Tag Archives: poetry

11/10/25 Know Eternal Rumi

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KNOW ETERNAL RUMI
11/10/25 Times of India
The poet suggests that love and compassion should transcend religious boundaries, promoting a vision of inclusiveness that is particularly vital in today’s divided world, writes SUMIT PAUL


    Persian mystic and poet Jalaluddin Rumi needs no elaborate introduction as the very name is enough to evoke a deep sense of respect and reverence. He was born in Balkh in Northern Afghanistan and shuffled off this mortal coil in Konya (Turkey). However, his influence extends far beyond geographical boundaries and the realm of poetry. His teachings have had a profound impact on various aspects of contemporary culture, including music, literature, and spirituality. His timeless wisdom continues to resonate with people from all walks of life, crossing religious, cultural, and linguistic boundaries. Rumi’s popularity in the west has surged in recent decades, with his works translated into multiple languages. His profound messages of love, unity, and self-discovery have made him one of the most widely read and revered poets in the world. His writings serve as a bridge between different faiths and cultures, emphasising the universal message of love and the pursuit of enlightenment. Rumi’s words invite readers to embark on a transformative journey, where love and divine union are ultimate destinations. Many of his sublime thoughts transport us to the realms of love, beauty, enlightenment and introspection. For example, The Essential Rumi, chapter 12, includes: “A sufi’s book is not composed of ink and the alphabet. A scholar loves, and lives on, the marks of a pen. A sufi loves footprints!”
    Rumi contrasts an intellectual approach to spirituality with an experiential path taken by the Sufis. While scholars rely on written knowledge, Sufis derive wisdom from lived experiences and traces left by those who walked the spiritual path before them. This reflects a belief in the transformative power of direct experience over mere study. This also shows the humility and absence of a burning desire to flaunt one’s name and fame. Rumi didn’t write his poetry while living in an ivory tower. His poetry was poetry of self-experiences. Rumi’s repertoire is based on the philosophy of self-effacement. We all have encumbered the earth, thanks to our wretched existence. In a brief life, man leaves no stone unturned, to leave a mark behind; a legacy for posterity. There’s always a burning desire in every individual to make his presence felt. While the desire to be remembered is innate in every individual, the wish to efface oneself from the big slate of the world is also there, albeit in very few individuals. Only the fully evolved and enlightened human beings don’t wish to be liabilities to earth and others.
    Despite differences in beliefs and practices, Rumi sees the underlying essence of spirituality that connects all faiths. He suggests that love and compassion should transcend religious boundaries, promoting a vision of inclusiveness that is particularly vital in today’s divided world. He uses roses as metaphors to explain that the Divine love is just like the sun emitting, light and energy to a branching rosebush that grows elegantly on many levels and within several worlds– all at once. Just as a rosebush branches out, so too knowledge, offering different perspectives and insights. It evokes the idea that spiritual understanding can flourish through embracing diversity and appreciating multiple paths.
    We need to imbibe the universal spirit of Rumi and assimilate it into the collective consciousness of humanity. We’ve been sparring over petty things and differences without realising the power of love. Rumi says gamble everything for love, if you’re a true human being. If not, leave this gathering, emphasising the transformative nature of love and necessity of commitment and courage in seeking true connection.
He advocates for risking everything in pursuit of love, suggesting that half-hearted attempts will yield shallow results. It serves as a reminder that authentic love requires boldness and sincerity. We all want this bold and intrepid love to connect with each other and unite in a single thread and a solitary breath, for your task is not to seek love, but merely to seek and find all barriers within yourself that you have built against it. So, let yourself be drawn by the stronger pull of that which you truly love. For Rumi, glue of love is the strongest glue.

Posted by Kamlesh Tripathi

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BOOK REVIEW: ARISTOTLE’S POETICS: A Foundational Text in Literary Criticism

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Aristotle’s Poetics, written in the 4th century BCE, is one of the earliest and most influential works of literary theory in the Western tradition. Though originally part of a larger body of work, only the section concerning tragedy has survived in full, while other parts, especially those dealing with comedy and epic poetry, are largely lost or only referenced in later writings. Despite its incomplete nature, Poetics has had a profound and lasting impact on how literature, particularly drama, is analysed and understood.

