geet ko uthne do aur saaz ko chid jaane do chuppi ko chune do lafzon ke narm taaron ko aur lafzon ko chuppi ki ghazal gaane do khol do khidkiyan sab aur uthado sab parde nayi hawa ko zara band kamre mein aane do chat se hai jhank rahi kabse chandni ki pari usko aangan mein utar aane do fiza mein chaane lagi hai bahaar ki rangat juhi ko khilne do champa ko mehek jaane do geet ko uthne do aur saaz ko chid jaane do zara sambhalne do meera ki behekti paayal zara gautam (Buddh) ke sadhe paaon behek jaane do geet ko uthne do aur saaz ko chid jaane do haste hothon ko zara chakhne do ashkon ki nami aur num aankhon ko zara phirse muskurane do dil ki baaton ko zara jharne do har singharon se bina baaton ke kabhi aankh ko bhar aane do raat ko kehne do kaliyon se raaz ki baatein gulon ke hothon se un raazon ko khul jaane do zara zameen ko ab uthne do apne paaon par zara aakash ki baahon ko bhi ab jhuk jaane do geet ko uthne do aur saaz ko chid jaane do zara sambhalne do meera ki behekti paayal zara gautam ke sadhe paaon behek jaane do kabhi mandir se bhi uthne do azaan ki aawaaz kabhi mazjid ki ghantiyon ko bhi baj jaane do pinjare ke toton ko dauharane do jhoothi baatein apni maina ko to par khol chahchahaane do unko karnedo murda rasmon ki barbadi ka gum hamein nayi zameen naya aasmaan banane do ek din unko utha lenge sar aankhon par aaj zara khudke paaon to sambhal jaane do geet ko uthne do aur saaz ko chid jaane do zara sambhalne do meera ki behekti paayal zara gautam ke sadhe paaon behek jaane do zara saagar ko baras jaane do banke baadal aur baadal ki nadi saagar mein kho jaane do zara chanda ki narm dhoop mein sekne do badan zara suraj ki chandni mein bheeg jaane do usko khone do joki paas kabhi tha hi nahin jisko khoya hi nahin usko firse paane do geet ko uthne do aur saaz ko chid jaane do zara sambhalne do meera ki behekti paayal zara gautam ke sadhe paaon behek jaane do are haan haan hue hum logon ke liye deewane ab logon ko bhi zara hosh mein aane do ye hai sach ki bahot kadvi hai mai is saaki ki rang layegi gar saanson mein utar jaane do chalkenge jaam jab chayegi khumari ghata zara maikhano ke paimano ko to sambhal jaane do zara saaki ke tevar to badal jaane do geet ko uthne do aur saaz ko chid jaane do zara sambhalne do meera ki behekti paayal zara gautam ke sadhe paaon behek jaane do na rahe maikhana, na maikhwaar, na saaki, na sharab nashe ko aisi bhi ek had se guzar jaanedo usko gaanedo uske geet mere hothon se aur mujhe uske sannate ko gungunane do zara sambhalne do meera ki behekti paayal zara gautam ke sadhe paaon behek jaane do geet ko uthne do aur saaz ko chid jaane do ============ wo ghadi jab meera hosh mein aa jaati hai aur buddh hosh kho baithte hain uska naam hai khumari
Even if this story may be lost as
one more in countless eulogies being written for the retiring maestro Sachin
Tendulkar, the story must be told simply because I feel so strongly about it.
To be completely honest, I’ve
stopped watching cricket for a while now. I can’t sit and watch a single over,
I don’t know the names of the latest cricketers, can’t care about the records
and don’t even know who is playing who. This transition has been a complete
u-turn from being an ardent cricket fan who used to live, breathe, walk and
talk cricket, from being the college cricket captain who wouldn’t sleep the
night before every match because he just couldn’t stop practicing the shots in his
mind, who had cricket statistics by heart and who recklessly played with his
career by focusing on World Cup cricket because it happened during his exams.
A day before Sachin’s final test
at Wankhede, when a friend proudly mentioned on Facebook that he got the
tickets for the match, I asked him, “What match?” Even then I didn’t seem to
care; I’ve watched him enough, I thought. And then on the morning of 15th
November 2013, I saw too many updates on Facebook about the match and it looked
like Sachin was batting. So I switched the TV on. Sachin was already on 46
then. And the crowd was roaring on every ball he faced.
I sat. I watched. I forgot myself
for a while. The boundaries came intermingled with the defensive shots: sweep,
paddle sweep, ducking a bouncer and yet trying to hit a boundary by swishing
the bat under the flying ball, trademark back-foot cover drive, straight drive
under the fingers of the bowler, on-drive, leg glance, flick and many more. Clichéd
it may sound but he was truly on song and it was sheer poetry on the field. When
he got out on 74, the applause from the crowd gave me goose-bumps but what
surprised me the most were the water drops swelling on the sides of my eyes. That
was perhaps the cricketer in me who was going to miss poetry in action.
