(Continued ..)
Priyadas narrates a miracle of Tulsidas at Vrindavan, when he visited a temple of Krishna.[60][63] When he began bowing down to the idol of Krishna, the Mahant of the temple named Parshuram decided to test Tulsidas. He told Tulsidas that he who bows down to any deity except their Ishta Devata (cherished form of divinity) is a fool, as Tulsidas' Ishta Devata was Rama.[63][64] In response, Tulsidas recited the following extemporaneously composed couple
| “ | O Lord, how shall I describe today's splendour, for you appear auspicious. Tulsidas will bow down his head when you take the bow and the arrow in your hands. | ” |
[edit] Literary life
Tulsidas started composing poetry in Sanskrit in Varanasi on the Prahlada Ghat. Tradition holds that all the verses that he composed during the day, would get lost in the night. This happened daily for eight days. On the eighth night, Shiva - whose famous Kashi Vishwanath Temple is located in Varanasi - is believed to have ordered Tulsidas in a dream to compose poetry in the vernacular instead of Sanskrit. Tulsidas woke up and saw both Shiva and Parvati who blessed him. Shiva ordered Tulsidas to go to Ayodhya and compose poetry in Awadhi. Shiva also predicted that Tulsidas' poetry would fructify like the Sama Veda.[65] In the Ramcharitmanas, Tulsidas hints at having the Darshan of Shiva and Parvati in both dream and awakened state.[66]
[edit] Composition of Ramcharitmanas
In the year Vikram 1631 (1575 CE), Tulsidas started composing the Ramcharitmanas in Ayodhya on Tuesday, Ramnavami day (ninth day of the bright half of the Chaitra month, which is the birthday of Rama). Tulsidas himself attests this date in the Ramcharitmanas.[67] He composed the epic over two years, seven months and twenty-six days, and completed the work in Vikram 1633 (1577 CE) on the Vivaha Panchami day (fifth day of the bright half of the Margashirsha month, which commenrates the wedding of Rama and his wife Sita).[45][65]Tulsidas came to Varanasi and recited the Ramcharitmanas to Shiva (Vishwanath) and Parvati (Annapurna) at the Kashi Vishwanath Temple. A popular legend goes that the Brahmins of Varanasi, who were critical of Tulsidas for having rendered the Sanskrit Ramayana in the vernacular, decided to test the worth of the work. A manuscript of the Ramcharitmanas was kept at the bottom of pile of Sanskrit scriptures in the sanctum sanctorum of the Vishvanath temple in the night, and the doors of the sanctum sanctorum were locked. In the morning when the doors were opened, the Ramcharitmanas was found at the top of the pile. The words Satyam Shivam Sundaram (Sanskrit: सत्यं शिवं सुन्दरम्, literally "truth, auspiciousness, beauty") were inscribed on the manuscript with the signature of Shiva. The words were also heard by the people present.[65][68][69]
Per traditional accounts, some Brahmins of Varanasi were still not satisfied, and sent two thieves to steal the manuscript.[65][70] The thieves tried to break into the Ashram of Tulsidas, but were confronted by two guards with bows and arrows, of dark and fair complexion.[65] The thieves had a change of heart and came to Tulsidas in the morning to ask who the two guards were.[70] Believing that the two guards could be none other than Rama and Lakshmana, Tulsidas was aggrieved to know that they were guarding his home at night.[65] He sent the manuscript of Ramcahritmanas to his friend Rai Todar Mal, the finance minister of Akbar, and donated all his money.[65] The thieves were reformed and became devotees of Rama.[70]
[edit] Last compositions
Around Vikram 1664 (1607 CE), Tulsidas was afflicted by acute pain all over his body, especially in his arms. He then composed the Hanuman Bahuk, where he describes his bodily pain and suffering in several stanzas.[71] He was relieved of his pain after this composition. Later he was also afflicted by Bartod boils (Hindi: बरतोड़, furuncles caused by pulling out of the hair), which may have been the cause of his death.[71]The Vinaypatrika is considered as the last compositions of Tulsidas, believed to be written when Kali Yuga started troubling him.[65] In this work of 279 stanzas, he beseeches Rama to give him Bhakti ("devotion"), and to accept his petition. Tulsidas attests in the last stanza of Vinaypatrika that Rama himself signed the manuscript of the work.[72] The 45th stanza of the Vinaypatrika is sung as the evening Aarti by many Hindus.[73]
[edit] Death
Tulsidas passed away at the Assi Ghat on the bank of the river Ganga in the Shraavan (July–August) month of the year Vikram 1680 (1623 CE). Like the year of his birth, traditional accounts and biographers do not agree on the exact date of his death. Different sources give the date as the third day of the bright half, seventh day of the bright half, or the third day of the dark half.[74][75][edit] Works
Twelve works are widely considered by biographers to be written by Tulsidas, six major works and six minor works.[76] Based on the language of the works, they have been classified into two groups as follows–[77]
- Awadhi works – Ramcharitmanas, Ramlala Nahachhu, Barvai Ramayan, Parvati Mangal, Janaki Mangal and Ramagya Prashna.
