Reflect.

 Reflect.

In the Kamyaka forest. The five brothers and Draupadī sit in silence. The fire crackles. The pain of exile hangs heavy.

YUDHIṢṬHIRA (quietly, to himself):

"I played with dice, knowing it was ruinous.

Blinded by pride, I staked all—myself, my brothers, and her.

What have I done? Righteousness has bound me like a deer caught in a snare."

Vana Parva, Adhyaya 30

DRAUPADĪ (rising, voice trembling):

"O King, you are learned in Dharma, yet you let adharma pass unchallenged.

Am I but a possession, a stake upon the board?

Where was Dharma when the wicked laughed and I stood shamed?

If silence is virtue, then I curse such virtue!"*

Vana Parva, Adhyaya 28

ARJUNA (fist clenched):

"My Gandiva wept in silence that day.

I could have burned that hall with my wrath,

But I was bound by your command, my elder's word.

Now I ask myself—was silence my sin?"*

 Vana Parva, Adhyaya 31

BHĪMA (striking his thigh):

 "Had you permitted, I would have crushed Duryodhana's skull on the palace floor!

My arms were eager, my heart ablaze—yet I stood restrained.

You let Dharma guide you, brother,

But what Dharma lets evil thrive and virtue starve?"*

 Vana Parva, Adhyaya 29

YUDHIṢṬHIRA( sorrowful)

"I do not know what is Dharma anymore.

That which I thought was virtue led us here.

I did not speak, nor strike, nor rage.

I bore it all—for peace, for elders, for truth."

 Vana Parva, Adhyaya 33

DRAUPADĪ (tears streaming):

"Peace built on injustice is poison.

You call it Dharma, but it left me naked in that court.

Even the gods must weep at such restraint!"

Vana Parva, Adhyaya 28

ARJUNA (softly):

"Perhaps we must rise beyond mere Dharma,

And see that justice too has its bow.

I vow—when time comes, my Gandiva shall not rest."

Vana Parva, Adhyaya 31

BHĪMA (thundering):

"I have counted the bones in Duryodhana’s thigh.

I shall crush them. This I swear by my strength and sorrow!"

Vana Parva, Adhyaya 29

YUDHIṢṬHIRA (closing his eyes):

"Perhaps this exile is a fire to burn away illusion.

Dharma is subtle—perhaps beyond reason.

Let time be the judge of our choices.

Until then—we walk this forest path with heads held high."

Vana Parva, Adhyaya 34

[The fire crackles. They sit together—wounded, but united. The silence of the forest holds their vows.]

The verses reflect chapters: Adhyayas 28–34 in the Vana Parva.

Dharma vs. Kshatra, fate vs. free will, restraint vs. justice, shame, vow, and hope.

Quest.

 In the Aranyaka Parva (Vana Parva) of the Mahābhārata, there is a poignant episode where Draupadi questions Yudhishthira about the injustice of life, especially the apparent prosperity of the wicked and the suffering of the virtuous.

This scene takes place during the Pandavas' exile in the forest. Draupadi, deeply aggrieved by their humiliations—especially the dice game and her own public insult—speaks her mind, unable to accept Yudhishthira's quiet forbearance and commitment to dharma.

Draupadi asks Yudhishthira:

“Why do the wicked flourish, while the virtuous suffer?

Why are you, the righteous king, suffering in the forest, while Duryodhana, who has broken dharma, enjoys the kingdom?

Why do you cling to dharma, when it seems dharma has abandoned you?”

She even questions:

“What use is virtue if it leads only to humiliation and loss? Should not power be seized when injustice prevails?”

Yudhishthira’s Response:

Yudhishthira answers with calmness, reinforcing his unwavering faith in dharma (righteousness):

 "Dharma is very subtle and not always immediately visible in its fruits."

 "What we face is not just the result of present actions but of past karma. The wicked may enjoy briefly, but they are already sowing their downfall."

 "Time governs the rise and fall of all. Even Duryodhana’s seeming victory is only temporary."

 "The world does not run because of weapons or wealth, but because virtuous people continue to uphold it even in suffering."

"We will fight, but when the time is right. Our patience is not weakness, it is preparation."

This exchange is one of the most philosophically intense in the Mahābhārata. It reflects the inner turmoil of the human spirit, torn between:

the ideal of righteousness, and

the reality of suffering in an unjust world.

Draupadi embodies the voice of justified outrage, while Yudhishthira stands for stoic endurance and faith in divine justice.

