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Showing posts with label Hindu. Show all posts
Showing posts with label Hindu. Show all posts

Mahakavi Kalidas : Greatest Scholar and Poet in Sanskrit


Mahakavi Kalidas 
Mahakavi Kalidas

Content


Introduction

One of the greatest poets and dramatists in Sanskrit. His chronicle of the kings of the Raghu clan ('Raghuvamsha'), the great play 'Shakuntala' and other works depict, through many great characters, the highest ideals of life as seen by the ancient people of Bharat.

Kalidas

There are hundreds of languages in the world. However, great and classical literature which people in all countries need to read is found only in a few languages. One such great language is Sanskrit. It is one of the oldest languages. It is the mother of several Indianlanguages such as Hindi, Bengali and Marathi in the North. Kannada, Telugu and other languages in the South have also been nourished by it.

It needs the genius of poets who create literary epics and great thinkers for a language to achieve world-renown. Sanskrit is eminently lucky in this respect. Sages' celebration of the wonders of nature, the sky, the stars, mountains and rivers, the sun, the moon, the clouds, fire ('Agni') and their devout offering of prayers to the Universal Power are all found in the Vedic classics which/are in Sanskrit. Puranas and historical epics like the Ramayana and the Mahabharat vividly describe the battle between the good and the evil. They also portray the virtues like devotion to truth, a sense of sacrifice, heroism, cultured living, etc. In Sanskrit there are also beautiful stories of birds and animals like Panchatantra; stories extolling good and basic qualities of wisdom and intelligence. Sanskrit can also justly boast of a rich treasure house of plays, poems and many scientific and philosophical treatises.

A poet who has made a distinct and glorious contribution to this sumptuous Sanskrit literature is Kalidas. He has pictured in his works the beauty in life and pondered upon how we can give pleasure to others by generous and graceful behavior. His portrayals are vivid and heart- warming; his word power is unique. In a few words he is capable of bringing out the entire meaning intended. His writings touchingly show up a noble, meaningful mode of life for the people to pursue. His works are an intellectual treat to thinkers and common readers alike.

A Great Scholar and Poet

Who is this Kalidas ? When did he live and where in India was he residing? Much discussion has taken place for a long time now about his life and times. Not many queries on this score have elicited definite answers. Several legends have sprouted around him.

According to one such popular legend, Kalidas wasn't always so wise and learned. In fact, there was a time he was considered to be one of the stupidest people in the kingdom!

One sunny day, Kalidas was sitting on a branch of a tree, trying to saw it off. But the dimwitted man was sitting on the wrong end of the branch, so when he finally sawed through the branch, down he tumbled! This act of sheer stupidity was observed by some shrewd pundits minister passing by.

Now these pundits wanted to play a trick on the arrogant princess, to teach her a lesson. She was determined to marry someone who would defeat her in a debate about the scriptures. The princess had heaped considerable abuse on them over a period of time, and they were determined to extract their revenge. So, when they chanced upon Kalidas, they decided to present him to the queen as a suitable match for her.

In order to conceal his stupidity, the pundits asked Kalidas to pretend that he was a great sage, who was observing a vow of silence. Kalidas readily agreed, and they presented him to the queen, saying that Kalidas would only communicate by way of gestures. When the queen asked Kalidas a few questions to test his intelligence, Kalidas gesticulated wildly and the astute pundits 'interpreted' these gestures as extremely witty answers and retorts. The princess was suitably impressed, and the couple was married without much delay.

Kalidas's stupidity could be concealed for only so long, and the night of the wedding Kalidas blurted out something inane. The princess realized that she had married a prize fool. Furious, she threw him out of her palace, and her life.

The dejected Kalidas wandered around, till he came to the bank of the river. He contemplated taking his life when he suddenly saw some women washing clothes on the edge of the river bank. He observed that the stones which the women were pounding with clothes, were smooth and rounded, while the other stones were rough and ragged. This observation hit him like a thunderbolt, and it dawned upon him that if stones could be worn through and change their shape by being pounded upon by clothes, then why couldn't his thick brains change, by being pounded upon by knowledge!

