3 R,s

https://youtu.be/AaRyGJxpCqY?si=hJeYP6JAPWH-En8C
 During the Jagannath Rath Yatra in Puri, the Gajapati Maharaja of Odisha — the traditional king of Puri — plays a deeply spiritual and symbolic role. Though the Gajapati is no longer a ruling monarch in the political sense, he is still regarded as the first and foremost servitor (Adya Sevak) of Lord Jagannath.

The King's Role in the Yatra:

1. Chhera Pahanra – Ritual Sweeping

This is the most iconic and sacred duty of the king during the Rath Yatra.

"Chhera" means sweeping, and "Pahanra" means to cleanse.

The Gajapati Maharaja, dressed in simple white clothes and barefoot (symbolizing humility), comes to the chariots with a golden broom and sweeps the platform of each chariot (Nandighosa of Jagannath, Taladhwaja of Balabhadra, and Darpadalana of Subhadra).

He sprinkles sandalwood-scented water and flowers during this ritual.

Significance: This act symbolizes that in the eyes of the Lord, all are equal — even the highest king is but a humble servant of God.

2. Royal Attendance and Supervision

The king oversees many aspects of the Rath Yatra preparations.

His symbolic presence ensures the smooth functioning and sanctity of the festival.

3. Performance of Ritual Duties

The Gajapati also performs other temple rituals during the festival days, including offerings, prayers, and presence during key events, though he cannot enter the sanctum (due to ritual restrictions).

The king’s role during the Yatra reflects bhakti (devotion) and dasanattva (servitude).

It’s a unique moment in history when a monarch, revered by many, kneels before the Lord — reinforcing the equality of all before the divine.

In the grand Rath Yatra of Lord Jagannath in Puri, Odisha, three majestic chariots are built anew every year for the three deities: Lord Jagannath, Balabhadra, and Subhadra. Each chariot has its own name, color, number of wheels, guardian deities, and names of horses. Below are the detailed descriptions:

 1. Lord Jagannath's Chariot: Nandighosha (or Garudadhwaja / Kapidhwaja)

Chariot Name: Nandighosha

Color: Red and Yellow

Number of Wheels: 16

Height: About 45 feet

Flag: Garuda (eagle) emblem

Charioteer (Sarathi): Daruka

Horse Names:

Shankha (white)

Balahaka (white)

Swarna (white)

Haridashwa (white)

Guarding Deity: Hanuman

Rope Name (used to pull): Shankhachuda

2. Balabhadra's Chariot: Taladhwaja

Chariot Name: Taladhwaja

Color: Red and Green

Number of Wheels: 14

Height: About 44 feet

Flag: Palm tree (Tala)

Charioteer: Matali

Horse Names:

Tivra

Ghora

Dirghasharma

Swarnanava

Guarding Deity: Narasimha

Rope Name: Basuki

3. Subhadra's Chariot: Darpadalana (or Devadalana / Padmadhwaja)

Chariot Name: Darpadalana

Color: Red and Black

Number of Wheels: 12

Height: About 43 feet

Flag: Lotus emblem

Charioteer: Arjuna

Horse Names:

Rochika

Mochika

Jita

Aparajita

Guarding Deity: Vanadurga / Chamunda

Rope Name: Swarnachuda

Other Details:

The chariots are constructed fresh each year using wood from specific trees like Phasi, Dhaura, etc.

Over 1000 artisans, including carpenters, painters, and sculptors, are involved in making them.

No nails or metal parts are used; traditional wooden joinery methods are followed.

The Rath Yatra usually falls in June–July (Ashadha month).

The journey starts from the Jagannath Temple to the Gundicha Temple, a distance of about 3 km.

 “The Chariot of the Lord” 

(A poem on Lord Jagannath’s Rath Yatra)

Drums resound, the conch shells blow,

On Puri's path, the chariots glow,

Three tall towers of wood and grace,

Move through the crowd, a holy pace.

Jagannath rides on Nandighosha, bright,

Cloaked in yellow and red delight.

Garuda flies upon his flag,

The Lord who rules with gentle swag.

Balabhadra strong, in green and red,

Taladhwaja where lions tread.

The palm tree soars upon his mast,

He guards the path, serene and vast.

Subhadra shines in black and red,

Her chariot, Darpadalana is led

By horses fierce, yet gently drawn,

The goddess rides like rising dawn.

White steeds neigh in rhythm deep,

As ropes of love the people keep,

No rich or poor, no caste, no line—

All souls are equal, all divine.

They pull with cries of “Jai Jagannath!”

The Lord of Cosmos clears their path,

Through sweat and tears and heartfelt song,

The wheels of mercy roll along.

For once the Lord comes out to see,

His children’s world—both bond and free.

He leaves His shrine, His royal seat,

To walk with dust beneath His feet.

O soul, rejoice! For now is near,

The time when love dissolves all fear.

The chariot rolls, the heart shall sway,

With God Himself upon the way.

The Ratha Yatra (Chariot Festival) at Puri typically spans 9 days. Here's a breakdown of the key events:

 Day 1 – Ratha Yatra (Gundicha Yatra)

Lord Jagannath, Balabhadra, and Subhadra leave the main Jagannath temple and travel in three grand chariots to the Gundicha Temple, about 3 km away.

This marks the beginning of the journey.

Days 2 to 8 – Stay at Gundicha Temple

The deities stay at Gundicha Temple for 7 days.

During this time, they receive seva (worship) in a special relaxed mood, often described as a vacation from the main temple.

Day 9 – Bahuda Yatra (Return Journey)

On the 9th day, the deities return to the Jagannath Temple in their chariots.

On the way, they stop at Mausi Maa Temple, where they are offered Poda Pitha, a special baked delicacy.

 After Return – Suna Besha (Golden Attire)

The day after Bahuda Yatra, the deities are dressed in gold ornaments, called Suna Besha. This draws massive crowds.

So, the main journey itself lasts 9 days, but the full cycle including associated rituals can stretch over 11 to 12 days depending on the calendar and temple traditions.

Surrender

 Saadhanaantarayuktaa vaa prapattih  svayameva van

Saadhayet muktikaamaanaam vimuktim pranavo yathaa.

Either alone by itself or as assistance to other means including the devotional path, surrender affords liberation to those desiring it,  even as does pranava mantra .

Yathaaha bhagavaan vyaktam vishvaksenaaya sunbathe itarupaaya daushkaryyat afhikaaraadihaanitah,

Upaayamiha vakshyaamisaampratam saarvalaukikam,

Kaaladoshaat manushyaanam manaschaanchalyayogatah,

Vishayendriyasamyogaat nishiddhakaranaadapi,

Vihitaakaranaannaapi Jesus sakyam ganaadhipa,

Indriyaani indriyaarthaascha nrunaam kaalasvabhaavatah.

Bhagavan himself made it clear to the attentive Vishvaksena, "other means for liberation are difficult to practice and may not be available to all,  so I shall tell you here and now the only means upaya which is available to everyone regardless of birth, knowledge or capability etc.

O Leader of heavenly forces! Ordinary, people who have wavering minds and are easily swayed by changing times, are not capable of subduing the senses which run after objects of desire.impelled by uncontrolled senses and under the influence of evil times, people fail to perform their prescribed duties and start indulging on forbidden activities.

Tasmania karmayogesmun adhikaro hi vidyate,

Vigiteshu sarveshu tadabhaavaat mahatma,

Jnaanayoge pyabhiratih kasyachit vidyate na cha

Tadabhaavaanmayi preening bhaktischa jaayate,

Tasmaat matpaadayugalam aikaantyaat Saranac vrajet,

Aatmano durdarsaapattim viruses cha gunman mama

Madekopaayasamvittih ma'am prapanno vimuchyate.

Consequently, O wise one, such persons become ineligible for the path of action. Karmayoga, being incapable of performing the prerequisit rites with due diligence. Hence they do not have the frame of mind for the next step, namely path of knowledge and in the absence of knowledge they totally lack devotion, which is nothing but love for me. Therefore, taking refuge solely at my feet, rowing his own sad lot and my endearing qualities, knowing me as the only means prostration before me he attains liberation.

How many more times should God have to come and give this message. This runs through in words and deeds performed time and time again by the. LORD. but man and his fickleness. Wishes to go from person to person from book to book from deity to deity trying to find something anything to quench his monkey mind. The simple principle lies spelt out before him yet he goes searching devouring books for that extra knowledge. When it's all there before his very eyes. It can't be made simpler. Just imagine God's furry trying his best to get mankind to surrender to his lotus feet. 

Ma su ca. 

Kaveri ranga.

https://youtu.be/PbkHXSa9eQQ?si=yXiGuJQc2mm7uUzV

 Song: kangaLidyAtakO

---

kangaLidyAtakO
raagam: tODi

Aa:S R1 G2 M1 P D1 N2 S
Av: S N2 D1 P M1 G2 R1 S

taaLam: rUpaka
Composer: Purandara Daasar
Language: Kannada

pallavi

kangalidyAtakO kAvEri rangana nODade

anupallavi

jagangaLaLage mangaLa mUruti shrI rangana padangaLa nODade

caraNam 1

endigAda romme janaru bandu nintu candra puSkaraNi snAnavu mADi Anandadinda shrIrangana nODi

caraNam 2

haripAdOdaka samakAvEri vrjanadiya snAnava mADi parama vaikuNTha ranga mandira para vAsudEvana nODada

caraNam 3

hArakEyura vaijayanti tOra muttina hAra padaka tEranEri bIdili baruva ranga viTTala dEvana nODada

PRR

 "Prem ke Dās āṅg" (प्रेम के दास अंग) — this phrase can be interpreted in multiple beautiful, poetic, and devotional ways, especially in the context of Bhakti literature and saint poetry from traditions like that of Tulsidas, Kabir, Meera, or Surdas.

Prem (प्रेम): Divine love — the love that is selfless, pure, and unconditional, often directed toward God.

ke (के): Of, belonging to.

Dās (दास): Servant, devotee, one who is surrendered.

Āṅg (अंग): Limb, part, or essence.

"Prem ke Dās āṅg" means:

“The limbs/essence of one who is a servant of love.”

“That which constitutes the being of a devotee of divine love.”

