Sanskrit lessons

Dear All, 

I request you all to follow the blog given below for the further posts. You can find Sanskrit lessons from alphabets in the following blog...

click here :  http://kalidasakendram.blogspot.com/

Your mails and queries to sanskrit.institute@gmail.com 

Dhanyavada:

Dr. V.C. Govindarajan
Madurantakam
station at Muscat
Dept of Sanskrit,
Indian School, Darsait,
Muscat,
Sultanate of Oman

Articles - Kavyas & poets

HISTORY OF SANSKRIT LILTERATURE

10. Kavyas & Poets

by Dr. V.C. Govindarajan

Aswagosha: He was contemporary of King Kanishka of 1^st AD.  He was a Brahmin by birth and converted to Buddhism.  He wrote two Mahakavyas 1) Buddhacharitam and 2) Saundaranandam.

          Buddhacharitam was translated into Chinese language.  It contains 28 cantos but only 13 are preserved properly.  This is the first Buddhist work in Sanskrit.  Kalidasa and Valmiki influenced him.  It describes the birth, early life, renunciation, fight with cupid and the teachings of Buddha.

          Saundaranandam is another work of Aswagosha contains 18 cantos dealing with the life of Nanda, Buddha’s half-brother. 

Pravarasena: His work is Sethu Bandam.  He was refered by Bana Bhatta in his work Harsha-charitam.  His date was 5^th AD.  The story is taken from Valmiki Ramayana.  This work also called Ravanavadham or Sethukavyam.  The great poet Dandin also praised him.

BuddhaGhosha: He lived somewhere about 400 AD is the author of Padya Chudamani in 10 cantos which describes the life of Lord Buddha. 

Kumaradasa: He is the author of Janaki Haranam in 20 cantos describing the story of  Valmiki Ramayanam.  He lived in 6^th AD.  He tried to imitate Kalidasa in his work.  Rajasekhara an author and critic of 10^th AD prasises this work.

Bhatti: He wrote Ravana-Vadhah in 22 cantos describing the story of Ramayana.  This work is also known as Bhatti-Kavyam.  He describes that this work was written in Valabhi, which was ruled by king Sridharasena. It was very popular on account of its simple style and its usefulness in teaching grammar and Poetics through poetry.  The 13^th canto of this work can be read in Sanskrit as well as in Prakrit languages.

Vakpathi-raja:  He wrote Gaudavaho in Prakrit language in the 8^th AD.  It celebrates the victory of king Yasovarman of Kanauj over a Gauda Prince.  This work is left incomplete. 

Ratnakara: He wrote Hara-vijayam in 50 cantos during 850 AD.  The poem describes slaying of Andhakasura by Siva.  Prof. A.B.Keith describes that the style is harsh and over-worked.

Sivaswami: He wrote Kappanabhyudaya in 20 cantos composed in later 9^th AD.  He was a Buddhist and was patronised by king Avantivarman of Kashmir.

Bilhana: He wrote Vikramanka Deva Charitam in 18 cantos during 11^th AD.  This work has some historical values.  He was a Kahshmirain.  He describes the life history of his patron King Vikramanka. In the last canto he gives his family details.  He is also the author of a beautiful lyric poem called Chaurapanchaasika and a drama called Karna Sundari.

Kshemendra: A Kashmirian poet of the early 11^th AD had condensed the three great epics the Ramayana, Mahabharatha and Brihatkatha into three poetical works 1) Ramayana Manjari 2) Bharatha Manjari 3) Brhath Katha Manjari.  He was a pupil of Abhinava Gupta of 1100 AD. He was also composed many small works on various topics.

Kalhana: He wrote Rajatarangini is the greates historical Kavya in Sanskrit.  He was native of Kashmir flourished in the 12^th AD.  He gave a complete account of Kashmirian kings from the very early period.  This is a very important work for those who do researches on kings of Kashmir.

Mankha: He wrote Srikanta Charitam in 25 cantos describes the destruction of Tripura by Lord Siva.  The date of Mankha is somewhere in the middle of the 12^th AD. He was the disciple of Ruyyaka, the author of Alankara Sarvaswa.  He was also a Kashmirian

Kaviraja: Author of Raghava Pandaviyam.  This is an interesting work, which narrates the stories of Rama and the Pandavas simultaneously.  This purpose is achieved by the use of words having two meanings and splitting the compounds in two different ways.  It is said the artificiality in Sanskrit Epic style reached its climax in this work.

Venkatanatha or Vedanta Desika: He was a great Vaishnavite saint of the later part of the 13^th AD.  He is the author of about 120 works on various subjects.  His Yadhavaabhyudaya is a beautiful epic poem in 24 cantos describing the story of Lord Krishna.  His works is modelled after Kalidasa’s Raghuvamsa.  Appayya Dikshita has written a commentary on this poem.  Venkatanatha has also written a beautiful lyric entitled Hamsa Sandesa on the model of Kalidasa’s Meghadutam and many devotional poem among which Paduka Sahasram deserves special mention.

Gangadevi: She was wife of Vijayanagara king Kampana in 14^th AD.  She wrote Madhuravijayam in which it is described her husband’s expedition to the Madurai in the south India. This work gives reliable account of Vijayanagara history.

Sukumara Kavi: He composed a beautiful Kavya SriKrishna Vilasam in 12 cantos in a simple and delightful style.  It describes the story of lord Krishna following the 10^th Skanda of Srimad Bhagavatam.  This is very popular in Kerala. 

