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Review: Indic Mythology Entices Irish Poet W.B. Yeats to Write the Poem ‘Anashuya and Vijaya’

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Indic Mythology Entices Irish Poet W.B. Yeats to write the poem ‘Anashuya and Vijaya’

Kamlesh Tripathi

    “Anashuya and Vijaya” (1887) by W. B. Yeats is a lyrical and dramatic poem loosely inspired by Indic mythology. It begins by picturing a little temple in the Golden Age: “A little Indian temple in the Golden Age. Around it a garden; around that the forest. Anashuya the young priestess, kneeling within the temple.”

    Although the poem contains elements of the Ramayana and some other classical Indian texts, it is not a direct retelling of Sita’s story. Yeats was enamoured by Indian philosophy and literature. He therefore decided to take Indian names and motifs, possibly selecting the name Anashuya (wife of Rishi Atri) from the Vedic texts of Hinduism to represent an idealised figure of devotion and spiritual sensitivity.

    The poem is set in a serene and symbolic landscape. A small Indian temple surrounded by a garden and forest. This creates an eternal dreamlike atmosphere that reflects both spiritual calm and emotional depth. The poem unfolds as a conversation between Anashuya, a young priestess devoted to her religious duties, and Vijaya, her beloved companion. Yeats discerns complex themes such as love, jealousy, devotion, and the tension between spiritual discipline and human desire through their interaction.

    At the beginning of the poem, Anashuya is seen kneeling in prayer, fulfilling her role as a priestess. Her prayer expresses concern for the welfare of the land. She says, “Send peace on all the lands and flickering corn.” However, her spiritual devotion soon reveals a deeply personal and emotional dimension. She continues, “When wandering in the forest, if he love / No other… And if he love another, / May panthers end him.” These lines reveal a striking duality within her character: while she prays for peace and harmony, she also expresses possessiveness and emotional intensity in her love. This contrast highlights the central conflict between her spiritual role and her human vulnerability.

    The entrance of Vijaya introduces a lighter and more intimate tone, yet it also brings underlying tension. When Vijaya casually uses the name “Amrita,” Anashuya reacts with suspicion and unease, interpreting it as a sign that his affection may be divided. Although Vijaya explains that Amrita is his mother’s name, the incident foreshadows the jealousy that later emerges more forcefully.

    As the poem progresses, it shifts into a lyrical mode enriched with songs and vivid imagery. Anashuya sings:
“A sad, sad thought went by me slowly…
Sing, O you little stars…
To mighty Brahma, he who made you many as the sands.”
    Through these lines, Yeats connects personal emotion with the vastness of the cosmos, suggesting that human feelings are not isolated but part of a universal order governed by Brahma. This blending of the personal and the cosmic gives the poem a distinctly mystical quality.

    The approach of evening deepens the poem’s mood. The imagery becomes softer and more reflective, as seen in the line, “The sun has laid his chin on the grey wood.” This gentle personification of the sun mirrors the quiet intimacy between Anashuya and Vijaya. Their relationship appears tender and affectionate, especially in playful moments, such as when Anashuya asks Vijaya to chase away a bird trying to eat her rice. These moments provide a glimpse of simple, human closeness amidst the larger emotional and philosophical concerns of the poem.

    However, this calm atmosphere is soon disturbed. Vijaya reflects on the suffering of the wider world, describing scenes of cold, fire, and sorrow. In contrast, he observes that they “feel the softness of each other’s hand.” Rather than comforting Anashuya, this awareness intensifies her emotional insecurity. Overcome by jealousy and fear, she accuses Vijaya: “Ah me! you love another.” Her reaction is immediate and intense, revealing the depth of her emotional dependence and her fear of betrayal.

    Although Vijaya reassures her that he once loved another but no longer does, Anashuya is not satisfied with mere words. She demands a solemn oath, asking him to swear by divine powers associated with the Himalayas. This moment underscores her need for certainty and her inability to reconcile love with doubt. Vijaya complies, affirming his loyalty.

    Following this, Anashuya expresses her feelings once more through song:
“Shoot on him shafts of quietness…
And may kiss his hands to me in sleep.”
These lines suggest a love that seeks continuity beyond physical presence, blending emotional intimacy with a dreamlike, almost spiritual longing.

    In the final scene, Vijaya departs, and Anashuya returns to her duties as a priestess. Her concluding prayer once again unites the spiritual and the personal: “O Brahma… and my love, Vijaya… give him dreams of me.” Even in her role as a devotee, her love remains central, revealing how deeply intertwined her spiritual and emotional lives have become.

