Chandas As Vedanga
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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. -
PDF Format of This Book
COMMENTARY ON THE MUNDAKA UPANISHAD COMMENTARY ON THE MUNDAKA UPANISHAD SWAMI KRISHNANANDA Published by THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR—249 192 Distt. Tehri-Garhwal, Uttarakhand, Himalayas, India www.sivanandaonline.org, www.dlshq.org First Edition: 2017 [1,000 copies] ©The Divine Life Trust Society EK 56 PRICE: ` 95/- Published by Swami Padmanabhananda for The Divine Life Society, Shivanandanagar, and printed by him at the Yoga-Vedanta Forest Academy Press, P.O. Shivanandanagar, Distt. Tehri-Garhwal, Uttarakhand, Himalayas, India For online orders and catalogue visit: www.dlsbooks.org puBLishers’ note We are delighted to bring our new publication ‘Commentary on the Mundaka Upanishad’ by Worshipful Sri Swami Krishnanandaji Maharaj. Saunaka, the great householder, questioned Rishi Angiras. Kasmin Bhagavo vijnaate sarvamidam vijnaatam bhavati iti: O Bhagavan, what is that which being known, all this—the entire phenomena, experienced through the mind and the senses—becomes known or really understood? The Mundaka Upanishad presents an elaborate answer to this important philosophical question, and also to all possible questions implied in the one original essential question. Worshipful Sri Swami Krishnanandaji Maharaj gave a verse-by-verse commentary on this most significant and sacred Upanishad in August 1989. The insightful analysis of each verse in Sri Swamiji Maharaj’s inimitable style makes the book a precious treasure for all spiritual seekers. —THE DIVINE LIFE SOCIETY 5 TABLE OF Contents Publisher’s Note . 5 CHAPTER 1: Section 1 . 11 Section 2 . 28 CHAPTER 2: Section 1 . 50 Section 2 . 68 CHAPTER 3: Section 1 . 85 Section 2 . 101 7 COMMENTARY ON THE MUNDAKA UPANISHAD Chapter 1 SECTION 1 Brahmā devānām prathamaḥ sambabhūva viśvasya kartā bhuvanasya goptā, sa brahma-vidyāṁ sarva-vidyā-pratiṣṭhām arthavāya jyeṣṭha-putrāya prāha; artharvaṇe yām pravadeta brahmātharvā tām purovācāṅgire brahma-vidyām, sa bhāradvājāya satyavāhāya prāha bhāradvājo’ṇgirase parāvarām (1.1.1-2). -
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. -
Contribution of Leelavathi to Prosody
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 20, Issue 8, Ver. VI (Aug. 2015), PP 08-13 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Contribution of Leelavathi to Prosody Dr.K.K.Geethakumary Associate Professor, Dept.of Sanskrit, University of Calicut, India, Kerala, 673635) I. Introduction Leelavathi, a treatise on Mathematics, is written by Bhaskara II who lived in 12th century A.D. Besides explaining the details of mathematical concepts that were in existence up to that period, the text introduces some new mathematical concepts. This paper is an attempt to analyze the metres employed in Leelavathi as well as the concepts of permutation and combination introduced by the author in the same text. Key words:-Combination, Leelavathi, Meruprasthara, Metre, Permutation, II. Metres In The Text Leelavathi In poetry, metre has a significant role to contribute the emotive aspect. The spontaneous out pore of emotion always happens through a suitable metre that is revealed in the mind of the poet at the time of literary creation. Rhythm itself is the life of the metre as it transfuses the emotion. Varied compositions of diversified rhythms which are innumerable give birth to different metres in poetry. Early poeticians like Bhamaha, Dandin, Vamana, Rudrada and Rajasekhara have stated that erudition in prosody is essential for making poetical composition. In Vedic period, the skill of Vedic Rishis in handling the language and metre for expressing their ideas is also equally attractive. The metres used are well suited to the types of poetry, the ideas expressed in them and the content exposed. -
Development of Indian Classical Language and Literature on Modern Creative Writing of India
