Saturday, February 14, 2026

8th Feb. 2026-The Longest Day... Part III (Electric Boogaloo)

 

The Longest Day... Part III (Electric Boogaloo)

I thought the 21st of June was the longest day of the year. Scientifically, it is. The sun hangs around like a guest who’s forgotten their car keys. But that, my friends, was merely a dress rehearsal. A warm-up act for the main event. Because on Sunday, the 8th of February 2026, we had the 'Lagan and Pheras' of Didon, the jewel of the Misri clan.

One of my critics told me that my writing of the above italicized para had no meaning.

My reply to him:

My dear critic,

I wish you well. This is a beautiful and poetic way of describing a very happy occasion. Let me break it down piece by piece for you, Mr. critics.

First, let me address my scientific point. I think I am right. Do you agree? The 21st of June is the summer solstice in the Northern Hemisphere, the day with the most daylight hours. It is, scientifically, the longest day of the year. O.K.

The writer acknowledges this fact ("Scientifically, it is.") but then uses a metaphor to diminish its importance.

The Metaphor of the Sun

"The sun hangs around like a guest who’s forgotten their car keys."

This is a wonderful image. Think about a party that's winding down. The guests are leaving, but one person lingers. They're not leaving because they can't find their keys. They've overstayed their welcome just a little bit. The atmosphere is a bit awkward; everyone is ready for the party to end, but this one person is still there.

In the context of June 21st, the sun is like that guest. It's the longest day, so the sun is "hanging around" longer than it does on any other day of the year. But the writer is saying that, in hindsight, that long day was just a "dress rehearsal" or a "warm-up act."

The Main Event: Didon's Wedding

The writer then reveals the true reason for this poetic preamble:

Because on Sunday, the 8th of February 2026, we had the 'Lagan and Pheras' of Didon, the jewel of the Misri clan.

  • 'Lagan and Pheras' : These are key Hindu wedding rituals. Lagan refers to the auspicious time for the wedding, and Pheras are the seven sacred circles the couple takes around the holy fire. So, this was Didon's wedding ceremony.
  • Didon, the jewel of the Misri clan: This tells us that Didon is a beloved and precious member of the Misri family, like a shining jewel.

Putting It All Together

The writer Sham Misri is using a powerful hyperbole (exaggeration for effect). They are saying that the actual longest day of the year (June 21st) felt short and insignificant compared to the joy of Didon's wedding day.

The meaning is this:

For the people celebrating this wedding, the 8th of February 2026 felt so incredibly joyful, so full of love and happiness, that the day itself seemed to last forever. The sun, in its happiness, lingered in the sky even longer than it does on the summer solstice. It wasn't an awkward guest who had lost its keys, but a happy guest who simply didn't want to leave the wonderful party.

In short, it's a poetic and heartfelt way of saying that Didon's wedding day was the happiest and most memorable day of the year, feeling longer and brighter than even the scientifically longest day.

…

Dear critics,

You are trying to divert my attention. That day didn't just have extra daylight; it had extra emotion, extra colour, and an extra helping of love so large, it needed its own seat.

...

Now let me take you back, if I may,

To the longest, loveliest, looniest day.

The 8th of February, twenty-twenty-six,

When pink turbans played all sorts of tricks!

We gathered at camp, so relaxed and so free,

When suddenly came the command: "Get Ready, quickly!"

Socks were mismatched, shirts buttoned wrong,

But we marched to the venue like a wedding song.

…

The venue! Oh, the venue! Chanakyapuri's pride,

Vikram's official residence, doors opened wide.

Flowers everywhere, such colours, such grace,

Even the bees formed a queue at the gate!

And there stood the mandap, majestic and grand,

The four pillars of life, you understand.

Food, strength, happiness, generosity too—

Wait, that's the pheras... I've mixed my review!

…

The day began with a flurry of activity at the CRPF camp. All of us male guests were lounging around, perhaps discussing the important things in life—like whether the paneer at lunch would be soft or not—when a message zipped through like a lightning bolt. ‘Get Ready Quick.’ It wasn't a request; it was a command. You could feel the testosterone-fueled panic in the air. Socks were hunted, shirts were buttoned askew, and there was a general air of "hurry up and wait."

