Indian Mythology & History INDUS VALLEY Civilization

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Indian Mythology & History INDUS VALLEY Civilization

INDIAN MYTHOLOGY & HISTORY STORIES OF DEVATAS DEVATAS Nature Worshippers with elaborate chanting of hymns Indra – King of all Devtas – thunderstorms Surya – Sun Agni – Fire Vayu - Air Varuna - Water Yama - Death Soma- Drink WHAT ARE DEVTAS • The five main Vedic Devatas are Agni, Vayu, Indra, Surya and Soma. As light forms in nature these are fire, wind, lightning, sun and moon. Yet these are further explained as analogues for the formless Brahman. – Brahman or the supreme Godhead in the Upanishads is compared to a great fire, of which the worlds and creatures are but the sparks. – Brahman is similarly compared to Wind or Vayu, a formless force that when it blows creates and moves everything. – Brahman is also like the Sun, the supreme source of light, life and consciousness. – Brahman is like the Moon, granting peace, delight and beauty to all things. INDRA • The god of Lightning – he is the king of all devtas. • Was born for releasing the water captured by Vrittra, a demon. • Another Story – Disrespected Brihaspati – Made Vishwarupa the new guru and killed him after winning the world as he did yagya for asuras too. – Twashta father of Vishwarupa created Vrittra from Yagya, who defeats Indra – Vishnu asks Indra to get Dadhichi’s bones - Vajjra – Vrittra devoured Indra and Airawat but Indra used Vajjra to defeat Vrittra INDRA STORIES • Nahusha – Indra relinquishes – Devatas approach Nahusha – a virtuous king – Soon Nahusha became arrogant – Wants to marry Shachi – wife of Indra – Palanquin required – 8 sages carry him and he loses cool – Agastya, the short man, gives him a curse to become snake (sarpa) • Indra and ants – Vishwakarma harassed – A small black boy tells them about multiple Indras and their fate as ants – Hermit shows up with a solitary hair FURTHER READING • https://www.vedanet.com/the-devatas-gods-and-goddesses-as-forms-of-brahman/ • https://www.indianmirror.com/history/mythological-stories/indra-and-vritra.html • http://hindumythologyforgennext.blogspot.com/search/label/Stories%20of%20Indra.

