2nd December, 2015 is the Jayanti of Narsinh Mehta (or Narsi Mehta or Narsi Bhagat)

2^nd December, 2015 is the Jayanti of Narsinh Mehta (or Narsi Mehta or Narsi Bhagat), 15^th century Hindu saint-poet, acclaimed as “Adi Kavi” in Gujarati literatures and notable bhakt of Lord Shri Krishna, was born in the year 1414 at Talaja village which is belongs to Saurashtra region under Bhavnagar district in the Indian state of GUJARAT. Talaja is located on National Highway No. 8 in between the district headquarters Bhavnagar city (50 kms) and Mahuva taluka (40 kms).

Narsi Mehta was born in Nagar Brahmin cast. His parents were Krishnadas and Dayakuvar but lost parents when he was 5 years old. He could not speak until the age of 8 year. He was raised by his grandmother Jayagauri. Once a SADHU came in village, Narsi was brought to Sadhu by his grandmother. She said to Sadhu that Narsi is not able to speak yet. Sadhu saw something well future of Narsi in Samadhi (meditation); he put his hand on Narsi’s head and told to speak ‘Radhe Govind’. Miraculously, in between present villagers, Narsi started to speak ‘Radhe Govind’.

Narsinh Mehta married to Manekbai. Mehta and his wife stayed at his brother Bansidhar's place. However, his brother's wife (sister-in-law or bhabhi) did not welcome Narsinh very well. She was an ill-tempered woman, always taunting and insulting Narsinh for his worship (Bhakti). One day, Kana Dhedh (Harijan) son’s wife was expired due to bad illness in gaon, no one was ready take her dead body to Samashan. Mehta took her in Shamshan and do last ritual of her. When he came to home, his bhabhi didn’t allow him in home and due to these types of day to day insults and taunts, he left the house and went to a nearby forest in search of some peace, where he fasted and meditated for seven days by a secluded Shiva Lingam until Lord Shiva appeared before him in person. Lord Shiva asked Narsi for boon. Mehta said that Prabhu ! Give that what you love much more. Shiva replied and gives boon that he loved Lord Vishnu’s Bhakti then on Narsi's request; Lord Shankar took him to Vrindavan and showed him the eternal Raas Leela of Lord Shri Krishna with Radha Rani and Gopis. A legend has it that Narsi, transfixed by the spectacle, burnt his hand with the torch he was holding, but he was so engrossed in the ecstatic vision that he was oblivious to the pain. Mehta, as the popular account goes, at Lord Krishna's command, decided to sing His praises and the nectarous experience of the Rasa in this mortal world. Lord Shri Krishna also told that whenever you sing ‘Kedaro’ for Me, I will come personally to you and solve your problem whosoever of your worldly.

After this dream-like experience, the transformed Mehta returned to his village, touched his sister-in-law's feet, and thanked her for insulting him. In Junagadh, Mehta lived in poverty with his wife and two children, a son named Shamaldas, and a daughter for whom he had special affection, Kunwarbai.

How Shri Krishna, in the guise of a wealthy merchant, helped Mehta in getting his son married is sung by the poet in ‘Putra Vivah Na Pada’. Once, one Dixit came in Junagadh in search of adequate bridegroom for ‘daughter of Vadnagar’s Madan Mehta’ and after seeing Shamal, he confirmed marriage of Shamal to daughter of Madan Mehta. During marriage function, one snake beat to Hanuman Pratap (or Hanumant), who was son of Sarangdhar (or Salangdhar). At that time, Narsi Mehta requested Lord Shri Krishna to alive Hanumant but Lord Krishna clears that Sarangdhar has taken false oath of his son so death of his son happen. Even if, Mehta knew that Sarangdhar was not happy with his son’s marriage with Madan Mehta’s daughter and his behavior was opposite to him but still he requested Bhagwan Shri Krishna to alive Hanumant. At this time God Krishna told that it is only possible if life of your son Shamal will be given to Hanumant. Mehta agreed and Hanumant became alive but his son Shamaldas has died. Due to sudden dead of son Shamal, after all Mehta’s wife Manekbai also died.

How Lord Krishna helped his beloved devotee Narsi Mehta at the time of ‘Kunvarbai’s Mameru’ is a legend depicted in 'Mameru Na Pada'. After marriage of Mehta’s daughter Kunwarbai (or Kunvarbai) to ‘son of Shrirang Mehta of Una’, Kunwarbai became pregnant and it was a custom for the girl's parents to give gifts and presents to all the in-laws during the seventh month of pregnancy. This custom, known as Mameru, was simply out of reach of poor Narsinh who had hardly anything except intransigent faith in his Lord. This episode is preserved vividly in the memory of Gujarati people in compositions by later poets and in Gujarati film like Kuvarbai Nu Mameru (1974). The first ever Gujarati talkie (feature) film, Narsinh Mehta (1932) was also based on Narsinh Mehta's life.

Other famous legend include 'Hundi (Bond)' episode. Mehta writes Hundi to Shamalsha Seth residing in Dwarka. The episode in which Bhagwan Shri Krishna takes form of Shamalsha Seth and cleared a bond written by poverty-stricken beloved, is famous not only in Gujarat but in other parts of India as well.

The Har Mala (Garland) episode deals with the challenge given to Mehta by Ra Mandlik (1415–1472), a Chudasama King, to prove his innocence in the charges of immoral behaviour by making the Lord Himself garland Narsinh. Mehta depicts this episode.

Last he went to Mangrol where in the year 1481, at the age of 67, he is believed to have died. The crematorium at Mangrol is called 'Narsinh Nu Samshan' where one of the sons of Gujarat was cremated. He will be remembered for his poetic works and devotion to Lord Krishna. He is known as the first poet of Gujarati.

Narsi Bhagat revelled in devotion to his hearts' content along with Sadhus, Saints and all those people who were Hari's subjects – Harijans – irrespective of their caste, class or sex. It also seems that he must have fallen into a somewhat ill repute for his close relations with Lord's Sakhis and Gopis, Narsinh mehta's women followers, with whom he danced and sang. The Nagars of Junagadh despised him and spared no opportunity to scorn and insult him. By this time, Mehta had already sung about the Rasaleela of Radha and Krishna. The compositions are collected under the category of Shringar compositions. They are full of intense lyricism, bold in their erotic conception and are not without allegorical dimensions, this saves the compositions from being something of erotic court poetry of medieval India.

Narsi Mehta is a pioneer poet of Gujarati literatures. He is known for his literary forms called "Pada (Verse)", "Aakhyan" and "Prabhatiya".

He resolved to compose more than 1500 kirtans or compositions. The works of Narsi Mehta are divided into three categories :-

(i) Autobiographical compositions :- Putra Vivah, Mameru, Hundi, Har Same No Pada, Jhari Na Pada and compositions depicting acceptance of Harijans. These works deal with the incidents from the poet’s life and reveal how he encountered the Divine in various guises. They consist of ‘Miracles’ showing how ‘Narsaiyya’s Lord Shri Krishna helped his devotee in the time of crises.

(ii) Miscellaneous Narratives :- Chaturis, Sudama Charit, Dana Leela and episodes based on Srimad Bhagwatam. These are the earliest examples of ‘Akhyana’ or narrative type of compositions found in Gujarati. These include :-

(1) Chaturis, 52 compositions resembling Jaydeva’s masterpiece Geeta Govinda dealing with various erotic exploits of Radha and Krishna.

(2) Dana Leela poems dealing with the episodes of Krishna collecting his dues (dana is toll, tax or dues) from Gopis who were going to sell buttermilk etc. to Mathura.

(3) Sudama Charit is a narrative describing the well-known story of Krishna and Sudama.

(4) Govinda Gamana or the "Departure of Govind" relates the episode of ‘Akrura’ taking away Krishna from Gokul.

(5) Surata Sangram, The Battle of Love, depicts in terms of a battle the amorous play between Radha and her girl friends on the one side and Krishna and his friends on the other.

(6) Miscellaneous episodes from Bhagwatam like the birth of Krishna, his childhood pranks and adventures.

(iii) Songs of Sringar :- These are the Padas dealing with the erotic adventures and the amorous exploits of Radha and Krishna like Ras Leela. Various clusters of Padas like Ras Sahasrapadi and Sringar Mala fall under this head. Their dominant note is erotic (Sringar). They deal with stock erotic situations like the ossified Nayaka-Nayika Bheda of classical sanskrit Kavya poetics.