   In conclusion, the poem presents love as a complex and multifaceted force—tender yet possessive, spiritual yet deeply human. While it draws richly on Indian imagery and mythological references, there is no clear evidence that W. B. Yeats intended it to depict Sita or any specific episode from the Ramayana. Instead, the poem reflects Yeats’s imaginative engagement with India as a symbolic and spiritual landscape, through which he explores universal emotions of love, longing, and devotion.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Daughter giving mother a colorful bouquet of flowers in living room

A Love That Never Fades: Happy Mother’s Day

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Daughter giving mother a colorful bouquet of flowers in living room
A daughter surprises her mother with a beautiful bouquet on Mother’s Day

A Love That Never Fades: Happy Mother’s Day

Kamlesh Tripathi

    Writers across ages have tried to capture the essence of a mother’s love, yet words often fall short. As Rudyard Kipling once beautifully said, “God could not be everywhere, and therefore he made mothers.” And in a more tender reflection, Victor Hugo reminded, “A mother’s arms are made of tenderness, and children sleep soundly in them.”

    There are some things in life that time cannot touch. Years may pass, seasons may change, entire lifetimes may unfold, yet a mother’s memory remains untouched. It does not fade, it does not blur. Instead, it deepens, growing more meaningful with every passing day.

    Even in her absence, there is a quiet presence that never leaves. Though she may no longer be physically with us, something within us constantly keeps reminding us that she is still around us, and she cares in ways we may not always see but always feel.

    A mother’s love is first experienced in the gentle rhythm of life itself. She lifts us to moments of joy that feel like cloud nine. She cradles us with warmth and affection, and shapes our world through stories, songs, and silent sacrifices. She teaches resilience, not always through words, but through her quiet strength. She shows us how to endure, how to grow, and most importantly, how to shine in this uncertain world.

    Across cultures and ages, this timeless essence of motherhood finds reflection in mythology. In the Indian epic Mahabharata, Kunti stands as a symbol of quiet endurance and unwavering strength. Despite immense trials, she raised her sons with courage and wisdom, shaping them into men of character and destiny. Similarly, Yashoda from the Bhagavata Purana represents unconditional love in its purest form, nurturing the divine child Krishna not as a god, but simply as her own beloved son.

    In the Ramayana, Kaushalya embodies grace and quiet dignity, while Sita, though remembered as a devoted wife, also reflects the strength, sacrifice, and nurturing spirit of a mother. Beyond Indian tradition, even in Greek mythology, Demeter personifies maternal love through her relentless search for her daughter Persephone, a love so profound that it changes the very rhythm of the seasons.

    This sacred bond has also been beautifully captured in the English literature. In Sons and Lovers, the intense emotional connection between Paul Morel and his mother reveals how deeply a mother shapes her child’s inner world, sometimes becoming the very axis of his identity. Likewise, in Little Women, Marmee stands as a timeless figure of warmth, wisdom, and moral strength, guiding her daughters through life with patience and quiet dignity.

    Motherhood is not confined to mythology or literature alone. It lives and breathes in the modern world, too. Figures like Mother Teresa transformed compassion into a universal form of motherhood. Countless unnamed mothers embody quiet heroism. Their love may not always be celebrated in books, yet it is deeply inscribed in the lives they shape.

    A mother is more than a parent. She is our first friend. The one who understands even before we speak. A mentor who guides without seeking recognition. Life after her feels quieter, touched by an absence words cannot describe. Everything she taught becomes a part of who we are. While many things fade, a mother’s imprint never does. Many of life’s small joys seem dimmer when she’s not there. Her memories do not diminish; they multiply. They return like gentle waves, bringing comfort and reminding us that she is never truly lost.

    A mother never fades. She continues to shine, not just in memory, but in the way we live, love, and move forward. She exists in every breath we take, in every step we make, and in every kindness we extend to the world.

    And so, on this Mother’s Day, we don’t just remember her, we celebrate her. Not as someone who was, but as someone who still is, and always will be, beyond time, beyond absence, and beyond even our own days. In her, we find comfort, wisdom, and a sense of belonging that no other relationship can quite replicate. We may forget many things we learned in the world, but the essence of what she gave us stays unchanged, guiding our thoughts and actions long after she is gone. Closing with Vande Matram.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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The Roller Coaster Life of Kunti … by Kamlesh Tripathi

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–The Roller Coaster Life of Kunti–

Kamlesh Tripathi

    Kunti’s life is a powerful narrative of endurance, sacrifice, and wisdom. Despite immense personal suffering, she upheld her duties as a mother and a queen with unwavering resolve. Her story remains a timeless testament of strength and moral courage.

