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The Mahabharata
^«/4 •m ^1 m^m^ The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071123131 ) THE MAHABHARATA OF KlUSHNA-DWAIPAYANA VTASA TRANSLATED INTO ENGLISH PROSE. Published and distributed, chiefly gratis, BY PROTSP CHANDRA EOY. BHISHMA PARVA. CALCUTTA i BHiRATA PRESS. No, 1, Raja Gooroo Dass' Stbeet, Beadon Square, 1887. ( The righi of trmsMm is resem^. NOTICE. Having completed the Udyoga Parva I enter the Bhishma. The preparations being completed, the battle must begin. But how dan- gerous is the prospect ahead ? How many of those that were counted on the eve of the terrible conflict lived to see the overthrow of the great Knru captain ? To a KsJtatriya warrior, however, the fiercest in- cidents of battle, instead of being appalling, served only as tests of bravery that opened Heaven's gates to him. It was this belief that supported the most insignificant of combatants fighting on foot when they rushed against Bhishma, presenting their breasts to the celestial weapons shot by him, like insects rushing on a blazing fire. I am not a Kshatriya. The prespect of battle, therefore, cannot be unappalling or welcome to me. On the other hand, I frankly own that it is appall- ing. If I receive support, that support may encourage me. I am no Garuda that I would spurn the strength of number* when battling against difficulties. I am no Arjuna conscious of superhuman energy and aided by Kecava himself so that I may eHcounter any odds. -
Introduction
INTRODUCTION ’ P”(Bha.t.tikāvya) is one of the boldest “B experiments in classical literature. In the formal genre of “great poem” (mahākāvya) it incorprates two of the most powerful Sanskrit traditions, the “Ramáyana” and Pánini’s grammar, and several other minor themes. In this one rich mix of science and art, Bhatti created both a po- etic retelling of the adventures of Rama and a compendium of examples of grammar, metrics, the Prakrit language and rhetoric. As literature, his composition stands comparison with the best of Sanskrit poetry, in particular cantos , and . “Bhatti’s Poem” provides a comprehensive exem- plification of Sanskrit grammar in use and a good introduc- tion to the science (śāstra) of poetics or rhetoric (alamk. āra, lit. ornament). It also gives a taster of the Prakrit language (a major component in every Sanskrit drama) in an easily ac- cessible form. Finally it tells the compelling story of Prince Rama in simple elegant Sanskrit: this is the “Ramáyana” faithfully retold. e learned Indian curriculum in late classical times had at its heart a system of grammatical study and linguistic analysis. e core text for this study was the notoriously difficult “Eight Books” (A.s.tādhyāyī) of Pánini, the sine qua non of learning composed in the fourth century , and arguably the most remarkable and indeed foundational text in the history of linguistics. Not only is the “Eight Books” a description of a language unmatched in totality for any language until the nineteenth century, but it is also pre- sented in the most compact form possible through the use xix of an elaborate and sophisticated metalanguage, again un- known anywhere else in linguistics before modern times. -
The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4
The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4 Books 13, 14, 15, 16, 17 and 18 Translator: Kisari Mohan Ganguli Release Date: March 26, 2005 [EBook #15477] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATA VOL 4 *** Produced by John B. Hare. Please notify any corrections to John B. Hare at www.sacred-texts.com The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 13 ANUSASANA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Scanned at sacred-texts.com, 2005. Proofed by John Bruno Hare, January 2005. THE MAHABHARATA ANUSASANA PARVA PART I SECTION I (Anusasanika Parva) OM! HAVING BOWED down unto Narayana, and Nara the foremost of male beings, and unto the goddess Saraswati, must the word Jaya be uttered. "'Yudhishthira said, "O grandsire, tranquillity of mind has been said to be subtile and of diverse forms. I have heard all thy discourses, but still tranquillity of mind has not been mine. In this matter, various means of quieting the mind have been related (by thee), O sire, but how can peace of mind be secured from only a knowledge of the different kinds of tranquillity, when I myself have been the instrument of bringing about all this? Beholding thy body covered with arrows and festering with bad sores, I fail to find, O hero, any peace of mind, at the thought of the evils I have wrought. -
Poetry's Afterthought: Kalidasa and the Experience of Reading Shiv
