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,jo; 9
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2007
Volume: 2 Issue: 9
ONTARIO GOVERNMENT APPROVED NON-PROFIT CORPORATION # 1707010
September 2007

fdlh - Nahf Ntjhe;j ‰Wtdj;Ôduhy; fle;j 19.08.2007

QhÅw;Wf;Ïoik khHf;fk; & Nyhwd;]; ,y; cs;s ÂlhÌNw
©q;fhÊy; eilngw;w xd;WƒlÁy; xU Ây fhl;Âfs;

* *

ONTARIO GOVERNMENT APPROVED

NON-PROFIT CORPORATION # 1707010

SPECIAL POINTS OF INTEREST

PERSONAL REFLECTIONS FROM
STUDENTS OF SPIRITUALITY

ACTIVITIES OF THE CANADA YOGA

VEDANTA ORGANIZATION

LOCATION AND TIMES OF CLASSES WITH

GURUJI

INSIDE THIS ISSUE

Hari Om - Swamy........................1
Question: Mrs. M. Rajendra.......3
Balance between
physical & spiritual ...................5
Avoiding health
hazards at work..........................6
The Balance Sheet Of Life!.......8
° xÍkak;
- jiyaq;fk;............9
° czHr;Âfs; Njitah?.....10
° Vd; irt czT?..............12
° vq;Fk; xÍkak;...................14
° Fz;lÁÎ............................15
° xd;Wƒly; fhl;Âfs;..........18
VOLUME 2, ISSUE 9 PAGE 1

Hari Om,
Thank You Readers for your Commendations for the previous issue!

In this issue, let us discuss the subject of “Staying Awake” or “Awareness”.

We go through our lives half asleep. Our sleeping potion is our own mind, which keeps our
alertness dulled by allowing itself to be yanked around in countless directions. Nathan insults
us, and our mind begins racing with ideas of revenge. Ruby flatters us, and we continue for
many long minutes gloating on the details of her flattery. Each of us has his or her own set of
mind habits that insidiously keeps us from staying alert to the present. We spend our days in
endless inner talking, accounting, self-justifying, imagining.

This constant jabber in our minds takes us into the past(reliving Nathan’s insult over and over
again, thinking up different retorts we could have made) and into the future(imagining how next
Monday’s interview with the school principal will go). We spend most of our time in the past
and in the future. As we continue jabbering, the present eludes us. In fact, we are dead to the
present, or , if not dead, at least asleep.

Consider this scenario, a typical one for many of us.

You are reading the news paper. In the news story on the front page, one word, competition,
swings your mind back to your day at the office. Your eyes keep going over the words in the
news story, but your mind has left, dwelling instead on the belligerent meeting you attended
two hours earlier at your company. While ”reading” ,you are reliving the events of the meeting:
what you said, what Radha said, what Nancy said. You now come to an end of the column,
suddenly struck by the fact that it says, “Continued on back page”. You realize that you’ve
been “reading” for the past three minutes but have taken nothing in. For several long minutes
you have been asleep to the present, while dwelling on the events of a dead past.

Where our mind is, is where we are. Just because the eyes keep reading doesn’t mean that
we are present in the reading activity. Our mind’s location determines our location. Take this
example:

Sitting by a cozy fireplace, you are engrossed in an adventure novel that has your full
attention. Your son comes into the room, turns on the television listen to the news. You hear
nothing. He makes some comments about the news, trying to pry your attention away from
your book. Still, you are not there for him. You are with the book, because your mind is fully
engaged in the story. Your body is in the room, sound waves from the television and your son
are striking your ears, but you may as well not be there, because your mind is not available.

Many of us often experience this kind of “absent mindedness” on the road---when the mind is
not in the location, or cognizant of the action, in which the body happens to be engaged.
VOLUME 2, ISSUE 9 PAGE 2

We travel the same route to work every day. We know every turn and every corner. Or we
might say that an instinctive, mechanical part of ourselves knows every turn and every corner
and can trace the route without fail, while automatically reacting to traffic on the road. WE---
that is , our mind—can be miles away. By the time we reach home, we’ll have written the
outline for a report, solved a problem in the lab, or planned out our lecture for tomorrow’s
Vedanta class. With our mind absent, the body will have driven us home.

If our mind is not in the present activity, we are not in the present activity. We are dead to it. If
we counted up all these dead minutes of our days, we would be aghast at how little actual
living we do. We would realize, in shock, that most of our days are spent in dead space.

Constant alertness is the method for getting us out of this dead space. We have to train our
minds to remember to stay in the present. We can begin by doing some introspection
exercises at the end of each day.

TRY THIS:

Before you go to sleep each night, review your day from morning until bedtime. Hour by hour,
event by event, review what activities and thoughts you experienced.

At first it will be difficult to remember everything. You will also be tempted to stop at the
memory of various events and thoughts to ponder them further. You may want to criticize an
action of yours and rewrite the script. You may want to correct some words you said and
imagine an alternate scenario. Resist each of these temptations. Imagine you are a neutral
witness to the happenings under review.

In time, the exercise will become easier. Also, in time, you will have developed new powers of
alertness and concentration. As Your evening introspection improves, so also will improve
your ability to witness your thoughts and actions as they occur during the course of the day
This newfound alertness will keep your mind from wandering off in the dead spaces, since
you’ll be there to catch the wandering before it happens.

Also in time,, you will be alert enough to remember to catch your negative reactions before
they manifest. As you catch them and redirect your thoughts into a positive channel, you are
literally redirecting the course of your life. Every reaction is the result of a thought, and every
thought builds next reality.

Practice this and let me, know your progress!

Till we meet in the October Issue, With Love

Swamy Paramatmananda.
VOLUME 2, ISSUE 9 PAGE 3

Question: MRS.Mahamayee Rajendra of Mississauga.

Dear Swamy- “What significance can we draw from the representation of NATARAJA
Deity and in what way they linked to the Absolute?” Your answer may give explanation to
the younger generation in Canada.

ANSWER from SWAMY: Thank you for your big question. DR.Ananda Coomaraswamy
took to twenty volumes to explain “Dance of Siva” and the UNESCO awarded him for
“treasure of art” prize.

Symbols in Hindu civilization have always been powerful representations of the higher
reality. The principle has been understood by the support of its symbolic counterpart on
our plane of existence.

The link between the worlds, the outer and inner, the higher and lower, is through the
language of symbols. How else can a reality where ‘sight cannot go, nor the mind, where
we cannot know, we cannot understand—something ‘other than all that is known’—be
comprehended?

The dance has been one of the most powerful vehicles for this representation and the
dancer is fortunate that through her entire being, she is an expression of Infinity.

The images of our deities each manifest in their visible structures, one particular aspect of
the world. But the genius of Indian thought found a marvelous unity of science, art and
religious fervor in the sculpture of the dancing ,Siva, Nataraja, Lord of the Dance.

Whenever, as dances, we speak in the language of the dance of Nataraja, infinite are the
possibilities that cross our minds, with the realization that Nataraja imparts wisdom
constantly through His famous pose that has been immortalized by the Master carvers of
Tamil Nadu. The deep significance underlying this image should be clearly understood,
because the message is still significant today.

The upper right hand holds aloft the ‘damaru’, representing Nada,the sound, the evolution
of the universe. From sound came all languages, all music, all knowledge. The shape of
the drum, with its two triangles, tells us of nature and energy which combine together for
all creation. The upper left hand in the half moon gesture holds a tongue of flame.

Why does Siva hold the hope of creation in one hand and the flame, the fire destroys, in
the other? For creation and destruction are the counterparts of His own Being. They are
the two aspects of our life, for as we are surely born, so do we surely die. What then is the
answer? the right hand, held in front, in the wondrous gesture of protection and peace,
tells us, “Look, God’s grace is ever with You’.
VOLUME 2, ISSUE 9 PAGE 4

The left foot is raised, telling man that as the Dancer raises His foot, so can man raise
himself and attain salvation. While one foot is raised, the right foot upon which balances
the whole body of the universe, that which , at this eternal moment of dance, precariously
balances the fate of the world, that foot is not on the firm ground, but upon the body of
struggling dwarf(muyalakan), a man who is the embodiment of all that veils truth from
falsehood, the Apasmara Purusha, made up of ignorance and forgetfulness.

