a short story

This is a short story written by Dr Kishore Shah....he is a gynaecologist in Pune and a very gifted writer....enjoy this extremely funny story .

My wife is an ENT Surgeon while I am a Gynaecologist.  This can lead to some complications, as I  recently learned to my anguish. A General Practitioner called me up  and told me that she is sending a patient of hers for an abortion.  Unknown to me, she had also referred a female with earwax for removal  of the wax to my wife.

I duly informed the receptionist to send the patient right in as she was expected (and expecting!) As Murphy lays down the laws of our  hospital, it was but natural that the patient who wanted the wax  removed from her ear, landed up with me. This is the conversation  that I had with the patient.

"Please come in. Be seated." I said with a big smile. I always have a big smile, when I am going to earn some money. The patient gave a  feeble smile and sat hesitantly on the edge of the chair. "Relax."

 

"Doctor, will this hurt a lot?"

"Not at all."

The patient relaxed visibly. "You know something, Doctor, we tried

removing it at home, but failed."

I was shocked. "Thank God. Trying this at home can cause serious complications."

"I first tried to remove it by jumping up and down, but it just wouldn't budge."

I smiled and said, "If it were that easy, who would need doctors?"

She gave a cute smile and said, "Yeah! My neighbour tried to remove  it

with his finger, but the hole is so small that he used a hair  pin."

"Oh my God!"

"Yes! My mother even tried a matchstick."

My blood pressure was shooting skywards. I just sputtered without uttering a word.

"Tell me, doctor, how do I avoid getting this dirt inside me?"

I knew that it was an unwanted pregnancy, but calling it dirt was too much. I replied a bit angrily, "There are tablets which can prevent this happening. Or you could use protection at night."

Now it was the patient's turn to be confused, "You mean to say that it happens only at night?"

I saw her point. "No! No! I meant anytime of the day, whenever you are

in

the mood, you should use protection."

She was even more confused, "It depends on my moods?"

Again I saw her point. "My mistake. You need not be in any sort of mood.

It just happens."

"My neighbour advised me to go to one of those chaps who sit by the

roadside."

"You mean that pin man?"

"Yeah!"

This neighbour of hers seemed to be a very dangerous man. Besides  using pins, he was sending her to such quacks. The only safety he  knew was among the pins. "You were wise not to heed his advice."

"But I tried his other advice. He told me to put warm oil inside and wait.

However, that also did not work."

This was getting more and more bizarre. Her neighbour deserved to be locked

up either in a padded cell or a barred one.

"But have you taken your husband's permission?"

Now the patient looked confused. "Do I have to take my husband's permission?

Because if you need his sign, he is working in Dubai . We  were not able to meet for the last one year."

It was my turn to be shocked. I gave a sly smirk. It was one of  'those' cases. The pin-wielding neighbour seemed to me the usual  suspect. I reassured her. "No! No! The husband's sign is not at all  needed."

"However, I did inform him on phone."

Her husband seemed to me a very broad-minded fellow. I didn't know whether

to congratulate her or to commiserate with her. So I hastily  turned to other aspects. "Its good that you came a bit early."

"Actually I wanted to come early in the morning, but I had some other work."

"Oh! I did not mean early today. I meant that if you had delayed this removal, it would have started moving. Then it would have developed a heartbeat."

The patient was staring at me wide eyed as if watching a horror  movie.Looking at her face, I decided that she was not fit to listen  to the grotesque details. I decided to relieve her a bit. I said,  "You will bleed a bit, but only for a few days."

By now, the poor patient was trembling, "how-H-How much bleeding?"

"Oh, only slightly more than your menstrual period, and it will continue only for a week or so."

By now the patient was clutching her hair in her fingers and staring at me wide-eyed. I asked her soothingly, "Why don't you lie down on the examination table? Remove your clothes and relax."

This was the final straw. She didn't even wish me goodbye. I saw just a blur

of motion leaving my consulting room at top speed.

I cannot give you the formula for success, but I can give you the formula for failure--which is: Try to please everybody.

 

Never believe what the lines of your hand predict about your future, because people who don't have hands also have a future... Believe in yourself

 

Never allow yourself to get discouraged and think that your life is insignificant and cannot make a change.

Shiva ratri vratam

Shiva rathri is one of the most auspicious vratas for the devotees of Lord shiva. The purANas explain the grand significance of this vrata.

History of shivaratri

Once when everything in all the worlds got reduced into Lord shiva, in that darkness of nothing present, the mother pArvati worshipped Lord shiva in the Agamic way with great devotion. The parameshwar pleased by Her prayer blessed Her. She asked for the benefit of all the creatures that in future whoever worships the Lord on the shiva rAtri day with devotion, they should be blessed and should be given the ultimate liberation. The pashupati granted that showing way for all of us to get blessed easily.

When Brahma and Vishnu fought between themselves as "who is the greatest", Lord Shiva appeared before them as a pillar of fire. They were not able to find the starting and end of that pillar. This day is Thirukkaarthikai.(1)

Then Brahma and Mahavishnu repented for their mistake and prayed to Lord Shiva for forgiving their sin worshiping the shiva li.ngam which is the form of the flame. In the night of Shiva rathri Lord Shiva appeared before them and blessed them. Devotees pray the God throughout the night of Shiva rathri by performing Abisheka, chanting and other holy deeds.

