Tag Archives: Bharatavarsha

Classical Indic Music I: Saastriya Sangeeta Tradition

SaastriyaSangeeta

Music is quite possibly the most powerful medium to not only communicate sentiments and feelings, but even ideas and philosophies. The spirituality inherent in the music of India, from the august sangeeta sabhas of Chennai to the lively village songs of Braj, is fragrant with this spiritual sense. Whether it is in communicating the everyday emotions or the most transcendental bliss, music of all echelons is an important and even critical aspect of culture.

To properly understand one’s Culture, it becomes crucial to evaluate the significance and centrality of our music, and even what makes it ours in the first place. And yet, in the engagement of Civilizations today, even music, a sacred bond among artistes and singers of different backgrounds and nationalities, is not above breaching this brotherhood.

Music and Indic Civilization is as old as the Sama Veda, and yet authentic Indic Civilization is at a crossroads. As has been researched and discussed by a respected author, there is a concerted attempted to deprecate and even deconstruct our traditional culture, and replace it with imports from other part of the world.

Sadly, even the realm of music, which should ideally bring people together, has been used by foreign “Indologists”, and their men “friday”, as a means to question the very existence of an Indian identity and an Indic Civilization, leave aside the classical tradition. Those of us raised in the tradition, in tune with modern realities and exigencies, know this assertion is ridiculous.

Much younger civilizations such as Europe and Persia, both of whom acknowledge borrowing much that is Classically Indic in origin, are self-servingly placed ahead of India, while India’s own Classical Music tradition is deconstructed and denied. This is the approach of “the developed world’s” Ivory tower, and its courtier magazines.

That is why the time has come to put aside hesitance for assertiveness, and academically rebut these preposterous propositions. While there are many different strands in the diverse Indic tradition, as anybody who is familiar with the Natya Sastra knows, it is the Sastra of Bharata muni which serves as the foundation for our Classical Arts, Music, & Literature. Desi and Marga lived in traditional harmony, much like Regional Language and Civilizational Sanskrit.

Therefore, this Series will primarily view Classical Indic Music through the tradition of Carnatic, as it is the most authentic and reflective of the native Indic spirit. Though periodic discussion of  Hindustani and its Personalities, such as Bhimsen Joshi and  Hariprasad Chaurasia, will take place, it is nevertheless important for readers to understand the difference between the syncretic and the authentic.

Introduction

220px-Saraswati

Sama Vedaaditham geetham-sujagraha Pithamahah ||

Pitamaha(Brahma)collected music from Sama Veda [2]

The Goddess Sarasvati, consort of Brahma, is herself considered the presiding deity of Music. Indic Music in general is often referred to as Gandharva Veda. The Gandharva Veda is one of the four main Upavedas and is attached to the Sama Veda. Named after those semi-divine beings famed for their divine music (Gandharvas), this upaveda is considered the origin of our sangeeta.

Gandharvaah

Thus, Saastriya Sangeeta is a very ancient tradition—one that laid the foundation for both styles (Carnatic & Hindustani)  of what is referred to as Classical Indian Music. While Carnatic is generally dated to its Pitamaha Purandara Dasa of Karnataka, he himself in fact was merely the reviver of an older tradition of music that once connected both North & South. The matter of disjunction, however, is that  Hindustani revolves around catering to the tastes of medieval Turks with persianised inclinations. It has very likely been promoted for precisely such reasons (much like urdu in bollywood) by the Lutyens crowd, to the detriment of others. What’s more, for a long time, rather silly JNU style theories were floating around that foreigners had taken the Vedic Chant tradition and given native Indians “sangeet”. This is a laughable notion for anyone who has studied the authentic Saastriya Sangeeta tradition. Carnatic has directly preserved this lineage from the time of Bharata muni and Rishi Tamburu down to the present day.

The reality is, so-called “Ganga-jamuni tehzeeb” is mostly Ganga-Jamuna and very little tehzeeb. Merely renaming melakartha ragas, cutting the Mridangam in half, and tweaking the Veena, does not a true Classical Tradition make. Panache and flamboyant flair! are fine for neophytes, but real rasikas will appreciate the refinement that goes into technique and training.  Fusion styles are fine for artists and their sentimental leanings—the but the truly authentic is what is native.

As such, it is only natural that Carnatic will serve as the backbone for the rediscovery of the Authentic Indic Tradition, with due regard to key Northern performers, of course. And with that we begin.

Background

rp_basis1.png

In our country, originally there was only one form of music and that was Indian music. Only later the divisions came and South Indian music and North Indian music chartered a separate course [2, 13]

This is the background of Classical Indic Music. Contrary to contemporary proponents of “art music”, the tradition, both South and North of the Vindhyas, finds its common origin in Sastra.  Saastriya Sangeeta is traditionally credited to Sage Bharata , author of the celebrated Natya Sastra. Nevertheless, the hymns of the Sama Veda are liturgically sung, and thereby take the origins of Sangeeta back to the Vedas themselves. Bharata himself draws the connection:

His assertion that he is creating a fifth Veda which will be accessible to all castes and classes at the same time likening it to the Vedas (i.e. creating a fifth Veda and the analogy of a ritual) transcends the accepted boundaries of hierarchy as also norms of inclusion and exclusion. [4, 21]

Foreigners too recognise the the place of the Natya Sastra and its criticality to the Classical Tradition.

The Bharata Natyasatra is our earliest Indian authority on these three arts [drama, music and dancing] and shows that by this time India had a fully developed system of music, which differed little from that of present-day ‘classical’ music. Anyone who has heard performance on the vina by a good South Indian musician has probably heard music much as it was played over a thousand years ago. [3, 382]

This was written not by some recent Indian scholar, but by Indologist A.L. Basham, in 1967. He further writes that over thirty ragas are listed in Bharata muni’s magnum opus, but these have expanded to hundreds over the course of millennia. Furthermore, there is strong reason to believe that Bharata himself was building upon the existing foundation of Gandharva Veda [emphasis ours]:

“The fact that there was a flourishing tradition of poetry, dance and music, even of architecture, sculpture and painting, is evident from innumerable references in the Vedas and epics. Patanjali’s Mahabhaasya and Arthasastras, the Ramayana and the Mahabharata provide interesting details of theatre halls, recitals, social status and training, but of the works of writers, Acaryas or rsis of the arts we learn little. Bharata provides a list of his gurus (teachers) and contemporaries. Apart from Pitamaha Siva and Mahesa, he mentions Kohala, Dhurtila (Dattila), Salikarn, Baadaraayana (Badari) and others.”[4, 114]

In fact, while there are those who continue to reduce the antiquity of Indian history and culture (to aggrandise their own culture and civilization), there is reason to believe that Natya Sastra is in fact much older than the date assigned to its composition. As Kapila Vatsyayan writes:

Many believe prior to its written composition, the Natya Sastra was transmitted orally. [1,29]

As such, one immediately sees the reason why mere documentary evidence alone cannot suffice. This is not only because destructive forces can burn down libraries (as was done at Alexandria and Nalanda),  but also because some of the most ancient traditions and strongest memories are transmitted orally, whether it is the traditional four Vedas, or the metaphorical fifth.

In addition, contrary to current day self-proclaimed “secular” revisionists who decry Sastra as frozen and rigid, Basham wrote that

The Indian musician was, and still is, an improviser [3, 383]

But the notion that the “Classical Tradition” is something new, or regionally/temporally restricted, frozen, or limited to only Brahmins is patently false.

Works on Dance such as non-brahmin Jaya Senapati’s Nrtta Ratnavali in the Medieval era pay homage to Bharata muni’s treatise (and Matanga muni’s text) from the ancient era, which in turn pays homage to the Vedas themselves. Senapati also wrote in great detail about music instruments and musical accompaniment in chapter 7  (239 verses on everything from vocalists to orchestras). As such, one can see the continuity of tradition beginning with the Vedas and going on to Maharishi Bharata to dance & music commentators such as Jayasena from Andhra, and all this before Carnatic or Hindustani even came into their own.

Contrary to newly invented narratives, the classical tradition is a continuous one that has merely evolved new styles and schools of music, in response to changing conditions. Incidentally, Jaya Senapati also authored the Geeta Ratnavali, which is now lost due to the pillage of Warangal by Delhi Turks.  Here’s what one Delhi Turk hyperbolically credited with all of Hindustani music himself had to say:

KhusroIndiaMusic

Further, Jayasena himself predates Bharatanatyam, Sadir, and Kuchipudi dances, demonstrating the importance of not only Thandava, but even Dakshinatyam as an intermediate style between ancient Bharata muni and modern Bharatanatyam (or its precursor Sadir).  Similarly, Carnatic music may be credited to its Pitamaha Purandara Dasa of 16th Century Karnataka, but this style of Sangeeta itself was established amid changing conditions. He is also preceded by Annamayya of Andhra, who is nevertheless celebrated by Carnatic aficionados today.

This is why, contrary to foreign Indologists, it is not appropriate to refer to Classical as a time period, as though the musical or cultural tradition were dead like ancient Greece or Classical Rome. In fact, it is very much alive, and as widely respected scholars themselves have written, classical in regards to India culture, should have a different meaning:

As regards the recent use of the term sastra as adjective, sastriya nrtya or sangita, it suggests quality of performance, sometimes genre, with an implied translation of the term ‘classical’ in English, as a qualitative and not historical period category. [4, 43]

Furthermore, there are foundational characteristics of Indic music that can be found in all corners of Bharatavarsha.

The evidence of Bharata shows that, as at the present day, the Indian of two thousand years ago preferred the throaty…style of music which comes more naturally than that which Europe has learnt to appreciate. The singing voice was often treated as a musical instrument, the vocalist performing long impromptu variations on a simple melody, sung to a single phrase, often an invocation to a deity. ” [3, 385]

This latter part becomes all the more important when one understands the inherent importance of spirituality in Indic music.

Carnatic

PurandaraDasa
Purandara Dasa

Carnatic music is basically governed by an abiding faith in God [2, 1]

Carnatic takes its name, according to various theories, from Karnataka. Karnataka Sangeeta Pitamaha Purandara Dasa is from that state and composed his keerthanas in Kannada. Yet another theory stipulates that the word ‘carnatic’ is connected to the Tamil word ‘karnatakam’, which ostensibly means ancient. Whatever it is, Carnatic may be comparatively new, but Saastriya Sangeeta itself is very old.

After the foreign invasions commencing in the 12th century A.D. our savants in music were not only uprooted but many rare manuscripts were either lost or got thoroughly mutilated. In the [14th century A.D.] the rulers of the Vijayanagar kingdom with the help of vidwans and music lovers tried to trace these manuscripts. In this process, thanks to the great efforts of Vidyaranya who adorned the Sarada Sringeri Mutt as its Pontiff, some portions of the manuscripts were recovered but savants on music were not available. There were, however, a few great vidwans who could sing in the chaste traditional style.” [2, 14]

Furthermore, contrary to modern “Art Music” opinionistas, Carnatic music goes beyond Sacred music and already includes an Art Music (called Vinodham) and “Art Musical Forms”— Padam, Javali, and Thillana.  Others forms include, Kalakshepam (singing of epics/Harikatha), Dance musical form, Opera musical form (Yakshagana), Secular music (songs on Niti, such as those by Siddhars), Folk Music (Jaanapaadam), Martial Music, Kalpitha music and Manodharma music (no prior preparation). [2, 45]

Whether it is the 1500s of Purandara Dasa or the 2010s of the recently deceased Balamurali Krishna, Carnatic music is the successor of an ancient inheritance that remains ever-adaptable to changing times.

Hindustani

HariprasadChaurasia
Shri Hariprasad Chaurasia

Hindustani music’s origins remain somewhat controversial, irrespective of the “secular” consensus. Questions remain as to whether it owes its origins to a prejudiced Turk courtier in Slave Dynasty Delhi or the more venerable Tansen of the Mughal era. Either way, it too, like Carnatic, is the product of Saastriya Sangeeta, and was created (or re-packaged) on an earlier, authentically Indian foundation. In fact, this musician courtier himself is said to have brought Maharashtra musician Gopala Nayaka of Devagiri to Delhi.[9,27] This is said to have laid the actual foundation for what is known as the Hindustani School today.

As western Indologists themselves admit, Ancient India already had a fully developed system, with an orchestra of distinct instruments. The Sitar itself is a renamed and tweaked Tritantri Veena. [9, 31]

Therefore, irrespective of the various gharanas, or the Hindustani school itself, it is very much Classical Indic Music—just repackaged for foreign (and foreign-imposed) tastes. Despite how common (and cliche) it has become to talk of the contrasts and differences between Hindustani and Carnatic, there is far more in common than motivated scholars would like. But in order to recognise this, one must study the structure of Saastriya Sangeeta closely.

Having provided an introduction to the Saastriya Sangeeta Tradition, and some of the ongoing controversies regarding its epistemology, one can now more closely examine its Theoretical Structure and Musical aspects.

Structure

CarnaticTrinity

Sangeeta is historically classified according to four types. These are Marga, Suddha, Desiya and Salaka.

1.Marga Sangeeta—The Four Vedas, along with the Sapta Svaras, are called Marga and are considered to have come from Deva Loka.

2.Suddha Sangeeta—Singing withing the established framework of arohana (ascending notes) and avarahona (descending) according to the traditional manner.

3. Desiya Sangeeta—Regional (desa-pradesa) types of music according to the various provinces of India

4. Salaka Sangeeta—Singing without any traditional structure or guide, per one’s own inclination. [2,7]

Bharata muni wrote further on its classification and had this to say:

Geetham vaadyam thathaa Nruthyam-thrayam sangeetha mucchyathe ||

Sangeetham comprises Geetham, Vadyam and Nrutthyam. [2]

Interestingly, academic authority on the Natya Sastra, Kapila Vatsyayan, writes that

There is a theory that ‘Bharata’ is an acronym for the syllables Bha, Ra, and Ta (standing for Bhava, Raga, and Tala respectively). [4, 7]

Incidentally, all these three are all fundamental to Saastriya Sangeeta. Much of the terminology in Carnatic & Hindustani is either common or common conceptually:

Terminology

In the Natya Sastra, and beyond, one can find the “foundations of a distinctive system of music—its micro-intervals (sruti), notes (svara), scales (graama), modes (murcchana), melodic forms (jaatis), rhythm (taala) and much else.” [4, 92] Despite the motivated critique that Bharatiya Sangeeta does not have harmony, this is by design. It emphasises Melody instead.

Bhava refers to the emotional state that produces Rasa.

Raga refers to the melody produced by a sequence of notes.

Ragas are divided into Melakartha (parent)and Janya (derivative) Ragas.

Melakartha Ragas

Rama Amatya (Asthana Vidvan of the Vijayanagara Empire) refers to 19 melakartha ragas, Govinda Deeksitar mentions 20, and finally Venkatamakhi (second son of Govinda Deeksitar) mentions 72. The melakartha scheme equivalent in Hindustani is Thaat (which only has 10).

These 72 melakartha ragas are the modern standard. 36 are considered Suddhamadhyamam (or pure) and 36 are pratimadhyamam. The 5 svaras other than Ma and Pa are found in all 72.

1.Kanakambari 2.Rathangi 3. Ganamurthi 4. Vanaspati 5. Manavati 6. Tanarupi 7. Senavati 8. Hanumatodi/Janatodi 9. Dhenuka 10. Natakapriya 11. Kokilapriya 12. Roopavati 13. Gayakapriya 14. Vati Vasantha Bhairavi/Vakulapriya  15. Maya-malava Goula 16. Chakravakam17. Suryakantam 18 Hatakambhari/Jayasudda-malavi 19. Jhankarabrahmari/Jhankaradhvani 20. Natabhairavi/Narireetigoula 21. Keeravani 22.Sri/Kharaharapriya 23. Gaurimanohari 24. Varunapriya/Veeravasantam 25. Sarasvati/Mararanjani 26. Tarangini/Charukesi 27. Sourasena/Sarasangi 28.Harikambhoji/Harikedaragoula 29.Dheera-sankarabharanam 30.Nagabharanam/Naganandini 31. Kalavati/Yagapriya 32. Ragachoodamani/Ragavardhini 33. Gangatarangini/Gangeyabhushani 34. Bhogachayanata/Vagadheesvari 35. Sailadesakhi/Shulini

36. Chalanata 37 Sougandhini/Salagam 48 Jaganmohana/Jalarnavam 39. Jhalavarali 30. Nabhomani/Navaneetam 41. Kumbhini/Pavani 42. Ravikriya/Raghupriya 43. Girvani/Gavambhodi 44. Bhavani/Bhavapriya 45. Sivapantuvavali/Shubhapantu-varali 46. Stavarajam/Shadvidamargini 47. Souveeram/Suvarnangi 48. Jeevantika/Divyamani 49. Dhavalangam/Dhavalambari 50.Namadesi/Namanarayani 51. Kasiramakriya/Karnavardani 52. Ramamanohari/Ramapriya 53. Gamakakriya/Gamanashrama 54. Vamsavati/Vishvambari 55.Samla/Shamalangi 56. Chamaram/Shanmukhapriya 57. Sumadyuti/Simhendramadhyamam 58. Hemavati 59. Dharmavati 60. Nishadam/Neetimati 61. Kuntala/Kantamani 62. Ratipriya/Rishabapriya 63. Geetapriya/Latangi 64. Vachaspati 65. Santakalyani/Mechakalyani 66. Chaturangini/Chitrambari  67. Santanamanjari/Sucharitra 68. Jyotire/Jyotisvarupini 69. Dhatuvardani 70. Nasamani/Nasikabhushani  71. Kusumakara/Kosalam 72. Rasamanjari/Rasikapriya

Endaro Mahanu Bhavalu, composed in Sri Raagam

Janya Ragas

Janya ragas are those born from melakartha ragas. These are divided into different categories.

Sampoornam-contains all seven svaras, Shaadavam-contains six swaras, Audavam for five, Svaraantham for four, Saamigam for three, Ghaathigam for two, and Aarchigam for one. Nevertheless, it is generally considered that to get a sweet and well-developed ragam, at least 5 svaras are required.

Just to understanding the level of evolution of these melodies, each melakartha raga has 483 janya ragas. This brings the total to 34,776 janya ragas in Carnatic Music. [2, 23]

Just to further demonstrate the commonality of the Ragams in Carnatic and Hindustani, here is an equivalency:

Carnatic                                  Hindustani

Hanumathodi                                         Bhairavi

Natabhairavi                                           Asaveri

Kharaharapriya                                      Kapi

Harikambhoji                                         Kamaj

Subhapantuvaraali                             Thodi

Kamavardini                                           Poorvi

Gamanasrama                                       Marva

Mechakalyani                                        Kalyan/Yaman Kalyan [2, 90]

Tala (thaala) refers to the beat that tracks time (Kaala) and determines tempo (Gathi ) and rhythm (Laya). It is the backbone of any composition. There is a saying that Sruthi (pitch) is the mother of music and Thaala (beat) is the father. There are 7 basic thaalas: Dhruva, Matya, Rupaka, Jhampa, Triputa (Adi), Ata, and Eka. When these are combined with the various jathis, were get 35 thaalas. When joined with gathis, the total reaches 175. Layam indicates the rhythm of the thaalam, and there are 3 kinds (Vilamba, Madhya, Duritha).

Laghu-finger movements. There are five kinds of jatis, and these form Lagu, which is the count of the finger movements. The counterpart to laghu is dhrutam (which is a one hand clap on the knee), of which there are five types as well.

Nada (naada), is the primordial sound that gives evocation to a musical note (Svara). It is the sound that is pleasing to the ear.

The fire that is burning in our stomach joins with the air that we breath[e] and goes upward through nav[e]l, heart, neck and finally the head. and comes out through our mouth in the form of a sound. This sound becomes Nadam. [2]

Nada is classified in to two types. There is Ahatha Nadam, which is the sound that is naturally formed but made sweet through man’s effort. When we sing or play an instrument in consonance with sruthi, this is called ahatha nadam.

The purely natural sounds called Anaahatha Nadam. Examples include the sound of raindrops on objects, or the notes of wind flowing through cut bamboo. Aum (Pranava) is considered the origin of both Ahatha and Anahatha nadam. [2, 9]

Perhaps nothing embodies Naada like the flute. Shri Hariprasad Chaurasia of the Hindustani school has become synonymous with the Bansuri. Here is a sample of his beautiful music.

Na Naadena vinaa geetham na naadena vina svarraha

Na naadena vina nruttham-thasmaath naadaathmakam jagath

Naada roopaha smrutho brahmaa naadaroopo janaardanaha

Nadaroopa Para Sakthihi-naadaroopo Mahesvaraha

Without Nadam, there is no Sruthi, Geetham or Nartthana. Brahma, Vishnu, Siva, Sarasvati, Lakshmi, Parvathi and all the creations in the world are engaged in Nadam. [2]

Svara is the musical note containing pitch and tone. The Classical Indic system is Sapta Svara (7 notes), and heptatonic scale originates in our Sastras.

Sarva lokod bhavaath poorvam ye na vyaaptham charaa charam Naadaathmakam thadaakaasam bhoothaanaamapi kaaranam ||

The air that floated from the sky created the sound, S, which is the origin of Nadam. Along with this sound the akshara considered to be the earliest was added to create the sound Sa (S). [2]

Udaaththo nishaada gaandhaarow-anudaattha rishabha daivathow |

Svaritha prabha vaahyethe shadja madhyama panchamaha ||

With Sa as the base, the other six svaras RI-GA-MA-PA-DA-NI were created [2]

Svara literally means that which makes its own sweetness. The etymology is the combination of the two letters from the words svayam and ranjagam. There are seven svaras in total: Shadjam, Rishabham, Gandharam (or Gandharvam), Madhyamam, Panchamam, Daivatham and Nishadam. There is also a special symbolism to this number seven, as there are seven seas, seven rishis, seven days, etc. [2, 9]

The heptatonic scale finds its earliest form in Classical Indic Music.

Sa Ri Ga Ma Pa Da Ni

These seven notes central to our tradition find their analogue in the West as follows

Do Re Mi Fa So La Ti

It is no surprise, therefore, that many European Classical Composers appreciate Carnatic Music in particular (as it preserves the technical sophistication of traditional Saastriya Sangeeta).

Sthayi refers to Octave. Per Carnatic, there are five in number: Anumandra, Mandra, Madhya, Thaara, Athi.

The integral unity of the Saastriya Sangeeta System is therefore seen clearly here. Not only common terminology but also common concepts and common performance organisation. Perhaps nothing embodies this more than this common sloka.

Brahmaa thaala dharo-hariccha patahee

Veenaa kara bhaarathee ||

Vamsagnyow sasi bhaaskarow

Srrthi dhaaraha ||

Siddhaap Saraha kinnaraahaa

Nandee Bhrungiritaadi mardala dharaha ||

Sangeethako nardaha

Samboho nruttha karasya mangalathanoho ||

Naatyam sadaa paathunaha ||

With Brahma providing the beat, Vishnu playing on the mridangam, Sarasvathi playing the Veena, Surya and Chandra playing the flute, Devas and Apsaras providing the Sruthi, Nandi and Brungi playing other instruments, Narada singing melodiously, every one enjoyed the celestial dance of Siva. [2]

Nada is therefore connected to Svara and Sruthi, and Sangeeta to Gaana and Naatya. These connections are further embodied in the system of scales used in our sangeeta.

This is the centrality of not only the Saastriya Sangeeta Tradition to modern Indian music, but also the central importance of Bharata Muni and his Natya Sastra.

Bharata displays an extraordinary knowledge of material in the making of musical instruments (four types) and of the nature of sound, notes, consonance, assonance, dissonance and melodic forms. He establishes a system of correspondence between each category and its potential for arousing emotion; he develops it to establish patters of configuration of ‘notes’ in melodic forms and emotive states. He distinguishes between vocal and instrumental music.

He further divides vocal music into two types—one, consisting only of notes and the other, with words (varna and geya). He provides details of different types of instruments and their respective characteristics. He returns to an elaboration of the category of dhruva songs which he had mentioned in many earlier chapters. He identifies a category of music called gaandharva and distinguishes it from gaana. Bharata enumerates the different types of taala (time measures—rhythm, metrical cycles). In short, he lays down the foundation of a distinctly Indian syle of music with its scales and modal structure.” [4,92]

In fact, here again, in the use of instruments, we find commonality between North and South. Attodya or instruments of Saastriya Sangeeta are divided into four categories. These are Sushira (wind), Avanatta (leather percussion), Ghana (metal), and Thatha (string). While there were and are many string instruments…

The chief musical instrument was the vina, usually loosely trans-lated ‘lute’. [3, 384]

Veena is by all accounts the national instrument of India. It came in many varieties, one of which was the precursor to the Sitar. It was the instrument not only of the Goddess of Knowledge but of the Great Indic Emperors of yore.

220px-Samudracoin1800px-samudraguptacoin

Maharajadiraja Samudra Gupta with Veena and Vaana

In tandem with Sarasvati’s instrument, is the Tambura (now known as Tanpura in the North). It is primarily used to keep Sruthi and is most famously seen in that roaming celestial bard, Narada Muni. There is also the Mridangam, which in popular lore at least, was cut in half, and tweaked to create the percussion instrument Tabla. The bamboo Murali (also known as Venu, Vamsee or Bansuri) is the flautist’s delight and is also common to both North and South India. Finally, there is the Nadasvaram (Nagaswaram) of the South. This wind instument corresponds to the Shenai of the North. There are, of course, many other instruments to discuss, but these mainstays of the Indic orchestra (vaadyabrnda) demonstrate the Tradition of Saastriya Sangeeta in both schools.

Finally, there is the matter of various musical forms and composition types.

Krithis & Keerthanas

Pallavi, Charanam and Anupallavi are the key determinants of the compositions known as Krithis and Keerthanas. These are both the typical standards in Carnatic music.

Pallavi is the first line (or refrain) of the song, Anupallavi the following lines, and Charanam is a stanza. [5, ix]

A Keerthana will have only a Pallavi and Charanam. A Krithi will have all three.

Pallavi

This is considered the theme of any performance. The word Pallavi is itself derived from three words: Padam, Layam, and Vinyasam. “In Carnatic music, pallavi singing is the most important part. Here is an opportunity provided to the vidwan to exhibit his knowledge and mastery and imaginative power. It consists of three parts- Ragam, Thanam and Pallavi“. [2, 58] Thanam is where special emphasis is placed on one of the names of the Lord.

