Chidi Kho Trek and The Jungle Book

I

The Trek

It was the third weekend of January, a long one. The morning in Bhopal was predictably chilly, though the light fog lifted within an hour. A motley group of about fifty trekkers—young and energetic, old but sportive, serving officers and pensioners, homemakers enjoying a brief respite from the routines of home, and a few children, the youngest still shy of four—set out for Chidi Kho Wildlife Sanctuary, seventy kilometres away. Most reached before nine; a few straggled in soon after.

Bhagavati Prasad Sharma, a short, stocky man in his early forties, was our guide. He worked part-time, as visitors came mostly on winter weekends. Summers were too harsh, and weekdays too quiet to sustain a full-time livelihood. That morning, he seemed both excited and slightly flustered by the size of the group, which included several veteran forest officers.

Before the trek began, he gathered us under a sprawling banyan tree and delivered a brief welcome.

“Jai Raghunath Ji ki. That is how we begin any enterprise in these parts. The ruler of Narsinghgarh never called himself king. Raghunath Ji was the King, and the ruler only his Dewan.

“I grew up in a nearby village. This forest has nourished me, and I owe a debt to it. I guide visitors because of my attachment to these woods.”

He might have continued, but a senior officer cut him short.
“Enough about yourself. Tell us a little about the flora and fauna—in two or three minutes.”

Most trekkers had already skimmed the glossy brochure handed out at the entrance and were in no mood for a lecture. Each picked up a complimentary green cap, a slender bamboo staff, and a small water bottle, and we began the walk.

“It’s rather late to sight animals,” the guide warned. “But you will feel their presence.”

The trek turned out to be more of a leisurely walk. The initial climb to Chacko Point was modest, and the descent at the end posed no challenge even for the senior citizens. Much of the five-kilometre trail ran across a rocky plateau with sparse vegetation—varieties of jungle grass and scattered palash, khair, mahua, saja, and amaltas trees, all sturdy survivors of the tropical deciduous climate.

We had walked less than a hundred metres when the guide stopped and pointed to a small heap in the middle of the dusty track.

“That’s sai poop—porcupine, in English. Plenty of them here. They are nocturnal, rarely seen during the day.”

A little further, he pointed to diagonal marks on a tree trunk.

“Those are from a sambar. After shedding old antlers, the new ones come covered in velvet. They rub against trees to remove it.”

Soon the trail began to tell a more dramatic story. We saw several droppings of panthers and many more of nilgais—both carnivore and herbivore appearing to compete in a relay race to claim the trail with their markings.

“Both animals mark territory through dung and urine,” a senior forest official explained.

Then we came upon a substantial heap where nilgais had been defecating for weeks. On top of this communal mound lay a fresh deposit from a panther.

“That’s unusual,” the officer said. “Cats usually scrape the earth, defecate, and cover it. This one chose to dump directly on the nilgai heap.”

The implication was clear: a territorial message.

Go elsewhere. My territory is not your toilet.

At other spots, panther droppings lay uncovered on the rocky ground. There simply wasn’t enough loose soil to hide them. But here, the animal had carefully avoided pawing the nilgai heap. It was beneath his dignity, perhaps.

At another point, we found a scrape where the soil was still damp.

“She was here early this morning,” said the guide. “Maybe two hours ago.”

On a north-western slope stood a pale, leafless tree.

“Ghost tree,” someone said. Sterculia urens. Its smooth, white bark glowed faintly, even in daylight. Often leafless for months, it survives on the quiet labour of its pale skin, turning sunlight into food.

Nearby, jungle rats had dug a maze of tunnels with multiple exits—escape routes from snakes and other predators. A rock lizard basked on a stone, refusing to move when an over-curious trekker tried to shoo her away with a stick. She seemed more intrigued than frightened—an old resident tolerating an intrusive visitor.

Midway through the trek lay the Dheeng Dev cave, an optional detour. It required a careful descent using a thick nylon rope tied around tree trunks, with helpers steadying those unsure of their footing.

Inside was a Jain cave with a headless Tirthankar, carved from a single rock. A student of history in the group pointed out the ratna on the chest.

“A Tirthankar, no doubt,” she said.

The head, someone explained, had likely been hacked off by plunderers. And as if the beheading were not enough, semi-literate vandals had scrawled their names across the torso.

Mahavira had preached a life of non-violence. His followers carved statues of the twenty-four Tirthankars so their teachings would endure. The vandals had added their signatures in search of a two-minute taste of renown and immortality.

On an adjacent hill lay Karbatia cave—a narrow cleft between two towering rocks, negotiable only by walking sideways. It was not for the claustrophobic.

The forest guard narrated local folklore. In Sat Yuga, he said, the Devi temple had been built in a single night by Vishwakarma, the divine architect. A rakshasa once tried to plunder the goddess’s ornaments, but when she raised her trident, he fled—tearing apart the mountain as he escaped. The narrow cleft, he said, was the mark of his desperate flight.

Hidden among the hills were caves with ancient rock paintings. A local guide offered an enthusiastic interpretation—battle scenes between rival rulers, caged birds, their release. The king on a horse painted in red, the queen on a camel in yellow. Folklore, perhaps, rather than archaeology.

When we finished the trek late afternoon, we had not seen a single large animal. Yet the forest was alive with presences.

The porcupine’s pellets, the sambar’s scratch marks, the leopard’s scrape—each was an entry in a silent record.

It struck me then that the jungle is not silent at all. It is simply written in a language most visitors cannot read.

---

II

The Jungle Book

Chidi Kho sanctuary is rather quiet and understated; not a forest of towering sal or uninterrupted teak, but a mixed deciduous mosaic—grassland edges, scrub, and scattered trees thriving on rocky soil and modest rainfall. A large lake and several waterholes in the valleys sustain the animals.