Entering the venue in Chanakyapuri was an experience in itself. I had been there earlier, but it was not like this.  It was the official residence of the bride's father, which meant it was well-protected, well-guarded, and you half-expected to need a retinal scan to get past the gate. But once you were through… oh, my God... Heaven must be taking notes. Flowers. Everywhere. Of every hue and colour, perfectly sized and combined with the kind of precision usually reserved for a military parade. I don't know how many floriculturists lost their minds orchestrating this, but the result was a standing ovation for Mother Nature.

Facing the Mandap, a lovely permanent structure on one side of the garden, were U-shaped hangings of floral wreaths. The fragrance hit you from a distance, a gentle, perfumed slap saying, "Yes, you are in the right place. This is a wedding."

Now, every male from the bride's side was hastening to the venue, but we soon found out why we had to be quick. It was for the turban ceremony. An experienced, lean, middle-aged man stood with a bundle of brand-new, perfectly pressed pink turbans. He was the turban ninja. In seconds, he’d have one expertly wrapped around your head.

I, Uncle Sham, was one of his victims. He took one look at my bald head, a terrain I’ve lovingly maintained for years, and saw it as a challenge. He wrapped that pink cloth so tightly around it, I thought my eyebrows would be perennially raised. But I wore it with pride! Soon, the garden was filled with us—Sanju, Suneel, Sandeep, Ashwani, Billu, Pintu, Mintu, Pavanji, and the rest—with the tails of our turbans fluttering in the breeze. We must have looked like a flock of confused, pink-tailed kites.

Just as the Baraat reached the main gate, I heard Vikram’s voice, clear and urgent: "Where is Bairaj? Where is Bairaj?"

A jolt of electricity shot through me. Bairaj. That’s me! A forgotten superhero summoned for a mission! My rosy, red cheeks, which in my youth rivalled apples, flushed with rejuvenated pride. I was to put a shawl and a wreath around the neck of an elderly gentleman from the groom’s side. This I did with the solemnity of a diplomat signing a treaty, with folded hands and immense respect. My job was done. I had served my purpose. I could now relax. Veena is sitting in a chair to welcome the groom.

The band played, the bhangra thumped, and the thrill continued until the groom reached the Mandap. I had a front-row seat. I saw the groom remove his shoes, a moment of profound symbolism… and in a flash of lightning faster than any diplomatic cable, Pranav, the bride's younger brother, swooped in like a ninja, snatched the shoes, and vanished. What happened next—the negotiation, the ransom, the eventual return of the footwear—is a mystery lost to the annals of wedding history. All I know is that a good time was had by all.

It was a true Celebration of Love and Tradition. As the eldest in the family, I felt a profound sense of gratitude seeing our kin, some of whom’d travelled across oceans, all gathered together. Their presence was the greatest gift.

The Varmala began. First, the bride, with the grace of a dancer, placed a garland around the groom. Then the groom, in a moment of pure, universal husbandry, puffed out his chest and twisted his non-existent moustache, before placing the garland on his bride. It was a public declaration, a beautiful blending of two families into one vibrant garden.

As the Pheras began, I felt a tap on my shoulder. An exceptionally fair lady sat beside me. She sat to my left side. She introduced herself as Vikram’s close associate. I didn't quite catch all the titles—something about Bhutan, earlier, and a chairmanship now—but she was clearly important. She pointed to the sacred fire. "What is this fire there?" she asked, her eyes wide with curiosity.

Ah! My moment! I transformed myself from a simple guest into a cultural ambassador. I explained the seven pheras, each one a pillar of a happy life.

"With each step," I said, warming to my theme, "they make a vow. First, to provide. Second, to grow strong together. Third, to be generous. Fourth, to find happiness and trust. Fifth, to pray for their family. Sixth, to stay together through thick and thin. And the seventh… to be lifelong companions, bound by friendship and faith."

She was absolutely captivated, her excitement a beautiful reflection of the ceremony itself. It was a wonderful reminder of how special our traditions are, seen through fresh eyes.

In between the vows, the Who’s Who of Delhi walked in. The Defence Minister, Raj Nath Singh, arrived with his own security detail, the famous ‘black cats’. He gave his blessings. Minister Jyotiraditya Scindia, Foreign Minister S. Jaishankar, Ajit Doval, Dr Jitendra Singh—the list went on. It was like a who’s who of the government, all there to shower the couple with Ashirwad, the collective blessings of the community.