Poetry’s Afterthought: Kalidasa and the Experience of Reading Shiv Subramaniam Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy on the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Shiv Subramaniam All rights reserved ABSTRACT Poetry’s Afterthought: Kalidasa and the Experience of Reading Shiv Subramaniam This dissertation concerns the reception of the poet Kalidasa (c. 4th century), one of the central figures in the Sanskrit literary tradition. Since the time he lived and wrote, Kalidasa’s works have provoked many responses of different kinds. I shall examine how three writers contributed to this vast tradition of reception: Kuntaka, a tenth-century rhetorician from Kashmir; Vedantadesika, a South Indian theologian who lived in the thirteenth and fourteenth centuries; and Sri Aurobindo, an Indian English writer of the late nineteenth and early twentieth centuries who started out as an anticolonial activist and later devoted his life to spiritual exercises. While these readers lived well after Kalidasa, they were all deeply invested in his poetry. I wish to understand why Kalidasa’s poetry continued to provoke extended responses in writing long after its composition. It is true that readers often use past literary texts to various ends of their own devising, just as they often fall victim to reading texts anachronistically. In contradistinction to such cases, the examples of reading I examine highlight the role that texts themselves, not just their charisma or the mental habits of their readers, can have in constituting the reading process. They therefore urge us to formulate a more robust understanding of textual reception, and to reconsider the contemporary practice of literary criticism. -
Literary Cultures in History Reconstructions from South Asia
Literary Cultures in History Reconstructions from South Asia EDITED BY Sheldon Pollock UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London 1 Sanskrit Literary Culture from the Inside Out Sheldon Pollock In contrast to most other literary cultures examined in this book, Sanskrit literature has a long and deep tradition of scholarship. A serious attempt at a comprehensive account appeared by the middle of the nineteenth cen- tury, and today many single- and multi-volume histories are available.1 With- out the foundation this impressive body of work provides, the historical study of Sanskrit literature would be hard indeed to undertake. At the same time, this scholarship, like all human works, has been shaped by the categories and assumptions of its times, and these seem especially vulnerable to criticism from the theoretical perspective adopted in the present volume. The difficulty of defining the object of analysis, to which the introduction to this volume has called attention, is in evidence everywhere in Sanskrit lit- erary scholarship. For many writers, “literature” embraces everything pre- served in writing, or even in speech. Narrower definitions prove to be arbi- trary stipulations or mere tautologies, and hand-me-down qualifiers such as “classical” are typically left unexplained.2 Implicitly, Sanskrit literature is usu- ally understood to be Brahmanical and, by preference, the oldest literature, the Veda, the body of orally transmitted texts of myth and ritual; post-Vedic Sanskrit literature remains for many present-day scholars merely “pretty” and “curious,” as the nineteenth-century scholar F. Max Müller put it, and 1. Weber 1852. Among the more influential texts following upon Weber are Müller 1859, Lévi 1890, Krishnamacariar 1906 (and 1937), Winternitz 1908–1922, and Keith 1923 and 1928. -
Astronomical Chronology of Vedic Literature : Some New Arguments
7. Astronomical Chronology of Vedic Literature : Some New Arguments [This is the text of a paper read at the annual Belgian Indological Conference, Ghent University, 10 March 2006.] Abstract Since the 1780s, Western researchers (Playfair, Bailly, Jacobi) have noticed data in Indian astronomy, both astronomical tables and stray astronomical references in religious and epic texts, which, through the millennial clock of the precession, indicate a surprisingly high chronology for Vedic civilization. The idea that the composition of Vedic hymns started before 4000 BC was perfectly compatible with early Romantic notions of India as the homeland of pre-Christian European civilization (Voltaire, Schlegel), but came in conflict with Max Müller’s far lower chronology, with the Rg-Veda composed only ca. 1500 BC, which became normative from ca. 1870 onwards. The astronomy-based high chronology was picked up by Indians only in 1893 (B.G. Tilak’s Orion) and entered the politically tainted Aryan Invasion debate only in the 1990s,-- so it cannot be dismissed as merely a “Hindu- chauvinist fantasy”. But dismissed it is, mostly in very cavalier rhetoric which betrays the philologists’ unfamiliarity with the cogency of scientific reasoning. We will now look into the recent crop of arguments mustered to neutralize this inconvenient body of astronomical evidence, apparently so in contradiction with the chronologies based on archaeological findings (horse, spoked wheel, bronze, iron) and on comparative-historical linguistics. This will implicitly necessitate a second look at the arguments in favour of a high chronology as well. Finally, we add a little meditation on what to do in scientific research when different bodies of evidence point to opposite conclusions. -
