Vol 7, The Book of Commentaries (bhashyagranthamala), by Kavyakantha Ganapati Muni

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COLLECTED WORKS OF VASISHTHA KAVYAKANTHA GANAPATI MUNI VOLUME SEVEN

Hkk”;xzUFkekyk ELE E BHEH EHYAGRANTHAME EH

Editor K. Natesan

Associate Editor Dr. Sampadananda Mishra

Published by V. S. Ramanan President, Board of Trustees Sri Ramanasramam Thiruvannamalai Tamil Nadu - 606603 Researched and Edited by Kavyakantha Ganapati Muni Project Guru Nayana and Maharshi: The Call and the Grace Trust 1, 8th cross, Tagore Nagar Pondicherry - 605008

Copyright Sri Ramanasramam Thiruvannamalai Tamil Nadu - 606603

First Edition 2007

Price: Rs. 300.00

Printed in India by All India Press Kennedy Nagar Pondicherry - 605001

Hkk”;xzUFkekyk THE BOOK

OF

COMMENTARIES

fo”k;lwfpdk CONTENTS Publisher’s Note

i

Editorial

ii-vii

Acknowledgments

viii-x

Kavyakantha Ganapati Muni

xi-xxi

Introduction to the Contents of Volume Seven

xxii-xxvi

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PUBLISHER’S NOTE This volume contains all the writings of the Muni which are in the form of commentaries, annotations and explanations. Although many of the texts appearing in this volume are incomplete they bear the the testimony of Muni’s extraordinary ability of writing elegant commentaries. The first seven topics deal with various aspects of the Vedas in general and the eighth one contains Muni’s commentaries on some specific hymns of the Rigveda. From these incomplete notes one can learn about Muni’s deep knowledge of the Vedas. Apart from the above topics other titles appearing in this volume are: viQvamnmDWsD, indranDmanirvacanam, aindrasahasranDmabhDIyam, jaminnyasutrabhDIyam, upadeQasDrabhDIyam, iQopaniIadbhDIyam, gurumantrabhDIyam, agneU catasro vibutayaU, daivarDtadarQanam, mDtrtattvaprakDQika, QDrnrakamnmDWsDFippaKn, vaidikaQabdDnDm arthDU. All these are unique in their presentation, style and auntheticity. We pray that Shri K. Natesan, who has dedicated himself for the compilation and editing of all the works of the Muni, has Sri Bhagavan’s Grace and Blessings and will continue to be the inspiring force towards the publication of all the volumes. We hope and believe that this volume of The Collected Works of Ganapati Muni, like the earlier six volumes, will also be equally useful and inspiring for the spiritual aspirants. Sri Ramanasramam Thiruvannamalai 25. 12. 2006

Sri V.S. Ramanan

EDITORIAL

oUns Jhje.k”ksZjkpk;ZL; inkCte~ A ;ks es·n’kZ;nh’ka HkkUra /okUrerhR; AA* vande QrnramaKarIerDcDryasya padDbjam yo me’darQayadnQaW bhDntaW dhvDntamatntya. I bow down at the Lotus-Feet of Sage Sri Ramana, the great Teacher, who has shown me the Self-effulgent Supreme Lord beyond nescience. vksƒkjonua oU|a dohukekfnea dfoe~ A oUns x.ki¯r nsoa ujos”k/kja xq#e~ AA oOkDravadanaW vandyaW kavnnDmDdimaW kavim vande gaKapatiW devaW naraveIadharaW gurum. I bow to the adorable God Ganapati, Pranava-faced, the original Poet of poets, the Guru in human disguise. osnScksZ/kors fxjka foyflrS% lEeksneqækors /khjSHkkZjrlwfjfHkcZyors iwoSZ% izfrÏkors A eU=kS% fe=kors eg£”kpj.kS% vkpk;Zy{ehors dkO;S% d.Bors f/k;k /kuors dLeSfpnLeS ue% AA vedairbodhavate girDW vilasitaiU sammodamudrDvate dhnrairbhDratasuribhirbalavate purvaiU pratiIFhDvate mantraiU mitravate maharIicaranaiU DcDryalakshmnvate kDvyaiU kaKFhavate dhiyD dhanavate kasmaicidasmai namaU.

*The first verse here is by Ganapati Muni and the remaining three are by Sri Kapali Sastriar.

ii

His wisdom is founded on the Vedas. With scintillating speech he is poised in Bliss. His strength has its foundation on the steadfast seers of this sacred land of Bharata. He stands firm by the realisations of the ancients. The mantras are his close companions. It is his good fortune to have the Maharshi as his guru. His voice reverberates with poetry. His intellect is his wealth. Salutations to him, the Ineffable. nsgsu nwjks·fi änk u nwj% izh.kkfr ;ks u% Lej.ksu fl)% A dFka uq fp=ka rfnna p ;Lekr~ fojktls Roa än;kluLFk% AA dehena duro’pi hrdD na duraU prnKDti yo naU smaraKena siddhaU kathaW nu citraW tadidaW ca yasmDt virDjase tvaW hrdayDsanasthaU. Though physically not near to us, thou art close to our hearts. Thy presence is intense by the mere remembrance that makes us happy. No wonder for thou reignest shining in our hearts. Bowing down to all my gurus, I am indeed very happy that I have been chosen as an instrument to carry out the most heart-fulfilling work of editing the Sanskrit writings of my beloved guru, Vasishtha Kavyakantha Ganapati Muni, most affectionately known as “Nayana” (as called by Bhagavan Sri Ramana Maharshi). I am very certain and also feel strongly that it is only the Divine grace and power of the Maharshi and Nayana that have guided me to undertake this work, whatever the outer circumstances might appear to be. Besides, I am also clear that it is the Divine Grace which has prepared me over many long years for this work. Therefore, with utmost humility, I would like to write these few lines as an editorial for the Collected Works of the Muni. Vasishtha Ganapati Muni was a colossal figure of wisdom and tapas, and there is no doubt that he was the most prolific author of spiritual writings in Sanskrit in the 20th century. His iii

writings reflected the depth and vastness echoing Vedic spirituality, encompassing varied topics, like verses of adoration to different deities (in various metres), verses depicting the principles of existence, aphorisms on a vast array of subjects, prose writings such as commentaries, on Dyurveda, on astrology and even in the form of novel. However, most of his writings have not yet been published. The Muni, a genuine spiritual seeker who attained to great heights and depths of spiritual realisation and wrote extensively on various topics, was never concerned in the matter of the preservation and publication of his writings. Those close to the Muni knew that he would simply hand over many of his writings to his disciples and would not ask for the same again, and in the process many were slost. Nevertheless, the writings of the Muni were an outpouring of his tapas, the soul’s seeking for the Eternal. Therefore, these are not only of great spiritual value but also immensely important from a socio-cultural viewpoint, and need to be preserved for ages to come. I came to the lotus-feet of Sri Ramana Maharshi in the year 1922 through my first Sanskrit teacher, Sri Vasudeva Sastry. I met Ganapati Muni for the first time in 1926. Muni’s son, Sri Mahadeva Sastry, was my Sanskrit teacher in the Municipal High School where I studied. The Muni used to come to the school and speak to us at length on various topics (under the auspices of the Sanskrit Association). It was at this time that the Muni initiated me into certain mantras. Out of my simplicity, once I asked him as to how to master the Sanskrit language. His reply was immediate, direct and simple. He advised me to read and write all his works again and again, leaving the rest to the Grace. His advice became a mantra, which has primarily governed the rest of my life till date. I started collecting all his works and have been reading and writing them again and again. Although these efforts eventually took me over completely, I feel it was really the grace iv

of Bhagavan Ramana which worked within me. Soon I began this noble work. Bhagavan noticed it with a watchful eye. He would sometimes ask me if I had a specific writing. He would often ask for my notes, see them and even make copies in different languages. I consider myself blessed, as there were occasions when Bhagavan Ramana himself would write some of the verses of the Muni (which I did not have in my collections) in my note-book in his own hand-writing. (The facsimile of a few of these are published at the end of the editorial for the delight of the readers.) Most of my collections of the Muni’s writings have come from the late Sri D.S. Viswamitra of Sirsi in North Karnataka, who had collected these from Sri Mahadeva Sastry, son of the Muni. I had made several trips to Sirsi, enjoyed the most gratifying hospitality of this family for months, when I used to sit and copy the works. I was also happy that I could provide some of the originals and other works of the Muni which Sri Viswamitra did not possess. I have also collected many other writings of the Muni from some of his disciples like T.K. Sundaresa Iyer, Viswanatha Swamy, Raju Sastry, Vasudeva Sastry, Appu Sastry and Pasupathy Sastry. As mentioned earlier, some of the writings I received from the gracious hands of my beloved guru Sri Ramana Maharshi himself. In my effort towards editing these writings of the Muni, I have taken a simple approach. I have classified these into different volumes such as adoration, aphorisms, commentaries, etc. The arrangement of these writings in a particular order, appearing in a specific volume, follows either the nature of the work or its academic importance. The arrangement does not reflect chronology as the dates of many writings are not available. One could write volumes on the Muni’s style and diction. My aim here is not to attempt anything on this point. The Muni, being an aIFDvadhDnn, could write simultaneously on many topics v

during a given period of time. Depending upon his inspiration, before completing one work, he would start another. He would sometimes revise and rewrite the same topic several times. For the sake of the totality of presentation, I have included several of these incomplete and revised versions, since I did not want to choose one from the other. But in the case of the Muni’s magnum opus, umDsahasram, which was revised seven times, only the final version has been given in the first volume of this Collected Works. I understand the need for an English translation of all that is compiled here, which most readers look forward to. But for the time being, I have decided to compile the Collected Works of the Muni concentrating on the original Sanskrit texts. (The origianl Sanskrit texts of the first four volumes are compiled and printed both in Devanagari and Roman scripts.) However, I feel that the translation of the work will take its own time, as it is well understood that the translation of any spiritual writing is not an easy task. Dr. Sampadananda Mishra of Sri Aurobindo Society, Pondicherry, a promising Sanskrit scholar in his own right, has helped me in editing and organising these Collected Works. It is my great pleasure to say that Dr. Mishra has been devoting a considrable amount of time with great responsibility of editing the Collected Works of the Muni. He has not only prepared the Shloka Indices for the first, second, third and fourth volumes but also has taken the responsibility of checking the correctness of the Sanskrit texts for all the volumes and preparing the Roman transliteration for the first four volumes. I have immense pleasure in having Dr. Sampadananda Mishra as the Associate Editor of the Collected Works of the Muni. This volume has all the writings of the Muni which are penned in the form of comentaries, annotations and explanations. vi

The Muni had planned to write extensive commentaries on several topics, especially on all the Veda Mantras, but the work was left incomplete. But all writings appearing in this volume are unique in their presentation. Although many of the texts here are incomplete they provide sufficient information about the concerned topics as well as Muni’s rich of knowledge of those. The language of all these commentaries is simple yet, powerful in establishing the authenticity of the import. The Muni’s commentaries on Rigvedic mantras are revealing and illumining. The Muni has given his own original spiritual interpretation of the Mantras, and he was highly critical of the Sayana’s ritualistic interpretation of Rigvedic Mantras. His commentary on the nQopaniIad is original and is in the light of the teachings of Sri Ramana Maharshi. UpadeQa-sDrabhDIyam of the Muni, a commentary on thirty verses originally written by Bhagavan Ramana Maharshi under the title upadeQasDram, is very popular among the devotees of Bhagavan. The Introduction to the Contents of Volume Seven has short notes on each title appearing in this volume. I sincerely pray for the grace of Bhagavan Sri Ramana Maharshi and Ganapati Muni, so that the work is completed with perfection and in time. It is with a great sense of humility and love that I dedicate this editorial work to Sri Ramana Maharshi and Ganapati Muni, my gurus, and to Sri M. P. Pandit of Sri Aurobindo Ashram, Pondicherry, who always appreciated my efforts in preserving the guru’s writings.