    She is one of the most significant characters in the Mahabharata. Kunti was originally named Pritha. She was born into a Yadava clan as the daughter of King Shurasena of Mathura. She was later adopted by his issueless cousin Kuntibhoja, from whom she got the name Kunti. She was raised in a royal household and was trained in discipline, duty, and service.

    A defining moment in her early life came when the unpredictable and short-tempered sage Durvasa visited Kuntibhoja’s court. Kunti was entrusted with his care, a task that required patience and precision, as even a small mistake could have brought grave consequences. Through her unwavering dedication, she pleased the sage, who granted her a powerful boon, a mantra that enabled her to invoke any deity and bear a child by them. This divine gift, though extraordinary, soon became the source of deep personal conflict.

    Out of youthful curiosity, one day Kunti decided to test the mantra. In the hour of dawn, she invoked Surya, the Sun God. Bound by the power of the mantra, Surya appeared and gifted her a son. Despite her fear and reluctance, she was assured that her virginity would remain intact. The child, Karna, was thus born with divine armour and earrings. Nevertheless, bound by the rigid norms of society and fearing disgrace, Kunti made the heart-wrenching decision to abandon her newborn. She placed him in a basket and set him afloat on a river, praying for his safety. This act remained a lifelong source of sorrow and guilt for her.

    In time, Kunti was married to King Pandu of Hastinapur, after which she became the queen of the Kuru kingdom. But soon after, Pandu married Madri, a princess of Madra Desh, located in the North-western part of the Indian subcontinent, on the advice of Bhishma. Though initially dejected, Kunti reconciled herself to the situation and treated Madri with kindness and sisterly affection.

    King Pandu’s life took a tragic turn when he accidentally killed Sage Kindama, who had taken the form of a deer while copulating with his wife. As he lay dying, the sage cursed Pandu that he would die if ever he attempted to have sexual intimacy with his wives. Traumatised, Pandu renounced his throne and retreated to the forest with Kunti and Madri. But burdened by the inability to have children, he expressed his despair to his wives. Kunti then revealed her divine boon. With Pandu’s consent, she invoked the Gods to bear her sons: Yudhishthira from Dharma, the God of justice; Bhima from Vayu Deva, the Wind God; and Arjuna from Indra, the king of Devas.

    Showing generosity, Kunti shared the mantra with Madri, who invoked the Ashvins and gave birth to twin sons, Nakula and Sahadeva. Kunti treated the children with equal love, particularly caring for the youngest, Sahadeva.

    Tragedy struck again when King Pandu, forgetting the curse, tried to embrace Madri and died instantly. Overcome with grief and guilt, Madri chose to immolate herself on his funeral pyre, entrusting Kunti with the care of all five children. With immense strength, Kunti accepted this responsibility and returned to Hastinapur with the young princes.

    In the Kuru court, Kunti faced dreadful challenges. The sons of Dhritarashtra, especially Duryodhana, harboured deep jealousy toward the Pandavas. There were repeated attempts on their lives, including the poisoning of Bhima and the infamous Lakshagraha (house of lac) plot, where a palace made of lac was set on fire to kill them. Forewarned by Vidura, Kunti and her sons escaped through a secret tunnel. Then there was the disrobing of Draupadi (or the attempted disrobing) in the Kaurava court in Hastinapur, immediately after Yudhishthira lost her in a rigged game of dice, where Lord Krishna saved her. This was followed by the horrendous declaration that the Pandavas (sons of Pandu) had become das (servants/slaves) when they lost in the Dice Game (Dyut Krida). Kunti took all the atrocities on the chin.

    Living in disguise, the Pandavas spent time in Ekachakra village, where Kunti displayed both compassion and courage. When a Brahmin family was to sacrifice a member to the demon Bakasura, Kunti offered her son Bhima instead. Bhima defeated the demon, saving the village. Later, at her insistence, Bhima married Hidimbi, and their son Ghatotkacha was born.

    A turning point came at the swayamvara of Draupadi, where Arjuna won her hand in marriage. When the brothers returned home and told Kunti they had brought alms, she unknowingly asked them to share it equally. Bound by her words, Draupadi became the wife of all five brothers. Though initially shocked, Kunti accepted the outcome, which ultimately strengthened the unity among her sons.

    As the Pandavas established their kingdom in Indraprastha, Kunti guided them through political and personal challenges. However, after losing their kingdom in a game of dice, they were exiled for thirteen years. During this time, Kunti remained in Hastinapura, choosing to live in Vidura’s house rather than the royal palace.