Vasudeva Kavi: He wrote Yudhishtira Vijayam and it is a reputed Yamaka Kavyam (Yamaka is a repetition in the same stanza in any part of it of words or syllables similar in sound, but different in meaning, a kind of rhyme.) He belongs to 15^th AD.

Nilakanta Dikshita: He belongs to 17^th AD., is the author of two Mahakavayas – Sivalilarnavam and Gangavatharanam.  The first work consists of 22 cantos describing the incarnation of Lord Siva and the second work consists only 8 cantos.  He was related to Appayya Dikshita and also his disciple.  He also composed Nilakanta Vijaya Champu.

-         (12-12-03)

          

Articles - 5 epic Kavyas

Kavyas:

The Five Great Epic Kavyas

by Dr. V.C. Govindarajan

            

There are five great Epic poems in Sanskrit.  They are

1)      Raghuvamsa of Kalidasa 

2)      Kumarasambhava of Kalidasa

3)      Kiratarjuniya of Bharavi 

4)      Sisupalavada of Sri Maagha and

5)      Naishadham of SriHarsha (not the King Harsh).

Raghuvamsa: This is work of Kalidasa.  It describes the lives of the kings of the solar dynasty beginning with Dilip.  It consists of 19 cantos.  The Rama’s story also described in this.  But the list of ancestors was not followed as mentioned in Valmiki Ramayana.   The life history of King Dilip, Raghu, Ajay, Dasaratha, Rama and his three descendants are described in detail.  He gives the list of kings of solar dynasty till Agnivarna, who died without a child.  Later one of his wife, who was pregnant was made as the queen.  The work stopped here.  The description of greatness of Solar dynasty, Dilip’s journey to Vasista’s ashram, Nandi, Raghu Digvijaya, Indumathi swayamvara are very interesting for the readers. 

Kumarasambhava: Kalidasa also composed this.  This work consists of 17 cantos.  It deals with the birth of the war God Kumara or Subhahmanya and killing the enemy Taraka.  There was a controversy in this work.  Some say that Kalidasa composed upto 7 cantos only and some accept 8^th also.  But some more strongly argue that Kalidasa himself composed the full work.  Every canto is unique in this work.  Readers can enjoy this work.  The descriptions of Parvathi, her panance, Siva’s Penance, Manmatha’s death, Siva Stuthi by the the 7 sages, conversation of Siva Parvathi, Their marriage are very interesting.

my word: Since I have done research on this work in the view of names of Siva used,  This work was composed by Kalidasa upto 8 cantos only.  (Those who want can get a copy of this from me).

Kiratharjuniyam: Bharavi composed this in 18 cantos.  It describes the story of Arjuna cquiring the Pasupatha Asthra from Siva.  At the end of the penance Siva in the disguise of a hunter (Kiratha) tested the strength ad ability of Arjuna in an encounter.  This is narrated in Vanaparva of Mahabharata.  Bharavi is transformed it in a beautiful Kavya.  The style of Bharavai is said ‘Bharaveh Arthagauravam’.   His date was somewhere in the 6^th AD. The 15^th canto contains a number of stanzas illustrating all kinds of puns and alliterations. The descriptions of forest and mountains create brilliant images before our eyes.

Only one sloka from Kiratha-Arjuniyam is enough to describe the great of Bharavi says that “if someone does the work in hurry becomes fool and the wealth which follow good characters reach a person one who acts wise.”

            There are two interesting incident available in the life history of  Bharavi. 

            When he was a student he stood first in education and he was very wise.  He was very famous among scholars.  Everybody praised him.  But his father was away from praising him.  Bharavi was upset and decided to kill his father.  Oneday he was sitting with a big rock on the wooden beam, under which his father used to take food.   While serving food mother asked her husband about his view over their son.  Then father replied that he was very much happy about the performance of their son and proud of him.  Due to the interest of their son’s progress he was not praising.   Listening that Bharavi climbed down and said his mistake and requested for apology.

            The second incident was that when he was searching for job, he was roaming here and there.  One day he was sitting near a pool, plucked some lotus leaves and wrote some of his compositions over those leaves.  Then he left them there and went away.  Afterwards a king came there for water on the way of his hunting.  He was upset seeing the lotus leaves and became happy to read slokas over them.  One among them was the sloka, which meaning is given above.  He was very much impressed with the gist, carved it in a golden plate and placed it in his bedroom.  He ordered his soldiers to find the Poet.  At last they found Bharavi and he was made as the head of poet of the Royal Court.  Once the king, as usual, went for hunting and did not come back for many years since he lost his way in the forest.  After few years he returned in the mid night to the palace and wanted to meet his wife in the same condition.  That time the queen was sleeping and beside there was a man sleeping.  He was upset and became angry.  So he decided to kill her.  He raised his sward and made a blow.  But the sward hit somewhere and it made a huge noise.  Everyone got up and also the queen.  The queen was very much happy to see her husband back and told the person next to her “my dear son! look at your father, he had returned from hunting”.  Now the king realised his great mistake and noticed that the blow of sward hit the golden plate.

Sisupalavadham: Magha composed this in 8^th AD. A simple incident from Mahabharath where Krishna kills Sisupala, the king of Chedi during the Yudhishtira’s Rajasuya Yajna.  It is said Magha is also a remarkable poet. There is a proverb which says that the life of a person will end by reading Magha’s work (Sisupalavadham) and Kalidasa’s Meghadoot.    Magha excels Bharavi in the artificiality of his style.  He imitates Bharavi I many respects.  Bharavi used the word Lakshmih in the last verse of each canto whereas Magha used Srih.  Magha is admired for his delightful style, profound thoughts and beautiful similies.  His vocabulary is very vast and his knowledge of grammar is deep.  Also it is said “if one studies the 9^th canto of this work and there will be no new word for him to study.”

