Seeing through a lens that sees things as it is, in its truest form, looking at a broken feather as a feather, not denying its reality, not giving it a quality, experiencing the moment quietly the Mother wrote about Japan. She wrote about its perfection/ beauty-loving people, the value given to nurturing kids, the dedicated women, the Japanese restrained-balanced-subtle art and the transient life.
Roof of the Daiunji Temple in Kyoto, painting by the Mother. (Book cover) [Photo by Jagriti Rumi]
The Mother on Japan [Photo by Jagriti Rumi]
The Mother on Japan [Photo by Jagriti Rumi]
The Mother on Japan [Photo by Jagriti Rumi]
The Mother on Japan [Photo by Jagriti Rumi]
The people, she observed, not via reactions, but by silent selfless actions showed how much they cared for someone; happy to persevere they worked to fulfil the task at hand, devoted harmoniously and absolutely in the present moment, aware about nothing else.
*
Taking long walks to a garden in spring or autumns and spending time there or climbing the steep stairs to reach the monastery at the top of the hilltop, the people (of every and any class), she noticed, believed in beauty and peace.
*
“…very simple people, men of working class or even peasants go for rest or enjoyment to a place where they can see a beautiful landscape. This gives them a much greater joy than going to play cards or indulging in all sorts of distractions as they do in the countries of Europe. They are seen in groups at times, going on the roads or sometimes taking a train or a tram up to a certain point, then walking to a place from where one gets a beautiful view.”
“For instance, in autumn leaves become red; they have large numbers of maple-trees (the leaves of the maple turn into all the shades of the most vivid red in autumn, it is absolutely marvellous), so they arrange a place near temple, for instance, on the top of a hill, and the entire hill is covered with maples.”
“Well, an artist who goes there will experience an emotion of absolutely exceptional, marvellous beauty. But one sees very small children, families even, with a baby on the shoulder, going there in groups. In autumn they will go there. In springtime they will go elsewhere.”
The Mother (Questions and Answers, The Mother on Japan 12 April 1951)
Image of the Buddha, painting by the Mother. (The Mother, Paintings and Drawings, Sri Aurobindo Ashram Trust, 1992) [Photo by – Jagriti Rumi]
While reading about the 1919 flu and how the Mother fought back the negative, dark energy, one thinks about the present pandemic and hopes to win like the Mother in the end.
The glorious cherry-blossom trees in bloom – pink, white, vivid joyous pink – and the narrow paths that take one to wonderful places, with old Japanese houses on both sides, presented the Mother with a paradise puzzle…
*
“Then you go wandering around – always one wanders at random in that country – you go wandering and all of a sudden you turn the corner of a street and come to a kind of paradise: there are magnificent trees, a temple as beautiful as everything else, you see nothing of the city (Tokyo) any longer, no more traffic, no tramways; a corner, a corner of trees with magnificent colours, and it is beautiful, beautiful like everything else. You do not know how you have reached there, you seem to have come by luck. And then you turn, you seek your way, you wander off again and go elsewhere. And some days later you want to come back to this very place, but it is impossible, it is as though it had disappeared. And this is so frequent, this is so true that such stories are often told in Japan. Their literature is full of fairy-lore. They tell you a story in which the hero comes suddenly to an enchanted place: he sees fairies, he sees marvellous beings, he spends exquisite hours among flowers, music; all is splendid. The next day he is obliged to leave; it is the law of the place, he goes away. He tries to come back, but never does. He can no longer find the place: it was there, it has disappeared!… And everything in this city, in this country, from beginning to end, gives you the impression of impermanence, of the unexpected, the exceptional. You always come to things you did not expect; you want to find them again and they are lost – they have made something else which is equally charming. From the artistic point of view, the point of view of beauty, I don’t think there is a country as beautiful as that.”
The Mother (Questions and Answers, The Mother on Japan 12 April 1951)
A manuscript illustration of the Battle of Kurukshetra, fought between the Kauravas and the Pandavas, recorded in the Mahabharata Epic. [Source – Wikipedia]
The marriage of the four sons of Dasharatha with the four daughters of Siradhvaja and Kushadhvaja Janakas. Rama and Sita, Laskhmana and Urmila, Bharata and Mandavi and Shatrughna and Shrutakirti are the four couples. [Source – Wikipedia Commons]
“Yada yada hi dharmasya
glanir bhavati bharata
abhyutthanam adharmasya
tadatmanam srjamy aham”
(Bhagwat Gita: Chapter 4 verse 7)
“Sri Krishna said: Whenever righteousness declines, O descendant of Bharata, and unrighteousness prevails, I manifest Myself.”