In the middle of this hubbub, of all this high-profile glamour, my daughter Sanjla’s mother-in-law appeared. She had her younger son, Sachan, and her grandson with her. The DJ played some fast-paced Bollywood music, and she started nodding her head. That was all the invitation I needed. I am, after all, Sham Misri! How could I resist?

I danced. Oh, how I danced. I shook my hands with the enthusiasm of a man trying to dry them with no towel, my feet moving in directions they hadn't explored in decades. A crowd started gathering, forming a circle of encouragement. It was glorious. It was my moment.

And then, dear Vikram, my beloved nephew, appeared. He had that sincere smile on his face, the one that precedes a gentle let-down. He leaned in and said, "Bateh Khove." (Enough, Uncle).

In diplomatic terms, it was a clear signal. A polite but firm "Cease and desist." But he didn't know that I, Sham Misri, had lectured to IAS trainees in Mysore! I know that officers talk less and work more. So, I took the wise signal. I gracefully (or as gracefully as one can) wound down my performance. Otherwise, who knows? It might have swelled into an unmanageable, all-night dance-a-thon.

Soon after, the ceremony concluded. Guests began to leave, preparing for the next battle—The Reception. My stomach was full of the most delicious food, my heart was full of joy, and my head… well, my head was finally free of the turbo-turban. As I walked out, looking back at the twinkling lights and the happy faces, I knew one thing for sure: this day, the 8th of February 2026, was officially the longest, happiest, and most love-filled day of the year.

And to Bushan, watching from above, I hope you enjoyed the show. We all felt you there, smiling the widest.

Sham Misri

 

Tuesday, February 3, 2026

A Path of Faith-Amarnath Marg

 A Path of Faith-Amarnath Marg

A Path of Faith and Progress"-In 2023, a vision came to light.

A sacred road now winds its way through valley, snow and height.

From Anantnag to Pahalgam, where pilgrims' footsteps tread,

Sixty-eight miles of hope ahead—Amarnath Marg is spread!

The Border Roads stood strong and tall where mountain trails were steep,

With railings firm and lanterns bright to guard the faithful's feet.

Now ambulances race with care where once no wheels could go,

With oxygen and healing hands to aid the weak and slow.

Swachh Bharat’s call rings clear where plastic waste once lay,

As trash now turns to treasure in an eco-friendly way.

No single use defiles the soil where Shiva’s light resides,

Just awareness walks and cleaner air along the holy tides.

Oh progress strides with reverence where ice-cold caverns gleam,

Yet ancient chants still rise unchanged—"Bam Bam Bole!" they scream.

For though the path is modern, made with concrete, steel and wire,

The soul of Amarnath still burns with eternal sacred fire.

Sundra

Sham Misri

Sunday, January 4, 2026

A Kashmiri devotional song

 This is a Kashmiri devotional song in praise of Lord Krishna, which recounts a practical phenomenon witnessed by his friend Sudama. [Kaim sa ne preytith mein pana paer]

 A Kashmiri devotional song 

Part-1

[1]

Who held this dark malice, this venomous mind?
Who snapped my green 
bonds, my shelter, my kind?
My hut of dry 
twigs, my branches laid bare—
Who left me with nothing but 
wind and despair?

 

(Chorus)

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou granted to me?

 

[2]

Dead-tired and weary, from distance wide,
Tears filled his 
eyes in a shimmering tide.
"Who is this 
king in my dwelling so vast?
What magic is 
this, from a glorious past?"

 

(Chorus)

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou grantest to me?

 

[3]

Dead-tired and weary, with burdens to bear,
Tears filled his 
eyes, streams bright and clear.
Sudama saw a 
king in his dwelling so grand,
“What magic is 
this, by whose unseen hand?”

 

Chorus

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou granted to me?

[4]

Where is my family? Where do they wander?
Why do I 
stand in a place I must ponder?
Starved by my 
journey, by cruel drought's art,
I search for my 
garden, my roots, and my heart.

 

Chorus

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou granted to me?