“He who suffers in silence despite injustice, and yet does not forsake virtue—

shines like the sun through clouds, when the time comes.”

 “Even when dharma yields no fruit in sight, abandon it not—

for dharma abandoned, will abandon you when you need it most.”

Matali.

 “Matali” most commonly refers to the divine charioteer in Hindu mythology:

In Hindu sacred texts such as the Vāmana Purāṇa, Mahābhārata and Rāmāyaṇa, Mātali (also Matāli) is the skilled celestial charioteer of Indra, king of the gods .

Born to sage Shamika and Tapasvini, his twin appeared during an earthquake and flew directly to Indra to serve as his divine charioteer .

In the Rāmāyaṇa: Indra sent Matali to offer his chariot, bow, and weapons to Rāma during the battle against Rāvaṇa, significantly aiding the hero .

In the Mahābhārata: Matali drives Indra’s chariot for Arjuna, conveying him to Svarga and assisting in battles against powerful foes like the nivatakavāchas and kalakeyas with strategy and counsel .

He also acts for Indra as messenger—bringing King Dushyanta to assist in the war against the asuras in Kālidāsa’s Abhijñānaśākuntalam, and engaging in philosophical dialogue with King Yayāti about life and the soul .

Matali often symbolizes divine guidance, loyalty, and the bridge between gods and mortals in mythology .

Bridge.

In the vast universe of Indian classical music, there exists a magical thread that binds the soul to sound, the silence to rhythm, and the mind to emotion. This thread is called the rāga. More than a melodic framework or scale, a rāga is a living spirit that communicates directly with the mind and heart. It is not merely heard—it is felt, absorbed, and experienced. A rāga, in its essence, is something that connects your mind.

Each rāga carries a rasa—an emotional essence. Some rāgas are soaked in devotion (bhakti), others brim with longing (viraha), some speak of joy (ananda), while others echo silence, introspection, or even sorrow. For instance, Raga Yaman evokes peace and divinity when played in the quiet of the evening. Raga Bhairavi is a morning rāga but often used to end a concert, symbolizing completion and return to inner calm. The mind, ever racing, slows down to listen, respond, and reflect in the presence of such music.

Unlike Western musical compositions, which are often fixed, a rāga provides a structure that invites exploration. It gives an artist freedom within discipline. The ascending and descending notes (aroha and avaroha), the dominant and subdominant tones (vadi, samvadi), and the ornamentation (gamakas)—all come together to form an emotional map. As the artist journeys through this map, the listener’s mind travels too—through memories, moods, and meditative silence.

To truly listen to a rāga is to practice mindfulness. Each note (swar) is a breath, each pause is silence pregnant with emotion. The mind, when exposed to such purity, sheds its clutter. Like a mantra, a rāga has the power to quiet the inner noise. Neuroscience even supports this: listening to classical music, especially rāgas, can reduce stress, improve concentration, and even aid in healing.

In moments of solitude, a rāga can be a friend. In celebration, it becomes a dance. In grief, it offers comfort. It enters your mind not like a guest but like a familiar presence, echoing your innermost thoughts. Many saints—Meera, Kabir, Tyagaraja—used rāga as a medium to converse with the divine. Their songs still resonate centuries later, not because of complexity, but because of this deep mental and emotional connection.

In a world overwhelmed by distraction, the rāga remains an anchor. It connects your mind not only to music but to your own self. It teaches you to listen—not just with ears, but with awareness. A rāga is not entertainment; it is engagement. It is not just melody; it is mindfulness in motion. Whether you are a musician or a seeker, a listener or a lover of silence, the rāga will always find a way to connect—to calm, to awaken, and to carry your mind into deeper realms of experience.

In the shadows

 The story of Mileva Marić and Albert Einstein is one of brilliance, ambition, love, and mystery. It traces the path of two young intellectuals at the dawn of the 20th century who found in each other not just affection, but also a rare meeting of minds. However, history has not treated both with equal fairness. While Einstein’s name became synonymous with genius, Marić’s legacy remains clouded in speculation and silence.

Mileva Marić was born in 1875 in Titel, Serbia, part of the Austro-Hungarian Empire. Exceptionally bright and passionate about science, she overcame the prejudices of her time to become one of the few women studying physics and mathematics in Europe. She enrolled at the Swiss Federal Polytechnic in Zurich in 1896 — the same year Albert Einstein began his studies there.

