WHEN THE DEAD IS BROUGHT BACK BY MUSIC

The Therapeutic Value of Music

In India legend has it that Thyagaraja, the famous musician of South India, brought a dead person back to life by singing the composition Naa Jeeva Dhara in raga Bihari. 
Dr. Burnell has mentioned a manuscript named Raga Chikistsa in the collections of the Saraswati Mahal Library in Tanjore which deals with the various ragas that can be used for curing various ailments.

Music is basically a sound or nada generating particular vibrations which moves through the medium of the ether present in the atmosphere and affects the human body . Sarangdev mentions in his Sangeet Ratnakar that ahata nada or music is always produced by striking or aghata by a living being on an instrument of any kind, so music is a power or universal energy in the form of ragas. Matanga (9-10th centurey AD) was the earliest writer to define raga. According to him “raga is that kind of sound composition consisting of melodic movements which has the effect of clearing the hearts of men.” There are four sources of raga: folk songs, poetry, devotional songs of mystics and compositions of classical musicians. While harmony is the characteristic of Western music, Indian music is pure melody. 

The general term for melody in India is raga or ragini. Symphonies of raga have a definite soothing effect on the mind as well as on the body Repeated listening to the particular raga being chosen for a particular disease produces a network of sound vibration. The muscles, nerves and the chakras of the affected part are contracted when one impulse is given and relaxed during the interval between two impulses. Thus, during contraction of the tissue, musical notes make the blood flow out of that particular area and in the interval there is relaxation and a state of reduced pressure is produced in these areas. Thus the blood from the adjacent area will flow there. 

This process is repeated again and again and the blood flow and energy flow in that part is enhanced. This makes quick, fast healing. Energy from URF (universal energy field) to HEF (human energy field) transmitted by the strokes of the different tones of raga affects the CNS (Central nervous system) because the roots of the auditory nerves are more widely distributed and have more connections than any other nerves in the body. 
Music beats have a very close relationship with heart beats. Music having 70-75 beats per minute equivalent to the normal heart beat of 72 has a very soothing effect. Likewise rhythms which are slower than 72 beats per minute create a positive suspense on the mind and body since
the mind, body complex anticipates that the music will speed up and this restored vital energy gives a deep relaxation to the body. Rhythms which are faster than the heart rate excite and rejuvenate the body. Hindustani/classical musical considers ragas as depicting specific moods . An appropriate mood is to be evoked in the listener’s mind before initiating the musical treatment.

Kafi Raga evokes a humid, cool, soothing and deep mood while Raga Pooriya Dhansari evokes sweet, deep, heavy, cloudy and stable state of mind. Raga Mishra Mand has a very pleasing, refreshing light and sweet touch while bagashwri arouses a feeling of darkness, stability, depths and calmness. Music is considered the best tranquilizer in modern days of anxiety, tension and high blood pressure. Raga Darbari is considered very effective in easing tension. It is a late night raga composed by Tansen for Akbar to relieve his tension after the hectic schedule of the daily court life.

This raga belongs to Asavari that and is a complete raga containing all the seven notes. The seven notes are taken from various natural sounds of birds and animals. Raga Bhupali and Todi give tremendous relief to patients of high blood pressure. Raga Ahir-Bhairav is supposed to sustain chords which automatically brings down blood pressure. Raga Malkauns and Raga Asawari help to cure low blood pressure, for heart ailments Raga Chandrakauns is considered very helpful. Raga Tilak-Kamod, Hansdhwani, Kalvati, Durga evoke a very pleasing effect on the nerves. For patients suffering from insomnia and need a peaceful sonorous sleep, Raga Bihag and Bahar have wonderful effects.

Ragas are closely related to different parts of the day, according to changes in the nature and development of a particular emotion, mood or sentiment in the human mind . Music therapy treatment is conducted either early morning, evening or night. One should avoid long music sessions on an empty stomach [15]. Music sassions should be of one hour duration with two or three short sessions with breaks. 

One of the unique characteristics of Indian music is  music is the assignment of definite times of the day and night for performing .

It is believed that only in this period that Raga appears to be at the height of its melodic beauty and majestic splendour. There are some Ragas which are very attractive in the early hours of the mornings, others which appeal in the evenings, yet others which spread their fragrance only near the midnight hour. This connections of time of the day or night, with the Raga or Raginis is based on a daily cycle of changes that occur in our own body and mind  which are constantly undergoing subtle changes in that different moments of the day arouse and stimulate different moods and emotions. Each Raga or Ragini is associated with a definite mood or sentiment that nature arouses in human beings.
The ancient musicologists were particularly interested in the effects of musical notes, how it affected and enhanced human behavior. Music had the power to cure, to make you feel happy, sad, disgusted and so on. Extensive research was carried out to find out these effects. This formed the basis of time theory as we know it today.

It is believed that the human body  is dominated by the three Doshas-Kaph, Pitta and Vata. These elements work in a cyclic order of rise and fall during the 24 hour period. Also, the reaction of these three elements differs with the seasons. Hence it is said that   performing or listening to a raga at the proper allotted time can affect the health of human beings.
The following schedule will summarize the specific time periods:

The 24 hour period is divided into 8 beats (Prahar) each three hours long, as follows: 1. 7 a.m.-10 a.m. 1st beat of the day. Daybreak, Early Morning. Morning. 2. 10 a.m. – 1 p.m., 2nd beat of the day. Late Morning, Noon, Early afternoon. 3. 1 p.m. – 4 p.m. 3rd beat of the day. Afternoon, Late Afternoon. 4. 4 p.m. – 7 p.m. 4th beat of the day. Evening Twilight, Dusk (sunset) 5. 7 p.m. – 10 a.m. first beat of the night. Evening, Late Evening. 6. 10 p.m. – 1 p.m., 2nd beat of the night. Night, Midnight. 7. 1 a.m. – 4 a.m. 3rd beat of the night. Late Night 8. 4 a.m. – 7 a.m. 4th beat of the night. Early Dawn, Dawn (before sunrise) Similarly Everyday two cycles of change pass through our body, each bringing a Vata, Pitta, or Kapha predominance. The approximate times of these cycles are as follows: First cycle • 6 a.m. to 10 a.m. – Kapha • 10 a.m. to 2 p.m. – Pitta • 2 p.m. to 6 p.m. – Vata Second cycle • 6 p.m. to 10 p.m. – Kapha • 10 p.m. to 2 p.m. – Pitta • 2 a.m. to 6 p.m. 

