‘The Golden Milkmaid’: a novel and ‘Writing from the Gaudiya Tradition’: exegesis Vaishnavi Heath The University of Adelaide School of Humanities Discipline of English & Creative Writing October 2013 Volume One ‘The Golden Milkmaid’: a novel Contents Volume One Abstract .... .... .... .... .... .... .... iii Statement .... .... .... .... .... .... .... v Acknowledgements .... .... .... .... .... .... .... vi ‘The Golden Milkmaid’ Chapter I The First Ring of the Bell .... .... .... .... .... 1 Chapter II Dawn .... .... .... .... .... 44 Chapter III The Second Ring of the Bell .... .... .... .... .... 47 Chapter IV Morning .... .... .... .... .... 65 Chapter V The Third Ring of the Bell .... .... .... .... .... 67 Chapter VI Noon .... .... .... .... .... 83 Chapter VII The Fourth Ring of the Bell .... .... .... .... .... 88 Chapter VIII Afternoon .... .... .... .... .... 106 Chapter IX The Fifth Ring of the Bell .... .... .... .... .... 111 Chapter X Dusk .... .... .... .... .... 123 Chapter XI The Sixth Ring of the Bell .... .... .... .... .... 125 Chapter XII Night .... .... .... .... .... 147 Chapter XIII The Seventh Ring of the Bell .... .... .... .... .... 149 Chapter XIV Midnight .... .... .... .... .... 160 Chapter XV The Eighth Ring of the Bell .... .... .... .... .... 162 Chapter XVI The End of the Night .... .... .... .... .... 172 Writing from the Gaudiya Tradition — i — Contents Volume Two Preamble .... .... .... .... .... .... .... .... .... .... .... .... .... .... 1 Part I .... .... .... Neti Neti: Not This Not That .... .... .... .... .... 3 Part II .... .... .... Devi: Goddess/Woman/Sacred Land .... .... .... 13 Part III Achintya-bheda-abheda-tattva: The Actuality of Inconceivable, Simultaneous Oneness and Difference .... .... .... 30 Glossary with Note on Transliteration & Translation .... .... .... .... .... 53 Works Cited .... .... .... .... .... .... ... .... .... .... .... .... .... .... 74 Writing from the Gaudiya Tradition — ii — Abstract My thesis, the novel ‘The Golden Milkmaid’ and its exegesis, comprise an original contribution to knowledge in that it is the practice-led research of a female Gaudiya writer analysing the process of writing bhakti (devotion to divinity) from within the academy. Gaudiya Vaishnavism is a significant strand of Hinduism liked in India, among the Indian diaspora, and beyond the Indian demograph globally. Yet inevitably, Gaudiya practice, process and aesthetics are being altered during transmission and now, time-honoured the traditions have become vanishingly rare. My work is a written record from an insider- observer perspective. ‘The Golden Milkmaid’ is an account of one young woman’s spiritual journey from Australia to India, to a hermitage of Gaudiya women, worshipers of goddess Kishori (the golden milkmaid) and her paramour, the god Krishna. One of these women becomes the protagonist’s spiritual mentor. The major part of the book represents the protagonist immersing herself in Gaudiya life. Celebrated Kishori-Krishna narratives embedded throughout the novel are re-presented as ‘real’, sacrosanct, and the very sustenance and sanctuary of believers’ lives. A retelling of asta-kaliya-leela (pastimes at the eight watches of the day) derived from the traditional Gaudiya narrative/literary/ritual/meditational scaffolding, is presented as a work that the characters are translating into English. The narrative flashes back to the protagonist’s relatives in Australia to reveal how they feel about her living in India and her new beliefs. An exchange of letters is also interleaved. When her mother is taken ill, the central character returns to her family, changed. The exegesis is in three parts. Part I, Neti Neti (Not this, not that), compares and contrasts ‘The Golden Milkmaid’ to relevant works in the closest possible genres of contemporary Australian literature to put forward that the work stands alone. Part II, Devi (Goddess), explores the connection between believer, land, and sacred stories about the land; it describes the realities of the lives of the ‘widows of Vrindavan’ and it explains the kinship between the novel’s Gaudiya characters. Finally, it elucidates restrictions imposed on Gaudiya women and their creative expression through writing, thus presenting the case Writing from the Gaudiya Tradition — iii — for ‘The Golden Milkmaid’ empowering its women characters through text in the midst of a patriarchal cult. Part III, Achintya-bheda-abheda-tattva (the actuality of inconceivable, simultaneous oneness and difference) backgrounds Gaudiya writing so elucidating the context in which ‘Golden Milkmaid’ was