At its core, Poetics is Aristotle’s attempt to systematically explain the principles of dramatic art, with a specific focus on tragedy. Drawing from earlier Greek drama and the works of playwrights like Sophocles and Euripides, Aristotle establishes a framework for evaluating and constructing effective tragedies. His method is analytic and empirical: he studies successful tragedies to derive general principles, rather than constructing abstract theories without reference to practice.

One of the central concepts introduced in Poetics is mimesis, often translated as “imitation.” Aristotle asserts that all art is essentially an imitation of life, but this imitation is not mere copying. Instead, it represents a process of distillation and representation through which the artist conveys universal truths. In tragedy, mimesis takes the form of portraying serious and complete actions that evoke specific emotional responses from the audience.

Aristotle identifies six essential elements of tragedy: plot (mythos), character (ethos), thought (dianoia), diction (lexis), melody (melos), and spectacle (opsis). Among these, he places the highest importance on plot, defining it as “the soul of tragedy.” For Aristotle, a good plot must have unity, meaning all its parts contribute to a single, coherent whole. It should also possess a beginning, middle, and end, adhering to a logical and chronological sequence of events.

A key feature of an effective plot, according to Aristotle, is peripeteia (reversal) and anagnorisis (recognition). Peripeteia is a sudden reversal of fortune for the protagonist, often from good to bad, while anagnorisis is the moment of critical discovery or recognition, particularly of a character’s true identity or situation. These elements are central to achieving the emotional effect that Aristotle sees as the primary goal of tragedy: catharsis.

Catharsis, one of the most debated concepts in Poetics, refers to the purging or purification of the emotions of pity and fear that tragedy is meant to elicit. While scholars disagree on whether Aristotle meant catharsis as a psychological cleansing or a moral-ethical clarification, it is clear that he viewed the emotional experience of the audience as essential to the function of tragedy. By experiencing intense emotions in a controlled environment, the audience gains insight, self-awareness, and emotional balance.

Character is the second most important element after plot. Aristotle emphasizes that characters should be “good,” “appropriate,” “lifelike,” and “consistent.” However, he makes it clear that character is subordinate to plot: it is not the portrayal of character that makes a tragedy powerful, but how the characters serve the unfolding of the action. The protagonist of a tragedy is typically a person of noble status who possesses a tragic flaw or hamartia—a mistake or error in judgment—that leads to their downfall. This flaw is not necessarily a moral failing, but rather a misstep that triggers a chain of events ending in catastrophe.

Aristotle contrasts tragedy with epic poetry, noting that while both share many elements, tragedy is more concentrated and immediate. Epic poetry, exemplified by Homer’s works, can encompass many stories and span long periods of time. Tragedy, by contrast, confines itself to a single plotline and typically takes place within the span of a single day. This concentration, Aristotle argues, gives tragedy a greater intensity and impact.

Though Poetics focuses almost entirely on tragedy, it laid the groundwork for centuries of literary criticism and theory. The Renaissance saw a revival of Aristotelian principles in the dramatic unities of time, place, and action, which were extrapolated from his emphasis on unity of plot. Later thinkers, including German philosophers like Hegel and Nietzsche, further developed Aristotelian ideas, while modern theorists have both built upon and challenged his assertions.

Critics of Poetics have pointed out its limitations, especially its narrow focus on a particular type of Greek tragedy. Aristotle privileges structure and form over thematic depth or emotional complexity in character, which contrasts with later literary traditions that emphasise character development or social commentary. Moreover, his prescriptions for drama may seem rigid when applied to diverse literary forms across cultures and time periods.

Nevertheless, the enduring influence of Poetics lies in its pioneering effort to systematize literary analysis. Aristotle’s emphasis on structure, causality, and emotional effect continues to inform the way stories are told and understood, not only in literature but also in film, theater, and even narrative psychology.

In conclusion, Poetics represents a milestone in the study of literature. Aristotle’s dissection of tragedy into its constituent elements and his articulation of how and why it works remain relevant to this day. While the specifics of dramatic form have evolved, the core questions Aristotle raised—about the nature of art, the function of narrative, and the emotional impact of storytelling—continue to resonate in contemporary discourse.

Written and posted by Kamlesh Tripathi

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POEM: THE OTHER SIDE OF HOMETOWN by Kamlesh Tripathi

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You thought your hometown was your favourite town,
But the hometown had something else to convey,
Upon your return after decades.

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Though the name of the town had remained the same,
Everything else in it had changed.