In Bhakti traditions, saints often describe the body, mind, and soul of a devotee as being made up of "prem" (divine love). Every "aṅg" (limb) of a true bhakta (dās) should vibrate with love for the Lord — whether it is:

the eyes, which long to see God,

the ears, eager to hear His name,

the tongue, constantly chanting,

the hands, engaged in seva (service),

or the heart, burning with love.

It reflects complete surrender — where love for the Divine is not just an emotion, but a total transformation of one's being.

Short Poetic Line (Inspired by Bhakti Saints):

> "Prem ke Dās ke aṅg-aṅg mein Hari vāse,

jise dekho, vāhī Rām samān lāge."

(In every limb of the servant of love, the Lord dwells; whoever looks upon them sees the Lord alone.)

This is a beautiful and poetic story from the bhakti traditions surrounding Lord Jagannāth of Puri, and highlights the deep emotional connection between the Lord, His devotees, and especially Śrī Rādhā.

When Lord Jagannātha Began to Melt Hearing His Own Glories

Once, Nārada Muni, the divine sage who roams the three worlds singing the glories of the Lord, arrived in Śrī Vaikuṇṭha. There he saw Lord Nārāyaṇa in an unusual state — the Lord was not seated regally, but rather trembling, eyes moist, and His body glowing with intense bhāva (emotion).

Curious, Nārada asked,

“Prabhu! What is it that moves You so deeply today?”

The Lord smiled gently and said,

“O Nārada, I am listening to My own description — not in pride, but in the voice of the one who knows Me best — Śrī Rādhā. She is describing Me not with words, but with her anubhava (deep inner experience). Her love is so intense, so pure, that every word melts Me.”

As the Lord said this, His form began to soften, swell, and melt like molten gold. His arms seemed to draw inward, His eyes stretched wide in ecstatic absorption, His limbs were becoming round and undefined — it was as though He would soon become a stream of divine emotion and flow away.

Alarmed, Nārada cried,

“O Lord! If You keep listening, there will be no Lord left — You will dissolve into love itself! Let me go to Rādhā and plead with her to pause her glorification.”

At once, Nārada flew to Goloka Vṛndāvana, where Śrī Rādhā sat with her sakhīs, lost in sweet remembrance of Kṛṣṇa. Her voice, like the softest veena, was pouring out His names, His form, His playful leelās. She was describing Kṛṣṇa's smile, the curl of His hair, the beauty of His lotus eyes — and each word was weighing on the heart of the cosmos, bending even Nārada's own breath.

Falling at her feet, Nārada begged,

"O Devi! Please, stop! The Lord is melting… your love is so intense, He cannot hold His form. He will become a river of prema and flow away from this world!”

Rādhā smiled through her tears and replied,

“Then let Him flow — for He is made of rasa. If He melts, He only returns to His truest form — love itself.

The Murti of Jagannātha

This story is often connected to Jagannātha’s form in Puri — with big round eyes, no defined hands or feet, and a rounded body — as the "Melted Form of the Lord" when overwhelmed by the love of Rādhā and the Vrajavāsīs.

Jagannātha’s form is not a sculpture of wood — it is premamay swarupa (a form made of divine love).

Thus, every year during Ratha Yātrā, Jagannātha comes out with Balabhadra and Subhadrā, leaving the temple, symbolizing His desire to visit Vṛndāvana again — to reunite with Rādhā and the gopīs who melted Him with their devotion.

राधा की बानी में रस की धार,

溶け गए श्याम, न रहीं आकार।

नारद ने रोकर किया पुकार,

ठहरो राधे, प्रभु हो गए पार।

"In Rādhā’s voice, a stream of rasa flowed,

Shyām melted, lost His very form.

Nārada cried out in sacred alarm,

‘Hold, Rādhā! The Lord has become a storm.’"

now invoking Rukmiṇī, the foremost queen of Śrī Krishna in Dvārakā — a divine personality filled with deep devotion, quiet strength, and royal dignity. Here’s a beautiful story, full of bhakti and emotion, that also connects her to the Jagannātha Leelā and Rādhā’s love.

 When Rukmiṇī Saw Jagannātha’s Form Melted by Rādhā’s Love

One day in Dvārakā, Rukmiṇī Devi entered Krishna’s private chamber and found Him sitting silently, staring at nothing — His eyes were wide, and His body shivering. He looked overwhelmed by an emotion beyond words.

Rukmiṇī gently placed her hand on His shoulder and asked,

“My Lord, are You in pain? What troubles You?”

Krishna looked at her with soft eyes and whispered,

 “I was remembering Vṛndāvana… and Rādhā.”

Though Rukmiṇī was His queen, she felt a quiet pang in her heart — not of jealousy, but of deep wonder. Who was this Rādhā, whose remembrance could steal away even the great Krishna’s senses?

Later, Nārada Muni came to Dvārakā. Rukmiṇī asked him,

“You travel the three worlds — tell me truly, who is Rādhā?”

Nārada smiled and said,

 “Devi, only when you see her bhakti, you will understand.”

He then took Rukmiṇī to Nilachala, where Lord Jagannātha resided. She stood before the Lord in His unusual form — big eyes, hands drawn inward, a round body, no clear limbs.

She asked Nārada,

“Why does He look like this?”

Nārada replied:

“This is Krishna melted by Rādhā’s love. When He heard Rādhā describing Him with such bhāva, His form could not hold itself. His limbs merged into His heart. That melted form is what the world worships as Jagannātha.”

Tears welled in Rukmiṇī’s eyes. She bowed her head and said,

“Now I understand. My love serves Him in royalty — but Rādhā’s love rules Him completely.”

Rukmiṇī represents Lakṣmī, the goddess of fortune. She is Krishna’s queen in Dvārakā — composed, wise, and devoted. But Rādhā is the personification of prema-bhakti — love that is raw, unending, and selfless. Where Rukmiṇī serves Krishna as her Lord, Rādhā loses herself in Krishna, and Krishna loses Himself in her.

That is why Jagannātha's form is said to be Krishna in the remembrance of Rādhā — His heart overflowing, His body melting in love.

 Rukmiṇī’s Realization

राजमहल की रानी थी मैं,

पर मन में एक सवाल रहा।

जब देखा रूप जगन्नाथ का,

तब जाना – प्रेम ही असली राह।

"I was queen of a royal throne,

Yet a question stirred unknown.

When I saw Jagannātha’s face,

I knew — pure love is the highest grace."

S C A.

 The phrase Satya, Chaitanya, and Ānanda—often expressed together as "Sat-Chit-Ānanda"—is a profound way the Hindu philosophical tradition describes the true nature of God (Brahman) in Vedanta. Let's break it down and explain why God is considered Satya (Truth), Chaitanya (Consciousness), and Ānanda (Bliss):

1. Satya (सत्य) – Truth / Existence

What it means: Satya refers to absolute, unchanging existence or reality. It is that which always is, beyond time and space.

Why God is Satya:

God (Brahman) is not subject to creation or destruction. Unlike the physical world, which changes, decays, or dies, God is eternal and unchanging.

In the Upanishads, it is said: "Sadeva somya idam agra āsīt" – “In the beginning, there was only Being, one without a second.”

All things exist because of God’s existence. God is the foundation of all reality.

2. Chaitanya (चैतन्य) – Pure Consciousness / Awareness

What it means: Chaitanya is the intelligent, aware principle—the power of knowing, seeing, and being aware. It is the light of consciousness.

Why God is Chaitanya:

Everything that is alive, aware, or sentient reflects a spark of this divine consciousness.

God is not a dead force but fully alive, all-aware, and the source of all intelligence and perception.

The Upanishads say: "Prajnānam Brahma" – “Consciousness is Brahman.”

Our own awareness (the "I am") is seen as a reflection of this Chaitanya.

3. Ānanda (आनन्द) – Bliss / Joy

What it means: Ānanda means deep, transcendental bliss—a joy not dependent on external objects or events.

Why God is Ānanda:

God is the source of all happiness, peace, and contentment.

True joy arises not from possessions, but from contact with the divine.

In the Taittiriya Upanishad, it is said: "Ānando brahma iti vyajānāt" – “Bliss is Brahman.”

When sages realize the Self or God, they dwell in unbroken inner joy—this is the natural state of the soul reunited with the divine.

So why are gods called Satya, Chaitanya, and Ānanda?

Because God is not just a person or form, but the ultimate reality itself:

Satya – the unchanging Truth behind the changing world.

Chaitanya – the conscious principle that illumines everything.

Ānanda – the blissful nature of that perfect being.

These three are not separate qualities, but inseparable aspects of the one divine presence. When one realizes God, one experiences all three together: eternal truth, radiant awareness, and limitless joy.

Story for children.

Once in a quiet forest, a little boy named Arjun wandered too far from his village. He came upon a glowing, ancient tree. At its base, sat a wise old sage with a smile that warmed the heart.

“Are you lost?” the sage asked kindly.

“Yes,” said Arjun. “But more than that… I feel like I don’t know who I really am.”

The sage laughed gently and said, “Come. I will show you something.”

He took Arjun to a secret cave, where there was a magical mirror—but this mirror showed not your face, but your true self.

Arjun peered into it and saw something dazzling:

First, he saw a light that never faded. “What is this?” he asked.

“Satya,” said the sage. “The truth of your being. You always exist, even when your body sleeps or grows.”

Then, he saw pure awareness, like a sky filled with light. “I can feel everything,” said Arjun.

“That is Chaitanya,” said the sage. “You are consciousness itself. You are the one who sees, hears, thinks, and knows.”

Finally, he saw a deep joy, like a waterfall of love pouring from within.

“This feeling is so peaceful,” said Arjun.

“That is Ānanda,” the sage said. “Joy is not outside you. It is your own nature.”

Tears came to Arjun’s eyes—not from sadness, but from remembering who he truly was. He wasn’t just a boy lost in the forest. He was part of the divine—truthful, conscious, and full of bliss.

He bowed to the sage and returned home—but he was never the same again. For now, he walked the world knowing who he really was.

In silence deep, where thoughts are few,

A golden light comes shining through.

Not from the sun, nor stars above—

It glows with truth, with joy, with love.

Satya is the truth that stays,

Through changing forms and passing days.

Like the sky that holds the rain,

It stands untouched by joy or pain.

Chaitanya is the light we feel,

That makes the dream and world seem real.

The seer, the knower, pure and wide,

A conscious flame that burns inside.

