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~~The Feminine Phenomena In Dasam Bani~~


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~~The feminine phenomena in Dasam Bani~~


source: author of tisara panth




The feminine phenomena in Dasam Bani.
A profound cognitive of the Khalsa's essential socio-textual orthodoxy, Dasam Bani (or via an anglophonic transliteration, 'the tenth curriculum') is an ardent repository of Khalsa mysticism, enunciated and subsequently rendered by Akali-Nihung Guru Gobind Singh Ji. Consisting of dual canons, the Dasam Granth and the simultaneous Sarbloh Granth, Dasam Bani is composed of dichotomous narrations/reiterations whose superficiality and simultaneous profundity contain erstwhile ethics in matters of military, familial, societal and mystical conduct. The contemporary debate raised over the superficiality of the varied compositions residing in both canons, is a fundamental catalyst of the Anglophonic 'neoism' brewing in panthic circles since the invasion and infiltration of European colonialism. Spearheaded by Anglophonic missionaries, and hostile Semitism, the latter was a revolution which in a parallel vein to nationalism succeeded in eradicating the puritanical perspectives prevalent on the preliminary sub-continent. Such an evolutionary divergence revamped the indigenous 'Sanataan' perspective on divinity and religious principalities. Overnight the utilitarian perspective on God (the very concept is traditionally alien to sub-continental traditions) possessed by Semitism, replaced the essentially pragmatic sub-continental perspective on the latter being a calculative force rather than an extreme autocrat residing on a cosmic throne. The Khalsa too fell prey to this subtle infiltration, even contemporarily strains of the latter are visible with the latter's preachers and academia often referring to God as a fundamental 'he' despite professing an extreme view in the latter's paradoxical formlessness. Whereas via a metaphysical perspective one can easily argue that a profound creator, as propounded upon by the Khalsa canons, is intensively able in forming it's (the term is being employed here in the absence of any suitable juxtapositions) willful forms, one has to memorize and accept the esoteric norm that fundamentally the Khalsa God is a formless entity. Devoid of any essential physicality. As Guru Arjan Dev Ji envisions, the creator is 'Sarguna' and simultaneously 'Nirguna.' Formless and formed. In it's divine play it remains essentially devoid of any illusory solidification, whilst continually residing in the very particles of it's formulated play. Akali-Nihung Guru Gobind Singh Ji taxonomized such a deity via multi-faceted incentives in his voluminous compositions.
The latter took on the form of a fatherly warrior at times, and simultaneously manifested himself as a decisive virgin, pure of any perpetual blemishes gaining respite on the blood of demonic foes. The contemporary duality bestowed upon the Guru's writings bestows a superficial division of the deity and it's power upon the latter. Such superficiality however renders the profound testament of Dasam Bani nullified. Especially in face of the faceted queries catalyzing on the infallibility of the Khalsa's God in the aftermath of the latter's division from his own power. The Guru's superficial envisioning in the Sarbloh Granth, concerning the Khalsa's esoteric parentage, is a profound embodiment of divine exegesis. 'Bhagvati is your mother, Kaal Purakh your father. You (the Khalsa) have been nurtured in their divine lap!' The latter duality is a significant device, employed by the Guru to initiate an illusory pragmatism in the Khalsa. An altruistic personality and an utilitarian warrior, the latter was an extreme foe of dogmatic extremism which sub-continent wise prosecuted the fair sex on the basis of her perceived fallibility. As Avtar Singh essays in his 'Khalsa Dharam Shastar,' the Guru intentionally utilized a feminine perspective to refer to the creator in his analyzations. This was to evidence and cement the varied formulates via which the latter could be perceived and subsequently invoked. Semitism construes the creator to be an ardent male, evidencing the latter society's dominant emphasis on masculinity in varied environments of societal residence, the confluence of Islamic paragons did not uplift the female susceptibility to over-dominance. The Islamist prophet initiated a catalyst of paradoxical and murderous norms regarding the latter's universal standing whereas Vedic dictums asserted the beneficiary of burning her on her deceased spouse's pier. Realizing that his unborn crusade required a fundamental paradigm of unity to succeed, the Guru realized early on the need to distinguish his universal campaign from prior failed and mis-construed plannings. Subsequently being a paragon of Guru Nanak Dev's successive lineage he was an ardent prescriber of the view, 'from woman, man is birthed; within woman, man is conceived; to woman he is engaged and wedded. Woman becomes his friend; through woman, the future generations arise. When his woman dies, he seeks another woman; to her he is bound. So why categorize her as inadequate? From her, monarchs are born. From woman, woman is born; without woman, there would be no one at all.'
Realizing that neighboring pragmatism and influential precincts could easily diverge the Khalsa from it's platform of gender equality, the Guru birthed a parental precipitate of the creator. Construing a pre-Freudian perception, the Guru manifested a feminine sublimity of his deity. As Avtar Singh evidences, the multi-fabricated linguistics employed in the Adi Guru Granth Sahib could (and contemporarily is) be effortlessly deemed as being an embodiment of a masculine creator. Subsequently the semitic and sub-continental foes of the Khalsa could easily initiate theological offenses, employing the latter perception to question the Khalsa's orthodox emphasis on gender equality. Simultaneously the human attachment to multi-colored familial comfort could easily hamper the acceptance and understanding of the latter prospect. Thus, the Guru engineered a dichotomous view of the singular parent via depicting it as a motherly guardian. The invasive juxtapositions of both the masculine and feminine precepts of the creator in Dasam Bani evidence the latter norm, 'o destroyer of Kshatriyas! Thou art devoid of fear, unassailable, primal, devoid of physicality, the possessor of unfathomable glory. Thou art the PRIMAL POWER*, the vanquisher of the demon Bridal and the penalizer of the demonic Chichhar and intensively glorious. Thou art the sustainer of Gods and mortals, savior of sinners, vanquisher of tyrants and eradicator of blemishes. Hail. Hail o slayer of Mahishasura! Thou art the destroyer of the universe and the creator of the world!' Simultaneously a feminine invocation is rendered in a parallel vein, 'she who is the daughter of the mountain and the destroyer of Mahishasura; she who is the bestower of the kingdom of Indra, via the annihilation of Sumbh and Nisumbh...' The contemporary stratification bestowed upon the creator and it's power (the aad-shakti, Bhagvati, Bhagauti, Bhavani) is a superficial division rendered via mystical educationalists, in a hope to disseminate philosophical ethics with ease. As Mahant Om Nath Sharma concludes, after a profound analyzation of Hindu mysticism, 'durga (a referral to the creative power) represents the divine mother. She (Gurmat discards any sexualization of the latter) is the energy aspect of the lord. Without Durga, Shiva has no expression and without Shiva, Durga is devoid of any existence. Shiva is the soul of Durga; Durga is identical with Shiva...'
The latter citation, emboldened for emphasis, is an ardent conclusion of both the Devi Bhagvat Purana, and medium portions of Dasam Granth. Both cite the transparent singularity of both Durga and her master, but to varying extent. The Dasam Granth establishes her as an illusory figure head of the omnipotent creator, whereas the Purana depicts her as a reflective tendency and foregoes any profundity. "The exalted Brahma queried, 'are you a male or female mighty warrior?' The Devi replied, 'the one and only truth is infinite, there is no distinguishable divergence between us. Whatever the truth, I am that. Via ignorance we are construed to be separate. Only the truth is supreme! It is indestructible and was present even before the birth of time, it is sanataan! During the parentage of creation it manifests in multi-faceted forms, and that is when we appear divided. Oh Brahma in reality we are like a reflection in a mirror.'" The utter demoralization of feminism, in a gender precept, commenced with an arduous leaning towards an intensively socio-masculine tendency. The sub-continental's historicity evidences this. For centuries the residents of the latter battled against hordes of foreign invaders, autocrats and militants who sought to vanquish their ancestral traditions. As Wafa Sultan proclaims, the varied violence which plagued the middle eastern and subsequent south Asian spectrum(s) in pre-Islamic and post-Islamic periodicals was theoretically and pragmatically won by the male. Simultaneously the less than appeasing role of the female was voraciously veiled and her status vilified. Presented as more possession than person, she was made a symbol of inherent faults with masculinity until ultimately even religion condemned her very being. Thus, we find the idiopathic revulsion attached to the 'daughters of Eve' in many a Semitic faith. Whereas the latter was a pre-dominant trait in the west, the east had a divergent tale to recite. Following a Vincian** train of thought, the reproductive role of woman was morally objectified and subsequently discarded as being more need than requisite. Thus her sexuality became a matter of pornographic indecency rather than a metaphor of humanity's evolution. It was to eradicate and refute such norms, that Akali-Nihung Guru Gobind Singh formulated a feminine mysticism of the creator. Adopting the multi-fabricated traits of a female he constructed erstwhile narratives to depict her benign superiority over man, sprinkled with an erstwhile temperamental leaning towards violence. In his character analysis he propounds the virtue of Kali, a demonic goddess who despite her religiosity is simultaneously viewed with oblivious apathy and a pathological fear; thus her role as a feminine comforter to death. 'The horrible warriors could not be vanquished. Even Indra (a contextual metaphor of masculinity) failed in defeating them. When they thundered in the field, all except Kali fled the sight. She engaged them and valorously slaughtered them!' Kali, whose idiomatic representation construes her to be a vilified trait of divine nature, represents the societal taboos attached to women of unique tendencies. It is an inherent tendency present in Middle Eastern and South Asian societies where females who cannot be married, are not wealthy or possess a keen intellectual drive fall prey to superstitious norms. Yet it is such a woman, the Guru argues, who might as well possess the means to universal salvation in her dual hands.
Kali's very physicality represents societal taboos attached to feminism. Her darkness depicts it's unexplored depths, whereas her accessories represent it's metaphorical dangers. Yet it is this simultaneous appearance which is construed to be an inherent repository of Athenian wisdom in the Guru's 'Chandi Di Vaar.' Whereas often Kali and her female counterparts are accepted as being divisional cognitives of the greater Hindu pantheon, the Guru views them as being a singular representation of an illusory feminism attached to a formless master. 'Salutation to Bhavani, the queen of the worlds. The lord, the vanquisher of Mur! Victory to Chandi, the giver to the triumvirate worlds. Father and mother to the world.' It was such a motherly attribute, invoked by the Guru, whilst formulating the Khalsa as Avtar Singh evidences in his exegesis of the Guru's manifestation of Durga. 'Taking to form of Maya (illusory feminism) Gopal (a masculine term employed for the formless creator) wanders within his birthed creation.' The residual vehicle of such feminism is the Khalsa, which Kesar Singh envisions as being the 'vehicle of the Goddesses's will.' Perhaps the union and divergence of such a paradoxical concept cannot be found more perfectly than in Akali-Nihung Singh accessories, especially the 'Chand-Toora,' which evidences the unity of dichotomous concepts in a utilitarian whole. 'There is no Shiva no Shakti, no water or wind, no world of form where the true Guru; the yogi resides. Where the imperishable lord Waheguru, the unapproachable master dwells.'



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