This is the Purusha within us, which prevents us from realizing our own essential divinity. It
is for us to firmly crush out the ignorance, if we are to attain the Supreme joy which is our
true nature, the eternal bliss, that man calls God.

Around Nataraja, is a ring of flames, the ,prabha mandala, the dance of nature, all initiated
by the Self in the centre, all emanating from Him, and all dissolving within Him. While Siva
dances, His matted locks hold the sacred river of Ganga, the power and the source of all
movement in life, with its waters that purify mankind, and the crescent moon delicate as a
new-born babe with its promise of life in all its radiance and glory.

The Guru teaches that Maya-illusion—should be crushed down, that the world should
become subject to us and not we to the world, that the deer-like mind should be left
behind, and Ahankar(egoism) be destroyed, and that man should ascend to the region of
pure, unconditioned consciousness free from passion and free from deception, and enjoy
the calmness which is his birthright and bliss, the light and the truth that form the Self.
What is perhaps most significant of all in the image is the, combination of God, Ascetic,
the solitary one, Master of Meditation, with the frenzied dancer---the Yogi—and the artist.
A dancer becomes the being that be impersonates on the stage. In the dance aroused
the entire energy of body, mind intellect and soul. It is a complete surrender to God. Thus,
a dancer is similar to the yogi, who gives his all to the Lord.

This is a dramatic and vivid comparison. But look at the face of Nataraja in the sculpture. It
is serene, the epitome of inward absorption. While the body moves in a frenzy like the
world with its tumult, Siva Himself is undisturbed by the activity, depicting most
wonderfully the mortal life and the divine self.. His face, calm and immobile, is a spectator
in the external play of His own creative impulse. While He teaches, His eternal Self
remains apart, watchful and tender. It is the secret of life open to us all to read, so
magnificently portrayed in His Masterpiece of sculpture.

A seeker of TRUTH, need search no further for a symbol of the highest Reality. He only
needs to look with eyes that see. Viewed in the light of this inner meaning, the image of
Nataraja is no more a meaningless idol, a piece of stone or copper but a symbol of the
highest teaching, an object that can inspire and elevate!
VOLUME 2, ISSUE 9 PAGE 5

Balance between physical & spiritual

Turn your very work into a meditativeness.

While working, witness the enfolding of the work, witness the reactions, responses arising,
running a durational length
and then dissipating.

Watch the sense of concern, fear, despair, defeat associated with the enfolding of the work.

Watch the sense of elation, satisfaction, pride associated with the enfolding of the work.

Watching the building up of a sense of hope with the enfolding of the work.

Watch the changes in the depth and quality of breath and breathing patterns associated with
the arising sense of concern or elation et al.

Turn your non-working hours into the same meditativeness, in the same manner.

I have been thinking about a troubling predicament, one that has been brought to light after
embarking on a new career. How is one to balance between the physical and the spiritual.

I ask this as my new job requires many hours and at times can be quite stressful. This has interfered
with my practice of meditation both in the amount of time devoted to it and the effectiveness of it.

The solution seems simple at first, if one can't complete a job and remain spiritual than the job must
go. However, according to several schools of thought, it is your physical actions and work in and
of themselves that are more important than the act of meditation. Otherwise my gift of life would
go to waste... not to mention I would have a more difficult time actually living (paying bills and
whatnot).

I know others here have had to struggle with similar dilemmas. What philosophies have you all
followed concerning meeting this balance and what advice can you give.
VOLUME 2, ISSUE 9 PAGE 6

Avoiding health hazards at work

Today most of us spend our working days carrying out repetitive activities in awkward or static postures. At
first we will not be aware of this because it feels comfortable. If we do not sit properly, take regular breaks
and also use correctly positioned furniture and equipment, we can become vulnerable to pain and discomfort.

Prolonged sitting postures incur static muscle work, which is less efficient than dynamic muscle work, and
allows a build up of lactic acid - a thick colourless fluid formed during muscular activity by the breaking
down of glycogen - causing fatigue and aching. To offset this, it is essential that exercises are performed at
frequent intervals during the day.

Common problems include a range of work - related disorders, such as pain in the limbs, fingers, forearms,
neck, shoulders and back. These conditions are usually related to overuse and can become debilitating if left
untreated.

The good news is that these disorders are preventable. Physiotherapist can successfully treat the symptoms
and identify some of the possible causes. This article helps you to identify your risks and offers simple
exercises you can follow to help prevent the onset of problems.

Risk factors

These disorders can affect people in many type of work, including those who spend long period at their
desks, computers and production workers who frequently repeat the same pattern of movement.

It can even cause problems to drivers and those who play musical instruments or participate in sport.

* Prolonged maintenance of awkward or static postures.

* High rates of repetition.

will ask you for a full history of any symptoms and discuss workplace risks, your hobbies and any stress
factors. Physiotherapist will analyze your posture and offer corrective advice and exercises. They will also
took at ways to improve your working practices.

Protecting the next generation

Nowadays, young children, saddled with heavy school bags, are tapping away at computer keyboards, using
mobile phones and playing video games. The increasing use of computers in schools and at home means they
are also at risk of computer related musculoskeletal aches and pains.

As a consequence some children today have hardly any time to indulge in physical activities and sports,
which is worrying. Parents, carers and teachers have a responsibility to ensure the principles of good
ergonomics are applied at home and in the classroom.

Ensuring that children know how to sit correctly, vary their activities and build plenty of physical activity
into their daily lives, can help minimize the risk of developing common conditions associated with modern
computer use.
VOLUME 2, ISSUE 9 PAGE 7

Fit to work stretching exercises

All exercises should be done gently. Sit comfortably and take five slow deep breaths before starting the
exercises. Breathing should be relaxed throughout. Repeat all exercises three times.

Forearms stretch

Gently interlock your fingers. Press your palms away from your body, gently stretching the forearms
muscles, fingers and muscles between your shoulder blades. Hold for five seconds.

Back of forearms and wrist stretch

With your elbows straight, tuck your thumb in and make a gentle fist. Bend your wrist forwards gently
stretching the forearms muscles, wrist and fingers. Hold for five seconds.

Chin tuck

Sitting tall, imagine you are suspended by a piece of string from the crown of your head. Keeping eyes level
with the horizon, tuck your chin in to make a double chin. Hold for five seconds.

Side to side turn

Sitting slightly forward in your seat, rotate your mid - and upper back to the right, holding on to the backrest
of the chair with your left hand. Hold for five seconds. Repeat in the opposite direction.

Elbow flare

Put your hands behind your neck, loosely grasped. Keep head and neck tall. Squeeze below the shoulder

blades and take elbows back, taking care not to press on the neck.

Hold for five seconds.

Neck turning

Rotate your head left then right, taking care to keep your eyes on the horizon and aiming your chin at the
shoulders. Use your eyes to focus on something in the distance for five seconds.

Shoulder retractions

Stand or sit up straight. Pull your shoulders back behind you squeezing shoulder blades towards each other.
You should feel the stretch across your chest. Hold for five seconds.

Back stretch

Stand up and put the heel of your hands into your lower back. Draw your elbows back and down. Keeping
your head and neck steady with chin tucked in, slowly arch your back and look to the ceiling. Hold for five
seconds .
VOLUME 2, ISSUE 9 PAGE 8

The Balance Sheet Of Life!

Our Birth is our Opening Balance
Our Death is our Closing Balance
Our Prejudiced Views are our Liabilities
Our Creative Ideas are our Assets
Heart is our Current Asset
Soul is our Fixed Asset

Brain is our Fixed Deposit

Thinking is our Current Account
Achievements are our Capital
Character & Morals, our Stock-in-trade
Friends are our General Reserves

Values & Behaviour are our Goodwill

Patience is our Interest Earned
Love is our Dividend
Children are our Bonus Issues
Education is Brands / Patents

Knowledge is our Investment

Experience is our Premium Account
The Aim is to Tally the Balance Sheet Accurately.
The Goal is to get the Best Presented Accounts Award.