Padams

Padam is a term that has various meanings. It can refer to a line, a stanza, or a full composition. While Odisha’s Jayadeva referred to stanzas in his Astanaam Paadanaam Samhahaara (Ashtapadis), Andhra’s Annamacharya composed 32,000 padams (of which 14,328 are extant), which were compositions. While in some cases, such as Annamayya, these are purely devotional, the more commonly accepted definition is that padams are imbued with Sringara rasa (as evidenced by the Odisha’s Jayadeva).

In any event, Padam is a very ancient musical form. Bharata muni defines Padam in his Natya Sastra as follows:

Gaandharvam yan mayaa proktam svara taala padaatmakam

Padam tasya bhaved vastu svara taalanu bhavakam

Yat kincid akshara kritam tat sarwam pada sanjnitam

Nibaddham ca anibaddham ca tat padam swividham smrtam ||

Gandharva comprises of svara, taala and padam.

In this, padam is evocative of svara and taala.

Any meaningul syllabic composition can be called a padam.

It is of two kinds, Nibaddha (bound) and Anibaddha (unbound)

It can also be with taala or without taala. NS XXXII, 25-27 [5, vii]

Along with Padam, another musical form focused on Sringara rasa, is Javali. However, these are typically not given patronage as they are considered inauspicious and coarse. It is only in modern times that some have chosen to perform them at sangeeta salons. The object or subject of romance is not always maritally unattached, and thus, considered improper. Nevertheless, the existence of Padam (as defined by Bharata) and Javali is emblematic of how Carnatic music, and Saastriya Sangeeta in general, is not merely about devotional music. The current conservativism in the Katcheris of Coimbatore and Chennai may prefer the purely spiritual, but historically this was not the case, and along with the religious, more material and romantic topics also featured in performances, for the King or audience’s pleasure and relaxation.

Thillana

This is where there are various jathi combinations, but little or no saahithya. Here is an example of a Thillana.

Geethams/Gaanas

These are the most basic form of songs. There are Sanchari and Lakshana geethams. Sanchari is where the lyrics are simple, there is no pallavi, anupallavi, or charanam. Lakshana geetham is more complex, and may have alapana (exposition of the ragam). [2, 56]

A mukhari is an instrumentalist, and a Mukya-gayaka the main singer. A vaggeyakaara is one who authors a lyric and sets it to music. This word is a close analogue to but ultimately much wider than the english term ‘composer’. [5, vii]

There are of course other forms, such as the Dhrupad of Hindustani (which was originally called Dhruvapada). However, these are best dealt with elsewhere, in greater detail. The theory behind Saastriya Sangeeta is indeed very sophisticated, and will necessitate a separate post on the topic. Nevertheless, this overview summarises the basics for the casual reader, and should give a foundation for deeper studies in the future.

What does become obvious to the objective person, however, is that there is a common tradition across the Indian Subcontinent from which regional and local variations draw from. Whether it is spiritual, material, or folk, Saastriya Sangeeta is the common fountain providing identifiable patterns of musical structure from Kashmir to Kanyakumari.

But don’t take our word for it. Again, here are the eminent experts in their studies.

We notice three trends, one of adherence to some key principles of the Naatyasaastra, another of introduction of new categories and, a third, specially in the second period of the eleventh century onwards, of descriptions of fully developed regional schools and styles. This is a pan-Indian phenomenon. [4, 119]

Personalities

Bharata Muni

Dattila

Matanga

Maharajadiraja Samudra Gupta

Maharaja Bhoja Paramara

Jayadeva

Abhinavagupta

Lochana

Sarngadeva

Gopala Nayaka

Jaya Senapati

Kshetragna

Annamacharya

Kallinatha

Chaitanya Mahaprabhu

Purandara Dasa

Maharana Kumbha

Meerabai

Tansen

Narayana Teertha

Thyagaraja

Syama Sastri

Muthuswami Deeksitar

Pandit Ahobila

Raja Shahaji

Raja Swati Thirunal

Important Texts

Natya Sastra, 400 BCE (or earlier) [2,8]

Dattilam, 400 BCE (or earlier)

Brihaddesi, 500 CE (or earlier)

Manasollasa by Somesvara III (Karnataka), 1000 CE

Abhinava Bharati (Kashmir), 1000CE

Ashtapadi by Jayadeva (Odisha), 1100 CE

Sangeeta Makaranda by Narada, 1100 CE

Sangeeta Samayasaara by Parsvadeva (Karnataka) 1100 CE

Sangeeta-Ratnakara 1200 CE

Nrtta Ratnavali (Andhra), 1200 CE

Geeta Ratnavali (Andhra), 1200 CE

Bharatabhaasya by Nanyadeva

Sangeetopanisat

Saaroddhara by Sudhaakalasa (Gujarat)

Sangeeta-Sudhakaram by Haribala, 1300 CE

Sangeeta-Saram by Swami Vidyaranya, 1300 CE

Ragatarangini by Lochanakavi, 1300 CE

Kshetragna Padams (Andhra)

Dasar Padams (Karnataka), 1400 CE

Sangeetaraja & Sangeet-krama-dipaka by Maharana Kumbha (Rajasthan), 1400 CE

Sangeeta Kaumudi (Odisha)

Svaramela-kalandhi by Rama Amatya, 1500 CE

Raaga Vibodam by Somanatha, 1500 CE

Sangeetha Sudha by Govinda Deeksitar, 1600 CE

Chaurdandi Prakaasikai by Venkatamakhi, 1600 CE

Sangeeta-paarijaata by Ahobila, 1600 CE

Krishna-leela-tarangini (Andhra), 1600 CE

Sangeetha Saaraamrutham by Tuloji Maharaj (Maharashtra/Tamil Nadu), 1700 CE

Sangeeta-narayana

Conclusion

From Matanga Muni to M.S.Subbulakshmi, Saastriya Sangeeta has an ancient heritage and an All-India influence (much like Adi Sankaracharya whose bhajan is being sung above). It is the Pan-Indic, genre-transcending nature of this music that has made it so central to our culture and civilization.

Correctly understanding Indian Music and its (true) origins, necessitates understanding the tradition of Saastriya Sangeeta. Sastra is the foundation from which spiritual, worldly, and folk music all draw from (to varying degrees). Ancient India, and even parts of medieval India (notably the South) preserved an indigenous musical system that is both continuous and civilizational in nature. From common origin to common texts to common terminology, the integral unity [6] of this variety of musicology is obvious to all earnest students and scholars.

For those who believe Bharata and his musicology as disconnected from the masses, here is some food for thought for “art music” advocates:

To return to the inheritance to the lineage of Bharata, as also those who inherited from him—we have already referred to Bharata’s indebtedness to the Vedas, the Upanisads and Brahmanical yajna practices. He incorporates the system of puja later codified in the aagamas, draws freely from contemporary practice, and considers loka, the ‘people’, as the final authority.” [4,113]

The people are the final authority to this tradition. They improvise, invent, and re-invent new styles and new modes of expression, but the source of inspiration finds expression through the unifying mechanism of Sastra. That is why it is so amusing to find juvenile foreign theories of foreigners bestowing music upon Indians (when the reverse is in fact far more likely).

“To say that they pertain to, or have been influenced by, the Arab or the Persian system shows a very superficial knowledge of the subject. These systems, originally mostly derived from Indian music, have become so reduced and impoverished in comparison with it that no one can seriously speak of their having had any influence on its development.”

(Alain Danielou in  Northern Indian Music. Praeger, 1969. volume I, p. 1-35)

In the name of promoting the syncretic, the authentic is being denigrated, demoted, and debased. Much like the modern Persian who laments at the arabisation of Pahlavi, the modern Indian finds himself wondering why foreigners are forever trying to persianise his own native tradition. Let Persia be Persia and let India be India. Tweaking our music to suit foreign tastes may be vaunted as syncretism, but persianisation and arabisation are not equivalent to sanskritisation. There is a difference not only based on nativity, but also due to inherent nature.

Syncretism vs Symbiosis

What the present narrative conveniently elides is that Sastra is the foundation for not only Carnatic but Hindustani as well. It is rather odd that the current discourse appears to imply that even music was brought from outside India, ironically by those who condemned music and banned it. Kapila Vatsyayan illuminates this point further:

The Ain-e-Akbari relies heavily on the Sangeetaratnaakara in its music and dance chapters. So does the later work—Risala-i-Raagadarpana. Both adherences and changes can be discerned in the later works, such as, Sangeeta Mallikaa of Mohammed Shah (seventeenth century) and Kitabe Nau Rasa of Adil Shah. [4, 120]

Sangeeta-ratnaakara, a work by Sarngadeva, a Kashmiri Pandit in a Maharashtrian King’s court, is credited as influencing all these exemplars of “Ganga-Jamuni Tehzeeb” & “Hindustani”. Even the alleged eminence grise of the Ganga-Jamuni brigade noted how native Classical Indic Music was beyond the grasp of persianised Central Asian invaders.  As Kapila ji notes “The basic foundations were laid by Bharata“. [1, 120]. Unlike the parasitic nature of so-called “syncretic” traditions that are colonial in etiology, symbiosis is endemic to the Sanskritic (traditionalists would in fact assert that it is not only symbiotic but organic, as Sanskrit is the mother of all these Indic cultures).

Sastra and Saastriya sangeeta rejected homogenisation and birthed a diversity of not only languages and traditions, but styles of dance and music. Sastra was the standard that all looked to, but all sought to express their own identity within the guidance of given standards. Urdu continues to kill off lovely dialects of Hindi such as Braj and Avadhi, and even robust languages like Kashmiri, Sindhi, and Punjabi. In contrast, Sanskrit has, with its grammar and vocabulary, enriched regional languages, whether North or South, while preserving the parlance of the people. Ask any Kashmiri  how many people speak his  mother tongue today, then compare with a Kannadiga.

Classical Indic Music is no different. The traditional high culture (marga) music birthed or preserved the regional (called desi) variations and enriched the (janapada) folk variations. This beginning is made apparent in the Natya Sastra itself. And for our caste-conscious casteists, even non-brahmin regional Natyacharyas such as Jaya Senapati  of medieval Andhra looked back to Bharata muni and maintained this tradition of Marga and Desi living side by side. And this tradition continued under such figures as modern Telangana’s Nataraja Ramakrishna. Folk performers throughout united Andhra Pradesh saluted him for his contribution to reviving their art forms, while he revived the classical Perini Thandava.

Further, the Pan-India connections rise beyond Sarngadeva, as Shahaji, the Maratha King of Thanjavur, patronised many Carnatic musicians at his Tamil Nadu Court and Tuloji himself authored a text.

What actually destroyed these folk and classical dances and styles of music however, our omniscient and infallible indologists (and their loyal native informants) will never tell you (hint: also medieval). Unlike the perso-turkic syncretic, the symbiotic sanskritic nourished, revived, and revives the full spectrum of musical voices,  whether desi or marga, male or female, mass or elite & regional or civilizational.

From the Dattilam of Dattila to  Sarngadeva and his Sangeeta-Ratnakara, Saastriya Sangeeta is a very ancient tradition that is very native in nature. The time has come to fully revive this cultural treasure not only in the South, but in the North as well, so the authentically Indic will get its due place again. Syncretism and Fusion are fine and dandy for “art music” dandies, but Classical Indic Music is the Core of our Musical Culture, and that is the relevance of Saastriya Sangeeta.

Ultimately, most of you “modern”, “progressive” types may be wondering, why any of this matters. After all “we are all global now“. Well, here was a “global” historian writing on why simply “getting degree” and “getting job” isn’t enough…

This was not the case in India’s greatest days, when a knowledge of music was looked on as an essential attribute of a gentleman.  [3, 384]

Those who wish to appear educated, sophisticated, and urbane would do well to understand what real culture is. Pop culture hits and bollywood beats may be all the rage today, but comprehension of the system of music and musicology that made them possible is the true sign of cultural refinement.

All in all, while many new regional, sub-regional schools and even individual styles developed, the basic foundation of a ‘modal’ system of music was not demolished. The living traditions of the several schools[,] the gharanas and the sampradaayas of Hindustan and Carnatic music bear testimony. The continuous flow of the tradition, as also the infinite number of possibilities of change and creativity is obvious. [4,121]

The tradition remains at the core, while the various schools and styles emerge from it. At a time when its originality (and even existence) are being challenged, perhaps its time to revisit what exactly makes the modes of Saastriya Sangeeta, truly Indic and truly Classical. This is something even Western Classical Composers have recognised:

[8, 48]
References:
  1. Appa Rao, P.S.R. A Monograph on Bharata’s Natya Sastra. Hyderabad: Natyakala Press.1967
  2. Iyer, A.S. Panchapakesa. Karnataka Sangeeta Sastra: Theory of Carnatic Music. Chennai: Ganamrutha Prachuram.2008
  3. Basham, A.L. The Wonder that was India.New Delhi: Rupa & Co. 1999
  4. Vatsyayan, Kapila. Natya Sastra. Bharata: The Natyasastra. Sahitya Akademi.2007
  5. Pappu, Venugopala Rao. Fragrance of Padams. Kakatiya Heritage Trust. 2014
  6. Malhotra, Rajiv. Sulekha. 2002. http://creative.sulekha.com/the-axis-of-neocolonialism_103313_blog
  7. Madhav, Ashok. http://www.carnaticcorner.com/articles/mukund_chart.htm
  8. Lavezolli, Peter. The Dawn of Indian Music in the West. New York: Continuum.2006
  9. Lata, Swarn. The Journey of the Sitar in Indian Classical Music. Bloomington: iUniverse.2010
  10. Bailly, John. Music of Afghanistan. Cambridge University Press. 1988

Holi ki Shubh Kamnaye (2017)

Happy-Holi-2017

From all of us at ICP, Holi ki hardik Shubhkamnaye! Happy Holi!

The Festival of Colours is here! Water should be used wisely throughout the year, not just on a single day because some silly celebrity says.

So celebrate this ancient festival with gusto, whether you grew up with the tradition or embraced it after. Modern Holi is part of Ancient Vasant Utsav, which celebrates spring and nature, the way we were meant to.

holigopikrishna

It is also possible to be safe in the use of gulal. Here is a video with some safer, eco-friendly, natural ways to make colours for Holi.

Holi Hai!

holi116

Vasant Utsav

gopikrishnaholi

Sabhi ko Holi ki Shubhkamnayein! A very Happy Holi to all our readers celebrating day 1 of this exciting festival today.

Holi’s roots are in fact very ancient in origin. Though today it is primarily celebrated in Northern India, it was once part of an all India, vast, virtual month of Festivities known as Vasanta Maha Utsava.

Vasanta Mahotsava

Spring has a definitive place in the minds of most people and most cultures. It not only signifies the end of winter, and the end of the previous year, but also a time of renewal, rejuvenation, rebirth, and revelry. It is truly a celebration of life, youth and the young-at-heart alike.

Vasanta Mahotsava, Vasantha Utsava, or Vasant Utsav or Basant, is the ancient Spring Festival of Indic Civilization. It is mentioned in many old works from the Kathasaritasagara to the Kamasutra. Vatsyayana refers to it as Suva-santaka. Kalidasa’s Malavikaagnimitra and Sriharsa’s Ratnavali both include this festival, and the latter, in fact celebrates it in the opening act. [1, 353]

Vasanta Mahotsava was, therefore, a seasonal festival celebrated at the approach of the vernal equinox. [1, 353]

“The new year begins with Spring around the vernal equinox. But the poem begins with Summer so as to end with Spring; and auspicious ending, for Spring is renewal. The old year is dead and the advent of Spring is welcomed with song and dance and religious ceremonies. In ancient India this was known as the Spring Festival or the Festival of Love and it was celebrated with uninhibited revelry in a carnival atmosphere. New plays were written and staged as part of the festivities. The prologue to Kalidasa’s first play Maalavikaa and Agnimitra mentions it as the new play presented at the Spring festival.”[2,18]

But while the modern North excels in celebration and festivity, it is important to note that Vasant was once an all-India festival. Here is an account of its celebration in the Reddi Kingdom of Andhra :

Beautiful descriptions of this spring festival are furnished by the Telugu works Simhaasanadvaatrimsika, Bheemesvara Puraanam and Kaaseekhandam produced in this age. These works give us a clear idea of the celebration of the festival and the different ceremonies practiced on this occasion. As the authors of these works lived in this age when the spring festival was at its zenith of popularity, we may be certain that, much influenced by the realistic grandeur of this carnival, they introduced it into their works, and provided us a good picture of the festival, as it was in vogue” [1,355]

There was a great carnival and the King would go to a park specially decorated for Vasant. There would be a pandal for Kama & Rati, Vishnu &Lakshmi, Siva & Sakti, and Sachi & Indra. Perfumes such as camphor, musk, civet, saffron, sandal were used, rosewater was freely sprinkled on people along with water mixed with turmeric. A bamboo water soaker was used (like the pichkari in holi). People mixed freely and the Reddi kings gave it royal grandeur. The king and queen were sprinkled with saffron-water by passersby. [1, 357]

The Reddi King Kumaragiri himself so came to embody this celebration that he received the title Vasantaraya (Emperor of Spring).

hazararamtemple
Hazara Rama Temple,Women playing Kollatam (dandiya) during Utsav

The Rayas of Vijayanagara were Emperors in their own right, and Vasant is famously featured in temple sculptures of this Empire in Karnataka.

 “The festival of Holi also finds a reference in the sculptures on walls of old temples. A 16th century panel sculpted in a temple at Hampi, capital of Vijayanagar, shows a joyous scene of Holi. The painting depicts a Prince and his Princess standing amidst maids waiting with syringes or pichkaris to drench the Royal couple in coloured water” [3]

It is likely that what is being referred to as Holi above was in fact the grand festival of Vasantha Utsava, as listed elsewhere:

 “Vasantotsavam was celebrated in this mandapa [Mahanavami Dibba] during Tirumala-raya’s period.” [2,11]

mahanavamidibba

There are of course attempt to digest and appropriate Vasant Utsav as “Basant” by Sufis. But the Vasant Utsav itself is far more ancient, and in contrast with Sufism (a velvet glove for an iron fist), our Utsav is far more in line with the Indic Dharmic view of balanced relations between the genders anyway. Recent sufi attempts to digest Holi are even more risible and show the importance of understanding authentic Indic culture, rather than obsessing over the colonising syncretic.

Further, in the name of being “modern/post-modern”, many of our traditions are being digested by corporations and similar business efforts. The Color Run is one such example of Holi’s tradition of throwing colours being used as part of a marathon. While cultural exchange is good, cultural appropriation and de-sacralisating of our traditions is not. What usually starts as harmless participation, becomes appropriation, and when the Hindu/Indic roots are denied (as is being done with Yoga), finally becomes digestion (as explained by Rajiv Malhotra).

As such, it is far better to understand the significance, sanctity, and symbolism behind our traditions and culture, rather than merely exulting in “being recognised by global!“.

In any event, Vasanta Maha Utsava is the traditional two-week long Spring Extravaganza in Bharatavarsha. Here are the components and the significance in detail.

Festival Significance

Vasant Utsav is not merely 1 or even 2 days, but in fact extends over several weeks. While there are references tracing it back to Vedic times, it is almost certain that its celebration was documented in mid-first millenium BCE.

Traditionally, there are four navratras, the most famous being in Sharad. The Chaitra Navratri, true to its name, is also celebrated over nine days, and honours the Goddess Durga. Here is a description of it and the other components of Vasanta Mahotsav.

Holi

holi

As most know the famous story, Holi signifies the evil Holika’s defeat by the devout  Prahalad, a great Vishnu Bhakta. Holika was the sister of Hiranyakashipu, the rakshasa king who had grown powerful and full of arrogance, demanding all worship him instead of Vishnu. His son Prahalad was obedient, but refused this command, saying despite his father’s accomplishment, Vishnu was Supreme, and thus, should be worshipped. Hiranyakashipu’s ahankar was wounded, and thus commanded Prahalada to sit on Holika’s lap in a fire, to demonstrate whether Vishnu would save him. While the evil Holika (who was also a cannibal) had a saree that could protect her from fire, Prahalad had no such defence, and only his devotion to Vishnu. Nevertheless, he was saved and escaped unharmed from the fire.

holikadahan

Elsewhere, it is said that Lord Krishna killed Poothana (another killer of infants) on this day. Thus, Holi has acquired its importance and grandeur on account of these successive defeats of evil. It is thus traditionally divided over two days, starting with Choti Holi (on Chaturdashi) and ending on Phalgun Phurnima (full moon).

Choti Holi/Holika Dahan

HoliUdaipurBlog
Holika Dahan at Udaipur

This is the day that the bonfire is prepared. This is called Holika dahan, and articles from the past year are also burnt, signifying a fresh start for the upcoming year.

Interestingly, parts of the South celebrate this Holika Dahan as Kamuni Dahamu, signifying the burning away of all wrong passions and impulses and baggage of the previous year, and renewing ourselves in the New Year.

Holi Hai!

krishnagopiholi

This day needs no introduction in most of the world. From the colours (gulal) to the pichkaris (bamboo water soakers) to the dance and revelry, this is quite possibly the most fun festival in the entire world.

People from all classes and backgrounds freely mix and spread cheer and song in the name of Spring and the triumph of good over evil. More traditionally, one can find some additional rituals, especially in the villages of Northern India, which further underscore the mixture of the sacred with the festive.

Some women in the village offer special puja during Holi. Small twigs of the ‘Kamal’ tree are painted in red and yellow and then laid out in little bamboo baskets (khartoo) along with thread, kumkum, jaggery and roasted grams. The women carry this basket and little pots of coloured water in their hands and go for the Puja”. After it is offered, Holi is then played. [4,226]

Yugadi

Despite the calendrical variations, the two main divisions in the Hindu Luni-solar calendar celebrate New Year on the same day. Most of North India uses the Purnimanta Calendar. This Calendar ends every month with the full moon. The Amanta or Amavasyat Calendar starts every month with the new moon. Due to this discrepancy, Holi, which would normally align with the two-week long Vasant Mahotsav now has a month-long gap.

Restoring the Amanta calendar in the rest of India would restore the two week-long celebration. Interestingly, because the Purnimanta calendar starts with Krishna paksha, the Chaitra Sukla Pratipada (first day of the Bright half of the moon) is on the same day in both calendars. That is the reason why Ugadi/Gudi Padwa and Nava Varsha/Navreh are all celebrated on the same day, by both calendars.

Chaitra Navratas

ChaitraNavratri

When we say Navratri, most people think of the 9 days leading up to Dasara. But this is in fact just 1 of 4 (some say 5) Navratris, other than the famous Sharad Navratri. There is also the Magha, Ashvin, and relevant for Vasant utsav, the Chaitra Navratri. All of these celebrate the glory of Shakti.

Chaitra Navratri, in particular, is significant as it ends with the Sri Rama Navami. This is all the more symbolic as the original reason for this Navratri involved Ayodhya. Prince Sudarshana, one of Rama’s ancestors, was driven from his rightful throne. Through worship of the Devi, and her bija mantra, he was able to get married and become king. Bhagavan Rama too worshipped Shakti, and the timing of his defeat of Ravana is on Dasara (the tenth day of Durga’s Victory). As such, Chaitra Navratri ending with Sri Rama Navami is highly significant.

Sri Rama Navami

RamLalla

The Mahotsav appropriately closes with one of our most Sacred Days, Sri Rama Navami. This is the day of Lord Rama’s birth in Ayodhya. As he renewed our Dharma in the previous Treta Age, Spring renews our commitment to Dharma in the present one.

The overarching vision of Vasant Utsav, however, contrary to sepoys (LW and RW), is not unrestrained license or debauchery. Rather, it is a celebration of life in a tasteful yet enthusiastic manner. The full spectrum of all things, rather than mere obsession with the lower chakras. It is about celebrating all aspects of creation, whether personal or cosmic.

Celebration

HoliHai

In ancient times, this was arguably the most exciting of Indian festivals, with a large part of the subcontinent featuring a carnival atmosphere, of music, dance, food, socialising, and general celebration. With so many days of significance, from Holi to Yugadi to Sri Rama Navami, it is only natural that this Utsav would become a Mahotsav.

Holi, of course, needs no explanation on how to celebrate. The only suggestion is to play safe and to use safe organic gulal. There are plenty of healthy natural colour-based options that individuals can draw from. They are not only “eco-friendly” but are also made by people who actually care about the festival and passing on our traditions.

Vasant Utsav in general is celebrated in many ways. Beyond Holi and its famous festivities (an article in and of itself), there are many spring sports, with music, theatre, and dance.

After the termination of the sports, the king with his queens went to a lotus pond nearby and sported in the water for a while. Re-turning from the lotus tank he gave audience to the public and rewarded poets and artists according to merit. Dramas were put on boards; dance recitals were given; musicians, showed their skill in music, both vocal and instrumental; and magicians and others proficient in other kalaas or vidyas, came there in search of patronage, and displayed their feats of strength, skill and sleight of hand. It was a grand occasion for patronising Arts and Letters.” [1, 358]

Dandiya Raas (from the Sanskrit Dandaraasakam) is played , especially during the nine nights of Navratri. Puja is also done, especially for Devi, via the Ghatasthapana Muhurta, which has to be done at a specific time during the day. Doing so will activate the positive energy of Shakti via the kalasa (sacred pot).

Finally, Vasant Utsav is often associated with Kama Deva, the God of Love, whose friend and ally is literally the personification of the month of Spring, Vasanta. Kalidasa himself famously celebrated this month in his Rtusamhara.

Above all, however, Vasant Utsav was a great coming together of all sections of society, in fun and frolic. Spring is a time for renewal, not only of relationships and spirits, but of values and societies. And it should be once again.

