DEVOTIONAL LYRICS

 

      

     

                   Devotional lyrics with religious and philosophical tendencies were also developing in                             classical Sanskrit literature. From the classical age many poets, philosophers and mainly                         saintly men up to the present date have composed innumerable songs of praise and prayer                      addressed to many deities. But only outstanding works of classical literature have become                      popular among the masses. The ‘saUya-Satkma\’ (Surya satakam) of ‘mayaUrkiva:’ (Mayurakavi), ‘saaOndya-               lahrI’ (Soundaryalahari) of ‘Sa=\kracaaya-:’ (Sankaracarya), ‘gaItgaaoivand’ (Geetagovinda) of ‘jayadova:’                (Jayadeva), ‘naarayaNaIyama\’ (Narayaneeyam)   of ‘naarayaNaBa+:’ (Narayanabhatta) are noteworthy.

                                                           Mayurakavi

Mayura is traditionally believed to be the author of ‘saUya-Satkma\’ (Suryasatakam). Tradition describes Mayura as a contemporary of ‘baaNa:’ (Bana) and ‘hYa-:’ (Harsha). It further says that the author got cured of his leprosy by composing this ‘Satkma\’ in about 100 verses. In the beginning the poet invokes the Lord Sun. In successive sections the poet describes the horses, the charioteer, his rays, the disc of the sun etc. The sun is extolled throughout the poem not as a minor deity but as on par with the Trinity of Gods Brahma, Vishnu and Shiva. The poet shows his love for alliteration or ‘yamak’ and his style belongs to the Gouda school.

                                                Shankaracharya

 According to Orthodox tradition Shankara was born at Kalady in Kerala as an incarnation of Lord Shiva. Having taken to Sanyasa in his boyhood state he established in his very short life of 32 years the doctrine of Advaitha and made a lot of contributions to Indian Philosophy. A large number of hymns are attributed to Shankara whose poetic fervour is as inspiring as his profound philosophy. The ‘Bauja=\gastao~ma\’ (Bhujangastotram), ‘saaOndya-lahrI’ (Soundaryalahari), ‘iSavaanandlahrI’ (Shivanandalahari) and ‘Bajagaaoivandma\’       (Bhajagovindam) are some of his popular devotional lyrics. Of these, ‘saaOndya-lahrI’ is a charming sweet lyric in 100 stanzas. It describes the infinite beauty of Goddess Parvathi and extols her as the embodiment of the power ‘Sai>:’ (Shakti) which creates and sustains the universe. ‘saaOndya-lahrI’ and ‘iSavaanandlahrI’ besides being devotional are descriptive poems of high order, which occupy a predominant place in ‘tn~’ (Tantra) literature.

                                                                             Jayadeva

Jayadeva was one of the famous poets, of the court of King ‘laxmaNasaona:’ (Lakshmanasena) of Bengal and therefore he must be assigned to the 12^th century AD. ‘gaItgaaoivndma\’ (Gitagovindam) also known as ‘AYTpid’ (Ashtapadi) forms a blend of lyrical and musical elements. Though there are 3 characters namely Krishna, Radha and a friend of Radha. There is no dialogue in the poem. We have only monologues in the poem addressed by one of the characters to a silent listener. Each canto begins and ends with some stanzas in the usual classical metre and the portions, which are in the form of songs set to prescribed tunes, are introduced between them. These songs are generally composed of 8 musical lines and each song is known as ‘AYTpid’. The book on the whole consists of 12 chapters or 24 ‘AYTpids. The work describes the love of Krishna and Radha and depicts its various stages like the yearning, expectancy, disappointment, estrangement and reconciliation ending in ultimate joy of their union. The book has always been popular on account of the blending of literary, devotional, musical and mystic elements in it. The book has been commented on by many scholars in our country and translated into English by Edwin Arnold. Like Kalidasa’s ‘maoGadUtma\’ (Meghadhootam) among the erotic lyrics, the ‘gaItgaaoivandma\’ has given rise to number of such compositions. Many poets of the later ages wrote on the same model.

