Emperor Of Literature

                                                                                                                                  

Bankim Chandra Chatterjee was born on 26th June 1838 at the village of Kathalpara, near Naihati, North 24 Parganas, West Bengal of Jadabchandra Chatterjee & Durgadevi. Son of a deputy collector, he grew up to join civil service as the deputy magistrate and deputy collector of the district of Jessore as soon a he completed his law degree from Presidency college Calcutta in 1857.

He was a member of an illustrious family, his brother being Sanjib Ch. Chatterjee the famous nature writer and the author of "Palamou". Bengalis, for the 1st time got the taste of a real novel in the pre-Tagore era through Chatterjee. In 1864 his first novel in English, Rajmohon's wife started appearing on weekly basis in the Education Gazette. But somehow it was found missing the charm of the language. His Bengali novel, which he had already started writing in 1863, was soon published. "Durgesh Nandini" as it was called created a sensation in the Bengali literary arena. "Kopal Kundala" followed this in 1866, which was inspired by his rencontre with a 'kapalik' or a sadhu who believes in the worship of 'Shakti' while he was in Negua. In 1869, his 3rd novel 'Mrinalini' was published & the readers for the 1st time found the flavour of patriotism in his creations.


In 1872 he took over as the editor of the prestigious magazine Bangadarshan. In 1873 two new novels "Bishbriksha" and "Indira" were published which totally dealt with social problems. His next novel was "Jugalangurio" published in 1874. In 1880 while acting as the temporary PA of the commissioner of Burdwan, "Chandrashekher" and "Radharani" were published. "Rajani" followed these in 1877 and "Kirishnakanter will" in 1878. In 1882 his eleventh novel "Rajsingha" based on the royal families of Marwar came in the market. His most famous novel "Anandamath" was also published this year. "Anandamath" is termed, as his most political novel which was a source of inspiration to the patriots fighting for the freedom of their motherland.

The chant "Vande Mataram" which later was adopted by the patriots as their slogan in the fight for freedom was coined in this novel. In late 1882 when he was transferred to Judgepur Orissa he started writing his thirteenth novel "Devi Choudhurani". It was published in 1884. The last novel he wrote was "Sitaram", published in 1887. Not only did he write novels, he was also one of the most effective columnists. His collection of essays like " Lok Rahashya " and " Kamalakanter Daptar" criticized the meaningless Bengali customs in a manner that forced an immediate change.

The British Government honoured him with the title "Ray Bahadur" in 1892. He became a CIE in 1894.The great novelist passed away on 8th April 1894.  

A COURTESY OF  www.bangalinet.com


                                                                  BANDE MATARAM

      Translation by Sri Aurobindo 

Mother, I bow to thee! 
Rich with thy hurrying streams,
bright with orchard gleams,
Cool with thy winds of delight,
Dark fields waving Mother of might,
Mother free.

Glory of moonlight dreams,
Over thy branches and lordly streams,
Clad in thy blossoming trees,
Mother, giver of ease
Laughing low and sweet!
Mother I kiss thy feet,
Speaker sweet and low!
Mother, to thee I bow.

Who hath said thou art weak in thy lands
When the sword flesh out in the seventy million hands
And seventy million voices roar
Thy dreadful name from shore to shore?
With many strengths who art mighty and stored,
To thee I call Mother and Lord!
Though who savest, arise and save!
To her I cry who ever her foeman drove
Back from plain and Sea
And shook herself free.

Thou art wisdom, thou art law,
Thou art heart, our soul, our breath
Though art love divine, the awe
In our hearts that conquers death.
Thine the strength that nervs the arm,
Thine the beauty, thine the charm.
Every image made divine
In our temples is but thine.

Thou art Durga, Lady and Queen,
With her hands that strike and her
swords of sheen,
Thou art Lakshmi lotus-throned,
And the Muse a hundred-toned,
Pure and perfect without peer,
Mother lend thine ear,
Rich with thy hurrying streams,
Bright with thy orchard gleems,
Dark of hue O candid-fair

In thy soul, with jewelled hair
And thy glorious smile divine,
Lovilest of all earthly lands,
Showering wealth from well-stored hands!
Mother, mother mine!
Mother sweet, I bow to thee,
Mother great and free!