Vasantamahotsava was the major festival of those days, which exercised great influence on the people culturally and socially. It was occasions like this that advanced the knowledge and culture of the common people. [1, 358]

References:
  1. M.Somasekhara Sarma. History of the Reddi Kingdoms.Delhi:Facsimile Publ. 2015
  2. Rao, V. Kameswara.Temples in and Around Tirupati.1986.p.11
  3. http://www.saibabaofindia.com/spiritual_meanings_for_holi.htm
  4. Gajrani, S. History, Religion, and Culture of India (Vol.5).Delhi: Isha Books.2004
  5. http://www.speakingtree.in/blog/gupt-navratri-the-secret-lesser-known-navratri-begins
  6. http://zeenews.india.com/entertainment/and-more/chaitra-navratri-the-legend-behind-it_1873820.html
  7. http://www.speakingtree.in/allslides/chaitra-navratri-2017-why-its-auspicious

The Mind of Margayya

(source: tribuneindia.com)

Rasipuram Krishnaswami Iyer Narayanaswami (1906-2001), the creator of Malgudi was one of India’s greatest storytellers and thinkers. Writing under the shortened name R. K. Narayan, a small sample of his works include Swami and Friends, Bachelor of Arts, Guide, and Gods, Demons, and Others. His equally illustrious brother Rasipuram Krishnaswami Iyer Laxman (RK Laxman) brought Malgudi to life with his magical illustrations. The siblings were recipients of the Padma Vibhushan, India’s second highest civilian honor. The popular 1980s TV series Malgudi Days, directed by the great Kannada artist Shankar Nag was based on the works of RK Narayan, and the 1965 Hindi movie Guide, a favorite of Indian Prime Minister Narendra Modi, was based on his book. 

The Financial Expert

RK Narayan’s 1951 work ‘The Financial Expert‘ [1] is universally regarded as a classic, and has been the subject of several excellent reviews from a western literary perspective, by both Indian and western writers. The book was made into a successful Kannada movie ‘Banker Margayya’ starring actor Lokesh in 1983, which went on to win multiple awards.

(source: shareyouressays.com)

Here, we explore some of the themes in this WW2-era Malgudi story using an Indic perspective, and in doing so, are rewarded with insights that would not be obtainable using a purely western lens. In particular, we discover that the timeless lessons in Neeti and Dharma that used to be orally transmitted from generation to generation in India are embedded within the ‘Financial Expert’.

Margayya

In ‘Financial Expert’, RK Narayan brilliantly encodes in simple English the sophisticated nuance and wisdom of Indian Itihasa and Purana, even as he unravels the multiple threads of thought running through Margayya’s mind. Margayya, like many a character in itihasa, undergoes intense penance in order to acquire some special power. His aim is to please Goddess Lakshmi, so that she will bless him with wealth and financial success. The story of Margayya’s journey from 14D Vinayak Street to 10 Market Street and back is rich in the symbolism and subtle suggestion that characterizes Indian art.

Margayya was named Krishna at birth, and his professional name (pronounced ‘Marg-Ayya’) reminds us of Arjuna’s charioteer who showed the way (Marg) of Dharma in the Mahabharata. Margayya employed his financial Ganita prowess to game the system. He presented the peasants within a 100-mile radius of Malgudi a financial roadmap that enabled them to secure a endless sequence of cash loans from the Central Cooperative Land Mortgage Bank (est. 1914). The ‘Cooperative Bank’ part was an oxymoron as it neither co-operated with its poor shareholders, nor performed its banking duties with a sense of seva. Margayya, aged 42, made a living by aggressively filling this gap from his service location under a banyan tree right opposite the co-op, much to their irritation. Imagine a smarter Alan Greenspan in a topi, torn shirt, and brown dhoti.

Margayya wanted to progress beyond this tension-ridden low-end job. A tipping point is reached when the stained-dhoti clad financial jugaad master is humiliated by the rich, boorish bank secretary dressed in European attire, top to bottom. We can see in Margayya’s subsequent reactions, the self-loathing, and frustration, sense of inferiority, and confusion that infested many Indians in the 20th century. A transition of people who were progressively less grounded in the forest civilization [2] traditions of Dharma and harmony that India embraced during its prosperous history; a mindset increasingly attracted to a desert civilization’s zero-sum modes of survival and self-preservation that appeared more pragmatic in a once-flourishing land, but now looted and scorched by the British Raj, abounding only in scarcity.

Margayya’s Rise

Margayya’s natural entrepreneurial drive was in sync with the Vidura Neeti that promoted the virtue of self-employment. His mind constantly tinkered with ideas for startups. He wanted to secure the financial future of his wife Meenakshi, and son, Balu. When Margayya witnessed impoverished townspeople using an unclaimed corpse to extract small-change from passersby for a funeral (and booze), and when he observes people risking life and limb to earn a few paise, he is struck by the power of money. “People did anything for money. Money was men’s greatest need, like air or food…Money alone is important in this world. Everything else will come to us naturally if we have money in our purse.“.  Here, he appears to gain some intuition about Chanakya’s words (dharmasya moolam artha). Indeed, a prosperous and developed nation is best equipped to preserve and propagate Dharma and harmony, else the rule of the desert will reign.  His goal from the day he quarrels with the co-op secretary is to reach the top of the wealth pyramid and through this wealth, acquire everything else. And right there, Margayya parted ways with Vidura and Chanakya and followed his own path and rules.

Like a Yogi, but for all the wrong reasons, Margayya constantly meditated on money and through this manthana emerged all kinds of discoveries. His analysis enabled him to delineate the subtle differences between money, riches, wealth, and fortune. Wealth, in particular, contained elements of transcendence as well as Jugaad.  “Riches any hard-working fool could attain by some watchfulness, while acquiring wealth was an extraordinary specialized job. It came to persons who had on them the grace of the Goddess fully and who could use their wits“.  If Ramanujan‘s amazing ganita results were achieved through the blessings of Lakshmi as Namagiri Amman in his dreams, Margayya’s self-serving schemes too (in his mind) were due to the blessings of Lakshmi. Through the mind of this ‘financial mystic’, we get to see the infinite recursive patterns hidden within ‘interest’.

There was probably no other person in the whole country who had meditated so much on the question of interest. Margayya’s mind was full of it. Night and day he sat and brooded over it. The more he thought of it the more it seemed to him the greatest wonder of creation. It combined in it the mystery of birth and multiplication…Every rupee, Margayya felt, contained in it seed of another rupee and that seed in it another seed and so on and on to infinity. It was something like the firmament, endless stars and within each star an endless firmament and within each one further endless … It bordered on mystic perception. It gave him the feeling of being part of  an infinite existence.

Such was Margayya’s devotion to the process of managing interest rates and accumulating wealth, that he was even able to give up his old addiction to snuff so that he could pursue his ‘yoga’ on all four cylinders which would free him from all worldly wants. A side-effect of this one-track meditation is Margayya’s general cluelessness and disdain for topics unrelated to his money, and therein lie the seeds of his downfall.

Margayya’s Fall

Margayya failed in his Nara dharma [3] and did not understand that dharma is the most important of the Purusharthas [4]. As explained here, Chanakya wrote:

Margayya is never really happy throughout the story. He obtains wealth and power, but is never able to conquer his senses, and always yields to moha, lobha, and krodha, which ultimately combine to ruin him.

Margayya has no use for the Dharma that accords to the elder brother the respected position of a second father [3], being far more interested in grabbing his share of the family property. He is quite sad that the Hindu Samaj prevented a complete takeover of the house and had to make do with a half-share (“he would willingly have seen his brother’s family perish without water by closing it to them, but public opinion prevented the exercise of his right.”).

He has no use for Saraswati and learning, which is dismissed as a derivative product that can be purchased on-demand (“‘A man with whom the Goddess of Wealth favours need not worry much. He can buy all the knowledge he requires.“. The dharmic concept of profitability, Shubh Labh, is rejected in favor of amassing wealth regardless of all consequences to others, to his family, and even to himself.

He has no qualms about misusing kama and rejecting dharma in order to hoard wealth and acquire power.  Moha blinds his eye like a Dhritharashtra to his son’s faults, and in any case, he convinces himself that a single-minded pursuit of Artha is the key that unlocked all the doors in this world for himself and his family. Every minute of his life is invested in this material quest, and it begins to acquire almost a spiritual quality. In short, Margayya’s misunderstanding of the priorities and implications of the Purusharthas leads him astray. Grihasthashrama Dharma takes a back seat. Moral relativism and a materialist clamor for rights overrides duties, replacing Hinduism’s contextual Dharma ethics [2] at every decision making fork in Margayya’s life journey.

Ultimately, Margayya begins to make money by the sackful. The more he made, the more it consumed him, until this activity completely drained him of his capacity to think straight. In a momentary lapse of reason, the coldly calculative Margayya is replaced by an angry, panic-stricken father. He loses control of his senses and strikes out against Dr. Pal, the very instrument that brought him all the wealth, and in one stroke, Dr. Pal ensures that all those earnings are taken away. Without the firm guidance of Dharma, Margayya the path finder himself loses his bearings, and returns to square one, financially bankrupt. There is some recognition in the end by Margayya of what he lost in his obsessive pursuit and why. The readers get a story filled with lessons from Dharma traditions.

The book has several memorable characters, but for brevity, we’ll focus here on Margayya’s friend, Dr. Pal.

Dr. Pal, Social Scientist

First, a brief introduction to Dr. Havelock Ellis (1859-1939). He was a contemporary of Sigmund Freud (1856-1939). Unlike India, where Kama was always recognized as one of the Purusharthas and celebrated in poetry, song, dance, painting, and sculpture, the Europeans in Dr. Ellis’ time were repressed by the strictures of Victorian morality. Ellis boldly shattered several taboos although he was indifferent to the dharmic/adharmic impact of his work. He appears to have been a proponent of Eugenics and oddly okay with the Nazi sterilization program. Freud appears to have borrowed some ideas from Ellis for his psychoanalytical theories [5].

Dr. Pal is the instrument that befriends, makes, and finally breaks Margayya (It’s unclear how he became “Dr”). He is a journalist and an author and a sociologist who is influenced by Ellis’ work. Like India’s eminent journalists, authors, and social scientists today, Pal too is a scientific expert.

He mashed together Vatsyayana’s Kamasutra and Dr. Ellis’ liberating ideas to create a scientific cocktail and distilled this wisdom into an illustrated book titled ‘Bed Life’. Margayya here represents the mentally colonized and under informed native who is overawed by ‘modern science’ label that claims to enhances and elevates an ancient Indian treatise. Margayya’s Lobha overcomes his instinctive disgust for Dr. Pal’s work and he benefits immensely from the proceeds obtained by publishing this bestseller (renamed ‘Domestic Harmony’ to avoid legal scrutiny and obscenity lawsuits).  Margayya’s growth is seeded by the ill-gotten gain obtained from this salacious ‘digestion’ of Kamasutra.

Long before Wendy Doniger invaded the sacred traditions of dharma [8], propagating Freudian pseudoscience and Hinduphobia, we have the duo of Dr. Havelock Ellis and Dr. Pal. It is remarkable how RK Narayan’s 1951 novel anticipates contemporary India where educated people flock to devour Wendy Doniger’s latest sleazy pulp fiction that tramples upon their own heritage and indigenous knowledge systems [9].

Dr. Pal is the western-influenced free-thinking rebel for whom ‘anything goes’. Later, he brings to Margayya the steady supply of clientele required to sustain the latter’s Ponzi scheme. Dr. Pal is a double-edged weapon that Margayya tries to control. Despite Margayya’s best attempts to keep Dr. Pal away from his family, his corrosive influence begins to consume Margayya’s married son, and drives him to debauchery. At this point, Margayya loses his composure and beats up Dr. Pal who hits back by completely ruining Margayya, thereby completing the karmic cycle.

Lighter Side: Margayya versus Modi

Margayya loved cash, and only cash. “‘What am I to do with property?’ he said. ‘I want only money, not brick and lime or mud,’ he reflected when he reconverted his attached property into cash. Margayya seems happy only when he is counting cash. “…. the moment he reached home, he counted the notes again, bundled them up in tidy little batches, the lovely five-rupee and ten-rupee and the most handsome piece of paper – the green hundred-rupee note” . 

British India One Hundred Rupee Note (source: rbi.org)

Per RBI records, the thousand rupee note was introduced in 1938, withdrawn prior to independence, and reintroduced in 1954 [6]. It is possible there wasn’t a significant percentage of high denomination notes (500/1000) in circulation during a time when these amounts were princely sums. Margayya’s Ponzi scheme attracted so many greedy and shady investors that nearby banks began to lose their deposits. However, no one in his office had any clue about his net worth. Margayya would’ve preferred higher denominations to hundred-rupee notes since he was running out of space for his cash stash at home (“there were currency bundles stacked up a foot high all over the floor.“).  We’ve read in the newspapers how certain Indian co-op banks operate in present times, and why they’ve become a target for tax evasion investigators.  Modi with his demonetization and push for a less-cash society could’ve badly dented both Margayya and the Malgudi co-op.

RK Narayan’s Writing

It is interesting to compare RK Narayan with Shashi Tharoor, another Indian writer whose English novels are popular. RK Narayan’s works are popular all over India for their relatively straightforward rendering and simple English, while Tharoor’s target audience appears to be the westernized elite in and outside India.

It is not surprising that Tharoor chose to focus on, and expressed contempt  for Narayan’s simple English, and was frustrated by RK Narayan’s indifference to a language that colonized Indian minds. Mocking his English as a ‘translation’ is actually a compliment, because when I read RK Narayan, it is like reading a timeless story in my mother tongue about our civilization, people, and way of life. On the other hand, the well-written prose in Tharoor’s ‘Great Indian Novel’ based on the Mahabharata gives it kerb appeal, but cannot mask its alienating lack of authenticity.

A purely intellectual view of itihasa is reductionist and guaranteed to fall short. While Tharoor has spoken eloquently about India’s heritage and its wisdom, he remains confused about the differences between religion and Dharma, and intellectual versus the adhyatmic [2]. An entire generation of mentally colonized Indian writers in the last few decades, armed with excellent English, and indoctrinated in the Euro-centric humanities remains proudly clueless about the sacred art traditions of Bharatvarsha. Even if they wrote in an Indian language, it would still sound foreign. In contrast, RK Narayan as a child imbibed India’s Itihasa and Sanskriti from his grandmother. Perhaps it is this learning that is reflected in his stories.

There is no independent existence for, and artificial demarcation between, the secular/outer world and the sacred/inner realm in the ‘Financial Expert’. This reflects India’s unified view of reality. Preserving this integral approach [10] gives RK Narayan’s simple prose its powerful universal appeal.  Injecting sophisticated western structures would actually interfere with, and diminish this impact. Just as Ananda Coomaraswamy noted in The Dance of Siva [7] that inserting western harmony in order to ‘enhance’ a sangeetam recital would be unnecessary and detrimental. Indeed, this integral perspective indicates that RK Narayan’s writings are part of a long, unbroken artistic tradition that follows the Natya Sastra (itself rooted in the four Vedas).

Bharata’s Natya Sastra [12] is the most influential ancient exposition on dramaturgy, performing arts, and aesthetics in the world [2], which was accessible to all sections of the society without geographical or linguistic restrictions. Rajiv Malhotra notes (emphasis mine) that the Natya Sastra “treats ‘natya’ as the total art form, including representation, poetry, dance, music, make-up and indeed the whole world. It is an organic and integral view encompassing the Vedic rituals, Shaivite dance and music, and the epic tales. The eight traditional rasas (love, humour, heroism, wonder, anger, sorrow, disgust, and fear) mirror the real world and come together in pursuit of the ‘purusharthas’ (human goal).” One can find all traditional rasas within the pages of the ‘Financial Expert’. We will end with RK Narayan’s own words in his 1964 book Gods, Demons and Others [11], where he shares his views regarding literature. He emphatically affirms the integrally unified perspective of Natya Sastra over a synthesizing approach (emphasis mine):

Everything is interrelated. Stories, scriptures, ethics, philosophy, grammar, astrology, astronomy, semantics, mysticism, and moral codes – each forms part and parcel for a total life and is indispensable for the attainment of a four-square understanding of existence

Literature is not a branch of study to be placed in a separate compartment, for the edification only of scholars, but a comprehensive and artistic medium of expression to benefit the literate and the illiterate alike. A true literary composition should appeal in an infinite variety of ways; any set of stanzas of the Ramayana could be set to music and sung, narrated with dialogue and action, and treated as the finest drama, studied analytically for an understanding of the subtleties of language and grammar, or distilled finely to yield esoteric truths“.

References
  1. ‘The Financial Expert’,  R. K. Narayan. (Vintage International), Knopf Doubleday Publishing Group. Kindle Edition, 2012.
  2. ‘Being Different: An Indian Challenge to Western Universalism’, Rajiv Malhotra. Harper Collins, 2011.
  3. Nara Dharma‘, N.R.I.Pathi, Indic Civilizational Portal. 2016.
  4. The Purusharthas‘, N.R.I.Pathi, Indic Civilizational Portal. 2016.
  5. Havelock Ellis Wikipedia page
  6. RBI Monetary Museum, rbi.org.in.
  7. ‘Dance of Shiva: Essays by Ananda Coomaraswamy’,  Dover Publications. 1985.
  8. Invading The Sacred: An Analysis of Hinduism Studies in America’, Editors: Krishnan Ramaswamy, Antonio de Nicolas and Aditi Banerjee, Rupa & Co., Delhi. 2007.
  9. Hitchhiker’s Guide to ‘Invading the Sacred’, 2014.
  10. How Sumitranandan Pant Rediscovered Dharma‘, 2013.
  11. ‘Gods, Demons, and Others’,  R. K. Narayan. University Of Chicago Press. 1993.
  12. Classical Indic Literature III: Dramatics‘, N.R.I.Pathi, Indic Civilizational Portal. 2016.

Acknowledgments

Thanks to n.r.i.pathi for the valuable feedback.

Sringara (Romance) is also Part of Our Culture

sringararasa

After our preceding article on Romantic Sanskrit Poetry, it is only natural for people to ask whether our illustrious culture should be romantic, let alone, romanticised. Indeed, the current dispensation in the natural discourse seems to believe that everything but the legitimately native and authentically Indic, can be associated with such a feeling.

While we previously established not only the contours for Classical Indic Literature and provided redolently romantic examples of its high culture poetry, it is also important to understand the place of Romance in our culture. If there is opposition from libertine liberals to anything Sanskritic on the one end, there is opposition from Krypto-conservatives and their dour dreams of dreary duty only, on the other. But a marriage and a relationship between a man and woman is more than just about duty.

Dharma provides the basis to govern and preserve a relationship, and even makes a marriage meaningful, but it is the sentiment of Sringara that nourishes it. Even our greatest Kings, Warriors, and Avataras knew that Sringara (Romance) is also Part of our Culture.

Introduction

Shringaar

Sringara, or as it is said stylishly in Shuddh Hindi, “Shringaar“, is of central importance not only in Indic Civilization, but in Dharmic culture as well. After all, the society that celebrates Siva-Sakti, and the equal halves of one soul that make a marriage of man and woman, can never be far from the Sringaaric.

Sita-Rama

Sri Rama‘s incarnation as Maryada Purushottam was the Perfect man doing Perfect duty, to the point of self-denial and self-abnegation. In our callous and foolish era, libertines disrespectfully refer to him as “misogynist”, despite his proper behaviour and even charming gentility around women. But selfish creatures cannot be expected to understand the self-sacrificing. Perfect Dharma demands that a King’s duty places his subjects before his own family, even his own wife. But that degree of perfection was only possible in an era of perfection, or near perfection (the Treta Yuga). In the Kali Yuga, even great and self-sacrificing men should not be expected to give up their faithful and loving wives today due to idle gossip, because subjects themselves have become corrupt and immoral.

Sita could expect the protection of a Maharishi like Valmiki—but where are such venerable elders today? As such, it is important to understand that, beyond the Dharma of Ram, beyond the Sacrifice of Ram, was the Romantic Nature of Ram. In an era when Kings commonly took many wives, Rama restricted himself to only one…why?

Chahe rajsinghasan par ho ya kusha ke asan par, har sthan par, Ram Sita ke bina adhora rahega.

Whether on the Throne of Kings or the Seat of Ascetics, in whatsoever place, Ram without Sita, is incomplete

Dharma does not mean denying our emotions and feelings. Dharma means relying on duty to channel and refine our feelings, so that we take the course of action that benefits the most people, rather than just the few, or ourselves.

A handsome, narashardula (tiger among men), peerless warrior, and great Emperor, lived the rest of his life in loneliness, pining over Sita, the only woman he ever loved, and ever married. He even commissioned the fashioning of a gold statue of her in remembrance.

goldsita

As such, while Veera-rasa predominates throughout the Ramayana, there is undoubtedly a strong element of Sringara-rasa. The Romantic Love Sita and Rama shared for each other transcended not only their time, but inspires for all time. In an era when people fall in and out of relationships, or due to android applications—don’t even need them, how insolent to cast aspersion on such transcendental lovers? If newly wedded couples today are blessed with the benediction that they be like Sita & Rama, it is not merely so that they do their duty for society together (although that too is important). Rather, it is so that they too may have such a love.

Fraternity boys may not have time for such a conception of women. Red pill retrograde reading may be the present fraternal fashion. But to be properly prepared for marriage, a more sophisticated understanding of the opposite gender is required. To deny women love, is to deny women life. Abuse is certainly criminal, but neglect is truly sinful. Different women may have different natures, and not all women may be hopeless romantics (some may in fact exploit that sentiment, courtesy 498A, etc), but to not understand their general need for romantic love, and to perennially obsess over the anatomical and chemical, without contemplating the emotional, is foolishness. Lust is fleeting, and Duty is lasting, but it is Romantic Love that inspires and renews.

Ironically, the many pretenders to “player-hood” and catatonic khiladis who tom-cat about, fail to recognise precisely why the much-married Sri Krishna was so successful with women, even in his youth. Lust and the carnal are ephemeral; romantic love, when sought with skill is transcendental. Six-pack abs and well-heeled fabs may get attention, but it is charm that captivates it, and character that keeps it.

Confident attitude may be important, but charming disposition and gentlemanly conduct are crucial. Brutish behaviour may get attention, but it is not always good attention. The brazen braggart and boorish bouffon, are mere infants in the eyes of women, who prefer men to mere boys. Krishna was an invincible warrior, a cunning strategist, and a clever king among men, but he was also a cultivated gentleman, a charming conversationalist, an intoxicating instrumentalist, and above all, a cultured romanticist.  Funny how would-be “hypermasculine”, self-declared “defenders of Dharma” forget that today. That is why it is important to study Nara Dharma properly, rather than merely concoct uni-dimensional understandings of Dharma and Nara and Naari.

Lord Krishna was the complete man, that is why women craved him.

The true defender of Dharma, is thus, neither brutish nor churlish, nor is he a braggart nor a bouffon. Rather than stomp about in aggressive assertion of his alleged greatness and “proficiency in ritual”, he exudes his values through his conduct, character, and conversation. The Redpill movement, personified by such storied lotharios as this lout, may have plenty of wrong ideas, but they are right about one thing: how you project yourself is more important than what you say.

How ironic that the most misogynistically medieval of forces, and the most oppressive of ideologies, have come to occupy the romantic space in the Indic mindspace today, due to bollywood. But while anti-national producers are to blame, the public at large bears its share of responsibility. After all, what measures has it taken to rollback this romantic monopoly marketing attempt? What of the volcanic growth of revolting “item dances”. Why must we look elsewhere, when Bharatiya Sanskriti perfected Romance?

radhakrishnaflute

A culture that knows not the import of courtship is a culture that has collapsed. When Romance becomes a mere veneer for Lust, when it too becomes a commodity for one day of candy sales, then lovers become nominal, replaceable, and interchangeable. Sringara is not mere Rati bhava (erotic feeling). Kama deva and Rati are indeed wedded together, but it is the combination of both that gives us the full spectrum of romantic love.  It is why grihasthashrama is Dharma in fullness, not merely because of rati-bhava, but because of Sringara.

Prema comes in many forms: Vatsalyam, Bhakti, Mitrataall are important. But as great as these all are in their own ways, Sringara is the most ecstatic. It is not for nothing that the author of the Natya Sastra, the great Sage…

…Bharat consecrated ‘Shringara’- love, as the apex of all ‘Rasas’, as if he was pre-determining the course of Indian arts – painting and sculpture, which later discovered their relevance and prime thrust mainly in love. If anything, Bharat said, was ‘sacred, pure, placid and worthy for eye’, it would be some aspect of ‘Shringara’. [5]

Arranged marriage has been the traditional model in our society, but that has never denied the importance of either romance or consent. Rukmini’s letter to Krishna asking him to rescue her, is a prime example of this. This is the society of the Svayamvara, where women cannot be seen as mere pawns for political alliances courtesy of the marital. They have their own adhikara too. Yes, they must choose wisely (something many aren’t doing of late), and Arranged Marriage with Consent, offers one such avenue, which is certainly less risky than commercialised industrialised “live-in” arrangements, which maybe start  “in love”, but usually end up in “the clinic”. As such, there must be a balancing of interests:

1) Preserving the societal fabric for the next generation, 2) Providing a healthy environment for the nurturing of children, and yes, 3) Romantic compatibility.

The rights of women cannot be trampled upon in the matter of marriage. True, difficult times reduce freedoms for both men and women. But there is a difference between filtering eligible suitors from which to choose, and taking away choice completely. Rukmini was herself put in such a desperate position. This is where this daughter of Vidarbha demonstrated her strength as a woman and wrote a letter to Krishna declaring her love for him.

But Rukmini chose wisely, not merely based on fleeting caprice, but on character (and yes, charm). She exercised her rights responsibly. It is important to consider character compatibility along with eligibility and mass-marketed marriageability. Match-making must not be a simple meat-market or political calculation that makes pawns of progeny. It is also a sacred union of souls and a sentimental bond. The Lord himself answered her call, and respected her choice.

Why wax nostalgic over DDLJ, when our Ancient Civilization already produced the real deal?

Main Yoddha bhi hoon!

For a long time, poets and commentators  have used the wrong term, haranam to refer to the Rescue of Rukmini, when it is Rakshanam. The correct word is rakshanam or nistaaranam, because as Krishna himself says, he did not kidnap her, Rukmini called him. He responded to her letter asking him to rescue her and take her away from Vidarbha.

