Sri Aurobindo: 'Champaklal has a natural talent already developed to an unusual degree.' Works include paintings, 'marbling' & 'Birthday Cards' for The Mother.
Painting
THEME/S
This portrait of Champaklal was done in the 1930s by Chinmayee (Mehdi Begum), as a member of the Sri Aurobindo Ashram. It was further worked upon and finished by the Mother, who taught painting to Chinmayee.
Champaklal was not only a respected member of the Sri Aurobindo Ashram, but almost an institution in himself. His devoted and meticulous personal service to Sri Aurobindo and the Mother for over fifty years was an inspiring example of selfless service. His helpfulness to devotees who sought the Mother's blessings and advice on personal questions made him a friend and well-wisher of all....
It is surprising that in spite of the rigours of his constant attendance upon Sri Aurobindo and the Mother and his innumerable small but essential tasks, he could still find time to develop his artistic interests. This was only possible because of his deep urge to express himself through form and colour. Apart from dedicated service to the Master and the Mother, painting seems to have been his second love. This was an inborn capacity which grew in him and found scope for development in the Ashram.
Champaklal once showed the Mother one of his early attempts at drawing and asked: “How is it? Will I be able to learn?” The Mother replied, “To learn means months and months of study before any picture can be done; studies from nature, drawing first for a long time, painting only after.”
Champaklal again asked her after some months, “Is there any possibility in me of doing something creative or original in drawing? If so, what should I do?” “Go on doing,” the Mother said, “and it will come of itself at its own time. You are progressing rapidly.”
Sri Aurobindo also wrote of him once, “Champaklal has a natural talent already developed to an unusual degree.” Another time he wrote, “You have the capacity. You have only to be steady in your endeavour.”...
As a boy in Patan, Champaklal often copied from copy-books—perhaps from the Foster Series, which was common in those days. His copies of animal drawings from such books are still with us. At the age of twelve he passed a drawing examination conducted by the Government which even older boys failed; this confirms his interest and ability in drawing....
As we have already mentioned, Champaklal's best artistic period was in the 1930s. During this decade he made great progress in art. His beautiful paintings of lotuses and his fine still-life drawings and paintings were done at this time...
The second and final phase of Champaklal' s artistic work began in the 1950s. He saw an exhibition in the Ashram of paintings made with bright colours by a foreign visitor. They struck him as representing subtle realities behind the world we know. He thought to himself, “This is the type of pictures I have always wanted to paint. I have been waiting for an opportunity to paint them.” Champaklal had attempted once before with some free brush-work to realise his dream, but he had not succeeded. Then, long after this exhibition of boldly coloured paintings, he witnessed the technique of “marbling”. Here, he felt, was the method he had been waiting for, the medium he had not found so far. He set about experimenting with the technique by himself. After some trials on small bits of paper he saw the possibility of expressing his feelings and intuitions through marbling....
Champaklal used this challenging technique not with any fixed idea or superficial notion, but as a way of expressing the emotions and intimations which sprang from a deeper consciousness in him. He may not always have been conscious of what he was trying to achieve, but in some works at least he deliberately attempted to produce something which corresponded to his feelings or inner perceptions. In such cases he got the result only after many trials. Choosing colours, mixing them and giving movement to the water-surface was prompted mainly by his consciousness at the time.
At one stage Champaklal also did a number of graphic designs with colour pencils or felt-pens. These interesting designs have a spontaneity about them and are far from being conventional patterns or mere decorative motifs. There are also a few paintings in which Champaklal has attempted to translate his visions into form and colour. These have a boldness of colour and originality of conception so natural to him!
There was one special artistic duty which Champaklal had to perform, often on an urgent basis. On birthdays and other occasions, the Mother used to send to sadhaks and devotees, pictorial cards with her blessings and sometimes a personal message. It was Champaklal's duty to prepare these cards. It was his originality and artistic skill which made them very often unique in design. It became indeed a craft of skill in his hands and the Mother complimented him on a number of occasions. She even wrote, “Champaklal is an artist.” This work was not as simple as it may appear. It took hours of labour and ingenuity. At times, he had to make eight or ten such cards in one day. Can one imagine that he did this work, besides other things, for thirty years or more? On Champaklal's birthday in 1964, the Mother wrote:
To Champaklal The great doer of cards This card is to tell him my appreciation of all what he has done and my expectation for still better things to come.....