Rang

Saat Rang Mein Roz Jeeti Hoon

Abb Aathwan Rang Mein Nahana Chahti Hoon

Bahut Pyassi Hoon Main Apni Mauj Mein

Abb Tere Ishq-e-Sailab Mein Bahena Chahti Hoon

Hona Chahti Hoon Main Madhose

Bharke Bahon Mein Mujhe Tu Meri Urra De Hosh

Pyassi Laab Meri Bhigay Teri  Shabnam Mein

Tere Khussbu Se Bhar Jaye Meri Jism-e-Gulposh

Tanha Tanha Yeh Naina Kaajrare

Tu Aake Meri Kismaat Saware

Jo Na Dekh Paoun Main Khuli Nazron Se Kavi

Chum Ke Meri Aakhon Mein Bhar De Woh Bemisaal Nazarein

Meri Bahein Tujh Ko Hi Pukare

Tu Kyun Na Samjhe Meri Ishare

Yeh Manzar Yeh Khali Khali Rahein

Aur Yeh Jiya Jite Hain Teri Aahon Ke Saharein

Tu na Jaane Kyun Yeh Dil Raheti Hain Tang

Tu Hi Meri Jineh Ki Aarzoo Aur Meri Lauti Umang

Aag Mein Tapke Barsat Mein Bhujke

Zaron Mein Kapkapati Hui Yeh Bechain Ang

Na hain Koi Meri Disha

Na Hain Meri Koi Jeene Ka Dhang

Bhikhar Ke Phir Ti Main Hu Haar Ek Gaaliyan

Jaise Koi Dor Se Tuti Hui Kati Patang

Ab Na Jiya Jaata Hain Aise

Ghol De Tu Meri Jiban Mein Basant Ke Rang

                                                         COME SINK IN THE COLOR OF LOVE !!! :-)
                                                                                  M-e-Z <3

                                                                                         