Some very Good and Very bad things

The most destructive habit..............................Worry
The greatest Joy...............................................Giving
The greatest loss..............................................Loss of self respect
The most satisfying work.................................Helping others
The ugliest personality trait............................Selfishness

The most endangered species..........................Dedicated leaders

Our greatest natural resource..........................Our youth
The greatest "shot in the arm"........................Encouragement
The greatest problem to overcome.................Fear
The most effective sleeping pill........................Peace of mind
The most crippling failure disease....................Excuses
The most powerful force in life........................Love

The most dangerous pariah.............................A gossiper

The world's most incredible computer............The brain
The worst thing to be without......................... Hope
The deadliest weapon......................................The tongue
The two most power filled words....................."I Can"
The greatest asset...........................................Faith
The most worthless emotion...........................Selfpity
VOLUME 2, ISSUE 9
xÍ kak;
`Ë Xk;!
tzf;fk;!
nrd;w ,jiog; ghuhl;Òg; gyH
tho;j;Jj; njËÊj;ÔUe;jdH. ed;„!
,e;j ,jØy; vz;zq;fs; - cwT -
Qhgfk; gw;„r; Âe;Ôg;Nghk;.
ek;ikf; ftiyAwr; nra;git
vit? ekJ vz;zq;fSk; mtw;„d;
gÔTfSk; jhNd! ÔdrË fhiy Kjy;
khiy tiu gy fhl;Âfis> rk;gtq;
fisf; fhz;ÏNwhk;. mit midj;Jk;
kdÔy; gÔÏd;wjh? ,g;gÔTfNs vz;zq;
fshÏ mit Qhgfq;fshf ciwÏd;wd.
kÎj nray;ghL my;yJ tho;f;ifia
cd;Îg;ghff; ftÎj;jhy; mit Qhgfk;>
mÔÁUe;J vz;zq;fs;> mÔÁUe;J nray;
fs;> mÔÁUe;J ÊisTfs;> ÊisTfÍ
dhy; Vw;gLk; mDgtq;fs; - me;j
mDgtq;fÍd; gÔTfNs ªz;Lk; Qhgff;
fU†yj;Ôy; NrHe;J nfhs;Ïd;wd. ,tw;
iwNa fHkh vdTk; ˚isÅd; tiyg;
Ìd;dw; nray;fs; (Network) vdTk;
miof;fg;gLÏd;wd.
ehk; NjÒf; nfhz;l m„T> ekf;Ff;
Ïilj;j mDgtq;fs; vd;gtw;iwg;
nghWj;J ek; Qhgf rf;Ô mikÏwJ.
njhØy; rk;ge;jg;gl;l mYty;fSf;F
(Technical) Qhgf rf;Ô mtÂak; Njitg;
gLÏwJ. mg;NghJ njhØyfq;fÍÁUe;J
Êkhdq;fs; Kjy; fzÎfs; tiu
gad;gLj;Ôf; nfhs;s KÒAk;. Mdhy;
cs;sk; njhlHghd Ê/aq;fÍy; Qhgf
rf;Ô ,ilåwhfr; nray;gLÏwJ. vJ rË
ahdJ> vJ ÌioahdJ> vJ cz;ik
ahdJ> vJ ngha;ahdJ vd;gtw;iwf;
fz;L ÌÒf;f Qhgf rf;Ô cjtg;
NghtÔy;iy. Qhgf rf;Ô cz;ikiaf;
fz;L ÌÒf;f KÒahjgÒAk; nra;J
ÊLÏwJ. kw;wtHfs; ek;ik mtkÔj;
jijNah> •q;F nra;jijNah ehk; kdq;
PAGE 9
fÍy; gÔT nra;J nfhz;L ÊLÏNwhk;.
,itfs; ek; Qhgfj;Ôy; ,lk; ÌÒj;J
ÊLÏd;wd. ehk; ahiug; ghHj;jhYk;
ek;Kila Qhgf rf;Ô mtH nra;j
•q;Ffis ekf;F Qhgfg; gLj;JtÔdhy;
mtNuhL ey;y cwit Vw;gLj;Ôf;
nfhs;s KÒahky; Ngha; ÊLÏwJ. #q;fs;
kw;wtHfs; nra;j jtWfisAk; •q;F
fisAk; Qhgfj;Ôy; itj;Jf; nfhz;L
midtiuAk; njhlHe;J ntWj;J te;jhy;
#q;fs; gif vd;w Nrw;„y; nfhQ;rk;
nfhQ;rkhf ˚o;Ï cq;fis Kw;„Ykhf
mØj;Jf; nfhz;L ÊL%Hfs;. md;G
fhl;lj; njËe;j kdk;jhd; kw;wtHfs;
nra;j jtWfisAk; Fw;wq;fisAk;
kdÔy; gÔT nra;J nfhs;shky; mit-
fis cldÒahf kwe;J ÊLk;.
ehk; kw;wtHfÍlk; ey;y cwit
cUthf;Ïf; nfhs;s mtHfs; ek;ik
mtkÔj;jij ehk; ek; Qhgfj;Ôy;
itj;Jf; nfhs;shky; mitfis cldÒ
ahf kwe;JÊl Ntz;Lk;. Kf;Ïakhf
ek;ikg; Gfo;e;J Ng tUgtHfÍlk; ehk;
fTk; mtjhdkhf ,Uf;f Ntz;Lk;.
kw;wtHfs; jq;fSila Kd;Ndw;wj;Ôw;
fhf ek;ikg; gad;gLj;Ôf; nfhs;s
ek;ikg; Gfo;e;J Ng tuf;ƒLk;. Mf
csÊay; njhlHghd Êlaq;fÍy;
ek;lk; ,Ue;J tUk; Qhgfrf;Ô ‰iwa
Ìur;ridfisj;jhd; cUthf;Fk;. ehk;
,e;jj; Njitaw;w Qhgf rf;Ôia
mizj;J NeuKk; Rke;J ek;
tho;f;ifia Ntjid ‰iwe;jjhf
khw;„f; nfhz;L mtÔg;gl;L tUÏNwhk;.
,e;jj; Njitaw;w Qhgf rf;ÔÅÁUe;J
ek;ik ÊLÊj;Jf; nfhs;Sk;NghJjhd;
kw;wtHfÍlk; ey;y cwit cUthf;Ïf;
nfhs;s KÒAk;.
m„T> mDgtk;> Qhgfk; Nghd;w
itfs; ek; cs;sq;fÍy; vz;zq;fis
cUthf;Ï tUÏd;wd. vz;zq;fs;jhd;
xUtid ,k;ir nra;gtdhfTk; ˚Hf;fj;
jdkhdtdhfTk; Mf;FÏd;wd. gyÊj
fl;Lg;ghLfis cUthf;Ï xUtDila
VOLUME 2, ISSUE 9
Rje;Ôuj;ij Kw;„Ykhfg; g„j;J
ÊLÏd;wd. vz;zq;fs; jhk; Vf;fk;> ngh-
whik> Nguhir Nghd;w nfl;l
Fzq;fis kÎjHfÍlk; tsHj;J
nfLjy; ‰iwe;j nray;fis nra;aj;
∆z;Ò cyÏy; muh[fj;ijg; gug;Ì
tUÏd;wd. vz;zq;fs;jhd; ehLfs;>
fl;Âfs;> rkaq;fs;> flTs;fs;> ©i[fs;>
rlq;Ffs;> GÎj ´y;fs;> ,dq;fs;>
[hÔfs; Nghd;wtw;iw cUthf;Ï kÎj
,dj;ij vz;zw;w ÌËTfshfg; ÌËj;J
rz;ilfis cUthf;Ï tUÏd;wd.
vz;zq;fs; ,y;yhj ‰iyÅy;
xUtd; fz;l mtkhdq;fs;> •q;Ffs;
Nghd;witfs; Kw;„Ykhf fhzhky;
Ngha;ÊLtijf; fhz KÒAk;. Mdhy;
kdÔy; njhlHe;J cUthÏ tUk; vz;zq;
fs; ‰ue;jukhf ‰iyj;J ‰w;Fk;gÒ nra;J
czHr;Âfs; Njitah?
czHr;Â trg;glf;ƒlhJP m„Tjhd;
nray;gl Ntz;Lk; vd;gJ gyuJ m„
Tiu. muÂay; Ìur;ridfisf; ƒl
czHr;Âfisf; Ïs„Êl;L kjq;fSf;
