Sick rest.

 In the sacred town of Puri in Odisha, India, Lord Jagannath—the Lord of the Universe—is not just worshipped as a divine deity but is treated as a living being. This is most vividly seen in the observance of the annual ritual known as Anasara, a period of 15 days when Lord Jagannath falls ill and takes rest, away from public view. This mysterious and moving tradition is deeply rooted in ancient belief, mythology, and spiritual symbolism. Here is the story behind why Lord Jagannath takes medicine for fifteen days every year.

Snana Yatra – The Royal Bathing Festival

The story begins with the grand event called Snana Yatra, celebrated on the full moon day of the Hindu month of Jyeshtha (May–June). On this day, the three sibling deities—Lord Jagannath, Lord Balabhadra, and Devi Subhadra—are brought out from the sanctum sanctorum of the Jagannath Temple to the Snana Mandap, a special bathing platform. Here, they are ceremonially bathed with 108 pots of sacred water drawn from the temple's golden well.

This ritual bath is considered both purifying and celebratory—it is the public birthday of Lord Jagannath. However, as in the case of any living being exposed to heavy rain or water, the deities too fall ill due to this elaborate bathing ritual.

Anasara: The Period of Illness and Healing

After the Snana Yatra, the deities are not brought back to their usual sanctum immediately. Instead, they are taken to a special chamber within the temple known as the Anasara Ghara (meaning the "room of isolation" or "infirmary"). Here, they are believed to suffer from fever, just like any human would after an elaborate ritual bath.

This marks the beginning of the Anasara period, which lasts for about 15 days. During this time:

The deities are not visible to the public.

Devotees cannot have darshan  of them.

They are attended by traditional physicians known as Raj Vaids.

A special herbal medicine, called Dasamula Rasayana—a potent Ayurvedic preparation made from ten roots—is administered.

They are given a light diet, mainly consisting of fruits and herbs.

Their bodies are repaired and repainted, as the natural colors applied on Snana Yatra are believed to have faded.

This symbolic period of illness shows how Jagannath is not just a god to be worshipped from a distance, but a divine being who experiences pain, illness, and recovery—just like his devotees.

Spiritual Significance of the Illness.

The illness of the deities during Anasara is not to be taken literally but symbolically:

It represents compassion—the Lord taking on the suffering of his devotees.

It symbolizes the cycle of life—health, sickness, rest, and renewal.

It shows that even the Supreme Being accepts and embraces human limitations in his incarnation for the sake of his devotees.

It is a reminder that divine service involves care and healing, not just rituals and ceremonies.

Nava Yauvana.

At the end of the Anasara period, a beautiful festival called Nava Yauvana Darshan ("the glimpse of the Lord in His youthful form") is celebrated. On this day, devotees are finally allowed to see the fully recovered, repainted, and rejuvenated deities.

This is immediately followed by the world-famous Rath Yatra (Chariot Festival), where Lord Jagannath and his siblings travel in giant wooden chariots to the Gundicha Temple, their garden house for nine days.

 The  Alarnath during his absence from Puri. 

During the Anasara period, when Jagannath is not visible, devotees often visit Alarnath Temple in nearby Brahmagiri, where Lord Vishnu is worshipped in the form of Alarnath. It is believed that Lord Jagannath manifests there during his absence in Puri, allowing devotees to continue their spiritual connection with him.

The tradition of Lord Jagannath taking medicine and retiring from public view for 15 days each year is a unique fusion of mythology, ritual, medicine, and emotion. It speaks of a divine being who humbles himself, lives like his people, and accepts rest and treatment when needed. Through this ritual, the devotees of Jagannath learn an important spiritual lesson: even the strongest need time to heal, and there is great divinity in rest, care, and rejuvenation.

This timeless tradition has continued for centuries, reminding millions that God is not just a distant entity of perfection, but a compassionate presence who lives among us, suffers with us, and heals with us.

Srita kamala.

 The Story of Jayadeva and the Gītagovinda

Jayadeva was a 12th-century poet-saint and composer, best known for his devotional Sanskrit masterpiece, Gītagovinda. This poetic work is a lyrical celebration of divine love between Lord Krishna and Radha, and it occupies a revered place in Indian devotional and literary traditions, particularly in Vaishnavism, Odissi dance, and temple rituals.

