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Personality Development - English 1 Personality Development - English 2 Initiative for Moral and Cultural Training [IMCTF]
Personality Development - English 1 Personality Development - English 2 Initiative for Moral and Cultural Training [IMCTF] Personality Development (English) Details Book Name : Personality Development (English) Edition : 2015 Pages : 224 Size : Demmy 1/8 Published by : Initiative for Moral and Cultural Training Foundation (IMCTF) Head Office : 4th Floor, Ganesh Towers, 152, Luz Church Road, Mylapore, Chennai - 600 004. Admin Office : 2nd Floor, “Gargi”, New No.6, (Old No.20) Balaiah Avenue, Luz, Mylapore, Chennai - 600 004. Email : [email protected], Website : www.imct.org.in This book is available on Website : www.imct.org.in Printed by : Enthrall Communications Pvt. Ltd., Chennai - 30 © Copy Rights to IMCTF Personality Development - English Index Class 1 1. Oratorical ................................................................................................12 2. Great sayings by Thiruvalluvar .........................................................12 3. Stories .......................................................................................................12 4. Skit ........................................................................................................15 Class 2 1. Oratorical .................................................................................................16 2. Poems .......................................................................................................16 3. Stories .......................................................................................................18 4. -
Strength for Today and Bright Hope for Tomorrow Volume 11: 11
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 11 : 11 November 2011 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Women in Mahabharata: Fighting Patriarchy Maneeta Kahlon, Ph.D. ======================================================== Vyasa’s Portrayal of Women Vyasa casts his women—Kunti, Draupadi, Gandhari, Shakuntala, Devayani, Savitri, Damayanti— both in the heroic mould and as victims and practitioners of elements of patriarchy The image of women in the original stratum of the epic is that which is etched out in the words of Shakuntala, as she upbraids Dushyanta for fickleness, contesting patriarchy and traditions of gender relations. ―A wife is a man‘s half, A wife is a man‘s closest friend; A wife is Dharma, Artha and Karna, A wife is Moksha too . A sweet-speaking wife is a companion in happy times; A wife is like a father on religious occasions; A wife is like a mother in illness and sorrow. The wife is a means to man‘s salvation . Happiness, joy, virtue, everything depends on her.‖ Citation Study of Male Authority and Subordination This paper is a study of the three central characters of Mahabharata and how they deal with male authority and subordination. The characters of Kunti, Gandhari, Draupadi conform to the elements of Stridharma while also manifesting exigent actions. Language in India www.languageinindia.com 11 : 11 November 2011 Maneeta Kahlon, Ph.D. -
Component-I (A) – Personal Details
Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. Korada Subrahmanyam Center for ALTS, University of Hyderabad. Dr. N. Siva Senani Hyderabad. Prof. Korada Subrahmanyam Center for ALTS, University of Hyderabad. Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Vedic, Epic and Puranic Culture of India Module Name/Title Encyclopedic Nature of Mahabharata Module Id IC / VEPC / 18 Pre-requisites Familiarity with Rāmāyaṇa Objectives To introduce Mahabharata, its contents and give an idea of its encyclopedic nature. To demonstrate that Mahabharata is a Smriti. Keywords Mahābhārata / Pāṇḍavas / Kauravas/Śāntiparva / Anuśāsanaparva/ Bhīṣma / Droṇa / Great war of ancient India / Dharma E-text (Quadrant-I): 1. Introduction Literature is an important aspect of the culture of a period and needs to be read and understood in a sympathetic way, i.e. it must be approached as it was designed to be, or as it was approached by the people of the society that one is trying to understand. Mahabharata, one of the two epics of India, is indeed familiar to all in India, but two aspects make this module necessary. Much as Mahabharata is well known, only a few would have read it fully or know it fully. The second aspect is that over the years people have approached it in their own way and continue to do so resulting in a wide variety in the ways it is understood. That Mahabharata is a huge epic and is amenable to multiple interpretations has only increased this. In such a situation, it would be useful to introduce the text as a whole and introduce the traditional way of understanding the text – both in understanding the culture of the Mahabharata period and in appreciating the epic. -