Kalidas thus grew determined to become the wisest and most learned man in the country, and to achieve this end he started indulging in intellectual pastimes, reading, meditating and praying to his goddess Kali to grant him divine knowledge. His wish was fulfilled.

This is one of the most popular legends about Kalidas. There are several other stories but they lack authenticity.

It appears Kalidas was at the court of emperor Vikramaditya. The place and time of this king are also not definite. But it can be said with some certainty that Kalidas lived before the 6th century A.D., i.e., about 1400 years ago. But when exactly he lived before the 6th century is not firmly established. Though a deep affection for the city of Ujjain is discernible in his works, it cannot be said with certainty that he lived there. But we can assume that, wherever he may have been born, he had lived at Ujjain.

Kalidas, however, had good knowledge of the whole of Bharat. In his poem 'Meghaduta', his descriptions of mountains and rivers and cities and villages stretching from Ramagiri in Central India up to Alakanagari in the Himalayas are very beautiful. In another epic poem 'Raghuvamsha', Kalidas, while portraying the conquests of emperor Raghu, describes the places and peoples, their modes of living, food-habits and trades and professions, rivers and mountains in almost the whole country -- Assam, Bengal and Utkal in the East; Pandya and Kerala in the South and Sind, Gandhara and other places in the North-west.

Reading these pen-pictures, one cannot help but conclude that the poet must have had a personal knowledge of these areas. In short, he must have traveled widely across the length and breadth of the land, seen those places, talked to the people and studied their modes of living.

Kalidas possessed that distinct intellect which makes one a great poet. He was a scholar and his works display his poetic genius as well as scholarship. Also they are marked by a belief of what is good in life and people's noble goals of life. He could describe the rich and wealthy life of a royal palace and the serene, simple and peaceful life at a hermitage with equal understanding. He could, likewise, describe the joys of the marital life of a man and his spouse as well as their pangs of separation. He creates scenes of a serious and thoughtful nature as also hilarious scenes of light comedy. In his works is found an excellent combination of art-consciousness, unmatched wordpower and an unparalleled capacity for vivid portrayals.

The Great works by Kalidas

Kalidas wrote seven works. 'Kumarasambhava' and 'Raghuvamsha' are his two epic poems. 'Malavikagnimitra', 'Vikramorvashiya' and 'Abhijnana Shakuntala' are his celebrated plays. 'Meghaduta' and 'Ritusamhara' are also poetical works of great distinction.

Kumarasambhava

One of Kalidas's greatest works is 'Kumarasambhava'. Critics maintain that Kalidas wrote only the first eight chapters of the epic poem. The work describes the marriage of Lord Shiva and his consort Parvati. It begins with a fine description of that giant among mountains, the Himalaya.

Kalidas's poem gives us a vivid picture of what a good, meaningful life a man could and should lead as propounded by our learned ancestors.

Raghuvamsha

Kalidas's second epic is 'Raghuvamsha'. There are nineteen chapters ('sargas') in this poem. The epic describes the history of the kings Dileepa, Raghu, Aja, Dasharatha, Sri Rama, Lava and Kusha. It also deals briefly with the twenty kings from Nala up to Agnivarna.In thebeginning, the poet extols the fine qualities of the kings of Raghu dynasty.

'Raghuvamsha' depicts our ancient, historical culture and tradition. Our ancestors had discussed in detail about such matters as to who could be a good ruler, who is a man of 'tapas' (penance), how one should lead a good, purposeful life and the like. The poet has portrayed diverse characters like Vashishta, Dileepa, Raghu, Aja and others. Agnivarna is an example of a king who could be termed as 'depraved'.

Malavikagnimitra

'Malavikagnimitra' is Kalidas's first play. The author shows his humility and is   uncertain whether people would accepts play. He pleads 'Puranamityeva Na sadhu   sarvam,Na chapikavyamnavamityavadyam' (Everything old is not good, nor is every thing knew badly). There may be some thing, which may not be of much use in the  old, and the new may also be good. The theme of the play is the love-story of Agnimitra and Malavika.