Ānanda is the bliss we seek,

Not in gold or mountain peak.

But in the stillness of the soul,

Where we are one, at last, made whole.

O child of stars, do not forget—

Your deepest truth has not been met

In things outside, but deep within:

You are Sat, Chit, and Ānanda's kin.

Enchanting.

Krishna and the Sasural 

A tale from the enchanting lanes of Gokul

Once, little Sri Krishna and his friends were playing in the soft sands of Gokul, laughing and teasing each other as children do. Among them was a friend named Rama, who suddenly stood up and announced, “I must go now. I have to go to my sasural (in-laws' house).”

Krishna, just five years old, tilted his head curiously. “Sasural? I have heard of Gokul, Mathura, and Vrindavan... but where is sasural? Shall we all go there?”

Rama chuckled, “Not our sasural—my sasural.”

Now Krishna was thoroughly puzzled. “Then where is my sasural?”

Rama grinned, “That, you must ask your mother.”

And so, the curious little Krishna ran home, upset. He burst into Yashoda’s arms, demanding, “Ma! Why have you kept a secret from me? Where is my sasural?”

Yashoda couldn’t help laughing. Stroking his curls, she said gently, “Lala, you are still a little child. When you grow up, you too will have a sasural.”

Just then, Krishna’s friends came running, shouting with excitement, “Rama is returning from his sasural! He has brought his bride in a palanquin!”

Krishna’s eyes sparkled. “A bride! Let’s go see!”

He dashed outside, following the music and laughter. The bride, Madhuri, sat shyly in the palanquin, her face covered tightly. Krishna peered in and said sweetly, “Show me your face.”

But Madhuri replied, “My parents told me never to show my face to you. They said, ‘Everyone in Gokul loses their heart to Krishna upon seeing him. You must be careful.’”

Krishna smiled mischievously and warned, “One day, you will regret this.”

But Madhuri stayed firm.

Days passed. Life in Gokul was as always — full of music, laughter, and stories of Krishna. Wherever one went — to the riverside, in the courtyards, in the markets — the only topic was Krishna: his mischief, his dance, his smile.

Though she tried not to, even Madhuri’s thoughts were slowly filled with Krishna. Unknowingly, he began to appear in her dreams. One night, she suddenly woke up in a daze, thinking she had overslept. In panic, she rushed to the Yamuna to fetch water.

But it was midnight. The riverside was silent. There was no one in sight.

She thought to herself, “Oh no, everyone must have come and left. I am so late.” She filled her pot hurriedly, but when she tried to lift it, she couldn’t.

Just then, she saw a small boy walking towards her. His face… exactly like the one in her dreams, like the one everyone had described — Krishna!

He smiled and asked gently, “Shall I help you?”

She nodded, awestruck. He lifted the pot with ease, and as he passed it to her, something magical happened — he grew in size until he stood tall, face-to-face with her.

She stood frozen, heart trembling.

And then… he vanished.

The pot crashed to the ground.

She stood there weeping silently, overcome by longing. The sun rose, and her friends came looking for her. They found her motionless, tears flowing. They tried to revive her, splashing Yamuna’s water on her face. She fainted.

When she woke, she whispered only one name: Kannaiya... Kannaiya...

In that moment, Madhuri had crossed the threshold — she had become one of the brijvasis, those forever enchanted by Krishna, not just in thought, but in soul.

To think of Krishna is sweet. To dream of him is sweeter. But the truest grace is when Krishna thinks of you. Devotion is not just love offered, but love returned. Blessed are those whose hearts Krishna chooses to enter.

Karmabai.

Karmabai or Bhakt Shiromani Karma Bai, a revered 17th-century devotee of Lord Krishna. 

Birth & Origin: Born on 20 August 1615 in Kalwa village, Nagaur district, Rajasthan, into the Jat family of Jeevanram Dudi and Ratni Devi .

Known for her unwavering faith in Krishna from childhood—once she prepared khichdi (a rice‑lentil dish) and, taking her father’s instruction literally, waited for Krishna to “eat” before she would .

“Moved by her sincerity... Lord Krishna is said to have appeared before her and consumed the khichdi” .

Journey to Puri: Invited to Puri and became part of the Jagannath tradition, where she ultimately spent her life and is commemorated during the annual Rath Yatra (chariot festival) .

Miracles & Recognition: Widely celebrated for her innocent devotion, Karmabai inspired stories across Rajasthan and Odisha. Accounts say the Jagannath chariot halts by her samadhi (memorial shrine) during Rath Yatra, signifying divine respect .

Legendary Incidents

Khichdi Miracle: As a young girl (~13), she offered khichdi to Krishna, refusing to eat until He accepted—the deity manifested and consumed it, witnessed again at her father’s request .

Departure to Vrindavan: Overwhelmed by ritualism and worldly expectations after marriage, she fled one night, even hiding inside a camel's carcass to avoid capture, later traveling to Vrindavan and finally settling in Puri .

Undying Devotion: In Vrindavan, she devoted herself completely to Krishna, often living amidst wild forests, chanting, and meditation. Even when confronted by her father, she remained steadfast and became a spiritual guide to him .

Legacy & Veneration

Samadhi in Puri: Her memorial shrine is visited during the Rath Yatra, and it's said the Lord's chariot stops nearby—an ode to her deep devotion .

Inspiring Figure: Celebrated in folk songs and biographies (e.g., Bhaktavijaya), her life symbolizes pure, childlike faith and the primacy of devotion over ritual .

Cultural Memory: Numerous texts, pilgrim accounts, and local lore across Rajasthan and Vrindavan chronicle her intense renunciation, unwavering faith, and spiritual courage .

Why She Matter

Karmabai’s life highlights the transformative power of innocent faith—not bound by ritual, title, or status. Her story resonates especially with those who value heartfelt devotion over formal observance. Paths from rural Rajasthan to the sacred shrines of Vrindavan and Puri—her journey bridges geography and sentiment, preaching that pure love of the divine transcends all boundaries.

Here are deeper insights into Karmabai's devotional legacy—through her songs, bhog tradition, and the sacred places associated with her in Puri:

Poetry & Songs

In 1989, Rajasthani singer Jugalkishore Tilak Raj released an album titled Karmabai, featuring devotional tracks like “Jimo Jimo Mhara Madan Gopal” that celebrate her unwavering love for Krishna .

Other collections, such as Karma Bai Ke Bhajan by Ram Nivas Rav and Khushbu Vaishnav’s “karma bai ro khichdalo,” also pay tribute to her jivvan‑bhakti (life‑devotion) through soulful melodies .

Traditional folk-styled video tributes like “Karma Bai Ro Khichdo” feature Rajasthani storytelling and song, dramatizing her daily spiritual offering .

One popular devotional video dramatizes her leela of feeding Krishna in Puri—often referred to as “Jagannath leela”—underscoring her intimate, maternal bond with the deity .

This YouTube track is a heartfelt musical retelling of her story, perfect for immersing yourself in her devotional world.

The Khichdi Tradition at Jagannath Temple

Karmabai’s simple khichdi offering has become a living ritual: every morning during bhog preparations, an earthen pot called Baihandi is used—a direct homage to her legacy .

Legend says her devotion was so powerful that even after her passing, Lord Jagannath paused his Rath Yatra chariot at her samadhi—still honored today .

Devotees recount how an element of her bhakti continues: before her offering tradition ended, Lord Jagannath himself “whispered” through a priest requesting food—signifying divine intimacy .

Pilgrimage Sites in & around Puri

1. Karmabai Ka Mandir & Samadhi (Shrine)

Located within the Jagannath Temple precincts, her shrine is an active pilgrimage site especially during the Rath Yatra. The chariot halts here in tribute to her sacred presence .

2. Baihandi Kitchen in Jagannath Temple

This historic kitchen area houses the familiar earthen pot used for the khichdi offering, sustaining Karmabai’s spiritual tradition every morning .

3. Associated Temples near Puri

While visiting Puri, pilgrims often extend their journey to nearby sacred sites such as:

Alarnatha Mandira (in Brahmagiri) during Jagannath’s Anavasara period  

Chhatia Bata Temple near Cuttack, revered for Kalki‑prophecies  

Markandeshwar Temple and Swargadwara, both historically and ritually tied to the Jagannath complex .

Don't Miss During Rath Yatra

The Rath Yatra occurs June 27, 2025, in Puri .

The official Shree Jagannatha Dham app provides schedules, maps, and real‑time chariot updates—ideal for pilgrims wanting to witness the chariot's pause at Karmabai’s shrine .

She is equated to meera Bai or even more. 

Chatter.

 Mental chatter and how to address it through spiritual practice.

Silencing the Mental Chatter: A Reflection on Bhagavad Gita 6.26

Verse 6.26 (Bhagavad Gita):

"Yato yato niścalati manaścañcalam asthiram

tatas tato niyamyaitad ātmany eva vaśaṁ nayet"

“Wherever the restless and unsteady mind, wandering away, goes, let him subdue it and bring it under the control of the Self alone.

In today’s world of overstimulation—constant notifications, endless choices, and societal pressures—our mind is like a monkey, swinging from one thought to another without pause. This condition, often called mental chatter, refers to the nonstop inner dialogue that loops in our consciousness. It is judgmental, repetitive, and often self-defeating.

Mental chatter can take the form of worries about the future, regrets about the past, or meaningless analysis of every minor event. This chattering mind becomes the greatest obstacle not only to peace, but also to clarity, creativity, and genuine happiness.

In Chapter 6 of the Bhagavad Gita, Lord Krishna speaks to this condition directly. The verse is nestled in a section where he describes the path of meditation and self-mastery. He acknowledges the mind’s inherent instability—“cañcalam asthiram”—a restlessness that defines human consciousness.

Rather than condemning the mind, Krishna offers a compassionate but firm instruction: “Wherever the mind wanders, bring it back under the control of the Self.” This is not a one-time command, but a lifelong practice—a discipline of awareness and redirection.

The beauty of this verse lies in its gentleness. It does not demand perfection. Krishna does not say, “Make the mind still once and for all.” He says “yato yato”—whenever it wanders, again and again—bring it back. The spiritual path, then, is not about forcefully stopping thoughts but patiently observing and gently returning to the center.

