Thursday, January 22, 2026

Remembered.

 https://youtube.com/shorts/Mat674XHZ5g?si=jd88HZKuaDyzBxSr

The soul’s greatest prayer is not for reward or relief,

but for the courage to return—

and the humility to be held once more by Grace.

The core idea being expressed

At heart, it is about the soul’s homesickness for the Divine.

Not fear.

Not punishment.

But longing.

The feeling says:

“I have wandered far, worn many identities, played many roles—but I remember something purer. I want to go back.”

This is not a dramatic fall-and-redemption story.

It is quieter, deeper.

Why this longing arises

According to Vedantic and Bhakti traditions:

The soul (jīva) is not created broken

It is created complete, but veiled

Life in the world is not exile—it is forgetfulness

When the veil thins—through suffering, beauty, devotion, or sheer exhaustion—the memory awakens.

That memory feels like:

Tears without clear cause

Attraction to the Divine Name

Disinterest in worldly victories

A soft shame, not of sin, but of distance

This is what the images are trying to show.

“Accepted once more” — what does that really mean?

This is crucial.

The Divine never rejects the soul.

So “being accepted again” is not about God changing His mind.

It is about the soul becoming honest.

In the Bhāgavata Purāṇa, the Lord says (in essence):

“I never abandon those who turn toward Me—even once.”

The only barrier was the soul’s own turning away.

So the return is not dramatic.

It is inevitable.

Like a river that wandered through fields and dust— yet always flowed toward the ocean.

Why the imagery often feels sorrowful

Because remembrance hurts before it heals.

When you remember:

What you once were

What you could be

What has been diluted by habit and hurry

There is grief.

But this grief is pure.

It is called viraha in Bhakti—the pain of separation that proves love exists.

Saints say:

If you did not belong, you would not ache.

The deeper teaching hidden inside

The message is not:

“You failed. Try harder.”

The message is:

“You were never lost. Just tired.”

And the Divine is not waiting with judgment, but with recognition.

Like saying:

“Ah. You remembered.”

Why this resonates 

something you heard stirred devotion

something small opened something vast

That is exactly this state.

The longing itself is already half the return.

The Soul’s Longing to Return: Anchored in Sacred Verse

1. The ache itself is divine remembrance

Bhagavad Gītā 15.7

ममैवांशो जीवलोके जीवभूतः सनातनः

mamaivāṁśo jīvaloke jīvabhūtaḥ sanātanaḥ

“The living being in this world is My eternal fragment.”

Longing arises because the soul is not a stranger to God—it is of Him.

One does not yearn for what one has never known. This verse explains why the heart feels restless even amid comfort: it is an eternal part remembering its source.

The images you shared are not about guilt; they are about identity stirring awake.

2. Forgetfulness, not sin, is the real exile

Bhagavad Gītā 15.15

सर्वस्य चाहं हृदि सन्निविष्टो

मत्तः स्मृतिर्ज्ञानमपोहनं च

“I dwell in the heart of all; from Me come remembrance, knowledge, and forgetfulness.”

The soul’s wandering is permitted—not condemned.

Even forgetfulness is allowed by the Lord, so that remembrance may one day be chosen.

Thus, when longing appears, it is God restoring memory from within, not the soul struggling upward alone.

3. Acceptance was never withdrawn

Bhagavad Gītā 9.30–31

अपि चेत्सुदुराचारो भजते मामनन्यभाक्

साधुरेव स मन्तव्यः

“Even if one has acted wrongly, if they worship Me with single-minded devotion, they are to be regarded as righteous.”

The fear of “Will I be accepted again?” exists only in the human mind.

The Divine verdict is already given: belonging is intact.

This verse dissolves the anxiety behind longing and replaces it with assurance.

4. The Lord waits only for the turning of the heart

Bhāgavata Purāṇa 11.14.15

भक्त्या मामभिजानाति यावान्यश्चास्मि तत्त्वतः

“Only through devotion can I be truly known as I am.”

The return is not through perfection, knowledge, or penance—but through sincere turning.

Longing itself is devotion in its earliest form.

Before prayer has words, it has tears and silence.

5. Separation deepens love, not distance

Bhāgavata Purāṇa 10.47.61 (Uddhava to the Gopīs)

आसामहो चरणरेणुजुषामहं स्यां

“Let me become even a blade of grass touched by the dust of their feet.”

Viraha (separation) is not absence—it is intensity.

The pain of distance sharpens love until it becomes incapable of forgetting.

What feels like sorrow in the images is actually love ripening beyond form.

6. The return is inward, not distant

Kaṭha Upaniṣad 2.2.13

न तत्र सूर्यो भाति न चन्द्रतारकं

तमेव भान्तमनुभाति सर्वं

“There the sun does not shine, nor the moon nor stars.

By His light alone does everything shine.”


The destination the soul longs for is not a place.

It is recognition of the Light already illuminating one’s being.

Hence the strange paradox:

The soul seeks what it has never left.

7. The final reassurance

Bhagavad Gītā 18.66

सर्वधर्मान्परित्यज्य मामेकं शरणं व्रज

अहं त्वां सर्वपापेभ्यो मोक्षयिष्यामि मा शुचः

“Abandon all burdens and take refuge in Me alone.

I shall free you from all sorrow—do not grieve.”


This is not a command—it is a comfort.

The Lord does not say “Prove yourself.”

He says “Do not grieve.”

The soul’s longing ends not in judgment, but in rest.

Closing reflection 

The longing to return is not weakness—it is memory awakening.

Not fear of rejection—but confidence in belonging.

Not the cry of the lost—but the sigh of one who has finally remembered the way home.

Poem

The Soul Remembers

I was never cast away—

only carried far

by names, by needs, by noise.

Yet somewhere beneath the dust

Your Name kept breathing.

mamaivāṁśo jīvaloke jīvabhūtaḥ sanātanaḥ

(Gītā 15.7)

I am of You.

That is why the ache would not leave.

I walked through days of forgetting,

thinking distance was freedom,

thinking silence meant absence.

But even my forgetting

was held inside Your will.

mattaḥ smṛtir jñānam apohanaṁ ca

(Gītā 15.15)

You stayed—

quiet as a heartbeat I ignored.

Sometimes the longing rose suddenly,

without reason, without form—

a tear at dusk,

a pause mid-song,

a question that had no words.

It was not guilt.

It was memory.

I feared You might ask for proofs,

accounts of where I strayed,

explanations for my delays.

But You asked only for my face

turned toward You.

api cet sudurācāro bhajate mām ananya-bhāk

(Gītā 9.30)

Even now, You called me good.

In separation, love sharpened.

In absence, You grew nearer.

I learned that distance

does not weaken devotion—

it deepens it.

āsāmaho caraṇa-reṇu-juṣām ahaṁ syām

(Bhāgavata 10.47.61)

Let me be dust, I prayed,

if dust remembers You best.

I searched for You in far heavens,

in imagined returns,

in promised crossings—

until the search itself grew still.

tameva bhāntam anubhāti sarvaṁ

(Kaṭha Upaniṣad 2.2.13)

You were the light

by which I was searching.

Then You spoke,

not as command,

not as judgment,

but as rest.

mā śucaḥ

(Gītā 18.66)

Do not grieve.

So I come as I am—

not perfected,

not explained,

only honest.

If longing is my offering,

receive it.

If remembering is my return,

let it be enough.

For I was never lost—

only late in recognizing

that I had always been

home.

Basanth

Basant Panchami: Saraswati, Sri, and the Awakening of Divine Wisdom

A Vaishnava Reflection

Basant Panchami is not merely the announcement of spring; it is the soft opening of the inner bud of wisdom. Celebrated on the fifth day of the bright fortnight of Magha, it marks the moment when Nature herself becomes a teacher, instructing the soul in renewal, patience, and quiet blossoming.

In the Vaishnava understanding, knowledge (Vidya) is never independent. It flows from Narayana, rests in Saraswati, and culminates in Bhakti. Thus Basant Panchami becomes a sacred confluence of Saraswati Devi and Sri Mahalakshmi, both eternally residing at the feet of the Lord.

“Sarasvatī cha Lakṣmīścha

Patnau Nārāyaṇasya tu”

“Saraswati and Lakshmi

Are both consorts of Narayana.”

Knowledge without devotion becomes pride; devotion without understanding becomes sentiment. Basant Panchami harmonises both.

Yellow as the Colour of Sri Hari

Yellow is not chosen by accident. It is the colour of Sri Hari’s Pitambara, the garment that signifies sattva, compassion, and spiritual ripeness.

“Pītāmbara-dharaṁ viṣṇuṁ

Sarva-yajñeśvaraṁ prabhum”

“I meditate upon Vishnu,

Clad in yellow garments,

The Lord of all sacrifices.”

Mustard fields bloom as if the earth itself has donned the Lord’s garment. Basant Panchami teaches us that Nature worships Narayana silently, without rituals or words.

Saraswati in Vaishnava Thought

In Vaishnava tradition, Saraswati is revered as Vāk Devi, the divine energy that enables the soul to glorify Vishnu correctly.

“Anādi-nidhanāṁ brahma

Vāk-devīm varadāṁ smaret”

She is not worshipped merely for scholarship but for pure speech, speech that praises the Lord and uplifts others.

This is why on Basant Panchami:

Scriptures are placed before the deity

Musical instruments are rested, not played

Ego bows before learning

“Na vidyā vidyate yasya

Harir ārādhito yadi”

“There is no true knowledge

Where Hari is not worshipped.”

Vidyarambham: Offering the Intellect to Vishnu

The tradition of Vidyarambham—the first writing of letters—is deeply symbolic. A child is not told, “You are learning,” but rather, “You are being allowed to learn.”

“Tameva viditvā ati mṛtyum eti”

(Śvetāśvatara Upaniṣad)

“By knowing Him alone

One crosses beyond death.”

In Vaishnava homes, this act is often accompanied by the chanting of:

“Om Namo Nārāyaṇāya”

Thus, the first syllables of life are anchored in surrender.

Regional Expressions Through a Vaishnava Lens

Bengal, Odisha, Mithila

Saraswati Puja flourishes as an act of humility. Students refrain from touching books until worship is complete, acknowledging that knowledge is grace, not possession.

