Ganesh has been a ubiquitous presence in Indian art, philosophy and ritual for many millennia. Now, interest in Ganesh’s symbolism and meaning have taken root outside of India. Ganesh’s image, with an elephant head and a human body, is easily recognizable to many Westerners.  However, few outside of the Hindu religion are familiar with what he represents or the traditions associated with him.

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For the world’s one billion Hindus, Ganesh is a powerful and majestic deity, said to bring good fortune when launching new endeavors. He is also considered a patron-deity of the arts and the Lord of beginnings. The iconography and history of Ganesh go far beyond his link with good fortune. The imagery associated with Ganesh offers a spiritual map of sorts, his every feature rich with meaning both practical and esoteric.

Ganesha Chaturthi (Gaṇeśa Chaturṭhī, sanskrit: गणेश चतुर्थी) or Ganesha Festival is a day on which Lord Ganesha, the son of Shiva and Parvati, is believed to bestow his presence on earth for all his devotees. It is also known as Vinayaka Chaturthi or Vinayaka Chavithi in Sanskrit, Kannada, Tamil and Telugu, Chavath ( चवथ ) in Konkani and as Chathaa (चथा) in Nepal Bhasa. It is celebrated as it is the birthday of Lord Ganesha.

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The festival is observed in the Hindu calendar month of Bhaadrapada, starting on the shukla chaturthi (fourth day of the waxing moon period). Typically, the day falls sometime between August 20 and September 15. The festival lasts for 10 days, ending on Ananta Chaturdashi. This festival is observed in the lunar month of bhadrapada shukla paksha chathurthi madhyahana vyapini purvaviddha. if chaturthi prevails on both days, the first day should be taken. Even if chaturthi prevails for complete duration of madhyahana on the second day, but if it prevails on previous day's madhyahana period even for one ghatika (24 minutes) the previous day should be taken. (Ref. Dharmasindhu and Indian Calendric System, by Commodore S.K. Chatterjee (Retd). Madhyahana is the 3rd / 5th part of the day (Sunrise-sunset).

Ganesha, the elephant-headed son of Shiva and Parvati, is widely worshipped as the supreme god of wisdom, prosperity and good fortune.

While celebrated all over India, it is most elaborate in Maharashtra,Goa ( Biggest festival for Konkani people all over the world ) Gujarat, Karnataka and Andhra Pradesh, and other areas which were former states of the Maratha Empire. Outside India, it is celebrated by Newars in Nepal.

Download Vinayaka Chaturthi or Vinayaka Chavithi Katha and Pooja  in mp3 Format

Vishnu Sahasranama is another masterpiece from Sage Vyasa, an extraordinary Sanskrit scholar and author of many timeless classics such as Mahabharata, Bhagavad Gita, Puranas and various Stotras. Vishnu Sahasranam has been the subject of numerous commentaries, the most popular being one written by Adi Shankaracharya.

In Sanskrit, 'sahasra' means 'a thousand' and 'nāma' means 'name'. The compound 'Sahasranam' (or 'Sahasranama') may be translated as 'having thousand names'. Thus, Vishnu Sahasranama literally means Lord Vishnu with thousand names or thousand names of Lord Vishnu. In modern Hindi, it is pronounced as Sahasranām while in South Indian languages, it is pronounced as Sahasranāmam. There are Sahasranāma for major forms of God (Vishnu, Shiva, Shakti, and others), but Vishnu Sahasranāma is most popular among common people. The other Sahasranamas are recited mostly in temples or by learned and scholars.

It is interesting to know the history behind Vishnu Sahasranama. On the battlefield of Kurukshetra, Bhisma - the great grandfather of Kauravas and Pandavas was lying on his deathbed. With Bhishma's death, an era of great wisdom and knowledge was about to come to an end. There for, Lord Krishna advised Yudhisthir to seek Bhishma's counsel on any and all aspects of life. The dialogue, which was witnessed by Sage Vyasa and Lord Krishna as well, reflects essence of Bhishma's life. During the dialogue, in response to Yudhisthir's questions such as Who is the ultimate Supreme reality of the creation; by worshipping whom a man attains salvation; and what is the easiest way by which mankind can get everlasting happiness, eternal peace and become free from misery and sorrow, Bhishma mentioned thousand names of Lord Vishnu.

Recitation of God's glories eradicates evil in us and gives us a chance to reconnect with the divine within. Sahasranam Mahatmyam aptly illustrate the Benefits of Sahasranama's recital:

"That man who hears or recites the names every day, never meets with any evil either here or hereafter. If a Brahman does this he succeeds in mastering the Vedanta; if a Kshatriya does it, he becomes always successful in battle. A Vaisya, by doing it, becomes possessed of affluence, while a Sudra earns great happiness."

"That man who with devotion and faith recites this hymn succeeds in acquiring felicity of soul, forgiveness of disposition, Prosperity, intelligence, memory, and fame. Neither wrath, nor jealousy, nor cupidity, nor evil understanding ever appears in those men of righteousness."

It is true that the charm and magnetism of this Stotra can only be felt completely in Sanskrit, but not many people study it these days. For Gujarati people, Shri Yogeshwarji translated this stotra in poem form in 1953. It was later published in a book form during sixties. Thereafter due to popular demand, it has been reprinted more than six times.

Here, we have presented Vishnu Sahasranama (1000 names) with English meaning for easy reference.

For those interested in daily recital, mp3 audio as well as e-book (PDF) format please visit http://www.swargarohan.org/Vishnu-sahasranama/main.htm

Aum Namo Narayanay

Visit www.eTirth.com for more information on Temples, Ashrams, Gurus, Festival and Daily Panchangam (Hindu ephemeris).

Visit www.eTirth.com for more information on Temples, Ashrams, Gurus, Festival and Daily Panchangam (Hindu ephemeris).

Shravan is considered the holiest month of the year. Each Monday of this month, known as Shravana Somvar, is a special day in Shiva temples where the Dharanatra hangs over the linga or the idol to bathe it with holy water, day and night. Devotees pile the linga high with Bel leaves and flowers and fast till sunset. The nandadeep (24 hour lamp) burns steadily in the temples.

Lord Shiva and Shravan Maas:

The legend says that when the churning of oceans - Samudra Manthan - took place in the month of Shravan, fourteen different types of rubies came out. Thirteen of these were distributed amongst the demons, except Halahal (poison). Lord Shiva drank the Halahal and stored it in his throat. Hence the name Neelkanth (meaning blue throat) is attributed to Shiva.

To reduce the strong effect of poison, Lord Shiva wore the crescent moon on his head. All the Gods thereafter started offering the Ganges water to Lord Shiva to make lessen the effect of poison.

Since, this happened in the month of Shravana, since then the Shiva devotees offer the Ganges water in this month.

It is considered highly auspicious to wear a Rudraksha in Shravan month. As, Mondays or Somvar of Shravan month are specially observed with austerity. All Mondays are devoted to the worship of Shiva as this day is sacred to Lord Shiva. No other Mondays of other months are so greatly honoured.

The belief is that in Shravan month, offering milk to Lord Shiva earns a lot of Punya.