Every month in Krishna paksha chathurdhasi (fourteenth moonday) is called masa Shiva rathri. The one that comes in the month of "Masi" (mid February to mid March) is called Maha Shiva rathri. This is considered as the most important vrata by the devotees.

There are many incidents told about the greatness of this day. Once a hunter in a jungle after searching throughout the jungle, was quite tired and could not get any animal. In the nightfall a tiger started chasing him. to escape from that he climbed a tree. That was a Bilva tree. The tiger sat under the tree waiting for him to come down. The hunter who sat on a branch of the tree was quite tense and didn't want to sleep. He was plucking the leaves and putting down as he was not able to be idle. Below the tree there was a Shiva lingam. The whole night went on like this. God was pleased with the Upavasa (hunger) and the Pooja the hunter and the tiger did even without knowledge. He is the peak of the grace. He gave the hunter and the tiger "Moksha".

In a Shiva temple on a Maha Shiva rathri day the lamp kept in the altar was very dim. That time a mouse which came take its prey touched the flame. Due to the heat it moved its head immediately. In the process it kindled the lamp and the altar was illuminated well. Lord Shiva, pleased by this deed made the mouse Mahabali, the renowned asura king.

There are many incidents like this told in our Puraanas. If we do the vrata with pure devotion and love there can be no doubt about getting the Grace of the Almighty.

When is shivaratri observed

ska.ndha purANam describes about four shiva rAtris. The first one is nitya shivarAtri (daily shivarAtri - every night). The second one is the mAsa shivarAtri which is observed on the kR^iShNa paxa chaturdasi (fourteenth moonday on the moons diminishing phase). The third one is the mAga prathamAdi shivarAtri which is observed for the thirteen days starting from prathama titi in the month mAga (mAsi) and on the chaturdasi night the Lord is worshiped throughout the night.

The fourth one is observed on the mAsi (mAga) month kR^iShNa paxa chaturdasi. This is the one observed in a widespread manner. It is also called mahA shivarAtri.

Way of observing shivaratri

Getting up early in the morning one meditates on the Infinitely Auspicious, ornated with thousands of splendid garlands, Who is in the form of the holy symbol of shiva(mahA li.ngam). Bathing and staying clean the worship of Lord shiva in the form of shiva li.ngam is done in the four jamas of the night (four equal time intervals of the night). (Note that the li.nga worship is explicitly mentioned for this vratam as this is the time the God out of Its grace for the benefit of pashus appeared in a formless-form that is a symbol (li.ngam) from Its true nature of formlessness.)

Devi Pooja

Goddess Kamkshi of Kanchipuram

It is said that in the beginning God, who was one, wanted to become many and enjoy himself. As the first step to creation he created Devi - the total cosmic Female force, also called Prakriti. For the male part, out of his left he created Shiva, out of his middle he created Brahma and out of his right he created Vishnu. That is why many regard the Devi as more powerful than the Trinities and hence She is called Parashakti or Paradevi - Para meaning beyond . Brahma created the universe. Vishnu controls and runs the universe. Shiva along with Shakti is engaged in the eternal dissolution and recreation of the universe. Hence by worshipping the Devi one is actually worshipping the highest ultimate force.

When Banasura, the demon king became all powerful and the Gods were unable to kill him, Lord Vishnu prayed Devi and she manifested in the form of Goddess Durga. During her battle with Banasura Goddess Durga created Kali and Chandi out of herself. Hence Durga, Kali and Chandi are the three most commonly worshiped names and forms of the Devi. Amba, Ammavaru, Chamundi, Danteswari, Lalita, Tripura Sundari, Meenakshi, Shodasi, Visalakshi are the other names and forms in which she is worshiped in various parts of India.

According to the scriptures and the various devi stotras the abode of the devi is the Vindhyachala, the mountain range that runs through the north-eastern Andhra Pradesh. No wonder that each and every town or village in Andhra has an Ammavru temple where the Devi is worshiped.

The photograph at the top of the page is that of Goddess Kamkshi of Kanchi. Ka-Ma-Akshi when translated means the Goddess has Lakshmi and Saraswati as her eyes, or one who gives you learning and wealth with her glance. It has the closest resemblance to the description of the devi in her original form as given in our scriptures - " The radiance of a thousand raising suns, three eyes, resplendent in red clothes, wearing a crown with the crescent moon, holding in her hands a bow of sugarcane, goad, arrows of flowers and a cord."

There are many types of Devi worships, the highest and the most coveted one being the worship of Devi in the Shree Chakra with the Highly guarded Shodasakshari mantra. Given below is a very simple but very effective Devi pooja which every one can perform daily. Those interested is the Shree Chakra pooja will find it in the poojas page.
 