Journal of Interdisciplinary Cycle Research ISSN NO: 0022-1945 Development of Indian Classical Language and Literature on Modern Creative Writing of India Ceazer Gonsalves Assistant Professor Department of English Milagres College, Udupi, Karnataka Email: [email protected] Abstract Language is a medium through which we express our thought. While the literature is a mirror which reflects ideas and philosophies which govern our society, hence to know any particular culture and its traditions it is very important we understand the evolution of its language and the various forms of literature like poetry, plan drama, religious and non religious writing. Indian language play a very important role in our culture and one of the earliest language is Sanskrit ever since human being have invented scripts, writing has reflected the culture, life style, society and the polity of the contemporary society. Each culture evolved its own language and creates a number of literary bases and this literary base of civilization tells us about the evolution of its language and culture through the span of centuries. As we know Sanskrit language is a mother of most of the Indian language .The Vedas and Puranas, Mahabharata, Ramayana all these works were written in Sanskrit language and also variety of secular and regional literature created in the past so that we can understand better. It is among the 22 language listed in the Indian Constitution .Sanskrit gave importance to study linguist scientifically during 18th and 19th century. Sanskrit is the only language that transcended the barriers of regions and boundaries from the north to the south and east to the west .There is no part of India that has not contributed to all being affected by language. -
South-Indian Images of Gods and Goddesses
ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh. -
Upanishad Vahinis
Upanishad Vahini Stream of The Upanishads SATHYA SAI BABA Contents Upanishad Vahini 7 DEAR READER! 8 Preface for this Edition 9 Chapter I. The Upanishads 10 Study the Upanishads for higher spiritual wisdom 10 Develop purity of consciousness, moral awareness, and spiritual discrimination 11 Upanishads are the whisperings of God 11 God is the prophet of the universal spirituality of the Upanishads 13 Chapter II. Isavasya Upanishad 14 The spread of the Vedic wisdom 14 Renunciation is the pathway to liberation 14 Work without the desire for its fruits 15 See the Supreme Self in all beings and all beings in the Self 15 Renunciation leads to self-realization 16 To escape the cycle of birth-death, contemplate on Cosmic Divinity 16 Chapter III. Katha Upanishad 17 Nachiketas seeks everlasting Self-knowledge 17 Yama teaches Nachiketas the Atmic wisdom 18 The highest truth can be realised by all 18 The Atma is beyond the senses 18 Cut the tree of worldly illusion 19 The secret: learn and practise the singular Omkara 20 Chapter IV. Mundaka Upanishad 21 The transcendent and immanent aspects of Supreme Reality 21 Brahman is both the material and the instrumental cause of the world 21 Perform individual duties as well as public service activities 22 Om is the arrow and Brahman the target 22 Brahman is beyond rituals or asceticism 23 Chapter V. Mandukya Upanishad 24 The waking, dream, and sleep states are appearances imposed on the Atma 24 Transcend the mind and senses: Thuriya 24 AUM is the symbol of the Supreme Atmic Principle 24 Brahman is the cause of all causes, never an effect 25 Non-dualism is the Highest Truth 25 Attain the no-mind state with non-attachment and discrimination 26 Transcend all agitations and attachments 26 Cause-effect nexus is delusory ignorance 26 Transcend pulsating consciousness, which is the cause of creation 27 Chapter VI. -
Single Footed Deities: Glimpses from Art and Literature
Single Footed Deities: Glimpses from Art and Literature Prachi Virag Sontakke1 1. Arya Mahila P.G. College, Varanasi, Uttar Pradesh, India (Email: prachi.kushwaha @gmail.com) Received: 28 June 2015; Accepted: 03 August 2015; Revised: 10 September 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 608‐617 Abstract: Deities of religious pantheon are divine and hence they are attributed divine forms. The divinity of Gods is further glorified by conceiving their appearance as super natural. That is why we find Gods and Goddesses with multiple arms, heads and even limbs. These traits assert the power, superiority and divinity of deities before man. It is therefore very interesting to note that there is one such deity who is defined in literature and sculptural examples as having a single foot. Current paper is an attempt to understand the concept of emergence and development of this very single