There are Ragas associated with the rainy season, Varsha (Raga Megha and Raga Malhar), the autumn season, Basant (Raga Basant) and the spring season (Raga Bahar). Seasonal Ragas can be sung and played any time of the day and night during the season allotted to them. The obligation of time in case of such melodies is relaxed. Vasanta Ritu (Spring Season). In this season, increased kapha is liquified by the heat of sun which causes diminished agni (digestive activity) causing diseases Grishma Ritu (Summer Season) In this season, Sunrays become powerful. Kapha decreases vata increases day by day Sharat Ritu (Autumn Season) Sudden exposed to sunlight after cold season aggravates pita. 

FEAR NOT DEATH,TRUE ESSENCE IS ETERNAL

The Katha Upanishad tells you the story behind life and death. 

Once upon a time in ancient India there lived a pious man named Vajasrawas who had a young and intellectual son named Nachiketa, there comes a day where Vajasrawa decides to do Viswajit sacrifice [one who could give up all transitory things including wealth and all his possessions in order gain knowledge of Brahman / knowledge of reality]. 
 Hence Vajasrawa meets saints to takes advise on him performing Viswajit sacrifice and decides the ceremony date.

On the day of Viswajit sacrifice ceremony Vajasrawa decides to sacrifice few of his least valuable things, observing the ceremony. 

Nachiketa thought, “why is my father sacrificing these old cows which are of no use to anyone and felt that by giving these cows his father would not get the desired result of the sacrifice”.He then obediently asks his father “You are not giving away all your possessions! Dad, Am I not your possession? To whom will you give me Father?”.

At first the Vajasrawa ignored his son but Nachiketa persisted, asking him repeatedly, “To whom will you give me, father? To whom will you give me?”.Vajasrawa angrily replied: “I will give you to YAMA (the God of Death)”.

Those words were unintentional, But Nachiketa decided to obey the words of his father by going to YAMA, Vajasrawa begged his son to stay back, told him his words were unintentional uttered in anger. 

Nachiketa with all his heart had firmly decided to obey his father; head held high with pride told his father, “Our ancestors never slipped on their words and I would love to follow them, my beloved father I want you to follow the same tradition” .

Because Nachiketa knew that one should not fear death, the life on earth is materialistic and unreal the only path which leads to heaven[god] is path made up of truth and peace.

Vajasrawa was deeply moved but with the pride of being father to such a brave son permitted him to follow his decision, with the blessings of his father Nachiketa left to YAMALOKA [Place of Lord YAMA].

On reaching the entrance of Yamaloka, Nachiketa discovered that Lord Yama was not at home, decided to wait at the entrance and waited for three long days on the doorsteps of Yamaloka, The Lord YAMA on his return to Yamaloka saw Nachiketa waiting at the doorsteps and was deeply grieved welcomed Nachiketa to Yamaloka with all due respect. For having kept him waiting for three long days, Lord Yama granted him with three boons.

 First boon: Nachiketa to lord Yama ,“I seek the welfare of my father as my first Boon.” Lord Yama granted him with ease.

Second boon: Nachiketa to lord Yama, “I desire to know how one could reach heaven where there is no sorrow and death” .Yama enlightened him with the details of sacrifices, performances and worships which would lead one to heaven. Yama was delighted with his request, which sounded unselfish and to the betterment of the human race, so thought Nachiketa about all the sacrifices and worship which leads you to Heaven.

As Nachiketa was an intellectual and honest soul spiritually blessed could understand all that was taught hence  Yama named the sacrifice after him.

Third boon: Nachiketa to lord Yama, “When a person dies, there arises this doubt, does he still exists or not. I want you to teach me the truth.” Yama was not expecting this question from a young boy. He tried to divert him but Nachiketa was very firm. He wanted to know the truth.

 Yama was very pleased but he tried to divert the attention with lot of attractive things. Nachiketa declined all these worldly pleasures. Yama was pleased with such a young truth-seeker who had rejected the path of enjoyment and chose the path of goodness. Then Yama taught him the knowledge of the Atman, how humans can attain immortality.

Words of the lord of death: “The Self cannot be known through study of the scriptures, nor through the intellect, nor through hearing learned discourses. The Self can be attained only by those whom the Self chooses. Verily unto them does the Self reveal himself.”  
The Upanishad presents ideas that contrast Hinduism with Buddhism’s assertion that “Soul, Self does not exist”, and Buddhism’s precept that one should seek “Emptiness (Śūnyatā) which is Highest Bliss”  

Know that the Atman is the rider in the chariot,
and the body is the chariot,
Know that the Buddhi (intelligence, ability to reason) is the charioteer,
and Manas (mind) is the reins.

The senses are called the horses,
the objects of the senses are their paths,
Formed out of the union of the Atman, the senses and the mind,
him they call the “enjoyer”.

— Katha Upanishad, 1.3.3-1.3.4

In final verses, the Katha Upanishad asserts that Atman-knowledge, or Self-realization, is not attained by instruction, not arguments nor reasoning from scriptures. It is comprehended by oneself through meditation and introspection. It is not attained by those who do not abstain from misconduct, not those who are restless nor composed, not those whose mind is not calm and tranquil, but only those who live ethically, are composed, tranquil, internally peaceful, search within and examine their own nature.
 Yama,the lord of death, as the spokesman of the Katha Upanishad asserts that man must not fear anyone, anything, not even death, because the true essence of man, his Atman is neither born nor dies, he is eternal, he is Brahman.

Katha in Sanskrit means sorrow.