Things to do during Shravan month:

• Wear Rudraksha, and also use a Rudraksha mala for Japa.
• Offer Lord Shiva Bibhuti and place some on your forehead.
• Make offerings of Bel leaves, Panchamrita (milk, yoghurt, clarified butter, honey and jaggery) on Shiva Ling.
• Recite Shiv Chalisa and Aarti.
• Chant Maha Mrityunjaya Mantra.
• Fasting on Mondays. Girls who fast on all Mondays of Shravan get a good husband. Shravan Somvar Vrat (Monday fasting on Shravan month)

One of the names of Lord Shiva is soma - saha uma. For the Lord Someshvara Who wears the soma, the moon crescent on the matted hair, on the Somvar day (Monday), this festival is observed.

Though all Mondays can be observed as Vrat there are special Mondays when it is much more emphasised to observe like the Shravan Somvar and karthikai Somvar. According to Skanda Purana, on the Mondays of the month karthikai (mid Nov to mid Dec) this Vrata is observed.

Way of observing:

After taking bath pray to the Auspicious and Graceful Lord Shiva. Anointing the Lord with panchamrita and other pleasant substances, hail the Lord offering Bilva leaves. During the day don't take any solid food. U can take Milk/ buttermilk/ fruit juice/ fruits. After 6'o clock in the evening pray to Lord Shiva and break your fast and eat normal solid food (avoid onions and garlic). Your fasting should start from 12 in the midnight and ends at in the evening on Monday. It is believed that one who fasts on all Monday of Shravan has all prayers from the heart answered. It is not necessary to undergo rigid practices. Even for this fast, different people may have different practises....e.g. some people may not have buttermilk or some may have specific mantras to be chanted. You can follow whatever gives you a peace of mind. Significance of Shravan Weekdays.

Each day in the month of Shravan has a special significance and has its own ritual. Monday: is the day of Lord Shiva worship. Tuesday: Gauri is worshipped in every home, by women for the good health of their family. Wednesday: are dedicated to Vithala, a form of Vishnu or Krishna. Thursday: are also days for worshipping Budha and Guru. Friday: every home worships Lakshmi and Tulsi. Saturday: are for Saturn (Shani). It is also known as Shravan Saturdays, with the object of object of obtaining wealth. These days are known as Sampat Sanivar (wealth Saturdays). Sundays: are meant worshipping the Sun god. Sun worship was general in the Vedic period and even now it is so. Especially in Shravan, every Sunday the Sun is worshipped without fail. Festivals in Shravan Month.

During this month people practice many rules and regulations while praying and also fast. Shravan has a special importance as it ushers in a host of auspicious days and festivals like:

Naga-Panchami, Kalkyavatara, Putradaikadashi, Hindola or Swinging, Narali Poornima, Shravani Poornima, Pavitraropana, Raksha Bandhan, Vara Lakshmi Vrata, Rishi Panchami, Govatsa and Bahula, Shitala Saptmi, Janmashtami, Ajaikadasi, Pithori Pola.

Visit www.eTirth.com for more information on Temples, Ashrams, Gurus, Festival and Daily Panchangam (Hindu ephemeris).

Gestern nachmittag war ich in Erlangen, hab das vorerst letzte Buch für meine Facharbeit geholt. Danach ab in die Yoghurt Bar, in den Thalia (meine Mama wollte ein Buch für die Ferien, am Ende hab ich ihr "About a boy" von Nick Hornby gekauft) und in die Arcaden, wo ich nach Klamotten gesucht habe (am Ende: ein grünes Langarm-Shirt, Socken, Boxer-Shorts).

Heute ging's nach Nürnberg. Mit einem sehr lustigen und sehr lauten Mädels-Auto: Melly, Anne, Guddl, Katha - und ich als Fahrer. In Nürnberg etwas provokant gefahren, zwei Mal Hup-Konzert provoziert (einmal extrem ungeduldige Metaller, einmal ein komischer Laster-Fahrer, der mich eiskalt in die Baustelle hätte reinfahren lassen statt mir Platz auf seiner Spur zu geben). Ziel war das NS-Dokumentationszentrum, genauer gesagt die Ausstellung "Bilderlast". Wir sind zuerst in die Hauptausstellung und haben uns dort wirklich lange aufgehalten (vor allem die Bilder und Filme hatten es uns angetan). Eine halbe Stunde bevor das Zentrum schloss wollten wir dann noch in die eigentlich von uns gewählte Sonderausstellung besuchen. Dort wurden wir allerdings nicht mehr hineingelassen, weil maximal eine Stunde vor dem Schließen des Gebäudes und überhaupt. Irgendwie Mist... Getröstet haben die zahlreichen Bilder aus Franken in der Hauptausstellung.

Heute abend geht's nach Schornweisach, der zweite Wandertag der K12 steht an. Mein Essen ist vorbereitet, die Getränke liegen im Kühlschrank, kommen gleich in die Kühltasche und dann geht's los, ich hole Robert ab und wir heizen in die Weltstadt Schornweisach.

The historians and chroniclers found a synonymity between Akbar – Birbal and Rayalu – Ramalinga. However, despite the commonness among the two combinations, a small line distincts Birbal and Ramalinga. While Birbal was famous for his delicate and involving humour, Ramalinga was stern and sarcastic in his wit to puncture the shields of proudness the others had.

What is Ashtadiggajas:
Astadiggajas (Elephants taking care of all the eight sides) is the collective title given to the eight telugu poets in the court of the emperor Sri Krishnadevaraya who ruled the Vijayanagara empire from 1509 until his death in 1529. During his reign, Telugu literature and culture reached zenith. In his court, eight poets were regarded as the eight pillars of his literary assembly. The age of Astadiggajas is called Prabhanda Age (1540 AD to 1600). All of the Astadiggajalu had composed at least one Prabandha Kavyamu and it Astadiggajalu who gave Prabhanda its present form. Most of the Astadiggajas are from southern part of present day Andhra Pradesh state (Rayalaseema, Nellore) and Astadiggajas, Allasani Peddana, Dhurjati, Nandi Thimmana, Madayyagari Mallana and Ayyalaraju Ramabhadrudu are from the Rayalaseema region.

Etymology
The title Ashtadiggajas (Ashta + dik + gaja) means elephants in eight directions. It refers to the old Hindu belief that eight elephants hold the earth in eight directions which are namely Airaavana, Pundareeka, Vaamana, Kumuda, Anjana, Pushpadanta, Sarwabhouma, Suprateeka. whose wives are Abhra, Kapila, Pingala, Anupama, Taamraparni, Subhradanti, Angana, Anjanaavati. The court of poets were also called Bhuvana Vijayam (Conquest of the World).

Ashta (Eight) Members
These poets were (1) Allasani Peddana, (2) Nandi Thimmana, (3) Madayyagari Mallana, (4) Dhurjati, (5) Ayyalaraju Ramambhadrudu, (6) Pingali Surana, (7) Ramarajabhushanudu, and (8) Tenali Ramakrishnudu. The most famous being Allasani Peddana honoured with the title Andhrakavitapitamaha (father of Telugu poetry) and Tenali Ramakrishna, Krishnadevaraya's court jester who authored several acclaimed works.

