A Gobbey in Sobha Palladian

 

A Gobbey  in Sobha Palladian

A memorable visitor to our apartment colony !!

 One lovely day, a visitor came,

An owl called Gobbey was its name.

To Sobha Palladian it flew,

A feathered guest, a sight so new!

 

 

Upon a tree branch, near the flagpole high,

It sat like a rock, beneath the sky.

So still, so calm, so full of grace,

A wise old look upon its face.

 

 

Was it a sage from forests far,

 Or a messenger from a distant star?

 With watchful eyes and feathers bright,

It seemed to own the morning light.

 

 

The curious residents gathered around,

Excitement and wonder in every sound.

 “Look there! An owl!” the children cried,

As joy and amazement spread far and wide.

 

 

Out came the cellphones, click, click, click!

Each hoped to capture this moment quick.

Pictures were taken from every side,

Of our feathered friend with majestic pride.

 

 

The owl sat still, unruffled, serene,

As though it were a king on the scene.

Then Sobha Palladian had a tale to tell,

Of a rare wild guest who charmed us well.

 

Oh, Gobbey, your visit brought us delight,

A little wonder, a magical sight.

May nature surprise us again someday,

And bring such joy to our colony's way!

 

Composed by…  Not Me,

But by Chat G P T !!

 

Krish// 2001

Abdul Rahim Khan-i-Khanan urf Rahim

 Abdul Rahim Khan-i-Khanan

This unique name flashed across my mind a few days back when I was sipping my morning tea.

Rahim was a  Muslim poet  (in Akbar’s court), an ardent  believer of Lord Krsihna and had written some wonderful poems and compositions on Krishna and Radha.

And the last time I had come across this name was probably 55 or 60 years back in my 10 standard Hindi text book.  And I remembered two things then.

A part of a doha composed by Rahim.

And my Hindi teacher – a pleasant, moon- faced, paan chewing man in his mid-fifties.  And while every 10^th class student feared their maths and Hindi classes and dreaded those teaches, Mr. Chettri, our Hindi teacher was an exception.   He had an easy going way of ‘not-teaching’, but discussing each chapter with us in an informal dialog.  And he rarely used the chalk and the black board except to write down a difficult word for proper pronunciation.

And Rahim’s doha ran like ..

रहिमन बहु भेषज करत, ब्याधि न छाँड़त साथ।
खग मृग बसत अरोग बन, हरि अनाथ के नाथ॥

Rahiman bahu beshad karat…  Rahim says, Irrespective of how much a man can do ( doctors, potions, elixirs, medicines or therapy)

Byadhi na Chhadath saath….  Your ailments will never leave you !

Khag,, Bhug, basat arog  ban ..  look at the birds and beasts living healthy in the forest

Hari anaath ke nath …  God is their ultimate protector!

Moral : Rahim suggests that ultimate health and peace comes from trusting the supreme power (God) who sustains all living creatures, especially those who cannot fend for or medicate themselves!!

 And how did Rahim pop into my mind all of a sudden ?  

The only logical explanation I can figure out is that the AI assistant in my subconscious googled my brain and discovered that I had been reading about Goswami Tulsidas while writing my post on Maharishi Valmiki.  And it served up a suggestion to me to check if I would be interested in reading about Rahim as well – because both Rahim and Tulsidas were contemporary poets during Akbars regime!!!

And I would not be surprised if Raskhan pops up in my dreams and recites a few of his compositions on Shree Krishna !!

Yes, Raskhan was also an ardent Krishna bhakth!!!  and Yes, ‘Raskhan ke Savaiye’ was also a chapter in our 10^th  class text book !!

 And so, I took this recommendation seriously and updated my little knowledge on Rahim –

I also very vaguely remembered one more anecdote which I searched..

Rahim was legendary for his boundless philanthropy. It is said that when Rahim gave alms to the poor, he would always keep his eyes cast downward out of sheer humility.

This behaviour caught the attention of his contemporary, the great poet Goswami Tulsidas, who sent him a couplet asking why he looked down while giving charity.

“ ऐसी देनी देंन ज्यूँ , कित सीखे हो सैन
ज्यों ज्यों कर ऊंच्यो करो , त्यों त्यों निचे नैन ”

“ Where have you learnt this amazing art of giving?
As your hands rise (to give), your eyes drop and look down.”

Rahim beautifully replied with a doha:

“ देनहार कोई और है , भेजत जो दिन रैन
लोग भरम हमपर करे , तासो निचे नैन ”

“The Giver is someone else (the God almighty), giving us all day and night.
The world has a misconception that I am the giver. So, I lower my eyes in humility.”

