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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. -
Väkivallan Muodot Ja Sen Kuvaamisen Keinot Arundhati Royn Teoksessa the God of Small Things Ja Bernardine Evariston Runoromaanissa the Emperor’S Babe
TAMPEREEN YLIOPISTO Raisa Aho Miten kertoa kivusta? Väkivallan muodot ja sen kuvaamisen keinot Arundhati Royn teoksessa The God of Small Things ja Bernardine Evariston runoromaanissa The Emperor’s Babe Yleisen kirjallisuustieteen pro gradu -tutkielma Tampere 2011 Tampereen yliopisto, Kieli-, käännös- ja kirjallisuustieteiden yksikkö AHO, Raisa: Miten kertoa kivusta? Väkivallan muodot ja sen kuvaamisen keinot Arundhati Royn romaanissa The God of Small Things ja Bernardine Evariston runoteoksessa The Emperor’s Babe Pro Gradu -tutkielma, 128 s. Yleinen kirjallisuustiede Huhtikuu 2011 Yleisen kirjallisuustieteen pro gradu -tutkielmassani tarkastelen erilaisia väkivallan ilmenemismuotoja ja niiden kuvaamisen keinoja kahdessa kaunokirjallisessa teoksessa, eli Arundhati Royn romaanissa The God of Small Things (1997) ja Bernardine Evariston runoromaanissa The Emperor’s Babe (2001). Päädyin tarkastelemaan juuri näitä kahta teosta rinnakkain sekä sisällöllisistä, temaattisista, kirjallisuushistoriallisista että kerronnallisista syistä. Ne molemmat kuuluvat niin sanotun postkoloniaalisen kirjallisuuden traditioon, mutta eri tavoilla. Molemmissa käsitellään väkivaltaa ja sen traumatisoivaa luonnetta, mutta kertojaratkaisujen erot tuovat väkivallan kuvauksiin erilaisia painotuksia. Tutkimukseni lähtee liikkeelle sekä ruumiillisen kivun että traumaattisen kokemuksen kieltä pakenevasta luonteesta. Molempia ilmiöitä on tarkasteltu siitä lähtökohdasta, että ne ovat symboloimattomia, ja niiden sanoiksi pukeminen on vaikeaa, ellei peräti mahdotonta. Kivun -
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. -
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. -
Dr Anupama.Pdf
NJESR/July 2021/ Vol-2/Issue-7 E-ISSN-2582-5836 DOI - 10.53571/NJESR.2021.2.7.81-91 WOMEN AND SAMSKRIT LITERATURE DR. ANUPAMA B ASSISTANT PROFESSOR (VYAKARNA SHASTRA) KARNATAKA SAMSKRIT UNIVERSITY BENGALURU-560018 THE FIVE FEMALE SOULS OF " MAHABHARATA" The Mahabharata which has The epics which talks about tradition, culture, laws more than it talks about the human life and the characteristics of male and female which most relevant to this modern period. In Indian literature tradition the Ramayana and the Mahabharata authors talks not only about male characters they designed each and every Female characters with most Beautiful feminine characters which talk about their importance and dutiful nature and they are all well in decision takers and live their lives according to their decisions. They are the most powerful and strong and also reason for the whole Mahabharata which Occur. The five women in particular who's decision makes the whole Mahabharata to happen are The GANGA, SATYAVATI, AMBA, KUNTI and DRUPADI. GANGA: When king shantanu saw Ganga he totally fell for her and said "You must certainly become my wife, whoever you may be." Thus said the great King Santanu to the goddess Ganga who stood before him in human form, intoxicating his senses with her superhuman loveliness 81 www.njesr.com The king earnestly offered for her love his kingdom, his wealth, his all, his very life. Ganga replied: "O king, I shall become your wife. But on certain conditions that neither you nor anyone else should ever ask me who I am, or whence I come. -
Teachings of Queen Kunti Consists of Kunti's Celebrated Prayers As Recorded in the Srimad Bhagavatam Together with Illuminating Commen Tary by His Divine Grace A
lfisDivine Grace A.C. Bhaktivedanta Swami Prabhupada FOUNDER-ACARYA OF THE INTERNATIONAL SOCIETY FOR KRISHNA CONSCIOUSNESS THE TRAGIC and heroic figure of Queen Kunti emerges &om an explosive era in the history of ancient India. As the wife of King Pal)QU and the mother of five illustrious sons (the Pal)<,lavas), she was a central figure in a complex political drama that fifty centuries ago culminated in the devas tating Kuruk�etra War. At the conclusion of the war, Queen Kunti approaches Lord Knl)a as He prepares to depart &om the scene of battle. Although Kunti is Lord Knl)a's aunt (He incarnated as her brother Vasudeva's son), she perfectly understands His exalted and divine identity as the Supreme Per sonality of Godhead. She knows full well that He descended from His abode in the spiritual world to rid the earth of demoniac military forces and reestablish peace and righteousness. Thus the prayers she offers Him on this occasion are not the conventional pious solicitations. Rather, they are philosophical reSections, devotional illumina tions, even mystical exultations. As such they have been recorded and immortalized in the Srimad-Bhagavatam, India's greatest philosophical and spiritual classic. Queen Kunti's prayers-the simple and il luminating outpourings of the soul of a great and saintly woman devotee-reveal both the deepest transcendental emotions of the heart and the most profound philosophical and theological penetra tions of the intellect. Her words have been recited, chanted, and sung by sages and philoso phers in India for thousands of years. Teachings of Queen Kunti consists of Kunti's celebrated prayers as recorded in the Srimad Bhagavatam together with illuminating commen tary by His Divine Grace A. -
