Bhagavad Gita and Management
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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. -
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA PARVA translated by Kesari Mohan Ganguli In parentheses Publications Sanskrit Series Cambridge, Ontario 2002 Salya Parva Section I Om! Having bowed down unto Narayana and Nara, the most exalted of male beings, and the goddess Saraswati, must the word Jaya be uttered. Janamejaya said, “After Karna had thus been slain in battle by Savyasachin, what did the small (unslaughtered) remnant of the Kauravas do, O regenerate one? Beholding the army of the Pandavas swelling with might and energy, what behaviour did the Kuru prince Suyodhana adopt towards the Pandavas, thinking it suitable to the hour? I desire to hear all this. Tell me, O foremost of regenerate ones, I am never satiated with listening to the grand feats of my ancestors.” Vaisampayana said, “After the fall of Karna, O king, Dhritarashtra’s son Suyodhana was plunged deep into an ocean of grief and saw despair on every side. Indulging in incessant lamentations, saying, ‘Alas, oh Karna! Alas, oh Karna!’ he proceeded with great difficulty to his camp, accompanied by the unslaughtered remnant of the kings on his side. Thinking of the slaughter of the Suta’s son, he could not obtain peace of mind, though comforted by those kings with excellent reasons inculcated by the scriptures. Regarding destiny and necessity to be all- powerful, the Kuru king firmly resolved on battle. Having duly made Salya the generalissimo of his forces, that bull among kings, O monarch, proceeded for battle, accompanied by that unslaughtered remnant of his forces. Then, O chief of Bharata’s race, a terrible battle took place between the troops of the Kurus and those of the Pandavas, resembling that between the gods and the Asuras. -
Seeking a Hindu Perspective on Dispute Resolution from the Holy Scriptures of the Mahabharata and the Bhagavad Gita
Pepperdine Dispute Resolution Law Journal Volume 7 Issue 2 Article 7 2-1-2007 ADR Dharma: Seeking a Hindu Perspective on Dispute Resolution from the Holy Scriptures of the Mahabharata and the Bhagavad Gita Aalok Sikand Follow this and additional works at: https://digitalcommons.pepperdine.edu/drlj Part of the Dispute Resolution and Arbitration Commons, Law and Society Commons, Legal Ethics and Professional Responsibility Commons, Other Law Commons, and the Religion Law Commons Recommended Citation Aalok Sikand, ADR Dharma: Seeking a Hindu Perspective on Dispute Resolution from the Holy Scriptures of the Mahabharata and the Bhagavad Gita , 7 Pepp. Disp. Resol. L.J. Iss. 2 (2007) Available at: https://digitalcommons.pepperdine.edu/drlj/vol7/iss2/7 This Article is brought to you for free and open access by the Caruso School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Dispute Resolution Law Journal by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Sikand: ADR Dharma: Seeking a Hindu Perspective on Dispute Resolution fro [Vol. 7: 2, 2007] PEPPERDINE DISPUTE RESOLUTION LAW JOURNAL ADR Dharma: Seeking a Hindu Perspective on Dispute Resolution from the Holy Scriptures of the Mahabharata and the Bhagavad Gita Aalok Sikand INTRODUCTION On the plains of Hastinapura, India, the great warrior, Arjuna, stands in his chariot awaiting battle. He is blessed to have Lord Krishna, the incarna- tion of God, to be his charioteer. Arjuna asks Krishna to drive him to the center of the battlefield. -
Imbibing the Values of Bhagwadgita in the Corporate World
International Journal of Research in Engineering, Science and Management 233 Volume-1, Issue-12, December-2018 www.ijresm.com | ISSN (Online): 2581-5792 Imbibing the Values of Bhagwadgita in the Corporate World Ambika Rathi1, Ankur Budhiraja2 1Associate Professor, Department of Management, New Delhi Institute of Management, Delhi, India 2Assisatant Professor, Department of Management, New Delhi Institute of Management, Delhi, India Abstract: One of the most popular holy books across the globe utilization with the minimum available processes to achieve the has been fortunately The Bhagavad Gita, written several goal. Lack of management causes disorder, confusion, waste, thousands of years ago, but still relevant in the current times. To delay, destruction and depression. Managing