- Braja works – Krishna Gitavali, Gitavali, Kavitavali, Dohavali, Vairagya Sandipani and Vinaya Patrika.
[edit] Ramcharitmanas
Main article: Ramacharitamanas
Ramacharitamanas (रामचरितमानस, 1574–1576), literally The Holy Lake of Acts of Rama,[76] is the Awadhi rendering of the Ramayana narrative. It is the longest and earliest work of Tulsidas, and draws from various sources including the Ramayana of Valmiki, the Adhyatma Ramayana, the Prasannaraghava and Hanuman Nataka.[76] The work consists of around 12,800 lines divided into 1073 stanzas, which are groups of Chaupais separated by Dohas or Sorthas.[78] It is divided into seven books (Kands) like the Ramayana of Valmiki, and is around one-third of the size of Valmiki's Ramayana.[78] The work is composed in 18 metres which include ten Sanskrit metres (Anushtup, Shardulvikridit, Vasantatilaka, Vamshashta, Upajati, Pramanika, Malini, Sragdhara, Rathoddhata and Bhujangaprayata) and eight Prakrit metres (Soratha, Doha, Chaupai, Harigitika, Tribhangi, Chaupaiya, Trotaka and Tomara).[79][80][81] It is popularly referred to as Tulsikrit Ramayana, literally The Ramayana composed by Tulsidas.[82] The work has been acclaimed as "the living sum of Indian culture", "the tallest tree in the magic garden of medieval Indian poesy", "the greatest book of all devotional literature", "the Bible of Northern India", and "the best and most trustworthy guide to the popular living faith of its people."[83]Several manuscripts of the Ramcharitmanas are claimed to have been written down by Tulsidas himself. Grierson wrote in the late nineteenth century, two copies of the epic were said to have existed in the poet's own handwriting. One manuscript was kept at Rajapur, of which only the Ayodhyakand is left now, which bears marks of water. A legend goes that the manuscript was stolen and thrown into Yamuna river when the thief was being pursued, and only the second book of the epic could be rescued.[84] Grierson wrote that the other copy was at Malihabad in Lucknow district, of which only one leaf was missing.[84] Another manuscript of the Ayodhyakanda claimed to be in the poet's own hand exists at Soron in Etah district, one of the places claimed to be Tulsidas' birthplace. One manuscript of Balakanda, dated Samvat 1661, nineteen years before the poet's death, claimed to be corrected by Tulsidas, is at Ayodhya. Some other ancient manuscripts are found in Varanasi, including one in possession of the Maharaja of Benares that was written in Vikram 1704 (1647), twenty-four years after the death of Tulsidas.[84]
[edit] Other major works
The five major works of Tulsidas apart from Ramcharitmanas include–[77]- Dohavali (दोहावली, 1581), literally Collection of Dohas, is a work consisting of 573 miscellaneous Doha and Sortha verses mainly in Braja with some verses in Awadhi. The verses are aphorisms on topics related to tact, political wisdom, righteousness and the purpose of life. 85 Dohas from this work are also found in the Ramcharitmanas, 35 in Ramagya Prashna, two in Vairagya Sandipani and some in Rama Satsai, another work of 700 Dohas attributed to Tulsidas.