Some famous Gujarati Bhajans/Prabhatiyas written by Narsinh Mehta :-

(1) Vaishnava Jana To Tene Re Kahiye, Nahi Mayama Jenu Man Re…Krishna Vina Biju Kai Na Jove

(2) Maari Hundi Swikaro Maharaj Re Shamala Girdhari, Maari Hundi Samaliya Ne Hath Re Shamala Girdhari

(3) Je Game Jagat Gurudev Jagdish Ne, Te Tano Kharkharo Fok Karavo…Sukh Sansari Mithya Kari Manajo, Krishna Vina Biju Sarv Kachu

(4) Samarne Shri Hari, Mel Mamata Pari, Jone Vicharine Mool Taru; Tu alya Kon Ne Kone Valagi Rahyo, Vagar Samaje Kahe Maaru Maaru

(5) Jagi Ne Jovu To Jagat Dishe Nahi, Ungh Ma Atapata Bhog Bhase, Chitt Chaitanya Vilas Tad Roop Chhe, Brahm Lataka Kare Brahm Paase…Ghat Ghadiya Pachhi Naam-Roop Joojava, Ante To Hem Nu Hem Hoy

(6) Akhil Brahmand Ma Ek Tu Shri Hari, Jujave Roope Anant Bhase

(7) Raat Rahe Jyare Paachhali Khatghadi, SADHU Purus Ne Sui N Revu…Jogiya Hoy Tene Jog Sabhalava

(8) Unchi Medi Te Maara Sant Ni Re, Mein To Ma’hli N Jaani Ram

(9) Jalkamal Chhandi Jane Bala Swami Amaro Jagase, Jagase Tane Marse, Mane Bal Hatya Lagase

(10) Jaag Ne Jadva Krishna Govaliya, Tuj Vina Dhen Ma Kon Jaase, 360 Govaliya Tole Valya, Vado Te Govaliyo Kon Thase

(11) Sukh Dukh Manma N Aaniye, Ghat Sathe Re Ghadiya, Talya Te Koina Nav Re Tale, Raghunathna Jadiya

(12) Narayan Nu Naam J Leta, Vaare Tene Tajiye Re, Manasa Vaacha Karmana Karine, Lakshmivar Ne Bhajiye Re

(13) Ram Sabhama Ame Ramavane Gya’ta, Pasali Bharine Ras Pidho, Harino Ras Puran Paayo

(14) Ame Mahiyaara Re, Gokul Gamna, Mare Mahi Vechavane Jaava

(15) Aajni Ghadi Te Raliyamali, Haa Re ! Mahro Vhaloji Aavyani Vadhamani

(16) Aasha Bharya Te Ame Aaviya, Ne Mare Vhale Ramadya Raas Re, Aavel Aasha Bharya

(17) Eva Re Amo Eva Re, Tame Kaho Chho Vali Teva Re…Harijan Thi Je Antar Ganashe, Tena Fogat Fera Thala Re

(18) Kanaji Tari Ma Kehse Pan Ame Kanudo Kehsu Re, Etalu Kehta Nahin Maane To Gokul Meli Deshu Re

(19) Giri Taleti Ne Kund Damodar, Tya Mehtaji Nhava Jaay

(20) Jasoda Tara Kanudane Saad Karine Var Re, Aavadi Dhoom Machave Vraj Ma, Nahi Koi Puchhan Haar Re

(21) Nagar Nandajina Laal, Ras Ramanta Mari Nathadi Khovani, Kaanha Jadi Hoy To Aal

(22) Rudi Ne Rangili Re Vaala Tari Vasali Re Lol, Vasaldi Mare Mandiriye  Sambhalay Jo

(23) Padho Re Popat Raja Ram Na, Sati Sitaji Padhave, Pase Re Bandhavu Rudu Panjaru, Mukh Thi Ram Japave

(24) Bholi Re Bharvadan Harine Vechavane Chali Re, Girivardharine Upadi, Matukima Ghali Re

(25) Va Vaya Ne Vadal Umatya, Gokulma Tahukya Mor, Malava Aavo Sundrivar Shamliya

(26) Sheri Valavi Sajj Karu, Ghare Aavo Ne ! Aanganiye Patharavu Phool, Valam Ghare Aavo Ne

(27) Bhalu Thayu Bhagi Janjal, Sukhethi Bhajishu Shri Gopal

(28) Ja Ja Nindara Hu Tune Vaaru, Tu Chhe Naar Dhutari Re…

(29) Ghadapan Kone Mokalyu, Janyu Joban Rahe Saukaal, Umbara To Dungara Paya Re, Paadar Thaya Pardesh, Goli To Ganga Thai Re, Ange Ujala Thaya Chhe Kesh

(30) Bhutal Bhakti Padarath Motu, Brahmlokma Nahi Re…Harina Jan To Mukti N Maage, Janamo Janam Avtar Re, Nit Seva Nit Kirtan Ochhav, Nirkhava Nandkumar Re

गोस्वामी तुलसीदास विरचित हनुमान चालीसा

जै जै जै हनुमान गोसाईं I कृपा करहु गुरु देव की नाईं II ३७ II
भावार्थ :- हे हनुमान स्वामी ! आपकी जय हो ! जय हो !! जय हो !!! आप गुरुदेवकी भाँति मेरे ऊपर कृपा कीजिये I
"मेरे आराध्य देव बजरंग बली"
{My Guru and God (Ishta Dev) is Bajrang Bali}

हनुमान बाहुक (गोस्वामी तुलसीदास रचित)

पंचमुख-छमुख-भृगुमुख्य भट-असुर-सुर, सर्व-सरि-समर समरत्थ सूरो I
बाँकुरो बीर बिरूदैत बिरूदावली, बेद बंदी बदत पैजपूरो II
जासु गुनगाथ रघुनाथ कह, जासु बल, बिपुल-जल-भरित जग-जलधि झूरो I
दुवन-दल-दमनको कौन तुलसीस है, पवनको पूत रजपुत रूरो II ३ II
भावार्थ :- भगवान शंकर, स्वामिकार्तिक, चिरंजीवी परशुराम, दैत्य और देवतावृन्द सबके युद्धरूपी नदीसे पार जानेमें योग्य योद्धा हैं । वेदरूपी वन्दीजन कहते हैं- आप पूरी प्रतिज्ञावाले चतुर योद्धा, बड़े कीर्तिमान और यशस्वी हैं । जिनके गुणोंकी कथाको रघुनाथजीने श्रीमुखसे कहा तथा जिनके अतिशय पराक्रमसे अपार जलसे भरा हुआ संसार-समुद्र सूख गया । तुलसीके स्वामी सुन्दर राजपूत (पवनकुमार)-के बिना राक्षसोंके दलका नाश करनेवाला दूसरा कौन है ? (कोई नहीं) II ३ II 

गीतावली_चित्रकूट वर्णन_श्रीमद गोस्वामी तुलसीदासजी विरचित

चित्रकूट अति बिचित्र, सुन्दर बन, महि पबित्र, पावनि पय-सरित सकल मल-निकन्दिनी I
सानुज जहँ बसत राम, लोक-लोचनाभिराम, बाम अंग बामाबर बिस्व-बन्दिनी II
भावार्थ :- चित्रकूट पर्वत बड़ा ही विचित्र है; वहाँका वन बड़ा ही सुन्दर और पृथ्वी अतिशय पवित्र है I वहाँ सम्पूर्ण मलोंको नष्ट करनेवाली परम पावनी पयस्विनी (मन्दाकिनी) नदी है I वहीँ सकल लोकोंके नेत्रोंको प्रिय लगनेवाले भगवान श्रीराम अपने अनुज लक्ष्मणजीके सहित रहते हैं तथा उनके वाम भागमें विशवन्दिता रमणीरत्न वैदेही विराजती हैं I
झरना झर झिँग झिँग झिँग जलतरंगिनी I
मत्त मृग मराल मंद मंद गुंजत हैं अलि अलिंगिनी II
भावार्थ :- वहाँ नदियाँ झिग्-झिग् स्वर करती हुई जलके झरने झरती हैं I मत्त होकर मृग तथा हंस फुर्तीलापन दिखा रहे हैं और भौंरा-भौंरी मन्द मन्द गूँज रहे हैं I
फटिकसिला मृदु बिसाल, संकुल सुरतरु-तमाल, ललित लता-जाल हरति छबि बितानकी I
मन्दाकिनी-तटिनि-तीर, मंजुल मृग-बिहग-भीर II
भावार्थ :- (प्रभुको प्रसन्न करनेके लिये) विशाल फटिकशिला बड़ी कोमल हो गयी है; वहाँ उगे हुए कल्पवृक्षके समान तमालतरु तथा मनोहर लतासमूह बड़े-बड़े चाँदोवोंकी छबि छीन रहे हैं I मन्दाकिनी नदीके तीरपर मनोहर मृग और पक्षीयोंकी भीड़ लगी रहती है I
बिरचित तहँ परनसाल, अति बिचित्र लषणलाल, निवसत जहँ नित कृपालु राम-जानकी I
भावार्थ :- वहाँ लखनलालने एक बड़ी ही विचित्र पर्णशाला बनायीं है, जहाँ सदा ही कृपामय राम एवं जानकीजी निवास करते हैं I

गोस्वामी तुलसीदास कृत श्रीहनुमान चालीसा

गोस्वामी तुलसीदास कृत श्रीहनुमान चालीसा :-
भूत पिसाच निकट नहिं आवै, महाबीर जब नाम सुनावै II २४ II
भावार्थ :- भूत-पिशाच आदि आपका 'महावीर' नाम सुनते ही (नामोच्चारण करनेवालेके) समीप नहीं आते हैं I
व्याख्या :- 'बजरंगबली' का नाम लेनेमात्रसे भूत-पिशाच भाग जाते हैं तथा भूत-प्रेत आदिकी बाधा मनुष्यके पास भी नहीं आ सकती I श्रीहनुमानजीका नाम लेते ही सारे भय दूर हो जाते हैं I

