SRI VAYUSTUTI

(By Trivikrama Panditacharya)

English & Kannada Translation with Sanskrit Text

Author (Translator)
Dr. G. V. Kulkarni
8-A/15, Jawahar Society,
Govind Nagar, Borivli (W),
Mumbai - 400 092.
Tel. : 808 09 25

Trivikrama Panditacharya's Publisher

ANANDA TEERTHA PRATISHTHANA
SRI VAYUSTUTI Poornaprajna Nagar,
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(English and Kannada rendering by Jeevi) 1st Edition (2000 copies)
March, 1996

Printer
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ANANDA TEERTHA PRATISHTHANA
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 BLESSINGS
(English translation from the Kannada original)
We have gone through the beautiful translation of Hari Vayustuti
by Shri G. V. Kulkarni. In Madhva tradition, in prayer as well as in
worship, Vayustuti has an important place. The followers of Madhva
philosophy treat Vayustuti as a sacred Mantra. No daily ritual is complete
without the chanting of Vayustuti. One can say that Vayustuti has
life-saving power (Sanjivini Shakti) which has given spiritual lustre
to lakhs of people and fulfilled various desires in their life.
In Upanishads there is a unique description of Mukhyaprana
and his power. Gods were in search of an abode to meditate upon
the Supreme Lord. They tried to see the Lord in the hearts of other
gods so that they could worship Him. But due to the evil force of
Satanic powers their hearts got polluted. As the reflection of the sun
becomes shattered and unclear in polluted and turbulent water, similarly,
how can one see the Lord in the inner recesses of gods which are
filled with passion and hatred as they are vitiated by the evil forces.
All the gods got unnerved because they could not get a proper symbol
for their worship (Upasana). At last, they chose Mukhyaprana as the
symbol of the Lord and they tried to see the Lord in Mukhyaprana's
heart. Again the evil forces began their attacks. As the heart of
Mukhyaprana was pure and powerful, all the attacks of evil forces
became futile. If one hits a stone wall with balls made out of clay,
it does not make any impact on the wall, on the contrary, the balls
themselves get shattered. Similarly when Asuras tried to break the
heart of Mukhyaprana, they got shattered. In this way the gods could
do the upasana of Lord Brahman by concentrating on the pure heart
of Mukhyaprana without the influence of the evil forces and the illusion
due to the 'raga-dwesha' and other mental impurities. So the Upanishads
have praised the other-wordly personality of Vayudeva.
This Mukhyaprana has become the chief associate in the Avatara
Karyas of the Lord and has taken three Avataras in Bhuloka. In the
Avatara of Hanuman he became the ideal celibate (Brahmachari),
in the Avatara of Bhimasena he became the ideal householder (Grhastha),
and in the Avatara of Madhvacharya he became the ideal ascetic
(Sanyasin). Vayustuti which depicts the Mularupa of Mukhyaprana
and the great actions and wonderful deeds of the three Avataras
in a beautiful-profound style takes us to a fantastic-charming world.
Trivikrama Panditacharya has composed 'Ushaharana' in a lucid
Drakshapaka style. We see another face of his poetic genius in the
composition of 'Vayustuti'. Though the style is stiff, it has power, lustre
3 4
and sweetness of sugarcane or Narikelapaka and the flow of Bhaktirasa
in this sublime poetry has made it the 'Mahamantra of Madhvas'.
Shri G. V. Kulkarni has translated it in Kannada and English verse
so that we could imbibe the profound meaning of Vayustuti in addition
to the benefits we derive by daily recitation. Shri G. V. Kulkarni has
shown his literary skill and ability by translating profound serious poetry
of Vayustuti into lilting charming Kannada verse. We admire the literary
wonder which has transformed Narikelapaka into Drakshapaka.
For example :
Uttaptatyutkatatwit prakatakatakatadhwana..
(Vayustuti S-11)
The ultimate in knowledge, O Mukhyaprana
Those who hate you and defy your supreme knowledge
Will be sent to Andham Tamas, the lowest of hells
There the stones are hurled at them by thy servants
The stones emit blazing fire and everything boils there
They have in store endless agony, torture and misery.
This beautiful translation is worthy of consideration.
We congratulate, Shri G. V. Kulkarni for his gift to Madhva
literature and Madhva community. Let Lord Hari and Vayu bless him
with special favours. And we wish many more excellent works of
similar nature from him.
Iti Saprema NARAYANA SMARANEGALU
H. H. Sri Vishwesha Teertha Swamiji
Sri Pejavara Adhokshaja Mutt
Udupi - 576 101.
 CONTENTS
Page
ENGLISH SECTION
Blessings 3
H. H. Sri Vishwesha Teertha Swamiji
Dedication 5
Author's words 7
Jeevi
Phalashruti 9
An Appreciation 11
DEDICATED Dr. B. N. K. Sharma
TO Introduction 13
Prof. R. G. Kulkarni

MOTHER RUKMINI, FATHER VITHALA SRI VAYUSTUTI 27

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(Original Text)
Trivikrama Panditacharya

5 6
 AUTHOR'S WORDS
I am happy to place before my readers my rendering of Trivikrama
Panditacharya's Sri Vayustuti in English and Kannada.
When I gave a copy of "Sri Narasimha-Stuti" my earlier work
which I had translated in Kannada and English to H. H. Sri Vishwesha
Teertha Swamiji of Pejavara Adhokshaja Mutt, he glanced through the
book and exclaimed, "It is good. You should have given this book to
us, we would have published it." I asked him, "Please order me what
else I should do for you?" Promptly came the reply from Swamiji, "Take
up the translation of Hari Vayustuti. It is difficult and more challenging."
On Monday, the 24th October, 1994 (Shalivahana Shaka 1916,
Bhava nama Samvat, Aashwin Krishna Panchami) I started my translation
work. First day, I translated two shlokas of 'Nakha-stuti'. Next two days,
I translated two more shlokas. Then I stopped for six months, In the
mean time, I showed my sample translation to my friend Prof. R.G.Kulkarni.
He encouraged me to complete the translation and promised to write
an introduction.
On Saturday, the 22nd April, 1995 (Yuva nama Samvat, Chaitra
Krishna Saptami) I resumed my translation work and decided to translate
at least one stanza per day and vowed to complete the work within
forty days. When I told about my decision to my wife, she said, "Let
us go to Lord Mukhyaprana of Yalagur after completing the work." I
agreed. In the evening we went to Pandit Nagarhalli's place for pravachan.
That day we received Prasad and photo from a devotee who had come
from Yalagur. I was thrilled as it was not just a coincidence, to me
it looked like the divine sanction for my work. It was a symbolic moment.
On Thursday, 1st June, 1995, my translation was complete. I
immediately phoned Prof. R. G. Kulkarni and Shri Ganachari who were
equally anxious about my work. I went to Yelgur with my wife on 9th
June which happened to be Ekadashi for the darshan of Mukhyaprana.
Next Day was Saturday and Dwadashi. We went to Krishna river before
sunrise to have a dip in the holy waters. We came to the temple and
witnessed Panchamrita Abhisheka. I read the manuscript in the Sanctum
Sanctorum of Lord Mukhyaprana. I clicked a photograph of the idol of
Mukhyaprana which adorns the cover of this book.
My nephew Chi Tirumala wrote to me that H. H. Sri Vishwesha
Teertha Swamiji was coming to Bombay for Chaturmasya during August-
September 1995. I met Swamiji frequently and he was kind enough
to go through the manuscript minutely and gave his valuable suggestions.
Despite his busy schedule and hectic tour programme, Swamiji wrote
words of blessings.
7 8
I used to translate simultaneously in Kannada and English, one
shloka per day. The Kannada text was okayed by Swamiji himself. I
showed my English translation to Dr. B. N. K. Sharma who was my
teacher when I was a student of K.E. Board's college, Dharwad. He
read my translation with interest and suggested one or two corrections.
He was kind enough to write a note of appreciation. Dr. Sharma is
considered as a great authority on Madhva Philosophy. This year he
was honoured at the Akhila Bharata Madhva Sammelan held at Raichur
with the coveted "Sri Vidyamanya Prashasti."
I thank H. H. Sri Vishwesha Teertha Swamiji for inspiring me
to translate Sri Vayustuti in Kannada and English. He has come forward
to publish this work through Ananda Teertha Pratishthana. I bow my
head with admiration and prostrate before him with respect and devotion.
I thank Dr. B. N. K. Sharma for his kind words of appreciation.
I thank my esteemed friend Prof. R. G. Kulkarni for his scholarly
introduction.
I thank Pandit Vidyasimhachar Mahuli, Kulapati of Satyadhyana
Vidya Peetha, for his encouragement and help. He provided me the
Sanskrit text of Vayustuti and lent the floppy for our use.
I thank my wife Sau Kaladevi and my nephew Chi Tirumala (a
bright student of Purnaprajna Vidya Peetha) who were more enthusiastic
about this work than myself. They share the credit of this work with
me.
I thank Dr. K. S. Sharma, Dr. M. M. John, Prof. Satyanarayana
Rao and Dr. Sudhindra Bhavani who have taken the trouble of going
through the manuscript and given valuable suggestions. I thank Shri
N. K. Joglekar, Shri L. B. Ganachari, Dr. Vaman Bendre for their support.
I thank my sons Chi. Raghavendra and Chi. Harshavardhan for their
keen interest in my work. I thank my elders Sarvashri K. S. Ramarao,
N. R. Bellary, Jayadhir Rao Inamdar for their love and support. I thank
Shri Pawamanachar Shurpali and Shri Vijayindra Gudi whose help I
can always encash.
Lastly, I thank Shri Narayan Shetty and Shri Kiran Shetty of Navin
Printers for their love and dedication for good workmanship while printing
this book.
Shalivahana Shake 1918, - Jeevi
Dhatru Nama Samvat, (Mumbai)
Chaitra Shuddha Pratipada,
Wednesday, 20-3-1996. ●
 PHALASHRUTI No. of Shlokas Phalashruti
Every Shloka of Vayustuti is significant as each one provides 25. ,, ..... Vakpatutva
special benefit to the devotees when they recite it with ardent devotion. 26. ,, ..... Guruseva samghatana
No. of Shlokas Phalashruti 27. ,, ..... Jnanasiddhi
1 & 2 Nakhastuti ..... Sakalanishta nivarana 28. ,, ..... Mithyapavada parihara
1. Vayustuti ..... Vakpatutva - Vidyasiddhi 29. ,, ..... Janavasha - Rajavasha
2. ,, ..... Yajnasiddhi - prajnaprapti 30. ,, ..... Prativadijaya
3. ,, ..... Vyadhiparihara 31. ,, ..... Shatru - bhutochchatana
4. ,, ..... Japasiddhi - Mantrasiddhi 32. ,, ..... Apamrutyuparihara
5. ,, ..... Parakramasiddhi - Shatrunasha 33. ,, ..... Roopalavanyalabha
6. ,, ..... Snehasiddhi - Santapanasha 34. ,, ..... Vichakshanata prapti, vidya samrakshana
7. ,, ..... Bandhamoksha - Swalabha 35. ,, ..... Mahadaishwarya prapti
8. ,, ..... Unmada nivritti 36. ,, ..... Vairagya siddhi
9. ,, ..... Streevasha 37. ,, ..... Adrushyatva prapti - adrushtavastu
10. ,, ..... Santanasukha prapti darshana
11. ,, ..... Shatruvasha 38. ,, ..... Rajabandha parihara
12. ,, ..... Haridhyana, kleshanivarana 39. ,, ..... Santana pratibandhana nivritti
13. ,, ..... Badha - daaridryanasha 40. ,, ..... Pramodasiddhi
14. ,, ..... Hari - pitrubhakti, janavasha 41. ,, ..... Digbandhana, graha-raja-vyaghradi
bhaya nivarana, sarvabhishtasiddhi
15. ,, ..... Vishnubhakti, Vishnusarvottamatva
Jnana siddhi ●
16. ,, ..... Mokshasadhana
17. ,, ..... Paurushasiddhi
18. ,, ..... Oshadhasiddhi - veeryasiddhi
19. ,, ..... Sthira prayojana
20. ,, ..... Sangramajaya, shatrunasha
21. ,, ..... Asadhyasiddhi, shatruparajaya
22. ,, ..... Vighnanasha
23. ,, ..... Yuddha samhanana
24. ,, ..... Rajyalabha

9 10
 AN APPRECIATION has done his best to mirror their contents to the best of his abilities
in a spirit of homage and has succeeded remarkably well in enabling
I have great pleasure in complimenting Prof. G. V. Kulkarni, the reader to share his thoughts and taste the Kavyarasa, Jnanarasa
who was one of my promising students at Dharwad, for his attractive and Bhaktirasa of the mighty work through his word-painting in Kannada
rendering both in Kannada and English of the famous Harivayustuti and English in a poetic garb.
of Sri Trivikrama Panditacharya. The Acharya himself has set his
seal of approval on the Vayustuti of his disciple by prefacing it with The learned introduction in Kannada by Prof. R. G. Kulkarni
two powerful verses in praise of the nails of awesome Nrsimha Avatar throws significant light on many facets of the sublimity of the concepts
to be recited before and after. Amongst stotras of the Madhva Sampradaya of Dvaita Philosophy, such as the Anandataratamya, resistance to
the recitation of the Dvadasa Stotra of Acharya Madhva himself and evil, rejection of Dvesabhakti, Saguna - Nirguna - Samanvaya, the
Vayustuti of Trivikrama have become indispensable parts of the daily restoration of the personality of Bhimasena to the place of honor
worship of every devout Madhva householder. Such is the abiding due to him as an exemplar of the synthesis of Jnana Bhakti and
influence and place of honor of these two stotras of the Guru and Nishkamakarmayoga dedicated to the Lord of the Universe.
the Sishya on the community to this day. The reader will find much to learn about the inherent greatness
The Vayustuti itself commemorates the exploits of three of Madhva Philosophy through Prof. Kulkarni's weighty observations
incarnations of Mukhyaprana, the first born son of God - as Hanuman, in tune with the message of Vayustuti.
Bhima and Madhva as the instrument of Divine Will in shaping the - Dr. B. N. K. Sharma
career of Jivas on earth. Retired Professor in Sanskrit
Ruparel College, Mumbai - 400 016.
A thrilling account of the conversion of Trivikrama Pandita from
the Advaita fold to Madhva Sampradaya at the hands of Acharya ●
Madhva himself after a long drawn debate of 15 days at the temple
of Kudil in Kasargod (now in Kerala) is given by Trivikrama's own
son in his masterly biography of Shri Madhva. After this conversion
of Trivikrama, Acharya Madhva wrote his metrical masterpiece on
the Brahmastutras - the Anuvyakhyana at the earnest request of
Trivikrama.
In return Trivikrama himself was asked to write the very first
and earliest commentary on the Acharya's Sutrabhasya. This work
is the famous Tattvapradipa. We have a miniature Vayustuti in praise
of all the three avatars of Vayu at the beginning of the Tattvapradipa.
Tradition says Trivikrama Pandita was faovoured by the unique vision
of all the three avatar forms of Mukhyaprana during the Mahapuja
of Shri Krishna at Krishnamath in Udupi, while peeping through the
aperture of the outer window of the Garbhagrha and the verses of
the Vayustuti flowed forth in torrential eloquence as a result of this
Sakshatkara. Such is the background of this immortal work.
A translation cannot be a substitute for an original in any other
language. The stylistic peculiarities of Kavikulatilaka of Sanskrit language,
his torrential eloquence and soaring spiritual imagery of anAparokshajnani
and a blessed direct disciple of the great Acharya cannot be recaptured
and transmitted in all its completeness by others. Nevertheless "G.V"

11 12
 INTRODUCTION
JEEVI'S EVOLUTION AS JEEVOTTAMA
(English translation from the Kannada original)
Rise and manifest from the heart's recess
Madhva, bathed in the lake of bliss, the boundless
- D. R. Bendre
(Aralu - Maralu, P.180)
A supramental principle and its cosmic operation once
established permanently on its own basis, the intervening
powers of Overmind and spiritual Mind could found themselves
securely upon it and reach their own perfection; they would become
in the earth - existence a hierarchy of states of consciousness
rising out of Mind and Physical life to the supreme spiritual level.
Sri Aurobindo
(The Life Divine P. 963)
Sa va esha devataitasam devatanam papmanam
Mrutyu mapahatyathana mrutyumatyavahat
Bruhadaranyaka Upanishad (1.3.11)
(That (Mukhyaprana) god destroyed death in the form of
sin of other gods and took them beyond death. He gave
them the possession of their divine worlds.)
I
In the development of literary consciousness and poetic talent
of "Jeevi' (Dr. G. V. Kulkarni) there is a light of inner Sadhana. 'Jeevi
can, not only articulate with ease in Kannada and English languages
imbibing all the complexities of a global city like Mumbai, where he
dwells, but also can maintain emotional equilibrium by the Upasana
marga. By undertaking to translate the "Narasimha Stuti" earlier, and
now the "Vayustuti" of Trivikrama Panditacharya, he has exhibited an
adventure of consciousness which is a good augury for Kannada poetry.
It is my pious wish that this genuine poet should get inspiration from,
Sri Madhvacharya's works likeRigbhashya, Anuvyakhyana, Anubhashya
and Sri Jagannathadasa's Harikathamrutasara and bring their essence
into Kannada poetry. Then the power and richness of Madhva philosophy
13
will become a part of the modern Kannada consciousness. This translation
of Vayustuti in Kannada is a major step in that direction.
"Vayustuti" is not a fervent prayer or an emotional outpour. If
it is rightly understood and meditated upon, with sravana, manana
and nididhyasa (listening, revising and contemplating) it can, with its
mantrashakti, give a new direction to the modern way of living. Bendre,
the visionary of 'Geleyara gumpu' (a literary circle) used to recite one
stanza of "Vayustuti" for the fulfilment of freindship.
In Vedas and Upanishads, Vijnanamaya Purusha, who is described
as Matarishwa, Mukhyaprana, Akhanashma, Jyeshtha, Shreshtha,
Vasistha is not an imaginative character of the Puranas. This divine
Vayutattwa is realized in Ramayana, Mahabharata, and Baliththa Sukta
as Hanuma, Bhima and Madhva according to the Madhva scholars.
This realization of Hanuma, Bhima and Madhva paves the way to
understand the secret behind the avataras like Rama, Krishna and
Vedavyasa and also the upasana of Hayagriva.The upasana of Lakshmi-
Hayagriva throws light on the Madhu Vidya propounded by the Vedas.
This is the essence of the upasana of Mukhyaprana. This is not merely
a theology or deification of the Puranas.
Beyond the dull intellect and ego there is a place for the soul.
When Jeeva surrenders to Jeevottama, Mukyaprana, then one can
realize the manifestation of god and its meaning which paves the way
to serve divinity.
II
It is almost Jnanayoga (path of enlightenment) to recognize the
various dimensions of Sri Madhva's life and teachings in the "Vayustuti"
of Trivikrama Panditachrya. In this context let us see the first shloka
on Sri Madhvacharya as translated by 'Jeevi.'
Om! Oh Master Anandateertha, you are the Acharya of the three worlds.
You have unflinching devotion in the holy feet of Lord Vishnu
Let the holy dust of thy lotus feet gracefully purify us
Bharatidevi, the goddess of speech, worshipped by the three worlds
With her moon-lit smile showed love, devotion in thy holy feet
Let the dust of thy feet always purge and purify us. (1)
14
 'Anandateertha' is a special name given to Madhva. Nowhere
one can find Ananda Meemamsa as it is found in Madhva shastra.
If Ananda Meemamsa is rightly understood and used, the modern
criticism will undergo a fundamental change and a new dimension
of Indian Rasa siddhanta will emerge. Poet Bendre in his book entitled
"Sahityada Virata Swarupa" (p.214) says that one should recognise
the greatness of Ananda Pratiti to recognise the greatness of poetry.
One cannot grasp the greatness of Ananda Pratiti without understanding
'Ananda Taaratamya' as depicted in the Madhva sastra.
How does Ananda become 'teertha'? What is the relation between
Madhu Vidya of Vedas, and Jnana-ananda in the form of 'Madhva'
which can be seen by the inner sight (sakshi), and 'Rasa tattwa' of
poetry? Now it is the task of the Madhva scholars to come to the
forefront to explain these.
'Sumadhva Vijaya' is an authentic book on the life and teachings
of Sri Madhvacharya. Eachsarga of this book is described as 'Anandanka'
in a significant and meaningful way. Narayana Panditacharya, the author
of this book, has beautifully described the meaning of 'Anandateertha':
Ananda rupasya parasya patradhi-
rananda sandaya sushastra krit sayat
Anandateertheti padam guruditam
babhuva tasyapy anurupa rupakam
(Sumadhva Vijaya 5, 2)
(Sri Madhvacharya is aptly named as 'Anandateertha'
by his guru as he can withhold God who is 'Anandarupa'
and Madhva has composed shastras for those who
deserve Mukti and can attain swarupananda.)
Thus in every word of "Vyustuti" prameyas (tenets) of Shastras
are hidden and they glow when one pursues them. In this context
Bendre's line "Madhva, bathed in the lake of bliss, the boundless"
becomes a meaningful commentary or a tatwa-dhwani.
In the limited space of this introduction we can briefly touch
one more point. When Trivikrama Panditacharya says, "Let the holy
dust of thy lotus feet gracefully purify us", he does not say this only
with deep respect for his teacher. Chandogya Upanishad says that
15
Vayudeva is called 'Yajna' as he purifies everything by his movement.
(Madhva is the avatara of Vayudeva.)
Esha ha vai yajno yoayam pavate
esha yan idam sarvam punati
yadesha yan idam sarvam punati
tasmadesha eva yajnah
tasya manashcha vak cha vartini
tayoranyataram manasa samskaroti Brahmaa
vacha hota adhwarymudgata anyataram
(Chandogya : 4.16.1-2)
(He who breezes, that is Vayudeva, is himself Yajna. He purifies,
all by his movement. The feet of Vayu (Wind-god) are in the mind
of Ritvik and in vak indriyas. In a Yajna a Ritvik named Brahma silently
worships the right foot, other Ritviks like Hota, Adhwaryu and Udgartu
worship the left feet by chanting Mantras.)
III
Shrimad Vayustuti has 41 shlokas composed by Trivikrama
Panditacharya and two opening shlokas composed by Sri Madhvacharya
himself make a total of 43 shlokas. Trivikrma Panditacharya has composed
a miniature Vayustuti (known as Khilavayustuti) in 23 shlokas. This
appears in the beginning of "Tattvapradeepa" which is a commentary
on Acharya's Sutrabhashya. (Jeevi has not translated it)
The Word 'Prana' denotes Parabrahma in the form of Sri Hari.
This is pronounced by Vedavyasa in Brahmasutras. The common Vayu
which is one of the five elements is known as 'Adhama Prana'. Sri
Vayudeva who is known as 'Mukhyaprana' is 'Madhyama Prana'. In
the beginning of "Vayustuti" Sri Madhva thoughtfully composed Sri
Lakshmi-Narasimha stuti. (Hari also means Simha, Kapi, Ashwa, Prana,
Surya)
In the 41 shlokas of "Vayustuti" the poet describes the nature
of three Avataras, viz. Hanuma, Bhima, Madhva; the 'Mukyaprana tattva'
in them, their Jeevottamatva, Sarvajnatva and Ananda-balatva. Sri
Aurobindo speaks of Mukhyaprana as Supermind. He provides firm
base for overmind and spiritualised mind. It was Mukhyaprana who
saved the other gods from death and thus he was known as'Akhanashma'.
16
This is described by the Chandogya and Bruhadaranyaka Upanishads.
The quotations in the begining of this introduction should be considered
in this light. Trivikrama Panditacharya praises Sri Madhva as one who
is worshipped by the gods. This is not a mere praise of his guru,
but this is a truth justified by the Vedas. In the blazing poetic figures
of speech one should not miss this truth.
The gods got rid of Andha-tamas, the abysmal ignorance
By serving the lotus feet of Guru with enthusiasm and exuberance
They could know more about God by serving the feet of Acharya
They bowed down and touched the golden Paduka of the Guru
Their jewel-studded golden crowns jingled with the paduka and
Produced golden dust; let that dust of Guru's feet protect us.
(S.2)
Sri Madhvacharya provided a luminous bridge of 'Mukhyaprana
tattvadarshana' between spiritualism (which is beyond one's reach)
on the one side and life (which is a wretched stinking pond) on the
other side. That was the work of his true self. The evil deeds and
bad samskaras of the bygone births pollute the Jeevas as the gutter
water pollutes the Ganges. Characters like Duryodhana are the symbols
of such evil deeds. Whereas Lord Bhimasena breaks the thighs (urubhanga)
of such evil forces and blows the victory trumpet of Dharma. Sri Madhva
who was the avatar of Bhimasena gave expression to this Bhima-
consciousness, and it is time for Kannada land in particular and the
world in general to understand this consciousness. In Kannada literature
we come across works like Pampa's Bharata, Ranna's Gadayuddha
and Kumaravyasa's Bharata, still we have to assess the greatness
of Bhima-tattva, the secret of 'Madhyama Prana' and the symbolism
of Saugandhika-Pushpa episode of Mahabharata. Kannada critics fumble
to understand these things. Some critics have made Duryodhana an
'honourable man' and treated the character of Bhimasena as a ruffian.
In this background one should know that Sri Madhvacharya declared
that Bhimadeva had the power and strength to purge the impurities
of Sukshma-Sharira of Jeevas and break the Linga-sharira.
When Bhima went to fetch Saugandhika flower for Draupadi
He was defeated by old Hanuman, whose tail he couldn't move
Bhima bowed down to Hanuman, his previous Avatar, Pavaman.
These are just the leelas you have showed to the ignorant
17
Oh Anandateertha Guru, the wise among the teachers
Your earlier two Avataras had a spell on ignorant ones.
(S.27)
Here Bhimadeva has acted as if he was defeated by Hanuman,
in fact it was just a leela. God willfully creates illusions for the wicked
and the Asuric forces which has been an important postulation of
Madhva philosophy. The Supreme Lord has eight powers: Srushti,
Sthiti, Samhara, Avriti, Jnana, Ajnana, Bandha, Moksha (Creation,
Preservation, destruction, concealment, Knowledge, ignorance, bondage,
freedom). Sri Madhvacharya specifically mentions the three powers
in his Brahmasutra Bhashya viz. Ajnana, Bandha and Avriti. In this
background critics should draw their attention to the Saugandhika-
pushpa episode.
Bhimasena samo nasti senayorubhayorapi
Panditye cha patutve cha shuratve cha balepicha
(Khila Vayustuti)
(In the army of Kauravas and Pandavas there is none to equal
Bhima in scholarship, skill, valour and strength.)
IV
Another speiciality of Sri Madhvacharya is that he treated Vedavyasa
and Sri Krishna as one; he worshipped them and wrote commentary.
Bhimasenadeva had undivided devotion to them.
Lord Krishna was born to Vasudava a Kshatriya king
Vyasa was born to Parashara a Brahmin yogi, a sage
Vyasa and Krishna are the two faces of the same Avatar
In Kurukula was born Bhima to serve these two masters
All the three have glittering eyes as white as lotus
All are engaged in the welfare of devotees, I salute.
(S.26)
Bhima took birth to serve Vedavyasa and Sri Krishna as they
are two faces of the same Avatar. This perception is found only in
the Madhva tradition.
To support this view of oneness between Vedavyasa and Sri
Krishna there is a comment on the word 'Brahma' as
18
 Narayanam gunaihi sarvaihi
Udirnam dosha varjitam
Jneyam gamyam gurums chapi
natva sutrartha uchyate
(The meaning of Brahmasutra is explained here after bowing
down to Lord Nayarana who is meritorious, flawless, knowable, attainable
and also the Gurus.)
While commenting on this shloka of Sri Madhvacharya, Sri
Jayateertha says that the word 'api (also) in the phrase 'gurun chapi'
(also the Guru) suggests that there is no difference between the Guru
and Lord Narayana.
Swasya guru devata bhede aruchim suchayati api padena
Yadyapi guruh na devata bhinnaha tathapi vishesha
anugrahartham pruthak namati.
(Tatvaprakashika)
(The word 'api', if taken literally, leads to the difference between
God and the teacher. But the Guru and Devata are one and the same
for Sri Madhva. However, he salutes the same God for the second
time in the form of Guru for special favour.)
Even Trivikrama Panditacharya, in his "Vayustuti" has praised
Vedavyasa in two shlokas, and he has described his Bhagavat svarupa
and the uniqueness of his Avatara.
Sri Madhvacharya, who is desingnated as the next Brahma,
listened to the request of the righteous people and prayed Lord Narayana;
and he took the Avatar of Vyasa :
Caught in the deep ocean of life, people suffer here
From the cycle of birth and death, thirst and hunger
When righteous people came to you with a solemn request
You in turn prayed Lord whose abode is milky ocean
He incarnated as Vyasa, the son of sage Parashara and Satyavati
It was not mere body but incarnation of light and knowledge
(S-36)
In the original Sanskrit text the body of Vedavyasa is described
as "Chinmatramurti" and it is told that the body was not natural. There
19
is a long drawn battle and debate about the form of God, whether
He is Sakara or Nirakara. If Paramatma is formless, it means that
He does not posses a body made of three gunas, viz. Satva, Rajas
and Tamas. If he has form then He has a body which exhibits Sat-
Chit-Ananda. Sri Jayateertha also says the same thing in
"Tattvaprakashika."
Shuddhanandoru Samviddyutibala bahulaudarya viryadi deham
(Lord (Mukunda) has a body with all the qualities as pure Ananda,
complete knowledge, lustre, strength, immense broad-mind and valour)
Trivikrama Panditacharya describes this Awatara as
'Chinmatramurti'. 'Jeevi' has translated this as "It was not mere body
but incarnation of light and knowledge."
In another shloka Trivikrama Panditacharya clarifies that Vedavyasa
is no one else but God himself and further says the special significnace
of his Awatara.
The blind can't properly select the scattered jewels
The wicked can't fathom the real meaning of the Vedas
The original Guru-Vyasa wrote Brahma Sutras
To help the righteous to understand the solemn Shrutis.
By the grace of Mukhyaprana I pray the sage Vedavyasa
And bow down to him everyday, to get sacred knowledge.
(S.37)
Vedavyasa, for the sake of the righteous people gave the right
meaning to the Vedas by composing "Brahmasutra". That is why the
poet prays and bows down to Vedavyasa to obtain knowledge with
the help of Mukhyaprana.
In the original Sanskrit text there is a phrase 'gurutamam a-
gurum devadevam'. 'Jeevi' has translated this as 'original guru'. In
the original text 'a-guru' means that 'Vyasa is the only Guru to the
world'.
Madhvas have a right perception regarding Bhagavan Vedavyasa.
This needs to be popuralised and propagated. There are stories in
Bhagavata which say that Vedavyasa was not contented with writing
Mahabharata and that he was emotionally disturbed after the death
20
of his son Shukamuni. By reading these things one may miss the
divine stature of Vedavyasa. There is another notion that Sri Krishna
was the incarnation of God, and Vedavyasa was an Avatara of a
Rishi named 'Apantaratama'. But Sri Madhvacharya says in Rig Bhashya:
Hridistho badarayanaha, Omkarapurvika vidyaya prerayatyakhileshvapi
sadaiva, brahmane purvamiti Satvata Samhita
(Badarayana (Vedavyasa) who resides in the heart gives prerana
to all to get all the Vidyas which begin with "Omkara". He initiates
Brahma first says "Satvata Samhita".
V
In Sri Madhva Siddhanta there is no place for Bhakti in the
form of hatred. Bhakta is always a lover of God. When he is possessed
by an Asura, that Asura hates God and reaches hell. That Bhakta
who has a good soul gets liberated by the grace of God. This is
an important issue in the "Bhagavata Tatparya Nirnaya" of Sri
Madhvacharya. Even to this day this point has not been properly grapsed
by the lovers of Puranas. Even the baser sentiments like passion,
anger, hatred etc are wrongly considered as tools for God-realization
and liberation, as they too can bring about the concentration of mind.
But the only means for the attainment of Mukti or liberation is the
divine Bhakti in the form of love. That which is premasvarupa and
Svanandasvarupa is Bhakti. This divine Svarupananda evolves through
innumerable previous births.
Parameshvara bhaktirnama
niravadhika anantanavadya kalyana gunatva
jnanapurvakah
svatmatmiya samasta vastubhyo
aneka gunadhiko
antaraya sahasrenapyapratibaddho
nirantara prema pravahah
(Nyayasudha)
Sri Jayateertha in his "Nyayasudha" explains in an unique way
the character of Bhakti. He says that the devotion towards the Supreme
Lord means :
21
It is a continuous flow of love uninterrupted by thousands
of obstacles, which is many a times dearer than one's
own self and other belongings and which has the knowledge
of unlimited, infinite, flawless, auspicious qualities (of God).
The hatred of God cannot become the cause for Mukti (liberation),
as such Bhakti is the essence of Mukti and also the intrinsic nature
of a soul deserving liberation. Since the followers of Madhva proclaim
this principle vehemently, they defy Vishnu-dvesha (hatred towards
God) with the same force. In this background the following shloka
from Vayustuti should be understood.
Oh Mukhyaprana, the ever young supreme god of gods
You exhibited you valour in the yagna of fist-fight
Krishna's enemy Jarasandha was made a yagna-pashu by you
Lord Vishnu was satisfied by the oblations you offered
Your oblation was much better than Rajasuya and Horse sacrifice
Because you killed Vishnu-haters and offered them to the Lord.
(S-23)
The Yagna in the form of killing Vishnu-dveshi (Jarasandha)
pleased Sri Krishna, the Supreme Lord present there, much more
than other oblations offered to him through Yagnas like Rajasuya and
Ashvamedha says the poet. This is more meaningful to those who
understand Madhva Siddhanta. If you treat life itself as a yagna, Vishnu
becomes the 'Yagna-bhokta'. "Vishnurvai yajnah", Yajnapati is Vishnu
himself. So the hatred of Lord Vishnu is not an ordinary one as compared
to the hatred towards one of the 33 crore gods. Those who oppose
to accept life as 'Yajna' are leading the life of animals possessing
Asuri attitude. This attitude is opposed to life itself. In view of this,
Bhima's killing of Jarasandha and Kauravas is considered as a Mahayaga,
a great sacrifice. That is why Sri Madhvacharya did not accept Vishnu-
dvesha as Bhakti. This is a significant contribution of Sri Madhvacharya
to the theory of Bhakti in the world. If the critics of Kannada literature
had this understanding, there would not have been a tradition of glorifying
the characters Like Ravana and Duryodhana in Kannada literature.
Now it is the responsibility of Madhva literary critics to strongly uphold
the right attitude and proclaim that such wrong traditions in literature
are against the culture of life, Vedic philosophy and the Yagna-tattva.
22
 VI
As Srimad Anandateertha interprets mainly the Vedic Philosophy
which is the source of all the Upanishads, he gives a new turn to
the traditional terms and ideas. He gives more stress to the human
way of life.
For example, there is nothing as 'helpless forbearance' when
one faces difficulties in life and when the wicked inflict torture and
violence. as a brave commander defies all attacks, Vishnu-bhaktas
too face all the cruelty and violence in their life and defy them. In
this context the following shloka is to be understood.
In your three Avataras of Hanuma-Bhima-Madhva
You faced all tortures given by your enemies
You have all gunas, you are all-knower, all-powerful
You are clean, master of death, and free from bondage
You are protected by Lord Vishnu, you are master of Shankara
You are the delight of the righteous, no wonder in that.
(S-32)
Hanuma, Bhima and Madhva all the three during their life time
had to face a lot of torture from their enemies. Ravana set fire to
the tail of Hanuman and smashed him with his poweful fist. Indrajit
used the most powerful weapon Brahmastra on him. But Anjaneya
faced all the attacks without being perturbed and made their efforts
futile. But he never endured their attacks helplessly. Similarly Kaurava
got Bhima bitten by the serpants, administered poison, attacked him
with gada (club) but Bhimasena faced all this with boisterous laughter.
Sri Madhvacharya physically faced the wrestlers and defeated them.
He debated with stalwarts of Advaita philosophy like Trivikrama
Panditacharya and defeated their logical arguments. There is a story
regarding a ghatasarpa (cobra) biting Sri Madhvacharya which was
turned unsuccessful. The entire library of Sri Madhvacharya was stolen.
In all these events one finds Acharya brave and peaceful. Sri Madhvacharya
while commeting on a word 'titiksha', used in Bhgavadgita, says that,
this word does not simply mean 'forbearing helplessly the dvandvas
(the opposites) like sheetoshna (hot and cold), but to nullify their effects.
Even the Vedic seers faced all the calamities of life, like Dhiras (the
brave). In the Vedas the word 'Dhira' has a special significant meaning.
23
There is a confluence of Jnana (knowledge) and Sankalpa-shakti (Will-
power) in the word 'Dhira'. In the Buddhiyoga preached by Lord Krishna
there is 'Dhira' - awareness which can defy the mighty opponents
like Bhishma.
In this background, we should consider the meaning given in
"Gitavivruti" by Sri Raghavendra Swami for the word "Titikshasva" used
in Bhagavadgita (in a shloka starting with 'Matrasparshastu...II-14) as
'Viphalikuru' (nullify)
Abhimana tyagena tanmatrasparshan
titikshasva viphalikuru
(Casting away the attachments of the body in the form of me
and mine, (you) nullify the matrasparshas (the contact of senses with
objects which cause pleasure and pain)
Sri Aurobindo in his epic "Savitri" has shown the difference between
forbearing pain and the divine power of nullifying pain (p.507)
Unless 'Tattvika Vimarshe' (Philosophical Criticism) as visualised
by Bendre takes a firm base in our Kannada literature, it may be
difficult to understand rich meaning of words and suggestive thoughts
used in poetry like Vayustuti. In such poetry there is a tradition of
philosophic suggestive meanings.
Though there are historical facts in the biography of Sri
Madhvacharya who is remembered as Poornaprajna, Anumanateertha,
Bhavi-Brahma. There are symbolic things in Acharya's life and teachings
which are undividedly woven with the historical events. To the reader
who does not have this background, one has to provide the meaning
of every word and also the suggestive meanings in the works of Acharya
to understand the life and teachings of the Acharya. Acharya finds
not only continuity (of thought) in the works like Vedas, Upanishads
and Brahmasutras, but also finds authority for his 'Akhanda darshana'
(perfect philosophy) in Vaishnava Agamas like Pancharatra and
Ramayana, Mahabharata, Bhagavadgita, Bhagavata, Puranas.
From the commentaries of Acharya a special teminology has
evolved which is used profusely in the Sanskrit works of Sri Trivikrama
Panditacharya, Sri Jayateertha, Sri Vysaraja, Sri Vadiraja, and Sri
Raghavendrasvami. The same terminilogy is found all through the works
24
of Haridasas in Karnataka. If critics do not realise the significance
of this terminology, and consider them as mere Puranic stories and
prayers in praise of gods, they will be at a great loss.
The same thing applies to the readers who want to understand
Vayustuti as translated by Jeevi. We have heard of nine 'rasas', but
"Sumadhva Vijaya" says that in the life of Sri Madhvacharya there
is the experience of 'Kritanta rasa'. Can the Kannada consciousness
respond to this "Kritanta rasa' or will it be contented with nine rasas
only?
Kalah sa eva samavartata nama yavat
chintakulam vividha sadhukulam babhuva
Vedanta santata kritantarasam na vidmah
shreyolabhemahi katham nu vayam bateti
(Sumadhva Vijaya II - 5)
(When it was time for Vayudeva to be born (as Madhva) many
pious people were worried as they said to themselves, "How shall
we get Shreyas (benefit) as we are not in a position to understand
'Kritanta rasa' which is all pervading in the Vedas?"
"Sumadhva Vijaya" is a beautiful work of poetry. It holds mirror
to Madhva philosophy. The 'Kritanta rasa' mentioned in this work is
1) pervading all through the Vedas, 2) and from such rasa there is
shreyas (benefit)
When one reaches Vijnanamaya Kosha, which is beyond, Jnana
and Ananda (knowledge and bliss) get harmoniously united. When
we say Vijnanamaya Kosha, there the Ananda is in excess. God's
bliss and knowledge are identical. In a similar way, the meaning of
the word 'Madhu' means Ananda which is obtained by intense knowledge
that is experienced by 'Sakhsi' in the form of 'Svarupananda'. 'Ma'
means knowledge, 'ta' means 'tati', that means 'Jnana Vishaytva' (madjnana
tatiruchyate) 'Mada' means pleasure. Madhura is 'that' which is full
of perfect happiness. (For more details refer "Upanishad Prasthana",
Volume III, 1990, p. 139-142 published by Akhila Bharata Madhva
Maha Mandala, Bangalore)
Poet D. R. Bendre equates MadhuVidya with Rasa theory. Sri
Madhvacharya is an embodiment of Adityantargata Madhusvarupa.
25
I pray Lord Sri Lakshmi-Hayagria who is identical with Sri Rama-
Krishna-Vedavyasa, and who is the Anataryami of Sri Hanuma-Bhima-
Madhva to bless this work of translation of Sri Vayustuti by Prof. G.V.
Kulkarni, to inspire the readers to get interested in 'Kritantarasa' apart
from being a 'parayana grantha, book of recitation. This translation
is being published with the blessings of Sri Sri Vishwesha Teertha
Swamiji of Pejavar Mutt. I believe this work will lit the lamp of auspicious
flame in the Kannada consciousness.
Jeevi has undertaken the work of translation with a spirit of
austerity. I do not wish to point out some minor errors which have
crept in the process of translation. My intention is to draw the attention
of the readers towards the Inspirer of this unique work in the form
of knowledge, Bliss and Power.
As this Kannada version of Sri Vayustuti flows like a stream
of crystal clear water, it is difficult to imagine the penance and hard
work undergone during the process of translation. Those who are familiar
with the original Vayustuti know very well the difficulties in understanding
the text because of its roaring compounds and hard syntax and stylisitc
features. I deem it as Jeevi's adventure of consciousness which has
enabled him to succeed in his efforts of translation. What is impossible
when the Divine Grace is there? I feel that Srimad Anandateertha
himself has blessed the Jeevi couple in this process. I thank 'Kala-
Jeevi' couple for giving me an opportunity to associate myself with
this work with my introducton to this work. I finally conclude my words
with solemn sastanga salutations to Srimad Anadateertha with a quotation
from Vayustuti:
Oh Matarishwa, the wind-god, you are the nourishing mother
Protecting father, guiding teacher, a friend-philosopher-guide
Remove the pangs of birth and death, O Lord
Grant me true devotion for Lord Krishna which is free from
Desire, lust and pride and which is ever increasing
Oh the omnipresent, the most revered of the revered.
(S-14)
- Prof. R. G. Kulkarni
(Bangalore)
●
26

