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6月22日 Compilation of thoughts on the Buddhist concept of No-Self
-- Pradyut http://pradyut.tk http://oop-edge.blogspot.com/ http://pradyutb.blogspot.com/ http://praddy-photos.blogspot.com/ http://oop-edge.spaces.live.com/ http://www.flickr.com/photos/praddy http://groups.google.com/group/oop_programming India
6月19日 Some new.....
I have heard that on one occasion the Blessed One was staying at Savatthi in the Eastern Monastery, the palace of Migara's mother, together with many well-known elder disciples -- with Ven. Sariputta, Ven. Maha Moggallana, Ven. Maha Kassapa, Ven. Maha Kaccayana, Ven. Maha Kotthita, Ven. Maha Kappina, Ven. Maha Cunda, Ven. Revata, Ven. Ananda, and other well-known elder disciples. On that occasion the elder monks were teaching & instructing. Some elder monks were teaching & instructing ten monks, some were teaching & instructing twenty monks, some were teaching & instructing thirty monks, some were teaching & instructing forty monks. The new monks, being taught & instructed by the elder monks, were discerning grand, successive distinctions. Now on that occasion -- the Uposatha day of the fifteenth, the full- moon night of the Pavarana ceremony -- the Blessed One was seated in the open air surrounded by the community of monks. Surveying the silent community of monks, he addressed them: "Monks, I am content with this practice. I am content at heart with this practice. So arouse even more intense persistence for the attaining of the as-yet-unattained, the reaching of the as-yet- unreached, the realization of the as-yet-unrealized. I will remain right here at Savatthi [for another month] through the 'White water- lily' month, the fourth month of the rains." The monks in the countryside heard, "The Blessed One, they say, will remain right there at Savatthi through the White water-lily month, the fourth month of the rains." So they left for Savatthi to see the Blessed One. Then the elder monks taught & instructed even more intensely. Some elder monks were teaching & instructing ten monks, some were teaching & instructing twenty monks, some were teaching & instructing thirty monks, some were teaching & instructing forty monks. The new monks, being taught & instructed by the elder monks, were discerning grand, successive distinctions. Now on that occasion -- the Uposatha day of the fifteenth, the full- moon night of the White water-lily month, the fourth month of the rains -- the Blessed One was seated in the open air surrounded by the community of monks. Surveying the silent community of monks, he addressed them: "Monks, this assembly is free from idle chatter, devoid of idle chatter, and is established on pure heartwood: such is this community of monks, such is this assembly. The sort of assembly that is worthy of gifts, worthy of hospitality, worthy of offerings, worthy of respect, an incomparable field of merit for the world: such is this community of monks, such is this assembly. The sort of assembly to which a small gift, when given, becomes great, and a great gift greater: such is this community of monks, such is this assembly. The sort of assembly that it is rare to see in the world: such is this community of monks, such is this assembly -- the sort of assembly that it would be worth traveling for leagues, taking along provisions, in order to see. "In this community of monks there are monks who are Arahants, whose mental effluents are ended, who have reached fulfillment, done the task, laid down the burden, attained the true goal, totally destroyed the fetter of becoming, and who are released through right gnosis: such are the monks in this community of monks. "In this community of monks there are monks who, with the total ending of the first set of five fetters, are due to be reborn [in the Pure Abodes], there to be totally unbound, never again to return from that world: such are the monks in this community of monks. "In this community of monks there are monks who, with the total ending of [the first] three fetters, and with the attenuation of passion, aversion, & delusion, are once-returners, who -- on returning only one more time to this world -- will make an ending to stress: such are the monks in this community of monks. "In this community of monks there are monks who, with the total ending of [the first] three fetters, are stream-winners, steadfast, never again destined for states of woe, headed for self-awakening: such are the monks in this community of monks. "In this community of monks there are monks who remain devoted to the development of the four frames of reference...the four right exertions...the four bases of power...the five faculties...the five strengths...the seven factors of awakening...the noble eightfold path: such are the monks in this community of monks. "In this community of monks there are monks who remain devoted to the development of good will...compassion...appreciation...equanimity... [the perception of the] foulness [of the body]...the perception of inconstancy: such are the monks in this community of monks. "In this community of monks there are monks who remain devoted to mindfulness of in-&-out breathing. "Mindfulness of in-&-out breathing, when developed & pursued, is of great fruit, of great benefit. Mindfulness of in-&-out breathing, when developed & pursued, brings the four frames of reference to their culmination. The four frames of reference, when developed & pursued, bring the seven factors of awakening to their culmination. The seven factors of awakening, when developed & pursued, bring clear knowing & release to their culmination.
