DOCSLIB.ORG

Implications for the Modern Hindu Woman in Partial Fulhlment of the Requirements for MASTER of ARTS University of Manitoba Winni

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Implications for the Modern Hindu Woman in Partial Fulhlment of the Requirements for MASTER of ARTS University of Manitoba Winni Sitã in Tulasidãsa' s Rãmachari tamãnasa: Implications for the Modern Hindu Woman by Karen E. Green Submiued to the #ii:t Graduate studies in Partial Fulhlment of the Requirements for the Degree of MASTER OF ARTS Department of Religion University of Manitoba Winnipeg, Manitoba (c) August, 1993 NationalLibrarY Bibliothèque nationale W@W du Canada et Acouisitions and Direction des acquisitions BibliograPhic Services Branch des services bibliograPhiques Wellington Street 395, rue Wellington 395 (Ontario) Otiawa, Ontario Onawa K1A ON4 K1A ON4 YNt Iile Volre rèlërffie Our lile Nolre èl,ffie The author has E¡'anted an ß-'auteu¡r a accordé !'Jne ßice¡rce et non exclusive i nrevocable non-exclus¡ve licemce irnévoeable tslbliotlrèque allowing the frtüatio¡'lal ü-ibrary of perrnettarxt à la Ca¡rada to reproduce, loan, matio¡'¡ale du Canada de distribute 0r sell cop¡es of reproduire, Prêter, distribuer ou sa thèse his/l,er thesis bY anY sneans and vendre des coPies de sous in any for¡m or format, maldng de quelque manière et que ce soit this thesis available to interested EuelEue for¡ne Pour de cette persons. mettre des exemPlaires thèse à !a disPosition des personnes intéressées. du The author retains owt'lershiP ot t-'auteur conserve la ProPriété the copyrlght in his/her tl'lesis' droit d'auteur qu¡ Protège sa ¡ri des extraits hleither the thesis nor substantia! thèse. F',üi !a thèse ne extracts from it maY be Printed or substantiels de celle-ci otherwise reProduced without doivent être irnPrimés oL¡ son his/her permiss¡on" autrement reProduits sans autorisation. rsBN 0-315-92269-9 il,asåad?d Sitã in Tulasidãsa's Rãmacharitamãnasa: Impiications lor the Modern Hindu Woman by Karen E. Green A Thesis submitted to the Faculfy of G¡aduate Studies of the University of Manitoba in pariial fuifillment of the requirements for the degree of MASTER OF ARTS o 1993 pe¡mission has been granted to the LIBRåRY OF TI:IE UNII/ERSITY OF ¡vÍANTTOBA to le¡rd or thesis and sell copies of this thesis, ûo the NATIONAL LIBR.{RY OF C4.Nå.DA to micofilm this tolendorsellcopiesofthe6lm,a¡tdUNT\TERSITYMICRoEII.IVÍStopublíshanabstractofthis thesis. Ttre author reser/es other publications ¡ights, a¡rd neither the thesis nor extensive extracfs Êom it may be printed or otherwÍse reproduced without the autho/s perrrission TABLE OF CONTENTS page Chapter i ABSTRACT I I. INTRODUCTION 1) Method 1 2) Evolution of the RãmãYala 5 11 3)-t Tulas-rdãsa a) Works l4 b) PhilosoPhY 18 c) Evolution of RãmaYaza Thought 2l II. SITA 26 21 1) History of Sita 2) Tulasidasa's Rendition of Sltã 33 a) Pre-Marital Sita 3s i) Bow-Sacrihce 37 b) Post-Marital Sita 42 c) Forest Sttã 47 d) Post-KidnaPPing 49 51 3) Sna as Worshipper a) Pre-Marital 52 b) Post-Marital 54 4) As a Goddess (worshipped) 55 a) Sttã's Dream 60 b) As Nature 61 64 5) Snã as Plot III. SITA AND FAMILY: RELATIONSHIP AND ROLE 68 69 1) Father 2) Mother 79 87 3) Parents in Forest (transition to in-laws) a) Father-in-Law 91 b) Mothers-in-law 9s IV. RELATIONSHIP BETWEEN RAMA AND S-TTÃ: RELATIONSHIP AND ROLE OF SITA iO4 i0s 1) Secular 105 a) Pre-Marital Ð Meeting in Garden 105 ii) Bow-Sacrif,rce 108 b) Post-Mantal It2 Ð AyodhYã tt2 ii) Forest tl7 lll) AranYa-Kãnda t2l iv) Kiskindha--Kãnda 130 v) Sundara and Lankã Kãndas (fîre ritual) 133 vi) Reunion in AYodhYã 148 r52 2) Transcendent c) Love r52 Ð Dehnition 153 ü) An Old Love 155 lll) LoveBetween a Man and Woman (arranged