OM!
SRIMADVAYUSTUTI
SRIMANNAKHASTUTI
(Composed by : Srimadanandateertha)
1
OM! Adorned with Lakshmi, all pervading Lord Narasimha
How shall I praise you, thy greatness and prowess
Thy nails are dazzling like the Vajra of Indra
Which smashed the elephantine mountains, the demons
Thy nails wipe enemies like lust and erase ignorance
They are ideal for the penance of gods
I eulogise thy nails O Lord Narasimha
Protect the righteous and destroy our enemies.
2 Who hate gods and harbour evil thought against the Lord,
I delved deep into space and time; Vedas,Shastras and Puranas
I couldn't find matter better than thee for songs and prayers
The taste of thy name is unique, it's eighth RASA
Oh Lord of Lakshmi, the ultimate Reality, I chant thy merits
When furious, a wink of thy right eye emits fire of Pralaya
In that fire gods like Brahma, Rudra and Indra burn like moths
You are the creator, protector and Destroyer, the Ommipotent
You are Omniscient, Omnipresent; I remain thy proud Bhakta.
SRI NAKHASTUTI ENDS
27
SHRIMADVAYUSTUTI BEGINS
(Composed by : Sri Trivikrama Panditacharya)
Oh Master Anandateertha, you are the Acharya of the three worlds
You have unflinching devotion in the holy feet of Lord Vishnu
Let the holy dust of thy lotus feet gracefully purify us.
Bharatidevi, the goddess of speech, worshipped by the three worlds
With her moon-lit smile showed love, devotion in thy holy feet
Let the dust of thy feet always purge and purify us.
2
The gods got rid of Andha-tamas, the abysmal ignorance
By serving the lotus feet of Guru with enthusiasm, and exuberance
They could know more about God by serving the feet of Acharya
They bowed down and touched the golden paduka of the Guru
Their jewel-studded golden crowns jingled with the paduka and
Produced golden dust; let that dust of Guru's feet protect us.
3
The dust of thy feet can give knowledge and ecstasy to devotees
And redeem them from the cycle of birth, disease and ignorance
I don't have words to praise the dust of thy holy feet;
It has power to send those demons to Andhamtamas, the inferno.
It has also the power to bestow salvation and eternal bliss.
4
One who can show right path in the misleading Kaliyuga
The one worshiped by Chandra-Indra-Ravi and Shesha
The one who is Mantra-siddha, the protector of the devotees
He is none but Madhva, the incarnation of Mukhyaprana
He is designated to the higest position, the would be Brahman
Who can adequately praise this mighty one and his Avataras.
5
I pray Lord Bhima, the incarnation of Wind-God
Whose shoulder ornaments glitter like the rising sun
Who holds the massive club with valour and strength
I also pray Madhva guru, the jewel of the world,
The endeared Paramahamsa of Yogis who illuminates the worlds,
To give me power to praise the trio-Hanuma, Bhima and Madhva.
28
 6 11

When the devotees suffer from the stress and strain of life
You come to their rescue with a friendly smile and care
Your compassion is an ocean with jewels of wisdom within
You are near Lord Narayana who has the Lakshmi -vatsa mark
We pray you to bestow upon us Jnana, Bhakti and Vairagya
You are the ocean of milk, remove all obstacles and bless us.
The ultimate in knowledge, O Mukhyaprana
Those who hate you and defy your supreme knowledge
Will be sent to Andham Tamas, the lowest of hells
There the stones are hurled at them by thy servants
The stones emit blazing fire and everything boils there
They have in store endless agony, torture and misery.

7 12

Oh Lord Mukhyaprana, you are the lord of Bharati
And you are the great Brahma of the next Kalpa
You unite the knot of worldly bondage of your devotees
I fold both my hands and prostrate before thee
You protect me; I am an abode of three miseries
Grant me unshakable devotion in Lord Hari and in you.
8 13
The earth, betraying the riches of Kings and monarchs
The sky, dominated by the clouds, the sun and the moon
The heaven, the abode of gods, - all these three worlds-
Get created, protected and destroyed by thee, Mukhyaprana.
Those who call our doctrines, 'World is true, soul and God not one',
As false, are like cats in the Yagna who steal the oblations.
9 14
Those who adore and worship with all devotion
The third incarnation which is worshipped by gods
Will be honoured in the heaven, Vaikunthaloka
They get delightful divine robes and all the comforts
The heavenly servants provide cool breeze with chamaras
Divine damsels will hug them and provide the charms of embrace.
10
Oh Lord Mukhyaprana, you are worshipped by gods like-
Moon, Sun, Shesha, Madana and the King of Gods, Devendra
Your abode Vaikuntha abounds with bewitching dance
Devine damsels provide music which is enchanting
The wind carries the fragrance of Kunda and Mandara flowers
For the blesseds Vaikuntha is the ideal place to reside.
When our Guru meditates deeply on the Lord Sri Hari
Even the heaven-dwellers desire to stay in his vicinity
Those who are disinterested in nectar-like teachings of Acharya
Are middle ones, the householders, who drown in the sea of agony
They will not be sent to the hell like the hostile ones
However, they are deprived of the supreme bliss, Ananda.
Your enemies, the advocates of untruth, suffer from
Hunger and thirst as the devils bite them with teeth and jaws.
Vultures pierce and cut them with sword-like beaks
To add torture, they are attacked by sharp weapons, then,
They are thrown into a pond of blood-urine-filth and germs
Vampires suck their blood as they are being thus tortured.
Oh Matarishwa, the wind-god, you are the nourishing mother
Protecting father, guiding teacher, a friend-philosopher-guide
Remove the pangs of birth and death, O Lord
Grant me true devotion for Lord Krishna which is free from
Desire, lust and pride and which is ever increasing
Oh the omnipresent, the most revered of the revered.
15
Those devotees who show unflinching devotion in Lord Vishnu
The supreme God, the consort of Sridevi and Bhudevi,
And show devotion in right proportion to other gods like-
Brahma, Vayu, Shiva, Garuda, Rudra, Indra and others
Our master teacher Mukhyaprana will show mercy on them
He will protect them and bless them, that is certain.

29 30
 16
Oh, prime Guru Mukhyaprana, by the order of Lord Vishnu
You give all comforts to those who desire Mukti, salvation
You rotate the Nityabaddhas in heaven-hell-earth cycle
And to those wicked who are filled with wrong knowledge
You send them to the depths of inferno, the Andhatamisra,
This act of yours is supported by Shrutis and Itihasas.
17
Oh Lord Vayu, I bow down to your first Avatara
I worship Hanuman, the strong and sturdy god
You burn down all the calamities of the devotees
You remove their sin, passion and ignorance
You always show ideal devotion at the feet of Rama
Immortal, celibate, powerful Hanuman, I bow down to you.
18
Oh, Mukhyaprana, how shall I praise your deeds?
In the past you flew from Lanka a thousand miles
To bring the life-saving Sanjeevini from Gandhamana mounts
You lifted the mountain and carried it on your shoulder
You flew through the sky in minutes as everyone saw
You kept it at the feet of Rama and bowed down to him.
19
Oh, Mukhyaprana, the most intelligent and powerful one
As you were treating the affected ones with the Sanjeevini
Your mind was engaged in praising the virtues of Sri Rama
You lifted and threw back the mountain, huge and wide
It reached its place, not a stone was misplaced, all intact
What skill, what strength you possess, O divine Kapi.
20
Wicked Ravana's chest with its golden armour
Was shattered by the blow of your adamentine fist
People wondered, 'How a pond is formed in the golden mount'
The gold bracelet in your wrist glittered and glowed
You are ever ready to obey the orders of Sri Rama
Your fist is strong enough to grant our wishes.
31
21
You carried Rama's message to Sita who was in Ashokvan
You conveyed her prayer to Sri Rama after your return
You slayed Aksha and other demons who were mighty
Sri Rama was pleased with your performance
He blessed you with the unique Brahma Padavi
As he put his hand on your head with love and admiration.
22
Oh Mukhyaprana, let me praise your deeds as Bhimasena
In Ekachakra-nagari you saved a poor Brahmin family
By killing the demon Bakasura who was a menace there
The citizens heaved a sigh of relief in the death of the demon
Baka's brother Kirmira was also killed by you, the mighty one
You were the master of Kurukula, we bow down to you.
23
Oh Mukyaprana, the ever young supreme god of gods
You exhibited your valour in the yajna of fist-fight
Krishna's enemy Jarasandha was made a yagna-pashu by you
Lord Vishnu was satisfied by the oblations you offered
Your oblation was much better than Rajasuya and Horse-sacrifice
Because you killed Vishnu-haters and offered them to the Lord.
24
You as Bhima have killed enemies by your Gada, the club
Your other two Avataras are Hanuman and Anandateertha
Like a lion you fought in the service of Lord Krishna
Millions were destroyed by you in the Mahabharata war
Only two can describe your valour in the battle
One is Lord Krishna, other is thyselt, I salute both.
25
You are the ocean of prudence, the giver of good knowledge
You were Bhima in the past and your wife was Draupadi
She is Bharatidevi, the goddess of knowledge and the Muse
She stays within us to remove ignorance and darkness
With thy approval she gives us power to compose verse
I pray her to protect me from all the evil spell.
32
 26
Lord Krishna was born to Vasudeva, a Kshatriya king
Vyasa was born to Parashara, a Brahmin Yogi
Vyasa and Krishna are the two faces of the same Avatar
In Kurukula was born Bhima to serve these two Masters
All have glittering bright eyes as white as lotus
All are engaged in the welfare of devotees, I salute.
27
When Bhima went to fetch Saugandhika flower for Draupadi
He was defeated by old Hanuman whose tail he couldn't move
Bhima bowed down to Hanuman, his previous Avatar, Pavaman.
These are just the leelas you have showed to the ignorant
Oh Anandateertha Guru, the wise among the teachers
Your earlier two Avataras had a spell on Ignorant ones.
28
Oh Mukhyaprana, you killed millions of demons
With your mighty Gada when they attacked you with anger
You defeated the champions of wrong knowlege who said
"Brahma is the Reality and the world is but an illusion"
In Bhimavatar you brought Saugandhika to your dear wife
We salute you oh Bhima, the redeemer of all strife.
29
Oh Mukhyaprana with your Bhima-gada you killed demons
One of them was Manimanta a crooked-minded leader
Who took rebirth to take revenge on god Mukhyaprana.
He divised a Shastra whcih said, 'Lord Vishnu was Nirguna'
His treatise was against the dictum of the sacred Vedas
He divided the hearts of the people like a saw.
30
"I am Nirguna, I am Brahaman, the world is an illusion" said he
He postulated an argument which was contrary to the Vedas
People who were in the dark followed him and embraced him
Some enlightened ones left him and chose another path
When the wrong precepts grew like a huge tree of poison
Mukhyaprana took the Avatar of Madhva to destroy that tree.
33
31
Madhva Guru roared like a lion with his commentaries
The jackals who argued for Mayavada became impotent
Their pride was shattered, they were mortally scared
They thought that it was time to leave the country
They scattered in ten directions, vowed to fight back
As they abused the righteous their faces became black.
32
In your three Avataras of Hanuma-Bhima-Madhva
You faced all tortures given by your enemies
You have all-gunas, you are all-knower, all-poweful
You are clean, master of death and free from bondage
You are protected by Lord Vishnu, you are master of Shankara
You are the delight of the righteous, no wonder in that.
33
Your speech which radiates from the smiling face
Is nothing but nectar to the ears of the devotees
The misery decreases and the joy increases as one listens.
Your face like the full moon removes all doshas in us
Oh Anandateertha Guru you grant us Bhakti and Mukti
When shall I see face forever to my hearts content?
34
You wrote supurb commentary on Vedas and other scriptures
Teach us more about good shastras and wonders of holy works
Because of punya of previous births, right acts, our chitta is pure
We have the power to put forth the arguments with vigour
Erase all the wrong readings and remove our distress
Let us listen to your interpretation forever hereafter.
35
You are royally seated on the jewel-studded throne
Oh Mukhyapranadeva you are designated as next Lord Brahma
You are worshipped by the presiding deities of Vedas-Shastras
In the heaven, celestial damsels dance before your presence
You have the special concert of Gandharvas in gods assembly
Your greatness, your deeds are treasures for the devotees.
34
 36
Caught in the deep ocean of life, peole suffer here
From the cycle of birth and death, thirst and hunger
When righteous people came to you with a solemn request
You in turn prayed Lord whose abode is milky ocean
He incarnated as Vyasa, the son of Sage Parashara and Satyavati
It was not mere body but incarnation of light and knowledge.
37
The blind can't properly select the scattered jewels
The wicked can't fathom the real meaning of the Vedas
The original Guru-Vyasa wrote the Brahma Sutras
To help the righteous to understand the solemn Shrutis.
By the grace of Mukyaprana I pray the sage Vedavyasa
And bow down to him everyday, to get sacred knowledge.
38
You obeyed the orders of Vyasa that were difficult for gods
Carried the burden on your head as a crowning glory and honour
You listened to the prayer of gods and wrote with what ease
Took Avatar to champion the right meaning of the Vedas
You smashed the wrong commentaries of Manimanta, a dasyu
You reaffirmed the truth of the Vedas by "Brahmasutra Bhashya".
39
In Pajaka, a holy place, an abode of Brahmins there
You were born in the house of Madhyageha, a twice-born
You soon became the uncrowned king of the Sanyasins
Went to the Ashram at Badari to get the blessings of Vyasa
Your commentary on the Gita was to fulfil his order
You solved the riddle of Bharata in the 'Bharatartha Prakasha'.
40
Poornaprajna, Oh Anandateertha, my salutations to you
You have been a devotee of the supreme Lord and Lakshmi
And other gods serve you with admiration and devotion
Seeing you and listening to your nectar-like words
Gives more punya than the dip in the holy river Ganga
You remove our fears and bless the righteous, we salute you.
35
41
I, the son of Subrahmanya suri of the famed Likucha clan
A devotee of the lotus feet of God Keshava and Guru Madhva
Have composed the prayer of Hari-Vayu-Guru which really
Washes the sins, it is a garland of flowers in the form of words
Those who worship the feet of God Keshava and Guru Anandateertha
Can use these flowers and worship them to get redemption.
- Samapti
TRANSLATOR'S WORDS :
I am Kavi 'Jeevi', son of mother Rukmini and father Vithala
And father of Harsha and Raghu, known as Kala-Jeevi
I have translated 'Vayustuti', the song celestial
Written by Trivikrama Panditacharya of Likucha clan
Inspired by the kind words of Swamy Vishwesha Teertha, I did it;
Nay, He got it done, Sri Hari-Vayu-Guru gave the words, I scribed.
- 'Jeevi'
SRIMANNAKHASTUTI
1
OM! Adorned with Lakshmi, all pervading Lord Narasimha
How shall I praise you, thy greatness and prowess
Thy nails are dazzling like the Vajra of Indra
Which smashed the elephantine mountains, the demons
Thy nails wipe enemies like lust and erase ignorance
They are ideal for the penance of gods
I eulogise thy nails O Lord Narasimha
Protect the righteous and destroy our enemies.
2
I delved deep into space and time; Vedas,Shastras and Puranas
I couldn't find matter better than thee for songs and prayers
The taste of thy name is unique, it's eighth RASA
Oh Lord of Lakshmi, the ultimate Reality, I chant thy merits
When furious, a wink of thy right eye emits fire of Pralaya
In that fire gods like Brahma, Rudra and Indra burn like moths
You are the creator, protector and Destroyer, the Ommipotent
You are Omniscient, Omnipresent; I remain thy proud Bhakta.
SRI NAKHASTUTI ENDS
36
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∑»ÂR√Âx@ „ÊπÂÍ ß¢ÇYË·˜Ô ü˘Ê·π •»ÂÈÕÔÊå‚ÂüÒ∑È. •«ÂÈ „ºÂÈE ∑·ÂJ∑¬ÂÕÔÊÇ«, •ÕÔ‡ÂW
…ÂXŒÈãR‚ÂÄÂÈ«ÂÈ## Ø¢«Â¬ÂÈ.
‚ÛËÕÂÈÕÔʬÂ, “‘-–œ-–‰‰‘¬Â¢«ÂÈ (–‰–◊ ‡ÊëÕÔʄ» ‡Âx, ü˘ÊÕÔ»ÊÕÂÈ ‚¢ÕÔÂ∆Â]¬Â,
¶òZ»Â ∑ηÂN …¢ºÂêÈ) •»ÂÈÕÔÊ«Â yʌȸ …ÊX¬Â¢è˘ö«. Õͫ‹»ŒÈ å»Â "»Â∏‚ÂÈOã# ŒÈ
جÂ√ÂÈ ‡ÛYË∑ •»ÂÈÕÔÊåö«. ÕÂÈÈ¢« جÂ√ÂÈ å»Âπ›ÂëY ÕÂÈ∆O جÂ√ÂÈ ‡ÛYË∑ •»ÂÈÕÔÊåö«.
»Â¢∆¬ ¶¬ÂÈ ã¢π›ÂÕÔ¬π »Â»ÂR yʌȸ ç¢∆ÂÈ „ÛËíÈ∆ÂÈ. »Ê‹È@ ‡ÛYË∑π› •»ÂÈÕÔÊ«Â êÈ∆ÂX
¶¬˜Ô. Ü. ∑È‹∑丌ÈÕÔÂàπ ∆ÂÛËàö«. •ÕÔ¬ÂÈ ‚¢∆ÛË·Â …¡ÈJ x‹‚ÂÕÔ»ÂÈR üÒπ …ÂÌã¸πÛú‚‹È
©∆OËÜö«Â¬ÂÈ. •ü˘ÊW‚Â…ÂÌ≈¸ ÕÂÈÈ»ÂÈRâ ìŒÈ‹È ∑Í√ ≤éS«Â¬ÂÈ.
‡ÂçÕÔʬ ““-‘-–‰‰’¬Â¢«ÂÈ (ŒÈÈÕÔ»ÊÕÂÈ ‚¢ÕÔÂ∆Â]¬Â, ºÚ∆ÂX ∑ηÂN ‚Â…ÂOêÈ) ÕÂÈÈ¢{Ê»
‚ÊR»Â ÕÂ⁄â«Û√»ûÈË ÕÔÊŒÈÈ‚ÂÈOãŒÈ •»ÂÈÕÔÊ«Â ÕÂÈÈ¢«ÂÈÕÔÂàö«. …ÂXãå»Â ≤¢«ÂÈ ‡ÛYË∑
•»ÂÈÕÔÊå‚Â‹È ç‡ÂEíÈö«, »Â‹ÕÔÂ∆ÂÈO å»Âπ›ÂëY yʌȸ …ÂÌã¸πÛú‚Â‹È ‚¢∑‹S ÕÂ⁄â«.
® êºÊ¬Â »Â»ÂR •«˘Ê¸¢Çπ „Òú«Êπ •ÕÔ›¢«Â›ÂÈ, ""…ÂÌ㸌⁄«Û√» »ÊÕÔÂÏ ŒÈ‹πÂͬÂx@
„ÂÛËÇ …ÊX≈«ÒÕÔ¬ «Â‡Â¸»Â …Â√ûÍË≈##. »Ê»ÂÈ ‚ÂÕÂÈVãö«. •¢«ÂÈ ‚¢{ …¢% »Êπ¬„Âú_ŒÈÕÔ¬Â
ÕÂÈ»π »ÊÕÔÂÏ …ÂXÕÔº»Âx@ „ÛËÇ«QÕÔÂÏ. •¢«ÂÈ »ÂÕÂÈπ ŒÈ‹πÂÍࢫ â«Â …ÂX‚Ê«Â „ÊπÂÍ
ÀÌË|ÛË «Û¬∆ÂÕÔÂÏ. ß«ÂÈ ûÍËπÊûÍËπÂ. òXË …ÊX≈«ÒÕÔ¬ÂÈ »ÂÕÂÈV ‚¢∑‹Sx@ «Úê˂¢∑‹S«Â
≤éSπ çËâ«Â¢∆ ∑¢â∆ÂÈ.
æÍ»˜Ô ≤¢«Â»ŒÈ ∆ÊàËÅπ (πÂȬÂÈÕÔʬÂ) »Â»ÂR •»ÂÈÕÔÊ«Â …ÂÌ㸠ö«ÂQMÕÔÊíÈ∆ÂÈ.
êÈ∆ÂX ¶¬˜Ô.Ü. •ÕÔÂàπ, õàŒÈ õ∆Úô πÂ}ʺʬ˜Ô ‹∑\}˜Ô¬ÊŒÈàπ ÀÌË»˜Ô ÕÂ⁄â ãúö«.
ŒÈ‹πÂͬÂÈ …ÂXŒ⁄≈«Â ö«ÂQM∆ ÕÂ⁄â«. »Â»ÂR ‚„«˘ÂêȸäŒÈ {Û∆π æÍ»˜Ô ‰¬Â¢«ÂÈ (∞yÊ«Âò)
ŒÈ‹πÂͬÂÈ ∆‹Èé«. ÕÂȬÂÈå»Â ‡ÂçÕÔʬÂ. «ÊZ«ÂòŒ⁄Ç∆ÂÈO. ü›Âǻ {ÊÕÔ ∑ηÊN »Âåπ „ÛËÇ
‚ÊR»Â ÕÂ⁄â â«ÕÔÂÏ. …¢ºÊÕÂÈÎ∆ •è˘·Ò∑ ÕÂ⁄âö«ÕÔÂÏ. πÂü˘Â¸πÂÈâŒÈëY »Ê»ÂÈ •»ÂÈÕÔʫ«Â
…ʬʌÈ≈ ÕÂ⁄â«. òXˌȋπÂȬ҇» ÀÌË|ÛË ∆π«. •«ÂÈ ÕÂÈÈ∏…ÂÏ¡«Â ÕÈË£ ß«.
•π‚˜ÔJ-‚…J¢Ã¬˜Ô ã¢π›ÂëY ß»ÛR¢«ÂÈ ‚ÂÈûÍËπ yÊíÈQ∆ÂÈO. òXË òXË ê‡ZˇÂãË«˘˚¸
‚ÊZêÈπ›ÂÈ ºÊ∆ÂÈÕÂ⁄¸‚ÂWx@ ÕÂÈÈ¢üÚ ¶πÂêÈ‚Âë«ÊQ¬ Ø¢«ÂÈ »Â»ÂR ‚Û˫¬ÂúŒÈ Ñ. ã¬ÂÈÕÂȋ碫Â
…Â∆ÂX â∆ÂÈ. òXËπ›ÂÈ »Â»ÂR „‚ÂO…ÂXãŒÈ»ÂÈR ∑Í‹¢∑·ÂÕÔÊÇ ≥å«Â¬ÂÈ. ÕÂÈ„Â∆ÂZ«Â x‹ÕÔÂÏ ‚Âͺ»π›»ÂÈR
çËâ«Â¬ÂÈ. »Â»ÂR „‚ÂO…ÂXãŒÈ»ÂÈR ãåQ«. òXËπ›ÂÈ …ÂXÕÔʂ«ÂëY ∑Í√ è√ÂÈÕÔÂÏ ÕÂ⁄âxÛ¢√ÂÈ
•ÕÂÈÍ‹WÕÔÊ«Â ¶òËÕÔ¸ºÂ»Â ì«ÂÈ ∑úö«Â¬ÂÈ. •·JË •‹Y, ¶»Â¢«ÂãË«˘˚¸ …ÂXã·ÊK»Â«Â ÕÂÈÈzÊ¢∆¬Â
…ÂXyʇ» ÕÂ⁄√Â‹È ÕÂÈÈ¢« â«ÂÈ »Â»ÂR ÕÈË£ •å˘∑∆¬ •»ÂÈπÂX„ ∆ÛËà«ÊQ¬.
39
»Ê»ÂÈ •»ÂÈÕÔÊ«Âx@ ∆Û√ÂÇ«Êπ ∑»ÂR√ „ÊπÂÍ ß¢ÇYË·˜Ô ü˘Ê·π›ÂëY ∞∑yÊ‹x@
•»ÂÈÕÔÊå‚ÂÈãO«Q. ∑»ÂR√ •»ÂÈÕÔÊ«ÂÕÔ»ÂÈR ‚ÂZ∆— òXËπÂ›Ò »ÛËâ«ÂQ¬ÂÈ. ߢÇYË·˜Ô Ô•»ÂÈÕÔÊ«ÂÕÔ»ÂÈR
»Â»ÂR ê«ÊWπÂȬÂÈπ›ʫ √Ê$ è. Ø»˜Ô. x. ‡ÂÕÂ⁄¸ ≥å«Â¬ÂÈ, ≤¢«¬Â√ÂÈ ÕÂÈ„Â∆ÂZ«Â ã«ÂÈQ
…Â√ ‚ÂÍÑö«Â¬ÂÈ. êÈ∆ÂX ¶¬˜Ô.Ü. ∑È‹∑丌ÈÕÔ¬ÂÈ Ã¬«Â ÕÂÈÈ»ÂÈRâŒÈ»ÂÈR ÄÂÈÕÔÊÇ ÕÈÑE«Â¬ÂÈ.
•«Â¬Â …ÂÌ㸠•»ÂÈÕÔʫ ߢÇYË·˜Ô»ÂëY ö«ÂQM…Ââö …ÂX∑á‚Â‹È ‚ÂÍÑö«Â¬ÂÈ. »Â»ÂR •»ÂÈÕÔʫ«Â
ÃπB ÕȺÂÈEπŒÈ ÕÂ⁄∆»ÂÈR ì«ÂÈxÛ¡J¬ÂÈ. {ÊI»Âéˬ˙ …ÂX‡ÂöOŒÈ ÕÂÈ¡J«Â "òXË ê«ÊWÕÂ⁄»ÂW
…ÂX‡ÂöO#ŒÈÈ ® ÕÔ·¸ ¬ÊŒÈºÂͬÂëY »Â√«Â •Å‹ ü˘Ê¬Â∆ ÕÂ⁄«˘ÂZ ‚ÂÕÈV‹»Â«ÂëY √Ê$ è.
Ø»˜Ô. x. ‡ÂÕÂ⁄¸ •ÕÔÂàπ «Û¬∆«ÂÈQ »ÂÕÂÈπ „ÑE»Â ¶»Â¢«ÂÕÔ»ÂÈR ∆¢å«.
òXË ÕÔÊŒÈÈ‚ÂÈOãŒÈ»ÂÈR ∑»ÂR√ „ÊπÂÍ ¶¢πÂY ü˘Ê·πÂúπ •»ÂÈÕÔÊå‚Â‹È …XˬÂ} çËâ«Âȫ‹Y«,
¶»Â¢«ÂãË«˘˚¸ …ÂXã·ÊK»Â«Â …¬ÂÕÔÊÇ ® …ÂÏ‚ÂO∑ÕÔ»ÂÈR ß·ÛJ¢«ÂÈ ©∆ÂOÕÂÈÕÔÊÇ …ÂXyʇ»ÂπÛú‚‹È
‚Â„ÊŒÈ çËâ«Â òXË òXË ê‡ZˇÂãË«˘˚¸ ‚ÊZêÈÜŒÈÕÔÂàπ »Â»ÂR •»Â¢∆ »ÂÕÂÈ‚Ê@¬Âπ›ÂÈ „ÊπÂÍ
∑Î∆ÂæI∆π›ÂÈ.
ÕÂ⁄«˘ÂZ ö«ÊQM¢∆ÂÕÂ»Ô ÂÈR •¬ÂÇö ∑Èâ«Â ê«ÊZ¢‚¬ÂëY ¶«ÂW‚ÊP»Â …Â√«ÂÕÂ¬Ô ÂÍ, ¶¢πÂYü˘Ê·ŒÈëY
©«˜ÔπÂX¢«˘˚Âπ›»ÂÍR ì«ÂÈ æπÂãOπÒ ÕÂÈ«˘ÂZö«ÊQM¢∆« …ÂàºÂŒÈ çËâ«Â √Ê$ è. Ø»˜Ô. x.
‡ÂÕÂ⁄¸ •ÕÔ¬ÂÈ »Â»ÂR ÃπB ÕȺÂÈEπŒÈ ÕÂ⁄∆ÂÈ Ã¬å«ÊQ¬. •ÕÔÂàπ »Ê»ÂÈ ∑Î∆ÂæI.
ê«ÂZ∆˜Ô…ÂÌ≈¸ ÕÂÈÈ»ÂÈRâŒÈ»ÂÈR ì«Â êÈ∆ÂX ¶¬˜Ô.Ü. ∑È‹∑丌ÈÕÔÂàπ »Â»ÂR ∑Î∆ÂæI∆π›ÂÈ.
‚Â∆ÂW«˘ÊW»Â ê«ÊWéˬ˙« ∑È‹…Âãπ›ʫ …¢$ ê«ÊWö¢„ʺʌȸ ÕÂ⁄„ÂÈëŒÈÕÔ¬ÂÈ
òXË»ÂÎö¢„‚ÂÈOãŒÈ •»ÂÈÕÔÊ«Âx@ yʬÂ≈¬Ê«Â¢∆, òXË ÕÔÊŒÈÈ‚ÂÈOãŒÈ •»ÂÈÕÔÊ«Â∑Í@ ‚ÂÍTã¸
çËâ«Â¬ÂÈ. ßëY …ÂX∑¡ÕÔÊ«Â ‚¢‚Âb∆ …ʬ˙ÂÕÔ»ÂÈR ∆ÂÕÂÈV ê«ÊWå˘˚¸πÂú¢«Â πÂ≈∑-ŒÈ¢∆ÂX«ÂëY
ö«ÂQM…Ââö ‚Â„ÊŒÈ ÕÂ⁄â«ÊQ¬. •ÕÔ¬ éXËã ê‡ÊZ‚ÂπÂúπ »Ê»ÂÈ ∑Î∆ÂæI.
»ÂçR¢«Â ® ∑ÎãŒÈ»ÂÈR „Û¬Â∆¬ÂüÒx¢«ÂÈ »Â»ÂÇ¢∆Â‹Í „ºÂÈE ¶‚ …¡JÕÔ¬ÂÈ ßÃU¬ÂÈ.
»Â»ÂR •«˘Ê¸¢Ç ‚ı$ ∑£Ê«Òê „ÊπÂÍ »Â»ÂR ‚Û˫¬ÂúŒÈ Ñ. ã¬ÂÈÕÂÈ‹ (…ÂÌ≈¸…ÂXæI ê«ÊWéˬ˙«Â
…ÂXãü˘ÊÕÔ¢∆ ê«ÊWå˘˚¸). ® ∑ÎãíÈ¢«Â »Â»Âπ «Û¬ŒÈÄÂÈ«Ê«Â …ÂÏ≈WÀ‹«ÂëY •ÕÔÂàπÂÍ
‚ÂàŒ⁄«Â …Êë«.
»Â»ÂR ߢÇYË·˜Ô •»ÂÈÕÔÊ«Â ≥å ‚Â‹„ çËâ«Â »Â»ÂR êÈ∆ÂX¬Ê«Â √Ê$ x. Ø‚˜ÔÔ. ‡ÂÕÂ⁄¸,
√Ê$ ØÕ¤˜Ô. ØÕ¤˜Ô.{Ê»˜Ô, …ÊX$ ‚Â∆ÂW»Ê¬ÊŒÈ≈ ¬ÊÕÔ˜Ô, √Ê$ ‚ÂÈå˘Ë¢«ÂX ü˘ÂÕÔÊç; »Â»ÂR yʌȸ«ÂëY
¶‚P ÕÔÂõö«Â êÈ∆ÂX¬Ê«Â òXË Ø»˜Ô. x. {ÛËπ›Ò∑¬Â, Ø£˜Ô.è. πÂ}ʺÊà, √Ê$ ÕÔÊÕÂÈ»Â
üÒ¢«X; …ÂÏ∆ÂX¬Ê«Â Ñ. ¬Ê∫§ÕÔÒ¢«ÂX, Ñ. „·¸ÔÕÔ«˘Â¸»Â; »Â»ÂR ⫢ÂÈπ›ʫ òXË x. Ø‚˜Ô.
¬ÊÕÂȬÊÕÔ˜Ô, òXË »Ê¬ÊŒÈ≈ ¬ÊÕÔ˜Ô Ã›Ê_à, òXË æŒÈå˘Ë¬Â ¬ÊÕÔ˜Ô ß»Ê¢«Ê¬Â; êÈ∆ÂX¬Ê«Â
òXË ‡ÂÍ…Ê¸ë …ÂÕÔÂÕÂ⁄»ÊºÊ¬˜Ô, òXË êæíÈË¢«ÂX πÂÈâ - ßÕÔ¬‹Y¬Â»ÂÈR »»ŒÈÈ∆OË».
® …ÂÏ‚ÂO∑ÕÔ»ÂÈR •·JË éXËãíÈ¢«Â, ü˘ÂÄOíÈ¢«Â ÕÂÈÈåXö«Â »ÂêË»˜Ô éX¢¡¬˜Ô]»Â ÕÂ⁄ëË∑¬Ê«Â
òXË »Ê¬ÊŒÈ≈ ‡áJ ÕÂÈ∆ÂÈO •ÕÔ¬ Ѭ¢ÜËê ĬÂ}˜Ô ‡áJ •ÕÔÂàπ »Ê»ÂÈ ∑Î∆ÂæI.
-"ÜËê# ∑È‹∑ä¸
‡ÊëÕÔʄ» ‡Âx –‰–fl, ÕÂÈÈ¢ÃíÈ.
«˘Ê∆ÂλÊÕÂÈ ‚¢ÕÔÂ∆Â]¬Â
ºÚ∆ÂX‡ÂÈ«ÂQM …ÂXã…«Ê,
ÃÈ«˘ÂÕÊÔ ¬Â, “œ-”-‰◊ ●
40
 À‹‡ÂÈXã ∑X. ‚Â. ‡ÛYË∑π›ÂÈ À‹‡ÂÈXã