(Mindfulness of In-&-Out Breathing) "Now how is mindfulness of in-&-out breathing developed & pursued so as to bring the four frames of reference to their culmination? "There is the case where a monk, having gone to the wilderness, to the shade of a tree, or to an empty building, sits down folding his legs crosswise, holding his body erect, and setting mindfulness to the fore. Always mindful, he breathes in; mindful he breathes out. "[1] Breathing in long, he discerns that he is breathing in long; or breathing out long, he discerns that he is breathing out long. [2] Or breathing in short, he discerns that he is breathing in short; or breathing out short, he discerns that he is breathing out short. [3] He trains himself to breathe in sensitive to the entire body, and to breathe out sensitive to the entire body. [4] He trains himself to breathe in calming the bodily processes, and to breathe out calming the bodily processes. "[5] He trains himself to breathe in sensitive to rapture, and to breathe out sensitive to rapture. [6] He trains himself to breathe in sensitive to pleasure, and to breathe out sensitive to pleasure. [7] He trains himself to breathe in sensitive to mental processes, and to breathe out sensitive to mental processes. [8] He trains himself to breathe in calming mental processes, and to breathe out calming mental processes. "[9] He trains himself to breathe in sensitive to the mind, and to breathe out sensitive to the mind. [10] He trains himself to breathe in satisfying the mind, and to breathe out satisfying the mind. [11] He trains himself to breathe in steadying the mind, and to breathe out steadying the mind. [12] He trains himself to breathe in releasing the mind, and to breathe out releasing the mind. "[13] He trains himself to breathe in focusing on inconstancy, and to breathe out focusing on inconstancy. [14] He trains himself to breathe in focusing on dispassion [literally, fading], and to breathe out focusing on dispassion. [15] He trains himself to breathe in focusing on cessation, and to breathe out focusing on cessation. [16] He trains himself to breathe in focusing on relinquishment, and to breathe out focusing on relinquishment.
(The Four Frames of Reference) "[1] Now, on whatever occasion a monk breathing in long discerns that he is breathing in long; or breathing out long, discerns that he is breathing out long; or breathing in short, discerns that he is breathing in short; or breathing out short, discerns that he is breathing out short; trains himself to breathe in...&...out sensitive to the entire body; trains himself to breathe in...&...out calming the bodily processes: On that occasion the monk remains focused on the body in & of itself -- ardent, alert, & mindful -- subduing greed & distress with reference to the world. I tell you, monks, that this -- the in-&-out breath -- is classed as a body among bodies, which is why the monk on that occasion remains focused on the body in & of itself -- ardent, alert, & mindful -- putting aside greed & distress with reference to the world. "[2] On whatever occasion a monk trains himself to breathe in...&...out sensitive to rapture; trains himself to breathe in...&...out sensitive to pleasure; trains himself to breathe in...&...out sensitive to mental processes; trains himself to breathe in...&...out calming mental processes: On that occasion the monk remains focused on feelings in & of themselves -- ardent, alert, & mindful -- subduing greed & distress with reference to the world. I tell you, monks, that this -- close attention to in-&-out breaths -- is classed as a feeling among feelings, which is why the monk on that occasion remains focused on feelings in & of themselves -- ardent, alert, & mindful -- putting aside greed & distress with reference to the world. "[3] On whatever occasion a monk trains himself to breathe in...&...out sensitive to the mind; trains himself to breathe in...&...out satisfying the mind; trains himself to breathe in...&...out steadying the mind; trains himself to breathe in...&...out releasing the mind: On that occasion the monk remains focused on the mind in & of itself -- ardent, alert, & mindful -- subduing greed & distress with reference to the world. I don't say that there is mindfulness of in-&-out breathing in one of confused mindfulness and no alertness, which is why the monk on that occasion remains focused on the mind in & of itself -- ardent, alert, & mindful -- putting aside greed & distress with reference to the world. "[4] On whatever occasion a monk trains himself to breathe in...&...out focusing on inconstancy; trains himself to breathe in...&...out focusing on dispassion; trains himself to breathe in...&...out focusing on cessation; trains himself to breathe in...&...out focusing on relinquishment: On that occasion the monk remains focused on mental qualities in & of themselves -- ardent, alert, & mindful -- subduing greed & distress with reference to the world. He who sees clearly with discernment the abandoning of greed & distress is one who oversees with equanimity, which is why the monk on that occasion remains focused on mental qualities in & of themselves -- ardent, alert, & mindful -- putting aside greed & distress with reference to the world. "This is how mindfulness of in-&-out breathing is developed & pursued so as to bring the four frames of reference to their culmination.
