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Notes on the Bhagavad Gita to Help Students in Studying Its Philosophy T
Theosophical University Press Online Edition Notes on the Bhagavad Gita To help students in studying its philosophy T. Subba Row, B.A., B.L., F.T.S. First printing 1934, second printing 1978, by Theosophical University Press. Electronic ISBN 1-55700-126-x (print version available). All rights reserved. This edition may be downloaded for off-line viewing without charge. No part of this publication may be reproduced for commercial or other use in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of Theosophical University Press. For ease in searching, no diacritical marks appear in this electronic version of the text. Contents Preface Introductory Section 1 Section 2 Section 3 Section 4 Preface NOTES ON THE BHAGAVAD-GITA, by T. Subba Row, B.A., B.L., was first published in The Theosophist — the magazine founded by H. P. Blavatsky and Col. H. S. Olcott, at Madras, India. The first lecture, entitled 'Introductory,' was delivered at the Convention of the Theosophical Society held in Madras in 1885, and was published in the February, 1886, issue of The Theosophist, Volume VII, No. 77, page 281, with an editorial note stating that it was the introduction to a series of lectures on the Bhagavad-Gita which Subba Row promised to deliver at the next Convention of the Theosophical Society, scheduled for 1886. Thus the four lectures themselves were delivered and published a year later, namely in Volume VIII of The Theosophist, and the discourses were delivered to the delegates attending the Convention of the Theosophical Society, December 27-31, 1886. -
@Ibet,@Binu^ Un! Lupun
@be @olbeddeg of jUnlis, @ibet,@binu^ un! luPun by Lawrcnce Durdin-hobertron Cesata Publications, Eire Copyrighted Material. All Rights Reserved. The cover design. by Anna Durdin-Robertson. is a mandala oi a Chinese rlraqon goddess. Lawrence Durdln Rot,erlson. li_6 r2.00 Copyrighted Material. All Rights Reserved. The Goddesses of India, Tibet, China and Japan Copyrighted Material. All Rights Reserved. The Goddesses of India, Tibet, China and Japan by Lawrence Durdin-Robertron, M.A. (Dublin) with illustrations by Arna Durdin-Robertson Cesara Publications Huntington Castle, Clonegal, Enniscorthy. Eire. Printed by The Nationalist, Carlow. Eire. Anno Deae Cesara. Hiberniae Dominae. MMMMCCCXXIV Copyrighted Material. All Rights Reserved. Thir serle. of books is written in bonour of The lrish Great Mother, Cessrs aod The Four Guardian Goddesses of lreland, Dsna, Banba' Fodhla and Eire. It is dedicated to my wife, Pantela. Copyrighted Material. All Rights Reserved. CONTENTS I. The Goddesses of India'...'...'........"..'..........'....'..... I II. The Goddesses of Tlbet ............. ................."..,',,., 222 lll. Thc Goddesses of China ...............'..'..'........'...'..' 270 lV. The Goddesscs of Japan .........'.............'....'....'.. " 36 I List of abbreviations ....'........'...."..'...467 Bibfiogr.phy and Acknowledgments....'........'....'...,,,,.,'.,, 469 Index ................ .,...,.........,........,,. 473 Copyrighted Material. All Rights Reserved. Copyrighted Material. All Rights Reserved. Copyrighted Material. All Rights Reserved. SECTION ONE The Goddesses of India and Tibet NAMES: THE AMMAS, THE MOTHERS. ETYMoLoGY: [The etymology of the Sanskrit names is based mainly on Macdonell's Sanskrit Dictionary. The accents denot- ing the letters a, i and 0 are used in the Egrmology sections; elsewhere they are used only when they are necessary for identification.] Indian, amma, mother: cf. Skr. amba, mother: Phrygian Amma, N. -
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. -
16. Perennial Message of the Ramayana