ÏilÅy; ,dq;fSf;ÏilÅy; ÌËÊid
Vw;gLj;ÔAs;shHfs;. czHr;ÂfNs
muÂay;thÔfis tho itf;Ïd;wd vd;w
Fw;wr;rhl;Òy; cz;ik ,y;yhky; ,y;iy.
jÎ kÎj tho;Êy; czHr;ÂfÍd; gq;F
vd;d vd;gJ Muhag;gl Ntz;Òa Êlak;.
czHr;ÂfÍy; ey;yJk; nfl;lJk; cz;L
vd rKjhak; tifg;gLj;Ôf; nfhz;Ls;
sJ. cq;fisg; gw;„ xU …mÌg;Ìuhak;Ú
(Image) cq;fSf;Nf ,y;yhj tiuÅy;
cq;fs;ªJ #q;fs; md;G nrYj;Ôf;
nfhs;s ,ayhJ. mjdhNyNa mLj;jtH
cq;fis Vw;Wf;nfhz;L æehd; cq;fis
NeÂf;ÏNwd;Æ (I love you) vd;W nrhy;Yk;
NghJ #q;fs; mtËlk; ruzile;J
ÊLÏ@Hfs;. xUÊj nt„NahL mtiu
Mf;Ïuj;Jf;nfhz;L ÊLÏ@Hfs;.
NkNyhl;lkhfg; GËe;J nfhs;Sk; msTf;F
md;G mj;jid rhjhuzkhd Êlak;
PAGE 10
tUÏd;wd. Ìur;ridfis KÒTf;Ff;
nfhz;L tu KÒahjgÒ ©jhfhukhf tsur;
nra;J ÊLÏd;wd. ek;Kila vz;zq;
fs; ek; Raeyj;ijj; jOÊNa mikAk;
NghJ ek;khy; kw;wtHfSld; ey;y
cwit mizj;Jf; nfhs;sNt ,ayhJ.
gif> mØT> nghwhik> gak;> Vf;fk;
Nghd;wtw;iw cUthf;Fk; vz;zq;fs;
kdÔy; cUthfhjgÒ nra;tijj;jhd;
…Ôahdk;Ú vd;W ƒWÏNwhk;.
vz;zy;yhj cs;sj;Ôy; mikÔ
cUthFk;. njhlHe;J mikÔ rhe;Ôia
cUthf;Fk;. rhe;Ô gËzhk tsHr;Âiaj;
JËjg;gLj;Jk;. gËzhk ,WÔ nja;%fj;ij
ntÍg;gLj;Jk;. Ìwg;igNa mØf;Fk;!
xf;NlhgH ,jØy; re;Ôg;Nghkh?
md;gd; ];th gukhj;khde;jh
- ];th
,y;iy. fijfÍYk; fÊijfÍYk;
ÂÎkhÊYk; ehk; gÒg;gJ> fhz;gJ
kl;LNk md;Gk; fhjYk; ,y;iy.
mtw;iw vy;yhk; Êl Nkd;ikahdJ
mJP GÎjkhdJk; ƒl.
xUÂy kjq;fs; ƒl md;G vd;w
thHj;ijia f jhuskhfg; gad;gLj;J
Ïd;wd. æflTs; cq;fis NeÂf;ÏwhHÆ
vd;W nrhy;yg;gLtJz;L. mg;gÒ
vd;why; ek;ik NeÂf;Fk; flTs; ekf;F
Koq;fhy; tÁiaAk; nfhLg;gJ Vd;?
mNjNghy; ek;ikg; gilj;JÊl;L ƒlNt
Esk;GfisAk; cw;gj;Ô nra;J mDg;G
tJ vjw;fhf? xUtifÅy; Foe;ijÅd;
ªJ msTfle;j md;G nrYj;Jk;
mg;ghÊw;F ,izahdJ ,J. mg;gh
nrYj;Jk; vy;iyaw;w md;Ìd; fhuzkhf
me;jf; Foe;ijÅd; fd;dk; ‰ue;jukhfr;
Âte;J NghÅUf;Fk;. fhuzk; Foe;ij
iag; ghHf;Fk; Nghnjy;yhk; md;Ìd;
FÔahy; fd;dj;Ôy; eWf;nfd;W Ïs;Í
ÊLthH. ÊisT! Âte;j fd;dk;. ekJ
Guhzq;fSk; ,Ôfhrq;fSk; md;igg;
VOLUME 2, ISSUE 9
gw;„ ‰iwag; NgRÏd;wd. ahf;Q
ty;ÏaUf;F ikj;ÔNuÅ> fhHj;ÔahÅÎ
vd;w ,U kidÊfs;. ngUk; Gyik
fhuzkhf ahf;Qty;ÏaUf;F ‰iwa
nry;tk; NrHe;jJ. xUehs; Ôºnud;W
FLk;g tho;itj; Jwe;J fhl;Lf;Fr; nrd;W
rd;ÎahÂahf tho;tnjd;W KÒntLj;jhH.
mjw;Ff; fhuzk; mtuJ ,uz;L kidÊ
fs; my;y. ,UtUlDk; re;Njh/khfj;
jhd; tho;f;if elj;Ôf; nfhz;ÒUe;jhH.
mtHfSf;Fk; fztUld; ve;jg; Ìur;rid
Ak; ,Uf;fÊy;iy. ªÔ ehl;fisj;
Ôahdj;Ôy; fØf;f Ntz;Lk; vd;W ÊUk;Ì
dhH. ikj;ÔNuÅia mioj;J æehd;
NghÏNwd; ikj;ÔNuÅ> nry;tq;fis
vy;yhk; Êl;L Êl;Lj;jhd; nry;ÏNwd;.
#q;fs; ,UtUk; mtw;iwr; rËghÔahfg;
ÌËj;Jf;nfhz;L kÏo;r;Âahf ,Uf;fyhk;Æ
vd;whH.
ikj;ÔNuÅ rkhjhdk; mila
Êy;iy. æNkhl;rj;ijj; NjÒ #q;fs;
nry;YÏ@Hfs; vd;gJ GËÏwJ. mNj
Nkhl;rk; ,e;j nry;tq;fs; ˚yk; vdf;Ff;
Ïilf;Fkh?Æ vd;W Nfl;lhs; mts;.
ævj;jid nry;tq;fs; ,Ue;jhYk; mJ
ahUf;Fk; Nkhl;rk; nfhLf;fhJ. cz;ik
ahd md;igf; fz;l„a Ntz;Lk;. ek;ªJ
ehk; nrYj;Jk; md;G kl;LNk ,jw;F tØ
tFf;Fk;Æ vd;W md;Ìd; kÏikia
vLj;Jiuj;jhH KÎtH.
,g;©Åy; cÅH thOk; kw;w
cÅËdq;fs; vy;yhtw;iwAk; Êl kÎj
,dk; jÎj;jd;ikAld; fhzg;gLÏwJ.
,jw;Ff; fhuzk; kÎj ,dj;Ôd; m„e;J
nfhs;Sk; rf;ÔAk; GÔjhff; fz;L
ÌÒf;Fk; Mw;wYk;jhd;.
ævd;dhy; fz;l„a KÒAk;Æ ,J
ekf;Fs;s Mw;wy;. ,ijNa …Qhd rf;ÔÚ
vd;W miof;ÏNwhk;. mNjkhÔË czHr;Â
fSk; (Emotions) ekf;Ff; nfhLf;fg;gl;ÒUf;
Fk; mw;Gjf; nfhil. ,e;j czHr;Âfs;
vy;yhNk ,d;ndhU rf;ÔÅd; ntÍg;ghL.
mjhtJ ,r;rh rf;ÔÅd; (Will) ntÍg;ghL.
PAGE 11
m„e;J nfhz;lijAk; GËe;J nfhz;lij
Ak; md;whl tho;f;ifÅy; ntÍg;gLj;J
tJ czHr;Âfs;jhd;. czHr;Âfs;
ek;ik KOtJkhf Mf;Ïuf;f Muk;Ìj;J
ÊLÏd;wd. ekJ m„Tk; QhdKk; ,e;j
czHr;ÂfÍlk; gazf;ifÔfshfr; Âf;Ïf;
nfhz;L ÊLÏd;wd. Kf;Ïakhff;
Nfhgk;! cr;rf;fl;lf; Nfhgj;Ôy; ,Uf;Fk;
xUtËlk; Qhdk; ntÍg;gLtÔy;iy.
Nfhgk; mtUila m„it kiwj;J
ÊLÏwJ. ,J VNjh ,d;W Vw;gl;ÒUf;Fk;
Ìur;rid vd;W ‰idj;JÊl Ntz;lhk;.
njhd;Wnjhl;L ,Ue;JtUk; •uhj
Ìur;ridjhd; ,J. Guhzq;fÍy; tUk;
KÎtHfis vLj;Jf;nfhz;lhy; mtHfs;
vy;NyhUNk Nfhgg;gLgtHfshfNt
fhzg;gLÏwhHfs;. mtHfSila Nfhgk;
tÁik f;fjhfTk; ,Uf;Fk;.
rhjhuzkhd kÎjHfSf;Ff;
Nfhgk; te;jhy; mJ Ìur;ridahf ,Ug;g
Ôy;iy. MJNt KÎtHfÍd; Nfhgk;
rhgk; nfhLg;gÔy; KÒÏwJ. ey;yNtis
…rhgk;Ú nfhLf;Fk; KÎtHfs; vy;yhUNk
rhgj;ÔÁUe;J ªsTk; tØ nrhy;Á
ÊLÏwhHfs;. mjhtJ Nfhgk; tUtjw;F
Kd;dhYk; Ìd;dhYk; mtHfs; rhjhuz
khfj;jhd; ,Uf;ÏwhHfs;. ,ilÅy;jhd;
‘Black Out’ MÏÊLÏwJ.
czHr;ÂfÍy; gytif cz;LP
mtw;„w;Fg; gy;NtW ‰wq;fSk; cz;L.
vy;yhtw;„w;Fk; mÒg;gilahd XH
czHr;Â ,Uf;ÏwJ. …yt;Ú> …ÌNuikÚ>
…md;GÚ vd;W ,ij miof;ÏNwhk;.
cg‰ljq;fÍYk; XusÊw;F gftj;∞ij
ÅYk; ,e;j czHr;Â ÊthÔf;fg;gLÏwJ.
,e;j …md;GÚ cq;fis ikakhf
itj;J nrYj;jg;gLk;nghOJ #q;fs; ©uz
ÔUg;Ô mile;J ÊLÏ@Hfs; vd;gNj
cz;ik. ÔUg;Ôia …md;GÚ xd;Nw
nfhLf;f KÒAk;. mJ ˚yj;Ôd; czHT.
ÌugQ;rk; KOJk; ÊuÊ - guÊf;
Ïlf;Ïd;wJ vd;gJk; vkJ cÅËd;
czHTk; mJNt vd;W m„jy; Qhdk;!°°°
VOLUME 2, ISSUE 9 PAGE 12

