The story of King Vikramaditya and Raja Bhoj

 

The Shepherd's Wisdom and the Golden Throne

In a distant village, a shepherd lad was known for his extraordinary sense of justice, which he developed while playfully ruling over his friends. His reputation grew so much that even the villagers sought his counsel in disputes. Word of his wisdom reached King Raja Bhoj Dev, who decided to test the boy. Upon visiting the lad’s favourite mound, the king was amazed when the boy, sitting atop it, effortlessly solved a complicated case that had baffled Raja Bhoj himself.

Curious about the mound's significance, Raja Bhoj ordered it excavated. To everyone's astonishment, they uncovered a magnificent golden throne, believed to belong to the legendary King Vikramaditya. Eager to claim it, Raja Bhoj prepared for a grand ascension. However, as he approached the throne, he heard laughter and discovered puppets on its arms. They introduced themselves and revealed their purpose: to tell the stories of King Vikramaditya, a ruler of unparalleled greatness.

Over the next thirty-two days, the puppets recounted tales that showcased Vikramaditya’s wisdom, justice, and virtue. Each story prompted Raja Bhoj to reflect on his character, leading him to realize he could never measure up to the legendary king. Ultimately, on the thirty-third day, he decided to have the throne reburied, recognizing that true kingship is marked not by power, but by integrity and justice.

Through this tale, the author highlights the importance of wise and just leadership, reminding rulers of their responsibility to serve their people with virtue, much like King Vikramaditya did.

The full story is as follows:

The story of King Vikramaditya and Raja Bhoj

Long ago, there was a shepherd lad in a village. He used to take his sheep for grazing, and some other village boys also used to accompany him. After having shepherded his sheep towards a pasture, he used to start playing with his friends. And every day while playing he would go and sit on a mound of earth and call himself a king. His friends too enjoyed this game and posing themselves to be his subjects, they would come with their grievances, which were, of course, not real, and the shepherd lad would pronounce his judgement like a just king. Gradually, the villagers too came to know about his great sense of justice. Whenever there was a problem among them and they could not solve and settle the matter, they would come to the shepherd lad and this boy would go and sit on that mound of earth, listen to both the parties patiently and pronounce his judgement; and both the parties would go back satisfied.

It took no time for the story to spread like wildfire and the then-ruling king Raja Bhoj Dev also came to know about it. He called the boy to his court and tried to test his sense of justice, but to his astonishment he found him to be the most ordinary boy.

"I have heard a lot about your sense of justice, but now I find you are an ordinary boy," said Raja Bhoj Dev.

To this, the shepherd lad said, "Sir, I have never had an education and am indeed a very ordinary boy. But sir, there is a mound of earth in the hilly region in the north-west province of your kingdom. When I sit on that mound, a sense of justice starts flowing automatically from above: I begin to feel that I am a great king."

Raja Bhoj Dev sensed some meaning in what the shepherd lad said. He asked him to lead him to the mound of earth. After reaching there Raja Bhoj Dev made the boy sit on the mound and posed a very complicated problem before him. This was a case to which he had given several hearings in his court and had not yet been able to solve, owing to its complicatedness. But to his utter confusion, the boy, after giving a patient hearing, solved the case as if it was a very simple one.

Ultimately Raja Bhoj Dev concluded that there wasn't anything very special with the boy; it was the mound of earth which bore some special significance. He ordered his ministers to get the mound excavated immediately. Soon several laborers were called to the place of excavation. They began working with their picks and shovels. Suddenly, after an hour of vigorous digging, one of the labourers' shovels thudded with a metallic sound. The thud of metal alarmed Raja Bhoj Dev who was still present there, supervising the excavation work. He immediately asked his ministers to ask the labourers to proceed slowly and carefully. After another hour of careful digging, a golden throne emerged, which had too grand an appearance. Raja Bhoj Dev was simply dazed to see the grandeur of the throne. "O God! What would it look like when it is cleaned and polished," thought Raja Bhoj Dev to himself.

The sun was about to set, and the golden throne had been cleaned and polished. The mild rays falling on the throne gave a heavenly appearance to it. The throne was carried to the court of Raja Bhoj Dev with great care.

All the courtiers gathered to have a look at the throne, which was made of gold and was studded with all sorts of gems in different sizes. The courtiers said in unison that it must be lord Indra's throne.