marriage) r57 d) As a Bhaktã, as MaYa and as Sakti t62 Ð Asa Bhakø r62 ii) Rãma and Sita as God and MãYã 168 iii) SÍtã as Saktiof Rãma r82 V. RELATIONSHIP BETWEEN SiTÃ AND OTHER MEN 183 183 1) Rãvana a) Secular 183 Ð KidnaPPing 184 ii) Rãvana and Sita 189 b) Transcendent t96 Ð VidYãand AuidYtì 196 20t 2) Hanuman a) Hanuman and Slta 201 b) Refusal to Return 205 c) Hanuman as Messenger 208 212 3) Sitã and Laklma+a 212 a) Secular b) As MãYã and ltva 2t9 VI. CONCLUSION 222 1) Connection between Traditional Sttã and Contemfrorary Hindu Women 222 a) Ideals and ldeologY 224 Ð How'Women Learn Their Roles 230 ii) Purity 233 b) Performing Tradition 235 c) Relevance to Social Evils 237 d) Possibilities for the Future of Hindu Women - Insights and Suggestions 240 Ð Education 240 ii) Urban UPPer Classes 243 246 2) Concluding Remarks VII. SELECTEDBIBLIOGRAPHY 249 PRIMARY SOURCES 249 SECONDARY SOURCES 249 GENERAL SOURCES 252 253 CWDS SOURCES ARSTRACf The study conducted within this manuscript concerns "Indian women and is religion.,, The goddess Sttã and her role in the Rãmacharitumùnasa of Tulasldãsa plays as of central concern. The focal point involves an examination ofl the role Sitã a goddess and as a woman in a Hindu text. Sitã is not examined as a norrn for Indian women, rather possible influences that SItã hashadon Indian women and possible reasons behind the evolution of Srtã, is studied an evolution resulting in Tulasrdãsa's depiction, are explored. Further, she might be within several contexts, in terms of those aspects of her character which woman is emphasized and developed in the future. Srtã, conceived as an idealHindu of particular concern. Tulasidâsa made several changes to the Ramayana of Valmlki, many directly made affecting the portrayal of Sfta. In a traditional sense, many of the changes question involving Slta may be interpreted as positive ones; however, one may also her as a dynamic these changes and the elimination of characteristics which portrayed Rãmãyana character. Earlier versions of the Rãmãyana, particularly, the Adhyãtma both the subtle and and the Rãmãyanaof Valmlki, are referred to, in order to highlight the obvious modihcations, omissions, and additions which have affected Sitâ. The Indian television Series, "Rãmãyan," primarily based on the Rãmacharitamãnasa of Tulas1dãsa and the Valmlkt Rãmãyana, is referred to as a modern version of this ancient epic. Of particular importance in the television series are have certain sc€nes involving portrayals of Srt¿ and how the creators of this series chosen to deal with them. Inconclusion, themeans by which perceptions of traditional figures such as Sitã possible to can alter and ultimately transfoûn are pursued. One must ask if it is preserve traditional texts in a manner which is relevant for today's social-ethical media play concerns. Education, women's groups, and the depiction of women in the alargerole, and are therefore, addressed in this study' I. INTRODUCTION 1) Method My primary interest in this study involves the f,rgure of Sit¿. In this study I wish will be to pursue Sna and her role in the Rãmacharitamãnasa(hereafter RCM). Sitã prior to this text, examined as portrayed by Tulasrdãsa, as portrayed through history the text and as as seen through her various relationships with other characters within the history seen as an individual character. As a first step I intend to briefly introduce of the Rãmãyana story, the RCM and the author of the text with which I will be working, Tulasidãsa. My central intention and second step is to conduct an in-depth study of the role that Sitâ has played in the RCM. My focal point involves a study of the role Sitã plays as a goddess and as a woman in a Hindu text. This study