Here, presence is not proclaimed loudly. It is inferred.

A rubbed trunk, a dung heap placed with intention, a spray of urine—these are the sanctuary’s punctuation marks. To read them is to understand how different species claim space without fences or flags.

The jungle, in fact, is a journal.

To the casual visitor, it is only a green mass of trees, shadows, and occasional movement. But to a trained trekker or forester, it is a text—constantly being written, revised, and annotated by its inhabitants. Every animal that passes leaves an entry.

A forest track is a logbook. It records who passed, when, and in what condition.

A set of fresh pugmarks may tell you that a leopard crossed at dawn, walking, not stalking, probably a male, heading toward water. Hoofprints nearby might reveal that a herd of chital passed earlier, their tracks overlapping in the soft soil. Sharp edges mean recent passage; blurred ones suggest time has passed.

The jungle also keeps a ledger—a record of claims and boundaries.

A leopard’s scrape on a path, a jackal’s scent mark on a rock, a nilgai’s dung heap—each is an entry in this ledger. These are not aggressive declarations, but courteous notices:

I was here. I use this route. Let us avoid unnecessary conflict.

The ledger is maintained not by fences, but by scent and sign.

Then there is the jungle’s gazetteer—its record of place.

Porcupine quills near rocky outcrops suggest nearby burrows. Scratched mahua trees hint at sloth bears. Repeated alarm calls of langurs warn of a predator’s movement. Without a map or GPS, a forest guard can describe the landscape simply by reading these signs. The jungle has already written the gazetteer; he merely recites it.

Most visitors cannot read it.

They see only a tree, a patch of mud, a pile of dung. The trained eye sees species, age, direction, intention—and often the story that links them. Reading the jungle requires patience, practice, and a willingness to look down at the ground as often as up at the canopy. It is like learning an ancient script. At first it is meaningless; then letters emerge; finally, whole sentences speak.

What makes the jungle’s journal remarkable is its honesty. There are no lies in it.

In human society, records can be altered, accounts manipulated, stories embellished. But the forest keeps an incorruptible archive. It records everything without bias or exaggeration.

The jungle is always writing, but it never speaks aloud. It expects its readers to come prepared—with quiet steps, sharp eyes, and a patient mind.

A good forester, tracker, or trekker is not a conqueror of the jungle, but its reader. He walks slowly, head slightly bowed, as if reading a long manuscript. Every few steps he pauses, noticing a faint scrape, a pellet heap, a disturbed patch of dust. To him, these are not random signs but sentences in a familiar language.

By the end of the walk, he can narrate what happened during the previous night.

The jungle does not hide its secrets.
It only writes them in a script that must be learned.

And in places like Chidi Kho, the book lies open for anyone patient enough to read.

***

Dudhraj (Indian Paradise Flycatcher)- 

State Bird of Madhya Pradesh, is often found in Chidi Kho.

Panther: Source-Chidi Kho Brochure

Dheeng Dev-Photo by blogger

Rock Cave Painting-Photo by blogger

Jagdish Jatiya, a colleague and an accomplished bird-photographer, shared on blogger's request a few of his photos from Chidi Kho. Grateful.

Short-toed Snake Eagle

Spotted Deer

Black Stork

Common Lora

***

 

Raag Darbari: A Reenactment

(Note: 

1. Hindi readers may like to read the Hindi version placed below. Since refined, Sanskritized Hindi is much in vogue in government offices in M.P., a reference to Prashashanik Shabdakosh may at times be needed.

2. A reading of Shrilal Shukl's 'Raag Darbari' - a delightful satire on bureaucracy - is recommended.)

A Citizen’s Complaint

 A young and energetic officer, in her first posting as District Collector somewhere in Madhya Pradesh - determined to provide prompt, hassle-free service to citizens, and with zero-tolerance for corruption - received the following complaint from a citizen:

“Dear Sir,

I had submitted an application for a certified copy of the Misal Bandobast (1929–30) relating to our ancestral agricultural holding, required as evidence in a matter presently pending before the Hon’ble High Court.

I regret to submit that even after three months, the requested copy has not been supplied.

The Record Room (RR) Prabhari is uncooperative, unhelpful, and persistently rude. It is reliably learnt that whenever certain touts— lolling under the banyan tree in front of the RR and chewing paan liberally laced with zarda—are engaged, the relevant record materialises spontaneously and the copy is supplied with remarkable promptitude, often well within the seven-day period prescribed under the Citizens’ Service Guarantee.

The facilitation fee, as confided by a few applicants, is no longer paid in cash, but digitally, through the QR code at the paan-gumti around the corner.

If an applicant refuses to pay the bribe, that specific record performs a miraculous Houdini-escape and disappears under a heap in a dark corner, untraceable till a tout gives a nod and a wink.

You would agree, Sir, that something is rotten in the Record Room—and I am not referring merely to the dead lizards, rats, and bats.

I request that a copy of the said record be provided to me at the earliest; that the murky dealings of the Record Room Prabhari be enquired into; and that suitable steps be taken to improve the functioning of the Record Room in the interest of long-suffering citizens.

Faithfully yours,
Sd/-
(Name of the Applicant)”

Show-Cause Notice

To
The Prabhari,
Record Room,
District — XXX

Memo No. XXXX  Date: DD-MM-YYYY

Subject: Show-Cause Notice under Rule 14 of the Madhya Pradesh Civil Services (Classification, Control and Appeal) Rules, 1966.