Raja Bhoj Dev asked the astrologers of his court to find an auspicious day when he should ascend the throne. The astrologers studied the stars and planets, made calculations and finally decided that it would be most auspicious to ascend the throne on the first day of the full moon night which is Tuesday. Raja Bhoj Dev waited with great anxiety for the day, and on the first day of the full moon night, after performing pooja and Yajna, he proceeded to ascend the throne. But to his great surprise, when he reached the throne, he heard female voices giggling in unison. He looked around and found that everyone on the court was surprised to hear the giggling.

He stepped forward to have a closer look at the throne, and what he saw had remained unnoticed from the eyes of everyone. He saw there were some puppets on both the arms of the throne. He counted them; they were sixteen each. Again, he proceeded to ascend the throne, and there was giggling. But this time he was so close to the golden throne that he could clearly see slight movement in the puppets and could also see them giggling. He looked at them in utter consternation.

"Who are you all? What makes you giggle? Perhaps you don't know, I am Raja Bhoj Dev and I take your giggling as an offence. Your attitude suggests nothing but scorn for me, which can be punishable," said Raja Bhoj Dev.

"No, no Your Majesty! Please don't feel offended. We never meant to offend you. But let me tell you one thing, very frankly you don't deserve to ascend this throne which once belonged to our great king. King Vikramaditya," said the first puppet on the right arm.

The first puppet's utterance came like a jolt to Raja Bhoj Dev. He somehow managed to balance himself and said, "I am flabbergasted indeed to hear what you say, but before you embark on a discourse about the great king, King Vikramaditya, I would like to know your identity."

"Yes, Your Majesty, let me introduce ourselves, said the first puppet. "I am Manjari; please accept my salutation." Then gradually she introduced all the puppets which are under-

1. Manjari, 2. Chitrarekha, 3. Ratibhama, 4. Chandrakala, 5. Leelawati, 6. Kamkandala, 7. Kamda, 8. Pushpawati, 9. Madhumalti, 10. Premavati, 11. Padmavati, 12. Keertimati, 13. Trilochani, 14. Rudravati, 15. Anoopvati, 16. Sundarvati, 17. Satyavati, 18. Rooplekha, 19. Tara, 20. Chandrajyoti, 21. Anuradha, 22. Anooprekha, 23. Karunavati, 24. Chitrakala, 25. Jayalakshmi, 26. Vidyavati, 27. Jagjyoti, 28. Manmohini, 29. Vaidehi, 30. Roopvati, 31. Kaushalya, 32. Mainavati.

Having introduced all the puppets in a row, Manjari, the first puppet, entreated King Raja Bhoj to listen to her story of King Vikramaditya-

Your Majesty! There was a King in Dhara Nagari, whose name was Bhartrihari. He was extremely wicked. And it was for this reason that his brother, Vikramaditya left his palace and went away. This made King Bhartrihari even more free. He had six queens and the queen Pingala was the youngest of all. He loved her very much. But since he was guided strongly by his instincts, he, apart from enjoying the company of his queens, used to visit prostitutes also; and among them, one was Chitrasena whom he loved most. He was so gripped in her love that he had left everything to his faithful ministers and ignored his court completely."

Manjari paused for a moment and finding King Raja Bhoj listening to her carefully, said, "Time was rolling on in great monotony when one day a Brahmin came to King Bhartrihari and offered him a fruit, saying that anyone who ate that fruit would achieve a lasting youth and would never fall ill. King Bhartrihari became very happy, but instead of eating it himself, he gave it to Queen Pingala, so that she could maintain her youth for a very long time. But Queen Pingala too, like her husband, lustfully indulged in cheating and was secretly in love with the king's charioteer. She gave the fruit to him; and he, the charioteer, in turn, gave it to Chitrasena. He too used to visit Chitrasena like King Bhartrihari.

Chitrasena, despite being a prostitute, never liked her profession and hated the kind of life she was leading. She was of the view that her life was no good for society and country and was from the dregs of humankind. So, the prick of her conscience suggested to her to give the fruit to the king, who, if remained youthful and without any ailments for a long time, would be of great service to the country. But she was surprised that King Bhartrihari became furious to see the fruit with her."

"He made enquiries and when the ultimate truth was revealed to him, he, in a sudden paroxysm of anger, got Chitrasena and the charioteer trampled under the feet of his elephant. But the shock that he received was so grave that he felt dejected and renounced the world; he became a 'Sanyasin'."