Devipooja:
Dhyanam:
Sinduraruna vigraham trinayanam manikyamauli sphurat 
Tara nayaka shekharam smitamukhi mapina vakshoruham 
Panibhyamalipoorna ratna chashakam raktotpalam bibhratim 
Saumyam ratna ghatastha raktacharanam dhyayet paramambikam
 
Om Tripuradevi namah  - dhyayami
Om Tripureshidevi namah - avahayami
Om Tripurasundaridevi namah - asanam samarpayami
Om Tripuravasinidevi namah - padyam samarpayami
Om Tripurashridevi namah - arghyam dharayami
Om Tripuramalinidevi namah - achamanam samarpayami
Om Tripurasigdhadevi namah - snanam samarpayami
Om Tripurambadevi namah - vastrayugmama samarpayami
Om Mahatripurasundarid evi namah - aabharanam samarpayami
Om Mahamaheswaridevi namah - gandham dharayami
Om Mahamaharagyidevi namah - pushpani pujayami
Om Mahamahashaktidevi namah - dhupam aghrapayami
Om Mahamahaguptadevi namah - deepam darshayami
Om Mahamahagyaptadevi namah - naivedyam samarpayami
Om Mahamahanandadevi namah - tambulam samarpayami
Om Mahamahaskandadevi namah neerajanam samarpayami
Om Mahamahashayadevi namah - mantrapushpam samarpayami
Om Mahamahashrichakran agarasmragyidevi namah - atmapradikshina namaskaram
       samarpayami
 
Sadhuva sadhuva karma yadyadacharitam maya
Tatsarvam krupayadevi gruhanaaradhanam mama
Devanatha guruswamin desikaswatmanayaka 
Trahi trahi krupa sindho pujam poornataram kuru

kutti kavithakal-malayalam

**1.
**അത്തള പിത്തള
തവളാ*ച്ചി
**ചുക്കുമേലിരിക്കണ**
**ചൂലാപ്പ്
**മറിയം വന്ന്
വിളക്കൂതി
**ഗുണ്ടാ മണി സാറാ പീറാ**
**ഗോട്ട്.
**ഗോട്ട് അടിച്ച് കൈ
മലര്*ത്തി വച്ച് കളി**
**തുടരുന്നു


**2.
**അക്കുത്തിക്കുത്താന
വരമ്പേ കയ്യേ കുത്ത്**
**കരിങ്കുത്ത്
**ചീപ്പ് വെള്ളം
താറാമ്മെള്ളം
താറാമ്മക്കള
കയ്യേലൊരു** **ബ്ലാങ്ക്
**അക്കര നിക്കണ
ചക്കരപ്രാവിന്റെ
കയ്യോ കാലോ ഒന്നോ**
**രണ്ടോ
**വെട്ടിക്കുത്തി
മടക്കിട്ട്.


**3.
**ഞ-നൊ-രു-മ-നു-ഷ്യ-നെ**
**ക-ണ്ടു
**അ-യാ-ളു-ടെ നി-റം
എ-ന്ത്**?
**(**പച്ച) പ-ച്ച. (ച്ച
തൊട്ട** **വിരല്* ഔട്ട്)


**4.
**ഒന്ന്**, **രണ്ട്**,
**മൂന്ന്**, **നാല്
**അഞ്ച്**, **ആര്**, **ഏഴ്**,
**എട്ട്
**എട്ടും മുട്ടും**
**താമരമൊട്ടും
**വടക്കോട്ടുള്ള
അച്ഛനുമമ്മയും
**പൊ-ക്കോ-ട്ടെ.


**5.
**നാരങ്ങാ പാല്
**ചൂട്ടയ്ക്ക്** **രണ്ട്
**ഇലകള്* പച്ച
**പൂക്കള്* മഞ്ഞ
**ഓടി** **വരുന്ന
**<(**വരുന്ന ആളുടെ
പേര്)**< **പിടിച്ചേ


**6.
**കട്ടുറുമ്പിന്റെ
കാത്** **കുത്തിന്
**കാട്ടിലെന്തൊരു
മേളാങ്കം


**7.
**അത്തിള്* ഇത്തിള്***
**ബെന്തിപ്പൂ
**സ്വര്*ഗ രാജാ
പിച്ചിപ്പൂ
**ബ്ലാം ബ്ലീം** **ബ്ലൂം


**8.
**ഉറുമ്പേ**, **ഉറുമ്പേ
**ഉറുമ്പിന്റച്ഛന്*
എങട്ട്** **പോയി**?
**ചാത്ത്ണ്ണാന്* പോയി
**നെയ്യില് വീണ്
ചത്തും** **പോയി
**കൈപ്പടത്തിന്റെ
പുറകിലെ തൊലിയില്*
നുള്ളി
പിടിച്ച്**,**ഒന്നിനുമുകളില്***
**ഒന്നായി
എല്ലാവരും പിടിച്ച്
ഒര്രു ഉയര്*ന്ന ഗോപുരം
പോലെ പിടിച്ച്**,
**ആട്ടീ**, **
ചത്തും** **പോയി എന്നു
പറയുമ്പോള്* വിടണം.