Early Life :

Rahim was born on December 17, 1556, in Lahore. He was the son of Bairam Khan, the noted military commander, and regent. He was a trusted aide of Humayun and they both had married the two daughters of  Khanzada Jamal Khan of Mewat (now the Nuh district of Haryana) in order to forge a strategic alliance.  Bairam khan was a mentor who played a pivotal role in securing the Mughal throne for a young Emperor Akbar.

 Bairam Khan was assassinated when Rahim was only four years old.  Akbar took the young boy under his direct guardianship.

Raised in the royal court, Rahim received an elite education befitting a prince. He mastered multiple languages, including Persian, Arabic, Turki, Sanskrit, and various local dialects of Hindi like Awadhi and Brajbhasha. Akbar eventually bestowed upon him the prestigious title of Khan-i-Khanan (King of Kings), and he became one of the celebrated Navaratnas (Nine Jewels) of Akbar’s court.

Despite his high noble status and his active participation in major military campaigns, Rahim’s soul belonged to the realm of letters and human emotion.

Literary Style :

Rahim’s poetry is highly celebrated for its simplicity, emotional depth, and intense realism. Unlike court poets who wrote exclusively to flatter their emperors, Rahim wrote for the common citizen. His literary work spans various themes mainly

Niti (Ethics and Morality): Practical wisdom on navigating friendship, deceit, poverty, pride, and human nature.

Bhakti (Devotion): Beautiful verses dedicated to Hindu deities, particularly Lord Krishna.

Shringar (Love and Aesthetics): Elegant expressions of romance and the beauty of human relationships.

 He used Brajbhasha and Awadhi, blending them with Persian vocabulary.to compose his  doha (a couplet) - compressing profound life lessons into just two punchy lines!!

On friendship he wrote ..

कहि रहीम संपति सगे, बनत बहुत बहु रीत।
बिपति कसौटी जे कसे, तेई सांचे मीत॥

Similar to ‘Sukh mein sab saathi, Dukh mein na koyeee…”  However, the one who stands by you during your time of adversity is your only true friend.

 On relationship:

रहिमन धागा प्रेम का, मत तोरो चटकाय।
टूटे से फिर ना मिले, मिले गाँठ परि जाय॥

Rahin says never break the thread od love & friendship in a fit of anger, once broken, it can never be rejoined seamlessly; even if you manage to mend it, the ugly knot permanently remains.

 Cultural Confluence: 

What makes Rahim a unique and a towering personality of Indian literature is his role as a cultural bridge. He was a devout Muslim who regularly prayed and read the Quran, yet he wrote some of the most exquisite devotional poetry dedicated to Lord Krishna.

तैं रहीम मन आपुनो, कीन्हो चारु चकोर।
निसि बासर लाग्यो रहे, कृष्णचंद्र की ओर॥

Rahim poroclaims ‘My own self, my mind, like a beautiful ChaKori (a legendary bird in Indian mythology known to be deeply in love with the moon), day and night is perpetually transfixed gazing upon Lord Krishna (Krisnna Chandra)

In his work Krishna-Bhakti, he writes of Krishna from his position as an ardent devotee. Interestingly his verses blend Islamic concepts of a singular, merciful God  (Monotheism) with the Hindu concept of multiple Avataras and divine play of the lord (Leela).!!

Rahim was a deeply passionate Bhakti poet. His love for Radha and Krishna was not just literary experimentation; it was a profound spiritual romance expressed through the lens of pure devotion (Prem Bhakti).

Rahim’s unique perspective on Radha and Krishna highlights the depth of his devotion:  His ultimate masterpieces on Radha and Krishna are composed in a specific poetic meter called Barvai. Rahim wrote Barvai Nayika Bhed, a collection of exquisite verses written in the local Braj Bhasha and Awadhi dialects.

Barvai Nayika Bhed:  a poetic catalog of female character archetypes centered around Shringara Rasa (the flavor of love and romance)

 In these poems, he vividly portrays Radha as the quintessential heroine (Nayika) and Krishna as the divine lover.

He captures the intense agony of their separation (Viraha) and the ecstatic joy of their union, painting intimate emotional landscapes of Vrindavan.

  Rahim’s mastery of this style so deeply impressed his contemporary, Saint Tulsidas, that Tulsidas went on to write his famous Barvai Ramayan using the exact same format.

 The relationship between Abdul Rahim Khan-i-Khanan and Goswami Tulsidas is one of the most celebrated literary friendships in Indian history. Despite their vastly different backgrounds—Rahim was a powerful Mughal general and courtier, while Tulsidas was an ascetic Hindu saint—they shared a profound mutual respect, a deep love for poetry, and a unique spiritual bond.