"When this news reached the ears of Vikramaditya, he immediately returned. He had no lust for power, but he returned only to avoid any possible revolt in the kingdom and check the subjects from going berserk in the absence of a king."

"Since King Vikramaditya was altogether different from his brother and carefully withdrew from activities that may not be considered ideal, he became very popular among his ministers and the subjects as well. He was known for his great sense of justice and fairness. His country flourished during his rule. It is said that he had been specially created by Lord Shiva and for this very reason, there were no natural calamities during his rule, neither in the form of droughts nor in the form of floods. Everyone was very happy. He had planned in such a manner that milk, butter and grains were in abundance. Even the poorest didn't starve." "He ruled his country for forty long years and then left for his heavenly abode. Prince Jaitpal was declared the King. After the coronation ceremonies, King Jaitpal fainted as soon as he ascended the throne. Then during his sleep, he had a vision. King Vikramaditya appeared before him and told King Jaitpal not to ascend his throne and he also said that only a deserving king had the right to ascend it. He further directed his son to have the throne buried. King Jaitpal obeyed his father and got it buried from where you have got it excavated."

Manjari finished her story and said, "So, Your Majesty! Now you know who King Vikramaditya was, and to make you aware of his greatness, we shall be telling you one story each about King Vikramaditya. Each story will reveal his greatness. At the end of each story, you will be asked to compare yourself with King Vikramaditya; and you will be allowed to ascend the throne, only when you feel deep within yourself that you are equal to him. Since they were thirty-two in number, it will take us thirty-two days to finish the stories.

Raja Bhoj Dev listened to the stories told by the puppets for thirty-two days and in the end, he concluded that he was nowhere near King Vikramaditya. On the thirty-third day, he got the golden throne buried in the same place from where he had it excavated.

In conclusion it will not be out of place to throw a little light on the stories told by Betaal (a ghost). The stories told by him bear a definite significance and have a great symbolic meaning. The author of the book 'Bar Kaha' must have created these stories with a definite purpose. The questions asked by Betaal, have a definite in-depth and giving answers to his questions required deep penetration. Choosing a character in the form of King Vikramaditya is a purpose to keep a person who has in-depth knowledge, is justice and is very sincere. At no stage can he be found easygoing. That is why it was intended to suggest kings ruling their countries to have a sense of justice and be competent. King Vikramaditya qualified in every respect.

 

Narada’s Lesson in Devotion

Once, Narada, filled with pride, believed he was Lord Vishnu's greatest devotee, chanting Vishnu's name constantly. Curious to affirm his devotion’s superiority, he visited Vishnu and questioned if anyone could surpass him. Vishnu, sensing Narada's pride, suggested a visit to Earth to meet His true devotee.

Disguised as a farmer, Vishnu led Narada to a humble farmer's home. The farmer’s family, despite their meagre provisions, graciously fed Narada and Vishnu, even sacrificing their meal. The farmer’s brief, heartfelt prayer, "Hari Om," struck Narada as inadequate, given his constant recitations. However, Vishnu remained silent, waiting to reveal the deeper lesson.

The next day, Vishnu gave Narada a grail (cup) filled to the brim with oil and tasked him with carrying it up a hill without spilling a drop. Narada completed the task with complete focus but realized he hadn’t remembered Vishnu once along the way. Vishnu then explained that the farmer, like Narada with the grail, balanced his responsibilities with devotion, remembering the Lord whenever he could despite life's demands.

Humbled, Narada understood that true devotion lies not in quantity, but in the quality of one’s connection with the Divine amidst life’s trials. He bowed to Vishnu, acknowledging his error.

 

The Faceless Doll

(The Faceless Doll is a Symbol of Unity and Acceptance in the Dominican Republic)

One of the permanent symbols of the Caribbean Island of the Dominican Republic is the 'faceless' doll. This unique doll is crafted from various materials, including fine porcelain, coconut fibre, and clay, adorned in diverse clothing styles. Its defining feature is the absence of facial characteristics.

The Caribbean doll represents more than just a child's plaything; it symbolizes cultural significance. Traditionally made by local artisans, these cloth dolls are shared with children or sold to tourists, symbolizing the region's rich heritage.

The faceless doll serves as a powerful reminder that external differences in colour, and appearance hold little value; what truly matters is the essence within. The term "doll face" colloquially refers to a person with a smooth, pretty face and a youthful expression, yet the faceless doll emphasizes that true beauty lies beyond the surface.