Naishadiya Charitam: Sriharsha (not king Harshvardhana) composed this in 12^th AD.  He was the son of Hira and Maamalla devi.  He was patronised by the kings Vijayachandra and Jayachandra of Kanauj.  We come to know that he had composed many works.  He composed this work in 60 cantos but only 22 cantos are available now and the work is incomplete.  The theme of this work was taken from Nalopakyanam (story of Nala & Damayanti) of Mahabharatha.   The style of Harsha is called “Narikela Pakam” like the coconut.  The praise of the book is that “this work is the medicine for Scholars”.   He also describes that his work is not for fools to play with.  He had written other works called Khandana Khanda Khadya, Vijaya Prasasti and Gowdorvisa Prasasthi.

                        The Five great epic Kavyas are finished. (6-12-03)

Next other Kavyas.  

Articles - Kavyas & Kalidasa

HISTORY OF SANSKRIT LITERATURE

8.  Kavyas & Kalidasa

by Dr. V.C. Govindarajan

Introduction: Kavyas are the third stage of development in the history of Sanskrit literature.  Kavyas are divided into three.  1) Kavyas (poetry), 2) Natakas (dramas) 3) Champu kavyas (like dance drama).  Kavyas are further divided into two.  1) Padya Kavyas (poem) 2) Gadya Kavyas (prose texts).   There varieties of works in Poetry section like 1) a. Kalidasa   b.5 great Kavyas (poetry) c. other poetries 2) Historical kavyas 3) Lyrics  4) Devotional lyrics  5) Subhashitas 6) Anthology 7) Prose Romance 8) Champu Kavyas and 9) Tales.

Valmiki Ramayanam is considered as the first poetry work in Sanskrit.  So it is called “ADI KAVYAM”. Next Poet known was Vyasa and his work Mahabharatham. Next to that there were many early works but they are now lost. The known famous author is Kalidasa.  The gap between Veda Vyasa and Kalidasa was very big.  When we go through many other works we come to know that the great grammarian Panini had written a work called Patala Vijayam or Jaambavati vijayam.  This was mentioned by Patanjali (not yogic), his successor in grammar. Other than that Vararuchi, Saumilla, Kaviputra and other poets were there. 

Aswagosha:- Next to all these we come to know about Aswagosha, who was a Buddhist lived in 1^st BC or AD.  He was contemporary of king Kanishka of 57 AD.  He wrote two works called Buddha charitam and Saundaranandam.

Kalidasa.

Kalidasa: He is the author 3 dramas, 2 maha kavyas and 2 lyrics.  His whereabouts were not known.  But when we go through his works we can come to know that he lived in Ujjain.  We come to know through Aihole inscriptions that he was the court poet of King Vikramaditya of Ujjain and one among 9 great poets.  Others were

1) Dhanvanthari (physician)                            2) Kshapanaka (Buddhist)

3) Amarasimha (author sanskrit lexicon)        4) Sanku (not known) 

5) Vethalabhatta (poet)                                   6) Ghatakarpara (poet) 

7) Varaha mihira (great astronomist)              8) Vararuchi (grammarian).

His date: There was a lot of controversy in fixing the date of Kalidasa. Scholars fix Three dates with their arguments 1) Sir William Jones placed Kalidasa in the 1^st BC.  2) Prof. A.B.Keith and Vincent Smith assigned him to the 4^th AD.  3) Prof. Max Muller placed him in 6^th AD.  People take his stay with King Vikramaditya as strong evidence. 

Note:  We would have noticed about Vikrama saka (era) in the Panchangam.  Now 2060^th year is on.  If we accept this then we can fix the date of Kalidasa in the 1^st BC.

His Birth place: His birth place and whereabouts are not found.  But there was a story told about him that he was a shepherd and ignorant.  He was married to a princess called Vidyavathi by the trick of other scholars defeated by her.  Then after the marriage with the blessings of Goddess Kali he became a great scholar, but he did not live with her.  When she met her husband she asked him “asthi kaschit vaak-viseshah”.  That time he was uneducated so could not answer her.  When he became Kalidasa he composed three works for those three words. Asthi – the beginning word of Kumarasambhava, Kaschit – is the beginning word of Megadut and Vaak is the beginning word of Raghuvamsa.  In Meghaduta he has explained the city Ujjain in detail.  So the researchers fixed that he lived in Ujjain. 

Greatness of Kalidasa:  Kalidasa was considered as the head of all poets “Kavi Kula Guruh”.  He was great in simile (Upamalankara).   They accepted him as ‘Ideal Poet’.  It is said there were three Kalidasas in three different times.  One among them lived with King Bhoja Raja of Ujjain and he was mentioned in Bhoja Prabanda. Many poets followed his style.  Swami Venkatanatha @ Vedanta Desika had composed some works, which were equally praisable with some of Kalidasa’s work.  He was the only poet who was praised by many Sanskrit poets and quotated in as many as 40 slokas.   

His works: Kalidasa’s works are: 3 dramas 1) Malavika-agnimitram  2) Vikram-Urvasiyam  3) the great Abhijnana Sakuntalam.  2 poetry  1) Raghuvamsa  2) Kumarasambhava. and 2 lyrics  1) Meghadutam  2) Ruthu Samharam. 

