2nd December, 2015 is the Jayanti of Narsinh Mehta (or Narsi Mehta or Narsi Bhagat)

2^nd December, 2015 is the Jayanti of Narsinh Mehta (or Narsi Mehta or Narsi Bhagat), 15^th century Hindu saint-poet, acclaimed as “Adi Kavi” in Gujarati literatures and notable bhakt of Lord Shri Krishna, was born in the year 1414 at Talaja village which is belongs to Saurashtra region under Bhavnagar district in the Indian state of GUJARAT. Talaja is located on National Highway No. 8 in between the district headquarters Bhavnagar city (50 kms) and Mahuva taluka (40 kms).

Narsi Mehta was born in Nagar Brahmin cast. His parents were Krishnadas and Dayakuvar but lost parents when he was 5 years old. He could not speak until the age of 8 year. He was raised by his grandmother Jayagauri. Once a SADHU came in village, Narsi was brought to Sadhu by his grandmother. She said to Sadhu that Narsi is not able to speak yet. Sadhu saw something well future of Narsi in Samadhi (meditation); he put his hand on Narsi’s head and told to speak ‘Radhe Govind’. Miraculously, in between present villagers, Narsi started to speak ‘Radhe Govind’.

Narsinh Mehta married to Manekbai. Mehta and his wife stayed at his brother Bansidhar's place. However, his brother's wife (sister-in-law or bhabhi) did not welcome Narsinh very well. She was an ill-tempered woman, always taunting and insulting Narsinh for his worship (Bhakti). One day, Kana Dhedh (Harijan) son’s wife was expired due to bad illness in gaon, no one was ready take her dead body to Samashan. Mehta took her in Shamshan and do last ritual of her. When he came to home, his bhabhi didn’t allow him in home and due to these types of day to day insults and taunts, he left the house and went to a nearby forest in search of some peace, where he fasted and meditated for seven days by a secluded Shiva Lingam until Lord Shiva appeared before him in person. Lord Shiva asked Narsi for boon. Mehta said that Prabhu ! Give that what you love much more. Shiva replied and gives boon that he loved Lord Vishnu’s Bhakti then on Narsi's request; Lord Shankar took him to Vrindavan and showed him the eternal Raas Leela of Lord Shri Krishna with Radha Rani and Gopis. A legend has it that Narsi, transfixed by the spectacle, burnt his hand with the torch he was holding, but he was so engrossed in the ecstatic vision that he was oblivious to the pain. Mehta, as the popular account goes, at Lord Krishna's command, decided to sing His praises and the nectarous experience of the Rasa in this mortal world. Lord Shri Krishna also told that whenever you sing ‘Kedaro’ for Me, I will come personally to you and solve your problem whosoever of your worldly.

After this dream-like experience, the transformed Mehta returned to his village, touched his sister-in-law's feet, and thanked her for insulting him. In Junagadh, Mehta lived in poverty with his wife and two children, a son named Shamaldas, and a daughter for whom he had special affection, Kunwarbai.

How Shri Krishna, in the guise of a wealthy merchant, helped Mehta in getting his son married is sung by the poet in ‘Putra Vivah Na Pada’. Once, one Dixit came in Junagadh in search of adequate bridegroom for ‘daughter of Vadnagar’s Madan Mehta’ and after seeing Shamal, he confirmed marriage of Shamal to daughter of Madan Mehta. During marriage function, one snake beat to Hanuman Pratap (or Hanumant), who was son of Sarangdhar (or Salangdhar). At that time, Narsi Mehta requested Lord Shri Krishna to alive Hanumant but Lord Krishna clears that Sarangdhar has taken false oath of his son so death of his son happen. Even if, Mehta knew that Sarangdhar was not happy with his son’s marriage with Madan Mehta’s daughter and his behavior was opposite to him but still he requested Bhagwan Shri Krishna to alive Hanumant. At this time God Krishna told that it is only possible if life of your son Shamal will be given to Hanumant. Mehta agreed and Hanumant became alive but his son Shamaldas has died. Due to sudden dead of son Shamal, after all Mehta’s wife Manekbai also died.

