DOCSLIB.ORG

Ramayana: a Divine Drama Actors in the Divine Play As Scripted by Bhagawan Sri Sathya Sai Baba

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ramayana: A Divine Drama Actors in the Divine Play as scripted by Bhagawan Sri Sathya Sai Baba Volume II Compiled by Tumuluru Krishna Murty Edited by Desaraju Sri Sai Lakshmi © Tumuluru Krishna Murty ‘Anasuya’ C-66 Durgabai Deshmukh Colony Ahobil Mutt Road Hyderabad 500007 Ph: +91 (40) 2742 7083/ 8904 Typeset and formatted by: Desaraju Sri Sai Lakshmi Cover Designed by: Insty Print 2B, Ganesh Chandra Avenue Kolkata - 700013 Website: www.instyprint.in VOLUME II Aa Nanda baludee Ananda baludai tanavarini gurthimpa tarali vacche Aa Ramachandrude Ee Ramachandrudai tana bantulanu kanugonagavacche; Aa eesudee BalaSayeeshudai nedu tana gumputho aadukonagavacche: Aaa Mahavishnuve Ee Mahyee Vishnuvai Tana Aayudhamulu chee konagavacche Alla paramaatma yanu bommalatagadu Tanu jeevula rangasthalaana niliche Aadu Aaanati Eenati aaata juuchi Suntha varnichi kontha santhasamu ganudu. (Telugu poem) (Satyam Sivam Sundaram Part I -1976 p.2/3) Meaning: That Child of Nanda (Krishna) as ananda Bala ( (Blissful Child) To identify His people (gopas) has come That Ramachdra as This Ramachandra To identify His devotees has come That Isha as child Sai Eesa here To play with his companions has come That Great Vishnu as this Lord of Universe To arm Himself has come Paramatma, that puppet-show man Keeping the beings on the stage play His role Observing the past and present Praise His play a little and derive delight from it. Sri Rama is Sai Rama TABLE OF CONTENTS FOR VOLUME II LIST OF ILLUSTRATIONS 9 6. STORY OF RAMA 11 6.1 THE STORY OF RAMA – AN INTRODUCTION 15 6.2 INITIAL YEARS 29 6.2.1 HIS BIRTH, NAME AND THE EFFICACY OF RAMASMARANA 31 6.2.2 RAMA, HIS BROTHERS AND THEIR CHILDHOOD 79 6.2.3 RAMA AS STUDENT – GURU AND PUPILS 103 6.3 DIVINE MASTERPLAN – DRAMATIC ACTS 125 6.3.1 PROTECTION OF THE YAJNA OF VISWAMITRA–THE MISSION COMMENCES 127 6.3.2 SWAYAMVARA – WINNING SITA - PRAKRITHI MARRIES PARAMATMA 149 6.3.3 TWO BOONS - ABDUCTION OF SITA AND SEARCH FOR SITA 187 6.3.4 HEROISM AND HEROIC WARRIOR – WAR BEGINS 269 6.4 RAMA’S REIGN - THE REIGN OF RIGHTEOUSNESS – RAMA RAJYAM 288 6.5 THE RAMA PRINCIPLE (RAMA THATHWA) - RAMA AVATARA - EXPERIENCING THE DIVINE 333 6.6 CHARACTERISTICS OF RAMA - STANDARDS SET FOR EVERYONE 364 6.7 PATHITHAPAAVANA - TEACHINGS AND ADVICE 400 6.8 COMPARISONS 435 INDEX 465 LIST OF ILLUSTRATIONS FIGURE 1: LORD VIGNESWARA 73 FIGURE 2: VISWAMITRA IN AYODHYA; RAMA CONVINCES DASARATHA TO SEND THEM WITH VISWAMITRA 133 FIGURE 3: THATAKI VADH-RAMA KILLING DEMON THATAKI 145 FIGURE 4: SRI RAMA BREAKING THE BOW 161 FIGURE 5: SITA DESIRES THE GOLDEN DEER 241 FIGURE 6: RAMA VANQUISHING THE OCEAN 257 FIGURE 7: SRI RAMA'S CORONATION 299 6. STORY OF RAMA The Ramayana demonstrates to us how one should live in the world, in the society, and in the family. Rama provides the example of an ideal brother, ideal son, ideal husband and ideal ruler. The ideal of Rama is most relevant to the world, at a time when it is fraught with chaos and confusion. We live today in a world where misunderstanding is driving a wedge between husband and wife, father and son, teacher and student, rulers and citizens. The remedy for all this lies in following the ideal set by Rama. -Bhagawan Sri Sathya Sai Baba RAMA 6.1 THE STORY OF RAMA – AN INTRODUCTION THE STORY OF RAMA – AN INTRODUCTION aapadaam apahartaaram daataaram sarvasampadaam. lokaabhiRamam shriiRamam bhuuyo bhuuyo namaamyaham. .. "I bow again and again to Sri Rama who removes (all) obstacles and grants all wealth and pleases all. Any amount of narration of the greatness and nobility of the characters in the Ramayana will not suffice and do justice to the cause. The story of Ramayana cannot be fully described since it is “His Story”. The stories of Lord Vishnu are amazing, They purify the lives of the people in all the three worlds, They are like the sickles that cut the creepers of worldly bondage, They are like good friends who help you in times of need, 17 Ramayana: A Divine Drama – Vol. II They are like shelters for the sages and seers doing penance in the forest. (SSS Vol.38 p. 86) The story of Rama is as sacred as it is surprising. Although Vedas, Sastras, Ithihasas and Puranas have tried to describe the qualities of Narayana, they have only succeeded in saying that this is not God, that is not God, and so on; but they have never been able to pinpoint and state what God is and describe His attributes and qualities by positive statements. However great the person concerned may be, it is not possible for him to say