Sri Ramanasramam Thiruvannamalai 25.12.2006

K. Natesan

vii

A CKNOWLEDGMENTS

The sacred work of editing and publishing the Collected Works of Kavyakantha Ganapati Muni would not have been possible without the Grace of Bhagavan Sri Ramana Maharshi and Nayana. I have also felt the Grace and blessings of Sri Aurobindo and The Mother in taking up this work. Inwardly, I have been constantly guided by the Grace of these great spiritual personalities. I have also received concrete help from Sri Kapali Sastriar and Sri M.P. Pandit. My heart melts with gratitude to these great souls, who have been my constant guiding spirit. Divine help works through human instruments. Many noble people, friends and others have been a source of constant encouragement and I have drunk the spirit of courage and enthusiasm offered by them. Among these include Sri V. S. Ramanan, President, Board of Trustees, Sri Ramanasramam, Thiruvannamalai; Sri Vamadeva Shastri (David Frawley), Director, American Institute of Vedic Studies, U.S.A.; Dennis Hartel, Sri Arunachala Ashram, U.S.A.; Sri S. Shankara Narayanan, a well-known disciple of Sri Kapali Sastriar; Sri Alan Jacobs and his wife, Jane Adams of Sri Ramana Foundation, London; Sri J.G.K. Murthy, Chennai; Sri A. R. Natarajan, Sri Ramana Maharshi Center for Learning, Bangalore; Sri J. Jayaraman, Sri Ramanasramam and the late Sri G.L. Kantham, Guntur. This work would not have been possible but for the caring and loving touch of Sri D.S. Viswamitra and his wife, Srimati Kamakshi, daughter, Srimati Indrani, and sons, Sri Divaspati and Sri Brahmanaspati of Sirsi (North Karnataka). I can only say that it has been possible to bring out the Collected Works of the Muni only because of this family, who, as trustees have preserved these for posterity. I am grateful to the entire family for their loving support. viii

All the photographs of Bhagavan Sri Ramana Maharshi and Ganapati Muni are, copyright of Sri Ramanasramam, Thiruvannamalai. I am grateful to Sri V. S. Ramanan, President, Board of Trustees, for allowing me to print the photographs in this Collected Works. Sri A. R. Natarajan, Bangalore, and Dennis Hartel, U.S.A. have also helped me in getting some photographs. I thank them for their support. Madam Jane Adams is the artist who has drawn the beautiful pencil sketches of the Muni. I am thankful to her and Alan Jacobs of Sri Ramana Foundation, London, for permitting me to publish these in the Collected Works. The publication of the book from handwritten manuscripts through the use of computer was a new experience for me. Typing, proof readings, page formatting, planning the entire layout were possible due to the sincere efforts of Dr. Sampadananda Mishra and his wife, Prashanti. I cannot imagine publishing the Collected Works without their help. I sincerely feel that they were specially chosen and brought into contact with me by the unseen hands of Grace for the completion of this work. Dr. Sampadananda Mishra is a budding Sanskrit scholar in his own right and he has helped me immensely in organising and editing the Collected Works. I am, indeed, very happy to have him as the Associate Editor of the Collected Works of the Muni. I am very grateful to him and his wife for all their help and support. I bless and wish them all the very best. I am greatful to all the well-wishers who have contributed immensly to the Kavyakantha Ganapati Muni Project, Pondicherry. I am indebted to Srimati Chitra, Sri Mukunda Padmanabhan and Sri Guruprasad, Srimati Kamalalakshmi, Vasudha and Sri P.N. Viswanathan for their support and encouragement. Sri Vamadeva Sastri (Dr. David Frawley), Director, American Institute of Vedic Studies, U.S.A. has always been a continuous source of inspiration without whose help the publication of the Collected Works could not have been possible. I have no words to thank him other than expressing my sincere feelings of gratitude. ix

I must express my deep gratitude to the Trustees of Sri Gitagovinda Pratisthanam, Pondicherry, for their constant support to us in the undertaking of this project. Sri Saphal of the All India Press, Pondicherry, has taken special interest in printing this Volume. I feel indebted to him for bringing out the book in a beautiful way in a short time. Finally nothing would have been possible without the help of my family members. My wife, Smt. Gnanambal, who is not with me physically at this stage, has done a lot of personal sacrifice. She helped me to carry on with the Muni’s work by taking the family load on herself. She was an ardent devotee of Bhagavan and Nayana. I can feel her happiness and satisfaction and continual encouragement from a different plane even now. My children and their families have supported me constantly during this work. I bow down again to the Grace which made me its instrument in carrying out this work.

Sri Ramanasramam Thiruvannamalai 25. 12. 2006

K. Natesan

x

KAVYAKANTHA G ANAPATI M UNI AN INTRODUCTION TO HIS LIFE AND WORKS Vasishtha Kavyakantha Ganapati Muni (1878-1936) belongs to the rare race of intellectual and spiritual giants who crowded into the narrow corridors of the last quarter of 19th and first four decades of the 20th century to endow life, letters and all endevours with meaning, purpose and altitude. He was a valiant soldier in the cause of Truth and Divinity. For communing with the Divine, certainly he was well-endowed, gifted as he was with marvellous powers of mind, intellect and soul. Even highly learned people of our time wonder at his indubitable versatile genius, keenness of perception and understanding of our modern problems, though he had never been to school all his life. His powers of intellect and intuition had solved and untied many mystic knots. His wide scholarship and studies in religious lore harmonized in him all religions and schools of philosophy. He was a master of metaphysics and his gift transported him into regions whence he could see the entire manifestation. In fact, he belonged to the order of the Rig Vedic seers who were gods among men. The Muni’s life story is sweet and all-absorbing and has been beautifully rendered in the famous biography VDsiIFha Vaibhavam by his foremost disciple, Sri Kapali Sastriar. Ganapati Muni was born in Kalavarayi near Bobbili in Andhra Pradesh on 17th November1878. He belonged to a family of Sri Vidya initiates (in vDsiIFha gotram), which had actually migrated from a village near Kumbakonam in Tamil Nadu in the late 16th or early 17 th century (later the family was well-known as the “Ayyalasomayajulu” family). His parents, Narasimha Sastry and Narasamamba, had three sons, Ganapati being the middle one. xi

Nearly a year before his birth, on the holy day of rathasaptamn, his mother had been to the famous surya (Sun) temple at Arasavalli (near Srikakulam in Andhra Pradesh) to offer her prayers and worship. She stayed overnight in the temple after the traditional worship to the Lord. In the next early morning she had a dream in which a beautiful woman with golden divine radiance emerged from the corridors of the temple, approached her with a shining pot of fire and giving it in her hands vanished. To her utter astonishment, the moment the fire pitcher came into contact with her, it entered her womb and assumed the form of a child. Soon after her return to home from Arasavalli, she showed signs of pregnancy. She believed that her child was a divine gift of God agni (fire). While she was waiting to deliver the child, her husband, Narasimha Sastry, had gone to the holy city of Kashi (Benares in Uttar Pradesh) in November 1878, where he also had a unique experience. When he was performing tapas in the ohuKoigaKapati temple (near Visweswara Ghat) he had the vision of a little child emanating from the Deity and coming near him. After these wonderful experiences by both parents, Ganapati was born in the parental home of his mother on 17th November 1878. The father appropriately named his second son Ganapati, rooted in his conviction that the child was an emanation of God Ganapati himself. It may be noted that the Vedic deity agni (Fire) is none other than gaKapati described in the purDKas and worshipped in the tantras. Ganapati himself was conscious of his divinity. He has expressed this in his most famous poem UmDsahasram and has said that he was born as an amsa (portion) of God Ganapati. He has also expressed his conviction about the identity between him and God Ganapati, the guiding spirit of his corporeal existence, in his work HerambopasthDnam (Glory of Ganapati). Ganapati was educated entirely at home. His father, Narasimha Sastry, like his ancestors, was an expert and wellxii

versed in mantra QDstra, astrology and Dyurveda. With this traditional family background, proficiency in these subjects came naturally to Ganapati. When he was only 10 years old, he was able to prepare the pañcDOgam (almanac). He finished studying the classical Sanskrit poems and then devoted himself to the study of grammar and poetics. At the same time he delved deep into the writings of Vyasa and Valmiki. Again and again he read the Mahabharata. His horizon widened and his intellect mellowed with an ever-deepening perception. Like the ancient Rishis, Ganapati wanted to experience immense strength and power by the practice of tapasyD through mantra japa and meditation. Although married at an early age to Srimati Vishalakshi, he started visiting one sacred place after another for his tapas when he was 18 years old. He used to stay in one place for a few days or even months. In one such visit to Bhubaneswar (in Orissa, where the famous “Lingaraj” temple of Lord Siva is located), during his tapas, Ganapati had a vision, in which Goddess lalitDmbikD (bhubaneQvarn) appeared before him, offering divine nectar. As Ganapati tasted this heavenly nectar, the Goddess watched him with a sweet smile, full of grace. From then onwards, the sweetness of the nectar became an integral part of him. After this incident, Ganapati’s intellect developed a rare sharpness and he attained complete mastery over poetry. Indeed, the literary work composed after this incident is endowed with a distinct sweetness and grace. When Ganapati was staying in Kashi, he came to know that an assembly of scholars (harisabhD) would be held in the famous city of Nabadwipa in Bengal. On the advice of his friends he got a letter of introduction and went to Nabadwipa. There he excelled in all the difficult tests that he was put to with an effortless ease that stunned his examiners, who unanimously conferred the title kDvyakaKFha (one who has poetry in his throat – voice of xiii

poetry) on him forthwith. He was only 22 years old then (details are in Volume 11). Ganapati repaired to the south of the country in his 25th year. From Kanchipuram he came to Arunachala (Thiruvannamalai) in 1903 to perform tapas. He visited twice Sri Brahmana Swamy (who was later named as Bhagavan Sri Ramana Maharshi by Kavyakantha himself) before he accepted a teacher’s job at Vellore in 1904. Later in 1907, he resigned his job at Vellore and returned to Arunachala. It was at this stage that he sought and gained the grace of Sri Brahmana Swamy (Bhagavan Sri Ramana Maharshi). An intellectual and spiritual giant who had high achievements to his credit and a host of followers as well, Kavyakantha still felt that his life’s purpose was not fulfilled. He remembered Brahmana Swamy whom he had met earlier and approached him for his grace and gain inner realization, peace and true import of tapas that he still lacked. On 18.11.1907 Kavyakantha approached Brahmana Swamy, who was staying in the Virupaksha cave, and prostrating himself at his feet said in a trembling voice: “All that has to be read I have read, even Vedanta Sastra I have fully understood. I have performed japa and puja to my heart’s content. Yet I have not up to this time understood what tapas is. Hence have I sought refuge at thy feet, pray enlighten me about the nature of tapas.” For quite sometime Brahmana Swamy gazed silently at Kavyakantha. He broke his 11 years of long silence and spoke gently, “If one watches where his notion of “I” springs, the mind will be absorbed into that. That is tapas. If a mantra is repeated and attention is directed to the source where the mantra sound is produced, the mind will be absorbed in that. That is tapas.” The scholarpoet was filled with joy to have found his guru, and announced that the upadeQa (teaching) was original, and that Brahmana Swamy was indeed a maharshi and should be called so thereafxiv

ter. He gave the full name Bhagavan Sri Ramana Maharshi to Brahmana Swamy, whose original name was Venkataraman. Thus, the meeting was of profound significance not only for Kavyakantha but also for the world at large, which could learn from such a high authority about the real stature of Bhagavan Sri Ramana Maharshi, the Silent Sage of Arunachala. Following this momentous meeting, Ganapati composed his great devotional poem, UmDsahasram, a thousand verses in praise of UmD, the Divine Mother, as a part of his tapas in gratitude to the great Goddess for having given him the Maharshi as his Guru (Master). This work is the magnum opus of Sri Vasishtha Ganapati Muni. The Muni had the unique experience of kapDlabheda. In the summer of 1922 at the Mango cave of the Arunachala hills, the Muni had several yogic experiences, arising from deeper parts of his being and invading his physical consciousness (resulting in great physical pain). During this, he visited his Master and told him of his inner and physical experience. His most compassionate Master, Sri Maharshi, comforted him by placing his lotus hands on his head. On the very night, he had the experience of the culmination of kuKoalinn sDdhanD, resulting in the most unique experience of kapDlabheda. His cranium was broken into two parts; a distinct sound caused by the breaking arose from the passage, which joins the two holes of the ears. A line of smoke going out of the head was perceived there. The Muni later spoke to his disciples about this yogic experience and that this has been mentioned in the sixth chapter of the taittnriyopaniIad, quoting vyapohya QirIakapDle bhurityagnau prati tiIFhati (“having separated the two parts of the cranium, he stands established in Fire as BhuU, the earth element”) and mentioned several great effects of the power of yoga experienced at this time with their secrets. It is usually believed that the physical effects of this great experience are such that the body cannot sustain long following this event. xv