Atman in Pre Upanisadic Vedic Literature
The Adyar Library Series No, 47 GENERAL EDITOR : G. SRINIVASA MURTI, B.A., B.L., M.B, & C,M,, VAIDYARATNA Director, Adyar Library ATMAN IN PRE-UJ'ANISADIC VEDIC LITERATURE ATMAN IN PRE-UPANISADIC VEDIC LITERATURE BY H. G. NARAHARI, M.A., M.LiTT., Research Fellow, Department of Sanskrit, University of Madras Thesis approved for the Degree of Master of Letters in the University of Madras ADYAR LIBRARY' 1944 13 sR: l*?: l: i5 II RV. X. 14.15 " * Obeisance unto the seers of old, the ancient makers of the Path. 11 FOREWORD IT gives me very great joy to write a foreword to this book of^Mr. H. G. Narahari who was formerly m> student in the Sanskrit Department of the University of Madras. He worked under my supervision for two years from October 1939, and prepared this Thesis foi which the University awarded him the Degree oi Master of Letters. The Thesis is now being published in the form of a book. It must be a matter of pride, even to senior scholars of standing, to have their books published in the Adyar Library Series in which many important works have already appeared. My first duty is to congratulate Mr. Narahari in being able to have his first publication included in this well-known Series. I began to study the Vedic literature about twenty- five years ago. I worked mainly on the Vedic com- mentaries and I was able to discover, identify (settling the dates and other details) and publish many of them which were unknown till a few years ago. -
Chapter -1 Chapter I
CHAPTER -1 CHAPTER I INTRODUCTION Sisupalavadha of Magha (8* century A.D.) is one of the five most popular and famous Mahakavyas (Epic poem) in Sanskrit literature from the hundred of Mahakavyas in Sanskrit composed by different poets during a period of over one thousand four hundred years. Indian critics have named five works, which are known, as Pancamahakcivyani. They are: 1. Raghuvarhsam 2. Kumarasariibhavam of Kalidasa (1" century B.C.), 3. Kiratarjunlyam of Bharavl (6"^ Century A.D.) 4. Sisupalavadham of Magha (8 Century A.D.), 5. Naisadhlyacaritam of Sri Harsa (ll"" Century A.D.). Each of these five has got its own distinctive merits and they are usually studied in the order given above. The style of Kalidasa is simple, natural and graceful while the style of the other three poets is more artistic, labored and vigorous. Bharavl organized a new style and introduced new topics in conformity with rules laid down by Alankarasastra of his period while Magha followed his own example and perfected technique. Sisupalavadham satisfies all the requirements of a Mahakavya, which is defined by Dandin. The origin of great and living classics in literature is surely a mystery of human consciousness - these works seem to arise from depths of collective psyche and resonate with each individual's experience in life. To those of us who have the privilege of reading those centuries later, they seem to have a voice that is quite different from our familiar context and yet there is a connection that transcends the passage of time. The images CHAPTER I and symbols in which these worlcs express their thoughts, reach deep- buried parts of ourselves that we could never imagine existed here to fore. -
Gaina Sutras Appeared
THE SACRED BOOKS OF THE .EAST [45] Bonbon HENRY FROWDE OXFORD UNIVERSITY PRESS WAREHOUSE AMEN CORNER, E.G. MACMILLAN & CO., 66 FIFTH AVENUE THE SACRED BOOKS OF THE EAST TRANSLATED BY VARIOUS ORIENTAL SCHOLARS AND EDITED BY F. MAX MtFLLER VOL. XLV AT THE CLARENDON PRESS 1895 \_All rights reserved} RINTED AT THE CLARENDON PRESS I.Y HORACE HART. PRINTER TO THE UNIVERSITY GAINA SCTRAS TRANSLATED FROM PRAKtf/T BY HERMANN JACOBI PART II THE UTTARADHYAYANA SUTRA THE St)TRAK^/TANGA SUTRA . \\ AT THE CLARENDON PRESS 1895 reserved [All rights ] J3- CONTENTS. PAGE INTRODUCTION . ... xiii UTTARADHYAYANA. LECTURE 1. On discipline (especially for pupils) . i 2. On troubles. (About the twenty-two things that cause trouble to monks) ... 8 3. the attainment of ,, The four requisites (for beatitude) 15 4. Impurity. (Carefulness required for obtaining the end) 1 8 5. Death against (and with) one s will . 20 6. The false ascetic. (Wrong conduct leads to perdition, right conduct to salvation) . 24 7. The parable of the ram, &c. (illustrative of the folly of the sinner who misses his chance of reaching a more exalted state of existence) 27 8. s verses of . ,, Kapila (in praise good conduct) 31 9. The Pravra^ya of king Nami. (A dialogue between him and Indra who advised him to retain the royalty) . 35 10. The leaf of the tree. (A sermon by Mahavira on the punishment of the sinner and the reward of the righteous) . 41 11. The very learned (monk; his virtues and his superiority) 46 12. turned his Harike^a, (a A a^ala, monk ; victory over a Brahman, whom he converts) . -
A History of Sanskrit Literature
