Kheer.

 The story of Kheer Chora Gopinath is one of deep devotion and the Lord's loving response to his true bhakta. It is a cherished leela in the Vaishnava tradition, especially associated with Madhavendra Puri, the great saint of the Gaudiya Vaishnava lineage.

The Story of Kheer Chora Gopinath (The Lord Who Stole Kheer)

Once, the great devotee Sri Madhavendra Puri was on a pilgrimage to Puri Jagannath. On his way, he stopped in a small village called Remuna in Odisha. This village had a beautiful temple of Gopinath, a form of Lord Krishna.

The deity here was lovingly known as Kheer Chora Gopinath, meaning “Gopinath who stole the sweet rice”.

Every day, the pujaris (temple priests) offered twelve pots of sweet rice, or kheer, to the deity Gopinath. Madhavendra Puri, deeply devoted and renounced, witnessed this offering and thought in his heart:

“If only I could taste a bit of this kheer, I could prepare a similar offering for my Lord Gopal in Vrindavan. But alas, I cannot ask for it — that would be sense gratification.”

He immediately felt guilty for having such a thought and left for the night, silently chanting the Lord’s name.

That night, the head priest of the temple had a dream. Lord Gopinath appeared to him and said:

“My dear priest, I have kept one pot of kheer hidden behind my garments on the altar. Please take it and give it to Madhavendra Puri, who is sitting outside. I stole it for him, because he is my dear devotee.”

The priest awoke with wonder, ran to the altar, and indeed found one pot of kheer hidden behind the deity’s clothes! Overwhelmed with devotion, he took the kheer outside, found Madhavendra Puri, and offered it to him, narrating the whole divine dream.

Madhavendra Puri was moved to tears. He understood the Lord had read his unspoken desire and had lovingly stolen kheer just to fulfill it. That Gopinath came to be known as:

“Kheer Chora Gopinath” — Gopinath, the Lord who stole kheer for his devotee.

Bhakti over Rituals: The Lord responds to pure devotion, even if unspoken. He breaks all rules to fulfill a bhakta's desire.

Madhavendra Puri’s humility: He never expressed his wish aloud; yet, the Lord fulfilled it.

Lila continues today: The temple of Kheer Chora Gopinath in Remuna still offers kheer daily, and pilgrims can visit this divine spot.

In Remuna’s grove where palm trees sway,

Stands Gopinath in divine array.

With flute in hand and peacock crown,

He steals the hearts in every town.

From Vrindavan came a saint so pure,

Madhavendra Puri, silent and demure.

He traveled far with weary feet,

To taste the Lord’s love, oh so sweet.

He saw the kheer with wondrous eyes,

Twelve golden pots, a heavenly prize.

“My Gopal in Govardhan I serve,

Could I make such kheer He’d deserve?”

But he asked not, just bowed in grace,

No longing showed upon his face.

Yet Gopinath, who knows the soul,

Planned to play His loving role.

That very night, the pujari dreamed,

The Lord appeared, in golden gleam:

“A pot I’ve kept, behind My dress,

For My dear bhakta’s holiness.”

The priest awoke, amazed to see,

A hidden pot by Lord’s decree.

He found the saint, with heart so wide,

And gave him kheer, with joy and pride.

“O Puri! The Lord has heard your heart,

And stole for you His sacred part!”

Tears did fall, no word he said,

His soul was full, his ego dead.

Since that day, the world has sung,

Of Gopinath with the playful tongue.

Kheer Chora, the name so sweet,

Where bhakti and Krishna lovingly meet.

Bhajan 

खीर चोर गोपीनाथ, भक्तों के प्यारे,

रमणा में रहते, वृंदा के दुलारे।

माधव पुरी आए, मन में अनुराग,

न बोले कुछ भी, न माँगी कोई माँग।

खीर देख बोले मन में यह विचार,

गोपाल को अर्पण करूँ यह उपहार।

पर बिना कहे ही लौटे वो रात,

प्रभु ने सुनी उनकी अंतर की बात।

रात को पुजारी को सपना आया,

प्रभु ने मधुर मुस्कान दिखाया।

“एक खीर की हाँडी मैंने छुपाई,

अपने भक्त के लिए मैंने चुराई।”

पुजारी ने वह खीर पहुँचाई,

पुरी के नेत्रों में अश्रु भर आई।

प्रेम का ऐसा अनुपम प्रसाद,

गोपीनाथ की अद्भुत बात।

जो मांगे न कुछ, पर सच्चा हो प्रीत,

प्रभु स्वयं देते हैं अमृत की रीत।

खीर चोर गोपीनाथ नाम महान,

भक्तों के मन में बसे भगवान।

Morning recital.

