Alvars (6th-9th century) and Saiva Nayanars (5th-10th century), who spread bhakti poetry and devotion throughout India by the 12th-18th century. The Bhakti movement reached North India in the Delhi Sultanate. After their encounter with the expanding religion of Islam and especially Sufism, bhakti proponents, who were traditionally called 'saints, ' encouraged individuals to seek personal union with the divine. Its influence also spread to other religions. THE POETS: Appar, Andal, Jayadeva, Janabai, Namdev, Dnaneshwar, Lalla Ded, Vidyapati, Chandidas, Kabir, Nanak, Surdas, Mira Bai, Tulsidas, Eknath, Dadu, Rasakhan, Tukaram, Ramdas, Bahina Bai. Introduction on Bhakti & the Bhakti Poets of India & The Main Forms in the Bhakti Poetry of India. The correct rhyme-structure and meaning is here in these poems. Pages 236. COMMENTS ON PAUL SMITH'S TRANSLATION OF HAFIZ'S 'DIVAN'. "It is not a joke... the English version of ALL the ghazals of Hafiz is a great feat and of paramount importance. I am astonished. " Dr. Mir Mohammad Taghavi (Dr. of Literature) Tehran. "Superb translations. 99% Hafiz 1% Paul Smith." Ali Akbar Shapurzman, translator from English into Persian, knower of Hafiz's Divan off by heart. "Smith has probably put together the greatest collection of literary facts and history concerning Hafiz." Daniel Ladinsky (Penguin Books author). Paul Smith is a poet, author and translator of many books of Sufi poets of the Persian, Arabic, Urdu, Turkish, Pashtu and other languages... including Hafiz, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan Khatun, Obeyd Zakani, Mu'in, Amir Khusrau, Nesimi, Kabir, Anvari, Ansari, Jami, Omar Khayyam, Rudaki, Yunus Emre, Mahsati, Lalla Ded, Bulleh Shah, Shah Latif, Makhfi and many others, as well as his own poetry, fiction, plays, biographies, children's books and a dozen screenplays. www.newhumanitybooksbookheaven.com

Contributed articles.

The Indigenous Protest Movement Called Bhakti Movement, Comprising Bhakti Cults Of Many Hues And Colours, Had An Impact On The Status Of Women In India. Many Of Them Tried To Do Away With The Manifold Taboos, Pollutions And Rituals With Which, Hindu Religion Was Cluttered. While Some Accepted The Equality Of Men And Women, Others Reinforced The Inequalities In Practice. The Present Case Study Of Virasaivism, A Populous Sect In Karnataka, Deals With Ther Impact Of This Movement On The Status Of Women. After A Careful Research On A Hundred Families With First And Second-Generation Women, The Author Finds That Precepts And Practices Meet Here In A Unique Way. Child-Training Practices, The Institution Of Marriage, The Family And Kinship System And The Economic And Socio-Religious Life Of Virasaiva Women Enable Them To Enjoy A Comparatively High Status.

Description: This book makes a total departure from some well-established notions about bhakti and the Bhakti movement. It questions and rejects the current academic definition of bhakti and the portrayals of the Bhakti movement in the light of that definition. Trying to recapture the generic meaning of the term bhakti, the author postulates that bhakti by itself does not suggest any ideational or doctrinaire position. According to her, a restricted and erroneous definition of bhakti has served as the substratum for all theorisations about the Bhakti movement, when taken as a whole. What is reckoned as the Bhakti movement, she states, is an amalgam of a number of devotional movements of a divergent nature. A monolithic view of these can be taken only if their common denominator bhakti is understood in its generic sense. Not otherwise. In short, the author has called into question the whole conceptual framework and the basic terms of reference used hitherto for the study of bhakti and the Bhakti movement. This is significant since they have had the sanction of more than one hundred years of scholarship, and have not been questioned till now. She has done so on the strength of her being able to trace back the origins of the errors she has underlined. The author has tried to establish the fact that the accepted academic definition of bhakti is a modern construction; and that it was artificially formulated by certain Western Indologists of the nineteenth century with the aid of criteria which had no relevance in the context of Hinduism. The process of its formulation has been examined historiographically in this critique to show how it had gradually taken shape between 1846 and 1909. The reasons for its subsequent incorporation in modern Indian scholarship have also been made clear. Adopting an interdisciplinary approach in this book, Dr. Sharma has grappled with many vital issues related to the Bhakti theme. It is hoped that this erudite work would serve as a landmark in the study of bhakti and the Bhakti movement.

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.

Between the third centuries BC and AD were written thousands of verses in Tamil that have collectively come to be known as Sangam literature. The expressions of love between a man and a woman in these love poems gave way to passionate expressions of devotional love, where the heroine became the devotee and the hero became God. Through the centuries of patriarchy, women negotiated varied levels of existence and largely went unnoticed until they found a path for self-expression through bhakti or devotion. While the dominant form of worship was to prostrate before God, women found innovative ways of personal expression, often seeing the lord as a lover, friend, husband, or even son. The individual outpourings and the unfettered voices of these women refused to be drowned in the din of patriarchy gathering momentum until this became a pan India movement. In For the Love of God, Sandhya Mulchandani delves deep into historical accounts of these women who fell in love with God.