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Makar Sankranti: A festival of Solar Transition, Harvest and Spiritual Rendition

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   Makar Sankranti is of immense spiritual importance. It is comprehensively expressed in the Mahabharata in the dying episode of Bhisma Pitamaha. Lying on the bed of arrows after the Kurukshetra war, Bhisma, blessed with the boon of choosing the time of his death, intentionally waits for the advent of Uttarayana to leave his body. His conscious decision to leave his body during the Sun’s northward course elevates Makar Sankranti from a seasonal observance to a cosmic gateway of moksha.

    Makar Sankranti is one of the most significant solar observances in the Hindu calendar. It is also known as Uttarayana, Makara or simply Sankranti. It is a mid-winter harvest festival, celebrated primarily in India and Nepal on January 14 (and January 15 in leap years). It marks the Sun’s crossing from the zodiac sign of Sagittarius (Dhanu) into Capricorn (Makara). This astronomical event initiates the Sun’s northward journey, known as Uttarayana. It is linked to the return of light, warmth, and auspiciousness after the deep depths of winter.

    Unlike most Hindu festivals, which are governed by the lunar calendar, Makar Sankranti is determined by the solar cycle. The festival is dedicated to SuryaDevta. It symbolises renewal, new beginnings, and harmonious alignment of human life with cosmic rhythm.

        Across the Indian subcontinent, Makar Sankranti is celebrated under numerous regional names, reflecting local agricultural practices, climatic conditions, and cultural traditions. It is known as Pongal in Tamil Nadu, Magh Bihu in Assam, Sankranthi or Peddha Panduga in Andhra Pradesh and Telangana, Maghi Sangrand in Punjab, Uttarain or Uttarayanain Gujarat and Uttar Pradesh, Ghughutiin Uttarakhand, Dahi Chura in Bihar, and Poush Sankranti or Mokor Sonkranti in West Bengal, among many others. Beyond India, the same solar transition is observed as Maghe Sankranti in Nepal, Songkranin Thailand, Thingyan in Myanmar, and Mohan Songkran in Cambodia, stressing its pan-Asian significance. It is also celebrated by the Indian diaspora living in Western countries.

    Despite local variations, there is commonality in the festival. It is all about thanksgiving for the harvest, reverence for the Sun, and communal celebration. Festivities include kite flying, bonfires, melas (fairs), ritual bathing in sacred rivers, and elaborate feasts prepared with seasonal grains, jaggery, and sesame. These rituals mark the triumph of warmth over cold, light over darkness, and abundance over scarcity.

        Makar Sankranti is considered a highly favourable period for charity, vows, spiritual discipline, and ritual bathing. Sacred gatherings such as the Magha Mela, mentioned in the Mahabharata, draw devotees to riverbanks in acts of thanksgiving to the Sun. Every twelve years, this sanctity reaches a crescendo at the Kumbha Mela, one of the largest religious gatherings in the world, held at the confluence of the Ganga and Yamuna, as well as the mythical Saraswati, at Prayagraj, a tradition attributed to Adi Shankaracharya.

    Astronomically, Makar Sankranti is tied to the sidereal zodiac and the exact moment the Sun enters Capricorn. Since the Earth’s orbital year is approximately 365.24 days, the date of Sankranti shifts moderately within a four-year cycle, necessitating leap-year adjustments. Consequently, the festival occurs on 15 January during leap years.

    From a literary perspective, Makar Sankranti has been less explored in English literature compared to other festivals such as Diwali or Holi. References primarily appear through Uttarayana’s symbolism, ethnographic observations by colonial writers, and spiritual interpretations by thinkers such as Sri Aurobindo, who viewed the Sun’s northward movement as a metaphor for the ascension of consciousness and divine progression. Modern Indian English writers have occasionally mentioned Sankranti as part of seasonal or rural life, but rarely as a central theme in their works.

    Ultimately, Makar Sankranti stands as an isthamus between astronomy and faith, and individual life and cosmic order.

