Murty Classical Libraryof India Guide for Translators June 2021 General
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Here in Attendance at the Omni Berkshire, Just Blocks from the Many Overdeter- University Editor, Salaam: Melanie R
WINTER 2018 VOLUME 42 NO. 2 SALA President’s Column by John Hawley 1 PRESIDENT’S COLUMN SALA 2018 Conference Program 2-9 With Trump Tower just a few blocks away, those attending our annual confer- MLA Panel of Interest/featuring SALA Members 10 ence will address the issues of “Precarity, Resistance, and Care Communities in South Asia,” with a reminder that Manhattan, too, is an island community, threat- Open SALA Executive Board Positions 10 ened by the waters lapping at its shores and the winds whipping through its Spotlight on Hamara Mushaira 11 manmade canyons. The call for papers for our conference brilliantly outlines some of the problems facing our world from climate change, globalization, in- Looking to Writers: An Interview with Farzana Doctor 12-13 ward-turning governments, and the blurring of honest confrontation of threats by the invocation of “fake news” when challenges arise from the Fourth and Fifth Singh Interviews on Pakistani Television by Kristin Distel 14 Estates. As our call references, Pankaj Mishra notes the uptick in virulent expres- sions of anger, and in the U.S. we see “tribes” insulating themselves against chal- 1st International humanities Conference, Lahore by 15-16 Rabia Wasif lenge from those on the “other” side. Our call describes a “consolidation” of precariousness, a “wielding of biopolitical power over human bodies,” and refer- 17-19 Era of Unrest by M. A. Nuhmen ences Judith Butler’s description of “that politically induced condition in which Member News 20 certain populations suffer from failing social -
Modern Contours: Sinhala Poetry in Sri Lanka, 1913-56
South Asia: Journal of South Asian Studies ISSN: 0085-6401 (Print) 1479-0270 (Online) Journal homepage: http://www.tandfonline.com/loi/csas20 Modern Contours: Sinhala Poetry in Sri Lanka, 1913–56 Garrett M. Field To cite this article: Garrett M. Field (2016): Modern Contours: Sinhala Poetry in Sri Lanka, 1913–56, South Asia: Journal of South Asian Studies, DOI: 10.1080/00856401.2016.1152436 To link to this article: http://dx.doi.org/10.1080/00856401.2016.1152436 Published online: 12 Apr 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=csas20 Download by: [Garrett Field] Date: 13 April 2016, At: 04:41 SOUTH ASIA: JOURNAL OF SOUTH ASIAN STUDIES, 2016 http://dx.doi.org/10.1080/00856401.2016.1152436 ARTICLE Modern Contours: Sinhala Poetry in Sri Lanka, 1913À56 Garrett M. Field Ohio University, Athens, OH, USA ABSTRACT KEYWORDS A consensus is growing among scholars of modern Indian literature Modernist realism; that the thematic development of Hindi, Urdu and Bangla poetry Rabindranath Tagore; was consistent to a considerable extent. I use the term ‘consistent’ romanticism; Sinhala poetry; to refer to the transitions between 1900 and 1960 from didacticism Siri Gunasinghe; South Asian literary history; Sri Lanka; to romanticism to modernist realism. The purpose of this article is to superposition build upon this consensus by revealing that as far south as Sri Lanka, Sinhala-language poetry developed along the same trajectory. To bear out this argument, I explore the works of four Sri Lankan poets, analysing the didacticism of Ananda Rajakaruna, the romanticism of P.B. -
Agastya Nadi Samhita
CHAPTER NO. 1 Sri. Agastya Naadi Samhita A mind - boggling Miracle In today’s world of science, if just from the impression of your thumb somebody accurately tells you, your name, the names of your mother, father, husband/wife, your birth-date, month, age etc. what would you call such prediction? Would you regard it as an amazing divination or as black magic? No, it is neither black magic nor a hand trick. Such prediction, which defies all logic and boggles one’s mind, forms the subject-matter of the Agastya Naadi. Those predictions were visualised at different places by various ancient Sages, with their divine insight and factually noted by their chosen disciples, thousands of years ago, to be handed down from generation to generation. This great work makes us realize the limitations of human sciences. That great compilation predicting the future of all human beings born or yet to be born, eclipses the achievements of all other sciences put together! Naadi is a collective name given to palm-leaf manuscripts dictated by ancient sages predicting the characteristics, family history, as well as the careers of innumerable individuals. The sages (rishis), who dictated those Naadis, were gifted with such a remarkable foresight – that they accurately foretold the entire future of all mankind. Many scholars in different parts of India have in their safekeepings several granthas (volumes) of those ancient palm-leaf manuscripts dictated by the great visualizing souls, alias sages such as Bhrugu, Vasistha, Agastya, Shukra, and other venerable saints. I had the good-fortune to consult Sri. Agastya Naadi predictions. -