Lord Krishna’s example, in Rukmini Rakshana, was emulated by none other than that most Ideal of Rajputs: Maharana Pratap. Mewar’s greatest son chivalrously rescued a Rajput Princess who wrote a pleading letter to him. She was despicably being forced to marry a mughal.  He heroically liberated her from her foolish relatives, and taking her back to his kingdom, he then married her, with all religious rites. Thus we see not only the intersection of Legend with History, but Duty with Romance. Dharma and Sringara are not polar opposites or antipodes, but are complements. Sringara gives Dharma sentiment, and Dharma gives Sringara meaning.

maharanapratap

“Romance is the glamour which turns the dust of everyday life into a golden haze” – Elinor Glyn

All this is naturally causing indigestion to our krypto-conservatives on the dolt-right, so let me properly contextualise this for their edification:

Compatibility is not based on fleeting fancy or temporary lusts of the moment. Romance is not a mere veneer or hallmark style commodisation of sentiment. Sringara is meant to ennoble us beyond the everyday erotic. Where others see mere biology or TFR, Sringara in its full sense, exhorts good character and great conduct. Rukmini, Sita, and Savitri all sought out Sringara, but they pursued it the right way, looking for the right match based on long-term interests, societal good, and yes, noble romantic sentiment.

Savitri’s own choice showed her superiority over the women of today (and the less said about the men of today the better…but I digress). This Princess of Madra chose a man down on his luck but with good character to marry. She then became the veritable Lakshmi of the House by not only restoring him to his family’s ancestral kingdom, but restoring him to life. Sita herself forever abided by duty, but not only did she resist the lustful seduction attempts of Ravana in the face of imprisonment, inducements, and threats over the course of a year of torment, but she also sought out her Romance with Rama the right way.

Even the tale of Usha, and the grandson of Krishna named Aniruddha (a chip off-a chip off-the old block), is a romantic one. Usha sees the handsome Aniruddha in her dream, has her friend draw pictures of the illustrious princes of her time, and falls in love with this Prince of Dvaraka after hearing of his good qualities.

aniruddha

 Usha-Aniruddha

 Thus, the surrender of Sringara is the single biggest strategic blunder by our Samskruthi Senapatis. Even more vile, has been the venal conflation of it by these copycats with mere “sensuality” and prioritisation of the ever compounding, compound-hungry, self-serving pedantry to pervade it. Before teaching others to certify them in their little social media certificate programs, it’s important to actually learn our culture & history correctly.

flute-radha-krishna

Sringara, therefore, is a critical aspect not only to revival of culture and civilization, but revival of civilized life and the beauty of life itself.

The Kashmiri commentator Anandavardhana wrote  in his Dhvanyaloka : “In the shoreless world of poetry, the poet is the unique creator. Everything becomes transformed into the way he envisions it. If the poet is emotionally moved (lit. ‘in love’) in his poems, then the whole world is infused with rasa. But if he be without an interest in the senses (vitaraga), then everything will become dry (nirasa). (Dhvanyaloka, III. 43). [2,156]

Radha-Krishna_chess

The game of life must not only be played with discipline, and skill, but also with style, and in the right places, occasional sentiment.

Those identifying with the Dharmic view in India typically fall into two camps with respect to this topic. On the one hand we have those looking to create a drab and charmless society, where culture is only about mechanical karma, and Prema is only valid for Bhagavan (God). On the other we have the hippie free spirits or libertine liberals who, despite their undoubted patriotism, are tribalists (i.e. modern global types who nevertheless cheer for their home team) who seek to map their “liberal”/”feminist”/”new age Male” views on to Hindu Dharma, and frequently see sex detached from love.

Despite their diametrically opposing views, both of them fail to understand the importance of Sringara to our tradition. To the paleo-conservatives, romantic love is seen as a valentine’s day derived western import and an impediment to their dream society of boring severity. To others, romance is seen only through western rom-coms or bollywood buffoonery, where “love” is a commodity, and thus, not truly romantic, nor specifically, “True Love”.  In the wake of all this, we chart the middle path.

Whether it’s Sita-Rama, Savitri-Satyavan, Indumati-Aja, Malati-Madhava or even the nameless Yakshi & Yaksha of Meghadootha, Romance has always been an inseparable part of our Indic Culture, Tradition, and Civilization.

It has, in fact, been a part of it from the very beginning. The Brihadaranyaka Upanishad tells us in the Fourth Brahmana, of how the Supreme Being became lonely and wished for a second. Dividing into 2, what once had no gender, re-emerged as two lovers: a man and woman in eternal embrace. That is the beginning of creation. [8, 164]

And, for all the attempts to brand Hindu culture as regressive towards women on account of Sati, how many people know of King Aja who inconsolably climbed upon his wife’s funeral pyre? He had to be dragged down, because he had a responsibility to rule. As soon as his minor son came of age, he starved himself so as to reunite with his beloved Indumati. Separating cases of societal misconduct on involutary Sati (anyways barred by Dharmasastra in the Kali Yuga) from the nature of certain ideals is important; otherwise, it is emblematic of a desire to misconstrue and misportray. Aja, by the way, was none other than the grandfather of Rama.

Classical India was replete with such famous pairings. Even great romantic heroes such as Udayana Vatsaraja (the King of Vatsa) appeared in numerous romantic escapades that would put Don Giovanni to shame. But while the latter featured in eponymous operas,  whither the Vatsaraja in bollywood? Dramas abound in his name, with such classical works as Svapnavasavadatta and Ratnavali, and yet, no knowledge, let alone mention of this Romantic Hero. It’s why this article by sickularatti is so ignorant. Ancient  India did have such figures, but Lutyenswallahs simply refuse to acknowledge this, due to their own agendas.

Sringara Rasa is Romantic Love and Romantic Sentiment. In fact, so sophisticated was Bharatavarsha’s approach to romance, that our literature even divided it into two main categories: Vipralambha & Sambhoga.

Vipralambha Sringara—Love in Separation

This is further divided into two kinds:

Ayoga- the Non-consummation of marriage, and

Viprayoga-the Separation of the lovers deep in love (after marriage). “The former which arises from the dependent position of one or the other of the parties through distance or the intervention of adverse fate, has ten stages, ‘abhilasha, chinthaa etc.,..; the latter occurs through maana, pravaasa or some such cause.‘” [2, 3]

Sambhoga—Love in Union

Sambhoga is Love in Union. Vivaha is naturally the best form of this, and birth of a child, also part of the romance. After all, what demonstrates the love of another than wanting to join your qualities together?

Sambhoga has many elements including seeing, conversing, embracing, kissing, and consummation.  In fact, the word Sambhoga literally means “mutual enjoyment”—which characterises not only the Indic view of love but also of sex…so whose society is chauvinist now?

This topic, in fact, will merit a deeper discussion in future articles already prepared. In any event, all this is well and good for a “classical” construct. But what of modernity? What about the here and now?

“Modern Romance”

Many of you may be concerned. Parents may be bewildered at the notion of their children being distracted, and college boys fretting that their anime fantasies may now be spoiled. But look around, youth are already distracted, and are increasingly becoming depraved. Modern media, be it movies, TV, or most powerful of all, the internet, has made it possible to not only mould young minds, but to misinform and even misguide them. Is it any wonder divorce has sky-rocketed, and fidelity has plummeted? Many are having more sex than ever before, with more ‘lovers’ than ever before, but how many actually love? More importantly, how many are actually happy?

If Romance is Dead today, both genders are responsible. Young men deservedly get the lion’s share of the blame, but young women are not so innocent here either. If chivalry is dead, feminism killed it. In chasing after “pyaar, ishq, aur mohabbat” they have conveniently forgotten that Shringaar comes with responsibility. A capricious lust, or srk-inspired stalker does not automatically deserve the title of “beloved”. Merely because some schmuck is temporarily giving you attention, does not mean you give it all away.  Many people frequently fake love to advance their own political & ideological agendas.

Romance is best when it is balanced with responsibility. Charisma is a passing fad, but Character is timeless. Character & Charm best of all.

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If men are guilty of superficiality based on looks and lust, then women are guilty of weighing only material gains and fashionability. Just because bollywood portrays pardesis as “romantic” doesn’t mean that is the case. Just because you only see a particular medieval set of monarchs doesn’t mean they embody nobility. Stop doing merely what you are told is trendy, and use your own judgment to judge what is right for you.

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What women (and men) should start focusing on again

Looks fade, and even Romance ebbs and flows, it is a common Dharma rooted in a common ideal of character, and a common lifestyle, with common loyalties, that binds couples. Romance is most meaningful when we admire not only looks, but also inner nobility. True, individuals can enhance their looks & appeal (marketing is in fact not all that new after all), and can put their best foot forward. They can even become accomplished like Ravana was. But it is character that is the true bond of any relationship. Superficialities are a means of catching and keeping interest.

But as with weapons of war, these Suhstras of Sringara are not to be used irresponsibly. To seduce is sinful, as it is deceit with ill-intention. It is superior to charm and to in turn, be charmed. Suhstra too requires Sastra, and wiles must be wielded as weapons are…with care. Woman too, wields many weapons, none more devastating than her eyes. But before you can get to the intermediate and advanced levels, learn the basics.

  • Learn how to wash properly
  • Learn how to dress properly
  • Learn how to behave properly
  • Learn how to charm properly

What is charm? It is the implicit appreciation of the presence of another. It is assuredness, without imposition. It is social grace and charisma. This does not always require song, and dance, or painting or a Versace wardrobe or a huge performance. It can be as simple as knowing how to have a conversation, or to interject it periodically with poetry. It’s not so much what you say…but…how you say it.

Much may be made of the scene ending here, but for those who know Dharmasastra, Gandharva vivaha was also a legitimate form of marriage. Though usually preceded by rounds around the fire or at least garlanding or giving of rings, Gandharva vivaha (gandharva style of marriage) required no rituals and results in union of mutual consent. Though it is not recommended, as men in this era duping women have shown, in the ancient times, it nevertheless resulted in commitment, as those who have seen Baahubali know both characters effectively considered themselves married after this song.

Since we’re on the topic of the Romantic, I thought I might use this as a segue to a little advice to all the would-be womanisers and wannabe Carrie Bradshaws out there.

As we’re now well into the era of “Love Marriage” I thought I might bring a healthier perspective to those of us who have dipped their toe (or dived headfirst) into the dating scene. I know there are plenty of working professionals today who continue to go the “Arranged” route and others who go the dating route—I am not judging either way, just giving helpful advice for both. This applies especially for guys PIO, NRI or even NIR —but gals as well. Whatever you decide to do, it’s always better to first learn from those older to you. Then make your own choice.

Courting Advice

1. Do Not take rejection personally.

I can’t stress this one enough, whether it’s an arranged Match that didn’t work out or a college girlfriend/boyfriend. It’s admittedly very hard to do (especially when we are young and obsessed with what others think (early vs late 20s)), but most people aren’t told this early enough. There are several ways to cope with this. One is the tried and tested “plenty of fish in the sea”/ “your loss”. Another, per Ovid, is to take a trip with a trusted friend to some safe place, and gain perspective. But perhaps the all time best, in my opinion, is that the other person simply isn’t “the One”. Many people may not believe in soulmates, but for those who navigate the treacherous waters of the dating world—this is the best defence when a romantic escapade doesn’t work out. Even if you don’t believe in “The One”, accept the fact that you weren’t right for each other, because no matter how much sense it makes in your head, your theory is invalid if it doesn’t work in practice.

Not constructively processing rejection is fraught with dangers. We’ve all heard the old adage “Hell hath no fury like a woman scorned”, and the frequent and tragic cases of acid throwers in South Asia are simply horrid. While strong punishment may deter some of this, it is imperative that fathers, uncles, and elder brothers/friends need to dissuade their idiot juvenile sons/nephews/brothers from such ideas by telling them this factoid from day 1.

A real man, knows how to control himself. Same goes for you ladies.

2. Don’t Date; Court.

Unfortunately, the romantic scene has become something of an extra-curricular activity or time pass. Courting and Courtship was once a high art, which has now devolved into the hookup culture or irresponsible and frequently unprotected sex. Rather than the rare exception, the one-night stand has, for all too many people, become the rule.

This one is appropriate especially for the gals, because, well, let’s face it, the biological clock starts ticking earlier for you (you don’t have to take my word for it) . This makes #1 easier, since the approach is to find the person you should marry. In essence, girls and guys should focus on Mr/Miss Right rather than Right now.

Ladies, I hate to say it, but this one is up to you. So if you’re not going the arranged route, and decide early on to put yourself in the market for a boyfriend-en route to-husband—don’t date on in an endless relationship to nowhere, or have a string of affairs to the bottom if you break up, but make him court you with long-term intentions.

There is plenty of nonsense out there, especially in this post-SATC world that makes the Carrie Bradshaw lifestyle glamorous—but check in with your single female friends/cousins in their late 30s and 40s—and ask if what the third wavers call “sex-positive” really is all that fulfilling.

And to all the wannabe khiladis, look no further than one of the all-time great fictional playboys, Sam Malone. The latter years showed just how empty his life was, no matter how many women filled his social calendar. The allure of fast times, fast women, and fast cars runs out real fast when father time comes knocking. So find a path that works for you, maybe even at your own pace, but don’t get suckered in by fashionable puffery in cosmo, playboy, MGTOW, jezebel, or whatever other intellectual cul-de-sac in which you find yourself.

3. Guys, don’t complain, Up your game

One of the reasons arranged marriage has been emphasised by elders for so-long is because expectations are never the same. Many women can expect the world and, well let’s face it, we guys are lazy.

If you think boorish behaviour and being a jackass will get you far, you need to get your head examined, or at least see a different kind of doctor.

There is a difference between self-assured confidence, and off-putting crudity. You may gain the fleeting fancy of the lowest common denominator, but if you a looking for a quality girl, of good character, that is not the way.

Learn the fine art of charm. Don’t just awkwardly sing or poorly play the guitar. Master the fine art of conversation, refine yourself. Learn Poetry.

What is charm? It is the tacit expression of pleasure in the company of another. In contrast to self-serving sharks and self-involved screechers, a charming person is neither looking to “dominate” nor lead on a person, but is self-assured, confident, & calm. Exude charm.

4. Put your Best Foot forward

There’s a difference between trying to be the best version of yourself or doing a little brand-building, and out and out pretending to be something you’re not.

It’s why Vatsyayana stresses the importance of the 64 Arts. Graduating from a good school is good, so is having a great job or “high iq”. But finding the right person to marry isn’t simply a matter of exchanging genome charts. This is where cultivating yourself (something we have stressed throughout many topics) comes in handy. If you want to spend the rest of your life with someone, merely finding “a girl who likes playing playstation” is probably not the way to go.

Also, hygiene is very important—and yes ladies—this means you too.

5. Be courteous

Guys, don’t get into this moronic trend of “negging” where you openly insult girls to catch their interest. But do be playful and politely joke around with them. The point is for both of you to have fun . If you’re not interested in the girl, don’t be mean and destroy her already fragile ego ( girl world is ruthless enough as it is—and photoshopped magazines certainly don’t help).

Learn to listen. Don’t just hear what the other person is saying, listen and digest it.

And ladies, politely let down guys you are not interested in. It’s the best way to ensure (though not necessarily guarantee) they don’t end up walking on the dark side  or enter the forbidden land of Darr. But, also do recognise that some people are unfortunately obsessive groupies or creeps or mentally ill—so do be careful, and if it becomes apparent, then avoid and take action to distance and protect yourself. I should note that, this is yet another reason why many advocate and even prefer the arranged courting/marriage path.

Your relatives and family friends can already do a decent job of filtering out most people with such issues. They can certainly do this much better than WhatsApp, Tinder, OkCupid, and whatever else you kids are on this days.

 6. Don’t lead people on

There was recently an internet meme  that asked men and women to break the cycle of players/jerks and [rhymes with witches]. It showed how debutante-ingénues and blue-eyed boys are taken in by these characters and turned into the very thing that once harmed them.

The single easiest way to break this cycle is to not lead people on. If you’re not interested, or you simply don’t see a future, break it off early—or best of all, don’t get involved in the first place. Yes, every now and then we run into a hottie who captivates us, but self-restraint is part of being an adult as well.

 7. Think long term

 I’m not saying declare your love on the first meeting itself, or ask what the other would name a first child on the first date, but don’t be a flake either.

Don’t put off the tough questions till after you’re deep into a relationship or reached a point of no return (i.e. engagement, moving in, etc). Questions about a future child’s religion, culture, language—or your future place of residence are all important.

These should be anyways factors in deciding whom you enter into a relationship with either right away—or where appropriate, after a few weeks/ months in.

In fact, one particular case merits mentioning. An NRI college girl a long time ago was known to not date at all. When asked by the boys and girls in her friends circle why,  she said she just couldn’t bear the idea of going through serial and pointless heartbreak without any commitment. To go through serious emotional pain without any certainty of some commitment seemed to dilute the potential of marriage in her mind.  She figured she’d be better off focusing on her studies, and then have her family suggest eligible suitors from which she could choose. This may not be everyone’s view, and certainly there are those who find their spouses in college, etc. Nevertheless, it is a useful anecdote to explain why even if you choose to enter into relationships, make sure they’re ones with serious long term potential.

8. Be age appropriate.

Dating in high school is generally not advisable, whatever the stories may be coming out of DPS. I’m not saying go crazy in college when the cage door is opened, but it’s a good idea to focus on your education and discipline yourself before you go off to University (it’s why our ancient texts referred to student life as “brahmacharya”). True, a bachelors’ is often itself a stepping stone to a masters’ degree or beyond, but there’s no point in distracting yourself even before you’ve secured that first step (college admission) in your career/profession.

A degree of emotional maturity too is also advisable. And the whole May-December Romance thing is a mirage. Don’t waste your time pursuing something that clearly has no chance at long term viability (just ask Demi Moore or the countless old millionaires with gold-digging wives).

9. Be careful. Looks can be Deceiving.

Sometimes, parents of a boy or girl don’t know, sometimes they try to pass them off as something else.

I hate to break it to you boys and girls, but not every woman with a pretty face is a lady and not every man with seductive sophistication is a gentleman. There are goldiggers and players/cads out there who play with your hearts to advance their own agendas and vanities. That’s why it’s important not to fall head over heels—but to use your head and evaluate and even test whether the person who has so enamoured you really is what he or she claims to be. It’s also additional reason to not get too intimate too quickly (or further reason to wait until you’re married, if you feel that’s best as our sastras do). “Everyone is doing it” is not a reason to start, especially if you’re a girl. Actions do have consequences, so choose wisely. (If you’re a girl, test the guy to see if his profession of love is genuine. Make him wait…best of all…until marriage). Just to give you girls a bit more help, there is a saying among “Modern” men today that you may not like, but that you probably need to hear, so here goes : ‘Why buy the cow, when you get the milk for free‘. It is rude, it is crude, but it is a little insight into the male mind. Draw your own conclusions.

All too many innocent girls end up not only breaking ties with their family, but engaging in a life that they would not otherwise embark on because an abusive boyfriend takes predatory advantage of their love. Remember, if he really loves you, he won’t make you degrade yourself, or do something you feel would compromise your character, or end up in some internet video (like poor Miss Hilton)…he may walk off and sulk or grumble, but will thank you (years) later and admit you were right—if he actually loves you. If he doesn’t love you, then well, he’ll drop you faster than you can say “Mujhse Shaadi Karoge”.

In fact, while the best advice is to “wait until marriage”, the second best advice is “no sexting” ). And if the black-heart reveals itself and tries to blackmail youyou are ALWAYS better off going to the police, parents, or at least your friends/cousins/siblings. If you made a mistake, don’t make a bad situation worse by doing a deal with the devil. The existence of slimeballs  is well known now, so don’t think your reputation can’t be rebuilt or even excused due to their crime.

What’s more, due to the influence of some malignant fundoos (guys and girls), not every person out there is harmless either and may shower you with attention and affection one minute, then withdraw it the next if you don’t go along with them—repeating the process with several other partners, sometimes simultaneously. So please use your best judgment when you meet someone new—and take care to keep your friends (and ideally families) in the loop as well. This is the best way to make sure you find your someone special—while staying safe.

10. Be Honest

This of course is within reason, but the general principle does hold. If you don’t want to move or you don’t want kids, say so from day 1. Don’t fudge the issue so as to make someone commit on false pretences. While those who go the arranged route aren’t as (generally) encumbered by questions of romantic pasts, this is a factor for those who date. Again, better to be honest—within reason of course.

There is of course plenty more advice I could proffer—but I can’t give away all the crown jewels of House Nripathi …I will conclude with this though: The most important thing is to try to have a good time, and remember if it isn’t meant to be, it isn’t meant to be, and if it is—it is…

Conclusion

It is symptomatic of the topsy-turvy age that we live in that concerted attempts have been made to remove the Romantic from the Indic. How ironic that the civilization which practically invented the concept of soulmates (see the symbolism of a Hindu marriage) is asked by sepoys if it knows how to love?

Yes, bollywood sickulars, Indians (real Indians) know how to love. Bharat perfected romance millennia ago. Excerpt from Dasakumaracharita, regarding the love of Princess Avantisundari for Rajavahana:

“There, in the course of conversation with regard to her lover, she, coming to know his family and name from Balachandrika, was overcome with intense love (with the fall of Cupid’s arrows), and began to grow emaciated day by day, like the crescent of the moon in the dark half of the month, from the pangs of separation.

She gave up taking food and her other daily pursuits, and in her secret chamber restlessly rolled her creeper-like (slender) frame on a bed formed of (tender) leaves and flowers wetted with sandal-juice. Her female friends, seeing the delicate princess in that state withering with the fire of love, and feeling very sad, tried to cool her body, with materials for relief from the torment, such as water prepared for her bath, mixed with sandal, usira and camphor and kept in gold vessels, garments of lotus-fibres, and fans of lotus-leaves. Even that application of cooling reeds simply [causes] fire to appear on all sides in her body like water dropped in heated oil…”[1, 50]

She said:

Subhaga kusuma sukumaaram jagadana vadhyam vilokya te roopam |

Mama maanasa mabhila shathi tvam chinttam kuru tathaa mrudulam ||

[she spoke;] ‘only the prince, who surpasses even Kamadeva in masculine beauty, can successfully cure this heat of the fever of love. But he is beyond my reach; what am I to do?’ [1, 69-70]

Prince in Dasakumaracharita:

 “There is no real happiness for those who lead a single life, or for those who have no wives of corresponding virtues. How then shall I obtain an accomplished consort?” [1,158-159]

So enough. Don’t degrade yourself with Fifty Shades of Grey, and don’t be prey for those who just want a lay. Be wise, be smart, and think long-term. Forgo the False Dichotomy of Pleasure or Family life. Responsible marriage choices and Romance are not diametrically opposed. Sringara (Romance) is also Part of Our Culture—you must only learn it correctly.

Whether it is Kamadeva or Kalidasa, Ratidevi or Radha, Indic Civilization perfected the Romantic. Sanskrit, Prakrit, Braj, Telugu all were languages of love.

The time has come again to not only dream & converse in our own languages, but to love in them as well. The masses mastered Prakrit & desa bhasha, but Sanskrit was the elite’s.

Sringara is not an obstacle to Dharma. In fact, Sringara can inspire it. The most beautiful of women, after all, inspire men to climb the most difficult of mountains.

To reconstitute a Dharmic Indic elite, its romantic aesthetic, courtly etiquette, and noblesse oblige must all be reconstituted as well and adapted to the present time.

DharmaMandir

But crooked kupamandukas and selfish gyaanis bereft of nobility cannot revive the romantic with their bumpkin aesthetic—they forever dream of the erotic and pass off sringara as merely sensual.

Sringara is more than just sensuality: it is the self-sacrifice and refined affection and cultivated commitment of the gentlemanly and ladylike alike. These couples live on not only in each others arms, or in the pages of history, but in the hearts and souls of a people.

References:
  1. Kale, M.R. Dasakumaracarita of Dandin. Delhi: MLBD. 2009
  2. Vatsyayan, Kapila. Bharata: The Natyasastra. Sahitya Akademi.2007
  3. Kale, M.R. Malatimadhava. MLBD: New Delhi. 2010
  4. https://twitter.com/BookQuotesHere/status/587518078285701120
  5. http://www.exoticindiaart.com/article/rasa/
  6. www.astroyogi.com/articles/astrologyarticles/signs-you-have-met-your-soulmate.aspx
  7. http://papers.ssrn.com/sol3/Papers.cfm?abstract_id=2501480
  8. Radhakrishnan, Sarvepalli. The Principal Upanisads. London: Unwin Brothers. 1968

Rebuilding the National Character

Shivaji-bridge

The essence of character is willingness to stand up for your principles and endure in safeguarding the principles you support. High-minded thinking may appeal to all or even most; but it is fortitude, and the willingness to endure in order to safeguard these principles, even sacrificing oneself in the process, which is the hallmark of character, and shows the calibre of the principle.

For Romans it was Virtus, for the Chinese its Tianxia, for Indians it is Dharma. The character of a nation or civilization is determined by the driving principle. It is an ideal that gives courage in dark days, high minded thinking in peaceful ones, and moral thinking in prosperous ones. Above all, it not only gives a nation its character, but builds character among its nationalists.

Our previous articles on the Global Crisis of Character and Why Character is so Important, were composed so that people, especially self-declared civilizational saviours, understand that their personal character is ultimately what deprecates or elevates National Character. Before you can save your civilization, before you can save your society, you must first save your own character. Spelling bees, IQ tests, entrance exams, College placement, or even delusional “genetic superiority” all come to naught if your character is atrocious. There have been many intelligent sellouts like Alcibiades and many farmer-soldiers of high character like Cincinnatus. Who is celebrated as saviour in the end? It is the one with character.

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The starting point of character is self-respect. Respect yourself, and show it by respecting others. Between shameless, servile obedient sycophancy and arrogant non-compliance is the middle ground of self-respect. Find it, and no matter who you are, what your role is, or what your caste is, keep it and never let it go. It’s possible to respect or admire something and adapt it without putting yourself down or losing your identity completely—learn this. It is right to learn, even from the enemy…but do not lose who you are.

Learn the concept of “other people”. There is undoubtedly a concerted campaign to smear Indians, especially “Hindu Males”, as was seen with documentaries like “India’s Daughter”. Statistics are ignored in favour of individual stories. At the same time, while pushing back against such unjustified stereotypes, it is also important to avoid playing to stereotype. Undoubtedly this article too had an agenda, and to maintain credibility, some understanding was given at the beginning. The words at the very end however are the grain of truth in a heap of chaff.  Due to Nehruvian Babooism, more than even casteism, a sense of self-entitlement and self-absorption drives far too many Indians. “Pata hai mera baap kaun?…He is the assistant secretary shoeshiner to the congress party president!”—ergo special privileges. This status obsession and self-centeredness have already been discussed here.

