Year III-Chap.3-MAHABHARATA
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
MAEL-203.Pdf
CONTENTS BLOCK 1 Selections from Ancient Texts Page No. Unit 1 Rigveda: Purusha Sukta 1-13 Unit 2 Isha Upanishad 14-30 Unit 3 The Mahabharata: The Yaksha-Yudhishthira Dialogue I 31-45 Unit 4 The Mahabharata: The Yaksha-Yudhishthira Dialogue II 46-76 BLOCK 2 Poetry in Translation Unit 5 Selections from Songs of Kabir 96-109 Unit 6 Selections from Ghalib 110-119 Unit 7 Rabindranath Tagore: Songs from Gitanjali 120-131 BLOCK 3 Poetry in English Unit 8 Sri Aurobindo and his Savitri 132-147 Unit 9 Savitri , Book Four: The Book of Birth and Quest 148-161 Unit 10 Nissim Ezekiel: “Philosophy”, “Enterprise” 162-173 Unit 11 Kamla Das: “Freaks”, “A Hot Noon in Malabar” 167-178 BLOCK 4 Fiction Unit 12 Somdev: Selections from Kathasaritsagar 174-184 Unit 13 Raja Rao: Kanthapura –I 185-191 Unit 14 Raja Rao: Kanthapura –II 192-200 BLOCK 5 Drama Unit 15 Kalidasa: Abhijnanashakuntalam –I 201-207 Unit 16 Kalidasa: Abhijnanashakuntalam –II 208-231 Unit 17 Vijay Tendulkar: Ghasiram Kotwal –I 232-240 Unit 18 Vijay Tendulkar: Ghasiram Kotwal –II 241-257 Indian Writing in English and in English Translation MAEL-203 UNIT ONE RIGVEDA: PURUSHA-SUKTA 1.1. Introduction 1.2. Objectives 1.3. A Background to Purusha-Sukta 1.4. Analysing the Text 1.4.1. The Purusha 1.4.2. Verse by verse commentary 1.4.3. The Yajna 1.5. Summing Up 1.6. Answers to Self Assessment Questions 1.7. References 1.8. Terminal and Model Questions Uttarakhand Open University 1 Indian Writing in English and in English Translation MAEL-203 1.1 INTRODUCTION The Block: Block One explores the foundations of Indian Literature. -
Dharma and Caste in the Mahabharata
TIF - Dharma and Caste in the Mahabharata RUDRANGSHU MUKHERJEE February 5, 2021 Assembly of Warriors, illustration to the Gemini Ashwamedha of the Mahabharata | Harvard Art Museums/Arthur M. Sackler Museum, Francis H. Burr Memorial Fund and Friends of the Fogg Art Museum Fund The Mahabharata is peopled by the ‘higher’ castes but there are important personages from the ‘lower’ castes whose presence gives a radical salience to ‘dharma’ as set out in the epic, to the point of even suggesting a subversion of the dominant ideology. There is a scholarly consensus that below the apocalyptic events---covered in five of the 18 books--- that form the core of the epic, the idea of dharma serves as a principal theme. Many dimensions of the idea are explored through characters, sub-tales and events; even transgressions of dharma illuminate it.1 In comparison, the great book has very little to say explicitly about caste or varna in the sense that it does not address the question of inequality that the operation of the caste system inevitably engenders. It need hardly be emphasized that most of the main characters come from the two top castes and the language of the epic is Sanskrit, the language of these two castes. The second caste, kshatriyas, not surprisingly, dominates the epic. According to one calculation, there are as many as 175 references to kshatriyadharma in the epic (Hiltebeitel: 2014: 528). In contrast, the vaisyadharma and sudradharma receive nine and six references respectively (Hiltebeitel: 2014: 528). Page 1 www.TheIndiaForum.in February 5, 2021 The argument that this essay seeks to present through the narration of certain episodes and characters, is that the lower castes do make significant appearances in the epic and that those appearances are not unrelated to the epic’s approach to dharma—in fact, those appearances give a radical salience to the question of dharma. -
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. -
852525.Åšiva-AND-SHIKHANDI.Pdf
ELK Asia Pacific Journals – Special Issue ISBN: 978-81-930411-2-3 ŚIVA AND SHIKHANDI: THE GENDER QUEERNESS IN HINDU MYTHOLOGY E. Vishnupriya Lecturer Department of English Jain Institute of Business Management, Jakkasandra, Kanakapura [email protected] Hindu mythology dates to the time of the imagination; can be seen as stimulated shift Ŗg Veda, the oldest sacred religious text, marked by fear of oppression, individual which was probably composed between behaviour and conflicts, in established 1500 and 900 B.C. The Vedas, Upanishads, norms or social order of given time and Puranas, Epics, Agamas, Bhakti literature place. and Tantras with differing interpretations While leaving old prejudices in the realm of on mythology could trace the root of sexuality, this paper seeks to question the Hinduism. For over thousand years these belief ‘ars erotica.’ Queerness: is it all scriptures have been the cosmic womb of about multiplying pleasures or to be viewed creations of various literature and art forms. as ethical concerns? Truly speaking Hindu mythology visualized Queer Theory: A glance the more happening and modern concept, Queer theory is not a singular or systematic Queerness before 2000 years. Traditional conceptual or methodological framework, Hinduism seems to proclaim to the world but a collection of intellectual engagements that queerness is as old as the mountains. with the relations between sex, gender and The vast traditions of Hinduism would tell sexual desire. Queer can be used as a the tales of gender queerness .Ancient derogatory noun or adjective for scriptures like Narada-smriti and homosexuality or effeminacy. It can also be Kamasutra discuss queerness in detail. -
Microsoft Powerpoint
1 Ādi (225) 2 Sabhā (72) सय उवाच 3 Āranyaka (299) SjSanjaya said, 4 Virāta (67) sañjaya uvāca 5 Udyoga (197) 6 Bhīshma Parva (117) 7 Drona - 173 chapters 8 Karna (69) 9 Shālya (64) 10 Sauptika (18) 11 Strī (27) Yudhisthira's 12 Shānti (353) Falsehood 13 Anushāsana (154) Drona Parva 14 Ashvamedhika (96) Chapter 164 15 Āshramavāsika (47) 16 Mausala (9) 17 Mahāprasthānika (3) Swami Tadatmananda 18 Svargārohana (5) Arsha Bodha Center ताकु तीसताा ीभगवानवाचु SiSeeing thfihtdthe frightened PdPandavas, The Blessed Lord said, trastān kuntī-sutāndṛṣṭvā śrī-bhagavānuvāca ाणसायकपीडताने ् | pidbierced by D'Drona's arrows, droṇa-sāyaka-pīḍitān मितमाेयसे यु the wise SfSri Krishna, engaged in their welfare, matimāñ śreyase yuktaḥ के शवाऽजे नमवीतु ् || said to Arjuna ... keśavo 'rjunam abravīt (164.66) नषै यु ेन सामे अथा हत े नषै By fig hting on the ba ttle fie ld, Drona If As hva tthama were kille d, Drona naiṣa yuddhena saṅgrāme aśvatthāmni hate naiṣa जते श कथन | ययु ेदित मितमम | cannotbt be d ef ea ted db by any means, would not fi ght . Thi s i s my opi ni on. jetuṁśakyaḥ kathañcana yudhyed iti matir mama अप वहणाृ यु े त हत सय ुगे कद् even by Indra himself, Anyone who could kill Ashvatthama in battle api vṛtra-haṇā yuddhe taṁ hataṁ saṁyuge kaścid रथयूथपयूथप || अ ै शसत मानव || the leader of leaders of armies. would be praised by people. ratha-yūthapa-yūthapaḥ (164.67) asmai śaṁsatu mānavaḥ (164.69) सय उवाच एताराचयाजने ् SjSanjaya said, O King, this a dv ice was no t liked sañjaya uvāca etan nārocayad rājan कु तीपाु े धनय | by AjArjuna, Kti'Kunti's son. -
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. -
Strength for Today and Bright Hope for Tomorrow Volume 11: 11
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 11 : 11 November 2011 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Women in Mahabharata: Fighting Patriarchy Maneeta Kahlon, Ph.D. ======================================================== Vyasa’s Portrayal of Women Vyasa casts his women—Kunti, Draupadi, Gandhari, Shakuntala, Devayani, Savitri, Damayanti— both in the heroic mould and as victims and practitioners of elements of patriarchy The image of women in the original stratum of the epic is that which is etched out in the words of Shakuntala, as she upbraids Dushyanta for fickleness, contesting patriarchy and traditions of gender relations. ―A wife is a man‘s half, A wife is a man‘s closest friend; A wife is Dharma, Artha and Karna, A wife is Moksha too . A sweet-speaking wife is a companion in happy times; A wife is like a father on religious occasions; A wife is like a mother in illness and sorrow. The wife is a means to man‘s salvation . Happiness, joy, virtue, everything depends on her.‖ Citation Study of Male Authority and Subordination This paper is a study of the three central characters of Mahabharata and how they deal with male authority and subordination. The characters of Kunti, Gandhari, Draupadi conform to the elements of Stridharma while also manifesting exigent actions. Language in India www.languageinindia.com 11 : 11 November 2011 Maneeta Kahlon, Ph.D. -
Understanding Draupadi As a Paragon of Gender and Resistance