Differences in research
Though the above list of eight poets is widely regarded as the Ashtadiggajas, there are some differences of opinion as to who exactly constituted the Ashtadiggajas and if the composition of this body changed over time. Some literary works mention the name of BhattuMurthi in place of Ramarajabhushanudu and some accounts mention Pingali Surana and Tenali Ramakrishna also as members of the later kings. From the stone inscriptions of that time, it has been inferred that the village of Thippalur in the present-day Cuddapah district has been gifted to the Ashtadiggajas by the king.

Ashtadiggajas’s works
Allasani Peddana wrote Manucharitramu and dedicated to the king Krishnadevaraya. Nandi Thimmana wrote parijataapaharanam and dedicated it to the king as well. Madayyagari Mallana wrote Rajasekhara Charitramu. Dhurjati wrote Kalahasti Mahatyamu. Ayyalaraju Ramabhadrudu wrote Ramaabhyudayamu. Pingali Surana wrote Raghavapandaveeyamu, a dual work that describes both Ramayana and Mahabharata. Ramarajabhushanudu wrote Kavyalankarasangrahamu, Vasucharitramu and Harischandranalopakhyanamu. Tenali Ramakrishna wrote Udbhataradhya Charitramu, Panduranga Mahatmyamu and “Ghatikachala Mahatmyamu.”

Literary Style
Telugu literature reached its peak during their period. A new style called Prabhanda with added fiction and few omissions from the original stories were followed during this period. Poets in earlier century like Tikkana and Potana translated the Sanskrit books and epics without changing the stories from original. Ashtadiggajas usually took small, some times obscure, stories from Puranas and used them as plots for writing major kavyas. A Prabhandam can be of three types, viz., Prakhyatam, Utpadyam, Misramam (famous story, purely fictional story, mixed story). Ashtadiggajas have written in all the three genres during the Prabhanda yugam.

There are also at least two dual meaning works during this time. Ramabhyudayam by Pingali Surana simultaneously runs the stories of Rama and Pandavas. Harischandranalopakhyanamu by Bhattumurthy also simultaneously tells the stories of the kings Harischandra and Nala.

The historians and chroniclers found a synonymity between Akbar – Birbal and Rayalu – Ramalinga. However, despite the commonness among the two combinations, a small line distincts Birbal and Ramalinga. While Birbal was famous for his delicate and involving humour, Ramalinga was stern and sarcastic in his wit to puncture the shields of proudness the others had.

Rayalu’s court known as ‘Bhuvana Vijayam’ (Global Victor) was strongly upheld by eight poets called “Ashta Diggajas” (Elephants taking care of all the eight sides). Those eight’s combination was the strongest ever and was invincible for any scholar or Master of Arts and Sciences during those days. Tenali Ramalinga shined among the eight as a precious diamond in the diamond studded crown.

Tenali’s Biography:
His family had originally hailed from Tumuluru near Tenali in Guntur District. Tenali is an important town in Coastal Andhra Pradesh’s Guntur District. Tenali is also famous as “Andhra Paris.” He was also known as Tenali Ramalinga, a Shaiva name. It is believed that he later converted to Vaishnavism.

Some scholars dispute whether that he was a contemporary of Krishna Deva Rayalu. Tenali Ramakrishna's most famous work, Panduranga Mahatyam, is dedicated to Krishna Deva Rayalu's grandson; it is therefore possible that he was only a boy poet during the reign of Krishna Deva Rayalu (1509-1529). He was known for wit and a large volume of poetry written in the Telugu language.

Tenali’s works:
Scholars treat his famous work Panduranga Mahatyam as one among the Pancha Kavyas, the five great books of Telugu Literature. He has dedicated Panduranga Mahatyam to Viruri Vedadri. This book is about the Pundarika Kshetram on the banks of river Bhaimi and its legend. He also composed Udbhataradhya Charitram on the story of Udbhata, a monk, as well as Ghatikachala Mahatyam about Ghatikachalam, a place of worship for God Narashimha near Vellore, Tamil Nadu, India.

Tenali’s Style:
He followed the Prabhanda style. He took the theme for Panduranga Mahatyam from the Skanda Purana and enhanced it with many stories about the devotees of God Vittala.

He is noted for brilliance and wit and for mocking other poets and great personalities. He created a celebrated character called Nigama Sarma akka (sister of Nigama Sarma) and a story around her without giving her a name. He also had written many Chatuvu (extempore poems).

Tenali’s Titles:
::- He was called a vikata kavi (a palindrome in Telugu script) means clown-jester-poet.
::- Kumara Bharathi

The records also state that Ramalinga was instrumental in protecting the King Rayalu and his prestige many a time, coming to his rescue in critical situations. A popular story among the commoners narrates how Ramalinga protected the Vijaya Nagar Empire from getting into the clutches of Delhi Sultans through his timely wit interlaced with a perfect strategy.

The most popular stories about the lifestyle, combination, and co-ordination of Rayalu and Ramalinga spread the message of intellect, time tuning, and strategic stroking besides lively wit and humour.

KathaVarta is attempting to present some of the selectively collected stories for world readers to hold their bellies before they read the laughing gas about the ‘activities’ of Ramalinga in and out of the royal court of Rayalu.

Courtesy: www.wikipedia.org and www.tenaliramalinga.com

Madidilim ang mga kuwento ni Ramos, ngunit ang gayong pangyayari'y nagkukubli lamang sa pagtatanggol ng puri, pagbawi ng dangal, at pagbangon mula sa pandurusta at kahirapan. Walang pangingimi ang mga kuwento sa paglalantad ng mga realistikong tagpo hinggil sa sex, na inuurirat ang gahasa, ang panggigipit na seksuwal, ang prostitusyon, ang walang direksiyong kalibugan, ang paggamit sa sex bilang instrumento ng kapangyarihan o pagbalikwas, o kaya'y ang pamumutol ng uten—sa punto de bista ng babae o lalaking tumitingin sa papel ng babae.

Halimbawa, sa kuwentong "Alipin," ang parikala at siste ay maingat na ipapasok sa katauhan ng drayber na naibigan ng asawa ng politikong mahilig mambabae. Ang asawa ng politiko'y halos magsawa na sa paghabol sa kaniyang bana, at isang araw ay pagdidiskitahan ng babae ang drayber na nagkataong makisig, upang tighawin ang uhaw ng kalibugang taglay ng sinumang babaeng nasa rurok ng kasibulan. Magwawakas ang kuwento na parang nasa alapaap ang drayber, dahil hindi na siya itinuturing na karaniwang utusan na sinisigawan, bagkus tagapagbigay din ng aliw sa babaeng tigang na tigang sa kaniyang asawa. Ngunit higit sa lahat, hindi na alipin ang drayber bagkus isa nang panginoon, kahit sa larang ng sex.

