Saturday, December 13, 2025

Morning smarana.

 धर्मो विवर्धति युधिष्ठिर कीर्तनॆन

भीमेन पापमनुहन्ति गदाप्रहारैः ।

अर्जुन कीर्तनॆन जयः प्रवर्धते

नकुल सहदेवयोः सदा विनयः ॥

(There are minor regional variations, but this is the commonly taught form.)

• By remembering Yudhiṣṭhira, Dharma increases.

• By remembering Bhīma, sins are destroyed — symbolically through strength used righteously.

• By remembering Arjuna, victory and excellence grow.

• By remembering Nakula and Sahadeva, humility, discipline, and propriety are preserved.

Morning (prātaḥ smaraṇa) is when one aligns the inner compass for the day.

Each Pāṇḍava represents a faculty needed in daily life:

Yudhiṣṭhira Dharma, truth, moral clarity

Bhīma Strength, courage to face difficulties

Arjuna Focus, skill, right action

Nakula Grace, discipline, health

Sahadeva Wisdom, foresight, humility

So the recitation is not heroic praise—it is inner preparation.

The Pāṇḍavas together form a complete human being:

Dharma without strength fails

Strength without Dharma becomes violence

Skill without humility becomes arrogance

Wisdom without discipline becomes dry intellect

Morning remembrance invokes balance.

In Sanātana tradition, remembrance is never nostalgia.

It is invocation.

“May I act with Yudhiṣṭhira’s conscience,

Bhīma’s strength,

Arjuna’s focus,

Nakula’s refinement,

and Sahadeva’s wisdom — today.”


Why not.

 Ajab Kumari and Meera Bai: Two Lamps Lit by the Same Flame.

Bhakti in India has never been confined to temples, texts, or time periods. It appears wherever the soul dares to love God without condition. Ajab Kumari of Mewar and Meera Bai of the same land stand centuries apart, yet their lives echo each other like two verses of the same divine song. One was drawn to Srinathji of Nathdwara, the other to Giridhara Gopala, yet both walked the same inward path—total surrender.

Both Ajab Kumari and Meera Bai were born into royal surroundings, cushioned by privilege and expectation.

Meera Bai, a Rajput princess, was married into the royal house of Mewar. The court expected obedience, lineage, and decorum.

Ajab Kumari, also of noble lineage, lived amid palace comforts and social respect.

Yet, in both cases, royalty failed to bind the soul. Their true allegiance lay elsewhere. What wealth could offer was insignificant compared to the call of Krishna.

Renunciation for them was not about abandoning the world physically, but withdrawing consent from its claims.

For both women, Krishna was not an idea, symbol, or distant deity.

Meera Bai spoke to Krishna as husband, friend, master, and child. Her poems reveal intimacy so intense that society mistook it for defiance.

Ajab Kumari’s devotion to Srinathji was equally personal. Her yearning was so deep that tradition holds Srinathji Himself responded—appearing, blessing, and accepting her bhava.

In both lives, God reciprocated devotion. This is the central truth of bhakti: when love is complete, God ceases to remain abstract.

Neither woman was understood by her surroundings.

Meera Bai was mocked, threatened, poisoned, and ostracized.

Ajab Kumari faced disbelief, quiet ridicule, and dismissal—especially when she spoke of divine experiences.

Yet neither argued, protested, or justified herself. Their answer was deeper devotion, not explanation.

Bhakti does not demand validation.

It only demands sincerity.

A subtle difference lies in how their devotion flowed outward.

Meera Bai sang—her bhakti spilled into poetry that still moves hearts across languages and centuries. She became the voice of longing.

Ajab Kumari lived her devotion inwardly, quietly absorbed in seva and remembrance. Her life itself became the hymn.

One offered Krishna her voice; the other offered Him her entire being.

Both offerings were accepted.

Meera Bai’s legacy is audible—bhajans sung in temples, homes, and pilgrimages.

Ajab Kumari’s legacy is quieter—preserved in temple lore, whispered among devotees of Srinathji.

But bhakti does not measure greatness by volume.

Meera teaches us that love can sing against the world.