people, money help Arjuna in his moral dilemma, lord Krishna preached the Bhagavad Gita, which can be a powerful catalyst for and materials in the best possible way, according to transformation. The story has all the management tactics circumstances and environment, is the most important and necessary to achieve mental equilibrium and to overcome any essential factor in an organization’s success. crisis situation. It has all important teachings which can be Following are some thoughts inspired by some of the applied to all stages of human evolution. At job most critical principles in the Bhagavad Gita: question in every one’s mind or managers’ minds is how to be Management Definition: There is an important distinction effective at work. The answer to such questions is found in the Bhagavad Gita, which repeatedly proclaims that “you must try to between effectiveness and efficiency in managing. manage yourself” (Bhattathiri2011). -
The Mahabharata of Krishna-Dwaipayana Vyasa
The Mahabharata of Krishna-Dwaipayana Vyasa Translated into English Prose from the Original Sanskrit Text. By Kisari Mohan Ganguli [1883-1896] TRANSLATOR'S PREFACE The object of a translator should ever be to hold the mirror upto his author. That being so, his chief duty is to represent so far as practicable the manner in which his author's ideas have been expressed, retaining if possible at the sacrifice of idiom and taste all the peculiarities of his author's imagery and of language as well. In regard to translations from the Sanskrit, nothing is easier than to dish up Hindu ideas, so as to make them agreeable to English taste. But the endeavour of the present translator has been to give in the following pages as literal a rendering as possible of the great work of Vyasa. To the purely English reader there is much in the following pages that will strike as ridiculous. Those unacquainted with any language but their own are generally very exclusive in matters of taste. Having no knowledge of models other than what they meet with in their own tongue, the standard they have formed of purity and taste in composition must necessarily be a narrow one. The translator, however, would ill-discharge his duty, if for the sake of avoiding ridicule, he sacrificed fidelity to the original. He must represent his author as he is, not as he should be to please the narrow taste of those entirely unacquainted with him. Mr. Pickford, in the preface to his English translation of the Mahavira Charita, ably defends a close adherence to the original even at the sacrifice of idiom and taste against the claims of what has been called 'Free Translation,' which means dressing the author in an outlandish garb to please those to whom he is introduced. -
Poile Sengupta's Thus Spake Shoorpanakha, So Said
http://www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 POILE SENGUPTA’S THUS SPAKE SHOORPANAKHA, SO SAID SHAKUNI AS A POSTMODERN TEXT Dr.L.V.Padmarani Rao Assistant Professor Department of English Yeshwant Mahavidyalaya Nanded- 431602 (MS) INTRODUCTION: LITERARY CRITICISM AS SUCH PERHAPS BE CALLED THE ART OF RE-READING. ___Barbara Johnson By mid-fifties the modernist tendency in literature has run its course, as it were. Modernism in the hands of Eliot, Joyce, Faulkner and their imitators had practically turned the pursuit of literature into a ‘criticism industry’ for the enlightened academics. With Modernist text like The Wasteland or Ulysses, with its invitation to enormous textual exegesis and New Criticism, for all its rejection of biographical and historical criticism, literature and criticism were increasingly becoming something especially meant for academic consumption and it intended to entertain less. Hence is the postwar artist’s frustration with regard to Modernist art. The passing away of Modernism was mourned / celebrated by W.B. Yeats in 1919 in the following lines. Things fall apart; the center cannot hold; Mere anarchy is loosed upon the world… The best lack all convictions, while the worst Are full of passionate intensity. Leslie Fiedler (1982) would be a good representative who first coined the term Postmodernism. And his essay Cross the border – Close that Gap: Post modernism is still a good introduction to the subject. Edward Arnold (1992) argues that Modernism and Postmodernism give great prominence to fragmentation as a feature of 20th century art. The modernist laments fragmentation while the Postmodernist celebrates it. -