However, in his case, with the strength of his own tapasyD and the Grace of his most compassionate Master, he lived for fourteen long years (although he had to observe certain physical restrictions, such as that he could not shave his head nor could put his bare feet on the ground) after this experience. This event speaks volumes on the extraordinary nature of his tapasyD and the fact that he was perhaps the greatest Master of tantra born on this earth. In fact, the final revision of his magnum opus UmDsahasram after this experience, remains, testimony not only to his supreme mastery over the tantras but also his ability to find the reconciliation and concordance between the Vedic, Upanishadic and the Tantric schools of thoughts. The kapDlabheda experience also reconfirms the conviction that he was the direct aWQa (portion) of the Vedic deity agni (who resides as the power of kuKoalinn in the mulDdhDra of human beings). The poet seer Kavyakantha Ganapati Muni met Sri Aurobindo on 15th August 1928. He stayed at the Sri Aurobindo Ashram for about a fortnight. During this stay at the Ashram, the Muni meditated with The Mother a few times. After one such meditation, The Mother expressed that the Muni was a real yogi who could plunge into great depths the moment he started meditation and that she had not so far found any person abiding in Her spiritual consciousness as Ganapati Muni did. Further, at the instance of Sri Kapali and Sri S. Doriswamy Iyer, the Muni translated some portions of Sri Aurobindo’s The Mother (mDtrtattvaprakDQikD) in chaste Sanskrit verses with some notes. On reading the Muni’s translation, Sri Aurobindo seems to have very generously observed, “It far excels the original.” It is also worth mentioning that the Muni presented to Sri Aurobindo the last and final version of his UmDsaharam (written in his own handwriting after his experience of kapDlabeheda) with specific notes on each chapter before his meeting in 1928. xvi

It is more than six decades since the great Kavyakantha Ganapati Muni passed away in 1936. He was a great tapasvn, whose one aim in life was the restoration of BhDrata MDtD (Mother India) to her ancient greatness. Unlike others who aim at liberation for themselves, this great soul believed that he must obtain the grace of God not for himself but for the nation and through it for the betterment of the world. Towards that consummation he had done penance since his early years and this, too, very rigorously during the last years of his life. The Vedic seers were by no means recluses from the affairs of the world. In fact, these Vedic seers made themselves the superior vehicle through which the divine forces of heaven played for the welfare of humanity. To become one such perfect instrument in the hands of the Maha Shakti was the goal towards which Ganapati worked and dedicated his entire life. Although the Muni was a giant personality, he was very humble in his day-to-day life. This can be proved by two incidents in his divine life. The Muni and his beloved disciple, Daivarata, did tapas in Padaivedu near Vellore in the year 1917. As a result of the tapas, certain Mantras were revealed to his disciple Daivarata. Ganapati Muni, the guru, recorded the Mantras as they came down from the lips of Daivarata, his disciple. He even wrote a commentary on the Mantras, as Sankara did for his disciple, Hastamalaka. There is yet another incident to which I would like to draw the attention of the readers. The Muni was verily a fountain of love and affection for his pupils and followers far and near. This did not deter the guru and QiIya from having a difference of opinion at times. The Muni blessed Sri Kapali Sastriar and permitted him to follow Sri Aurobindo. A scholar poet, Sri Vasishta Ganapati Muni has many spiritual and other writings in Sanskrit to his credit. UmDsahasram, gntamDlD, ramaKagntD, ramaKacatvDriWQat and saddarQanam are a few titles well-known among his disciples and others. But xvii

very little is known about his other numerous Sanskrit writings, covering a wide variety of topics: praises and prayers to various deities (stotras), poetic compositions (kDvyas), philosophy (darQana), logic (nyDyaQDstra), medical science (Dyurveda), astrology and astronomy (jyotiIaQDstra), commentaries (bhDIya), novel (DkhyDyikD), letters (patrDKi) and other research works. His versatility can also be judged from his writings sDmrajyanibandhanam (a proposed constitution for India) and lDlibhDIopadeQa (a new language for the Indian people). He was spontaneous in composing all these either in verse form (Qlokas) or in the form of aphorisms (sutras) or prose form (gadya). Nevertheless, all these were the result of his tapas, an outpouring of his soul in seeking or gratitude to the Divine. Of his stotrakDvyas, umDsahasram, indrDKisaptaQati, pracKoacaKoitriQatn and gntamDlD are meant for those longing for a great spiritual realisation. The indrasahashranDma is a composition of thousand names of indra culled from the Rigveda, which are strung into a garland of one hundred and eight verses. The ramaKacatvDriWQat (40 verses in praise of Bhagavan Sri Ramana Maharshi) is chanted daily both at the Sri Ramana Ashramam and in innumerable homes of the devotees of Sri Ramana Maharshi. The Muni had an unique ability of rendering philosophical thoughts in the form of poetry (Qlokas), and his writings viQvamnmDWsD, ramaKagntD, saddarQanam and tattvaghaKFDQatakam remain in testimony to this. RamaKagntD is in the form of recordings of questions put forth by disciples and the answers given by the Maharshi and is one of the most cherished writings of the Muni. His saddarQanam is the Sanskrit rendering of Sri Maharshi’s Tamil writing, ulladu narpadu (Forty Verses on Reality) on which his beloved and learned disciple, Sri T.V. Kapali Sastriar, has written a faithful commentary in Sanskrit. This reflects the spirit of Sri Maharshi’s original teachings. xviii

Of his vast and variety of sutra writings, it would be difficult to single out any one as more meritorious than the others. DaQamahDvidyDsutram (the ten cosmic powers of the Divine Mother as described in the tantras) is an outstanding composition, in which the Muni has described the ten cosmic aspects of the Divine Mother and their significance. Here he has also brought out the association of these ten cosmic aspects of the Mother described in the Tantra with the corresponding Vedic deities. Thereby, not only he has been able to bring forth a link between the Vedas, Upanishads and Tantras, but also has been successful in dispelling several wrong conceptions on the significance of these deities. These compositions reflect Muni’s great powers of Yogic perception. The way in which he has expounded the different deities such as kDln, tDrD, sundarn, bhuvaneQvarn, pracaKoacaKon, etc., and correlates them to the Vedantic concepts has once for all removed all antagonisms and has bridged the so-called gulf between the Vedantic and Tantric schools of philosophy. RDjayogasDrasutra is a short and concise exposition of the Upanishadic methods of the inner quest. Caturvyuhasutra is a revelation of the cosmic divinities wherein he has expounded the four important emanations of the Vedic deity Indra (DkDQa, kDla, vidyut and surya). JaiminnyatarkavDrtikam is his own interpretation of the sutras of Jaimini, where he has advocated that the Vedas are indeed pauruIeyam (of human origin). Further, in this he has given his own interpretation of the mnmDWsD philosophy, placing it on a higher pedestal in relation to Vedanta. His QabdapramDKacarcD also discusses the origin of Vedas. PañcajanacarcD and vivDhadharmasutram are related to social aspects. In the former one the practice of “untouchability” is condemned with the authority of QDstras. In the latter he deals with marriage as a sacrament. His other sutra writings also include cikitsDnuQDsanam (Dyurveda) and gaKaka-kaKFhDbharaKam (astronomy) as well xix

as sDmrDjya-nibhandhanam (a proposed constitution for India). The prose writings of Vasishtha Ganapati Muni too are extensive and these include: commentaries on several texts including Vedas and Upanishads; study on the different characters of the great epic poem MahDbhDrata; letters to Sri Ramana Maharshi, The Mother of the Sri Aurobindo Ashram, and others. His commentaries on Rigvedic mantras and the nQopaniIad, though brief, are revealing and illumining. The Muni has given his own original spiritual interpretation of the mantras, and he was highly critical of the ritualistic interpretation of Rigvedic mantras by Sayana. His commentary on the nQopaniIad is original and is in the light of the teachings of Sri Ramana Maharshi. His bhDratacaritramnmDWsD is unique as it establishes a link between some of the important characters of the mahDbhDrata and those mentioned in the Vedic texts. ramaKagntD, saddarQana and the commentary on the upadeQasDram (thirty verses written by Sri Ramana Maharshi in Sanskrit), are most popular writings of the Muni which reveal the greatness of the teachings of Sri Ramana Maharshi. His novel, purKD, in Sanskrit, though unfinished, is unique in many ways. The style and diction that the Muni used here make it an unparalleled novel of his time. It not only depicts the ability of the Muni to write beautifully and spontaneously in Sanskrit prose, but it also records his power of expressing the feelings of the heart and not just the logic of the mind. In the letters of the Muni to Sri Maharshi and The Mother of the Sri Aurobindo Ashram, one can find the art of letter-writing in Sanskrit. Through these letters he was able to express lucidly his deepest aspirations, concepts and thoughts. However, it is difficult to summarise the thoughts, perceptions and literary ability of the Muni. The Muni, indeed, was a versatile genius and can be compared with Kalidasa and Shankara xx

in poetic renderings, with Vyasa in sutra writings and with Patanjali, Shabara and Shankara in writing commentaries. The writings of the Muni are not just some products of literary activities but are the records of his unique Yogic experiences and subtle visions and will be a guiding spirit and lamp for the centuries to come. Sri Ramanasramam Thiruvannamalai

K. Natesan

xxi

INTRODUCTION TO THE CONTENTS OF VOLUME SEVEN

This volume of the Collected Works of the Muni contains all that has been indited by the Muni in the form of commentaries, interpretations, annotations, expositions, explanatory or informative or critical notes. So it is titled as bhDIyagranthamDlD. It contains more than thirty different notes on several topics like Vedas, Upanishads and many other philosophical texts. These notes were prepared by the Muni in different periods of time and most of these are incomplete. Here we provide short notes on each topic appearing in this volume. The volume begins with a series of writings on interpreting the Veda. The first seven notes under the titles mulagrantha praQaWsD, nutanabhDIykaraKDvasarakathanam, rgvedabhDIyam 1, 2 and 3, DdivedamnmDWsD and rigvedavimarQinn, all of these contain Muni’s valuable views on Vedas and their interpretation. From these incomplete notes it becomes clear that the Muni had planned for writing a complete commentary on Rigveda with word by word analysis (padabhDIya) and summery notes (upasaWhDrabhDIya). The Muni through his commentary tried to bring out the esoteric significance of the Veda Mantras. He was very critical to Sayanacharya’s commentary on the Vedas. According to him Sayanacharya had purely a ritualistic mentality. He took birth in such a period when Puranic conceptions of gods and goddesses were very much popular among the people. So he tried to interpret the Veda by following the puranic ideas and ritualism. Another critical remark made by the Muni is pauruIeyatva of the Veda. The Muni did not believe in the apauruIeyatva of the Vedas as propounded by the Mimamsakas. xxii