LIGHT A LAMP AND AWAKEN THE CHAKRAS

Why Modi Told Indians to Light Lamps?

Lamp is an integral part of every puja in the Hindu method of worship. In fact, lighting of the lamp is the very first ritual that marks the beginning of every sacred act in Hinduism. Lighting the lamp amounts to invoking the presence of God in the site and also awakening the inner spiritual energy in us. While oil and ghee are used to fuel the lamps, the tradition prefers ghee lamp over oil lamp during puja.

Lamp is a symbol of fire principle called as Tejas. Most spiritual traditions across the world see God in the form of light and therefore, lighting the lamp while beginning the puja is highly symbolic of perceiving the supreme principle manifest in visible form as the flame of the lamp.

Every spiritual practice whether puja other forms of Sadhana are meant to kindle the seven chakras of the human body and awaken the spiritual power within. While an oil lamp can send vibrations to kindle the first two chakras namely Muladhara and Swdhishtana, a ghee lamp has the power to kindle the net two chakras namely Manipura and Anahata as well. The oil lamp always activates the Surya Nadi of the person, while a ghee lamp can activate the Nadi that is appropriate to the individual depending on the action he is engaged in.

There are three basic propensities in creation namely Sattva, Rajas and Tamas which indicate the positive, impulsive and lethargic tendencies respectively. A positive state is essential for spiritual progress. While an oil lamp sends vibrations that strengthen the Rajas particles of the sheath of vital air (Pranamaya Kosha), a ghee lamp can enhance the Sattva or the positive particles of this sheath thereby easing the spiritual pursuit.

 In an oil lamp we find yellow and red colour components which represent divine consciousness and radiant energy respectively. In a ghee lamp, we find an additional component of blue colour which is symbolic of spiritual emotion and helps attract more amount of spiritual vibrations from the atmosphere.

Ghee has the supreme place in fuelling the lamps. The combination of ghee and fire are said to produce highly powerful spiritual energy. In fact, lighting lamp with ghee amounts to placing a powerful spiritual yantra at the site. People say lighting a ghee lamp is like wearing a talisman. Shastras note that ghee lamp can attract the aura of Kubera, the god of wealth and help in winning wealth, fame, power and luxury in one’s life.

 Butter obtained from native variety of cows feeding on green grass is ideally suitable to get the desired results. As much as possible, light the lamp with the flame facing the east or north direction. Earthen lamps are the ideal choice, while silver and brass lamps rank second and third.

Ghee Lamp for Wealth and Prosperity

Single threaded mud lamp filled with ghee. Usually this sort of single flame ghee lamps are lighted in temple as an offering to Gods and also in their houses during certain festivals such as diwali and during krittika day. But most people don’t know the scientific reason behind lamp lighting.

In India, lamps are lighted using various agents such as Ghee, Oil, Oil made of 9 great grains (navdhanya). Oil made of nine grains (navdhanya) when used for lighting a lamp creates an Aura in the place which protects the person against malefic planetary rays as well as negative energies. The smoke that comes from the lamp when inhaled channels ones energy centers and increases their bio magnetic field. That is the reason people used to light lamp in their house on early morning sunrise and during sunset.

When you light a lamp filled with oil made of sesame seeds, then it creates an energy field which protects you from Saturn’s harmful rays and increases the iron content in your body. This lamp should be lighted at home only on Saturdays and not on other days.

Ghee stands above the rest of other agents when it comes to offering supreme grace to a person. The combination of ghee and fire and resulting energy field that produces is of extremely high spiritual energy. It creates a spiritual yantra at a place it is lighted and acts as a great talisman.

When you light a single thread ghee lamp in your house, then the house and its members are blessed with spiritual power, wisdom and peacefulness.

Whereas, five threaded ghee lamp  creates a special aura which is the aura of Kubera – the god of wealth, and makes that place is rich and abundant in wealth, luxury, fame and power. This is also a spiritual energy which makes one enjoy all worldly comforts. 

When you light such a ghee lamp daily at home, early morning before sunrise and also after sun set, then the house is abundantly showered with wealth and prosperity. You should allow the lamp to light for atleast one hour and then you can put off the flame using a flower or soft thread. Flower is the best one to put off flame in lamp, one should never blow air and put off the flame as it will create great misfortune to that person.

When you blow air and put off a flame or fire, the prana from your mouth reacts with fire (Agni) tattva (element) thereby creating Abana Vayu or Abana Wind, this when enters your throat affects your thyroid gland which is responsible for 90 percent of illness in our body. So flame should be put off using a flower or a leaf that is fallen or soft object but not through blowing air from mouth or any way.

Before you put off the light using flower, say three times AUM Shanti or AMEN or Shalom, all means same. Say it by heart and not through vocal.

Make sure the ghee lamp faces east direction, which means it should be placed in west side of the room and sees the eastern face. It should never be facing south or west.

Lighting lamp is considered auspicious in all religions, but there is significant meaning in it and we should make use of it. People who want to improve financial status can light a five threaded ghee lamp at home daily and see the difference to themselves.

Instead of lighting ghee lamps at temple or church, light one at your home and make it auspicious. The saints said to light a lamp in the abode of God, and temple is not the only abode of God; your own house is abode of God, your body is abode of God; so light it for you.

Prime Minister Modi appeared on national television at exactly 9 o’clock and asked all of us to light lamps, candles and torches for exactly 9 minutes at 9 o’clock this Sunday (April 5).9, 9 and another 9.

April 5 sees the biggest transit of the month with a monumental conjunction between Jupiter and Pluto.    

There are nine planets in our solar system. So, by lighting up candles for exactly nine minutes at 9 o’clock, we would be sending an SOS to the nine planets for helping us get rid of the coronavirus epidemic.

We have to mollify the mercurial Mars, the ruling planet of ailments.  So, you have come up with a simple solution to pacify all the nine planets in just one shot: offer a spoonful of oil to an earthen lamp and place it in your courtyard or balcony, then look at the sky silently.  Rahu, Ketu, Saturn, Mercury, Mars, Jupiter, Moon, Sun and Venus would all be gratified.