                                                   Narayana Bhatta

Narayana Bhatta (‘naarayaNaBa+’) was born in Mepathur in Kerala and lived from 1560 to 1646 A.D. Among his numerous works, his devotional work called ‘naarayaNaIyama\’ (Narayaniyam) has easily outclassed the rest by its depth of religious emotions in 1036 verses divided into 12 Skandhas. The author has covered the whole story of ‘Baagavatma\’ (Bhagavatham) and has lifted the narration into a frame work of series of stao~s addressed to Lord Krishna, the presiding deity of the temple of ‘gauÉvaayaUr\’ (Guruvayur). Though the work as a whole is too long and the narrating element is too evident to justify its classification as a lyric the devotional aspect is very pronounced. The author is said to have been cured of rheumatism while worshiping the Lord of ‘gauÉvaayaUr\’ and is said to have composed this poem as an outburst of his devotion. The author has recorded that he has completed his poem in 1585 A.D. ‘naarayaNaIyama\’ is one of the finest devotional poems and even this day, numerous worshippers especially in Kerala recite portions of the book as their daily prayer.

                                                                            Vedanta Desika

Vedanta Desika was a polymath who lived in 13^th century AD. His real name was Venkatanatha and his native place was Tuppul, a small village near Kanchipuram

He was a stonch Vaishnavite. He had written 125 excellent poetic works. His ‘padukasahsa`ma\’ (Padukasahasram) in praise of Rama’s sandals worshipped by Bharata, deserves special mention for its form and content. It is said that ‘padukasahsa`ma\’ was composed in one night to meet the challenge of a rival poet.

A SESSION WITH THREE WOMEN CHILDREN AUTHORS

    Children read for fun, and in the process, develop better reading skills and abilities to enjoy more reading. Because reading children's literature stimulates a child's imagination, reading provides an important visual experience. Introducing books to children at an young age is an essential task which all parents should bear in mind.

Vishnu Sharma, Rabindranath Tagore and Rudyard Kipling are the ones whom I started to read in my high school level. Apart from academics, extra curricular activities like  drawing, swimming and other games are given importance than reading books in those days. 

Introducing Children to various genres of books helps to bring out their creativity in the best possible way. Parents, schools and teachers should try to find ways to foster the habit of reading among children.

 Yesterday For the first time I attended a session with three women children authors talking about "WRITING BOOKS THAT CHILDREN ENJOY". 

The  catchy point in the discussion is "Don't be Preachy" by Khyrunnisa. Exactly, that is what children want. We in the teaching profession face this type of reactions from children. Children need everything to be fun, adventurous and want everything to be taught to them in the play way method. The discussion was of sharing their experience as authors and presented the best ways to deal with writing for children. The three women answered the questions like :  

challenges in writing for children

Targeting different age groups

Writing and selling books

Tips for  children writing 

The synergy between the author and the illustrator

Quite an interesting session  created by Blogchatter  as a part of #Blogchatterwritfest. Those who have missed, has a chance to watch the discussion here :  

https://www.facebook.com/watch/live?ref=watch_permalink&v=307953928071214

(Written as part of BlogchatterWritFest  :https://www.theblogchatter.com/search?keyword=Featured%20BlogchatterWritFest)

Water Sources In India (Theme reveal)

 

“Aapo mayaf praanaha”  means, Water is essential for living creatures.  Says Vedic text.

“Aapo va idam sarvam”  means, this entire earth is in the form of water.  Says Upanishads.

 “Aapa Eva Sasarjaadau”  means, The very first creation of the Creator is Water.  Says Manu.

“Yaa srushtis srashturaadhyaa”  means, among the creations, water is the first one.  Says Kalidasa.  On this world water day, remember the importance of water as stated above from the famous Sanskrit texts.

