It was after midnight but the women of the Bhat household listened with rapt attention as the narrator sang the Eknaathi Bharood. Bharood, a form of Marathi folk art introduced by the sixteenth century saint poet Eknath, serves as a medium of advocating spirituality through a musical recital. A total three hundred songs in number, each Bharood is a lyrical composition with a simple narrative, linking the problems experienced by rural folk in routine life to the quest for salvation. The hyperbole used is often comical and entertaining in order to grab audience attention and to keep them engaged and spellbound.

  सत्वर पाव ग मला भवानी आई
रोडगा वाहीन तुला

सासरा माझा गावी गेला
तिकडेच खपवी त्याला
भवानी आई, रोडगा वाहीन तुला

सासू माझी जाच करिते
लवकर न्येई ग तिला
भवानी आई, रोडगा वाहीन तुला

जाऊ माझी फडाफडा बोलते
बोडकी कर ग तिला
भवानी आई, रोडगा वाहीन तुला

नणंदेचं कार्टं किरकिर करतं
खरूज येऊ दे त्याला
भवानी आई, रोडगा वाहीन तुला

दादला मारून आहुति देईन
मोकळी कर ग मला
भवानी आई, रोडगा वाहीन तुला

एका जनार्दनी सगळेच जाऊ दे
एकटीच राहू दे मला
भवानी आई, रोडगा वाहीन तुला  

Literal translation

Grant me my wishes, Oh Mother Goddess Bhavani

I shall offer you a Rodga (a type of an unleavened baked whole wheat pastry which is difficult to perfect)

My father-in-law went to his hometown

May he pass away there

My mother-in-law harrasses me

May she die soon

My co-sister uses harsh words

Make her a widow (may her hair be shorn off, symbolism of Hindu widowhood at that time)

My sister-in-law's kid is irritable

May he be afflicted with scabies

Let my husband die

Better still, eliminate his entire family

Thus may I be liberated

And if you grant all my wishes

Goddess Bhavani, I shall offer you a Rodga

Anu gasped. She could not believe her ears, the artist was expressing the plaints of a rural housewife. Unable to deal with her marital family's unpleasantness the frustrated woman was pleading for calamity upon calamity to befall upon them.

"How can a woman wish her in-laws ill? And even want her husband to die?" Anu found this impossible to digest. Surely the worst possible nightmare for a Hindu wife was for her husband to predecease her. Some communities would expect her to immolate herself on her husband's pyre, although the Brahmins in Maharashtra did not encourage the practice. Nevertheless a surviving widow's life was unbearably difficult.

"Anu, don't go by the literal meaning of the words. Behind every Bharood song there is a deeper meaning. And the Bharoodkar will explain that shortly. Just have patience!" Bhiu mollified her as she exchanged a smile with Kashi. Little Nana was fast asleep in the lap of his nursemaid, as it was way past his bedtime.

"Kashi Vahini, don't you think many of our own women would ask for the same wishes to be granted?" She asked her sister-in-law, the reigning Peshwa's wife. The fact that the elder Peshwin Radhabai nor Chimaji and his family was not present among them had emboldened Bhiu.

"How preposterous, Bhiu Vansa! Which woman would wish for ill to befall upon her husband's family?" Kashi looked as shocked as Anu did earlier.

"Oh, you will be surprised to know that a lot many do! Especially when the family's circumstances change. All kitchen politics and intrigue originates in this manner!" Bhiu had no time to elaborate as the artist began to summarise the lyrics. 

"The father-in-law in the lyrics symbolises pride and vanity. The woman is asking for her pride to be vanquished. Likewise the mother-in-law represents materialism, the co-sister represents base desires, the sister-in-law's child represents temptation, and lastly, the husband represents moral scruples. In these words Eknath Maharaj advises people to seek Moksha through renunciation of the material, which is the root of all worldly conflict!" 

Bhiu, Kashi, Anu and their maids, seated behind a sheer screen called Gosha to seclude them from the largely male audience, were lost in the performance as the artists used anecdotes and humour effectively to tell their tales. After the Bharood, the Jagran or vigil continued and two pairs of Waghya-Murali stepped on the rangashila- the stone floor of the temple courtyard- which served as a stage for performers. 

Waghya, the men and Murali, the girl dancers, are a temple tradition associated with Khandoba. People from certain communities dedicate either their male or female offspring to Khandoba in return for a vow fulfilled. The Waghyas serve the temple, sing and play instruments such as cymbals or the string based tuntuney while the Muralis dance and receive alms from pilgrims. Unfortunately, after her initiation as a Murali when she is symbolically married to Khandoba, the girl inevitably succumbs to ritual prostitution just like any Devadasi, to be exploited by the menfolk of the village. 

