AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
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The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
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Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
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First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing

A little Indian temple in the Golden Age. Around it a garden;
around that the forest.  Anashuya, the young priestess, kneelinq
within the temple.
Anashuya. Send peace on all the lands and flickering
corn.  --
O, may tranquillity walk by his elbow
When wandering in the forest, if he love
No other.  -- Hear, and may the indolent flocks
Be plentiful.  -- And if he love another,
May panthers end him.  -- Hear, and load our king
With wisdom hour by hour.  -- May we two stand,
When we are dead, beyond the setting suns,
A little from the other shades apart,
With mingling hair, and play upon one lute.
Vijaya [entering and throwing a lily at her]. Hail! hail, my
Anashuya.
Anashuya. No:  be still.
I, priestess of this temple, offer up
prayers for the land.
Vijaya.  I will wait here, Amrita.
Anashuya. By mighty Brahma's ever-rustling robe,
Who is Amrita? Sorrow of all sorrows!
Another fills your mind.
Vijaya. My mother's name.
Anashuya [sings, coming out of the temple].
A sad, sad thought went by me slowly:
Sigh, O you little stars.! O sigh and shake your blue
apparel.!
The sad, sad thought has gone from me now wholly:
Sing, O you little stars.! O sing and raise your rapturous
carol
To mighty Brahma, be who made you many as the sands,
And laid you on the gates of evening with his quiet hands.
(Sits down on the steps of the temple.)
Vijaya, I have brought my evening rice;
The sun has laid his chin on the grey wood,
Weary, with all his poppies gathered round him.
Vijaya. The hour when Kama, full of sleepy laughter,
Rises, and showers abroad his fragrant arrows,
Piercing the twilight with their murmuring barbs.
Anashuya. See-how the sacred old flamingoes come.
Painting with shadow all the marble steps:
Aged and wise, they seek their wonted perches
Within the temple, devious walking, made
To wander by their melancholy minds.
Yon tall one eyes my supper; chase him away,
Far, far away.  I named him after you.
He is a famous fisher; hour by hour
He ruffles with his bill the minnowed streams.
Ah! there he snaps my rice.  I told you so.
Now cuff him off.  He's off! A kiss for you,
Because you saved my rice.  Have you no thanks?
Vijaya [sings].  Sing you of her, O first few stars,
Whom Brahma, touching with his finger, praises, for you
hold
The van of wandering quiet; ere you be too calm and old,
Sing, turning in your cars,
Sing, till you raise your hands and sigh, and from your car-
heads peer,
With all your whirling hair, and drop many an azure tear.
Anashuya. What know the pilots of the stars of tears?
Vijaya. Their faces are all worn, and in their eyes
Flashes the fire of sadness, for they see
The icicles that famish all the North,
Where men lie frozen in the glimmering snow;
And in the flaming forests cower the lion
And lioness, with all their whimpering cubs;
And, ever pacing on the verge of things,
The phantom, Beauty, in a mist of tears;
While we alone have round us woven woods,
And feel the softness of each other's hand,
Amrita, while -- -
Anashuya [going away from him].
Ah me! you love another,
[Bursting into tears.]
And may some sudden dreadful ill befall her!
Vijaya.  I loved another; now I love no other.
Among the mouldering of ancient woods
You live, and on the village border she,
With her old father the blind wood-cutter;
I saw her standing in her door but now.
Anashuya. Vijaya, swear to love her never more.
Vijaya. Ay, ay.
Anashuya. Swear by the parents of the gods,
Dread oath, who dwell on sacred Himalay,
On the far Golden peak; enormous shapes,
Who still were old when the great sea was young;
On their vast faces mystery and dreams;
Their hair along the mountains rolled and filled
From year to year by the unnumbered nests
Of aweless birds, and round their stirless feet
The joyous flocks of deer and antelope,
Who never hear the unforgiving hound.
Swear!
Vijaya. By the parents of the gods, I swear.
Anashuya [sings]. I have forgiven, O new star!
Maybe you have not heard of us, you have come forth so
newly,
You hunter of the fields afar!
Ah, you will know my loved one by his hunter's arrows
truly,
Shoot on him shafts of quietness, that he may ever keep
A lonely laughter, and may kiss his hands to me in sleep.
Farewell, Vijaya.  Nay, no word, no word;
I, priestess of this temple, offer up
Prayers for the land.
[Vijaya goes.]
O Brahma, guard in sleep
The merry lambs and the complacent kine,
The flies below the leaves, and the young mice
In the tree roots, and all the sacred flocks
Of red flamingoes; and my love, Vijaya;
And may no restless fay with fidget finger
Trouble his sleeping:  give him dreams of me.

Brahma no piensa: pensar limita.
Brahma no es bueno ni malo, pues
las cualidades en su infinita
substancia huelgan. Brahma es lo que es.
Brahma, en un éxtasis perenne, frío,
su propia esencia mirando está.
Si duerme, el Cosmos torna al vacío;
¡mas, si despierta, renacerá!

Muse of my native land! loftiest Muse!
O first-born on the mountains! by the hues
Of heaven on the spiritual air begot:
Long didst thou sit alone in northern grot,
While yet our England was a wolfish den;
Before our forests heard the talk of men;
Before the first of Druids was a child;--
Long didst thou sit amid our regions wild
Rapt in a deep prophetic solitude.
There came an eastern voice of solemn mood:--
Yet wast thou patient. Then sang forth the Nine,
Apollo's garland:--yet didst thou divine
Such home-bred glory, that they cry'd in vain,
"Come hither, Sister of the Island!" Plain
Spake fair Ausonia; and once more she spake
A higher summons:--still didst thou betake
Thee to thy native hopes. O thou hast won
A full accomplishment! The thing is done,
Which undone, these our latter days had risen
On barren souls. Great Muse, thou know'st what prison
Of flesh and bone, curbs, and confines, and frets
Our spirit's wings: despondency besets
Our pillows; and the fresh to-morrow morn
Seems to give forth its light in very scorn
Of our dull, uninspired, snail-paced lives.
Long have I said, how happy he who shrives
To thee! But then I thought on poets gone,
And could not pray:--nor can I now--so on
I move to the end in lowliness of heart.----

  "Ah, woe is me! that I should fondly part
From my dear native land! Ah, foolish maid!
Glad was the hour, when, with thee, myriads bade
Adieu to Ganges and their pleasant fields!
To one so friendless the clear freshet yields
A bitter coolness, the ripe grape is sour:
Yet I would have, great gods! but one short hour
Of native air--let me but die at home."

  Endymion to heaven's airy dome
Was offering up a hecatomb of vows,
When these words reach'd him. Whereupon he bows
His head through thorny-green entanglement
Of underwood, and to the sound is bent,
Anxious as hind towards her hidden fawn.

  "Is no one near to help me? No fair dawn
Of life from charitable voice? No sweet saying
To set my dull and sadden'd spirit playing?
No hand to toy with mine? No lips so sweet
That I may worship them? No eyelids meet
To twinkle on my *****? No one dies
Before me, till from these enslaving eyes
Redemption sparkles!--I am sad and lost."

  Thou, Carian lord, hadst better have been tost
Into a whirlpool. Vanish into air,
Warm mountaineer! for canst thou only bear
A woman's sigh alone and in distress?
See not her charms! Is Phoebe passionless?
Phoebe is fairer far--O gaze no more:--
Yet if thou wilt behold all beauty's store,
Behold her panting in the forest grass!
Do not those curls of glossy jet surpass
For tenderness the arms so idly lain
Amongst them? Feelest not a kindred pain,
To see such lovely eyes in swimming search
After some warm delight, that seems to perch
Dovelike in the dim cell lying beyond
Their upper lids?--Hist!             "O for Hermes' wand
To touch this flower into human shape!
That woodland Hyacinthus could escape
From his green prison, and here kneeling down
Call me his queen, his second life's fair crown!
Ah me, how I could love!--My soul doth melt
For the unhappy youth--Love! I have felt
So faint a kindness, such a meek surrender
To what my own full thoughts had made too tender,
That but for tears my life had fled away!--
Ye deaf and senseless minutes of the day,
And thou, old forest, hold ye this for true,
There is no lightning, no authentic dew
But in the eye of love: there's not a sound,
Melodious howsoever, can confound
The heavens and earth in one to such a death
As doth the voice of love: there's not a breath
Will mingle kindly with the meadow air,
Till it has panted round, and stolen a share
Of passion from the heart!"--

                              Upon a bough
He leant, wretched. He surely cannot now
Thirst for another love: O impious,
That he can even dream upon it thus!--
Thought he, "Why am I not as are the dead,
Since to a woe like this I have been led
Through the dark earth, and through the wondrous sea?
Goddess! I love thee not the less: from thee
By Juno's smile I turn not--no, no, no--
While the great waters are at ebb and flow.--
I have a triple soul! O fond pretence--
For both, for both my love is so immense,
I feel my heart is cut in twain for them."