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The spires and minarets were dwarfed by skyscrapers,
Schools had become colleges,
Shops had become malls,
Parks had become dump yards.

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Barren fields had turned into housing societies,
Playing fields had turned into gated communities.
All around, the view was different,
Where the docile town had turned into a bustling city.

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Early friends had become senior citizens,
Roads had become flyovers,
The skyline now had a metro,
Locations had a new look.

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Eateries had new banners,
Markets had a new behaviour.

Childlike had metamorphosed into adultlike,
It was when I returned to the city after decades.

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From a pleasant child’s face,
I had now become an unknown and grown-up face.
So, everywhere in the hometown,
I was required to introduce myself.

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It was the same town you had left with hope,
That someday you would return as a familiar face.
But that was not to be,
For the hometown had its own fortune to make.

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Though your name was in the air,
You had now become an unknown face.
Though you remembered the names of your friends,
Their faces, too, had changed.

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It was now your karma-bhoomi versus your hometown,
One had given you identity,
The other had given you a career opportunity.
One had given you fond and affectionate memories,
The other had given you a professional name.

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So was it a letdown?
To return to your hometown?
Yes, in some ways.
So don’t have blind faith,
Whether it is your hometown or your workplace,
For both have their own legacies to make.

**

“The biggest permanence of life is change.
Don’t expect your hometown to be the same as it was when you left it decades ago.
So return if you have to, but with a pinch of salt.”

***

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 designed for our readers, including children and adults, and feature a diverse range of content. We also accept donations for our mission. Should you wish to contribute to the cause of cancer research? The bank details are given below:

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Book Review: The Roads of Destiny … by O Henry

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    O. Henry’s The Roads of Destiny may not be a structured poem, but it carries a poetic spirit by way of exploration of fate, choice, and the unpredictable nature of life. The story is about a man named David who stands at a crossroad, literally and figuratively, and each road represents a different future. Through this branching narrative, O. Henry entreats readers to ponder how small choices can lead to vastly different outcomes, and how fate can shape our lives in ways we don’t expect. Although written in prose, the theme and emotions in the story are rich with poetic meaning.

    The story’s central theme is how fragile and powerful our choices could be. O. Henry conveys that even decisions that seem minor can send our lives into different directions. Life is full of small, quiet moments that later turn out to be incredibly important. A step to the left or the right might not seem significant in the moment, but later it could be the reason why everything changed. Every decision holds a potential. Life is made up of many such turning points, often unrecognized until we look back.

    Closely tied to personal choice is the grip of fate. In each stage of David’s life, no matter which road he takes, he ends up facing difficult or tragic outcomes. This suggests that fate has a stronger grip on our lives than we would like to believe. The author doesn’t present fate as something harsh or cruel, but rather as mysterious and unpredictable. We walk ahead thinking we know where we’re going. But the road can suddenly curve into a completely unexpected direction. This uncertainty gives life its beauty and its difficulty. The poetic lesson here is that though we may have no control where the road leads to, we still have to walk it.

    Life’s unpredictability is another theme that gives the story its emotional weight. David’s various life unfolds in unexpected ways, proving that no plan is ever guaranteed. Even when we try to do the right thing or follow a certain path, we can’t guarantee how things will turn out. O. Henry’s storytelling reminds us that surprises, both joyful and tragic, are always around the corner and they will get you. This paradigm of unpredictability is common in poetry, where meaning often emerges in layers and can shift with time or mood. Just like an intricate poem, life unfolds with twists and surprises that challenge our understanding.

    Time also plays a pivotal role in the story. It moves forward no matter which path David takes, and it never pauses or gives him a second chance. The passing of time gives weight to our choices because we rarely get an opportunity to revisit them. This is another idea that feels deeply poetic: time is always moving, and once a moment passes, it becomes a memory. The story implores readers to be mindful of the time they have and the decisions they make within it. It also encourages reflection. Looking back at the roads we’ve taken and wondering how things might have been different.

    Regret and reflection are intertwined themes that show up throughout David’s story. Each life he lives seems to carry a shadow of what might have been if he had chosen to live differently. This idea is emotionally powerful because almost everyone, at some point, has wondered “what if?” Regret isn’t always a loud or dramatic feeling. It can be quiet, something that lingers as we look back into the past. O. Henry captures this subtle emotion in a way that feels similar to poetry, where a single line can express a lifetime of feeling.