[5]

Where are the blossoms that sweetly would cling?
Where are these 
meadows in the first verdant spring?
What wondrous 
fields spread, a vision of might?
What grace has 
transformed my darkness to light?

 

Chorus

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou granted to me?

…..

Part-2

[1]

Where from these fountains so bright and blue?
Where do these 
flowers draw colours so new?
Where did these 
pearl springs get a promise to run?
Where from this 
water come blessings, so won?

 

Chorus

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou grantest to me?

[2]

Everywhere, buildings in grandeur now loom,
Everywhere, 
houses with bright-coloured bloom,
Everywhere,
heavenly fragrance and light,
Everywhere 
shining, a beautiful sight.

 

Who shattered my cottage, my shelter so small?

Who answered my prayers with ruin and all?

O Murli Dhar, is this Thy decree?

Is this the favour Thou grantest to me?

[3]

Where have these fountains with sudden grace sprung?
Where do these 
blossoms to bright hues belong?
Where have these 
pearl-waters, so silent, flown?
Where has this 
river of blessing grown?

 

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

[4]

Everywhere, palaces touch clouded skies,
Walls painted 
bright where my cottage lies.
Everywhere 
fragrance, a heavenly air,
Yet my poor 
hut—who has tended with care?

(Chorus)

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

[5]

When did these servants and helpers appear?

Have all my children fled far from here?

Has my dear wife betrayed me at last?

Is my small world a tale long past?

(Chorus)

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

 

[6]

Where are those buds, those flowers so fair?

I long for their fragrance still in the air.

My heart is aching, I’m searching in vain,

Hoping to see their beauty again.

(Chorus)

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

[7]

Sudama pressed on, both hands to the frame,

Perplexed as he whispered his own name.

He peered through the doorway, to the ceiling and floor—

Puzzled, he wandered through the window and door.

(Chorus)

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

[8]

Pitiful Sudama, lost in surprise,

Watched as a wonder rose to his eyes.

Out from the forest, calm and sweet,

Susheela came forth, his wife, to greet.

(Chorus – softly)

Who smashed my hut, my humble home?

Who left me to wander, to weep and to roam?

(Final echo)

Who smashed my hut… who smashed my hut…

Sham Misri, Seattle, USA

Thursday, January 1, 2026

The Stone-Keeper's Secret

 

The Stone-Keeper's Secret

I. The Historians' Dispute

The stones don't speak in certain years,
They only weather, hold the fears
Of dynasties that rose and fell,
A timeless, fragmented tale to tell.

Did Someshvara's spire climb in ten-twenty's air,
Or a century later, in a king's new care?
Dhaky and Brown with Kramrisch debate,
While Ojha's twelfth-century seal they await.

The Vishnu temple, standing worn and grand,
Michell places first upon this land.
A puzzle built of sandstone block,
Resisting time's unflinching clock.

II. The Vassals' Game (Kiratakaupa)

First known as Kiratakupa's hold,
A prize for vassals, brave and bold.
Someshvara, of Paramara line,
Gained the Chaulukya's favour, a fate divine.

Then Alhana, Chahamana lord, took the stage,
His governorship marked on a stone-made page.
But power shifted, a relentless tide,
To Madanabrahma, in whom trust did reside.

His successor fell to Kirtipala's might,
As thrones changed hands from dark to light.

III. The Scars of War (The 1178 CE Inscription)

In eleven-seventy-eight, a record made,
Of a temple's wound, a violent grade.
Repairs were carved for Turushka blows,
The Ghurid threat, and all its woes.

When Muhammad of Ghor's armies came,
And lit the land with battle's flame.
But Chaulukya forces, at Kasahrada's field,
Made the invading tide to yield.

So Kiradu stands, a testament true,
To kings who built, and wars that came through.

Story

The Stone-Keeper's Secret

The desert wind, sharp with grit, was the only thing that moved freely through Kiradu. For the old caretaker, Bhanu, it was a living breath in a place of the dead. The scholars came and went, their voices full of dates and dynasties that Bhanu did not need. He knew the truth of this place not from inscriptions, but from the silence between them.

Today, a young historian from the city had arrived, his bag heavy with books. "I am studying the Paramara chieftain, Someshvara," the man, Anil, declared, pointing to the best-preserved temple. "The one who built this in the 12th century. Or was it the 11th? The historians can't agree."

