huru hara gita

Sinar matahari pagi merambat masuk dari balik tirai yang sedikit terbuka dan menerangi hampir seluruh ruangan. Lampu tidur disebelah masih menyala. Rasanya tidak ingin bangun dan memulai hari. Siapapun pasti ingin berlama lama bermalasan di kasur yang empuk dan wangi. Hhhmmm...sedetik kemudian mata Metta terbuka perlahan mencoba menyesuaikan dengan cahaya di ruangan. Namun sepertinya ada seseorang yang sedang duduk di depannya, bayangan seseorang dengan memakai setelan jas lengkap. Tunggu dulu, apakah itu seorang pria. Ia sedang duduk di sebuah kursi namun pandangannya menengok ke arah samping. Ia sedang melihat keluar. Tapi dia siapa?

Entah mengapa sepertinya Barra jatuh begitu dalam dengan perasaan sukanya itu? Seharusnya Barra tidak boleh mengikuti perasaan suka itu pada Gita. Usia mereka berbeda jauh dan Gita juga masih bersekolah. Tapi, menahan perasaan itu terus membuat Barra gelisah. Kalau yang seperti itu disebut jatuh cinta, ya, Barra setuju dan mengakui kalau Barra jatuh cinta pada Gita. Kenapa Barra berkata begitu? Gita bahkan menganggapnya seperti kakak laki-lakinya sendiri. Lagipula, Gita juga baru saja menerima perasaan teman sekelasnya. Lalu Gita harus apa? Gita terus resah menanggapi pernyataan Barra padanya. Saat cinta datang tanpa peringatan, tidak ada yang tahu kapan dan bagaimana, serta pada siapa akan berlabuh. Ini bukan kisah romansa berbau CEO ataupun Mafia dengan kehidupan kaya raya. Ini hanya kisah biasa dari Barra, pemuda 23 tahun yang jatuh cinta pada Gita, gadis remaja yang masih bersekolah. Tanpa pertanda apapun, Barra dipertemukan dengan Gita dan perasaan aneh menggelitik Barra rasakan pada pandangan pertama. Ya, Barra jatuh cinta. Dan anehnya, hatinya berlabuh pada Gita, si gadis remaja yang baru mengenal apa itu rasa suka pada lawan jenis. Kisah cinta mereka diliputi dengan banyak air mata hingga kisah ini berakhir, tanpa menghilangkan kebahagiaan Barra dan Gita dengan banyak tokoh lainnya. Kisah ini terinspirasi dari pernikahan dini yang marak di lingkungan sosial. Semoga dengan membaca kisah ini, kita semua dapat mengambil pelajaran bahwa pernikahan dini tidak seindah yang dibayangkan, namun juga tidak seburuk dan semenakutkan yang dipikirkan.

Bhagavad-Gita is the most beautiful, perhaps the only true philosophical song existing in any known tongue’ – William von Humboldt. Though it is a matter of consensus that Bhagvad-Gita in the present length of seven hundred slokas has many an interpolation to it such as chaturvarnyam mayashrustam, but no meaningful attempt has ever been made to delve into the nature and extent, not to speak of the effect of these on the Hindu society at large. The methodical codification of interpolations carried out here puts the true character of the Gita in proper perspective. Identified here are hundred and ten slokas of deviant nature and or of partisan character, the source of so much misunderstanding about this book extraordinary, in certain sections of the Hindu fold. In the long run, exposing and expunging these mischievous insertions is bound to bring in new readers from these quarters to this over two millennia old classic besides altering the misconceptions of the existing adherents. The moot point that has missed the attention of all, all along, is that if the Sudras were to be so lowly in the Lord’s creation, how come then the Gita’s architect Krishna, His avatar, and Vyāsa, its chronicler, happen to be from the same lowly Hindu caste fold. Moreover, is it not absurd to suggest that either or both of them had deprecated the station of their own varna (caste) on their own in their very own Gita? In this rendition the beauty of the Gita’s Sanskrit slokas is reflected in the rhythmic flow of the English verse of poetic proportions even as the attendant philosophy is captured in contemporary idiom for easy comprehension. An audio rendition of this work is in the YouTube https://www.youtube.com/watch?v=6vFU3-LD4iM

Though it is a matter of consensus that Bhagvad-Gita in the present length of seven hundred slokas has many an interpolation to it such as chaturvarnyam mayashrustam, but no meaningful attempt has ever been made to delve into the nature and extent, not to speak of the effect of these on the Hindu society at large. The methodical codification of interpolations carried out here puts the true character of the Gita in proper perspective. Identified here are hundred and ten slokas of deviant nature and or of partisan character, the source of so much misunderstanding about this book extraordinary, in certain sections of the Hindu fold. In the long run, exposing and expunging these mischievous insertions is bound to bring in new readers from these quarters to this over two millennia old classic besides altering the misconceptions of the existing adherents. The moot point that has missed the attention of all, all along, is that if the Sudras were to be so lowly in the Lord’s creation, how come then the Gita’s architect Krishna, His avatar, and Vyāsa, its chronicler, happen to be from the same lowly Hindu caste fold. Moreover, is it not absurd to suggest that either or both of them had deprecated the station of their own varna (caste) on their own in their very own Gita? This ‘overdue’ work, may lead the ‘denied’ Hindu castes as well as the favored folks for an objective approach to the in vogue Bhagvad-Gita which could dispel the misgivings of the former and the delusions of the latter, thereby bridging the Hindu emotional gulf with its abridged book that restores its original form. Whether or not one concurs with its propositions, this original work could be of interest to the students of logic and reasoning as well.