Jayadeva was born in Kenduli, a village in Odisha or Bengal (both claim him), to a learned Brahmin family. He was a deeply spiritual soul who spent much of his life immersed in devotion to Lord Jagannatha (Krishna in his form at Puri, Odisha). He was married to Padmavati, a devout woman and a temple dancer (Mahari), who would later dance to his compositions.

Jayadeva’s life was marked by devotion, music, and poetry. He would often compose verses spontaneously, inspired by divine visions.

The Gītagovinda is a cycle of 12 cantos (Sargas) comprising 24 songs (Ashtapadis), all in exquisite Sanskrit poetry. It describes the emotional and spiritual relationship between Radha and Krishna, portrayed with both devotional fervor and romantic intimacy.

It is unique because it blends Bhakti (devotion) with Śṛngāra Rasa (erotic-love aesthetic).

The central theme is the pangs of separation (Viraha) and the ecstatic union (Milan) of Radha and Krishna.

Each song is meant to be sung and danced; it became central to Odissi dance and temple rituals in Puri.

A famous legend highlights Jayadeva’s humility and divine connection:

One day, while composing a verse, Jayadeva hesitated to write a line that described Krishna falling at Radha’s feet, feeling it was too bold to suggest the Lord would humble Himself so.

He left the verse unfinished and went to bathe in the river. When he returned, to his astonishment, he found the verse written perfectly, in his own handwriting, and Padmavati told him he had come back and written it himself. Jayadeva realized that Lord Krishna Himself had taken his form to complete the line, thus blessing the work.

The verse was:

smaragarala khaṇḍanaṁ mama śirasi maṇḍanaṁ dehi padapaṅkajam

(“Place your lotus feet on my head, O destroyer of love’s poison.”

This miracle established the divine origin and sanctity of Gītagovinda.

The Jagannatha Temple in Puri began using the Gītagovinda in its nightly rituals. Even today, some of its hymns are sung as lullabies for the deity.

The Ashtapadis are sung in classical dance and music traditions like Odissi, Bharatanatyam, and Carnatic music.

Gītagovinda has influenced devotional literature across India, especially the Bhakti movements of Bengal, Odisha, and South India.

Jayadeva’s Gītagovinda is more than poetry—it is a divine dance of love, devotion, and surrender. It elevated Radha to a central figure in Krishna devotion, and its blend of sensual beauty and spiritual depth has kept it alive for over 800 years.

Here is a summary and meaning of a few of the most famous Ashtapadis (songs of eight verses) from Jayadeva’s Gītagovinda. Each ashtapadi captures a mood or stage of the divine love-play between Krishna and Radha, full of emotional beauty and spiritual symbolism.

 1st Ashtapadi: "Priye Charuśīle" – The Call of Love

Theme: Krishna praises Radha’s beauty and invites her to come to the forest of love.

Priye charuśīle, milita-pulaka-phalaka-keli-susīle

(O lovely one of sweet nature, your beautiful form excites my love.)

Krishna, overwhelmed by Radha’s beauty, begs her to join Him in the forest. The song expresses his deep desire and admiration, and sets the tone for their intimate relationship.

 2nd Ashtapadi: "Srita-kamalā-kucha-maṇḍala" – Krishna the Protector

Theme: Krishna as the divine protector of devotees.

Śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e kalita-lalita-vanamāla!

(O Lord whose chest is the resting place of Lakshmi, wearing lovely earrings and a garland!)

Jayadeva praises Krishna as the eternal savior and slayer of demons. Though much of Gītagovinda is romantic, this hymn emphasizes His divine powers and grandeur.

 8th Ashtapadi: "Nindati chandana" – Radha in Separation

Theme: Viraha (separation) and emotional pain.

Nindati chandanaṁ, snigdham api malahāriṁ na garuṁ

(Even sandalwood is painful, soft breezes are burning...)

Radha is tormented by separation from Krishna. Things that usually bring comfort—cool breezes, flowers, perfumes—now feel like torment. A powerful song of love in longing, expressing her intense emotional suffering.

