Sunday, 27 April 2014


2014-17  Raja Ravi Varma - A Prince among Painters 

Raja Ravi Varma [1848-1906] - A Self Portrait
Raja Ravi Varma was born on 29th April 1848, in Kilimanoor, a small hamlet in Kerala. He belonged to a family of scholars, poets and artists. His parents were Umamba Thampuratti and Neelakandan Bhattathiripad. 

As only a small boy, he filled the walls of his home with pictures of animals, acts and scenes from his daily life, which were noted by his uncle, Raja Raja Varma as the signs of a blossoming genius. 

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

At the age of 14, Ayilyam Thirunal Maharaja took him to Travancore Palace where he was taught water painting by the palace painter Rama Swamy Naidu and later, Theodore Jenson, a British painter taught him oil painting.

Most of his oil paintings are based on Hindu epic stories and characters. In 1873 he won the First Prize at the Madras Painting Exhibition. He became a world famous Indian painter after winning in 1873 Vienna Exhibition. Many of his oil paintings are classic and his unique Indian style has later influenced artists and designers worldwide. Here we have displayed pictures of some of the classic oil paintings and oleographs of Raja Ravi Varma.

Goddess Lakshmi
Goddess Saraswathi

An artist who is credited with bringing about a momentous turn in the art of India, Raja Ravi Varma inexorably influenced future generations of artists from different streams. He was the first artist to cast the Indian Gods and mythological characters in natural earthy surroundings using a European realism; a depiction adopted not only by the Indian “calendar-art”- spawning ubiquitous images of Gods and Goddesses, but also by literature and later by the Indian film industry- affecting their dress and form even today. 

Krishna with Yasoda
Ravi Varma’s fame as a portrait artist soared with several important portrait commissions from the Indian aristocracy and British officials between 1870 and 1878, and the sensitivity and immense competence this artist still remains unsurpassed.  His clever portrayal would add elegance to the personality of the protagonist, like unmasking the fragrance of a flower. The recognition that Ravi Varma received in major exhibitions abroad was for the portrait-based renditions, which were meticulous compositions of people, their demeanor and attires.

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

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

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

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

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

Milk Maid
Lady with Lamp

The Calendar-Art thus brought-forth by Ravi Varma has been the origin of lakhs of god-pictures by ultra modern litho presses for decades. The rich heritage of the fragrance of his paintings continues to charm and influence the art of India. 


Ravi Varma Oil Paintings Online Gallery Cyberkerala [Click here]:

Youtube Video: Ravi Varama Mohini–Paintings [Click here]


Sunday, 20 April 2014


2014-16  Swadhyaya Pravachane Cha - Duties of Householders [Taittriya U. 1.9]

The idea is that karma properly done produces chitta-suddhi, which is a pre-requisite for the attainment of Self-Knowledge. These duties are to be performed along with the study and teaching of the Scriptures [svadhya pravachane cha].

It has been stated earler [up to Taittriya U 1.8] that Self-Knowledge alone can give Liberation. This may lead people to think that social duties as prescribed by the scriptures are redundant. Lest people make this mistake, the place of karma or duties of an individual is emphasised here [Taittriya U 1.9].

Given below is Taittriya Upanishad, Siksha Valli, Anuvaka 9 [TU 1.9], in full, followed by its translation.   In my humble opinion, this [TU1.9] is the second most important section in Taittriya Upanishad after the most important section [TU 1.11] for Learning and Living.
ऋतं च स्वाध्याय प्रवचने च  |
सत्यं च स्वाध्याय प्रवचने च  |
तपः च स्वाध्याय प्रवचने च  |
दमः च स्वाध्याय प्रवचने च  |
शमः च स्वाध्याय प्रवचने च  |
अग्नयः  च स्वाध्याय प्रवचने च  |
अग्निहोत्रं च स्वाध्याय प्रवचने च  |
अतिथयः च स्वाध्याय प्रवचने च  |
मानुषं च स्वाध्याय प्रवचने च  |
प्रजा च स्वाध्याय प्रवचने च  |
प्रजनः च स्वाध्याय प्रवचने च  |
प्रजातिः च स्वाध्याय प्रवचने च  |
सत्यं इति सत्यवचाः राथीतरः  |
तपः इति तपोनित्यः पौरुशिष्टिः  |
स्वाध्याय प्रवचने एव इति नाकः मौद्गल्यः  |
तत् हि तपः तत् हि तपः |                                                      [T U 1.9]