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. -
Kunti, Satyavati's Grand
unti, Satyavati’s grand- Part III: Five Holy Virgins, Five Sacred Myths daughter-in-law, is a remarkable study in K 1 womanhood. Kunti chooses the handsome Pandu in a bridegroom- “One-in Herself” choice ceremony, svayamvara, only to find Bhishma snatching away her Why Kunti Remains a Kanya happiness by marrying him off again immediately to the captivating Madri. Pradip Bhattacharya She insists on accompanying her husband into exile and faces a horripilating situation: her beloved husband insists that she get son after In the first two parts of this quest we have explored two of son for him by others. It is in this 2 the five kanyas, Ahalya and Mandodari of the Ramayana, husband-wife encounter that Kunti’s seeking to understand what makes them such remarkable individuality shines forth. At first she women, as well as describe what special features firmly refuses saying, “Not even in characterise all these kanyas.We are now entering the dense thought will I be embraced by another (I.121.5).” forest of the Mahabharata to discuss Kunti. To help the Her statement is somewhat readers through its thickly interwoven maze of relationships, devious, as already she has embraced I have provided the broad linkages of these characters in a Surya and regained virgin status by separate box (see opposite page).* virtue of his boon after delivering Karna. It is, however, evidence of her and tries to persuade her urging that Shvetaketu’s scriptural directive for resolve to maintain an unsullied (a) she will only be doing what is implicitly obeying the husband’s reputation. -
Ritualistic Practices in the Plays of Girish Karnad
Aayushi International Interdisciplinary Research Journal (AIIRJ) UGC Approved Sr.No.64259 Vol - V Issue-II FEBRUARY 2018 ISSN 2349-638x Impact Factor 4.574 Ritualistic Practices in the Plays of Girish Karnad Dr. Aparna T. Sarode, Asstt.Professor, J.D.Patil Sangludkar Mahavidyalaya Daryapur, Dist: Amravati Abstract: Religion has been a guiding and controlling force for all human beings for all the times. Indian theatres are associated with religion. The dramatist, Girish Karnad has interlinked his dramas with religion and ritualistic practices. Presenting it, Girish Karnad became successful to present folk drama before the reader and audience. Key Words: primordial, ritualistic practices. Natyasastra, Yajna India is a nation richly imbued with religious sentiment and belief. In Indian society, individual identity of the person is intertwined with religion undertaking numerous rituals and superstitions. Religion has been a guiding and controlling force for all human beings for all the times. It not only constructs a structure of code of ethics but also punishment awarding institution. This religion has certain influence not only on human life but literature also. Most of the influence can be shown on the drama. There is the everlasting relation between drama and religion. Theatre has often been associated with rituals in the Indian tradition. Indian theatrical activity began with primordial magical, religious or social rites, ritualistic dances, festivals etc. even today many tribes in different part of the country perform rituals to birth, death, puberty, marriage, food gathering, hunting battles and propitiation of their gods, goddesses and primordial forces, in which the dramatic or theatrical elements are prominent. -
Treatment of Myth in Yayati
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 10, Ver. 9 (October. 2018) 01-03 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Treatment of Myth In Yayati DR.SOWMIYA L.M. Assistant Professor, Sathyabama Institute Of Science And Technology, Corresponding Author: DR.SOWMIYA L.M. ABSTRACT: Girish Karnad, a popular playwrights, scriptwriter, actor, director and reception of various awards, is a significant name in the Indian literary scenario. Karnad established himself as a noted and talented dramatist after the publication of Yayati (1961) and Tughlaq(1964). Karnad being a translator, his translations sparkle with „eye catching‟ novelty and he pecularises the trends from mythology or from history. The modern dramatists have successfully made