  And so he groan'd, as one by beauty slain.
The lady's heart beat quick, and he could see
Her gentle ***** heave tumultuously.
He sprang from his green covert: there she lay,
Sweet as a muskrose upon new-made hay;
With all her limbs on tremble, and her eyes
Shut softly up alive. To speak he tries.
"Fair damsel, pity me! forgive that I
Thus violate thy bower's sanctity!
O pardon me, for I am full of grief--
Grief born of thee, young angel! fairest thief!
Who stolen hast away the wings wherewith
I was to top the heavens. Dear maid, sith
Thou art my executioner, and I feel
Loving and hatred, misery and weal,
Will in a few short hours be nothing to me,
And all my story that much passion slew me;
Do smile upon the evening of my days:
And, for my tortur'd brain begins to craze,
Be thou my nurse; and let me understand
How dying I shall kiss that lily hand.--
Dost weep for me? Then should I be content.
Scowl on, ye fates! until the firmament
Outblackens Erebus, and the full-cavern'd earth
Crumbles into itself. By the cloud girth
Of Jove, those tears have given me a thirst
To meet oblivion."--As her heart would burst
The maiden sobb'd awhile, and then replied:
"Why must such desolation betide
As that thou speakest of? Are not these green nooks
Empty of all misfortune? Do the brooks
Utter a gorgon voice? Does yonder thrush,
Schooling its half-fledg'd little ones to brush
About the dewy forest, whisper tales?--
Speak not of grief, young stranger, or cold snails
Will slime the rose to night. Though if thou wilt,
Methinks 'twould be a guilt--a very guilt--
Not to companion thee, and sigh away
The light--the dusk--the dark--till break of day!"
"Dear lady," said Endymion, "'tis past:
I love thee! and my days can never last.
That I may pass in patience still speak:
Let me have music dying, and I seek
No more delight--I bid adieu to all.
Didst thou not after other climates call,
And murmur about Indian streams?"--Then she,
Sitting beneath the midmost forest tree,
For pity sang this roundelay------

          "O Sorrow,
          Why dost borrow
The natural hue of health, from vermeil lips?--
          To give maiden blushes
          To the white rose bushes?
Or is it thy dewy hand the daisy tips?

          "O Sorrow,
          Why dost borrow
The lustrous passion from a falcon-eye?--
          To give the glow-worm light?
          Or, on a moonless night,
To tinge, on syren shores, the salt sea-spry?

          "O Sorrow,
          Why dost borrow
The mellow ditties from a mourning tongue?--
          To give at evening pale
          Unto the nightingale,
That thou mayst listen the cold dews among?

          "O Sorrow,
          Why dost borrow
Heart's lightness from the merriment of May?--
          A lover would not tread
          A cowslip on the head,
Though he should dance from eve till peep of day--
          Nor any drooping flower
          Held sacred for thy bower,
Wherever he may sport himself and play.

          "To Sorrow
          I bade good-morrow,
And thought to leave her far away behind;
          But cheerly, cheerly,
          She loves me dearly;
She is so constant to me, and so kind:
          I would deceive her
          And so leave her,
But ah! she is so constant and so kind.

"Beneath my palm trees, by the river side,
I sat a weeping: in the whole world wide
There was no one to ask me why I wept,--
          And so I kept
Brimming the water-lily cups with tears
          Cold as my fears.

"Beneath my palm trees, by the river side,
I sat a weeping: what enamour'd bride,
Cheated by shadowy wooer from the clouds,
        But hides and shrouds
Beneath dark palm trees by a river side?

"And as I sat, over the light blue hills
There came a noise of revellers: the rills
Into the wide stream came of purple hue--
        'Twas Bacchus and his crew!
The earnest trumpet spake, and silver thrills
From kissing cymbals made a merry din--
        'Twas Bacchus and his kin!
Like to a moving vintage down they came,
Crown'd with green leaves, and faces all on flame;
All madly dancing through the pleasant valley,
        To scare thee, Melancholy!
O then, O then, thou wast a simple name!
And I forgot thee, as the berried holly
By shepherds is forgotten, when, in June,
Tall chesnuts keep away the sun and moon:--
        I rush'd into the folly!

"Within his car, aloft, young Bacchus stood,
Trifling his ivy-dart, in dancing mood,
        With sidelong laughing;
And little rills of crimson wine imbrued
His plump white arms, and shoulders, enough white
        For Venus' pearly bite;
And near him rode Silenus on his ***,
Pelted with flowers as he on did pass
        Tipsily quaffing.

"Whence came ye, merry Damsels! whence came ye!
So many, and so many, and such glee?
Why have ye left your bowers desolate,
        Your lutes, and gentler fate?--
‘We follow Bacchus! Bacchus on the wing?
        A conquering!
Bacchus, young Bacchus! good or ill betide,
We dance before him thorough kingdoms wide:--
Come hither, lady fair, and joined be
        To our wild minstrelsy!'

"Whence came ye, jolly Satyrs! whence came ye!
So many, and so many, and such glee?
Why have ye left your forest haunts, why left
        Your nuts in oak-tree cleft?--
‘For wine, for wine we left our kernel tree;
For wine we left our heath, and yellow brooms,
        And cold mushrooms;
For wine we follow Bacchus through the earth;
Great God of breathless cups and chirping mirth!--
Come hither, lady fair, and joined be
To our mad minstrelsy!'

"Over wide streams and mountains great we went,
And, save when Bacchus kept his ivy tent,
Onward the tiger and the leopard pants,
        With Asian elephants:
Onward these myriads--with song and dance,
With zebras striped, and sleek Arabians' prance,
Web-footed alligators, crocodiles,
Bearing upon their scaly backs, in files,
Plump infant laughers mimicking the coil
Of ******, and stout galley-rowers' toil:
With toying oars and silken sails they glide,
        Nor care for wind and tide.

"Mounted on panthers' furs and lions' manes,
From rear to van they scour about the plains;
A three days' journey in a moment done:
And always, at the rising of the sun,
About the wilds they hunt with spear and horn,
        On spleenful unicorn.

"I saw Osirian Egypt kneel adown
        Before the vine-wreath crown!
I saw parch'd Abyssinia rouse and sing
        To the silver cymbals' ring!
I saw the whelming vintage hotly pierce
        Old Tartary the fierce!
The kings of Inde their jewel-sceptres vail,
And from their treasures scatter pearled hail;
Great Brahma from his mystic heaven groans,
        And all his priesthood moans;
Before young Bacchus' eye-wink turning pale.--
Into these regions came I following him,
Sick hearted, weary--so I took a whim
To stray away into these forests drear
        Alone, without a peer:
And I have told thee all thou mayest hear.

          "Young stranger!
          I've been a ranger
In search of pleasure throughout every clime:
          Alas! 'tis not for me!
          Bewitch'd I sure must be,
To lose in grieving all my maiden prime.

          "Come then, Sorrow!
          Sweetest Sorrow!
Like an own babe I nurse thee on my breast:
          I thought to leave thee
          And deceive thee,
But now of all the world I love thee best.

          "There is not one,
          No, no, not one
But thee to comfort a poor lonely maid;
          Thou art her mother,
          And her brother,
Her playmate, and her wooer in the shade."

  O what a sigh she gave in finishing,
And look, quite dead to every worldly thing!
Endymion could not speak, but gazed on her;
And listened to the wind that now did stir
About the crisped oaks full drearily,
Yet with as sweet a softness as might be
Remember'd from its velvet summer song.
At last he said: "Poor lady, how thus long
Have I been able to endure that voice?
Fair Melody! kind Syren! I've no choice;
I must be thy sad servant evermore:
I cannot choose but kneel here and adore.
Alas, I must not think--by Phoebe, no!
Let me not think, soft Angel! shall it be so?
Say, beautifullest, shall I never think?
O thou could'st foster me beyond the brink
Of recollection! make my watchful care
Close up its bloodshot eyes, nor see despair!
Do gently ****** half my soul, and I
Shall feel the other half so utterly!--
I'm giddy at that cheek so fair and smooth;
O let it blush so ever! let it soothe
My madness! let it mantle rosy-warm
With the tinge of love, panting in safe alarm.--
This cannot be thy hand, and yet it is;
And this is sure thine other softling--this
Thine own fair *****, and I am so near!
Wilt fall asleep? O let me sip that tear!
And whisper one sweet word that I may know
This is this world--sweet dewy blossom!"--Woe!
Woe! Woe to that Endymion! Where is he?--
Even these words went echoing dismally
Through the wide forest--a most fearful tone,
Like one repenting in his latest moan;
And while it died away a shade pass'd by,
As of a thunder cloud. When arrows fly
Through the thick branches, poor ring-doves sleek forth
Their timid necks and tremble; so these both
Leant to each other trembling, and sat so
Waiting for some destruction--when lo,
Foot-fe

If the red slayer think he slays,
Or if the slain think he is slain,
They know not well the subtle ways
I keep, and pass, and turn again.
Far or forgot to me is near,  
Shadow and sunlight are the same,
The vanished gods to me appear,
And one to me are shame and fame.