Upon receipt of a serious complaint from a citizen regarding the functioning of the Record Room, a preliminary enquiry was conducted. Prima facie, it has been found that you are guilty of negligence, inefficiency, and gross dereliction of duty. The brief charges are as follows:

1.   The citizen applied for a certified copy of a record. Under the Citizens’ Service Guarantee, you were required to supply the same within seven days, which you failed to do.

2.   When the applicant enquired about the likely date of supply, you repeatedly replied, “Search is under progress,” thereby indulging in deliberate opacity and causing wilful harassment.

3.   Your conduct towards the applicant was unfriendly, uncooperative, and exceptionally rude, contrary to the standards expected of a public servant.

4.   Review of disposal in the Record Room over the past six months reveals dismal performance, clearly demonstrating incompetence, inefficiency, and lack of a sense of duty.

You are hereby required to show cause within fifteen days of receipt of this notice as to why appropriate major penalty should not be imposed upon you.

Failure to submit a reply within the stipulated period shall be deemed acceptance of the charges, and further action shall follow as per rules.

You may peruse the Enquiry Report attached to the file by contacting the undersigned.

Sincerely,
Sd/-
Disciplinary Authority

---

Reply by Record Room Prabhari

To
The Disciplinary Authority

Date: DD-MM-YYYY

Subject: Reply to Show-Cause Notice
Reference: Memo No. XXXX - Date: DD-MM-YYYY

Respected Sir,

I acknowledge receipt of the aforesaid show-cause notice. At the outset, I categorically deny the charges, which are entirely baseless, misconceived, and devoid of appreciation of ground realities.

My point-wise reply is submitted below, without prejudice to my right to submit further explanations at later stages:

1.   It is admitted that an application for a copy was received, and that the same was not delivered within seven days. However, it is emphatically denied that the delay arose from negligence or dereliction of duty. Retrieval of records of 1929–30 is no easy task, requires intensive search, and takes much time.

2.   It is admitted that the applicant was informed of the status of his application. Initially, he was informed that “Search is under progress,” which was factually correct. Subsequently, he was informed that “Intensive search is under progress,” which was also factually correct. Transparency was thus maintained on all occasions.

3.   The applicant was polite to begin with, but rude later, and very rude thereafter. When he met the undersigned for the third time, and was informed of the ongoing intensive search, he was much agitated and proclaimed in a voice loud enough to be heard by my colleagues in the adjacent rooms, and the public milling around the corridor, ‘I am like the langad in Raag Darbari. I will pay no bribe,’ even though I or my Assistant had made no monetary demand from him. Despite the applicant’s unwarranted, inappropriate literary allusion (since he is not a pwd!), and insulting  insinuation, the undersigned maintained his composure, and promised to continue the search for the relevant record with a view to helping the applicant.

4.   The undersigned admits that the high level of stress at work worsens his high BP, and gives him a terrible headache on most days owing to which he is unable to smile as much as he unfailingly did when he was previously dealing with ‘arms licence’ section. This may not be misconstrued as rudeness. The undersigned is a public servant, and is never rude or disrespectful to his master – the public.

In view of the above, the charges are unfounded and merit summary dismissal.

It is further submitted that after prolonged and untiring search, the record sought by the applicant has now been located and the copy prepared. The applicant may collect the same during office hours on any working day, after submitting a written undertaking that the copy was received without payment of any bribe.

The undersigned takes the liberty of submitting his humble suggestions for improving RR productivity as Enclosure -1.

Yours faithfully,
Sd/-
(Name)
Record Room Prabhari

Enclosure-1

Humble Suggestions for Improving Record Room Efficiency

The Record Room operates under severe constraints. Repeated representations for infrastructure improvement and staff welfare have been submitted over the years, with no tangible outcome. Productivity inevitably suffers under such conditions.

a.   Immediate repair of the leaking roof.

b.   Suspension of further file transfers until additional rooms and racks are provided.

c.    Installation of at least two air-conditioners, as summer temperatures cross 46°C, posing a serious fire hazard to bone-dry ancient papers.

d.   Ensure that RR is snake-free. The inept and timid municipal snake-catcher demanded removal of all the files from the RR – an astonishing and impractical demand – before he inspected the room for reptiles. A professional snake-charmer may be hired – to be paid on success-fee basis per snake caught. Lest the undersigned be accused of creating a bogey, please find attached a shed snake-skin which was recently recovered from RR, and a panchnama was made to attest its veracity.

e.   Local newspapers have reported that the district hospital has run out of anti-snake venom vaccine. At least two dosages - for the undersigned and his Assistant - should be reserved on all working days.

f.     Personal Accidental Death Insurance cover for Record Room employees.

g.   Installation of CCTV cameras to document threats, abuses, and occasional physical assaults by agitated applicants.

h.   Installation of an AQI monitor to measure PM-2.5 and PM-10 levels.

i.     Quarterly lung-function tests for Record Room staff.

j.     Posting of senior officers, assisted by the most efficient babus from Arms Licence, Excise, Mining, and Food & Civil Supplies sections, in the Record Room for one day each week, with comparative productivity analysis.