that God is like this or like that. God is beyond all description in terms of words we know and use. Many poets and many speakers could talk about God, God’s leelas, God’s powers and God’s manifestations in their writings; but it was not possible for most of them to experience the true greatness of God. Till now, no one could find either an individual or a text, which has described truly the great form of God. To some extent, limited by their own beliefs, based upon their own faith, they can say God is like this. They can only point a finger as we point at the moon, which we can see only from a distance. Such a description is of limited validity, within the context of their own faith and their own belief. The ancient poets and the ancient rishis were all-knowing and so they were only talking about Paramatma in a very modest way and were describing parts of this glory. These great men had great powers, had great strength and were selfless people, and had divine qualities in them. Because of these qualities and 18 The Story of Rama – an introduction because they were all-knowing they tried to picture God in the world, to some limited extent. (SSB 1977 p.13) The name “Rama” is the essence of the Vedas; the Story of Rama is an Ocean of Milk, pure and potent. It can be asserted that no poem of equal grandeur and beauty has emerged from other languages or from other countries until this very day; but it has provided inspiration to the poetic imagination of every language and country. It is the greatest treasure inherited by his good fortune by every Indian. Rama is the guardian deity of the Hindus. The Name is borne by the bodies in which they dwell and the buildings in which those bodies dwell. It can safely be said that there is no Indian who has not imbibed the nectar of Ramakatha, the story of Rama. The Ramayana, the epic that deals with the story of the Rama Incarnation, is a sacred text that is reverently recited by people with all varieties of equipment, the scholar as well as the ignoramus, the millionaire as well as the pauper. The Name that the Ramayana glorifies cleanses all evil. It transforms the sinner; it reveals the Form that the Name represents, the Form that is as charming as the Name Itself. As the sea is the source of all the waters on earth, all beings are born from “Rama.” A sea sans water is unreal. A being sans “Rama” is without existence, now or ever. The azure Ocean and the Almighty Lord have much in common. 19 Ramayana: A Divine Drama – Vol. II The Ocean is the abode of the Almighty, as myth and legend proclaim; they describe Him as reclining on the Ocean of Milk. This is the reason behind the title given by Valmiki (son of Prachetas) the great poet who composed the epic, to each canto, Kanda. Kanda means water, an expanse of water. It also means “the sugarcane.” However crooked a cane may be whichever section you chew, the sweetness is unaffected and uniform. The stream of Rama’s Story meanders through many a curve and twist. Nevertheless, the sweetness of Karuna (tenderness, pity, compassion) persists without diminution throughout the narrative. The stream turns and flows through sadness, wonder, ridicule, awe, terror, love, despair and dialectics, but the main undercurrent is the love of Dharma (righteousness, morality) and the Karuna (compassion) it fosters. The nectar in the story of Rama is as the “Sarayu river” that moves silently by the city of Ayodhya, where Rama was born and where he ruled. The Sarayu has its source in the Himalayan Manasa-Sarovar, as this Story is born in the Manasa-Sarovar (the Lake of the Mind)! The Rama stream bears the sweetness of Karuna; the stream of Lakshmana (his brother and devoted companion) has the sweetness of Devotion, (Bhakthi); as the Sarayu river joins the Ganga (Ganges) and the waters commingle, so too, the streams of tender compassion and devotion (the stories of Rama and Lakshmana) commingle in the Ramayana. Karuna and Prema (love) make up, between them, the composite picture of the glory of Rama. That picture fulfils the heart’s dearest yearning for every Indian. To attain it is the aim of every spiritual striving. 20 The Story of Rama – an introduction The effort of the individual is but half the pursuit. The other half consists in the Grace of God. Man fulfils himself by self-effort as well as Divine Blessings. The fulfilment takes him across the dark ocean of dualities, onto the Immanent and Transcendent One. The Ramayana has to be read, not as a record of a human career, but as the narrative of the Advent and Activities of an Avatar (Incarnation of God).
Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road

