Monday, December 02, 2013

You and the moon and the stars

Let me liken the moon and the stars
to you and glorify them.
For unlike you, my love, 
they are ephemeral.

When I truly thank God

When I truly thank God,
He says welcome through goosebumps.
When I go deeper still,
He flows through me as tears of joy.

Thursday, November 21, 2013

Only when I

Only when I got crushed under it, I moved the mountain.
Only when I burnt myself, I rose like phoenix.
Only when I drowned myself, I became the ocean.
Only when I truly surrendered, I won the battle.

Only when I stopped resisting, I flew.
Only when I stopped doing, life started happening.
Only when I observed, I saw the unseen.
Only when I became nothing, I became everything.

Only when I pulled out, existence took over.
Only when I let go, I let God.  

Friday, November 15, 2013

Evolution of Love

I love you because ...
I love you.
I love myself.
I love all.
I love.

प्यार से एकाकार तक

प्यार तब है जब सारी श्रृष्टि में वोही दिखे
भक्ति तब है जब सारी श्रृष्टि उसी में दिखे
आध्यात्म तब है जब सारी श्रृष्टि खुदमें दिखे
एकाकार तब है जब हम ही श्रृष्टि हैं ये दिखे

Pyaar tab hai jab sari shrishti mein wohi dikhe
Bhakti tab hai jab sari shrishti usi mein dikhe
Adhyatma tab hai jab sari shrishti khudmein dikhe
Ekakar tab hai jab hum hi shrishti hain ye dikhe.

Geet ko uthne do

A beautiful poem "geet ko uthne do" on 'Khumari' recited by Osho: 

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

An ode to Sachin

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 virtuosos create.  

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. 

Saturday, November 09, 2013

कोई तो बात होगी

कोई तो बात होगी ज़िन्दगी में
कि दिल को छू जाती है
कोई तो बात होगी मौत में
कि पल में ज़िन्दगी दिखा जाती है

कोई तो बात होगी रात में
कि सपने दिखा जाती है
कोई तो बात होगी दिन में
कि सपने साकार कर जाता है

कोई तो बात होगी प्यार में
कि रुला के चला जाता है
कोई तो बात होगी इंसान में
कि जीना सिखा जाता है

कोई तो बात होगी मुश्किलों में
कि हौसला दे जाती हैं
कोई तो बात होगी खुशियों में
कि आंसू छोड़ जाती हैं

कोई तो बात होगी हर पल में
कि उनकी यादें रह जाती हैं
कोई तो बात होगी रूह में
कि होकर भी ना होना दिखा जाती है 

Thursday, November 07, 2013

Life happens

A poet writes life,
a painter paints life,
a musician composes life,
a sculptor sculpts life.

A teacher teaches life,
a preacher preaches life,
a biker rides life,
a sportsman plays life.

Parents nurture life.
Joy celebrates life.
Sorrow resents life.
Breath breathes life.

Life begets life.

Sunday, November 03, 2013

At some point

At some point,
everything appears separate;
that point is mind.

At some point,
everything appears connected;
that point is heart.

At some point,
all the hearts connect;
that point is spirit.

At some point,
all the spirits merge;
that point is silence.

A part of us

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.

Monday, October 28, 2013

एक कविता आज होनेको है

एक कविता आज होनेको थी
फिर वो कहीं अटक गई
पता नहीं कैसे थी आई
और कैसे यूहीं थम गई

शायद किसी फूल की खुशबू में खो गई
या फिर हवा के झोके में उड़ गई
शायद किसी बच्चे की हसी में घुल गई
या फिर बारिश की बूँद में भीग गई

शायद किसी जौहरी ने उसे तराश लिया
या कोई सुंदरी ने उसे हार समझ पहन लिया
शायद किसी संगीत के सुरों ने उसे पिरो लिया
या कोई चित्रकार ने उसे रंगों में डुबो दिया

मैंने ढूँढा उसे किरणों की धुप में
फिर टटोला उसे रात की चांदनी में
मैंने छाना उसे पेड़ की छाओं में
और खोजा उसे पंछियों के गान में

शायद छुपी थी वो अमीरी के महल में
या सिसकियाँ ले रही थी गरीबी की आह में
शायद झूमती थी वो सच्चाई के नाच में
या मरती थी वो फरेब की धीमी आंच में