            According to Indian theories, of all the arts, drama is the best, out of the drama, Sakuntala is the best, out of the drama of Sakuntala, the fourth Act is the best and out of that Act, the verses in which Kanva bids farewell to his adopted daughter is the best.  In Sakuntala, Kalidasa’s genius attains its highest position “Kalidasasya Sarvaswam Abhijnana Sakuntalam”.  The Raghuvamsa is the work of his maturity.  Malavikagnimitram was his first work.  He poems are famous for its grace, simplicity, sentiments and figures of speech.  His similies are beautiful, appropriate and of different varieties.  He has no equal in characterisation.  He is superb in describing the emotions of love and pathos.  His language was very beautiful. 

The poets who praised Kalidasa:  SriKrishna praising his figure of speech.  Rajasekara praising that he was the best poet.  Unknown author compare Kalidasa as a great mountain and others are atom in front of him.  Vallabhadeva, a great commentator says that his each every word is beyond commentaries.  Mallinatha, a great commentator says his words are full of knowledge and Goddress Saraswathi’s speech.  Soddala is praising his fame and words.  Banabhatta says his words are bunch of love and sweetness. Like this Purna saraswathi, Rajasekhara(again), Mallinatha (again), Halayudha (author of lexicon), Venkatadwarin, Hemachandra, Jayadeva, Dandin, Govardhanacharaya and other many unknown authors praised in his style, figure of speech and descriptions.

My word: I went through all the works of Kalidasa and found that the way he had used the names of Siva is unique.  There are 70 names of Siva used in different situations and conditions in his works.  He used the names in appropriate places to show the wait of the plot.  For example in Kumarasambhava, when Manmatha looks at Lord siva, the author used the name “TRYAMABAKA” to denote Siva, means one who has three eyes (this word has lots of meaning).  It shows that the future incident.   Like this all the names can be commented.  (4-12-03)

                                    Next: The Great Five Epic Kavyas. 

� E a e ��L �O   In the fourth section of this Puranam it is beautifully described about Krishna and Radha.  Krishna is the Supremem God and Radha is Maya (illusionary power of God), who is inseparable from him but always controlled by Him.  Goloka (world of cows) is their abode which is far beyond Vaikunta (Mokshalokam) and the great devotees who have attained sameness of form with Lord Krishna stay here.  This is the source of Jayadeva’s Gita-Govindam. 

9)      Brahmaanda Puranam: The popular Adhyatma Ramayanam is part of it.  This is in the form dialogue between Siva and Parvathi.

10)  Markandeya Puranam: Elaborate descriptions of creation and deluge, stories of Vedic Gods like The Sun, Fire God etc., are available in this.  This is close to Vedic Philosophy.  The Devi Mahatmyam or Durga Saptasati is a part of it.

11)  Bhavishya Puranam: Talking about future particularly Kaliyuga.  Duties of four castes and methods to worship the Sun, Agni and Nagas.

12)  Vamana Puranam: Starting with the description of Vamana Avatar and proceeds to the worship of Sivalinga and pilgrimage to Siva temples.

13)  Siva Puranam: This forms part of Vayu Puranam and hence many lists include Vayupuranam in the place of this Puranam.  Banabhatta refers this (Vayu) purnam as it was recited everyday in his village.  The Gupta kings are mentioned in this.  This glorifies the worship of Lord Shiva and is narrated by Vayu, the wind God.

14)  Linga Puranam: Describes the 28 incarnations of Lord Siva.

15)  Skanda Puranam: This is a big puranam consisting of 81,000 slokas.  Birth Skanda the war God is described in this.  Based on this Kalidasa composed Kumarasambhava.

16)  Agni Puranam: Agni, the fire God to sage Vasishta, narrated this.  It is describing Siva and Durga cult.  This Purana contains many modern topics.  It is almost an encyclopaedia in its contents dealing with subjects like Ayurveda (Indian Medicine), Silpa Sastra (Architecture), Jyothish (Astrology and Astronomy), Poetics etc.

17)  Matsya Puranam: Lord Vishnu narrated this in the form Fish to Manu, the first King after the deluge (pralaya).  Holy places, festivals, omens and rites to be observed by Saivaites and Vaishnavaites are described.  References of South India and South Indian Architecture are available.

18)  Kurma Puranam: This is the last in series narrated by Vishnu in his incarnation as a tortoise about Siva worship and his incarnations. 

19)  Devi Bhavatam: Some Scholars include Devi Bhagavatam among the Puranas and treat Srimad Bhagavatam as 19^th one.  The reason given as follow – Vyasa had no peace of mind even after composing the 18 Puranas and the great Epic Mahabharatham.  So he asked by Narada to write a work dealing with the incarnations of Lord Vishnu and extoiling Vishnu Bhakti (Devotion on Lord Vishnu).  This way Vyasa composed Srimad Bhagavatam.

Conclusion:  On the whole Puranas are the backbone of our Culture, tradition, Custom, Philosophies, without which we cannot establish our ideology.   The language used in these Puranams is very simple and easy understanding.  (Sunday, 30 November 2003).

            Next:  The great Five Maha Kavyas and other Kavyas.

Articles - Puranas

The Puranas

by Dr. V.C. Govindarajan

Introduction: Puranas are 18 in number.  The great Sage Veda Vyasa composed them.  The word Purana means “ancient tales”.  There are references to Epics and Puranas in the vedic texts and also in the Sutra texts of Aapasthamba, Gauthama and others.  Even Mahabharatha refers to the old Purana works.  These reference show that there were Puranas even in the vedic period describing ancient legends and stories such as the lives of kings, sage and heroes.  Many of the previous puranas are extinct now and which are available now are composed by Veda Vyasa.

