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Bharata (Mahabharata) Bharata (Mahabharata)

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BHARATA (MAHABHARATA) 121 BHARATA (MAHABHARATA) the world's epics is so big as Mahabharata. In size the (7) Kama Parva. (Karna=The third generalissimo). Mahabharata is double that of Homer's Iliad and This Parva deals with the war under the command of Odyssey put together. The following poem about it is Kama. Kama fell in the end at the hands of Arjuna. worth mentioning now : (8) Salya Parva. (Salya = The fourth and last of the Yatha samudro bhagavan Generalissimos). When Kama fell Salya took over Yatha ca himavan girih / charge of the Kaurava army. As the war was coming to Khyatavubhau ratnanidhi an end most of the big warriors of the Kaurava army Tatha bharatamucyate // were killed. In the end Bhlma and Duryodhana met Mahabharata is not a mere epic. It is a whole literature in a grim fight with maces in which Duryodhana was in itself containing a philosophy which has been an killed. This Parva deals with the final stage of the unfailing and perennial source of spiritual strength to battle. India. all it for its the the people of Above has core (10) Sauptika Parva. (Sauptika=pertaining to sleep). Gita which is perhaps the noblest of scriptures. This Parva tells us the tragic story of how Kfpacarya, The Mahabharata comprises eighteen books, each book Krtavarma and Asvatthama. who were the only three are being called a Parva. There 2109 chapters in it, the left with Duryodhana after the great battle went into chapters differing in size. Besides, there is an annexe the camp of the Pandavas at night and killed all the called Harivamsa which deals with the life and history brave warriors of the Pandava army, excepting the of Sri Krsna. Pandavas, who were sleeping in their camp unaware of of are 2) Contents. The contents each Parva succinctly the foul play lying ahead. given below: The Parvas are so named as to give a (11) Stri Parva. (Stri =woman) . This Parva deals with hint of their central theme. the great lamentation in the battlefield, after the war, (1) Adi Parva. (Adi= beginning) . Pandu and Dhrta- of Gandharl and other women. rastra, king of the Candra dynasty, are brothers. Bhisma (12) Sdnti Parva. Yudhisthira was crowned king and brought them up. Dhrtarastra was born blind and he even at that time Bhisma was lying on his bed of arrows got a hundred children of his wife Gandharl. They awaiting death. Before taking up his duties of the state were called the Kauravas. Pandu had two wives KuntI Yudhisthira went to where the grandsire lay dying and and Madri and got of them five sons called the took his blessing and instruction in dharma. This Pandavas headed by the eldest Yudhisthira. instruction of Bhlsmacarya to King Yudhisthira of the = . (2) Sabha Parva (Sabha court) The Pandavas and three dharmas, Rajadharma, Apaddharma and Moksa- Kauravas lived together in the court at Hastinapura. dharma is the famous fSanti Parva. There, the Kauravas entered into a game of dice with (13) AnuSasana Parva. (AnuSasana = Instruction). Yudhisthira and through the deceitful tactics engineer- Bhisma still on his death-bed continues his instructions ed by the keen-witted Sakuni, Yudhisthira was defeated on several topics, like duty, freedom and fasting, giving and he lost everything he possessed. The Pandavas entertaining stories to illustrate the essence of his teach- were then compelled to go into exile to the forests for ing. This Parva is devoted to this. twelve years and spend another year after that incog- (14) ASvamedhika Parva. (Asvamedha = yaga conduct- nito. If they were found out during that period of ed by emperors) . This Parva deals with the yaga incognito they were to go into exile for another term conducted by Yudhisthira when he became the empe- of twelve years. The Pandavas accompanied by Pancall ror of Bharata. left for the forests. (15) Aframavasika Parva. (A$ramavasa = life in a her- (3) Vana Parva (Vana= forest). This is one of the mitage) . Dhrtarastra, the blind and his wife Gandharl longest of Parvas and describes the life of the Pandavas accompanied by KuntI left for the forests and lived in the forest Kamyaka. The well known stories 'Nala there for two years in a hermitage. One day the forest Carita' and 'Kiratarjuniya' are told in this Parva'. caught fire and the three without trying to escape sat = in (4) Virata Parva. (Virata name of a King) . The Pandav- on the ground facing eastwards yoga posture and as after completing their term of exile in the forests spent calmly gave up themselves to the flames. This is dealt the year of their life in incognito at the court of King with in this Parva. = Virata. Many wonderful events took place during their (16) Mausala Parva. (Mausala Mace). This Parva stay there and this Parva deals in detail about gives the story of how the Yadavas fought against each them. other with maces and were destroyed and how = (5) B hifma Parva (Bhisma The first Generalissimo of Dvaraka sank down into the ocean. It describes the the Kauravas). The great Mahabharata war was fought death of Sri Krsna and Balarama also. in the vast expanse of Kuruksetra lying to the north- (17) Mahaprasthanika Parva. (Mahaprasthana=Death) . west of Delhi. Bhisma was the first generalissimo of the Dharmaputra entrusts his kingdom to his successor and Kauravas and Dhrstadyumna of the Pandavas. Vyasa alongwith his four brothers and wife Panca.ll sets out describes the events of the battle classifying it accord- on a long journey to Mahameru never to return. This ing to the generalissimos of the Kaurava army giving journey to death is detailed in this Parva. the four a 1 Parva. = . This Parva generalissimos Parva each. Bhisma fought ( 8) Svargarohana (Svarga Heaven) for ten days and was struck down on the tenth day by describes the entry of the Pandavas and their relatives an arrow from Arjuna. into Svarga, heaven. = Most of the verses in the (6) Drona Parva ( Drona The second Generalissimo). 3) Mode of Narration. When Bhisma fell Drona took charge as the supreme Mahabharata are in the Anustup metre. At certain commander. This Parva deals with the fight under his places other metres also have been used. There are command. Drona was killed in the end by prose pieces also in it. There are twenty notable pieces, dyumna. three in Adi Parva, seven in Vana Parva, seven in Santi.
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    PAHARI PAINTINGS FROM THE EVA AND KONRAD SEITZ COLLECTION francesca galloway ww.francescagalloway.com 1 2 Pahari paintings, meaning paintings from the hills, come from the in Jammu, and Chamba had returned to their non-naturalistic Rajput roots mountainous regions of northern India once known as the Punjab Hills but and were illustrating traditional Hindu texts such as the Ramayana (cat. 2), the which now form the present day states of Jammu and Kashmir, Himachal Rasamanjari and Ragamalas (cat. 1) in brilliantly assured fashion, dependent Pradesh and Uttarakhand. They include some of the most brilliant as well as again on line and colour with their figures set against conceptual renderings the most lyrically beautiful of all Indian painting styles. of architecture and landscape. Such a style had spread throughout most of the Pahari region in the early 18th century. In the 17th and 18th centuries this area was divided into over 30 kingdoms, some of moderate size, but others very small. The kingdoms were established in Although much of the hill region formed strongholds for the worship of Shiva the fertile valleys of the rivers that eventually flowed into the plains – the Ravi, and the Devi, and paintings and manuscripts reflected this (e.g. cats. 12, 13), the Beas, Sutlej, and the Jumna and Ganges and their tributaries – and divided spread of Vaishnavism and, especially the worship of Krishna, induced patrons from each other by high mountains. The Himalayas to the north-east formed to commission illustrated versions of Vaishnava texts, such as the Bhagavata the almost impenetrable barrier between these little kingdoms and Tibet.
  • Transition Into Kaliyuga: Tossups on Kurukshetra