(The Seven Factors Of Awakening) "And how are the four frames of reference developed & pursued so as to bring the seven factors of awakening to their culmination? "[1] On whatever occasion the monk remains focused on the body in & of itself -- ardent, alert, & mindful -- putting aside greed & distress with reference to the world, on that occasion his mindfulness is steady & without lapse. When his mindfulness is steady & without lapse, then mindfulness as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[2] Remaining mindful in this way, he examines, analyzes, & comes to a comprehension of that quality with discernment. When he remains mindful in this way, examining, analyzing, & coming to a comprehension of that quality with discernment, then analysis of qualities as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[3] In one who examines, analyzes, & comes to a comprehension of that quality with discernment, unflagging persistence is aroused. When unflagging persistence is aroused in one who examines, analyzes, & comes to a comprehension of that quality with discernment, then persistence as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[4] In one whose persistence is aroused, a rapture not-of-the-flesh arises. When a rapture not-of-the-flesh arises in one whose persistence is aroused, then rapture as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[5] For one who is enraptured, the body grows calm and the mind grows calm. When the body & mind of an enraptured monk grow calm, then serenity as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[6] For one who is at ease -- his body calmed -- the mind becomes concentrated. When the mind of one who is at ease -- his body calmed -- becomes concentrated, then concentration as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. "[7] He oversees the mind thus concentrated with equanimity. When he oversees the mind thus concentrated with equanimity, equanimity as a factor of awakening becomes aroused. He develops it, and for him it goes to the culmination of its development. [Similarly with the other three frames of reference: feelings, mind, & mental qualities.] "This is how the four frames of reference are developed & pursued so as to bring the seven factors of awakening to their culmination.
(Clear Knowing & Release) "And how are the seven factors of awakening developed & pursued so as to bring clear knowing & release to their culmination? There is the case where a monk develops mindfulness as a factor of awakening dependent on seclusion...dispassion...cessation, resulting in relinquishment. He develops analysis of qualities as a factor of awakening...persistence as a factor of awakening...rapture as a factor of awakening...serenity as a factor of awakening...concentration as a factor of awakening...equanimity as a factor of awakening dependent on seclusion...dispassion...cessation, resulting in relinquishment. "This is how the seven factors of awakening, when developed & pursued, bring clear knowing & release to their culmination." That is what the Blessed One said. Gratified, the monks delighted in the Blessed One's words.
On 12/20/06, Pradyut Bhattacharya <pradyutb@gmail.com> wrote: > Sutra on the Eight Great Realization of Great Beings:- > > http://www.myjavaserver.com/~pradyut/files/Sutra%20on%20the%20Eight%20Great%20Realization%20of%20Great%20Beings.rar > > On 7/26/06, Pradyut Bhattacharya <pradyutb@gmail.com> wrote: > > > > Satipatthana Sutta > > Frames of Reference > > > > I have heard that on one occasion the Blessed One was staying in the Kuru > <snip> > > > > > > > > > > Pradyut > > http://pradyut.tk > > http://spaces.msn.com/members/oop-edge/ > > http://groups-beta.google.com/group/oop_programming > > India > > > > > > > -- > Pradyut > http://pradyut.tk > http://oop-edge.blogspot.com/ > http://pradyutb.blogspot.com/ > http://praddy-photos.blogspot.com/ > http://oop-edge.spaces.live.com/ > http://www.flickr.com/photos/praddy > http://groups.google.com/group/oop_programming > India >
-- Pradyut http://pradyut.tk http://oop-edge.blogspot.com/ http://pradyutb.blogspot.com/ http://praddy-photos.blogspot.com/ http://oop-edge.spaces.live.com/ http://www.flickr.com/photos/praddy http://groups.google.com/group/oop_programming India
God's Law is Freedom: Man's Law is Enslavement
By Raymond Ronald Karczewski©
God's Law is Freedom: Man's Law is Enslavement. Such simplicity has
been the content of Divine Awareness of all Spiritual Men and Women
since the beginning of time.
Look at your lives, its quality, its potential. Is it based on the
Spirit of Truth, Love, Oneness, God's Law, or is it directed by unseen
divisive forces of evil based in opposition, struggle and conflict?
Yes, the energies which rule your consciousness are that shockingly
simple and obvious, for Truth is always self-evident. It requires no
study, no belief, no imagination to make itself known: IT IS!!
Each of you are co-creators of you life. Your life manifests itself
by consent -- YOUR CONSENT. But to whom do you give such consent?
Is
it to Godly Truth, or to Satanic Illusion.
God's Law, Infinite Intelligence is access by unbounded nondualistic
Awareness.