Written and posted by Kamlesh Tripathi

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Phantom Police

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(PHANTOM POLICE? TIMES OF INDIA EDITORIAL 11/10/25)

Seoul has a hologram cop. Not everyone thrilled.
He doesn’t quite crash land but takes form all of a sudden – a life-size apparition in uniform, if you find yourself in Seoul’s popular Jeo Dong Park. Don’t let him spook you – it’s only a hologram of a cop, appearing every two minutes between 7 pm and 10 pm to, well, spook those up to no good. Police claim the made-in-UK ‘assistant officer’ lowered crime rates in the bustling neighbourhood under Seoul Jungbu police station by as much as 22%, between Oct 2024, when the pilot was launched, and May 2025. The cop was officially posted in the park in Aug. So, if you’re wandering around, under the influence of whatever’s your poison, and itching to pick up a fight, well, chances are the sight of a ghostly cop could nudge you to abandon the idea. No need to break into a cold sweat or run, for he’ll disappear in two minutes.
So what does this hologram cop do if it comes across a fight? He can’t chase, let alone handcuff you. Yet, ‘Enhanced features’ are a work in progress. His role now is surveillance, a deterrent to low-key ‘impulsive’ crime. Privacy may be globally dead, but still, the idea hasn’t gone down well with everyone. Visitors find him annoying, while his ghostly presence is fast creating an urban legend of a ‘haunted park’. Clearly, tech-savvy policing is not yet a smooth walk in the park.

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THE JOY OF MORNING WALK IN HAZRATGANJ

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    Every morning, I walk up to the IT College metro station from my house, which is about ten minutes, cutting across the sprawling Police Lines. Today was a similar drill. I took the metro from there to Hazratganj Station, which is just three stations away. And today, being a holiday, the metro was absolutely empty. In fact, I was the only chap, I think, who got down at the Hazratganj station. Even as I was returning, I was the only person who boarded from there.

    In Hazratganj, I usually walk for about half an hour every day. But the air was heavy today, even when the roads and the footpath were empty. There was a heavy security deployment near the Khadi Gram showroom where Yogi ji, the Chief Minister of U.P., was to arrive to pay homage to Mahatma Gandhi, today being his birth anniversary. I continued walking till I arrived at my usual joint, The Shukla tea stall, on Church Road, Hazratganj, that serves tea and street food.

    The place is heavily crowded. Today was no different. I normally have a Kulhad chai there, which reminds me of the cutting Chai in Mumbai. While I was having Chai, two police motorcycles, blaring their sirens, landed at the tea stall. They started coaxing the drivers to remove their cars and scooters from there. It appeared as a special security drill on the 2nd of October. I was happy to note that I had landed in Hazratganj by metro and was on foot, so I didn’t have to bother about my car. I felt liberated. As a result, the tea tasted even sweeter, the weather even more pleasant, and the walk even more energising, and the mind relaxed. See what blaring sirens can do to you when you don’t have a car.

Written and posted by Kamlesh Tripathi

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NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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Bhibhuti Babu The Writer of Pather Panchali

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TIMES OF INDIA: 15/6/25
WHY A SMALL JHARKHAND TOWN STILL ADORES THE WRITER OF PATHER PANCHALI


