Thursday, July 3, 2025

Beauty saga

For lovely lips, speak words of kindness.

For beautiful eyes, see the good in others.

To stay slim, share your food with the hungry.

For gorgeous hair, let a child run their fingers through it daily.

For graceful posture, walk with the knowledge you're never alone, because those who love and have loved you walk beside you.

Beauty isn’t found in clothes, makeup, or hairstyles, but in the warmth of the eyes, reflecting the heart, the tenderness of the soul, and the passion with which we live.

True beauty, only grows deeper with time. 

Wednesday, July 2, 2025

No heaven.

 Kumbandās was a humble Vaishnava saint, born in India during the Bhakti movement (around the 16th century), and was one of the Ashtachhap Poets—the eight cherished poet-devotees of Shrinathji, a form of child Krishna worshipped at Nathdwara.

He belonged to a low caste, a domestic servant, and lived a very simple life. Yet his heart was full of divine love for Krishna. He composed songs full of prema-bhakti (pure love), often singing to the Lord with the deep affection of a mother or friend. His soul was drenched in Pushti Bhakti—the path of graceful surrender, not motivated by desire for liberation or rewards.

The Episode: When Kumbandās Refused Heaven

Once, seeing his deep bhakti, Indra, the king of the gods, sent messengers to Kumbandās with an invitation to come to Swarga (heaven). The messengers arrived with celestial offerings and honors. But Kumbandās laughed and politely refused. He sang:

> "हम को तो कूलिन गँवारो भलो,

जहाँ श्रीनंदन की बात चलै।"

"Let me remain a simple village fool,

as long as I can hear the sweet stories of Nanda’s child (Krishna).”

He said: “What joy can heaven give me if Krishna is not there? I would rather stay in a humble hut near Vrindavan, singing his names, than live in the grandest palace without him.”

This incident became legendary, showing that true bhakti is not about reward—it is about being with the beloved Lord.

Kumbandās' life teaches us:

Bhakti is not limited by caste or class.

Love for God is greater than even heaven.

The Lord values heartfelt devotion more than rituals or status.

Even today, his bhajans are sung in Pushtimarg temples, and he remains an inspiration to those who love Krishna with unconditional surrender and simplicity.

Famous bhajan.

"मोंहि कोउ नंद को आनन्द भयो,

देख्यो ब्रज नव बाल गोकुल में।"


"ललित मुख, चपल नयन, मन मोहन,

हँसत रटन करत बृज शुक बोलत।"


"तन मन, धन सब वार्यो इन पै,

कुंभनदास बौरायो प्रीत पगे।"

"Mohi kou Nand ko anand bhayo,

Dekhyo Braj nav bāl Gokul mein."

"Lalit mukh, chapal nayan, man mohan,

Hansat ratan karat Vraj shuk bolat."

"Tan man dhan sab vāryo in pai,

Kumbhandās bourāyo prīt page."

"I felt a joy like Nanda himself,

when I saw the newborn child of Gokul (Krishna) in Braj!"

 "His face is delicate, his eyes are playful, the mind’s enchanter,

He smiles, babbles sweetly, like a parrot speaking in Vraj dialect."

"I have given my body, mind, and wealth to him,

Kumbandās has gone mad with love for that divine child!"

This bhajan captures the deep ecstatic devotion of Kumbandās, who saw Krishna not as a distant God, but as a divine child playing in the dust of Gokul. His songs are full of personal feeling, where the devotee becomes a part of Krishna’s life.


1. “Jānak-jānak dhāvata āvat”

जाँक-जाँक धावत आवत,
मोहन माखन लै दौरत।

ग्वालन की मटकन फोरी,
हँसत-हँसत मुख लपटावत।

कुंभनदास यह लीला देखी,
मन-रंजन करि मोहावत।

Jānak-jānak dhāvat āvat,
Mohan mākhan lai daurat.

Gwālan kī maṭkan phorī,
Hansat-hansat mukh lapaṭāvat.

Kumbhandās yah līlā dekhī,
Man-rañjan kari mohāvat.


