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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

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

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Written and posted by Kamlesh Tripathi

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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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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THE PLACES OF KRISHNA’S PASTIMES SURROUNDING GOVARDHAN

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THE PLACES OF KRISHNA’S PASTIMES SURROUNDING GOVARDHAN

Kamlesh Tripathi

    Krishna had performed his pastimes in many places surrounding Govardhan Parvat (Hill). Noted personage Sri Raghava took Srinivasa and Narottama (icons of the Gaudiya Vaishnava tradition) to see places near Govardhan where young Krishna performed his pastimes, and he described it to them one by one. It commences with Kusum-Sarovar, a famous pastime spot of Radha & Krishna. Followed by Narad-Kund, where Narad Muni fulfilled his desires by performing tapasya.

        At Ratna-simhasana, Radha is depicted sitting on a throne. Even the incident behind Krishna’s killing of the demon Sankhachuda took place here.

    Pali is a beautiful garden in which Palita-Yuthesvari (Queen Gopi) used to stay. Sri Krishna enjoyed himself with his friends in the holy place called Ata-grama. In a place called Indra-dhvaja-bedi, Nandaraja used to worship Indra. It was here that Sri Krishna would tend his cows and call each one by the melody of his flute.

    Papamochan, also known as Sankarsana-kund, is famous for its sanctity. By bathing here, a person will be freed from all vices.

    In the Parasauli-gram, Radha & Krishna enacted their Rasa-Yatra in the Vasant season. At Chandra-Sarovar, Lord Krishna took rest in his rasa-dress. In the beautiful Gandharva-kund, the Gandharvas were overwhelmed by Krishna’s beautiful songs.

    The devotional hymn from Stavavali and Goverdhan-asraya-dasaka describes how Radha danced with Krishna in the Rasa-sthali.

    In the village of Paitha, when Krishna once hid from the gopis, they all began looking for him. Soon, Krishna appeared before the gopis in his Chaturbhuja (four hands) form. But when Radha arrived, his two hands merged back into his body, signifying that Radha and Krishna were one.

    Pleasant pastimes also happened in Gauri-tirtha. The place within Gauri-tirtha is called Nipa-kund, because it is surrounded by beautiful nipa, or kadamb, trees.

     The next village, Aniyora, is situated on the Govardhan Hill (Giriraj). It is famously known as the site of the original Annakuta festival, where Lord Krishna lifted the Govardhan hill to protect the villagers and ate their offerings, demanding more by saying “Aniyora!”  

    The sacred place called Govinda-kund has many milestones to it. It is located near Aniyora village, and it was only here that God Indra bathed Lord Krishna with Ganges water and milk to seek Krishna’s forgiveness.

         Vraja-Vilasa-stava (A collection of prayers) says, Indra took hold of the lotus feet of Lord Krishna, in the company of a surabhi cow, and performed his coronation by bathing him with the waters of the Ganges River.

    The sacred lake Dana-Nivartana-kund is also located here on the right side of the Govardhana Hill parikrama path. Dana-nivartana-kunda is named after the dana-keli playful pastime, which Krishna enjoyed. It relates to the collection of taxes from Gopis. Vaishnava ascetic Madhavendra Puri stayed here under a tree, and Gopala gave darshan to him on the pretext of bringing him milk. At the end of Govardhan is the Apsara-kund. People who take a bath here are considered very lucky. There are the old palasa trees here. This secluded place is called Syama-dhaka.

    The footprint of the divine white elephant Airavata, belonging to Lord Indra, can be seen on the sacred rocks of Govardhan Parvat. After his defeat, Indra described the glories of Lord Krishna’s mercy from here.

    The Surabhi Kund is a highly revered, ancient sacred water tank and pilgrimage site situated on the Govardhan Parikrama Marg. Established by Maharaja Vajranabh (Lord Krishna’s great-grandson), it is the spot where the Surabhi cow (Kamadhenu) fed Krishna milk to appease his anger.

    Rudra-kund is another beautiful and secluded forest where Mahadeva sat in meditation. Legend has it that it was formed by the tears of Lord Shiva, who was so overwhelmed while meditating on Lord Krishna’s pastimes that he wept profusely.

    Kadam-Khandi is a sacred, secluded forest grove located in Kamyavan, Rajasthan, in the Braj region. It is a revered place for meditation and is closely associated with the pastimes of Lord Krishna and Radha. In Dana-ghati, Lord Krishna took a share of the milk products from Radha while his friends blocked her way.