**9.
**പിന്* പിന്*
ദെസറപ്പിന്*
**കൊച്ചിലോ ദെ**
**അല്*മാസിന്*
**ഹൌ ഹൌ തി കരബാവൊ
**ബാ -തൊ-** **തിന്*


**10.
**ഉറുമ്പുറുമ്പിന്റെ
കാതു** **കുത്ത്
**അവിടന്നും കിട്ടീ
നാഴിയരി
**ഇവിടന്നും കിട്ടീ**
**നാഴിയരി
**അരി വേവിയ്ക്കാന്*
വിറകിനു പോയി
**വിറകേലൊരു തുള്ളി**
**ചോരയിരുന്നു
**ചോര കഴുകാന്* ആറ്റില്*
പോയി
**ആറ്റില്* ചെന്നപ്പോ
വാളയെ** **കണ്ടു
**വാളയെ പിടിയ്ക്കാന്*
വള്ളിയ്ക്കു പോയി
**വള്ളിയേ തട്ടീ തടു
പുടു തടു** **പുടു തടു
പുടൂ.


**11.
**മുറ്റത്തൊരു വാഴ
നട്ടു.. വേലി** **കെട്ടി..
വെള്ളമൊഴിച്ചു.. കാവല്*
നിര്*ത്തി.. വാഴ
കുലച്ചു.. കുല കള്ളന്*
കൊണ്ടു** **പോയി.. കള്ളന്*
പോയ വഴി
അറിയോ.. ഇതിലേ ഇതിലേ..
കിക്കിളി** **കിക്കിളി..


**12.
**അരിപ്പോ തിരിപ്പോ**
**തോരണിമംഗലം
**പരിപ്പൂ
പന്ത്രണ്ടാനേം
കുതിരേം
**കുളിച്ച് ജപിച്ച്**
**വരുമ്പം
**എന്തമ്പൂ**?
**മുരിക്കുമ്പൂ!
**മുരിക്കി ചെരിക്കി**
**കെടന്നോളെ
**അണ്ണായെണ്ണ
കുടിച്ചോളെ
**അക്കരനിക്കണ**
**മാടോപ്രാവിന്റെ
**കയ്യോ കാ*ലോ
രണ്ടാലൊന്ന്
**കൊത്തിച്ചെത്തി
**മടം** **കാട്ട്.
**ഇത് പാടുമ്പോളെക്കും
കൈ**
**മലറ്ത്തിയിരിക്കണം.


**13.
**അരിപ്പ** **തരിപ്പ
**താലിമംഗലം
**പരിപ്പുകുത്തി**
**പഞ്ചാരെട്ട്
**ഞാനുമെന്റെ**
**ചിങ്കിരിപാപ്പന്റെ
**പേരെന്ത്**???
**(**അവസാനം വന്ന ആള്* ഒരു
പേരു പറയുന്നു -
**'**പ്രമോദ്**' **പിന്നെ**
**ഓരോരുത്തരേയും
തൊട്ടുകൊണ്ട്)
**പ്ര
**മോ
**ദ്
**എ
**ന്നാ
**കു
**ന്നു.



**14.
**അപ്പോം ചുട്ട്..അടേം**
**ചുട്ട്
**എലേം വാ*ട്ടി .. പൊതിം
കെട്ടി
**അമ്മൂമ** **അതേയ്..പോയ്..
**ഏത്യേയ് പോയ്**?
**ഇതേയ്യ്..പോയ്..**
**ഇക്കിളി..കിളികിളി...


**15.
**ഒന്നാം കോരിക
പൊന്നും** **തന്നാല്*
**പെണ്ണിനെ തരുമോ
പാണ്ഡവരേ

**ഒന്നാം കോരിക പൊന്നും
തന്നാല്***
**ഏതും പോരാ സമ്മാനം

**രണ്ടാം കോരിക
പൊന്നും** **തന്നാല്*
**പെണ്ണിനെ തരുമോ
പാണ്ഡവരേ

**രണ്ടാം കോരിക
പൊന്നും** **തന്നാല്*
**ഏതും പോരാ സമ്മാനം.
**അങ്ങനെ പത്തു വരെ**
**പാടും.
**എന്നിട്ടും സമ്മാനം
പോരാ എന്ന് പറഞ്ഞാല്*
പിന്നെ പെണ്ണിനെയും
കൊണ്ട്** **ഒരു
ഓട്ടമാണ്