- Kavitavali or Kavitta Ramayan (कवितावली, 1608–1614), literally Collection of Kavittas, is a Braja rendering of the Ramayana, composed entirely in metres of the Kavitta family – Kavitta, Savaiya, Ghanakshari and Chhappaya. It consists of 325 verses including 183 verses in the Uttarkand. Like the Ramcharitmanas, it is divided into seven Kands or books and many episodes in this work are different from the Ramcharitmanas.
- Gitavali (गीतावली), literally Collection of Songs, is a Braja rendering of the Ramayana in songs. All the verses are set to Ragas of Hindustani classical music and are suitable for singing. It consists of 328 songs divided into seven Kands or books. Many episodes of the Ramayana are elaborated while many others are abridged.
- Krishna Gitavali or Krishnavali (कृष्णगीतावली, 1607), literally Collection of Songs to Krishna, is a collection of 61 songs in honor of Krishna in Braja. There are 32 songs devoted to the childhood sports (Balalila) and Rasa Lila of Krishna, 27 songs form the dialogue between Krishna and Uddhava, and two songs describe the episode of disrobing of Draupadi.
- Vinaya Patrika (विनयपत्रिका), literally Petition of Humility, is a Braja work consisting of 279 stanzas or hymns. The stanzas form a petition in the court of Rama asking for Bhakti. It is considered to be the second best work of Tulsidas after the Ramcharitmanas, and is regarded as important from the viewpoints of philosophy, erudition, and eulogistic and poetic style of Tulsidas. The first 43 hymns are addressed to various deities and Rama's courtiers and attendants, and remaining are addressed to Rama.
[edit] Minor works
Minor works of Tulsidas include–[77]- Barvai Ramayana (बरवै रामायण, 1612), literally The Ramayana in Barvai metre, is an abridged rendering of the Ramayana in Awadhi. The works consists of 69 verses composed in the Barvai metre, and is divided into seven Kands or books. The work is based on a psychological framework.
- Parvati Mangal (पार्वती मंगल), literally The marriage of Parvati, is an Awadhi work of 164 verses describing the penance of Parvati and the marriage of Parvati and Shiva. It consists of 148 verses in the Sohar metre and 16 verses in the Harigitika metre.
- Janaki Mangal (जानकी मंगल), literally The marriage of Sita, is an Awadhi work of 216 verses describing the episode of marriage of Sita and Rama from the Ramayana. The work includes 192 verses in the Hamsagati metre and 24 verses in the Harigitika metres. The narrative differs from the Ramcharitmanas at several places.
- Ramalala Nahachhu (रामलला नहछू), literally The Nahachhu ceremony of the child Rama, is an Awadhi work of 20 verses composed in the Sohar metre. The Nahachhu ceremony involves cutting the nails of the feet before the Hindu Samskaras (rituals) of Chudakarana, Upanayana, Vedarambha, Samavartana or Vivaha. In the work, events take place in the city of Ayodhya, so it is considered to describe the Nahachhu before Upanayana, Vedarambha and Samavartana.[85]
- Ramagya Prashna (रामाज्ञा प्रश्न), literally Querying the Will of Rama, is an Awadhi work related to both Ramayana and Jyotisha (astology). It consists of seven Kands or books, each of which is divided into seven Saptakas or Septets of seven Dohas each. Thus it contains 343 Dohas in all. The work narrates the Ramayana non-sequentially, and gives a method to look up the Shakuna (omen or portent) for astrological predictions.
- Vairagya Sandipini (वैराग्य संदीपनी, 1612), literally Kindling of Detachment, is a philosophical work of 60 verses in Braja which describe the state of Jnana (realization) and Vairagya (dispassion), the nature and greatness of saints, and moral conduct. It consists of 46 Dohas, 2 Sorathas and 12 Chaupai metres.
