Description.

 “Helen Keller wrote the following letter to the New York Symphony Orchestra in March 1924.  Here's how she describes listening to Beethoven's "Ninth Symphony" over the radio:

“Dear Friends:

 I have the joy of being able to tell you that, though deaf and blind, I spent a glorious hour last night listening over the radio to Beethoven’s “Ninth Symphony.” I do not mean to say that I “heard” the music in the sense that other people heard it; and I do not know whether I can make you understand how it was possible for me to derive pleasure from the symphony. It was a great surprise to myself. I had been reading in my magazine for the blind of the happiness that the radio was bringing to the sightless everywhere. I was delighted to know that the blind had gained a new source of enjoyment; but I did not dream that I could have any part in their joy. Last night, when the family was listening to your wonderful rendering of the immortal symphony someone suggested that I put my hand on the receiver and see if I could get any of the vibrations. He unscrewed the cap, and I lightly touched the sensitive diaphragm. What was my amazement to discover that I could feel, not only the vibration, but also the impassioned rhythm, the throb and the urge of the music! The intertwined and intermingling vibrations from different instruments enchanted me. I could actually distinguish the cornets, the roil of the drums, deep-toned violas and violins singing in exquisite unison. How the lovely speech of the violins flowed and plowed over the deepest tones of the other instruments!  When the human voices leaped up thrilling from the surge of harmony, I recognized them instantly as voices more ecstatic, upcurving swift and flame-like, until my heart almost stood still. The women’s voices seemed an embodiment of all the angelic voices rushing in a harmonious flood of beautiful and inspiring sound. The great chorus throbbed against my fingers with poignant pause and flow. Then all the instruments and voices together burst forth – an ocean of heavenly vibration – and died away like winds when the atom is spent, ending in a delicate shower of sweet notes.

 Of course this was not “hearing,” but I do know that the tones and harmonies conveyed to me moods of great beauty and majesty. I also sense, or thought I did, the tender sounds of nature that sing into my hand-swaying reeds and winds and the murmur of streams. I have never been so enraptured before by a multitude of tone-vibrations.

 As I listened, with darkness and melody, shadow and sound filling all the room, I could not help remembering that the great composer who poured forth such a flood of sweetness into the world was deaf like myself. I marveled at the power of his quenchless spirit by which out of his pain he wrought such joy for others – and there I sat, feeling with my hand the magnificent symphony which broke like a sea upon the silent shores of his soul and mine.” 

The Auricle, Vol. II, No. 6, March 1924. Copyright of the American Foundation for the Blind, Helen Keller Archives www.afb.org

Kishoriji.

 The story of Radha Rani, often lovingly called Kishoriji, is one of the most profound and divine tales of eternal love and devotion. Radha is not just a historical or mythological figure; she is the embodiment of pure devotion (bhakti) and the personification of divine love. Her story is deeply interwoven with Lord Krishna, representing the soul's yearning for union with the Supreme.

Birth and Divine Origins

According to various texts and Puranas, Radha was born in the village of Barsana in the region of Braj. While some scriptures suggest she was the daughter of King Vrishabhanu and Queen Kirtida, others view her as a divine manifestation of Goddess Lakshmi. It is believed that when Lord Krishna, the Supreme Being, incarnated on Earth, Radha descended as his eternal consort.

One unique aspect of Radha's birth is the belief that she was born without opening her eyes, as she longed for her first sight to be Lord Krishna. When the young Krishna was brought to her, she opened her eyes, symbolizing her divine connection with him.

The Childhood Bond

Radha and Krishna's childhood in Vrindavan was marked by innocent yet divine love. They played together, danced in the forests, and spent time with the other gopis (cowherd girls). However, their relationship transcended the ordinary. It symbolized the eternal bond between the individual soul (Jivatma) and the Supreme Soul (Paramatma).

Radha’s devotion to Krishna was unparalleled. Every thought of hers was centered around him. Even when Krishna mischievously played his flute to enchant the gopis, it was Radha who was the most captivated, as she embodied complete surrender and devotion.