Principles of Puranas:  According to the tradition the purpose of Purana is the expansion of the teachings of the Vedas.  The following five are important in the content of Puranas. 1) The creation of the Universe 2) its destruction and fresh creation 3) the genealogies of gods, sages and kings 4) ages of different Manus 5) the history of the dynasties that organised from the Sun and the Moon.

18 Puranas:  There are 18 puranas and 18 upa-puranas.  The 18 puranas are :

            Ma  2 :  Matsya and Maarkandeya

            Bha 2:  Bhavishya and Bhagavat

            Bra  3:  Brahma, Brahmaanda and Brahma-Vaivartha

            Va   4:   Vishnu, Varaaha, Vaamana & Vayu (?)

            A-Naa-Pa-Lin-Ga-Ku-S (7): Agni, Naarada, Padma, Linga, Garuda, Kurma and Skanda.

            (?) Some include Siva Purnam instead of Vayu.

Date of Puranas:  It is not possible to find the date of Puranas. In Puranas Lord Vishnu, Siva and Goddess Durga were given importance in worship.  Some of these Puranas refer Gupta and Maurya kings.  So researchers say that these Puranas must have composed between 3^rd BC to 5^th AD.

Greatness of Puranas: The above Purnas are divided into Satvika, Rajasika and Tamasika.

Vishnu, Narada, Padma, Garuda, Varaha and Bhagavata are Satvika Puranas. Brahma, Brahmavaivartha, Brahmaanda, Markandeya, Bhavishya and Vaamana are Rajasika Puranas   and

Siva, Linga, Skanda, Agni, Matsya and Kurma are Tamasika Puranas.

            Satvika Puranas glorify Lord Vishnu, Rajasika glorify Lord Brahma and Tamsika glorify Lord Siva. 

            The greatness of charity, compassion, sacrifice and other virtuous deeds, literature, music, dance, architecture etc. are described in these puranas.  These Puranams are very much informative to the students of Indian culture, philosophy, ethics and religion. A currect understanding of the everyday life in ancient India can be had by a study of the Puranas.

1)      Vishnu Purana:  This is the oldest and was narrated by Parasara, father of Veda Vyasa to his disciple Maitreya.  This was very popular and Sri Sankaracharaya and Ramanujacharya took quotes from this.  Maurya dynasty was mentioned in this work.

2)      Narada Puranam: The great 4 sages Sanaka, Sanandana, Sanathana and Sanath sujatha explained the doctrines of Vishnu Bhakti to Narada through simple stories.  It also contains descriptions of feasts and ceremonies observed by the devotees of Vishnu.

3)      Padma Puranam: This is a huge Puranam.  It describes the creation, geneology of kings, many sacred places of pilgrimage etc.  In this too many ceremonies to be observed by the devotees are described.  It also contains the stories of Ramayana, Story of Sakuntala, Ekadasi Mahatmyam etc.

4)      Garuda Puranam: Lord Vishnu himself to his vehicle Garuda narrated this.  Methods to worship, feasts and ceremonies are described.  It is also described about the soul after death, funeral rites etc.

5)      Varaha Puranam: This was narrated by Lord Vishnu in the form of Varaha (boar) to the Mother earth (Bhumadevi).   It is describing the daily life of a devotee of Lord Vishnu.

6)      Bhavata Puranam: The most popular Puranam.  It has been translated almost in all the major Indian languages.  There are twelve books in it and the 10^th book describes the birth of Lord Sri Krishna. 24 incarnations of Lord Vishnu is described and large number of devotional poems with high philosophical content.

7)      Brahma Puranam: This is known as the first Puranam.  This was narrated by the creator Brahma to Daksha Prajapathi.  It contains greatness of holy places.

8)      Brahma-vaivartha Puranam: It is described that the whole universe is the illusory trasformation of Supreme Being.  In the fourth section of this Puranam it is beautifully described about Krishna and Radha.  Krishna is the Supremem God and Radha is Maya (illusionary power of God), who is inseparable from him but always controlled by Him.  Goloka (world of cows) is their abode which is far beyond Vaikunta (Mokshalokam) and the great devotees who have attained sameness of form with Lord Krishna stay here.  This is the source of Jayadeva’s Gita-Govindam. 

9)      Brahmaanda Puranam: The popular Adhyatma Ramayanam is part of it.  This is in the form dialogue between Siva and Parvathi.

10)  Markandeya Puranam: Elaborate descriptions of creation and deluge, stories of Vedic Gods like The Sun, Fire God etc., are available in this.  This is close to Vedic Philosophy.  The Devi Mahatmyam or Durga Saptasati is a part of it.

11)  Bhavishya Puranam: Talking about future particularly Kaliyuga.  Duties of four castes and methods to worship the Sun, Agni and Nagas.

12)  Vamana Puranam: Starting with the description of Vamana Avatar and proceeds to the worship of Sivalinga and pilgrimage to Siva temples.

13)  Siva Puranam: This forms part of Vayu Puranam and hence many lists include Vayupuranam in the place of this Puranam.  Banabhatta refers this (Vayu) purnam as it was recited everyday in his village.  The Gupta kings are mentioned in this.  This glorifies the worship of Lord Shiva and is narrated by Vayu, the wind God.

14)  Linga Puranam: Describes the 28 incarnations of Lord Siva.

15)  Skanda Puranam: This is a big puranam consisting of 81,000 slokas.  Birth Skanda the war God is described in this.  Based on this Kalidasa composed Kumarasambhava.

16)  Agni Puranam: Agni, the fire God to sage Vasishta, narrated this.  It is describing Siva and Durga cult.  This Purana contains many modern topics.  It is almost an encyclopaedia in its contents dealing with subjects like Ayurveda (Indian Medicine), Silpa Sastra (Architecture), Jyothish (Astrology and Astronomy), Poetics etc.