The number ‘9’ has its own mathematical message. If you were to multiply any number by 9, and then reduce the resulting digits to a single digit, it always becomes nine.For example, 9X9=81, 8+1=9.

This whole month is dominated by Venus. Maintaining its shining glory, Venus will outcast every object in the night-sky and can be seen next to the star cluster Pleiades or Kruttika. This open cluster consists of about hundred stars packed in close to each other-if you see using a binocular. With un-aided eye you can easily see 6-7 stars, nearby each other along with Venus. On this day’s night, Venus will be at edge of the Pleiades Cluster-a spectacular event to be seen. This happens once in 8 yrs. So if you want Venus to pass through Pleiades, you have to wait till 2028!

At the beginning of April, look to the west each evening in the couple of hours after sunset as Venus visits the Pleiades.  Watch each night from the 1st through the 5th, as Venus climbs higher in the sky each evening, crossing through the Pleiades star cluster. The real highlight is on April 3rd, when Venus will appear inside the Pleiades — meaning it’ll be in the same field of view through binoculars or a telescope with a wide field of view. This should be spectacular if the weather’s clear where you are, so here’s wishing you clear skies.
Jupiter entered Capricorn sign on March 28, Jupiter in Capricorn sign is in conjunction with Pluto, Mars and Saturn in Uttarashadha nakshatra ruled by Sun. Jupiter from Capricorn sign is aspecting Venus in Taurus sign from April 1 to April 10. Venus is transiting its own sign Taurus this month. Jupiter, Saturn and Venus are slowing down this month, as they will go retrograde in second week of May.

Rahu is transiting in Gemini sign in Rahu’s Ardra nakshatra this month, around 8 degree, where it was during 9/11 attacks. This time Rahu is responsible for attack by an invisible enemy, coronavirus. When Rahu will leave Gemini sign and move into Taurus sign on September 24, it will bring relief from coronavirus.

Astrologers and Vedic practitioners have given a thumbs up to Modi’s efforts.

They claim that what Modi is planning to do is like a collective yagna, specifically deepa (lamp) yagna where the participants light a diya to send a message of positivity to the universe, as Modi said – “to challenge the darkness spread by the coronavirus crisis, introducing it to the power of light.”

Mumbai-based astrologer Shastri Niranjan Shukla, who accurately predicted the return of Modi-led government in 2019, down to the number of seats, says what the PM is exhorting the people to do is akin to a deep yagna.

Based on planetary positions, Shukla is of the view that the spread of Covid-19 will start slowing down after April 14 and the situation would have improved considerably by May 14. Jaipur-based Vedic practitioner Manish Grover agrees with his reading of the stars. He says that the adverse circumstances because of Coronavirus will substantially improve after April 15, around which time some kind of medical breakthrough to treat it is expected.

Both the astrologers also foresee PM Modi emerging stronger from the crisis. “Modi ji will earn worldwide respect for himself and also for the country by his handling of the crisis and also showcasing it. He will emerge as the nirvirodh vijeta (indisputable winner),” Grover says. He also believes that all the dates and time that Modi has chosen – be it for Janata Curfew or lighting of diyas – seem to have been influenced by astrology.

Astrologer and well-known Tarot card reader Ma Prem Ritambhara calls it a good thing that will unite the country and create a positive energy field.

GODDESSES OF EPIDEMICS

The Myth and Epidemics

Shitala (Hindi: “She Who Is Cool”) Indian goddess of smallpox and of other infectious diseases. She is worshipped under this name throughout the regions of South Asia in which Indo-Aryan languages are spoken. In India she is widely worshipped in the rural areas of West Bengal state. In much of Dravidian-speaking India, a goddess called Mariamma possesses similar disease-causing powers. Although temples to Shitala are found in various places in North India, including Varanasi (Benares), her mythology is highly elaborated in West Bengal and Bangladesh, where mangal-kavya (“auspicious poems”) in Bengali, dating mainly from the 18th and 19th centuries, describe the appearance of the goddess among mortals, their rejection of her, and the smallpox epidemics that she visited upon them. She is worshipped in villagewide rites mainly in the dry weather of winter and spring, the seasons most favourable to smallpox transmission. 

As an incarnation of Supreme Goddess Durga, she cures poxes, sores, ghouls, pustules and diseases, acclaimed by Hindus. Goddess Sheetala is worshipped on the eighth day after festival of colors (Holi), on the occasion of Sheetala Asthami.  

Shitala

One story says Goddess Durga has incarnated as little Kātyāyanī — daughter of sage Katyayan — to destroy all arrogant evil demonic forces of the world, in her real form as Durga, she killed many demons that were sent by Kaalkeya.

A demon named Jwarasura, the demon of fever, started spreading incurable diseases to Katyayani’s childhood friends, such as cholera, dysentery, measles, and smallpox. Katyayani cured the diseases of some of her friends. To relieve the world from all fevers and diseases, Katyayani assumed the form of Shitala Devi. Each of her four hands held a short broom, winnowing fan, jar of cooling water and a drinking cup. With her power, she cured all the children’s diseases.

 Katyayani then requests her friend, Batuk to go out and confront the demon Jwarasura. A battle ensued between the young Batuk and demon Jwarasura. Jwarasura succeeds in defeating Batuk. Then, Batuk, lying dead, magically faded into dust. Jwarasur was shocked that Batuk had disappeared and wondered where he had gone, not realising that Batuk had, in fact, assumed the form of an awful male figure with three eyes and four arms holding a battle-axe, sword, trident and demon head. This figure was pitch-black in colour with flowing locks and eyes ablaze with fury and wore a tiger-skin and a garland of skulls – for Batuk had assumed the appearance of Lord Shiva’s ferocious form, the terrible Bhairav. Bhairav reprimands Jwarasura and tells him that he is the servant of Goddess Durga (incarnate as Katyayani). A long discussion ensued but then converted into battle. Jwarasur created many demons from his powers but Bhairav managed to destroy all of them. Finally, Bhairav wrestled with Jwarasura and killed him with his trident.

