A›VmamoÔ≠>`ÒVa{ _moZVm, g›Xo^©Vm, ‡dag_rojVm M em{Y[oÃH$m Internationally Recognized Refereed & Peer-reviewed Research Journal
odÌdod⁄mb`mZwXmZm`m{JÒ` 'H{$`a' gy¿`mß ^maVr`^mfmod^mJ{ H´$_gߪ`m - 97 Indexed in UGC 'CARE' list; Indian Language SI. No. - 97
34 OwbmB© - oXgÂ]a 2019 Vol. XXXIV July - December 2019 ISSN 2230-8962
VEDA-VIDY Ā
Ȁ , ƞ , ू !" # $%&-'ऽ) Internationally Recognized Refereed & Peer-reviewed Research Journal * +%-ȏ, ‘) ’ ĭ31 ! 4 - ब 36 - 78 Indexed in UGC 'CARE' list; Indian Language Sl. No. - 97
9 : ३४ =+>- ?, २०१7 Vol. XXXIV July-December 2019
C)D ू%. F'" . =Ů!'+ HH # D
I4 ƞ!' ƞ!' ूJ ूJ HHHH ( )- 3 & ) Ɩ+&! )H - D, #N-N$D, '%. = , OPQD ४RS००S 6,, --- 3")D- 3")D TU. $$'%V+ '%V+ ‘‘‘$3)‘$3)$3)’’’’ (W"D, I4 ƞ!' ूJ , H X 3 & ) Ɩ!, )D)
3")D ू%. !ू ऽ'Y! O'W"D, I4 ƞ!' ूJ H
C)D ू%. F'" . =Ů!'+ HHHH # D, I4 ƞ!' ूJ H
"" 3%= 3%= 3%=)))) Z. Z. Z. +!ƌ'V!
\1111 HHHH 4) $], २००/-
'ऽ#'ऽ#---- 9 9 D I4 ƞ!' ूJ HHHH - D, #N-N$D, '%. = , OPQD 456006 a 4 : (0734)2502266, 2502254 X cQd : (0734) 2502253 e-mail : [email protected], Website : msrvvp.ac.in
#1111 --- ऽ $%&xy4 ,ू)$D {'z ूD |ƩxyूN~N , ूD ूJȏ, )ȏ। !" ू%. ौ!' N 1111 ! ! ' ', $ 3H | ू%c ()N),! 3 '!Y, ' ू%. ूc,,,, ),,,, ौ ! ),+&', TU.=ि ू ! )4 * +, xI; ' 1 $), ! 'T,+' $, > !; 3 | ू%c ( 3), O+ * +, , *, T$ ू%. >* ू%c (Ļ%4), ! 3 3, > ! ू%. . . N 1111 | ू%c , ! 3 3, - , ,1 ) + TU. N '=1111 % ू%c (Q ), ! 3 '!Y, '
C) T+ ू%. F'" . =Ů!'+ HHHH # , I4 ƞ!' ! ूJ, OPQ ू%. ) N =%$! ! ' ', $J 3H | ू%c ( 3), ब * +, OPQ # (TU.) ƞ ऽ'Y! $ )! 3 I +, OPQ # ौ! ौ!& T X ) &1 ƴ 3H ू6 'Y!, -%)N ू%. #ब ू%c ( $ Q ), ! 3 '!Y, ' TU. $3) ! % ू%c ( 3), ! * +, ! TU. '1111 ौौ, T!T!, I4 ƞ!' ! ूJ, OPQ 4बN),,,,
ब. 'J C)! HHHH i-v 3 3---- -D -D
१.१.१. W $ D १११- १---११११११११ - TU. $Q+ ू O+D २२२.२... # 3 IƇ HHHH १२१२१२- १२ ---१7१7१7१7 - TU. ND ३३३.३... Q) 3 ू ¡) २०२०२०- २० ---२३२३२३२३ - TU. -N $ू D ४४४.४... 4Ŷ3$ॄȕN 3,,,, +Z)) HHHH २४२४२४- २४ ---२7२7२7२7 - TU. = O'WD RRR.R... Ļ%4%¥)+%'&!3 +¦1111 HHHH ३०३०३०- ३० ---३S३S३S३S - TU. , $$ SSS.S... Q) § Ȁ !",,,, ३8३8३8- ३8 ---४४४४४४४४ - TU. $%)X'++D 888.8... & ))+,,,, I) Jȏ,,,, ू ¡) ४R४R४R- ४R ---४४४४SSSS - F'")ZTƴ$ ¨¨¨.¨... & ) =)ƴȏ,,,, &N : #ȏ D ४४४8 ४888----R१R१R१R१ - TU. =),ौD 777.7... X ȏ 'QǍ+ 3I --- )3 I¡ +%) HHH R२R२R२- R२ ---SRSRSRSR - TU. %X$D
Iƞ!Iƞ!---- - - १०१०१०.१० ... %- SSSSSS- SS ---8०8०8०8० - TU. ),Ņ !4! ११११११.... Q) 3I ) ,,,, « 4) Q ) ¬ ) # 8१8१8१- 8१ ---87878787 - TU. #ƞ ),! १११२१२२२.... N 1111 )N #)® ¨०¨०¨०- ¨० ---¨S¨S¨S¨S - ू%. , ौ १११३१३३३.... *$ ) ƞ $ ¨8¨8¨8- ¨8 ---7४7४7४7४ - TU. )+) ौ १११४१४४४.... ूN% " "D 7R7R7R- 7R ---१०R१०R१०R१०R - # !
English Section 15. The K ālas ūkta of the Atharvaveda: An Appraisal 106-111 - Dr. Upama Barman Deka 16. The States of Consciousness in Māṇḍṇḍṇḍ ūkya - Upani ṣṣṣad : A Critical Analysis 112-132 - Dr. Kapil Gautam
1987 -ȏ 1860 - Ņ !"!#$%% !&!'ू!%)ȏ * + ,%ȏ +"!Ɩ./- !01!,$2 340!+*5 67 8% । % : ,$%2 ौ< =ȏ $2: !'0Ȅ.!" 2 6?2 ƞ 2 !'$A: :."!B CD!!B $ 1993 ? *#!%+ ू!%)+ 6!ƞ !!& !'ू!%)!!% B !FG!ȍ ,%- Iȏ !01 %2 JK: !%। 6!ƞ !!&!'ू!%)+ 6,2, 0! !2, !4!%2 M ू!" , 8!%: 2, !!%2, 1!%2, !01!%2 M $0 %! %! C!NO! ! "!%। ,%ȏ 2 !01!Ɩ 2 ! ?P2 6,2 , %2, !Q2 0! !R 8S12 !'#। 2 %2 C S12 !4!%2, 8!%2,: !!%2 M 8S12 !.!#। !01Ɩ.ȏ ू012 8!"! 2 ? ू!%)ȏ 6T UM!# !% ौ!% -1: -!- +"-!)+ 2 86 ,V। 8ȏ ू!%)ȏ * 2 W0 CNँ! %# । %! Y- 1. Sȏ ौ!% 2: +1 +, +"+, !R %% । [%Y \ ू!%)+ -!ब. U%। C!NO2 % !ब. 2 !#- ! + +*+ !^+, !_+ M < % 6TM , 8S%< `!ू+< aँौb!,.Jb* M c2। 2. !^+, !Qe%+, !_+, f+ M !#+ S 3 2 3 ^ R %%+ +" । 3. < %S+ ghौh+ !'!Y + ू4< !/%0"? ूi6+, %a0+ !'!Y + 0"ू 4< 2 !R%+: M । 4. Y k%+ !'!Y+ : 0" l!Sू , mk!aO2 !n oaO2 M bƏ+,: : !!6% U"!+: mk!+ k+ Y- $! %, J$.0Ȅ, q%!k: , 0Ȅ, ि$!%!k i
OkSfndokÄ~~e;s 'kCnrRofpUrue~~
Mc! !Ȁ-%% U"!!k: ूl'!$t M 6 uh % !_+ !Qe%+ M U"!!W!v2: 6 !'-uwȏ * + ,% । 5. ऽ ,% ^0. / 8w: I + +* +, 8!"म6 , ूgw, 1 + -CNँ : %+ |.+, ूgw+ ,% । 6. 8}-|!.%+, 0ू + .!"+f ƴ+ M 2: CD+ }-ू0+ M। 7. !Njू + 0J+ 2: CD+ !!0O+ ., %Y %+ 0J+ 2: CD (!_+ !Qe%+ f+ ) 8!,k+ %Y %+!Njू +0J+ !! : + !Qe%+ B+ !Ȁ%< M!f । 8. ,% !'+ ू0+, +*+, ^+ M !!0O2 3- 2, Sȏ ौ!% 2,: 3 ^ 2 M8'%!*%2 !" । 9. 0J+ ौ!% 2: मƜम +, !ि%+: मƜ+, Qe:!. +, मƜ+, ,ǽ +, b+ M ! M+f 6 । 10. ,% Sȏ 3 2 3 ^ 2 Maँ- ौb!,.Jȏ 8'%!*%2 ! M+f +म6 । 11. " 2 '.%2 8' % : M !!6%ȏ kȏ, !kȏ, < 2, ूl'!$t2, 0ȏ, ,!kȏ, 2 M Ʃ%: 8wȏ: ू% , %Y मƜ.ȏ, 8w : ȏ, 8wl!Sȏ,: 6T!-M! +, ू!S!,k2 0 2 M ू। 12. -ȍ! 8 OkSfndokÄ~~e;s 'kCnrRofpUrue~~ $ A!0ǽ : + M !4: , !"= +f 6ॐ02 f+ ,'Y \ ऽ!4ू+,< .+ +$)+ M !6 , U!6%+, h< !^+ 6T, !Njू2 qV00J2 2: CD, 0J-मƜ+, 8w : +, 8woमƜ+: M ि: , 3 ^- 2 aँौb!,.J+, m!मƜ.ȏ * , U0 - !'.ȏ * c! ! 33 ? :ू!%) 8Ʒ!%)% । kमू0, !kू0 , ू!01 I, w: I, [%% Qe :!.! मƜ.2 c! ! !% ू!%)ȏ ू!"!!c 8%!: !#। ghौh+ !'!Y + !/%0"? ूi6+, 0" - ू4< 2 !!R%%+,: !'!Y mk!aO: 2 !n oaO2 M bƏ: : !!6%ȏ mk!k0" 2 Y- !kȏ, .-: !%!kȏ, $! %ȏ, J$.0Ȅȏ, q%!kȏ,: 0Ȅȏ, ि$!%!kȏ M U"!!k: ूl'!$t M 6 } uw U"!+: + M k0J+ +"+ ȏ!!% ू!%)+ ,!%। 8% [ : !!6%ȏ k!k0" 2 ऽ ू0 ू M Q!t2 “!'”-2 !6%2 8w !ऽ2: ू0+ ू!%)+ :A%। %ऽ !Qe%+, !^+ 0" ू 4+< "f ƴ+ ! +- !_ + M ू!%,:|ू%f 0". J ू0!% ू!%)+, k+ !%!%, U"!!W!v2: 6 3%+ uw+ M * !%। %ऽ ब !'2 M%!Ȅ+02: (34) 82 [2 ,%+ 6Ȁ $%2: !% ूƩ+ M%2। 8ऽ !6 !'2 +<%-$, ‘S!0 2’ !% e. 0m.Iू C!.62 .J 8S% : . 0Ȅ! C * !%। Ul gȗ!ǰ 2 !!c< [म ूƩM% M S+ ू,%। Ul $2: म6 +, %%2 6!2 c/: %%2 R% $P/: +, %% S+ ौ , % : Ȁ0: !% ब ‘S!0 ’\ e. 0m.Iू C!.2 !0% । ‘UM a¡ + 6Ƈ !% .J e. 62 ! , + ू!% '!, “? % M $2” ~ iii ~ OkSfndokÄ~~e;s 'kCnrRofpUrue~~ “!ư %: %+ g6#< ” c!ू ¤J ¥+: ौư M + ,ǽ! !M#+ ): : !0!#। ‘qV m!k+ ू!%’ !% .J e. $ 0ू,¦62 k $ू0+ ,!%, U2: "% , 8#2 0!hR: ,!% !% ू + ू!% !#। ‘!Ŷ+0ॄȕ : 8.l!-!k’ !% .J !!"Ɩ + ू$!k+, ू$! .l!ª.ƴ!"< c !c< ू0!% e. C S2 । “Ļ!%-. "+ .Kf ” !% .J e. : 00 «-$-+i-: -8-- 1-! U" !% ू ¥+: ूc %। “m! Ȁ!'1”: !% .J e. 80Y !..2 Ȁ0¬-ू$ !0. : ¥+: C .ǡȏ Ȁ!'!M#+: 6+: !0!%। “U"!.: !!6%- )ȏँ%”: !% .J !Qe%-ौ!5 1l!Qeƴ062 ȍc!-%2< ,!f ू ! Ch OkSfndokÄ~~e;s 'kCnrRofpUrue~~ %%2 U½V.-,$, ‘The Kālasūkta of the Atharvaveda: An Appraisal’ !%.J e. C ƴe: 6, %, , 8Y + .f 8Y w : ¥+: !nǽ M !0!%। ‘The States of Consciousness in MāØÙūkya-UpaniÜad : A Critical Analysis” !% .J+ e. ! .$l%2 $%-3Ý-< : !Nj-%: *2: Qeft !_Þ!%- !%2 t!n ¥+: a,% । [%+ .J 8S, !0., + ȈO+ ,!% ! !!! : + 8w%Ƈ,: !)f !gw2 % ू!%%+ k!k- !M# + ू0!# }, !Ȁ!#, U"!k: M #! !6%+ k+ +!#। .J2 ƴ+ ू!% Y !_+ !M#! M !#, .+ M < % !!6%+ k!0+ !0!#। a0 8w : .J ौh !MT ू0 ू!6%%2 !_2 [% 8!,ƞ!। ,!ǽ!% . .J !MT ू# ,: 8ƴ !0ǽू!0ǽ M ू# : ,# !% M ूY। [% 8w.: J+ !0., 0" ऽ+, M - Qe.ȏ !WƏ0 + !_+ ,f ,2f 6T+ . . +ूNj 8!Ȁ। 8%2 %ǰ2 ?ǰ2 6,: ǰ2 6 "ƴ !%!। [% 8w.: J+ ि1: , ि: +, मƜ.! M 6T+ < %%2 6T ू!% Ci6" "ƴ !%!। ू. !5 1 !. Ů . !M2 6!ƞ !!&!'ू!%), (+"!Ɩ.2, ,%2) !'$ 2, !M# $ 02, CD2m ~ v ~ ~ 1 ~ ~ 2 ~ ~ 3 ~ ~ 4 ~ ~ 5 ~ ~ 6 ~ ~ 7 ~ ~ 8 ~ ~ 9 ~ ~ 10 ~ ~ 11 ~ - ३४ - २०१ ISSN-२२३०- २ !"#$ % &&&& !'!'!'Ƈ!' ƇƇƇ!! )))) *+*+*+ . % -. ! " /% % & 0 %0 %!! )))) ू . 2LJ% & / %4 % & 5 ǽ4 - ! & 7 -7 - 5 8 8 ) & '8 - ॄ ȕ- ;<= . 4!2=74. >< %? . 4 !@ A!B! Ɣ. ॄȕ D 8 । <F !" - & # G ? H ȍ% ) 58 । J F8Ƈू 8< % !"K. / ȄM% <!ू! -M% < B -8? UB 5 8& K K K % l - % % ! %& ȗ %& F 8ȍ dž] . % ư% 8 8&8&8& 2 'F&pppp २ ३ % 5 ! A %& q ।।। r< %? . `& 48 & % -!% ! & st!& ` < F !' 8 Ə !ऽ ' ' ' ।।। ४ =H & st!. `. 48 , <! A 8 ू h. . ूPe- %! % % % 8 D 8 % 5 h! )। 4 % %! %& ू! - F, 8Hँ ! j 8 १ x8Ƈ %- . २ 8K tg ौ 8. ३ x8Ƈ %- . ४ z !N ५ ' %! 4 ! -gP < / %4 b]H < !ƴF । 8 ' % ƴj! -! /G& <! A- ` % 8 8! dž] . r< %? . P< ǰ! % . 4X! p8 . ौg!ȕऽ5 ǽZ ऽ - !Z ) >< M& i MV ू 8< 8! .T 8j ! f - 0 <% 4 ƏN -4g 4X ! 8 । z < ऽ ` % 4 g58Z ...... DP % 5 ǽ- । 4X a! Ȁ – 4 5 e =<Ǔ 8 U? . BN8!8<. ू5 !ph& 8 ौ!! /-& !. । 4 & 8 8< J% Ȁ% !' A% < < 8 . %8 { Y! % 25 Z . 8ऽ ौ! 5e! ।) B8 4 % 8 ]H < U? . 5e& J /& . !' ? BN8!! %) ` & ! % < %K 8 %` ! < . । a8 ȍ% a) ! J 4X & ƞ< - Z 8 8 8z %! ' F 5 ǽ4 . - % - z %ǶƩ& ` % 4pppp 8 B 08& । 4 Vt ƴX 8& ऽ8 & z <H Y ! )))) ॥॥॥ ७ < 5B8 R< G& 8tXK g8 ) 4pPB। ऽ8 & 8 V ƴX 8& B- 7! % ! )। z < 8 8z < z !8ȏK 5BR< Gȏ ` %ȏ8 ' %. ूS । <F z <H Y & %G ! 8 4X& Ļ8 ? DPऽ ' – ौ 8 ' '8!% ! % & % 4ऽ 8 ।) %{ 7 X ू! - F! D 8 4N! ] 8X 8ऽK ऽ /8 48! B! & ' % %! । 8ȍ Ʃ / S!8g % B!! g e8 ! ) । D 8 ' ॄȕऽ5 ǽ!8Ƈ-Z ू4 /4 5 g< १-१-१ BN8!ȏ U?. / < ¨ %M` %8 & B8 ।।। g- 2 h = . ॄȕOि<b . ।।। /f & /-& !. % -!% ! ! ॥॥॥)) DP%% BN8!U ?/ <pt F. &Z 8. । a& z < Bू5 % BN8!U ?/ <% q-]Z ` % %G % b] D ! = 8 &/ % <g8` %% R. Y8 % 8 ) <!4 O -4K. K. X8. 5B % % -.) M% 88 । 8k=S! –) 8K ` <84 Ȁ 5 B % <)))) O?=t!. ।।। 8g-s !' =Bg PP & < / 8 ॥॥॥)))) >Ʃ % 5 B %)) %)) >' )) ' . J ! ॥॥॥)) a& PP & < / Ņ 8. 5B % ) । 8-!%F! 5B % ) <8. zM! <। B ! !O & 8! Y K% B«! %.। 8ऽ 8 ǰ= ! %ǰ{ pG % ) 5Ļ=< /। =h-& 4X!4= P ' – 8 7 5t &{ 8 / 87 <%. ।।। /87 K47 K K K 8XK 'ॐ7 ।।। ८ 4 ppppx= z /7 K K K <%. 8ȏ X t ।।। 4 ॄȕऽ -ZZZZ ……………….. ९ < ू B 87 5S gz . । 8X < %- &p J®! . !ƞ & ! 8!¯ 5B % P8g) 8. U °B ;<& & <%. a& Sg 4 - X=S& “U b U >hPp U & 4p 8 % )ू5. । & ?Z %B kK 8X ! % !8. । a& 87 5S 8 )! Z 8 ) >< % ं 4 । 88. F % < । ! UZ 8 4 &{%) 5 B %h pP U &, %B 8 ) 4 &{% 5 B %h pP ] & 8X !8. ! % X & 4=8 ) । 88. <% < >< ? U & 8 / 8/ Y 5. 58 ) । ] & a4=t/8/ Y 5., ! & 'ॐ/ Y 5., 8X X & z // Y 5. 58 ) । a& 5% 4 -F ` % 4 g5 a 8 >< S- 4X B«8 । %% D & ȈG& 5 8 8 ) ! Z R< % ! ) >< F % ! ) 88. > 8k=S& ƞ D 8 ॄȕऽ5 ǽZ १-१-१ p$ N ॄȕ-= !Y ǰ{ %B8 . 8ऽK & F ू !< 08 - UĖ 8/ iH@ . १ ~ 14 ~ !"#$ % & !'Ƈ! )))) . 8g l 7! 7! h. % X N 44? 48p4M& ू h& 8z8 )  < 8 ¿ 8 D 8 Ʃ N 44 % 48p4 - D 8 8 ू h % % १० % K8? & % % ! a) ू ! f ! ।) ! । % 4% 8 4pM ) DPS& !! ।) Ʃ<q 5 8 ।) !Ɩ& %8%8 Z #G िG Ä- & % % & ư F h<q ` % 8 ) M!Ȃ ॥ िG Ä- ! ) >SB-M k DP ' - >S& ॄȕ f* --- ?Æ- & e-! –––)))) ू ! f ! ---)) %PM& &/Çe-8=H% %Ȁ BÈ %4 .Z 4 {8 ) J & ư F #G ! 8 %p8& 8 < 8 ȍ% ) िG p e- 5 8 ) 8z & ! 8 % ¿ 8 । ? e-& 8 ॄȕ f*< - >S& z ? -. &/ 8 e- % 5 8 8!Z )। < 8 ११ x8Ƈ %- . १२ UÌऽ. १३ १५ 4 ))))।।। 4ँÍƞ & =B! 7g. 4=4=4= 7Ǵ & ू 8ू 8ू 8 & << ॥॥॥ %P . !Ȁ { / 8 x2 hB . ।।। B] B] !%KK8 >Àg F 8XK ॥॥॥ 8ż!-K 8K- ȀK.TTTT JK % ƴX ।।। 8. ौ 8M!8 & ौ 8 aaa 8=H Y K. ॥॥॥ ư F ौ 8 Ȁ Ȁ ू 8. ।।। ! %g% & ू 85 ȏ F 5 B %K %%% /. ॥॥॥ 8Ȁ ' - #G #G #G ौ 8 a <K %K. ।।। ौ 8 = #G { 8 8%=ĭF < 8%K. 8RƏ t {K 5Ð S!<¯ 8 ।।। 8%ȏ % zRĭ8 N 44K. ॥॥॥ < - % 8 X % B] B]HƴXK 8 ।।। ब F H8Ȇ %P % 8 X . < ZZZZ B 8 )))) ॥॥॥ % & p G % 5 Ê<e ।।। F 5! % % & % & <e ।।। % %PM 8 )))) १६ 48Ȁ? ! %PM&)))) 0 A% ! ॥॥॥)) D 8 ॄȕ f*< - Ȁ %P ƩM 8 ौ)) 8 { Y K. ौ8 . ।।। १७ Ñ =H%ƴX < Ò 8 /2))) h 08 . ॥॥॥ D 8 !' ' ॥ . - %P ! %M 8 )8 .। ौ8 . - Y K. ौ8M 8 )। Ñ . --- a4< Ò 8 ) - ू! -? !Ɩ / % ? . F /%' . %PM a S. । `M 8 ) ȏ 8ÓhN ू8g ! %M 8 )। % ू 4 . %G . 5M Z p G4 ƴ a pĻF । < - ? . ]H < 5BÓhN ू8g ! % . 5 F D 8 >S! )। 8ÓhN . F % ! 8& =H Ȁ D 8 % ' S! ) । < - ? 8RƏ t% ! B] B] <Z 4®8 ) >Àg ! -M !P S! ।) 8 a 5BÓhN . %F& ू'F. FgP 8 ` 8! ) % ! ू 8< !)))) )) X=S& <Z ! B!K4 ` . <! A D 8 /G& 8Ƈ& 5 8 ! "!8 । % & ू 8< %- . YÔ ू! -% 58 ) । 8k=S& ॄȕऽ5 ǽZ !Ʒ @ – “>SV- १८ 2'& '8 !p )– ><ब!=<&' ǰ =H<Z 8 ¸ ! ।) X =< १ D 8 U ौ 8. १ x8Ƈ %- . १¡ x8Ƈ %- . १ ><ब!=<' N& म ȗN, ǰ = % ! – a4ू4 H4p R S., ू! - F ू Nj <Z 8 , ¸ M! ¸ !) ) Ȁ 8- %ƞ -<4 p 8-< 4®=HX ., SO<< t. ।>t=tू 2§ 7 a8 X %- 4 5 F । ~ 17 ~ ‘‘‘‘ ’ ’ !§ 8ZZ /=7/=7----< ऽ4 < ऽ4 १९ ] { % ! % 8 a8 U ȀX ।।। Dl& !ऽ& O- !P ऽ ू! < ॥॥॥ ] Ə ! !% F D 8 4Òौ 8. । % ! % - ! / F 8& K x & <!! ) > ' F D 8 5 Ç ौ 8. । 8 a8 . U . ] . ] ¢=? . a4K ~ 8. D 8 Ø8 g ौ 8. । Dl& !ऽ& O-! Ù! džX= . <-s BOA % )। a4& zू 2dž7 २० Ɣ Ù& !& ! 8 %! dž. ॥ D 8 U ॥ ] ौg' J; G. 8ȍ ) S= 8= ' . `& 48 & % -!% ! & st!& ` < F !' 8 Ə !ऽ ' । ]? ! < % ! ) २३ २४ D 8' < - =. ू! - % & ]? & 8 X ƴRĭ8 । D 8 ॥ K{ '!T .--- । < =B < . !Y . । < < ब . । <& ` %& २५ <& 8<.। <= 7!s < B 8.॥ % -< % - £ . । % -< =4 % -< !Y . ॥ % -<= =B= % -<& 8<. । % -<& ` %& २६ % -< B 8. ॥ २७ e - F < Ò8 % z 8 5.। 8 F ' % ! % 4g 88 % %%% &/ . ॥॥॥ - < FK! 8ZZZZ . 4/ȏ 8 ।।। ! =B % ĭ Ȁ Ə 8. ę 8 ।।।)) २८ X = & X ƴ ! ƴ ! <)) !8ZZZZ . ॥॥॥ ३३३ ॥॥॥ % ) % ǰ - < F/K. Û<- Ȁ - <!!i Ö p 5Bư8Z = ĭ . । &e< Ȁ ǰ & 4X ! 8 a4 % % a4 5Bư 8Z ., z % z ऽ - 8ॐ., 8 5 . 8ॐ. । a! F/ Y 5 <) 8 P= 5Bư8Z = ĭ D 8 ` ! ।) 8 < =B t&p 8tư8Æ% &Z १ ÜÝ ǽ! ) २० 5 B8! १-१ ४) -४ २१ UĖ 8/ i! ) १ २२ x8Ƈ %- . २३ x8Ƈ %- . २४ 5BÀg8 - १ @ २ 5 B8! ) १-२-२,२ २ 5 B8! -) २--१,१ २¡ 8K tg f 4ȏ ><=Þ 8 २ UÝ ǽ! ) ~ 18 ~ !"#$ % & !'Ƈ! )))) ` <4 £!Ǒ% 8ब« 8 P= 5BưZ8 = ĭ D 8 ` ! ) । 8X ß =H < ĭ D 8 ` ! ॥) <sS Z ? ू! -& ौ F Uà& '8 ! 8 --- Uà& '8 & J @ %OS % !8 ।।। २९ ू tpppp K8 Y ! >S&))) ' ' ' ू5- J ! ॥॥॥)) ४४४ ॥॥॥ Uà& '8 8 मƜ J @ 8 मƜ % !8 %OSमƜ ूpt 8 मƜ a8 ` 8 ॥ x % & !iू 8< D 8 ौ 8 5. ू ँ 8 – a& % ! pG!X = % % 8 X! 8ȏ @ % !P ' - 0 - & 5 ' . 4 58ZZZZ 7gP)))) & %%% % 8 =HX! ।।।)) ३० =HX ` D4 & 5ि!á8 % 4! 8 ` % 78< ǐ ZZZZ ॥॥॥ D 8 ॥ *+.*+.*+. % -. = a| )ू=¸ , ) zK8 F 5 B. ã &p8 ., 8O< 8. Gmail : [email protected] Mob. 9490077161 ' 4मƜ gZZZZ --- x8Ƈ %- . , |g4 . 8gX., £ÔO : <-Z ू`&/=7%! , ) 1935। ॄȕऽ!Z , ) i . <! %ƞ5 8g, -g : NY &p8ू 8d %, 1965। ' f 4=< %? p ,) B=e<. : Bg8 ू, 1992। UĖ 8/ i!, ) %. ƞ4 ! /! , Çg : NY &p8ू 8d %, 1995। 5BÀg8 , B=e<. : Bg8 ू, 2001। U . , q . !B= ƞ/ Ȅg, -g : NY 5%, २००¡। 4 P %ौN8ऽ!Z , ) q . 7/! , -g : NY &p8ू 8d %, २००। २ UÝ ǽ! ) ३० UĖ 8/ i! .) १ ~ 19 ~ - ३४ - २०१ ISSN-२२३०- २ !" # $$$$ ू & ' ().().(). +,-ू ./0 1 ư ू4 , !3333 56 4'' । 8 ! 9999 # $ ! #46 #40॥ 0 ;', ȏ '9999 >.==== 6 . ##0। 14 ?0 @A0 ू 'B C!#'0॥ ## 6D!$ 6 # 4 ? 'ȏ F!ू!6# G ? ,0 H$ 'ȏ ू 4 I!4 ?= # JK' ȍ# = ȍƩ '9 6 N O #!6 !6 . '। ऽ Qĭ' - STू Nj0 #TV W !60 @ 4V !$ !6 मƜ6 ! ' 0 १। @ V # ूZ1 #4 # N [\'। #. !4 #ȏ3 ॐ = ^ƞ# #' T ू NjW' `4 = ? aF? 0 #TV W W' `$ ^ ूZ1'0 b4, = d# # . ǽ4 , ȏ VfF g+'ȏ ^ 'H `4#4 #+A4 ।= h$ ' Wi . ư+'4Ǒ#4 #+A 4 ' ^' , = # ' k-Fȏ # .+4 '।= # Jl Ļ6 'T64 0 STू NjW' 0, nŅ.1,# 09 #TV W W' 0 SZ44H p I! ' , #4 #Wॐ , V ' i -64 ,0 V +g $ -ē6 ', 'ȍ ' = @ 6V !-r6? 6 S ' 1,ȏ # 'N Nj0। ' h6s4 -= ूZ1 , # 4Z !ȀV !63333 # rC' । h#$ ƞ g # 'ȍ 'ȍ === = ȏ ' ॥ २ S 'S 'S ' h6V !6 ȏ F!0। ' = r6? h ू!6#4।= ## 6D V 4W u' V@fF!= h ॄȕ !`ौ, '9 , = !H - 'ȍ " ' ==== dž'9999 ^0 4 # "। zƞ zƞ " 'ȍ ====!Ȁ4 !'॥ ३ S ' ौ' 0। ' h .+ # =r !,0 “- Ȅ!6 #` '”= S ' ऽ3 , ॄȕ,6 ,`46^' =4 h$ ौ 'ȍ 'ǰ $~ #Z` +4 '॥= १ ' .. ...3 V~. २ २ .. ...3 .,$ V~. २ ३ . १०.०. ~ 20 ~ ‘‘‘‘ ’ ’ 4 '3333 -6?-6?----V ऽV ऽ ४ 'ȍ ##4 .3333 ^ VV #Z! । 5~~~~ ^6 d^6 ddd T '4 ॥==== # # V 'Ʃ 4 4WF\ `$ ू b ! .+''~Nj! F 9 4 ! ! QƏ W' !, 4ƖV! , S #ɖ ^6 d। ȀWZ 4~ F0 d #$ ॄ ' !4 #6 W6' $ V4 =- S ' 'ऽZ$ !,. ǽ4।= ## H r6?9 C. ' = r6? ?#$ N O #$ NH 4 '9 ^' , = # C!#- ?r? V! !` '9 -= C!# ?B F0 - ! ȀZ ^ $ J !$ # 'ȏ ĭ V . +6 Ȁ। ! ɖ NJ,6Z $ NJ,6 ' # W ू ~~~~ 'ȏ VƜ 4॥==== S ' ५ “ ĭ' Ȁ!'3 !! ”= H '9 ! += # $ ू-$ ! $ 4Ɩ # #= !# = ' 8Ț! ' !0 W6' # 4 6 ` 0 !0 . '। ` = ! H9 p ' 0 4Ɩ 0 Ȁ 'V'! ^0 4 O ' 0 'F $ W0 h 0। !"0 SĻ' V #$3 & ' #9 ^ ब!' !ऽ !"0। !" -0 ‘!’ = ? ' .0 # = ूZ!