    Before the great war of the Mahabharat, Kunti met Karna and revealed that he was her firstborn son. She pleaded with him to join the Pandavas, but he refused out of loyalty to Duryodhana. Nevertheless, he promised Kunti that she would still have five sons at the end of the war, sparing all except Arjuna. Kunti also experienced Ashwatthama’s brutal murder of the five Pandav sons (the Upapandavas) while they were sleeping on the final night of the Kurukshetra war, later attempting to destroy the last heir in Uttara’s womb by Brahmastra, but was saved by Lord Krishna.

        After the Kurukshetra war, in which Karna was killed, Kunti revealed the truth of his birth to the Pandavas. This revelation caused deep grief, particularly to Yudhishthira, who cursed all women to be unable to keep secrets. Having fulfilled her duties, Kunti eventually renounced worldly life. She retired to the forest with Dhritarashtra, Gandhari, and others. There, she met her end in a forest fire, bringing her long and eventful life to a close.

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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The Festival of Baisakhi … by Kamlesh Tripathi

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The Festival of Baisakhi

Kamlesh Tripathi

    Baisakhi marks the first day of the month of Vaisakh. It is traditionally celebrated on the 13th or 14th of April every year. It is widely deemed as a spring harvest festival, especially in Punjab and Northern India, including the North East. Along with its agricultural importance, it is also considered the Indian Solar New Year in many regions. However, Sikhs celebrate their New Year in the first month of Chet according to the Nanakshahi calendar.

    Hindu scriptures do not mention ‘Baisakhi’ explicitly as a named festival, but they do insinuate seasonal, solar, and harvest references that reflect the central idea of Baisakhi. The Bhagavad Gita enumerates, ‘from food arises existence, rain produces food, and from sacrifice comes rain,’ thus reflecting the cycle of nature and harvest, core to Baisakhi. The Rigveda alludes, ‘may the fields be rich with grain, may the plough bring prosperity, and may the rains nourish the earth, reflecting the harvest gratitude central to Baisakhi. The Atharveda describes agricultural abundance, ‘O Earth, our mother, set firm in truth, may we be blessed with food in plenty, and live in harmony with your seasons.’ The traditional Hindu calendar (Panchang) says, ‘when the Sun enters Mesha (Aries), the new year dawns with light and hope,’ the astronomical basis of Baisakhi.

    Historically, Baisakhi was one of the most important annual market festivals of North India. Though it began as a grain harvest festival among Hindus and predates the creation of Sikhism, it later became deeply associated with the history of Sikhism.

    For Sikhs, Baisakhi is not only a harvest celebration but also a day of profound religious and historical significance. Devotees participate in kirtans, prabhat pheri, visit gurdwaras, organise community fairs, and take part in vibrant nagar kirtan processions. The Nishan Sahib flag is ceremonially raised, and people gather to socialise and share festive meals. Most importantly, the festival commemorates the founding of the Khalsa by Guru Gobind Singh on 13 April 1699.

    Another important milestone linked with Baisakhi is the coronation of Maharaja Ranjit Singh as the ruler of the Sikh Empire on 12 April 1801, which coincided with the festival and marked the emergence of a unified political state.

    Baisakhi is also remembered as a tragic day in Indian history. On this day in 1919, British officer Reginald Dyer ordered his troops to fire upon a peaceful gathering in Amritsar, resulting in the infamous Jallianwala Bagh massacre.

    It is also celebrated by Hindu communities across India under different regional names. For many Hindus, it marks the beginning of the solar New Year. On this occasion, people take ritual baths in sacred rivers like the Ganges, Jhelum, Kaveri and many others. They visit temples, meet friends and relatives, perform charitable acts (daan), and participate in festive celebrations.

    In different parts of India, Baisakhi coincides with other regional New Year festivals such as Puthandu, Pohela Boishakh, Bohag Bihu aka Rongali Bihu, and Vishu. Though the names vary, the spirit of celebration, renewal, and gratitude remains the same.

    The date of Baisakhi is determined by the solar calendar and gradually shifts over time due to astronomical changes. While it is currently observed on 13th or 14th April, it fell on 11 April in 1801 and is expected to occur on 29 April by the year 2999.

    The term ‘Baisakhi’ is derived from “Vaishakha,” the name of a month in the Hindu calendar, which itself originates from the Vishakha nakshatra. For Hindus, Baisakhi symbolises prosperity, renewal, and thanksgiving. It marks the completion of the harvest season, a time of abundance and joy for farmers. Fairs, temple processions, and special prayers are commonly organised, reflecting both cultural vibrancy and spiritual devotion.

In essence, Baisakhi is a festival that beautifully combines agricultural celebration, religious devotion, and historical remembrance. It reflects the rich cultural diversity of India while promoting unity, gratitude, and a sense of shared heritage among its people.

