Mahabharata for Children Mahabharata for Children(Part 1)
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The Mahabharata
^«/4 •m ^1 m^m^ The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071123131 ) THE MAHABHARATA OF KlUSHNA-DWAIPAYANA VTASA TRANSLATED INTO ENGLISH PROSE. Published and distributed, chiefly gratis, BY PROTSP CHANDRA EOY. BHISHMA PARVA. CALCUTTA i BHiRATA PRESS. No, 1, Raja Gooroo Dass' Stbeet, Beadon Square, 1887. ( The righi of trmsMm is resem^. NOTICE. Having completed the Udyoga Parva I enter the Bhishma. The preparations being completed, the battle must begin. But how dan- gerous is the prospect ahead ? How many of those that were counted on the eve of the terrible conflict lived to see the overthrow of the great Knru captain ? To a KsJtatriya warrior, however, the fiercest in- cidents of battle, instead of being appalling, served only as tests of bravery that opened Heaven's gates to him. It was this belief that supported the most insignificant of combatants fighting on foot when they rushed against Bhishma, presenting their breasts to the celestial weapons shot by him, like insects rushing on a blazing fire. I am not a Kshatriya. The prespect of battle, therefore, cannot be unappalling or welcome to me. On the other hand, I frankly own that it is appall- ing. If I receive support, that support may encourage me. I am no Garuda that I would spurn the strength of number* when battling against difficulties. I am no Arjuna conscious of superhuman energy and aided by Kecava himself so that I may eHcounter any odds. -
The Emergence of the Mahajanapadas
The Emergence of the Mahajanapadas Sanjay Sharma Introduction In the post-Vedic period, the centre of activity shifted from the upper Ganga valley or madhyadesha to middle and lower Ganga valleys known in the contemporary Buddhist texts as majjhimadesha. Painted grey ware pottery gave way to a richer and shinier northern black polished ware which signified new trends in commercial activities and rising levels of prosperity. Imprtant features of the period between c. 600 and 321 BC include, inter-alia, rise of ‘heterodox belief systems’ resulting in an intellectual revolution, expansion of trade and commerce leading to the emergence of urban life mainly in the region of Ganga valley and evolution of vast territorial states called the mahajanapadas from the smaller ones of the later Vedic period which, as we have seen, were known as the janapadas. Increased surplus production resulted in the expansion of trading activities on one hand and an increase in the amount of taxes for the ruler on the other. The latter helped in the evolution of large territorial states and increased commercial activity facilitated the growth of cities and towns along with the evolution of money economy. The ruling and the priestly elites cornered most of the agricultural surplus produced by the vaishyas and the shudras (as labourers). The varna system became more consolidated and perpetual. It was in this background that the two great belief systems, Jainism and Buddhism, emerged. They posed serious challenge to the Brahmanical socio-religious philosophy. These belief systems had a primary aim to liberate the lower classes from the fetters of orthodox Brahmanism. -
Dharma and Caste in the Mahabharata
TIF - Dharma and Caste in the Mahabharata RUDRANGSHU MUKHERJEE February 5, 2021 Assembly of Warriors, illustration to the Gemini Ashwamedha of the Mahabharata | Harvard Art Museums/Arthur M. Sackler Museum, Francis H. Burr Memorial Fund and Friends of the Fogg Art Museum Fund The Mahabharata is peopled by the ‘higher’ castes but there are important personages from the ‘lower’ castes whose presence gives a radical salience to ‘dharma’ as set out in the epic, to the point of even suggesting a subversion of the dominant ideology. There is a scholarly consensus that below the apocalyptic events---covered in five of the 18 books--- that form the core of the epic, the idea of dharma serves as a principal theme. Many dimensions of the idea are explored through characters, sub-tales and events; even transgressions of dharma illuminate it.1 In comparison, the great book has very little to say explicitly about caste or varna in the sense that it does not address the question of inequality that the operation of the caste system inevitably engenders. It need hardly be emphasized that most of the main characters come from the two top castes and the language of the epic is Sanskrit, the language of these two castes. The second caste, kshatriyas, not surprisingly, dominates the epic. According to one calculation, there are as many as 175 references to kshatriyadharma in the epic (Hiltebeitel: 2014: 528). In contrast, the vaisyadharma and sudradharma receive nine and six references respectively (Hiltebeitel: 2014: 528). Page 1 www.TheIndiaForum.in February 5, 2021 The argument that this essay seeks to present through the narration of certain episodes and characters, is that the lower castes do make significant appearances in the epic and that those appearances are not unrelated to the epic’s approach to dharma—in fact, those appearances give a radical salience to the question of dharma. -