He held the strong view that the Vedas Mantras were recorded by the puruIas who by the power of their tapas, were prepared inwardly to receive them. They possessed an inner hearing and inner vision. Therefore, they were called Rishis, seers of Truth. In this connection the Muni has given much stress on the expression namo mantrakrdbhyaU and concludes that the Vedas are paurusheya and not apaurusheya. A careful reading of the Muni’s writings on this topic is very much necessary in order to understand the views of the Muni. Apart from writing on the Vedas in general, the Muni also has commented upon many specific suktas and Mantras of the Rigveda. These Mantras are mainly from the first maKoala of the Rigveda, some from the second maKoala and a few from the seventh. Several notes of the Muni contain his commentaries on the first hymn of the Rigveda, dedicated to Agni. All these notes are put here without any change or editing. Another note of the Muni contains a commentary on indragDyatrn of the Rigveda 1.3.4. Hereafter explaining the meaning of the Mantra the Muni notes all the etymological details of the word indra as given in the Nirukta of Yaskacharya. Then out of fifteen different etymologies mentioned in the Nirukta the Muni comments upon five leaving the first seven and last three. From an incomplete note containing commentaries on four Mantras of Rigveda dedicated to Agni it appears that the Muni intended to write a commentary on nine suktas of the twelfth anuvDka having ninety-one Mantras all belonging to Rishi Parashara. The Muni also intended to comment upon the Mantras of Rigveda by arranging them according to the order of the Gods. The available notes related to this contains only sixteen out of nineteen Mantras of Rishi Gritsamada dedicated to brahmaKaspati. The commentary begins with a detailed note on Rishi Gritsamada and then continues with individual Mantras. The next section contains fragmentary notes on some selected Mantras of Rigveda. Here few Mantras of Rishi xxiii

Gritsamada, Parashara, Vasishta, Medhatithi and Praskanva are explained by the Muni. This section ends with three Mantras of srnsukta. ViQvamnmDWsD contains two incomplete drafts of the same topic. Here the Muni intended to write extensively on the eternity of words. He has given six reasons under abhivyaktivDda of the eternity of words and proceeds with utpattivDda of the eternity of words. IndranDmanirvacana is the second section of devatDkDKoa. From the main title it appears that perhaps the Muni had planned to write serially about many Vedic Godheads of which a portion of the second section is available. Here in this section the Muni has commented upon the name Indra. He takes into consideration all the fifteen etymologies given by Yaska in his Nirukta and then continues explaining the greatness of Indra by quoting extensively from various Vedic texts. Through aindrasahasranDmabhDIyam the Muni wanted to explain in detail all the thousand names of Indra appearing in his indrasahasranDmastotram. All these thousand names are culled from the Vedas and rearranged by the Muni in this stotra in order to fit them into the eight syllabled anuIFup metre. In this bhDIya the Muni has explained only eleven out of thousand names of Indra. But this incomplete text of the Muni provides a clear guideline for pursuing further research on his indrasahasranDmastotram. In jaiminnyasutrabhDIya the Muni has attempted to comment upon some sutras of Jaimini. This is an incomplete text having Muni’s comments only on twenty-seven sutras of Jaimini. XQopaniIadbhDIyam of the Muni is a complete commentary on nQopaniIad of Qukla-yajurveda. This is an authentic commentary based on the teachings of Bhagavan Ramana Maharshi. Here one finds a refreshingly original approach of interpreting the xxiv

Upanishadic passages. In a very simple and elegant way the Muni, through this bhDIya, has explained the intricate details of the secret teaching of nQopaniIad. An English translation of this bhDIya of the Muni by Sri Shankaranarayanan is published in his book Bhagavan and Nayana. UpadeQasDrabhDIyam is a splendid commentary of the Muni on thirty verses of Bhagavan Ramana Maharshi under the title upadeQasDra. This composition of the Bhagavan reveals the essence of His teachings. The verses here are written in a metre called supratiIFhD. Here, Bhagavan discusses about karma or action, karmaphala or the result of action, samarpaKa or surrender. The karma theory of the Mimamsakas has been very well refuted by the Muni in his commentary. The book Bhagavan and Nayana by Shankaranarayanan contains an English translation of the original verses of Bhagavan and the commentary of the Muni thereon. The tenth verse of QrnramaKagntD enunciates in the style of Tantra, the Mantra by which the Maharshi has to be invoked. For the Muni this Mantra carried a very high significance. As many disciples with a desire to have an elucidation of this Mantra approached Bhagavan, he directed them to the Muni who then wrote a commentary on that and the result was gurumantrabhDIyam which is an interesting text revealing the secret of the Mantra by which the Maharshi has to be invoked. It also uncovers several aspects of Kartikeya by extracting the relevant Mantras from some Shlokas written by the Muni himself and explaining their meanings in detail. There are three sections. In the first section the Muni explains the Mantra “om vacadbhuve namaU” extracted from a Shloka of QrnramaKagntD. In the second section a Tantric Mantra has been explained. Here from a Tantric verse the Mantra

xxv

QaravaKabhava meaning ‘One who is born from the forest of Qara’ has been extracted for the invocation of Bhagavan. The third section deals with a Vedic Mantra invoking the Bhagavan. In this section the Muni also throws light on the history and purpose of the birth of Kartikeya. An English translation of this text with explanatory notes by Sri Shankranarayanan was published in the December 1999 issue of Mountain Path, a quarterly journal of Sri Ramanasramam, Tiruvannamalai. AgneU catasro vibhutayaU is an incomplete text dealing with fourfold aspect of Agni – pDrthivDgni, vaidyutDgni, yajnDgni and jnvDgni. Here the Muni compares jnvDgni with Kartikeya and vaidyutDgni with Ganapati. In daivarDtadarQanam the Muni has recorded and commented upon several Mantras seen by Daivarata, one of the disciples of the Muni. Daivarata was devoted to Yoga from his early boyhood days. He performed intense tapas in order to attain sahajasamDdhi, a spontaneous and effortless trance. When Daivarata was in a samDdhi state few words emerged from his lips. The Muni observed him for two days and then found that complete Mantras are coming out of the mouth of Daivarata. The Muni suddenly realised that some Mantras were getting revealed to Daivarata. Then the Muni started writing down all those Mantras which came out from Daivarata. It continued for sixteen days. Some Mantras were not distinct enough, some came out in an incomplete form or in quarter form, some were not clearly audible. All these were written down by the Muni under the title daivarDta chandodarQanam. He then grouped these Mantras which were clearly audible and taken down in full, under eight suktas and wrote commentary on them. These Mantras are in Rigvedic metres and have the same sound value and sense value as that of the Vedic Mantras. Different godheads like Savita, Agni, Sarasvati, Go, Indra are invoked through these Mantras. xxvi

MDtrtattvaprakDQikD is a Sanskrit rendering of Sri Aurobindo’s book “The Mother”. When Ganapati Muni met the Mother in 1928 he had recited a few Shlokas from this rendering in front of Her. The Mother liked it and showed a copy of it to Sri Aurobindo. After going through the rendering Sri Aurobindo said to the Mother that the Muni must complete the rendering. But it was never completed by the Muni. This incomplete text has two sections. The first section contains thirty-eight verses with explanatory notes on each verse. The second section has twenty-one verses without explanatory notes and is incomplete. All this covers only a few passages of the section VI of the book “The Mother” – from “ The four powers of the Mother are four of her outstanding personalities...” to “The Mother as the Mahashakti of this triple world of ignorance stands...into the infinity of the Spirit”. In QDrnrakamnmDWsDFippaKn the Muni records his critical views on Sankara’s commentary of brahmasutra. In vaidikapadDnDm arthDU the Muni provides the meaning of some important words of the Veda. The list has only hundred and sixty words.

xxvii

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1

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2

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4

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bna p Hkk”;eLekfHk£}/kk foHkT;rs A inHkk”;eqilagkjHkk”;a psfr A inHkk”;s izfrinkFkZfooj.kek=ka fØ;rs A milagkjs fØ;sr loksZ·fi fopkj% A uUokpk;Zlk;.ksuoS _Xosnlafgrk;kËkL;k% izfrinkFkZfooj.ka Ñre~A rL;S o Ro;kl fopkj mila g kj% fØ;rke~ A vya iq u % izfrinkFkZfooj.kk;klusfr psr~ A lR;e~ A ;|kpk;Zlk;.kks eU=kk.kka izfrinkFk± ;Fkkof}o`roku~ A r£g ukLekoað r=k iqu% iz;Ã% ‘kksHksrA rL; Hkk”;eU;kŸ’ke~ A l vkReu% lƒÔ f pr;kfKdŸÎîk lƒÔ fprikSjkf.kdŸÎîk p egrke`”kh.kka n’kZukfu ŸÎoku~ A izFke;k yksd;rLrL; cgwuka eU=kk.kkexqÆks·I;k/;kfRedkFkksZ u xkspjks·HkwrA~ xqÆL; dk dFkk A lokZË eU=klafgrk% deZdk.MkUrHkwZrk% A u r=k ys’krks·fi KkuL;ksins’kks·Lrhfr ;kfKdk% osðfpUeU;Urs A vkpk;ZLkk;.k% izk;s.k rs”kkeuq;k;h A f}rh;;k iÜ;rLrL; eU=ks”olÑRiznÜ;ZEkkuefi foÌk/;{kL;sUæL; ikjE;a u fofnreHkwrA~ u pkU;klka dfo”.kq#æfHkêkkuka nsorkuka ekgkHkkX;a KkreHkwr~ A

2

Hkk”;xzUFkekyk

uwruHkk”;dj.kkoljdFkue~

v;e` X os n % iz k phuS e Z g £”kfHkLrilk lEikfnrks cz à fuf/kuZ osðoyek;kZ.kkeLekoað okÈe;s vfi rq iziŒL;So okÈe;s ifjŸÜ;ekus dkyrks xq . krË iz F keks xz U Fk%A je.kh;& reRokUegkdkO;kuka fun’kZuxzUFk%A lR;n’kZuRokRLorU=k% iz e k.kxz U Fk% A ifo=kRoknq Ù keikjk;.kxz U Fk%A fofo/kdkE;& izneU=kiw.kZRokfêk#iekuks tufgrxzUFk% A ewyxzUFk% lokZlke~ mifu”knke~ A f’kykys[krqY;ks xzUFk% izkphupfj=kfoKkuk; A rfeea foÌrkseq[ka egkUra osna deZlq gkS=kek=kL;ksi;qDra eUoku% lk;.kkpk;Z% lƒÔfpr;k ŸÎîk O;k[;kroku~ A rL; O;k[;krq% dkys iz k ;% if.Mrkuka los Z ” kka p ŸfÎLrkŸ’kh A bUækfnoSfndnsorkLrs”kka ŸÎkS fuˆÑÎk% A rnkjk/ku:ia deZ p u lk{kkUeks{kizne~ A rkŸ’ks okrkoj.ks tkr% lk;.k% A l p iqjk.kdkyknkjH;kuqL;wra ledkfydkuka erefryˆ†î LorU=k;k f/k;k osnkFk± fopkjf;rqa ukihijr~ A vLrq rL; ersukikS#”ks;% iwtuh;rekss osn% A ¯d iz;kstue~ \ rL; O;k[;krqŸZÎkS r=k Lrqrk bUækn;ks fuÑÎkËsr~ rsu ukR;qRÑÎa deSoZ izfrik|rs psr~ erfo”k;s rL; LFkkua iqjk.ksH;ks·fi fuÑÎa ¯d u L;kr~ \ vUrrLrnso Qfyreklhr~ A

uwruHkk”;dj.kkoljdFkue~

3

okflÏx.kifrÑra _o~ðlafgrk;k% y?kqHkk”;e~

Hkwfedk e…ykpj.ke~ bUæa foÌL; jktkua czàk.ka czàfHkuqZre~ A vkRekua loZHkwrkuka oU|a oUnkegs o;e~ AA 1AA xzUFkdkjizfrKk vkfnosnL; eU=kk.kkeFk± foÌkoxkfguke~ A n’kZf;”;kfe y/kquk Hkk”;s.k LiÎokfnuk AA 2AA iwo± djksfe eU=kk.kke{kjkFkZizdk’kue~ A dfj”;kE;qilagkjs foe’kkZfUo”k;kuqxku~ AA 3AA vFk xEHkhjk.kka nk’kr;hukeFk± y?kquk Hkk”;s.k izn’kZ;ke% A nk’kr¸;Ë izkpka fnO;Ÿ’kke`”kh.kka n’kZulÈxzg% A u osðoyek;ZokÈe;s iziŒL;So okÈe;s izFkeks xzUFk% A fun’kZuxzUFkks je.kh;kuka dkO;kuke~ A ewyxzUFk% lokZlkeqifu”knke~ A izek.kxzUFk% lqrjka LorU=k% A ikjk;.kxzUFk% ifo=k% A jgL;xzUFkks fofp=kfofo/k’kfÚ% A