Their interactions, preserved through letters and couplets, highlight the secular, syncretic fabric of their era:

A second anecdote:

A poor Brahmin came to Tulsidas seeking financial help to arrange his daughter’s wedding. Being a penniless saint, Tulsidas had no wealth to offer. However, knowing Rahim’s generous nature, Tulsidas wrote a single line of poetry on a piece of paper and told the Brahmin to take it straight to the Mughal general.

Tulsidas wrote:

“सुरतिय, नरतिय, नागती, सब चाहत अस होय।”
(“Gods, humans, and celestial beings—everyone desires a beautiful family bond like this.”)

When the Brahmin presented the note to Rahim, Rahim instantly recognized Tulsidas's handwriting and poetic style. Moved by his friend's implicit trust, Rahim gifted the Brahmin immense wealth, far exceeding what was needed for the wedding.

Rahim then completed Tulsidas's couplet and sent it back to the saint:

“गोद लिये हुलसी फिरैं, तुलसी सो सुत होय।”
(“A mother like Hulsi is truly blessed to carry a son as great as Tulsidas in her lap.”)

Through these beautiful exchanges, the grand Mughal courtier and the humble devotee of Rama proved that art, humility, and spiritual brotherhood completely transcend the boundaries of power, religion, and social status.

Rahim passed away in 1627 at the age of 70, and his mortal remains rest in a grand tomb in New Delhi, which stands near the Humayun's Tomb complex. While his political victories and military strategies have largely been relegated to dusty history textbooks, his poetry remains vibrantly alive.

Today Rahim’s 400-year-old dohas act as an emotional anchor. They teach us the value of patience, the importance of maintaining emotional boundaries, the necessity of humility, and the beauty of religious harmony.

He remains a shimmering example of India's composite culture, a confluence of Hindu-Muslim culture (Ganga-Jamuni Tehzeeb), proving that true art survives dynasties, empires, religious diversities and time itself !!

Krish// 2001

Maharishi Valmiki – The Adi Kavi

 

Maharishi Valmiki – The Adi Kavi

Adi Kavi = The First Poet or The Primal Poet.

 
Valmiki Jayanthi falls on Monday 26 Oct this year.

And for many of us, this day means a 3 day weekend!

So, pack up your bag, baggage, bachhas and your beagle (Labrador retriever in my daughter’s case), fire up your SUV and go on a long drive.  Anywhere, as long as you are far far away from the maddening Bangalore traffic jams.

For most folks, Valmiki Jayanthi is just another holiday when everything is shut down - govt. offices closed, banks closed, many schools and colleges closed too. The roads and traffic signals are less crowded and you can catch up on your shopping and visiting friends and relatives living on the other side of our city – with relative ease !!

Question:  How many of us really know about  Maharishi Valmiki ? And beyond the fact that he authored the epic Ramayana??

 I admit I also knew precious little, and so I read up and here I present a few glimpses of Valmiki’s life and works.

But before I start, a word about the epic Ramayana itself.

I am aware of four persons who wrote / rewrote the Ramayana.

Maharishi Valmiki, of course, who composed the original Ramayana in classic Sanskrit and consisting of 24,000 verses, during the Treta Yuga.

Goswami Tulasidas’ Rama-charita-manas written in Awadhi script during the medieval Bhakti movement (1574CE)

Kambar (The 12 century CE Tamil poet)  who wrote the Rama-avataram – the 10,000 stanza Tamil adaptation of the epic written during the Tamil Sangamam period.

And lastly, Ramanand Sagar, who wrote the script, screenplay, and dialogues for his iconic 1987 television serial Ramayan.

And whatever little our Gen X and Gen Y know about Ramayan, it would be mostly because they have watched many of the 78 episodes aired every Sunday morning from Jan’87 to July’88.

And back to Valmiki…

Maharishi Valmiki is revered as the Adi Kavi (the first poet) of Sanskrit literature, who transformed and shaped the literary culture of India.

 He transitioned from a life of a lawless bandit  to become one of the greatest sages and poets in human history. His life serves as a timeless testament to the power of repentance, devotion, and spiritual awakening.

Valmiki was born as Ratnakar, the son of a sage named Prachetasa.   He spent his early adulthood as a highway robber, plundering travellers to support his family.

Ratnakar’s life took a dramatic turn when he attempted to rob the wandering sage, Narada Muni. Unfazed by the robber's threats, Narada asked Ratnakar a profound question: "You commit these sins to feed your family, but will they share the burden of your sins in the afterlife?"

