Great Sanskrit Poet – Mahakavi Kalidasa


If one hopes to travel the globe, delve deeply into the psyche of fellow human beings and derive an understanding of history, tradition, culture and civilization one lifetime will prove to be insufficient. Yet if one seeks the solution in the world of literature one is seldom disappointed for literature holds a mirror to life.

II Kavyeshu natakam ramyam, tatra ramya Shakuntala

Tatrapi chaturthaha ankaha tatra shlokaha chatushtayam. II

Drama is the most charming form of literature. Shakuntala is the most charming play. The fourth act of the play happens to be the best while the fourth shloka takes the cake.

Those of you who are familiar with the lines will realise that I am speaking of our greatest poet Mahakavi Kalidasa who is also toted as Kavi Kula Guru. The high praise allocated to the fourth stanza of the fourth act of the play lies in the fact that Kalidasa was subtly breaking news to Kanva maharishi about the pregnancy of his adopted daughter Shakuntala. She had married king Dushyanta in the Gandharva style during his absence. Kanva is informed of the same through an invisible aerial voice. The ability to tactfully render sensitive information about an unconventional situation to a person who was detached from family life forms the climax of the play. The story culminates with the union of the estranged couple after a dramatic course of events. Kalidasa manages to do the needful aesthetically through a mere couplet. This is perhaps one of the reasons why he is considered to be the greatest litterateurs of all times. One Subhashita says,

 

II Pura kaveenaam gananaa prasange kanishtika adhish titha Kalidasa

Adhyaapi tat tulya kavehe abhavaath anaamika sa arthavathi babhoova II

“Once upon a time when great poets were counted, the little finger was raised first and the name of Kalidasa was counted. The ring finger which is the next in sequence is called anaamika which means nameless in the Sanskrit language. It remains in the same nameless status to this day, because there is not another poet who has measured up to the greatest poet, namely Kalidasa”.

Though Kalidasa’s play Abhijnana Shakuntalam has been evaluated as his magnum opus by Von Goethe the greatest poet of Germany who was also his sincere critic and fan, one cannot really discount the other works of the great poet. In his play Malavikagnimitram, Kalidasa chronicled portions of contemporary history by giving an account of the political relationship between the ancient countries of Vidisha and Vidarbha by weaving a romantic theme. The twice married king Agnimitra of Vidisha falls in love with the princess of Vidarbha called Malavika by merely looking at her portrait. Later on Malavika happens to enter his principal wife Dharini’s entourage. Then, over a course of events punctuated with steady humour the affair is solemnized into a marriage of love and political convenience.

Kalidasa’s other popular play is Vikramorvashiyam. It is believed to celebrate his contemporary Gupta king Vikramaditya. The poet improvises on a love story found in the Puranas between the mortal king Pururavas and the celestial nymph Urvashi. Gods, demigods and mortals who populate the story with a romantic theme not only captures varied human emotions but also acts as a guidebook to the flora and fauna in the Himalayan slopes.

Besides being a playwright, he authored two of the most brilliant Mahakavyas or epic poems Raghuvamsham and KumaraSambhavam. In Raghuvamsham the Mahakavi traces the lives, times and values of the kings of the solar dynasty over nineteen cantos. It begins with Vivaswat, Manu, Dilipa, Raghu, Aja, Dasharatha, Rama, Kusha et al all the way up to Agnivarna through magnificent couplets.

Kumara Sambhavam revolves round the life of lord Shiva, who went on to become a recluse after his beloved wife Dakshayini jumped into the sacrificial fire unable to digest the insults heaped on her by her father. Dakshayini reincarnates as Parvathi at the behest of the Gods. She woos Shiva and begets a son who kills Tarakasura who was terrorizing the three worlds. Kalidasa indulges in some of his very best word painting in this epic poem.

Kalidasa was an all-rounder in the world of literature. Historians believe that he must have authored at least forty works in the areas of poetry, drama, criticism and commentary. Meghadutam, Ritusamharam, Kali Stotram, Shyamala Dandakam, Chandikadandaka stotra, Kavya nataka alankaram among others, happen to be a few of his works that are available today.