use of such modes and myths. In the Indian theater tradition there has been a strong impact of mythology and history though it has not produced anything of permanent worth. Karnad was aware that this tradition has a tremendous potential, as the elements of myth and history are very common to Indian audiences. So Karnad makes use of such myths and legends as metaphors for contemporary situations and this has induced to make a study of his play – “YAYATI”. KEY WORDS: Myth, fantasy, contemporary relevance, absurdity of modern life. --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 16-10-2018 Date of acceptance: 31-10-2018 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Any traditional tale is likely to present a combination of reality and fantasy. Drama, one among the literary genres, pleases all men with an infinite variety of taste. It is considered to be a common entertainment for people of different tastes. -
Yayati” by Girish Karnard
Volume-11,Issue-3,December-2017 USE OF MYTH AND SYMBOLS IN THE PLAY “YAYATI” BY GIRISH KARNARD Mr. Malhar Jayesh Vyakhyata sahayak, Gujarat Arts and Commerce College (Evening), Ahmedabad. E-mail : [email protected] INTRODUCTION My attempt in this paper is to study mythology as to tool to show the reflection of society,its culture and the technique used by the writers. To prove this I take Girish Karnad‟s play „Yayati‟ from the point of view of Myths and Symbols. Girish Raghunath Karnad‟s first play “Yayati” (1960) is a story taken from the epic Mahabharata. This mythical story is a tale of responsibility, sacrifice and self realization. In this play the central character is Yayati characterized by his insatiable desires symbolised though his actions. The story is about the exchange of ages between father and son. Myth is an idea or story which is handed down through generation sometimes orally or sometimes by the written word. The stories are especially about gods and men of courage. Myths often explain natured and historical events. They are the best way to study such cultures and are often related to creation. Symbols are objects, signs, characters, figures and colours used to represent ideas or concepts. The purpose of a symbol is to communicate meaning. Using a story from Mahabharata, Karnad has created this meticulous play with a very strong idea. An idea which is still a subject of study the myths and stories of mankind, no matter how ancient or new are based on some general mythical structures and formulas that are meant to touch human hearts throughout the time and ages. -
Research Paper Sanskrit a Story of Yayati in Mahabharta by Ved Vyasa and Yayati, a Play by Girish Karnad: a Comparative Study
Volume : 2 | Issue : 3 | March 2013 • ISSN No 2277 - 8160 Research Paper Sanskrit A Story of Yayati in Mahabharta by Ved Vyasa and Yayati, a play by Girish Karnad: A Comparative Study Dr. K. M. Trivedi Associate Professor & Head, Department of Sanskrit, KSKV, Kachchh Univer- sity, Bhuj-Kachchh Modern Indian English dramas now a day are popular among readers. Indian English playwrights are very comfortable ABSTRACT in presenting new look and ideas regenerating the old stories. The present paper deals with the play Yayati by Girish Karnad, the origin of this play is found as a form of story in Adiparva of Mahabharata by Ved Vyasa. The researcher has probed into ancient and modern introspections of Yayati in the light of comparative ground and has explored the antithesis from myth to modernity in these two works KEYWORDS: • Yayati, • Story, • Play, • Myth, • Conflict, • Lust, • Curse Drama is the oldest literary art which is meant for stage and action. Sharmistha continued to stay as Devayani’s handmaid. Yayati made a Many Indian English dramas are found to be explored on the base of palace for Sharmistha at the request of Devayani. One day Sharmistha ancient stories. Playwrights reshape the theme, content and thoughts secretly met Yayati and told him what happened between her and of ancient myth for readers and spectators of contemporary literature. Devayani. Yayati was sympathetic. Sharmistha begged Yayati to take Girish karnad is one of the famous playwrights among Indo-Anglian her as the second wife. Yayati agreed and married her but without the writers. His first play Yayati is based on a story of Mahabharata by Ved knowledge of Devayani.