Bhanu simply nodded, his eyes on the intricate carvings of the mandapa, its octagonal columns holding up the empty sky where a roof should be.

Anil spent his days scrambling over the ruins of the five temples, his camera clicking. He spoke of Madanabrahma of the Chahamana family, of Alhana and his son Kirtipala, and of the great battle against the Turushkas that had scarred the stones.

"Look here," Anil said one evening, excitement in his voice. He had found a section of wall on the Vishnu temple, which the scholar Michell had dated a century older than the rest. "This damage... it's not erosion. This is from a tool. A deliberate defacement."

Bhanu approached and ran a calloused finger over the gouged stone. "The Turushkas," Anil explained, his voice full of academic triumph. "The 1178 inscription records the repairs. This is proof of the Ghurid invasion, right here!"

Bhanu was silent for a long time. The sun began to bleed into the sand, painting the complex in shades of fire.

"That is not the story the stone tells," Bhanu said, his voice barely a whisper.

Anil scoffed. "And what story does it tell?"

"It tells of a day when two masters worked here," Bhanu began, his gaze distant. "The first built the Vishnu temple. His work was pure, a prayer in stone. Then came the new master, Someshvara's man, to build the grander temple. His style was different—more show, more gods, more war. The two masters argued. The new one, favored by the king, called the old one's work primitive. In a rage, the new master took a hammer and defaced the older temple, to build his own upon its reputation."

Anil stared, his historical narrative crumbling. "That's... a folktale. There's no inscription, no record of that."

"The stone is the record," Bhanu said, his eyes sharp. "You see a battle with outsiders. I see a battle within. The repair in 1178? It wasn't just to fix what the Turushkas broke. It was to hide the shame of what one of our own had done. They covered the scars with new carvings, but the deepest wounds remain. You can still feel the old master's sorrow here. It is why the Vishnu temple stands so alone, and why the wind sounds like arguing here at dusk."

The sun dipped below the horizon. A sudden chill gripped the air. Anil looked at the defaced wall again, and for a moment, he didn't see a historical artifact. He saw a crime of passion, a jealousy preserved for a thousand years.

He packed his bag in a hurry, the weight of his books feeling suddenly insignificant. He left without another word, the official history of vassals and invasions unsettled by the whisper of a more human, more tragic truth.

Bhanu watched him go. He then turned back to the Vishnu temple, placing a hand on the cold, scarred stone.

"The scholars only hear the shouts of kings," he murmured to the silence. "But if you listen closely, you can still hear the whisper of the first master's chisel, and the crack of the second master's hammer. That is the true history of Kiradu. It is not written in ink, but in regret."

 SYMPATHY — a poem, a father’s gift, and a memory revived

While sorting through old papers and books to clear away what had accumulated over the years, I came across an old volume my father—Late Pandit Janki Nath Misri—had once given me to read when I was in the 10th grade. The book is The Indian Treasury of Verse, edited by S. G. Dunn (Oxford University Press, 1915).

At that age, I could not fully grasp every poem. Yet after joining S. P. College, Srinagar, I returned to the book with a clearer mind and a deeper appetite for meaning. Many of the poems I memorised then remain vivid in my memory even now. One of them was “Sympathy,” and it reads:

Sympathy
I LAY in sorrow, deep distressed,
My grief, a proud man heard;
His looks were cold, he gave me gold,
But not a kindly word.
My sorrow passed -I paid him back,
The gold he gave to me.
Then stood erect and spoke my thanks,
And blessed his Charity.

I lay in want, in grief and pain:
A poor man passed my way;
He bound my head, he gave me bread,
He watched me night and day.
How shall I pay him back again,
For all he did to me.
Oh, gold is great, but greater far
Is heavenly Sympathy!
— C. MACKAY

Today—31 December 2025—I physically laid my hands on that same book again. It had been lying among “junk” and old reading material that I had intended to dispose of. The moment I opened it, memory returned with startling force: on the contents page, I saw my own name, written in my own handwriting from years ago.

What moved me most was not only the rediscovery of the book, but the rediscovery of myself—the student I was, the father I had, and the quiet thread connecting those years to the present.