हनुमत स्तवन {गोस्वामी तुलसीदास लिखित}

प्रणवउँ पवनकुमार खल बन पावक ग्यानघन I
जासु हृदय आगार बसहिं राम सर चाप धर II
भावार्थ :- मैं पवनकुमार श्रीहनुमानजीको प्रणाम करता हूँ, जो दुष्टरुपी वनको भस्म करनेके लिये अग्निरूप हैं, जो (अज्ञानरुपी असुरका विनाश करनेके लिये साक्षात्) ज्ञानकी घनमूर्ति हैं और जिनके हृदयरूपी भवनमें धनुष-बाण धारण किये भगवान श्रीराम निवास करते हैं I

विनय पत्रिका_हनुमत स्तुति_श्रीगोस्वामी तुलसीदासजी विरचित

जयति विश्व-विख्यात बानैत-विरूदावली, विदुष बरनत वेद विमल बानी I
दास तुलसी त्रास शमन सीतारमण संग शोभित राम-राजधानी II ९ II
भावार्थ :- हे हनुमानजी ! तुम्हारी जय हो I तुम विश्वमें विख्यात हो, वीरताका बाना सदा ही कसे रहते हो I विद्वान और वेद अपनी विशुद्ध वाणीसे तुम्हारी विरदावलीका वर्णन करते हैं I तुम तुलसीदासके भव-भयको नाश करनेवाले हो और अयोध्यामें सीतारमण श्रीरामजीके साथ सदा शोभायमान रहते हो II ९ II 

Jai Ma Danteshwari Mandir

Sky touch sculpture of Lord Mahabali Hanuman is located at Dantewada town in the Indian state of Chhattisgarh. It is located about 87 kms from Jagdalpur tehsil and 383 kms from the state capital city Raipur. Dantewada (or Dantewara) is the administrative headquarters of Dantewada district (or Dakshin/South Bastar district) which is blessed with beautiful tall and long series of hills with full of thick green saal and teak forests.

The town is named after the Goddess Danteshwari, the presiding deity of the Danteshwari temple located in the town. The Goddess is worshipped as an incarnation of Shakti (Parvati) and the temple is held to be one of the 52 sacred Shakti Peethas in India.

According to a prevalent myth in connection with Danteshwari, due to an insult committed by her father Prajapati Daksha towards her consort Lord Shiva during the Yajna, Goddess Sati (Parvati) got frustrated and committed self-immolation in the fire pit of Yajna. Raged by the death of Sati, Lord Shiva destroyed the Yajna of Daksha and with the dead body of Sati in his hands started to do 'Taandav'. Lord Vishnu cut the dead body of Goddess Sati into pieces with his Sudarshan to make Lord Shiva free from the grief caused by the death of Sati. Parts of the dead body of Goddess Sati (Shakti) were scattered to 52 (fifty-two) different places, which were consecrated as Shakti Peethas by different names in India. It is believed that a daanth or tooth of Sati had fallen in Dantewada hence Danteshwari Shaktipith was established.

The Danteshwari temple was built in the 14th century by the Chalukya Kings in south Indian style of temple architecture. The idol of Danteshwari Mai is chiseled out of black stone. The temple is divided into four parts such as Garbh Griha, Maha Mandap, Mukhya Mandap and Sabha Mandap. Garbha Griha and Maha Mandap were constructed with stone pieces. There is a Garuda Pillar in front of entrance of the temple. The temple itself is located in a spacious courtyard surrounded by massive walls. The shikhara is adorned with sculptural finery.

Situated in Dantewada, south-west of Jagdalpur, at the confluence of the holy rivers Shankini and Dhankini, both the rivers have different colors, this more than 600 years old temple is one of the ancient heritage sites of India and is a representation of the religio-socio-cultural history of the Bastar region. Little is known about this shrine to much of India. The vast temple complex today is truly a standing monument to centuries of history and tradition. With its rich architectural & sculptural wealth and its vibrant festival traditions, Danteshwari Mai temple serves as the most important spiritual center for devotees of other region of the country.

Other places of Interest :-

(1) Big Shiva Lingam shape Lingeshwar temple, Bacheli (Dantewada)

(2) Dantewada beautiful Park

(3) Tall statue of Lord Shiva

(4) Shesh Shaiya biggest statue of Lord Vishnu with Devi Lakshmi in Ksheer Sagar.

Maruti (Bal Hanuman)

Lord Shiva was born into this world as the Monkey God Hanuman (11^th Rudravatar) in Treta Yug during the India’s Greatest Epic Ramayan to serve Bhagwan Shri Ram.

Lord Hanuman’s parents were the Wind God Vayu (Pawan) and Devi Anjana. In his childhood, Bal Hanuman was a bundle of mischief. He was very active. So he had a very healthy appetite too. Most of the time he was hungry. He was ready to eat anything that was tasty and within his reach.

Every day, an hour before dawn, Devi Anjana went out to collect some flowers and fruits. Usually Maruti was asleep then so she would leave him at home and would return before he woke up.

One day, she was held up on her way back. Bal Hanuman woke up at the usual time. He was terribly hungry.

He called out to his mother, "Ma I am hungry." He waited for his mother to run to him perhaps that did not happen.

Where are you, Ma? Child Hanuman said loudly but still there was no reply.

He waited a while; then called again, "Where has Mama gone so early in the morning? I am so hungry." Grumbled Maruti.

When he found no sign of Mother Anjani, he decided to find food on his own. He went into the kitchen. There was nothing there that he could eat. All the pots & pans and baskets were empty. Little boy Hanuman was getting hungrier and hungrier every minute.

Why should not I go out and get fruits to eat?" Child thought.

He ran down the steps of his home. Then he noticed a red ball to the east. It was at some distance. It was the sun rising.

Bal Hanuman watched the sight. It was beautiful. The whole sky was aglow with morning twilight; the sun looked like a big juicy fruit. Maruti thought it was a big red ripe watermelon & yumm... I have never eaten this fruit. Mother has never got it for me. I shall get it by myself. It is very big and I am sure it is just what I need now. I can't stay hungry any more.

Child Hanuman took a big leap, determined and continued to fly towards the sun. That took him close to the sun. He reached out for it. He almost had grabbed it but he missed it.

He looked around. He noticed Rahu. Rahu hated the Sun and when so ever he got a chance, he caught the sun in its shadow. That was what he did now. This was what he had been doing since the time immemorial.

Today, he too reached out to cast his shadow on the sun. But Bal Hanuman beat him to it and held the son firmly in his hands. Rahu was furious. He tried to snatch the sun from Maruti but he failed.

Angrily he ran to Devraaj Indra, the King of all the Devatas of Swarg, and complained, Oh! Lord! You gave me permission to cast shadow on the sun, at will. Today, I wanted to do that. But a child monkey snatched it from under my nose in the nick of the time."

Lord of Heaven Indra thundered, "Who is this rascal? Who is this little monkey that has dared to send you back. I shall teach him a lesson."

Swarg King Indra went with Rahu. Both soon came to where Bal Hanuman was holding the sun and almost swallowed the surya.

Devraaj Indra got enraged. He drew (hit) his terrible weapon Vajrayudh and hurled at Maruti. It hit him below the chin. His cheek became swollen. (This is why he came to be known as Hanuman. In Sanskrit language ‘Hanu’ means cheek). He blacked out and fell on the ground with a big thud.

Pawan, the Wind God, saw him wounded, "Who have done this to my son?" he growled and turned. He saw the weapon returning to Devraaj Indra. He lost his temper. He screamed at Indra, "How dare you hit my son? He picked up his son Maruti and ran into a big cave in Patal Lok, the world below grounds of the earth. As the Wind God left the earth, there was no air in the world. Just like he gathered all the wind streams blowing in the universe and kept with him. The universe became empty airless. Not a whiff of wind moved anywhere. Soon it was impossible to breathe. People, animals, trees and all living things struggled to breathe and started to die. It looked as if all creations would come to The End.

"What brings you to me?" asked Lord Brahma.

"You know Lord," said the Devatas with folded hands.

"Yes I know. Didn't you know Indra that Maruti is none else but the Lord Shiva in monkey form? He has gone to the earth to serve and help Bhagwan Shri Ram in the battle against Demon King Ravan. How can you hurt him?" told Lord Brahma.

"I didn't know, Oh Lord! What should we do now?" asked Indra.

"Go to Maruti and ask for forgiveness. Also grant him some of your divine powers. Then Pawan will be happy," Lord Brahma suggested.

The Devatas realized their folly, "Oh! We were fools to annoy the Lord Shiva and Pawan Dev."

Devatas requested Lord Brahma to come with them. They hurried to the cave where Maruti and Pawan Dev were.

Amaravati King Indra muttered some mantras and drew back the effect of the Vajrayudh that still held Maruti unconscious. Maruti woke up. He found the Gods standing with folded arms. They sang his praise. They requested Maruti to release Lord Surya from his grip then after one by one, they gifted immense power to him.