Ajab Kumari teaches us that love can disappear into God.

Ultimately, Ajab Kumari and Meera Bai remind us of a single truth taught by the Bhagavata tradition:

Bhagavan belongs to the bhakta, not to history, hierarchy, or ritual.

Whether through song or silence, rebellion or retreat, Krishna recognizes only one qualification—unconditional love.

One sang aloud in palace halls,

Her anklets ringing defiance.

One walked in quiet temple shade,

Her breath itself remembrance.


One offered tears in flowing verse,

One offered life unspoken.

Giridhara smiled at both the same—

For love alone is token.


When Meera Met Ajab in Nathdwara

The bells of Srinathji’s temple had just fallen silent.

Incense still lingered, curling like unspoken prayers.

The marble floor was cool beneath bare feet, and the black stone form of Srinathji glowed softly in the lamplight—as if listening.

Meera Bai stood near the mandapa, her tanpura resting against her shoulder, eyes moist from singing.

Ajab Kumari knelt closer to the sanctum, her hands folded, her lips unmoving.

Krishna watched both.

Meera:

“Sakhi, I sing because my heart overflows.

When I try to be silent, He sings within me.

Tell me—how do you hold such stillness?”

Ajab Kumari smiled, not lifting her eyes from Srinathji.

Ajab Kumari:

“I do not hold it, Meera.

He holds me.

When the river reaches the sea,

does it still remember its sound?”

Meera’s eyes widened. She laughed softly.

Meera:

“Ah! You have already arrived.

I am still walking, singing to keep my courage.”

Ajab’s Quiet Confession

Ajab Kumari:

“Do not think silence means absence of longing.

My yearning burns so fiercely

that words would turn to ash before reaching Him.”

Meera touched her chest.

Meera:

“Then we suffer the same fire.

Only the smoke rises differently.”

The lamps flickered. The priest had left.

The temple belonged only to the Lord and His lovers.

Meera sang softly:

“Mere toh Giridhara Gopala,

doosaro na koi…”

Ajab Kumari closed her eyes.

Ajab Kumari:

“Your song is His garland.

My breath is His lamp.

Both reach Him, Meera.”

For a moment, the stone form seemed to lean forward,

as if Srinathji Himself wished to hear better.

Meera:

“They called me mad.

They tried to stop my singing.

Tell me—did they understand you?”

Ajab Kumari:

“They did not need to.

He did.”

Meera bowed her head.

Meera:

“Then perhaps madness is simply

loving Him without witnesses.”

Ajab Kumari finally looked at Meera fully.

Ajab Kumari:

“Yes.

And Nathdwara is the door

where such madness becomes grace.”

Krishna’s Answer

No voice spoke.

Yet both women felt it—

a warmth, a certainty, a smile that needed no form.

Krishna’s answer was simple:

One sang Me.

One became Me.

How could I choose between My own?

Meera lifted her tanpura.

Meera:

“I will carry this meeting in my song.”

Ajab Kumari returned to her silence.

Ajab Kumari:

“I will dissolve it in prayer.”

The bells rang again.

Two women walked out—

one humming, one still—

leaving Nathdwara fuller than before.


Some saints teach us through sound,

some through stillness.

But in Nathdwara, before Srinathji,

both are only different ways

of knocking on the same eternal door.


Mewar

Ajab Kumari of Mewar: When Royalty Bowed to Grace

Mewar is remembered for its unyielding courage, its fortresses carved out of rock, and its rulers who placed honour above life itself. Yet alongside the clang of swords and the thunder of hooves, there runs a quieter current in its history—a current of devotion so intense that even royalty dissolved before it. The story of Ajab Kumari, a princess of Mewar and an ardent devotee of Śrīnāthjī, belongs to this sacred stream.

Ajab Kumari was born into privilege, surrounded by the certainties of power, wealth, and dynastic expectation. But from her earliest years, her heart turned not toward crowns or conquests, but toward the dark, gentle form of Śrīnāthjī—Krishna as the child of Govardhan, the Lord of grace worshipped in the Pushti Mārga. What began as devotion soon became identity. She did not merely worship Śrīnāthjī; she belonged to Him.