They reckon ill who leave me out;
When me they fly, I am the wings;
I am the doubter and the doubt,
And I the hymn the Brahmin sings.

The strong gods pine for my abode,
And pine in vain the sacred Seven;
But thou, meek lover of the good!
Find me, and turn thy back on heaven.

Brahma
BY RALPH WALDO EMERSON
If the red slayer think he slays,
      Or if the slain think he is slain,
They know not well the subtle ways
      I keep, and pass, and turn again.

Far or forgot to me is near;
      Shadow and sunlight are the same;
The vanished gods to me appear;
      And one to me are shame and fame.

They reckon ill who leave me out;
      When me they fly, I am the wings;
I am the doubter and the doubt,
      I am the hymn the Brahmin sings.

The strong gods pine for my abode,
      And pine in vain the sacred Seven;
But thou, meek lover of the good!
      Find me, and turn thy back on heaven.

The Saga of battle face off between Arjuna & Karna.
Karna gets the Naga ashtra from the Lord Brahma.
The Naga ashtra arrow is set to hit the target without miss.

Arjun Chariot is Guided by Lord Krishna.
Arjun & Karna face to battle for the survival for the supremacy
Battle of best in the Kurukshetra between karna & Arjun
Arjun is know as the Best in the Bow.

But while the situation is different with karna with Naga Ashtra arrow.
Force of Arrow from bow making huge noise of impact in the wind.
With every arrow from bow of both are hitting in the mid air & collapsing

Karna lefts the Arrow of Naga ashtra & prays the Slogan to be effective
Arjun no answer to the arrow of Naga
Keeps quite & focus towards Lord Krishna
Lord krishna smiling replies to bow
Arjuna replies with angry Iam an Hero & can face with my Bow.
Karna with Big laughter speeds the Arrow of Naga towards Arjun.
The Naga Ashtra is a Destruction weapon in the world.
Naga Ashtra targets the Head of the Arjuna
Lord Krishna pushes the chariot by his thumb towards down earth

Arrow of Naga is straight towards Arjuna Head.
Lord Krishna Commands to bow the head down
Arjuna does so the arrow is supposed to hit the head with out miss.


Arrow is will not stop without hitting head.
Karana is eager to celebrate the Victory of best in Kurushetra
Lord Krishna hears the sound of hitting head
& Turns to see the What happened?

Lord Krishna says yes the arrow hit the head
Arjuna replies Lord Iam safe
According to Shastra Naga Ashtra hit the Head of Chariot
Karana will not able to reuse the Ashtra of Naga
as it has hit the Head of Chariot.
By this Arjuna Leaps wider angle to arrow the Bow
& the Bow lands on Karana chest.
The Battle of Big is won by Arjun in the period of Kurushetra.
Yours
Shankar Pattabi

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
T­his poem is self translated version of my Hindi language poem titled "शिव लीला" published in pratilipi on (June. 2018) Can be read through the link ==>> https://bit.ly/2Z9Z57t
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^­^^^^^^

His neck has entirely turned blue due to Kalkoot, This is just a Leela of Shiva
He has taken everyone's pain and sorrow for the betterment of the world

He is the keeper of all the three loka's and also called as Trilokinath
He hold the holy Ganga in his locks, but do not drinks a drop from it

He sits on the yellow Tiger skin mat and keeps meditating for years to come
He satiates hunger by Datura and Madaar and drinks Bhang to quench thirst

He has a marvellous third eye through which all the three lokas are visible
Sitting in the Mahayoga posture, He keeps on concentrating and meditating

Brahma and Vishnu also bows before him with respect and feels blessed
Such a beautiful holy Leela of Shiva.  Nothing else but Shiva's holy Leela

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^­^^^^^

Kalkoot(Line 1): A poison generated due to Samudra Manthan ( The Churning of the Ocean by Devtas[Gods] and Asuras[Demons] )
Leela(Line 1): "Divine Play" (Just a pastime)
Shiva(Line 1): A God (The Destroyer) in Hindu Mythology

Loka(Line 3): Three three different worlds/realms. Swargaloka, the land of gods; Mrityuloka, the middle kingdom of men; and Pataloka, home of the Asuras, the fallen gods, and demons.
Trilokinath(Line 3): The Lord of the Three world/realms.

Ganga (Line 4): The Holy river whose flow and speed is controlled by the locks (Jatas - The thick hair strands) of Lord Shiiva

Datura and Madaar (Line 6): Poisonous plants (Datura stramonium and Calotropis gigantean)
Bhang (Line 6): Poisonous plants (Cannabis Plant)
Mahayoga (Line 8): Also called as Mahamudra – The Great Gesture (a posture for meditating)

Onam Reminds



Onam reminds me of the venomous mind

That overthrew  a just ,kind king ,unkind

Aryan imperialism subjugating the Dravid

The white over the black , dark apartheid



Justice of the black is unjust for the white

A matter of jealousy, dissatisfaction and fight.

For the British, Indians were raw to be refined

As Allopaths frown upon Ayurvedics  as bad.



But, what is the truth? think of the covered past

Weigh evidences: from history, literature and art

Of all non-whites; really, they were and are super

In many respects, hence, awake from your stupor.



India shall not be a kite of any ruler outside

No race is Blessed to override anyone beside;

Almighty considers all equals - by their deeds

It is That, that fosters all by weighing our deeds.



When greed of man rudely jeopardizes the Nature

Nature jeopardizes human life, making a fracture.

Torrential rain or draught is a positive measure

Applied by It on earth (as earth-quake) to treasure.



Man like Vamana  tries to grow and measure the earth

Other planets ,heaven or hell to exploit Nature’s wealth

As Jehovah ,the Almighty, Brahma, or Allah, the Cause

Of that Pulsation is everywhere, beware man! and pause!

Since our political system has been laid bare, after RumputiN was installed
in the Blackhouse, it's beautiful complex of lack of complexity, in a word,
conspiracy of conspiracies, has moved me and "...we(e),..." to have as a few
of my favorite things be far more reaching questions, out of necessity. Like,
without acknowledging, and demanding others do the same, that it's been
purposely engineered to be a criminal injustice system instead, how can one
even have a real conversation that would lead to potential for real change
of it taking place in reality, if you don't know who you were, where you've
been, how on God's green Earth can you expect to know who..., where you are
and what's going on, necessary to start thinking about changing anything,
even yourself, as well as directing who you will be and where you will
be going, etc.?  Swine slaughtering lower-middle-class to poor men en masse,
mostly of color, instead of just doing the usual liquidation of their ases
and assets, are just serial murderers masquerading as cops, and what goes
around comes around, no?  If you're not taking bullets you're making them.  
Also, people are fed up with felonious RumputiN and his rootin' tootin'
organized crime family spree from the Blackhouse, which should be prosecuted
using the RICO Statute instead of just being elaborately covered up by Mueller
for he's not using it and he's handing out immunities like soldiers candy to
Iraqi kids, duh.  I would add some salient pointless points, beyond the 'empty
boat' of Zen, and 'useless tree' of the Tao, we can understand the burden
placed on our shoulders by our ancestry not exercising their responsibilities
as they should have, and thereby it's Siamese twin sisters, their freedoms,
Withered like unused muscles as well, as a panultimate challenge, saving
humanity, literally. Also, understanding Jung's "80 % of all actions, thoughts,
feelings we have, that we acknowledge, or don't, perceive or don't, are
compensatory towards our pasts", necessitates an integral understanding of
Satre's existentialism' meaning of angst, as experience integral to life, not
opposed to it, but, rather, central to it, and a nexus of it.  This is more
than an embracing of gestalt's, Perls', moment, now. Moving away from sophist
perspective, we also experience the meaning of life is struggle, which comes
through all our meaningful work, succinctly. Further, what is life beyond that
foci is also, the where, when, who, how, and sometimes why too (but never Y2K)
of life; beyond our masks and ego fulfilling stories, schtick, lines, etc..
Do we struggle, not just as lifelong students, with the impossible, not just
the improbable.  Yet, it's actually more layered than that in a much larger
dimensional paradigm than 4 dimensions.  Yes, the effects of our causes in any
action usually have effects that undo our causes as we act them out, intend,
present them, etc..  Yet, those more superficial, linear, first conclusion
layers are not less effective, per se, as the complexity of Karma, Dharma are
beyond our normal comprehension. What is the root of thought, feeling, the root
of feeling, being, the root of being, the extent to which we struggle with what
it is, no?  For, as the following twig of poetree gleans: Soul//
As my breath
is the one, prana,/
And the life's pulse, pala,/
Reaching angelic source, sura,/

So is this mind, manas, a
/  Flowering unfoldment,
/ Unendingly touching
/ The eye
that would it see,/  
Unbeckoning unto thee./
As well, this Bodhi, a temple,/