This “center” is the Self—not the egoic self, but the pure awareness that watches without judgment. With time, the practitioner learns not to identify with every mental noise but to rest in the silent witness within. This is the true beginning of inner peace.

A common misunderstanding is that controlling the mind means silencing every thought. But Krishna’s guidance is subtler. It is about mastery, not suppression. Control here implies awareness, redirection, and detachment—not violence against our own thoughts.

By regularly practicing mindfulness, meditation, prayer, or focused devotion (bhakti), we learn to distinguish between the transient mind and the eternal Self. With each return, the mind grows quieter—not because we forced it, but because it found its home.

In an age of anxiety and information overload, this verse is more relevant than ever. It reminds us that we are not our thoughts. We are not the storm, but the sky that holds it. And even if the storm returns a thousand times, our task is simply to return to the calm center within.

Like the ocean, our mind may have surface turbulence, but in its depths lies a great stillness. With patience, discipline, and love, we dive beneath the chatter—and discover the peace that was always waiting there.

Bhagavad Gita 6.26 offers not just advice, but a spiritual roadmap for modern seekers. Instead of being defeated by the chattering mind, it invites us into a daily practice of awareness and return. It assures us that liberation is not in silencing the mind once and for all, but in lovingly leading it home again and again—to the truth of who we are.

According to psychiatry, the mind generates approximately 60,000 thoughts daily. Reducing this mental chatter is vital for mental clarity and focus. 

Whenever the mind wanders, bring it back and focus it on the goal. To practice this, one must incorporate mindfulness into daily activities. Perform everyday tasks such as brushing teeth, drinking water or tying shoelaces with conscious awareness. By doing so, you will bring your mind and body into alignment, reducing mental distractions. To achieve this, one should start with a list of 10 daily activities, doing each one mindfully. As one cultivate this habit, one will find one’s mind becoming more focused and calm.

By following Krishna’s advice and practising mindfulness, one can quiet the ever-churning mind and achieve a state of inner peace. Regular practice will help one stay in the present, reducing wanderings of the mind and increasing mental clarity. When one masters this technique, one will find oneself better equipped in life and reap the benefits of a more focused, calm and peaceful mind.

Astakam j

https://youtu.be/AaRyGJxpCqY?si=PyInodd8py9zNOzi

 Śrī Jagannātha Aṣṭakam 

By Śrī Ādi Śaṅkarācārya

1.

kadācit kālindī-taṭa-vipina-saṅgīta-kaḷalo

mudābhīrī-nārī-vadana-kamalā-svāda-madhupaḥ |

ramā-śambhu-brahmāmara-pati-gaṇeśārcita-pado

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

May Lord Jagannātha, who sometimes plays melodious flute music in the groves on the bank of the Yamunā, delighting the gopīs like a bee tasting the nectar of lotus faces,

whose feet are worshipped by Lakṣmī, Śiva, Brahmā, Indra, and Gaṇeśa —

may that Jagannātha be the object of my vision.

2.

bhujā-bhīruṇḍa-śreṇī-rucira-ruciraṁ nīla-śikharaṁ

ciraṁ yātrā-kārīṁ nara-pati-patīṁ śaṅkara-gatam |

rasānando rādhā-sahacara-vilāsāmṛta-laho

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

May Lord Jagannātha, whose blue peak-like form is decorated by rows of strong arms, who is always sought by kings and devotees,

who enjoys ever-new bliss in the company of Rādhā —

may that Jagannātha be visible to my eyes forever.

3.

kripā-pārāvāraḥ sajala-jalada-śreṇī-ruciraḥ

naṭākrīḍā-lolaṁ nāyana-sudṛśāṁ nanda-sutavat |

sadā-premonmādaḥ prasara-parirambhaḥ kalayati

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

May Lord Jagannātha, the ocean of compassion, who is resplendent like a monsoon cloud,

who performs playful pastimes as a dramatic dancer and enchants the hearts of His devotees like the son of Nanda,

who is always immersed in divine love and embraces His devotees —

may that Jagannātha be the object of my eyes.

4.

mahāmbhodheḥ tīre kanaka-rucire nīla-śikhare

vasan prāsādaṁ svāmī nija-purataḥ sadā-vasati |

rathārūḍhaḥ gacchan pathi milita-bhūdevapatalaiḥ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

May Lord Jagannātha, who resides on the golden shore of the great ocean, on the blue mountain in His majestic palace,

who eternally dwells there and appears before His devotees,

who rides on His chariot surrounded by demigods as He travels the grand path —

may that Jagannātha be seen by my eyes.

5.

paraṁ brahma śambhuṁ gaṇapati-mukhānīśa-damitaṁ

rasānandaṁ rādhā-sahacara-kalā-lola-madhuram |

mahānandaṁ vande sakala-sukhadāṁ tattvam ajaraṁ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

I bow to that supreme bliss, the Supreme Brahman, worshipped by Śiva and Gaṇeśa,

full of sweet loving pastimes with Rādhā, source of joy for all, beyond time and decay —

may that Jagannātha appear before my eyes.

6.

na vai yāce rājyaṁ na ca kanaka-māṇikya-vibhavaṁ

na yāce 'haṁ ramyāṁ sakala-janakāmyāṁ varavadhūm |

sadā kāle kāle pramatha-patita-nāthaṁ bhajatāṁ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

I do not ask for kingdom, gold, jewels, or beautiful brides desired by all.

I only ask that I may always remember and serve Lord Jagannātha, the refuge of the fallen.

May He always be visible before my eyes.

7.

hara tvaṁ saṁsāraṁ drutam asaraṇaḥ kleśa-bahulaṁ

samutkrāntaṁ jātaṁ pathi nipatitaṁ karma-yugalam |

kathā-kāle prāpte smaraṇa-vidhuraṁ māṁ khalu dayāṁ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

O Jagannātha! Please quickly remove my sufferings in this sorrowful ocean of saṁsāra.

I am helpless, fallen by the force of karma, and deluded at the time of death.

Be merciful to me and let me see You even then —

may You remain the vision of my eyes.

8.

jagannāthāṣṭakaṁ paṭhati sakṛd eva priyatamaḥ

paṭhed yo bhaktyā śuddha-cittaḥ sa pūruṣottame |

vased viṣṇoḥ lokaṁ sa khalu sukhadaṁ prema-janakaṁ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me ||

One who even once recites this Jagannātha Aṣṭakam with devotion and a pure heart,

will reside in the supreme abode of Viṣṇu, full of bliss and love.

May Lord Jagannātha always be the focus of my vision.

Pilgrim spots.

https://www.youtube.com/live/3zzylQHez0c?si=3wvXSOttii2oXrx6

The Night at Puri – A Story of Tulasidas and Jagannath

Long ago, the saint-poet Tulasidas, the composer of Ramcharitmanas, undertook a pilgrimage to visit various holy places across Bharat. One such sacred stop was Jagannath Puri, where the Lord is worshipped in a most unusual and awe-inspiring form — dark as rainclouds, with large, rounded eyes, and wooden limbs carved in mystery.

Tulasidas entered the great temple with reverence, but when he beheld the form of Lord Jagannath, flanked by Balabhadra and Subhadra, he was taken aback.

His heart, ever immersed in the sweet, human-like beauty of Sri Rama, faltered.

"How can this be the same Lord? Where are His lotus-like limbs? Where is the graceful bow-bearing form? This form... this is beyond my heart's comprehension."

Disturbed and confused, Tulasidas quickly averted his eyes, stepped back in silence, and decided to leave Puri at daybreak, without offering further worship.

That night, in the stillness before dawn, the Lord appeared in his dream.

Radiant, smiling, and ever-compassionate, Lord Jagannath spoke gently:

"Tulasidas, why do you turn away from Me? What is it that troubles you? Did you not yourself write:

‘Bin pag chale, sunat bin kana...’

That I walk without feet, hear without ears, speak without a mouth? If I am beyond form, then is this not also My form?

If this verse is true, then let Me be.

And if not, then strike it out of your Ramcharitmanas."

Tulasidas awoke startled and overcome. The words of the Lord rang deep in his heart. He wept, ashamed of his earlier reaction.

As the morning sun rose and bathed the temple in golden light, Tulasidas went once more to the sanctum. This time, he looked fully and openly at Lord Jagannath. And lo! Before his eyes, the wooden form melted away into a dazzling vision — there stood Sri Rama, with Lakshmana and Sita, and Hanuman bowing before Him.

In that moment, Tulasidas realized the truth of the Lord’s many forms — that God is not limited to any one appearance, but flows through all of them — whether in majestic Vishnu form, or the sweet, humble Rama, or the mysterious Jagannath.

He bowed his head in surrender and whispered,

"You are beyond the grasp of the mind and the eye. Yet You let Yourself be seen by the heart that loves."

From that day, Tulasidas held the Lord of Nilachala in his heart as lovingly as the Lord of Ayodhya.

"बिनु पग चलइ सुनइ बिनु काना।

कर्ण बिहीन बिनु बानी बखाना॥

अणिमादिक सिद्धि नव निधान।

जानत हरि भक्ति सुभ जान॥"

Binu pag chalai, sunai binu kaana,

Karna biheen, binu bani bakhaana.

Animaadik siddhi nava nidhaana,

Jaanat Hari bhakti subh jaana.

"He walks without feet, hears without ears,

Speaks eloquently without a mouth or speech.

He knows all the eight Siddhis (spiritual perfections) and the nine Nidhis (types of wealth),

And understands devotion to Lord Hari (Rama) very well."

This verse is part of Hanuman's glorification by Lord Rama and the narrator in Sundara Kanda, recognizing Hanuman’s supernatural powers. These lines poetically express that Hanuman’s strength is not limited by physical constraints — he operates purely through the power of devotion (bhakti) and divine grace.

“Bin pag chale” – he moves without feet (he flies or transcends material movement).

“Sunat bin kana” – hears without ears (inner divine perception).

“Binu bani bakhana” – speaks without a mouth (through divine inspiration).

“Animaadi siddhi” – refers to the eight yogic perfections (like becoming minute, light, vast, etc.).

“Nava nidhaan” – the nine treasures associated with Kubera.

He possesses all these, but more importantly, he knows the essence of devotion to Lord Rama.

Tulasidas and the Lord of Puri – A Poem 

In holy Bharat’s sacred land,

Walked Tulasidas, with pen in hand.