ÕÔÊŒÈÈ‚ÂÈOãŒÈ …ʬʌÈ≈«Â ÕÂÈ„Â∆Z ÕÔ¢ «Â¬ •«Â¬Â …ÂX∆W Ë∑ ‡ÛYË∑«Â …ʬʌÈ≈∑Í@ 20 «ÂηÊJZ«ÂÈ·ÊJå˘…ÂÛˬ— ..... ‚¢πÊXÕÂÈæŒÈ, ‡Â∆ÂÈX»Ê‡Â
êò·ÂJ À‹ê«. •«Â¬Â êÕÔ¬ ߢã«. 21 «ÒÕÔÊW«Ò‡Â…ÂXäËã ..... •‚Ê«˘ÂWöåQM, ‡Â∆ÂÈX…¬ÊæŒÈ
∑X. ‚Â. ‡ÛYË∑π›ÂÈ À‹‡ÂÈXã 22 æ∫§RË ç∫§R˻ ..... ê∫§R»Ê‡Â
1
2
…Ê¢∆ÂZ‚ÊV»˜Ô
‹Ä\VËyÊ¢∆ } ..... ‚Â∑£Êç·ÂJçÕÔʬÂ≈
23
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çÕÂÈθ∆ÂR»ÂR∆ÂWŒÈ∆ÂR¢
x\ZË£ÊÄ\Ë}Ê¡J„ʂ¢
.....
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1 òXËÕÂÈåZ·ÂNZ¢ÉX ..... ÕÔÊ∑S¡È∆ÂZ - ê«ÊWöåQM
25 «ÂÈX„ÂW¢ãË¢ ..... ÕÔÊ∑S¡È∆ÂZ
2 ©∆Â@¢¬˙Ê∑È¢¬˙ ..... ŒÈæIöåQM - …ÂX{ÊI…ÊXéO
26 Œ⁄ü˘ÊW¢ ‡ÂȇÂÍX·ÂÈ ..... πÂȬÂÈ‚ÒÕÔÊ ‚¢∫§¡»Â
3 æ»ÊVå˘ÕÔÊW«˘ÂÈW…Êå˘ ..... ÕÔÊWå˘…Âà„ʬÂ
27 πºÂF»˜Ô ‚ıπ¢å˘yÊ«˘˚¸¢ ..... {ÊI»ÂöåQM
4 •‚ÊWê·Â@∆ÂȸyÊÕÂÈ¢ ..... æ…ÂöåQM - ÕÂÈ¢∆ÂXöåQM
28 ÃõZË—xÛËáˬÂáË∑— ..... êÈ«˘˚ÊW…ÂÕÔÊ«Â …Âà„ʬÂ
5 ©«ÂWåZ«ÂÈW∆˜Ô ..... …¬Ê∑XÕÂÈöåQM, ‡Â∆ÂÈX»Ê‡Â
29 «Ò„Ê«ÂÈ∆ÊmêÈ∆Ê ..... æ»ÂÕÔ‡ - ¬ÊæÕÔ‡Â
6 ‚¢‚ʬÛË∆ÊO… ..... ‚RË„ÂöåQM, ‚¢∆ʅ»ʇÂ
30 ∆«ÂÈQ·iËyÊ\»ÂȂʬÊ∆˜Ô ..... …ÂXãÕÔÊåæŒÈ
7 ÕÂÈÍ«˘Â¸»W·ÛËs ..... ⫢ÂÕÍË∑\- ‚ÂZ£Êü˘Â
31 ¶xÛXˇ¢∆ÛË ..... ‡Â∆ÂÈXü˘ÂÍ∆Û˺ÊE¡»Â
8 ‚Êü˘ÛXË·ÊNè˘Ë‡ÂÈ ..... ©»ÊV«ÂçÕÔÂÎãO
32 ãX·ÂZ…WËÕÔÊÕÔÂ∆ʬҷÂÈ ..... •…ÂÕÂÈÎ∆ÂÈW…Âà„ʬÂ
9 ûÈËsÕÂÈÈ¢ ü˘ÊÕÔ¢ ..... önËÕÔ‡Â
33 ©«ÂW»ÂV¢«ÂöV∆ ..... ¬Âͅ£ÊÕÔÂ≈W £Êü˘Â
10 ¶»Â¢«Ê»ÂV¢«ÂÕÂÈ¢«Ê ..... ‚¢∆ʻ - ‚ÂÈ∏…ÊXéO
34 …ÊXÑË»ÊÑË≈¸ ..... êºÂ∑\≈∆Ê …ÊXéO, ê«ÊW ‚¢¬Â∑\≈
11 ©∆ÂO…ÊO∆ÂÈW∆Â@¡ãZ|˜Ô ..... ‡Â∆ÂÈXÕÔ‡Â
35 éˬ˙Ë ¬Â∆ÛRË…Â∑YÎ…OË ..... ÕÂȄ«Ú‡ÂZŒÈ¸ …ÊXéO
12 •öV»ÂR‚ÂV«ÂÈB¬ÂÍ}Ê¢ ..... „Âà«˘ÊW»Â, xYˇÂçÕÔʬÂ≈
36 ‚Ê»ÂÈxÛXˇÚ¬Âæ‚ÂX¢ ..... ÕÔÚ¬ÊπÂWöåQM
13 ∑È\∆˜ÔyÊ\ÕÂ⁄»˜Ô ..... üÊ«˘Ê - «Êà«ÂXW »Ê‡Â
37 •‚ÂOÕÔÂW‚ÂO¢ ..... •«Â·ÂW∆ÂZ…ÊXéO-•«ÂηÂJ ÕÔ‚ÂÈO«Â‡Â¸»Â
14 ÕÂ⁄∆ÂÕÈ˸ ..... „Âà - é∆ÂÎü˘ÂÄO, æ»ÂÕÔ‡Â
38 ¶{ÊIÕÂÈ»Wڬ«˘ÊŒ⁄¸¢ ..... ¬Êæ⫢ …Âà„ʬÂ
15 ê·ÛNˬÂ∆ÂÈW∆ÂOÕÂÈ ..... ê·ÂÈNü˘ÂÄO, ê·ÂÈN‚ÂÕÔÌ˸∆ÂOÕÂÈ∆ÂZ{ÊI»ÂöåQM
39 ü˘ÂÍ∆ÊZ x\Ë∆XË ..... ‚¢∆ʻ …ÂXã⫢» çÕÔÂÎãO
16 ∆Â∆ÂOZ{ÊI»ÂÈVÄOü˘Êæ— ..... ÕÍË∑\‚Ê«˘Â»Â
40 ÕÔ¢«Ò ∆¢ ∆ÊZ ..... …ÂXÕÍË«ÂöåQM
17 ÕÔ¢«Òs„¢ ∆¢ ..... …ı¬ÂÈ·ÂöåQM
41 ‚ÂÈÃX„ÂV}ÊW∏W‚Âͬҗ ..... åπÂUM¢«˘Â»Â, πÂX„Â-¬Êæ-ÕÔÊWµÊXåπ›Â
18 …ÊX∑S¢ºÊ‡Â∆˜Ô ..... ¥·Â«˘ÂöåQM - êˌȸöåQM ü˘ÂŒÈ çÕÔʬÂ≈, ‚ÂÕÔʸè˘Ë·ÂJöåQM
19 Ä\…ÂO— …‡ÊE∆˜Ô ..... öP¬Â…ÂXûÍËæ»Â ●

