Monday, May 17, 2021

ghabaraye.

 Dil Hum Hum Kare Ghabraaye,

Ghan Dham Dham Kare Darr Jaaye
Ek Bund Kabhi Paani,
Ki Mori Ankhiyo Se Barsaaye
Dil Hum Hum Kare Ghabraaye

Teri Jhori Daru
Sab Sukhe Pat Jo Aaye
Teraa Chhua Lage,
Meri Sukhi Dar Hariyaaye
Dil Hum Hum Kare Ghabraaye

Jis Tan Ko Chhua Tune,
Uss Tan Ko Chhupaau
Jis Man Ko Lage Naina,
Woh Kisko Dikhaau

O More Chandrama

Teri Chaandani ang jalaaye

Teri Unchi Atari

Maine Pankh Liye Katwaaye

Dil Hum Hum Kare Ghabraye


Ghan Dham Dham Kare Darr Jaaye

Ek Boondh Kabhi Paani Ki

Mori Ankhiyo Se Barsaaye

Dil Hum Hum Kare Ghabraye.


Sunday, May 16, 2021

hero.

 In The Kamba Ramayana, the very first reference to Bharata’s character is “He who was born knowing the essence of the vedas was given the name Bharata”  This gives a hint about his excellent virtue and his bond with Dharma. On the contrary, the other three brothers including Rama got a nominal intro in The Kamba Ramayana. Rama is introduced as “(the) True Being the elephant invoked in his weary struggle with the crocodile” , whereas Lakshmana is introduced as “the might immovable”  and Satrughana as “a pearl incarnate”  This gives a profound yet an obscure hint to the brothers’ significance in The Kamba Ramayana.

When Rama after completing the exile, on his way to return to Ayodhya stops at Chitrakuta at Sage Bharadwaja’s dwelling, Sage Bharadwaja tells him, “And I must tell you how your noble brother Bharata has been living all these years as your proxy ruler. Berating his fate, perplexed at the unwanted honour thrust on him, he barely lives, more an ascetic than a king. Knowing no quarter except the south, a stranger to all pleasures, abjuring meat and sleeping on grass, he never entered the city of Ayodhya after you left. He lives in Nandigram, reciting your name day and night, the very picture of suffering.”  Apart from this, in The Kamba Ramayana, Bharata has directly been compared to “love”. When Kamba narrates about what happened in the invincible city of Ayodhya during the fourteen years of his exile, he says, “That formless and abstract thing called love had taken concrete shape in the form of Bharata! Eyes streaming whenever he thought of his elder brother in the forest, his bones melted by sorrow, he lived like an ascetic, a king only in name. Though food was available in plenty, he only ate what a forest would yield.” 

When, at the end of fourteen years, Hanuman goes to Bharata to inform him that Rama is on his way to return to Ayodhya, he gets surprised on seeing that Bharata had already arranged fire to end his life. He was about to offer himself to the flames, when Hanuman stops him and says, “thirteen naazhikais remain yet for the prescribed time to elapse”.  Here, one may notice that whenever one is waiting for something to happen or someone to come after a long period of time, then it’s absolutely normal that we generally wait for 1-2 days, thinking it to be a delay caused due to some genuine reason, emergency, etc. But Bharata, instead of giving himself an excuse to wait more for a day or two, decides to end his life even before his exact prescribed time was over. He could’ve assumed that Rama got stuck somewhere, or is a little late due to the long distance, or forgot the exact day on which he was supposed to return, but he chooses to keep his word. He once again proves that the words spoken for him, “without you, Dharma too ceases to exist”  are absolutely correct.

In conclusion, it can be said Bharata indeed is the real hero of The Kamba Ramayana. Although his character remains unrecognized, there exist a plethora of instances in The Kamba Ramayana which highlight and prove the significance of his character. Although Bharata was a mere man, the qualities he possessed even surpass the qualities of the Primal Lord, Rama. In The Kamba Ramayana, Rama’s act of insulting Sita and accusing her of enjoying her life in Lanka without even inquiring from others about her lifestyle makes the feminist critics detest his very character. Throughout the whole The Kamba Ramayana text, he behaves in a very balanced and composed way, but in the end after killing Ravana, he all of a sudden behaves like a completely different man. He says to Sita that he hasn’t fought the war to rescue her. But there are instances when before and even during the war, he was lamenting over the loss of his wife and was missing her. He always said that he’s just waiting for the day when he’ll get her back. But his sudden change of character stuns the readers. The reader is left baffled, and feels unable to figure out that what has caused Rama to think and behave in such a manner. But it’s all blurred. There’s no such answer available in The Kamba Ramayana. On the contrary, in the case of Bharata, there’s no instance in The Kamba Ramayana which makes the reader hate Bharata or find any faults in his character. One is forced to feel pity over his pathetic situation. Because of his genuineness and selflessness, Bharata makes the reader look at his character with great reverence. So, it can be said that Bharata is an extremely important part of The Kamba Ramayana, and it won’t be wrong to consider him as a real hero.