***

 राग दरबारी की पुनरावृत्ति

एक शिकायत

मध्य प्रदेश के किसी जिले में पदस्थ, अपनी पहली पदस्थापना में नियुक्त, एक युवा एवं ऊर्जावान जिला कलेक्टर—जो नागरिकों को त्वरित, निर्बाध सेवा प्रदान करने के लिए संकल्पित थीं तथा भ्रष्टाचार के प्रति शून्य-सहिष्णुता की नीति में पूर्ण विश्वास रखती थीं—को एक नागरिक से निम्नलिखित शिकायत प्राप्त हुई:

मान्यवर,

मैंने अपने पैतृक कृषि भूमि से संबंधित मिसल बंदोबस्त (1929–30) की प्रमाणित प्रति प्राप्त करने हेतु आवेदन प्रस्तुत किया था, जो कि माननीय उच्च न्यायालय में वर्तमान में विचाराधीन एक प्रकरण में साक्ष्य के रूप में आवश्यक है।

यह निवेदन करते हुए खेद हो रहा है कि तीन माह व्यतीत हो जाने के उपरांत भी उक्त अभिलेख की प्रति उपलब्ध नहीं कराई गई है।

अभिलेखागार (रिकॉर्ड रूम) के प्रभारी अधिकारी असंवेदनशील, अड़ियल  तथा निरंतर असभ्य व्यवहार करने वाले हैं। विश्वसनीय सूत्रों से यह  ज्ञात हुआ है कि जब भी कुछ बिचौलिये—जो रिकॉर्ड रूम के सामने स्थित बरगद के पेड़ के नीचे पान चबाते हुए पाए जाते हैं— नियोजित किए जाते हैं, तो संबंधित अभिलेख स्वतः प्रकट हो जाता है तथा नागरिक सेवा गारंटी अधिनियम के अंतर्गत निर्धारित सात दिवस से पहले ही प्रति उपलब्ध हो जाती है।

कुछ आवेदकों द्वारा यह भी बताया गया है कि सुविधा शुल्क अब नकद न लेकर, कोने में स्थित पान-गुमटी के क्यूआर कोड के माध्यम से डिजिटल रूप से लिया जाता है।

यदि कोई आवेदक रिश्वत देने से इंकार करता है, तो सम्बन्धित अभिलेख किसी अंधेरे कोने में ढेर के नीचे अदृश्य हो जाता है और तब तक अनुपलब्ध रहता है, जब तक कोई बिचौलिया अनुकूल संकेत न दे दे।

आप सहमत होंगे, महोदय, कि रिकॉर्ड रूम में कुछ न कुछ सड़ा हुआ अवश्य है—और मेरा संकेत केवल मृत छिपकलियों, चूहों और चमगादड़ों तक सीमित नहीं है।

अतः निवेदन है कि उपर्युक्त अभिलेख की प्रति यथाशीघ्र उपलब्ध कराई जाए; रिकॉर्ड रूम प्रभारी की संदिग्ध गतिविधियों की जांच कराई जाए; तथा दीर्घकाल से पीड़ित नागरिकों के हित में रिकॉर्ड रूम की कार्यप्रणाली में सुधार हेतु उपयुक्त कदम उठाए जाएँ।

भवदीय,

हस्ताक्षर

(आवेदक का नाम)

________________________________________

कारण बताओ सूचना

प्रति,

प्रभारी,

रिकॉर्ड रूम,

जिला — XXX

ज्ञापन क्रमांक: XXXX  दिनांक: DD-MM-YYYY

विषय: मध्य प्रदेश सिविल सेवा (वर्गीकरण, नियंत्रण एवं अपील) नियम, 1966 के नियम 14 के अंतर्गत कारण बताओ सूचना।

रिकॉर्ड रूम के कार्यप्रणाली के संबंध में एक नागरिक से प्राप्त गंभीर शिकायत के संदर्भ में प्रारंभिक जाँच कराई गई। प्रथम दृष्टया यह पाया गया है कि आप लापरवाही, अकुशलता एवं घोर कर्तव्यच्युति के दोषी हैं। संक्षिप्त आरोप निम्नानुसार हैं:

5. नागरिक द्वारा एक अभिलेख की प्रमाणित प्रति हेतु आवेदन प्रस्तुत किया गया था। नागरिक सेवा गारंटी के अंतर्गत आपको सात दिवस में प्रति उपलब्ध कराना अनिवार्य था, जिसे आप पूरा करने में विफल रहे।

6. जब आवेदक द्वारा आपूर्ति की संभावित तिथि के संबंध में जानकारी चाही गई, तो आपने बार-बार “खोज जारी है” कहकर जानबूझकर टालमटोल की तथा नागरिक को अनावश्यक रूप से प्रताड़ित किया।

7. आवेदक के प्रति आपका व्यवहार अमित्रवत्, असहयोगी एवं दुर्विनीत रहा, जो एक लोक सेवक से अपेक्षित आचरण के विपरीत है।

8. गत छह माह की अवधि में रिकॉर्ड रूम के निपटान की समीक्षा से अत्यंत निराशाजनक प्रदर्शन परिलक्षित होता है, जिससे आपकी अक्षमता, अकुशलता तथा कर्तव्य-बोध के अभाव का स्पष्ट संकेत मिलता है।

आपको निर्देशित किया जाता है कि इस सूचना की प्राप्ति से पंद्रह दिवस के भीतर यह स्पष्ट करें कि आपके विरुद्ध उपयुक्त गंभीर दंड क्यों न आरोपित किया जाए।

निर्धारित अवधि में उत्तर प्रस्तुत न किए जाने की स्थिति में यह माना जाएगा कि आप आरोपों को स्वीकार करते हैं तथा नियमों के अनुसार आगामी कार्रवाई की जाएगी।

संलग्न जाँच प्रतिवेदन का अवलोकन करने हेतु आप अधोहस्ताक्षरी से संपर्क कर सकते हैं।

भवदीय,

हस्ताक्षर

अनुशासनिक प्राधिकारी

________________________________________

रिकॉर्ड रूम प्रभारी का उत्तर

प्रति,

अनुशासनिक प्राधिकारी

दिनांक: DD-MM-YYYY

विषय: कारण बताओ सूचना का उत्तर

संदर्भ: ज्ञापन क्रमांक XXXX, दिनांक DD-MM-YYYY

मान्यवर,

उपर्युक्त कारण बताओ सूचना की प्राप्ति स्वीकार करता हूँ। प्रारंभ में ही यह निवेदन है कि लगाए गए सभी आरोप पूर्णतः निराधार तथा तथ्य विहीन होने से निरस्त योग्य हैं।

