CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
A
DOHA (TWO-LINE POEM ) AND A WEDDING COUPLE
A
friend sent this painting to me and requested that I write two lines for this
work of art that shows a wedding couple. I wrote this:-
Pehle nag ke saath rakha nag
Jeevan bhar ka mail...
Ab to parkho jaano phir bhi
chaar dinon ka khel ...
(
Avtar Mota )
LOADING
UNLOADING CHARGES
Exile has profound aftereffects, both psychologically and socially, for individuals and communities. Exiles often experience feelings of loss, dislocation, loneliness and identity crisis which play havoc with their health. Socially, exile can impact relationships, cultural identity, and the ability to participate in social life in the new environment. As children seek employment avenues , old members in the family are constrained to remain at a place where they feel somewhat connected to the environment.
Jagan Nath (age 80 years) died in his Jammu
house where he lived with his wife Raj Rani, while his only son had moved to
Canada permanently. As this sudden tragedy struck the old couple, Raj Rani
didn’t know what to do or where to go. Both Jagan Nath and Raj Rani were
patients of hypertension, diabetes and painful osteoarthritis. They could not walk. Hearing the sad news, Chaman Lal
(age 75 years), their neighbour, came running and sat on a chair. He was
suffering from painful varicose veins and hypertension. Sitting on the chair,
he directed all arrangements at that critical juncture. Some more elderly
neighbours and relatives arrived limping and seeking chairs to sit. There was no young man among the mourners who could lift Jagan Nath’s body and put it inside
the vehicle sent by the crematorium. Finally, Chaman Lal requested the driver
and his two helpers to put the body in the vehicle. In the evening, Jai Shankar
Bairagi, the caretaker of the crematorium, sent a bill of rupees 7850/= to Raj
Rani that read like this:-
(1)
Timber for
the pyre 3800
(2)
3 Helper charges 900
(3)
Vehicle 550
(4)
Loading and unloading 600
of the body
(5)
Donation 2000
Total 7850.00
( Avtar Mota )
PS
Known as ' tchhaayi naar zaalun' or the practice of burning "Death Shadow" symbolically at a crematorium, is still practised by Kashmiri Hindus. Before returning from a crematorium, a bundle of dry grass is burnt and those who had come with the dead body make three rounds around this fire and leave for their homes. Poet Farooq Nazki has used ' tchhaayi naar zaalun' as ametaphor in his heart touching poem on Kashmiri Pandit exiles. I quote the specific lines ," Chhe draagamokal yemberzalan tchhayi naar zalaan, Yimav qadam kaed garav neibar, tim na aayi pheerith ,na zchhendi sontan". If the lines are read in context , Nazki intends to say ," When the narcissus flowers were not seen in the garden, greedy brokers arrived, burning even their shadows to thwart their return to the garden.Alas! Those who stepped out of their homes did neither return nor did the spring season seek their whereabouts."
ANGER AND OUR KARMA
( Photo Swami Ranganathananda 1908-2005)
‘The ones who do not know the secret are the ones who get angry, ’ An ancient Indian Proverb
Like a smile, anger is also a part of our Karma. The Upanishads say that anger gives birth to Tamsik Karma: a Karma that has to be repaid. It always engulfs the angry man and his surroundings with negative energy. In Buddhist teachings, anger is often metaphorically compared to an “out of control forest fire” or a “rampaging elephant.” Never ever has anger been without Karmic consequences. If your rage has hurt someone, there is the very real Karmic consequence of “retribution.” Swami Ranganathananda, Head Monk of Ramakrishna Mission, says this:-
“Emotions like anger are based on forecasts and overestimations, not on impartiality and understanding, and hence basically incorrect. Uncontrolled anger causes much harm to others and creates Bad Karma for the angry person. Anger is a powerful energy that pierces the energy of the person you are angry with like an arrow, causing pain and wounds. The misery that we cause to others is bound to come to us.The angry man always holds a false belief that he is in possession of Truth and he can never be wrong.Accordingly , rarely can one enter into a settlement based on empathy and mutual understanding with a person who never dowses the blaze of his anger."
What Swami Ji has said in the last lines of his above quote is exactly what Mirza Ghalib conveys through ,' Kya bane baat jahaan baat banaaye na bane or what settlement can be arrived at with a person with whom you are unable to initiate a dialogue or communication '.
Anger deprives a person of many things. Unfortunately, one among these deprivations is the truth. Truth rarely comes closer to an angry man. Quite often, the angry man remains surrounded by falsehood. The plant of truth grows and flourishes in the soil of humility alone. And the fragrant breeze of truth keeps visiting the areas where it finds humility.