Krishna comes running with anklets jingling,
stealing butter and fleeing in joy.
He breaks the gopis’ pots playfully,
licking butter off his smiling lips.
Kumbhandās watches this sweet play,
his heart completely enchanted.

 2. “Kānha ke roop bāt nihāri”

कान्हा के रूप बात निहारी,
मोरे मन को भा गए प्यारे।

नील कमल सम नयन विशाला,
मुखचंदनी हँसी उजियारी।

कुंभनदास सुध बुध बिसारी,
लागि रही नंदलाल पे न्यारी।

Kānhā ke rūp bāt nihārī,
More man ko bhā gaye pyāre.

Nīl kamal sam nayan vishālā,
Mukha-chandnī hansī ujiārī.

Kumbhandās sudh budh bisārī,
Lāgi rahī Nandalāl pe nyārī.


Just one glimpse of Krishna’s form,
and my heart is forever his.
Eyes like blue lotus, face shining with moonlight and smiles—
Kumbhandās forgot himself,
and stays lost in love for Nandalal.


3. “Hām to dās banī rahīyo”

हाम तो दास बनी रहियो,
गोविंद के घर द्वार।

झाड़ू लगाऊँ चौक पूरौं,
पावन करूं अपार।

कुंभनदास प्रभु तेरी सेवा,
मोको और न भार।


Hām to dās banī rahiyo,
Govind ke ghar dvār.

Jhāḍū lagāūn, chauka pūrau,
Pāvan karūn apār.

Kumbhandās Prabhu terī sevā,
Moko aur na bhār.


Let me remain a humble servant
at the doorstep of Govind.
I’ll sweep the floor and clean his courtyard—
purifying even my soul.
Kumbhandās asks for no burden in life
except the joy of serving the Lord.

4. “Nainana hi me rāma base”

 नैना ही में राम बसे हैं,

दृष्टि में श्याम समाए।


जहाँ जहाँ देखूँ नन्दलाल,

सोई मोरे मन भाए।


कुंभनदास यह सुख पाया,

जो जोगी जतन न पाए।

Nainana hī me Rām base hain,

Drishti me Shyām samāe.


Jahān jahān dekhū Nandalāl,

Soī more man bhāe.


Kumbhandās yah sukh pāyā,

Jo jogī jatan na pāe.

Rama (Krishna) dwells in my eyes,

Shyām fills my every gaze.

Wherever I look, I see Nandalal—

and my heart delights in all I see.

Kumbhandās has found such bliss,

which even yogis miss with all their effort.

5. “Mohe māro nā māro”

 मोहे मारो ना मारो प्रभुजी,

जैसी तेरी मर्जी।


तेरे चरणन की रज को,

अनमोल धन समझूं सजी।


कुंभनदास कहे मन ही मन,

तोरे प्रेम में बाजी रंजी।

 Mohe māro nā māro Prabhujī,

Jaisī terī marzī.


Tere charanan kī raj ko,

Anmol dhan samjhūn sajī.


Kumbhandās kahe man hī man,

Tore prem me bājī ranjī.

Beat me or bless me, O Lord—

do as You wish!

The dust of Your feet

I treasure more than all the world’s riches.

Kumbhandās whispers in his heart,

“Your love alone is my greatest game, my only prize.”

 6. “Govind gun gāvau din rāti”


> गोविंद गुण गाऊँ दिन राती,

भूलि गए जग के सब भांति।


मीठे मीठे रसना बोले,

श्रवणन में बजत बाँसुरी ताती।


कुंभनदास भयो रस माहीं,

प्रेम में डूब्यो, भयो सनाति।

Govind gun gāvau din rātī,

Bhūli gaye jag ke sab bhānti.


Mīṭhe mīṭhe rasnā bole,

Shravanan me bajat bānsurī tātī.


Kumbhandās bhayo ras māhīn,

Prem me ḍūbyo, bhayo sanāti.


I sing of Govind’s virtues day and night,

forgetting all else in the world.

My tongue speaks only his sweet names,

my ears are filled with the sound of his flute.

Kumbhandās is soaked in this rasa,

lost in love, freed from all illusion.


