For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is...

40
Praagaash Net-journal of 'Zaan’ ÒççiççMç Sunset at Village Lam at Tral Photo Courtesy : Javaid Trali `]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç For Private Circulation Only Jç<ç& 4 : DçbkçÀ 3 ~ Vol 4 : No. 3 March 2019 ~ cçç®ç& 2019 ß vçcçççÆcç lJççb Mççjoç oíJççR, cçnçYççiççR YçiçJçlççR kçÀçMcççÇj hçájJçççÆmçvççR çÆJçÐçç oççƳçvççR j#ç cççcçd j#ç cççcçd~ vçcçççÆcç lJççcçd~

Transcript of For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is...

Page 1: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

PraagaashNet-journal of 'Zaan’

ÒççiççMç

Sunset at Village Lam at TralPhoto Courtesy : Javaid Trali

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç

For Private Circulation Only

Jç<ç& 4 : DçbkçÀ 3 ~ Vol 4 : No. 3 March 2019~cçç®ç& 2019

ß vçcçççÆcç lJççb Mççjoç oíJççR, cçnçYççiççR YçiçJçlççR kçÀçMcççÇj hçájJçççÆmçvççRçÆJçÐçç oççƳçvççR j#ç cççcçd j#ç cççcçd~ vçcçççÆcç lJççcçd~

Page 2: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

Praagaash01

ÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

In this issue

Editorial - M.K.Raina�

Editorial - M.K.Raina 01

Languages : Prof. R.N.Bhat- International Mother Languages Day 02

Two Poems : Prof Majrooh Rashid 05

Our Mothertongue : Onaiza Drabu- On Kashmiri Proverbs 06

Without Comments : Chand Bhat- Of Those Years Called Saad-Satti 09

11

Kundanspeak : T.N.Dhar ‘Kundan’- Our Treasure 12

- 14

15

Peculiar Kashmiri Words & Phrases 15

Adventures : Ajay Dhar- My Polar Adventure - 6 16

History : M.K.Raina- Kalhan Pandit & His Chronicle 20

- 22

- 22

- 23

- 24

25

Reflections : Pooja BhatPerceived Illusions 30

30

33

Your Own Page 34

Photo Feature - Winter in Kashmir 35

Letters to the Editor 39

kçÀçJ³ç : uçuçe JççKç

kçÀçJ³ç : hççÇ.kçíÀ.kçÀçÌuçyçiçeJççvçmç mçól³ç kçÀLçç yççLçç

kçÀçJ³ç : ÞçáKç - MçíKç-Guç-Dççuçcç

kçÀçJ³ç : çÆ$çuççíkçÀçÇ vççLç Oçj `kçáÀvovçiççMç HçÀçôuç

kçÀçJ³ç : jlçvç uççuç pççÌnj]pçe iç]pçuçe

kçÀçJ³ç : FçqMlç³ççkçÀ ]kçÀçojçÇcçíjçÇ lçákçÀyçboçÇ

kçÀçJ³ç : yçMççÇj Dçlnj]pçe iç]pçuçe

kçÀLçç mççÆjlç mççiçj - 2 : cç.kçÀ.jÌvçç

nç@çÆjmççLç, yçôçƳç kçw³ççn? : cç.kçÀ.jÌvççnbmçvçç cçvçç nÌ

'

First, let us remember and pay our

homage to the brave hearts of CRPFwho got martyred in the Pulwamatragedy as also to Major Daundiyaland three other security personnelwho got martyred later in the line oftheir duties. This is a national tragedyand we share the grief equally.

Since their exodus from the motherlandKashmir, Kashmiri Pandits have been struggling hardto retain their culture and the mothertongue Kashmiriagainst all odds. We live in an atmosphere whereculture and mothertoungues are different from thoseof ours. To maintain our day to day life and our relationwith the new neighbours and colleagues, we have toadjust to new settings in a way that we don't lookaliens. At the same time we have to maintain thespecifics of our culture and keep alive our languageagainst all odds. I am pleased to say that KashmiriPandits have been successful so far in this venture.We have been writing a lot on Kashmir and subjectsrelated to it, not only in English and Hindi but also inKashmiri and producing plethora of literature country-wide. We have not forgotten our language though wemay be lagging in inculcating its interest in ouryounger generations. We definitely need to do moreon this account.

We are pleased to inform our readers thatPraagaash is generating lot of interest in the KashmiriMuslims back in Kashmir. We have been getting goodfeedback on this account, as also the contributionsfrom some known authors and writers. We need to domore to reach the masses in Kashmir so as to makePraagaash a widely acclaimed Kashmiri e-journal.

Katha Sarit Sagar, Part 2 in included in thisissue. Its audio is also being released along with theissue. Hope you like it.

��

Project Zaan is the Literary Initiative of Kashmiri Pandits’ Association, Mumbai.

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç

Editor : M.K.Raina ~ Guide & Consulting Editor : T.N.Dhar ‘Kundan’ ~ Editorial Office : 104-B, Galaxy, Agarwal Township, Babhola, Vasai Road (W) 401202, Dist. Palghar,

Maharashtra, India. E-Mail: [email protected] ~ Cell: +91-7507114890 ~ Website: Under Construction ~ Layout & DTP : Ashwin Raina

Zaan is supported by Kashmiri Pandits’ Association, Mumbai.

ÒççiççMç March 2019 ~ cçç®ç& 2019 01

Page 3: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

Languages - Prof R.N.Bhat

ÒççiççMç 02March 2019 ~ cçç®ç& 2019

Praagaash02

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

The fight for language diversity has a history.The United Nations' (UN) organizes’International Mother Language Day' annuallyto celebrate language diversity and varietyworldwide on February 21, the day when in1952 four students were killed in Dhaka, thenEast-Pakistan who were demonstrating toseek recognition to their mother languageBangla as the language of administration,judiciary, press etc. The day thus remembersevents that led to the killing of four students onFebruary 21, 1952, because they campaignedto officially use their mother language, Bangla,in Bangladesh, [then East-Pakistan]. OnInternational Mother Language Day the UN'sEducational, Scientif ic and CulturalOrganization (UNESCO) and UN agenciesparticipate in events that promote linguisticand cultural diversity. They also encouragepeople to maintain the knowledge of theirmother language while learning and usingmore than one language. Governments andnon-governmental organizations may use theday to announce policies to encouragelanguage learning and support . InBangladesh, February 21 is the anniversary ofa pivotal day in the country's history. Peoplelay flowers at a (martyr'smonument). They also purchase glassbangles for themselves or female relatives;eat a festive meal and organize parties; andaward prizes or host literary competitions. It isa time to celebrate Bangladesh's culture andthe Bengali language.

The Linguapax Institute, in Barcelona,Spain, aims to preserve and promote linguisticdiversity globally. The institute presents theLinguapax Prize on International MotherLanguage Day each year. The prize is forthose who have made outstanding work in

ShaheedMinar

International Mother Language Day

l i ngu i s t i c d i ve r s i t y o rmultilingual education.

In 1948, Pakistan'sgovernment declared Urdua s t h e s o l e n a t i o n a llanguage. This sparkedp ro tes t s amongs t t heBengali-speaking majority inthe then East Pakistan. The governmentoutlawed the protests but on February 21,1952, students at the University of Dhaka andother activists organized a protest. Later thatday, the police opened fire at thedemonstrators and killed four students. Thesestudents' deaths in fighting for the right to usetheir mother language are now rememberedon International Mother Language Day.Bengali became an official language inPakistan on February 29, 1956. Following theBangladesh Liberation War in 1971,Bangladesh became an independent countrywith Bengali as its official language. OnNovember 17, 1999, UNESCO proclaimedFebruary 21 to be International MotherLanguage Day and it was first observed onFebruary 21, 2000. Each year the celebrationsaround International Mother Language Dayconcentrate on a particular theme.

T h e ( m a r t y r ' smonument) in Dhaka, Bangladesh, payshomage to the four demonstrators killed in1952..The 'Minar' consists of four standingmarble frames and a larger double marbleframe with a slanted top portion. The framesare constructed from marble and stand on astage, which is raised about four meters (14feet) above the ground. The four framesrepresent the four men who died on February21, 1952, and the double frame representstheir mothers and country.

S h a h e e d M i n a r

Page 4: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 03March 2019 ~ cçç®ç& 2019

Praagaash03

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

An International Mother Language Daymonument was erected at Ashfield Park inSydney, Australia, on February 19, 2006. Itconsists of a slab of slate mounted verticallyon a raised platform. There are stylizedimages of the and the globe onthe face of the stone. There are also the words"We will remember the martyrs of 21stFebruary" in English and Bengali and words infive alphabets to represent mother languageson five continents where people live. [Formoreinformationon the subject Visit the Web].

TheAfrican fraternity of Ministers, academics,administrators met in 1997 in Harare and afterdeliberations came out with a declaration thataims at bringing in broader democratization inAfrica. The policy measures aim at evolvinglingui-culturally democratic Africa to enhancethe active participation of all citizens in allinstitutions - social, economic, political, etcetera; a democrat ic Afr ica wheredevelopment is not construed in narroweconomic goals but instead in terms of aculturally valued way of living together; andwithin a broader context of justice, fairnessand equity for all; respect for linguistic rightsas human rights, including those of minorities;an Africa that acknowledges its ethno-linguistic pluralism and accepts this as anormal way of life and as a rich resourcefordevelopment and progress; a democraticAfrica that seeks to promote peacefulcoexistence of apeople in a society wherepluralism does not entail replacement of onelanguage or identity by another, but insteadpromotes complementarity of functions aswell as cooperation and a sense of commondestiny; Africa where democratization in apluralistic context seeks to produce throughsound and explicit language policies Africanswho are able to operate effectively at locallevels as well as at regional and international

ShaheedMinar

HARARE DECLARATION, 1997:

levels; a democratic Africa that provides theenvironment for the promotion andpreservation of an African identity as well asthe cultivation of a proud and confident Africanpersonality; Africa where scientific andtechnological discourse is conducted in thenational languages as part of our cognitivepreparation for facing the challenges of thenext millennium.

Each country should, therefore, producea clear Language Policy Document, withinwhich every language spoken in the countrycan find its place. Guidelines for policyformulation should be sanctioned bylegislative action. Every country's policyframework should be flexible enough to alloweach community to use its language side-by-side with other languages while integratingwith the wider society, within an empoweringlanguage policy that caters for communicationat local, regional and international levels. Alanguage policy-formulating and monitoringinstitution/body should be established in eachcountry. All concerned individuals and/orgroups of individuals must be involved in theformulation and implementation of languagepolicies, organizing follow-up and monitoringactivities at national and regional level inconjunction with such organizations asUNESCO, the OAU andACCT.

In view of the policy needs, theDeclaration suggests that the Africangovernments should individually andcollectively make declarations expressingclear policy statements, programme of tasks,and t ime-tables for implementat ionacknowledge the fact that the language issuecuts across all sectors of national life. Thegovernments are expected to make use oflanguage experts in formulating relevantlanguage policies, state the guidelines Africamust adopt, and define the steps for theirimplementation, take into account and helpdevelop human, material and technological

Page 5: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 04March 2019 ~ cçç®ç& 2019

Praagaash04

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

resources in implementing the defined steps.At the regional level, governments arerequired to monitor policies and providefollow-up activities facilitated by internationalorganizations, such as UNESCO and OAUand cooperate on matters of policy andresources for cross-border languages.[Harare Declaration, 1997 can be accessedon the internet for more details.]

Hills, forests and the greenery surrounding

them are a great source of inspiration to

humans. A cursory glance at the March of

Human race reveals that hills and forests, and

the pleasant breezes that blow in their

surroundings have allowed many a sublime

thought to take shape.

Our linguistic diversity, like our bio-

diversity is an asset that each one of us

Indians must be proud of. The Indian History is

testimony to the fact that linguistic diversity

has always been celebrated in her bosom.

Rulers at different periods in history have

made special efforts to ensure preservation of

our linguistic diversity. Ancient Indian seers

made it mandatory for common masses and

rulers alike to make efforts for the preservation

of plant as well as animal life on the planet

earth. They sought cosmic peace and

tranquility [antarikshahashantih]. We need to

realize that our linguistic diversity is

comparable to a multi-hued garden of roses

which every thinking mind strives to nourish.

In independent India, administration and

ruling classes have recognized the

significance of India's linguistic diversity and

have extended protection to a large number of

languages across the country. The

governments in the north-eastern states have

introduced over three dozen languages in

Indian Multilingualism:

school curriculum which is a significant step in

the right direction. Yet, a vast set of speech

varieties stands neglected and left out

primarily due to the natives' general apathy or

inability in raising the issue of promotion of

their language with the powers that be or in the

right quarters. In our era of information and

language technology, knowledge explosion

and cut-throat material competition, some

natives tend to give negligible or no attention to

their native tongue. This unfortunate situation

leads to near disappearance [in some cases,

total disappearance] of a speech variety. A

speech [variety] is not only one's identity-

passport but also a repository of one's societal

and cultural history. The wisdom of the

ancestors of a community is recorded in the

community's speech-variety. Allowing a

speech-variety to disappear invites death of a

community's memories and its way of life.

Governmental agencies can explore

ways of promoting minor languages with few

hundred speakers by making optimum use of

language technology. Technology can

facilitate use of a larger number of languages

in school curriculum across the country. Even

languages spoken in, say, two localities can be

promoted among the members of the

community. The effort is required to be made at

the governmental as well as community levels.

Let each state in the entire north-eastern India

launch a state level 'Linguistic Survey’ to

ascertain the number of speech varieties, their

geographic distribution and the number of

speakers of each variety thus identified. Young

linguistics graduates can be entrusted with the

mandate [read funds] to prepare a nearly three

thousand word strong list of basic vocabulary-

a kind of dictionary, propose a script for

languages that have none as on date, record

Page 6: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 05March 2019 ~ cçç®ç& 2019

Praagaash05

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

folk songs and folk tales of the

community in question and take note of

the community's festivals, rituals,

cuisine, attire and so on. Such a

comprehensive documentation will

enable the language teaching

professionals to prepare meaningful

and result-oriented language teaching

materials for the school going kids of the

community in question.

There can be cooperatives

comprising educated elite from each

community with the mandate to

document and share cultural, literary

and linguistic resources across

communities, the major ingredients of a

community; [let us call it 'culitlang' or

'sambhasa'- in Hindi]]. The educated

elite are obliged to make efforts to

awaken and impress upon the less

fortunate and less enthusiastic

m e m b e r s o f t h e i r r e s p e c t i v e

communities the need to preserve one's

tongue. The 'culitlang'-s can organize

poetry recitat ion meets, prose

reading/short story reading sessions to

give impetus to creative endeavors

among community members. The

teaching materials can be prepared by

the educated members of the

community in broad consultation with

young and old talented persons of the

community and 'linguistics' graduates.

Contact author at:

[email protected]

Two Poems

S

��

��

B

now, will you ever

Get overYour callousnessThat creates ruptureBetween Heaven and Earth?Peer inwardsIt may help youOvercomeYour age old attitudeTo the life around.

oth Harmukh and Zabarwan hills

BlushedWhen the morning sunAppearedSurprisingly on the horizonAnd smiled broadly.The ice melted under my feetAnd streamlets of faithFlowed down my eyesBurbling towards the heart’s sea.