**16.
**ചാമ്പേ** **റോസക്കാ
**കൊല കൊലാ
മുന്തിരിങ്ങാ
**നരീ നരീ** **ചുറ്റിവാ


**17.
**ഡും ഡും ഡും
**ആരാത്**?
**ഞാനാണ്

**എന്തിനു വന്നു**?
**പന്തിനു** **വന്നു.

**എന്ത് പന്ത്**?
**മഞ്ഞപ്പന്ത്**

**എന്ത് മഞ്ഞ**?
**മുക്കുറ്റി** **മഞ്ഞ

**എന്ത് മൂക്കുറ്റി**?
**പീലി** **മൂക്കുറ്റി

**എന്ത് പീലി**?
**കണ്*പീലി

**എന്ത്** **കണ്ണ്**?
**ആനക്കണ്ണ്

**എന്ത്** **ആന**?
**കാട്ടാന

**എന്ത്** **കാട്**?
**പട്ടിക്കാട്.

**എന്ത്** **പട്ടി**?
**പേപ്പട്ടി.

**എന്ത്** **പേ**?
**പെപ്പരപേ!!


**18.
**അപ്പോം ചുട്ട് അടേം**
**ചുട്ട്
**അപ്പന്റെ വീട്ടില്*
ഓണത്തിനു പോമ്പം
**ആ*ട** **കല്ല്
**ഈട മുള്ള്
**ഈട നായിത്തീട്ടം
**ഈട** **കോയിത്തീട്ടം
**ഈട ഇക്കിളി കിളി കിളി
**ഇതും പറഞ്ഞ്
മുത്തശ്ശിമാറ്**
**കുട്ടികളുടെ
കക്ഷങ്ങളില്*
ഇക്കിളികൂട്ടും.
**ആട=അവിടെ**,**ഈട=ഇവിടെ:കണ്ണൂറ്**
**ഭാഷ.


**19.
**ആകാശം ഭൂമി
**ആലുമ്മെ** **കായ
**ആന വിരണ്ടാ
**അടുപ്പില് പൂട്ടാം


**20.
**കള്ളും കുടിച്ച്
കാട്ടില്*** **പോകാ**?
**ഉം.
**കള്ളനെ കണ്ടാല്***
**പേടിക്ക്വ**?
**ഇല്ല.
**ഫൂ**' **എന്നും പറഞ്ഞ്
കണ്ണിലേക്ക് നോക്കി
ഒറ്റ** **ഊതല്*.
**കണ്ണു പൂട്ടിയാല്*
പേടിച്ചു എന്നര്*ത്ഥം


**21.
**അണ്ടങ്ങ..മുണ്ടക്ക
**ഡാമ ഡൂമ** **ഡസ്ക്കനിക്ക
**കോക്കനിക്ക ഡെയ്..
**അല്ലീ.മല്ലീ** **സെയ്.
**പട്ടണങ്ക് പോ


**22.
**ജിമിക്കി ജിമിക്കി**
**ജാനകി
**വെള്ളം കോരാന്*
പോയപ്പോള്*
**അടുത്ത വീട്ടിലെ
സായിപ്പ്**
**കണ്ണിറുക്കു
കാണിച്ച്
**എന്നാ മോളേ** **കല്യാണം
**അടൂത്ത മാസം പത്തിന്
**ഏതാമോളേ** **ചെക്കന്*
**എക്സ്പ്രസ് ദിനകരന്*


**23.
**ആട്ടി കള
**കാട്ടീ** **കള
**നീട്ടി കള**
**പയ്യനെ
**ഹൈലസമ്പിടി** **ഹൈലസ


**24.
**എന്തും പന്ത്**?
**ഏറും** **പന്ത്.
**എന്തിനു കൊള്ളാം.
**എറിയാന്*** **കൊള്ളാം.
**ആരെ എറിയാന്*...........
**എല്ലാവരേം എറിയാന്***
**........**എന്നാ പിടിച്ചോ.....


**25.
**ഉപ്പിനു പോകണവഴിയേതു
..
**കായം കുളത്തിനു**
**തെക്കെതു
**(**ഇതു മുഴുവന്* ഇല്ല
എന്ന് തോന്നുന്നു)


**26.
**ആരാത്**?
**മാലാഖാ..
**എന്തിനു വന്നു**?
**എഴുത്തിനു** **വന്നു...
**എന്തെഴുത്ത്**?
**തലേലെഴുത്ത്...
**എന്തു** **തല**?
**മൊട്ടത്തല...
**എന്തു മൊട്ട**?
**കോഴിമൊട്ട...
**എന്തുകോഴി**?
**കാട്ടു** **കോഴി...
**എന്തു കാട്**?
**കുറ്റിക്കാട്**?
**എന്തു** **കുറ്റി**?
**കരണക്കുറ്റീ.. "ഠേ"**


**27.
**എന്നെ വിളിച്ചോ**?
**വിളിച്ചു
**ആര്***?
**തെങ്ങിണ്റ്റെ ആര്***
**എന്തു തെങ്ങ്***?
**കൊന്നത്തെങ്ങ്*
**എന്തു കൊന്ന**?
**കണിക്കൊന്ന**
**എന്തു കണി**?
**വിഷുക്കണി**
**എന്തു വിഷു**?
**മേട വിഷു**
**എന്തു മേട**?
**മണി മേട**
**എന്തു മണി**?