17)  Matsya Puranam: Lord Vishnu narrated this in the form Fish to Manu, the first King after the deluge (pralaya).  Holy places, festivals, omens and rites to be observed by Saivaites and Vaishnavaites are described.  References of South India and South Indian Architecture are available.

18)  Kurma Puranam: This is the last in series narrated by Vishnu in his incarnation as a tortoise about Siva worship and his incarnations. 

19)  Devi Bhavatam: Some Scholars include Devi Bhagavatam among the Puranas and treat Srimad Bhagavatam as 19^th one.  The reason given as follow – Vyasa had no peace of mind even after composing the 18 Puranas and the great Epic Mahabharatham.  So he asked by Narada to write a work dealing with the incarnations of Lord Vishnu and extoiling Vishnu Bhakti (Devotion on Lord Vishnu).  This way Vyasa composed Srimad Bhagavatam.

Conclusion:  On the whole Puranas are the backbone of our Culture, tradition, Custom, Philosophies, without which we cannot establish our ideology.   The language used in these Puranams is very simple and easy understanding.  (Sunday, 30 November 2003).

             Next:  The great Five Maha Kavyas and other Kavyas.

Articles - Mahabharath

The Epics – b. Mahabharatha

by Dr. V.C. Govindarajan

Introduction: Maha means very large or extensive Bharatha means stories of King Bharatha’s (son of Sakunthala and Dushyanta) descendant.  Mahabharatha mainly deals with the history of Pandavas and Kauravas.  Though both were Kauravas, means descendant of King Kuru, the founder of Kurukshetra, only Duryodhana and his brothers were identified as Kauravas.

Authors of Mahabharatha and Deveopment of Mahabharatha:

There used to be only one author for any work in general. In the matter of Mahabhartha there were three authors.  1) The great saint Ved Vyasa.  2) His disciple Vaisampayana  3) The story teller called Ugrasravas. (Sutha pauranika).

1)            It is said that the author of this great sage Veda Vyasa composed in 8,800 verses in the name of JAYAM.  (refer the managala slokam)

2)            This was taught to his disciple Vaisampayana and he narrated to the great grand son of Arjun (Arjuna, Abhimanyu, Parikshit and Janamejaya) Janamejaya during the Sarpa Yajna, the serpant yajna.  That it was developed into 24,000 slokas. In this the story of ancestors of Pandavas and Kauravas were narrated.  So it was called BHARATAM.  

3)            Then this was narrated to the sages in the forest for penance called Naimisaranyam by the storyteller called Ugrasravas.          This time many stories were narrated and it was developed into 1 lakh slokas.  So it was called MAHABHARATHAM.

We get these information through Adi Parva (first section) of Mahabharatha and the slokas nos.81, 102 & 101.

Date of great brothers:

            Pandavas and Kauravas were cousins.  The date of these brothers and Sri Krishna’s dates are one and the same.  One thing is sure that Bharatham was composed after Ramayana only. Researchers say the date of Mahabharatham 800 B.C.  Prof. MacDonnell says that the union of these two brothers was mentioned in the Yajurveda.  The name of Drtharashtra is mentioned (pl. refer) in Kataka, one of the branches of Krishna Yajurveda.  So the date will be before 10^th BC.  We get reference in Aswalayana Grhya Sutram, which is composed in 5^th BC. refers Bhartham.

            If you refer our panchangams it would be mentioned that Kaliyuga 5104.  It is said that Kaliyuga started on the next day of Lord Krishna’s Moksham.  Our Great Arya Bhatta said this calculation on the date of Kaliyuga and that we follow.

Sections of Mahabharatha:  There are 18 sections (parvas) in this work and Harivamsam as supplementary.  Among them Adiparva the first describes the detail of great brothers’ ancestors. The parvas are 18: 1)  Adi  2) Sabha 3) Vana 4) Virata 5) Udyoga 6) Bhishma 7) Drona 8) Karna 9) Salya 10) Sauptika 11) Stri (ladies) 12) Santhi 13) Anusasana 14) Aswamedha 15) Aasrama-vaasika 16) Mausala 17) Mahaprasthana 18) Swargarohana  annexure: Harivamasam – Story of Krishna.

           

Greatness of Mahabharatha:  This topic is endless.  This work is great because of the author, content, descriptions and a biiiiiiiiiiiiig story.

1)      The Author:  Sage Vyasa himself was very great.  His son Sukar was known only Parabhrahmam.  His father Parasara also was sage author of Sri Vishnu Puranam.  His grand father was Sakthi, was son great Sage Vasishta. 

Ref: Vyaasam Vasishta Naptaram Sakteh Pautram Aklmasham.

        Paraasaraatmajam Vande Sukataatam Taponidhim..

Himself Veda Vyasa also author of 18 great Puranas (next article).  So no more to tell about the author.

2)      Contant: We get a sloka in Mahabharata itself that reads like this: “What said about Dharma, Artha, Kama and Moksha in this work in detail are not available in other works.  What is not said in other works is also said in this book.”  So we can consider Mahabharatha as a great lexicon of Indian Culture, Custom, Wisdom and Thoughts. In the Garden of Mahabhara there are so many verities of beautiful plants. Like 1) Nalopakyanam 2) Story of Sakuntala 3) Story of Nalayini 4) Yaksha Prasnam 5) Vidhura Niti  6) The great Bhagavad Gita 7) The holy Sri Vishnu Sahasranamam 8) Sri Siva Sahasranamam  9) Gangavatharanam 10) Story of Nahusha 11) Amrta Mathanam etc.

