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PARALLELS BETWEEN RAINER MARIA RILKE’S GEOGRAPHY OF SOLITUDE AND ANCIENT INDIAN TEXTS… by Kamlesh Tripathi

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PARALLELS BETWEEN RAINER MARIA RILKE’S GEOGRAPHY OF SOLITUDE AND ANCIENT INDIAN TEXTS

Kamlesh Tripathi

There are thematic parallels between Austrian poet Rainer Maria Rilke and ancient Indian philosophical texts, especially the Upanishads, Bhagavad Gita, Vedas, and some later spiritual traditions. However, it is better to call them resonances rather than direct influence.

    Rilke repeatedly encourages the individual to turn inward rather than seek answers entirely in the external world. In his book Letters to a Young Poet, he advises the young military officer Kappus to “go into yourself” to examine the questions in your life. This strongly resonates with the Upanishadic movement from the outer world to the inner Self. The Chandogya Upanishad declares: “Tat tvam asi” — “That thou art.” The basic spiritual movement is similar: what we are seeking outside may ultimately have to be discovered within. Let’s not forget Rumi’s quote here ‘What you seek is seeking you” Reciprocal attraction.

    For Rilke, solitude is not simply loneliness. It is a necessary condition for becoming oneself. The Katha Upanishad describes the wise person as one who turns inward and discovers the Self rather than remaining absorbed in external objects. Rilke calls it solitude; the Indian sage calls it inwardness.

    Rilke’s central concern is discovering one’s authentic inner being. He asks the individual not to live according to society’s expectations but to discover what is genuinely alive within. The Upanishadic tradition goes further: the deepest Self (Atman) is not merely one’s personality, ego or psychological identity. It is connected with ultimate reality, Brahman. Thus there is an important distinction: Rilke’s inward journey is psychological, artistic and spiritual; the Upanishadic journey ultimately becomes metaphysical.

    One of the most appropriate similarities is Rilke’s attitude toward uncertainty. Rather than demanding immediate answers, he encourages Kappus to “live the questions.” A question needs to mature before its answer becomes possible, akin to the Shakespearean phrase ‘the why and the wherefore,’ used in The Comedy of Errors. This has an Indian parallel in the Upanishadic method of inquiry. The seeker repeatedly asks: Who am I? What is reality? What is the Self? What happens after death? (as Nachiketa asked). The Kena Upanishad, for example, investigates the mysterious power behind the mind, speech, sight and hearing. In both traditions, wonder precedes wisdom.

    Rilke’s spirituality is deeply connected with silence. When external noise disappears, the individual can hear something deeper. The Indian spiritual tradition places enormous importance on mauna—silence—and meditation. The famous Upanishadic formulation is particularly striking: “Yato vāco nivartante aprāpya manasā saha” —“From where words return, together with the mind, not having reached it.” The idea is that ultimate reality cannot simply be captured by ordinary language. That is very close to Rilke’s poetic intuition: some truths must be experienced rather than explained.

    Rilke does not advise us simply to escape suffering. He asks us to allow suffering to transform us. The Bhagavad Gita does not promise Arjun a life free of pain, conflict or uncertainty. Instead, it teaches him how to act without being psychologically destroyed by the results of action. Rilke’s idea could therefore be expressed as: Do not merely endure suffering; allow it to deepen you.

    Rilke warns against being controlled by external pressures and encourages an inwardly grounded life. The Bhagavad Gita repeatedly emphasises mastery and steadiness of mind.  Rilke does not advocate simply abandoning the world. He wants the individual to experience life deeply while maintaining an inner independence. This resembles the Gita’s concept of detached action—nishkama karma. One participates fully in life without becoming completely enslaved to its rewards and disappointments.

        Rilke’s conception of love is unusually modern. He believes two people should preserve their individuality. Love should allow each person to grow rather than become an attempt to possess another. This can be compared with the broader Indian distinction between love (prema) and attachment (moha). The Gita particularly warns against attachment because attachment can generate desire, frustration and confusion.  

    Rilke was not a conventional religious thinker. He travelled a lot. His spirituality was personal, mystical and sometimes deliberately uncertain. He was fascinated by God, angels, death, beauty and transcendence, but did not always approach them through orthodox religious doctrine. Death is not merely an interruption in Rilke’s thought. It is intimately connected with existence. This also resonates strongly with Indian scriptures. The Bhagavad Gita presents death as part of the transformation of embodied existence: “Jātasya hi dhruvo mṛtyur”
“For one who is born, death is certain.”     

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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THE ‘QUE SERA, SERA’ OF LIFE- BEFORE AND AFTER THE NEPAL DISASTER

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The ‘Que Sera, Sera’ of Life — before and after the Nepal disaster

Kamlesh Tripathi

    Adventure, calamity and song are the pillars of life. Don Quixote, the master adventurer created by Spanish novelist Miguel de Cervantes, never faced a calamity as sudden and devastating as the recent Himalayan disaster in Nepal. Life surprises us with adventure, devastates us with calamity and lifts our spirits with a song. A song is born out of joy and sorrow. Its melody echoes across great rivers such as the Brahmaputra, the Ganges, the Trishuli or the Bhotekoshi River in Nepal, all eventually meeting the unshakable oceans. Despite calamities, they say, the song of life must go on.