4

Hkk”;xzUFkekyk

bna p Hkk”;eLekfHk£}/kk foHkT;rs A inHkk”;eqilagkjHkk”;a psfr A inHkk”;s izfrinkFkZfooj.kek=ka fØ;rs A milagkjs fØ;sr loksZ·fi fopkj% A uUokpk;Zlk;.ksuoS _Xosnlafgrk;kËkL;k% izfrinkFkZfooj.ka Ñre~A rL;S o Ro;kl fopkj mila g kj% fØ;rke~ A vya iq u % izfrinkFkZfooj.kk;klusfr psr~ A lR;e~ A ;|kpk;Zlk;.kks eU=kk.kka izfrinkFk± ;Fkkof}o`roku~ A r£g ukLekoað r=k iqu% iz;Ã% ‘kksHksrA rL; Hkk”;eU;kŸ’ke~ A l vkReu% lƒÔ f pr;kfKdŸÎîk lƒÔ fprikSjkf.kdŸÎîk p egrke`”kh.kka n’kZukfu ŸÎoku~ A izFke;k yksd;rLrL; cgwuka eU=kk.kkexqÆks·I;k/;kfRedkFkksZ u xkspjks·HkwrA~ xqÆL; dk dFkk A lokZË eU=klafgrk% deZdk.MkUrHkwZrk% A u r=k ys’krks·fi KkuL;ksins’kks·Lrhfr ;kfKdk% osðfpUeU;Urs A vkpk;ZLkk;.k% izk;s.k rs”kkeuq;k;h A f}rh;;k iÜ;rLrL; eU=ks”olÑRiznÜ;ZEkkuefi foÌk/;{kL;sUæL; ikjE;a u fofnreHkwrA~ u pkU;klka dfo”.kq#æfHkêkkuka nsorkuka ekgkHkkX;a KkreHkwr~ A

_XosnHkk”;e~ ¼1½

5

okflÏx.kifregkeqfuiz.khre~

_XosnHkk”;e~ ¼1½ miksškr% izkek.;ppkZ[k.M% bUæa lksee¯xë foÌkaË nsokêkeLÑR; osnkikS#”ks;Ro[k.Mue~ izek.kHkwra ifo=ke`Xosna nsorkØes.k foHkT; O;k[;kL;ke% A _p bfr osn _Xosn% A l pkfxëehMs iqjksfgrfeR;kfn;ZFkko%lqgklrhR;Ur% A dFke`p% izek.ke~ A v=kSosð izkgq% A ^^’kCnks fuR;% A rs”kka fuR;kuka ‘kCnkukeFkZlEcU/kË fuR;% A rLekPNCnk vFkZcks/kdk% A vr ,o KkrlEcU/kL; Jksrq% fdefi KkueqRikn;s;q% A KkuL; p Lor ,o izkek.;e~A dkj.k& nks”kko/kkj.ka rniokn% A ikS#”ks;s”kq okD;s”kq iq#”kcqf)nks”k& lEHkokÙk‹kU;L; KkuL; izkek.;eiksfnra p Hkforqa ‘kD;e~ A osnkLRoikS#”ks;k% d=kZuiq yC/ksgrZs ks% A rLek}SfndokD;tU;L; KkuL; izkek.;a fujiokne~ A r=k fg ukfLr dkj.knks”kko/kkj.kL;kodk’k** bfr A uuq _Xosn% ikS#”ks; ,o HkforqegZfr ‘kkdydlek[;kfy…kfn psr~ A u A izopuknso lk lek[;k A u dr`ZRokr~ A izopua p fof’kÎe~ v/;kiueuU;lk/kkj.ke/;;ua ok A

6

Hkk”;xzUFkekyk

v=k fopk;Zrs A vLrq ‘kCnks fuR;% A vLrq rL;kFkZlUcU/kks fuR;%A vLrq rLeknFkZcks/kd% A vLrq r‹kU;a Kkua izek.ka ;koRdkj.k& nks”kkuo/kkj.ke~A osnk vikS#”ks;k bR;;a rq osðoy% izkfS fVfr leiZdks ;% ‘kCnLrL; Jo.ka Jqfrfjfr ‘kkýifjHkk”kk A v=k Jksrk loksZ·fi izekrk A rkŸ’kkfu Jo.kkfu fof/kokD;s”oso HkofUr A ukU;=k osnHkkxs A rLek}SfnD; ,o Jqr;% A u osnk% lk{kkr~ A v=ksna HkonqithO;a iwoZrU=klw=ka Hkofr A ^^Jqfrfy…okD;izdj.kLFkku& lek[;kuka leok;s ikjnkScZY;eFkZfoizd”kkZr~** bfr A bfr lk{kk}sni;kZ;% Jqfr’kCnks fy…kfnH;Lra dFka i`FkDdrq± ‘koëðks& R;kpk;Z% A Jqfrizk/kkU;k}snL; loZL; JqfrRosu O;ogkjks·okZpke~ A vfi p Jo.kokns LohÑrs Hkorka izopuokn% loZFkk dh£r’ks”k% L;kr~ A loZosnHkkxfo”k;ks fg Jo.kokn% A u eU=kek=kfo”k;% A uuq ekLrq d=kZuqiyfC/kgsZrq% A okpk fo:i fuR;;sfr eU=kfy…& izkek.;k}snkuka fuR;Roa czwe% A lk/;eso áLekoað eq[;e~ A r‰k osnkuka fuR;Roe~ A ;% dfË}k Hkorq gsrq% A ,oa osnkuka fuR;Ros fl)s eU=kÑRoe`”kh.kka xkS.ka dYif;rqa ‘kD;a L;kfnfr psr~ A ,rsukfi gsrquk u Hkorka dk;± fl/;sr~ A fuR;Rok}sn% izek.kfefr Hkorka okn% A lEizfr Hk.kfUr r‰k osnL; fuR;Roa osnizkek.;kfnfrA v;efrlqUnj brjsrjkJ;ks nks”k% A vfi p eU=ko.kksDZ ra okpks fuR;Roa lkekU;r% ‘kCnfuR;Roijr;k p usraq ‘kD;e~ A vkpk;ksZ tSfefuËk=k

10

Hkk”;xzUFkekyk

okpks fuR;Roa lkekU;r% ‘kCnfuR;Roes o eU;rs A u oSfndokD;cU/kfuR;Roe~ A ;n;a lkekU;r% A ‘kCnfuR;RoL;So lk/kuk; fy…k‰ksfr rfeea gsrqa leqf‰kuksfr A ,rnso ;qÚe~ A eU=kkFkZËkfLeêkso i{ks fu£ojks/kks Hkofr A ^^rLeS uwuefHk|os okpk fo:i fuR;;k A o`”.ks pksnLo lqÎfq re~** bfr iw.kksZ eU=k% A vL;kf…jlks fo:i _f”k% A v=k _f”kjkRekua lEcks/;kfxëLrqrkS izsj;fr A ;|=k fuR;Roa okD;cU/kija L;kr~ A rnk _”ksjkReu% lEcks/kuefxëLrqfrizjs .ka p u l…PNsrs A HkoUers _f”keU=k;ksjFkZfo”k;s lEcU/kkHkkokr~ A ijlEcks/kuesons a ukRelEcks/kufenfefr psr~ A fuR;s dFkefuR;L; lEcks/kue~ A fo:ifuR;;sR;soað ina oqðeZ bfr psr~ rn’kD;a i`Fko~ð inikBkr~ A fo:i’kCnL; :ikHkkookUok;qjkdk’kks ok HkoRoFkZ bfr psr~ A u l izÑrkfxëLrqfrizsj.ks·fUorks Hkofr A fof’kÎ:iks euq”;ks·FkksZ HkofRofr psr~ A lk/kkj.k:i% ¯d ikia Ñroku~ A ,rkŸ’kkfu _”kh.kkekRe& lEcks/kukfu eU=ks”oU;=kkfi lUŸÜ;Urs A ^^uks/k% lqo`¯Ú izHkjk e#n~H;% ** bfr uks/kl vk”ksZ A ^^bUæa leFksZ eg;k oflÏ** bfr oflÏL;A ^^,okuwueqiLrqfg oS;Ì n’kea uoe~** bfr oS;ÌL; foÌeul%A ^^foHkwrjk¯r foizfp=kjksfp”ka vfxëehfG”;;Urqje~ A vL; es / kL; lks E ;L; lks H kjs iz s e /ojk; iw O ;Z e ~ * * bfr lks H kjs % A

_XosnHkk”;e~ ¼1½

11

bZŸ’kesokRelEcks/kua oDrqa ;qÚe`”ksokZpk fo:i fuR;;sR;=kkfiA okpks okD;ijRos ok fuR;;sfr fo’ks”k.ka fu%la’k;a HkonfHkereFk± cks / kf;rq a u ikj;frA lUrr;s R ;fi rnFkZ L ; lq o pRokr~ A fuR;kfxëgks=kkfn”kq ins”osoeso fuR;’kCnks fg lUrrkFkZokphA uUoLR;U;Rizek.ka osnL; fuR;Roa lk/kf;rqe~ A r‰k Le`fropue~A ^^vukfnfu/kuk fuR;k okxqRl`Îk Lo;EHkqok** bfr A fdesr}pua ikS#”ks;e~ A mrkgks vikS#”ks;e~ A ikS#”ks;eso rFkkfi osnewydRokRizek.kfefr psr~ A izkxqÚ brjsrjkJ;ks nqokZj% A vfi pk=kkfi oko~ð ‘kCn% lkekU;r% ‘kCnijr;k p O;k[;krqa ‘kD;% A ŸÜ;Urs p eU=kk.kka dk;ZRos ekU=ko£.kdkfu opukfu A rs”kq dkfufpnqnkfå;Urs A ^^,rsukxës czà.kk oko`/kLo ‘kÚh ok ;Ùks pÑekfonkok A** bfr fgj.;LrwiL;k”ksZA ^^’kalsnqDFka lqnkuo mr |q{ka ;Fkk uj%A pÑek lR;jk/klsA** bfr oflÏL;kReksí’s ksuA ^^m#O;pls efgus lqof` ÚfeUæk; czà tu;Ur foizk%A** bfr lk/kkj.kr;k A iwoZ=kksiekuHkwrk ujks usrkjks ;Fkk NUnksHkk”ke~ A v=k foizk es/kkfou%A ,d=k usrkj% izdj.kkŸ”k; brjsA vU;=k foizk% lkekU;r _”k;%A ^^mr czà.;k o;a rqH;a izo`) oftzo%A foizk vr{e tholsA** bfr oRlL;k”ksZ A v=k czà.;k czàkf.k ;Fkk NUnksHkk”ke~ A ^^vLek bnq Lrksea lafguksfe jFka u rÎso rfRluk;A** bfr uks/kl vk”ksZ A ^^bUæ czà fØ;ek.kk tq”kLo ;krs ‘kfoÏ uO;k vdeZ A oýso Hkæk lqÑrk olw;wjFka u /khj% Loik