Prof. Majrooh Rashid is Head of theDepartment (Kashmiri), Kashmir University.He writes poetry in English and Kashmiri.

Prof. Majrooh Rashid

Page 7: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 06March 2019 ~ cçç®ç& 2019

Praagaash06

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

It is said that the genius of a people can be

told from their proverbs, idioms and maximsthey employ in common parlance. Culturalvalues, a people's ethos and their prejudicesare often not explicitly stated but rather,carefully handed down each successivegeneration through ambiguous yet strikingproverbs and idioms.

The ingenuity with which the Kashmiris,a once isolated population from up North,string their words and weave their tales isexceptional. For a primarily spoken language,Kashmiri has kept alive its repertoire ofproverbs across centuries. Some that havetheir origin as far back as the 13th century canstill be overheard from amongst its people. Itis no surprise then, that these verses haveover time covered many facets of their culture.Today, a glance through a collection ofKashmiri proverbs will tell you about its peoplewhat thick texts of anthropology miss, for it isthe 'real people's speech'. It is said that'proverbs embody the current and practicalphilosophy of an age or nation', and Kashmiri

h a s w i t h i n i t t h ephilosophies of many agestied together.

Kashmiris are fond ofstories. As a people, theylive in stories and talk intales. Their fondness for thisstems from a decidedlysuperstitious ancestry, loaded with mythology,which many haven't been able to shed off. Thisis also why they have a special reverence forsaints and their stories. They are dramatic;they don't swear, they curse. This legacy ofstory telling has passed down generations andtoday, is kept alive through their entertainingspeech.

It is said that saints used to cursehamlets in their time. The curses are said tostick to these places and to this day define theircharacteristic. A little distance from Srinagarlies a town called Pantha Chowk. Legend goesthat Sheikh Nur-ud-Din, Kashmir's patronsaint, cursed this village saying,

(Let therebe peace to your daughter-in-laws but trouble

‘Pandhah-chhuk, noshan such tah korin dukh'

Our Mothertongue - Onaiza Drabu

On Kashmiri Proverbs

Page 8: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 07March 2019 ~ cçç®ç& 2019

Praagaash07

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

to your daughters.) Till today, it is said to run inthe back of people's minds there as mostfamilies in this region intermarry because theyfind themselves under this spell.

Ones speech brings out prejudices.Srinagar was earlier divided into mohallas,each with deep-seated hostility towardsanother. This is illustrated by the humorousproverb, (Aman from another district is a fowl thief.)

These prejudices also exist towardsresidents of a particular area or village.Accordingly, there exist proverbs specific tothese locations, very telling of characteristicsof its people. The people of Sonawar, forinstance had a reputation for wearing either aclean turban and dirty garments, or the otherway round. Thus, the idiom,(The soap of Sonawar) came into being, oftenused for there being something wrong in anarrangement. Those from Sopore are famousfor not treating their guests with generosity.

, an invitation from a Sopurman, is today a common idiom forinhospitality.

Khuyhi-hom, now Zainageer was oncenotorious for its sly populace. The proverbgoes, 'Khuyi-hom. Wuthamodur, dilaoam.Halishrakh, naelgudoam' (The people ofKhuyi-hoam are sweet on the lips but raw at

'Wupar mahalluk gav kukar tsur'

'Sonawari Saban'

'Sopur-i-mazarat'

heart. They carry a knife in their pockets whiledonning the garb/robe of friendship.)

Although there wasn't any explicit castedistinction in Kashmir, what existed wasoccupational stratification of a similar kind.The watals, formed the lower section of thesociety engaging in sweeping, scavengingand cobbling. Not only were these peoplelooked down upon for their occupation, adecidedly roguish character was assigned to

them reinforced by speech.(The watals are the cooks of dog's

flesh.)Terms like 'watalbatawaar' and

'watalbreswar' (a cobblers Saturday and asweepers Thursday) are used to indicate thelack of trust one can place in the watals once ajob has been assigned to. They procrastinateand make promises they cannot fulfill. Onceagain, although the prejudice against themisn't explicitly stated, we see maximsemployed to describe their unreliablecharacter.

There is history too stored in ourproverbs. In the 1877-79, Kashmir faced whatis now known as a great famine. Before that,Kashmir faced a series of famines in the earlyyears. The proverbs,

which means 'the famine goes but its

‘Hun mazas watalwaza'

'Drag tsalih ta dagtsalihna,'

Page 9: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 08March 2019 ~ cçç®ç& 2019

Praagaash08

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

pain and stains remain,' holds true in allsenses. It remains a sad truth for mostcalamities that have befallen Kashmiris. Itisn't easy to forget. Lawrence, who wrote theValley of Kashmir, partly attributes this to ourartistic ability to exaggerate. They are thepeople who can best be described by theidiom,

(He has lost his grassshoes,and claims seven gold mohurs ascompensation). They exaggerate their lossesand most incidents for us resemble greatcalamities.

(God sent the scald-head and thebarber gave it a gash.) The disease, khar orscald-head, was very prevalent amongst thelabour class Kashmiris. It is one of thoseidioms that have travelled across time. It is notuncommon to hear it being used till today aspart of the curses Kashmiris employ.

Many proverbs give a fair idea of theformer condition of the country but traits stillcarry on.

, (Don't give me anything but let mehave your ear), recalls days when influencewith a person in power could be used forpersonal gains. Not a lot has changed for thistoo, is a common practice till date.

In fact the study of the idioms gives you

'Raomut pula har, chaandanshehtmohur.'

'Khuda senz khar the nawida sunzchep'

‘Kenh mahtah ditam tah kanitalinitam'

enough information about the flora, fauna andtopography apart from the characteristics ofthe people and bits and pieces of history. Manyproverbs revolve round the bear or haput,most centered around the stupidity of theanimal and how he causes much harm. Theidiom , (the friendship of a bear),is employed for a stupid friend who leads aman into more trouble than good. Otherproverbs revolve around vegetables like themujj (radish) or haakh (collard greens), bothindigenous and cheap foods part of the dailymeals of the locals. Similarly, batta (rice),which is the staple food of Kashmiris findsplace in many idioms.

I have picked out but a few of these.More such instances exist, for Kashmiri retaintheir Kashmiriat wherever they go. As the oldand wise often say,

(There is rest for a sparrow upon thethorn bush which is its own.)

'hapathyaraz

Tsari chu kandi-thari pethkarar

[About the author: Onaiza Drabu is an

anthropologist who works on Kashmiri

folklore. She uses digital media to engage

with the past.]

��

Author can be contacted at :[email protected]

Page 10: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

Without Comments - Chand Bhat

ÒççiççMç 09March 2019 ~ cçç®ç& 2019

Praagaash09

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Of Those Years Called Sada-Satti

Born on an amaavas ki raat in 1949, my

zodiac sign is Cancer.Without bringing out the astrological

charts and talking about the traits of me andmy fellow Cancerians, what I can confidentlysay is that despite a lack of a surface-levelvisible ambition, Cancerians do have desiresand goals that are deep and profound.

But it was in 2000 when I was forced togive my astrological charts a second thought.Unbeknownst to me, somewhere out in theuniverse, Saturn entered the house of Cancer.And stayed put for seven and a half years, aperiod called Sade Satti.

The jury has always been out onwhether the period is a boon or a bane.But this is how it began for me.

In the quest for material prosperity, Ihave time and again changed professionduring freelance jobs across industries,including hotels and hospitality, and evenentertainment and media.

After a disastrous move to the Gulf in thehotel industry in the 80s, I made a foray intofilm advertising, documentary and TVproduction in the 90s. This latter phase waseclectic, and even satisfactory to some extent,financially.

In the May of 2000 I was in Jammu doinga recce of prospective locations for aCanadian network advertisement. The ad wassupposed to show that the network kept itscustomers connected even in the remotest oflocations, for instance the Himalayas.

So I set out in a car with a videographerand a driver. The brief from the client was toexplore as much as possible. We first headedout to Patnitop and its surrounding areas. Onthe second day, we headed to Mansar Lake.

Gulmarg and Pahalgamwould have been ideallocations but for the turmoilthere.

On the third day, westarted towards Reasi andRajouri. The driver took theupper Jammu route to reachAkhnoor, even as the videographer continuedshooting at every possible opportunity. Theroute was a luscious green due to monsoon,and through clear environs you could see Tawiriver flowing in distance.

It started raining heavy and we found atea shop near a massive barricaded gate, anddecided to wait for a bit there, in the companyof some hot tea and snacks.

As the rains slowed down, we got readyto leave, but a dramatic moment was on thecards, as a few uniformed security personswith rifles walked towards us with intent.

The three of us were soon surroundedby these Central Reserve Police Force(CRPF) personnel. And in no time, we wereinside the barricaded gate, which happened tobe one of India's highest security prisons – KotBhalwal.

The prison was in news as most-wantedterrorist MasoodAzhar was an inmate there tilla year ago. Azhar had made an attempt toescape from the jail through a tunnel he haddug. While the CRPF had managed to foil theattempt, it had put the spotlight on the CRPFand many had blamed them for their laxity. (Amonth later, after the Kandahar hijackepisode, Azhar was released in exchange ofthe hostages.)

So we were produced in front of theSuperintendent of the prison, whounderstandably wanted us to explain our

Page 11: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 10March 2019 ~ cçç®ç& 2019

Praagaash10

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

presence in the area.After almost three hours of grilling, I was

able to convince him about our visit and evenshowed the entire video that was shot. Heasked for us to be released.

However, while the internal security wasin the domain of state police headed by theSuperintendent, the CRPF commander wasin charge of external security, and the latterrefused to release us. Given the scrutiny onthem, the CRPF did not want to take the blameof being irresponsible as was done earlier.We were hauled into a van and handed over tothe local police station, and instructions weregiven of file an FIR against us and to keep thecommander informed about the progress ofthe case.

Meanwhile, all the investigatingagencies were alerted and they all startedtheir parallel probes. The SHO of the localpolice station was kind enough to not file anFIR as the videographer and the car driver –two local boys – were known to him.

A little later, after some interaction withme the SHO was convinced that we couldn'tbe involved in anti-national activities.While talking to him, I told him that the localboys should be released immediately as theywere only helping me in my assignment and Iwas the one who had hired them. I also urgedhim to investigate me till they were satisfied ofmy innocence.

We were put in a makeshift tent that wasfull of broken furniture and other stuff. Thepolice station was situated in an open bushyand barren area with no concrete buildingaround. To make sure that we don't make anyattempt to escape, they warned us about thepoisonous reptiles and animals that inhabitedthe surroundings.

As the night got darker, and in theabsence of any distractions, I had a momentto introspect. Was it all happening because ofthe Sade Satti?

Sure of my innocence, I resolved in my

mind that I should not worry about theoutcome. It was my belief that I would bereleased honourably soon. With that in mymind, I fell asleep.

After some sound sleep, the nextmorning brought some new hope as theinvestigation brought nothing adverse. Thevideographer and the driver were releasedafter their parents bailed out.

Despite my good words with the SHO,one of parents also blamed me for putting theirkids in this situation. After listening to theirbashing for some time, I lost my patience. Icountered, that the only reason I had hiredtheir sons was because they were locals andwere supposed to know the area well. So if weare in this trouble, it's because of them, andnot me. I had not lured them for anythingscandalous but was paying them for theirservices.

The various agencies that wereinvestigating me were CID, militaryintelligence, CBI, etc. I gave them a detailedaccount of my travel from Mumbai to Delhi andthen to Jammu.

The second night in the same makeshifttent alone was even more peaceful with nocompany at all. I neither cried nor pleaded formy innocence. All I requested them was toprobe me thoroughly as fast as they could.The third day brought some relief as some ofthe well-wishers, who came to know about mymisadventures, used their clout to bail me out.Their help and the positive reports fromMumbai were enough to convince theauthorities about my innocence.

My family was very much convinced thatSade Satti was the root cause of thismisadventure.

On my way to my brother's house inJammu, my brother told me about how one ofmy friends, Rakesh, was in Jammu on his wayto Vaishnodevi and wanted to meet meurgently.

Rakesh had signed a project as a line

Page 12: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 11March 2019 ~ cçç®ç& 2019

Praagaash11

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

uçuç-JççKç

Dççiçáj³ç jìKç mççj mçççÆj lçjKç~Dçoe kçÀJçe cçÓ[çí HçÀìKç ]pççbn~~

DçççÆcç Hçvçe mççôojmç vçççÆJç smç uçcççvçkçÀçÆlç yççíçÆ]pç o³ç c³ççívç cçô çÆlç çÆoçƳç lççj~

Dççc³çvç ìçkçw³çvç Hççív³çd ]pçvç Mçcççvç]pçáJç sácç yç´cççvç içje içæse nç~

Dçç³çmç kçÀçÆcç çÆoçÆMç lçe kçÀçÆcç Jçlçí,içæse kçÀçÆcç çÆoMçe kçÀJçe ]pççvçe JçLç~

DççÆvlç oç³ç uççÆiçcç³ç lçlçí,s@çÆvçmç HçwJçkçÀmç kçÀçbæs çÆlç vççí mçLç~~

Dçç³çmç Jçlçí iç@³çmç vçe Jçlçí,mçácçvç mJççÆLç cçb]pç uçÓmçácç Ün~®çbomç Jçásácç lçe nçj vçe DçLçí,vçççÆJç lççjmç çÆocçe kçw³ççn yççô~~

Dçç³çmç çÆlç m³ççôoá³ç lçe içæse çÆlç m³ççôoá³çmçôçÆomç nçôuç cçô kçÀ³ç&cç kçw³ççn~

yççô lçmç Dçç@mçemç Dççiçj³ç J³ç@]pçe³çJçôçÆomç lçe JçôbçÆomç kçÀ³ç&cç kçw³ççn~

‡ ‡ ‡

‡ ‡ ‡

‡ ‡ ‡

‡ ‡ ‡

‡ ‡ ‡

producer for an English feature film to be shotin India by a British production house. Hewanted me to join him and immediatelyproceed to Rajasthan to hunt for locations andthen to Himachal Pradesh. It was a five-monthproject and was very lucrative. It seemed God-sent and unbelievable given the muchpopularised adverse effects of Sade Satti.

The following years were also rewardingas every year brought a foreign project thatkept me busy professionally and also helpedme financially.

Does Sade Satti really bring you badluck? In my case, it did show me prison for twonights but also brought me good fortune thatgot me to work in international projects, andpaid dividends and accolades as well to keepin good stead.

Sade Satti and astrology aside, onething about those two nights in custody werethat they were the most serene and peacefulnights of my life. I could not have helpedmyself by thinking or worrying about theoutcome of the investigation, and so I didn't. Iknew that I was on the right side of law, andthat realisation was good enough to get mesome good sleep.

Contact author at :��

��

[email protected]

Page 13: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 12March 2019 ~ cçç®ç& 2019

Praagaash12

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Kundanspeak - T.N.Dhar ‘Kundan’

Our Treasure

Our scriptures, our rich literature on variousideologies and schools of philosophy are thetreasure preserved and enriched by ourforefathers. It is our right to be proud of thismine of wisdom and our duty to study it,benefit from it and propagate it for the good ofcoming generations. I have been studying itfor a long time now. I write about variousaspects of this store house of knowledge fromtime to time, in my small way. I have written abook titled, 'A Portrait of Indian Culture'exclusively for young readers. I study booksand discourses of erudite authors and sagesand savants. Recently I was reading SwamiKrishnananda and it occurred to me to write abrief article as an introduction to this vasttreasure. He has explained various doctrinesin a very distinct and interesting way. I thoughtit would be a good thing to use theseannunciations briefly in this article.