    The Music Academy, Madras 115-E, Mowbray’S Road

    Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type­ written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages.
  • Aranyakhanda Quiz – 2016 Questions Without Answers ( Please Find The

    Aranyakhanda Quiz – 2016 Questions Without Answers ( Please Find The

    Aranyakhanda quiz – 2016 Questions without answers ( Please find the answers yourself) 1. Who wrote the Ramayana? 2. How many khandas are there in the Ramayana? Name them in order. 3. How many sargas are there in the Aranyakhanda? 4. Which forest did Rama enter in the beginning of Aranyakhanda? 5. Who is the Lord of the birds? 6. Name the Lord of wind. 7. Name the God of death. 8. Who cursed Viradha to be a rakshasa? 9. Who killed Viradha? 10. Who gave immortal life to Sarabhanga? 11. How many years passed happily with Rama, Lakshmana and Sita living in the forest with the sages? 12. Name the two rakshasas that Agastya killed. 13. For whom was the viswakarman bow made? 14. Whose was the exhaustless pair of quivers? 15. What weapon did Agastya give rama? 16. Name vasishta’s wife. 17. To which place did Agastya direct Rama to? 18. On the banks of which river is the place that Agastya directed Rama to? 19. How many daughters did Daksha have? 20. How many of Daksha’s daughters did Kashyapa marry? 21. Name adisesha’s mother. 22. ___ is the mother of Daityas. Diti. 23. From where did Bharata rule? 24. On the banks of which river is the place that Bharata ruled from? 25. Who is the Asura of the eclipse? 26. Name Ravana’s sister. 27. Name Janaka’s kingdom. 28. Name Ravana’s father. 29. When Lakshmana disgraced Surpanakha, to whom did she go in grievance? 30. Where did Khara live? 31. Name the three types of Gunas.
  • Preserving and Protecting Mysore Heritage Tmt