12

Hkk”;xzUFkekyk

vr{ke~ A ** bfr xkS j ohrs % A vfuR;tUeoRiq # ”kuke& ;ksxkÙkRlEc)dFkk;ksxk‰k osnkuka rÙkRiq#”ktUer% izkxHkko%A oq ð Rld{khofíoks n klnHkhfrlq ü oks H kq T ;q o ` ” k.kÌ[ks y iz H k` r hfu ij%‘krkfu Hkwyksoðs tUeorka euq”;k.kka ukekfu eU=kdk.Ms ŸÜ;UrsA rRlEc)kË dFkk%A Hk`xw”kfLrKkuJqfrlR;dkeksidkslykÌifr& Ìsrosðrq;kKoYD;tudizHk`rhfu ij%‘krkfu Hkwyksosð tUeorka euq”;k.kka ukekfu czkà.ks”kq ŸÜ;Urs A rRlEc)kË dFkk%A Hkorka usrk ’kcjLokeh czkà.kLFka ccj% izkokgf.kfjR;soað ukekfrfoÁðÎ;k fo/k;k ok;q i jr;k O;k[;k; iw o Z i {kks n kära oq ð lq # foUn vkSíkfyfdfjR;U;êkkekfi vifjgjêkso osnokD;kuka losZ”kke~ vI;fuR;kFkZ;ksx% ifjär bfr r`Æ% ÑrkFkZekRekua eU;ekuks fuËØke A l p ccjL; izkokg.ksO;kZ[;kus ^^izokg.kL; iq#”kL;k& izfl)Rokêk izog.kL;kiR;a izkokgf.k** fjfr onfrA izfrokfnuks us=k;ks/kwZfyiz{ksi.kesrr~A vfLr izokg.k% izfl)ks thoyL; iq=k% ikŒkykuka jktk A ;a izokg.ka tSo¯y onfUr A v;eso jkt£”k#íkydk; iŒkfxëfo|ka dfFkroku~ A ;ks {kf=k;s”oso izkXcHkwo u czkà.ks”kq A v;eso jkt£”k% f’kydk;’kkykoR;k; pSfdrkuk; nkYH;k; pkdk’kks™hFkfo|keqifnÎoku~ A ,rnqHk;a p ŸÜ;rs NUnks x kukeq i fu”kfnA lk;.kkpk;Z L rq Lodh;L; _Xos n & Hkk”;L;ksiØes ;Fkk ehekaldlEiznk;efuR;kFkZ;ksxks osn”s kq ukLrhfr izfrKk; ‘kcjLokfeor~ firk iq=kkH;ka izokg.kccjkH;ka ok;qlk;qT;a nRok eU=kO;k[;kule;s rka izfrKka foLe`R; iw.k± osna vfuR;kFkSZ% iwfjroku~A vFkok l fdƒjksrq lkEiznkf;dks fo}ku~A rsukpk;Z% ‘kcjLokeh uksɆf;rO;%A eU=kkË ;Fkk ‘kCnxfr O;k[;krO;k%A

_XosnHkk”;e~ ¼1½

13

vij vkg ^^os n ks Ú kuka O;Úhuka O;DR;ko`fÙkokn[k.Mue~ ukfuR;Roe~ A izfrdYia rnko`fÙk& HkZorhfr gsrks** fjfr A v=k ¯d izek.ke~ A ^^lw;kZpUæelkS /kkrk ;Fkkiwo± vdYi;r~ A fnoa p i`fFko° pkUrfj{keFkks Lo% A** bfr eU=ko.kZ% izek.kfefr psr~ A v=k fdefLr osnksÚkuka O;Úhuka leiZoað fdefi ine~ A vtgÉ{k.k;k onke bfr psr~ A foÌleÎkS ;konuqDra rkonso r}pua y{kf;rqa izHkosr~ A u r™rk% dkËu O;Úhjfi A ;fn O;ÚhË y{k;sÙk£g lokZ vihR;kifÙk% A bek ,o y{k;sêksek bfr fofuxedfojgkr~ A r£g nsokukel…xzg bfr psr~ A u A lefÎdksVkoso fg rs u O;fÎdksVkokf/kHkkSfrdk/;kfRed& oSHko’kkfyRokr~ A vkf/kdkfjdO;ÚhyZ{k;sêk rn~fHkêkk bfr O;oLFkka oqðeZ bfr psr~ A ;Fkk Loera Hkorka O;oLFkk L;kr~ A o;a rq i`PNkeks·FkZeso izek.kokD;L; A vfi pkf/kHkwre/;kRea pkU;rj=k ok dL;fpr~ iziŒka’kL; ;ks usrk l ,okf/kdkfjdks Hkofr A rsu euq”;O;Úhukekf/kdkfjdRosea izFkeeuqiiêke~ A

14

Hkk”;xzUFkekyk

vU;s iz k gq % A ;Fkk·FkZ c ks / kdRoa ykSfddoSfnosð”kq okD;s”kq rqY;e~ A osnkuka lk{kkr~ ikjesÌjRoL; [k.Mue~ rFkk foo{kkewydRoefi A okD;L; fulxksZ ásoe~ A foo{kk p ;r~ fdfŒRdr`ZfuÏk Hkofr A rLek}snkË ldrZ`dk% A osðu A bZÌjs.ksfr czwe%A r=k eU=kdk.Ms ;L; ;L; HkkxL; ; vk| miyC/kk l rL; _f”k% dF;rs A fuR;fl)L;S o eU=kL;k|ksiykfC/kjUrcZfgokZ Jo.kr ,o lk/;sfr oDrqa ;qÚe~ A bZÌj izsfjrL;ksiyfC/kizdkjks·U;% A bZÌj vkReÑra eU=keUr;kZeh LofoHkwfr}kjk _”ksjUr%dj.ks izjs ;fr A l r=k iÜ;Urh okxziw ks HkklsrA ;=k lw{es ‘kCns leosrks·FkZ% lw{ea Hkklsr lk iÜ;Urh oko~ð A vuqHkwfrË losZ”kkes”kk A ;nLekoað lokZ.;kH;Urjkf.k lfo”k;kf.k fpUrukfu lw{e’kCnleosrkU;so HkofUr A ‘kCna fouk u ijks{kL; dL;fpnFkZL; HkkueUrcZfgokZ A rfnneso”khZ.kka eU=kn’kZueqP;rs A ra p ŸÎa eU=ke`f”koSZ[k;kZ cfg% izdk’k;fr A rfnneso”khZ.kka eU=kdj.keqP;rs A vk|ks‰kkj.keso dj.kfeR;qip;Zr bR;qDra Hkofr A ,oehÌjokD;RokŸp% izek.ke~ A vU;s p osnk% A bZÌjokD;Rok}sns”kq dkj.knks”kks uko/kkjf;rqa ‘kD;% A KkuL; Lor% izkek.;ku…hdkjs·fi uk=k fdefi ck/kde~ A bZÌjokD;Rosu dkj.kxq.kko/kkj.kL;kfi ‘kD;Rokr~ A osnkuka ikjesÌjRos p eU=k& czkà.ks izek.ks Hkor% A ^^rLek|KkRloZgqr _p% lkekfu tfKjs A NUnkafl tfKjs rLek|tqLrLekntk;r% A ** bfr eU=k% A ^^vL; egrks HkwrL; fuÌflresr|ŸXosnks ;tqosZn% lkeosnks·FkokZf…& jl% A** bfr czkà.ke~ A vfuR;kFkZ;ksxks ukLekoað nks”k% A

_XosnHkk”;e~ ¼1½

15

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16

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_XosnHkk”;e~ ¼1½

17

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_XosnHkk”;e~ ¼1½

19

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20

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_XosnHkk”;e~ ¼1½

21

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_XosnHkk”;e~ ¼1½

23

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24

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_XosnHkk”;e~ ¼2½

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26

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_XosnHkk”;e~ ¼2½

27

eU=kku~ oqðokZ.kk bfr psr~ A je.kh;ks·;a oknks ;fn æÎqa eU=kk% lk/;k% A rnso ukfLr A dFka ‘kCnL; Pk{kqfjUæ;xkspjRoe~ A vFkkZi{s k;k lksfÚfjfr psr~ A r=k ukLekdek{ksi% A rsu ekU=ko£.kdokD;cU/k& fuR;Roa dFka o% fl/;sr~ A vFkkZis{k;k eU=kæÎ`Roa okD;cU/kkis{k;k eU=kÑÙoa p _”kh.kkfefr O;ogkj};eI;Lekoað fu£ojks/ke~ A vfLr pkU;=kkfi Ñfr”kq n’kZuRoO;ogkj% A dk.kkna n’kZua ikr×tya n’kZufeR;knhU;qnkgj.kkfu A uuq eU=kæÎkj bR;=k n’kZua y{k.k;k Jo.ka onke% A lr ,o eU=kL;k|% Jksrk eU=kæÎksP;rs A u uwrur;k drsfZ r psr~ A ;fn eU=kJksrkj bR;fi izfl)e`”kh.kkefHk/kkua L;kr~ A rnk rnuqlkjs.k eU=kæÎkj bfr ina yk{kf.koað dYiuh;a L;kr~ A u RofLr rr~ A ;fn Jo.kknso ysfHkjs eU=kku`”k;% ] r£g eq[;kFkZloa kfnuh eU=kJksrkj bfr izflf)% oqðrks u L;kr~ A vfLr f}fo/kk izflf)% A eU=kÑr bR;sdk] eU=kæÎkj bR;U;k A r;ksjso lkejL;a dYif;& rO;e~ A uksHk;R;kxsukizfl)a eq[;kFkZlaokfninkUrjeUos”k.kh;e~ A uuq ekLrq eU=kJksrkj bfr izflf)% A vfLr osnkuka Jqr; bR;fHk& /kkue~ A rsu _”kh.kka Jo.kkfu eU=kk bfr lqyHka ‘kD;rs oDrqfefr psr~ A u eU=kk% Jqr;% A eU=kO;k[;kule;s”kq eU=kksnkgj.kle;s”kq ok u Dofpnfi ;kLdks eU=ka Jqfrinsuksnkgjfr A l mi;qufÚ fuxe& ine~ A tSfefucknjk;.kkofi u Dofpnfi eU=ka JqfrRosuksnkgjr% A rkH;keqi;qT;sr eU=ko.kZina izk;% A u p oSfndokÈe;s Jqfrina osnlkekU;ijr;k eU=kijr;k ok DofpnI;qi;qDra ŸÎe~ A vFk dk Jqfr% A ;Rina lw=ks”kq Hkk”;s”kq Vhdklq pklÑnqi;qT;rs A mP;rs A oSfndks fof/k% Jqfr% A HkO;L;Sosfr osð”kkfŒnkxzg% A HkwrL;kih& R;ijs A mHk;s·fi czkà.ks”oso fof/kokD;kfu lUrhfr eU;Urs rRlR;a ok Hkorq A u ok A rÙks”kka ere~ A v=k iwosZ d.BksÚîk eU=kk%