Vrindavan, Mathura, Ayodhya

Basant Panchami recalls Krishna’s joyous pastimes, His love for yellow garments, flowers, and music. Temples adorn the Lord in basanti hues, symbolising divine playfulness and wisdom combined.

“Barhāpīḍaṁ naṭa-vara-vapuḥ karṇayor karṇikāram”

(Śrīmad Bhāgavatam)

Punjab and North India

Kites soar skyward, mirroring the jīva’s aspiration to rise above bondage, tethered only by devotion.

Spring in the Bhāgavata Vision

In the Bhāgavata tradition, seasons are expressions of the Lord’s compassion.

“Kālaḥ svabhāvo niyatiḥ

Yadṛcchā guṇā eva ca”

(Bhāgavatam 2.5.22)

Spring is when the heart softens, making it receptive to bhakti. Basant Panchami thus becomes an inner invitation:

“Let the frozen intellect melt into devotion.”

Knowledge That Leads to Bhakti

Vaishnava scriptures consistently remind us:

“Bhaktyā mām abhijānāti

Yāvān yaś cāsmi tattvataḥ”

(Bhagavad Gita 18.55)

“Only through devotion

Can I be truly known.”

Basant Panchami celebrates that knowledge which bows, not boasts—learning that ends in surrender at the feet of Sri Hari.

A Festival That Teaches Silence

Basant Panchami does not demand loud celebration. Like Saraswati herself, it speaks softly. It reminds us that:

Wisdom ripens quietly

Learning begins with humility

True scholarship ends in devotion

“Vidya dadāti vinayam”

“Knowledge gives humility.”

May this Basant Panchami bless us with speech that glorifies Hari, learning that dissolves ego, and devotion that blooms like spring in the heart.

“Śrī Kṛṣṇārpaṇam astu”

Basant Panchami: When Knowledge, Nature, and Devotion Blossom Together

Basant Panchami marks the gentle arrival of Vasant Ritu—the season of renewal, hope, and awakening. Celebrated on the fifth day (Panchami) of the bright fortnight of Magha, this sacred day announces that winter’s austerity is slowly yielding to warmth, colour, and life. In India’s civilizational rhythm, seasons are not merely climatic changes; they are cosmic signals reminding humanity of the eternal cycles of decay and regeneration.

Basant Panchami is most intimately associated with Goddess Saraswati, the embodiment of knowledge (vidyā), wisdom (prajñā), music (saṅgīta), and refined speech (vāk). On this day, learning is worshipped as sacred, and knowledge is seen as divine grace rather than human achievement.

“Saraswati namastubhyam varade kāmarūpiṇi

Vidyārambham kariṣyāmi siddhir bhavatu me sadā”

“O Saraswati, bestower of boons,

As I begin my learning,

May success ever walk with me.”

The Spiritual Meaning of Yellow

The colour yellow (basanti) dominates Basant Panchami—fields of mustard bloom in radiant gold, homes glow with turmeric hues, and devotees dress in yellow garments. Spiritually, yellow signifies:

Sattva guna – purity and clarity

Knowledge that dispels ignorance

Ripening of wisdom, just as crops ripen in the fields

Unlike festive excess, Basant Panchami celebrates gentle joy—the joy of understanding, learning, and inner flowering.

Saraswati Puja: Worship of Wisdom

Across India, books, musical instruments, manuscripts, and tools of learning are placed before the Goddess. Children are encouraged to write their first letters in the ceremony known as Vidyarambham.

“Yā kuṇḍendu tuṣārahāra dhavalā, yā śubhra vastrāvṛtā

Yā vīṇā varadaṇḍa maṇḍita karā, yā śveta padmāsanā”

“She who is white as the moon and jasmine,

Who holds the veena and sits upon a white lotus—

May that Goddess Saraswati protect us.”

Significantly, on this day no learning is withheld—even the simplest attempt at knowledge is considered sacred.

Celebrations Across India

West Bengal, Odisha, and Bihar

Basant Panchami is synonymous with Saraswati Puja. Educational institutions, homes, and community spaces host elaborate rituals. Students often fast till the puja is complete, acknowledging humility before knowledge.

Punjab and Haryana

The day is celebrated as a kite festival, especially in Punjab, where the skies bloom with colour. Here, Basant Panchami reflects exuberance and youthful joy—the soul rising like a kite towards freedom.

“Udd jā basantī patang, le ja sandesh bahār ka”

“Fly, O yellow kite,

Carry the message of spring.”

Uttar Pradesh

In regions like Prayagraj and Ayodhya, the day holds Vaishnava significance. It is believed that Shri Krishna wore yellow garments on this day, marking divine joy and love.

Rajasthan

Royal processions, folk songs, and dances celebrate Basant Panchami as a festival of culture and refinement, once patronised by kings and poets.

South India

Though Saraswati Puja is more prominent during Navaratri, Basant Panchami is observed through temple worship, chanting, and special prayers—particularly in Vaishnava and Advaita traditions.

Basant Panchami and the Poet’s Heart

Indian poetry often sees Basant as the season of longing and creativity. Kalidasa describes spring as nature’s invitation to beauty and emotion. Basant Panchami thus becomes the festival where art, learning, devotion, and nature speak the same language.

“Na hi jñānena sadṛśam pavitram iha vidyate”

(Bhagavad Gita 4.38)

“There is nothing as purifying in this world as knowledge.”

A Quiet Festival with a Lasting Message

Unlike festivals marked by noise or spectacle, Basant Panchami whispers its wisdom. It tells us that true growth begins silently, like a bud forming beneath the soil. Knowledge must be nurtured with humility, patience, and reverence.

In a world rushing towards information, Basant Panchami reminds us to pause and ask: Are we becoming wiser, or merely busier?

May Goddess Saraswati bless us not only with learning, but with the discernment to use it well.

“Ārohati sa vidyā yā vimuktaye”

“That alone is true knowledge which leads to liberation.”

Wednesday, January 21, 2026

Protect.



Vitamin B12: The Silent Protector of Nerves, Blood, and Brain

Vitamin B12 is a quiet but powerful guardian of the human body. It protects the nerves by maintaining the myelin sheath, ensures healthy blood by enabling proper red blood cell formation, and preserves the brain by supporting memory, clarity, and emotional balance. A deficiency often goes unnoticed at first, yet it can lead to fatigue, anemia, numbness, confusion, and cognitive decline. Especially common among vegetarians and the elderly, B12 deficiency reminds us that nourishment is not merely about filling the stomach but about sustaining the delicate intelligence of the body itself.

Vitamin B12 – A Lesson in Silent Support

Vitamin B12 works unseen, unheard, and unnoticed—much like many forces that sustain life. It guards the nerves without announcing itself, strengthens the blood without display, and preserves the brain without demand. Only when it is absent do we realize its value. In this, B12 mirrors a deeper truth of life: that protection, care, and grace often operate silently. What sustains us most is rarely dramatic—it is steady, faithful, and humble in its service.


Disciple.

What is Thotaka Ashtakam?

Thotaka Ashtakam (also spelled Totakashtakam or Thotaka Aṣṭakam) is a Sanskrit devotional hymn composed by Totakacharya, one of the foremost disciples of Adi Shankaracharya. It consists of eight verses (aṣṭakam) written in a lyrical meter. The hymn is a tribute to Adi Shankaracharya’s grace and wisdom and expresses the devotee’s deep reverence and humble yearning for the Guru’s blessings. 

This hymn is widely sung in traditional Advaita Vedanta and Shankaracharya lineages during worship, pujas, and Guru shraddha (devotion to the spiritual teacher).

Thotaka refers to Totakacharya, the author of the hymn.

So Thotaka Aṣṭakam means “the eight-verse poem of Totaka.”” 

There’s a traditional story that Totakacharya was not academically gifted but was deeply devoted to his teacher. Adi Shankaracharya, to encourage him, bestowed wisdom upon him. Totakacharya then composed this hymn out of love and gratitude. 

Sample Opening Verse (from Sanskrit)

Here’s the first verse in Sanskrit (devanagari) — this is widely documented in traditional sources:

नयनिरितमानसभूमि: शिरसि प्रचलप्रचलाकशिखः ।

मुरलीध्वनिभिः सुरभिस्त्वरयन्

पशुपीविरहव्यसनं तिरयन् (1).

Each verse of Thotaka Ashtakam praises the Guru (Adi Shankaracharya) by describing his divine attributes and recounting the effect of his grace on the devotee. The central themes are:

 1. Reverence for the Guru

The hymns describe the teacher as the embodiment of supreme wisdom, whose very presence dispels ignorance and suffering.

2. Devotion, Not Scholarship

Totakacharya emphasizes that devotion and grace are greater than mere book knowledge. His own limitations in scholarship did not stop him from receiving the Guru’s blessings — highlighting that true spiritual progress is through devotion and the Guru’s grace.

 3. Inner Transformation

The verses speak of how the Guru transforms the heart and mind, much like how spiritual insight uproots the weeds of ego and delusion.

4. Path of Advaita (Non-Dual Wisdom)

Underlying the devotional exultation is the non-dual philosophy advaita, teaching that the self and the absolute (Brahman) are one, and the Guru reveals this truth. 

In short, the hymn is less about literal concepts and more an expression of bhakti (devotion) and guru-prapatti (surrender to the Guru) — common in Shankaracharya traditions.

Totakashtakam celebrates Adi Shankaracharya’s wisdom and benevolence.

It expresses devotional surrender and the profound transformation that comes from the Guru’s grace.

It teaches that pure devotion and grace are what liberate the mind more than intellectual prowess. L

This hymn is addressed to Adi Śaṅkarācārya by his disciple Śrī Totakācārya, overflowing with gratitude for the Guru’s grace.

Śrī Totakāṣṭakam

(Eight verses in praise of Adi Śaṅkarācārya)

Verse 1

Sanskrit (IAST)

viditākhila-śāstra-sudhā-jala-dhe

mahita-upaniṣat-kathitārtha-nidhe

bhava-bhaya-haraṃ tava suprasādaṃ

bhaja śaṅkara deśika me śaraṇam


O Śaṅkara, my revered Guru!

You are an ocean of the nectar of all scriptures,

The very treasury of the truths declared in the Upaniṣads.

