Samarpanam - An offering of poems

Samarpanam

An offering of poems

Jyothi Ganesh

—1—

Samarpanam

An offering of poems

Jyothi Ganesh

© Jyothi Ganesh, 2020 Author Jyothi Ganesh Editorial Coordination Meera Srikant Design & Layout Prem Kumar Printed at Sudharsan Graphics Pvt. Ltd. Chennai All Rights Reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the author.

—4—

With The Benign Blessings of Jagadguru Sri Sri Bharathi Theertha Mahaswamigal And Sri Sri Vidushekara Bharathi Swamigal, Sringeri Sarada Peetam.

—5—

Content

Foreword 9 Preface 16 Garbha Griham

17

Advaitam 18 Masks 19 Shankarabharanam 20 Thodi

21

Navarathri

22

Circles 24 Threads

26

Mukhari 27 Janmashtami

28

Sahana 34 Veil of Ignorance

35

Aavani Avittam

36

The Art of Writing

37

Kambhoji 38 Keeravani 39 Charukeshi

40

Faith and Fear

41

Perumal 42 Mecha Kalyani

44

Raga 46 Space 48 Shiva 50 Sun Light

54

Thresholds 56 Mirage 58 Varali 59

—6—

Books 60 Smoke and Mirrors

62

Temples 64 Words 66 Utopia 68 Rasikas 70 Surrealism 72 Symbolism 74 Learnings 75 Sauce 76

Clarity 84

Idli 77

The Eclipse

86

Ayodhya 78

Ode to a Teacher

88

Conformity 80

Isolation 89

Padmanabha 82

Prakriti 90 Trust 92 Generations 94 Time 96 The Artiste

99

Rituals 100 Instigation/Prerana 101 Aadi 102 Thankfulness 106

—7—

Dedicated to the memory of my father

Sri. V. Subrahmaniam, Sangeeta Kala Acharya On his 85th Birthday

—8—

Foreword The thread of thought is Vedantic, religious or music-oriented.

amarpanam is a book of modern poetry everyone would read with relish from start to finish. Subtle, suggestive, imaginative, spontaneous, philosophical and compulsively Indian — these are but some of the adjectives that come to mind on reading this endearing bunch of poems.

S

The author of these poems, Jyothi Ganesh, my dear niece, is a gentle, soft-spoken, saattvic person. One of her admirable characteristics, worthy of emulation, is the devoted and self-effacing way in which she has cared for her family. Her deep interest in and her commitment to Carnatic music, religion, tradition and Vedanta, are known to all of us in her family and friends’ circles. But that she has a flair for poetry as well came as a pleasant surprise to us just a few months ago. With her forays into the world of poetry now, Jyothi has quietly added another feather to her cap.

In this, her first book of poems, the topics that Jyothi has picked to write on may be broadly classified into four–philosophy, religion and devotion to God, Carnatic music and commonplace things. She has handled each of them with élan. Her knowledge of philosophy, religion and music and her good command over the English language, coupled with her artistic flair and creative ability have all come together to mother this book of poems.

This book contains poems on topics ranging from ‘circles’ and ‘masks’, ‘Shankarabharanam’ and ‘Sahana’, ‘Janmashtami’ and ‘Navarathri’, to ‘Perumal’ and ‘Advaitam’. In poems like ‘Janmashtami’ and ‘Navarathri, for instance, the author has woven beautiful imagery by dexterously connecting the story of Krishna or the glory of Amba to Carnatic ragams

—9—

like Yadukulakambojhi, Nattakkurinji, Bhairavi and Khamas. What is noteworthy in each of the poems in this book, is that regardless of whether the topic is ordinary or sublime, the thread of thought through the poem is Vedantic, religious or music-oriented. Indeed, my heart swells with pride to note that Jyothi’s samskaaras and thoughts are ever so saattvic.

Jyothi’s bhakti and profound interest in religion, philosophy and spirituality are innate. Jyothi has had a traditional upbringing and is deeply devoted to the Jagadgurus of Sringeri Sarada Peetam. With their Grace, the Grace of God and her exposure to Vedanta through Swami Paramarthananda’s classes, her commitment to religious practices and spiritual pursuits has steadily grown. These poems penned by her are verily a mirror to her mind, every one of them bearing, as it does, the stamp of either bhakti or Vedanta.

Jyothi’s passion for Carnatic music too is congenital. She acquired her knowledge of music from her father, my brother, late Sri V. Subrahmaniam, who was a consummate master of both the art and the science of Carnatic music. He taught her music from her childhood and also lovingly fed her with its theoretical foundations. All this is amply reflected in her writings. Some of the theoretical aspects of ragams on which she has elaborated in her poems may be somewhat abstruse for some, just as it was for me, but I came to be in total awe of her knowledge of the intricacies of the various ragams!

It is a matter of immense joy that Jyothi is now publishing this delightful book of her first poems. My prayers to the Lord and the Sadguru, that this spiritual mananam of hers continues, steadily increasing her chittashuddhi and giving her serenity of mind.

– Sobhana Lakshmanan

— 10 —

Foreword It is a brave venture indeed to paint the colours of a raga using the pen rather than the human voice or a musical instrument. always a source of happiness when a creative endeavour comes and a privilege to share in the process, albeit in a Ismallttoisfruition way.

Jyothi Ganesh has chosen some unusual themes for her poems.

They juxtapose her various interests – Carnatic music, spirituality, Vedanta, Puranas and Vedic heritage. She has received her grounding in music from her late father Shri V. Subrahmaniam who was my revered senior in the tutelage of Shri Semmangudi Srinivasa Iyer.

I had the opportunity to go through some of her poems, especially the ones on Carnatic ragas. It is a brave venture indeed to paint the colours of a raga using the pen rather than the human voice or a musical instrument. Jyothi’s raga delineation using Puranic metaphors is intriguing. For instance, the subtle vivaditva of Varali raga has been compared to Draupadi raising questions on Dharma to the elders, while being publicly humiliated. The birth of Draupadi from fire is itself like Varali raga which is challenging to handle, like fire. Perhaps, it may help one to better understand raga lakshana using such imagery.

Her poems on festivals like Janmashtami, Navaratri and Avani Avittam reflect her understanding of their spiritual significance and seek to disseminate the same.

I wish her more and more joyous learning and all success in her creative pursuits.

– Radha Namboodiri — 11 —

indeed delighted that Jyothi Ganesh, a quiet and self-effacing has boldly ventured into the world of poems and writing.

IHeramperson, maiden foray has resulted in an excellent offering of subtle, sublime and at once simple poems – ‘Samarpanam’.

Jyothi has grown up in a family environment suffused with Carnatic music. Her grounding in Carnatic music is sound and deep thanks to her late father, Sangita Kala Acharya, V Subrahmaniam, who was an eminent musician as well a teacher of repute. He was an acclaimed disciple of the doyen, Sangita Kalanidhi Semmangudi Srinivasa Iyer. Jyothi learnt Carnatic music from her father and also soaked in the music of the stalwarts like her father’s guru and others through osmosis. It was but natural for Jyothi to develop a passion for and commitment to Carnatic music from a very young age.

The family was also firmly rooted in our traditions and values. Her mother Kripa Subramaniam played no small part in nurturing these traditional values in Jyothi.

Subsequently, Jyothi has also delved deep into devotion, philosophy, spirituality and Vedanta.

Her book of poems ‘Samarpanam’ is the fruit of her journey of self-exploration in her chosen fields. Her easy elegance and felicity of language make for all the more enjoyable reading of the book. Her poems deal with broad heads such as Carnatic music, bhakthi or devotion to God, philosophy and common occurrences in everyday life.

