CAUSES FOR THE EVOLUTION OR ENLARGEMENT OF MAHABHARATAM

 

  Mahabharatam is not only an epic but also is considered as treatise on Dharma Sastra, law, religion, philosophy and a score of other things a man can think in those days. That is why it is declared ‘yaidhaist tdnya~ yannaohaist na tt\ @vaicat\’ – ‘What is found here can be found elsewhere, what is not found here can’t be found anywhere’. It is also called the fifth Veda ‘Baart: pHcamaao vaod:’. T he following are the causes for the enlargement of Mahabharatam.

(1)     The question posed by janamaojaya:, saaOnak: and other sages and the answers given to them by Vaisampayana were incorporated into the text later.

(2)     Store of house of legends: The older national legends of Hindus, their places of worship and mythologies were incorporated into Mahabharatam. These might have had a prior independent existence as ‘gaaqaa s. In this regard the stories of Saraswati Nala, Saavitri, Nahusha etc. may be mentioned.

(3)     Book of knowledge and information: We find all the sciences and subjects being represented in this work. When ‘QaRtraYT/:’ – Dhrutarashtra – the born blind asks ‘saHjaya:’ – Sanjaya- the nature of earth for which so many people are about to fight , we have s whole treatise of Geography. In ‘saBaapva- ’ – Sabha Parva we have an account of political science instructed by Narada to Ydhishtira.

(4)     Book of religion and philosophy: Mahabharatam is treated like a ‘smaRit’ – Smrti cited as an authority in the discussions of philosophy, religion and politics. Bhishma instructs Yudhishtira on law, philosophy, religion and politics. Some of the devotional lyrics like ‘ivaYNausahsa`naamama\’ – Vishnusahasranamam have also been incorporated into Mahbharatam so as to make it a religious book. Bhagavadgita which is considered to be the teachings of Lord Krishna delivered before the start of the battle gives a philosophical stamp for Mahabharatam. Bhagavadgita contains 700 verses and it is divided into 18 chapters. One can’t believe that all the chapters were delivered when the two armies were standing against each other to fight a deadly battle. There might have been some emotional outbursts seen in Arjuna and in order to comfort him Krishna might have advised his responsibility and duty as a ‘xai~ya:’ – Kshatriya. This would have given room to the later day scholars to magnify the theme and elaborately systematise the different aspects of Indian Philosophy.

(5)      Poetical embellishment: The desire to make it run along with the Ramayanam might have made the later day redactors to introduce poetical passages. Even a casual comparison of Ramayanam and Mahabharatam in both expression and description will reveal that Ramayanam is more poetically embellished than Mahabharatam. This made some later day scholars to make Mahbharatam also embellished with poetical imagination and descriptions. Some of the scholars believed that the tricky verses which are supposed to have presented some problems to Vinayaka might have been introduced by Sauti to show his poetical talents.

(6)      Explanation: Some practises which had become obsolete by the time of Sauti have to be explained in the light of new codes of conduct. Thus we have new chapters explaining such things. For example the conversation between Vyasa and Drupada etc.

(7)      Epic tradition: Epics are usually recited before an audience. Hence to satisfy them some topics might have been elaborated and these would have resulted in the enlargement and variations in the text of Mahabharatam.

(8)      Repetition: Repetitions are sometimes usual to stress a subject in the minds of the readers. But they result in the enlargement of the epic. in ‘Aaistkaopa#yaanama\’ descriptions of holy places are found repeated.

(9)      Theory of incarnation: When the concept of trinity of Gods emerged Vishnu, Shiva and Brahma became supreme deities and so passages that declared their divinity were incorporated. In order to give an account of Lord Krishna, a whole new book called Harivamsa was added to Mahabharatam, the traditional scholars have acknowledged this fact.

Incorporation from other traditions: It is stated that all the five disciples of Vyasa to whom ‘Jayam’ was instructed came out with editions of their own. Later when Vaisampayana’s edition started scoring over other editions, some important and relevant points found in other editions might have been included in the recitation by Sauti or by subsequent redactors. These are the factors that have contributed to the enlargement of Mahabharatam.