3)      Discriptions: The descriptions in Mahabharatha are very stylistic.  The way it was described the Sarpa Yajna, Garuda’s invasion over the Heaven for Devamrutham, the battles etc. are very very interesting.  Just read the following description on Agni astra – “Taking careful aim against his foes, the preceptor’s son let loose the blasting missile of smokeless fire with tremendous force.  Dense arrows of flame, like a great shower, issued forth upon creation, encompassing the enemy.  Meteors flashed down from the sky……...  All points of compass were lost in darkness.  Fierce winds began to blow.  Clouds roared upward.  Showering dust and grave.  Birds croaked madly and beasts shuddered from the destruction.  The very elements seemed disturbed.  The sun seemed to waver in the heavens.  The earth shook, scorched by the terrible violent heat of the weapon……..  Over a vast area, animals crumpled to the ground and died.  The waters boiled and the creatures residing therein also died………..  It was the unknown weapon, the iron thunderbolt, a gigantic messenger of death……..”

The Heritage of India: Mahabharatha no boubt is Heritage of like Ramayana. In this we can get lots of information in all four kinds of Purushartha (to be achieved by every man). Also it is said about the content “it is also described about Politics (Artha sastra), Erotics (Kamasastra), Virtues (Dharmasastra) etc. by the great sage Vyasa.”  There are lots of collections of stories about the ancestors of Pandavas and many kings like Yayathi, conflict of Devas and Asuras, Story of Garuda, etc. (ref. above 1-11 titles) are described in detail.  We cannot get these information in detail in other books.  So we consider Mahabharatham is the Heritage of India.

Influence in the Sanskrit literature: As Ramayana was the source of many literal works, Mahabharata too was the source for the development of Sanskrit Literature.  Many dramas, Kavyas and Champu Kavyas (like dance drama) were written based on the episodes of Mahabharatam. The source of two great Maha Kavyas Kiratarjuniya and Sisupalavadam were from Mahabhratham.  First one describes the Arjuna’s penance for Pasupatha, battle with lord Siva the second one describes mainly the Rajasuya Yajna conducted by Yudhishtira and the Sisupala’s death.  Further, there are so many dramas, poems, champukayas were composed. (we will see them later)

The great war : Mr. J.Rao thinks that the war took place in 3139 BC as according to a tradition Krishna passed away at the commencement of the Kaliyuga after the lapse of 36 years from the war. Mr.R.M.Tripati says the date war was 3102 BC.  According to Arya Bhatta the Mahabharata war was fought during the year 3137 BC.  It was called as Battle for Dharma.  Two families fought for the kingship and the supportive Kings took part in the Great War.  It was said that 18 akshowhini of soldiers took part in it.  One akshouhini consists of 21,870 chariots, as many elephants, 65,610 horses and 1,09,350 foot.  The leaders of countries like Pragjyotisha (Assam), Avanti and Dakshinaapatha, the Cinas, Kiratas (hunters), Kambojas, Yavanas, Sakas, Matras, Kaikeyas, Sindhus, Sauviras etc. and Pandava’s allies were Kings of Panchala, Kosala, Kasi, Magadha, Chedi, Matsya and Yadus.  The list continues.  This was the first war, which was fought only during the daytime between dawn and dusk with certain sets of rules and regulations.  The great warrior and Pithamaha Bhishma laid these rules. They could move around in the enemies’ camp also without fear during the nighttime.  Due to these reasons also it was told as Dharma Yuddha.  One more thing to be noted that at the end the war very few warriors were alive.

The commentaries of Mahabharatha: There was good commentary for the whole of Mahabharatha written by Nilakanta, a Brahman from Maharashtra of about 16^th AD.   There also few others commented to certain portions.  (30-11-03)

            Next: 18 Puranas of Sage Vyasa.

Articles - Ramayanam

                                   The great Epics of India – Ramayana and Mahabharatha

                                                                  Ramayanam

            Note: Since I feel that this topic is very important, it may take two issues to complete this.

Introduction: The Ramayana and Mahabharatha are the two epics and they are the history of two great and ideal families.  According to mythology Rama lived in Treta Yuga and Krishna and Pandavas lived at the end of Dvaparayuga.  It is told that the Kaliyuga started on the next day of SriKrishna’s fall.  There are lots of evidences we can show that these legends lived, ruled and guided India and Indian citizen.

Foreign Scholars: Prof. Jacobi and Macdonell said that the Ramayana’s story originated from the story mentioned in the Rig Veda.  The story of Indra’s battle with Vritra was mentioned in the Vedas and this idea was taken while composing Ramayana.

But we don’t believe in it. When two people think the same idea and it doesn’t mean that the second one has followed the idea of the first one.  Moreover, we consider this as History.  No doubt, no argument and no second thought in it. Dr.R.C.Majumdar raised the issue of Aryan’s invasion over non-Aryans. The same thing is echoed by the Tamilians. There are strong evidences available in the Ramayana itself that Ravana was not a Dravidian and Brahmanic Practices influenced him.  Reference sundara kandam.

The Epics: The path of Rama is called Ramayana.  Among these two Epics Ramayana was the earlier.  Ramayana was composed with Anushtub metre whereas in Mahabharatha Upajaathi, Vamsastha metres are used.  Further, in Mahabharatha contains words such as ----- UVACHA etc., while introducing speeches, which may be survivals of prose narratives connecting old epic songs.  Such words are totally absent in Ramayana.  Ramayana was work of a single poet with a single connected story and a uniform style while the Mahabharatha is a collection of many works with the base of Pandava and Kaurava stories. 