(Ref: Champaklal as an artist. 1st Edition. P: 13-22)
(There are also a few paintings in which Champaklal has attempted to translate his visions into form and colour. These have a boldness of colour and originality of conception so natural to him! Below are some paintings with their symbolic interpretations by Sri Aurobindo.)
(Ref: Champaklal as an artist. 1st Edition. P: 22)
Fire of Aspiration
1933-11-18
Champaklal's vision painted by another artist as instructed by him.
18.11.1933
About 20 days back I saw a fire flame coming out of a lotus. At that time I thought it was only my imagination. Today I see something like that on the cover of the book The Mother. I have tried to draw it.
Has it any meaning?
It must be the fire of aspiration rising from the opened consciousness to the Sun of Truth with all its colours (forces) around it.
SRI AUROBINDO
(Ref: Visions of Champaklal, 1st Edition, P: 53)
The Sun & the Flower
1934-08-25
25.8.1934
Early morning a vision came to me. I have tried to represent in the picture what I saw. Is there any meaning in it? Or is it my own mental construction?
The sun is of course the Truth and the building is the material consciousness that has become capable of receiving the light. The flowers indicate our presence in the material consciousness.
(Ref: Visions of Champaklal, 1st Edition, P: 55)
Champaklal did over seven hundred paintings by the marbling technique. The Mother gave titles to many of these paintings after looking into the movement of forces they suggested; these revelatory captions focus on the hidden meaning they represent. To those who are sensitive in their imagination and can feel the inner impact of these pictures, they bring a strong sense of the wondrous—an outburst of light and delight taking mystic and dynamic colour shapes through the inspiration of an artist who has striven to lose himself in the Unknown.
We may say that in one sense there is nothing in life or art like accident, chance or fluke, even when the result is most unexpected. Marbling is a fine field of experimentation in which unpredictable, unimaginable forces play through what is apparently accidental. It is a new line of creative work far removed from the traditional. Like surrealism and painting in trance or a half-conscious condition, marbling can be a field for the expression of hidden influences and occult movements and realities. Certainly this should not be made a fetish; to go beyond its suggestive limits would be to turn it into a pseudo art-form, a decorative jugglery of some sort.
(Ref: Champaklal as an artist. 1st Edition. P: 87 & 21)
Picture 43, Champaklal is an artist
Picture 44, Champaklal is an artist
Champaklal's Diary Notes on Marbling
1951-04-07
7.4.1951
Long ago someone came on a visit and exhibited some of his coloured photographs in our Library. They were not of any objects but they were very colourful and impressionistic. Mother liked them very much. She called Robi Ganguli, talked to him at length about the technique and gave him some specific instructions and asked him to try it. I saw that he was very enthusiastic, but nothing further happened. I reminded Robi abour it but it was no use. I had a keen interest in it and wanted to do something like that but did not know how to proceed.
Then one day Amiyo Ganguli brought some paintings and showed them to Mother. She liked them and asked him how they were done. After he left, Mother showed me the paintirigs and said she would ask Amiyo to show me the technique. She told me that this process was known as marbling. (Here I must record that the first person to do marbling in our Ashram was the artist Sanjiban.)
Today was the day the Mother had asked Amiyo to come up- stairs and demonstrate the marbling process in the meditation room. He came at 10.30 a.m. with the necessary things. Mother had kept some colours ready and a brush in a tray which was filled with water, but not to the brim. Amiyo took a piece of paper and put it over the colours that he had put on the surface of the water. The result was marbled paper. Thereafter Mother tried it out herself on two sheets of paper. I understood the process properly.
The next day I did three paintings, using a brush in some places. I placed these paintings on the long table along the window in the corridor outside Mother's boudoir, so that Mother could see them on her way back from Balcony darshan. When she saw them she asked who had done them. She was surprised when I said they were mine. She had thought that someone must have sent them from abroad. She exclaimed: “Yours! Wonderful! Very nice! Pretty! I like it.” She had not expected that I would be able to do this from what Amiyo had shown me. Seeing her happy expression I continued to make more of these paintings. She said that one day she would see all of them.
A day was fixed and I took 47 paintings to her. I showed them to her one by one and she wrote down the number and significance of each one on a small pad. At the same time she asked me to write down the number on the painting and she checked to see if I had done it correctly. In this way she saw the whole lot in one sitting.
