Sangati Ka Asar (The Effect of Companionship) in the Agyaatvaas, Pandavas Had Decided to Hide in the Virata Kingdom
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The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4
The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Kisari Mohan Ganguli The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4, by Kisari Mohan Ganguli This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Author: Kisari Mohan Ganguli Release Date: April 16, 2004 [EBook #12058] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATAM, BK. 4 *** Produced by John B. Hare, Juliet Sutherland, David King, and the Online Distributed Proofreading Team The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 4 VIRATA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. THE MAHABHARATA VIRATA PARVA SECTION I (_Pandava-Pravesa Parva_) OM! Having bowed down to Narayana, and Nara, the most exalted of male beings, and also to the goddess Saraswati, must the word _Jaya_ be uttered. Janamejaya said, "How did my great-grandfathers, afflicted with the fear of Duryodhana, pass their days undiscovered in the city of Virata? And, O Brahman, how did the highly blessed Draupadi, stricken with woe, devoted to her lords, and ever adoring the Deity[1], spend her days unrecognised?" [1] _Brahma Vadini_--Nilakantha explains this as _Krishna-kirtanasila._ Vaisampayana said, "Listen, O lord of men, how thy great grandfathers passed the period of unrecognition in the city of Virata. -
Always Remember Krishna - Part 10
Always Remember Krishna - Part 10 Date: 2014-09-27 Author: Sudarshana devi dasi Hare Krishna Prabhujis and Matajis, Please accept my humble obeisances! All glories to Srila Prabhupada and Srila Gurudev! This is in continuation of the previous offerings titled, "Always Remember Krishna" wherein we were meditating on Arjuna's experiences once Krishna returned to Goloka. In previous offerings we meditated on the 8 blessings recollected by Arjuna. Now we shall continue to hear further. d. Blessing 9: In Srimad Bhagavatam verse 1.15.16 Arjuna says, yad-doḥṣu mā praṇihitaṁ guru-bhīṣma-karṇa- naptṛ-trigarta-śalya-saindhava-bāhlikādyaiḥ astrāṇy amogha-mahimāni nirūpitāni nopaspṛśur nṛhari-dāsam ivāsurāṇi Great generals like Bhishma, Drona, Karna, Bhurishrava, Susharma, Shalya, Jayadratha, and Bahlika all directed their invincible weapons against me. But by His [Lord Krishna's] grace they could not even touch a hair on my head. Similarly, Prahlada Maharaja, the supreme devotee of Lord Narsimhadeva, was unaffected by the weapons the demons used against him. In Kurukshetra war, there were so many dangerous situations faced by Arjuna when he had to fight against great generals like Bhishma, Drona, Karna etc. who had many powerful weapons which when released on Arjuna would have definitely caused death. But in every instance Krishna protected him. In case of Bhishmadev we know how Duryodhana blamed him to be partial to Pandavas and hurt by Duryodhana's lack of trust, Bhishmadev reserved five special arrows, one for each of the Pandavas. That night, somehow Krishna inspired Arjuna and took away those arrows Bhishmadev had reserved to kill the Pandavas. -
On the Emergence of Tragedy in Kannada Literature T.S
Translation and Reception as a Cultural Process: On the Emergence of Tragedy in Kannada Literature T.S. SATYANATH* Although translation is generally considered as a literary process, it involves a series of cultural maneuvers by the cultures involved in the process, both ideologically and otherwise. The absence of tragedy as a genre in Indian literature has generally prompted scholars to perceive the emergence of tragedy in Indian literature variously as influence, reception, emergence of a new genre etc. However, a closer look at the controversies, debates, criticisms and experimentations and the changes in parallel native performing traditions reveal interesting cultural maneuvers undertaken by different groups of people in responding to the genre of tragedy, which also needs to be looked at as a part of the translation process. The paper attempts to probleinatize the issue by going through different modes of representations attempted in the history of modern Kannada literature, particularly during the period 1920-50, which constitutes the formation period for the genre. The problem has been approached from six different perspectives. 1. The early translations of tragedies. 2. Controversies that surrounded the early translations. 3. Attempts to create an appropriate aesthetics (sensibility) to appreciate the new genre. 4. Attempts to demonstrate the existence of tragic elements in Indian literature. 5. Attempts to demonstrate the existence of tragic heroes in Jaina literature, specifically in medieval Kannada epics. 6. The tragic nature in Kannada folk performing traditions. The paper argues for a need to understand translation as a process of cultural production and consumption rather than as a literary one. -