7. “Gāvata rahiye Giridhar ki gatha”

 गावत रहिये गिरिधर की गाथा,

सुनत रहिये रसमय वृथा।


नेत्रन में बसै जब नंदनंदन,

दुनिया लागि मोहि सकल व्यथा।


कुंभनदास रह्यो मगन प्रेम में,

भूलि गयो सब दुःख की व्यथा।


Gāvat rahīye Giridhar kī gāthā,

Sunat rahīye rasamay vrithā.


Netran me basai jab Nandanandan,

Duniyā lāgi mohi sakal vyathā.


Kumbhandās rahyo magan prem me,

Bhūli gayo sab dukh kī vyathā.


 Keep singing the story of Giridhar (Krishna),

and listen to its divine nectar.

When the son of Nanda lives in your eyes,

the pain of the world melts away.

Kumbhandās remains lost in love,

forgetting all sorrow and suffering.


8. “Prema bhagati ka māraga nyārā”

प्रेम भगति का मारग न्यारा,

नाहिं तहाँ ग्यान जप न तपसारा।


तन मन धन सब अर्पण करिए,

जो होइ सो प्रभु करै हमारा।


कुंभनदास कहे मन माहीं,

कृष्ण नाम सिरताज हमारा।

Prem bhagati kā māraga nyārā,

Nāhi tahān gyān jap na tapasārā.


Tan man dhan sab arpaṇ kariye,

Jo hoi so Prabhu karai hamārā.


Kumbhandās kahe man māhīn,

Krishna nām siratāj hamārā.


The path of loving devotion is unique—

there’s no need of dry knowledge, rituals, or penance.

Just offer your body, mind, and wealth to Krishna,

and let Him do what He wills.

Kumbhandās says from his heart:

“The crown of my life is the name of Krishna.”


9. “Charan saroj rāhi bhayo”

चरण सरोज राहि भयो,

मोरे मन कौ आधार।


जग सागर दुख सिंधु भारी,

ताहिं तरी गोपाल आधार।


कुंभनदास लाज रखियो,

नाम प्रताप अपार।

Charan saroj rāhi bhayo,

More man kau ādhār.


Jag sāgar dukh sindhu bhārī,

Tāhi tarī Gopāl ādhār.


Kumbhandās lāj rakhiye,

Nām pratāp apār.

The lotus feet of Krishna

are the only support of my heart.

This world is a vast ocean of sorrow,

but Gopal’s feet can carry me across.

O Lord, please uphold the honor

of Your name, which is infinitely powerful.


10. “Mohe lāgi lāl chhabi pyārī”

मोहे लागी लाल छबि प्यारी,

रस में डूब्यो ब्रज बिहारी।


कानन कुंज वन बँसुरिया बाजे,

भूल्यो घरद्वार संसारी।


कुंभनदास हिये सम्हारो,

श्याम सुधा की बूँद उतारी।


Mohe lāgī lāl chhabi pyārī,

Ras me ḍūbyo Braj Bihārī.


Kānan kunj van baṁsuriyā bāje,

Bhūlyo ghar-dwār saṁsārī.


Kumbhandās hiye samhāro,

Shyām sudhā kī būnd utārī.

I’ve fallen in love with the sweet form of my Lal (Krishna),

Braj Bihari has drowned me in divine nectar.

The flute echoes through forest bowers—

and I’ve forgotten home, family, and the world.

Kumbhandās clutches his heart,

tasting one drop of Shyam’s immortal nectar.

11. “Mero man nanda-nandan ras bhāyo”


मेरो मन नंदनंदन रस भायो,

सब तजि श्याम सरन में आयो।


ना देख्यो रूप ऐसो प्यारा,

ज्यों कंज मुकुट बँधायो।


कुंभनदास उर में बसायो,

श्याम ही जीवन ठहरायो।

Mero man Nandanandan ras bhāyo,

Sab taji Shyām sharaṇ me āyo.


Nā dekhyo rūp aiso pyārā,

Jyon kanj mukut bandhāyo.


Kumbhandās ur me basāyo,

Shyām hī jīvan ṭhaharāyo.

My heart has fallen for the sweetness of Nandanandan (Krishna).

I’ve renounced all and come to take shelter in Shyam.