Ratnakar tied Narada to a tree and rushed home to ask his wife and parents. To his absolute dismay, they refused, stating that while it was his duty to provide for them, his sins were his alone to bear.

Shattered by this realization, Ratnakar ran back to Narada, and begged for salvation. Narada initiated him into spiritual practice, instructing him to chant the name of Rama. Ratnakar sat in deep, uninterrupted meditation for years. He became so completely absorbed in his penance that his physical body remained completely still. And over time, ants built a massive anthill (Valmika in Sanskrit) entirely over him, burying him alive. Impressed by his intense devotion, Narada Muni returned and broke open the anthill to release him. Because he emerged from a Valmika (ant hill) , Narada named him Valmiki.

Valmiki’s primary masterpiece is the Ramayana, an epic consisting of 24,000 verses divided into seven books (Kandas). Unlike many later adaptations,  where Rama is portrayed as an avatar and a supreme being, Valmiki's Ramayana portrays Rama primarily as the ideal human being (Maryada Purushottama)—the epitome of righteousness, truth, and duty.

Valmiki also became a character within the epic itself. During the Uttara Kanda, when Lord Rama banished Sita into the forest, she found refuge at Valmiki's ashram. Under his protection, she gave birth to her twin sons, Luv and Kush. Valmiki raised the boys, taught them the Vedas, and trained them to sing the newly composed Ramayana, which they eventually performed before Lord Rama himself.

The Composing of Ramayana :

 According to the opening chapters of Bala Kandam, Maharishi Valmiki did not witness the events of Lord Rama's life through ordinary sight. Instead, his visualization and retrieval of the narrative occurred through a sequential process of scholarly inquiry, emotional awakening, and divine illumination.

 Devarishi Narada’s Oral Summary:

The journey began with an inquiry. Valmiki asked sage Narada if there existed a living man who embodied 16 perfect virtues—including truthfulness, bravery, righteousness, and flawless character.

Narada responded that such a man did indeed exist: Prince Rama of Ayodhya. Narada then provided Valmiki with a concise, 100-verse summary of Rama's entire life up to his current reign.

This summary is known as the Sankshepa Ramayana (the concise Ramayana) and served as the conceptual blueprint for the coming masterpiece!!

 Birth of the ‘Shloka’:

Shortly after Narada left, Valmiki went to the Tamasa River to perform his daily rituals. There, he witnessed a hunter shoot down a male krauncha (sarus crane) bird while it was in a passionate embrace with its mate. Moved by the agonizing grief of the surviving female bird, Valmiki involuntarily cursed the hunter:

"Mā niṣāda pratiṣthāṃ tvamagamaḥ śāśvatīḥ samāḥ..."

(Meaning: "O hunter, may you find no peace for all eternity, for you have killed one of this loving crane couple when it was distracted by passion.")

Valmiki quickly realized that his curse had flown out in a perfectly metered, rhythmic, and poetic structure. Because it was born out of intense sorrow (shoka), this new literary metric was named a 'shloka'. This event transformed Valmiki into the Adi Kavi (the first poet), providing him the precise literary tool needed to write an epic.

 The Divine Vision:

While Valmiki sat contemplating the mysterious emergence of this verse, Lord Brahma (the god of creation) appeared before him. Brahma explained that the verse had flown from Valmiki's lips by divine will. He commanded Valmiki to use this exact shloka meter to compose the biography of Lord Rama.

 Divya-Drishti:  To make this possible, Brahma granted Valmiki a unique cosmic/transcendental sight (divya-drishti). Brahma promised that through this vision:

• Valmiki would see every past, present, and future event in the lives of Rama, Lakshmana, Sita, and all the Rakshasas.
• He would perceive not just their open deeds, but also their private conversations, hidden motives, and innermost secret thoughts.
• Not a single word written in his epic would be false.

 Retrieval Through Yogic Meditation (Yoga-Bala)

Armed with Brahma's blessing, Valmiki sat in deep, concentrated meditation (Yoga). Through his inner eye, the entire history of Rama unfolded before him like a vivid, living reality. He witnessed the childhood of the princes, the exile, the golden deer, the war in Lanka, and even the events that had not yet materialized in the physical world.

He systematically retrieved these visualized details from his consciousness and composed them into the 24,000 verses of the Ramayana!

 Sheltering Sita:

One of the most emotional ‘full-circle moment’ in his life occurs in the Uttara Kandam. When King Rama reluctantly exiles his  pregnant Queen Sita to the forest due to public gossip, it is Valmiki who finds her weeping by the riverbank.