$ ~ ` #ǶƩ6 . '। # $ +3 4 !" 0, !" # $ #fV,$ ?4 9 ऽ3 F , +ȗ~ ऽ3 F , ौ@'ऽ3 F ^ ू Ǒ'। !" # $ h$ # $ ू + G0 k-$ Ȁ, h' = ## ! ^! h ȈT$ . '। !H - 4 4 V6 W'$ !"ȏ 4~ `4 ।==== W6' $ ##? '44 # ? '44॥ ==== ६ 4Ɩ ȍ# = ȏ ' !"! ' , ` = V6 W'0, W6' h$ #? '44 = SZ . -F, 0 ू!Ļ Ȁ#$ 6 '। 'ऽ S ' -# V !"ȏ -F,$ 4 Ȁ। !"0 \F $ # $ h$ ू ,# $ 8 Ȁ। !"# !4 # 0 ू 0 V-rB 4~b 0 . g !"0 ' $ # ू 6 ' ^' '= # !4 #ȏ ू # $ V-# $ ^ W #0 . '। !H - S Ȁ ू ' ? ǽ -' '6D6 DDD!!!!6666 # ? 4।==== ७ ^ऽी ' '! s6 \#ि9999 F> V$W 0॥ ४ . . ¡. ¡ . १०. १.० . १.१.१ . .३.¡ ~ 21 ~ !" # $$$$ ू & ' !" $ ौb! ूĽ ! h$ ौb! W F0 8 dž '0 ȏ ' = ' !4 #ȏ 4#0 k £'6 .` 3 # # ? ¤;! #9 ू Nj= $-u'। ू Nj @ 8dž'ɖ !H ? 'N4 ।= 4Ɩ ȍ# A= = '! Q ¥ J'$ ''।9 !H - ~'4 ¦;ȏ9999 ?#$9999 ~'4Ʃ$ ~'§ȏ 4 #4 । ==== ~'# dž' Q ! 9999 ूVH 3! 9999S 6^' V 9999 '0॥ ` ?# 0 ¨ ' 6DB' 4# r? 9999 ।==== `$ # . ~~~~ 1, ©9999 4 4ऽ ऽ . C ! ©0॥ ८ ?# 0 !"# sƇȏ VH$ ू Nj$। !" 'Ƈȏ ू? #' . ' '# # - s$ ू Nj $ -u'। '0 h !" 4 p - 4 # h$ 8C -s# $ «6F 0 . '। h !"0 V¬ ?0 W6ऽ$, -V, 3 4 @,9 ^ '4 ȏ #,9 V-0 64 '। V¬ .0 !" 0 ौ ' ू 'V ' !" # $ « #$ . '। !ȏ ȈT6¥J0 ȏ - #9 s3 F VfF s-3 # !s- WI!+. 3 9 s3 F ू Ǒ'। ९ -TिN 0 !s # 4# , ^ , 4, 9 !" -F dž '0 !' ^' '= # ' , V '#$9 . '। S!$ 0 V6 g0V~ HN !$ !"6 .#ȏ # .0। !$ 646 56~~~~ ;ȏ '6 ॄȕ !$ ^0 V4$ N64॥ १०१०१० !"# ¤;! p ?'9 !"0 4 # # $ ~ ' 4~ b 6 ^ . ' !H ?Ȁ#F 4ƖF A = Qs4।= !" # + ' 4Nj6 ि ?!6 WƷ # Q -6 4# F,0। .d #F ȏ S® WƷ # ि , ƴ -'॥ ११ !"6 W' S® ?#69999 . 3333 °' ू!0 ' 646 4!?0। !" #!"4 ! "!0 # !"Ȁ==== ळ4 WWZ 8'॥ ==== १२ !"ȏ Q²ँ!4 QƏ 0 h$ 6+ , $ # - H p . '। !" h V! ,ȏ9 4W # = 1 0। !H - . १०. .२, . १०-०/१०-१२१ १० . १ ४.३¡ ११ . २.२१.¡ १२ . ३.३२.१२ ~ 22 ~ ‘‘‘‘ ’ ’ 4 '3333 -6?-6?----V ऽV ऽ 8! ! "9999 # £' 4।==== ƴ - 4~Z60 V $ !6V!g6 ! ' ि ! 8!0 ू'$ ? # 0॥ १३ !"# h 4 # # $ 8!0 ?'9 !"# h r ȗ- b0 g- bB9 µ N'। ' h !" h ;0 !" h 50। S ' ौ ' u4 = !" - ĭ ' +6 ƞ 4 ? g -। ~~~~ 5 56 ॑F - #46Ȁ' ॥ (). +,-ू ./0 h6. ू6 , = . +0 h.. ; !0, 'fV '0 W ! मƜ^3333 --- . ǽ. 43 W0 , « . 6V C !, , : ^@J $¸~'$¹ #, १¡। 0 , « . 4+6 ƞ- Ȅ, , : ^@J .#, २०० । 44 $ , ! ? º. ौ@'!"44 $ , W ! , : 4 VशǾ,3 १ । -4 ,9 , 4. !"44 $ , ¥ : ^@J ू -, १। - Ȅ, V/ . 4. !"'Ƈू -0 , 6 ' : 46' V ½-,9 १। १३ . १०.१.२ ~ 23 ~ १ २ ~ 24 ~ ३ ४ आ आ ५ आ ६ ७ ८ ९ आ १० ~ 25 ~ ११ आ १२ १३ आ १४ १५ १६ १७ १८ आ १९ २० २१ आ आ ~ 26 ~ २२ आ २३ आ २४ २५ आ आ ~ 27 ~ आ आ २६ ~ 28 ~ ~ 29 ~ - ३४ - २०१ ISSN-२२३०- २ Ļ !" # $%& '''' ( *()))) ++++ ,-. //( 0000 1 %2 & ' 3 & 4 5 5 6। 8 ( 3 & & ' & 9 ( ') : '0 । Ļ / Ȅȏ Ȁ*' > "(Ɩ ूA('0 "%:B#0 : ू Ǒ । मE&Fऽ %& ' HH 0 ू"%:B#0 : ू : । ऽ 2 ) मE : '0 ी 4ȂNjǽ " & '0 H *B# Ȁ #"(Ɩ 5 ू Ǒ6। ' E ॄ ȕ:मƜ & " ' मE&Fऽ : ' ू *1 Pँ2 , # ȍ& + " मE %& ' TB#-4:-ू1 ȏ # H 5 ू ǡ V% ।+ > "23W & A X 2& 0 ( #F %& '0 H 1 ȍ। 2&> Y 2 2Z # / Ȅ[ ȍ& ( &%23 &'+ (\]( % ।+ ऽ 44&(^, 2) H_ मE : '0 &Fऽ : ' " : ' ` & ') ( & ' & 9 2A ' H(a "' :&'0 (#b । Ļ / Ȅ & : " ȏ &1 5 6। A 2) ] 60 - c ȗ' e' A #f' ू #g' H 4h(। ++++ h' H &' H _( F XXXX ( & & > &॥ ] 6Pj H 2 0 H + " ȏ "k-24-lm- -2&-( -#F- & 250 ू(n 2 5 6। o ' 8 ' 1 & ( $ 5 5 p 6। > "`F q & q & " ȏ HH 0 ू Ǒ । Ļ ȏ ऽ2 1 'F# : मE : 4 q r 4 : 5 A 0 +"5 मE5 ȍ& + 1 4 " ȍ& q &+ "ȍ +q & Pँ2 + s 4 : ' ' E -trǽ 25 ȏ मEȏ su q & + 1%u" ( &%& # "5 ू1 5 1 ǽ 3 &( + 2& tr& 1 v tr5 A ȏ suq & + ȈuमEȏ ȍ u4 ू1 H&( + A 0 + + q & # 1n^, # ) म ( # &4 # : "5 ू1 5 1 ǽ s 2 ' E tƞȏ 5 trऽ2 : ' (y) -" (4 " 3 #" / Ȅ ( ' 0 । " ȏ "A ( H 5 A5 $%2 । ~ 30 ~ ‘‘‘‘ ’ ’ (y )))) / $/ $----# ऽ" # ऽ" "k/|5 } # : Ļ / Ȅ H ॄȕ: &c $"5 "k/| 2 P/(A X e& ! > " Eg & # ǰ । > Z%2 ^2" "k/|ȏ ू2 45 "kऽ A8) । # : Eॐ24 & ' $ &' "k/|& ĭ । ॄȕ: / "( 20 ( &( (E "k/|& 1$%2 । 24 H 5 ` " ( &ȏ "*& 24ȏ ू2 4 cdž 2 Pँ2 । "\ 24 & ' 2[ # cdžH H (0 -+ H ( & ( 24 & "% 8ƴ' ($ & ( ॅ । ++++ ȏ (Ɩȏ e ' "&0 2: H 28:+ n ' 2 -+ (& ǽ : ' r% & s( & Pँ2( & & 24 & E ऽ'v &Ƕ & "\\\\ ऽ % & 2 )))) & 0000 &Ƕ 2 % / 55।।।।१ (Ɩ[ ȍ& + 2: H 28: 24/|ȏ A 50 "\ H 2 4(0 T%"\ (।+ && 3 2 , 2 + > "" "\ 24 & ' ूH V% ।+ ` ȏ " ȍ& + (Ɩ 24/|ȏ ू2 4 [&& ू" : ( - %v ( 0000 ( ( 2 & /(++++ 24 । २ (Ɩ[ ȍ& + p" 2" ( 2 2ȏ (!' 2 + (( 2 5 #ऽ5 %v ( & ("50 ` &5 ू1 : T5nǰ &g\ Ȅ%#ऽ c r>5 E /24#2 6'0 n & । + ३ ऽ ‘ /( 24 ’ s ' H :%2( Ȁ। " #9 : '0 24ȏ n5 ू Ǒ । [ऽ && (Ɩ: 3 2 2 ȏ V 2" 2 ू2 4 &6' %v ( 0 ` 5 /24#2 6'0 (१०×=०) #9 / #20 6'0 n & ।+ ` ȏ ƴ ȍ& + (Ɩ 24/|ȏ A 50 " ȏ A E ऽȏ "\ [1 ।+ 2A E ऽ - ‘&dž 24 ( ' %2A5। ४ (Ɩ1 4[ ȍ& +24/|ȏ A 50 ‘24 # F & + " & + ू & + E ऽ " & + ’ "\ [ Ȁ। && ' Ȉu' 2 + > "" > " 2 24 |ȏ A[E ऽ" 2 A8 ू2! [ Ȁ। ` ȏ (^, ‘24 -2 4 ’ sgȏ # ȏ A50 ‘" -" ’ s E (।+ & 2' E 2 5 १ 1 . Ļ . #\. .' ३ २ `. .' १.१. ३ 1 . Ļ . #\. .' ३ ४ 1 . Ļ . #\. .' ४ ~ 31 ~ Ļ !" # $%& '''' ( *()))) ++++ / (ȏ 2ȏ> / ( 2 ' " ^," 2 ' ‘ >e' ( & 24 ’ s # & ]2 2m' E " (& ǽh h 24h ूH Ȁ (। + ५ ‘‘‘2 ‘2 $%5 # )))) 0000 ǰ Ȅ2 4' # ’ ’’’।।।। ऽ ‘ ऽ24( ’ + sgȏ /|ȏ "\ 24ऽ2(A 6 / 0 ` ऽ2 (gA X T%"\ & + 2: H 25।0 p & & [2' &5 2 + 24( &(2 $"' (ƴ ȍ। ‘ "Ƙ2' & [ $"5 & &> ’ s (>, & -"%A(E /22 H 5।0 24/|ȏ> P/ ) n ę H # ȏ Ȉu' " ( &' & &%2 । ६ Ļ " % - 'm "5 24 2( sg # Ȉu' & Ȁ। #9 %v" c $ 20 24/|ȏ ू2 4 [1 ) & ( ।+ H 50000 ` ȏ0 "\ / E(6/|2 5 ू2 4 [1 ) ।+ 2 E / &6' #&5 / 5,0 E(6 &6' #&5 E(6 50 &6'0 ( 2 । &2 5 ू2 4 'mȏ "\ [1 ।+ 4 #Aॄ ȕ: ȏ0 "\ [2&/|ȏ ू2 4 [1 ।+ & 2' E 2 ' ȏ0 "\ ‘( ’ s /|ȏ ू2 45 "\ [ Ȁ। ` ȏ /((^, ‘( & ' ( V"\ 5’ [ ȍ& + ( /|ȏ ू2 4 ȏ0 "\ [1 ।+ / #Aॄ ȕ: 'meƏ Z 2 ू !( -+ ` 1 E¢ 'm5 /ē q ( । ++++ A 0 ‘' 6+ ` 5 2ऽ’ 'm (gĭ । ` 6ȏ ूA( n /& 0 + p h ȏ ¤ 0 1 । A ư$0 ( ȏ ¤ p 'm ¤5। ७ 2& H 5 > " Eg 2& 2[ # cdžू2!' Pँ2 । > " 2 2&/|ȏ ू2 45 ू H%& ( ` [Ǒ ǡ 1 । / #Aॄ ȕ: 2&/|ȏ ू2 4 ¦Z F: 2&2 5 "\ [1 ) -+ 6 म%ǻ 5।0000 ` 5 /E (65 / /Ȁ # .....। 2ऽ ¨ 0000 E¢ 1 ....। A 2ऽ F: 0000 । # \ E¢ 1 । ८ 1 . Ļ . #\. .' ४ 14:(%F #\. .' © 14:(%F #\. .' 1 . Ļ . #\. .' २ ~ 32 ~ ‘‘‘‘ ’ ’ (y )))) / $/ $----# ऽ" # ऽ" && ू" : 6म%ǻ 0 s( 5 ॐ ` 5 '3" 5, / E+ (6 / / # \'3" 5। 2) ȏ Z 1(0 n' 4(&(Z 2:' F: 1(n9 4(&' F: 2&' 1 । sƉ' c6म%ǻ 0 1 4 / E+ (6 / / H # \1 4 2) ȏ q / 0 + /'"c "\ % F (E 2>5 / #Aॄ ȕ:ȏ #2! 0 ‘¦ 4 0 ’ ‘ ěs: + 0 ’ sg&& Z /\ F: / H 4¬ %gA X ( (&% (।+ > Z%2' E 2 (!' 2 + 2) 50 ^( #26'0 F: 5 4¬ ^( #26(0 Z 5 4¬ । ¦!9 ऽ - ९ ȍ g5 ^( F:&> ,Z :। ऽ ȈuB#: 2) ȏ0 4 5 q :&'0 ू Ǒ । 2 h4 p Z 2:' 2 4 F: 2& ( e T% ब2 # :2 " ]2 । Ļ / ȄPj 4 2&2 18 (ƴ । (" (A& 6' 2 ¦Z 2:',+ ""0 $Ʒ6' 2 ° F: 2&' 1 । ( / ŏ q 28) ¦Z4 1 । "ƴ / ŏ q H 28) F:4 1 । ` H 5 > " Egȏ # /% && ' 0 , Ȁ% & ' / । > Z%2' E 2 (!( -+ ($ ( $ 6" \\\\ )))) /ब / H म>ǻ \\\\ )))) &1 &1ȏ " 0000 \\\\ )))) s 0000 / \\\\ )))) E Eȏ E>( 6" \\\\ )))) # #ȏ /> / \\\\ ।)))) १० ` ( $" \ g > " Eg 2ऽ-"ऽ H + E(6 / /2 5 ( & #9> 50 ू ! 5। 2A - /( 5 #9 0000 E(6 / /2 5 ( &। ११ ` ू 25 ` ऽ2ȏ n p ू Ǒ । 6 [ȏ % Ļ' म%ǻ s² / E 5। 6ȏ (* [ # #\A $ &' > Z%2ॄ ȕ: ǰ - ‘(n' p & ')0 65।’ ऽ> 'm # F*& # : 5।0 2ȏ 6 E /5, म%ǻ F:#F5, / + ¦Z#F5, 0 #¬5, E(6 ( ( । ` q 5 2 ) *0 & + h( A%& ( &2& H "ȏ 5 " ¤ 1 % ( !' / । >. .' ..३ १० >. .' ४.४.११ ११ 1 . Ļ . #\. ० ~ 33 ~ Ļ !" # $%& '''' ( *()))) ++++ ( H 5 ȏ0 / 1 4 "ȏ ( /|ȏ ू2 45 > Z%2' E 2 (&"/5 ू2! Pँ2 । "ऽ H + / ऽ2 / ( 5 'm sgǑ n (# ǰ । h( & ' ऽ2 /' 2 ¤* H _ p ( 5 ¤ (E 6।0 > Z%2' E 2 ( ' ( & ' & ( ƴ # & ¢u & 6 - ($ ( $ /ब / H &1 &1ȏ s 0000 E Eȏ # #ȏ #2 ( 4E% \\\\ '#[EȈg 2 * ॥ १२ '#/|0 & ( ( 5, E'Ȉ /|& H F2( 4ȗ \ । VH 2 "( :-0 E & Ļ / Ȅȏ E ू > "" ( 4:& 2 " A ( + - ‘( Ȁ H _ p V% ।+ ¨:& H H_(5 #:) * $ 0 :, ȏ #:) * ǰ6 ³0 " p ( 5। १३ #F H 5 # ) ##F2 0 H 0 "Ze0 ȏ # :) ( 6 ( 610 & > /& 0 + #F[ # > ' T 5 ]2 । A 0 ( ȏ ( 6*+ T%"\ ूA(' /´#F5 # µ "\ #F5 p' ȏ # :) ( 6*0 ूA(' "\ #F5 # µ /´#F5 T% ब2 । A H !( -+ # )))) #F'0000 [Ʒ\Ļ6। ##F(Ʒ 5। 1&।++++ # # [[[[ 5। १४ A 0 #+ ) #F0 & ' ##F H : ( Ə Z + & ' Ļ [ : 9 # 2 [1 ) ।+ ऽ H : Ȉu( 1 2 + & ' #) #F50 /´#F [ : ' ##F "\ #F5। A H - # )))) #F 25।0000 ####F 5F 5 #% (। ++++ १५ && ू" : ##F5) /15 ##F /1 s ू # (।+ A H 5 & 3 #& A X > "" #F2 ¢& ऽ%: ' #\Aĕ\A· ( ƴ &।+ > Z%2ॄ ȕ:ȏ &¸ n /´" \ #F2 5 & f 5 1Ʃ- 1Ʃ& ( & # º & 6 - १२ >. .' १.४.१४ १३ Ļ / ः ऽȏ E 5 - #\. .' २३© १४ >. ॄ . २.२.३.१ १ >. ॄ . ३.१०.४.१ ~ 34 ~ ‘‘‘‘ ’ ’ (y )))) / $/ $----# ऽ" # ऽ" '3 &' 3 &' ू3 &' & 1 & ।++++ k( &' ू"k( &(#"k( &( #´ \\\\Nj(।।।++++ ौ 2 %2 V2 ¤++++ ')))) 1 ()))) । ++++ १६ s( & /´#Fȏ #9 / & & ' & ($2 & 6। $Ȁ Ƞ´#Fȏ ऽ%: ' & ($2 & "¾6 - / 00 PPPu Pu / 0000 B# / & ।0000 Ǒ 2( & Ǒ 2( & Ǒ 2 &)))) \\\\ । V# 2)))) ( : 0000 #2)))) ( : 0000 #26%2)))) 6%6%6% #: )))) 0000 #h:( %।0000 १७ $Ȁ & " "\ #Fȏ & & ' & ( & 6। ूȀ ' u ' 'Ȁ ' "y :' B#(। ++++ / ब((\ ' T 5 ( ( ( (](](।++++ ¿:' ¿:' 1 &((& & (% H( 1 # ++++ #T ++++ ॥ ++++ १८ "\ #Fȏȏ ऽ%: ' & ( & &¸ n ब(: 6। Ʒ % ू 2( & [ 1)))) 2( : ।)))) #% % ू# W \ NjȀ#26%।0000 " 6 " " ( [[2ǻ % " ($ ॥ १९ p' ू" : !' / 2 +" 3 #"ȏ Ļ // Ȅȏ ( ') > " 2( Ȁ। Ļ E " 3 #"' / Ȅ' " H ( ') 5। ,-. //( 0000 Ļ 1 45 À2't\ 'q &( + ौ%v& A"% # 50 ू2 45 (¦Z n^,5) १ >. ॄ . ३.१०.१.१ १© >. ॄ . ३.१०.१.१ १ >. ॄ . ३.१०.१.२ १ >. ॄ . ३.१०.१.३ ~ 35 ~ Ļ !" # $%& '''' ( *()))) ++++ E 2"मƜH%)))) --- > Z%2' E , W ., Á.$( $" %,0 #: : Ã> "'/ $&(^, , १११। ` : , W . (4 ƞ/ Ȅ%, :% : Hhn 1&, २००©। > Z%2(E ॄȕ:(, + W .gो (ौ(%, (> : १२१। / Ȅ%, & (Hƞ. 1 %2 Ļ , & % : 1 %2 3 &#%º, २००। ू , 4 n. 1 %2 Ļ " s E , n&Å : ¦Zू / " , १३। ~ 36 ~ - ३४ - २०१ ISSN-२२३०- २ Ȁ "#$ %&. () *+ , - . / 0# 12 +0 3 124 + 12. 6 ू 8#-"5 ।9 0 ȍ- 9 < +2 =-, 6)>? , ू ǑA। -- B 0 0 9 / 0CD 2Aू 8#- /- -" Eȏ5 G 9 B -" #0।9 0ऽ I0 J( , "> ? , ू ǑA, L Ȁ), 6 M - N- O। (C0, PQ *5 8 /- ƴ ȏ िT +. "+ ǰ0 0ȏ +V / 0 -0W+E ू8 0 Ȁ। < +2 W+ *5 ȏ)+ X - ( Ȅ " . ू Z" Ȁ। Ȁ Ȁ( Ȅ C , [0ƖमƜ , - Ɣ +0 0C 0` #- " - -# 0 - 6 " - (5 - C5 E "+ 8-" ूM( Ȁ C 4 + ` a0 9 E-"5 + ǰ0 0- Ȁ( Ȅȏ "bZB -ȏ + 8 , ू Ǒ0। Ȁ+ cCȏ 6 E #Jँ 0, ȏ 6- e1b ?" ef 0। ȏ ȏ -" E 5 D =, - Ȁ +A e1ȏb $E + - 8 ȏ "1Ƈ+ET -5 / " T #Jँ 0। PQ P C, Ȁ)Ƕ 0. " 6 - *9 0 0 –9 Ȁ)Ƕ0 ू 0ू 0ू 0 -#ȗȍ -#ȗȍ ƛƛƛ() -"#) / -,-,-, ।।। Ƈ "1 ू 0ू 0ू 0 0Ʃ) C[ (.(.(. -)-)-) /// L+ (.(.(. 80Ƕ ॥ Ȁ)Ƕ0 ू0E) --- I 6I 6I 6 e Ȋ -) e) /3 / ƞ)। Ȁ p ȏ " +0 +ऽ - ू 0ू 0ू 09999 -)-)-) C[॥ Ȁ)Ƕ0 (Q" . 0 $#"$#" 1 1 1 1 q e 0"2 । + 1+ 1+ 1 $ऽ$ऽ r0r0r0 )e ... -)-)-) TTTT . + 0+ 0+ 0 [ Ȁ /, -,॥-,॥-,॥ १ IC "ƖC $ *,5 + - , 6-ू s*,5 ? Nj , e1 u Eb 8 "pW+ E ू *- 5 Ȁ। -- ू E PQ ȏ ȍ- "Ɩ9 "- 005 ȍ . - < -. ू 5 E $0) /0 ।9 0* - ू #Ȁ $ , ूूू - "v -,। २ + 8- 0 wȄ [ 1ȏ ि1)1)ि - ) f -, (" 55 #xौ5555 0 । 9999 ३ १ PQ ,, z.{४.१-३ २ PQ ,, z. .०{ ३ PQ , z.१ .० ~ 37 ~ Ȁ "#$ * ȍ .5 e1.b ि)1 ǰ, -ƞ ǰ, $0) /X T #x +5 A.5 <) / 0। I. ू E 3-# " ǰ . ू *- Ȁ5 ȍ . (, | }~ <) /0 । 9 ४ 0ऽ ) > ?0" Ȁ 0 *-r+ 6-6 ƴ+ऽ+ऽ /, VƩ e1b I - f0,। { 0, PQ A 0- (-6--6 ƴ /, +ET e5 1ȏb "- Ȁ। -- Z 0 0 0 ȍ-9 9 " -, +ET e5 1b ? ू -(# ) / 0 ȍ। ƞ. "bZ. ( . $0. 8 e1.b / 0 "- O, " -, ू * 5 0 1. 0 "bq" e1b - +0 0 1Ə " Eb O 1ॐL 0 e1b eA ")4 ȍ। -- ू E 0 "bq" e10,b ( 1ॐL Oe 1ȏb + - Jँ 0। 0 ȍ- 9 Xb-P/ T ू Z Ȁ Ȁ "। 9 z PQ Ȁ(ȏ * ,5 - , e1b Ȁ। 0ऽ ‘e1’b (, "pW+ E - *D ू O) Jँ 0। * - + , )""Ȁ " ूूू 1 u E# 5555 E. e1bbbb 0।0। ऽ *ȏ*ȏ*ȏ 10)bbbb -6 -. ")8-. -) $E 0॥ 9999 + 8- )" " 1Ȉ0#bbbb +0. (C) e1bbbb । " * . 0 ) ॥ १० ) #xू -5555 L ) )8- , ।।। L "ि bbbb 0 e1bbbb 40 0" 3- । ११ *5 १२ ॄ ȕEमƜC १३ + ȍƩ *D ()4 . ू Ǒ0। PQ e1ȏ *Db Ȁ- (E-("-e5 -c- --)E #- .१४ ू , ऽ.(f - . ू )e, #Jँ 0। १{ -cO L .( 0-ू E . "-e1-eb -+Ȃ - --"-)E-1G-( -e 5 0- .B - . e1 E .b E-.5 ू Ǒ0। १ 0ऽ e ȏ /ू , +ET e5 1<ȏb )Q < - #0 ।9 * - ४ PQ , z.z४.{ { PQ , z. z.१०, z.४०.{ PQ , z.१.११ z PQ , z..०१, z..{ PQ , .१.३ PQ , ३.{३. १० PQ , ४.४. ११ PQ , .१०.१ १२ *5 , z.३.१, १०. .४ १३ 0 ॄ ȕE" .२१9 १४ PQ , २.३., १.१{४. , .१ .३३, १.१२१.२, ४.{३. , .१०१.{, १०.११., z.२.३ १{ Ȁ( Ȅ "( 5 0b0# +Ƕ / " T +b.११ १ -xq ३.४, -cO" ३.१३.9 ~ 38 ~ ‘‘‘‘ ’ ’ "u u 0TTTT 0 ()6()6----+ ऽ + ऽ , # 10#C +NTTTT ,5555 Q" - bb C C।।। $ (C e "। 9999 १z I" <(, 0 *e1 *b 5 ू O) Jँ 0। १ ( /-. 0 ू , १ " ƴ-e1 L+b . e1.b -- ू Z" #0। 9 २० *5 ƞe 1 b Ȁ 0* 8 e1 / b Ȁ (, ू Ǒ0। २१ D . 10 Ȁ(ȏ ू )e, B Ȁ), ƞ/ 5 #Jँ 0, A ऽमƜT C " ƴ - W+ ( eȗb ऽT 8 Ȁ), 0 Ə 5 "b0 . < W+ ू Ǒ0। २२ *5 ȏ ( OT २३ /- -" EE5 -.5 Jँ 0। 0ऽ e1ȏb ू"?/ e , L E ( e"-ȏ "p" e ,),5 9 / (< -"q%+0 9 +cC E " + (- $,), +ƌ# -. (A,+: * Ȅ#E . $,), ): (/q% e1"b ),9 ( ( B"q%+"),9 +(( (3"0# e)"0# ( )२४ , )Ce1"b २{9 8 -।9 (0+*ॄ ȕE e1ȏb /Ʃ $ E . )8 E-.5 ू Ǒ0। २ 0 ¡# q 6-6 -# २z (ȏ ू )e, ू Ǒ0। ¡ ¢0, )C e * 5 (C $) / 0 ȍ। I" *5 +ƌ#- . - " 0 r > ?0. 005 , - e1b Ȅ#E . b 0 (C/-ȏ N< Jँ 0। २ ऽc*e, २ ऽ/( -, ३० ऽ6 0(" -5 ३१9 ऽ6 0(E" ३२9 .B ऽ0 O/- - " #0 ।9 " ƴ/-C e1ȏb "p0, ऽ# E M - - 9 – e1L .b / +ƌ# -. 8। 0 e1b $ * £ e1 Eb E0 ƴ + / A ȍ। ३३ *5 I ȍ- 9 < e1ȏ)+" b १z PQ , १.z४.२ I" िN . {.१०.३, {.४४.z 8; *5 , ३. .३, .४.१ १ | ƞ)Q )+ -C 9४.१.१ १ 1 E)+ -C b 9४.३.३z २० - 10 . १२.z २१ *5 , १२.z.z २२ rZb0 Ȁ( Ȅ "( 5 0b0# +Ƕ V # +b. x २३ *5 , ३.१२, .३ २४ *5 , ३.१२.२ + 8 e)ǰ) 3ǰ) -") f ( . 0 - *5 , .३.१३ २{ )C )C , " ¦0 , - *5 , २.३.२० २ (0+*ॄ ȕE" ३.{.१.११9 २z (i) 0 ¡# q " १०. z;9 (ii) / 0# Ȁ 01 +b. ४० २ I Ǿ%# ©- Ȁ -0 + /ª 8 5 rZb0 / 0# Ȁ 01 +b. ४० २ PQ , .२०.२१ ३० *5 , ..२ ३१ PQ , .४०.१२ ३२ *5 , २०.३.१, %&. +#.x)C "1) "0 - E (#0 0+C ǰ,5 $0 . e1"b ऽ6 0(E" Ȁ - Li Festyle of Vedic People, Page ० ३३ rZb0/ 0# Ȁ 01 +b. ३ ~ 39 ~ Ȁ "#$ »01 Ȁƴ b 0 Ȁ। ३४ 1 Ȁƴ , +b/ eJ(, e1 E .b f -. / 0ȍ। e1 E .b A ȗ 8 / ¡ 6ू E " ?-. / 0ȍ। 0ऽ ƞe 1ȏb 0 - ¼06 - 1 b 0 Ȁ। ३{ ()/ * 5 E5 Ȁ -T e1b r+ ǡ - - ।9 * - + ETTTT ££££ - # ू/ ¢"00 9999 xb0ȏ 6 ""b. 0- ¢b0 " ...999 e 1 -bbbb + ू# G"b0 - 1 - । ३ 0 ȍ- 9 /- - . -" E5 ू , .( #- . ू )e) / 0 ȍ। * *5 ू Ǒ0 - r+ "0 . ू 0 "0 "*) + "0 "0। ( 3 Z - 80 " ॥bbbb ३z 0 .(, ( .) - [E 6 05 - " +T ू )e, E Jà * £ 8 / 0 ȍ। ४ 0 ȍ- 9 + -0bE- "Ņ-(- ( -#E Ȁू/ - E e1ȏ f -.b / 0 ȍ। ३४ *5 , .३.१z ३{ *5 , .३.२४ ३ *5 , ३.२०.- ३z *5 , ३.{.११ ३ / 0# Ȁ( Ȅ I 8A-- Ȁ( Ȅ "( 5 ू*" +Ƕ +b. १z ३ (0+*ॄ ȕE ३.१.१z ४० PQ , १०.{.१०, *5 ३.१२.३ ४१ ( - . . 0 -1 - - " -9 *5 .३.४ ४२ *5 , .३., rZb0 . Ȁ( Ȅ "( ,5 ू*" +Ƕ +b. १z ४३ PQ , १.१०.{, *5 ..१, rZb0 . Ȁ( Ȅ "( ,5 ू*" +Ƕ +b. १z ४४ *5 , .३.३, rZb0 . Ȁ( Ȅ "( ,5 ू*" +Ƕ +b. १z ४{ *5 , .३.२४, rZb0 . Ȁ( Ȅ "( ,5 ू*" +Ƕ +b. १z ४ PQ , {. २., rZb0 . Ȁ( Ȅ "( ,5 ू*" +Ƕ +b. १z ~ 40 ~ ‘‘‘‘ ’ ’ "u u 0TTTT 0 ()6()6----+ ऽ + ऽ ǰ0 म "ू6 -ǰ0 #0।9 0, म "(, 0ऽ džC < -C "+ ǰ0 । (0+*-ॄ ȕE - E 8- म " , +Ȉ. Ʃ , -। 9 ४z 8- म " , Æ 0-,5 - 9 +Ȉ. " eDE Z , -। 9 ४ म " ू , (Z #- . b 0 ƞN< #0 ।9 0, म " e1 Eb - -।9 0 dž-.p Oम " , "1 म "- ू Z , -। 9 ४ 1 "1) ȏ "0 - E I0 म " , 0 , - 0* 9 0ȏ + 0, 80 }$ I " . L " #0। 9 {० +Ç ॄ r-"1) ȏ "0" Ȁ 0 9 म " E . + 0, ȏ -" #0 90ऽ -ȏ +0, I "* 6 - 0)E - L E - "0 -5 / A ȍ। {१ 0ऽ PQ +(, "p0, eȏ5 b 0 ू O) Jँ 0। + 8 ू ȏ b 04 + -"# 0। {२ + 0 125 4 + ()4 . ू 8 DE #Jँ 0। 0 -eȏ *D ू O)4 Ȁ। ‘‘‘+‘++’ ’’’ (ȏ ू )e: PQ džC < C ू Ǒ0 । * - 6 6" + x C 6Èbbbb + + +.+. " . 1.ȏ) {३ ।।। PQ +)+ ब"E. b X 0C . - (ȏ E-.5 ू Ǒ0। ू0# 0 0 ȍ- 9 + E . .p 6 Ȁ । e"0 0C . 8- / 0 ȍ। ू ¢ "b ¡ 0, I0C . -" E.5 / 0 ȍ।{४ ȏ b 0 +ƞ(ȏ ू )e, .b0 12 ǰ0। 0- + E . / -. b 0"।9 * - Ê )5555 , (0. (ȏ +)+) / ँ"- +Ç,॥TT {{ 0ऽ + E . ँ"- #/ - L ू ǰ0 । { I0C . b 0 I ȍ- 9 < ( #(ȏ ू )e, Jँ 0। {z ¢0, (J0 ȗ "Eǰ, म "$ *"5 0 C . ू )e) / 0 ȍ। 