41 42
 ÕȺÂÈEπŒÈ ÕÂ⁄∆ÂÈ
(ÕÂÈÍ‹ ߢÇY·˜Ô碫 ∑»ÂR√ •»ÂÈÕÔÊ«Â)
òXË ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬Â …ÂXö«ÂQMÕÔÊ«Â ‚ÛOË∆ÂX „ÂàÕÔÊŒÈÈ‚ÂÈOãŒÈ»ÂÈR
∑»ÂR√ „ÊπÂÍ ¶¢πÂYü˘Ê·π›ÂëY •∆ÂW¢∆ ¶∑·Â¸∑ÕÔÊÇ •»ÂÈÕÔÊåö«Â, »Â»ÂR »ÂÑE»Â
ê«ÊWå˘˚¸πݣÛYÃU¬Ê«Â …ÌX. "ÜËê# ∑È‹∑丌ÈÕÔ¬»ÂÈR •è˘»Â¢å‚Â‹È »Â»Âπ •∆ÂW¢∆Â
¶»Â ¢ «Â Õ Ô Ê πÂ È ∆ O « . ® ÕÔ Ê ŒÈÈ‚Â È OãŒÈ Õ Í «Â ‹ È ÕÂ È ∆Â È O xÛ» π  … à ˙ ‚  ‹ È
òXËÕÂȫʺʌȸ¬Ò •‚„ÂWêˌȸ •ÕÔÂ∆Êà »Â¬Âö¢„» »Â∏π›»ÂÈR ‚ÂÈOãö جÂ√ÂÈ
…ÂXü˘ÊÕÔÂyÊàŒ⁄«Â ‡ÛYË∑π›»ÂÈR ìå«ÊQ¬ ÕÂÈ∆ÂÈO ∆ÂÕÂÈV ò·ÂW»Â ® ∑Îãπ
(ÕÔÊŒÈÈ‚ÂÈOãπ) ∆ÂÕÂÈV ≤éSπ ÕÂÈÈ«XŒÈ»ÂÈR çËâ«ÊQ¬. ÕÂ⁄«˘ÂZ ‚¢…ÂX«ÊŒÈ«Â …¬˙Â≈-
‚ÛOË∆ÂXπ›ÂëY …ÂXãûÍÃU «˘ÂÕÂȸç·ÂK ÕÂ⁄«˘ÂZ»Â «ڻ¢å»Â …ÂÌ{ŒÈ •êü˘ÊæWÕÔÊ«Â
•¢πÂπ›¢«Â¬ òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬Ò ¬ÂÑö«Â "«ÊZ«Â‡Â‚ÛOË∆ÂX# „ÊπÂÍ ãXê∑XÕÂȬÂÈ
¬ÂÑö«Â "ÕÔÊŒÈÈ‚ÂÈOã#. ÕÂÈ«˘ÂZ‚ÂÕÂ⁄æx@ πÂȬÂÈò·ÂW¬ÂÈ Ã¬«Â جÂ√ÂÍ ‚ÛOË∆ÂXπ›ÂÈ
ß·ÛJ¢«ÂÈ …ÂXü˘ÊÕÔÂyÊàŒ⁄ÇÕÔ, πı¬ÂÕÔʫ¬Âx@ …Ê∆ÂXÕÔÊÇÕÔ.
ÕÔÊŒÈÈ‚ÂÈOãŒÈÈ …¬ÂÕÂ⁄∆ÂV»Â Õͫ‹ ÕÂÈπ»ʫ ÕÂÈÈ∏W…ÊX≈«ÒÕÔ¬ ÕÂÈͬÂÈ
•ÕÔÂ∆ʬ ëË£π› ‚¢‚ÂV¬Â}Ê«˘˚¸ÕÔÊÇ ¬ÂÑ∆ÂÕÔÊÇ«ÂÈQ, „»ÂÈÕÂÈ, è˘ËÕÂÈ „ÊπÂÍ ÕÂÈ«˘ÂZ¬ÂÈ
üÂ̆ÍêÈŒÈ ÕÈËë¬ÂÈÕÔ ÜËÕԬ Êòπ› πÂãŒÈ»ÂÈR ¬ÂÍé‚ÂÈÕÔ «ÚêË ‚¢∑‹S«Â ‚Ê«Â̆»¬Â ÊÇ«ÊQ¬.
ãXê∑XÕÂȬ …ÂÏ∆ÂX¬Ê«Â »Ê¬ÊŒÈ≈ …¢â∆¬ÂÈ Ã¬«Â òXË ÕÂÈ«˘ÂZ¬Â •…ÂXãÕÂÈ
ºÂà∆XŒÈëY, ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬Û√» yʂ¬ÂπÂÛËâ»Â
∑Èâ£˜Ô «ÒÕÔÊ‹ŒÈ«ÂëY (®π xҬ›«ÂëY«) –’ å»Âπ›ÂÕÔ¬π »Â√ö«Â ‚ÂÈåË∫§¸
ÕÔÊyÊW«˘˚¸«Â ¬ÛËÕÂ⁄¢ºÂyÊà ÕÔÂ≈¸» ìÂÈ∆ÂO«; ® ºÂº¸ŒÈ »Â¢∆¬ÂÕÔÒ ãXê∑XÕÂȬÂÈ
•«ZÚ∆ ‚¢…ÂX«ÊŒÈÕÔ»ÂÈR ∆ÂWÜö ÕÂ⁄«˘ÂZ ‚¢…ÂX«ÊŒÈx@ ≤ë«Â¬ÂÈ. ãXê∑XÕÂȬ ®
‚¢ü˘Ê·Â}ŒÈ »Â¢∆¬ÂÕÔÒ ¶ºÊŒÈ¸ ÕÂÈ«˘ÂZ¬ÂÈ ãXê∑XÕÂȬ ‡ÂX«ÊQM…ÂÌ≈¸ ∑ÛËàxŒÈ»ÂÈR
ÕÂÈçRö ÕÈˬÂÈ∑ÎãŒ⁄«Â ÃX„ÂV‚ÂÍ∆ÂXπ› ÕÈËë»Â ÕÔÊWzÊW»ÂÕÔ»ÂÈR Ω¯Â¢«ÛËëÂQMÕÔÊÇ
ì«Â¬ÂÈ.
ß«Âx@ …ÂXãŒ⁄Ç ¶ºÊŒÈ¸¬Â ‚ÂÍ∆ÂXü˘Ê·ÂW«Â ÕÈË£ …ÂX«˘˚ÂÕÂÈ áËxŒÈ»ÂÈR ìŒÈ‹È
ãê∑XÕÂȬ»ÂÈR xқ£ʌÈÈO. ß«Ò …ÂXö«ÂQMÕÔÊ«Â ∑Îã "∆Â∆ÂOZ…ÂXåË…Â#. ÕÔÊŒÈÈ«ÒÕÔ¬Â
ÕÂÈͬÂÈ •ÕÔÂ∆ʬÂπ›»ÂÈR ÃäNö ì«Â ≤¢«ÂÈ Ñ∑@ ÕÔÊŒÈÈ‚ÂÈOãŒÈÈ "∆Â∆ÂOZ…ÂXåË…Â#«Â
43
…ÊX¬Â¢ü˘Â«ÂëY ß«. ©√ÂÈéŒÈ ∑ηÂNÕÂȬ˙«ÂëY òXË∑ηÂN»Â …ÂÌ{ »Â√«ÊπÂ, πÂü˘Â¸πÂÈâŒÈ
„Û¬Âǻ πÂÕÔÊ∑\«Â Ä¢âíÈ¢«Â ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ »ÛË√ÂÈãO¬ÂÈÕÔÊπ •ÕÔÂàπ
ÕÂÈÈ∏W…ÊX≈«ÒÕÔ¬ ÕÂÈͬÂÍ •ÕÔÂ∆ʬÂπ› ‚ÊyÊ\∆Ê@¬ÂÕÔÊíÈ∆¢«ÂÈ ‚¢…ÂX«ÊŒÈÕÔÂÏ
ãú‚ÂÈ∆ÂO«. ÕÂÈ∆ÂÈO ¶πÂ£Ò ÕÔÊŒÈÈ‚ÂÈOã ‡ÛYË∑π›ÂÈ ÕÔ·ʸ«˘Ê¬ŒÈ¢∆ - „Âà«ÂÈ
â«ÂÕÔ¢∆! ® •ÕÂÈÎ∆ ∑ÎãŒÈ õ»R£ õËÇ«.
Œ⁄ÕÔÂÏ«Ò ü˘Ê·ŒÈ ÕÂÈÍ‹ ∑ÎãŒÈ ë£ÊÇ •»ÂÈÕÔÊ«ÂÕÔÂÏ ç‹Y£Ê¬Â«ÂÈ.
‚¢‚Âb∆ ü˘Ê·ŒÈ ∑ê ∑È‹ã‹∑¬Ê«Â, òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬Â …¬ÂÕÂÈ ò·ÂW¬ÂÍ, •…¬ÛË∑\
{ÊIçπ›ÂÍ ¶«Â ãXê∑XÕÂȬ ‡ÚëŒÈ ÕÔÚò·ÂJWπ›ÂÈ, •ÕÔ¬ «˘Ê¬ÊyʬÂÕÔÊÇ „ÂàÕÔÂ
ÕÔÊπ˜ÔÕÔÚü˘ÂÕÔÂ, ©∆ÂÈO¢π •«˘ÊWãV∑ …ÂXãÕÈ-…ÂXãË∑π›»ÂÈR …ÂÌ㸌⁄Ç õâå√ÂÈÕÔÂÏ«ÂÈ,
è∆ÂOà‚ÂÈÕÔÂÏ«ÂÈ ß∆¬Âàπ ‚Ê«˘ÂWê‹Y. ¶«Â¬ÂÍ "ÜËê#ŒÈÕÔ¬ÂÈ ∆ÂÕÂÈV ‚ÊÕÂÈ«˘˚ÂW¸x@
•»ÂÈπÂÈ≈ÕÔÊÇ, •«Â¬ÂëY¬ÂÈÕÔ ã¬ÂÈúπ ü˘ÂÄOπı¬ÂÕÔÂπÂú¢«Â ∑»ÂRâŒÈ»ÂÈR õâå«ÊQ¬;
∑»ÂR√ „ÊπÂÍ ¶¢πÂY ü˘Ê·ŒÈëY ‡ÂÃQ Ñ∆ÂXπ› ÕÂÈÈzÊ¢∆¬ yÊÕÔÂWÕÂÈŒÈ ü˘Ê·ŒÈëY
•ÕÔ¬ êºÊ¬Âπ›»ÂÈR ≥«ÂÈπÂàπ „¢ºÂÈÕÔÂëY ÕÂÈ∆ÂÈO yÊÕÔÂW¬Â‚Â, {ÊI»Â¬Â‚ „ÊπÂÍ
ü˘ÂÄO ¬Â‚Âπ›»ÂÈR ©≈Ãâ‚ÂÈÕÔÂëY •…ÂXãÕÂÈ ŒÈ‡ÂÕÂÔ»ÂÍR …Â√å«ÊQ¬ Ø¢«ÂÈ „Ò›ÂÈÄÂÈ«ÂÈ.
…ÌX. ¶¬˜Ô. Ü. ∑È‹∑丌ÈÕÔ¬ ÕÂÈÈ»ÂÈRâŒÈÈ «ZÚ∆ ö«ÊQM¢∆« åÕÔÂW∆Â∆ÂOZπ›Â
ÄÂÈÕÂÈÈ∏π› ÕÈË£, ©«Ê„¬Â}π ¶»Â¢«Â ∆ʬÂ∆ÂÕÂÈW, x√ÂĻ …ÂXã¬ÛË«˘Â, «ZË·Âü˘ÂÄOŒÈ
ã¬Â‚Ê@¬Â, ‚ÂπÂÈ≈ çπÂȸ≈ ‚ÂÕÂÈ»ÂZŒÈ; {ÊI»Â, ü˘ÂÄO „ÊπÂÍ ç·Ê@ÕÂÈ ∑ÕÂȸûÍËπÂÕÔ»ÂÈR
æπ«Û√ŒÈ ü˘ÂπÂÕÂÔ¢∆Âçπ ‚ÂÕÂÈé¸ö ‚ÂÕÂÈ»ÂZŒÈ ‚Êå˘ö«Â è˘ËÕÂȂһ» ÕÂ⁄«Âà ÕÔÂWÄO∆ÂZx@
‚ÂàŒ⁄«Â ‚ÊP»Â çË√ÂÈÕÔÂÏ«ÂÈ ÕÂÈÈ¢∆Ê«ÂÈÕÔÂÏπ› ÕÈË£ ÕÂÈ„Â∆ÂZ…ÂÌ≈¸ ü›Â∑»ÂÈR º‹ÈY∆ÂO«.
…ÌX. ∑È‹∑丌ÈÕÔ¬ ‚Â∆ÂZ…ÂÌ≈¸ •ÕÔ£ÛË∑»Â墫 ÕÔʺÂ∑¬ÂÈ ÕÂÈ«Â̆Zö«ÊQM¢∆«ÂëY
•¢∆ π  ¸ ∆Â Õ Ô Ê «Â õàÕ È ŒÈ»Â È R, ÕÔ Ê ŒÈÈ‚Â È OãŒÈ ‚ ¢ «Ò‡Â «  ÕÂ È õÕ È ŒÈ»Â È R
•àŒÈÄÂÈ«ÊÇ«.
√Ê$ è.Ø»˜ÔÔ. x. ‡ÂÕÂ⁄¸
(òXË ê«ÊWÕÂ⁄»ÂW …ÂX‡ÂöOíÈ¢«Â πı¬Âê∆¬ÂÈ)
●
44
 ÕÂÈÈ»ÂÈRâ
ÜËêŒÈëY ÜËÕÔÌË∆ÂOÕÂÈ πÂã
©«ÂíÈ‚£ „ÂیÈπ„ÂZ¬Â墫 ÕÈË£ÛQˬÂ
¶»Â¢«ÂãË«˘˚¸«Âë êÈ¢«Â ÕÂÈ«˘ÂZ •…ʬÂ
- «Â. ¬Ê. üÒ¢«X (•¬Â›ÂÈ-ÕÂȬ›ÂÈ. …ÂÏ. –flœ)
A supramental principle and its cosmic operation
once established permanently on its own basis, the
intervening powers of Overmind and spiritual Mind could
found themselves securely upon it and reach their own
perfection; they would become in the earth-existence a
hierarchy of states of consciousness rising out of Mind
and physical life to the supreme spiritual level.
- Sri Aurobindo
(The Life Divine P. 963)
•ãÕÂ⁄»Â‚ (ê{ÊI»ÂÕÂÈŒÈ xÛˇ«Â) ∆Â∆ÂZÕÔÂÏ ÕÂÈ∆ÂÈO •«Â¬Â
ê‡ÂZyʌȸÕÔÂÏ ∆»ÂR«Ò ¶«Â ÃÈ»ÊåŒÈ ÕÈË£ ≤¢«ÂÈ ‚‹ ‡Ê‡ÂZ∆ÂÕÔÊÇ
…ÂXãôK∆ÂÕÔʫ¬, •å˘ÕÂ⁄»Â‚ ‚ÂZπ¸ „ÊπÂÍ •…¬ÛËÄ\Ë∑Î∆ ÕÂȻ‚ÂÈ]π›Â
ÕÂÈ«˘ÂW¢∆¬ ‡ÂÄOπ›ÂÈ •«Â¬Â ÕÈË£ (•ãÕÂ⁄»Â‚« ∆›„ÂåŒÈ ÕÈË£)
‚ÂȬÂÄ\∆ÂÕÊÔ Ç …ÂXãôK∆ÂÕÊÔ πÂÈ∆ÂOÕÔ ÕÂÈ∆ÂÈO ∆ÂÕÂÈV …ÂÌ≈¸∆ŒÈ»ÂÈR …Â√ŒÈÈ∆ÂOÕÔ;
•ÕÔÂÏ ü˘ÂÍêÈŒÈ Ã«ÂÈÄ»ÂëY ∆¬Â∆ÂÕÂÈ ∆Â∆ÂZπ›ÊÇ, ü˘ıã∑ ÜËÕÔ»Â墫Â
…¬ÂÕÂÈ ¶«˘ÊWãV∑ »£ŒÈÕÔ¬π »£πÛ›ÂÈ_∆ÂOÕÔ.
- òXË •¬Âꢫ¬ÂÈ (å £ÚÀ˜Ô âÕÔÚ»˜Ô)
‚Ê ÕÔÊ ∞·Ê «ÒÕÔÂ∆Ú∆Ê‚Ê¢ «ÒÕÔÂ∆ʻʢ …Ê…ÊV»Â¢
ÕÂÈÎ∆ÂÈWÕÂȅ„Â∆ÊW«˘˚Ú»Ê ÕÂÈÎ∆ÂÈWÕÂÈ∆ÂWÕÔ„Â∆˜Ô
- Ã΄«ʬÂ≈W∑ ©…Âç·Â∆˜Ô (–.”.––)
¶ ® (ÕÂÈÈ∏W…ÊX≈) «ÒÕÔÂ∆ŒÈÈ ® (ÕÔÊπÊå) «ÒÕÔÂ∆π›Â
…ʅ¬ÂÍ…ÂÕÔÊ«Â ÕÂÈÎ∆ÂÈWÕÔ»ÂÈR »Ê‡Â ÕÂ⁄â«Â ÕÈË£ ßÕÔ¬»ÂÈR ÕÂÈÎ∆ÂÈWê»Â
¶ºπ ≤ŒÈQ»ÂÈ. •ÕÔ¬ÂÕÔ¬ åÕÔÂW £ÛË∑π› ≤√∆»Âê∆ÂO»ÂÈ.
- Ã΄«ʬÂ≈W∑ ©…Âç·Â∆˜Ô
45
–
…ÌX$ Ü.ê. ∑È‹∑丌ÈÕÔ¬ ("ÜËê#ŒÈÕÔ¬Â) ‚Êõ∆ÂW …ÂX{I, yÊÕÔÂW …ÂXãü˘π›Â
êyʂ«ÂëY ≤¢«ÂÈ •¢∆‚Ê]«˘Â»ŒÈ …ÂXyʇÂÕÔÂÏ¢¡È.
∑»ÂR√Â, ߢÇYË·˜Ô ü˘Ê·π›Â ë
 Y ëË£Ê{Ê‹ÕÔÊÇ ‚ÂS¢å‚ÂËY ÜËê, ÕÂÈÈ¢ÃíȌȢ∆„Â
•¢∆ʬÊôdËŒÈ …ÂX{ÊI‚¢ÄË≈¸∆ŒÈ»ÂÈR ÕÈÚπÂÍâöxÛ›ÂÈ_∆ÂO£, üÒ¢«XŒÈÕÔ¬ ‚¢‚ÂS‡Â¸å¢«Â
©…Ê‚Â»Ê ÕÂ⁄π¸«Â •∑Èá‹ ü˘ÊÕÔ ‹„ÂàŒÈ ‚ÂÈT¬Â≈ …Â√«ÂÈxÛ¢â«ÊQ¬. {Û∆π
ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬Â òXË»ÂÎö¢„ ‚ÂÈOã „ÊπÂÍ òXË ÕÔÊŒÈÈ‚ÂÈOãπ› …ÂX∏¬Â «Â‡Â¸»Â
…ÂXÕÔÊ„ÂÕÔ»ÂÈR ∑»ÂRâ‚Â‹È ∆Û√ÂÇ …ÂX{ÊI‚ʄ‚ÂÕÔ»RË ‚„Âæ ‚Ê«˘Â»ÂÕÔ»ÊRÇöxÛ¢â«ÊQ¬.
ß«ÂÈ ∑»ÂR√ yÊÕÔÂW¬Â¢π« ü˘ÊπÂWÕÔÂÌ „ı«ÂÈ. ® ‚„Âæ ∑êπÂú¢«Â òXËÕÂÈ«˘ÊZºÊŒÈ¸¬Â
uÈπÊUM·ÂW, •»ÂÈÕÔÊWzÊW»Â, •≈Èü˘ÊW·ÂWπ›ÂÈ „ÊπÂÍ òXË æπ»ÊR«˘˚ «Ê‚¬ „Âà∑«˘˚ÊÕÂÈÎ∆Â
‚ʬÂÕÔÂÏ, ¶«˘ÂÈç∑ ∑»ÂR√ …Âàü˘Ê·ŒÈëY- yÊÕÔÂW ¬Âͅ«ÂëY ìÂë Ø¢«ÂÈ „ʬÚ‚ÂÈ∆OË».
¶π ÕÂ⁄«˘ÂZ«Â‡Â¸»Â«Â ‡ÂÄO‚¢…«ÂÕÔÂÏ ¶«˘ÂÈç∑ ∑»ÂR√ …ÂX{IŒÈ ∆ÒæöZ •¢∆‚Â]∆ÂZÕÔÊπÂÈÕÔÂÏ«ÂÈ.
òXË ÕÔÊŒÈÈ‚ÂÈOãŒÈ ∑»ÂR√Ê»ÂÈÕÔÊ«ÂÕÔÂÏ ® å‚ŒÈëY ÕÂÈ„Â∆ÂO¬Â „{GŒ⁄Ç«.
ÕÔÊŒÈÈ‚ÂÈOãŒÈÈ ü˘ÊÕÔÌË«XË∑«Â …ÊX«˘˚¸»Ê ‹„ÂàŒÈ‹Y. •«˘˚Ú¸öxÛ¢√ÂÈ Ñ¢∆»
ÕÂ⁄â«Â¬, ‡ÂXÕÂ≈, ÕÂȻ»Â, çå«˘ÊW‚ ÕÂ⁄â«Â¬ ¶«˘ÂÈç∑ ÜËÕÔ» πÂãπÒ „Û‚Â ã¬ÂÈÕÔÂÏ
xÛ√ÂËY ÕÂÈ¢∆ÂX‡ÂÄO …Â√å«. •¢∆ûÈË π›ŒÈ¬Â πÂÈ¢é»Â «ÂX·ÊJ¬Â üÒ¢«XŒÈÕÔ¬ÂÈ,
ÕÔÊŒÈÈ‚ÂÈOãŒÈ ≤¢«ÂÈ ‡ÛYË∑ÕÔ»ÂÈR ‚RË„ÂöåQMπÊÇ …ÂϬ‡ÂE¬Â≈ ÕÂ⁄√ÂÈãO«ÂQ¬ÂÈ.
ÕÔÒ«Â ©…Âç·Â∆ÂÈOπ›ÂëY, ÕÂ⁄∆Âà‡ÂZ, ÕÂÈÈ∏W…ÊX≈, ¶∏}ʇÂV, {Ò·ÂK, ‡XË·ÂK,
ÕÔÂö·ÂK - Ø¢«‹Y «Âò¸∆ÂÕÔÊ«Â ê{ÊI»ÂÕÂÈŒÈ …ÂϬÂȷ»ÂÈ xÒÕÔ‹ …ı¬Êä∑ ∑‹S»Ê
ê£Ê‚ÂÕÂÔ‹Y. ® åÕÔÂW ÕÔÊŒÈÈ ∆Â∆ÂZÕÔÂÏ ¬ÊÕÂ⁄ŒÈ≈, ÕÂÈ„Êü˘Ê¬Â∆ „ÊπÂÍ Ãú∆ÊP‚ÂÍ∑Oπ›ÂëY
„»ÂÈÕÂÈ, è˘ËÕÂÈ, ÕÂÈ«˘ÂZ «Â‡Â¸»ÂÕÔÊÇ …ÂXã…Êå∆ÂÕÔÊÇ« Ø¢«ÂÈ ÕÂ⁄«˘ÂZ{ÊIçπ›Â
‚ÊyÊ\∆Ê@¬Âê«. ® ‚ÊyÊ\∆Ê@¬Â墫Â, „»ÂÈÕÂÈ, è˘ËÕÂÈ, ÕÂÈ«˘ÂZ ¬ÂÍ…Âπ› õ¢« ߬ÂÈÕÔÂ,
¬ÊÕÂÈ,∑ηÂN, ÕÔÒ«ÂÕÔÊW‚ •ÕÔÂ∆ʬ ¬Â„‚ÂWÕÔÂÌ ® •ÕÔÂ∆ʬÂπ› õ¢å»Â ‹Ä\VË „ÂŒÈÇXËÕÔÂ
©…ʂ»ŒÈÍ πÛ˺¬ÂÕÔÊπÂÈ∆ÂO«. ‹Ä\VË „ÂŒÈÇXËÕÔ ©…ʂ»ŒÈëY ÕÔÒ«Âπ› ÕÂÈ«˘ÂÈ
ê«W …ÂXyʇÂπÛ¢â«. ß«ÂÈ ÕÂÈÈ∏W…ÊX}Û˅ʂ»ŒÈ ã¬ÂÈú»Â ÕÂ⁄∆ÂÈ. ß«ÂÈ Ãà å˘˚Œ⁄‹Ü-
…ı¬Êä∑ «ÒÕÔÂ∆ÊÕÔÊ«ÂÕÔ‹Y.
•„¢yʬ« æ√ÂÃÈåQMŒ⁄ºπ ÜËÕÔÂü˘ÊÕÔÂÕÔÂÏ¢¡È. ÜËêŒÈÈ, ÜËÕÔÌË∆ÂOÕÂÈçπ
- ÕÂÈÈ∏W…ÊX≈çπ - ‡Â¬Â}ÊπÂ∆»ʫÊπÂ, ÜËÕÔÂêyʂ«ÂëY ü˘ÂπÂÕÔ«Âè˘ÕÔÂWÄOŒÈ»ÂÈR
•«˘˚Ú¸öxÛ¢√ÂÈ ü˘ÂπÂÕÔÂ∆˜Ô xÚ¢∑ŒÈ¸x@ ö«ÂQM»ÊπÂÈÕÔ»ÂÈ.
46
 “ (¶»Â¢«Â¬Âͅ»ʫ …¬ÂÕÂ⁄∆ÂV»Â»ÂÈR «˘Ê¬Â≈ ÕÂ⁄√ÂËY å˘ËÕÂÈ¢∆¬ÊÇ«ÂQࢫÂ,
ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬Â ÕÔÊŒÈÈ‚ÂÈOãŒÈëY ±ã„Êö∑ òXËÕÂÈ«˘ÂZ¬Â ÜËÕÔ»Â
«Â‡Â¸»Â „ÊπÂÍ ö«ÊQM¢∆Âπ›‹Y√ÂÇ«Â êê«˘Â ¶Œ⁄ÕÂÈπ›»ÂÈR πÂȬÂÈã‚ÂÈÕÔÂÏ«Ò ≤¢«ÂÈ
{ÊI»ÂûÍËπÂ. ® «ÂÎôJíÈ¢«Â ÜËêŒÈÕÔ¬ ∑»ÂR√ ÕÔÊŒÈÈ‚ÂÈOãŒÈëY ìÂÈÕÔÂ,
ÕÂÈ«˘ÊZºÊŒÈ¸¬Â»ÂÈR ∑Èà∆ …ÂX«˘˚ÂÕÂÈ …«ÂWÕÔ»RË πÂÕÂÈç‚ÂÄÂÈ«ÂÈ.
%≥¢% òXË ê·ÂÈN …ʫ«Âë ç·KíÈ¡J ¶»Â¢«ÂãË«˘˚¸ πÂȬÂÈÕÔ
ÕÂÈÍ£ÛË∑«ÂëY ¶ºÊŒÈ¸ …«Âê …Â√«Â¢«˘˚ zÊW∆ …ÂXü˘ÂÈÕÔ
∆ÂÕÔÂ…Ê«Â …«ÂV¬Âæ »ÂÕÂÈV …ÊÕÔÂçö …̬ŒÈüÒ∑È êü˘ÂÈÕÔ.
∆j‹ÛË∑W…ÂÌæW ü˘Ê¬ÂãŒÈÈ ¬ÂÕÂÈä ‡Â¬Â墫ÂÈ »ÂπŒÈ èËà
∆ÂÕÔÂ…Ê«Â …«ÂV«Âë éXËã ü˘ÂÄO ∆ÂÛËà«Â›ÂÈ Ãúπ ‚Êà
¶ ÕÔ¢«ÂW ºÂ¬Â≈π› „Û›ÕÔ «˘ÂÍú …ÊÕÔ»Âx ‚ÂÈ‹ü˘Â «Êà. (…Â.–)
"¶»Â¢«ÂãË«˘˚¸# آà »ÊÕÂÈÕÔÂÏ ÕÂÈ«˘ÂZàπ êò·ÂJÕÔÊ«Â „‚¬ÂÈ. ÕÂÈ«˘ÂZ‡Ê‚Ân«ÂëY
yÊ≈ÈÕÔ¢«˘˚ ¶»Â¢«Â êÈËÕÂ⁄¢‚ üÒ¬ëYŒÈÍ öπÂÈÕÔÂÏå‹Y. ® ¶»Â¢«Â êÈËÕÂ⁄¢‚ŒÈ»ÂÈR
‚ÂàŒ⁄Ç •«˘˚Ú¸ö ÛÂöxÛ¢√¬ ¶«˘ÂÈç∑ ‚Êõ∆ÂW „ÊπÂÍ êÕÂȇʸ‡Ê‚Ân«Â ‚Â∆ÂZÕÔÒ
ÕÂÈÍ‹ü˘ÂÍ∆ ë£ÊÕÔÂ} „Û¢«ÂÈÕÔÂÏ«ÂÈ. ü˘Ê¬ÂãËŒÈ ¬Â‚Âö«ÊQM¢∆« „Û‚Â ¶Œ⁄ÕÂÈ
πÛ˺Âà‚ÂÈÕÔÂÕÔÂÏ. yÊÕÔÂW«Â ÕÈË£VŒÈ»ÂÈR πÂȬÂÈã‚Â‹È ¶»Â¢«Â …ÂXãËãŒÈ ÕÈË£VŒÈ»ÂÈR
πÂȬÂÈã‚ÂüÒx¢«ÂÈ òXË üÒ¢«XŒÈÕÔ¬ÂÈ ∆ÂÕÂÈV ""‚Êõ∆ÂW«Â ê¬Ê|˜Ô ‚ÂZ¬ÂÍ…ÂÂ## πÂX¢«˘˚«ÂëY
(…ÂÏ.“–‘) …ÂXã…Êåö«ÊQ¬. ÕÂÈ«˘ÂZ‡Ê‚ÂnÕÔÂÏ „Ò›ÂÈÕÔ "¶»Â¢«Â ∆ʬÂ∆ÂÕÂÈW# ÕÔ»ÂÈR •«˘˚Ú¸‚«
"¶»Â¢«Â …ÂXãËãŒÈ ÕÈË£V#ŒÈ»ÂÈR ‚ÂÕÂÈπÂXÕÔÊÇ πÂXõ‚Â‹È ‚Ê«˘ÂWê‹Y.
¶»Â¢«ÂÕÔÂÏ "ãË«˘˚¸#ÕÔÊπÂÈÕÔÂÏ«ÂÈ „Òπ? ÕÔҫ« ÕÂÈ«˘ÂÈê«W, ‚ÊÄ\πÛ˺¬ÂÕÔÊπÂÈÕÔÂ
"ÕÂÈ«˘ÂZ# آà {ÊI»Ê»Â¢«Â, yÊÕÔÂW«Â "¬Â‚Â# ∆Â∆ÂZπ› ‚¢â«˘ÂÕÔÒ»ÂÈ? ® êÕÔҺ»π
ÕÂ⁄«˘ÂZ …¢â∆Â¬Ò ÕÂÈÈ¢«ÊπÂüÒyÊÇ«.
"‚ÂÈÕÂÈ«˘ÂZ êæŒÈ#ÕÔÂÏ òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬Â ÜËÕÔ» «Â‡Â¸»Â „ÊπÂÍ ºÂà∆XŒÈ
…ÊXÕÂ⁄ä∑ πÂX¢«˘˚ÂÕÔÊÇ«ÂÈQ •«Â¬Â …ÂXãûÍ¢«ÂÈ ‚Âπ¸ÕÔÂÌ ""¶»Â¢«Ê¢∑##ÕÔ¢«ÂÈ
ÕÔÂä¸∆ÂÕÔÊǬÂÈÕÔÂÏ«ÂÈ •«˘˚¸…ÂÌ≈¸. ® πÂX¢«˘˚Â∑∆Âθ - »Ê¬ÊŒÈ≈ …¢â∆ʺʌȸ¬ÂÈ,
"¶»Â¢«Â ãË«˘˚¸# „‚Âà»Â ‚Ê«˘˚¸∑∆ŒÈ»ÂÈR ÄÂÈ ‚ÂÈ¢«Â¬ÂÕÔÊÇ ÕÔÂä¸ö«ÊQ¬ -
¶»Â¢«Â ¬Âͅ‚ÂW …¬‚ÂW …Ê∆ÂXå˘Ë
¬Ê»Â¢«Â ‚¢«ÊŒÈ ‚ÂȇʂÂn ∑Î∆˜Ô‚ÂŒÈ∆˜
¶»Â¢«ÂãË«˘˚¸Ëã …Â«Â¢ πÂȬÂÍå∆¢
Ãü˘ÂÍÕÔ ∆‚ÊW∆ÂW»ÂȬÂÍ…Â ¬ÂÍ…Â∑¢ (‚Âπ¸Â - ’ …«ÂW - “)
47
(ÕÂÈÈÄOûÍËπÂW ÜËêπ›Â) ‚ÂZ¬Âͅʻ¢«Â …ÊXéOπ ‚Ê«Â̆»ÂÕÊÔ «Â ‚ÂȇʂÂn ¬ÂÑ‚ÂÈÕÔÂÕÂ¬Ô Ê«ÂQࢫÂ,
òXË ÕÂÈ«˘ÊZºÊ¬ÂWàπ •ÕÔ¬ πÂȬÂÈπ›ÂÈ "¶»Â¢«ÂãË«˘˚¸#¬¢«ÂÈ »ÊÕÂÈ∑¬Â≈ ÕÂ⁄â«ÂÈQ •∆ÂW¢∆Â
•»ÂȬÂÍ…ÂÕÔÊÇ«)
õËπ, "ÕÔÊŒÈÈ‚ÂÈOã# ŒÈëY ìÂÈÕÔ ≤¢«Û¢«ÂÈ …«Âπ› õ¢« •…ʬÂÕÔÊ«Â
‡Ê‚Ân …ÂXÕÈËŒÈπ›ÂÈ •√ÂÇ«ÂÈQ ç¬Â¢∆¬ Ü{ÊI‚íÈ¢«Â ¶ …«Âπ›ÂÈ ∆ÂÕÂÈV •«˘˚¸‡ÂÄOŒÈ»ÂÈR
…ÂXyʇÂπÛú‚ÂÈ∆ÂOÕÔ. ® õ»R£ŒÈëYûÈË üÒ¢«XŒÈÕÔ¬ÂÈ „Ò›ÂÈÕÔ -
¶»Â¢«ÂãË«˘˚¸«ÂëY êÈ¢«Â ÕÂÈ«˘ÂZ •…ʬÂ
- آà ÕÂ⁄∆ÂÈ ÜËÕÔ¢∆ ∆Â∆ÂZ«˘ÂZçŒ⁄Ç«.
® ÕÂÈÈ»ÂÈRâŒÈ …ÂàêÈ∆ÊÕÔÂyʇ«ÂëY, ÕÂ⁄«ÂàπÊÇ ß»ÛR¢«ÂÈ •¢‡ÂÕÔ»ÂÈR
‚¢Ä\…ÂOÕÔÊÇ πÂÕÂÈç‚ÂÄÂÈ«ÂÈ. ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ, ÕÂÈ«˘ÊZºÊŒÈ¸¬Â …Ê«Âπ›ÂÈ
∆ÂÕÂÈV»ÂÈR …ÂêãXË∑à‚Âë Ø¢«ÂÈ xÒÕÔ‹ πÂȬÂÈü˘ÂÄOŒÈ ü˘ÊÕÔ…¬ÂÕÔ‡Â∆íÈ¢«Â „Ò›ÂÈÕÔÂÏå‹Y.
ÕÔÊŒÈÈ«ÒÕÔ¬ÂÈ ‚¢ºÂà‚ÂÈ∆ÂO£Ò ‚ÂÕÂÈ‚ÂO¬Â»ÂÍR …ÂêãXË∑à‚ÂÈÕÔÂÏ«Âࢫ "ŒÈæI# »ÊÕÂÈ∑¬ÊÇ«ÊQ¬
Ø¢«ÂÈ Ω¯Ê¢«ÛËπÂW ©…Âç·Â∆ÂÈO „Ò›ÂÈ∆ÂO«.
∞·Â „ ÕÔÚ ŒÈ{ÛIË ûÍËsŒÈ¢ …ÂÕÔÂ∆Ò$
∞·Â ŒÈ»˜Ô ߫¢ ‚ÂÕÔ¸¢ …ÂÏ»Êã$
ŒÈ«Ò·Â ŒÈ»˜Ô ߫¢ ‚ÂÕÔ¸¢ …ÂÏ»Êã
∆‚ÊV«Ò·Â ∞ÕÔ ŒÈæI—$
∆‚ÂW ÕÂȻ‡ÂE ÕÔÊy˜Ô ºÂ ÕÔÂ∆¸çË$
∆ÂûÍˬ»ÂW∆¬ʢ ÕÂÈ»Â‚Ê ‚¢‚Â@¬ÛËã ÃX„ÊV$
ÕÔÊºÊ „ÛË∆Ê •«˘ÂZŒÈȸ¬ÂÈ«ÊB∆Ê •»ÂW∆¬ʢ$
(-Ω¯Ê¢«ÛËπÂW ‘.–◊.–-“)
(Œ⁄ÕÔ»ÂÈ èË‚ÂÈ∆ÊO»ûÍË (…ÂÕÔÂ∆Â) ßÕÔÂ»Ò (ÕÔÊŒÈÈÕÔÒ) ŒÈæI. ßÕÔ»Ò
‚¢ºÂà‚ÂÈ∆ÂO ß«‹YÕÔ»ÂÍR …Âê∆ÂXπÛú‚ÂÈ∆ÊO». ßÕÔ»ÂÈ ‚¢ºÂà‚ÂÈ∆ÂO ß«‹YÕÔ»ÂÍR
…Âê∆ÂXπÛú‚ÂÈÕÔÂÏ«Âࢫ ßÕÔÂ»Ò ŒÈæI. ® ÕÔÊŒÈÈ «ÒÕÔ¬ …Ê«Âπ›ÂÈ uÈãZ∑È@π› ÕÂȻ‚ÂÈ]
ÕÂÈ∆ÂÈO ÕÔÊÇË¢åXŒÈπ›ÂëYÕÔ. (ŒÈæI«ÂëY) ÃX„ÊV آà uÈãZæ»ÂÈ ÕÂÈ»Âö]»ÂëY¬ÂÈÕÔÂ
Ë …Ê«ÂÕÔ»ÂÈR Õ¤ı»Â墫 …ÂÌÜ‚ÂÈ∆ÊO». „ÛË∆Ê, •«˘ÂZŒÈȸ „ÊπÂÍ ©«ÊB∆ÂÎ-
آà uÈãZæ¬ÂÈ Ø√ …Ê«ÂÕÔ»ÂÈR ÕÂÈ¢∆ÛX˺ÊE¬Â}ŒÈ ÕÂÈÍ‹∑ …ÂÌÜ‚ÂÈ∆ÊO¬.)
48
 ” xÚπ¡È∑«Â ¶«˘ÊWãV∑∆, „ÊπÂÍ xÛ›ŒÈ xÛ›ÂÕÔʫ ëÂÈ∑Èπ› ÕÂÈ«˘W,
"òXË ÕÂÈ«ÊZŒÈÈ‚ÂÈOã#ŒÈëY ÕÂÈÍ‹∆— ãXê∑XÕÂ⁄ºÊŒÈ¸à¢«Â ‘– ‡ÛYË∑π›ÂÍ,
òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬Ò ¬ÂÑö«Â¬»ÂR£Ê«Â …ÊX¬Â¢ü˘Â«Â جÂ√ÂÈ ‚ÛOË∆ÂXπ›ÂÍ ‚Òà ≤¡ÈJ
‘” ‡ÛYË∑π›È ¢¡È. ® …ÂXö«ÂQM ÕÔÊŒÈÈ ‚ÂÈOãûÍ¢åπ ÕÂ⁄«Â̆Z üÂ̆∑O¬ÂÈ "Å‹ÕÔÊŒÈÈ‚ÂÈOã#ûÈ¢Ã
„‚Âà»ÂëY¬ÂÈÕÔ ‚ÂÈÕÂ⁄¬ÂÈ “” ‡ÛYË∑π›»ÂÈR …Âà˙‚ÂÈÕÔ ‚¢…ÂX«ÊŒÈ ©¢¡È. (ÜËê, ®
ü˘ÊπÂÕÔ»ÂÈR •»ÂÈÕÔÊåö‹Y.)
"…ÊX≈# ‡ÂÃQÕÔÂÏ ÕÂÈÈzÊW«˘˚¸«ÂëY òXË„Âà ¬ÂÍé …Â¬ÂÃX„ÂV»Â»RË „Ò›ÂÈÕÔÂÏ«¢«ÂÈ
ÃX„ÂV‚ÂÍ∆ÂXπ›ÂëY üÂ̆πÂÕÊÔ »˜Ô ÕÔÒ«ÂÕÊÔ W‚¬ÂÈ ç≈¸íÈö«ÊQ¬. ‚ÊÕÂ⁄»ÂWÕÔÊ«Â …¢ºÂüÂ̆Í∆Âπ›ÂëY
≤¢«Ê«Â - ÕÔÊŒÈÈ, •«˘ÂÕÂÈ …ÊX≈»ÊÇ«ÊQ». ® «ÂÎôJíÈ¢«Â ÕÂÈÈ∏W…ÊX≈»¢«ÂÈ
„‚¬ʫ ÕÔÊŒÈÈ «ÒÕÔ¬ÂÈ "ÕÂÈ«˘ÂWÕÂÈ …ÊX≈#¬ÊÇ«ÊQ¬. ® •«˘˚¸«ÂëYûÈË è˘ËÕÂÈ «ÒÕÔÂàπ
"ÕÂÈ«˘ÂW…ÊX≈#»¢«ÂÈ „‚Âà«.
® õ»R£ŒÈëY ÕÔÊŒÈÈ‚ÂÈOãπ ÕÍ«Â‹È òXË ‹Ä\VË»ÂÎö¢„ ‚ÂÈOãŒÈ»ÂÈR òXË
ÕÂÈ«˘ÂZ¬ÂÈ ¬ÂÑö ‚Òàö«ÂÈQ •«˘˚¸πÂè˘¸∆ÂÕÔÊÇ«. („Âà - Ø¢«Â¬, ö¢„Â, ∑é, •‡ÂZ,
…ÊX≈, ‚Â͌ȸ Ø¢«ÂÍ •«˘˚¸ÕÔÂÏ¢¡È.)
ÕÔÊŒÈÈ‚ÂÈOãŒÈ ‘– …«ÂWπ›ÂëY „»ÂÈÕÂÈ, è˘ËÕÂÈ, ÕÂÈ«˘ÂZ¬Â •ÕÔÂ∆ʬ ‚ÂZ¬ÂÍ…Â,
yʌȸ ÕÔÚò·ÂJW, •ÕÔ¬ÂëY¬ÂÈÕÔ "ÕÂÈÈ∏W …ÊX≈∆Â∆ÂZ# ‚ÂS¬ÂÍ…Âπ›»ÂÈR ∑êπ›ÂÈ ÕÔÂ丂ÂÈ∆ÂO,
„{G „{Gπ •ÕÔ¬ ÜËÕÔÌË∆ÂOÕÂÈ∆ÂZÕÔ»ÂÍR ‚ÂÕÂ¸Ô æI∆ÂZ, ¶»Â¢«Â Ë∆ÂZπ›»ÂÈR ‚ÂS·ÂJ …Ââ‚ÂÈ∆ÊO¬.
òXË •¬Âꢫ¬ÂÈ Super Mind - ê{ÊI»ÂÕÂÈŒÈ ∆Â∆ÂOZ - Ø¢«ÂÈ „Ò›ÂÈÕÔ ÕÂÈÈ∏W…ÊX≈»ÂÈ,
‚ÂÕÔ¸«ÒÕÔÂ∆πÂúπÂÍ, •å˘ÕÂ⁄»Â‚ ‚ÂZπ¸, (over mind) „ÊπÂÍ •…¬ÛËÄ\∑Î∆ ÕÂÈ»Âö]»Â
(Spiritualised mind) ‡ÂÄOπÂúπÂÍ öP¬ÂÕÔÊ«Â »£ûÍ«ÂÇ‚ÂÈ∆ÊO». Ω¯Ê¢«˘ÛËπÂW „ÊπÂÍ
Ã΄«ʬÂ≈W∑ ©…Âç·Â∆ÂÈOπ›ÂÈ, ÕÂÈÈ∏W…ÊX≈»Ò «ÒÕÔÂ∆π›»ÂÈR ÕÂÈÎ∆ÂÈWê碫 …ʬÂÈ ÕÂ⁄â
¶∏}ʇÂV»Ê«Â»¢«ÂÈ „‚¬ÊǬÂÈÕÔ«»ÂÈR ÃäNöÕÔ. ® ÕÂÈÈ»ÂÈRâŒÈ …ÊX¬Â¢ü˘Â«Â
•ÕÔÂ∆Âàäxπ›»ÂÈR ® «ÂÎôJíÈ¢«Â πÂÕÂÈç‚ÂüÒ∑È.
ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ, òXË ÕÂÈ«˘ÂZ¬Â»ÂÈR, ‚ÂÕÔ¸«ÒÕÔÂ∆ʂ¢…ÂÌæW¬¢«ÂÈ
‚ÂÈOã‚ÂÈÕÔÂÏ«ÂÈ ÕÔҫ‚Â∆ÂWÕÔÊÇ«ŒÈ‹Y«, xÒÕÔ‹ ‚ÂZπÂȬÂÈ „πÂBúxŒÈ‹Y. yÊÕÔÂWÕÂÈŒÈ
•‹¢yʬÂπ› „Û›Âé»ÂëY ® ‚Â∆ÂW ∑≈V¬Œ⁄πÂüʬ«ÂÈ.
„Âà ‚ÒÕÔŒÈ¢∆ πÂȬÂÈ ‚ÒÕÔπÚûÈ …¬ÂÕÍË∆Ê]„Â墫Â
«ÒÕÔÂ∆π›‹Y å¡ ÕÂÈÈ∑O¬Ê«Â¬Â{ÊI»Â ∆ÂÕÂÈö碫Â
…ÊX{ÊI∆ÂV{ÊI»ÂÕÔ»ÂÈR …Â√«Â¬Âå˘∑ πÂȬÂÈ…Ê«Â ‚ÒÕÔíÈ¢«Â
•ãü˘ÂÄOíÈ¢«Â ©«XË∑πÛ¢√ÂÈ …Ê«ÂÈxπ ∆£ŒÈç√‹È
»ÂÕÔ¬Â∆ÂR ∏Ñ∆ „Û»˜ÔÕÂÈÈ∑È¡ ∫§áJ‚Â‹È ∑»Â∑ ¬ÂæÕÔÂÏ Ã¬Â‹È
„Û¢«˘ÂÍú {Û∆π πÂȬÂȺ¬Â≈ «˘ÂÍú »ÂÕÂÈV»ÂÈR ¬ÂÄ\ö¬Â‹È (…Â.“)
49
{ÛWËãÕÂȸŒÈ ‚Ò∆ÂÈÕÔŒ⁄«Â ÕÂÈÈ∏W…ÊX≈ ∆Â∆ÂZ«Â‡Â¸»Â çËâ«ÂÕÔ¬ÂÈ òXËÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ.
•«ÂÈ •ÕÔ¬ ‚ÂZ¬ÂÍ…Â. …Âê∆ÂX π¢πŒÈ»RË ÕÂÈë»ÂπÛúö«Â ºÂ¬Â¢âπ› çËà»Â¢∆, ÜËêπ›Â
ÜËÕÔ Â » Êâπ ›  »  R ‹Y æ»ÊV¢∆ ¬  «  «Â È ·Â J ‚ ¢ ‚Ê@¬Â π  › Â È ∑‹Èô∆ π Ûú‚Â È ∆ O ÕÔ  .
«ÂÈû͸˫˘Â»Êåπ›ÂÈ, ® «ÂÈÕÔʸ‚Â»Ê ‚¢xÒ∆Âπ›ÊÇ«ÊQ¬. è˘ËÕÂȂһ «ÒÕÔ¬ÂÈ ß¢«˘˚Â
«ÂÈ·ÂJ ÜËêπ› ™¬ÂÍü˘Â¢π ÕÂ⁄â «˘ÂÕÂȸºÚ∆»ÂW«Â êæŒÈ «ÂÈ¢«ÂÈè˘ ÕÍ›ÂÇ‚ÂÈ∆ÊO¬.
ߢ«˘˚ è˘ËÕÂÈ …ÂX{Iπ •è˘ÕÔÂWÄO çËâ«Â ‚ÂZ∆— è˘ËÕÂ⁄ÕÔÂ∆Êàπ›ʫ òXËÕÂȫʻ¢«ÂãË«˘˚¸¬Â»ÂÈR
∑»ÂR√ »Ê√ÂÈ-ÕÂ⁄»ÂÕÔÂ∆-ß»ÂÍR •à∆ÂÈxÛ›Â_üÒyÊÇ«. ∑»ÂR√ ü˘Ê·ŒÈëY …¢…Âü˘Ê¬Â∆Â,
¬Â»ÂRπ«ʌÈÈ«ÂQM, ∑ÈÕÂ⁄¬ÂÕÔÊW‚ ü˘Ê¬Â∆Âπݢ«˘˚ ÕÂÈ„Â∆ÂO¬Â yÊÕÔÂW∑Îãπ›ÂÈ ¬ÂÑ∆ÂÕÔÊÇ«ÂQ¬ÂÍ,
è˘ËÕÂÈ∆Â∆ÂZ«Â ÕÂÈõÕÈ, ÕÂÈ«˘ÂWÕÂÈ …ÊX≈»Â ¬Â„‚ÂW, ‚ıπ¢å˘yÊ …ÂÏ·ÂS«Â ‚Ê¢xÒã∑∆π›ÂÈ
•«˘˚¸ÕÂ⁄âxÛ›Â_‹È ∑»ÂR√ êÕÂȇ¸∑¬ÂÈ •‚ÂÕÂÈ«˘˚¸¬ÊÇ«ÊQ¬. «ÂÈû͸˫˘Â»Â»Â»ÂÈR
"ÕÂÈ„Ê»ÂÈü˘ÊÕÔÂ# »Â»ÊRÇö, è˘ËÕÂÈ«ÒÕÔ¬»ÂÈR "„ÂÈ¢Ã# »¢«ÂÈ ÃäN‚ÂÈÕÔ „ÂÈ¢ÃπÂÈãOπ
áËx ìå«ÊQ¬. ® õ»R£ŒÈëY ÜËêŒÈ ‚ÂÍ∑\V ‡Âàˬ« xÛ›ŒÈ»R‹Y ãúπÛúö
ë¢π ‡Âàˬ üÂ̆¢πÂÕ⁄  √ÂÈÕÔ ÕÂÈ„Ê‚Â∆Z ÕÔÏ è˘ËÕÂÈ«ÒÕԬ «
 ¢ «ÂÈ ‚Êà«ÂÕ¬ÂÔ È òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ.
yÊ¢∆ «ıX…ÂåŒÈ õ¢« ÌȂ ‚ıπ¢«˘Â ∑È‚ÂÈÕÂÈ {Ê‹
∆Â¬Â‹È „Û¬Â|Êπ ÕÂ⁄π¸«ÂëY ∆Â√å∆ÂÈO „»ÂÈÕÂÈ üÊ‹
Ø∆ÂO£ÊπÂ«Ò ÕÔÂΫÂQM „»ÂÈÕÂÈ¬Ê åÕÔÂW ¬ÂÍ…ÂÕÔ»ÂÈR
∑¢√ÂÈ ü«Âà »ÂêÈö«Â»ÂÈ è˘ËÕÂÈ, ∆ÛËà«Â»ÂÈ ÄXË√ŒÈ»ÂÈR
…ÂÌ≈¸{ÊI»Âå¢ ∑Íâ«Â¢«˘˚ ¶»Â¢«ÂãË«˘˚¸ ߢ∆ÂÈ
ç»ÂR جÂ√ÂÈ •ÕÔÂ∆ʬ ëË£ •æIàπ ÕÍË„Â ∆¢∆ÂÈ (…Â.“fi)
ßëY •{ÊIçπÂúπ ÕÍË„Â „ÂÈáJ‚‹È, è˘ËÕÂÈ «ÒÕÔ¬ÂÈ „»ÂÈÕÂÈ¢∆ «ÒÕÔÂàπ
ü«Âà«Â¢∆ »Âáö«ÂÈQ ≤¢«ÂÈ ëË£ آà ü˘ÊÕÔ ÕÂÈÈ∏WÕÔÊÇ«. ÕÂÈ«˘ÂZ«Â‡Â¸»Â«ÂëY, ü˘ÂπÂÕÂ¢Ô ∆»ÂÈ,
•{ÊIçπ›»ÂÍR, «ÂÈ·ÂJ ¶‚ÂÈàË ºÒ∆»Âπ›»ÂÍR, ©«Qˇ…ÂÌÕÔ¸∑ÕÔÊÇ ÕÍË„ÂπÛú‚ÂÈÕÔÂÏ«ÂÈ
≤¢«ÂÈ ÕÂÈÈ∏W …ÂXÕÈËŒÈÕÔÒ ¶Ç«. …¬ÂÕÂ⁄∆ÂV»ÂëY ‚ÂÎôJ, öPã, ‚¢„ʬÂ, ¶ÕÔÂÎã, {ÊI»Â,
•{ÊI»Â, ⫢ ÕÍË∑\π›¢Ã •·ÂJ‡ÂÄOπÂú«ÂÈQ, •ÕÔÂÏπ›ÂëY •{ÊI»Â, ⫢Â, ¶ÕÔÂÎã
آà ‡ÂÄOπ›ÂÍ ß¬ÂÈÕÔÂϫ»ÂÈR òXË ÕÂÈ«˘ÂZ¬ÂÈ ÃX„ÂV ‚ÂÍ∆ÂXü˘Ê·ÂW«ÂëY ØãO „Ò›ÂÈ∆ÊO¬.
® õ»R£ŒÈëY ‚ıπ¢å˘yÊ …ÂÏ·ÂS «Û¬ÂÄ‚ÂÈÕÔ ‚ÂçRÕÔÒ‡ÂÕÂÔ»ÂÈR êÕÂȇ¸∑¬ÂÈ πÂÕÂÈç‚ÂüÒyÊÇ«.
è˘ËÕÂȂһ ‚ÂÕÍË»ÊöO ‚Ò»ÂûÍˬÂÈü˘ÂûÍËs¬Âé
…Ê¢â∆W˺ …¡È∆Z˺ ‡ÂͬÂ∆Z˺ ãÒéºÂ (-Å‹ÕÔÊŒÈÈ‚ÂÈOã)
(è˘ËÕÂȂһ»¢∆ yı¬ÂÕÔ …Ê¢√ÂÕÔ¬ ‚Ú»ÂWπ›ÂëY, …Ê¢â∆ÂW, …¡È∆ÂZ, ‡ÂͬÂ∆ÂZ
Ëπ›ÂëY ‚ÂÕÂ⁄»Â¬Ê«ÂÕÔ¬ÂÈ Œ⁄¬ÂÍ ß¬Âë‹Y)
50
 ‘ ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÍ ∆ÂÕÂÈV ÕÔÊŒÈÈ‚ÂÈOãŒÈëY ÕÔÒ«ÂÕÊÔ W‚¬»ÂÈR ê‡Ò·ÂÕÊÔ Ç
òXÕÂÈ«˘ÂZ¬ÂÈ, ÕÔÊW‚«ÒÕÔ¬»ÂÈR òXË ∑ηÂN …¬ÂÕÂ⁄∆ÂV碫 •è˘»ÂR¬¢«ÂÈ ©…Êöö,
ÔÕÔÊWzÊWçö«ÂÈQ ß»ÛR¢«ÂÈ ê‡Ò·Â ‚¢πÂã. è˘ËÕÂȂһ «ÒÕÔ¬ÂëY ® •∏¢√ …ÂX{I
ß∆O¢«ÂÈ òXËÕÂÈ«ÊZŒÈÈ‚ÂÈOã ÃäN‚ÂÈ∆ÂO«.-
çæ ÕÔÊW‚Â∑ηÂN¬Âë ü˘Ò«Âê‹Y åZÕÔº» ∞∑»ÊÕÂÈ
ßÕÔÂàÃU¬Â»ÂÈR ‚Òê‚Â‹È Ã¢«Â ∑ȬÂÈÕÔ¢‡Â ‚ÛËÕÂÈ è˘ËÕÂÈ
èÔú ∑ÕÂÈ‹«Â¢∆ ‡ÛËè˘‚ÂÈÕÔ ∑≈ÈN …Â√å¬ÂÈÕÔ ç»Âπ »ÂÕÂÈ»Â
ç∆ ü˘Â∑O æ»Â¬Â ‚Âà ûÍËπÂx\ËÕÂÈ πÚŒÈÈÕÔÂÕÔÂÏ çÕÂÈV ºÂ¬Â≈. (…Â.“◊)
ÕÂÈ„Êü˘Ê¬Â∆«ÂëY, ÕÔÒ«ÂÕÔÊW‚¬»ÂÍR, òXË∑ηÂN»Â»ÂÍR ∞∑¬Âͅ«ÂëY ‚Òê‚‹È
è˘ËÕÂ⁄ÕÔÂ∆ʬÂÕÔÊÇ« آà êÕÔÒ∑ÕÔÂÏ xÒÕÔ‹ ÕÂ⁄«˘ÂZ ‚¢…ÂX«ÊŒÈ«ÂëY Ø«ÂÈQ yÊ≈È∆ÂO«.
ÕÔÒ«ÂÕÔÊW‚ „ÊπÂÍ òXË ∑ηÂN¬Â •∏¢√Â∆ÂZ«Â «Â‡Â¸»Â«Â õ¢« ÃX„ÂV‚ÂÍ∆ÂX«Â "ÃX„ÂV#
‡ÂÃQ«Â ÕÔÊWzÊW»ÂÕÔÒ •√ÂÇ«.
»Ê¬ÊŒÈ≈¢ πÂÈ}Ú— ‚ÂÕÔÚ¸—
©åË≈¸¢ «ÛË·Â ÕÔÂܸ∆ÂÕ¤˜Ô
{IˌȢ πÂÕÂÈW¢ πÂȬÂÍ¢‡ÊEé
»Â∆ÊZ ‚ÂÍ∆ÊX«˘˚¸ ©ºÂW∆Ò
(‚ÂÕÂÈ‚ÂO πÂÈ≈ …Âà…ÂÌ≈¸»ÂÍ, «ÛË·Â ÕÔÂܸ∆»ÂÍ {IˌȻÂÍ πÂÕÂÈW»ÂÍ
¶«Â »Ê¬ÊŒÈ≈çπ ÕÂÈ∆ÂÍO (πÂȬÂÍ»˜ÔºÂ•é) πÂȬÂÈêπÂÍ »ÂÕÂÈ‚Â@àö ‚ÂÍ∆ÊX«˘˚¸
„қ‹S√ÂÈ∆ÂO«)
òXË ÕÂÈ«˘ÂZ¬Â ® ‡ÛYËyÊ«˘˚¸ÕÔ»ÂÈR êÕÔÂà‚ÂÈ∆ÂO, òXË æŒÈãË«˘˚¸¬ÂÈ "πÂȬÂÍ»˜ÔºÂ
•é# آà …«Âπ›ÂëYŒÈ "•é# ‡ÂÃQÕÔÂÏ πÂȬÂÈ „ÊπÂÍ ü˘ÂπÂÕÔ¢∆¬ÂëYŒÈ •è˘»ÂR∆ŒÈ»ÂÈR
‚ÂÍÑ‚ÂÈÕÔÂÏ«¢«ÂÈ „Òú«ÊQ¬.
‚ÂZ‚ÂW πÂȬÂÈ«ÒÕÔÂ∆Ê ü˘Ò«Ò •¬ÂÈÑ¢
‚ÂͺŒÈã •é …Â«Ò»Â
ŒÈ«ÂWé πÂȬÂÈ— »Â «ÒÕÔÂ∆Êè˘»ÂR—
∆«˘˚Êé ê‡Ò·Ê»ÂÈπÂX„Ê«˘˚¸¢
…ÂΫ˘˚ªRÕÂÈã (-∆Â∆ÂZ…ÂXyÊòyÊ)
("•é# …«Â墫 ∆ÂÕÂÈV πÂȬÂÈ ÕÂÈ∆ÂÈO «ÒÕÔÂ∆π›ÂëY ü˘Ò«ÂÕÔ»Rä‚ÂÈÕÔ Ãππ
•¬ÂÈÑ ß¬ÂÈÕÔÂϫ»ÂÈR ‚ÂÍÑ‚ÂÈ∆ÊO¬. πÂȬÂÈ «ÒÕÔÂ∆π›ÂëY •è˘»ÂR∆ ß«ÂQ¬ÂÍ
ê‡Ò·Ê»ÂÈπÂX„ÂyÊ@Ç üÒ¬ »ÂÕÂÈ‚Â@à‚ÂÈ∆ÊO¬.)
51
جÂ√ÂÈ ‡ÛYË∑πÂú¢«Â ‚ÂÈOãö, •ÕÔ¬ ü˘ÂπÂÕÔÂ∆Â]Z¬ÂÍ…ÂÕÔ»ÂÍR •ÕÔ¬ •ÕÔÂ∆ʬ yʌȸ«Â
ÕÔÚò·ÂJWÕÔ»ÂÍR ÔÕÔÂä¸ö«ÊQ¬.
ü˘ÊêÃX„ÂV¬Ê«Â ÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ ‚ÂæG»Â¬Â ÕͬŒÈ»ÂÈR xÒú »Ê¬ÊŒÈ≈»Â»ÂÈR
…ÊXå˘˚¸ö«Êπ ¶∆»Ò-
…¬ʇ¬» ‚Âã ‚Â∆ÂWÕÔÂãŒÈëY ÕÔÊW‚»ÊÇ Ã¢«Â
«Ò„Â墫‹Y, {ÊI»Â {ÛWËã •ÕÔÂ∆ʬÂπÛ¢√ÂÈ ç¢«Â (…Â.”◊)
‚¢‚Âb∆ ÕÂÈÍ‹«ÂëY ÕÔÒ«ÂÕÔÊW‚¬ «Ò„ÂÕÔ»ÂÈR "Ñ»ÊV∆ÂX ÕÂÈÍã¸# Ø¢«ÂÈ ÕÔÂä¸ö,
•ÕÔ¬ «Ò„ÂÕÔÂÏ "…ÊX∑Î∆Â#ÕÔ‹YÕÔ¢«ÂÈ „Òú«ÊQ¬. …¬ÂÕÂ⁄∆ÂV»ÂÈ ‚ÊyÊ¬Â»Ò ç¬Êyʬ»Ë
Ø¢«ÂÈ «Û√ÂL ÕÔÊ«ÂêÕÔÊ«Âê«. ¶«Â¬ òXËÕÂÈ«˘ÂZ¬ÂÈ ® ÕÔÊ«ÂêÕÔÊ«Âx@ ÕÂÈ¢π› „Êâ«Â¬ÂÈ.
…¬ÂÕÂ⁄∆ÂV»ÂÈ ç¬Êyʬ»¢«Â¬, ‚Â∆ÂZ, ¬Âæ, ∆ÂÕÂÈπ›¢Ã πÂÈ≈ŒÈÈ∑OÕÔÊ«Â …ÂX∑ÎãíÈ¢«Ê«Â
‡Âàˬ ߋY«ÂÕÔ»ÂÍ •ÕÔÂW∑O»ÂÍ Ø¢«Â«˘˚¸. ‚Êyʬ»¢«Â¬ ∑¬ÂÈ}íÈ¢«Â …ÂX∑¡ÕÔÊπÂÈÕÔÂ
‚Â∆˜Ô,Ñ∆˜Ô, ¶»Â¢«Ê∆ÂV∑ πÂÈ≈ ‡ÂàËà Ø¢«Â«˘˚¸. tËæŒÈãË«˘˚¸¬ÂÍ ß«Ò ü˘ÊÕÔÂÕÔ»RË
∆Â∆ÂZ …ÂXyÊòxŒÈëY-
‡ÂÈ«ÊQM»Â¢«ÛˬÂÈ ‚¢ê«ÂÈQWãË ÄÂÈ£ı«ÊŒÈ¸ êˬÊWå «Ò„Â¢
(ÕÂÈÈ∑È¢«Â»ÂÈ) - ‡ÂÈ«ÂQM ¶»Â¢«Â, …ÂÌ≈¸{ÊI»Â, «ÂÈWã, Ë, •»Â¢∆ ¥«ÊŒÈ¸,
êˬÊWå (πÂÈ≈) «Ò„ÂÕÔÂÏ›Â_ÕÔ»ÂÈ.)
Ø¢«ÂÈ ÕÔÂä¸ö«ÊQ¬.
ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ "Ñ»ÊV∆ÂX ÕÂÈÍã¸# (xÒÕÔ‹ Ñ∆˜Ô-{ÊI»ÂÕÂÈÍã¸)
Ø¢«ÂÈ ÃäNö¬ÂÈÕÔÂϫ»ÂÈR ÜËêŒÈÕÔ¬ÂÈ "{ÊI»Â{ÛWËã •ÕÔÂ∆ʬÂπÛ¢√ÂÈ ç¢«Â# Ø¢«ÂÈ
∑»ÂRâö«ÊQ¬.
ߢ«˘˚ ѻÊV∆ÂX ÕÂÈÍ㸌⁄«Â ÕÔÒ«ÂÕÔÊW‚¬ÂÈ ü˘ÂπÂÕÔ¢∆»‹Y« ß»ÊR¬ÂÍ •‹YÕÔ¢«ÂÈ
ß»ÛR¢«ÂÈ ‡ÛYË∑«Â ÕÂÈÍ‹∑ ‚ÂÈOã‚ÂÈ∆ÂO, •ÕÔ¬ •ÕÔÂ∆ʬ yʌȸ«Â ÕÔÚò·ÂJWÕÔ»ÂÈR
ãXê∑XÕÂ⁄ºÊŒÈ¸¬ÂÈ ‚ÂS·ÂJπÛú‚ÂÈ∆ÊO¬.-
¬Â∆ÂR¬ÊòŒÈ»ÂÈ ∑ȬÂÈ√ÂÈ æ»Â¬ÂÈ ∆Â…ÊSÇ ºÂíÈ‚ÂÈÕÔ¢∆
•«˘ÂÕÂÈ æ»Â¬ÂÈ ÕÔÒ«Ê«˘˚¸ÕÔ»ÂÈR ∆Â…ÊSÇ πÂXõ‚, •¢∆
∆Ê» ÕÂÈÍ‹πÂȬÂÈ ÕÔÒ«ÂÕÔÊW‚ ‚ÂæG»Â¬Â õ∆ÂÕÔ ÌÈö
‡ÂÈXãŒÈ ‚Âà •«˘˚¸ æπÂx ãúö«Â»ÂÈ ÃX„ÂV‚ÂÍ∆ÂX ¬ÂÑö
ÕÂÈÈ∏W…ÊX≈»Ê ∑Î…ŒÈ Ë墫 ÕÔÊW‚¬»ÂÈR ü˘ÂÜ…
{ÊI»Â‹è˘‚ πÂȬÂÈ ÕÔÊW‚¬»ÂÈR …ÂXãç∆ÂW »Ê»ÂÈ »ÂêÈ… (…Â. ”fi)
52
 (∑ȬÂÈ√¬ÂÈ ¬Â∆ÂR¬ÊòŒÈ»ÂÈR •‚ÂOÕÔÂW‚ÂOÕÔÊÇ …ÌËä‚ÂÈÕÔ¢∆ •«˘ÂÕÂÈ-•{ÊIçπ›ÂÈ …¬ÂÕÈˇÂZ¬Â ü˘ÂÄO»Ê¸ÕÂÈ
ÕÔÒ«Ê«˘˚¸ÕÔ»ÂÈR ê…ÂàË∆ÂÕÔÊÇ πÂXõö«ÊπÂ, ∆ÊÕÔÒ ÕÂÈÍ‹πÂȬÂÈÕÔÊ«Â (πÂÈ≈πÂ≈ ç¬ÂÕÔÂå˘yʻ¢∆Ê»ÂÕÔ«ÂW ∑£ÊW≈ πÂÈ≈∆ÂZ
狌ȬʫÂ) ÕÔÒ«ÂÕÔÊW‚¬ÂÈ, ‚ÂæG»Â¬Â õ∆ ÌÈö ‡ÂÈXãŒÈ •«˘˚¸ÕÔ»ÂÈR {ÊI»Â…ÂÌÕÔ¸∑—
ÃX„ÂV‚ÂÍ∆ÂXπ›»ÂÈR ¬ÂÑ‚ÂÈÕÔ ÕÂÈÍ‹∑ ãúö«Â¬ÂÈ. •¢«˘˚ ÕÔÒ«ÂÕÔÊW‚¬»ÂÈR, ‚ÊZ∆ÊVãVËŒÈ ‚ÂÕÂÈ‚ÂO ÕÔ‚ÂÈOü˘ÛWË •»Ò∑ πÂÈ}Êå˘xÛË
ÕÂÈÈ∏W…ÊX≈»Â ∑Î…ÊË墫 {ÊI»Â …ÊXéOπÊÇ ü˘ÂÜ‚ÂÈ∆ÂO »ÂêÈ‚ÂÈ∆OË».) •¢∆Â¬ÊŒÈ ‚„‚XË}Ê…ÂW…ÂXãëÛQMË
ç¬Â¢∆¬ …XËÕÂÈ …ÂXÕÔʄ—
ÕÂÈÍ‹ ‚¢‚Âb∆«ÂëY "πÂȬÂÈ∆ÂÕÂÈ¢ •πÂȬÂÈ¢ «ÒÕÔ«ÒÕÔ¢# Ø¢å¬ÂÈÕÔÂϫ»ÂÈR ÜËê,
"ÕÂÈÍ‹πÂȬÂÈ# Ø¢«ÂÈ ‚¢πÂX„Ê»ÂÈÕÔÊ«Â ÕÂ⁄â«ÊQ¬. ÕÂÈÍ‹«Â "•πÂȬÂÈ# Ø¢«Â¬ ∆»Âπ (òXË æŒÈãË«˘˚¸¬ÂÈ ∆ÂÕÂÈV "»ÊWŒÈ‚ÂÈ«˘Ê# πÂX¢«˘˚«ÂëY •»ÂÈ…ÂÕÂÈÕÔÊÇ, ü˘ÂÄOŒÈ
üÒ¬ Œ⁄¬ÂÍ πÂȬÂÈ ß‹Y«ÂÕÔ»ÂÈ •¢«Â¬ ê‡ÂZx@ ∆Ê»ÛÃU»Ò πÂȬÂÈ Ø¢«Â«˘˚¸. ‹∑\≈ÕÔ»ÂÈR õËπ êÕÔÂàö«ÊQ¬. -