        Brahma-kund is also situated in Govardhan. It is described in the Mathura-khand. After bathing here, Brahma satisfied Lord Hari. Indra and the other planetary rulers created other lakes nearby.

    On the eastern side is Indra-tirtha, on the south is Yama-tirtha, on the west is Varuna-tirtha, and on the north is Kuvera-tirtha. Krishna enjoyed his pastimes in these locations.

    In Manasa-ganga, Krishna enjoyed his ecstatic boat pastimes. Vraja-Vilasa-stava gives a pristine description of Manasa-ganga, which lies on the side of the Govardhan Parvat. The waves of the river splash against the splendid rocks, lining its shores.

    Situated 26 kilometres west of Mathura. The mere sight of Govardhan Hill and its circumambulation rids one of his material miseries. Govardhan Hill gives unlimited pleasure to Lord Krishna, who lifted the hill with his left hand to curb the pride of Indra and protect the Braj-vasis.

    The Adi-varaha Purana says, ‘Two yojanas (sixteen miles) west of Mathura is the rare teertha named Govardhan. A person who circumambulates this place, named Annakuta-tirtha, does not return to this world. After bathing in Manasa-ganga and seeking darshan of the Deity of Harideva on the Govardhan Hill, and circumambulating Annakuta-tirtha, no heart can remain unhappy. To protect the cows distressed by Indra’s torrential rains, I lifted the Govardhana Hill.’

    The Skanda Purana, Mathura-khand, says that Govardhana Hill is an incarnation of the Supreme God. When the Lord lifted the hill, all the people of Braj were saved from Indra’s torrential rains. Lord Vishnu stays eternally on Govardhan. Brahma, Siva, and Laksmi also reside there. There is no doubt about this.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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

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Account no: 680510110004635 (BANK OF INDIA)

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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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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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GOLDEN YEARS WITH CLASSICS & MYTHOLOGY by Kamlesh Tripathi

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

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

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

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

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

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

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

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

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

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

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

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

Written and posted by Kamlesh Tripathi

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Why Basant Panchami Still Matters

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Why Basant Panchami Still Matters

Kamlesh Tripathi

    Observed on the fifth day of the bright fortnight of the lunar month of Magha, usually in late January or early February, Basant Panchami anticipates spring nearly forty days before its official arrival. Traditional belief holds that seasons do not change overnight; rather, they unfold gradually. The festival, therefore, acts as a harbinger to spring, often called the ‘King of Seasons,’ symbolising hope, vitality, and regeneration after winter’s inertia.

    In an age dominated by speed and spectacle, the festival of Basant Panchami arrives discreetly, with lasting effects. It is also celebrated as Saraswati Puja. It serves as a benchmark for values that remain essential, for learning and creativity. Celebrated across the length and breadth of India, the festival announces the advent of spring while venerating Goddess Saraswati, the embodiment of knowledge, wisdom, music, and arts.

    Basant Panchami marks the turning point of the season. In northern India, the winter still lingers on, while central and western regions begin to experience a softer, spring-like weather. The festival captures this vivid moment of transition. This is when nature moves from dormancy toward growth, mirroring the human journey from inertia to wilful action.

    The prominence of yellow during Basant Panchami is deeply symbolic. Associated with Goddess Saraswati, the colour represents knowledge, clarity, and creativity. It also reflects the mustard fields that bloom across much of northern and central India during this time. The custom of wearing yellow and preparing yellow-coloured food expresses collective optimism and intellectual resumption.

    Education lies at the heart of Basant Panchami. Families traditionally encourage children to write their first letters on this day, marking the beginning of their learning. Music, learning, and artistic pursuits are considered auspicious during the festival. It reaffirms Goddess Saraswati’s central position in cultural consciousness, underscoring the belief that knowledge is both sacred and transformational.

    The fever of kite flying, especially popular in the north and west of India, adds to the festive celebrations of the day. Skies filled with colourful kites speak of the collective joy and shared celebration. It reminds communities of the simple pleasures that accompany the change of season.