Bala Bhavan Shlokas
Bala Bhavan Shlokas Vedic Cultural and Spiritual Center of San Diego 7930 Arjons Drive, Suite B San Diego, CA 92126 Bala Bhavan Shlokas GANESHA SHLOKAS .............................................................................................................................. 4 gajAnanam .................................................................................................................................................. 4 shuklAmbaradharam ................................................................................................................................... 4 vakratunda .................................................................................................................................................. 4 mUShika vAhana........................................................................................................................................ 5 Shri GaNesha stotram ................................................................................................... 6 Ganesha Panchratnam .................................................................................................. 7 RAMA SHLOKAS ..................................................................................................................................... 9 kausalyA suprajA ....................................................................................................................................... 9 rAmAya rAma bhadrAya ......................................................................................................................... -
Diaspora Poetics in South Asian English Writings
Diaspora Poetics in South Asian English Writings Diaspora Poetics in South Asian English Writings Edited by Md. Rakibul Islam and Eeshan Ali Diaspora Poetics in South Asian English Writings Edited by Md. Rakibul Islam and Eeshan Ali This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Md. Rakibul Islam, Eeshan Ali and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3810-9 ISBN (13): 978-1-5275-3810-8 CONTENTS Preface andledgements Acknow ............................................................... vii Notes on Contributors....................................... ......................................... ix Map of South Asia ..................................................................................... xi Introduction ................................................................................................ 1 South Asian Diaspora Dr. Md. Rakibul Islam & Eeshan Ali Part I: Reminiscence, Identity and Gender Chapter I ................................................................................................... 11 The Poet Lost in the Mystic: Revisitingisits Rabindranath Tagore’s -
Aditya Hridaya Stotra in English Pdf
Aditya hridaya stotra in english pdf Continue Aditya Rididaam Stotram starts from here 10. Ditiya savitah hagash th. gabhastiman suvarshasadho bhanuhiranyareta divkarash (He is the son of Aditi, Savita (bright), Soorya (higher light), Haga (bird, travels through the sky), feeds the world by rain, gabhastyman (possessing rays) Golden (beautiful, wise) Aditya-son Aditi, the one who draws everyone to him Savita, rule the world, the controller of the world Soorya-who who calls everyone, active Khaga'one, which moves in space (bird) Poosha'one, which protects all the worlds of Gabhastiman,who has bright rays Suvarnasadrisha'golden colored Bhanu'pervaded in all Swarnareta'radiant round in the form of golden egg Diwakara'one, which is the reason for the bright day Aditya Hridayam - Heart of Aditya (God of the Sun) Hridayam is something that is particularly nutritious and healing for the heart. Sage Agasya Mooni gave this powerful mantra to Sri Rame when Rama was puzzled during the battle with Ravan. After chanting the anthem, Sri Rama defeated Rawan three times. Aditya Hridayam, is a hymn in the glorification of the Sun or Surya and read the great sage Agestya to Lord Rama on the battlefield before fighting Ravana. This historic anthem begins at the beginning of the battle with Ravava, when Lord Rama is tired and preparing for battle. The mystical hymn is given to the God of the Sun, the glorified lord of all victories. Attempting to pay tribute to the poems from The Ramayana Epic, the first epic in the world, written more than 5,000 years ago, is no longer possible today. -
Valmiki Ramayana – Bala Kanda – Chapter 42 Amshuman and His