ÕÂ⁄«˘ÂZ¬ÂëY ü˘ÂπÂÕÔÊ»˜Ô ÕÔÒ«ÂÕÔÊW‚¬ Ãππ ߬ÂÈÕÔ ã›ÂÈÕÔÂúx, ß»ÂÍR ‚ÊÕÔ¸ãX∑ÕÔÊÇ
… X ‚ʬ π ۛ _ üÒyÊÇ« . ∞x¢«Â ¬  ü˘ Ê ¬Â ∆  ì « Â È ∆ Π… O ¬Êπ «  , ÕÔ Ò «Â Õ Ô Ê W‚ ¬  È
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„ÛËπÂÈ∆ÂO«. òXË ∑ηÂN»ÂÈ ü˘ÂπÂÕÔ«ÂÕÔÂ∆ʬÂÕÔ¢«ÂÍ, ÕÔÒ«ÂÕÔÊW‚¬ÂÈ, "•…Ê¢∆¬Â∆ÂÕÂÈ#»¢Ã
uÈôŒÈ •ÕÔÂ∆ʬÂÕÔ¢«ÂÍ ∑‹S» ß«. ¶«Â¬ òXË ÕÂÈ«˘ÂZ¬ÂÈ uÈπÊUM·ÂW«ÂëY õËπ „Òú«ÊQ¬.-
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(„ÂیȫÂëY¬ÂÈÕÔ üʫ¬ʌÈ≈¬ÂÈ (ÕÔÒ«ÂÕÊÔ W‚¬ÂÈ) ≥¢yʬÂÕÒÔ ¶åŒ⁄ǬÂÈÕÔÂ
‚ÂÕÂÈ‚ÂO ê«Wπ›»ÂÈR Ø‹YàπÂÍ …XËà‚ÂÈ∆ÊO¬. •«Â¬ÂëYŒÈÍ ÃX„ÂV«ÒÕÔÂàπ
ÕÍ«Â‹È ©…«Òò‚ÂÈ∆ÊO¬. õËπ "‚Ê∆ÂZ∆ ‚¢õ∆# ãú‚ÂÈ∆ÂO«.)
’ ¬Êæ‚Â͌ȫÂë •‡ÂZÕÈË«˘Â«Âë ß∆ÂO „ÂêŒÈ ü˘ÊπÂ
tË ÕÂÈ«˘ÂZ ö«ÊQM¢∆«ÂëY «ZË·Âü˘ÂÄOπ ‚ÊP»Âê‹Y. ü˘Â∑O»ÂÈ ‚Â«Ê ü˘ÂπÂÕÔÂ∆˜Ô …XËêÈ.
•ÕÔ»ÂëY •‚ÂȬÊÕÔÒ‡Âê«ÊQπ ¶ •‚ÂÈ¬Â»Ò ü˘ÂπÂÕÔ¢∆»»ÂÈR «ZËôö »Â¬Â∑ „Û¢«ÂÈ∆ÊO».
¶ üÂ̆∑O»ÂëY¬ÂÈÕÔ ‚ÂÈÜËêŒÈÈ üÂ̆πÂÕÂ∆Ô ˜Ô ∑¬ÂÈ}íÈ¢«Â ÕÂÈÈÄO „Û¢«ÂÈ∆ÊO». òXËÕÂÈ«˘ÊZºÊŒÈ¸¬Â
ü˘ÊπÂÕÔÂ∆ ∆Ê∆ÂSŒÈ¸ ç≈¸ŒÈ«ÂëY ß«ÂÈ •∆ÂW¢∆ ÕÂÈ„Â∆ÂZ«Â •¢‡ÂÕÔÊÇ«ÂÈQ, ߢåπÂÍ
® ‚ ∆ ÊW¢‡Â Õ Ô Â » Â È R …Â Ï ¬Ê≈… X ËêÈπ › Â È π X õö‹Y. yÊÕÂ È xÛXË«˘  «  Z Ë·Êåπ ›  È
Ñ∆fyÊπÂX∆ŒÈ»ÂÈR¢¡È ÕÂ⁄√ÂÈÕÔÂÏ«Âࢫ •«Âà¢«Â‹Í ü˘ÂπÂÕÔÂ∆˜Ô ‚ÊyÊ\∆Ê@¬ÂÕÔÊÇ ÕÍË∑\
…ÊXéOŒ⁄πÂÈÕÔÂÏ«¢Ã ∆Â≠ ü˘ÊÕÔ» …ÂXËÕÔÊÇ«. ¶«Â¬ ÕÍË∑\x@ …XËÕÂȬÂÍé ü˘ÂπÂÕÂÔ«ÂUMÄOûÈË
∞xÚ∑ yʬÂ≈. çæÕÔÊÇ …XËÕÂÈ‚ÂZ¬ÂÍ…ÂÕÔÂÌ, ‚ÊZ»Â¢«Â‚ÂZ¬ÂÍ…ÂÕÔÂÌ ¶Ç¬ÂÈÕÔÂÏ«Ò ü˘ÂÄO.
æ»ÂVæ»ÊV¢∆¬ÂπÂú¢«Â ® åÕÔÂW ‚ÂZ¬ÂÍ…Â-¶»Â¢«ÂÕÔÒ êyÊ‚Â „Û¢«ÂÈãO¬ÂÈ∆ÂO«.
…¬ÂÕÈˇÂZ¬Â ü˘ÂÄO Ø¢«Â¬ -
ç¬ÂÕÔÂå˘∑ÕÔÂÌ, •»Â¢∆ÂÕÔÂÌ, «ÛË·Â ¬Âõ∆ÂÕÔÂÌ ¶«Â ∑£ÊW≈ πÂÈ≈∆ÂZ«Â {ÊI»Â墫Â
∑Íâ«Â, ∆»ÂR ¶∆ÂV „ÊπÂÍ ∆»ÂR ß∆¬ ‚ÂÕÂÈ‚ÂO ÕÔ‚ÂÈOπÂúÇ¢∆Â‹Í •»Ò∑
πÂÈ≈ •å˘∑ÕÔÂÌ ‚„‚ÊX¬ÂÈ ê∫§RπÂú¢«Â‹Í ∆Â√«ÂÈ ç‹Y«Â ç¬Â¢∆¬ …XËÕÂÈ
…ÂXÕÔÊ„ÂÕÔÊÇ«.
ߢ«˘Â̊ üÂ̆ÄOŒÈÈ ÕÂÈÈÄOŒÈ ÜËÕÔÊ›ÂÕÊÔ Ç¬ÂÈÕÔÏ «à ¢«Â, ÕÂÈÈÄOûÍËπÂW ÜËêŒÈ ‚ÂZ¬ÂÍ…ÂÕÒÔ
¶Ç¬ÂÈÕÔÂÏ«Âࢫ ü˘ÂπÂÕÔ«ZË·ÂÕÔÂÏ ÕÂÈÈÄOπ »Ò¬Â yʬÂ≈ÕÔÊπ£ʬ«ÂÈ. ® •¢‡ÂÕÔ»ÂÈR ÕÂ⁄«˘ÂZ¬ÂÈ
•∆ÂW¢∆ ∏Ñ∆ÂÕÔÊÇ …ÂXã…Êå‚ÂÈÕÔÂÏ«Âࢫ£Ò, ê·ÂÈN «ZË·ÂÕÔ»ÂÍR •·JË ©πÂXÕÔÊÇ
…ÂXãü˘Âá‚ÂÈ∆ÊO¬. ® õ»R£ŒÈëY ÕÔÊŒÈÈ‚ÂÈOãŒÈ ® …«ÂWÕÔ»ÂÈR •«˘˚Ú¸‚ÂüÒ∑È.
ÕÂÈÈ≠ π«ÂQ «ÒÕÔÂ∆π›ÂëYçË ‡XË·ÂK ÕÂÈÈ∏W…ÊX≈
ÕÂÈÈôJ ŒÈÈ«ÂQM«Ê ŒÈæI«ÂëY ∆ÛËàö« ç»ÂR ∆ÊX≈
∑ηÂNÕÔÚà ¶ æ¬Ê‚¢«˘Â»Â»ÂÈ ŒÈæI…‡ÂÈÕÔÂπÛúö
ŒÈæIü˘ÛËyÊO¬Â ê·ÂÈNÕÔ»ÂÈR …ÂX∆ÂW∑\ ∆ÂÎéO …Ââö
•«Â∑È õà«ÊŒÈÈO ê·ÂÈN «ZËôŒÈ»ÂÈ xÛ¢«Â ÕÂÈ„ÊŒ⁄πÂ. (…Â.“”)
¬Êæ‚Â͌Ȍ⁄π „ÊπÂÍ •‡ÂZÕÈË«˘Âπ›ÂëY •é¸ö«Â „Âêü˘Ê¸πÂÄ@¢∆‹Í
ê·ÂÈN«ZËôŒÈ»ÂÈR xÛ¢«Â ÕÂÈ„ÊŒ⁄πÂÕÔÂÏ …ÂX∆ÂW∑\ ü˘ÂπÂÕÔ¢∆»ʫ òXË∑ηÂNçπ „ºÂÈE ∆ÂÎéO
…Ââö∆¢«ÂÈ ∑êπ›ÂÈ „Ò›ÂÈÕÔÂÏ«ÂÈ, ÕÂ⁄«˘ÂZö«ÊQM¢∆ ãú«ÂÕÔÂàπ ∆ÂÈ¢üÊ •«˘˚¸ü˘Âà∆ÂÕÔÊÇ
yÊ≈È∆ÂO«. ÜËÕÔ»ÂÕÔÌ¢«ÂÈ ŒÈæIÕÔ¢«ÂÈ πÂXõö«Â¬, "ŒÈæIü˘ÛËyÊO¬Â ê·ÂÈN# Ø¢«ÂÈ
≤…ÂSüÒyÊπÂÈ∆ÂO«. "ê·ÂÈN ÕÚÔ¸ŒÈæI—# ŒÈ{ÊIå˘…Âã ê·ÂÈNÕÔÒ. ¶«ÂQࢫ ê·ÂÈN «ZË·Â
Ø»ÂÈRÕÔÂÏ«ÂÈ, ÕÂÈÍÕÔÂ∆ÂÈO ÕÂÈͬÂÈ xÛËá «ÒÕÔÂ∆π›ÂëY≤ÃU»Ê«Â ‚ÊÕÂ⁄»ÂW «ÒÕÔÂ∆ŒÈ «ZË·ÂÕ‹
Ô Y.
ÜËÕÔ»ÂÕÔ»ÂÈR ŒÈæIÕÔ»ÊRÇ‚Â‹È ê¬ÛËå˘‚ÂÈÕÔ xÒÕÔ‹ …ʇÂêË Ã«ÂÈ∑È »Ââ‚ ÌȂÂÈÕÔÂ
¶‚ÂÈàËü˘ÊÕÔÂÕÔÊπÂÈ∆ÂO«. ß«ÂÈ çæÕÔÊÇ ÜËÕÔ» ‚¢‚ÂbãŒÈ •¢∆‚Ê]¬Â«Â «ZË·Â. è˘ËÕÂÈ»ÂÈ