मेरा बिंदुवार उत्तर निम्नानुसार प्रस्तुत है, साथ ही भविष्य में अतिरिक्त स्पष्टीकरण प्रस्तुत करने का अधिकार सुरक्षित रखता हूँ:

1. यह स्वीकार किया जाता है कि प्रति हेतु आवेदन प्राप्त हुआ था तथा सात दिवस में प्रति उपलब्ध नहीं कराई जा सकी। तथापि, यह सशक्त रूप से अस्वीकार किया जाता है कि विलंब लापरवाही या कर्तव्यच्युति के कारण हुआ। वर्ष 1929–30 के अभिलेखों की खोज अत्यंत जटिल एवं समयसाध्य प्रक्रिया है, जिसके लिए गहन खोज आवश्यक होती है।

2. यह भी स्वीकार किया जाता है कि आवेदक को आवेदन की स्थिति से अवगत कराया गया। प्रारंभ में “खोज जारी है” तथा पश्चात “गहन खोज जारी है” की सूचना दी गई, जो दोनों ही तथ्यात्मक थीं। इस प्रकार पूर्ण पारदर्शिता बरती गई।

3. आवेदक का आचरण प्रारंभ में शिष्ट था, किंतु बाद में असभ्य तथा तत्पश्चात अत्यंत असभ्य हो गया। तृतीय भेंट के दौरान उसने ऊँचे स्वर में—जो आस-पास के कक्षों एवं गलियारे में उपस्थित जन-सामान्य द्वारा स्पष्ट रूप से सुना गया—घोषणा की कि “मैं राग दरबारी का लंगड़ हूँ, मैं कोई रिश्वत नहीं दूंगा”, जबकि मैंने अथवा मेरे सहायक ने किसी भी प्रकार की धन-मांग नहीं की गई थी। उक्त अनुचित साहित्यिक संदर्भ (विशेषतः जब वह दिव्यांग है ही नहीं!) तथा अपमानजनक संकेत के बावजूद, अधोहस्ताक्षरी ने धैर्य बनाए रखा और अभिलेख की खोज जारी रखने का आश्वासन दिया।

4. यह सत्य है कि कार्य-दबाव के कारण उच्च रक्तचाप की समस्या बढ़ जाती है, जिससे अधिकांश दिनों में तीव्र सिरदर्द रहता है, और इस कारण मैं उतना मुस्कुरा नहीं पाता जितना कि पूर्व में शस्त्र अनुज्ञा अनुभाग में पदस्थ रहते हुए मुस्कुराया करता था। इसे किसी भी स्थिति में असभ्यता न माना जाए। अधोहस्ताक्षरी एक लोक सेवक है और अपने स्वामी—जनता—के प्रति कभी असम्मानजनक नहीं हो सकता।

उपरोक्त तथ्यों के आलोक में आरोप निराधार हैं तथा त्वरित निरस्तीकरण योग्य हैं।

यह भी निवेदन है कि दीर्घ एवं अथक प्रयासों के उपरांत आवेदक द्वारा चाहा गया अभिलेख प्राप्त कर लिया गया है तथा प्रति तैयार है। आवेदक किसी भी कार्य दिवस में कार्यालयीन समय में उक्त प्रति प्राप्त कर सकता है, बशर्ते वह लिखित रूप में यह प्रतिज्ञा प्रस्तुत करे कि प्रति बिना किसी रिश्वत के प्राप्त की गई है।

रिकॉर्ड रूम की उत्पादकता में सुधार हेतु विनम्र सुझाव संलग्नक-1 में प्रस्तुत किए जा रहे हैं।

भवदीय,

हस्ताक्षर

(नाम)

रिकॉर्ड रूम प्रभारी

________________________________________

**संलग्नक-1

रिकॉर्ड रूम की कार्यक्षमता सुधारने हेतु विनम्र सुझाव**

रिकॉर्ड रूम अत्यंत सीमित संसाधनों में कार्य कर रहा है। आधारभूत संरचना एवं कर्मचारियों के कल्याण हेतु वर्षों से प्रतिवेदन प्रस्तुत किए गए हैं, किंतु कोई ठोस परिणाम नहीं निकला है। ऐसे में उत्पादकता प्रभावित होना स्वाभाविक है।

क. टपकती छत की त्वरित मरम्मत।

ख. अतिरिक्त कक्ष एवं रैक उपलब्ध कराए जाने तक नई फाइलों का आगमन स्थगित किया जाए।

ग. ग्रीष्मकाल में तापमान 46° सेल्सियस से अधिक हो जाता है। अतः  दो वातानुकूलक अनिवार्य रूप से स्थापित किए जाएं, जिससे अति ज्वलनशील प्राचीन काग़ज़ों में स्वतः दहन का जोखिम न रहे।

घ. रिकॉर्ड रूम को सर्प-मुक्त किया जाए। कहीं मुझ पर सांपों से अहेतुक भय या अनावश्यक डर फैलाने का आरोप न लगे, इसलिए मैं पक्के सबूत के तौर पर, रिकॉर्ड रूम में हाल ही में मिली एक सांप की केंचुली - जिसके मिलने की पुष्टि करने वाला पंचनामा भी साथ में है - संलग्न कर रहा हूँ  ।

नगर निगम का सर्प-पकड़ने वाला पहले सभी फाइलें हटाने की अव्यावहारिक माँग कर चुका है। सफलता-आधारित शुल्क पर किसी पेशेवर सपेरे की सेवाएँ ली जाए। 