Ritam* cha svadhyaya pravachane cha.
Satyam cha svadhyaya pravachane cha.
Tapah cha svadhyaya pravachane cha.
Damah cha svadhyaya pravachane cha.
Shamah cha svadhyaya pravachane cha.
Agnayah cha svadhyaya pravachane cha.
Agnihotram cha svadhyaya pravachane cha.
Atithayah cha svadhyaya pravachane cha.
Manusham cha svadhyaya pravachane cha.
Praja cha svadhyaya pravachane cha.
Prajanah cha svadhyaya pravachane cha.
Prajatih cha svadhyaya pravachane cha. 
Satyamiti satyavacha rathitarah.
Tapa iti taponityah paurushishtih.
Svadhyaya pravachane eva iti nako maudhgalyah.
Tat hi tapas tat hi tapah.                                                         [T U 1.9]

[Practise] Cosmic Law*, with learning and teaching the Scriptures
[Practise] Truthwith learning and teaching the Scriptures
[Practise] Austeritywith learning and teaching the Scriptures
[Practise] Self-restraintwith learning and teaching the Scriptures
[Practise] Tranquilitywith learning and teaching the Scriptures
[Practise] Sacrificial fireswith learning and teaching the Scriptures
[Practise] Agnihotra sacrificealong with learning and teaching the Scriptures
[Practise] Honouring Guestswith learning and teaching the Scriptures
[Practise] Human compassionwith learning and teaching the Scriptures
[Practise] Progeny, with learning and teaching the Scriptures
[Practise] Procreationwith learning and teaching the Scriptures
[Practise] Propagationwith learning and teaching the Scriptures
Satya [first], says Rathiratha’s son Satyavachi, 
Austerity [first], says Purushishti’s son, Taponitya
Learning and teaching the Scripturesalone [first], says Mudgala’s son, Naka
Yes that verily is austerity, yes that verily is austerity.

*Ritam = "Cosmic Law"; also 
                "what is right and proper as enjoined in the Scriptures".

We observe that svadhyaya pravachane cha is repeated 12 times to emphasize that all these duties are to be performed along with learning and teaching the Scriptures

This section closes with three masters advocating the importance of satyam or tapas or the study of the scriptures and their efficient spread in the society. We observe this openness in Upanishadic teaching in many places.

Taittriya U. Full Text with English Commentary by Swami Sharvananda [PDF]

Taittriya U. 1.9 English Commentary by Swami Paramarthananda [Audio]

Taittriya U. 1.9 Tamil Commentary by Swami Guruparananda [Audio]



Sunday, 13 April 2014


2014-15  Sadhana Chatushtaya & Shatka Sampatti  [4 Means & 6 Virtues ]

Adi Shankar with disciples  -- by Raja Ravi Varma

Tattva Bodha  by Adi Shankara

Adi Shankara's  works can be broadly classified into 3 categories -- Sthotras [Hymns], Bhashyas [Commentaries]  and Prakarana Granthas [Primers to Vedanta].  

He wrote detailed commentaries on the Prasthana Thrayee [three cannonical works -- Upanishads, Brahma Sutra and Bhagavad Gita] of Veidika [Sanathana] Dharma.

Tattva BodhaViveka Chudamani and Atma Bodha of Adi Shankara, are examples of Prakarana Granthas.

Tattva Bodha is an elementary prose work, which explains  the Vedantic terminology, in a simple question answer style.

'Tattva' [तत्त्व] means the essence or reality.  'Bodhah' [बोधः]  means knowledge.  Tattva Bodha [तत्त्वबोध] is the knowledge of the ultimate Reality.  The purpose of Tattva Bodha is Liberation.

Who is qualified to seek liberation? One who has sadhana chatushtayam [साधन चतुष्टयं] and shatka sampatti [षट्क संपत्ति] [4 means and 6 virtues].

What are the [ साधन चतुष्टयं ] four-fold qualifications [4 means]?

