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·Srr Aurclbindo
\ \ [: <, /, >.1 --< ,-' - - ./ - '- r : . ;; . !. ' :"\ I- ~ .. /- .. f, \ " •I ~ , \ ' .I , t '- r . ' \ ......: ',- r -, , . I \ '., -·SRr, .. AURClBINDO.. • \ , 'to,_ ", q..... ... .. " . ' ',I *' " ,~ .Arehives and Researcli I . - . ' ~ .. "".' ,1- '\ '. / I ' ." . ' / . ' " I" • I· ' / . SRI AUROBINDO Archives and Research Indexes 1977 -1994 CONTE NTS Alph abetical Ind ex of Wor ks by Sri A urobindo 1 Categorical Index of Work s by Sri Aur obindo 7 Index of Documents 13 Ind ex of Research Art icles ..... 15 Index of Plates .......... ... .... ........ ...... .... ...... ..... 17 1977 INDEXES 1994 Sri Aurobindo: Archives and Research Published by the Sri Aurobindo Ashram Trust Printed at the Sri Aurobindo Ashram Press, Pondicherry. India Note Eighteen volumes of Sri Aurobindo: Archives and Research were published between 1977 and 1994. Each volume consisted oftwo numbers, one published in April and one in December. Each number contained hitherto unpublished works by Sri Aurobindo and , in a separate section at the end, documents of historical and bibliographical interest and notes and research articles by the editors. Many numbers also contained reproductions ofphotographs. The contents ofthe eighteen volumes are here listed in five indexes: Alphabetical Index of Work s by Sri Aurobindo Categorical Inde x of Works by Sri Aurobindo Inde x of Documents Index of Research Articles Index of Plates In the first four indexes references are given in the following form : 091 :234, wh ich means that the item was published in the issue of December 199 1, startin g on page 234 . In the Index of Plates, plate numbers are given instead of pag e • numbers, thu s: A89:P3, which means Plate 3 in the issue of April 1989. -
Sri Aurobindo: a Postmodern Sublime Poet Dr
Sri Aurobindo: A Postmodern Sublime Poet Dr. Atal Kumar Among all the leading poets of the early twentieth century Indian English poets Sri Aurobindo is vibrant with the contemporary literary ethos–modernism vis-a-vis postmodernism. His modernism was not haunted by what T.S. Eliot and Ezra Pound found during the First World War rather pressed by his inner urge of Sublime. Sri Aurobindo's Muse was drenched in the showers of Sublime. He had been a great Indian religious, philosophical and social thinker as well as postmodern sublime poet. The great spiritual master was born on 15 August 1872 in an aristocratic and anglicised family in Calcutta. Sri Krishnandan Ghose, his father, was among them who first went to England for his medical education and returned with anglophilic blood in his veins. Certainly, the early life of that mystic poet was moulded under the parasol of his father's anglicised habits, ideas and ideals. His father's anglophilic disposition induced him to keep his children away from the Indian ways of life. On the contrary Sri Aurobindo's mother Swarnlata Devi belonged to the clan of great Indian Renaissance man of the nineteenth century, Rishi Rajnarayan Bose. She was the adviser of the new composite culture of Indian soil. Dr. Krishnandan Ghose's inner temperament forced him to nurture him in English atmosphere and not from native ways and native language. As a result of that Sri Aurobindo along with his elder brothers Sri Manmohan Ghose and Sri Benoy Bhushan Ghose were admitted to Loreto Convent School at Darjeeling. -
Preparing Miraculous
Eleven talks at Auroville Preparing for the Miraculous Georges Van Vrekhem Eleven Talks at Auroville Preparing for the Miraculous Georges Van Vrekhem Stichting Aurofonds © Georges Van Vrekhem All rights reserved. No part of this publication may be reproduced, transmitted or translated into any language in India or abroad in any form or by any means without permission of the author. ISBN : 81-87582-09-X First edition : May 2011 Printed in India Cover design, layout and printing by Brihat Consultants (India) Pvt. Ltd. [email protected] Table of Contents Foreword 1 Adam Kadmon and the Evolution 1 2 The Development of Sri Aurobindo’s Thought 25 3 Preparing for the Miraculous 43 4 What Arjuna Saw: the Dark Side of the Force 71 5 2010 and 1956: Doomsday? 93 6 Being Human and the Copernican Principle 117 7 Bridges across the Afterlife 147 8 Sri Aurobindo’s Descent into Death 171 9 Sri Aurobindo and the Big Bang 191 10 Theodicy: “Nature Makes No Mistakes” 213 11 The Kalki Avatar 235 Biographical Note 267 Foreword The talks in this book have been delivered in Auroville, the first four at the Townhall in September, the following six at Savitri Bhavan in November and December 2010. The talk on “The Kalki Avatar” was also held at the Townhall, in February 2011, in the context of the seminar on “Muta- tion II”. I had been invited to give talks in Europe, the USA and India, but I had to cancel all travelling plans because of my heart condition. This led to the idea of giving a series of talks in Auroville, where I am living, and to record them so that the people who had invited me would be able, if they so desired, to have the talks all the same. -