    Preserving and Protecting Mysore Heritage Tmt

    Session – I Preserving And Protecting Mysore Heritage Tmt. Neela Manjunath, Commissioner, Archaeology, Museums and Heritage Department, Bangalore. An introduction to Mysore Heritage Heritage Heritage is whatever we inherit from our predecessors Heritage can be identified as: Tangible Intangible Natural Heritage can be environmental, architectural and archaeological or culture related, it is not restricted to monuments alone Heritage building means a building possessing architectural, aesthetic, historic or cultural values which is identified by the heritage conservation expert committee An introduction to Mysore heritage Mysore was the capital of princely Mysore State till 1831. 99 Location Mysore is to the south-west of Bangalore at a distance of 139 Kms. and is well connected by rail and road. The city is 763 meters above MSL Princely Heritage City The city of Mysore has retained its special characteristics of a ‘native‘princely city. The city is a classic example of our architectural and cultural heritage. Princely Heritage City : The total harmony of buildings, sites, lakes, parks and open spaces of Mysore with the back drop of Chamundi hill adds to the attraction of this princely city. History of Mysore The Mysore Kingdom was a small feudatory of the Vijayanagara Empire until the emergence of Raja Wodeyar in 1578. He inherited the tradition of Vijayanagara after its fall in 1565 A.D. 100 History of Mysore - Dasara The Dasara festivities of Vijayanagara was started in the feudatory Mysore by Raja Wodeyar in 1610. Mysore witnessed an era of pomp and glory under the reign of the wodeyars and Tippu Sultan. Mysore witnessed an all round development under the visionary zeal of able Dewans.
  • Kamandakiya Nitisara; Or, the Elements of Polity, in English;

    Kamandakiya Nitisara; Or, the Elements of Polity, in English;

    ^-v^lf - CAMANDAKIYA NITISARA OR THE ELEMENTS OF POLITY (IN ENGLISH.) -»r—8 6 £::^»» ^sjfl • EDITED AND PUBLISHED BY MANMATHA NATH DUTT, M.A., M.R.A.S. Rector, Keshub Academy ; ulhor of the English Translations of the Ramayana, S^rtniadbhagct' vatam, Vishnupuranam, Mahabharata, Bhagavai-Gita and other ivorks. > i . 1 J ,',''' U 3© I 3 t > « t , ^ -I > J J J I > ) > 3 ) ) 11 CA LCUTTA: Printed by H. C. Dass, Elysium Press, 65/2 Beadon Streei. 180O, CARPENTIER • • • • •« • • • • • • • • • • • • • • • I .« « _• t . • • • « • • «! C < C < C I < C ( t ( I < 4 • • • . INTRODUCTION. -:o:- ^HE superiority of the ancient Hindus in metaphysical and theological disquisitions has been established beyond all doubts. Our literature abounds in trca- Polity: its The science Of ^ ^^^^^^ for philosophical discus- sions, sound reasonings and subtle inferences regarding many momentous problems of existence, have not been beaten down by the modern age of culture and enlighten- ment. The world has all along been considered by the ancient Hindu writers as a flood-gate of miseries of existence, and the summum bonum of human existence is, in their view, the unification of the humanity with the divinity. The chief aim of all the ancient writers of India has been to solve the mighty problem, namely, the cessation of miseries of existence and the attainment of the God-head. Admitting their exalted superiority in matters of philosophical and theological speculation, some people of the present generation boldly launch the theory that our literature lacks in works which may serve as a guidance of practical life. To disabuse the popular mind of this perilous misconception, we might safely assert that Hindu writers paid no less attention to practical morals and politics.
  • The Plurality of Draupadi, Sita and Ahalya

    The Plurality of Draupadi, Sita and Ahalya

    Many Stories, Many Lessons: The Plurality of Draupadi, Sita and Ahalya Benu Verma Assistant Professor, USHSS Guru Gobind Singh Indraprastha University Dwarka, Delhi Abstract: The relationship between life and literature is a dialogic one. Life inspires literature and literature in turn influences life. Various genres in which literature is manifested reflect on the orientation, significance as well as the place of the text in its social environment. Mikhail Bakhtin proposes that genres dictate the reception of a text. Yet the same text could be interpreted differently in different times and contexts and be rewritten to reflect the aspirations of the author and her/his times. The many life stories of the feminine figures from the epics of Ramayana and Mahabharata assert not only the inconclusive nature of myth and the potency of these epics, they also tell us that with changing political and social milieu the authors reinterpret and record anew given stories to contribute to the literature of their times. Draupadi as the epic heroine of Mahabharata has been written about popularly and widely and in each version with a new take on the major milestones of her life like her five husbands and her birth from fire. The motifs of her disrobing and her hair have been employed variedly to tell various stories, sometimes of oppression and at others of liberation, each belonging to a different time and space. Each story reflected the political stance and aspiration of its author and read by readers differently as per their times and contexts. Through an examination of various literary renditions of the feminine figures from the epics, like Draupadi, Sita, and Ahalya, this paper discusses the relationship between life and literature and how changing times call for changing forms of literature.
  • Jabali's Reasoning

