Paydu I. Father of the Pandavas
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Prehistoric Origins of Mahabharata Characters
PREHISTORIC ORIGINS OF MAHABHARATA CHARACTERS Mahabharata, our national epic, traditionally considered as history, is a compendium of narratives about human, superhuman and subhuman beings. Many of them ascribe to human characters of the epic, qualities or actions which are obviously beyond human reach. Obviously they belong, not to historic but to prehistoric times and are based on myths spoken down by countless generations. This Paper studies the narrative of Kuntī in this light. The conclusion is that though Mahabharata is created in historic time, its characters are prehistoric, whence an exact estimate of their chronology may not be possible. 0. Introduction According to the first chapter of the Mahabharata, the sages expressed to Sauti their desire to listen to the 'sacred text of the itihāsa called bhārata. 'This wording very well expresses the sentiment of the authors, singers and the generations of Indian listeners towards the epic: sacred narrative; for that is what the word itihāsa denotes in the epic as can be seen from its plural number even in Sauti’s response to this request. Like sacred narratives of other cultures in the world this one also starts with the origin of the universe and covers the lives of heavenly as well as human beings. This therefore is no secular history even if the heavenly beings also live through the epic as human characters which nevertheless perform and pass through acts beyond the power or comprehension of human beings. It is through faith that generations of Indians have believed in their veracity. If, however, we have to cull history as we understand it in this age, we have to treat them as sacred narratives - that is, mythical stories - as they are, and try to get at the myths at their roots. -
Introduction to BI-Tagavad-Gita
TEAcI-tER'S GuidE TO INTROduCTioN TO BI-tAGAVAd-GiTA (DAModAR CLASS) INTROduCTioN TO BHAqAVAd-qiTA Compiled by: Tapasvini devi dasi Hare Krishna Sunday School Program is sponsored by: ISKCON Foundation Contents Chapter Page Introduction 1 1. History ofthe Kuru Dynasty 3 2. Birth ofthe Pandavas 10 3. The Pandavas Move to Hastinapura 16 4. Indraprastha 22 5. Life in Exile 29 6. Preparing for Battle 34 7. Quiz 41 Crossword Puzzle Answer Key 45 Worksheets 46 9ntroduction "Introduction to Bhagavad Gita" is a session that deals with the history ofthe Pandavas. It is not meant to be a study ofthe Mahabharat. That could be studied for an entire year or more. This booklet is limited to the important events which led up to the battle ofKurlLkshetra. We speak often in our classes ofKrishna and the Bhagavad Gita and the Battle ofKurukshetra. But for the new student, or student llnfamiliar with the history ofthe Pandavas, these topics don't have much significance ifthey fail to understand the reasons behind the Bhagavad Gita being spoken (on a battlefield, yet!). This session will provide the background needed for children to go on to explore the teachulgs ofBhagavad Gita. You may have a classroonl filled with childrel1 who know these events well. Or you may have a class who has never heard ofthe Pandavas. You will likely have some ofeach. The way you teach your class should be determined from what the children already know. Students familiar with Mahabharat can absorb many more details and adventures. Young children and children new to the subject should learn the basics well. -
By Ambalika Smiti
IASBABA.COM ENVIRONMENT: NCERT BOOKS SUMMARY- BY AMBALIKA SMITI CLIMATE Climate Average weather condition over longer period of time Weather Local change in climate, day to-day condition of the atmosphere at a place with respect to the temperature, humidity, rainfall, windspeed, etc. Vary over short period of time Variation in Temperature In Summer 55°C in the western Rajasthan Minus 45°C in winter around Leh. Churu in Rajasthan >50°C on a June day, it's hardly 19°C in Tawang (Arunachal Pradesh) on the same day. On a December night, temperature in Drass (Jammu and Kashmir) minus 45°C while Tiruvanantapuram or Chennai on the same night records 20°C or 22°C. Variation in rainfall Snowfall in Himalaya, while rainfall in all other parts Cherrapunji Maysymnram has highest rainfall while Jaislmer mostly dry Very Hot Jaislmer Very Cold Drass (J&K) Moderate Mumbai India- Major seasons - 4 Season Features Winter (Cold Sunshine slant, Low Temperature weather) December and January are the coldest months Dec-Feb Temperature decreases from South to North northeast trade winds prevail over the country, blow from land to sea Most part has dry season rainfall occurs on the Tamil Nadu coast from these winds as, here they blow from sea to land. A characteristic feature over the northern plains is the inflow of cyclonic disturbances from the west and the northwest which originate over the Mediterranean Sea and western Asia and move into India, along with the westerly flow. They cause winter rains locally known as ‘mahawat’ over the plains and snowfall in the mountains. -