Of the four and fifth, nur,/  
So entered by atma, a ray of thy sun,/  
Thus being
winged, and
/  As such with wind,/
Flying only in dharma's dance,/
Is returning
to, Brahma, you./  For, there yet, by thy grace, go I./  
We are not who we think
we are, we are, rather, the extent to which we struggle to evolve to be some-
things, spirit, soul, Bodhi, etc., on the path of study that could and should
be one, you, me, forever asked and never answered.  Yet, even if we lived as
prayer, our light only adding to the well of light, our every step in grace,
leaving no footprints that followed none, echoing in all ways, always,
sometimes, like pulling teeth, "...we(e),...", must stalk our words from our
insides 'til we wrangle them, like cats, to the tip of our tongues, no?  For,
"Words weren't meant for cowards..." and we must "be brave...", Happy Rhodes.
We can't allow ourselves the luxury of taking our supposedly 'golden silence'
all the way to the bank, as your average bear does.  These are the end times,
we successfully struggle, to abolish global defacto-slavery by the non-renew-
able energies' corporate structure's machine and it's convolution, against
the global oligarchy's premeditated mass-****** of 7.5 billion people, or
humanity's extinct.  Gandhi, "(supposed) science is the root of all opression"
and, "...we(e),..." must be the change we want in the world".  Is not life
relation, are we not responsible for one another, are not all threads in
the fabric of life needed, as is the evoliutionary ones' mendings, for we
can't allow it to be torn asunder?  If not here, then where, if not now, when,
not you, who? Viva la evolucion.  Indivisible, illimitable you, GOTV.

God loves, sustains
and protects
all of His devotees
regardless of the
name chosen
to praise Him

inside my global prayer wheel
all the names of God
are humming

I am Allah, I am Jesus
I am Krishna, I am Buddha
I am Jehova, I am Jah,
I am Durga, I am Ahura Mazda
I am Quan Yin, I am Mother Mary,
I am Lakshmi, I am Shiva, I am Brahma
I am, I am, I am, I am, I am, I am....
...................You

I hate the beach
I'm eighty six and I hate the beach
Hate the sand, not a fan of the surf
Face it, I hate the beach
Last time I went there
I had just turned 18 years old
June sixth, Nineteen Hundred Forty Four
God, I hate the beach
I was in the 5th Regiment
Régiment de Maisonneuve
and I've never been to a beach since
I'm from Verdun, Quebec, Canada
Not many beaches around there
Thank the lord for that I say
We'd been training for six months
Operation Overlord it was called
We were coming in on troop carriers
It was to be a beach head landing
I'd never seen a beach before
At least not for real
Never want to see another
We arrived early June 6, 1944
I think I said that already
You must forgive me,
I'm 86 years old and I hate the beach
fourteen thousand Canadian Troops
Bursting out of armoured troop ships
Like, the young, virile, brahma bulls we were
Coming in, all I could hear was the waves
I was in front, well...close to the front
I remember, there were no birds
who ever heard of that?
A beach with no birds
At least not at this beach
I could smell the salt in the air
And I knew I could hear the surf
And my heart, I could **** well hear that
But, no birds, I couldn't hear the birds
Gunfire, nope...cannons and mortars
But birds and guns, not a sound
Weird huh?
I remember running forward
Always forward, past blocks
Wood barricades and barbed wire
And bodies, lots of bodies
I knew that I knew some of them
I just didn't have time to stop
And say goodbye,
I just ran
Emptied my weapon at least once
I only know this, because it was empty
when I hit the beach
God, I hate the beach
You know in the movies
or in those flowery books
where they talk about someone being shot
and how "there was a bloom or
they're chest flowered red where they were hit"
I never saw that, never looked back
Just ran forward, saw the "bloom" in their backs
Don't like red, or flowers or the beach
I don't remember much after that
Could still hear my heart
That's a good thing, I guess
I got tore up good with the wire
but I never got shot
Never, "bloomed" for anyone
A few of my buddies were lost
I toast them every year
Never at the beach though
I hate the beach
Wife and kids used to go
I never did, never will
I remember the 50th anniversary though
Wife and kids went back
Not me,
Went into Montreal to see a ball game
Montreal Expos 10, Houston Astros 5
I remember Will Cordero hitting a homer
It was the sixth inning, I toasted the hit
I thought about that day 50 years before
And went back to watching the game
I hate the beach
My name is Gilles Roquefort
I'm eight six years old
And I can still feel the sand and taste the salt
On a bad day.

We walked along the left bank of the holiest river in the world
as the sun kissed the hazy emerald sky into morning,
and I watched as an old man padded barefoot to the water's edge,
dawn in his collarbone,
bending with brittle bones to say prayers for the new day.

At first glance,
the river is thick and murky,
garbage entwined in its current like rings on crooked fingers
and I listened to the winces of the rest of my group members--
no Americans with Western Sensibilities would find divinity
in its sewage runoff and fish corpses.

But Holy is subjective.
Found not only in church pews and rosaries.

Hindu religion is composed of 3 cycles representing the stages of life:
Brahma is the creator,
Vishnu the protect,
and Shiva the destroyer,
without one stage there cannot be another
with creation comes the inevitability of destruction
and we walked through that early morning mist
past the cremation fires kept lit for centuries
because to have your body turned to dust on these banks
is to achieve eternal salvation,
to die and then be reborn into light
with the presence of death comes the beginnings of life
don't tell me there isn't divinity in this.

As the sun grew bigger, I waltzed.

Past the women doing washing in the river
saris glimmering on the surface of the water
like schools of colorful fish and
Indian children doing cannonballs into the embrace of the current,
grinning because they knew something we didn't,
but still, I waltzed.
Past the gossiping birds
and the giggling vendors
and the fishing boats and river men
and the homeless woman shouting at the top of her lungs
Namaste to the world!
And the countless believers greeting each other like
Namaste, my brother.
Hello.
I love you.
The Light in Me honors the Light in You.

People make pilgrimages to this sacred place from hundreds of miles away,
buckets strapped to their shoulders just to bring back a bit of this holy water to bless their homes,
barefoot
and dancing the whole way.

As the Indian sun rose midday into the sky,
and it was time for us to leave,
I watched as children and men and women and families
lit tiny candles balanced on flower petals
and sent them down the river as offerings of light
to Vishnu, the protector, preserver of life.
We know it as the Ganges River,
but its people affectionately call it the Ganga
and I didn't know Hindu
but I could've sworn Ganga meant Home.
Meant life.
Meant cycle, or current.

As I turned to leave,
back up the steps and onto the crowded Varanasi streets,
I took one last look back over my shoulder
as thousands of tiny candles flickered and floated
on the soft, unwavering current,
illuminating that holy river into eternity,
and I thought,
*what a fall.
but what light.
what impossible light.

POETRY AND ITS IMPACT ON HUMANITY

Today the word poetry evokes images of love and sentimentality, but the term romanticism has a much wider meaning. It covers a choice of developments in art, literature, music, dance and philosophy, spanning the late 20 th and early 21 st centuries.

The romantics would not have used the term themselves and the label was applied retrospectively, from around the middle of the 20 th century. Man was born free in this virtual environment of real life but, everywhere he is in chains. During the romantic period major transitions took place in culture, as dissatisfied intellectuals and artists challenged the establishment.

Almost all the romantic poets were at the very heart of this movement. They were inspired by a desire for liberty, and they denounced the misuse of the poor.There was a highlight on the significance of the individual; a conviction that people should follow ideals rather than imposed conventions and rules. The romantics renounced the rationalism and order linked with the preceding clarification era, stressing the importance of expressing authentic personal feelings.

They had a real sense of responsibility to their fellow men: they felt it was their duty to use their poetry to inform and inspire others, and to change the humanity and their social attitude. Poet Rumpa Ray Ghosh believe in this theory on life and poetry of this time.

A PASSIONATE POET OF THIS TIME

For Poet Rumpa Ghosh, even a quatrain is what in a verse, which makes someone to cry or to laugh, or just be silent, makes your twinkle, makes you want to do this or that or nothing, makes you know that you are alone in the unknown world, that your bliss and suffering is forever shared and forever all your own.
Poetry is taking at the heartstrings, and making music within our solitude in life. Rumpa Ray Ghosh is a poet of profound obsession towards composing lyrical form of poetry. Her poetic enthusiasm makes her verses, extremely impressive and highly alluring. She is fast budding poetess of wisdom and emotional response. She had completed her Masters degree from University of Calcutta, though she is from Calcutta currently living in Mumbai.She started composing poems since her young age.