I wondered what might be going on
in his heart and mind. Here is the man who has cradled India’s cricketing hopes
for 24 long years on his strong shoulders and a diminutive five and a half feet
frame. I’ve seen people believing in all sorts of superstitions when he is
batting: never watch him play live but sit in the next room praying, sit in a
particular chair, wear a particular underwear, don’t drink water while he plays
and all sorts of crazy stuff. But what aplomb, what confidence, what elegance,
what modesty, what spotless character and what endearing learning attitude define
his persona? No wonder Brian Lara said he wants his son to be Sachin Tendulkar.
Let me tell you a secret Mr. Lara. We all want the same. But the Sachin we want
is not necessarily a cricketer or a batsman. We want the Sachins to come out in
all the sports and professions of the world and raise the bar through single
minded devotion, love for their craft, complete dedication and honesty. We all
want the Sachin who is the quintessential ideal son, brother, husband and
father. We want the Sachins to give the world the much needed joy when they’re
in their craft, make people feel that they’ve come to the earth to watch what these
There are many Sachins in their respective
sports: Federer, Nadal, Messi and others and there will be many more to come.
Dhoni may be a better finisher, Kohlis and Sharmas show a lot of promise, but
for me, like many others, Sachin defined cricket for more than two decades. The TV is off now. Not sure when I will watch cricket again. It doesn't matter now.
A part of us is beyond time; it shows us the future sometimes. A part of us is beyond space; it takes us through our dreams. A part of us is enlightened; it guides us through our intuition. A part of us is the whole; it whispers to us in silence.
My short play called 'Kidnapped?! In Dubai?!' that I wrote and directed for Short+Sweet Feb 2013. The play came second by People's choice and third by Judges choice in that evening of the performance that had 10 total plays. Actors: Abhishek Mishra (Taxi driver), Elizabeth Hadaway Kapur (Passenger), Jessica Avedikian (Call center agent) Duration : less than 9 mins 40 secs. https://www.youtube.com/watch?feature=player_embedded&v=U7XWCWMxu_4
चाँद तो है आसमां में
मगर चांदनी नहीं,
सूरज तो है गगन में
पर रौशनी नहीं,
फूल तो है बाग़ में
पर खुशबू नहीं,
हवा तो है हर तरफ
पर सांस नहीं,
दरिया भी है करीब में
पर प्यास नहीं,
बारिश तो हो रही है
पर हम भीगे नहीं,
प्यार तो है आस पास
पर उसका एहसास नहीं,
जी तो रहे हैं हम
पर ज़िन्दगी नहीं।
कुछ तो बात है
जो हम समझ पाए नहीं,
पास होने पर भी
हम खुदको पाए नहीं।
हर तरफ ये बोझ क्यों है?
हर हाथ में ज़ंजीर क्यों है?
हर आँख में नमी क्यों है?
हर दिल में कमी क्यों है?
In a moment,
there is no sound,
neither there is light or taste,
nor is there touch or smell.
In a moment,
there is no thought, perception or judgment,
neither there is memory, fear or movement,
nor is there love, label or prejudice.
In a moment, everything just is.
In a moment
everything is stationary,
for streams don't flow,
trumpets don't blow,
leaves don't rustle,
crowds don't jostle,
birds are suspended in the blue drape,
and clouds are fixed in the landscape.
In a moment,
a yelling man is stuck with an open mouth,
a kisser on the bed is unmoved with a pout,
a dancer on a stage is awkwardly posed,
a cyclist on a road is magically disposed,
a gymnast on a rope is beautifully balanced,
a climber on a cliff is precariously placed.
In a moment,
we neither breathe in,
we are all dead
and yet alive.
In a moment,
life is just a snapshot.
A perception is a collection
Life as we live can't exist
without a trail of moments.
In a moment,
there is nothing
but in that void,
it bears everything.
In my quest for knowing the
deeper secrets of existence, I was brought in contact with 36 elements of Kashmir
Shaivism that form the basis of our existence. My chief sources of this
understanding are Guruji Prem Nirmal’s commentary on the 36 elements and the
book ‘Specific Principles of Kashmir Shaivism’ by B. N. Pandit.
While the below summary is intellectually
acquired and not organically experienced, I have to admit that this
understanding itself has strengthened my depth of meditation as I’m hit
frequently by waves of meditative awareness.
I write this piece with a sincere
hope that some seekers out there will find this beautiful revelation equally
powerful and uplifting.
These 36 elements are the fundamental
building blocks of creation with the subtlest being the first and the grossest
being the last. I will take the top down approach to follow the path of creation
of the universe, which is the outward manifestation of the divine creative
energy. This outward manifestation happens in five stages: 1. Creation 2.
Preservation and 3. Dissolution of these 36 elements and all beings therein
along with the activities of 4. Self-Oblivion and 5. Self Re-cognition
Philosophers of Kashmir Shaivism
assert that the subtlest of self is pure consciousness which is in the form of
a stirring called ‘Spanda’. It is neither physical vibration like sound or
light, nor mental movement like desire, anger, or passion. Rather, it is a
spiritual stirring of consciousness whose essential nature is a simultaneous
inward and outward vibration. The inward and outward movements of Spanda shine
as subjective and objective awareness of I-ness (Shiva) and this-ness (Shakti)
respectively, which form the first two elements (tatvas) of Kashmir Shaivism.