मैं ढूंढता रहा उसे
जो हमेशा मुझे समेटे थी
मैं खोजता रहा उसे
जो मैंने कभी खोया ही नहीं

मेरी सोच की हर संधी में थी
और सांस की हर लय में है
एक कविता आज होनेको थी
एक कविता आज होनेको है 

Tuesday, October 15, 2013

खुदा से गुफ्तगू

अब शहर की चकाचौन्द रास नहीं आती
की आसमान में उसने तारे बिछाए हैं

अब उसके नाम की माला हाथों से नहीं होती
की साँसों की माला में सिमरूं मैं उसका नाम

अब इंसान की जुबां समझ नहीं आती
की हम तो खुदा से गुफ्तगू करते हैं 

Kidnapped?! In Dubai?!

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.

Monday, October 07, 2013

नानी और नाती

एक नानी अपने नाती को चलना सिखा रही थी
बुढ़ापा बचपन को दिशा दे रहा था
ज्ञानी अज्ञानी का मार्गदर्शन कर रहा था
सूर्यास्त सूर्योदय को प्रकाश की परिभाषा सिखा रहा था

Wednesday, October 02, 2013


मदारी भी मैं हूँ
झमूरा भी मैं
डमरु भी मैं हूँ
खेला भी मैं
दर्शक भी मैं हूँ
प्रदर्शक भी मैं

तुम भी मैं हूँ
मैं भी मैं
अमर भी मैं हूँ
मरता भी मैं
खुदा भी मैं हूँ
शैतान भी मैं

ज़मीं भी मैं हूँ
आसमां भी मैं
हवा भी मैं हूँ
अंतरिक्ष भी मैं

कहता भी मैं हूँ
सुनता भी मैं
देखता भी मैं हूँ
दृश्य भी मैं

जो मैं हूँ
वो भी मैं हूँ
जो मैं नहीं
वो भी मैं

Friday, September 27, 2013

चंद बातें हिंदी में

कोशिश तो की थी मैंने
पर कमबख्त दिल ने साथ ना दिया
जब खुदको ना दे पाया तो
मैंने तुझी को धोका दे दिया

आँखें तो जुबां की सौतन होती हैं
की जुबां के हर राज़ सरेआम बयाँ करती हैं

एक चाँद है जो उनसे रौशनी उधार लेता है
और एक वो हैं की चाँद को खूबसूरत कहते हैं

हर पल में जीना तो हमने सीखा नहीं
पर पलों को नापती घड़ियाँ हम खूब बनाते हैं


सूरज की लालीमा

या आसमान के तारे मुझसे नाराज़ हैं
या मैं शहरों की चकाचौन्द में कहीं खोया हूँ

या चाँद की चांदनी आज कुछ सहमी सी है
या पूनम की रात मैं आँखें मीचे सोया हूँ

या ढलते सूरज की लालीमा आज तेज़ है
या मैं खून के आंसू रोया हूँ 

Saturday, September 21, 2013

हर दिल में कमी क्यों है

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?

Friday, August 30, 2013

Recreating Existence

A painter, a poet and a dancer
went to a Himalayan resort
for a friendly get together
and to find their creative burst.

Nature, being joyful and kind,
showed them such wonderful hues.
It mesmerized them all and
gave them their creative cues.

The idle brush beckoned the painter.
He spread the red, blue and crimson,
and drew on the canvass a stunning picture  
with cloud silhouettes and setting sun.

The poet let the words flow freely
in his oneness and exuberance.
Adjectives galore, praises aplenty,
described the unlimited existence.  

The dancer felt the music of the space
and began a wonderful dance,  
expressed his bliss through the grace
to consummate his hilly romance.

They gathered again and admired
the wonderment of their creativity,
but looked at the sky and wondered
how nature beats their created beauty.

They figured that human creation
is limited even in its awesomeness,
that no expression is a true reflection
of existence so eternal and limitless.

The friends then joined their hands.
In unison, they closed their eyes
and savoured the expansive vista,
and let existence fill in their pores.