On rainy mornings in Tokyo, fourteen-year-old Shinji Minakawa escapes his brutal home life to find solace in an abandoned winter garden. There, he encounters Hakurage Shizu, a mysterious fifteen-year-old gardener living alone among impossible blooms and fading memories. Shinji's world is one of violence and poverty—a father whose fists speak louder than words, a mother drowning in three jobs, and nights spent at a convenience store just to survive. Art is his only refuge, though his parents call it worthless dreaming. Hakurage's world ended six years ago when his parents died in a storm he believes he caused. Now he tends their botanical research facility alone, fighting to preserve their legacy before creditors seize everything in six months. The garden is all he has left—and it's dying. They strike a deal: Shinji will create paintings for Hakurage to sell, funding the garden's restoration. But the subjects Hakurage requests are strangely specific—a red swing set, a paper boat in hydrangeas, a broken fountain. Each painting awakens something in Shinji, fragments of a past he can't quite remember. As the rainy season deepens, so does their bond. Two kids carrying unbearable weights find in each other what they've been missing: someone who understands that survival is its own kind of courage. But the paintings are more than commissions—they're keys to a forgotten childhood friendship, to a tragedy that destroyed both their families simultaneously, to a connection that was severed but never truly broken. With time running out and their demons closing in, Shinji and Hakurage must face the truth buried beneath six years of grief and trauma. In a garden where winter flowers bloom against all logic, they'll discover that some bonds grow back stronger than before—like petals pushing through frost, beautiful and impossible and utterly real. A 14-episode emotional odyssey exploring trauma, memory, found family, and the redemptive power of art and connection. 雨の東京の朝、14歳の皆川シンジは、荒んだ家庭生活から逃れ、打ち捨てられた冬の庭園に安らぎを見出す。そこで彼は、不可能に咲き誇る花々と薄れゆく記憶の中に一人で暮らす、謎めいた15歳の庭師、志津葉蔵に出会う。 シンジの世界は暴力と貧困に満ちている――言葉よりも拳で語る父親、三つの仕事に溺れる母親、そして生き延びるためだけにコンビニで夜を過ごす日々。アートは彼の唯一の避難所だが、両親はそれを「無価値な夢想」と呼ぶ。 葉蔵の世界は、彼自身が引き起こしたと信じる嵐の中で両親が亡くなった6年前に終わった。今、彼は一人で彼らの植物研究施設を手入れし、債権者が6ヶ月後にすべてを差し押さえる前に、彼らの遺産を守るために闘っている。庭園は彼に残されたすべて――そして、それは死に瀕している。 二人は取引を結ぶ。シンジが葉蔵に売るための絵を描き、庭園の修復資金とするのだ。しかし、葉蔵が要求する主題は奇妙に具体的だ――赤いブランコ、紫陽花の中の紙の船、壊れた噴水。それぞれの絵はシンジの中で何かを呼び覚ます。それは彼が完全には思い出せない過去の断片だった。 雨季が深まるにつれて、彼らの絆も深まっていく。耐え難い重荷を背負った二人の少年は、お互いの中に、自分たちが失っていたものを見つける。それは、「生き残ること」がそれ自体、一種の勇気であることを理解してくれる誰かだ。だが、その絵は単なる依頼以上のものだった――それは、忘れ去られた幼い頃の友情、同時に両家族を破壊した悲劇、そして断ち切られたが決して壊れてはいなかった繋がりへの鍵なのだ。 時間がなくなり、彼らの抱える悪魔が迫る中、シンジと葉蔵は、6年間の悲しみとトラウマの下に埋もれた真実と向き合わなければならない。すべての論理に反して冬の花が咲くこの庭園で、彼らはある種の絆が、以前よりも強く成長することを発見するだろう――まるで霜を突き破って咲く花びらのように、美しく、不可能で、そして全くの現実として。 トラウマ、記憶、見つけた家族、そしてアートと繋がりの持つ救済力を探求する、全14話の感動的な物語。

The Bhagavad Gita, often referred to as the Gita, is a sacred Hindu scripture comprising a dialogue between Prince Arjuna and the deity Krishna, who serves as his charioteer. Set on the battlefield of Kurukshetra, the Gita is a profound philosophical discourse that addresses the moral dilemmas faced by Arjuna and provides guidance on duty, righteousness, and the path to spiritual fulfillment. Krishna imparts teachings on various paths of yoga, including karma yoga (the yoga of selfless action), bhakti yoga (the yoga of devotion), and jnana yoga (the yoga of knowledge). He emphasizes the importance of performing one's duty without attachment to the fruits of actions and advocates for a life dedicated to selfless service and devotion to the divine. Throughout the Gita, Krishna elucidates profound concepts such as the eternal soul (atman), the transient nature of the physical body, and the interconnectedness of all beings. The Gita's overarching message is one of self-realization, urging individuals to transcend the ego, cultivate inner peace, and attain spiritual liberation through unwavering devotion and righteous action.