1. Viveka [ विवेक ]
    Discrimination between the permanent and the impermanent;

2. Vairagya [ वैराघ्य ]
    Dispassion to the enjoyment of the fruits of actions here and hereafter;

3. Shatka-sampatti [ षट्क संपत्ति
    Disciplline or six-fold inner wealth [6 virtues] starting with 'sama'; and 

4. Mumukshutvam [ मुमुक्षुत्वं ]
    Desire or yearning for Liberation.

What are the [षट्क संपत्ति  ] six-fold inner wealth [6 virtues] ?

1. Samah [ शमः ]
    Mastery over the mind;

2. Damah [ दमः ]
    Control of the external senses;

3. Uparama [ उपरमः 
    Observance of one's own dharma [duties];

4. Titiksha [ तितिक्षा ]
    Endurance of opposites [heat and cold, pleasure and pain, etc]

5. Sraddha [ श्रध्दा ]  
    Reverential Faith in the words of the Scriptures and the Guru;

6. Samadhanam  [ समाधानं
    Focussing or single-pointedness of the mind.


Tattva Bodha  Full Text with English Commentary PDF [Click here] 

Swami Paramarthananda:
Audio [Englih]Talk on Sadhana Chatushtayam and Shatka Sampatti
 [Click here]

Swami Guruparananda:
Audio [Tamil] Talk on Sadhana Chatushtayam and Shatka Sampatti
 [Click here]


Sunday, 6 April 2014


2014-14  Parables from Nature: Gifts

Margaret Scott Gatty (1809–1873) had a most unusual education, as is shown in the wide scope of her knowledge, and the depth of character and reflection in her writings. 

Her mother died when she was two years old, and she was brought up at home by her father, a great lover and collector of books. He did not believe in school life, and educated his daughter himself at home. 

In Margaret's case the plan resulted in her acquiring a liking for many things that were not then usual for a girl to know, and led directly to the writing of this book of wisdom.

She also had considerable artistic ability, which showed itself in some beautiful illuminated handwritings. She was also skilled at etching, with which she illustrated some of her own writings. 

Though her literary ability began to show itself at an early age [at seventeen she was translating Dante] she was forty-one before she began to publish. In 1831 appeared the first series of Parables from Nature. These stories were written after a long and careful study of natural history, both at first-hand and from books. 

Margaret Scott married the Rev. Alfred Gatty in 1839. Her breadth of view and liberal-mindedness enabled her to help in the betterment of her husband's parish. Incessantly writing, Mrs. Gatty published many books, among others A Book of Emblems, her last printed effort. Among the most popular of her works were Aunt Judy's Tales for children.

"Parables from Nature by Margaret Scott Gatty -- What a treasure! Mrs. Gatty wrote with a wonderful prose style, and included many encouraging morals which are a joy to share with children."

"The language is rich and difficult for most children younger than 8 yrs of age. The depth of thought in this book is profound and worth reading aloud to children and discussing together. It is a book that offers insight into the natural world, but the deeper spiritual issues embedded within are what give it special worth." 



"Now there are diversities of gifts."
—1 COR. xii. 4.
ONE—TWO—THREE—FOUR—FIVE; five neatly-raked kitchen-garden beds, four of them side by side, with a pathway between; the fifth a narrow slip, heading the others, and close to the gravel walk, as it was for succession-crops of mustard and cress, which are often wanted in a hurry for breakfast or tea.
Most people have stood by such beds in their own kitchen-gardens on soft spring mornings and evenings, and looked for the coming up of the seeds which either they or the gardener had sown.
Radishes in one, for instance, and of all three sorts—white-turnip, red-turnip, and long-tailed.
Carrots in another; and this bed had been dug very deep indeed—subsoil digging, as it were; two spades' depth, that the roots might strike freely down.
Onions in another. Beet in the fourth; both the golden and red varieties; while the narrow slip was half mustard and half cress.
Such was the plan here, however; and here, for a time, all the seeds lay sleeping, as it seemed. For, as the long smooth-raked beds stretched out dark and bare under the stars, they betrayed no symptoms of anything going on within.
Nevertheless, there was no sleeping in the case. The little seed-grains were fulfilling the law of their being, each after its kind; the grains, all but their inner germs, decaying; the germs swelling and growing, till they rose out of their cradles, and made their way, through their earthen coverlid, to the light of day.
They did not all come up quite together, of course, nor all quite alike. But as to the time, the gardener had made his arrangements so cleverly, that none was very far behind his neighbour. And as to the difference of shape in the first young leaves, what could it signify? It is true the young mustards were round and thick; the cresses oval and pointed; the carrots mere green threads; the onions sharp little blades; while the beet had an odd, stainy look. But they all woke up to the same life and enjoyment, and were all greeted with friendly welcome, as they appeared, by the dew, and light, and sunshine, and breezes, so necessary to them all, children of one mother, dependent on the same influences to bring them to perfection.
What could  put comparisons, and envyings, and heart-burnings into their heads, so filling them either with conceit or melancholy misgivings? As if there was but one way of being right or doing right; as if every creature was not  good after its kind, but must needs be good after somebody else's kind, or not be good at all!