    Jabali's Reasoning

    “Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Ayodhya Kanda – Chapter 108 Jabali’s Reasoning Summary A Brahmana named Jabali tries to persuade Rama to accept the kingdom by advocating the theory of Nastikas (non-believers), saying that he need not get attached to his father's words and remain in the troublesome forest. Jabali requests Rama to enjoy the royal luxuries, by accepting the crown. Chapter [Sarga] 108 in Detail aashvaasayantam bharatam jaabaalir braahmana uttamah | uvaaca raamam dharmajnam dharma apetam idam vacah || 2-108-1 A Brahmana called Jabali spoke the following unrighteous words to Rama, who knew righteousness and who was assuaging Bharata as aforesaid saadhu raaghava maa bhuut te buddhir evam nirarthakaa | praakritasya narasya iva aarya buddheh tapasvinah || 2-108-2 "Enough, O Rama! Let not your wisdom be rendered void like a common man, you who are distinguished for your intelligence and virtue." kah kasya purusho bandhuh kim aapyam kasya kenacit | yad eko jaayate jantur eka eva vinashyati || 2-108-3 "Who is related to whom? What is there to be obtained by anything and by whom? Every creature is born alone and dies alone." tasmaan maataa pitaa ca iti raama sajjeta yo narah | unmatta iva sa jneyo na asti kaacidd hi kasyacit || 2-108-4 "O, Rama! He who clings to another, saying, 'This is my father, this is my mother, he should be known as one who has lost his wits. There is none who belongs to another." Page 1 of 4 “Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Ayodhya Kanda – Chapter 108 yathaa graama antaram gagccan narah kashcid kvacid vaset | utsrijya ca tam aavaasam pratishtheta apare ahani || 2-108-5 evam eva manushyaanaam pitaa maataa griham vasu | aavaasa maatram kaakutstha sajjante na atra sajjanaah || 2-108-6 "O, Rama! As one who passes the a strange village spends the night the and the next day leaves that place and continues his journey, so are mother, father, home and possessions to a man; they are but a resting place.
  • HMH Social Studies for California (Grades 6–8) 1

    HMH Social Studies for California (Grades 6–8) 1

    Review of HMH Social Studies for California (Grades 6–8) 1 Review of HMH Social Studies for California (Grades 6–8) Hindu Education Foundation USA (HEF) July, 2017 Note: This document contains the following. ​ The first part (Page 2 through 12) describes the different problems in the HMH Social Studies for California (Grades 6–8) textbook draft in detail. The Appendix 1 (Page 13 through 16) lists the violations in the textbook drafts as per the categories suggested in History–Social Science Adoption Program Evaluation Map for quick reference of all citations that are raised through this document. Review of HMH Social Studies for California (Grades 6–8) 2 This is a review of Houghton Mifflin Harcourt’s program for middle school named the HMH Social Studies for California (Grades 6–8)1. The textbook drafts being considered have several instances of adverse reflections on Hinduism and India in the textbook which violate the Californian Law and Educational standards. We see that the narrative in textbook draft reflects many Orientalist biases. It is important to note that the Evaluation criteria for Instructional Material require the textbooks “to project the cultural diversity of society; instill in each child a sense of pride in his or her heritage; develop a feeling of self-worth related to equality of opportunity; eradicate the roots of prejudice; and thereby encourage the optimal individual development of each student”. They also prohibit any “Descriptions, depictions, labels, or rejoinders that tend to demean, stereotype, or patronize minority groups.”2 Our review shows that the drafts do not completely adhere to these provisions.
  • Multidimensional Role of Women in Shaping the Great Epic Ramayana