0 / ¡ O+ E " > ?)4 + #Jँ 0। * - (0/ /Ȁ" /- 0 x Ə ÇTTTT $0 "c0) " 0। { ४z (0+*ॄ ȕE" १३.२.४.२9 ४ | ƞ)Q )+ -C 9. .२ ४ q%Ë Ì १, +b. २४४-४{; / 0# Ȁ 01 +b. ३ {० / 0# Ȁ 01 +b. ३ {१ / 0# Ȁ 01 +b. ३ {२ q%Ë Ì-१, +b. {३-{३; / 0# Ȁ 01 +b. ३z {३ PQ , १.{३.z, I" िN . १.१३१.१, १.१३१.४, १.१३२.४, १.१z४.२ 2 , {४ I; / 0# Ȁ 01 +b. ३z {{ PQ , २.१४. २ { िN" PQ9 , २.१४. I . 8 २.२०. {z PQ , १.१z४.२ { PQ , १.१ . + 8 6 "1# - ȏ- 6)b -#+#0 । +/T 5 (0/ । - PQ , z.१{.१४ ~ 41 ~ Ȁ "#$ 0, + , "p0, ȗ "Eǰ, $ 6- - -।9 0 ू ǰ, $0 , JÃ"b ¡ ू 8#ǰ, O , / A ȍ। { 6 " Ȁ5 -, ू )e, "pW+ E B W+ Jँ 0। - "- - - " - 0C . ू : ू )e, " + - 8 0ऽ "+ ǰA । D ० Ȁ( - . ू )e, ू , +-ȀT +- ƞ -+T -" £ EूM5 ू q 0। (0+*ॄ ȕE B ूM 8 0- E-.5 ू Ǒ0। १ B -" E5 (Í ऽ E .T (< -" Ȁ। ऽ (Í(ȏ * ,5 ¼,। ¼- I # -" Eȏ5 E5 V 0 - / A ȍ। B # -" E5 6 --+Ȁ- 2 --(Í ऽ E .T 0* 8 / "8T --/()6--/T "+T - T ( .? --+ -3 -- eȗb ऽ E .T "1Ƈ" Ȁ। २ -- 0` #- Ȁ( Ȅȏ < 0 C B 0। PQ ȏ "ƖE B 0 0 0 9 ू , e 5 / 0 ȍ - 80 Î+ 5555 0, + ( xb0ू0# - - Ȁ। 0ȏ . +E 5555 CE bbbb - - - C 0 ऽ5555 6 / e6 "॥ 9999 ३ ȏ "b8 . ू O ‘+E ’5 (, ec% , (ँ - 8 0,) ू (Ȃ C 0 0। (0+*ॄ ȕE ४ , E-ूM5 *0" Ȁ 0 9 +T 5 ू 0 ऽ 6 0 Ȁ "0 #x 5 /0 ।9 + ~". ू 0 0ȏ , Ȁ 0 6 b 0* 8 " 0ȏ , , Ï 80) /0 ।9 I" 80#- "* 05 9 ूÐ 0 B - . -" E"5 9 /, / 0 ȍ। { -"# 0 ू*""+ę5 /, 80#- . -" E5 / 0 ȍ +A (- ,-(- , +ĉ / + - . -" E.5 0"।9 (0+*ॄ ȕE B ूM 8 0E-"5 9 , -" E"5 z9 ू" E - ू ~ ȀE E0 ,5 A। 0ऽ ¢- +(T { q%Ë Ì १ +b. {३-{३, r xb0 . / 0# Ȁ 01 +b. ३z ० 0 ... १.३. .३, - # 10 . ३.{, १.४ , २०.१ १ िN . (0+* ȕE" z.१.२०,9 .१.{, .१.२.२२-२३-२ २ rZb0 Ȁ( Ȅ "( 5 0b0# +Ƕ V # +b. xi ३ PQ , १०.११४.३ ४ (0+*ॄ ȕE" १.२.{9 { (0+*ॄ ȕE" .१9 (0+*ॄ ȕE" z.१.२०,9 .१-{ z (0+*ॄ ȕE" .१.२.,9 २२, २३, २ 2 (0+*ॄ ȕE" .z.२.१z9 ~ 42 ~ ‘‘‘‘ ’ ’ "u u 0TTTT 0 ()6()6----+ ऽ + ऽ Ȁ¢ ू O Ȁ,। PQ ȏ I ȍ- 9 "Ɩ ÓÔȀ¢- O , *0, । 0ऽ 1ॐȀ¢ O/-ȏ E-.5 ू Ǒ0 - - - /ि 1 ी ȏ¡" । 1ॐ D Ȁू )e, B+ ,। 0ऽ + -" T E.5 z१ Ȁ+ -" T E.5 z२ ƞ + -£ -" E.5 z३ 8 ȀE E0" Ȁ।5 b È D *0" Ȁ 0 9 +ȏT / e,9 /"T A, / 0 0¡ +0bE . / 0। /"T c+ "? + A.5 "-ǽ E ., "? 0 -Ȉ0#- ., "? )Ê £ (#Cȏ 6)/ e~5 5 - ., (#C< -.5 ȏ I. (C/ e, - . / 0। z४ -- E- Ȁ¢ - "+ +0bE ., "-ǽ E ., -Ȉ0#- ., #- . 8 8ऽ -ȏ ू* "+Ʃ 0 । 0 ǰ +ȏT 6 " "1Ƈ.5 #Jँ 0। 0ȏ )+E+T "5 C a0 9 "Ɩ E "Ô E. / 0 ȍ। I /, "Ɩ , +ȏ CT B 0। 0ȏ -Ȉ 0.B , + -" T E 5 ȏ 80 9 + ऽ$ȏb ȏ ू )e) / 0 ȍ, 0 .8T 0। +ȏT < +- , ( 8 00,) +DT / 0 ȍ। z{ ॄ ȕEमƜC + - .T rÖ C E-.5 ू Ǒ0। 0ऽ )E# +ȏ)>T ?, "+ ǰ0 । ¢0, I /, Ȁ¢ -A" )E# - ूȀȀ¢ - . )4/0। 9 z PQ + 0 125 C 8 +ȏT (C-ू ȏ)> ? , ǰA। IC +T C +(, Z , / A ȍ। zz I0 0 O. 0ऽ ँ"( -ȏ + r>?) ू Ǒ0। z *5 džC < C (ȏ ȏ ू )e, ǰ0। z ँ"( -(, 0ȏ " 6< ȏ )0 , ȏ 6)/ e "b0 ȏ <# - < +0 - / A। (0+*ॄ ȕE ( Ʃ" 9((ȏ b 0 Ʃ")9 * ँ"( Ʃ" 9( +0bE . /)-")9 2*D (ȏ ȏ ू )e, b 0, ० । - (( - *D * 05 9"b0 ȏ ौ "< *D ँ"( -(, PQ , १०.११.१{, rZb0 . / 0# Ȁ 01 +b. ४२ z० PQ , २.४१.{ z१ 0 ¡# 10 . १.३. .३ z२ - # 10 . ३{ z३ - 10 . १. , २०.१ z४ b È ,D .३.४, rZb0" / 0#9 Ȁ 01 +b. ४३ z{ / 0# Ȁ 01 +b. ४२ z / 0# Ȁ 01 +b. ४२ zz q%Ë Ì २, +b. १४; / 0# Ȁ 01 +b. ४२ z q%Ë Ì १ +b. ३z; / 0# Ȁ 01 +b. ४३ z *5 , २.११.१z, .३३. , १०.२३.१ ० (0+*ॄ ȕE" १३..१.१9 ~ 43 ~ Ȁ "#$ [# b 0, १ । "1) "0- ँ"- 9 ( -" 9 2-- ँ"( -()Ə ¡, [# b 0 २ । (0+*ॄ ȕE ँ"( - -" E C5 , - " , *0 , A ३ । * ४ - 8 0 { +( ू/b 08- - " + E-.5 "+ ǰ0 । C . -" E 65 , - . ू 8#- Ȁ- ( Ȅȏ +0 8#- Ȁ5 , + " 6 T <0 , A। %&. () *+ , 1 8 ,5 Ȁ( Ȅ ौ# 1 ( Ȅ# × .b0 3 , - ># 1 मƜ8#TTTT --- 0 ¡# . 10 , V ., .6" 6 #,5 +E : .()6-"q% , १११। -cO", 9 V ." ƞØ , E# : 8? .b0ू 0 -,२००{। (0+*ॄȕE", 9 V .1 [ "#, ># : - e+ Ù(,5 २००२। *5 , , V . ") 0 :, % : [ "q% :, १ {। PQ , , V . "e) ƞ( Ȅ#, E# : 8? /-, २००z। 0 ॄȕE", 9 V .2ो0 "ौ"#, ) 0 : १{। (Û D (" ƞ-. 10 ), V . " b È( Ȅ#, E# : 8? /-, २०१३। ऽ+ Ü#, #ू ,. Ȁ( Ȅ "( ,5 , - ># : ौ#. . .( . . .. . , 2016। + #, b È ¡. / 0# Ȁ 01 , ?-á : 1ƞ# " 0, 1972। Bhattacharya, Tarapad. A History on Bāstuvidyā , Delhi : South Asia Books, 1986. १ -cO" ३.{9 २ rZb0 / 0# Ȁ 01 +b. ४३ ३ (0+*ॄ ȕE" १३..१-४9 ४ PQ , १.१२.१ { (0+*ॄ ȕE" .१9 *5 , .३.१३ ~ 44 ~ ~ 45 ~ ~ 46 ~ - ३४ - २०१ ISSN-२२३०- २ ! ƴ #ȏ % ::: '( ȏ ) *+ ,-.,-.,-. # ! !! !ौ+ौ+ौ+ौ+ ! ƴ #ȏ ƴ #ȏ 00++01111 222 2 3 4 53 4 5 --- ! ǽ+ # ȏ 7 28 09 7 : ; <; ;ȏ ! + ; )=+ :; < # )=+ > ; )ँ#;। ब! % 7 ! ǽ + =: 3 ।< ; : 7 B C2% D#4 + ;E !:2 #ऽ 2# NjC21 % 7 ! ' ू Nj 7 3 ;ȍ ;ऽJ 9 ;;(+ । ; ɖ 2Ȉ7 B7 M4#N+ 3 !ƴ ƴ O :; <। ƴN ƴ 7 ू:% ;ȍ। ! ƴ #ȏ % 3 ;:#! Ȁ; 8 ;;1 । #ȏ 7 ! - Q %+ , ! ! S!, < 0 1 ! S7 T8 ;7 ! S7, ! U ;Ɨ!, < J ; ƴ #ȏ ;Ƈ ! B; (। X; ; Y7 2Ȉ7 Z[S !2 ! \ ];। !) *+ !3 ' #! 2ँ# !+< । ! 3 D,9^ 3; ।< #0 2 + ;0 D,+ 3; ।< : ; _ (4 ! ƴ #ȏ ^ 7 : + ू ;3 ;। J ; J` + ( #; ; : ; N ;Ɩ+ 9B + ू ;3 ;। # 7 N ;Ɩ+ 4 e 7 8; ƴ #g; ! 9^ % # h N 3;।< #ȍ ; < % ; < ! 9^ # 7 ! S7 )ँ#;। ! ' i ' ॅ* ' % 7 ॆ Ļ 7 )ँ#;। 7 B7 m + 3 ;। ;ȏ ƴ # 9^ ! 2 )ँ#; । n + oE ^ 7 \] ( ;ऽp + 'ऽ7 # (। ;ऽ 2ऽ + 2 =:य ;=:य7 \] (। ;r 2 ;ऽp + 'ऽ % 'S s = 1 ! ' 2ऽ ' ू# ](। ! 2Ȉ7 + ; 21 7 (1 # ȏ + oE # + ǰ( ! 9Y + BȀ+ ;;1 । 2f ;ȏ ! 2 3 ;। # ! 2 8;(+ ; N4#Y + 3 (। n J+ ;ǰ+ X D, 7 ब#;। # ! C2O % 2 + ( ; e 2%4 !B \4 ' U;ƖC2% ' (। X;ǰ+ D,9^ ƴ #9^ ' 1 ȏ Ʃ v )ँ#;। ; X 1 +। ; UZ_# 7 n% #7 !:! 7 7 (।1 ; Bw ू % ȍ < ! ƴ #9^ D,9^ ' ^ ȏ;। n + X ! ȏ 3n + (। ȏ ! ȏ + 0 7 3 ;!B ;।1 > ; :% 7 n ऽ1 )ँ#;। ȍ 7 = Ȅ4 :% 7 ^ 7 y2 ;;1 । X 3+ = ȄJ+ !:#; #; < ;m : ! :% 7 ौ1 z 7 ^ ! :;।< : ~ 47 ~ ! ƴ #ȏ % : '( ȏ ) *+ 2{4ȏ B#N \ : C2% ;;1 । 3:4% !r 2 :S! f< । #0Nĭ; – BNऽ7777 7777 ȍȍȍ 2 2 : ! 7777 \ ];।;।;। १ 2 )ँ#; X । ! r 2 cĭ; – #ऽ#ऽ#ऽ # #Ȁ1111 2Ļ(OOOO !( ;ऽ;ऽ;ऽ ; + ।।। #ऽJ; Ȁ 2Ļ(OOOO Ȁऽ h +11 ब ब ब# + ब # +# +# +॥॥॥॥२ 2f # 7 3N\ :! + UU 021 ;O #1 ' % N ;। >; # ' %+ ( ;ǰ+ !8p D,+ 3; ।< 4#+ Ȅ: Z ; !ƴ(। i 1 7 ! 7 *8 7 ' : =2ƌ:O 4# ;1 o ;# ; ' । ! ƴ #ȏ ँ# ; --- ȏ 2 =ȏ ! 9^ ; X ^ ; 7 =ēN ; # ƴ # ; 3; ।< X; 2 ँ# 7 # < ;ȏ 7 9^ # 7 ȏ 2 ! ǽȏ \ȏ1 =4 + 3; ।< ȏ + ँ# ; # + '' 1 ;ू J+ ; =;। १११.१. ! + ! S मȀ+मȀ+---- #ऽ J 4#+ ‘‘‘g]‘g] 7777 7777 ’’’7777 pȏ cN4 7 (ȍ।1 ; ȍ ! ! S7 )ँ#;। 7 ! ! ȏ i3 #!1 ;;।1 #ऽ 2Ȉ7 B#N\3 ;;1 ;0 2 ! S7 )ँ#;। ! J4 ! ƴ #+ ू i3;+O1 । ȍ ! < 3 मȀ + ! ǽ + U ू ब# # 7 \; + 3 < । ȏ 7 ^;v ' %:#+ 4#+ # 7 ;;1 #; < =N 4;! ȏ # ! ȏ Ļȏ ' # ! O ;;1 ;# 7 [+ 3; ।< X; 0 ! ƴ #ȏ % ँ# : ;;1 । २२२.२. ! ! # ƴ #ȏ ँ# ; ––– ! # ! ƴ #ȏ ँ# ; 3 #;O । 0 !; '; < ? #+ \+1 2n 8; ! ȏ :'J+ N2 ;। ;ȏ ƴ\+ 7 !S7 3; ।< ! : OOOO ;+ ! # # +++ ।।। ! !Ȁ NNN ! N #0 +++ B B ; ;;; ॥॥॥३ ȏ 3 ȏ 9 # ȏe 4+ ू % N ;। #0 - #Ȁ % % %111 1 3; ƴ ƩOOOO 2ँ# ;2ँ# ; ; ;।।।। 31111 ;OOOO 4 ' 7777 ;;N ' ' ' ' ; ; ; ;॥॥॥॥ # ȍ# ȍ# ȍ # ȍ << % % %111 1 3; ƴ J 3OOOO M ;+ MOOOO ;+ ;+।।।। ;ऽ;ऽ;ऽ N !NB+ + =N X S! 2ँ#;+2ँ#;+॥ ॥॥॥४ १ 0.1 . २०.१२ .१० २ ! . ३.. ३ .. १०.११.४ ४ #. . ४०. - ~ 48 ~ ‘‘‘‘ ’ ’ !Q ;OOOO =N =N =N -=N ---2 ऽ2 ऽ = +1 # ( ;4 7 8; + =N + + !NB+। J 4+ ) *+ c 2 2% O 1 ;;1 । n%ȏ ँ# ; ; ɖ :;।< #N#; % #9^ 1 :;।< ; !1 !1 # 7 8; X X =#+ 3N #+ ' :; <। #0Nĭ; - ! : ू2 ू2 ू2 BBB NrƩ3 \+ ! #N BBB NNN # # ĺ ĺ।।। ƴ :5 ! 2: ;2: ;5!5! ! ƴ #+ 4:% 7 !; : % :;।< ! S! ! ƴ #ȏ ू %;S !Ȁ। ! NƏƩJ4 7 =! # # f; + =N 4; + ( ;ǰ+ 8;r 2 39^ 3; ।< ३३३.३. ! ȏ ȏC2% ! S! ---<<< ! ƴ #ȏ 3ू #+ # 7 ;;1 #; ! < ǽ 4 3 + 3; ।< !4 7 8; ! C2% ȏ N 3; ।< ू % e \ + !n 7 ! S! ǖ (। ## 7777 ! ȏ!! ȏ! 7777 MM4 7777 8 8%N%N%N%N ! ! ! ! +++।+ ।।। ƴN ƴƴƴ! 3ƴ ! 3! 3! 3BBBB##;;;111# 1 7777 ; ;! +! +! +॥॥॥॥ ४४४... ! ƴ #+ ! S! Sffff --- ! ƴ #+ %O C21 % X + !; : % ;;1 । 9B ) ! S! ! ƴ #ȏ Nr Ȁ। ! ƴ #+ ! Sf ; c3#N!1 f; 2 0< 1 7 )ँ#;। #0 – ! ; # + 3ू #+ 1 % ; #! 1 7 !n 7 ! S7 ;0 ;4 7 n%7 7 3; ।< ȏ =#+ # 7 ;;1 #; < 2 7 3 + 3; ।< + 7 ! 9B + 3; ।< ... ! ƴ #ȏ 3 + --- ! C2O % ȏ Mv 3 v ; । ( ) 3 + ( ) 3 +। ) 33 ौ ौ ौ ौ; ! ; ! ; ! ƴ #+ --- ! ƴ #ȏ #! < 2 2 # # 1 % 3 + ौ#;। ȏ 3 ȏ c¢ँ#+ N 3 ;। #0 ;! #ȏ 8; 1 % ू 7 v 7 4;। ; v 7 ƴ4 7 ;! # 7 8; ू # ! £ + ^ Ǒ;। 9B ) ! S! \] ;। ) ))) 3 3 ौ ौ ौ ौ; ! ; ! ; ! ƴ #+ --- ȏ ! N¢O ँ# 7 3 ; # ! =N 4;! # + ( ;4 7 = # ¥ #1 ' =4C2 % 7 ू # B ¦ 7 %:#!।< # 4e ! S7 ! \]; ।< 3 ौ; ! ƴ #+ X 9B ू#N\ = # 7 ' )ँ#; । 0 1 . ३.३०. .. १. 0.1 .३.३०.१ ~ 49 ~ ! ƴ #ȏ % : '( ȏ ) *+ 4e B- ȀS2 2 # J 4+ ; - ggg] g ] 77 7777 7777 77 NNN ! 77 ; ! ।।।<<<< ! ƴ #ȏ 3 + )ँ#;। ऽ1 =n = (+ N B 7 S71 ' # + 3 +। ' # ' + (। # % !3 +1 X;4 7 N4 % 7 % # Nr 2 c2 #+ 1 % ब#;। > ; E:NN\ + )ँ#(। E:NN\ oN\ ' i 1 7 1 7 B: 7 ' 8; 8 9^ ब#;। ; cN\ + > ; §Nj + । # 2=+ ( ;4 7 BȀ ɖ ू 7 1 %। ; U ! !' :% 1 7 #N\ 7 (।1 N ; Ɩ ! ऽ1 3#ब ( + ! + )ँ#(। ऽ 2 3#ȏ ; % 7 Ȁ # X; )=: X ^ ;+ ȏ ; <; Bw ! ƴ #9^ ू % ^ ȏ ;। ¨# # 3# 7 ँ# 7 ;;1 । #0Nĭ; 4% - 3# 7777 + + + Ɣ(Ɣ( n!3#n!3# 77 28 0 28 0:::: c3 !। 3# 77 25 3# 7777 2Ȁ i 3# 7777 NrȀ॥॥॥ 3# 77 ! ! !ऽ 3# ! ! ऽ 3# !ऽ 3# !!ऽ 3#!ऽ 3# 77 ` ; 3# 7777 2N2N #+#+#+।#+ ।।। 3# 77 Y!3# 7777 + + + 111 1 = !!!!!! ! ! !ऽ ! ऽ 77 3( ॥॥॥ ȏ ! ȏNƉ 7 ; X « 9; # !4 7 \ % 1 7 ( ; + 3; ।< # ; < 2#(71 Z ȗ ǰ(#N+ = _+ ! ǽ % 7 3 ǽ ; ; ; < 2#(71 ! ƴ #9^ < ू % ^ ȏ;। ;+ J 4% cĭ; – ' 7777 ; =[ [ ! ! ! ! ू % 7777 ; =[ ![ ! ! ! 'nȀ =[ ![ ! ! ! ौNऽ 77 ; =[ [ ! ! ! ! 3 3 7777 ; =[ ![ ! ! ! !ह 7777 ; =[ ![ ! ! ! 2 # 7777; =[ ![ ! ! ! ''' ' ऽ ®Ȁऽ ®Ȁ =[ ![ ! ॥ १० ' ;Ƈ+J ! N ^;i3 1 7 =N7 ! ƴ #9^ ; =;। ,-. # ! !ौ+ B ' #+,1 7T8; 3 \+ N- BN : ¯ #+, 2C # (2.Z7.) ..१०.११.२ 0 1 . १.१.- १० =°# . . .१४ ~ 50 ~ ‘‘‘‘ ’ ’ !Q ;OOOO =N =N =N -=N ---2 ऽ2 ऽ B # मƜ':OOOO --- 01 + , . !N ; +, , : U #!D, :, १ । + , . !\N ƞ= Ȅ:, %: : 'v 3 , २००। =°# e (! ƞ 7 B; ), . ! 8 ³= Ȅ:, %: : 'v 3 , २०१३। 2 D,, \N ƞ '´. J 7T8 ; , B : N 3 ;:ू = !, < २००१। ! 7 B; , . ! ȭƞN2 #+, N ; : 7T8;2Ȁ 3 D, , २०१२। , 3\;. < J ¶# ;B , .pौ , ·: : ू%ू = , १। c2 #, Z . J Bp ¸ 7T8 ; , %: : = 7^ ! ,२०१०।< ~ 51 ~ - ३४ - २०१ ISSN-२२३०- २ ȏ !Ǎ $% #### --- &'#### $( )'*+ ,,,, -..)+* 01 [ #01 – #45% $6ȏ ू 89* : ; 1 +< ' 1 =+मƜ 1 @ A 8B ) 1 । ; – DE 1, ;G 1, + 1, H । &%I # GI + * # ू;)J1 =* '+' K-ƞ@GI #4 I 8 ;MI 8 ब;% । $)% , O;1, PQ % , ॄȕ T % 8B 1 D B1 ;+ * LJ% 1 ब+01 DE;V + W # ू % *X# '5 B Y ' ; Y : ; A। &%I GZ I ȏ [= *'+ +$\! 0]# %% । ȏ 0<*' 1 *!' 1 0 ^ 1 ू 89*' [* , । 'A ' J@G % 1 9* 1 % 1 । =* ȏ ȏ 0 ^ \;+ ू Ǒ% । ; – 0< '0 ^ , !Ǎ 0 ^ 8 । *;)+X ` !Ǎ 0 ^ *1 ƴ*#c ' b & @ %IG A । ȏ ू8 1 ू H d% । ू'5 % 0)= ऽ ȏ & !Ǎ 0 ^ ; 1 I; 0I 88 ब;% । ू +c * ऽ ȏ +$Ƈ+, , ȏ =0 ^ * # 8;1, Ǎ +* 1 9*g A1,5 Ph I !Ǎ 0 ^ ; 1 *ij 1, ' ँ+9 Ļ !Ǎ 0 ^ ; 1 m %1, !Ǎ # $% ; 1 ू' 0% 1 मƜ 1, !Ǎ # $% ; 1 I;Ȁ T6 ;) I; 1 8 8% V A ।] [[['['bbbbp0q 1 (Key( Key Words) ––– !Ǎ # $% !Ǎ # $% ,, , ऽ;9ऽ;9, , * 0 ^ 0 ^ ,, 9* 1 1, , =9 81 =9 81,,,, % (W9 % (W9,, 'Ņ $ 9 P X ;1, X ;1 , )* 1 T6 1] @ %Iȏ ू 89*#45% = Ȁ} 1 X ~ ; %Ƈȏ #4 * *- =9* # + j A j 1b ॄȕW)`*5 } 1 ू'5 %- 0-+ -ǰ% - 0d - 9d -%Ɩ+Ɩ W # * 0*@ % VGI #b 0 Ȅ W # $6 * + ॐ)% # b @ A 8B ) =+मƜ 1 DE;V + c 1 M * M * *=;) 1 । &%I # 5 I; *!% % ')` ू + W'# *W;# 'g Y + ` Ȁ । ' 8Ə ~ 52 ~ DE + '%Ƈ * [;G -+ 0 Ȅ-' 5 I M *-ू W M * @1 *!'! I;!1 + # $%)5 ॄȕM *ू ;') #0 %' K-! @)` 1 [= *'! $' ^:g; ' \! 0]# **+ $ %b । 0 A' * < ' * 8 +% * * ƞ@ 1 # ; A9 % dž @1 + )8'!1 - K-+* 1 ब;%। W Pĭ% – “ <) $6# 0 A' < ' - M + * ' ; , ॄȕB ” T %। $' @)J + & %0 ; =* + % + ' K-; W '%। % j – “ @ I +Ɩ!+ $ɖ @ J +”, T %। ; ȍ* , 0 A J 1 X ;*) @ A %ि # *i ि# *6# +5 j म % T % 0 ू % %। %1 * * @1 % ¡; * , J * *6#, ;b % ।, %¢ĭ%- ;ȏ M) * 0 A J1 । *6 %ि # =% *i ि+ ॥॥॥,,,, %ȍ ि 0I W 8 W# % ¡;+ ।,,,, * *h ! * 6# + @ ;bbbb % ॥॥॥,,,, १ VGI I ौ%+)` Ȁ, ;ऽ =%; 9*) ;) J*1 I; 1 &'ऽ + ǰA । ऽ @!IĻ , [ @8 ' T6 ;)` ू ǑA । 9* } % ,+W# ; % ,;)J-@)J-+)d W # 8+# =*# ` ȍ* W, %+ Ȁ । ; DE 1 @ 1, ;G 1 '+ 1, + H J * T6ĭ% , % $¤ 1 9* T % *iĭ% । Pĭ% 8 - “““ौ “ौ) $ Ȁ )` = %) ॄȕM *# ¥ ; @”bbbb ””” “““&%\! “&%\! @ ;#bbbb ॄȕ ; ,,,,@5E (1 । ;)` (1 1 । ;)` WȀ¦ I+ ।,,,, ; +5%# % ,,,,ॄȕ ।।”””” T % । &+ 1 @%ॄȕ ~'B %b ॄȕ'%, §: * ~'B ¨ “ॄȕ ” T6Ǒĭ% । )`;# 1 '©%i%+1 j )`Ȁ9 % 0 Pĭ% । % j - * % * 8 *dऽ# * म$) * 8 8¡+ । +Ɩª « j@ ǽ % ॥ T % । 4 ƞ`Ǒ ĭ% - ;Ȁऽ W * +Ɩ *,,,, ,,,, ¬ƞV+ Ʒ%1 । % I + ¦# '5555®# # ू ¯) % ी+ ॥,,,, १ .. . ४/३२/३-४ ~ 53 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' 0q *i 1 ; 4ूW9% *iमƜ Pĭ% – “ W)` A1 । %H %'+ , %µ %I=1 ।”२ ऽ = % 1 J6 G ू;1 । %1 * T6ȏ , @ % - J %$9*1, m) । ;) 1 m% I; 8g g *)= I;5 8 ;)J) 0# % 1 1 “ * ”, T % % 1 । &+ J) ॄ ȕW * W 0q1 “ ' ”, T % 0qȏ # dNj· T % । ' , T % । % , [~ d h ȏ) 01 ǰ% । 0% ॄ ȕW 1 “ू W” T6ĭ% । ( #0)` +$ I 1 ȏ ȏ ि T % $%)1 “ ” T % * + ू ¸ % । ' 0' g<5 = % 1 $# G ू;Ļ% । -'< p´ $# ; + T %, = %)1 *ǶƩ1 *º ')` 0q1 $# Y )%; % । &+ )`;# “ॄȕ 1”, “+5% 1”, “ () 1”, “ ( 1”, “ ( 1”, “@5E () 1”, “dऽ 1”, “@!IĻ 1”, “»ƞ) 1”, “+$9 ” T6Ǒĭ% । ȏ 0 ^ 1 =! 0]+ Ʒ%ȏ ȏ ि '% ')` Ȁ ? ' # =0 ^ @Ȁȏ ू ) %1 ? T % +$ * , ;# ू½1 । ȏ ȏ 5 I; ू j &' ' ` Ȁ । &' 5 # = % # ॄȕ % HW+' I¾%।, % HW# '%Ȁȏ )+' ǰ1 ¿ = ू $%।, % ¿ = %1ॐ )`@% , । %ि%1 $% [ ) \· @*b , । %ऽ!'%1 m%# %) @5Ļ+ *# , @5J* + +$ I @ b । & @5J1 ॄȕW) 0* ; J ,&*+ ,&% ¿ À Ʒ¬% , T % J) ॄȕW Pĭ%। 09; 8 PB % , `@% ।, %%1 0%); @ ¦1 [gȏ5 iW0qȏ Gǰ)`(ǰ) )`d% ,। )`(@%B %b , ( * + +$ I@% , । %%1 ॄȕ %+ W+ $# 8 ǰ% % , । &# #0 %#c ' 1 W)` (H)ƏƩ 1 । +$ @ ǽȏ Ȉ0 Ȓ' “““*= “*= [ W) 1” 1 ””” T % +$ I % 8* % , ȏ ू= * 1 *0 ^ 1 [* ,T % M ;% । % 1 0 ^ 1 ; – !Ǎ 1, A1, ू A1, à %1, <ऽ1, ॄȕ *1, 0<*'1, 0 *9, 8 W 8 । ;W@ ǽ-ू ¥ ;-8W§$-b ॐ)%V ȏ 0 ^ * # #c *= & ¿9 ब;% । A * + @Ʃ% ँ;% । 0<*'0 ^ & ='ू8 % ू + W'9 8 =* 1 + ि9;%। W * W +$ I § 1 +A * +'# 0ǽ+ , + X , ; + T6ĭ% । @ J% W * W +A 1 @8 ू= * ȏ +cू8 ' [9 6 Äc% । %ऽ +A)1 \< 0ǽ< २ *i+ -, .११/.१b ~ 54 ~ DE + '%Ƈ * [Ȁ + , - 1, 0 H %। 0 ȏ 0<Å ; *1, ॄȕ 1, +< 1, Ǎ ; *1 T % 8B 1 0ǽ 1 @b 1 । ȏ 8 '+ 1, 0*'1, ॄȕ*, , H % 8B 1 0ǽ [*।, &+ &% * , $ ; (1, ॅ1, !Æ ;*1, 'ँ; 1 T6 ;) +$I;)` 0 ^ `* ; ;*) @A9 % ौ9+¦ J% W Ȉ%; P Äc% । ; - Ç +A H 0ǽ+X ;È' +।,,,, # $% )` ; 0 ; 8) *॥ ,,,, 0<Å ; *ॄ ȕ + )I1 Ǎ ; *1। 0 ȏ 0ǽ Ȁ 0ǽ * ) NJW॥ ' + ँ0 *') ॄȕŅ H Ǒ % ।,,,, ॅ ँ0ǽ)` (1 !Æ ;* & 8॥ =9; % # # $%# $ % \ W Ȁ । *dऽ'©1 0 AH 'ँ; ( ;1। &% [ W 8 ; 1 ...... ॥ ३ W ` *;)1 - 0 ;)* + *< P Ä ^%< Ȁ1 । 'A %ऽ 0 m * “ 0 ” T % * + ू Ǒ% । P@;)+X 0 T % * + & ू j+ Ȁ । ; )# W - 0ǽ+X ; + 'Æ# )` %# \= । '5555 B % 0 ; % ; g *॥ ,,,, ४ &+ %ऽ +< -ॄȕ -0<Å ; *- Ǎ - -'+ -0<*'-ॅ - Æ ;*-+ Ņ- '0 ;1 +$I;1 : ब+W P Ä ^% 1 %A । ५ ; W = W ȏ 0 ^ 1 =) ^%ू' W W% 1 । ; - [ W# \= '5555B +A ,,,, \ 1 । 'Æ; *1 '5555®# 8 ब+ % ॥,,,, 'ÆȀ \= '5555B ;!'# * < । \%9;# Ȉ0 ; 8%j `')Ə *1 ॥ +< ) ॄȕ H! Ǎ Ȁ ! 8 । 0<Å ; *H =+MH% = Ȁ *1 ȍ%15555 ॥ Ȉ0 ȏ 8B 1 0ǽ Ȇ% Ëो% 1 । *H ऽ =# j * # @ + g++ ॥,,,, 1 '+ H %5%9;1 0<*'1 ȍ%15555 । 0<*'Ȁ \= '5555B 'A ॅ ॥ \%9; # # $% # =9+ Ƹ!Æ ;*# M* ॥ ६ Î W * W - +A H! Ï)' ; * ' । 0<*'1 Ǎ H +Ņ' 0 ;)` ॥ ७ ३ ौ9+¦ . - १२/Ð/१-Ñ ४ . . ३/ / Ñ %ऽ! - ३/ /१०-१३ . . b = + -, १/४-Ñ३ ~ 55 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' 4ƞ Wȏ * J^K- ȏ 0%0 ^ * # * + ƴ ǰA । ; - ) ;H!I 0%0 ^) * +%1 । T % । ८ ॄȕ K- W Pĭ% 0<*'Ȁ \= '5555B ' A ॅ । \%9; # # $% # =9+ Ƹ!Æ ;*# M*॥ !Æ) +Ņ' ँ;H @Ʃ + = ,,,, \= *1 । *dऽ'©) !% *Ȁ%9;15555 # $% =1॥ ९ +K-') *I Pĭ% ;% , *;A ॄȕ · + , # < ¿Ļ ऽ ; ; g * , T %। 8W§$)b *I * W Ǎ 0 ^ ` ȏ ू +0 ^ T % ू % %। Jȗ' ´ *I % “8% ¾ 0<*'9 ू) +9 !