start page: 477 Stellenbosch eological Journal 2017, Vol 3, No 2, 477–492 DOI: http://dx.doi.org/10.17570/stj.2017.v3n2.a22 Online ISSN 2413-9467 | Print ISSN 2413-9459 2017 © Pieter de Waal Neethling Trust Understanding Draupadi as a paragon of gender and resistance Motswapong, Pulane Elizabeth University of Botswana [email protected] Abstract In this article Draupadi will be presented not only as an unsung heroine in the Hindu epic Mahabharata but also as a paragon of gender and resistance in the wake of the injustices meted out on her. It is her ability to overcome adversity in a venerable manner that sets her apart from other women. As a result Draupadi becomes the most complex and controversial female character in the Hindu literature. On the one hand she could be womanly, compassionate and generous and on the other, she could wreak havoc on those who wronged her. She was never ready to compromise on either her rights as a daughter-in-law or even on the rights of the Pandavas, and remained ever ready to fight back or avenge with high handedness any injustices meted out to her. She can be termed a pioneer of feminism. The subversion theory will be employed to further the argument of the article. This article, will further illustrate how Draupadi in the midst of suffering managed to overcome the predicaments she faced and continue to strive where most women would have given up. Key words Draupadi; marriage; gender and resistance; Mahabharata and women 1. Introduction The heroine Draupadi had many names: she was called Draupadi from her father’s family; Krishnaa the dusky princess, Yajnaseni-born of sacrificial fire, Parshati from her grandfather side, panchali from her country; Sairindhiri, the maid servant of the queen Vitara, Panchami (having five husbands)and Nitayauvani,(the every young) (Kahlon 2011:533). -
LOK SABHA DEBATES (English Version)
Thursday, May 8, 1997 Eleventh Series, Vol. XIV No. 6 Vaisakha 18, 1919 (Saka) LOK SABHA DEBATES (English Version) Fourth Session (Part-IV) (Eleventh Lok Sabha) ir.ufr4*B* (Vol. XIV contains No. 1 to 12) l o k sa b h a secretariat NEW DELHI I’ rn c Rs >0 00 EDITORIAL BOARD Shri S. Gopalan Secretary General Lok Sabha Shri Surendra Mishra Additional Secretary Lok Sabha Secretariat Shri P.C. Bhatt Chief Editor Lok Sabha Secretariat Shri Y.K.. Abrol Senior Editor Shri S.C. Kala Assistant Editor [Original English Proceedings included in English Version and Original Hindi Proceedings included in Hindi Version will be treated as authoritative and not the translation thereof.] „ b . »• KB (ftb’ • • • M o d FOC Col./line or. vallabh BhaiKathiria vailabha Bhai Kathiria (i)/M Shri N .S .VChitthan . Sr i N.S-V. 'n.tNit ( i i ) /'/ Dr. Ran Krishna Kusnaria nc. Ran Krv.<» .fhnaria 5/14 Shri Ran V ilas Pa swan Shri R® Villa* Pa^ai 8/14 (fioni below) Shri Datta Meghe Shri Datta Maghe 10/10 (Irotr below) Shrimati Krishna Bose Shrimati K irsh n a Bose 103/It> Shri Sunder La i Patva Shri Sunder Patva 235/19 Sh ri Atal Bihari Vajpayee Shri Atal Bihari Vajpa« 248/28 Shri Mchaiwaa Ali ^ T o t Shri Hdhsmnad Ali hohraaf Fatmi 2 5 3 /1 .1 4 F atm i 2 5 4 /8 Shri aikde® P m* w 1 Shri Sukhaev Pasnai 378/24 3BO/3 CONTENTS [Eleventh Series, Vol. XIV, Fourth Session (Part-IV) 1997/1919 (Saka] No. -
The Great Indian Novel 60
Q CHAPTER THREE THE GREAT INDIAN NOVEL 60 The Great Indian Novel published in 1989, derives its title from the ancient epic, the Mahabhamta. Shashi Tharoor has taken the Mahabharata as a blueprint and filled it with a contemporary cast for his witty rendering of pre-independent and post-independent India. The history of India's struggle against colonial rule and her postcolonial assignation with democracy is presented in an epic vein. Unlike the epic of Vyas, the novel is divided into eighteen books. Its narrative is presented in a multi-coloured style and digressive manner. It seems to take an alternative, specifically new historicist view, of the way modem India should be meditated. The novel indeed has some sterling qualities. The historical narrative follows the line of the Mahabharata to provide insight into current politics and the epic through Indo-nostalgic narration. A literal transplantation of the characters of the epic by actual men and women of history on a one-to-one formula tends on the one hand, to make a caricature of the historical events and on the other hand to ignore the borders between myth and history. In a seminar essay entitled 'Myth, History and Fiction' Tharoor (1991:384) states: The Great Indian Novel is an attempt to retell the political history of twentieth century India through a fictional recasting of events, episodes and characters from the Mahabharata. Further, he (1990:7) calls his novel as "An attempt of yoking of myth to history." As the novel advances, he gradually abandons the novelistic conventions and the characters become walking metaphors to project Indo-nostalgia. -
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,