ङ. जिला चिकित्सालय में एंटी-स्नेक वेनम की उपलब्धता सुनिश्चित की जाए;  रिकॉर्ड रूम कर्मियों हेतु कम से कम दो डोज़ सर्वथा आरक्षित रखी जाए।

च. रिकॉर्ड रूम कर्मियों हेतु व्यक्तिगत दुर्घटना बीमा।

छ. आवेदकों द्वारा दी जाने वाली गालियों, धमकियों एवं यदा-कदा होने वाले शारीरिक हमलों के अभिलेखन हेतु सीसीटीवी।

ज. पीएम-2.5 एवं पीएम-10 मापन हेतु वायु गुणवत्ता सूचक।

झ. त्रैमासिक फेफड़ा-परीक्षण।

ञ. शस्त्र अनुज्ञा, आबकारी, खनन तथा खाद्य एवं नागरिक आपूर्ति अनुभागों के सर्वाधिक दक्ष बाबुओं के साथ वरिष्ठ अधिकारियों की साप्ताहिक रोटेशनल तैनाती, एवं तुलनात्मक उत्पादकता विश्लेषण।

Narmada: Life-nourishing, Sacred, and Enchanting

Narmada: 

Life-nourishing, Sacred, and Enchanting

Narmada Jayanti

Narmada Jayanti, observed on Māgha Shukla Saptami, commemorates the divine manifestation of the river Narmada, revered as a living goddess. Her origin story is narrated in the puranas. Lord Shiva was engaged in deep meditation, sweat formed on his forehead from the intense tapas (literally ‘heat’), wherefrom emerged a celestial beauty. She was Shankari, Shiva’s daughter. Shiva blessed her to turn into a holy river to nourish and sustain life on earth. She became Reva* - pure, luminous, and life-giving.

Celebrated with sacred bathing, lamp offerings, and hymns along her banks—at Amarkantak, Jabalpur, Narmadapuram, Omkareshwar, and Maheshwar—Narmada Jayanti affirms the river’s unique place in India’s spiritual ecology: not merely as a physical stream, but as a sustaining, sacred presence woven into the land and its people.

Sacred Narmada

Narmada is one of the seven holy rivers invoked in the popular pratah smarana mantra to bless the water before a devotee’s morning snan – cleansing, purifying bath.

Only Narmada, and no other river, is honoured with parikrama (circumambulation).

A popular Sanskrit verse asserts that while Ganga purifies by bathing and Saraswati by remembrance, Narmada grants liberation by mere sight.

गङ्गा स्नानेन शुद्धिः स्यात्
सरस्वत्या स्मृतेः फलम् ।
नर्मदा दर्शनादेव
सर्वपापक्षयो भवेत् ॥

Adi Shankar walked all the way from his village Kaladi in Kerala to Omkareswar on Narmada to receive instructions from Guru Govindapada. He wrote his bhasyas on Vedanta including the major Upanishads here. Deeply moved by the sacred, soul-nourishing river, he composed Narmadastakam, a verse in eight eloquent stanzas, the second stanza of which is:

त्वदम्बुलीनदीनमीनदिव्यसम्प्रदायकं
कलौ मलौघभारहारिसर्वतीर्थनायकम् ।
सुमच्छकच्छनक्रचक्रवाकचक्रशर्मदे
त्वदीयपादपङ्कजं नमामि देवि नर्मदे ॥

O Devi Narmada, I bow down at your lotus feet; for you generously lend your divine touch to the fish, tortoises, crocodiles, geese, and chakravaka birds; for you remove the burden of sins in this age of Kali; for you are the foremost among all tirthas.

Enchanting Narmada

I recently read Soundarya ki Nadi Narmada by Amritlal Vegad, a slim book of 159 pages published by Madhya Pradesh Hindi Granth Academy in 1992 (1^st Ed). Soundaryani Nadi Narmada - the Gujarati edition of the book – won the Sahitya Akademi Award. The English version -Narmada: River of Beauty - is available at Amazon.

Is the book a travelogue, memoir of a pilgrim and his motley group, a spiritual odyssey, a paean to the majestic river, an artist’s impression of the many moods and changing hues of the river, or a chronicle of the life of simple rural folks on the banks of the river? Did the author complete the parikrama? Did he follow the traditional rituals for parikrama and subsist on alms? Did he undertake the strenuous and perilous padayatra of over 2600 kms - walking barefoot on the north bank from the source at Amarkantak to the sea at Gulf of Khambhat, crossing over to the southern bank and walking back to Amarkantak?

To figure that out, it’s best to read this book, and the subsequent books of the Narmada trilogy which he wrote after twenty-one years of padayatra in phases[i].

Here’s what the author says in his preface  -

“Why did I undertake this perilous journey? Sometimes I ask myself, and the self-same answer plays back: Had I not performed this yatra, my life would have been futile. One must do what one is born to do. And I am born to immerse myself in Narmada’s exquisite beauty by walking along its banks.”

No prayer or penitence for deliverance from sin, no yearning for moksha. Narmada beckoned, and the author surrendered to her irresistible charm. And thus begin the book:

“नर्मदा सौंदर्य की नदी है। यह नदी वनों, पहाड़ों और घाटियों में से बहती है। मैदान इसके हिस्से में कम ही आया है। सीधा-सपाट बहना तो यह जानती ही नहीं। यह चलती है इतराती, बलखाती वन-प्रांतरों में लुकती-छिपती, चट्टानों को तराशती, डग-डग पर सौंदर्य की सृष्टि करती, पग-पग पर सुषमा बिखेरती !”

(Painting by Amritlal Vegad)

What’s special about Amritlal Vegad’s Parikrama?