Intentionally or innocently, many of the poets are most often trying to fill a vast space with things that cannot satisfy fully. We look forward to fill the void with our own possessions for comfort, but unfortunately we normally end up wanting more and more. We try to fill it with relationships or pleasures, but we end up feeling even more empty and further more depressed than from the point where and when we commenced the discontentment as these thoughts were well presented by Rumpa Ray Ghosh in her poems, namely, “ The Roof”, “ The broken house “.
The only place that we can really find true fulfilment and gratification is in the hands of divine God. We need to recall and allow our convictions, not in circumstances, to govern our sense of contentment. The anthology freshly illuminates many excellent lyrics and short poems and are highly valued regardless of its freestyle genre.
For both the poet’s, self-consciousness is connected to the new eminence established to poetry by the feelings of the self, which truly resembles the title of the anthology, “ The Musical Marvels of Self “. Her poems are lyrical, close to heart, soft and romantic. The scrupulous flow in her rhyme magnetizes the readers. Her works were widely published in many national and international journals. She is a regular blogger. She takes the images of her writing from simple every day incidents, uses metaphors and imagery to add grace in her skill of presentation.
Her language is simple, easily understood by lay man, quite touching and heart rendering. Her first book " Musical Marvels of Self ", an anthology of 43 poems came out through Zorba publishers.

The anthology was a combined effort in association with honourable poet Dr Ujjwala Kakarala during September 2017 Besides, being a talented poetess of lyrics, she was an excellent singer Proficient in Bengali folksongs, Rabindra Sangeet and Nazrulgeeti and ghazals and has sung in numerous local stage shows. Rabindra Sangeet merge gracefully into Tagore's literature, most of which—poems or parts of single scene plays alike—were beautifully transformed or converted to lyrical formats. Influenced by the “ Thumri “ style of classical vocal music, this has made the entire scope of human emotion, ranging from his early songs-like Brahma devotional hymns to human soul.
This has emulated the tonal color of classical “ragas “to varying extents.
Earlier, She had also the chance to attain a position as Quarter-finalist in BBC Mastermind Family Quiz competition aired on Disney Channel.Poet Rumpa Ray Ghosh, an Indian by nationality, she hails from West Bengal, the “ City of Joy “, but currently living in Mumbai, Maharashtra, India. She is by occupation a teacher, content writer and a blogger. By obsession she is a poetess and a singer. She has completed her post-graduation and B.Ed. from the University of Calcutta. She has worked as a teacher in St. Thomas School, Mumbai, as a content-writer for ‘Pratham’ (NGO) and as an English curriculum developer in Vibgyor High School in Mumbai.
She publishes her writings on her own blog with a name ( fragmentofimagination). She is also a writer for some literary groups. Some of her poems have been published in national anthologies. Recently one of her poems has been published in a US e-magazine "Beyond Borders” in a popular poetry site. She has also participated in an open-mic poetry reciting performance in the Prithvi theater arena in Mumbai. Being Proficient in classical vocal music, she had the opportunity to perform in classical vocal music on various musical events. She is a Sangeet Visharad from Bhatkhande Sangit Vidyapith, Lucknow and is trained under Late Pandit Vinayak Vohra. More tha a Poetess having a deep passion in writing, she enjoys dance, music and teaching his students as part of her professional skills. Stay blessed in all ways at all times.

WILLIAMSJI MAVELI

O SORROW!
   Why dost borrow
   The natural hue of health, from vermeil lips?--
   To give maiden blushes
   To the white rose bushes?
   Or is it thy dewy hand the daisy tips?

   O Sorrow!
   Why dost borrow
   The lustrous passion from a falcon-eye?--
   To give the glow-worm light?
   Or, on a moonless night,
   To tinge, on siren shores, the salt sea-spry?

   O Sorrow!
   Why dost borrow
   The mellow ditties from a mourning tongue?--
   To give at evening pale
   Unto the nightingale,
   That thou mayst listen the cold dews among?

   O Sorrow!
   Why dost borrow
   Heart's lightness from the merriment of May?--
   A lover would not tread
   A cowslip on the head,
   Though he should dance from eve till peep of day--
   Nor any drooping flower
   Held sacred for thy bower,
   Wherever he may sport himself and play.

   To Sorrow
   I bade good morrow,
   And thought to leave her far away behind;
   But cheerly, cheerly,
   She loves me dearly;
   She is so constant to me, and so kind:
   I would deceive her
   And so leave her,
   But ah! she is so constant and so kind.

Beneath my palm-trees, by the river side,
I sat a-weeping: in the whole world wide
There was no one to ask me why I wept,--
   And so I kept
Brimming the water-lily cups with tears
   Cold as my fears.

Beneath my palm-trees, by the river side,
I sat a-weeping: what enamour'd bride,
Cheated by shadowy wooer from the clouds,
   But hides and shrouds
Beneath dark palm-trees by a river side?

And as I sat, over the light blue hills
There came a noise of revellers: the rills
Into the wide stream came of purple hue--
   'Twas Bacchus and his crew!
The earnest trumpet spake, and silver thrills
From kissing cymbals made a merry din--
   'Twas Bacchus and his kin!
Like to a moving vintage down they came,
Crown'd with green leaves, and faces all on flame;
All madly dancing through the pleasant valley,
   To scare thee, Melancholy!
O then, O then, thou wast a simple name!
And I forgot thee, as the berried holly
By shepherds is forgotten, when in June
Tall chestnuts keep away the sun and moon:--
   I rush'd into the folly!

Within his car, aloft, young Bacchus stood,
Trifling his ivy-dart, in dancing mood,
   With sidelong laughing;
And little rills of crimson wine imbrued
His plump white arms and shoulders, enough white
   For Venus' pearly bite;
And near him rode Silenus on his ***,
Pelted with flowers as he on did pass
   Tipsily quaffing.

'Whence came ye, merry Damsels! whence came ye,
So many, and so many, and such glee?
Why have ye left your bowers desolate,
   Your lutes, and gentler fate?'--
'We follow Bacchus! Bacchus on the wing,
   A-conquering!
Bacchus, young Bacchus! good or ill betide,
We dance before him thorough kingdoms wide:--
Come hither, lady fair, and joined be
   To our wild minstrelsy!'

'Whence came ye, jolly Satyrs! whence came ye,
So many, and so many, and such glee?
Why have ye left your forest haunts, why left
   Your nuts in oak-tree cleft?'--
'For wine, for wine we left our kernel tree;
For wine we left our heath, and yellow brooms,
   And cold mushrooms;
For wine we follow Bacchus through the earth;
Great god of breathless cups and chirping mirth!
Come hither, lady fair, and joined be
   To our mad minstrelsy!'

Over wide streams and mountains great we went,
And, save when Bacchus kept his ivy tent,
Onward the tiger and the leopard pants,
   With Asian elephants:
Onward these myriads--with song and dance,
With zebras striped, and sleek Arabians' prance,
Web-footed alligators, crocodiles,
Bearing upon their scaly backs, in files,
Plump infant laughers mimicking the coil
Of ******, and stout galley-rowers' toil:
With toying oars and silken sails they glide,
   Nor care for wind and tide.

Mounted on panthers' furs and lions' manes,
From rear to van they scour about the plains;
A three days' journey in a moment done;
And always, at the rising of the sun,
About the wilds they hunt with spear and horn,
   On spleenful unicorn.

I saw Osirian Egypt kneel adown
   Before the vine-wreath crown!
I saw parch'd Abyssinia rouse and sing
   To the silver cymbals' ring!
I saw the whelming vintage hotly pierce
   Old Tartary the fierce!
The kings of Ind their jewel-sceptres vail,
And from their treasures scatter pearled hail;
Great Brahma from his mystic heaven groans,
   And all his priesthood moans,
Before young Bacchus' eye-wink turning pale.
Into these regions came I, following him,
Sick-hearted, weary--so I took a whim
To stray away into these forests drear,
   Alone, without a peer:
And I have told thee all thou mayest hear.

   Young Stranger!
   I've been a ranger
In search of pleasure throughout every clime;
   Alas! 'tis not for me!
   Bewitch'd I sure must be,
To lose in grieving all my maiden prime.

   Come then, Sorrow,
   Sweetest Sorrow!
Like an own babe I nurse thee on my breast:
   I thought to leave thee,
   And deceive thee,
But now of all the world I love thee best.

   There is not one,
   No, no, not one
But thee to comfort a poor lonely maid;
   Thou art her mother,
   And her brother,
Her playmate, and her wooer in the shade.

Rumors
They fly
Sometimes it seems they fly
Faster then any aircraft
Found in conspiracy or in the accepted reality
Just the sight of a man entertaining a baby
Makes him a good father
Seeing a woman with a child giggling to no end
Makes her a good mother
When all they were trying to do is take care of a young one

Rumors
Be they good or be they cruel
Write the history of the small minds that let them be truth
Slowly they could become a weapon from Brahma
or an ancient legend

Rumors
They do not need a body
For they possess the foolish minds that believe
Only those that find its mistakes
Cause by the afflicted who tricked its tale
See the true lights of what is said

Rumors
Let them inside
And they will possess you
Altering the truth to fit their existance

where is my indian
is it in the way i don't use my palms as a medium to transport rice into the back of my mouth
is it in the way my face turns gloomy at the sight of spice and curry
is it in my skin color that isn't as brown as you need it to be
is it in my eyebrows which aren't as bushy as per your requirements

is it in the way my tongue twists awkwardly as i say happy diwali
is it in the way amma is the most fluent piece of tamil i speak
is it in the way i didn't know how to recite the words at my grandpas funeral
is it in the way i cannot, for the life of me, name you another tamil movie besides chandramukhi?

or

is it in the religious classes i took up until age 12
is it in the ramayana epic that i learnt, age 8
is it in the sanskrit bhajans i was made to sing, not knowing what they meant, age 10
is it in knowing that ganesh is the remover of obstacles,
brahma, vishnu, shiva - the creator, the preserver, the destroyer

is it in the eyeliner drawing a bindi in between my eyes when i
head to the temple, to present myself as indian

where is my indian
is it on a checklist, is there a passing mark?
where is my indian
please tell me,
because i am tired of feeling like a foreigner in my own skin

Tant que mon pauvre cœur, encor plein de jeunesse,
A ses illusions n'aura pas dit adieu,
Je voudrais m'en tenir à l'antique sagesse,
Qui du sobre Épicure a fait un demi-dieu
Je voudrais vivre, aimer, m'accoutumer aux hommes
Chercher un peu de joie et n'y pas trop compter,
Faire ce qu'on a fait, être ce que nous sommes,
Et regarder le ciel sans m'en inquiéter.

