DOCSLIB.ORG

Nu Maya ESSENCE of BRAHMA VAIVARTA PURANA Composed, Condensed and Interpreted by V.D.N. Rao, Former General Manager, In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nu Maya ESSENCE of BRAHMA VAIVARTA PURANA Composed, Condensed and Interpreted by V.D.N. Rao, Former General Manager, In nu maya ESSENCE OF BRAHMA VAIVARTA PURANA Composed, Condensed and Interpreted By V.D.N. Rao, Former General Manager, India Trade Promotion Organisation, Pragati Maidan, New Delhi, Union Ministry of Commerce, Govt. of India nu maya ESSENCE OF BRAHMA VAIVARTA PURANA CONTENTS PAGE Invocation 3 Krishna Creates Tri Murtis and Devis & grants equal status to Shiva 3 Brahma’s secondary Creation, his progeny and their offspring 7 Mutual curses of Brahma and Narada and Brahma’s ineligibility to Worship 10 Narada reborn as Gandharva, his Yogic death and rebirths 11 Shri Krishna ‘Stuti’ and ‘Kavacha’ & Shiva ‘Stuti’ and ‘Kavacha’ 14 Narada’s darshan of Narayana Maharshi 19 Maharshi Narayana defines Pancha Prakritis, their Kalas and manifestations 21 Devi Saraswati’s ‘Puja Vidhana’ and ‘Kavacha’ 25 Yagnyavalkya Stuti to Saraswati and restoration of lost memory of Yaju Veda 28 Mutual curses of Lakshmi, Saraswati and Ganga land them in Bharata Varsha 30 Origin of Prithvi, worship to her and results of disrespect to her 31 Ganga: Bhagirath’s efforts, her Puja and final restoration as Vishnu’s wife 32 Vedavati-Maya Sita-Draupadi and as Devi Tulasi 34 Devi Savitri’s ‘puja vidhaana’ 38 Maha Lakshmi: her exit from Swarga and restoration & Puja Vidhana (‘Shodashopachaaraas’ and Indra Stuti included) 40 Worship to Swaha, Swadha, Dakshina, Shashthi, Mangla Chandi & Manasa 44 Devi Durga’s ‘Shodasha naamas’ and ‘Vyakhya’, Stuti and Kavacha 49 ‘Ganeshopaakhyaana’ –‘Utpatti’, Kashyapa’s curse to Shiva, Ganesha about to fight with Parashurama, Ganesha Kavacha & Mahatnmya 60 Shri Krishna ‘Leelas’ (Miracles) and Mahatmya 60 -Bhu Devi complains of ‘Bhu Bhaara’ and Krishna’s human incarnation 61 -Krishna’s instructions about births in Krishnaavatara 63 -Concept of Radha-Krishna ‘Tadaatmya’ (Unification) 63 -Shri Krishna ‘Janma’, Shri Krishna Leelaas 64 -Dwaraka Nirmana, Krishna kills Sishupaala & Dandaavarka 69 - Devi Rukmini’s wedding with Shri Krishna 69 -Sacred Union of Radha and Krishna 70 Brahma Vaivarta Purana Phala Shruti 72 Narayana Maharshi explains Shri Krishna Purusha and Prakriti Devi 72 nu maya ESSENCE OF BRAHMA VAIVARTHA PURANA Ganesha Brahmesha Suresha Seshaah Suraascha Sarvey Manavey Muneendraah, Saraswati Shri Girijaadikaascha Namanti Devyah Pranamaami tham Vibhum/ (I salute that Unique Paramatma whom Ganesha, Brahma, Maha Deva, Devendra, Sesha Naaga and other Devas, Manus, Sages as also Sarasvati, Lakshmi, Girija and other Devis stoop their heads down). Sthulaasthanurnurvidathatam Trigunam Viraajam, Vishwaani Lomavivareshu Mahaantamaadhyam/ Srushtyunmukhah Swakalayaapi Samarja Suksham, Nithyam Samethya idiyastamajam bhajaami/ (I worship in my heart and soul that Inimitable Virat Purusha who materialised separate Forms of Brahma, Vishnu and Shiva to perform the three acts of Creation, Preservation and Demolition with the aid of Three Features of Satvika, Rajasika and Tamasika respectivley and absorb the whole Universe in his hairy pores of skin by his Sukshma Rupa or ‘Antaryaami Atma’ (Inner Conscience). Vandey Krishnam Gunaateetam Param Brahmaachutam yatah/ Aavirbhu Bhuvah Praktruthi Brahma Vishni Shivaadayah/ (I greet Para Brahma Vaasudeva who is all pervading and everlasting from who had emerged Prakriti Maya, as also Brahma, Vishnu, Shiva and other Devas). At the huge gathering of Sages at Naimisharanya, Shounaka Muni requested Suta Maharshi to narrate such a Purana in which the ‘Karana Tatwa’ or ‘raison d’tre’/ motivation of the Supreme Being taking ‘Form and Substance’; whether this ‘Form’or of ‘Prakriti’ was definable by ‘Gunas’ (Features), ‘Tatwas’ (Characteristics) and ‘Kalas’ (attributes); the manifestations of that Paramount Power representing Creation, Preservation and Demolition; the various methods of ‘Dhyana’(meditation), the Targets of meditation in Goloka, Vaikuntha, Shivaloka, as also of the ‘Amsas’or alternate Forms of Devas. Krishna creates Tri Murtis and Devis & grants equal status to Shiva Narrating the Brahma Vaivarta Purana, Suta Maharshi divided it five broad Chapters viz. Brahma Khanda, Prakriti Khanda, Ganapati Khanda, Shi Krishna Janma Khanda and Uttara Khanda. In the Brahma Khanda, the Genesis of the Universe was traced when there was only a Massive Fund of ‘Jyotishpunja’or of Immense Illumination comparable to crores of Surya Devas out of which Maha Yogis and Maharshis were stated to have visioned Goloka Dham, beneath which were situated Three Lokas. In Goloka, stated to be of three crore Yojanas of width and length, there were no ‘Adhi- Vyadhis’ (Stresses of Physical, Mental, nu maya Intellectual, and cosmic imbalances), ‘Jara-Mritus’ (old age and death) and ‘Shoka- Bhayaas’ (Agonies and Fears) among the Goloka Residents where Shri Krishna was the Over Lord. During Pralaya time, only Bhagavan Shri Krishna was the unique resident, but as Srishti (Creation) resumed after Pralaya, it was full of Gopas and Gopikas. Some fifty crore yojanas underneath Golaka, was Vaikuntha to the right side and Shivaloka to the left.Vaikuntha loka was of the spread of a crore yojanas in which Bhagavan Narayana and Lakshmi resided and Shivaloka of an equal spread where Bhagavan Shankara stayed. Goloka was full of magnificent radiance and joy while Shri Krishna dressed in silks, adorned with Koustubha, Murali (flute) in his hands, a golden ‘Kirita’ (headgear) on his head; body fragrance of sandalwood powder and kumkum and a ‘Vanamala’ round his neck sat with poise, as an Embodiment of Sachhidananda (Truthful, hearty and blissful) Nirvikara (Unaffected and changeless), Shanta (Ever Peaceful), Mangala (Propitious) Avinaashi (Indestructible) Satpurusha (The Noblest) Sampurnachitta (Totally Conscientious) and Samasta Vidita( The Omni-scient). As Bhagavan Krishna found that after ‘Pralaya’, the entire Universe was empty, dark, devoid of Sky, Air, Water, Earth and Fire and as he had none to assist, he created from his right side three ‘Gunas’viz.Satvika, Rajasika and Tamasika and through these created ‘Maha Tatwa’, ‘Ahamkara’, ‘Pancha Tanmatras’ of ‘Rupa’(Form), ‘Rasa’(Taste), ‘Gandha’(smell), ‘Sparsha’(Touch) and ‘Shabda’(sound) and ‘Pancha Vishayas’/ Indriyas. Then Bhagavan Krishna materialised ‘Narayana’ whose body colour was ‘Shyama’ (black), ever-young, ‘Peetambaradhari’ (red silk robed) and ‘Vanamaali’just like himself. Vishnu has four arms carrying Shankha (Conch-shell), Chakra (Wheel), Gada (Mace) and Padma (Lotus). Like himself, Bhagavan Krishna created Narayana with an alluring smile, a countenance like ‘Sharatkaala Purnima Chandra’ (the full moon night of Autumn season bringing out special joy), Koustubha Mani, ‘Shri Vatsa’/ birth spot on his ‘Vakshasthala’ (chest) where Devi Lakshmi resided as a near-replica of Bhagavan Krishna himself. As Krishna created Narayana, the latter eulogised Krishna as follows: Varam Varenyam Varadam Varaaham Varakaaranam, Kaaranam Kaaranaanaam cha Karma tatkarma -kaaranam/ Tapastastphaladam shashwat tapaswinaam cha taapasam, Vandey Nava Ghana Shyaamam Swaatmaaraamam manoharam/ Naiskaamam kaama rupamcha kaamaghnam kaamakaaranam, Sarava Sarveswaram Sarva bijarupamanutthamam/ Vedarupam Vedabeejam Vedoktaphaladam phalam, Vedagjnam tadvidhaanam cha Sarva Veda varaam varam/ (My salutations to you Shri Krishna! You are the Supreme; the adored by the adorers, the bestower of boons, the cause of the confirment of boons, the cause of the causes; the