Another version says that Parvati decided  the power of her coolness will bring relief to all the children and their parents. Mahadev transformed himself into Bhairav and reaches the battlefield where he confronted Jwarasura to prevent him from going around and doing any more harm to children. Both of them indulged themselves in a great and huge wrestling match.

Parvati on the other hand, transformed herself into Sheetala Devi. Sheetala Devi resembles a maiden, she was fair in complexion, wearing light and dark blue robes, wearing a minimal amount of ornaments on her limbs, three-eyed and is looking very youthful in appearance while representing an omnipotent Goddess, as being one among the incarnations of Durga. In her four hands, she held a bowl, a fan, a small broom, or a winnowing fan of some sort and she carries a pot of cold water, in which she uses to cure the diseased. She was mounted on the back of a donkey as her vehicle. Goddess Sheetala started her mission on providing relief to the children. Wherever Goddess Sheetala went around and over the world, with her most effective tool, her cold and cooling water brought relief to all children, of all shapes, sizes, colors, and ages. They were all completely restored to their good health, which brought instant relief to them and to joy to all the parents. Seeing Goddess Sheetala, everybody paid their homage to her and all the children thanked her for curing their incurable fever and purifying them.

Then, Goddess Sheetala makes an appearance in the battlefield where Bhairav and Jwarasura were fighting against each other. Sheetala Devi berates Jwarasur for his misdeeds towards young children as he spread fever to them. Bhairav also lets Jwarasura know that not only can Goddess Sheetala cure poxes, sores, ghouls, pustules and diseases, she is a goddess of sores, ghouls, and diseases and she can give them too. She is the cause as well as the cure. Finally, Sheetala Devi severely infected Jwarasura with an intense case of smallpox, thus putting an end to his reign of terror for once and for all. Mahadev liberates himself from Bhairav and Parvati frees herself from Goddess Sheetala Devi. They both returned home to Kailash.Oladevi is the goddess of cholera and the wife of the Asura Mayasura and is worshipped by people in the region of Bengal (consisting of the country Bangladesh and the Indian state of West Bengal) and Marwar. The goddess is also known as Olaichandi, Olabibi and Bibima. She is venerated by Hindus and Muslims of Bengal.

She is also worshipped in Rajasthan along with Maa Shitala as companion, saving her devotees from diseases like cholera, jaundice, diarrhoea and other stomach related diseases. She is called Ori Mata. In Marwari tradition, she has no fixed iconography but generally she is depicted like Shitala.

Oladevi is an important part of folk tradition in Bengal, and is honoured by communities of different religions and cultures.

To Hindus, Oladevi is the combined form of the Goddesses Lakshmi and Saraswati, portrayed as a lady with deep yellow skin wearing a blue sari and adorned with ornaments. She is portrayed with extended arms and seated with a child in her lap.  The Muslims of Bengal call her Olabibi or Bibima from Olabibi Gan (Song of Olabibi), which recounts the story of the child of a virgin Muslim princess that disappeared mystically and reappeared as the Goddess, curing the sons of the minister of the kingdom and the badshah, the father of her mother.

Myriad Forms of Durga in Bengal:

1.Bipattarini : Goddess “Bipatarini Chandi” is worshiped mainly in south 24 parganas. Goddess Bipattarini Chandi is a mixed form of Durga and Kali . She protects from all sorrows.

2.Rajballavi : Goddess is celebrated in Jangipara and Rajbalhat in Hoogly district . She has been the goddess of power for many centuries .She is the mixed form of Durga , Kali and Saraswati.

3.Ola Devi or Olai Chandi : Goddess “Manasha” has been worshiped to be safe from snake bite.Like wise “Devi Shitala” has been worshiped for the disease “Chicken Pox” . Bengal worships Ola Devi to remain safe from Cholera . She is mainly worshiped in south 24 parganas and also is known us Bibima.

4.Manasha-Jagatgouri : Jagjiban Ghoshal who has been a poet in North Bengal described Manasha as a daughter and wife of “Dharma”  .Dharma created Brahma,Vishnu and Maheswar, after that he created Manasha (a beautiful daughter).Manasha was beautiful in her youth when Dharma married her daughter .But he realized the mistake . Manasha transformed herself to a baby of 3 days and she was floated in the water in a cascade by three brothers Brahma,Vishnu and Maheswar. Rishi Hemant brought up in the name of Durga. This is a story of Durga and Manasha blending  in an unique form.

5.Mahishashurmardini (Devi Jogadya) : This story is in the satyayug when Sati sacrificed her life in the Yagna of Daksha and Shiva  carrying Sati’s body in Shoulder in full fury.Lord Vishnu made the body of Sati shred into pieces to  control  Shiva….. The right  toe of sati fell in the “Khirgram”of Burdwan District .Devi is worshiped in the form of “Jogadya”(Mahamaya).

6.Rankini : “Rakini”is worshiped all over Bengal but specially in Chotonagpur,Western Rar area. The people of those regions believe that “Rankini” is a form of Devi Durga and Kali or Bhairavi. Amarendranath Majumder has written “Bhairav Rankini Mahatto”.Local people believe that though Rankini is very powerfull and full of fiery , she is very pleased when worshiped with devotion .

7.Baram Chandi : The tribal people of Medinipur ,Bankura and Hooghly district of Bengal worship this Devi with devotion .She is a local goddes and worshiped with much pride specially in Medinipur .She is worshiped once a year .But the tribals call “Baram Parab” (festival).

8.Bhandali or Bandurga : She is the local goddess of North Bengal . In Coochbehar village Gopalpur , in Jalpaiguri Padamati village and Bhandali villages devi is worshiped with much pride. She is a mixed form of Durga , Kali and Bhaishnav Power .

9.Mangal Chandi : Devi Mangal Chandi is worshiped in Bengal and is a form of “Adya Shakti Durga” .In Chandi Mangal, Devi killed the demon Mangal and became Mangal Chandi .