Mahaba naman ang kuwentong "Ang Bulkan" na nalathala sa Sagisag noong 1980. Hinggil ito sa buhay at pakikipagsapalaran ni Tata Islaw, na isang magsasakang pinalayas sa kaniyang sinasakang lupain doon sa Bulakan, kinutyang duwag kung hindi man dungo ng kadugo, at lumipat sa bulubunduking Taal upang doon magsimula ng panibagong buhay sa piling ng itinanang babaeng ang dating ikinabubuhay ay pagbibili ng aliw. Darating ang sandali na puputok ang bulkan, at kasabay niyon ang pagkakatuklas ni Tata Islaw na siya'y kinakaliwa ng babae na naakit sa may-ari ng lupang sinasaka niya. Maghihiganti si Tata Islaw, papatayin ang magkalaguyo, ngunit sa wakas ay tatabunan din siya ng abo at kumukulong putik mula sa nagngangalit na bulkan. Ang parikala ng bulkan ay magsisimula sa pisikal na bulkan at magwawakas sa nagbubulkang kalooban ni Tata Islaw, ngunit taliwas sa inaasahan, walang pagliligtas ang matatagpuan sa pagsabog ng poot o bulkan. Lahat ay namamatay, at nababago ang heograpiya ng ugnayan ng mga uri sa lipunan.

Ang pagpapahalaga sa lupa ay mababanaagan din sa "Lupang Pinagbaunan ng Inunan," na ang melodramatikong rendisyon ay pangtelenobela. Nagtungo sa Estados Unidos si Raul, upang makipagsapalaran at baguhin ang buhay, iiwan ang kaniyang kababatang si Minda, at magbabantulot na umuwi sa sinilangang bayan. (Aangat ang estado ng kaalaman ni Raul, at maiiwan si Minda na nabigong maipagpatuloy ang pag-aaral dahil sa kahirapan.) Ngunit susulatan siya ni Minda, at padadalhan ng isang kuyom na lupa, upang ipaalala sa kaniya ang pinag-ugatan at pagmamahal nang taos. Ang ganitong pormula ng kuwento ay gagayahin ng iba pang manunulat ng Liwayway, at siyang dapat nang iwasan ng makabagong henerasyon.

Isa sa mga konseptong matingkad sa mga kuwento ni Ramos ay ang pagpapahalaga sa "dangal."  Ang "dangal" ay maaaring sipatin sa antas ng pagkatao ng paralitikong bana na ang asawa'y napilitang magputa, at siyang isinalaysay sa "Uwak at Bangkay." Ang dangal ay maisasalin sa larawan ng mahirap na pamilyang nag-alaga ng nakakawalang Doberman ng mag-asawang walang anak, na mababasa sa "Kahit Isang Hayop." Ang dangal ay maikakabit sa pagsisikap na makabawi ng laos na aktres na naging puta at ipinahiwatig na nahawa ng HIV dahil sa pakikipagtalik sa kung sino-sinong lalaking banyaga. Ang konsepto ng dangal ay maaaring pabaligho ang rendisyon, gaya sa kuwentong "Si Baribot" na hinggil sa pagbabagong buhay ni Nick na nilustay ang kabataan sa bisyo at babae, ngunit nabigong maituwid ang pagkakamali dahil huli na ang lahat. Hindi linear ang pagsipat ng awtor sa dangal, at ang idinudulot nito sa tao ay hindi laging positibo dahil nasusugatan, nahihirapan, at namamatay sa iba't ibang anyo ang mga tauhan.

Pambihira naman ang parikala sa kuwentong "Kamandag na Pangungulila" ni Ramos, na ang bana'y nangungulila sa kaniyang misis na dating titser na nagtungo sa ibang bansa upang magtrabaho bilang katulong o sex worker. Ang lalaki'y lulustayin ang padalang salapi ng kaniyang misis sa malimit na pagdalaw sa birhaws, mapapabayaan ang pangangailangan ng mga anak, at parang isinadula muli ang kasabihang mula sa "Mula sa alabok tungo sa alabok" ngunit sa ibang anggulo. Ang perang kinikita ng Ledylin (asawa) sa ibang bansa ay mula sa prostitusyon ng sarili na nauwi sa paglulustay ng kaniyang asawa para sa isang puta. Ang ganitong uri ng kuwento'y lumilitis sa uri ng kapangyarihang namamayani sa lipunan, at ang sex ay maaaring tingnan hindi lamang bilang instrumento ng kalibugan bagkus bilang intrumento sa pagkamit ng moral at ekonomikong estado sa buhay.

Nangingibabaw din ang poot sa ilang kuwento ni Ramos, at ito ang higit na nagbibigay-kulay sa mga pangyayari. Halimbawa, sa kuwentong "Ang Pangalan sa Lapida," matutuklasan ni Rey ang suklam sa kaniya ng kaniyang ama nang ipagpagawa nito siya ng lapida kahit buhay pa, dahil sa ginawa nitong katarantaduhan, gaya ng pagtutulak ng droga at paglustay ng buhay sa iba't ibang bisyo at bilangguan. Ngunit ang poot ay kaugnay ng sukdulang pagmamahal ng ama sa anak, at ito ang matutuklasan ni Rey sa dulo ng kuwento. Samantala, ang kuwentong "Sirang Lantsa, Alak, at Manggang Hilaw" ay nagsasalaysay naman ng poot ni Emma kay Estong Balila na gumahasa sa kaniyang anak. Ipapaubaya ni Emma kay Estong ang sarili upang sa bandang huli'y putulin ang uten ni Estong bilang pagganti sa niyurakang dangal ng kaniyang anak.

Bukod sa poot ay itatampok din ang konsepto ng "Kung ano ang itinanim ay siya mong aanihin." Mababanggit dito ang rekruter ng mga manggagawang Filipino na ipinadadala sa iba't ibang bansa at nakadanas ng mga pasakit dahil sa panloloko ng ahensiya, na sa bandang huli'y ang anak mismo ng rekruter ang palihim na mag-aaplay sa ibang ahensiya upang doon makipagsapalaran sa ibang bansa. Ang ganitong sipat sa "karma," kung "karma" ngang matatawag at siyang batay sa pananaw ng Filipino, ay ipamamalas din sa gaya ng kuwentong "Katarungan," na ang kurakot na piskal na nagpalaya sa mga adik na anak ng mayaman at maykapangyarihan ay ginantihan ng tadhana at ang kaniyang mismong anak na babae ay gagahasain ng mga adik pagdating ng araw. Maiuugnay din ang nasabing kuwento sa isa pang akda, ang "Ganti" na hinggil sa buhay ng huwes na ginagamit ang posisyon upang makaisa sa babaeng ang asawa'y kinasuhan ng pagpatay. Ngunit gagantihan pagkaraan ang huwes, lilinlangin ng babae, at puputulan ng ari, hanggang masira ang pangalan at doon ubusin ang natitirang panahon sa ibang bansa.

May kutob akong ang mga kuwentong binanggit ko rito ang isasama ni Mang Ben sa kaniyang bagong koleksiyon, at ilalathala ng isang tanyag na publikasyon sa Lungsod Quezon. Maganap nawa ito, at nang muling mabasa ng madla ang silakbo ng sining ng Bienvenido A. Ramos, na isa sa mga bantayog ng panitikang popular sa Filipinas magpahangga ngayon.