It was here that the two met and began a bond that was as intellectual as it was romantic. They discussed physics deeply, studied together, and challenged each other’s thoughts. Letters exchanged between them show not just affection but a collaborative spirit. Einstein often wrote about “our work,” and “our theory,” suggesting a possible shared intellectual journey.

The most debated chapter in their relationship is whether Mileva contributed to Einstein’s early groundbreaking work, including the 1905 “Annus Mirabilis” papers that revolutionized modern physics. Some researchers argue that she helped with calculations and may have even co-developed ideas, especially since she had strong academic capabilities and was a peer in scientific discussions. Others, however, maintain that Einstein was the sole author of these theories and that the couple’s relationship, though intellectually intimate, did not amount to formal collaboration.

The truth remains elusive due to the lack of formal records, destroyed letters, and Mileva's own silence. But the fact that she gave up her scientific career after marriage — as was often expected of women then — cannot be overlooked. Einstein went on to global fame, while Mileva receded into the shadows.

Their marriage in 1903 was marked by challenges — poverty, societal pressure, and eventually personal strain. They had two sons, Hans Albert and Eduard, and a daughter, Lieserl, whose fate remains a mystery. By the 1910s, the relationship had become strained. Einstein’s increasing fame and emotional distance, along with Marić’s depression and the burden of managing the family, widened the rift. They formally separated in 1914 and divorced in 1919.

In a surprising clause, Einstein promised to give Marić the prize money if he ever won the Nobel Prize — a promise he fulfilled in 1921. This may have been a gesture of compensation or a quiet acknowledgment of her sacrifice.

Mileva Marić lived out her life in Zurich, caring for their son Eduard, who suffered from schizophrenia. She died in 1948, largely unrecognized in the scientific world.

In recent decades, there has been a resurgence of interest in her life, with scholars, feminists, and historians seeking to reclaim her story. Whether or not she co-authored Einstein’s theories, she undeniably represents the countless women whose talents were dimmed by the constraints of their time.

The tale of Mileva Marić and Albert Einstein is not just about one of history’s greatest scientific minds, but also about a brilliant woman who lived in his shadow. It compels us to ask how many voices and ideas history has forgotten. And it urges us to ensure that today’s Milevas are seen, heard, and remembered — not as footnotes in the lives of great men, but as thinkers and pioneers in their own right.

भावार्थ

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! 

छन्द

जय सगुन निर्गुन रूप रूप अनूप भूप सिरोमने।

दसकंधरादि प्रचंड निसिचर प्रबल खल भुज बल हने॥

अवतार नर संसार भार बिभंजि दारुन दु:ख दहे।

जय प्रनतपाल दयाल प्रभु संजुक्त 

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! हे राजाओं के शिरोमणि! आपकी जय हो। आपने रावण आदि प्रचण्ड, प्रबल और दुष्ट निशाचरों को अपनी भुजाओं के बल से मार डाला। आपने मनुष्य अवतार लेकर संसार के भार को नष्ट करके अत्यंत कठोर दुःखों को भस्म कर दिया। हे दयालु! हे शरणागत की रक्षा करने वाले प्रभो! आपकी जय हो। मैं शक्ति (सीता जी) सहित शक्तिमान आपको नमस्कार करता हूँ॥1॥

छन्द

जय सगुन निर्गुन रूप रूप अनूप भूप सिरोमने।

दसकंधरादि प्रचंड निसिचर प्रबल खल भुज बल हने॥

अवतार नर संसार भार बिभंजि दारुन दु:ख दहे।

जय प्रनतपाल दयाल प्रभु संजुक्त सक्ति नमामहे॥1॥

Tav bisham maya bas surasura naag nar ag jag hare.

Bhava panth bhramat amit day nisi kaal karma gunani bhare.

Je Nath Kari Karuna Biloki Tribidhi, free from sorrow.