Not everything is a matter of short term, personal ROI. One generation plants the tree, another gets the shade. Furthermore, if you see a tree full of fruit, you don’t just feed your face, then cut down the tree to take back to your immediate family. Take what you need, and a few for your dependents, and leave the rest for others, who also rely on it. Live on the interest, not the principle of your inheritance.

The same applies to personal habits. This was already discussed here by a young lady in her Telugu article directed towards Men & her English article here focused on Women. Bathing, personal grooming, even dressing should take into consideration the fact that you are in public. Learn or re-learn basic etiquette. Cleanliness is part of our Culture.

Invest in public institutions. If you only support your caste/clique/social circle, if you only care about what affects you, no one will be there for you when you need their help. Most people think they’re very smart when they take advantage of someone else. But that only assumes you never bump into him again, or your circumstances don’t change. Don’t just win today, to lose tomorrow. Focus on winning tomorrow. Public institutions help here.

Learn the difference between a rival, an adversary, and an enemy. Indiots treat their enemies like rivals (or even friends) and their rivals like enemies. A rival is merely someone with similar talents who may be in competition with you—but is still part of society, and may even be your friend (after all, there is such a thing as friendly competition). A rival becomes an adversary when he is someone who is directly facing off against you, but whom you may need later since you are in a common society. An enemy is someone who is a severe threat to you, and possibly even your family, society, and civilization. More often than not, such people have made up their minds.

Introspection. There is plenty of blame to go around. Singling out a single person for all the ills in your family, singling out a single community for all the ills in your nation, is not going to achieve anything. Some may be more culpable to others, but there is always something we each can correct, or at the very least, do better at.

Introspection doesn’t mean public self-flagellation. It means sitting down, every once in a while (every week/month & year), to think about what you have done, what you shouldn’t have done, what you should have done, and what you should do better. This is the danger  in asinine theories of “genetic superiority” or molecular perfection—they ignore the place of character and taking responsibility for results. If your attitude is “things worked because I am genius/things failed because others are terrible”, then no wonder you’ve perfected the formula for national disaster. You are not that special. Most of you are morons—especially the IQ-obsessed among you priding yourselves on divining blog ramblings. Real intelligence lies in adapting to change, in adapting to our circumstances, and finding ways to correct course. Any idiot can give meaningless gyaan or vent on twitter or knock off memes from phoriegn. Take responsibility for your actions, be a man, and look for solutions.

quote_teddy_roosevelt

Cultivate yourself. It doesn’t matter if you are only 10th pass (or LKG), it is never too late to start reading. Reading doesn’t mean reading only what popinjay gyaanis prefer. Reading means making an effort to teach yourself. It can be as simple as learning about different varieties of birds, teaching yourself a new language, mastering a new cuisine to cook, or even enjoying popular literature. The Classics are an excellent pursuit for those with the inclination. Make an effort if you can. But no matter what your age, cultivate yourself by picking up the practice of reading both the practical and the recreational.

Cultivating yourself also means developing other sides of yourself with hobbies. Merely watching serials or cricket or idiot bollywood movies is no way to spend all your free time. Some tv time is ok, but the rest of it, spend on developing your artistic or musical side. Pick up gardening, or a sport—a real sport—like wrestling, archery, or field hockey. It also means, not devolving to the emotional equivalent of a child. From godforsaken gameshows to stupid serials and soap operas to infantile cartoons, the modern middle class adult (young and old, male and female) has literally become infantalised through a life of idle pleasure-addling.

A life of pleasure-addled delusion and pain-avoiding pill-popping leads to the requiem for a dream. Don’t be dependent on pharmaceuticals. Take what you absolutely need, but when possible rely on a healthy lifestyle, traditional medicine, and non-fast-food diet.

I have actually seen women in advanced middle age watch lullaby cartoons for infants because “it makes them feel calm & happy“. You know the infantilisation of adults is complete when people reach such a stage. Women who should be matriarchs and role models have devolved to this state—and the less said about their menfolk the better.

Become practical. Whether you are a Pandit, Philosopher, IT worker, or loafer, we are of this world and in this world. It is good to keep an eye on the next one, but what you do in this life, beyond the puja room, beyond the office, is ultimately how you will be judged…in this life and the next. Being able to organise an Akhanda Bhajan anywhere in the world within 24 hours may be an impressive feat of Bhakti and logistics, but it is not fundamentally going to safeguard your cultural and civilizational inheritance. Bhakti (or ritual or jnana or what-have-you) is primarily about your personal spiritual path. Your true work in this world is outside the puja room, and is the legacy you leave behind for the public good.

Pray knowing Ishvara controls everything,                     Act thinking you’re responsible for everything.

[Ram Raj] was not built in a Day. Ram Setu was not built by a single individual, but by a team of individuals working together towards a common goal. Ram did honour Varuna deva, and did puja by the seashore, but he also oversaw the construction of the bridge. Gyaan is cheap, action is expensive. Unless you have “skin in the game” , keep your useless gyaan to yourself and start contributing in a useful fashion. You get out what you put in, and the value of your advice is determined on the basis of the competence of your record. Fortitude, endurance, and willingness to bear pain are all required for those wishing to become physically fit. For the nation to become physically and mentally fit, the same fortitude is required. Cowering gyaanis braying about “hypermasculinity” or “genetic superiority” will be given the ridicule they deserve, especially  if they lack the courage and competence to lead by example.

Take responsibility. This means not only contributing to the national cause in some meaningful way, but in making it a point to safeguard that which you are immediately responsible for.

If you haven’t done any of these things in your spoiled little existence, start today. This is why we wrote of the importance of critical thinking. Gyaani-ism results in living in your own made up world of assumptions. Critical thinking necessitates understanding the world as it actually is. Dharma is not assumption-based. Dharma is reality-based, and reality changes based on circumstances .  Modern/Post-modern living may make it seem like you are just a mall or a single-brand retail store away from food, fashion, and water, but what happens when the power goes out? 1 hour or 1 day power cuts are the norm in less densely populated towns and villages, and even many cities, but what do you do if you live in a crime-ridden metro? Gated community or not, foreign or domestic, these are things to consider.

Puja, Ritual, Havan, Bhakti, all are good—but not enough. God helps those who help themselves. Unless you are a pujari, you have no excuses. As a praja (as a responsible citizen) you have a responsibility think about these things we listed above.

Science is organised Knowledge. Wisdom is organised Life.—Immanuel Kant

Value wisdom over knowledge. Knowledge is important, but not what is pivotal in the end. Learn the differences. Debasing yourself like a gunga din, following orders, taking instructions, or just taking advice (or saying you’ll think about it) are not the same thing. Being an argumentative and opinionated idiot doesn’t make you smart—it makes you an idiot. Just because your mummy says you’re smart doesn’t mean you can spout off like buffoon. Just because you did well in school doesn’t mean you can actually read/listen to understand what someone said rather than just read/listen to argue to live in your opinions. Just because something was written in a book doesn’t mean its true. Sabda pramana is primarily rooted in Divine authority—not some native or foreign fraudacharya playing false guru. Learn from real Acharyas who live in Agraharas and Mathas.

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Bhodrolok?

 This leads into the next point. While it’s good to differentiate between those who openly attack our culture and those foreigners who openly support it, understand that you don’t always know who’s doing what covertly. A traitor is still a traitor, but understand that there still is a difference between native and foreign. Foreigners can be allies and friends, but regardless of the behaviour of casteists, only natives are your real family. There are some things only natives can do. Have the self-respect to understand this.

Gandhi remains controversial, and this movie ever less appreciable by the day. Nevertheless, every now and then, there are some relevant scenes, and this is one of them.

It is good to appreciate friends, but your friends cannot run your own household. It is good to acknowledge well-wishers, but they cannot lead your way. It is good to be a good global citizen,but start by being a good national citizen first. Then, not only will you find that you will be more successful in attaining your objectives, but that your circle of friends (foreign and domestic) will increase, not because you are likeable, but because you are respectable.

Stop being useful idiots. If you don’t know, shut up. MTV veejays may have taught you to be loud or obnoxious or like these “bindaas” buffoons, but that’s the single best way to play into your opponents’ hands. It is the mark of an educated mind to consider without accepting. Learn from a real Mahatma, Mahatma Vidhur.

VN_SilenceNext, understand who you are. Perhaps the biggest problem facing us today is that caste identity has become the be-all-and-end-all. This is in part due to reservations, but let’s not kid ourselves, is primarily driven by our own history. Now it’s one thing to wish to preserve your jati identity, which most Hindus do today, and its another thing to only care about it. A Jati group is but an extension of your family group, beyond that may be varna, but beyond that is the common religious community and the nation in general. Be able to flow in and out of these multiple identities rather than just spend 24 hrs a day in caste battles.

Those who think casteism is dead are fooling themselves—it has merely morphed with one side using AIT based genetics theories and another using AIT based oppression theories. Those who want unity must understand that they can’t pretend nothing bad never happened 2000 years ago or 200 years ago. Most people won’t say much if you wish to marry within your own caste, or preserve and pass on your identity, but stop being a jackass about it. Prove yourself on your own merit, not your clan’s. Taking pride in something is one thing, being a prideful idiot is another.

On that note, by now most of you are familiar with our own house blend of searing internal criticism (you just had a sample above). Unlike some, we don’t lay responsibility at the doorstep of one community, but recognise that there’s plenty of blame to go around. Advocating against self-flagellation (especially the public variety) doesn’t mean license to avoid responsibility. Enough buck-passing. The buck stops here. Take responsibility. Man up. And if you wish to rebuild the national character, start with your own character. Young or old. Upper caste, Lower caste. Man or Woman. Ph.D or only LKG. All individuals have a role to play in the days ahead. The days of treating others like dirt are over.

Start with yourself, and show you have self-respect by treating others with respect. This is the first step to rebuilding personal character.

Personal Character

Shivaji

1. Reject casteists and casteism. 

If there is a single overarching obstacle to our unity today it is casteism. It is the biggest single problem facing us today due to its stakes, and it is not just something found in rural India. It has assumed a more subtle character in urban India, even among the professional middle classes. Most things aren’t said in polite society (unless doors are closed), but you can easily tag the casteists on twitter. They are found both in lower castes & upper castes, but all are societal termites. They can easily be identified by their genetics obsession and continued promotion of AIT on the one hand or hatred of a particular community on the other. They will even misquote shruti and smriti to that end, such is their shamelessness.

And for the caste obsessed, we also didn’t say varnashrama dharma. Caste endogamy or practicing your basic kulachara is not what makes you a casteist. Shamelessly feeling entitled to things which your character or your incompetence disqualifies from, does.

If you don’t believe in Varna Samkara, fine—free country . But remember, in Manu’s time itself there were many cases of inter-caste marriage; in fact, so much so, he himself gave a scheme of the new sub-castes created. Understand the difference and stakes between inter-caste, inter-religious, and inter-national. I am not against someone’s personal or familial beliefs. Marriage after all, is a personal/familial matter. But if you think inter-caste is the same as inter-religious or inter-national, you probably need to have your head examined. Have your priorities straight and distinguish between nice to have and need to have (yes, there is such a thing even under the strictest most conservative interpretation of Dharma). In times of aapaada, Aapad Dharma applies, irrespective of your caste-conceits.

So if there is a single thing you take away from this article, let it be this. If you can’t let go of your ancient views, at least have the intelligence to shut up about them in public—we don’t need pseudo-intellectuals like ruining the national cause with prejudice. This leads to the next point.

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2. Emotional Discipline. Time and time again we have written of the importance of social discipline in general and emotional discipline in particular. Between uncontrolled joy and unsustainable anger, is the middle path of equanimity. Just because someone disagrees with you on 9% doesn’t mean you sacrifice the other 91% by engaging in a to-the-death online argument with them. Just because someone said something positive of your society, doesn’t mean they’re your friend. Just cause someone does all the rituals doesn’t change the fact that his actions are destroying the rashtra and its native culture.  Don’t get fooled by appearances. Don’t be Gullible. Those who have strong personal religious beliefs frequently use them to further their own selfish public ambitions.

This is why deficiency in judgment is properly that which is called stupidity. Judging by the number of fools who outraged about PK and then went ahead and promoted Dangal (or vice-versa), it’s quite clear we have long road ahead on this count…

3. Plan & prepare for contingencies. Develop Survival skills.The ironically named Ramachandra Seuna provides a profile in foolishness on how failing to be vigilant results in ignominy. The great fortress of Devagiri (now ignominously renamed) was famed as the most impregnable in the Dakshinapatha. Despite being constructed upon an imposing hillock, it fell within weeks due to failure to keep account of adequate provisions in case of surprise siege. It would be centuries before the land of the Marathas would produce a Shivaji, who ensured a network of well-provisioned forts throughout Marathwada. If every man’s home is his castle, then the same applies to your house (or temporary shelter).

§ Learn to stock up and keep provisions for a rainy day or week or month

§ Learn to work in teams (castes don’t count)  like professionals in institutions

§ Learn to plan & train. Waiting until stuff happens isn’t a strategy. Emergencies happen.

4. Cultivate yourself

Just because you earned good grades/marks in school and went to a good school, doesn’t mean you are cultivated. Just because you “earn job make money” doesn’t mean you are finished with school. Your real education begins after graduation.

Don’t just watch tv/kircket/movies, develop your God-given abilities. Learn new languages, read books on topics that interest you and topics that help you grow. Try to better yourself as a person at least an hour a week. Everyone has at least 15 minutes a day to do something useful to grow or contribute (ideally both).

5.Develop standards for yourself. If anything goes, if hedonism is your compass, don’t be surprised if you become depressed by emptiness down the road. Ask yourself what type of person you wish to be, then make your decisions, rather than make a poor choice and rationalise it later. In our previous article we pointed out that along with Sita & Rama, there was Kunti & Pandu, and even Ahalya & Gautama. The only true judge is Divine, but ask yourself now what type of person you wish to be remembered as, rather than be short-sighted in your choices. Modernity may mean complicated romantic pasts for many, but it doesn’t justify ignominous romantic presents and futures. Some are men of honour, others are women of principle. Whether you can follow the rigid Dharma of Rama or not, there is no excuse for not having his Sabhyata, Saujanya, & Maryada.

DharmaMandir

6.Accomplishments over Credentials. Credentials and degrees and jobs are important. But prestige is ultimately a nice-to-have. At the end of the day, the Harvard/IIT grad who amounted to nothing is forgotten, and the Chaiwala who became CM & PM is remembered.

If you are intellectually gifted, cultivate your physical fitness. If you are physically fit, cultivate your intellect. Clever talk and even subject-matter expertise are good, but promote those who are actually using their gifts for the common good.

Develop physical fitness, crowdsource movies by struggling but culturally rooted directors, go to the theatre to see real drama (not bollywood), give patronage to struggling small business. These are the real things that make a difference at the end of the day.  Accomplish something yourself, or support those trying to accomplish something.

7.Prioritise Family. Giving respect to elders. Looking after your children. Sheltering relatives and friends in need. These all may prevent your overall “utility maximisation”, but are critical for a common society.

This also means recognising the due place of women not just as mothers but as wives and co-equals and partners in society.  Real men not only fulfill their duties, but know how to interact and behave around women, and enjoy the company of others in a respectful way. Become skilled conversationalists (rather than just idle gossips or grunting neanderthals).

Familial Character
jijabaiputra
Jijabai

1. Bharatiya Moms, stop raising Mummy’s boys. Learn from this mother about what it takes to raise a real man. Notice we didn’t say stop loving them or stop showing love. But stop being so unctuously permissive of all their misbehaviour. Treating them special at home is one thing, spoiling them so rotten that they act like they’re special in public is another. Time to bring an end to the Dhritarashtra and Gandhari Syndrome.

Raise men and women of character. It is not just sons who are spoiled but even daughters now. This is what happens when you don’t emphasise samskara and sadacharam at a young age. Philosophy and “choose your own way” is for when they are young adults. Children don’t have a vote in a democracy. They thrive in structure.

Here is Acharya Chanakya on the matter:

Laalyet panchavarshani dashavarshaani taadyet|

Praaptetu shodashevarshe putram mitravadacharet || sl.47

Rear your son affectionately till he is five yeas old then admonish him strictly for the next ten years. When he turns sixteen, start treating him as your friend. [1, 23]

Your grown children are your best friends. Good marks are good, good living is better, good character is best of all. Raise men and women of character.

2. Prioritise family over the individual. Yes, a repeat point. Yes, there is such a thing as individual dignity (something that has been lost to those promoting things like madde snanam…). But the head of family or the head of society has no right to degrade the dignity of others or engage in tyranny. But just as societal needs come before individual needs, so do family needs come before individual needs. Being the head of a household does not mean trampling all over members of your family, and being an individual does not mean you can willfully ignore family needs. Balance is the key.

3. Understand that that rights come with duties. As adults you may have freedom to act as you please. But actions have consequences. As we remarked in our previous article, lives of hedonism may seem appealing with their exterior gloss, but with agency comes responsibility. Take responsibility for your actions and use what freedoms you’ve been given to act responsibly.

quote-willful-sterility-is-from-the-standpoint-of-the-nation-from-the-standpoint-of-the-human-race-the-theodore-roosevelt-350208

Community Character

selfreliance

1. Start doing something to improve the community around you. Complaining on twitter is easy, actually doing something with your spare time is hard. Swachh Bharat is more than just another government programme. It is a national call to action. Cleanliness begins with you. Change begins with you. Temsutulu Imsong is now a celebrity for her Shramdaan effort.

When you are focused on trivia, you only attain the trivial. Real action isn’t ritualism. Real action is improving the world around you directly. Unless you are a pujari, you have no excuses. Plenty of people just like you are tired of just talking and are actually doing useful things. Don’t just RT and praise, follow their example, intelligently.

2. Be considerate to those around you. Time and again we have written about the importance of Sabhyata, Saujanya, and Maryada. Ironically, those most obsessed with kulachara seemed to have forgotten these components of Achara. Achara is good conduct, all-round good conduct. Part of it is ritual, but most of it is your own behaviour. Be considerate to those around you (young and old alike). You may expect the Temsutulas of the world to clean up after you, but do these national gems a favour and reduce their workload by ceasing your littering and inconsiderate behaviours. 

3. Prioritise business to small business. So what if you might pay a few paise more. So what if the other guys have an app. Like it or not, trust is a critical part of the commercial relationship. Giant mega-corporations and malls may look slick and shiny, but it’s small and medium enterprise that employs the most people. Yes, there are crooks who do things like adulterate milk, but how does that compare with the plastic and cadmium rice of corporations in India’s neighbour to the east?

Yes, cleanliness standards must be improved. So be a (partially) silent partner. Give investment and tips to the small teashops and local kiranas to keep them current. If they don’t take your advice, fine. You can always give your business elsewhere. But there is no point complaining about your own job getting offshored (or reshored due to automation…yes, even coding) if you didn’t make an effort to look after your community interests either. Going to the mall once in a while may be understandable, buying Lenovos or Huaweis then complaining about China, is not. Complaining about Pakistan is understandable,  watching Bollywood movies promoting their actors, is not.

4. Have a plan for succession. Team, Family, Community, Business, Army, Government, all need depth not just in the ranks of enlisted man or common member, but depth in leadership as well. From Dahir to Anandapala to Hemu, too many battles have been lost because a cause was personality-focused. Personalities do matter, but institutions matter more. Have a plan for succession, and develop talent to replace you if you should fall.  This point is also why loyalty is so important. If the person below you is too personally ambitious, then the more incompetent, but loyal person often gets promoted, affecting the whole team/system. Plan for succession.

Because the sons of Dasaratha were loyal to each other and put their desa dharma first, Bharata could keep the throne ready for Rama, when he returned. To get loyalty from your subordinates show loyalty and respect (not the same as subservience) to seniors.

5. Invest in Team Sports. Contrary to the Olympics gyaanis, Kreeda is in our Culture. But stop obsessing about individualistic kircket, and start playing team sports like field hockey and football. If you are an older person, start coaching local youngsters so they know how to play well as a team. Take a page from Bhaichung Bhutia.

State Character

Flag_of_the_Maratha_Empire.svg

Many patriots pride themselves in being “nationalists”. But nationalism isn’t just “Hindi, Hindu, Hindustan“. Each state has its own heritage and even language that is worth treasuring as well. If we have written in support of Shuddh Hindi as rajbhasha it is out of necessity. Our own love for own state and language is the reason Andhra Portal was launched in the first place. All other states beyond the Telugu states deserve a Portal. All states, no matter how big or small, have a culture worth celebrating and preserving. That is true Samskruthi. Don’t just tweet on anniversaries of state figures, actually take pride in your actual heritage by taking tangible steps to preserve it.

To rebuild the character of the state necessitates leaders. Real leaders, not just entitled buffoons who like to boss people around or boast of credentials, but real people of action. Real action is not in producing hackneyed memes that mimic analogues from the West, but in actually taking tangible steps in collaboration with like-minded people. There are too many Dhritarashtras and Gandharis who have become too comfortable in their middle class palaces and pleasure-addled lives of mall food and bollytrash movies. We have written about this complex before, but now an article was written on this very issue in a mainstream paper.

To rebuild the character of state necessitates people willing to work across caste lines. If you truly believe in merit, you recognise only your caste doesn’t have it. If you truly believe in courage/manliness, you recognise only your caste doesn’t have it. Put the genetics-obsessed individuals in their place and out to pasture, and gather together people who recognise character makes men and women of worth. And simply 1 word here or there is not enough.

There must be robust pushback and even public shaming of those societal termites putting their own caste/community at risk with their “scientifically proven” bigotry. Otherwise, don’t make pretense to playing opinion-leader. Casteist BS has to be treated with the contempt it deserves, no matter how subtle it is, and simply calling others “jealous” only shows your own infantile understanding of how the world actually works. Nobel prize-winners include this sellout and exclude this genius.

This of course works the other way too. Whatever caste issues there were a hundred or a thousand years ago, “payback” benefits no one but anti-nationals. It will simply be a matter of cutting off the nose to spite the face. Don’t be a parrot of propaganda and a sucker for atrocity literature and drumbeater for reservations in everything. Self-respect is not just a slogan—show it. Empower yourself with your own hard work and God-given intelligence—and prove yourself to shut up the casteists. Many have already done this and have proven themselves in multiple spheres of life. Follow their example, and not the DMK’s. Picking on defenseless men and women is easy. Doing the hard work to correct societal problems is…yes…hard. If you are surrounded by casteists, ignore them, and reach out to us, or other like-minded people.

Once you have a group of like-minded folks, sit down, and discuss the issues of your state. In our case, we did this with individuals from our now bifurcated state. In addition, understand that women have an exceedingly important role to play—and if Jijabai is any indicator, an even more important role to play. Evaluate people’s strengths with an unbiased eye. Yes, we will have to place trust eventually in people. Some will let us down, so it is best to do filtering at the beginning.

This also means those who wish to participate and contribute must be patient. If you don’t get noticed right away, there is probably some reason. There are a million things going on and a crore Kalnemis in our ranks. It will take time. Rather than seeking to compete in resentment, build up your own repertoire in the mean time, via study or useful promotion of others. Show you are a team player. Those of you who compete anyways, at least have the responsibility to do your own thing and not get in someone else’s way.

Recognise core groups and peripheral groups. Example: In Karnataka, these would be Kannadigas, Kodavas, and Tulus,etc for the core. All other groups are peripheral.

1. Some of you have reached out to us. Most of you didn’t have the character to, and prefer to read in cowardly silence. Fine. But it’s never too late to course correct. If you want to do for your region what we did for ours and another one, reach out. It may take time, we may not say yes, we may not even respond, but that is not the point. There are many ways to revive the character of the state. Such a platform is but one of them, and not everyone is suited for it. If you’re not, find something else and make your mark positively. There are still ways to work collaboratively without being part of the same sub-team.

Samarth_ramdas_swami_&_kalyan_swami
Samarth Ramadas Swamy

2. Reach out to the local traditional Pandits. You can find ways to give qualified ones patronage or support the events they and others like them hold to teach all children. There is a lot of junk colonial history out there and junk colonial scriptural interpretation out there. It is only the traditional pandit who can give the correct interpretation and advise your effort to properly restore your regional history and culture. Only orthodox Pandits are the authorities on our scriptures anyway—not some beef-eating baboo, foreign or domestic, from the ivory tower.

3. Promote native/regional language & language bookstores. “But it’s cheaper on amazon” isn’t an excuse. That should be a last resort not a first one. Give patronage as much as you can and suggest book titles to your friends and family and followers. There’s no point whining about how your kids or the younger generation doesn’t speak  your mother tongue when you didn’t make it a point to show them what to read, and why.

For a community that has suffered terribly, the greatest counter-move Kashmiri Pandits could make is to preserve  & pass-on their knowledge of Sharda script. KP’s should teach their children Sharda (and of course, Koshur). This will safeguard not only the ability to read the treasure of Sanskrit literature that came from the Land of Maharishi Kashyap, but that there will be motivation to re-collect the many lost manuscripts of our civilizational heritage that are in that lipi.

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Kashyapa Muni Statue in Andhra

Our Sikh brothers in Dharma have provided an excellent example in preserving not only the Punjabi language, but the Gurmukhi script. The linguistic aspect is all the more relevant in how they have kept it current. Not only did they infuse modern pop-music with Punjabi lyrics, but they updated a native folk-dance for international audiences . The traditional folk dance and language remained in harmony with the exigencies of contemporary reality.

On that note, other groups, such as many a Sindhi  I know who did not learn her or his mother tongue, should do so now while the older generation is still around. Those speaking various Hindi dialects should begin emphasising them as well. We touched on that issue here. There is no reason why the purveyors of a persianised pidgin patois should look down upon the venerable bhashas of Braj and Avadh and Mithila.

4. Culture isn’t static. You can’t just regurgitate whatever traditional learning you were taught. Nor is it 1 dimensional or only religious in character. The next step is to revive cultural equities not just by documenting them,but by supporting artists, dancers, weavers, craftspeople, fashion designers, poets, etc etc.