The number of influences, adaptations and improvisations of classical literature is omnipresent in the works of the Mahakavi. The content of Kalidasa’s works have been invariably sourced from Vedas, Puranas and the epics Ramayana and Mahabharata. Yet one cannot accuse him of plagiarism because he uses the broad framework and storyline from the original and lends his own special touch to his works by taking ample poetic liberty. He mellowed and molded his characters in such a way that they appealed to ones finer sensibilities and went on to become popular and set new standards. His readers and viewers prefer his version and interpretation of characters as compared to the original.

Kalidasa was unique and second to none in terms of style and presentation. In fact the phrase upama kalidasasya speaks in volumes about his ability to use apt similes to make a point. It is astonishing to note we know very little about Kalidasa who achieved great feats in every conceivable field of Sanskrit literature. Not much is known about him beyond his pen name. Kalidasa just means, the servant or a follower of goddess Kali which is but a common nomenclature. Folklore believes that Kalidasa was an unlettered shepherd who was tricked into marrying an erudite princess. When she discovered his ignorance, she bid him to claim her only after acquiring some basic education. Accordingly, Kalidasa prayed to goddess Kali vehemently and became enlightened with her blessings. History spans the date of Kalidasa over six centuries based on internal references in his works, historical and critical, and from inscriptions and edicts. It is obvious that any mortal could not have lived over six hundred years. Yet the fact remains that he must have lived sometime during this time bracket. His nativity is ambiguous though it is believed that he must have spent a lot of time in Ujjain because he gives a very detailed description of the place. Critics are divided about his patrons too. While some deem him to be one of the nine gems in the court of King Vikramaditya Gupta there are others who think Raja Bhoja patronised him. Stories about his death also vary from being a victim of jealousy of king Bhoja, to the greed of a courtesan who sheltered him.

Though there is abundant folk lore attached to the poet’s time, life and social status none of them are validated with evidence. Most things that we know about his life, place, date and works are sourced from later references, inscriptions and a deeper understanding of their works identified by their unique patterns. Western and modern historians and critics attribute this drawback to the sloppiness of Indians, who did not believe in documenting events or maintaining chronological records. Just about every detail of his life dwells in the realms of speculation.

Today Kalidasa and his works have been limited to academicians and their students. Most prescribed textbooks give limited and selective biographical information about Kalidasa who was an author, poet, dramatist and critic. A student or reader of the Mahakavi has to realise that there is more to it than what meets the eye. The person may be very different from the persona. Hence it will be in the best interests of the literary works not to judge them at the elementary stage of reading. One would do well to read all the possible works of the writer and then read about the person. This measure will help students and the reader to draw a holistic and mature opinion of the litterateur instead of being led by the nose.

We must realise that Indian achievers of the past were sensible and self-effacing people who maintained a low profile. Kalidasa must have belonged to this group of accomplished people with sterling qualities, who dedicated his works to the immediate society he lived in. The fact that his works have stood the test of time and has been translated into many languages of the world and the people world over want to know more about him speaks in volumes of his caliber both at the personal and professional levels.

A connoisseur of art and literature is called a rasika in Sanskrit. It is said that a consistent rasika can turn into a sahridaya or a good hearted person over a period of time. A passionate student of Kalidasa will find that he or she who begins savouring the rasas which are a combination of thoughts feelings and emotions becomes a rasika and has actually signed up for a lifelong rendezvous with the subject. Reading will help them introspect, relate and act to make a difference to the world they live in the capacity of a sahridaya!

If one hopes to travel the globe, delve deeply into the psyche of fellow human beings and derive an understanding of history, tradition, culture and civilization one lifetime will prove to be insufficient. Yet if one seeks the solution in the world of literature one is seldom disappointed for literature holds a mirror to life.