result of the deeds and the deed of the results; the form of meditation; the fruit of meditation; the nu maya donor of the fruit; the Exemplary Tapaswi; the one with the body colour of fresh cloud uniqueness; the most charming and the soulful of distinction! My obeisances to you Shri Krishna, as you are the Kamarupa (The Form of Desire), the Nishkama (The One without Desires), the Kamaghna (the demolisher of desires); the ‘Kamakarana’ or root cause of Kama or desire; Sarva Rupa, Sarva beeja swarupa or the Seed of all manifestations; the Sarvottama or the Noblest; the Sarveswara; the Profile of Vedas; the Provider of Fruits of Vedas; the Creator, the Embodiment as also the Greatest Exponent of Vedas!) Having commended as above, Narayana was manifested as the greatest Preserver of the Universe once the process of Creation would progress and got ready to assume his extraordinary powers and also the responsibilities. Any person who reads or hears the above few lines would obtain their wishes like good progeny or an ideal life-partner fulfilled; a person who is facing problems like unemployment, dethronement, poverty or insufficient resources, long standing illnesses or even imprisonment would quickly recover and overcome all difficulties and secure positive benefits. From Paramatma Shri Krishna’s left side of his physique emerged Bhagavan Shiva whose body-glow was crystal-clear with ‘Pancha Mukhas’ (Five heads), whose his four directions were like his Vastras (clothes)-in other words ‘Digvastra, head adorned with golden and knotted thick hairs, three eyes on each of his heads, ornamented with half-moon like headgear and carrying Trishula, Spear and ‘Japamala’(rosary of beads). He is the Yogeswara of Yogis, ‘Mrityu’ of ‘Mrityus’ (Terminator of Terminators), ‘Mrityumjaya’ or the Conqueror of Mrityu, Maha Gyani, Gyana Swarupa, and Bestower of Gyana. Bhagavan Shiva went into raptures as he made the following commendation to Shri Krishna: Jayaswarupam Jayadam Jayesham Jayakaaranam, Pravaram Jayadaanaam cha Vamdey tama paraajitam/ Vishwam Vishveyshvaresham cha Vishwastam Vishwakaarana kaaranam/ Viswharakshaa kaaranam cha Vishvaghnam Vishwajam param, Phalabeejam phalaadhaaram
Load more

Recommended publications
  • Office of the D Office of the Dean Academic Affairs
    OFFICE OF THE DEAN ACADEMIC AFFAIRS UNIVERSITY OF JAMMU, JAMMU Website: www.jammuuniversity.in CIRCULAR - 03 ADMISSION TO OPEN CHOICE COURSES – 4th SEMESTER (ACADEMIC SESSION 2018 -19) In continuation to this Office Circular -02, it is for the information of all co ncerned that on the basis of Average SGPA of the 1st and 2nd Semesters and the choice of the applicants as given in the Application Form, the allotment of the Open Choice Courses, 4 th Semester (Academic Session 2018-19) has been made and the FINAL ALLOTMENT LIST has been uploaded on the Unive rsity Website . Applicants, who have not yet been admitted in the Allotted Departments, are given one LAST CHANCE to get admitted immediately in their allotted Department/s on or before January 22, 2020. After that no admission will be done in the respective Department/s for the Open Course. As per practice, all concerned are requested that to maintain parity one single policy be followed please i.e. having only 4 lectures per week for the Open Elective Course /s from 9:30 am to 10:30 am, Monday to Thursday. Class Work of the Open Elective Courses of 4th Semester , in all the Teaching Departments has commenced from January 20, 2020 (Monday). All concerned may note please. Sd/- Deputy Registrar (Acd. Affairs) No.DAA/20/4913-52 Dated: 20/01/2020 Enclosure: Final Allotment List of Open Elective Courses (4th Sem.-Academic Session 201 8-19) Copy to: 1. The Special Secretary to the Vice -Chancellor, University of Jammu for the kind informinformatiationon of the Vice-Chancellor please.