Give patronage to the arts. Not just the occasional Odissi performance, not just the occasional Carnatic Katcheri, but giving 15 min a day or an hour a week to reviving Arts & Crafts. Find 1 or 2 things, and stick with the issue. Handloom workers across Bharat are in desperate need of business (and honest investment, from people who don’t take advantage). What is pocket change for you is a month’s livelihood for them. Give support to handloom. Even if you are not a “mercantile”, you can make a difference in helping these people update their fashion to current trends. Foreigners are constantly studying India to remake native styles and motifs for overseas sale. Indians end up buying from the same foreign brands. Don’t you think it makes more sense to just buy locally? Do you really think Levi’s or DKNY needs a few thousand more rupees? You don’t have sacrifice your entire wardrobe—but a kurta here and outfit or purse there, goes a long way. Don’t just Make in India, Wear from India.

And patronage is meant for not only the classical arts but for the folk arts as well. Harikatha, Burrakatha, Naga dolls, Madhubani, etc, all are deserving of investment and promotion. Kudos to Punjabis and Gujaratis who already showed the way with their embrace of Bhangra/Gidda & Raas/Garbha. Folk is not just for villages. It can be updated for contemporary metro kids as well—see the NRIs who created a new music/dance genre.

If you are fed up with bollywood insulting our culture, give the parallel vision, the real vision of real India. Enough talk. Put your money where your mouth is. They are plenty of short film directors and film students looking for funding online. Crowdsource. Pool your resources and give the ones with the right vision and right attitude the funding they need. One small film can lead to bigger ones.They are all one google-search away.

This also means investing in your regional language industry.  If your own state industry produces mindless mass masala like Sandalwood, fear not. Tollywood (now TFI) was even worse—so much so that I swore off of it. It has now returned full swing beyond Bahubali.   Yes there are still back-bencher flicks, but it has finally made a name for itself and is Tollywood no more. There is no reason why Bhojpuri films can’t do the same in the North.

If you see a director who goes against the grain, support him (or her). Crowdsource movies or prove to producers that your state too has the audience to make a Baahubali of its own. Culturally-relevant cinema should be the criterion. Move beyond the caste-agendas and prioritise the common state culture. Move beyond the regionalism, and prioritise the common national culture.

National Character
maratha_empire_by_finnect-d4qcevg
Swarajya

Also understand how the game is played. Overcompensating bravado, caste prejudice, and even overt religious bigotry are merely going to ensure you play directly into our shatrus’ hands with quotable soundbites—many of you are experts at this already…And misogyny is downright suicidal. We at this site reject it prima facie, but if you don’t reject it on principle, at least have some sense. Political sense. When your shatru is trying to pit women against men, you don’t play into his hands.

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It is also means putting regionalism in check. The contributors to this site hail from different states, and even love their native languages dearly. At the same time, it is important to understand that a common native language, accessible to all, is required. We have already addressed this issue here. It is possible to support shuddh Hindi for national purposes while supporting local efforts like Kannada Baruthe.

Requiring all medium and long term residents of a state to learn the local language is the minimum courtesy for other regions like mine to accommodate another language for national governmental communication. If you disagree with this, at least disagree without being disagreeable, and give practical alternatives (neither universal translators…nor english). English is a colonial holdover, the time has come to start transitioning to the native. States like mine have accommodated the national interest. Migrants to my state can accommodate the state interest.

1. Buy native. Ask your salesman or merchant where your murthi comes from. If you have the money, give patronage to local murthi/diya artisans. Price and popularity aren’t the only things that matters. If you have the budget, have the sense to not buy from your “number 1 strategic threat”, or don’t be surprised when this happens.

2. Give patronage to Civilizational bookstores. They may not be perfect. They may have vsnl-era websites, but these publishers ensure that our common national and civilizational heritage is passed on to anglicised metro youth.

§  Chowkhambha

§  Motilal Banarsidass

§  Sri Yogi Books

§  Vedambooks.net

§  Vedicbooks.net

§  Exotic India Art

§  Bharatiya Vidya Bhavan

3.Be an ambassador for yourself, your family, your community,your state& your nation. Like it or not, people are constantly judging each other. The impression you make on someone else may be your prerogative, but also influences their impression of you and where you come from. You have freedom to act as you please, but don’t complain if your family or community then feels ashamed of you. Have fun, but be responsible. All work and no play makes Jack a dull boy. But all play and no work makes Jack a rotten boy.  Rotten boys can’t contribute to the national cause, just as rotten wood cannot be carved.

4. Put aside personal ambition and focus on the National Need.

Counted the old names of their descent dearer than the names of their sons

The days ahead will be tall and terrible. So much so that even the heretofore spoiled and brattish will wake up and be shaken from shirking obligation. While they will separate the boys from the men, but they will also make men, real men.

HindiDiChadar
Hindi di Chadar

Different Dharmas exist for different people. Nevertheless, there is a Saamaanya Dharma and a Bharatiya Dharma that exists above Kulachara and Varnashrama Dharma. Nothing is possible unless there is this unity. Not a feigned, falsely professed unity. Not a nationalism of convenience to advance own-side caste interests. Not apologia to justify power grabs or government jobs or party doles. But a genuine unity, that preserves nation, then state, then community, (then caste), then family, then individual.

The episode earlier this year where Rajiv Malhotra was attacked by a concerted casteist effort is a prime example of these issues. Under the obvious feigned pretence of “criticism” and “intellectualism” someone who had actually stuck his neck out for all castes was targeted by a section of casteists, ostensibly bought out by anti-nationals. Similar pseudo-intellectualism was seen in an attempt to pin the of blame on baniya communities for invasions. Casteism is no caste’s monopoly, and RM has been and still is defended by many from the same caste who oppose own-side casteists. The same occurred in the case against baniya community members. And that is the point. To be effective against casteists, inter-caste battles are not the way. Intra-caste battles must be fought to root out these societal termites, whether they are found among the clique that attacked Malhotra or the Periyar supporters that drove out most of a community from Tamil Nadu. If you don’t have the anatomy to do this, don’t whine when you and your caste are on the receiving end.

AIT is the theory by the racist, for the casteist, and of the clueless. No amount of IQ touting and self-celebration will change that.

“A man is great by deeds, not by birth.”– Chanakya

What has a person actually done? What solutions have they actually provided? A poet or “evolutionary biologist” is not a strategist, and should know his place in the scheme of things or be put back in it. Put aside caste conceits,genetics rants& entitlement complexes. Such charlatans may be gone cases, but those of you who have been tricked into supporting such nonsense, introspect and rather than ask whether you are doing the socially profitable, ask whether you are doing what is societally responsible. Ask what your “saviours” have actually done. Ask whether you are doing the right thing.

Maratha_large

For once in your lives, recognise we’re all in this together. Emotional discipline, cultured behaviour, professional competence, personal character, all these qualities, all this background literature was composed so that the one thing you truly lacked was the one thing you’d finally recognise you sorely needed: the right Attitude.

quote-in-war-three-quarters-turns-on-personal-character-and-relations-the-balance-of-manpower-napoleon-bonaparte-105-56-97

I believe the single most significant decision I can make on a day-to-day basis is my choice of attitude.

It is more important than my past, my education, my bankroll, my successes or failures, fame or pain, what other people think of me or say about me, my circumstances, or my position. Attitude keeps me going or cripples my progress. It alone fuels my fire or assaults my hope.

When my attitudes are right, there is no barrier too high, no valley too deep, no dream too extreme, no challenge too great for me. [2]

Ranjit, Shivaji, aur Pratap

Attitude is everything. It is the spark of character. It is the preserver of unity. It is the sail of culture. Your attitude stinks. We have spent the better part of 3 years explaining how and why. Without the right attitude, revival is doomed to fail.

Successful revival is only possible when the right number, of right thinking, right acting, righteous people with the right attitude come together. Either unite and rise to be taller than all your forefathers, or fall because you failed to put aside your personal ego. That is what makes character. These are the stakes of character. That is why we must rebuild it.

shivsmarak

References:

  1.  Chaturvedi, B.K. Chanakya Neeti.Diamond: New Delhi. 2015
  2. Charles Swindoll

Shubha Sankranthi (2017)

makar-sankranti-odia

Shubha Makara Sankranthi to all our readers!

Whether you call it Makara Sankranthi, Lohri, Magh Bihu, Ghughuti, Pongal, Sakraat, Khicheri, Saaji, Suggi, Tirmoori, Uttarayan or “the transition of the sun into the constellation capricorn“, we wish you all a very Happy Harvest Festival!

Part of celebrating what unites us is understanding the beauty of the variety. Sanskrit is the language that unites us and Devanagari the most accessible to us, yet greetings come in many languages and many scripts. This year’s is written in the superfun script of the Odias of Odisha (ancient Kalinga, Utkala, & Oddra). To know how they celebrate today, here is a must follow handle or two for all things Odia, including ICP’s own @Itssitu, who was featured last year with her article on Odisha Fashion.

Pongal-greetings-tamilFrom Odisha we go to Tamil Nadu and a particularly emotive Pongal, where the great tradition of Jallikattu is presently prohibited. One need not participate or even be a fan of a tradition that is important to a different socio-economic group (in this case rural), but it’s important to respect all traditions, particularly when the animal is not harmed and is in fact treated as part of the family. Jallikattu is neither Spanish Bullfighting nor Cowboy Rodeo. The animal is safe, well-treated, and it is the unarmed players who are taking the risk given the powerful bull horns and hooves. It may be more martial than most may handle, but when the animal is treated well, it’s yet another part of festival fun.

JALLIKKATTU - PONGAL FESTIVAL'S SPECIAL BRAVE ART EVENT OF TAMIL PEOPLE - Art by Anikartick,Chennai,TamilNadu,India
Art by Anikartick

For some, Makara Sankranthi is about flying kites, for others it is about drawing Kolam(Rangoli) or playing Jallikattu, and for still others, it is a brilliant bonfire, symbolising a fresh start and personal cleansing.

Punjabi-lohri-graphic

Punjab’s  Lohri (like Bhogi in Andhra’s 4 day Sankranthi) is a great utsav of aag. It is celebrated by Punjabis the world over, and symbolises that spirit in a different way. And yet, the same voices who show no concern for say trees on Christmas, suddenly do when it comes to Lohri (leave aside New Years Eve vs Crackerless Diwali).

Do what you can to preserve the tradition and petition and protest peaceably. Use facts, logic, and calm patience to make the case and point out double standards. Some connect to their culture through intellectual endeavours, others through philosophical inquiry, but most through their traditions and festivals (and the delicious cuisine that goes with them).

sankranthinepal

Makara Sankranthi is not just a Pan-Indian, but a Pan-Indic festival, and is celebrated with great gusto by our brothers in Nepal.

So whether you say Sankranthi Shubhkamnayein, Shubheccha, or Shubhakaankshaalu, from all of us at ICP, we wish you the very best!

makar-sankranti-sun-blessing

Why Post-Modern Society is a Bastard Society

LucasSkywalker
Scene from the (Post-Modern) Anglo-Saxon Chronicle

Shri S.Gurumurthy wrote in an article from 2015 that we are creating a Shameless Society. While he did cite statistics of divorce, and in subsequent articles, childbirth outside of marriage, being a respectable gentleman, he didn’t dwell on it, and examined other aspects causing shamelessness as well. We, however, are more visceral in such matters, and will pick up where he so graciously left off.

The core issue facing Mankind today is not merely stupidity, or selfishness, or stubbornness, or sanctimonious hypocrisy. It isn’t even about being spoiled, but rather, the core issue facing mankind today is the society of bastards.

“A Proud Tradition” of Bastardy

History has had many famous Bastards. Some of them constructively influential, many of them, not so much. One of history’s most famous bastards is British, not by birth, but by invasion. In typical brit fashion, this aspect is usually dealt with in an understated manner; nevertheless, William I may be called “the Conqueror”, but to the French this Anglo-Norman Duke  will always be Guillaume le Batard (William the Bastard).guillaumlebatard

Now as history has it, things worked out rather well for William the Bastard. This Frenchified Viking Duke of Normandy managed to defeat the actual English King, Harold Godwinson, at the Battle of Hastings in 1066. But the net effect was the air of illegitimacy that stained and continues to stain English “royalty” ever since. After all, Anglo-Normans or (as evidenced by the Battenbergs and Saxe-Coburg Gothas) Anglo-Germans, aren’t really English, are they? In fact, one of the reputed reasons for the American Revolution was the illegitimacy of the German King George (House Hanover) in the eyes of many colonial Englishmen of America. But since then, due to the wonders of marketing, Battenbergs became Mountbattens and Saxe-Coburg-Gothas became Windsors. Quite a rebrand.

But like all bastards, when it came to the Aryan Invasion Theory, the British were always better at analysing others than analysing themselves.

Bastardy isn’t always a direct consequence of illegitimacy. There are a number of children born out of wedlock who have gone on to productive and respectable lives. Whatever origin in gentleman’s clubs or high societies or rahasya societies, the much vaunted college fraternity is no longer the august dining club of the Porcellian era, or assorted post-graduate colonial holdovers. Indeed, it too, in its official and unofficial form, has also devolved into a society of mutual bastardy. Nevertheless, Bastardy’s root origin remains in the behaviour of most bastards, either as a result of resentment from it, or in the case of children born within wedlock, under the social influence of irreverent and ingrate bastards.

Many Indians think that modernity means fashionable clothes and western manners, urban habits and the English language. But it means far more. It is the intrusive ideology of the West. It even calls upon the Rest to give up its traditions as a precondition for economic growth. [1]

This theory, better known as ‘Western anthropological modernity’, mandated the Rest to become a carbon copy of the West. But things have drastically changed after 2008 and the West has now conceded that its model may not be as good for the Rest. But the psychological damage done to the Rest over hundred years cannot be easily undone. Modernity, which was marketed as a must for growth, has by now become a habit and fashion. [1]

As S.Gurumurthy has analysed, and as Western commentators are now analysing, out-of-wedlock birth may seem fashionable and even within the norm, but it has consequences, for both the West and the Rest. Even our sacred Dharmic texts speak of the consequences of children being born as a result of lust, rather than love, in sacred marital bond. Due to the mutual effect of bastardy and fashionability, however, attitude is king and spoiled children the queen.

quote-at-the-core-of-liberalism-is-the-spoiled-child-miserable-as-all-spoiled-children-are-p-j-o-rourke-257086

The Bastard society doesn’t just promote mediocrity by happen-stance; it promotes obnoxiousness and “unlimited confidence” rooted  in simple self-apotheosis or in security in numbers. But these are not wolf packs, doing something useful like thinning the deer population, but jackal packs that only occasionally assemble for general nuisance. The Bastard society promotes mediocrity on principle. Because the bastard is perennially dissatisfied with himself, his desire is to promote those beneath him, so he can (by contrast) look good, or engage in sycophancy and flattery of those far above him, that he may benefit from association & osmosis, or eventually be dubbed “legitimate”.

So what then is the opposite of Bastardy? It is Nobility. No, not the nobility of title, not the nobility of lineage, but the nobility of Character. That is why the Bastard is ever concerned with titles of nobility and “peerages” emphasising status because the reality is it is not titles that honour men, but men that honour titles. Those who lack good qualities are always the quickest to point out their titles and lineages and “rights”.

Sri Rama too was an Ikshvaku (Ikshvaku himself being a great king in his own right), but it is Rama who is referred to as the Ikshvaku-kula-tilaka (ornament of the Ikshvaku dynasty). He needn’t have name-dropped as his nobility of character was its own character reference. Rather than his greatest possession, his lineage was a responsibility to fulfill. Rather than Satya Harishchandra’s sacrifice being a point of braggadocio, it was a legacy to live up to. But bastards (real or by character) know no such burdens.

They take initiation into the “cult” of their patron, and then purvey that tradition without thought to ramification. Many may laugh at such notions, but the model has been more widely successful on an organised basis too. Such Whiney Brotherhoods/Sisterhoods are always built upon a myth of grievance and hand-wringing at present circumstances in contrast to past glory.

This is why the anglicisation of Indian society is exceedingly problematic. Not only due to the issues with any attempt to recreate Indic society on the blueprint of another, not only because of the cultural annihilation that would occur, but because there is a psyche of bastardy in British society dating back to William the Bastard. While it is useful to distinguish between the British (an artificial people based on the Union of distinct cultures in Scotland, Wales, Ireland, and England) and the English, even the history of English society has roots in such ingratitude. “The Venerable Bede’s” Ecclesiastical History of the English People is illustrative here.

bede

The Angles are invited to Britain. At first they repel the enemy, but soon come to terms with them, and turn their weapons against their own allies. [6,62]

They engaged the enemy advancing from the north, and having defeated them, sent back news of their success to their homeland, adding that the country was fertile and the Britons cowardly. [6,62]

These new-comers were from the three most formidable races of Germany, the Saxons, Angles, and Jutes. [6,63]

It was not long before such hordes of these alien peoples vied together to crowd into the island that the natives who had invited them began to live in terror. [6,63]

Germanic_Migration_to_Britain

Perhaps that is why they are always projecting the image of the “Central Asian Aryan” taking over the birthright of the materially civilised Indus Valley “Dravidian”—did they not do the same to the Romano-Britons?

The Celtic Brython is in fact the true native of the Island of Britain (along with the Picts and Scots of Scotland), but they were pushed to the small corner of Wales—where the Welsh and their unique language survive today (Sound familiar?). In fact, the entire history of the British (distinguished from Brythons/Britons) is one of such usurpation and Bastardy. They arrived as Anglo-German & Saxon soldiers and soon in-laws, took advantage of the situation and imposed their own rule. Is it any wonder this blueprint has been successfully imposed elsewhere?—not only India, but even on poor and innocent Ireland.

Perhaps that is why the English (and their intellectual children ) are forever projecting this “history” of usurpation and bastardy via “Central Asian Aryan Brahminism”, they themselves are usurpers and bastards…historically speaking, of course.

Whether it was usurpation of the land of the Celtic Britons or the legacy of Anglo-Norman William the Bastard, the Ecclesiastical History of the English People is ironically exactly that which they seek to project on to India. Only not satisfied with the demise of their official colonial empire gained not through “leonine” valour but through patient political bastardy, they and their acolytes now seek to usurp the role of Traditional Adhyatmika Brahmanas in Agraharas & Mathas, by usurping their authority to interpret and pass on our Vedic Tradition. They have even recruited nominal “Laukika” Brahmanas (better termed as Bhogi Brahmanas) by Birth, to betray the tradition their ancestors once preserved. Some such use discredited Freudian frameworks, others Marxist methodology, others the debunked Aryan Invasion theory, and now even some sepoy’ed “traditional scholarship” to invert and pervert our Sanskriti. Such is the blastoma of British Bastardy. The bastard is ever jealous of the legitimate child, so he seeks to usurp that which is not his. He may put on airs, he may take etiquette lessons, he may dub himself a gentleman, he may wear fine clothes, but he never manages to get character.

vivekanandagentlemen

But this is not over. Post-modern society is itself an outgrowth of this “bastard intellectual” lineage. As Rajiv Malhotra has prolifically studied, uncovered, disseminated, and written, the perverse undercurrents of Post-Modern society are undercutting the very root of our Sanskriti and Identity.

A Clockwork Orange

For all those who believe bastard societies to be benign, here is Stanley Kubrick’s vision of a dystopic Post-Modern society, and the delinquents who characterise it. While this scene itself is relatively tame, a general advisory to those of more genteel sensibilities about the movie A Clockwork Orange, in general. It is not for the faint of heart (or not yet old enough), but this scene illustrates the end game of bastardy: delinquency-driven sadism.

Many of our fashionably ignorant may protest, saying “It was just a movie, yaar“. But was it? Setting aside the fact that the film itself was based on an earlier book, modern Britain itself is beginning to see the rise of a class of youth with similar propensities, borne of nihilism, and yes, bastardy.

The Disgruntled Child

chav
The English “Chav”

The Chavs of the UK are not a new phenomenon, and date back to at least the early 2000s, though likely even the 90s. Classist overtones aside, there is the more concerning aspect of disgruntled and alienated youth, leading directionless lives of short-term thinking and short-term “kicks”. Cheap thrills may be all the rage today, but they eventually lead to sensory-fueled rage. The proclivity of disaffected and maladjusted youth to violence is well known, and threatens the very existence of decent society.

Of course, our half-read half-wits may blurt in a tamasic haze “Vell, so what, who cares, they deserve it“. Be that as it may, the contagion is spreading, and the disease, like it or not, is part and parcel of the very post-modernism that you associate with your prosperity today. Even the wealthiest country in the world is now at the edge of that precipice.

 

Coming_Apart

Coming Apart  is a book by noted conservative commentator Charles Murray. In it, he examines the unraveling of “White America”, due to a decline in values, moral character, and sense of overall nationhood. A key factor here was illegitimacy, and he studies the effects at great length. Murray has been criticised for earlier studies on race and genetics, but his views on illegitimacy were also echoed by a recent nobel prize-winner, as discussed in this video.

The African-American community is unfortunately demonised by many of the same voices aghast at Charles Murray’s study above . Nevertheless, the unfortunate state of that community was predicted by Daniel Patrick Moynihan in the 1960s itself. Tracing the effect of narcotics on destroying the family unit, this former Senator from New York predicted the current epidemic of illegitimacy and absent-fatherhood (doubly exacerbated by the “New Jim Crow“). Above all, however was the destruction of culture, resulting in the rise of crime (as seen in the clip above). Whatever culture might be there is a mere veneer, but the overall loss of High Culture, evident.

Thus, the main aspect of the Bastard, of whatever race/ethnicity, is that he is a disgruntled child. Naturally filled with resentment at having an absentee father (or not even knowing who he is) fills him not only with shame, but also anomie.  Perhaps that is why our rootless wonder are forever seeking to remake India in the image of another. But more concerning than that, is the false confidence of “unlimited confidence”. This is not only borne from unlimited internet, but also unlimited permissiveness. After all, if anything goes, then the most outrageous behaviour is the most refreshing and most socially rewarding. This toxic cocktail has even filtered into the rohipnol heavy circles of “red pill” pick up artists and even accidental yuppies. Again, if confidence is currency, then unlimited confidence, solipsism, and obnoxious behaviour is deemed the highest good. There is nothing more solipsistic than the absolute certitude demonstrated by dweebs.

They may garb themselves in ritual as the pirate Brit did in title, but the reality is they do not appreciate its sanctity or malleability. Make no mistake, ritual is important. But it is not ritual that makes civilization or even religion. A spiritual society is the product not of ritual; ritual is only its outgrowth, confirmation, aspect of (cosmic) participation, and a means of cultural preservation. But the origin of our society is in Tapasya. It is not philognosis, but philosophy, the love of wisdom that made, as the ancient Greeks referred to them, the ancient brahmanas the wisest of men, and ancient Indic society, the wisest of all civilizations. It is tapasya that was the origin and tapasya that is the first leg of dharma, and tapasya that is missing today. We have “traditional scholars”, but they lack sadhana. We have young, commited men, but they behave as though they have been committed to the lunatic asylum.

So what is the opposite of the society of bastards, it is the society of nobles. No, not necessarily Arya Samaj (though pun intended). Rather, a society of nobility, rooted in actual Tapasya, Saadhana, and Shraddha. But it is Tapasya that is the marker, not ritual. Ritualists have come and gone since the age of De Nobili (and before). It is genuine Tapasya, as Tapasya is one of the 4 legs of Dharma in our tradition (the other 3 being Saucha (Cleanliness), Krupa (Mercy), and Satya (Truth)). It is no wonder Tapasya is rarely prized by this set of lil bastards, after all, in the Kali Yuga, Dharma only stands on 1 leg (Satya), and even that too is now bent.

But as before, it is not illegitimacy that makes every bastard. After all, Satyakama Jabala was the son of a prostitute (or a woman who lived like one), but through his character and love of the truth, he proved his nobility. Today, we see young men fighting for the dignity of their mothers, and demonstrating their own nobility in the process.

Whether you believe in Lord Shiva and consider him the origin of not only Dharma but the Universe itself, or you are a nirishwarvadin who believes our tradition to be the inheritance of the collective wisdom of Rishis, it is Tapasya that is the basis for not only Ritual, but our entire tradition. Thus, ritual is important, but shraddha is higher. Shraddha is important, but Saadhana is higher. Tapasya is the means of Saadhana.

The problem is there is a batch of ritualists who have neither Shraddha nor Saadhana nor time for Tapasya, and thus, having been initiated into this society of bastards, they are working as termites to undermine our society from within. That is the danger of casteism, because it is assumes your caste to be above question and above trial. But a teacher can only punish an errant child for so long. At some point, a society must come together to pronounce the sentence for aparaadhis.

When tapasya drops, saadhana can sustain. When saadhana drops, shraddha can sustain, when shraddha drops, ritual can sustain. That is why ritual is important. But when ritual drops, or worse, becomes infected with asatya due to self-interest or selfishness that prioritises ritual above all, then society is on track to oblivion. It’s only defence then becomes Satya. Satya, Truth, that not only expresses itself as Rta, which is upheld by Dharma, but Satya that evaluates the validity of ritual to reinforce it. It is Satya discovered by Tapasya, enshrined by Saadhana, and revered by Shraddha that makes ritual (Kalpa) what it is. But bastards, by their very nature, are selfish, and thus, despite living in the material world, garb themselves in ritual and Rna, ignoring or minimising Satya.

And nothing minimises Satya more than Post-Modernism. After all, according to Po-Mo theorists, “there is no truth”.

Post-Modernism

The nihilism of Postmodern society has been evaluated by many. But one need not be Bazarov to be subject to its influence. As deconstructed by Rajiv Malhotra,  the core danger of nihilism is not that it doesn’t deconstruct effectively, but rather, that it fails to “provide the foundation for a positive existence“.

[5] Being Different. ‘Audacity of Difference’, subsection ‘Postmodern Evasiveness’ 

That is why it is important to de-construct the deconstructionists, as Malhotra has done. Those that demand tearing down the existing model without creating an alternative first are those who are hiding something. Much like Napoleon the Pig in Animal Farm, the Agenda of Cultural Marxists (and their unscrupulous co-operators), slogans of Equality and “uncompromising” fight for freedom are all cover for more authoritarian (socialist or otherwise) agendas . But the great irony of course is that in this story, they are not napoleon the pig, but snowball, who is eventually driven out. Cultural Marxist cooperators, like all traitor/useful idiots, are the first to face a firing squad.