The sacred Jejuri hilltop echoed with the enthusiastic chanting of "Yelkot Yelkot Jai Malhar!" (Hail Malhar). Malhar, short form of Malhari Martand, is an alternative name for Khandoba, the chief deity of Jejuri, a manifestation of Lord Shiva. A mural of Khandoba in a Maratha warrior costume, seated upon a white horse, carrying a sword in hand and accompanied by his chief wife Mhalsa who held a spear in her hand was painted on the exterior wall of the temple.

 The Murali dancers sang and danced in praise of Khandoba. They were dressed in bright coloured sarees, their foreheads smeared yellow with turmeric (bhandara) and a red vermillion mark in the centre. Each girl held props such as a scarf and a small bell in her hand. During the performance they dipped into little bags tucked into their sarees tied at the waist and scattered turmeric powder. The temple and its precinct was stained yellow due to this bhandara scattered by the devotees in the name of Khandoba.

Like all upper class girls brought up in seclusion Kashi was curious about the Muralis of Khandoba who were considered his brides or concubines but rather ironically fell victim to the lust of the numerous men who patronised them. The Muralis sang the tale of Khandoba's intrigue with Banai, his second wife. Khandoba, a warrior God worshipped by the Marathas, Kunbis-cultivators, Dhangars- shepherds and many other castes, was already married to Mhalsa, a form of Parvati reborn as a rich merchant's daughter. Khandoba deliberately lost a game of dice with Mhalsa and accepted an exile of twelve years so that he could pursue the bewitching Banai.

He had fallen in love with Banai, who according to the legend, was God Indra's own daughter but was found and raised by a shepherd. In order to win over her affection Khandoba served her father for several years, grazing his flock of sheep and goats. Suddenly one day Khandoba slaughtered the entire flock and when questioned about the act he agreed to bring the animals back to life as long as Banai was married to him. The shepherd agreed and Banai was married off to Khandoba.

When Khandoba returned to Jejuri with his new bride, Mhalsa was livid and threw a tantrum. As a way out of the situation, to stop the two women from squabbling Khandoba divided the hill, letting Mhalsa keep the mansion on the peak while Banai was relocated to the foothill. Till date the idol of Mhalsa is worshipped along with her husband Khandoba in the main temple on the hilltop while Banai's shrine has a modest presence on the way below.

Nobody slept that night as the vigil continued into the early hours of the morning. The folk performers paid obeisance to all the chief deities of the Marathas and continued to entertain the crowd. Just before dawn the Peshwa paid the artists their customary baksheesh and retired to his camp. The women of his family hastened to their enclosure to bathe and to prepare food for Khandoba's offering. Bhiu had made a vow to serve bharit-rodga and puran poli to Khandoba. Neither Kashi not Bhiu had ever made a rodga before. Baiza and the other maids helped with the task.

The dough was made with coarse wheat flour, sesame, carom and cumin seeds, seasoning, oil and water. The women rolled out discs of unequal sizes, made pyramid shaped stacks of these with oil in between and carefully rounded the wheat buns before cooking them over glowing embers. Roasted onion and eggplant purée was then combined into the bharit. After the puran polis were stuffed with a sweet chickpea filling they were baked on griddles and soon the meal was ready. 

Rau led the women of his family to the temple. They were followed by attendants bearing salvers of flowers, fruit, coconuts, bael leaves, turmeric, saffron and the puran poli and bharit-rodga offering. Rau and Kashi performed an elaborate puja. Both Rau and his year old son Nana wore silk dhotis while the women were draped in rich paithani brocade sarees. Curious onlookers waited at a distance for the Peshwa family to finish their worship. 

Admiring glances were cast at the Peshwin who looked really regal in her fig coloured saree with a burnished mustard border. On her shoulders she balanced a deep pink zari trimmed shawl. Lustrous basra pearl strands and gold beads hung over her breasts and her arms were heavy with green glass and gold bangles. She looked the apt companion for the Peshwa who stood tall and handsome, his sacred thread across his left shoulder and his silk shawl on his right. 

Bhiu and Anu joined in during the puja. As she handed over the rodga-bharit personally cooked by her to the priest Bhiu made a navas (vow), asking to be blessed for a child. Anu asked for her entire family to be blessed while Kashi prayed for success for her husband in his professional life. After the blessings the priests returned the consecrated prasad as food for the family to partake. The Peshwa entourage then retired to their camp so that others could resume "Darshan" of the idols without any hindrance.

"So, is the Peshwin bai satisfied with the Dev Darshan? Mind you, Lord Khandoba is rather hard to propitiate!" Rau smiled at his wife as she folded their brocade shawls and kept them aside. 

"We were just wondering, our Kula-daivat is Harihareshwar and our family is also a regular at the Sangameshwar temple on the Karha bank in Saswad. Then why the trip to Jejuri? Surely Jejuri is the native shrine of the Deshastha Brahmins!" Kashi expressed her curiosity.