Each god conferred a boon upon the little Maruti. Lord Brahma, the creator said, “you will be immortal (Chiranjeevi).”

“No any weapon will be able to kill him. His body become like my weapon Vajra (BAJRANG). My Vajra affected on his chin (Hanu) so from today his one name will be HANUMAN.” Indradev said to the boy Maruti.

“No any water can be drowned him.” Said Varun, the Water God.

“Fire (Agni) never burnt-out him.” Given boon to Maruti by Agni Dev.

This made Pawan Dev happy. He released the air streams and life returned again on earth.

Gods returned to Heaven. Lord Hanuman ran back to home. He found his mother, holding a basket with full of fruits. He enjoyed the fruits while Pawan Dev told to Anjani, "Know what? Your son has become very powerful. All the Gods came and gifted him some of their secret powers.”

Anjani smiled and saw the little Hanuman eating the last fruit in the basket and became happy.

किष्किन्धाकाण्ड {गोस्वामी तुलसीदास रचित श्रीरामचरितमानस}

राम काज लगि तव अवतारा I सुनतहिं भयउ पर्बताकारा I
भावार्थ :- (ऋक्षराज जाम्बवानने कहा)- हे पवनकुमार हनुमान ! भगवान श्रीरामके कार्यके लिए ही तो तुम्हारा अवतार हुआ है ।
कनक बरन तन तेज बिराजा I मानहुँ अपर गिरिन्ह कर राजा II
सिंहनाद करि बारहिं बारा I लीलहिं नाघउँ जलनिधि खारा I
सहित सहाय रावनहि मारी I आनउँ इहाँ त्रिकूट उपारी II
भावार्थ :- यह सुनते ही हनुमानजी पर्वतके आकारके (अत्यंत विशालकाय) हो गए I उनका सोनेका सा रंग है, शरीर पर तेज सुशोभित है, मानो दूसरा पर्वतोंका राजा सुमेरु हो । हनुमानजीने बार-बार सिंहनाद करके कहा- मैं इस खारे समुद्रको खेलमें ही लाँघ सकता हूँ और सहायकों सहित रावणको मारकर त्रिकूट पर्वतको उखाड़कर यहाँ ला सकता हूँ ।

गोस्वामी तुलसीदास कृत संकटमोचन हनुमान अष्टक

बालि की त्रास कपीस बसै गिरि, जात महाप्रभु पंथ निहारो I
चौंकि महा मुनि साप दियो तब, चाहिय कौन बिचार बिचारो II
कै द्विज रूप लिवाय महाप्रभु, सो तुम दास के सोक निवारो I
को नहिं जानत है जगमें कपि, संकटमोचन नाम तिहारो II २ II
भावार्थ :- बालिके भयके कारण कहीं शरण न पाकर वानरराज सुग्रीव छिपकर (ऋष्यमूक) पर्वतपर रहते थे, जहाँ मतंग मुनिके शापके कारण बालि प्रवेश नहीं करता था I महाप्रभु श्रीरामचंद्रजी लक्ष्मणजीके साथ जब सीताजीको खोजते हुए उधरसे जा रहे थे, तब सुग्रीव उन्हें बालिका भेजा हुआ योद्धा समझकर चकित हो यह विचार करने लगा कि अब क्या करना चाहिए ? हे हनुमानजी ! तब आप ब्राह्मणका रूप धारण करके भगवान श्रीरामचन्द्रजीको वहाँ ले आये I इस प्रकार आपने दास सुग्रीवके महान भय और शोकको दूर किया I संसारमें ऐसा कौन है जो आपके 'संकटमोचन' नाम से परिचित नहीं है? II २ II

हनुमान बाहुक [गोस्वामी तुलसीदास लिखित]

महाबल-सीम, महाभीम, महाबानइत, महाबीर बिदित बरायो रघुबीरको I
कुलिस-कठोरतनु जोरपरै रोर रन, करुना-कलित मन धारमिक धीरको II
दुर्जनको कालसो कराल पाल सज्जनको, सुमिरे हरनहार तुलसीकी पीरको I
सिय-सुखदायक दुलारो रघुनायकको, सेवक सहायक है साहसी समीरको II १० II
भावार्थ :- आप अत्यन्त पराक्रमकी हद, अतिशय कराल, बड़े बहादुर और रघुनाथजीद्वारा चुने हुए महाबलवान विख्यात योद्धा हैं I वज्रके समान कठोर शरीरवाले जिनके जोर पड़ने अर्थात बल करनेसे रणस्थलमें कोलाहल मच जाता है, सुन्दर करुणा एवं धैर्यके स्थान और मनसे धर्माचरण करनेवाले हैं I दुष्टोंके लिये कालके समान भयावने, सज्जनोंको पालनेवाले और स्मरण करनेसे तुलसीके दुःखको हरनेवाले हैं I सीताजीको सुख देनेवाले, रघुनाथजीके दुलारे और सेवकोंकी सहायता करनेमें पवनकुमार बड़े ही साहसी (हिम्मतवर) हैं II १० II

Sita Vanvas in Ramayan

Bhagwan Shri Ram told to Lakshman, “Before some days, Sita has wished to see forest hermitage for worship of Sages so take her and leave in forest. This is Raj order that you must follow.”

By obeying Ayodhya’s King Raghunandan’s order, Lakshman set out to the forest in a chariot with Devi Sita in it.

With Bhaiya Lakshman in chariot on the way to forest, Devi Sita told to Lakshman, “I have roughly thought about to see forest hermitage and worship of Saints earlier that Raghuveer has fulfilled my wish today, I blessed very much.”

Reaching in thick of the forest, Lakshman requested Mata Sita to get down. Janaki complied with the request but she felt frightened to see the dreadful forest on all sides.

Janak Nandini said, “Bhaiya Lakshman ! There is no hermitage even anywhere around. This dense forest is the abode of fierce wild animals. Why have you brought me here?”

“Respected sister-in-law (Bhabhi) ! Raja Ram has ordered me to leave you here in this forest (लोकापवादके कारण राजा रामने सीताका परित्याग किया है I) and I can never violate his order, you know.” replied Lakshman in a faltering voice.

Hearing these words and thinking…Mera Parityag…Ram…Ram Ne… Maithili fell down senseless.

Lakshman returned to Ayodhya leaving Devi Sita lying there (As per King Siyawar’s order).

Vaidehi said to herself, “Have I been sent to this forest with Lakshman so that you may get rid of me? I have already suffered a lot. Even death is not ready to accept me.” Thinking so, Mithlesh Kumari began to bewail bitterly.

By chance, Saint Valmiki happened to pass that way. Hearing Sita bewail so bitterly, he came to her and said, “Who are you, my daughter? Why are you here alone? And why are you weeping like that?”

“I am Sita, daughter of King Janak of Mithila and Queen of Maryadapurshottam Shri Ram, the ruler of Ayodhya, O Saint??? Saying so, she related her woeful take to the Sadhu.

Hearing Siyadevi’s tale of woe, Maharishi Valmiki could not make out the reason of sending Sita to the forest by her husband Shri Ram. So, he asked, “My daughter! Let me know the reason behind your expulsion.”

“But I myself do not know, O fatherly Saint. My husband’s younger brother Lakshman brought me here in a chariot and left me here when I was lying unconscious under the shock of being expelled from no reason.” Retorted Janak Kumari to the Sadhu.

Then the Saint retorted, “Your father, Janak, has been my disciple. So, you are quite safe, my daughter. Shed all worry and sorrow. Have patience, your husband shall come one day in person to take you. Come with me to my hermitage and stay there.”

Rishi Valmiki gave daughter Sita useful and consoling sermons and took her to his abode.

Parthivi made Maharshi Valmiki’s hermitage her home. Daily in the morning she sat before the Saint to have sermons. She was leading a very simple life full of righteousness.

गोस्वामी तुलसीदास विरचित श्रीहनुमान चालीसा

तुम्हरे भजन राम को पावै I जनम जनम के दुख बिसरावै II ३३ II
अंत काल रघुबर पुर जाई I जहाँ जन्म हरि−भक्त कहाई II ३४ II
भावार्थ :- हे सीताराम भक्त हनुमानजी ! आपके भजनसे लोग भगवान श्रीरामको प्राप्त कर लेते हैं और अपने जन्म-जन्मान्तरके दुःखोंको भूल जाते हैं अर्थात उन दुःखोंसे उन्हें मुक्ति मिल जाती है II ३३ II  अन्त समयमें मृत्यु होनेपर वह भक्त प्रभुके परमधाम (साकेत−धाम) जायगा और यदि उसे जन्म लेना पड़ा तो उसकी प्रसिद्धि हरिभक्तके रूपमें हो जायगी II ३४ II

Panchmukhi Hanuman

Kamba Ramayanam (or Ramavataram), the great tamil epic in tamil language, written by Maharishi Kambar (or Kamber or Kamban) during 12th century based on Maharishi Valmiki's Ramayan (which is originally in sansktrit), the significance of number five in five faced Lord Panchmukhi Hanuman is beautifully narrated as follows:-
(1) The son of one of the five elements_वायु (Son of Wind God – Pawan Tanay),
(2) Crossed one of the five elements_जल (Water – The Ocean),
(3) Through one of the five elements_आकाश (Sky),
(4) Meet daughter of one of the five elements_पृथ्वी (Daughter of Earth – Sita Devi),
(5) Burnt-out Lanka by one of the five elements_अग्नि (Fire).

