Vidyapati is the most celebrated poet of Mithila. He was the first of the old Vaishnava master singers who spoke and wrote in desil-bayana (folk language), and his short hymns of prayers and praises soon became exceedingly popular. He wrote on several branches of scholarships. Prominent among them are Keertilata (a marvellous piece of literature written in praise of Kirtisimha and Veerasimha of the Oinwar dynasty of Mithila); Bhuparikrama (geographical details of the world); Purusapariksha (an examination of Hindu ethical morals based on the good examples from the ancient history of India); Keertipataka (description of the details of the battle between Sivasimha, a worthy descendant of Keertisimha, and some Muslim rulers); Padavali (an account of his charming songs written in his mother tongue- desil-bayana); Likhnavali (written in a form of letters); Gangavakyavali (on religious merit of worshipping the holy Ganga); Saivasarvasvasaar (a vast treatise like an ocean on the Shaiva form of worship-can be treated as an encyclopaedia of the Shaiva cult); Daanvakyavali (about the importance of religious gifts for a common practioner of Hindu religion); Vibhagsasar (details of law of position of property and inheritance); Durgabhak-titarangini (on the form of Durga worship); Gayapattalaka (an excellent manual of rites to be performed on the occasion of death rites at Gaya); Gorakshavijaya (song-drama); Manimanjari (drama); Dvaitanirnaya (on the practices and experiments of tantra and tantra tradition of Mithila) and Vyadi-bhakti-tarangini (details of snake-worship in Mithila).According to the local legend, Vidyapati was an ardent devotee of Shiva. He composed several songs in the form of Nacharis and Maheshbanis to please the Lord. Impressed with the devotion and poetic creativity of the poet, Lord Shiva came to him in a disguised form of a cowherd boy called Ugna. Ugna requested the poet that as he was an orphan boy he wanted to work in his house as his servant. With a little hesitation, the poet assigned him the job of looking after his cattle. Ugna became a very charming and affectionate servant to the poet within a very short period.One day, Vidyapati received an invitation to participate in a royal function of the king of Mithila, Shivasimha. He took Ugna with him and they left for the king’s capital. On the way the poet became very thirsty but it was a huge barren land where he saw no drops of water. The helpless poet finally requested Ugna to bring some water. Ugna too showed his inability to bring the water and requested him to travel some more distance, but Vidyapati refused to walk further and became unconscious. He fell on the ground. Now, Ugna, who was none but Lord Shiva himself, took out a jug of water from his matted hair (jata), revived him to consciousness and gave the poet water to drink. The poet felt the taste of Ganga-water and immediately asked Ugna wherefrom he had brought it. Ugna tried to make some false story but failed to do so. He wanted to keep it a secret and that’s why he avoided deliberately the poet’s query, but as Ugna wanted to avoid it, the poet’s curiosity increased. Finally, he appeared as Shiva, in his original form, before the poet. Vidyapati touched his feet and took the dust of Ugna’s feet into his hands. Ugna now warned him not to disclose the secret before anybody including the poet’s wife Sushila. Vidyapati assured Ugna to keep this secret with him.According to the local legend, Vidyapati was an ardent devotee of Shiva. He composed several songs in the form of Nacharis and Maheshbanis to please the Lord.Ugna remained with Vidyapati for many years and helped him miraculously in many critical situations. For instance, when Shivasimha was arrested by Emperor Allaudin Khilji of Delhi, Vidyapati accompanied by Ugna, came to Delhi to get him released. Knowing that Vidyapati was a poet, Allaudin arranged a scholarly debate between Vidyapati and his own court-poet.Vidyapati was told to respond either in Persian or a mixed language alone. The poet with the heavenly blessings of Ugna defeated the Sultan’s poet and responded in poetry he had composed in the prescribed languages. Not only that, with the blessings of Ugna he got rid of many obstacles created by the Sultan and his men at Delhi and finally succeeded in getting his king released from the prison of Sultan.Now the story takes a very sad turn. Once, the wife of Vidyapati assigned some domestic responsibility to Ugna, which he failed to deliver according to her given instructions. She became angry with him and started beating him with a broom. This erratic behaviour of Sushila made Vidyapati frustrated that Shiva, of whom he was a great devotee, should be abused and humiliated. He could not control himself and shouted, “Stop! What the hell are you doing? Ugna is none else but Lord Shiva.” It is said, that very moment Ugna disappeared from there.Now Vidyapati realised his mistake. He left his house and wandered through many temples, rivers and jungles in search of Ugna. Finally, Vidyapati found Ugna in Nandanvana. Shiva told him that he would not go back to his house but would help him whenever required. The place where Ugna appeared before the poet as God is known as Ugnaasthan. A small lingam was enshrined by the local devotees. Recently a temple has been made for that lingam. This story is known to each and every person of this region. For them it is history. Even today they worship Lord Shiva while singing the devotional songs of Vidyapati to please him.

