Fakir Lalon Shah, also known as Lalon Shah (c.1774–1890), was a Bengali philosopher poet. He lived in the village of Cheuria in the area known as Nodia in the Bengal Presidency of British India, corresponding to the district of Kushtia in present-day Bangladesh.Early life
The details of Lalon's early life are controversial and impossible to verify. Lalon also recorded very little information about himself, as he considered his spiritual endeavors to be a private matter. As a result, accounts of Lalon's life are often contradictory and unverifiable. However, a general backstory of Lalon's early life exists in the popular culture.
Around the age of sixteen he was found floating by the bank of Kaliganga river, suffering from smallpox. He was taken to the home of Maulana Malam Shah and his wife Matijan, who brought him up. Lalon was in a near comatose state for many months and when he recovered lapsed into complete amnesia from which he never recovered in life.
Though Lalon's origins are unclear, it is believed that he had no formal education and lived in extreme poverty.
The details of Lalon's early life are controversial and impossible to verify. Lalon also recorded very little information about himself, as he considered his spiritual endeavors to be a private matter. As a result, accounts of Lalon's life are often contradictory and unverifiable. However, a general backstory of Lalon's early life exists in the popular culture.
Around the age of sixteen he was found floating by the bank of Kaliganga river, suffering from smallpox. He was taken to the home of Maulana Malam Shah and his wife Matijan, who brought him up. Lalon was in a near comatose state for many months and when he recovered lapsed into complete amnesia from which he never recovered in life.
Though Lalon's origins are unclear, it is believed that he had no formal education and lived in extreme poverty.
Philosophy
Lalon left no trace of his birth or his 'origin' and remained absolutely silent about his past, fearing that he would be cast into class, caste or communal identities by a fragmented and hierarchical society. Despite this silence on his origins, communal appropriation of this great politico-philosophical figure has created a controversy regarding whether he is 'uslim or a Hindu -- a sufi or a follower bhakti tradition -- a 'baul' or a 'fakir', etc. He is none, as he always strove to go beyond all politics of identities. Lalon Fakir sang, “People ask if Lalon Fakir is a Hindu or a Mussalman. Lalon says he himself doesn’t know who he is.”
Lalon does not fit into the construction of the so called 'bauls' or 'fakirs' as a mystical or spiritual types who deny all worldly affairs in desperate search for a mystical ecstasy of the soul. Such construction is very elite and middle class and premised on the divide between 'modern' and 'spiritual' world. It also conveniently ignores the political and social aspects of Bengal's spiritual movements and depoliticizes the transformative role of 'bhakti' or 'sufi' traditions. This role is still continued and performed by the poet-singers and philosophers in oral traditions of Bangladesh, a cultural reality of Bangladesh that partly explains the emergence of Bangladesh with distinct identity from Pakistan back in 1971. Depicting Lalon as 'baul shomrat' (the Emperor of the Bauls) as projected by elite marginalizes Lalon as a person belonging to a peripheral movement, an outcast, as if he is not a living presence and increasingly occupying the central cultural, intellectual and political space in both side of the border between Bangladesh and India (West Bengal).
To understand the Baul, is to understand the state of nothingness associated with his rejection, by which it is not to be construed, as a willing suspension of disbelief, nor a reckless abandonment of responsibility or that of becoming inordinately fatalistic. It is a living quest to go back to the dynamics of where it all began: to our infancy as much as the first moments of creation. It is a quest we cannot undertake without some prodding assistance, albeit to our well charted ‘roots’, if we have one? Clearly, life is a blessed moment of procreation and an extension of the continuous cycle of Mother Nature which rolls on over, when we know all too well, it is also a process that simply cannot be rolled back.
It is in context of looking for meanings to living, versus that of death which is as an instant, if not completely the end of reasoning, and the probabilities of a life devoid of answers to the future and where it ultimately places us, is the harrowing spectre Man is condemned to life in his living. This premise of not knowing where ‘everything’ if ever ends is one that significantly dilates the implication and importance of NOW.
Lalon left no trace of his birth or his 'origin' and remained absolutely silent about his past, fearing that he would be cast into class, caste or communal identities by a fragmented and hierarchical society. Despite this silence on his origins, communal appropriation of this great politico-philosophical figure has created a controversy regarding whether he is 'uslim or a Hindu -- a sufi or a follower bhakti tradition -- a 'baul' or a 'fakir', etc. He is none, as he always strove to go beyond all politics of identities. Lalon Fakir sang, “People ask if Lalon Fakir is a Hindu or a Mussalman. Lalon says he himself doesn’t know who he is.”
