the sources are in pdf please do not ignore any attachment ata kama ni kupitia tu Select any ONE of the primary sources discussed in class（I will upload later). Craft an argument that explains the strengths and weaknesses of this particular source in

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Eknath’s Poem from the Zelliot Essay

The starting line of the Eknath’s sixteen-century drama poem, ‘’Hindu-Turk Samvad,’’ create the stage meant for a rather long, hard-hitting, a comic argument between people from two different religious groups including a Hindu and a Muslim. The fact that it is composed in the heyday of the Hindu-Muslim cultural interactions; it provides an exciting perception of how the Brahman viewed a Muslim together with his religion. Moreover, the poem may also provide some real concern the perceptions and viewpoints of the Muslim because the author’s style in the majority of his drama poems was quick to communicate as precisely as he could through the use of another person’s voice. Hence, another person’s voice forms an unusual source by which to approach the issue of the nature of the encounter between Hindu together with the Muslim in the medieval periods (Zelliot 64). Typically, Eknath explored the use of dialogue to express some of the ways in which the Sufis and bhaktas may have impacted on one another.

Several recent research of sants together with poets in the bhakti, or even the devotional religious groups, North Indian schools as well as their Sufi partners in Islam have started shedding more light on some of how the Sufis and the bhaktas may have impacted one another. The precise encounter which existed between the Hindu, as well as the Muslim, is also another concern which is apparently not having many sources available in the English language. The decision to leave aside Guru Nanak, an individual who is considered all-important figure who is also a synthesize of the ideology of the Hindu, and the Muslims practices are worth noting since one might argue out three essential methods in which the Hindu bhaktas handled the presence of Muslims.

It is notable that the poet Eknath had a different approach as he in integrated a completely different strategy of presenting the attitudes of his characters towards the two religious groups including the Islam and the Hinduism. Just like another poet called Kabir, Eknath was indeed focused much on the both the Hindu and Islam practices which looked hypocritical. Moreover, be even seemed more concerned and interested in getting and researching practices and beliefs which were similar in both the two religions and that can also be integrated into some higher reality. Just like Chaitanya, Eknath strongly believed that the God created everyone including the two religious groups, Muslims, and Hindus in his wisdom and there needs no doubt and debate about that. Typically, in composing and writing this Muslim-Hindu dialogue, Eknath wanted to entertain his audience with the funny and ridiculous nature of the human behavior as well as educate them about the very nature and concept of religion (Zelliot 65).

After carefully reading the Eknath’s ‘’Hindu-Turk’’ dialogue, one can easily conclude that it is indeed one of the three hundred bharuds, a bhaki poetry genre as it has no strict rhyme or even meter pattern but rather the poet emphasize on speaking through the voice of some other individuals, animals, or bird. The poet can also employ the metaphor of games, a government document, or even some other element of the work-a-day universe in these types of poems. Essentially, Eknath’s poem entails things such as dialogue between a Brahman and Maha as well as one between a Brahman together with a do. Besides, the dialogue also includes the various communication in the fortune tellers’ mouths. He also has various information in the mouth of tumblers, untouchables, a hen-pecked individual, a whore, a person who is devoted to the god of Khandoba, a snake-charmer as well as a madman. Many bharuds are always in a corrupted Hindustani together with tens of others being spoken if through the Muslims: a Darwish, a fagir as well as a Habshi or migrants from Ethiopia to Maharashtra who is ending every second line of the poem while stating and elaborating teen incarnation of the Vishnu with Muhammad’s statement Muhammad!

It is also hypothetically correct to assert that Eknath’s poem is dramatic as well as humorous. After studying the poem, it was evident that this work can be sung and acted with a lot of vigor, especially using costumes and not employing reverent approach. Despite the voices used in the poem are those that are non-orthodox, the poet does not scorn or ridicule them. However, every character from the untouched Mahar to heterodox Mahanubhav to the Hindi speaking Muslim is permitted to be the voice of some element of the bhakti religious groups. Some of the messages the poet is expressing include necessity for an ethical life as well as for the dedication to the sants. He is also using the poem to show the need to acknowledge and understand God as a being with no qualities (nirguna) together with God with quality as well as the reality that the underneath every other trapping of caste together with one reality of sect. Nonetheless, it is also notable that some of the trappings, the outward symbols, and conducts, are entirely and always accurate and this is delineated for every character in the poem. Therefore, it is possible to assert that the poet not only observed and complied with each life around him with the much keen eye but also had the capability for empathy with all other living creatures, however small, weird, or foreign (Zelliot 67).