Thursday, August 22, 2013

In a moment

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,
nor out,
we are all dead
and yet alive.
In a moment,
life is just a snapshot.

A perception is a collection
of moments.
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.

Thursday, August 08, 2013

Intelligence and Wisdom

Intelligence makes atom bombs.
Wisdom says, “you better not use it.”

Intelligence says, “I can win.”
Wisdom says, “It doesn't matter.”

Intelligence answers. Wisdom questions.
Intelligence competes. Wisdom holds hands.

Intelligence yearns to take credit.
Wisdom hankers to share it.

Intelligence needs to prove a point.
Wisdom has nothing to prove.

Sheer intelligence rankles. Wisdom soothes.
Intelligence dissects. Wisdom synthesizes.

Intelligence speaks out.
Wisdom is silent until spoken to.

Intelligence mocks at the foolish.
Wisdom respects the unwise.

Intelligence is a roaring stream.
Wisdom is a calm lake.

Intelligence without wisdom is wild fire.
Intelligence with wisdom is a trained horse. 

Friday, August 02, 2013

What would I be?

What would I see if all the eyes were mine?
What would I hear if I heard through all the ears?

What language would I speak if I spoke through all the tongues?
What would I hold if all the hands were mine?

What would I feel if all the hearts were mine?
What would I do if I was in all the minds?

What would I be if I was in all?
What would I experience if all was in me?

How would I react if it dawns that it’s true,
that I am all and all is me?

But wouldn’t the all-knowing me know already
that I was to discover the real me?  

This poem was inspired by the first verse of Purusha Sukta, which is a part of Rigveda. Purusha Sukta belongs to the section dedicated to the Purusha, the "Cosmic Being".

Wednesday, July 31, 2013

दरवाज़े - Doors

एक दरवाज़ा था 
जो मुझे पुकार रहा था 
मेरे करीब जाते ही वो खुल गया 

पर ये क्या ? 
भीतर एक और दरवाज़ा था 
उसके खुलते ही एक और, फिर एक और 

दरवाज़े खुलते रहे 
मैं भीतर जाता रहा 

घंटे, दिन, हफ्ते, साल बीत गए 

दरवाज़े खुलते रहे 
मैं भीतर जाता रहा 

समय की मर्यादा टूट गयी 
स्थान का आभास छूट गया 
खुद के होनेका एहसास भी मिट गया 

दरवाज़े खुलते रहे 
मैं भीतर जाता रहा 

फिर एक दरवाज़ा खुलते ही 
आगे कोई दरवाज़ा न था 

एक स्पंद था और ख़ामोशी थी 
मैं था और मैं जीवंत था 
आनंद था और प्रेम भी था 

मैंने पूछा 'तुम कौन हो ?' 
ख़ामोशी बोली, 'मैं तुम ही तो हूँ '

मैंने पीछे मुडके देखा तो 
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कौतुहल से देखते पाया 

Friday, July 19, 2013

What influences our perception - 36 elements of Kashmir Shaivism

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.
2.   Shakti: The 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 seed.

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 introduced.
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):  To enable 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.
8.    Vidya (Limited Knowledge): Since doing 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): This element 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 and time.

12. Purusha (Finite 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 understanding.
a.      Pancha-bhutas: The gross phenomena is divided into five elements known as the five bhutas called  
1.      prithvi (earth),
2.      jal (water),
3.      agni (fire),
4.      vayu (air),
5.      aakash (ether or space)
b.     Tanmatras: Five bhutas evolve from the next level of subtle elements called Tanmatras. These include
6.      Odour
7.      Flavour
8.      Light-colour
9.      Touch
10.   Sound
As is obvious, these subtle elements are the basic objects of the five exterior senses which are the subsequent elements
c.       Gnanendri – Senses
11.  Smell
12.  Taste
13.  Sight
14.  Touch
15.  Hearing
d.      Karmendri – instruments of action
16.  Reproduction
17.  Elimination
18.  Locomotion
19.  Handling
20.  Expression (speech)   
The next three elements are collectively called the Antahkaranas – mind, ego and intellect.
21.  Buddhi (Intellect):
22.  Ahankar (Ego):
23.  Manas (Mind):  

2. Book: Specific Principles of Kashmir Shaivism by B. N. Pandit.