"Kashi, we may be Konkanastha Brahmins by birth but the subjects of the Dakkhan are devoted to their local Gods such as Khandoba and Tulaja Bhavani. Also the Chhatrapati and his family are ardent devotees of Shri Khandoba. As his Peshwa it is important for us to pay obeisance to the deity. Mind you, we need blessings of all the Gods to ensure that our ambitious plans for strengthening and expanding the Maratha Empire fructify timely!" The Peshwa explained.

"We heard that the Chhatrapati has instructed Swami to build a temple tank or reservoir in Jejuri." Kashi enquired.

"You heard right. The Chhatrapati wishes for unhindered water supply to this pilgrim town. That is another reason for our visit!" Rau sat back against a bolster and asked Kashi to sit next to him.

"We have turmeric on all our clothing, hope Swami does not mind!" Kashi cautioned him. She had never seen this practice anywhere else. There was a thick layer of turmeric/bhandara on every surface of the Jejuri temple. People scattered the golden coloured spice everywhere and over each other. It made Kashi feel a bit uncomfortable.

"When we return from a mission with our clothes caked with dust, you certainly do not mind! And have you forgotten, that when we were married as children the turmeric used to anoint me was sent forth to be smeared on your body? Now we may as well continue the cycle of sharing the turmeric off our bodies!" Rau wrapped his arms around his pretty wife.

"But Swami, we are not alone here. Someone may come inside!" Kashi looked flustered.

"Chopdar! Ensure that we are not disturbed until we call out to you!" Rau roared out to his guards.

"Ji Shrimant!" Came the prompt reply as a thicker curtain was drawn over the entrance to ensure complete privacy for the Peshwa and his wife.

"Now you need not worry, nobody will disturb us. Kashi, our firstborn is now a toddler. Don't you think it is time for our little family to grown in size?" Rau asked with a twinkle in his eye.

"Lest Swami forget, may we remind him that we are still within the temple precinct?" Kashi reminded her husband, although she made no attempt to resist him.

"Does the Peshwin not know that Lord Khandoba's flame of passion needed several wives to satiate him? People associate this place with fertility, you are aware of the reason why Bhiu wanted to come along with us!" Rau did not bother to explain any further. His hands began unsheathing the nine yards of silk and brocade around his wife's body.

Kashi tried hard not to moan as Rau compensated for the several months of loneliness she had endured. She could never deny him his conjugal rights, on the contrary she longed for such intimacy but was too shy to admit it to him openly, even after having borne him his heir. Rau had no such inhibitions. His ardour during lovemaking was addictive to Kashi. She wished he did not have to spend so much time away from home on his missions.

"We've heard that besides a shepherdess, Khandoba has several concubines from among the other castes, including a tailor and a flower girl!" Kashi wondered how Goddess Mhalsa had dealt with the knowledge that her husband had several bedmates.

"There was also another one from the  oil-presser caste, and she was believed to be a Muslim. That is probably why people began the practice of dedicating girls called Muralis as Khandoba's brides!" Rau played with the long tresses flowing on her back.

"We find the Waghya-Murali custom revolting. In the name of the deity the poor Muralis are exploited sexually. Why does Swami not try to ban the practice?" Kashi expressed her concern.

"Kashi, as much as we disapprove, it is not easy to challenge an established norm overnight. The common man is superstitious. Parents willing dedicate a daughter if they ask for a son and their wish is granted. Likewise they also dedicate sons to become Wahgyas. It is not easy for a ruler to bring about a paradigm shift, especially when it involves religious sentiments." Rau explained his predicament.

"Swami, none of the girls and boys who are dedicated are born in the higher castes. Is that not evidence of a caste-based discrimination? Like the Muralis, why are all the Devadasi and Jogtin women from the depressed communities?" Kashi persisted.

"Why do the Rajputs take pride in the Jauhar or mass suicide committed by their women? Why are widows burnt on their dead husband's pyres? Why do Brahmin widows have their hair shorn off? Why do people perpetuate the practice of untouchability? Why do people give and take dowry? Kashi, the reasons behind these practices are complex. Positive change will surely come but it will take several decades. Orthodoxy cannot be eliminated overnight. Meanwhile our assigned mission is to serve the Chhatrapati and the Empire! We may or may not live long enough to see society transform. But right now we need our rest. You must also sleep for a few hours. The overnight vigil may have tired you out!" With these words, Rau coaxed Kashi to rest. 

Kashi drifted off to sleep, dreaming of the wealthy merchant's daughter Mhalsa battling with the beautiful shepherdess Banai, the seamstress Rambhai, Phulai the flower girl and the Candai Bhagavin the oil-presser for her right over her husband as his lawfully wedded wife, while Khandoba rode off unperturbed  into battle,  dressed as a warrior seated upon a white horse, sword in hand. While she was still dreaming Kashi wondered why she had become Mhalsa and why Khandoba's face resembled that of Rau so much!