II Kavyeshu natakam ramyam, tatra ramya Shakuntala

Tatrapi chaturthaha ankaha tatra shlokaha chatushtayam. II

Drama is the most charming form of literature. Shakuntala is the most charming play. The fourth act of the play happens to be the best while the fourth shloka takes the cake.

Those of you who are familiar with the lines will realise that I am speaking of our greatest poet Mahakavi Kalidasa who is also toted as Kavi Kula Guru. The high praise allocated to the fourth stanza of the fourth act of the play lies in the fact that Kalidasa was subtly breaking news to Kanva maharishi about the pregnancy of his adopted daughter Shakuntala. She had married king Dushyanta in the Gandharva style during his absence. Kanva is informed of the same through an invisible aerial voice. The ability to tactfully render sensitive information about an unconventional situation to a person who was detached from family life forms the climax of the play. The story culminates with the union of the estranged couple after a dramatic course of events. Kalidasa manages to do the needful aesthetically through a mere couplet. This is perhaps one of the reasons why he is considered to be the greatest litterateurs of all times. One Subhashita says,

 

II Pura kaveenaam gananaa prasange kanishtika adhish titha Kalidasa

Adhyaapi tat tulya kavehe abhavaath anaamika sa arthavathi babhoova II

“Once upon a time when great poets were counted, the little finger was raised first and the name of Kalidasa was counted. The ring finger which is the next in sequence is called anaamika which means nameless in the Sanskrit language. It remains in the same nameless status to this day, because there is not another poet who has measured up to the greatest poet, namely Kalidasa”.

Though Kalidasa’s play Abhijnana Shakuntalam has been evaluated as his magnum opus by Von Goethe the greatest poet of Germany who was also his sincere critic and fan, one cannot really discount the other works of the great poet. In his play Malavikagnimitram, Kalidasa chronicled portions of contemporary history by giving an account of the political relationship between the ancient countries of Vidisha and Vidarbha by weaving a romantic theme. The twice married king Agnimitra of Vidisha falls in love with the princess of Vidarbha called Malavika by merely looking at her portrait. Later on Malavika happens to enter his principal wife Dharini’s entourage. Then, over a course of events punctuated with steady humour the affair is solemnized into a marriage of love and political convenience.

Kalidasa’s other popular play is Vikramorvashiyam. It is believed to celebrate his contemporary Gupta king Vikramaditya. The poet improvises on a love story found in the Puranas between the mortal king Pururavas and the celestial nymph Urvashi. Gods, demigods and mortals who populate the story with a romantic theme not only captures varied human emotions but also acts as a guidebook to the flora and fauna in the Himalayan slopes.

Besides being a playwright, he authored two of the most brilliant Mahakavyas or epic poems Raghuvamsham and KumaraSambhavam. In Raghuvamsham the Mahakavi traces the lives, times and values of the kings of the solar dynasty over nineteen cantos. It begins with Vivaswat, Manu, Dilipa, Raghu, Aja, Dasharatha, Rama, Kusha et al all the way up to Agnivarna through magnificent couplets.

Kumara Sambhavam revolves round the life of lord Shiva, who went on to become a recluse after his beloved wife Dakshayini jumped into the sacrificial fire unable to digest the insults heaped on her by her father. Dakshayini reincarnates as Parvathi at the behest of the Gods. She woos Shiva and begets a son who kills Tarakasura who was terrorizing the three worlds. Kalidasa indulges in some of his very best word painting in this epic poem.

Kalidasa was an all-rounder in the world of literature. Historians believe that he must have authored at least forty works in the areas of poetry, drama, criticism and commentary. Meghadutam, Ritusamharam, Kali Stotram, Shyamala Dandakam, Chandikadandaka stotra, Kavya nataka alankaram among others, happen to be a few of his works that are available today.