Never have I seen such beauty—

like a lotus crowned with a peacock feather.

Kumbhandās has installed Him in his heart,

and made Shyam his only life.

12. “Moko kaha’n dhūnḍhe re bande”


मोको कहाँ ढूंढे रे बन्दे,

मैं तो तेरे पास में।


ना मैं तीर्थ, न मैं मूरत,

ना मैं काबे काशी में।


कुंभनदास कहे मन माहीं,

प्रेम भरे जिहरा बासी में।

 Moko kahān ḍhūnḍhe re bande,

Main to tere pās meṁ.


Nā main tīrth, nā main mūrat,

Nā main Kābe Kāshī meṁ.


Kumbhandās kahe man māhīn,

Prem bhare jihra bāsī meṁ.

O seeker, where do you search for Me?

I am right beside you.

I am not in temples, or idols,

not in Kaaba or Kashi.

Kumbhandās says: I live in that heart

which is full of love.

(This bhajan is often attributed to multiple saints, but appears in Kumbhandās traditions too, reflecting his simple philosophy of inner bhakti.)


13. “Kānh gaye mākhan chor”


कान्ह गये माखन चोर,

गोपिन के मन को चुरायो।


दधि लूट्यो, मटकी फोरी,

हँसत-हँसत घर भर आयो।


कुंभनदास रस में डूब्यो,

श्याम सखा रस पायो।


Kānh gaye mākhan chor,

Gopin ke man ko churāyo.


Dadhi lūṭyo, maṭkī phorī,

Hansat-hansat ghar bhar āyo.


Kumbhandās ras meṁ ḍūbyo,

Shyām sakhā ras pāyo.

Krishna, the butter thief, has struck again—

and stolen the hearts of the Gopis.

He loots the curd, breaks their pots,

and returns home laughing and glowing.

Kumbhandās is immersed in this rasa,

tasting the nectar of friendship with Shyam.


 14. “Saanchi kahun tohe shyām pyāre”


सांची कहूँ तोहे श्याम प्यारे,

तो बिनु मोहि और न भाए।


सोना रूप कंचन काया,

सकल मृगमद तुल जाए।


कुंभनदास तज्यो जग सारा,

नाम तेरो जीवन बनाए।

Sāṁchī kahūn tohe Shyām pyāre,

To binu mohi aur na bhāe.


Sonā rūp kanchan kāyā,

Sakal mṛgamad tul jāe.


Kumbhandās tajyo jag sārā,

Nām tero jīvan banāe.


Let me speak truly, O beloved Shyam—

without You, nothing appeals to me.

Even golden beauty and scented pleasures

are like worthless dust compared to You.

Kumbhandās has given up the whole world,

and made Your name his life.


 15. “Mann re! Hari bhajan bina nahin chhūt”


मन रे! हरि भजन बिना नहीं छूट,

कर्म बन्ध की कठिन गठरी।


जप-तप, यज्ञ, दान, न बन्धन तोड़े,

केवल नाम हि चीरि।


कुंभनदास कहे मन माहीं,

श्याम बिनु गति और न हीरी।

Man re! Hari bhajan binā nahīṁ chhūṭ,

Karma bandh kī kaṭhin gaṭhrī.


Jap-tap, yajña, dān, na bandhan toṛe,

Keval nām hi chīri.

Kumbhandās kahe man māhīn,

Shyām binu gati aur na hīrī.

O mind! Without Hari’s bhajan,

the knots of karma will not break.

Chanting, austerity, and rituals—

none can fully free you.

Only Krishna’s name can cut through bondage.

Kumbhandās says: there's no path for me but Shyam.

16. “Bāl mukund ghanshyām hamāro”


बाल मुकुंद घनश्याम हमारा,

ब्रज में जो खेलै नंद दुलारा।


माखन चोर, वृन्दावन चंचल,

हर लेत हिय की ज्वाला।


कुंभनदास रटन करै दिन रैना,

नाम लिए बिसरै दुख सारा।


Bāl Mukund Ghanśyām hamārā,

Braj me jo khelei Nand dulārā.


Mākhan chor, Vrindāvan chañchal,

Har let hiy kī jvālā.