Destroyer of the fear of worldly existence,

I seek refuge in your supreme grace.

Verse 2

karuṇā-varuṇālaya pālaya mām

bhava-sāgara-duḥkha-vidūna-hṛdām

racayākhila-darśana-tattva-vidāṃ

bhaja śaṅkara deśika me śaraṇam


O ocean of compassion, protect me!

My heart is tormented by the sorrows of worldly life.

You are the knower and revealer of the essence of all philosophies.

O Śaṅkara, my Guru, I take refuge in you.

Verse 3

bhavataḥ pada-yoḥ śaraṇaṃ karavāṇi

na hi me gatir anyā bhavānīśa jāni

anukampayā māṃ kuru deśika me

bhaja śaṅkara deśika me śaraṇam


At your sacred feet alone I take shelter,

For I know there is no other refuge for me.

Out of compassion, uplift me, O my Guru.

O Śaṅkara, I surrender unto you.

Verse 4

aviditākhila-śāstra-sudhā-jala-dhe

durita-kṣaya-kāraṇa he karuṇā-nidhe

bhava-bhītaṃ mām uddhara deśika me

bhaja śaṅkara deśika me śaraṇam


Though I am ignorant of the ocean of scriptural wisdom,

You are the compassionate one who destroys all sins.

Lift me up, who am terrified of worldly bondage.

O Śaṅkara, my Guru, I seek refuge in you.

Verse 5

na hi śaṅkara te śaraṇāgata-vatsala

bhava-duḥkha-tamohara bhāskara bhāsura

bhava-bhītaṃ mām uddhara deśika me

bhaja śaṅkara deśika me śaraṇam


O Śaṅkara, you are ever affectionate to those who surrender to you.

You shine like the sun, dispelling the darkness of worldly sorrow.

Rescue me, who am fearful of samsāra.

O Guru, I take refuge in you.

Verse 6

viditākhila-darśana-tattva-bodha

vicakṣaṇa he karuṇāika-sindho

kuru māṃ tava pāda-saroruha-bhaktaṃ

bhaja śaṅkara deśika me śaraṇam


O knower of the essence of all philosophies,

O wise one, ocean of boundless compassion!

Make me a devoted servant of your lotus feet.

O Śaṅkara, I surrender unto you.

Verse 7

bhava-duḥkha-janita-klamaṃ karuṇayā

bhava-bandha-vimocana-sādhu-dayayā

kuru māṃ tava pāda-parāyaṇaṃ

bhaja śaṅkara deśika me śaraṇam


Wearied by the sorrows born of worldly life,

Free me from bondage through your saintly compassion.

Make me wholly devoted to your feet.

O Śaṅkara, my Guru, I seek refuge in you.

Verse 8 (Phala Śruti – Concluding Verse)

totakena kṛtaṃ śaṅkarāṣṭakam etat

paṭhati ya iha bhaktyā sa labhate muktiṃ

bhaja śaṅkara deśika me śaraṇam


This Śaṅkarāṣṭakam was composed by Totaka.

Whoever recites it here with devotion attains liberation.

O Śaṅkara, my Guru, I take refuge in you.

Essence of Totakāṣṭakam

Guru-bhakti surpasses scholarship

Grace dissolves ignorance instantly

True knowledge flows from surrender

Adi Śaṅkara is seen as compassion incarnate

This hymn is especially powerful when chanted before study, during spiritual confusion, or on Guru Pūrṇimā.


Tuesday, January 20, 2026

Does.

 “Among thousands of men, one strives for perfection.”

— Bhagavad Gītā 7.3

In every sphere of life, the ratio of doers to followers remains quietly unequal. A handful act, while many watch; a few initiate, while the rest respond. Progress, change, and meaning are always born from this small band of doers—those who move despite uncertainty, who act without waiting for approval. The followers are not lesser; they give strength, continuity, and spread to what has been begun. Yet history, spirituality, and even daily life remind us that the first step is always taken by one. As the Gītā gently observes, among thousands, only one truly strives. The world moves forward not by numbers, but by the courage of those few who choose to do.

Doers ignite

Followers amplify.

Both are needed, but progress always begins with the doer.


Monday, January 19, 2026

Layer by layer.

 This extraordinary stone structure reveals how devotion was built layer by layer, both physically and spiritually. Every tier, every miniature carving, reflects patience, discipline, and a deep understanding of sacred geometry. Such monuments were never meant to impress only the eyes; they were designed to quiet the mind and draw attention inward. Standing before this masterpiece, one can sense how ancient builders used stone as a language of faith, telling stories without words. Even after centuries, the harmony, balance, and reverence carved into these walls continue to inspire awe and support the system.

This close-up captures the quiet poetry hidden within ancient stone carvings, where every curve, groove, and ornament speaks of devotion and discipline. The sculptor’s patience is visible in the finely etched details, created without modern tools yet filled with unmatched precision. These forms were shaped not just to be seen, but to be felt spiritually, guiding the viewer into reflection and reverence. Time has weathered the surface, but it has only deepened the character of the stone. Such craftsmanship reminds us that true art endures far beyond generations.



doubt delays us, but devotion never fails.

Reflections 

“I Have Shown You the Way” – A Reflection from the Lord’s Side

I have walked among you more than once.

I have come as king and as servant, as child and as charioteer, as cowherd and as ascetic. I have spoken in thunder and I have whispered through silence. I have shown you the path not through commands alone, but through living examples. Yet even now, I watch you struggle, forget, and fall short.

Do not think I am angry. I am not.

I am only endlessly patient, and quietly sorrowful.

I showed you righteousness through Rama. I showed you how to choose duty over desire, truth over comfort, and compassion over power. I accepted exile without bitterness. I upheld promises even when they broke my heart. Still, you justify your compromises by calling them “practical,” forgetting that dharma is often inconvenient.

I showed you love through Krishna. I laughed, I danced, I played, and I lifted mountains when faith wavered. I taught you that joy and devotion are not opposites. I stood on the battlefield and explained the deepest truths of existence in the simplest words. Yet you remember my miracles more than my message, my flute more than my Gita.

I showed you surrender through Prahlāda, patience through Harishchandra, generosity through Karna, and wisdom through the sages who owned nothing yet lacked nothing. Their lives were not meant to be admired from afar. They were meant to be mirrors.

Still, you ask me why peace eludes you.

You pray for strength, but avoid discipline.

You pray for wisdom, but resist silence.

You pray for guidance, but distrust conscience.

You pray for miracles, but ignore daily grace.

I have given you time, yet you rush.

I have given you abundance, yet you hoard.

I have given you companions, yet you divide.

I have given you scriptures, yet you argue over words and forget their spirit.

I do not expect perfection. I never did.

I only hoped you would try a little more sincerely.

I hoped that after seeing the futility of anger, you would pause before it consumes you again.

That after witnessing the cost of greed, you would choose contentment.

That after tasting devotion, you would not reduce it to ritual alone.

Every fall pains you more than it pains me.

Every lesson ignored delays your own peace.

Remember, I do not stand apart from you, measuring your failures. I walk beside you, waiting for the moment you pause, turn inward, and listen. Even when you forget me, I do not forget you.

When you stumble, I do not withdraw.

When you doubt, I do not abandon.

When you fall short, I wait.

Not because my expectations are low,

but because my love is immeasurable.

When you are ready to live even one teaching fully, rather than admire a thousand, you will find me there. Not in the heavens, not in temples alone, but quietly present in the choice you make when no one is watching.

I have shown you the way.

I am still showing you the way.

Walk—just a little more consciously—and you will see that I have never left your side.

अज्ञश्चाश्रद्दधानश्च संशयात्मा विनश्यति ।

नायं लोकोऽस्ति न परो न सुखं संशयात्मनः ॥

— Bhagavad Gītā 4.40

Meaning:

The ignorant, the faithless, and the doubting soul fall away.

For the one who lives in doubt, there is neither this world nor the next, nor happiness.

This verse fits beautifully at the end, as the Lord’s final, gentle reminder: “I have taught you; doubt alone stands between you and peace.”

न मे भक्तः प्रणश्यति

— Bhagavad Gītā 9.31

Meaning:

My devotee never perishes.

Sunday, January 18, 2026

अटक्यो


कृष्णराज जी,

मेरो मन श्री गिरधर जी में अटक्यो ।

जाकी छवि देखत ही,

मेरो नैनन में बस गयो ॥

मोर मुकुट सिर सोहत है,

कुंडल झलमल कानन में ।

पीतांबर लहरातो है,

मन मोह्यो वृन्दावन में ॥

मुरली मधुर बजावत है,

सुर ताल सबै मन भावे ।

सुनत ही मीरा बावरी,

घर आँगन सब बिसरावे ॥

रैन दिना बस ध्यान धरूँ,

और न कछु सुख जाणूँ ।

मीरा के प्रभु गिरधर नागर,

How it should be.

 Inner Meaning of Tirumanjanam

Outwardly: bathing the Lord

Inwardly: cleansing ego, anger, desire, fear

Spiritually: reminding us that God allows Himself to be served so that the devotee may melt in love

Śrī Raṅganātha does not need the bath – we need the grace that flows through it.

Amṛta-prabhavam prabhā-prabhākara

Prahatā-dhvānta-lasad-vilāsa-jātam

Kamala-sthiti-kānta-kānti-kāyaṁ

Śrīraṅgeśam anucintayāmi nityam

Amṛta-prabhavam – Source of immortality, nectar itself

Prabhā-prabhākara – The sun that generates all radiance

Prahatā-dhvānta – One who destroys darkness (ignorance)

Lasad-vilāsa-jātam – Whose divine form shines with playful splendor

Kamala-sthiti – Abiding in Lakṣmī (the lotus-born Goddess)

Kānta-kānti-kāyam – Possessing a supremely beautiful, radiant body

Śrīraṅgeśam – The Lord of Śrīraṅgam

Anucintayāmi nityam – I meditate upon constantly

Flowing Meaning

I constantly meditate upon Śrī Raṅganātha,

the source of immortal nectar,

the radiant sun that destroys all darkness,

whose divine form shines with playful brilliance,

whose body glows with incomparable beauty,

and who eternally abides with Goddess Lakṣmī.