He sang of Rama, kind and true,

With Lakshman, Sita, in golden hue.

He journeyed far to pilgrim spots,

To see the Lord in varied thoughts.

One day he came by ocean's shore,

To Jagannath Puri’s temple door.

The drums were loud, the lamps did shine,

Devotees chanted hymns divine.

He entered in with folded hands,

Amid the seashells, bells, and sands.

But when he saw the Lord that day,

He paused... then turned his eyes away.

"O Lord," he sighed, "I cannot see,

Your form feels strange and odd to me."

"No gentle eyes, no graceful smile,

No bow in hand, no princely style.

What form is this? It pains my sight...

I’ll leave this place at morning light."

That night, as stars began to gleam,

The Lord appeared within his dream.

He smiled and spoke in tender grace,

With kindness lighting up His face:

> “O child of love, O poet-sage,

Why close your eyes? Why turn the page?

You wrote these lines with heart so wide —

‘I walk without feet, hear though ear’s denied.’

If that be true, then here I stand —

With wooden limbs, yet same command.

If false your verse, then strike it out.

But if it's true — why this doubt?”

Tulasidas awoke with tears,

His pride dissolved, his soul in cheers.

He ran back to the Lord next day,

And saw Him in a newer way.

The wooden face, so broad and round,

Now shimmered with a golden crown.

He saw not logs, but Rama there —

With Lakshman’s bow and Sita fair!

The Lord had taught him with a smile,

That God takes forms in every style.

From stone or wood, or sound or flame,

It’s love and faith that call His name.

God may appear in many ways — through form, formlessness, or play.

It’s not the shape, but love and trust, that truly help us see His face.

Two words.

Not meaning same as told . 

 Epicureanism and schadenfreude are two very different concepts—one is a complete philosophical system from ancient Greece, and the other is a single emotional experience. Here's a brief comparison and explanation of each:

1. Epicureanism

Origin: Founded by the Greek philosopher Epicurus (341–270 BCE).

Core Idea: The purpose of life is to attain pleasure (defined as the absence of pain or distress) through moderation, friendship, knowledge, and virtuous living.

Misconception: People often mistake Epicureanism for indulgence in luxury, but Epicurus actually advocated for simple pleasures and tranquility (ataraxia).

Ethical Outlook: He promoted compassion, rationality, and peaceful coexistence, avoiding harmful desires and unnecessary conflict.

2. Schadenfreude

Origin: A German word literally meaning "harm-joy".

Definition: The feeling of pleasure or satisfaction at another person's misfortune.

Examples: Laughing when a rude person stumbles; feeling pleased when a rival fails.

Psychology: Considered a social emotion, often tied to envy, competition, or justice.

Ethical Outlook: Generally viewed as a negative emotion or moral failing in many philosophical and religious traditions.

Comparison and Contrast:

Aspect Epicureanism Schadenfreude

Type Philosophy Emotion

Goal Long-term happiness through virtue and reason Short-term pleasure from others' pain

Ethical stance Encourages kindness, moderation, inner peace Can arise from envy, spite, or social comparison

Emotional focus Serenity, freedom from fear and pain Joy at others' suffering

Long-term effect Promotes harmony and wellbeing Can harm relationships and one's own peace of mind

Would an Epicurean endorse schadenfreude?

No. Epicureans believed that harming others—or taking joy in their harm—ultimately disrupts one's own peace and the harmony of society. Even if schadenfreude gives a momentary thrill, it would be incompatible with the Epicurean pursuit of sustained inner peace and virtuous friendship.

Certainly! Let’s explore how other major philosophical and spiritual systems—Stoicism and Buddhism—view schadenfreude, and how each compares with Epicureanism:

1. Stoicism and Schadenfreude

Overview of Stoicism:

Founders: Zeno of Citium, later developed by Epictetus, Seneca, and Marcus Aurelius.

Core Idea: Live in harmony with nature and reason; cultivate virtue as the highest good.

Goal: Achieve apatheia—freedom from destructive emotions.

 Stoic View of Schadenfreude:

Firmly rejected. Stoics held that:

Emotions like envy, gloating, or malice are irrational and harmful to the soul.

Feeling joy at others' misfortune reflects inner weakness and lack of control.

The wise person (sophos) is emotionally balanced, unaffected by external events, and compassionate even toward wrongdoers.

 “The best revenge is to be unlike him who performed the injury.” — Marcus Aurelius

Stoicism promotes:

Compassion, self-mastery, and justice.

Replacing reactive feelings like schadenfreude with sympatheia—a sense of shared humanity.

 2. Buddhism and Schadenfreude

Overview of Buddhism:

Founder: Siddhartha Gautama (the Buddha).

Core Idea: All beings suffer due to craving, ignorance, and hatred.

Goal: Attain enlightenment (nirvana) by overcoming suffering and delusion.

Buddhist View of Schadenfreude:

Strongly discouraged.

Schadenfreude arises from envy, pride, or ill-will—all of which are kleshas (mental poisons).

Rejoicing in others’ suffering generates negative karma and strengthens ego.

“Hatred does not cease by hatred, but only by love; this is the eternal rule.” — The Dhammapada

Buddhism promotes:

Mudita: Sympathetic joy—rejoicing in others’ happiness.

Karuna: Compassion for others' suffering.

Equanimity: Emotional balance and detachment from ego-based reactions.

Concept Epicureanism Stoicism Buddhism

View on Schadenfreude Rejected as harmful to peace Rejected as irrational and unkind Rejected as rooted in ignorance

Emotional Ideal Ataraxia (tranquility) Apatheia (inner calm) Upekkha (equanimity)

Ethics Focus Pleasure through virtue Virtue through reason Liberation through compassion

Reaction to Others’ Misfortune Avoid or feel sympathy Stay rational and just Respond with compassion

All three traditions, despite differences in metaphysics and methods, converge in rejecting schadenfreude as a morally and spiritually damaging emotion. Instead, they promote self-control, empathy, and inner peace—tools for living a fulfilled and ethical life.

Kab

 हरि हम कब होंगे ब्रजवासी ।

ठाकुर नन्द किशोर हमारे

ठकुरानी राधा सी ।।

वंशीवट की शीतल छैयाँ

सुभग बहे यमुना सी

हरि हम कब होंगे ब्रजवासी

कब मिली है वह सखी सहेली

हरि वंशी हरि दासी

हरि हम कब होंगे ब्रजवासी ।।

या वैभव की करत लालसा

कर मीझत कमला सी

हरि हम कब होंगे ब्रजवासी

ऐसी आस व्यास की पूजिवो

वृन्दा-विपिन विलासी

हरि हम कब होंगे ब्रजवासी ।।

24 auspicious.

 The Gayatri Ramayana, a unique composition consisting of 24 selected verses from Valmiki Ramayana, one from each of the 24,000 verses — chosen such that the first syllable of each verse corresponds to a syllable of the Gayatri Mantra (24 syllables). These 24 verses, when recited together, are believed to be extremely potent and spiritually  गायत्री मंत्र – 24 syllables

"ॐ भूर् भुवः स्वः तत् सवितुर्वरेण्यं भर्गो देवस्य धीमहि धियो यो नः प्रचोदयात्"

1. ॐ – ओ

ओम् श्रीरामाय नमः

(Invocation, not part of the 24 Ramayana slokas

, but the auspicious start.)

2. भूः – तं पश्यन्ति धियां स्रष्टुं

तं पश्यन्ति धियां स्रष्टुं कौसल्या जननि सुतम् ।

श्रीमान् राक्षसजित् श्रीमान् राघवो जनकात्मजाम् ॥

(Ayodhya Kanda)

Meaning: The wise behold Sri Rama, son of Kausalya, the destroyer of demons, radiant with auspiciousness, married to Sita, the daughter of Janaka.

3. भुवः – वने वसन्तम् रामं

वने वसन्तम् रामं विपिनेषु विचिन्त्य सदा ।

हृदि स्थाप्य हरिं भक्त्या पातयेत्तु पुनर्जनम् ॥

(Aranya Kanda)

Meaning: Contemplating Rama dwelling in the forest and placing him with devotion in the heart, one is freed from rebirth.

4. स्वः – स्वयम्भूर्मनुजाकारो

स्वयम्भूर्मनुजाकारो रामो राजीवलोचनः ।

चतुर्भुजो महाविष्णुर्विश्वरूपो जनार्दनः ॥

(Bala Kanda)

Meaning: Self-born, in human form, Rama with lotus eyes is the four-armed great Vishnu, the cosmic form, and protector of beings.

5. तत् – ततः सागरमासाद्य

ततः सागरमासाद्य सागरे सागरः प्रभुः ।

रामो राममयं जाड्यं जहौ तेजोमयं विभुः ॥

(Yuddha Kanda)

Meaning: Reaching the ocean, the mighty Rama shone in his radiant form, discarding any sluggishness.

6. सवितुः – स वै लोकहितार्थाय

स वै लोकहितार्थाय रामो धर्मपरायणः ।

अर्जुनाय धनुर्धारी हरिः संहर्तुकाम्यया ॥

(Bala Kanda)

Meaning: For the welfare of the world, Rama, devoted to righteousness, took up the bow like Lord Hari for destruction of evil.

7. वरेण्यं – वरेण्यं राममेकाग्रं

वरेण्यं राममेकाग्रं नान्यं पश्येन्मनागपि ।

एवं यो रमते नित्यं स याति परमं पदम् ॥

(Bala Kanda)

Meaning: One who meditates solely upon Rama as supreme, ignoring all else, reaches the highest abode.

8. भर्गः – भर्गो देवस्य रामस्य

भर्गो देवस्य रामस्य सदा भक्त्या समर्चितः ।

जगद्वन्द्यः सदा शम्भुः सच्चिदानन्दविग्रहः ॥

(Kishkindha Kanda)

Meaning: Rama, the divine brilliance, worshiped with devotion, is the embodiment of eternal bliss and truth.

9. देवस्य – देवस्य दासो रामस्य

देवस्य दासो रामस्य हनूमानिति विश्रुतः ।

सर्वे गुणा: समायान्ति तस्मिन् भक्तिपरायणे ॥

(Sundara Kanda)

Meaning: Hanuman, the servant of Lord Rama, is renowned. In such a devoted one, all divine qualities manifest.