2016-Fall.Pdf
Fall 2016 Journal of the Integral Yoga of Sri Aurobindo and the Mother Vol. 41, No. 2 Richness of the Integral Yoga by Martha Orton • The three sisters by Michael Miovic • Aids and obstacles in Integral Yoga sadhana by Bahman Shirazi • On the Record of Yoga by Lopa Muckerjee • Current affairs • AV almanac • Source material • Poetry room • Apropos Fall 2016 Collaboration • 1 About the art on the front and back cover Paintings by Pierre Legrand of Auroville. Pierre explains, “You discover some inter- esting things when you join the Auroville adventure. For example: the Mother said, Table of contents ‘You want terrestrial results? Well, become conscious of your cells. Very small things, Collaboration, vol. 41, no. 2, Fall 2016 movements of consciousness in Matter, truly astounding. Only if you observe in a most tenuous way do you notice them.’ (Mother’s From the office of Collaboration Agenda, 20 November 1963). It was only after a drastic experience at this ‘tenuous Notes on this issue ..................................................................................... 3 level’ that I felt the need to explore it through Art... For some reason I have been drawn to Current affairs a very specific path among the infinite possi- bilities offered by contemporary art. I focused Institute for Wholistic Education .............................. Santosh Krinsky 4 on the concept of ’field painting’—which has Sri Aurobindo Learning Center ....................................... Rod Hemsell 4 no composition, no up, no down, sometimes Cultural Integration Fellowship .......................................Sandy Kepler 4 even no recto or verso! It allowed pure vibra- tory fields and seemed to me the most appro- Briefs .......................................................................................................... 5 priate way to ‘catch’ these experiences.” For more information visit www.pierrelegrand.in AV almanac or read the book Light Matter: Atelier Pierre Legrand available from amazon.in. -
SAVITRI AS the YOGA of the EARTH Ananda Reddy
SAVITRI AS THE YOGA OF THE EARTH Ananda Reddy Photo credit: Sri Aurobindo Ashram In my recent studies, when I was preparing for a workshop in Germany, I came across a message of the Mother. Although it seemed by chance, surely it was not just by chance. It was definitely by her Grace, for in fact in this message She has given the quintessence of Savitri. You may have read many comments from the Mother and many letters from Sri Aurobindo aboutSavitri , but in this small message she has given the entire theme and content of Savitri, and I could easily hold a whole workshop on this theme. The Mother writes that Savitri is : 1. The daily record of the spiritual experiences of the individual who has written. 2. A complete system of yoga, which can serve as a guide for those who want to follow the integral yoga. 3. The yoga of the earth in its ascension towards the divine. 4. The experiences of the divine Mother in her effort to adapt herself to the body she has taken and the ignorance and the falsity of the earth upon which she has incarnated. (Collected Works of the Mother (CWM), 13:24) April 2012 Vol. XIII – II 4 NEW RACE These are the four essential strands in Savitri, and each one of them can be developed in its fullness. Each of these could be given a subtitle for our convenience. For example the first one,“The daily record of the spiritual experiences of the individual who has written” could be called “Savitri as the Record of Yoga of Sri Aurobindo and the Mother.” The second one, “A complete system of yoga …” could be subtitled “Savitri as the Yoga of Self-Perfection”. -
Matrimandir Journal -8__2001.Pdf
Matrimandir Journal No. 8, Auroville, 2001 "Be wide in me, O Varuna; be mighty in me, O Indra; O Sun, be very bright and luminous; O Moon, be full of charm and sweetness. Be fierce and terrible, O Rudra; be impetuous and swift, O Maruts be strong and bold, O Aryama; be voluptuous and pleasurable, O Bhaga; be tender and kind and loving and passionate, O Mitra. Be bright and revealing, O Dawn; O Night, be solemn and pregnant. O Life, be full ready and buoyant; O Death, lead my steps from mansion to mansion. Harmonise all these, O Brahmanaspati. Let me not be subject to these gods, O Kali." Aphorism - 55 Joy of Victory In this marvellous aphorism, Sri Aurobindo invokes in turn each of these godheads of the Veda, seeking the boon of fullness of all their various attributes. And, while we remain yet intoxicated by the strange word music of their magnificent qualities, it is upon the Mother in her aspect of Kali that he ultimately calls to not be subject to any of these gods! We begin our exploration of this Power of the Mahashakti THE great Power, Mother says of Her with this very apt aphorism which is quite expressive of Sri Aurobindo's approach. Commenting on this aphorism, Mother remarked that a profound understanding of this aspect of the Universal Mother was essential for those who want to participate in the Work in the world. The very prayer of the children of the Ashram school was to make us Hero Warriors, in other words, to be fit receptacles of her particular Force. -