1.Shiva: The changeless,
absolute and pure consciousness having inward vibration is Shiva Tatva, which
is considered by many as the male vibration.
natural tendency of Shiva towards outward manifestation is Shakti Tatva, which
is also considered as the female vibration.
It is important to understand
that the Shiva and Shakti are just linguistic distinction but are actually one
with the pure consciousness called ‘Paramasiva’ and are not actually a part of
the creation. It is also important to note that all the phenomena have an
eternal existence within this pure consciousness which is also referred to as
Absolute, completely free and divinely potent. All the phenomena lie within
this Absolute as its potency, just like a plant lies as a potency within a
3.Sadashiva (I am
This): While the absolute is limitless subjective I-Consciousness, it
playfully manifests phenomena as ‘I am this’ or objectivity. The objective
manifestation of the phenomena of this-ness is called creation. In the
beginning, these phenomena appear as single, undiversified, faint chunk of
this-ness within the unlimited and luminescent I-ness. The vision or
understanding of beings in Sadashiva tatva is ‘Unity in Diversity’.
4.Isvara (This is
myself): In the next step of creation, the balance of I-ness and this-ness
shifts towards the latter. The awareness now shines as ‘This is myself.’ The
vision or understanding of beings in Isvara tatva is ‘Diversity in Unity’.
5.Shuddha vidya (Pure
Knowledge)(‘I am I’ & ‘This is This’): When the vision becomes balanced
so that there is equal emphasis on I-ness and this-ness, the Shuddha Vidya
element comes into being. This element
is pure, unlimited knowledge which is required for the creation of the cosmos. Shuddha
Vidya element is also called Mahamaya, the last of the pure elements.
The first five elements are
called pure elements because they retain their awareness of the purity,
infiniteness and divine potency of their I-consciousness. The next element is
called Impure element because starting here, the actual layer of limitation is
6.Maya (illusion): This
is the first impure element which has two main effects. First, it hides the
pure and divine nature of created beings who forget their purity, infiniteness and
divine potency of their I-consciousness. Second, they see every other entity as
absolutely different from their finite I-consciousness. All other phenomena are
also imagined to be mutually different as well. Maya is thus the plane of
absolute self-oblivion and diversity. Maya causes beings to lose their oneness
with divine potency and leaves them with feelings of imperfection and emptiness
which they attempt to fill up with outer objects. To enable us to fulfill these
desires, Maya allows us just enough powers of creative action (Kala), knowledge
(Vidya), interest (Raga), cause & effect (Niyati), and time (kaal).
These five elements are called
the kanchukas or ‘cloaks’.
7.Kala (Limited Creativity
and action): Toenable us to
fulfill our desires, Maya allows us just a little power of action to achieve
limited results. This limited creative potential is called Kala.
Knowledge): Sincedoing is not possible without knowing, maya also
gives us limited knowledge called Vidya. This is a very limited and hence
impure knowledge within Maya and must not be confused with the fifth element
which is pure, unlimited knowledge.
9.Raga (Limited interest):
To further limit our potential, Maya appears within us as Raga or limited
interest as the ninth element. Because of this limited interest, we’re not
inclined to pursue the full potential of our creative abilities or to reach our
full potential. Raga also limits our potential to do and to know by limiting
our focus only on things that interest us.
This raga should not be confused with attachment which
is an attribute of the intellect (buddhi).
10.Niyati (cause and
effect): This tenth element enforces the law of nature upon its beings. It
establishes the order of succession in all the phenomena. E.g. how a seed
develops into a tree. This law restricts everything within the framework of
cause and effect.
11.Kaal (Time): Thiselement restricts our very being within the maze of time. It limits our
being from being present everywhere at all the time to being only somewhere at
some time. While our true self is Timeless (Akala), this element makes us feel
that “we were, we are, and we will be.” And with limitation of time, comes the
limitation of space as they are the opposite side of the same coin. If you can’t
be everywhere at all time and you can be only somewhere at some time, then it
takes some time to go from one place to another. Hence the illusion of space
I-consciousness): The I-consciousness, reduced to finitude, is the twelfth
element called Purusha.
13.Prakriti (Object of
I-consciousness): The object of Purusha element is the thirteenth element
called Prakriti. It is also called the MulaPrakriti (the basic substance). Through
Prakriti, Shiva starts further phase of creation. This element is the highest
element within the Samkhya philosophy and the undiversified source of the
remaining 23 objective elements.
For the remaining 23 elements, we
will start with the first and the grossest of elements for simplified
gross phenomena is divided into five elements known as the five bhutas called
5.aakash (ether or space)
b.Tanmatras: Five bhutas evolve from the next level of
subtle elements called Tanmatras. These include
As is obvious,
these subtle elements are the basic objects of the five exterior senses which
are the subsequent elements
c.Gnanendri – Senses
d.Karmendri – instruments of action
The next three elements are
collectively called the Antahkaranas – mind, ego and intellect.