16. Perennial Message Of The Ramayana Sweeter than sugar is Rama's name Tastier than curds and Much sweeter than honey. Full of nectarine sweetness is Rama's name, Chant ever and anon the name of Rama. Students! The Ramayana depicts the triple qualifies of Sathwa, Rajas and Thamas. The relevance of the Ramayana is not confined to a particular time, place or circumstances. It is of universal significance for all times. Its relevance is not limited to India alone. The Ramayana holds out Rama as an embodiment of ideal qualities. As a son, friend, husband, master and ruler, He was an ideal without a parallel. In the world one may be an ideal son, but not an ideal friend. One may be an ideal friend, but not an ideal brother. But Rama stands out unique as an embodiment of all ideal attributes. Students should note an important aspect relating to the breaking of the bow of Shiva at the court of Janaka. Though the bow was broken, the string connecting the two ends of the bow did not break at all, for the two ends of the bow stand for Sita and Rama--Prakruthi and Purusha. In fact the bond between Rama and Sita, Paramaatma and Prakruthi is an unbreakable one. The Ramayana demonstrates the inseparable bond between Prakruthi and Purusha. The Ramayana has been divided into two sections: the Puurva Ramayana and the Utthara Ramayana. The Puurva Ramayana deals with the valorous deeds of Rama, his victory over indomitable heroes like Parashursama, Vaali and Ravana. These events speak of the dauntless courage, the matchless valour and the immense physical and mental prowess of Sri Rama. -
Ramayana of * - Valmeeki RENDERED INTO ENGLISH with EXHAUSTIVE NOTES BY
THE Ramayana OF * - Valmeeki RENDERED INTO ENGLISH WITH EXHAUSTIVE NOTES BY (. ^ ^reenivasa jHv$oiu$ar, B. A., LECTURER S. P G. COLLEGE, TRICHINGj, Balakanda and N MADRAS: * M. K. PEES8, A. L. T. PRKS8 AND GUARDIAN PBE8S. > 1910. % i*t - , JJf Reserved Copyright ftpfiglwtd. 3 [ JB^/to PREFACE The Ramayana of Valmeeki is a most unique work. The Aryans are the oldest race on earth and the most * advanced and the is their first ; Ramayana and grandest epic. The Eddas of Scandinavia, the Niebelungen Lied of Germany, the Iliad of Homer, the Enead of Virgil, the Inferno, the Purgatorio, and the Paradiso of Dante, the Paradise Lost of Milton, the Lusiad of Camcens, the Shah Nama of Firdausi are and no more the Epics ; Ramayana of Valmeeki is an Epic and much more. If any work can clam} to be the Bible of the Hindus, it is the Ramayana of Valmeeki. Professor MacDonell, the latest writer on Samskritha Literature, says : " The Epic contains the following verse foretelling its everlasting fame * As long as moynfain ranges stand And rivers flow upon the earth, So long will this Ramayana Survive upon the lips of men. This prophecy has been perhaps even more abundantly fulfilled than the well-known prediction of Horace. No pro- duct of Sanskrit Literature has enjoyed a greater popularity in India down to the present day than the Ramayana. Its story furnishes the subject of many other Sanskrit poems as well as plays and still delights, from the lips* of reciters, the hearts of the myriads of the Indian people, as at the 11 PREFACE great annual Rama-festival held at Benares. -
Shri Sai Baba
Sai Mandir USA 1889 Grand Avenue, Baldwin, NY 11510, USA Designed & Developed by : Praveen Batchu http://www.imagicapps.com SHRI SAI SATCHARITA OR THE WONDERFUL LIFE AND TEACHINGS OF SHRI SAI BABA Adapted from the original Marathi book by Hemadpant by Nagesh Vasudev Gunaji, B.A., L.L.B. 227, Thalakwadi, Belgaum. changes to the current version to make a easy reading experience to American devotees. This book is available for free to all devotees. Published by Kashinath Sitaram Pathak, Court Receiver, Shri Sai Baba Sansthan, Shirdi, ‘Sai Niketan’, 804-B, Dr. Ambedkar Road, Dadar, Bombay 400 014. This book will be available for sale at the following places: (1) Court Receiver, Shri Sai Sansthan, Shirdi, P.O. Shirdi, (Dist. Ahmednagar). (2) Shri Kashinath Sitaram Pathak, Court Receiver, Shri Sai Baba Sansthan, Shirdi, “Sai Niketan”, 804-B, Dr. Ambedkar Road, Dadar, Bombay 400 014. Copyright reserved by the Sansthan Printed by N.D. Rege, at Mohan Printery, 425-A Mogul Lane, Mahim, Bombay 400 016 and Published by Shri Kashinath Sitaram Pathak, Court Receiver, Shri Sai Baba Sansthan, Shirdi, “Sai Niketan”, 804-B, Dr. Ambedkar Road, Dadar, Bombay 400 014. DEDICATION “Whosoever offers to me, with love or devotion, a leaf, a flower, a fruit or water, that offering of love of the pure and self-controlled man is willingly and readily accepted by me.” Lord Shri Krishna in Bhagavad Gita, IX - 26 To Shri Sai Baba The Antaryamin This work with myself Editor : Laura Keller New York, USA SHRI SAI SATCHARITA CONTENTS Preface by the author Preface to the second edition Preface by Shri N.A. -
Ravana Informed of Hanuman's Intrusion
“Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Sundara Kanda – Chapter 42 Ravana Informed of Hanuman’s Intrusion Summary Seeing the devastation caused to the pleasant grove by Hanuma the female-demons ask Seetha who that great monkey was and wherefore he has come and talked to her. Seetha replies that she knows nothing of him. Some of the female-demons go to Ravana and report to him that the pleasant grove attached to the gynaeceum has been destroyed by a mighty monkey and that the monkey went to Seetha and talked to her also earlier to the devastation. They also report that Seetha expressed her ignorance about him. Then, Ravana gets angry and sends some demons called Kinkaras to catch hold of Hanuma. Eighty thousand Kinkaras rush towards Hanuma to catch him. But Hanuma, with his might, kills all Kinkaras with an iron rod. Getting to know of the killings, Ravana again sends Jambumali, the son of Prahasta to catch hold of Hanuma. Chapter [Sarga] 42 in Detail tatah pakshi ninaadena vriksha bhanga svanena ca | babhuuvuh traasa sambhraantaah sarve lankaa nivaasinah || 5-42-1 At the screaming sound of birds and at the sound of the crash of falling trees, all the inhabitants of Lanka then became trembled with fear. vidrutaah ca bhaya trastaa vineduh mriga pakshunah | rakshasaam ca nimittaani kruuraani pratipedire || 5-42-2 Made to run to-and-fro and getting frightened, beasts and birds began to scream. Atrocious omens made their appearance before the demons. tato gataayaam nidraayaam raakshasyo vikrita aananaah | tat vanam dadrishuh bhagnam tam ca viiram mahaakapim || 5-42-3 Then, the ugly-faced female-demons, whose sleep has vanished, found that grove demolished and saw that great heroic monkey. -
Images of Loss in Tennessee Williams's the Glass Menagerie
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 11-13-2007 Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive Dipa Janardanan Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Janardanan, Dipa, "Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/english_diss/23 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Images of Loss in Tennessee Williams’s The Glass Menagerie , Arthur Miller’s Death of a Salesman , Marsha Norman’s ‘night , Mother , and Paula Vogel’s How I Learned to Drive by DIPA JANARDANAN Under the Direction of Matthew C. Roudané ABSTRACT This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams’s The Glass Menagerie (1945), Arthur Miller’s Death of a Salesman (1949), Marsha Norman’s ‘night, Mother (1983), and Paula Vogel’s How I Learned to Drive (1998). -
Uttarakandam
THE RAMAYANA. Translated into English Prose from the original Sanskrit of Valmiki. UTTARAKANDAM. M ra Oer ii > m EDITED AND PUBLISHED Vt MANMATHA NATH DUTT, MA. CALCUTTA. 1894. Digitized by VjOOQIC Sri Patmanabha Dasa Vynchi Bala Sir Rama Varma kulasekhara klritapatl manney sultan maha- RAJA Raja Ramraja Bahabur Shamshir Jung Knight Grand Commander of most Emi- nent order of the Star of India. 7gK afjaraja of ^xavancoxe. THIS WORK IS RESPECTFULLY INSCRIBED BY MANMATHA NATH DUTT. In testimony of his veneration for His Highness and in grateful acknowledgement of the distinction conferred upon him while in His Highness* capital, and the great pecuniary help rendered by his Highness in publishing this work. Digitized by VjOOQ IC T — ^ 3oVkAotC UTTARA KlAlND^M, SECTION I. \Jn the Rakshasas having been slain, all the ascetics, for the purpose of congratulating Raghava, came to Rama as he gained (back) his kingdom. Kau^ika, and Yavakrita, and Gargya, and Galava, and Kanva—son unto Madhatithi, . who dwelt in the east, (came thither) ; aikl the reverend Swastyastreya, and Namuchi,and Pramuchi, and Agastya, and the worshipful Atri, aud Sumukha, and Vimukha,—who dwelt in the south,—came in company with Agastya.* And Nrishadgu, and Kahashi, and Dhaumya, and that mighty sage —Kau^eya—who abode in the western "quarter, came there accompanied by their disciples. And Vasishtha and Ka^yapa and Atri and Vicwamitra with Gautama and Jamadagni and Bharadwaja and also the seven sages,t who . (or aye resided in the northern quarter, (came there). And on arriving at the residence of Raghava, those high-souled ones, resembling the fire in radiance, stopped at the gate, with the intention of communicating their arrival (to Rama) through the warder. -
AGASTYA AGASTYA SARAS AGASTYA KUTA. This Is AGASTYA