What I understood then—and what I understand now

As a 10th grader, I likely admired the poem for its rhythm and its moral clarity: one man gives money without warmth; another gives care without calculation. But in college—during those formative years at S. P. College, when one’s inner world expands, and one begins to notice the subtle textures of human behaviour—the poem opened differently.

It is not really a poem about “help” at all. It is a poem about the difference between charity and sympathy.

  • Charity can be correct, even generous—yet emotionally distant, almost transactional.
  • Sympathy, as Mackay uses it, is not pity. It is presence: a willingness to share the weight of someone else’s pain, to sit beside them, to watch “night and day.”

The proud man’s gold solves a problem but leaves the heart untouched. The poor man’s bread and care, on the other hand, restore something deeper than comfort: they restore dignity, belonging, and faith in humanity. That is why the poem’s final line still lands with such quiet force: “Oh, gold is great, but greater far / Is heavenly Sympathy!”

A link to my father

This book was not simply an anthology. It was a gift with intention behind it—my father’s way of placing good language, strong ideas, and moral clarity into my hands. When I revisited the poem in college, it was not only a literary exercise; it was, in a subtle way, a return to his guidance.

Over time, the poem ceased to be only ink on a page. It became intertwined with:

  • a father’s gift,
  • my educational journey in Srinagar,
  • and the enduring human truth that care is measured not in currency, but in compassion.

I also remember my father sometimes mentioning another “Sympathy.” Perhaps he was referring to the famous poem by Paul Laurence Dunbar, with its powerful metaphor of the caged bird and its longing to be free. If so, that too fits the larger theme: whether in Mackay’s gentle moral contrast or Dunbar’s fierce longing, “sympathy” ultimately points to the same thing—an understanding that reaches beyond words into lived experience.

The old book, The Indian Treasury of English Verse, smelled of monsoon damp and forgotten years. Its spine cracked as I opened it, a sound like a distant door. I was not in my college then, but back in the quieter room of my earlier youth, the 10th-grade student I had been. The book was a parting gift from my father, Pandit Janki Nath Misri; its weight in my hands was a weight of expectation. "Read this," he had said, his voice still present in the silent house.

That first reading was a duty, a landscape of words I traversed with diligence but not always with sight. Poems like "Sympathy" by C. Mackay were passed by like familiar stations on a known route. I lay in sorrow, deep distressed… I understood the story—the proud man's gold, the poor man's bread—and noted its moral neatly. It was a lesson, like many others, filed away.

But time has a way of turning lessons into mirrors.

The shift to S.P. College, Srinagar, was the turning of the soil. It was a world of sprawling debates, of heated discussions on philosophy and society in the shadow of the Himalayas, of new friendships forged in the keen intellectual cold. I was building the architecture of my own mind. And in that construction, I returned, as if seeking a foundation stone, to my father's book.

After sixty-five years, I read this poem, Sympathy

This time, "Sympathy" did not offer a lesson. It offered a revelation.

The lines were no longer just ink. The proud man became a type I was beginning to recognize in the world—the benefactor whose gift carries the chill of transaction. The gold was not just a coin; it was no aid given to elevate the giver, not to heal the receiver.

But it was the poor man who now stole my breath.

He bound my head, he gave me bread, / He watched me night and day.

I was recalling the shopkeeper near my college who, seeing a student looking peaky and poring over books late, would slide a cup of kehwa across the counter with a nod, asking for no payment. I remembered the classmate who, when I struggled with a concept, stayed back not to tutor me, but to wrestle with the problem alongside me, sharing the very burden of not knowing. This was not charity. This was kinship. This was watching night and day.

The final couplet became my silent anthem:

Oh, gold is great, but greater far / Is heavenly Sympathy!

The second life of a poem

Books can become “old.” Paper can be yellow. Spines can crack. Yet certain lines do not age at all—because they do not merely sit on the page; they take residence in the mind. And when they return, they return with our whole history attached to them.

So, this memory is no longer just about finding a forgotten book in a pile meant for disposal. It is about finding, in a few familiar verses, a compass I did not know I had been carrying all these years: the ability to distinguish between the glitter of assistance and the glow of genuine human kindness—and to recognise, with gratitude, the quiet inheritance my father placed in my hands.

Happy New Year-2026

Sham Misri,

Jammu.