Ǎ ' ” T % 8* * W 0<*' !Ǎ 0 ^;)1 m * *= W# ब;% । &+ %A9, +<Ņ ;*9, % W!ƞ9, <+Ʃ9 % 0 ^ * # * + * Jȗ' ´ *I ू ǑA१० । + ') *I ȏ 0¦ 1 @A9 % *= ; % । ; – “““ “ Wȏ 0 ^ 1 ȏ1 0¦ %) $””” ११ T % । 9%) *I $Ó# $% ; ȏ 0 ^ 1 ू % % 1 । &# ू' W [ू 89*' % , ȏ ू8 ू 8 %¬ ^ J% 0ǽ W # +$%9 @ +' b % । : ब+W ' 8gȏ ) )`Ǒ*@ %1।b ȏ dž ू8 1 @ % 0ȏ Ph Ļ % 'ँ+9 Ļ )Ô%। &% ¿ 0 ^ !Ǎ 0 ^ ; 1 %$ ' 5@ + I;b ' ऽ ; )ĭ% । ȏ !Ǎ 0 ^ Ǎ + *Æ % 0 ^ ; , ȏ * + “ !Ǎ 0 ^ “ T6ĭ% । Ǎ +$ I1 P *Ih '1 &') +$ * ,D I 9%, , ;)`< ȏ ू + *'% T6ĭ% । Ǎ # ^ B 9 %B ȏ * + Ǎ T % c %+ Ȁ । ू½) *I 1 ' ``= W &' ' 0 -@ \ -ू+^ 1 I-DI;1, X ~ I;'#0; * W Y Ǎ +$IG1 +9 + E+1। Ǎ +$ I1 %I # GI + #0; * # * W# 8' । %* g * W Pg W ू½) *I d% * %A । + ¢I1 ॄȕM **1 Ǎ ȏ ऽ) I; @Ʃ * +% * ू ǑA। %ऽ ' 8% ,;# =9 8-ू % Õ)1 ऽ T %, ȏ Ð (. . २Ð१/) (4. .* .^.१Ð४/Ñ०) (ॄȕ K-. *I( - ३Ñ/ ०- १) १० (P..J# .' .P. - Ñ/१-४) ११ (P..+# .P. - १/Ï).१३) ~ 56 ~ DE + '%Ƈ * + %* + 8 @ि T %, ƴऽ 4ƞ W I ;+ ,; MÖȏ ऽ T % T% ȏ + %* + J@ Ȁ*9 T % A। 'A ;# =981 ऽ T % %# +%# ू8 %। Ǎ +$IG1 I; *!' 1 < W' 1 ' 1 ू ǑA। ॄȕ W ȏ +$IG1 ' %9 ू j ` Ȁ। =9 8 % * + +$ I1 ऽJ( * 1 dWू A [ौ+# = ; * % ȍ । %ȏ ƌ9 ) +ि , ) +ि ; H @ J*9 J@ Ȁ*9 % ौ++ = % ȍ । &' % 1 * * ,;j 6 =9ĭ ौ++ E+1 । %ऽ +* %# ¿9'56 ¿9; * Ȅ W %ऽ! J) *9;· W #m Ǒ ू % *g 15 । A ) +ि ** ' ;GW A `@ % ।, 0%# I W §%9% * । % 1 *Ȁऽ ू6 J6 ¿9; Ȅ W * ¿98ब1 । Ȅ W 9W * % * । % =9 81 %I %1 d%# ȏ % 8Ɣ % * ¿9'5 6 ऽ * ू d ;%।, ** GI +Ȅ W # 0 1 d9W 9* 8 % । =9 81 &% , Ù %Ú + 9% ,। A % Ȁऽ J6 ¿9; Ȅ W 5¬*।, % =9 81 ¿ू W6 J b '# ¿ m9 * + ; + । %! m @1 T¡ȏ ळ# * +%+@b% , । 'A ) +ि %1 +56* $%)Ç $ %ȏ 0* '+ ~ LJ %# % +; I । % J@%9 [9% ।, %ſW+ ¿J@ W# '5 B 00 # $ *Ý ȏ Ǎ dȏ =15 #m Ǒ 8 %ो% =+ * W =981 0 $* $ %9B+ ¯)% , । 0 dW1 %ȏ 1 ऽȏ dW dW# 8ब1 । &# Ǎ dȏ =Ȁ 5 , Pj5%)`;# 1 Ǎ * 8%)`@%b , । 8¡1 GI # d W #5 @ % । %1 Ǎ d15 00)1 dW Y 8¡ ; +5%# ू ; + । %ȍ % , +5%# ª Ǒ Ǎ 1 0 0 9 @%b ।, 0 *म$ % ;! ;# K-# ू % , T6 ' ू j ` Ȁ । ¿ ऽ)1 +56' W# 0 * % `Ȁ9 % +B Ǎ 1 0 *+ ' 0+ J % , =1 * dNj * , । \ 0I % , ƴ* ;b V:Ʃ * , ' * , * 9- ;% # 0 *म$ ; * ¤ * , । ौ;%b ` @ %9;+ ;% , +ऽȏ %1 J =1, Ǎ ȏ, '< 0'ȏ 8 ȍW* 0 * 9- ' ` * @%9 % । * # $;)J* Ǎ 1 %5ǰ # $ + * Y ¿J )'+J+% ,। ू6 %*' J<%+ȏ 'ƴ; $ %ȏ $)`@% , । +$ @ %`< @9ǻ00Õ +9 P m% [9 % Pĭ% । ** +$ IW %)` 1 !Ǎ 0 ^ * ू j)` Ȁ । =* ȏ \ 0 ^ + ǰ% । ; - !Ǎ 0 ^ , 0<*'0 ^ 8। Ǎ 1 +A)1 0ǽ [9%।, ू ¥ ;ȏ ' * * W Ǎ 0 ^ ; 1 +Ɩ# $% #0 %' K-! @ ` Ȁ % %ȏ 1 ॄ ȕW` X ; 1 %A । Ǎ 0 ^ ; 1 : %मƜ 1 ƴ*#c ' b & @ A। ~ 57 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' Ph ू Aȏ 9 * ौ9' Ņ $ -P X ;+$) ;* ' 9' +') p0+ *' b ´* २०१० %+ भ9 q !Ǎ 0 ^ ; 1 # $% +$% ौ+W : % ू' 0% 8 । ȏ मƜȏ : * Y ू NjूW ; 1 I; %* ूȀ * @ J Ȁ%#5 W# ूȀ%+ Ȁ । % = W M ;% ;% , ȏ !Ǎ 0 ^ ; 1 +< '# $% % ऽ ) · W [ Ý56 < b(ू Aȏ ू j* ¢I ौ9+% ¢J +)$*@à 8 ;GW : * Y ू;ƌ1 $%1 । 'A ¢1^ȏ ;# I;) ;% %ȏ 1, ' K-8%;ȏ! : *# = ; \µ)`< #J%1 । %' %ȏ ऽW ौ9+% 9 '@à 8 ;GW 0 * # ' K- * # : *+' I¾% ;, * !Ǎ # $%;# Ȁ9;JI' W # + 'I; + । &% मƜƌ# ª %' m%< *!) ǰ% । %%1 # १Ð३ भ9 qȏ 0I jG ' 9' +')p9 9 =9 1 JQiौ9; ¡- ¿%9+$ @ J 1 ; ; ऽ; +मȏ)h ू Aȏ ब+ +' IȀ %ऽ m% * , dž#c ' * , !Ǎ 0 ^ X ;ॄ ȕW * , Ù % %I + m % I; 8 # = ; !Ǎ 0 ^ ; 1 '5% &' # 0 # + ǡA1 । &I 0 T *9+ %ऽ * ¬Ʃ%; ू8 % । Ji'iW; !Ǎ 0 ^ ; 1 *ij 1 Ņ %1 । +म)h 0ȏ म +I *A1 ॄ ȕW 1 T *ɖ 8%* 1 ँ;A । =* ` Ph ू 0 +$ I ƞ9 *9 ; ू % * * ' b ´* *!' 0 !Ǎ 0 ^ ; 1 X;*+ X , *# ू8 %। %%1 # २००Ð %+ IG ȏ 8 % @%-=b % gb 9 = %-JQi + Ļ-b ौ9ौ9JW %- ¨ *ƞ¿ +9-+$) ;ȏ ू)Ç $** ू' ©%;)*; 8 % ौ+ * *1 0 ¢I1 #09'5 â* +$) ;ȏ $;)J* ौ9=% gb 9 ^ @ % - *0 @ ू + 0' K- 0 ȏ !Ǎ 0 ^ # $% *1 ू' 0% । &+ $ - ȏ ू) , +!' , Ț9 ,, - .' ä ) ; , 8 , ;ȏ ू) , )+ , K- ,, - .; ' T' 9; T- Ʒ ȏ ू) , )- , , - .æ 4, - . म9 Ç T6 ;1 ू+^ 1 ȏ !Ǎ 0 ^ ; 1 : * '5 %@9b ौ+ [* ।, &# ौ9'Ņ $ 9 P X ;+$) ;1 १ भ9 q µ ǰ २००२ भ9 q# ; % , - .म9 Ç+$) ;* $ K- #म$ @; * ç -0 Ļȏ dW9+ A g - JŅ ++K- %1 Pg9+ AJ%' ȭé-+;@Ņ+K- #b ; % , &+ dW H+9+ A %+ * I * #$ - -- -म + I % -@ि^-'¡ - ू@5 %I P 'b gI ू ;01 I] ='I म +I ॅ+W# '5 B %ऽ6!1 !Ǎ 0 ^ '+' K- ¦1 $ ~ 58 ~ DE + '%Ƈ * [ )8* +')% , । dž+ § ॅ+W$%)1 !Ǎ # $% ; 1 % ऽ ^!V$ *!' '+' K- K- ;1, [ ('©1, '+ Ņ' , '++ ¨;1 T6 c 1 JiB W b 1 % ऽ ^ 1 %* [ Ý5% 1। &% \$ ; ौ9;) X ;;1 १Ð० %+ भ9 q ' ँ+9 Ļ % , #J$9% ; 15 0 0-@b ऽ ) ' ^% ; 1 !Ǎ # $% ; *Æ *+ ')% , । T;# % ) ' );' , p , +$) ;* : % ``9% , । 8 g' ू) , - .â9+$) ;* : %!I Ä9 m% I $6ू8 #m ``* ' b ´* १० %+ भ9 q ू' ँ;+ *9% । &%I GZ ू' 0%I मƜI 0j;1, ¿;)* @ 1 9ँ;A । %1 &%¬ ^9; * # 0ǽ W # ǰ +$ * ,Å01 *@b;% । ƞ@G` ȍ* , 8 +0 Y '5 B : '1 'Ņ $ 9 P X ;1 ' * ौ+W +< ' ȏ ऽ p#0)=* b '# मƜ++ # : २०१० भ9 q 9+ ȏ २ * ू' 0% * ।, &# !Ǎ # $% ; 1 ; ' 8* मƜ 1 ू' 0% 1 % ; – १) मƜȏ * + – 9; !Ǎ # $% (ू +@ J1) : '1 – ¢J +)$*@à 8 ; 1 ू' 0'1 – #45% ' , , ' ' à ; : *I+ –, १ ४ २) मƜȏ * + – 9; !Ǎ # $% ( \%9;@ J1) : '1 – ¢J +)$*@à 8 ; 1 ू' 0'1 – #45% ' , , ' ' à ; : *I+ –, १Ð४ ३) मƜȏ * + – 9; !Ǎ # $% : '1/ Ý '1 – 1 [8 ;â 91 +ि'1 - 9¡ p , ू , , * ;W ê) J'dऽ+ , : *I+ –, 5 #% १, ,०।४३,०१,, ब+#% :, ( ȍ* , मƜ ऽ 5I ऽ;1 ') 1 ' ©% 1 । %ऽ ू + pǍW+ , । %ऽ 8 # $% ॄ ȕW'© * # 08) * G0@ ;+b , । \%9; ȍ* , ') ; 0Ô# Ý5% !Ǎ # $% ू g । +Ɩ' K- * ' 1 ;ऽ ę 8 ')0 ँ;A । X%íW # <'; Y ; @% % , &'!'01 +Ɩ 1 @ 1 #c H g 1। %5%9; ȍ* '), ')0 1 * 0% 1। मƜȏ H ¦ J !Ǎ 0<*'0 ^;)1 % * ~' +Ɩ *ब+ W' &' î ï 0% ` Ȁ । *; P@;)1 0 ^;)1 + * + * 8*# '% Y 0Ô% । ~ 59 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' ४) मƜȏ * + – 9; !Ǎ # $% (ू +) @ J1) (१-१Ñ ' K- *) : '1 – 9 '@à 8 ;1 ; : *I+ –, १Ð ू' 0'1 - The Asiatic Society, 1 Park Street, Kolkata Ñ) मƜȏ * + – 9; !Ǎ # $% ( \%9;) @ J1) (I)-0' K-+), : '1 – 9 '@à 8 ;1 ; : *I+ -, February, 2 008 ू' 0'1 – The Asiatic Society, 1 Park Street, Kolkata ) मƜȏ * + – W 1 !Ǎ # $% : '1 – 'Ņ $ 9 P X ;1 ; : *I+ –, २ 9 २०१० ू' 0'1 – ' 9' +') p0++, , * [ू' 0*+, , 9 Ð) मƜȏ * + – 9; !Ǎ # $% (%5%9;) @ J1) (Nj 0 0' K-) : '1 – 9 '@à 8 ;1 ; : *I+ –, २०११ ू' 0'1 – The Asiatic Society, 1 Park Street, Kolkata 9 '@à 8 ;1 ¢J +)$*@à 8 ; ȏ ऽ) @ % । %1 ; :bWY ' ;+ 9% , %g* :Wb Y '5 %+ ।, %1 मƜ } %*)# – “B 9;# Ȁ J) ƞ ! %ǰ+ +Ǒ% ” T % । ' ँ+9 Ļ !Ǎ 0 ^ @ %Iȏ)h Z ' ँ+9 Ļ` !Ǎ 0 ^ ; 1 dž= ू8 [9% ,। ȍ* , ƞ@G )* ूW9% % (W9 ू+ W@% ` Ȁb । T %$ * W १४११ भ9 q Əb Y ' ँ+9 0ȏ %$ 1 6A# I Wb ¢ $H 9% , । ू ;01 १३ भ9 q % , १३१४ भ9 q# ; % , %' 0ȏ M1 'ƞȏ 0 *+; $@àbb T % 'H* ' ँ+9;'1 T ȑ +=+GW 9 d%1 * ,* Xd § # *;)`@% , । g * ' & ¿9;* 1 %*# '5 B + Ä'-!-P 9* , T % * 8%1 %1 । ;+6A# ' *) *H $ȭ=+ȏ )=# '5 B ॄ ȕW * # LJ ;मƜ * # * 0+')% , । %I - (- Ļ) %I ;1 ू= * [* ,। * ' +% % % h ' : ' 0d * * * + O#% # = ; @ %9; * + ,[ ư +56 ;A# % * # #4 W # *I= I; ` ¢10') )IW# 8' । [ j *% Ȁ5 * dž= 9 -% 1 । ; )# % (K; + -, ¿;# ॄȕ ब; \I9 ¬!H ू %) =%1 । $@à1bbbb ू@ #### % % % % @( +!;% ॥,,,, १२ १२ ( \. .%. – Ï).ÐÑ०) ~ 60 ~ DE + '%Ƈ * * ( \ ) % 9-; 0 Ȅ *ƞ; ि)$ 8A; । 8 'Ç; 8 %ȏ q; %# ऽ8%!Ȁ ॥ १३ T % । १४१३ भ9 q`< %' 0ȏ M1 +56)*A+ , 0 $ T6 @= *ȏ M1 0 *' $ȭ=+ȏ * 0 ू= *@ +' #b *$* ू= *+ Ɩ, ɖ ू Nj * ।, १४१ भ9 q !*-P , -[ 9*, T %, * ' ँ+9ȏ #$ *+ iȗ 0ȏ 0 Aू % ;! ू ;%% । % *ɖ ' ँ+9 0 $ȭ=+ȏ +< 'मƜ * # *ij )`@% ।, %¢ĭ% % (K; + -, )I ' W $bbbb * ;I # ) 8% m %1 । §' ;g%) @ ¿ * J,,,, W*Ȁ * +$9,,,, %1 ॥ १४ ƥƥƥ !=)J %#!=)J %#!=)J %#!=)J %# ू Nj ू Nj ू Nj ू Nj ''''´)j 65555 @@bbbb । ू $% %* J W* JW W JW JW ॥ १५ ौ9'Ņ $ -P X ;;GW Pj5% % , =) ^% % , Ï)' M ;% ;% , 0;@à * ' ँ+9 ॄ ȕW * # @ %9;0 Ȅ W *i Ɖ *# $%+ T %, । ; - * 0%# $@àbbbb * ;% ' ँ+9+K- ,,,, । ;) %# 0;@à * ू *; ` %% ॥,,,, १६ 0;@à1 !*-P -[ 9*0 'ȏ +' ' [9% , । ;+ )* ; % (Wɖ ^% # ू; + % %$ ' 1 A । )* ȏ % (K; + ȏ * +)Ä^1 ू Ǒ% । &' § =मȀ)`@%b , । % = * 'W# Ji-0 Ȅ 0 * I!* **! 0;@à * ब;% । ; )# \%9; % (K; # - ¿;# g @;) M ू NjȀ+ + ;%bbbb ।,,,, 0; @à) I Ȋ)p# '9 I + ॥,,,, १७ ;# =+ % ,09;@à1 Ji' # #m Ǒ 0ǽǰ1 ƩȄ W ू ; \ ऽ * , # ; + । ȏ Æ1 'W p!V$ * ¬Ʃ%; ``9% , । Pĭ% 8 )* '5 %- % (K; + -, १३ ( \. .%. – Ï). ०) १४ ( \. .%. – Ï). Ñ) १Ñ ( \. .%. – Ï). ) १ ( \. .%. - Ï).१०Ñ१) १Ð ( \. .%.Ï).१०४३) ~ 61 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' g¿'9;Ȅ Ʃ ँ0; @à)` =+ % ।,,,, %*! # %# \ ऽ * ;% ॥,,,, = + % 0 `ȏ 0;@àȏ =9+%1 । 'W p * + + J+ $W9;% $W9;% +55 +॥+॥ ,,,, १८ +$ @ % [8 ;1 ि)W1 ौ;W * 'i !V$ W# §= %।, %ȏ +W) A * ौ;) %1। %%1 + ;#, 1 'W p * 0W9', 5 % * T %, % (K; +ĭ% । ; - ऽ ( +% I ƞ5555 ; % ' 1 ' । '<0 ,,,,ि)W) W# 'i !§= % ॥,,,, १९ ' i @ *$% ि)W % * ौ;1 । 0W9'5555 % Ʒ 1 'W p ƭƭƭ p8 %* * ॥,,,, ौ9'Ņ $ +$) ;1 $@à@; 'b ȏ ;j@àȏ I;` ' #H* Ï)' * , Pj56 ^ % ;% 'ँ+9 , 0 M *ू « Y %ि Ļ Ȁ§ * # 8# +*) [9%।, ; )ĭ%- 0 Ȅ Z ȏ + $ #### ँ;% +ँ;% +ँ;% +ँ;% + ।,,,, ' ँ+9 ' * # %µ «! 8+ 9 ưưư *) 1 ॥ २० +; *)= * $@àb 9 -%1 ;G \\ * ;, j@à1 'ँ+9 Ļ# 6 'W pू 0# ू % J% * , । %ऽ6 * # ¢I # ' 0 % , +=96 *1 ौ9!*)Ä 9*0 * ¿ Ļ# + J6 %\ ȏ ू8 # ू ')% ।, %¢ĭ% - ' ` % $@à@; 'bbbb 1 । ;j@à @=) + *9 0 A+J % J,,,, W9 ॥ ; I1 * µ9%!1 'W p!V)` %1 । $ȏ+ W# * # ू6 J%) @+ ॥,,,, ौ9!*)Ä @ *ȏ J W*) JW JW1 । P =9'5555 6 %# # # % +9*% ॥,,,, २१ &# ू' W 'ँ+9 0 ` ȏ ू8 ू ƞ@G PÄ^1 ू Ǒ% । 00% 1 ू }' 'W pू 0 % , ;j@à#J $9% 5 Ð +Ɩ ~' # $% [ 0'¿# %!V$ ू Ǒ% । ऽ ू g¿ =1 !Ǎ 0 ^ ; 1 ू %0 c * W 0d 0 Ȅ * W %% T % *W;1 %9 ¢Ý) @%9 % ौ9'Ņ $ +$) ;!1 ू % % । !Ǎ # $% ; 1 + ƴ 8;1 = W%1 ȏ 8* ब+1 \= @)` Ȁ । ; - ' K---+Ɩ 1b T % ू +1 ब+1 । ' K- * 'ू '-+Ɩ 1b T % \%9;ब+1 । :WGb + *I १ (%ऽ! - Ï).१२Ð३-१२Ð४) १ ( \. .%.Ï).१२ Ð-१२ ) २० ( \. .%. – Ï).१२ ) २१ (%ऽ! - १२Ð०-१२Ð२) ~ 62 ~ DE + '%Ƈ * २० ' K-I +c%1 I;ऽ;# ू % % । ; - (१) @I M *+ , )J * ' 'Ņ $ 9P X ;!1 : % ȏ !Ǎ # $% ;मƜ + *-' K-- * '- -+Ɩ#c W9b ; – ' K-+ , * '#c #c b +Ɩ#c ू +' K-+ , २२ ११२ ४Ñ \%9;' K-+ , १ १ ४३ %5%9;' K-+ , ४० २२ 8% ' K-+ , ४० ३०२ +' K-+ , ४० ३Ñ३ I' K-+ , ४ २३ २३Ð Nj+' K-+ , ४ २० २११ +' K-+ , ४ २० २१० *+' K-+ , ४ २ ३० 0+' K-+ , ३ १ १४Ñ &' 0' K-+ , ३ १ १४Ñ \ 0' K-+ , २ २२ १ ~ 63 ~ ‘‘‘‘ ’ ’ +´ %bbbb 0)=0)=---- ऽ' ऽ;) 0' K-+ , २ Ñ 8% 0' K-+ , ३ ४ 0' K-+ , Ñ २३ २२Ð I)-0' K-+ , २० १ÑÑ १३४ Nj 0' K-+ , ÑÑ ४१Ñ 0' K-+ , १२ २ ४Ñ P* #0' K-+ , १४ Ñ ०Ñ #0' K-+ , १० Ñ १ ;)J1 – १ २ २३ ÐÐÑ T *ɖ + ǡ;) ȏ \;)1 0 ^;)+X !Ǎ # $% 0 ^ ू 89* % ¢I + @ू ;1 । %ऽ “0# *) 9 @; [ ) @A 9%;०” T % !Ǎ # $% ; 1 ू ++Ɩ+ ौ6 ȏ ू î+ (9 ब;% । ;%) $ @ %9; : ; # +$ ;MI ; ॄȕ;Mȏ ;)*# ब;% % < ȏ! +Ɩȏ)¨ W+ ब;% T % &# 8%I I ȏ +$Ƈ Wb Y m *# %% । ȏ ȏ I;Ȁ ;J) ;) J @ % । A T *ɖ * * + @i 81 I ू ;1 * ँ;% । 0%; ȏ 0<*'# $% ; 1 ; ू8 1 ू H Ȁ % ! !Ǎ # $% ; 1 ू8 1 * )Ô% । æNjू ; ; 1 !Ǎ 0 ^ ; 1 *ij 1 \ ¦1 'W9; & । ȏ # $% मƜȏ *1 ¿ !V$ : *+ % । ऽ ! ' 1 \ # & + ौ;W9; 1 । T6 # Ä %* । -.. )+* 01 $ ;' 8 ; 1, *Æ *ू' 0* @ J1 ;#45% ;1, %i %1 २२ (» .+.@ . – 45% $6# I%, , ') ' % , 5.११Ð) ~ 64 ~ DE + '%Ƈ * $ ;'मƜ89bbbb --- # $% (0<*'9;1) ( ;W@ ǽ $% ) - : . - Æ1, *ƞ! '- 0)=#m *+, , $) 0; 1, Ņ 1 । *i+ (; 4 8 ;, 1) - : . - [8 ; ौ9@J9 0 Ȅ9, +$8ƞ »+* '0Ƹ, * $ 9, #4W+ -, २०० । +$ @ ǽ+ , ( %Ņ 1) - : . - .[~ +ौ1, 8<^ @ %9 ू' 0*, W9, ू +#4W+ (२०१०), । ौ9+¦ J%+$ W+ , - : . - - .ॄȕ *ƞ ऽ 9, 8<^ #45% ू % *, $ 9, #4W+ -, २०१३ । ! ' ;ȏ %$ 1 - ^'1 - [8 ; J 0908¡ +ौ1, 8<^ @ %9 ू' 0*+, , W9, #4W+ -, २०१ । #45% ;+ , - ूW% - - .$ '5 0 Ȅ % 1, '9 g<@ू' 0*+ , , W9, ू +#4W+ (१), #45% ;! %ȗ ! ' ;+ ,- ूW% - - .0)'8¡J<-0 Ȅ9, * J 0, $ 9, ू +#4W+ (२००Ð), । )* ूW9% % (W9 (E-B ook) – htt p s//e p ustakalay.co m /book/ 2 6997 2 -d w itiya-ra j atara ng i n i-by-j o n ara j a-p ra j ya-bhatt/ 0+ -, : . - + 9 ) #J, 8<^ ç ; " ; , Ä9, 11 0007 W+ -, : . - -..ौj 0Å , * Jू' 0*+, , Ä9 ; W+ , - * '1 - +ू% ऽ 9 0 Ȅ9, $ƞ9 $6 *#, ू; J1, 12, *+ J 1, T $ 1, 1 987 4ƞ W+ –, J9% ू , , J)^ + , , *9, 1 95 1 W 1 !Ǎ # $% - : . 'Ņ $ 9 P X ;1 - ' 9' +') p0++, , * [ू' 0*+, , 9, 2 0 1 0 ~ 65 ~ ISSN- - ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ~ 66 ~ ं ं ं ं ं ं ं ं ं ं ं ं ~ 67 ~ ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ~ 68 ~ ं ं ं ं ं ं ~ 69 ~ ं ~ 70 ~ - ३४ - २०१ ISSN-२२३०- २ ! #$ """" ! % & '(! ) %! $* ! +% ,-. +ƞ ! 0 1 2 $1( "34$ ! 56 2$7 $Ƈ #9। ;%! <=6 ! ( ू +1%! ! 5 $! ू(ƌ !( # #9। @ !A $B %CD !1 # ($ = =E B F !$ #9 Ȁ$H B F ! +$B JI #1 %$ #9। = =E ॄ ȗA मƜO ! P(% ! B F !$ #9 QA7 F B F != <$ $ #9। R ST ! 2 ǽ! V0 6 ! 21 0$ #। १ < $! ! ) % !1 W2 ' (X W4B! Y !! %#ɖ [ (E1 $< $! 2 ǽ !1 # ($ % W 21 0ƖO ! (B B F $ Ə( F B ! ) % ! #ȏ (B $ %#ɖY % !$। = _ % Y $ '(! W2 ' (X ॄ ȗA मƜO `a4$ !$ #9 b # c W ॄ ȗA +% `W ǡ %#ɖ #। $= `! +% W%1 e !$ #9। B F ! WA7 F ) $ #9। ;0X 2Ʃ gh(O $ e " ! = 2 E !( $ #9 ( 3 2Ʃ #9। i! ! _ J O ! `j[ ! #k 0X %! l O W ू Nj #=$ # ! S+ e " ! n $ e " 21 #9 S+ e " 0X Ȁk JDJ' != $ !# $ #9, %! ( S+ (X 52$7F dž(1 $B ` S+ ! W q ! `rɖ ! ( 5dž$( c ( ƴ `W# ( $ B - “““(= “(= # $ 'u(vƞ= ू01($ $ॄ ȕA % 0ƖA ( ($ xP W($ l A """" vvvv$FFFF E$u W k$ W W1( % 2$।”2$।YYYY ”””२ ;1 Wूz 0X !# E( # ! ! _ $ J', ब( J' ( `%! 6% J' !1 +% F ( ूJ" !1 $1 # # S! Y #। - “““ĭ “ĭ$FFFF ूJȏ$ूJȏ $%( J 'H ब( J'Ȁ$ 6%JYYYY '1 ;$ Sě~@Ə$।”Ə$। ”””३ W P ( ! %V ! ूB0 $1% ! , %V ! ! ,, +$B F ! , != %E0 ! , $B W0 ! , != $ ! , !#$ #9। %V ! W0 P ( ($ ! ,) 0X O 0X ू(D $ e " ! 2Ʃ 26 %O ! "म# !( E( #। ;! E$F $1%, ऽ(=J W, 1 W, <1 W, ;!$1 WO ! `j[ !( E( #9। ! ११ W ू(D #9। %CD ! Nj0 P ( +$ JF P ( W(F $! , १ SEB1W! F /१/ २ %F ब0A1 १/१ ३ S ǽ20! 7 W4.." ४, ~ 71 ~ ‘‘‘‘ ’ ’ 0 $7777 J=6J=6----Wऽ! Wऽ! !1 @ !1 E(1 #। $E$F $ e " ! 26 %O ! %+%F a ( E( #9। $ n1 #=% ! ! A ; 2 E != $! , !#$ #। %CD! ( 3 ! 0$ 0X = % % , 1Nj #=% $B =$$ #=% #9, #1 $ #, O! `! l % =! #9। ४ $% = # #1 $ #। %CD! % ऽ6 #1 0 % #- W41l %1( , ( ( ; l %1( " $B ( 7 F =!l %1( - $Ȅ i $ ;$ %CD H। &H W4B1l %H। (u= l l %H।%H। (7777 l %H। & $ !!=J (2 E i! W4h " ) 0X & ! B F # :- मA1 2$ (() 0X & E #=$ #9) म + %1 !ĕ = म1 ( b ! =W) 0%ǽ=W! 1 ! ( 0X & म # 0X $ #, $H & म #। + % = म1 21 Ȁe " != & W% 0X $ # 5 $ !Y $ #9 $H & # (" %($ "%00 %H)। & ! ƴ B 0X ` W0, $, (7 F % %1 (& % " % %1 !# $ #।) %CD! ( 3 ! 0$ 0X & ( J¡!$ F #9 = % !=W($ % Ȅ#($ ;$ &H ! W1Y 6 $ Ȅ# B !F #9। J !WA7 ! 0$ 0X & E + % %0$F # B $F Y& E$J1 #9। & W=#$ #। ¢ %ूl != 21 & !#$ #। & J~ ;A Y) # ( A1 6 $Y e " 21 a #=$ #। ;A Y ) ( # E e A1 Y %1 ! म1 <%$ #9 = (% + Ņ% + %1 = %1 = &। $ % ऽ7 ! % ! & E2 F ! +% # - ू %%" ! &H। ƞ=T(=W%' Y ! % & != Ȅ1 !# E( # - “““(=' “(=' E¤$0 &H।E¤$0 &H।”””” ST ! % & (7 F ! $=6 0#0 % !# E( # ! ! A ¥¦ F b 6=E 01 JD ब( #=$1 #। १० ;1 & != $ e " ! §$ 21 !# E( # ¨$ &l W% ! ू+ $ 0Ɩ 21 `!= §$ ४ %CD 7/१ %CD 7/१ %CD 7/ ¢ ST १/१/१ $ % ऽ7 १/३/१/४ ƞ=T(=W%' Y४/ १० ST १०/१२१/ ~ 72 ~ ! #$ """" ! % & '(! ) %! $* ! +% $B % 0 %$ #। ११ ST 0X #1 ; & != W=#$, (), Sª!,Y #=$ , `0 ƌ6 !# E( #। १२ & !ब$ (0# % & ()O ! , « 01, % $%, k, ू! JE 01, W% $ 0X % a4 != ू Nj #=% #9। १४ R$( ॄ ȕA ! 0$ 0X & 21 $ e " 0X ूB0 $B 21 ! $ # (R$( ॄ ȕA, WŅ! १. P ( १. [, १-१ $1( ॄ ȕA १/२/१२ E=WB ॄ ȕA २/१/१२ ',"J ॄ ȕA १/ /२/ , 0ऽ (A1 "#$ १/४/१४ $B %CD ¢/१¢) & 21 $ e " ! WJ 21 #। ¬ $B E=W (!) 21 # ; ! A ॄ ȗA (WŅ! १- ) 0X & != #=$ , S', $ $ , E (ऽ, %, %ऽ, 56(, ,F WB!4 $, ", ऽ$,4 ()0[ %, Ļ=$ $=6 , S$, q, Ʃ , 2' , 06 ;h, 5 ' 5 !# E( #। & $ e " != (# c $ #। & #1 $ e " ! ( #@ #% !