    Multidimensional Role of Women in Shaping the Great Epic Ramayana

    International Journal of Academic Research and Development International Journal of Academic Research and Development ISSN: 2455-4197 Impact Factor: RJIF 5.22 www.academicsjournal.com Volume 2; Issue 6; November 2017; Page No. 1035-1036 Multidimensional role of women in shaping the great epic Ramayana Punit Sharma Assistant Professor, Institute of Management & Research IMR Campus, NH6, Jalgaon, Maharashtra, India Abstract We look for role models all around, but the truth is that some of the greatest women that we know of come from Indian mythology Ramayana. It is filled with women who had the fortitude and determination to stand up against all odds ones who set a great example for generations to come. Ramayana is full of women, who were mentally way stronger than the glorified heroes of this great Indian epic. From Jhansi Ki Rani to Irom Sharmila, From Savitribai Fule to Sonia Gandhi and From Jijabai to Seeta, Indian women have always stood up for their rights and fought their battles despite restrictions and limitations. They are the shining beacons of hope and have displayed exemplary dedication in their respective fields. I have studied few characters of Ramayana who teaches us the importance of commitment, ethical values, principles of life, dedication & devotion in relationship and most importantly making us believe in women power. Keywords: ramayana, seeta, Indian mythological epic, manthara, kaikeyi, urmila, women power, philosophical life, mandodari, rama, ravana, shabari, surpanakha Introduction Scope for Further Research The great epic written by Valmiki is one epic, which has Definitely there is a vast scope over the study for modern day mentioned those things about women that make them great.
  • Chapter 13.P65

    Chapter 13.P65

    CHAPTER 13 || THE FIELD AND THE KNOWER OF THE FIELD || I cherish God Ganesha, who is identical with my Self. Then I bow at the feet of my Master, who is the abode of all lores. Whoever thinks of him, masters the art of poetic composition and holds the lores at the tip of his tongue. He possesses such a sweet eloquence, that it surpasses nectar and the nine sentiments take recourse to all his words. The exegesis discloses its secrets and explains the different doctrines. When our mind meditates upon the feet of the Master, then their meaning dawns upon us, the lucky ones (1-5). Bowing to the feet of his Master, Jnanadeva says that the Lord of Lakshmi, father of god Brahma, spoke thus, The blessed Lord said: 1. This body, O son of Kunti (Arjuna) is called the Field, He who knows this - him the knowers thereof call the knower of the Field. O Partha, listen. This body is called the Field and he who knows this, is said to be the Knower of the Field. 2. Know Me as the knower of the Field in all the Fields, O Bharata. The knowledge of the Field and its knower is, in My view, true knowledge. Know ye definitely, that I am the Kshetrajna, who supports the Fields. To know the Field and the knower of the Field, I deem it as the true knowledge. 3. What that Field is, and of what sort, how it has evolved, and what evolves from it, and who (the knower) is and what his powers are, hear that from Me, in brief.
  • Harmony and Beauty in Ramayana 3

    Harmony and Beauty in Ramayana 3

    36 Summer Showers - 2002 3 Harmony and Beauty in Ramayana Daivadhinam jagat Sarvam Sathyadhinam tu Daivatam Tat Sathyam Uttamadhinam Uttamo Paradevata The entire creation is under the control of God. That God is under the control of Truth. That truth is under the control of noble ones. The noble people are greater than gods. (Sanskrit Verse) Embodiments of Love! HE society today is in utter need of Ramayana. We do not have children who re- Tspect their parents, nor do we have parents who have great affection for their children. We do not have disciples today who revere their preceptors; nor do we have preceptors who have great love for their 38 Summer Showers - 2002 Summer Showers - 2002 39 disciples. We do not have homes where parents shine as And moderately. role models for their children. We do not have homes Go to school where brothers live with mutual love and affection; nor And study diligently. do we have homes where wives and husbands shine as Earn a good name that ideals to others by virtue of their mutual love and You are an obedient student. affection. Good manners and courtesies have vanished. The Ramayana stands as an ideal for the trouble-torn Don’t move society of today in various fields of activities. When weather is damp. House is the First School And never go near ditches. Run and play The parents of today do not bother to find out the ways and means of bringing up their children and Have fun and frolic. keeping them under control. They think that their If you abide by responsibility is over after admitting them into a primary All the principles mentioned above school or a village school.
  • Abstracts Final