Kumbhandās raṭan karai din rainā,

Nām liye bisarai dukh sārā.

Child Mukund, my Ghanshyam,

the darling of Nanda, plays in Braj.

The butter thief, naughty and lively,

steals away the heart’s sorrows.

Kumbhandās chants his name day and night,

and all pain is forgotten in that remembrance.

17. “Jānakī jhūle Shyām”

 जानकी झूले श्याम,

बरसाने के बनवारी।


पवन बहे मंद मंद,

मोर मुकुट सजधज प्यारी।


कुंभनदास कहे, देख्यो लालन,

नैनन में बसी छवि न्यारी।


Jānakī jhūle Shyām,

Barsāne ke Banvārī.


Pavan bahe mand mand,

Mor mukut sajdhaj pyārī.


Kumbhandās kahe, dekhyo lālan,

Nainan meṁ basī chhavi nyārī.

Janaki swings her Shyam,

the playful Lord of Barsana.

Gentle breeze blows, peacock crown shines—

how lovely is His adorned form!

Kumbhandās says: I have seen the Darling,

and His sweet image now lives in my eyes.


18. “Mohe rang de Vrindavan vāro”


मोहे रंग दे वृंदावन वारो,

श्याम रंग में रंग दीजै।


नैनन में छवि बसाइ लीजै,

मन की मैल उतार दीजै।


कुंभनदास भये बिहारी के,

दास करुणा निधान कीजै।


Mohe rang de Vrindāvan vāro,

Shyām rang meṁ raṅg dīje.


Nainan meṁ chhavi basāi līje,

Man kī mail utār dīje.


Kumbhandās bhaye Bihārī ke,

Dās karuṇā-nidhān kīje.


O Krishna of Vrindavan, color me in Your love!

Soak me fully in the hue of Shyām.

Let Your form live in my eyes,

and wash away the dirt from my heart.

Kumbhandās has become Yours, Bihari—

O ocean of compassion, make me Your servant.


19. “Nāchata Gopal sab gāwalin sang”

नाचत गोपाल सब गावलिन संग,

बाजत मृदंग, झंकार मधुर अंग।


बृज की गली में रास रचायो,

प्रीत के मोती बिखेरत रंग।


कुंभनदास मोहित मन भयो,

श्यामसंग लीला देखत अंग-अंग।


 Nāchat Gopāl sab gāwalin sang,

Bājat mṛdaṅg, jhaṅkār madhur aṅg.


Braj kī galī meṁ rās rachāyo,

Prīt ke motī bikherat raṅg.


Kumbhandās mohit man bhayo,

Shyām-saṅg līlā dekhat aṅg-aṅg.


Gopal dances with all the gopis,

the drums beat, sweet bells jingle.

In the lanes of Braj, a divine raas unfolds,

scattering pearls of love and color.

Kumbhandās’ heart is enchanted,

as he watches every limb of Shyam dancing in divine play.


20. “Braj bāla lāgiyo mōhe”


ब्रज बाला लागियो मोहे,

छोटे से रूप में रस बहुतेरे।


लट झूलत, नैन हँसावत,

सुनत ही हर लाज गोपिके रे।


कुंभनदास रसिक भया,

श्याम बचपन में सब सुख हेरे।

Braj bālā lāgiyo mohe,

Choṭe se rūp meṁ ras bahutere.


Laṭ jhūlat, nain hasāvat,

Sunat hī har laaj Gopike re.


Kumbhandās rasik bhayā,

Shyām bachpan meṁ sab sukh herē.


The child of Braj has captured me,

though small in form, he overflows with sweetness.

His curls swing, his eyes laugh,

even hearing his name stirs love in the gopis.

Kumbhandās becomes rasik, a lover of rasa,

as he beholds all joy in Shyam’s childhood.

These bhajans celebrate a deeply personal bond with Krishna—full of emotion, innocence, and devotion beyond ritual. Kumbhandās sees God not as distant or fearsome, but as a child, a playmate, a joy that overflows the heart.





Tuesday, July 1, 2025

A silent star.