 10th Ashtapadi: "Vahati malaya samīre" – Radha's Mood Swings

Theme: Inner turmoil of Radha’s heart.

Vahati malaya-samīre madana-sugandhi-samīre

(The southern breeze carries the sweet scent of spring, stirring love’s madness.)

Radha’s heart is swayed by love and longing. She is angry at Krishna’s unfaithfulness, yet deeply desires union. This ashtapadi beautifully captures the conflict of pride and passion in divine love.

11th Ashtapadi: "Māmiyaṁ chalitaṁ" – The Apology

Theme: Krishna’s pleading and remorse.

Māmiyaṁ chalitaṁ, vyathayati māṁ

(She has left me, and it gives me such pain.)

Krishna realizes Radha is upset and has gone away. He regrets his actions and sends a message begging her to return. The divine lover’s remorse and yearning shine in this song.

 19th Ashtapadi: "Madhuripu hari" – The Union

Theme: The ecstatic reunion of Radha and Krishna.

Madhuripu-hari-smaraṇe sukhadaṁ

(The remembrance of sweet Hari brings great joy.)

After all the yearning and tears, Krishna and Radha are reunited. Their spiritual and sensual union is described with tenderness, symbolizing the soul merging with the divine.

Radha = The Jiva (individual soul)

Krishna = Paramatma (Supreme soul)

Separation and union = The soul’s journey through longing, purification, and ultimate union with God.

Here's the 2nd Ashtapadi from Jayadeva’s Gītagovinda, titled:

Śrita-kamalā-kucha-maṇḍala – The Glories of Krishna

(Also known as “Jaya Deva! Jaya Deva!” hymn)

This is a praise-song that glorifies Lord Krishna’s divine acts and beautiful form. Each verse ends with the chorus "Jaya Deva! Jaya Deva!" meaning "Victory to you, O Krishna!"

śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e

kalita-lalita-vanamāla! jaya deva! hare!

O Lord whose chest is the abode of Lakshmi, whose ears are adorned with earrings,

Clad in a garland of forest flowers — Victory to you, O Hari!

dinamaṇi-maṇḍala-maṇḍana! bhava-khaṇḍana! e

muni-jana-mānasa-haṁsa! jaya deva! hare!

You adorn the circle of the Sun; You destroy the world’s bondage,

You are the swan in the minds of sages — Victory to you, O Hari!

kāliya-viṣa-dhara-gañjana! jana-rañjana! e

yadu-kula-nalina-dineśa! jaya deva! hare!

O Slayer of Kaliya the venomous serpent, Delighter of the people,

O Sun to the lotus of the Yadu clan — Victory to you, O Hari!

madhu-mura-naraka-vināśana! garuḍāsana! e

surakulakelana-nāgara! jaya deva! hare!

Destroyer of demons Madhu, Mura, and Naraka, who rides on Garuda,

Gallant lover amidst the gods — Victory to you, O Hari.

amara-taru-nikara-bhāsura! bhuvanāntaka! e

nikhila-nigama-sudhāmaya! jaya deva! hare!

Brilliant among the gods like a celestial tree, destroyer of the universe,

Essence of all Vedic nectar — Victory to you, O Hari!

śrita-sakala-suramunī! jana-sukhakarī! e

tribhuvana-dhāraṇa-kāraṇa! jaya deva! hare!

You are the refuge of all gods and sages, bringer of bliss to devotees,

The very foundation of all three worlds — Victory to you, O Hari!

This hymn portrays Krishna as the protector, savior, and supreme Lord. Though Gītagovinda often explores his human-like emotions with Radha, this ashtapadi reminds us that He is still the Supreme Divine, worshipped by sages and gods alike.

His beauty (vanamala, kundala, lotus chest) reflects divine charm.

His actions (slaying demons, riding Garuda) reflect divine heroism.

His presence in the hearts of sages shows spiritual closeness.

 Ritual and Musical Use

This Ashtapadi is often sung in temples, classical dance (especially Odissi), and bhajans.

In Jagannatha temple rituals, it is sung at night as a lullaby (pahuda bhoga)

À_G

 "I sat with my anger long enough until she told me her real name was grief."