Indian Angles
Introduction The Asiatic Society, Kolkata. A toxic blend of coal dust and diesel exhaust streaks the façade with grime. The concrete of the new wing, once a soft yellow, now is dimmed. Mold, ever the enemy, creeps from around drainpipes. Inside, an old mahogany stair- case ascends past dusty paintings. The eighteenth-century fathers of the society line the stairs, their white linen and their pale skin yellow with age. I have come to sue for admission, bearing letters with university and government seals, hoping that official papers of one bureaucracy will be found acceptable by an- other. I am a little worried, as one must be about any bureaucratic encounter. But the person at the desk in reader services is polite, even friendly. Once he has enquired about my project, he becomes enthusiastic. “Ah, English language poetry,” he says. “Coleridge. ‘Oh Lady we receive but what we give . and in our lives alone doth nature live.’” And I, “Ours her wedding garment, ours her shroud.” And he, “In Xanadu did Kublai Khan a stately pleasure dome decree.” “Where Alf the sacred river ran,” I say. And we finish together, “down to the sunless sea.” I get my reader’s pass. But despite the clerk’s enthusiasm, the Asiatic Society was designed for a different project than mine. The catalog yields plentiful poems—in manuscript, on paper and on palm leaves, in printed editions of classical works, in Sanskrit and Persian, Bangla and Oriya—but no unread volumes of English language Indian poetry. In one sense, though, I have already found what I need: that appreciation of English poetry I have encountered everywhere, among strangers, friends, and col- leagues who studied in Indian English-medium schools. -
Background to Indian English Poetry
Chapter : 1 Background to Indian English Poetry 1.0 Objectives 1.1 Introduction 1.2. History of Indian English Poetry 1.2.1 Poetry of first phase 1.2.2 Poetry of second phase 1.2.3 Post independence poetry 1.3. Major Indian English Poets 1.3.1 Pre- independence poets 1.3.2 Post - Independence Poets 1.4. Major themes dealt in Indian English Poetry 1.4.1 Pre-independence Poetry Themes 1.4.2 Post - Independence Poetry Themes 1.5 Conclusion 1.6 Summary - Answers to Check Your Progress - Field Work 1.0 Objectives Friends, this paper deals with Indian English Literature and we are going to begin with Indian English verses. After studying this chapter you will be able to - · Elaborate the literary background of the Indian English Poetry · Take a review of the growth and development of Indian English verses · Describe different phases and the influence of the contemporary social and political situations. · Narrate recurrent themes in Indian English poetry. Background to Indian English Poetry / 1 1.1 Introduction Friends, this chapter will introduce you to the history of Indian English verses. It will provide you with information of the growth of Indian English verses and its socio-cultural background. What are the various themes in Indian English poetry? Who are the major Indian English poets? This chapter is an answer to these questions with a thorough background to Indian English verses which will help you to get better knowledge of the various trends in Indian English poetry. 1.2 History of Indian English Poetry Poetry is the expression of human life from times eternal. -
Mythological Characters in Amish Tripathi's Ram Chandra Series
© 2018 IJSRST | Volume 5 | Issue 3 | Print ISSN: 2395-6011 | Online ISSN: 2395-602X Themed Section : Education Mythological Characters in Amish Tripathi’s Ram Chandra Series Hardas Galchar1*, Dr. Ankit Gandhi2* 1Research Scholar, Madhav University, Rajasthan, India 2Professor, Madhav University, Rajasthan, India ABSTRACT Every great civilization has its own treasure of mythology. Egypt, Rome, Greece, India, China and other cultures are the classic examples. Each of them, during the course of history, created folklore, community rituals and social beliefs which led to the creation of vast bodies of mythology. India has probably the richest store house of mythology and legends in the world. It is fed from countless sources and preserved in the four Vedas, the Upanishads, the two epics, the eighteen main Purans and many chants, plays, poetry, sculptures, dance, music and folklore. The roots of India’s legendary past go before the Aryans to the Dravidians and even the Pre-Dravidian tribals. Therefore its values, its social and legal systems and its aesthetic awareness, have survived intact and remained relevant to all Indians. Human actions to became the subjects of myths, which to some extent, related to historical events, the best examples are the Ramayana and Mahabharta. These sagas beautifully describe the interactions of human characters and personalities. In thislineage, the new Indian writers, like Amish Tripathi, Ashok Banker and Ashwin Sanghi have started a new tradition by blending the mythology of the past with present reality. By doing so these writers are modernizing the Indian myth. Amish Tripathi relied on the stories and fables that he heard from his family. -
