BHAGVADGEETA STANZA 1 , CHAPTER 1.

भगवद्गीता  :   अध्याय 1  

धर्मक्षेत्रे कुरुक्षेत्रे  समवेता युयुत्सवः  |
मामकाः पाण्डवाश्चैव किमकुर्वत संजय || 1||

Word by word translation :

1 धर्मक्षेत्रे :  (Dharmakshtreh ) In the field known as religious one 

2 कुरुक्षेत्रेः   (Kurukshetreh )  In the field known as of Kuru"s

3 समवेताः ( samvetah ) assembled 

4 युयुत्सवः (yuyutsavah )  Charged with war fever

5 मामकाः  ( mamkah )  my own ( family warriors )

6 पाण्डवाश्चैव ( पाण्डवाः च एव ) ( Pandvashaiv ) also of Pandu family warriors

7 किम् (kim ) : What 

8 अकुर्वत (akurvat ) : did they do 

9 संजय (sanjay ) : O Samjay (tell me)

In sentence form :   

Dhrutarashtra inquired with Sanjay as to what did the warriors of my family and thta of Pandu's family did when they were assembled in the battlefield known a Dharmakshtra as well as Kurukshtra.

Commentary :

1  Kurukshetra was originally a agricultural field being tilled by King KURU after whom his family came to be known as Kauravas. The God Indra conferred a boon upon him after long penance that anybody dying in the battlefield will go to heaven. Thus it started to be referred as Dharnakshetra too. Eventually it was abandoned as agricultural field and came to be used as battlefield believing that the death will take the warrior yo heaven. It is believed that the sage Parshuram got rid of Kshatriya's clan (vansh) twenty one times in the same very field. It continued as popular battlefield till modern times ( now known as Panipat ).

2  Dhrutrashtra the successor king of Hasinapur was born blind. The sage Vyasa offered him special vision so as to "See" for himself the war proceedings from his throne. He instinctively knew about eventual end of his family in war and refused the vision and asked it be given to the son of a slave Sanjay .

3 The Geeta opens with 1st and only stanza put in the mouth of Dhrutrashtra . There after Sanjay, Atjun and :Lord Krishna take over. 

4  All though it ts supposed to be war reporting it deals with philosophy. The proding and pushing do come occasionally from Lord Krishna like " Come get up and fight " occasionally but more as exception  than rule.

YOU TOO BRUTUS : ME TOO BRUTUS

YOU TOO BRUTUS : ME TOO BRUTUS

CONFLICT BETWEEN DUTY FOR A CAUSE AND SELFISH LOVE.

" You too Brutus" is famous quote from Shakespearean play " Julius Caesar " which has acquired status of an idiom in English language used when one is to be accused of betrayal . The quote comes from the mouth of Julius Caesar as the last word before death when being killed by his own Protege Brutus. Brutus finished the job started by co-conspirator in full view of Senate members. Julius Caesar is astonished and pained to see the face of Brutus ( whom he regarded as son ) and surrenders to death without any further resistance. 

Some refer to this killing as Murder and some as Assassination. While both words refer to killing, the murder is supposed to be for selfish reasons while Assassination is supposed to be for a public cause. Ironically Brutus fought in civil war  against Caesar for the people of Roman republic, pardoned and adopted by same Caesar as his protege. He was caught between the love for a father and duty he felt to oppose his usurping power to become dictator of the Roman Catholics. He ran away with other conspirators to Greece. He was supposedly haunted by the Ghost of Caesar and committed suicide. His life is story of CONFLICT BETWEEN DUTY FOR A CAUSE AND SELFISH LOVE. Duty for upholding democratic values of Roman Catholic republic and the Love showered ion him by the same enemy JULIUS CAESAR. If killing of the Emperor was duty, the love from the same person bound him by the guilt to guide him to suicide. 