She has written poems on ragas like Shankarabharanam, Kambhoji, Varali, Sahana, Charukesi and so on. Jyothi has imaginatively sketched the colours, contours and beauty of the ragas through her pen and has deftly created in the ragas a linkage for puranic characters. Then there is a poem on ‘Raga’ itself bringing out the characteristics, structure, various elements and the aesthetic whole essayed by the artiste for wholesome enjoyment.

She has poems too on religious festivals like ‘Janmashtami’ and ‘Navarathri’ juxtaposing and giving play to the appropriate ragas with these festivals. The poem on ‘Janmashtami’ is the stand-out or the signature poem of this book. It is veritably an epic poem, sketching

— 12 —

Foreword Jyothi’s easy elegance and felicity of language make for all the more enjoyable reading of the book.

the different stages of the life and evolution of Lord Krishna, likening each phase to a specific raga and painting lovely imagery.

She has poems on ‘Shiva’ and ‘Perumal’ and on temples and ‘Padmanabha’. She even deals with things like ‘Circles’ and ‘Threads’, not forgetting the common but a favourite dish of many, Idli.

I have referred to just a few of her poems. It is clear that through all these wonderfully and imaginatively crafted poems, through this veritable garland of poems, runs a seamless and a common thread underpinning and evocative of all the disciplines she is steeped in – Carnatic music, philosophy, religion and spirituality. This book marks the fruition of her journey of self-learning and self-expression and in the process it gives the reader a glimpse into her innate qualities and values and the extent of her self-realisation, encased and woven creatively into the medium of these delightful poems.

The design and production values of the book are excellent.

I have no doubt that this is the first of many books from this innately good and self-effacing author. I compliment her on a wonderful debut and I express my appreciation for my good friend and Jyothi’s husband, Ganesh, for being so supportive of her literary efforts.

I wish Jyothi all the very best in all her future endeavours.

N Murali, President, The Music Academy — 13 —

Foreword

Shri Sharadayai namah

“Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity.”

— William Wordsworth, in his ‘Preface to Lyrical Ballads’. yothi’s Samarpanam is such an expression of a spontaneous flow of myriad sentiments and J artistic visualisations.

Having been abundantly blessed by the illustrious and revered Jagadgurus of Sringeri Shri Sharada Peetham, having formally partaken the ambrosia of Carnatic music from her eminent and erudite father Shri V Subrahmaniam, having immersed in the music of the doyens, Jyothi has very beautifully crystallised, in her enchanting and engaging poems, an artistry that is transcendental.

— 14 —

This collection of delightful poems reflects Jyothi’s deep understanding of life, laced with the grace of the Divine and the ecstasy of art

Ragas form the bedrock of Indian music, laden with their characteristics of svara and gamaka, evoke manifold imageries and emotions. Jyothi’s poetic visualisations of time-tested ragas such as Shankarabharanam, Kambhoji, Mukhari, Varali, Surati and the like are a delight to the musically minded.

From the profound in ‘Advaitam’ and ‘Thresholds’ to the ponderings in ‘Faith & Fear’ and ‘’Perumal’, to the portrayals in ‘Shankarabharanam’ and ‘Varali’ and to the primary in ‘Idli’ and ‘Sauce’, this collection of delightful poems reflects Jyothi’s deep understanding of life, laced with the grace of the Divine and the ecstasy of art.

Awaiting more of her creative outpourings and wishing her the best in all her endeavours.

RK Shriram Kumar, Eminent Violinist /Musician

— 15 —

Preface eepavali at home always began with the strains of Thodi mellifluously emanating from the Nadaswaram Vidwan D Rajarathinam Pillai recording that my father diligently played annually in a spool recording. Childhood was spent soaking in the majestic music of Vidwan Semmangudi Srinivasa Iyer, Vidushi Brinda Amma, Vidushi M.L. Vasanthakumari, Vidwan K.V. Narayanswami, Vidwan D.K. Jayaraman, each leaving me mesmerised and spellbound.

This is a humble attempt to explain the raga prayogas based on the lakshanas of Carnatic music, which was emphasised and taught by my Guru and father, Sangita Kala Acharya, Vidwan Shri V. Subrahmaniam. I have likened it to certain pauranic characters which one can easily recall and identify with.

The other area that I have attempted is to deconstruct certain philosophical ideas for better understanding on my part.

I would like to sincerely thank my mentor Vidushi Smt. Radha Namboodiri, Sangita Kala Acharya, and Smt. Shobana Lakshmanan, my aunt who is a scholar of Sanskrit and Philosophy.

I would like to thank my husband Sri L. Ganesh, my mother Smt Kripa, my sister, Smt Jayashree and my children Aparna and Aditya who were indulgent enough in my initial attempt at writing. I would also like to thank Ms Aparna and Mr. Sumesh for their inputs in compiling the book.

I would like to express my sincere thanks to Meera Srikant for her expertise along with Prem Kumar for design and layout and Sudharsan Graphics for the execution of the book.

— 16 —

Garbha Griham The inner sanctum, Holding the Sacred Darkness Likened to the womb Embodying a form Holding myriad promises Twinkling lights betraying a world within Enticing tantalisingly belying, Beckoning us to an Awakening And living the Truth.

— 17 —

Advaitam Amidst the disparateness Of night and day War and peace Hate and love Dvaita and advaita, The Triad is seemingly present The Individual, Universe and God, Teacher, body of knowledge and the taught Subject, Object and Predicate Seer, sought and the act of seeing, Gross, causal and subtle Waking, sleeping and dreaming Of Dvaitam, Vishishtaadvaitam and

Advaitam Of Absolute Surrender, Conjoining with, And subsuming Union Starting at the dichotomous Traversing through the Triumvirate Aligning to the rhythm And echoing to the thrum of Om Nada Brahman, And aiming for singularity Constantly seeking to Coalesce the Identity with The Supreme Brahman Living in the Here and Now of Truth Knowledge And Fullness Sat, Chit and Anandam.

— 18 —

Masks Of various categories Decorative, Physical, mental Seeking to cover, Or highlight Kathakali mask, Painstakingly Created, of rice flour In different hues Exaggerating exhibiting Nine Emotions, Navarasa Of trying to encapsulate Love, Empathy, Anger, Fear, Revulsion Wonderment, the Comical, Grief, Peace In a heightened Theatrical form Venetian Masks Featured and Crafted in bold, Bright hues and colours Emboldened with a rich Ensemble Displayed with pomp In pageantry

An inscrutable face Masking True inner feelings A strength of character or Lack of it?

An escapism from the Drudgery, In total abandon Ringing in a gaily Manner Beautifully appointed Face masked And caked, Thereby enacting And emoting In full gusto And enthusiasm Chancing In on a mirror Refusing To contend, Looking in the eye, And facing the Truth To bare oneself and face the soul In good faith and Truthfulness.

— 19 —

Shankarabharanam Dheera Shankarabharanam Melakarta Ragam Classified under the Bana Chakra An arrow from the quiver of Brave Shankara Of Chathusruti Rishabham The anthara gandharam And the suddha madhyamam with The micro half notes and gamakas Mirroring each other, And juxtaposed amidst the three Eschewing all of the disparate thoughts Resolving opposing forces And resultant egos Reflective of a Joy and Poise Evoking Peace and Equanimity Chathusruti dhaivatham Kakali nishadam Ardently touching And merging with The shadjam, Presenting a dynamic force Focusing on the effulgent beauty Of the universe Verily as an Abharanam of Shankara Or veritably the very jewel of Shankarabharanam. — 20 —

Thodi Listening to the lilting Gamakas And notes of Hanumathodi Rising from the mellifluous Nadaswaram Gandharam the life note, In all its multiple myriad Shades Simultaneously majestic And sonorous in the Mandira sthayee Like the elephant’s gait Weighty, purposeful, heavy Synonymous With the Guru.