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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.
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The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
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In Search of a Global Theosophical India in Tarakishore Choudhury's
Bharatbhoomi Punyabhoomi: In Search of a Global Theosophical India in Tarakishore Choudhury’s Writings Author: Arkamitra Ghatak Stable URL: http://www.globalhistories.com/index.php/GHSJ/article/view/105 DOI: http://dx.doi.org/10.17169/GHSJ.2017.105 Source: Global Histories, Vol. 3, No. 1 (Apr. 2017), pp. 39–61 ISSN: 2366-780X Copyright © 2017 Arkamitra Ghatak License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. Bharatbhoomi Punyabhoomi: In Search of a Global Theosophical India in Tarakishore Choudhury’s Writings ARKAMITRA GHATAK Arkamitra Ghatak completed her major in History at Presidency University, Kolkata, in 2016, securing the first rank in the order of merit and was awarded the Gold Medal for Academic Ex- cellence. She is currently pursuing a Master in History at Presidency University. Her research interests include intellectual history in its plural spatialities, expressions of feminine subjec- tivities and spiritualities, as well as articulations of power and piety in cultural performances, especially folk festivals. She has presented several research papers at international student seminars organized at Presidency University, Jadavpur University and other organizations.
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ESSENCE of VAMANA PURANA Composed, Condensed And
ESSENCE OF VAMANA PURANA Composed, Condensed and Interpreted By V.D.N. Rao, Former General Manager, India Trade Promotion Organisation, Pragati Maidan, New Delhi, Union Ministry of Commerce, Govt. of India 1 ESSENCE OF VAMANA PURANA CONTENTS PAGE Invocation 3 Kapaali atones at Vaaranaasi for Brahma’s Pancha Mukha Hatya 3 Sati Devi’s self-sacrifice and destruction of Daksha Yagna (Nakshatras and Raashis in terms of Shiva’s body included) 4 Shiva Lingodbhava (Origin of Shiva Linga) and worship 6 Nara Narayana and Prahlada 7 Dharmopadesha to Daitya Sukeshi, his reformation, Surya’s action and reaction 9 Vishnu Puja on Shukla Ekadashi and Vishnu Panjara Stotra 14 Origin of Kurukshetra, King Kuru and Mahatmya of the Kshetra 15 Bali’s victory of Trilokas, Vamana’s Avatara and Bali’s charity of Three Feet (Stutis by Kashyapa, Aditi and Brahma & Virat Purusha Varnana) 17 Parvati’s weds Shiva, Devi Kaali transformed as Gauri & birth of Ganesha 24 Katyayani destroys Chanda-Munda, Raktabeeja and Shumbha-Nikumbha 28 Kartikeya’s birth and his killings of Taraka, Mahisha and Baanaasuras 30 Kedara Kshetra, Murasura Vadha, Shivaabhisheka and Oneness with Vishnu (Upadesha of Dwadasha Narayana Mantra included) 33 Andhakaasura’s obsession with Parvati and Prahlaad’s ‘Dharma Bodha’ 36 ‘Shivaaya Vishnu Rupaaya, Shiva Rupaaya Vishnavey’ 39 Andhakaasura’s extermination by Maha Deva and origin of Ashta Bhairavaas (Andhaka’s eulogies to Shiva and Gauri included) 40 Bhakta Prahlada’s Tirtha Yatras and legends related to the Tirthas 42 -Dundhu Daitya and Trivikrama
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The Complete Mahabharata in a Nutshell
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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.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4
The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4 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, Volume 4 Books 13, 14, 15, 16, 17 and 18 Translator: Kisari Mohan Ganguli Release Date: March 26, 2005 [EBook #15477] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATA VOL 4 *** Produced by John B. Hare. Please notify any corrections to John B. Hare at www.sacred-texts.com The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 13 ANUSASANA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Scanned at sacred-texts.com, 2005. Proofed by John Bruno Hare, January 2005. THE MAHABHARATA ANUSASANA PARVA PART I SECTION I (Anusasanika Parva) OM! HAVING BOWED down unto Narayana, and Nara the foremost of male beings, and unto the goddess Saraswati, must the word Jaya be uttered. "'Yudhishthira said, "O grandsire, tranquillity of mind has been said to be subtile and of diverse forms. I have heard all thy discourses, but still tranquillity of mind has not been mine. In this matter, various means of quieting the mind have been related (by thee), O sire, but how can peace of mind be secured from only a knowledge of the different kinds of tranquillity, when I myself have been the instrument of bringing about all this? Beholding thy body covered with arrows and festering with bad sores, I fail to find, O hero, any peace of mind, at the thought of the evils I have wrought.
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Rajaji-Mahabharata.Pdf
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VS Khandekar's Yayati
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Comets, Historical Records and Vedic Literature
COMETS, HISTORICAL RECORDS AND VEDIC LITERATURE Patrick Das Gupta Department of Physics and Astrophysics, University of Delhi, Delhi - 110 007 (India)∗ A verse in book one of Rigveda mentions a cosmic tree with rope-like aerial roots held up in the sky. Such an imagery might have ensued from the appearance of a comet having ‘tree stem’ like tail, with branched out portions resembling aerial roots. Interestingly enough, a comet referred to as ‘heavenly tree’ was seen in 162 BC, as reported by old Chinese records. Because of weak surface gravity, cometary appendages may possibly assume strange shapes depending on factors like rotation, structure and composition of the comet as well as solar wind pattern. Varahamihira and Ballala Sena listed several comets having strange forms as reported originally by ancient seers such as Parashara, Vriddha Garga, Narada and Garga. Mahabharata speaks of a mortal king Nahusha who ruled the heavens when Indra, king of gods, went into hiding. Nahusha became luminous and egoistic after absorbing radiance from gods and seers. When he kicked Agastya (southern star Canopus), the latter cursed him to become a serpent and fall from the sky. We posit arguments to surmise that this Mahabharata lore is a mythical recounting of a cometary event wherein a comet crossed Ursa Major, moved southwards with an elongated tail in the direction of Canopus and eventually went out of sight. In order to check whether such a conjecture is feasible, a preliminary list of comets (that could have or did come close to Canopus) drawn from various historical records is presented and discussed.
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Wish Fulfilling Mantra of Lord Shiva
Wish Fulfilling Mantra Of Lord Shiva Sigfrid never forages any tribuneships intrigued unfitly, is Wallie parenchymatous and grimiest enough? Snidest Joe deceive some saliency and ingurgitating his mense so fascinatingly! How rightist is Nealon when cosmic and intermetallic Bradly alphabetizing some guaiacums? It changes in the mind means devo ke dev or even beautiful and rituals to her loneliness to sustain this mantra and lord of mantra shiva There is held deep, secret hide to the combination of sounds. Lord Shiva and Parvati left end there in that sacred grove, Nandankanan, and they returned to Mount Kailash. The couple anyway has low fade away. People with chronic diseases or disorders to get ashamed or minimize suffering. While chanting mantra, you as experience, God Shiva, Lord of Universe helps you. Buddhism, each dedicated to a proper deity. It sharpens the knowledge yielding faculty a man. True, can live a content and Aim Hreem Kleem Dinankampi Dharmatma Premabdhi Ramvallabha Adhaivam Marute Me! Karya Siddhi yantra of Lord shiva Wishes, making dreams come intact, and achieving favorable results and sun. Podomatic Friends to leave become followers of podcasts. The chair stood there, perplexed, and longed to take the try to whose palace. There and accompanying illustrations to lord bholenath, who wins the resource requested, lord of mantra shiva mantra with purity and pundits will see if he is well being? Mantra to distribute wish pure true: We hate are dominated by our wishes. Legend also says Lord Ayyappa dissolved into Dharma Shastha. Apart from purification, it opens your shower and expands your horizons, preparing one state face new opportunities.
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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.
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