[edit] Popularly attributed works
The following four works are popularly attributed to Tulsidas–[77]- Hanuman Chalisa (हनुमान चालीसा), literally, Forty Verses to Hanuman, is an Awadhi work of 40 Chaupais and two Dohas and is a prayer to Hanuman. Although some authors do not consider it to be authored by Tulsidas, it is attributed to Tulsidas universally in popular belief and also contains the signature line of Tulsidas.[86] It is one of the most read short religious texts in northern India, and is recited by millions of Hindus on Tuesdays and Saturdays.[86] It is believed to have been uttered by Tulsidas in a state of Samadhi at the Kumbh Mela in Haridwar.[77]
- Sankatmochan Hanumanashtak (संकटमोचन हनुमानाष्टक), literally Eight verses for Hanuman, the Remover of Afflictions, is an Awadhi work of eight verses in the Mattagajendra metre, devoted to Hanuman. It is believed to have been composed by Tulsidas on the occasion of the founding of the Sankatmochan Temple in Varanasi. The work is usually published along with Hanuman Chalisa.
- Hanuman Bahuka (हनुमान बाहुक), literally The Arm of Hanuman, is a Braja work of 44 verses believed to have been composed by Tulsidas when he suffered acute pain in his arms at an advanced age. Tulsidas describes the pain in his arms and also prays to Hanuman for freedom from the suffering. The work has two, one, five and 36 verses respectively in the Chhappaya, Jhulna, Savaiya and Ghanakshari metre.
- Tulsi Satsai (तुलसी सतसई), literally Seven Hundred Verses by Tulsidas, is a work in both Awadhi and Braja and contains 747 Dohas divided in seven Sargas or cantos. The verses are same as those in Dohavali and Ramagya Prashna but the order is different.
[edit] Doctrine
The philosophy and principles of Tulsidas are found across his works, and are especially outlined in the dialogue between Kakbhushundi and Garuda in the Uttar Kand of the Ramcharitmanas.[87] Tulsidas' doctrine has been described as an assimilation and reconciliation of the diverse tenets and cultures of Hinduism.[88][89][90] At the beginning of the Ramcharitmanas, Tulsidas says that his work is in accordance with various scriptures - the Puranas, Vedas, Upavedas, Tantra and Smriti.[91] Ram Chandra Shukla in his critical work Hindi Sahitya Ka Itihaas elaborates on Tulsidas' Lokmangal as the doctrine for social upliftment which made this great poet immortal and comparable to any other world littérateur.[citation needed]Nirguna and Saguna Brahman
Verses from Ramcharitmanas equating the Saguna Brahman and Nirguna Brahman, at the entrance of a temple in Bhopal.
As per Tulsidas, the Nirguna Brahman (quality-less impersonal God) and Saguna Brahman (personal God with qualities) are one and the same. It is the devotion (Bhakti) of the devotee that forces the Nirguna Brahman which is quality-less, formless, invisible and unborn, to become Saguna Brahman with qualities. Tulsidas gives the example of water, snow and hail to explain this – the substance is the same in all three, but the same formless water solidifies to become hail or a mountain of snow – both of which have a form.[92][93] Tulsidas also gives the simile of a lake – the Nirguna Brahman is like the lake with just water, while the Saguna Brahman is a lake resplendent with blooming lotuses.[94][95] In the Uttar Kand of Ramcharitmanas, Tulsidas describes in detail a debate between Kakbhushundi and Lomasha about whether God is Nirguna (as argued by Lomasha adhering to monism) or Saguna (as argued by Kakbhushundi adhering to dualism). Kakbhushundi repeatedly refutes all the arguments of Lomasha, to the point when Lomasha becomes angry and curses Kakbhushundi to be a crow. Lomasha repents later when Kakbhushundi happily accepts the curse but refuses to give up the Bhakti of Rama, the Saguna Brahman.[96][97] Though Tulsidas holds both aspects of God to be equal, he favours the qualified Saguna aspect and the devotees of the highest category in the Ramcharitmanas repeatedly ask for the qualified Saguna aspect of Rama to dwell in their mind.[98] Tulsidas has at multiple places vigorously contradicted the denial of Avatar by Kabir.[99] In several of his works, Kabir had said that the actual Rama is not the son of Dasharatha. In the Balkand of Ramcharitmanas, Shiva tells Parvati – those who say that the Rama whom the Vedas sing of and whom the sages contemplate on is different from the Rama of Raghu's race are possessed by the devil of delusion and do not know the difference between truth and falsehood.[99][100]The name of Rama
Verses from Ramcharitmanas at the beginning of Nam-vandana (Extolling the name of Rama), at the Manas Mandir, Chitrakoot, India.