    Flanked by a restless Subarnarekha river and an unassuming railway line that runs through the small town, Ghatsila reminds you of idyllic Nischindipur, where Satyajit Ray’s iconic Pather Panchali (Song of the Road) unfolds. It’s a drowsy, almost diffident, place that seems to have been bypassed by time.
    Maybe the resemblance is not entirely coincidental. This is where celebrated writer Bibhuti Bhusan Bandyopadhyay, who penned the unforgettable Bengali novel, spent many creative years of his life and breathed his last at the age of 56 in 1950.
    The finest works of Bibhuti Babu, as every one refers to him in Ghatsila, include ‘Aparajito (Undefeated)’, ‘Aranyak (Of The Forest)’, and ‘Chander Pahar (Mountain Of The Moon)’. Director Shakti Samanta’s ‘Amar Prem’ (1972), a melancholic story of unrealised love, starring Rajesh Khanna and Sharmila Tagore, was based on a Bandyopadhyay short story, Hinger Kochuri.
    It has been 75 years since he passed away. But Bibhuti Babu remains Ghatsila’s calling card. Hotels are named after him. So are sightseeing spots, libraries and grammar schools. He is present even on restaurant menus. In fact, the writer is everywhere.
    Ghatsila is nestled in the lap of the Dalma hills in Jharkhand’s East. Singhbhum district shares a border with West Bengal’s Jhargram and Purulia districts to the east and north, and Odisha’s Mayurbhanj to the south.
    At the spot where NH 33 turns towards Ghatsila, the Jharkhand tourism department has built a hotel called Bibhuti Vihar. The town also has a Bibhuti Inn, owned by a businessman. A popular hotel on the banks of the Subarnarekha is named after a spot where the writer used to sit on moonlit nights, and that he had named ‘Ratmohana’ (charmer of the night).
    The house where Bibhuti Babu lived is located in Dahigora, now the poshest part of the town. The residence is called Gourikunj, after his first wife, who died during childbirth. The road leading to Gourikunj is called Apur Path– the road of Apu, the protagonist of the semi-autobiographical Pather Panchali.
    There’s more. A local society for the preservation of Bandyopadhyay’s house and his legacy is called Gourikunj Unnayan Samiti. Says its president, Tapas Chatterjee, “Nobody commands more respect than Bibhuti Babu in Ghatsila.”
    “Not an inch of his house was encroached upon, even though nobody lived there for 57 years. In 1950, when Bibhuti Babu died, his second wife, Rama Chattopadhyay, and son Taradas Bandyopadhyay, who was three then, left the town. Taradas ji gave us the NOC to construct this memorial in 2007, three years before his death. In between, the house lay in utter neglect and ruins.” Chatterjee said.
    The Samiti also runs a Bengali language grammar school on Sundays, called Apur Pathshala, and a library called Bibhuti Smriti Sansthagar in Ghatshila.
    A cultural festival is hosted every year on September 12 to mark the writer’s birth anniversary.
    The story of how Bibhuti Babu came to live in Ghatsila is fascinating.
    According to Chatterjee, a contractor from Ghatsila called Ashok Gupta had taken a loan from the writer when the latter was working as a teacher in Calcutta. Unable to pay him back in cash, Gupta decided to register the house in Ghatsila in Bibhuti babu’s name.
    “Bibhuti Babu wanted his younger brother, Nutbihari Bandyopadhyay, who was a doctor, to settle in this town and had visited Ghatsila in 1938. He fell in love with this house and the town and never returned.” Chatterjee said.
    Since he was already an established name in Bengali literature, many other Calcutta writers, including Sahitya Akademi Awardee Gajendra Kumar Mitra (1908-1994), Pramatha Nath Bishi (1901-1985) and Subodh Ghosh (1909-1980), also built homes in Ghatsila. Bimal Roy’s ‘Sujata’ (1960) and Gulzar’s ‘Ijaazat’ (1989) were based on stories written by Ghosh.
    However, all left in due course. Except Bibhuti babu, who stayed on and wrote some of his most famous works in this town.
    As a writer, Bibhuti Babu shared a special bond with the quiet jungles on the town’s edge, the free-flowing river and forest dwellers. He had witnessed the exploitation of natural resources in the name of development when he went to Bhagalpur in Bihar as the assistant manager of a forest estate in January 1924. That assignment left a lasting impression on the writer and funds mentioned in works such as ‘Aranyak’ and the essay, ‘Hey Aranya Katha kao (Oh Forest, Speak)’.
    Ghatsila is full of such natural spots, like Burudi dam, Phuldungri Pahar and the banks of the Subarnarekha, where Bibhuti Babu would sit with a pen and notebook for hours.
    Situated 54 km from Jamshedpur and 240 km away from Kolkata, Ghatsila is a favourite of tourists from Bengal. Nearly 80% of the population here, including tribals, now speak the Bengali language. The locals, however, rue how some things are no longer the same. “Earlier, tourists came for longer durations, a month or, at times even longer. They would rent out homes and stay like locals. Since they came here for a change of air, we called them ‘changers’,” said Rohit Kumar, manager of a private lodge in Ghatsila’s Phuldungri.
    The new-age tourists come for a day or two. The neighbouring hill town of Belpahari in Jhargram district of West Bengal offers better amenities and takes away a major chunk of tourists.
    But appreciation of the legacy of Bibhuti Babu isn’t confined to visitors anymore. Supriti Murmu, wife of prominent Jharkhand state agitation leader Bablu Murmu, says, “I was drawn to this town because of Bibhuti Babu. As a student of Bangla literature, we were influenced by his writings and wanted to experience the rural life he portrayed in his books.
    Supriti Murmu used to be a prominent left-wing student leader and was pursuing her graduation in Bangla literature in neighbouring Jhargram when her activism and her love for the writer brought her to Ghatsila in 1987. “I have been here since then,” she said.
Bandyopadhyay’s works and his love for the forest dwellers resonate with the local tribal population as much as his books appeal to the Bengali intelligentsia.
At Gourikunj, his real legacy is the bond shared by everyone. An artist from Bengal recently painted scenes from Bandyopadhyay’s daily life in Ghatsila on the boundary walls of the house. On his birthday anniversary, girls from tribal communities decorated Apur Path, the lane leading to the house, with beautiful Santhal patterns in the form of rangolis. Everyone and everything is coming together to celebrate their one and only Bibhuti Babu.