    Transition Into Kaliyuga: Tossups on Kurukshetra

    Transition Into Kaliyuga: Tossups On Kurukshetra 1. On the fifteenth day of the Kurukshetra War, Krishna came up with a plan to kill this character. The previous night, this character retracted his Brahmastra [Bruh-mah-struh] when he was reprimanded for using a divine weapon on ordinary soldiers. After Bharadwaja ejaculated into a vessel when he saw a bathing Apsara, this character was born from the preserved semen. Because he promised that Arjuna would be the greatest archer in the world, this character demanded that (*) Ekalavya give him his right thumb. This character lays down his arms when Yudhishtira [Yoo-dhish-ti-ruh] lied to him that his son is dead, when in fact it was an elephant named Ashwatthama that was dead.. For 10 points, name this character who taught the Pandavas and Kauravas military arts. ANSWER: Dronacharya 2. On the second day of the Kurukshetra war, this character rescues Dhristadyumna [Dhrish-ta-dyoom-nuh] from Drona. After that, the forces of Kalinga attack this character, and they are almost all killed by this character, before Bhishma [Bhee-shmuh] rallies them. This character assumes the identity Vallabha when working as a cook in the Matsya kingdom during his 13th year of exile. During that year, this character ground the general (*) Kichaka’s body into a ball of flesh as revenge for him assaulting Draupadi. When they were kids, Arjuna was inspired to practice archery at night after seeing his brother, this character, eating in the dark. For 10 points, name the second-oldest Pandava. ANSWER: Bhima [Accept Vallabha before mention] 3.
  • In Search of Vyāsa: the Use of Greco-Roman Sources in Book 4 of the Mahābhārata

    In Search of Vyāsa: the Use of Greco-Roman Sources in Book 4 of the Mahābhārata

    1 IN SEARCH OF VYĀSA: THE USE OF GRECO-ROMAN SOURCES IN BOOK 4 OF THE MAHĀBHĀRATA F WULFF ALONSO 2 © Fernando WULFF ALONSO In Search of Vyāsa: The Use of Greco-Roman Sources in Book 4 of the Mahābhārata 2020. This book can be freely copied and distributed for no commercial uses. Licence Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) Cover: Jaime Wulff 3 ACKNOWLEDGMENTS This book* has greatly benefited from the patience and curiosity of several people. I am especially grateful to the scholars who participated in the seminars held at the Universities of Rome-La Sapienza, in particular Raffaele Torella, at Cardiff University James Hegarty, at the University of Seville Alberto Bernabé Pajares, and Greg Wolff at the Institute of Classical Studies, University of London. I would also like to thank Cardiff University and the Institute of Classical Studies for accepting me as a visiting researcher. Other people who have been essential to the production of this book are Alf Hiltebeitel, Andrew Morrow, Nick Trillwood and my colleagues at the University of Malaga. I would also like to express my gratitude for the anonymous and, so often, thankless labour carried out by countless colleagues who generously make our work possible by curating the collections found on several key online databases such as, GRETIL (Göttingen Register of Electronic Texts in Indian Languages), University of Heidelberg’s DCS (Digital Corpus of Sanskrit) and Perseus Digital Library of Tufts University. And finally, there are two people who have been absolutely pivotal to this book.