    On 26 August 2026, Nepal witnessed a catastrophic chain of natural events after a massive collapse of rock and glacial ice in the Himalayas that triggered a destructive debris flow and flash flood. The disaster swept through the Nepal-China border and downstream areas. The tragedy reminds us how suddenly the familiar world can disappear.

    Let us juxtapose two iconic songs: Kishore Kumar’s mystifying “Zindagi ka safar hai yeh kaisa safar, koi samjha nahi, koi jana nahi”, and the 1955 classic “Que Sera, Sera (Whatever Will Be, Will Be),” written by Jay Livingston and Ray Evans. The latter was popularised by Doris Day in Alfred Hitchcock’s 1956 film The Man Who Knew Too Much.       The lyrics follow a narrator’s journey through childhood, youth, love and parenthood, repeatedly asking what the future will bring. The answer is simple: whatever will be, will be.

    The recent Nepal disaster gives those words a haunting resonance. People went about their daily lives, travelling, working and living beside the rivers, unaware that a gigantic mass of rock and ice was about to descend from the Himalayas.

    Did The Man Who Knew Too Much really know too much? Could anyone truly know when nature would unleash its fury? Humanity has accumulated extraordinary scientific knowledge, yet nature continues to remind us of the limits of prediction.

    This recalls Mary Shelley’s Frankenstein, where Victor Frankenstein’s scientific ambition creates consequences he cannot control. The comparison is not between Frankenstein’s creature and a natural disaster, but between the human desire to understand and control the world and the humbling realisation that some forces remain beyond our command.

    Before calamity, life often appears permanent.  The Nepal disaster has also shown the vulnerability of Himalayan communities and the importance of early warning systems. Reports indicate that the enormous speed of the flood left communities with very little time to react. The catastrophe has consequently renewed discussion about monitoring and warning systems for hazards that can originate in remote mountain regions and cross national boundaries.   Yet even amid destruction, the song of life continues.

    The Sound of Music, with its book by Howard Lindsay and Russel Crouse, similarly continues to remind generations that music can provide courage in difficult times.     And then there is ABBA’s memorable line: “The winner takes it all,
The loser has to fall.”

   But disasters do not necessarily create winners and losers. They create survivors, rescuers, mourners and rebuilders. They reveal the fragility of human existence, but they also reveal extraordinary courage. Rescue workers, security personnel, volunteers and ordinary citizens become part of a collective struggle to save lives and restore communities. And then, slowly, nature begins to heal.

    The rivers continue to flow.  The Ganges does not stop. The Brahmaputra continues its journey. The Trishuli or the Bhotekoshi River will flow as they have for centuries. The mountains remain majestic, even after their slopes have collapsed. The sun rises each morning. Birds return. Children play again. Markets reopen. Homes are rebuilt.

    Life finds its rhythm once more. Perhaps that is the deepest lesson of Que Sera, Sera. The phrase “Whatever will be, will be” suggests acceptance of an uncertain future. But acceptance does not mean surrender. It means recognising the limits of human control while still doing everything within our power to prepare, protect and rebuild.

    The Nepal disaster reminds us of this truth with painful clarity. A landscape that appeared eternal can change within minutes. A river that sustained communities can suddenly become an agent of destruction. A familiar road can disappear beneath mud and debris. A home can vanish, while a simple house key may become the last surviving symbol of a life that once existed there. The calamity may interrupt the song of life, but it cannot silence it forever.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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NAVRATRI: THE NINE NIGHTS OF SHAKTI AND DEVOTION, AND THE TRIUMPH OF GOOD OVER EVEIL

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Written and posted by Kamlesh Tripathi

    India is a land where festivals are not merely occasions for celebration. Rather, they are expressions of mythology, spirituality, culture and collective memory. Among its most vibrant festivals is Navratri, the sacred celebration of the Divine Feminine. The word Navratri is carved from two Sanskrit words: nava, meaning nine, and ratri, meaning night. These nine nights and ten days are devoted to Goddess Durga and her nine manifestations, collectively known as Navdurga.

    Sharad (Ritu) Navratri culminates on Vijayadashami, or Dussehra. The festival arrives with the autumn season. This is when the monsoon begins to retreat, and the air acquires a distinctive freshness. Ardent devotees prepare for worship, and devotional bhajans fill the atmosphere.

    Navratri concerns the battle between Goddess Durga and Mahishasura, a powerful demon who had obtained a boon that made him invincible. This made Mahishasura arrogant, and he started challenging the gods and threatening the cosmic order. The gods amassed their divine energies to create Goddess Durga. She possessed extraordinary strength, courage and determination. Riding a lion or tiger and wielding celestial weapons, she fought Mahishasura and eventually destroyed him.

    This victory conveys much more than the defeat of a demon. It symbolises the triumph of righteousness over arrogance, wisdom over ignorance and divine order over destructive forces. Durga’s many arms represent her ability to confront several challenges simultaneously, while her lion signifies courage and mastery over fear.