We find similar conflicts too many times. Two dramatized by the Shakespeare himself. One is Lady Macbeth who goaded her old husband to commit suicide so she can rule instead of becoming mother . The guilt was so much that she started sleep walking. The other is famous Hamlet , the prince of Denmark whose own uncle killed his father and married his mother. The famous quote of  "TO BE OR NOT TO BE" comes as soliloquy in the play . He was also caught in the conflict of taking revenge of his father or not. No clues are given for his hesitation to delay that in the play. Many theories try to tell the reason for the hesitation. The one given by none other than Sigmund Fraud is interesting and sort of compelling purpose of this Article. He suggests that Hamlet had hidden desire (sex) for his mother which his uncle was performing. So he was caught in the conflict of the duty to avenge the murder of his father ( Constantly goaded by the Ghost of his father through out the play ) and his own hidden desire. Eventually he dies of poisoned wound while avenging his uncle.

We have many contrary cases in India of killing and violence . We know how almost all Mughal Emperors seized the throne by killing or imprisoning their own kin thought to be obstruction . We have untold references of court room plotting and killing Nawab and Badhshah. Only Muslims are not at it but also Hindu raja, Maharaja. We have  how Anadibat killed Narayan rao Peshwa. All these prompted by spure selfish motives. So much hardened that they display no remorse for the act. In modern democratic times we find same violence to eliminate potential political rival . No conflict between ideology and selfish interest. But still it is betrayal towards humanity at large.

In modern times we have seen assassination of Abraham Lincon , John Keneddy etc on foreign land . On out own Indian soil we have seen assassinations of Gandhis ( Mahatma to Rajiv ) .  Mahatma did not say YOU TOO NATHURAM. Just plain "HAY RAM". The killers themselves did not ask for any mercy. Like Lokmaya Tilak they believed in final Judgement of GOD . Perhaps they prove Sigmund Faud wrong.

What about we ordinary people ?

We also have our own small selfish plots to grab or deny a relation, a property, wealth and so on. How many times we repent for the wrong action ( or lack of it ) ? How many times we carry guilt to the extent of ruining our mental and physical health ?

The real judgement comes when we realize that we are part time BRUTUS and part time Julius Caesar. It is to say YOU TOO BRUTUS  (accuse) but difficult to say ME TOO BRUTUS ( accept ).

ARVIND KHARE

GURU-POORNIMA : 2018

Your  own was fortunate to be invited as key note speaker in KOPINESHWAR MANDIR , Gyan Kendra . The occasion had double purpose of adding donated books to the library run by the Kendra and Guru-poornima.  The temple is a Shiv Mandir built  in 11th century and its own place in the hrstory and culture of the city. I have been going there since ny childhood. Therefore the invitation has special significance for me. To be invited to give talk is no longer a novelty. The holy place and the occasion made it noteworthy.

Here is some pics and synopsis of what I said.

* The Granth ( Book ) is one form of the Guru. Many religions have
a holy book like Bible ort Kurhan . The Hiudus do not accept a single book as such. The nearest to fit into description is Bhagvadgeeta which is part of Mahabharat. The author or compiler of it is Maharshi Ved Vyas. His birth day is observed as GURU POORNIMA. It is significant to connect a activity of  Granth Dan ( Book Donation ) with a day devoted to the birthdate of world's biggest Epic writer. VYAS.

* Ironically he does not come as a GURU in Mahabharat itself. It finds mention of Sandipani , Dronaharya as Guru"s  with GUTUKUL ( equialent to residential university ). Another noteworthy ocservation thta he is part of the story and story teller. Probably the only case with exception of Autobiographies . Birn out of Parashar and Satyavati he becomes step cousin of Dhritrashtra, Pandu and Vidur. He instantly grew as adult and promised his mother to come back at her call before proceeding for his own study under four Kumar Narada and Brahma himself. He is credited of separating three Vedas, Upanishads , Aranakyas and Puranas as part of them. (The forth Veda Attharva Veda does not find a mention in Mahabharat. ). the Mahabharat in its presently known form is creation of Vyas ( perhaps as part of promise of revisit given to his mother) . He is also credited with creation of BrahmSutra. Such a phenomenal work brought him the title of Adya Guru.

