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Invaluable Books of Brahmvidya
INVALUABLE BOOKS OF BRAHMVIDYA VACHANAMRUT AND SWAMI NI VAATO 1 Table of Contents PART 1 - BRAHMVIDYA ......................................................................................................... 6 1.1 The capacity of the human-brain to learn several kinds of knowledge ............................................... 6 1.2 The importance of Brahmvidya (Knowledge of atma) .......................................................................... 7 1.3 The Imporance and the necessity of Brahmvidya .................................................................................. 8 PART 2 - VACHANAMRUT…………..…………………………………...………..…………14 2.1 The aspects of Vachanamrut and the subjects explained therein ....................................................... 15 2.1.1 The aspects of Vachanamrut ......................................................................................................... 15 2.1.2 The topics covered in the Vachanamrut are spiritual, not mundane or worldly………………………………………………………………..………………16 2.2 Essence, secrets, and principle of all the scriptures in Vachanamrut ......................................... 18 2.3 Opinions About The Vachanamrut ................................................................................................. 21 2.3.1 The opinions of the Gunatit Gurus .............................................................................................. 21 2.3.2 The opinions of prominent learned personalities ....................................................................... 22 2.4 The -
MAEL-203.Pdf
CONTENTS BLOCK 1 Selections from Ancient Texts Page No. Unit 1 Rigveda: Purusha Sukta 1-13 Unit 2 Isha Upanishad 14-30 Unit 3 The Mahabharata: The Yaksha-Yudhishthira Dialogue I 31-45 Unit 4 The Mahabharata: The Yaksha-Yudhishthira Dialogue II 46-76 BLOCK 2 Poetry in Translation Unit 5 Selections from Songs of Kabir 96-109 Unit 6 Selections from Ghalib 110-119 Unit 7 Rabindranath Tagore: Songs from Gitanjali 120-131 BLOCK 3 Poetry in English Unit 8 Sri Aurobindo and his Savitri 132-147 Unit 9 Savitri , Book Four: The Book of Birth and Quest 148-161 Unit 10 Nissim Ezekiel: “Philosophy”, “Enterprise” 162-173 Unit 11 Kamla Das: “Freaks”, “A Hot Noon in Malabar” 167-178 BLOCK 4 Fiction Unit 12 Somdev: Selections from Kathasaritsagar 174-184 Unit 13 Raja Rao: Kanthapura –I 185-191 Unit 14 Raja Rao: Kanthapura –II 192-200 BLOCK 5 Drama Unit 15 Kalidasa: Abhijnanashakuntalam –I 201-207 Unit 16 Kalidasa: Abhijnanashakuntalam –II 208-231 Unit 17 Vijay Tendulkar: Ghasiram Kotwal –I 232-240 Unit 18 Vijay Tendulkar: Ghasiram Kotwal –II 241-257 Indian Writing in English and in English Translation MAEL-203 UNIT ONE RIGVEDA: PURUSHA-SUKTA 1.1. Introduction 1.2. Objectives 1.3. A Background to Purusha-Sukta 1.4. Analysing the Text 1.4.1. The Purusha 1.4.2. Verse by verse commentary 1.4.3. The Yajna 1.5. Summing Up 1.6. Answers to Self Assessment Questions 1.7. References 1.8. Terminal and Model Questions Uttarakhand Open University 1 Indian Writing in English and in English Translation MAEL-203 1.1 INTRODUCTION The Block: Block One explores the foundations of Indian Literature. -
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA PARVA translated by Kesari Mohan Ganguli In parentheses Publications Sanskrit Series Cambridge, Ontario 2002 Salya Parva Section I Om! Having bowed down unto Narayana and Nara, the most exalted of male beings, and the goddess Saraswati, must the word Jaya be uttered. Janamejaya said, “After Karna had thus been slain in battle by Savyasachin, what did the small (unslaughtered) remnant of the Kauravas do, O regenerate one? Beholding the army of the Pandavas swelling with might and energy, what behaviour did the Kuru prince Suyodhana adopt towards the Pandavas, thinking it suitable to the hour? I desire to hear all this. Tell me, O foremost of regenerate ones, I am never satiated with listening to the grand feats of my ancestors.” Vaisampayana said, “After the fall of Karna, O king, Dhritarashtra’s son Suyodhana was plunged deep into an ocean of grief and saw despair on every side. Indulging in incessant lamentations, saying, ‘Alas, oh Karna! Alas, oh Karna!’ he proceeded with great difficulty to his camp, accompanied by the unslaughtered remnant of the kings on his side. Thinking of the slaughter of the Suta’s son, he could not obtain peace of mind, though comforted by those kings with excellent reasons inculcated by the scriptures. Regarding destiny and necessity to be all- powerful, the Kuru king firmly resolved on battle. Having duly made Salya the generalissimo of his forces, that bull among kings, O monarch, proceeded for battle, accompanied by that unslaughtered remnant of his forces. Then, O chief of Bharata’s race, a terrible battle took place between the troops of the Kurus and those of the Pandavas, resembling that between the gods and the Asuras. -
The Cosmic Teeth. Part
THE COS.AIIC TEETH BY LAWRENCE PARMLY BROWN //. Flame Teeth and the Teeth of the Sun IT' \'ERYWHERE and always fire has been conceived as some- -—-^ thing that consumes, devours or eats hke a hungry animal or human being; and the more or less individualized flames of fire are sometimes viewed as teeth, but more commonly as tongues. In the very ancient Hindu Rig-Veda the god Agni primarily rep- resents ordinary fire, but secondarily the fiery sun; and there it is said that "He crops the dry ground strewn (with grass and wood), like an animal grazing, he with a golden beard, with shining teeth" (Mandala V, Sukta VH, 7; translation of H. H. Wilson, Vol. HI, p. 247), while his light "quickly spreads over the earth, when with his teeth (of flame) he devours his food" {Ih. VH, iii, 4; Wilson's, Vol. IV, p. 36).^ The Mexican goddess of devouring fire is called Chantico ("In- the-house," with reference to her character as divinity of the do- mestic hearth) and also Ouaxolotl ("Split-at-the-top," for the flame divided into two tips) and Tlappalo ("She-of-the-red-butterfly," perhaps from the flame-like flickering of the insect). Her image is described by Duran with open mouth and the prominent teeth of a carnivorous beast ; and she is associated with the dog as a biting animal, according to one account having been transformed into a dog as a punishment for disregarding a prohibition relating to sac- rifices (Seler, J^aticanus B, p. 273; Spence, Gods of Mexico, p. -
OLD FLORIDA BOOK SHOP, INC. Rare Books, Antique Maps and Vintage Magazines Since 1978
William Chrisant & Sons' OLD FLORIDA BOOK SHOP, INC. Rare books, antique maps and vintage magazines since 1978. FABA, ABAA & ILAB Facebook | Twitter | Instagram oldfloridabookshop.com Catalogue of Sanskrit & related studies, primarily from the estate of Columbia & U. Pennsylvania Professor Royal W. Weiler. Please direct inquiries to [email protected] We accept major credit cards, checks and wire transfers*. Institutions billed upon request. We ship and insure all items through USPS Priority Mail. Postage varies by weight with a $10 threshold. William Chrisant & Sons' Old Florida Book Shop, Inc. Bank of America domestic wire routing number: 026 009 593 to account: 8981 0117 0656 International (SWIFT): BofAUS3N to account 8981 0117 0656 1. Travels from India to England Comprehending a Visit to the Burman Empire and Journey through Persia, Asia Minor, European Turkey, &c. James Edward Alexander. London: Parbury, Allen, and Co., 1827. 1st Edition. xv, [2], 301 pp. Wide margins; 2 maps; 14 lithographic plates 5 of which are hand-colored. Late nineteenth century rebacking in matching mauve morocco with wide cloth to gutters & gouge to front cover. Marbled edges and endpapers. A handsome copy in a sturdy binding. Bound without half title & errata. 4to (8.75 x 10.8 inches). 3168. $1,650.00 2. L'Inde. Maurice Percheron et M.-R. Percheron Teston. Paris: Fernand Nathan, 1947. 160 pp. Half red morocco over grey marbled paper. Gilt particulars to spine; gilt decorations and pronounced raised bands to spine. Decorative endpapers. Two stamps to rear pastedown, otherwise, a nice clean copy without further markings. 8vo. 3717. $60.00 3. -