Introduction to BI-Tagavad-Gita
TEAcI-tER'S GuidE TO INTROduCTioN TO BI-tAGAVAd-GiTA (DAModAR CLASS) INTROduCTioN TO BHAqAVAd-qiTA Compiled by: Tapasvini devi dasi Hare Krishna Sunday School Program is sponsored by: ISKCON Foundation Contents Chapter Page Introduction 1 1. History ofthe Kuru Dynasty 3 2. Birth ofthe Pandavas 10 3. The Pandavas Move to Hastinapura 16 4. Indraprastha 22 5. Life in Exile 29 6. Preparing for Battle 34 7. Quiz 41 Crossword Puzzle Answer Key 45 Worksheets 46 9ntroduction "Introduction to Bhagavad Gita" is a session that deals with the history ofthe Pandavas. It is not meant to be a study ofthe Mahabharat. That could be studied for an entire year or more. This booklet is limited to the important events which led up to the battle ofKurlLkshetra. We speak often in our classes ofKrishna and the Bhagavad Gita and the Battle ofKurukshetra. But for the new student, or student llnfamiliar with the history ofthe Pandavas, these topics don't have much significance ifthey fail to understand the reasons behind the Bhagavad Gita being spoken (on a battlefield, yet!). This session will provide the background needed for children to go on to explore the teachulgs ofBhagavad Gita. You may have a classroonl filled with childrel1 who know these events well. Or you may have a class who has never heard ofthe Pandavas. You will likely have some ofeach. The way you teach your class should be determined from what the children already know. Students familiar with Mahabharat can absorb many more details and adventures. Young children and children new to the subject should learn the basics well. -
Microsoft Powerpoint
ॐ पाथाय ितबाधताे भगवता नारायणने वय ꠱ गीतॎ यॎनम् ꠱ यासेन थता पराणमिननापराणमु ुिनना Gītā Dhyānam मये महाभारतम् ꠰ pārthāya pratibodhitām bhagavatā Meditation Verses on the Gītā nārāyaṇena svayam vyāsena grathitām purāṇa-muninā madhyemahābhāratam Taught to Arjuna by Lord Narayana himself, compiled by Rishi Vyasa in the Mahabharata... अैतामतवषृ णी भगवतीम् नमाऽते त े यास वशालबु े अादशायाीयनीम् फु ारवदायतपन꠰ेे अब वामनसदधामवामनसदधामु namo 'stu te vyāsa viśhāla-buddhe phullāravindāyata-patra-netra भगवत े भवभवषणीमेषणीम् ꠱१꠱ Salutations to You, Vyyasa, whose intellect is vast, advaitāmṛita-varṣhiṇīm bhagavatīm whose eyes are like petals of a lotus... aṣhṭādaśhādhyāyinīm amba tvām anusandadhāmi bhagavad-gīte bhava-dveṣhiṇīm (1) ...this sacred rain of nectar in 18 chapters – O Mother Gita, I venerate You, destroyer of suffering. येन वया भारततलपै ूण पपारजाताय तावे े कपाणयै े꠰ वालता ेे ानमय दप ꠱२꠱ ानमु य कृ णाय गीतामृतदहु ेे नम ꠱३꠱ yena tvayā bhārata-taila-pūrṇaḥ prapanna-pārijātāya prajvālito jñāna-mayaḥ pradīpaḥ (2) totra-vetraika-pāṇaye jñāna-mudrāya kṛiṣhṇāya ...by whom the lamp filled with the oil of the gītāmṛita-dhduhenamaḥ (3) Mahabharata was lit with the flame of knowledge. Salutations to Krishna , who blesses the surrendered, in whose hands are a staff and the symbol of knowledge, who milks the Gita's nectar. सवापिनषदाे े गावा े दाधाे गापालनदने ꠰ वसदेवसत देव क सचाणरमदू नम꠰् पाथा े वस सध ीभााेे दधु गीतामृत महत् ꠰꠰ देेवकपरमानद कृ ण वदेे जगु म् ꠱꠱ sarvopaniṣhado gāvo vasudeva-sutam devam dogdhā gopāla-nandanaḥ kaḿsa-cāṇūra-mardanam pārtho vatsaḥ sudhīr bhoktā devakī-paramānandam ddhdugdham gītāmṛitam mahthat (4) kṛiṣhṇam vande jdjagad-gurum (5) The Upanishads are cows, Krishna is the cowherd, I revere Sri Krishna, teacher of all, son of Vasudeva, Arjuna is the calf, and wise people enjoy the sacred destroyer of Kamsa and Chanura, who is the delight nectar milked from the Gita. -
852525.Åšiva-AND-SHIKHANDI.Pdf
