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THE VATICAN MUSEUMS

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THE VATICAN MUSEUMS

Kamlesh Tripathi

    The Vatican Museums are the public museums of the Vatican City. They display works from the immense collection amassed by the Catholic Church and the papacy over the centuries. This includes several of the best-known Roman sculptures and most important masterpieces of Renaissance art in the world. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, and restoration departments.

    The Vatican Museums are exceptionally important because of the richness and prestige of the masterpieces brought together under various popes over the centuries, as well as for their illustrious setting. The museums are made up of a group of grand buildings and countless rooms, salons, museums, galleries, libraries, chapels, corridors, courtyards and gardens rich with art treasures of every type.     From the Renaissance onward, great artists have left their immortal mark here. The entrance to the Vatican Museums is on Viale del Vaticano, a historic avenue.    

CHIARAMONTI MUSEUM:

    This museum was founded by Pope Pius VII Chiaramonti (1800-1823) and comprises the Corridor, Lapidary Gallery, and Braccio Nuovo (New Wing), all in neoclassical style. The Corridor is flanked by statues, busts, sarcophagi, reliefs, etc.: in all about eight hundred Greco-Roman works. The Lapidary Gallery holds more than 5000 pagan and Christian inscriptions. In the Braccio Nuovo is the statue of Augustus, found in 1863. After the battle of Actium, Augustus brought an immense amount of Egyptian treasures to Rome; among them was the colossal group of The Nile (the Statue of the Nile God).

MUSEO PIO CLEMENTINO:   

The Museo Pio Clementino takes its name from its great and generous founders, Popes Clement XIV and Pius VI, who lived between the 18th and 19th centuries.    

    Across the vestibule of the Vatican Museums is the Gabinetto dell’Apoxyomenos. At the centre is the athlete from Lysippos (Apoxyomenos), a marble copy of a bronze original that Agrippa brought from Greece. In the Octagonal Courtyard of the Belvedere, classical statues are displayed in four gabinetti (recesses): Gabinetto del Laocoonte – The exceptional Laocoon group was discovered among the ruins of the Baths of Titus in 1506. Gabinetto dell’ Apollo – The statue of Apollo was found in Grottaferrata during the papacy of Julius II, who acquired it for the Vatican. The Gabinetto del Perseo  – It contains the only three modern works in the courtyard: Perseus with the head of Medusa and the two boxers Creugas and Damoxenes, all by Antonio Canova (1757- 1822). Gabinetto dell’Hermes – The statue of Hermes is a copy of a 4th-century BC original by Praxiteles.    

    The Animal Room contains reproductions of many animals in marble and alabaster. Of particular interest is the statue of Meleager.    

    The Gallery of the Statues contains many important works, including the Apollo Sauroctonos, which is a copy of a work by Praxiteles, and the Sleeping Ariadne, from the Hellenistic period.    

    The Gallery of the Busts follow, made up mostly of Roman portraits. The bust of the young Augustus is the highlight of the gallery.    

     In the Gabinetto delle Maschere (Mask Room) are the gracious statue of Aphrodite and the well-known Venus of Knidos, perhaps the most beautiful of all Greek sculptures.    

    The Sala delle Muse (Hall of the Muses) is decorated with Corinthian Columns, and busts and statues of mythological figures. In the centre of the room is the famous statue (1st century B.C.) of the Torso, signed by the Athenian Apollonius. In the Sala Rotonda (Circular Hall), the magnificent porphyry vase, four meters in diameter, is without doubt the richest and most sumptuous piece in this gallery. The pavement mosaic was found at Otricoli, and the colossal statue of Antinous was brought from Palestrina. The Hall of the Greek Cross, houses two porphyry sarcophagi which contain the bodies of St. Helena and St. Constance, daughter of the emperor Constantine.    

THE LIBRARY

    The “Vatican Library” is the most important in Europe for the antiquity and richness of manuscripts and rare books. Several examples are on display in the sumptuous Sala Sistina, including the Codex of the Bible from the 4th century; four examples of Virgil from the 3rd to the 5th century; the Gospel of Matthew of the 6th century; the famous palimpsest containing a large part of De Repubblica by Cicero. This 5th century manuscript was scraped in the 7th century in order to be reused for the commentary “Super Psalmos” by St. Augustine, written here and restored to its original condition in the 9th century.     At the back of the library, in a room on the right, is a precious collection of ancient frescos among which the most important is the Aldobrandini Wedding (from the Augustan period), which represents the preparations for the wedding between Alexander the Great and Rossana.    