 A Tribute to Charlie Chaplin and His Oscar Award

Sir Charles Spencer Chaplin, affectionately known as Charlie Chaplin, was not just a man with a bowler hat, cane, and a funny walk — he was a silent voice that roared across generations. With nothing but expressions, movement, and music, he painted a vivid picture of the human spirit. Chaplin's life and his Oscar Award are not just milestones in cinematic history; they are symbols of artistic courage, resilience, and genius.

Born in 1889 into poverty in London, Chaplin's early life was filled with hardship. But those very struggles later shaped the soul of his most iconic character — The Tramp — a gentle, comedic, and resilient everyman who wandered the streets, faced life’s injustices, and yet never lost his humanity or humor. In an age when words were becoming dominant on screen, Chaplin held on to the power of silence, believing that emotions, not language, connect us all.

Despite revolutionizing the world of cinema with masterpieces like City Lights, Modern Times, and The Great Dictator, recognition from the Academy Awards eluded him for most of his career. Politics, controversy, and exile from the United States in the 1950s overshadowed his contributions. For years, Hollywood turned its back on him — until history demanded justice.

In 1972, after decades in exile, Chaplin returned to the United States to receive an Honorary Oscar. When he walked onto the stage at the Academy Awards, the entire audience stood in prolonged ovation. It was the longest standing ovation in Oscar history — over 12 minutes — a moment when the industry, once divided about him, came together to acknowledge his indelible legacy. The Oscar was not just a golden statue; it was a collective apology, a gesture of deep respect for a man who had given the world laughter and tears.

The Academy presented the award with these words:

"For the incalculable effect he has had in making motion pictures the art form of this century."

Chaplin stood there, aged and trembling, tears in his eyes. It wasn’t just a personal triumph; it was the triumph of art over politics, of grace over time, of silence over noise. The man who had said so much without speaking had finally heard the world speak back with gratitude.

Charlie Chaplin’s Oscar is more than a tribute to his films. It is a salute to the spirit of cinema itself — a medium that can make us laugh in the face of despair, think in moments of chaos, and dream in the darkest hours. Chaplin taught us that a simple walk, a glance, a smile could be more powerful than a thousand words.

Even today, long after the lights have dimmed and reels have aged, Chaplin’s legacy dances on — forever timeless, forever golden.

A poetic tribute to Charlie Chaplin and his Oscar moment:


A Silent Star

In shadowed reels of black and white,

A man stepped forth — no script, no mic.

With twinkling eyes and tilted hat,

He gave the world a laugh, a pat.


A cane, a stumble, a silent glance,

He made the common heart dance.

No voice, yet oh, how loud he spoke,

In every jest, a chain he broke.


The Tramp walked through a world unkind,

With ragged shoes and hope aligned.

In every fall, he rose anew,

With humor deep, and vision true.


But genius, bold, can stir the tide —

And politics pushed him aside.

Exiled far from film and fame,

Yet history would not forget his name.


Then came the night — the curtain wide,

The stage was lit, the crowd stood high.

Tears welled up in every eye,

As Chaplin stood with humbled pride.


Twelve minutes long the thunder stayed,

An ovation time could not fade.

The Oscar glowed — a silent cheer,

For every smile he'd brought near.


"For art that shaped the world anew,"

The Academy finally knew:

That laughter born from human pain

Is art that forever shall remain.


So here's to him — the mimic king,

Whose silence made our spirits sing.

A golden man in monochrome,

Who made the moving picture home.




Monday, June 30, 2025

P p

 Pramaana paddhati 

Svaroopa paddhati

Adhikaara paddhati

Guroopaasana paddhati

Bhagavatparicharyaa paddhati

Bhagavatparijanopaasanaa paddhati

Sadupaasanaa paddhati

Vihita vyavasthaana paddhati.

Varjaneeya paddhati

Phalodaya paddhati. 

These paddhatis outline the path of a prapanna—one who has surrendered to the Lord, especially in the context of śaraṇāgati and bhāgavata dharma.

1. Pramāṇa Paddhati – The Way of Right Knowledge

This section discusses the valid means of knowledge (pramāṇas) accepted in Śrīvaiṣṇava Vedānta—primarily śabda (scriptural testimony) as the ultimate source. It establishes the Vedas, Upaniṣads, Brahmasūtras, and Divya Prabandham as authoritative in matters of dharma and liberation, while also acknowledging perception and inference in worldly matters. It sets the epistemic foundation for understanding the self, the Lord, and the path.