The First poem (Adi Kavyam):  It is said that the Ramayana was first poem (Kavyam) in Sanskrit Literature.  Though there were many texts are available before the Ramayana period right from Vedas, Ramayana is considered as Adi Kavyam.  Because this was first work which is other than teachings and instructions.  The works composed before Ramayana were either teachings or instructions by the teachers or prayers.

The Origin of Ramayana: Story of Ramayana is very famous among Hindus. But in short this was advised by the Creator Brahma and instructed by Sage Narada to Valmiki, who was a hunter named Ratnakara and turned as a Sage by his severe penance, the result of Rama Nama Mahima (greatness of the name Rama). The first Sarga (Chapter) of Ramayana is the conversation between Sage Valmiki, the author of Ramayana and Sage Narada.  Narada instructed the story of Rama in short and Sage Valmiki composed the same in a book form. This first Sarga is well known as Samkshepa Ramayanam (Ramayana in brief). We can understand that this work was composed at the period of Rama, because the verses of Ramayana were taught to his twin sons Lava and Kusa and they both sang Ramayana on the streets of Ayodhya and also in front of Rama during the performance of Ashwamedha Yajna.  So that this is considered as one of the Epic.  Though Sage Vyasa, author of Mahabharatha composed Srimad Bhagavatam, which describes the story of Krishna is not considered as the Epic.  Sri Krishna is the main source of Mahabharatha.  This way we maintain the tradition.

Date of Ramayana:  According to the traditional Hindus Ramayana was composed during Treta Yuga.  The researchers do not agree with this.  They put forth their arguments with their opinion and at last we understand that the Ramayana was composed during 1000 BC.  In Ramayana very less number of names of rulers and kingdoms were mentioned, whereas, in Mahabharatha vast names of kingdoms and kings and their issues were mentioned.  In Ramayana no ruler or kingdom of south India was mentioned except Kishkinda and Sri Lanka.  But in Mahabharatha some names of south Indian rulers, particularly the Pandiya King of Madurai was mentioned. References available that Chitrangatha, who was married to Arjuna, during his Tirtha Yatra (holy visit) was the princess of Pandiya Kingdom and this king took part in the great Mahabharatha war. 

Development of Ramayana: All Hindus believe that the author of Ramayana was Sage Valmiki and there is no doubt.  Prof. Jacobi, after careful study of the work came to the following conclusion that Ramayana originally consisted of only 5 Kandas from Ayodhya Kanda to Yuddha Kanda (2 to 7).  And others are later editions based on the following arguments:

1)      The logical conclusion is the Coronation of Rama. So it ends with Yuddha Kanda and usual recitation also stops with this.

2)      In Balakanda(1) and in Uttara Kanda (8) Rama was described as the incornation of God.*** while in other five kandas he was described only as human being.

3)      In 1^st & 8^th there are many stories of Sages Rishyasrnga, Viswamitra and the story of the Ganges are available and they don’t have any connection with the main plot.

4)      In the Samkshepa Ramayanam, which was narrated by Sage Narada to Sage Valmiki, the author, starts only from the plot of Ayodhya Kanda.

5)      There was no detail of wives of Rama’s brothers during the Coronation ceremony of Rama.  Urmila was well known by everyone as wife of Lakshmana, whereas it was told to Surpanaka, Ravana’s sister by Rama in the forest that Lakshmana was unmarried.

Prof. Jacobi and A.A. Macdonell told one important noteworthy point was that there were some Sargas are composed before Ayodhya Khanda and which was enlarged with inclusions of many Sargas and named as Bala Khanda. 

*** here I would like to say that there was noteworthy work on Rama called “Amanushya Stavam” which describes that Rama was incarnation of Lord Sriman Narayana and shown his celestial power often.  For example, Siva Dhanur Bhangam (breaking the Bow of Lord Siva), Srabhanga Moksham, Sabari Moksham,(Salvation to Sages Sarabhanga and Sabari) Ahalya Sapa Vimochanam, Samudra taranam (crossing the ocean), Vibhishana Saranaagathi (surrender of Vibhishana)  etc.

Treasure of Culture: Ramayana is the treasure of Culture and our civilization.  There are so many incidents in Ramayana, which are noteworthy and must be highlighted. 

1)      Rama & his brothers always respected his elders and parents.

2)      There was a tradition maintained that the youngsters never crossed the words of the elders.

3)      The king was the representative of the subjects and to be liked by the citizen.

4)      People were truthful and were afraid of bad impression.

5)      Youngsters always saluted the elders everyday.

6)      Wicked people were given chances to change their nature.

Like this we can say so many qualities of Ramayana.

Ramayana in outside India:  When I was doing M.Phil in Sanskrit in the Pondicherry Central University I read a book on this title.  In that book it is mentioned that the Ramayana was spread in Asian countries like China, Japan, Barma, Cambodia, Thailand, Bali, Indonesia and other countries through Buddhism.  Dasaratha Jathaka is a part of Jataka Tales in which Ramayana was written.  Even today in the traditional dances of Bali and Thai we can notice that the ramayana’s influence is there.

Ramayana is resource of Sanskrit Literature:  The Sanskrit Dramas and poems (Kavyas) were composed from 1 BC.  Bhasa, the father Sanskrit Dramas, Pravarasena, Bhatti, Kalidasa, Bhavabhuthi, King Bhojaraj and other poets had written dramas and poems based the theme Ramayana.

            Ramayana is the Heritage of India.

            (21-11-03)

            next: The Mahabharatha.