This verse beautifully suits Tirumanjanam, because it reminds us that:

Water cleanses the body

His grace cleanses ignorance

His radiance is not physical light, but jnāna-prakāśa

How to Chant During Tirumanjanam

Elongate vowels (ā, ī, ū)

Pause gently after every two words

Let the voice flow like the abhiṣekam water

Slight rise on the Lord’s name: Śrī–raṅ–ge–śam

Example pouring points:

Amṛta-prabhavam → water

Prabhā-prabhākara → milk

Prahatā-dhvānta → curd

Kamala-sthiti → sandal

Śrīraṅgeśam → final water / flower offering

Temple Bhāva Tip

Kaṭṭiyam is not singing, not śloka chanting either.

It is loving announcement to the Lord, as if saying:

“O Lord, now we pour… now we adore… now we surrender.”

Your voice should carry reverence, slowness, intimacy.


1.Śrīmatē Nārāyaṇāya namaḥ

2.Śrīmatē Rāmānujāya namaḥ

3.Amṛta–prabhavam…

4.Prabhā–prabhā–kara…

5.Prahatā–dhvānta…

6.Lasad–vi–lā–sa… jā–tam…

7.Kamala–sti–thi… kān–ta…

8.Kānti–kā–yam… su–śō–bha–nam…

9.Śrī–raṅ–ga–nā–tham…

10.Śrī–raṅ–ga–nā–tham…

11.Kā–vē–rī… tī–ra… vi–hā–ra…

12.Karu–ṇā… ra–sa… pūr–ṇa…

13.Pāl… a–bhi–ṣē–kam…

14.Tā–yi–r… a–bhi–ṣē–kam…

15.Nei… a–bhi–ṣē–kam…

16.San–da–na… a–bhi–ṣē–kam…

17.Pan–nīr… kun–gu–mam…

18.Di–vya… a–bhi–ṣē–kam…

19.Pā–pa–ṅgaḷ… pō–ga…

20.Tā–pa–ṅgaḷ… tī–ra…

21.A–di–yēn… u–ḷḷam…

22.Tū–ya–mai… ā–ga…

23.Śa–ra–ṇa–ga–tam…

24.Śa–ra–ṇa–ga–tam…

25.Śrī–raṅ–ge–śa…

26.Ēṟ–ṟa–ru–ḷāy… swā–mi…

27.A–nu–cin–ta–yā–mi… ni–tyam…

1–2 : Guru & sampradāya invocation

3–8 : Lord’s svarūpa (radiance, beauty, Lakṣmī sambandha)

9–12 : Śrīraṅgam & Kāverī sambandham

13–18 : Actual abhiṣekam substances (slow pouring)

19–22 : Removal of sins and inner cleansing

23–24 : Śaraṇāgati (total surrender)

25–27 : Acceptance prayer & silent contemplation.

Kaṭṭiyam is:

Neither śloka chanting nor singing

It is loving, declarative service

Each line may be stretched or shortened depending on the abhiṣekam flow

Śrīraṅganātha Tirumañjana Kattiyaṃ

śrīmate rāmānujāya namaḥ

śrīparāśarabhaṭṭāryaḥ śrīraṅgeśa-purohitaḥ ।

śrīvatsāṅka-sutaḥ śrīmān śreyase me’stu bhūyase ॥

amṛta-prabhavaṃ prabhā-prabhave

prahatādhvānta-lasad-vilāsajatam ।

sakalaṃ sakalānumoditaṃ sasinaṃ

tvāṃ kalayāmi raṅgarāja ॥ (1)

aniśaṃ kumudaṃ vikāsayantaṃ

śatataṃ pūrṇamaharnisam ca dṛśyam ।

anupaplavamaḍhya-raṅgarājam

candramasaṃ jano numanyam ॥ (2)

kuṅkuma-ruṇam udancitāṃ śriyām

komala-ruṇa-saroja-saṃsthitām ।

raṅga-mandira-tamonivāraṇam

saṅkate lopanadīdhitim janaḥ ॥ (3)

bhavantam śrīmantam hasita-kalikālaṅkṛtam

aśokaṃ kuvalaya-bhramara-hitām adyutsavākāram ।

sukha-sparśa-sisṛkṣayā pravanayā mahānanda-bhāritam

vasantaṃ raṅgeśaṃ prakaṭa-sumanaskaṃ manumahe ॥ (4)

satpakṣa-pātāt bhuvanāśrayatvāt

sānnidhya-vāsāt nibandhanatvāt ।

padmāśrayatvāc ca dhāraṇīnāṃ

haṃso yathā rājati raṅgarāja ॥ (5)

andhaścid asminn asamāna-dhāmani

chāyāṃ vitanvan vilasann ahanyām ।

apāṅga-līlā-smaraṇāt prahṛṣṭaḥ

sakheva raṅgaṃ prati mādhyam eti ॥ (6)

śrutismṛtībhyaṃ vyapadiśyamānaṃ

svayaṃ manojñam anuvartayāmi ।

samunnatāgādha-taraṃ samīḍhaṃ

tava avatāraṃ pathatāṃ param ॥ (7)

tadīya-raṅgeśa samarthyate janaḥ

ajal-jayanty uditeyam ātmā ।

amṛtāmayānāṃ nayanaiḥ prapātaiḥ

niyantṛ-saukhyam niśitaṃ tvadīyam ॥ (8)

kiṃ vā bahu niruktaiḥ kīrtana-bhiṣajaiḥ

nigamāṃś ca mañjuṃ raṅgarājāya manye ॥ (9)

śyāmaṃ maṇi-prabha-paṭaṃ kaṭakāñci-bhinnam

sattvāśrayaṃ raṅgarāja-mahīdharaṃ tam ।

sarvonnataṃ sakala-sattva-nivāsa-bhūtaṃ

sarvāntaraṃ ya iha bhāvayate sa dhanyaḥ ॥ (10)

saṃdṛṣṭa-saṅga-samādhisthitau pareśe

śāśvat-manās sphurati raṅga-manīṣā tvam ।

asakta-pūraṃ vidadhātam aneka-svarbhāvaiḥ

prasīdatāṃ kaluṇaṃ prakaṭātara-pītāmbaraṃ tvām ॥ (11)

bhavantaṃ manye’ham sura-sthairyam aṅgaiḥ

marakata-maṇi-raṃyaṃ ramyam anīka-yuktam ।

phala-niścita-gatam praspṛśad-gandhavāhaṃ

śiśiravirahajaṃ tuṃ prollasan-nīlakam ॥ (12)

sugama-jala-nidhiṃ tvāṃ manmahe raṅgarāja ॥ (13)

mañju-vara-vicitra-mṛdu-yarupaṃ aladharo

lalita-dhara-vilāsaṅko laṅghayann eva velām ।

vidhṛta-bhuvana-bhāro vīkṣya-se raṅganātha

aparā iva vapur-māna-pālanāyām ॥ (14)

nananavṛtti-viṣayaṃ netarāyāḥ prasannam

nanandayati samādhi-sthitam ajñaraṃyam ॥ (15)

tasmāt śravaṇa-vidhau jano hi manyate tvāṃ

sarvatra-sthitam ekam ॥ (16)

anekāśakhasitam asute bhṛtya-dattādhikāṃsam

tri-daśa-sukha-bhogaṃ supūrṇa-raṃyam ।

sumanasam etam suradṛśaṃ tvāṃ sudhīyo vadanti ॥ (17)

śrīmat-svarṇa-gadāṅkuśa-viśāla-sakthaṃ

śrī-kaustubha-sphurita-vakṣasi dāna-dakṣam ।

haṃsādi-sādṛśya-vilāsa-padavīṃ

tvāṃ manmahe surataruṃ dīpta-nātham ॥ (18)

adyāpi hṛdaye hallaka-pāda-lagnaṃ

vakṣaḥ-sthale nihita-raṅgarājaṃ ।

svacchanda-vāri-kamala-gandha-sāndram

maṇi-kāñcana-mayūkha-paraṃ paśyāmi ॥ (19)

brahmātma-niṣṭhā-vareṇa yogaḥ

kalayann pūjyāṅghri-bhāg utpannaḥ ।

mahāntaṃ stutvaṃ kathayann aham tvām

tvaṃ kalyabhedaṃ ca setu-tvam eva ॥ (20)

mṛgyaṃ dhyātātmakaṃ tvāṃ

uttīrya pṛthu-viṣaye raṅgarāja ।

bhūto bhūyāṃs tvam eva

saṃsāra-satruṃ kṣapayan ॥ (21)

jānāmi sarvada bhuvi nirmalaṃ tvāṃ

paśyāmi sura-sura-gaṇaṃ sumanovihāram ।

sat-siddha-caraṇa-samūha-niṣevyamāṇaṃ

tvāṃ raṅgarāja kalayāmi hi mandare’pi ॥ (22)

brahmātma-niṣṭhā-varasya yogaḥ

kalayann pūjyāṅghri-bhāg utpannaḥ ।

tvām eva vedamūla-pramāṇāt

etac ca siddhaṃ dhanur-ukta-tattvam ॥ (23)

ko’krośaḥ kasya gṛhaduḥkha-mātraṃ

bhojyaḥ śaktiḥ sudhīṣu yat ।

hanta tvat-pakṣa-pātī sa iti

nikhilam ॥ (24)

padmādhikṛta-laṅkita-śobha-bhūmiṃ

gambhīra-nādāgama-sāra-pūrṇam ।

saṃdhyādi-pālita-cāru-puṇyaṃ

bhakteśa-dhāmaṃ śaraṇaṃ vrajāmi ॥ (25)

māyā-mohaṃ meghanam agha-pūrṇaṃ

bhedaṃ raṅgādhipa manmahe ।

tvam mehaṃ me kutas tattvato’pi

kuta idaṃ veda-mūla-pramāṇāt ॥ (26)

saṃdṛśya sura-sundarāṇāṃ sumanovitāraṃ

sat-siddha-caraṇa-samūha-niṣevyamāṇam ।

saṃdṛṣṭa-cintita-sarārtha-saṃvidānaṃ

tvāṃ raṅgarāja kalayāmi hi mandare’pi ॥ (27)

iti śrīraṅganātha tirumañjana kattiyaṃ sampūrṇam


Saturday, January 17, 2026

The Many Flutes of Shri Krishna.