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. -
Rajaji-Mahabharata.Pdf
MAHABHARATA retold by C. Rajagopalachari (Edited by Jay Mazo, International Gita Society) Contents 39. The Wicked Are Never Satisfied 1. Ganapati, the Scribe 40. Duryodhana Disgraced 2. Devavrata 41. Sri Krishna's Hunger 3. Bhishma's Vow 42. The Enchanted Pool 4. Amba And Bhishma 43. Domestic Service 5. Devayani And Kacha 44. Virtue Vindicated 6. The Marriage Of Devayani 45. Matsya Defended 7. Yayati 46. Prince Uttara 8. Vidura 47. Promise Fulfilled 9. Kunti Devi 48. Virata's Delusion 10. Death Of Pandu 49. Taking Counsel 11. Bhima 50. Arjuna's Charioteer 12. Karna 51. Salya Against His Nephews 13. Drona 52. Vritra 14. The Wax Palace 53. Nahusha 15. The Escape Of The Pandavas 54. Sanjaya's Mission 16. The Slaying Of Bakasura 55. Not a Needle-Point Of Territory 17. Draupadi's Swayamvaram 56. Krishna's Mission 18. Indraprastha 57. Attachment and Duty 19. The Saranga Birds 58. The Pandava Generalissimo 20. Jarasandha 59. Balarama 21. The Slaying Of Jarasandha 60. Rukmini 22. The First Honor 61. Non-Cooperation 23. Sakuni Comes In 62. Krishna Teaches 24. The Invitation 63. Yudhishthira Seeks Benediction 25. The Wager 64. The First Day's Battle 26. Draupadi's Grief 65. The Second Day 27. Dhritarashtra's Anxiety 66. The Third Day's Battle 28. Krishna's Vow 67. The Fourth Day 29. Pasupata 68. The Fifth Day 30. Affliction Is Nothing New 69. The Sixth Day 31. Agastya 70. The Seventh Day 32. Rishyasringa 71. The Eighth Day 33. Fruitless Penance 72. The Ninth Day 34. Yavakrida's End 73. -
The Role of Women in the Mahabharata
THE ROLE OF WOMEN IN THE MAHABHARATA The role of women in the Mahabharata makes an interesting study providing insight into the strengths and weaknesses of their character. In this epic, four women play crucial parts in the course of events. The first is Satyavati who was the daughter of the chieftain of fishermen. As a young maiden, while ferrying sage Parasara across a river, he fell in love with her. She bore him a son, Vyasa. He was brought up as an ascetic sage, but before he returned to forest life, he promised his mother he would come and help her whenever she faced difficulty. Later, the emperor Santanu fell in love with her. Her father consented to the marriage only on condition that her children would inherit the throne. Santanu’s older son, the crown prince Bhishma, not only voluntarily relinquished his right but also took the vow that he would remain celibate so that he could not have any children who might lay claim to the throne in the future. After Santanu passed away, Satyavati’s two sons died young. The older one was unmarried, and the younger had two wives, Ambika and Ambalika, who were childless. This created a crisis for there was no legal heir to the Kuru throne. Bhishma did not relent from his vow because he considered it sacred. At this juncture, Satyavati sent for her son Vyasa, who promptly responded per his earlier promise. Satyavati said the problem could be solved by his fathering a child through each of the two young widows. -
Chapter X Samudra Mathana the Delineation of the Vedavyasavatara
Chapter X Samudra mathana The delineation of the Vedavyasavatara is the theme of the tenth chapter. However, as a preliminary to it, the samudramathana episode is narrated. The purpose of Vyasavatara was to remove ignorance and confusion caused by the curse of Gautama in respect of the knowledge enshrined in the Vedas, Pancharatra, Itihasapurana, and other sacred pieces of literature. For such an ignorance and confusion Kali was considerably responsible. He arose at the time of the samudramathana along with poison. Not only the personality of Kali was Kali but the ignorance and the confusion caused by him were also Kali. Destroying these was meant to destroy Kali. This was the purpose of Vyasavatara. Therefore, in order to point out that such a Kali had arisen at the time of samudramathana, that episode is narrated in the tenth chapter before the narration of Vyasavatara. The details of samudramathana are well-known. Therefore, only such items that are especially mentioned in Tatparyanirnaya and that have a deep religious significance will be stated here. At the close of the 28th Dvapara Yuga, Chaturmukha Brahma, Shiva, Indra, and other deities approached Lord Vishnu present at Shvetadvipa at the center of Kshirasamudra. They offered prayers to Him and informed Him that due to Durvasa's curse, Indra lost his power and glory and was defeated by the demons. Therefore, they had come to Him seeking protection. As per the instructions of Lord Vishnu, the deities entered into an agreement with the demons through Bali Chakravarthi and attempted to bring the Mandara mountain for samudramathana. -