The Dominican Republic is home to a diverse population, with individuals of Spanish, French, African, and various other ancestries. The faceless doll symbolizes inclusivity, representing the harmonious blending of cultures that creates a unified community, much like a large family.

A folk story from Bharatvarsha (India) illustrates this concept beautifully. In this tale, all animals initially appeared identical, leading to confusion and an inability to form relationships. To remedy this, they decided to create distinguishing features. Over time, as each animal adopted unique characteristics, they learned to appreciate their differences. Whenever conflicts arose, they were reminded of their shared origins, fostering harmony and coexistence.

To make the story understandable, a story goes that once upon a time all animals looked the same. Some were fat, and some were thin, some tall and some short, but for everything else they were identical. The animals found themselves in a dilemma. They could not recognize one another... each one looked the same. No relationship could be built for the partners making the relationship could never be all identified. A solution had to be found. The animals called a meeting, and it was decided they would each seek some identification mark and place it before the others in the next meeting. A busy week followed. Some animals chose striped furs, but then the zebra and the squirrel had to work out the differences, not to mention the tiger. The elephant did not have enough time to spend on this and so went for a full grey or brown, but he looked so boring that someone pulled his nose and made it long, so the elephant would always look different. Finally, when they met a week later, they all looked distinctly different. The peacock had chosen lovely clothes but had got tired by the time it had to choose a vocal cord.

Those of the animals who had chosen thick fur went to live on the hills. The ones who had opted for slippery costumes went into the water. The chameleon was the trendiest for it changed colour in keeping with the context. Thereafter the animals lived happily, appreciative of each other. Whenever a fight broke out, they had to remind themselves that once upon a time they had all been the same. The differences had been created by them. This reminder brought them back to a harmonious state and once again they shared water and foliage amicably.

The teachings of various traditions emphasize the fundamental similarities among all beings, highlighting our shared hopes and aspirations for peaceful coexistence. For instance, Jainism teaches, "He who knows one, knows all," while Hinduism articulates, "That which is in the atom is in the world." Buddhism sees the Buddha in every living being, and Christianity views all as children of the same God.

A poignant example of this understanding is recounted about Prophet Muhammad, who stood in respect when a funeral procession passed, regardless of the deceased's faith. When questioned about the man's non-Muslim identity, he emphasized the common humanity shared by all.

In essence, the faceless doll of the Dominican Republic reminds us that outward appearances are insignificant; what truly defines us is our inner character.

Sri Harsha

 Sri Harsha or (Siladitya II) was another name for Harshavardhana. His empire comprises the entire Indo-Gangetic plain north of the Narmada River, including Punjab, West Bengal, and Orissa, as well as the Himalayas. Hiuen Tsang, a Chinese wanderer, left travel journals. Banabhatta, his court poet, wrote Harshacharita.

Kalidasa lived in the sixth century and graced the court of Vikramaditya. A century after his time, an Emperor of India, and a worthy successor of Vikramaditya tried to rival the renowned Kalidasa. Siladitya II., also called Sri Harshadev, received the Chinese traveller Hiuen Tsang in 638 A.D. He was the Emperor of all Northern India and a man of letters.

Harsha is a masculine name with Sanskrit roots. It comes from the Sanskrit word ‘harsh,’ meaning ‘happiness,’ ‘joy,’ ‘delight,’ ‘cheer,’ and ‘applause.’. Since the name originates in Sanskrit, it is popular among speakers of various Indian languages.

Emperor Harshavardhana, better known as Harsha, lived from 590 to 647 CE and was the last ruler of the Vardhana Empire, the last great empire in ancient India before the Islamic Invasion. He ruled from 606 CE to 647 CE. After Harshavardhana's death, however, the Vardhana or Pushyabhuti Dynasty ended, and its empire dissolved.

King Harshavardhana's father was Prabhakar Vardhana. Prabhakaravardhana ruled the kingdom of Thaneshwar, modern-day Haryana. Prabhakarvardhana’s queen Yashovati gave birth to two sons Rajyavardhana and Harshavardhana and a daughter named Rajyashri who was later married to King Grahavarman of Kanyakubja, modern-day Kannauj. This was a period of tension as India had to frequently deal with the invasion of the Huns of Central Asia. Constant fights were so costly that they weakened the empire to the core, and this eventually led to the downfall of the Gupta Empire. As the western frontiers of India and areas adjoining the Indus River were under the occupation of the Huns, conflicts between Huns and Thaneshwar were regular. While Harsha and his brother were busy dealing with the Huns in the west, Prabhakaravardhana died in Thaneshwar. He was succeeded by his elder son, Rajyavardhana.

