The human body is home to thousands of nerves or nadis, carrying and delivering ‘prana’ or life force to each part. According to practitioners of yoga, among these, there are 3 nerves or ‘nadis’ that are of utmost importance -the Ida, the Pingala and the Sushumna. They are said to play an important part in awakening the Kundalini, a concept and belief that requires theses to explain. The Ida is located on the left side of the spine. The Pingala on the right side, mirroring the Ida; the Sushumna runs through the spine. The Sushumna connects the 7 chakras in the body.
Many say that the Ida and Pingala correspond to the two hemispheres of the brain. The Pingala (meaning ‘brown’, ‘tawny’, ‘solar’ in Sanskrit) channelizes solar–extrovert–energy in the body, situated in the right, controlling the left hemisphere and Ida (meaning ‘comfort’) channelizes the lunar–introvert–energy, situated on the left, controlling the right side of the body.
The left hemisphere of the brain dictates all that is reasonable and logical in our natures – Pingala.
The right side of the brain deals with the fantasies, the philosophies, the creativity, the intuition, the holistic – Ida.
Get the picture?
Hindi poets obviously know this. Time and again the moon has been addressed in our film songs as a friend. A friend, a universal witness, a messenger between lovers, a keeper of secrets, a keeper of time at clandestine meetings, often times an unwanted third at such meetings, too! The moon is referred to as both masculine and feminine in our songs. While a fair damsel may have a ‘mahtab tera chehra’, the handsome lover may be invoked thus: ‘chand mere aa ja re’. The moon has many references in our songs as a young child ‘chand kanwal’, ‘mere chanda’…or it may be the incentive used to quiet restless babies, put them to rest. After all, Ida=lunar energy=comfort, na?
Here the beautiful Sadhana/Lata complains to the Moon…well, he’s got nowhere to go, na? Has to stay and hear her out!
Both stanzas treat the Moon as messenger… a ‘harkaara’, being sent to look for the beloved. Having been given identification ‘aa tujh ko pehchaan bata dun…’ so it doesn’t mess up Operation-Find-Beloved-And-Bring-Him-Home, he is asked to take a message to the same “bus itna sandesa de aa-a-aa…dekh ussey kehna meri nindiya, ho gayi soutan meri… ”
But while the Moon is likened in the image of the missing beloved in the first stanza “Nadiya mein mukh dekh le apna, vo bhi hoga vaisa…”; in the second stanza, the Moon is requested to be a witness to her plight “chanda dena tu meri gawaahi…” while she and the Moon become as one!
“Hum dono hain pyar ke raahi/ bus, itna to saath nibhaa-a-aa…”! What a plea this is!
Bade kaam aatey hain ye chaand saahab!
Rajinder Krishan’s poetry and Madan Mohan’s saarangi-sitar rich composition; Lata’s superb execution of this complaint-plea…(that “bus itna to saath nibhaa-a-aa” is to die for! Raag Saarang, I believe?) here charms you almost as much as the Moon and Sadhana!
Written on 25 August 2017
Monica Kar received her BA in English Honours from the University of Delhi. She now lives in St. Charles, Missouri, where she wears several hats, including doing voluntary work as an educator and homemaker.