Vikramor-vashiya

Kalidas's second play 'Vikramor -vashiya' is about the loves and tribulations of king Pururava and the heavenly damsel 'Urvashi'.

Abhijnana Shakuntala

'Abhijnana Shakuntala' is Kalidas's greatest creation. This literary masterpiece has been translated into several languages around the world. The story of Shakuntala appears in the 'Adiparva' chapter of the epic Mahabharat.

Meghaduta

'Meghaduta' is a beautiful love-lyric. A 'Yaksha', who is forced to be separated from his mistress for a year, sends her a message. The lady is residing at Alakanagari. 'Go and tell her that I told so', instructs the Yaksha to the cloud who becomes his messenger. The very fact that a cloud ('Megha') is chosen to be a messenger of love is something unique. The poet fascinatingly describes the travels of the cloud from Ramagiri to Alakanagari. The rivers, hills and mountains, cities and towns, vast fields, farmers' daughters as well as girls in the cities, the birds and the bees -- are all described by the poet vividly. It is a total picture of a beautiful world. His descriptions of Alakanagari, the Yaksha's house and the garden around, theYaksha's wife playing the Veena and her grace and beauty are captivating.

Ritusamhara

'Ritusamhara' is a somewhat small-scale poetical creation depicting the six seasons. However, it is equally appealing. The poet here sees beauty in everything. Each different facet of nature he sees in each of the seasons fascinates him; it is a romantic sight.

Summary of the life and work of Kalidas

In sum, it gives us great aesthetic pleasure to read Kalidas's works. His descriptions enthrall us. With him we are in the company-cultured a highly civilized, cultured personality. It is like a flower which, in bloom, spreads its fragrance all around. And a man's mature, ripened mind and intellect brings pleasure to those around him. In Kalidas's creations, we enter the world of people pure in mind and body and who are graceful. We learn here the manner in which man's nature can reach high, moral levels. It pleases us deeply to come into contact with characters like Parvati, Dileepa, Raghu, Aja, Shakuntala, Dushyanta and Kanva. It is for this wonderful experience that we as well as people in other countries read Kalidas.

Source : 1) Free India
                2) India Parenting

Why is ghee lamp preferred to oil lamp during puja ritual?

23:59

Contents


Namaskar! We heartily welcome you all for this Satsang (spiritual meet)! Before we commence this Satsang let us pay obeisance at the Holy feet of Sadguru (spiritual master) so that by His grace the very objective of this Satsang is fulfilled. Please pay mental obeisance to your personal icon of faith and recite as follows:
गुरुर्ब्रह्मा à¤—ुरुर्विष्‍णु à¤—ुरुर्देवो à¤®à¤¹ेश्‍वर: ।
गुरु à¤¸ाक्षात्‌ à¤ªà¤°à¤¬्रह्म à¤¤à¤¸्‍मै à¤¶्री à¤—ुरवे à¤¨à¤®: ।।

Worship of a deity is a subject of faith for all of us. We build a temple room in our house and decorate it well. We also keep the images or idols of the deities we like and perform daily puja (ritualistic worship).We purchase the articles of puja according to our capacity. We are also quite familiar with such articles like kalash (a water vessel generally of metal), shankh(conch ), a copper plate, a copper vessel, a small spoon, a lamp etc. Every article of puja has its own significance. Let us understand the significance of an important article of puja that is lamp.