ELK Asia Pacific Journals – Special Issue ISBN: 978-81-930411-2-3 ŚIVA AND SHIKHANDI: THE GENDER QUEERNESS IN HINDU MYTHOLOGY E. Vishnupriya Lecturer Department of English Jain Institute of Business Management, Jakkasandra, Kanakapura [email protected] Hindu mythology dates to the time of the imagination; can be seen as stimulated shift Ŗg Veda, the oldest sacred religious text, marked by fear of oppression, individual which was probably composed between behaviour and conflicts, in established 1500 and 900 B.C. The Vedas, Upanishads, norms or social order of given time and Puranas, Epics, Agamas, Bhakti literature place. and Tantras with differing interpretations While leaving old prejudices in the realm of on mythology could trace the root of sexuality, this paper seeks to question the Hinduism. For over thousand years these belief ‘ars erotica.’ Queerness: is it all scriptures have been the cosmic womb of about multiplying pleasures or to be viewed creations of various literature and art forms. as ethical concerns? Truly speaking Hindu mythology visualized Queer Theory: A glance the more happening and modern concept, Queer theory is not a singular or systematic Queerness before 2000 years. Traditional conceptual or methodological framework, Hinduism seems to proclaim to the world but a collection of intellectual engagements that queerness is as old as the mountains. with the relations between sex, gender and The vast traditions of Hinduism would tell sexual desire. Queer can be used as a the tales of gender queerness .Ancient derogatory noun or adjective for scriptures like Narada-smriti and homosexuality or effeminacy. It can also be Kamasutra discuss queerness in detail. -
Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present
UGC MRP - COMICS BOOKS & GRAPHIC NOVELS Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present UGC MAJOR RESEARCH PROJECT F.NO. 5-131/2014 (HRP) DT.15.08.2015 Principal Investigator: Aneeta Rajendran, Gargi College, University of Delhi UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Acknowledgements This work was made possible due to funding from the UGC in the form of a Major Research Project grant. The Principal Investigator would like to acknowledge the contribution of the Project Fellow, Ms. Shreya Sangai, in drafting this report as well as for her hard work on the Project through its tenure. Opportunities for academic discussion made available by colleagues through formal and informal means have been invaluable both within the college, and in the larger space of the University as well as in the form of conferences, symposia and seminars that have invited, heard and published parts of this work. Warmest gratitude is due to the Principal, and to colleagues in both the teaching and non-teaching staff at Gargi College, for their support throughout the tenure of the project: without their continued help, this work could not have materialized. Finally, much gratitude to Mithuraaj for his sustained support, and to all friends and family members who stepped in to help in so many ways. 1 UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Project Report Contents EXECUTIVE SUMMARY 3 1. Scope and Objectives 3 2. Summary of Findings 3 2. Outcomes and Objectives Attained 4 3. -
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made. -
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA PARVA translated by Kesari Mohan Ganguli In parentheses Publications Sanskrit Series Cambridge, Ontario 2002 Salya Parva Section I Om! Having bowed down unto Narayana and Nara, the most exalted of male beings, and the goddess Saraswati, must the word Jaya be uttered. Janamejaya said, “After Karna had thus been slain in battle by Savyasachin, what did the small (unslaughtered) remnant of the Kauravas do, O regenerate one? Beholding the army of the Pandavas swelling with might and energy, what behaviour did the Kuru prince Suyodhana adopt towards the Pandavas, thinking it suitable to the hour? I desire to hear all this. Tell me, O foremost of regenerate ones, I am never satiated with listening to the grand feats of my ancestors.” Vaisampayana said, “After the fall of Karna, O king, Dhritarashtra’s son Suyodhana was plunged deep into an ocean of grief and saw despair on every side. Indulging in incessant lamentations, saying, ‘Alas, oh Karna! Alas, oh Karna!’ he proceeded with great difficulty to his camp, accompanied by the unslaughtered remnant of the kings on his side. Thinking of the slaughter of the Suta’s son, he could not obtain peace of mind, though comforted by those kings with excellent reasons inculcated by the scriptures. Regarding destiny and necessity to be all- powerful, the Kuru king firmly resolved on battle. Having duly made Salya the generalissimo of his forces, that bull among kings, O monarch, proceeded for battle, accompanied by that unslaughtered remnant of his forces. Then, O chief of Bharata’s race, a terrible battle took place between the troops of the Kurus and those of the Pandavas, resembling that between the gods and the Asuras. -
Strength for Today and Bright Hope for Tomorrow Volume 11: 11