    In northern India, the period culminates in Dussehra, which celebrates Lord Rama’s victory over Ravana, as narrated in the Ramayana. Although the stories differ, their underlying message is similar. The evil may appear powerful, but it cannot claim an eternal victory over righteousness.

    Each day of Navratri is associated with a particular manifestation of Durga, representing a distinct quality of spiritual strength—Day 1: Shailputri- the daughter of the mountains, who gives a firm foundation. Day 2: Brahmacharini, the practice of penance, teaching us devotion and perseverance. Day 3: Chandraghanta, the bearer of the crescent moon bell, inspiring courage. Day 4: Kushmanda, the cosmic creator, filling the universe with creative energy. Day 5: Skandamata, the mother of Kartikeya, offering maternal love and protection. Day 6: Katyayani, the warrior goddess, driving determination to fight injustice. Day 7: Kalaratri, the fierce destroyer of ignorance, conquering darkness and fear. Day 8: Mahagauri, the radiant ray of light, bringing purity, peace and renewal. Day 9: Siddhidatri, the giver of boons, leading to spiritual fulfilment and attainment of higher wisdom.

    Through these forms, the Goddess becomes a many-sided representation of feminine power. She is compassionate yet fierce, nurturing yet fearless, and gentle yet capable of confronting the greatest adversities.

    Navratri begins with Ghatasthapana, also known as Kalash Sthapana, a ritual that invokes the Goddess. Devotees establish a sacred space in their homes, offer flowers and prayers, light lamps and recite devotional texts. Many observe fasts, while others devote the nine days to meditation, charity and acts of service.

     In Gujarat, Navratri is celebrated through the enchanting dances of Garba and Dandiya Raas. In West Bengal, the larger autumnal celebration takes the form of Durga Puja, with magnificent pandals, artistic idols and community festivities. In northern India, Ramlila performances bring the story of Rama to life, culminating in the burning of Ravana’s effigies on Dussehra. In southern India, traditions such as Golu, involving the display of dolls and figurines, add another dimension to the festival.

    These regional variations demonstrate the extraordinary diversity of Indian culture. The rituals may differ, but devotion to the Divine Feminine and the celebration of good overcoming evil remain powerful connecting threads.

    Beyond mythology and ritual, Navratri carries a message of considerable relevance to contemporary society. The battle between Durga and Mahishasura can also be understood as an inner struggle against greed, anger, jealousy, arrogance and intolerance. The demon we must conquer is not always outside us; sometimes, it resides within our own minds.

    The festival also invites us to reflect on the status of women. If the Goddess is worshipped as the embodiment of Shakti, or power, then reverence for her should extend beyond temples and ceremonies. It should be reflected in the dignity, safety, equality and opportunities afforded to women in everyday life. The true spirit of worship must find expression in our conduct.

        The eternal message of Navratri is beautifully simple. Darkness may persist, injustice may appear invincible, and evil may temporarily triumph. But faith, courage and righteous action can change the course of events. May Navratri inspire us not merely to worship the power of the Goddess, but also to awaken that power within ourselves.

The author is a novelist, poet, short story writer and a columnist

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Kindness without expecting a Reward is a form of Greatness

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Kindness without expecting a Reward is a form of Greatness

Kamlesh Tripathi

   Baucis and Philemon are an elderly and poor couple. They live in a modest cottage in the ancient kingdom of Phrygia, a hill country in present-day Turkey. One day, the gods Jupiter and Mercury, disguised as average travellers, visit the neighbourhood seeking shelter. They knock on the doors of many wealthy households, but sadly nobody welcomes them. Finally, they reach the humble home of Baucis and Philemon. Though the couple have very little. They warmly invite the strangers inside and offer them whatever food and drink they can afford.

    The story of Baucis and Philemon, narrated by the Roman poet Ovid in Metamorphoses, is an emotional tale. It is about hospitality, humility, love, gratitude and the rewards of goodness. In today’s world, where wealth and status are often mistaken for happiness, its message is very relevant.

   The elderly couple’s hospitality is sincere. They do not enquire who their guests are, how wealthy they are, or what they can offer in return. They see two wayfarers in need and help them. But when their guests miraculously cause the wine vessel to refill by itself, Baucis and Philemon realise that their visitors are no ordinary men but gods.

   The gods then reveal why they have come. The wealthy neighbours who refused them hospitality are punished, whereas the humble couple’s cottage is spared. The gods transform the cottage into a magnificent temple. They grant Baucis and Philemon their wish. Baucis and Philemon in turn serve the gods together and die at the same moment, so neither will have to live without the other. It happens one day in extreme old age, as they stand before the temple, the couple are transformed into two trees growing side by side: an oak and a linden. Their physical lives end, but their love remains eternally intertwined.

    The story conveys several important lessons. True wealth is generosity, not possession. Baucis and Philemon are materially poor but spiritually rich. Their wealthy neighbours possess abundance but lack compassion. The story reverses the conventional creed of prosperity. Those with the least can give the most. It also celebrates hospitality as a moral virtue. A stranger should not be judged by appearance or social position. Baucis and Philemon welcome their guests not because of their godly status but simply because they are human beings in need.