Posted by Kamlesh Tripathi

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

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Should India Include All-Time Classic Movies in School and College Syllabi in This Digital Age? by Kamlesh Tripathi

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    In today’s digital world, where attention spans are shrinking and reading habits are on the decline, it is about time we rethink how we educate and connect with the younger generation. A powerful and often overlooked tool is the classic Indian cinema. Just like the manner in which William Shakespeare’s plays are studied in schools and colleges for their literary merit and social relevance, classic Indian films, too, deserve a place in our school and college syllabi.

    It is said that old books and films are windows to the past. They serve as mirrors reflecting the values, struggles, and ethos of a bygone era. A few months ago, on the occasion of Mother’s Day, while reminiscing about my late mother, I stumbled upon the evergreen classic ‘Mother India’ on television. Although I had watched it several times before, especially because my one-time close friend, the late Sajid Khan, had played a role in it as the young Sunil Dutt, this time it felt different. As if I wasn’t just watching the movie ‘Mother India.’ But I was watching the real India of 1957.

    The film tells the touching story of Radha, an impoverished, rural village woman who struggles against all odds to raise her sons in her husband’s absence. She encounters severe poverty, exploitation by a moneylender, and personal tragedy, yet she emerges as an emblem of strength, sacrifice, and moral integrity. In several ways, she becomes the archetype of the traditional Indian woman.

    Mother India is more than just a typical film. It holds cultural and social significance. It vividly depicts the struggles of rural India in the post-independence period. Watching this movie is like stepping back in time to understand what our ancestors endured. ‘Mother India’ is one of the many classics preserved in the archives of Bollywood, as well as in the regional film centres of Tollywood and Kollywood.

    There are many such classic, cult and epic films and TV serials like Dosti, Do Bigha Zamin, Guide, Haqueeqat, Gandhi, Sholay, Pather Panchali, Ramayana, Mahabharat, to name a few, that vividly capture different aspects of Indian life. It could be from social inequality, the British Raj, mythology, penance, the fight for India’s freedom or the wars with Pakistan and China. These films provide context, depth, and real-life visuals to what students might otherwise only read or cram in history or literature books.