Let’s pledge to “save water”.  On this special day, I decided to register for “Blogchatter’s A to Z” campaign and write about water sources like rivers, lakes, dams, reservoirs, in India.  Here is the list:

A - Amaravati     B - Brahma Putra     C - Cauvery       D - Damodar

E - Erai              F - Fulki                  G - Ganga         H - Hoobly

 I - Indus            J - Jeelam               K - Krishna         L - Lidder

M - Mahanadi     N - Narmada           O - Odiya           P - Penna

Q - Quilon Port   R - Reva                 S - Sutlej            T - Tamraparni

U - Upper Lake  V - Vaitarini              W - Wular Lake  

X - Xsalal (Salal)     Y - Yamuna         Z - Zankar

Memorable Day - World Poetry Day

 

Today is very important and an auspicious day because of World Poetry Day.  We highly fortunate for being literate and educated.  “Kavih karothi kaavyaani laalayathi utthamo janaha l Tharuf prassothe kusumaani Vaayur vahathi saurabham ll”.  Yes, poet renders poem, the reader becomes its connoisseur. Likewise a tree puts forth the flowers, the fragrance was spread by the wind. It is true. The poem gives the aesthetic pleasures to the readers who become Sahrudayas.  “Na anrushi kuruthe kaavyam” means save a sage none else is competent to produce poetry, because, “Kavih kraantha-darsee” means the Poet is one who sees far ahead.

The prologues of the great Indian Epics Ramayanam and Maha-Bharatham reveals out clearly how those two sages Vaalmeeki and Vyaasa, before giving shape of form or content to their masterpieces resorted to a self-integrating process through contemplation.

“Upavishtah kathaascha anyaas chakaara dhyaanam aasthithaha l thadhgathenaiva manasaa Vaalmeekir dhyaanam aasthithaha ll” means, Seated, he composed the various episodes in deep contemplation and Vaalmeeki giving himself to the theme, sat wrapped in deep thought.

Vyaasa was also similarly employed:“Pravisya yogam jnaanena so apasyath sarvam anthathaha” means, He entered into deep and knowledgeful contemplation and discovered within himself the entire subject matter.

Aananda Vardhana says that “so arthas thadhvyakthi-saamarthyayogee sabdhascha kaschana l Yathnathaf prathyabhijneyau thau sabdharthau mahakaveh ll” means, Such an expression must be employed which alone adequately would disclose to us the significance of the thought inlaid.  If word and content perfectly synchronize in their purpose then who employs them invariably happens to be MahaKavi the Great Poet.

The Great Tamil Poet of Revolution Bharathiyar appreciates the workmanship of the Great Indian Artist Raja Ravi Varma that “Malarinil neelavaanil maadharaar mugatthilellam Ilagiya Azhagai Eesan Iyattrinaan ….. Alagilaa Arivukkannaal Anaitthaiyum nugarumaare” means, God created subtle beauty in the flower, in the blue sky, on the faces of maidens, in order to enjoy the entire life with our measureless  

Insight.

Aptly Kalidasa says, “Kimiva hi madhuraanaam mandanam na aakrutheenaam” means, To those whose forms are delightful to look at, what indeed does not constitute an ornament?

Aesthetic pleasures are endless and inexplicable.  

THE ESSENCE OF LEADERSHIP EXPLORED FROM MUDRA RAKSHASAM - A SANSKRIT PLAY Part II

 

The Plot of the Play:

The play is organized into seven Acts.  In Act I, we are introduced to the rationale of Chanakya’s scheme to bring over Rakshasa as the prime minister to ChandraGupta.  We are introduced to his extra-ordinary spy network.  One of the spies informs Chanakya that, purely by accident, he has got a ring bearing the seal of Rakshasa on it.  Chanakya, at once, realizes the damage this ring can do to Rakshasa-it canenable letters to be written with the seal of Rakshasa on them-and promptly dictates such a letter (which he gets written by a close confident of Rakshasa without the latter realizing it was composed by Chanakya).  The letter is worded in a vague language, hinting at the possible betrayel of MalayaKetu, the king who hopes to topple ChandraGupta, and with whom Rakshasa has sought refuge.  We learn that Rakshasa’s family had, until recently, been harboured  by one ChandanaDasa, the chief of the Jewellers’ Guild.  Chanakya summons ChandanaDasa, and wants to know the present whereabouts of Rakshasa’s family, but ChandanaDasa does not know anything.  However, he makes it clear that he is very loyal to Rakshasa, and would not part with this information, even if he did have it.  Chanakya orders the imprisonment of ChandanaDasa and his family, and confiscation of his property.  Chanakya calculates that Rakshasa will surrender himself if ChandanaDasa were to be threatened with execution for his help Rakshasa.  Chanakya also stages a mock execution of two of his spies, who are, in fact, allowed to escape to Rakshasa, so that they can be seen as taking refuge with Rakshasa.

In Act II, we get some insights into Rakshasa’s character.  We are told stories of different schemes plotted by Rakshasasto eliminate ChandraGupta, but each time, foiled by Chanakya.  We see that Rakshasa, while clever, is no match to Chanakya, when it comes to intigues.  Rakshasa’s qualities are highlighted vividly.  He is not a clever leader, but, perhaps, he is a good administrator; loyal, trusting, too trusting, in fact, and often clumsy in execution of intricate schemes.

Act III presents a clash, concocted by Chanakya, between him and chandraGupta, to mislead Rakshasa.

In act IV, we see some elements of Chanakya’s plan taking shape. Spies of Chanakya goad MalaKetu into believing about possibility of Rakshasa joining forces with ChandraGupta, after the ‘split’ with Chanakya.  MalayaKetu emerges from hiding, and with Rakshasa, they decide to attack Pataliputra.

Act V gives the details of the way the scheme, devised by Chanakya, develops.  Two spies, within MalayaKetu’s hearing, say that, his father was assassinated not by Chanakya, as MalayaKetu believes, but by Rakshasa.  This increases MalayKetu’s suspicions about Rakshasa’s loyalties.  At this moment, the letter that was written by Chanakya and sealed with Rakshasa’s seal is intercepted from a spy.  Reading the letter, vaguely worded, gives enough indication to MalayaKetu that, Rakshasa, along with some of the kings at present with MalayaKetu, is about to double-cross and move over to ChandraGupta.  The fact that it has Rakshasa’s seal on it proves its authenticity, and it does not help Rakshasa when the handwriting (unwittingly written) is seen to be that of one of his close confidants.  Now MalayaKetu loses all confidence in Rakshasa, and he is disgraced.

Act VI shows a fake execution stage managed by Chanakya.  We learn that the particular kings that were supposed to have crossed over to ChandraGupta were put to death by MalayaKetu.  The rest of the kings have revolted and made MalayaKetu their prisoner.  Rakshasa is told that his friend ChandanaDasa, who had sheltered Rakshasa’s family, was to be executed.  Rakshasa decides to give himself up to save his friend’s life.

The last Act VII shows the final surrender of Rakshasa, when ChandanaDasa is about to be executed.  Chanakya agrees to release ChandanaDasa, provided that Rakshasa accepts the sword of the office of prime minister of Magadha.  Chanakya explains to Rakshasa why he had to devise such a complex scheme to get over Rakshasa to his side, and why indeed Rakshasa is indispensable to ChandraGupta.  He knows that the kingdom is safe in Rakshasa’s capable hands-for once he declares his loyalty, and accepts the sword of office publicly, his loyalty is assured-and Chanakya retires to his ashram, back to his teaching.  According to history, Chanakya never again took any interest in the affairs of the state, but wrote a masterpiece on the economics and politics of ruling a state, called Arthasastram.   