A Comprehensive Guide by Jack Watts and Conner Reynolds Texts
A Comprehensive Guide By Jack Watts and Conner Reynolds Texts: Mahabharata ● Written by Vyasa ● Its plot centers on the power struggle between the Kaurava and Pandava princes. They fight the Kurukshetra War for the throne of Hastinapura, the kingdom ruled by the Kuru clan. ● As per legend, Vyasa dictates it to Ganesha, who writes it down ● Divided into 18 parvas and 100 subparvas ● The Mahabharata is told in the form of a frame tale. Janamejaya, an ancestor of the Pandavas, is told the tale of his ancestors while he is performing a snake sacrifice ● The Genealogy of the Kuru clan ○ King Shantanu is an ancestor of Kuru and is the first king mentioned ○ He marries the goddess Ganga and has the son Bhishma ○ He then wishes to marry Satyavati, the daughter of a fisherman ○ However, Satyavati’s father will only let her marry Shantanu on one condition: Shantanu must promise that any sons of Satyavati will rule Hastinapura ○ To help his father be able to marry Satyavati, Bhishma renounces his claim to the throne and takes a vow of celibacy ○ Satyavati had married Parashara and had a son with him, Vyasa ○ Now she marries Shantanu and has another two sons, Chitrangada and Vichitravirya ○ Shantanu dies, and Chitrangada becomes king ○ Chitrangada lives a short and uneventful life, and then dies, making Vichitravirya king ○ The King of Kasi puts his three daughters up for marriage (A swayamvara), but he does not invite Vichitravirya as a possible suitor ○ Bhishma, to arrange a marriage for Vichitravirya, abducts the three daughters of Kasi: Amba, -
Vidura Speaks: a Study of the Viduranīti and Its Reception History
Vidura Speaks: A Study of the Viduranīti and its Reception History Sravani Kanamarlapudi A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2019 Committee: Richard Salomon Heidi Pauwels Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2019 Sravani Kanamarlapudi University of Washington Abstract Vidura Speaks: A Study of the Viduranīti and its Reception History Sravani Kanamarlapudi Chair of the Supervisory Committee: Richard Salomon Department of Asian Languages and Literature This thesis offers a close reading of an important yet neglected didactic text from the Indian epic Mahābhārata, namely the Viduranīti, which is a nocturnal politico-moral counsel of Vidura to Dhr̥ tarāṣṭra. Adopting the currently prevalent trend in Mahābhārata scholarship, the received epic is approached as a work of literature by treating its didactic segments as constitutive parts of the unfolding narrative, rather than simply viewing the received epic as an outcome of later didactic accretions on a supposed earlier core narrative. As such, the Viduranīti is juxtaposed thematically with the epic’s story, particularly with the epic’s portrayal of Vidura, and structurally with other didactic portions of the epic and the entire epic as a whole. The former analysis reveals that both Vidura and the Viduranīti are centered around the categories of dharma and artha, while the latter exposes similarities in the literary architectonics of the Viduranīti and other didactic tracts. Finally, a case study investigates why the Viduranīti was canonized in a modern Hindu community. Situating this textual reframing in the modern socio-historical context, I argue for the need to focus on reception histories of early South Asian texts. -
Reflections on Vidura Niti and Chankya Niti