Vedas, as all of us know, are the root ofthis treasure. They are said to be the breath ofthe Divine and thus, not a creation of anyhuman being. They are said to be'Apaurusheya – a divine revelation'. Thesewere carried from generation to generationand are known as 'Shruti', something heard.Eventually, sage Vyasa compiled them inthree groups of 'Rig, Yajur and Sam',containing mantras relating to knowledge,rituals and those to be sung. Another sagecompiled mantras in a separate collectioncalled 'Atharva'. These four compilations arethe root, the source and the back bone of ourculture and tradition. This in reality is the soulof our very existence. In these fourcompilations we find a clear division. WhereasRig Veda contains the detailed exposition ofspiritual aspect of our life, the Yajur Vedadeals with the methodology of rituals. SamaVeda is musical and so relates to devotionunto the Divine. Atharva Veda largely covers

the mundane and worldlyfeatures of human life, likeh e a l t h , l o n g e v i t y ,governance, social order etc.As the time passed and thecenturies rolled by, thespiritual aspect got ignoredand only rituals came top r o m i n e n c e . I n t h emeantime, Buddhism alsocame on to the scene and need was felt torevive the philosophical aspects of our culturalheritage. This appeared in the form of BrahmaSutra, Upanishads, and Bhagavad Gita,collectively called the 'Prasthana Trayi'. Thesubject discussed in Upanishads is termed as'speculative trend and philosophical flight'.Since it was all in the form of knowledge or'Jnana', it was liable to various ways ofexpositions and different interpretations. Theresult was that multiple branches ofknowledge and different schools of philosophywere propounded by sages and savants. Wegot six schools of philosophy, divided intothree groups of two schools each.

The first group is Sankhya-Yoga. Theformer is attributed to sage Kapil and the latterto Patanjali. As the name indicates Sankhya(meaning numerals), is a definitive knowledgedealing with creation of the universe, bondageand liberation. Yoga prescribed a meditativetechnique for attaining liberation. Obviously,therefore, it includes physical exercises,breath control and silent contemplation,leading to total absorption. Whereas theformer seeks knowledge that discriminatesbetween the world of effects and world ofcauses and leads to liberation, the latter dealswith the association of Purusha and Prakriti asthe eternal, all pervading and omniscientSupreme Being. It also envisages eight stepsof yogic practices like restraint, discipline,

Page 14: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 13March 2019 ~ cçç®ç& 2019

Praagaash13

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

breath control, sense control, meditation etc.The second group is that of Nyaya and

Vaisheshika. The former is attributed to sageGautama and is based on pure logic andreasoning. It aims at liberation through clearthinking. In due course it got divided into twoschools, the old and the new. The mainemphasis in this school is to arrive at aconclusion only after a thorough discussion,deliberation and reasoning. Vaisheshika,introduced by sage . Originally it wasatheistic and believed that the creation was theresult of combination of atoms. Later it gotinfluenced by Nyaya and accepted God as asecondary creator. The investigation in thisschool of philosophy is almost like the modernphysics. This school has extensively dealt withvarious forms of matter, functioning of nature,existence and non-existence, knowledge andNascience etc.

The third group is called 'Meemansa', orexegesis (Purva and Uttara). There is earlierexegesis, which deals with ritualistic aspect ofour scriptures. It has its origin in the'Meemansa Sutra' of the sage Jaimini. It givesemphasis on the performance of rituals largelydealt with in Yajur Veda. There is laterexegesis also called Vedanta, or theculmination of Vedas. The sole aim of thisschool has been investigation of theknowledge of Brahman. Its origin is in the'Brahma Sutra' of Badarayan. Since it iswritten in aphorisms and is open to differentinterpretations, a number of sages havewritten commentaries on this, as also onUpanishads and Shri Gita. These include AdiS h a n k a r a c h a r y a , M a d h v a c h a r y a ,Ramanujacharya, Vallabhacharya and others.The first major interpretation came fromGaudapada and Shankara. They propoundedmonism (non-dualism) called 'Advaita'. Thesecond interpretation was given by Madhva,who was the exponent of dualism called'Dvaita'. The third school is that of Ramanuja,who presented qualified monism called'Vishishta Advaita'. Monists believe that man

Kanada

can attain complete identity with the Divine,'Sayujya'. Dualists say one can achieve onlyproximity, 'Sameepya' with Him, as the two aredifferent. The believers in qualified monism goa step further and opine that one can achievesimilarity, 'Saroopya' with the Divine. Therehave been other views presented by sageslike Nimbarka, Vallabhacharya and others,which have some variations in greater details.One of the contentious terms has been theconcept of 'Maya'. While some have taken in todenote illusion or untruth, others have treatedit as God's creative activity. In Kashmir ShaivaDarshan called 'Trika Shastra' it has beenenumerated as one of the thirty-six 'Tatvas' orelements one passes through, while risingfrom the level of the earth to the level of ParamShiva.

This treasure of ours includes 'Smritis'and 'Dharma Shastras', which deal with socialrules and regulations. Then we have 'Puranas'dealing with stories and fables relating tosages, which contain a lot of material for us tolearn from. We have, in addition the two epics,'Ramayana' and 'Mahabharata', which arevery popular throughout the length andbreadth of the country. These are available inevery language including the original written inSanskrit.

This treasure contains direction,guidance and principles which are useful inevery aspect of our life, both worldly andspiritual. We can take any path that suits ouracumen, taste and capacity. We can go the'Jnana' way and seek knowledge to achieveour aim. We can take the 'Karma' route and bydetached action seek the desired. We canchoose the 'Bhakti' and try to reach ourdestination through devotion and faith. Wemay go the 'Dhyana' way and throughmeditation and contemplation achieve thedesired liberation. Choice is ours andeverything is available in our treasure in detail.

Contact author at :[email protected]

Page 15: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 14March 2019 ~ cçç®ç& 2019

Praagaash14

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

kçÀçJ³ç - hççÇ.kçíÀ.kçÀçÌuç

yçiçeJççvçmç mçól³ç kçÀLçç yççLçç

Dççm³çç mçvçç kçÀçbæsç Ünç, ³çôçÆuç ]pçvç yç e kçáÀçÆvç Òç]pçevççJçen@Lç~JççÆs kçáÀçÆþmç cçb]pç j@sd³ç kçÀçÆjLç, çÆpçiçejmç Dçboj uçuçevççJçen@Lç ~~

kçw³çç mçvçç Dççmççvç sç, kçáÀçÆvç çƳçcç æ®çô ]pççvççvç sçÇ hç]pççÇ~çÆlçcç sç mçvçç hççj³ç çÆoJççvç, çÆlçcç vç@v³ç çÆlç sç Dççmççvç hç]pççÇ~~

DçKç æsôçì mçyççÇuçç, kçÀçjeyççjçn, Ðççj JçìevçákçÀ vççJç ®ççívç~³çmç yçç@]p³ç-iççjmç kçôbÀn vçe kçÀevçevçá³ç Dççímç, lç@c³ç kçáÀvç vççJç ®ççívç ~~

kçÀçÆvç Hç@Àu³çvç mJçvçe lççpç uççiççvç, lJççÆn hçvçev³ç çÆkçÀv³ç kçÀçôæs çÆoJççvç~³çámç DçKçç JççÆvç `sámç yçe yçyç , lçmç çÆs Dç@m³ç uçç@çÆjLç içæsçvç~~

kçÀçbn ohççvç ûçônÐçvç oJçç kçÀj, hçlçe sá lçç@JççÇ]pçç kçÀevççvç~ûçôn çÆyç®çç@³ç& kçÀçÆlç lççv³ç HçíÀjçvç, þiç çÆs DççÆmç uçÓþç kçÀjçvç ~~

hçãæsçíJç Mçílççvçmç çƳç kç@Àc³ç lççcç, ®çç@v³ç Mçá³ç& çÆkçÀLçe hççþîç uçmçvç~lç@c³ç oçôhçámç ³çôçÆuç cçá[e ]p³çJçvç, c³ççv³çvç Mçá³ç&vç nebÐç içje Kçmçvç ~~

mçç@yçç kçw³çç JçôçvçáLç, çƳç çÆlç sç mçvçç kçÀçbn vç@Jç kçÀLçç~MçÓMç kçÀìe mçábo, o&cç yçìe mçávo, kçw³çç svçç çƳç kçÀnçJçLçç~~

kçÀçÌuç

'

yçiçJççvçvç Ðçálçevçcç pçJççyç

��

Page 16: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 15March 2019 ~ cçç®ç& 2019

Praagaash15

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Peculiar Kashmiri Words

You May Not KnowÞçáKçMçíKç-Guç-Dççuçcç

Dççovçe Kç]®ççmç kçÓÀçÆjmç lçe JççÇjmçcç@çÆjLç HççÇçÆjmç ]pçôJ³çcç yçbiçe~

³çLç kçw³çç kçÀjJç uçÓyççÆvçmç yççÇjmç³çôçÆlç vçe yçáçÆ[Lç jçí]pççvç ]pçbiçe~~

çÆlçLçe ]pçáJçe jsçcçKç çƳçLçe l³çÓj j@sd³ççÆ]pç vççÇçÆjmçHçlçJç yçá]pçvçcç vççjeçÆJç kçbÀiçe~~~

‡ ‡ ‡Dççovçe l³çÓuçámç oçíjvç lçe oçjvçJçácyçej jç@Jçecç Kççjvç mçól³çd~

Jçáo kçw³çLçe vçe jçí]pççmç ]®JçvçeJçev³çd H³ççjvçÐçJç u³çKçenvçcç çÆmçlççjvç mçól³çd~~

Hçáuçe mçuçç@]®ç lççje lççjvçJJçcçío scç ]®Jçvç ³ççjvç mçól³çd~

jel³çvç jel³çvç y³ççôvç y³ççôvç ]®ççjvçkçÀJçe ]pççvçe uçiçe cçç iJçvççniççjvç mçól³çd~~

‡ ‡ ‡Dççovçe KçÓ]®çáKç Jç]pçÓnmç lçe ñççvçmç³ççcç vççoçvçmç oç@j iç@³ççÇ s@]®çe³ç~

mç@v³çd ]®³çLç ÐçálçáLç o@çÆmçuçmç lçe sçvçmçsáKç uçoçvç Dççmçcççvçmç c³ç@]®çe³ç~~[ç³ç iç]pç ]pç@cççÇvç uçççÆvç s³ç Hççvçmç

uç]pçuççí çƳç uç@j uç@]pçeLç kçÀLç çÆkçÀ]®çe³ç~~~‡ ‡ ‡

Dççiçáj DçççÆmçnômç mççmç uçbçÆpç cçjevçmçDçoe s³ç pçççƳç pçççƳç lçjevçmç Mç³ç~~

‡ ‡ ‡

alí tí shàph tû balí tí shàph

alí tí shràkh tû balí tí shràkh

äl vàkh

allàh allàh khär salàh

alûbäl

alûgåº tû malûgåº

alûgåº tû malûgåº túlûn

i

i i

i i i

(cursing a person whether he is offering aservice of very small value or whether he isdoing anything of great difficulty and involvingself-sacrifice ~ cursed this way or that way ~ tobe on the receiving end both ways ~ betweendevil and the deep sea)

(a polite greeting ~ a gentle salutation)

(the end of a dispute or a transaction ~ all is wellthat ends well)

(a fat man, who does not apply his mind)

(a great man and a base man ~ high and low ~everybody)

(to provoke everybody to create commotion)

DççÆuç çÆlç MççHçÀ lçe yççÆuç çÆlç MççHçÀ

DççÆuç çÆlç ÞççKç lçe yççÆuç çÆlç ÞççKç

Dçç@u³çd JççKç

Dçuuççn Dçuuççn Kçç@j mçuççn

Dçuçeyçç@uç

Dçuçeiç@[îç lçe cçuçeiç@[îç

Dçuçeiç@[îç lçe cçuçeiç@[îç lçáuçev³çd

��

��

��

��

��

��

Page 17: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

Explorations & Adventures - Ajay Dhar

ÒççiççMç 16March 2019 ~ cçç®ç& 2019

Praagaash16

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

My Polar Adventure - 6

As Voyage Leader, my role included to help

in planning of expedition tasks, transportingmembers and material to different field campsand their safety aspects, completion of all theassigned scientific & logistic tasks of theexpedition, delivering fuel and cargo to thestations and back loading of all the storagecontainers, waste material etc. During the 28ISEA (2008-09), we were planning a convoy ofeight vehicles loaded with fuel tanks andcontainers from shelf to Maitri station. Whilepreparing the loads, the winds picked up

resulting in a severe blizzard, which ragedat 75-80 knots for 3-4 days. Ten of us were heldup on the shelf and took refuge in a living portacabin. There was heavy snow drift resulting inpartially burying all our vehicles. Our satellitephone and HF communication was notworking and as such we were totally cut offfrom the station and ship. The ship was just 15km away and we still could not communicatewith them and were waiting for blizzard tosubside and proceed with our convoy. On the

th

third day, I received a shortmessage on the walkieTalkie that one of theHelicopters has met with anaccident. I started worryingwhy the helicopter was flyingin this bad weather; whatwas the extent of damageand whether all members aresafe? The wind was slowingdown and had come to nearly 40 knots. Iasked my team to immediately clean and get

the vehicles ready for our movement to Maitristation. The snow drift was still heavy makingsnow clearance difficult. Within a few hourswe got all the vehicles cleared and gotmoving. This logistic team was new toAntarctic conditions and they asked me tolead the convoy. With heavy towed loadsbehind the vehicles, we were finding it difficultto maneuver them in soft snow. I instructed allthe drivers to follow in a line and keep a safedistance of nearly 50 m between two vehicles.