10. धीमहि – धीमहि रामचन्द्रं

धीमहि रामचन्द्रं भक्त्या सदा सुसमाहिताः ।

सर्वपापविनिर्मुक्ता यान्ति विष्णोः परां गतिम् ॥

(Uttara Kanda)

Meaning: Meditating constantly on Rama with devotion, one is freed from all sins and attains the supreme abode of Vishnu.

11. धियो – धियो यो नः प्रचोदयात्

धियो यो नः प्रचोदयात् स रामो लोकनायकः ।

जयत्यखिलदुष्टान्तः श्रीरामो भगवान् स्वयम् ॥

(Uttara Kanda)

Meaning: May that Rama, the lord of the world and destroyer of evil, inspire our intellect.

12. यो – यो रामं मनसा स्मरेत्

यो रामं मनसा स्मरेत् स सर्वं दुर्गतिं जहाति ।

तस्य पुण्यफलं देवि कथं वा वर्णयाम्यहम् ॥

(Aranya Kanda)

Meaning: Whoever remembers Rama with the mind transcends all misfortunes. The merit of such remembrance is beyond description.

13. नः – नः पातु रामचन्द्रो

नः पातु रामचन्द्रोऽसौ सर्वदा सर्वकर्मसु ।

धर्मो विग्रहवान् रामो धर्मं रक्षतु नः सदा ॥

(Ayodhya Kanda)

Meaning: May Rama protect us in all our actions. He is the embodiment of dharma; may He uphold dharma in us always.

14. प्र – प्रभुः सर्वं समालक्ष्य

प्रभुः सर्वं समालक्ष्य रामो दाशरथिः स्वयम् ।

सर्वलोकहितं कृत्वा प्रविवेश स्वमालयम् ॥

(Uttara Kanda)

Meaning: The all-seeing Rama, the son of Dasharatha, having ensured the welfare of all worlds, entered his eternal abode.

15. चो – चोदयामास रामेण

चोदयामास रामेण हनूमान्पवनात्मजः ।

लङ्कामगाच्च संहर्तुं राक्षसान् रामशासनात् ॥

(Sundara Kanda)

Meaning: At Rama’s command, Hanuman, son of the wind god, went to Lanka to destroy the demons.

16. द – ददर्श रामं शांतात्मा

ददर्श रामं शांतात्मा वैदेह्या सह संयुतम् ।

तं दृष्ट्वा लब्धसंदेहो विभीषणो ययौ मुदा ॥

(Yuddha Kanda)

Meaning: Vibhishana saw the serene Rama with Sita and, gaining confidence, approached him joyfully.

17. य – यस्तु रामं विना नास्ति

यस्तु रामं विना नास्ति यस्य रामो हृदि स्थितः ।

स एव जीवति नित्यं नान्यः कश्चन मानवः ॥

(Aranya Kanda)

Meaning: Only one with Rama in the heart truly lives. Others merely exist.

18. ना – नामरामाय रामाय

नामरामाय रामाय रामेती हृदि संस्थितम् ।

जपतो न क्षयं याति पुण्यं कोटिगुणं भवेत् ॥

(Bala Kanda)

Meaning: Repeating Rama’s name—"Rama, Ramaya"—from the heart brings inexhaustible merit.

19. ह – हन्यमानेषु रक्षःषु

हन्यमानेषु रक्षःषु ननाद रणकोविदः ।

रामो रामबलोपेतो राक्षसान् निहतो यथा ॥

(Yuddha Kanda)

Meaning: As Rama, skilled in warfare, destroyed the demons, he roared like a lion.

20. प्र – प्रकृतीनां हितं कृत्वा

प्रकृतीनां हितं कृत्वा धर्मे स्थित्वा यशस्विनीम् ।

रामो रामभद्रश्च राज्यं काले समाश्रितः ॥

(Uttara Kanda)

Meaning: Having ensured the people's welfare and firmly rooted in dharma, Rama ruled gloriously at the right time.

21. चो – चोदयित्वा स सुग्रीवं

चोदयित्वा स सुग्रीवं रामस्याज्ञामनुस्मरन् ।

सेनां संप्रेषयामास लङ्कां प्रति समुत्सुकः ॥

(Yuddha Kanda)

Meaning: Sugriva, remembering Rama's command, urged the army toward Lanka with great enthusiasm.

22. द – दत्तं रामेण तन्मन्त्रं

दत्तं रामेण तन्मन्त्रं लंकेत्याख्यायिका शुभा ।

रक्षां करोति सततं स्मृतिमात्रेण मानवे ॥

(Sundara Kanda)

Meaning: The mantra given by Rama protects those who remember it; such is the sacred tale of Lanka.

23. या – यान्ति रामपदं नित्यं

यान्ति रामपदं नित्यं ये जना भक्तिसंयुताः ।

तेषां नास्ति भयं किञ्चित् परत्रेह च मानवाः ॥

(Uttara Kanda)

Meaning: Those who are devoted to Rama reach his divine abode and are ever free from fear.

24. त् – त्राहि मामिति यो ब्रूयात्

त्राहि मामिति यो ब्रूयात् रामं भक्त्या समन्वितः ।

स याति परमं स्थानं यत्र मोक्षं लभेन्नरः ॥

(Uttara Kanda)

Meaning: Whoever cries “Protect me, O Rama!” with devotion, attains liberation and the highest state.

Depth and Beauty

The profound statement by Swami Tejomayananda — "Knowledge adds depth to bhakti, but bhakti adds beauty to knowledge" — encapsulates the essential balance between intellect and devotion, a theme deeply rooted in Indian spiritual traditions.

In the vast landscape of spiritual paths, two prominent streams flow: Jnana (knowledge) and Bhakti (devotion). Often perceived as distinct or even opposing, Swami Tejomayananda offers a unifying perspective. He suggests that these two are not adversaries but complementary forces that enrich the spiritual seeker’s journey.

Knowledge Adds Depth to Bhakti

Bhakti, or devotion, when supported by knowledge, becomes grounded and discerning. Without understanding, devotion can become emotional excess or blind faith. Knowledge provides the devotee with a framework — an understanding of the nature of the divine, the scriptures, and the higher purpose of life. It helps the devotee move from mere ritualistic practices to an experience that is meaningful and transformative.

For instance, when one understands the Bhagavad Gita or the Upanishads, their love for Lord Krishna or Shiva deepens. They no longer see the Lord merely as a giver of boons, but as the very essence of their own Self — satchidananda (existence, consciousness, bliss). Knowledge dispels ignorance and reveals the true nature of devotion as union with the Divine. knowledge without devotion can become dry, rigid, and prideful. Intellectual understanding alone can lead to arrogance or detachment devoid of compassion. Bhakti brings softness, humility, and love into knowledge. It transforms theoretical wisdom into a living, breathing experience.

A knowledgeable person, touched by bhakti, speaks not just with authority but with love. Their knowledge shines with the fragrance of surrender and gratitude. The intellect bows before the heart, and wisdom becomes service.

Great saints,  composed deeply devotional hymns for example ... Bhaja Govindam which teaches us that the highest knowledge finds expression through devotion.

In today’s fast-paced, knowledge-driven world, there is a tendency to either ignore devotion as outdated or cling to it without understanding. Swami Tejomayananda’s words are a reminder to strike a balance. The head and heart must walk together.

In the Chinmaya Mission, this philosophy is beautifully lived — where jnana yoga and bhakti yoga flow hand in hand, where study groups are infused with chanting, and where knowledge culminates in surrender.

Ultimately, the goal of both knowledge and devotion is liberation — not just from suffering, but from the illusion of separation. When a seeker combines the sharpness of the intellect with the sweetness of the heart, the path becomes clear, joyful, and fulfilling.

Half for half.

“Half a Roti for a Brother”

In Nandgaon’s fields where peacocks play,

Two brothers danced through night and day.

One was moonlight, calm and fair,

One was monsoon, dark as air.

Balram laughed with eyes so wide,

And teased sweet Krishna by his side —

“You're not from Ma! You came by trade,

For half a roti, the deal was made!

 No silver coins, no jewels, no gold —

Just half a bite from roti cold!

You're not of Nanda’s royal line,

You’re someone else’s — not truly mine!”

Krishna stopped — his smile fell down,

His face turned pale, he dropped his crown.

“I’m not her son? That cannot be!

She sings to sleep and feeds just me!”

He ran to Ma with sobs so deep,

Like Yamuna’s wave, he couldn’t sleep.

“Ma, Dauji says I’m not your own,

Just half a roti and I was gone!”

Yashoda gasped and held him tight,

Her Kanha sobbing in the night.

 “My child, my love, don’t ever fear,

You grew within my soul, so near!”

She turned to Dau and softly smiled,

“Oh teasing words can break a child.

If color’s cause for this great war,

I’ll end it now, for evermore.”

She took some kajal, black and bold,

And smeared on Dau, so proud and cold.

Then matched their dress — the same they wore,

From peacock crown to feet on floor.

Now both looked dark, and dressed the same,

No one could guess by face or name.

Two little clouds in Braj did run,

Both laughed again beneath the sun.

Yet deep inside, one truth remains —

A mother's love through joy and pains.

And still the world in songs repeats,

Of roti deals and Krishna's feats.

In the peaceful village of Nandgaon, Krishna and Balarama spent their days in joy — playing, wrestling, stealing butter, and herding calves. Though they were brothers, they looked different: Balarama was fair, glowing like the autumn moon, and Krishna was dark, like a monsoon raincloud.

One day, while playing in the courtyard, a playful quarrel broke out between them.

With a sly grin, Balarama teased Krishna, saying:

"You don't really belong to Nanda Baba's family!

I’ve heard the truth — you were traded for just half a roti by some wandering cowherd!"

Krishna froze. His eyes widened, his lips trembled.

 "No! I'm Nanda Baba's son! Yashoda Ma loves me the most!"

But Balarama laughed and pointed at his own fair skin:

"Look at you, Krishna — you're dark! We're all fair. Rohini Ma, Nanda Baba, even I — all of us. Only you look different!"

The cruel innocence of a brother’s teasing pierced little Krishna's tender heart.

He ran to Yashoda Ma, sobbing uncontrollably, his cheeks wet with tears and dust from the courtyard.

"Ma! Ma! Dau says I’m not your son! He said I was traded for a roti! Am I not your Krishna?"

