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EVERY “WHY” HAS A “WHEREFORE”

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Every “Why” Has a “Wherefore”

Kamlesh Tripathi

        Human life is perhaps the longest journey of questions ever undertaken. From the moment a child is born, it starts asking “why?” Why is the sky blue? Why do birds fly? Why do people laugh or cry? Behind every “why” there quietly stands a “wherefore,” a reason, a divine explanation, or sometimes even a hidden truth waiting patiently to reveal itself.

    The connection between the “why” and “wherefore” forms the very foundation of human life. This connection between questions and answers does not stop in day-to-day life. Philosophers for centuries have wrestled with deeper “whys.” Why do human beings suffer? Why does happiness fade so quickly? Why is life uncertain? Very often, life refuses to provide immediate answers. Instead, it places humanity in a long queue of waiting, reflection, and experience before the “wherefore” finally arrives. Many truths become visible only with time. What once seemed cruel or meaningless later appears as a lesson, a turning point, or even a blessing in disguise. Life keeps wandering between confusion and understanding. Every debate, argument, and misunderstanding in offices, families, and societies often emerges because people question “why” but fail to understand the “wherefore.” Thus, human conflict frequently arises not from ignorance alone, but from incomplete understanding.

    Great literature across the world repeatedly explores this interplay of “whys” and “wherefores.” In The Comedy of Errors, Dromio of Syracuse famously states, “Every why hath a wherefore”, meaning every action or event has a corresponding cause, reason, or explanation. Confusion arises in the play when two identical masters and two identical servants are mistaken for one another. The audience laughs at the chaos, but beneath the humour lies a deeper truth.

    Prince Hamlet spends much of the time in the play ‘Hamlet’ asking profound “whys” about revenge, morality, death, and human existence. His famous dilemma, “To be or not to be,” reflects humanity’s endless search for meaning.

    In the Indian mythology, too, such examples abound. In the Mahabharata, the Pandavas repeatedly question “why” righteousness suffers while evil prospers. The “wherefore” comes to fore only after the immense struggle, sacrifice, and the eventual triumph of the Pandavas who followed dharma. Kunti, the mother of the Pandavas, had umpteen “whys” in her roller-coaster life, beginning with her marriage, the birth of her son Karna, and the humongous challenges that she faced during the great war of the Mahabharat. But all her “whys” had the support of divine “wherefores” which unfolded later with time. Likewise, in the Ramayana, Lord Rama’s exile initially appears unfair and painful, but later reveals a larger cosmic purpose tied to justice, duty, and the destruction of the evil.

    Even modern life reflects this truth. A student may fail an examination and ask why disappointment entered his life. Years later, that same person may realise that the failure redirected him towards a better path. A painful separation, a professional setback, or a period of loneliness may one day reveal the hidden “wherefore.” Time often acts as the translator between confusion and wisdom.

    The moral lesson is clear. Human beings must learn patience, humility, and faith while searching for answers. Not every “why” receives an immediate explanation, but that does not mean life is without meaning. Often, the “wherefore” arrives quietly and gradually, through experience, maturity, and reflection.

    Thus, life itself becomes a bridge between curiosity and understanding. Questions keep humanity alive intellectually, while answers give direction and purpose. Together, they form the rhythm of existence. Every “why” indeed carries a “wherefore” in its pocket, even if, life sometimes reveals it, only in deferred action.

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:

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The Legend Surrounding Ganga Dussehra

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The Legend Surrounding Ganga Dussehra

Kamlesh Tripathi

        

Celebrated on Dashami, the tenth day of the waxing moon (Shukla Paksha) in the Hindu month of Jyeshtha, the Ganga Dussehra, also known as Gangavataran, is one of the most revered festivals in Hinduism. It continues for ten days and commemorates the divine descent of the holy river Ganga from heaven to earth.  

    The festival is observed with immense enthusiasm in all the states through which the River Ganga flows. Holy cities such as Haridwar, Varanasi, Rishikesh, Prayagraj, and Patna come alive with pilgrims, devotional songs, lamps floating on the river, and the picturesque evening aartis. Devotees take a holy dip in the Ganga, believing that her sacred waters would purify their body, mind, and soul. The twinkling diyas drifting across the river under the night sky create a spectacle of unmatched spiritual beauty.

    On this occasion, even the sacred river Yamuna is worshipped wherever it flows. Kite-flying festivals, offerings of selected fruits, and the serving of refreshing drinks like lassi, sharbat, and shikanji add colour and joy to the celebrations.

    The story goes that long ago, there ruled a noble king named Sagar. He had two queens, Keshini and Sumati, but he had no children. He was desperate for heirs, so he performed severe tapasya to please Lord Shiva. Pleased by his devotion, Shiva granted him a rare boon, according to which one queen would bear sixty thousand sons, while the other would have a single son who would continue the royal lineage.

    Over time, the boon materialised. One queen gave birth to a divine vessel that later produced sixty thousand sons, while the other gave birth to a prince named Asmanja. Though powerful, Asmanja grew into a wicked person with a dark nature and was eventually banished from the kingdom. His virtuous son, Anshuman, however, remained the hope of the dynasty.