28

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osðoyefHk/kkuokfpuks u fo/kk;dk bR;kgq% A ^^fof/keU=k;ksjd S kF;Z& eSd’kC|kr~ A vfi ok iz;ksxlkeF;kZUeU=kks·fHk/kkuokph L;kr~ A ** bfr iworZ U=ks ŸÜ;ekua l iwoiZ {kfl)kUra eU=kkfo/kk;dRokf/kdj.ke~ v=k lq/khfHkjoyksduh;e~ A vuUrjkLrq ;Rosðoyeqifu”k}kD;kFkZ& fopkj.keso ÑRok eU=klafgrk mis{kk pfØjs A rÙks”kkefi eU=kk.kka fo/kk;dRoa lUnsgkLinfeosfr u% izfrHkkfr A izÑreuqljke% A mHk;s”kka ehekaldkuka Jqfr’kCnks oSfndizR;{kfof/kij bR;qÚe~ A l p ‘kkýh;% ikfjHkkf”kd% A u l dnkfpnfi eU=kij mi;qÚ mHk;ksLrU=k;ksfjfr u eU=kk% Jqr;% A ukfLr rLekUeU=kJo.k& izflf)% A yksosð Jqfr’kCn% lkekU;rks osnijr;ksi;qT;r bfr psr~ A rPNkýh;lƒsrkKkuewyde~ A v=k iÜ;rsna iwoZrU=kLFka lw = ke~ A ^^Jq f rfy…okD;iz d j.kLFkkulek[;kuka leok;s ikjnkScYZ ;eFkZfoizd”kkZr~ A** oSfnD;k% lek[;krks oSfnoað LFkkua cyh;ks /ke± izfr izkek.;s A LFkkua p Øe% A oSfndkRØek}Sfnoað izdj.ka cyh;% A oSfndkRizdj.kk}Sfnoað okD;a cyh;% A oSfndk}kD;k}Sfnoað fy…a cyh;% A oSfndkfÉ…k}Sfndh JqfrcZyh;lhfr lw=kkFkZ% A v=k JqfrË lk{kkPNªo.ka drZO;L; oSfndokD;s A izR;{kks fof/kfjfr rkRi;Ze~ A ,rkork fdek;kre~ A d=kZuiq yC/ks fuR;k _p bfr okns gsrqjso izFkeefl) bfr LiÎeklhr~ A uuq ekLrq d=kZuqiyC/ksfjfr gsrq% A okpk fo:i fuR;;sfr eU=kfy…izkek.;k}snkuka fuR;Roa czwe% A lk/;eso áLekoað eq[;e~ A r‰k osnkuka fuR;Roe~ A ;% dfË}k Hkorq gsrq% A ,oa osnkuka fuR;Ros fl)s eU=kÑÙoe`”kh.kka xkS.ka dYif;rqa ‘kD;a L;kfnfr psr~ A ,rsukfi gsruq k u Hkorka dk;± fl/;sr~ A ;|fi Hkorka osnkuka fuR;Roa lk/;a rFkkfi r}snizkek.;L; gsrqRosu izn’kZf;rqeso A ,oa p osnL; fuR;Roa LFkkif;rqa rL;So

_XosnHkk”;e~ ¼2½

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30

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_XosnHkk”;e~ ¼2½

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32

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vij vkg A osnksÚk% iq#”kO;Ú;ks ukjhO;Ú;ks ok ukfuR;k% A izfrdYia rnko`fÙkHkZorhfr gsrksfjfr A v=k ¯d izek.ke~ A ^^lw;kZpUæelkS /kkrk ;Fkk iwoZedYi;r~ A fnoa p i`fFko° pkUrfj{keFkks Lo%** bfr eU=ko.kZ% izek.kfefr psr~ A v=k fdefLr osnksnkärkuka iq#”kO;Úhuka ukjhO;Úhuka p cks/koað ine~ A vtgÉ{k.k;k onke bfr psr~ A foÌleÎkS ;konuqDra rkonso r}pua y{kf;rqa izHkosr~ A u r™rk% dkËu O;Úhjfi A ;fn O;Úhjfi y{k;sÙk£g lokZ vihR;kifÙk% A bek ,o y{k;sêksek bfr fofuxeukfojgkr~ A r£g nsokukelÈxzg bfr psr~ A u A lefÎdksVkoso fg rs A u O;fÎdksVkS A vkf/kHkkSfrdk/;kfRed& oSHko’kkfyRokr~ A vfi p osnizkek.;s lk/kf;rO;s ijEij;k ok rRlk/kuk; rf}jks/kifjgkjk; ok oSfndopua rUewyeU;}k opua iz k ek.;s u ukofrÏs f r iz k xs o ks Ú e~ A vU;ks U ;kJ;pØkfn& nks”klEHkokr~ A vU;s izkgq% A ^^;FkkFkZ& osnkuka lk{kkRikjesÌjRoL; [k.Mue~ cks / kdRoa ykS f dd& oSfnosð”kq okD;s”kq rqY;e~ A rFkk foo{kkewydRoefi A okD;L; fulxksZ ásoe~ A foo{kk p ;r~ fdfŒRdr`ZfuÏk Hkofr A rLek}snkË ldr`Zdk% A osðu A bZÌjs.ksfr cwze% A r=k eU=kdk.Ms ;L; ;L; HkkxL; ;ks ; vk| miyC/kk l rL; _f”k% dF;rs A fuR;fl)L;So eU=kL;k|ksiyfC/kjUrcZfgokZ Jo.keso lk/;fefr oDrqa ‘kD;e~ A bZÌjizsfjrL;ksiyfC/kizdkjks& ·U;% A bZÌj vkReÑra eU=keUr;kZfe}kjk _”ksjUr%dj.ks izsj;fr A l r=k iÜ;Urh okxzwiks Hkk”ksr A ;=k lw{es ‘kCns leosrks·FkZ% lw{ea

_XosnHkk”;e~ ¼2½

33

Hkklrs lk iÜ;Urh oko~ð A vuqHkwfr Ë los”Z kkes”kk A ;nLekoað lokZ.;kH;Urjkf.k lfo”k;kf.k fpUrukfu lw{e’kCnleosrkU;so HkofUr A ‘kCna fouk u ijks{kL; dL;fpnFkZL; HkkueUrcZfgokZ A rfnneso”khZ.kka eU=kn’kZueqP;rs A ra p ŸÎa eU=ke`f”koZS[k;kZ cfg% izdk’k;fr A rfnneso”khZ.kka eU=kdj.keqP;rs A vk|ks‰kkj.keso dj.kfeR;qip;Zrs A ,oehÌjokD;RokŸp% izek.ke~ A vU;s p osnk% A bZÌjokD;Rok}sns”kq dkj.knks”kks uko/kkjf;rqa ‘kD;% A KkuL; Lor% izkek.;ku…hdkjs·fi uk=k fdefi ck/kde~ A bZÌjokD;Rosu dkj.kxq.kko/kkj.kL;kfi ‘kD;Rokr~ A osnkuka ikjesÌjRos p eU=kczkà.ks izek.ks Hkor% A ^^rLek|KkRloZgrq _p% lkekfu tfKjs A NUnk¡fl tfKjs rLek|tqLrLekntk;r** A bfr eU=k% A ^^vL; egrks HkwrL; fuÌflresr|ŸXosnks ;tqosZn% lkeosnks·FkokZf…jl%** bfr czkà.ke~ A vfuR;kFkZ;ksxks ukLekoað nks”kk; A loZKL;sÌjL; loZdkyO;kfiuh Hkkjrhfr izR;qrxq.k% A ;kfu _pka dk;ZRos izn£’krkfu opukfu rs”ogeFk bZÌjks oÚO;% A ^^m# O;pls efgus lqo`fÚfeUæk; czàtu;Ur foizk%** bR;=ksÌj% ijks{kjhR;k foizk bR;kRekueso onrhfr oÚO;e~ A foiz’kCnL; lkekU;rks es/kkfo& okpdRokr~ A u cgqopuehÌjs uksii|rs A eU=ks”kq _”kh.kka p lEcks/kukfu psÌjs.kSo fØ;Ur bR;…hÑrs dks nks”k% A fo’ks”kr% lEcks/kua p rL; rL; fof’kÎRokr~ loZKL;sÌjL; loZdkyO;kfiuh HkkjrhR;qÚeso A ^^’kký;ksfuRok**fnfr ‘kkjhjdlw=kL; Hkk”;s p ‘kƒjHkxoRiknk bea i{ke…hpoz q ð % A lk;.kkpk;Z Ë iz k ;ks ehekaldfl)kUrefujkoqðoZêkfi euq”;fu£erRokHkkosuSo osnkuk& eikS#”ks;Rofefr onêksra fl)kUre…hdjksR;so lknje~ A rLekn;eso i{k mikns;** bfr A v=k fopk;Zrs A v=k i{ks oSfndopuizkek.;knso

34

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osnkuka ikjesÌjRoe…hdrZO;e~ A oSfndopuizkek.;a p osnkuka ikjesÌjROkknso A v;eU;ksU;kJ;ks nks”k% A ukLR;U;ksU;kJ;% A u osnizkek.;k}snL; ikjesÌjRoa czwe% A osnizkek.;a ukesÌjokD;& izkek.;e~ A vFk dhŸ’kkRizkek.;kr~ A vkÆokD;izkek.;k}snL; ikjesÌjRoe~ A dks·;ekÆ% A ;ks osnkuka drkZ l ,ok=kkÆ% A dks·u;ks£o’ks”kks osnkuka drqjZ hÌjL; p A vfoKkrukekiwo%Z A osðoya xzUFkdr`ZRoy{k.k% foKkrukekij bfr fo’ks”k% A voLFkkfo’ks”k& Ëku;ks% A ;Ëdkj osnkaRl drkZ A ;% loZK% loZ’kÚ% l bZÌj% A osnkukd.kZ;Urks o;a dks·L; egrks xzUFkL; drsZfr izFkea i`PNke% A rnkLekdfena izek.keizek.ka osfr ehekalSo u Hkofr A vuUrja xzUFka ifj’khy;ke% A xzUFks ;nk uke yC/kehÌj% drsZfr A rnk ra drkZja fu/kkj;ke% A rfnnekÆokD;izkek.;e~ A xëUFkkUrjs”ofi ls;eso xzUFkdkjifjKkuk; ifj’kks/kuiz.kkfydk ŸÜ;rs A lk/kkj.kks·fi euq”;ks ;FkkonuqHkwrkFk± vkÆ mP;rs A usÌjRoa r=kkisf{kre~ A rLeknkÆokD;Roizkek.;knso ^^rLek|KkRloZgqr** bR;kns% izkek.;e~ A vuUrjehÌjokD;Ros fu/kkZfjrs osnL; loZikz ek.;a lqfLFkja L;kr~ A v=ksneqnkgj.ka Hkofr A Hkkjrs o;e/;k;kUrs”kq oS;kflD;ka la f grk;kfefr ;nkoyks d ;keLrnk O;kl ,oeq Ú oka L rrks O;klizkÚ s fenfefr cqf)uksRZ i|rs A vfi rq xzUFkdkj ,oeqÚokaLrrks O;klizksÚfenfefr cqf)#Ri|ekuk ŸÜ;rs A vuUrja O;klizksDrs ;ko™kSjoa rkoÙk=k tk;rs A v…hoqðeksZ Hkorka okne~ A rFkkihne=k dÎe~ A bZÌjokD;L;So ukÆokD;L; fujƒÔ’ka izkek.;a Hkofr A ufUona fo#)e~ A ;|kÆks oÚk rL; okD;a oqðr% izek.ka u L;kr~ A ;ks xzUFkL; drkZ l vkReu% dr`ZRoL; Kkuk; fdefi izek.kkUrja ukis{krs A r=k rL; u dnkfpnfi izekn% lEHkofr A rLekRloks·Z fi

