Use of Myth and Symbol in Yayati
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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. -
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. -
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 -
The Complete Mahabharata in a Nutshell
Contents Introduction Dedication Chapter 1 The Book of the Beginning 1.1 Vyasa (the Composer) and Ganesha (the Scribe) 1.2 Vyasa and his mother Sathyavathi 1.3 Janamejaya’s Snake Sacrifice (Sarpasastra) 1.4 The Prajapathis 1.5 Kadru, Vinatha and Garuda 1.6 The Churning of the Ocean of Milk 1.7 The Lunar and Solar races 1.8 Yayathi and his wives Devayani and Sharmishta 1.9 Dushyanta and Shakuntala 1.10 Parashurama and the Kshatriya Genocide BOOKS 1.11 Shanthanu, Ganga and their son Devavratha 1.12 Bhishma, Sathyavathi and Her Two Sons 1.13 Vyasa’s Sons: Dhritharashtra,DC Pandu and Vidura 1.14 Kunthi and her Son Karna 1.15 Birth of the Kauravas and the Pandavas 1.16 The Strife Starts 1.17 The Preceptors Kripa and Drona 1.18 The Autodidact Ekalavya and his Sacrifice 1.19 Royal Tournament where Karna became a King 1.20 Drona’s Revenge on Drupada and its Counterblow 1.21 Lord Krishna’s Envoy to Hasthinapura 1.22 The Story of Kamsa 1.23 The Wax Palace Inferno 1.24 Hidimba, Hidimbi and Ghatotkacha 1.25 The Ogre that was Baka 1.26 Dhaumya, the Priest of the Pandavas 1.27 The Feud between Vasishta and Vishwamithra 1.28 More on the Quality of Mercy 1.29 Draupadi, her Five Husbands and Five Sons 1.30 The Story of Sunda and Upasunda 1.31 Draupadi’s Previous Life 1.32 The Pandavas as the Incarnation of the Five Indras 1.33 Khandavaprastha and its capital Indraprastha 1.34 Arjuna’s Liaisons while on Pilgrimage 1.35 Arjuna and Subhadra 1.36 The Khandava Conflagaration 1.37 The Strange Story of the Sarngaka Birds Chapter 2 The Book of the Assembly Hall -
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. -
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. -
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. -
VS Khandekar's Yayati
International Journal of Multidisciplinary Approach and Studies ISSN NO:: 2348 – 537X V. S. Khandekar’s Yayati: A Study in Myth Meenu Bhola Assistant Professor, P.G. Department of English, Guru Nanak College for Women, Charan Kanwal, Banga. Myth is a much disputed term. Various thinkers, philosophers and critics have tried to define and categorize the term. The New Gresham Encyclopedia gives its meaning as: The word myth originally simply meant speech, then in a narrower sense, a tale or tradition, particularly one handed down from prehistoric times giving, in the form of a story about a god or hero, some ancient belief regarding the processes of nature, customs or problems of cosmogony. (53) Myth is never related to a single individual, it is always collective, always communal, binding a society, a tribe, a community together by its force. Mark Schorer says in William Blake: The politics of vision, “Myth is fundamental, the dramatic representation of our deepest instinctual life, of a primary awareness of man in the universe, capable of many configurations, upon which all particular opinions and attitude depend.” Barthes writes in Mythologies, “Mythologies is an accord with the world, not as it is, but as it wants to be.” Thus through myth, literature tries to shape the world. It is a chosen context having manifold dimensions. Literature is considered to be the expression of total human experience, making it a collection of ideas and beliefs of the society. Beliefs lead to rituals and myths, which are represented in literature. Thus two types of narratives inter-mingle, inter-act and coexist within the framework of literature. -
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. -
Yayati, the Son of Nahusha, Is Depicted As One of the Wisest and Noblest Rulers of the Times
RETOLD FROM THE MAHABHARATA In Hindu mythology, Yayati, the son of Nahusha, is depicted as one of the wisest and noblest rulers of the times. Such w as his knowledge that even Indra, king of the celestials, held him in esteem. His encounter with Devayani and later with Sharmishtha, the Asura princess, is one of the most romantic episodes of the Mahabharata. It is significant that a woman in those days enjoyed the right to choose the man she wanted to marry, a right that Devayani excercised when she chose Yayati. Yayati found wisdom the hard way. Though the study of the scriptures undoubtedly moulded his character, he learnt the truth of the maxims by his ow n experience. The scriptures uphold restraint and self-control as the prerequisites of self-realisation. By experience, Yayati realised that happiness, peace of mind and contentment elude those who make no effort at self-control in the misguided belief that the cravings of the body run them selves out in course of time; and that the best course is not to resist but to yield. In portraying the characters of this tale from the Maha bharata, we have deviated slightly from the original for our young readers. AM AR CHITRA KATHA means good reading. Over 3 30 titles are now on sale © IBH Publishers Pvt. Ltd., Bombay 400 026. All rights reserved. Published by H.G. Mirchandani for IBH Publishers Pvt. Ltd., 22, Bhulabhai Desai Road, Bombay 400 026 and printed by him at IBH Printers, Marol Naka, Mathuradas Vissanji Road, Andheri (East), Bombay 400 059. -
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.