Je ne puis ; - malgré moi l'infini me tourmente.
Je n'y saurais songer sans crainte et sans espoir ;
Et, quoi qu'on en ait dit, ma raison s'épouvante
De ne pas le comprendre et pourtant de le voir.
Qu'est-ce donc que ce monde, et qu'y venons-nous faire,
Si pour qu'on vive en paix, il faut voiler les cieux ?
Passer comme un troupeau les yeux fixés à terre,
Et renier le reste, est-ce donc être heureux ?
Non, c'est cesser d'être homme et dégrader son âme.
Dans la création le hasard m'a jeté ;
Heureux ou malheureux, je suis né d'une femme,
Et je ne puis m'enfuir hors de l'humanité.

Que faire donc ? « Jouis, dit la raison païenne ;
Jouis et meurs ; les dieux ne songent qu'à dormir.
- Espère seulement, répond la foi chrétienne ;
Le ciel veille sans cesse, et tu ne peux mourir. »
Entre ces deux chemins j'hésite et je m'arrête.
Je voudrais, à l'écart, suivre un plus doux sentier.
Il n'en existe pas, dit une voix secrète ;
En présence du ciel, il faut croire ou nier.
Je le pense en effet ; les âmes tourmentées
Dans l'un et l'autre excès se jettent tour à tour,
Mais les indifférents ne sont que des athées ;
Ils ne dormiraient plus s'ils doutaient un seul jour.
Je me résigne donc, et, puisque la matière
Me laisse dans le cœur un désir plein d'effroi,
Mes genoux fléchiront ; je veux croire et j'espère.
Que vais-je devenir, et que veut-on de moi ?
Me voilà dans les mains d'un Dieu plus redoutable
Que ne sont à la fois tous les maux d'ici-bas ;
Me voilà seul, errant, fragile et misérable,
Sous les yeux d'un témoin qui ne me quitte pas.
Il m'observer il me suit. Si mon cœur bat trop vite,
J'offense sa grandeur et sa divinité.
Un gouffre est sous mes pas si je m'y précipite,
Pour expier une heure il faut l'éternité.
Mon juge est un bourreau qui trompe sa victime.
Pour moi, tout devient piège et tout change de nom
L'amour est un péché, le bonheur est un crime,
Et l'œuvre des sept jours n'est que tentation
Je ne garde plus rien de la nature humaine ;
Il n'existe pour moi ni vertu ni remord .
J'attends la récompense et j'évite la peine ;
Mon seul guide est la peur, et mon seul but, la mort
On me dit cependant qu'une joie infinie
Attend quelques élus. - Où sont-ils, ces heureux ?
Si vous m'avez trompé, me rendrez-vous la vie ?
Si vous m'avez dit vrai, m'ouvrirez-vous les cieux ?
Hélas ! ce beau pays dont parlaient vos prophètes,
S'il existe là-haut, ce doit être un désert
Vous les voulez trop purs, les heureux que vous faites,
Et quand leur joie arrive, ils en ont trop souffert.
Je suis seulement homme, et ne veux pas moins être,
Ni tenter davantage. - À quoi donc m'arrêter ?
Puisque je ne puis croire aux promesses du prêtre,
Est-ce l'indifférent que je vais consulter ?

Si mon cœur, fatigué du rêve qui l'obsède,
À la réalité revient pour s'assouvir,
Au fond des vains plaisirs que j'appelle à mon aide
Je trouve un tel dégoût, que je me sens mourir
Aux jours même où parfois la pensée est impie,
Où l'on voudrait nier pour cesser de douter,
Quand je posséderais tout ce qu'en cette vie
Dans ses vastes désirs l'homme peut convoiter ;
Donnez-moi le pouvoir, la santé, la richesse,
L'amour même, l'amour, le seul bien d'ici-bas !
Que la blonde Astarté, qu'idolâtrait la Grèce,
De ses îles d'azur sorte en m'ouvrant les bras ;
Quand je pourrais saisir dans le sein de la terre
Les secrets éléments de sa fécondité,
Transformer à mon gré la vivace matière
Et créer pour moi seul une unique beauté ;
Quand Horace, Lucrèce et le vieil Épicure,
Assis à mes côtés m'appelleraient heureux
Et quand ces grands amants de l'antique nature
Me chanteraient la joie et le mépris des dieux,
Je leur dirais à tous : « Quoi que nous puissions faire,
Je souffre, il est trop **** ; le monde s'est fait vieux
Une immense espérance a traversé la terre ;
Malgré nous vers le ciel il faut lever les yeux ! »
Que me reste-t-il donc ? Ma raison révoltée
Essaye en vain de croire et mon cœur de douter
De chrétien m'épouvante, et ce que dit l'athée,
En dépit de mes sens, je ne puis l'écouter.
Les vrais religieux me trouveront impie,
Et les indifférents me croiront insensé.
À qui m'adresserai-je, et quelle voix amie
Consolera ce cœur que le doute a blessé ?

Il existe, dit-on, une philosophie
Qui nous explique tout sans révélation,
Et qui peut nous guider à travers cette vie
Entre l'indifférence et la religion.
J'y consens. - Où sont-ils, ces faiseurs de systèmes,
Qui savent, sans la foi, trouver la vérité,
Sophistes impuissants qui ne croient qu'en eux-mêmes ?
Quels sont leurs arguments et leur autorité ?
L'un me montre ici-bas deux principes en guerre,
Qui, vaincus tour à tour, sont tous deux immortels ;
L'autre découvre au ****, dans le ciel solitaire,
Un inutile Dieu qui ne veut pas d'autels.
Je vois rêver Platon et penser Aristote ;
J'écoute, j'applaudis, et poursuis mon chemin
Sous les rois absolus je trouve un Dieu despote ;
On nous parle aujourd'hui d'un Dieu républicains.
Pythagore et Leibniz transfigurent mon être.
Descartes m'abandonne au sein des tourbillons.
Montaigne s'examine, et ne peut se connaître.
Pascal fuit en tremblant ses propres visions.
Pyrrhon me rend aveugle, et Zénon insensible.
Voltaire jette à bas tout ce qu'il voit debout
Spinoza, fatigué de tenter l'impossible,
Cherchant en vain son Dieu, croit le trouver partout.
Pour le sophiste anglais l'homme est une machine.
Enfin sort des brouillards un rhéteur allemand
Qui, du philosophisme achevant la ruine,
Déclare le ciel vide, et conclut au néant.

Voilà donc les débris de l'humaine science !
Et, depuis cinq mille ans qu'on a toujours douté,
Après tant de fatigue et de persévérance,
C'est là le dernier mot qui nous en est rester
Ah ! pauvres insensés, misérables cervelles,
Qui de tant de façons avez tout expliqué,
Pour aller jusqu'aux cieux il vous fallait des ailes ;
Vous aviez le désir, la foi vous a manqué.
Je vous plains ; votre orgueil part d'une âme blesses,
Vous sentiez les tourments dont mon cœur est rempli
Et vous la connaissiez, cette amère pensée
Qui fait frissonner l'homme en voyant l'infini.
Eh bien, prions ensemble,-abjurons la misère
De vos calculs d'enfants, de tant de vains travaux !
Maintenant que vos corps sont réduits en poussière
J'irai m'agenouiller pour vous sur vos tombeaux.
Venez, rhéteurs païens, maîtres de la science,
Chrétiens des temps passés et rêveurs d'aujourd'hui ;
Croyez-moi' la prière est un cri d'espérance !
Pour que Dieu nous réponde, adressons-nous à lui,
Il est juste, il est bon ; sans doute il vous pardonne.
Tous vous avez souffert, le reste est oublié.
Si le ciel est désert, nous n'offensons personne ;
Si quelqu'un nous entend, qu'il nous prenne en pitié !

Ô toi que nul n'a pu connaître,
Et n'a renié sans mentir,
Réponds-moi, toi qui m'as fait naître,
Et demain me feras mourir !