    Mythology lends further fillip to the occasion. In several traditions, Basant Panchami is associated with Kamadeva, the god of love, and his consort Rati. The well-known episode of Kamadeva awakening Lord Shiva from deep meditation highlights the central philosophical theme, the tug-of-war between desire and discipline. Once, when Shiva’s third eye reduced Kamadeva to ashes at Umananda Islet in the River Brahmaputra at Guwahati, it highlighted the destructive potential of unchecked desire. Kamadeva’s revival later, following Shiva’s marriage to Parvati, represents the restoration of balance between worldly engagement and spiritual life-lessons. The lesson remains strikingly relevant in contemporary life.

    The festival is not only celebrated in the sub-continent of India but also in Nepal, Bali, Indonesia, and other continents of the world with a Hindu diaspora, thus transcending geography and religious boundaries. At its core, the festival reminds us that the renewal of seasons, ideas, and values requires patience, balance, and reverence for knowledge. In a rapidly changing world, this message remains as vital as ever.

    Basant Panchami also carries a historical significance beyond Hindu traditions, as Maharaja Ranjit Singh encouraged its observance as a day of social gathering within Sikh communities, particularly in gurdwaras. The day additionally commemorates the martyrdom of Haqiqat Rai, who was executed in 1741 for refusing religious conversion. His remembrance adds a solemn note to the festival.

Written and posted by Kamlesh Tripathi

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BEWARE OF MISCOMMUNICATION: LEARN IT FROM MYTHOLOGY AND LITERATURE … by Kamlesh Tripathi

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    It is always safer to over-communicate than to under-communicate. History, mythology and literature repeatedly show how a single misunderstanding can change destinies. One striking example comes from the Mahabharata — the life of Bhishma Pitamah. Bhishma had vowed lifelong celibacy. When he went to Kashi for the swayamvara of the three princesses — Amba, Ambika and Ambalika, on behalf of his half-brother King Vichitravirya, he decided to bring all three back as brides for him. As Bhishma entered the swayamvara hall, a hush fell. None of the princes dared to oppose him.

He announced, “I am taking these three Rajkumaris to Hastinapur so that they may marry my brother Vichitravirya. I am ready to fight anyone who objects to it.” The frightened King of Kashi offered no resistance. But on the way back to Hastinapur, the eldest princess, Amba, confessed, “I cannot marry your brother. I love Prince Salwa of the Saubala kingdom and had intended to garland him. You brought me without taking my consent.” Bhishma, stunned, admitted his mistake. He stopped the chariot and told her, “Had you told me at the swayamvara itself, I would have left you with your beloved and taken only your sisters.”

He sent Amba to Prince Salwa while continuing on with Ambika and Ambalika. But tragedy unfolded. Salwa refused to accept Amba. She returned to Bhishma, begging him to marry her, but he was bound by his vow. Even a duel with his guru Parashurama could not resolve the matter. Amba finally undertook a fierce penance and was reborn as Shikhandi, who became the cause of Bhishma’s death on the battlefield of Kurukshetra. Had Bhishma clarified Amba’s wishes at the outset—or had Amba voiced them earlier—the course of his life and perhaps the Mahabharata itself might have been very different.

    Two of Shakespeare’s greatest tragedies, Romeo and Juliet and Othello, also pivot on fatal miscommunication. In Romeo and Juliet, Juliet fakes her death with a potion. Friar Lawrence sends a letter to Romeo explaining the plan, but because of a plague quarantine, the messenger never reaches him. Romeo instead listens to second-hand information from his servant Balthasar, who truly believes Juliet is dead. Acting on this false news, Romeo buys poison and dies beside her. She wakes up to find him dead and takes her own life. A single undelivered letter seals their fate.

In Othello, the miscommunication is a chain of manipulation. Iago, angry at being passed over for promotion, insinuates to Othello that his wife Desdemona is unfaithful to Cassio. He plants “evidence” — especially the handkerchief that Othello had given Desdemona. Othello never verifies the facts with Desdemona directly, and by the time he confronts her, he is already convinced of her guilt. Desdemona’s innocent references to Cassio deepen his suspicion. Emilia (Iago’s wife), who could expose the plot, stays silent until it’s too late. Othello murders Desdemona in a jealous rage and then kills himself when the truth emerges.

    Whether in mythology or literature, these stories teach the same lesson: miscommunication can destroy lives. In Bhishma’s case, a single assumption led to his greatest karmic debt. In Romeo and Juliet, a missed letter caused a double suicide. In Othello, unchecked insinuations ended in murder and self-destruction. Clear, timely and honest communication could have changed every one of these outcomes.