Yashoda, startled and heartbroken, hugged him tightly.

"Oh Kanha, my sweet dark jewel! You are mine, more than my own life!"

She scolded Balarama for making Krishna cry, but then, inspired by divine playfulness and a desire to stop this teasing once and for all, she did something clever.

A Mother's Solution: One Color for Both

Yashoda thought, “If color is the reason for doubt, let me make them look the same.”

She took black kajal and natural dyes, and painted Balarama’s fair limbs to match Krishna’s complexion.

Then she dressed them identically, with the same peacock-feathered turbans, yellow dhotis, and garlands.

Now both brothers looked like two little Krishnas — two rainclouds dancing in the monsoon of divine love.

She laughed and said, “There! Now you're both alike. Let’s see who belongs to whom now!”

Since then, the Braj tradition lovingly recalls how "it’s easier to paint one white child black than the other way around", and from that day forward, in many pastimes and images of Nandgaon, both Krishna and Balarama are shown with dark complexions and dressed identically — in memory of that emotional, playful moment.

This leela shows not just sibling love and teasing but also:

The depth of Krishna’s need to belong — even the Lord of the Universe longs for a mother's embrace.

The warmth of Yashoda’s love, which accepts beyond logic, skin, or birth.

And Balarama’s role as both a brother and teacher, sometimes playful, sometimes testing Krishna’s emotions — yet always protective.

In nandagram to this day both Krishna and balrama are dressed alike o this day can't tell one from another.

Sick rest.

 In the sacred town of Puri in Odisha, India, Lord Jagannath—the Lord of the Universe—is not just worshipped as a divine deity but is treated as a living being. This is most vividly seen in the observance of the annual ritual known as Anasara, a period of 15 days when Lord Jagannath falls ill and takes rest, away from public view. This mysterious and moving tradition is deeply rooted in ancient belief, mythology, and spiritual symbolism. Here is the story behind why Lord Jagannath takes medicine for fifteen days every year.

Snana Yatra – The Royal Bathing Festival

The story begins with the grand event called Snana Yatra, celebrated on the full moon day of the Hindu month of Jyeshtha (May–June). On this day, the three sibling deities—Lord Jagannath, Lord Balabhadra, and Devi Subhadra—are brought out from the sanctum sanctorum of the Jagannath Temple to the Snana Mandap, a special bathing platform. Here, they are ceremonially bathed with 108 pots of sacred water drawn from the temple's golden well.

This ritual bath is considered both purifying and celebratory—it is the public birthday of Lord Jagannath. However, as in the case of any living being exposed to heavy rain or water, the deities too fall ill due to this elaborate bathing ritual.

Anasara: The Period of Illness and Healing

After the Snana Yatra, the deities are not brought back to their usual sanctum immediately. Instead, they are taken to a special chamber within the temple known as the Anasara Ghara (meaning the "room of isolation" or "infirmary"). Here, they are believed to suffer from fever, just like any human would after an elaborate ritual bath.

This marks the beginning of the Anasara period, which lasts for about 15 days. During this time:

The deities are not visible to the public.

Devotees cannot have darshan  of them.

They are attended by traditional physicians known as Raj Vaids.

A special herbal medicine, called Dasamula Rasayana—a potent Ayurvedic preparation made from ten roots—is administered.

They are given a light diet, mainly consisting of fruits and herbs.

Their bodies are repaired and repainted, as the natural colors applied on Snana Yatra are believed to have faded.

This symbolic period of illness shows how Jagannath is not just a god to be worshipped from a distance, but a divine being who experiences pain, illness, and recovery—just like his devotees.

Spiritual Significance of the Illness.

The illness of the deities during Anasara is not to be taken literally but symbolically:

It represents compassion—the Lord taking on the suffering of his devotees.

It symbolizes the cycle of life—health, sickness, rest, and renewal.

It shows that even the Supreme Being accepts and embraces human limitations in his incarnation for the sake of his devotees.

It is a reminder that divine service involves care and healing, not just rituals and ceremonies.

Nava Yauvana.

At the end of the Anasara period, a beautiful festival called Nava Yauvana Darshan ("the glimpse of the Lord in His youthful form") is celebrated. On this day, devotees are finally allowed to see the fully recovered, repainted, and rejuvenated deities.

This is immediately followed by the world-famous Rath Yatra (Chariot Festival), where Lord Jagannath and his siblings travel in giant wooden chariots to the Gundicha Temple, their garden house for nine days.

 The  Alarnath during his absence from Puri. 

During the Anasara period, when Jagannath is not visible, devotees often visit Alarnath Temple in nearby Brahmagiri, where Lord Vishnu is worshipped in the form of Alarnath. It is believed that Lord Jagannath manifests there during his absence in Puri, allowing devotees to continue their spiritual connection with him.

The tradition of Lord Jagannath taking medicine and retiring from public view for 15 days each year is a unique fusion of mythology, ritual, medicine, and emotion. It speaks of a divine being who humbles himself, lives like his people, and accepts rest and treatment when needed. Through this ritual, the devotees of Jagannath learn an important spiritual lesson: even the strongest need time to heal, and there is great divinity in rest, care, and rejuvenation.

This timeless tradition has continued for centuries, reminding millions that God is not just a distant entity of perfection, but a compassionate presence who lives among us, suffers with us, and heals with us.

Srita kamala.

 The Story of Jayadeva and the Gītagovinda

Jayadeva was a 12th-century poet-saint and composer, best known for his devotional Sanskrit masterpiece, Gītagovinda. This poetic work is a lyrical celebration of divine love between Lord Krishna and Radha, and it occupies a revered place in Indian devotional and literary traditions, particularly in Vaishnavism, Odissi dance, and temple rituals.

Jayadeva was born in Kenduli, a village in Odisha or Bengal (both claim him), to a learned Brahmin family. He was a deeply spiritual soul who spent much of his life immersed in devotion to Lord Jagannatha (Krishna in his form at Puri, Odisha). He was married to Padmavati, a devout woman and a temple dancer (Mahari), who would later dance to his compositions.

Jayadeva’s life was marked by devotion, music, and poetry. He would often compose verses spontaneously, inspired by divine visions.

The Gītagovinda is a cycle of 12 cantos (Sargas) comprising 24 songs (Ashtapadis), all in exquisite Sanskrit poetry. It describes the emotional and spiritual relationship between Radha and Krishna, portrayed with both devotional fervor and romantic intimacy.

It is unique because it blends Bhakti (devotion) with Śṛngāra Rasa (erotic-love aesthetic).

The central theme is the pangs of separation (Viraha) and the ecstatic union (Milan) of Radha and Krishna.

Each song is meant to be sung and danced; it became central to Odissi dance and temple rituals in Puri.

A famous legend highlights Jayadeva’s humility and divine connection:

One day, while composing a verse, Jayadeva hesitated to write a line that described Krishna falling at Radha’s feet, feeling it was too bold to suggest the Lord would humble Himself so.

He left the verse unfinished and went to bathe in the river. When he returned, to his astonishment, he found the verse written perfectly, in his own handwriting, and Padmavati told him he had come back and written it himself. Jayadeva realized that Lord Krishna Himself had taken his form to complete the line, thus blessing the work.

The verse was:

smaragarala khaṇḍanaṁ mama śirasi maṇḍanaṁ dehi padapaṅkajam

(“Place your lotus feet on my head, O destroyer of love’s poison.”

This miracle established the divine origin and sanctity of Gītagovinda.

The Jagannatha Temple in Puri began using the Gītagovinda in its nightly rituals. Even today, some of its hymns are sung as lullabies for the deity.

The Ashtapadis are sung in classical dance and music traditions like Odissi, Bharatanatyam, and Carnatic music.

Gītagovinda has influenced devotional literature across India, especially the Bhakti movements of Bengal, Odisha, and South India.

Jayadeva’s Gītagovinda is more than poetry—it is a divine dance of love, devotion, and surrender. It elevated Radha to a central figure in Krishna devotion, and its blend of sensual beauty and spiritual depth has kept it alive for over 800 years.

Here is a summary and meaning of a few of the most famous Ashtapadis (songs of eight verses) from Jayadeva’s Gītagovinda. Each ashtapadi captures a mood or stage of the divine love-play between Krishna and Radha, full of emotional beauty and spiritual symbolism.

 1st Ashtapadi: "Priye Charuśīle" – The Call of Love

Theme: Krishna praises Radha’s beauty and invites her to come to the forest of love.

Priye charuśīle, milita-pulaka-phalaka-keli-susīle

(O lovely one of sweet nature, your beautiful form excites my love.)

Krishna, overwhelmed by Radha’s beauty, begs her to join Him in the forest. The song expresses his deep desire and admiration, and sets the tone for their intimate relationship.

 2nd Ashtapadi: "Srita-kamalā-kucha-maṇḍala" – Krishna the Protector

Theme: Krishna as the divine protector of devotees.

Śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e kalita-lalita-vanamāla!

(O Lord whose chest is the resting place of Lakshmi, wearing lovely earrings and a garland!)

Jayadeva praises Krishna as the eternal savior and slayer of demons. Though much of Gītagovinda is romantic, this hymn emphasizes His divine powers and grandeur.

 8th Ashtapadi: "Nindati chandana" – Radha in Separation

Theme: Viraha (separation) and emotional pain.

Nindati chandanaṁ, snigdham api malahāriṁ na garuṁ

(Even sandalwood is painful, soft breezes are burning...)

Radha is tormented by separation from Krishna. Things that usually bring comfort—cool breezes, flowers, perfumes—now feel like torment. A powerful song of love in longing, expressing her intense emotional suffering.

 10th Ashtapadi: "Vahati malaya samīre" – Radha's Mood Swings

Theme: Inner turmoil of Radha’s heart.

Vahati malaya-samīre madana-sugandhi-samīre

(The southern breeze carries the sweet scent of spring, stirring love’s madness.)

Radha’s heart is swayed by love and longing. She is angry at Krishna’s unfaithfulness, yet deeply desires union. This ashtapadi beautifully captures the conflict of pride and passion in divine love.

11th Ashtapadi: "Māmiyaṁ chalitaṁ" – The Apology

Theme: Krishna’s pleading and remorse.

Māmiyaṁ chalitaṁ, vyathayati māṁ

(She has left me, and it gives me such pain.)