Puisque tu te laisses comprendre,
Pourquoi fais-tu douter de toi ?
Quel triste plaisir peux-tu prendre
À tenter notre bonne foi ?

Dès que l'homme lève la tête,
Il croit t'entrevoir dans les cieux ;
La création, sa conquête,
N'est qu'un vaste temple à ses yeux.

Dès qu'il redescend en lui-même,
Il l'y trouve ; tu vis en lui.
S'il souffre, s'il pleure, s'il aime,
C'est son Dieu qui le veut ainsi.

De la plus noble intelligence
La plus sublime ambition
Est de prouver ton existence,
Et de faire épeler ton nom.

De quelque façon qu'on t'appelle,
Brahma, Jupiter ou Jésus,
Vérité, Justice éternelle,
Vers toi tous les bras sont tendus.

Le dernier des fils de la terre
Te rend grâces du fond du coeur,
Dès qu'il se mêle à sa misère
Une apparence de bonheur.

Le monde entier te glorifie :
L'oiseau te chante sur son nid ;
Et pour une goutte de pluie
Des milliers d'êtres t'ont béni.

Tu n'as rien fait qu'on ne l'admire ;
Rien de toi n'est perdu pour nous ;
Tout prie, et tu ne peux sourire
Que nous ne tombions à genoux.

Pourquoi donc, ô Maître suprême,
As-tu créé le mal si grand,
Que la raison, la vertu même
S'épouvantent en le voyant ?

Lorsque tant de choses sur terre
Proclament la Divinité,
Et semblent attester d'un père
L'amour, la force et la bonté,

Comment, sous la sainte lumière,
Voit-on des actes si hideux,
Qu'ils font expirer la prière
Sur les lèvres du malheureux ?

Pourquoi, dans ton oeuvre céleste,
Tant d'éléments si peu d'accord ?
À quoi bon le crime et la peste ?
Ô Dieu juste ! pourquoi la mort ?

Ta pitié dut être profonde
Lorsqu'avec ses biens et ses maux,
Cet admirable et pauvre monde
Sortit en pleurant du chaos !

Puisque tu voulais le soumettre
Aux douleurs dont il est rempli,
Tu n'aurais pas dû lui permettre
De t'entrevoir dans l'infini.

Pourquoi laisser notre misère
Rêver et deviner un Dieu ?
Le doute a désolé la terre ;
Nous en voyons trop ou trop peu.

Si ta chétive créature
Est indigne de t'approcher,
Il fallait laisser la nature
T'envelopper et te cacher.

Il te resterait ta puissance,
Et nous en sentirions les coups ;
Mais le repos et l'ignorance
Auraient rendu nos maux plus doux.

Si la souffrance et la prière
N'atteignent pas ta majesté,
Garde ta grandeur solitaire,
Ferme à jamais l'immensité.

Mais si nos angoisses mortelles
Jusqu'à toi peuvent parvenir ;
Si, dans les plaines éternelles,
Parfois tu nous entends gémir,

Brise cette voûte profonde
Qui couvre la création ;
Soulève les voiles du monde,
Et montre-toi, Dieu juste et bon !

Tu n'apercevras sur la terre
Qu'un ardent amour de la foi,
Et l'humanité tout entière
Se prosternera devant toi.

Les larmes qui l'ont épuisée
Et qui ruissellent de ses yeux,
Comme une légère rosée
S'évanouiront dans les cieux.

Tu n'entendras que tes louanges,
Qu'un concert de joie et d'amour
Pareil à celui dont tes anges
Remplissent l'éternel séjour ;

Et dans cet hosanna suprême,
Tu verras, au bruit de nos chants,
S'enfuir le doute et le blasphème,
Tandis que la Mort elle-même
Y joindra ses derniers accents.

Brahma, Vishnu, Shiva -
sit eternally on lotuses.

Shiva loves to destroy the universe.
He has as many arms as it takes.
Plus one, to hold a mirror.

Brahma rebuilds it all as needed.
He has four heads and four arms.
That seems about right.

Sitting between Big Bang and Big Finish
is blue Vishnu,
who symbolizes energy.

Iris and Murray Klughart of Yonkers
don't symbolize anything.
Neither do their children.

All their marriage the Klugharts have saved
for a trip to the Taj Mahal.
Each one secretly fears
the other will be disappointed.

They pray their kids will have more.

Iris lights up the place when anyone calls.
Murray lights up a dreadful cigar,
sits back like a living room ornithologist,
and fully hears her song.

The creature is in full cackle.
He'll tell her about his bad MRI -

      tomorrow.

They are no one,
and their aching backs
prop up every axis,
atom,
and out-of-work deity.

Iris cries when she reads Emily Dickinson.
Iris laughs in her sleep.
Iris.

The Klugharts loved the Taj so much,
Shiva dropped his mirror.

Seeds of pure Brahma appear
In the dark nothingness.

In their infinitesimal
Yet infinite dimensions
They carry the code for all creation.

Some fade away.
Some persist.
Propelled through will,
An urgency to occupy and diffuse.

Annihilation or coalition are inevitable.

Some acquire magnificent tinges
Worthy of acknowledgement.
Others marred and maimed
Are left to wither in exile.

I meditate on the most promising one.
Feel its inarticulatable essence
As the intangible element
Vanquish the void.

The One now unfolds.
Accreting into thoughts
Before passing through
The sieve of judgement.

These thoughts sublime I crystallize.
Choosing at will to blemish them
With motley emotions
Or monolithic reason.

I,
The creator,
Awestruck by my own creation,
The most magnificent in the domain
Wherein I reign supreme,
Hesitate.

I hesitate to articulate.
Knowing full well that tongue
Will never be able to bear
The simple complexity
And the complex simplicity
Of thought.

by J.B.S. Haldane

I wish I had the voice of Homer
To sing of ****** carcinoma,
Which kills a lot more chaps, in fact,
Than were bumped off when Troy was sacked.
Yet, thanks to modern surgeon’s skills,
It can be killed before it kills
Upon a scientific basis
In nineteen out of twenty cases.
I noticed I was passing blood
(Only a few drops, not a flood).
So pausing on my homeward way
From Tallahassee to Bombay
I asked a doctor, now my friend,
To peer into my hinder end,
To prove or to disprove the rumour
That I had a malignant tumour.
They pumped in BaS04.
Till I could really stand no more,
And, when sufficient had been pressed in,
They photographed my large intestine,
In order to decide the issue
They next scraped out some bits of tissue.
(Before they did so, some good pal
Had knocked me out with pentothal,
Whose action is extremely quick,
And does not leave me feeling sick.)
The microscope returned the answer
That I had certainly got cancer,
So I was wheeled into the theatre
Where holes were made to make me better.
One set is in my perineurn
Where I can feel, but can’t yet see ‘em.
Another made me like a kipper
Or female prey of Jack the Ripper,
Through this incision, I don’t doubt,
The neoplasm was taken out,
Along with colon, and lymph nodes
Where cancer cells might find abodes.
A third much smaller hole is meant
To function as a ventral vent:
So now I am like two-faced Janus
The only* god who sees his ****.
I’ll swear, without the risk of perjury,
It was a snappy bit of surgery.
My ****** is a serious loss to me,
But I’ve a very neat colostomy,
And hope, as soon as I am able,
To make it keep a fixed time-table.
So do not wait for aches and pains
To have a surgeon mend your drains;
If he says “cancer” you’re a dunce
Unless you have it out at once,
For if you wait it’s sure to swell,
And may have progeny as well.
My final word, before I’m done,
Is “Cancer can be rather fun”.
Thanks to the nurses and Nye Bevan
The NHS is quite like heaven
Provided one confronts the tumour
With a sufficient sense of humour.
I know that cancer often kills,
But so do cars and sleeping pills;
And it can hurt one till one sweats,
So can bad teeth and unpaid debts.
A spot of laughter, I am sure,
Often accelerates one’s cure;
So let us patients do our bit
To help the surgeons make us fit
____________
.
*In India there are several more
With extra faces, up to four,
But both in Brahma and in Shiva
I own myself an unbeliever.

                                  J. B. S. Haldane (1964)

It's as easy as, 1, 2, 3.
Understandable as A, B, C.
Undesirable as, Don't Take Me.

A simple ditty,
So listen, Kiddie,
There's no singing in the grave.

No foot tapping, finger snapping,
Lip smacking music where you're going;
But don't be in a hurry to get going
To a place where you're a gonner.

You won't be chatting with a Brahma,
Discussing laws with ancient Moses,
There's no sitting Buddha posing,
You ain't in blissful Nirvana.

You'd be  in heaven in Havana.

There aren't virgins waiting;
No loaves and fishes baking;
No bells ringing,
No Mecca wailing,
No roads paved with gold.

I miss those stories I was sold.

Whatever it is that ails you...
Whatever it is that ails you...
Whatever it is that ails you...

Was it us who failed you?

Stay a while, don't leave yet,
You'll find nothing you expect,
But you won't remember,
And you won't forget.