As if every created thing was not good after its kind, but must needs be good after somebody else's kind, or not good at all.

It must have been some strolling half-informed grub, one would think, who had not yet come to his full senses, who started such foolish ideas.
It began with an enquiry at first, for no actual unkindness was meant.
"I find I get deeper and deeper into the soil every day," remarked the Carrot. "I shall be I don't know how long, at last. I have been going down regularly, quite straight, for weeks. Then I am tapering off to a long point at the end, in the most beautiful proportions possible. A traveller told me the other day this was perfection and I believe he was right."
(That mischievous vagabond grub, you see!)
"I know what it was to live near the surface in my young days," the Carrot went on; "but never felt solid enjoyment till I struck deeply down, where all is so rich and warm. This is really being firmly established and satisfactory to one's self, though still progressing, I hope, for I don't see why there should be a limit. Pray tell me, neighbours," added he, good-naturedly enough, "how it fares with all the rest of you. I should like to know that your roots are as long, and slim, and orange-coloured as mine; doing as well, in fact, and sinking as far down. I wish us to be all perfect alike. Perfection is the great thing to try for."
"When you are sure you are trying in the right way," sneered a voice from the neighbouring radish bed (the red and white turnip variety were always satirical). "But if the long, slim, orange-roots, striking deep into the earth, are your idea of perfection, I advise you to begin life over again. Dear me! I wish you had consulted us before. Why, we stopped going down long ago, and have been spreading out sideways and all ways, into stout, round solid balls ever since, close white flesh throughout, inside; and not orange, but red without."
"White, he means," shouted another.
"Red I call it," repeated the first. "But no matter; certainly not orange!"
And "Certainly not orange!" cried they all.
"So," continued the first speaker, "we are quite concerned to hear you ramble on about growing longer and longer, and strongly advise you to keep your own counsel, and not mention it to any one else. We are friends, you know, and can be trusted; but you really must leave off wasting your powers and energy in the dark inside of the ground, out of everybody's sight and knowledge. Come to the surface, and make the most of it, as we do, and then you'll be a credit to your friends. Never mind what travellers say. They've nothing else to do but to walk about and talk, and they tell us we are perfection too. Don't trust to them, but to what we tell you now, and alter your course at once. Roll yourself up into a firm round ball as fast as you can. You won't find it hard if you once begin. You have only to——"
"Let me put in a word first," interrupted one of the long-tailed Radishes in the same bed; "for it is of no use to go out of one extreme into another, which you are on the high road to do if you are disposed to take Mr. Roundhead's advice; who, by the way, ought to be ashamed of forcing his very peculiar views upon his neighbours. Just look at us. We always strike moderately down, so we know it's the right thing to do, and that solid round balls are the most unnatural and useless things in the world. But, on the other hand, my dear friend, we have learnt where to stop, and a great secret it is, but one I fear you know nothing about at present; so the sooner you make yourself acquainted with it the better. There's a limit to everything but folly—even to striking deep into the soil. And as to the soil being better so very far down, nobody can believe it; for why should it be? The great art is to make the most of what is at hand, as we do. Time enough to go into the depths when you have used up what is so much easier got at. The man who gathered some of us yesterday called out, 'These are just right.' So I leave you to judge whether some other people we know of must not be wrong."
"You rather overwhelm me, I own," mused the Carrot; "though it's remarkable you counsellors should not agree among yourselves. Is it possible, however, that I have been making a great mistake all my life? What lost time to look back upon! Yet a ball; no, no, not a ball! I don't think I could grow into a solid round ball were I to try for ever!"
"Not having tried, how can you tell?" whispered the Turnip-Radish persuasively. "But you never will if you listen to our old-fashioned friend next door, who has been halting between two opinions all his life:—will neither make an honest fat lump of it, as I do, nor plunge down and taper with you. But nothing can be done without an effort; certainly no change."
"That is true," murmured the Carrot, rather sadly; "but I am too old for further efforts myself. Mistake or no mistake, my fate is fixed. I am too far down to get up again, that's certain; but some of the young ones may try. Do you hear, dears? Some of you stop short, if you can, and grow out sideways and all ways, into stout, round, solid balls."
