Osho Discourse on Mystic Meera
Osho : Meera is a launching place for your pilgrimage.
Her scripture is the scripture of love. Perhaps calling it scripture is
not right. Take Narada's BHAKTI SUTRAS -- sutras of devotion -- that is
scripture. There one finds reasoning, method, fixed precepts. It is a
system of devotion. Meera herself IS devotion. You won't find systematic
argument. Fixed logic is not found there. There lightning has struck the
In Meera, found nowhere else, is a natural expression of love. There
have been other devotees, but they all pale before Meera; they become
the background. Meera's star is a very bright, shining star.
Come, let us go toward this star. If just a few drops of Meera's juice
rain on your life, flowers will bloom in your desert. If in your heart
just a few tears make rain clouds like Meera's rain clouds, and in your
heart a melody begins playing as it played to Meera, it is enough. One
drop will color you and make you new.
So don't listen to Meera logically, intellectually. Meera has nothing to
do with logic and intellect. Listen to Meera with feeling, with
devotion. Look with the eye of trust. Push aside logic, leave it to
crawl along the bank. For a little while, let yourself go completely mad
with Meera. This is the world of the mad. This is the world of lovers.
Only then can you understand, otherwise you will miss.
First, a few things about Meera. Meera's love for Krishna did not begin
with Meera. Such a rare expression of love cannot begin just like that.
The story goes back. This Meera is one of the GOPIS -- devotees -- who
was with Krishna. Meera herself has declared it, but the scholars can't
accept it, as there is no historical proof for it.
I accept what Meera says. I am not interested in measuring true and
false. To me it is pointless whether it is history or not. Meera's
statement -- my agreement; when Meera herself says it, the matter is
finished. The question does not arise of someone else raising further
doubts about it. And those who raise doubts like this, they won't ever
be able to understand Meera.
Meera says, "I was Lalita. I danced with Krishna in Vrindavan, I sang
with Krishna. This love is ancient." Meera insists, "this love is not
new." And it entered Meera's life in such a way that it is clear from
the very beginning that the pundits were wrong and Meera was right.
Meera was little, some four or five years old, when a SADHU was a guest
at her house. When this monk got up in the morning, taking out his idol
-- a statue of Krishna hidden away in his bag -- to set it up to
worship, Meera went completely mad.
DEJA VU happened. A memory from a previous existence came. That statue
was such that picture after picture began opening. That statue became a
catalyst -- and once again the story began. It shocked her. Krishna's
form returned to her memory. Again that dark face, those wide eyes, that
crown of peacock feathers, the flute-playing Krishna -- Meera went back
thousands of years in her memory.
She started to cry. She began begging the sadhu for the statue. But the
sadhu also had great affection for his idol. He refused to give it; he
traveled on. A whole day passed. She ate no food, and drank no water.
From her eyes tears flowed -- on and on she cried. Her family was
alarmed, now what can be done? The sadhu has gone, where can he be
found? And will he give it up? Very unlikely.
And this statue of Krishna was certainly very lovely -- the rest of the
family felt it too. They had seen many idols, but in this one there was
something alive, there was something alert, the aura of this statue was
Certainly someone had carved it with love, not just for trade. Someone
had carved it with feeling. Someone had put his total prayer, his full
worship into it; or someone who had once seen Krishna had carved it. But
the statue was such that Meera was gone, she simply forgot this world.
For her the idol must be brought back to stay, if not she will die. This
is the beginning of VIRAH -- deep longing for God -- at the age of four.
That night the sadhu saw a dream. Far away in the next village he slept.
A dream in the night -- and Krishna was standing there. He said, "Return
the statue to whom it belongs. You have kept it for many years, this was
a guardianship, but it is not yours. Now don't carry it on
unnecessarily. You go back and give the statue to that girl. It is hers,
give it back. It is hers, your caretaking is over now. You have arrived
where you were to deliver it, now the matter is finished." The idol is
for the one whose heart contains love for it. Who else?
The sadhu was scared. Krishna had never shown himself to him before. For
years he had been praying and worshipping to this same idol -- flowers
were offered, bells were rung. Krishna had never appeared. He became
very frightened. He fled back in the middle of the night. Arriving at
midnight he woke everyone up and said, "You must forgive me, I have
committed a great wrong." He fell at the feet of that little girl, gave
her the statue and went back.
This event, happening at the age of four or five, reopened her vision.
Again the love flowed, again the journey began. Thus a deep relationship
with Krishna was started again by this Meera in this lifetime.