    [Show full text]
  • Revised Master Plan and Zoning Regulations for Greater Tezpur -2031
    REVISED MASTER PLAN AND ZONING REGULATIONS FOR GREATER TEZPUR -2031 PREPARED BY DISTRICT OFFICE TOWN AND COUNTRY PLANNING GOVERNMENT OF ASSAM TEZPUR: ASSAM SCHEDULE a) Situation of the Area : District : Sonitpur Sub Division : Tezpur Area : 12,659Hect. Or 126.60 Sq Km. TOWN & VILLAGES INCLUDED IN THE REVISED MASTER PLAN AREA FOR GREATER TEZPUR – 2031 MOUZA TOWN & VILLAGES Mahabhairab Tezpur Town & 1. Kalibarichuk, 2. Balichapari, 3. Barikachuburi, 4. Hazarapar Dekargaon, 5. Batamari, 6. Bhojkhowa Chapari, 7. Bhojkhowa Gaon, 8. Rajbharal, 9. Bhomoraguri Pahar, 10. Jorgarh, 11. Karaiyani Bengali, 12. Morisuti, 13. Chatai Chapari, 14. Kacharipam, 15. Bhomoraguri Gaon, 16. Purani Alimur, 17. Uriamguri, 18. Alichinga Uriamguri. Bhairabpad 19. Mazgaon, 20. Dekargaon, 21. Da-parbatia, 22. Parbatia, 23. Deurigaon, 24. Da-ati gaon, 25. Da-gaon pukhuria, 26. Bamun Chuburi, 27. Vitarsuti, 28. Khanamukh, 29. Dolabari No.1, 30. Dolabari No.2, 31. Gotlong, 32. Jahajghat 33. Kataki chuburi, 34. Sopora Chuburi, 35. Bebejia, 36. Kumar Gaon. Halleswar 37. Saikiachuburi Dekargaon, 38. Harigaon, 39. Puthikhati, 40. Dekachuburi Kundarbari, 41. Parowa gaon, 42. Parowa TE, 43. Saikia Chuburi Teleria, 44. Dipota Hatkhola, 45. Udmari Barjhar, 46. Nij Halleswar, 47. Halleswar Devalaya, 48. Betonijhar, 49. Goroimari Borpukhuri, 50. Na-pam, 51. Amolapam, 52. Borguri, 53. Gatonga Kahdol, 54. Dihingia Gaon, 55. Bhitar Parowa, 56. Paramaighuli, 57. Solmara, 58. Rupkuria, 59. Baghchung, 60. Kasakani, 61. Ahatguri, 62. Puniani Gaon, 63. Salanigaon, 64. Jagalani. Goroimari 65. Goroimari Gaon, 66. Goroimari RF 1 CHAPTER – I INTRODUCTION Tezpur town is the administrative H/Q of Sonitpur Dist. Over the years this town has emerged as on the few major important urban centers of Assam & the North Eastern Region of India.
    [Show full text]
  • 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.