…,k;irg; gLj;jhNjÚ vd;W Ntjk; nra;ag;gl;ÒUf;ÏwJ. MfNt mit

ƒWÏwJ. Ìwiu Vd; Jd;GWj;jf; ƒlhJ NjHe; n jLf; f Ntz; Ò a mtÂad;„
vd;why; ÌwH ek;ikj; Jd;GWj;Jtij ehk; jkf;F ,aw;ifÅNyNa nfhLf;fg;gl;l
ÊUk;GtÔy;iy. ÌwH ekf;F vijr; ,ay;Ìd;gÒNa jk; czTfisj; NjL
nra;af; ƒlhnjd;W ehk; ÊUk;GÏNwhNkh Ïd;wd. GÁAk; Âq;fKk; jhtuj;ijNa
mij ehKk; ÌwUf;Fr; nra;af; ƒlhJ cz;L Ìiof;Fk; …jhtugl;rÛfs;Ú Mf
vd;gij ek; kÔåfNk (Common sense) KÒahJ. MLk; khLk; khrgl;rÛfs;
nrhy;ÏwJ. Mifahy; mŸk;ir vd;gJ Mf KÒahJ. Mdhy; jd;idg;gw;„a Ra
ekf;F xU nrhe;j kÔg;§lhÏwJ. xU czHT (Self Consciousness) nfhz;l
nray; NeËilahff; fhZk;NghJ Jd;gk; kÎjNd jdf; F Ntz;Òatw;iwj; jd;
ÊisÊg;gJNghy; Njhd;„dhYk; mJ ,r;irg;gÒ NjHe;njLf; Fk; rf;Ô
cz;ikÅy; mtUf;F ed;ikiar; gilj; j td;. ,Nj …njËTÚ (Choice) czT
nra;Ak; vd;why; mJ ,k;ir MfhJ. Ê/aj;Ôw;Fk; nghUe;Jk;. kÎjd; U
jhtu czit kl;LNk cz;Zjy; fq; f isg; Nghd; W NjHe; njLf;Fk;
vd;gJ mÏk;irÅd; xU ntÍg;ghlhFk;. tha;g;Ìd;„ gilf;fg;glhjjhy; jd; czT
ehd; Vd; khrk; cz;zf; ƒlhJ vd;g cl;gl midj; ijAk; mtd; NjHe;
jw;Fg; gy thjq;fis Kd; itf;fyhk;. njLf;f Ntz;Lk;.
mit midj;Jf;Fk; nt”NlËadhf
Kjd;ikahdJ mÏk;ir ,Ug;gjw;F mÏk;
MFk;.
Kl;il rhg;ÌLt
Vd; irt iriaj;
Êsf;fq;fs;
jÊu gy
ƒwg;gL
Ôy; kl;Lk;jhd; ,k;ir Ïd; wd. ækÎjDila
cs;sjh? Kl;ilf;
Nfhi] rhg;ÌLtÔy; kl;
czT? MNuhf;aj;Ôw;F irt
czNt Vw;wJÆ vd;W
kÎj cly; eyk; gw;„a
Lk; ,k;ir ,y;iyah?
Muha;r;Âfs; ƒWÏd;
NfhØ
kl;Lk;
rhg;ÌLtÔy;
jhd; ,k;ir Vegetarianism wd. NkYk;> kÎjD
cs;sjh? ∞iu rhg;ÌL ila gw;fSk; czTg;
tÔy; ,k;ir ,y;iyah? - ];t h ig> Fly;> _uz #Hfs;
cÅUs;s midj;Jf;Fk; KjÁaitfSk;
czT mtÂakhdJ. vy;yh cÅËdq;f fha;f„> gok;> jhÎaq;fshyhd jhtu
Sk; kw;w cÅËdq;fisr; rhHe;Jjhd; czTf;F Vw;wjhfNt cs;sd. khrk;
tho;Ïd;wd. vÁf;Fj; Ôz;lhl;lkhdJ czTf;F Vw;wit my;y vd;Wk; ,e;j
©idf;Ff; nfhz;lhl;lkhÏwJ. khDf;Fj; Ma;Tfs; ƒWÏd;wd. jhtu czit
Ôz;lhl;lkhdJ GÁf;Ff; nfhz;lhl;lkhÏ kl;LNk rhg;ÌLgtHfs; #z;l ehl;fs;
wJ. mg;nghOJ kÎjd; kl;Lk; khrj; tho;ÏwhHfs;. ,ja Neha;> ,uj;jf; Foha;
ij cz;zf;ƒlhJ? ,g;gÒg;gl;l milg;G Nghd;w gy Neha;fSk; mirt
re;Njfq;fs; voyhk;. czTf;fhuHfis Êlf; Fiwe;j msÊy;
Ufq;fs;Nghy; kÎjd; ÊUk;Ìj; jhd; ,tHfisj; jhf;FÏd;wd vd;W
NjHe;njLf;f KÒahjgÒ gilf;fg;gl Gs;Í Êguq;fSk; ƒWÏd;wd.
Êy;iy. Man is not programmed without a vy;yh cÅËdq;fSNk jk; cÅH
choice. Mifahy; mtd; ©id> GÁ ªJ kÔg; G itj;ÔUf;Ïd;wd. fr; „a
vd;gtw;iwj; jdf;F Kd;Djhuzkhff; cÅËdq;fSk; jhtuq;fSk; cl;gl
nfhs;s KÒahJ. Ufq;fSk; kÎjuy; midj; J cÅHfSk; thoNt ÊUk; G
yhj kw;w cÅËdq;fSf;Fk; ,aw;ifÅ Ïd;wd. Mdhy; midj;J cÅËdq;f
NyNa vJ czT vd;gJ ‰akdk; Sf;Fk; jdf;F NeËlf; ƒÒa •q;if
VOLUME 2, ISSUE 9
czUk; czHT xNu msÊy; nfhLf;
fg;glÊy;iy. ek;khy; •q;F NeËLk;
vd;gij czUk; cÅËdq;fs; ek;l
Ue;J jg;Ì XÒg; Ìiof;fg; ghhf;Ïd;wd.
Xlf; ƒÒa ve;j cÅËdKk; ÌÒgl;L ek;
rhg;ghl;L Nkirf;F tu ÊUk;GtÔy;iy.
mg;gÒAk; mtw;iw ehk; ÌÒf;Fk;NghJ
mit gaj;jhy; fjWÏd;wd. NfhØÅd;
fOj;ijj; ÔUFk;NghJ mjd; rj;jj;ij
Ak; Ml;Òd; fOj;ij ntl;Lk;NghJ mJ
,Lk; Xyj;ijAk; Nfl;lhy; njËAk;.
,g;gÒ ek; czthFk; Ufq;fÍd;
clÁy; ga czHT Vw;gLk;NghJ Ruf;Fk;
…ml;*dÁd;Ú (Adrenaline) mÔfkhff;
fhzg;gLtjhff; fz;LÌÒf;fg;gl;Ls;sJ.
Mifahy; ve;j UfKk; ekf;F
czthtij ÊUk;GtÔy;iy vd;gJ
‰r;rakhfj; njËÏwJ.
ekf;F NjHe;njLj;Jf; nfhs;tjw;F
ekf;F …njËTÚ Choice nfhLf;fg;gl;Ls;s
jhy; mjw;F XH mÒg;gil> XH msTNfhy;
Ntz;Lk;. NjHe;njLf;Fk; cËik ekf;Ff;
nfhLf;fg;gl;ljhy; mj;NjHit rËahfr;
nra;a Ntz;Òa nghWg;Gk; ekf;F cs;sJ.
nghWg;Gk; flikAd;„ cËik ,y;iy.
Ìw cÅËdq;fSf;F czthtij ehk;
ÊUk;ghjJNghy; Ìw cÅËdq;fSk;
ekf;F czthtij ÊUk;GtÔy;iy
vd;W ek; ÊNtfk; ƒWÏwJ. ,e;j
ÊUg;gk; ek;lUe;J Xlf; ƒÒaJk;
ÌÒgl;lhy; fj„ mof; ƒÒaJkhd
cÅËdq;fÍilÅy; jthuq;fÍlk; ,Ug;g
ijÊl ed;F ntÍg;gLÏwJ. NkYk;
ngUk;ghyhd jhtuq;fÍy; jk; fha;fis
Ak; goq;fisAk; jk; cÅUf;F Mgj;J
,y;yhky; ekf;Fj; ju KÒAk;.
kUj;Jt ÊQ;Qhd Muha;r;Âfs;>
jhtu czT kl;LNk ©uz MNuhf;a
czthf ,Uf;f KÒAk; vd;W njÍthff;
ƒWÏd;wd. Mifahy; …MNuhf;Ïaj;Ôw;
fhfÚ vd;w jHf;fk; - Gyhy; cz;gij
‰ahag;gLj;j KÒahJ. mg;gÒAk; Gyhy;
cz;ÏNwhk; vd;why; mjw;F xNu fhuzk;
ehf;ifj; ÔUg;Ôg;gLj;Jk; Mir vd;W
jhd; ƒwKÒAk;.
jd; cliyg; ngUf;Fk; nghUl;L
PAGE 13
kw;nwhU ÌuhÛiaf; nfhd;W cz;gtd;
vt;thW ,iwtd; mUisg; ngw KÒAk;?
vd ts;StH ƒWÏwhH. NkYk; kÎjd;
kl;LNk Vd; Ìzj;ij Ôd;d thia
mfyj; Ôwf;Ïwhd;. jd; cliyAk;
rtf;Ïlq;fhf Mf;FÏwhd; vd;Wk;
Nfl;ÏwhH.
mÏk;ir vd;w gz;ig ehk;
tsHj;Jf; nfhs;s Ntz;Lnkd;why;
ek;Kila xt;NthH vz;zk;> Ngr;R>
nray; vd;gtw;„y; ehk; ÊØg;Gld; ,Uf;f
Ntz;Lk;. ,e;jg; gz;G jhtuq;fs;>
Ufq;fs;> kÎjHfs; midtiu
Nehf;ÏAk; ntÍg;gl Ntz;Lk;. ÂyH
nrÒfÍd; gf;fj;Ôy; ‰d;W Ngk;NghJ
,iyfisf; Ïs;Íf;nfhz;Nl - Nehz;Òf;
nfhz;Nl ,Ug;ghHfs;. Njit ,y;yhky;
mØg;gJk; ,k;irNa. gilg;Ìy; cs;s
xt;NthH cÅUf;Fk; mtw;„d; cËik
fSf;Fk; czHTfSf;Fk; kËahij
juNtz;Lk;. æmdhtÂakhf xU kuj;ij
Ak; ntl;lhNj! mg;gÒ ntl;l NeHe;jhy;
mjd; ,lj;Ôy; gj;J kuq;fis eLÆ vd;W
,e;Jkjk; ƒWÏwJ. ,g;nghOJjhd;
cyf ehLfs; ækuq;fis eLq;fs;Æ vd;W
miwƒty; ÊLf;Ïd;wJ.
i[d kjj; JwÊfs; jhk; ele;J
NghFk; tØÅy; ,Uf;Fk; vWk;GfisAk;
kw;w „a _tuhÂfisAk; Ôj;Jf;
nfhd;W Êlf; ƒlhJ vd;gÔy; fTk;
ftdkhf ,Ug;ghHfs;.
ek;ikr; Rw;„As;s kÎjHfÍd;
czHTfs;> cËikfs; gw;„ ehk; fTk;
ftdkhf ,Uf;f Ntz;Lk;. nrayhNyh>
Ngr;rhNyh Ìwiug; Gz;gLj;Ô Êlhky;
ÊØg;Gld; ,Uf;f Ntz;Lk;. ÌwUila
czHTfisAk; cËikfisAk; Jy;Áa
khf czUk; kdk; gilj;jtd; mtHfS
ila NjitfisAk; czHe;J nray;
gLÏwhd;. ,g;gÒf; ftdkhfTk; Jy;Áa
khfTk; czUk; rf;Ô gilj;jtNd
Ntjhe;jk; ƒWk; El;gkhd cz;ikia
m„Ak; jFÔ ngWÏwhd;. Mifahy;
mÏk;ir vd;gJ fTk; Kf;Ïa gz;ghff;
fUjg;gLÏwJ. irt czT rhj;%fj;ij
- mÏk;iria tsHf;Fk;!°°°
VOLUME 2, ISSUE 9 PAGE 14

vq;Fk; xÍ kak; NgÂAs;shHfs;.