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 11 : 11 November 2011 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Women in Mahabharata: Fighting Patriarchy Maneeta Kahlon, Ph.D. ======================================================== Vyasa’s Portrayal of Women Vyasa casts his women—Kunti, Draupadi, Gandhari, Shakuntala, Devayani, Savitri, Damayanti— both in the heroic mould and as victims and practitioners of elements of patriarchy The image of women in the original stratum of the epic is that which is etched out in the words of Shakuntala, as she upbraids Dushyanta for fickleness, contesting patriarchy and traditions of gender relations. ―A wife is a man‘s half, A wife is a man‘s closest friend; A wife is Dharma, Artha and Karna, A wife is Moksha too . A sweet-speaking wife is a companion in happy times; A wife is like a father on religious occasions; A wife is like a mother in illness and sorrow. The wife is a means to man‘s salvation . Happiness, joy, virtue, everything depends on her.‖ Citation Study of Male Authority and Subordination This paper is a study of the three central characters of Mahabharata and how they deal with male authority and subordination. The characters of Kunti, Gandhari, Draupadi conform to the elements of Stridharma while also manifesting exigent actions. Language in India www.languageinindia.com 11 : 11 November 2011 Maneeta Kahlon, Ph.D. -
Scapegoat, Sacrifice, Or Saviour: an Examination of the Outsider in The
Scapegoat, Sacrifice, or Saviour: An Examination of the Outsider in the Mahābhārata by © Micheline Hughes A Thesis Submitted to the School of Graduate Studies In partial fulfillment of the requirements for the degree of Master of Arts Religious Studies Memorial University of Newfoundland May 2014 St. John’s Newfoundland and Labrador Abstract This thesis examines part of the cultural history of social exclusions through a study of the portrayal of the Niṣādas, a tribal group, in the Hindu epic, the Mahābhārata. Three factors contribute to the social exclusion of the Niṣādas in the epic: social construction of identity, caste and dharma, and geography and liminality. The three Mahābhārata narratives that are the focus of the thesis’s analysis (the narratives of Ekalavya, the House of Lac, and Nala and Damayantī) portray six Niṣādas, and one king, Nala, who undergoes a period of social exclusion. Outsiders are portrayed as scapegoat, sacrifice, and/or savior for the epic’s heroes. However, when Niṣādas fulfill these roles, they are either exterminated or mutliated as a result of acts of those very heroes. The thesis argues that the factors of social exclusion work together to accomplish marginalization, and that violence facilitates the process of social exclusion in the epic. ii Acknowledgements I would like to express my very great appreciation to Dr. Patricia Dold, my thesis supervisor. Her invaluable guidance, immense patience, unfailing support, kindness, and sense of humour were extremely helpful to me as I researched, wrote, and edited this thesis. I have learned a great deal from her and will carry these lessons with me into my future academic work. -
Mahabharata Tatparnirnaya
Mahabharatha Tatparya Nirnaya Chapter XIX The episodes of Lakshagriha, Bhimasena's marriage with Hidimba, Killing Bakasura, Draupadi svayamwara, Pandavas settling down in Indraprastha are described in this chapter. The details of these episodes are well-known. Therefore the special points of religious and moral conduct highlights in Tatparya Nirnaya and its commentaries will be briefly stated here. Kanika's wrong advice to Duryodhana This chapter starts with instructions of Kanika an expert in the evil policies of politics to Duryodhana. This Kanika was also known as Kalinga. Probably he hailed from Kalinga region. He was a person if Bharadvaja gotra and an adviser to Shatrujna the king of Sauvira. He told Duryodhana that when the close relatives like brothers, parents, teachers, and friends are our enemies, we should talk sweet outwardly and plan for destroying them. Heretics, robbers, theives and poor persons should be employed to kill them by poison. Outwardly we should pretend to be religiously.Rituals, sacrifices etc should be performed. Taking people into confidence by these means we should hit our enemy when the time is ripe. In this way Kanika secretly advised Duryodhana to plan against Pandavas. Duryodhana approached his father Dhritarashtra and appealed to him to send out Pandavas to some other place. Initially Dhritarashtra said Pandavas are also my sons, they are well behaved, brave, they will add to the wealth and the reputation of our kingdom, and therefore, it is not proper to send them out. However, Duryodhana insisted that they should be sent out. He said he has mastered one hundred and thirty powerful hymns that will protect him from the enemies.