    Most certainly, the story celebrates faithful companionship. Their final wish is not for gold, power or immortality but to remain together. Even their morphing into trees symbolises the permanence of their love.

    Likewise, in Indian culture and religious folklore, the Banyan and Neem trees are quite often grown in proximity so that their branches and roots wrap around each other. This intertwined pairing is viewed as a sacred, divine union and is called the holy marriage. In many rural parts of India, communities perform formal wedding rituals (Vriksha Vivaha) between the two trees to symbolise marital harmony, loyalty, and the balancing forces of nature.

    The enduring message of Baucis and Philemon is extremely simple. Kindness offered without expecting a reward in itself is a form of greatness. In a world increasingly concerned with status, possessions and appearances, their humble cottage reminds us that a generous heart can be richer than a palace.

Writtenand posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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BOOK REVIEW: Journey to the Centre of the Earth by Jules Verne:

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The Novel That Dug the Foundations of Science Fiction.

Kamlesh Tripathi

    Even after 160 years since its publication, Journey to the Centre of the Earth continues to inspire media, scientists, writers, filmmakers, and dreamers alike. It tells us that every great discovery begins as an improbable idea, often dismissed by conventional wisdom before eventually reshaping our understanding of the world.

    The title remains one of the top classics of world literature. The imaginative scope Verne brings to this novel remains par excellence. The narration didn’t accurately predict science, but it captured the adventurous spirit that makes scientific discovery possible. Very few novels have merged imagination, intellect, and excitement so successfully. No wonder, Jules Verne’s descent into the centre of the Earth remains one of literature’s greatest ascents.

    “Science, my lad, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth.”  In his evergreen classic Journey to the Centre of the Earth, Jules Verne has his protagonist, Professor Otto Lidenbrock, spell out these lines to his nephew Axel. It is to explain that false theories and errors are normal and valuable steps on the road to real discoveries. Published in 1864, the novel is absorbing and offers a unique reading experience.

    Verne changed the ground rules because earlier imaginative voyages mostly belonged to mythology or fantasy. He based his narrations on scientific knowledge, technological possibilities of his time and created extraordinary adventures. He encouraged his readers to assess the scientific possibilities behind the plot rather than accept the plot blindly. This approach became the hallmark of his novels and influenced other writers from H.G. Wells to Arthur C. Clarke and beyond.

    An eccentric geologist is the chief protagonist of the novel, and it starts with him. His name is Professor Otto Lidenbrock. He comes across a puzzling manuscript written by a 16th century Icelandic alchemist named Arne Saknussemm. The encrypted message claims that one can reach the Earth’s centre through the crater of the extinct volcano Snæfellsjökull in Iceland. Professor Lidenbrock embarks on an expedition that defies logic but requires a plethora of common sense. He is accompanied by his reluctant nephew Axel and the stoic guide Hans.

    What follows is English literature’s iconic and memorable exploration. Verne takes his readers through subterranean passages, massive caverns, underground oceans, forests of gigantic fungi, and landscapes inhabited by prehistoric creatures. Each discovery is explained with remarkable precision. The author gives it a touch of realism that distinguishes it from conventional fantasy. The intellectual honesty with which Verne presents his theories is praiseworthy even when the science is inaccurate by today’s standards.

    Though Professor Lidenbrock is driven by a strong desire to uncover truth, his determination often hinges on recklessness, but Verne doesn’t ridicule his ambition. Instead, he labels scientific inquiry as one of humanity’s most difficult pursuits. In contrast, Axel, the Nephew of Lidenbrock, serves as the doubtful observer, voicing the doubts and fears shared by readers. Hans, on the other hand, demonstrates that courage is measured not by words but by enduring action.

    From a modern scientific perspective, Verne’s subterranean adventure looks impossible. The immense pressure and heat of Earth would obviously render such an expedition inconceivable. Yet to play down the novel purely on scientific grounds is to misunderstand its intent. Verne was not predicting a geological reality; rather, he was illustrating the spirit of a scientific exploration. Like all great fiction, the novel is less concerned with being correct than with encouraging readers to imagine the possibility.

    Stylistically, Journey to the Centre of the Earth has both meticulous description and narrative momentum. Verne’s detailed explanations of geology, mineralogy, and palaeontology occasionally slow the pace of the novel for readers used to faster storytelling. When detailing increases, the pace of the novel slows down.  Yet, these passages provide the novel with intellectual depth. They remind us that genuine exploration requires patience, observation, and evidence.

    The novel is not without limitations. Female characters virtually play no role in the book, a characteristic common to much nineteenth-century adventure fiction. Some episodes rely heavily on coincidence. The conclusion, following the painstaking descent, appears abrupt. Nevertheless, these weaknesses are insignificant when weighed against the novel’s originality, imagination, and historical significance.

    The novel’s most remarkable achievement is its lasting relevance. Today, humanity explores the depths of the oceans, maps distant planets, and probes the origins of the universe with sophisticated technology. The scientific impulse driving these endeavours remains identical to that which animated Professor Lidenbrock, with the irresistible desire to understand what lies at the centre of the Earth.