“Free rein to thoughts” by Arthi Bharath

 

Arthi Bharath’s e-book titled “Free rein to thoughts” is packed with real-world and practicable ideas.  These are life-leading modules each of which help the readers’ life to the next level.  The title itself witnesses the theme of the book and the erudition of the author.  Choosing the back-grounds and images to the themes justify the propriety of the quint-essence of this awesome manual.  Every reader should take a few minutes here and there to read these prompting to maintain them-selves of the good in the world.  These quotes are the key to happiness, fulfilment and regret-free life.  If anyone is reading this book, they certainly experience that the book flows very simply with heart-warming ideas and makes for an engaging read.  These timeless modules warm the readers’ heart, lift their spirit and enrich their life with proper understanding.

The quotes Blinding need to belong and Fear of Judgement suggest us to be mentally strong.

The quote about Oil Lamp highlights the yogic power which helps to have the calm mind.

The quotes about Parenting reveal the aches and hurdles faced by the parents and also how they overcome it.

The quote–Sum total helps us to mold ourselves properly in any sort of crisis.

In this shrinking world, the relationship also become shrunk. We are the real human being, only when we share our ideas, converse with others and mingle in the society. Author emphasis this in quote number no: 8

To start any work, we have to plan in it in a proper way. Author tells this in other words to think twice to do any act.

 Quotes on Success urges us to be more successful and make it a continuous process. Achieving goals indicates the success and it is the stepping stone to lead ahead always. These ideas are shared by the author in her beautiful words.

Though there are definitions for Love, Music and Language, actually all these are Anirvacaneeyam i.e., inexplicable like Brahman (Supreme Soul).

Where there is a will there a way is the idea inferred from the resilience and hope. I quote “Resilience is the ability to bounce back from disasters or difficulties” from the page no.18.   In Sanskrit Literature success is defined as this: “the success of action always depends on the will but not on the tool.”

I thank the team of Blog chatter for giving this opportunity to read and review this collection of quotes which were wonderful, heart-warming and highly meaningful.

The aim of this book is to set forth, in the simplest possible way, some of the ideas to be considered as the guidelines to lead our life healthy and happy. 

There are many forms of literature in English which differ themselves with genres.  Belonging to this twenty first century, there are many new systems found and followed by us.  Keeping this in my mind, I quote the beautiful saying of William Henry Hudson, “Every reader should regard and read “the new works of new days,” with a constant sense of relative values, and a desire always to discriminate so far as possible between what is genuine and what is factitious."

{This e book review is a part of Blogchatter's E Book carnival 2022}

  

VEERABHOGYA VASUNDHARAA

 

Sri Ahobila math Sanskrit college, Madurantakam, Tamil Nadu, has conducted a virtual conference titled “Svatantra Divasa Vyaakhyaanamaalaa” commemorating the forth coming 75^th Independence day from 8^th to 14^th June “azadi ka Amrit Mahotsav”. In that programme, I have been invited to deliver a lecture as a part of the series.

वीरभोग्या वसुन्धरा/Veerabhogya Vasundhara was the subject about which I delivered a talk for about 45 minutes in Sanskrit language. You can listen to it in Sanskrit here: https://www.youtube.com/watch?v=_jyjIyS4E5s

For the convenience of others I share some major points of the talk in English below:

Patriotism is the main concept dealt in the talk. About how our kings and queens fought for the Independence of our country. The love for the mother land made them to sacrifice everything and even lost their lives.

The love for the motherland is well explained by Adi Kavi valmiki in the Ramayana  - "Jananee janma bhoomischa Svargaadhapi Gareeysi."

This idea was Trans created by Tamil poet Subrahmanya Bharathi as "பெற்ற தாயும் பிறந்த பொன் நாடும் நற்றவ வானிலும் நனி சிறந்தனவே."

Like our mother  who feeds and  grooms us , In the same way our  mother land with her natural resources bless us with a peaceful life. Vishnupurana says that our  country India is the land of Gods and goddesses,  because of which the people of this country never pray to go to heaven as they are already in such a heavenly and sacred land.

 This mother land had many brave kings and queens. For protecting the country as well as their rights, they indulged in the freedom struggle with firm mind.  After many years even now those patriots are remembered for their bravery.

