Narayan
Gangopadhyay's Tenida stories (comprising of Tenida - Bhajahari Mukherji;
Pyalaram - Kamalesh Banerji; Kyabla - Kushal Mitra and Habul - Svarnendu Sen)
is immensely enjoyable, and worth reading over and over again. Tenida is depicted as the
local big-mouthed (loquacious) airhead (famous for narrating fabricated stories
of his so-called adventures), who, although not blessed with academic
capabilities, is admired and respected by the other three for his presence of
mind and honesty. He has "a large nose resembling Mount Mainak". The
narrator of the stories is Pyalaram, who seems to share his leader's frailty in
academic exertions; Pyalaram followed in Tenida's footsteps, having repeated
his final year in school for two years before passing matriculation with the
rest of the bunch. The other two characters that form an integral part of the
quartet are Habul Sen, who speaks with a strong Bangal or East Bengali accent
(Dhakai) and Kyabla, the cleverest among the four. (The suffix da used after Teni is short for dada (elder brother) which is used to
initiate conversations with an older male in colloquial Bengali. Tenida is the
leader of the quartet.) Pyalaram, the narrator of the stories, is timid and
suffers from a chronic stomach ailment. His unfavorite food items appear to be fish curry (a thin gravy of a wriggling fish of the catfish family). Kushal Mitra (also known as Kyabla) is the most intelligent, smart and brave
among them. Clever and a topper among his classmates (topping exams is a habit
with him), this handsome and dapper young man is the backbone of this group.
Tenida always looks up to Kyabla for finding solutions to tricky situations.
Habul Sen stands out in having an independent character - he is timid but not
as much as Pyalaram. (Habul knows to box). He is also a very good student
unlike Tenida and Pyalaram.
(Catfish: Named for their prominent barbels, which
resemble a cat's whiskers, catfish are nocturnal, and have no scales. In some
species, the mucus-covered skin is used in cutaneous respiration, where the
fish breathes through its skin. In some catfish, the skin is covered in bony
plates called scutes; some form of body armour appears in various ways within
the order. Catfish also have chemoreceptors across their entire bodies, which
means they "taste" anything they touch and "smell" any
chemicals in the water. A catfish is someone who pretends to be someone they're
not. To be the cat's whiskers means to be better than everyone else.)
Tenida yells "De la grandi Mephistopheles, yak
yak!" It is the signature Tenida whoop and signifies: there's light at
the end of every tunnel. In other words: Tenida's dimaag ki batti
has come up with something. Tenida is the leader of a bunch of inadvertently naughty adolescent boys. Bengalis have a word for para
bratulas: Rockbaj. Tenida and his bunch are ingenious, harmlessly mischievous.
Ghanada (Ghanashyam Das), a fictional character
created by Premendra Mitra, is a middle-aged, tall, gangly and thin character
with a treasury of unique stories that range from science fiction, adventure,
metaphysics, philosophy to historical events. There are several references to
the Mahabharata, and apparently Robinson Crusoe was a lady. (The suffix
"da" after "Ghana" means elder brother in colloquial Bengali.
Ghanada is also referred to as Ghanashyam-babu. The suffix babu in Bengali is
similar in usage to the honorific "Mr." in English). In most of his
stories, Ghanada himself is the amazingly wise, ingenious, intrepid, witty and
wily protagonist who visits different countries/continents to pit his wits against
sundry villainous characters, and successfully scuppers the best-laid plans. He
has even been to Mars. Ghanada is an all-purpose problem-solver, who has been a
witness to all the important historical events. The stories are wonderfully
embellished with a mix of wit, humour and satire. Ghanada has illustrious,
swashbuckling ancestors. (Some of the stories are about Ganado (Ghanaram Das)
in South America, and Bachanram Das in Agra in Medieval India, his ancestors.)
Ghanada is also an expert in swimming, fencing, wrestling, and boxing and other
miscellaneous sports and martial arts. Though depicted as a middle-aged person,
none quite knows his age. He is a very learned man, self-educated, and lives
frugally. His education is mostly due to time spent at the local libraries. He
has no family, is horse-faced and borrows cigarettes (from Sishir). Ghanada
occupies the chile kothar ghaar and has a mourusipatta aaram kedara. None else
can occupy the said kedara. Even if they do, once Ghanada appears, they will
have to relinquish, and make way for Ghanada. Shibu, Sishir, Gour and Sudhir
(the narrator) are the four young lads who Ghanada spellbinds with his stories
and who try to trick or please Ghanada in a variety of ways to cajole him into
sharing his delightful stories. Ghanada never admits to any unconditional help.
If required, he only borrows and keeps count (including Sishir’s cigarettes).
Premendra Mitra's fictional character Parashar Barma
is a detective, though he tries to be a poet. Detective Poet Parashar. There
are stories involving Ghanada and Parashar, e.g. Parasharey Ghanadaye. (Who
really was Maharshi Parashara? Bheeshma/Maharshi
Veda Vyasa? Who really was Satyavati?)
Sharadindu Bandyopadhyay's Byomkesh Bakshi is
Satyanveshi (Seeker of Truth), while Baroda is a ghost-hunter. In Byomkesh O
Baroda, the two characters meet.
Satyajit
Ray's Gupi Gyne Bagha Byne depicts the adventures of Gupi and Bagha. The series
is based on the characters Gupi Gyne and Bagha Byne created by his illustrious
grandfather Upendrakishore Raychowdhury. The stories revolve around Gopinath
Gyne (Gupi), the son of an impoverished grocer Kanu Kyne, of (village) Amloki and Bagha Byne (Bagha) of Hartuki. (Kanu - a
variant of Kanha?) Gupi, a simpleton and not very bright (at least that's how
he comes across), wants to become a renowned singer but has a hoarse voice.
Persuaded by a bunch of village elders (who intend to banish him) to sing for
the king, he does so and is banished from Amloki on a donkey for waking the
king (Kumbhakarna analogy?) with his terrible singing (of Bhairavi ragini). The
lazy king calls him "gadha" (tritiya suur aar shastha suur) and breaks his
taanpura, much to the amusement of his equally indolent courtiers. Exiled into
a forest, he meets Bagha, another seemingly unremarkable exile from nearby
Hartuki. Bagha has been banished into the forest for playing a drum badly. They
start singing and drumming, initially to keep a tiger away, and in the process
attract a group of ghosts who are fascinated by their music. The king of
ghosts, impressed by their simplicity, grants them three boons.
Gupi Gyne Bagha Byne was a phenomenal success. The versatile Rabi Ghosh (as Bagha Byne) was a scene stealer. However, Tapen Chatterjee as Gupy Gyne was a revelation. His performance was a joy to behold. Ray would have been overjoyed. Tapen Chatterjee had always emphasised that he would
be remembered for and as Gupy and that's just what he desired. "I don’t need to
perform in any other role," he's learnt to have once commented.
Kiriti Ray. Niharanjan Gupta's fictional character is Sherlock Holmes-esque and features in eighty odd stories. With a long coat and hat, and a pipe hanging from his
lips, he is reminiscent of Holmes. He also carries a magnifying glass with him most of
the time. The stories have a sense of adventure. Kiriti is handsome, six and a half feet tall, fair, bespectacled, clean-shaven; his curly hair is mostly combed back.
Col. Niladri Sarkar. A very popular fictional character. The retired colonel is an eccentric sleuth. A lazy journalist, Jayanta, who accompanies
him on his adventures, narrates his stories. The colonel is a butterfly
collector, orchid enthusiast and ornithologist, smokes pipes and has a Santa
beard. He is also jovial and likes quoting Bengali proverbs and nursery rhymes.
Pandab Goyenda. Adventure stories, immensely popular among the younger lot. The Pandab Goyenda is a set of five youngsters who go about solving
mysteries. Possibly inspired by the Famous Five by Enid Blyton.
Funny adventure tales featuring a bunch of endearingly
mischievous, academically disinclined lads. Immensely enjoyable.
Narayan Sanyal's popular Kanta series featuring Barrister P.K. Basu. (Prasanna Kumar Basu, Bar-at-law). The author refers to him as "the Perry Mason of the East", perhaps to offer a hat-tip to Erle Stanley Gardner, since he was inspired to create Basu from the Perry Mason series of detective stories. (Perry Mason is an attorney (defense lawyer) who
specialises in defending seemingly indefensible cases. Gardner depicts Mason as
a lawyer who fights hard on behalf of his clients and who enjoys unusual or
difficult cases. His motivation is to prevent the miscarriage of justice. He possesses outstanding courtroom skills and uses ingenious, unusual tactics, which eventually turn out to be legally sensible [thorough, logical, or justifiable].) Narayan Sanyal adapted the stories to suit his readership.
(A hat tip is an act of tipping or doffing
one's hat as a cultural expression of recognition, respect, gratitude,
greeting, or simple salutation and acknowledgement between two persons. In Western
societies of the 19th and early 20th centuries, a hat tip was a common
non-verbal greeting.)
Rijuda. Somewhat bohemian, a poet's temperament, a romantic at heart. Adventure stories featuring
Rijuda and his assistant, Rudra.
Indranath Rudra. A thinly-veiled imitation of Byomkesh Bakshi.
Arjun, a handsome young fictional detective character created by
Samaresh Majumdar, is very popular among young readers. The stories have a sense of adventure, one of the reasons for their popularity.
Young Ray at Shantiniketan (Visva Bharati University).
Gurudev Rabindranath Tagore was a multifaceted magnificence: a
man of many talents; a versatile/creative genius; a legend; the first Nobel laureate of Asia (and the first non-European to be awarded the Nobel Prize). He combined in himself a creator
of sublime poetry, a prose writer (a writer of short stories and novels),
playwright, lyricist, composer, a director-choreographer, a prolific painter, essayist, educationist, a genuine
science enthusiast, a social reformer and
scholar. He was a humanist, a great intellectual (philosopher, thought leader, a man of progressive thinking and a litterateur),
and a rare and great personality. His poems brought lyricism, elegance and
freshness... but they are impossible to translate (into English) however
much one tries. Anyone who has had the
experience of soaking in the magic of Tagore's lyrics will vouch for this. He had a voracious mind. He possessed an extraordinary
depth of knowledge and could hold his own on a variety of topics/subjects.
Tagore's translations into English are like embroidery seen from the back. Many
of his poems are actually songs, and inseparable from their music.
Rabindranath Tagore, fondly known as Rabi Thakur, was
born into the Jorasanko home of the prominent and much-respected Tagore family
on 7 May 1861. His parents: Maharshi Debendranath Tagore and Sarada Debi. (The
Tagore's had ancestral gentry roots in Jessore.) Maharshi Debendranath Tagore
was a well-known philosopher, social reformer and philanthropist. Tagore's
grandfather, Prince Dwarkanath Tagore, one of the first Indian industrialists
and entrepreneurs, was the founder of the Jorasanko branch of the Tagore
family. He was part of (what is known as) the Bengal Renaissance, and is
notable for his successful efforts towards social/religious reform (e.g. the
abolition of the obnoxious 'custom' of widow-burning). Because Debendranath wanted his son to
become a barrister, Tagore enrolled at a public school in Brighton, East
Sussex, England in 1878. (He briefly read law at University College London).
However, after a brief stay in England (1878) to attempt to study law, he
returned to India, and instead pursued his passion (as a playwright, story-teller, lyricist,
composer, poet, philosopher and educator). Tagore was a creative genius. His
poetic creativity tells a lot about this Renaissance man. The variety, quality
and quantity are unbelievable. Tagore's poetry is
not mere phrasal dexterity or tuneless ditties, rather it is genuine passion
felt in the heart's deep core; it is refreshing to say the least. His gift of
lyricism and verse shines through. It is like a draught from a pure spring, or a
spiritual oasis in a desert of poetic wasteland. Tagore was a South Asian, but his perspective (cognitive orientation) transcends into
universalism. He was a world citizen by his
perception. Thus, his poetry with its message of harmony, universalism and
humanism is ever-relevant. And harmony, balance and integrity are what Gurudev
has consistently focused on... through his considerable oeuvre. Elements of
Indian classical music has been integrated in an extremely intelligent and
effective manner in his magnificent songs - Rabindra-sangeet (songs penned by
Rabindranath) - which embodies a mesmerising fusion of his musicianship and
poetic genius.
Tagore showed a keen interest in scientific knowledge and discoveries. He also emphasised on education - knowledge and
intellectual curiosity (as opposed to learning by rote). He held that proper teaching does not explain
things; proper teaching stokes curiosity. Tagore was forward-looking, a modern educator. (He
did not like learning by rote or mere textbook education). He was not narrowly
[or selfishly] nationalistic either, he did not believe in intellectual regimentation, etc. He saw
himself as an inheritor, representative and expositor of India's ancient
heritage (civilisational values and ideals). His writings constitute the best
commentary on his life. These reveal him as nothing else does. The Universal
Bard (Bisvakabi) is to be found in his poems. Tagore's vast legacy of creativity,
intellectual freedom, relentless striving towards inner perfection, harmony amongst
people and harmony of people with nature, to delight in and appreciate
the small things (the simple joys and pleasures), the
unbounded joy of life which has discovered its own intellectual
and moral ability [especially by knowledge] - these are a priceless and
everlasting gift to India, and indeed, to the world.
'Aamar Je Shhob Ditay Hobae': link.
(ArdhaNarishvara - the syncretic form? Two halves
of the same consciousness? Half of one's soul? In simple words: better half? ... The concept of
ArdhaNarishvara is that Shiva and Shakti are integral to each other, signifying
two aspects: the male and the female, the masculine and the feminine. Thus,
Shiva and Shakti are non-dual and inseparable. (Ardha: half, nari:
woman/feminine). ArdhaNarishvara (the syncretic form) represents perfect
synthesis. The right half is usually
the male or masculine aspect, Shiva. This is the Shiva half. (It perhaps
symbolises the best of masculine traits, qualities, characteristics, attributes
or emotions). In Shakta ArdhaNarishvara, the dominant right side is female. Shakta
is derived from Shakti worship or Shaktism. Shiva - the good or the auspicious - is also an
adjective or a quality, and thus Shiva could be an honorific. There are many
Shiva-s. Even Nandi or Nandikesvara is equated with Shiva. Nandi and Vasuki – one and the same? So,
humankind has had the opportunity to see the great Vasuki not too long ago?)
Tagore was a remarkably handsome figure with intense and penetrating eyes and cerebral looks, an intellectual luminary who
possessed an inner charm... that emerges in his inspiring words and his
lyrically unequaled songs. (Rabindra-sangeet enjoys the blissful alliance of its lyrics along with music.) Tagore emphasised on cultural, scientific and social exchange between all peoples. He envisioned an India imbued with the noblest of her ancient civilisational ideals: that of acceptance, exchange and the striving for human perfection through a loving and reverential appreciation of nature. Many decades ago, Tagore encouraged the idea of
reforestation (Vriksharopan, tree-planting
ceremony) at a time when there was no such thing as nature conservation, climate change, and so on. (In 1928, Rabindranath turned the tree-planting
ceremony into a festival to be observed every year.) Tagore's life as a litterateur was dedicated towards cultural rapprochement; as a humanist and universalist, his message of Asian fellowship (fraternity, united for common purposes) was a cautionary note vis-a-vis the myopia of narrow, selfish nationalism. He also cautioned against the approach of negativism called lethargy, ignorance and the lack of intellectual engagement. Tagore never deviated from his dharma, which was poetic creativity, collaborative reflection and intellectual engagement - exchange of thoughts and perspectives - to convey and bring forth a more substantive awareness, insight, sagaciousness and understanding. (Absence of scholarly engagement, even informal ones, gives rise to ignorance and a cursory, superficial understanding.) Even in his later years, Tagore still rose long
before dawn to witness the birth of each new day, and he still wrote fluently
in his own hand. He liked to make extensive corrections. His artist's eye for his handwriting was revealed in
the simple artistic leitmotifs embellishing the scribbles,
corrections, etc.
Scores of writers and intellectuals (including
the legendary Chilean poet Pablo Neruda), and millions of more common folk,
were touched in due course by Gurudev's creative genius. Tagore had assimilated the scientific spirit, he had a
deeply rational and curious, inquisitive mind. He [also] strove for and advised freedom of
thought, to unshackle the human mind from every possible limitation and
regimentation. For Tagore (and J.C. Bose) science did
not signify a mechanistic understanding of facts, abstractions and
formulas, but rather a broader interpretation, a
wider perception of the universe. Tagore regularly interacted with the
scientist/genius-polymath Acharya Sir Jagadish
Chandra Bose. His book on science, Vishva-Parichay, is
dedicated to the scientist Satyendranath Bose. He also had extensive
conversations with other leading scientists of his time, such as Albert
Einstein, on the nature of reality and causality in Germany in 1930, and with
Werner Heisenberg, the discoverer of the famous Uncertainty Principle of
quantum physics (and, along with Albert Einstein and Niels Bohr, one of the giants of
modern physics). Heisenberg came to Calcutta in 1928 to meet Tagore,
and they had long conversations about science and Indian philosophy. Tagore and
Einstein had the most stimulating, intellectually riveting conversation amidst
a broader discussion of the intellectual renaissance of India (in the early
twentieth century). The conversation moves between previously examined
definitions of science, beauty, consciousness, and philosophy in a masterful
meditation on the most fundamental questions of human existence.
Rabindranath, the tall, handsome, young man, dressed in dhoti, kurta and shawl, was nothing like a powerful,
oppressive or uncharitable zamindar. Instead, he formulated methods for social
and economic change. (He put up a small centre-cum-library for a
village, but it went unused. He engaged a
teacher, but the pupils stayed away on various pretext. Efforts to develop
cooperative farming, common water supplies and road-building also went in vain
because of apprehension (among the people) that someone would get greater
advantage. These and other experiences led him to formulate an approach that
emphasised community responsibility and transformation of individual
consciousness at all levels through education and involvement of common people. The peasants who stood to gain from his initiatives were also sometimes distrustful and over-cautious, which meant that Tagore [and his team] had to fight a battle for hearts before they could achieve anything.) Tagore understood what disease, hunger, the lack of education and mental stagnation could do. His rural reconstruction efforts [therefore] included
numerous educational, cultural, health and developmental initiatives (including
self-help programs). He put forth a rural programme (Rural Reconstruction
Centre), which included merging villages into regional units, under reliable
leaders, which would include schools, workshops, granaries, cooperative stores
and banks, as well as common meeting places for recreation and the settling of
dispute. Tagore also endeavoured to revitalise and reorient the traditional
festivals of rural Bengal by not only inculcating the artistic and cooperative
spirit among the villagers, but by also giving it a socio-economic
significance. The rural programme covered four general
areas: agriculture, crafts and industries, village welfare and education. There were branches for diary, fishery,
poultry, horticulture, sericulture and animal science. Achievements: greater crop output, soil
reclamation and reforestation, upgrading of livestock, measures against epidemics, creation of cooperatives, revival and creation of cottage
industries, establishment of schools and higher rates of literacy, and so
forth. An important function of the village welfare
section was rural health, which like the other initiatives, began on a small-scale. When the first dispensary was opened, there was a shortage of personnel and medical
facilities for treating vast numbers of patients. Later, co-operative health societies were organised in which villagers
took out membership qualifying or allowing them to a limited amount of free treatment. By 1933, three health cooperatives had been
established in three different villages. There was an anti-malaria programme. Considerable gains were also made in the area of
preventive medicine as drains were opened up, tanks disinfected, and quinine distributed and smallpox vaccinations administered. A group patterned after the boy scouts/girl
guides was responsible for many of the health initiatives. The most successful cooperative, in terms of
fighting rural indebtedness, appears to have been the Visva-Bharati Central
Co-operative Bank, started in 1927, which had 236 Agricultural Credit Unions
attached to it. (Tagore realised, peasants would never have the means to
invest in cottage industries or in better seeds and fertilisers, if they were to remain mired in debt). Economic research and rural surveys were also carried out by
the welfare-section. There was some attempt at land distribution, at least in
the early period. Educational initiatives were implemented at all levels. By
1929, there were night classes for children and adults unable to attend day
school in twelve villages, and one day school for girls. The curriculum included
basic literacy, math, crafts and recreational activities. Pioneering work in
adult education was carried on through various activities. There was a rural
circulating library - the first of its kind in Bengal, which contained 1500
books by 1940. There were also training camps, jatras (folk-plays) and melas
(fairs). An early form of distance education too was initiated through a society that
organised home study and examinations for persons who could not attend school. One of the most notable and successful
educational projects was Siksha-Satra ("where education is
given freely"), which began in July 1924, after six destitute boys were
placed under the care of the Institute. The learning framework - created by Rabindranath,
Elmhirst (an agronomist) and Santosh Majumdar (an energetic and able member of Elmhirst's team) - reflected a more practical adaptation to village life of the
Santiniketan ideals such as natural environment, character development, learning through creative activities, and development of social
responsibility. Some of the basic assumptions underlying the Siksha-Satra
experiment was that the programme should give maximum scope to the child's
imagination and that the child should learn by doing and by experimenting (instead of
merely textbook examination or parental conservatism or excessive discipline). The revival of cottage industries and crafts had
been a major objective, it sought to revive and
create local industries, initiate new artistic designs and skill development. In the craft area, training centres were set up
to restore local industries and crafts such as carpentry, lacquer
work, raw silk production, pottery, cane-work, tailoring, embroidery, batic
work, book-binding and so forth. (In 1929, a mechanical workshop was set up, and
training was offered in mechanical drawing, lathe work, and wood and
metal turning.) Silpa-Bhavan (Institute of Craft and
Design) was begun on a small-scale in 1922 with the goal of providing
vocational training to village apprentices and providing crafts training to the
students of the academic departments of Shantiniketan. Silpa
Bhavan (with its emphasis on economic returns and increased marketing) proved
to be one of the most economically successful, and it became a self-supporting/self-sustained unit in 1937. Celebrated painter Nandalal Bose was
instrumental in the area of craft design. In 1930, he founded
a handicraft cooperative associated with Kala-Bhavan, to help
improve the economic life of the artisans. From the beginning, the rural project was
one of cooperation. Visva-Bharati was a centre of academic
excellence once. Tagore excelled at collaboration. And this [perhaps] enriched
Visva-Bharati too. (Excellence is not the accumulation of marks.
That's merely textbook education or learning by rote. Excellence is about
original thinking (fresh perspectives, innovative thinking), creativity,
scientific progress, innovation and research. None of which have a narrow
scope.)
The heart of the country, Tagore repeatedly said, lay in its villages
and no real progress could be achieved without alleviating rural
poverty. He spent long hours with farmers discussing seeds,
fertilisers and insecticides, installed a sugarcane-processing mill,
experimented with the cultivation of potatoes, tomatoes, corn and silkworms,
introduced tractors in a land tilled only by ploughshare until then, tried out
the latest findings of agricultural science, ran a rural bank for 20 years that made available
loans to peasant entrepreneurs at reasonable rates, and did his best to
encourage cottage industries to alleviate poverty in the countryside. Tagore had a keen interest in cooperative farming. He
realised that the hopelessly fragmented landholdings did not provide the best
conditions for modern methods of farming and the creation of wealth. ("... if landholdings cannot be brought together under
cooperative farming, there can be no progress in agriculture. Trying to farm
fragmented holdings with the ancient ploughshare is like pouring water into a
leaky pot.") He tried to convince his peasants into setting up a
cooperative model of farming, but the initiative did not make much headway. (The peasants [who would have benefited from such an initiative] were sometimes over-cautious about new methods, etc.)
Schools, hospitals, roads, drinking water, cottage
industries, scientific methods of farming, a rural bank for loans at reasonable
rates – no aspect of rural development was lacking in the vision of this unique
"zamindar". No work was too mundane for him; there was nothing that he could
not set his mind to. He scrutinised the books of accounts with great care
and personally supervised all the civil suits that his estate had to contend with,
becoming in the process an expert in the finer points of law. The zamindari was not for him a means to create
wealth to be spent on luxuries, but an opportunity for service. Tagore repeatedly said that the heart of the country
lay in its villages and that no real progress could be possible without the
development of agriculture and alleviation of poverty in the countryside. He also came up with a programme wherein a "adhyaksh," or manager, was entrusted with the
task of engaging the people to repair roads, ensure continuous
supply of potable water, resolve disputes without resorting to litigation,
establish schools, and set up a granary as a buffer for
famines. Half of the funds for these works were raised from the
people, the other half was provided by the estate. Each group/unit made its own
budget and was aware of how much money was being spent. It sought to create an economic and social space for economically impoverished peasants that would allow them,
with formative/productive help from the landlord, to take charge [responsibility] of their lives in a
meaningful way. This initiative did not meet with a lot of success, however, wherever it was successful, it soon resulted in new roads, a free
dispensary, schools, and the flourishing of cottage industry
initiatives.
Tagore repeatedly made known his objection to the
politics of boycott, especially with respect to education and
universities. He did not [also] approve of the manner in which swadeshi groups led by over-enthusiastic youth went about enforcing their
political agenda of boycotting British-made goods. Indeed, Tagore was clearly able to foresee the negative mindsets it could create and the animosities it could
inspire. In "Byadhi O Pratikar" he had written: "... For a community that builds its religious practices on
a culture of hate, for people who believe themselves to be damned if they so
much as drink water offered by a neighbour, who preserve their caste purity by
humiliating others, the fate of being humbled in turn is inescapable. We
[Hindus] have prepared the way for our own damnation, created hurdles that
prevent progress, and once we have fathomed this truth beyond a shadow of
doubt, we must resolve to save ourselves and our country. Save from whom? From
the consequences of our own sins. Is it only by the strength of their own might
that the British dominate the country so completely today? It is our own
weaknesses that provide them their strength" (a rough translation).
Tagore had many talented detractors. Eminence has its own charm. It evokes jealousy, envy, etc. It infuriates the intellectually unremarkable (small-statured) and the prodigious
alike. However, when the Nobel Prize was conferred on him, the
very same detractors scrambled to demonstrate their admiration by heaping praises on him and by organising ceremonial functions in his honour. Tagore, who had borne all the humiliation and calumny in silence, [also] took this as an opportunity for some plainspeak. ... The Tagores were Pirali Brahmins, a so-called degraded (socially demoted) class in the priestly hierarchy. The Tagores' entry was banned in the Jagannath Temple, Puri. A Pirali was one whose caste had been tainted by wilful or inadvertent interaction with people of other religions, mainly Islam. The Tagores' 'stigmatisation' owes its origin
to an event during the Mughal era. An ancestor of the Tagores', it is said, had a
land dispute in the district of Jessore (now in Bangladesh). A Revenue official, Amin, called him for
mediation. The ancestor of the Tagores' went... and smelt beef, which was
being cooked in the kitchen. Smelling was considered equivalent to
half-eating. So the Tagore 'lost his caste' for half-eating the beef. The 'stigmatised' Tagores [thereafter] came to be considered as
Pirali Brahmin (after the Amin, Pir Ali Khan), and [thus] suffered some discrimination for generations not excluding Rabindranath. Their immense achievements and accomplishments in education, scholarship, art and culture, social welfare, trade and commerce remained unsurpassed. And yet... Such is orthodoxy. Such is herd mentality. What envious or unenlightened minds are capable of... we
cannot even begin to comprehend by applying our today's sensibilities. How
society was even a few decades ago we cannot even begin to fathom, what to say
about grasping the full significance of the efforts made by various people
(individually and collectively) to improve the situation. ... The ones who created science and scientific
progress like Satyendra Nath Bose, Jagadish Chandra Bose, Srinivas Ramanujam
etc deserve our gratitude. And the ones who struggled against a whole lot of
retrograde/regressive aspects/ignorance (perpetuated under the garb of religion and 'customs') and
were able to successfully dilute them, and/or were able to do away with them
altogether, deserve our everlasting gratitude. Their contribution is much
greater than the freedom struggle. Else what kind of nation-state India would
have been? It
is because of them and their efforts and accomplishments that it is a better, perhaps more enlightened society, and our [collective, societal] sensibilities
are much different/improved too.
Tagore
was a creative genius and a prolific one at that. However, (unlike now-a-days) there
wasn't much of a readership, many technological innovations were yet to happen,
the publication scenario was very different, so the royalties from his books
etc was insufficient. And so, he had to make a lot of effort (stage
performances, songs, lectures etc) to raise funds to realise his vision. The
Nobel Prize amount too was used for this purpose, though the prize
money then cannot be compared to what it is now. Tagore, however, did have a few dedicated people who persisted in their efforts. The obstacles [ignorance etc] they came across were considerable, but they also received constant encouragement from Tagore, who believed that one must put one's heart and mind into the effort to win over people's hearts, then all hurdles can be overcome. And that, it is not possible to have everyone on one's side when one is attempting to do something different or beneficial (for the larger good), but the people should be made to understand that one completely deserves their respect, that all the efforts are dedicated to their welfare and betterment. If this can be achieved, then all obstacles can be overcome.
'Aami Bahu Basanay': link. (No coarse materialism (inordinate attachment to
material things or sense objects). No overweening (immoderate, excessive,
arrogant, presumptuously conceited) or selfish/self-seeking ambition. Someone who has selfish ambition is motivated to
further himself or herself or attain certain goals/objectives that would only
or specifically benefit themselves, regardless of how it affects others. No half-hearted goals or [insincere, tepid, unenthusiastic, perfunctory/indifferent/superficial] effort. Good karma.) This everlasting song of Geetanjali was composed in 1907.
'Maayabanabiharini Harini': link. (Deer is imagery for destiny, bhagya-vidhaata. Lord of
destiny, the arbitrator of destiny or the dispenser of destiny (based on efforts
and endeavours, values etc). Maayabana = Vrindavaan. The whole world is the Leela-Kshetra
of the Leela Purusha-uttama, the highest Avatar, greatest of all beings).
'Bisvasathe Joge Jethaye': link. (ArdhaNarishvara? Joge = In Confluence. Communion. Prayaga.)
'E Manihaar': link. (The Nobel Prize medal or Kaustubha-mani?)
'Anek Katha Bolechhilem': link. (Memories).
Today is Holmes' 161st birthday. (6 January 1854)
Excellence is not the accumulation of marks.
That's merely textbook education or learning by rote. Excellence is about
original thinking (fresh perspectives, innovative thinking), creativity,
scientific progress, innovation and research. None of which have a narrow
scope. History is very interesting. However, history textbooks are soporific,
and subjective history is unhelpful. The Aryan Invasion theory is fictitious.
And yet, there is no shortage of narratives etc endorsing it. There is a need to emerge
out of the rote-learning mindset and question history objectively. This will
bring about clarity. The selfishness, myopia, ignorance, lack of comprehension,
inanities or excesses of people cannot be ascribed to the Sanskrit language or
to the divine. Curiosity and objective thinking is required. There is a need for reform, a reform of mindsets. There
have been scientific, artistic and literary achievements (in the distant past
and even in more recent times). These should be discussed and brought to the
fore in a manner that does not stretch credulity, dilute their academic
credibility, or give scope for amusement. Well-written books etc will be
helpful. (However, the ancients studied the scientific achievements and
discoveries of other civilisations. Therefore, it may not be correct to say
ancient Indians came up with all that). Similarly, books on the Indus-SarasvatI
Civilisation should be truly scholarly, engaging and well-researched. ... The
criteria for a great civilisation or culture is knowledge, wisdom,
open-mindedness, ability to learn, unlearn, adapt and evolve organically,
academic achievements (including creative aspects, ability to do original
thinking, cultural achievements and pursuit of excellence), health and hygiene
aspects, literacy levels, refinement of manners and languages(s), civic sense,
cuisine, attire, customs, festivities, etc.
The mayan calendar evokes curiosity. Could it be that it
is not understood very well? Perhaps it meant transformation, re-energisation –
events that will bring about a complete [progressive] turnaround?
(Vishnu AnantaNaga – the eternal, endless or the
imperishable one, also one whose mind has expanded infinitely. SheshaNaga (Śeṣanāga) is
one of the primal beings of creation, and is sometimes referred to as
Ananta-Shesha. This
imagery is Adisesha or Ananta-Shesha.) SheshaNaga is depicted as five-headed or
seven-headed. If we consider the Vishnu imagery, SheshaNaga forms a canopy
above Vishnu's head. Can it be inferred from the imagery that
SheshaNaga attempts to appear greater [more influential, etc] than
Vishnu (AnantaNaga)? Boastful? Self-admiring? Usurper? Pretender? SheshaNaga forming a canopy above Vishnu's head could [also] imply that as part of the leela (events through with lessons and values are
imparted), Vishnu will not be in a stronger position
vis-à-vis Shesha? Thus, Vishnu will (in a manner of speaking) seemingly [superficially] remain under the
[metaphoric] dense shadow of Shesha. The latter will [therefore] be excessively controlling, domineering, manipulative, duplicitous
etc? High-handed behaviour? Attempt to limit the
limitless (sort of straitjacket)? Belittle? Induce a feeling of disquiet or apprehension? Coercive and crafty? (Essentially, Shesha embodies all vices in humankind.)
Ramesses II (also known as Ramesses the Great
and alternatively transcribed as Ramses and Rameses Riʕmīsisu; also known as
Ozymandias in the Greek sources) was the third Egyptian
pharaoh of the Nineteenth dynasty. He is often regarded as Egypt's greatest,
most celebrated, and most powerful pharaoh. His subjects called him by the
affectionate abbreviation "Sese". Ramesses was born around 1303 BC and at age fourteen, he was appointed Prince Regent by his father Seti I (son of Ramesses I and Queen Sitre. 'Seti' means "of Set", which
indicates that he was consecrated to the god Set (or "Seth"). Ramesses is believed to have taken the throne in his
early twenties and to have ruled Egypt from 1279 BC to c. 1213 BC. The early part of his reign was focused on establishing cities, places of worship and monuments. He established the city of Pi-Ramesses
in the Nile Delta (on the ruins of the city of Avaris, which was [also] the location of the main Temple of Set). Almost every temple in Egypt was redecorated or
rebuilt. At Karnak, the most holy of temples, a field of 134 columns were
carved, each 69 feet tall and shaped like papyrus trees. Ramesses two great
loves - his chief queen, Nefertari, and himself. At the young age of 13 she married the 15-year-old
Ramses II, who would come to be famously known as Ramses the Great. Ramses
II celebrated his love for her with monuments and poetry dedicated in her honour.
The many honorifics ascribed to her attest to the esteem Ramses held for her and
the various roles she undertook in her function as queen. (While
it is quite certain that she had roots in Egyptian royalty, much
speculation still surrounds her actual lineage. Some scholars have even
suggested that she might have been the daughter of King Seti I, the father of
Ramses II and therefore his half sister. It
was not unusual for royalty to marry within their own families (to ensure dynastic continuity). Nefertari and Ramses' own daughter, Meritamen,
allegedly went on to become Ramses' Great Royal Wife after Nefertari's demise c. 1254 B.C.) Nefertari is one of the best-known Egyptian queens, next to Cleopatra, Nefertiti and Hatshepsut. Her lavishly decorated tomb is the largest and most spectacular. Ramesses also
constructed a temple for her next to his colossal monument. There's also some poetry written by Ramses II
on the walls of the burial chamber. The
tomb of Nefertari with its magnificent wall painting is regarded as one of the
greatest examples of ancient Egyptian art. The astronomical ceiling represents
the heavens and is painted in dark blue, with many golden five-pointed stars. A
large opening with paintings of Osiris and Anubis interrupts the east wall of
the antechamber.
All this is somewhat reminiscent of Emperor Shah Jahan. However, what could the genesis of Ramesses/Ramses/Rameses be? Could it be a reference to Shishupala (Sisupala)? Could it be a variant of Ramasheesh or [perhaps] Ramsheesh? A reference to Ramchandra ('the dark side of the moon')? A reference to Ananta-Śeṣa? Or a reference to ŚeṣaNaga? (Naga is honorific for evolved beings [intellectually evolved or enlightened souls] due to kundalini-energy.) SheshaNaga forms a canopy above Vishnu's head. Head = Sheesh, from Sanskrit: shir, shirs, shiirsh, shiirssh. (Sita is Sri Rama, the Rama-avatar). Rama Rajya = Rama Civilisation. It probably
encompassed wide swathes of realms and may have been a coalition of sister
civilisations, including the ancient Miṣr Civilisation. (On a side note, one is a little curious [however] about
the Rama in Rāmallāh and the Rama in Ramazaan. Azaan means thanksgiving, to
show gratitude.)
"Ozymandias" is a sonnet written by the
English romantic poet Percy Bysshe Shelley. It is regarded as one
of Shelley's most famous works. The essence of "Ozymandias" is about
the inevitable decline (and fadeout) of all rulers and of the empires they
build with their pretensions to greatness. (Ramesses II constructed the Ramesseum, a memorial
temple, to dispense tales of his greatness. The Ramesseum, his "temple of
a million years", was a place of worship dedicated to pharaoh, god on
earth. He probably [also] used diplomacy, temples, papyrus
scrolls, monuments, statues (dedicated to himself) and endless propaganda to
become the legendary figure he so desperately wanted, to become the greatest pharaoh of the New Kingdom, Ancient
Egypt's Golden Age). In particular, one massive fallen statue
at the Ramesseum is now inextricably linked with Shelley, because of the ornamental tablet
on its shoulder bearing Ramesses's throne honorific, User-maat-re Setep-en-re,
the first part of which Diodorus (a Greek historian) transliterated into Greek
as "Ozymandias". While Shelley's "vast and trunkless legs of
stone" is more poetic language than archeology, the "half sunk... visage"
lying on the sand is an accurate description of part of the statue.
"Your idol is shattered in the dust to prove
that God's dust is greater than your idol." – Gurudev Rabindranath Tagore.
Rainbow is called Meghdhanush, Ramadhanu or
Indra-dhanuSha in Sanskrit. It symbolises hope, optimism, positive aspects. Sunlight is white light that is composed of all the
colours of the visible spectrum. A rainbow is proof. One cannot see the colours
of sunlight except when atmospheric conditions bend the light rays and create a
rainbow. One can also use a prism to demonstrate this. Light appears colourless
or white. White is also the colour of fresh snow. White light contains light of
all frequencies. In that sense, white is a combination of all colours. Thus the
sum of all the colours of light adds up to white.
BG
10.31: || pavanah pavatam asmi rāmaḥ śastra-bhṛtām aham || ~ "Of
harbingers of positivity I am the wind (pavana: a breath of fresh air, like a healing zephyr) and among the
warriors, I am Rama" ~ i.e. "warrior" against negativity
(proverbial negative energy) in the hearts and minds of humankind viz., retrograde or
obsolete mindset, intellectual ennui, indifference, ignorance, vainglory,
arrogance/conceit, torpor, selfish aspects, pessimism (despondency, hopelessness),
prejudices, and the like. 'Of purifiers (to de-clutter) I am the wind (pavana)'
= a breath of fresh air (like a healing zephyr ) = dispeller of negative energy, and harbinger of
positivity. ... Rāmachandra comes from the
Sanskrit Rāma, which means: black, dark; Chandra means: moon (in
Sanskrit). Therefore: Ramachandra means: the Rāmamoon (black/dark + moon; the dark side of the moon, implying unenlightened mind). Maybe Rāmachandra aka Ravana was dark-complexioned. From what we can gather, Ravana was dark-hued, implying unclean
mind and heart. The
word "black" or "dark" could suggest various concepts that extended
beyond the physical colour of skin, including a wide range of negative
connotations (characteristics, attributes etc). Was Ramachandra
Othello-like?
Fueled by Othello-esque permeating jealousy? Rama (pronounced with a long final vowel 'a' - Ramaa) means
"rejoicing" or "blissful,
pleasing" and is used for Sridevi. With two long
vowels 'a', Rama (pronounced Ramaa) is an honorific of Sita. Sri is indicative of Lakshmi (Sanskrit: lakṣmī.) She is known as Sridevi. Sri = radiance,
good fortune, prosperity [both material and spiritual]. Lakshmi comes from
LaKsh, derived from the Sanskrit word 'Lakshya', meaning 'the Aim'. It is
indicative of unwavering focus or concentration towards achieving the larger goals and objectives. (Incidentally, Lakmé is the French pronunciation
for Lakshmi.)
Ramachandra's salilasamadhi implies Red Coral Gemstone or Moonga, also known as
Munga, Praval, Vidruma, Mirjan; Pola, The coral tree, Abdhijantu, Being of the
ocean. Coral is not a mined stone or mineral, but an organic
gemstone. Some may not see coral as a real gem. (Coral is a calcareous natural
accumulation of the coral polyp – a tiny invertebrate that is found in quiet
waters at depths ranging from 20 to 1000 feet. Coral is also known as aragonite
when found in the lining of seashells and is counted as a calcite by
mineralogists. Precious coral or red coral refers to Corallium rubrum
and several related species of marine coral. Red corals grow on rocky
sea-bottom with low sedimentation, typically in dark environments - either in the
depths or in dark caverns or crevices. The original species: C. rubrum,
formerly Gorgonia nobilis). General attributes: initiative, vitality,
vigour, (turns inactive persons into active ones?), good health (helps improve
blood pressure related health issues, useful in curing health issues related to
muscles and bone marrow), physical strength, ambition, perseverance, aggression
(rhinoceros-like?), forcefulness (dominance, rapid advancement and success – without hurdles),
energy, confidence and activity (to bring events or tasks to completion),
material success, bravery and ability to stand strong in challenging
situations, dominance of adversaries and competitors (a conqueror of
adversaries), capability to face and solve
circumstances and problems and ability to take risks. There is also the ability
to put own desires above those of others. Red coral may also help overcome marital problems. Red coral protects against mental depression, bad
dreams and lightning, removes complexes/nervousness, apprehensions/anxiety and
intense reverence/veneration (Pandu aspect?). It also helps improve concentration
(by overcoming distractions, unpleasant associations, propensity to use physical force, etc).
Emotionally agitated to the point of loss of self-control? A true coral or moonga changes colour according to the physical well-being of
the wearer. It fades before the abnormality in physical health is noticeable and resumes
its original colour when physical health is restored. (Implying: an incorrigible opportunist? chameleon-like?) What could the Loch Ness Monster imply?
SheshaNaga is Andhaka (implying unenlightened mind, fixed mindset - rigidity in thinking, emotions and behaviour, resistance to change, inability [or perhaps refusal] to change one's set way of thinking and behavioural aspects, refusal [out of negative pride, over-confidence, vainglory or conceit] to learn, unlearn, adapt and evolve), who later became Bhringi
Rsi, the sage with three legs. The Ramayana has two Rama. One
is Ravana (also Kumbhakarna, Vibhisana, Ramchandra). The other is Sri Rama
(Sita). Vishnu (the Mohini-avatar) is Sri Rama (Sita). Vishnu (Sri Rama) was
married to Ravana (Ramchandra). Ravana is SheshaNaga. Perhaps what certain
cultures say "false god". (Perhaps we have been glorifying the wrong Rama). Vasuki is
the proverbial unique/divine gem, Kaustubha-mani, adorning the neck of Vishnu.
It implies Guru-Ratna, Yellow Sapphire Gemstone (foremost among the nava-ratna, the
fabled "nine gems", the proverbial vajram or VajrapāṇI). SheshaNaga is Red Coral or Moonga. ... Nandi and Bhringi are
antithesis of each other. They are poles apart. Meru means spine. Thus, Nandi (Vasuki) is Sumeru, and Bhringi (Shesha) is Kumeru (a negative person, ignoble, spineless - selfish and pusillanimous; lacking the temperament, mindset and spine for longer-term and continuous
struggle required to change retrograde or obsolete mindsets, to re-energise society, to bring about attitudinal change, to bring about organic transformation. Trishanku-like.) The
approbatory prefix "su" resulting in the meaning "excellent
Meru" or "wonderful Meru", or maybe "auspicious Meru". (The avatar is the force behind Vasuki, but Shesha is on his own.) However, before re-energisation commences, i.e. before the
allegoric commencement of a new maha-yuga beginning with Sat/Satya/Krita Yuga,
Vishnu probably "dissolves" the eternal adversary Shesha, since Shesha personifies
all the negative, unpleasant or ignoble (adharmic) aspects of ghor kaliyug
phase – the lowest phase in the intellectual and spiritual evolution of
humankind. Hence it is euphemistically known as the 'Iron Age of
Ignorance/Confusion/Stagnation/Decay'. (Vishnu "dissolving" Shesha = voiding,
negating, nullifying.) Thus, 'Satyameva Jayate'. 'Truth stands Invincible' or 'Truth
always prevails'. (SheshaNaga symbolises all vices [in human beings]. Truth =
AnantaNaga (who represents sattvic or dharmic aspects - principles/ideals/values and
karm-yog, steadfast effort/endeavours for the larger good, for the betterment
of societal aspects/values/mindsets, for the improvement of humankind). ... Truth is
[essentially] a reference to the Eternal Divine, the divine power – to whom all
of humankind prays. God is god for all of humankind, despite different
languages, festivities, imagery, iconography and so on. God cannot be monopolised. God does not discriminate. The Almighty has always
been there and shall always be there, thus is referred to as the Truth (Sat or
Satya, Purusha-uttama Satya). This explains Sat/Satya/Krita Yuga. The highest Avatar (the Eternal
Divine in human form) appears at the cusp of two maha-yuga (epoch).
There is Ninda Stuti, wherein large numbers of people
hurl the choicest profanities and opprobrious language at Jagannath.
The essence behind this could be that humankind needs to let out negative energy,
since its accumulation within their hearts and minds will have a deleterious
influence on them and [thereby] on societal aspects. It will bring about a
civilisational decline (through a decline in individual and societal values, behavioural aspects, mindsets etc). However, who to give all the negative energy to? Other
people cannot take it. But God can. So give it to the divine (symbolised by Jagannath).
This is probably indicative of the Neelkanth aspect, the
allegoric 'blue-throated one': the dispeller of
negativities/negative energy.
Draupadi is the Krsna-avatar. She is also known as
Krsnaa and Panchali (adept at playing the proverbial game of chess or dice,
muddling the mind). The five Pandavas = Pancha Kanya = various aspects of Draupadi/Panchali.
The highest Avatar is likely to have a human identity. Avatars are unlikely to
carry equipment per se. So everything that is depicted through iconography has
allegoric connotations. Shuka and Sari is the allegoric bow and arrow of Shiva.
The one who is Vishnu is also Shiva is also Brahma, is also Durga/Parvati is
also Rudra, is also Kalika (Kali, Mariamma), is also SarasvatI, is also Rama, is also Buddha, is also Mary (Christ), so
on and so forth. (This is self-explanatory. The Vishva-roop, the Universal Form, encompasses everything.)
The Krsna-avatar is said to have been resting under a
Peepal tree when the hunter's arrow hit on the left foot. This [allegoric]
hunter, Jara, was [very likely] SheshaNaga. Karna aka Satyabhama. The Avatar
merely smiled and disappeared, discarding the physical form, while Jara wept
copiously over it. (Jara = feverish, implying abnormality in physical
health = unpleasant or ignoble aspects = an allusion to Shesha.) The Avatar appears for a specific purpose: to set the
stage for the next maha-yuga to manifest, to offer a mirror to humankind, to put a face and a voice to the myriad iconography, honorifics etc, and
for the purposes of leela. Therefore, even when the avatar disappears, no
prefix or suffix is used. The changeover from one Maha-yuga (epoch) to another becomes possible by the coming of the Maha-avatar, the yugavatar. (The avatar disappears only when the avatar intends to. Arjuna/Vasuki is unlikely to have been informed though, for obvious reasons: link. 'Mone ki dwidha': link.)
As per the proleptic Julian calendar, Krsna's appearance day is July 21, 3228/27 BC. Krsna is
believed to have departed on 18 February in 3102 BC (in the proleptic Julian
calendar). This, as per the popular notion, is taken to imply: that Kaliyuga
began from midnight of 18 February in 3102 BC. However, since the highest
avatar appears at the cusp of two maha-yugas (epochs) it would signify the
commencement of a fresh epoch (of four phases, which can be depicted through
the imagery of a fresh bloom, kali). Thereafter, there has [also] been the
advent of the Buddha-avatar. This could provide some understanding of epochs.
(There is no multiplicity of avatars in a narrow sense; it is merely different
honorifics, for different challenges and situations, essentially for the
purposes of comprehension).
Rukmini (possibly Prince
Rukmi) and Satyabhama (possibly Karna) are considered as the consorts of the Krsna-avatar. However,
Rukmi, being a vassal of Jarasandha, is unlikely, since he did not want to
antagonise Jarasandha. But did a marriage happen, that did not last too long? In which case the notion that Vedic marriages were airtight may be incorrect. (Between
Rukmini and Radha, Radha's position is much higher.) Satyabhama is said to have
been arrogant and proud, shallow, egotistic, imprudent, selfish, rude and
haughty (bossy, vain), and excessively materialistic (in a negative sense), strong-willed
and given to tantraums/sulking. So the Krsna-Satyabhama equation may have been a
superficial/pretend relationship (maybe even a transactional one, perhaps),
despite Satyabhama's boast (to the contrary)? Krsna remained a quiet
witness to all of Satyabhama's drama but rubbed salt into his [negative] ego during
the tulabharam (weighing by scale). Satyabhama who had immense pride in wealth
could not outweigh Krsna. Whereas a single leaf of the sacred Tulasi on the
scale (tula) – put by Rukmini did. The story of the Tulsi leaf placed by
Rukmini being worth more in weight than that of Satyabhama's wealth enunciates
the significance of Tulsi and how a humble offering to God is greater than any
material wealth. (Satyabhama was the offspring of Satrajit, the royal treasurer
of Dvaraka.) BG 9.26: || patram pushpam phalam toyam yo me bhaktya prayacchati tad aham bhakty-upahritam asnami prayatatmanah || ~ "Whosoever offers Me a leaf, a flower, a fruit or water - with love, devotion or a clear consciousness [prayatatmanah, a clear manas], I will accept it." ... This implies that the Avatar appreciates the thought behind the gesture, not the offering itself.
Alexander could not cross the Indus region, and
so, he could not have fought with Chandragupta in what is now Bihar. So where
is the real Magadha? Yamuna could be a metaphor for ancient Persia. Krsna was a
Shurasena Yadu (Megasthenes' Sourasenoi). The Shuracena Yadus can be identified with the
ancient clan (lineage) of Harikula or Harivansh. The Sarakenoi or Saraceni (late Latin
Saracēnus or late Greek Sarakēnos) could actually be the Shuracena Yadus,
alongside the Vrishni. Or they might have been two branches of the Vrishni (a
clan with a Zebu bull insignia/totem). Where is the real Mathura (Megasthenes'
Methora)? Was Magadha also known as Prachya (Praesii or
Prasioi to the Greeks)? Where is the real Pataliputra (Palibothra to the Greeks)? Where was Acharya Chanakya really from? Are the Buddha and Chanakya one and the same? (Acharya is honorific. It means: one who teaches through one's own behaviour [acharan] - i.e. one who leads by example. That is the mark of a true guru. However, Acharya can also mean: one whose actions/behaviour [acharan] is befitting an Arya). Chanakya was a problem-solver, a change-maker, a strategist, a brilliant
political scientist, a leadership guru and a master economist. Whatever
Chanakya did was for the good of the people. The
Acharya possessed a great depth of character, large-hearted wisdom and
magnanimity. Chanakya looked towards the future, and did what was best. Exhibiting the power of an
enlightened one - the knower of the Bhagavad-Gita, Chanakya achieved the unachievable - given the
circumstances and given the magnitude of odds and challenges. ... To work out an amicable solution when all seems
haywire/precarious - it is only the power of Chanakya that can pin-pointedly
give an effective solution. What if Siddhartha Gautama
and Acharya Chanakya were to be one and the same?
Satyajit Ray was a rare genius. In "Gupi Gyne Bagha Byne" (The Adventures of Gupi and Bagha),
Gopinath Gyne (Gupi) of (village) Amloki was banished from Amloki on a donkey
for waking the king (Kumbhakarna analogy?) with his terrible singing (of
Bhairavi ragini). The lazy king calls him "gadha" (tritiya suur aar
shastha suur) and breaks his taanpura, much to the amusement of his equally indolent
courtiers. Magadha. Gadha. Taanpura is very similar to the veena, associated with SarasvatI, the goddess [personification] of the Indus and the presiding deity of the celebrated Sindhu-SarasvatI Civilisation. (Sindhu = Indus in English). SarasvatI is the repository [source] of
enlightened wisdom and knowledge; the vast unfathomable reservoir of timeless
wisdom, knowledge, inspiration and consciousness, and is [thus] revered as a
perennial knowledge stream. Feluda's Gyanpeeth. She is [also] the deity of knowledge, wisdom,
literature, creativity, music, arts, culture and eloquence.
Most of the holy or sacred places are [perhaps] not part of the
landmass now known as India. Also, the events etc of the epics are unlikely to
have happened within the realm now known as India. The Avatar is the personification of the earth, but has [very likely] never been part of
the landmass now known as India.
'Maharaja! Tomaare Selam': link (from Gupi Gyne Bagha Byne). A benevolent king appoints Gupi Gyne and Bagha Byne as court musicians. There is a butterfly (Prajapati). Brahma is referred to as Prajapati Brahma. Brahma is depicted as an ancient person, immensely learned and knowledgable. BG 10.33: ||
dhātāhaḿ viśvato-mukhaḥ || ~ "and of creators (also: support/dhātā, ruler, arbitrator) I am
Brahmā". Lord Brahma is also the harbinger/initiator/creator (metaphorically speaking) of a new epoch (maha-yuga). Prajapati = ruler, sovereign - of the universe, Lord of Creation. (Brahma, the Creator = Professor T. Shanku. Lord Brahma is the Primordial Being [the most ancient; jyeshtha, older than all.] Brahma is the permanent authority of the universe, the motive power and guiding force behind the mathematically precise universe.)
Sanaatan
Dharma is not a religion (not what we understand as religion today, nor organised religion). It is a term of [perhaps] much recent vintage –
essentially to indicate a way of life whose essence was to be in harmony with
nature and to make constant efforts for inner perfection, to become a better human being. Hinduism is a term that came about in the nineteenth century. ... There
were numerous feudatory states, principalities, kingdoms etc who did not have a
common language, and were [also] antagonistic to each other. There were
constant battles fought amongst them. (What effect did all this have on the economic
well-being of the populace?) There
was no Hinduism either. There was different languages, stories and fables, some festivities, some rituals, etc. Therefore, it cannot be said that the people followed
Hinduism. What we understand as India is of much recent vintage. Hindu is a
term that has evolved from Sindhu, the river – courtesy the ancient Persians.
Hindu essentially indicated areas around the Indus River. This region [especially the lower Indus region] was also known as Brahmavarta (realm of Brahma; realm of enlightened, cultured people - who devoted their time in the pursuit of Brahm, knowledge; this is the region from where the Vedas, Books of Knowledge, came from). In
a manner of speaking, Boudhya Dharma (the way of the Buddha, the Enlightened
One or the Wise One) predates what we now understand as Hinduism. However, where is the real Kapilavastu?
After
the fragmentation and [eventual] shrinkage of the celebrated Indus-SarasvatI
Civilisation, due to myriad manmade and environmental factors, there has been
migration - both eastward and westward, in phases. Therefore, most Indians [very likely]
are the descendents of the ones who migrated towards the Gangetic basin. So, a
few millennia ago our forbearers [probably] came from the realms around the
Indus River? They would have brought with them their way of life, language(s), creative aspects, festivities and knowledge, elements of cultural expression, etc (which would have gradually evolved). They would [also] have been intellectually and physically quite different
from the indigenous people (including the adi-vasi people). There was no religion as such; it was a way of life
– the essence of which was to be in harmony with nature, and to strive for inner perfection. These were the Arya people. (Aryan is incorrect). Brahmavarta (Realm of Brahma) was also Aryavarta or Aryavarsha, realm of the Arya people, realm of noble-minded or sattvic people who followed a pattern of life based on noble values and ideals. Varsha = continent, in Sanskrit. Perhaps implying realm. (As the population
increased there may have been competition for social influence. With the
assimilation of the concept of temples (and idols) from the Greeks, emerged the priestly class,
and later on, the rigid social hierarchy.) Some realms of the landmass now known as India
may have been part of the Indus-SarasvatI Civilisation. However, with the
migration of the Indus (Arya) people, the Civilisation (in a manner of speaking)
expanded.
The one who is Vishnu is also Shiva, is also
Brahma, is also Rudra, is also SarasvatI, is also Durga/Parvati, is also Krsna, is also Rama,
is also Kalika (Kali, Mariamma), is also Mary (Christ), is also the Buddha, so
on and so forth. Instead of Lord Shiva we can also say Shivani (for the purposes of comprehension). Brahma is Brahmi or Brahmani. Vishnu is Vaishnavi. Mariamma could be Mariam, which later became Mary? Amma or Ma is a respectful honorific. Therefore, Kalika = Mary. (Shiva - the
good or the auspicious - is also an adjective or a quality, and thus Shiva
could be an honorific. There are many Shiva-s.) Due to the 'masculinisation' of the divine, 'She' has been written/mentioned (talked about/referred
to) as the generic 'He'.
Vasuki has a magnificent
gem (Nagamani, the rare Naga Maanikya), on his head. Possibly implying intellectual aspects: vast
knowledge, wisdom and rare intellect. Or does it imply intellectual intimacy, a
meeting [confluence] of minds? So tightly woven together, it's almost the same
thing? Vasuki is Shiva's Naga, and is famous for coiling around the neck of Shiva. Shiva blessed Vasuki and wore him as an ornament (Kausthubham analogy? Vasuki = Kaustubham or Kaustubha-mani? Guru-Ratna? Yellow Sapphire Gemstone. Devaguru Brihaspati? (Refer Part-II). Vishnu (the Preserver, Stabiliser and Maintainer aspect of the Para
Brahmn/Almighty) is also known as Kaustubha (one who wears the Kaustubham. It is symbolic.) Kaustubham
is the unique/divine jewel believed to be adorning the neck of Vishnu. Therefore,
Vasuki = Kaustubham? ... VasukiNaga curled three times around the neck and looking towards
Shiva's right side. The three coils of the Naga symbolise the past, present and
future - time in cycles. Vasuki looking in the right direction of Lord Shiva
signifies that the Lord's perpetual laws of reason (wisdom etc) and
justice (empathy, progressiveness, dharmic ideals/values,
open-mindedness, positive aspects, etc) preserve
natural order in the universe (Brahmaanda, the 'Cosmic Egg'.) Shiva wearing Vasuki like an
ornament is also indicative of the latent spiritual energy, called Kundalini
Shakti, which exists within. (Omkaara, PraNavaH Naad or
praNavaH nAda = Shabda Brahmn, possibly the voice of the Primordial Being (Para Brahmn/the Almighty). It could be a
reference to the voice of the highest avatar (Svayam Bhagavan, Purusha-uttama). Is the same applicable to Vasuki?)
VasukiNaga
curled three times around the neck and looking towards Shiva's right side. The
three coils of the Naga symbolise the past, present and future - time in
cycles. This could imply: there is a common thread that runs through the past, present and future
(kal, aaj aur kal), the ongoing stream. The past and the future have a common term: kal. History repeats itself if humankind is unable to learn the right
lessons from the past (from history). Therefore, introspection is necessary; it
helps bring clarity. Stagnation (especially intellectual
laziness or stagnation) is deleterious for a people and thereby for a
society/civilisation (since behavioural aspects, attitude, mindset,
thought process etc shape up the societal aspects/values/attitudes). Open-mindedness is necessary. Evolution is necessary, inevitable. The Vedas say, Charaiveti, Charaiveti. Keep moving. To continually seek and keep moving towards the eternal quest (knowledge, enlightenment, creativity, self-improvement, Self-realisation, etc). Progressive change/organic evolution
is inevitable. This advice is timeless. (Gautama Buddha too used these
words as a message to the world to keep moving.)
Halahala is euphemism for negative energy in
the hearts and minds of humankind (which in turn results in negative human
karma, unpleasant behavioural aspects). If negative energy (despondency, indifference, ignorance, lethargy, torpor,
pessimism, prejudices, avarice, selfish aspects, narrow-mindedness, myopia,
retrograde/regressive/obsolete mindsets, etc) accumulates, it will be
deleterious for humankind as well as for societal aspects/values (since
individual mindsets, values and behavioural aspects affects society). "Most
people believe the mind to be a mirror, more or less accurately
reflecting the world outside them, not realising on the contrary that
the mind is itself the principal element of creation." - Rabindranath
Tagore. Shiva, the Supreme Yogi, is also known as Nīlakaṇṭha - the
blue-throated one: one who accepts halahala for the good of humankind. (The halahala analogy is similar to Ninda Stuti).
"I want to know God's thoughts; the rest are details." - Albert Einstein. (Thought waves?) Nicola Tesla, the extraordinary scientist and
inventor, who specialised in the field of electricity and is father of
electricity, as we know it today, said, "My brain is only a receiver. In
the Universe there is a core from which we obtain knowledge, strength,
inspiration. I have not penetrated into the secrets of this core, but I know
that it exists." Tagore's 'Mor Binaa Othhe': link. ("Two souls with but a single thought, two hearts that beat as one." - John Keats. ... Unlike SheshaNaga who is on his own, Vasuki can (if and when the need arises, in a manner of speaking) be influenced by AnantaNaga. Thought waves. Brain-to-brain communication. From Gyanpeeth to Vasuki's brain. 'Aamar Byala Je': link.)
Some of the things mentioned in the epics
(through metaphors etc) could be about the future. There is mention of the
naagpaas and Rama breaking the Shiva-dhanusha. Nagpaas could be an allusion to
very potent nerve agents, etc - that could [also] have long-term detrimental effect - both
genetic and environmental. Kumbhakarna probably can [also] be considered as
humanoid-robots (with a variety of hi-tech
weaponry). Similarly, Shiva-dhanusha could also be euphemism for nuclear weaponry. (Rama
breaking the Shiva-Dhanusha = dismantling of such weaponry, after an all-round
consensus, so as to protect the earth and human civilisation therein.) ... There
could be evolved humans elsewhere in the universe. The ancient texts refer to
higher realms (whose inhabitants are technologically, intellectually and
spiritually much advanced), middle realms and lower realms (who inhabitants are
given to materialism and self-gratification (materialistic sense gratification),
are technologically much advanced than those of the middle realms (earthlings or inhabitants of the middle realms), but
spiritually impoverished). All this probably gives the Eternal divine (the
Almighty) an insight into how a kalpa (maha-yuga, epoch) could
turn out to be (well into the future), how humankind will evolve, what kind of technological
discoveries etc is likely to happen, and so forth.
The middle realms could be lit
up by artificial lighting, and not by the rays of the sun. Their inhabitants could be more
materially opulent than those of the middle realms. Also,
the inhabitants of these realms could be attached to intense material enjoyment;
they could [therefore] be spiritually very low (unlike the inhabitants of the higher
realms who are far more
advanced – technologically, spiritually and knowledge-wise than those inhabiting the other realms). Through good karma (accumulation of good karma over many manifestations) and right inclination (of the mind as well as spiritual), one can ascend to the Spiritually advanced
Higher realms; through okay-ish karma, indulgence of senses and
unbridled desires, one can descend to the Spiritually deprived but Materially
advanced Lower realms. And
through really really really bad (prarabda karma), one may have to suffer in one
of the Hellish realms. (Materialistic
does not imply actions alone; it signifies an attachment to things/aspects (e.g.)
indulgence of the senses (intense sense gratification). Spiritual
inclinations, on the other hand, do not focus on ritualism or sense pleasures... but the eternal bliss (spiritual ecstasy, true contentment) of
"Self-realisation" (Sat-cit-ānanda - Refer Part-III). Thus, spiritual inclination is considered superior. Besides
earthlings/humans (Manava) there could be other advanced humans (evolved humans and/or humanoids) inhabiting
the middle realm; they could be a few maha-yuga (epoch, kalpa) ahead of earthlings, some of these realms probably have perpetual Sat/Satya/Krita Yug or Treta Yug. ... Performance of
copious amounts of good karma (non-selfish actions resulting in the betterment of societal aspects etc) would "wash off" any (carried over) prarabda karma (bad, negative
karma), thereby giving the jiva-atma (human soul or individual soul) a clean slate and/or
a positive amount of good karma. (Karma
is not comeuppance or retribution; it is an opportunity to redeem oneself.) Good (positive) karma
is essential to overcome bad (negative, unpleasant) karma. By
continuing on this path, sakama karma (selfish karma, due to expectation of fame, glory, encomiums etc) becomes nishkama karma (selfless actions), and thus a jiva-atma (human soul or individual soul) can move
upward – i.e. gain entry into the various Spiritually advanced Higher realms
and finally into the eternal Vaikuntha realm. This is perhaps implied by "moksha" (to emerge out of the constant karmic cycle, the constant cycle of samsara - of birth and re-birth, and to become a truly evolved soul). Such souls [evolved beings/evolved humans] were perhaps termed "Deva" (divine beings or enlightened souls) by the ancients. Thus the
Earth-realm could be sort of a launch-pad from where one can reach the other realms - based on one's karma. (Karma is, however, constant... no matter which realm a soul may reach. Through the accumulation of negative karma or by becoming
attached to material enjoyment [indulgence of senses and unbridled desires,
etc] - an evolved soul can degrade into a lower position of a human,
or even to the Lower realms again.)
This ancient seal could be an early depiction of ArdhaNarishvara - the syncretic form: Two halves
of the same consciousness; half of one's soul. (While there can be many soulmates, there can only be one twin soul.) This seal depicts a syncretic form - that of a unicorn and a bull. There is also a fish glyph. Unicorn (eka-shringa or one-horned horse) is imagery/symbolism for rarity or uniqueness. It could symbolise the Hayagreeva-avatar, the horse-headed or horse-faced Vishnu. The bull is imagery for dharma (dharmic/sattvic/noble ideals, values, principles, ethics, justice etc - thoughts and actions befitting an Arya, a noble-minded person, someone adhering to worthy values etc). A zebu [Zebu Bull or Brahma Bull] sometimes known as humped cattle or
Brahman is a type of domestic cattle originating in South Asia. They are
characterised by a hump on their shoulders, drooping ears and a large dewlap. Zebu
is well adapted to withstanding high temperatures (maybe some allegory is involved here: difficult situations etc?). In India it is considered as
the contemporary representation of Nandi. The hump is like the top of a
snow-capped mountain. (The zebu bull may symbolise the leader of the herd.) Nandi (sometimes referred to as Nandin, Nandikesvara or Nandisvara) is often portrayed in images with a robust frame, tall horns and a
loud roar. (Meghnaada analogy? A voice like rumbling thunder?) ... There are many Shiva. Nandi is one of them. Nandi is known for his simplicity. He is Siva's primary 'vaahan' and
is also the principal gana (follower) or foremost disciple of Shiva. Nandi is
the mind dedicated to Lord Siva. The lord (Shivani = Parvati) was also very fond of him and trusted
him completely. Nandi is also the chief guru of
eighteen masters. (Guru-Ratna? Devaguru Brihaspati? Kausthubham analogy? Nandi = Vasuki = Kaustubham or Kaustubha-mani? Guru-Ratna? Yellow Sapphire Gemstone. Devaguru Brihaspati?) Nandi is very knowledgeable and represents the
passion and love of Siva for humankind. Nandi conveys Siva in every sense; he conveys
the presence of Siva and stands for Siva. Nandi is invariably found sitting
right in front of the sanctum sanctorum in every Shiva temple either near the
idol or facing the image from a distance. Nandi is sometimes also placed at the
entrance of Shiva temples in a sitting or standing posture. (Nandi
is Shiva's watchman. Nandi = Nanda Maharaj = Yashoda = Radha = Sampaati. Possibly Shakuni. Nandi is Shiva's trusted associate, well-wisher, protector, defender, caretaker. Nandi is Bheeshma, who chose to seal his lips rather than compromise (betray) Satyavati (AnantaNaga). Nandi (Vasuki) and Ananta (Vishnu etc) = the proverbial bow [the fabled Pinaaka] and arrow of Rudra-Shiva. VasukiNaga's thoughts and feelings vis-à-vis AnantaNaga Vishnu is very clear from Tagore's verses. After all, he is the great Vasuki.) In most mythologies, the bull is an embodiment
of masculine strength, virility and power. This applies to Nandi (in a positive sense); he is a
humble and respectful powerhouse, chivalrous and a gentleman. (He [therefore] represents confident masculinity). Nandi is the embodiment of strength, respect,
restraint and surrender to the divine, and is [therefore] considered one of the
main symbols [insignia] of Shiva. (Krsna is Varshneya, 'of the Vrishni' - possibly a clan with a zebu bull totem/insignia.) Nandi is revered as the symbol of correct
motivation and dharmic aspiration. Only by imbibing and perpetuating these
personal attributes can every aspect of divine law [dharma and karm-yog]
flourish. Nandi, the constant associate of Lord Shiva, symbolises the
metaphysical ideal in the natural, physical form. (Nandi, as a boy was as bright as the sun [implying kundalini-energy?] Since this son of Sage Shilada would make everyone
happy, he was known as Nandi. One day while ploughing the land, Shilada
discovered a baby boy on the blade of the plough. This is very similar to the
Janaka-Sita story. Nandikesvara is said to have emerged out of the right side
of Vishnu resembling Shiva exactly and given as a son to the sage Salankayana. Salankayana means 'Vrishabam' (the great/divine bull - Vrishabha, imagery for dharma. However, Salankayana = sa + lanka + ayana. What could this imply? Could Salankayana be a reference to Sita?). Another story says that Daksha Prajapati offered the divine bull to Shiva. Dakshayani Sati (a form of Parvati) is the
daughter of Prajapati Daksha. (Shiva = Shivani, a reference to Parvati/Durga, the unvanquished or the invinsible one. Sati is the feminised version of Sat/Satya). Therefore, Daksha could imply Himavat (also called Himavant, Himavaan, Himacala and
Parvateshvar) - a personification of the Himalaya Mountains (also known as the
Himavat Mountains) and the father of Parvati. He was the ruler of the Himalaya Kingdom of
Ancient India. Thus Parvati is also known as himAcala tanaya or himalaya-putri. | The fish glyph: matsya-avatar, the first avatar of the Dasavataar? (Joi Baba Felunath, featuring Feluda, Jatayu and Maganlal also refers to matsya). The matsya-avatar = ArdhaNarishvara (Maanikya, the Gem of the Sun, and Guru-Ratna)? Could it also imply the fabled nava-ratna or "nine gems" - the proverbial Vajram or Vajrapani? (Refer Part-III). 'Aamra Natun Jaubaneri Duut': link. Unshackling or unfettering of the mind, of
intellectual aspects, of repression or straitjacketing of thoughts, to transcend barriers, etc.)
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