Sri Veera Mangala Anjaneyar Swamy Temple

Giant statue of Lord Yoga Anjaneya Swamy at Sri Veera Mangala Anjaneyar Swamy Temple is situated at NALLATORE (or Nallattur) village belongs to Tiruttani taluka under Thiruvallur (or Tiruvallur) district in the Indian state of TAMIL NADU.

This temple is located in a serene surrounding on the banks of River Kusaasthalai. As you come from Tiruttani just before the bridge on the river left side this huge sculpture will invite you to the temple. This big statue of Lord Yoga Anjaneya Swamy made of cement and mortar in the background of coconut grow will be pleasing to the eyes. As you enter the temple through the arch a long path along the river bed will lead you to the main temple.

Lord Veera Mangala Anjaneya temple with presiding deity Veera Anjaneya popularly known as Bala Anjaneya. It is said to have been built originally during the 15th century by Saint Shri Vyasaraja Swamigal (1447 to 1548) who was guru of Emperor Krishnadevarayar. It is said that Saint Shri Vyasaraja Swamigal (or Vyasatirtha) was on his way to Tirupati where he was to perform his Vyasa puja and observe the chatur masa vritha. But since the river Kusaasthalai was flooded, he could not cross the river. On the divine direction, Shri Vyasaraja Swamigal installed Shri Veera Anjaneya shilpa on the banks of Kusaasthalai at Nallatore village, which he was otherwise planning to install in Tirupati. Around 732 (Seven hundred and thirty two) Hanuman (Anjaneya or Mukhya Prana Devaru) idols/temples are said to have been installed/built all over India by this Great Saint Vyasaraya Swami.

Lord Veera Anjaneya's right hand depicts 'abhaya mudra' with lotus petals in the palm and the left hand is found holding a lotus bud close to the chest. The lotus is known as the symbol of Gyana, Aiswarya and a symbol of Vijaya; representing Goddess Saraswati, Lakshmi and Durga. As the best ornament of a Brahmachari, He has a tuft and this long hair is tied up and He wears the vyshnava symbol thiruman in his long forehead. He gives His kataksha to the Bhaktas through Pingaksha as His eyeball has a golden hue. Vishnu in His incarnation as Narasimha is said to have long sharp teeth known as gorapal here Bala Anjaneya also has gorapal. His long ears ever listening to Ram-katha wears a Panchamukha earring in kuntala form. There are also garlands sculptured around His neck. He adorns a mala made of Saleegramam-a rare fossil stone, found normally in Nepal. His both arms are adorned with armlets known as keuryaha, a bracelet known as parihariyajha and a bangle known as kankana in his wrist. He has a dagger at His hip and a long belt around the waist. In His lotus feet he has two different types of anklets, one resting in the foot known as Noopuram and other on his ankle known as thandai.

The temple complex has separate shrines for Lord Veera Anjaneyar, Lord Ram, Lord Vinayaka, and Navagrahas.

Lord Veera Anjaneya's shrine has a single-tier vimana. On the southern side of the vimana, Yoga Anjaneya with sangu chakra and mala is found. On the east side is the Bhakt Anjaneya. On western side of the vimana is the Panchamukha Anjaneya with five faces and ten hands. On the northern side of the vimana is the Veera Anjaneya with the right hand lifted towards the sky and left hand resting on His waist.

Lord Ram's shrine has a two tier vimana and in the shrine Lord Ram is found in the "Panchhtra" pose along with His consort Devi Shri Sita, His Anuj Lakshman, His Param-bhakt Lord Shri Anjalihastha Anjaneya.

Lord Vinayaka is housed in the shrine which has a single tier vimana.

The Navagrahas have a separate shrine, the Navagrahas are found with their vahanas.

The maha Kumbhabishekam was performed on 7^th July, 1998 after reinstalling the idol of Lord Veera Anjaneya in accordance with the Pancharatna Agama rules by Shri Veera Anjaneya Bhakt Samaj.

The Bala Anjaneya Swamy of this kshetra with a golden hue eye is waiting to bless the devotees with His kataksham. We are blessed to have dharshan of the Lord.

कवितावली_अयोध्याकाण्ड_केवटका पादप्रक्षालन {गोस्वामी तुलसीदास रचित}

एहि घाटतें थोरिक दूरि अहै कटि लौं जलु थाह दिखाइहौं जू I
परसें पगघूरि तरै तरनी, घरनी घर क्यों समुझाइहौं जू II
तुलसी अवलंबु न और कछू, लरिका केहि भाँति जिआइहौं जू I
बिना पग धोएँ हौं नाथ न नाव चढ़ाइहौं जू II
भावार्थ :- (केवट कहता है)- इस घाटसे थोड़ी ही दूरपर केवल कमरभर जल है I चलिये, मैं थाह दिखला दूँगा (मैं नावपर तो आपको ले नहीं जाऊँगा, क्योंकि यदि अहल्याके समान) आपकी चरणरजका स्पर्श कर मेरी नावका भी उद्धार हो गया तो मैं घरकी स्त्रीको कैसे समझाऊँगा ? मुझको (जीविकाके लिये) और कुछ अवलम्बन नहीं है I अतः फिर अपने बाल-बच्चोका पालन मैं किस प्रकार करूँगा ? हे नाथ ! बिना आपके चरण धोये मैं (आपको) नावपर नहीं चढ़ाऊँगा I

विनय पत्रिका_हनुमत स्तुति_गोस्वामी तुलसीदासजी कृत

जयति दशकंठ-घटकर्ण-वारिद-नाद-कदन-कारन, कालनेमि-हंता I
अघटघटना-सुघट सुघट-विघटन विकट, भूमि-पाताल-जल-गगन-गंता II ८ II
भावार्थ :- हे पवनपुत्र हनुमान ! तुम्हारी जय हो ! रावण, कुंभकर्ण और मेघनादके नाशमें तुम्हीं कारण हो; कपटी कालनेमिको तुम्हींने मारा था I तुम असंभवको संभव और संभवको असंभव कर दिखलानेवाले और बड़े विकट हो I पृथ्वी, पाताल, समुद्र और आकाश सभी स्थानोंमें तुम्हारी अबाधित गति है II ८ II

हनुमान बाहुक_गोस्वामी श्रीतुलसीदास लिखित

भानुसों पढ़न हनुमान गये भानु मन, अनुमानि सिसुकेलि कियो फेरफार सो I
पाछिले पगनि गम गगन मगन-मन, क्रमको न भ्रम, कपि बालक-बिहार सो II
कौतुक बिलोकि लोकपाल हरि हर बिधि, लोचननि चकाचौंधी चित्तनि खभार सो I
बल कैधौं बीररस, धीरज कै, साहस कै, तुलसी सरीर धरे सबनिको सार सो II ४ II
भावार्थ :- सूर्यभगवानके समीपमें हनुमानजी विद्या पढ़नेके लिये गये, सूर्यदेवने मनमें बालकोंका खेल समझकर बहाना किया (कि मैं स्थिर नहीं रह सकता और बिना आमने-सामने पढ़ना-पढ़ाना असम्भव है) I हनुमानजीने सूरज नारायणकी और मुख करके पीठकी तरफ पैरोंसे प्रसन्नमन आकाशमार्गमें बालकोंके खेलके समान गमन किया और उससे पाठ्यक्रममें किसी प्रकारका भ्रम नहीं हुआ I इस अचरजके खेलको देखकर इन्द्रादि लोकपाल, विष्णु, शंकर और ब्रह्माकी आँखें चौंधिया गयीं तथा चित्तमें खलबली-सी उत्पन्न हो गयी I तुलसीदासजी कहते हैं - सब सोचने लगे कि यह न जाने बल, न जाने वीररस, न जाने धैर्य, न जाने हिम्मत अथवा न जाने इस सबका सार ही शरीर धारण किये हैं II ४ II

27th October, 2015 is the JAYANTI of MIRABAI (or Mira Bai or Meerabai or Meera)

27^th October, 2015 is the JAYANTI of MIRABAI (or Mira Bai or Meerabai or Meera), 16th century Hindu mystic woman premabhakti saint-poet and devotee of Lord Shree Krishna, was born on Ashvin Shukla Paksha (Asho Sud) Sharad Poonam (or Sharad Poornima) as royal rajput princess and a granddaughter of Rao Dudaji-the third son of Rao Jodhaji, who established the kingdom of Rathod Dynasty in Rajasthan with Jodhpur as its capital in the kingdom known as Jodhpur. Jodhaji gave his son Rao Dudaji a small portion of the Jodhpur kingdom. It consisted of several villages with Medta as its capital. Medta is about 60 kms west of Ajmer in the present Indian state of Rajasthan.