Tulasis bharata.

 Tulsi's Rama does not doubt Bharata as does Valmiki's,  Rama knew all about Bharata from Hanuman who had met him beforehand. Hence, Rama appreciates Vibhishana's hospitalities but is eager to return to Ayodhya and meet Bharata. In Ramacharita Manasa also Hanuman is asked to reach Ayodhya in advance but here the reason is different. Rama fears that Bharata might even end his life if he fails to reach Ayodhya on the day the period of exile completes. Tulsi's is the vision of a devotional mind, Valmiki's, of a religious biographer. Valmiki unfolds Bharata's life quite objectively. He respects him as prince of Ayodhya and a saintly soul but does not have for him any kind of personal attachment or feeling. On the contrary, Tulsi is quite subjective and becomes even emotional when portraying Bharata. Indeed, he finds Bharata in him, or finds his devotionalism manifest in Bharata. Often, in Bharata's acts and words Tulsi appears to be recording his own devotional crisis.

 

Men in authority and even those of common lot always doubted or even disapproved Tulsi's devotionalism so much so that it sometimes irritated him : 'Kahu ki beti saun beta na byahan, kahu ki jata bigara no soyi' (Kavitavali) - not wedding his son to anyone's daughter, or spoiling anyone's caste. He was, however, confident that his Lord Rama was with him and knew the genuineness of his devotion. Bharata, manifestation of his devotionalism, was not so fortunate. He suffered both ways. Not merely sage Bharadwaj, representing authority, and Guha, representing common man, doubted Bharata's loyalty but even Rama and mother Kausalya did so. As in his own case, in regard to Bharata too, Tulsi retains the doubtful minds of sage Bharadwaj and Guha but changes Rama's and mother Kausalya's, obviously to correspond to his analogy. Tulsi's Rama has in Bharata same confidence as in Lakshmana and hardly any doubt persists in the mind of mother Kausalya. Tulsi's Bharata is sublimity incarnate. The words : 'Kabanhu ki kanjee seekarani chhirasindhu binasai' (Ayodhya kanda, 231) - 'could the drops of 'kanjee', fermented mustard, ever destroy 'chhirasagara', the ocean of milk', that Rama utters to calm Lakshmana's anger reveal Tulsi's estimation of Bharata. He is not merely the ocean with immeasurable width and depth but the ocean of milk - virtues.

Bharata so gentel.

 Bharata - sublimity incarnate, is a character in the Ramakatha far different from all others, even Rama, his elder brother. A Kshatriya by birth - the illustrious descendent of Ikshvaku and the second son of Ayodhya's legendary king Dasharatha, Bharata is hardly ever seen turning to arms against anyone whoever, not even 'rakshasa' - demons. Mragaya - hunting, Kshatriyas' dharma - religion, was neither his dharma nor pastime. Not that he never raised arms, arms certainly weren't his option. Towards the Ramakatha's end-part he led a massive army against Gandharvas, considered great warriors, and defeated them. In some versions of the Ramakatha Bharata is said to have resorted to arms on two other occasions. However, he seems to have attained his most goals by spiritual energy and perhaps good will. During the fourteen years' period when Rama and Lakshmana were away in far south and Bharata looked after Ayodhya, Ramakatha-narratives - Valmiki's Ramayana, Tulsi's Ramacharita Manasa. do not reveal a single incidence of violence, cruelty or even wickedness - a rakshasa torturing an innocent or an enemy attacking Ayodhya's borders. Bharata's non-use of arms does not define his passiveness or inaction but a different attitude of mind or a different choice of means for attaining a goal. He ruled but as would a saint, a saint-ruler in true sense. Peace and freedom to move fearless apart, he strengthened borders, multiplied state treasury and stores and had boundaries,and all without resorting to arms. On Rama's return to Ayodhya after his fourteen years' exile Bharata tells him not only that : 'Etat te sakalam rajyam nyasam niryatite maya' (Yuddhakanda, 127/55) - he is returning to him his entire state he was entrusted with, but also 'Awekshatam bhawan kosham koshthagaram graham balam .' (ibid, 127/57) - pray, check state treasury, stores, house and army; these are now ten times to what he was to him. Indeed it is i Bharata's spiritualism that Ramakatha seeks its fullest accomplishment, unique dimensional width and the body of an epic. Without him it would have been a legend of Ravana's annihilation, or with an armed Bharata, a legend of a family of great warriors annihilating Ravana-like ferocious demons. Bharata's character gives it a different dimension. It reveals the power of soul. Though himself Para-Brahma, Rama, in his manifest form or human birth at least, with arms in hands is engaged, and almost always, in annihilating rakshasa, andrunning after a hunt.