includes examinations men in the of Stta as independent, SItã's relationships with Rãma, SItã with other text, and SIta \ /ith her familY. Sitã is not to be examined as a nonn for Indian women, for there is no such that SItã evidence that she has ever been a nonn. We will look lor possible influences (and has had on Indian women (and men) and possibleinlluences that Indian women men) have had on her development, resulting in Tulasidãsa's depiction. Further, she be emphasized will be examined, in terms of those aspects of her character which might and developed in the future. SItã, conceived as an idealHindu woman is of particular concern; this matter will be addressed throughout the work' There are several points to keep in mind regarding the methodology olthis work. Firstly there is the diffrcult task of dealing with the many levels on which this text is structured. At least two general levels are worked with, the transcendent and the secular. Throughout this work aclanfication will bemade as to what level is being dealt with. Secondly, the reader should always realizethatthe characters involved and their portrayals are primarily based on the work ofTulasrdâsa. Mention will be made when a different version of the Rãmãyanais used lor comparative purposes. By examining the sources ofTulastdãsa, I intend to expose what he has omitted, what he has added and what he has expanded regarding women, particularly sections involving Srtã, her character and her relationships. This method will be used as opposed to a method of solely comparing the works. To discover only the similarities between Rãmayanalexfs does not tell us how Sitã has evolved, or how great was the impact of Tulasldãsa's rendition of Srta. The Indian television Series, "Rãmãyan," primarily based on the RCM of Tulasrdâsa and the Valmtki RAmãyana(hereafter VR), will be referred to throughout 2 used includes English this work as a modern version of this ancient epic.t The version sub-titles. What is of particular importance in the television series are those sc€nes deal with involving portrayals of Srta and how the creators of this series have chosen to with Slta, them.
Load more

Recommended publications
  • The Indian Wedding for Dummies Indiansamourai 27-03-2014 Http
    The Indian Wedding for Dummies The "Indian wedding" (I should say the Hindu wedding to be exact) has made the subject of numerous books, movies, visits to India. In short it’s an institution. I will try here to understand something to it! The Indian wedding for Dummies - 1. The arranged marriage Arranged marriage: and why not?! Let's make the distinction between arranged marriage and forced marriage. If I can de-dramatize arranged marriages (read below), it is impossible to do the same with forced marriages which are still widely practiced in India: 40% of women do not have a word in the choice of the husband, less than 20% of women (over 25) knew their husbands before the fateful day and worse, almost 50% of women have married before the legal age of 18 (source http://www.thehindu.com/news/national/many-women-have-no-say-in- marriage/article5801893.ece ). Which means that there are still thousands of people (Hindus) who, each year, follow the tradition and find out whom they are going spend the rest of their lives with only when they are already married: SURPRISE! As per the custom to groom arrives first, and his view is hidden with a bed sheet, which is removed once the bride is brought in by her maternal uncle and cousins and the consent of the parents exchanged. The bed sheet is simply a less sexy version (but more promising ;)) of the veil used in Catholic marriages, originally to hide the face of the bride (source http://www.le- mariage.com/traditions/ )).