footed deity in India. In course of aforesaid trail, issues relating to antiquity of such a tradition, nomenclature of such deity, its identification with different Gods, respective iconography are also dealt with. Keywords: Ekpada, Antiquity, Art, Literature, Identification, Iconography, Chronology Introduction Iconography, though meant for art, is actually a science. Every aspect an icon is not only well defined but also well justified according to the iconographic principles laid down in the texts. When it came to sculpture making, artist’s freedom of portrayal and experimentation was rather limited. But this did not account for the lack of creativity and imagination in ancient Indian art. We have many examples where unrealistic depictions/forms were included in an icon to highlight the divine, supreme and all powerful aspect of deity and to make it different from ordinary humans. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Bhagavad Gita-Chapter 02
Bhagavad Gita - 2 Contents of Gita Summarized Based on the teachings of His Divine Grace A.C. Bhaktivedanta Swami Prabhupada ~Founder Acharya~ International Society for Krishna Consciousness Chapter 2 - Sections Section Verse Description A 2.1 to 2.10 Arjuna's further doubts & his surrender B 2.11 to 2.30 Jnana -- fight! there is no death for the soul C 2.31 to 2.38 Karmakanda -- fight! for gains come from dutifully fighting and losses come from not fighting D 2.39 to 2.53 Buddhi-yoga (Niskama Karma) --fight! but without any reaction E 2.54 to 2.72 Sthita Prajna -- fight! become fixed in krsna consciousness Summary - Section - A Verse 2.1 to 2.10 Arjuna's further doubts & his surrender 1-10 After Arjuna continues to express his doubts about fighting, he surrenders to Krsna for instruction. Text – 1 Seeing Arjuna depressed Lord Krsna thus spoke…. Analogy – Saving Dress of Drowning Man Material Material Compassion Compassion Real Self signs of Self Lamentation Compassion ignorance (Eternal Realization Soul) Tears • Compassion for the dress of a drowning man is senseless (Sudra) • Real Compassion means Compassion for the Eternal Soul, (Self Realization) • Madhusudana : Killer of Demon Madhu. • Lord Krsna is addressed as Madhusudana, expected to kill Arjuna doubts(demons) Chapter 2 discusses : Soul Explained by Self Analytical Lord Realization Study Krsna Material Body Text – 2 Lord Krsna (Sri-Bhagavan) spoke, where from impurities Analogy - Sun come upon you(Arjuna)? Sunshine-Brahman impersonal all- Absolute Brahman pervasive Truth Spirit. (Sun shine) Lord Krsna The Supreme localized aspect, in heart of all Personality of Paramatma Sun Surface living entities. -
The Upanishads Page
TThhee UUppaanniisshhaaddss Table of Content The Upanishads Page 1. Katha Upanishad 3 2. Isa Upanishad 20 3 Kena Upanishad 23 4. Mundaka Upanishad 28 5. Svetasvatara Upanishad 39 6. Prasna Upanishad 56 7. Mandukya Upanishad 67 8. Aitareya Upanishad 99 9. Brihadaranyaka Upanishad 105 10. Taittiriya Upanishad 203 11. Chhandogya Upanishad 218 Source: "The Upanishads - A New Translation" by Swami Nikhilananda in four volumes 2 Invocation Om. May Brahman protect us both! May Brahman bestow upon us both the fruit of Knowledge! May we both obtain the energy to acquire Knowledge! May what we both study reveal the Truth! May we cherish no ill feeling toward each other! Om. Peace! Peace! Peace! Katha Upanishad Part One Chapter I 1 Vajasravasa, desiring rewards, performed the Visvajit sacrifice, in which he gave away all his property. He had a son named Nachiketa. 2—3 When the gifts were being distributed, faith entered into the heart of Nachiketa, who was still a boy. He said to himself: Joyless, surely, are the worlds to which he goes who gives away cows no longer able to drink, to eat, to give milk, or to calve. 4 He said to his father: Father! To whom will you give me? He said this a second and a third time. Then his father replied: Unto death I will give you. 5 Among many I am the first; or among many I am the middlemost. But certainly I am never the last. What purpose of the King of Death will my father serve today by thus giving me away to him? 6 Nachiketa said: Look back and see how it was with those who came before us and observe how it is with those who are now with us. -
Why I Became a Hindu
Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita