Near Perfect Pic

The one I found on the internet. The anonymous sculptor's effort is note worthy

Tathagath, Siddharth, Gautam, Sakyamuni,Bodhisatva, Buddha. From a prince to a disillusioned king to a vagabond and then to a God.

Book reading or anything

Why are some books easy to read while others are difficult to complete. Without loss of generality, compare Jeffery archer and Frederick Forsyth or to make my point more clear let us take Sidney Sheldon and Orhan Pamuk. I am not trying to draw these writers into my silly comparisons, but perhaps you would understand the point I am not trying to say. A passing thought is like a shooting star, it ends as soon as it begins, and we are left trying to make sense of it. One passing thought makes me write something like this. Some books are indeed unappealing to us because we are not in a good mood or because we do not like the subject, the story or the style of prose. But I am talking about the ones which we like and still are not able to complete. To many readers, a Jeffery archer book can be completed in one sitting or in maximum two sittings. Why? Because the plot is engaging and keeps their interests alive till the end. It satisfies the curiosity of outer layer of our brain immediately. However reading the book of the other kind becomes a challenge. Understanding what is written, what is emphasized requires more labor. In some way, it is like probing deeper into layers of our brain and trying to prepare a report card for our brain.

The prospect of which brings fatigue within us.

Reading is as much an art as writing. Completing an interesting piece which is difficult may require one to be in a trance, and be switched off to everything else. Like a doped recluse trying something all by himself.

The actual comparison then, is between the different layers of our mind. It is very natural to extend this beyond the subject of book reading. I think it is about the effort required to contrive sync between the task at hand and one layer of our mind. The one which is obvious and strikes rhythm with our outermost layer is most tempting and serves instant understanding. We require more effort to break into a different level of harmonic. I know that what I have said is nothing new, but just that I again wrote about warp and woof of our thought process.

Haldighati-II

Mann Singh , kunwar ( prince) of Amber was one of the nine gems of King Akbar and he was the bravest general at Akbar's disposal.Still, Mann is not spoken in the same breath as the Rana is , by the people. Mann 's sister was married to Akbar and thus Akbar had control of his province. In fact, Akbar had married Jodhabai to annex Mann's region into his empire and Mann Singh had easily given in , to escape the fate of other Rajput rulers who had themselves crushed by the mighty Akbar's army.Mann had no autonomy thus.

At the behest of Akbar, Mann Singh, the prince of Amber, goes to Rana Pratap's place.( Rana Pratap Singh is the king of State of Mewar) on the pretext of having lunch with him, and to ask Rana to give up his protocol and submit to Akbar. Pratap Singh does not chose to dine with the slave of Akbar and sends his son prince Amar Singh for lunch. He also follows the protocol of sending the prince to have dialogue with another prince and does not find it fit that an independent king should dine with a prince. The real reason , of course is his disapproval of Mann Singh's submission and lack of self-pride. Now Mann Singh and Rana Pratap are of same generation and relatives. Mann realizes that Rana is trying to avoid him. He directly brings the point. This enrages Amar Singh. He ridicules Mann Singh and his cowardice.Rana now comes into picture and reprimands Mann Singh and asks him to leave Akbar instead. Taking this as a personal insult, he leaves the lunch and goes hastily, saying that they will meet in battlefield.

The news spreads like wild fire in whole of northern india and rajasthan. Akbar orders Mann's Singh to get his troops ready. He also asks his troops under Abdul Rahim Khaninkhana ( Rahimdas, well known snippet writer) to get ready.The troop comprises of Turks and Afghans.

Situated in Mt Abu, not far away from Udaipur, is the most beautiful temple of India, in terms of architecture and concept. The Dilwara Temple, treasured huge wealth collected in form of precious metals and their jewelery.It is one of the most sacred temples for the Jains. With the unanimous consent of people of Mewar, this wealth was given to Rana to be used for battle exchequers, to prepare armours and weapons etc. More was contributed by the general people. Everybody realized the significance and the dire situation they were facing by not giving in to the demands of the Monster sitting in Agra.

Rana quickly combines his army with the bhils of the region and they plan to attack the Mughal army from three sides. Abdul rahim backs off, just prior to the battle, realizing that he is fighting a noble person and partially saves himself from the blot which the history is to put on the Mughal Empire.

The Mewar army divides itself in five parts, two parts were on each of the side of the hill, one part was to block the path lest the mughal army starts retreating. This part would attack once the Mughal Army comes into the ravine, or the ghati. The frontal attack is divided into two parts.

Mann Singh's army comes in, and it already outnumbers the Mewar army. Yet they are surprised by the sudden and strong assault from all the four sides and they panic.Legend has it that Bhama shah and Rana himself are such ferocious fighters that enemy troops are panic-stricken.Rana wearing 14 kilo armour and on Chetak,the super quality horse looks dangerous.Everyone in the land knew of chetak and his affection and faith towards his Master.The local people say, Chetak was very crucial to Rana's war skills and his agility.The mughal army quicky goes down in numbers and morale. They send the message to the turks and Afghans stationed outside the battle field.

And so the huge army of mughals comes in, and this is where numbers begin to matter.The battle slowly but steadily is turning in favour of Akber. Realizing that if something is not done quicky, the battle would be lost, Rana marches with chetak putting its front legs on the head of Mann Singh's elephant and Rana throws his lance. Mann would have died but for the loyal mahout who takes the assault on hinself and saves his master and dies.

If only the Mahout's loyalty had been more towards self pride and motherland, there could have been a different history.

While coming down the elephant's head, one of the fore limb's is seriously injured by the sword tied to the tusks. This becomes a turning point of the War. With Chetak injured, all on the side of Rana realize that battle cannot be won that day. Rana himself is mentally broken seeing chetak's injury. Jhala Singh, able commander of Rana forces him to leave the field. He wears on the armour of Rana and masquerades himself as Rana meanwhile. Chetak understands all this and takes his Master on back and runs tremendous speed fast for 5 kilometers and crosses a brook to take his Master to safety and dies immediately after landing across the brook. Chetak Smarak in Udaipur is to commemorate his valliant effort. Poems and local snippets have been written, and songs sung, to honour chetak.

For the brief battle of Haldighati, the Mughal army had suffered heavy loss, and Rana had left a lasting impression. He might have lost but had won the hearts of his people and enemy alike.

Haldighati -I

(mann singh, pratap, jhala singh, chetak,mahout)

There are very few occurrences in our history which are as defining as battle of Haldighati. This was said to have taken place in 1576. It brought the best out of the society, helped us identify what was right and wrong, and provided new dimensions to ethical behavior, self-pride and courage.

Nathdwara is a small habitation ,if i am not wrong,some 46-48 kilometers away from Udaipur. It holds immense significance to Hinduism because of Sri Nathji Temple. From Udaipur , first comes Delwara, then Eklingji. I have been lucky to tread that road many a time. ( another very sentimental temple for Hindus, specially Shivaites.) People of Mewar worship Eklingji as a god of course and also as a the current owner of the throne of Mewar.

Geographically , ancient Rajputana was divided into four regions and thus four lanquages, Mewar, Haroth, Marwar, Mewat. Most significant being Marwar and Mewar. The region of Mewar chiefly comprising of Udaipur, Kumbh, Chittorgarh. I have been fortunate enough to visit all these places.Now,along that road which runs from Udaipur to Nathdwara, there is a left turn, nearer to Nathdwara. That turn leads one to Haldighati, a dry area, of hills and ravines.

Turning back the pages

I read this crucial line in one of my colleague's room, about three years back, and though i do not clearly remember it, the snapshot, or a screen print of that time got burned in my memory.It ran like..' what we are and eventually become is a ..function of what we think, what we believe is possible and how much of our loyalties are with our past present and future..' such a powerful thought !

by the way,as the years went by, i remembered and recollected my moments through images, and my life has become a collection of snapshots itched into my mind as the real, and practical environment changed often..i can run a video of course for my graduation period, its something i can do endlessly, over and over again.

Then comes the Gandhian quote..the future depends on what we do in the present.

A simple and important truth. But nothing more, as it does not tell you what you should do in your present. Any action in present would be preceded by thought, which is the soul of act ..to follow the ancient saying. So what should our thoughts be made up of, should our thoughts be inebriated by dreams ( that is, the future)? the risk here is we do not know if our achieved goal will be as per what we had wished . we could be chasing the wrong dreams. But then doesn't every big visionary only dream and then accomplish those in reality?

lets take present. We may not like our present at all ! our present cannot at all, shape what we do in our present actually. Only what we do in our present shapes our future. So present cannot be an answer.

Finally , the past. Many say its dangerous to live in past, to dwell upon past, or its complacent to cherish the past laurels and like.

So the crucial line i read clearly provides that our loyalties are indeed for all these three states of time. and its only right to recall your past, so that all the answers can be got .. no wonder it said everything in the first place.

सतपुड़ा के घने जंगल

Excuse my love for Hindi poems . But this one is of superlative degree when it comes to arbitrary writing . Realize how beautifully , a description builds an image in our minds . the last para tells you that it is not a non sense poem.

सतपुड़ा के घने जंगल।
नींद मे डूबे हुए से
ऊँघते अनमने जंगल।
झाड ऊँचे और नीचे,चुप खड़े हैं आँख मीचे,घास चुप है,
कास चुप हैमूक शाल, पलाश चुप है।
बन सके तो धँसो इनमें,धँस न पाती हवा जिनमें,
सतपुड़ा के घने जंगलऊँघते अनमने जंगल।

सड़े पत्ते, गले पत्ते, हरे पत्ते, जले पत्ते,
वन्य पथ को ढँक रहे-से पंक-दल मे पले पत्ते।
चलो इन पर चल सको तो, दलो इनको दल सको तो,
ये घिनोने, घने जंगल नींद मे डूबे हुए से ऊँघते अनमने जंगल।

अटपटी-उलझी लताऐं,डालियों को खींच खाऐं,
पैर को पकड़ें अचानक,प्राण को कस लें कपाऐं।
सांप सी काली लताऐंबला की पाली लताऐं
लताओं के बने जंगलनींद मे डूबे हुए सेऊँघते अनमने जंगल।
मकड़ियों के जाल मुँह पर, और सर के बाल मुँह पर
मच्छरों के दंश वाले,दाग काले-लाल मुँह पर,
वात- झन्झा वहन करते, चलो इतना सहन करते,
कष्ट से ये सने जंगल, नींद मे डूबे हुए से ऊँघते अनमने जंगलअजगरों से भरे जंगल।

अगम, गति से परे जंगलसात-सात पहाड़ वाले,
बड़े छोटे झाड़ वाले,शेर वाले बाघ वाले,गरज और दहाड़ वाले,
कम्प से कनकने जंगल, नींद मे डूबे हुए सेऊँघते अनमने जंगल।
इन वनों के खूब भीतर, चार मुर्गे, चार तीतर
पाल कर निश्चिन्त बैठे, विजनवन के बीच बैठे,
झोंपडी पर फ़ूंस डाले गोंड तगड़े और काले।
जब कि होली पास आती,सरसराती घास गाती,
और महुए से लपकती, मत्त करती बास आती,गूंज उठते ढोल इनके,
गीत इनके, बोल इनके सतपुड़ा के घने जंगल नींद मे डूबे हुए से उँघते अनमने जंगल।

जागते अँगड़ाइयों में,खोह-खड्डों खाइयों में,
घास पागल, कास पागल,शाल और पलाश पागल,
लता पागल, वात पागल,डाल पागल,
पात पागलमत्त मुर्गे और तीतर,इन वनों के खूब भीतर।
क्षितिज तक फ़ैला हुआ सा,मृत्यु तक मैला हुआ सा,
क्षुब्ध, काली लहर वालामथित,
उत्थित जहर वाला,मेरु वाला,
शेष वालाशम्भु और सुरेश वालाएक सागर जानते हो,
उसे कैसा मानते हो?ठीक वैसे घने जंगल,
नींद मे डूबे हुए सेऊँघते अनमने जंगल

धँसो इनमें डर नहीं है,मौत का यह घर नहीं है,
उतर कर बहते अनेकों,कल-कथा कहते अनेकों,
नदी, निर्झर और नाले,इन वनों ने गोद पाले।
लाख पंछी सौ हिरन-दल,चाँद के कितने किरन दल,
झूमते बन-फ़ूल, फ़लियाँ,खिल रहीं अज्ञात कलियाँ,
हरित दूर्वा, रक्त किसलय, पूत, पावन, पूर्ण रसमय
सतपुड़ा के घने जंगल,लताओं के बने जंगल।

- भवानी प्रसाद मिश्र

नहुष का पतन - Maithili Sharan Gupt

मत्त-सा नहुष चला बैठ ऋषियान में
व्याकुल से देव चले साथ में, विमान में
पिछड़े तो वाहक विशेषता से भार की
अरोही अधीर हुआ प्रेरणा से मार की

दिखता है मुझे तो कठिन मार्ग कटना
अगर ये बढ़ना है तो कहूँ मैं किसे हटना?
बस क्या यही है बस बैठ विधियाँ गढ़ो?
अश्व से अडो ना अरे, कुछ तो बढ़ो, कुछ तो बढ़ो

बार बार कन्धे फेरने को ऋषि अटके
आतुर हो राजा ने सरौष पैर पटके
क्षिप्त पद हाय! एक ऋषि को जा लगा
सातों ऋषियों में महा क्षोभानल आ जगा

भार बहे, बातें सुने, लातें भी सहे क्या हम
तु ही कह क्रूर, मौन अब भी रहें क्या हम
पैर था या सांप यह, डस गया संग ही
पमर पतित हो तु होकर भुंजग ही

राजा हतेज हुआ शाप सुनते ही काँप
मानो डस गया हो उसे जैसे पिना साँप
श्वास टुटने-सी मुख-मुद्रा हुई विकला
"हा ! ये हुआ क्या?" यही व्यग्र वाक्य निकला

जड़-सा सचिन्त वह नीचा सर करके
पालकी का नाल डूबते का तृण धरके
शून्य-पट-चित्र धुलता हुआ सा दृष्टि से
देखा फिर उसने समक्ष शून्य दृष्टि से

दीख पड़ा उसको न जाने क्या समीप सा
चौंका एक साथ वह बुझता प्रदीप-सा -
“संकट तो संकट, परन्तु यह भय क्या ?
दूसरा सृजन नहीं मेरा एक लय क्या ?”

सँभला अद्मय मानी वह खींचकर ढीले अंग -
“कुछ नहीं स्वप्न था सो हो गया भला ही भंग.
कठिन कठोर सत्य तो भी शिरोधार्य है
शांत हो महर्षि मुझे, सांप अंगीकार्य है"

दुख में भी राजा मुसकराया पूर्व दर्प से
मानते हो तुम अपने को डसा सर्प से
होते ही परन्तु पद स्पर्श भुल चुक से
मैं भी क्या डसा नहीं गया हुँ दन्डशूक से

मानता हुँ भुल हुई, खेद मुझे इसका
सौंपे वही कार्य, उसे धार्य हो जो जिसका
स्वर्ग से पतन, किन्तु गोत्रीणी की गोद में
और जिस जोन में जो, सो उसी में मोद में

काल गतिशील मुझे लेके नहीं बेठैगा
किन्तु उस जीवन में विष घुस पैठेगा
फिर भी खोजने का कुछ रास्ता तो उठायेगें
विष में भी अमर्त छुपा वे कृति पायेगें

मानता हुँ भुल गया नारद का कहना
दैत्यों से बचाये भोग धाम रहना
आप घुसा असुर हाय मेरे ही ह्रदय में
मानता हुँ आप लज्जा पाप अविनय में

मानता हुँ आड ही ली मेने स्वाधिकार की
मुल में तो प्रेरणा थी काम के विकार की
माँगता हुँ आज में शची से भी खुली क्षमा
विधि से बहिर्गता में भी साधवी वह ज्यों रमा

मानता हुँ और सब हार नहीं मानता
अपनी अगाति आज भी मैं जानता
आज मेरा भुकत्योजित हो गया है स्वर्ग भी
लेके दिखा दूँगा कल मैं ही अपवर्ग भी

तन जिसका हो मन और आत्मा मेरा है
चिन्ता नहीं बाहर उजेला या अँधेरा है
चलना मुझे है बस अंत तक चलना
गिरना ही मुख्य नहीं, मुख्य है सँभलना

गिरना क्या उसका उठा ही नहीं जो कभी
मैं ही तो उठा था आप गिरता हुँ जो अभी
फिर भी ऊठूँगा और बढ़के रहुँगा मैं
नर हूँ, पुरुष हूँ, चढ़ के रहुँगा मैं

चाहे जहाँ मेरे उठने के लिये ठौर है
किन्तु लिया भार आज मेने कुछ और है
उठना मुझे ही नहीं बस एक मात्र रीते हाथ
मेरा देवता भी और ऊंचा उठे मेरे साथ