    Jules Verne didn’t merely write an adventure novel. He prescribed curiosity. His message is as relevant today as it was in the nineteenth century. Civilisation progresses because there are always those willing to descend into darkness in search of light.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

Life Lesson From French Author Jules Verne

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Life Lesson from French Author Jules Verne

Kamlesh Tripathi

    The greatest journey in life is not the journey across continents, but the journey into the unknown. More than 160 years ago, Jules Verne asked his readers to imagine something that seemed impossible, and that was the journey to the centre of the Earth.

    In his classic novel Journey to the Centre of the Earth, by Jules Verne, the chief protagonist, Professor Otto Lidenbrock, discovers a mysterious manuscript written by the Icelandic scholar Arne Saknussemm. It reveals a secret route into the Earth through the crater of an extinct Icelandic volcano. Lidenbrock does not dismiss the idea simply because it sounds impossible. He decides to explore it. And that is where the first lesson of life begins. Never allow the word “impossible” to become the end of your curiosity.

    Lidenbrock sets out with his reluctant nephew Axel and their Icelandic guide Hans. The journey takes them deep beneath the Earth, through dark passages, enormous caverns, underground seas and landscapes populated by prehistoric creatures. But beneath all the adventure lies a much deeper story. It is the story of human beings confronting the unknown. Axel is frightened. He doubts the expedition. He questions whether they will survive. And who among us has never behaved like Axel?

    We all have moments when we stand before an uncertain future and think, What if I fail? What if I get lost? What if I cannot come back? Fear is natural. But fear can’t always be allowed to make our decisions. Then there is Hans. He speaks little, but when difficulties arise, he acts. He reminds us of another important truth: Courage is not the absence of fear. Courage is continuing despite fear.

    And then comes one of the most memorable ideas in the novel. Lidenbrock tells Axel that science is made up of mistakes. Mistakes that are useful because they gradually lead us towards truth. What a lesson for life!

     We often consider mistakes to be failures. We hide them. We regret them. Sometimes we allow one mistake to define our entire life. But mistakes can also be teachers. A wrong decision can show us what not to do. A failed attempt can reveal a better direction. A closed door can force us to discover another entrance. Failure is not always the opposite of success. Sometimes it is a part of the road to success.

    The expedition also teaches us something about perseverance. Imagine descending into darkness without knowing what lies ahead. That is life. We rarely have the complete map. We take one step, then another. Sometimes the path disappears. Sometimes we have to turn back. Sometimes we discover something extraordinary precisely because the journey did not go according to plan.

    Jules Verne’s science may not always agree with modern scientific knowledge. The immense heat and pressure deep inside the Earth would make such a journey impossible in reality. But that is not the real point. Verne was teaching us to imagine beyond the boundaries of the familiar.

    Human progress has always begun with somebody asking an unreasonable question. Can we fly? Can we reach the Moon? Can we travel beneath the oceans? Can we communicate instantly across the world? Yesterday’s impossibility can become tomorrow’s reality.

    So perhaps Journey to the Centre of the Earth is not really about reaching the centre of the Earth. It is about reaching the centre of ourselves. Deep inside every person lie unexplored chambers: our courage, creativity, resilience, curiosity and dreams. The greatest discoveries may not be beneath our feet. They may be within us. So, when life presents you with an unknown path, do not immediately turn it away. Take the first step. Make mistakes. Learn. Keep going. Because sometimes the darkest journey leads us to the brightest discovery.

    And perhaps that is Jules Verne’s greatest lesson. To discover the world, we must first have the courage to explore the unknown within ourselves.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

 Pitru Paksha: Remembering Ancestors in Hindu Tradition … by Kamlesh Tripathi

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Pitru Paksha: Remembering Ancestors in Hindu Tradition

Kamlesh Tripathi

    In this fast-paced world, one hardly gets time to remember one’s ancestors. But God has devised a methodology to find ways and means to bridge this gap. Pitru Paksha is one such occasion and season when we remember our ancestors with reverence. It is a 16-lunar-day period in the Hindu calendar, dedicated to the remembrance and reverence of ancestors (pitrs), falling typically in the lunar month of Bhadrapada (September). It commences on the Pratipada, the first day of the dark fortnight, and concludes on Amavasya (the new moon).

    This fortnight is deemed inauspicious because of its association with death rituals and culminates with the Shradh ceremony. The ritual includes food offerings to deceased ancestors, believed to bring peace to their souls and ensure blessings for the living.

    Pitru Paksha is based on Hindu scriptures and the principles of astronomy. When the Sun moves from the northern hemisphere to the southern hemisphere, it symbolically enters the realm of the ancestors, also known as the south celestial sphere. This transition typically coincides with the autumnal equinox, which is why Pitru Paksha falls during this time.

    Hindu scripture Garuda Purana emphasises the importance of Shradh. They describe how the offerings reach the ancestors through a cosmic chain. From Varuna (the god of waters) to Vishnu, then to Surya, and finally to the pitrs (ancestors).

    A popular tale from the Mahabharata adds a mythological flavour to the observance of Pitru Paksha. After Karna died and reached heaven, he discovered that the food he touched turned into gold. This puzzled him. He asked Indra the reason. He was told that while he donated gold throughout his life, he had never offered food to his ancestors. To atone, Karna was granted a fortnight to return to Earth to perform Shradh and offer food. These 15 days came to be known as Pitru Paksha. It emphasises the necessity of feeding the departed souls for their peace and well-being.