$ #9। !1 21 $ ! ( 5dž$ 1 (E1, # 5#%1( 0X #1 1 (E1 $H ; & != #@ #% !# $ #9। (# dž5 5P ! !B% ;! $D ;% $*O 0X ! R + A1( $* 5$ #9 ) % !1 !=V 0X [ $ # $= 0 J=6 Wऽ ! `¯ँ( & '(! = ) %! $* # `rX ; J=6 Wऽ !1 # ($ `± V$ !% #। (#ɖ `j[%1( # ! %0 % 0X i! (ॅ ) 6 A # ! 0X ! 60 F () ! +% # ( $= $ e " !1 Ȁ$ 21 dž # W ( #0 ³7 gh [X $= «(" ) % #9। ! ;0X = ) %!$ 21 dž # ` 0´% B=µ !q% #9। ( 56%! ) % Ȁ ू6 % # $= ! ) % 5P ू6 % (#1 =%O 0X #। ) % - Jh ) %0 ;$Y ) %0।Y ) % !1 = J [ i c #9 - १. ू !4 $! ) % २. 0 ! ) % ू !4 $! ) % # ) % # 0X W B F b ू!4 $ ! ) %! P(% !( $ #9। ू !4 $! ) % !1 i! J [ 2¤$! ) % # ! E$F ॄȗ , 0X l$ Ȁe " ११ ST ३//१२ १२ ST १/१/१ १३ ST १/१/ १४ ST १/१/ ~ 73 ~ ‘‘‘‘ ’ ’ 0 $7777 J=6J=6----Wऽ! Wऽ! ब( e " b `rX ू2 $ !% ! ! e " ! P(% !( $ # $H W B F ! P(% !% 0Ȁ ) %O != 2¤$! ) % !#$ #9। W B F ) % ! E$F #1 ॄȕ , 0X l$ 2Ʃ $ªO $B - &,(7 , (F ,0 , W4B1 5 ! P(% !( $ #। W B F ) % ! %(0 # ! != 21 W B F W% 5W %1% « W 6 A %#ɖ !$ # b % #1 !1 W B F ! QA7 F % J #=$ #, E1$ 21 W B F ) % ! ; %(0 != Ȉh J~O 0X ूȀ$ !( #9 - 0X $ Y 1 != Ȁ %#ɖ # b $ ! Y 2 %#ɖ # !1 21 Ȁ ! `¸ 2 %#ɖ #= !$ #9। १ ! #k 0X #0X & ! = A%F ू Nj #=$ #। ` %! ) %! $*O !1 %! 1 0 $1 #। 5 ! ) %!O % [= %! #। !"$ ;! B #1 (# c (# <$ % 5ँ(! # ! ! ूB0 ) %! #=% ! ौ( B F S' % & '(! $1% 5¡ !i #। १११.१... 4 5 & ! 5¡ --- B F S' % ूB0F A % 0! 4 !1 !µ(O != E,! & ! 5¡ !( B ( u ! !B% # ! B F S' % 'AF ! _ & `ƏƩ !1। () 0X ; & ! ूB0F ू(=E B F ! Wऽ 61+1 % !( - “““B “B FFFF ª ूB0= %0Ɯ%0Ɯ&&। $0 ª Pº,P º, YYS' 6 Wऽ BAH।AH।”FFFF ”””१ ST 0X B F S' ! `j[ १ < dž5 #। २२२.२... ! 0Ɯ% & --- S' ! _$1( 5¡ #9 - 1( $। ST ( u 0 b $1( "#$ 0X `j[ # ! S' % $ < ! 0Ɯ% ! _ 1( $ ! 5¡ !( - ª 0& W¡ 6 B FFFF %0Ɯ$%0Ɯ$। ।।।१¢ ( u b BF 0X `j[ # ! & W #9। ;! 2ू ( # ! 0X & 0 % #$1 #। 0X 0Ɯ% & ू!V #=$1 #। १ ३३३.३... 2 E2»(7777 & --- B F S' ! $4$1( 5¡ #- 2E2»(7 & ! W$ E % b ` `Ƃ%% ! _ %! % । ;! Ȁ$4 A%F ST, ( u 0X 0 $ #। ST 0X ‘W1ǽ = Ʃ(H’ J~ 0 $ # B #1 ; W4B1 i" 0ि [=! %! % ! `j[ #। 2E2»(7 & ! <dž+% 0X `j[ a !$ # ! W1ँ( & J~ ! _ 2E2»(7 १ E1$ २/१ १ ( u ११/३२/३३ १¢ ST /१ /१३ ( u ११/३२ 0 $1( #$ " ३//११/३ १ ( u १ /३ BF १ /३/ ~ 74 ~ ! #$ """" ! % & '(! ) %! $* ! +% ूĽ %J1 21 W B (B Wश= E !=% 5 ! म#A #। ( u 0X W1ǽ= Á ! _ `j[ # ! 2E2»(7 ( +1 X ! i k"$ `W(=E1 # - W1ǽ=1ǽ=x xxx 2 222 B FFFFª ूB0= %0Ɯ%0Ɯ&&।।। १ ;! B #1 BF 0X !=( !1 [ %O ! `j[ #। ;! ƞ #=% 1 & !1 2("!$ ! Ȁ$4 A%F ू Nj #=$ # - ॆ=!= 0%=# [%= % #FFFF 5§'Ȁ5§'Ȁ%%§'H।777%7 २० 0 % 1% b ) % !1 gh & < <dž07 b 5ँ(! W B F #9। 0X & "<"6$ %!O $* ू Nj #=$ #। 56%! ) % ! % 2¤$!1 0X ;% '(O W + !( $ # JD E$ ¥ F 0* F $ W ¦%, ू! J +!ª $ % 2!1( ¥ F 5। १११. १... ¥ FFFF --- ¥ F ! '( 0X %(0 # ! (# % $= `ƏƩ !1 !$1 # b % #1 %h #=$1 # ;! ! W A #=$ #। Energy can neither be created nor destrayed. It can be transformed from one to another form. JD - Energy, E$ - Motion, ¥ F - Power, $ W - Heat, ¦% - Sound, $ - Electricity 0X ¥ F ! ू$%6 & != 0 % E( #। ( u 0X !# E( # ! & i" 0 #। ¥ F 0X ( #Y - “““0$u'“0$u' &ȍ$=4444 % 6 (। &04$= 2_2_(=2H।(=2H।(=2H।””””२१ ¥ F ! W A- & ! '( 0X !# E( # ! (# i! #1 # `! W A #=$ # `0X 21 ! ( != !% !1 0$ # $H ` !0 F !#$ #। ¥ F 21 != 6 A !$ #। J~ W ू! J। (# 0#7 0X + $1 # $H ; 0#7 !# E( # - “““(=“(= % " % % 06 06 i! i ! % J$%" WC C W0W0।”। YYYY””” २२ `j[%1( # ! 0X Eh b 0h J~ ! ू(=E !( $ # +;h ;h J~ ! B F # & 5 !1 JD ( ! ( F W0 A ! +%। 56%! ) % ! % JD ¢४.¢ Š ू$ !X, #। ST 0X !# E( #- “““& “& 6 0= %W 0h ।।।”।””” २३ १ ( u ११/३२ २० BF १ /१/३ २१ ( u १२/२४/२ २२ ST १०/ २/३,२/२/ २३ ST २/ /२ ~ 75 ~ ‘‘‘‘ ’ ’ 0 $7777 J=6J=6----Wऽ! Wऽ! % & --- ! ूk! !A 0X ¥ F #9। ; 0X % & !# E( #। ; 4h ! ूk! Ȁ ! `Ə ! b !$ F !# E( #। (# " != W% 5!'AF W% J 0X !i dži #। ;!1 ¥ F !µO ू! !1 E$ 1 # - ““““ %= !4444 $। % % 2 $1% 0।”। YYYY””” ; ¥ F ! %!O % 0 0X ू Nj #=$ # (B ;H-ÝH-ॄȗH 6 $ 0ऽ (% F 5। (# ¥ F 0 7 W 0XY ENj ( @D #। (# @ W!F #। =! b 207 ! ूk! !A 0X @ Nj #। ¥ F ! ! A #1 E$ l$ b W$%F #=$ # (# != +$% $1 #। “““ȏ“ȏ !$H 2%ȏ E2 FFFF5 =1 5W4A $ 5YYYY =1 2 %% 2 k।”2 k। ””” २४ $$1( "#$ 0X ¥ F #$ ू(D ! ("ऽO ! 21 (B ("ऽ (# ( != `ƏƩ !% i" ( ! < < != % W% ! i ू(D #=$ #। $ ("ऽY (# $ B $F ू! J 5 !1 `Ə ! i B ‘$ = (Ɩ (’। ;0X T("ऽ ! 21 `j[ # "2$H (# ¦%$"EO != % W% ! ("ऽ B + " ("ऽ0 J1(YYYY । २ २२२.२... & 0X "ू'A JD (((Power(Power of transmissiontransmission)))) --- & 0X "ू'A JD ! i ि $E 0$ ! +!7 Þि$ J~Y ! ू(=E dž5 #। ;1 6 $ "34$ ! ि $ J~ <% #। ¥ F !1 ;1 "ू'A JD ! 56 W ,(O b V1.1 !1 +% dž - ȏ §$004$0।YYYY §ि$ « #$YYYY H। २ ३३३.३... & 0X $ $"E (((Electric(Electric WavesWaves)))) --- ! W# !# E( # & != $$1ोE 01 0 §$ E( #- 1" §$00k0F ।Y n=...... ¥0(H...... F &ॅ (F +(H।F २¢ ४४४.४... & 0X ौA JD (((Power(Power of HearingHearing)))) --- ST 0X ौ$!A F J~ (# "!$ ( E( # ! $ ! _ ¦% $"EO ! 21 "ू'A #=$ #, §l @D WȈ $ WF ! !$ #। ;1 56 W V 1=% ! 0 !$ # - ौ6 ौâA FFFF Ȓ2H। २ ूȀ$ 0"ऽ 0X Ȓ J~ ¥ F 0X #% !% !1 ( % !1 JD ! =$! # ( u 0X & !1 $ $"EO 0X २४ ( u १२/१३ ST १०/४/४ २ $$1( #$ " १/ /१/२ २ ( u १/३३/३४ २¢ ST १/४४/११,१२ n= ू«%$ ¥0(=x&F ा +(HF २ ST १/४४/१३ ~ 76 ~ ! #$ """" ! % & '(! ) %! $* ! +% " "ू'A !1 0$ ! i ौ= (H J~ ! ू(=E dž5 # J$WB ॄ ȕA 0X ; 0"ऽ !1 @ 0X !# E( # ! ; $ $"E ! _ #1 § J 0X " % !$ # (#1 ,(= b ( !1 +% ! 56 #। २२२.२... $ W$ W$ W --- & 0X ȀA !1 0$ --- & 0X $ W ! _ Ȁ !% !1 JD # ;1 56 W =!O ! Ȁ #=$ #। & ! _ #1 2 7 5 ! Ȁ dž5 #। 0"ऽ 0X `å $ W ! i ª' J~ ! ू(=E !( E( # - & ...... (% 0 ` YYYY $$ƜFFFF ª'H । २ & % <, <, +æ % != 21 W% $ W $=, ( - “““1,“1, "" "" +ि0+ि0+ि0+ि0 2%$YYYY ।”। YYYY””” ३० ST 0X A%F # ! ; % W$OF !1 +æ %O != ळ ! V! %(O ! i 0 E F <% ( (#1 $ W ! a "$ # - “““ळ“ळA [ % $4A% %1% 0YYYY ।।”YYYY””” ३१ & #1 W0 Ae " 0X E$ $ # (# & ! ¥ F #1 # 21 W0 Ae " != E$ 0 $1 #। (# c !A ! i...... $ Y J~ ! ू(=E !( #। “““&0 “&06 7777FFFF FFFF H !! $ YYYY W$H W4B@ (0।YYYY W " $ " Ʒ$।” Ʒ$। ”””३२ B #1 ST ! (#1 !#% # ! ूk! 0XY & 0 % #३३ - " J' + %= l % ; & ! ! A #1 $ W #। ( u 0X & ! $1% WO ! A%FFFF # --- ूk! 6 $e " 0X 21 & 0 % #, $H =# =% 5 != E % W `! 5Ʃ( W #1 ू!V #=$ # W4B1 ! ƞ 0 % & ! ! A #1 21 6 $e " ! %0 AF #=$ #। (7 F b (7 F !1 !AO 0X = ¥ǻ 0 % # # & ! #1 W #। १११. १... BH J' $% 7777 --- ' Y! B F # 6 $0 $ - =# , $ "< .... b J( ! B F # 0X 0 % & । ; ू! W4B1 b 5! J 0X 0 % ¥ F ! $1% W <$ ( E( #9। २ ( u १२/४ ३० ( u १२/२३ ३१ ST २/१/३ ३२ ST /४४/१ ( u ३/१२ ३३ ST १/१४/४ ~ 77 ~ ‘‘‘‘ ’ ’ 0 $7777 J=6J=6----Wऽ! Wऽ! २२२. २... #J( $% --- # J~ (7 F b (7 F !1 !AO ! ( #। ३३३. ३... H J( $% --- Y J~ ! B F 6 7 !A b 5! J #। (# c 5! J1( !AO ! B F 2ू$ #। 5! J1( !AO 0X ¥ F 0 % #। $i $ 5c61 $ %7 5 !1 `Ə$ #=$1 # । H J( $% - ( $ & &x(H JJJ( J( $%H।7777 ( $ & HJ( $%H।7777 ( $ & #J( $%H॥7777 ३४ 0X &=0 !0 Y E$ Y; $* != «1! !( E( # ूk! W0 A 0X $1% $Ƈ #=$ # - १. 6% ! २. SA ! ३. ` 1% ;rX #0 ) %! 2 ' 0X ू=श %, ; ìश %, ƴश % !#$ #। 6% ! & $Ƈ ू! "+ ! b E$ $ #। (# ¥ F ! ूA $ # =0 SA ! $Ƈ #9। $ i E$J1 $ #9। & ( ¥ F ! ू2 =0 0X ब($ 5$1 #9। ;1 4h ूब( 5Á #=$1 # ƴश %7 l$ l W! ( 56 ! ! 0 !$ #। `W%'O ! !B% # ! (7 F $B & 6% ! # $B =0 b ( SA ! #। 6% ! != $ b SA ! != ! % 0 ( E( # ; ू! $ b ! 0 (# " <% # (#1 & !1 ) %!$ #। $H (# Ȉh # ! & 0"ऽO 0X $%1 6 0!$ F 21 dž # ` !#1 Ļ ) %!$ b `! `W(=E ) %!O % ! %! `W!AO ! %0 AF i" %1% J=6 !( #। ,-. +ƞ ! 0 1 # %# ( j1 ३४ ( u / ~ 78 ~ ! #$ """" ! % & '(! ) %! $* ! +% # (! मƜ +17777 :-: --- $1("#$ , Q . V.60 6! 1,F WA : !"J=6%0, , १११। %CD0, Y Q . 0! ƞ´ , A1 : +¤[ "34$ू$¬ %, २००। BF H , Q . 0= $ !:, , : «P (0, :, १ । STH , Q . 0E=ƞJ Ȅ1, A1 : +¤[ 2%, २००¢। Jî( u (0 Pƞ%"#$ ), Q . 0!4 ÝJ Ȅ1, A1 : +¤[ 2%, २०१३। 0H , Q . 0« WJ0 ,F A1 : +¤[ #k, २०१२। 2 ǽ2 0! "म#H,7 Q . =W P (, A1 : +¤[ "34$"l %, १ । $ %ौ¤$ ऽ07 , Y Q . + ,E u,F ख,% : १¢। 2Eð1$ , E=W : E1$ ू, २००१। ƞ=T(=W%',Y E=W : E1$ ू, २०००। STB1W! F , Q . ³A « W, j1 : 0=$1 %1 , १ । %F ब0A1 , Q . `0J+ƞ J0 ,F 1Eñ : ! ू! J%, १¢¢। ~ 79 ~ ो ो ो ं ं ो ो ो ै ै ै ै ै ै ै ै ो ै ै ै ो ो ो ै ो ो ं ै ै ै ै ं ै ै ै ो ै ो ै ै ो ै ै ो ै ो ं ं ं ं ं ो ो ो ै ो ै ै ै ो ै ै ै ो ै ै ै ं ो ै ो ै ो ै ै ै ै ो ै ै ं ं ो ो ै ै ै ो ै ो ं ं ं ो ो ो ै ै ै ै ै ै ै ै ै ो ै ो ै ै ो ै ै ै ै ं ं ं ं ो ै ो ै ै ो ै ै ै ै ो ं ो ं ं ै ो ं ं ो ो ो ै ै ै ै ो ै ो ो ै ो ै ै ो ै ो ै ै ो ो ै ै ो ै ै ो ो ै ो ै ो ै ो ो ै ै ो ो ो ो ै ो ै ो ै ो ो ो ै ो ो ं ो ं ो ो ं ो ो ो ो ो ै ो ो ै ो ै ो ो ो ो ो ो ो ै ो ो ो ै ड ो ै ो ै ो ै ं ै ै ो ै ो ो ै ो ो ै ै ो ो ै ो ै ै ै ड ड ो ड ो ै ो ो ै ै ो ो ै ो ै ै ो ै ं ं ो ो ं ं ं ो ै ै ो ो ै ै ो ै ं ं ं ै ो ो ै ै ो ै ो ो ो ै ो ो ड ो ो ं ै ो ं ो ो ो ो ो ं ं ड ो ं ो ो ो ड ड ो ं ं ं ं ो ो ं ो ो ो ं ं ो ं ं ं ं ो ं ं ं ं ं ं ो ं ो ं ो ं ं ं ं १ ~ 87 ~ ो ो ो ं ं ं ं ं ो ंं ो ं ो ं २ ो ३ ं ं ४ ं ं ं ं ं ५ ं ो ो ो ो ं ं ं ो ो ो ६ ो ो ो ो ं ं ो ो ो ो ो ो ं ं ं ं ं ं ं ७ ो ं ो ो ो ो ो ो ो ो ~ 88 ~ ो ो ो ो ो ो ो ं ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ८ ो ो ो ो ं ो ो ो ं ं ं ं ो ो ो ९ ो ो ो ो ं ं ं १० ो ो ो ं ं ो ं ं ं ११ ~ 89 ~ ो ो ो ो ो ो ो ो ं ं ं १२ ं ं ं १३ ो ो १४ ं ो ो ो ो ो १५ १६ ं ं ं ं ं ो ो ो ो ं ं ं ं १७ ो ं ं ं ं ं १८ ं ~ 90 ~ ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ं ो ो ो ो ं ं ं ं ं ं ो ो ं ं ं ं ं ो ो ो ो ो ो ो ो ो ो ो ो ो १९ ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ो ं ं ो ो ो ं ं ं ं ं ं ो ो ो ो ो ं ं ं २० ो ो ~ 91 ~ ो ो ो ो ो ो ं ंंं ो ो ं ं ं २१ ो ो ो ो ो २२ ं ं ो ो ं ं २३ ो ं ं ं ं ं ं २४ ो ो ो ं ं ं ं ं ं ं ं ो ं ं ं ं ं ं ं ं २५ ो ो ं ं ं ं २६ ~ 92 ~ ं ो ं ो ो ं ो ो ो ं ं ं २७ ं ो ो ं ं ं ं ं ं ं ं ं ं ं ं ं २८ ो ो ं ं ो ो ो ो २९ ो ो ं ो ो ो ो ं ो ~ 93 ~ ो ो ं ं ो ो ं ो ो ो ो ो ो ~ 94 ~ ं ं ं ं ं ं ं ं ं ~ 95 ~ ं ं १ २ ं ं ं ं ं ं ं ं ं ं ं ३ ं ं ं ं ंं ं ४ ५ ं ं ं ~ 96 ~ ६ ं ं ं ७ ं ं ं ं ८ ९ ं ं ं ं १० ११ ~ 97 ~ ं १२ ं १३ १४ १५ १६ ं ं ं १७ ं ~ 98 ~ १८ ं ं ं ं ं ं १९ ं ं २० ं ं ं ं ं २१ ं ं ं २२ ~ 99 ~ ं ं ं ं ं ं २३ २४ ं ं ं ं ं ं २५ ं ं ं २६ ं ं ~ 100 ~ २७ ं २८ २९ ं ~ 101 ~ ं ं ं ं ३० ं ं ३१ ३२ ३३ ३४ ३५ ३६ ं ~ 102 ~ ं ं ं ं ं ३७ ं ं ं ं ं ३८ ं ३९ ं ं ं ं ~ 103 ~ ं ४० ं ं ं ं ं ं ं ं ४१ ं ं ं ं ४२ ४३ ४४ ं ं ं ं ~ 104 ~ ं ं ं ं ~ 105 ~ Vol. 34 Veda-Vidyā July-December 2019 ISSN-2230-8962 The Kālasūkta of the Atharvaveda: An Appraisal Dr. Upama BBBarmanBarman Deka Vedic literature is a vast and deep ocean of knowledge with multi- dimensional disciplines. This Vedic literature comprises of four divisions such as the Saṁhitās, The Brāhmaṇas, the Āraṇyakasand the Upaniṣads. Among the four Saṁhitās viz. The Ṛgveda, the Sāmaveda, the Yajurveda and the Atharvaveda. The last one occupies the fourth place because while the other three Vedas are directly connected to the sacrifices, this Veda had no direct connection to the sacrificial performances. It was accepted as a Veda at a very later date. The Atharvaveda is a collection of 731 hymns comprising nearly six thousand varnas divided into twenty books called kāṇḍas. It is a collection of heterogeneous subjects used for appearing, blessing and cursing. It’s oldest name Atharvāṅgirasah, derived from the names of two ancient seers, viz. Atharvan and Aṅgiras, denotes its two types of magic, The mantras seen by Atharvan are called white magic (Śaṅta) and the Mantras seen ley Ariginas are called Black magic (Ghora). One type is for conferring prosperity and happiness and the othere is against the hostile forces. Among the nine recensions of the Atharvaveda only the Śaunaka recension is available to us in good condition. 1 The contents of the Atharaveda consist of songs and spells for healing of diseases (Bhaiṣajyāni), prayers for health and long life (Āyuṣyāni), Imprecations against-demons, sorcerers and enemies (Ābhicārikāṇi and 1 Bloomfield, m.,the atharvaveda and the gopatha brahmana, p. ~ 106 ~ The KKKālasūktaKālasūktaālasūktass of the Atharvaveda : An Appraisal kṇīyāprati-haraṇāni), charms pertaining to women (Strīkarmāṇi), charms to secure harmony (Sāṁmanasyāni), charms pertaining to royality Rājakarmāni), prayers and imprecations in the interest of Brāhmaṇas (Brahmanyāni), charms to secure prosperity (Pauśṭikāni) charms in expiation of sin and defillment (Prāyaścittāni), cosmogonic and theosophic hymns (Ādyātmikasūktānis, ritualistic and general hymns, the books dealing with individual themes, the twentieth books and the kuntāpa hymns. These divisions of contents of the Atharvaveda are, shown as according to. M. Bloomfield. 2 There are considerable numbers of hymns in the Atharvaveda which are mystical and partly philosophical. These hymns are grouped as cosmogonic and theosophic hymns. These differ very widely from the ordinary witchcraft formulas. There are two sūktas 3 namely kālasūkas in the Atharvaveda included into this group. In these two hymns the all pervading qualities of Kāla have been mentioned. This paper is a humble attempt to point out the qualities of Kāla reflected through these hymns and to point out some significance therein. The methodology of the paper will be mostly analytical and descriptive also. Exposition of the two KālasūktaKālasūktas.s.s.s. The Frist Kālasūkta : The first Kālasūkta ie. AV. XIX. 53 contain frist mantras in praise of kāla, the time as the primor dial power. In the first MantraKāla 4 is designated as a horse . Time drives as a horse with seven reins, having thousand eyes, 2. Bloomfield, m, ibid, p. 3. Av.xix.53,54 4 Kālo aśvo vahati śaptaraśmih Sashsrāk(o ajaro Bhūriretāh. Tamā rohanti kavayo vipaścitā. AV., 19.53.1 ~ 107 ~ 'VEDA'VEDA----VIDYVIDY Ā' An International Refereed Research Journal ageless and possessing much seed. The seers, thinking holy thoughts mount him, all beings (bhuvanā) i.e worlds are his wheels. Sāyaṇācārya, the great Vedic commentator explains the word Saptaraśmi as ; Saptaraśmiḥ saptasaṁkhyākā raśmayo rajjavo mukhagrivāpādāvabaddhā yasya saḥ.5 He opines that the seven rays is being tied to the mouth, neck and feet of the horse and explains them as being the six seasons, each of two months, the thirteenth luner month of the intercalary year being the seventh. The words Saptayañjanti are also found in the Ṛgveda.6 Where Sāyaṇa offers the same explanation as seven rays of the sun following Yāska’s Nirukta. 7 Again in the word Sahasrākṣa, akṣi denotes days and nights. So Sahasrākṣa means having thousands of days and nights i.e. the sun. Kāla inspires the beings in their own duty. Though everything under the influence of time destroys, time itself never decays. The sun lasts longer than anyone of the sources of energy. The seers mount (i.e. control) time. 8 The second Mantra 9 express with seven wheels does this time drives, seven are his naves, immortality as his axle.He carries hither all these beings (worlds). Time goes on as first God. In the verse the portion – ‘Sapta cakrām vahanti’ has been interpreted by Sāyaṇa as : ‘Sapta ṛtūnanu anu krameṇa ...... dharayati’. He also refers them to the seven modes of subdividing the year, while commenting on Ṛgveda.10 5 Sāya7a on the com. On av. xix. 1. 