Third Indian Antarctic Station, Bharati in Larseman Hills, Antarctica

Page 18: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 17March 2019 ~ cçç®ç& 2019

Praagaash17

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

After covering a distance of nearly 10 km, Ireceived a message on my HF receiver fromone of the vehicles that his vehicle has sank insoft snow and cannot pull it. I stopped myvehicle and came out to check onhim. I was shocked to see that anew concealed crevasse hadopened up and the trailer of hisvehicle was struck in it. Afterassessing the situation, I figuredout that the vehicle and trailer canbe easily taken out by using thecrane, which was parked nearly15 km away. The crane wasbrought to the site and vehicleand trailer removed from thecrevasse after a little struggle andsoon we were on our way toMaitri. The convoy takes nearly18-20 hr to cover this distance of 120 kmbetween shelf and Maitri station and reached

there without any furtherincident. I kept on trying tocontact Maitri to get thenews about helicopteraccident and safety ofmembers. Once thecontact was established,they informed that thehelicopter was damageddue to high winds and willbe grounded and allmembers are safe. I tooka sigh of relief and keptplanning for evacuation of

all members and damaged helicopter to ship.The year 2011 marked the centenary oflanding of man at South Pole. Tocommemorate Amundsen's historical

expedition to South Pole, as also to markthirty years of Indian presence in Antarctica,

the Government of Indialaunched a scientificoverland expedition toSouth Pole from Indianr e s e a r c h b a s e i nAntarctica, `Maitri'. Aneight member teamcomprising scientists &engineers was jointlyf lagged off by Shr iPrithviraj Chavan, thethen Minister for Science& Technology and Earth

Mountain rangesurrounded byhuge crevasses

The crevasse seen after pulling the vehicle out

Huge hidden crevasse opened up during convoy

Page 19: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 18March 2019 ~ cçç®ç& 2019

Praagaash18

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Sciences from New Delhi and Dr.S.S. Sidhu, HE the Governor ofGoa on 2 November 2010. TheExpedition team left India on theearly morning of 3 November 2010and reached the icy continent on 7November 2010 via Cape Town,South Africa. The Expedition teamleft Maitri on 13 November 2010for South Pole. The team used fourspecialized vehicles from ArcticTrucks customized specially forthe rugged and crevassedAntarctic terrain. Each vehiclehad carried special gears,emergency medical kit and frozenfood, navigational and scientific

instruments. A mid-way fueldump at 83 degree South latitudewas used for re-fuelling of trucks.After a tough and adventure filled10-day journey over ice, theExpedition reached the SouthPole on 22 November 2010. Theteam traversed a total distance of~4,500 km to South Pole andback and was beset with difficultw e a t h e r c o n d i t i o n s(temperatures as low as minus 54degrees C). Withstanding manym e c h a n i c a l b r e a k d o w n s

requiring change of vital components, theteam collected valuable data and snow/ice core samples throughout the journey.The team returned to Maitri on 1December 2010, thus completing thetraverse in the shortest possible time of 19days.

During 32 (2012) ISEA, wecompleted the construction of BharatiStation and as of today, India has twooperational permanent stations inAntarctica. I had my last visit to Antarcticaduring 35 ISEA (2015-16) to install a fewnew equipments. On my return fromAntarctica, I also had an opportunity to

n d

th

Hidden crevasses opening up during this

expedition.

Vehicles used for South Pole Expedition

Page 20: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 19March 2019 ~ cçç®ç& 2019

Praagaash19

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

visit Arctic region and carry out further studiesthere (2016). We travelled up to 82 N tocarryout glaciological studies.

I have participated in 12 scientificexpeditions toAntarctica, a record by any Indianand have travelled from South Pole (90 S) toArctic region (82 N).

The Kashmiri Pandits had a major role toplay in Indian Antarctic Program and five ofthem went on to lead these expeditions asfollows:Shri V K Raina, Leader, 2 ISEA (1982-83) andleader of Weddel Sea Expedition (1987-88).

o

o

o

nd

The team at South Pole

South Pole Expedition team

Shri M K Kaul, Leader, 5 ISEA(1985-86)Dr. Rasik Ravindra, Leader & StationCommander, 9 ISEA(1989-91). He was alsothe Leader of first South Pole Expedition(2010-11)Dr. A K Hanjura, Leader & StationCommander, 10 ISEA(1990-92)Shri Ajay Dhar, Deputy Leader, 15 ISEA(1995-96), Leader & Station Commander,18 ISEA (1998-2000), Voyage Leader of 26(2006-07), 27 (2007-08), 28 (2008-09) and32 (2012-13) ISEA and member of SouthPole Expedition (2010-11).

th

th

th

th

th th

th th

nd

The South Poleexpedition team withHon. Prime Minister,Dr. ManmohanSingh, Hon. Ministerfor Science &Technology, Shri.Kapil Sibal andSecretary, MoES, Dr.Shailesh Nayak.(The author isstanding 2 fromright).

nd

(Contact author at :[email protected])

Page 21: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

History - M.K.Raina

ÒççiççMç 20March 2019 ~ cçç®ç& 2019

Praagaash20

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Kalhan Pandit & his Chronicle

Kalhan Pandit, the author of Rajatarangini

was the son of Lord Champak, a minister ofKing Harsha (1089-1101 AD). Champak isrefered to as Lord of the Gate or commandantof the frontier defences in the later part ofHarsha's reign. Kalhana mentions Champakamongst the last few officials who loyally heldout by the King's side.

Champak was a fervent worshipper atthe Tirthas of Nandikshetra, the presentButhsher. Champak had a brother younger tohim whose name was Kanak. Music lovingKing Harsha used to take lessons in singingfrom Kanak. King had prsented him one lac of

gold coins for this. Kanaka issaid to have saved thecolossal Buddha image atParihaspora, his birth placefrom destruction by KingHarsha by h is t ime lyintercession.

It can not be doubtedthat Kalhan's family was Brahman by caste.Sanskrit learning of the type displayed in theRajatarangini has been always cultivatedchiefly by Pandits of Brahman descent. Hewas attached to Shiva worship which hadoccupied the first place among the Hindu cultsof the Valley. Tantric cult seems to have beenwell known to Kalhan. He has also displayedmanifestly friendly attitude towards Buddhismthroughout the whole of his Chronicle. Kalhanis also said to have inherited a culture, theBuddhist background of which was intimatelyconnected with Gandhara. Gandhara inAfghanistan, as we know from the Rig Veda,was the meeting ground of the Indo-Aryansand the Iranians. King Meghavahana ofKashmir, the apostle of non-violence is said tohave come from Gandhara.

Kalhan began his work in the Sakayear 1070 corresponding to year 4224 of theLaukika era and 1148 AC. He finished it in theyear 1150 AC. He relied upon the earlierchronicles which were extant in his day toascertain the dates of the ancient Kashmirirulers. He begins his account from 1184 BCwith Gonanda III but he refers to an earlierperiod of 1266 years preceding 1184 BC,during which, according to tradition, 52 kingshad ruled but of whom all record was lost.

Kalhan has not given any account ofhis education or early studies in his Chronicle.

Page 22: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 21March 2019 ~ cçç®ç& 2019

Praagaash21

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

However, Sanskrit classical poetry of theKavya type such as Kalhan knew andcultivated, presupposes a thorough training inthe science of Indian rhetoric theAlamkarasastra and an equal mastery of thegrammatical lore. He also had the veryintimate knowledge of the Mahabharata. Heseems to have been equally well acquaintedwith the Ramayana though his quotationsfrom it are less numerous as compared toMahabharata. It can safely be surmised thatthe study of the sacred epics had directlyinfluenced Kalhan in the choice of his task.Rajatarangini:The Rajatarangini or River of Kings is a poemin Sanskrit in eight cantos. Each canto iscalled Tarang or Wave. As said earlier, PoetKalhan Pandit, the author of this saga ofKashmir commenced his composition in theyear 1148A.C. and concluded it in 1150A.C.

Rajatarangini is the oldest and fullestrecord of Kashmir history. Sir Stein,recognising the inestimable value of the onlywork of its kind, succeeded in publishing thecritical edition of the text as early as in 1892.Later he followed this illustrious venture bypresenting a fully annotated translation of theChronicle in 2 volumes. The mature, profoundand thoroughgoing investigations of Sir AurelStein with his clear and invigorating languagebrought brilliance to the original text of Kalhan.

First translation of a portion of theRajatarangini Bahr-ul-Asmar was in Persianmade on the orders of the King Zain-ul-Abidinof Kashmir (1421-1472 A.C.) In 1594 A.C.,the historian Abdul Kadir Al Badaoni wasordered by Emperor Akbar to complete thetranslation. In Ain-e-Akbari, Abul Fazalincluded an abstract of the early history ofKashmir of which he mentions Kalhan's workas the source.

Dr. Bernier, who gave the first accurateand attractive European account of theKashmir valley in 1664, had turned hisattention to the histories of the ancient kings of

Kashmir. The Chronicle of which hepossessed a copy and was reportedlypreparing a French translation, was howevernot Kalhan's work but a Persian compilation ofHaider Malik, Chadura prepared in Jehangir'stime avowedly with the help of Rajatarangini.Mr. Gladwin had also published his translationof the Ain-e-Akbari of Abu-l-Fazl who distinctlyquoted Kalhan's Chronicle as the authority forhis own abstract of early Kashmir history, thusinviting attention to the original Sanskrit text.

In the year 1805, Mr. Colbrookesecured in Calcutta (now Kolkata) anincomplete copy of Kalhan's work though hisintention to give an account of its contents wasrealised only after twenty years. Dr. HoraceHayman Wilson first acquainted Europeanstudents with the general character ofKalhan's work and furnished critical abstract ofthe contents of its first six cantos. Even beforeProf. Wilson's Essay on the 'Hindu History ofKashmir' was published, Mr Moorecroft hadmade successful endeavour in Kashmir itselfto obtain better textual material. He gotDevanagari manuscripts prepared from an oldSharada manuscript in Srinagar in 1823,which was no other than the codex archetypusof all extant Kashmirian manuscripts.Nevertheless, the editio princeps of theRajatarangini which appeared in 1835 underthe auspices of theAsiatic Society, Bengal andwhich was mainly based on Mr. Moorcroftstranscript, failed to furnish a critically reliabletext of the Chronicle. In 1840, Mr. A. Troyer,Principal of the Calcutta Sanskrit Collegebegan publication of a new edition of the textand of a French translation under the auspicesof the Societe Asiatique at Paris. Histranslation accompanied by elaboratehistorical and geographical dissertations wascompleted in 1852.

(To be continued)

Contact author at : [email protected]

Page 23: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 22March 2019 ~ cçç®ç& 2019

Praagaash22

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

kçÀçJ³ç - çÆ$çuççíkçÀçÇ vççLç Oçj kçáÀvovç

iççMç HçÀçôuç

Jçev³ç Jçev³ç içìe ]pççôuç, mçbiçjvç hç@l³ç æ®ççôuç~[îçkçÀe HçÀçôuç mçcçe³çmç, ³çôçÆuç vççôJç iççMç HçÀçôuç~uçeçƳç vçe³ç cçb]pç lççcç, kç@Àc³çlççcç iççMç 殳ççôuç~

mçôçÆo yçje æ®ççJç mçá³ç, hçbpçjvç nçôuç kçÀçôuç~kçÀçône yççuçJç mçá³ç, jçôhçe iççMçç Jççôuç~

KçÓ®]³ç KçÓ殳ç uççôlç hçç@þîç, Dççôyçjvç Jççôì oçôuç~i³ççôJç hççíMçvçÓuçvç, ³çámç Dççímç ]pçvç kçÀçôuç~

Mçyçvçcçe mçól³çvç, hççíMçJç yçáLç sçôuç~yççôcyçjçn lçcyçu³çJç, hççíchçáj JççÆlç [çôuç~

Jç@æsîç ®çJç mçáçÆuç iççÆj, Üo cçççÆpç iççôuç iççôuç~y³ççƳç Kççôlç iççmçe KçôçÆvç, Jçvç kçáÀvç kçÀìe K³ççôuç~

KJçMç iç@çƳç kçÀç@l³ççn, kçWÀæ®çvç h³çJç l³ççôuç~iççMç uççôiç mççôcyçjeçÆvç, kçáÀvovç HçÀçôuç HçÀçôuç~~

��

kçÀçJ³ç - jlçvç uççuç `pççÌnj'

]pçe iç]pçuçe

lççô¿ç çÆsJçe hçvçeçÆvçmç içjmç cçb]pçhçvçev³çvç Mçá³ç&vç mçól³ç kçÀç@çÆMçj hçç@þîçkçÀLç kçÀjçvç? Dçiçj vçe, hçiççn çƳçvçeçÆlçcçvçe³ç jçn Kçç@çÆjJç~ nvçç mçÓbçÆ®çJç~

hççíMçvç Dçboj yçônvçe®ç lçmç JJçv³ç içç@cçeæ®ç çÆvçKç~³çmç ÒçLç oçíjmç Dçboj mJçKç MççBlççÇ lçáuç çÆoKç~~DççÆkçÀ ÒçççÆæ®ç Jçvççvç vçmyçáuç-Sívç sá Dçcçvççí-mkçÓÀvç~

Dç@lççÇ sá Dççmççvç omçyç@oáDçç lçe Jçmççvç sámç DççôMç~Dç@lççÇ sá vçíjçvç jçmçe çÆoJççvç ncçmçç³çvç æ®çeKç~~mçáyçán kçÀjçvç lçç@yççÇj çÆnJççÇ çÆs mçç@jçÇ Dç@m³ç~

Mççcçe Jçvççvç yçmç yçe³ç Jçç@çÆjmç lç³ç yçe³ç cçç@çÆuçKç~~

Jçás Jçás hçKç mçç@ nçíMçç nçíMç~JççÆlç JççÆlç kçBÀ[îç çÆs lçe çÆlçcç kçÀçÆlç hççíMç~~

yçuçeJçmç jlçe sôçÆhç uç@i³ç ncçmçç³ç~Dç@[îç iç@u³ç Dç@[îç iç@çƳç Kççvçe yçoçíMç~~

jnyçj mçç@jçÇ kçÀç@çÆlçuç êç³ç~Dççcçmç Kççcçmç kçw³çáLç mçç@ oçíMç~~

hççíçÆMç HçáÀuç³ç uççÆlç JçLçjç@Jçevç~mçôçÆkçÀ mçnjçJçvç Kççí©vç yççíMç~~Dçhç]e]pçç³ç&vç Fmçyçbo ]pççuççvç~

hç@]p³ç³çç³ç&vç ocç iç@çƳç jçíhççíMç~~

yçôçƳç ÒçççÆæ®ç çÆoJççvç nçôkçáÀcç æ®ç@çÆìJç Dççoec³ç çÆlçKç çÆlçKç~~

��

��

Page 24: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 23March 2019 ~ cçç®ç& 2019

Praagaash23

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

kçáÀs ³ççoW

FçqMlç³çç]kçÀ kçÀçojçÇ

DçççÆMç³ççvçí kçÀçÇ yçáuçboçÇ çÆouç kçÀçÇ ³çn yçíyçç]kçÀçÇ YççÇ~iççÆo&Mçí Dç]HçÀuççkçÀ kçÀçÇ vç]pçjçW cçW Dçç³çí Lçí mçYççÇ~~]pçnj-DççuçÓoç ]pçínvç kçÀçÇ LççÇ cçáPçí hçjJçç nçÇ kçÀyç~

mççÇvçí cçW nQ mççHçÀ-Dççí-Mç]HçÀç]HçÀ yçnlçí ®çMcçí Dççpç YççÇ~~pççí hç[í nQ çÆouç kçíÀ oçÌjí Jçn kçÀcç& Snmççvç Lçç~