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, -
Chapter 6 Comparison of Attitude Towards Women In
CHAPTER 6 COMPARISON OF ATTITUDE TOWARDS WOMEN IN THE ILIAD. THE ODYSSEY AND THE MAHABHARATA 199 After analysing the individual women characters in all these epics, it is possible to compare the attitudes towards women and their status in the two traditions. A) Women in the Greek epics : Critics like J. W. Mackail complain that Homer did not use all his skill in women's portrayal as he used it in the portrayal of men. He comments in Lectures on Greek Poetry— "Homer's women are likewise [like Shakespeare's] remarkable; yet one has the feeling throughout that they are only fragments, sparingly used and jealously scrutinized, of a lost world of poetry that may have held figures as great as those of Gudrun and Brynhild,>of Imogen or Cleopatra. Andromache and Penelope are the only two women in the foremost plane of action. Both are vivid and actual, as fully alive as men among whom they move. Yet in both it seems as if the poet made them live almost against his will, or against the will of his audience; as though he would rather have given, or they would rather have had given them, generalized portraits of the faithful wife and affectionate mother. The recognition of Odysseus by Penelope might have been treated with the same power and tenderness as the parting of Andromache and Hector; Is the Greek feeling about what was proper for women responsible for its being otherwise and have the limits of the harder Hellenic taste lost for us one of the greatest passages in poetry?"^ 200 As Mackail suggests, a sense of inferiority about women, whether they are aristocratic or piebian, is found almost everywhere in the two Greek epics. -
Buddhacarita
CLAY SANSKRIT LIBRARY Life of the Buddka by AsHvaghosHa NEW YORK UNIVERSITY PRESS & JJC EOUNDATION THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY GENERAL EDITORS RICHARD GOMBRICH SHELDON POLLOCK EDITED BY ISABELLE ONIANS SOMADEVA VASUDEVA WWW.CLAYSANSBCRITLIBRARY.COM WWW.NYUPRESS.ORG Copyright © 2008 by the CSL. All rights reserved. First Edition 2008. The Clay Sanskrit Library is co-published by New York University Press and the JJC Foundation. Further information about this volume and the rest of the Clay Sanskrit Library is available at the end of this book and on the following websites: www.ciaysanskridibrary.com www.nyupress.org ISBN-13: 978-0-8147-6216-5 (cloth : alk. paper) ISBN-10: 0-8147-6216-6 (cloth : alk. paper) Artwork by Robert Beer. Typeset in Adobe Garamond at 10.2$ : 12.3+pt. XML-development by Stuart Brown. Editorial input from Linda Covill, Tomoyuki Kono, Eszter Somogyi & Péter Szântà. Printed in Great Britain by S t Edmundsbury Press Ltd, Bury St Edmunds, Suffolk, on acidffee paper. Bound by Hunter & Foulis, Edinburgh, Scotland. LIFE OF THE BUDDHA BY ASVAGHOSA TRANSLATED BY PATRICK OLIVELLE NEW YORK UNIVERSITY PRESS JJC FOUNDATION 2008 Library of Congress Cataloging-in-Publication Data Asvaghosa [Buddhacarita. English & Sanskrit] Life of the Buddha / by Asvaghosa ; translated by Patrick Olivelle.— ist ed. p. cm. - (The Clay Sanskrit library) Poem. In English and Sanskrit (romanized) on facing pages. Includes bibliographical references and index. ISBN-13: 978-0-8147-6216-5 (cloth : alk. paper) ISBN-10: 0-8147-6216-6 (cloth : alk. paper) 1. Gautama Buddha-Poetry. I. Olivelle, Patrick. II. -
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. -
Part 1: the Beginning of Mahabharat
Mahabharat Story Credits: Internet sources, Amar Chitra Katha Part 1: The Beginning of Mahabharat The story of Mahabharata starts with King Dushyant, a powerful ruler of ancient India. Dushyanta married Shakuntala, the foster-daughter of sage Kanva. Shakuntala was born to Menaka, a nymph of Indra's court, from sage Vishwamitra, who secretly fell in love with her. Shakuntala gave birth to a worthy son Bharata, who grew up to be fearless and strong. He ruled for many years and was the founder of the Kuru dynasty. Unfortunately, things did not go well after the death of Bharata and his large empire was reduced to a kingdom of medium size with its capital Hastinapur. Mahabharata means the story of the descendents of Bharata. The regular saga of the epic of the Mahabharata, however, starts with king Shantanu. Shantanu lived in Hastinapur and was known for his valor and wisdom. One day he went out hunting to a nearby forest. Reaching the bank of the river Ganges (Ganga), he was startled to see an indescribably charming damsel appearing out of the water and then walking on its surface. Her grace and divine beauty struck Shantanu at the very first sight and he was completely spellbound. When the king inquired who she was, the maiden curtly asked, "Why are you asking me that?" King Shantanu admitted "Having been captivated by your loveliness, I, Shantanu, king of Hastinapur, have decided to marry you." "I can accept your proposal provided that you are ready to abide by my two conditions" argued the maiden. "What are they?" anxiously asked the king. -