Lalon does not fit into the construction of the so called 'bauls' or 'fakirs' as a mystical or spiritual types who deny all worldly affairs in desperate search for a mystical ecstasy of the soul. Such construction is very elite and middle class and premised on the divide between 'modern' and 'spiritual' world. It also conveniently ignores the political and social aspects of Bengal's spiritual movements and depoliticizes the transformative role of 'bhakti' or 'sufi' traditions. This role is still continued and performed by the poet-singers and philosophers in oral traditions of Bangladesh, a cultural reality of Bangladesh that partly explains the emergence of Bangladesh with distinct identity from Pakistan back in 1971. Depicting Lalon as 'baul shomrat' (the Emperor of the Bauls) as projected by elite marginalizes Lalon as a person belonging to a peripheral movement, an outcast, as if he is not a living presence and increasingly occupying the central cultural, intellectual and political space in both side of the border between Bangladesh and India (West Bengal).
To understand the Baul, is to understand the state of nothingness associated with his rejection, by which it is not to be construed, as a willing suspension of disbelief, nor a reckless abandonment of responsibility or that of becoming inordinately fatalistic. It is a living quest to go back to the dynamics of where it all began: to our infancy as much as the first moments of creation. It is a quest we cannot undertake without some prodding assistance, albeit to our well charted ‘roots’, if we have one? Clearly, life is a blessed moment of procreation and an extension of the continuous cycle of Mother Nature which rolls on over, when we know all too well, it is also a process that simply cannot be rolled back.
It is in context of looking for meanings to living, versus that of death which is as an instant, if not completely the end of reasoning, and the probabilities of a life devoid of answers to the future and where it ultimately places us, is the harrowing spectre Man is condemned to life in his living. This premise of not knowing where ‘everything’ if ever ends is one that significantly dilates the implication and importance of NOW.
Works
Lalon composed numerous songs and poems which describe his philosophy. Among his most popular songs are:
Lalon composed numerous songs and poems which describe his philosophy. Among his most popular songs are:
- khachar bhitor auchin pakhi,
- jat gelo jat gelo bole,
- dekhna mon jhokmariay duniyadari,
- paare loye jao amay,
- milon hobe koto dine,
- aar amare marishne maa,
- tin pagoler holo mela, etc.
The songs of Lalon give subliminal exposures to the reality/truth that lies beyond our material plane/realism. They give a feel of the indescribable. To an engrossed listener, his songs briefly open and close a narrow passage to peep through to the other world beyond the opaque glass ceiling of this world. Lalon sublimates the findings of the principal oriental philosophies and mysticism, foremost of which would include a) Achinta-vedavedbad of Lord Chaitanya (the anitonomous realism of individual soul and Supersoul, both of which eternally coexist. The yarning of the individual soul to unite with the Supersoul, both of whom reside within the same individual body, which we are all gifted with. This eternal journey strives to achieve the infinitesimal proximity between the two, and as it progresses it becomes difficult to distinguish the journey itself from the salvation/mokshya/nirvana); b) sufism, c) Kundalini Yoga (transcending of the individual soul through the six chakras), d) the mirroring of microcosm and macrocosm in all dimensions of the spiritual domain; and e) panentheism . Lalon has demonstrated ultimate dexterity of literary minimalism.
Lalon always kept silent about his origin so that he does not get typecast into any particular religious group. He was observant of the social conditions around, and this reflects through his songs which spoke of day to day problems, in his simple yet deeply moving language. It is said that he had composed about 10,000 songs of which 2000-3000 can be tracked down today while others are lost in time and hearts of his numerous followers. Most of his followers could not read or write and so unluckily for the lovers of Baul, very few of his songs are found in written form. Lalon had no formal education as such but his songs can educate the most educated of minds throughout the world. Long before free thinkers around the globe started thinking of a classless society, Lalon had already composed around 1000 songs on that theme.
Lalon's songs tersely refute any absolute standard of 'right and wrong' which claims to pass the test of time. His songs show the triviality of any attempt to devide people both materially or spiritually.
Lalon's songs tersely refute any absolute standard of 'right and wrong' which claims to pass the test of time. His songs show the triviality of any attempt to devide people both materially or spiritually.
Legacy
Poet Rabindranath Tagore in his 1933 London Hebart Lecture first applauded Lalon Shah as a mystic poet who discovered "soul" and the meaning of "man". Tagore said: "I discovered that 'man' from the songs of Lalan who said that "(ai manushe ase se mon....) "....) the 'man' is within yourself where are you searching Him."
