mere giridhārī jī se kāhe larī ।
tuma taruṇī mero giridhara bālaka kāhe bhujā pakarī ॥
susuki susuki mero giridhara rovata tū musukāta kharī ॥
tū ahirina atisaya jhagarāū barabasa āya kharī ॥
giridhara kara gahi kahata jasodā āʼncara oṭa karī ॥

Ben, manevî miras olarak hiçbir nass-ı katı’, hiçbir dogma, hiçbir donmuş ve kalıplaşmış kural bırakmıyorum. Benim manevî mirasım, bilim ve akıldır. Benden sonrakiler, bizim aşmak zorunda olduğumuz çetin ve köklü güçlükler önünde, belki amaçlara tamamen eremediğimizi, fakat asla ödün vermediğimizi, akıl ve bilimi rehber edindiğimizi onaylayacaklardır. Zaman hızla dönüyor, milletlerin, toplumların, bireylerin mutluluk ve mutsuzluk anlayışları bile değişiyor. Böyle bir dünyada, asla değişmeyecek hükümler getirdiğini iddia etmek, aklın ve bilimin gelişimini inkâr etmek olur. Benim, Türk milleti için yapmak istediklerim ve başarmaya çalıştıklarım ortadadır. Benden sonra, beni benimsemek isteyenler, bu temel eksen üzerinde akıl ve bilimin rehberliğini kabul ederlerse, manevî mirasçılarım olurlar.

“Mani Madhava Chakyar was performing sikhinisalabha... Butterflies fly all around. Some of them fell into the fire below. The anguish was reflected in the actor’s eyes. Ha! There they come out without a burn! What a relief! They came again. The actor continued the performance. Only his eyes move… The audience was spellbound. They did not know that an hour has passed!” - About his world famous abhinaya of the shloka shikhinisalabha from Subhadradhananjayam.

madanamathana sukhasadana vidhuvadana-
gaditavimalavaraviruda kalikadana ।
śamadamaniyamamahita munijanadhana
lasasi vibudhamaṇiriva hariparijana ॥

We know from the Qur'an that Lat, Uzza and Manat were the three pre-Islamic goddesses widely worshipped, and the destruction of their shrines and images, it was said, had been ordered by the Prophet Mohammad. Two were destroyed, but Manat was believed to have been secreted away to Gujarat and installed in a place of worship. According to some descriptions, Manat was an aniconic block of black stone, so the form could be similar to a lingam. This story hovers over many of the Turko-Persian accounts, some taking it seriously, others being less emphatic and insisting instead that the icon was of a Hindu deity. The identification of the Somanatha idol with that of Manat has little historical credibility. There is no evidence to suggest that the temple housed an image of Manat. Nevertheless, the story is significant to the reconstruction of the aftermath of the event since it is closely tied to the kind of legitimation which was being projected for Mahmud. The link with Manat added to the acclaim for Mahmud. Not only was he the prize iconoclast in breaking Hindu idols, but in destroying Manat he had carried out what were said to be the very orders of the Prophet. He was therefore doubly a champion of Islam.

“Mani Madhava Cakyar with his unfailing urge for complicated , difficult and minute details has enriched the art during the decades of his unparalleled performing life without permitting even an iota of compromise regarding the essentials of traditional style. He has served his Kuladharma ever since his maiden appearance with tireless effort, enthusiasm, perseverance and vigor. He introduced new forms to improve this art form without impairing its tradition. The effectiveness of these innovations which only a genius could visualise and perform has already been proved several times“ - "The Hindu (1989)"

"Mani Madhava Chakyar's forte was Satwikabhinaya. Endowed with expressive eyes; that can speak a thousand moods and a countenance that can reflect the range of human emotions in its entirety, Mani Madhava Chakkiar was the master at work" - Mani Madhava Chakkyar: The Master at Work (film), 1994

Om Mani Pädme Hum is the compassionate wisdom of all the Buddhas manifested as sound. Within it is contained the essential meaning of all eighty-four thousand sections of the Buddha's teachings. Of all the many mantras of various kinds, such as awareness mantras... and secret mantras... not one is superior to the six syllables of Chenrezi. The great benefits of reciting this mantra, commonly known as the mani, are described again and again...