This small, accidental event, happening when she was four or five years
old... and a revolution happened. Meera remained ecstatic, as if she'd
drunk liquor. By the time Meera was thirty-two or thirty-three years
old, all those who had been important in her life until then had died.
Everyone that her affection went out to, that she had loved, they all
Those who have written books about Meera, they all say, "unfortunately."
I can't say that. I will say, "most fortunately," because for me there
is no such feeling toward death that it is necessarily some form of
curse. It all depends on you. Meera used it rightly. Wherever love was
torn out, each and every vessel of love gone, she offered this love of
hers up to God.
The last stage was staying with her father. Her mother died, her husband
died, her father died. There were five deaths passing in a continuum.
All her attachments in the world were broken.
She made good use of it. She turned broken worldly attachments into
detachment towards the world. And the love that became freed from the
world, she offered up to the feet of God. She submerged herself in the
passion-song for Krishna.
And these deaths did one more fortunate task -- she was shown one thing,
that everything in this universe is momentary. If the beloved is to be
sought, seek in the eternal. Here nothing is yours. Don't go astray
here, don't lead yourself astray. Here everything touched will go away.
Here death, and death only, increases. This is a graveyard. Don't get
any idea of dwelling here. No one has ever remained here.
All that she'd seen with her own eyes... Thirty-three years old is not
very old. She was young. So many deaths happened in her youth that the
thorn of death showed her totally, clearly, that life is momentary. And
then her mind turned away from all this. Turning away from this one can
turn towards the divine.
First Meera danced only at home,
before her Krishna statue. Then love began to rise like a flood,
and the house could not contain it. Then she danced in the village
temples, in the sadhu's SATSANGS. Then love started rushing in such a
flood that she was no more conscious. She drowned, she became absorbed,
she became filled with Krishna.
Naturally, as she was a lady of the royal household, of a respected
family, trouble came to the family. The family always becomes troubled.
A thousand kinds of rumors began to spread in the community, because the
matter went beyond the tradition.
You can imagine -- Rajasthan of five hundred years ago -- women didn't
come out from behind their veils; their faces were never seen in public.
And in the royal household, even more difficult. And she began dancing
in the streets, she began dancing in the midst of the common people.
Even though the dance was for God, to her relatives dance was still
dance -- there was no difference for them. And those who had been the
closest to her were all gone.
Her brother-in-law was on the throne. Wherever Meera sings that the king
sent poison, that the king sent a snake in a basket, that the king had
thorns scattered in her bed, it indicates her husband's younger brother.
Her husband had passed away.
Her brother-in-law was Vikramajit Singh. He was an angry youth, an
ill-natured youth. And this was too much to hear... Meera's fame was
insufferable to him. Meera was so famous, people began coming from far
away. Ordinary people came for her darshan; saints, monks, respectable
people came too. Hearing the news of Meera they came from afar. The
fragrance began to spread. The perfume was like the musk deer; everyone
whose nostrils got a whiff of musk had to come.
This is a very surprising thing. From every part of the country people
came, but the blind family members couldn't see. Those people coming
became the cause of more difficulty for the family because Meera's fame
was a shock to their egos. The king on his throne thought, "Someone in
my own family higher than me? This is unbearable."
Then he found a thousand excuses, and all the excuses logical -- fault
can never be found in them: "She is mixing with the commonfolk, with her
veil aside. She is dancing in the streets; sometimes while dancing she
doesn't pay attention to her clothes. This is unbecoming. It is not
proper for a lady of the royal household."
But consider the stories: poison was sent and in Krishna's name Meera
drank it; and it is said that the poison became nectar. It must have
become! It's bound to. With so much love, so much welcoming -- if
someone drinks even poison it must turn into divine nectar. And if in
anger, in violence, in hate, in enmity you drink ambrosia it too will
In these events that have taken place in the lives of enlightened ones,
I look for demonstration of this psychological truth. Meera receives the
poison as nectar; then it becomes nectar. How you accept the world is
how the world becomes. This world is created from your acceptance. This
world is the extension of your vision.
It became difficult for Meera to remain in her village, so she left
Rajasthan. She went to Vrindavan. "I'll go to my beloved's town," she
thought. She went to Krishna's village, but the same troubles started
up. Because he was not there now, Krishna's village was under the yoke
of pundits -- brahmin scholar-priests.
There is a lovely episode. When
Meera arrived at Vrindavan's most famous temple, an attempt was
made to stop her at the door, because entry to the temple was forbidden
to women. The high priest of the temple had never seen women. Meera was
a woman, so arrangements were made to stop her.