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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The Invisible Arm of ‘Namaste’ by Kamlesh Tripathi

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The Invisible Arm of ‘Namaste’

Kamlesh Tripathi

    If you do not know how to greet, offer a namaste. If words fail you in the introduction, offer a namaste. A wise man once said, for a learned man, no land is alien. Just as with folded hands in a namaste, no person remains a stranger. Namaste softens the rigid edges of ego. It is an invisible arm, gently soothing the pride of another, opening doors to harmony, setting the tone for an amicable meeting. Namaste is usually spoken with a slight bow with hands pressed together, palms touching each other, and fingers pointing upwards, and thumbs close to the chest.  

    More than a greeting, it is a gesture of reverence. A silent acknowledgement of dignity, a language beyond speech. It carries a spiritual whisper: “I bow to the divine in you.” Echoing the timeless wisdom of the Rigveda and resonating through the verses of the Mahabharata.

     The gesture of folding hands during a namaste is called the Anjali Mudra. In addition to namaste, this mudra is one of the postures found in Indian classical dance, such as Bharatanatyam. It is also found in Hindu temples, mandapams and in yoga practice. In moments of tension, on a crowded street, and in rising anger, a simple namaste can dissolve conflicts, turning discord into friendship. With a gentle bow and folded hands, known as the sacred Anjali Mudra, palms unite, fingers rise, and the heart speaks through silence. Namaste is derived from Sanskrit, namas (bow) and te (to you). It means, simply and profoundly, “I bow to you.” And within that simplicity lies a universe of respect, humility, connection, and peace. In a world searching for understanding, perhaps the answer lies not in words, but in a quiet, graceful namaste. Excavations in the Indus Valley Civilisation sites have found male and female terracotta figures in Anjali Mudra-like postures, doing a namaste. 

    “The light in me honours the light in you,” says Deepak Chopra, the new age guru. One of the most insightful interpretations of namaste comes from renowned English author Aldous Huxley, who explored Indian spirituality deeply. In works like The Perennial Philosophy, he reflects on the idea that the divine resides within every individual, an idea closely aligned with the spirit of namaste.

    According to professor and sociologist Holly Oxhandler, namaste is a Hindu term which means “the sacred in me recognises the sacred in you”. E. M. Forster, in his novel ‘A Passage to India’, captures the subtleties of Indian manners and gestures. While he doesn’t formally analyse namaste, his portrayal of respectful distance, non-contact greetings, and cultural sensitivity reflects the ethos underlying it. Likewise, German Spiritual teacher Eckhart Tolle speaks of recognising the “presence” or consciousness in others, again, philosophically mirroring the meaning of namaste.

    Even historians and Indologists writing in English, such as Stephen H. Phillips, have analysed the word namaste, linguistically and culturally, explaining how it conveys reverence, humility, and a subtle acknowledgement of the divine. So while namaste is rooted in Sanskrit and Indian tradition, its essence has been widely described in English, not always by name, but through ideas of inner divinity, humility, and universal respect.

        I bow not to form, nor name, nor face, but to the silent light in your inner space. Thus, namaste speaks what words cannot declare. It is a gratitude to each soul, irrespective of its flair. Namaste is a respectful form of greeting, acknowledging and welcoming a relative, guest or stranger. In some contexts, namaste is used by one person to express gratitude for assistance offered or given, and to thank the other person for their generous kindness.

    Since namaste is a non-contact form of greeting, some world leaders adopted the gesture as an alternative to handshaking during the 2020 Coronavirus pandemic as a means to prevent the spread of the virus.

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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The Martyrdom of Bhagat Singh (Shaheed-e-Azam)

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The Martyrdom of Bhagat Singh (Shaheed-e-Azam)

Kamlesh Tripathi

    Shaheed Bhagat Singh remains a timeless symbol of courage, sacrifice, and revolutionary ideas. His life and martyrdom continue to inspire generations to stand for justice, equality, and freedom. He reminds us that true revolution lies not merely in action, but in the power of ideas.

    Born on 28 September 1907 in Banga village of Lyallpur district, which is now in Pakistan, Bhagat Singh grew up in a patriotic Sikh family headed by his father, Sardar Kishan Singh Sandhu. From a very early age, he was exposed to the ideals of nationalism and sacrifice. The horrific tragedy of the Jallianwala Bagh Massacre left a deep and indelible scar on his young mind. It strengthened his resolve to fight against British oppression. By the year 1926, he had become actively involved in revolutionary movements, and he began organising young and youthful groups dedicated to India’s freedom.