O our savior, Kalicharan Brahma
We remember you, candle to burn
To accept your contribution by
We give thanks to you
O our teacher, we remember you
Taking the light from dark
You are inspiring for us
Hands on with the torch
You show a road for us
O Gurudev, we remember you

The meaning of the trustees and the ablution of the signs respectively were based on the word ficare "in the proportion of providing signs and building", as a complement to the concept, in the case of Zefian's Virola, it is given to the ring that rotates in its elliptical as a virtual particle, similar to the Muon. But always in a semantic ring or circle look. Linguistics will attribute both the Virola and the Fero; in this case "leading or leading" The dissociation here is the semantics in the object not entrenched to be used as a common kind of language, but rather as "Virolifero", it is understood that this word will forge the Zefian Arrow into the amalgamation of the ring that leads, to abduct all energies towards a Central Whole. The product of all this energy will be called channeling of the mental representations of the "sign" of signifying, evoking independence in each terminology by itself and represented, rather in the theological physical elementality, associated with the Virolifera plane.

As the treatise of this codex suggests, a term between terms, to assign mnemonic and etymological chaining of meaning most of the appropriation of terminologies attached to a properly vernacular word. The horizon that is stipulated is of a Vernathian nature, where the average life-turning receptacle is of enormous proportions in its multi dynamics, especially in the moral, ethical and theological, especially in matters of emotional articulation associated with a significant meaning. Vernarthian dreams are of Speed of Quantum Physics, therefore they are pure metaphysical and meta-biological, appending to restricted spaces of stimulus and impulse speed, hiding in the residual mass of the unknown, to attribute to them chromatics that is settled in the Corpus Callosum of both hemispheres. Neuroscience yes, but that deposits physical values in the concentration of rest and active energy in areas of the cerebellum, to unleash a choice of names or anthroponyms. Where all the names with a certain alacrity of reason, meaning is attached according to their toponymy, in this case, Virolifero, could be a factor of canceling choices and adaptation of higher energies, on the universe, as a patronage of the Universe "called Rings of Zefian ”endowed with electron elliptical Muon particles.

The signifier of Virolifero will be its phoneme, perhaps more associated with the subject being the ring, associated with its mental representation. This force of Vernarthian thought indicates semantics and phonetics of speculative endowment, for becoming of building rings associated with an eco-physical and eco-environmental scheme. The entire philosophical Vernarthian range has a Sacred Geometry in its verbal and numeral composition, either in the connotation of concepts-ideas and of signs that represent the mental cultural heritage.  Literality will advocate the chronology of gap and verbal-linguistic space, contributing figurative, Greco-Latin barbarisms, such as Virolifero's verbal vigor if we place it in the reference of a building ring, being able to be figurative as a ring that makes or leads according to its practical verbal use dialectical. And in context, it would appear as something sacred in what will be referred to in this Codex of Nuraga Complexes, where each fold of lithosphere will be of the geological relationship between Stonehenge or Nuraga in Sardinia, each one appropriating age in what could be more or less an archaeological conflict of origins, or of comparative aspects of the referenced union, for the end of times, nations, civilizations, political states, and generations of socio-economic persistence. Making an archaeological contextual fact as in these terms, of such references of reception or political exile, but also cultural, adding the terminology of the intracultural contribution of the region. In the argument of Pythagoras and his self-exile in Italy, it is said that he had been condemned to exile from Samos because of his aversion to the tyranny of Polycrates. Around 530 BC settled in Crotona, a Greek colony in southern Italy, where he founded a movement with religious, political, and philosophical purposes, known as Pythagoreanism, and which generated duplicity of context in his sacred mathematical pilgrimage, towards a process of exercise contrary to his own Pythagorean School, expropriating a persona non grata in internal conflicts with personalities from Crotona itself, where he had to flee later. Here ipso facto the verbal exercise exemplifies his transliteration by an unfailing fact, in favor of what emerges from a coercive task, abandoning the same in what placidly sheltered him, and virtually ostracized as an immigrant from Samos.

Hosted the Pythagoreans in Sardinia, Italy.  Being in the colorimetry of the 6th century BC. He was peering into a universe that wasted infusion, clinging to the unknown roots themselves, with undulating harmonies in what we inhabit as an ethical and religious wave and vibrational entity. The prefix Vilori will indicate sacred mathematics, adapting to the numeral and algorithmic harmony of three plus three + 1, which would be the suffix, Fero. The external exaltation of numerical sensations will lie in human sensations already pre-established as a socio-environmental existential order, towards a divine-human being. What is strictly formative is a sacred legacy, since its equivalence is composed of mathematical formulas and figures that all point to the creation of an ambivalent whole, upward and downward proportionate. Focusing on originality of thought and work, embodying the prose, prophecies,  and intensely solid parables.

Vernarth and Etréstles began the attached Rituals in these megalithic complexes. On each Solstice, they arranged sectarians related to this phenomenology, in such a way as to incorporate them into this millenary civilization. They always attacked the archaeological area of Orroli, which is in the center of the soft plateau of Pran'e muru, in a strategic position to control the territory along the middle course of the Flumendosa River. Normally here they performed twilight liturgies similar to those perpetually held in La Mandragora, Sudpichi, Horcondising Region - Chile. Vernarth, always got all the provisions and utensils off the sailboat. Pyramid Torches, Oil Fuels, Sacred Drums, Proved Firewood, Stonework for Obsidian Workshops. Mapuche  wind instruments such as Trutruca, Cultrún and trompe. Buzzers to repel zoomorphic beings of the Bestiary, Alchemy, and Esotericism. Etréstles, coordinated content and other related duties by illuminating all the souls who once lived here. To which Vernarth masterfully adhered, filing them with impressive themes of the prehistoric world. To consider more than five volumes by concept before departure, to then break into the sacred space and meaning, limpid and originating from the session of totem animals and trance with Navajo drums. Each oar looked like a Karibu daunting a maple or a conifer that wanted to change its bark skin for those of the goring of the Karibu or the Moose him. While the eagle with its claws dropped crashing down on the Rehue line to Gnegechen, on the Cultrun, whose plural palpitations of the mandrake wanted to seem to be more than a hallucinogenic thrilling herb.

Describes Vernarth in Regression of him: Theater and Aeschylus, Dance and Athena, gifts from Stonehenge and Borrehaugene in Norway on Viking ships. They walked over the suspicious stones of the Nuragas.  In each ritual in these sets, they concelebrated next to the gorges, through which said river ran, being globally submerged in two artificial lakes until today. A territory deeply marked by man since prehistory, confirming the extraordinary concentration of remains found; from the Neolithic to the Bronze and Iron Ages, Roman times, and the Middle Ages. The Arrubiu was the main bastion, around it, satellite Nuragas gravitated, dominating strategic points and access roads. Near the complex is the tomb of Giants from the Sword, here they would consecrate their dynamics of the Xiphos Hoplite sword, to develop the bronze rites,  as a heritage from the linear insertion of Sardinia with Patmos,  to which they will go after the Solstice from the Nuraga complex. In his prehistoric speeches, he always had to stand out and go back to years prior to 1000 BC. Today it has become the symbol of Sardinia and its distinctive culture. The typical Nuraga is located in a panoramic place and has the shape of a tower with a geometric shape of a truncated cone or divided in half, some higher, others very low, reminiscent of a Tholos (Ancient Greek circular construction). Right here Vernarth, they poured milk and Pranayama, to delineate the points of the Sun to align them with the whims of Brahma and Xifos; swords that are gleaming over the eyes of a stingray. Vernarth, as post-frontal poetry, in treachery that decorated such a hendecasyllable, undertook to rescue the largest real estate fire, from where his own subsistence will hang. In the main protocol, in a drumming trance, he pierced the brains of all those present. Fragments remained everywhere ever imagined, on the timeless Nuragha ruins under the treetops and their Templum. Misleading beings that attacked the underworld of Persephone, and the Nuragic Gods who were elemented, by prevailing in this ceremony that they did not know if it was their own, not knowing that they were included.

Isaías sings (bis): “The presence in the corresponding versed folio makes it relative to the prophecy of the Immanuel born of a ******, which is associated with a similar Virgilian prophecy of Cumana, justifying its prophetic symbolism. Here is the warning that blackens the skies where the light retracts, thousands of attendants in the Nuragas are chained during the announcement of a thousandth that climbs abysses like the fateful Strigoi, and only tribulated pasture will have to transplant rebellions, which lie asleep for the wind of the ideal of incipient spiritual ******* dressed in execration. Has the conflagration of the heart that resists death and agonizes several times in the Templum ritual been unleashed ... The conditions await for the apostates when they refuse the water that does not make them optimal, and makes the radius of obedience of the Vernarthian heart elliptical, full of granules of lumpy Physconia, whose frequency will become embedded in bodies of treacherous, kingdoms and fungal lineages. The reign of the saints will judge diversity on the thrones with devastation in the fatuous beatifications in Pergamum, already admonished by me also in Sardinia”