    King Sagar later decided to perform the Ashwamedha Yagya, a sacred ritual signifying royal supremacy. A ceremonial horse was thus released to wander freely across kingdoms. But Indra, fearing King Sagar’s growing power, secretly stole the horse and hid it near the hermitage of Kapil Muni.

    Sixty thousand sons of King Sagar went searching for the horse. In their impatience and anger, they accused Kapil Muni of theft while he sat deep in meditation. Disturbed and angered by their disrespect, the sage opened his fiery eyes and reduced all the sixty thousand princes to ashes.

    When the tragic news reached King Sagar, he sent his grandson Anshuman to seek forgiveness and recover the horse. Kapil Muni forgave him but revealed that only the holy waters of the Ganga could liberate the souls of the dead princes. Anshuman tried but failed to bring Ganga to earth. Even his son Dilip could not succeed.

    Finally, it was Bhagirath, whose determination bore results. He undertook severe penance for years to invoke Goddess Ganga. The goddess agreed to descend but warned that the impact of her drop from heaven would shatter the earth. Bhagirath then prayed to Lord Shiva for help.

    Lord Shiva agreed and stood upon the Himalayas to receive the mighty river. River Ganga descended from heaven with a thunderous force. Shiva caught her in his divine jatas (matted locks) and gently released her to mankind as a calm, life-giving river. Guided by Bhagirath, the sacred waters finally reached the ashes of King Sagar’s sons and granted them salvation.

    Thus, the mighty Ganga not only became a river, but a symbol of eternal spiritual flow. Even today, whenever devotees stand before the sacred river with folded hands, they remember Bhagirath’s perseverance and Lord Shiva’s grace that brought heaven to earth.

    Ganga Dussehra takes you back to those times when Bhagirath’s tireless efforts and determination brought Ganga to Mother Earth. The descent of Ganga symbolises the descent of purity into human life, washing away ignorance and ego. Lord Shiva’s role teaches balance and restraint. Even the most powerful force must be guided with wisdom and compassion.

    The sacred river Ganga continues to nourish millions, spiritually and physically, reminding mankind that rivers are not merely waterways but living symbols of culture, civilisation, and divine grace.

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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GOVARDHAN PARIKRAMA

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GOVARDHAN PARIKRAMA

Kamlesh Tripathi

    The Parikrama that starts from Govardhan Daan Ghati Mandir via Anyur, Puchhari, and Jatipura, and returns to Govardhan, is called Badi Parikrama and covers a distance of 12 km. The Parikrama from Govardhan via Uddhav Kund, Radhakund, and Kusum Sarovar, and then back to Govardhan, is called Chhoti Parikrama, which is 9 km long. The majority of the 21 km circumambulation takes place in the Mathura district. The parikrama path crosses into the Deeg district of Rajasthan, notably near the Poonchri Ka Lautha temple and the surrounding areas.

Badi Parikrama:

1. Daan Ghati Mandir

    Danghati Govardhan Temple is the starting point of the Govardhan Parikrama. It is said that through this place all the Gopis of Braj used to go to pay the butter tax to King Kansa, and it was here that the butter thief Kanha used to take donations of butter and curd along with his cowherd hair. It was Kanha’s love that forced him to ask for Daan from his devotees. Due to this reason for taking Daan, it is known as Daanghati. This beautiful Leela has been described in the book Danakeli Kaumudi.

2. Sankarshan Kund

    Sankarshan Kund is a sacred water body located in Anyor village near Govardhan Parvat, in Uttar Pradesh, along the Parikrama Marg, dedicated to Lord Balarama (Sankarshan), the elder brother of Krishna. It is considered a crucial heritage site in Braj, where a deity of Balram was reportedly found 5,000 years ago, and bathing here is believed to absolve one of his sins. It is situated in Anyor village, near Govardhan Giri, Uttar Pradesh. Named after Lord Balarama (Sankarshan), representing his role as a source of strength and companionship to Krishna in Braj. It is believed that the deity of Dauji (Balarama) was found in this kund and installed by Sri Vajranabh, the great-grandson of Lord Krishna.

3. Poonchari ka Lautha

Poonchari ka Lautha (or Punchari Lotha) is a highly revered temple on the 21-kilometre Govardhan Parikrama marg. Poonchari ka Lotha is said to be the friend of Lord Shri Krishna. This place is small, but its importance is very high. There is a belief in this place that every devotee must come here. Otherwise, the Goverdhan Parikrama is not considered complete. It is believed that whoever comes here for the Parikrama of Goverdhan ji, all his wishes are fulfilled.

4. Shri Nath Ji Temple

    The next place in the Goverdhan Parikrama is the Shri Nath Temple. This temple tells the story of Radha and Krishna’s divine love. To reach here, you will have to go over the hill of Giriraj Ji.

5. Indraman Bhang

    This is the place where Devraj Indra came with his elephant Airavat, and as its name suggests, this is the same place where Indra Dev’s honour was brought down. The footprints of the Airavat elephant are still visible here. You can see these signs near the Maan Bhang temple.