*
These profound words are etched in every Indian’s heart and soul, no matter which century she is born in, to which caste or creed, everyone knows these words of Lord Krishna; words that have a philosophical meaning, words that talk about a divine scheme of things which might be hard for some of us to contemplate, but no one can deny its power for these words still influence us all.
And so does the story of a great king who brought an end to the evil, giving every Indian across the world the festival of lights – Diwali.
Such is the reach of the great epics of India, such is the magnificence of epic poems – The Ramayana and The Mahabharata – that both the texts are still very much alive, guiding through, warning about and presenting life as it is.
These extensive ancient epic poems, The Ramayana with 24,000 verses in Sanskrit, credited to the sage Valmiki and The Mahabharata with an overwhelming 200,000 verse lines and long prose passages in Sanskrit, making it the longest epic poem in the world, credited to the sage Vyasa, are astoundingly both simple and complex, meaning that, while a little school kid can narrate its storyline in one go, a scholar might find it hard to encapsulate its essence in even hundred pages.
These two epics of India present us with a whole new world of characters, tales, ideas, powers, fears and also a mirror that holds an answer for every individual.
The Ramayana and The Mahabharata came long after The Vedas. The Vedic literature is vast; it contains the highest spiritual thoughts of our Rishis (sages). But the language and the complexity of the thoughts barred it from being accessed by the commoners as the people found it hard to study, to understand the depth of The Vedas, Upanishads and Aranyakas.
Thus, the Rishis, the seers, shaped the philosophical texts in the form of a story, so that the core message could spread amongst one and all. And so it did, in the form of the legendary story of Lord Rama and the epic war fought inKurukshetra.
Ramayana – The Story
*
Rāmacandra standing in a rocky landscape with Laksmana and the bear and monkey chiefs of his army. [Source – Wikimedia Commons]
Rama was the eldest son of the king of Ayodhya, Dashratha and queen Kaushalya. Rama was the epitome of magnificence and great virtue. After his tutelage under the great sage Vishvamitra, Rama got married to the sublime Sita, but only after bending God Shiva’s mighty bow at her Swayamvar.
When the old King Dashratha expressed his desire of crowning Rama as his successor, his second queen Kaikeyi, provoked by her maid Manthara, reminded the king of the two boons he had promised her in exchange for saving his life once. Kaikeyi thus demanded to send Rama to exile for 14 years and to make Bharat, her own son, the new king of Ayodhya.
After Rama is banished, he retreats to the forest with Sita and his favourite half-brother, Lakshmana, to spend 14 years in exile. A shocked Bharat goes to the forest and pleads with Rama to return to Ayodhya, but on Rama’s refusal, he takes his foot-wear to place on the throne and to rule the country on behalf of his elder brother.
The epic explicitly narrates the journey of Rama, Sita and Lakshmana in exile; the hardships they face, the various people they encounter and several lessons learnt. There Sita is abducted by the king of Rakshasas, Ravana, while her two protectors are busy pursuing a golden deer sent to the forest to mislead them.
*
Jatayu Vadham (Ravana abducting Sita); painting by Raja Ravi Varma. [Source – Wikipedia]
Ravana is meeting Sita at Ashokavana. Hanuman is seen on the tree. [Source – Wikipedia]
In Lanka, Sita resolutely rejects Ravana’s attentions, and Rama and his brother set out to rescue her. After several adventures, they enter into alliance with Sugriva, king of the monkeys, and, with the assistance of the monkey-general Hanuman and later Ravana’s own brother, Vibhishana, they attack Lanka.
Rama slays Ravana and rescues Sita, who undergoes an ordeal by fire to clear herself of suspicions of infidelity. When they return to Ayodhya, however, Rama learns that the people still question the queen’s chastity, and he banishes a pregnant Sita to the forest. There she meets the sage Valmiki and at his hermitage gives birth to Rama’s two sons – Lava and Kusha.
The family is reunited when the sons come of age, but Sita, after again protesting her innocence, plunges into the earth – her mother – who receives her and swallows her up.
The kings and generals of the Lunar Dynasty – Shantanu, Bichitrabirya and Bhishma – successfully ruled a place called Hastinapur. King Bichitrabirya had two sons –Dhritarashtra and Pandu. Since the elder Dhritarashtra was blind, his younger brother Pandu ascended the throne after the death of their father.