Long long ago Lord Vishnu had three wives viz., Lakshmi, Saraswati and Ganga. One day Ganga looked at Lord Vishnu with lot of passion when the other two were present. A big quarrel erupted between them. When Saraswati attacked Ganga, Lakshmi tried to separate them. Saraswati got infuriated and cursed Lakshmi that she should be born as a plant in earth. Ganga cursed Saraswati, that she should become a river and Saraswati in turn cursed Ganga that she should become an ever flowing river. Lakshmi, who was loved a lot by Lord Vishnu, told her, “Please do not worry. You would be first born as a daughter of a very pious soul called Dharma Dwaja and later marry an Asura called Shankha Chooda, who would be one of my incarnations. Later you would come and join me in Vaikuntha after becoming the holy plant Tulasi.”

There was a great king called Rudra Savarni, in his clan was born a great king called Vrusha Dwaja. Vrusha Dwaja was a very great devotee of Lord Shiva. Because of this he banned worship of all other Gods except Lord Shiva in his kingdom. Due to non worship of Goddess Lakshmi during the Kanya (October-November) month, there was a great famine in his country. Apart from that Lord Surya, who was also not worshipped, cursed the king that he would become a wretch. This infuriated Lord Shiva. He sent his Trident against Lord Surya. Lord Surya, afraid of Shiva’s trident ran to his father Kashyapa Prajapati for help. Since he was not in a position to help, both of them approached Lord Brahma. He also expressed his helplessness to protect Lord Surya and all of them together went to meet Lord Vishnu. Lord Shiva also came there. Then Lord Vishnu pointed out that since the time of Deva’s was very much different, thousands of years have passed in the earth and Vrusha Dwaja was no more. He requested Lord Shiva to take back his trident. Then Lord Vishnu told them that in the clan of Vrusha Dwaja, two kings viz., Dharma Dwaja and, Kusa Dwaja were remaining and both of them were doing extreme penance to Goddess Lakshmi so that she would bless their kingdom. Goddess Lakshmi appeared before them and blessed them saying that she would be born as daughter to them and with this their country would become fertile and rich.

Kusa dwaja married a lady called Malavati and a daughter Vedavati was born to them. When Vedavati was doing Tapas (penance), Ravana tried to rape her. She cursed Ravana that if he touches any lady without their consent his head will beak in to thousand pieces. She then jumped in to the sacrificial fire and died. Ravana took the ashes of the fire, put them in a box and threw it in the sea. This box was swept ashore in the kingdom of Mithila and was found by Janak. Vedavati was inside the box in the form of a girl child. She was called Sita, who later became the wife of Lord Rama.

Dharma dwaja married a lady called Madhavi and Goddess Lakshmi was born to them as a girl child. Since she was an incomparable beauty, they called her Tula Si (Incomparable one). Tulasi grew up in to lady as soon as she was born and left her kingdom and started doing Tapas in Badrinath with a wish to marry Lord Vishnu. She did Tapas in the middle of fire all round her in summer and under water in winter. She did Tapas for twenty four thousand years eating only fruits. Another thirty six thousand years eating only leaves, another forty four thousand years eating only air and the last ten thousand years without eating anything. Lord Brahma, appeared before her and asked her what she wanted. She told him that she wanted to become the wife of Lord Vishnu. Lord Brahma told her, “Hey Tulasi, Lord Sudhama who was a part of Lord Krishna is now born as an Asura called Shankha Chooda. He is a part incarnation of Lord Vishnu. You would first become his wife. Later you would become the wife of Lord Narayana. While going back, a part of you would remain in this world as a holy plant called Tulasi. Any worship which does not include worship with the leaves of Tulasi, would be incomplete and would not be accepted by Gods.”

Shanka Chooda at that time had pleased Lord Brahma by his Tapas and was given a Vishnu kavacha (armour) and a boon that unless the armour is removed from his body and till his wife looses her virtue (Pativrutya), no body can kill him. Shankha Chooda requested Tulasi to marry him and both were married. They lead an extremely happy life. This time Shankha Chooda started giving trouble to the Devas. Devas accompanied by Lord Shiva approached Lord Vishnu for a solution. Lord Vishnu gave his spear to Lord Shiva so that he can break the Vishnu Kavacha, which Shankha Chooda was wearing, when Lord Shiva and Shankha Chooda were engaged in a fierce battle and Lord Vishnu assumed the form of Shankha Chooda and went to Shankha Chooda’s palace. When they entered the bed room Tulasi started suspecting Lord Vishnu. Then Lord Vishnu took his real form and told her, “Lakshmi, you have been doing great penance to marry me. By Now Shankha Chooda would have been killed by Lord Shiva and it is time for you to leave this body and come as Lakshmi to Vaikuntha and be with me. Your body which you leave here will become a great river called Gandaki and your hair would transform itself in to a holy plant Tulasi. This plant would become the holiest among plants.”

Lord Vishnu and goddess Lakshmi returned to Vaikuntha.

Retold By P. R. Ramachander, in www.celextel.org

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Shri ambe ji ki aarti, jo koi nit gave,
kahat Shivananda swami, sukh sampati paave
Jai Ambe....

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GururBrahmaa Gururvishnuh Gururdevo Maheshwarah
GuruH Saakshaat Parabrahm tasmei shree Guruve namah

Note: This Arati mostly sung after the main Arati of the deity.

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All the time the ant was shuffling crumbs to the anthill, a large group of foolish women was gathering in a nearby parking lot. They planned to use the ants’ sheltering picnic table, and they HATED ANTS. No one knows why they hated these harmless, hardworking insects. Their hatred was reasonless and pointless; very prejudicial and unjust. They did not fear the ants, which might have offered some excuse.

Well, the women gathered and the ant continued to toil. Finally it noticed the deep shadows gathering above and around the table. It tried to hurry faster in its work. No point in trying to see what the shadows really were - too much work to do. In fact, the ant felt threatened but didn’t understand why. It just kept going, doing its thing, until . . .

What do you think happened to the ant?

Have you ever focused so intently on one path that you completely missed what was going on around you? When danger threatens, do you miss it’s advance until too late to avoid it?

Here is what God says: Trust in the God with all your heart, and do not lean on your own understanding. In all your ways, acknowledge him, and he will direct your paths.

The ant could have looked up when it felt threatened. That feeling was it’s creator, the God, warning it of danger. Looking up, the danger would have been seen, and safety sought and received by looking all the way to God.

He has provided a Rock for our refuge from anything that would crush us. The Rock is Saints (Guru), the Son of God. Look to Him now and ask him to save you.

For God so loved the world that he gave his only begotten son (Saints or Guru), that whosoever believes in him should not perish but have everlasting life.

Moral:
We should always look to God, in trouble or in the daily work.

It is believed that Hindu gods and goddesses are at rest. This period is referred to as Chaturmas - four months. Since gods and goddesses at rest can get enraged if disturbed during this period, it is customary not to organise auspicious occasions like weddings, moving into a new house, establishing a temple, organising a community prayer or other auspicious activities. These activities are renewed only after the gods and goddesses have completed their rest on the 11th day of Kartik

Katha (Story):
You may wonder how did this Vrat come about and what is the significance of Devashayani (When the God sleeps) and Devprabodhini (When the God wakes)? It is explained in the Bhagavata Purana.