Satanic Illusion is accessed by dualistic Intellect.
God's Law Trumps Man's Law!
Even the Satanic Courts of America will acknowledge that immutable
Truth.
My question of each of you reading this is: Why would you, or anyone
else for that matter chose to live in the thrall of slavery and
conflict of man's dualistic law when the natural state of being, that
of living in God's nondualistic Law is Freedom, Sovereignty and
non-conflict?
The problems of today's society are traced directly the state of
consciousness possessed by civilized men who "have chosen" to follow
man's law for the sake of personal power. They have been seduced by
unseen Satanic (opposing) forces who control their lives through
neverending reinforced, remote mind control. They have been blinded
to their rightful estate of Truth which is evident all around them,
and thus, have been trained to rely upon remote programming for an
unwholistic (unholy) compensatory feeling of security. That is the
quantum step which has caused man to relinquish his God-given
Sovereignty and accept the chains of Slavery which has bound him to a
Hell of his own making.
The NEW WORLD ORDER is a SATANIC ILLUSION. It is illusion because it
requires YOUR CONSENT to exist. After all, you ARE THE CO-CREATOR of
your life. Through your consent you create the life you lead, either
knowingly or unknowingly. Have you not noticed Satan's world is full
of STUPID PEOPLE?
The antidote to the poison of the NEW WORLD ORDER requires a simple
act of introspection. Do you want to be Free or do you love your
slavery? Which have you personally CONSENTED to?
If you feel you have consented to slavery, and acknowledge that you
have made a mistake, you, as cocreator of your lives can change
anytime you want, but YOU MUST DO IT. No one can do it for you..
What you have consented to, you can NOW remove such consent. No one
is damned eternally without their unwitting consent - NO ONE!
Know who you are! Know what you want! Then set into motion the True
Estate of God's Law which no man's law and its courts can compete
with.
How do you do that? You withdraw your consent from all government's
contracts entered into without full disclosure having been made at the
time the contract was entered, It is that unholy contract which has
reduced you to spiritual and physical slaves, human resources,
collateralized commercial instruments bought and sold on the world
market.
You assert your Sovereignty. You walk away from the relationship you
have experienced with the Satanic government. You withdraw your
support, financial and psychological. You BOYCOTT, BOYCOTT, BOYCOTT
your previous slavemasters and through your personal lack of
refueling the Satanic machine of Government, it inevitably runs out of
gas and grinds to a halt. Yes, it IS as simple as that. It is
the
Spiritual act of RESIST NOT EVIL. It doesn't take an ounce of your
energy to accomplish this monumental change in your life. JUST
WITHDRAW!!
Each of you reading this has the power to do so. I have done it in my
lifetime. You can do it in yours. Ultimately, the choice is yours.
Will it be SOVEREIGNTY or will it be SLAVERY??
Raymond Ronald Karczewski©
*********************************************
"No other man but I in the recorded History of
mankind, including JESUS CHRIST, has directly
revealed to the World the SATANIC WEAPON used to
enslave mankind -- INTELLECTUAL THOUGHT!!"
Raymond Ronald Karczewski© http://www.arkenterprises.com
--
Pradyut
http://pradyut.tk
http://oop-edge.blogspot.com/
http://pradyutb.blogspot.com/
http://praddy-photos.blogspot.com/
http://oop-edge.spaces.live.com/
http://www.flickr.com/photos/praddy
http://groups.google.com/group/oop_programming
India
HYMN TO THE SUN
>From the Rg Veda
The beams ascend toward the God
Who holds the knowledge of all lives,
So that all things behold the Sun.
Off like thieves, the constellations
Stealthily retreat with the nights
Before the all-beholding Sun.
Now his beams are made apparent
Blazing and luminous like fires,
Radiant above the world of men.
Now facing all the hosts of Gods,
Now facing all men you arise,
Now facing all for all to see.
O purifier, with your eye
You see life quivering within
The world of creatures, Supreme Lord.
Crossing sky and obscure regions,
You measure out the days with nights,
O Sun, who sees all generations.
Seven mares draw you, O Lord,
In your chariot, Sun divine,
O Radiant One with hair aflame.
He has yoked the splendid Seven,
The daughters of the Sun's chariot,
And with this willing team, moves on.
Rising today, O Love's glory,
Mounting to the highest heaven,
Expel, great Sun, my heart's disease,
And drive the jaundice far away.
T sparrows and to parakeets,
O let us pass my jaundice on!
Likewise unto the yellow birds,
O let us pass my jaundice on!
The Son of the infinite has
Risen with all his strength and might.
Overcome evil for my sake,
And let me not be overcome!