At the beginning of the Ramcharitmanas, there is a section devoted to the veneration of the name of Rama.[101] As per Tulsidas, repeating the name of Rama is the only means to attain God in the Kali age where the means suited for other ages like meditation, Karma, and Puja are ineffective.[102] He says in Kavitavali that his own redemption is because of the power, glory and majesty of the name of Rama.[103] In a couplet in the Gitavali, Tulsidas says that wishing for liberation without refuge in the name of Rama is like wishing to climb to the sky by holding on to the falling rain.[104] In his view, the name of Rama is greater than both Nirguna and Saguna aspects of God – it controls both of them and is illuminates both like a bilingual interpreter.[105] In a verse in the Dohavali, Tulsidas says that the Nirguna Brahman resides in his heart, the Saguna Brahman resides in his eyes and the name of Rama resides on his tongue, as if a radiant gemstone is kept between the lower and upper halves of a golden casket.[106] He holds that Rama is superior to all other names of God,[107] and argues that ra and ma being are the only two consonants that are written above all other consonants in the conjunct form in Sanskrit because they are the two sounds in the word Rama.[108][edit] Rama as Brahman
At several places in Tulsidas' works, Rama is seen to be the higher than Vishnu and not as an avatar of Vishnu, which is the general portrayal of Rama.[109][110][111] In the episode of the delusion of Sati in Ramcharitmanas, Sati sees many a Shiva, Brahma and Vishnu serving Rama and bowing at his feet.[112] When Manu and Shatarupa perform penance, they crave to see that Supreme Lord "from a part of whose being emanate a number of Shivas, Brahmas and Vishnus."[113] Brahma, Vishnu and Shiva come to them many times tempting them with a boon, but Manu and Shatarupa do not stop their penance. They are finally satisfied only by the appearance of Rama, on whose left side is Sita, from a part of whom are born "countless Lakshmis, Umas (Parvatis) and Brahmanis (Sarasvatis)."[113] In the episode of marriage of Sita and Rama in Balkand, the trio of Brahma, Vishnu and Shiva is present - Brahma is astounded as he finds nowhere anything that is his own handiwork, while Vishnu is enchanted with Lakhmi on seeing Rama.[114] In the Sundarkand, Hanuman tells Ravana that Brahma, Vishnu and Shiva can create, preserve and destroy by the might of Rama.[115] In the Lankakand, Tulsidas presents the universe as the cosmic form of Rama, in which Shiva is the consciousness, Brahma is the reason and Vishnu is his intelligence.[116] As per Tulsidas, Rama is not only an avatar, but also the source of avatars – Krishna is also an Avatar of Rama.[117]
In the opinion of Urvashi Soorati, the Rama of Tulsidas is an amalgamation of Vishnu who takes avatars, Vishnu in the abode of Ksheera Sagara, Brahman and the Para manifestation of the Pancharatra.[118] Macfie concludes that Tulsidas makes a "double claim", i.e. Rama is an incarnation of both Vishnu and Brahman.[119][120] In the words of Lutgendorf, Tulsidas' Rama is at once "Valmiki's exemplary prince, the cosmic Vishnu of Puranas, and the transcendent brahman of the Advaitins."[121]
[edit] Vedanta, World and Maya