The Rasa Lila

One of the most iconic events in Radha and Krishna’s story is the Rasa Lila, the divine dance in the moonlit forests of Vrindavan. It is said that during this dance, Krishna multiplied himself so that every gopi felt his exclusive presence. Yet, even among all the celestial maidens, Radha's presence was supreme. Krishna’s special affection for Radha symbolized the ultimate devotion that transcends worldly desires.

Separation and Eternal Union

Despite their profound love, Krishna eventually left Vrindavan to fulfill his divine responsibilities in Mathura and beyond. The physical separation between Radha and Krishna is often interpreted as a metaphor for the soul’s separation from God. Yet, Radha’s devotion never wavered. She lived with the constant remembrance of Krishna, demonstrating the ideal form of bhakti.

It is believed that Radha and Krishna were never truly separated because their love was eternal and spiritual. In the highest sense, Radha was always united with Krishna, as her soul was inseparable from his.

Symbolism of Radha Rani

Radha symbolizes the peak of divine love, where the devotee loses all sense of self and merges into the beloved. Her story teaches that true love is selfless, unconditional, and eternal. In many Vaishnava traditions, devotees aspire to cultivate Radha Bhava, the state of complete surrender and love that Radha embodied.

The story of Radha Rani, Kishoriji, continues to inspire countless devotees. Her name is often chanted alongside Krishna’s — Radhe Krishna — emphasizing that devotion and divinity are inseparable. Through her unwavering love and devotion, Radha Rani remains the supreme symbol of spiritual longing and divine fulfillment.

Frozen light.

 Italian Scientists Achieve Breakthrough by Freezing Light into Solid Form

In a groundbreaking achievement, Italian researchers have successfully converted pure light into a solid state for the first time. 

This innovative feat challenges traditional understanding, as light is typically considered an intangible entity existing as a wave or particle.

By employing advanced quantum physics techniques, scientists manipulated photons within a precisely controlled environment at extremely low temperatures. 

This manipulation enabled the photons to behave like a solid object, defying conventional expectations.

The implications of this discovery are profound, holding great promise for future technologies, particularly in quantum computing, optical communication, and materials science. 

Solidifying light enables researchers to develop novel methods for storing and processing information at unprecedented speeds, revolutionizing data transmission and computational capabilities.

This breakthrough extends beyond theoretical significance, marking a pivotal milestone in understanding the fundamental nature of light and matter. 

The ability to freeze and manipulate light in a solid state could lead to transformative advancements in energy-efficient computing, ultra-fast processors, and cutting-edge optical technologies.

As researchers continue to explore this phenomenon, it may unveil new frontiers in physics, revolutionizing how light is harnessed for technological innovation.

JR

 जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥ अनुवाद— सीताराम! सीताराम! सीताराम! यह दोनों हीं हैं मेरे अन्तिम आश्रय। आञ्जनेयार्चितं जानकीरञ्जनं भञ्जनारातिवृन्दारकञ्जाखिलम् । कञ्जनानन्तखद्योतकञ्जारकं गञ्जनाखण्डलं खञ्जनाक्षं भजे ॥ १॥ अनुवाद— जो अंजनासुत हनुमान जी के द्वारा नित्य सेवित हैं, जनककिशोरी भगवती सीता जी को सदा आनन्द प्रदान करतें हैं, जो देवशत्रु असुरवृन्द का मर्दन करनेवाले हैं, जिनकी रूप की मनोहर छटा ऐसी हैं मानो अनन्त जुगनूओं के समान कामदेवों के सम्मुख रश्मि के सागर भगवान सूर्य! जिनका त्रिभुवनविख्यात प्रताप देवनायक इन्द्र को भी निष्प्रभ कर देता हैं, मैं उन खंजनसम मृदुनेत्रधारी भगवान श्रीरामचन्द्र को भजता हूं जिनसे यह समग्र ब्रह्माण्ड उत्पन्न हुआ हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ कुञ्जरास्यार्चितं कञ्जजेन स्तुतं पिञ्जरध्वंसकञ्जारजाराधितम् । कुञ्जगञ्जातकञ्जाङ्गजाङ्गप्रदं मञ्जुलस्मेरसम्पन्नवक्त्रं भजे ॥ २॥ अनुवाद— जो विघ्नहर्ता गजानन के द्वारा नित्य पूजित हें, जिनकी स्तुति पद्मसम्भव ब्रह्मा भी करतें हैं, जो देहरूप पिंजरा को नष्ट करनेवाले सूर्यनन्दन यमराज के द्वारा नित्य आराधित हैं, जिन्होने भगवान शिव की क्रोधाग्नि से भस्मीभूत कामदेव को पुनः देह प्रदान किया, मैं उन प्रमोदवन के कुंजविहारी भगवान श्रीरामचन्द्र को भजता हूं जिनके मुखारविन्द में सदा ही एक मनोहर मुस्कान विद्यमान हैं।

॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ बालदूर्वादलश्यामलश्रीतनुं विक्रमेणावभग्नत्रिशूलीधनुम् । तारकब्रह्मनामद्विवर्णीमनुं चिन्तयाम्येकतारिन्तनूभूदनुम् ॥ ३॥ अनुवाद— जिनके श्रीशरीर की शोभा नवदूर्वादल के समान श्यामल हैं, जिन्होने अति विक्रम सहित त्रिशूलधारी महादेव की पिनाक धनुष का खण्डन किया, "राम" — जिनका यह दो अक्षरी नाम साक्षात् भवबन्धनहारी तारकब्रह्म महामंत्र हैं, मैं उन्हीं भगवान श्रीसाकेतपति का चिंतन करता हूं जो दानवकुल के एकमात्र तारणहार हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ कोशलेशात्मजानन्दनं चन्दना- नन्ददिक्स्यन्दनं वन्दनानन्दितम् । क्रन्दनान्दोलितामर्त्यसानन्ददं मारुतिस्यन्दनं रामचन्द्रं भजे ॥ ४॥ अनुवाद— जो कोशलनरेश की कन्या महारानी कौशल्या जी के प्रिय पुत्र हैं, चक्रवर्ती सम्राट दशरथ जी के हृदय को आनन्ददायी शीतल चंदन हैं, रावण के भय से आतुर क्रन्दनार्त देवताओं को आनन्दप्रदाता उन मारुतिवाहन भगवान श्रीरामचन्द्र को मैं भजता हूं जो भक्ति से किए जानेवाले वन्दनाओं से सदा आनन्दित होते हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ भीदरत्नाकरं हन्तृदूषिन्खरं चिन्तिताङ्घ्र्याशनीकालकूटीगरम् । यक्षरूपे हरामर्त्यदम्भज्वरं हत्रियामाचरं नौमि सीतावरम् ॥ ५॥ अनुवाद— जिन्होने दर्पी समुद्रदेव के मन में भय का संचार किया, खर ओर दूषण का वध किया, जिनके पदसरोज का चिन्तन हलाहलपायी स्वयं देवाधिदेव महादेव भी करते हैं, जिन्होने यक्ष का स्वरूप धारण कर देवताओं के अहंकार रूपी ज्वर का हरण किया, निशाचरों के संहारक मैं उन सीतावल्लभ भगवान श्रीरामभद्र को प्रणाम करता हूं। 

 ॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ शत्रुहृत्सोदरं लग्नसीताधरं पाणवैरिन्सुपर्वाणभेदिञ्छरम् । रावणत्रस्तसंसारशङ्काहरं वन्दितेन्द्रामरं नौमि स्वामिन्नरम् ॥ ६॥ अनुवाद— जो शत्रुघ्न जी के सहोदर हैं, वामभाग में स्थिता भगवती जानकी जी को धारण किए हुए हैं, जिनके करकमल में असुरकुल का भेदन करनेवाला बाण विद्यमान हैं, तथा जिन्होने रावण के भयसे संत्रस्त संसार का भयनाश किया हैं, मैं उन नरकुलपति भगवान श्रीराघवेन्द्र को प्रणाम करता हूं जिनकी वन्दना स्वयं देवनाथ इन्द्र भी करते हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ शङ्खदीपाख्यमालिन्सुधीसूचिका- निर्मितं वाक्स्रजं चेदमिष्टप्रदम् । स्रग्विणीछन्दसूत्रेण सन्दानितं द्वब्जिनीशाभवर्णीषडब्जैः युतम् ॥ ७॥ अनुवाद— यह सर्वेष्टदायी वाक्कुसुममालिका शङ्खदीप नामक माली के शुभ बुद्धि स्वरूप सुई के द्वारा प्रस्तुत किया गया हैं। सूर्ययुगलसमप्रभ (२४ अक्षरान्वित) छः पद्म रूपी श्लोकों से युक्त यह मालिका स्रग्विणी छन्द स्वरूप धागे के द्वारा ग्रथित हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ इति दासोपाख्य-शङ्खदीपरचितं श्रीमज्जानकीराघवषट्कं सम्पूर्णम् ॥ अनुवाद— इस प्रकार शङ्खदीप-दास विरचित श्रीमज्जानकीराघवषट्कम् सम्पूर्ण हुआ।

27

 The Rigveda, one of the oldest scriptures of ancient India, contains numerous hymns attributed to both male and female sages (rishis). Among the contributors, 27 women rishikas (female sages) are traditionally acknowledged for their compositions. These women were not just poets but also philosophers and spiritual visionaries. Here are the 27 prominent rishikas who contributed to the Rigveda:

1. Lopamudra – The wife of Sage Agastya, known for her hymn in Rigveda (1.179), expressing philosophical thoughts on love and the relationship between husband and wife.

2. Ghosha – The daughter of Sage Kakshivat, who composed two hymns (10.39 and 10.40) and is celebrated for her prayers seeking good health and a long life.

3. Apala – A sage known for her hymn (8.91), in which she prays for rejuvenation and healing, particularly to restore her beauty and health.

4. Vishvavara – A distinguished woman sage who composed a hymn (5.28) praising Agni, the sacred fire.

5. Romasha – A learned sage whose verses (1.126) are in praise of various Vedic deities.

6. Shashvati – A rishika whose hymns are noted for their spiritual depth.

7. Urvashi – An Apsara (celestial nymph) with a philosophical dialogue with King Pururavas, referenced in Rigveda (10.95).

8. Surya – A divine figure, representing the Sun’s daughter, who composed the hymn (10.85) associated with the Vedic marriage ceremony.

9. Yami – The sister of Yama, known for her dialogue hymn (10.10) that explores the relationship between siblings and cosmic principles.

10. Saswati – Her hymns primarily invoke divine blessings.

11. Nadhraksha – Her compositions praise natural elements and divine forces.

12. Aditi – Revered as the mother of the gods (Adityas), her hymns (primarily in Mandala 1) invoke her as a protective and nurturing force.

13. Indrani – The wife of Lord Indra, who composed hymns of praise and strength.

14. Saramā – A divine figure, often identified as Indra’s messenger, with a notable role in Vedic hymns.

15. Dakshina – Represented as the goddess of charity and gifts, she is praised in hymns for her nurturing nature.

16. Ratri – The goddess of night, who is the subject of a beautiful hymn (10.127) in praise of the serene night sky.

17. Shraddha – Representing faith and devotion, she is lauded in a hymn (10.151) emphasizing the importance of belief in spiritual pursuits.

18. Sarasvati – The river goddess and goddess of knowledge, frequently praised across several hymns.

19. Ila – A sacred figure connected to fertility and prosperity, she is often associated with rituals of abundance.

20. Bharati – Another form of Sarasvati, representing eloquence and divine speech.

21. Sarama – A divine hound of Indra, representing loyalty and perseverance.

22. Sita – The goddess of the furrow, symbolizing agricultural prosperity, praised in hymns for her fertility and nurturing essence.