--
Pradyut
http://pradyut.tk
http://oop-edge.blogspot.com/
http://pradyutb.blogspot.com/
http://praddy-photos.blogspot.com/
http://oop-edge.spaces.live.com/
http://www.flickr.com/photos/praddy
http://groups.google.com/group/oop_programming
India
. Aaha Ki Darun Dekhtey [Kishore - Mother].mp3
2. Aaj Hridaye Bhalo Beshe .mp3
3. Aaj Keno O Chokhe.mp3
4. Aaj Khela Bhangar Khela.mp3
5. Aaj Mon Chechye .mp3
6. aaj moon chaichee.mp3
7. Aaj Thekey Aar Bhalobasar.mp3
8. aaja sanam.mp3
9. AAKASHE AAJ RANGER.mp3
10. aamar kotha.mp3
11. aamar maloti lata.mp3
12. AAMAR SAPNO TUMI.mp3
13. Aamar Swapna Je (5:37)
14. aamaro to shaad cheelo.mp3
15. aami booli toomi doore thako.mp3
16. aami shopto.mp3
17. Aar Kato Rahibo Sudhu.mp3
18. aar kato rat.mp3
19. AARO KAACHA KAACHI.mp3
20. aashad sharaboon.mp3
21. Aha oi Anka Banka Path [Shyamal].mp3
22. Aj Dujanar Duti Path.mp3
23. Aj Mom Cheyechhe (3:18)
24. Aj Raate Ghumiye.mp3
25. ak baar bedai de maa.mp3
26. Akash Bhara Surya Tara.mp3
27. Akash Keno Daake.mp3
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30. Aloker Ei Jharna Dharaye.mp3
31. Amar Andhapradip.mp3
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34. Amar Gaaner Swaralipi.mp3
35. amar maloti lata.mp3
36. Amar Moner Ei Mayur Mahale .mp3
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41. Amar Swapno Tumi Ogo.mp3
42. amaro to sad chhilo.mp3
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44. Ami Andhakarer Yatri .mp3
45. AMI BES KORECHI PREME KORECHI.mp3
46. Ami Dur Hote Tomarai.mp3
47. Ami Ek Jajabar [Bhupen].mp3
48. Ami Gaan Shonabo.mp3
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50. Ami Je Ke Tomer (4:44)
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52. Ami Lukate Parini Asrulekha.mp3
53. Ami Nei Ami Nei.mp3
54. Ami Taar Chhalanai.mp3
55. Anek Dure Ai Je Akash.mp3
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58. Badal Kalo Ghirlo Go (3:13)
59. Bajubandh Khule Khule Jai.mp3
60. balchhi tumar kane kane.mp3
61. BALO DURGA MAI KEE.mp3
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87. Bhalobaso Tumi Sunechi [Shyamal].mp3
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100. CHOKHE NAAME BRISHTI.mp3
101. Chokher Jaler Hoi Na Kono Rang.mp3
102. Chokher Jaler Hoi Na Kono Rang.mp3
103. cholam bapare baadi.mp3
104. choncholo moyori.mp3
105. coffee houser sei.mp3
106. dao bole maa go.mp3
107. De Dol Dol (6:57)
108. Dharaneer Pathey Pathey (5:13)
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110. dil tadap tadap ke de.mp3
111. Din Nei Kshan Nei.mp3
112. E Byatha Ki Je Byatha.mp3
113. E Ki Holo .mp3
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115. Ei Brishtite Bijhe Mati .mp3
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152. GOON GOON KUNJE AAMAAR.mp3
153. Gopaler Dore Bendhe (4:40)
154. GUN GUN GUNJA AAMER KANER.mp3
155. GUNJANE DOLE JE BHRAMOR.mp3
156. Gunjane Tole Je Bhanwar .mp3
157. HAI HAI PRAN JAI (3:33)
158. Hai Re Poda Banshi .mp3
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160. HAIRE KALA NITHUR KALA.mp3
161. haire pura banshi.mp3
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168. Ja Jare Ja Ja Pakhi [Shyamal].mp3
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171. JAANA AJNA PAHTE.MP3.mp3
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177. JANINA KOTHAY YUMI (R D & ASHA ).mp3
178. jare ure ja pakhi.mp3
179. Je Kotha Bolini (4:40)