    The author uses irony in a poetic way. In each of David’s paths, he faces hardships despite choosing different directions. This irony teaches us that even when we try to avoid danger or seek happiness, we can’t always escape what life has in store for us. The roads of destiny seem to curve back towards difficulty no matter which road he chooses. This twist reflects O. Henry’s trademark storytelling style. In poetry, irony often reveals the hidden truths and helps readers think more deeply about life’s contradictions.

    Perspective is another layer that deepens the story’s meaning. Often, we only understand the importance of a choice or event after the time has passed. What appears small at the moment may turn out to be life-changing. Just as a poem seems confusing at first and later makes perfect sense, our understanding of our own lives also changes with the perspective. This reminds us to look at our lives with curiosity and patience. The meaning of life sometimes reveals itself slowly.

     All these ideas connect to the phrase “difficult poems make easy mutton.” Though it’s a playful and unusual expression, it captures an important truth: sometimes, the things that are hardest to understand at first—like complex poems or life’s confusing events—can later become clear and deeply meaningful. Just as tough meat becomes tender after careful preparation, a difficult story or experience can eventually offer comfort, insight, or wisdom. The Roads of Destiny is that kind of story. At first glance, it seems simple, but the more you think about it, the more it says about life, choice, and the strange, beautiful mystery of where we end up.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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INTO THE SUNSET YEARS by Kamlesh Tripathi

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    As we continue to grow old, our perspectives and lifestyles keep changing. Life is never static, they say. The only permanence is impermanence. The way we see the world at 20 is vastly different from how we perceive it at 40, 60, or even 80. Though it’s often said that age is just a number. The number subtly but significantly influences how we view the remaining time on Mother Earth, and how we choose to live in it. If we consider the average human lifespan as 100 years, the first 50 mainly involve learning, growth, and striving, while the second half leans towards reflection, realignment, and seeking deeper spiritual meaning.

    From the moment we are born, we can imagine a hundred years ahead, when the world seems filled with immense opportunities. The future expands like Parkinson’s law, filling the available hundred years. It appears to be brimming with opportunities, ambitions, and several ladders to climb. There’s a blend of excitement and apprehension. But success isn’t guaranteed. The path ahead is tough and winding. At this stage, the focus is on acquiring knowledge, developing skills, and laying down the foundation for a meaningful career and life. We put effort into education, training, and competition. The aim is to secure positions in top institutions or prestigious jobs that offer stability and high rewards. Once these goals are attained, our focus naturally shifts. The initial craving for academic success gives way to pursuits of professional, social, and financial achievement. These are early energetic years of ambition and diligent effort, reaching their peak in climbing the corporate and social ladders. These initial years are about proving oneself and establishing identity and worth in a demanding world. Although moments of introspection occur, the main focus remains on external achievements, recognition, financial security, and maintaining one’s social standing. The mind stays alert, the spirit driven. The challenges are seen as obstacles to overcome rather than signs to slow down.

    However, as time advances and we approach retirement, something shifts. We start to realise that our time on Earth is limited. There is a gentle yet persistent awareness that our stay here is temporary, and life is, in fact, a journey. At the peak of our professional success, many of us begin to experience a spiritual void, long concealed by material pursuits and external ambitions. This often marks the beginning of the search for inner peace, mostly after you retire. Thoughts about the next phase, the second innings, begin to surface. Questions once ignored now become central. What is the purpose of all this? What lies beyond this life? How should one prepare for the journey hereafter? The ancient Hindu tradition comprehensively captures life through its four ashrams. It provides a roadmap of life’s journey in the stages of Brahmacharya, Grihastha, Vanaprastha, and Sannyasa.

    As we approach life’s sunset, Shloka 2.22 in the Gita starts reminding us that the body is temporary, but the soul is eternal. The decay of the physical body is not an end, but a transition, much like changing clothes. The Shloka softens the fear of death by framing it as a natural and graceful process of renewal. It emphasises detachment, acceptance, and the continuity of the soul’s journey:

‘Vāsānsi jīrṇāni yathā vihāya
navāni gṛhṇāti naro’parāṇi,
tathā śarīrāṇi vihāya jīrṇāni
anyāni saṁyāti navāni dehī.’  (Just as a person gives up old garments and puts on new ones,
so does the embodied soul discards worn-out bodies and takes on new ones).