Later on she gave significances to my other paintings also. At times she would ask for birthday folders with these paintings on them and would write the significance below them. As in every thing, her encouragement was extremely helpful in my painting.
(Ref: Champaklal Speaks. 3rd Edition. P: 211-212)
Two Lotuses
I wanted to offer something to the Mother. And I got the idea of painting two lotuses, one white and the other red.
Curiously, I received two beautiful lotuses and took up the painting. But due to other work I could not finish them in a day. These too, like my other paintings, I did during my lunch time as it gave me great joy. It took some days before I could finish them little by little. Naturally it would have been better if the colouring could have been done in one sitting. However the result was not bad and it was with great joy that I took the paintings to Mother on my birthday on 2 February 1940.
She received them very well indeed and exclaimed: “Oh! Very pretty! Very pretty!” She wondered how I could get time to do them. She took them in both hands and with a broad smile said: “I give them to you, Champaklal! Take them, they are for you. They are very pretty. You keep them.”
I did not answer and did not take them. And she repeated:
“Take them, Champaklal, I give them to you as my present.”
C: “But Mother! I have done them for you.”
Seeing the state of my mind she found a way out. She gave another broad smile and said softly, almost in a whisper: “Champaklal, I will take them to Sri Aurobindo and I will ask him to write on them.”
I said: “Mother! Are you taking them to Sri Aurobindo? If so, it would be very nice if you ask him to write the significance. Mother! Sri Aurobindo will write on the white lotus and you will write on the red one.”
When Mother brought them to Sri Aurobindo I was there. She showed them to him and said: “See, how nice they are! Today is Champaklal's birthday; he has done these paintings for me. If you write the significance on them I will give them to him. He wants you to write on the white lotus and I on the red.”
The Avatar Sri Aurobindo
Then above the red lotus Mother wrote:
And under the white lotus she wrote:
To Champaklal With blessings to my dear child
2.2.40
Mother
Aditi The Divine Mother
With a beautiful affectionate smile Sri Aurobindo said: “Umm.” Then he wrote above the white lotus:
And under the red lotus he wrote:
To Champaklal With blessings
2.2.40 Sri Aurobindo
Then Mother told me not to show the lotuses to anybody.
But you know that after many years blocks were made out of these paintings and printed for distribution. Do not ask me why I was told not to show them to anybody at one time as later things were changed. Obviously circumstances changed and the Mother never stood rigidly by what she said on an earlier occasion under different conditions. There are so many instances of this kind.
(Ref: Champaklal Speaks. 3rd Edition. P: 102-106)
Below are some of Champaklal's paintings with Mother's significance.
Psychological Perfection
Riches (Cactus flower)
It is to the Divine that all riches belong. It is the Divine who lends them to living beings, and it is to Him that they must naturally return.
(At one stage Champaklal also did a number of graphic designs with colour pencils or felt-pens. These interesting designs have a spontaneity about them and are far from being conventional patterns or mere decorative motifs. Below are some of his works.)
(Ref: Champaklal as an artist. 1st Edition. P: 22
Free Hand Design
Free-hand Design.
A Free-hand Design. Done with colour felt-pen incorporating the letters M and A (Mother and Sri Aurobindo).
(Ref: Champaklal as an artist. 1st Edition. P: 86)
Sketch after seeing a vision
"
Sketch of a vision.
“The Vision had a marvellous effect on my entire body.
OM, SHREEMA, M—all these symbols, the way I saw them were looking real, alive. How can that be shown? A variety of rays of light of various colours were spreading out from all its sides. I could not show all these colours here. This is an ordinary sketch from which I wanted to make a large painting, but it does not seem possible now. It is also difficult to write about it.”