That is the danger of the masters of the small picture. It is not that detail doesn’t matter, it’s who controls the details? Who controls the data? What is kept, what is left out, what is even recorded? That is why Dharma must be the model forward, and not  “anglicisation”, or “socialist-authoritarianism”, or “alt-right”, or or “neo-nippon”, or “nava-hindutva eugenics”, and a laundry list of other hare-brained schemes that all ultimately orient India toward foreign models. The latter one, in particular, is a hold out of Aryan Invasion aficionados, but the net result of eugenics theories is that they invariably pigeon-hole people and create inferiority complexes (taking you out of the game even before it begins). Sadly, even some well-meaning people have now bought into this under the weight of scientism. Perhaps this gang should watch Gattaca and mull over their position.

Even more incredulous however are the emotional children blissfully following cultural Marxist pied pipers off the deconstruction cliff. Like lemmings, they fall for a little pro-Indian, pro-Hindu talk about “uncompromising this” and “uncompromising that”, but forget that “politics is the art of compromise”.  This doesn’t mean selling out, but means you can’t always be a martyr like Subhas Chandra Bose, whose honourable attempt at freedom ultimately failed. It’s the figure who lives to fight another day, like Shivaji, who ultimately wins you freedom—not the uncompromising. “A great man can bend and stretch“. To be uncompromising on nothing (but your ethics) in this day an age, is not only “plain dumb”, but “plain suicidal”. Of course, cultural Marxists always know or believe they will escape, and it is only the workhorses who will get sent to the butchery.  But why take my word for it, here’s what an eminent authority himself said.

All this is ultimately why any deconstruction of any mythos built around any Indian figure must be on our terms, using our approach, not foreign ones.

Was Gandhi the “Father of the Nation” like Subhas Chandra Bose himself said in 1944? Are the rumours about Gandhi true? Is there more to Gandhi than we know? All these questions shouldn’t be dusted under the carpet, as they have been for the last 70 years,  but should be asked not under a foreign methodology like cultural Marxism, but under a native one like Dharma. That is how Gandhi’s callousness towards Hindu suffering can be assessed.  But agenda-oriented ideologues have no such interest in deconstruction on such terms, because ideology refuses to ask questions that obviate itself. After all, nothing is more self-contradictory than cultural Marxist derived Critical Race Theory and even Feminism ultimately originates from the same cultural Marxism.

All this is ultimately why whether it is Anglobalism, cultural Marxism, post-modernism, scientism, or fraudacharya-ism, foreign frameworks all lead to the creation of a bastard society. Not just one where illegitimacy may be rife, but one where a bastardised, inauthentic India is the aim (open or otherwise). One cannot properly understand a culture without being immersed in it. One cannot  properly provide alternatives without understanding its originating principle. And the core framework of our culture is Dharma, and the originating principle Satya (Truth).

Yet today, there are not just attempts to Anglicise India, but attempts to Arabise it, Persianise it, Japanicise it, and even Sinicise it.

There are of course, many reasons for all this, all very meticulously studied by Malhotra, but there is another aspect here too that merits study.

The Indian over-emphasis of the Guru-Sishya relationship remains one of the core reasons for the lack of self-respect. For half-read 20 somethings who have trouble reading, read again carefully. I did not say emphasis, but over-emphasis.

The Guru-Sishya parampara is one of the great traditions of Bharatavarsha. It truly must and should be celebrated and preserved in our gurukulas, agraharas, devalayas, and mathas. But if all the relationships we have can only be Guru-Sishya, Father-Son, Mother-Daughter, Raja-Praja, then relating to and working with peers becomes difficult. Further, if teachers from phoreign are given the same status as our gurus, then the net result is videshis taking advantage.

It is the height of bastardy that a foreign institution, educational or not, could appropriate the sacred name of Sri Adi Sankaracharya. Yet, this proposal was only stayed because someone of Malhotra’s strategic sense, discovered and stalled it.

Not every educational relationship is that of Guru-Sishya or Raja-Praja. Nor is there perfect equality between peers. After all, each individual has his or her set of strengths, and seniors outrank juniors even in college. But a senior is not a guru. When there is no longer the danda of ragging (or punishment from administration) to keep juniors in line, juniors run amok like school-children at recess….that is unless the prism of mentorship becomes pervasive under the aegis of Dharma.

Mentorship

A society bereft of self-respect basks in sycophancy on one end and tyranny on the other. For all its great accomplishments, Indic Civilization is presently facing a deficit of self-respect. Whether they are anglicised, persianised, arabised, or even patriotic or anti-national, Indians are lacking in self-respect, and sycophancy (ji-huzoori) has become the common currency.

The best way to stem the advance of bastardisation, be it anglicisation or otherwise, is through mentorship. Not everyone can be a guru, and not everyone has time to be a sishya. But the value of the mentor-protege relationship lies in the existence of a mild status differential, without the total surrender and dedication demanded by a guru. A mentor is there not to shape you and save you for soulful salvation, but to guide you, to give you hints, and to help you grow as an individual and a contributor.

Be a mentor to someone younger, and seek a mentor in someone older. This professional “parampara” is the best way to establish not only an efficient chain-of-command/unity of purpose/cultural cohesion, but to also grow and help others grow in the process. Demanding that all things emanate from you and be credited to you may often be symptomatic of a guru complex. So if you are not one, don’t pretend to be. The mentor, on the other hand, recognises that even the most modest and most illiterate of persons has something to teach. It will also end this dichotomy of total obedience or complete non-compliance. Be obedient to your guru, but be respectful to your seniors and mentor your juniors.

DharmaMandir

That is the importance of Dharma. Not only as a framework, but also as the origin of civility (sabhyata), etiquette (saujanya), propriety/courtesy (maryada). But in a society obsessed with kulachara and kula, these three have gone by the wayside.

The problem today with Indians (particularly a demographic of half-read twenty somethings, and their feckless forty-something fellow travelers) is that they are spoiled brats, and well, probably something comparable to the title of this article.

There is no point in trying to save the world if you yourself don’t even know how to behave and organise. Selective reading and willfully ignoring nuance is easy.  Petulant and rude behaviour is even easier. Closing your ears to retain the efficacy of ideology easiest of all. But the truly knowledgeable person is not the ideologue. He is the one who realises he knows nothing, and seeks wisdom instead. That is the basis of philosophy, not love of knowledge, but love of wisdom.

Philosophy vs Philognosis & Phil-ideology

The love of ideology is one of the great dangers facing human society. This is because ideology, unlike philosophy, demands compliance and reduces honest, critical thinking. The combination of ideology with bastardy is quite possibly the most combustive of all. It marries (pardon the pun) the worst of the certitude associated with an ideology, any ideology, with the worst of the bastard (anomie, alienation, constant need for self-assertion, sniveling and spoiled brattiness). When the rootless wonder finds his [imagined, Central Asian] roots, then a new persona is assumed. Filled with the zeal of a new convert, all worthiness is judged on the basis of conformity (to the ideology) and sycophancy (to a pseudo-clerical sovereignty). On the basis of by-birth brahminhood, real Brahmanas in the agraharas and mathas are being sidelined, their interpretations dismissed as “unscientific”, and their authority usurped by “by-birthers”. But a true Brahmana, born or otherwise, is known by guna, sattva guna.

All this is ultimately why we must reject Ideology and Philognosis for Philosophy. It is the love of wisdom and the love of truth (the origin of wisdom) that makes it possible to live not only well-meaning, full-filling, and prosperous lives, but also practical ones that preserve us and our society.

This is ultimately why the Post-Modern Society is a Bastard Society and must be rejected. And this is why our culture is the cure for Post-Modernism. It is not rigid, as other civilizations are, nor is it a black hole of self-annihilating nihilism (as is post-modernism). Our culture is based on Dharma consisting of uncompromising principles, but flexible application.

The Dharmic tradition shows the importance of Philosophy over Ideology, any Ideology.

  References:

  1. Gurumurthy, Swaminathan. “Society”.http://vskkerala.com/society-was-the-source-of-knowledge-for-deendayalji-s-gurumurthy/
  2. Gurumurthy, Swaminathan.”Modernity has Failed to Stop Deviance”. http://www.newindianexpress.com/opinion/columns/s_gurumurthy/Modernity-has-failed-to-stop-deviance/2013/10/15/article1835599.ece
  3. Malhotra, Rajiv. https://www.pgurus.com/pandavas-can-provide-hindu-leadership/
  4. Malhotra, Rajiv. Being Different. New York: Random House.2011
  5. Bede. Ecclesiastical History of the English People. London: Penguin.1990
Acknowledgement: My thanks to Shivoham whose insights and reference material were valuable for the composition of this article.

Minute on the Indic Aesthetic

schooling-the-world-mp4_000194694

It is the nature of ambition to make men liars and cheats, to hide the truth in their breasts, and show, like jugglers, another thing in their mouths, to cut all friendships and enmities to the measure of their own interest, and to make a good countenance without the help of good will.

—Sallust

It is often thought that the highest intelligence knows not only how to do something, but how and when to use it. Those most obsessed with being the ones to do something and gain fame and get credit, are the least qualified for the work, because their Ambition causes them to prioritise themselves rather than honour the burden they have taken on. Those who view our samskruthi and our aesthetics as a means of control are the ones who are least deserving and least qualified to revive them.

The exact wrong type of people are jealously seeking to control aesthetics for their benefit rather than the benefit of the culture and the people (whom they detest). The notion that classical literature is some indescribable sui generis, frozen in time, is asinine. It is almost as though they are willfully playing into the hands of those who seek to destroy our culture—one wonders what was their selling price. Classical Literature is sastra-derived, but even sastra (see dharmasastra) adjusts to time and space and circumstance, kala and desa and paristiti. Practices and aesthetics that appeal in one era may not appeal in another. The task is in taking timeless principles, and adjusting them in the present time and space, to re-ignite a respectable state, national, and civilizational culture.

No one argues that a foreign aesthetic isn’t being imposed upon us, of course it is . But what should be the response? One cannot simply dial back the clock to previous eras and to present an aesthetic that is frozen, that is unsuitable to current taste and context. Part of the problem is the fact that there is a belief of uniformity not only across regions but across time. Of course there were changes not only over Yugas but even within them. The style in Kashmir is different from Cochin, the style in Gujarat is different from Guwahati. It is only by respecting this variation that the authentic Indic aesthetic can be revitalised. This is the difference between synthetic unity and integral unity [1].

No one argues that the Kali Yuga isn’t a degraded age, with present pop culture at peak degradation and perversion, but the question is making our Classical (that is saastriya) Literature, Art, Music, etc. relevant for the present time. It is the difference between memorising the letter and understanding the spirit. These would-be exemplars have done an outstanding job of perverting Dharma with their misbegotten pedantry, so much so that such perverts were forced to readjust their woefully wrong definitions of Dharma, with some not-so clever bait and switch. Meanwhile Foreigners present native Indic culture as grotesque, while favouring more medieval and colonial qualities. Our native informers then serve up requisite material on the platter, or provide indirect assistance through their kupamanduka “opinions”. This again is the problem of knowing more and more about less and less.

No wonder their focus is aesthetics. When their definition of classical is “dead”…the culture and even the “aesthetics” they propound  are plain dead and plain wrong—and like them, plain unappealing. Perhaps that is why they are forever waxing eloquent on “NRI’s” and “inferiority complex”, they are keenly aware of their own…and resent it. Like the simulacra passing as their efforts, they too are stilted. For all the highfalutin talk of civility, their (mis)behavior is the embodiment of mean-spiritedness and meanness of manner and uncouth breeding.

No one argues that prekshakas (audience members) shouldn’t be taught how to enjoy classical culture, be it music or art or anything else. But what should be the manner? To drone on pedantically without consideration for the diverse audience to which one must cater? When it is not one-size fits all, instruction must be such that all can be brought along. That there is a difference between the mere rasika (aesthete) and the sahrdaya (person of taste/connoisseur) is obvious. But mass and elite alike have a right to our culture, and thus, multiple avenues and multiple standards must be presented for all sections, not just our own.

Just as there is marga and desi within the real tradition, as true cultural exemplars from Bharata muni down to Jaya Senapati have all asserted, literary culture runs from high culture to mass.  How ironic that those most obsessed with caste and varna vyavastha are those most keen to impose only their view and only their way of life on others. However, these fools forget that even the venerable rishi, Sage Shuka, had to give up his guna to attain moksha. As even avataras take on gunas as per need, so too, must we understand that while it’s important to grow from tamas to sattva, there is need for all three at varying points of time.   A society that emphasises solely sattva guna is a sitting duck. A society that only emphasises tamas is what we have now. As such, it is imperative to not only adjust our aesthetics to time and place, but to ensure different levels of aesthetics and culture to appeal to all sections of society—not just our own. Aesthetics is not a mere static set of implementations, but a spectrum, from principles to cultural effect.

Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.

Unlike these pretenders, the great poet, rhetorician, and expert on aesthetics, Mahakavi Dandin, excoriated the need of pedants to over-complicate our language and culture in order to demonstrate their self-proclaimed “intelligence”. People who have to act smart usually aren’t that smart. Merely regurgitating what you were taught, without any original thinking or creativity, is what the great Ramana Maharishi remarked as being a “gramophone”. Time for these well-tuned, well-advertised, and well-aged gramophones to recognise their obsolescence.

The requisites for fine art are, therefore, imagination, understanding, soul, and taste [2,  597]

Aesthetics is not for parrots. Aesthetics is for those with imagination. It is for those who understand that the letter of the word is not frozen in time, but it is the principle that is timeless. Perpetually fitting a square peg into a round hole, these dinosaurs preposterously imagine their country bumpkin concept of aesthetics will gain currency in the modern materialist world. They do not know how to lead. Perhaps that is why they are forever mimicking and appropriating the work of others—they couldn’t critical think their way out of a paper bag. That is why they copy others.

true-sign-of-intelligence-imagination-einstein

The fact remains, even on the basics, there are problems. The correct translation for aesthetics is not rasa, as pure rasa is “sentiment”. Perhaps that is part of the problem, Indians are sentimentalists above everything, hence the much vaunted “rasika”. The corresponding word that conveys the full meaning of Aesthetics is Rasalankara. It is the union of sentiment with ornamentation, feeling with feature. That is how beauty is properly appreciated, and thus, the actual meaning of aesthetics. That saundarya is central to the cultural cataclysm that we are facing is well known to sahrdayas. The issue is whether or not those who wish to lead the response are competent to actually do so. As we have remarked elsewhere, competence is not merely knowledge or ability, but it is capacity confirmed by practice.

Yet there are some playing into the hands of Sheldon Pollock’s prekshaa of the aestheticisation of power, replete with “classical literature” that is ‘unchanging’ i.e “dead” —precisely the characterisation of Breaking India forces. That is precisely why Rajiv Malhotra asked whether self-promoting “adhikarins” greedy for fame/fortune actually understand Pollock’s positions and their implications. This is the danger of pedantry: it spouts off pablum while being unaccountable for results. It pays lip-service to polymathy while ignoring the practical.

paundraka

Paundraka too talked of being Krishna, and styled himself the “true Vasudeva”. But despite the outer trappings, and the poses, and the peacock feathers, he ultimately proved false. He lived an immoral life and led others into immorality. What made Krishna the real Vasudeva was that he led by example. He encouraged good character in others and rather than state “don’t judge by vices”, he  compassionately urged people to give up vices, to dust themselves off when they fell, and to keep trying.

While he married Rukmini for love, the 16,000 rescued women he married were to restore their reputation, not his pleasure. After all, countless women pray to God for a husband like Ram. Lord Vishnu had to grant their wishes in his next life as Krishna. But for Paundraka, women were objects of pleasure, not embodiments of Shakti. He said one thing and did another, while judging everyone else. Hypocrisy is not the Indic aesthetic.

And while he craved the sudarshana chakra, he ultimately proved incapable and incompetent to handle it.

The true Kshatriya, intellectual or otherwise, doesn’t spend his day condemning and ill-treating others. He recognises that all individuals begin as flawed, but walk on a path to perfecting themselves. Individuals fall, but like children learning to walk, they pick themselves up, and with the guidance of true acharyas, correct themselves and progress. That is why he doesn’t justify vices, but holds himself to a higher standard than others.

Image result for paundraka chakra

That is precisely why strategy is the realm of the kshatriya ( and intellectual kshatriya), because he (or she) is accountable for results.  A defeat has consequences. Not so much for silo’d sellouts and village bumpkins. Merely lecturing about kshatra having only read about it, but being impotent to actually practice it, is emblematic of the lifestyle of those for whom life is a “24/7 spectator sport”. Perhaps that is the reason for their superiority complex towards Malhotra. After all, a superiority complex is nothing but an overcompensation for an underlying inferiority complex.

They know they lack the sophistication and knowledge of world affairs required to tackle these issues, hence they hide behind irrelevant drivel in their attempt to usurp the traditional responsibility of real Acharyas in the Mathas and Devalayas. But our real acharyas don’t just pay lip-service; we follow our acharyas not just because they gather (achinoti) and give us laws , but because they show us Achara by example. They lead by example and show us through the example of their lives how to live with spirituality and dignity. They show those of us in the material world how to ultimately reject temptation and follow the spiritual path. That is why kshatriyas were and are honour-bound to protect real Acharyas.

That is why precisely why our response must be calibrated not by single area subject matter experts, or self-proclaimed polymaths, but generalists (of all castes) with a wide array of knowledge across disciplines, who can see beyond their own noses and interests, and think of the big picture…not when it suits them…but all the time. That is the difference between the person who talks of patriotism to advance personal interests and the person who sacrifices (or at least sets aside when necessary) personal interests in order to preserve the common narrative.

If “Culture is the New Politics”, the Cultural and Civilizational response must necessarily be crafted and led by those with political skill and savvy. Poets, Artists, Musicians, Singers, Dancers, Traditional Scholars, Regional Language Scholars, Sanskritists, Sporting enthusiasts, all have a role to play, as support, but Cultural Leadership will necessarily be driven by those with a proven track record of Leadership–the meeting point, the sangham of Brahma-Kshatra-Vaisya-Sudra. Without understanding all four, the spiritual/religious, the politico-strategic, the economic, and the logistic, how can a unified response, a unified aesthetic be presented?  This the difference, this is the need for grass-roots and bottom-up rather than top-down.

All this is ultimately why Ahankar and Ambition are the two most dangerous aspects of the “modern” Hindu. It is not that other people don’t have ahankar and ambition, it is that it has reached such a self-defeating concentration, that Hindus are prepared to sacrifice the absolute cause to increase their relative status—long before the cause is a gone case. This inability to bear any pain, this inability to lay anything on the line, is exactly why the Kshatriya ideal is needed at this time. Why a Culture of Kreeda, Team Kreeda, is needed at this time.

From Brennus to Pyrrhus to Hannibal to Attila, Rome weathered many a foreign storm. Rome even had traitors like Coriolanus, but Romans ultimately were willing to sacrifice everything but self-respect. Their leaders were generals who led by example. Where is the self-respect of our people today? No, the country’s current political credo is “lick the one who kicks and you kick the one who licks!”. Until this is firmly kicked from the country it will be more of the same. This is the not the mantra of Rishis and Rajas, but the slogan of poodles. Rishis did Tapas and Rajas endured terrible pain; this lot knows only how to avoid pain and feed their faces. Rather than the individual skill of the gyaani, it was the unit cohesion of the legion that made Rome effective. The dog licks its master who thrashes, but growls at innocent passersby. The wolf hunts in a pack and wins as a team. Incidentally, the lupus was Rome’s emblem.

Lupa_Romulus_and_Remus
Lupa Capitolina

But this lot is more likely to have lupus than to embody one. These poodles would rather become foreign slaves or pathetically call foreign elites their brothers rather than seeing their own countrymen as one of their own. Rather than having ludicrous popinjays and milquetoast over-sophisticates give irrelevant gyaan from their sinfully hypocritical redoubts, the aesthetic response must come from those who can not only relate to all four/five sections of society, but know how to unify them. Unification, not under unaccountable tyranny, through textual misquote and misinterpretation, but through common accountability under a common dharma, a practical Dharma.

If foreign usurpers are ignored on account of not presenting a “pramana”, then its quite obvious such scholars are better off in their silos rather than attempting to anoint themselves “acharyas”, giving “upanyasas”. There is a difference between a poet and a pradhan mantri. If you don’t have the requisite knowledge of global affairs, and the backbone to bear pain, it is time to vacate the kshetra. Drona too talked tough & was an acharya, but ended up dead on the Kurukshetra for his misdeeds.

It is one thing to argue “everyone has flaws” or “all are on a difficult path to perfect themselves” and quite another to demand others meekly submit to the addiction to vice of certain tyrants-in waiting. These ahankari-shikandis hypocritically argue “judge us by our inner worth”. But character is the determination of inner worth, and character is nothing but habits (whether driven by virtue or vice). Habits become first cobwebs then cables. More than cables, it appears someone has this lot in chains. So if you have some sinful background, if you have some terrible vice that you refuse to control, then better to exit the field. The true brahmana is known by character and conduct. This what our real Acharyas teach. Not that great ones from Maharishi Vishwamitra on haven’t fallen. Rather it’s that once they have fallen, they get back up and dust themselves off, rather than roll around in the muck saying “don’t judge us”, or “do as I say, not as I do”. That is no ethic, and certainly no Indic aesthetic.

Teaching is not just about knowledge, it’s how you interpret what you know and present it to others.

That is why we must reject the bumpkin aesthetic. That is why it is imperative that we build upon an integral unity based on Satya, rather than a synthetic unity based on Rna. This is the era of not only Gross Domestic Product, and Foreign Direct Investment, but also Foreign-owned Debt. For all the talk of upayas, it’s clear their only policy is samshraya…under videshis. But a sellout in mundu-veshti is still a sellout. Whether Macaulay’s Children or Wendy’s Children or Pollock’s Children, drohis are still drohis. In the end, it is only the ambitious ahankari, the unscrupulous politician, the greedy gyaani who seeks a position for which he is unqualified, and sabotages the cause to preserve position. The true statesman sacrifices personal aspiration for common aspiration and civilizational destination.

Better one of my brothers or native rivals wear the crown than our common foreign enemy. When will Bharatvasis learn this lesson?

References:

  1. http://rajivmalhotra.com/big-ideas-2/miscellaneous/
  2. Kant, Immanuel.Kant’s Critiques. Radford.Wilder: Radford, VA. 2008

Historical Literature of India

PKVCmottoWith the Real Sheet-Anchor of Indian History established, the time has come to move forward with an exegesis on Bharatiya Itihasas. After all, if foreign sources and foreign histories have been prioritised in order to impose a false chronology and false history on India, then the reassertion of the native Historical Literature of India becomes critical.

History is Itihasa (pronounced Ithihaasa), meaning “So indeed it happened”. Historical illiterates may pretend the term only applied to the epics, but it did not. There are a number of traditional histories in regional languages like Hindi, that use the term Itihasa. Charitra often translated to history, refers to Chronicles and Vamsavalis refers to Vamsa-avalis (Family Lineages or Geneologies).

At present, the modus operandi of our sepoy historians and fraudacharyas has been to prioritise colonial Christian chronologies, foreign histories, and inscriptions. We have already discussed the issues with the previous two. But in case the reader might wonder why epigraphy and numismatics offer problems, here is the logic:

ProbWithInscriptions
[1,24]
After all, data manipulation, even by much worshipped scientists is not unheard of–why should British colonialists who back-stabbed their way to colonising India, be free from suspicion when their descendants are not? When modern academics and greedy corporations can be credibly accused of this, why are greedy Imperialists (medieval or colonial) being absolved by Post-modernists? The fact remains that expedience, rather than consistency and character, has been the by word of science-celebrities and scientism advocates. That is the importance of tradition. It actually communicates the historical memory of a people. Science can’t construct historical memory…it can only validate it.

For all the glories sung of Herodotus, forget what Indian sepoys have to sing; here is what his fellow Europeans themselves wrote about him:

AulusGellius[9, 17]

Manetho, Egyptian Historian and High Priest of the Temple of Isis ate Sebennytus, about 300 B.C.), whose works are unfortunately [or conveniently?] lost, is said to have written a book on purpose to correct the errors of Herodotus, and by Greek and Roman authors alike the titles of ‘fabler’ and ‘legend-writer’ have been freely applied to ‘the father of history’.” [10, xxv] Woods, Henry George. Herodotus. Oxford.1873.p.xxv

G.F.Abbot: “Herodotus has been called the ‘Father of History’; in truth he is only the father of story-telling; the first and most lively of our special correspondents…21: his celebrated Logoi…further vitiated by careless inaccuracy, love of exaggeration, addiction to entertaining anecdote, and indiscriminate acceptance of ancient lore—all of which properly belongs to a rudimentary age” [10,2]

So lore is ok in History when the Greeks do it, but not so much when Indians do it. This is the much-vaunted “Father of History” in the west whose sources we must place unquestioned “scientific” faith in. The real question of course is whether he is the father of history or father of hearsay.

This is not to denigrate historical sources other than our own; but rather to show what it’s like to apply the same standards foreigners apply to Indic Civilization. Scientism advocates and sepoys, of course, have double-standards.

So Homer wrote of a Cyclops and a Scylla, Herodotus of the Sun God’s intervention in the life of the Croesus, but the Mahabharata’s history of a royal family, succession crisis, and war, must be balanced by Pollockian chicken droppings, because “Science”.  No wonder this same set became chelas of self-proclaimed cultural Christian Richard Dawkins. They too are almost there…culturally. Enough. Those with unjustifiable egos and sepoy sensibilities are welcome to wallow in their own ignorance, but those with more logical inclinations can understand why the same videshis who dictated false history cannot be credibly expected to construct another. Fool me once shame on you…

As such, upon what historical materials can sincere students of history and cultured members of Indic society rely?

SourcesHistoryChelamPlot
[3,xiv]
Therefore, per Historian of Indian Civilization (knowledgeable in World history) and Traditional Brahmin Pandit Kota Venkatalachalam, this is our…

Traditional Historical Literature of India (in order of importance).

1. Puranas

2. Itihasas & Charitras

3. Vamsavalis

4. Textual & Literary Historical references (in non-historical works such as literature & math)

Other sources

5. Tamrapatras, Prasastis, and other inscriptions/epigraphy

6. Coins (and other physical evidence)

7. Foreign Histories and Travelogues

Even an orthodox Brahmin Pandit like Kota Venkatachalam was willing to accept credible and well-written histories like the Chachnama, which, due to the terrible destruction inflicted on Sindh, fills the gap left in native records. But he mentions this only after critical analysis, rather than abject intellectual slavery to all records foreign.