THE STAGE OF RAPHAEL:    

     As soon as he came to Rome, Raphael was introduced to Pope Julius II by Bramante. Some rooms above the Borgia Apartment had already been frescoed by Perugino and others, but Julius decided to have them scraped and painted again by the young Raphael. The first Stanza, called the Sala di Costantino, represents the legendary life of Constantine. The frescos were executed according to Raphael’s designs after his death. The first fresco, The Apparition of the Cross, represents Constantine’s defeat of Massenzio (312) and was painted by Giulio Romano just after the death of the master. The second Stanza (Stanza d’Eliodoro) was painted in 1511-14; its name comes from the fresco depicting the Chastisement of Heliodorus. The spirit of the subject in the room was intended to glorify the papacy. Above the window is the scene of the Miracle at Bolsena, where, in 1264, the real presence of Christ in the Eucharist was proved to a doubting priest by a miracle. The Liberation of St. Peter from prison was skillfully set around the window, with the three different qualities of light particularly well portrayed. The Meeting of Attila is an allusion to battles with France. In the third Stanza is Raphael’s first work, the Dispute of the Holy Sacrament, finished in 1509. The subject of this wonderful fresco is the glory of the Eucharist. On the opposite wall is the School of Athens, representing the celebration of reason, which contrasts to the exaltation of faith on the opposite wall. Above the window is Mount Parnassus, the mythic Greek mountain of the gods.    

    The last Stanza, with frescos painted by Raphael and his followers during the papacy of Leo (1514-17), is named after the fresco entitled Fire in the Borgo. It represents the fire in the city that was miraculously extinguished by Pope Leo IV.    

 THE VATICAN PICTURE GALLERY:    

The pictures exhibited in the Vatican Picture Gallery are of exceptional interest: they are part of a collection begun by Pope Pius VI (1775-1799), which underwent various removals before being worthily housed in this functional building. Today, the Picture Gallery contains about five hundred works between pictures and tapestries, arranged in the fifteen rooms which compose it according to chronological order: from the Byzantines and early Italians of 1100-1300, whose works are exposed in the 1st room, we arrive, in fact, to the artists of 1700 and the beginning of 1800. However, the nucleus of the collection is made up of the works of the greatest masters of the Italian Renaissance, of a really inestimable value.

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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Vijayadashami (Dussehra) – A Celebration of the Victory of Good over Evil

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Vijayadashami (Dussehra) – A Celebration of the Victory of Good over Evil

Kamlesh Tripathi

     Vijayadashami, aka Dussehra, is one of the most lesson-imparting festivals of India. It symbolises the victory of good over evil, truth over falsehood, and righteousness over injustice. The festival is celebrated with great devotion, enthusiasm, and joy across the country. According to the Ramayana, Lord Rama defeated the demon king Ravana to rescue his wife, Goddess Sita. This victory represents the triumph of truth, courage, and virtue over arrogance and evil. On this day, tall effigies of Ravana, along with those of Meghnath and Kumbhkaran, are burned in many parts of India. It reminds people that evil and wrongdoing will eventually be defeated. In many regions, Vijayadashami also marks the victory of Goddess Durga over the buffalo demon Mahishasura. It celebrates the power of the divine feminine and the triumph of good over evil. The festival marks the culmination of Navratri, a period of prayer, fasting, devotion, and celebration. Dussehra is celebrated through Ramlila performances, processions, fairs, prayers, and cultural programmes. In some parts of India, the day is considered auspicious for beginning new ventures, learning new skills, and starting important activities. The true message of Vijayadashami goes beyond religious celebrations. It teaches us to overcome negative qualities such as anger, greed, pride, dishonesty, and hatred. It inspires us to follow the path of truth, kindness, humility, and justice in our daily lives. In conclusion, Vijayadashami reminds us that no matter how powerful evil may appear, goodness and truth will ultimately prevail. It inspires hope, courage, and faith in the realm of righteousness.

    The victory of good over evil is a universal phenomenon of goodness. Dussehra celebrates Rama’s victory over Ravana and, symbolically, the triumph of dharma over adharma. Easter celebrates the resurrection of Jesus Christ after his crucifixion, signifying the triumph of life over death, hope over despair, and divine promise over apparent defeat. Ravana’s defeat and Christ’s resurrection are different religious narratives, but both inspire faith that evil, suffering, and apparent darkness do not have the final word.

    In Christian scripture, Revelation 12:7–9 describes Michael and his angels fighting the dragon, identified with the Devil or Satan, and defeating him. This offers a particularly direct parallel with Rama’s defeat of Ravana and Goddess Durga’s destruction of Mahishasura.

   In Greek mythology, Perseus defeats Medusa, a terrifying Gorgon whose gaze turns people to stone. Like Rama confronting Ravana, Perseus must face a seemingly overwhelming adversary through courage, intelligence and divine assistance.

   Both stories explore the hero’s struggle against a destructive power. However, Medusa’s story is more complicated than a straightforward good-versus-evil conflict, so the comparison works best around courage and overcoming fear.