"Hara, satu hal yang perlu kau ingat! Kau adalah milikku sampai kapan pun itu. Kau gadisku, aku yang mencintaimu terlebih dahulu, akulah yang menemukan mu sebelum calon suamimu sekarang. Kau milikku,kau milikku,kau..." perlahan-lahan suara itu mulai menghilang bersama dengan air mata yang mengering di kedua pipi. Harry, seorang lelaki yang hampir separuh hidupnya hanya mencintai seorang gadis. Tak peduli seberapa kuat godaan yang ia hadapi selama bersekolah bisnis di Jerman, bahkan perjodohan yang tak henti dari ayahnya tak pernah membuatnya luluh sekalipun mencintai gadisnya itu. Hanya perempuan itu yang ada dipikirannya. Janji yang pernah Harry ucapkan setelah ia lulus Sekolah Menengah bukan hanya lelucon belaka. Ia benar-benar memegang ucapannya hingga ia menjadi seorang pengusaha termakmur di beberapa negara seperti Singapore, Australia, Amerika, Prancis dan Jerman Jika hati tidak mampu melunakkan hatimu maka tindakan yang akan menaklukkanmu -Harry Kwelgenz

A synopsis of the entire Bhagavad Gita is beyond the scope of this introduction, firstly because it will preempt your reading pleasure in discovering it for yourself, and secondly because it is impossible to summarize everything that Lord Krishna has said in it. However, a few common terms in the Bhagavad Gita and the rest of the Vedic literature are explained here, to help the reader easily grasp the concepts presented therein. The Bhagavad Gita, or the song of God, was revealed by Lord Shree Krishna to Arjun on the threshold of the epic war of Mahabharata. A decisive battle between two sets of cousins, the Kauravas and the Pandavas, was just about to commence on the battlefield of Kurukshetra. A detailed account of the reasons that led to such a colossal war; is given under Introduction-The Setting of the Bhagavad Gita. The Bhagavad Gita is primarily a conversation between Lord Shree Krishna and Arjun. However, the first chapter begins with a dialogue between King Dhritarashtra and his minister Sanjay. Dhritarashtra being blind, could not leave his palace in Hastinapur but was eager to know the ongoings of the battlefield. Sanjay was a disciple of Sage Ved Vyas, the author of the epic Mahabharata and several other Hindu scriptures. Sage Ved Vyas possessed a mystic ability to see and hear events occurring in distant places. He had bestowed upon Sanjay the miraculous power of distant vision. Therefore, Sanjay could see and hear, what transpired on the battleground of Kurukshetra, and gave a first-hand account to King Dhritarashtra while still being in his palace. Cover does not belong to me.

A collection of different realistic fiction stories.

To be resurrected, Lin Zhi binds herself to a system and transmigrates into different book worlds, becoming cannon fodder destined for tragic endings. But Lin Zhi refuses to follow the script. In every world, she fights to rewrite her fate. (1) The Scheming Gold-Digging Stand-In Used by the male lead as a tool to win over the female lead, Lin Zhi refuses to be discarded. Since he wants to use her? Then she’ll make a countermove—get pregnant first, flip the board, and end up with the real overbearing CEO. (2) The First Wife Fated to Die Early in a “Cousin” Story The reborn female lead knows her older male cousin will hold immense power in the future—and that he has always loved her. This time, she vows not to let him go. Only… “Sister-in-law, why aren’t you dead yet?” Lin Zhi smiles. “Still alive. What, are you mad?” (3) The Cannon Fodder Fiancée in a Teacher-Student Romance The aloof Master falls for his young disciple, while Lin Zhi—the fiancée—becomes the villain in their love story. Lin Zhi: “Respect. Blessings. Please stay locked together forever.” Then she decisively breaks off the engagement and devotes herself to cultivation… alongside her adorable little nephew. Who needs romance when ascending is better? (4) The Substitute Bride in a Period Drama In her previous life, she stole the marriage meant for her sister out of gratitude for a life-saving favor, marrying the factory director’s son. Who would have thought he had a “white moonlight” in his heart, leading to her tragic death? Meanwhile, the “mud-legged” man she rejected rose in status, and her sister became an official’s wife. After rebirth, her sister eagerly snatches back the original marriage arrangement, convinced Lin Zhi is doomed. She waits to watch Lin Zhi suffer. Instead— Lin Zhi’s life only gets better and better.