In the bhakti tradition, there is a profound distinction between devotion as practice and devotion as being. Ajab Kumari’s bhakti belonged to the latter. For her, Śrīnāthjī was not a symbol enshrined in a temple but a living presence—one who listened, responded, accepted, and guided. Her days were shaped by remembrance, her inner world by seva-bhāva, the tender attitude of loving service.

Royal duty, however, does not easily release its hold. Expectations of marriage and alliance pressed upon her, as they did upon every Rajput princess. But Ajab Kumari’s heart could not be divided. In a voice quiet yet unwavering, she declared her exclusive belonging to Śrīnāthjī. This was not rebellion born of defiance, but surrender born of love. She did not reject the world in anger; she simply found it insufficient.

Temple lore and devotional memory preserve moments of divine reassurance during her trial. Śrīnāthjī, it is said, consoled her with a truth central to Pushti Mārga: that grace, not circumstance, defines union. Where the devotee’s heart abides, there too the Lord resides. Thus, even within palace walls, Ajab Kumari lived inwardly at Govardhan, eternally in His presence.

Accounts differ on the outward details of her life’s end. Some say she withdrew from royal life altogether; others say she remained outwardly bound to duty while inwardly free. In bhakti, such distinctions are secondary. What matters is that her life culminated not in loss but in fulfilment—in complete surrender, where the self melts into divine belonging.

Ajab Kumari’s story endures because it speaks to a timeless truth. God does not demand that one abandon the world; He asks only that the heart be wholly His. In a land famed for courage, Ajab Kumari exemplified a rarer valor—the courage to love without reserve.

She left no scripture behind, no monument bearing her name. Yet she achieved what bhakti alone promises: to be remembered by the Lord Himself. And in that remembrance lies eternal life.


Ajab Kumari

Born to stone forts and royal flame,

To banners proud and an ancient name,

She wore silk, jewels, and duty’s art—

Yet Govardhan bloomed within her heart.


Not throne nor crown her spirit knew,

But a dark child lifting a mountain blue,

Eyes that smiled with cosmic play,

Hands that stole her soul away.


She fed Him first in thought and prayer,

Dressed Him daily with loving care,

Spoke to Him when the world grew loud,

Found Him near when alone she bowed.


They said, “O princess, the world awaits—

Its laws, its bonds, its royal fates.”

She smiled, gentle, firm, and free:

“My only bond is Śrīnāthjī.”


No fire of revolt, no cry of pain,

Just love that refused to be made profane,

A heart that would not learn to part

From the Lord who claimed it whole, not part.


Where did she go? The records blur.

Did she leave the world—or the world leave her?

For those who love, such questions fade—

She lived where grace had made its shade.


No temple bears her earthly name,

No stone recalls her silent flame,

Yet Govardhan knows, and so does He

Who accepts a soul completely.


Ajab she was—by love made rare,

A queen who ruled by selfless care,

For greater than all Mewar’s might

Is a heart that chose eternal light.


Friday, December 12, 2025

Humble brew.

In a brass-drum dawn, the kitchen wakes,

A hush of warmth the silence breaks;

From ancient homes to modern days,

A sacred scent begins to rise.


Beans once sun-kissed, roasted wise,

Whisper stories as they grind;

Chicory’s shadow blends within—

A marriage old, yet ever kind.


The decoction drips like temple rain,

Slow and steady, drop by drop;

As though the universe itself

Learns patience at the filter top.


In the steel tumbler, silver-bright,

Milk swells cloudlike, pure and light;

Sugar sprinkles soft delight—

Not too little, never too much.


Then pours the brew, a molten brown,

A silken river spiralling down;

Lifted high and drawn back low,

In the “meter” dance of froth and flow.


Ah, that first sip—

Warmth woven with memory;

Grandmother’s porch,

Father’s calm,

Mother’s morning melody.


It is not a drink—

It is devotion in a cup;

A South Indian sunrise

You gently pick up.


With every sip, the world feels new,

Truth clearer, edges soft and free;

For in that tumbler of humble brew

Lives a quiet, fragrant poetry.