    Dussehra is more than the burning of Ravana’s effigy. It is a reminder that arrogance, greed and injustice, however powerful they may appear, contain the seeds of their own destruction. This timeless message resonates beyond India. Christianity finds hope in Easter, when resurrection triumphs over the apparent finality of death, while the biblical account of Saint Michael’s battle against Satan depicts the defeat of a force that challenges the divine order. Greek mythology, too, celebrates heroes such as Perseus, who confront terrifying adversaries through courage, intelligence and divine aid.

    These stories belong to different religious and cultural worlds, and their meanings should not be confused. Yet they meet at a profound human aspiration: that darkness must not prevail forever, that evil must be resisted, and that courage and righteousness can restore hope. Whether Rama’s arrow strikes Ravana, Christ rises from the tomb, or Perseus confronts Medusa, the enduring question is the same: what must humanity overcome to make the world a better place?

    Perhaps the most important lesson of Dussehra is that the Ravana we burn in effigy is not merely an enemy from an ancient epic. He is also a symbol of the pride, anger, dishonesty and hatred that can take root within us. The real victory begins when we recognise and conquer these inner adversaries.

(Kamlesh Tripathi is an author, poet 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

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WHAT DO YOU DO? HOW DO YOU DO?

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WHAT DO YOU DO? HOW DO YOU DO?

Kamlesh Tripathi

     At a party in an upscale housing society, a Page 3 socialite cornered me with the confidence of a customs officer examining a suspicious passport.

    “What do you do?” he asked, looking me up and down.

    “I did many things in the past,” I replied cheerfully, “but now I do nothing. So, mostly, I dwell on my past.”

    He looked puzzled. Perhaps doing nothing was not listed among the respectable professions in his social directory.

    “And where are you from?” came his next question.

    “I am very much from this place,” I said, “though I have been around the world.”

    “Really? And where do you stay?”

    “Currently, I stay in a house of my own, just behind that pond you can see.” I pointed towards it. “But during my career, I have stayed in more than three dozen houses.”

    “Good heavens! Why so many?”

    “Because I always lived in rented accommodation in different cities. My career demanded mobility, while my salary discouraged property ownership.”

    For the first time, he smiled. I suspected he had mistaken my explanation for an investment strategy.

    “But what is your introduction?” he asked, looking increasingly uncomfortable.

    “Well, I have a retired face, a retired figure, and a retired walk, as you can see. I also possess an Aadhaar card, a PAN card, a voter ID card, and a house number. What more does a citizen need to establish his identity?”

    He stared at me as though I had just applied for membership of the United Nations.

    “Nice to meet youuu…?”

    “Samarth,” I replied. “And what about you?”

    He straightened his designer jacket. “I am in the corporate world.”

    “Wonderful! Which planet?”

    He ignored the question. “Which department were you in, Samarth?”

    “Several, at different times. I moved from one department to another, met hundreds of people, attended countless meetings, and filled in enough forms to qualify for a post in bureaucracy.”

    “And what was your designation?”

    “That depended on whom I was talking to. To my boss, I was a subordinate. To my colleagues, I was a colleague. To my juniors, I was a senior. At home, I was simply the man who had forgotten to bring vegetables.”

    He laughed politely, although I could tell he was wondering whether I had ever occupied a respectable position.

    “And now?” he persisted.

    “Now I occupy a sofa, occasionally an armchair, and sometimes a chair at the dining table. I am enjoying the most senior position of my life: nobody can transfer me.”

    By then, a few guests had gathered around us. The socialite, however, was not ready to surrender.

    “So, how do you spend your time?”

    “I read, write, observe people, and attend parties like this. They provide excellent material for my next article.”

    He suddenly became alert. “You write?”

    “Occasionally.”

    “Anything published?”

    “Yes. Some of my articles have appeared in newspapers and magazines.”

    His expression changed instantly. The retired gentleman had acquired professional relevance.

    “Splendid! We must keep in touch. Here is my card. Do call me sometime.”

    I accepted it graciously.

    As he moved away, another guest approached me with the inevitable question.

    “What do you do?”

    I smiled.

    “Before I answer, may I ask you something?”

    “Certainly.”

    “How do you do?”

    He looked startled. “I beg your pardon?”

    “Exactly!” I said. “That is what I have been trying to discover all evening. Everyone wants to know what everybody does, but hardly anyone asks how anybody does.”

    The man blinked, then burst out laughing.

    Perhaps that was the first honest introduction of the evening.

    After all, ‘What do you do?’ asks about your occupation; ‘How do you do?’ ought to ask about your well-being. Unfortunately, at modern parties, your occupation often matters more than your condition.

