Moments...

Extra-ordinariness is over-rated

It’s your ordinariness that allures me

Perfection is intimidating

It’s your imperfections that I value

Like I value mine

Imperfections

Make us even,

Make us humane,

Make us sensitive,

And considerate,

To those of others.

Charm is over-rated

It’s your awkwardness that I am drawn to.

The way you bob your head;

The way your eyes widen

When you speak of a new gadget.

That please-forgive-me-for-the-last-time expression

You give

When I come out of the bathroom

After you’ve used it.

How everything is so simple when you do it.

How you casually fling your leg over me in your sleep.

How you laugh...like a child at that crass joke

And try to straighten your face

When I look at you.

How you don’t care whether yellow and black go together.

How you wear the first thing you find clean in your closet.

And yet look so adorable in your mismatched attire.

How you put your arm around me just when I need it the most.

How you smile when you see me after a gap of two days.

So earnest a smile that makes the wait worth.

How you ask me the silliest of questions in middle of the night

How your embrace makes everything seem just perfectly right.

Eternal love is over-rated.

It’s in these fleeting moments that I fall in love with you.

And how!

~ aviD

राग माला

मनावन आए ललित लाल, राधे अब छांडो  मान ।
देख री सजनी खिल्यो है वसंत, मदन चलावत बान।

गूंजत शुक पिक कीर वाणी, करत भ्रमर गुंजान |
बहत मारुत मंद गति, कहाँ लों करुँ  या ऋतू को बखान।

चारो  दिसा  रंग मच्यो भारी, बाजत बीन ढफ मृदंग निसान
यह औसर फिर न मिलेगो, तज दे री  जिय को अड़ान ।

नेक विचारो  कैसी  धरी निठुराई, भयो तेरो हिय पाषाण ।
वृन्दाविपिन राजेश्वरी, तो में  बसत पिय के प्राण ।

जा बंसी को नाद सुन तोड़ी,  ते  आरज पथ आन ।
राग बिराग भये सब वाके, और मौन भई  सब तान ।

कुंचित केश सिर पाग सुदेश, छवि कोटि  मैन  लजान ।
वंशी-धरण तमाल वरन,  द्वारे  ठाडो रूप को निधान।

कबहुँ राग केदारो अलापत, लेत  सरस तान बंधान ।
निज कर कोमल  हार गहि गूंथत, तोहि रिझावन हेत  सयान।

विरह वेदना या मन की निवारो, संग मिल करो मधु रस पान ।
नव यौवन तेरे अंग अंग प्रगट्यो, सुघराई कर याको मान ।

तेरे सुहाग कि कौन  कहे आली, प्रीतम पायो नागर नट  सो ।
चल बड़भागिनि बेर कर जिन, कंठ भुज मेलि ब्रजराय सों ।

सुन तिय वचन विहँसी उठी गोरी, चली देवे दरसन को दान ।
कान्ह-राधे जुगलवर-राय, अब आन बसो 'जस' के ध्यान ।




                                                                                       

(To the connoisseurs of Hindustani classical music, and Haveli sangeet in particular, the concept of raag malas must not be a new one. In such a composition each couplet or sometimes each line has a name of raag  embedded within it, and that particular couplet or line is then sung in that specific raag.  In Pushti Haveli sangeet tradition, luminaries such as Soordasji, Parmanand-dasji, and Nand-dasji et al have composed several pads on raag mala.

In this humble attempt I have strung twenty raags  in the following order:
1) Lalit
2) Vasant
3) Kirwani
4) Maru
5) Sarang
6) Adaana
7) Charukeshi
8) Raajeshwari
9) Todi
10) Bairagi
11) Desh
12) Maalav
13)  Kedar
14) Malhaar
15) Yaman
16) Sughraai
17) Nat
18) Raayso
19) Gori
20) Kaanhra


The scene described here depicts an anguished Radha who's being appeased by another Sakhi (also called "दूती" in Brij literature, a role usually played by Lalita) on the behalf of Krishna. Krishna is himself standing at the threshold of the kunj,  and is trying to appease Radha, but won't be allowed in unless Sri Radha permits him.

The sakhi describes to Radha the heavenly bliss that has engulfed Vrindaavan in the Spring Season, and edifies her on how setting aside her differences, she should make most out of this lovely, vernal ambiance.)