    It is about time the Government considers constituting a national panel to select a curated list of classic Indian films for inclusion in school and college syllabi. These films could be rotated class-wise or standard-wise, or stream-wise. They could be aligned with topics in history, literature, sociology, ethics, and more. The way Shakespearean plays are studied for their literary value and insights into human behaviour, Indian classics can also be studied for their cultural, emotional, and historical richness.

    65% of India’s population is under 35. Digital distractions are everywhere; therefore, classic films can be a more engaging add-on to traditional textbooks. Surveys show that young people today often struggle to read even 500 words at a stretch, but they can easily sit through a well-written storyline in a movie. Visual learning is known to improve retention and understanding. It makes classic movies an effective educational tool.

    This approach need not be limited to domestic films alone. Historical and biographical classics from Hollywood or other international cinemas, such as Cromwell, Nuremberg or Schindler’s List, could also be part of an extended curriculum. This will especially benefit students planning to work or study abroad. It will help them gain cultural and historical awareness about the countries they are headed to.

    Incorporating cinema into education doesn’t mean replacing books, but it would mean enhancing the learning experience. Students could watch in-syllabus films followed by classroom discussions, essays, or creative projects. It would not only build their analytical and emotional intelligence. It will also cultivate a deeper appreciation of India’s cinematic and historical heritage.

    Furthermore, in business and professional schools, an extracurricular cinema curriculum could be developed to help students understand global cultures, leadership models, historical contexts, and ethical dilemmas, all of which are frequently depicted in well-made films.

    Cinema is not just entertainment. It is a form of art that captures the values of society, its history, and love for humanity. Though Indian classic movies are rich in content, emotion, and social commentary, they are a forgotten treasure. They can educate, inspire, and connect the youth to their roots.

    In this digital era, where attention spans are short and reading habits are waning, integrating timeless films into the academic curriculum may well be the most impactful way to preserve our cultural heritage and prepare students for a more thoughtfully aware future.

Written and posted by Kamlesh Tripathi

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

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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BOOK CORNER: THE FINAL DIAGNOSIS by Arthur Hailey

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Illness … doctor … pathologist … investigation … diagnosis … treatment. Yes, I’m talking about THE FINAL DIAGNOSIS by Arthur Hailey.

At times, even an ace pathologist might have to send his findings in the form of slides to two experts who are contemporaries in the same discipline. Where one might say the tumour is malignant and the other non-malignant or benign.

So then, what does Chief Pathologist, Dr Joseph Pearson, finally script as his … final diagnosis? The basis on which the surgeon would have to decide whether the amputation of the leg is required or not. The pathologist is often known as the doctor the patient seldom sees.

In ‘THE FINAL DIAGNOSIS’, author Arthur Hailey unveils the tension-packed drama that is being played in the mammoth complexity of a great hospital. A world where one faulty diagnosis or one irrevocable error precipitates into appalling tragedies.

In the enthralling story, there is a continuous struggle between the Chief of Surgery, Kent O’ Donnel and Dr Joe (Joseph) Pearson, Chief Pathologist, who was once an ace pathologist, but with the passage of time, he has stagnated, which he realises towards the end of his career.

The book also describes the struggle of a young pathologist, David Coleman, who happens to be Dr Joe Pearson’s deputy, in terms of restoring the standards of a hospital laboratory. Controlled by the ageing but once brilliant doctor Joseph Pearson, Hailey takes us behind the reception areas, and into those emergency rooms and the bustling world of medicine, to reveal those hidden corridors of a world that the patient never gets to see.

The centre of action is the three-counties hospital in Burlington in Pennsylvania. The novel has a plethora of characters … the prime being:

Orden Brown—Chairman of Three Counties Hospital

Eustace Swayne—Board Member and a retail magnet of a departmental store empire.

Doctor Joseph Pearson—Chief Pathologist around whom the entire novel revolves.

Doctor Kent O’ Donnel—Chief of Surgery and Head of the Medical Board.