    Shradh and Tarpana are the central rituals that involve offering food (pindas made of rice and barley), water (tarpana), and prayers. Shradh is performed on the tithi (lunar date) that corresponds with the ancestor’s date of death. Specific days are designated for those who died in particular ways, such as violent deaths, children, or ascetics. Sarvapitri Amavasya is the most important day for honouring all ancestors, regardless of their specific date of death. It can also make up for missed Shradh rituals. Gaya (in Bihar) is considered the holiest place to perform Shradh, where, during Pitru Paksha, lakhs of pilgrims gather at the banks of the Falgu River for the Pitru Paksha Mela. A symbolic aspect of the shradh is the feeding of crows, believed to be messengers of Yama or the ancestors themselves. If a crow eats the offering, it is taken as a sign that the offering has been accepted.

    The Garuda Purana details the journey of the soul after death and the importance of Shradh. Several key verses stand out: “On Amavasya, the airy manes appear at the door of their descendants. If they are not offered, they sigh and curse their descendants.” “Offerings made with faith during Shradh reach the ancestors wherever they may be.” These verses demonstrate that rituals are not merely traditions but acts of spiritual continuity, filial duty, and love that connect generations across life and death.

    Pitru Paksha shares striking similarities with All Saints’ Day and All Souls’ Day in Christianity, and with ancient Greek ancestor rituals in the form of funerary customs, highlighting a universal human concern for honouring the dead. All Saints’ Day honours all saints who have reached heaven. All Souls’ Day is dedicated to praying for departed souls in purgatory, helping them attain peace. Practices include Masses, candles, almsgiving, and visiting graves, much like the offerings made during Shradh.

    Across cultures and ages, humanity shares this sacred impulse to honour those who came before them and continue to walk with us, unseen but never forgotten. Death is not an end, but a passage.

Written and posted by Kamlesh Tripathi

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THE LEGACY OF INVENTIONS

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THE LEGACY OF INVENTIONS

Kamlesh Tripathi

       Scientists and inventors may create something with good intentions. But depraved minds may commandeer it for nefarious motives. Truly speaking, inventions do leave an indelible legacy behind, where some may turn out to be serenades of life, and some the hounding baggage difficult to carry.

    Scottish physician and microbiologist Alexander Fleming was awarded the Nobel Prize in Medicine for the discovery of penicillin. Penicillin was later developed into an antibiotic to kill bacteria. It has since then saved many lives. Fleming therefore must have left the world with pleasant memories of his invention.

    Alfred Nobel invented ‘dynamite’, a high-power explosive that ravaged humanity. He made a fortune out of that. But it was only during his lifetime that he realised that the invention of dynamite was a great threat to humanity. He later bequeathed his fortune to institute the Nobel Prize for Excellence.

    Conversely, Eadweard Muybridge, often called the ‘father of the motion picture’, left the world with glorious recollections. This isn’t the case with General Mikhail Kalashnikov, the creator of the AK-47 assault rifle, though it was designed for the defence of his country. He was an author and a poet too. Later, he rose to become a general with innovative attributes, but his inventions appear to be for the wrong causes. Kalashnikov maintained that his rifle was an ‘armament for defence and not a weapon of offence.’ Yet, numerous killings have taken place with this invention.

    Kalashnikov claimed he was always motivated more by service to the nation than money. But the rifle that was once good for the nation was used by terrorists in illegal and dreadful killings. In the final years of his life, he was saddened by the awful responsibility for the millions of deaths that his invention had caused, as per his published letter to the head of the Russian Church. Kalashnikov died at the age of 94. In his interviews, he insisted that he created the AK-47 assault rifle only to protect his country, and rejected responsibility for killings perpetrated by zealots and terrorists using his weapon.

    Kalashnikov didn’t have a simple life. In his old age, he was troubled to learn that his rifle was used for evil acts, even though he knew that his weapons were also used to destroy adversaries and defend his motherland. In order to find peace, like Alfred Nobel and Oppenheimer, Kalashnikov too retired to a quiet life in the hope of experiencing a godly touch sometime and somewhere before his death. To seek pardon, he wrote a letter to the head of the Russian Church, saying:

    “My soul’s ache is unbearable and has irresolvable questions: If my rifle took lives, does it mean that I, Mikhail Kalashnikov, aged 93, a peasant woman’s son, an Orthodox Christian in faith, am guilty of those people’s deaths, even if they were enemies?”

    Kalashnikov spent a major part of his life as an atheist in an atheist country. Only at the age of 91 did he feel the call of faith and answered it. As he was approaching the end of his life, doubts entered his mind that his invention gave a chance to millions of miscreants … to butcher innocents.

    Surely, inventions do leave a legacy behind. Some legacies are insurmountable for the soul to carry through. But sadly, the inventor only realises that when it’s too late in life.

    The story remains incomplete without knowing what Oppenheimer felt after the atomic bombs exploded in Hiroshima and Nagasaki. Did he feel exalted or miserable? Only he’d be able to tell. But of course, the sting of karma does follow you beyond the frontiers of your present life.

Written and posted by Kamlesh Tripathi

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BOOK REVIEW: INDIAN CARTOONISTS ON TIBET (1950-2025)

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BOOK REVIEW: INDIAN CARTOONISTS ON TIBET (1950–2025)

Kamlesh Tripathi

    Indian Cartoonists on Tibet (1950–2025) is a compelling visual chronicle of Tibet’s long and painful journey, told not through conventional history but through the sharp, fearless ink of India’s most fearless and leading cartoonists.

    Spanning over seven decades, the book captures the evolving relationship between India and Tibet. It highlights moments of solidarity, silence, diplomatic and moral dilemma and the tragedy of a lost homeland. At its heart is His Holiness the XIV Dalai Lama, a spiritual leader in exile, a Nobel laureate and a global symbol of peace and compassion, whose life and legacy are reflected in these powerful illustrations. His ever smiling face has remained a remarkable expression of resilience despite the loss of his kingdom and homeland depicted grandly in the book. One can say so much about a man who kept smiling even after losing his kingdom? HH Dalai Lama’s early pictures will tell you that.

    The cartoons are far more than satire. They are acts of truth-telling. With wit and poignancy they reveal what headlines often miss: The heartbreak of displacement, the courage of resilience, the complexities of India-China relations, and the quiet strength of people who refuse to be forgotten. They also remind us that India not only lost a peaceful neighbour but also a serene Himalayan frontier.

    In a world where voices are often silenced, cartoonists become the storytellers of humanity, distilling complex realities into strokes that inform, provoke and inspire.

            The collection features 34 renowned Indian cartoonists as follows:

    Shankar, R.K. Laxman, Chandi, Ranga, Vijayan, Abu, Mario, Thackeray, Ninan, Puri, Kaak, Prriya Raj, Yesudasan, Varma, Nanda Soobben, Ravi Shankar, Ponnappa, Manjula, Morparia, Abe Gowda, Prakash Shetty, Mrityunjay, Unny, Jayanto, Shankar, Manjul, Sajith Kumar, Suku, Satish Acharya, Soumyadip Sinha, Narendra, Thommy, Krish and Eskay.

    The narration opens with an enlightened message from His Holiness the Dalai lama followed by a stimulating endorsement by Prof Samdhong Rinpoche.     The crisp foreword is by Tushar Gandhi, author and great-grandson of Mahatma Gandhi and Kasturba Gandhi. The all-encompassing preface is by French born author, researcher and Tibetologist, Claude Arpi, followed by reflections (We The People of India and Friends of Tibet!) by Medha Patkar, Social Activist and founder of Narmada Bachao Andolan. And then you have ‘Smile over Tears’ by Sethu Das, Founder and Friends of Tibet Foundation.

    Each cartoon (in all 50 plus) is accompanied by Arpi’s peppy commentary, placing the drawings within the historical and political context of Tibet, China and the complex Indo-China relationship.

    His Holiness the Dalai Lama reminds us that humour should not demean others but bring people together. The ability to laugh at oneself creates common ground and makes laughter wholesome.

    Prof. Samdhong Rinpoche calls the cartoonist a uniquely important communicator and praises the collection and commentary as excellent, noting the power of visual expression to transcend spoken language.

    Tushar Gandhi, sees the book as an engaging visual chronicle of India’s relationship with China. The early cartoons, particularly those addressing the Nehruvian era, offer direct and often unsettling criticism of diplomatic decisions. The book, he says, is also a mirror of changing political ideologies, public consciousness and India’s ethical engagement with the Tibetan cause.

    Claude Arpi describes the book as the story of the tumultuous years in the life of the Dalai Lama and the fate of Tibet. Despite the global recognition of the Dalai Lama as a man of peace, the older world order (Power, money, violence, etc.) still prevails and the fate of the Tibetan people is ignored. Claude cities Dalai Lama’s favourite quote, “If it can be remedied, there is no need to be unhappy. If it can’t be remedied, what is the use of being unhappy?”

    Medha Patkar, the founder of the Narmada Bachao Andolan, writes about, Tibet’s culture, surviving in exile and credits the Dalai Lama and his team for creating Dharamshala as a centre and symbol of the Tibetan freedom movement. She invokes the spirit of “We, the People of India and Friends of Tibet”, recalling the worldwide support for the Tibetan cause and urging continued solidarity with Tibetans.

    Says, Sethu Das, Founder of the Tibet Foundation: Friends of Tibet’s cartoon journey began with Mario Miranda (1926-2011), the celebrated cartoonist from Goa. As a steadfast supporter of the Tibetan cause, Mario served as an advisor for Friends of Tibet’s Festival of ‘Tibet 2000’ in Mumbai, inaugurated by the Dalai Lama himself. In one of our several conversations, His Holiness once asked me, “Why don’t you make your supporters laugh using cartoons instead of making them shed tears over photographs on Tibet?” It was this question that sparked the initial idea for Indian Cartoonists on Tibet.

    Published by The Alcove Publishers in association with Friends of Tibet Foundation, the book grew from a travelling exhibition into a powerful visual record. It is ultimately a tribute to art as resistance, memory and hope—and to the cartoonists who drew so that others could see.