**28.
**പൂപറിക്കാന്* പോരുമോ
**ആരെ**
**നിങ്ങല്*ക്കാവശ്യം
**(**ഒരു പേര്)**
**ഞങ്ങള്*ക്കാവശ്യം
**കൊണ്ട് പോണത്
കാണട്ടമ്പിടി** **രാവിലേ
**(**പേര് പറഞ്ഞ ആളെ മറ്റേ
ഗ്രൂപ്പ്*ക്കാര്*
വലിച്ച് കൊണ്ട്**
**പോകുന്നു)


**29.
**തങ്കപ്പന്* തലകുത്തി
**ചന്തയ്ക്ക്**
**പോയപ്പോള്*
**തങ്കമ്മ പെറ്റത്**
**തവളക്കുട്ടി

**ആന വിരണ്ടത്**
**ആലില്* തളച്ചപ്പോള്*
**കൊമാങ്ങ പൂത്തത്**
**കൊട്ടത്തേങ്ങ


**30
**അക്കുത്തിക്കുത്താന
**പെരുങ്കുത്തക്കരെ
നിക്കണ**
**ചക്കിപ്പെണ്ണിന്റെ
കയ്യോ കാലോ
**രണ്ടാലൊന്ന്**, **തട്ടീ
മുട്ടീ** **മലത്തിങ്ക്ലാ
**മലത്തിങ്ക്ലാ
കൈപ്പത്തി മലര്*ത്തണം.
അടുത്ത റൌണ്ടില്***
**"**മലത്തിങ്ക്ല"
എന്നത് മലര്*ത്തിയ
കൈപ്പത്തിയില്*
വന്നാല്***, **ആ കൈ** **ഔട്ട്


**31.
**തപ്പോ തപ്പോ തപ്പാണി
**തപ്പുകുടുക്കയിലെന്തുണ്ട്*
**നാഴിയുരി** **ചോറുണ്ട്*
**അമ്മാമന്* വന്നേ
വിളമ്പാവൂ
**അമ്മാമി തന്നേ**
**ഉണ്ണാവൂ
**....
**"**ദില് ഉപ്പുണ്ടോ**?
**ദില് ഉപ്പുണ്ടോ**?"
(**ഇതില്*** **ഉപ്പുണ്ടോ**?)
**എന്ന് ചോദിച്ച് ഓരോ
വിരലുകളും മടക്കി
വെക്കുന്നു. അവസാനം
അഞ്ചു** **വിരലുകളും
മടക്കി കഴിഞാല്*.

**""**അച്ഛന്റമ്മാത്തേക്ക്
ഏത്യാ വഴീ**, **ഏത്യാ വഴീ**
"
**എന്ന്* ചോദിച്ച്
മടക്കിയ വിരലുകള്*ക്*
മുകളിലൂടെ
വിരലോടിച്ച്**
**കുട്ടിയുടെ
കക്ഷം വരെ എത്തിച്ച്
കുട്ടിയെ**
**കിക്കിളിയാക്കും


**32.
**വാ പൈങ്കിളി**
**പോ പൈങ്കിളി
**പൊന്നും പൈങ്കിളി
**പാറിപ്പോയ്.
**കൈവിരലുകള്*
നിവര്*ത്തിയും
മടക്കിയൂം കുട്ടികളെ**
**കളിപ്പിക്കുന്ന
ഏര്*പ്പാടാണ്.


**33.
**ഐ സീ എ ചേരപ്പാമ്പ്..
**ഓടിച്ചെന്ന്**
**തെങ്ങുമ്മെക്കേറി..
**ഹെഡ്ഡും കുത്തി
നെലത്തിയ്ക്ക്** **വീണു..
**ഹെഡ്ഡിലിത്തിരി
മണ്ണായി..
**ഹെഡ്ഡ് കഴുകാന്***
**ചെന്നപ്പൊ..
**നോ വാട്ടര്*!!!

**34.

**അക്കുത്തിക്കുത്താന
വരമ്പേ കയ്യേ കുത്ത്**
**കരിങ്കുത്ത്
**പന്ത്രണ്ടാന്*
കുളിച്ചു വരുമ്പോള്***
**പരിപ്പുകുത്തി
പാച്ചോറു വച്ചു**
**ഞാനുമുണ്ടു**,
**സഖിയുമുണ്ടു**,
**സഖീടച്ചന്റെ
പേരെന്ത്**?
**മുരിങ്ങത്തണ്ട്
**മുരിങ്ങതണ്ടും
തിന്നവളെ**,
**മുന്നാഴിയെണ്ണ**
**കുടിച്ചവളേ
**അക്കര നിക്കണ
മാടപ്രാവിന്റെ കയ്യോ
കാലോ വെട്ടിക്കുത്തി
മടക്കണം** **ഒന്ന്.

**(35)
**ദോശമ്മേ** **ദോശ
**കലക്കി ചുട്ട ദോശ
**അച്ഛന്** **അഞ്ച്
**അമ്മയ്ക്ക് നാല്
**ചേട്ടനു** *

colours of my dreams

raja ravi varma: the legendary painter of kerala

Raja Ravi Varma & his works

Born April 29,1848
Kilimanoor, Travancore, Company Raj
Died October 2,1906
Kilimanoor, Travancore, British India
Occupation Painter
Raja Ravi Varma

Great Artists
Raja Ravi Varma was born to Umamba Thampuratti and Neelakandan Bhattathiripad in the royal palace of Kilimanoor on April 29, 1848. Ravi Varma belonged to a family of scholars, poets and artists.