6 :V., 1. 164.2 7 Nir. 4.27 8 Svādhīna> kurvanti । svādhīnakālā bhavanti ।। commentary of sāya7a on :v.1. 9 Sapta cakrān vahati kāla i(a saptāsya nābhā@amrtani nvaksah । Sa ima visva bhuvananyanjat kālah sa tyate pratamo nu devah ।। A.V., xix. 2 10 :.V., 1.164.3 ~ 108 ~ The KKKālasūktaKālasūktaālasūktass of the Atharvaveda : An Appraisal He also comments upon ‘amṛtaṁ tanvakṣaḥ’ to wit. The third mantra runs thus Pūrṇaḥ kumbhodhi kāla āhitastaṁ vai paśyāmo vahudhā nu santaḥ । sa imā visvā bhuvanani pratyakālaṁ tamāhuḥ parame vyoman ।। The English rendering of the the verse is 11 A full jar has been placed upon time, him verity, we see existing in many forms. He carries away all these beings (worlds); they call him time is the highest heaven. Here the kumbha pitcher signifies the space that depends on kāla. It is known as pūrṇa because the space is full of enjoyments. Sāyaṇa explains pūrṇaḥ kumbhaḥ as the year with its days and nights, months and seasons.12 The third pāda of the mantra indicates decay and death over against life and growth. In the 4 th mantra it is declared that certainly all the brings had been brought hithere by Kāla, surely he did encompass all the beings. Being their father he became their son. No other for on Briliancy is higher than him. Kāla encompasses everything. It is the cause as well as the effect; as a cause it is the father, as an effect it is the son. A number of creation created by kāla and various deeds accomplished by Him are mentioned is the 5 th13 and 6 th14 mantras of that hymn. The yonder 11 Bloomfield, m (ta) hymns of the atharraveda, p. 224 12 Pūr7aD vyāptah kumbhaD kumbhavat kumbhaD ahoratramasartusa>vat sarādirūpaD sāya7a in his commentary on av., xix . 53.3 13 Kālo amū> divamajanayat kāla imāD p@thivīruta । Kāle ha bhūta> bhavyam ce(ita> ha vi ti(Ehate ।। av. xix, 53.5 ~ 109 ~ 'VEDA'VEDA----VIDYVIDY Ā' An International Refereed Research Journal sky was generated by Time, these earths also exist in time, that which was, and that which shall be is in time Sāyaṇa comments : kāla eva ...... vartamānakālāvacchinnaṁ ca jagad vi tiṣṭhate viśeṣeṇa āśṁtam vartate 15 .Kāla i.e. Paramātman created the earth, by the inspiration of Kāla the sun shines, all the beings exist in time, the eye see thoroughly in time. The next two mantras, the 7th and the 8 th also declare other qualities of time like the name, the vital force all are fixed in time. The arrival of time is the cause of rejoicing of all the creatures. “kalena sarvāḥ nandanti āgatena prajā imāḥ16 From the 9 th and 10 th the last one mantras it is evident that by kāla this universe was urged forth and having become the brahma (spiritual exaltation), supports Parameṣṭhin the highest land. Time created the creatures and he is the beginning of the land on creatures (Prajapati). The next Sūkta i.e. the 54 th sūkta is actually the continuation of the previous one. This is the prayers to Kāla, personified as a primordial power. Here in by the four consequetive verses other qualities of Kāla are described. From Time āpah, Tapas i.e creative fervour, the regions of space did arise through time the wind blows, the great earth exists, the sun exists, all these again entres into time again from time arose the Ṛks, and yajus. Time put forth the sacrifice the imperishable share of Gods. The Gandharvas and Apraceses are founded in time, the Angiras and Atharvans rule over the heaven in time. This world and the highest world, the holy worlds, their divisions having by means of the brahma acquired all the worlds. 14 Kālo bhūtimas@jatā kāle tapati sūryaD । Kāle ha viśvā bhūtāni kāle cak(urvi paśyati ।। ibid. xix 53.6 15 Sāya7a in his commentary on av. xix. 53.5 16 Av. x18.53.7.b ~ 110 ~ The KKKālasūktaKālasūktaālasūktass of the Atharvaveda : An Appraisal Conclusion From the above discussion regarding the two Kālasūkas one can become able to know the all existing nature of kāla. Kāla the time, is the sole lord of the Universe, He is praised as the first god and jyeṣṭha Brahman. Kāla is compared to a steed with seven reins. All the beings are the wheels of the chariot. Time is the highest heaven and encompasses all beings. There is no higher force than time. Time on kāla beoming Brahman, supports Parmeṣṭhin. Prāṇa, manas, āpah, tapah etc. All exists in time. Thus in these two hymns of the Atharvaveda the all-pervading aspects of Kāla has been described vividly. It may be said that these ideas, foreshadows in the Upaniṣads i.e. Vedānta philosophy. Dr. Upama Barman Deka Associate Professor Dept. Of Sanskrit Gauhati University, Gauhati BibBibBibliBib lililiographyography Atharvaveda (A.V) , Trans. Bloomfield, Delhi : Asian Publication Service, 1978. Niruktam (Nir.) , Ed. Mukunda jha, Varannasi : Chukhamba prakashan, 2016. Gopatha Bhāhman (G.B.) , Ed. Rajendraraja Mitra, London : Forgotten Books, 2018. Ṛgveda (RV) , Com. Sāyaṇa, Pune : Vaidika Samsodhana Mandala, 1972. Macdonell, A History of Sanskrit Literature (HSL) , Delhi : Bharatiya kala prakasan, 2005. Muller, Max. A History of Ancient Sanskrit Literature (HASL) , Varanasi : Chaokhamba Karyalaya, 1965. ~ 111 ~ Vol. - 34 Veda ---Vidyā July - December 2019 ISSN-2230-8962 The States of Consciousness in MāMāṇḍṇḍṇḍṇḍūkyaūkyaūkya---- UpaniUpaniṣṣṣṣad:ad: A Critical Analysis Dr. Kapil Gautam Abstract: What is consciousness? In a sense, this is one of the greatest mysteries in the universe. Consciousness is a term used to describe the awareness of your physical and mental experience. As you might have already realized, not all forms of awareness are the same. There are a number of different states of human consciousness as well as a variety of things that can have an impact on these states of awareness. But all of this is indeed philosophy. Centuries-old debates about the metaphysics of the mind and universe are unlikely to make progress anytime soon. In Indian intellectual tradition we have a unique answer of nature of consciousness on based of special scripture called as Upaniṣad.' Upaniṣad ' means 'Brahma-Vidyā' by which we can be able to know Who am “I”. Among all Upaniṣads Māṇḍūkya- Upaniṣad is the one who proclaims about not only the nature of consciousness but also about the states of consciousness. Māṇḍūkya Upaniṣad examine the four states of consciousness as waking, dream, deep sleep and the fourth called, respectively - Jāgrata, Svapna, Suṣupti and Turīya. Māṇḍūkya- Upaniṣad describes the experiencer of the waking state (Jāgrata avasthā) called as “Vaiśvānara”, the experiencer of the dreaming state (Svapna avasthā) called as “Taijasa” and the experiencer of the deep sleep state (Sushupti vasthā), called as “Prājña”. It’s crucial 7th mantra, it defines ~ 112 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis Atman which perceives each states mentioned above which is neither conscious of the internal perceived world nor conscious of the external perceived world, which is not even a mass of consciousness or (Na antah prajnam, na bahih prajnam, naprajnaanaghana, na prajnam) that is called as the fourth or “Turīya”. A consciousness which is aware of everything simultaneously. It is beyond empirical dealings (avyavahaaryam). The “Turīya” clearly distinguishes the self from any consciousness which functions as the knower (Jñātā) or doer (Kartā) or enjoyer (Bhoktā). This paper is critical analysis of states of consciousness based on Māṇḍūkya Upaniṣad. Key Words: Consciousness, Brahman, Ātman, Catuṣpāda, Om, Jāgrata, Svapna, Suṣupti, Turīya, Vaiśvānara, Taijasa, Prājña. Introduction While people often talk about consciousness, it can be somewhat difficult to define. Consciousness refers to your individual awareness of your unique thoughts, memories, feelings, sensations, and environment. Your consciousness is your awareness of yourself and the world around you. This awareness is subjective and unique to you. Your conscious experiences are constantly shifting and changing. If we define consciousness as the feeling of what it’s like to subjectively experience something, then there is nothing more deeply familiar. For thousands of years, the study of human consciousness was largely the work of philosophers. The French philosopher Rene Descartes introduced the concept of mind-body dualism or the idea that while the mind and body are separate, they do interact. Once psychology was established as a discipline separate from philosophy and biology, the study of the conscious experience became one of the first topics ~ 113 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal studied by early psychologists. Structuralisms used a process known as introspection to analyze and report conscious sensations, thoughts, and experiences. Trained observers would carefully inspect the contents of their own minds. Obviously, this was a very subjective process, but it helped inspire further research on the scientific study of consciousness. In Indian knowledge system there was a type of scripture that is called Upaniṣad which is known for investigate the consciousness or Ātman. The Vedas are generally considered to have two portions viz., Karma-Kāņda (portion dealing with action or rituals) and Jñāna-Kāņda (portion dealing with knowledge). The Saṁhitā and the Brāhmaṇas represent mainly the Karma-Kāņda or the ritual portion, while the Upaniṣad chiefly represent the Jñāna-Kāņda or the knowledge portion. The Upaniṣad, however, are included in the śruti. They are at present, the most popular and extensively read Vedic texts. The term “Upaniṣad' literally means, "Sitting down near" or "sitting close to", and implies listening closely to the mystic doctrines of a guru or a spiritual teacher, who has cognized the fundamental truths of the universe. It points to a period in time when groups of pupils sat near the teacher and learned from him the secret teachings in the quietude of forest 'ashrams' or hermitages. In another sense of the term,'Upaniṣad ' means 'Brahma-knowledge' by which ignorance is annihilated. This word is derived by adding two prefix, namely ‘उप’ (near) and ‘िन’ (with certainty), and ‘ƘŌप्’ as a suffix to the root of the word ‘सद्’. Root ‘सद्’ has three meanings: i) To split up or destroy; ii) To go, reach or attain; iii) To loosen or weaken the hold of. These three meanings are brought out by śankarācārya in kaṭhopaniṣad’s Introduction. Upaniṣad is taken to mean “knowledge” by association with each of the three meanings of ‘Sad’ given above: i) The knowledge of the Upaniṣad splits up, injures or destroys the seeds of ~ 114 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis worldly existence such as ignorance, etc., ii) Because of its connection with the idea of leading to Brahman, it makes seekers of liberation who possess the qualities mentioned already, attain the supreme Brahman. iii) Upaniṣad ‘loosens or weakens’ the firm hold that the multitude of miseries have on the soul – namely birth, death, old age, etc. – which recur in endless lives. This loosening of their grip on man is a step towards the ultimate goal of reaching Brahman. Hence it is also considered to be a sub-definition of knowledge for the word ‘Upaniṣad’- सदेधाϕतोƞवϕशरणगयवसादनाथϕयोपिनपूवϕय ƘŌ Oययातय Đपमुपिनषद् इित । उपिनषϢछ देन च ƆािचϞयािसत=थOितपाźवेźवतुिवषया िवźाचोϢयते।केनपुनरथğन उपिनषϢछ देन िवźोϢयत इयुϢयते ।1 Māṇḍūkya- Upaniṣad forms a par t of the Atharvaveda. Though this is the shortest of the Upaniṣad, consisting of only twelve mantras in prose, it occupies a very important position in the Vedāntika literature. This is because the Upaniṣad consists of the essence of the entire AdvaitaVedānta. In fact one of the Mahāvākyas used for deep meditation ( Ayam Ātma brahma - this Ātman is Brahman) has been derived from the Māṇḍūkya- Upaniṣad . Hence it is no wonder when the Muktika Upaniṣad observes “Māṇḍukya alone is sufficient for an aspirant to reach liberation” इयं कैवयमुिŎतु केनोपायेन िसयित। माडूϝयमेकमेवालं मुमुϓूणां िवमुŎये॥ 2 According to Dr. S. Radhakrishnan -“it contains the fundamental approach to reality. There are several theories about the nomenclature of this Upaniṣad but it is generally attributed to a sage called Maṇḍuka”. 3 Among all Upaniṣads Māṇḍkya-Upaniṣad is the one who proclaims about not only the nature of consciousness but 1 Kaṭhopaniṣad śāṃkarabhāṣya Introduction 2 Muktikopaniṣad, 26. 3 Radhakrishnan, S. (1994). The principal Upaniṣads . New Delhi: Indus . Pg 194 ~ 115 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal also about the states of consciousness. Māṇḍkya-upaniṣadexamine the four states of consciousness as waking, dream, deep-sleep and the fourth called, respectively - Jāgrata,Svapna, Suṣupti and Turīya. In This paper we are going to critically analyze the states of consciousness according to Māṇḍkya-upaniṣad. Most of the Upaniṣad have some stories or the other to convey their message; but the Māṇḍūkya- Upaniṣad delivers its message through a symbol. This symbol is “AUM( ॐ)”. The Upaniṣad declares that AUM and Brahman are one and the same. They support the phenomenal world – AUM supporting the phenomenal world represented by sounds and Brahman supporting the phenomenal world represented by the varieties of sense experiences. When the phenomenal world is negated by knowledge, there is only the substratum left –that is AUM or Brahman – सवİ ƕेतQƔायमामा QƔ सोऽयमामा चतुपात्॥ This mantra contains three statements as under: 1. All this is verily Brahman, 2. This Ātman is Brahman , 3. This Ātman has four quarters or Pādas . above these three statements we are going to analyze the third sentence which proclaims about the four states of consciousness -अयमामाचतुपात्- (This Ātman has four quarters or pādas) - 1.1.1. Waking Stage : (((Jāgrata AvasthāAvasthā)))) जागƗरतथानो बिहOϔः सƁाϡग एकोनƚवंशितमुखः थूलभुϟवैƉानरः ॥