MATURITY AND PATIENCE


Published on 18th June 2018 in the Oasis Column of Deccan Herald

A lot of parents, teachers and team leaders find that they are inadequate when it comes to sorting out rivalry amongst their children, students and teammates respectively. Damages caused by the lack of grace and niceties can actually rankle the mind, leaving long term hurt or irreversible scars. Hence it is of paramount importance for people to exercise infinite patience and profound maturity to handle such situations to the healing point.

A story from the Bhagavatham can be used as a reference point to resolve similar problems in the present age. King Uttanapada had two wives called Suneethi and Suruchi, who had a son each who were called Dhruva and Uttama respectively. The king’s favouritism encouraged Suruchi to cherish the fond hope that her son Uttama would ascend the throne one day despite the presence of the crown prince Dhruva.  This confidence also braced up Suruchi to look down upon the legitimate queen mother. One day, the five year old Dhruva saw his little half brother Uttama seated on the lap of their father Uttanapada. The child in him craved to climb on to his father’s lap. Even as he tried to do so, he was reprimanded sharply by his step mother. Suruchi snapped at him saying, “Only God can bestow you with what you want to do.” The confused lad ran to his mother to seek comfort. Suneethi knew that she was powerless to direct the king to do her bidding as he was besotted with Suruchi. At the same time she was mature. She did not want to influence the young mind negatively by telling him about the lopsided equations in her marital relationship. Since Dhruva was persistent, Suneethi worked around the words of Suruchi to advantage. She told Dhruva that there was no greater power than God in the universe. If the supreme power was appealed to with sincere devotion, everything would become possible. Dhruva was consoled and convinced. He went out to seek God. He was initiated by the celestial sage Narada and performed a severe penance. In fact, he not only gained his father’s affections and the kingdom but also went on to become one of the greatest Bhagavathas ever. Suneethi managed to steer her son out of a life of discontent, disappointment and directing him towards eternal glory!

Unlearn and Relearn


http://www.deccanheraldepaper.com/

Great minds across space and sands of time have always agreed that the cornerstone of society revolves around how it responds to a situation. This, in turn, depends on the domestic, social, economic and educational backgrounds of its people.

An incident in the life of Valmiki, the author of the Ramayana, throws the spotlight on this issue effectively. Once, Valmiki was returning after completing his ablutions on the banks of river Tamasa. There he saw a hunter poised with his bow and arrow, ready to bring down a pair of cranes perched on a tree. Almost immediately, one of the birds was shot dead and its companion wailed inconsolably.

Valmiki was disturbed and inadvertently cursed the hunter for perpetrating a heinous crime. That, the expletive of Valmiki, the expression of his “Shoka” which metamorphosed into a “Shloka” is another story.

What needs to be examined here is the fact that as far as the hunter was concerned, he hunted the bird down probably as a part of his routine. Perhaps, he looked upon the cranes as his meat.

Valmiki, who had a violent past as a dacoit, must have behaved like the hunter very many times in the past. Yet, his attitude towards his way of life changed when he realised the futility of robbing others to cater to the needs of his family. Possibly, this enlightenment helped him to see the incident in a new light.

His reaction towards the hunter’s act precipitated as a metric verse, one of the high points of a culturally evolved society.

The contrast in the two reactions to the same incident also serves as a divider in the cultural quotient of the two men.

This incident also serves as an example to people who want to change for the better as sensible and sensitive human beings.

If we tarry a moment and retrospect, it will not be difficult for us to realise that we can weave woofs and warps of changes in the world at large when each of us ready ourselves to unlearn and relearn for the betterment of self and society.

Proof of My existence


http://www.deccanherald.com/content/668732/proof-my-existence.html

We, in the subcontinent, have been told that possessing an Aadhaar card will be an antidote for all regional, national and international identification purposes for about half a decade now.

The multiple uses of this card would prove to be a panacea and offset the need to have and keep track of half a dozen similar cards. It is considered to be foolproof and of world-class,  because it uses biometrics and the latest technology.

As usual, we the Indians, have mixed feelings towards it. The believers, the non-believers, and the in-betweens, who debate vehemently on the subject.

The first group queued up almost immediately at the assigned booths and went through the procedure through rain and shine.

They ranged from babies in arms to senior citizens. Loads of documents were verified and the denizens filled up e-forms. They were asked to wait up to three months to receive the magic wand. The believers encouraged the in-betweens to follow suit.

The ones who thought that it would be better to be uniquely identified, gave it a shot. They expected the serpentine queues in front of Aadhaar booths to have depleted with time. But they did not take our billion-plus population into consideration.