The author’s first parikrama was during 1977 to 1987 – 10 padayatras in 11 years. That was before any village was submerged under the Bargi Dam – the first of the several dam projects on Narmada. The route that the author traversed is no longer available to the parikramavasis. I’m glad to have captured in the pages of this book, writes the author, some of the beauty of this pristine river that would be lost for ever.

Narmada & Ganga

Ganga is no doubt India’s pre-eminent river, but Narmada is older than Ganga, writes the author.

“भारतीय संस्कृति गंगा की देन है। पर एक बात है-श्रेष्ठ गंगा है, लेकिन ज्येष्ठ नर्मदा है। जब गंगा नहीं थी, नर्मदा तब भी थी। आज जहाँ हिमालय है, गंगा-यमुना का मैदान है, सुदूर अतीत में वहाँ उथला समुद्र था। किसी भूकंप ने उस समुद्र को हिमालय और गंगा-यमुना के मैदान में बदल डाला, हालाँकि इसमें करोड़ों वर्ष लगे। गंगा से नर्मदा पुरानी नदी है और हिमालय से विन्ध्याचल-सतपुड़ा पुराने पहाड़ है।“

Geologically, Mekal range of mountains where Narmada emerges at Amarkantak is about 2 billion years old – older than even the Vidhya, and about 1.5 billion years older that the Himalayas. Narmada is, indeed, much older than Ganga. 

A Poignant Passage

For one of his padayatras, the author was short of funds, and he approached his wife, sang paeans to her customary charity before begging for her ring. Much amused, she chuckled and said, ‘So much drama for such a little thing!’ She happily gave her ring which the author pawned with a jeweller and got the required cash.

A Tribute

Padma Shri Vinayak Lohani has paid a wonderful tribute to Shri Amritlal Vegad, for which here is the link:

https://vinayaklohani.in/amritlal-vegad/

***

*Reva - Narmada's ancient name - derives from rav (Sanskrit) meaning sound, befitting for a river racing through mountains, creating several waterfalls and generating a tumultous roar, as it were.

Radhanath Ray: Chilika: Narmada description

After perusing this blog, an erudite reader recalled Radhanath Ray's memorable description of Narmada in his famous poem Chilika.

Here is a quick translation of the  referred lines by this blogger, followed by the Odia text for Odia readers. 

In the dreaded Vindhya wilderness,

At Dhuandhar,

Reva morphs into a hundred rivers, and

leaps with a fearsome roar,

Striking terror to the human heart.

Pure, pellucid, gracious is that cascade of waters,
like Ganga - sprung from Shiva’s matted locks,

To bless the three lokas.
From scattered spray, lit by the sun’s fierce glow,
there blooms the rainbow, Indra’s lovely bow.

I heard that thunderous, terrible roar;
Looked aloft and saw the waters dance their frenzied  tāṇḍava.

ଭ୍ରମିଲି ଭୀଷଣ ବିନ୍ଧ୍ୟାଦ୍ରିକାନ୍ତାର,

ଧୂଆଁଧାରେ ଯହିଁ ହୋଇ ଶତଧାର,

ଭୈରବ ଆରବେ ରେବା ଦେଇ ଲମ୍ଫ

ଜନମାଏ ଜନ-ମାନସେ ପ୍ରକମ୍ପ।

ଶ୍ରଭୁ ସ୍ଵଚ୍ଛ ପୟଃ-ପ୍ରପାତ-ସୁଭଗା

ହରଜଟାଭ୍ରଷ୍ଠା ଯଥା ତ୍ରିପଥଗା ।

ଶୀକର ଜଳଦେ ବିଭାବସୁକର

ସୃଜେ ଯହିଁ ଶକ୍ରଚାପ ମନୋହର ।

ଶୁଣିଲି ଶ୍ରବଣେ ସେ ଭୈରବ ରବ,

ଉର୍ଦ୍ଧ୍ୱୁଂ ଦେଖିଲି ସେ ଜଳର ତାଣ୍ଡବ ।

---

[i] Amritasya Narmada & Teere Teere Narmada; both in Hindi.

Dambulla and Ajanta: Where Stone Sings and Prays

Dambulla and Ajanta: 

Where Stone Sings and Prays

A Dash to Dambulla

Dambulla, a UNESCO World Heritage Site, was not in the itinerary of the weeklong Sri Lanka trip for senior citizens, but seven keen-type-tourists in the mood for a little adventure skipped the scheduled visit to a Tea Estate and decided on an impulse to make the day-trip to Dambulla.

The concierge at Raddison Kandy had hired for them a comfortable Toyota van  for USD 165. Jagat Pandare, owner-driver-tour guide picked them up after breakfast and reached Dambulla in two hours. After a refreshing cup of tea at  Heritage Dambulla - with quaint, colonial architecture and quiet old-world charm - they proceeded to Rangiri Dambulla (Golden Rock), the massive granite rock outcrop that shelters the cave temple.

The climb to the hill-top – about 170 uneven stone stairs – was not too demanding, but intermittent showers had made the steps slippery. The tourists moved slowly, almost meditatively, minding their steps, balancing an umbrella in one hand, and gripping the side-rails with the other while keeping an eye on the monkeys big and small who had an eye on their handbags for bananas or biscuits. 

Dambulla has five ancient caves dedicated to Buddhist icons, the largest of which houses a monastery for instruction and meditation; and the ceiling and walls of all the caves are filled with mural paintings.

The rock outcrop is massive and towering, but faith seems to have touched it with tenderness. Near the caves, blue and pink lotuses sway gently at the cute circular ponds framed in roughly-hewn stone blocks.