StrayRefs
[6,6]
He (and we) have necessarily placed foreign sources at the lower end of importance (and after careful scrutiny) for reasons he had described.

What’s more, the famous and fantastical accounts of Dog-faced men who barked [all very scientific you see] from the “[Western] father of history” are proof of why in this topsy turvy Kali Yuga, we must take their order of precedence and turn it on its head. Foreign sources and foreign opinions are of the least important to us. The accounts, texts, and traditions of our traditional scholars are the most important.

People from all jatis (castes) should have access to our Itihasa-Purana, as they are our own people, and can be trained as traditional and “modern” scholars alike. Foreigners, necessarily, should no longer have such unlimited access or unlimited importance to our primary sources and primary texts given the havoc they have wreaked on Bharat from De Nobili and  William Jones down to Doniger and Sheldon Pollock. Only fools trust foreigners more than their own people (just as only casteists support AIT — as they are eager to be adopted by foreigners…).

SelfInterestHistory
[6,7]
There may be many good-hearted non-Indians, some even who are sincere…but the sins of others necessitate our need for reducing access at this time. This does not mean being rude or disrespectful to non-Indians…only being prudent and showing discretion. That is the real reason why we study Niti and the Panchatantra. And Niti is one of the main reasons we study Itihasa (History).

Sepoys, on the otherhand, have no time for Niti. They exist only to do their masters’ will so as to retain their (undeserved) emoluments.

AITSepoys
[6,12]
The time to consign such termites, catamites, and dust mites to the dustbin has come. These intellectual equivalents of dung beetles have spewed enough foreign manure. We must reconstruct our real history, our own history, on our own sources.

NativeLiteratureHistory
[4, 12-13]
As we scrap the foreign imposed history and restore our own, it becomes necessary to study the Native Sources of History. The Historical Literature of [Greater] India.

1. Puranas
Bhagavatapurana picture
Bhagavatha Purana

The Puranas may strike one as a surprising choice for an historical source, but there is a solid, logical basis for this. The Puranas consist of more than just “legendary” and “divine” aspects. There are in fact a number of distinguishing features (lakshanas) to them.

PuranaLakshanam
[5, APP 31]
There are 18 Mahapuranas (major) and 18 Upapuranas (minor). While not all of these are sources of history, many of them, such as the Vishnu Purana and the Bhavishya Purana provide credible historical accounts, with minor reference to the fantastical. Some may wonder what the reason is for this format. In contrast to the West, which sees the Secular and Sacred in conflict, the Indic tradition recognises the harmony of the material and spiritual. After recognising the limitations of the former, we understand the transcendental nature of the latter . Only limited minds cannot see this.

PurapiNavah-hhi57

Puranas, therefore, are highly useful not just for learning history, but understanding Niti contained in it.

2. Itihasas & Charitras

RajataranginiIssues

There are numerous histories and charitras composed by our ancients. For far too often, our modernists have insisted that only literature following foreign strictures can be classified as a “history”. But this is preposterous. Different civilizations evolve different styles and philosophies. Due to the dogmatic nature of some traditions, they require a violent separation of church and state to curtail further violence. For others, adherence to the truth was so strong, that no such separation was or is required to apprehend true history.

 

TrustNativeHistorians
[6,18]
Desh drohis promoting AIT may devalue the accounts of Kalhana as mere Poetry, but the author of the Rajatarangini is an historian par excellence. Funny how the same voices who take inspiration from the name of the Rajatarangini don’t seem to have properly read it.  Following the traditional asisha/mangala (benediction) in the beginning is the convention in Sanskrit Kavya. But that never stopped Kalhana from implementing the historical method in his work.

KalhanaMotive

For this reason, although Kalhana’s magnum opus is often classified as a Chronicle, it should not be reduced to the rank of its grecian and anglo-saxon counterparts. The Rajatarangini is a proper Itihasa of Kashmir.

Kalhana discusses his methodology, expresses hesitance at describing supernatural events, and presents his topic in an informative and poetic manner.  Works of history, which frequently analyse events and their significance, are Itihasas. Works that merely collect and present annals are chronicles, which are better referred to as Charitras. The word Charita, as seen in the Buddhacharita and the Harshacharita, is naturally related to Charitra. Jain and Buddhist literature (such as Ashvagosha’s work mentioned above) naturally take their place here as well. Charitras merely describe deeds in chronological order; Itihasas analyse their significance to teach Niti and Dharma.

3. Vamsavalis

NepalVamsavali

Vamsavalis are the Dynastic King lists. These are the Royal Chronologies of Provincial Histories. Nepal is a famous example. Other Provincial Royal Chronologies also exist..

Vamsavalis-hhii

As Pandit Chelam notes, there are Manuscript copies of various dynasties that are available to this day. These involve the traditional names of the ancient provinces (janapadas/desas) of Bharatavarsha, such as Kasi, Panchala, Kalinga, Sindhu, Ujjain, etc. Some are, true to name, dedicated purely to established families of note. The Velugoti Vamsavali in the Telugu region is one such example.

Nevertheless, the historical value of these genealogies are significant. Historical material and detail is available, but must be collected and disseminated.

Another important set of historical sources comes from the records of Traditional Mathas and Agraharas. While not traditional vamsavalis in the strict sense, they are useful to supplement King lists due the repository of information regarding the guru-sishya paramparas in Mathas and families that populated agraharas and their interactions with political authority. Every head of main mathas (and Buddhist/Jain monestaries as seen in the Jaina Pattavalis which record pontiffs) of India is recorded. These lineages are as reliable as king lists and provide a means of authenticating and verifying which king ruled when based on the corresponding spiritual leader.

4. Textual & Literary Evidence

*(historical references in non-historical works such as literature & math)

TraditionHistory
[6,40]
Textual & Literary evidence refers to non-historical sources that offer historical details. Examples include discussions or references to various kings or personalities, as the Mudrarakshasa by Visakhadatta famously does. Despite being a play, it is nevertheless based on the history of the Maurya Dynasty and its famed Chancellor Chanakya.

Others can be various treatises and texts such as Kalidasa’s Jyotirvidabharana.

Nevertheless, these four categories compose the essential historical literature of India. Foreign sources have already been discussed in detail, and the nature of prasastis and tamrasasanassilpasasanas, and numistmatics is better discussed elsewhere.

The main purpose was to establish that there were and are serious historical literatures within the Indic tradition that can be relied upon. Foreign sources can be used merely to supplement. But it should be obvious to all thinking persons that Bharatiyas need not wax eloquent over Herodotus and Thucydides, when they have ample historians of their own.

In fact, the much-celebrated Thucydides has himself been criticised over the years. First on grounds of style. It seems drab prose tends not to appeal to all scholars of history, which puts to favour Herodotus, and ironically, Kalhana as well. But more importantly, on other grounds as well:

his style is often very compressed and difficult to understand, so that any translation is necessarily an interpretation.”

There are big implications here for our modern admiration of Thucydides as a historian. First, the “good” translations of his History (those that are fluent and easy to read) give a very bad idea of the linguistic character of the original Greek. The “better” they are, the less likely they are to reflect the flavor of what Thucydides wrote—rather like Finnegans Wake rewritten in the clear idiom of Jane Austen. Second, many of our favorite “quotations” from Thucydides, those slogans that are taken to reveal his distinctive approach to history, bear a tenuous relationship to his original text. As a general rule, the catchier the slogans sound, the more likely they are to be largely the product of the translator rather than of Thucydides himself. He simply did not write many of the bons mots attributed to him.

But however we choose to excuse Thucydides, the fact remains that his History is sometimes made almost incomprehensible by neologisms, awkward abstractions, and linguistic idiosyncrasies of all kinds. These are not only a problem for the modern reader. They infuriated some ancient readers too. In the first century BC, in a long essay devoted to Thucydides’ work, Dionysius of Halicarnassus, a literary critic and historian himself, complained—with ample supporting quotations—of the “forced expressions,” “non sequiturs,” “artificialities,” and “riddling obscurity.”

Real historians understand that they have a duty to communicate clearly and logically, and educate their audiences effectively, elite and mass alike. Historians engaging in non-sequiturs and abstractions are hucksters, more often than not . But then again as they say, if you cannot dazzle them with brilliance, the baffle them with…

Judging by bloviating blog ramblings popular on social media among some who think and seem like they’re smart, but not really , it is not surprising why some self-important sections think Thucydides is superior to Kalhana. No wonder they count Ayn Rand fans among their ranks…After all, these are the self-same cognitive defectives who think Indra is superior to Vishnu and believe AIT is the traditional view in India…poor souls.

The truth of the matter is, Kalhana managed to accomplish the best of both Herodotus and Thucydides. He wrote in an engaging and appealing literary style that respected tradition (like Herodotus) but also analysed history carefully using methodology (like Thucydides). He carefully reviewed the scholars that preceded him (Nilamuni, Helaraja, and Padmamihira, with 12 Kashmiri chroniclers in total), truthfully researched and recounted the history of Kashmir’s kings and queens,  and engagingly provided his analysis and useful niti for readers in a literary manner.

The Truly Learned write not to amuse themselves and dazzle and baffle their sycophants, but to educate people on the lessons of life and history. That is the true measure of an Acharya.

So let read what a real one had to say.

Here is what Bharata Charitra Bhaskara, Pandit Sri Kota Venkatachalam wrote on the matter [Emphasis and Proofing ours]

The following Post was originally published at True Indian History on August 15, 2009


Historical Literature of India

1. A.Stein writes in his introduction to Rajatarangini Westminister edition Vol. I. P. 3:— “It has often been said of the india of the_Hindus that it possessed no history. The remark is true if we apply it to history as a science and art, such as classical culture in its noblest prose-works has bequeathed it to us. But it is manifestly wrong if by history is meant either historical development or the materials for studying it. India has never known, amongst its Sastras, the study of history such as Greece and Rome cultivated or as modern Europe understands it. Yet the materials for such study are equally at our disposal in India. They are contained not only in such original sources of information as Inscriptions, Coins and Antiquarian remains, generally, advancing research has also proved that written records of events or of traditions concerning them have by no means been wanting in ancient India.”

2. H. Wilson in his admirable introduction to his translation of the Visnu Purana, while dealing with the contents of the Third book observes that a very large portion of the contents of the Itihasas and Puranas is genuine and old and writes:

“The arrangement of the Vedas and other writings considered by the Hindus–being, in fact, the authorities of their religious rites and beliefs–which is described in the beginning of the Third Book, is of much importance to the history of the Hindu Literature and of the Hindu religion. The sage Vyasa is here represented not as the author but the arranger or the compiler of the Vedas, the Itihasas and the Puranas. His name denotes his character meaning the ‘arranger’ or ‘distributor’; and the recurrence of many Vyasas, many individuals who remodelled the Hindu scriptures, has nothing in it, that is improbable. except the fabulous intervals by which the if labours are separated. The rearranging, the re-fashioning, of old materials is nothing more than the progress of time would be likely to render necessary. The last recognised compilation is that of Krishna Dvaipayana, assisted by Brahmans, who were already conversant with the subjects respectively assigned to them. They were the members of the college or school supposed by the Hindus to have flourished in a period more remote, no doubt, than the truth, but not at all unlikely to have been instituted at some time prior to the accounts of India which we owe to Greek writers and in which we see enough of the system to justify our inferring that it w as then entire.

That there have been other Vyasas and other schools since that date, that Brahmans unknown to fame have remodelled some of the Hindu scriptures, and especially the Puranas, cannot reasonably be counted, after dispassionately weighing the strong internal evidence, which all of them afford, of their intermixture of unauthorized and comparatively modern ingredients. But the same internal testimony furnishes proof equally decisive, of the anterior existence of ancient materials; and it is, therefore, as idle as it is irrational, to dispute the antiquity or the authenticity of the contents of the Puranas, in the face of abundant positive and circumstantial evidence of the prevalence of the doctrines, which they teach, the currency of the legends which they narrate, and the integrity of the institutions which they describe at least three centuries before the Christian Era. But the origin and development of their doctrines, traditions and institutions were not the work of a day; and the testimony that establishes their existence three centuries before Christianity, carries it back to a much more remote antiquity, to an antiquity, that is, probably, not surpassed by any of the prevailing fictions, institutions or beliefs of the ancient world.” (Willson’s Vishnu Purana, London Ed. P.P.LXII and LXIII.)

Again in dealing with the contents of the Fourth Amsa of the Visnu Purana, the Professor remarks:-
The Fourth Book contains all that the Hindus have of their ancient History. It is a tolerably comprehensive list Of dynasties and individuals; it is a barren record of events. It can scarcely be doubted, however, that much of it is a genuine chronicle of persons, if not of occurrences. That it is discredited by palpable absurdities in regard to the longevity of the princes of the earlier dynasties, must be granted; and the particulars preserved of some of them are trivial and fabulous. Still there is an artificial simplicity and consistency in the succession of persons, and a possibility and probability in some of the transactions, which give to these traditions the semblance of authenticity, and render it likely that these are      not altogether without foundation. At any rate,in the absence of all other sources of information the record, such as it is, deserves not to be altogether set aside. It is not essential to its celebrity or its usefulness, that any exact chronological adjustment of the different reigns should be attempted. Their distribution amongst the several Yugas, undertaken by Sir William Jones, or his Pandits, finds no countenance from the original texts, rather than an identical notice of the age in which a particular monarch ruled or the general fact that the dynasties prior to Krishna precede the time of the Great War and the beginning of the Kali Age, both which events are placed five thousand years ago…….This, may or may not, be too remote but it is sufficient, in a subject where precision is impossible, to be satisfied with the general impression, that, in the dynasties of Kings detailed in Puranas, we have a record, which, although it cannot fail to have suffered detriment from age, and may have been injured by careless or injudicious compilation, preserves an account not wholly undeserving of confidence, of the establishment and succession of regular monarchies, amongst the Hindus, from as early an era and for as continuous a duration, as any in the credible annals of mankind.” (Do. Book LXIV, LXV)

MahabharataManuscript
And lastly, in discussing the general nature of the Puranas , and of their values as historical records, he_says:-
“After the date of the Great War, the Vishnu Purana, in common with other Puranas, which contain similar lists, specifies Kings and Dynasties with greater precision; and offers political and chronological particulars to which, on the score of probability there is nothing to obiect. In truth, their general accuracy has been incontrovertibly established. Inscriptions on columns of stone, on rocks, on coins deciphered only of late years through the extraordinary ingenuity and perseverence of Mr. James Princep, have verified the names of races and titles of princes – the Gupta and the Andhra Rajas mentioned in the Puranas.” (Wilson’s Vishnu Purana Page LXX.)

3. In his Rajasthan. Col. Tod says :-

“Those who expect from a people like the Hindus a species of composition of precisely the same character as the historical works of Greece and Rome, commit the very egregious error of overlooking the peculiarities which distinguish the natives of india from all other races, and which strongly discriminate their intellectual productions of every kind from those of the West. Their philosophy, their poetry, their architecture are marked with traits of originality; and the same may be expected to pervade their history, which, like the arts enumerated, took a character from its intimate association with the religion of the people.

ln the absence of regular and legitimate historical records there are, however, other native works, (they may, indeed, be said to abound) which in the hands of a skilful and patient investigator, would afford no despicable materials for the history of India. The first of these are the Puranas and genealogical legends, of the princes which, obscured as they are by the mythological details, allegory, and improbable circumstances, contain, many facts that serve as beacons to direct, the research of the historian.”

“Another species of historical records is found in the accounts given by the Brahmins of the endowments of the temples their dilapidation and repairs which furnish occasions for the introduction of historical and chronological details In the legends respecting places of pilgrimage and religious resort, profane events are blended with superstitious rites and ordinances local ceremonies and customs. The controversies of the Jains furnish, also, much historical information, especially with reference to Guzerat and Nehrwala during the Chaulac Dynasty. From a close and attentive examination of the Jain records, which embody all that those ancient sectarians knew of science, many chasms in Hindu history might be filled up.”

Every MATHA or religious college of any importance preserves the succession of its heads. Among the Jains, we have the PATTAVALIS or successions of pontiffs, for a full and lucid notice of some of which we are indebted to Dr. Hoernle:  they purport to run back to even the death of the last TIRTHAMKARA Vardhamana-Mahavira.”(528 B. C.)

“The preservation of pedigrees and successions have evidently been a national characteristic for very many centuries. And we cannot doubt that considerable attention was paid to the matter in connection with the royal families and that Vamsavalis or Rajavalis, lists of the lineal successions of kings, were compiled and kept from very early times. We distinctly recognise the use of such VAMSAVALIS, giving the relationships and successions of kings, but no chronological details beyond the record of the total duration of each reign with occasionally a coronation date recorded in an era, in the copper-plate records. We trace them, for instance in the introductory passages, of the grants of the Eastern Chalukya Series ( See SII, I 35; EI, V. 131) which from the period A.D. 918 to 925 onwards, name the successive kings beginning with the founder of the line, who reigned three centuries before that time, but do not put forward more than the length of the reign of each of them; and, from certain differences in the figures for some of the reigns, we recognise that there were varying versions of those VAMSAVALIS. We trace the use of the VAMSAVALIS again in the similar records of the, Eastern Gangas of Kalinga, which, from A.D. 1058 onwards (EI, IV, 183), give the same deta ils about the kings of that line with effect from about A.D. 99O and one of which, issued A.D. 1296 ( JASB, L XV 229), includes a coronation date of A.D. 1141 or 1142. There has been brought to light from Nepal a long Vamsavali (by Pandit Bhagavan Lal Indraji P.H.D. Hon. and M.R.A.S.) which purports to give an_unbroken list of the rulers of that country, with the lengths of their reigns and an occasional landmark in the shape of the date of an accession stated in an era, back from A.D. 1768 to even so fabulous an antiquity as six or seven centuries before the commencement of the Kali age in B.C. 3102.”
(Quoted By M. Krishnamachariar in his History of Classical Sanskrit Literature, Introduction 38 ff.)

4. In his Rajatarangini KALHANA mentions certain previous writers.—”Suvrata, whose work, he says, was made difficult by misplaced learning; Kshemendra who drew up a list of kings, of which, however, he says, no part is free from mistakes; Nilamuni, who wrote the NILAMATAPURANA, Helaraja, who composed a list of kings in twelve thousand verses; and Srimihira or Padmamihira and the author SRI CHCHAVILLAKARA. His own work, he tells us, was based on eleven collections of RAJAKATHAS or stories about kings and on the work of Nilamuni.

Tamrasasana, or ‘Copper chapters‘ consist sometimes of a single plate but mare usually of_several plates strung together on a large signet—ring_ which bears generally the seal of the authority who issued the particular chapter. The stone records usually describe themselves by the name of Silasasana or ‘Stone-chapters’, Sila-lekha or ‘Stone-writings’,or Prasasti or “Eulogies’. They are found on rocks, on religious columns such as those which bear some of the edicts( inscription recording grants, chiefly of grants and allowances engrossed on copper plates) of Priyadasi and others which were set up in front of temples as “flagstaffs” of the Gods; on battle-columns of victory such as the two at Mandasor, on the walls and beams, sand pillars of caves and temples, on the pedestals of images, and on slabs built into the walls of temples or set up in the courtyards of temples or in conspicuous places in village sites or fields. And they are often accompanied by sculptures which give the seal of authority issuing the. record, or mark its sectarian nature, or illustrate some scene referred to in it.
_ The Chronology of Classical Sanskrit Literature starts with Mahabharata war and Kaliyuga. Kaliyuga commenced on 20th February 3102 B.C., just on the day on which Sri Krishna departed to his divine abode. The Kuru-Pandava war was fought 37 years before Kali, that is in 3139 B.C. Onwards from the commencement of Kaliyuga, Puranas contain accounts of various kingdoms that flourished from time to time and successive dynasties that ruled and fell during the course of about 35 centuries. To an impartial observer the tenor of these accounts warrants their accuracy and to the mind of the Hindu– the Hindus of those bygone ages when scepticism had not called tradition superstition—-life here is evanescent and life’s endeavour must be the attainment of beatitude eternal. Ancient sages (Rishis perceived the divine hymns of the Vedas and passed them on for the edification of posterity. Since the advent of Kali, a prospective crop of vice and folly was predicted and to wean the erring world from such sin and misery, Vyasa formulated Puranas with the object of Vedopabrinha, that is, supplemented the exposition of Vedic teachings, and that in the garb of a language and narrative that would be easily assimilated by the masses. To such philosophical minds, the rise and fall of kings and kingdoms was not worth remembrance, save as another realistic means of illustrating the tenets of philosophy, e.g., the truth of the divine essence, Brahman, the unreality at sensual pleasures, the liberation of individual soul and the attainment of eternity in beatitude or oneness with the Spirit Divine and above all the inevitable occurrence of God’s mandates shortly termed Destiny or otherwise called Kaala or Niyati.
If this is the object of Puranic literature, it is a sacrilege to charge the author or authors of them, whoever it was, with having fabricated scriptural testimony for attributing an antiquity to Indian literature and Indian civilization, which it did not possess; for even if they had been, as many orientalists have said, made up late after the Christian era, the authors would not have anticipated this method of political history of the 18th and 19th centuries A. D. The Puranic lists of dynasties of kings and kingdoms furnish details of dates to an extent that even in days of historical records may be surprising, for they mention even months and days in their computation. Whatever those ancient authors did or wrote, they did it with sincerity and accuracy, ‘truth’ being the basis of accuracy. Our educational institutions are saturated with the teachings of modern scholars on the untruth of these Puranic accounts, but it is still hoped that time will come when truth will triumph and display a real orientation of ancient Indian History.
(P. P. XXXVIII — XLIV History of Classical Sanskrit Lit. By_M,· Krishnnmachariar) (38 to -44 pages)
( F, E. Pargiter has given an admirable summary of Early Indian Traditional History, as recorded in Puranas in JRAS (1914) 267 et seq.) _


NoForeignHistory
[7,20]
It is unsurprising that the pedantic but puerile would think to give priority to the videshi on everything from civilizational origin to empiricism. This is why verbosity and complexity is not the measure of intelligence, but rather clear logic with actionable solutions. This is why pedantic parrots do not offer any of the latter.

Just at the time when Bharatiyas are reasserting ownership of their own heritage, this band of do-nothing dimwits proceeds to emphasise the need for foreign sources to make ours more “scientific”, which is code for secular. Funny how the same cabal  of casteists is quick to drop their gotras to assert authority, while doing everything possible to undermine the historical tradition maintained by real brahmanas like Pandit Chelam.

If science is the new religion, and every culture is considered “more scientific” than your own by sepoys and gyaanis,  is it any wonder that misguided youth seek to convert to every civilization but your own? Science cannot be religion. Science does not replace tradition.

Contrary to fraudacharyas who seek to undercut and supersede astika Brahmin Pandits like Kota Venkatachalam, traditional Bharat did have “real history”. But history is not science. How could it be?  The data is imperfect. Other than some epigragraphy and numismatics, it is not verifiable (unless you have a time-machine). And the results are never the same, but as Mark Twain asserted, they do “rhyme”.

HistoryNotScience
[3,xxi]
That is the danger of scientism. It seeks to impose the ramblings of scientifically credentialed propagandists, imagining credential in one area as credential to speak in another (Vedic tradition). It seeks to use the credibility of the profession of science to force eminently unscientific conclusions, as the Christian Historians who pushed the Biblical Chronology and the Hearsay using Herodotus’ fantastical views of India (dog-faced men who bark). And for all the glorification of Persian chroniclers of Turk invaders, the propaganda and fallacies of Ferishta et al are well known to those who actual analyse what they read…rather than read and regurgitate like parrots.

NoForeignHistory

Pandit Chelam himself criticised many of the conclusions of Hieun-tsang as unreliable and poorly informed. As such, foreign histories and observations of travel writers are useful to provide other perspectives and to fill in gaps. But the notion of using them to “balance” our own tradition is absurd as the theories these ahankari-shikandis push (“ait”, “Indra superior to Vishnu”, “Ramana maharishi had mental problems”). Like the vesya of yore, these academics-vaisya sold out to the highest bidder; all they have are sinecures, “sybaritic” nonsense, and (questionable) gotras to salve their egos. Real Brahmanas know better, and recognise the logic of actual Historian Pandit Chelam’s conclusions.

The time for rejecting the colonial histories and their sepoy enforced foreign sources has come. The time to reassert the primary and predominant place of our native historical sources is here.  It is time to prove worthy of our inheritance.

samudrahorse


References:

  1. True Indian History. [Various Blog Bosts]
  2. Kota, Venkatachalam Paakayaji (Pandit). The Age of the Mahabharata War. Vijayawada: Tirumala.1988 (posthumously)
  3. Kota, Venkatachalam Paakayaji (Pandit). The Plot in Indian Chronology.Vijayawada: Arya Vijnana. 1953
  4. Kota, Venkatachalam Paakayaji (Pandit). Chronology of Ancient Hindu History Part I. Vijayawada:AVG
  5. Kota, Venkatachalam Paakayaji (Pandit). The Age of Buddha, Milinda, and Amtiyoko. Guntur: Sri Ajanta Printers.1956
  6. Kota, Venkatachalam Paakayaji (Pandit). Chronology of Kashmir History Reconstructed. Guntur: Sri Ajanta. 1955
  7. Kota, Venkatachalam Paakayaji (Pandit). Chronology of Nepal History Reconstructed.Vijayawada: SahiniPress. 1953
  8. Kota, Venkatachalam Paakayaji (Pandit). Chronology of Ancient Hindu History Part II. Vijayawada:AVG
  9. Aulus Gellius: Young, Arthur Milton. Echoes of Two Cultures. University of Pittsburgh.1964.p.17
  10. Foster, Edith & Donald Lateiner. Thucydides and Herodotus. Oxford. 2012. p.2
  11. Dawkins: I’m a cultural Christian. http://news.bbc.co.uk/2/hi/uk_news/politics/7136682.stm
Acknowledgment: Our sincere thanks to Sri G.D. Prasad garu, grandson of Pandit Kota Venkatachalam for his kind permission to reprint these articles and excerpts.