Aakhiyaan

Kuch Mili Hain Mujhe Zindegi Se 

Kuch Mujhse Hamesha Khoyee Hain

Jab Jab Dekha Main Tumhari Naino Ko

Hamesha Meri Khoyee Hui Woh Pal 

Unn Hasin Aakhon Mein Mili Hain

Tumhari Aakhein Na Jaane Kya Kaheti Hain

Khamosh Nigahein Na Jaane Kya Saheti Hain

Tum Kholti Ho Jab Palkein Tumhari 

Raaz-e-Savera Unn Mein  Dhikhaee Deti Hain

Kuch Armaan Shayed Roz 

Unn Palkon Mein Tum Bunti Ho

Tarash Ke Mann Ki Nazron Se 

Tum Har Ek Sapna Chunti Ho

Jab Na Koi Hota Hain Kareeb Tumhari

BeKhayal Nigahon Se Mujhe Dhundti Ho

Kali Kali Unn Aakhon Ki Taron Mein

Raat Ki Andheron Mein Tut Ti 

Lakhon Khowahishon Mein

Tum Mujhe Rakhte Ho Mehfuz Karke

Apni Khubsurat Bheegi Si Palkon Ki Shabnaam Mein

Mere Liyeh Tum Doah Karti Ho Rab Se

Chupati Ho Meri Chahat Tum Na Jaane Kab Se

Jab Woh Paak-e- Nazar Dekhti Hain Khudah Ki Taraf

Meri Umar Ki Hisaab Barhti Hain Tab Se

Tumhari Nazron Se Kuch Kahena Hain

Tumhari Palkon Mein Mujhe Yun Hi Rahena Hain

Mujhe Doob Na Hain Har Din Uss Ishq-e-Talab Mein

Har Sitam Har Zulum Har Badnaami Logon Ki Mujhe

Khushi Khushi Aise Hi Sahena Hain

Tumhari Nazar Rahein Meri Hi Firaaq Mein

Besh Kimat Woh Nazar  Rahe Mere Hi Haaq Mein

Main Aagar Tumhare Saath Na Vi Rahun 

Toh Koi Vi Ghum Nehi

Meri Ruh ke Saath Tumhari Aakhon Ke Nur BeShaak Hain

Uss Nazar Ko Meri Lakhon Salam

Nashile Unn Deed-e-Adaon Pe Kar Du

Meri Iss Shar Ko Kalam

Meri Ru-ba-ru Rahe Tumhari Chehra

Meri Zindegi Kar Du Unn Aakhiyaan Ke Naam

                                                                           Eye's Of Eternity !! 
                                                                                    M-e-Z :-)

                                                                                        

Kuch Baatein

Koun Si Aisi  Manzil Nehi Jahan Main Nehi Hoon

Meri Nazar Waha Door Asmaan Mein Hain

Aur Main Yahan Zameen Pe Khari Hoon

Chand Akela Falak Pe Muskaye

Apni Kiran Se Meri Dil Bahelaye

Tum Zindah Ho Avi Le Rahi Ho Shaash

Aise Deke Honsla Meri Dil Ko Sahelaye

Main Chalti Hoon Sunsan Sadak Pe

Aur Chalte Hain Kuch Tez Hawayein

Chalo Tum Mere Saath Urr Ke

Kahe ke Meri Mann Ko Kahin Aur Le Jaye

Jahan Wadiyon Se Ghire Hue Ek Choti Si Basti Hain

Jahan  Machalti Hui Ek Dariya  

Jhumti Hui Laharon Ki Dhuno Ke Saath Hain Baheti 

Aur Saath Kuch Phoolon Se Saaje Ek Chhoti Si Kashti Hain

Baat Karti Hoon Main Har Kisi Se

Lekin Kuch Baatein Kavi Kahe Nehi Sakti

Kuch Parindey Ass Pass Urr Te Hain

Shayed Gaa Te Hain Woh Geet Jo Main Gaa Nehi Sakti

Saab Kahete Hain Kaise Jite Ho Aise

Tumhe Hamari Tarha Jinah Chahiye

Hum Kahete Hain Jo Na Aaye Kisike Kam

Hume Aisi Sharab-e-Zindegi Pina Chahiye

LIVE LIFE !!! :-) <3

M-e-Z

Incarnation

                                                    

Lord Jesus reincarnated. Can human do may not be possible But......The Sanskrit word for rebirth or reincarnation is 'punarjanam' and 'samsara' (theround of births and deaths or transmigration of the soul).

Writes S. Rajmohan, research scholar at the Ramakrishna Mission, Chennai, India, in Tattvaloka (June-July 1995): "For death is nothing but the dissolution of the body, which is a mere cage for the jiva (soul). At the time of death, the self entrapped in the snare of the five elements leaves one body and enters another."

The scriptures further clarify that death is a mere point in the soul's journey to the ultimate goal of life—moksha or liberation from the cycle of life and death. Thus, this transmigration of the soul is defined as "the passage after death of the human or animal soul from a mortal body to a new incarnation in another body of the same or another species" in the Encyclopaedia of Religion and Ethics edited by James Hastings. 
But this network of life is not limited to fables and fantasies. There is documented evidence of children remembering their past lives. However, the scientific community is unimpressed. "Reincarnation cannot be proven scientifically," says Delhi-based psychiatrist Dr Kulin Kothari. "It is a belief propagated by the spiritual and metaphysical schools."

So we have skeptics on one hand and on the other, those who do not need any evidence of reincarnation because they are rooted in a culture that believes in reincarnation. In between are researchers who try to analyze the claims of rebirth through a scientific approach.

KARMA AND REINCARNATION 
To understand reincarnation, we must know its origins. The Bhagvad Purana states: "Just as commodities like gold and other articles change hands, a jiva (soul) wanders from one species of existence to another." So we are reborn and get a life in accordance with our past karmas or deeds.