    [Show full text]
  • Ramayana of * - Valmeeki RENDERED INTO ENGLISH with EXHAUSTIVE NOTES BY
    THE Ramayana OF * - Valmeeki RENDERED INTO ENGLISH WITH EXHAUSTIVE NOTES BY (. ^ ^reenivasa jHv$oiu$ar, B. A., LECTURER S. P G. COLLEGE, TRICHINGj, Balakanda and N MADRAS: * M. K. PEES8, A. L. T. PRKS8 AND GUARDIAN PBE8S. > 1910. % i*t - , JJf Reserved Copyright ftpfiglwtd. 3 [ JB^/to PREFACE The Ramayana of Valmeeki is a most unique work. The Aryans are the oldest race on earth and the most * advanced and the is their first ; Ramayana and grandest epic. The Eddas of Scandinavia, the Niebelungen Lied of Germany, the Iliad of Homer, the Enead of Virgil, the Inferno, the Purgatorio, and the Paradiso of Dante, the Paradise Lost of Milton, the Lusiad of Camcens, the Shah Nama of Firdausi are and no more the Epics ; Ramayana of Valmeeki is an Epic and much more. If any work can clam} to be the Bible of the Hindus, it is the Ramayana of Valmeeki. Professor MacDonell, the latest writer on Samskritha Literature, says : " The Epic contains the following verse foretelling its everlasting fame * As long as moynfain ranges stand And rivers flow upon the earth, So long will this Ramayana Survive upon the lips of men. This prophecy has been perhaps even more abundantly fulfilled than the well-known prediction of Horace. No pro- duct of Sanskrit Literature has enjoyed a greater popularity in India down to the present day than the Ramayana. Its story furnishes the subject of many other Sanskrit poems as well as plays and still delights, from the lips* of reciters, the hearts of the myriads of the Indian people, as at the 11 PREFACE great annual Rama-festival held at Benares.
    [Show full text]
  • HINDU WEDDING by Dipti Desai All Images Provided by Dipti Desai Copyright 2006
    2 HINDU WEDDING By Dipti Desai All images provided by Dipti Desai Copyright 2006 Published by Henna Page Publications, a division of TapDancing Lizard LLC 4237 Klein Ave. Stow, Ohio 44224 USA All rights reserved. Printed in the United States of America No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles or reviews. Henna artists may freely use these patterns as inspiration for their own hand-drawn henna work. Library of Congress Cataloging in-Publication Data Dipti Desai Hindu Wedding Henna Traditions Weddings Hindu Traditions Copyright © 2006 Dipti Desai Tapdancinglizard.com This book is provided to you free by The Henna Page and Mehandi.com 3 Hindu Wedding © 2006 Dipti Desai Terms of use: you must agree to these terms to download, print, and use this book. All rights reserved. Terms of use for personal use: You may not sell, offer for sale, exchange or otherwise transfer this publication without the express written permission of the publisher. You may make one (1) printed copy of this publication for your personal use. You may use the patterns as inspiration for hand rendered ephemeral body decoration. You may not sell, lend, give away or otherwise transfer this copy to any other person for any reason without the express written permission of the publisher. You may make one (1) electronic copy of this publication for archival purposes. Except for the one (1) permitted print copies and the one (1) archival copy, you may not make any other copy of this publication in whole or in part in any form without the express written permission of the publisher.
    [Show full text]
  • Images of Loss in Tennessee Williams's the Glass Menagerie
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 11-13-2007 Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive Dipa Janardanan Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Janardanan, Dipa, "Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/english_diss/23 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Images of Loss in Tennessee Williams’s The Glass Menagerie , Arthur Miller’s Death of a Salesman , Marsha Norman’s ‘night , Mother , and Paula Vogel’s How I Learned to Drive by DIPA JANARDANAN Under the Direction of Matthew C. Roudané ABSTRACT This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams’s The Glass Menagerie (1945), Arthur Miller’s Death of a Salesman (1949), Marsha Norman’s ‘night, Mother (1983), and Paula Vogel’s How I Learned to Drive (1998).