"Oh, nonsense about round balls!" cried the long-tailed Radish in disgust; "what will the world come to, if this folly goes on! Listen to me, youngsters, I beg. Go to a moderate depth, and be content; and if you want something to do, throw out a few fibres for amusement. You're firm enough without them, I know, but the employment will pass away time."
"There are strange delusions abroad just now," remarked the Onions to each other; "do you hear all this talk about shape and way of growth? and everybody in the dark on the subject, though they seem to be quite unconscious of the fact themselves. That fellow chattered about solid balls, as if there was no such thing as bulbs, growing layer upon layer, and coat over coat, at all. Of course the very long orange gentleman, with his tapering root, is the most wrong of the whole party; but I doubt if Mr. Roundhead is much wiser when he speaks of close white flesh inside, and red (of all ridiculous nonsense) without. Where are their flaky skins, I should like to know? Who is ever to peel them, I wonder? Poor things! I can't think how they got into such ways. How tough and obstinate they must be! I wish we lived nearer. We would teach them a little better than that and show them what to do."
"I  have lived near you long enough," grumbled a deep-red Beet in the next bed; "and you have never taught me; neither shall you, if I can help it. A pretty instructor you would be, who think it ridiculous to be red! I suppose you can't grow red yourself, and so abuse the colour out of spite. Now I flatter myself I am red inside as well as out, so I suppose I am more ridiculous than your friend who contrives to keep himself white within, according to his own account; but I doubt the fact. There, there! it is a folly to be angry; so I say no more, except this: get red as fast as you can. You live in the same soil that I do, and ought to be able."
"Oh, don't call it red!" exclaimed a golden Beet, who was of a gentle turn of mind; "it is but a pale tint after all, and surely rather amber than red; and perhaps that was what the long-tailed orange gentleman meant."
"Perhaps it was; for perhaps he calls red orange, as you call it amber," answered the redder Beet; "anyhow he has rather more sense than our neighbour here, with his layer upon layer, and coat over coat, and flaky skin over all. Think of wasting time in such fiddle-faddle proceedings! Grow a good honest fleshy substance, and have done with it, and let people see you know what life is capable of. I always look at results. It is something to get such a body as I do out of the surrounding soil. That is living to some purpose, I consider. Nobody makes more of their opportunities than I do, I flatter myself, or has more to show for their pains; and a great future must be in store for me."
"Do you hear them? oh! do you hear them?" whispered the Cress to her neighbour the Mustard (there had been several crops, and this was one of the last); "do you hear how they all talk together of their growth, and their roots, and their bulbs, and size, and colour, and shape? It makes me quite unhappy, for I am doing nothing like that myself—nothing, nothing, though I live in the same soil! What is to be done? What do you  do? Do you grow great white solid balls, or long, orange tapering roots, or thick red flesh, or bulbs with layer upon layer, and coat over coat? Some of them talked of just throwing out a few fibres as a mere amusement to pass away time; and this is all I ever do for business. There will never be a great future in store for me. Do speak to me, but whisper what you say, for I shame to be heard or thought of."
"I grow only fibres too," groaned the Mustard in reply; "but I would spread every way and all ways if I could—downwards and upwards, and sideways and all ways, like the rest. I wish I had never been sown. Better never sown and grown, than sown and grown to such trifling purpose! We are wretched indeed. But there must be injustice somewhere. The soil must give them what it refuses to us."
"Or we are weak and helpless, and cannot take in what it offers," suggested the Cress. "Alas! that we should have been sown only to be useless and unhappy!"
And they wept the evening through. But they alone were not unhappy. The Carrot had become uneasy, and could follow his natural tastes no longer in comfort, for thinking that he ought to be a solid round ball, white inside, and red without. The Onion had sore misgivings that the Beet might be right after all, and a good honest mass of red flesh be more worth labouring for, than the pale coat-within-coat growth in which he had indulged. It did seem a waste of trouble, a fiddle-faddle plan of life, he feared. Perhaps he had not gone down far enough in the soil. Some one talked of growing fibres for amusement—he had certainly not come to that; they were necessary to his support; he couldn't hold fast without them. Other people were more independent than he was, then; perhaps wiser,—alas!