The number of influences, adaptations and improvisations of classical literature is omnipresent in the works of the Mahakavi. The content of Kalidasa’s works have been invariably sourced from Vedas, Puranas and the epics Ramayana and Mahabharata. Yet one cannot accuse him of plagiarism because he uses the broad framework and storyline from the original and lends his own special touch to his works by taking ample poetic liberty. He mellowed and molded his characters in such a way that they appealed to ones finer sensibilities and went on to become popular and set new standards. His readers and viewers prefer his version and interpretation of characters as compared to the original.

Kalidasa was unique and second to none in terms of style and presentation. In fact the phrase upama kalidasasya speaks in volumes about his ability to use apt similes to make a point. It is astonishing to note we know very little about Kalidasa who achieved great feats in every conceivable field of Sanskrit literature. Not much is known about him beyond his pen name. Kalidasa just means, the servant or a follower of goddess Kali which is but a common nomenclature. Folklore believes that Kalidasa was an unlettered shepherd who was tricked into marrying an erudite princess. When she discovered his ignorance, she bid him to claim her only after acquiring some basic education. Accordingly, Kalidasa prayed to goddess Kali vehemently and became enlightened with her blessings. History spans the date of Kalidasa over six centuries based on internal references in his works, historical and critical, and from inscriptions and edicts. It is obvious that any mortal could not have lived over six hundred years. Yet the fact remains that he must have lived sometime during this time bracket. His nativity is ambiguous though it is believed that he must have spent a lot of time in Ujjain because he gives a very detailed description of the place. Critics are divided about his patrons too. While some deem him to be one of the nine gems in the court of King Vikramaditya Gupta there are others who think Raja Bhoja patronised him. Stories about his death also vary from being a victim of jealousy of king Bhoja, to the greed of a courtesan who sheltered him.

Though there is abundant folk lore attached to the poet’s time, life and social status none of them are validated with evidence. Most things that we know about his life, place, date and works are sourced from later references, inscriptions and a deeper understanding of their works identified by their unique patterns. Western and modern historians and critics attribute this drawback to the sloppiness of Indians, who did not believe in documenting events or maintaining chronological records. Just about every detail of his life dwells in the realms of speculation.

Today Kalidasa and his works have been limited to academicians and their students. Most prescribed textbooks give limited and selective biographical information about Kalidasa who was an author, poet, dramatist and critic. A student or reader of the Mahakavi has to realise that there is more to it than what meets the eye. The person may be very different from the persona. Hence it will be in the best interests of the literary works not to judge them at the elementary stage of reading. One would do well to read all the possible works of the writer and then read about the person. This measure will help students and the reader to draw a holistic and mature opinion of the litterateur instead of being led by the nose.

We must realise that Indian achievers of the past were sensible and self-effacing people who maintained a low profile. Kalidasa must have belonged to this group of accomplished people with sterling qualities, who dedicated his works to the immediate society he lived in. The fact that his works have stood the test of time and has been translated into many languages of the world and the people world over want to know more about him speaks in volumes of his caliber both at the personal and professional levels.

A connoisseur of art and literature is called a rasika in Sanskrit. It is said that a consistent rasika can turn into a sahridaya or a good hearted person over a period of time. A passionate student of Kalidasa will find that he or she who begins savouring the rasas which are a combination of thoughts feelings and emotions becomes a rasika and has actually signed up for a lifelong rendezvous with the subject. Reading will help them introspect, relate and act to make a difference to the world they live in the capacity of a sahridaya!

Dealing with Embarassment


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Some of us go through embarrassing situations in life for no particular fault of ours. It becomes increasingly difficult to take a stand, especially when the people involved are the next of kin, good friends or well-wishers. A story in the Bhagavatha Puranam speaks of one such predicament.

Naabhaaga, an erudite scholar, decided to find his own fortune. He was well versed in all areas of rites and rituals. He knew that he could earn a great deal of wealth if he offered his niche services. For starters, he went to the Yajna conducted by sage Angirasa as directed by his father Nabhaga. The sage was very happy with the arrival of the young man.