Meanwhile, in the East far greater events were happening which altered the course of history. Shashanka of the Gauda Kingdom, modern-day Bengal, marched and killed King Grahavarman, Rajyashri's husband, and then kidnapped her. The kidnapping of his sister forced the elder Vardhana brother to march east and confront Shashanka. Shashanka then invited Rajyavardhana for a meeting and treacherously killed him. After his brother's death, at the age of 16, Harshavardhana became the undisputed ruler of Thaneshwar and declared war on Shashanka to avenge his brother and went upon a campaign of Digvijay, i.e. to conquer the world (which in this context means conquering whole India). Yet, his foremost enemy was now Shashanka who had to face an angry brother's wrath. Harsha proclaimed all kings known to either declare allegiance to him or face him on the battlefield. As Shashanka's enemies responded to Harsha's call, he marched on to Kannauj.

Although there is no evidence, a story in Harshacharita claims that Rajyashri, when released from prison, took refuge in the forest of Vindhyas. Hearing this, Harsha hurriedly went into the forest to save her and found her just when she was about to commit suicide by throwing herself in a fire. Rescuing his sister, he rejoined his army at the Bank of the Ganges. After this, Harsha easily conquered Kanyakubja as Shashanka went back to Bengal, and thus began a long enmity. It was only after Shashanka's death that Harsha was able to control the entire eastern India including Magadha, Bengal, and Kalinga.

Harsha's Digvijay, or the conquest of the world had now begun. After Kannauj, he turned his attention towards Gujarat. He defeated the local Valabhi kingdom and expanded his empire. Yet, this rapid expansion led to tensions between him and the Chalukya king Pulakeshin II (r. 609-642 CE). It was now that the most powerful kingdoms of northern and southern India came face-to-face on the battlefield on the banks of river Narmada. In the end, the southerners under the able leadership of Pulakeshin II prevailed leaving the ambitious northern ruler, Harsha, defeated. They say Harsha lost his cheer when he saw his elephants dying in the battle. 

Harshavardhana is regarded as among India’s most powerful monarchs during the seventh century. Kannauj was the capital. His policies and initiatives were always benevolent and designed to improve the stability and tranquility of his citizens. He was a Hindu who converted to Mahayana Buddhism later.

Kannauj became Harshavardhana’s Empire’s capital. From 606 until 647 A.D., he governed. His empire stretched across Punjab through northern Orissa and from the Himalayas towards the Narmada River’s shore. In 606 A.D., Harshavardhana ascended to the throne.

Harshavardhan ascended to the throne at 16. His life and reign are primarily known through the works of Bana and the Chinese pilgrim Xuan Zang. Xuan Zang, a close friend of Harsha, portrayed him as a devoted Mahayana Buddhist, though Harsha initially supported orthodox Hinduism. Harsha is remembered as a benevolent and just ruler who actively worked for his empire's prosperity. He established diplomatic relations with China in 641 and created institutions for travellers, the poor, and the sick. Harsha held quinquennial assemblies to distribute his accumulated treasures and patronized scholars, sponsoring the chronicler Bana and poet Mayura.

To this 7th-century king Sri Harsha of Kanauj has attributed three charming plays: Ratnavali and Priyadarsika, both of which are of the harem type; and Nagananda (“The Joy of the Serpents”), inspired by Buddhism and illustrating the generosity of the snake deity Jimutavahana.

Launching an APP: “Lal Vakhs”

 Launching an APP: “Lal Vakhs”

It brings me immense joy to announce the launch of our new app, “Lal Vakhs,” dedicated to the young Kashmiri Pandit generation and all migrants. This app is a tribute to our rich culture and heritage, ensuring it does not fade into obscurity.

As a Diwali gift to everyone, whether in India or abroad, “Lal Vakhs” is a global offering that transcends caste, creed, and colour. In celebrating the 700th anniversary of the revered saint poetess Lal Ded, I was inspired by the many inquiries about how to read and learn these profound vakhs.

Over the past eight years, I have meticulously collected and curated these vakhs, culminating in the publication of my book, Lal Ded of Kashmir: Saint Poetess - A Catalogue of Lal Vakhs. However, this project did not stop there. My team and I have continued to enhance the book, ensuring each vakh is accompanied by an English poetic narration. We have made every effort to preserve the spirit and meaning of the original vakhs, despite the occasional variations in wording across different sources.