And yet the Beet himself was not quite easy; for talk as he would, what he had called fiddle-faddle seemed ingenious when he thought it over, and he would like to have persuaded himself that he grew layer upon layer too. But it wouldn't do.
Perhaps, in fact, the bold little Turnip-Radishes alone, from their solid, substantial growth, were the only ones free from misgivings, and believed that everybody ought to do as they did themselves.
What a disturbance there was, to be sure! And it got worse and worse, and they called on the winds and fleeting clouds, the sun, and moon, and stars above their heads, to stay their course awhile, and declare who was right and who was wrong; who was using, who abusing his gifts and powers; who was making most, who least, of the life and opportunities they all enjoyed; whose system was the one the rest must all strive to follow—the one only right.
But they called and asked in vain; till one evening, the clouds which had been gathering over the garden for days began to come down in rain, and sank swiftly into the ground, where it had been needed for long. Whereupon there was a general cry, "Here comes a messenger; now we shall hear!" as if they thought no one could have any business in the world but to settle their disputes.
So out came all the old enquiries again:—who was right—who was wrong—who had got hold of the true secret? But the Cress made no enquiry at all, only shook with fright under the rain; for, thought she, the hour of my shame and degradation is come; poor useless creature that I am, I shall never more hold up my head!
As to the Carrot, into whose well-dug bed the rain found easiest entrance, and sank deepest, he held forth in most eloquent style upon the whole affair;—how it was started, and what he had said; how much he had once hoped; how much he now feared.
Now, the Rain-drops did not care to answer in a hurry; but as they came dropping gently down, they murmured, "Peace, peace, peace!" all over the beds. And truly they seemed to bring peace with them as they fell, so that a calm sank all around, and then the murmur proceeded:—"Poor little atoms in a boundless kingdom—each one of you bearing a part towards its fulness of perfection, each one of you endowed with gifts and powers especially your own, each one of you good after its kind—how came these cruel misgivings and heart-burnings among you? Are the tops of the mountains wrong because they cannot grow corn like valleys? Are the valleys wrong because they cannot soar into the skies? Does the brook flow in vain because it cannot spread out like the sea? Is the sea only right because its waters only are salt? Each good after its kind, each bearing a part in the full perfection of the kingdom which is boundless, the plan which is harmony—peace, peace, peace, upon all!"
And peace seemed to fall more soothingly than ever upon the ground as the shower continued to descend.
"How much more, then," resumed the murmur, "among you, to whose inner natures gifts and powers are given, each different from each; each good in its kind; each, if rightly carried out, doing service in that kingdom, which needs for its full perfection, that there shall be mountains to rise into the skies, valleys to lie low at their feet; some natures to go deep into the soil, others to rejoice on its surface; some to lie lightly upon the earth, as if scarcely claiming a home, others to grasp at it by wide-spread roots, and stretch out branches to the rivers; all good in their kind, all bearing a part in the glory of that universe whose children are countless as their natures are various—none useless, none in vain.
"Upon one, then, upon all—each wanted, each useful, each good after its kind—peace, peace, peace, peace, peace!" . . .
The murmur subsided to a whisper, the whisper into silence; and by the time the moon-shadows lay upon the garden there was peace everywhere.
Nor was it broken again; for henceforth even the Cress held up her head—she, also, good after her kind.
Only once or twice that year, when the Carrots were gathered, there came up the strangest growths—thick, distorted lumps, that had never struck properly down.
The gardener wondered, and was vexed, for he prided himself on the digging of the carrot-bed. "Anything that had had any sense might have gone down into it, he was sure," he said. And he was not far wrong; but you see the Carrot had had no sense when he began to speculate, and tried to be something he was not intended to be.
Yet the poor clumsy thing was not quite useless after all. For, just as the gardener was about to fling it angrily away, he recollected that the cook might use it for soup, though it could not be served up at table—such a shape as it was! . . .
And this was exactly what she did.


Full text of Margaret Gatty's "Parables from Nature": [Clik Here]