Indian Dance Drama Tradition
Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario. -
Brill's Encyclopedia of Hinduism
Brill’s Encyclopedia of Hinduism HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION TWO INDIA edited by J. Bronkhorst A. Malinar VOLUME 22/5 Brill’s Encyclopedia of Hinduism Volume V: Religious Symbols Hinduism and Migration: Contemporary Communities outside South Asia Some Modern Religious Groups and Teachers Edited by Knut A. Jacobsen (Editor-in-Chief ) Associate Editors Helene Basu Angelika Malinar Vasudha Narayanan Leiden • boston 2013 Library of Congress Cataloging-in-Publication Data Brill’s encyclopedia of Hinduism / edited by Knut A. Jacobsen (editor-in-chief); associate editors, Helene Basu, Angelika Malinar, Vasudha Narayanan. p. cm. — (Handbook of oriental studies. Section three, India, ISSN 0169-9377; v. 22/5) ISBN 978-90-04-17896-0 (hardback : alk. paper) 1. Hinduism—Encyclopedias. I. Jacobsen, Knut A., 1956- II. Basu, Helene. III. Malinar, Angelika. IV. Narayanan, Vasudha. BL1105.B75 2009 294.503—dc22 2009023320 ISSN 0169-9377 ISBN 978 90 04 17896 0 Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. Printed in the Netherlands Table of Contents, Volume V Prelims Preface .............................................................................................................................................. -
Kalakalpa IGNCA Journal of Arts
Volume IV, Number 2 Basanta Panchami 2020 Kalakalpa IGNCA Journal of Arts i ii © Indira Gandhi National Centre for the Arts New Delhi All rights reserved. No part of this publication may be reproduced, utilised in any form or by any means, electronic or mechanical methods, including photocopying, recording or by any information storage and retrieval system without prior permission of the Chief Editor/ Publisher. Responsibility for statements made and visuals provided in the various papers rests solely with the contributors. The views expressed by individual authors are not necessarily those of the Editor or the Publisher. Kalakalpa The bi-annual journal of the IGNCA with a holistic approach towards the study of arts and stress on the inter-connectivity of various art forms. ISSN: 2456-8201 UGC CARE Reffered Journal Editor-in-Chief Dr. Sachchidanand Joshi Editor Dr. Radha Banerjee Sarkar January, 2020 Price: Rs. 300/- Printed and Published by Dr. Sachchidanand Joshi on behalf of the Indira Gandhi National Centre for the Arts, 11 Man Singh Road, New Delhi-110001 iii ISSN: 2456-8201 Kalakalpa Kalakalpa the bi-annual journal of the IGNCA addresses itself to a holistic understanding of the arts, not as an activity dissociated from life but as a response to it. Its aim is to foster an active dialogue amongst the scholars of various disciplines. The Journal will provide a forum for scholarly articles, research notes and book reviews of the highest quality from cultures around the world and will cover the following field of disciplines: Archaeology, Anthropology, Art History, Linguistics, Literature, Musicology, Dance, Religious Studies, Philosophy, Diaspora, etc. -
Classical Dances Have Drawn Sustenance
Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return. -
Brahma Sutra