Tara sthayee gandharam Guiding us And seeking to open our eyes to its nomenclature Of netra Urging us to grasp the Intrinsic, innate beauty Whilst listening to the Gaanam and Geetham.

— 21 —

Navarathri Amalgam of three Energies, Trayee, Shakti Bhairavi, Kharaharapriya And Vagadeeshwari, Bhairavi / Durga Parameshwari Better half of Bhairav Ferocious Astride a lion Provocatively beautiful, The life force of strength Born to quell the inner negative Traits emanating within, From Ego, Jealousy, Greed Anger, Arrogance Adharma, Ignorance, Impurity, Absence of religious discipline, Falsehood, absence of faith, sensory pleasures Attachment, delusion, Born of Natabhairavi Bhashanga with two dhaivatams Chathusruti dhaivatam in the arohana Unavoidable anya swara Chathusruti dhaivatam kaisiki nishadam Life swara, onto shadjam chathusruti rishabham and Sadarana gandharam — 22 —

Indicating a provocative fierceness All power and Shakti Kriya Shakti Displaying all action in Rooting out the evil of Mahisha, In the avarohana kramam The suddha dhaivatam Unhurried in its cadence The mandira sthayee Of shadjam, sadarana gandharam Chathusruti rishabham Sadarana gandharanam Providing a melodic sweetness indicative Of a rightful fulsome tenderness Kharaharapriya /Seetha/ Lakshmi Beloved of the one who killed Demon Khara Chathusruti rishabham Sadharana gandharam in the tara sthayee Flighty in its cadence and rhythm Characteristic of an impatience Indicative of a fitful nature Favouring a few Giving rise to myriad desires Iccha Shakti Whereas in the mandara sthayee Shadjam chathusruti rishabham and Sadarana gandharam And madhyamam — 23 —

Almost rooted Finally in captivity, Displaying steadfast devotion In a fixated single mindedness Towards Lord Rama.

Saraswathi / Vagadeeswari Clad in white silk Crystalline, made of seven colours The seven notes Melakarta Shadjam Shatsruthi rishabham Anthara gandharam Of an almost heightened Intensity Descriptive of a higher Supreme Slow in tempo and cadence Characteristically Seeking a higher Plane, Jnana Shakti, Of consciousness Nudging individuals To seek Sattvik Knowledge, in the quest For ultimate liberation.

Circles Traversing in a circle Circumambulating Through cause and effect In a rotund fashion Cyclically spinning Rotation And revolution Time ticking In a clockwise direction Earth in an orbit Around the fiery Sun Infinitesimal speck in The galaxy

Running around in circles Seeking sanity

Rings of engagement Going around the fire Seven times For wedlock.

Bindu, Dot on the third eye, Red blood corpuscles, Cells, ova

Point on the circle Beginning of an end, or an end of a beginning Equidistant as the radii Circumference

Eating from a plate, Crafted in circles Concoctions served From bowls of food,

Seeds holding the DNA of growth In microcosm enormous potential, Girth of the tree trunk, Concentric circles Denoting age

Aavarthana, cycle of rhythm Beats, in cycles of eight, Five, seven, six, Potter’s wheel Turning to create, Delicately balancing, — 24 —

Spider’s web, effect Spun from, and, of the spider Created, creator Material cause Eye of the storm Gales and winds Cyclically moving Violence unleashed, Epicentre of the earthquake Spewing lava Seeking to spin out Going in circles Through life, Potentially Trying to break free from, The circle of birth and death when one reaches the end

Of life, Or when one is still In the Reckoning, Does one hit The point of Zero?

A no return, Or Fullness, poornatvam.

Circle, all encompassing Opponent forces mitigated and balanced With the circle of knowledge reason and love, In the state of Nirvana.

— 25 —

Threads Threads of existence Wrapped in fine gossamer thin filaments At birth, Tantuja, Dexterously interwoven By the ingenious weaver, Through warp and weft Silk Tensile, yet soft Cotton Sturdy, and cool Binding threads Invested with the Sacred Thread, Bidding one to learn, And commit to heart, Injunction and scripture

One’s mind Lighting to rid Oneself, of Ego Threadbare existence Proverbially poor?

Albeit Learning to live by Self In one’s Thoughts and Mind Examining Self and Self Awareness Conclusively seeking To thread one’s Consciousness And knowing oneself.

Threads that secure One to the other As though yoked Three knots Muscle, head and heart Tethered together for life Bound to one another in Thought, Word and Deed Indeed?

Threading the wick in place Dipped in oil Removing the fine Cobweb of threads in — 26 —

Mukhari Born out of Kharaharapriya Bhashanga In content Filled with a Definitive pathos.

The suddha madhyamam The innate life swara shadjam Chathusruti rishabham Suddha madhyamam Panchamam Kaishiki nishadam Chathusruti dhaivatam Shadjam Akin to Karna

Almost vulnerable And needy.

Kaishiki nishadam Chathusruti dhaivatam Shadjam Chathusruti rishabham In the tara sthayee Sadarana dhaivatam The anya swara Displaying a unique Prowess Almost equivalent To the Majestic Arjuna, Suddha madhyamam Kaishiki nishadam Chathusruti dhaivatam, panchamam The micro half notes and gamakas Displaying a tender Picture of Karna, In an emotionally Charged moment mired In self-doubt Weighing him down, Unable to defend himself, Suddha madhyamam Sadarana gandharam Chathusruti rishabham Shadjam. — 27 —

Janmashtami Yadukulakambhoji, Sahana Nattaikurinji, Khamas, Kambhoji, Kedaragowlai, Navarasa Kannada, and Suruti All borne by Harikambhoji An ode to the Mantra of Ashta-akshara Om Namo Narayanaya Born out of the multitudinous Interplay of the same swarams Each original and evocative of a Rasa and Bhava Providing a Rasanubhava, Heralding the arrival of Beloved Krishna Yadukulakambhoji Belonging to Yadukula or yadavakula The swaras evoking Panchamam and chathusruti dhaivatam in the Mandira sthayee Chathusruti dhaivatam Panchamam, suddha madhyamam Anthara gandharam and chatusruti rishabha Anthara gandharam, shadjam

— 28 —

In descension, Descriptive of A cherubic newborn With the face fringed with the thick dark curls.