Om Sri Lakshmi Narashimhan Nahama Valmiki Ramayana – Bala Kanda – Chapter 42 Amshuman and His Grandson Practice Austerities Summary Bhageeratha's effort for bringing Ganga to earth is fulfilled. Anshuman and his son Dileepa could not make any effort to bring the divine river to earth. But Bhageeratha, the son of Dileepa, staunch [faithful] at heart tries earnestly to get her onto earth. Brahma agreeing for this descent of Ganga designates lord Shiva to bear the burden of the onrush of Ganga, because the earth cannot sustain it. Chapter [Sarga] 42 in Detail kaaladharmam gate raama sagare prakritii janaah | raajaanam rocayaamaasur anshumantam sudhaarmikam || 1-42-1 When King Sagara passed away owing to the irrefutable [impossible to prove wrong] virtue of Time, the ministers and subjects of that kingdom are predisposed towards the highly honorable Anshuman to become their king and they enthroned [to seat ceremonially on a throne] him accordingly. Thus Vishvamitra continued narration about the predecessors of Rama. [1-42-1] sa raajaa sumahaan aasiit a.mshumaan raghuna.ndana | tasya putro mahaan aasiit diliipa iti vishrutah || 1-42-2 He that Anshuman turned out to be a very great king, and oh, Rama of Raghu's dynasty, he begot [got] a marvelous son who is renowned as Dileepa. [1-42-2] tasmai raajyam samaadishya diliipe raghuna.ndana | himavat shikhare ramye tapah tepe sudaarunam || 1-42-3 Assigning the kingdom to Dileepa, oh, Rama of Raghu's dynasty, Anshuman undertook very stern asceticism on a pleasant peak of Himalayas desiring the descent of River Ganga to earth. [1-42-3] Page 1 of 6 Om Sri Lakshmi Narashimhan Nahama Valmiki Ramayana – Bala Kanda – Chapter 42 dvaa tri.mshat sahasraam varSaaNi sumahaa yashaaH | tapovana gato raajaa svargam lebhe tapodhanaH || 1-42-4 On practicing asceticism in ascetic-woods for thirty-two thousand years that highly renowned king Anshuman achieved heaven as he acquired only the wealth of practicing the asceticism. -
Chapter 10, Verses 27 to 30,Mandukya
Baghawat Geeta, Class 137: Chapter 10, Verses 30 to 33 Shloka # 30: प्रह्लादश्चास्िम दैत्यानां कालः कलयतामहम्। मृगाणां च मृगेन्द्रोऽहं वैनतेयश्च पक्िषणाम्।।10.30।। Daityanam, among demons, the descendants of Diti, I am the one called Prahlada. And I am kalah, Time; kalayatam, among reckoners of time, of those who calculate. And mrganam, among animals; I am mrgendrah, the loin, or the tiger. And paksinam, among birds; (I am) vainateyah, Garuda, the son of Vinata. Continuing his teaching, Swamiji said, we are seeing Sri Krishna enumerate the glories of Ishwara. The entire creation is a manifestation and glory of the Lord. Sri Krishna chooses a few specialties as his glory. They can be chosen to invoke God. Even though all rivers are glorious, Ganga can be used to invoke god. Hence Ganga is considered scared. Everyone enumerated can be an alambanam. Many are identified from mythological stories. Thus he cites in shloka # 30 about Prahlada. Prahlada stuthi in the Bhagavatham is a very well known sthothram; in which we find the highest Vedanta talked about. In the Bhagavatham there are many stuthis or sthothrams; Dhruva stuthi; Prahlada sthuthi; Kunthi sthuthi; Bhishma sthuthi; each character glorifies the Lord and the beauty is, in those sthothrams not only the puranic glories are there; the highest Vedanta is also packed in those stuthis and among them Prahlada is also a great one. It is an important one because even though Prahlada is born an asura, by his spiritual sadhana he could change his character and become a Gyani. -
Ramlila of Ramnagar: an Introduction
Ramlila of Ramnagar: An Introduction Richard Schechner, Texts, Oppositions, and the Ganga River The subject of Ramlila, even Ram nagar Ramlila alone, is vast ... It touches on several texts: Ramayana of Valmiki, never uttered, but present all the same in the very fibre of Rama's story; Tulsidasa's Ramcharitmanas chanted in its entirety from before the start of the performance of Ramlila to its end. I mean that the Ramayanis spend ten days before the first lila up on the covered roof of the small 'tiring house-green room next to the square where on the twenty-ninth day of the performance Bharata Milapa will take place; there on that roof the Ramayanis chant the start of the Ramcharitmanas, from its first word till the granting of Ravana's boon : "Hear me, Lord of the World (Brahma). 1 would die at the hand of none save man or monkey." Shades of Macbeth's meeting with the witches: "For none of woman born shall harm Macbeth." Ravana, like Macbeth, is too proud. Nothing of this until the granting of Ravana's boon is heard by the Maharaja of Benares, or by the faithful daily audience called nemi-s, nor by the hundreds of sadhu-s who stream into Ramnagar for Ramlila summoned by Rama and by the Maharaja's generosity in offering sadhu-s dharamshala-s for rest and rations for the belly. The "sadhu rations" are by far the largest single expense in the Ramnagar Ramlila budget- Rs. 18,000 in 1976. Only the Ramayanis hear the start of the Ramcharitmanas- they and scholars whose job it is to "do and hear and see everything." But this, we soon discovered, is impossible: too many things happen simultaneously, scattered out across Ramnagar. -
Prince Rama and the Monkey King