But those people who were standing by the door to stop her, they were
struck dumb. When Meera came dancing, holding her EKTARA in her hand,
playing music; and a crowd of devotees behind her, spreading wine in all
directions, and all drunk -- in that drunkenness those who stood guard
were also stunned. They forgot they were meant to stop her until Meera
had entered inside.
The breeze was as one wave -- it went right in and reached the inner
sanctum. The priest freaked out. He had been worshipping Krishna; the
tray fell from his hands. He had not seen a woman for years. Women were
not admitted to that temple. How had this woman come inside here?
Now think a little... the guards at the door became immersed in feeling,
but the priest could not dive in! No, the priests are the most blind
people in the world. And to find a more unintelligent person than a
scholar is difficult. The guards too were drowned in this juice. This
drunken woman, this ecstatic Meera came, came as a wave -- they too
forgot for a moment, forgot completely what their job was. They
remembered only when Meera had gone past.
It was a thunderbolt. Once the EKTARA was playing inside and the crowd
had gone in, then they became alert to what had happened. But the pundit
did not plunge in. Meera came dancing in front of Krishna, but the
pundit was not immersed. He said, "Hey woman, do you understand that
women are not permitted in this temple?"
Meera listened. Meera spoke, "I had thought that besides Krishna no
other man existed. Are you also a man? I had understood Krishna was the
only man and the rest of the world were his beloveds, that all were
celebrating with him. So you, too, are a man? I hadn't thought that
there were two. So you are in competition?"
He was shaken. The pundit didn't understand how to answer now. Scholars
have answers to fixed questions, but this question had never been raised
before. No one had asked it before Meera, no one had ever asked, "Does
there exist some other man? I have never heard of this. You are saying
very strange things. Where did you get such arrogance? Krishna is the
one man, the rest are all his beloveds."
But troubles were beginning, after this event. Meera was unable to stay
in Vrindavan. We have always given ill treatment to enlightened people.
After death we worship them; living we misuse them. Meera had to leave
Vrindavan. She went to Dvarika.
Years later the political situation changed in Rajasthan; the kingship
changed and the youngest son of King Sanga ascended the throne,
Udaysingh Mevar. He was King Sanga's son and the father of King Pratap.
Udaysingh had great feeling for Meera. He sent innumerable messengers to
Meera to bring her back: "This is our disgrace. This is Rajasthan's
disgrace that Meera wanders from village to village, moving here and
there. This stain will always remain on us. Let her come back. Bring her
back. We ask forgiveness for our mistakes. That which has happened in
the past is gone."
People went, pundits were sent, priests were sent to explain and
convince, but Meera always gave the explanation, "Now where to come or
go? Where should I go now, giving up this temple of my life's love?" She
was ecstatic in the Ranchhordasji temple.
Still Udaysingh tried very hard. He sent a group of one hundred men and
said, "Bring her back no matter what. If she doesn't come, give her a
threat. Tell her you'll fast sitting at the door of the same temple."
And they gave the threat. They insisted, "You must come, if not then
we'll die right here."
Then Meera said, "This again; if I am to go, then I will go and ask my
love. Without his giving permission, I cannot go. So I'll ask
Ranchhordasji." She went inside and the story is very lovely, very
surprising, very significant. She went inside and it is said she never
came out again. She disappeared into Krishna's statue.
This too couldn't be historical, but it should be, because if Meera
cannot merge into Krishna's statue, then who can? And she had dissolved
Krishna so deeply into herself, couldn't Krishna at least let her be
merged into himself? If not then the whole foundation of devotion will
be broken. Then the trust of the devotee will be broken. Meera has
dissolved Krishna so deeply into herself, then Krishna too has a
Be aware, don't take this as a fact and sit thinking over it. This is
truth and truth is very different from fact. Truth is far above facts.
Just what is there in facts? Not worth two cents. Fact is not the limit
of truth. Fact is that which man's small intelligence can understand. It
is a fragment of truth; truth is vast.
If you ask me, I say it is so. Is has to be. If not, the devotee's trust
Meera must have said, "Now what's your feeling, shall I go now? Where
will I go? Either come with me or take me into you." Ultimately that
which you love, you become.
Love with care and understanding. Make your friendships with awareness.
Because this friendship is no ordinary matter. Meera's friendship was
with Krishna, and if finally she merged into his image then to me this
seems to be completely right. It must be so. It is just so.
Osho on :
Gorakh, Guru Nanak
Dev, Hakim Sanai,
Osho Stories on:
Shirdi Sai Baba
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