Mahabharata Tatparya Nirnaya
SRImAdAnAMdatIrthaBagavatpaadaprANIta Mahabharata Tatparya Nirnaya With Original Sanskrit Verses, Kannada translation, Explanation and Special Notes Volume - 3 (Chapters: 18 – 21) Editing, Translation and Explanation By Dr. Vyasanakere Prabhanjanacharya Note: Translation to English by Harshala Rajesh. With permission to translate - from Dr. Vyasanakere Prabhanjanacharya Transliterated Roman Scripts of the Original Shlokas from AHDS London (thanks to Sri Desiraju Hanumantha Rao for providing the same and Sri Srisha Rao et al for Transliterated Roman Scripts) pAMDavavanapravEshaH atha ekaviMsho.adhyAyaH || OM || janArdanAj~nayA mayaH samastakautukottarAm.h | sabhAM vidhAya bhUbhR^ite dadau gadAM vR^ikodare || 21.1|| Construction of assembly hall by mayA 21.1. As per shrI krRushNa’s instructions, mayA built an excellent assembly hall filled with all the wonders and presented it to yudhishThira. He also offered a mace to BImasEna. Notes: 1. The assembly hall built by mayAsura as per instructions of shrI kRushNa’s instruction was exceptionally good. 2. This unusual building which was built in 14 months could provide the climate of all four seasons. It had lakes, wells, ponds and gardens. 3. AcArya had indicated all these by using the word “samstakautukOttarAM” 4. In the verses that will follow, it has been mentioned the great sinner duryOdhana could not understand the secret of this and was subjected to mockery. (Verse 277) Reference 1. dadau gadAmiti | biMdusarasi mucukuMdanihatAM gadAM dadAvityarthaH | tathA ca sabhA-parvaNi mayavAkyam | asti biMdusarasyEva gadA shrEShThAkurUdwaha | nihitA yauvanAshwEna rAj~jA hatwA ripUn raNE ||' iti | - tAmraparNISrInivAsAcAryakRutapramEyamaNimAlA 1. IdRushaM tAM sabhAM kRutwA mAsaiH paricaturdashaiH | niShThitAM dharmarAjAya mayO rAjAn nyavEdayat || - bhArata(2/3/37) sa vAyudhAritAM gadAM hi yauvanAshvabhUbhR^itA | prasAdato.asya lambhitAmavApya modamApa ha || 21.2|| mayA offers mace to BImasEna 21.2. -
Mahabaratha Tatparya Nirnaya -.:: GEOCITIES.Ws
Mahabaratha Tatparya Nirnaya - Introduction by Prof.K.T.Pandurangi Chapter XI Amshavatarana As a preliminary to the story of Sri Krishna and the Pandavas, the origin of Chandravamsha is described. The early persons of chandravamsha and suryavamsha are as follows: Brahma | _____________________________________ | | Atri Marichi | | Chandra Kashyapa | | Budha + Ila Surya | | Pururava Vaivasvata manu | | Ayu (Ila) Sudyumna | Yayati + Devayani + Sharmishta | | _____________ ____________ | | | | | Yadu Turvasu Druhya Anu Puru From this chart, it is clear that both chandravamsha and suryavamsha had originated from Brahma. An interesting point in the development of these two families is that Sudyumna, the fifth descendant on the suryavamsha side, used to be male for one month, and on the chandravamsha side, female for one month. He used to be called Sudyumna and Ila respectively during these months. When he functioned as a female, he begot a son (Pururava) through Budha of chandravamsha. Thus he established a link between the two families. The Origin of Yadu and Kuru families In the family of Yadu, the yadavas were born. In the family of Puru, the fifth son of Yayati, the fifth son of Yayati, Bharata, the son of Dushyanta and Shakuntala, was born. Kuru was also born in this family, so the Kauravas and Pandavas were known as Bharatas. The fifth descendant of Kuru was Pratipa. He got three sons: Devapi, Bahlika, and Shantanu. Devapi did not become the king though he was the eldest as he suffered from a skin disease. Bahlika was named king of the Bahlika region, and Shantanu succeeded Pratipa as king. Bahlika was Prahlada in his earlier birth. -
Draupadi and Dhrishtadyumna