Pandu had five sons named as Yudhisthir, Bhima, Arjuna, Nakula and Sahadev. They were known as the Pandavas and a hundred sons of Dhritarashtra were known as the Kauravas. Duryodhan was the first among the sons of Dhritarashtra.
After the death of king Pandu, his five sons were given one portion of the kingdom to rule where the Pandavas built their capital and named it Indraprastha. Envious of their success, the Kauravas invited the Pandava brothers to play the game of Dice with them with a bet over victory or defeat. Playing with a trick, the Kauravas defeated the Pandava king Yudhisthira again and again.
According to the bet, the defeated brothers agreed to live the life of exiles in forests for twelve years, and thereafter to spend one more year in disguise to escape detection.
During this period the five brothers end up marrying Draupadi due to their mother’s misunderstanding – one of the rare examples of polyandry in Sanskrit literature.
*
Krishna pleads with Dhritarashtra to avoid war; painting by Raja Ravi Varma. [Source – Wikipedia]
The Pandava and Kaurava armies face each other. [Source – Wikipedia]
After thirteen years the Pandava brothers returned and asked the Kauravas for their kingdom, but the Kaurava king Duryodhan refused to give back their territory. Because of this injustice, a fierce battle was fought between the Pandavas and Kauravas in the field of Kurukshetra.
With Krishna on their side, the Pandavas won the war. All the Kauravas are annihilated, and, on the victorious side, only the five Pandava brothers and Krishna survived.
The Pandavas got the whole kingdom and Yudhisthira became king. But, in deep repentance over the death of his kith and kin, Yudhisthira left the throne in the hands of Parikshita, the son of dead Abhimanyu, and left for the Himalayas with his four brothers and wife, Draupadi.
One by one they fall on the way, and Yudhisthira alone reaches the gate of heaven. After further tests of his faithfulness and constancy, he is finally reunited with his brothers and wife, as well as with his enemies, the Kauravas, to enjoy perpetual bliss.
Influence on the Society
Ramayana, also considered to be the Adi-Kavya (first poem), was written for the masses with the purpose to show mankind a virtuous path. Hence, this epic has inspired and regulated the Indian way of life like a social and moral constitution. Ramayana depicts the values of truthfulness, morality and nobility as supreme ideals of life; it emphasises on the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal husband and the ideal king.
Rama, Sita, Lakshmana, Bharat, Hanuman, Shatrughna, Vibhishan and Ravana are characters vital not only to the cultural consciousness of India but also Nepal, Sri Lanka and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
Thus, we find many versions of the Ramayana within India, besides Buddhist, Sikh and Jain adaptations; there are also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese and Malaysian versions of the tale.
The Mahabharata, which is more complex and realistic with polity, caste, gender roles and the problems of how to act in a particular situation, is aptly called sometimes the Fifth Veda. Like Ramayana, it also aims to guide the public to live an honest and diligent life, to follow the path of Dharma.
With this central theme, Vyasa added many legends, traditions, Puranic episodes, accounts of other royal dynasties, as well as descriptions of prevailing socio-religious systems, customs and manners, moral values, political conditions, traditions of war and diplomacy, and faiths and beliefs of the people.
The Mahabharata described the virtues of vigour for worldly existence as well as of the higher ideals of life like truthfulness and righteousness. At several places, Vyasa included deeper philosophies and spiritual thoughts to create awareness about man’s divine existence.
A short section of Mahabharata adds to its magnificence, it is the famous Bhagawat Gita – the song of the god – containing the essence of Upanishads, which is considered as the core of the highest knowledge for mankind. On the battlefield of Kurukshetra, commander of the Pandava forces, Arjuna, after seeing his own family lined up against him, realises that war is futile and will lead only to bloodshed. Thus, Arjuna declares to Krishna, his charioteer that he won’t fight.
It is in this crucial situation that Krishna, the Supreme Being in human form, utters the words of wisdom, concerning the creation and existence, the inner purpose of life and the value of duty, as well as the true awareness regarding the reality and the unreality. Krishna’s spiritual utterance on Karma, Gyana and Bhakti-Work, Wisdom and Devotion reveals to Arjuna the real meaning of life.