BHADRAKALI,SMALL POX AND MUDIYETT

In the kingdom of Danavas,Darika was a demon who did penance, propitiated Brahma and got a boon that he can not be killed by a man ( male ). His atrocities became unbearable. Brahma had granted Darika the boon that no god or man would be able to kill him and that every drop of his blood that fell to the ground would lead to the birth of hundreds of Darikas. He could be slayed only by a woman. Born to Darumathy, Darika grew extremely arrogant in his power and attacked the Devas. He entered Devalok and then stormed into Kailasa. Shiva created a Shakti called Bhadrakali from his third eye who annihilated Darika. Bhadrakali set about her mission as soon as she was born, with the leader of forest ghosts and spirits, Vetalam in tow.

And as the blood dripped off his torso, she licked it before it could fall on to the ground.
However, even after Darika was killed, Bhadrakali’s thirst for blood was not appeased and she went on a killing spree. The gods ran to Shiva for help. He tried to convince her to stop but when everything failed, he lay down on the ground and said, “Daughter dance upon my naked body and release your anger.” That worked and Bhadrakali’s terrifying rampage came to an end as did the reign of Darika.  

Darika’s wife was Manodari. She was struck with grief and started observing tapas. With her husband killed, she didn’t know how to sustain herself.

Shiva was pleased with her tapas and appeared before her. He gave her a few drops of his sweat and told her that if she sprinkles it on someone it will cause small pox. The disease stricken person would worship her with offerings and that will be her means to sustain herself. Thus Manodari became the presiding deity of small pox.

She returned from her tapas and on the way back she met Bhadrakali. Full of hate for her for having killed her husband, Manodari sprinkled the sweat on Bhadrakali and immediately Bhadrakali was struck down with small pox.

Mudiyett in Kerala

Upon hearing this, Shiva created a Rakshasa called Ghantakarna and told him to lick up all the small pox eruptions from Bhadrakali’s body. He started doing that from feet upwards. As he reached her face, Shiva asked him to stop as it was not proper for a brother to lick his sister’s face. Thus the small pox marks started to adorn Bhadrakali’s face permanently.

Ghantakarna couldn’t tolerate the name of Vishnu, so he hung huge bells ( ghanta ) in his ears so that their sound subdued the chanting of Vishnu’s name.

Later, Shiva instructed him to propitiate Vishnu by observing tapas. He did so. Vishnu granted him place in Vaikuntha. Even though born a Rakshasa, Ghantakarna is worshiped as a deity after this.In another version, Bhadrakali failed to kill Darika in her first attempt and so she approached his wife Manodari who knew the secret mantra that Brahma has given her husband. Bhadrakali tricked her into revealing the mantra and went into the battlefield, but when Manodari found out, she obtained a bucket of Parvati’s sweat and threw it on Bhadrakali at which she was instantly covered with sores all over her body. Shiva then created a being out of his earwax called Ghantakarnan who licked the sores off her body, however he was too embarrassed to lick her face and hence Bhadrakali’s face is still marked with spots (like a small pox infestation).

This story is performed and sung as Darikavadham (the legend of Darika’s killing) in various parts of Kerala as an offering to the goddess Bhagavathy. In later years, the worship of Bhadrakali has been merged with that of Bhagavathy.  

Mudiyett or Mudiyettu is a traditional ritual theatre and folk dance drama from Kerala that enacts the mythological tale of a battle between the goddess Kali and the demon Darika. The ritual is a part of the bhagavathi or bhadrakali cult. The dance is performed in bhadrakali temples, the temples of the Mother Goddess, between February and May after the harvesting season. In 2010 Mudiyettu was inscribed in the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity, becoming the second art form from Kerala after Koodiyattam.

The Kavu Theendal ritual in Kodungallur Bhagavathi Temple in Kerala commemorates the slaying of the demon Darika.

COVID DRUG FROM CINCHONA TREE

A Countess Cured from Malaria

India is the biggest manufacturer of hydroxychloroquine, the anti-malarial drug that is being touted as ‘game-changer’ in the fight against COVID-19.India manufactures 70% of the world’s supply of hydroxychloroquine.

The country has a production capacity of 40 tonnes of hydroxychloroquine (HCQ) every month, implying 20 crore tablets of 200 mg each. And since the drug is also used to auto-immune diseases like rheumatoid arthritis and lupus, manufacturers have good production capacities that can also be ramped up.

The HCQ story began in 1638, the beautiful Lady Ana de Osorio, Countess of Chinchon, had held court in her husband’s palace in Lima for nine years. As wife of the Viceroy of Peru, her life had been one long whirl of balls, banquets and fiestas. But now she lay on her sweat-soaked bed stricken with malaria.

The Count watched helplessly as the fever tightened its grip. Things looked bad. But then a note arrived. It was from the governor of Loxa, a town in the Andes far to the north. He knew of a treatment that would cure the Countess, from an Incan herbalist.Would she try it? The note was followed by the governor himself, bearing a package containing the powdered bark of a tree that grew around Loxa.

The Countess swallowed the bitter potion-and was back on her feet in no time. Grateful for so miraculous a recovery, Lady Ana ordered large quantities of the bark to dispense to the feverish citizens of Lima. And when the Count and Countess of Chinchon returned to their castle and lands in Spain, where malaria was rife, the Countess took her miracle powder with her. It’s a romantic story. It first appeared in the 1660s and was never doubted. In 1874 Clements Markham, who became the president of the Royal Society popularised the Countess in his book.

The Countess recieving the cure

The tree now is known as Cinchona tree,in the name of the Countess.

Large supplies of the powder for general use, which at the time was controlled by the Church and was thus called “Jesuit’s Powder”.  

It took nearly two centuries for the active substance, Quinine, to be isolated from the bark (and was eventually to make a name for itself as a tonic to be added to gin).