Noted in his family were, among others, Vidwan Koil Tampuran, author of the famous Kathakali work Ravana Vijayam, Raja Raja Varma, who painted after the Tanjore style, and Uma Amba Bai Tampuratty, who, composed Parvati Swayamvaram, a work for the Tullal dance. The inborn talent of the painter started showing at a very tender age. As only a small boy, he filled the walls of his home with pictures of animals, acts and scenes from his daily life, which though irked the domestics, were noted by his uncle, Raja Raja Varma as the signs of a blossoming genius.



The uncle, himself a Tanjore artist, not only gave the first drawing lessons to Ravi Varma, but also took a keen interest in his further training and education with the help of the ruling king, Ayilyam Thirunal.

Recognizing the innate aptitude of their child, when he was only 14 years old, his parents sent him to study under the patronage of Ayilyam Thirunal Maharaja of Travancore, where he stayed at the Moodath Madam house of the Kilimanoor Palace and was taught water painting by the palace painter Rama Swamy Naidu. Here Varma's talent was nurtured by the personal interest of Ayilyam Thirunal who exposed him to the famous paintings of Italian painters. He received tutelage, first, from the palace painter Rama Swamy Naidu and then, from Theodor Jenson, a British painter.


Ravi Varma had been using the indigenous paints made from leaves, flowers, tree bark and soil which his uncle Raja Raja Varma prepared for him. His first set of oil paints was brought from Madras after noticing a newspaper advertisement. Excited and nervous, he handled the paints he had waited for a long time.

Varma's next dilemma was learning to paint. This dilemma may seem incongruous more than a century after he started to paint, but the medium was very new and the technique equally elusive in those days. Only one person in Travancore knew the technique of oil painting - Ramaswamy Naicker of Madura, who, recognizing a potential rival in Varma, refused to teach him the know-how. Naicker's student, Arumugham Pillai would actually sneak into Moodath Madam at nightfall to share his knowledge with Varma, against his teacher's wishes.



This clandestine education was only supplemented by watching a visiting Dutch portrait artist who painted the portraits of Ayilyam Thirunal and his wife. Through trial, error and hard work, Ravi Varma worked with the pliable medium, learning to blend, smooth and maneuver the flexibility that was afforded by this slow drying substance.



When Varma himself painted the portraits of this royal couple, this self-taught artist's blazing talent far outshone the Dutchman! Ravi Varma's creativity was further tampered by listening to the music of veterans, watching Kathakali, going through the manuscripts preserved in ancient families and listening to the artistic interpretations of the epics. Ravi Varma's fame as a portrait artist soared with several important portrait commissions from the Indian aristocracy and British officials between 1870 and 1878, and the sensitivity and immense competence this artist still remains unsurpassed.
His clever portrayal would add elegance to the personality of the protagonist, like unmasking the fragrance of a flower. The small town of Kilimanoor was compelled to open a post office, as letters with requests for paintings arrived from every where. The recognition that Ravi Varma received in major exhibitions abroad was for the portrait-based renditions, which were meticulous compositions of people, their demeanor and attires.



These works finely blended the elements of the early Tanjore custom of painting Nayikas (the feminine emotions being the central theme) and the graceful realism of European masters. In 1873 he won the First Prize at the Madras Painting Exhibition and he became a world famous Indian painter after winning in 1873 Vienna Exhibition. Though not really qualified for the title of a Raja, when an imperial citation happened to come across in the name of Raja Ravi Varma, the name stuck and stayed.

Besides portraits, and portrait-based compositions, Varma now embarked on honing an oeuvre for theatrical compositions based on Indian myths and legends. " Nala Damayanti", " Shantanu and Matsyagandha" , " Shantanu and Ganga", "Radha and Madhava", " Kamsa Maya", "Shrikrishna and Devaki", " Arjuna and Subhadra", " Draupadi Vastraharan" , " Harischandra and Taramati", "Vishwamitra and Menaka", " Seetaswayamvaram" , " Young Bharat and a Lion Cub", " The Birth of Sri Krishna", ' Keechaka and Sairanthri' took new forms under his skillful brush.

With oil paints applied thickly, Ravi Varma created lustrous, impasted jewellery, brocaded textures, and subtle shades of complexions. Though several folk and traditional art forms of India since time immemorial subsisted as illustrations for religious narratives, yet, illusionist paintings as a medium for story telling was Ravi Varma's invention. He cleverly picked the particularly touching stories and moments from the Sanskrit classics. Though often considered as lacking in overall congruity, by the sheer mastery of painting beautiful areas and expressions, his compositions would enchant the beholder no end.



Ammakovil Thampuran

Ravi Varma was convinced that mass reproduction of Raja ravi varma paintings would initiate millions of Indians to real Art, and in 1894 he set up an oleography press called the Ravi Varma Pictures Depot. For photo-litho transfers, the Pictures Depot relied on Phalke's Engraving & Printing whose proprietor, Dhundiraj Govind Phalke, became famous as dadasaheb of Indian Cinema a few years later.