* In current context The term GURU has acquired multiple meanings. The term has become self acquired by teaching fraternity of any branch. Be ii a school or college or coaching class or art forms like Music, dance, theater and so on. For most of them it is means of earning lively hood. That is fine but at times the earning is by immoral and corrupt practices. Then there are self declared cult GURU's. We read there success stories   right through the path to Jail. They are not fit even to be called as GURU. individually or along with the cult.

* The GURU is not a person nor an institution . It is a BHAV or sense. It has to arise in the heart of Student .Where is appears as SHISYA BHAV . When both BHAV arise simultaneously a bond is instantly struck. It is then no longer a business deal where you pay something to get something. Transfer of knowledge flows from the heart to heart without any expectation. The salute to such sublime relationship is in true sense a GURU POORNIMA.

विठू s s , विठोबा s , विठुराया ।

विठू s s , विठोबा s , विठुराया ।
उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी । देवा या  ।।

लक्ष  पाऊले चालावी ।  आंस जीवींची पुरवावी ।।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।। १।।

पंढरी क्षेत्र हे पावन  ।  पुंडरिकाचे जे निधान ।।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।२।।

चंद्रभागा नदी स्नान  ।   अखंड नामाचे  कीर्तन ।।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।३।।

पायां  लागती, उरी भेटती  । मनाच्या गांठीं सैल करती  ।।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।४।।

माथा टेकती , गूज सांगती  ।   दर्शने सुखताती यदुराया  ।।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।५।।

विसरुनी जाती वेगळी नाती  ।  अवघी सारी एकचि होती  ।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।६।।

आमुचा ज्ञानोबा आमुचा विठोबा ।  अखिल संतांची केवढी किमया ।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।७।।

जोवरी नाही होत युगांत । तोवरी चालो अखंड हे व्रत ।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।८।।

येतांचि मूळ टाकूनी देहो  ।  खेद ना खंत शांतीच राहो  ।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।९।।

एवढे मागणे नाही बा फार । राहतो स्वस्थ टाकुनी भार  ।

उभा विटेवरी । कर हे कटावरी । पाहावे डोळाभरी ।  देवां या  ।।१०।।

राग  : चारुकेशी  |  

आरोह :  सा रे ग न प ध  नि  सां |  

अवरोह : सां नि ध  प म ग म रे सा || 

वादि :म   , संवादी  : सा 

ध , नि कोमल  बाक़ी शुद्धः  ताल : विलंबित एकताल

स्थाई : 
शब्द :  ना जानु मैं क्यूँ तोरी किरपा ना छाई हम पर | 

(११) रेग मप गम  - , मम  रेसा  नि   सा  (१२)  नि    ध    नि   सा   (x १ ) म  -  ग  - 

       नाs  ss   ss   - .  जाs   ss     ss   ss             नु      s     मैं     s            क्यूँ  s  s  s
   (२)  रे  ग म  प   (३  प   -  (४ )  प  ध  (५)   धप  मग रेग म-    (५ )  ग   म     (६) रे  सा
          तो  s  s    s   -   री              कि र           पा s   ss    ss  s -            ना   s           s    s
(o७ )  सांध   धनि    ध    प    (८)  प  ध   नि  -   (९)   धप  मग रेग -   ( १०)  म  -   रे  सा
          छाs      ss        ss    s           ई   s    s   s           ह s   s s   म  -           प    s   र   s
अन्तरा :
शब्द : नित तुमरी रटत नाम तेरो भरोसे सब काम ||
(११ )  नि  सां  रेंसां निध  (१२ )  नि  -  नि  -    (x १ ) सां   -   -   -      (२)  रें   नि   सां  सां-
         नि   त   ss    ss               तु    s   म               री   s   s   s              र   s     ट     s
(३)  ध   नि   ध   प      (४)  मग रेग   म   म    (५) धनि   सां   - सां    (६)   धनि  सांगं
       त   s      s    s              नाs  ss    s     म          तेs     s     s   s            रो s     ss     
(०७}  रें    -    सां   -    (८)    ध    नि   ध    प    (९)   मग  रेग  म   -  (१०)   रे    -  सा   -
          भ    s   रो     s             से     s    s     s            सs    बs   s    s          का  s   म    s         

