Saints/Madhavdev/Literary Contributions of Madhavdev

Madhavdev’s Literary Contribution to Assamese Literature and Ekasarana Naam Dharma

One name that stands tall as an influential thinker and writer of Ekasarana Naam Dharma after Srimanta Sankaradeva is Madhavdeva.While on one hand Sankaradeva laid the foundation of the religious movement, it was Madhavdeva who strengthened and completed its literary, philosophical, and cultural framework. As a saint-poet, composer, dramatist, and scholar, his contribution to Assamese literature is wide, deep, and long lasting.

Nature and Scope of His Literary Works

A dynamic writer known to have worked in many literary forms, Madhavdeva included philosophical treatises, devotional poetry, stories based on epics, songs, and religious dramas in his writings. He used simple language to popularize the ideas of Ekasarana Naam Dharma among the ordinary people who found it easy to understand and interpret.

His works can be classified into:

• Theological and philosophical writings
• Narrative and poetic interpretations
• Devotional songs
• Dramatic works
• Compilation and editing of sacred texts (Madhava Guru Literature. n.d.)

Theological and Philosophical Writings

The philosophcal and theological writings of Madhavdeva form the intellectual backdone of Ekasarana Naam Dharma. Madhavdeva’s theological and philosophical writings form the intellectual backbone of Ekasarana Naam Dharma. His works written in simple langauge clearly explained the complex spiritual ideas and thoughts behind single-minded devotion of Lord Krishna and rejection of rituals and casteism.

Janma Rahasya - His First Literary Work

Madhavdeva’s earliest known work Janma Rahasya consists of three hundred verses which details with the creation and destruction of the universe. Through this work, Madhavdeva shows that God is omnipotent and there is no significance of the material world. He uses simple Assamese language to express the philosophical ideas thereby making it accessible to commmon men. Janma Rahasya illustrates Madhavdeva’s indepth knowledge of the scriptures and his ability to translate complex concepts into simple langauge with poetic grace.(Wikipedia.n.d.; Madhava Guru Literature. n.d.).

Bhakti Ratnavali: A Pillar of Devotion

Another major contribution of Madhavdeva is Bhakti Ratnavali, a lucid Assamese rendering of a Sanskrit work by Vishnupuri. It is regarded as one of the four sacred books of the Assamese Vaishnava tradition. Other three being the Kirttana and the Dasama written by Srimanta Sankaradeva, and the Nām Ghosā written by Madhavadeva. Any one of these books is placed on the altar, known as Thāpanā, and worshipped in Namghars instead of an idol. This practice highlights the central belief of Ekasarana Naam Dharma that the word of God and devotion through the Name are more important than image worship.

The book originally consisted of 1208 verses. Madhavadeva divided this work into thirteen chapters, called Viracanas. These chapters systematically explain the philosophy and practice of devotion.

The 13 Viracanas of Bhakti Ratnāvali

1. Bhakti viracana
2. Satsanga viracana
3. Bhakti visesana viracana
4. Sravana viracana
5. Kirttana viracana
6. Smarana viracana
7. Padasevana viracana
8. Arcana viracana
9. Vandana viracana
10. Dāsya viracana
11. Sākhya viracana
12. Ātmanivedana viracana
13. Sarana viracana

The first chapter explains the Bhagavata path of love and begins with Madhavadeva’s own introduction. The second chapter highlights the importance of keeping good and noble company, while the third explains the true nature of devotion. The next nine chapters describe the nine forms of bhakti. The final chapter explains the initiation ceremony, known as Sarana, in detail.

The book stresses on Eka Sarana, which means being fully devoted to Lord Krishna. It preaches surrender, humility, and devotion and that chanting of Lord Krishna's name are more important than caste, ceremonies or external show. This helped lay the foundation of Ekasarana Naam Dharma and helped followers lead a disciplined life.(Madhava Guru Literature. n.d.)