BRAHMA SUTRA CHAPTER 1 1st Pada 1st Adikaranam to 11th Adhikaranam Sutra 1 to 31 INDEX S. No. Topic Pages Topic No Sutra No Summary 5 Introduction of Brahma Sutra 6 1 Jijnasa adhikaranam 1 a) Sutra 1 103 1 1 2 Janmady adhikaranam 2 a) Sutra 2 132 2 2 3 Sastrayonitv adhikaranam 3 a) Sutra 3 133 3 3 4 Samanvay adhikaranam 4 a) Sutra 4 204 4 4 5 Ikshatyadyadhikaranam: (Sutras 5-11) 5 a) Sutra 5 324 5 5 b) Sutra 6 353 5 6 c) Sutra 7 357 5 7 d) Sutra 8 362 5 8 e) Sutra 9 369 5 9 f) Sutra 10 372 5 10 g) Sutra 11 376 5 11 2 S. No. Topic Pages Topic No Sutra No 6 Anandamayadhikaranam: (Sutras 12-19) 6 a) Sutra 12 382 6 12 b) Sutra 13 394 6 13 c) Sutra 14 397 6 14 d) Sutra 15 407 6 15 e) Sutra 16 411 6 16 f) Sutra 17 414 6 17 g) Sutra 18 416 6 18 h) Sutra 19 425 6 19 7 Antaradhikaranam: (Sutras 20-21) 7 a) Sutra 20 436 7 20 b) Sutra 21 448 7 21 8 Akasadhikaranam : 8 a) Sutra 22 460 8 22 9 Pranadhikaranam : 9 a) Sutra 23 472 9 23 3 S. No. Topic Pages Topic No Sutra No 10 Jyotischaranadhikaranam : (Sutras 24-27) 10 a) Sutra 24 486 10 24 b) Sutra 25 508 10 25 c) Sutra 26 513 10 26 d) Sutra 27 517 10 27 11 Pratardanadhikaranam: (Sutras 28-31) 11 a) Sutra 28 526 11 28 b) Sutra 29 538 11 29 c) Sutra 30 546 11 30 d) Sutra 31 558 11 31 4 SUMMARY Brahma Sutra Bhasyam Topics - 191 Chapter – 1 Chapter – 2 Chapter – 3 Chapter – 4 Samanvaya – Avirodha – non – Sadhana – spiritual reconciliation through Phala – result contradiction practice proper interpretation Topics - 39 Topics - 47 Topics - 67 Topics 38 Sections Topics Sections Topics Sections Topics Sections Topics 1 11 1 13 1 06 1 14 2 07 2 08 2 08 2 11 3 13 3 17 3 36 3 06 4 08 4 09 4 17 4 07 5 Lecture – 01 Puja: • Gratitude to lord for completion of Upanishad course (last Chandogya Upanishad + Brihadaranyaka Upanishad). -
A Surplus of Meaning: the Intent of Irregularity in Vedic Poetry
A surplus of meaning : the intent of irregularity in Vedic poetry Knobl, W.F. Citation Knobl, W. F. (2009, September 30). A surplus of meaning : the intent of irregularity in Vedic poetry. Retrieved from https://hdl.handle.net/1887/14036 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/14036 Note: To cite this publication please use the final published version (if applicable). 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 :HUQHU.QREO 0,1'5($',1*7+(32(7 &$6(62),17(1'(' 0(75,&$/,55(*8/$5,7< ,19(',&32(75<* L’espace entre les arbres est l’arbre le plus beau Between the scholar and the poet, there is something like a pre-established harmony. As the former has a predilection for laws and rules, so the latter appears to dislike what is unruly and lawless. Having undergone a similarly severe training in discipline, the two of them seem to be made for each other. The scholar, used to formulating order, may sometimes try to find it where it cannot be found. He may be tempted to cry eureka even when he is all at sea. The poet, too, is used to formulating, but to formulating a different kind of truth. He too is all at sea, but he knows it. And knowingly he tries to establish an instant of order in the middle of that incorrigibly creative chaos which is the source of his inspiration. -
Q.P. Code :08271
Q.P. Code :08271 [Time: 3 Hours] [ Marks:100] Please check whether you have got the right question paper. N.B: 1. All Questions are compulsory. SECTION I Q.1 a. Tick the correct one:- 10 I) Brihaddeshi was written by a) Bharata b) Nandikeshvara c) Matanga d) Dattila II) Trasa is a a) Sattvika bhava b) Vibhava c) Vyabhichari bhava d) Sthayi bhava III) Meghadutam was written by a) Bhasa b) Shudraka c) Bhavabhuti d) Kalidasa IV) Natyashastra was written by a) Kohala b) Bharata c) Nandikeshvara d) Abhinavagupta V) Abhinavabharati is a commentary on a) Sangitaratnakara b) Dattilam c) Abhinayadarpanam d) Natyashastra VI) Dakshinatya is a a) Vritti b) Pravritti c) Dharmi d) Anubhava VII) Kaishiki is a a) Dharmi b) Pravritti c) Vritti d) Cari VIII) Tillana is the concluding item in a) Kathak b) Manipuri c) Kathakali d) Bharata Natyam TURN OVER 3BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B061 3BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B06 3BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B06 3BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B063BB7988552D430087D4993C39A1E7B06