The Mahabharata
VivekaVani - Voice of Vivekananda THE MAHABHARATA (Delivered by Swami Vivekananda at the Shakespeare Club, Pasadena, California, February 1, 1900) The other epic about which I am going to speak to you this evening, is called the Mahâbhârata. It contains the story of a race descended from King Bharata, who was the son of Dushyanta and Shakuntalâ. Mahâ means great, and Bhârata means the descendants of Bharata, from whom India has derived its name, Bhârata. Mahabharata means Great India, or the story of the great descendants of Bharata. The scene of this epic is the ancient kingdom of the Kurus, and the story is based on the great war which took place between the Kurus and the Panchâlas. So the region of the quarrel is not very big. This epic is the most popular one in India; and it exercises the same authority in India as Homer's poems did over the Greeks. As ages went on, more and more matter was added to it, until it has become a huge book of about a hundred thousand couplets. All sorts of tales, legends and myths, philosophical treatises, scraps of history, and various discussions have been added to it from time to time, until it is a vast, gigantic mass of literature; and through it all runs the old, original story. The central story of the Mahabharata is of a war between two families of cousins, one family, called the Kauravas, the other the Pândavas — for the empire of India. The Aryans came into India in small companies. Gradually, these tribes began to extend, until, at last, they became the undisputed rulers of India. -
The Complete Mahabharata in a Nutshell
Contents Introduction Dedication Chapter 1 The Book of the Beginning 1.1 Vyasa (the Composer) and Ganesha (the Scribe) 1.2 Vyasa and his mother Sathyavathi 1.3 Janamejaya’s Snake Sacrifice (Sarpasastra) 1.4 The Prajapathis 1.5 Kadru, Vinatha and Garuda 1.6 The Churning of the Ocean of Milk 1.7 The Lunar and Solar races 1.8 Yayathi and his wives Devayani and Sharmishta 1.9 Dushyanta and Shakuntala 1.10 Parashurama and the Kshatriya Genocide BOOKS 1.11 Shanthanu, Ganga and their son Devavratha 1.12 Bhishma, Sathyavathi and Her Two Sons 1.13 Vyasa’s Sons: Dhritharashtra,DC Pandu and Vidura 1.14 Kunthi and her Son Karna 1.15 Birth of the Kauravas and the Pandavas 1.16 The Strife Starts 1.17 The Preceptors Kripa and Drona 1.18 The Autodidact Ekalavya and his Sacrifice 1.19 Royal Tournament where Karna became a King 1.20 Drona’s Revenge on Drupada and its Counterblow 1.21 Lord Krishna’s Envoy to Hasthinapura 1.22 The Story of Kamsa 1.23 The Wax Palace Inferno 1.24 Hidimba, Hidimbi and Ghatotkacha 1.25 The Ogre that was Baka 1.26 Dhaumya, the Priest of the Pandavas 1.27 The Feud between Vasishta and Vishwamithra 1.28 More on the Quality of Mercy 1.29 Draupadi, her Five Husbands and Five Sons 1.30 The Story of Sunda and Upasunda 1.31 Draupadi’s Previous Life 1.32 The Pandavas as the Incarnation of the Five Indras 1.33 Khandavaprastha and its capital Indraprastha 1.34 Arjuna’s Liaisons while on Pilgrimage 1.35 Arjuna and Subhadra 1.36 The Khandava Conflagaration 1.37 The Strange Story of the Sarngaka Birds Chapter 2 The Book of the Assembly Hall -
Untouched Questions