    [Show full text]
  • Arun Kolatkar's Sarpa Satra
    Research Journal of English Language and Literature (RJELAL) Vol.1.Issue.3.;2013 A Peer Reviewed International Journal - http://www.rjelal.com ISSN 2321 – 3108 RESEARCH ARTICLE REVISITING THE MAHABHARATA: ARUN KOLATKAR’S SARPA SATRA BALKRISHNA MAGADE, M.A., M. Phil. Assistant Professor, Department of English, Kisan Veer Mahavidyalaya, Wai, Maharashtra, India ABSTRACT The present paper is an attempt to examine Arun Kolatkar’s revisit to the epic The Mahabharata in his poem Sarpa Satra (2004). Kolatkar’s poem demythifies two myths: the ‘Khandava Forest’ in which the incineration of Khandava Forest was carried out by Krishna and Arjuna with their divine weapons and also the ‘Snake Sacrifice’ where king Janamejaya decides to avenge the assassination of his father Parikshita by the snake Takshaka by performing the Snake Sacrifice, which would drive all the snakes in the world and kill them in the sacrificial fire called Sarpa Satra. The poet questions the moral authority of the ruler whose irrational action becomes ‘cause for concern indeed for the future of the country in question’. Such a ruler who brings the betterment of the country in danger is fit either for punishment or banishment. The poet further exposes the rampant corruption, mindless violence in the form of commercial riots and a swarm of disruptive BALKRISHNA MAGADE activities that go non-stop in all parts of India. The burning of the Khandava Forest Article Info: by Lord Krishna and Arjuna leads to a severe ecological loss: ‘---nothing was left, Article Received:06/08/2013 not a trace of that great sanctuary---’ (p. 43).
    [Show full text]
  • Cow Care in Hindu Animal Ethics Kenneth R
    THE PALGRAVE MACMILLAN ANIMAL ETHICS SERIES Cow Care in Hindu Animal Ethics Kenneth R. Valpey The Palgrave Macmillan Animal Ethics Series Series Editors Andrew Linzey Oxford Centre for Animal Ethics Oxford, UK Priscilla N. Cohn Pennsylvania State University Villanova, PA, USA Associate Editor Clair Linzey Oxford Centre for Animal Ethics Oxford, UK In recent years, there has been a growing interest in the ethics of our treatment of animals. Philosophers have led the way, and now a range of other scholars have followed from historians to social scientists. From being a marginal issue, animals have become an emerging issue in ethics and in multidisciplinary inquiry. Tis series will explore the challenges that Animal Ethics poses, both conceptually and practically, to traditional understandings of human-animal relations. Specifcally, the Series will: • provide a range of key introductory and advanced texts that map out ethical positions on animals • publish pioneering work written by new, as well as accomplished, scholars; • produce texts from a variety of disciplines that are multidisciplinary in character or have multidisciplinary relevance. More information about this series at http://www.palgrave.com/gp/series/14421 Kenneth R. Valpey Cow Care in Hindu Animal Ethics Kenneth R. Valpey Oxford Centre for Hindu Studies Oxford, UK Te Palgrave Macmillan Animal Ethics Series ISBN 978-3-030-28407-7 ISBN 978-3-030-28408-4 (eBook) https://doi.org/10.1007/978-3-030-28408-4 © Te Editor(s) (if applicable) and Te Author(s) 2020. Tis book is an open access publication. Open Access Tis book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.
    [Show full text]
  • In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
    In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being.
    [Show full text]
  • Hindu America
    HINDU AMERICA Revealing the story of the romance of the Surya Vanshi Hindus and depicting the imprints of Hindu Culture on tho two Americas Flower in the crannied wall, I pluck you out of the crannies, I hold you here, root and all, in my hand. Little flower— but if I could understand What you arc. root and all. and all in all, I should know what God and man is — /'rimtjihui' •lis far m the deeps of history The Voice that speaVeth clear. — KiHtf *Wf. The IIV./-SM#/. CHAMAN LAL NEW BOOK CO HORNBY ROAD, BOMBAY COPY RIGHT 1940 By The Same Author— SECRETS OF JAPAN (Three Editions in English and Six translations). VANISHING EMPIRE BEHIND THE GUNS The Daughters of India Those Goddesses of Piety and Sweetness Whose Selflessness and Devotion Have Preserved Hindu Culture Through the Ages. "O Thou, thy race's joy and pride, Heroic mother, noblest guide. ( Fond prophetess of coming good, roused my timid mood.’’ How thou hast |! THANKS My cordial chaoks are due to the authors and the publisher* mentioned in the (eat for (he reproduction of important authorities from their books and loumils. My indchtcdih-ss to those scholars and archaeologists—American, European and Indian—whose works I have consulted and drawn freely from, ts immense. Bur for the results of list investigations made by them in their respective spheres, it would have been quite impossible for me to collect materials for this book. I feel it my duty to rhank the Republican Governments of Ireland and Mexico, as also two other Governments of Europe and Asia, who enabled me to travel without a passport, which was ruthlessly taken away from me in England and still rests in the archives of the British Foreign Office, as a punishment for publication of my book the "Vanishing Empire!" I am specially thankful to the President of the Republic of Mexico (than whom there is no greater democrat today)* and his Foreign Minister, Sgr.