The Asuras and Devas, bitter enemies though they maybe, are brothers. Their father is Maharshi Kashyapa and their mothers are his two wives Diti and Aditi respectively. Who are also btw sisters the daughters of Tvastr Prajapati. Although Prajapati is properly the name of Brahmaji, his mind-born sons such as Tvastr, Kardama, Daksha etc. are called Prajapati because the actual work of creation was done by them. Thus another name of Brahmaji is Pitamaha or Grandfather as the entire creation is the children of His children. Only the youngest, Narada refused to take part. He realized that as vast and magnificent as this Brahmanda is, it is insignificant and momentary compared to Bhagavan. Enraged, Brahmaji cursed him to wander forever through the worlds but Narada Muni took it as a blessing, the chance to meet all the various Bhaktas and watch them praise Shri Hari.

Because their mothers are Dit and Aditi respectively, the Asuras are called Daitya and the Devas are called Adityas (Especially Suryadev who is the oldest.) The difference between the two can also be explained by their mothers names. Diti is what is finite and Aditi is infinity. It is explained in the Chandogyopanishad and elsewhere that both the Devaraja Indra and the Asura raja Virochana had an opportunity to study Brahmavidya. But Virochana thought it meant "There is nothing but the self so one can do whatever one likes." Indradeva on the other hand was able to understand the true meaning, that the self is beyond the limits of the petty whims and desires that make up the mortal body. For this reason, Bhagavan favours the Devas over the Asuras.

But the good guys don't always stay good and the bad guys don't always stay bad. Sitting in Amaravati his palace in Swarga, Indradeva became puffed up with pride and forgot the true source of his power. Meanwhile in Naraka, Bali the son of Virochana was thinking. Realizing the error his father had made, he resolved to purify himself of all evil and engage in rigorous tapa. Because of this the Daitya were able to overcome the Devas and Indra was dethroned. For all its exaltation and power, to be Indra is just an office. Just as through had work one can hope to be promoted in ones job, through earning much Punya one can hope to be promoted to the post of Agni, Surya, or even Indra. But the converse of that is that through the accumulation of paapa, one can lose that position again. In the Vishnu Purana there is a story of how once Bhagavan showed Indradeva a line of ants winding their way at the foot of his throne all of which had once been an Indra in a former life than sunk all the way down to the condition of an insect. Thus a wise man should realize the ultimate futility of karma and seek Vairagya alone.

Accompanied by the Devas, Indra went to Goloka and begged Vishnu Bhagavan to save him. Bhagavan who is ever merciful to his Bhaktas agreed. He took the form of Vaman a Batuk or 8 year old Brahman boy. Shiva Bhagavan takes a similar form in his Batuk Bhairava rupa. Bhagavan went to see Bali who received him cordially and offered him a gift. Bhagavan in his Vaman rupa asked him for enough land to cover three steps. Looking at the little legs of the boy in front of him, Bali burst out laughing and urged him to ask for more. But Bhagavan was adamant so Bali granted the strange request. Immediately, Bhagavan grew to collossal size. With one stride he covered the Earth and with a second, the heavens. Laughingly he asked Bali "I have covered everything and still have one step to go. Where shall I put it?" This btw is why one of His names is Vikram or Trivikrama. "Who takes (three) wide steps." Bali realized who he was dealing with and immediately offered up his own head for the third step. This is the sign of true nobility. When he was left with nothing Bali gave up his own head rather than break his word. Bhagavan took the third step and crushed Bali back down to Naraka again.

Pleased with this display of devotion, Bhagavan went to visit Bali and offered him a wish. Bali replied "As I provided the third step, I request that you together with your wife Lakshmiji should come and live with me one third of the year. Bhagavan agreed and since then we have observed the Chaturmas Vrat. During this time, Bhagavan is considered to be asleep. Thus the start of Chaturmas is called Devashayani Ekadashi and the day Bhagavan wakes up and Chaturmas ends is called Devprabodhini Ekadashi.

Whomsoever will hear this Katha (story) of the great Bhakta Bali and practice the Chaturmas Vrat will have the blessings of Vishnu Bhagavan forever.

Rituals & Importance:
Swami Sahajanand (Swaminarayan Sampradaya) in his Shikshapatri has given 8 ways of performing this Vrat and even though he was a Visishtadvaita, his advice is suitable for Smartas too.

Vishnoh kathayah Shravanam vachanam gunakirtanam
Mahaapuja mantrajapah stotrapaathah pradakshinah 77

Saashtangahpranatishcheti niyama uttamaa mataah
Eteshvekatamo bhaktayaa dhaaraniiyo visheshatah 78

To listen attentively to the stories of Vishnu Bhagavan, or to recite them, or to sing (bhajans) in His praise. To do Maha puja to His Murti, to chant his mantras (explained by the commentator as his names as in i.e. Vishnu Sahasranama.) and stotras. To do Pradakshina and bow down to His Murti, these are regarded as the most fitting additional duties. One or more should be observed with Bhakti.

The four months is of great importance to Lord Vishnu devotees as this period is believed to be the night of Vishnu. Vishnu devotees listen to his stories and spend time in helping the poor and in cleaning and maintaining Vishnu temples.

Most people decided to read the Mahabharata or Ramayana or Gita or Srimad Bhagwat Puran during the fourth month period. Some people make it a point to visit temples daily and indulge in spiritual activities.

In the Padampuran, Srimad Bhagwat Puran and other religious texts, this rest period is referred to as Yognidra, a term that describes the rest Vishnu took after annihilation of the world. This term is also used when Vishnu is in deep meditation and cannot be disturbed. The inability to be available to devotees is termed as sleep or rest.

The Vrat ends on Kartik Shukla 11 or Devprabodhini Ekadashi. (But Swami Sahajanand (Swaminarayan Sampradaya) notes that if a Bhakta is too physically weak to maintain the Vrat for four months, he may observe it for the month of Shravan only.)

Shravan month is of great importance to Lord Shiva devotees. The Mondays in the month are highly auspicious.

Importance is given to maintaining a healthy body during the four months, as the first two months are the peak monsoon season. Due to this reason, in some regions people avoid green leafy vegetables in the Shravan month. Curd, or yoghurt, is avoided in Bhadrapad month. Milk is avoided in Ashwin month. Pulses are avoided in Kartik month. Again there are no strict codes regarding food. It all depends on the person how he/she wants to observe the Chaturmas Vrat.

Devashayani Ekadashi. For Grihasthas it is the beginning of the Chaturmas Vrat. There is also a Sannyasi Chaturmas which starts on Ashadh Poornima which I won't describe here.

There are no hard and fast rules regarding the Chaturmas Vrat. It is often left to the devotee to decide how he/she wants to spend the four months.

Many people avoid non-vegetarian food during the four month period. Some people observe flexible fasting – eating just one meal or two, or just one meal on particular days in the month. Certain food items like jaggery or oil is avoided during the period or in any one of the four months. Some people avoid salty and sweet preparations. Those people who plan to undertake serious vows and fasting avoid garlic and onion as it can stimulate unnecessary excitements.