Over the next century, quinine would become a common component in folk medicines and patent remedies for the treatment of malaria in the southern states of America, as well as for generic malaise. By the 1940s, quinine, or rather its derivative chloroquine, was recognized for its anti-malarial properties and found use among troops fighting in the Pacific during WW-II. However, it was noted that this compound had significant toxicities. In 1945, a modification of this compound via hydroxylation led to the development of HCQ, which was found to be less toxic and remains in use, without change, to this day.  

Bark of Cinchona

Over time, physicians began to experiment with the medication and, in the early 1950s, began to use it for the treatment of SLE. After the success in that disease (at least success relative to the other available agents which were basically none), it was tried in another arthropathy, RA. However, in the quest to get better responses, physicians would “push” the dose and, not surprisingly, toxicities, most notable retinal toxicity, began to present itself as a limiting feature of the medication. Not deterred, physicians adjusted the dose and began to consider using it in combination therapy, which became popular in the 1980s and has culminated in the recent studies showing the notable efficacy of triple therapy when HCQ was combined with MTX and sulfasalazine.

Most of the science regarding HCQ’s mechanism of action falls in the realm of speculation. There is evidence that one of its primary effects is on the lysosome, where it accumulates. Once there, it can stabilize the lysosomal membrane and elevate the intra-organelle pH, leading to inactive acid proteases, decreased receptor recycling, inhibition of protein/cytokine production and secretion, and interference with intracellular inflammatory pathways such as ERK and MAP kinase. Recently, there is some evidence that it also inhibits certain segments of “innate immunity” (that basic immunity which links us to jellyfish), specifically the toll-like receptors. Through its action on TLR3/4, synovial fibroblasts are less likely to become activated. Its effect on TLR7/9 inhibits TNF production.

I’m a clinician, not a molecular biologist, and what I want to know is: does it work and where or when?  

The most impressive work has come from the lupus literature. This underappreciated medication has been clearly shown to reduce the number of SLE flares, reduce the severity of SLE flares when they occur, can in some cases lead to “remission” including lupus nephritis, increase the risk of flares when stopped, and decrease the doses of prednisone needed to control the disease. In at least one study, the use of HCQ increased survival in patients with SLE by 70%.

Of equal importance, HCQ has been shown to decrease the risk of thrombosis in patients who are anti-phospholipid antibody positive.  Although no studies have been done to specifically look at it during pregnancy, most feel it is safe to continue through pregnancy in patients with SLE, despite its long T1/2 of 40 hours and its ability to cross the placenta with ease. In a study of 133 pregnancies in patients on HCQ there were no differences in fetal outcome compared to 70 pregnancies seen in a control group. One has to weigh the potential unknown risks of HCQ against the known risk of pregnancy outcome in SLE patients who flare.

HCQ has also been a pivotal drug in RA. While it demonstrated some efficacy in RA as monotherapy, HCQ has really made its name is in combination therapy. The first major publication to look at a combination therapy tested MTX+HCQ, MTX+HCQ+SSZ and MTX+SSZ in patients with established RA.  While “triple” did the best, MTX+SSZ did worse than either combination using HCQ.  There may be an explanation for this, coming from the Oncology literature. MTX needs to be actively transported into the cells to become polyglutamated, which is the active form of MTX. It turns out that SSZ inhibits this transport system, and this inhibition is counteracted by HCQ. Makes you think twice about using MTX+SSZ without HCQ, doesn’t it?

Cinchona flowers

But wait, there’s more…

It appears that in patients with RA who are treated with HCQ, there is a decreased likelihood of developing diabetes compared to those who never took it. Even more impressive, RA patients taking HCQ for more than 36 consecutive months were 70% less likely to have an incident cardiovascular event than those not taking it. Regrettably, HCQ is not the cure for all diseases. In one condition in which you would have expected to see an effect, Sjogren’s syndrome, the recent studies have been disappointing.

Now, before we starting putting HCQ in the water supply, we have to recognize that it has its toxicities. The best known is the retinal damage, which can lead to blindness. The risk increases by >1% for each year that the patient is on the medication. Monitoring with eye exams will usually control for this. Myopathies and cardiomyopathies have been described; on biopsy there is a characteristic vacuolar degeneration noted on muscle biopsy. Neuropathies, including ototoxcitiy (it’s not just the eyes…) have been reported, and in rare occasions, there can be a pigmentation of the cartilage presenting like ochronosis. All in all, it’s a pretty safe drug, especially if doses are kept below 6.5mg/kg.

HCQ has come a long way from the Incas making powder from the bark of the Cinchona tree, to having the ACR and EULAR endorse the use of HCQ in the treatment of RA and SLE. The next time you prescribe HCQ, keep in mind the enduring power of this time-tested – nearly four centuries – amazing medicine.

CROSSING THE RIVER VAITHARANI

What happens after death?

Hindus believe that they will have to cross a river called Vaitharani, after death.

Vaitarna or Vaitharani river, as mentioned in the Garuda Purana and various other Hindu religious texts, lies between the earth and the infernal Naraka, the realm of Yama, the Hindu god of death and is believed to purify one’s sins.

 Furthermore, while the righteous see it filled with nectar-like water, the sinful see it filled with blood. Sinful souls are supposed to cross this river after death. According to the Garuda Purana, this river falls on the path leading to the Southern Gate of the city of Yama. It is also mentioned that only sinful souls come via the southern gate.

However, other texts like the Harihareshwara Mahatmya in the Skanda Purana mention a physical river as well, that joins in the eastern ocean; he who bathes in it is supposed to forever be free from the torment of Yama. It first appears in the TirthaYatra Parva (Pilgrimage Episode) of the Mahabharat, where it is mentioned to be rising from the Vindhyas and falling into the Bay of Bengal after passing through Orissa as the present Baitarani River. 

Apart from that, it appears in Matsya Purana, and Vamana Purana. Finally, it is the Padma Purana which reveals the etymology of Vaitarani in Vaitarani Mahatmya, where it is defined as Vai (truly) tarini (saving) and it was brought on to the earth from Pathala, due to the penance of Parashurama resulting in a boon from Shiva.