On the sixth day, ceremonies, which involved a lot of nitty-gritty, had been worrying the sage. Naabhaaga did the needful efficiently. The Yajna was completed successfully. Sage Angirasa was very happy and satisfied.

In a moment of gratitude and generosity, he offered every bit of his frugal possession as Dakshina to Naabhaaga. The latter accepted his fee thankfully and took leave of the sage. Naabhaaga was waylaid by Rudra. The angry god accused Naabhaaga of walking away with what rightfully belonged to him. The young man was confused. Nevertheless, he walked back to the site of the Yajna along with Rudra. The duo found sage Angirasa in conversation with Naabhaaga’s father. Rudra presented his case. Almost immediately, Angirasa and Nabhaga realised that they had goofed up. Strangely, both of them in their zeal had overlooked that the last portion of the Dakshina had to be lawfully offered to Rudra. They admitted their fault sheepishly, clarified the matter and apologised profusely. Both of them found it highly embarrassing to dictate the future course of action.

Naabhaaga and Rudra understood the nature of the faux pas. Naabhaaga decided to iron out the matter. He did not play the blame game nor did he cock a snook at Rudra for being angry with him for no reason. Instead, he handed over the entire amount to Rudra. Angirasa and Nabhaga were overwhelmed with the turn of events. Rudra was touched by the integrity of Naabhaaga and blessed him with unlimited prosperity.

If any of us happen to inadvertently get involved in a slip-up, we will do well to display a generous and forthright spirit like Naabhaaga.

Integrity and Intelligence


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Life often scatters obstacles in our path. Some of us sidestep them while others overcome them. Yet, if we are riddled with difficulties from time to time, we tend to give up. A story from the Mahabharatha says that if one tackles problems intelligently and with integrity, it will stamp our success with moral satisfaction and happiness.

Princess Sukanya had to marry the old sage Chyavana whom she had blinded inadvertently. Though there was no equivalence of any sort in the marital ties, the young bride did not have any complaints. She was quite cheerful and sincere in carrying out her conjugal duties.

A couple of years later, the handsome celestial twins, the Ashwinikumaras, happened to sight the beautiful Sukanya. They were smitten by her ethereal beauty. They tried to wean her away from her marriage and make her theirs. The principled lady refused to comply to their wishes, politely, yet firmly. The demigods were struck by her loyalty to her husband despite his shortcomings. They offered to cure him and restore his youth as a reward for her steadfastness.

Sukanya and Chyavana were ready to accept a lease of normal and healthy life. Just when things seemed to fall in place, the divine twosome laid out their condition. The clause said that Sukanya could continue in her marriage if only she could identify her husband in his new Avatar. The lady accepted the challenge without batting an eyelid.

Accordingly, the sage was taken to a nearby lake by the duo. The trio immersed themselves in the waters. When they emerged, Sukanya was startled to see that the three of them were identical in every single way. She was stressed but gathered her wits and observed the threesome walking towards her. She recollected from her vast repertoire of knowledge that Godly entities never came into physical contact with earth. She noticed that only one of the three men was leaving footprints on the wet banks of the lake. She walked demurely towards her only love in life and stood by him. The Ashwinikumaras were highly impressed by her integrity and intelligence and blessed the couple a happy and a fruitful life of togetherness. Sukanya had every reason to flounder, but she chose to overcome it.

Gift for teacher? Classroom Discipline


http://www.deccanherald.com/content/631432/gift-teacher-classroom-discipline.html

S Radha Prathi, Sep 5 2017, 0:08 IST

If teachers were asked what they would consider the best teacher’s day gift, the answer would be an unanimous chorus — classroom discipline!

Well, that happens to be the harsh truth. An average classroom in any school across urban India is almost always in a state of chaos. The teacher-student ratio is unwieldy in most. Under the circumstances, a conscientious teacher has to also double up as the bad cop, usher the students to step in mentally, not just physically, into the classroom. Healthy classroom practices like interactions, discussions and debates on the subject of study is often replaced with pontification, which has almost become a mandatory feature in the lives of teachers. Seldom can they do much else, because the law of the land forbids them from using the cane.