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æ¬Ê‚¢«˘Êåπ›»ÂÈR ‚¢„Âàö«ÊQπÂë, yı¬ÂÕÔ‚¢„ʬ ÕÂ⁄â«ÊQπÂë, ® «ÂÎôJíÈ¢«Â
ÕÂÈ„Ê Œ⁄πÂÕÔÒ ØçRöxÛ›ÂÈ_∆ÂO«. ¶«ÂQà¢«Â£Ò ÕÂÈ«˘ÂZ¬ÂÈ, ê·ÂÈN«ZË·ÂÕÔ»ÂÈR "ü˘ÂÄO# Ø¢«ÂÈ
öZË∑à‚Âë‹Y. ß«ÂÈ ê‡ÂZ«Â ü˘ÂÄO«Â‡Â¸»Âx@ òXËÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ çËâ«Â ÕÂÈ„Â∆ÂO¬Â yÊäx.
® •àÕÔÂÏ ∑»ÂR√ ‚Êõ∆ÂW êÕÂȇ¸∑¬ÂëY «ÂÎ√¯ÂπÛ¢â«ÂQ¬, ¬ÊÕÔÂ≈ «ÂÈû͸˫˘Â»Â¬Â ÕÔÚü˘ÂêË∑¬Â≈
…¢…¬ ∑»ÂR√«ÂëY ®Ç»Â¢∆ »£πÛ›ÂÈ_ãO¬Âë‹Y. ® …¢…¬ŒÈÈ, ã¬ÂÈú»ÂëY ÜËÕÔ»Â
‚¢‚Ê@¬Â«Â «ZË·ÂÕÔÊÇ« Ø¢«ÂÍ "ÕÔÚå∑ «Â‡Â¸»Â«Â#, ŒÈæI ∆Â∆ÂOZ«Â ê¬ÛË«˘ÂÕÔ¢«ÂÍ
πÂáJŒ⁄Ç …ÂXã…Êå‚ÂÈÕÔ „Û}, ÕÂ⁄«˘ÂZ ‚Êõã-êÕÂȇ¸∑¬Â „π‹ÕÈËë«.
◊ "ãã∑\‚ÂZ# …«Âx@ "êÀÂëË∑ȬÂÈ# Ø¢«ÂÈ ãúö¬ÂÈÕÔÂÏ«ÂçRëY πÂÕÂÈç‚ÂüÒ∑È. -
òXËÕÂȫʻ¢«ÂãË«˘˚¸¬ÂÈ, ©…Âç·Â∆ÂÈOπÂúπÂÍ ÕÂÈÍ‹ÕÔÊ«Â ÕÔÒ«Â «Â‡Â¸»ÂÕÔ»RË
…ÂX«˘Ê»ÂÕÔÊÇ …ÂXã…Êåö«ÂQࢫÂ, •ÕÔ¬ÂÈ, •»Ò∑ …ʬ¢…Âà∑ …«ÂπÂúπ, …Âà∑‹S»πÂúπ
„Û‚Â ã¬ÂÈÕÔ»RË xÛ√ÂÈ∆ÊO¬. ÕÂ⁄»ÂêËŒÈ ÜËÕÔ»Âx@ ê‡Ò·Â xºÂÈE çË√ÂÈ∆ÊO¬.
©«Ê„¬Â}π, ÜËÕÔ»«ÂëY ∑·ÂJ‚„», «ÂÈ·ÂJࢫ ìÂÈÕÔ éË√, õ¢‚π› ‚„»πÂúπ
•‚„ʌÈ∑ ∆Ê›V آà •«˘˚¸ Ø¢«ÂÍ ß¬ÂÈÕÔÂÏå‹Y. ≤ÃU êˬ ‚Ò»Êå˘…ÂãŒÈÈ Ø‹Y
«Êúπ›»ÂÍR êÀ‹πÛú‚ÂÈÕÔ¢∆, ê·ÂÈN ü˘Â∑O¬ÂÈ, ÜËÕÔ»« ؋Y yıXŒÈ¸, «ı·ÂJW „ÊπÂÍ
õ¢‚π›»R«ÂÈàö, êÀ‹πÛú‚ÂÈ∆ÊO¬. ® «ÂÎôJíÈ¢«Â x›Âǻ …«ÂWÕÔ»ÂÈR πÂÕÂÈç‚ÂüÒ∑È.
„»ÂÈÕÂÈ-è˘ËÕÂÈ-πÂȬÂÈÕÂÈ«˘ÂZ ÕÂÈͬÂÈ •ÕÔÂ∆ʬÂπ›»ÂÈ »ÛË√
ÕÔÚà õ¢‚π› çê¸yʬÂå¢ ∆Â√«ÂÈxÛ¢√ éË√
‚Â∑‹πÂÈ≈å …Âà…ÂÌ≈¸ çË»ÂÈ ‚ÂÕÔ¸æI ‚ÂÕÔ¸‡Â∑O
‚ÂZºÂFç¬ÂÈÕÔ, ‚Z˺FŒÈë ÕÂÈÎ∆ÂÈW, …ÂXπ‹UM çË»ÂÈ ÕÂÈÈ∑O. (- …Â. ”“)
„»ÂÈÕÂÈ, è˘ËÕÂÈ, ÕÂÈ«˘ÂZ ® ÕÂÈÍÕÔ¬ÂÍ ∆ÂÕÂÈV ÜËê∆ yÊ‹«ÂëY ‡Â∆ÂÈXπÂú¢«Â
•»ÂÈü˘Âêö«Â õ¢‚ •…ʬÂ. ¶¢æ»ÒŒÈ»Â üÊ‹x@ ¬ÊÕÔÂ≈»ÂÈ ü¢Ä ßâö«Â. ∆»ÂR ü˘ÂŒÈ¢∑¬Â
ÕÂÈÈôJíÈ¢«Â ¶µÊãö«Â. ߢ«ÂXÜ∆ÂÈ ÃX„ÊV‚ÂnÕÔ»RË …ÂXûÍËÇö«Â. ¶«Â¬ ¶¢æ»ÒŒÈ»ÂÈ
¶ Ø‹Y ¶µÊ∆Âπ›»ÂÈR çê¸yʬÂÕÔÊÇ Ø«ÂÈàö êÀ‹πÛúö«Â»Â‹Y« •‚„ʌȻÊÇ
‚ÂõöxÛ›Â_ë‹Y. •«Ò àËã, yı¬ÂÕÔ»ÂÈ è˘ËÕÂÈçπ ‚…¸«Â¢‡Â ÕÂ⁄âö«Â, ê·Â ãçRö«Â,
π«ʵÊ∆ ÕÂ⁄â«Â. è˘ËÕÂȂһ «ÒÕÔ¬ÂÈ Ø‹YÕÔ»ÂÍR •¡J„Ê‚Âå¢«Â£Ò Ø«ÂÈàö«Â¬ÂÈ.
ÕÂÈ«˘ÂZ¬ÂÈ ∑ÈöO…¡Èπ›»RË Ø«ÂÈàö«Â¬ÂÈ. üıåQM∑ÕÔÊÇ, ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬Â¢«˘˚Â
(ÕÂÈÍ‹∆— •«ZÚãπ›ʫÂ) ê«ÊZ¢‚¬ ∆Â∑¸«Â Ø‹Y «ÊúŒÈ»ÂÍR ºÂ‹êºÂë∆¬Êπ«
Ø«ÂÈàö êÀ‹πÛúö«Â¬ÂÈ. ÕÂÈ«˘ÂZàπÂÍ ∫§¡‚…¸ ∑ÑE êÀ‹ÕÔÊ«Â ∑∆ ß«. ¶ºÊŒÈ¸¬Â
πÂX¢«˘˚ ü˘Â¢√ʬÂÕÔ»RË ∑åŒÈ£ÊíÈ∆ÂÈ. ® Ø‹Y ‚ÂçRÕÔÒ‡Âπ›ÂëYŒÈÍ òXÕÂÈ«˘ÊZºÊŒÈ¸¬Â
êˬ …ÂX‡Ê¢ãŒÈ …ÂXãÄXûÈûÈË ∑¢√ÂÈ Ã¬ÂÈãO«. ü˘ÂπÂÕÔÂåBË∆ŒÈ "ããyÊ\# آà …«Âx@
òË∆ÛË·ÂNπ› «ÂZ¢«ÂZÕÔ»ÂÈR •çÕÔʌȸÕÔ¢«ÂÈ ‚Âõ‚ÂÈÕÔÂÏ«¢«ÂÈ •«˘˚¸ÕÔ‹Y, •ÕÔÂÏπ›Â
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Ø‹Y ‚¢∑·ÂJπ›»ÂÈR, ‚ÂÕÂÈ‚Wπ›»ÂÈR å˘Ë¬Â¬ÊÇ …ÂXãü˘Âáö êÀ‹πÛúö«Â¬ÂÈ. •¢∆ûÈË
"å˘Ë¬Â#∆ÂZ«Â …Âà∑‹S» ÕÔÒ«Âπ›ÂëY …ÂX«˘Ê»ÂÕÔÊÇ«. "å˘Ë¬Â# ‡ÂÃQ«ÂëYûÈË, {ÊI»Â „ÊπÂÍ
‚¢∑‹S ‡ÂÄOπ› ‚¢…ÂÌ≈¸ ‚¢πÂÕÂÈê«. òX∑ηÂN»ÂÈ üÛËå˘ö«Â ÃÈåQMûÍËπ«ÂëYŒÈÍ
è˘Ë·ÂV¬Â¢«˘˚ …ÂXºÂ¢√ ê¬ÛËå˘π›»ÂÍR êÀ‹πÛú‚ÂÈÕÔ å˘Ë¬Â …ÂX{IûÈË ©¢¡È.
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•è˘ÕÂ⁄»Â ∆ÊWπһ ∆»ÊV∆ÊX‚ÂS‡Ê¸»˜Ô
ãã∑\‚ÂZ êÀÂëË∑ȬÂÈ......
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ÕÂ⁄∆ÊX‚ÂS‡Â¸π›»ÂÈR (ߢåXŒÈ ê·ÂŒÈ …«ʫ˘˚¸ ‚¢…Â∑¸ÕÔ»ÂÈR ‚ÂÈ∏«ÂÈ—∏
«ÂZ¢«ÂZ yʬÂ≈ÕÔÊπ«¢∆) ãã∑\‚ÂZ - Ø¢«Â¬ êÀ‹πÛú‚ÂÈ)
òXË •¬Âꢫ¬ÂÍ ‚ÊêãX ÕÂÈ„ÊyÊÕÔÂW«ÂëY xÒÕÔ‹ «ÂÈ—∏ ‚„» „ÊπÂÍ ¶
«ÂÈ—∏ÕÔ»ÂÈR êÀ‹πÛú‚ÂÈÕÔ åÕÔÂW‡ÂÄOŒÈ ÕÔÂW∆ÊW‚ÂÕÔ»ÂÈR ê‡Ò·ÂÕÔÊÇ …ÂXã…Êåö«ÊQ¬.
(Savitri-Page 507 »ÛËâ)
∑»ÂR√«ÂëY - üÒ¢«XŒÈÕÔ¬ÂÈ „Ò›ÂÈÕÔ¢∆ - ∆ÊãOZ∑ êÕÂȇ¸ »£πÛ›Â_«,
ÕÔÊŒÈÈ‚ÂÈOãŒÈ¢∆„ yÊÕÔÂW«ÂëY ÛÂxŒ⁄«Â …«Âπ› •«˘˚¸‚¢…«ÂÕÔÂÏ, ÕÔÚºÊà∑ «˘ÂZçŒÈÈ,
„Û›ŒÈÈÕÔÂÏ«Ò ß‹Y. ߢ«˘˚ yÊÕÔÂWπ›ÂëY ≤¢«ÂÈ ∆ÊãZ∑ …¢…¬ŒÈ «˘ÂZç …Â¬Â¢…¬ûÈË
߬ÂÈ∆ÂO«.
òXË …ÂÌ≈¸…ÂXæI¬¢«ÂÍ, •»ÂÈÕÂ⁄»Â ãË«˘Â̊¸¬¢«ÂÍ ü˘Êê ÃX„ÂV¬¢«ÂÍ ‚ÂV¬ÂäˌȬʫÂ
òXË ÕÂÈ«˘ÊZºÊ¬ÂW¬Â ÜËÕÔ» ºÂà∆XŒÈëY ±ã„Êö∑ •¢‡ÂπÂú«ÂQ¬ÂÍ ¶ºÊŒÈ¸¬Â ÜËÕÔ»Â
«Â‡Â¸»Â«Â ‚Ê¢xÒã∑ ¬ÂÍ…Âπ›ÂÈ ® ºÊàãX∑ ∫§¡»π›ۢåπ •êü˘ÊæWÕÔÊÇ
»ÒûÈBŒ⁄ǬÂÈ∆ÂOÕÔ. ® õ»R£ûÈË ß‹Y«Â ≥«ÂÈπÂàπ ߢ«˘˚ …ÊXæI¬Â ÜËÕÔ» «Â‡Â¸∑
∑Îãπ› …ÂXã …Â«Ê«˘˚¸ ÕÂ⁄∆ÂXÕÔ‹Y, …ÂXã …Â«Âπ› ∆ÊãZ∑ «˘ÂZ»ÊW«˘˚¸ êÕÔ¬Â}ŒÈ»ÂÍR
çË√ÂüÒyÊπÂÈ∆ÂO«. •«Â¬ÂëYŒÈÍ òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ ÕÔÒ«Â, ©…Âç·Â∆ÂÈO, ÃX„ÂV‚ÂÍ∆ÂXπ›ÂëY
∞∑ ÕÔÊ∑W∆ŒÈ»ÂÈR πÂȬÂÈãö«ÂQ‹Y« …Ê¢ºÂ¬Ê∆ÊXå ÕÔÚ·ÂNÕÔ ¶πÂÕÂÈπ›ÂÈ, ¬ÊÕÂÈŒÈ≈,
ü˘Ê¬Â∆ yÊÕÔÂWπ›ÂÈ, ü˘ÂπÂÕÔÂåBË∆ •‹Y« ü˘ÊπÂÕÔÂ∆Êå …ÂϬÊ≈ ‚Êõ∆ÂWÕÔ»ÂÍR •∏¢√Â
«Â‡Â¸»Â«Â …ÂXÕÂ⁄≈ πÂX¢«˘˚Âπ›»ÊRÇ ÕÔÊWzÊWçö«Â¬ÂÈ. ß«Âࢫ „ÂÈáJ«Â êò·ÂJ …Âàü˘Ê·ŒÈÈ
òXË ãXê∑XÕÂÈ …¢â∆ʺʌȸ¬ÂÈ, òXË æŒÈãË«˘˚¸¬ÂÈ, òXË ÕÔÊW‚¬ʌȬÂÈ „ÊπÂÍ
òXË ÕÔÊå¬Êæ¬ÂÈ, òXË ¬Ê∫§ÕÔÒ¢«ÂX ‚ÊZêÈπ›ÂÈ ¬ÂÑö«Â ‚¢‚Â@Î∆ πÂX¢«˘˚Âπ›ÂëY ê‚ÊO¬ÂÕÔÊÇ
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ÛÂxŒ⁄Ç«. •«Ò …Âàü˘Ê·, ∑»ÂR√ „Âà«Ê‚¬ ∑Îãπ›ÂëY ≥∆ …ÌXË∆ÂÕÔÊÇ«. êÕÂȇ¸∑¬ÂÈ
® …Âàü˘Ê·Ê ÕÔÚò·ÂJWÕÔ»ÂRàŒÈ« xÒÕÔ‹ …ı¬Êä∑ ∑«˘˚ʬÂÍ…Â, «ÒÕÔÂ∆Ê‚ÂÈOãπ›ÂÈ ÕÂ⁄∆ÂX
ßëY ©¢|¢«ÂÈ ü˘ÂXêÈö«Â¬ •«ÂÄ@¢∆ »Â·ÂJ üÒ¬Û¢å‹Y.
ß«Ò ÕÂ⁄∆ÂÈ. …ÌX$ Ü.ê. ∑È‹∑丌ÈÕÔ¬ÂÈ (ÜËê) •»ÂÈÕÔÊåö«Â "òXË
ÕÂÈ«ÊZŒÈÈ‚ÂÈOã#ŒÈ •¢∆¬ʫ˘˚¸ •àŒÈÈÕÔ …ÂXŒÈ∆ÂR∑Í@ •»ÂZŒÈÕÔÊπÂÈ∆ÂO«. »ÊÕÔÂÏ xÒÕÔ‹
»ÂÕÂ¬Ô Â‚Âπ› „‚¬ÂÈ xÒú«QËÕÔ. ¶«Â¬ òXËÕÂÈ«˘ÂZ ÜËÕÔ» ºÂà∆XŒÈëY "∑Î∆Ê¢∆¬‚Â#«Â •»ÂÈü˘ÂÕÂê
Ô «
Ø¢«ÂÈ ‚ÂÈÕÂÈ«˘ÂZêæŒÈÕÔÂÏ „Ò›ÂÈ∆ÂO«. »ÂÕÔ¬‚ÂπÂúπÒ »ÂÕÂÈV ¬Â‚ÂêÕÔÒ∑ÕÔ»ÂÈR çëYö«Â
∑»ÂR√ …ÂX{Iπ ® "∑Î∆Ê¢∆¬‚Â#«Â ÕÂÈÕÂȸ „Û›ŒÈÄÂÈ«?
yÊ‹— ‚ ∞ÕÔ ‚ÂÕÂÈÕÔÂ∆¸∆ »ÊÕÂÈ Œ⁄ÕÔÂ-
ÑE¢∆Ê∑È‹¢ êÕÔ«˘Â ‚Ê«˘ÂÈ∑È‹¢ Ãü˘ÂÍÕÔÂ
ÕÔÒ«Ê¢∆ ‚¢∆Â∆ ∑Î∆Ê¢∆¬‚¢ »Â ê«ÂV—
‡XËûÍË‹ü˘ÒÕÂÈõ ∑«˘˚¢ »ÂÈ ÕÔŒȢ Ã∆Òã$ (‚Âπ¸ “ -‡ÛYË∑ - ’)
(òXËÕÔÊŒÈÈ«ÒÕÔ¬ÂÈ (ÕÂÈ«˘ÂZ¬ÊÇ) •ÕÔÂ∆Âà‚ÂÈÕÔ yÊ‹ ìÂÈãO«ÂQ¢∆ûÈË •»Ò∑
‚Ê«˘ÂÈ ‚ÂÕÂÈÈ«ÊŒÈÕÔÂÏ -""ÕÔÒ«Êåπ›ÂëY ‚¢…ÂÌ≈¸ÕÔÊÇ ÕÔÊW…ÂOÕÔÊ«Â
∑Î∆Ê¢∆¬‚ÂÕÔÂÏ »ÂÕÂÈπ ãúŒÈ«ÊÇ«, ¶«ÂQࢫ »ÊÕÔ Â Ï ‡ X ˌȂ ] »Â È R
…Â√ŒÈÈÕÔÂÏ«¢∆ÂÈ?## Ø¢«ÂÈ Ñ¢∆Ê∑È‹ÕÔÊÇ∆ÂÈO)
""‚ÂÈÕÂÈ«˘ÂZêæŒÈÕÔÂÏ## •∆ÂW¢∆ ‚ÂÈ¢«Â¬Â yÊÕÔÂW. ÕÂ⁄«˘ÂZ «Â‡Â¸»Âx@ ‚ÂZºÂF ∑»ÂRâ
õâ«Â ∑Îã. •«Â¬ÂëY ìÂÈÕÔ ® "∑Î∆Ê¢∆¬‚ÂÕÂÔÏ# –) ÕÔÒ«Êåπ›ÂëY ‚¢…ÂÌ≈¸ ÕÔÊW…ÂOÕÔÊÇ«,
(ÕÔÒ«Ê¢∆ ‚¢∆Â∆Â) “) ߢ«˘˚ ¬Â‚Â墫 ‡XËûÍË£Êü˘Â. (‡XËûÍË‹ü˘ÒÕÂÈõ).
çæÕÔÊÇ, ÕÂÈ»Âö]»Êºǻ ê{ÊI»ÂÕÂÈŒÈ xÛˇ« »£πÒà«Â ÕÈË£, {ÊI»Ê»Â¢«Âπ›ÂÈ
‚Â Õ Â È ¬Â ‚  π Û›Â È _∆ O ÕÔ  . ê{ÊI»Â Õ Â È ŒÈ xÛˇ - ‚Â È … ¬ ˜Ô Õ  È Ú¢√˜Ô - Ø¢«Êπ {ÊI»Â
…ÊXºÂȌȸê¬ÂÈ∆ÂO«. ¶»Â¢«ÂÕÂÈŒÈ xÛˇÂ-Ø¢«Êπ ¶»Â¢«Â …ÊXºÂȌȸê¬ÂÈ∆ÂO«.
…¬ÂÕÂ⁄∆ÂV»Â {ÊI»Ê»Â¢«Âπ›ÂÈ •è˘»ÂR. •«Ò àËã, "ÕÂÈ«˘ÂÈ# ‡ÂüÊQ«˘˚¸ÕÔÒ {ÊI»Â ∆ÂãíÈ¢«Â
•¢«Â¬ ‚ÂZ¬ÂÍ…Ë¢åXŒÈÕÔÊ«Â ‚ÊÄ\ŒÈ •»ÂÈü˘ÂÕÔÂx@ ìÂÈÕÔ ¶»Â¢«ÂÕÔ¢«ÂÈ •«˘˚¸. "ÕÂÈ#
Ø¢«Â¬ {ÊI»Â, "∆˜Ô# Ø¢«Â¬ ∆Âã, Ø¢«Â¬ {ÊI»Âê·ÂŒÈ∆ÂZ Ø¢«Â«˘˚¸ (ÕÂÈ«˜Ô{ÊI»Â
∆Âã¬ÂȺÂW∆Ò) ÕÂȫ آ«Â¬ ‚ÂÈ∏. ߢ«˘˚ ‚ÂÈ∏ …ÂÌ≈¸∆ÂZ ©›Â_«ÂÈQ ÕÂÈ«˘ÂÈ. (® ê·ÂŒÈ«ÂëY
„ÑE»Â êÕÔ¬Â}π •Å‹ ü˘Ê¬Â∆ ÕÂ⁄«˘ÂZ ÕÂÈ„ÊÕÂÈ¢√‹«Â (ü¢π›ÂͬÂÈ) ©…Âç·Â∆˜Ô
…ÂX‚ÊP»Â - ‚¢…ÂÏ¡ - ” (–‰‰œ) …ÂÏ¡ –”‰ -–‘– »ÛËâà.)
«Â.¬Ê. üÒ¢«XŒÈÕÔ¬ÂÈ ÕÂÈ«˘ÂÈ ê«WŒÈ»ÂÈR "¬Â‚Â# ∆Â∆ÂZ«Û√» ‚ÂêÈË∑à‚ÂÈ∆ÊO¬.
òXË ÕÂÈ«˘ÊZºÊŒÈ¸¬ÂÈ ¶å∆ÊW¢∆Âπ¸∆ ÕÂÈ«˘ÂÈ ‚ÂZ¬Âͅ« ‚Êyʬ¬ÂÍ…ÂÕÔÊÇ«ÊQ¬.
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® Ø‹Y •¢‡Âπ›»ÂÈR πÂÕÂÈçö«ÊπÂ, òXË ÕÂÈ«˘ÊZºÊ¬ÂW¬Â ÕÂÈÍ‹∑ ÕÂÈÈ∏W …ÊX≈
∆Â∆ÂOZ«Â, ¶»Â¢«Â ‚ÂZ¬Âͅ« êÈËÕÂ⁄¢‚, •∆ÂW¢∆ Ã΄Â∆˜ …ÂXÕÂ⁄≈«ÂëY »Â√ŒÈüÒyÊ«Â
•πÂ∆ÂWê« ØçR‚ÂÈÕÔÂÏ«ÂÈ.
…ÌX$ Ü.ê. ∑È‹∑丌ÈÕÔ¬ÂÈ •»ÂÈÕÔÊåö«Â òXËÕÂÈ«ÊZŒÈÈ‚ÂÈOãŒÈÈ, …ʬʌÈ≈
πÂX¢«˘˚ÂÕÔÊÇ ©úŒÈÈÕÔÂϫ¬ۢåπ "∑Î∆Ê¢∆¬‚Â# Ü{ÊI‚π …XˬÂ} çË√£¢«ÂÈ òXË
„»ÂÈÕÂÈåUMËÕÂÈ ÕÂÈ«˘ÊZ¢∆Âπ¸∆Â, òXË ¬ÊÕÂÈ∑ηÂN ÕÔÒ«ÂÕÔÊW‚Ê∆ÂV∑ òXË ‹Ä\V „ÂŒÈÇXËÕÔÂ
«ÒÕÔ¬ÂëY …ÊXå˘˚¸‚ÂÈ∆OË». òXË òXË …Ò{ÊÕÔ¬ ê‡ZˇÂãË«˘˚¸ tË …ʫ¢π›ÂÕÔ¬Â
¶òËÕÔʸ«Âπ›ۢåπ ∑»ÂR√«ÂëY …ÂXyʇÂπÛ›ÂÈ_ÕÔ ® ∑ÎãŒÈÈ ∑»ÂR√ …ÂX{IŒÈëY ‚»ÂV¢π›Â
{ÛWËãŒÈ»ÂÈR …ÂXæZë‚ÂÈÕÔÂÏ«¢Ã ‡ÂX«QM »Â»ÂÇ«.
"ÜËê#ŒÈÕÔ¬ÂÈ ∆Â…Âö]»Â¢∆ ® ∑ÎãŒÈ»ÂÈR •»ÂÈÕÔÊåö«ÊQ¬. •‹YëY »ÂÈ‚ÂÈú«Â
•‹S‚ÂZ‹S «ÛË·Âπ›»ÂÈR êÕÂȇ¸ŒÈ „‚Âà»ÂëY »Ê»ÂÈ ØãO ∆ÛËà‚Â‹È xÚ „Ê∑ÈÕÔÂÏå‹Y.
® •…ÂÌÕÔ¸ ∑ÎãŒÈ ÕÂÈÈ∏W …XˬÂ∑ ¶»Â¢«Â {ÊI»Â ‡ÂÄOŒÈ∆ÂO åπÂQ‡Â¸»Â ÕÂ⁄√ÂÈÕÔÂÏ«ÂÈ
»Â»ÂR ©«QˇÂ. ∑»ÂR√ ÕÔÊŒÈÈ‚ÂÈOãŒÈ, ‚¬› ‚ÂÈ‹ë∆ …ÂXÕÔÊ„ÂÕÔÂÏ ãú ¬ÂŸÈàŒÈ¢∆ „Âà«ÂÈ
ìÂÈÕÔÂÏ«ÂࢫÂ, ® •»ÂÈÕÔʫ« õ¢å»Â ∆…‚ÂÈ], ∑‹S»π ìÂÈÕÔÂÏå‹Y. ¶«Â¬ ÕÂÈÍ‹
ÕÔÊŒÈÈ‚ÂÈOãŒÈ»ÂÈR ≥å«ÂÕÔÂàπ •«Â¬Â ÄY·ÂJ∆, ‚ÂÕÂ⁄‚Âπ› πÂ渻, •»ÂZŒÈ«Â ∑·ÂJ
å∑È@ ∆ÂéS‚ÂÈÕÔ¢ãÕÔ Ø¢«ÂÈ •»ÂÈü˘ÂÕÔÂÕÔÊπÂÈÕÔÂÏ«ÂÈ. ¶«ÂQà¢«Â£Ò ÜËêŒÈÕÔ¬ÂÈ òXË
ÕÂÈ«ÊZŒÈÈ‚ÂÈOãŒÈ ∑»ÂR√Ê»ÂÈÕÔÊ«Âx@ xÚ „ÊÄ ŒÈ‡ÂöZŒ⁄«Â«ÂÈQ ≤¢«ÂÈ …ÂX{ÊI ‚ʄ‚ÂÕÔ¢«Ò
»Ê»ÂÈ ü˘Êêö«QË». ü˘ÂπÂÕÔ«»ÂÈπÂX„Âê«ÊQπ Œ⁄ÕÔÂÏ«ÂÈ •‚Ê«˘ÂW? òXËÕÂȫʻ¢«ÂãË«˘˚¸¬Ò
ÜËêŒÈÕÔ¬»ÂÈR ÜËêŒÈÕÔ¬ «Â̆ÕÂȸ…ÂãRŒÈ»ÂÈR ® ÕÂÈÍ‹∑ •»ÂÈπÂXõö«ÊQ¬. ¶ òXËÕÂȫʻ¢«Â
ãË«˘˚¸àπ ‚Ê·ÊJ¢π …ÂX}ÊÕÂÈ ‚ÂëY‚ÂÈ∆ÂO, ® ÕÂÈÈ»ÂÈRâ ìŒÈ‹È •ÕÔÂyʇÂê∆ÂO«ÂQyÊ@Ç
"∑£Ê-ÜËê# «Â¢…ÂãπÂúπ ∑Î∆ÂæI∆ ‚ÂëY‚ÂÈ∆OË».
∆¢« - ∆ÊíÈ çË Ã¢«˘ÂÈ Ã›Âπ çË ¶…ÂO ß·ÂJ πÂȬÂÈÕÔÒ
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ÃŒÈx êÈËà¬ÂÈÕÔÂ, «Â¢ü˘Â¬Âõ∆Âê„ πÂÈ≈ÕÔ „Û¢å«Â¢«˘˚Â
‚Â«Ê yÊ‹∑Í •å˘∑ÕÔÊπÂÈã„Â, ∑âÕÈŒ⁄π«¢«˘˚Â
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‚ÂÕÔ¸ÕÔÊW…ÂO»Ò …¬ÂÕÂÈ …ÂÌæW»Ò üÒπ ÕÔ¬ÂÕÔ çË√ÂÈ. (…Â.–‘)
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tË ÕÂÈ«ÊZŒÈÈ‚ÂÈOã—
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(tËÕÂȫʻ¢«ÂãË«˘˚¸¬ÂÈ ¬ÂÑö«ÂÈQ)
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ç»ÂR »Â∏«Â ÕÂÈõÕȌȻÂÈ Ø¢∆ÂÈ ÃäN‚Âë »Ê»ÂÈ Ôêü˘ÂÈÕÔÒ
ߢ«ÂXÕÔÚà ÕÂÈ«ÂÕÂÈ∆ÂO«Ú∆ÂW ∑à-∑È¢ü˘Â«Â¢∆ ߬ÂÈÕÔÂ
©ºÂE •åXπ› ∆ÂÈ¢√ÂÈ ÕÂ⁄√ÂÈÕÔÊ ÕÔÂæX«Â¢∆ ߬ÂÈÕÔÂ
ç»ÂR ©πÂȬÂÈ yÊÕÂ⁄å ‡Â∆ÂÈX, •{ÊI»Â ∆Û‹Ç‚ÂÈÕÔÂÏ«ÂÈ
«ÒÕÔÂπÂ≈«Â «˘ÊW»Âx@ ûÍËπÂW …ÂX‚»ÂR åËéO ß„ÂÈ«ÂÈ
ç»ÂR »Â∏π›»ÂÈ ‚ÂÈOã‚ÂÈã¬ÂÈÕÔ »Â¬Âö¢„«ÒÕÔ »ÛË√ÂÈ
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ç»Âπ ‚ÂÕÂȻʫ ÕÔ‚ÂÈO «Û¬ŒÈ«ÂÈ ‚ÂÈOãŒÈ ÕÂ⁄â „Ê√
ç»ÂR »ÊÕÂÈ«Ê ¬ÂÈÑûÈ üÒ¬ Ø¢¡»ŒÈ ¬Â‚ÂÕÔÂÏ ∆Ê»ÂÈ
‹∑ÈêÈ-yÊ¢∆», …¬ÂÕÂÈ‚Â∆ÂW»Ò, ‚ÂÈOã‚ÂÈã„»ÂÈ »Ê»ÂÈ
¬ÛË·Â墫 ËπÂ≈N ∑√ŒÈ Äâ …ÂX›ÂŒÈ {ÊZ£ æç‚
ÃX„ÂV-¬ÂÈ«ÂX-ߢ«ÊXå «ÒÕÔÂπÂ≈ åË…Â „ÂÈ›Âå æZë‚
çË»-‚ÂÎôJ-öPã-‹ŒÈ«Â yʬÂ∑ çË» ‚ÂÕÔ¸‡Â∑O
çË» ‚ÂÕÔ˸‡Â, çË» ©∆ÂOÕÂÈ»ÂÈ, »Ê»Û ç»ÂR ü˘Â∑O.
òXËÕÂÈ»ÂR∏‚ÂÈOã ‚ÂÕÂ⁄éO
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òXË ÕÂÈ«ÊZŒÈÈ‚ÂÈOã …ÊX¬Â¢ü˘Â
(tËÕÂÈ∆˜Ô ãXê∑XÕÂȅ¢â∆ʺʌȸ ¬ÂÑö«ÂÈQ)
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∆ÂÕÔ …ʫ…«ÂV¬Âæ »ÂÕÂÈV …ÊÕÔÂçö …̬ŒÈ üÒ∑È êü˘ÂÈÕÔ
∆j£ÛË∑W …ÂÌæW ü˘Ê¬ÂãŒÈÈ ¬ÂÕÂÈä ‡Â¬Â墫ÂÈ »ÂπŒÈ èËà
∆ÂÕÔ …Ê«Â …«ÂV«Âë éXËã ü˘ÂÄO ∆ÛËà«Â›ÂÈ Ãúπ ‚Êà
¶ ÕÔ¢«ÂW ºÂ¬Â≈π› „Û›ÕÔ «˘ÂÍú …ÊÕÔ»Âx ‚ÂÈ‹ü˘Â «Êà.
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„Âà‚ÒÕÔŒÈ¢∆ πÂȬÂÈ‚ÒÕÔ πÚûÈ …¬ÂÕÂÈÕÍË∆Ê]„Â墫Â
«ÒÕÔÂ∆π›‹Y å¡ ÕÂÈÈ∑O¬Ê«Â¬Â{ÊI»Â ∆ÂÕÂÈö碫Â
…ÊX{ÊI∆ÂV {ÊI»ÂÕÔ»ÂÈ …Â√«Â¬Âå˘∑ πÂȬÂÈ …ʫ‚ÒÕÔíÈ¢«Â
•ãü˘ÂÄOíÈ¢«Â ©«XË∑πÛ¢√ÂÈ …Ê«ÂÈ∑π ∆£ŒÈç√‹È
»ÂÕÔ¬Â∆ÂR∏Ñ∆ „Û»˜ÔÕÂÈÈ∑È¡ ∫§áJ‚Â‹È ∑»Â∑ ¬ÂæÕÔÂÏ Ã¬Â‹È
„Û¢«˘ÂÍú {Û∆π πÂȬÂÈ ºÂ¬Â≈«˘ÂÍú »ÂÕÂÈV»ÂÈR ¬ÂÄ\ö¬Â‹È.
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„ÂÈ¡ÈJ-‚ÊÕÔÂÏπ› ºÂ∑X èâö çæ ¶å˘-ÕÔÊWå˘ ∑›ÕÔÂ
ü˘Â∑O æ»Âx ‚ÂÈ{ÊI»Â çËâ ¶»Â¢«ÂÕÔ»ÂÈR xÛ√ÂÈÕÔÂ
ç»ÂR ºÂ¬Â≈π› «˘ÂÍú ÕÂÈõÕÈ ÃäN‚Â‹È »Ê»ÂÈ Ã√ÂÕÔÂ
ÕÂȻ«ÂëY «ÛË·Â, „ÂàŒÈëY «Z˷ ߬ÂÈÕÔ¢«˘˚ «Ú∆ÂW æ»Âx
•¢«˘Â∆ÂÕÂÈö»Ê›Âx@ »ÂÍ∑ÈÕÔÊ ‡ÂÄOíÈ„ÂÈ«ÂÈ •ÕÔÂx
ÕÍË∑\«ÂëY çæ ѫʻ¢«Â xÛ√ ËÕÔÂÏ ß„ÂÈ«ÂÈ •ÕÔÂx.
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∑ë yÊ‹«ÂëY Ü{ÊI‚ÂÈπÂúπ ‚»ÊVπ¸ ∆ÛˬÂÈÕÔÂÕÔ¬ÂÈ
ºÂ¢«XË¢«ÂX-¬ÂÈ«ÂX-¬Âê-‡Ò·Â-π¬ÂÈ√Âࢠç∆ÂW ÕÔ¢«ÂWàÕÔ¬ÂÈ
ÕͬŒÈ „Û∑@ ü˘Â∑È∆¬»ÂÈ yÊŒÈÈÕÔ¬ÂÈ ÕÂÈ¢∆ÂXö«ÂQMàÕÔ¬ÂÈ
ÕÂÈ«˘ÂZ „‚Âà»Âë zÊW∆¬ʫ •ÕÔÂ∆ʬ …ÂϬÂÈ·ÂàÕÔ¬ÂÈ
ÃX„ÂV …«ÂêŒÈ»ÂÈ ÕÂÈÈ¢« …Â√ŒÈë„ ÕÂÈÈ∏W…ÊX≈àÕÔ¬ÂÈ
ÕÂÈÍ‹ ¬ÂÍ…Â, •ÕÔÂ∆ʬ ¬ÂÍ…Â, ÃäN‚Â‹È ‡Â∑O¬Ê¬ÂÈ?
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©«ÂŒÈ¬ÂêŒÈ „Û¢Ã≈N yÊ¢ãŒÈÈ∆ üÊ„ÂÈ-ü˘ÂÍ·Â …Â√«Â
êËŒÈ¸å¢«Â£Ò Ø∆ÂÈOÕÔ¢«˘˚ …ÂXºÂ¢√ π«ŒÈ õâ«Â
ÕÔÊŒÈÈ«ÒÕÔ¬ÂÕÔÂ∆ʬÂÕÔʫ Ëè˘ËÕÂÈ «ÒÕÔ¬ÂëY
∆ÂÕÂÈV ü›ÂÄç¢ £ÛË∑ ü›ÂπÂÈã„ ÕÂÈ«˘ÂZ πÂȬÂÈπ›ÂëY
…¬ÂÕÂȄ¢‚ ŒÈãÕÔ¢«ÂW¬Ê«Â ü˘ÂÍÕÔ‹ŒÈ ¬Â∆ÂR¬ÂëY
üÒâxÛ›ÂÈ_ÕÔ»ÂÈ ‚ÛOË∆ÂX ÕÂ⁄√ÂÈÕÔÊ ‡ÂÄO çË√ÂëëY.
60
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‚ʬ¬Âõ∆ ‚¢‚ʬ«ÂëY ∑√ÂÈ ∑·ÂJ ü˘Â∑O …Â√ûÈ
•ÕÔ»»ÂÈ«ÂQMà‚ ‚R˄„ʂÂå¢ ∑¬ÂÈ} ∆ÂÛËà …̬ÕÔ
yÊ¢ãŒÈÈ∑O ‚«˜Ôê«WûȢà ÕÂÈä ¬Â∆ÂRÕÔ»ÂÈR ∆¬ÂÈÕÔ
‹∑ÈêÈ-ÕÔÂ∆Â]-£Ê¢Ω¯Â»Â»Â çæ«Â ‚ÊçR«˘ÂW …Â√«Â êü˘ÂÈÕÔ
{ÊI»Â-ü˘ÂÄO-ÕÔÚ¬ÊπÂW çË√ÂÈ ¶»Â¢«ÂãË«˘˚¸ …ÂXü˘ÂÈÕÔ
Ä\ˬ‚Êπ¬», üÒâxÛ¢ü ‚¢∑·ÂJ „Âà‚ÂÈ πÂȬÂÈÕÔ.
fi)
∆»ÂR ‚Òê‚ÂÈÕÔ ü˘Â∑O æ»Â¬Â ü˘ÂÕԠ⫢ „Âà… „»ÂÈÕÂÈ
{ÊI»Â xÛ√ÂÈÕÔ ü˘Ê¬ÂãŒÈ-¬ÂÕÂÈ≈, ìÂë¬ÂÈÕÔ ∑‹S-ÃX„ÂV
{ÛË√ÂÈ xÚπÂú¢ ∆£ŒÈüÊÇ ß«Û ÕÔ¢å‚ÂÈÕÔ»ÂÈ »Ê»ÂÈ
∆Ê…Â∆ÂXŒÈπ› ∆ÂÕÔÂà»Â¢ã¬ÂÈÕÔ »Â»ÂR ‚‹„Û çË»ÂÈ
‹∑ÈêÈ …ÂãŒ⁄«Â „ÂàŒÈ ºÂ¬Â≈«Âë ÕÂÈ∆O ç»ÂR …«Âå
‚ÂÈ∏«Â «Ê∆ÂÎÕÔÒ •ºÂ‹ÕÔÊ«Â ü˘ÂÄOŒÈ»ÂÈ çË√ÂÈ ÕÂÈÈ«Âå.
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ü˘ÂÍêÈ …Ê‹∑¬Â ü˘ÂÍà ±‡ÂZŒÈ¸ ÕȬÕÔ ü˘ÂÈÕÔȣÛË∑
ÕÍË√Â-‚Â͌ȸ-ºÂ¢«ÊXå-ÕÂÈäπÂú¢ „Û›ÕÔ ü˘ÂÈÕÔ¬˜Ô£ÛË∑
«ÒÕÔÂü˘ÂÕÔ» ¶ ‚ÂZπ¸£ÛË∑ ∆ÂÕÔ ü˘ÂÍXê£Ê‚Â墫Â
‚ÂÎôJ-öPã-‹ŒÈ …Â√ŒÈÈã„ÂÕÔÂÏ å¡ ÕÂÈÈ∏W…ÊX≈碫Â
"æπÂÕÔÂÏ ‚Â∆ÂW# "ÜËÕÔÒ‡Âü˘Ò«Âπ›ÂÈ# ü˘ÊX¢ã آì»ÂÈR
ÕÍË„ÂπÛú‚ÂÈ ‚Â∆˜ÔŒÈæI«ÂëY Ä ¬˙Â∑@-ü∑È@π›»ÂÈ.
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‚ÂÈæ»Âࢫ ‚ÂȬÂࢫ …ÂÌæW ÕÂÈͬ»ŒÈ ¬ÂÍ…ÂÕÔ»ÂÈR
ü˘ÂÜ‚ÂÈÕÔÂÕÔ¬ÂÈ ÕÔÚ∑È¢¬˙«ÂëY …√ŒÈÈÕÔ¬ÂÈ ÕÂ⁄»ÂÕÔ»ÂÈR
‚«ÊyÊ‹ ‚ÒÕÔÂ∑¬ÂÈ åÕÔÂW ºÊÕÂȬÂÕÔ èË‚ÂÈㄬÂÈ
ÕÂÈ»ÂÕÔ ÕÍËõ‚ÂÈÕÔ ºÊ¬ÂÈ ÕÔÒ·Â ü˘ÂÍ·Â≈ÕÔ ∆Ûâ‚Â넬ÂÈ
∑¢¬˙ÂπÂúπ »Âú∆ÛË›ÂÕÂ⁄£ £ÊÕÔÂ≈W ‹‹» ∆„¬ÂÈ
…ÂÌ≈¸∑È¢ü˘Â ∑Ⱥ ‚ÂS‡Â¸å¢«Â yÊ¢∆ŒÈ¬ÂÈ ÕÍËõ‚ÂÈÕÔ¬ÂÈ.
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ºÂ¢«ÂX-‚Â͌ȸ-•õ¬Êæ-ÕÂȫ»Â-«ÒÕÔË¢«ÂXࢫ …ÂÌæW
«ÒÕÔ«ÒÕÔÂ»Ò ÕÂÈÈ∏W…ÊX≈ ∆ÂÕÔ ê·ÂÈN ‚«» åÕÔÂW
∆Ê›ÂπÂãO»Âs ÕÈ‹Y „{GŒÈs ∑Èä∆Âê¬ÂÈÕÔÂÏ«ÂëY
åÕÔÂW º‹ÈÕÔŒÈ¬Â ü˘ÂÕÔÂW ‚¢ÇË∆ ߢ…ÂÏπÊ»ÂÕÔÂëY
∑È¢«Â-ÕÂÈ¢«Ê¬Â π¢«˘Â ÕÂÈ„Â…Â̬ „Âà‚ÂÈã¬Â‹È …ÂÕÔ»Â
ÕÂÈÈ∑OÜËÕÔÂàπ ‚Â«Ê ‚ÂÈ∏ÕÔ çË√ÂÈ∆ÂOë¬ÂÈÕÔ ∆Ê≈.
61
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‡XË·ÂK {ÊIçûÈË ÕÂÈÈ∏W…ÊX≈»Ò ç»ÂR «ZËô „ÂπŒÈÈ
•¢«˘Â ∆ÂÕÂÈö»Âë ∫§Íˬ »Â¬Â∑«Âë èË›ÂZ •«ÂÈÕÔ å¡ÕÔÂÏ
∑‹ÈY ∑ëYπs âÄ@ „Û√ûÈ ∏|˜Ô∏¡£˜Ô êÈ¢ºÂÈ Ã¬Â‹È
ü¢Ä ÄâŒÈÈ «˘Âπ«˘ÂÇö ©àŒÈÈ∆Âs ‚ÂÈ∆ÂO ∑ÈåŒÈÈã¬Â‹È
ç»ÂR Ä¢∑¬Â¬ÂÈ è¡ÈJ è√« Ø‚ŒÈÈÕÔ¬ÂÈ ∑ëY碫Â
πÊöπÛ›ÂÈ_ÕÔ¬ÂÈ ç»ÂR ÕÔÚàπ›ÂÈ Ñ∆ÂXõ¢‚íÈ¢«Â.
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„ÂàŒÈ ºÂ¬Â≈ Ѭ«˘ÊW»Â«ÂëY •‚ÂV«˜Ô πÂȬÂÈπÂú¬Â‹È
•ÕÔ¬ …ʇÂZ¸ ü˘ÂÍêÈŒÈë ß¬Â‹È ‚ÂÇBπ¬ÂÈ ÃŒÈ‚ÂÈã¬Â‹È
•ÕÂÈÎ∆ ‚«Â· ∆Â∆ÛOZ˅«҇ÂπÂúπÂÈ«Êö˻ ߬ÂÈÕÔÂ
ÕÔÂWÄO ÕÂÈ«˘ÂWÕÂÈ»ÂÈ, ç∆ÂW ‚¢‚Êà, ‚Â«Ê «ÂÈ—∏…Â√ÕÔÂ
«ZËôπÂúπ ß„Â •¢«˘Â∆ÂÕÂÈö»Ê »Â¬Â∑ ßÕÔÂπ ß‹Y
¶«Â¬ÂÍ»ÂÈ ¶»Â¢«Â墫 ßÕÔ Ä› «Âͬ ߬ÂÈÕÔÂ.
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„Âö«ÂÈ ‚Û¬ÂÇ, ¬Ê∑\‚¬ «Â¢∆Â-»Â∏墫 õ¢‚ …Â√«ÂÈ
∑ÍX¬Â …ÂÄ\π› ºÂÈ¢Ñ碫 ÕÈÚ∆ÂȢà πÊŒÈ …Â√«ÂÈ
•«Ò ‚ÂÕÂȌȫÂë ≤πŒÈ£Ê«Â ‡Â‚Ên‚Ân ∑\ãŒÈ …Â√«ÂÈ
ÄËÕÔÂÏ-¬Â∑O-ÕÂÈ‹-ÕÂÈÍ∆ÂX-„ÂÈ›Âπ› üÊêŒÈëY è«ÂÈQ
ÕÂÈÈ›ÂÈÇ „ÛËπÂÈÕÔ¬ÂÈ ç»ÂR ÕÔÚàπ›ÂÈ êÈ«˘˚ÊWÕÔÊå æ»Â¬ÂÈ
¬Â∑O õˬÂÈÕÔ Üπ›íÈ¢«Â ÄÂÈ πÊöπÛ›ÂÈÕÔ¬ÂÕÔ¬ÂÈ.
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∆¢«-∆ÊíÈ çË Ã¢«˘ÂÈ-ÛÂπ çË ¶…ÂO-ß·ÂJ πÂȬÂÈÕÔÒ
„ÂÈ¡ÈJ-‚ÊÕÔÂÏπ› »ÛËÕÔÂÏ ∆ÂéS‚ÂÈÕÔ ÕÂ⁄∆Âà‡ÂZ …ÂXü˘ÂÈÕÔÒ
ÃŒÈx êÈËà¬ÂÈÕÔÂ, «Â¢ü˘Â¬Âõ∆Âê„Â, πÂÈ≈ÕÔ „Û¢å«Â¢«˘˚Â
‚Â«Ê yÊ‹∑Í •å˘∑ÕÔÊπÂÈã„Â, ∑âÕÈŒ⁄π«¢«˘˚Â