Where the Same Ingredients Become Daily Magic**

In every South Indian household, the stainless-steel twin coffee filter stands like a quiet master of ceremonies. Two simple chambers, one snugly resting atop the other — nothing ornate, nothing extravagant. Yet it brews something unforgettable.

The ingredients never change: dark-roasted coffee powder, boiling water, fresh milk, and a touch of sugar. But the magic lies not in what goes in — it lies in how time itself transforms them.

The Art of the Slow Drip

Once the coffee powder is nestled into the upper chamber, steaming water is poured gently over it. The moment the lid closes, the ritual enters its sacred phase: the slow, unhurried dripping of decoction.

No rushing. No shortcuts.

The filter works in its own rhythm, insisting that true flavor cannot be hurried.

As each drop falls into the lower chamber, the kitchen fills with the unmistakable aroma of South Indian mornings — a fragrance that has awakened generations. It is in this quiet interval that the ordinary becomes alchemy: the same beans, the same water, the same steel filter, yet a different enchantment every single day.

Milk, Decoction, and the Marriage of Balance

When the decoction is finally ready — strong, deep, and fragrant — it meets freshly boiled milk. The true art lies not in measurement alone but in balance: enough decoction for strength, enough milk for softness. Sugar slips in gently, rounding out the edges.

Nothing dramatic, nothing flamboyant.

Just a harmony of proportion, patience, and warmth.

The Meter Coffee Magic

And then comes the flourish — the meter coffee pour, that unmistakable South Indian signature.

Two steel tumblers, held a foot apart — sometimes more — exchange the coffee in long, elegant arcs. The liquid flies through the air like a silk ribbon, gathering froth and brightness with every descent. This is the moment when skill meets spectacle.

It is both art and science:

Pour too fast — it spills.

Too slow — no froth.

Too high — it loses heat.

Too low — it loses charm.

In the hands of street vendors or seasoned home brewers, meter coffee becomes a short performance that uplifts the drink itself. The same ingredients now shine with texture, aroma, and lively foam. The drink turns richer, bolder, and somehow more comforting.

The Daily Mirror of Life

Perhaps this is why filter coffee remains beloved. It reminds us that with the same ingredients, each day can still taste different, simply because the timing changes. The world outside may hurry, but the coffee filter teaches us that certain things — patience, balance, attention — refuse to be rushed.

In its stainless-steel chambers, it holds not just coffee but memory, ritual, and the subtle beauty of doing something well every single day.

The twin filter brews the decoction.

Time infuses the flavor.

And the meter pour completes the art.

Thus, in countless homes across the South, morning begins not with an alarm, but with a fragrance — familiar yet always freshly reborn.

What makes South Indian filter coffee even more remarkable is that it comes from no patented invention, no corporate formula, no scientific laboratory. It was not perfected in research centres, nor trademarked by any company.

Instead, it evolved quietly in the hands of countless mothers, grandmothers, vendors, cooks, and early risers — each adding their own touch, each preserving the essence.

The coffee filter itself is simple stainless steel; the method almost austere in its minimalism. And yet, across lakhs of households, the result is astonishingly consistent:

a marvelous brew, rich in aroma, deep in strength, and comforting to the soul.

This is the beauty of tradition —

an art perfected not by patents, but by practice;

not by laboratories, but by lived experience;

not by innovation, but by intuition.

What unites families from Tamil Nadu to Karnataka, from Andhra kitchens to Kerala homes, is this shared ritual of brewing something extraordinary from the most ordinary ingredients.

Every home becomes its own little coffee workshop.

Every hand its own quiet expert.

Every morning its own masterpiece.

Now for a well written entry worth sharing. 

 From Kalpathy to Kumbakonam: South Indians Turned Percolation Physics Into sheer Bliss.

_By Mohan Murti_

There are only three things every South Indian household treats as non-negotiable: God, gold, and filter kaapi. And not necessarily in that order.

Forget Silicon Valley, ignore the IIT Mafia. The single greatest engineering marvel ever to emerge from the land between Palakkad Gap and Mylapore Tank is a shining, humble, stainless-steel device that Europe could never dream of and America could never patent.