श्री जगन्नाथ प्रातः स्मरण स्तोत्रम् 

नीलाम्बुद-श्यामल-कान्ति-कान्तं, नीलाम्बुधेर्नीलगिरौ बसन्तम् ।

लीलामयं नील-सरोज नेत्रं, देवं जगन्नाथमहं स्मरामि ।।१।।

संसार-धातारमनन्त-रूपं, वेदान्त-वेद्यं हृत-पाप-तापम् ।

प्रातश्च सायं च तमेकनाथं, बन्दे जगन्नाथमनाथनाथम् ।।२।।

दीनार्त्ति-नाशं करुणा-विलासं, सत्य-प्रकाशं हृदयैक-बासम् ।

श्रीशं परेशं जगदीशमीशं, बन्दे जगन्नाथमनाथ-नाथम् ।।३।।

हिरण्यपूर्वं कशिपुं निहन्तं, सत्ये धृतं येन नृसिंह-रूपम् ।

तमेवमाद्यं पुरुषाग्रगण्यं, श्रीमज्जगन्नाथमहं प्रपद्ये ।।४।।

त्रेतायुगे रावणमेव हन्तुं, रामस्वरूपं धृतवन्तमेकम् ।

धर्मावतारं भुवनैकवन्दयं, देवं जगन्नाथमहं स्मरामि ।।५।।

त्रेतायुगे रावणमेव हन्तुं, रामस्वरूपं धृतवन्तमेकम् ।

धर्मावतारं भुवनैकवन्दयं, देवं जगन्नाथमहं स्मरामि ।।५।।

यो द्वापरे दैत्यविनाशनाय, दधौ सुरम्यं यदुनाथ-वेशम् ।

तं राधिका-नाथमनाथ-नाथं, देवं जगन्नाथमहं भजामि ।। ६ ।।

हन्तुं नराणामिह पाप-तापं, कलौ धृतं येन हरेः स्वरूपम् ।

प्रातश्च सायं च तमेकनाथं, देवं जगन्नाथमहं स्मरामि ।।७।।

शं परेशं जगदीशमीशं, बन्दे जगन्नाथमनाथ-नाथम् ।।३।।

हिरण्यपूर्वं कशिपुं निहन्तं, सत्ये धृतं येन नृसिंह-रूपम् ।

तमेवमाद्यं पुरुषाग्रगण्यं, श्रीमज्जगन्नाथमहं प्रपद्ये ।।४।।

त्रेतायुगे रावणमेव हन्तुं, रामस्वरूपं धृतवन्तमेकम् ।

धर्मावतारं भुवनैकवन्दयं, देवं जगन्नाथमहं स्मरामि ।।५।।

यो द्वापरे दैत्यविनाशनाय, दधौ सुरम्यं यदुनाथ-वेशम् ।

तं राधिका-नाथमनाथ-नाथं, देवं जगन्नाथमहं भजामि ।। ६ ।।

हन्तुं नराणामिह पाप-तापं, कलौ धृतं येन हरेः स्वरूपम् ।

प्रातश्च सायं च तमेकनाथं, देवं जगन्नाथमहं स्मरामि ।।७।।

हे देव-देव ! प्रभु विश्वनाथ ! श्रीमज्जगन्नाथ! जगद् वरेण्य ! ।

मोहान्धकारैव विनाश-सूर्य्यं, प्रातस्त्वदीयं पद-पद्ममीड़े ।।८।।

पनघट

भारतीय संस्कृति में पनघट (या पनघट) केवल एक जल स्रोत नहीं, बल्कि एक सामाजिक, सांस्कृतिक और भावनात्मक केन्द्र रहा है। गाँवों में कुआँ, बावड़ी या तालाब के किनारे बना पनघट महिलाओं के जीवन का अभिन्न अंग था। यह वह स्थान था जहाँ महिलाएँ जल भरने के लिए एकत्र होती थीं, परन्तु इसके साथ ही यह मेलजोल, गान, परंपराओं और कई बार प्रेम कथाओं का भी केन्द्र बन जाता था।

प्राचीन काल से लेकर आधुनिक गाँवों तक, पनघट ने स्त्रियों को एक सार्वजनिक मंच प्रदान किया जहाँ वे अपने सुख-दुःख बाँट सकती थीं। यह स्थान बातचीत, लोकगीतों, हँसी-मजाक और अनुभवों के आदान-प्रदान का केन्द्र बन गया। यही कारण है कि लोक साहित्य, गीतों और फिल्मों में पनघट का अत्यंत सौंदर्यपूर्ण और भावुक चित्रण किया गया है।