    [Show full text]
  • An Introduction to Sanskrit Chanda
    [VOLUME 5 I ISSUE 3 I JULY – SEPT 2018] e ISSN 2348 –1269, Print ISSN 2349-5138 http://ijrar.com/ Cosmos Impact Factor 4.236 An Introduction to Sanskrit Chanda MITHUN HOWLADAR Ph. D Scholar, Department of Sanskrit, Sidho-Kanho-Birsha University, Purulia, West Bengal Received: May 22, 2018 Accepted: July 11, 2018 ABSTRACT We can generally say, any composition which has a musical sound, is called chanda. Chanda has been one of the Vedāṅgas since Vedic period. Vedic verses are composed in several chandas. The number of Vedic chandas is 21, out of which 7 are mainly used. Earliest poetic composition in public language (laukika Sanskrit) started from Valmiki, later it became a fashion and then a discipline for composition (kāvya). But here has been a difference in Vedic and laukika chandas. Where Vedic chnadas are identified by the number of syllables (varṇa or akṣara) in a line of verse or whole verse and the number of lines in the verse, laukika chanda is identified by the order of the laghu-guru syllables. The number of the laukika chandas is not yet finally defined but many texts have been composed describing the different number of chandas. Each chanda of laukika Sanskrit (post Vedic Sanskrit) consists of four pādas or caraṇas, that is, the fourth part of the chanda. Keywords: Chanda, Vedāṅgas, Chandaśāstra, pāda, Chandomañjarī. Introduction: Veda, the oldest literature in the world, is also called Chandas because the Vedic mantras (compositions) are all metric compositions (Chandobaddha). All the four Saṁhitās (with some exceptions in Yajurveda and Atharvaveda) are of this nature.
    [Show full text]
  • Battle and Self-Sacrifice in a Bengali Warrior's Epic
    Western Washington University Western CEDAR Liberal Studies Humanities 2008 Battle nda Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Maṅgal, Chapter Six of Rites of Spring by Ralph Nicholas David Curley Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/liberalstudies_facpubs Part of the Near Eastern Languages and Societies Commons Recommended Citation Curley, David, "Battle nda Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Maṅgal, Chapter Six of Rites of Spring by Ralph Nicholas" (2008). Liberal Studies. 7. https://cedar.wwu.edu/liberalstudies_facpubs/7 This Book is brought to you for free and open access by the Humanities at Western CEDAR. It has been accepted for inclusion in Liberal Studies by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. 6. Battle and Self-Sacrifice in a Bengali Warrior’s Epic: Lausen’s Quest to be a Raja in Dharma Ma2gal* INTRODUCTION Plots and Themes harma Ma2gal are long, narrative Bengali poems that explain and justify the worship of Lord Dharma as the D eternal, formless, and supreme god. Surviving texts were written between the mid-seventeenth and the mid-eighteenth centuries. By examining the plots of Dharma Ma2gal, I hope to describe features of a precolonial Bengali warriors” culture. I argue that Dharma Ma2gal texts describe the career of a hero and raja, and that their narratives seem to be designed both to inculcate a version of warrior culture in Bengal, and to contain it by requiring self-sacrifice in both battle and “truth ordeals.” Dharma Ma2gal *I thank Ralph W.
    [Show full text]
  • Bhoga-Bhaagya-Yogyata Lakshmi
    BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently 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 Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu 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’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www.