www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 2 April 2018 | ISSN: 2320-2882 Reflections on Vidura Niti and Chankya Niti Dr Uma Maheswari Shankar, Principal, SIES College of Arts, Science and Commerce ________________________________________________________________________________________________________ Abstract: Vidura is one of the central characters in the Mahabharata. He is described as the prime minister of Hastinapur engaged in the administration of the kingdom and also the uncle of Pandavas and Kauravas. His advice to the King Dhritharashtra forms the book called Vidura niti. The ethical conduct, advices, counsels, guidance and instructions are very relevant even today. Similarly Chanakya who tutored Chandra gupta Maurya and made him the emperor also advised him at all statins in life. At every step in decision making Chankya ‘s lessons were valuable to him. The striking connection between these two books is they are engaged in moral guidance for citizens and the ruler. The king cannot work in isolation or the subjects. In this modern world where values have moved to periphery and insignificant and inappropriate things have come to centre. Where is human intellect gone? Where is man’s viveka buddhi? This paper attempts to examine few verses from both the books in order to revisit the application of their teachings in today’s context. They are neither outdated nor dogmatic. Both the nitis are fresh in its content and substance. Key words : Vidura niti, Chankya niti, Advice , moral teaching, Ethical codes _______________________________________________________________________________________ Vidura: Vidura is one of the central characters in the Mahabharata. He is described as the prime minister of Hastinapur engaged in the administration of the kingdom and also the uncle of Pandavas and Kauravas. -
Bhagavad Gita Free
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2.Hindu Websites Sorted Category Wise
Hindu Websites sorted Category wise Sl. No. Broad catergory Website Address Description Reference Country 1 Archaelogy http://aryaculture.tripod.com/vedicdharma/id10. India's Cultural Link with Ancient Mexico html America 2 Archaelogy http://en.wikipedia.org/wiki/Harappa Harappa Civilisation India 3 Archaelogy http://en.wikipedia.org/wiki/Indus_Valley_Civil Indus Valley Civilisation India ization 4 Archaelogy http://en.wikipedia.org/wiki/Kiradu_temples Kiradu Barmer Temples India 5 Archaelogy http://en.wikipedia.org/wiki/Mohenjo_Daro Mohenjo_Daro Civilisation India 6 Archaelogy http://en.wikipedia.org/wiki/Nalanda Nalanda University India 7 Archaelogy http://en.wikipedia.org/wiki/Taxila Takshashila University Pakistan 8 Archaelogy http://selians.blogspot.in/2010/01/ganesha- Ganesha, ‘lingga yoni’ found at newly Indonesia lingga-yoni-found-at-newly.html discovered site 9 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Ancient Idol of Lord Vishnu found Russia om/2012/05/27/ancient-idol-of-lord-vishnu- during excavation in an old village in found-during-excavation-in-an-old-village-in- Russia’s Volga Region russias-volga-region/ 10 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Mahendraparvata, 1,200-Year-Old Cambodia om/2013/06/15/mahendraparvata-1200-year- Lost Medieval City In Cambodia, old-lost-medieval-city-in-cambodia-unearthed- Unearthed By Archaeologists 11 Archaelogy http://wikimapia.org/7359843/Takshashila- Takshashila University Pakistan Taxila 12 Archaelogy http://www.agamahindu.com/vietnam-hindu- Vietnam -
Mahabharata, Ramayana, Sita, Draupadi, Gandhari
Education 2014, 4(5): 122-125 DOI: 10.5923/j.edu.20140405.03 Sita (Character from the Indian epic –Ramayana), Draupadi and Gandhari (Characters from another Indian epic – Mahabharata) - A Comparative Study among Three Major Mythological Female Characters - Gandhari: An exception- Uditi Das1,*, Shamsad Begum Chowdhury1, Meejanur Rahman Miju2 1Institute of Education, Research and Training, University of Chittagong, Chittagong, Bangladesh 2Institute of Education, Research and Training (IERT), University of Chittagong, Chittagong, Bangladesh Abstract There are lots of female characters in Mahabharata and Ramayana but few characters enchant people of all ages and all classes. Mass people admit that Sita should be the icon of all women. Draupadi though a graceful character yet not to be imitated. Comparatively, Gandhari’s entrance into the epic is for a short while; though her appearance is very negligible, yet our research work is to show logically that Gandhari among these three characters is greater than the greatest. We think and have wanted to prove that Gandhari with her short appearance in the epic, excels all other female characters- depicted in Mahabharata and Ramayana. Keywords Mahabharata, Ramayana, Sita, Draupadi, Gandhari eighteen chapters. Again these chapters have been divided 1 . Introduction into one hundred sub-chapters. There are one lac (hundred thousand) verses in Mahabharata. Pandu, Kunti, Draupadi Ramayana: Ramayana is an epic composed by Valmiki and her five husbands, Dhritarastra, Gandhari and their one based on the life history of Ram-the king of the then Oudh hundred tyrannic sons – all are some of the famous and and is divided into seven cantos (Kanda). Sita was Ram’s notorious characters from this great epic.