Prince Rama and the Monkey King Teacher Guide Grades K – 6 About the Artists BOXTALES THEATRE COMPANY uses masks, movement, storytelling and live music to presents myths and folklore from around the world. The performers combine their diverse talents to create a professional, high energy, highly interactive theatrical experience for youth and family audiences. BOXTALES employs the disciplines of storytelling, masks, various movement styles including AcroYoga, and music to breathe life into world mythology and folklore. Objectives To introduce students to one of the world’s greatest epics, the Rāmāyana. To encourage students to seek out and read more mythology and folklore from all over the world. To help develop creative imagination. To introduce the importance of oral tradition and theatre as an educational tool. To present stories that will help raise self-esteem and teach important lessons. To encourage students to identify character traits, attitudes, and situations existing in the story as well as in our contemporary society. Preparation of the Program Myth has played a very significant role in the development of civilization. Through the development of myths mankind has been able to pass down from generation to generation the history and beliefs of early ancestors, and teach us how to live a better life. This kind of material can also be found in dogmatic text, but this has traditionally been the study of clergy and intellectuals. Through the ages the most effective forms of this “wisdom” for the general populous have been narrative and allegorical in nature. The ancient art of myth transforms us by helping us to turn the meaninglessness of existence into the meaningfulness of life. -
Horizons Volume 61 No
c m y k 2 Indian Horizons Volume 61 No. 2 Indian Contents Horizons Volume 61 No. 2 April-June 2014 Foreword 3 Satish C. Mehta From our Archives 6 Editor The Unforgettable Magic of Ramnagar Ramlila 12 Subhra Mazumdar Varsha Rani Melodic Flavours According to the Season 28 Vidushi Prof. Uma Garg Published by the Director General, Seasons and Performing Arts 36 Indian Council for Cultural Relations, Guru Shovana Narayan Azad Bhavan, Indraprastha Estate, New Delhi-110002. The opinions expressed or implied in this magazine Photo Essay 49 do not necessarily reflect the views or policies of the ICCR. No part of The Seasons in the Ragamala 59 the magazine may be reproduced without the prior permission of the Prof. Pushpa Dullar and Gayatri Tondon Editor. Contributions for consideration may Three Bengali Poets and the Seasons 67 please be sent in duplicate – typed Prof. Shormishtha Panja in double space, with a minimum of footnotes to The Editor, Indian Horizons, Indian Council for Cultural Art Reviews: Azad Bhavan Gallery 73 Relations, Azad Bhavan, Indraprastha Estate, New Delhi-110002. A Southern Music: The Karnatik Story 93 E-mail: [email protected] Website: www.iccrindia.net Book Review: Rita Swami Choudhury Indian Horizons is also available on website Designed and produced by M/s Aakriti, 25/403, Eastend Apartments, Mayur Vihar Phase – 1 Extension, Delhi – 110096 c m y k c m y k Indian Horizons April-June 2014 11 Scene from Ramlila, Bharatiya Kala Kendra Troupe visiting Hong Kong, Taiwan, Philippines, Thailand and Vietnam, in October 1979 Scene from Ramlila, Bharatiya Kala Kendra Troupe visiting Hong Kong, Taiwan, Philippines, Thailand and Vietnam, in October 1979 c m y k c m y k 12 Indian Horizons Volume 61 No. -
Ramleela in Trinidad, 2006–2008
Trinity College Trinity College Digital Repository Faculty Scholarship Spring 2010 Performing in the Lap and at the Feet of God: Ramleela in Trinidad, 2006–2008 Milla C. Riggio Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Theatre and Performance Studies Commons Performing in the Lap and at the Feet of God Ramleela in Trinidad, 2006–2008 Milla Cozart Riggio The performance was like a dialect, a branch of its original language, an abridgement of it, but not a distortion or even a reduction of its epic scale. Here in Trinidad I had discovered that one of the greatest epics of the world was seasonally performed, not with that desperate resignation of preserving a culture, but with an openness of belief that was as steady as the wind bending the cane lances of the Caroni plain. —Derek Walcott, Nobel Prize Lecture (1992) As a child living in Wagoner, Oklahoma, I was enlisted by my Baptist evangelist father both to play the piano for his monthly hymn singing fests and to “teach” Wednesday night Bible classes. “What,” I asked my father, “shall I tell these people? I don’t know anything about the Bible.” “Oh,” he responded, “neither do they. Just make it up, but always assure them that—as our good hymn says—they are all ‘sitting in the lap of God.’ That’s what they want to know.” So week after week, while I unwittingly practiced for my future vocation, some dozen or so Baptist parishioners were asked by a nine-year-old girl to sit together “in the lap of God.” Having no idea what that meant, I conjured up an image of a gray-bearded, department store Santa/God with all of us piling at once into his opulent lap.