A little skeptical about this theory, filmstar Suresh Oberoi says: "I don't know about past lives, but I do agree that karma rebounds. Karma is action and just as whatever seed you sow becomes a plant of that species, so whatever action you perform must give its results. When it will materialize is very difficult to say."

Writes Swami Jyotirmayananda in Tattvaloka: "Though the Sanskrit word 'karma' literally means 'action', it implies the impressions of action that exist in the subconscious and the unconscious depths of the mind. Therefore, for every reincarnating spirit, there is a storehouse of karma from the past lives. All karmas don't bear fruit in the same life. Certain karmas continue to exist as seeds and may fructify in future lives."

But the law of karma does not bind you to fate or destiny. It is the propeller to surge you ahead in the evolution cycle. In The Problem of Life and Death, Swami Parmananda of Sri Ramakrishna Math, Chennai, India, writes: "On the contrary it (karma) declares that no condition is permanent, but if man wishes to escape from the present fruits of his actions, he has only to direct his energies steadily in another channel and he will counteract the results of his past errors." For instance, if you have a bad habit such as smoking, you just have to fix your goal to a higher purpose to get rid of this habit. 
Swami Vivekananda is even more emphatic on the role of free will. He wrote: "We have the power to be what we are, and whatever we wish to be, we have the power to make ourselves." If what we are has been the result of our past actions, it certainly follows that whatever we wish to be in future can be produced by our present actions; so we have to know how to act."

But most of us forget our past lives. Why? Wrote Sri Aurobindo in The Life Divine: "The law that deprives us of the memory of the past lives is a law of the cosmic wisdom and serves, not disserves, its evolutionary purpose... A clear and detailed memory of the past lives, hatred, rancor, attachments, connections would be a stupendous inconvenience; for it would bind the reborn being to a useless repetition or a compulsory continuation of his surface past and stand in the way of his bringing out new possibilities from the depths of the spirit."

According to J. Bruce Long, it could be the fear of transference of karma. "As written in the Mahabharata, the transference of karmas, good or evil, is more prevalent in families. The chaste wife can release her husband from sin. Like all negatives, this too has a negative, so to destroy a man, destroy his wife," he writes in Karma and Rebirth in Indian Classical Traditions.

Most Buddhist sects agree with reincarnation. The Tibetan Book of The Dead describes the soul's passage after death and how it comes back to human form. The story of the Dalai Lama is the best example of children's past life memory. Each of the Dalai Lamas, over many centuries since the birth of the first in 1351 AD, followed the same line; each one was an incarnation of the last, retaining the spiritual wisdom acquired over many lifetimes.
                      "JO HOTA HAIN ACCHE KE LIYEH HOTA HAIN"-- SRI KRISHNA                             
                                                    THE TRUTH OF LIFE !!! :-)

A COURTESY OF .powertoshare.com 

                                                         

                                              

                                                                          

Kathak

                                                                               


The word "Kathak" is used in Brahma Mahapuran for dancers, actors and singers. In Mahabharata and Natyashastra one can find the word "Kathak" too. In Pali language "kathako" means "lecture". In Nepalese language the word "kathiko" is available which means 'who explains' or 'teacher'.


In excavation of Mohanjodro and Harappa, which are one of the most ancient civilizations in the world, people found some sculptures, which represent a sort of dance poses. Their hand gestures and body poses are quite similar to the existing kathak dance forms.


The most ancient known Indian book on art is "Natyashastra" which was written by Saint Bharat about 500 BC. After that "Sangeet Ratnakar" - basically music oriented book - which was written by Sharang Dev in 13th century, is the next strongest support to Kathak word. In its Nrityadhyay (chapter of Dance) it is written:


Kathaka Bandinshchatra Vidyavantah Priyamvadah Prashansakushlashchaanye Chatura Sarvamatushu
It means: "who explains the characters and educated and sweet and soft speaking person, who is expert in explaining and is from good descent (i.e. Brahman), clever in making poems and explaining them is Kathak".