Sahana Endearing Krishna tended by the youthful new Mother Yashoda displaying In her most tender moments of The prayoga Chatusruti rishabha Anthara gandhara and suddha madhyama Presenting a picture of nurturing and nursing, Coaxing and cooing Indicative of the boundless love And the glide from nishada to rishabham and Again rishabham to nishada Cajoling and guiding the toddler Nattaikurinji The Young Krishna Making merry with the Inner circle of friends Thickly knit together The micro notes Anthara gandharam to shadjam And the sweep from Kaishiki nishada

— 29 —

Chatusruti dhaivatam, madhyamam Anthara gandharam, chatusruti rishabham To the intonation of the prayoga Anthara gandharam, suddha madhyamam Panchamam And gandharam chatusruti rishabham and shadjam On the descent bunched closely together Revealing a mischievous ingenuity of An immaculate planning and execution Of a multitude of pranks Khamas The phenomenal promulgation of unbridled Joy showcasing the adolescent Krishna Cascading out of the prayogas Emanating from the notes of Kaishiki nishada, chatusruti dhaivatam Both rung in deliberate double touching the Panchamam Anthara gandharam, madhyamam Panchamam on to the dhaivatam and the Kaakali nishadam Indicative of a superlative quest for happiness With the Gopikas Kambhoji Regal and resplendent The suddha madhyamam Anthara gandharam, panchamam Chatusruti dhaivatam to shadjam Heralding the magnificent Krishna — 30 —

Promulgating the venerable Lord Narayana Protector preserver of the Universe, Extremely beauteous Brilliantly ethereal in blue Kedaragowlai Sombre and sonorous In bhava and presentation Anthara gandharam Shadjam Rishabha, suddha madhyamam Panchamam, kaishiki nishadam, Etching and essaying, The entire song of Bhagavad Geeta The sweep from panchamam to the rishabham in ascension Culling and teaching The supreme knowledge of Brahman To the petulant Arjuna, energised Ringing out in strength, Emphatically praising The Supreme Paramatma in glorious abandon

— 31 —

Navarasa Kannada In praise of the Bond of friendship From their childhood, between Sudama and Lord Krishna The honeyed notes of anthara gandharam Suddha madhyama, panchama Directly moving to Tara sthayee shadjam Descriptive of the empathetic kindness Granted unequivocally In fullness, Whilst having a mouthful Of puffed rice Suruti Lilting raga The prayogas displaying An urgency of longing Shadjam, chatusruti rishabham And madhyamam the half notes, Of total submergence.

The prayogas

— 32 —

Of kaishiki nishadam, chatusruti dhaivatam Panchama and The madhyamam panchamam and nishadam Rung out in double Seeking To dissolve in to one another Providing an ultra-nectarine Sweetness Moving towards elation And joyousness Producing a unique melodic harmony Transfixing the audience To the ornate beauty and ecstasy, The dhaivatam almost aligning With the nishadam, And the gandharam bordering With the madhyamam Almost of an allied Oneness in the Joyous exposition of the song of Lord Krishna.

— 33 —

Sahana Born out of Harikambhoji Beautiful honeyed notes Characteristic of an extremely Compassionate kaarunya bhava The chatusruti rishabha Anthara gandharam and Sudda madhyamam In an unhurried pace The gandharam and madhyamam almost clocking In unison In utter beauty, the micro notes Suggestive of a vaatsalya Between a young mother and her child Coaxing and cajoling Like tendrils of a leaf In quiet tenderness And gripping the mother’s hand The baby unfurling With firmness Its tiny fingers And As one traverses the gap between madhyamam and Dhaivatam like a young pupil, Following in the footsteps of the Guru With the utmost firm Knowledge Of having discovered Trust and Love.

And the artistic glide and sweep From rishabham to nishadam Determinedly seeking to push the rasika To glorious Ecstasy.

— 34 —

Veil of Ignorance Clouding judgement Suppositions Presuppositions Prevarications Claimants to notional attitudes Preordained Peculiar depositions Superimpositions Serving to conform To a preconceived version Subversion Of the Truth Serving to feed the Long serving memory of action And reaction

To not fritter away Energies But either choosing to Expend or conserve Life’s Ebb and flow of Energy Given to verification And true knowledge Thereby expending energy Only in trying to seek The truth of existence, Thereof.

Albeit never given to Verification, Extreme positions Lacking in intent Etched and embedded in subliminal Memory Turning out to be a fear Forcefully fed by a Depletion of, An expending of energies Serving instead to solve, in True contemplation To commit oneself — 35 —

Aavani Avittam Festival of the twice born Exclusive prerogative of the male Twice-born Brahmin Once of the womb, And the second Promulgating birth, Dvija with The initiation of the Sacred Mantra Of Savitri Devi Meditating on Gayathri Devi Embodied in the Sun Giver, and the very life force By the father and the priest With the Sacred Fire as the witness To begin the life of a student Of the Vedas Imparting Knowledge of the Brahman With a passionate prayer Of a grant of a requisite intellect, Recommitting to the faith annually with An offering of Thanksgiving to the entire legion of Forefathers and Gurus And tending and helping, keep the Sacred Fire in its Pristine form, Unadulterated, To quench the Ego in one’s lifetime and To use it for the Final Rite of passage.

— 36 —

The Art of Writing Reminiscent of a bygone era To assuage, Looking for reassurance In self-assessment Wanting to say A piece!

Or seeking recognition Giving a voice To unspoken words Born out of a deep Inability to have oneself heard Unlike the present where one Plucks at the keyboard, Amidst the eternal cacophony.

Or for the sheer implacable joy Of penning one’s thoughts onto paper Thereby making it seemingly relevant And worthy of an individual’s Life and Times.

— 37 —

Kambhoji Born of out of Harikambhoji Hari Kama, desire of Lord Hari, Chatusruti rishabham Anthara gandharam Madhyamam, panchama Chatusruti dhaivatam In ascension The phrasing And the glide from Madhyamam Anthara gandharam to panchamam Onto the chatusruti Dhaivatam In a magnificent intense Proclamation of Joy Just like the Temple chariot Carrying the Lord, Moving majestically From the yoke of the rope, Hitting a veritable crescendo.

— 38 —

While traversing through To the powerful gandharam In the tara sthayee And in descension one Crosses the kakali and kaishiki Nuanced like Karna and Arjuna Decorative of a Bhashanga Beautifully interwoven Rightfully structured Each inscrutable and mighty, Seeking their place in The firmament And moving the audience Into rapturous ecstasy.

Keeravani The melakarta Categorised to the Veda chakra, The interplay of kakali nishada Almost edging the shadjam, And the Chatusruti rishabham and sadharana gandharam The suddha madhyamam, The life note In ascension, The half notes between them Indicative of a honeyed Nectarine speech Evocative, of a continuum, Filling out the silence With the sound In total abandon, of a sublime, Fullness, in melodic oneness of, Echoing to the hum, And thrum of the Aadharam Indicative of the sthayee bhaava Of the very substratum, and The Om Of Creation. — 39 —

Charukeshi Melodious notes Skilfully interwoven Suggestive of two ragas Belonging to different chakras, Judiciously intermingling, Like a young lass Charu, an ornament bedecking Shankara, In the lower octave, beauteous, Twirling, playful and unmindful, Moving into the higher octave, Predisposed to, and Provocatively powerful Displaying enormous depth and Shakti, called Keshi Sonorous and cascading Dark dresses akin to Draupadi Veritably open And challenging the listener Enthralling the audience in its wake to Thodi?

— 40 —

Faith and Fear Two sides of the same coin?

Standing at the altar Beholding the form Bhagavan or Bhagavathi, Exuding precious Knowledge, Fullness, Beauty, Happiness, Potency and Wealth In superlative abundance Born of a diehard habit And admittedly seeking Charged with the strength Of positive collective will?

In hopeful optimism wanting to partake, Of the Acme of Excellence In a pensive state, As one journeys Inwards Chancing on an entity Not commensurate with The encounter at the altar Instead non-adherence.

Or lack of free will?

Emanates the fear Of inadequacy

Trying to bridge it with incoherent plaintive cries, And then in period of time Cutting off the frenzied cacophony Grappling with the Beatific Silence Tending and trending towards Quietude, Calmness and Strength Once again committing To Faith and Inner Free Will.