Maharsi Sri Aurobindo on Vidyapati
Vidyapati wrote in Maithili language prevalent in north Bihar and Nepal, which is very akin to Bengali. His songs relating to divine love of Radha Krishna became very popular in Bengal .Sri chaitanya, who adored them; they gained a high status and wide circulation. Bengalis adopted Vidyapati as their own poet as Sri Chaitanya. Even Rabindranath Tagore composed poetry on the emotional style of Vidyapati under the pen name of Bhanu Singher padavali.Sri Aurobindo translated about 41 poems of Vidyapati from a very old Bengali version into English. This is an early work of Sri Aurobindo, while staying in Baroda soon after his return from England.Sri Aurobindo passed 13 years from 8 Feb.1893 to18 June 1906 in the Baroda state service, first in the settlement and revenue department and in the secretariat work for the Maharaja, afterwards as professor of English and, finally, as vice principal in the Baroda college. These were years of self culture, of literary activity-for much of the poetry afterwards published from Pondicherry was written at this time-and of preparation for his future work. At Baroda he made up the deficiency of not having any contact with the culture of India and the east while staying in England, now he learnt Sanskrit and modern Indian languages like Bengali, Marathi and Gujarati.The last two being the official languages of Baroda state.An exceptional mastery of Sanskrit at once opened to him the immense treasure house of the Indian heritage. He read the Upanishads, the Gita, the Puranas, the epics Ramayan, Mahabharat and the dramas of Kalidas etc.Ancient India, the ageless India of spiritual culture and unwearied creative vitality, revealed herself to her wondering vision and he discovered the greatness of his own soul and the work it had comedown to accomplish.Sri Aurobindo wrote many English poems during his stay at Baroda, and also began some which he finished later.His first book of poems was published there for private circulation. It contained many poems written in England. in his teens. It also contained those five poetry collections written and translated at Baroda which included Vidyapati's 45 poems, four poems included are alternate versions.Sri aurobindo included other poetry like,Madhusudan Dutta ,one on Bankim Chandra Chatterji,a sonnet on his maternal grand father Rajnarayan Bose and two English adaptations from Chandidas,the reputed Bengali mystic poet whom he read along with Vidyapati at Baroda. This collection was published in 1895 and was named Songs of Myrtilla.These 45 poems of Vidyapati were translated into English from an old Bengali edition, five years before Aurobindo's marriage in 1901 with Mrinalini ,the daughter of Bhupal Chandra Bose, when she was of 14 years of age. Her date of birth was 6 Mar 1888.She passed away after a week's illness due to Influenza at Baidyanath -dham Deoghar at the age of 32 on17 Dec.1920.Here are some specimen of Vidyaptis songs translated by Sri Aurobindo & Anand K. Coomaraswamy1.Shaisab youban duhu mili gel,ssravanak path duhu lochan lelVachanak chaturi lahu lahu haas,Dharaniye chand karat parkashMukur lei aab karat singar sakhi se puchhai kaise surat viharNirjane uraj herai kata beri,hasat apan payodhar heriPahil badari sam puni navrang,dine dine anang agoral angMadhav pekhal aprup bala,shaisab youban duhu ek bhelaSri Aurobindo's TranslationChildhood and youth each other are nearingHer two eyes their office yield to the hearing.Her speech has learned sweet maiden craftAnd low not as of old she laughed.Her laughter murmurs.A moon on earthIs dawning into perfect birth.Mirror in hand she apparelsher nowAnd asks of her sweet girl-comrades to showWhat love is and what love doesAnd all shamed delight that sweet love owes.And often she sits by herself and seesSmiling with bliss her breast's increase,Her own milk -breasts that,plums at first,Now into golden oranges burst.Day by dayLove's vernal dreamsExpand her lovely blossoming limbs.Madhav I saw a marvellous flowerOf girls;childhood and youth one power,One presence grown in one body fair.Foolish maiden ,not thus declareThe oneness of these contrariesRather the two were yoked,say the wise.
