Madhavdev’s Literary Contribution to Assamese Literature and Ekasarana Naam Dharma[edit | edit source]
Madhavdeva is regarded as one of the greatest saints and literary figures in the history of Assam. After Srimanta Sankaradeva, he stands as the most influential writer and thinker of the Ekasarana Naam Dharma. While Sankaradeva laid the foundation of the religious movement, Madhavdeva strengthened and completed its philosophical, literary, and cultural framework. As a saint-poet, dramatist, composer, and scholar, his contribution to Assamese literature is vast, deep, and enduring.
Nature and Scope of His Literary Works[edit | edit source]
Madhavdeva was a prolific writer who worked in many literary forms. His writings include philosophical treatises, devotional poetry, narrative renderings of epics, songs, and religious dramas. Through these works, he helped explain and popularize the ideas of Ekasarana Naam Dharma in a language that ordinary people could easily understand.
His works can broadly be classified into:
- Theological and philosophical writings
- Narrative and poetic renderings
- Devotional lyrics
- Dramatic compositions
- Compilation and editing of sacred texts [2]
Theological and Philosophical Writings[edit | edit source]
Madhavdeva’s theological and philosophical writings form the intellectual backbone of Ekasarana Naam Dharma. Through these works, he clearly explained the ideas of single-minded devotion to Lord Krishna, surrender to God, and rejection of ritualism and caste divisions. His writings combine deep scriptural knowledge with simple language, making complex spiritual ideas easy for common people to understand.
Janma Rahasya: His First Literary Work[edit | edit source]
Madhavdeva’s earliest known work is Janma Rahasya. This text consists of around three hundred verses and deals with the creation and destruction of the universe. Through this work, Madhavdeva establishes the omnipotence of God and the insignificance of the material world. Although philosophical in nature, the verses are written in simple Assamese, making complex ideas accessible to common readers.
This work already shows Madhavdeva’s deep knowledge of scriptures and his ability to express abstract concepts with clarity and poetic grace. [1][2]
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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 f 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
- Bhakti viracana
- Satsanga viracana
- Bhakti visesana viracana
- Sravana viracana
- Kirttana viracana
- Smarana viracana
- Padasevana viracana
- Arcana viracana
- Vandana viracana
- Dāsya viracana
- Sākhya viracana
- Ātmanivedana viracana
- 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 strongly emphasizes Eka Sarana, or single-minded devotion to Lord Krishna. It teaches that chanting God’s name, surrender, humility, and devotion are more important than rituals, caste, or external show. This text helped establish a clear theological foundation for Ekasarana Naam Dharma and guided devotees toward a disciplined spiritual life.[2]
Nama Ghosa: His Magnum Opus[edit | edit source]
Madhavdeva’s greatest and most celebrated work is the Nama Ghosa, also known as the Hazari Ghosa, meaning “the book of a thousand couplets” or Ghosha Sastra. This work is considered equal in greatness to Sankaradeva’s Kirtan Ghosa and is the supreme achievement of the Sankaradeva-ite school of bhakti.
Written between 1568 and 1596, the Nama Ghosa contains 1001 verses and presents the complete philosophy of Ekasarana Naam Dharma in a compact yet profound form. 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 discusses the Guru, God, the divine name, and the devotee, forming 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 almost 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. [4]
Narrative Renderings and Translations[edit | edit source]
Madhavdeva also contributed significantly to Assamese narrative literature. His Assamese translation of the Adi Kanda of Valmiki’s Ramayana is admired for its elegance, simplicity, and use of homely similes. He skillfully used Assamese proverbs and gentle humor, giving the translation the flavor of an original work rather than a mere rendering.
His Rajasūya Kavya, based on the Sisupala Vadha episode of the Mahabharata, is another outstanding poetic achievement. Written in a refined and graceful style, it is considered one of the finest poems of the Vaishnava age in Assam.
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. [1][2]
Borgeet and Bhattima: Devotional Songs[edit | edit source]
Madhavdeva was a master composer of devotional songs. He composed many Borgeets, which are classical devotional lyrics set to specific ragas. These songs often describe the childhood and divine play of Lord Krishna and express 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 reads:
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 Borgeets lovingly describes the early morning in Vrindavan as Mother Yasoda wakes young Krishna from sleep. She gently asks him to rise and look at the bright dawn, as the night fades and the sun’s rays spread light everywhere. Flowers bloom, bees fly, and the women of Braj churn curd while singing Krishna’s praises. His friends call out to him, and Balarama has already awakened. Nanda and the cowherds prepare for their daily work, and the cows and calves wait eagerly. 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. [2]
Contribution to Drama and Performance[edit | edit source]
Like his Guru, Madhavdeva used drama as a powerful medium for religious teaching. He wrote several one-act plays known as Jhumuras, which were performed in Namghars. These plays combined music, dialogue, and devotion to convey 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. Through these dramas, Madhavdeva made religious teachings engaging and accessible to people of all backgrounds. [1] [3]
Compilation and Preservation of Sacred Texts[edit | edit source]
Madhavdeva also played a crucial role in compiling and preserving the works of his Guru. He helped compile the Kirtan Ghosa and composed the chapter Dhyana Varnana after some portions of Sankaradeva’s original work were lost. This act shows his dedication to safeguarding the spiritual and literary heritage of the Ekasarana movement. [1]
Legacy[edit | edit source]
Madhavdeva’s literary contribution is immense and multi-dimensional. Through his works he enriched Assamese literature and completed the philosophical vision of Ekasarana Naam Dharma. His writings are marked by clarity, devotion, depth of thought, and emotional beauty. Even today, his words continue to guide, inspire, and uplift generations of readers and devotees, securing his place as one of the greatest saint-poets of Assam.
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