Written and posted by Kamlesh Tripathi

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THE STORY OF AJAMILA … A story from Srimad Bhagvatam by Kamlesh Tripathi

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    Once, in the city of Kanyakubja (present-day Kannauj), there lived a Brahmin named Ajamila. He had studied all the Vedic scriptures from a very young age. He was noble in character and conduct. Well-mannered, free from false pride, he was upright and kind to all living beings.

    One day, when Ajamila was gathering flowers in the forest for his daily puja, he saw a beautiful enchantress. Her beauty captivated him, and immediately he fell under her wicked spell.

    Soon, Ajamila drove out his faithful wife and elderly parents from his home. He married the enchantress and had many children with her. Ajamila, who had once led a chaste life, now spent his days trying to please his immoral wife. He indulged in many sinful activities that he would have never done before.

    Despite being born a Brahmin, Ajamila started killing innocent animals to feed his large family. He began stealing and cheating others, and even encouraged his sons to follow a similar sinful path.

    Among all his children, Ajamila was especially fond of his youngest son. His name was Narayana. The child’s innocent behaviour and playful ways had won over Ajamila’s heart. He spent most of his time with Narayana.

    Years passed, one day, when Ajamila was old and on his deathbed, he saw three Yamadutas, the terrifying servants of Yamaraja, the god of death, coming towards him. They had come to take Ajamila’s soul and punish him for all the sins that he had committed in his life.

    Gripped by intense fear, Ajamila began to weep. In panic, he started calling out the name “Narayana,” which was his beloved son’s name. And, he kept calling ‘Narayana’ on and on, without realising that he was actually chanting the holy name of Lord Narayana.

    The Vishnudutas, who were messengers of Lord Vishnu, heard the holy name of their Lord being chanted by Ajamila on his deathbed, and immediately, they rushed to the scene.

    Just as the Yamadutas were about to pull Ajamila’s soul out of his body, the Vishnudutas arrived there and tried to stop them. But the Yamadutas refused to listen. They insisted that Ajamila should be punished for his sins. The Vishnudutas then explained, “Ajamila has already atoned for his sins. Not only those sins committed in this life, but also for those committed over millions of lifetimes, simply by chanting the holy name of Narayana in his helpless state. The name of the Lord is divine. Even though Ajamila was unaware, each time he called his son by his name Narayana, he was actually chanting the Lord’s name and cleansing himself of his sins. Lord Narayana protects those who chant His Holy Name.”

    The Yamadutas were thus silenced by the profound wisdom of the Vishnudutas. Defeated, they returned to Yamaraja, their master, and recounted all that had happened. Yamaraja concurred with what they had been told. He said, “What you have heard is true. Although I’m your master, Lord Narayana is the Supreme Lord of the entire universe, and we are all His servants.” He added, “Just as a king has ministers to carry out his commands, I and other demigods work under the direction of the Supreme Lord.”

    Yamaraja then explained the rewards of chanting the holy name of Lord Narayana:

    “Even the most sinful person is taken to the Supreme Lord’s abode, and he is freed from all punishment if he chants the holy name of Lord Narayana at the time of his death. Lord Narayana will always protect those who chant His holy name.”

    He then advised his servants never to bring a person who chants the Holy Name or engages in the devotional service to Lord Narayana. Instead, they should bring only those who do not chant or fail to remember the lotus feet of the Supreme Lord.

    Ajamila sincerely bowed to the Vishnudutas when he realised he had been saved from the Yamadutas. He expressed gratitude for rescuing him from going to Naraka. Reflecting on his past sins, Ajamila was filled with remorse for having abandoned his first wife and parents. He now clearly saw the wrongs he had committed.

    Ajamila now understood the immense power in chanting the holy name of Lord Narayana. He deeply regretted wasting his life in sinful acts and resolved that, if given a second chance, he would dedicate himself to the service of the Lord.

    By the mercy of the Lord Narayana, Ajamila was granted a second chance to live. He seized the opportunity and went to Haridwar, where he spent the rest of his life chanting and serving Lord Vishnu, also known as Lord Narayana.

    One day, when Ajamila was meditating, he saw a golden aircraft descending from the sky. Inside it were the same Vishnudutas who had saved him earlier. They had now come to take him to his eternal home, the abode of Lord Narayana.

    Ajamila peacefully left his body on the banks of the sacred Ganga River in Haridwar and joined the Vishnudutas to serve his Supreme Lord forever.