Anand K.Coomarswamy's translation:-Childhood and youth are mingled both.Her eyes have taken the road to her ears:Wily are her words,and her low laughAs if the moon appeared on earth.She takes a mirror to array herself.And asks:'what is thegame of love ,my dear?'How many times she secretly regards her bosom,Smiling to see her breasts!First like a jujube,then like an orange,-Love day by day enfolds her limbs:O Madhava,I saw a girl surpassing fair,Childhood and youth were one in her!Saith Vidyapati:Oh foolish maid,The wise would say,The twain have met.**2.Nav brindaban nav nav tarugan nav nav vikasit phoolNaval vasant naval malayanil matal nav alikulViharai naval kishorKalindi pulin kunj nav shobhan, nav nav prem bibhorNaval rasal mukul madhu matal,nav kokil kul gaoNav jubatigan chit umatael,nav rase kanan dhabNav yubraj naval navnagari, milay nav nav bhantiNit nit aisan nav nav Khelan,Vidyapati mati maati**Sri Aurobindo's TranslationA new Brindaban I seeAnd renewed each barren trees;New flowers are blooming,And another spring is;newSouthern breezes chase the dewWith new bees roaming .And the sweet boy of Gocul straysIn new and freshning blossoming ways.The groves upon Kalindi,s shoreWith his tender beauty bloomWhile freshed disturbedheart brims o'erBy the new born love o'ercome.And the new, sweet cary budsAre wild with honey in the woods;New birds are singing ;And the young girls wild with loveRun delighted to the groveNew heats bringing.For young the heir of Gocul isAnd young his passionate mistresses.Meeting new and fresh love -ritesAnd lights of ever -fresh desire,Sports ever- new delightsSet bidyapati's heart on fire.**3.Ritupati rati rasik vrajraj, rasmay ras rabhas ras maanjhRasvati ramani ratan dhani rai,raas rasik sah ras avagaiRanginigan ras rangahi natai,ranrani kankan kinkini rataiRahi rahi raag rachay rasvant,rati rat raagini raman basantRatati rabab mahatik vilas,Radharaman karu murali vilasRasmay Vidyapati kabi bhan,Rupnarayan bhupati jan.**Sri Aurobindo's TranslationIn the spring moonlight the lord of loveThro' the amorous ravel's maze doth move;The crown of love love's raptures proves;For Radha his amorous darling moves ,Radha the ruby of ravishing girlsWith him bathed in love's moonlight whirls.And all the merry maidens with raptureDancing together the light winds captureAnd the bracelets speak with a ravishing cry.And the murmur of waist -bells rises high--Meanwhile rapture -waking stringRipest of strains the sonata of springThat lover and lord of love- languid notesWith tired delight in throbbing throats.And rumours of violin and bowAnd the mighty Queen's-harp mingle and flow ;And Radha's ravisher makes sweet measureWith the flute,that musical voice of pleasure.Bidyapati's genius richly woveFor King Roupnaraian this rhythm of love.**4.Madhuritu madhukar panti madhur kusum madhumatiMadhur brindavan maanjh madhur madhur rasrajMadhur yubati gan sang madhur madhur ras rangSumadhur yantra rasal madhur madhur kartalMadhur natan gati bhang, madhur natini natrangMadhur madhur ras gan, madhur Vidyapati bhan.**Sri Aurobindo's TranslationSeason of honey when sweets combine,Honey bees line upon line,From sweet blossoms honeyed feetHonied blossoms and honey sweet.O sweet is Brindaban todayAnd sweeter than these our Lord of May;His maiden -train the sweets of earth,Honey -girls with laughter and mirth,Sports of love and dear delight ,When instruments honey sweet uniteTheir sounds soul-moving,and sweet O sweetThe smitten hands and pacing feet,Sweet the swaying dancer whirls,Hinied the movement of dancing girls,And sweet as honey the love -song rings.Sweet bidyapati the honey sings.