By Anupama Joshi.

This quote, though often misattributed to C.S. Lewis, carries a truth many of us live but never voice.

As a child, I was known for my temper, it didn’t take much to spark a reaction in me. The anger was a mask, a cry, a plea for acknowledgement. It wasn’t just rebellion, it was a reaching out for love, acknowledgement and safety. It wasn’t rooted in one big traumatic event it was a thousand small moments of being ignored, being sidelined. My straightforward nature and unfiltered honesty often intimidated others, leading to misunderstandings and strained relationships. People found me too blunt, too direct, too intense. I didn’t know how to sugarcoat the truth - still don’t, honestly.

Over the years, life taught me to smooth those rough edges. Through experiences, wisdom, and personal growth, I began to understand that beneath my anger lay a reservoir of hurt and unaddressed grief. Even now, when I withdraw or disconnect; often because I am hurting, overwhelmed, or simply protecting my energy, the people in my life assume I am angry. Very few stop to consider that my silence might be coming from pain, not rage. It is disheartening when those who are close to you focus solely on reactions, overlooking their own actions or words that may have caused them. 

And the part that stings the most is that when I do the work to process everything to bring myself back to a place of calm and grounding, they mock. They pass it off by saying, “Oh look, she has calmed down now,” Like it is an entertaining performance, like the work it took to come back to myself is invisible. Like it was never about grief, or healing, or layers of hurt they never cared to understand. As if my process was a tantrum, not a transformation; and as if healing is something funny.

Anger is never the full story. It is the lid. And when you’re brave enough to lift it, you find unacknowledged grief, disappointment, fear, and truth. And to know this is to begin the real work. It is a reminder to approach others with empathy, recognizing that behind a fiery exterior might be a wounded soul seeking understanding. If you have ever been told you are too much - too loud, too angry, too emotional; I just want you to know, I see the grief behind the fire and the ache beneath the silence. Whenever you are ready to be seen beyond the fire, I am here.

Pundalik

https://youtube.com/shorts/J0jK7vUAEs8?si=VxB_f-bPXsjjdj1M

a devotee is pushed round in circles as abhangs are being sung. Devotion is to be watched, it takes one to another level altogether. 

The story of Pundalik is one of the most cherished tales in the Bhakti tradition of Maharashtra and is intimately connected with Lord Vitthal (Vithoba) of Pandharpur. 

 The Devotee Who Brought God to Earth

Pundalik was originally a resident of Kundinapura (in present-day Maharashtra). Initially, he was not a saint but a worldly and selfish man, disrespectful even to his own parents.

After his marriage, Pundalik became absorbed in family life and started neglecting his aged mother and father. He ill-treated them and made them do menial work. His attitude deeply hurt his parents, who were saints at heart but bore everything silently.

One day, Pundalik decided to go on a pilgrimage to Kashi (Varanasi) with his wife. His parents, although old and frail, accompanied them on foot. On the way, Pundalik kept treating them harshly. But then something miraculous happened.

While passing through the ashram of the sage Kukkut, Pundalik witnessed a divine sight. He saw three celestial women entering the ashram, their clothes soiled and faces gloomy. But when they emerged after cleaning the ashram, they were glowing with divine light.

Pundalik asked the sage about the women the sage explained:

 “They are the personifications of Ganga, Yamuna, and Saraswati. They wash away people’s sins daily, but become polluted themselves. By cleaning the homes of saints and pure souls, they regain their purity.”

This struck Pundalik deeply. He realized the greatness of serving the noble and living selflessly.

Realizing his mistake, Pundalik turned back from his pilgrimage and returned home with his parents. From then on, he became the ideal son, serving them with utmost devotion and love. He saw God in his parents and dedicated his life to their care.

Pundalik's devotion was so intense that it touched the heart of Lord Krishna. One day, Krishna appeared at Pundalik's door, eager to bless him.

But Pundalik was at that moment massaging his father’s feet. He did not want to interrupt his service, even for the Lord. So, he threw a brick (vit) for the Lord to stand on and said:

 “Please wait, Lord. I will attend to you after I finish my duty to my parents.”