Rao Dudaji had two sons named Viramaji & Ratan Singh. Rao Viramaji had a son named Jayamal and Ratan Singh had a daughter called Mira, whose mother Vir Kuvari was the princess of Zola Rajput Sultan Singh.

Mirabai was born in Kudki or Kurki, a little village near Medta, in the year 1498. Her mother Vir Kuvari passed away while she was still about 6 to 7 years old. Her father Ratan Singh died in a battle defending the kingdom against the Mogul Badshah Akbar. Thus, Mira had experienced very little affection of her parents. However, Rao Dudaji, her grandfather, raised her with love. It is said that little Mira would play in his lap as he conducted the activities of his kingdom with his ministers and advisors. Meera was a beautiful child-princess and the beloved of everyone who came close to her.

As customary with royal families, Mira’s education included knowledge of scriptures, music, archery, fencing, horseback riding and driving chariots. She was also trained to wield weapons in case of a war. However, Mira also grew up amidst an atmosphere of total Shree Krishna consciousness which was responsible in molding her life in the path of total devotion towards Lord Krishna.

One day, Mira’s mother was combing her hair in a balcony of her palace. She was about 4 to 5 years old at that time. Mira saw a parade of the well-dressed bridegroom. There was loud music and dancing. Several beautifully clothed women as well as men were in gay spirits. Mira saw the procession and asked her mother about it. The mother responded that the bridegroom was going to get married.

Mira, the child, asked her mother innocently, "Dear mother, who will be my bridegroom?"

Mira's mother smiled and half in jest & half in earnest pointed towards the image of Shree Krishna and said, "My dear Mira, Lord Krishna-this beautiful fellow-is going to be your bridegroom."

Soon after, Mira's mother passed on. Mira took this seriously and started to regard Shree Krishna as her bridegroom from that moment on. As Mira grew up, her desire to be with her Krishna grew intensely and she believed that Lord Krishna would come to marry her. In due course, she became firmly convinced that Krishna was to be her Husband. Hence from the teen-age of about five, she nurtured the idea that Shree Krishna was her husband (or Lover) and manifested her deep devotion to God Krishna.

Mira now began to play with and think of Shree Krishna as her beloved Husband. One day a SADHU visited her family. Mira saw a beautiful little murti (idol) of Shree Krishna with the Saint. She saw the Sadhu held it very close to his heart, worshipped it, pronounced mantras in front of it, sang songs and even danced in front of it. Mira watched the Sadhu’s joy as he worshipped the Lord in that icon. She wanted to have that icon for herself. She insisted, like children often do, that she wanted to have that icon of Shree Krishna. She cried until Rao Dudaji requested the Sadhu, to give the icon to Mira. Dudaji promised the Saint, he would make arrangements to get him another murti. With a reluctant mind, the Sadhu gave the murti to Mira and taught her how to worship the God. Mira was delighted and paid meticulous attention to the details of worship.

Meera was soft-spoken, mild-mannered, gifted and sweet, sang with a melodious voice. She was reputed to be one of the most extraordinary beauties of her time with fame spreading to several kingdoms and provinces. Her fame spread far and wide. The most powerful and respectful Rajput King of Sisodia Dynasty, Rana Sangram Singh commonly known as Rana Sangha of Mewar (Chittorgarh), approached Rao Dudaji for Mira's hand in marriage to his son Bhojraj (also known as Rana Kumbha or Kumbha Rana). Rana Sangramsingh had four sons: Kumar Bhojraj, Rana Ratnasingh, Rana Vikramajit and Rana Udayasingh (Rana Udayasingh's famous son, Maharana Pratapsingh, later on created unusual problems for the Moguls in Delhi). Rana Sangramsingh proposed the marriage of his Prince Kumar Bhojraj with Mira thus tying a knot between the two most powerful kingdoms of the Rajputs. Unfortunately, girls had little-age say in their marriage in those days. Bhojraj also wanted to marry Mira for her pious nature and divine intent. Rao Dudaji agreed to the union. However, Mira could not bear the thought of marrying a human being when her heart was filled with thoughts of every nature, all about her Krishna. But unable to go against her beloved Dada’s word, she finally consented to the marriage. Mira was wed to Rana Kumbha and left for Mewar (Chittoragarh).

It was a well known fact that Mira had decided in her heart that she was already married to her beloved Krishna. After a forced marriage, she did what any wise young lady with true faith in Krishna would do; she refused to let Rana Bhojran to touch her because she considered herself already married. She was already the faithful bride of Lord Krishna. At first, nobody in the Sisodia family took Mira's strange behavior seriously. They hoped in vain that she would eventually give in knowing that no one dared to displease the mighty Sisodias. So a tussle began between the worldly and the spiritual, the tradition and physical power of the mighty Sisodias versus a gentle, beautiful Mira whose only defense was her true Love Krishna and the Supreme Lord.

After her household duties were over, Meera would go to the temple of Lord Krishna, worship, sing and dance before Lord Krishna Idol daily. Kumbha Rana's mother and other ladies of the palace did not like the ways of MiraBai, as they were worldly-minded and jealous. MiraBai's mother-in-law forced her to worship Durga and admonished her often.

But Mirabai maintained, "I have already given up my life to my beloved Lord Krishna."

Mira Bai's sister-in-law Udabai formed a conspiracy and began to defame the innocent Meera. She informed Rana Kumbha that Meera was in secret love with someone that she witnessed Meera talking to her lover(s) in the temple and that she would show him the persons if he would accompany her one night. The ladies further raved that MiraBai, by her conduct, had brought a great slur on the reputation of the Rana family of Chittorgarh. The enraged Kumbha ran with sword in hand towards Meera, but as luck would have it Meera had gone to her Krishna temple.

A sober relative of the Rana counseled him, "Rana! You will forever repent for your hasty behavior and consequences. Enquire into the allegation carefully and you will find the truth. Meera bai is a great devotee of the Lord. Remember why you sought her hand, out of sheer jealousy the ladies might have concocted scandals against Meera Bai to incite you and ruin her."

Kumbha calmed down and accompanied his sister who persistently took him to the temple at dead of night. Rana Kumbha broke open the door, rushed inside and found Meera alone in her ecstatic mood talking and singing to the idol.

The Rana shouted, "Meera, show me your lover with whom you are talking now."

Meera replied, "There sits he-my Lord-the Mahichor, who has stolen my heart."

She went into a trance. The ladies floated other rumors that Meera was mixing very freely with Sadhus. Meera was unaffected by such scandals and continued to invite Bhagwathas to join her Krishna bhajans at the temple. She stood unruffled in the face of accusations from the royal family. When questioned about her marital responsibilities, Meera responded that it was Krishna to whom she was married. Kumbha Rana was heart-broken but remained a good husband and sympathizer of Meera until his death.

It was obvious that nobody in the Sisodia family liked Mira's contradictory behavior because it put their pride at stake. There was persuasion; there were threats; there were attempts to cause her suffering and there were even attempts to kill her. It's well known that in the family life of such a clan most in-laws would take revenge on Meera for her disobedience and non-compliance. Her husband and father-in-law had a soft corner in their hearts for Mira, but not to the degree to approve her behavior, which contradicted their religious traditions.

It may be noteworthy that during the rule of Meerabai’s brother-in-law Vikramaditya, who became the ruler after the untimely death of her husband, she suffered vehement opposition from the Sisodias. A basket with a poisonous snake inside and a message that the basket contained a garland of flowers was sent to Meerabai. After meditation, she accepted it as a gift from Shree Krishna and miraculously found a lovely necklace out of it and no harm was done to her. The relentless Rana (her brother-in-law) sent her a cup of poison with the message that it was nectar. Meerabai offered it to her Lord Krishna and took it as his Prasad. It was real nectar to her. The bed of nails that the Rana sent transformed into a bed of roses when Meerabai reposed on it.

When all attempts failed to get rid of Mirabai, the Sisodias finally decided to send her to her parental home. Mira was always prayerful, humble, gentle and firm in her determination and didn't allow even the worst circumstances to interfere in her love for Lord Krishna. She left Chittorgarh, stopped in Pushkar to take a holy bath and reached Medta. The situation in Medta was not better; constant wars had created an uneasy situation and she could not stay there either. She finally decided to leave for Vrindavan (or Brindavan) where her beloved Lord Krishna had played with the Gopis and Radhika.

Jiva Gosai (or Jiva Goswami) was head of the Vaishnavites in Brindavan. Meerabai wanted to have Darshan of Jiva Gosai. He declined to see her. He sent word to Meerabai that he would not allow any woman in his presence.

Mirabai retorted: "Everybody in Brindavan is a woman. Only Giridhar Gopala is Purusha (Man). Today only I have come to know that there is another Purusha besides Krishna in Brindavan."

Jiva Gosai was put to shame. He at once went to see Meerabai and paid her due respects.

After Mirabai’s stay in Vrindavan, enjoying and reviving Gopi-Lila in her own way, she left for Dwarka in Gujarat. Lord Krishna, once the king of Yadava family, had ruled over Dwarka. On her way to Dwarka, she stopped at Dakor which was known for its Krishna temple.