The app features 320 vakhs from the great saint poetess Lal Ded, along with a range of user-friendly features including Home, Title Search, Vakhs, Ask Lal Ded, Videos, and more.

I wish you all joy and fulfilment as you explore the “Lal Vakhs” app!

Sham S. Misri

From Misri Library; https://www.blogger.com/blog/posts/345332971520225385

Seattle, Washington, USA

10-25-2024

Ganesh Chaturthi

 In unison, Shiva, Brahma, and Vishnu declared, "Just as we three are worshipped in all the three worlds, so shall Ganesha be worshipped by all. He is the remover of obstacles (Vigneshwara) and the giver of the fruits of all rites." [Shiva Purana Rudrasamhita 18].

"Myth," says Ananda Coomaraswamy, a famous art scholar, "is the closest way to express Absolute Truth in words." Far from being mere fantasy, myths bridge the gap between the relative and the Absolute, allowing us to leap from the earthly to the divine. A striking example is Lord Ganesha, who, despite his unusual appearance—an elephant head on a chubby human body riding a tiny mouse—is one of the most beloved and revered gods in Hinduism.

Ganesha's unmistakable images, in various sizes and poses, can be found everywhere: in temples, under village trees, at street corners, in homes, and in every Hindu heart. No other deity is as popular, as frequently praised, or as essential to religious ceremonies as Ganesha. No ceremony can begin without first appeasing him. Devotees often cross their wrists, knock the sides of their foreheads with closed fists, and chant the invocation "Shuklamburadharam," which has even become a common phrase meaning, "let's begin."

Everyone loves Ganesha. Devotees seek his blessings before starting anything, and artists love to depict him. Even the gods worship Ganesha before taking on challenges. For example, Lord Vishnu prayed to him before defeating the demon Bali, and Lord Shiva did the same before conquering Tripura. Goddess Durga also bowed to Ganesha before slaying Mahisasura. He’s not just for battles, either; even Kamadeva, the Love God, sought Ganesha’s blessings before spreading love across the world.

Ganesha is known by 108 names, including Vinayak, Ganapati, Omkar, Vighneshwara, Anant, Hriddeshwar, Pullairyar, Siddheshwar, Gajanan, Ekdantaya, and Vakratunda. He is revered as the remover of obstacles (Vighnaharta) and the bestower of knowledge. To please him, devotees offer Abhishek, Atharva Shishya (hymns), flowers, "Vastra" (clothing), cotton garlands smeared with turmeric (Haldi) and kumkum (Sindoor), and, for those who can afford it, copper coins placed around his waist. Additionally, 21 stalks of Durva grass are commonly offered.

Ganesh Chaturthi marks the birth of Lord Ganesha. With his elephant head, pot belly, a serpent as a sacred thread, and a rat as his chosen vehicle, Ganesha is worshipped as a guardian deity who wards off evil forces and invites prosperity into homes.

Though he is now worshipped as the benevolent Vighnaharta, he was originally feared as the unpredictable Vighnakarta, a creator of obstacles. An episode from the 'Skanda Purana' recounts Lord Ganesha's beginnings as an obstacle-maker. Lord Shiva once blessed the god Soma, saying that anyone who worshipped him devoutly at the temple of Someshwara would be granted a place in heaven. As a result, many people entered the gods' abode. Concerned about this influx, Lord Indra, king of the gods, asked Lord Shiva for help. Unable to reverse his blessing, Lord Shiva directed Lord Indra to Goddess Parvati, who created Ganesha from her own body dirt and instructed him to place hurdles in the path of Soma's devotees.

In another legend, Goddess Parvati created Ganesha and ordered him to guard her doorway. Following her orders, Ganesha denied entry to Lord Shiva himself. Furious, Shiva cut off the boy's head. Later, in repentance, he replaced the lost head with that of Gajendra, king of the elephants, and brought Ganesha back to life.

Is Lord Ganapati a Vedic deity? Scholars are unsure. While the Rig Veda contains the oft-chanted hymn "Gananam tva Ganapatim havamahe" ("We invoke thee, Ganapati, chief among all the Ganas"), the meaning of 'Ganas' is debated. Does it refer to the hosts of Shiva's servants led by his son, or does it simply mean 'groups' or 'assemblages'? If it's the latter, the meaning is more mysterious.