    Although conceived in an era bereft of mechanical clocks and the Gregorian calendar, they continue to offer timeless wisdom. Today, with our lives measured meticulously in minutes and milestones, we are more aware than ever of time’s passage. This awareness also serves as a reminder to pause, reflect, and live consciously. Ultimately, age isn’t merely about growing old. It is about growing wiser. It teaches us that ambition must be balanced with awareness. Success must eventually give way to surrender, and while youth is about becoming, age is about understanding. Life, after all, is not a race but a journey, a fleeting passage through time. May every sunrise hold more promise and every sunset hold more peace. Don’t simply retire from something; have something to retire to.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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21/7/25 Speaking Tree: Radha Rukmini:Two Facets of Love in Krishn Lila

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(Times of India 21/7/25. Speaking Tree: Radha & Rukmini: Two Facets of Love in Krishn Lila by Ganesh Kolambakar)

    In Krishn’s divine lila, love reveals itself in many shades, not to confuse us but to awaken us. At first glance, Krishn’s bond with Radha may seem puzzling, especially since Rukmini was his lawful consort. Yet across centuries, temples, songs, and hearts remember Krishn not as ‘Rukmini-Krishn’ but as ‘Radha-Krishn’.
    Radha and Rukmini are two expressions of the Divine force. They symbolise two dimensions of love– the worldly and the transcendental, the composed and the consuming. They are not in conflict but in complement, reflecting the soul’s journey towards the divine.
Rukmini, the queen of Dwaraka, embodies maryada, the love that lives within the boundaries of dharm. She is Lakshmi incarnate, graceful and steadfast. Her love stands for a sacred partnership rooted in harmony, order, and purpose. She represents Apara Shakti, Krishn’s manifest energy that sustains worldly life.
Radha, the gopi of Vrindavan, is Krishn’s Hladini Shakti, his bliss, inner song. Her love transcends all boundaries. It is romantic, yes, but not merely earthly; it’s the soul’s cry for union with the Infinite. Radha is Para Shakti, the soul’s longing for the Divine, unbound by law or logic. She is not another love; she is love itself, raw and pure.
To a layperson, Radha and Krishn’s romance is emotionally relatable, a tale of longing, stolen glances, and secret meetings under moonlit skies. But to the seeker, it reveals a profound truth: that the soul, like Radha, yearns not for a husband or a protector, but for oneness with the Divine Beloved. This is why their love stirred saints and poets alike. Meerabai, too, wept and sang for Krishn, not as a king but as her eternal lover. Her devotion mirrored Radha’s fearless and boundless love, pure, sacred, and beyond the bonds of this world.
Rukmini’s love is the temple. Radha’s the sacred fire within. Rukmini walks with grace, and Radha dances in divine ecstasy. Both are true. Both are sacred. One represents Krishn’s presence in worldly life. The other reveals Krishn in the innermost heart. Sri Aurobindo saw Radha as the symbol of the psychic being – the soul’s flame moving toward the Divine. In this light, Radha and Krishn are not two lovers, but the seeker and the sought. Their union is not merely emotional. It is spiritual and cosmic.
Some traditions view Radha and Krishn as Shakti and Shiv, two forms yet ultimately one. Rukmini represents Krishn’s role in society and dharm. Radha is the inner music, his hidden joy. Both are divine movements of the same truth.
To truly understand Krishn, one must embrace both these aspects. He is the cowherd of Vrindavan and the sovereign of Dwaraka. He is Radha’s eternal beloved and Rukmini’s devoted husband. One whispers the mystery of divine ecstasy. The other upholds the strength of divine grace.
Krishn’s lila unveils love in its fullness. In Krishn’s world, love has many faces. Each of them is sacred. Through them, we do not just learn how to love. We learn how to become Love itself.

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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Poem: Arrogance

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POEM: ARROGANCE

–There is no poison as pungent as arrogance. Shed arrogance and welcome the happy world around you—

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There is some turbulence,
There is some disturbance,
Or is it my arrogance,
That disturbs my equilibrium?

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It echoes through my hollow pride,
A voice I silenced, now amplified.
It mocks my mask, my constant cloak,
The louder I speak, the less I know.

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There isn’t a song left in me,
For arrogance has consumed me completely.
Its embers once felt like a sacred flame,
But now it only burns in shame.

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Still, a ray of sunlight dares to creep,
Into the room where I barely sleep,
Sneaking in through the silent skylight,
Scattering gold into my endless night.