    [Show full text]
  • AGASTYA AGASTYA SARAS AGASTYA KUTA. This Is AGASTYA
    AGASTYA AGASTYA SARAS 22) Agastya cursing Dufpanya. Duspanya was the last (6) Agastya gave Sri Rama an arrow, which, when son of the King of Pataliputra. The wicked Duspanya shot at an asura (demon) would pierce his heart, pass had slain a large number of babies, and the King on to the other side, fly to the sea and bathe in the therefore expelled him from the palace. Duspanya sea-water and return to the quiver, it is said. (Uttara went into the forest, where he caught hold of the Ramayana). child of and killed it it Once visited the of Ugraravas by putting under ( 7) Agastya hermitage Apastamba. water. Ugraravas cursed him and accordingly he fell He asked Agastya, who, of Brahma, Visnu and Siva, into water and died and his spirit became a ghost was the Supreme deity. Agastya replied: "These three and wandered about tormented with pain and are only three different manifestations of the one anguish. At last the spirit approached Agastya, who supreme Being". (Brahmapurana). called his disciple Sutisna and asked him to go and (8) For the story of how Agastya cursed the sons of bathe in the Agni tirtha (a bath) in the Gandhama- Manibhadra and transformed them to seven palms, dana mountain and bring some water from the tirtha see the word 'Saptasala'. and sprinkle it on the spirit of Duspanya. Sutisna (9) There was a hermit called Sutisna, to whom Sri acted accordingly and immediately the spirit of Dus- Rama and Laksmana paid a visit when they were panya received divine figure and entered heaven.
    [Show full text]
  • Hinduism and Hindu Philosophy
    Essays on Indian Philosophy UNIVE'aSITY OF HAWAII Uf,FU:{ Essays on Indian Philosophy SHRI KRISHNA SAKSENA UNIVERSITY OF HAWAII PRESS HONOLULU 1970 Library of Congress Catalog Card Number 78·114209 Standard Book Number 87022-726-2 Copyright © 1970 by University of Hawaii Press All Rights Reserved Printed in the United States of America Contents The Story of Indian Philosophy 3 Basic Tenets of Indian Philosophy 18 Testimony in Indian Philosophy 24 Hinduism 37 Hinduism and Hindu Philosophy 51 The Jain Religion 54 Some Riddles in the Behavior of Gods and Sages in the Epics and the Puranas 64 Autobiography of a Yogi 71 Jainism 73 Svapramanatva and Svapraka!;>atva: An Inconsistency in Kumarila's Philosophy 77 The Nature of Buddhi according to Sankhya-Yoga 82 The Individual in Social Thought and Practice in India 88 Professor Zaehner and the Comparison of Religions 102 A Comparison between the Eastern and Western Portraits of Man in Our Time 117 Acknowledgments The author wishes to make the following acknowledgments for permission to reprint previously published essays: "The Story of Indian Philosophy," in A History of Philosophical Systems. edited by Vergilius Ferm. New York:The Philosophical Library, 1950. "Basic Tenets of Indian Philosophy," previously published as "Are There Any Basic Tenets of Indian Philosophy?" in The Philosophical Quarterly. "Testimony in Indian Philosophy," previously published as "Authority in Indian Philosophy," in Ph ilosophyEast and West. vo!.l,no. 3 (October 1951). "Hinduism," in Studium Generale. no. 10 (1962). "The Jain Religion," previously published as "Jainism," in Religion in the Twentieth Century. edited by Vergilius Ferm.
    [Show full text]
  • Valmiki Ramayana – Bala Kanda – Chapter 3
    “Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Bala Kanda – Chapter 3 Valmiki Summarizes the Ramayana Summary The scheming [high-level overview] of the composition of epic Ramayana is described here. Whole of the epic is rendered in its quintessence [representation], as to how Sage Valmiki scheduled the narration of important milestones of the epic. Chapter [Sarga] 3 in Deyail shrutvaa vastu samagram tat dharma ardha sahitam hitam | vyaktam anveshhate bhuuyo yadvrittam tasya dhiimatah || 1-3-1 On hearing the essence of Ramayana from Sage Narada, which is abound with probity [adherence to the highest principles and ideals] and prosperity, and a propitious one too, that virtue-souled Valmiki started searching for further known details in the legend of that dexterous [skillful] Rama. [1-3-1] upasprisya udakam samyak munih sthitvaa kritaanjalih | praachiina agreshhu darbheshhu dharmena anveshhate gatim || 1-3-2 Valmiki sitting on a sacred grass mat, whose apices [the uppermost point or vertex] are towards east, touched waters, and made his palms adjoined in reverence, and then by his yogic insight started to search comprehensively [broadly], for the narrative course of Ramayana. [1-3-2] Page 1 of 9 “Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Bala Kanda – Chapter 3 raama lakshmana siitaabhih raajnaa dasharathena cha | sa bhaaryena sa raashhtrena yat praaptam tatra tattvatah || 1-3-3 hasitam bhaashhitam cha eva gatiryaayat cha cheshhtitam | tat sarvam dharma viiryena yathaavat sa.mprapashyati || 1-3-4 Of Rama, Lakshmana and Seetha, also of King Dasharatha and his wives, and what bechanced [befell] on Rama when he was in kingdom Ayodhya; Valmiki veritably [being in fact] discerned [distinguished] all that.