23. Dadhiya – A sage who contributed to hymns invoking divine strength.

24. Bhavayavya – A woman rishi praised for her wisdom and devotion.

25. Juhu – Revered for her association with sacrificial rituals.

26. Vasukra’s Wife – Mentioned in hymns that celebrate family life and the role of women in Vedic society.

27. Paulomi – A sage with hymns expressing divine motherhood and nurturing aspects.

These 27 rishikas exemplify the spiritual and literary contributions of women in Vedic society. Their hymns cover themes of devotion, philosophy, health, prosperity, and cosmic principles, reflecting the profound wisdom they possessed.

Keerthy

 

Bhakti rasa.

 In a spiritual or devotional context, bhavam refers to a state of mind, emotion, or attitude, especially in relation to devotion, meditation, or spiritual practice. In Indian philosophy, particularly in Bhakti Yoga and Rasa Theory, different states of bhavam are described. Here are the primary types:

1. Sthayi Bhavam (Permanent Emotion)

The dominant or permanent emotional state that remains in the devotee.

In bhakti, it is usually Bhakti Sthayi Bhavam (permanent state of devotion).

Examples: Shanta (peaceful), Dasya (servitude), Sakhya (friendship), Vatsalya (parental affection), Madhurya (divine love).

2. Vibhava Bhavam (Determinants)

The cause or stimulant that evokes a particular emotion.

It could be a deity's form, qualities, stories, or the devotee's own remembrance.

Example: Listening to Krishna's leelas may awaken Madhurya Bhavam.

3. Anubhava Bhavam (Consequent Expressions)

Physical or emotional expressions that follow the internal experience of devotion.

Example: Tears of joy, trembling, or goosebumps during intense devotion.

4. Sanchari Bhavam (Transient Emotions)

Temporary emotional states that accompany the primary emotion.

Example: A devotee may experience Joy, Sorrow, or Astonishment momentarily while the underlying devotion remains.

5. Satvika Bhavam (Involuntary Divine Emotions)

Pure, spontaneous emotions that manifest without conscious effort.

Example: Devotees like Sri Ramakrishna Paramahamsa exhibited Satvika Bhavam through uncontrollable tears or blissful laughter.

6. Bhakti Bhavam (Devotional States)

Specifically in the path of devotion, bhakti bhavam is classified into five major types:

Shanta Bhavam - Peaceful reverence.

Dasya Bhavam - Servitude, like Hanuman towards Rama.

Sakhya Bhavam - Friendship, like Arjuna with Krishna.

Vatsalya Bhavam - Parental love, like Yashoda with Krishna.

Madhurya Bhavam - Loving devotion, like Radha’s divine love for Krishna.

7. Rasa Bhavam (Aesthetic Emotions)

Described in Natya Shastra by Bharata Muni, these are artistic expressions that evoke emotional responses.

The nine Rasas (Navarasa) are: Shringara (Love), Hasya (Joy), Karuna (Compassion), Raudra (Anger), Veera (Courage), Bhayanaka (Fear), Bibhatsa (Disgust), Adbhuta (Wonder), and Shanta (Peace).

8. Guna Bhavam (Qualitative State)

Based on the three Gunas (Sattva, Rajas, Tamas) that govern human behavior:

Sattvika Bhavam - Pure, calm, and selfless state.

Rajasika Bhavam - Passionate, restless, or ego-driven state.

Tamasika Bhavam - Ignorant, lazy, or destructive state.

9. Jnana Bhavam (State of Knowledge)

A state of realization and wisdom.

Through the path of Jnana Yoga, one attains Advaita Bhavam — the realization of the unity of all existence.

Understanding and experiencing these various bhavams is an essential aspect of spiritual growth, ultimately leading to Para Bhakti (supreme devotion) or Jnana (self-realization).