Anger may also make you loud and foul mouthed perpetually engaging you in observing others and quite often commenting hurtfully . That is why people tend to move away from a compulsive angry person .
"Nashwa-o-nooma hai asal sey Ghalib farooh ko,
Khaamoshi hi sey nikley hai jo baat chaahiye .”………( Mirza Ghalib )
(Leaves and branches grow due to water and nutrition from roots,
So does the much-needed and real expression emerge
from silence and not from words or speech .)
( Avtar Mota )
Composed by the
great saint Sri Adi Sankara, Bhaja Govindam is one of the most lucid yet
insightful works of Vedanta. Some of the other brilliant works on Vedanta by
Adi Sankara are the Vivekachudamani and
Atmabodha. He combined his scientific knowledge of the subject with deep
devotion to produce brilliant compositions. Sankara’s works are classified into
3 main categories:
1. Bhashya:
Commentaries on the scriptures such as the Upanishads, Bhagavad Gita and the
Brahmasutras
2. Stotras: Devotional
compositions like the Dakshinamoorthy stotras
3. Prakarana
Granthas: Introductory manuals for spiritual studies
VIRENDERA RAZDAN (1951-2003)
Known to his friends as Vir Ji, Virendra Razdan was born into a middle-class family at Sutra Shahi (near Neelam cinema) in Srinagar. His father, Pandit Govind Ji Razdan, was also into Leela and Sufiana singing. Accordingly, Virendra developed a keen interest in singing from his childhood days. About his acting, noted actor Pran Chandra has this to say:-
“He was a great friend. He was a very good singer. Singing was his
hobby, and he would sing Talat, Rafi and Mukesh songs with ease. Initially, he
was not interested in acting. Very reluctantly, I brought him to the Sangam
Theatre. He had a passion whereby he would give his hundred per cent to
anything that he would do. Very soon, he became a sought-after actor. At Sangam
Theatre, he played important roles in Kashmiri plays like Gaasha-taarukh, Zuv
Ta Zaatuk, Ropayi Rood and Kaejj Raat. He was also an approved artist of Radio
Kashmir, Srinagar. Pran Kishore Ji was also impressed by his acting. If I
remember correctly, Pran Kishore Ji used his voice for an advertisement for a
circus company that had come to Srinagar. Moti Lal Kemu had recommended two
names for NSD admission from J&K State. I was one while the other happened
to be Virendra. I couldn’t go due to some domestic problems, but he went to NSD.
After 1990, I met him in Jammu, as well as his in-laws lived at Barnai–Bantalab
Link Road near Kangra Fort. He would come to Jammu every year.”
At NSD (Delhi), he was trained by
Ebrahim Alkazi, the doyen of theatre in India. Alkazi remained the Director of
the National School of Drama, New Delhi (1962–1977). Impressed by his work,
conduct and skills, Ebrahim Alkazi
wanted him to join NSD as a lecturer but Razdan decided to go to Pune to do
an advanced course in acting from FTII.
Alkazi was a noted art connoisseur, collector and gallery owner, and
founded the Art Heritage Gallery in Delhi with his wife, Roshen Alkazi. As
director of the National School of Drama, he shaped the course for modern
Indian theatre, establishing links between traditional vocabulary and modern
idiom.
It was during 1979-80 that Sir Richard
Attenborough visited India in search of talented Indian actors for his upcoming
movie ‘Gandhi’. Attenborough visited
NSD as it was the biggest premier Institute for acting and discovered Virendra.
Attenborough liked his voice and acting skills. In 1983, he was cast for
Maulana Azad’s role in the biographical film ‘Gandhi’ directed by Attenborough. Thereafter, he was seen in
various roles in television series like Darpan, Dillagi, Majdhaar, Ehsaas,
Saahil, Jab Apne Huve Paraye, Saaye Deodar Ke, Aasmaan Se Aagey, Kanoon, Yug,
Junoon, Zameen, Aurat, Parvarish, Mahayodha, Vishnu Puran, Vishwamitra, Ek
Kahaani, Katha Sagar and Bharat Ek Khoj, amongst others. He also played some
good roles in films including Zanjeer, Jaan Lada Denge, Prakope, Karan, Aaja
Meri Jaan, Zulm Hi Zulm, Bub, Sharat, Vaasta, Yaadon Ki Kasam, and Yaar Meri
Zindagi.