CHAMPAKLAL
(Ref: Visions of Champaklal, 1st Edition, P: 63)
(Champaklal finally came in 1923 to the Ashram with Champaben, Punamchandbhai's wife as instructed by Sri Aurobindo) (Ref: Champaklal Speaks. 3rd Edition. P: 37)
Holy staircase where Champaklal had his first darshan of Sri Aurobindo
Before that, as we were sitting in the verandah, we heard someone coming down the stairs. As soon as his foot touched the floor I spontaneously ran forward. I felt it must be Sri Aurobindo. I touched his lotus feet and prostrated myself in sashtanga dandavat pranam [with feet, trunk, shoulders, palms and head touching the floor like a rod—signifying surrender of the whole being]. Then he proceeded to the courtyard. Later I was to learn from the Mother that it was at a corresponding spot on the first floor that she had first seen Sri Aurobindo; that was at 3.30 p.m. on 29th March 1914. And I had, rather I was granted, the good fortune of meeting him just at that spot. When we went upstairs Sri Aurobindo was seated in the verandah. I saw nothing except him and when I prostrated before him I lay there for one full hour. I just could not get up. No one disturbed me. At the end of that hour Sri Aurobindo placed his hand on my head, blessed me and said “Tomorrow.” Then I got up.
A number of chairs had been placed near the table in front of Sri Aurobindo's chair. We were asked to sit there but we squatted on the floor by his side. He asked us our names and enquired about Dikshitbhai and Punamchandbhai; then he asked me: “Do you know English?” I said I did not. He began in Hindi and asked how we all had come.
C: “A group led by Dikshitbhai walked down from Bharooch to Bilimora and thence we three were sent by train.”
Sri Aurobindo: “How long do you wish to stay here?”
C: “As long as you will permit us.”
He looked around and smiled. Then he told us to come the next day and added that he would receive us after 4.30 p.m. He got up and we too stood up. He did namaskar and we did the same. Then he started towards his room and we remained standing till he entered it. When Amrita asked us to leave it was almost 6.10. When we left we were in a trance-like condition, our eyes could hardly remain open. No wonder we lost our way. Somehow we reached home, cooked our meal, ate it and, after some polite conversation with Narandas, still thinking of Babuji we fell asleep.
You ask me what were my reactions on my first darshan of Sri Aurobindo. Well, after getting up from my sashtanga dandavat pranam at his feet upstairs, I felt that I had nothing more to do in my life. This feeling itself was evident proof of our having 'arrived'.
The next day (2nd April), we went through the morning duties, had our afternoon rest and got ready to leave around four o'clock, but throughout our thoughts remained centred on Babuji. We reached his house and sat in the verandah downstairs. It was 4.30 but nobody came down and we became impatient for Babuji's darshan. Finally, at 4.55 p.m. Amrita came and escorted us upstairs. As soon as we approached Sri Aurobindo we prostrated and our eyes touched his lotus feet. For about fifteen minutes we sat quietly, then the following conversation took place.
Sri Aurobindo: “How many people are there at Kashibhai's?” He stopped after uttering Kashibhai's name. The ashram was known as Dikshitbhai's, not Kashibhai's.
C: “Twenty and a family associated with the ashram there.”
Sri Aurobindo: “What are Dikshit and Punamchand doing there?”
C: “Why do you ask that? You know everything.”
Sri Aurobindo smiled and almost whispered: “Yes, I know.” Then looking round at all sitting there he laughed heartily.
Sri Aurobindo: “What are you doing in yoga?”
C: “I don't know what is yoga. I am practising something taught by Dikshitbhai and Punamchandbhai.”
Sri Aurobindo: “What is the practice you are doing?”
C: “Whatever work I do I offer to the Lord and I offer it through you.”
Sri Aurobindo: “How many practise yoga there? Give me their names.”
I gave the names.
Sri Aurobindo: “Do you feel anything during this practice?”
C: “Yes, sometimes peace; I see at times light also.”
Sri Aurobindo smiled very sweetly. Then he asked: “Yes, but has Dikshit explained to you how to dedicate everything?”
C: “No. He has only told us that we must be complete instruments.”
Sri Aurobindo: “How?”
C: “I don't know.”
Sri Aurobindo: “You see, the peace which you feel shows that God is near you. The Light you see suggests that you will be able to meet him in that peace and light. Gradually you will be able to stay in this state.”
C: “Sometimes I feel that the light is inside me.”
Sri Aurobindo: “It means God is within you. Are you practising this?”
C: “Yes.”
Sri Aurobindo remained silent for some time. Then asked: “What made you come here?”
I answered in some detail....
It was 6.05 p.m. by now and Sri Aurobindo went into his room saying: “Now, tomorrow.”