    On 23 March 1931, Bhagat Singh was executed by the cruel British Raj along with Shivaram Rajguru and Sukhdev Thapar at the young age of 23. Their martyrdom stirred the conscience of the nation and inspired millions to join the struggle for independence. One can easily say Bhagat Singh was miles ahead of his physical age when it came to ‘Inquilabi’ ideas that were required to liberate Mother India from the clutches of the British Raj. He was also an established writer. ‘Why I Am An Atheist’ is an essay written by him in 1930 in the Lahore Central Jail. His other works are equally absorbing.

     With his erudite pronouncements, Bhagat Singh demolished the basis of the Sessions Court judgment and emphasised the importance of motive. The motive behind the action, he argued, should be the main consideration while judging the offence of an accused. He quoted the famous Jurist Solomon, who thought that one should not be punished for their criminal offence if their aim is not against the law.

    In his statement before the Lahore High Court Bench, Bhagat Singh spoke with humility, acknowledging that he and his comrade were neither trained lawyers nor masters of language. He urged the court to overlook shortcomings, if any, in their expression and instead, understand the real meaning and spirit behind their words. The central idea of his argument was the importance of motive in judging any action. He firmly believed that justice cannot be served without considering the intention behind an act. According to him, if motive was ignored, even the greatest figures in history might appear criminal when judged solely by their outward actions.

    He clarified that the Assembly bombing was not intended to kill anyone. The limited impact of the explosions proved that the act was carefully planned as a symbolic protest. He emphasised that they could have easily escaped if they had wished, but instead chose to surrender so that they could explain their ideals openly. They aimed to awaken both the rulers and the masses to the growing unrest in the country and to warn that continued neglect of people’s grievances by the British Raj could lead to greater upheaval.

    He also explained the true meaning of revolution, stating that it does not merely signify violence. For him, revolution was rooted in ideas and aimed at ending injustice, exploitation, and oppression in society. From a legal perspective, he argued that motive had always been an important factor in judicial decisions. He cited the example of Reginald Dyer, who ordered firing on unarmed civilians (equivalent to a massacre) but was not given capital punishment, but a cash award, and another case of Kharag Bahadur Singh, who received a lighter sentence because his intentions were taken into account.

    Bhagat Singh questioned why the same principle should not be applied to him and his comrades. He argued that ignoring motive was unjust and went against the principle that law exists for the welfare of human beings. He asked whether they were being denied fairness because their actions were political and directed against the government.

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

***

The Sparkling Colours of Holi

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Kamlesh Tripathi

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    Holi blossoms from the celestial love of Radha and Krishna. It celebrates love as boundless as the spring sky and as playful as the Yamuna in gentle tide. It is a festival where devotion and delight mingle, where laughter carries the fragrance of faith. Yet beneath its riotous colours lies a profound spiritual remembrance: the good over evil, the eternal victory of righteousness over tyranny, and of light over encroaching darkness.

    The ancient legend recorded in the Bhagavata Purana narrates about the formidable Asura king Hiranyakashipu, who, through severe penance, secured a boon that made him nearly invincible. The boon gave him five special powers like. He would neither be killed by a human being nor an animal, neither indoors nor outdoors, neither during the day nor at night, neither by an astra nor by a shastra, and neither on land nor in water or air. Armoured in this seeming immortality, pride consumed him; he demanded to be worshipped as the supreme lord of all creation.

    But his own son, the gentle and steadfast Prahlada, remained unwavering in his devotion to Vishnu. No amount of cruelty could shake the boy’s serene faith. In desperation, Hiranyakashipu enlisted his sister Holika, who possessed immunity against fire, to lure Prahlada into a blazing pyre. Yet destiny turned upon immunity. Holika was consumed by the flames, while the child-devotee emerged untouched, sheltered by the grace of God.

    Then, at twilight’s (neither day nor night) mystic hour, when day melts into night, Lord Vishnu manifested as Narasimha, the awe-inspiring Man-Lion (neither human nor animal), upon the palace threshold (neither indoors nor outdoors). He placed Hiranyakashipu upon his lap, which was neither earth nor sky nor sea, nor air, and with his claws that were neither astra nor shastra, he tore him to pieces and killed him spontaneously. Thus was Dharma restored, and the cosmos breathed again in harmony.

    Holi arrives on the full moon of Phalguna, when winter loosens its pale grasp, and the spring steps forth, in emerald splendour. It is the season when fields swell with the promise of the Rabi harvest, when old leaves drift earthward, and tender shoots unfurl like whispered hopes. Nature herself seems to celebrate, adorning the earth in rejuvenated hues, as though echoing the colours soon to dance around human figures.