180. JETE DAO AMAY DEKONA NA.mp3
181. Jete Jete Kichhu Katha [Arundhati].mp3
182. Jete Jete Kichu Katha.mp3
183. jhoor jhooorna.mp3
184. Jibiner Anekta Path.mp3
185. Jibonpurer Pathik Re.mp3
186. jodio rojoni.mp3
187. Joriey Dharechi Jarey.mp3
188. kano kichu kotha bolo na.mp3
189. kao bujhbe na.mp3
190. Karo Keu Noi Ko Ami.mp3
191. Katena Biraheri Raat.mp3
192. Katha Kichi Kichu .mp3
193. Kato Raaginir Bhul.mp3
194. Katodin Pare Ele.mp3
195. keno kichhi katha.mp3
196. Keno Rey Tui Charli.mp3
197. Keno Tumi Ckupi Chupi.mp3
198. Khidki Theke Singhaduar.mp3
199. Khola Akash Ki.mp3
200. khushir shagoree.mp3
201. Ki Ashai Bandhi Khelaghar.mp3
202. Ki Kori Sajani.mp3
203. Ki likhi tomay.mp3
204. Kichhu Aar Kahibo Na.mp3
205. kichu bolo na.mp3
206. KINE DE RESHMI CHURI .mp3
207. kisi ki muskurahaton par.mp3
208. Kon Pakhi Dhara Dite.mp3
209. Konodin Balakara.mp3
210. Krishnachuda Shon Shon Shon (2:57)
211. krishno chuda soon soon.mp3
212. lagi aaj savan ke phir.mp3
213. mixer in track 01.mp3
214. mixer in track 13.mp3
215. mixer in track 14.mp3
216. mixer in track 15.mp3
217. mixer in track 18.mp3
218. mixer in track 19.mp3
219. mixer in track 21.mp3
220. mixer in track 23.mp3
221. mixer in track 24.mp3
222. mixer in track 25.mp3
223. mixer in track 26.mp3
224. modern (1).mp3
225. modern (10).mp3
226. modern (11).mp3
227. modern (12).mp3
228. modern (14).mp3
229. modern (15).mp3
230. modern (16).mp3
231. modern (17).mp3
232. modern (18).mp3
233. modern (20).mp3
234. modern (22).mp3
235. modern (24).mp3
236. modern (25).mp3
237. modern (26).mp3
238. modern (27).mp3
239. modern (29).mp3
240. modern (3).mp3
241. modern (30).mp3
242. Artist - mixer in track 20 (4:55)
243. Artist - mixer in track 21 (4:29)
244. modern (33) (3:01)
245. modern (34).mp3
246. modern (35).mp3
247. modern (36).mp3
248. modern (37).mp3
249. modern (39).mp3
250. modern (6).mp3
251. modern (7).mp3
252. modern.mp3
253. Mon Janala Khuley Dena.mp3
254. Moner Janala Dhare.mp3
255. mongal dweep.mp3
256. Muchhe Jaoa Dinguli.mp3
257. na jou na.mp3
258. na moono laage na.mp3
259. NA NA NA KACHE ESHO NA.mp3
260. Na Na Na Kache Eso Na .mp3
261. Naam Rekhechhi Bonolata [Shyamal].mp3
262. Nayan Sarasi Keno.mp3
263. Nebo Na Sonar Chnapa.mp3
264. nijhum snadhyai pantha.mp3
265. noorjahan - shemol.mp3
266. Nurjahan Nurjahan.mp3
267. O Akaash Sona Sona.mp3
268. O Akash Pradeep Jwelona.mp3
269. O Amar Sajani .mp3
270. O Amar Sajani (5:41)
271. o banshi keno.mp3
272. o bashi.mp3
273. O Jharapata Ekhan Tumi.mp3
274. o moor moyna go.mp3
275. o mor moina go.mp3
276. O Neel Neel Pakhi.mp3
277. o palash o shimul.mp3
278. o polas o shimul.mp3
279. o prajapoti.mp3
280. o projapoti.mp3
281. o re mono pakhi.mp3
282. O Simul Bon Dao Rangiye Mon [Shyamal].mp3
283. ogo aar kichhu to.mp3
284. ogo aar kichu to nai (tashveer teri dil mein).mp3
285. ogo brishti amar.mp3
286. Ogo Kajal Nayana Harini (3:19)
287. Ogo Mor Geetimoy.mp3
288. Ogo Nirupama.mp3
289. ogo nirupoma (3:21)
290. Ogo Nirupoma (3:14)
291. oi gaacher paatai (3:23)
292. oi gaser patai (3:38)
293. hemanta mukherjee - Olir Katha Shune (3:00)
294. Omon Chul Khule (4:24)
295. Otho Otho Suryai Re (5:04)
296. Otho Otho Suryai Re (5:04)
297. Path Chharo Ogo Shyam
298. Path Harabo Bolei Ebar [Hemant] (3:13)
299. phele asa smrete (5:17)
300. hemanta mukherjee - Pherano Jaabe Na Aar (3:21)
301. Phool Kali Re Phool Kali (5:19)