2. Svarūpa Paddhati – The Way of Understanding the True Nature

Here, the true nature (svarūpa) of the jīva (individual soul) is defined as:

Sesa (servant) of the Lord

Completely dependent (paratantra)

Possessing knowledge and bliss, but subservient to the Lord This section helps the seeker understand their identity in relation to Bhagavān—not as independent enjoyers, but as eternal servants (śeṣa-bhūta) of Nārāyaṇa.

3. Adhikāra Paddhati – The Way of Spiritual Eligibility

This paddhati clarifies who is qualified for prapatti (total surrender) and devotional service. It examines spiritual eligibility based on:

Detachment

Faith

Humility

Lack of pride in one's own effort

Even one who is not highly learned or ritualistically perfect, but is sincere and dependent on God, is eligible for grace.

4. Gurūpāsana Paddhati – The Way of Serving the Guru

Describes the reverence and worship of the ācārya (guru), who is the visible manifestation of God’s grace. It prescribes ways to:

Serve the guru

Learn with humility

Accept instructions as sacred The guru is seen as the bridge between the jīva and Bhagavān, worthy of utmost devotion.

5. Bhagavat-Paricaryā Paddhati – The Way of Worshipping the Lord

Explains daily and lifelong service to Bhagavān, whether in temples or in one's heart. This includes:

Archana (ritual worship)

Recitation of His names

Temple service (kainkaryam)

All actions are done with love and surrender, not for personal gain.

6. Bhagavat-Parijanopāsanā Paddhati – The Way of Worshipping the Lord’s Devotees

Here, service to devotees of the Lord (Bhāgavatas) is presented as higher than direct service to the Lord Himself. Serving the Lord’s devotees pleases Him more, and they are treated with utmost reverence as extensions of His grace.

7. Sadupāsanā Paddhati – The Way of Proper Meditation and Worship

Details the right methods of devotion and meditation—such as:

Contemplation on the Lord’s form, qualities, and leelās

Singing hymns with awareness It warns against mechanical ritualism and encourages emotional involvement and awareness of God’s greatness and compassion.

8. Vihita Vyavasthāna Paddhati – The Way of Proper Conduct and Discipline

Lays down the disciplines a prapanna must follow, including:

Truthfulness

Cleanliness

Non-injury

Simplicity

These are seen not as rules to earn merit, but as natural expressions of surrender and love.

9. Varjanīya Paddhati – The Way of Renunciation

Prescribes what must be avoided by a devotee:

Pride

Criticism of devotees

Egoistic independence

Dependence on personal effort over grace

Avoiding these ensures the purity and humility essential for divine grace.

10. Phalodaya Paddhati – The Way of Understanding the Fruit (Result)

Explains the ultimate result of surrender—which is:

Eternal service in Vaikuṇṭha

Relief from samsāra

Blissful union with the Lord

This section fills the devotee with hope and longing for liberation through God’s grace, not personal effort.

Each of these paddhatis outlines a step in the spiritual journey of a prapanna—from knowledge, self-understanding, surrender, service, to ultimate union with the Lord, all centered around the concept of total dependence (śaraṇāgati) and divine grace (kr̥pā).



Ganga sati.

Ganga Sati, the saint-poetess of Gujarat, did not write for fame or prestige. She sang for the soul. Her bhajans carry echoes of eternal truth — about life, the Guru, detachment, and the divine Name. They remind us that while the world distracts, the Satguru awakens. Let us listen to her words and let them seep into the heart.

On the Glory of the Guru

સાંજ સમય બિરદાવું ચરણે, ગુરુના ગુણ ગાવા રે…

મેળયો ગુરુ ભાવે, એના લીધે પામ્યો રે પ્રભુ પાવન નામ…

Sāñj samay biradāvũ charaṇe, gurunā guṇ gāvā re…

Mēḷyo guru bhāve, enā līdhe pāmyo re prabhu pāvan nām…

At twilight I offer my heart at the Guru's feet, singing his glories…

Blessed is the moment I found the true Guru; through him, I attained the purest Name of the Lord.