    To early European travellers, Holi appeared as the carnival of the Hindus, a spring revel in honour of Lord Krishna, the mesmerising cowherd whose flute once enchanted the groves of Vrindavan. Yet Holi is far more than a spectacle. Its colours are not fleeting illusions like a rainbow’s arc. On the contrary, they are living expressions of cultural memory and collective joy. Indian cinema, too, has borrowed from its palette, immortalising its exuberance in songs and dance, reminding you of the famous Amitabh Bachchan song, ‘Khai Ke Pan Banaras Wala’ from the film Don.

    On the eve of the festival, towering bonfires blaze in the rite of Holika-Dahan, their flames leaping skyward as symbols of purification and moral triumph. Families carry home glowing embers, tokens of protection and auspicious beginnings. The following day, the air reverberates with laughter as clouds of abir and gulal (scented coloured powder) bloom like ephemeral blossoms. Water bursts from playful pichkaris, and voices ring out in cheerful abandon, “Bura na mano, Holi hai!” Tolis (friendly groups) wander from house to house, bearing greetings, songs, and embraces in the tender gesture of gale milna.

    Sweetmeats such as gujias fragrant with khoya, crisp shakkarpaare, cooling dahi-vadas—along with thandai and the occasional draught of bhang, lend flavour to the festivities. Yet the truest sweetness lies in reconciliation. Old grievances are dissolved like colour in water. Estranged hearts find renewed warmth. Holi becomes not merely a festival of hues, but a celebration of restored relationships and shared humanity.

    Though rooted in the Indian subcontinent, Holi’s vibrant spirit has travelled far with the diaspora, painting distant shores with its exuberant shades. Sometimes exoticised, sometimes misunderstood, it nonetheless endures as an indelible emblem of India’s cultural soul, and a radiant affirmation that after every winter of discord, spring returns in splendour, and goodness, like colour, inevitably prevails.

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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Michelangelo Hated Painting The Sistine Chapel

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26/2/26
ECONOMIC TIMES
MICHELANGELO HATED PAINTING THE SISTINE CHAPEL
    ‘The Renaissance man complained that working on the ceiling was “torture” because he was “not a painter”‘
    When a red chalk drawing of a woman’s foot by Michelangelo sold at an auction for $27.2 million on February 5, it blew past all expectations. Experts believe it to be a study of the figure of the Libyan Sibyl, a female prophet who appears on the ceiling of the Sistine Chapel in Rome. Michelangelo painted the iconic frescos from 1508 to 1512, but he first sketched out the overall composition and details in a series of preparatory drawings. The sale brought attention to Michelangelo’s lifelong devotion to drawing.
    Papal pleas
    In 1506, Pope Julius II put Michelangelo’s sculpting work on the papal tomb at St Peter’s Basilica on hold, redirecting the funds to the renovation of the basilica itself. Michelangelo responded by closing his studio. He ordered his workshop assistants to sell off its contents, abandoned 90 wagonloads’ worth of marble and left Rome in disgust.
    In 1508, Julius and his intermediary, Cardinal Francesco Alidosi, were able to lure Michelangelo back to Rome with the promise of a 500-ducat payment and a contract to paint the Sistine. Still, sculpture, not painting, was central to Michelangelo’s identity. In a Michelangelo-approved biography by Ascanio Condivi, the artist is said to have abandoned a painter’s workshop to train in the arts patron Lorenzo de’ Medici’s Florence. He complained to his father that painting “is not my profession” and told the pope that painting “is not my art”.
    “I’ve grown a goitre from this torture,” he wrote to his friend Giovanni da Pistoia in an illustrated poem. “My stomach’s squashed under my chin, my beard’s pointing at heaven, my brain’s crushed in a casket, my breast twists like a harpy’s. My brush, above me all the time, dribbles paint so my face makes a fine floor for droppings!”
    “My painting is dead,” he concludes. “I am not in the right place – I am not a painter.”
Preferring the process
    The poem’s accompanying caricature shows him using drawing to reflect his mind’s inner workings. His biographer Giorgio Vasari famously used the term ‘disegno’ to mean both a physical drawing and a work’s overall ‘design’. Michelangelo created many drawings for the Sistine that reflected the different meanings of disegno, including sketches of models, architectural renderings of the huge space and full-size ‘cartoons’.
    As such, while painting the ceiling was arduous, the process of conceiving it through drawing was obviously rewarding for him. Contrapposto, or the classical ‘counter-poise’, was the iconic stance for standing figures such as Michelangelo’s ‘David’. He made many studies for the Sistine referencing this sculptural pose.
Despite the popularity of the Sistine frescoes, Michelangelo rarely returned to painting afterwards. In 1534, Pope Clement VII commissioned him to paint ‘The Last Judgment’, which he only began working on after Clement died and his successor, Pope Paul III, bestowed Michelangelo with the title of Chief Architect, Sculptor, and Painter to the Vatican Palace. In 1563, he would go on to be named master of the Accademia del Disegno in Florence, which focused on teaching drawing and design as skills necessary for sculpture, architecture and painting.