|| Om Namah Sadgurudevay || Untouched Questions Compiled and Interpreted by: Blessed Disciple of Most Revered Sri Paramhans Ji Maharaj Swami Adgadanand Ji Shri Paramhans Ashram Shakteshgarh, Chunar-Mirzapur, U.P. Publisher: Shri Paramhans Swami Adgadanand Ji Ashram Trust 5, New Apollo Estate, Mogra Lane, Opp. Nagardas Road Andheri (East), Mumbai – 400069 India Most Respectfully Dedicated At The Holy Feet Of Most Revered Swami Sri Paramanand Ji Yogiraj Matchless Grandsire Of The Era GURU VANDANA (SALUTATIONS TO THE GURU) || Om Shree Sadguru Dev Bhagwan Ki Jai || Jai Sadgurudevam, Paramaanandam, amar shariraam avikari I Nirguna nirmulam, dhaari sthulam, kattan shulam bhavbhaari II Surat nij soham, kalimal khoham, janman mohan chhavibhaari I Amraapur vaasi, sab sukh raashi, sadaa ekraas nirvikaari II Anubhav gambira, mati ke dhira, alakh fakira avtaari I Yogi advaishta, trikaal drashta, keval pad anandkaari II Chitrakuthi aayo, advait lakhaayo, anusuia asan maari I Shree Paramhans Swami, antaryaami, hain badnaami sansaari II Hansan hitkaari, jag pagudhaari, garva prahaari, upkaari I Sat- panth chalaayo, bharam mitaayo, rup lakhaayo kartaari II Yeh shishya hai tero, karat nihoro, mo par hero prandhaari I Jai Sadguru.....bhari II Index S.No. Subject Page No. 1. The History of Lord Shri Ram 1 2. Desertion of Sita 6 3. Varna (Caste) 17 4. Shambook 36 5. Worship of Goddess Saraswati 49 6. Why God Has No Beards? 58 7. Vishwakarma Pooja 62 8. Idol Worship - Valid or Invalid 79 9. Dhyan 92 10. Hath, Chakra-Bhedan and Yog 114 11. Analysis of Dravid & Arya in the Light of Ram-Katha 142 12. The Historical Value of Mahabharata 161 13. -
Symbols and Motifs in Abhigyan Shakuntalam by Kalidasa=
Symbols and Motifs in Abhigyan Shakuntalam by Kalidasa= Symbols and Motifs in Abhigyan Shakuntalam Kalidasa has made an extensive use of symbols and motifs in the play, Abhigyan Shakuntalam. The narrative of Shakuntalam opens in the forest where Shakuntala dwells in the hermitage of sage Kanva. King Dushyanta arrives in the forest while on a hunting trip. He is greatly impressed with the natural environment and peaceful ambience of the hermitage. The description of the hermitage, its dwellers, the flora and the fauna is elaborated in detail by the poet. These descriptions are rich in sensuous images, metaphors and symbols that heighten the poetic and emotional impact of the story. The poet describes the power of the ascetics and this theme has been a recurring theme and a motif in Hindu mythology. Kalidasa has made use of motifs like the, ‘curse motif‘ and ‘the singnet ring motif’, along with the use of ‘memory and recollection,’ in the play. The curse motif is an important recurrent motif in Indian mythology, where the curse by an ascetic determines the fate of the individual. It also affects the course of action in the Shakuntalam. The two motifs- the curse motif and the signet ring motif guide the course of the narrative in the Shakuntalam. After her Gandharva form of marriage with king Dushyanta, Shakuntala is totally lost in her dreams of love and companionship. When Dushyanta leaves for Hastinapur, he assures Shakuntala about her place in his houselold. He promises to send his men to take her to her real home with dignity. -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi -
Agriculturists and the People of the Jungle: Reading Early Indian Texts
Vidyasagar University Journal of History, Volume III, 2014-2015 Pages 9-26 ISSN 2321-0834 Agriculturists and the People of the Jungle: Reading Early Indian Texts Prabhat Kumar Basant Abstract: Historians of early India have understood the transition from hunting-gathering to agriculture as a dramatic transformation that brought in its wake urbanism and state. Jungles are believed to have been destroyed by chiefs and kings in epic encounters. Does anthropology support such an understanding of the processes involved in the transition from hunting –gathering to agriculture? Is it possible that historians have misread early Indian texts because they have mistaken poetic conventions for a statement of reality? A resistant reading of the early Indian texts together with information from anthropology shows that communities of agriculturists, pastoral nomads and forest people were in active contact. Agriculturists located on the cultural or spatial margins of state societies colonised new areas for cultivation. Transition to agriculture was facilitated by the brahman-shramana tradition. Keywords: The Neolithic Revolution, Slash and burn cultivation, Burning of the Khandava forest, The Arthashastra, The Mahabharata, Jatakas, Kadambari. The history of India in the last five thousand years is a history of the expansion of agriculture. Anyone who has mapped archaeological sites over the last five thousand years will testify that though there are cases where the wild has made a comeback, the general trend has been that of conquest of the jungle by agriculturists. I wish to study the processes involved in the transition to agriculture in early India, though such studies are handicapped by lack of information in contemporary texts. -