    Abstracts Final

    Conference on THE RAMAYANA IN LITERATURE, SOCIETY AND THE ARTS February 1-2, 2013 Abstracts published by C.P. R. Institute of Indological Research The C. P. Ramaswami Aiyar Foundation 1, Eldams Road, Chennai 600 018 1 2 CONTENT 1. Tracing the Antiquity of the Ramayana – Through the Inscriptions, literature and Art of the Gupta Period --------------------------------------------------------------------------- 7 Dr. Ashvini Agarwal 2. Plant Diversity in the Valmiki Ramayana ---------------------------------------------------------- 8 M. Amirthalingam 3. The Influence of Ramayana on Kalidasa --------------------------------------------------------- 9 Dr. S. Annapurna 4. Ethical Values of Ramayana ---------------------------------------------------------------------- 11 Dr. V. Balambal 5. Time-honored Depictions of Ramayana in Vidarbha (Maharashtra) during Vakatakas ------13 Kanchana B Bhaisare, B.C. Deotare and P.S. Joshi 6. Highlights from the Chronology of Ayodhya ----------------------------------------------------14 Nicole Elfi and Michel Danino 7. Temples in and around Thanjavur District, in Tamil Nadu connected with Ramayana -------15 Dr. S. Gayathri 8. The Historical Rama ------------------------------------------------------------------------------16 Dr. D.K. Hari and D.K. Hema Hari 9. Historicity of Rawana and Trails of Rama - Seetha in Srilanka --------------------------------23 Devmi Jayasinghe 10. Women in Ramayana - Portrayals, Understandings, Interpretations and Relevance ---------25 Dr. Prema Kasturi 11. Telling or Showing?
  • A Comprehensive Guide by Jack Watts and Conner Reynolds Texts

    A Comprehensive Guide by Jack Watts and Conner Reynolds Texts

    A Comprehensive Guide By Jack Watts and Conner Reynolds Texts: Mahabharata ● Written by Vyasa ● Its plot centers on the power struggle between the Kaurava and Pandava princes. They fight the Kurukshetra War for the throne of Hastinapura, the kingdom ruled by the Kuru clan. ● As per legend, Vyasa dictates it to Ganesha, who writes it down ● Divided into 18 parvas and 100 sub­parvas ● The Mahabharata is told in the form of a frame tale. Janamejaya, an ancestor of the Pandavas, is told the tale of his ancestors while he is performing a snake sacrifice ● The Genealogy of the Kuru clan ○ King Shantanu is an ancestor of Kuru and is the first king mentioned ○ He marries the goddess Ganga and has the son Bhishma ○ He then wishes to marry Satyavati, the daughter of a fisherman ○ However, Satyavati’s father will only let her marry Shantanu on one condition: Shantanu must promise that any sons of Satyavati will rule Hastinapura ○ To help his father be able to marry Satyavati, Bhishma renounces his claim to the throne and takes a vow of celibacy ○ Satyavati had married Parashara and had a son with him, Vyasa ○ Now she marries Shantanu and has another two sons, Chitrangada and Vichitravirya ○ Shantanu dies, and Chitrangada becomes king ○ Chitrangada lives a short and uneventful life, and then dies, making Vichitravirya king ○ The King of Kasi puts his three daughters up for marriage (A swayamvara), but he does not invite Vichitravirya as a possible suitor ○ Bhishma, to arrange a marriage for Vichitravirya, abducts the three daughters of Kasi: Amba,