Living Traditions Tribal and Folk Paintings of India
Figure 1.1 Madhubani painting, Bihar Source: CCRT Archives, New Delhi LIVING TRADITIONS Tribal and Folk Paintings of India RESO RAL UR U CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi AL RESOUR UR CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi Published 2017 by Director Centre for Cultural Resources and Training 15A, Sector 7, Dwarka, New Delhi 110075 INDIA Phone : +91 11 25309300 Fax : +91 11 25088637 Website : http://www.ccrtindia.gov.in Email : [email protected] © 2017 CENTRE FOR CULTURAL RESOURCES AND TRAINING Front Cover: Pithora Painting (detail) by Rathwas of Gujarat Artist unknown Design, processed and printed at Archana Advertising Pvt. Ltd. www.archanapress.com All Rights Reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Director, CCRT. Photo Credits Most of the photographs used in this publication are from CCRT Archives. We also thank National Museum, New Delhi; National Handicrafts & Handlooms Museum (Crafts Museum), New Delhi; North Zone Cultural Centre (NZCC), Patiala; South Central Zone Cultural Centre (SCZCC), Nagpur; Craft Revival Trust, New Delhi and Sanskriti Museum, New Delhi for lending valuable resources. -
गीत रामायण the Chronicle of Rama in Song
The Chronicle of Rama in Song गीत रामायण Author — Gajanan Digambar Madgulkar खक — गजानन दगबर माडगळकर व ी रामभ ऐकती swaye shree raamaprabhu Lord Rama Himself Listens 3 aikatee दशरथा घ पायसदान dasharathaa ghe he Dasharath, Take This Gift 6 paayasadaana राम जमाला ग सखी raama janmalaa ga sakhee Rama is Born, Friends 8 तझा प मला इ दशरथा jyeShTha tujhaa putra malaa Give Me Your Eldest Son, O Dasharath 11 dei dasharathaa आज मी शापम त जाह aaja mee shaapamukta jaahale Today, I Became Curse Free 14 वयवर झा सी swayaMwara jhaale seeteche Sita Chose Her Groom 16 राघव सीता jethe raaghava tethe seetaa Where Raghav Is, There Sita Is 20 नकोस नौ परत फ ग nakosa nauke parata firuu ga Don't Turn Back, Ferry 23 बोल इत मज ीराम bolale ituke maja shreeraama Rama Spoke So to Me 26 माता न त व रणी maataa na tuu wairiNee You Are Not a Mother, Enemy 29 पराधीन आ जगती paraadheen aahe jagatee The Mortal is Bound to Fate 32 Page 1 of 52 पळविल रावण सीता paLawili raawaNe seetaa Ravana Kidnapped Sita 36 त बधा सागरी setu bandhaa re saagaree Build a Bridge Over the Sea 38 लीन, चा, सी leenate, chaarute, seete Modest, Beautiful Sita 41 भो, मज एकच वर ावा prabho, maja ekacha wara Lord, Grant Me a Single Boon 44 dyaawaa मज सग लमणा, जाऊ कठ maja saanga lakshmaNaa, Tell Me Lakshman, Where to Go 46 jauu kuThe गा बाळनो ी रामायण gaa baLaaMno shree Sing, Lads, the Chronicle of Rama 49 raamaayaNa Page 2 of 52 The scene in which the Geet Ramayana opens is as follows: A great ocean of people, hundreds of wise men and countless townspeople, had assembled in Ayodhya for Ramachandra's Ashwamedha1 sacrifice. -
Ramayan Ki Kathayen, Pandemic and the Hindu Way of Life and the Contribution of Hindu Women, Amongst Others
Hindu Sevika Samiti (UK) Mahila Shibir 2020 East and South Midlands Vibhag FOREWORD INSPIRING AND UNPRECEDENTED INITIATIVE In an era of mass consumerism - not only of material goods - but of information, where society continues to be led by dominant and parochial ideas, the struggle to make our stories heard, has been limited. But the tides are slowly turning and is being led by the collaborative strength of empowered Hindu women from within our community. The Covid-19 pandemic has at once forced us to cancel our core programs - which for decades had brought us together to pursue our mission to develop value-based leaders - but also allowed us the opportunity to collaborate in other, more innovative ways. It gives me immense pride that Hindu Sevika Samiti (UK) have set a new precedent for the trajectory of our work. As a follow up to the successful Mahila Shibirs in seven vibhags attended by over 500 participants, 342 Mahila sevikas came together to write 411 articles on seven different topics which will be presented in the form of seven e-books. I am very delighted to launch this collection which explores topics such as: The uniqueness of Bharat, Ramayan ki Kathayen, Pandemic and the Hindu way of life and The contribution of Hindu women, amongst others. From writing to editing, content checking to proofreading, the entire project was conducted by our Sevikas. This project has revealed hidden talents of many mahilas in writing essays and articles. We hope that these skills are further encouraged and nurtured to become good writers which our community badly lacks.