Ganga Sati reminds us: without a true Guru, the soul wanders in illusion. The Guru gives us the key to inner light.

On the Soul's Nature

આ જીવ તો હાથનો પંખી, ગુફા ગગનમાં પંખેરું…

પિંજરામાં બંધાય નહી, જો સમજણ હોય નયણેરું…

Ā jīv to hāthno paṅkhī, gufā gaganmā̃ paṅkherũ…

Piñjarāmā̃ bandhāy nahī̃, jo samjaṇ hoy nayṇerũ…

This soul is a bird in the hand, its nest is in the sky-high cave…

It cannot be caged in the body or world — if only the eyes awaken with wisdom.

 The soul is not of the earth. It longs to return to the sky — to its source. Ganga Sati calls us to look inward.

On the Illusion of Wealth

માટીને જે માન્યું મોતી, એ કેમ સાંપે રત્ન રે…

Māṭīne je mānyũ motī, e kem sā̃pe ratna re…

One who mistakes mud for pearls — how will they ever receive the true jewel?

If we value temporary pleasures over spiritual truth, how can we expect lasting joy?

On Death and Remembrance of the Divine

મૃત્યું આવે ત્યારે ના કાંઈ કામ આવે ધન દોલત,

એટલે સદાય સ્મરો શ્રીહરિનું નામ…

Mṛtyu āve tyāre nā kāī kām āve dhan dolat,

Ēṭale sadāy smaro Śrīharinu nām…

When death approaches, wealth and gold are of no use —

So always remember and chant the Name of the Lord.

 All must pass. But those who cling to God's Name leave the world smiling.

Ganga Sati’s words are not to be merely sung — they are to be lived. Her voice still flows like a sacred river, calling every heart toward the Guru, the true Self, and the Lord’s Name.

Let us sit in silence, as she once did under the stars, and repeat the sacred truth:

> "Hari naam ek soṅgo, biju na saṅga doṣ…"

(The Lord’s Name is my only companion — all else leads to bondage.)

Paan bai

 Paan Bai (or Paanbai) was a saintly devotee of Lord Krishna, often remembered in the Bhakti tradition for her deep surrender, wisdom, and humility. When facing the end of life, saints like her often utter words that awaken truth in listeners — truths of impermanence, devotion, and the eternal.

 Awakening Quotes Inspired by Paan Bai and the Bhakti Tradition:

1. "Govind naam lete lete marna hai. Mar bhi jaaun toh kya, Govind toh saath chalega."

"Let me die with the name of Govind on my lips. Even if I die, Govind will walk with me."

2. "Yeh deh toh mitti hai, par mera praan toh Hari ke charan mein basa hai."

"This body is mere dust, but my soul rests at the feet of Hari."

3. "Jo aaya hai, jaayega. Par jo Hari mein bas gaya, wo kabhi nahin mitayega."

"All who come must go. But one who dwells in Hari is never erased."

4. "Mitti ke ghade toot jaayein, toh mitti mein hi milte hain – main bhi prabhu mein mil jaaun."

"When clay pots break, they merge into earth – may I too merge into my Lord."

5. "Na main roti hoon, na main dard – main toh Hari ka naam hoon, jo sadaa rehta hai."

"I am neither body nor pain – I am the name of Hari, which lives forever."

Paan Bai’s Spirit of Surrender:

Tradition tells us that when her time came, she simply said:

"Mhara toh Giridhar Gopal, doosro na koi."

"Mine is only Giridhar Gopal, there is none else."

– echoing Mirabai too, but believed to be common to many Krishna bhaktas.



Friday, June 27, 2025

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.



Thursday, June 26, 2025

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. 


Wednesday, June 25, 2025

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

Tuesday, June 24, 2025

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."




Monday, June 23, 2025

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. 


Sunday, June 22, 2025

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.

Saturday, June 21, 2025

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.

Thursday, June 19, 2025

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.

Wednesday, June 18, 2025

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 ।।

Tuesday, June 17, 2025

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.