Rama's acts like redeeming Ahilya are more or less incidental.


The most generous, wise and invincible Rama is no doubt a Kshatriya's highest model. This, however, does not give to the Ramayana, a term meaning Rama's abode, or to the Ramacharita Manasa - the mind that Rama occupies, such width as should have the abode of him who is Supreme God manifest. Nothing less than the cosmos or cosmic consciousness Rama's abode would reduce to a house of mere warriors, even if great and undefeatable. Sita, representing purity, and Lakshmana, absolute devotion, add to the Ramakatha further width but it is Bharata who, representing the power of soul, adds to it an absolutely new dimension. In him, this house of warriors also has a saint, the brilliance of sword, also the transcendental lustre of soul. And, as should have a sword carrying saint, Bharata's is a monarch's asceticism, not the monk's,  which equally assures the attainment of worldly goals as well as liberation from the cycle of birth and death. The epithet of Mahatma - the great soul that Valmiki has used for him aptly defines Bharata's character and intrinsic quality. Sage Valmiki has not used this epithet for anyone else. A Mahatma, he was in the world and as much beyond it. Tulsidasa perceives in Bharata the power to dually redeem : 'Bharata charita kari nemu Tulsi jo sadara sunahi, Siya Rama pada pemu avasi hoi bhava rasa birati', that is, those who listen to Bharata's life regularly and with a respectful mind are bound by ties of love to the feet of Rama and Sita, and are redeemed from worldly desires.

Saturday, May 15, 2021

Why

 Ram did not cry. Jatayu was in his lap he wished to die what bhagyam. Rama had offered to heal him he chose otherwise. Ram though sad did not cry for he knew the salty tears may harm the bird as he was badly hurt. Laksmana did ask him and he gave this as reason. Jatayu he equated tohis father and emotios did pour out but he did not cry. 

12 names

 The ten names of Arjuna are:

Dhananjaya: The Conqueror of immense wealth. Here wealth stands for all valuable things, including the most valuable qualities of personality.

Vijaya: Ever victorious in war, the vanquisher of invincible kings.

Shwetavahana: The Warrior with snow white horses, clad in gold plated armor yoked to his Chariot. The snow white horses symbolize purity of character.

Phalguna: The Exterminator of enemies, born under the asterism Uttara Phalguni.

Kiritin: As a resplendent diadem was placed on his head by his father, Lord Indra after the destruction of the “Nivaatakavachas”, a powerful class of netherworld demons. These demons were said to be invincible and undefeated even by Indra and the gods. Exemplifies that the Crown of success adorns the courageous and self-believing man or “Fortune favors the brave!”

Vibhatsu: One who never performs an act unworthy of himself.

Savyasachin: The Warrior who can draw the bowstring using either hand with equal ease, highly and equally skilled with both hands. This name illustrates the value of skill development through hard work.

Jishnu: The irrepressible one, of lofty and unapproachable standard, the tamer of adversaries, the son of Indra. The hero always has high standards and principles in his life.

Krishna: Dark like a mass of rain clouds, the one who attracts everyone.

Arjuna: Bright, possessing a high character and famed for his pure and stainless deeds.

Friday, May 14, 2021

Influence.

 Bhartrihari, also known as Jogi Sant" Bharthari, in many parts of India, is the hero of many folk stories in North India. He was the ruler of Ujjain, before renouncing the world and abdicating in the favor of his younger brother Vikramaditya.

Bhartari was the elder son of King Gandharva Sena, who received the kingdom of Ujjain from The celestial god Indra and the King of Dhara.

When Bhartrhari was king of 'Ujjayani' (modern day Ujjain) , there lived a Brahman who got the fruit of immortality from the celestial wish granting tree, Kalpavriksha, as a result of long austerity. He decided to offer it to King Bhartrhari. The king wanted his beloved queen, Pinglah or Ananga Sena (as per Maha Kavi Kalidas), to be youthful, and thus gifted her the fruit. Raja Bhartrhari's last and youngest wife. However, the queen had a secret love affair with army chief Mahipaala, she desired him to be immortal and the enchanted fruit was given to him, he in turn passed it to his beloved, 'Lakha' the head mistress. Eventually, the fruit returned to the king. Having completed the circle, the fruit revealed the downsides of infidelity to the king, he summoned the queen and ordered her beheading, and ate the fruit himself. After that he abdicated the throne, to his younger brother Vikramaditya, and became a religious mendicant.