Mirabai arrived in Dwarka and decided that her life must become one with her Lord. Mirabai was too absorbed in her Love for Krishna and having seen the vanity of worldly life, family life, friends and others, she had abandoned any hope to reconcile with the worldly. She was indeed one of the foremost embodiments of Premabhakthi that ever walked on earth. It is said that the Bhagwan Shri Krishan finally absorbed her in him (in the idol of Lord Krishna) at the Dwarka temple in the year 1547.

Meera Smrithi Sansthan (Meera Memorial Trust) along with the Chittorgarh district officials organise Meera Mahotsav every year on Sharad Purnima day (On Mirabai's birth anniversary) for 3 days. Many famous musicians and singers get together to sing bhajan's in this celebration. The 3 days celebration also features puja's, discussions, dances, fireworks etc.

Literatures composed and written by Meerabai :-

(1) Narasi Ka Mayara

(2) Geet Govind Tika

(3) Rag Govind

(4) Rag Sorath Ke Pad

(5) Meerabai Ki Padawali.

Meera is known for many beautiful bhajans that she sung in praise of lord Krishna. Few of the famous bhajan lyrics are as below :-

(1) Aisi Lagi Lagan, Meera Ho Gai Magan, Wo to gali-gali hari gun gaane lagi

(2) Paayoji Maine Ram (Shyaam) Ratan Dhan Paayo, Janam janam ki punji paayi

(3) Mere To Giridhar Gopal Dusro Na Koi, Jake Sir Mor Mukut Mero Pati Soyee

(4) Jo tum chhodo piya, Main nahi chhodu re, Tosai preet jodi Krishna, Kaun sang jodu re

(5) Barasai badariyaa saavan ki, Saavan ki man bhaavan ki.

27th October, 2015 is the MAHARISHI VALMIKI JAYANTI

27^th October, 2015 is the MAHARISHI VALMIKI JAYANTI. Valmiki is celebrated as the harbinger-poet in sanskrit literatures. He lived in the first millennium BCE. Valmiki is author of the Greatest Indian Epic Ramayan, the story of the Prince of Ayodhya, Bhagwan Shri Ram. He is revered as the Adi Kavi, which translates to First Poet, for he invented Sloka (i.e. first verse or epic metre), which set the base and defined the form to sanskrit poetry.

The Uttara Kanda, last of seven books of Ramayan, tells the story of Valmiki's early life as a highway robber named Ratnakar, who used to rob people for the benefit of his family. Once upon a time, robber Ratnakar tried to rob the divine sage Narad. Narad asked him if his family would share the sin he was incurring due to the robbery. The robber replied positively, but Devarshi Narad told him to confirm this with his family. The robber asked his family, but none agreed to bear the burden of sin. Dejected, Ratnakar finally understood the truth of life and asked for divine rishi Narad's forgiveness. Narad taught robber the mantra for salvation. Devarishi Narad told him to chant "Rama" Naam Mantra. The robber Ratnakar meditated for many years of so much so that the ant-hills grew around his body and he chanted “Mara”, the phonetic anagram of "Rama", instead of “Rama”. Finally, a divine voice declared his penance successful, bestowing him with the name Valmiki, "one born out of ant-hills" (Valmikam in sanskrit means ant-hill).

Maharshi Valmiki is also quoted to be the contemporary of Shri Ram. Bhagwan Shri Ram met Valmiki during his period of exile and interacted with him. Valmiki gave shelter to Sita in his hermitage when Ram banished her. Luv & Kush the twin sons of Shri Ram were born to Sita in this hermitage. Valmiki taught Ramayan to Luv & Kush, who later sang the divine story in Ayodhya during the Ashwamegha Yajna congregation. Later, he summoned them to his royal palace. Luv & Kush sang the story of Shri Ram there, and Shri Ram confirmed that whatever had been sung by these two children was entirely true.

Srimad Valmiki Ramayan is composed of verses called Sloka in sanskrit language, which is an ancient language from India and a complex meter called Anustup. These verses are grouped into individual chapters called Sargas, wherein a specific event or intent is told. These chapters or sargas are grouped into books called Kaandas where Kanda means the inter-node stem of sugar cane, or also a particular phase of the story or an event in the course of story telling.

Thus the structure of Srimad Valmiki Ramayan is arranged into seven Kandas or Books and they are :-

(1) Bala Kanda (Book of Youth) [77 chapters]

(2) Ayodhya Kanda (Book of Ayodhya) [119 chapters]

(3) Aranya Kanda (Book of Forest) [75 chapters]

(4) Kishkindha Kanda (The Empire of Holy Monkeys) [67 chapters]

(5) Sundara Kanda (Book of Beauty) [68 chapters]

(6) Yuddha Kanda or Lanka Kanda (Book of War) [128 chapters]

(7) Uttara Kaṇḍa or Uttara Ramayan (Book of Luv-Kush).

The Ramayan, originally written by Valmiki, consists of 23,000 Slokas and 7 Cantos (Kandas). Ramayan is composed of about 480,002 words.

गीतावली_अयोध्या काण्ड_वनके मार्गमें_गोस्वामी तुलसीदासजी कृत

कहौ सो बिपिन है धौं केतिक दूरि I
जहाँ गवन कियो, कुँवर कोसलपति, बूझति सिय पिय पतिहि बिसूरि II १ II
प्राननाथ परदेस पयादेहि चले सुख सकल तजे तृन तूरि I
करौं बयारि, बिलम्बिय बिटपतर, झारौं हौं चरन-सरोरुह-धूरि II २ II
भावार्थ :- (मार्गमें थक जानेसे) श्रीजानकीजी चिन्तित होकर भगवान श्रीरामसे पूछती हैं- 'हे कोसलराजकुमार ! आपने जहाँके लिये प्रस्थान किया है, वह वन यहाँसे कितनी दूर है ? II १ II हे प्राणनाथ ! आपने सब सुखोंको तृण तोड़कर त्याग दिया (सुखोंसे एकदम सम्बन्ध त्याग कर दिया) और अब परदेशको पैदल ही जा रहे हैं I (आप थक गये होंगे) कुछ देर इस वृक्षके नीचे विश्राम कीजिये; मैं आपको हवा करूँगीं और चरणकमलोंकी धूलि झाड़ूँगी' II २ II

श्रीहनुमानजीकी आरती (गोस्वामी श्रीतुलसीदासजी रचित)

लक्ष्मण मूर्छित पड़े सकारे I आनि सजीवन प्रान उबारे II ६ II
भावार्थ :- शेषावतार श्रीलक्ष्मणजी लंकाके युद्ध-मेदानमें {रावण-सुत मेघनाद (इन्द्रजीत)- के बाण (वीरघातिनी अमोघ शक्ति)- की चोटसे} मूर्छित होकर पड़े थे {युद्ध-भूमिमें चारों ओर शोकका कोलाहल व्याप्त था}, तब श्रीहनुमानजीने शीध्र ही संजीवनी बूटी {हिमालयसे द्रोणाचल पर्वत} लाकर उनके प्राणोंकी रक्षा की II ६ II

श्रीहनुमान चालीसा (गोस्वामी तुलसीदासजी विरचित)

चारों जुग परताप तुम्हारा I है परसिद्ध जगत उजियारा II २९ II
भावार्थ:- हे हनुमानजी ! चारों युगों (सतयुग, त्रेतायुग, द्वापरयुग और कलियुग)- में आपका प्रताप जगतको सदैव प्रकाशित करता चला आया है - ऐसा लोकमें प्रसिद्ध है I अर्थात् चारो युगों-सतयुग, त्रेतायुग, द्वापरयुग और कलियुग (तीनो लोक-स्वर्गलोक, भूलोक और पाताललोक तथा तीनो काल-भूतकाल, वर्तमानकाल और भविष्यकाल)- में आपका यश फैला हुआ है, जगतमें आपकी कीर्ति सर्वत्र प्रकाशमान है ।

व्याख्या:-
सतयुग:- सतयुगमें पवनपुत्र भगवान शंकरके स्वरूप से विश्वमें स्थित थे, तभी तो उन्हें शिवस्वरूप (ग्यारह रुद्रावतारोंमें से एक) लिखा और कहा गया है I गोस्वामी तुलसीदासजीने हनुमान चालीसामें उन्हें शंकर-सुवन केसरी-नंदन कहकर संबोधित किया है । अत: यह प्रमाणित है कि श्रीहनुमानजी सतयुगमें शिवरूपमें थे और कपालधारी शिव-शंकर तो अजर-अमर हैं ।

त्रेतायुग:- त्रेतायुगमें पवनपुत्र हनुमानजीने केसरी-नंदन और अंजनी-पुत्रके रूपमें जन्म लिया और वे भगवान श्रीरामके दास्य-भावसे परम-भक्त बनकर उनके साथ छायाकी तरह रहे । श्रीराम, लक्ष्मण, भरत, सीता, सुग्रीव, विभीषण और संपूर्ण कपि-मंडल, कोई भी उनके ऋणसे मुक्त अर्थात उऋण नहीं हो सकता । इस प्रकार त्रेतायुगमें हनुमानजी साक्षात विराजमान हैं । इनके बिना तो संपूर्ण रामायण चरित्र पूर्ण होता ही नहीं ।