The most important Sanskrit text about Lord Ganesha is the "Ganapati Atharvasirsha" in the Atharva Veda. It identifies Ganapati as the all-pervading Ultimate Principle, Brahman, and praises his power to overcome obstacles. For the first time, it describes some of his distinguishing features: Ekadanta, Vakratunda, Lambodara, Suprakarna, and Mushikavahana. He is called Sivasuta, the son of Lord Shiva.

Though the scriptures identify Lord Ganesha as the son of Shiva and Parvati, his origins seem to incorporate various influences. His part-human, part-animal form suggests that he was originally a totemic god of the pre-Aryan tribes. In his role as the guardian of learning and wisdom, some scholars see echoes of the Vedic deity, Brahmanaspati.

The "Yajnavalkya Smriti" (I 271-294) suggests that Lord Ganesha emerged from the cult of the Vinayakas—feared spirits known for causing hindrances and spreading misery. The Vinayakas were described as being reddish, a color that eventually became associated with Ganesha. Interestingly, in the Buddhist pantheon, Vinayaka appears as an elephant-headed demon.

A study of elephant symbolism in Hindu mythology provides further insight into the mystery of Ganesha's appearance. In Hindu cosmology, when Lord Brahma created the universe from the 'Hiranyagarbha' (the 'Golden Egg'), he appointed elephants as the "dikpalas," or guardians of the directions, to prevent evil forces from entering the world of the gods. As a result, in Hindu and Buddhist temple architecture, elephant statues or friezes are often carved on gates, marking the boundary between the sacred and the mundane.

Vighneshwara is a delightful paradox. He can place formidable obstacles in the path of those who ignore or bypass him, but he also removes all obstacles for those who worship him. As the guardian of thresholds, he controls access to success and failure. Vighneshwara (creator of obstacles) is also Siddhi Vinayaka (giver of success).

"The manifestation of Vinayaka embodies the profound philosophy of the Universe as a mere aspect of God. Devoted worship of any deity, passed down through generations in each family, and meditation on the truths that deity represents, will lead to happiness for oneself and for the world....!"

"The Well's Hidden Truth"

 "The Well's Hidden Truth"

In a distant land, far removed from the hustle and bustle of modern life, there lay a quaint island inhabited by a tribe with views as ancient as their customs. At the heart of their village stood a venerable well, deep and once renowned for its crystal-clear waters. But one fateful day, a dog—perhaps drawn by the allure of the well—fell in, leaving a rather unpleasant gift behind.

When the villagers returned to draw water, they were greeted by an olfactory assault that could rival the worst of rotting fish markets. "What sorcery is this?" they gasped, recoiling in horror. Summoning the elders, they congregated around the well, prayers and incense in hand, hoping to rid the water of its foul stench. They performed rituals, chanted mantras, and finally decided to drain the well, certain that a good cleansing would restore its former glory.

Yet, as the last drop of murky water was discarded, the villagers were greeted by an unwelcome surprise: the well began to fill again, but the stench persisted. “This water is no longer fit for human consumption!” they lamented, disgustingly wrinkling their noses.

Just then, an old Brahmin saint, his robes tattered but his aura pristine, happened upon the scene. The villagers, desperate for guidance, eagerly approached him, their faces a mix of hope and despair. "Oh, wise one," they pleaded, "please help us! We have prayed, we have cleansed, but still the water stinks!"

With a bemused twinkle in his eye, the saint stepped forward, inspecting the well as if it were a puzzling riddle. After hearing their saga, he raised an eyebrow and asked, “Did you happen to remove the dead dog?”

Silence fell upon the crowd, followed by an eruption of incredulous laughter. “Of course not! Who would think of that?” they muttered, scratching their heads in embarrassment.

“Ah,” said the saint, shaking his head with a smirk, “sometimes the most obvious solution lies right beneath our noses—quite literally in this case!”

With newfound determination, the villagers hurriedly retrieved the unfortunate canine from the depths of the well. As the creature was hoisted out, the stench vanished like a bad dream, and the water began to shimmer once more.

The villagers, both sheepish and relieved, turned to the saint. “Thank you for your wisdom, revered one! We shall remember this lesson: sometimes, it’s not the prayers but the obvious that needs addressing.

With a grin, the saint replied, “Indeed. But next time, let’s try not to wait for divine intervention before taking out the trash!” And with that, he walked away, leaving behind a village wiser, albeit a little less fragrant.