Touched by this humility and pure devotion, the Lord stood on the brick, waiting patiently with his hands on his waist – the very form in which Vithoba is now worshipped in Pandharpur.

When Pundalik finally came out, he bowed down to the Lord. Pleased, Krishna granted him a boon. Pundalik requested:

“May you always remain here in this form to bless devotees.”

Thus, the idol of Vitthal (Vithoba) was installed in Pandharpur, where it still stands today on the brick, embodying the Lord’s boundless love for bhakti (devotion) and seva (service to parents).

True devotion lies in selfless service, especially to one's parents.

God is pleased more by loving action than by rituals.

Humility and surrender can bring the divine closer than any austerity.

Vithoba's (Vitthal's or Panduranga's) idol, especially the one at Pandharpur in Maharashtra, is among the most iconic and beloved in Indian devotion. This is how it is traditionally described.

Physical Description of Vithoba's Idol:

Vithoba is depicted standing upright on a brick (known as vit in Marathi, which gives the name "Vitthal").

His hands rest on his hips, a unique posture conveying confidence, waiting, and steadfastness — often interpreted as him patiently waiting for his devotee Pundalik.

The face is gentle and smiling, symbolizing grace and affection toward his devotees.

He wears a tall crown (kirita mukuta).

A Vaishnava tilak (U-shaped with a central line) adorns his forehead, marking him as a form of Lord Vishnu/Krishna.

The idol is richly decorated with jewels, garlands, and silken robes.

He wears earrings (kundalas), armlets, and anklets.

The idol is of black stone, symbolizing the Shyama (dark) form of Krishna.

A key feature — Vithoba stands on a brick placed by his devotee Pundalik, representing devotion and humility.

Arms on Hips: Signifies both impatience with insincerity and assurance to true devotees.

Brick beneath feet: A devotee's offering that became divine — showing that even the smallest act of devotion is recognized.

Smile: Represents the welcoming nature of the deity — especially for saints like Tukaram, Namdev, Chokhamela, Janabai.

Behold the Lord of brick and smile,

Who waits with arms akimbo, still —

On the sacred banks of Bhima's flow,

In Pandharpur, the hearts he fills.

A dusky hue like raincloud’s breast,

He stands in silence, calm and deep;

A crown upon his curly hair,

With lotus eyes that never sleep.

His feet upon the devotee’s stone,

A tale of love and Pundalik's gift;

In patient poise, his hands akimbo,

The veil of sorrow he does lift.

A tulsi garland graces his neck,

His form with yellow silk is dressed;

The conch and discus carved within,

Though unseen — in bhakti manifest.

The cowherd boy of Gokul's field,

Now reigns the shrine in simple grace;

With no throne grand, nor jewels rare,

But just his smile — and endless space.

Namdev sings, “He is my kin,”

Tukaram cries, “He dwells in me!”

To Chokhamela, “He came and spoke,”

Janabai says, “He swept with me!”

Lunar standstill.

 A major lunar standstill is an extraordinary astronomical event occurring roughly every 18.6 years, when the Moon’s orbit around Earth reaches its steepest tilt relative to our equator. This tilt swings between about ±18° at its shallowest ("minor") and about ±28.5° at its steepest ("major") due to the combined inclinations of Earth (~23.4°) and the Moon (~5°)  

What Happens During a Major Lunar Standstill

1. Extreme moonrise/moonset positions

During this period, each full moon rises and sets significantly farther north and south than the Sun ever does at solstices, shifting up to ~70° across the horizon month-to-month  .

2. Extreme altitudes

The moon attains higher and lower daily maximum altitudes than usual. Around full Moon, you’ll see it soaring well above the summer Sun or dipping below the winter Sun’s highest point  .

3. Duration

Unlike a solstice’s brief occurrence, the Moon’s directional extremes persist over nearly two years, centered on the standstill peak  .

4. Cultural and tidal impact

Ancient sites like Stonehenge, Callanish, and Chimney Rock align with these extreme moonrises/sets. The peak tidal effects also fluctuate slightly across the cycle  .

When Is the Next Major Lunar Standstill (2024–2026)?

Peak period: January 2025 marks the central peak, but the standstill effect began in late 2024 and continues through mid-2026  .