çÆyçuç-³çkçÀçÇvç çÆhçvnçb Lçç Fmç cçW YççÇ cçMççdz³çlçí F&]pçoçÇ~~cçjnuçí Jçn çÆouç kçÀçÇ pçjçnçÇ kçíÀ YççÇ kçw³çç KçÓyç Lçí~mçyç cç]pçççÆnyç kçÀçÇ oáDççSíb cçíjí MçççÆcçuç YççÇ jnçÇ~~nÌ yçáuçboçÇ DççÌj Kçáo-oçjçÇ nçÇ oáMcçvç mçççÆLç³ççí~

pççí çÆiçjçb cçç³çn ³çnçb nÌ GmçkçÀçÇ cçáçqMkçÀuç YççÇ yç[çÇ~~mçççÆLç³ççW mçí YççÇ çÆyçs[ kçÀj SkçÀ cçáÎlç nçí içF&~nÌ yçnálç cçáçqMkçÀuç pçáoç³ççÇ hççÇþ cçW hçj vçç sájçÇ~~cçQ çÆmçjç³çlç kçÀj jnç nÓb cçáDççHçÀ kçÀjvçç MçççƳçjçí~

oj-Dçmçuç nÌ çÆouç kçÀçÇ nuç®çuç kçÀçÇ lçákçÀ-yçboçÇ~~FçqMlç³çç]kçÀ��

cçíjçÇ lçákçÀyçboçÇnmço kçÀçÇ no YççÇ oíKççÇ nÌ, yçuçç³çí pççvç oíKçí nQ~

içá]pçjlçí Jç]kçwlç cçW çÆkçÀlçvçí yç[í lçÓHçÀçvç oíKçí nQ~~uçkçÀçÇjW KççR®ç kçÀj çÆpçmç vçí mçnç]HçÀlç kçÀçí pçuçç yçKMççÇ~

yçMççÇj kçíÀ kçÀçì&ÓvççW kçíÀ çE]pçoç GvçJççvç oíKçí nQ~~çÆMçJççuççW kçÀçÇ LççÇ jçÌvç]kçÀ mçyç lçíjçÇ hçÓpçç mçí nçÇ uçíçÆkçÀvç~

cçbçÆoj Dççpç Kçmlçç nçuçlç cçW hç[í çÆiçj³ççb oíKçí nQ~~hçájçvçí Içj Jçn hçbçÆ[lççW kçíÀ lçJççjçÇ]Kç cçávçHçÀo& çÆpçvç kçÀçÇ~

Jçn cçjkçÀ]pç DççÆuçcç-Dççí-oççÆvçMç kçíÀ pçuçí mçávçmççvç oíKçí nQ~~��

Page 25: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 24March 2019 ~ cçç®ç& 2019

Praagaash24

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

kçÀçJ³ç - yçMççÇj Dçlnj

]pçe iç]pçuçjçLç Òçáæsvçcç yçnçj jçíJçá³ç cçç~

mççWLç mççí³ç&³ç kçÀjçj jçíJçá³ç cçç~~no&e JççJçvç KJçMkçÀ kç@Àje³ç cçç æ®çcç~

kçÀçôþîççÆMç uçomçe³ç Dçcççj jçíJçá³ç cçç~~iç]pççÆuç cçbpç cçç u³çáKçáLç mçá jçlçákçÀ Kççyç~

uçHçÀe]pç mççôbyçejçÆLç lçe Mççj jçíJçá³ç cçç~~]pçç@u³ç mçôçÆkçÀ çÆoLç æ®ç@uççÇ æ®çô cçç ¿çboeJ³çbo~

nLç uççôyçáLç n³ç n]pççj jçíJçá³ç cçç~~iççcçe hçôbçÆpç h³çþ mJç jçLç-Ün cçmlççÇ~iççcç DçLçe iççô³ç Mçnçj jçíJçá³ç cçç~~[çíþ ®ççv³çvç Dçcççjvçe³ç cçç h³çJç~uççíuçe yççiçmç yçnçj jçíJçá³ç cçç~~

��

JJçv³ç çÆouç sávçe ³çôçÆlç jçí]pçávç cççvççvç~çƳç sá mçáyçenmç Mççcçmç oiç uçuçeJççvç~~³çLç Mçnjmç içç@cçeæ®ç ]pçvç çÆlç Jçvçvç~

³çôçÆlç kçÀçÆvç nebÐç çÆouç kçÀçÆvç nebÐç Fvçmççvç~~kç@Àv³ç smç oçôhçávçcç mççÇcçç@y³ç Kç³ççuç~ní cçájæ®çe içjçn kçÀLç sáKç hçÓ]pççvç~~DççJççje Kç³ççuçvç Jçás cçô kçÀevççvç~DççJççje cççôlççn Mçnjmç HçíÀjçvç~~Jçæse oççÆj içæsvç cçç KçáçÆuç cçç yçj~

JJçv³ç DçççÆmç vçe kçÀçbn ³çôçÆcç kçÀçí®çe hçkçÀçvç~~Dç@]p³ç cçÓÐç iç@vççÇ, uçuç, ]pçÓvç, Dç@çÆjvç~

Dç@]p³ç ]pççíuçáKç vçáboe jôM³ç vçá³ç Dçmlççvç~~

lç@L³ç oççÆj sá Jççôuçcçálç vççuç oánvç~³çLç h³çþ Jçáv³ç yçáuçyçáuç Dççímç çÆhç®ççvç~~

Dçbiç vççje lçl³çvç Kççôlç DççJç yçnçj~Dçbiç Dçbiç oçôo mççWlçe®ç lçôn J³çlçejçvç~~JJçv³ç içíìeçÆ®ç yçôçÆuç lççb uç@pçcçeæ®ç Kç³ç~³çLç uççÆj cçb]pç ÜnuççÇ Mççuç Jçábiççvç~~

Lçje Lçje sô Dçæ®ççvç çÆouç JJçþ sá kçÀ[çvç~³çôçÆuç ]pççbn HçÀçívçe®ç içbìçÇ sô yçpççvç~~³çLç cçôçÆæ®ç h³çþ Dçlnj uçÓì uçákçÀJç~lççÆcç cçôçÆæ®ç çÆvççÆMç yçônlçj jíçÆiçmlççvç~~

��

Page 26: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 25March 2019 ~ cçç®ç& 2019

Praagaash25

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

kçÀLçç mççÆjlç mççiçjcçÓuç uçíKçkçÀ : mççícç oíJç hçBçÆ[lç

Dçbûçí]pççÇ DçvçáJçço : mççÇ. S®ç. ìçvççÇkçÀMcççÇjçÇ DçvçáJçço (vçmlççuççÇkçÀ) : [ç, Dçcçj cççuçcççínçÇ

(pçí Sv[ kçíÀ DçkçÀÌ[cççÇ DççHçÀ Dççì&, kçÀu®çj Sv[ uçQçÆiJçpmç)

oíJçvççiçjçÇ-kçÀMcççÇjçÇ ªhç : cç. kçÀ. jÌvçç, cçácyçF&

Page 27: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 26March 2019 ~ cçç®ç& 2019

Praagaash26

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Somdev Pandit’s Katha Sarit Sagar - 2

kçÀLçç mççÆjlç mççiçj - 2cçÓuç uçíKçkçÀ : mççícç oíJç hçBçÆ[lç DçbûççÇ]p³ç DçvçáJçço : mççÇ.S®ç.ìçJçvççÇ

kçÀç@Mçáj DçvçáJçço (vçmlççuççÇkçÀ) : [ç. Dçcçj cççuçcççínçÇ oíJçvççiçjçÇ jóHçÀ : cç.kçÀ.jÌvçç���

���

hhçáøhçovlç sá kçÀçvçeYçÓlççdzçmç mçcçKççvç :cçvçáø³ç yç@çÆvçLç ªo hçáøhçovlç Jççj³ççnmç kçÀçuçmç yçálçjç@æ®çh³çþ HçíÀjçvç~ lçmç Dççímç JJçv³ç Jçjç©®ççÇ lçe kçÀçl³ççvçvççJç~ lçmç Dççímç %ççvçákçÀ lçe çÆJç%ççvçákçÀ m³çþçn DçvçáYçJçmçhçáocçálç lçe jç]pçe vçbomç Dççímç Jç@]pççÇj çÆlç ªocçálç~ DççÆkçÀÜn LççôkçÀ mçá HçíÀjçvç HçíÀjçvç lçe æ®ççJç Dç@çÆkçÀmç oáiçç& cçboejmçcçb]pç~ oçÇJççÇ iç@çƳç lç@c³çmçebçÆ]pç lçhçm³çççƳç mçól³ç KJçMç lçemççôhçevçmç cçb]pç Jççôvçávçmç kçÀçvçeYçÓlççÇ æsçb[eçÆvç çEJçÐççJçvçmçcçb]pç içæsvçe Kçç@lçje~ Jçjç©®ççÇ Jççílç DçLç $çíçÆMç j@çÆmlçmçDçIççíj Jçvçmç cçb]pç ³çôçÆlç mçen lçe Jççboj jçí]pççvç Dçç@m³ç~HçíÀjçvç HçíÀjçvç Jçás lç@c³ç DççÆlç DçKç v³ççiçjçíOç kçáÀuç lçeDç@L³ç lçuç Jçás lç@c³ç nlçe yç@Ðç çÆhçMççæ®ç ¿çLç kçÀçvçeYçÓlççÇçÆyççÆnLç ³çámç Dç@çÆkçÀmç mççuç kçáÀçÆuçmç ³çÓlç ]p³çÓþ Dççímç~³çôçÆuç kçÀçvçeYçÓlççdzçvç Jçjç©®ççÇ Jçás, mçá JççôLç Lççôo lçe h³çJçlçmç KJçjvç lçuç~ kçÀçl³ççvç (Jçjç©®ççÇ) y³çÓþ lçe Òçáæseávçmç`æ®çô sá³ç ©lç mJçyççJç, æ®çe çÆkçÀLçe hçç@þd³ç yçv³ççíKççÆhçMççæ®ç?' çƳç yçÓçÆ]pçLç Ðçálçávçmç kçÀçvçeYçÓlççdzçvç pçJççyç `cçôsávçe hççvçmç cçálççÆuçkçÀ kçôbÀn hç³ç, cçiçj çƳç kçWÀæsç cçô çÆMçJçmççÆvçMç GpçÌvççÇ nebçÆomç MçácçMççvçmç h³çþ yçÓ]pç, çÆlç Jçvç³ç yçeæ®çô~'

oáiçç&çƳç Òçáæs MçbkçÀjmç `c³çççÆvç yçiçJççvçe, æ®çô kçw³çççÆ]pçMçácçMççvç lçe KççhççÆj cççuçe KJçMç kçÀjçvç?' lç@c³ç Ðçálçámçlççíje çƳç pçJççyç `Jççj³ççn kçÀçuç içJç, kçÀuhç cJçkçÀeçÆuçLç

³çôçÆuç mççí©³ç kçôbÀn vçnJçevççJçvçe DççJç~ lççÆcç hçlçe Dççímçmçç@çÆjmçe³ç mçãçÆä cçb]pç hççívççÇ hççív³ç~ cçô $ççíJç hçvçeçÆvç jççÆvç$çákçÀ çÆoLç DçKç KçÓvçe kçÀlçje hçç@çÆvçmç cçb]pç~ DçLç yçv³ççíJçDçKç þÓuç~ DççÆcç cçb]pçe êçJç hççô©Mç, ³ççvçí mççí©³ç kçÀjvçJççíuç~ lçmç çÆvççÆMç êççƳç hçã¬çÀlç ³Jçmçe cçô yç´çôbn kçáÀvçlçKçuççÇkçÀçÇ Dçcçuç pçç@jçÇ LçJçvçe cçÓpçáyç yççjemçmç Dç@v³ç~DççÆcç hçlçe yçvçíçƳç Òç]pççhçlççÇ lçe yççkçÀe³ç çÆoJçlçç, lçe çƳçcçJçkç@À³ç& yççkçÀe³ç cçKçuçÓkçÀ lçe KçuçekçÀ~ DçJç³ç sá DççlcçenmçhçvçeçÆvçmç DçmçuççÇ nçuçelçmç cçb]pç cçÓuçe hJç©Mç çÆlç JçvçvçeçƳçJççvç~ DççÆcç DçççƳç ]pççôuç lçe Dç]pççôuç Dççuçcç lçKçuççÇkçÀkç@ÀçÆjLç içJç cçÓuçe hJç©Mçmç çÆkçÀyçej, lçe DçJçe çÆkçÀv³ç æ®ççôì cçôlçmç kçÀuçe~ cçiçj çƳç kç@ÀçÆjLç Hçw³çÓ©cç, DçJç³ç çÆscçMçácçMççvç lçe kçÀuçe KJçhçeçÆj KJçMç kçÀjçvç~ ³çLç Dççuçecçmçsô kçÀuçe KJçhççÆj neb]pç Mçkçwuç lçe çƳç sá c³çç@çÆvçmç DçLçmçcçb]pç~ DççÆcçkçw³ç ]pçe çÆnmçe çÆs DçDçkçÀçMç lçe yçálçjçLç~'

³çôçÆuç çÆMçJçvç çƳç Jççôvç, cçô içv³ççíJç ]p³çço³ç MççíkçÀ lçeyçe uççôiçámç kçÀvç oç@çÆjLç yççí]pçeçÆvç~ DççÆcç hçlçe Òçáæs hççJç&lççÇyçôçƳç lçmç `cçô Jçvçlçe hçáøhçoblç kçÀj ³ççÇ DççÆmç çÆvçMç Jççhçmç~çƳç yçÓçÆ]pçLç kçÀçôj cçnçÇéçjvç cçô kçáÀvç FMççje lçe Jççôvçávçmç `náçÆhçMççæ®ç ³çámç æ®çe Jçásçvç çÆsnvç, Dççímç ³ç#ç lçe kçáÀyçíje mçábomççÇJçkçÀ~ Dç@çÆcçmç Dçç@mç Dç@çÆkçÀmç jç#çmçmç mçól³ç oÓmlççdzçmç mlçÓuççÆMçjmç vççJç Dççímç~ ³çôçÆuç kçwJçyçíjvç çƳç 殳çÓvççÆ]pç Dç@çÆcçmç sô Kçjçyç mççônyçlç, lç@c³ç æsávç çƳç

Page 28: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 27March 2019 ~ cçç®ç& 2019

Praagaash27

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Somdev Pandit’s Katha Sarit Sagar - 2

çEJçÐççJçvçmç cçb]pç kç@ÀçÆ[Lç~ cçiçj Dç@c³çmçebÐç yçç@³ç ³çmçoçÇjIçepçbIç vççJç Dççímç, kçÀçô©mç ]pççje hççje lçe Òçáæsávçmç çÆ]pçMççHçÀ kçÀj cJçkçÀeu³çmç? kçwJçyçíjvç Jççôvçámç `³çôçÆuç ®ççívçyççí³ç hçáøhçoblçmç çÆvçMç yçãnlçkçÀLçç yççíçÆ]pç, ³çámç DççÆkçÀ MççhçeçÆkçÀv³ç ]pçvçecçmç Dççcçálç sá, lçe hçlçe ³çôçÆuç ®ççívç yççí³çcçç@u³çJççvçmç yççí]pçevçççÆJç ³çámç Mççhçe çÆkçÀv³ç cçvçáM³çyçv³ççícçálç sá, lçôçÆuç cJçkçÀeuçvç çƳçcç $çôvçeJç³ç~ æ®çô Dççmççdzçço çÆ]pç æ®çô çÆlç sçÇ cçç@u³çJççvçmç lçe hçáøhçoblçmç çƳçnçô³çMççHçÀ Ðçálçcçálç~' ³çôçÆuç cçô çÆMçJçe mçeb]pçe çƳçcçe kçÀLçe yççí]pçe, yçeDççmç ³ççíj lçe çƳç ]pçç@çÆvçLç sámç KJçMç çÆ]pç ]pççbn JçççÆlçhçáøhçoblç ³ççíj lçe cçô cJçkçÀçÆuç MççHçÀ~'