It is equivalent to the Styx river in Greek mythology and is associated with the Vaitarani Vrata, observed on the eleventh day of the dark phase of the moon i.e., Krishna Paksha of Maghashirsha in the Hindu calendar, wherein a cow is worshipped and donated, which is believed to take one across the dreaded river as mentioned in the Garuda Purana. (verses 77-82).

When seen, the river inspires misery. It is a hundred yojanas in width and does not contain water. Instead, it is a river full of blood and pus, with a bank made of bone. For the sinful, it is impossible to cross the river. They are obstructed by hairy moss, crocodiles, flesh-eating birds, and a great many insects. When a sinner comes near the river, in an attempt to cross, it seethes and becomes overspread with smoke and flame. It is said that the sinful are hungry and thirsty, and so they drink, to fill their emptiness. For those that fall into Vaitarna, there is no rescue. The whirlpools take the fall into a lower region. For a moment the sinner stays until they rise to be washed again.

The hell surrounded by Vaitharani

The river was created for the sinful. It is nigh-impossible to cross, and the far bank cannot be seen.

There are a few ways to cross this river. It is important to note that only those souls who have sinned have to cross this river. The souls with good deeds or good karma do not travel on the path through which the Vaitarna River flows.

• A sinner who has done certain meritorious deeds can get a boat to cross the river after travelling on the terrible way of Yama for some time. These deeds include donating a cow, food, wealth or any sacrifice etc.
• It is said that even though a person is a sinner if he is following a real spiritual guru, the sinner can cross the river holding his Guru’s hand.
• If the sinner cannot cross using the above two methods, he has to wait many years till it is decided that he will cross or the servants of Yama drag him through the river.
• The descendants of the sinful soul can help him cross the river by chanting the name “Shree Gurudeva Datta”. This is the chant for the Hindu god Dattatreya.

After successfully crossing this river, the sinners reach the terrifying Southern Gate of the City of Yama. In this city, the sinners along with the souls with good deeds are judged by the Lord of Justice (Yama or Yamaraja). The sinners are taken to hell and the better souls are taken to heaven.

If a soul cannot cross the Vaitharna River then he cannot be taken to hell. He is stuck at its shore. Thus this prevents him from getting reborn on earth as a human or animal. These souls are considered ghosts who have not passed on and are stuck.

SIX TYPES OF PRANAMAM

It Shows Submissiveness

In a practically empty St. Peter’s Basilica, the pope began the liturgy of the Lord’s Passion lying prostrate on the floor.

This gesture holds deep penitential meaning. The Good Friday liturgy is one of the most somber, in which contemplation of the Cross is a fundamental element.

As in the recent Palm Sunday and Holy Thursday celebrations, the pope was accompanied only by a small group of his collaborators.

Prostration is the placement of the body in a reverentially or submissively prone position as a gesture. Typically prostration is distinguished from the lesser acts of bowing or kneeling by involving a part of the body above the knee touching the ground, especially the hands.

Major world religions employ prostration as an act of submissiveness or worship to a supreme being or other worshiped entity (i.e. God), as in the sajdah of the Islamic prayer, salat. In various cultures and traditions, prostrations are similarly used to show respect to rulers, civil authorities and social elders or superiors, as in the Chinese kowtow or Ancient Persian proskynesis. The act has often traditionally been an important part of religious, civil and traditional rituals and ceremonies, and remains in use in many cultures.

In Buddhism, prostrations are commonly used and the various stages of the physical movement are traditionally counted in threes and related to the Triple Gem, consisting of:

• the Awakened One (Sanskrit/Pali: Buddha) (in this meaning, to own potential)
• his teaching (Sanskrit: Dharma; Pali: Dhamma)
• his community (Sangha) of noble disciples (ariya-savaka).

In addition, different schools within Buddhism use prostrations in various ways, such as the Tibetan tantric preliminary practice of a 100,000 prostrations as a means of overcoming pride. Tibetan pilgrims often progress by prostrating themselves fully at each step, then moving forward as they get up, in such a way that they have lain on their face on each part of their route. Each three paces involves a full prostration; the number three is taken to refer to the Triple Gem. This is often done round a stupa, and in an extremely arduous pilgrimage, Mount Kailash is circumnavigated entirely by this method, which takes about four weeks to complete the 52 kilometre route. It is also not unusual to see pilgrims prostrating all the way from their home to Lhasa, sometimes a distance of over 2000 km, the process taking up to two years to complete.

Praṇāma  is a form of respectful or reverential salutation (or reverential bowing) before something, or another person – usually grandparents, parents, elders or teachers or someone deeply respected such as a deity. It is found in Indian culture and Hindu traditions.  

Pranama is derived from pra (Sanskrit: प्र) and ānama (Sanskrit: आनम); pra as prefix means “forward, in front, before, very, or very much”, while ānama means “bending or stretching”.Combined pranama means “bending, bowing in front” or “bending much” or “prostration”. In cultural terms, it means “respectful salutation” or “reverential bowing” before another, usually elders or teachers or someone deeply respected such as a deity.  

There are six types of Pranama.

• Ashtanga (Sanskrit: अष्टाङ्ग, lit. eight parts) – Uras (Chest), Shiras (Head), Drishti (Eyes), Manas (Attention), Vachana (Speech), Pada (Feet), Kara (Hand), Jahnu (Knee).
• Shashthanga (Sanskrit: षष्ठाङ्ग, lit. six parts) – touching the ground with toes, knees, hands, chin, nose and temple.
• Panchanga (Sanskrit: पञ्चाङ्ग, lit. five parts) – touching the ground with knees, chest, chin, temple and forehead.
• Dandavat (Sanskrit: दण्डवत्, lit. stick) – bowing forehead down and touching the ground.
• Namaskara (Sanskrit: नमस्कार, lit. adoration) – folded hands touching the forehead. This is another more common form of salutation and greeting expressed between people.
• Abhinandana (Sanskrit: अभिनन्दन, lit. congratulations) – bending forward with folded hands touching the chest.