∑ηÂN»ÂëY, ç»ÂRëY •ºÂ‹ ‡Ê‡ÂZ∆« ü˘ÂÄO çË√ÂÈ
‚ÂÕÔ¸ÕÔÊW…ÂO»Ò …¬ÂÕÂÈ…ÂÌæW»Ò üËπ ÕÔ¬ÂÕÔ çË√ÂÈ.
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•Å‹ πÂÈ≈…ÂÌ≈¸ ‚ÂÕÔ¸‡XË·ÂK òXË ê·ÂÈN «ÒÕÔ»ÂëY
öàŒÈ {Û∆π ü˘ÂÍ«Òê xÚ õâ«Â …¬ÂÕÂÈ …ÂϬÂȷ»ÂëY
•å˘∑ ü˘ÂÄOŒÈ»ÂÈ ∆ÛËà ÕÂÈπÂR çË •ÕÔ» ‚ÒÕÔŒÈëY
ÃX„ÂV-ÕÔÊŒÈÈ-òÕÔÂ-π¬ÂÈ√Â-¬ÂÈ«ÂX-ߢ«ÊXå «ÒÕÔ¬ÂëY
∆ʬÂ∆ÂÕÂÈW«Âë ü˘ÂÄO ∆ÛˬÂÈÕÔ ü˘Â∑O πÂ≈x ç∆ÂW
ÕÂÈÈ∏W…ÊX≈ πÂȬÂÈ ∑¬ÂÈ}íÈ¢«Â ¬ÂÄ\‚ÂÈÕÔ ÕÂ⁄∆ÂÈ ‚Â∆ÂW.
62
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ÕÂÈÍ‹ πÂȬÂÈÕÔ „Ò ÕÂÈÈ∏W…ÊX≈»Ò „ÂàŒÈ ¶{IíÈ¢«Â
{ÊI∆Â∆Â∆ÂOZàπ ÕÂÈÈ∑O æ»Âx ‚ÂÈ∏ xÛ√ÂÈÕÔ ≤‹ÈÕÈíÈ¢«Â
ç∆ÂW ëÂQM¬Â»ÂÈ ‚ÂZπ¸-»Â¬Â∑-ü˘ÂÍ£ÛË∑«ÂëY ß√ÂÈÕÔ
êÈ«˘˚WíÈ¢«Â ∑Íâ¬ÂÈÕÔ ∆ÊÕÂȂ¬¬ÂÈ «ÂÈ—∏Ã√Â‹È è√ÂÈÕÔ
•¢«˘Â∆ÊêÈ‚ÂX „‹ÕÔÂÏ ÃπŒÈ »Â¬Â∑«Âë ß√ÂÈÕÔ çË»ÂÈ
»ÂͬÂÈ ‡ÂÈXãπ›ÂÈ ÕÂÈ∆O {Û∆π ßã„Ê‚Â ‚ÊÄ\ ∆Ê»ÂÈ.
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ÕÔÊŒÈÈ «ÒÕÔÂ»Ò ç»ÂR …ÂX«˘˚ÂÕÂÈ •ÕÔÂ∆ʬÂÕÔ»ÂÈR »ÂêÈ…
‚ÂÕÔ¸…ÂÌæW ¶{Ê»ÂÈüÊ„ÂÈ „»ÂÈÕÂÈ¢∆ ¬ÂÍ…Â ü˘ÂÜ…
ü˘Â∑O¬Ê«Â¢«˘˚ «Ò„«˘Êàπ› •õ∆ ‚ÂÈ¡ÈJ è√ÂÈÕÔ
•ÕÔ¬ …Ê…Â •{ÊI»Âπ›»ÂÈ ç∆ÂW ∑›«ÂÈ è√ÂÈÕÔ
¬ÊÕÂÈ»ÂëY ¶«Â‡Â¸ ü˘ÂÄOŒÈ»ÂÈ ‚Â«Ê ∆ÂÛˬÂÈã¬ÂÈÕÔ
ÃX„ÂVºÊàûÈË, Ѭ¢ÜËêûÈË »Ê»ÂÈ ç»ÂR »»ÕÔ.
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ÕÂÈÈ∏W…ÊX≈»Ò ç»ÂR ÕÂÈõÕÈπ›»¢∆ÂÈ ÃäN‚ÂÈÕÔ»ÂÈ?
…ÂÌÕÔ¸«ÂëY çË ‹¢xíÈ¢«Â ‚Êê¬Â«Â ÕÈÚ‹Èπ›»ÂÈ
≤¢« »π∆«Âë „Êà „ÂÛËÇ ‚¢ÜËêçŒÈs ∆¬‹È
π¢«˘ÂÕÂ⁄»Â ü¡JÕÔ» ÄãO „π‹ëY „Û∆ÂÈO ì‹È
πÂπ»ÂÕÂ⁄π¸«Âë „ÂÛËÇ Ã¢«Âȫ»ÂÈ ∑\≈å æ»Â¬ÂÈ »ÛË√
¬ÊÕÂȅʫ«Âë ß¡ÈJ »ÂêÈö«s ‹ÛË∑ÕÔ‹Y „Ê√.
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•∆ÂÈ‹ ÕÂÈãŒÈ „Ò ÕÂÈÈ∏W…ÊX≈»Ò ‡ÂÄOÕÔ¢∆ çË»ÂÈ
åÕÔÂW ¥·Âå˘ŒÈ Ã›Âö ÕÂÈÍÖ¯¸∆¬ ‚‹ȄÂÈã«ÂQ¬ÂÍ»ÂÈ
ç»ÂR ÕÂÈ»ÂÕÔÂÏ òXË ¬ÊÕÂÈ»ÊÕÂÈ πÂÈ≈πʻ ÕÂÈπÂR ∆Ê»ÂÈ
»ÂͬÂÈ ûÍËæ»Â •π‹ÕÔÊ«Â …ÂÕÔ¸∆ÂÕÔ ∆ÂÍà ≤πûÈ
∑‹ÈY-∆ÂÈ¢√ÂÈπ›ÂÈ ÕÍ«Âë»Â¢∆ çæ‚ÊP»ÂÕÔ»ÂÈR …Â√ûÈ
ç»ÂR yı‡Â‹ÕÔ آ∆ÂÈ ÃäN‚Âë ü˘ÂÕÔÂW åÕÔÂW ∑éûÈ.
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Ñ»ÂR ∑ÕÔº ∆ÛáJ«ÂQ ç˺ ¬ÊÕÔÂ≈»Â ü¡J««ŒÈÈ
ç»ÂR ÕÂÈÈôJŒÈs „Û√∆Â墫 »ÂÈπÊBÇ ∆ÂπÂÈB ¶ŒÈÈO
"ÕÈˬÂÈ …ÂÕÔ¸∆Âå x¬ŒÈÈ ¶íÈ∆Ë#, æ»Â¬Â ‡Â¢x ÃëûÈ
ç»ÂR xÚŒÈë„ „Û»ÂR ∑√Âπ« êÈ¢ºÂÈ ‚ÂÈ∆ÂO „Û›ûÈ
¬ÊÕÂȺ¢«ÂXçπ éXŒÈÕÔÂÏ ¶Ç¬ÂÈÕÔ x‹‚«ÂëY ëÂQM
ç»ÂR ÕÂÈÈôJ »ÂêÈV·ÂJ …Â̬Ú‚ ß‹YÕÔÒ»ÂÈ ö«ÂQM?
63
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¬ÊÕÂÈ«ÂÍ∆»ÊπÂÈ∆Âë öË∆ûÈ√ •ÕÔ» ‚ÂÈåQ ≤ûÈQ
•ÕÔ› è»ÂR„ÂÕÔ ¬ÊÕÂȺ¢«ÂXçπ ÕÂȬÂú ÕÂÈ∆O ∆¢«
ÕÔ¬Âå xÛèU«Ê •∑\ Õͫ£ʫ «Ú∆ÂW¬Â»ÂÈR xÛ¢«.
¬ÊÕÂȺ¢«ÂX ‚¢éXË∆»ÊÇ •«Û ∑Î…Ê«ÂÎôJíÈ¢«Â
∆£ŒÈ ÕÈË£ •»ÂÈπÂX„« „‚ÂO ∆Êç¡J éXËãíÈ¢«Â
ÃX„ÂV …«Âê, ‚„Âü˘ÛËπ ‚ÂÈ∏π›»ÂÈ ß∆ÂO ≤‹ÈÕÈíÈ¢«Â.
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…ÊX≈«ÒÕÔ ∆ÂÕÔ è˘ËÕÂȂһ •ÕÔÂ∆ʬ ÃäN‚ÂÈÕÔ»ÂÈ
∞∑ºÂ∑X »ÂπÂàŒÈë ‡ÛË∑ …Â√ÂÈÕÔ¢«˘˚ ê…ÂX»Â»ÂÈR
…ʬÂÈÕÂ⁄√Âëx ÃyÊ‚ÂȬ» ‚¢„ʬÂyʌȸ πÚ«
»Âπ¬«ÂëY ÕÔÊö‚ÂÈÕÔ æ»Â¬Â •‚ÂÈπÂúπ ¬Âx\ ∆¢«
Ã∑»Â •»ÂÈæ ÄêÈ˸¬Â»Â»ÂÈR ‚¢„ʬ ÕÂ⁄â«ÂÕÔ»
…ÊX≈«ÒÕÔ ∑ȬÂÈ∑È‹«Â …ÂãûÈ, ç∆ ç»Âπ »ÂÕÂÈV »ÂÕÂÈ»Â.
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ÕÂÈÈ≠π«ÂQ «ÒÕÔÂ∆π›ÂëY çË ‡XË·ÂK ÕÂÈÈ∏W …ÊX≈
ÕÂÈÈôJŒÈÈ«ÂQM«Ê ŒÈæI«ÂëY ∆ÛËàö« ç»ÂR ∆ÊX≈
∑ηÂN ÕÔÚà ¶ æ¬Ê‚¢«˘Â»Â»ÂÈ ŒÈæI …‡ÂÈÕÔÂπÛúö
ŒÈæI ü˘ÛËyÊO¬Â ê·ÂÈNÕÔ»ÂÈR …ÂX∆ÂW∑\ ∆ÂÎéO …Ââö
¬Êæ‚Â͌ȫÂë •‡ÂZÕÈË«˘Â«Âë ß∆ÂO „ÂêŒÈ ü˘ÊπÂ
•«Â∑È õà«ÊŒÈÈO ê·ÂÈN «ZËôŒÈ»ÂÈ xÛ¢«Â ÕÂÈ„ÊŒ⁄πÂ.
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ç»ÂR „Âππ›»ÂÈ üÊ„ÂÈ π«íÈ¢«Â „Û√«ÂÈ „ÊÄ«ÂÕÔ»
…ÊX≈«ÒÕÔ ¶»Â¢«ÂãË«˘˚¸ •ÕÔÂ∆ʬ «˘Âàö«ÂÕÔ»
∑ηÂN ‚ÒÕÔŒÈë ö¢„»ʫ πÚŒÈÈ∆ÂO ŒÈÈ«ÂQMπÚ«
‹∑\ ‚Úç∑¬Â »Ê‡ÂπÛúö ¬Â≈«ÂëY π‹ÕÔÂÏ …Â√«
ç»ÂR ¬Â≈«Â ‡ıŒÈ¸ÕÔ»ÂÈ ÃäN‚Â‹È ßÃUࢫ ‚Ê«˘ÂW
≤ÃU ∑ηÂN, ß»ÛRÃU è˘ËÕÂÈ, ÕÔ¢«Â»π çËÕÔÒ ûÍËπÂW.
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ê«WûȢà ‚Ê𬫠≤√ŒÈ ‚«˜Ôê«W çË√ÂÈÕÔÂÕÔ»
è˘ËÕÂÈ»ÊÇ«Q …ÂÌÕÔ¸«ÂëY „Ò ÕÔÊŒÈÈ «ÒÕÔ çË»
ç»ÂR ÕÂÈ√Âå «ıX…ÂåûÈ ü˘Ê¬ÂãŒÈÈ ê«W xÛ√ÂÈÕÔ ∆ÊíÈ
»ÂÕÂÈV ≤›Âπ ∆Ê ÕÔÊ‚Â ÕÂ⁄â •{ÊI»Â ∆πÕÔ «Òê
ç»ÂR ¶{IŒÈë yÊÕÔÂW ¬ÂÑ‚ÂÈÕÔ ‡ÂÄO çË√£¢«ÂÈ
•‡ÂÈü˘Â墫 ¬ÂÄ\‚Âë Ø¢«ÂÈ üÒ√ÂÈÕÔ»ÂÈ »Ê»ÂÈ ß¢«ÂÈ.
64
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ÕÔ‚ÂÈ«ÒÕÔ»ÂëY ©å‚ÂÈ∆ÂO ∑ηÂN ∑\ãXŒÈ»ÂÈ ¶Ç â«Â
ÕÂÈÈç …Â¬Ê‡Â¬Â»Â ‚¢∆ʻ ÕÔÊW‚ÂπÂȬÂÈ ê…ÂX»ÊÇ ç¢«Â
çæ ÕÔÊW‚Â-∑ηÂN¬Âë ü˘Ò«Âê‹Y åZÕÔº» ∞∑ »ÊÕÂÈ
ßÕÔÂàÃU¬Â»ÂÈR ‚Òê‚Â‹È Ã¢«Â ∑ȬÂÈÕÔ¢‡Â ‚ÛËÕÂÈ è˘ËÕÂÈ
èú ∑ÕÂÈ‹«Â¢∆ ‡ÛËè˘‚ÂÈÕÔ ∑≈ÈN …Â√å¬ÂÈÕÔ ç»Âπ »ÂÕÂÈ»Â
ç∆ ü˘Â∑O æ»Â¬Â ‚Âà ûÍËπÂx\ËÕÂÈ πÚŒÈÈÕÔÂÕÔÂÏ çÕÂÈV ºÂ¬Â≈
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yÊ¢∆ «ıX…ÂåŒÈÈ õ¢« ÌȂ ‚ıπ¢«˘Â ∑È‚ÂÈÕÂÈ {Ê‹
∆Â¬Â‹È „Û¬Â|Êπ ÕÂ⁄π¸«ÂëY ∆Â√å∆ÂÈO „»ÂÈÕÂÈ üÊ‹
Ø∆ÂO£ÊπÂ«Ò ÕÔÂΫÂQM „»ÂÈÕÂÈ¬Ê åÕÔÂW ¬ÂÍ…ÂÕÔ»ÂÈR
∑¢√ÂÈ ü«Âà »ÂêÈö«Â»ÂÈ è˘ËÕÂÈ, ∆ÛËà«Â»ÂÈ ÄXË√ŒÈ»ÂÈR
…ÂÌ≈¸{ÊI»Âå¢ ∑Íâ«Â¢«˘˚ ¶»Â¢«ÂãË«˘˚¸ ߢ∆ÂÈ
ç»ÂR جÂ√ÂÈ •ÕÔÂ∆ʬ ëË£ •æIàπ ÕÍË„Â ∆¢∆ÂÈ.
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ÕÂÈÈ∏W…ÊX≈»Ò xÛËá xÛËá ¬Ê∑\‚¬ ÃπÂÈB Ãâ«
xÛË…Â墫 „¡ ∆ÛËà ‚≈‚ π«íÈ¢«Â •ÕÔ¬ xÛ¢«
"ÃX„ÂV ‚Â∆ÂW æπÂÕÔ‹Y êÈ«˘˚W# ÕÔ¢ÃÕÔ¬ ‚Û‹ÈY •√Âπ
‚ÂÈ›ÂÈ_ÕÔÊ«Âπ› «Ú∆ÂW‡ÂÄOπ› ÕÔÊ«Â墫 π«Q
è˘ËÕÂÈ»ÊÇ éXŒÈ ü˘Êûȸπ¢«ÂÈ ‚ıπ¢«˘Â ∑È‚ÂÈÕÂÈ ∆¢«
¶ è˘ËÕÂȬÂÍé ÕÂ⁄¬ÂÈãûÈ ç»Âπ »Ê ß«ÛË »ÂêȂ â«.
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ÕÂÈÈ∏W …ÊX≈»Ò è˘ËÕÂÈ π«íÈ¢«Â «Ú∆ÂW»Ê‡Â πÚûÈ
ÕÔÂ∑XÃÈåQM ÕÂÈäÕÂÈ¢∆»¢Ã «Ú∆ÊWå˘…ÂãŒÈÈ ‚ÊûÈ
xÛXË«˘Â墫 •ÕÔ ‚Ò√ÂÈ ãËà‚Â‹È ÕÂȬÂú „ÂÈáJ â«Â
ºÂ∑X…ÊäŒÈë çπÂȸ≈∆ÂZÕÔ»ÂÈ ‚Êà Ø«ÂȬÂÈ ç¢«Â
‡ÂÈXãπ ‚ÂÕÂÈV∆ÂÕÔÂÏ ß‹Y«Â¢∆„Âs ‡Ê‚Ân ¬ÂÑö ∆¢«Â
‚ÂÈæ»Â ÕÂÈ»ÂÕÔ ∑¬Âπ‚« ∆¬Âå xÛ¬ŒÈÈ∆ÂO ü›«ÂÈ ç¢«Â.
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"»Ê» çπÂȸ≈»ÂÈ, »Ê» …¬ÂÃX„ÂV, æπÂÕÔÂÏ êÈ«˘˚ÂW# Ø¢«Â
ÕÔÒ«Â üÊõ¬ÂÕÔÂÏ ¶«Â ÕÔÊ«ÂÕÔ»ÂÈ •ÕÔ»ÂÈ ÕÂÈÈ¢« ∆¢«Â
∆ÂÕÍËûÍËπÂW æ»Â •ÕÔ» ÕÂ⁄∆ÂÈ ‚ÂàûÈ¢«ÂÈ ≤≠ã¬Â‹È
ÕÍË∑\ûÍËπÂW ‚ÂæG»Â¬ÂÈ •«Â»ÂÈ ∆Â…S¢«ÂÈ è¡ÈJ è√‹È
∆Â≠ "ÕÔÊ«Â# ê·ÂÕÔÂÎ∑\ÕÔ»ÂÈR ÃÈ√ ‚Âõ∆ ‚ÂÈ√Â‹È Ã¢«Â
ÕÂÈÈ∏W…ÊX≈»Ò ÕÂÈ«˘ÂZ¬ÂÍ…Â •ÕÔÂ∆ʬ «˘Âàö 碫Â.
65
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ÕÂÈ«˘ÂZπÂȬÂÈÕÔÂÏ ÕÔÊWzÊW»Â ¬ÂÍé çæ ö¢„»ʫ πÚûÈ
ÕÂ⁄ûÈûÈ¢«ÂÈ ÕÔÊå‚ÂÈÕÔ »Âàπ›ÛË »Â·ÂJ êˌȸ¬Êπ
«Â…¸ ∑›«ÂÈ ü˘ÂŒÈè˘Ë∆ÂπÛ¢√ÂÈ »ڬʇÂW墫 üÊÇ
«Ò‡Â èË√ÂÈÕÔ ‚Âà ‚ÂÕÂÈŒÈ Ã¢∆¢«ÂÈ å∑È@ …Ê‹È ¶Ç
„Â∆ÂÈO åÄ@πs ≥â „ÛË«Â¬Â«Û ÕÔÂW«˘˚¸ ‡Â…«˘˚ ÕÂ⁄â
üÚûÈ ©∆ÂOÕÂȬ ÕÂÈÈ∏ÕÔÂÏ ∑éS√Â‹È «ÛXË„Â墫 ∑Íâ.
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„»ÂÈÕÂÈ-è˘ËÕÂÈ-πÂȬÂÈÕÂÈ«˘ÂZ ÕÂÈͬÂÈ •ÕÔÂ∆ʬÂπ›»ÂÈ »ÛË√
ÕÔÚà õ¢‚π› çê¸yʬÂå¢ ∆Â√«ÂÈxÛ¢√ éË√
‚Â∑‹ πÂÈ≈å …Âà…ÂÌ≈¸ çË»ÂÈ ‚ÂÕÔ¸æI ‚ÂÕÔ¸‡Â∑O
‚ÂZºÂFç¬ÂÈÕÔ ‚Z˺FŒÈë ÕÂÈÎ∆ÂÈW, …ÂXπ‹U çË»ÂÈ ÕÂÈÈ∑O
ê·ÂÈN ¬Âx\ …Â√å¬ÂÈÕÔ ‡Â¢∑¬Êåπ› ≤√ŒÈ çË»ÂÈ
‚ÂÈæ»Â πÂ≈x ‚ÂÈ∏ çË√ÂÈã¬ÂÈÕÔ •«Â¬ÂëY ºÛË«ÂWÕÔÒ»ÂÈ?
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ç»ÂR ÕÂÈÈπÂÈ›ÂÈ »Âπ yÊ¢ãíÈ¢«Â ∑Íâ¬ÂÈÕÔ ÕÂ⁄∆ÂÈ ÕÂÈ«˘ÂȬÂ
Äêπ ߢ…ÂÏ éËŒÈͷ«˘Ê¬ „Âà‚ÂÈÕÔÂÏ«ÂÈ ‚ÂÈ∏«Â …Â̬Â
∑ÈâŒÈÈã¬Â‹È ‚ÂæG»Â¬Â «ÂÈ—∏π› ∑›ŒÈÈã„ÂÈ«ÂÈ ç∆ÂW
«ÂÈà∆Âπ›»ÂÈ …Âà„Âà‚ÂÈã„ÂÈ«ÂÈ ÕÂÈÈ∏ºÂ¢«ÂX ß«ÂÈÕÔ ‚Â∆ÂW
ü˘ÂÄOûÍ¢åπ ÕÂÈÈÄO xÛ√ÂÈÕÔ ¶»Â¢«ÂãË«˘˚¸ πÂȬÂÈÕÔ
ç»ÂR ÕÂÈÈ∏ÕÔ ÕÂÈ»Â∆ÂäûÈ ç∆ÂW •»ÂÕÔ¬Â∆ آ«ÂÈ yÊ¢ü?
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ÕÔÒ«ÊåπÂúπ ÕÔÊWzÊW»Â ì«, ¬Û˺Â∑ÕÔÂÏ ç»ÂR ü˘Ê·ÂW
ãú„Ë›ÂÈ »Â»Âπ ‚Â∆˜Ô‡Ê‚Ân ÕÂÈõÕÈ, üÒ√ÂÈÕÔ»ÂÈ ç»ÂR ò·ÂW
…ÂÌÕÔ¸ ‚ÂÈ∑Î∆Âå¢ ‚«ʺ¬Â≈å¢ Ñ∆ÂO‡ÂÈåQMíÈ„ÂÈ«ÂÈ
…ÂÌÕÔ¸ …Â∑\π› ‚ÂË ÕÂÈ¢â‚ÂÈÕÔ ËÕÔÂÏ ∑Í√ ߄ÂÈ«ÂÈ
∆Â≠ ‡ÂXÕÔÂ≈å¢ ©¢¡È ¶«Â «ÂÈ—∏π› ÄãO„Ê∑È
ç»ÂR ÕÔÊWzW ѬÂyÊ‹ xÒ›ÂÈÕÔÊ ü˘ÊπÂW »ÂÕÂÈπ üÒ∑È.
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¬Â∆ÂR ∏Ñ∆ ¶‚»Âå ∑Èú∆ „Ò ÕÂÈÈ∏W…ÊX≈«ÒÕÔÂ
ü˘Êê ÃX„ÂV»Ò …¬ÂÕÂÈ …ÂÌæW»Ò »ÂÕÂÈV»R‹Y yÊÕÔÂ
ÕÔҫ‡ʂÂn •è˘ÕÂ⁄ç «ÒÕÔÂࢠçË»ÂÈ …ÂÌ{πÛ›ÂÈÕÔ
‚ÂZπ¸«ÂëY ¬Â¢ü˘Êå º‹ÈÕÔŒÈ¬Â »ÂÎ∆ÂW ‚ÒÕÔ ߬‹È
ç»Âπ ©¢¡È π¢«˘ÂÕÔ¸πʻ …ÂX∆WË∑ «ÒÕÔ ‚Âü˘ŒÈÈ
ç»ÂR õàÕÈ, ∆ÂÕÔ åÕÔÂW ºÂà∆ ü˘Â∑Oàπ •ÕÂÈÎ∆ çå˘ŒÈÈ.
66
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ö‹ÈÄ æ»Â¬ÂÈ ‚¢‚ʬ ‚Êπ¬Âå ÕÂÈÈ›ÂÈπÂÈㄬÂÈ ßëY
‡Â¬Â≈Èâ«Â ‚ÂæG»Â¬Â ÕͬŒÈ»ÂÈR çË»ÂÈ xÒú •¢«ÂÈ
æ‹å˘‡ÂŒÈ»Âçπ çË»ÂÈ …ÊXå˘˚¸ö¬, •ÕÔ»ÂÈ xÒú •¢«ÂÈ
…¬ʇ¬» ‚Âã ‚Â∆ÂWÕÔÂãŒÈëY ÕÔÊW‚»ÊÇ Ã¢«Â
«Ò„Â墫‹Y {ÊI»Â {ÛWËã •ÕÔÂ∆ʬÂπÛ¢√ÂÈ ç¢«Â.
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•«˘ÂÕÂÈ æ»Â¬ÂÈ ÕÔÒ«Ê«˘˚¸ÕÔ»ÂÈR ∆Â…ÊSÇ πÂXõ‚ •¢∆
∆Ê» ÕÂÈÍ‹πÂȬÂÈ ÕÔÒ«ÂÕÔÊW‚ ‚ÂæG»Â¬Â õ∆ÂÕÔ ÌÈö
‡ÂÈXãŒÈ ‚Âà •«˘˚¸ æπÂx ãúö«Â»ÂÈ ÃX„ÂV‚ÂÍ∆ÂX ¬ÂÑö
ÕÂÈÈ∏W …ÊX≈»Ê ∑Î…ŒÈ Ë墫 ÕÔÊW‚¬»ÂÈR ü˘ÂÜ…
{ÊI»Â ‹è˘‚ πÂȬÂÈ ÕÔÊW‚¬»ÂÈR …ÂXã ç∆ÂW »Ê»ÂÈ »ÂêÈ….
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«ÒÕÔÂπÂ≈x «ÂÈ‚Ê]«˘ÂWÕÔÊ«Â πÂȬÂÈ ÕÔÊW‚¬Ê{IŒÈ»ÂÈR
∑ÛËá ¬ÂòVπ› ÕÂÈÈ∑È¡ê¬ÂÈÕÔ ò¬Â«ÂëY „Û∆ÂÈO çË»ÂÈ
«ÒÕÔÂπÂ≈«Â …ÊX«˘˚¸»ŒÈ xÒú ‚ÂÈ‹ü˘Â«Âë yʌȸ πÚ«
ÕÔÒ«Â-©ÄOπ› ØãO õâûÈ •ÕÔÂ∆ʬ «˘Âàö â«
õàŒÈ «Â‚ÂÈW ÕÂÈäÕÂÈ¢∆ ì«Â «ÂÈü˘Ê¸·ÂW ∏¢âö¬ÂÈÕÔ
ÃX„ÂV‚ÂÍ∆ÂX ‚«ÊUM·ÂW ì«ÂÈ ‚Â∆˜Ô∆Â∆ÂOZ ‚Êå˘ö¬ÂÈÕÔ.
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åZæç‹ŒÈÕÔ¢«ÂÈ ÕÂÈÍ£ÛË∑ zÊW∆ …Êæ∑«Â x\Ë∆ÂX«ÂëY
ÕÔÊŒÈÈ«ÒÕÔ •ÕÔÂ∆ʬÂπÛ¢√ »Â√ÂÈÕÂÈ»ŒÈ ê…ÂX»ÂëY
…ÂàÕÔÊXæ¬Ê πÂ√Â≈x‹Y çË ‚ÊÕÔ¸ü˘ıÕÂȻʫ
ëÂàyʇÂXÕÂÈx „ÂÛËÇ ÕÔÊW‚¬»ÂÈ »ÂêÈö ¶{I …Â√«
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ü˘Ê¬Â∆Ê«˘˚¸…ÂXyʇÂÕÔ¢Ã ∆Ê∆ÂSŒÈ¸ πÂX¢«˘˚ ÕȬ«.
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®‡Â»ÂëY òXËŒÈëY çŒÈ∆ ∆£ üÊπÂÈÕÔÂÕÔÂπ »ÂÕÂÈ»Â
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•«Â∑È õà«Â„ÂÈ«ÂÈ ç»ÂR ‡ÂXÕÔÂ≈ «Â¬Âȇ»Âå «Û¬ÕÔ …ÂÏ≈W
ü˘ÂÕÔ« ü˘ÂŒÈÕÔ „Âà‚ÂÈ∆ÂO ‚ÂæG»Â¬Â ÕÍËå‚ÂÈÕÔÂπ »ÂÕÂÈ»Â.
67
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«ÒÕÔ xÒ‡ÂÕÔ» ÕÂÈ«˘ÂZ πÂȬÂÈê»Âs ºÂ¬Â≈ ü˘Â∑O »Ê»ÂÈ
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‚ÂÈÕÂȻ ÕÂ⁄£ •é¸‚ÂÈ∆ ü˘ÂÜ‚ çæÕÂÈÈÄO …Â√ŒÈ넬ÂÈ.
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∆ÊíÈ ¬ÂÈÄVä, ∆¢« ê¬˙ÂK‹¬Â {Ò·ÂK …ÂÏ∆ÂX "ÜËê#
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ç»ÂR »Â∏«Â ÕÂÈõÕȌȻÂÈ Ø¢∆ÂÈ ÃäN‚Âë »Ê»ÂÈ Ôêü˘ÂÈÕÔÒ
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68
 His Holiness Sri Vishwesha Teertha
Swamiji of Pejavar Adhokshaja Mutt, Udupi,
is a Seer and Visionary of great distinction.
While he is a renowned Spiritual Master, his
uniqueness lies in combining the rich Madhva
tradition with great innovations of modernity,
in the cause of preservation of the human
race and developing a new society, permeating
eternal human values. Swamiji is a pragmatic Seer, who is
not only dedicated to the cause of moulding the disciples in
the path of Madhva-mata but also in shaping socio-economic
deliverance of the underprivileged. He guides people with a
victory mark of two fingers which symbolize 'Duty' and 'Devotion';
duty towards the society and devotion for the Supreme Lord
Sri Krishna.
When Swamiji was seven-year old, he was chosen to
be the successor by H. H. Sri Vishwamanya Teertha Swamiji
of Pejavar Mutt and was given the 'Sanyasa Diksha'. This bala-
sanyasin was groomed to become an outstanding scholar by
H. H. Sri Vidyamanya Teertha Swamiji of Bhandarkere Palimar
Mutt. When he was hardly eighteen, Swamiji founded Madhva
Maha Mandal and at twnetyfive he started Poorna Prajna Vidya
Peetha, a gurukula, to impart Vedantic knowledge to students.
Swamiji undertook several activities for the revival of
'Sanatana Dharma' and welfare of the community with the active
support of H. H. Sri Vidyamanya Teertha Swamiji, such as :
★ Students' Hostel at Bangalore, Mysore, Gulbarga, Raichur, Udupi,
Davangeri, Hubli, Dharwad, Gadag, Bagalkot, Bijapur, Belgaum, Mumbai
which provide boarding and lodging facilities to deserving students.
★ Krishna Sevashrama, Bangalore, a well-equipped 50-bedded hospital.
★ A monthly journal 'Tattwavada' in Kannada, Telugu and English.
★ Free and Loan Scholarship Scheme for the professional courses.
★ Publication of Sarvamoola Granthas and scholarly studies in Madhva
philosophy.
★ An Orphanage at Udupi.
★ A Dharmashala at Badri, dormitory and puja mandirs at Tirupati and
Bhuvaneshwar.
★ A Vriddhashrama at Karjigi (Dharwad Dist.)
★ The latest one is the installation of 'Sri Vidyamanya Prashasti' for
an outstanding Madhva scholar. This award carries a purse of one
lakh with a citation, in the manner of Jnana Peetha Award.
Dr. G. V. Kulkarni (Jeevi) is a renowned
poet, playwright in Kannada. He got his
M. A. (Kannada & Sanskrit) and LL.B. from
Karnatak University. He got M. A. and Ph.D.
from Bombay University in English literature.
His doctoral dissertation - "Sri Aurobindo's
Influence on the Writings of Vinayak
Krishna Gokak" - has paved a new path in
Comparative Literature.
"Jeevi" has published five poem collections
(Madhusanchaya, Hucha-Huchchi, Nalku Dhwani, Sanjivini,
Dashapadi), one short story collection (Dhrutarastra Santan),
two one-act-play collections (Prajaprabhutwa, Gundana
Maduve), one novel(Vyatheyadalu Hudugi). He has recited poems
and presented papers in several all India Literary Conferences.
He is closely associated with Kannada literary giants and
Jnana Peetha Awardees, Mahakavi D. R. Bendre and Dr. V.
K. Gokak and extensively written on their works.
Prof. G. V. Kulkarni teaches Kannada and English in
M. V. & L. U. College, Andheri East, Mumbai.
"Jeevi" is interested in Yoga and Naturopathy and champions
the cause of drugless therapy. He is closely associated with
Dr. K. S. Sharma Institute of Naturopathy and Yogic Sciences,
Hubli. He is the editor of "Godbye Doctor" - a Publication
devoted to Naturopathy and Yoga.
Jeevi's Kannada and English translation of Trivikrama
Panditacharya's Sri Narasimha Stuti was published in 1993.
It was well received by the pundits and the public.
The present venture of Jeevi is the translation of Trivikrama
Panditacharya's Sanskrit work SRI VAYUSTUTI in Kannada and
English and has been blessed by His Holiness Sri Vishwesha
Teertha Swamiji of Pejavar Adhokshaja Mutt. This work breaks
a new ground in spiritual literature.
 "In Madhva tradition, in prayer as well as in worship, Vayustuti
has an important place. The followers of Madhva philosophy treat
Vayustuti as a sacred Mantra. No daily ritual is complete without
Trivikrama Panditacharya's
chanting of Vayustuti.
SRI VAYUSTUTI
Shri G. V. Kulkarni has translated it (Vayustuti) in Kannada
and Englsih verse so that we could imbibe the profound meaning
of Vayustuti in addition to the benefits we derive by daily recitation. tË ÕÔÊŒÈÈ‚ÂÈOã
Shri G. V. Kulkarni has shown his literary skill and ability by translating