Key observation dates:

June 11, 2025: Highlighted event by Griffith Observatory for peak moonrise/showing full-moon extremes  .

May 14, 2025: Southernmost full moonrise, also broadcast by Griffith Observatory  .

Notable full moons: Around the September 2024 & March 2025 equinoxes are prime moments to witness dramatic full moon extremes  .

December 2024 Cold Moon: A full moon coinciding with the standstill in mid-December that offers impressive horizon positions  .

 Deep Dive 

1. The Astronomical Mechanics

The Moon’s 18.6-year cycle arises from the precession of its orbital nodes, causing its highest declination relative to Earth's equator to oscillate between ~±18° and ±28.5°  . During a major standstill, the orbital tilt peaks at ~28.6°, making moonrise positions reach extreme limits  .

2. Observational Effects

As the Moon orbits monthly, its declination swings within this maximum range. Over consecutive months, it rises further north before transitioning to its southern extremes. Full moons especially stand out, because they are visible throughout the night aligned with these horizons  .

3. Cultural Resonance

Ancient civilizations etched alignments into stone to mark these celestial extremes. Sites such as Stonehenge, Callanish, and Chimney Rock were likely built with an eye toward lunar standstill moonrises/sets  .

4. Modern-Day Watching

During 2024-2026, astronomers and enthusiasts can observe full moons tracing stunning arcs over northern and southern horizons. Griffith Observatory, British Heritage, and others are hosting events that line up with key dates—June 11 and May 14, 2025 are great ones  .

 How to Experience It This Year

Look out for full moons near equinoxes—especially Sept 2024, March & June 2025, and Dec 2024.

Note moonrise/set directions: full moonrise far north or south of the standard sunrise position.

Attend live streams or viewings by observatories like Griffith (US) or heritage organizations (UK/Ireland).

Use open horizons and minimal light pollution for the best visuals.

Track tides: enhanced diurnal tides are associated with historical effects during major standstill years  .

 Quick Timeline for 2024–2026

Period Event Description

Late 2024 – Mid 2026 Broad window of major lunar standstill effects

Dec 15, 2024 Cold Moon full moon aligning with standstill extremes  

Sept 22, 2024 Full moon near equinox, dramatic rise/set 

Jan 2025 Peak standstill period 

Mar 20, 2025 Equinox full moon with wide swing 

May 14, 2025 Southernmost full moonrise 

June 11, 2025 Highlight standstill moonrise 

In summary: A major lunar standstill is a rare and prolonged celestial spectacle where full moons show off the widest swing across the sky. We’re currently in the midst of it, with best viewing opportunities in late 2024 through mid‑2026, especially around December 2024, March, May, and June 2025. It's a wonderful time to connect with ancient skywatchers—and a visual feast for anyone gazing at moonrise.

Secret.

 The Rahasyas (secrets or deeper meanings) of the Ramayana are the hidden spiritual, symbolic, and philosophical truths embedded in the narrative. While the Ramayana is often read as a divine history (itihasa) of Lord Rama's life, sages and scholars have drawn out inner meanings and esoteric teachings over the centuries.

1. Rama as the Atman (Self)

Rama symbolizes the Atman, the divine self within each being.

His calm, righteous behavior reflects the pure, undisturbed consciousness.

His journey is the journey of the soul toward truth and liberation.

2. Sita as the Jiva (Individual Soul)

Sita represents the individual soul (jivatma).

Her separation from Rama (the Atman) and abduction by Ravana (ego/desire) represents the soul’s entanglement in the world of illusion (maya).

Her return to Rama signifies spiritual reunion or liberation (moksha).

3. Ravana as the Ego (Ahamkara)

Ravana symbolizes ego, desire, and arrogance.

Despite being a great scholar and devotee, his downfall comes due to pride and uncontrolled desires.

His ten heads represent ten negative qualities or senses (such as lust, anger, greed, etc.), which must be destroyed.

4. Hanuman as the Guru or Prana (Vital Force)

Hanuman is the divine bridge between the soul (Sita) and God (Rama).

As a Guru, he helps the soul reconnect with the Supreme.

He also represents prana (life force), the awakened energy required for spiritual practice.