In 1894 and 1888, Ravi Varma and his younger brother C.Raja Raja Varma took a tour around India, in search of images and landscapes for inspiration. On his return from the second tour, Ravi Varma painted a batch of pictures especially for reproduction at his new press, the Picture Depot. The aristocratic orientalism in his imagery was now replaced by a little more folkish, more iconic and more marketable forms, and also seen was a crises of gender identity of contemporaneous European forms.



Lady In Her Dressing Room

The Calendar-Art thus brought-forth by Ravi Varma has been the origin of lakhs of gaudy god-pictures by ultramodern litho presses for decades. Raja Ravi Varma died of diabetes on October 2, 1906, in his Kilimanoor Palace home overflowing with friends, relatives, dignitaries and the media. Yet, the rich heritage of the fragrance of his paintings continues to charm and influence the art of India.



Lady With the Lamp Masterpiece Oil Painting By Raja Ravi Varma



Kerala Lady - Painted by Raja Ravi Varma



Raja Ravi Varma's Painting of a North Indian Village Girl Carrying Milk



Ravi Varma :Half naked Beauty




Raja Ravi Varma passed away on 2nd October 1906. Tributes Dr. Abanindranath Tagore, connoisseur of Indian art, most aptly encompasses the personality of RaviVarma in a single sentence. It is rare to come across in these days, men like him, artists like him, lovers of India like him.

An artist who is credited with bringing about a momentous turn in the art of India, Raja RaviVarma inexorably influenced future generations of artists from different streams. He was the first artist to cast the Indian Gods and mythological characters in natural earthy surroundings using a European realism; a depiction adopted not only by the Indian "calendar-art" - spawning ubiquitous images of Gods and Goddesses, but also by literature and later by the Indian film industry- affecting their dress and form even today. His dazzling oil paintings of India's ancient glory delighted turn-of-the- century India and his mass reproductions through oleography reached out to the Indian populace in an unprecedented scale.

Raja Ravi Varma got married to Rani Bhageerathi Bayi (Kochu Panki Amma) of Mavelikara Royal House. He spent the later years of his life in Mysore, Baroda and a number of other cities in the country. This exposure helped him in broadening his outlook. At the same time, he was able to expand as well as sharpen his skills and evolve into a mature painter.

Professional Aspects

Raja Ravi Varma received systematic training, first in the traditional art of Thanjavoor and then, in the European art. He is credited with providing the critical link between Thanjavoor School and Western academic realism. His paintings can be classified into the following three categories:

* Portraits
* Portrait-based Compositions
* Theatrical Compositions, based on myths and legends

It is the third category of paintings for which Raja Ravi Varma is the most renowned. He was continuously traveling through the length and breadth of India, in order to find subjects for his paintings. His love for the South Indian women is depicted through his works. In many of his paintings, he has modeled Hindu Goddesses on the women living in the southern parts of India. The most popular as well as impressive paintings of Raja Ravi Verma include the ones depicting episodes from the story of Dushyanta and Shakuntala and that of Nala and Damayanti.

At times, Raja Ravi Varma is criticized for being too showy in his paintings. His paintings are also condemned for overshadowing traditional Indian art forms, especially the ones depicting Hindu Gods and Goddesses. Raja Ravi Varma's approach is said to lack the dynamism of expression seen in the traditional paintings. Critics have also disapproved of his rejecting the traditional models of representation of deities and reducing them to the level of mortals.

Recognition

In recognition of the immense contribution of Raja Ravi Varma towards Indian art, the Government of Kerala has instituted an award in his name. Known as the 'Raja Ravi Varma Puraskaram', the award is given to individuals who show considerable promise in the field of art and culture. There is a college in Mavelikara district of Kerala, established in the honor of Raja Ravi Verma. He also received international recognition in 1873, when he won the first prize for his paintings at the Vienna Art Exhibition.

He is known for his amazing paintings, which revolve mainly around the great epics of Mahabharata and Ramayana. Raja Ravi Varma is one of the few painters who have managed to accomplish a beautiful unison of the Indian traditions with the techniques of European academic art. He left for the holy abode on 2nd October 1906, leaving behind his legacy of amazing paintings. Raja Ravi Verma's paintings of beautiful sari clad women have also received recognition in the west.

Notable Works of Raja Ravi Varma
Given below is a comprehensive list of the prominent works of Raja Ravi Varma:* A Family of Beggars
* A Lady Playing Swarbat
* Arjuna and Subhadra
* Damayanti Talking to a Swan
* Draupadi Dreading to Meet Kichaka
* Girl in Sage Kanwa's Hermitage (Rishi-Kanya)
* Jatayu (a bird devotee of Lord Rama is mauled by Rawana)
* Lady Giving Alms at the Temple
* Lady Lost in Thought
* Lady with Fruit
* Lord Krishna as Ambassador
* Lord Rama Conquers Varuna
* Nair Woman
* Romancing Couple
* Shakuntala
* Shakuntala Composing a Love Letter to King Dushyanta
* Shantanu and Matsyagandha
* Swarbat Player
* The Heartbroken
* The Orchestra
* Victory of Indraji