Like flowers threaded to form a sheet, woven intricately, the free white petals settling in a designed pattern, accepting the arrangement with joy, like an endless beaded wave of fragrant flower-colours, the ragas also weave intricately musical framework that evokes fragrant feelings in a quiet listener’s mind.
Just like the perfection-loving flowers – the humble sepal, the vibrant petal, the ambitious anther – the ragas too know how to bloom to perfection. Capturing the exact mood that exudes the season’s essence perfectly, the ragas effortlessly scent time making it beautifully appreciable.
The scented time celebrates the raga – in Vilambit laya (slow tempo), Madhya laya (medium tempo), Drut laya (fast tempo) – accepting every melodic improvisation, evolving with each performance, never bothering with change, rather ushering it with consistent Riyaz (practice).
Overwhelming calculations keep the ragas free from vegetating and from the burden of the past that at times tries to confine its spirit, but almost always the spirit remembers to break free.
The many notations, the Swara, bring forth incessant improvisations, giving space to every emotional twist, forming an intricate, fragrant Mandala.
The ragas symbolise, like a flower threaded sheet, intricacies of life… and more.
Lat uljhi suljha ja balam
Piya more haath mein mehndi lagi hai
Lat uljhi suljha ja balam…
Mathe ki bindiya bikhar rahi hai
Apne hi haath laga ja balam
Lat uljhi suljha ja balam…
(Translation – Disentangle my hair, dear beloved/ I have applied henna on my hands/ So come and disentangle my hair, dear beloved/ The bindiya too is spreading on my forehead/ Correct it for me with your own hands, dear beloved/ Disentangle my hair, dear beloved)
This Bandish* in raga Bihag decorates time with a jasmine-rich fragrant emotion that vehemently values love and life.
*Bindiya – a colourful dot mark worn between the eyebrows, especially by married Hindu women.
*Bandish – a composition in Hindustani classical music.
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.
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)
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)
“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
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.
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.
Mahabharata – The Story
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.
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.
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.
Jonathan Livingston Seagull wanted to master the art of flying. Soaring up in the sky, above the white ocean of clouds, he felt truly free.
Though very unlikely of a seagull, Jonathan flew high ever so high, he practised and failed umpteenth times, but he never gave up.
An outcast, he lived alone and happily spent his time in his quest to achieve perfection.
On reaching a higher level of existence, he meets gulls like him who wanted to enhance their flying skills. It was not heaven for everyone there were learners.
Chiang, the guru of them all, teaches Jonathan how to let go of the concept of time and space so as to travel freely in the Universe.
“Begin by knowing that you have already arrived”, said Chiang.
Wondering if someone else, one who dares to question and take risks, needs guidance on Earth, he returns.
“Devil” for some and “angel” for others, Jonathan teaches a few eager ones. Practising, failing, practising again, Jonathan’s students rise above the Flock, the mundane.
Jonathan Livingston Seagull then continues his journey to guide other gulls who must have been waiting for him somewhere else in the Universe.
Richard Bach’s fable is soothingly clear, and thus, appears too simplistic to many. Just like flying looks simple only until we give it a try.
He equates perfection with freedom, emphasising on practising and a thirst for knowledge as the golden path to it; a path where you walk ahead passionately and not cumbersomely.
Every little bud in nature rises high, soaking in sun rays, moving towards it. Rising high, shedding the old self, stepping forward to explore the unknown, dwindling before making a firm stand is what life’s journey is all about.
Jonathan Livingston Seagull, “a one-in-a-million bird”, if appears to be too perfect and his ideas if sound too far-fetching then you should look at your on-going journey and answer these questions – what are you looking for in life – perfection in some form or maybe a balance?
And what is balance if not a proportion of perfect this and perfect that?
Even better, you should meet Shelley’s Skylark.
Hail to thee, blithe Spirit!
Bird thou never wert,
That from Heaven, or near it,
Pourest thy full heart
In profuse strains of unpremeditated art.
Higher still and higher
From the earth thou springest
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.
‘Blithe Spirit’ calls Percy Bysshe Shelley a Skylark that is soaring up in the sky (or Heaven, or near it), singing beautifully and gloriously that to him it is nothing but unprecedented ‘unpremeditated art’.
The Skylark, invisible to his eyes, has such power in its voice that the poet likens it to ‘a cloud of fire’.
Shelley beseeches the Skylark to teach him what it knows; a divine secret it must be for nothing on earth could outshine it. Joy so true, Shelley calls it ‘a star of Heaven’.
Nature’s bounty, the golden glow worms, the rainbows, the playful wind, a young maiden’s love and a poet’s grand verses, Shelley says the Skylark’s song, that flows in a ‘crystal stream’, is above them all.
What thou art we know not;
What is most like thee?
From rainbow clouds there flow not
Drops so bright to see
As from thy presence showers a rain of melody.
Like a Poet hidden
In the light of thought,
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not:
Like a high-born maiden
In a palace-tower,
Soothing her love-laden
Soul in secret hour
With music sweet as love, which overflows her bower:
Like a glow-worm golden
In a dell of dew,
Its aëreal hue
Among the flowers and grass, which screen it from the view:
Like a rose embower’d
In its own green leaves,
By warm winds deflower’d,
Till the scent it gives
Makes faint with too much sweet those heavy-winged thieves:
Sound of vernal showers
On the twinkling grass,
All that ever was
Joyous, and clear, and fresh, thy music doth surpass.
