Kabir Aur Maran Tattva

Here's a comprehensive summary of the provided Jain text titled "Kabir aur Maran Tattva" by Kanhiyalal Sahal, based on the given pages:

The text explores Kabir's philosophical concept of "death" (मरण-तत्व), which is presented as a desirable and even superior state to life under certain conditions. The author, Kanhiyalal Sahal, delves into Kabir's teachings and related ideas from other traditions to elucidate this unique perspective on death.

Key Themes and Interpretations:

• Death as a Superior State: Kabir famously states in his verses, "If one knows how to die, then death is better than life." He further elaborates that those who "die before they die" become immortal in the Kali Yuga (the current age). The author interprets this as a state of Jivanmukti (liberation while living).

• Paradoxical Imagery: Kabir uses paradox to convey his message. He speaks of a corpse consuming time, which the author again links to the concept of a jivanmukta who has already transcended the limitations of time.

• The "Word-Arrow" and Transformation: The text highlights Kabir's reference to a guru firing a "word-arrow" (सबद-बाण) that strikes the disciple, causing him to fall and his heart to be pierced. This is interpreted as a profound spiritual transformation, a death of the old self to be reborn.

• Desire for "True Death": Kabir expresses a strong longing for a death that leads to the vision of "Perfect Bliss" (पूरन परमानन्द). This is not a fearful death, but a cause for joy.

• The Price of Love: Kabir emphasizes that entering the "house of love" requires an extreme sacrifice: the aspirant must "sever their head" and place it in their hands or under their feet. This is repeatedly stated in various verses, signifying the complete annihilation of the ego and self-will.

• Love as Priceless: Love, according to Kabir, cannot be grown in a field or bought in a market. It can only be obtained by offering one's head – a metaphor for absolute surrender and sacrifice, regardless of one's social status.

• Comparison with Other Traditions:

  • JayasI: The text notes that Jayasi in his "Padmavat" also speaks of cutting off one's head, suggesting a similar theme of sacrifice.
  • Sanskrit Literature: Sahal notes that, to his knowledge, Sanskrit literature does not present death as something so desirable and sought after. He quotes Shri Dinker, who suggests that the idea of making death desirable, rather than just an exit from worldly suffering, might have been influenced by the Sufi tradition.
  • Sufi Influence: The Sufi philosophy of the soul being separated from the Divine (Brahman) and experiencing eternal separation (viraha) is discussed. The end of this separation comes with the soul leaving the body. The intense longing for reunion with the Divine can make death appear as a path to end this viraaha.
  • Medieval Rajasthani Literature: The text points out that medieval Rajasthani literature portrays death as a celebration ("maran-tyohar"), particularly for warriors who sacrifice their lives for the land and religion, believing it leads to heavenly pleasures. Examples from the Mahabharata and Prasad's "Chandragupta" are given to illustrate this warrior ideal.
  • Bhagavad Gita: The war that leads to death is described in the Gita as an "open door to heaven" (स्वर्गद्वारमपावृतम्).

• Distinction from Warrior's Death: The author clearly distinguishes Kabir's concept of death from the death of a warrior. While both involve sacrifice, Kabir's death is for spiritual realization and the attainment of ultimate bliss, not for worldly rewards or battlefield glory.

• Gorakhnath's Perspective: The text includes Gorakhnath's statement, "Die, O yogis, die, death is sweet. Die that death by which Gorakh died and saw the Supreme Reality." This reinforces the idea of a transformative death. Gorakhnath's teaching to a Qazi about Muhammad's "sword" being made of love or "word" also connects to the spiritual nature of this "death."

• Tukaram's Vision of Death: The Marathi saint Tukaram's description of witnessing his own death through his "divine eyes" is presented as an analogous experience. For Tukaram, this "death" brought immense joy, the dissolution of ego-driven limitations, and a realization of universal consciousness. It was a breaking of the cycle of birth and death by shedding the "impurity of worldly attachment."

• "Living Death" or "Living Liberation": Sahal concludes that the death described by saints like Kabir is not the death of the physical body, but the death of the ego and bodily attachment. It is a jivanamaran (living death) or jivanamukti (living liberation), where the seeker attains self-realization and a state of true spiritual bliss.

• The Death of the Ego: The core of this saintly "death" is the annihilation of the ego and physical desires, leading to the attainment of one's true self. This self-realization is inherently sweet and makes even death itself "die."

• Modern Parallels: The text briefly touches upon modern poets and thinkers who have viewed death favorably, such as Rabindranath Tagore, Jayashankar Prasad (Kamayani), Mahadevi Varma, and Sumitranandan Pant. However, Sahal emphasizes that the "death" they describe, while positive, is different from the deeply transformative, ego-annihilating death described by Kabir and other Nirguna saints. Pant's poem "Chhaya" is analyzed as expressing a desire to merge with the physical world before merging with the Divine, which is seen as distinct from the saints' concept. Kaka Kalelkar's view of death as the greatest gift further illustrates the modern appreciation for mortality.

In essence, the text argues that Kabir's concept of "death" is a profound spiritual metaphor for the annihilation of the ego, worldly desires, and all limiting aspects of the self. This "death" is not an end but a gateway to true spiritual life, self-realization, and eternal bliss, making it a desirable and sought-after state.