AGASTYA AGASTYA SARAS 22) Agastya cursing Dufpanya. Duspanya was the last (6) Agastya gave Sri Rama an arrow, which, when son of the King of Pataliputra. The wicked Duspanya shot at an asura (demon) would pierce his heart, pass had slain a large number of babies, and the King on to the other side, fly to the sea and bathe in the therefore expelled him from the palace. Duspanya sea-water and return to the quiver, it is said. (Uttara went into the forest, where he caught hold of the Ramayana). child of and killed it it Once visited the of Ugraravas by putting under ( 7) Agastya hermitage Apastamba. water. Ugraravas cursed him and accordingly he fell He asked Agastya, who, of Brahma, Visnu and Siva, into water and died and his spirit became a ghost was the Supreme deity. Agastya replied: "These three and wandered about tormented with pain and are only three different manifestations of the one anguish. At last the spirit approached Agastya, who supreme Being". (Brahmapurana). called his disciple Sutisna and asked him to go and (8) For the story of how Agastya cursed the sons of bathe in the Agni tirtha (a bath) in the Gandhama- Manibhadra and transformed them to seven palms, dana mountain and bring some water from the tirtha see the word 'Saptasala'. and sprinkle it on the spirit of Duspanya. Sutisna (9) There was a hermit called Sutisna, to whom Sri acted accordingly and immediately the spirit of Dus- Rama and Laksmana paid a visit when they were panya received divine figure and entered heaven. -
The Story of Rama and Sita Play Script
The Story of Rama and Sita Play Script Cast: Rama Sita King Rama’s stepmother The King’s Son Rama’s Wife An old, The king’s wife who and rightful heir tired man wants her own son to the throne to be the next king Lakshmana Ravana Hanuman Rama’s brother The demon-king The monkey king with ten heads Cast continued: Fawn Monkey Army Narrator 1 Monkey 1 Narrator 2 Monkey 2 Narrator 3 Monkey 3 Narrator 4 Monkey 4 Monkey 5 Prop Ideas: Character Masks Throne Cloak Gold Bracelets Walking Stick Bow and Arrow Diva Lamps (Health and Safety Note-candles should not be used) Audio Ideas: Bird Song Forest Animal Noises Lights up. The palace gardens. Rama and Sita enter the stage. They walk around, talking and laughing as the narrator speaks. Birds can be heard in the background. Once upon a time, there was a great warrior, Prince Rama, who had a beautiful Narrator 1: wife named Sita. Rama and Sita stop walking and stand in the middle of the stage. Sita: (looking up to the sky) What a beautiful day. Rama: (looking at Sita) Nothing compares to your beauty. Sita: (smiling) Come, let’s continue. Rama and Sita continue to walk around the stage, talking and laughing as the narrator continues. Rama was the eldest son of the king. He was a good man and popular with Narrator 1: the people of the land. He would become king one day, however his stepmother wanted her son to inherit the throne instead. Rama’s stepmother enters the stage. -
Sita Ram Baba
सीता राम बाबा Sītā Rāma Bābā סִיטָ ה רְ אַמָ ה בָבָ ה Bābā بَابَا He had a crippled leg and was on crutches. He tried to speak to us in broken English. His name was Sita Ram Baba. He sat there with his begging bowl in hand. Unlike most Sadhus, he had very high self- esteem. His eyes lit up when we bought him some ice-cream, he really enjoyed it. He stayed with us most of that evening. I videotaped the whole scene. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Locations 4961-4964). Trafford. Kindle Edition. … immortal Sita Ram Baba. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Location 5039). Trafford. Kindle Edition. Breaking the Death Habit: The Science of Everlasting Life by Leonard Orr (page 56) ראמה راما Ράμα ראמה راما Ράμα Rama has its origins in the Sanskrit language. It is used largely in Hebrew and Indian. It is derived literally from the word rama which is of the meaning 'pleasing'. http://www.babynamespedia.com/meaning/Rama/f Rama For other uses, see Rama (disambiguation). “Râm” redirects here. It is not to be confused with Ram (disambiguation). Rama (/ˈrɑːmə/;[1] Sanskrit: राम Rāma) is the seventh avatar of the Hindu god Vishnu,[2] and a king of Ayodhya in Hindu scriptures. Rama is also the protagonist of the Hindu epic Ramayana, which narrates his supremacy. Rama is one of the many popular figures and deities in Hinduism, specifically Vaishnavism and Vaishnava reli- gious scriptures in South and Southeast Asia.[3] Along with Krishna, Rama is considered to be one of the most important avatars of Vishnu.