Now the third day. We got up at 6 a.m. After the day's routine we sat waiting for 4 0' dock. Our hearts were full of expectations and ardent for Babuji's darshan. Today, my mind had decided, there must be a long discussion with Sri Aurobindo; specific questions needed to be asked, and if time was too short, at least one particular one was indispensable. Joy seemed to be overflowing. But time refused to move! A thought came that we could pass the time in sleep! But today that too became difficult; finally, since we were determined, the goddess of Sleep enveloped us. After waking up we got ready quickly and set off. We went to the seashore and after a brief walk reached Babuji's temple at 4.10 p.m. Several times we sent word to Amrita. He would only say: “Babuji will see you at five. You will be called.” Thereafter we tried to spend the time in japa and meditation, but it was very difficult to keep waiting. Finally we were called at 5 p.m.
After pranam when Sri Aurobindo started speaking, I said: “Please indulge us by speaking in Gujarati.”
He laughed and said: “I knew Gujarati when I was in Baroda but now I have forgotten it.”
C: “You know everything.”
He laughed and laughed.
C: “You can speak at least in Hindi.”
Sri Aurobindo: “That too I don't know.”
C: “You certainly know Hindi.”
And then he spoke in Hindi explaining what is meditation.
During our stay of eight days, several other things happened. Sri Aurobindo asked me to try to see the Divine Shakti of the Lord that is at work everywhere, in everything. When I asked him what books I should read, he told me to read Prakriti Rahasya (Secret of Nature) in Gujarati and Shandilya's Bhakti Sutra....
Once I asked Sri Aurobindo: “When will I have realisation?”
In reply he told me the following story of Narada:
Two devotees were doing their sadhana in a forest for many years. Once when Narada passed by, one of them asked him, “Bhagavan [a form of addressing holy and venerable souls], you are regularly visiting the Lord. Would you kindly ask Him on my behalf when I shall be able to get His darshan?” A little further Narada met the second devotee. He too entreated him to ask the Lord the same question. On his return Narada told the first devotee, “You will see the Lord after as many births as there are leaves on the tree under which you are doing your tapasya.” The devotee was utterly disappointed and gave up his sadhana. When Narada met the second devotee and told him the same thing, he felt unbounded joy and began to dance in delight: “Oh, after all I am certain to see the Lord!” The promise filled him with such an intense joy that he lost all sense of self and realised the Lord that very instant.
Thus Sri Aurobindo described to us how the time when we will realise the Divine depends on the one-pointedness and intensity of our aspiration.
We had not decided on which day we would leave Pondicherry. On the eighth day we all felt it to be the last day; for every evening, when we took leave of Sri Aurobindo after being near him for an hour, he used to say, “Now, tomorrow.” But this time he said, “Whenever you meet with a difficulty, remember me”, and after a pause, “Write to me.” So we understood it was the last day. The wonder was that all that we wanted to ask Sri Aurobindo, all that we had to tell him, was over in the first two or three days, and yet every day, when we were leaving he used to say, “Now, tomorrow.” This shows how he showered his infinite grace to keep us in his presence for some more days.....
(Ref: Champaklal Speaks. 3rd Edition. P: 6-14)
One day I said to Mother: “Mother, I would like to wash my father's dhoti.” She smiled and said that she would ask Sri Aurobindo. The next day when I went to Sri Aurobindo he looked at me and said: “You want to wash my dhoti?”
Sri Aurobindo: “Are you ready?” looked at him in surprise and wondered why he asked that.
Sri Aurobindo: “You know, people will mock at you, laugh at you, joke about you. Are you ready for all that?”
When he saw that I was eager to do this work in spite of such possibilities, he looked at me affectionately and smiled. He said so because the Ashram atmosphere was like that at that time. But very soon Mother changed it entirely.
As I look back, I clearly see that it was the Mother who made me ask for this work. For it is not in my nature to ask anything for myself. True, I always aspired to be able to spend all my time and all my energy in the service of Mother and Sri Aurobindo. This aspiration got fulfilled in different ways, often to my utter surprise...
There are thus many incidents where the Mother herself arranged my work without my asking. Actually her grace is constantly showered on each and everyone of us, but we cannot see it. When the time comes she herself makes us aware of it. Madhav: “Once when I was sitting by your side on the landing, waiting for Mother to call us, you told me that every aspiration of yours had been or was in the process of being fulfilled. At that time, I asked you why you did not spend all the time in Mother's room, a thing which you could very well have done. But you said: 'No, it has to be arranged by itself. The aspiration is there, of course, but I know it will be realised in due time.' And in the course of a few months I did see it come to pass. You found yourself there practically all the time. That made a deep impression on me and convinced me that sincere aspiration, even when not expressed in words, evokes response from the Grace. Your life has been a standing example of this truth. Sorry to interrupt you, Champak-bhai, please proceed.”....