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. -
Hinduism's Treatment of Untouchables
Introduction India is one of the world's great civilizations. An ancient land, vast and complex, with a full and diverse cultural heritage that has enriched the world. Extending back to the time of the world's earliest civilizations in an unbroken tradition, Indian history has seen the mingling of numerous peoples, the founding of great religions and the flourishing of science and philosophy under the patronage of grand empires. With a great reluctance to abandon traditions, India has grown a culture that is vast and rich, with an enormous body of history, legend, theology, and philosophy. With such breadth, India offers a multitude of adventuring options. Many settings are available such as the high fantasy Hindu epics or the refined British Empire in India. In these settings India allows many genres. Espionage is an example, chasing stolen nuclear material in modern India or foiling Russian imperialism in the 19th century. War is an option; one could play a soldier in the army of Alexander the Great or a proud Rajput knight willing to die before surrender. Or horror in a dangerous and alien land with ancient multi-armed gods and bloodthirsty Tantric sorcerers. Also, many styles are available, from high intrigue in the court of the Mogul Emperors to earnest quests for spiritual purity to the silliness of Mumbai "masala" movies. GURPS India presents India in all its glory. It covers the whole of Indian history, with particular emphasis on the Gupta Empire, the Moghul Empire, and the British Empire. It also details Indian mythology and the Hindu epics allowing for authentic Indian fantasy to be played. -
A Study of Epic of Mahabharata
WOMEN, SELFHOOD AND SOCIAL INSTITUTIONS:... Man In India, 97 (26) : 495-506 © Serials Publications WOMEN, SELFHOOD AND SOCIAL INSTITUTIONS: A STUDY OF EPIC OF MAHABHARATA Jayashree Ambewadikar* Abstract: The epic of Mahabharata is an important and as old as 4-8 BCE that narrates about the Kuru dynasty, Kurukshetra War and also the philosophical and devotional aspects of life cycle. The epic has central contribution of women in all aspect of life. Here the question is how do we locate women in the social institutional framework and what is their selfhood in the whole epic. This paper tries to study this issues with theoretico-analytical framework of socio-anthropological, indological and feminist perspective to analyse location of women in the social institutions like family, marriage, kinship, caste system/varna system, education, polity and economy along with existence of customs, traditions, organisations etc. to be strictly followed by women and at the same time analyse how women’s selfhood is evolved within the structure of power and authority throughout the epic of Mahabharata. Keywords: Women, Selfhood, Power, Social Institutions, Mahabharata, India. INTRODUCTION The epic Mahabharata is an important epic in the world and as old as 4-8 BCE. Mahabharata is not the product of one or a few authors, but the results of the combined efforts of poets of many generations. The epic narrates the Kuru dynasty, the Kurukshetra War and also philosophical and devotional aspects of life cycle. The epic is about the struggle of succession for the Kuru dynasty of Hastinapura. The fight of succession is between the two branches of the Kuru family. -
A Summary of the Mahabharata
A Summary of The Mahabharata by Aneeta Sundararaj (heavily augmented by Amy Allison) http://www.homehighlight.org/humanities-and-science/cultures/a-summary-of-the-mahabharata.html The Mahabharata is an epic that comprises one hundred thousand stanzas of verse divided into eighteen books, or parvas. It is the largest single literary work in existence. Originally composed in the ancient language of Sanskrit sometime between 400 BC and 400 AD, it is set in a legendary era thought to correspond to the period of Indian culture and history in approximately the tenth century BC. The original “author” was Vyasa who tried to tell about the Great War between the Pandavas and the Kauravas - cousins who claimed to be the rightful rulers of a kingdom. The background to get to where the epic starts is very confusing (in medias res). I’ll present the background a bit here just to lay the groundwork. Background King Santanu married a strange woman he found by the river. They had many children and she drowned all of them (I told you she was strange). The king stopped her from downing the last child (a boy). She then said she was a goddess and that this child was a god but had to remain on earth as punishment for stealing a sacred cow in a past life. The child was named Devavratha, but to confuse you he is called Bhishma (one of firm vow). The goddess went back to wherever it is that goddesses go, and the king continued ruling. One day he fell in love with a woman who ran a ferry; her name was Satyavathi.