Ramayan Ki Kathayen, Pandemic and the Hindu Way of Life and the Contribution of Hindu Women, Amongst Others
Hindu Sevika Samiti (UK) Mahila Shibir 2020 East and South Midlands Vibhag FOREWORD INSPIRING AND UNPRECEDENTED INITIATIVE In an era of mass consumerism - not only of material goods - but of information, where society continues to be led by dominant and parochial ideas, the struggle to make our stories heard, has been limited. But the tides are slowly turning and is being led by the collaborative strength of empowered Hindu women from within our community. The Covid-19 pandemic has at once forced us to cancel our core programs - which for decades had brought us together to pursue our mission to develop value-based leaders - but also allowed us the opportunity to collaborate in other, more innovative ways. It gives me immense pride that Hindu Sevika Samiti (UK) have set a new precedent for the trajectory of our work. As a follow up to the successful Mahila Shibirs in seven vibhags attended by over 500 participants, 342 Mahila sevikas came together to write 411 articles on seven different topics which will be presented in the form of seven e-books. I am very delighted to launch this collection which explores topics such as: The uniqueness of Bharat, Ramayan ki Kathayen, Pandemic and the Hindu way of life and The contribution of Hindu women, amongst others. From writing to editing, content checking to proofreading, the entire project was conducted by our Sevikas. This project has revealed hidden talents of many mahilas in writing essays and articles. We hope that these skills are further encouraged and nurtured to become good writers which our community badly lacks. -
Essence of Valmiki Ramayana in Four Parts So Far of Baala-Ayodhya-Aranya- and Now the Kishkindha
ESSENCE OF VALMIKI KISHKINDHA RAMAYANA Translated and interpreted byV.D.N.Rao, former General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, now at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda- Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers -Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu - Dharma Bindu - Shiva Sahasra Lingarchana-Essence of Paraashara Smriti- Essence of Pradhana Tirtha Mahima Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ -Essence of Maha Narayanopanishad; Essence of Maitri Upanishad Essence of Virat Parva of Maha Bharata- Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Essence of Knowledge of Numbers for students Essence -
Part 1: the Beginning of Mahabharat
Mahabharat Story Credits: Internet sources, Amar Chitra Katha Part 1: The Beginning of Mahabharat The story of Mahabharata starts with King Dushyant, a powerful ruler of ancient India. Dushyanta married Shakuntala, the foster-daughter of sage Kanva. Shakuntala was born to Menaka, a nymph of Indra's court, from sage Vishwamitra, who secretly fell in love with her. Shakuntala gave birth to a worthy son Bharata, who grew up to be fearless and strong. He ruled for many years and was the founder of the Kuru dynasty. Unfortunately, things did not go well after the death of Bharata and his large empire was reduced to a kingdom of medium size with its capital Hastinapur. Mahabharata means the story of the descendents of Bharata. The regular saga of the epic of the Mahabharata, however, starts with king Shantanu. Shantanu lived in Hastinapur and was known for his valor and wisdom. One day he went out hunting to a nearby forest. Reaching the bank of the river Ganges (Ganga), he was startled to see an indescribably charming damsel appearing out of the water and then walking on its surface. Her grace and divine beauty struck Shantanu at the very first sight and he was completely spellbound. When the king inquired who she was, the maiden curtly asked, "Why are you asking me that?" King Shantanu admitted "Having been captivated by your loveliness, I, Shantanu, king of Hastinapur, have decided to marry you." "I can accept your proposal provided that you are ready to abide by my two conditions" argued the maiden. "What are they?" anxiously asked the king.