In the Sundarkand of Ramcharitmanas, Tulsidas says that Rama is knowable by Vedanta.[122][123]As per Tulsidas, Rama is the efficient and material cause (Nimitta and Upadana) of the world, which is real since Rama is real.[124] In several verses of the Ramcharitmanas, Tulsidas says that the animate and inanimate world is a manifestation of Rama, and the universe is the cosmic form of Rama. Authors interpret these verses to mean that the world is real according to Tulsidas, in keeping with the Vishishtadvaita philosophy of Ramanuja.[125][126][127] However, at some places in the Ramcharitmanas and Kavitavali, Tulsidas compares the world to a night or a dream and says it is Mithya (false or unreal). Some commentators interpret these verses to mean that in Tulsidas' opinion the world is unreal as per the Vivartavada doctrine of Adi Shankara, while some others interpret them to mean that the world is transient yet real as per the Satkhyativada doctrine of Ramananda.[128][129] Uday Bhanu Singh concludes that in Tulsidas' view, the world is essentially the form of Rama and appears to be different from Rama due to Maya. Its visible form is transient, which is what Tulsidas means by Mithya.[124] In the Vinayapatrika, Tulsidas says that the world in itself is neither true (Satya), nor false (Asatya), nor both true and false together (Satyasatya) – one who casts aside all these three illusions, knows oneself. This has been interpreted to mean that as per Tulsidas, the entire world is a Lila of Rama.[130] At the beginning of the Ramcharitmanas, Tulsidas performs Samasti Vandana (obeisance to all beings) in which he bows down to the world also, saying it is "pervaded by" or "born out of" Sita and Rama.[131][132][133] As per some verses in Ramcharitmanas and Vinaypatrika, when a Jiva (living being) knows the Self, Maya and Rama, it sees the world as being pervaded by Rama.[124]
In the Balkand episode of the marriage of the princes of Ayodhya with the princesses of Mithila, Tulsidas presents a metaphor in which the four brides are compared with the four states of consciousness – the waking state (Jagrat), sleep with dreams (Swapna), dreamless sleep (Sushupti) and the fourth self-conscious state (Turiya). The four grooms are compared with the presiding divinity (Vibhu) of the four states – Vishva, Taijasa, Prajna and Brahman. Tulsidas says as the four states of consciousness with the their presiding divinities reside in the mind of a Jiva, so the four brides with their grooms are resplendent in the same pavilion.[134][135]
Tulsidas identifies Maya with Sita, the inseparable energy of Rama which takes avatar along with Rama.[136] In his view, Maya is of two types – Vidya and Avidya. Vidya Maya is the cause of creation and the liberation of Jiva. Avidya Maya is the cause of illusion and bondage of the Jiva. The entire world is under the control of Maya.[136] Maya is essentially the same but the two divisions are made for cognitive purposes, this view of Tulsidas is in accordance with Vaishnava teachers of Vedanta.[136]
[edit] Views on other Hindu deities
As per Tulsidas, there is no incompatibility between devotion to Rama and attachment to Shiva.[137][138] Tulsidas equates the Guru as an incarnation of Shiva,[139] and a considerable part of the Balkand of Ramcharitmanas is devoted to the narrative of Shiva including the abandonment of Sati, the penance of Parvati, the burning of Kamadeva and the marriage of Parvati and Shiva.[140] In addition, Tulsidas venerates the whole Hindu pantheon. The Ramcharitmanas begins with reverence of Ganesh, Sarasvati, Parvati, Shiva, the Guru, Valmiki and Hanuman.[139] At the beginning of the Vinayapatrika, he bows to Ganesh, Surya, Shiva, Devi, Ganga, Yamuna, Varanasi and Chitrakoot, asking them for devotion towards Rama.[141][edit] Bhakti