    And if you happen to be retired, be prepared: you may have to introduce your entire past before anyone permits you to enjoy your present.

kamleshsujata@yahoo.com

Corporate Attire: When did the suit become more Indian than the Kurta… by Kamlesh Tripathi

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CORPORATE ATTIRE: WHEN DID THE SUIT BECOME MORE INDIAN THAN THE KURTA?

Kamlesh Tripathi

    Walk into an Indian corporate office and look around. The dress code may appear modern, global and professional: shirts, trousers, jackets, suits and, occasionally, ties. Yet there is something curious about what Indian corporate culture has traditionally accepted as “formal Indian wear.”

    The sari has long been accepted as respectable office attire for women. The salwar kameez too has gradually become part of the corporate wardrobe. But for men, the kurta-pyjama and dhoti have often been treated as too casual, too traditional or simply “not professional enough.” Why?

    Was the kurta-pyjama considered unsmart? Was the dhoti regarded as unsuitable for the workplace? Were these clothes too closely associated with politicians, rural India or traditional society? Or did we inherit a colonial idea that Western clothing represented modernity, efficiency and professional competence? Even after independence, the Indian corporate world has been sleeping over this aspect of dressing up.

    The question is not entirely imaginary. Emma Tarlo’s Clothing Matters: Dress and Identity in India examines precisely how clothing in India became entangled with caste, education, urbanisation, status and ideas of Indian identity. Her research shows that clothes have historically been used not merely to cover the body but to assert power, challenge authority and negotiate social identity.

    Literature provides an intriguing illustration. Rabindranath Tagore’s family itself experimented with the question of what an Indian should wear. His brother Jyotirindranath Tagore attempted to create a national costume combining Indian and European elements. The problem was that the dhoti was considered insufficiently “business-like”, while trousers appeared too foreign. The resulting compromise tried to combine both worlds.

        We may laugh at the awkwardness of this nineteenth-century sartorial experiment, but the dilemma survives in the twenty-first-century corporate office. We have become comfortable with the idea that Western trousers and a shirt constitute “professional attire”, while a kurta-pyjama requires some explanation.

    Gandhi turned this hierarchy upside down. In 1921, Mahatma Gandhi deliberately abandoned much of his conventional clothing and adopted the simple dhoti and shawl as a political and social statement. His decision was rooted in his desire to identify himself with India’s poor. The dhoti was no longer merely clothing; it became a statement of solidarity, self-respect and resistance to foreign clothes.

    Indeed, Gandhi’s clothing became so powerful a political symbol that his apparently simple attire could carry greater political meaning than the most elaborate suit. Clothing, in his case, became a language.  So then why did the Indian corporate world not inherit this confidence in Indian attire?

    Perhaps the answer lies partly in history. During the colonial rule, Western dress became associated with education, employment and social advancement. A striking example cited in discussions of Indian clothing history is that a young man wearing European dress could gain access to government employment, while a candidate appearing in a dhoti could be treated as inadequately dressed.

    The irony is that independent India subsequently produced leaders who deliberately rejected European dress. Jawaharlal Nehru made the kurta-pyjama, sherwani and Nehru jacket part of his public identity. Indian national dress was no longer necessarily a rejection of modernity; it could represent modern India itself.

    There is also a gender question here. If a woman can walk into a boardroom wearing an elegant sari and be considered perfectly professional, why should a man in an equally well-tailored kurta-pyjama automatically appear less professional? Is the difference really about the garment—or about the assumptions attached to it?

    And then comes an amusing contemporary twist. When temperatures rise dramatically in Britain, office dress codes can suddenly become flexible. During recent heatwaves, British workplaces have debated whether shorts should be acceptable office wear, with some employers relaxing traditional dress expectations. Indian corporate offices, meanwhile, have traditionally regarded shorts as almost unthinkable in formal workplaces.

    So perhaps the next corporate revolution will not be about artificial intelligence, hybrid working or the four-day week. It might simply be about what we wear. If a temperature of 40 degrees can make shorts respectable in a London office, could an Indian summer make the kurta-pyjama respectable in a Mumbai or Delhi boardroom?

    Perhaps it is time to stop asking whether Indian clothes look “corporate” and start asking whether our definition of corporate clothing is unnecessarily Western. After all, professionalism is ultimately a quality of the person—not a property of the trousers.

   A well-cut kurta does not make an employee less efficient. A dhoti does not make a manager less capable. And a tie does not automatically make an executive more intelligent.

    Perhaps the real dress code should be simple when you think of global warming. If you want to reduce contributors to global warming, if not fully eliminate them, Indian dresses can come in handy with reduced air-conditioning. Indian HR needs to wake up.

    Dress appropriately. Work professionally. And let competence—not clothing—make the impression.

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 wide variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer, please do so. 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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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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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 ‘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

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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

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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

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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

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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

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