Chaturmas Vrat is very ancient as evidenced by the fact that Jains and Buddhists (at least in its Sannyasi form) also practice it.

Binubuo ng labingwalong kuwento ang kalipunan ni Bautista. Labingwalong kuwento na matipid sa mga salita ngunit hitik sa mga pahiwatig; na masinop ang pagkakahabi't halos tawirin ang hanggahan ng tulang-tuluyan (prose poem); na mayaman sa paglalarawang maisasalin sa kambas ng pintor o sa maiikling pelikulang eksperimental. Walang inaksayang mga salita si Bautista, na mahihinuhang ginamit ang disiplina ng tula upang humugis ng pambihirang paraan ng pagsasalaysay.

Magkakasanga ng magkaibang pahiwatig ang lunan ng Usling-Bato sa "Sa Ibang Daigdig" at "Alaala." Hinggil sa patpating manunulat na sumasariwa ng mga akda ang una, samantalang ang ikalawa'y kay Marcia na nagbubulay sa nakalipas. Kung paano pinihit ni Bautista ang daloy ng dalawang kuwento ay matutuklasan sa pahiwatig na mga larawan doon sa Usling-Bato.

Ang paglalarawan ng mga tagpo ay magpapahiwatig sa maaaring maganap sa mga tauhan. Halimbawa, sa "Ang Bahay sa Kabila ng Daan," ang pagpapagawa ng malaking bahay sa kabilang kalye ang maghuhudyat ng inggit sa mga dukhang nakatira sa magkakatanikalang barong-barong. Ngunit sa dulo ng kuwento'y isa pa lang hinihinalang kriminal ang nakatira sa malaking bahay. Ang "inggit" ng mga dukha ay hindi tuwirang buburahin upang wakasan ang kuwento, bagkus sa paglalarawan ng tagpong hitik sa mga pahiwatig:

Naging walang patlang ang anasan. Ang bulungan ay lalo lamang naging magulo sa kanyang pandinig. Lumayo siya sa karamihan ng tao. Bumagtas. At muling tumayo sa tabi ng sunog na haligi ng kanilang barong-barong at buong pagkaunawang hinagod ng tingin ang magandang bahay sa kabila ng daan....

Ang ingay ng bumulabog sa mga dukha sa unang bahagi ng kuwento'y maparikalang binaligtad sa wakas. Binulabog naman ang mayaman ng mga anasan ng taumbayan, at iyon ay parang pagganti na rin sa ginawang pambubulahaw ng mayaman sa mga dukha. Walang tahas na pangangaral na matatagpuan sa mga kuwento ni Bautista. Sapat na ang paglalarawan ng mga tagpo upang madama ng mga mambabasa ang ibig ipahiwatig ng malulungkot o masasayang pangyayari.

Ang nasabing taktika ng paglalahad ay mababanaagan din sa "Krus na Patpat" na ang libingan ay naging lunsaran ng mga babaeng nagbibili ng aliw. Mababatid ang hiwatig ng mga usapan ng mga belyas kung babalikan ang makasaysayang Santa Ana Cabaret, na galante ang mayayamang kostumer; at ang sementeryo na dinadalaw ng mga naulila. Maiuugnay ang mapaglarawang paglalahad sa paggamit ng kapana-panabik na mga tagpo, gaya sa isa pang kuwento, ang "Fighting Dodo," na hinggil sa boksingero na pinipigilang magboksing ng kaniyang esposa. Kung gaano kabangis si Dodo sa loob ng ring, ay gayon din kalambot ang kaniyang puso basta misis ang pinag-uusapan. Ang kapana-panabik na tagpo ay nakatimo rin sa "Nakatunghay ang Diyos sa Lupa," na ang pagbubuno ng dalawang lalaki ay wawakasan ng tanglaw ng plaslayt ng mga pulis.

Marunong ding magpatawa si Bautista, ngunit daraanin niya iyon sa maparikalang paraan. Maihahalimbawa ang "Ang Lihim ng Liham" na ang istorya hinggil sa pag-iibigan ay ibinibitin upang ipasok ang katawa-tawang tagpo hinggil sa lalaking manunulat. Taliwas iyon sa seryosong "Ang Artista" na ang kabaliwan at katanyagan ay nabubura ang hanggahan.

Saludo ako kay Manuel Principe Bautista magpahangga ngayon, at hayaan ninyong tagayan ko siya sa modernong panahon.

Arati is generally performed twice or three times daily, and usually at the end of a puja or bhajan session. It is performed during almost all Hindu ceremonies and occasions. It involves the circulating of an 'Arati plate' around a person or idol and is generally accompanied by the singing of songs in praise of that deity or person (many versions exist). In doing so, the plate itself is supposed to acquire the power of the deity. The priest circulates the plate to all those present. They cup their down-turned hands over the flame and then raise their palms to their forehead - the purificatory blessing, passed from the deity's image to the flame, has now been passed to the devotee.

The arati plate is generally made of metal, usually silver, bronze or copper. On it must repose a lamp made of kneaded flour, mud or metal, filled with oil or ghee. A cotton wick is put into the oil and then lighted, or camphor is burnt instead. The plate also contains flowers, incense and akshata.

The purpose of performing arati is to ward off evil effects and the malefic influence of the 'evil eye'. Arati is hence performed on people of high social or economic status; small children during various ceremonies; on people who are going on or are coming back from a long journey; on a bride and bridegroom when they enter their house for the first time; at harvest; on anything else of importance. It is also performed on newly acquired property, or before an important task.

It is believed that the idol of a deity too is susceptible to the evil eye, and needs regular arati, with the singing of special arati songs. These songs laud the glory of the deities and describe the benefits that one might gain by praying to them.

Sometimes they also contain snippets of information on the life of the gods. Arati songs are particular to each deity. The most commonly sung arati is that to Vishnu. In most temples in India, arati is performed at least twice a day, after the ceremonial puja, which is the time when the largest number of devotees congregates.

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We meditate upon the divine light of God, the creator of the earth, the world above and the sky (or the world beyong all) so that he may advance (inspire) our finer faculties.

GAYATRI CHALISA:

HRIM SHRIM KLIM MADHYA PRABHAA
JEEVANA JYOTI PRACHAND
SHAANTI, KRANTI, JAGRUTA, PRAGATI,
RACHANAA, SHAKTI AKHAND

O holy Mother Gayatri, you are the first to relieve pain, the first to satisfy and the first to bestow bliss. You are super-intelligence, the bright light of life. You are peace, change awakening, progress and incessant creative power.

JAGAT JANANI MANGAL KARANI
GAYATRI SUKHDHAAM,
PRANAVOM SAVITRI SWADHAA
SWAHAA PURANA KAAM

Gayatri is the Mother of the whole creation. She is benevolent and abode of bliss. She is Pranava i.e. AUMKARA, origin of all, destroyer of evils. She brings self - content and fulfils desires.