               In these drawings, history smiles, protests, questions and sometimes grieves. And above all it remains the eternal smiling face of the Dalai Lama—a smile that says that even when a kingdom is lost, dignity, compassion and hope need not be.

(Kamlesh Tripathi is the son of the person who received HH Dalai Lama when he entered India in 1959)

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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JANMASHTAMI: Celebrating Krishna’s Arrival

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JANMASHTAMI: Celebrating Krishna’s Arrival

Kamlesh Tripathi

    Janmashtami celebrates the stormy midnight birth of Lord Krishna, the eighth avatar of Lord Vishnu, on the eighth day (Ashtami) of the dark fortnight (Krishna Paksha) in the Hindu month of Bhadrapada, during the waning phase of the moon. The hour is symbolic.

    The story begins with Kansa, the tyrannical king of Mathura. A divine prophecy warned him that the eighth child of his cousin, Devaki, would cause his death. Terrified, Kansa imprisoned Devaki and her husband Vasudeva and killed their first six children. The seventh child, Balarama, was miraculously transferred to the womb of Rohini, the first consort of Vasudeva and was thus saved.

    A comparison can be drawn with the Greek hero Perseus, who survives despite his grandfather Acrisius’ dastardly attempt to kill him. Though he is abandoned and left adrift in a wooden chest at sea with his mother, the gods protect him. On the other hand, Krishna, the eighth child of Devaki, is secretly carried away from the prison and saved, while Kansa kills infants in his attempt to escape fate. Both narratives show the failure of human power against divine will.

    Krishna was born in the prison of Mathura. Legend has it that when divine forces intervened, the chains of Vasudeva fell away, the prison doors opened, and the guards were overcome by sleep. Vasudeva carried the newborn Krishna across the swollen Yamuna to Gokul, where he left him in the care of Nanda and Yashoda. In return, he brought back their newborn daughter.

    Although born to Devaki and Vasudeva, Krishna became the beloved son of Yashoda and Nanda. He belonged simultaneously to the royal world of Mathura and the pastoral world of Gokul and Vrindavan.

    Krishna stole butter, teased the gopis, played his flute and wandered through the lanes of Vrindavan with his friends. His childhood is remembered not for grandeur but for mischief. Yashoda sometimes had to chase him, scold him and even tie him to a wooden mortar.

    The famous episode of Yashoda looking into Krishna’s mouth is especially symbolic. She saw the entire universe in it. The child she was trying to discipline was none other than the cosmic being himself. He is simultaneously the God, child, philosopher, prankster, warrior, lover, king and the cowherd.    

    In temples and homes, devotees fast and stay awake until midnight, waiting for the moment believed to be Krishna’s birth. At midnight, the idol of the infant Krishna is placed in a cradle. He is bathed and dressed in new clothes and adorned with flowers. Devotees sing bhajans and chant Hare Krishna, Hare Krishna as bells ring and conch shells are blown.

    In Maharashtra, the festival takes a particularly lively form through Dahi Handi. Inspired by Krishna’s childhood habit of stealing butter, young men and women form human pyramids to reach and break a pot of curd or butter suspended high above the ground.

    In Mathura and Vrindavan, the celebrations have a special emotional intensity. These are the lands associated with Krishna’s childhood, his flute, his friends and the Gopis. Temples are beautifully decorated, devotional music fills the streets, and the atmosphere becomes one of collective remembrance. Even homes are decorated with jhankis of Krishna. Janmashtami is celebrated all over India and in many parts of the world by the Indian diaspora. In Dwarka, the main ritual and midnight Abhishek take place at 12:00 AM, marking the birth of Lord Krishna.

    Krishna’s greatest gift to humanity is his wisdom. On the battlefield of Kurukshetra, Krishna became the charioteer of Arjuna and delivered the Bhagavad Gita. There he addressed one of humanity’s oldest dilemmas: That one must perform one’s duty without becoming enslaved by the fruits of action. Karmanye vadhikaraste ma phaleshu kadachana—you have a right to action, but not to its fruits.

    He also teaches balance. Life is neither entirely about renunciation nor entirely about indulgence. Krishna played the flute, loved music, enjoyed friendship, fought battles, ruled a kingdom and imparted spiritual wisdom. His life embraced the world without becoming imprisoned by it.

    To a child, he is the mischievous Kanha who steals butter. To a mother, he is the adorable little boy whom Yashoda lovingly disciplines. To a devotee, he is the supreme Lord. To a philosopher, he is the teacher of the Gita. To a lover of poetry and music, he is the flute-playing Krishna of Vrindavan. And to those facing moral dilemmas, he remains the divine charioteer of Kurukshetra.

    Janmashtami asks us to discover Krishna within ourselves. It is the courage to confront Kansa-like forces of fear and tyranny. The symbolism of his midnight birth is perhaps the most powerful message of all. When the world appears darkest, hope can still be born. When injustice seems invincible, righteousness can still emerge. And when life appears imprisoned by circumstances, a new beginning may be waiting behind the closed doors. That is the enduring magic of Janmashtami.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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