Nama Ghosa - The Magnum Opus

Nama Ghosa also known as Hazari Ghosa, meaning “the book of a thousand couplets” or Ghosha Sastra is Madhavdeva’s most celebrated work. Hazari Ghosa meaning “the book of a thousand couplets” or Ghosa Sastra is considered equal in greatness to Sankaradeva’s Kirtan Ghosa. It is also considered to be the supreme achievement of the Sankaradeva-ite school of bhakti.

The Nama Ghosa, which was written between 1568 and 1596, has 1001 poems and gives a thorough picture of the concept of Ekasarana Naam Dharma in a short yet deep way. The verses praises Lord Krishna and teaches that chanting God’s name is the highest form of devotion in the Kali Yuga. The work was composed on the instruction of his Guru, Srimanta Sankardeva, who wanted a text that was simple, sweet, and firmly based on sacred scriptures.

About one-third of its verses are drawn from Sanskrit scriptures like the Bhagavad Gita and the Bhagavata Purana, while the rest are Madhavdeva’s original compositions. The Naam Ghosa elaborates on the concepts of the Guru, God, the divine name, and the devotee, which together constitute the core philosophy of Ekasarana Dharma.

A major feature of the text is its strong rejection of caste distinctions. Madhavdeva declares that all beings are equal parts of God and denies the authority of caste and ashrama. The final section, called Nama-chanda, is deeply mystical and focuses entirely on the joyful repetition of Krishna’s name, where the poet and theologian give way to the mystic devotee.

Before his death, Madhavdeva advised his followers to read and re-read the Nama Ghosa, saying that everything he had to teach was contained in it. (Wikipedia. n.d.).

Narrative Renderings and Translations

Madhavdeva also contributed significantly to Assamese narrative literature. The Assamese rendering of 'Adi Kanda' of Valmiki's Ramayana occupies an important place in Assamese literary history.

The opening Ramayana in Adi Kanda which sets the stage for life and mission of Lord Rama, begins with Valmiki learning about Rama from Narada. Narada describes Rama as one who is perfect in all aspects – virtuous, compassionate, and courageous. Inspired by Rama’s devotion to duty, Valmiki composed Ramayana.

The narrative now shifts to Ayodhya, the kingdom ruled by King Dasharatha who is a very powerful ruler but unhappy otherwise because he has no sons, After seeking advice from  the sages, he performed a ritual called Putrakameshti yajna which resulted in the birth of his four sons. Rama was born to Kaushalya, Bharata to Kaikeyi, and lakshman and Shatrugan to Sumitra

Rama grew up as an obedient and disciplined child learning the art of warfare, reading scriptures under the guidance of sages and teachers. From the very young, Rama had showed immense respect for elders. Adi Kanda also elaborates on Rama’s journey with Vishwamitra where he not only breaks’s Shiva’s bow in Sita’s swayamvara but also protects sacred rituals from demons. These incidents highlight Rama’s ideals self-control, duty and devotion. (Valmiki. n.d.)

Through this work, Madhavdeva made the sacred story of Rama accessible to ordinary people who did not know Sanskrit. Instead of producing a strict word-for-word translation, he reshaped the text in a way that suited the cultural and emotional world of Assam. His language is simple, musical, and full of warmth, allowing listeners and readers to easily understand and connect with the story.

Madhavdeva wrote in simple language for those who were not fortunate enough to read and understand Sanskrit. He restructured the narrative in such a way that suited cultural and emotional world of Assam. The warmth and linguistic skill allowed his listeners to quickly connect with Ramayana. Another poetic achievement of Madhavdeva was Rajasūya Kavya, based on the Sisupala Vadha episode of the Mahabharata.

His Nama Malika is a metrical rendering of a Sanskrit anthology that glorifies the holy name of God and reinforces the belief that chanting the divine name is the easiest path to salvation. (Wikipedia.n.d.; Madhava Guru Literature. n.d.)

Borgeet and Bhattima - Devotional Songs

Madhavdeva was a master composer of devotional songs known as Borgeets which are classical devotional lyrics set to specific ragas. These songs narrate the childhood and divine play of Lord Krishna and articulate intense love, longing, and surrender. Along with Sankaradeva’s compositions, Madhavdeva’s Borgeets form the core of Assamese devotional music.