    [Show full text]
  • Sita Ram Baba
    सीता राम बाबा Sītā Rāma Bābā סִיטָ ה רְ אַמָ ה בָבָ ה Bābā بَابَا He had a crippled leg and was on crutches. He tried to speak to us in broken English. His name was Sita Ram Baba. He sat there with his begging bowl in hand. Unlike most Sadhus, he had very high self- esteem. His eyes lit up when we bought him some ice-cream, he really enjoyed it. He stayed with us most of that evening. I videotaped the whole scene. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Locations 4961-4964). Trafford. Kindle Edition. … immortal Sita Ram Baba. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Location 5039). Trafford. Kindle Edition. Breaking the Death Habit: The Science of Everlasting Life by Leonard Orr (page 56) ראמה راما Ράμα ראמה راما Ράμα Rama has its origins in the Sanskrit language. It is used largely in Hebrew and Indian. It is derived literally from the word rama which is of the meaning 'pleasing'. http://www.babynamespedia.com/meaning/Rama/f Rama For other uses, see Rama (disambiguation). “Râm” redirects here. It is not to be confused with Ram (disambiguation). Rama (/ˈrɑːmə/;[1] Sanskrit: राम Rāma) is the seventh avatar of the Hindu god Vishnu,[2] and a king of Ayodhya in Hindu scriptures. Rama is also the protagonist of the Hindu epic Ramayana, which narrates his supremacy. Rama is one of the many popular figures and deities in Hinduism, specifically Vaishnavism and Vaishnava reli- gious scriptures in South and Southeast Asia.[3] Along with Krishna, Rama is considered to be one of the most important avatars of Vishnu.
    [Show full text]
  • Origins of Marriage Customs
    ORIGINS OF MARRIAGE CUSTOMS: AN ANALYSIS OF RELIGIOUS TRADITIONS HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Kourtney Lynn Ruth San Marcos, Texas May 2018 ORIGINS OF MARRIAGE CUSTOMS: AN ANALYSIS OF RELIGIOUS TRADITIONS Thesis Supervisor: ________________________________ Stefanie Ramirez, Ph.D. School of Family and Consumer Sciences Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College COPYRIGHT by Kourtney Ruth 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Kourtney Ruth, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My thesis would not have been possible without the guidance and support of my thesis supervisor, Dr. Stefanie Ramirez. She has been diligent in providing me with feedback and suggestions since the beginning of this process. She did not have to take on the extra responsibility of supervising me during this extremely busy semester, I am so thankful for everything she has done for me! My parents have always pushed me to do my absolute best at eveything I do. They molded me into the competitive person I am today, and without their motivation and support, I would never have been in the honors college in the first place.
    [Show full text]
  • Rama Navami Birthday of Rama, the Ideal Man
    folio line HOLY DAYS THAT AMERICA’S HINDUS CELEBRATE s. rajam Rama Navami Birthday of Rama, the Ideal Man organizations. They make buttermilk and a n incarnation of God, an ideal man, dutiful son and just king: lime drink called panaka, serving them to the public without charge. Some temples make these are just a few ways to describe Lord Rama, an exemplar of khoa, a sweet made from thickened milk. This Ahonor, reverence, self-control and duty. He fought battles, became festival is especially popular in Uttar Pradesh, king, married a Goddess, traveled far and befriended exotic beings who where Rama’s kingdom of Ayodhya is located. were steadfast in their loyalty and courage. Rama Navami is the cel- Is the festival observed at temples? ebration of His birthday, when Hindus honor and remember Him with Many temples hold grand celebrations on this devotional singing, dramatic performance and non-stop recitation of day, especially those with shrines for Lord His remarkable life story, the Ramayana. Rama, His wife Sita, His brother Lakshmana and His loyal friend Hanuman, Lord of Mon- keys. Panaka and garlands of the sacred When is Rama’s birth celebrated? tulsi plant are offered as families pray Rama was born on navami, the ninth for “Rama-Rajya,” a time when dharma www.dinodia.com day of the waxing moon, in the In- will once again be upheld in the world. dian month of Chaitra (late March or In South India, the day is celebrated as Panaka early April). Sometimes the festival is the marriage anniversary of Rama and Sweet Indian Limeaide observed for nine days before or after Sita.