** ¸ÉÒ ´ÉɪÉÖºiÉÖÊiÉ: **
profound - serious poetry of Vayustuti into liltng charming Kannada
- English verse. We admire the literary wonder which has transformed
Narikelapaka into Drakshapaka".

★ H. H. Sri Vishwesha Teertha Swamiji,

(English and Kannada rendering by Jeevi)
Pejawar Adhokshaja Mutt.

"Amongst strotras of Madhva Sampradaya the recitation of

Dvadasa stotra of Acharya Madhva himself and Vayustuti of Trivikrama
have become indispensable parts of the daily worship of every devout
Madhva householder.

G. V. had done his best to mirror their contents to the best

of his abilities in a spirit of homage and has succeeded remarkably
well in enabling the reader to share his thoughts and taste Kavyarasa,
Jnanarasa and Bhaktirasa of the mighty work through his word -
painting in Kannada and English in a poetic garb."

★ Dr. B. N. K. Sharma,
Sri Vidyamanya Prashasti winner

"By attempting to translate the Narasimha Stuti earlier, and

now the Vayustuti of Trivikrama Panditacharya, he (Jeevi) has exhibited
an adventure of consciousness which is a good augury for Kannada
poetry.

As this Kannada version of Sri Vayustuti flows like a stream

of crystal clear water, it is difficult to imagine the penance and
hard work undergone during the process of translation. Those who
are familiar with the original Vayustuti know very well the difficulties
in understanding the text because of its roaring compounds and
hard syntax and stylistic features. I deem it as Jeevi's adventure
of consciousness which has enabled him to succeed in his effort
of translation." ANANDA TEERTHA PRATISHTHANA
★ Prof. R. G. Kulkarni, Bangalore - 560 028.
Critic and poet