A History of Sanskrit Literature Author: Arthur A. MacDonell Project Gutenberg's A History of Sanskrit Literature, by Arthur A. MacDonell This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: A History of Sanskrit Literature Author: Arthur A. MacDonell Release Date: December 5, 2012 [EBook #41563] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF SANSKRIT LITERATURE *** Produced by Jeroen Hellingman and the Online Distributed Proofreading Team at http://www.pgdp.net/ for Project Gutenberg (This file was produced from images generously made available by The Internet Archive/American Libraries.) A HISTORY OF SANSKRIT LITERATURE By ARTHUR A. MACDONELL, M. A., Ph. D. Of Corpus Christi College, Oxford Boden Professor of Sanskrit and Fellow of Balliol New York D. Appleton and Company 1900 PREFACE It is undoubtedly a surprising fact that down to the present time no history of Sanskrit literature as a whole has been written in English. For not only does that literature possess much intrinsic merit, but the light it sheds on the life and thought of the population of our Indian Empire ought to have a peculiar interest for the British nation. Owing chiefly to the lack of an adequate account of the subject, few, even of the young men who leave these shores every year to be its future rulers, possess any connected information about the literature in which the civilisation of Modern India can be traced to its sources, and without which that civilisation cannot be fully understood. -
INDIAN CULTURE- Post-Classical Period Stuart Blackburn, Ph.D
HUMANITIES INSTITUTE INDIAN CULTURE- Post-Classical Period Stuart Blackburn, Ph.D. Part I : EARLY POSTCLASSICAL PERIOD Overview The literature and art of the early post-classical period were deeply influenced by religious devotionalism. Indeed, while ‘classical’ Indian culture is said to have formed during the Gupta Empire of the preceding centuries (3rd-5th CE), that earlier period was only the beginning of a longer process of development that came to fruition in the centuries up to 1000 CE. Beginning about 500 CE in the Tamil country, poetry, myth and song were composed and sung in the languages of common people, and temples were built for the worship of Siva and Visnu. Sanskrit poetry also flourished, largely by recycling stories from the Sanskrit epics. Art Architecture The rock-cut temples, stupas and prayer-halls at Ellora (c. 600-1000 CE) represent a continuation of those same Hindu and Buddhist structures carved earlier at Ajanta, in the same region of western India. In particular, the Kailasanatha temple at Ellora dedicated to Siva is impressive. It was carved out a single rock face, starting from the top and working down. It has a courtyard, a tower, a central shrine, five minor shrines and a columned arcade three stories high, with alcoves and sculpted panels. Soon these rock-cave structures gave way to free-standing ones, although both rock-cut and free-standing temples are seen at Mahabalipuram (c. 700 CE). Free-standing temples were built according to conventions laid down in canonical texts (sastras), the most important being that the design was a symbolic representation of the universe. -
A CRITICAL APPRAISAL of KALIDASA's Abhijiyanasakuntalam in the LIGHT of the RASA THEORY SHOBHANA DEVI PANDAY
A CRITICAL APPRAISAL OF KALIDASA'S ABHIJiYANASAKUNTALAM IN THE LIGHT OF THE RASA THEORY SHOBHANA DEVI PANDAY Submitted in part fulfilment of the requirements for the degree of Doctor Litterarum in the Department of Indian Languages (Sanskrit) . in the Faculty of Arts at the University of Durban Westville. Promoter : Dr. B. Rambilass Joint Promoter : Dr. R. Sitaram Date Submitted : 1996 ", .//: ' ~1 " I .!.'t. · ( . r,', 'f V.AGARTHAVIVA SAMPI?KTAU V.AGARTHAPRATIPATTAYE JAGATAH PITARAU VANDE P.ARVATIPARAMESVARAU Just as word and meaning, though considered separate, are indeed one, so are the Divine Mother ParvatI and Divine Father Siva one : I salute them and implore that they may bless my attempts to understand and use speech appropriately. (Raghuvansam I : 1) Dedicated to ISHAN the apple of my eye and also to the cherished memory of My ever supportive parents-in-law the late Mr. Chundermun Panday and the late Mrs. Kawnsilla Panday DECLARATION The Registrar UNNERSITY OF DURBAN WESTVILLE Dear Sir I, SHOBHANA DEVI PANDA Y REG.NO. 8015484 Hereby declare that the thesis entitled "A Critical Appraisal of Kalidasa's Abhijilanasakuntalam in the Light of the Rasa Theory" is the result of my own investigation and research and that it has not ben submitted in part or in full for any other Degree or to any other University. ..... ...s,~.Q~~ ...... .. .. ... ....... .. .. .. \.. 0.. .....3'f\...... ~ .. - ........ \ o...C\.] ... S.D.Panday Date ACKNOWLEDGEMENTS First and foremost I want to place on record my heartfelt gratitude to my Head of Department and Joint-Promoter, Dr. R. Sitaram for not only sowing the seed of the idea of the Rasa Theory in my mind but tirelessly helping to nurture this interesting study so that it may blossom and reach fruition.