³çôçÆuç kçÀçvçeYçÓlççdzçvç hçvçev³ç o@uççÇuç Jç@v³ç, DçcççÇçÆJççÆ]pç h³çJç Jçjç©çÆ®ç³çmç hçvçávç mççí©³ç içáo³ççxcçálç ³çço,lçe ]pçvç lçe cççÆæ®ç vçôboçÆj cçb]pçe yçôoçj mçhççÆoLç Jççôvçávç `yçe sámçmçá³ç hçáøhçoblç~ æ®çe yççí]pç mJç o@uççÇuç cçô çÆvççÆMç~' çƳç Jç@çÆvçLçyççí]pçevççíJç lç@c³ç kçÀçvçeYçÓlççÇ mJç o@uççÇuç ³çLç mçLç uçbçÆpçDççmçe lçe ³Jçmçe mçlçvç uçsvç MççôuçÓkçÀvç h³çþ cçáMlççÆcçuçDçç@mç~ çƳç o@uççÇuç yçÓçÆ]pçLç Jççôvçámç kçÀçvçeYçÓlççdzçvç `mçç@cççÇ,æ®çe sáKç cçô çÆMçJçe mçábo DçJçlççj yççmççvç, vçlçe kçÀmç sô çƳço@uççÇuç cççíuçÓcç~ ®çççÆvç yçjkçÀlçe cJçkçÀeu³çJç cçô MççHçÀ, cçiçjJJçv³ç scç ®çç@v³ç ]pçç@lççÇ o@uççÇuç yççí]pçevçákçÀ MççíkçÀ~ Dçiçjæ®çe cçô DçLç kçÀç@çÆyçuç ]pççvççvç sáKç, lçôçÆuç Jçvçlçe cçô hçvçeçÆvç³çôçÆcç ]pçvcçe®ç o@uççÇuç, ³çáLç cçô hççhç Jççje cJçkçÀeuçvç~'kçÀçvçeYçÓlççÇ KJçMç kçÀjvçe Kçç@lçje, ³çámç lçmç KJçjvç LçHçÀkç@ÀçÆjLç Dççímç, kç@Àj Jçjç©®ççdzçvç hçvçeçÆvç ]p³çvçe h³çþe®ço@uççÇuç Mçáª~Jçjç©®ççÇ, iç᪠JçMç& lçe iJçjeyçç³çvç J³ççoçÇ lçe³çBêeolçev³ç oçmlççvç :

kçÀçímçcyççÇ Mçnjmç cçb]pç Dççímç DçKç yç´ïçvç jçí]pççvç ³çmçmççícç oÊç vççJç Dççímç~ Dç@çÆcçmç Dçç@m³ç DççqivççÆMç#çç çÆlçJçvççvç~ lç@c³çmçebçÆ]pç içj JççpççÆvç Dççímç JççmçÓoÊçç vççJç~mJç Dçç@mç æ®ççÆkçÀ Dç@çÆkçÀmç jôM³ç mçeb]pç DççMçôv³ç lçe DççÆkçÀMççhçe çÆkçÀv³ç Dçç@mç ³çLç oáçÆvç³ççnmç cçb]pç lçe ³çLç pçççƳç]pçvcçmç Dççcçeæ®ç~ yçe Dççmç çƳçcçvçe³ç Üvç yçç@æ®çvç nebçÆo cççÆj~JçáçÆvç Dççímçámç yçe Mçáje³ç çÆ]pç c³ççívç cççíuç içJç mJçiç&Jççmç~cçççÆpç jçôsámç yçe cçônvçlç cççô]pçÓ³ç& kç@ÀçÆjLç~ DççÆkçÀ Ün DçççƳç]pçe JçlçeiçLç yç´ïçvç lçe æ®çççƳç mççívç jçlçmç~ çÆlçcç Dçç@m³çLç@kçw³çcçel³ç~ kçÀcçe³ç kçÀç@u³ç iç@çƳç vçôyçe³ç& [çíuç Jç]pçvçe®çDççJçç]pç~ çƳç yçÓçÆ]pçLç h³çJç c³çççÆvç cçççÆpç c³ççívç cççíuç ³ççolçe lççÆcç Jççôvç cçô JJçMç $çç@çÆJçLç `iççôyçejç, çƳç sá YççJçvçbo,³çmç hçç@Lçej kçÀ©vç DçççÆmç~' cçô Jççôvçámç çÆ]pç yçe içæse lçe JçáçÆsçƳç hçç@Lçej~ lççíje çƳçLç yççí]pçevççJçLç yçe æ®çe çƳç hçç@Lçej hççvçejçÆæs jçÆæs mççí©³ç~ c³çç@v³ç çƳç kçÀLç yçÓçÆ]pçLç iç@çƳç yç´ïçvçnç@jçvç cçiçj c³çççÆvç cçççÆpç Jççôvç çÆlçcçvç `iççôyçejJç, çƳç sáhççô]pç Jçvççvç~ Dç@çÆcçmç MçáçÆjmç sá çÆlç uçHçÀe]pç uçHçÀe]pç ³ççojçí]pççvç çƳç kçWÀæsç çƳç DççÆkçÀ uççÆì yççíçÆ]pç~' cçô Fçqclçnçvç¿çvçe Kçç@lçje Jç@v³ç çÆlçcçJç ÒçççÆlçMçç#çç~ çƳç yçÓçÆ]pçLçyççí]pçevçç@Jç cçô çÆlçcçvç çƳç uçHçÀ]pçe uçHçÀ]pçe Jç@u³ç Jç@u³çJççhçmç~ hçlçe êçmç yçe çÆlçcçvç yç´ïçvçvç mçól³ç lçe iççímç hçç@LçejJçásçÆvç~ lççíje çƳçLç i³çábo cçô çƳç hçç@Lçej çÆlçLç³ç hçç@þdîç iççÆjcçççÆpç yç´çôbnkçÀçÆvç, çƳçLçe hçç@þd³ç cçô çƳç Jçáscçálç Dççímç~çÆlçcçJç yç´ïçvçJç cçb]pçe Dççímç Dç@çÆkçÀmç J³ççoçÇ vççJç lçe c³ççívç³ççoe Jççôlçáj JçáçÆsLç Jç@v³ç lç@c³ç c³çççÆvç cçççÆpç DçKço@uççÇuç~

cçç@pççÇ, Jçlçmç vçç@J³ç cçeukçÀmç cçb]pç Dçç@m³ç ]pçe yçç@³ç yççjev³ç]pçe yç´ïçvç yçç@³ç :

Page 29: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 28March 2019 ~ cçç®ç& 2019

Praagaash28

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Somdev Pandit’s Katha Sarit Sagar - 2

jçí]pççvç~ Dç@çÆkçÀmç Dççímç vççJç oíJçmJçççÆcçvç lçe yçôçƳçmçkçÀjcçeyçkçÀ~ çƳçcçvç Dççímç DçKç Dç@kçw³çmçábo mçKç uççíuç lçecçç³ç~ ³çámç cçô mçól³ç sá, Dç@çÆcçmç sá ³çBêolç vççJç lçe çƳç sáçÆlçcçJç cçb]pçe Dç@kçw³çmçábo vçô®çáJç~ cçô sá J³ççoçÇ vççJç~ cçô cçÓocççíuç~ yçç@³ç mçábo cç©vç vç ]pç@çÆjLç êçJç ³çBêeolçávç cççíuçiççÆj ncçíçÆMç Kçç@lçje~ DççÆcç ÜKçe iç@çƳç mçççÆvç cçççÆpç çÆlçcç@çÆjLç~ DççÆmç Dççímç %ççvç ÒççJçvçákçÀ MççíkçÀ lçe iççÆj vççÇçÆjLçuç@i³ç cçnçiçCççÇMçe mçeb]pç lçhçm³çç kçÀjçÆvç~ DççÆcç hçlçe DççJçDççÆmç cçnçiçCçhçLç mççôhçevçmç cçb]pç lçe Jççôvçávç `jç]pçe vçboev³çjç]pçeoç@v³ç sô hççìuççÇhçá$ç~ lççÆlç sá DçKç yç´ïçvç jçí]pççvç³çmç JçMç& vççJç sá~ lçmç çÆvççÆMç Òçç@çÆJçJç lççô¿ç mççí©³ç%ççvç~' Dç@m³ç iç@çƳç hççìuççÇhçá$ç lçe lççÆlç kçÀçôj cççíuçÓcçDç@çÆcçmç yç´ïçvçmç cçálççÆuçkçÀ~ uçákçÀJç Jççôvç çÆ]pç lççÆlç DççímçJçMç& vççJçákçÀ DçKç ®ççíj lçe çÆyç®ççíj yç´ïçvç~ Dç@m³ç iç@çƳçnç@jçvç~ DççÆmç Jçás JçMç& yç´ïçvçe mçábo cçkçÀçvçe, m³çþçnKçmlçe nçuç~ DççÆlç Dççmçe çÆmçHç&À içiçj JçççÆpç~ uçyçe DççmçeDççJçemçícçæ®çe~ kçáÀçÆvç Dçç@mç vçe Dççjç@çƳçMç lçe mçpççJçþ DçKçjæs çÆlç ~ yççmççvç Dççímç çÆ]pç çÆMçkçÀmç sá Dç@l³ç ]pççcçálç~JçjeMç Jçás DççÆmç Ðççvçmç cçb]pç lçe Dç@m³ç iç@çƳç lç@c³ç mçebçÆ]pçDççMçôçÆvç çÆvçMç~ lççÆcç kç@Àj pççvç hçç@þd³ç Dçç]pçjLçcçç]pçjLç~ lç@c³ç mçábo MçjçÇj Dççímç Dç@[îççÆpç Kçbiçáj lçekçÀcç]pççíj~ hçuçJç æsôv³çcçel³ç, lçe cçç@uçe~ yççmççvç Dççímç çÆ]pçmJç Dçç@mç hççvç³ç iç@jçÇyççÇ nábo DçJçlççj ³Jçmçe Dççcç hçç@þd³çyç´ïçvçvç yçççÆiç Dççmççvç sô~ Dç@m³ç hçôçƳç lçmç KJçjvç lçuçlçe Jç@çÆvçmç hçvçev³ç nçuççlç~ çƳç çÆlç Jççôvçámç çÆ]pç DççÆmç yçÓ]pçMçnjmç cçb]pç lç@c³çmçábo yçç@æ®ç sá mçKç cçá[e~ lççÆcç Jççôvç lççíjenvçç ]pççíj çÆoLç `iççôyçejJç, lJççÆn hççô]pç Jçvçevçmç cçboesvçe yçekçôbÀn~ yçÓçÆ]pçJç, yçe Jçvçe lJççÆn mçç@je³ç o@uççÇuç~

JçjeMç lçe GhççJçjeMç :Mçnjmç cçb]pç Dççímç DçKç ©lç yç´ïçvç jçí]pççvç, ³çmç MçbkçÀjmJçjcçvç vççJç Dççímç~ lçmç Dçç@m³ç ]pçe vçôçÆ®çJ³ç~ DçKçc³ççívç yçjLçç JçjeMç lçe y³ççKç GhççJçjeMç~ c³ççívç yçç@æ®ç DççímçyçíJçkçÓÀHçÀ lçe iç@jçÇyç~ lç@c³çmçábo yççí³ç Dççímç Dçç@kçÀeuç lçeDç@cççÇj~ GhççJçjeMçvç Lçç@Jç hçvçev³ç ]pçvççvçe çÆ]pççÆþmç yçç@³çmçábo içje mçbyççuçvçe Kçç@lçje~ kçôbÀn Ün iç@çÆæsLç Jçç@æ®çJç@njçLç~ DççÆcç JçKlçe çÆs içjmç cçb]pç ³çççÆpç yçvççJççvç lçeçƳçcçe kçÀçBçÆmç çÆlç ®çç@çÆjmç yç´ïçvçmç K³ççJççvç~ DççÆcç mçól³çsô vçe ]pçvççvçvç ³ç&lçekçÀç@çÆuçmç lçe Jçbomç LçkçÀçJçì yççmççvç~cçiçj yç´ïçvç çÆsvçe DçDçcç hçç@þd³ç çÆ³ç ³çççÆpç oçvç jìçvççÆlçkçw³çççÆ]pç DçLç cçb]pç sô yçí-³ç]pçlççÇ~ c³çççÆvç oejkçÀçkçÀçÆvççÆoæ®çe ³çççÆpç c³çç@çÆvçmç Kççvçeoçjmç o#çvçççƳç mççvç~ lç@c³çjçÆ®ç ³çççÆpç lçe Dçv³çvç içje~ cçô kç@Àjemç y³çJçç@jçÇ~ DççÆcç hçlçeuççôiç mçá hçvçeçÆvç yçíkçÀeuçç@]pççÇ nebçÆo Snmççmçe DçBoejçÇ içuçeçÆvç lçeiçJç cçnçiçCççÇMçmç ]pççje hççjmç~ mçá içJç Dç@çÆcçmç KJçMç lçeÐçálçávçmç %ççvç~ Jççôvçávçmç `Dçiçj æ®çô l³çáLç kçÀçbn yç´ïçvçmçcçKççÇ ³çmç DççÆkçÀ Jçvçvçe mççí©³ç ³çço DçççÆmç jçí]pççvç,lçôçÆuç nôçÆsvçç@J³ç]p³çvç mçá æ®çe~' c³ççívç yçjLçç Jççílç KJçMçKJçMç içje lçe cçô Jç@çÆvçvç mçç@je³ç o@uççÇuç~ lçvçe sá mçá çÆmçHç&ÀÐççvç lçe ]pçHçÀ kçÀjçvç~ Dçiçj lJççÆn l³çáLç kçÀçbn vçHçÀjmçcççÆKç, ³çmç DçkçÀçÇ Jçvçvçe ³çço DçççÆmç jçí]pççvç, mçáDç@v³çÓvç lççô¿ç ³çÓ³ç&~ Dç@çÆcçmç mçól³ç cçíçÆuç lJççÆn çÆlç lççÇ çƳçlççô¿ç kçÀçbsçvç çÆsJçe~

JçjeMç yç´ïçvçe mçebçÆ]pç DçDçMççÆvç çÆvçMç çƳç o@uççÇuçyçÓçÆ]pçLç çÆoæ®ç DççÆmç lçmç nLç mJçvçe cççônje ³çáLç lçmç iç@jçÇyççÇæ®ççÆuç, lçe êç³ç lççÆcç Mçnje cçb]pçe~ Dç@m³ç HçÀçdzç& mçç@çÆjmçe³ç mçávçHçÀj æsçb[eçÆvç ³çmç DçkçÀçÇ Jçvçvçe ³çço jçí]pççvç DçççÆmç~

‏‏

Page 30: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 29March 2019 ~ cçç®ç& 2019

Praagaash29

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Somdev Pandit’s Katha Sarit Sagar - 2

Dçç@Kçejmç Jçç@l³ç vççkçÀçcç mçhççÆoLç ³çLç içjmç cçb]pç~ ³çôçÆlçJçás ®ççívç uç@[kçÀe ³çmç DççÆkçÀ çÆHçÀçÆj yçÓçÆ]pçLç mççí©³ç ³ççojçí]pççvç sá~ cçç@pççÇ, Dç@m³ç sçÇ æ®çô içá]pçç@çÆjMç kçÀjçvç çƳçuç@[kçÀe DççÆmç mçól³ç mççí]pçvçe Kçç@lçje, ³çáLç DççÆmç mçççÆjvçe³ç%ççvç cçíçÆuç~