Bhava khed chhedan dachch hum kahun rachch Ram namamahe॥2॥

gist

Hey Hare ! Due to being under the influence of your evil Maya, the gods , demons , snakes , human beings and all the moving and immovable people are wandering day and night in the path of eternal life (movement) , filled with time, deeds and qualities (under their influence) . Hey Nath! Of these, those whom you looked at with kindness (kindness) were freed from all three types of sorrows (born of illusion). O Shri Ram who is skilled in cutting off the labor of birth and death ! Protect us. We salute you॥2॥

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! हे राजाओं के शिरोमणि! आपकी जय हो। आपने रावण आदि प्रचण्ड, प्रबल और दुष्ट निशाचरों को अपनी भुजाओं के बल से मार डाला। आपने मनुष्य अवतार लेकर संसार के भार को नष्ट करके अत्यंत कठोर दुःखों को भस्म कर दिया। हे दयालु! हे शरणागत की रक्षा करने वाले प्रभो! आपकी जय हो। मैं शक्ति (सीता जी) सहित शक्तिमान आपको नमस्कार करता हूँ॥1

Chhand - The word is made from the root 'Chhad' which means 'to delight', 'to make happy'. This ahlad arises from the arrangement of regular numbers of letters or matras. Thus, the definition of verse would be 'If a rhythm is created by the arrangement of a regular number of letters or matras, then it is called verse'. The first mention of chhanda is found in ' Rigveda '. Just as the regulator of prose is grammar , similarly the prosody of poetry is the scriptures.

छन्द

भावार्थ

जिन्होंने मिथ्या ज्ञान के अभिमान में विशेष रूप से मतवाले होकर जन्म-मृत्यु (के भय) को हरने वाली आपकी भक्ति का आदर नहीं किया, हे हरि! उन्हें देव-दुर्लभ (देवताओं को भी बड़ी कठिनता से प्राप्त होने वाले, ब्रह्मा आदि के ) पद को पाकर भी हम उस पद से नीचे गिरते देखते हैं (परंतु), जो सब आशाओं को छोड़कर आप पर विश्वास करके आपके दास हो रहते हैं, वे केवल आपका नाम ही जपकर बिना ही परिश्रम भवसागर से तर जाते हैं। हे नाथ! ऐसे आपका हम स्मरण करते हैं॥3॥

Je charan siv aj pujya raj subh parsi munipatini tari.

Nakh Nirgata Muni Bandita Trailok Pavani Sursari.

Dhwaj Kulis Ankus Kanj Jut Ban Firat Kantak Kin Lahe.

Pad Kanj Dwand Mukund Ram Rames Nitya Bhajamahe॥4॥

gist

Those feet which are worshiped by Lord Shiva and Lord Brahma , and whose feet, after getting the touch of the auspicious Raj (made of stone), the wife of Rishi Gautam became immortal , whose feet are worshiped by the sages , the Devnadi Gangaji, who purifies the world, is worshiped by the nails of whose feet. She came out with the flag, thunderbolt handle and lotus , whose feet were covered with calluses due to being pricked by thorns while wandering in the forest, O Mukund! Hey Ram ! O Ramapati! We keep worshiping those two lotus feet of yours daily.॥4॥

अब्यक्तमूलमनादि तरु त्वच चारि निगमागम भने।

षट कंध साखा पंच बीस अनेक पर्न सुमन घने॥

फल जुगल बिधि कटु मधुर बेलि अकेलि जेहि आश्रित रहे।

पल्लवत फूलत नवल नित संसार बिटप नमामहे॥5॥

भावार्थ

वेद शास्त्रों ने कहा है कि जिसका मूल अव्यक्त (प्रकृति) है, जो (प्रवाह रूप से) अनादि है, जिसके चार त्वचाएँ, छह तने, पच्चीस शाखाएँ और अनेकों पत्ते और बहुत से फूल हैं, जिसमें कड़वे और मीठे दो प्रकार के फल लगे हैं, जिस पर एक ही बेल है, जो उसी के आश्रित रहती है, जिसमें नित्य नए पत्ते और फूल निकलते रहते हैं, ऐसे संसार वृक्ष स्वरूप (विश्व रूप में प्रकट) आपको हम नमस्कार करते हैं॥5॥

Je Brahma Ajmadvaitamanubhavgamya Manpar Dhyavahi.

I say, I know, O Lord, I am always the same as the village.

Karunayatan Prabhu, by multiplying the good deeds, God asked for this boon.

Our mind, speech and actions are spoiled and our feet are full of love. ॥6॥

gist

Brahma is unborn, non-dual, known only through experience and is beyond the mind - (Those who meditate on Brahma by saying this, let them say so and know), but O Lord! We always sing your pure praises. O Lord, the abode of compassion! O mine of virtues! Hey, God! We ask for this boon to give up vices in mind, words and deeds and love at your feet only.॥6॥

Praise.

 https://youtu.be/_xDYHxCmO3k?si=s5BqBRjokuSpuffU

Lord Siva praising and singing on Sri Rama return to ayodhya.