The Lord is to be approached by faith (bhakti) single minded devotion and surrender of self in perfect love, and all actions are to be purified of self-interest in contemplation of Him. Show love to all creatures, and thou wilt be happy; for when thou lovest all things, thou lovest the Lord, for He is all in all. The soul is from the Lord, and is submitted in this life to the bondage of works (karma); Mankind, in their obstinacy, keep binding themselves in the net of actions, and though they know and hear of the bliss of those who have faith in the Lord, they do not attempt the only means of release. The bliss to which the soul attains, by the extinction of desire, in the supreme home, is not absorption in the Lord, but union with Him in abiding individuality. This is emancipation (mukti) from the burden of birth and rebirth, and the highest happiness. But the practical end of all his writings is to inculcate bhakti addressed to Rama as the great means of salvation and emancipation from the chain of births and deaths, a salvation which is as free and open to men of the lowest caste as to Brahmins.[edit] Critical reception
From his time, Tulsidas has been acclaimed by Indian and Western scholars alike for his poetry and his impact on the Hindu society. Tulsidas mentions in his work Kavitavali that he was considered a great sage in the world.[103] Madhusūdana Sarasvatī, one of the most acclaimed philosophers of the Advaita Vedanta tradition based in Varanasi and the composer of Advaitasiddhi, was a contemporary of Tulsidas. On reading the Ramcharitmanas, he was astonished and composed the following Sanskrit verse in praise of the epic and the composer.[54][142]ānandakānane kaścijjaṅgamastulsītaruḥ ।
kavitā mañjarī yasya rāmabhramarabhūṣitā
| In this place of Varanasi (Ānandakānana), there is a moving Tulsi plant (i.e., Tulsidas), whose branch of flowers in the form of [this] poem (i.e., Ramcharitmanas) is ever adorned by the bumblebee in the form of Rama. |
The historian Vincent Smith, the author of a biography of Tulsidas' contemporary Akbar, called Tulsidas as the greatest man of his age in India and greater than even Akbar himself.[24][146][147] The Indologist and linguist Sir George Grierson called Tulsidas "the greatest leader of the people after the Buddha" and "the greatest of Indian authors of modern times"; and the epic Ramcharitmanas "worthy of the greatest poet of any age."[24][146] The work Ramcharitmanas has been called "the Bible of North India" by both nineteenth century Indologists including Ralph Griffith, who translated the four Vedas and Valmiki's Ramayana into English, and modern writers.[4][148][149] Mahatma Gandhi held Tulsidas in high esteem and regarded the Ramcharitmanas as the "greatest book in all devotional literature".[150] The Hindi poet Suryakant Tripathi 'Nirala' called Tulsidas "the most fragrant branch of flowers in the garden of the world's poetry, blossoming in the creeper of Hindi".[13] Nirala considered Tulsidas to be a greater poet than Rabindranath Tagore, and in the same league as Kalidasa, Vyasa, Valmiki, Homer, Johann Wolfgang von Goethe and William Shakespeare.[13] Edmour J. Babineau, author of the book Love and God and Social Duty in Ramacaritmanasa, says that if Tulsidas was born in Europe or the Americas, he would be considered a greater personality than William Shakespeare.[151] In the words of the archaeologist F. R. Allchin, who translated Vinaypatrika and Kavitavali into English,[152][153] "for people of a large part of North India Tulsidas claims reverence comparable to that accorded to Luther as translator of the Bible into the native German". Allchin also mentions that the work Ramcharitmanas has been compared to not only the Ramayana of Valmiki, but the Vedas themselves, the Bhagavad Gita, the Kuran and the Bible.[26] Ernest Wood in his work An Englishman Defends Mother India considered the Ramcharitmanas to be "superior to the best books of the Latin and Greek languages."[147] Tulsidas is also referred to as Bhaktaśiromaṇi, meaning the highest jewel among devotees.[154]
Specifically about his poetry, Tulsidas has been called the "emperor of the metaphor" and one who excels in similes by several critics.[155][156][157] The Hindi poet Ayodhyasingh Upadhyay 'Hariaudh' said of Tulsidas
Very informative
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