******                                                 ******                                        ******


         

धन्य तुझा दरबार बाबा धन्य तुझा दरबार ।।

धन्य तुझा दरबार बाबा धन्य तुझा दरबार ।।

धन्य तुझा दरबार बाबा धन्य तुझा दरबार ।।

 दिंडी काढुनी पाय दमविती  । नामघोषे शीण विसरती  ।।

अन्नछत्रे मार्गी लाविती  । भक्तीचा अचंबा फार ।।

बाबा धन्य तुझा दरबार  ।। १।।

दीन गरीब लाचार  ।  त्यांची रांग लांबच फार ।।

नाही तरी कुठे तक्रार । भक्ति वाहते अपरंपार ।।

बाबा धन्य तुझा दरबार  ।।२।।

रांग लाविती तोडुनी जाती । धन दांडग्यां मध्ये घुसती  ।।

घुसती आणि आपटूनी घेती । जमा डोई वरचा  भार ।।

बाबा धन्य तुझा दरबार  ।।३।। 

जो बाबा बसला पारावरी । तो झाला संगमरवरी ।।

अंगावर झूल जरतारी  ।  झटगमगाट झाला थोर ।।

बाबा धन्य तुझा दरबार  ।।४।। 

इथे भक्तीचे काम संपले । जगाच्या आठवणीत फिरले ।।

बाहेर  शोधू लागले । दाखविण्या काही आधार ।।

बाबा धन्य तुझा दरबार  ।।५।। 

खिसे कापती वस्तू लुटती । गंडे दोरे ताईत विकती ।।

फसती त्यांसी फसवती  ।   खुळचट आशेचा व्यवहार ।।

बाबा धन्य तुझा दरबार  ।।६।। 

सोंगे काढुनी उदी उधळती । दात विचकूनी भीक मागती ।।

बाबाचा अवतार म्हणवती  । निव्वळ ढोंग आविष्कार  ।।

बाबा धन्य तुझा दरबार  ।।७।। 

उमलत्या फुलांचा बाजार । चिमुकल्या मुलांचा बाजार ।।

लोटती तृतीयपंथीं लाचार ।  किती मोजावे व्यवहार  ।।

बाबा धन्य तुझा दरबार  ।।८।। 

अर्धोन्मीलित कळ्यांचा व्यापार । उमलत्या मुलींचा व्यापार ।।

भक्तीला वासना शेजार  । तरी हे तीर्थ क्षेत्र म्हणणार ।।

बाबा धन्य तुझा दरबार  ।।९।। 

चमत्कार म्हणुनी थोर ।  कर्तृत्व होई हद्दपार ।।

सर्व टाकुनी त्यावरी भार । निष्क्रिय शून्य विचार ।।

बाबा धन्य तुझा दरबार  ।।१०।। 

करितो गा  विनवणी । नका ठेवू त्यास कोंडूनी ।।

राहू दे स्वहिताच्या  मनी । करुणा अपरंपार ।।

बाबा धन्य तुझा दरबार  ।।११।।

रिश्ते हो या रास्ते

अक्सर आकर फसते |  रिश्ते हो या रास्ते || १ || 
कुछ पैदाइशी  होते | कुछ आपनहि बनाते ||२|| 
कभी चलते कभी रुकते | पीछे मुड़के देखते || ३||
खुदपेहि खुश होते | थोड़ा बहुत पछताते || ४|| 
क्या खोया क्या पाया | हिसाब लगाए रहते || ५ || 
कभी मोड़ देते तो | कभी ख़त्म कर देते || ६|| 
जभी अपना मानते | वापस नहीं छोड़ते || ७|| 
खुदबखुद चलते नहीं | दोनों चलाने पड़ते ||८ || 
दोनोंका अंत नहीं | ये क्यूँ नहीं समज़ते || ९ | 
दिमागसे भले जानते | दिलसे कहाँ मानते || १० || 
राह राहबर दोनों गुजरते | फिर याद किसको आते || ११ || 
सदियोंसे यही आया चलते | सिर्फ ग्यानी पार लगाते || १२ ||