1. Importance of lamp in Hindu Dharma

The lamp has its own special place in Sanatan Vaidik Hindu Dharma. It is a form and a symbol of Tej (Absolute fire principle). The lamp is invoked as, ‘तमसो मा ज्‍योतिर्गमय ।’ meaning the lamp leads us from darkness towards light. It burns only to give message of peace and light to the man. This is its greatness. In this Satsang we shall try to understand what the scriptures have to say about the lamp. Amongst the articles of puja the lamp is an important article. The following mantra which is recited during the ritual of puja explains its significance.
भोदीपब्रह्मरूपस्‍त्‍वं à¤œ्‍योतिषांप्रभुरव्‍यय: ।।
आरोग्‍यंदेहिपुत्रांश्‍चमत:शांतिं à¤ª्रयच्छमे ।।

Meaning: O Deity of lamp, you are of the form of Bramhan (the absolute truth). You are full of radiance. You never wither. Please bestow me health and good progeny and please fulfill my wishes.

2. Characteristics of oil and ghee lamps

Agni Puran clearly states that only oil or Ghee (clarified butter) be used in the lamp meant for puja and no other combustible substance. According to the Science of spirituality the lamp with clarified butter is more sattvik (spiritually pure) as compared to lamp in which oil is used. This is an important aspect which we will try to understand in details. So let us see the difference between the the lamp in which Ghee is used and the one with oil.
Generally the use of oil is more prevalent than that of Ghee. The oil containing lamp kindles longer while the ghee containing lamp kindles for a short period. Now let us see the difference from the spiritual view point.
  • Ghee lamp has more capacity to attract the sattvik vibrations present in the surrounding atmosphere as compared to oil lamp.
  • The oil lamp can attract the sattvik vibrations spread over a maximum distance of 1 meter while the ghee lamp can attract sattvik vibrations spread over till Swarga Lok (heaven)
    * When the oil or ghee gets exhausted or the lamp stops burning for some other reason then both the oil and ghee lamps are affected at spiritual level to some extent.
  • When the oil lamp stops burning the predominance of raja particles in the atmosphere is enhanced and lasts for half an hour. On the other hand when the ghee lamp stops burning the impact of sattvikta (the quality of being sattvik) on the atmosphere is experienced even after four hours.
Now let us see the characteristics of kindled lamps containing oil and ghee from spiritual angle with the help of a subtle drawing. Here we have to take into consideration the fact that while the vibrations of a subtle drawing are three dimensional we see them in the subtle drawing in a two dimensional form. For example the sphere will appear as a circle. Now let us look at the subtle drawing:
Subtle drawing of oil lamp

The yellow coloured circles seen in this drawing emit divine consciousness (chaitanya) in the atmosphere. The red coloured circles are of radiant energy. The burning flame is emitting frequencies full of Tej tattva (absolute fire principle) in the atmosphere. The red particles which you see here are the emitted particles of energy. So you have seen in this drawing how a oil lamp emits energy in the atmosphere. Now let us observe the subtle drawing of ghee lamp. The blue colour just besides the flame is indicative of spiritual emotion (bhav). The yellow circles which you see here are of chaitanya in the form of Tej tattva projecting in the atmosphere. You can also see the red particles and rays consisting of energy projecting into atmosphere.
Subtle drawing of ghee lamp

2.1 Effect on the worshipper as per Kundalini Yog

Now let us see the effect of both types of lamp on the worshipper.
  • The oil lamp generates a subtle armour of inferior quality around the worshipper while ghee lamp generates a subtle armour of superior quality.
  • The subtle frequencies emitted from the oil lamp activate the Mind-energy (Manashakti) of the worshipper whereas the subtle frequencies emanating from the ghee lamp activates soul energy of the worshipper.
According to yogic path of Kundalini Yog there are seven principle chakras or energy centers in the human being. These chakras influence practically every aspect of human being including physical body, mind and intellect. The oil lamp is effective in purification of Muladhar and Swadhishthan Chakra only to certain extent but the ghee lamp purifies Manipur and  Anahat chakras to a significant  extent.
Just as there are seven chakras in the human body, there are paths for the flow of vital energy (chetana). These are called as Nadis or channels. The three principle nadis are Chandra nadi (Moon channel), Surya nadi (Sun channel) and Sushumna nadi.When Chandra nadi is active the person perceives coolness. The activation of Surya nadi imparts energy to the person. The Sushumna nadi is activated when the person starts progressing spiritually. The oil lamp activates the Surya nadi of the person while ghee lamp activates only that nadi which is essential to the worshipper in a particular action.