4 (The waking state (Jāgarita-Sthāna), outwardly cognitive, having seven limbs, having nineteen mouths, enjoying the gross (Sthūla- bhuk), the Common-to-all-men (Vaiśvānara), is the first fourth) 4 Māṇḍ ūkya-Upaniad, 3 ~ 116 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis Human life is nothing but a series of experiences wherein three features play a dynamic role. They are (1) The experiencer (2) The experienced and (3) The experiencing i.e. the relationship between the experiencer and the experienced. When we juxtapose these experiences into our own inner being or consciousness, we find that there are three planes of consciousness or three facets of life in the forms of the waker, the dreamer and the deep-sleeper in us. The experiences we undergo in these three states are entirely different from one another. The Māṇḍūkya- Upaniṣad explains the exact location, identity, field of activity and things enjoyed by us in these three states. It takes up first the waking state ( Jāgarita-Sthāna ).The waker-ego is called Vaiśvānara or Viśvā that enjoys the waking state consciousness wherein it is aware of the world of sense-objects. According to śankara he (the waking state) is called Vaiśvānara because he leads all creatures of the universe in diverse ways to the enjoyment of various sense objects or because he comprises all beings. The waker is not only aware of the objects of senses but also enjoys them in the nature of ‘Śabda sparśa rūpa rasa gandha’ – sound, touch, shape or forms, taste and smell through his respective sense organs. The Upaniṣad puts the idea as 1. The Waker – ego’s sphere of activity is the waking state, and 2. Who is conscious of the external world of objects? The important word of the mantra here is ‘ बिहOϔः ’ – being aware of objects other than one. It is our common experience that we take more interest in other’s affairs than our own. According to śankara this tendency is due to ‘Avidyā’ or ignorance. Thus consciousness in the waking state is more related to outside objects than to one’s own inner being. Then the Upaniṣad says that Vaiśvānara has seven limbs and ~ 117 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal nineteen mouths. Although this description may look bizarre, the expression ‘seven limbs’ is based upon the Chāndogya Upaniṣad 5which gives a description of the macrocosm as virāṭ – the total structure of the entire cosmos as in the case of viśvā rūpa darśana of The Lord Krishna in the Bhagavad Gītā – an Universal or Cosmic form 6. Nineteen mouths mean five sense-organs (hearing, touch, sight, taste and smell), five organs of action (speech, handling, locomotion, generation and excretion), five aspects of our vital breath (prāņa, apāna, vyāna, udāna and samāna ), mind, intellect, mind-stuff – storehouse of thoughts and ego - sense of self (Manas, Buddhi, Citta, Ahaṃkāra).Thus the Upaniṣad says that the experience of Vaiśvānara consists of gross material objects of the world. We had seen in the beginning that the Ātman is the Brahman; the individual ego is the Total ego; the limited Self is the Universal Self. Hence the Upaniṣad says that microcosm (Vyaṣṭi) is the macrocosm (Samaṣṭi) or that the atman is having seven limbs. This is like saying that room- space is nothing other than total atmospheric space. “The waking state is the normal condition of the natural man, who without reflection accepts the universe as he finds it. The same physical universe bound by uniform laws presents itself to all men” - Dr.S.Radhakrishnan. 7 2.2.2. Dreaming Stage (((Svapna AvastAvasthāhāhāhā)))) वƀथानोऽतः Oϔाः सƁाϡग एकोनƚवंशितमुखः OिविवŎभुŎैजसो िůतीयः पादः॥ 8 (The dreaming stage (svapna-sthāna), inwardly cognitive, having seven limbs, having nineteen mouths, enjoying the exquisite (pravivikta-bhuj), the Brilliant (taijasa), is the second fourth.) 5 Chāndogya Upani ṣad, 18.2 6 Bhagavad Gītā 11.14-31 7 Radhakrishnan, S. (1994). The principal Upanis ads . New Delhi: Indus. Pg 194 8 Māṇḍ ūkya- Upani ṣad, 4 ~ 118 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis The second quarter (Pāda) is the Taijasa whose sphere of activity is the dream, who is conscious of internal objects, who has seven limbs and nineteen mouths and who experiences the subtle objects. Waking consciousness is nothing but a stage of mind when it is aware of the external objects through its various means (i.e., through organs of perception, action etc.). This awareness leaves in the mind impressions (corresponding to the objects observed). In the dream state the same mind possesses impressions left on it in the waking state without any of the external means like a piece of canvas with a picture painted on it. Thus the experience of the dream state is also like that of waking state which is due to the influence of ignorance, desire and their action. The dreamer is called the ‘Svapna-sthāna’ because the dream stage (taijasa) is his sphere of activity. Taijasa is called Antaḥprajñaḥ or conscious of the internal because his consciousness in dream becomes aware of the mental states, which are the impressions left by the earlier waking states. The subject of the waking state (Viśva) experiences consciousness associated with external objects, whereas in the dream state the object of the experience is consciousness consisting of Vāsanās, the impressions of the past experience. This dream-state-experience is thus called the experience of the subtle. The experiences of waking and dream states of mind are similar in nature. In both the states the experience is aware only of his mental states which are not related to any external objects as they are not existent. From the stand-point of dream, dream objects are as gross and material as those experienced in the waking state. From the view point of waking state alone, one may infer that the dream objects are subtle, i.e., composed of mere impressions of the waking state, in as much as in the dream state no gross object exists at all. The rest of the mantra (seven limbs and nineteen mouths) ~ 119 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal is the same as the previous one. This is the second pāda of the Ātman. 3.3.3. Deep Sleep Stage (((Sushupti(Sushupti AvasthāAvasthā)))) यJ सुƁो न कřन कामं कामयते न कřन वƀं पयित तसुषुƁम्। सुषुƁथान एकƙभूतः Oϔानघन एवानदमयोƕानदभुक् चेतो मुखः Oाϔतृतीयःपादः॥ 9 (If one a sleep desires no desire whatsoever, sees no dream whatsoever that is deep sleep (suṣupta). The deep-sleep state (suṣupta-sthāna), unified (ekī-bhūta), just (eva) a cognition-mass (prajñāna-ghana), consisting of bliss (ānanda-maya), enjoying bliss (ānanda-bhuj), whose mouth is thought (cetas), the Cognitional (prājña), is the third fourth.) That is the state of deep sleep wherein the sleeper does not desire any objects nor does he see any dream. The third quarter (Pāda) is the Prajña whose sphere is deep sleep, in whom all experiences become unified or undifferentiated, who is verily, a mass of consciousness entire, who is full of bliss and who experiences bliss and who is the path leading to the knowledge of the two other states. The state of deep sleep ( Suṣupti ) is characterized by the absence of the knowledge of Reality. The absence of knowledge of Reality is the common feature of the mental modifications associated with the perception of gross objects (waking stage) and non-perception of them (dream stage). In the sleeping stage, a person does not see any dream, nor does he desire any object. The desire to take a thing for what it is not is absent in the stage of sleep. The person in the deep- sleep stage is called Suṣupta-sthāna because his sphere is this stage of deep sleep. Similarly this stage is also called ‘ekī-bhūta’ – the state, in which all experiences become unified, a state in which all objects of 9 Māṇḍ ūkya- Upani ṣad, 5. ~ 120 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis duality which is nothing but objects of thought in the other two states become non-differentiated without losing their characteristics just as the day which reveals all phenomenal objects, is enveloped by the darkness of night. Sleep is a condition wherein the mind and intellect retire and therefore it is a state of living in which all these apertures are also closed. In sleep we experience a mere all-around ignorance or complete negativity - a state which has neither form nor sound, nor taste, nor smell nor touch. Thus the only thing we know in sleep is that we have no knowledge. In the waking state, our awareness is dissipated and scattered over sensory objects of the outside world thereby registering the knowledge of the things. In the dream state, the awareness expresses itself in enlightening the mental thoughts. As against this, in the deep sleep state, consciousness doesn’t illuminate anything and it collects together in us and gets crystallized into one mass of awareness. Hence the Upaniṣad says that the experiences, which are nothing but forms of thought, perceived during waking and dream states, become a consolidated thick mass of consciousness in the state of deep sleep and calls it as ‘prajñānaghana’ – a mass of consciousness unified. At the time of deep sleep state there is a total absence of any mental modifications; all objects of consciousness become a mass of consciousness only wherein the mind is free from miseries of the inter- actions between the subjects and objects. Hence this state of homogeneous consciousness is called Ānandamaya that is endowed with abundance of bliss. But this is not Bliss itself because it is not Bliss Infinite. It is just as we say in common parlance that one is happy after a night’s sound dreamless sleep. The Upaniṣad calls it as the highest bliss because of the absence of causes for the mental ~ 121 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal agitations. Suṣupti state is a threshold to recognize the dream and waking states it is called ceto mukhaḥ. It is called Prajña because it is the knower par excellence; consciousness undifferentiated as against consciousness in the waking and dream states where awareness is associated with certain experiences. It is because of consciousness present in the state of deep sleep (without any break or intermission) we are aware of the states of waking and dream. The consciousness, which exists as Prajña in deep sleep appears as particular (viśeṣa) in the other two states. The Prajña , thus defined, is the third quarter of the Ātman. 4.4.4. The ‘‘TurīyaTurīyaTurīya’’’’ एष सवğƉरः एष सवϕϔ एषोऽतयाϕ येष योिनः सवϕय Oभवा ययौ िह भूतानाम्॥ 10 (This is the lord of all (sarveśvara).This is the all-knowing (sarva-jña). This is the inner controller (antar-yāmin). This is the source (yoni) of all, for this is the origin and the end (prabhavāpyayau) of beings.) This is the Lord of all; this is the knower of all; this is the controller within; this is the source of all; and this is that from which all things originate and in which they finally disappear. This mantra describes such Ātman. We find the same idea conveyed by śri Kriṣṇa in the Bhagavad Gītā as under - एतźोनी िन भूतािन सवाϕणीयुपधारय। अहं कृƑय जगतः Oभवः Oलयतथा॥ 11 Know all matter to be born from these (the higher and lower natures- prakṛtis of The Lord). I am the reason for the origin of the entire universe and its dissolution. 10 Mā34ūkya- Upaniad, 6. 11 Bhagavad Gītā 7.6 ~ 122 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis Prājña is the natural state because in deep sleep all diversities of waking and dream states merge. This state, being free from the conditions of the waking and dream states, manifests the pure Consciousness. In this state Pure Consciousness (Ātman) is the Lord of all ( Sarveśvara ). He is the Lord of all because if this consciousness is not there, we would not have been responsive at all. He is not different from the universe. He is omniscient ( Sarva-jña ) because he is the knower of all beings in their different conditions. He is the Antar- yāmin , that is, he alone enters into all, directs everything from within. Therefore He is called the origin of all ( Sarvasya yoni ) because from him proceeds the universe characterized by diversity. If consciousness is not there in us, neither the sun, nor the moon, nor the stars, nor the entire world of objects nor the world of ideas would have been existent. For a man in the state of comma the world just doesn’t exist. It being so, He is verily that from which all things proceed ( prabhava) and in which all disappear ( apyaya ). The world outside and the world within, rise up from this Pure Consciousness, exist in Consciousness and shall merge back into the Consciousness itself. When the consciousness in us is projected forth through the mind and intellect we acquire knowledge of the plurality of the world and when such projection is absent a mains considered dead. But instead of the total absence of consciousness, if the consciousness is directed beyond the mind and intellect, in such awareness we will realize the all pervading Reality in the names and forms we see around us. What the Upaniṣad tells us is that the Ultimate Reality is one and that the diversities we see are only apparent but not true and hence it establishes the identity between the individual and the cosmic. ~ 123 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal नातः Oϔं न बिहOϔं नोभयतः Oϔं न Oϔानघनं न Oϔं नाOϔम्। अदृƍम - Ɔवहायϕम=ाƕमलϓण म् अिचयमƆपदेयमेकामOययसारं Oपřोपशमं शातं िशवमůैतं चतुथİ मयते स आमा स िवϔेयः॥ 12 (Not inwardly cognitive (Āntaḥ-prajña), not outwardly cognitive (Bahiḥ- prajña), not both-wise cognitive (Ubhayataḥ-prajña), not a cognition- mass (prajñāna-ghana), not cognitive (prajña), not non-cognitive (A- prajña), unseen (A-dṛṣṭa), with which there can be no dealing (A- vyavahārya), ungraspable (A-grāhya), having no distinctive mark (A- lakṣaṇa), non-thinkable (A-cintya), that cannot be designated (A- vyapadeśya), the essence of the assurance of which is the state of being one with the Self(Ekātmya-pratyaya-sāra), the cessation of development (Prapañcopaśama), tranquil (śānta), benign (Śiva), without a second (A-dvaita)—[such] they think is the fourth. He is the Self (Ātman). He should be discerned.) Turīya is not that which is conscious of the internal (subjective) world, nor that which is conscious of the external (objective) world, nor that which is conscious of both, nor that which is a mass of all consciousness, nor that which is simple Consciousness, nor that which is unconscious. It is unseen (by sense organs), not related to anything, incomprehensible by the mind, uninferable, unthinkable, indescribable, essentially of the nature of Consciousness constituting the Self alone, negation of all phenomena, the Peaceful, all Bliss and the Non-dual. This is what is known as the fourth (Turīya). This is the Ātman and it has to be realized. What a soft flowing lyrical language like an early morning breeze in the spring season! The main purport of Vedānta is that Brahman alone is real and the whole world of appearance is unreal, and that the Jīva is nothing but Brahman Itself. 