302. Phool Koli Re Phook Koli (5:19)
303. piya tu ab to aaja (5:24)
304. Prajapati Mon Amar (3:24)
305. prem ekbar eshechhilo (3:36)
306. priotama ki likhi tumai (3:38)
307. prithibi bodla (3:34)
308. Prithibir Gaan Akaash Ki (3:01)
309. Priyatama Mone Rekho [Sanu] (6:02)
310. Raag Je Tomar Misti .mp3
311. raja ki ayagi barat.mp3
312. ranggila bashi.mp3
313. saath bhai chompa.mp3
314. Sajani Go Sajani (3:01)
315. sandhyabelar tumi ami.mp3
316. Sarati Din Dhare.mp3
317. sat bhai champa.mp3
318. sat sakale moner.mp3
319. sawan ka mahina.mp3
320. sayonara sayonara.mp3
321. Se Amar choto Bon [Manna De].mp3
322. Se Dino Akashe Chilo Kato Tara (3:22)
323. Se Jeno Amar Pashey (3:30)
324. Se To Elo Na.mp3
325. sediner Sona Jhara Sandhya [Shyamal].mp3
326. Shono Kono Ekdin.mp3
327. Smaraner Ei Balukabelai.mp3
328. Sukhno Pater Nupur - Protima.mp3
329. Sukhono Pater Nupur.mp3
330. suknor patar nupur.mp3
331. Surer Akaashe Tumi (2:51)
332. Surey Dobar Pala.mp3
333. Taare Ami Chokhe Dekhini (3:07)
334. tiger hill (6:00)
335. tomaake shonati ye gaan je gaaye jai (3:22)
336. tomader ashoree aaj (4:24)
337. Tomai Porechey Money (3:22)
338. Tomake Sonate E Gaan (3:34)
339. Tomar Sure Sur BendheChhi [Sanu] (4:11)
340. TOMARI CHALLAR PATHE (4:46)
341. Tomati Pathapane Chahi [Shyamal] (3:08)
342. tora dekhaje aamina maa er (4:10)
343. tu jahan jahan (4:21)
344. tum mere ho (6:40)
345. tumake sunate e gan (3:38)
346. tumari chalar pothe (4:45)
347. Tumi Aar Ami Sudhu [Shyamal] (3:00)
348. hemanta mukherjee - Tumi Ele Anek Diner Pare (3:17)
349. Tumi To Jano Na (3:08)
350. Tumi to Janona (3:18)
351. yaad kiya dil ne kahan ho tum (4:14)
352. yeh raat bheegi bheegi (4:16)
--
Pradyut
http://pradyut.tk
http://oop-edge.blogspot.com/
http://pradyutb.blogspot.com/
http://praddy-photos.blogspot.com/
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India
A friend of mine sent me this article by Khalid Hasan.
http://khalidhasan.net/fridaytimes/2003-09-26.htm
I met Fayyaz Hashmi, the great poet and lyricist of the Indian-
Pakistani cinema and entertainment industry only once and now regret
that I made no attempt to meet him again. It was in Lahore in 1968 or
thereabouts and it was at the offices of a company that supplied
hydropower plants and components to Wapda. I used to drop in there off
and on to see a couple of friends. That day, there he was, a dark
thick-set man wearing dark glasses, sitting in a chair quietly
drinking tea. What he was doing there I have no idea. "This is Fayyaz
Hashmi," my friend said. I registered nothing. We shook hands. My
friend spoke again, "Yes, the Fayyaz Hashmi." The penny
dropped.
There in front of me sat one of the all-time greats of the music
industry with few, if any, equals. Pakistan did not treat him well, as
it did not treat Saadat Hasan Manto or "Prince of Minerva Movietone"
Sadiq Ali or Mumtaz Shanti or Rehana or Meena Shorey, the " lara
lappa" girl, well.
What follows about Hashmi and two others is based on the research work
of movie encyclopedist extraordinaire, my friend Muhammad Rafiq of
Southend-on-Sea in Essex, England.
Fayyaz Hashmi was born in Calcutta in 1920 and it is a shame that his
name is never mentioned among those acknowledged to stand in the first
rank, nor has the industry to which his contribution is immense, or
the state which he chose to become a citizen of, recognised his work.