2.2 Effect on the subtle sheaths of the worshipper

According to the science of spirituality the body which is visible to our eyes is called Annamaya Kosha or food sheath. Besides this there are four other Koshas namely Pranmaya Kosha or vital air sheath, Manomaya Kosha or the mental sheath, Vidnyanmaya Kosha or sheath of intellect and Anandmaya Kosha or bliss sheath. The Pranmaya kosha  is a seat for the Pancha pranas (five vital air elements) which provides energy to the gross body. The second Manomaya kosha is the seat of emotions. The third Vidnyanmaya Kosha is the seat of intellect and the fourth Anandamaya Kosha is the seat of Soul which is of the nature of existence, consciousness and bliss (satchidananda). Even these subtle sheaths or koshas are affected by the oil or ghee lamps. The oil lamp imparts power to the raja paricles in the Pranamaya kosha which makes the individual rstless. The ghee lamp strengthens the sattva particles of Pranamaya kosha and Manomaya Kosha and as a result of this the jiva (individual, embodied soul) becomes peaceful,stable and happy.

2.3 Spiritual experience imparted by oil and ghee lamps

Now let us compare the spiritual experiences obtained due to oil and ghee lamps. But before that let us understand what we mean by Spiritual experience or Anubhuti. We are used to appreciate this world through  the media of five sense organs namely nose, ears, eyes, tongue, skin , mind and intellect. This is known as experience. But when we experience something without the participation of all these then it is known as spiritual experience. Now let us compare the spiritual experiences obtained due to oil and ghee lamps. The oil lamp gives us spiritual experience of Pruthvi tattva (absolute earth element) and Aap tattva (absolute water element). For example if we get an experience of fragrance without the actual presence of an object which can impart such fragrance then it is a spiritual experience of Subtle fragrance or gandha. The fragrance is related to Pruthvi tattva. The example of spiritual experience of Aap tattva is dwelling sweet taste in the mouth.
When we see subtle light or vision of a deity then it is an example of spiritual experience related to Tej tattva or absolute fire element. When we experience a feeling of touch without any external reason  then it is a spiritual experience related to Vayu tattva or absolute air element. The ghee lamp gives spiritual experience of Tej tatva and Vayu tattva to the worshipper.

2.4 Why only ghee prepared from cow's milk should be used?

Generally any oil lamp emits frequencies consisting of raja particles but the sesame oil emits some sattva frequencies also. Therefore the lamp with sesame oil is comparatively more sattvik. However the ghee lamp emits the sattvik frequencies in  maximum amount compared to any oil lamp. Here we have to remember one thing that it is useful use ghee prepared only from the cow’s milk in the lamp lit in front of Deity. This is because in such ghee the Deites’ principles are already existent. Such a ghee which is dominant in sattva component emits luminous figures in the atmosphere. Such luminous figures are forms of Tej tattva or absolute fire element. Thus even though the use of ghee is recommended because of its capacity to emit maximum sattva frequencies, we can use sesame oil lamp if the use of ghee is not possible because of financial restraints or otherwise.

2.5 Points to be considered while using a lamp

Now let us see the points to be noted while actually using a lamp.
  • Do not kindle an oil lamp with a ghee lamp and vice versa
  • Do not kindle one lamp with another similar lamp. For example if there are two niranjans (a type of lamp) in an arti platter then do not light one niranjan with another niranjan. Similarly do not light one pillar of lamps with another.
  • Sometimes while performing puja we unknowingly touch the lamp. We should immediately wash our hands then. This is because when we worship a deity the sattva component of the lamp increases. When we touch the lamp the raja-tama particles from our body enter the lamp by way of touch. This reduces the purity of the lamp. The water has the property of encompassing everything. Anything which is offered to a deity through the medium of water reaches Him/Her faster. When we wash our hands we are one way dissolving our sins in the water. The spiritual practice of water is to assimilate in itself sins done by all. The extremely merciful Deities absolve us from our defects when we offer them at their feet through the medium of water.