Most teaching staff are ashamed or afraid to rope in the help of colleagues, seniors or the head of the institutions because they do not want to show themselves to be weak or helpless. Besides, they do not want to jeopardise their chances of getting an increment by showing themselves to be lacking in class control skills. The students, for their part, ranging from primary school to the undergraduate levels seem to find it extremely difficult to sit still in the class and focus on what is being taught. Their attention span seems to be consistently declining year after year. They seem to have collectively traded the art of listening for the art of merely hearing that serves no purpose.

Such being the case, teachers have to often repeat themselves to reach out to everyone in the audience. In the process, a sense of repetition and redundancy sets in in the ones that got it the very first time. They become restless till the teacher takes the lesson forward but only after another round of disciplining. When this exercise becomes repetitive, it can get tiresome for both the students and the teacher. Precious classroom time is spent in shepherding students individually or in little groups into a state of silence before continuing with the lesson. Over a period of time, both parties get familiar with the pattern and play it out like clockwork to the point of frustration.

When teachers bare their hearts out on the subject, they are told categorically that “content is king” and the conduct of the teacher is the benchmark in a classroom. While that may be true, even experienced and passionate teachers who do know their subject and carry themselves with dignity are finding it difficult to handle disruptive behaviour. All the same, teachers agree that kids should have their fun and freedom as long as they do not constantly disrupt the classroom. They also vouch for the fact that the young are perfectly nice alone; it is only when they get together they become unmanageable.

It is time for us to unravel this conundrum. The restiveness stems from the environment the child comes from. The pressure to do well and realise the dreams of their parents has pinned them down. The gadgets they use and the amateurish exposure they get to various subjects on the internet make them feel that they know it all. The junk foods they consume, the sedentary lives they lead and the assorted pollutions they have to deal with have rendered them weak. Their preference to play with gadgets than with siblings or friends has made them strangers to empathy. The stress and strife of modern life is taking a toll on the children.

If we hope to salvage the future of our children, we must work on these issues on a war-footing. Remember, the family is the first school and the mother is the first teacher. Parents should make it their own imperative to spend quality time with children no matter what their age. Children who hail from sensible, ethical and loving homes will reflect those qualities.

Having well behaved students can prove to be a tremendous boost to a passionate teacher’s morale and her capacity to teach. Precious class hours can be channelised to sow the seeds of knowledge, nurture analytical thinking, and help children blossom into responsible, intelligent and considerate individuals. When teaching becomes a fulfilling and pleasant experience, a teacher can make a world of difference to the taught. When that happens, every day will be Teacher’s Day!

Serendipity in Seri


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Once, a couple of us were walking through a boulder-strewn path in the Himalayas. What began as a light drizzle at the head of our trek turned into a steady shower. There was no going back, because the tents we left behind were being dismantled.

While they could be erected again with a little effort , a couple of early birds in our group had already forged ahead an hour ago. We could not possibly leave them in the lurch by staying back. So, we decided to brave the inclement weather towards Seri Valley — our destination.

The obstacle-riddled path appeared to be more challenging when we had to cross a moraine, some newly formed streams and a little stretch of ice. The continuous rain and the dipping temperature proved to be quite a menace.

A slip here and a fall there amid wiping the water off the spectacles slowed me down. Benumbed hands failed to feel the little icicles falling all over and around us. The colourful and beautiful flowers that bordered our path at times had to be sadly ignored because personal comfort appeared to be more important than “stopping by to smell the flowers.”

Conversation almost came to a standstill with exceptions when we had to seek one another’s help. Gusts of cold wind blew about; we trudged along cold, wet and hungry. When it became increasingly difficult, we sighted a frail little open yellow tent among the rocks. Our escort prompted us to seek shelter there till the storm passed.

We found a lone shepherd huddled in blankets in the tiny tent. He ushered us in without a word. He shared his humble bed and let us use it, though we were drenched to our very bones. Just when I thought that his cup of mercy had overflowed, he allowed us to build a fire with his precious little stock of firewood.