Written and posted by Kamlesh Tripathi

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THE BOND OF PROTECTION: RAKSHA BANDHAN by Kamlesh Tripathi

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     Raksha Bandhan is observed on the last day of the Hindu lunar calendar month (Panchang) of Shravan. It normally falls in August. Raksha Bandhan is also known as Rakhi. It is also referred as Saluno. It is an affectionate festival that celebrates the unbreakable bond between brothers and sisters. It’s a day when sisters tie a sacred thread, called “rakhi,” on the wrists of their brothers, symbolising protection and love. In return, the brothers offer gifts and the promise to protect their sisters.

    It is an admired and traditional Hindu ritual and festival celebrated every year. Apart from India, it is also celebrated in other parts of the world influenced by the Hindu culture. On this day, sisters of all ages tie a talisman or lucky charm called ‘rakhi’ on the wrists of their brothers. The sisters symbolically protect the brothers by doing this. In return, they receive a gift. Its spiritual significance lies in the protection and interconnectedness of the relationship between the brother and the sister. The expression “Raksha Bandhan” comprehensively describes this ritual.

        It is traditionally rooted in the curriculum of territorial or village marriages. The bride is married out of her natal village or town, and her parents, by custom, do not visit her in her married home. In rural north India, village marriage is quite prevalent. Married women travel to their parents’ homes every year to celebrate Raksha Bandhan. Their brothers, who usually live with their parents or somewhere close by, at times, travel to their sisters’ married homes to escort them back. Some brides arrive a few weeks earlier at their natal homes and stay there till the ceremony is over. The brothers serve as lifelong intermediaries between their married sisters’ and parental homes, as well as their potential protectors.

    In modern India, where families have become increasingly nuclear, the festival has become more symbolic, yet it remains highly popular. The rituals of this festival have spread beyond their traditional regions. They have transformed owing to migration and technology. Factors influencing are movies, social media, and the religious bent of mind. We all remember the famous Bollywood song ‘Bhaiya mere Rakhi ke bandhan ko nibhana’. Even among females and males who are not blood relatives, tying of the rakhi has promoted the tradition of voluntary kin, crossing lines of caste, class, and religion.

    So much has been written about Raksha-Bandhan to establish its credentials. According to the Oxford English Dictionary, the Hindi word Rakhi derives its origin from the Sanskrit word Rakshika, meaning a protector or guardian. The earliest mention of the word Rakhi in the English language dates back to 1829, in Lieutenant Colonel James Tod’s book, Annals & Antiquities of Rajasthan.

    Indian poet Nazeer Akbarabadi (1735–1830) wrote one of the first nazms in the Hindustani language on Rakhi. The august poet imagines that he, despite being a Muslim, would like to dress up as a “Bamhan” (Brahmin priest), with a sacred thread and a mark on the forehead, so that he can tie the threads on the wrists of all the beautiful people around him.

    Much has been captured about Rakhi in various treatises, dictionaries, and books. Notable examples include the Dictionary of Hindustani and English, authored by Duncan Forbes in 1857. Raksha Bandhan’s reference in the mythology comes out in chapter 137 of the Uttara Parva of the Bhavishya Purana. Here, Lord Krishna narrates to Yudhishthira the ritual of having a raksha thread tied to his right wrist by the royal priest (rajpurohit) on the day of purnima (full moon day) of the Hindu lunar month of Shravan.

    Though traditionally, Raksha-Bandhan is observed in northern India. It also encircles central and western India, Nepal, and some other parts of the country, as well as overseas Hindu communities such as Fiji. It is primarily a Hindu festival. Besides India and Nepal, other countries also celebrate Raksha Bandhan. Pakistan and Mauritius are two other countries where Hindus celebrate this festival. In addition wherever we have Hindu diaspora Raksha Bandhan is celebrated.

    Folklorist and American anthropologist Susan Snow Wadley writes: ‘In Savan, greenness abounds as the newly planted crops take root in the wet soil. It is a month of joy and gaiety, with swings hanging from tall trees. Girls and women swing high into the sky, singing their joy. The gaiety is even greater because women, especially the young ones, are expected to return to their natal homes for an annual visit during Savan.’

    The brothers serve as lifelong intermediaries between their married sisters’ and parental homes, as well as their potential protectors. That’s the bond of Raksha-Bandhan.

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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