— 41 —

Perumal Perumal Perum Aal Gigantic Supra Man Mirroring millions Bathed in blue Colour of planet earth in the Galaxy of stars, Colour of water Elixir of life Protector, Preserver of Life forms Resplendently dressed in yellow, Reflective of the Sun’s rays Sleeping on the serpent Significant of Eternity and Timelessness Lord Vishnu, supremely Present in the vicissitudes of Time Past, Present and Future Desirous of the entire creation Teaming up with Illusion Constantly meditating on The Effulgent Auspiciousness And supporting the creator

— 42 —

On a bed of lotuses Arising from the navel Cloaked in ten forms Expounding the nine forms of devotion Beginning with the Fish, Turtle, Boar As though from the Unicellular To the Multicellular Moving into half-man halfLion Essaying Evolution?

Exhorting man to live upto the Tenets Manifesting fullness covering Earth, Heaven and Netherworld Delivering Mahabali from arrogance, Axe, following the diktat of his Father, Leading by example, Rama personification Parasurama wielding the of perfection?

Balarama, Brother-in-Arms, Krishna Mighty and True Friend, Mentor Philosopher, Expounding, The joyous song of life In Entirety, and Kalki Current reigning supreme lord?

Almost cajoling The devotees that throng At the altar to the Path Of Righteousness — 43 —

Mecha Kalyani Melakarta, Of the Rudra chakra?

Extremely ravishing In its beauty and content, Intense In the mandara sthayee Candidly refreshing Just like the break of spring Captivating Like a young lass Bold! Strident Kakali nishadam, chathusruti rishabham Anthara gandharam In the tara sthayee

— 44 —

Uniquely assertive And vocal, Descriptive with a haunting!

Wondrous beauty of Dropping from the gandharam, In the cascading swarams of chathusruti rishabham Kakali nishadam Shadjam, Chathusruti dhaivatam, Kakali nishada Panchamam Panchamam Anthara gandharam Prati madhyamam Chathusruti rishabham Anthara gandharam Shadjam essaying, Packed with Conviction Yet playfully and Skillfully seeking Perfection In her identity.

— 45 —

Raga Structured notes In a scalar or in Vakra Sanchara, Basic tones, Ascending or in Descension With intonations And oscillations Short And elongated Bursts With multiple Intra notes and Micro ones Gamakas Painting a picture to Suit every Mood, Transient and almost Tangible, yet elusive — 46 —

Being Joyous Sonorous, Poignant, Mighty Tender Soothing, Soulful Mellifluous Triumphant Haunting Pining and Yearning, For more, Almost between the notes, yet Relevant and beyond.

Although mightily Evocative, the spirit Yet Never fully conquered By the artiste Verily trying to unravel the Mystery and essence of The various shades And facets, much like

Jeweller culling Cutting and Exposing, In a process of growth Of Manodharma Emanating from an Alert yet leisure Ridden mind Or in a pensive and meditative State of total silence Turiya Cutting out all of the cacophonous Notes and sounds Hush of a mellowed silence Allowing for the Uncovering of the Beauty of each single Solitary note Or notes strung Aesthetically and mellifluously Found in the calm realm And depths of one’s mind.

— 47 —

Space Hurtling through space Residing on earth, The vastness Uniquely Incomprehensible, In one’s Mindscape, Spaces amidst swarams Notes and micro Notes Short or elongated Blooming in to Bhava and gamaka ridden Ragas Vamana, A dwarfed representation Of relative, Subatomic Particles Against the backdrop of the intergalactic spaces Yet trying to conquer All of space Subjugating the arrogant King Mahabali, Atom molecule, subatomic, proton, neutron Nano Charged positive or negatively

— 48 —

Trying to mould Space in a Pot In an enclosure, In a building, Yet neither Able to harness, nor add Generously Yet eternally given to Dividing, Breaking into fragments, Enclosures, and fences Violate, Intrusion into the extremely private space Of an individual Violently and Audaciously stripping one Whether physically or otherwise, In a vicarious fashion Hugely condemnable, And despicable Yet to accord, one Space to live and let live, Governed by law And international, Facilitate space Furthermore, In one’s head And mind space,

Inclusive And learning To accommodate, All the different hues And types, Ungovernable by choice, As purely representative of Lord Vishnu Literally and Figuratively One who Entirely fills The intra Inter spaces of The Mind, Earth, Universe Milky Way Galaxy and Intergalaxies.

Ad infinitum!!!

— 49 —

Shiva Effulgence Embodiment of Auspiciousness Alpha Male, Aashutosha, Sambhu Shiva, Pinaki, Trinetra, Crystalline Satvik White In the month of Kritika Visible as an Eternal Light Representative of Five Elementals Earth, Fire, Water, Space and Ether Supra Mighty Dheera Shankarabharanam Derivatives Kannada Begada Bilahari Neelambari and Navroj Kannada Chathusruti dhaivatam, kakali nishadam Shadjam, chathusruti dhaivatam, panchamam In descension Chathusruti rishabham Anthara gandharam Suddha madhyamam Chathusruti dhaivatam, panchamam Anthara gandharam Suddha madhyamam Chathusruti rishabham — 50 —

Shadjam in a Joyous proclamation of a strident bold Nature.

Begada Naturally lilting and melodic Shadjam Anthara gandharam Chathusruti rishabham Anthara gandharam, suddha madhyamam Panchamam, Chathusruti dhaivatam, panchamam Exhibiting beauteous karanas Being the Poorna Adiguru of Natyam, Gaanam and Talam.

Shadjam Chathusruti rishabham, kakali nishadam Chathusruti dhaivatam, panchamam, suddha madhyamam Anthara gandharam, chathusruti rishabham Shadjam.

The madhyamam uniquely placed Ushering in an equanimous Peace destroying opposing incongruities.

Bilahari Categorised As a morning Raga Melting from the

— 51 —

fresh bout of snow Of the capped peaks Of a cascading cadence, Much like Ganga flowing in a torrential manner, from the Dreadlocks of Shiva, Shadjam Kakali nishadam, chathusruti dhaivatam Rung in double, Panchamam, suddha madhyamam Anthara gandharam, chathusruti Rishabham In the descending order Strikingly marvellous Completely joyous In nature Almost given to granting To the Devotees Instantaneously.

Neelambari The swaras suggestive of a tender Evocative, embrace — 52 —

Between Lord Shiva and his beloved Devotee Markandeya Of utmost vaathsalya Bhava, Granting the boon of a Long life Chathusruti, rishabham anthara gandharam Suddha madhyamam, anthara gandharam Shadjam Kakali nishadam, panchamam Suddha madhyama,m anthara gandharam, shadjam The micronotes and gamakas

Also Ringing in the anandamaya Kosha of deep sleep, Perfectly soothing and calming In its wake.

Navroj Beginning at panchamam in the Mandira Sthayee Sung at madhyamam as the base sruthi, Chathusruti dhaivatam on to Shadjam Chathusruti, rishabham anthara gandharam Suddha madhyamam, panchamam In ascension And in descension starting at Suddha madhyamam Gandharam Shadjam Kakali nishadam, chathusruti dhaivatam Panchamam As though the mighty Tandava of Lord Shiva Completely routing Out all of the negatives, and shokam from Prithvi Harnessing peace In the eternal mantra of Soham!! — 53 —

Sun Light Light Blinding White and stark Characteristically Crystal clear Eschewing all doubts Lighting every dark crevice And corner in the mind In the light of knowledge Yet unable to cogently Articulate, For the fear of hurting and provoking Of spilling the Truth, Uniquely stranger than fiction.

And strangely If the civilised Were to behave With the dark shroud Covering the brain cells

— 54 —

Are they not the black, for a lack of finesse?

Darkness Ebony black Shiny and luminescent That allows for the Splendour of light, Much like the moon Wondrous reflection of the Mighty Sun Shades of black Ink blue grey Shadows, albeit A touch between light and shade, Life poised, is Between Adharma and Dharma Form and structure, Falling in this Realm The constant battle of will Of Netherness?