    [Show full text]
  • Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C
    “Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada. Summary: Srimad-Bhagavatam is compared to the ripened fruit of Vedic knowledge. Also known as the Bhagavata Purana, this multi-volume work elaborates on the pastimes of Lord Krishna and His devotees, and includes detailed descriptions of, among other phenomena, the process of creation and annihilation of the universe. His Divine Grace A.C. Bhaktivedanta Swami Prabhupada considered the translation of the Bhagavatam his life’s work. COPYRIGHT NOTICE: This is an evaluation copy of the printed version of this book, and is NOT FOR RESALE. This evaluation copy is intended for personal non- commercial use only, under the “fair use” guidelines established by international copyright laws. You may use this electronic file to evaluate the printed version of this book, for your own private use, or for short excerpts used in academic works, research, student papers, presentations, and the like. You can distribute this evaluation copy to others over the Internet, so long as you keep this copyright information intact. You may not reproduce more than ten percent (10%) of this book in any media without the express written permission from the copyright holders. Reference any excerpts in the following way: “Excerpted from “Srimad-Bhagavatam” by A.C. Bhaktivedanta Swami Prabhupada, courtesy of the Bhaktivedanta Book Trust International, www.Krishna.com.” This book and electronic file is Copyright 1977-2003 Bhaktivedanta Book Trust International, 3764 Watseka Avenue, Los Angeles, CA 90034, USA. All rights reserved. For any questions, comments, correspondence, or to evaluate dozens of other books in this collection, visit the website of the publishers, www.Krishna.com.
    [Show full text]
  • Summer/June 2014
    AMORDAD – SHEHREVER- MEHER 1383 AY (SHENSHAI) FEZANA JOURNAL FEZANA TABESTAN 1383 AY 3752 Z VOL. 28, No 2 SUMMER/JUNE 2014 ● SUMMER/JUNE 2014 Tir–Amordad–ShehreverJOUR 1383 AY (Fasli) • Behman–Spendarmad 1383 AY Fravardin 1384 (Shenshai) •N Spendarmad 1383 AY Fravardin–ArdibeheshtAL 1384 AY (Kadimi) Zoroastrians of Central Asia PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Copyright ©2014 Federation of Zoroastrian Associations of North America • • With 'Best Compfiments from rrhe Incorporated fJTustees of the Zoroastrian Charity :Funds of :J{ongl(pnffi Canton & Macao • • PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Vol 28 No 2 June / Summer 2014, Tabestan 1383 AY 3752 Z 92 Zoroastrianism and 90 The Death of Iranian Religions in Yazdegerd III at Merv Ancient Armenia 15 Was Central Asia the Ancient Home of 74 Letters from Sogdian the Aryan Nation & Zoroastrians at the Zoroastrian Religion ? Eastern Crosssroads 02 Editorials 42 Some Reflections on Furniture Of Sogdians And Zoroastrianism in Sogdiana Other Central Asians In 11 FEZANA AGM 2014 - Seattle and Bactria China 13 Zoroastrians of Central 49 Understanding Central 78 Kazakhstan Interfaith Asia Genesis of This Issue Asian Zoroastrianism Activities: Zoroastrian Through Sogdian Art Forms 22 Evidence from Archeology Participation and Art 55 Iranian Themes in the 80 Balkh: The Holy Land Afrasyab Paintings in the 31 Parthian Zoroastrians at Hall of Ambassadors 87 Is There A Zoroastrian Nisa Revival In Present Day 61 The Zoroastrain Bone Tajikistan? 34 "Zoroastrian Traces" In Boxes of Chorasmia and Two Ancient Sites In Sogdiana 98 Treasures of the Silk Road Bactria And Sogdiana: Takhti Sangin And Sarazm 66 Zoroastrian Funerary 102 Personal Profile Beliefs And Practices As Shown On The Tomb 104 Books and Arts Editor in Chief: Dolly Dastoor, editor(@)fezana.org AMORDAD SHEHREVER MEHER 1383 AY (SHENSHAI) FEZANA JOURNAL FEZANA Technical Assistant: Coomi Gazdar TABESTAN 1383 AY 3752 Z VOL.
    [Show full text]