Doctor David Coleman—Deputy to Doctor Joseph Pearson

Doctor Charles Dornberger—The baby’s doctor … Paediatrician

Doctor Lucy Grainger—Orthopaedic Surgeon

Hilda Straugham—Chief Dietitian

Vivian Lobourton—Trainee nurse

Mike Seddons—Doctor

Alexander and his wife, Elizabeth.

The language is moving and precise, with tailor-made sentences that fit the bill. There is usage of high-toned vocabulary, but it doesn’t give that shade of verbosity. The intensity and tone of the sentences change as frequently as the change of scene. The flow of the book gives you a feel as if you’re seeing and not reading—something close to a movie. Most descriptions are vivid as if you are witnessing the scene. Especially, the ones that describe the happenings in autopsy, pathology and even surgery.

The novel makes an important point for doctors through the Chief Pathologist, Dr Pearson.  One should never give up his or her pursuit as far as the latest inventions in the medical world are concerned, no matter how much pressure of work there is. For that was the sole cause of doctor Pearson’s failure. And that holds good for any career today.

  And the scenes when Vivian is diagnosed with cancer and when Alexanders lose their newborn baby because of a faulty medical blood test report in the hospital are nail-biting and highly emotive.

I would give nine out of ten to this book. So, don’t just miss it.

One last point—I was amazed at the manner in which these doctors smoked in the hospital and drank at parties. And to their patients, they must be canvassing otherwise. It is said about authors that they try and paint the real picture of the times when the novel was written. I now believe in it ever more. This novel was written way back in 1959. Pick it up even if you have to find time.

Written and posted by Kamlesh Tripathi

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

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Mythology: When God’s Get Angry … by Kamlesh Tripathi

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Bhavan’s Journal 31.12.22

SHORT STORY
WHEN GOD’S GET ANGRY

    Once, Lord Shiva and his wife, Parvati, were engaged in a lengthy conversation on Mount Kailash. Shiva was explaining the holy Vedas to his wife. The discussion went on for several years. This fatigued Parvati to the point that one day she lost her concentration. The short-tempered Shiva became very angry, and in a fit of rage, he cursed Parvati. He shouted at her, “Parvati, you are only as intelligent as a fisherwoman. So go and take birth as a fisherwoman.” And immediately after that, Parvati disappeared.
    Shiva loved Parvati deeply and enjoyed her company immensely. After her sudden departure, he became very sad and lonely. He also felt terribly guilty because he had unnecessarily created a problem both for himself and her because of his anger. But there was nothing he could do now to bring back his beloved wife. With each passing day, his sadness only grew deeper. He sat quietly in one corner of his abode, brooding over his rashness. Meanwhile his vahana, Nandi, the bull, was deeply moved by his master’s plight. After some time, he could no longer bear to see his suffering. So he decided to do something about it to bring back Parvati by hook or by crook.
Meanwhile, Parvati had taken birth as a baby girl on earth. The chief of a fishing community saw her lying alone under a tree near his village. He did not have a child, so he decided to bring her up as his own daughter. He named her Parvati. Years went by. Parvati grew up into a beautiful young girl. She was very intelligent, loving and kind-hearted. Everybody liked her immensely in the community.
By now, Nandi had finalised his covert plan to bring back Parvati. He turned himself into a huge fish and went to live in the sea, where Parvati lived. He started troubling the fishermen of her community. He would tear their fishing nets and overturn their boat often. Soon, the fishermen were scared to go out fishing. They went to their chief and told him about their plight. The chief declared that whosoever captured the rogue fish would wed his beautiful daughter. There were several young men who wanted to marry Parvati. They tried their level best to capture the fish, but to no avail.
Finally, in desperation, the chief prayed to Lord Shiva to rescue his men from the evil fish. Parvati too prayed to Lord Shiva for help. Shiva heard her prayers. It made him joyful, having found an excuse to go to her. He decided to rush to the earth immediately to help her. He took the form of a handsome young fisherman and met the chief. He offered to catch the mighty rogue fish, which had been troubling his people. The chief received him with great warmth and told him that, as declared by him, he would offer his daughter in marriage to him if he were successful. There was nothing better that Shiva could have hoped for. Nandi was only too happy to see his Lord Shiva coming to catch him. He offered no resistance and was caught in no time. The chief’s happiness knew no bounds. As promised, he immediately organised a grand wedding in the village where Parvati and Shiva were married. Shiva immediately returned to Mount Kailash with his beloved wife Parvati. He had realised that it was not good to act in anger. Nandi too realised that even Gods were not spared from the emotion of anger.