Sanskrit Verses on the Divine Power of the Veṇu

Among all the divine ornaments of Shri Krishna, none is as intimate and overpowering as His flute. Crown, conch, discus, and mace proclaim His sovereignty, but the flute reveals His heart. Hence the Lord is remembered not merely as Krishna, but as Venugopāla, Murārīdhara, Murali Manohara, Bāṁsilāl—names born solely from His eternal companionship with the flute.

The Śrī Rādhā-Kṛṣṇa-gaṇoddeśa-dīpikā (verses 122–123) gives a rare and detailed account of the various flutes used by Krishna, each corresponding to a particular rasa, audience, and divine intention.

The Three Principal Flutes

Veṇu is the smallest flute, about six inches long, with six holes. Sharp and piercing, it commands attention instantly.

Murali is about eighteen inches long, with four holes on the body and one at the end. Its sound is deep, flowing, and supremely enchanting.

Vaṁśī, about fifteen inches long with nine holes, produces layered melodies capable of awakening complex emotions.

The Bhāgavata Purāṇa captures the effect of this sound upon all beings:

वेणुं क्वणन्तं अरविन्ददलायताक्षं

बर्हावतंसमसिताम्बुदसुन्दराङ्गम् ।

कन्दर्पकोटिकमनीयविशेषशोभं

गोविन्दमादिपुरुषं तमहं भजामि ॥

(Śrīmad Bhāgavatam 10.32.2)

“I worship Govinda, the primeval Lord, whose lotus-petal eyes, peacock-feather crown, cloud-dark beauty, and flute-song surpass the charm of millions of Cupids.”

The Longer and Mystical Flutes

A longer Vaṁśī is known as Mahānanda or Sanmohinī, “the flute that utterly enchants.”

When longer still, it is called Ākarṣiṇī, “the attractor.”

When longer yet, it becomes Ānandinī, the giver of bliss, technically known as Vaṁśulī, especially dear to the cowherd boys.

Some flutes were made of hollow bamboo, others of marble, and some were adorned with jewels. A jeweled flute is called Sanmohinī, while a golden flute is known as Ākarṣiṇī—suggesting that even matter becomes conscious in Krishna’s hands.

Saralā and the Named Flutes

Among Krishna’s many flutes, Saralā is especially tender. It produces a low, soft tone, like the gentle call of a cuckoo at dawn. Krishna delights in playing Saralā in the rāgas Gauḍī and Garjarī, rāgas rich in gravity and longing.

Another flute with six holes is called Madanajhaṅkṛti, whose sound awakens the god of love himself.

Krishna’s Mahānanda flute is poetically described as a fish-hook, effortlessly capturing the heart and mind of Śrīmatī Rādhārāṇī.

The Gopīs describe the flute with awe and gentle envy:

अनयाराधितो नूनं भगवान् हरिरीश्वरः ।

यन्नो विहाय गोविन्दः प्रीतो यामनया अधुनाः ॥

(Śrīmad Bhāgavatam 10.30.28)

“Surely this flute has worshiped the Lord perfectly in past lives, for Govinda now abandons us and follows it alone.”

The Eight Mystical Tunes of the Flute

Krishna’s flute is not music alone; it is cosmic command.

The first tune breaks the meditation of Brahmā and Śiva; even Ananta sways His thousand heads.

The second tune makes the Yamunā flow backward.

The third tune halts the moon in its course.

The fourth tune draws the cows of Vṛndāvana, who stand stunned in rapture.

The fifth tune summons the gopīs, who abandon all duties.

The sixth tune melts stones and ushers in autumn.

The seventh tune manifests all seasons at once.

The eighth tune is secret and exclusive.

The Bhāgavatam hints at this supreme call:

यदनुचरितलीलाकर्णपीयूषविप्रुट्

सकृददनविधूतद्वन्द्वधर्मा विनष्टाः ।

(Śrīmad Bhāgavatam 10.35.11)

“One drop of the nectar of Krishna’s flute destroys all dualities within the heart.”

The eighth tune calls only Śrīmatī Rādhārāṇī. The flute takes Her name. Hearing it, She runs toward Krishna, Her garments disordered, Her hair undone, Her kohl smeared—not drawn by sound, but by eternal love.

The Spiritual Secret of the Flute

The flute is hollow. It claims nothing. It surrenders completely to the breath of the Lord. That is why divine music flows through it.

नादब्रह्मेति विद्यान्ते

“Sound itself is Brahman,” declare the Upaniṣads—and Krishna reveals this truth through the veṇu.

Thus, Krishna is remembered not as a conqueror, but as a caller.

Not as a ruler, but as a lover.

Not with thunder, but with a flute.

And the soul, hearing that call, forgets everything else.

Azagar.

Vadivalagiya Nambi Perumal Koil is commonly known as Sundararaja Perumal Temple. Situated in a small south Indian village Anbil in Tiruchirapalli district of Tamil Nadu. This temple is dedicated to Lord Vishnu and also counts in 108 Divya Desam. Here Lord Vishnu is worshiped with Goddess Lakshmi in the form of Sundararaja and Sundaravalli. The temple is also known as ‘Pancha Ranga Kshetram’ of Lord Vishnu.


According to Hindu stories, a wise sage named Suthaba also known as Manduka was meditating in this special place. He had the power to live both in water and on land. One day, another sage named Durvasa came to see him, but Suthaba didn’t notice. This made Durvasa angry, and he cursed Suthaba to become a frog. Suthaba asked Durvasa how to lift the curse, and Durvasa said it was because of a mistake in his past life. He explained that Lord Vishnu would come to help him. So, Suthaba, in the form of a frog, prayed in the temple’s Mendaka Theertham, and Lord Vishnu appeared to him as Sundararaja. When Mandookamuni worshiped Vishnu at this temple, the curse was lifted, and the place got its name Mandooka Pushkarini.Another story is about Brahma, the god who created everything. He thought he was the most handsome, but Vishnu didn’t agree. To teach Brahma a lesson, Vishnu cursed him to be born as a regular person on Earth. Brahma then worshiped Vishnu to lift the curse. Vishnu appeared as a handsome young man and told Brahma that looks don’t last, and being good is more important.


The temple is also connected to stories about Brahma and Valmiki worshiping Vishnu.


The historical roots of the Sundararaja Perumal Temple trace back to the late 8th century AD, believed to have been constructed by the Medieval Cholas. Subsequent contributions from Vijayanagar kings and Madurai Nayaks have enriched its architectural and cultural significance. Notably, copper plate inscriptions from Anbil provide evidence of the Chola kings’ generous contributions to the temple. Enclosed by a granite wall, the temple encompasses all its shrines and bodies of water, situated on the picturesque banks of the Kollidam River. The temple grounds span nearly 1.5 acres of land, creating a serene and expansive spiritual haven.Sundararaja Perumal Temple showcases the distinctive Dravidian style of architecture, characterized by its elaborate design and intricate details. Following the typical pattern of Dravidian temples, this sacred site features a substantial Gopuram, serving as a prominent entrance gate, Mandapa, Garbhagriha, Shikhara and Vimana.The primary entrance of the temple is oriented towards the east and is adorned with a magnificent 3-tiered Rajagopuram, the gateway tower. At the heart of the temple lies the main shrine, housing the divine image of Sundararaja Perumal (Vishnu) in a reclining posture, accompanied by his celestial serpent Adisesha. Within the sanctum, one can also find depictions of his consorts Sridevi (Lakshmi), Bhudevi, and Brahma.The sacred space is further enriched by the presence of the festive image of Sundararaja, known as Vadivalagiya Nambi, within the sanctum. Encircling the main shrine, the precinct accommodates shrines dedicated to the twelve Alvars, Narasimha, Venugoplar, Lakshmi Narasimha (Lakshmi with Narasimha), and Hanuman. Noteworthy is the roof structure over the sanctum, resembling a gopuram, a feature typically associated with gateway towers.The front hall of the sanctum features a shrine dedicated to Andal, portrayed in both standing and seated postures through her bronze image, adding to the spiritual ambiance of the temple.


The Sundararaja Perumal Temple holds profound religious significance, embodying the devote beliefs and practices of its followers. Dedicatedto Sundararaja Perumal, a manifestation of Lord Vishnu. The temple is a place of worship, spiritual contemplation, and cultural expression.Followers believe that offering prayers and performing rituals at this sacred place can invoke the blessings of Sundararaja Perumal, bringing prosperity, protection, and spiritual well-being. The presiding deity, depicted in a reclining posture over the divine serpent Adishesha.Devotees also revere the image of Sridevi, Bhudevi, Brahma, Anadal and other deities present in the sanctum, seeking their divine intervention in various aspects of life. The festival image of Sundararaja, known as Vadivalagiya Nambi, is particularly venerated during special occasions and celebrations.The temple’s religious beliefs are deeply rooted in Hindu traditions, with rituals, prayers, and festivals serving as integral components of worship. Pilgrims visit the temple to seek solace, guidance, and spiritual upliftment, making it a vital center for religious devotion and cultural heritage.



Cultural Significance


The Sundararaja Perumal Temple holds immense cultural significance as a repository of rich traditions, artistic expressions, and communal practices. Its cultural importance extends beyond religious worship, encompassing various facets that contribute to the identity of the community.



Sundararaja Temple is a vibrant cultural hub, hosting diverse festivals, rituals, and events with music, dance, and traditional performances. These activities preserve cultural practices, serving as a center for spiritual learning through discourses and educational programs, imparting valuable knowledge. The temple creates a communal space where people unite for festivals, religious ceremonies, and community activities, fostering a sense of shared cultural identity and unity among devotees.


The sculptures, paintings, and artifacts within the temple reflect the artistic expressions of the community throughout different periods. These artworks contribute to the cultural landscape, showcasing the evolving styles and themes.


The temple attracts visitors and pilgrims from diverse backgrounds, promoting cultural exchange and understanding. This intermingling of people contributes to a broader cultural dialogue and appreciation.