No, not the pressure cooker.

It’s the South Indian coffee filter — that two-tiered metal cylinder with enough perforations to rival Swiss cheese and enough attitude to put Michelin-star chefs to shame! 

It is arguably the most elegant domestic application of percolation physics known to humankind.

It’s the kind of design Steve Jobs would have stolen, trademarked, and sold as the iFilter Pro Max for $999.

European coffee machines hiss like angry cobras.

American percolators bubble like badly behaved volcanoes.

Our South Indian filter?

Silent. Minimal. Deadly.

The only object in our culture that has achieved Nirvana without ever going to Hrishikesh.

While Europe and America built water purifiers, oil filters, HEPA systems, and vacuum cleaners with the filtration principle, we took that knowledge and said:

“Nice. But can it produce bliss?”

Yes, the West Invented Filtration; We Invented percolated filter kaapi! Ask any South Indian what the real breakthrough was, and they will declare — without blinking —

“The stainless-steel kaapi filter. 

London’s sand filter gave you potable water; our kaapi filter gives you purpose in life!

Everything else is background noise!

*A Coffee Filter With the Soul of a Philosopher*

The Kaapi filter is deceptively simple. 

It takes finely ground coffee, a spoonful of chicory (because life must have some bitterness), and hot water — and through an alchemical gravitational ballet, produces decoction thick enough to reset the nation. It is filter kaapi.

Ah, that fragrance that turns atheists briefly spiritual. And flavor that convinces you that reincarnation might actually be worth it.

Bold, unapologetic and capable of restarting the national grid & making the dead phone ring when served in a davara-tumbler set.

The civilized South Indian — the cultured, sane, liver-preserving one — prefers a morning shot of filter kaapi, the only beverage that can wake you up, cheer you up, tidy your soul, and make you temporarily optimistic about the nation. It’s a national antidepressant, a mood stabilizer, 

It’s the only drink that can stop arguments, start conversations, make political discussions briefly civil. It’s capable of tolerating WhatsApp family groups and preventing civil war inside joint families.

A beverage so divine that even Gods look down from Kailasa and whisper, “Enna aroma da!” 

A tumbler of liquid philosophy that explains the Upanishads without speaking a word.

The Beverage That Makes Even Mondays Forgivable

Let’s speak the truth.

What Americans drink is de-caffeinated depressant.

What Europeans drink is espresso strong that smells like burnt tyre.

What North Indians make should come with a statutory warning. It’s the unwilling arranged alliance between Nescafé & hot water!

Every South Indian Household Is a Physics Lab

Europe had Newton, Einstein, Faraday, and Maxwell.

South India had ‚traditionally attired madisaar paatis‘ (grandmas‘) whose morning routine perfectly demonstrated the laws of gravity & thermodynamics! 

We should be awarding honorary PhDs to every ‘Madisaar Paati” from Kalpathy to Kumbakonam. From Mayavaram to Madras. From Mysore to Mambalam.

No Patent, No Billion-Dollar Start-Up — Just Pure Genius

Unlike the West, which cannot invent a doorknob without filing twelve patents, the South Indian coffee filter has no inventor’s name, no official patent and no corporate backstory.   

While Silicon Valley glorifies “disruption,” South India quietly perfects the art of continuity — the same ritual, every single morning, with the same devotion as temple bells at dawn.

A steaming tumbler of kaapi is basically a syllabus of the Upanishads in blissful silence!

Meter Kaapi: Our Aerodynamic Skydiving Masterpiece 

No kaapi discussion is complete without meter kaapi — that majestic one-meter pour between davara and tumbler.

It is a cinematic performance where again, gravity, aerodynamics, precision engineering, and caffeine join hands like a Bharatanatyam ensemble.

It is the only time in life when liquid travels with grace, purpose, and the quiet confidence of someone who has never spilled a drop.

France has champagne. South India has meter kaapi, our own rocket fuel. And. honestly — we win.

*The Delicious Irony*

Just quiet, anonymous brilliance — perfected by generations of ‚paatis‘ (grandmas‘) who treated decoction extraction like rocket scientists would treat a NASA mission - minus the hype! 