He realized the truth that while he was doing a deed, he was not the ‘DOER’ himself – he was only an instrument of the Divine Will to uphold a sacred cause for sacred truth and justice. Work without attachment or desire for the result will lead to true knowledge which ultimately will lead man to a stage of devotion for a selfless, detached and peaceful life.
The Holy Gita is regarded as the sacred-most scripture of the Hindus and a unique contribution to mankind’s spiritual consciousness.
*
On the left Karna with Salya as chariot driver versus Arjuna with Krishna on the right, Cirebon wayang glass painting, Java, Indonesia. [Source – Wikipedia]
Return of heroes slain in war following chanting by Vyasa. [Source – Wikipedia]
Both Mahabharata and Ramayana together form the Hindu Itihas (history) and though the archaeological facts do not support these detailed tales, people have wholeheartedly accepted it as the truth.
The impact on Indian literature, art and culture has been so deep and profound that even today we see books are being written to analyse one or the other aspect of these epics; apart from TV serials, theatre plays, films and the famous Ram-Leela (enactment of Ramayana), simplified versions of these texts with illustrations are created for children, and hence, this knowledge, through the technique of storytelling is being passed on and on.
Mahabharata teaches the truths of the tricky world and also takes us to the root of our being so that we first fight the battle within and then partake in the battle in the outer world. And the idealistic world of Ramayana, where good and evil take firm stands against each other, reminds us that even if evil is all-powerful and wise, the virtuous always wins in the end.
Rama’s journey to win over the sinful is relatable to the journey an individual takes to fight her own weaknesses; the individual has to banish her desires and struggle for her purpose in life, and with ‘Rama like focus’, one can become victorious in all the battles.
Such individual battles are what we see vividly in Mahabharata, for example – all the five Pandavas fought for a different reason – Yudhishtira fought for the war was inevitable, Arjuna fought for Krishna showed him the ultimate truth, Bheema fought for the sake of Draupadi, Nakul and Sehdev fought for it was what their elders wanted.
This is what makes these epic poems timeless, unique and so relatable. There is righteousness, honesty, duty, spirituality and metaphysics in both the epic poems, but the fact that both reach out to the individual and both give emphasis to individuality, makes it stand apart from the other epic works in the world.
Neither the society, the family nor the beloved is responsible for your decisions, it is you alone who is responsible. Thus, it is all up to you, your thoughts, your actions – the true power is in your own hands.
Love is pure truth, a divine experience, a way to live more and surpass even death.
It is a sublime fantasy that is real and better than the material world. Love is life’s paradox.
This is the idea that John Donne is expressing in the poem The Canonization. It is a reply as well as a declaration that the poet makes to the world- a world that treats lovers harshly.
He scorns the worldly, he questions the inquisitive, he proves the myths true, he places his love high and announces it as canonized.
The sudden change in his tone doesn’t bother if one recognises the powerful and apt imagery he has used in the poem.
The very first line ‘For God’s sake, hold your tongue, and let me love’ hits hard, but certainly in a good manner. In fact, it catches the interest of the reader at once.
The poem is like a necklace, beaded with beautiful and grand images like –
‘What merchant’s ships have my sighs drowned?’
‘And we in us find the eagle and the dove’
‘The phoenix riddle hath more wit/ By us; we two being one, are it’
‘As well a well-wrought urn becomes/ The greatest ashes, as half-acre tombs/ And by these hymns, all shall approve /Us canonized for Love.’
‘Countries, towns, courts: beg from above/ A pattern of your love!’
‘And if unfit for tombs and hearse/ Our legend be, it will be fit for verse’(Stanza 4) Image by Prawny from Pixabay
These are not empty expressions as every word in the poem is linked with the central theme – love.
If we randomly pick one word from each stanza, it will still be related to the poem.
For example, ‘improve’ (stanza 1) – one who is in love grows as an individual and improves by learning to be selfless; ‘remove’ (stanza 2) – when in love you cannot dwell on hatred, and so the negativity is removed to make space for hope; ‘Mysterious’ (stanza 3) – love is an easy mystery; ‘legend’ (stanza 4) – we all remember love stories as legends, sadly these are mostly incomplete ones; ‘mirrors’ (stanza 5) – love is as reflective as a mirror.
Love is closely related to asceticism in the poem, which is one of the conceits (an ingenious or fanciful comparison or metaphor) used by the poet.
He proves it with great subtlety that the lovers need nothing from the world; they complete each other and hence, know inner peace.
The poet says that the lovers rise to such a level that they become one and enter a divine world, thus leaving the material world behind. They dwell in each other’s simple presence.