- Nahfhde;jh vNrf;Ïay; ƒ„As;shH ·43:1-2 igÌs;‚
kÎj Fyj;Ôw;F MÅuf;fzf;fhd æÌd;G mtH vd;idf; ∞o;j;Ôirf;F
Mz;Lfshf kfhd;fs; nfhL;j;ÔUf;Fk; vÔHthryhÏa thrYf;F mioj;Jf;
gÛ khiaia nty;tJjhd;! gilg;Ìd; nfhz;L NghdhH. ,Njh> ,];uNtÁd;
,Uikiaf; fle;J gilg;gtÎd; NjtDila kÏik ∞o;j;ÔirÅÁUe;J
xUikia czUtJjhd; kÎjÎd; f te;jJP mtUila rj;jk; ngUnts;sj;
caHe;j yl;Âakhff; fUjg;gLÏwJ. Ôd; ,iur;riyg;Nghy ,Ue;jJP
ÌugQ;rj;Ôd; ngha;j;Njhw;wj;ijg; gw;„ mtUila kÏikÅdhy; © ÌufhÂj;jJÆ
,Ug;gtHfs; mjd; Kf;Ïa ,UJUt ÊÔ ngU nts;sj;Ôd; nja;%f xÁahÏa
mjhtJ nghq;FjYk; mlq;FjYk;> thHj;ij my;yJ Xq;fhuj;ij xÍÅd;
Vw;wKk; ,wf;fKk;> ,uTk; gfYk;> mÔHtiyfshyhd gilg;Ìd; xNu
,d;gKk; Jd;gKk;> ed;ikAk; •ikAk;> cz;ikia nrÊkLj;jthW new;„Åy;
Ìwg;Gk; ,wg;Gk; MÏatw;iw xg;Gf; cs;s Qhdf; fz;Ûd; ·Ïof;F‚ ˚ykhf
nfhz;Nl MfNtz;Lk;. kÎjd; Ây NahÏ jd; czHT ‰iyia rHt
MÅuk; kÎjg; ÌwÊfs; vLj;jÌwF ,e;j Êahgfj;Ôw;Ff; nfhz;L nry;Ïwhd;.
Row;Â Kiw xUÊj Ntjid jUk; khWj Nguz;lj;Ôd; NfhÒf;fzf;fhd
Ád;ikiaj; Njhw;WÊf;ÏwJ. Ìd;dH kHkq;fÍilNa xÍ vd;gJ f;f
mtd; khiaÅd; fl;Lf;fisf; fle;J mÔrakhdjhFk;. jhd; flj;jg; gLtjw;F
nry;tJ gw;„ ek;Ìf;ifAld; Nehf;fj; fhw;Nwh my;yJ NtW nghUÍd; ClfNkh
njhlq;FÏwhd;. Njitg;gLk; xÁ miyfisg; Nghyy;yh
khiaÅd; Ôiuia Êyf;Ft ky; xÍ miyfs; mz;l Nfhsq;fSf;
njd;gJ gilg;Ìd; ufÂaj;ij m„tjhFk;. ÏilNa ‰yTk; ®d;aj;Ô∂Nl Rje;Ôu
,t;Êjkhd mz;l ruhruj;Ôd; Ôiuia khfg; gha;Ïd;wd. ve;jtiff; nfhs;if
mfw;Wgtd;jhd; cz;ikahd mj;itÔ. Åd;gÒ ghHj;jhYk; xÍ f ®l;Rk
kw;w midtUk; Gwr; rka cUt tØghL khdjhfTk; ve;j ,aw;ifg; nghUisAk;
cilatHfs;. kÎjd; ,aw;ifÅd; rhHe;Ôuhky; Rje;ÔukhdjhfTk; cs;sJ.
,Uikj; Njhw;wq;fÍy; Âf;ÏÅUf;Fk;tiu [d;];*Dila Ìukhz;lkhd fUj;
,U KfKila khiajhd; mtDf;F Jf;fÍy; xÍÅd; Ntfk;jhd; ÊdhÒf;F
,iwÊP mtd; xd;NwahÏa nka;g; 1>86>300 iky;fs; rhHÌay; Nfhl;ghl;il
nghUis m„a KÒahJ. (Theory of Relativity) KOtJkhf Mf;Ïu
,e;jg; ngha;j;Njhw;wkhk; khia j;Jf; nfhz;Ls;sJ. tuk;Ìw;Fl;gl;l
kÎjHfÍlk; mÊj;ia ·mQ;Qhdk;‚ vd kÎj kdj;ijg; nghWj;jtiu rydj;
cUntLf;ÏwJ. mÊj;ia = m„ahik ÔYs;s ÌugQ;rj;Ôy; xÍÅd; Ntfk;
my;yJ kÔkaf;fk; vdg; nghUs;gLk;. kl;LNk ‰ue;jukhdJ vd;W mtH
khia my;yJ mÊj;iaia Gj;ÔÅd; Ôl fÛjj;Ôd; ˚yk; ‰¨Ìf;ÏwhH. ,lk;>
ek;Ìf;ifÅdhNyh my;yJ gFg;ghuha;r;Â fhyk; gw;„a kÎj msT Nfhy;fs;
ÅdhNyh xU NghJk; mØf;f KÒahJ. vy;yhk; xNu jÎ Kjyhd xÍÅd;
mij cs;Kf ‰iyahd ‰HÊfy;g Ntfj;ijr; rhHe;Js;sd.
rkhÔia (Emptiness) va;JtjdhNyNa mZf;fs; xÍkakhdit vd;W
mØf;f KÒAk;. gioa Vw;ghl;Òd; (Old ÊQ;Qhdk ‰¨Ìj;J Êl;lJ. ,UgjhtJ
Testament) •Hf;f jËÂfSk; vy;yh ´w;whz;Òd; ÊQ;Qhdk; Guhjd Ntjq;
Njrq;fs; kw;Wk; fhyq;fisr; rhHe;j fÍd; xU gf;fj;ijg; Nghy; xÁf;ÏwJ -
QhÎfSk; me;j czHT ‰iyÅÁUe;Nj xÍHÏwJ!°°°
VOLUME 2, ISSUE 9
Fz;lÁÎ vd;why; vd;d? jo;g;
gj;ÔËiffÍy; mz;ikf; fhykhf
Êsk;guk; nra;J tUÏwhHfs;. ,itgw;„
#q;fs; vOÔdhy; f ed;W vd;W gy
md;gHfs; Nfl;ÒUe;jhHfs;. …Fz;lÁÎÚ
vd;w rk];ÏUjr; nrhy;Áw;F jØy;
…ghk;GÚ vd;W nghUs;. kÎj Mw;wy; 3 1÷2
Rw;whf ˚yhjhuk; vd;w Ks;se;jz;Òd;
mÒÅy; cwq;Ïf; Ïlg;gjhf Nahfk;>
je;Ôuk; MÏa ´y;fÍy; ƒwg;gl;Ls;sd.
Mdhy; Nahf ®j;Ôuq;fÍy; gjQ;rÁ
KÎtH kdj;ijAk; mjd;
nray;ghLfisAk; gw;„ fj; njÍthf
Êsf;FÏwhH. Mdhy; mÔy; mtH
Fz;lÁÎiaNah ehÒfisNah gw;„f;
F„g;Ìlf; ƒl ,y;iy. Kf;Ïa
cg‰ljq;fNsh> ∞ijNah
Fz;lÁÎiag;gw;„f;
ƒwÊy;iy.
vz;zw;w ∞io kw;Wk; æFz;lÁÎÆ
Nkiy ehl;L QhÎaËd;
mDgtf; F„g;GfÍYk; Fz;lÁÎiag;
gw;„f; ƒwg;glÊy;iy.
je;Ôu ´y;fÍy; Fz;lÁÎia
Êiuthf ÊØf;fr; nra;tjw;fhd
gÅw;Âfs; ƒwg;gl;Ls;sd. Mdhy; kdk;
∆a;ikg; gLjg;gl;L jahuhf