דראופדי http://img2.tapuz.co.il/CommunaFiles/34934883.pdf دراوبادي دروپدی द्रौपदी د ر وپد ی http://uh.learnpunjabi.org/default.aspx द्रौपदी ਦਰੋਪਤੀ http://h2p.learnpunjabi.org/default.aspx دروپتی فرشتہ ਦਰੋਪਤੀ ਫ਼ਰਰਸ਼ਤਾ http://g2s.learnpunjabi.org/default.aspx DRUPADA… Means "wooden pillar" or "firm footed" in Sanskrit. In the Hindu epic the 'Mahabharata' this is the name of a king of Panchala, the father of Draupadi and Dhrishtadyumna http://www.behindthename.com/name/drupada DRAUPADI Means "daughter of DRUPADA" in Sanskrit. http://www.behindthename.com/name/draupadi Draupadi - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Draupadi Draupadi From Wikipedia, the free encyclopedia Draupadi (Sanskrit: 6ौपदी , draupad ī, Sanskrit pronunciation: [d ̪ rəʊ pəd̪ i]) is described as the chief female Draupadi protagonist or heroine in the Hindu epic, Mahabharata .[1] According to the epic, she is the "fire born" daughter of Drupada, King of Panchala and also became the common wife of the five Pandavas. She was the most beautiful woman of her time. Draupadi had five sons; one by each of the Pandavas: Prativindhya from Yudhishthira, Sutasoma from Bheema, Srutakarma from Arjuna, Satanika from Nakula, and Srutasena from Sahadeva. Some people say that she too had two daughters after the Upapandavas, Shutanu from Yudhishthira and Pragiti from Arjuna although this is a debatable concept in the Mahabharata. Draupadi is considered as one of the Panch-Kanyas or Five Virgins. [2] She is also venerated as a village goddess Draupadi Amman. Draupadi, -
Medical Geography in Charaka Samhita
AYU Access this article online Website: www.ayujournal.org DOI: 10.4103/0974-8520.158984 Review Article Quick Response Code: Medical geography in Charaka Samhita Bhavana K.R., Shreevathsa Department of PG Studies in Ayurveda Siddhanta, Government Ayurveda Medical College, Mysore, Karnataka, India Abstract Charaka Samhita is the oldest and the most authentic treatise on Ayurveda and is the ancient medical science of India. Apart from giving information on medical conditions and their treatment; it also gives valuable information on geographical, social, and economic conditions of India. This article is an attempt to explore geographical conditions of the ancient India, its geographical position in present India and its medical significance. Key words: Ayurveda, Charaka Samhita, Desha, geography, medical geography Introduction like lakes and ponds and birds include Hamsa, Chakravaka, Balaaka, Nandimukha, Pundareeka, Kadamba, Bhringaraja, and Desha is one of the factors which have to be assessed in Kokila. The people here enjoy the cool breeze and are delicate ascertaining the Hetu (etiological factors) and also in deciding with Vatakapha dominance. Sadharana is the admixture of both the treatment. Medical geography which is gaining significance the above.[2] in contemporary medicine has its origin from Hippocrates. However, Charaka Samhita which was written centuries before Historical Background Hippocrates elaborately speaks about medical geography. Though the text gives a vast outline of geography in terms The presently available Charaka Samhita mentions Punarvasu of Jangala, Aanoopa, and Sadharana; it also mentions about Atreya, Charaka, and Dridhabala. Punarvasu Atreya is believed various places of the then India. Though attempts were made to have preached Ayurveda to his student Agnivesha, who in past to compile and interpret the geographical aspects of composed the text which Charaka redacted and Dridhabala [1] Charaka Samhita, this article attempts to analyze it from the completed. -
Mahabharatha Tatparya Nirnaya Agnatavasa of Pandavas the Events
Mahabharatha Tatparya Nirnaya Agnatavasa of Pandavas The events of Virataparva that relate to the agnatavasa of Pandavas are described in 23rd chapter. After completing the twelve years period of Vanavasa Pandavas took leave of Dhaumya, other sages and Brahman’s and made up their mind to undergo agnatavasa. They went to capital city of Virata. Before they entered the city they hid their weapons on a Sami tree in the outskirts of the city. The five Pandavas assumed the form of an ascetic, a cook, a eunuch, a charioteer, and a cowherd respectively. Draupadi assumed the form of Sairandhri i.e. a female artisan. Bhima assumed the form of cook for two reasons i) He never took food prepared by others ii) He did not want to reveal his great knowledge by assuming a Brahmana form. During their Agnatavasa they did not serve Virata or any other person. The younger brothers of Yudhishtira served Lord Hari and their eldest brother Yudhishtira in whom also God was present by the name of Yudhishtira One day a wrestler who had become invincible by the boon of Siva came to Virata's city. The wrestlers maintained by Virata were not able to meet his challenge. The ascetic i.e.Yudhishtira suggested to king Virata that the cook who had the skill in wrestling well could be asked to wrestle with him. The cook i.e., Bhima, wrestled with him and killed. Kichaka is Killed Ten months after Pandava's stay at Virata's palace, Kichaka, the brother of Queen Sudesna came. He was away to conquer the neighboring kings.