Posted by Kamlesh Tripathi

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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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Colours of Holi published in The Speaking Tree, The Economic Times on 3.3.26

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Happy to share my piece carried in the Speaking Tree Economic Times today, the 3rd March 2026. Hope you enjoy reading it.

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

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GOLDEN YEARS WITH CLASSICS & MYTHOLOGY by Kamlesh Tripathi

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    As we grow older, our perspectives and lifestyles evolve. Life, as they say, is never static; the only permanence is impermanence. The way we see the world at twenty is vastly different from how we perceive it at forty, sixty, or eighty. Though it is often claimed that age is just a number, the number subtly yet significantly shapes how we view our remaining time on Mother Earth—and how we choose to live it out. Life expands like Parkinson’s Law, filling the available hundred years of human life.

    Ancient Hindu wisdom offers a profound framework through the four ashramas—Brahmacharya (student life), Grihastha (householder life), Vanaprastha (withdrawal), and Sannyasa (renunciation). These stages map a gradual transition from outward engagement to inward realisation. In the Bhagavad Gita, Lord Krishna gently reminds us of life’s impermanence: Just as a person discards worn-out garments and puts on new ones, so does the embodied soul discards worn-out bodies and takes on new ones.

    William Shakespeare, in his Sonnet 73, compares old age to late autumn and twilight: “That time of year thou mayst in me behold/ When yellow leaves, or none, or few, do hang…” Shakespeare’s metaphor of fading daylight beautifully mirrors the idea of life’s sunset.

        In his short story White Nights, Russian novelist Fyodor Dostoyevsky poignantly captures the anxiety of passing time. Lamenting to Nastenka, a girl whom the narrator meets on the street of Saint Petersburg, says:  “And you ask yourself: where are your dreams? And you shake your head and say: How quickly do the years fly by! And again you ask yourself: What have you done with your years? Where have you buried your best days? Did you live or not? Look, you say to yourself, look how cold the world is becoming. More years will pass, followed by gloomy solitude, and then doddering old age will come on a walking stick, to be followed by anguish and despondency. Your fantastic world will grow pale, your dreams will wither, die and scatter like yellow leaves from the trees … Oh, Nastenka! It will be sad, you know, to be left alone, quite alone, and not even have something to regret- nothing, absolutely nothing… because all that I have lost, all this, it was all nothing, a stupid, round zero– it was merely a dream!’

       In Sailing to Byzantium, poet W.B. Yeats reflects on ageing and the longing for spiritual permanence: “An aged man is but a paltry thing, A tattered coat upon a stick…” Yeats sees old age not merely as decline, but as a call toward artistic and spiritual transcendence.

    In his essay Cato Maior De Senectute (On Old Age), Cicero argues that old age can be honourable and productive when guided by wisdom and virtue. He challenges the idea that ageing is merely decline.

    Rabindranath Tagore often wrote of life’s evening as a time of serenity and fulfilment. In his collection of poems, Stray Birds, he notes: “Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.” His vision transforms sunset into spiritual illumination.

    In Ernest Hemingway’s novella, The Old Man and the Sea, fisherman Santiago doesn’t give up in his old age. On the contrary, he kills an 18-foot-long Marlin and a few Sharks that attack the Marlin in the Gulf Stream while alone in his skiff, and returns safely home, only to dream about lions while asleep. The lions represent strength, energy, and the vigour of Santiago’s younger days. Though he is physically old and worn, his spirit still carries the courage and pride of youth. Hemingway gives a tall message in the book: “But man is not made for defeat. A man can be destroyed but not defeated.”  

    In his later masterpiece, The Glass Bead Game, author Herman Hesse explores withdrawal from worldly ambition and the search for contemplative depth—very much aligned with the Vanaprastha and Sannyasa stages.

    American memoirist, essayist, poet, and civil rights activist Maya Angelou spoke of ageing as empowerment rather than diminishment. She once said, “We may encounter many defeats, but we must not be defeated.” Her reflections on later life emphasise resilience and dignity.

        In Four Quartets, T S Eliot meditates on time, memory, and spiritual stillness: “Old men ought to be explorers…” He views the later years as a journey inward, not a retreat.

    Sunset is the golden period of your life. It might become more meaningful and absorbing when you handhold classics and mythology and carve your own path. A smooth and gainful exit from this world is the best trophy.

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 readers of all ages and cover a wide 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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