,y;yhÔUf;Fk;NghJ Fz;lÁÎia
ÊØg;Gwr; nra;jhy; cly; nfLtJ
kl;Lkd;„ kdf;NfhshWfSk;
cz;lhÏd;wd. ,e;jg; gÅw;Âfisr;
nra;tJ mt;tsT NjitahdJk; my;y.
VndÎy; ,tw;why; Ïilg;gJNghd;w
gyidj; jUÏd;w ghJfhg;ghd NtW
tØfs; ,Uf;fNt nra;Ïd;wd.
Mj;khit mila> czu rhjfd;
•Êukhd Vf;fk; nfhz;lhy; Fz;lÁÎ
PAGE 15
ÊØg;gilÏwJ. - ,uhkÏU/;zH
æÔahdk;> ,iwiag;gw;„ njhlHe;j
Âe;jidNa Md;ªf ÊØg;Ìw;F fTk;
caHe;j tØfs;Æ vdg; gy kfhd;fs;
ƒ„As;sdH.
ÌugQ;r ‰iy> jÎkÎj ‰iy vd
,uz;L ‰iyfÍy; Ìuhzd; ,aq;FÏwJ.
ekJ Ez;ZlÁy; ·®f;Fk r*uk;‚ ˚d;W
Kf;Ïa ehÒfs; tØahfg; Ìuhzd;
,aq;FÏwJ. ,lfiy> Ìq;fiy>
ROKid vd;Dk; mtw;Ws; ROKid
eLÊYk; kw;w ,uz;L ehÒfSk;
,Ugf;fq;fÍYk; mike;Js;sd.
ROKid ngËaJP kw;wit „ait.
rhjhuz tho;Êy; ,lfiyAk;
Ìq;fiyAk; kl;LNk nray;gLÏd;wd.
rhjhuzkhf ehk; Âe;Ôf;Fk;NghJ
„jsT ÌuhzNd
nrythÏwJ. vQ;Âa
Ìuhzd;
gad;gLj;jg;glhky; Mw;wyhfr;
Nrf;fg;gLÏwJ. ,JNt Fz;lÁÎ.
,f; Fz;lÁÎ ,aq;Ftjw;fhfNt eL
ehÒahd ROKid cs;sJ. gyËy;
,e;j ehÒ nray;glhky; cs;sJ. vdNt
ÌuhzÎd; ngUk;gFÔ gad;gLj;jg;
gLtÔy;iy. ROKidÅd; tØÅy; MW
rf;fuq;fs; cs;sd. ,r; rf;fuq;fs;
my;yJ ikaq;fis NahÏfs;
jhkiufshf cUtÏf;ÏwhHfs;.
kdj;Ôw;Fk; clYf;Fk; ,ilÅy;
XH ,izg;Gg; ghyk;Nghy; Ìuhzd;
nray;gLÏwJ. ÌuhzÎd; ˚ykhf kdk;
cliyf; fl;Lg;gLj;JÏwJ. gy kd
cly; Neha;fSf;F ÌuhzÎd; jtwhd
,af;fNk fhuzk;. xU ÂyNu
gÅw;Âfshy; ÌuhzÎd; ,af;fj;ij
VOLUME 2, ISSUE 9
ne„g;gLj;Ô cliy MNuhf;Ïakhf
itj;Jf; nfhs;Ïd;wdH.
ROKid Ôwf;Fk;NghJ Ìuhzd;
mjd; tØahfr; nry;ÏwJ. Md;ªf
ÊØg;Ìd; caH ‰iyfÍy; ,lfiy>
Ìq;fiy tØahfg; Ìuhzd;
,aq;FtÔy;iy. ,e;‰iyÅy; rhjfd;
KOikahf cly; ‰idtw;W ÊLÏwhd;.
Ìd;G clÁaf;fq;fSk; gÒg;gÒahff;
Fiwe;J ÊLÏd;wd. ‰j;ÔiuÅYk;
,t;thNw ,lfiyAk; Ìq;fiyAk;
nrayw;W ÊLÏd;wd. mg;gÒahdhy;
∆f;fj;Ôw;Fk; caH Md;ªf ‰iyf;Fk;
NtWghL ,y;iyah? fl;lhakhf cz;L.
caH Md;ªf ‰iyÅy; ROKid
Ôwe;Js;sJ. ∆f;fj;Ôy; mJ ˚ÒAs;sJ.
,JNt Nahf ne„g;gÒ ‰j;Ôiuf;Fk;
rkhÔ ‰iyf;Fk; cs;s NtWghL.
czHTf;Fk; Fz;lÁÎf;Fk; cs;s
njhlHig m„jy; mtÂak;. czHT>
fl;Âg;nghUshd Md;khTf;F cËaJ.
,e;j czHT ÌuÏUÔ ·,aw;if‚
,ÁUe;J Kw;„Yk; NtWgl;lJ vd;W
Nahfne„ ƒWÏwJ. ,aw;ifiar;
nray;gLj;Jk; rf;Ô Ìuhzd;. mNj
Ìuhzd;jhd; ek; xt;nthUtUs;Sk;
cwq;Fk; ‰iyÅy; Fz;lÁÎ vd;W
miof;fg;gLÏwJ.
,q;F xd;iw ehk; ‰idÊy;
nfhs;s Ntz;Lk;. Fz;lÁÎ ˚d;W
ehÒfs; Nghd;w fUj;Jf;fs; vy;yhk; ehk;
ek; kdj;ij m„e;J nfhs;s cjTk;
vj;jidNah tØfs; mt;tsTjhd;!
kdj;ijAk; nray;ghLfisAk;
Êsf;f ,d;Dk; vj;jidNah tØfs;
cz;L. gjQ;rÁ KÎtH Nahf
®j;Ôuq;fÍy; kdj;ijAk; mjd;
PAGE 16
nray;ghLfisAk; fj; njÍthf
Êsf;FÏwhH. mÔy; mtH
Fz;lÁÎiaNah ehÒfisg; gw;„Nah
F„g;Ìlf;ƒl ,y;iy. ,jdhy;
Fz;lÁÎ vd;Dk; Mw;wy; ,y;iy vd;W
ƒWtjhff; nfhs;sf; ƒlhJ. d;rhuk;
vg;gÒ cUthf;fg;gLÏwJ> vt;thW
flj;jg;gLÏwJ vd;w Êtuq;fisg; gw;„
vy;yhk; ftiyg;glhkNyNa xUtH
d;rhuj;ijg; gad;gLj;Ô ae;Ôuq;fis
,af;fyhk;P mLg;ngËf;fyhk;.
mJNghyNt kdj;ijAk; kiwe;ÔUf;Fk;
mjd; Mw;wy;fis m„ahkNyNa
fl;Lg;gLj;Ô Ms KÒAk;.
Fz;lÁÎ ÊØj;njOk;NghJ VNjh
VTfiz $„g;gha;tJNghy; NkNy
nry;tÔy;iy. Nahf ne„iag;
Ìd;gw;WÏd;w Âyiuj;jÊu ÌwH
Fz;lÁÎ ÊØg;gij NeuÒahf
m„tÔy;iy. Mdhy; mjdhy;
NeHÏd;w Ây mDgtq;fÍÁUe;J mij
czu KÒAk;. mrhjhuzkhd
Mw;wNyh> QhdNkh ahËlkhtJ fhzg;
ngWkhdhy; mq;F Fz;lÁÎr; rf;ÔÅd;
ÊØg;G Vw;gl;Ls;sJ. Fz;lÁÎ
ÊØg;gij m„e;jhYk; m„ahÊl;lhYk;
Md;ªf cs;SzHT miltNj Kf;Ïak;.
csÊay;> mf;Fgq;rH> nua;Ï
Nghd;w JiwfÍd; rªg fhy Muha;r;Â
KÒTfs; Ìuhzd;> ˚d;W ehÒfs;
vd;gitfis ‰¨Ìg;gdthf cs;sd.
Muk;g fhyj;Ôy; ˚yhjhug; gFÔÅd;
MÔf;fj;Ôy; ,Uf;Fk; clÁaf;fq;fs;
Ìd;dNu ˚isÅd; fl;Lg;ghl;Òw;Fs;
tUÏwJ.
- ];th
VOLUME 2, ISSUE 9 PAGE 17