The Skylark, above these mortal dilemmas, sings with pure love and delight. And in contrast we, humans, are locked in the past or the future.
We look before and after,
And pine for what is not:
Our sincerest laughter
With some pain is fraught;
Our sweetest songs are those that tell of saddest thought.
Shelley urges the Skylark to teach him just half of what it knows, this ‘harmonious madness’ so that he could capture it within and share it with the world.
The Skylark if not a gleaming reflection of perfection, then what is it? If its song is not a song of freedom, then why is the melody ‘a flood of rapture so divine’?
It must be that just like Jonathan Livingston Seagull, the Skylark returned to Earth, to guide and share its knowledge, to remind the poet that ‘freedom is the very nature of his being’.
Unlike a miracle, both took time to convey what little they knew of the truth. The Seagull stays to make his students practice and the Skylark sings till the chosen one – the poet in this case – hears its joyous voice.
Showing what doors can perseverance open and how patience leads to strength, the Seagull and the Skylark leave it up to the individual to unfold the story further.
Birth and death are timed then and a fully lived life, with all its imperfections, aims for a balance, for perfection that guides it to fly high and well.
Sufi poet and singer, Amir Khusrau (1253 – 1325), famously known as the ‘Voice of India’, was an expert in unifying the mundane with the divine. His poetry presents the mystic in him and the mystical world around him.
Reading his verses, seeing through his eyes, one gets a chance to experience the transcendental self.
Here is one of his most famous poems on Basant (spring) –
सकल बन फूल रही सरसों।
बन बिन फूल रही सरसों।।
अंबवा फूटे, टेसू फूले
कोयल बोले डार-डार
और गोरी करत सिंगार
मलनियां गेंदवा ले आईं कर सो।
सकल बन फूल रही सरसों।।
तरह तरह के फूल खिलाए
ले गेंदवा हाथन में आए
निज़ामुद्दीन के दरवज्जे पर
आवन कह गए आशिक रंग
और बीत गए बरसों।
सकल बन फूल रही सरसों।।
Literal translation –
The yellow mustard flower is blooming in every field,
Not a forest, yet like a forest of mustard flowers.
Mango buds are clicking open, and other flowers are blooming too;
The Cuckoo bird chirps from branch to branch,
And the maiden does her make-up,
The gardener-girl has brought marigolds.
The yellow mustard flower is blooming in every field.
Colourful flowers bloom everywhere,
With marigolds in hand,
Waiting at Nizamuddin’s door
For the beloved who had promised to come
In spring, but hasn’t turned up – it has been many years since.
The yellow mustard flower is blooming in every field.
My Take –
The delicate mustard plants are ruling the world and the forests are shying away from their glory, what a splendour, a burst of yellow joy this is.
Seeing the blossoms, the cuckoo bird begins singing, its melody though familiar, fills every heart with delight.
And with a delighted heart one beautiful young girl is dressing up, she is hopeful.
And the gardener-girl has brought marigolds for joy has chosen a ‘colour’ and it is yellow, the yellow of the delicate mustard flowers.
Myriad coloured flowers everywhere and marigolds in hand, I am waiting as promised at Nizamudin’s door for the colours of love, waiting here since ages.
And the delicate mustard plants are ruling the world. It is spring.
The Sufi Touch –
In love, the whole world appears to be one with us, in this state of ecstasy every atom resonates with us and here ‘mustard plants ruling the world’ is a metaphor for it.
Further, the blooming flowers, the singing bird, the beautiful young girl, the gardener-girl and marigold enhance this feeling, this thought.
Then at the great Sufi saint Nizamuddin Auliya’s door, one awaits, with marigolds in hand and yellow lustre all around waits for the beloved for years and years.
Here, the poem transcends from the transient to the eternal, from passionate love to soulful love.
It becomes then about the devotee waiting for the supreme light, for the union with the ultimate soul, waiting with flowers in hand, forever in joy, waiting to attain absolute bliss.
This Sufi poem/ song has been performed by classical/ folk singers all over India and other Hindi/Urdu speaking countries.
Check out the powerful performance by Rizwan and Muazzam Ali Khan –
‘Kaun Buddha Si?’ (Who was Buddha?) by the wonderful Punjabi Poet Amar Jyoti.
Who was Buddha?
Whose tale is it?
It’s left for you to decide;
Whether of Yashodhara or Siddhartha
Who repaired to the peace of jungle
Leaving Yashodhara behind
To bring up Rahul
Congruent with the royal
Customs and traditions,
Who made the glittering glass-house of her life a ruin
Behind the portals of a palace,
Where the seasons didn’t change,
Where life resided in silence,
Where her sight turned into an unending path
Waiting for Siddhartha.
And when he returned from the quiet of the peaceful abode
As Buddha the wise,
Who was the wise one,
Siddhartha or Yashodhara?