पनघट पर नायिका की प्रतीक्षा करता नायक, जल भरती गोपियाँ और छेड़छाड़ करते कृष्ण जैसे दृश्य भारतीय साहित्य, लोकगीत और कला में बार-बार चित्रित हुए हैं। प्रसिद्ध भजन “पनघट पे मोहे नंदलाल छेड़ गयो रे” इसका उदाहरण है। यहाँ पनघट सिर्फ एक स्थान नहीं बल्कि भावनाओं, प्रेम और श्रृंगार रस का प्रतीक बन जाता है।

पनघट जल का प्रमुख स्रोत था। गाँव के जीवन की धुरी जल पर आधारित होती थी। इसलिए पनघट का साफ-सुथरा और व्यवस्थित होना पूरे गाँव के स्वास्थ्य और कृषि व्यवस्था के लिए आवश्यक था। इसके आस-पास वृक्षों की छाया, पक्षियों का कलरव और मिट्टी की सौंधी गंध ग्रामीण जीवन की आत्मा बन जाती थी।

अब जबकि नल और पाइपलाइनों ने पनघटों की आवश्यकता को कम कर दिया है, फिर भी कई गाँवों में यह परंपरा आज भी जीवित है। कुछ स्थानों पर इन्हें पर्यटक स्थलों या सांस्कृतिक धरोहरों के रूप में संरक्षित किया गया है

पनघट केवल जल का स्रोत नहीं था, वह एक जीवंत परंपरा, एक सामाजिक संस्था और एक सांस्कृतिक स्मृति था। आज आवश्यकता है कि हम अपने इस सांस्कृतिक धरोहर को संजोएं और नई पीढ़ी को इसके महत्त्व से अवगत कराएँ। पनघट की स्मृति में वह सुगंध बसती है जो भारत की आत्मा की सच्ची पहचान है।

living legend

Good news: Twenty years ago Roger Federer saved two abandoned twin girls twenty years later they return and do something that moves the entire tennis world

Good news: Twenty years ago Roger Federer saved two abandoned twin girls twenty years later they return and do something that moves the entire tennis world

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Posted June 24, 2025underLuxury

In a story that feels more like a movie script than real life, Roger Federer has found himself at the center of one of the most emotional moments the tennis world has ever witnessed. Twenty years ago, while at the height of his rising career, the Swiss legend quietly rescued two abandoned twin girls in a moment of compassion that had remained largely unknown — until now.

The year was 2005. Federer had just won Wimbledon and was fast becoming a global sports icon. During a charity trip to a remote village in South Africa, Federer encountered a heartbreaking situation: two infant twin girls had been left abandoned outside a local health clinic. Moved by the scene and unwilling to walk away, Federer reportedly stepped in to fund their care, education, and long-term support, working discreetly through a foundation partner.

At the time, no press release was issued. Federer, known for his humility and quiet generosity, never spoke publicly about the event. Even die-hard fans were unaware of what had happened.

Fast forward twenty years. Now young women in their early twenties, the twin sisters appeared unexpectedly at a tribute gala for Federer, held in Geneva to honor his lifelong achievements both on and off the court. The room fell silent as the two, dressed in elegant white, took the stage.

They began by recounting their story. “We don’t remember being abandoned,” one said, “but we remember being saved. And the man who saved us is sitting right here tonight.” The crowd was visibly emotional. Federer himself appeared stunned and overwhelmed.

What happened next left everyone speechless.

The sisters announced the launch of a scholarship fund in Federer’s name, dedicated to helping underprivileged children in rural areas gain access to sports and education — the very things Federer had given them. “It’s our turn to give back,” they said, “just as Roger gave to us, without expecting anything in return.”

The room erupted in a standing ovation. Tears streamed down the faces of guests, including celebrities, former players, and Federer’s own family. Commentators called it one of the most powerful moments in tennis history, not because of a trophy or a title, but because of a legacy of kindness that came full circle.

Social media exploded. The hashtags #FedererLegacy and #FullCircleMiracle began trending within minutes. Fans around the world praised the story as “proof that greatness isn’t just measured in Grand Slams.”

Federer, holding back tears, finally took the microphone. “I thought I was just helping two lives,” he said, voice trembling. “I had no idea they would come back and inspire the world.”

In a sport often defined by numbers, rankings, and rivalries, this story reminded the world of what really matters — humanity, heart, and the incredible ripple effect of one selfless act.

For Roger Federer, already hailed as one of the greatest of all time, this may be his most meaningful legacy yet.

 

 

 

 

 

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. 

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.

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.