5. The Bridge to Lanka – The Path of Sadhana

The bridge (Setu) built by monkeys symbolizes the path of spiritual effort (sadhana) across the ocean of samsara (worldly existence).

Only through devotion, effort, and divine grace can one cross over.

6. Jatayu – The Dying Dharma

The vulture Jatayu, who dies trying to protect Sita, represents dharma (righteousness).

His sacrifice shows that even when dharma is defeated in the material world, it earns divine recognition.

7. Lanka as the Mind Ruled by Ego

Lanka, full of gold but ruled by Ravana, symbolizes the mind that is outwardly brilliant but inwardly corrupted by ego and passion.

Rama’s conquest of Lanka is the conquest of the mind.

8. Manthara and Kaikeyi – Forces of Karma and Maya

Manthara represents negative tendencies or karma that distort perception.

Kaikeyi’s change of heart shows how even noble people can be manipulated when clouded by attachment or fear.

9. Forest Exile – The Inner Journey

Rama’s 14-year exile symbolizes the spiritual retreat from the distractions of society.

The forest stands for the inner world where the seeker confronts challenges, tests, and purification.

10. Return to Ayodhya – Moksha

The return of Rama to Ayodhya (his kingdom) symbolizes the soul’s return to the Supreme state after overcoming all trials.

Bonus Rahasya: Names Have Power

Ra-ma — "Ra" burns ignorance, "Ma" removes suffering. Even the syllables of Rama's name are said to carry transformative energy.

Sources of These Rahasyas:

Advaita Vedanta and Bhakti interpretations

Tattva Rahasya by Sri Ramanuja

Ram Gita (a teaching of Rama to Lakshmana in the Padma Purana)

Spiritual commentaries by sages like Swami Chinmayananda, Tulsidas, and others.

A beautiful and profound conversation between Lord Rama and Hanuman, known as Tattva Rahasya – the secret of ultimate truth – drawn from devotional and philosophical traditions (especially from the Adhyatma Ramayana, Padma Purana, and later bhakti commentaries).

Rama Reveals the Rahasya to Hanuman

After the war in Lanka had ended and Sita had been reunited with Rama, Hanuman bowed before the Lord, his heart filled with humility and devotion. Though the victory was grand and the world sang Rama's glory, Hanuman desired not celebration, but wisdom – the inner truth behind Rama’s divine play.

With folded hands, Hanuman asked:

 "Prabhu, I have seen your actions as a son, warrior, king, and husband. But I feel there is something deeper – a mystery beyond the story. Who are you truly? And what is the nature of this world?"

Rama looked at Hanuman with a gentle smile. In that sacred moment, he revealed the secret:

Rama's Words to Hanuman – The Tattva Rahasya

 "Hanuman, listen with a pure heart. I shall tell you what only the wisest of sages perceive through lifetimes of penance."

"I am not merely Dasharatha’s son. I am the unborn, eternal Brahman – the pure Consciousness that pervades all things. I take form by my own will, to guide beings lost in ignorance."

"Sita is none other than Maya Shakti, my divine energy. She appears separate, yet never truly leaves me – just as the shadow cannot leave its source."

"Ravana symbolizes the ego – powerful, learned, but blinded by desire and arrogance. When the ego abducts the soul (Sita), the divine must descend to rescue it."

"You, Hanuman, are Bhakti (devotion). You are the bridge between the soul and the Supreme. Through selfless service and love, you unite the scattered pieces of creation back to me."

"Lanka is the realm of the mind when ruled by desire. The golden city is beautiful on the outside, but it burns with inner restlessness."

"The forest represents the journey within – a time of trial and purification. Ayodhya is not just a kingdom – it is the state of inner peace, free from duality."

"My bow is knowledge, my arrows are discrimination, and my chariot is dharma. With these, I destroy the demons of delusion."

"Every event in this leela (divine play) teaches a path: the path of karma, jnana, and bhakti. But Bhakti – your path – is the dearest to me. For in love, the soul surrenders all."

 Hanuman’s Response

Hanuman, with tears flowing, touched Rama’s feet.

"O Lord, now I know your true form. You are beyond name and form, and yet you take form for our sake. Let me ever serve you, whether in this world or beyond. My joy lies not in liberation, but in serving your feet.”