_XosnHkk”;e~ ¼2½

35

xz U Fkdkj vkReuks xz U Fkdr` Z R oL; Kkus fujis { kks oÚO;% LoxzUFkdj.kL; LokuqHkoxkspjRokr~ A ;fn l vkReuks ukeksnkgjfr dr`RZ osu xzUFks r£g ;FkkuqHkwrkFkZloa knh oÚO;% L;kr~ A rLeknkÆRoa iqjLÑR;kuqHkwrkuqokndRoa rL; fl/;rhfr psr~ A vkiëksrs% drZfj HkwrkFkZdÚizR;;s Ñr vkÆ bfr :ia Hkofr A v;a p ‘kCnkFkksZ fo”k;izkfÆi;ZUreso /kkofr u rnuqokfnRoi;ZUre~ A rkŸ’kkukekÆkuka okD;kfu lokZ.;fi uSo foÌluh;kfu A feF;kokfnRoL; p lEHkokr~ A izÑrs u o;ekf{kike vkÆokD;L; ewya Kkua Hkze& izeknkfnnks”knwf”kra Hkforqa ‘kD;fefr A bneso ’kƒkegs r}kD;a ;FkkuqHkwrlaokfn ok feF;k osfr A mHk;L;kfi lEHkokr~ A r|FkkuqHkwrlaok|sofs r fuËsraq oDrq£oÌluh;Roa fuËsraq oDrq£of’kÎ% ifjp;ks·isf{kr% A v;esrêkkesŸ’kxq.k bfr A rLeknfoKkrukeëks xzUFkdrqZoZpuknsosŸ’ks”kq lUnHksZ”kq u o;a fdefi fu/kkZjf;rqa ‘koëqðe% A uUosoa psæ?kqoa’kknhfu dkfynklkfndfoÑrkuhfr fu/kkZjf;rqeI;’kD;a L;kfnfr psr~ A fo”keks ŸÎkUr% A izek.kxzUFkks osn% A j?kqoa’kkn;% osðoya lkfgR;xzUFkk% A izek.kxzUFkkuka xkSjoa oDr`lkis{ke~ A lkfgR;xzUFkkuka u rFkk A iwoZnys drkZ xzUFkL; xkSjokfr’k;k; dL;fpnH;£grreL; uke dr`ZRosuksnkgjsfnfr ‘kfƒrqa ‘kD;e~ A uksÙkj=k A ‘kƒkgsrksjHkkokr~ A v=kkg A vLrq ‘kƒk& gsrq% A rFkkfi ukU;ks·U;kJ;ks nks”kLRo;k oDrqa ‘kD;% A vkÆokD;izkek.;kRdr`ZizR;;% A bZÌjokD;RokRizek.kizR;; bfr HksnL; ‘kƒkgsRouiks|Rokr~ A vkÆokD;izkek.; ,o fg ro ’k…k A ukÆokD;izkek.;su dr`ZizR;;s A ‘kƒkek=ka rq izkek.;a ukigUrqa ‘koëðksfr A ;fn Hkoku~ xzUFkdrqZoZŒdRoa fu/kkZjf;rqa ‘koëqð;kÙknk Hkorks oknks·LekuU;;k fo/k;k ck/ksr A osðoya Hkor%

36

Hkk”;xzUFkekyk

‘kƒ;k u dkfpnLekoað gkfu% A ,oa psUekLRoU;ks·U;kJ;% A osndr`&Z izR;k;d;ksokZD;;ks% lk{kkRijesÌja osndr`ZRosu leiZf;rqa ‘kfÚukZLrhfr czew % A d% lk{kkRijesÌj% A ;% ijes O;ksefu txrke~ v/;{k% l lk{kkRijesÌj% A vUr;kZfei;qnZ klk; rf}Hkwfri;qnZ klk; p lk{kkfnR;qfÚ% A eU=ks fojkV~iq#”kL; izLrqrRokRlosZ”kkefi nsfguka rnsdns’kRosu loZnsfgÑrks·fi xzUFkleqnk; bZÌjÑr bR;sosfr o.kZf;rqa ‘kD;s·fi eq[;RokŸxknhuka xzg.ke~ A d bo fojkV~iq#”kL; lk{kknhÌjL; p HksnLro Hkk”kk;ke~ A ¯d Roa fojkV~iq#”ka txrke~ v/;{kknU;a eU;ls A u A Hkk”kkHksnL; gsrqjs”k% A czàk.Mfof’kÎsÌj& foo{kk;ka fojkV~i#q ”k bfr funs’Z k% A ;Fkk ^^lgü’kh”kkZ iq#”k% lgük{k% lgüikr~ A l Hkw¯e foÌrks o`RokR;frÏí’kk…Ôye~ A** bR;knkS czàk.MkfHkekfunsorkReek=kfoo{kk;ka lk{kknhÌj bfr A ;Fkk A ^^;ks vL;k/;{k% ijes O;kseaRlks v… osn ;fn ok u osn A** bR;knkS mÙkjL;ke`fp p ^^rLeknÌk vtk;Ur ;s osð pksHk;knr% A xkoks g tfKjs rLekÙkLek‹kkrk vtko;% A** bfr lw;Zfdj.kchtdi`fFkoh izÑfrdkÌknhukeqRiknua fof’kÎi{k ,o l…PNrs A ukfHkekfu& ek=ki{ks A rLekRlk{kk‹kxrke/;{kks osnku~ ÑrokfuR;=k usna izek.ka Hkforqa ‘koëðksfr A czkà.ka fRorks·fi LiÎa fof’kÎL; izdj.ke~ voxE;rs A rL; iw.k± okD;fena fg Hkofr A ^^vL; egrks HkwrL; fuÌflresrŸXosnks ;tqosZn% lkeosnks·FkokZf…jl bfrgkl% iqjk.ka fo|k mifu”kn% Üyksdk% lw=kk.;uqO;k[;kukfu O;k[;kukU;L;SorS kfu lokZf.k fuÌflrkfu A** bfr A fdeqRl`Îe=k okÈe;s A izk;% loZehÌjdk;ZRos uksÚe~ A fdfena czkà.kopua iqjk.ksfrgkl--- A vlekÆfena Hkk”;e~

_XosnHkk”;e~ ¼3½

37

okflÏx.kifregkeqfuiz.khre~

_XosnHkk”;e~ ¼3½

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38

Hkk”;xzUFkekyk

efrfHkxksZrekl% A** bfr xkSreL; uks/kl vk”ksZ A ^^vfHkRok xksrek fxjk tkrosnks fop”kZ.ks A |qeëSjfHkiz.kksuqe%A** bfr xksreLFkk”ksZ A ^^vga izÃsu eUeuk fxj% ‘kqEHkkfe d.oor~ A** bfr dk.oL; oRlL;k”ksZ A ^^vklqXE;k; lqXE;a izkrkjFksukfÌuk ok l{k.kh gqos firso lksHkjh A** bfr lksHk;kZ vk”ksZ A ^^firq;RZ iq=kks ee dL; tk;rs**A bfr fgj.;LrwiL;k”ksZ A ^^xHksZuqlêos”kkeosnega nsokuka tfuekfu foÌk** bfr okensoL;k”ksZ A vU;‰kkfLr A eU=ks”kq ;kU;kRe& lEcks/kukfu ŸÜ;Urs rkfu rÙkŸf”kfHkjsokuq;fUrA eU=ks”ogeFkZ& LrÙkŸf”kfHkjsokUosrhR;=ksnefi izcya fy…e~A v=ksekfu dkfu& fpnqnkgj.kkfuA ^^uks/k% lqo`¯Ú izHkjk e#n~H;%**A bfr uks/kl vk”ksZ A ^^bUæa le;sZ eg;k oflÏ** bfr oflÏL;k”ksZA ^^,ok uwueqiLrqfg oS;Ìn’kea uoe~A** bfr oS;ÌL; foÌeul vk”ksZ A foHkwrjk¯r foizfp=k’kksfp”kefxëehfG”o;Urqje~ A vL; es/kL; lksE;L; lksHkjs izse/ojk; iwO;Ze~A** bfr lksHkjsjk”ksZ A ^^rLeS uwuefHk|os okpk fo:i fuR;;k A o`”.ks pksnLo lqÎqfre~A** bfr fo:iL;k”ksZ A v=k fo:i fuR;;sfr }s ins A rFkk i`FkDinikBn’kZukr~ A vfi p eU=ks”kq ijks{kjhR;k izFkeiq#”ks.k rÙkŸ”kh.kka ukeyk×Nukfu cgq”kq LFkys”kq ŸÜ;Urs A rnfi eU=kk.kkeikS#”ks;Rofojks/ksuk”kZRos izcya fy…e~ A v=ksekfu dkfufpnqnkgj.kkfuA ^^’kqu%’ksiks áã™`Hkhrfý”okfnR;a æqins”kq c)%A** bfr ‘kqu%’ksiL;k”ksZ A ^^;e¯xë es/;kfrfFk% d.o bZ/k_rknf/kA** bfr d.oL;k”ksZ A ^^fiz;es/konf=ko‹kkrosnks fo:ior~A vf…jLoUefgozrizLd.oL; Jq/kh goe~A** bfr izLd.oL;k”ksZA ^^voho`/kUrxksrek bUæRos Lrkseokgl%**A bfr xkSreL; okensoL;k”ksZA ^^,rÙ;Ùk bUæ o`”.k mDFka ok”kkZfxjk vfHkx`.kfUrjk/k% A _tzkÌ% izfÎfHkjEcjh”k% lgnsoks Hk;eku%

_XosnHkk”;e~ ¼3½

39

lqjk/kk%A** bfr ok”kkZfxjk.kke`tkz ÌkEcjh”klgnsoHk;ekulqjk/klkek”ksAZ ^^fnoksnklsfHkfjUæLrokuks oko`/khFkk vgksfHkfjo |kS%A** bfr nSoksnkls% i#PNsiL;k”ksZ A nh?kZrekekers ;ks tqtqokZUn’kes ;qxs A vikeFk± ;rhuka czàk Hkofr lkjfFk%A** bfr nh?kZrel vk”ksZ A ^^egka bUæks ; vkstlk itZU;ks o`fÎeka boA LrkseSoZRlL; oko`/ksA** bfr oRlL;k”ksZA ^^vxës ;kfg e#Rl[kk #æsfHk% lkseihr;s A lksHk;kZ milqίq r ekn;Lo Lo.kZjs A** bfr lksHk;kZ vk”ksZ A ^^’kra ok ;nlq;ZizfrRoklqfe=k bRFkkLrkSí£q e=k bRFkkLrkSr~ A vkoks ;íL;qgR;s oqðRliq=ka izkoks;íL;qgR;s oqðRloRle~ A** bfr dkSRlL; xq.kr% lqfe=kL; ukerks nq£e=kL;k”ksZA _”kh.kkekReLrqr;ËkikS#”ks;Roizfrowðyk% A vfuR;kFkZla;ksxË osnkukeikS#”ks;RooknL; furkUra izfrowðy% A v=k r=kHkoku~ iwoeZ hekalkHkk”;dkjks ccj% izkokgf.kfjR;soða ina ok;qijr;k O;k[;k; ÑrkFkZ e kRekua eU;ekuks fuËØke A lfUr ij%lgükf.k osns”ofuR;O;fÚokpdkfu inkfu A ;Fkk izkxqnkärs”kq eU=ks”kq xksreknhfu inkfu A vU;kfu p dkfufpRiznÜ;ZUrs czkà.kLFkkfu A Hk`xoq kZ#f.k% lR;opk jkFkhrj%] riksfuR;% ikS#f’kfÎ%] ukdks ekS™Y;%] f’kyd% ’kkykoR;%] pSfdrk;uks nkYH;%] izokg.kks tSofy%] m”kfLrËkØk;.k%] tkuJqfrikS=kk;.k%] l;qXokjSDo%] ‘kkSud% dkis;%] vfHkizrkjhdk{klsfu%] gkfjæqerks xkSre%] lR;dkeks tkcky%] midksly% dkeyk;u%] vk#f.k#íkyd%] Ìsrosðrq%] izkphu’kky vkSieU;o%] lR;;K% ikSyfq ”k%] bUæ|qekë s HkkÉos;%] tu%’kkoZðjk{;%] cqfMy vkÌrjkfÌ%] vÌifr% oSðd;%] ;kKoYD;%] eS=ks;h] ŸÆckykfdxkZX;Z%] vtkr’k=kq% dkÜ;%] tudks oSnsg%] vkÌy%] tkjRdkrZo vkrZHkkx%] HkqT;qykZák;fu%] dgksG% dkS”khrosð;%] xkxhZ okpoëðoh] fonX/k’kkdY;%] fiIiykn%] lqosð’kk Hkkj}kt%] ‘kSC;%

40

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