The Sundararaja Perumal Temple comes alive with a rich tapestry of festivals, each offering a unique glimpse into the cultural vibrancy and spiritual exuberance of the community.Brahmotsavam Extravaganza: The temple hosts the grand annual Brahmotsavam, a spectacular festival that spans several days. It is a visual and spiritual feast, marked by vibrant processions, adorned deities, and fervent devotional fervor. The air is filled with the sounds of traditional music and the aroma of incense, creating an immersive experience for devotees and visitors alike.Vaikunta Ekadasi Bliss: Vaikunta Ekadasi, a celestial occasion celebrated with great enthusiasm, witnesses devotees converging to seek the divine blessings of Lord Sundararaja Perumal. Elaborate rituals, sacred processions, and heartfelt prayers mark this auspicious day, creating an atmosphere of spiritual joy and devotion.Special Events and Significance: Beyond these major festivals, the temple hosts a myriad of special events throughout the year, each steeped in religious significance. These may include celestial weddings, divine processions, and other rituals that add layers of cultural depth to the temple’s festivities.Cultural Dynamism: The festivals at Sundararaja Perumal Temple are not just religious observances but vibrant expressions of cultural dynamism. Traditional dance performances, melodious music, and artistic displays become integral components, captivating the senses and adding a colorful dimension to the spiritual celebrations.The festivals at Sundararaja Perumal Temple transcend mere rituals; they are immersive experiences that bring together communities, fostering a shared cultural identity and deepening the spiritual connection with the divine.




Thursday, January 15, 2026

When the Ocean Began to Dry

Long ago, when the earth was still learning how to hold itself steady, the oceans grew arrogant.

They rose without restraint, swallowing villages, forests, and sacred hermitages. Rivers pleaded with them to remain within their bounds. Kings prayed. Even the devas watched helplessly as the sea surged beyond dharma, forgetting that vastness does not mean lawlessness.

At last, the cries reached Sage Agastya—small in stature, immense in tapas, whose very presence bent the pride of mountains.

Agastya stood on the shore and commanded the ocean to withdraw.

The ocean laughed.

“How can I, who hold the moon’s pull and the earth’s secrets, obey a sage no taller than a child?”

Agastya did not argue.

He did not threaten.

He lifted his kamandalu—his humble water vessel—and drank the ocean.

Not a wave resisted.

Not a tide escaped.

The sea receded, mile by mile, until its bed lay bare—revealing sunken treasures, lost ships, swallowed cities, and demons who had hidden in its depths, preying upon the world from beneath its cover.

The earth breathed again.

The Ocean’s Realization

Drained of its pride and power, the ocean understood what strength truly was—not roar, not size, but restraint guided by wisdom.

Humbled, Samudra bowed to Agastya and said:

“O Sage, I forgot my boundary and my purpose.

I was meant to receive, not to steal.

To hold, not to hoard.

Forgive me.”

Agastya replied:

“You may return—but never as you were.”

Before releasing the waters, the sage laid down a solemn condition, a vow that the ocean itself would uphold:

The Ocean’s Promise

“From this day onward,” said Agastya,

“Whatever enters you unjustly, unwillingly, or in sorrow,

you shall return to the shore in time.

What is lost to accident, cruelty, or fate

shall not remain hidden forever in your depths.”

The ocean agreed.

And so, when Agastya released the waters, the sea returned—calmer, contained, obedient to the shoreline drawn for it.

Why This Story Still Lives

This is why, even today:

The sea returns bodies to the shore.

Lost objects sometimes reappear after years.

Fisherfolk say, “The ocean keeps nothing that does not belong to it.”

Coastal elders whisper, “Samudra remembers his promise.”

The story is not merely about geography—it is about cosmic ethics.

The Deeper Meaning

The ocean represents desire, accumulation, and unchecked power.

Agastya represents inner mastery.

When desire crosses its boundary, it must be drained by discipline.

Only then can it return—purified and purposeful.

And the promise?

It tells us something profoundly comforting:

Nothing truly meant for the world is ever lost forever.

Time, like the ocean, may delay—but dharma ensures return.


Wednesday, January 14, 2026

Clarity.

 The Bhagavad Gītā is so often quoted that we sometimes overlook how radically unique it is as a scripture. Beyond its well-known teachings on karma, bhakti, and jñāna, the Gītā possesses several rare and astonishing features that set it apart from every other sacred text in the world. unique features—some subtle, some profound—that reveal why the Gītā is not merely a book, but a living spiritual event.

1. A Scripture Spoken Mid-Action, Not in Retreat

Most spiritual texts are revealed:

in forests,

in monasteries,

in silence or seclusion.

The Gītā alone is spoken between two armies ready to destroy each other.

Spiritual wisdom is delivered at the very edge of catastrophe.

This teaches a revolutionary idea:

Enlightenment is not postponed until life settles down. It must arise in the midst of chaos.

2. The Student Is Not a Sinner but a Good Man in Crisis

Arjuna is:

morally upright,

compassionate,

skilled,

dutiful.

Yet he collapses.

This is unique. The Gītā does not address a criminal or a fallen soul, but a noble person overwhelmed by righteousness itself.

The message: Even goodness can become paralysis without wisdom.

3. No Commandment—Only Clarity

Krishna never says:

“You must believe this.”

“This alone is truth.”

“Disobey and perish.”

Instead, He says:

“Vimṛśyaitad aśeṣeṇa yathecchasi tathā kuru”

“Reflect on this fully, and then do as you choose.”

 The Gītā is the only major scripture that ends by restoring free will, not demanding submission.

4. The Lord Does Not Save Arjuna—He Educates Him

Krishna does not:

remove the war,

kill the enemies Himself,

change fate.

He changes Arjuna’s understanding.

 The Gītā teaches that knowledge, not miracles, is the highest grace.

5. A Text That Accepts Multiple Paths Without Hierarchy

The Gītā uniquely validates:

Karma Yoga (action),

Jñāna Yoga (knowledge),

Bhakti Yoga (devotion),

Dhyāna Yoga (meditation).

Not as competing systems, but as interwoven dimensions of one life.

It is not “either–or,” but “as much as you can live.”

6. God as a Friend, Not a Judge

Krishna is:

a charioteer,

a cousin,

a friend who listens patiently.

No thunder. No threat. No fear.

This intimacy between the human and the divine is unmatched.

The Gītā introduces Sakhā Bhāva—God who walks beside you, not above you.

7. A Scripture Without Ritual Dependency

The Gītā requires:

no priest,

no temple,

no special time,

no offerings.

Its battlefield setting itself declares:

Every place is sacred if awareness is present.

8. It Addresses Psychological Collapse Before Philosophy

Arjuna’s symptoms are listed clinically:

trembling,

dry mouth,

burning skin,

confusion,

dropping the bow.

The Gītā is one of the earliest texts to diagnose existential anxiety before offering metaphysics.

It is as much a manual for inner breakdown as it is a spiritual treatise.

9. It Reframes Renunciation in a Radical Way

Renunciation is not:

abandoning family,

fleeing responsibility,

escaping the world.

Krishna says:

“Na karmaṇām anārambhān naiṣkarmyaṁ puruṣo’śnute”

“Not by avoiding action does one attain freedom.”

 True renunciation is inner detachment while fully engaged.

10. The Teaching Evolves with the Listener

Krishna’s instruction is adaptive:

philosophy for the intellect,

devotion for the heart,

discipline for the restless mind.

The Gītā changes tone, depth, and method—because Arjuna changes.

This makes it a living dialogue, not a static doctrine.

11. The Gītā Is Self-Contained Yet Infinite

In just 700 verses, it contains:

Vedānta,

Sāṅkhya,

Yoga,

Bhakti,

ethics,

psychology,

cosmology.

Yet it never claims to replace the Vedas—only to distill their essence.

 It is both a summary and a gateway.

12. Victory Is Inner, Not External

The war still happens. People still die. Loss still occurs.

But Arjuna is no longer broken.

 The Gītā’s real victory is clarity amid inevitability, not escape from pain.

The Bhagavad Gītā is unique because it does not promise:

a painless life,

a perfect world,

instant salvation.

It offers something far greater:

A way to stand upright in the storm, see clearly, act rightly, and remain inwardly free.


Banshi Chalisa


॥ श्री कृष्ण चालीसा ॥

॥ दोहा ॥

बंशी शोभित कर मधुर, नील जलद तन श्याम।

अरुण अधर जनु बिम्बफल, नयन कमल अभिराम॥

पूर्ण इन्द्र, अरविन्द मुख, पीताम्बर शुभ साज।

जय मनमोहन मदन छवि, कृष्णचन्द्र महाराज॥

॥ चौपाई ॥

जय यदुनन्दन जय जगवन्दन।

जय वसुदेव देवकी नन्दन॥

जय यशुदा सुत नन्द दुलारे।

जय प्रभु भक्तन के दृग तारे॥

जय नट-नागर नाग नथैया।

कृष्ण कन्हैया धेनु चरैया॥

पुनि नख पर प्रभु गिरिवर धारो।

आओ दीनन कष्ट निवारो॥

वंशी मधुर अधर धरी तेरी।

होवे पूर्ण मनोरथ मेरी॥

आओ हरि पुनि माखन चाखो।

आज लाज भारत की राखो॥

गोल कपोल चिबुक अरुणारे।

मृदु मुस्कान मोहिनि डारे॥

राजित राजिव नयन विशाला।

मोर मुकुट वैजन्ती माला॥

कुण्डल श्रवण पीत पट साजै।

कटि किंकिनी सब्दत बाजै॥

चरण कमल को शरण में राखो।

कृपा निधि भव पार उतारो॥

बाल लीला अति अद्भुत भारी।

ब्रज में करत प्रेम की वर्षा भारी॥

उद्धव गीता ज्ञान सुनाए।

भक्तन को भव पार लगाए॥

रुक्मिणी के संग प्रेम बढ़ायो।

सत्यभामा संग लीला रचायो॥

द्रौपदी की लाज बचाई।

सभा बीच गिरधर ध्याई॥

मीरा के प्रभु गिरधर नागर।

भक्ति रस में डूबे सागर॥

कंस विदारक भक्त सहाई।

काल नेमि ते भय न खाई॥

कालिय नाग नृत्य कर डारो।

यमुना जल को शुद्ध उतारो॥

जो यह चालीसा गावे गाई।

सुख सम्पत्ति निश्चय पाई॥

श्रद्धा भक्ति संग ध्यान लगावे।

मोहन कृपा शीघ्र ही पावे॥

॥ दोहा ॥

यह चालीसा कृष्ण का, पाठ करे जो कोय।

सकल मनोरथ सिद्ध हो, सिद्धि सदा सुख होय॥


ŚRĪ KṚṢṆA CHĀLĪSĀ

बंशी शोभित कर मधुर, नील जलद तन श्याम।

अरुण अधर जनु बिम्बफल, नयन कमल अभिराम॥

The sweet flute adorns His hands; His body is dark like a rain-laden cloud.