And the journey through The eternal prayer In an earnest quest Of seeking perfection and moving To the zenith From Darkness to Light!

— 55 —

Thresholds Crossing out Into, Over, Or unto oneself Crossing from Deep slumber Dream state Unto the threshold Of awake.

An awakening From embryo To birth, Crossing over to the Threshold of humankind From the animal kingdom, Endowed with a discriminating intellect.

Starting at Infancy and childhood painfully traversing Through adolescence And crossing into the Threshold of adulthood Endowed with an intellect Ascertaining, liberty

— 56 —

Committing to free will Amidst profligate choice Opting to wisely prioritise Living by the tenets of swadharma Prescribed as daily Or specific Varieties of duties Thereby earning the rights While confronting the World and crossing The threshold into the World beyond Unravelling an Unchartered territory Vastly and verily, Amazed at the myriad experiences.

In adulthood, seeking to Traversing the Tough terrain, Walking the tightrope Painfully adhering, and

Struggling to stay the course of Existence Eventually crossing the threshold, back Unto the self In search Of a Guru Who patiently initiates One to Samadhi, The state where one Is ever present, Blissfully and completely Aware, Yet seemingly absent Likening to finding an Opening or a threshold Nudging the devotee Through to Liberation and Equanimity.

— 57 —

Mirage In the distant horizon Refractive and shimmering Holding out the Promise Brimming with Water, Elixir of life Tantalising Teasing As one Evolves through Life Does one’s very Life, or Every relationship Seem like a Mirage?

Seemingly present Yet not quite, Evoking and Kindling

— 58 —

Hope In any Relationship, Where one Will iron out Egos, Negatives and differences Work towards The compromise Of camaraderie And bonhomie And Seeking to find Peace and Equanimity.

Varali Born out of Jhalavarali Shadjam Gandharam Of a Vakra Sancharam Suddha rishabham.

Gandharam Prati madhyamam Panchamam Much like Draupadi Desirous of Karna Yet marrying the Pandavas Suddha dhaivatam Kakali nishadam Shadjam All powerful

Gandharam Suddha rishabham Shadjam Filled with poignancy Starkly beautiful Draupadi with her Cascading dark tresses Provocative in her stance

The phrasing Of the swara Panchamam Prati madhyamam

Shadjam Gandharam Panchamam Prati madhyamam Gandharam In the tara sthayee Almost discordant notes Harshly raising questions In a staunch pertinent persistent Manner on Dharma To the Kuru clan elders While being publicly Humiliated and disrobed — 59 —

Books Plethora of Possibilities Unshackling the Mind Informative Power-packed Serving to Enlighten Opening Up The intellect To a multidisciplinary Myriad Combination Of worlds Physical Imagined Erotic Exciting Entirely Enticing Quirky Exotic Entertaining

— 60 —

Quixotic Strange Ordinary Extraordinary If each individual’s Life Chronicled And cast Would one Use Different yardsticks or Figures of speech To liken Simile Metaphor The Literate Abundantly capable Of dreaming up Innumerable plans For execution Yet pitiless

The hordes of Unlettered Illiterate Those Who can Ill afford An education Yet Cultured enough Learn to live In a practical Intelligent Manner Meeting Not making Inordinate claims Having Ordinary demands To a life Of opportunity And dignity — 61 —

Smoke and Mirrors

Smoke, Tell-tale marks Of a fire Logical Point of inference Vindication of an Argument Whiff of a cloud, Wafting through Like a smoky Mist Shadow boxing

— 62 —

Creation, of an Indelible imprint Powerfully evoked In the mind Riddled with, Pandemonium And waves of confusion Causing Untold fear And suspicion, Mirrors, Depiction of Reality In banal tones Or a deflection Deployment of A conjured Reality Magically Strategising, Reflecting Images

Convex or Concave Refraction Protraction Often used By Politicians Or strategists Whipping up To further Their dreams Of Eternal Existence However, Wreaking havoc And untold misery To the hordes Of people Mutely Waiting, To the banality Of their existence.

— 63 —

Temples Temple domes Gopurams Replete with Towering images Paintings Skilfully Seeking to Delineate In a linear Progression Stepping in from Entrance All through To the main altar, Vivid imagery Ensconced in.

— 64 —

Myriad corners lit With the flame of the Lamp Casting a Soft glow On to the Saguna Completely Embodied With ultra-positive Features Yet in the Temple of the mind In the mind’s eye One encounters Fleeting images Not in entirety And Lasting milliseconds in Actual time,

Hence is it easier To experience Just the soft Incandescent Iridescent Light of Nirguna Formless?

Given the die-hard Habituation Of the mind And all of the Sense organs Their requisite Field of operations Traversing constantly Jumping in impatience Seeking quietude Taming and harnessing energies In a constant endeavour Lasting An entire lifetime of Practice.

— 65 —

Words Language Hallmark of civilisations Demarcating Homo Sapiens Unconnected letters Loosely structured More often Untraceable Epistemologically Yet Fascinatingly, Ingrained To precisely Define Describe Emphasise Explain Without incongruities Or inconsistencies — 66 —

Potentially Powerful Cacophonous expressions Absolute frenzy Of an Information Blitzkrieg

The multi-layered, Against the objective, Distortions, Exaggerations, Thereby clouding Judgement The futility Thereof

The power of The word, Spoken Or written But never completely Commensurate with The degree Of intensity Of the feeling Or emotion.

The spirit of the letter against The word of law Semantics

Instead in Silence Speaking volumes Of neither concurrence, Nor rejection Yet reflective of the golden mean of Moderation Subtle Yet strong, Loud and clear, In the message of tolerance.

— 67 —

Utopia The quintessential Romantic The Hyper challenged Cynic Are they veritably two sides Of the same coin Always given to Viewing the Dichotomous Hoping to Use a single brush stroke Painting the entire World

— 68 —

In a Monotone, Trying To assuage The Heart and The brain Eternally Trying To coalesce The two, Aligning The spirit within From total despair And disdain.

Instead, to eternal Hope Given to Unmitigated Expressions

In an Eternal Quest for a Nearly Perfect Utopian world That is merely Devoid of variety Marked by Telling Uniformity.

For ample Retribution and redressal

Therefore, Lacking The enormous Variegated Layered and textured Shades of A world. — 69 —

Rasikas Nostalgic Seeking the Old world Genteel, Civilised ways Soaking in Enjoying the strains Of A concert, With total leisure, The short bursts Of raga delineation Alapanas where The notes are Elongated

— 70 —

Meandering And stretched To sublimation Soaking with bhava Invisible micronotes Poised to create a rich Tapestry Replete and Interwoven Dextrously Reaching to Tug at the Soul, Profoundly Inspiring Acting as An anchor In One’s being

Evoking True joy Abundantly Bounding through the Tani avarthanam Keeping to the cycle beat Through the various korvais Of the speed (Gati) and Gait (Nadai) Form of the tala Soaking in the silences And deliberate pauses Accentuating The explicit Beauty Of the rhythm Rasika in perfect unison With the artiste And the art.