And that’s why the greatest high in the world comes not from whisky, tequila, bourbon, or German beer — but from a perfectly extracted shot of South Indian filter kaapi.

Lovers of kaapi — share the blend! Because, One forward can uplift a nation!

Silent converse.

She discovered that breast milk changes its formula based on whether the baby is a boy or girl. Then she found something even more shocking: the baby's spit tells the mother's body what medicine to make.

2008 Katie Hinde stood in a California primate research lab staring at data that didn't make sense.

She was analyzing milk samples from rhesus macaque mothers—hundreds of samples, thousands of measurements.

And the pattern was impossible to ignore:

Mothers with sons produced milk with higher fat and protein concentrations.

Mothers with daughters produced larger volumes with different nutrient ratios.

The milk wasn't the same. It was customized.

Her male colleagues dismissed it immediately. "Measurement error." "Random variation." "Probably nothing."

But Katie Hinde trusted the numbers. And the numbers were screaming something revolutionary:

Milk wasn't just food. It was a message.

For decades, science had treated breast milk like gasoline—a delivery system for calories and nutrients. Simple fuel.

But if milk was just nutrition, why would it be different for sons versus daughters?

Katie kept digging.

She analyzed over 250 mothers across more than 700 sampling events. And with each analysis, the picture became clearer—and more astonishing.

Young, first-time mothers produced milk with fewer calories but dramatically higher cortisol (stress hormone) levels.

Babies who drank this high-cortisol milk grew faster but were more nervous, more vigilant, less confident.

The milk wasn't just feeding the baby's body. It was programming the baby's temperament.

Then Katie discovered something that seemed almost impossible.

When a baby nurses, tiny amounts of saliva travel back through the nipple into the mother's breast tissue.

That saliva contains information about the baby's immune status.

If the baby is fighting an infection, the mother's body detects it—and begins producing specific antibodies within hours.

The white blood cell count in the milk would jump from 2,000 to over 5,000 during illness. Macrophage counts would quadruple.

Then, once the baby recovered, everything would return to normal.

It was a conversation. A biological dialogue between two bodies.

The baby's spit told the mother what was wrong. The mother's body responded with exactly the medicine needed.

A language invisible to science for centuries.

Katie joined Harvard in 2011 and started digging into existing research.

What she found was disturbing: there were twice as many scientific studies on erectile dysfunction as on breast milk composition.

The world's first food—the substance that nourished every human who ever lived—was scientifically neglected.

So she started a blog with a deliberately provocative title: "Mammals Suck...Milk!"

Within a year: over a million views. Parents, doctors, scientists asking questions research had ignored.

Her discoveries kept coming:


Milk changes throughout the day (fat peaks mid-morning)

Foremilk differs from hindmilk (babies who nurse longer get higher-fat milk at the end)

Over 200 types of oligosaccharides in human milk that babies can't even digest—they exist solely to feed beneficial gut bacteria

Every mother's milk is unique as a fingerprint


In 2017, she delivered a TED talk that millions have watched.

In 2020, she appeared in Netflix's "Babies" docuseries, explaining her discoveries to a global audience.

Today, at Arizona State University's Comparative Lactation Lab, Dr. Katie Hinde continues revealing how milk shapes infant development from the first hours of life.

Her work informs care for fragile infants in NICUs. Improves formula for mothers who can't breastfeed. Shapes public health policy worldwide.

The implications are profound.

Milk has been evolving for 200 million years—longer than dinosaurs.

What science dismissed as "simple nutrition" was actually the most sophisticated biological communication system on Earth.

Katie Hinde didn't just study milk.

She revealed that the most ancient form of nourishment was also the most intelligent—a dynamic, responsive conversation between two bodies that has been shaping human development since the beginning of our species.

All because one scientist refused to accept that half the conversation was "measurement error."

Sometimes the most revolutionary discoveries come from paying attention to what everyone else dismisses.

Thursday, December 11, 2025

Maryada.