How Lord Krishna helped his beloved devotee Narsi Mehta at the time of ‘Kunvarbai’s Mameru’ is a legend depicted in 'Mameru Na Pada'. After marriage of Mehta’s daughter Kunwarbai (or Kunvarbai) to ‘son of Shrirang Mehta of Una’, Kunwarbai became pregnant and it was a custom for the girl's parents to give gifts and presents to all the in-laws during the seventh month of pregnancy. This custom, known as Mameru, was simply out of reach of poor Narsinh who had hardly anything except intransigent faith in his Lord. This episode is preserved vividly in the memory of Gujarati people in compositions by later poets and in Gujarati film like Kuvarbai Nu Mameru (1974). The first ever Gujarati talkie (feature) film, Narsinh Mehta (1932) was also based on Narsinh Mehta's life.

Other famous legend include 'Hundi (Bond)' episode. Mehta writes Hundi to Shamalsha Seth residing in Dwarka. The episode in which Bhagwan Shri Krishna takes form of Shamalsha Seth and cleared a bond written by poverty-stricken beloved, is famous not only in Gujarat but in other parts of India as well.

The Har Mala (Garland) episode deals with the challenge given to Mehta by Ra Mandlik (1415–1472), a Chudasama King, to prove his innocence in the charges of immoral behaviour by making the Lord Himself garland Narsinh. Mehta depicts this episode.

Last he went to Mangrol where in the year 1481, at the age of 67, he is believed to have died. The crematorium at Mangrol is called 'Narsinh Nu Samshan' where one of the sons of Gujarat was cremated. He will be remembered for his poetic works and devotion to Lord Krishna. He is known as the first poet of Gujarati.

Narsi Bhagat revelled in devotion to his hearts' content along with Sadhus, Saints and all those people who were Hari's subjects – Harijans – irrespective of their caste, class or sex. It also seems that he must have fallen into a somewhat ill repute for his close relations with Lord's Sakhis and Gopis, Narsinh mehta's women followers, with whom he danced and sang. The Nagars of Junagadh despised him and spared no opportunity to scorn and insult him. By this time, Mehta had already sung about the Rasaleela of Radha and Krishna. The compositions are collected under the category of Shringar compositions. They are full of intense lyricism, bold in their erotic conception and are not without allegorical dimensions, this saves the compositions from being something of erotic court poetry of medieval India.

Narsi Mehta is a pioneer poet of Gujarati literatures. He is known for his literary forms called "Pada (Verse)", "Aakhyan" and "Prabhatiya".

He resolved to compose more than 1500 kirtans or compositions. The works of Narsi Mehta are divided into three categories :-

(i) Autobiographical compositions :- Putra Vivah, Mameru, Hundi, Har Same No Pada, Jhari Na Pada and compositions depicting acceptance of Harijans. These works deal with the incidents from the poet’s life and reveal how he encountered the Divine in various guises. They consist of ‘Miracles’ showing how ‘Narsaiyya’s Lord Shri Krishna helped his devotee in the time of crises.

(ii) Miscellaneous Narratives :- Chaturis, Sudama Charit, Dana Leela and episodes based on Srimad Bhagwatam. These are the earliest examples of ‘Akhyana’ or narrative type of compositions found in Gujarati. These include :-

(1) Chaturis, 52 compositions resembling Jaydeva’s masterpiece Geeta Govinda dealing with various erotic exploits of Radha and Krishna.

(2) Dana Leela poems dealing with the episodes of Krishna collecting his dues (dana is toll, tax or dues) from Gopis who were going to sell buttermilk etc. to Mathura.

(3) Sudama Charit is a narrative describing the well-known story of Krishna and Sudama.

(4) Govinda Gamana or the "Departure of Govind" relates the episode of ‘Akrura’ taking away Krishna from Gokul.

(5) Surata Sangram, The Battle of Love, depicts in terms of a battle the amorous play between Radha and her girl friends on the one side and Krishna and his friends on the other.

(6) Miscellaneous episodes from Bhagwatam like the birth of Krishna, his childhood pranks and adventures.

(iii) Songs of Sringar :- These are the Padas dealing with the erotic adventures and the amorous exploits of Radha and Krishna like Ras Leela. Various clusters of Padas like Ras Sahasrapadi and Sringar Mala fall under this head. Their dominant note is erotic (Sringar). They deal with stock erotic situations like the ossified Nayaka-Nayika Bheda of classical sanskrit Kavya poetics.