— 71 —

Surrealism The play of Light And shade during Monsoons Almost seeking To explain the Varied emotions Cloak and dagger Between people in Different relationships Blatant and demanding Subtle and subdued Before the next Downpour or deluge The grass With the tiny shoots Sprouting Giving off a divine Scent of petrichor Trees either bent With the weight of The deluge Ego blunted,

— 72 —

Almost Paying its obeisance To mother earth Or having the Flowers strewn as Though like a carpet Giving off a faint scent A far cry From Summertime trees Standing proud Almost beating down The heat Or to act As a stepping stone Like a scaffolding With the branches Panning out As though seeking favours From The higher powers

Or the advent of pesky Creatures Bloodthirsty That abound in hordes Seeking their share in The drama of life Being Eternally enacted Clocking in its Own rhythm Keeping beat to the Seasons

— 73 —

Symbolism Lamps fashioned By the artisan Each decorative With a Unique motif Describing the Highest philosophical Nuggets of truth The lamp With the Anna Pakshi Legendary Swan Capable of Separating Milk from water In the most subtle Manner, Truth From Its counterparts Atma from Anatma Seeking to impart The Timeless, Invaluable Hamsa Soham “I am thou Thou am I”

Each and every Being is none Other than a Depiction Of the Eternal, Universal, Paramatma Or the depiction Of the turtle at The base of the lamp Indicative Of taming The mind and The sense organs Defining of a withdrawal Within oneself Or a journey Inwards to focus steadfastly One-pointedness In seeking the The Eternal Truth

— 74 —

Learnings Right from infancy Constantly Seeking to Take from the World around In terms of affection Kindness Time Are we Honed to being the puppets?

Or the Parasites In relationships, Like nature Starting with trees That gives sustenance Of oxygen Using carbon dioxide To the entire multitude Of species Instead when does Give of oneself Completely and unequivocally Gaining in strength Thereof — 75 —

Learning, observing, maturing Trying to keep the balance Of opposing Characteristics Providing the much needed Flavour of variety, Points of view Rather than highlighting Only the Selfish prerogatives And giving to exploitation In self aggrandisement Instead Learning to Maintaining the equilibrium Balancing the mean Of the act Of give and take Leading to growth And Maturity

Sauce Rind of the orange Stretched Unfurled Cut into thin strips Sautéed In Hot oil Spluttering Along with Mustard

Almost cloying Much like Smothered love And Sambar powder Providing the theatrics And Chilli powder The necessary Sting

Green chillies Curry leaves In a heady Mixture of a Thick tamarind extract

Boiling Thickening gravy with Salt Common sense Making of a piquant Quaint Sauce Finally a dash of jaggery Completing The exotic Heady emotions of a life Spicy Sour Bitter, Salt Astringent Sweet

— 76 —

Idli The perfect Disc Of Ultra whiteness

Version Of an amalgam Of Rice and Lentil Judiciously ground With salt

Or a technical wizardry Springy and soft To the Touch

Teeming with Life Capable of Weathering life’s storms And aftershocks In a dignified Fashion Simple and soft Orb of Satvik Purity Urging one on to Goodness

An ode to the Humble ubiquitous Idli A perfect round orb Almost reminiscent Of the Moon As an afterthought In the morning after Defining the Breakfast table Born out Of a Fermented And a heated

— 77 —

Ayodhya Birthplace, Invincible Where no war Can be waged, Peaceful On the banks Of Sarayu

Secular Spiritually Edifying Separation Of All religions Away from politics Yet Calling for equality — 78 —

Amidst all Faiths Of humankind That was Completely veiled, The prowess of Eternal Aavaranam Under the colossal Structure Superimposed upon, Adhyasa Masking Proven Beyond an Iota of Doubt, With innumerable excavations

— 79 —

Is it the very Vikshepa Shakti Or the Fabulous Projection Of the desire Of hordes Of devotees Starting With the Eternal Devotee Of Hanuman Embodying the Taming of Every agile mind In total Supplication And Bhakti

Conformity Conformity Dreary Dull Textbook regularity Comforting Monotonous Yet peaceful Deadening the senses Impulses Singular Stubborn Mid age Crisis

— 80 —

Catapulting one To contrariness Contributing Grabbing attention Adventurous Pulsating Seeking the Thrill Adrenaline rush Obsessive Manipulative To suit The narrative Of playing Devil’s advocate,

The instance Of an offering Of a flower, Either plucked Or fallen, In full bloom An act of violence?

Each act In its Time Deserving praise Seeking a fair shot Of a place Under the Sun Which is ever So accommodative Of all narratives In a secular democracy

— 81 —

Padmanabha The Ultimate Purushottama Embodiment of perfection Lying supine On Sesha, The magnificent Idol Spread on a bed Of 12008 Saligramam Like a bed of blue Lotus Or blue Iris buds Visible through Three thresholds Signifying Body, Mind And Spirit?

— 82 —

Perfectly proportioned Aquiline nose With the Extended right arm Paying obeisance To The Total Auspiciousness The black torso Enshrined in sheets Of gold Splendidly supporting Brahma Creator from the navel Seemingly serving as A bedrock of a Foundation or A substratum Supporting the

Entire of Jagat With the mighty Himalayas rising With the three oceans beneath As though the very sun Arising and setting And providing A legion of Dasas and Diehard devotees Albeit it is not only The royalty Paying complete obeisance

— 83 —

Clarity Clarity of thought Emanating from an Unmitigated Liberated Unrepressed Deep-rooted Sense Of Being Alive A lightness of spirit Similar to white light Blinding Without shades or shadows Stark Impossible to hide Irreprehensible joy

— 84 —

Darkness Clouding judgement Fogged Memory Warped Thought patterns Cloaked In premeditated ways Turning attention astray Yet Often enough The Truth couched Concealed Masked For fear

Of transgression Against personal liberty Incapable Of Facing the Truth Squarely Or Working assiduously In serious contemplation And silence Unwrapping The myriad layers To the kernel Towards the ideal of Meditation

— 85 —

The Eclipse Occurring annular Dramatic spectacle In the sky Spectacular awe-inspiring Moon cast Across the brilliant Sun In earth’s elliptical Orbit Almost like a pendant Of Black Onyx Or a South Sea Pearl Encircled with tiny Baubles of topaz Brilliantly arraigned Across the chest Of the Mighty Lord Vishnu Is it the very Saligramam?

Or is it the ornate Ornament of Kausthubam?

The solar eclipse Much like the Black orb of the Eye of — 86 —

Lord Shiva Almost blinking Out the Evil Pandemic A fabulous Drape Of a black curtain Temporarily used To highlight The continuous drama Enfolding in front of our Very eyes Or a swarm Of an infinite Number Of black honeybees Encircling At the fringes Of a honeycomb Laden with honey

— 87 —

Cascading against Fleeting fields Of Soft cottony Clouds Waiting to witness The entire sequence Of a spectacular drama Specially and specifically Enacted to drive Home the very point Of Classic Maya

Ode to a Teacher The eclipsing of one over The other Often leaving objects obsolete In the race onwards to excellence In technology Whereas When individuals Try to eclipse one Another Wherefore leading to Smothering Jealousy Ruptured egos And egocentric Clashes often Only highlighting The dark side Of the Human

How does One ensure Spot under the sun Lest it is characteristically Crafted by a teacher, Par excellence Towards The students Taught Impartially In Good Faith and Love

— 88 —

Isolation Marooned Singly In splendid isolation Singularly chosen A pause Amidst the huge Cacophonous, continuous Stream of life A moment to Reflect Assess To repurpose Depletion of Energies In the fight to Survival Take stock To walk untrammeled Without opposing forces To thought, word,

And deed With an act Of promise to oneself To reenergise and Live life simply To the fullest Forsaking All negative Energies Only to harness All the positive Energies present in Every cell To oust And ward off The scourge of the evil Parasite Of self-doubt.