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It encourages me to open my mind,
To let the weight of falsehood unwind.
It whispers softly with no demand,
Let go arrogance and do not command.

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It tells me to open my arms,
To embrace life without titles or charms,
To welcome the happy scenes around,
And leave the arrogance behind.

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Nature says: I am on colourful display,
For eyes that wander, and hearts that stray,
I offer peace that cannot be owned,
But you must come to me unthroned.

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But arrogance tries to forestall the interplay,
Building walls that keep joy at bay.
Like a vortex, it feeds on control,
Draining the light from my soul.

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Yet the power of the skylight becomes immense,
When it allows the sunlight to shine,
Inside my once-armoured defence,
A quiet light, yet so divine.

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The trees outside no longer condescend,
They sway like sages; they do not pretend.
Their wisdom lies in being still,
And bending gently to the will.

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I see now: the path is not to reign,
But to walk through sun and storm and rain.
To learn, unlearn, and fall apart,
Until humility reclaims the heart.

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So let the sunlight do its part,
Peeling arrogance from my heart,
In this open space, I start afresh,
Because I have miles to go,

Before I rest.

*

–Bury your arrogance and see the difference in your life—

by

Kamlesh Tripathi

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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Panchatantra: The Curious Monkey

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“Wow! What’s that?” The curious monkey asked his friends–fellow monkeys. The friends, looking in the direction he was pointing, saw what had attracted his attention. It was a log of wood.
“What’s so interesting about a log of wood?” His friends asked.
Instead of answering the friends, the curious monkey ran to the log and jumped on it. Looking at the wedge in the middle of the log, the monkey reached out to touch it.
A little further down, a group of woodcutters were laughing and enjoying their meal, unaware of the prank the curious monkey was about to play. They had been cutting this log of wood all morning and had managed to cut a part of it, but they had to take a break for lunch. Not wanting the log to close up again, they had placed a wedge in the slit to keep it open.
This wedge was what the curious monkey began to tug at, while the other monkeys stepped aside. Suddenly, the wedge snapped and the log of wood shut, trapping the curious monkey’s leg.
While all his friends ran away in fear, the sad little monkey sat there in pain, waiting for the woodcutters to return from their break.
Lesson: Unnecessary interference in others’ matters may interfere with the matters of your life.

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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POEM: MONSOON MELODIES

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MONSOON MELODIES

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“The vibrant monsoon is a bonanza that revives the flora and fauna. Each drip and drop of rain feels like manna, falling from heaven and breathing life into Planet Earth.”

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When the clouds occupy the sky,

And the day becomes overcast,

When the raindrops begin to fall,

My mind slips into a flashback.

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When the downpour turns generous,

The world begins to hum in mellifluous,

The gardens swell with spirited life,

And streets flush clear, washed of strife.

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The trees stand rinsed and tall,

Leaves shimmer in the rainfall,

Flowers beam their brightest hue,

The air feels clean, the world feels new.

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My flashback swells and opens wide,

Revealing the joy I once kept inside,

The cool breeze brushes against my skin,

With the gentle warmth of life within.

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The rainy day,

Pulls me out of my hideout,

For once,

Outside appears to be better than the inside.

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In the slush and storm, I start my stride,

No longer wishing to hide,

The atmosphere becomes soothing,

When each moment becomes moving.

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While sitting on the park bench,

I notice the droplet that lands on the shining leaf,

It remains there for a brief,

And then starts rolling down the leaf,

Taking with it all the heat.

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The scourge of global warming,

Momentarily cools under the heavy downpour,

But the Hydra-Headed Monster,

Will soon rise, fears Mother Earth.

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Life transforms and becomes mellifluent,
Thoughts become benevolent,
The air, though soaked, feels light and delirious,
Each moment is sweetly reminiscent.

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The beauty of life sleeps in off time,

It awakens when the monsoon arrives,

It dresses up when the showers go by,

So enjoy the rain, the biggest gift to mankind.

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“Monsoons give renewed life to Planet Earth. Typically, we don’t attach much importance to them. But can you imagine life on Planet Earth without the drip and drop of Rain?”