12 Māṇḍ ūkya- Upani ṣad, 7. ~ 124 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis This abstruse theory cannot be comprehended by ordinary men of small understanding, who are immersed in the life of relativity and ignorance. They are taught this sublime Truth by means illustrations suitable to them, so that they may fix their minds on the Reality through various angles of vision. The ancient sages adopted two popular methods to achieve this objective. They are - 1. To explain the Unknown through the known by citing practical illustrations of daily life whereby its abstract truths can be understood by the finite intellect very easily and 2. To explain the unexplainable by denying the known entities. Here the second method is used. ‘Neti Neti’ Doctrine - The first method is called Nyāyas or illustrations while the second is known as ‘Neti Neti’ Not this, Nor this’. The great doctrine of “Neti – Neti” says that the truth can be foundonly through the negation of all thoughts about it. This is extensively adopted by Sage Yājñavalyaka in his dialogues with his wife, maitreyī, which are featured in the Muni kāṇḍa or Yajnavalkya kāṇḍa of the Bṛhadāraṇya-upaniṣad 13 . This mantra of the Māṇḍūkya-Upaniṣad adopted the “Neti Neti” method to explain Turīya, the fourth state of consciousness. This doctrine in this Upaniṣad suggests the Indescribability of the Brahman, the Absolute. It is possible to describe Brahman as what ‘It is not’ but not as to what ‘It is’. Ātman is “neither this, nor this” (“Neti, Neti”). The Self cannot be described in any way. “Na-iti” – that is “Neti”. It is through this process of “Neti, Neti” that one gives up everything – the 13 B5hadāra3ya-upaniad, 2.3.6. ~ 125 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal cosmos, the body, the mind and everything – to realize the Self. After knowing the Ātman in this manner, one develops the attitude that the phenomenal world and all its creatures are made up of the same essence of bliss. Brahman is infinite, amorphous, colourless, characterless and formless universal spirit which is omnipresent and omnipotent, and like cosmic energy, it is pervasive, unseen and indescribable. Now let us analyze the mantra. Using the language of negation it says that 1. नातः OϔOϔOϔ म् – The Ātman or life force in man is not the dreamer or that which is Conscious of the internal subjective world i.e. Turīya is not the dream state or Taijasa. 2. बिहOϔ म् --- It is not that which is conscious of the external object- world i.e. Turīya is not the waking-state ego or Vaisvanara. 3. नोभयतः Oϔम् ––– It is also not that state which is in between waking and dreaming. 4. ननन Oϔानघन म्म्म् ––– In deep sleep a person experiences undifferentiated Consciousness and one is not conscious of anything including oneself. But the Āman has no such state (prajňānaghanam). 5. ननन Oϔं नानाना OϔOϔOϔ म्म्म् ––– It is not conscious or unconscious. If none of these states are applicable to the Self then how can we describe it? The Upaniṣad says that one cannot describe the Self; one cannot predicate anything about it; one cannot say it is this or it is that. Once it is said that the Self is such and such, we limit the Self. Hence there is no way of saying exactly what it is. That is why it is said ‘Neti Neti’. The Upaniṣad further says that the Self is 6. अदृƍ म् ––– It cannot be seen i.e. it cannot be experienced by means of any sense organs. ~ 126 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis 7. अƆवहायϕम् ––– It is not capable of being used by any of our organs. 8. अ=ाƕ म् ––– It cannot be grasped. 9. अलϓण म् ––– It is beyond perception by any organ. 10. अिचयं --- It is beyond thought. One cannot even think of it. 11. अƆपदेय म् ––– One cannot describe it. Then what is the Self? 12. एकामOययसार म्म्म् --- It is only this ‘I’ consciousness, our Self- consciousness which everybody has. This common ‘I’ consciousness is Brahman. It is the Param Atman, the substratum, the common base, the Cosmic Self. The Upaniṣad has thus very cleverly led us from not this, not this to the conclusion that we are Brahman. In the end there is only one thing that exists – Ekām Ātma-Pratyaya – only the “I’ consciousness that is the support of the whole universe and the essence of our being. When do we realize this? 13. Oपंřोपशम म्म्म् --- When the phenomenal world is negated rejected or eliminated. The object world is nothing but names and forms – Nāma and Rūpa . When these are eliminated what is left? 14. शातं िशविशविशवम्िशव म् अůैत म् --- That is peace, happiness and non-duality. There is peace because there is no diversity, no plurality, and no competition with each other. When there is unity there cannot be anything but peace and happiness. This is called the fourth state i.e. चतुथϕम्.म्.म्. That is Tūrīya . That is our real state and that is Brahman –ससस आमा that is to be known – ससस िवϔेयः – that is to be realized. By whom? We have to realize that Self by ourselves. Śankara says that we are now ignorant of our own Self; we have to remove that ignorance and then only the Self can be known. The idea is that mere intellectual understanding of the Self is not enough; what is required is to experience the Self by oneself. The means to achieve this experience is Praṇava Upāsanā i.e. meditation on AUM which is the theme of the mantras that follow. ~ 127 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal A study of consciousness is the subject of the Māṇḍūkya Upaniṣad – the four states of consciousness – the states in which the consciousness appears to be connected to certain temporary, accidental circumstances in waking, dreaming and sleep, and its pristine, purified state of Absoluteness. So, we have to take, one by one, the stages of waking, dream, sleep and the pure Spirit, or the Absolute, for the sake of attaining this self-transcendence. In this progress of transcendence of the lower by the higher, the higher does not negate the lower, reject the lower or abandon the lower, but includes the lower within itself by sublimation, just as the eighth standard is included in the matriculation standard, the matriculation standard in the graduate standard, the graduate standard in the master of arts, and so on. Thus it can be say that Māṇḍkya-upaniṣad examine the four states of consciousness as waking, dream ,deep sleep and the fourth called, respectively - Jāgrata, Svapna, Suṣupti and Turīya on scientific and logical ground. It does not give analogies, tell stories or make comparisons. It states bare facts in respect of man in general and Reality in its essential character. A very comprehensive Upaniṣad is this, containing only twelve statements called mantras, in which the whole wisdom or knowledge of the Upaniṣads is packed into a nutshell. The Upaniṣad commences with a prayer. “We are told in [ Māṇḍūkya- Upaniṣad ] how, "the syllable Om is verily all that exists. Under it is included all the past, the present and the future, as well as that which transcends time. Verily all this is Brahman. The Ātman is Brahman. This Ātman is four-footed. The first foot is the Vaiśvanara, who enjoys gross things, in the state of wakefulness. The second foot is the Taijasa, who enjoys exquisite things in the state of dream. The third is the Prajna who enjoys bliss in ~ 128 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis the state of deep sleep. The fourth is Ātman, who is alone without a second, calm, holy and tranquil". This passage has been verily the basis upon which all the later systems of Vedāntic philosophy have come to be built.”—R D Ranade 14 Conclusion The theme of the Māṇḍūkya- Upaniṣad is an exposition of the Mystic Syllable, Om, with a view to training the mind in meditation, for the purpose of achieving freedom, gradually, so that the individual soul is attuned to the Ultimate Reality. The Māṇḍūkya- Upaniṣad belongs to the Atharvaveda. Although it contains only 12 verses, the Māṇḍūkya- Upaniṣad occupies an important place in the development of Indian philosophical thought. Nature of consciousness is the one of the greatest mysteries in the universe. Today consciousness is a term used to describe the awareness of your physical and mental experience. There is really need of scientific study on consciousness In Indian knowledge system there was a type of scripture that is called Upaniṣad which is known for investigate the consciousness or Ātman. Among all Upaniṣads Māṇḍkya-upaniṣad is the one who proclaims about not only the nature of consciousness but also about the states of consciousness. Māṇḍkya Upaniṣad dexamine the four states of consciousness as waking, dream ,deep sleep and the fourth called, respectively - Jāgrata, Svapna, Suṣupti and Turīya. The first 3 states are what are experienced by us as living beings and able to differentiate wakefulness from sleep and dream. The 4 th state (Turīya) is the consciousness of Brahman, which is simply experienced through mediation on AUM or Self. It is Self-realisation and God realisation at one and the same time. It is Existence, it is 14 RD Ranade (1968) A Constructive Survey of Upaniad ic Philosophy, pg 156. ~ 129 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal Consciousness, it is Power, it is Bliss, it is Perfection, it is Immortality, it is Mokṣa, it is kaivalya. This is the Goal of life, the path to which is beautifully described in the Māndūkya Upanishad. It can be say that classification which is represented in Māṇḍkya-upaniṣad really very scientific and logical. Dr. Kapil Gautam Assistant Professor Department of Sanskrit Vardhman Mahaveer Open University, Kota Mob: 9672199658, [email protected] Bibliography Chinmayananda. (2015) : Māṇḍūkya-Upaniṣad with Gauḍapāda's kārikā : Mumbai : Chinmaya Prakasha. Johnston, C. (2014) : The Mukhya Upaniṣad : books of hidden wisdom. United States: Kshetra Books. Swami, Nikhilananda., Iyer, V. (2000) : The Māṇḍūkyopaniṣad with Gauḍapāda's Kārikā and Saṅkara's commentary. Calcutta: Advaita Ashrama. Sarasvati, Swami Jagadishvara (2017) : īśāvāsyoniṣad , Delhi : Vijayakumara Govindarama hasananda. Swami, Chinmayananda (2001) : Etareyopaniṣad , Ernakulum : Central Chunmay Mission Trust. Ramaswami (1985) : Taittiriyoniṣad , Varanasi: Bharatiya Vidyabhawana. Swami, Shankaranand (2007) : Chāndogyopaniṣad , Ernakulum: Central Chunmay Mission Trust. Goyandaka, Haridasa (Vikrama Samvat 2069) : Iśadi nau upaniṣad(śāṃkarabhāṣya hindī anuvāda sahita) , Gorakhapura: Geeta press. Dvivedi, Manilal N. (2003) : The Mandukyopaniṣad: With Gaudapada's Karikas and the Bhāṣya of Śankara , California: Asian Humanities Press. Rama, Swami (2007) : OM the Eternal Witness: Secrets of the Māṇḍūkya- Upaniṣad , Dehradun : Himalaya Institute hospital trust. ~ 130 ~ The States of Consciousness in Māṇḍūkya-Upaniṣad: A Critical Analysis Mahony, William K. (1987) : "Upanisads", in Jones, Lindsay (ed.), MacMillan Encyclopedia of Religion (2005) : MacMillan. Rama (1982) : Enlightenment Without God [commentary on Māṇḍūkya- Upaniṣad ] Pennsylvania: USA., Himalayan International Institute of Yoga Science and Philosophy. Paul Deussen (1997) : Sixty Upaniṣad of the Veda , Volume 2, New Delhi: Motilal Banarsidas. R D Ranade (1968) : A Constructive Survey of Upaniṣad in Philosophy , Varanasi : Bhartiya Vidya Bhawan. Gambhirananda, (1990) : Eight Upaniṣad . Vol.2. Com. Sankaracharya , Calcutta: Advaita Ashrama. Robert Hume (1962) : Chandogya Upaniṣad - Eighth Prathapaka Seventh through Twelfth Khanda , Delhi :Oxford University Press Sarma, Chandradhar (1996) : The Advaita Tradition in Indian Philosophy , Delhi: Motilal Banarsidas. Mishra, Suryamani (2016) : Ishadi Nau Upnishad - Hindi Translated , Kanpur : Chintan Prakashan, Olivelle, Patrick (1998) : the Early Upaniṣad, New York : Oxford University Press. Comans, Michael (2000) : The Method of Early Advaita Vedānta: A Study of Gauḍapāda, Śaṅkara, Sureśvara, and Padmapāda , Delhi: Motilal Banarsidass Publication. Isaeva, N.V. (1993) : Śankara and Indian Philosophy , New York, SUNY Press. Kalupahana, David J. (1994) : A history of Buddhist philosophy , Delhi : Motilal Banarsidass Publishers. V. Krishnamurthy (1989) : Essentials of Hinduism , New Delhi : Narosa Publishing House. Sri Aurobindo (1972) : The Upaniṣad , Pondicherry: Sri Aurobindo Ashram. ~ 131 ~ 'VEDA-VIDY Ā' An International Refereed Research Journal Hume, Robert Ernest (1921) : The Thirteen Principal Upaniṣad , Delhi: Oxford University Press. P.T. Raju (2009) : The Philosophical Traditions of India , London: Rutledge. Nakamura, Hajime (2004) : A History of Early Vedānta Philosophy , Part 2, Delhi: Motilal Banarsidas Publicaton. Raju, P.T. (1992) : the Philosophical Traditions of India, Delhi: Motilal Banarsidass Publishers Private Limited Rama, Swami (1982) : Enlightenment without God , Pennsylvania, USA: The Himalayan International Institute of Yoga Science and Philosophy. Oxford Advanced Learners Dictionary , Oxford University Press; 9th revised edition, 2014. Macmillan Dictionary English Dictionary , MacMillan/A. & C. Black; 2 Pap/Cdr editions, 2012. ~ 132 ~ AÂ]\ bm b‘mI OÂ_y Edß H$Ì_ra V{bßJmZm Maharshi Sandipani Rashtriya Vedavidya Pratishthan (Under the Ministry of Human Resource Development , Govt. of India) Vedavidya Marg, Chintaman Ganesh, P. Jawasiya, Ujjain 456006 (M.P.) Phone 2502266, 2502254 Fax : 0734-2502253 E- mail - [email protected] Web - msrvvp.ac.in