Nevertheless, they stood with the hope that their time and effort would eventually reward them.

Months flit past. The coveted card made its way to the doorsteps of the early birds. It pleased some. Others found that one or all of their details were misrepresented.

Meanwhile, a newspaper report mentioned that somebody in the then Andhra Pradesh received an Aadhaar card in the name of Sonia Gandhi. Pranksters and people with selfish motives had generated the coveted card for the dead.

The arrival of more such news reports made the non-believers gloat. The in-betweens who had by this time decided not to believe, got into the “I told you so!” mode.

Years have passed since then. The dilemma of letting the card be or not, continues. It has not been written off entirely. If technology could be done away with, then we could adapt the philosophy of Rene Descartes. Then, we could circumvent a lot of paper work and save the great Himalayan forests. Then Cogito Ergo Sum, (I think, therefore I am) could ideally become the new mantra and the proof of our existence.

Determination vs. Obstinacy


Many a time people want to achieve their goal by hook or crook. Their very attitude is proof of the fact that they are not in a position to distinguish between determination and obstinacy.

When a person refuses to weigh the pros and cons of a situation and pursues his ambition blindly, he is not only likely to harm the people around him but will wreak havoc on himself both physically and mentally.

An episode from the Mahabharata unfolds the unfortunate repercussions of tenacity. Ashwaththama, the best friend of Duryodhana had promised his dying friend that he would ensure the annihilation of the Pandava family at all costs. He manipulated the death of the Pandavas and ended up killing the five sons of Draupadi. In hindsight, he realised that his mission would be completed if he managed to abort the foetus if princess Uttara who was carrying the posthumous child of Abhimanyu. That way he could effectively put a full stop on the continuance of the Pandava clan. Accordingly, he went to the princess and aimed a potent blade of Darbha grass at her womb. The petrified Uttara ran away in panic. When Ashwaththama chased the pregnant princess, he was intercepted by none other than Lord Krishna.

Krishna understood that the son of Drona was not in a position to distinguish the right from wrong, and there was simply no way he would tarry to listen to the Yadava king. It was then Krishna looked at the gem signifying human intelligence studded on the forehead of the Brahmin. He hastened to pluck it out and prevented the perpetration of foeticide. The mindless Ashwaththama could not focus on his evil undertaking. Thus, Krishna rescued the unborn baby. He ensured that the last scion of the Pandava family – Parikshit- the one who was tested arrived safely on planet earth.

When one examines Ashwaththama’s behaviour, it is not difficult to see that he was being faithful to his friend and true to his promise although his bosom pal was dead. All the same, it is apparent that he lost sight of human propriety in his zeal to redeem his promise. Had he realised that the means is as important as the end he could have spared himself of the ignominy?

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!

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!

Unresolved Misery, Remorse Can Be Fatal


http://www.deccanherald.com/content/612439/unresolved-misery-remorse-can-fatal.html

There are moments in life when nothing seems to be under our control. An incident from the Ramayana enumerates one such situation. When king Dasharatha fixed the coronation of his beloved son Rama, he hastened to his favourite queen’s chamber to break the news to her personally. Little did the king realise that Kaikeyi’s mind had been poisoned by her maid Manthara. He was shocked beyond words when he heard her demands to redeem the two boons given by him long ago. He could not digest the idea of exiling his dearest son to the forests for 14 years after fixing his coronation. He was also not very open to the idea of crowning Kaikayi’s son Bharatha as the king of Ayodhya. Repeated pleas to his dear wife got him nowhere and he swooned from time to time. The king was truly caught between the devil and the deep sea.

On the one hand, he could not even dream of going back on his promise because he was a man of his word. On the other hand, he could not bring himself to inflict an undeserving heinous punishment on his faultless son. He tried to cajole and coax his beautiful queen. When she refused to respond, he berated her and even threatened her about her impending widowhood. When she refused to budge from her obstinate demands, he wondered if he was at the receiving end of his own Karma. He imagined that he must have separated thousands of cows from their calves, mothers from their sons and wives from their husbands to have merited such a state. He tried to recollect all the possible evil deeds that may have been perpetrated by him to reap such misery. He succumbed to his end without putting up a fight as he was depressed beyond measure.

Natural disasters, death of a beloved person or separation from a loved one can leave us devastated. Any amount of solace cannot reverse the incident. When misery and remorse envelop us, it will be better for us to accept the situation and contemplate on the next step forward. On the other hand if we choose to wallow in our despondency we might tumble into a bottomless pit of sorrow which can push us to a state of depression or death.