— 89 —

Prakriti Svabhaavikam Nature Earth endowed With Immense natural Beauty

The Rajasic All power Action-packed Intrinsic Strength Richly endowed With Mental fortitude and Physical Brute Or those only With Wilfulness A false sense of Bravado trying To mimic and align Chameleon-like Towards goodness Failing in conscionable Fashion

Each individual Blessed with Natural tendencies in Good measure Innate goodness And Naïveté and trust The Lotus opening Up to the first Rays of the Sun Sattvic in nature,

— 90 —

Tamasic Indolent Lazy Often Lacking Free will Not given to action Slovenly And Dogmatic Lacking common sense Each of us an amalgam Of all three tendencies Allowing us to Adapt and adopt To the Aristotelian rule of the Golden Mean Neither white nor black But often the Grey Matter, course Of compromise.

— 91 —

Trust Tightly wrapped One’s hand To the child’s Thumb Entrusting a Child to the mother Soft as a Flower’s petal Cloaked in gossamer Through Right in the womb Secure and safe Born and borne Through to life

— 92 —

Infant Seeking to feed Trusting, through the Power of aroma Olfactory buds Of a heightened Nature Playing The part, Again whilst choosing A life partner On the trust factor Of pheromones

Love, patience And communication In the Time-honoured Spirit of forgiveness Of Trust Factor in oneself Based on faith In one’s Abilities Born of a Deep conviction Honed Out Of die hard Positive habit Committed eternally To the tautological Ideals of Self-knowledge, Truth and honesty.

Forsaken trust To be resurrected Weaving or tightly Knitting with

— 93 —

Generations Ageless wisdom Values Continually challenged Questing for knowledge Albeit Old Tired and decrepit With Furrowed lines On the visage Each etched Telling a story

— 94 —

Borne out An experience Varieties Of experiences Of a qualitative life Almost working In perfect tandem Joyful Painful Extremely proud Completely dignified Yet at the sunset Of one’s life The total Despondent Dependency On others For mobility Despite intellectual acuity On point Feeding Insecurities,

— 95 —

Dignity challenged At every turn Coached Ably by Intellectual dwarfs Ego Blunted Patience Blighted Yet A fount of Knowledge And Wisdom Veritably amazed At A new Generation Constantly chasing Pipe dreams Trying to find Their feet With passion Packed Independence

Time Timelessness Bound within time Eternal Yet Periodic Measured in Nanoseconds Milliseconds Right through to millennia

On Each birthday Are we celebrating the passage of Time Or calibrating And measuring Remnants of Time?

Time Mankind trying to harness Essence of time Down to a heartbeat Or the existence of a species like The tortoise Or a crocodile

The passage of time Routinely Chiseling at the contours Of The life of a Person

— 96 —

Can time be Measured Like in a Rise and fall of a tide?

Peaking, cresting Falling In an unending Time interval of Heightened activity To a period of lull And again In a state Of even placidity Or in a Rhythmic Pattern of a drumroll To silence and To an even beat Of cyclical patterns Woven with intricate patterns Punctuated with bouts Of silence

— 97 —

Allowing us to savour The moments Of Acceleration Or deceleration Of basking in True happiness At a fleeting pace Or endure periods Of testing trials Eventually Harnessing Depleted Energies Only to understand And celebrate each Passing moment in Perfect gratitude And thankfulness In abundant measure... — 98 —

The Artiste Art Artiste Protagonist playing the part Identification and Pursuance Of the art form Music Dance, Theatre, Writing, Painting

Of interacting And opening The beauteous Tender Nuances Of each Musical phrase Sharing the space

Attempting To Understand And Lead the Rasika On the wondrous Journey Of awareness Sharing Of peeling the layers Leading to the kernel Of the truth

Of each stroke Or line Defining of A form Trying to collate Space on A given canvas In a constant Endeavour of A voyage Of self-discovery. — 99 —

Rituals Routine Humdrum Banal Monotonous Keeping us rooted In the ordinary And in the here and now Of details From the simple Micro steps Systematically following Tracing the steps Lulling the senses Into a comfort Zone

Schooling us Into preparedness Almost serving As a foundation For the extraordinariness Of life On a macro Level

From the mundane To the sublime Of experiences Clocking In on every hour Spending Time with oneself Becoming acutely Self-aware in Single-pointed Focus Hence preparing Us To face the roller coaster ride in our lives. — 100 —

Instigation/Prerana Instigating Persistent Ideological Brainwashing Prodding towards action By political outfits Profiteering, Through sloganeering Recruiting scores Settling inner Ambitions of A few Instigation At the individual level Pushing one towards The act Never quite Sure of Identifying The instinctual Feeling Gut

As though Being guided Through Lending an elusive Quality That is Quintessentially Mystical and Mysterious Worthy of Being recognised As the Supra Witness Sakshi Eternal Eye Sa Akshi

— 101 —

Aadi The month Heralding the Birth of the Ultra female Shakti Right after the Break of the Monsoon The young Bright Lass Quite not Knowing her Very power in infancy

— 102 —

In the modern Narrative A Gender Perspective Of scores of Women Sought after as Role Models Who Seem quite Irrelevant in The current Context Or Veritably the old instance Oft quoted Almost the timeless Example Of the Phenomenal Beauty Working her Manipulative best Giving in to Bouts of anger And Self-pity

Settling scores With her spouse Ultra ambitious To grab the Seat of power Sending and Banishing others To the Political wilderness Creating pandemonium Quite unable to play The wise matriarch Or the wilful Young bride Following the spouse in unabashed love To the forest Seeking to live A simple life Desirous of being Adventurous and Romantic Sending the spouse On a chase Belittling the next of kin Ending up Being kidnapped And Abandoned in a grove — 103 —

Waiting in eternal patience To be rescued by Her only beloved Whilst spurning overtures Of a romantic liaison Again being rescued To be ridiculed Honour questioned Irretrievably Therefore trying, To self-sacrifice Coming out unscathed Choosing again to retire to The forest For being questioned Or desecrated Eventually being liberated But a complete loner Choosing the unconventional Of nonparticipation But self-emancipated

— 104 —

Born out of fire Being schooled In all of Arts as Also in Science of warfare Quite the Consummate Partner negating Gender Specifics Beautiful Having to Play the role of A willing Wife Negotiating skilfully

Multitasking eternally Donning different Hats to Suit Varied personalities To being The guide Amorous partner, Vulnerable wife And a friend

Or being the quintessential Devotee Seeking refuge And help Yet questioning elders Whilst her modesty Pillaged and outraged

Not shying away Vociferous and forthright In her attempt All the while being Completely participative In entirety However working her Courage to right The course of Adharma Rousing the passions of Men To wage the war Settling scores And to seek a Place in the firmament Of speaking And triumphing The truth — 105 —

Thankfulness This, that, The other, Multiplicity of Objects, He, she, They, Each Member Of the Family, And extended family Counting in Everything as dear Learning to prioritise?

Relearning to minimise, Vice or virtuousness Dependency for sanity Or otherwise Independent, Living frugally

Going against the Grain Of direct physical help But instead seeking To earn goodwill By lending help indirectly Monetarily Assuaging, Feeling less guilty Feeding the ego Thereupon Of superiority Or in Blessed thankfulness For the Gift of life Breathing, Treating each other With compassion And sympathy

Return to normalcy From quarantine Or social distancing Psychological fear And trauma — 106 —

Samarpanam, an offering of poems by Jyothi Ganesh, sparkles in its simplicity and sincerity.

Jyothi’s poetic endeavour to present the intricacies of ragas and philosophy is endearing and heart-warming. Soak in the evocative imagery interwoven with tales one can relate to.

— 108 —