His lips glow red like ripe berries, and His eyes are as beautiful as blooming lotuses.

पूर्ण इन्द्र, अरविन्द मुख, पीताम्बर शुभ साज।

जय मनमोहन मदन छवि, कृष्णचन्द्र महाराज॥

His face shines like a full moon, His attire is radiant yellow silk.

Victory to Krishna—the enchanter of hearts, more captivating than even Cupid.

जय यदुनन्दन जय जगवन्दन।

जय वसुदेव देवकी नन्दन॥

Victory to the joy of the Yadu dynasty, worshipped by the whole world.

Victory to the son of Vasudeva and Devakī.

जय यशुदा सुत नन्द दुलारे।

जय प्रभु भक्तन के दृग तारे॥

Victory to the beloved son of Yaśodā and Nanda.

Victory to the Lord who is the star of His devotees’ eyes.

जय नट-नागर नाग नथैया।

कृष्ण कन्हैया धेनु चरैया॥

Victory to the divine actor and supreme charmer.

Victory to Krishna, the subduer of Kāliya, the cowherd of Vṛndāvana.

पुनि नख पर प्रभु गिरिवर धारो।

आओ दीनन कष्ट निवारो॥

O Lord, who lifted Govardhana on Your little finger,

come and remove the sufferings of the helpless.

वंशी मधुर अधर धरी तेरी।

होवे पूर्ण मनोरथ मेरी॥

May Your sweet flute touch Your lips again,

and may all my heartfelt wishes be fulfilled.

आओ हरि पुनि माखन चाखो।

आज लाज भारत की राखो॥

Come again, O Hari, to taste butter as in childhood,

and today protect the honor of this sacred land.

गोल कपोल चिबुक अरुणारे।

मृदु मुस्कान मोहिनि डारे॥

Your rounded cheeks and rosy chin glow,

Your gentle smile casts a spell of enchantment.

राजित राजिव नयन विशाला।

मोर मुकुट वैजन्ती माला॥

Your wide lotus eyes shine brilliantly,

adorned with a peacock crown and Vaijayantī garland.

कुण्डल श्रवण पीत पट साजै।

कटि किंकिनी सब्दत बाजै॥

Earrings grace Your ears, yellow silk clothes You,

and bells at Your waist create divine music.

चरण कमल को शरण में राखो।

कृपा निधि भव पार उतारो॥

Grant me refuge at Your lotus feet,

O ocean of mercy, ferry me across worldly existence.

बाल लीला अति अद्भुत भारी।

ब्रज में करत प्रेम की वर्षा भारी॥

Your childhood pastimes are wondrous beyond measure,

showering torrents of love upon the land of Braj.

उद्धव गीता ज्ञान सुनाए।

भक्तन को भव पार लगाए॥

Through Uddhava You revealed divine wisdom,

guiding devotees beyond the ocean of rebirth.

रुक्मिणी के संग प्रेम बढ़ायो।

सत्यभामा संग लीला रचायो॥

With Rukmiṇī You embodied pure love,

with Satyabhāmā You enacted playful divine sport.

द्रौपदी की लाज बचाई।

सभा बीच गिरधर ध्याई॥

You saved Draupadī’s honor in the royal court,

when she called upon Giridhārī with full faith.

मीरा के प्रभु गिरधर नागर।

भक्ति रस में डूबे सागर॥

You are Meera’s beloved Giridhār,

an infinite ocean immersed in devotion’s nectar.

कंस विदारक भक्त सहाई।

काल नेमि ते भय न खाई॥

Destroyer of Kaṁsa, protector of devotees,

You fear neither death nor destiny.

कालिय नाग नृत्य कर डारो।

यमुना जल को शुद्ध उतारो॥

You danced upon Kāliya’s heads,

purifying the waters of the Yamunā.

जो यह चालीसा गावे गाई।

सुख सम्पत्ति निश्चय पाई॥

Whoever sings or recites this Chālīsā,

surely attains happiness and prosperity.

श्रद्धा भक्ति संग ध्यान लगावे।

मोहन कृपा शीघ्र ही पावे॥

One who recites with faith, devotion, and meditation

quickly receives the grace of the Enchanter, Mohana.

यह चालीसा कृष्ण का, पाठ करे जो कोय।

सकल मनोरथ सिद्ध हो, सिद्धि सदा सुख होय॥

Whoever recites this Krishna Chālīsā,

all desires are fulfilled, and lasting peace and success are attained.


An opening unlike any other

 The opening is, indeed, one of the most extraordinary and mysterious openings in the history of world literature—the first verse of the Bhagavad Gītā, placed within the vast ocean of the Mahābhārata.

धृतराष्ट्र उवाच

धर्मक्षेत्रे कुरुक्षेत्रे समवेता युयुत्सवः ।

मामकाः पाण्डवाश्चैव किमकुर्वत सञ्जय ॥

Dhṛtarāṣṭra said:

“On the sacred field of Kurukṣetra, gathered and eager for battle, what did my sons and the sons of Pāṇḍu do, O Sañjaya?”

An opening unlike any other

This single verse contains layers of mystery, symbolism, and philosophical depth that no ordinary human imagination could casually conceive.

1. A blind king “seeing” through another

The speaker, Dhṛtarāṣṭra, is blind—physically and spiritually. Yet he asks about events unfolding miles away on a battlefield. The listener, Sañjaya, possesses divya dṛṣṭi (divine sight), a boon granted by Vyāsa, enabling him to see and hear everything happening on the battlefield in real time.

This is not merely poetic imagination. It is:

Vision beyond the senses

Knowledge unbound by distance

Consciousness surpassing the physical body

In today’s language, it feels uncannily like live transmission, remote viewing, or even cosmic broadcasting—conceived thousands of years before such ideas were imaginable.

2. The blindness is not accidental

Dhṛtarāṣṭra’s blindness is not just physical. It is moral and spiritual blindness. Though he knows Kurukṣetra is Dharmakṣetra (a field of righteousness), he still refers to the warriors as:

“Māmakāḥ” – my sons

“Pāṇḍavāḥ” – the sons of Pāṇḍu

Even in his first question, attachment speaks louder than truth. The Gītā begins not with Krishna, not with Arjuna—but with human blindness, bias, and insecurity.

What greater honesty can a scripture have?

3. The war is outer, the dialogue is inner

The battlefield is Kurukṣetra—but the real war is:

Between dharma and attachment

Between ego and surrender

Between ignorance and knowledge

The Gītā opens not with action, but with a question. And that question arises from fear, uncertainty, and clinging—the very conditions that plague every human heart.

4. Sanjaya: the silent miracle

Sañjaya does not boast of his divine sight. He simply narrates. He is:

Detached, yet fully aware

Witnessing violence without being consumed by it

A symbol of the sakṣi (inner witness)

The Gītā subtly teaches that true vision belongs not to the eyes, but to consciousness.

5. Could any human mind imagine such an opening?

Ask honestly:

A blind king

A distant war

A seer with divine vision

A sacred battlefield

A conversation that leads to the highest philosophy of life

All placed before the central teaching even begins.

This is not literary cleverness. This is revelatory architecture.

The opening itself is a philosophical statement:

Those who are blind to dharma must rely on those who can see—but even then, truth may not enter the heart.

Is the Gītā the greatest book on earth?

If greatness is measured by:

Timeless relevance

Depth compressed into brevity

Applicability to kings, warriors, householders, seekers

Philosophy that heals despair, confusion, and fear

A dialogue that begins in darkness and ends in illumination

Then yes—the Bhagavad Gītā stands unmatched.

It does not demand belief.

It invites inquiry.

It does not glorify war.

It uses war to explain life.

And it begins not with God speaking—but with a blind man asking a question.

What opening could be more profound than that?

Is the Bhagavad Gītā the greatest book on earth?

The Gītā does not belong to one time, one nation, or one faith. It speaks to:

The ruler burdened by responsibility

The warrior paralysed by doubt

The householder torn between duty and desire

The seeker longing for meaning

It teaches without preaching.

It uplifts without denying reality.

It begins in blindness and ends in illumination.

And it dares to open with a man who cannot see—asking what is happening in a world he helped destroy.

If greatness lies in timeless relevance, spiritual depth, and unflinching honesty about the human condition, then yes—

The Bhagavad Gītā is not merely the greatest book on earth.

It is the mirror before which humanity has stood for millennia.

And it all begins with a single question, asked in darkness, waiting for light.

Tuesday, January 13, 2026

Bridging memory.

Miss you Kirit bhai, my constant partner during the season. 

When the Sky Remembers Us:

The Deeper Meaning of Kite Flying in India

On certain days in India—most vividly around Makar Sankranti—the sky becomes crowded not just with kites, but with memory, meaning, and shared life. Rooftops fill, voices rise, strings tighten, and the air itself seems to participate in celebration. What appears to be a simple pastime reveals itself as a living tradition, rich with seasonal wisdom, social awareness, and quiet spiritual insight.

Saluting the Sun, Welcoming Change

Kite flying marks the Sun’s northward journey —a turning point celebrated across India as auspicious. The chill of winter begins to soften, days grow longer, and warmth returns to the earth. By lifting kites toward the sky, people symbolically reach out to the Sun, acknowledging its role as the source of life, rhythm, and renewal.

Traditional wisdom also recognized this as a time for the body to awaken. Stepping into open terraces, absorbing sunlight, and engaging in movement after winter were woven naturally into joy. Celebration and well-being were never separate.

The Kite as a Silent Teacher

A kite never flies by freedom alone. It rises because it is held.

The string, often overlooked, is essential—it represents discipline, awareness, and conscious control. The open sky stands for limitlessness and divine possibility. Between the two lies balance. Indian thought has long understood that true elevation in life comes not from cutting all ties, but from holding the right ones with wisdom.