Some famous Gujarati Bhajans/Prabhatiyas written by Narsinh Mehta :-

(1) Vaishnava Jana To Tene Re Kahiye, Nahi Mayama Jenu Man Re…Krishna Vina Biju Kai Na Jove

(2) Maari Hundi Swikaro Maharaj Re Shamala Girdhari, Maari Hundi Samaliya Ne Hath Re Shamala Girdhari

(3) Je Game Jagat Gurudev Jagdish Ne, Te Tano Kharkharo Fok Karavo…Sukh Sansari Mithya Kari Manajo, Krishna Vina Biju Sarv Kachu

(4) Samarne Shri Hari, Mel Mamata Pari, Jone Vicharine Mool Taru; Tu alya Kon Ne Kone Valagi Rahyo, Vagar Samaje Kahe Maaru Maaru

(5) Jagi Ne Jovu To Jagat Dishe Nahi, Ungh Ma Atapata Bhog Bhase, Chitt Chaitanya Vilas Tad Roop Chhe, Brahm Lataka Kare Brahm Paase…Ghat Ghadiya Pachhi Naam-Roop Joojava, Ante To Hem Nu Hem Hoy

(6) Akhil Brahmand Ma Ek Tu Shri Hari, Jujave Roope Anant Bhase

(7) Raat Rahe Jyare Paachhali Khatghadi, SADHU Purus Ne Sui N Revu…Jogiya Hoy Tene Jog Sabhalava

(8) Unchi Medi Te Maara Sant Ni Re, Mein To Ma’hli N Jaani Ram

(9) Jalkamal Chhandi Jane Bala Swami Amaro Jagase, Jagase Tane Marse, Mane Bal Hatya Lagase

(10) Jaag Ne Jadva Krishna Govaliya, Tuj Vina Dhen Ma Kon Jaase, 360 Govaliya Tole Valya, Vado Te Govaliyo Kon Thase

(11) Sukh Dukh Manma N Aaniye, Ghat Sathe Re Ghadiya, Talya Te Koina Nav Re Tale, Raghunathna Jadiya

(12) Narayan Nu Naam J Leta, Vaare Tene Tajiye Re, Manasa Vaacha Karmana Karine, Lakshmivar Ne Bhajiye Re

(13) Ram Sabhama Ame Ramavane Gya’ta, Pasali Bharine Ras Pidho, Harino Ras Puran Paayo

(14) Ame Mahiyaara Re, Gokul Gamna, Mare Mahi Vechavane Jaava

(15) Aajni Ghadi Te Raliyamali, Haa Re ! Mahro Vhaloji Aavyani Vadhamani

(16) Aasha Bharya Te Ame Aaviya, Ne Mare Vhale Ramadya Raas Re, Aavel Aasha Bharya

(17) Eva Re Amo Eva Re, Tame Kaho Chho Vali Teva Re…Harijan Thi Je Antar Ganashe, Tena Fogat Fera Thala Re

(18) Kanaji Tari Ma Kehse Pan Ame Kanudo Kehsu Re, Etalu Kehta Nahin Maane To Gokul Meli Deshu Re

(19) Giri Taleti Ne Kund Damodar, Tya Mehtaji Nhava Jaay

(20) Jasoda Tara Kanudane Saad Karine Var Re, Aavadi Dhoom Machave Vraj Ma, Nahi Koi Puchhan Haar Re

(21) Nagar Nandajina Laal, Ras Ramanta Mari Nathadi Khovani, Kaanha Jadi Hoy To Aal

(22) Rudi Ne Rangili Re Vaala Tari Vasali Re Lol, Vasaldi Mare Mandiriye  Sambhalay Jo

(23) Padho Re Popat Raja Ram Na, Sati Sitaji Padhave, Pase Re Bandhavu Rudu Panjaru, Mukh Thi Ram Japave

(24) Bholi Re Bharvadan Harine Vechavane Chali Re, Girivardharine Upadi, Matukima Ghali Re

(25) Va Vaya Ne Vadal Umatya, Gokulma Tahukya Mor, Malava Aavo Sundrivar Shamliya

(26) Sheri Valavi Sajj Karu, Ghare Aavo Ne ! Aanganiye Patharavu Phool, Valam Ghare Aavo Ne

(27) Bhalu Thayu Bhagi Janjal, Sukhethi Bhajishu Shri Gopal

(28) Ja Ja Nindara Hu Tune Vaaru, Tu Chhe Naar Dhutari Re…

(29) Ghadapan Kone Mokalyu, Janyu Joban Rahe Saukaal, Umbara To Dungara Paya Re, Paadar Thaya Pardesh, Goli To Ganga Thai Re, Ange Ujala Thaya Chhe Kesh

(30) Bhutal Bhakti Padarath Motu, Brahmlokma Nahi Re…Harina Jan To Mukti N Maage, Janamo Janam Avtar Re, Nit Seva Nit Kirtan Ochhav, Nirkhava Nandkumar Re