In the last stanza, after canonizing himself and his lover, the poet says that his pious canonized love would be celebrated in the world by one and all.
He ends by completing the canonization of his love, placing it on a high pedestal, and separating it from the worldly pleasures.
‘And if no piece of chronicle we prove/ We’ll build in sonnets pretty rooms’ (Stanza 4). Image by Gordon Johnson from Pixabay
Canonization, the title of the poem, seems to be a question and an answer at the same time. As one wonders about how love can be canonized and attain sainthood, the divine nature of the poet’s love presented in the poem gradually justifies the same.
The poet shows that his love is spiritual not merely physical, that his union with his lover has made them blissful and assures that it will radiate amongst the others.
His canonized love is not against the world rather it is for the world, acting as an inspiration. His love is not harming anyone but is a liberating force, just like a saint’s.
John Donne’s The Canonization is a smart poem with brilliant use of wit, the quintessential quality of a metaphysical poet.
He celebrates love in a simple, forthright tone that makes this 17th-century poem wondrously alive in today’s world as well.
‘Alas, alas, who’s injured by my love?’ (Stanza 2)
‘Call her one, me another fly/ We’re tapers too, and at our own cost die’ (Stanza 3)
There is a message hidden in this poem and the title ‘canonization’ is the key to unveil it. Donne wants to share that every one of us, whatever be our rank in the society that runs according to the man-made rules, has the ability to reach the divine state.
Sainthood according to him is not reserved for some but is achievable by all.
What we need is to rise above the material world, to resurrect ourselves through true love. Here the beloved represents anything- a person, God, nature, the entire world.
Love is the best, the all-embracing way to reach the sublime state as it is love that makes a person truly selfless and compassionate.
Even today if someone pursues this path, they will know that they are canonized, for they are in love.
Love is to be selfless and compassionate. Image by Nika Akin from Pixabay
Certain things are meant to be, but while we are living a moment, we rarely understand this beautiful phenomenon.
I am calling it a beautiful phenomenon because sooner or later we are able to gauge its magnanimity and purity. Everything simply falls into place.
Early last year, I bought a book from a second hand street bookshop. The cover page captured my attention and reading a few lines here and there, I told myself that I am in for a treat. And happily, I wasn’t wrong.
‘The last time I saw Tibet’ took me to the land of the gods, to an eternal pilgrimage, to witness the serene beauty of the pious land and gave me a humbling experience.
Yes, the book is magical. There were times when a mere description of the icy winds blowing in a small village, Thokchen, at a height of almost 15,700 feet, made me quiver and a few lines about the picturesque valley that the author gazed upon left me in a trance.
His visits to the ancient and grand monasteries – Drepung, Sera and Ganden, to the fabulous Jokhang temple in Lhasa, to the royal palaces – Potala and Norbulingka – of His Holiness the Fourteenth Dalai Lama and especially his journey to the Kailashnath and Mansarovar offered me a spiritual spectacle, a chance to feel the presence of the Supreme One.
This fabulous travelogue by Bimal Dey along with presenting the reader with the wonderful scenic beauty of Tibet talks about its rich culture, about the mystical Lamas, about the simple, poor but happy people of Tibet.
What makes his journey to Tibet an immensely special tale is the fact that he traveled in the year 1956, when he was only 16, along with a group of lamas and theirs was the last group of pilgrims to do so until the dawn of the 21st century.
The glory of Tibet, the land that accepted Buddhism wholly and spread its enlightening knowledge everywhere in the world, is now a tale of the past. With the Revered Dalai Lama living a life of a refugee in India since 1959 and the maximum number of Tibetan lamas either living in India or abroad, the spirit of Tibet has weakened.
Tibet, under the rule of China, is not what it was. Can development now seen in Tibet be acknowledged when the soul of the land is quietly being crushed every day?
The number of monasteries destroyed in the past, the so called Cultural Revolution that took place in Tibet, the bloodshed of countless monks and nuns, the sudden disappearances of the religious leaders, the number of Tibetans who have given into self-immolation will shock you, it will dishearten you.
I was aware about the plight of the Tibetans before I read this book. Reading about their on-going fight troubled me as I felt helpless. But slowly something brought a change, my efforts to understand Buddhism through whatever means possible, made me realize that Buddhahood is present in everyone, it cannot be conquered, it cannot be oppressed.
