Finding Nemo

I am appalled at the recent incidents in Bangalore and New Delhi – where the mob took a new meaning for celebration and enjoyment. I am at a loss of words for the direction we are all headed. It has been apathy of the women or the females to be at the receiving end when the male tries to show his superiority. I heard something similar or even more derogatory sometime earlier – “ What happened to us ”. Interestingly I had been pondering over this situation since late December 2016 when I read Amrita Pritam’s Pinjar. I happened to watch Chandraprakash Dwivedi’s movie Pinjar as well. The transformation from Puro to Hamida was enough for me to understand the cruelties that the females withered for the alpha male. However, what we easily forgot was the transformation of the same Hamida into a tigress when another girl – “Lajo” was kidnapped in similar circumstances. Hamida or Puro made sure that Lajo does not goes through the same scenarios like her. Even when Puro chooses to lead her

In my previous article - " Vyasa's agony ", we saw that even at the end of a great epic, a great composition, the composer himself is not happy and is frustrated. Why is this happening? We saw a few arguments in my last post. Let's try to probe further. Think, when you take up a daunting task or any challenge. And then you work hard and take the efforts to the completion of the task. How do you feel? Satisfied? Happy to have completed the challenge? But in the case of Mahabharata, Vyasa is neither happy nor satisfied. A composer, having composed a great verse is still not satisfied - and has something more to tell? What could it be? The answer lies in the name of the composition itself - "Jaya". The composition was cleverly named as Jaya or the victory, without signifying over what or over whom. Almost every story within the great epic, depicts the clash of ideologies within the minds of the characters. Shouldn't it be safe to assume, t

 ऊर्ध्वबाहुर विरौम्य एष न च कश चिच छृणॊति मे      धर्माद अर्थश च कामश च स किमर्थं न सेव्यते  न जातु कामान न भयान न लॊभाद; धर्मं तयजेज जीवितस्यापि हेतॊः      नित्यॊ धर्मः सुखदुःखे तव अनित्ये; जीवॊ नित्यॊ हेतुर अस्य तव अनित्यः These are the verses from original text of Mahabharata from the chapter 18. These are verses 49-50. In these verses Ved Vyasa, who is deemed as the author of the epic and possibly the great grandfather of the entire event, cries out loud throwing his arms up in the sky. He says - "With uplifted arms I am crying aloud but nobody hears me. From Righteousness is Wealth as also Pleasure. Why should not Righteousness, therefore, be courted? For the sake neither of pleasure, nor of fear, nor of cupidity should any one cast off Righteousness. Indeed, for the sake of even life one should not cast off Righteousness. Righteousness is eternal. Pleasure and Pain are not eternal. Jiva is eternal. The cause, however, of Jiva’s being invested with a body is not so.&quo

Long time back I wrote a small article on the topic of Ashwathama’s death – “Ashwathama is dead”.  Ashwathama was the son of Dronacharya – the teacher of Kauravas and Pandavas. Dronacharya could only be defeated when Yudhishthira confirmed the death of Ashwathama. It is said the Yudhishthira was embodiment of the Dharmaraja himself and was known for his principles. It is said that his compliance to principles and rules was so impeccable that his chariot would always be levitated above the ground by about 4 inches. This was an extraordinary feat, only available to gods themselves. However, the moment Yudhishthira replied to Drona affirming the death of Ashwathama, his chariot dipped by 2 inches. Though Yudhisthira’s affirmation was truthful, it was not complete truth for Drona. Yudhishthira’s character was forever marred by this affirmation. Dronacharya in his young days was a good friend with a young prince who later became a great king – Drupada of Panchal.