‘So Says Jan Gopal’: Lesser-known Bhakti poet who defied boundaries

IN recent years, scholars have shown a growing interest in exploring the roots of Indian indigenous modernity, often termed “vernacular modernity”, and how it has shaped, and sometimes challenged, Indian secular democracy. In this context, ‘So Says Jan Gopal: The Life and Work of a Bhakti Poet of Early Modern India’, co-authored by historian-philosopher David N Lorenzen and literary critic Purushottam Agrawal, is a valuable and timely addition. The book provides a detailed examination of the life and writings of Jan Gopal, a relatively obscure but significant 16th-century poet from the Bhakti tradition, known for his allegiance to the nirguni (formless divine) movement led by his guru, Dadu Dayal.

The authors reveal that Jan Gopal, a merchant by birth, was highly educated and well-versed in poetic forms — a poet with an “urbane progressive sensibility”. His major work, ‘Dadu Janam Lila’, celebrates the life of Dadu Dayal, a revered poet of the nirguni tradition and a contemporary of Emperor Akbar. Lorenzen and Agrawal emphasise that Jan Gopal did not join the nirguni tradition simply because of familial or social reasons; he was drawn to its philosophical and poetic appeal, particularly through his grasp of Hindustani music and his strong anti-orthodox stance on social norms.

One of the central questions for readers might be how Jan Gopal’s notion of “mukti” (liberation) aligns or diverges from other Bhakti poets, especially regarding its political implications. Agrawal addresses this by explaining that the social vision of poets like Kabir, derived from his guru Ramananda, represents an early form of indigenous modernity or “deshaj adudhikta”. He suggests that Jan Gopal’s concept of liberation resonates with Kabir’s vision of a counter-public sphere that resists socio-religious hierarchy. This connection adds depth to Jan Gopal’s work, highlighting a family resemblance with Kabir’s socio-political and spiritual resistance.

The book covers topics like “Why Jan Gopal as a Poet?”, “Who was Jan Gopal?”, “Celebrating Dadu the Merciful”, and “Hindu Theodicy and Jan Gopal”. The authors have also translated 20 of his songs and three charitras (legends of Dhruv, Prahlad and Jad Bharat), making his work accessible to English readers.

A significant contribution of the book is its exploration of caste issues and the nirguni challenge to the varnashram dharma, the traditional social and occupational hierarchy. As Lorenzen and Agrawal argue, the nirguni poets, including Jan Gopal, envisioned a society where community was defined by spiritual equality rather than caste, advocating for a “non-caste Hinduism”. This stance not only deviates from orthodox Hindu norms but directly challenges the social order that reinforces caste hierarchies. The authors deserve appreciation for their meticulous translation of Jan Gopal’s songs and charitras, extending his poetic reach beyond the vernacular audience.

The book paints a vivid picture of Jan Gopal’s poetry, capturing its subtle paradoxes as he navigates religious, social and ethical questions in early modern India. His works reflect the tensions between preordained social roles and an emerging sense of individual spiritual agency. By aligning Jan Gopal with Kabir’s counter-public, the authors effectively position him as a poet of resistance — a voice that captures the everyday struggles of his time without compromising intellectual depth or poetic grace.

This book is a significant contribution to studies of early Indian poetic modernity. It captures the lived experience and existential dilemmas of a poet who defied boundaries. Engaging with the spiritual and the social, it offers readers a nuanced perspective on a poet who spoke of the common man’s hopes, challenges, with an unyielding pursuit of spiritual and social liberation. This work will undoubtedly enrich our understanding of the role of Bhakti poets in shaping the contours of Indian modernity.

— The writer teaches philosophy at Panjab University