THE ESSENCE OF LEADERSHIP EXPLORED FROM MUDRA RAKSHASAM - A SANSKRIT PLAY Part I

About the Play:

The play Mudra Rakshasam, written by a playwrite in Sanskrit deals with how Chanakya secures the services of the Rakshasa, the erstwhile prime minister of Nandas, for Chandragupta.  Rakshasa was a person of great ability, integrity and loyalty.  He is loyal to Nandas, but Chanakya thinks that the qualities and abilities of Rakshasa were needed in the new kingdom.  Chanakya feels that he has already played his role, and that continued the running of the kingdom is better entrusted to Rakshasa.  But how to get rakshasa to come willingly to Chandragupta is the problem facing Chanakya.  So he devises, an enormously subtle and clever plot to get Rakshasa to commit himself willingly to become the prime minister, for, Chanakya knows that once Rakshasa commits willingly, he would serve loyally, being a person of great integrity.

About the Author:

The author of the play Mudra Rakshasam is Visakha Datta.  It is believed that his period was 4^th century A.D.  He is known by the name Visakha Deva also.  He was the son of King Bhaskara Datt and the grand-son of Vatesvara Datta.  Of his works, his prominent play Mudra Rakshasam only has been found till now.

Information about Chanakya the great King maker:

Chanakya, the son of Chanaka – this name itself highly remarkable.  His actual name was VishnuGupta, perhaps due to his intigues, he was also called Kautilya.  Being an intellectual leader, Chanakya was truly a phenomenon.  He managed to get support and commitment of numerous kings in North India, but he needed the support of the largest and the most powerful kingdom of North India at the time, namely, Magadha - the present day Bihar.  The kingdom was ruled by a line of arrogant despots, namely, the Nandas, thoroughly drunk in their own power.  They not only were unimpressed by Chanakyas’s arguments, but in fact, insulted him and threw him physically out of the palace. Partly to wreak vengeance for his insult, and partly due to the realization that without overthrowing the Nandas, his mission could not be carried out, he swore to depose the Nandas.

He found a village boy, playing a game of “King and Subjects,” according to a legend, who he felt would be able to make a great kingby virtue of intelligence, shrewdness, and a sense of values.  Chanakya became the mentor and teacher of this star pupil, who did indeed became the instrument to carry out the schemes of Chanakya.  His name was ChandraGupta Maurya, the founder of the Maurya Dynasty whose most famous ruler was Asoka the Great.

ChandraGupta, with strategic advice from Chanakya, went on to defeat the Nandas, every one of whom Chanakya liquidated.  ChandraGupta, with Chanakya as his prime minister, went on establish the first true empire of India, bringing virtually the entire North India and parts of South India under his control, and threw out the Greeks.  Chanakya, it is believed, having achieved his mission of unification and driving out the Greeks, forsook his ministerial position, left the kingdom, and returned to his teaching.  (ChandraGupta himself reigned from 322 to 298 B.C.  He abdicated his thrown, crowned his son, Bindusara as the Emperor, embraced Jainoism, and left the kingdom, wandering as a Jain monk.)

BOOK REVIEW OF ACHIEVING MEANINGFUL SUCCESS

 

 

Written by Dr.Vivek Mansing with Rachna Thakurdass, “Achieving Meaningful success” in the form of an autobiography partially is capable of inspiring even a common man who is ambitious to become successful.

  A well composed manual which can be a mentor to the aspirants who wish to be enlightened, revolves around the life of the author a renowned Mentor, Global leader, Entrepreneur, Author, Innovator and so on, as he shares his experiences and the minutest of details of his life.   

This book is eminently chaptered with main theme titles like Capture your aspirations, Become the best version of yourself, Take ownership of your well-being, Learn from the best and The proof is in the pudding. 

The portion “Author’s note” gives outline of the book and insists the readers to get benefited.  The author emphasizes that “I believe everyone needs and deserves a mentor”.  Happiness is essential which can be achieved only by knowing ourselves rather than doing any physical activities like practice of Yoga. 