Rooftops Without Walls

During kite festivals, rooftops lose their boundaries. Neighbours greet one another across parapets, families gather across generations, and strangers become companions in joy. Age, status, and difference dissolve as eyes turn skyward.

The sky belongs equally to all.

Rooftops as Living Family Registers

Yet something more subtle unfolds. Neighbours quietly observe—not with intrusion, but with familiarity.

Who has come this year?

Who is missing?

Which child now flies independently?

Which elder’s presence is remembered rather than seen?

A son visiting from afar, a new daughter-in-law learning the rhythm of the festival, grandchildren holding strings for the first time—each presence is noticed and remembered. Later, these observations turn into gentle conversations, anecdotes, and stories.

Thus, kite flying becomes a collective remembrance, where families are not anonymous units but continuing narratives, lovingly tracked by the community.

Stories That Rise With the Kites

As kites cross in the sky, stories cross on rooftops. Old memories surface, comparisons are made without judgment, and time folds gently upon itself. The past is recalled, the present celebrated, and the future glimpsed through children learning to balance wind and string.

In a world increasingly defined by anonymity, this festival restores something precious—the feeling of being known without being watched, remembered without being recorded.

When Strings Cross: The Meaning of the Kite Duel

Soon, strings cross. Tension builds. A moment of skill, timing, and alertness decides the outcome. One kite is cut.

The cry of “Kai Po Che!” rings out—not in malice, but in delight. The duel is never personal. It is a playful test of mastery, where both victory and defeat are accepted with surprising grace. It is kap yo che. Meaning I have cut to the winning group celebrating victory, momentarily every one stops what they are doing and witness both the winner and the lost for the lost is quickly rewinding the manja to fix a new kite to fly it yet again. 

Life, too, brings crossings—of paths, ambitions, opinions. Not every encounter ends in harmony. Sometimes, despite effort, one must fall.

The kite festival teaches this gently:

Engage fully, but do not cling to the result.

Effort, Destiny, and Acceptance

The flyer controls the string, but not the wind. Indian wisdom would see here the dance of karma and daiva—effort and destiny. When a kite is cut, laughter replaces resentment. The flyer begins again. The fallen kite becomes a prize chased by children, turning individual loss into shared joy.

Even defeat is absorbed into celebration.

The Fragile Thread of Ego

At a deeper level, the string also symbolizes attachment. When it snaps, what appears as loss becomes release. The kite drifts freely, unbound.

In this fleeting image, the sky enacts an ancient truth:

Sometimes, what is cut away is not joy—but bondage.

A Festival That Teaches Without Words

Kite flying instructs without sermons:

Competition without bitterness

Victory without arrogance

Loss without despair

Community without intrusion

Children learn resilience. Elders rediscover lightness. Communities remember how to celebrate together.

When the Sky Becomes a Witness

When the Indian sky fills with kites, it becomes more than a canvas of color—it becomes a witness. To seasons turning, to lives continuing, to families growing and changing, to the delicate balance between holding on and letting go.

To fly a kite is to say quietly:

We are here. We belong. We remember—and are remembered.

And perhaps that is why, long after the kites have fallen and the strings are wound away, the festival continues to soar in the heart.

mesmerized.

 

Benjamin Franklin was sent to investigate a miracle healer who could cure disease with invisible forces.

What he discovered changed science forever.

Paris, 1784. The city was obsessed with a German physician named Franz Mesmer who claimed he could cure anything—paralysis, blindness, seizures, chronic pain—using an invisible force he called "animal magnetism."

Mesmer's treatments were theatrical spectacles. Patients sat in dimly lit rooms around a wooden tub filled with water, iron filings, and glass bottles. Iron rods protruded from the tub. Patients would grasp the rods while Mesmer, dressed in flowing silk robes, moved among them, waving his hands, staring intensely into their eyes, and speaking in low, commanding tones.

And then something extraordinary happened.

Patients would fall into trance-like states. They'd convulse. They'd cry out. They'd report feeling waves of energy flowing through their bodies. Some would collapse unconscious. Others would claim instant healing from ailments they'd suffered for years.

Women especially seemed susceptible to Mesmer's treatments—which led to whispered scandals about what exactly was happening in those darkened rooms when the doctor placed his hands on female patients and stared deeply into their eyes.

But scandal or not, people kept coming. Because people kept getting better.

Or so they claimed.

Mesmer hadn't always been so theatrical. When he'd first developed his theory of "animal magnetism" in the 1770s, he'd used actual magnets—believing he could manipulate an invisible fluid-like force flowing through all living things, restoring balance and curing disease.

Then he realized he didn't need the magnets at all. He could achieve the same results with just his voice, his hands, his eyes. The "magnetic force" wasn't in the magnets. It was in him.

He became convinced he possessed a special power—that he was a conduit for this universal energy.

The Vienna medical establishment thought he was either a fraud or insane. They ostracized him. So Mesmer moved to Paris in 1778, where he became an overnight sensation.

Parisian high society couldn't get enough. Mesmer's waiting list stretched for months. Other practitioners adopted his methods, calling themselves "magnetizers" and later "mesmerists." Clinics opened across the city.

But the French scientific and medical communities were skeptical. They'd seen plenty of miracle cures come and go. Mesmer's claims sounded like mystical nonsense.

Yet his patients swore by him. Testimony after testimony described impossible healings. Were all these people lying? Delusional? Or was there something real happening?

King Louis XVI decided to settle the matter once and for all.

In 1784, he assembled a royal commission to investigate mesmerism scientifically. The panel included some of the greatest minds in France—and one very famous American.

Benjamin Franklin was 78 years old, serving as American ambassador to France. He was also a scientist, inventor, and one of the Enlightenment's leading voices for rational inquiry over superstition.

Joining him was Antoine Lavoisier—the father of modern chemistry, the man who'd discovered oxygen and revolutionized scientific understanding of combustion and chemical reactions.

Also on the commission: Jean Sylvain Bailly (astronomer), Joseph-Ignace Guillotin (physician who'd later lend his name to the execution device), and several other prominent scientists and doctors.

Their task: determine if animal magnetism was real.

The commission watched Mesmer's treatments. They observed the trances, the convulsions, the dramatic healings. Impressive theater, certainly. But was it medicine?

Then they did something revolutionary.

They designed experiments to test whether the "magnetic force" actually existed—or whether patients were responding to something else entirely.

In what may have been the first blind trial in scientific history, they had subjects tested without knowing whether they were actually being "magnetized" or not.

A mesmerist would stand behind a door, supposedly directing magnetic forces at a subject on the other side. The subject, not knowing if the magnetizer was actually there, would report feeling the effects—even when nobody was behind the door at all.

Trees were "magnetized" and subjects told which ones. They'd feel powerful effects from trees that hadn't been magnetized—and nothing from trees that had.

Patients were blindfolded and told they were being magnetized when they weren't. They'd respond dramatically. Then they'd be actually magnetized without being told—and feel nothing.

The pattern was unmistakable. Patients responded when they believed they were being magnetized—regardless of whether anything was actually being done to them.

The commission published its findings later in 1784.

There was no scientific evidence for "animal magnetism." It didn't exist. The invisible fluid flowing through all things was imaginary.

But something real was happening. Patients were responding—genuinely responding—to their own expectations, imagination, and the power of suggestion.

The commission had just documented what would later be called the placebo effect. They'd proven scientifically that belief alone could produce real physiological responses—that the mind could affect the body in measurable ways, even without any actual medical intervention.

This was revolutionary. Not because it vindicated Mesmer—it didn't. But because it revealed something profound about human psychology and the healing process.

Mesmer was furious. He denounced the commission as biased, corrupt, closed-minded. His followers rallied to his defense, pointing to all the people who'd been healed.

But the damage was done. The craze began to fade.

Mesmer left France and resumed practicing in Switzerland. Eventually, he returned to the German state of Baden, where he died in 1815 at age 80—largely forgotten, his grand theory discredited.

But "mesmerism" didn't completely die.

It lingered throughout the 19th century, experiencing periodic revivals. In the 1840s and 1850s, mesmerist shows were wildly popular in America—traveling performers would put volunteers into trances and have them perform stunts on stage.

Medical researchers, meanwhile, had noticed something useful: those trance states Mesmer induced were real, even if animal magnetism wasn't. Patients in those states really did become unresponsive to pain. Really did become highly suggestible.

By the late 1800s, scientists had refined these techniques into what we now call hypnosis—stripping away Mesmer's mystical theories while keeping the practical therapeutic applications.

Today, hypnotherapy is a legitimate medical tool used for pain management, anxiety treatment, and breaking habits. It's not magic. It's not mysterious cosmic energy. It's the power of focused attention and suggestion—the same power Mesmer stumbled upon while waving his hands in darkened rooms.

And we still use his name. When something captures our complete attention, when we're utterly transfixed and absorbed, we say we're "mesmerized."

Every time you use that word, you're referencing an 18th-century German doctor who convinced himself he could channel invisible cosmic forces—and accidentally helped pioneer the scientific study of the placebo effect and the power of the mind over the body.

The 1784 royal commission didn't just debunk a quack. It established a template for how to investigate extraordinary claims scientifically. It showed how to design experiments that could separate real effects from imagined ones.

Franklin and Lavoisier didn't just prove Mesmer wrong. They demonstrated how science should work—with controlled experiments, blind trials, and reproducible results.

And they revealed something Mesmer never understood: he was creating real effects in his patients. Just not the ones he thought.

The invisible force wasn't flowing from him to them. It was flowing from their minds to their bodies—from belief to experience, from expectation to reality.

Mesmer thought he'd discovered a cosmic energy. What he'd actually discovered was the power of the human mind to heal and harm itself through belief alone.

That turned out to be far more interesting—and far more useful—than animal magnetism ever could have been.

So the next time something leaves you utterly mesmerized, remember: you're experiencing a trace of that same mental power that convinced 18th-century Parisians they were being healed by invisible fluids flowing through magnetic rods.

The power was real. The theory was nonsense. But the word survived.

And so did the lesson: extraordinary claims require extraordinary evidence. Even when the patients swear it works. Even when the healer believes in their own powers.

Especially then.

Benjamin Franklin helped prove that in 1784. And we've been applying that principle ever since.