conceived. It is divided into five segments that together suggest that the work of a modern-day, independent, female Gaudiya writer both does and does not belong in a Gaudiya genre. This section reflects upon the living spoken and literary Gaudiya tradition in its setting of India’s vast and ancient religion; it acknowledges the rich tradition of Indian aesthetics; it addresses dilemmas in striving to amalgamate literary art and faith and it elucidates the key textual/meditational scaffolding used in the novel. The concluding segment is a reflection on a significant Gaudiya text, Bhaktivinode Thakur’s novel Jaiva-dhama. Writing from the Gaudiya Tradition — iv — I certify that this work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and to the best of my knowledge and belief, contains no material previously written or published by another person except where due reference has been made in the text. Additionally, I certify that, in the future, no part of this work will be used in a submission for any other degree or diploma in any university or other tertiary institution without the proper approval of the University of Adelaide and where applicable, any particular institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, to be made available for loan and photocopying subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library catalogue and also through the web search engines, unless permission has been granted by the University to restrict access for a period of time. Signed: …………………………………………………………………………… Writing from the Gaudiya Tradition — v — Acknowledgements Kritagya : Gratitude Many people have given me assistance during my writing of this thesis, but it is to Dr. Susan Hosking, my principal doctoral supervisor at the University of Adelaide, that I am most deeply indebted and whom I must thank foremost for taking me under her wing and giving me the opportunity to embark upon this project and develop as a writer. For five years, she gave unstintingly of her valuable guidance, patience, practical suggestions, time and intellectual discourse and her encouragement and belief has sustained me at all times. I also wish to express sincere thanks to my awesome co-supervisor, Dr. Mandy Treagus. I so heartily appreciate her knowledge, her logical way of thinking and her inspirational spirit. I remain beholden to both my supervisors for smoothing the way from the beginning until submission. I offer heartfelt thanks to The University of Adelaide for awarding me a scholarship and so the opportunity to carry out my doctoral research in the Department of English and Creative Writing. I was blessed with the company of scholars working in a variety of fields who have provided remarkable stimulus, and I was given the extravagance of being able to write in the sanctuary of a workplace with a panoramic view of an arboreal Adelaide skyline. Thanks go to The University of Adelaide librarians and Faculty administrative staff, particularly Shirley Ball and Tina Esco. And sincere gratitude goes to Dr. Joshua Nash from the Department of Linguistics at the University of Adelaide for his understanding and encouragement as well as for sharing his research and knowledge into the crucial ecological issues in Vrindavan today. My debt to scholars in disciplines of Indian history, literature, religious studies, and anthropology is immense and this thesis could not have been written without the groundwork they provided in their publications. My deepest heartfelt gratitude is reserved for Yuga-Acharya Nitya-lila Pravista Om Shri Shrimad Bhaktivedanta Narayan Goswami Maharaj who was distinguished for his promulgation of the Radha-Krishna narratives. He was a dearly loved guru to me and this thesis is dedicated to him. Then, with folded palms, I gratefully acknowledge the teachings of Jagat-Acharya Nitya-leela Pravista Om Shri Shrimad Abhay Charanaravinda Bhaktivedanta Swami Prabhupada, prolific writer/translator and the genius behind the ISKCON Hare Krishna movement. Dandavat pranams (reverential obeisance) go to the parampara (lineage) of uttama adikhari maha-bhagavat rasik (of the topmost qualification) Gaudiya master-guru writers who are no longer physically present, including Shrila Bhaktivinode Thakur and Shrila Bhaktisiddhanta Saraswati Thakur. Dandavat pranams go to Writing from the Gaudiya Tradition — vi — Shrila Bhaktirakshak Shridhara Maharaja, Gaudiya writer-in-English par excellence; and Shrila Bhaktipromode Puri Maharaja, the embodiment of compassion. Especially, I am beholden to Shrila Indradyumna Swami who, when I was living in India some twenty years ago, instructed