(Ref: Champaklal Speaks. 3rd Edition. P: 48-52)
Man's normal daily interactions proceed through the medium of words and gestures. This medium is so handy and easy that we do not realise its importance and it is to a great extent even misused. When I decided to set aside the medium of speech, it was natural that people were perplexed and sometimes I was asked about it. A friend wrote to me asking for an explanation: “Some people are saying that Champaklal has been keeping mauna because of some throat disease and Sri Aurobindo asked him to observe silence so that it might not spread.” But when there never was any such disease, where was the question of its spreading? Secondly, Sri Aurobindo left his body in 1950 and the Mother in 1973, while I began to observe silence in 1975.
Where then is the question of Sri Aurobindo or even the Mother asking me to keep mauna? There are people who like such gossip; they won't believe the truth even if I told them myself. There is no basis in the talk about Sri Aurobindo asking me to keep silent.
The external quiet that results from the control of speech is very helpful for inner peace and growth. Hot discussions and exchanges give rise to low and harmful vibrations which vitiate the whole atmosphere. Only that which is useful and necessary for the sadhana should be spoken and that too with full awareness. Gossip and back-biting are a great hindrance. When we remain silent how many difficulties are overcome! It was with this understanding that even while serving Sri Aurobindo and the Mother, I desired to observe silence and prayed to Mother for her permission. But she did not consent, because my silence would have affected my daily work with her.
In the month of October 1975, at times while talking my voice would suddenly grow soft and faint without my feeling any pain or discomfort but in a few moments it would automatically become normal. I doubt if anyone's attention was drawn towards it, though it was to my benefit as I could shorten the conversation. I wished to find out why this was happening. I wanted a specialist in Madras could check my voice, but Nirod said, “It is not necessary to go to Madras just for this. There is nothing wrong with your voice.” Nonetheless I persisted. Then Nirod said that he and Dr. Bose would accompany me. I said it was not necessary. He insisted on coming as he felt it was his duty. He said, “Mother has asked us to look after you.” I firmly refused: “It is absolutely unnecessary.”.......
Had Nirod and Bose accompanied me, some ashramites without ascertaining the facts would have concluded that the case must be serious since two doctors had accompanied me. The specialist in Madras had said, “There is no problem in the throat, only the nerves have been strained and need rest. You may observe silence for 21 days or speak as little as possible.” For me it was like being prescribed my favourite diet as medicine. The desire to observe silence (that was born when I was still serving the Mother) awoke once again and was realised in different circumstances and time. Circumstances arranged by Mother herself! She always makes me do things by creating the necessary circumstances. I never have to worry at all. I live in her infinite grace, in joyous freedom. This mauna was her invaluable boon to me and thereafter I took it as a natural boon.
Thus I started to observe silence from 24th of November 1975. 21 days were over on 14th December. On 15th December I spoke. I came to know from others that my voice was perfectly normal. Then, as decided beforehand, I resumed my silence from the next day and it still continues. When some said that observing silence in this way was an austerity, I replied that an austerity is that which is strenuous or difficult, bur remaining silent has become as narural to me as talking had been. My silence is not a penance nor a religious vow. I enjoy this silence.
Sometimes children ask me why I am not talking? Once a child, Hufreesh, asked me, “You have not spoken for so long. What is the proof that you have not lost your voice?” I explained to her in writing that as you children enjoy talking so I enjoy my silence. I enjoy it even more than when I was talking.....
(Ref: Champaklal Speaks. 3rd Edition. P: 287-290)
"My Lion" - The Mother (1960)
Champaklalji was extremely fond of this photograph of his with the Mother which she captioned it “My Lion”. While choosing it as the cover for the Gujarati edition of Champaklal Speaks, he noted this incident: Once, on seeing this photo, Pranab's uncle Charubabu exclaimed, “Mother, here Champaklal looks like Durga's lion! “ And Mother forcefully replied, “He is my lion!”
(Ref: Champaklal Speaks. 3rd Edition. Preface)
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