द्वापरयुग:- द्वापरयुगमें हनुमानजी भीम (पवनदेवके पुत्र और पांच पाण्डवोंमें से एक- इसलिये रिश्तेमें भीम पवनपुत्र हनुमानजीके भाई हुए)- की परीक्षा लेते हैं । महाभारतमें प्रसंग हैं कि भीम उनकी पूंछको मार्ग से हटानेके लिए कहते हैं तो हनुमानजी कहते हैं कि तुम ही हटा लो, लेकिन भीम अपनी पूरी ताकत लगाकर भी उनकी पूछ नहीं हटा पाते हैं । दूसरे हनुमानजी और अर्जुनके प्रसंग अनुसार भगवान श्रीकृष्णके कहने पर श्रीहनुमानजी महाभारतके युद्धमें अर्जुनके रथके ऊपर ध्वजा लिए विराजित रहते हैं अर्थात ध्वजामें उनका वास रहता हैं ।

कलियुग:- कलियुगमें जहां-जहां भगवान श्रीरामकी कथा-कीर्तन इत्यादि होते हैं, वहां श्रीहनुमानजी गुप्त रूपसे विराजमान रहते हैं । 16वीं सदीके महान संत कवि तुलसीदासजीको हनुमानजीकी कृपासे ही भगवान श्रीराम और लक्ष्मणजीके दर्शन प्राप्त हुए ।

गोस्वामी तुलसीदास रचित श्रीरामचरितमानसके सुंदरकाण्डमें सीताजीके वचनोंके अनुसार-
अजर अमर गुननिधि सुत होहू । करहुँ बहुत रघुनायक छोहू ॥
अर्थात:- हे पुत्र हनुमान ! तुम अजर (बुढ़ापेसे रहित), अमर और गुणोंके खजाने होओ । श्रीरघुनाथजी तुम पर बहुत कृपा करें ।

हनुमानजीको भगवान श्रीरामसे यह वरदान मिला है की अनेक जगह पे एक साथ रामायण श्रवण करनेके लिए अनेक शरीर धारण कर सकोंगे और जब तक इस जगतमें रामायणकी कथा होती रहेगी तुम जीवित रहोंगे अर्थात चिरंजीवी रहोंगे I

श्लोक:- 'अश्वत्थामा बलिर्व्यासो हनुमांश्च विभीषणः। कृपः परशुरामश्च सप्तैते चिरंजीविनः॥'
अर्थात्:- अश्वत्थामा, बलि, व्यास, भगवान हनुमान, विभीषण, कृपाचार्य और परशुराम ये सभी चिरंजीवी हैं ।

महिमा :- इस कलियुगमें एक हनुमानजी ही सबसे ज्यादा जाग्रत और साक्षात देव हैं ।

हनुमत स्तवन_गोस्वामी तुलसीदास (in Hindi & English)

गोष्पदीकृतवारीशं मशकीकृतराक्षसम् ।
रामायणमहामालारत्नं वन्देऽनिलात्मजम् ॥
भावार्थ :- जिन्होंने महासमुद्रको गायके खुरके समान बना दिया तथा बड़े-बड़े राक्षसोको मच्छरकी तरह मसल डाला, उन रामायणरुपी महामालाके रत्न पवनपुत्र श्रीहनुमानजीकी मैं वन्दना करता हूँ I
Goshpadikrat Vaareesham Masakikrat Rakshasam,
Ramayan Mahamala Ratnam Vande Anil Atmajam.
Meaning :- Who made the king of sea look like the hoof of a cow, Who made the great demons look like mosquitoes, Who is the great jewel in the great garland of the story of Bhagwan Shri Ram, I pray to the son of wind (Shri Hanumanji).

22nd October, 2015 is one of the most important Hindu festivals Vijaya Dashami (also known as Dussehra or Dasara or Tenth day of Navratri or Durgotsav)

22^nd October, 2015 is one of the most important Hindu festivals Vijaya Dashami (also known as Dussehra or Dasara or Tenth day of Navratri or Durgotsav) is celebrated in various forms across India, Nepal, Sri Lanka and Bangladesh. The name Dussehra is derived from sanskrit Dasha-hara literally means Dashanan Ravan [Name of devil & in short Dasha and Hara (defeat)] referring to Bhagwan Shri Ram’s victory over the ten-headed demon King Ravan.

The day also marks the victory of Goddess Durga over the demon Mahishasur. The name Dussehra is also derived from sankrit Dasha + Ahaha = Dasharahaha = Dasharaha. Ahaha means day.

The name Vijayadashami is also derived from the sanskrit words "Vijaya-dashami" literally meaning the victory on the dashami (Dashami being the tenth lunar day of the Hindu calendar month). Diwali the festival of lights is celebrated twenty days after Dussehra.

As per Hindu religion, on this day in the Treta Yug, Bhagwan Shri Ram (the seventh Avatar of Lord Vishnu) killed demon King Ravan who had abducted Shri Ram's wife Sita to his Kingdom Lanka. God Ram, his brother Lakshman, their follower Hanuman and Vanaras army fought a great battle with Ravan & demons army in Lanka. On the day of Ashvin Shukla Dashami, Bhagwan Shri Ram defeated and killed demon Ravan and rescued Sita thus it is termed as Vijaya Dashami. The entire narrative is recorded beautifully in the Greatest Indian Epic Ramayan, a Hindu scripture.

God Shri Ram, Goddess Sita and Veer Lakshman returned to Ayodhya on the 30th day of Ashvin (20 days after Vijaya Dashami). To mark the return of Lord Ram, the residents of Ayodhya lit their city with millions of earthen lamps (called Deepak) in the evening. Since then, this day is celebrated in India as Deepawali or Diwali.

Once upon a time, some of the demons or Asuras were very powerful & ambitious and continually tried to defeat the Devas or Devatas and capture Heaven. One Asura named Mahishasura was grew very powerful and created havoc on the earth. Under his leadership, the Asuras defeated the Devatas. The world was crushed under Mahishasura's tyranny; then the Devatas joined their energies into one ‘Shakti’, a single mass of incandescent energy to kill Mahishasura.

A very powerful band of lightning emerged from the mouths of Brahma, Vishnu & Mahesh and a young, beautiful female virgin with ten hands appeared. All the Gods gave their special weapons to her. This Shakti coalesced to form the Goddess Durga, riding on a lion which assisted her. Durga fought Mahishasura, the battle raged for nine days & nights. Finally on the tenth day of Ashvin shukla paksha, Mahishasura was defeated and killed by Durga. Hence Dasha-Hara is also known as Navratri or Durgotsav and is a celebration of Durga's victory over Mahishasura. Durga, as Consort of Lord Shiva, represents two forms of female energy-one mild & protective and the other fierce & destructive.

In the age of Dvapar Yug, during the India’s Greatest Epic Mahabharat, Pandavas-the five acknowledged sons of Pandu by his wife Kunti-lost to Kauravas in a game of dice, and both spent twelve years of Vanavas, or exile to the forest, followed by one year of Agnyatawas. The brothers hid their weapons in a hole of the Shami tree before entering the Kingdom of Virat to complete the final year of Agnyatawas (exile incognito). After that year on Vijayadashmi, they recovered the weapons, declared their true identities and defeated Kauravas, who had attacked King Virat to steal his cattle. Since that day, Shami trees and weapons have been worshipped and the exchange of Shami leaves on Vijayadashmi has been a symbol of good will and victory. This is also called Shami/Jambi Puja.

Many people perform "Aditya Homa" as a "Shanti Yajna" and recite Sundar Kand of Ramayan for 5 days. These Yajna performances are thought to create powerful agents in the atmosphere surrounding the house that will keep the household environment clean and healthy. These rituals are intended to rid the household of the ten bad qualities which are represented by 10 heads of Demon Ravan as follows :-

(1) Kama vasana (Lust)

(2) Krodha (Anger)

(3) Moha (Attraction)

(4) Lobha (Greed)

(5) Mada (Over Pride)

(6) Matsara (Jealousy)

(7) Swartha (Selfishness)

(8) Anyaaya (Injustice)

(9) Amanavata (Cruelty)

(10) Ahankara (Ego).

Some householders perform Yajnas thrice daily along with Sandhya Vandan which is also called Aahavaneeya Agni, Grahapatya Agni or Dakshina Agni. In addition, the Aditya Homa is performed with the Maha Surya Mantras and the Aruna Prapathaka of the Yajurveda. These mantras are believed to keep the heart, brain and digestive functions in balance in the absence of adequate sunlight in the winter months.

Ravan-Dahan is practiced in the many cities since a long time. A huge effigy of Ravan from small to as big as 60 feet height tall is set up in an open ground for burning. In the evening, people gather in open spaces to start singing & dancing with banjo party and waiting for the final burning. Vijayadashami or Dussehra is symbolization of triumph over evil i.e. Ravan by Shri Ram.

Ravan Dahan witnesses a huge gathering of crowd from far-off places, people keenly anticipating for the moment when their Bhagwan Shri Ram would win in this virtual war by bringing the effigies of Ravan to almost ashes. “Truth is always Victorious.”