Long long ago when nat, bharat or kushilav people were explaining religious and mythological stories in the temple premises with the help of dance and music they had good position in the society. Later on some immoral practices became the cause of their degradation and they were expelled from the society. With time they came back again with a new face where they sang, danced and explained the religious stories and also had share in the religious ceremonies. Most of them were Brahman and they lived very strict and religious life. Again they retained name, position and money. Some technical words of Kathak dance like 'Tatkar', 'Gat' are used in ancient dance and music books like Sangeet Darpan, Sangeet Makrand and Kohal Rahasya.


Muslim invasion in Kathak
Muslim king came to India and ruled more than 800 years. All Muslim kings brought dancers, poets, musician and other artist form Persia and Arab countries. To adapt their art to India and to establish its form in India they used many tactics. They are the following:


Indian music and dance was connected with Hindu religion very deeply so that they destroyed Hindu temples, the books about art were also destroyed.
Some Indian instruments were changed, for example tabla was made by cutting the pakhawaj in two pieces and each was played with entirely different technique so that experts in playing pakhawaj could not compete with new artists, whom was given preference at the king's court.
They stopped supporting Hindu artists, forced them to change religion and name and demoralized among persian artists.
Good teachers and dancers were forced to dance for the king and not for the God. Spiritual values of dance were ignored and only materialistic values were approved. The dancers were asked to dance with glass of wine in hands and offer it to the king. If during dance wine fell on the ground dancer and teacher were punished, beaten and tortured. If dancer danced successfully, he was lifted up with prizes and intimacy with the king. As a result dance become game of foot rather then the whole body work. Love events or the dance in which there was description of love between Krishna and Radha, were remaining as it is because that satisfied the dirty thoughts of the king and courtiers. On the other hand dance included many gestures from Arab dances and work of wrist, Ghungru and facial expression were added a lot to dance.
It was difficult for the king to speak Hindi words, that is why all the vocabulary of dance was supplanted by Urdu words; Urdu and Persian literature was introduced in Kathak dancing. Gazal, rubai, tarana are some of the compositions which were added to Kathak that time continue to be an important feature till today.
Dance and music at king's court was performed alongside with some circus, magic show or other lower forms of art. For example one can see the pictures painted in 14th to 19th century showing courtiers enjoying circus and dance at the same time.
Here start the different schools and traditions, which are now famous as gharana. Different Hindu and Muslim kings and nawab of different states gave support to different artists and there dance changed its shape in accordance with the condition and the mood of the sponsor. Mainly in three places dancers were concentrated and after these places the three main gharana of Kathak are named.


In Jaipur City Hindu kings supported Kathak and taandav oriented Kathak dance was cultivated and called 'Jaipur Gharana'.


In Avadh, which later on was named Lucknow, Nawab Wajid Ali Shah, who himself was a good dancer, invited many Kathak artists and teachers. Lasya oriented Kathak dance was established in this tradition. Influence of Muslim culture was clearly visible in it. Softness and elegance was the specialty of this Gharana. This Gharana was named as 'Lucknow Gharana'. In Banarus third Gharana was established.

Benares Gharana

The Benares Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam.'parans' are also done effectively in this gharana on the 'mrudunga'


Raigarh Gharana
This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh in Chhatisgarh in the early 20th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds.Some of renowned dancers of this gharana are Late Pt.Kartik Ram,Late Pt.Phirtu Maharaj,Late Pt.Kalyaandas Mahant,Late Pt.Barmanlak,Pt.Ramlal,Alpana Vajpeyi,Suchitra Harmalkar,Mohini Moghe,Bhagwaandas Manik,Bhupendra Bareth,Vaasanti Vaishnav etc.




A COURTESY OF  indiandance.ru

                                                                              

Dard-e-Radha

Brooding Love

Madhava:

Your moon-faced love

Had never guessed

That parting hurts.

Radha is tortured,

Dreading you will leave.

Love has robbed her of all power,

She sinks clasping the ground. 

Kokilas call,

Startled, she wakes

Only to brood again.

Tears wash the make-up

From her breasts.

Her arms grow thin,

Her bracelets slide to the ground.

Radha's head droops in grief.

Her fingers scar the earth

Bleeding your name. 