Bhavan’s Journal Dec 31, 2022

Written and Posted by Kamlesh Tripathi

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

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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Book Review: Awadh Assam And Dalai Lama … The Kalachakra

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‘Awadh Assam and Dalai Lama… The Kalachakra’ has been archived in several prestigious institutions, both in India and internationally. Here’s a summary of its archival presence:

📚 International Archives

Department of Information and International Relations (DIIR), Government of Tibet: The book is archived in the DIIR, which is responsible for the administration and dissemination of information related to the Tibetan Government-in-Exile.

Tibet Policy Institute (TPI): The TPI, an institution that focuses on research related to Tibet, has archived the book, highlighting its relevance to Tibetan studies.

Personal Library of His Holiness the 14th Dalai Lama: The book is included in the personal collection of His Holiness the Dalai Lama, reflecting its significance in Tibetan history and culture.

The Ohio Digital Library, USA: Your book is available in this digital library, making it accessible to a global audience interested in Tibetan and Indian history. (Holy Books)

Apple Digital Library: The book has been included in Apple’s digital library, broadening its reach to readers worldwide.

🇮🇳 Indian Archives

Friends of Tibet Library: This library, dedicated to preserving Tibetan culture and history, has archived the book.

Maharashtra Mitra Mandal Library, Bandra, Mumbai: A prominent library in Mumbai has included your book in its collection, making it available to local readers.

These archival placements underscore the importance of the work in documenting the historical and cultural narratives of the region.

Written and posted by Kamlesh Tripathi

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SPEAKING TREE: THE MEANING OF LIFE

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THE MEANING OF LIFE
SPEAKING TREE ECONOMIC TIMES
NAJIB SHAH


    Hope, wrote Alexander Pope, lies eternal in the human breast. To never despair, even in the bleakest of winters. And, nothing exemplifies this more than the soul-stirring story of Viktor Frankel, who survived the horrors of Auschwitz through his search for the meaning of life.
    In his ‘Man’s Search for Meaning’ written after his liberation from the concentration camp, he talks about the source of his will to live. To paraphrase: we are bound to face adversities. How you handle these vicissitudes is determined by your attitude. And, attitude is something that each of us controls. This determines what becomes of you mentally and physically. This is true also of suffering that is a part of life–without suffering and death, human life would not be complete. The test is how we react to the suffering.
    We need to have a higher purpose– a goal that will help us overcome the challenges. Frankel quotes. Nietzsche, ‘He who has a why to live can bear almost any how’, to explain this.
    The meaning of life is found in our choice to do the right thing. Frankel helped his fellow prisoners by emphasising that striving for meaning, not power nor pleasure, is what keeps us alive.
    These lessons are even more relevant today. A positive attitude, willingness to take responsibility and a purpose in life will help each of us find meaning in our lives. Life is, after all, far too precious to fritter away aimlessly.

Posted by Kamlesh Tripathi

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

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AGE AND ACHIEVEMENTS: 5 LIT LUMINARIES

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AGE AND ACHIEVEMENTS: 5 LIT LUMINARIES