3. Should electric bulbs be used instead of ghee lamps?

Now a days we see electric bulbs in use during the puja ritual instead of ghee lamp. What is the difference between two from the point of view of Spiritual science?
Some people may be finding it funny to worship a lamp of oil or ghee when the modern scientific era has offered us so much glitter by way of electrical bulbs. But our ancestors have given priority to the worship of lamp after profound experience and through the attitude of gratitude. Let us now compare the electrical bulb and the lamp with ghee. The light emitted from the electrical bulb blinds our eyes while the gentle flame of ghee lamp reminds us of Atma-Jyoti or flame of soul. The electrical bulb makes us extroverted and then the mind runs towards external objects. The ghee lamp makes us to look inwards. Thus we have seen the difference between the electrical bulb and ghee lamp. Now let us see the subtle drawing of an electrical bulb.
Subtle drawing of electrical  bulb

We can see here that via the medium of electrical current black frequencies are entering into the electrical bulb. These then activate frequencies dominant in tama component. The electrical bulb emits circles of tama component. In addition we can see that colliding black particles are emitted in the atmosphere.

4. Five wicks and single wick lamp

There are other varieties of the lamps also such as lamp with a single wick and lamp called niranjan wherein five wicks are used. The Niranjan with five wicks is symbolic of duality that is the manifest energy of a deity, whereas the lamp with a single wick attracts sattvik frequencies the lamp with five wicks attracts waves with destroyer property and dominant in raja component. The niranjan with five wicks denotes the relation of Panchpran (five vital air principles) with the Atmajyoti (flame of soul). Niranjan is used for waving Pancharati. Every  single flame of niranjan is symbolic of Atmajyoti. Pancharti means invocation of God with the help of panchparanas.While performing Pancharti we should have such a spiritual emotion that the Atmajyoti is kindled in me with the help of five panchaprans present in the body and I am performing the arti with such flame.

5. Why should a straight wick be used as compared to puffed up wick?

Now let us understand about straight wick and wick with one end puffed up (fulwat). During puja ritual a lamp is offered at various steps of the ritual according to purpose. For example performance of arti. Two types of wicks are used in the lamp namely Puffed wick and straight wick. Nowadays a puffed wick is used in a ghee lamp or niranjan and used as lamp of worship. The wick is puffedup from below to offer it stability to stand in the center of niranjan. The puffed wick is used in a ghee lamp. This type of wick is relatively of recent origin.The second type of wick which we all are familiar with is straight wick. Two straight wicks are joined together like a thread and used in a lamp. Not only there is difference between the two on a gross form but also on spiritual level.
  • The lower portion of the fulwat is puffed up while the straight wick is whole like a thread.
  • The fulwat is representative of various raja thoughts in the mind while straight wick is symbolic of detachment and also represents the thread which joins Panchaprans with Atamjyoti.
  • When a fulwat is kindled the inferior deities are attracted to it while the straight wick when kindled attracts principles of higher deities.
  • The frequencies emitted by the fulwat are of circular form while those emitted by straight wick are in the form of waves.
  • The colour of the divine consciousness emitted by the fulwat is redish yellow while that emitted by straight wick is of yellow colour.
  • Sattvik earth frequencies get attracted towards fulwat while more sattvik frequencies moving in the upward direction are attracted towards straight wick.
  • The atmospheric frequencies get momentum due to fulwat while their momentum is slowed down by the use of straight wick.
  • An armour of Pruthvi (absolute earth element) and Aap tattva (absolute water element) is generated around the worshipper by use of fulwat while straight wick generates an armour of Tej tatva (absolute fire element) around the worshipper.
According to science of spirituality Tej tattva is more powerful than either Pruthvi tatva or Aap tattva. As a result the use of fulwat imparts heaviness to the physical body while the use of straight imparts cheerfulness to mind.
Thus we have seen the difference between the fulwat and straight wick and also why it is important to use straight wick.