Krishna realizes Radha is upset and has gone away. He regrets his actions and sends a message begging her to return. The divine lover’s remorse and yearning shine in this song.

 19th Ashtapadi: "Madhuripu hari" – The Union

Theme: The ecstatic reunion of Radha and Krishna.

Madhuripu-hari-smaraṇe sukhadaṁ

(The remembrance of sweet Hari brings great joy.)

After all the yearning and tears, Krishna and Radha are reunited. Their spiritual and sensual union is described with tenderness, symbolizing the soul merging with the divine.

Radha = The Jiva (individual soul)

Krishna = Paramatma (Supreme soul)

Separation and union = The soul’s journey through longing, purification, and ultimate union with God.

Here's the 2nd Ashtapadi from Jayadeva’s Gītagovinda, titled:

Śrita-kamalā-kucha-maṇḍala – The Glories of Krishna

(Also known as “Jaya Deva! Jaya Deva!” hymn)

This is a praise-song that glorifies Lord Krishna’s divine acts and beautiful form. Each verse ends with the chorus "Jaya Deva! Jaya Deva!" meaning "Victory to you, O Krishna!"

śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e

kalita-lalita-vanamāla! jaya deva! hare!

O Lord whose chest is the abode of Lakshmi, whose ears are adorned with earrings,

Clad in a garland of forest flowers — Victory to you, O Hari!

dinamaṇi-maṇḍala-maṇḍana! bhava-khaṇḍana! e

muni-jana-mānasa-haṁsa! jaya deva! hare!

You adorn the circle of the Sun; You destroy the world’s bondage,

You are the swan in the minds of sages — Victory to you, O Hari!

kāliya-viṣa-dhara-gañjana! jana-rañjana! e

yadu-kula-nalina-dineśa! jaya deva! hare!

O Slayer of Kaliya the venomous serpent, Delighter of the people,

O Sun to the lotus of the Yadu clan — Victory to you, O Hari!

madhu-mura-naraka-vināśana! garuḍāsana! e

surakulakelana-nāgara! jaya deva! hare!

Destroyer of demons Madhu, Mura, and Naraka, who rides on Garuda,

Gallant lover amidst the gods — Victory to you, O Hari.

amara-taru-nikara-bhāsura! bhuvanāntaka! e

nikhila-nigama-sudhāmaya! jaya deva! hare!

Brilliant among the gods like a celestial tree, destroyer of the universe,

Essence of all Vedic nectar — Victory to you, O Hari!

śrita-sakala-suramunī! jana-sukhakarī! e

tribhuvana-dhāraṇa-kāraṇa! jaya deva! hare!

You are the refuge of all gods and sages, bringer of bliss to devotees,

The very foundation of all three worlds — Victory to you, O Hari!

This hymn portrays Krishna as the protector, savior, and supreme Lord. Though Gītagovinda often explores his human-like emotions with Radha, this ashtapadi reminds us that He is still the Supreme Divine, worshipped by sages and gods alike.

His beauty (vanamala, kundala, lotus chest) reflects divine charm.

His actions (slaying demons, riding Garuda) reflect divine heroism.

His presence in the hearts of sages shows spiritual closeness.

 Ritual and Musical Use

This Ashtapadi is often sung in temples, classical dance (especially Odissi), and bhajans.

In Jagannatha temple rituals, it is sung at night as a lullaby (pahuda bhoga)

À_G

 "I sat with my anger long enough until she told me her real name was grief."

By Anupama Joshi.

This quote, though often misattributed to C.S. Lewis, carries a truth many of us live but never voice.

As a child, I was known for my temper, it didn’t take much to spark a reaction in me. The anger was a mask, a cry, a plea for acknowledgement. It wasn’t just rebellion, it was a reaching out for love, acknowledgement and safety. It wasn’t rooted in one big traumatic event it was a thousand small moments of being ignored, being sidelined. My straightforward nature and unfiltered honesty often intimidated others, leading to misunderstandings and strained relationships. People found me too blunt, too direct, too intense. I didn’t know how to sugarcoat the truth - still don’t, honestly.

Over the years, life taught me to smooth those rough edges. Through experiences, wisdom, and personal growth, I began to understand that beneath my anger lay a reservoir of hurt and unaddressed grief. Even now, when I withdraw or disconnect; often because I am hurting, overwhelmed, or simply protecting my energy, the people in my life assume I am angry. Very few stop to consider that my silence might be coming from pain, not rage. It is disheartening when those who are close to you focus solely on reactions, overlooking their own actions or words that may have caused them. 

And the part that stings the most is that when I do the work to process everything to bring myself back to a place of calm and grounding, they mock. They pass it off by saying, “Oh look, she has calmed down now,” Like it is an entertaining performance, like the work it took to come back to myself is invisible. Like it was never about grief, or healing, or layers of hurt they never cared to understand. As if my process was a tantrum, not a transformation; and as if healing is something funny.

Anger is never the full story. It is the lid. And when you’re brave enough to lift it, you find unacknowledged grief, disappointment, fear, and truth. And to know this is to begin the real work. It is a reminder to approach others with empathy, recognizing that behind a fiery exterior might be a wounded soul seeking understanding. If you have ever been told you are too much - too loud, too angry, too emotional; I just want you to know, I see the grief behind the fire and the ache beneath the silence. Whenever you are ready to be seen beyond the fire, I am here.

Pundalik

https://youtube.com/shorts/J0jK7vUAEs8?si=VxB_f-bPXsjjdj1M

a devotee is pushed round in circles as abhangs are being sung. Devotion is to be watched, it takes one to another level altogether. 

The story of Pundalik is one of the most cherished tales in the Bhakti tradition of Maharashtra and is intimately connected with Lord Vitthal (Vithoba) of Pandharpur. 

 The Devotee Who Brought God to Earth

Pundalik was originally a resident of Kundinapura (in present-day Maharashtra). Initially, he was not a saint but a worldly and selfish man, disrespectful even to his own parents.

After his marriage, Pundalik became absorbed in family life and started neglecting his aged mother and father. He ill-treated them and made them do menial work. His attitude deeply hurt his parents, who were saints at heart but bore everything silently.

One day, Pundalik decided to go on a pilgrimage to Kashi (Varanasi) with his wife. His parents, although old and frail, accompanied them on foot. On the way, Pundalik kept treating them harshly. But then something miraculous happened.

While passing through the ashram of the sage Kukkut, Pundalik witnessed a divine sight. He saw three celestial women entering the ashram, their clothes soiled and faces gloomy. But when they emerged after cleaning the ashram, they were glowing with divine light.

Pundalik asked the sage about the women the sage explained:

 “They are the personifications of Ganga, Yamuna, and Saraswati. They wash away people’s sins daily, but become polluted themselves. By cleaning the homes of saints and pure souls, they regain their purity.”

This struck Pundalik deeply. He realized the greatness of serving the noble and living selflessly.

Realizing his mistake, Pundalik turned back from his pilgrimage and returned home with his parents. From then on, he became the ideal son, serving them with utmost devotion and love. He saw God in his parents and dedicated his life to their care.

Pundalik's devotion was so intense that it touched the heart of Lord Krishna. One day, Krishna appeared at Pundalik's door, eager to bless him.

But Pundalik was at that moment massaging his father’s feet. He did not want to interrupt his service, even for the Lord. So, he threw a brick (vit) for the Lord to stand on and said:

 “Please wait, Lord. I will attend to you after I finish my duty to my parents.”

Touched by this humility and pure devotion, the Lord stood on the brick, waiting patiently with his hands on his waist – the very form in which Vithoba is now worshipped in Pandharpur.

When Pundalik finally came out, he bowed down to the Lord. Pleased, Krishna granted him a boon. Pundalik requested:

“May you always remain here in this form to bless devotees.”

Thus, the idol of Vitthal (Vithoba) was installed in Pandharpur, where it still stands today on the brick, embodying the Lord’s boundless love for bhakti (devotion) and seva (service to parents).

True devotion lies in selfless service, especially to one's parents.

God is pleased more by loving action than by rituals.

Humility and surrender can bring the divine closer than any austerity.

Vithoba's (Vitthal's or Panduranga's) idol, especially the one at Pandharpur in Maharashtra, is among the most iconic and beloved in Indian devotion. This is how it is traditionally described.

Physical Description of Vithoba's Idol:

Vithoba is depicted standing upright on a brick (known as vit in Marathi, which gives the name "Vitthal").

His hands rest on his hips, a unique posture conveying confidence, waiting, and steadfastness — often interpreted as him patiently waiting for his devotee Pundalik.

The face is gentle and smiling, symbolizing grace and affection toward his devotees.

He wears a tall crown (kirita mukuta).

A Vaishnava tilak (U-shaped with a central line) adorns his forehead, marking him as a form of Lord Vishnu/Krishna.

The idol is richly decorated with jewels, garlands, and silken robes.

He wears earrings (kundalas), armlets, and anklets.

The idol is of black stone, symbolizing the Shyama (dark) form of Krishna.

A key feature — Vithoba stands on a brick placed by his devotee Pundalik, representing devotion and humility.

Arms on Hips: Signifies both impatience with insincerity and assurance to true devotees.

Brick beneath feet: A devotee's offering that became divine — showing that even the smallest act of devotion is recognized.

Smile: Represents the welcoming nature of the deity — especially for saints like Tukaram, Namdev, Chokhamela, Janabai.

Behold the Lord of brick and smile,

Who waits with arms akimbo, still —

On the sacred banks of Bhima's flow,

In Pandharpur, the hearts he fills.

A dusky hue like raincloud’s breast,

He stands in silence, calm and deep;

A crown upon his curly hair,

With lotus eyes that never sleep.

His feet upon the devotee’s stone,

A tale of love and Pundalik's gift;

In patient poise, his hands akimbo,

The veil of sorrow he does lift.

A tulsi garland graces his neck,

His form with yellow silk is dressed;

The conch and discus carved within,

Though unseen — in bhakti manifest.

The cowherd boy of Gokul's field,

Now reigns the shrine in simple grace;

With no throne grand, nor jewels rare,

But just his smile — and endless space.

Namdev sings, “He is my kin,”

Tukaram cries, “He dwells in me!”

To Chokhamela, “He came and spoke,”

Janabai says, “He swept with me!”