    What is the right age to achieve something in life? Is 40 years, too little time, or adequate time to achieve something in life? Let us consider the lives of five luminaries of the 19th century who were more or less contemporaries and who became world-renowned figures in their short lifespans. Let’s start with Swami Vivekananda, an Indian Hindu monk, a spiritual guru and a literary luminary, lifespan 12 January 1863- 4 July 1902, a total of 39 years. Then you have the American writer Edgar Allan Poe, who was born on 19 January 1809 and died on 7 October 1849, a life span of 40 years, followed by the French writer Guy De Maupassant, born on 5 August 1850 and passed away on 6 July 1893, a life span of 42 years. On the rostrum, there is also Nikolai Gogol, a Russian writer of Ukrainian origin. He was born on 20 March 1809 and he died on 21 February 1852, a life span of 42 years. And last but not least, we have Anton Pavlovich Chekhov, a Russian playwright and short-story writer born on 29 January 1860, and he died on 15 July 1904, at the age of 44. They all left behind a phenomenal legacy of success and heaps of lessons for future generations within the ebbs and flows of their limited lifespan.

    The mean life expectancy in the 19th century was 40-45 years. Global life expectancy today is around 72 years. There are two offshoots to this. One, the subject authors lived for around ninety to a hundred per cent of the average life expectancy of those times. Two, they only lived for a minus-plus of some forty years – a period, perhaps, too short for any milestone achievement, barring sports and maybe some other careers. When we compare 40 years with today’s life expectancy, it is only 55%. So then, does life expectancy have anything to do with your major achievements? The case study of the quintet doesn’t say so. There are authors, poets, and literary figures from other countries too, who gained fame but died very young, prominent among them is John Keats, to cite an example, who died at the age of 25. So, isn’t it ironic that some in a short lifespan of 25-40 years made gigantic strides, while others couldn’t manage to do that even in a century?

    In the 19th century, when these five were alive, they witnessed watershed changes in their countries. Some major events were as follows: India had the First War of Independence in 1857. The British East India Company was replaced by the British Crown in 1858. Russia had the Crimean War between 1853 and 1856; the Caucasian War, between 1817 and 1864; and the capture of Tashkent by the Russian Army in 1865. In addition, Alaska was sold to the US in 1867; the Russian-Turkish War happened in 1877, and the Russian famine in 1891. Alexander III, the emperor of Russia, passed away in 1894, and the first congress of the Russian Social Democratic Labour Party (RSDLP) was held in 1898 in Minsk, now in Belarus. In America and Europe, slavery was abolished through an act; the First and Second Industrial Revolutions, which overlapped with the 18th and 20th centuries, respectively, led to massive urbanisation. Construction of the Suez Canal commenced in 1859, linking the Mediterranean Sea with the Indian Ocean through the Red Sea, providing a more direct shipping route between Europe and Asia. The Islamic gunpowder empires (Ottoman Empire, Safavid and the Mughal) were formerly dissolved, and European imperialism brought much of South Asia, Southeast Asia and almost all of Africa under colonial rule. It was also marked by the collapse of the Spanish, Zulu Kingdom, First French Empire, Holy Roman and the Mughal Empire.

    Even with all the hullabaloo in their country and continent, there was calm and composure in these five lit luminaries. They had a single focus, just like Arjuna’s concentration – the eye of the fish, and that was to keep writing till their last breath. Though born in a Bengali Kayastha family in Calcutta, Swami Vivekananda was inclined towards spirituality. He was influenced by his guru, Ramakrishna, from whom he learnt that all living beings were an embodiment of the divine self. Therefore, service to God could only be rendered by service to mankind. Anton Chekhov, even when he fell sick in 1885, kept writing till he died of tuberculosis in 1904. Some of them even had financial problems, leading to trying times to obtain education, and some even had to support their education by writing scripts for magazines and even by selling fish. Edgar Allan Poe was born in Boston, the second child of actors David and Elizabeth Poe. His father abandoned the family in 1810, and his mother died the following year. He became an orphan, yet he fought back to become one of the most formidable writers of short stories. When Maupassant was 11, his mother, an independent-minded woman, divorced her husband. Afterwards, Maupassant lived with his mother, who was the single biggest influence on him, but that entailed hardships. Gogol lost his father at the age of fifteen, yet he aspired to become a writer.

    The short lifespan of these great writers only teaches us that achievements are not a function of your age.

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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