Among them, the kings like  The great Emperor Skandagupta ,Chandragupta Mourya, RanaPratap, Chatrapati Sivaji etc and the queens like Jhansi Rani Lakshmi Bai, Rani Rudramamba, Rani Velu Naachiyaar etc were few who were remebered with great pride and respect for their sacrifices for their motherland. They stand as an example show casing their patriotic zeal.

The objective of this session is to impart the patriotic spirit among young generation and to develop and uphold  the same through out their lives. The talk shares many interesting informations about the great kings and queens of this country who fought with valour in the freedom struggle.

References from Bhagavad Gita, Ramayana, Vishnupurana and Bhagavatham were quoted for convenience of understanding and to familiarize with the verses stated in the ancient texts.

Veerabhogya Vasundhara puts forth the greatness and abundance of wealth in the form of resources as well as the courage and bravery of the people of this land.

LYRICS /MINOR POEMS/EROTIC POEMS OR ‘KHANDAKAVYAS'

           

Lyrics are short and sweet poems with an intensely emotional appeal having very slender or no bearing on any narrative theme. Erotic poems dealing with the sentiment of love and devotional poems expressive of author’s outburst of ‘Bai>’ (Bhakti) belong to this variety. These are classified in Sanskrit as ‘KNDkavya’ (Khandakavyas). The lyrical element is abundantly found in all the branches of Sanskrit literature, particularly in drama. Yet the lyrics, as a distinct type of literature, have not been seen in the early days. But still the elements which led to the growth of this form can be traced to a very ancient age. The hymns of Rig Veda are devotional lyrics addressed to the Gods. Though these lyrics called ‘saU>’s (Suktas) are meant for ceremonial rites we do find a lot of literary merit in them. The great epics ‘ramaayaNama\’ and ‘mahaBaartma\’ contain many passages of lyrical elements. These mark the beginning of lyrical literature in Sanskrit.

THE EROTIC LITERATURE OR LOVE LYRICS OF KALIDASA

          The first writer of lyrics as a distinct form of poetry is Kalidasa. The ‘?tusaMharma\’ (Ritu Samhara) and ‘maoGadUtma\’ (Meghadoota) of Kalidasa are two of the greatest lyrics known in Sanskrit literature.

1. The ‘?tusaMharma\’ (Ritu Samhara) 

‘?tusaMharma\’ is a lyric consisting of 144 stanzas in various metres. It is divided into 6 sections, each section being devoted to the description of 6 seasons in the Indian calendar. The 6 seasons are: ‘homant?tu’ (Hemanta ritu), ‘iSaiSar?tu’ (Shishira ritu), ‘vasant?tu’ (Vasanta ritu), ‘ga`IYma?tu’ (Greeshma ritu), ‘vaYa-?tu’ (Varsha ritu) and ‘Sard\?tu’ (Sharad ritu).

       All the aspects of these 6 seasons that appeal to the poetic sense are described in detail. The influence of the season on a lover either by the way of accelerating his emotion or by the way of depressing it, is described fully. Thus the poet’s is enviable skill in blending man and nature is evident in this poem.     

            It has been for long argued that ‘?tusaMharma\’ is not a genuine work of Kalidasa on the ground of aesthetic perfection which is characteristic of his later works. But the recent researches have established beyond doubt that the poem was written by Kalidasa. The descriptive power, the felicity of style, the apt similes and phrases of Kalidasa can be seen in this poem. The deficiencies seen in this poem only indicate that it is an immature work and certainly the maiden attempt of Kalidasa.                                 2. Meghadoota or Meghasandesha

           This is a very popular lyric of Kalidasa with a very thin line of story. A certain ‘yaxa:’ (Yaksha) cursed by his master ‘kubaor:’ (Kubera); for his negligence of duty is doomed to live as an exile in ‘ramaigair’ (Ramagiri) away from his beloved for one year. After spending 8 months on that mountain the ‘yaxa:’ sees the first cloud of rainy season and implores it to convey his love message to his beloved who is passing her equally miserable days in the city of Alaka.