Mahabharat’s 1988 cast featured
actor Virendra Razdan as Vidur. According to the mythological epic, Vidur was a
Maha-Mantri of Hastinapur, a very sagacious and impressive character. In the
Mahabharata, Vidur was Dhritarashtra and Pandu’s brother. He was notably known
for his devotion to Dharma (righteousness). Mahabharata describes him as the
wisest man in Bharatvarsha. At the initial stage, actor Nitish Bharadwaj was expected to play Vidur; however, B R Chopra personally intervened and
selected Virendra Razdan. About Virendra
Razdan, noted actor Mukesh Khanna says this:
“I had lots of scenes with Virender Razdan. Nice actor and a very nice
human being too. God rest his soul wherever he may be. All scenes between
Bheeshm and Vidur were excellently written by Late Rahi Masoom Raza Sahib.”
About Virendra Razdan, well-known film and TV
actor K K Raina has this to say:-
"Dear Avtar Ji, it is very difficult for me to say anything about
Virendra, I still can’t accept the fact that he is no more. I miss him every
minute. He went to the FTII to do a Film
Appreciation course organised by NSD, only as part of the training. When he came
to Mumbai, we joined the Surnai theatre run by Ila Arun. He did remarkable work in the theatre in Mumbai. Some important plays that he did at Surnai are: Riyaz,
Beech Bhanwar Mein and Agni-leek. He
remained a core member of Surnai till his last days. Virendra was more than a
friend to me, like my brother; our families were connected in some kind of a
relationship. Yes, he had a wonderful voice and hypnotic personality that
impressed everyone. It was an experience to watch him perform on stage. We did
some TV series together. His untimely death was a great blow to all of us in Surnai,
and for me it was a great loss. I lost my brother, my friend, a confidant and
well-wisher. I am in touch with his two sons; Sunny and Bunny, both married and
of course his wife Usha Ji, who is like a
sister to me."
About Virendra Razdan, Padamashri Pran Kishore Kaul
says this:-
“I was mesmerized by his voice. I remember how he became a part of the
long chain of drama artists of Radio Kashmir, Srinagar. I first saw him in the
stage play Gaasha Taarukh written by the prolific writer Sajood Sailani for the
Annual Drama Festival of the J&K Academy of Art, Culture and Languages. His
voice and impressive personality were his assets. I always had him in mind and
wanted to utilize his talent when I moved from radio to film and television.
God gave me the chance and I cast him in my TV serial ‘Saaye Devdaar Ke ‘. As expected, he gave a
memorable performance, one of his best. It was a delight to spend a few weeks
with him when we were shooting for it in Chail near Shimla in Himachal
Pradesh."
About Virendra Razdan, Mumbai-based film producer and director, M Y Bhat has this to say:-
“He was a pious and noble soul. I sincerely miss him. He was a gem of a person, a gentleman, a great actor and a good friend. It was a pleasure to work with him. I liked his God gifted voice. He had a fantastic role in my film ‘Zanjeer the Chain’. He did justice to his role and performed very well. Virendera and K K Raina used to visit singer Illa Arun's apartment often for rehearsals of the play. He would visit my home whenever he used to come to our building. A young man lost his life too early, and we lost a versatile actor too. I liked the company of Virendra, who was like a saint."
Bihari Kak, noted actor and producer, had this to say:-
“We worked together in the Bub movie. I spent some days in his company. I had seen him in Srinagar doing theatre, but he had matured a lot. He would read good literature and carry some books with him to shooting locations. He had an amazing voice. He was the definition of a gentleman. Never did he speak ill of any person. He was pained about what had happened in Kashmir and how Pandits had to leave their homes and hearths.”
Virendra was a lover of Kashmir, his motherland. Before 1990, he would join his family in Kashmir, taking a break from his busy work schedule in Mumbai. In 1990, his family had to leave Srinagar, and after a brief stay in Jammu, they moved to Mumbai to live with him. He felt pained to see the plight of his friends and relations who had to leave everything behind in Kashmir to save their lives.
He was a thorough gentleman who remained away from all vices, including cigarettes, liquor and women. He was shy and avoided the limelight and glamour. He died quite young after being diagnosed as suffering from cancer of the stomach at an advanced stage. He leaves behind his wife and two sons who live in Mumbai. The family had to struggle hard and presently his children are well-settled and happily married. His family lives in Mumbai. Virendra Razdan died young . And about such young people, Friedrich Nietzsche rightly said:-
" Though the favourites of the Gods die young, they also live eternally in the company of Gods."
(Avtar Mota )
PS
This is a copyright material included and published in the second edition my book ," The Bright Stars of the Foggy Nights" available at Amazon and Flipkart in India and also at Amazon worldwide .