English translation of the Punjabi poem by Jagriti Rumi.
Yashodhara, a princess, was Prince Siddhartha’s wife, who was born on the same date and year as that of her husband. According to a Chinese legend, Yashodhara had met Siddhartha in their past life where she took a promise from him that they will be husband and wife in all their next births.
This beautiful poem asks a simple question and gives a concealed answer. Quietly it is telling a forgotten story, forgotten but real, real and empowering.
The journey inwards was taken by both, Siddhartha as well as Yashodhara. While one left the world of attachment behind, the other stayed in the midst of it all and grew like a lotus. In waiting for her dearest, in bringing up her only son, Yashodhara knew trance, living every moment and trusting herself, comprehending spontaneously.
After she met the enlightened Buddha, after her Rahul became a monk, Yashodhara did what she had prepared for, she become a Bhikkhuni (Buddhist nun); then the lotus shone brightly.
Yashodhara didn’t search for peace, she gently nurtured it within, she didn’t live in seclusion, she found herself in the celebrations. Not in a ruin, she lived in every effort of hers to learn.
Yashodhara, which means ‘bearer of glory’, got enlightened not once, but many times.
To read the original poem (in Gurumukhi), please click here.
Smile that sunflower smile, I love to see your beaming face, eyes closed and the rosy glow. Oh, come on! Remember those winters how we huddled to be in direct sunlight… warmth of the burning star touched our souls, and we smiled.
Peeping through the bushes, the sunlight always made me feel like I am in a photograph – yet to be taken.
While the tiny white daisies were busy decorating and tackling the mad wind, blushing, swaying and often taunting it for impeding their progress, the sunflowers stayed glued like a crayon drawing on the wall, letting the sun seep within.
Seeing the clouds approach, the sunflowers never trembled or rebuked the sky’s spongy friends… for the sunflowers could feel the presence of that warm burning star, part of it now stored inside them.
Maybe that’s why sunflowers’ signature reads ‘Forever’ rather than their glowing name. Oh, how lovely!
Now just smile that sunflower smile, I love to see your beaming face, eyes closed and the rosy glow.
Amongst the clouds… yes, this is how the journey began. Mushy clouds, mushy dreamy clouds all around her. Whether she walked or the white dreams floated around her isn’t something the music ever revealed.
The music was busy playing and she was busy colouring. The sky and earth colours participated and turned rich.
Meanwhile, in a parallel universe, someone took a flight, landed, took a cab, halted for a coffee break, laughed with her friend and continued the road trip.
Warm waves of velvety starry blanket covered the existence and hushed those who listened into happy silence. She stayed awake for a while just to witness it all. A simple melodious note filled her ears and she swam to sleep.
That someone talked to her friend, they ate pastries and called it a day. That someone, with ‘oh’ look, got up to brush her teeth and then went to bed. Phew!
She opened her eyes, awakened the self and stepped out to see the end of a long search. Birds and buds, earth’s aroma and touch, giant trees’ humble smiles, the sun’s vocals and the wind’s compositions, other human beings, all dancing, and of course, the bicycles… everything she laid her eyes on glanced back at her, welcomed and sang to her.
At bliss, at Auroville. [Images by Jagriti Rumi]
Tring, tring… tring, tring, she replied to them. Crossed leg sitting inside an apple she relished it, sweet, sour, juicy and fresh. When she jumped outside, she gave the left-over bit to a dog. Questioning her about nothing the dog finished the apple.
Tring, tring… she went ahead and met a mathematician’s spirit, who gave her the map that took her to the grand golden lotus with twelve petals. Its beauty struck her hard and she kept standing there for ages in admiration.
Primary and secondary colours, in circles, pyramids and cylindrical shapes all passed by her. She blinked and found herself inside the grand golden lotus.
Earth, Fire, Wind and Water were there, she saw it, just a glimpse, but they were there in absoluteness. She blinked and she was back outside. Oh! The joy!
She danced all her way, lal-lal-lal-laaa, rotated and laughed, climbed the musical rainbow and listened to what the colours were playing and then surprised herself with her quiet self, quiet but not low, because her eyes were beaming and her soul still dancing.
By the hourglass the journey continued for that someone and her friend, click-click-click, pictures taken, tring-tring-tring on the cycle path, resting, eating and laughing.
That someone’s friend like a darling blue bird sang and danced… unable to resist she also joined her friend. Together they collected memories and both filled their hourglass with it.
Smart! Now time reminds them of those memories all the time.
O journey, when did you start and when will you end?
O journey, can I stop and meet my friend?
The beginning is hazy, but true and the end will be a new beginning for you.
Don’t stop if you want to meet your friend, for she is on a journey too.
A roguish year, 2020, I believe was a twist in our LIVE story. Terrible, oh, terrible things happened. Let us nurture hope, let us learn from our mistakes, let us help each other and contribute honestly to this change.
Let the old charm of stories work, let stories heal your tired heart.
This colossal twist proves that the great writer is planning to finish a chapter, but the story is far from over. Dawn is about to break, the sun rays will fall on a new beginning soon.
Come to Chiming Stories, pocket old and new posts and watch, along with me, the horizon.
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.
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.