 प्रथम नमन गणपति को, मंगल का आधार,

नमन सरस्वती माँ को, वाणी की संवित्कार।

गुरुजनों, माता-पिता, सबको हमारा प्रणाम—

जिनके चरणों से खुलता है ज्ञान का दिव्य धाम।


अब आरम्भ हो रही है कथा पुरातन काल की,

ये रामायण है पुण्यकथा मर्यादा पुरुषोत्तम राम की।


आर्यावर्त के धरती पर, पवित्र भारत भान में,

एक नगर था अलौकिक, अयोध्या जिसके नाम में।

वहीं जन्मे थे राम, शील, सत्य और धैर्य के साक्षात् रूप—

जिनकी स्मित से जग निर्मल हो, जिनके चरणों में हर स्वरूप।


रघुकुल में राजा दशरथ थे धर्म के दीप समान,

यज्ञ किया संतान हेतु, फल पाया अद्भुत वरदान।

जन्में चारो रत्न—भरत, शत्रुघ्न, लक्ष्मण, राम—

मानो धरती पर उतरे हों चार दिशाएँ, चार धाम।


गुरुकुल में शिक्षा पाई, विनय, तपस्या, त्याग की,

शौर्य, करुणा, धर्मपथ, मर्यादा की आग की।

ऋषियों ने देखा उनमें तेज सूर्य-सा, चन्द्र-सा शीतल भाव—

जो बना जगत का पथ-प्रदर्शक, रघुवंशी कुल का प्रभाव।


विश्वामित्र ने बुलाया, कहा—‘मेरे यज्ञ की रक्षा हो,’

राम गए लक्ष्मण संग, जैसे पर्वत पर प्रभा की रेखा हो।

ताड़का मारी, राक्षस जीते, धर्म की फिर हुई प्रतिष्ठा—

जग ने पहचाना तब ही राम की वीर और कोमल दृष्टा।


मिथिला में swayamvar हुआ, धनुष उठा न किसी से,

पर राम ने उसे सहज तोड़ा, जैसे प्रभात ढले निशीथे से।

सीता मिलीं—शुद्धता की मूर्ति, धरती की कोख से जन्मी—

दो आत्माएँ एक दीप हुईं, दिव्यता की ज्योतिरमयी संगिनी।


वनवास का घन अंधेरा आया, पर मन में दीप सदा जलते,

राम, सीता, लक्ष्मण त्रय—धर्मपथ पर दृढ़चलते।

दण्डकारण्य, ऋषि-आश्रम, सत्कर्मों के पुष्प खिले,

हर कठिनाई, हर परीक्षा से उनके तेज और निखरे।


सीता-हरण, जटायु-बलिदान, हनुमान-प्रेम का विस्तार,

समुद्रतट पर सेतु-निर्माण, लंका में धर्म का उद्गार।

रावण-वध से सत्य जीता, अन्याय का अंत हुआ—

अयोध्या में दीप जले फिर, राम-राज्य का प्रबंध हुआ।


सुनो हमारे शब्दों में राम-चरित की अनंत धारा—

हर पंक्ति एक तीर्थ समान, हर भाव गुरु के चरणों पारा।

ये कथा नहीं सिर्फ़ इतिहास—ये श्वासों का परम विश्राम,

ये रामायण है पुण्यकथा, पावन कथा श्रीराम।



Stambha.



This "Swara Sthambha" (Musical Pillar) of Hampi is not just a stone & Sculpture.

This single amazing work on the hardest rock in the world has more than 30 elements of which I chose 8 to explain.

1) Bhitta - Base, with events related to trade, commerce & Military.

2) Jaadyakumbha - is the invertion of a Bud opening generally the Padma/Lotus.

3) Graasapatta - a band of Kirtimukhas, Simhamukhas, Asva or Gaja to avoid Drishti or Dosha.

4) Kapota - Usually birds like pigeons sit in this area, so the name.

5) Mancha Bhadra - Square shaped pedestal/base.

6) Swara Stambha - the main part of pillar sculpted into 12 different smaller pillars that produce music nodes

7) Seersha - the final or the head, with different yalis

8) Dandachadya - the Chajja/Eave. This Chajja is unique because the design that's only possible on wood construction is brought on to the stone. "Mera Bharath Mahan"