Rather, if one starts recognizing it, such a person can achieve complete freedom. And I concluded and told myself that Tibet is free.
‘The last time I saw Tibet’ was meant to be read by me because after finishing this book I again felt that Tibet is free. How lovely this feeling is, how empowering! Such is the positivity with which this book has been written.
All the facts will defy this statement at the moment, but Tibet, its culture and its religion is not about facts, it is about the spiritual connection with the Ultimate One, with the Lord Buddha, the enlightened one, whose blessings are always there with every free mind.
Caught in the political drama some may not be able to understand this, Tibet –the roof of the world, where gods reside- is, was and will remain free.
Time, no matter years or decades, will seal this thought with grandeur that the peaceful land of Tibet deserves.
*
Tibet… picturesque, peaceful and pious. [Source – Pixabay]
I believe in the waves. Everything in the universe is in the form of waves. The connection never breaks. Reverberation happens. Do you also feel it? It is amazing, but most of the times beyond our understanding, often leaving us frustrated.
Like when something is in front of us, we know that it is but we can’t find it.
I saw something that caught my attention, I saw some creepers climbing high and meeting the trees’ branches. The light green coloured creepers united with the brown coloured branches and the contrast between these colours and the dark green coloured tree-leaves looked so perfect, as if the scene was painted.
I don’t know if the union was meant to be or not. It was just wonderful, the creepers slowly crept on to the big trees; first the trunk and then the branches and then making a green velvety blanket with the leaves, like a slow wave.
The clouds move beautifully you know. They dance. They don’t stay at one place. We should also learn it. I mean we should keep in mind the fact that nothing is permanent, everything shifts from being to non-being. The clouds allow the sun rays to pass through it, only sometimes the sun rays decide to stay back and be with the clouds. The clouds change in colour when they are about to rain.
What a grand way to leave, to change into droplets and become a seed and come alive and then to meet the sun rays once again.
When a dancer performs and a singer sings and a musician plays and a painter paints and an architect builds, and a scientist thinks and a mother smiles – it is in a wave form. Like the velvety green wave we see in the forest, when the creepers meet the trees.
A flower knows not much/
Or knows too much – ‘cause just see/
How it blooms, dies, blooms.
Greetings!
A storyteller, following the ancient tradition of cave chroniclers, standing in vrikshasana (the tree pose) on a hill top (it is sunny, but windy), breathing in and out stories (relishing it all, but at times overwhelmed), declares animatedly that she will continue to – tell stories, share rare story gems, and connect with the pacy universe while also keeping the website ad-free.
Big thanks to my readers. Stay tuned!
Also, a humble request to the new subscribers to check the spam folder after subscribing. Silly (but necessary) confirmation emails often land there instead of the bright inboxes. Merci!
Ya-hoy!
Chiming Stories (formerly Home Chimes)
P.S – Supporting a storyteller is good for the world’s health (and undoubtedly, for the storyteller’s health as well). Shower some love via Patreon.
Gabbeh, the 1996 film, is a simple tale of a gipsy girl, her clan and the way their life goes on. Unfolding beautifully just like an artist painting a canvas, Gabbeh quietly touches the grand questions.
Godard… Breathless and Alive
A Tribute to Jean-Luc Godard, the Film Philologist who Reinvented Cinema.
Arthdal Chronicles is a South Korean fantasy drama TV series that takes us back to the Bronze Age in a mythical land named Arth, where different human species and tribes struggle to be on the top of the power pyramid.
Yes fly! For walking on the second track is dull and usual, but dreaming high, high, high requires tools. Tools like the right pair of shoes, a chirpy, gritty soul that eats butter-jam dreams, a soul that drinks milky-milky creams.
Universe’s a Disciplined Place
Silver cascade shimmering the night sky, music to the waves and surreal beauty to the eyes, the Moon loves the art of discipline.
It may be difficult to believe for the Moon’s splendour defies time, it stupefies the clock, it follows the path of a dreamer, but how could this be possible if the Moon knew not discipline?
In this moment, I am a little bit of this and a little bit of that, I am complete and incomplete, I am pleased and uncertain, I wish for nothing and I know I have to wait.
Because the distance covered reminds me of the hurdles I have crossed and the ones I could not, it reminds me of a throbbing past and a dreamy future and it reminds me of how much time is left.
Meredith and the Green Lake
Illimitable Splendour
A joy so complete without any rise or fall, so free without any time corners, so real without true being false, false being true.