He later became a disciple of Pattinathar (Swetharanyar or Pattinathu chettiyar is poorvashram name of this saint from Poompuhar,Tamil Nadu) who first indulged in an argument about samsari and sanyasi with king Bhartrhari later during the conversation pattinathar said that all women have 'dual mind' and it might be the true case even with parameswari. King conveyed this news to rani Pingalah and she ordered Pattinathar to get punished and to sit in 'kalu maram' (Tree, whose top portion would be sharpened like a pencil and whole tree is fully painted with oil, person who are allowed to sit in the top will split into 2 pieces), they tried pattinathar but kalu maram started burning and nothing happened to Pattinathar, the king came to know this news and went directly to Pattinathar and asked him to get ready to die the next day, but Pattinathar replied i'm ready even now to die. The next day king came with tears in his eyes and released saint from jail because he actually noticed queen pingalah in love with horsemen that night, He threw away his empire, wealth, even his full dress coat and dressed in a simple kovanam (loin cloth). The king became a disciple of Pattinathar and got mukthi (salvation) in the Kalahasthi temple. King Bharthari, or Bhadhragiri (as he is called in popular Tamil folk culture) wrote a collection of Tamil poetic verses called Meignana Pulambal.

There is a very famous song sung by the bards of Chhattisgarh in the memory of Raja Bhartrhari. The story says that Queen Pingala and Raja Bhartrhari did not have a son and the queen was very sad as a result of that. A saint came to the door of their palace one day and asked for alms. When Rani Pinglaa went down to give him alms, he said, "I know you are sad and I have brought some holy water for you. If you drink this water with faith, you will have a son in twelve months' time." Rani Pingala had the water and as promised by the Yogi, she had a son after twelve months.

There is one more very interesting story related to Raja Bhartrhari and Rani Pingla. It is said that Raja Bhartrhari was out for a hunt one day and he saw a woman jump into the pyre of her husband (Sati) as her grief would not let her stay alive. Raja Bhartrhari was moved and this incident stayed in his mind. When he returned to his palace, he told the story to Rani Pingala and asked her if she would do the same. Rani Pingala said that she would die on hearing the news itself and there would be no chance of her staying alive until the funeral ceremony. Raja Bhartrhari decided to test her and went on a hunt once again and sent the news of his death back to the palace. The Mahaaraani died on hearing the news as she had promised and Raja Bhrithari was grief-stricken. Guru Gorakhnath heard about the grief of the King and came to help him overcome his grief. It is said that Guru Gorakhnath created 750 copies of Rani Pingala to demonstrate the illusory nature of the world to Raja Bhartrhari. Even though Rani Pingala was brought back to life, Raja Bharthari decided to renounce the world and became a follower of Guru Gorakhnath. He became a very famous saint and is also known as Sant Bhartrhari by the people of North India. Bhratahari is famous in Alwar of Rajasthan. Astami is the worship day celebrate as a festival. The fair of bhratahari grouped by lakhs of peoples of Alwar, Jaipur, Dausa near Sariska in Alwar.

influence.

The life and works of Bharathari is so influential a lot many story's and plays influencing life's of people especially in North India. One such is a story of Latoori Singh. He is the  Landlord having lots of land. during the chaturmasa no work goes on so they employ their time doing different work. Chaudhry Latoori singh too used to take part in acting plays and entertain the village town folk. one such time he ws playing the role of Bharathari the play was enacted for nine days. on the eight night he called his wife and told her that she should not be a spectator on the ninth day the family can come and watch but she must stay at home. however the curious wife was anxious and dressed up with a big gunghat and went to the play but this time she sat with the audience at the neighbouring house from where the play could be watched. her husband was enacting the part when bharathhari renounces his kingdom and family and becomes a medicant. as he completed his acting a lady who was also watching from where his wife was seated laughingly said your wife is here and you are renouncing everything. Chaudry Latoosing too decided to renounce his family life and continued in the same acting garb and landed at his house stood outside and asked for bikshu. his wife and children pleaded with him to come back his wife cried and asked forgiveness. He then told he seriously was acting with pledge to Lord Shiva so he could not be a family man again. he has later in life was instrumental in building educational institutions and medical colleges.