6. Jatipura Temple

    The next stop in the Goverthan Parikrama is the Jatipura Temple. It is believed that the face of Lord Krishna can be seen here. After reaching Jatipura, devotees offer Prasad because the Prasad of this temple is said to be of great importance during the parikrama. Here you can see the faces of Shri Krishna and his elder brother Balram at the mouth of Lord Giriraj ji. That is why there is a tradition of offering Chhappan Bhog here.

    This was the Govardhan Parikrama route of the Badi Parikrama (Daan Ghati Mandir to Jatipura Temple) of Govardhan Parvat, along with the religious beliefs related to it.

Chhoti Parikrama

    The Chhoti Parikrama of Govardhan Parvat is 9 km long. It starts after Jatipura Mukharbind. The first point of Chhoti Parikrama is the Laxmi Narayan Mandir, Govardhan.

1. Laxmi Narayan Mandir

    After the fulfilment of a wish, Dhudh ki Parikrama is undertaken from the Lakshminarayan Govardhan temple. The Deity present in the temple is considered a symbol of wealth, happiness and prosperity. All the devotees coming for the Govardhan Parvat Parikrama start the puja at the Lakshmi Narayan temple before the parikrama.

2. Uddhava Kunda

    On the Chhoti Parikrama route, the next place is Uddhava Kunda, which is situated on the right side of the Parikrama Marg, just west of Govardhan. This Kunda (pond) has been described in detail in our Puranas. According to religious belief, Uddhav ji comforted the Mahishis of Dwarka at this place.

3. Radha Kund

The next spot on the Chhoti Parikrama is Radha Kund. The story of Radha Kund is related to Shri Krishna’s cow grazing. When demon Arishtasura came to know that Kanha comes here often, he reached there in the guise of a calf. And when Arishtasura, in the guise of a calf, came forward to attack Shri Krishna, he killed the demon disguised as a calf.

4. Shyam Kunda

    After Radha Kund comes the Shyam Kund. Shyam Kund is the same place where the Pandavas came during their exile. When Shri Krishna dug a pond with his flute and took a bath in it to be free from the sin of cow slaughter, Radha ji also dug a pond nearby with her bracelet, which is called Shyam Kund.

5. Kusum Sarovar

    Shyam Kund is followed by Kusum Sarovar. It is located 2 km away from Goverdhan in Mathura. It is 60 feet deep and 450 feet long. There are many mythological stories attached to Kusum Sarovar, one of which is related to Radha and Krishna. It is said that Lord Krishna used to come to this place secretly to meet Radha Rani. Radha Rani and her friend used to go to Kusum Sarovar to pick flowers for Shri Krishna. The beauty of Kusum Sarovar is exceptional. There are stairs around Kusum Sarovar, Govardhan. Its beauty itself attracts people to this place. The people residing here believe that this lake contains Paras stone and Nagmani, due to which this lake is mysterious.

6. Kaan Wale Baba

    The temple of Kaan Wale Baba, which is on the way to Chhoti Parikrama, is very famous. Stories of the miracles of this temple are famous throughout Braj. This temple is home to Giriraj Ji, who has a remarkable stone ear. Devotees come to this temple while doing parikrama and whisper their wishes in the ears of Giriraj Ji Maharaj.

7. Mansi Ganga

    The Chhoti Parikrama ends at Mansi Ganga Mukharbind. Mansi Ganga is situated in the middle of Govardhan village. While doing Parikrama, Mansi Ganga falls on the right side, while returning from Poonchari, we see it on the left side. The story of Ganga becoming Mansi Ganga is such that once Nand Baba, Yashoda and all the Braj residents decided to take a bath in the Ganga, they started their journey. By the time everyone reached Goverdhan, it was already evening. Nand Ji thought of making it his resting place and spending the night there.

    While spending the night here, the thought came to Shri Krishna’s mind that all the places of pilgrimage reside in Braj Dham, but the people of Braj are unaware of its great glory. As soon as such a thought came to Shri Krishna’s mind, Ganga Ji appeared in her mortal form at the foothills of Giriraj Ji. In the morning, when the people of Braj saw Ganga Ji in the Giriraj foothills, they were all surprised.

   Seeing everyone surprised, Shri Krishna said that all the pilgrims from the three worlds come here to serve Brajbhoomi, and that you all are leaving Braj to bathe in the Ganga. This is why Mother Ganga herself has arrived here in the form of Mansi Ganga on the Amavasya of the Kartik month.

Rules of Govardhan Parikrama (17/5/26)

You need to know the rules of performing Govardhan Parikrama.

  • Before starting the Parikrama of Govardhan, first offer respects to Mount Govardhan and end the Parikrama at the same place from where you started.
  • It is believed that anyone who wants to start the parikrama must bathe in the Mansi Ganga.
  • Also, keep in mind that you should never leave the parikrama incomplete, midway.

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

***

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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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

***

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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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 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

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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

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NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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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

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NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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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

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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:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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