Standing tall and dignified, the Bodhi tree trembles with joy to hear the Golden Rock’s ancient whispers carried by the wind. Unlike the revered Jaya Sri Maha Bodhi of Anuradhapura—planted in 288 BCE from the Bodh Gaya tree—its lineage is undocumented. Its power lies elsewhere: as a living emblem of awakening, continuity, and the gentle faith that has sustained Dambulla for two thousand years.

Near the entrance to Cave 2 is  a Vishnu idol. Buddhists do not worship Hindu deities, but a standing Vishnu with gada and chakra is incorporated as Upulvan, a guardian deity and protector of Buddhism in Sri Lanka. Hinduism had similarly assimilated Buddha as the 9^th avatar of Vishnu.

Dambulla and Ajanta

Both UNESCO World Heritage sites – Dambulla and Ajanta caves– where history, religion, and faith are sculpted and etched on stone – seemingly mute yet eloquent oracles of a time gone by.

High above the Sri Lankan plains, where wind murmurs prayers from the treetops and time moves unhurriedly, the Dambulla caves quietly beckon the pilgrim and the lay tourist. They do not announce themselves with the theatrical flourish of Ajanta, nor with the architectural bravado of Ellora. Instead, they wait—patient, inward-looking, suffused with the stillness of long devotion.

Across South Asia, Buddhist cave complexes mark a unique civilisational impulse: the vow to withdraw from the world and yet inscribe it in stone and pigment. Ajanta, Ellora, Karla, Kanheri, Bagh—each tells a different story of belief, patronage, and artistic excellence. Dambulla, however, tells a subtler story: not of artistic climax, but of continuity.

A Refuge That Became a Shrine

The Dambulla Cave Temple, in central Sri Lanka, traces its sacred origin to the first century BCE, when King Valagamba, driven into exile, sought refuge in these natural caverns. When he regained his throne, gratitude took architectural form. What began as a sanctuary became a shrine; what was a hiding place turned into a holy site. Over the centuries, successive kings expanded and embellished it, until Dambulla grew into one of the most extensive and best-preserved Buddhist cave temple complexes in Asia.

Unlike Ajanta, which was abandoned and later rediscovered, Dambulla never slipped out of memory. Monks chanted here, lamps were lit, ceilings repainted, statues renewed. It remained—unbroken, inhabited, alive.

When the group entered Cave No. 2 – the largest cave which functions as a Vihara -  a bhikshuni was delivering a barely audible sermon to devotees seated on the floor, the silence of the ancient cave nearly overpowering the whispered instruction. The visitors stood in silence with their palms effortlessly folding into a salutation to the Awakened One.

(Dambulla-Cave 2, Sleeping Buddha with Bhikhuni with devotees in foreground. Photo by the blogger)

Ajanta and the Art of Storytelling

Ajanta, carved into a horseshoe bend of the Waghora river in Maharashtra, is rightly celebrated as one of the greatest achievements of world art. Its murals are narratives in motion: Jātaka tales unfurl across walls, princes renounce kingdoms, queens grieve, monks meditate, and common people populate the painted universe with startling humanity. The Buddha, often idealised yet approachable, moves through these scenes like a moral axis around which life turns.

Ajanta’s painters were artists of rare sensitivity. They understood anatomy, emotion, rhythm, and light. Their work speaks of a Buddhism still deeply engaged with the world, eager to persuade through story and empathy.

(Bodhisattva Padmapani*, Cave - 1, Ajanta. Source- Wikimedia Commons)

Dambulla and the Language of Devotion

Dambulla featuring over 2,100 m² of murals—the world's largest antique painted surface—using reds, yellows, and earth tones on rock ceilings and walls, speaks differently. Its murals do not seek to narrate; they seek to immerse. Ceilings and walls are covered in rhythmic repetition—rows of Buddhas, lotus patterns, celestial beings, and symbolic episodes from the Buddha’s life and Sri Lankan Buddhist history. The figures are flatter, the outlines bolder, the palette restrained. Perspective yields to pattern; drama yields to devotion.

Here, the Buddha is less a prince among men and more a cosmic presence—unchanging, eternal, serenely removed from worldly turbulence. The effect is not cinematic but meditative.

Buddhism in India and Sri Lanka

There is a deeper historical irony at work. Ajanta marks a high point of Buddhism in India—artistically rich, philosophically mature, institutionally supported. Yet within centuries, Buddhism would largely vanish from the land of its birth.

Bharhut fell into ruin, Ajanta fell silent, Nalanda was plundered and torched.

Sri Lanka, by contrast, became a custodian. Theravada Buddhism took firm root, emphasising discipline, preservation, and ritual continuity. Dambulla reflects this role perfectly. Its paintings may lack the sensuous finesse of Ajanta, but they carry something equally rare: unbroken memory.

Stone, Paint, and Time

To walk through Dambulla caves is to experience the solemn reverence of the devotees for the Buddha. The statues bear marks of touch; the murals show signs of repainting; the air smells faintly of oil lamps and incense. This is not a museum. It is a breathing space.

Ajanta dazzles the eye and moves the mind. Dambulla steadies the soul.

Together, they frame a civilisational arc—from artistic flowering to spiritual preservation. One shows how Buddhism imagined the world; the other shows how it learned to endure without it.

In the end, stone remembers differently in different lands. At Ajanta, it remembers beauty. At Dambulla, it remembers belief.

And both, in their own way, remind us of the ancient search for peace and happiness, and our continuing quest.

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*“Padmapani is another name for Avalokiteshvara, the bodhisattva (“buddha-to-be”) of infinite mercy. The meditational quality of Padmapani is emphasized by the fullness of his lips, the slender waist and nose, the sinuous elongated eyebrows, and the almond-shaped eyes, and he is depicted holding a lotus flower. Although the divinity is extremely idealized, the realistic approach is conspicuous.” (Source: Encyclopaedia Britannica)