AUM BHUR BHUVAH SWAH YUTA JANAI
GAYATRI NITA KALIMALA DAHANI. 1
AKSHAR CHAUBIS PARAMA PUNITAA
INMEN BASEN SHASTRA SHRUTI GEETAA. 2

Holy mother Gayatri, accompanied by AUM is the creator of the three worlds - Bhur Bhuvah and Swah. She slways burns off the impurities of the dark age. Her 24 alphabets are supreme purifier and the scriptures, the vedas and Geeta are enshrined in Her.

SHAASHWATA SATOGUNI SATAROOPAA
SATYA SANATANA SUDHA ANOOPAA. 3
HAMSAAROODHA SITAAMBER DHAARI
SWARNA KAANTI SHUCHI GAGANA BIHAARI. 4

Holy mother Gayatri is eternal. She has noble qualities and noble form. She is unique nectar of eternal Trith. With white apparel she sits on the Swan. Her golden complexation is holy and she flied in the sky.

PUSTAKA PUSHPA KAMANDALU MAALAA
SHUBHRA VARNA TANU NAYANA VISHALAA. 5
DHAYANA DHARATA PULKITA HIYA HO -1
SUKHA UPAJATA DOOHKH DURMATI KHO - 1-.6

He who meditates upon the form of Gayatri devotionally, as holding a book, a flower, the holy vessel and a rosary and had having white complexation and wide eyes experiences bliss and is relieved of unhappiness and evil intellect.

KAAMDHENU TUM SUR TARU CHHAAYA
NIRAAKAAR KI ADBHUTA MAYAA .7
TUMAHARI SHARAN GAHAI JO KO - 1
TARAI SAKAL SANKATA SON SO - 1.8

O Gayatri! You are the celestial, cow, kamdhenu that fulfils all desires, you are the shade of the divine tree, Kalpataru. He who comes under your protection overcomes all difficulties.

SARASWATI LAKSHMI TUM KALI
DIPAI TUMHARI JYOTI NIRAALI.9
TUMHARI MAHIMAA PAARA NA PAVAI
JO SHARADA SHATA MUKH GOONA GAVAI.10

You are Saraswati, Lakshmi and Kali in one (and so). You shine with extra-ordinatry light. Your greatness can't be comprehended eve if Sharada signs about the same with a hundred mouths.

CHAARA VEDA KI MAATU PUNITA
TUMA BRAHMANI GAURI GITA. 11
MAHAA MANTRA JITANAY JAGA MAAHIN
KO-U GAAYATRI SAMA NAHIN.12

O Gayatri! You are the holy mother of the four vedas. You are the wife of Brahma. You are the Gauri, the wife of Lord Shiva and You are Geeta. No Mantra (hold chant) among all the world is comparable with Gayatri Mantra.

SUMIRATA HIYA MEIN GYANA PRAKASHAAI
AALASA PAAPA AVIDYAA NASAI. 13
SRISHTI BEEHJA JAGA BHAWAANI
KAALA RAATARI VARADAA KALYAANI. 14

O Gayatri! When you are remembered, divine knowledge shines in the heart and idleness, sins and ignorance are dispelled. O Bhawani, You are the benign bestower of boons and the night of deluge.

BRAHMA VISHNU RUDRA SURA JAY TAY
TUM SON PAVEN SURATAA TAT TAY. 15
TUM BHAKTANAKI BHAKTA TUMHAREN
JANANIHIN PUTRA TAY PYAARAY. 16

O Gayatri! Brahma, Vishnu and all other Gods have received divinity from you. You are for the devotees and the devotees are for you. Really, the mother loves the child more than herself.

MAHIMA APARAMPAARA TUMHARI
JAYA JAYA TRIPADAA BHAYAHAARI. 17
POORITA SAKALA GYAANNA VIGYAANAA
TUM SAMA ADHIKA NA JAGAMEIN AANAA. 18

O Gayatri! Your power is infinite. May you who has three phrases and who removes the fear be victorious. You pervade both gross knowledge and spiritual knowledge. None, greater than you, has come to the world.

TUMAHIN JAANI KACHHU RAHAI NA SHESHAA
TUMAHIN PAAYA KACHHU RAHAI NA KALESAA. 19
JAANATA TUMAHIN TUMAHIN HAN JAAI
PAARASA RARISA KUDHATU SUHAI. 20

O Gayatri! After knowing you, there remains nothing to be known and there remains neither sins or afflications. I know that you are self-born. Even a base metal becomes by contact with touchstone.

TUMHAARI SHAKTI DIPAI SABA THAI
MAATAA TUMA SABA THORA SAMAI. 21
GRAHA NAKSHATRA BHRAMANDA GHANAYRAY
SUBA GATIVAANA TUMHARAY PRERAY. 22

O gaytri! Your energy shines every where. O Mother you are omnipresent. The planets, the constellations and infinite universe are inspired by you to remain in motion.

SAKALA SRISHTIKI PRANA VIDHAATA
PAALAKA POSHAKA NAASHAKA TRATAA. 23
MAATESHWARI DAYAA VARTA DHAARI
TUM SANA TARAY PAATAKI BHAARI. 24

O Gayatri! You have created the life-force of the whole creation and you protect, nourish, destroy and save. O Divine mother, You have taken a vow to be merciful. Because of you even a great sinner is redeemed.

JAAPARA KRIPAA TUMHAARI HO -
TAAPARA KRIPA KAREN SABA KO-.25
MANDA BUDDHI TAY BUDDHI BALA PAAVAY
ROGI ROGA RAHIGTA HO JAAVAY.26

O Gayatri! all are mecriful to hims on whom you are merciful. The dull person gains sharp intellect and the diseased one is cured.

DAARIDRA MITAI KATAI SUBA PIRAA
NAASHAI DUHKH HARAI BHAYA PHIRAA. 27
GRIHA KALESHA CHITTA CHINTAA BHAARI
NAASAI GAAYATRI BHAYA HAARI. 28

O Gayatri! when you are graceful, poverty is removed, all worries end, all miseries and fear are removed. All domestic tribulations and ancieties are mitigated because you are the redeemer.

SANTATI HEENA SUSANTATI PAAVEN
SUKHA SAMPATI YUTA MODA MANAVAY. 29
BHOOTA PISHAACHA SABAI BHAYA KHAAVEN
YAMA KAY DOOTA NIKATA NAHIN AAVAY. 30

O Gayatri! (if your devotee) is childless he gets excellent children. He enjoys life with great prosperity and wealth. All his fear, of ghosts and boblins, is gone and the agents of yama, the god of death, don't approach him.

JO SADHAVAA SUMIRAI CHITA LAAI
AKSHAYA SUHAGA SADAA SUKHADA-1. 31
GHARA VARA SUKH PRADA LAHAI KUMARI
VIDHAVAA RAHAY SATYA VRATA DHAARAI. 32

If a married women remembers Gayatri Devi with devotion she will have happy married life till end. Similarly an unmarried girl will get blissful home and husband and a widow will maintain her true vows.

JAYATI JAYATI JAGADAMBA BHAVAANI
TUM SAMA AUR DAYAALU NA DAANI. 33
JO SADGURU SON DIKSHAA PAAVEN
SO SAADHANA KO SAFALA BANAAVEN. 34

Gayatri Devi is victorious as the mother of the world and as wi