 Rama’s Blessing

"Hanuman, you are dear to me as my breath. Wherever my name is spoken, your name shall be sung too. You shall live eternally, for your heart is my temple."

Summarized

Rama – the Supreme Reality

Sita – the individual soul

Ravana – ego and desire

Hanuman – devotion and life-force

The War – the struggle within

Victory – the return to the Self

This secret, the Tattva Rahasya, is said to liberate the listener just by contemplation. It transforms Ramayana from a historical epic into a map of the soul’s journey.

Hanuman Speaks:

 O Lord of Ayodhya, my heart’s true King,

I’ve seen your arrows, your bow, your swing.

But who are You beyond this tale?

What lies beneath the dharma’s veil?

The sages chant your sacred name,

But is there more behind this game?

Tell me, Master, clear and true—

What is this world? And who are You?

Rama Replies:

O son of the wind, so pure, so wise,

You’ve pierced the veil with seeking eyes.

The world sees Rama, prince and man—

But few can grasp the deeper plan.

I am not born, though I appear,

Not made of flesh, though I come near.

I am the Self, the changeless core,

Beyond all death, forevermore.

 Sita is the Soul:

Sita is the soul divine,

Entangled in the worldly vine.

Though ever mine, she seems apart,

As Maya plays her wondrous art.

When ego steals her from my side,

The soul forgets, is tossed by pride.

But know, Hanuman, she cannot fall—

For love remembers, after all.

Ravana is Ego:

Ravana stands with tenfold head,

Each head a craving never fed.

His strength is vast, his learning deep,

But still he falls from lust’s great steep.

For pride and passion, even dressed as wise,

Shall never reach the Self that flies.

You, Hanuman:

 And you, my child, are Bhakti’s flame,

The breath that chants my holy name.

Through you the bridge to me is laid—

With love and strength, it shall not fade.

No weapon wins this war inside,

But heart and faith, where truth does hide.

The Journey:

The forest is the seeker’s way,

The trials that lead the mind to pray.

Ayodhya is the peace within,

Where joy returns and doubts grow thin.

My bow is Knowledge, sharp and bright,

My arrows are the rays of light.

With Dharma's chariot, firm and still,

I ride the path of God’s own will.

Final Blessing:

O Hanuman, forever be

The light of love, the path to Me.

Where my name lives, so shall you,

For hearts like yours are ever true.

Let all who hear this truth awake—

This world is dream, this Self won’t break.

The Ramayana, to those who see,

Is not a tale—but You and Me.

5.6.25.

 

The idols were adorned with magnificent ornaments, including a 1,000-carat diamond, 30kg of silver, 300 grams of gold, and 300 carats of rubies, all donated by Mukesh Patel, a businessman from Surat.

Once-in-a-lifetime creation': Exquisite Ram Darbar unveiled at Ayodhya, new idols to last a thousand years.

A new spiritual milestone was etched in the holy city of Ayodhya on Thursday as the pran pratishtha (consecration) ceremony of the Ram Darbar was performed with grandeur and precision at the Shri Ram Janmabhoomi temple complex. Uttar Pradesh Chief Minister Yogi Adityanath attended the auspicious ceremony as the chief guest, underscoring its historical and devotional significance.

The Ram Darbar, established on the first floor of the temple above the sanctum of Ram Lalla, features exquisitely sculpted idols of Lord Ram, Goddess Sita, and his brothers Lakshman, Bharat, and Shatrughna, along with Lord Hanuman. The event marks the most significant spiritual moment at the temple since the Pran Pratishtha of Ram Lalla on January 22, 2024 — exactly 498 days earlier.

The consecration rituals were performed between 11.25 and 11.40am aligning with the auspicious occasion of Ganga Dussehra. Temple priests noted that the rituals coincided with a rare ‘Siddha Yoga’, enhancing the spiritual impact of the ceremony.

"This is a divine alignment. The pran pratishtha of the Ram Darbar in Ayodhya took place on the same day as that in Rameshwaram, symbolically connecting the spiritual geography of India," said Mahant Amrita Das, a senior seer associated with the temple.