J³ççoçÇ yç´ïçvçe mçeb]pç çƳç o@uççÇuç yçÓçÆ]pçLç Jççôvç c³çççÆvç cçççÆpç`çƳç mççí©³ç sá juççvç~ cçô sô lçáneb]pçvç kçÀLçvç h³çþ hçæs,çÆlçkçw³çççÆ]pç c³çç@çÆvçmç vçôçÆ®çJ³ç mçebçÆo Lçvçe h³çvçe çÆJççÆ]pç iç@çƳçDççkçÀçMç Jçç@vççÇ `æ®çô ]pçôJççÇ mçá yç®çe ³çmç DçkçÀçÇ çÆJççÆ]pç yçÓçÆ]pçLçmççí©³ç ³çço jçí]pççvç DçççÆmç~ Dç@çÆcçmç mçhççÆo JçjeMçyç´ïçvçmç çÆvççÆMç %ççvç nç@çÆmçuç lçe çƳç yçvçççÆJç ûçÌcçj DçKçyççô[ yççje Dç@çÆuçcç lçe Dç@çÆcçmç jçíçÆ]pç Jçjç©®ççÇ vççJççÆlçkçw³çççÆ]pç çƳç pççvç DçççÆmç lçe ³çLç cçb]pç Fvçmççvçe mçeb]pççÆouç®çmhççÇ Dçç@çÆmçLç nôçÆkçÀ, DçççÆmç Dç@çÆcçmç KJçMçkçÀjçvç~' lçvçe içJç çƳç yç®çe yç[çvç lçe yçe ª]pçemç mççW®ççvççÆ]pç Dç@c³çmçábo iç᪠JçjeMç kçÀçÆlç DçççÆmç~ Dç]pç iç@³çmç çƳçyçÓçÆ]pçLç m³çþçn KJçMç~ çƳç vççÇJçávç hççvçmç mçól³ç~ çƳç çÆlçsá lJççÆn yççí³ç~' ³çôçÆuç çÆlçcçJç c³çççÆvç cçççÆpç neb]pçe çƳçcçe kçÀLçeyççí]pçe, çÆlçcç ÜMçeJç³ç ³ççvçí J³ççoçÇ lçe ³çBêeoÊç iç@çƳç KJçMç~J³ççoçÇ yç´ïçvçvç çÆoæ®ç hçvçev³ç mçç@je³ç oçÌuçLç c³çççÆvç cçççÆpç,³çáLç mJç cçô cçíKçuç çÆoLç nôçÆkçÀ lçe ³çáLç cçô Jçío hçjvçákçÀ nkçÀcçíçÆuç~ DççÆcç hçlçe êçmç yçe çÆlçcçvç mçól³ç~ cçççÆpç nábo DççímçácçHçíÀjçvç cçiçj lççíçÆlç kçÀçô©cç mçyçej~ JJçb içJç c³çççÆvç cçççÆpçiçJç DççôMç ©kçÀçJçávç cçáçqMkçÀuç~ yç´ïçvç ]pççovç Dççímçyççmççvç çÆ]pç kçÀççÆlç&çÆkçÀ³çç mçebçÆo JçjoçvçákçÀ HçÀuç DççímççÆlçcçvç pçuo cçíuçvç Jççíuç lçe çÆlçcç êççƳç DççÆcç Mçnje cçb]pçelççÇ]pççÇ mççvç~ kçôbÀn kçÀçuçe hçlçe Jçç@l³ç Dç@m³ç JçjeMç yç´ïçvçmç

Jçjç©®ççÇ mçeb]pç o@uççÇuç :

çÆvçMç~ oçôçƳççÆcç Ün j@ìîç lç@c³ç Dç@m³ç hççvçmç yç´çbôn kçÀçÆvçæ®ççìe kçÀçôì kç@ÀçÆjLç, lçe mçá uççôiç Funç@cççÇ DççJçççÆ]pç cçb]pçuçHçÀe]pç ß hçjçÆvç~ ³çkçÀocç iç@çƳç Jçío lçe Mçô Mççðç lç@c³çmçebçÆ]pç ]pçôçÆJç h³çþ pçç@jçÇ~ çƳç kçWÀæsç lç@c³ç Jççôvç, cçô LççôJç çÆlçmççí©³ç ³çço çÆmçHç&À DçkçÀçÇ çÆHçÀçÆj yççí]pçvçe mçól³ç~ J³ççoçdzçmçªo ÜçƳç lçe ³çBêoÊçmç $çôçƳç lçç@uççÇçÆcç ³çço~ ³çôçÆuçMçnjekçw³çJç yç´ïçevçJç çƳç Funç@cççÇ DççJçç]pç yçÓ]pç, çÆlçcçDçççƳç nç@jçvç mçhççÆoLç ÒçLç lçjHçÀe uççjçvç, lçe kçÀçbn kçÀLçkçÀjvçe Jçjç@³ççÇ hçôçƳç JçjeMçmç KJçjvç lçuç~ çƳç kçÀjçcççlçJçáçÆsLç uç@i³ç vç çÆmçHç&À GhççJçjeMç yç@u³ççÆkçÀ hççìuççÇhçá$çekçw³çmçç@jçÇ uçáKç vçæ®çeçÆvç~ jç]pçe vçbovç ³çôçÆuç cçnçiçCççÇMçe mçeb]pçMççqkçwlç Jçás, mçá içJç KJçMç lçe JçjeMç yç´ïçvçe mçábo içje yççô©vçovçe ÐççjJç mçól³ç~

Jçíovç neb]pç o@uççÇuç nçÆvç nçÆvç Dçbo Jççlçevçç@çÆJçLç ³çôçÆuçDççÆkçÀ Ün iç᪠JçjeMçvç hçvçávç ÜneçÆoMçákçÀ hççþ cJçkçÀeuççíJç,DççÆmç Òçáæs lçmç `lJççÆn sç cççíuçÓcç çÆ]pç çƳç MçnjhççìuççÇhçá$ç çÆkçÀLçe hçç@þd³ç sá uç#çcççÇ lçe mçjmJçlççÇ náboiçje? nçÇ içáªoíJç, DççÆmç Jç@v³çlçJç çƳç o@uççÇuç~' çƳçyçÓçÆ]pçLç Jççôvç lç@c³ç DççÆmç kçÀvç oç@çÆjLç DççÆcç Mçnje®çlçç@jçÇKç yççí]pçvçe Kçç@lçje~

Jçjç©®ççÇ mçeb]pç o@uççÇuç :

(¬çÀcçMç:)

Contact author at :[email protected]

��

��

Page 31: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç

Praagaash30

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

ÒççiççMç 30March 2019 ~ cçç®ç& 2019

E

��

ach of us at some pointof time has heard the fatallove story of the flame &the moth and how the mothgives up his life in thepursuit of his lady love - theflame. What are thechances that we haveromanticized a situation that was by itself - devoid oflove? What if we have been looking at the wrongpicture all along?

Maybe it was a clash between the flame andthe moth, with each trying to outsmart the other in abattle of wits? Maybe they met as two equalsengaged in a dance duel where each tries toaccompany the other until the end, as a sign ofmutual respect for each other's talent? Or it could beall be an illusion where the flame and the moth weremere puppets in the hands of the master - theinsecure wind? Or they could be simply basking inthe glory of being eternalized in the pages of love?

Their story could be any of the above orsomething beyond our realm of imagination. Unlessthe flame and the moth talk, we will never know thetruth. If something as minuscule as a moth and aflame, have managed to spin an air of intriguearound their lives, imagine human as a species!

At the heart of it all, lies a simple fact - we ashumans can weave stories about people withoutknowing an iota about them. From conceivedstories, parallels will be drawn and judgements willbe passed. And before we know, like the flame andthe moth story, these stories will be eternalized,despite not having a single ounce of truth.

Don't think it's too much to ask from thesociety as civilized as humans to mind our ownbusiness - if we cannot do good unto others, let's atleast stay away from doing harm and spreadingstories which could cast aspersions on someone'slife!

Reflections - Pooja Bhat

Perceived Illusions

çÆvçkçÀe êçJç yçç]pçjcçô Jççôvçámç kçÀçôlç?oçôhçávçcç vçÓvçmçlççÇuçmç, Dçç@çÆìmçyçôçƳç Jçáse DççíuçJçiçb[e, nçKç mJçæ®çuç~j@çÆncçvç oôçÆo nebÐçJçáv³ç Jçáv³ç yçÓ]pçácçkçÀìe yçje cççí©vç~jçMçvç iççþmç yçôçƳç çÆocçe vç]pçejçnkçÀ@jHçw³çÓ kçÀj iççÆæsDççÆmç kçÀçÆlç hç³ç?nlçe yçç yçÓçÆ]pçJçDç@çÆlçLçe³ç ªçÆ]pçJçJçáv³ç Jçáv³ç Jççôvçávçcçj@nçÇcç pçÓ ¬çÀçuçvçkçáÀmlççcç cççí©Kç yççoçcç Jççjí~uçÓkçÀJç pççôþ kçÀçôj mçáuçe içuçeoçjmçiçuçlççvç ¿çLç æ®ç@u³ç cçç@mçÓcç [çjmç~Dç@L³ç cçb]pç ¬çÀKç iç@çƳç `nç mçáuçlççvççí'`çƳç çÆkçÀnçí mççô©Lçcçnjlççuç kçÀçô©Lçcçiçæse kçw³çç yçç]pçjnç yçyçe c³ççv³ççí!kçÀçuçmç Dç]pç hçôçƳç HçÀçkçÀ³ç jçí]pçávçvçlçe içJç yçç@³ç uççuç ûçìeyçuç mççí]pçávç~

'~

nç@çÆjmççLç, yçôçƳç kçw³ççn?

cç.kçÀ.jÌvçç

Page 32: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç

Praagaash31

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

ÒççiççMç 31March 2019 ~ cçç®ç& 2019

yç®®çí Dççpç mçcç³ç hçj DççiçS~ oçoçÇ cççB YççÇ lç̳ççjLççÇ~ kçÀuç GvnçWvçí `mç®®ççoçímlç' kçÀçÇ kçÀnçvççÇ çEnoçÇÇcçW mçávççF& LççÇ~ DççpçkçÀMcççÇjçÇ cçW kçÀnçvççÇ kçÀçÇyççjçÇ LççÇ~ yç®®çí Dççcçvçímççcçvçí yçÌþ iç³çí DççÌj oçoçÇcççB Mç᪠nçí içF&~ `mçávççíyç®®ççí, Dççpç pççí kçÀnçvççÇcçQ Dççhç kçÀçí mçávççvçí pççjnçÇ nÓB Gmç kçÀç vççcç nÌ` '~ O³ççvç mçí mçávççí~'hçæs

Content Source: Kashir Talmih & Kashir Luka Katha ~ Publications of J&K Academy of Art,Culture & Languages. Transliteration & Re-written for Children by M.K.Raina

hçæsoHççvç çÆs HçLç kçÀççÆuç Dççímç yç´ïçvçç DçKç m³çþene³çFyççoLç içá]pççj~ Dç³ççuç yçç@jçÇ mçyçyçe Dççímç mçá vç jçomçJççlççvç lçe vç nçW]pçmç~ jçlçmç Dççímç oçƳç mçeb]pç FyççoLçkçÀjçvç lçe Ünmç cççô]pçÓ³ç& cçMçkçÀLç~ ³çÓlççn Hççvçe vçíkçÀ lçevçcç& çÆcç]pçç]pçe Dççímç, lççÇ]®ççn Dçç@mçemç ]pçvççvçe lçí]pç lçel³çuçbiç, ³çôçÆcç çÆkçÀv³çd mJç lçmç mçKç lçbiç Dçç@mç kçÀjçvç~DçKç Ünç yçv³ççíJç mçá içJç kçÀççÆcç, Dçcçç kçáÀçÆvç yçvçí³çmç vçekçÀç@cç~ Mççcçvç Jççílç KçÓ]®³ç KçÓ]®³ç içje JççHçmç~ ³çôçÆuç]pçvçççÆvç sôv³çJç DçLçJç mçá Jçás, mJç êç³çmç uçÓj ¿çLç lçe

Image: 1mobile.comImage : 1mobile.com

uç@çÆpçmç cççj çÆoçÆvç~`Dç@çÆcçmç DçççƳç vçç Mçcç& kçôbÀn lççmç cççj

çÆovçmç~' Òçáæsávçmç çÆhçbkçÀçÇ~`cçô Jççôvç vçç mJç Dçç@mç lçí]pç pçvççvçe~ lçmç Dçç@mç

vçe Mçcçç&n Jçcçç&n kçôbÀn~' Jççôvçámç kçÀçkçÀv³ç çÆpçiççÆj~`yçÓçÆ]pçJç hçlçe kçw³çç içJç~'

oçôçƳççÆcç Üne êçJç mçá yç´ïçvç yçôçƳç cççô]pçÓ³ç&æsçb[çÆvç, Dçcçç DççÆcç Ün çÆlç HçÓ³ççxmç vçe [îçkçÀmç~ içje³çôçÆuç Jççílç, DççÆlç JçáçÆsvç Mçá³ç& yJççÆs mçól³ç sdJçje sdJçjekçÀjçvç~ çÆpçiçejmç içç@mç çƳç JçáçÆsLç kçÀyççyçe~ kçÀçÆjní çÆlçkçw³ççn? uçônç]pçç mçç@çÆJçvç Mçá³ç& HçÀçkçÀ³ç HçáÀkçÀej³ç~ Hççvçmç

Grandma’s Stories

Page 33: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç

Praagaash32

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

ÒççiççMç 32March 2019 ~ cçç®ç& 2019

kçw³ççn HçôçƳçnômç vçôboej? mççW®ççvç Dççímç yçiçJççvçvç sáJççôvçcçálç çÆ]pç yçe sámç Mççcç mçHçoevçe yç´çWn kçÀçÆvç lçuçe çÆkçÀmçkçÀôçÆcçmç lççcç ª]pççÇ mççí]pççvç~ Dçiçj çƳç çÆkçÀlçççÆyç cçb]pçuççÇçÆKçLç sá lçe DçLç cçb]pç kçôbÀn Hç]pçj sá, lçôçÆuç kçw³çççÆ]pçuççôiç Dç]pç c³ççv³çvç Mçá³ç&vç HçÀçkçÀe? çƳç mççW®çvçe Hçlçe JççôLçmçá Lççôo lçe cçe]®çjevç çÆkçÀlççyç~ DççÆlç Jçásávç çÆyçuçkçáÀuç lççÇuççÇçÆKçLç~ oçôHçávç çƳç sá mçjçmçj içuçLç~ çƳç kçÀLç iç@çƳççÆkçÀlçççÆyç cçb]pçe ]®çìev³ç pççvç~ çƳç Jç@çÆvçLç lçáuçávç kçÀuçcç lçe$ççíJçávç DçLç Kçlç~ DççÆcç Hçlçe JççôLç lçe Ðçálçávç ojç]pç~

`ojç]pç Ðçávç kçw³çç içJç?' kçÀunvçvç ÒçáæskçÀçkçÀv³ç çÆpçiççÆj~

`çÆlç içJç pçbiçe Jç@nçÆjLç vçôboej $ççJçev³ç~'oçôçƳççÆcç Ün mçáyçnvç JççôLç yçôçƳç lçe êçJç kçÀç@cç