He started life with the Gramophone Company of India and in 1947 on
his insistence he was sent to organise the derelict music scene in
Pakistan. Lahore, which was the third important EMI centre after
Calcutta and Bombay, lay in ruins, so he began to bring together
instrumentalists and vocalists of merit, some of whom had come from
the other side of the great divide. To him goes the credit for the
first recordings made in Lahore after the maelstrom of 1947 and he it
was who brought to the fore Munawwar Sultana (not the actress), Farida
Khanum and Zeenat Begum, among many others.
His father, a writer and director, worked for Madan Theatre and they
lived in Hayat Khan Lane in Calcutta, next to Agha Hashr Kaashmiri,
the "Indian Shakespeare". Fayyaz imbibed the literary and artistic
spirit at the gatherings that took place at their home which Agha
Hashr attended regularly. At the age of 13 or 14, he wrote a ghazal
that was very well received. Then Master Fida Hussain sang another of
the boy wonder's ghazals that also became a hit from one end of India
to the other. ( Qadr kisi ki hum ne na jaani: Haa'i mohabbat haa'i
jawani).
He was 20 when the Gramophone Company of India employed him as its
resident lyricist. The music director of the company was the great
Kamal Dasgupta with whom Fayyaz formed a long and memorable creative
association. Fayyaz wrote the first song that Talat Mahmood sang in
1941 ( Sab din ek samaan nahin tha) and the runaway hit Tasveer teri
dil mera behla na sakay gi. He also wrote the immortal Pankhij Malik
song Ye raatain, ye mausam and the first Urdu/Hindi songs for Hemant
Kumar, Juthika Roy, Feroza Begum and Jagmohan. In all, he wrote more
than 500 non-film songs, each one of which defines a human situation
poignantly, romantically. He also wrote lyrics for a large number of
movies, both in India and Pakistan. The good news is that he is alive
but I am not sure if he lives in Lahore, Karachi or elsewhere. There
is time yet to honour him nationally.
The two other greats who remain all but forgotten are the sweet-voiced
Bengali singer Feroza Begum, one of the great exponents of Nazrul
Geeti. Born in Faridpur district, now in Bangladesh, she showed
promise at an early age and was just eight when she won a place on the
Children's Corner programme of All India Radio, Calcutta. Her first
record was cut by Columbia when she was barely 12. She received her
early training from Chitta Roy who taught her a number of Nazrul Islam
songs. She also began to explore other forms, including ghazal and
light classical. She reached full flowering under the great Kamal
Dasgupta who also set some of Nazrul's poetry to music. Kamal Dasgupta
was born in Jassore district in 1912 and started out with the
Gramophone Company of India for which he made music history, writing
compositions for such immortals as Pankaj Malik, Juthika Roy and Kanan
Devi, Kalyani Das, Jagmohan and Hemant Kumar. His most memorable films
as music director were Jawab ( Aye chand chhup na jana by Kanan Devi)
and Hospital ( Meri majbooryoon nain mera daaman chaak kar dala by
Kanan Devi). Fayyaz Hashmi wrote the lyrics.
Kamal Dasgupta felt ignored in the years after independence. He found
it hard to accept the neglect he faced once his great work was done
and then forgotten. He and Fayyaz Hashmi earned vast sums of money for
the cinema and the record industry, not to mention the pleasure and
happiness they brought to the viewing and listening millions, but as
time passed, they were thrown on the slag heap and assigned to
oblivion as if they had never existed. Forgotten stood the man who had
written such undying tunes as the Kanan Devi hits Prabhoo ji, Prabhoo
ji tum mano baat hamari, Yeh dunaya Toofan Mail, Ai chand chhup na
jana, or Jagmohan's O varsha ke pehle baadal or Kamla Jharya's Na tum
meray, na dil mera, na jaan-e-na'tawaan meri. He was a man of few
words. A faint smile from him meant that the artist's rendition had
pleased him. Juthiki Roy waited all her life to hear a word of praise
from him.
Kamal Dasgupta left Calcutta sometime in the 1960s and came to Dhaka
where he converted to Islam, taking the name Kamal Islam, before
marrying Feroza Begum whom he must have always loved. He did not work
or he wrote no music. They had three children. He died in Dhaka in
1974, unsung and unremembered. Feroza Begum, who was younger, lives in
Dhaka. In 1971, in a letter to a friend, Kamal Dasgupta wrote in
Bengali, "The pictures you see in front, everybody remembers them and
praises them. But nobody wants to know the people who work behind the
scenes, nor talk about them. That is the nature of the world."
--
Pradyut
http://pradyut.tk
http://oop-edge.blogspot.com/
http://pradyutb.blogspot.com/
http://praddy-photos.blogspot.com/
http://oop-edge.spaces.live.com/
http://www.flickr.com/photos/praddy
http://groups.google.com/group/oop_programming
India
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