Everyone will agree with Zelliot that majority of the works of Eknath's, he attempted to bring about the highest of the philosophical thinking, and he thought down to the level of knowledge and understanding of the common man. He wanted everyone to understand the concept and the purpose of his works and therefore made the flow of the poem to be easy and straightforward. This can be witnessed in bharuds which are structured to entice the uneducated, to appeal individuals who might not otherwise hear the message from the poem.

Notably, the materials which are used from the Eknath’s poem is drawn from every bustling life, the multiple passers-by, the everyday sights as well as the sounds which surrounded the environment in which Eknath lived in. For instance, both the bharuds together with the legends of the poet’s life clearly demonstrate that indeed Muslims were a crucial part and parcel of the Maharashtra life.

Zelliot asserts that there are no factual references to the Muslim government or to the Muslim officers in Eknath’s story despite the area being under the control of Muslims since 1296. This is also evident in the Eknath’s poems in the use of the metaphor of the documents from the government, for instance, assurance letter, petition letter, injunction letter among others. These government documents are greatly personalized and apparently show familiarity with the government officials. The contemporary Marathi normally casts Eknath in the responsibility of saving Hinduism in Maharashtra including both Hindu as well Muslim. This can be evident from the medieval periods which symbolized tolerance, the participation of the Hindus in government institutions and also enhanced cultural exchange. Additionally, Eknath exploited thee an opportunity of the revival and establishment of the Ahmadnagar kingdom to forge the links with the history and by editing the initial text of the bhakti movement which was written more than three hundred years ago together with his biographies in poetic nature of all the initial sants. All these materials are truly reflected in the Eknath’s poem. After the dedicated works of Eknath, there was a strong, motivated movement and this has its judgment on the fact that various Muslims joined bhakti poets. This was the world which initiated the writing of the Hindu-Turk dialogue among other literary works or poems from other poets.

The readers should also note that there is no significant edition or review of this poem or bharud. However, mistakes or errors together with multiple changes have no doubt crept in over the years, more specifically as the use of Persian words has gone down. The typographical errors alone, which is also another evident weakness of the poem it difficult to translate the poem to other languages including French and Germany, as the writer’s penchant for puns as well as wordplay adds more salt to the injury. Moreover, Eknath’s poem also has some lines which are very spare and therefore warrants the highest possible guessing from an intelligent person. It should be noted that the Hindu speaks Marathi while using some Hindi words and the Muslim talk Marathized Hindustani and this makes the audience to romanize the script and let it stand there the way it is. In most situations either the meaning has been lost entirely or Eknath wanted to use meaningless terms or words to carry his work along. Despite all these challenges, I am practically sure that the translation is fairly faithful to the spirit of Eknath (Zelliot 69).

In conclusion, Eknath’s poem has explicitly explored the use of dialogue to demonstrate some of the ways in which the two religious groups including the Muslim and the Hindu may have impacted on one another. Moreover, the poem has tried to develop some of the practices and beliefs which can be shared between the two religious groups to promoted mutual understanding and peaceful coexistence. This poem is also another example of the poetry genre which has no strict rhyme or even meter pattern but rather the poet emphasize on speaking through the voice of some other individuals, animals, or bird and used by many poets such as Eknath. The writer also wanted to gain the readers’ attention by ensuring that the poem is dramatic and humorous which are also some of the strengths of the poem. Eknath also wanted to make his work simple and understandable even to the common man by integrating materials which are drawn from the daily life activities. However, it should also be noted that one of the major weakness of the poem is the fact that it has several errors and mistakes which may also distort the information.

 

Works Cited

Zelliot, Eleanor. A Medieval Encounter Between Hindu and Muslim: Eknath’s Drama-Poem Hindu-Turk Samvād. na.