æsçb[çÆvç~ Ünmç ]pçáJç ]®ç@çÆìLç ]pççÇçÆvçvç kç@À]®ç lççcç HççWmçe~çÆlçcçvç ¿ççôlçávç Dçç@ìîç mçíjçn DçKç lçe Jççílç içje~ Dçcçç³çáLçá³ç Dççbiçevçmç Dçboj ]®ççJç, DççÆlç Jçásávç yçouç³çDççuçcççn~ ÒçLç lçjHçÀe MçÓçÆyçoçj mçpççJçþ kç@ÀçÆjLç~ MçKçiççímç çÆ]pç yçe cçç ]®ççmç kçáÀçÆvç JJçHçj içjmç cçb]pç~ cçiçjojJçç]pçmç H³çþ JçáçÆsvç Hçvçev³ç DççMçôv³ç DçmçeJçeçÆvç yçáçÆLç lçe[îçkçÀe cçe]®ççÆjLç lç@m³ç Òççjçvç~ ³çôçÆuç yç´çbomç H³çþ Kççôlç,DççMççÆvç DççHçájvçmç vççyço HçÀçôuççn lçe Dçmççvç DçmççvçJççôvçávçmç Dç]pç ]®ç@pç DççÆmç JçácççÆj neb]pç içìe lçe J³çæs³ç~®çç@v³ç Dç@kçw³ç ³ççjvç Lçç@J³ç Dç@m³ç Dççyçço kç@ÀçÆjLç~ o³çkç@ÀçÆjvçmç JçácççÆj yçjkçÀLç lçe yçôçƳç Dçç@çÆmçvçmç ©cçe jôM³çávçDçç³ç~

`©cçe jôM³çávç Dçç³ç kçw³ççn içJç?' ÒçáæsámçjçpçÓnvç~

`çƳç ÒçÓæsáLç æ®çô pççvç mçJççuç~ ©cçe jd³ççôMç DççímçDçKç yççô[ yççje jd³ççôMç ³çmç m³çþçn ]pççÇþ Jçácçej Dçç@mç~Jççôvçávçmç kçÀçkçÀv³ç çÆpçiççÆj~

çƳç yçÓçÆ]pçLç H³çJç yç´ïçvç mççW®çmç çÆ]pç Dçcçç c³ççívçkçáÀmç ³ççj sá ³çÓlççn Dççmçvç Jççíuç~ Kçyçj kçÀmç lççcç sáyç´cç iççícçálç~ vçlçe cçç sá c³çççÆvç içj JççpççÆvç kçÀçbn m³çoençôuç vçççÆJç Jççíuçcçálç~ yç´ïçvç uççôiç DççMççÆvç Hç=æsçÆvç çÆ]pçDççímç kçáÀmç mçá MçKmç? çƳç yçÓçÆ]pçLç Jç@æs ]pçvççvçe lçmçkçáÀvç, `]]pçvç vçe çÆkçÀçÆnv³ç ]pççvçKç~ uççiç kç@ÀçÆuçMç [çôuç~çƳç Dççímç mçá³ç ³çmç ]®çô jçLç kçÀçÆlç lççcç ]p³çJç s³ç]®ç@ìcçe]®ç~ çÆyç®ççjmç Dççímçámç jLç Jçmççvç~ DçKçlçá³çJççôvçávçcç çÆ]pç Kççvçeoçjmç Jç@çÆvççÆ]pç cçô çÆoçÆ³ç ³çLç ]pçôçÆJç ìíyç,³çáLç çƳç jLç nç©vç yçbo içæsd³çcç~' mçá JççôLçámç lççíje, `JçvçyçkçÀJççmç~ cçô kçÀmç sô ]p³çJç ]®ç@ìcçe]®ç~ cçô Jçvç mççí©³ç kçÀemçeçÆ]pç Dççímç kçáÀmç lçe vççJç kçw³ççn Dççímçámç?

Mçá³ç&Jç Lç@Jç DçKç Dç@çÆkçÀmç LçHçÀ kç@ÀçÆjLç~ ]p³çJçæ®çìvçe®ç kçÀLç yçÓçÆ]pçLç KçÓ殳ç çÆlçcç~ kçÀçkçÀv³ç çÆpçiççÆjJççôvçávçKç, `lç@c³ç Dçç@mç vçe kçÀçBçÆmç ]p³çJç æ®ç@ìcçeæ®ç~ yç´çWþkçáÀvç yçÓçÆ]pçJç~

DççMçôv³ç Jç@æsemç çÆ]pç ³çôçÆuç ]®çe mçáyçnvç Mçnj kçáÀvçêçKç, ]®çô Hçlç³ç DççJç içá³ç& Jççíuççn DçKç~ içáçÆjmç H³çþDçç@mçemç þíuçe n@vçç~ oçôHçávç Kççvçeoçj kçÀçÆlç sá³ç~ yçeJç@æsemçmç çÆ]pç mçá sá kçÀççÆcç iççícçálç~ lççíje oçôHçávç lçôçÆuçj@ìîçlçJç çƳç þíuçe~ yçe vçíje JççHçmç~ DççÆmç Kççíj þíuçe ¿ççôjlçe Hçw³çáj~ lçLç Dçboj Dçç@m³ç uççuç, pçJçç@çÆnj, cJçKlçe lçeDçMçjçÆHçÀ³çe~ þíuçe JççHçmç çÆoLç uç@çÆiçmç Dç@m³ç Hç=æsçÆvç, `]®çekçáÀmç yçç sáKç lçe çƳçcç uççuç pçJçç@çÆnj kçÀçÆlç Dç@çÆvçLç?' mçáJççôLç lççíje oj pçJççyç, `®çç@çÆvçmç Kççvçeoçjmç lçe cçô Dçç@mçHççvçeJç@v³ç oçjençíj~ jçLç Mççcçvç DçççÆmçní vçe lJççÆn kçWÀn çÆlçK³çvçe yççHçLç~ lç@c³ç kç@Àjevçcç KçMcçe mççvç Jçeiçjç@³ç~ cçô³çôçÆuç vçe çÆkçÀçÆnv³ç Jççôvçámç, mçá JççôLç lçe ]®ç@ìvçcç ]p³çJç~' ³ççÇJçvççvç Jçvççvç nç@Jçevç ]p³çJç~ lçLç Dçç@çÆmçmç ]pçe Dç[içç@cçel³ç lçe jLç Dççímçámç çÆoiççÆvç Jçmççvç~

Page 34: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç

Praagaash33

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

ÒççiççMç 33March 2019 ~ cçç®ç& 2019

`hçlçe kçw³ççn içJç?' Mçá³ç&Jç Òçáæsámç KçÓ殳ç KçÓ殳ç~`lççÇ JçvççíJçe~' kçÀçkçÀv³ç çÆpçiççÆj JççôvçávçKç~ohççvç ]pççvçvç Jçç@çÆuçmç yç´ïçvçmç lççôj çƳç yçÓçÆ]pçLç

mççí©³ç çÆHçÀkçÀjçÇ lçe Hççôlç KççíjçÇ êçJç JççHçmç~ ]pçvçççÆvçoçôHçávçmç ]®çe kçÀçôlç êçKç? oçôHçávçmç lçmç çÆyç®ççjmç çÆocçe]pçôçÆJç ìíyç~ ³ççÇ Jçvççvç Jçvççvç Jççílç Dç@çÆkçÀmç lçHçe Jçvçmç cçb]pçlçe Hçlçe DççJç vçe ]pççbn çÆlç içje~

lçhçe Jçvçmç cçb]pç kçw³çç kçÀçôj lç@c³ç?' çEhçkçÀçÇÒçáæsávçmç~

lçhçe Jçvçmç cçb]pç uççôiç mçá yçiçJççvçe mçábo ÐççvçkçÀjeçÆvç lçe lç@L³ç cçb]pç içJç uççÇvç~

DççÆcç hçlçe Jç@L³ç Mçá³ç& lçe iç@çƳç éçbiçeçÆvç yççhçLçhçvçeçÆvçmç hçvçeçÆvçmç kçÀcçejmç cçb]pç~

��

Contact author at:[email protected]

��

nBmçvçç cçvçç nÌiç[yç[

içHHç

Iç[çÇ

SkçÀ yçQkçÀ cçW ®ççíjçÇ náF&~ pçyç ®ççíj HçÌmçí yçìçíj kçÀj®çuçvçí uçiçí lççí cçÌvçípçj çÆiç[çÆiç[ç³çç, `yçQkçÀ kçíÀçÆnmççyç cçW mççþ n]pççj kçÀçÇ iç[yç[çÇ nÌ~ kç=ÀHç³ççGOçj Jççuçí ®ççj jçÆpçmìj YççÇ uçílçí pççF³çí~

oçí oçíímlç yçÌþí içHHç uçiçç jní Lçí~ SkçÀ vçí kçÀnç, 'cçQ vçíHçnç[ Hçj FlçvççÇ mçoça oíKççÇ nÌ çÆkçÀ Mçyo cçábn mçíçÆvçkçÀuçlçí nçÇ pçcç pççlçí DççÌj ]pçcççÇvç Hçj çÆiçj pççlçínQ~ uççíiç Gvç kçÀçí Gþç kçÀj Içj uçí pççlçí nQ~ Dççiçpçuçç kçÀj GvnW kçÀ{çF& cçW [çuç oílçí nQ~ pçyç yçHç&ÀçÆHçIçuçlççÇ nÌ lççí DççJçç]pç DççlççÇ nÌ~ lçyç Hçlçç ®çuçlççnÌ çÆkçÀ çÆkçÀmçvçí kçw³çç kçÀnç Lçç?oÓmçjç yççíuçç, '³çn lççí kçáÀs vçnçR~ cçQ SkçÀ Símçí MçnjcçW iç³çç Lçç pçnçb yçnálç içcçça Hç[lççÇ nÌ~ Jçnçb cçáçÆiç&³ççWkçÀçí yçHç&À çÆKçuççF& pççlççÇ nÌ lçççÆkçÀ Dçb[ç GvçkçíÀ nçÇHçíì cçW vç Gyçuç pçç³çí~

Hççb®ç Jç<çça³ç yç®®çí kçÀçÇ kçÀuççF& Hçj DçmçuççÇ Iç[çÇ yçbOççÇoíKç kçÀj SkçÀ J³ççÆkçwlç vçí HçÓsç, 'kçw³ççW yçíìç, ³çnmçcç³ç yçlççlççÇ nÌ kçw³çç?`vçnçR ÞççÇcççvç pççÇ , yç®®çí vçí pçJççyç çÆo³çç, `³çnKçáo vçnçR yçlççlççÇ~ cçáPçí nçÇ oíKç kçÀj yçlççvçç Hç[lççnÌ~

'

'

'

''

'��

Page 35: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 34March 2019 ~ cçç®ç& 2019

Praagaash34

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Your Own Page - From Kapil Kaul

Above: Srinagar City RiverHand-made Print in Lino technique

Right: yçáçÆLçmç lççÇ]pçIn Kashmiri the expression 'Buthis Teez' was anexpression equal to like giving a prize ofexcellence to a person. Particularly our womenfolk, say 'Matajis' were no less talented inappearance to bring that 'Teez' or ('Tej' - originalfrom Sanskrit meaning the shining of the Sun) tovalidity. That was the thought behind this waterbased (Gouache) painting on paper.

[Kapil Kaul lives in Austria (Europe)and teaches art at a renownedCollege of Design in Linz.]

Page 36: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 35March 2019 ~ cçç®ç& 2019

Praagaash35

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Photo Feature - Winter in Kashmir

Circuit House, ShopianPhoto : DIPR J&K

Srinagar Railway StationPhoto : Aabid Ali Bhat

Batagund, TralPhoto : Aaqib Dar

MesmerisingPhoto : Unknown

Page 37: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 36March 2019 ~ cçç®ç& 2019

Praagaash36

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Photo Feature - Winter in Kashmir

Orchard Retreat, ZakuraPhoto : Mufti Islah

Dargah ShareefPhoto : Peer Asif Manzoor

Page 38: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 37March 2019 ~ cçç®ç& 2019

Praagaash37

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Photo Feature - Winter in Kashmir

Lal Chowk and Dal Lake ~ Photos : Mohd. Iqbal

Page 39: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 38March 2019 ~ cçç®ç& 2019

Praagaash38

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Photo Feature - Winter in Kashmir

Mirror ImagePhoto : Tauseef Mustafa

City of SrinagarPhoto : Mahmood Ah Shah

Somewhere in GurezPhoto : Makemeknow

Page 40: For Private Circulation Only · Katha Sarit Sagar, Part 2 in included in this issue. Its audio is also being released along with the issue.Hopeyoulikeit. Project Zaan is the Literary

ÒççiççMç 39March 2019 ~ cçç®ç& 2019

Praagaash39

`]pççvç' kçÀçÇ vçíì-HççÆ$çkçÀçÒççiççMç Jç<ç& 4 : DçbkçÀ 3 cçç®ç& 2019~

Letters to Editor

Dear Raina Sahib,

Praagaash

Santacruz, Mumbai

Onaiza Drabu

I have been through theFebruary issue and amamazed at the giant strides youh a v e t a k e n i n m a k i n g

a great read. I onlyhave one observation andperhaps it may be of noconsequence. I find that all the serious andheavy reading matter is in the beginning andends with light reading like the jokes,grandmother stories, cartoons etc. etc.

The reproduction is amazing and Iloved the picture of my favorite Aru Valley atthe end like dessert after a feast !!!

Praagaash is actually veryinteresting! I would love to readold issues as well. I will findthem online, hopefully. Thankyou so much for sharing.Meanwhile, I had written apiece on Kashmiri proverbs a while ago andwould like you to carry it in Praagaash. Wouldthat be suitable? I can accompany it with theillustrations. Please do let me know.Warm regards,

Mahara Namaskar,Your promptness in bringingout Praagaash on the last dayof a month is praise-worthy. It isquite persuasive too. Personslike me feel obliged to send infresh entries regularly. I amattaching a fresh file for your

Urmila Zutshi

���

���

Dear Raina Sahib,

Srinagar

consideration. Kindly include it if you find ituseful.With regardsRajnath BhatBHU Varanasi

���

Dear Raina Sa'ab,

Anjana PuriNew Delhi

I read through the Grandma’sstory and found it extremelyinteresting. It has great amount ofpossibility for developing in thechild a wonderful sense forimagination. It is heartening to seethat space in Praagaash has been provided forthe child, encouraging it to read and at the sametime giving the elders of the family opportunityand reason to read these stories to the children.This interaction should actually be a 'must' in allfamilies and especially in the times we are atpresent living in. This is actually a kind ofeducation that has developed across centuriesand borders since time immemorial.Unfortunately, this does not happen oftenenough. We are casting away togetherness forindividual time and space. Your efforts in thisdirection are praiseworthy. However, I have avery humble suggestion to make. Would it bepossible to select wisdom tales and folk talesfrom across the country to add to these series?Grandma, I'm sure would love to narrate thesetales and make mention of where the talecomes from? The format the story develops in,is very meaningful.

These are very humble suggestions andstraight from the heart. I emphasise on wisdomtales because they really are lessons about lifethat will always remain close to a child's innerbeing.With warm regards

���