Counterfeit

When you stay before my eyes

You make me feel your love is firm,

But out of sight how different you are!

How long does false gold shine?

Master of sweetness, I know your ways.

Your heart is counterfeit.

Your love is words.

Speech, love and humor

All are smooth

And only meant to tease

When you shed a girl,

Do you laugh?

Are your arrows always

Poisoned with honey? 

Vidyapati 

All My Inhibition Left Me In A Flash

All my inhibition left me in a flash,

When he robbed me of my clothes,

But his body became my new dress.

Like a bee hovering on a lotus leaf

He was there in my night, on me!

True, the god of love never hesitates!

He is free and determined like a bird

Winging toward the clouds it loves.

Yet I remember the mad tricks he played,

My heart restlessly burning with desire

Was yet filled with fear! 

Vidyapati 

River And Sky

Oh friend, I cannot tell you

Whether he was near or far, real or a dream.

Like a vine of lightning,

As I chained the dark one, 

I felt a river flooding in my heart. 

Like a shining moon, 

I devoured that liquid face.

I felt stars shooting around me.

The sky fell with my dress, 

leaving my ravished breasts.

I was rocking like the earth.

In my storming breath

I could hear my ankle-bells,

sounding like bees.

Drowned in the last waters of dissolution,

I knew that this was not the end.

Says Vidyapati:

How can I possibly believe such nonsense? 

Vidyapati 

Shattered Desire

Swelling breasts, hard, like golden cups.

Those wanton glances have stolen my heart,

O beautiful one, protest no longer.

I am eager as a bee, let me take your honey.

Darling, I beg you, holding your hands,

Do not be cruel, have pity on me.

I shall say that again and again,

No more can I suffer the agony of love.

Says Vidyapati:

Shattered desire is death. 

Vidyapati 

Signs Of Youth

Radha’s glances dart from side to side.

Her restless body and clothes are heavy with dust.

Her glistening smile shines again and again.

Shy, she raises her skirt to her lips.

Startled, she stirs and once again is calm,

As now she enters the ways of love.

Sometimes she gazes at her blossoming breasts

Hiding them quickly, then forgetting they are there.

Childhood and girlhood melt in one

And new and old are both forgotten.

Says Vidyapati: O Lord of life,

Do you not know the signs of youth? 

Vidyapati 

Thinner Than A Crescent

Her tears carved a river

And she broods on its bank,

Hurt and confused.

You ask her one thing,

She speaks of another.

Her friends believe

That joy may come again.

At times they banish hope

And cease to care.

O Madhava,

I have run to call you.

Radha each day

Grows thinner

Thinner than the crescent in the sky… 

Vidyapati 

Time And Love

As I guard my honor,

My love in a foreign land

Ravishes beauties

Who belong to others.

Safely he will come,

But he has left me dead.

O traveler, tell him

That my youth wastes away…

If time goes on

Life too will go

And never shall we love again… 

Vidyapati 

Vidyapati Thakur (1340 - 1430), also known by the sobriquet Maithil Kavi Kokil (the poet cuckoo of Maithili) was a Maithili poet and a Sanskrit writer. He was born in the village of Bishphi in Madhubani district of Bihar state, India. He was son of Ganapati. The name Vidyapati is derived from two Sanskrit words, Vidya (knowledge) and Pati (master), connoting thereby, a man of knowledge. 

Vidyapati's poetry was widely influential in centuries to come, in the Hindustani as well as Bengali and other Eastern literary traditions. Indeed, the language at the time of Vidyapati, the prakrit-derived late abahatta, had just began to transition into early versions of the Eastern languages, Bengali, Oriya, Maithili, etc. Thus, Vidyapati's influence on making these languages has been described as "analogous to that of Dante in Italy and Chaucer in England." 

Vidyapati is as much known for his love-lyrics as for his poetry dedicated to Lord Shiva. His language is closest to Maithili, the language spoken around Mithila (a region in the north Bihar), closely related to the abahattha form of early Bengali. 

A COURTESY OF POEM HUNTER .COM