    [Show full text]
  • 2.Hindu Websites Sorted Category Wise
    Hindu Websites sorted Category wise Sl. No. Broad catergory Website Address Description Reference Country 1 Archaelogy http://aryaculture.tripod.com/vedicdharma/id10. India's Cultural Link with Ancient Mexico html America 2 Archaelogy http://en.wikipedia.org/wiki/Harappa Harappa Civilisation India 3 Archaelogy http://en.wikipedia.org/wiki/Indus_Valley_Civil Indus Valley Civilisation India ization 4 Archaelogy http://en.wikipedia.org/wiki/Kiradu_temples Kiradu Barmer Temples India 5 Archaelogy http://en.wikipedia.org/wiki/Mohenjo_Daro Mohenjo_Daro Civilisation India 6 Archaelogy http://en.wikipedia.org/wiki/Nalanda Nalanda University India 7 Archaelogy http://en.wikipedia.org/wiki/Taxila Takshashila University Pakistan 8 Archaelogy http://selians.blogspot.in/2010/01/ganesha- Ganesha, ‘lingga yoni’ found at newly Indonesia lingga-yoni-found-at-newly.html discovered site 9 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Ancient Idol of Lord Vishnu found Russia om/2012/05/27/ancient-idol-of-lord-vishnu- during excavation in an old village in found-during-excavation-in-an-old-village-in- Russia’s Volga Region russias-volga-region/ 10 Archaelogy http://vedicarcheologicaldiscoveries.wordpress.c Mahendraparvata, 1,200-Year-Old Cambodia om/2013/06/15/mahendraparvata-1200-year- Lost Medieval City In Cambodia, old-lost-medieval-city-in-cambodia-unearthed- Unearthed By Archaeologists 11 Archaelogy http://wikimapia.org/7359843/Takshashila- Takshashila University Pakistan Taxila 12 Archaelogy http://www.agamahindu.com/vietnam-hindu- Vietnam
    [Show full text]
  • Rama, Sita, Hanuman
    Hinduism Rama, Sita, Hanuman Rama, Sita, Hanuman Summary: Rama, Sita, and Hanuman are central, divine characters in the Ramayana. Rama is both worshipped and admired as a righteous king and a fully human incarnation of Lord Vishnu. During a Rama Navami Celebration, Rama's birth is celebrated and his wedding to Sita is reenacted. Families with daughters of marriageable age serve as sponsors for the divine wedding, which is also a chance to pray for the good marriage of their daughters in the future. In the Bharatiya Temple in Troy, Michigan, the Hindu community gathers for Rama Navami, the annual festival celebrating Lord Rama. Bharatiya literally means the temple of India, highlighting the fact that this a pan-Hindu temple, not dedicated to a specific deity. Modern in its design, Bharatiya set on a wooded hillside in the northern suburbs of Detroit. Four huge arching wooden trusses support the roof of the carpeted sanctuary where more than three hundred people are sitting for the “Wedding of Rama and Sita,” the divine couple who are hero and heroine of the beloved Ramayana. The images of Rama and Sita have been brought forward on the raised platform which serves as the altar of the temple. Rama is both worshipped and admired as a righteous king and a fully human incarnation of Lord Vishnu. Today Rama’s birth is celebrated and his wedding to Sita is re-enacted. Two families from the community are seated with the priests near the altar which bears the small images of Rama in a yellow silk dhoti and Sita in red silk sari and pearls.
    [Show full text]