A couple of hours passed. He answered our many queries but asked no questions of us. His body language did not display resentment, so we stayed on. The rains subsided. It was time to move on. We thanked him profusely for the hospitality. He nodded and asked us to reach our camp before the next spell of rains set in.

Some experiences in life do have a wonderful way of tweaking our path and make us reflect on existential questions. He seemed to be the essence of Sanghajeevi (social being) for Lokasangraha (betterment of the world). I simply could not stop thinking of experiencing serendipity in the wilderness.

Living in the Present


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There are many a time we put off doing or experiencing something for a later date. It may not always be money. We reserve our best clothing, crockery, candles, and accessories among other things hoping to use them at a premium occasion in our lives. Our usual excuse for doing so is usually a feeling that the present moment is not ideal for the activity.

A tale from the Panchatantra speaks about the dangers of being in the saving mode all the time. Once a hunter shot a wild boar, the wounded animal pounced on him and ripped his flesh apart. The agonised hunter was shocked to death by the boar before it breathed its last. A jackal which was passing by was beside himself with joy when he saw the corpses of the wild boar and the hunter. He realised that he need not go around scavenging for food for several days to come. He circled his newfound treasure and saw the bloodstained bow. He decided to save the bulk of meat for future. He proceeded to lick the life fluid off the bow and in the process triggered the arrow that was ready to be shot, right into his open mouth.

Almost immediately, the jackal fell dead beside his feast. The jackal died in his earnest bid to save the best for the coming days.

Those of us who are at least a couple of decades old must have realised that the precious moment that we have been waiting for may have come, but we may not have always had the time or the mind space to dig into our paraphernalia and fish out what had been saved for the red lettered day. It is also quite possible that our prized possession may not really rise to the occasion or we may have come across a better and a more contemporary and practical substitute to the stowed away goodies.

While it is pragmatic to save for a rainy day, it will do us a world of good to overcome our magpie syndrome and live each day to the fullest. It is said that yesterday is history, tomorrow is mystery but today is the present. It is impossible to discount the valuable content of the saying.

Self Respect Vs Ego


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Most misunderstandings and rifts in personal and social relationships can be resolved if people start discerning the difference between having self respect and being egotistic. Oftentimes the two traits are confused for one another. While the former is commendable, the latter can prove to be detrimental. The Mahabharatha chronicles the tale of the foremost Guru Drona who rose to great heights because of his self respecting nature and fell from grace because of his bruised ego.

The immensely talented man of humble origin gained employment as the teacher of martial arts to the princes of Hastinapura. Though the royal household came forth to sponsor his living expenses and that of his family, he politely but firmly declined the offer. Drona had a son about the age of the Kuru princes. Yet never once did the self respecting teacher encourage his son to partake or enjoy the privileges of his highly placed peers. He lived and provided for his family within his means.

Once, his child Ashwaththama saw his regal friends drinking milk. The curious child longed to taste the white liquid. When he expressed his desire to his parents, he was given a tumbler of wheat flour mixed with water which the child drank happily thinking that it was milk. Drona could have had all the milk his son needed. Nevertheless the self respecting man would not accept any help from his employers before it was time to collect his rightful Gurudakshina.

It was around this time Drona’s wife Kripi reminded him of his childhood friend who had become the king of Panchala and requested his friend to seek his help. Drona was reluctant in the beginning, but went along all the same to meet his friend for old times’ sake.

Unfortunately for him, Drupada refused to take cognizance of him and behaved high-handedly. Drona was deeply hurt when his erstwhile chum offered him cows by way of charity to a Brahmin as against the token of friendship. Drona vowed to trounce Drupada’s arrogance.

One thing led to another and to make a long story short when the master’s self respect manifested itself as his ugly ego he failed miserably, to the point that his dead body was beheaded by Drupada’s son Dhrishtadyumna.