ἀλλ’ ἄγε μύθων κλῦθι· μάθη γάρ τοι φρένας αὔξει· ὡς γὰρ καὶ πρὶν ἔειπα πιφαύσκων πείρατα μύθων, δίπλ’ ἐρέω· τοτὲ μὲν γὰρ ἕν ηὐξήθη μόνον ῏ειναι ἐκ πλεόνων, τοτὲ δ’ αὖ διέφυ πλέον’ ἐξ ἑνὸς εἶναι, πῦρ καὶ ὕδωρ καὶ γαῖα καὶ ἠέρος ἄπλετον ὕψος, Νεῖκος τ’ οὐλόμενον δίχα τῶν, ἀτάλαντον ἁπάντηι. καὶ Φιλότης ἐν τοῖσιν, ἴση μῆκός τε πλάτος τε· τὴν σὺ νόωι δέρκευ, μηδ’ ὄμμασιν ἧσο τεθηπώς· ἥτις καὶ θνητοῖσι νομίζεται ἔμφυτος ἄρθροις, τῆι τε φίλα φρονέουσι καὶ ἄρθμια ἔργα τελοῦσι, Γηθοσύνην καλέοντες ἐπώνυμον ἠδ’ Ἀφροδίτην·

It may be remarked here in passing that Prof. Thapar also demonstrates her very weak grip on religious issues with her little excursus on the occasional Muslim interpretation (rendered more plausible by the imprecision of the Arabic script in transcribing Indian words) of Somanâtha as “Somanât”, and hence of the temple as a place where the Arabian Goddess Manât was worshipped. In spite of her own position, she actually hits the nail on the head in her rendering of what she describes as Turco-Persian myth-making: “The link with Manat added to the acclaim for Mahmud. Not only was he the prize iconoclast in breaking Hindu idols, but in destroying Manat he had carried out what were said to be the very orders of the Prophet.”

The city of Taneshar is highly venerated by Hindus. The idol of that place is called Cakrasvamin, i.e. the owner of the cakra, a weapon which we have already described. It is of bronze, and is nearly the size of a man. It is now lying in the hippodrome in Ghazna, together with the Lord of Somanath, which is a representation of the penis of Mahadeva, called Linga.

O my companion, worldly comfort is illusion, As soon you get it, it goes.
I have chosen the indestructible for my refuge,
Him whom the snake of death will not devour.
My beloved dwells in my heart all day, I have actually seen that abode of joy.
Meera's lord is Hari, the indestructible.
My lord, I have taken refuge with you, your maidservant.

But Jahnāvī is typically a Rigvedic form of the post-Vedic Jāhnavī, and it does not require any "Epic/Purāṇic concepts" to recognize it as the name of a river: a river is a geographical feature, not a mythological entity whose identity is based on traditional historical or mythological texts. On the other hand, Witzel‘s claim that ―Jahnāvī was the wife or a female relation of Jahnu or otherwise connected to him or his clan is definitely based on Epic/Purāṇic concepts: no person named Jahnu is mentioned anywhere in the Rigveda,...Jahnu himself is an Epic/Purāṇic figure...Not only does Witzel accept this Epic/Purāṇic person as the source of the Rigvedic word Jahnāvī, he even visualizes, in the manner of the Amar Chitrakatha comic books, a mysterious lady named Jahnāvī, "the wife or a female relation of Jahnu or otherwise connected to him or his clan", whose very existence is completely unknown to the whole of Vedic and Epic/Purāṇic literature and Indian tradition, but who is apparently so very important in the Rigveda that she is mentioned twice (how many other ladies are mentioned twice in the Rigveda outside of references to people aided by the Aśvins?) in special references, which are worded so peculiarly (what, after all, unless she was a symbol of the motherland, like the present-day Bhāratmātā, has this lady to do with an ―ancient home), that they can be more conveniently and logically translated as references to a river!

Govinda! Damodara! Madhaveti! He Krishna! He Yadava! He Sakheti!
The well I drank from has run dry; the river bed has moved over years,
Now cell phones ring instead of bells; the sacred hill has almost disappeared.
Prayers and ashes at the river’s edge, drifting side by side;
sun rises over new hotels; sages close their eyes…