Poet Rabindranath Tagore in his 1933 London Hebart Lecture first applauded Lalon Shah as a mystic poet who discovered "soul" and the meaning of "man". Tagore said: "I discovered that 'man' from the songs of Lalan who said that "(ai manushe ase se mon....) "....) the 'man' is within yourself where are you searching Him."
Lalon's philosophical expression was based in oral and textual traditions, and expressed in songs and musical compositions using instruments that could be made by any rural households from materials available at home: an ektara (one-string musical instrument) and a dugdugi (hand drum). The texts of the songs was explicitly written to engage in the philosophical discourses of Bengal continuing since Tantric traditions of the subcontinent, particularly Nepal, Bengal and the Gangetic plains. In Lalon critically re-appropriated the various philosophical positions emanating from the legacies of Hindu, Jaina, Buddha and Islamic traditions, developing them into a coherent discourse without falling into the mixes of being syncretic.
Influence
Lalon Shah had a perceptible influence on the poet Rabindranath Tagore, who introduced the Baul tradition of Bengal to the world. His own music had been influenced by the diversity of Baul tradition.
In 1963, a mausoleum and a research centre were built at the site of his shrine, the place of knowledge-practices. Thousands of people come to the shrine known in Bengali as akhra twice a year, Dol-Purnima, in the month of Falgun (February to March) and in October, on the occasion of the anniversary of his death. During these three-day song melas, people, particularly fakirs and bauls pay tribute to Lalon.
In 1963, a mausoleum and a research centre were built at the site of his shrine, the place of knowledge-practices. Thousands of people come to the shrine known in Bengali as akhra twice a year, Dol-Purnima, in the month of Falgun (February to March) and in October, on the occasion of the anniversary of his death. During these three-day song melas, people, particularly fakirs and bauls pay tribute to Lalon.
American poet Allen Ginsberg was inspired by Lalon Shah in writing his poem After Lalon, included in the poetry collection "Cosmopolitan Greetings." Ginsberg adopts a poetic style similar to Lalon's own style, frequently repeating his own name within the poem.
Among the modern singers, Farida Parvin has recorded over 300 songs composed by Lalon Shah.
Another notable exponents of Baul music is Shehnaz Baily, whose recorded works are rare but available in Bangladesh.
Among the modern singers, Farida Parvin has recorded over 300 songs composed by Lalon Shah.
Another notable exponents of Baul music is Shehnaz Baily, whose recorded works are rare but available in Bangladesh.
Lalon Fakir: Songs
One of the greatest mystic-singers the Indian subcontinent has ever produced, Lalon was perhaps the most radical voice in India during British colonial rule. Like Kabir, he had no formal education and lived in extreme poverty. Writing in nineteenth-century lyrical Bengali. Lalon composed numerous songs which still provide spiritual and political inspiration to the Bengali rural peasant--a class from which Lalon himself came, and also to freedom-fighters all over the world. He celebrates the freedom of body, soul, and even language from all repressive and divisive forces. Always opposed to casteism, sectarianism, and colonialism, Lalon represents and exemplifies the true revolutionary and secular nature of his community known as "Baul", a community of low-class, illiterate, wandering singers whose wisdom and wit do not come from academic training, but from an active contact with a life intensely lived.
What images are used here to symbolize mental freedom? Howare women used to argue against distinctions based on caste in the second poem?
What images are used here to symbolize mental freedom? Howare women used to argue against distinctions based on caste in the second poem?
A Strange Bird
Look, how a strange bird flits in and out of the cage!
Look, how a strange bird flits in and out of the cage!
O brother, I wish I could bind it with my mindís fetters.
Have you seen a house of eight rooms with nine doors Closed and open, with windows in between, mirrored?
O mind, you are a bird encaged!
And of green sticks Is your cage made, but it will be broken one day.
Lalon says: Open the cage, look how the bird wings away!
CasteismPeople ask, what is Lalon's caste?
Lalon says, my eyes fail to detect the signs of caste.
Don't you see that some wear garlands, some rosaries around the neck?
But does it make any difference brother?
O, tell me, what mark does one carry when one is born, or when one dies?
A muslim is marked by the sign of circumcision; but how should you mark a woman?
If a Brahmin male is known by the thread he wears, how is a woman known?
People of the world, o brother, talk of marks and signs, but Lalon says: I have only dissolved the raft of signs, the marks of caste in the deluge of the One!
Translated by Azfar Hussain
(From WIKIPEDIA, the Free Encyclopedia)
Post Italian Version: http://bcii.blogspot.com/search/label/Lalon
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