OFFERING
“The ultimate offering to the Lord is when the
worshippers offers himself as the offering”

LIBERALITY
“The sea refuses no river”

KNOWLEDGE
“Knowledge can be gained through books
and internet, but the love for knowledge can
only be transmited through a live teacher”

GREAT
“A great man shows his greatness by the
way he treats little men”

ve;j m„T vy;yh cÅHfSila Njhw;wk;>

kiwT vd;gitfSf;F fhl;Âahf
,Uf;ÏwNjh cs;sj;Ôy; ciwÏd;w ©uz
,d;g ‰iwntd;Wk; mKjj;ij> me;jg;
NgUzHitf; fhz;Æ
·Nahf thÂl;lk; 27‚

æme;j ·Md;khthÏa‚ ehd; Ngu„T

khj;ÔuNk ahdtd;Æ vd;W ‰idj;jy;
Ôahdnkdf; ƒwg;gLÏwJ.
æÔahdj;ij ed;F kwj;jy;Æ
rkhÔnadf; ƒwg;gLÏwJ.
·Nahf thÂl;lk; 24‚
VOLUME 2, ISSUE 9 PAGE 18

fdlh - Nahf Ntjhe;j ‰Wtdj;Ôduhy; fle;j 19.08.2007 QhÅw;Wf;Ïoik khHf;fk; &

Nyhwd;]; ,y; cs;s ÂlhÌNw ©q;fhÊy; eilngw;w xd;WƒlÁy; xU Ây fhl;Âfs;
 SELF REALIZATION Md;k mD©Ô miljy;
PROGRAMME WORKSHOP ·Ntj Qhd m„Tk; gÅw;ÂfSKila
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