Recognizing her absolute purity through his divine vision, Valmiki treats her like his own daughter.

He brings her to his hermitage and orders the local ascetic women to care for her. In this humble forest ashram, under the protection of the very man who was writing her life's story, Sita gives birth to the twin princes, Lava and Kusha!!

 The World's First Poetry Recitation:

Valmiki raised Lava and Kusha as his disciples, teaching them scriptures, weaponry, and his newly composed masterwork: the Ramayana. The boys memorized all 24,000 verses and sang them beautifully while playing the veena.

Eventually, Valmiki took the twins to Ayodhya, where King Rama was conducting a grand royal ritual. The boys stood before the king, the court, and the entire city to sing the epic. Rama sat transfixed on his throne, completely unaware that the two brilliant young boys singing of his joys and heartbreaks were his own sons!!

This created a surreal literary paradox: Rama was listening to the story of his own life, sung by his own sons, composed by a sage who was also sitting along with them in the audience !!

Yoga Vasistha:

Maharishi Valmiki also authored a profound philosophical text the Yoga Vasistha (sometimes called the Maha Ramayana) which captures the spiritual discourse between Sage Vasistha and a young Prince Rama.

The Yoga Vasistha is an authentic and highly revered spiritual text on Hindu philosophy, though it is not a historical account or  any part of the original Valmiki Ramayana .  It is purely philosophical, focusing on existential despair, the illusion of the world (maya), and the nature of the mind.

Philosophers and spiritual leaders like Adi Shankara, Vidyaranya, Swami Vivekananda, and Sri Ramana Maharshi have heavily praised or referenced its teachings.

This text serves as a major foundational guide for self-realization alongside texts like the Bhagavad Gita.

Epilogue:

This write up on Maharishi Valmiki and the Ramayana would not be complete without mentioning the last part of Ramayan – The Uttara Kandam (Book of the Aftermath) which details a tragic end.

Often considered as a later addition or a profound epilogue, Uttara Kanadam deals with the bittersweet reality of Rama's reign (Ramrajya). Due to persistent public gossip regarding Sita’s time in Lanka, Rama banishes a pregnant Sita to the forest, where she raises Luv and Kush in Valmiki’s ashram.

The epic ends without the typical happy ending. When Rama asks Sita to prove her innocence one final time before the court, she refuses to endure further public trials. She calls upon her mother, the Earth, to swallow her whole.

Left alone, Rama rules justly until he walks into the Sarayu River to return to his cosmic form.

 Goswami Tulsidas, in his version of the Uttara Kanda concludes the saga of Lord Rama by focusing on the golden age of Ramrajya (Rama's righteous rule) and deep spiritual philosophy.

Unlike Valmiki’s version, which includes Sita's exile, Tulsidas emphasizes devotion (Bhakti), peace, and moral order.

A central highlight is the profound dialogue between the sage crow Bhusundi and the king of birds Garuda, where Tulsidas beautifully explains the supremacy of devotion (bhakti) over knowledge (Gyana). He also describes the onset of Kaliyuga (the dark age) and offers loving surrender to Rama as the ultimate remedy for human suffering.

 Kambar did not write the Uttara Kandam.

He ended his masterpiece, the Ramavataram (popularly known as Kambaramayanam), with the Yuddha Kandam (The Book of War).

Kambar chose a completely celebratory, auspicious note to conclude his work. His epic ends in the final chapter of the Yuddha Kanda, titled Vidai Kodutha Padalam (The Chapter of Bidding Farewell).

• Rama is triumphantly crowned King of Ayodhya.
• Rama shower gifts and bids an emotional, loving farewell to his allies—including Sugriva, Hanuman, Vibhishana, and the vanara army—who return to their respective kingdoms.
• Kambar concludes by describing Rama's flawless, righteous reign (Ramrajya) over Ayodhya.    

• Kambar intentionally omitted the tragic events of the Uttara Kandam to give his epic a joyful culmination.

However, realising that the story was incomplete, Ottakoothar, a contemporary poet, stepped in to compose the Tamil Uttara Kandam in 17 chapters (padalams) to mirror Valmiki's tragic framework.

 Ramanand Sagar’s iconic television adaptation concluded with a dedicated spin-off/sequel series titled Luv Kush (also known as Uttar Ramayan), which covers the final, emotionally heavy events of Valmiki’s text.

The very last episode (Episode 39) ends with a deeply spiritual sequence depicting the Jal Samadhi (water immersion) of Shri Ram and the final departure of all the characters:

 
Jai Shree Ram !

 

Krish//2001

(Composed with a little help from my AI Assistant)