One of the most popular Borgeets composed by Madhavadeva, ‘Tejare Kamalāpati’, is traditionally sung before daybreak in many Assamese households. The song opens with Mother Yasoda gently persuading young Krishna to wake from his sleep in the early morning hours.

The verses read:

Rāga Shyām

Tejare kamalāpati parabhāta ninda:

Teri cānda mukha pekho uthare Govinda.

Rajani Vidura disa dhavali varana:

Timira pheriyā bāja ravira kirana.

Satapatra vikasita bhramar udāi:

Brajavadhu dadhi mathe tuvā guna gāi.

Dāma, Sudāma dāke teri laiyā nām:

Hera dekha uthiyā asilā Balarām.

Nanda gailā bāthāne goāla gailā pāl:

Surabhi carāite lāge uthare Gopāl.

Ksira lavanu laiyo singā beta venu:

Sakāle meliyo vatsa hāmbālāwe dhenu.

Kahaya Madhava māi, kinu tapasāili:

Trijagatapati Hari rākhowāl pāili.

Meaning: This Borgeet tells the story of how Mother Yasoda wakes up young Krishna in Vrindaman in the early morning by asking him to look at the bright dawn as the sun's beams fade away. The women of Braj churn curd and sing Krishna's praises while the flowers blossom and the bees fly. Balaram also wakes up when his friends call him. The cows and calves are excitedly waiting for Nanda and the cowherds to get ready for work. In the final lines, Madhavadeva expresses Yasoda’s wonder and gratitude that through great devotion she has received the Lord of the three worlds as her beloved child and protector.

He also composed Bhattimas, which are long poems of praise. His Guru Bhattima, dedicated to Srimanta Sankaradeva, is especially popular and reflects his deep reverence for his Guru. (Madhava Guru Literature. n.d.)

Contribution to Drama and Performance

Following his Guru's example, Madhavdeva used drama as an effective medium for religious communication. Several one-act plays known as Jhumuras were written by him. These were staged in Namghars. These plays incorporated music and dialogue along with devotion to deliver moral lessons.

His important plays include Arjuna Bhanjana (also known as Dadhi Mathana), Chordhara, Pimpara Guchowa, Bhumi Letowa, and Bhojana Bihar. Except for Arjuna Bhanjana, all are classified as Jhumuras. Madhavdeva made religious teachings interesting and easy to understand for individuals of all backgrounds through his plays. (Wikipedia. n.d.; About Srimanta Sankardev and Madhavdev. n.d.)

Compilation and Preservation of Sacred Texts

Madhavdeva also played an important role in assembling and preserving the works of his Guru. After portions of Sankaradeva’s original work were lost he helped in compiling the Kirtan Ghosa and composed the chapter Dhyana Varnana thereby demonstrating his commitment to preserving the spiritual and literary heritage of the Ekasarana movement. (Wikipedia.n.d.)

Legacy

Madhavdeva’s literary contribution is not only vast but also covers diverse aspects. His works improved Assamese literature and completed the philosophical vision of Ekasarana Naam Dharma. His writings show depth, clarity, devotion and emotional beauty. Till date his writings continue to guide, inspire, and uplift generations of readers thereby securing his place as one of the greatest saint-poets of Assam.

References

Wikipedia. (n.d.). Madhavdev. https://en.wikipedia.org/wiki/Madhavdev

Madhava Guru Literature. (n.d.). A Tribute to Sankaradeva. https://www.atributetosankaradeva.org/Madhava_guru_lit.htm

About Srimanta Sankardev and Madhavdev. (n.d.). Shrimanta Sankar Krishti Bikash Samiti. https://shrimantasankarkristi.com/about-srimanta-sankardev/

Wikipedia. (n.d.). Naam Ghosa. https://en.wikipedia.org/wiki/Naam_Ghosa

Valmiki. (n.d.). Ramayana: Adi Kanda [PDF] https://ia801400.us.archive.org/31/items/in.ernet.dli.2015.477845/2015.477845.Ramayan-Adi.pdf