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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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INTERESTING FACTS: OLD AND NEW DELHI: A COMPARISON

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BIGGER, MESSIER DELHI STILL HAS ITS ARMS WIDE OPEN

    …. DELHI IS A RARE CITY WITH A LONG PAST BUT NO HANKERING TO TIE ITSELF DOWN TO IT. WHETHER IT’S PEOPLE OR SPACES, IT ABSORBS THEM ALL WITHOUT RESERVE


  Delhi changed for me forever one day in the mid-1980s when a friend took me with him to the site where he was planning to buy a flat. There wasn’t much to see. The large tracts of nothingness, which became what we know today as Vasant Kunj, had no redeeming features. What was astonishing to me, however, was that when I looked towards Delhi, between me and the city stood the visage of Qutub Minar. That there could be a Delhi beyond Qutub Minar was something that made no sense to me. For in my imagination, it was pretty much at the very edge of the city. After all, that was a time when I remember going on a picnic in a bus with family friends to the exotic destination called Deer Park, far from our residence in Karol Bagh.
.         The Delhi that resides permanently in my mind is a cross between the city shown in Chashme Buddoor (the original, not the ghastly remake) and Oye Lucky, Lucky Oye. On the one hand, there are memories of wide open roads, a time scented with languidness, glorious winter mornings, neighbourhoods basking in leafy silence, and on the other hand, the untidy energy, the hustle, the ability to live loudly and publicly, and friends called Lovely, Pinky, Tinkle, Kuki and OK.
    The biggest change Delhi has seen is physical. It has burst out of its seams in all directions and has colonised spaces around it. It began with the conquest of Jamnapaar, which started out as a relocation drive of ‘unauthorised settlements’ under the watch of Sanjay Gandhi, but then took on a life of its own. Noida and Gurgaon are now cities in their own right, with their own cultural imprints, while drawing liberally from the mother ship.
    There are many more cars and there is a lot more money, which gives Delhi more mediums to express itself in. Delhi traffic nips at the heels of those in front, ready to kill to gain an inch of space. The murderous intent is expressed first in sound, achieved by honking persistently, and then sometimes followed by action, as evidenced by the number of road rage incidents. The money is visible everywhere – the old colony markets that continue to thrive, lavish weddings at farmhouses, crowds at high-end restaurants, and homes that overflow with decor.
    Perhaps the biggest loss is that of the Delhi winter. Delhi’s best, most glorious feature is now shrouded in noxious pollution that hangs like a foreboding and stings like regret. The joy of the outdoors, the enlivening experience of bone-chilling cold being thawed out by the sun as one sat on a charpoy and ate rewari and moongphali, basking for several glorious hours, is now an alleged memory, so far removed it has become. Winters are the time now to start muttering about migrating out of the city, while anxiously looking out for an AQI reading that tells us it is safe to step out of the home for a short walk.
    There are other losses, too. The cinema theatres, which served as a practical guide to different localities in the city, included Plaza, Odeon, Regal, and Rivoli in CP; Golcha, Novelty, Ritz, Delite, and Moti, which marked out Old Delhi; and Anupam, Savitri, Sapna, and the infamous Uphaar, which dotted areas of South Delhi. Some of these theatres remain, some have been refurbished, while others lie in dilapidated disuse. Nirula’s exists, but it is hard to believe it was at the cultural heart of  Delhi’s upper-middle-class youth once. The classic Delhi restaurants – Kwality, Embassy, Moti Mahal and Gaylord- are still around, but their role today is to serve as nostalgic artefacts. One goes there to savour the memory of a Delhi that once was. And while street food in Delhi continues to be as delicious, the famous names are now tourist spots more than unselfconscious, humble eating places.
    And yet, while Delhi has changed in so many ways, at its core, it feels the same. The life that one leads today is poles apart from one’s experiences growing up, but the idea of Delhi has not shown much change. It still lives fiercely in the present and remains unmindful of the history it is set smack in the middle of. Contrary to its popular image, Delhi is India’s only genuinely cosmopolitan city, in that only a small fraction of its residents can claim to be originally from the city. Everyone is a stranger, and everyone is in the city as a user. Delhi hones our appetite, keeps our competitive edge intact and gives us many opportunities to advertise our success. It might have sprawled in ungainly ways in the last few decades and become even louder and shinier, but there is nothing unrecognisable about Delhi.


(WRITTEN BY SANTOSH DESAI. TOI COLUMNIST AND AUTHOR)
TIMES OF INDIA ARTICLE 12.9.21

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Like it and Share it

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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

***