In the first chapter titled “My journey to meaningful success: Lessons learnt,” the lines from the Page 15 “It was time to go back to my wheel of goals, evaluate my life situation and create a ten-year plan for this new phase of life” prompts the readers that after achieving the goal with success, one should not stop.  Again he must set another set of goals which will enable one to reach the esteemed position in his career.  This idea influences the readers to know and understand the key points of success. 

Particularly In the second chapter titled “Define your wheel of goals: Capture your aspirations!” urges the readers towards the success. The lines from the page 19, “You see, there is no rewind button in life.  There is no undo future! Hence, it is critical to plan now so that there are no regrets later” teach the readers to face the crisis without seeing the past and advises to march forward on their chosen journey.

In the third chapter titled “Passion: The miracle ingredient” the author highlighted that passion generates enthusiasm and excitement with involvement to achieve goals.

In the fourth chapter titled “Excellence: Becoming the best you can be” the author motivates the aspirants with seven steps to Excellence.

In the fifth chapter titled “Think outside the box: Creativity and innovation” the author advises that everyone should learn to think out of the box by which one can improve his own creativity and innovation by practicing it,  challenging oneself and following the structured process.

In the sixth chapter titled “Leadership: Becoming 20 feet tall” from the page 94, Ten Points about the Success factors of leaders familiarizes  the readers to acquaint the leadership qualities. These ideas echoes the same advice of Lord Sri Krishna in his Bhagavad Gita that “For whatever a great man does, that very thing other men do so; whatever standard he sets up, the generality of men follow the same.”  Leadership inculcates one to achieve higher level of success one after another with the spirit of team work.

In the seventh chapter titled “Entrepreneurship: Changing the world” the author insists that the entrepreneurship is a fantastic career path that offers a tremendous opportunity to leave one’s mark.

In the eighth chapter titled “You need four more Gods” - Inspirers, Role models, Mentors and the Books, the author has skillfully pointed out the indispensable guidelines from these four persons.  All these four are different from each other.  The last God is the book. The necessity of the book is similar to the advice from Bhagavad Gita that “A book in the form of scripture alone is the reader’s guide in determining what should be done and what should not be done.”

In the ninth chapter titled “Relationships: What matter most” the author quoted the sayings of Tony Robbins “the quality of life is the quality of relationships.” It makes the readers to understand that a single man represents himself to others with his professional and social conditions and he should not lose his relationships with them.

In the tenth chapter titled “Mind-body-soul: The key to wellness” 

The author welcomes the readers to question him or clarify their doubts through social media.  The aim of the author is to be a mentor for million young people.  Dr.Vivek Mansingh has exemplified the great masters with meaningful success namely Ratan Tata, Narayan Murthy, Sadhguru ji, John Champers, Kiran Mazumdar-Shaw, Dr. Devi Shetty, Rahul Dravid, Prakash Padukone, Vinita Bali, Vani Kola, Ramesh and Swati Ramanathan and also shared the lessons from their lives to motivate the readers.

The author has acknowledged his gratefulness towards those persons who were directly and indirectly supported, co-operated, coordinated, encouraged and so on.

Each and every chapter of this book is weaved in such a way so as to serve the readers as a mentor to help them achieve meaningful success.

This book can be viewed in the same light as in the work Malavika-Agnimitram of Kalidasa thus:

“Artham saprathibandham prabhuradhiganthum sahaayavaaneva l

  Drusyam Thamasi na pasyathi Dheepena vinaa sachakshurapi ll”

 “He who has assistance is alone competent to realize an object which has impediments. A person though possessed of eyes, does not see an object in darkness without the aid of a lamp.”

AUTHOR: Dr. VIVEK MANSINGH WITH RACHNA THAKURDAS

PUBLISHER: PENGUIN INDIA

GENRE: MOTIVATIONAL & SPIRITUALITY

BOOK BUY LINK :https://www.amazon.in/gp/produ

(This review is powered by Blogchatter Book Review Program https://www.theblogchatter.com/book-review-program-from-blogchatter)