            In the first half of the lyric the poet describes the paths to be taken by the cloud. Here with great power and beauty the poet describes the various scenes of the forests and cities, mountains and rivers that lie on the northward path of the cloud. In the second half, the poet describes the city Alaka, the Yaksha’s dwelling place, his careworn wife and her occupations and ends with the message of love and hope which is meant to sustain her during the remaining 4 months of her destined separation. The whole poem is composed in ‘mandaËanta’ (Mandakrantha) metre. Though the form and plan of the lyric are entirely original, Kalidasa seems to have taken the clue from Valmiki’s Ramayanam where Hanuman is sent with the message to be delivered to Sita. The popularity of the poem and its enchanting melody has so much influenced the successors of Kalidasa that many imitations of the poem have been attempted. These imitations are so numerous that the ‘sandoSakavyama\’ (Sandeshakavya) has become a separate branch of lyric itself.

3. ‘paSva-aByaudya’ (Parsvabhyudaya) 

            A Jain author by name ‘ijanasaona:’ (Jinasena) used this ‘maoGasandoSa’ (Meghasandesha) in composing his ‘paSva-aByaudya’ (Parsvabhyudaya) an account of the saint ‘paSva-naaqa:’ (Parsvanatha). He has introduced one or two lines of every sloka of ‘maoGadUtma\’ in strictly successive order into the sloka’s of his own poem. This helps in dating the nature of the text ‘maoGadUtma\’ in 8^th century AD. According to this evidence of ‘maoGadUtma\’ known to ‘ijanasaona:’ contained 120 stanzas. A similar ‘sandoSakavyama\’ called ‘naoimadUtma\’ (Nemidutham) of unknown date reveals the versions of ‘maoGadUtma\’ as containing 125 verses. The two commentaries of this lyric ‘vallaBadova:’ and ‘maillanaaqa:’ of the 12^th and 14^th centuries respectively recognised only 111 and 125 stanzas as genuine.

4. Bhartruhari's ‘EaR=\gaarSatkma\’ (Sringarasatakam)

          ‘Bat-Rhir:’ lived in the first half of the 7^th century. The Chinese traveller I’tsing has recorded his death as having occurred in 651AD. ‘Bat-Rhir:’ was a versatile writer who had contributed to a very large variety of subjects like grammar, philosophy, ethics and poetic art. The tradition called ‘Bat-Rhir:’, a king who doted very much on his wife and later regretted after learning the infidelity of his wife. He has written 3 lyrics all consisting of 100 verses. They are: 1) ‘naIitSatkma\’ (Neetisatakam), 2) ‘EaR=\gaarSatkma\’ (Sringarasatakam), 3) ‘vaOragyaSatkma\’ (Vairagyasatakam).

The ‘EaR=gaarSatkma\’ is an erotic lyric in 100 stanzas. The verses do not constitute one coherent theme, but contain several detached descriptions of scenes of love. His descriptions of the characteristics, feeling and the diversions of lovers are attractive and graceful. The fact that he talks enthusiastically about feminine charms in this ‘Satkma\’ makes one extremely surprised at his having written the ‘vaOragyaSatkma\’ which condemns the very charms applauded in this lyric. The explanation lies in the fact that the erotic lyric depicts the emotions of the writer in his youth whereas the other gives expressions to the feelings of resignation of his mature years. The ‘EaR=gaarSatkma\’ on the whole has been generally popular as love lyric and the stanzas from it have been cited in later works.

5. Amaruka's ‘AmaÉSatkma\’ (Amaru satakam) 

The ‘AmaÉSatkma\’ (Amaru satakam) is a collection of 100 verses from the pen of ‘AmaÉk:’. There is an incredible tradition that the great philosopher Shankaracharya transmigrated voluntarily into the dead body of ‘AmaÉk:’, the king of Kashmir. Having enjoyed the pleasures of his harem he set forth his sensuous experiences in this work to prove the versatility of his genius during a competition with Sarasavani-the wife of another great scholar Mandana Mishra. The delightful poem describes the varied moods of lovers and gives us beautiful pen pictures of several attractive scenes. It also describes the experiences of lovers, the bliss and dejection, estrangement and reconciliation. This is praised by the famous literary critic ‘AanandvaQa-na:’ (Anandavardhana) in the following terms:  ‘AmaÉkkvao: ek: Slaaok: p`banQaSatayato’ A verse of ‘AmaÉk:’ equals 100 lengthy compositions.

6. Bilhana's ‘caaOrpHcaiSaka’ (Chaurapanchasika)

            ‘ibalhNa:’ of Kashmir, the author of ‘ivaËmaa=\kdovacairtma\’ (Vikramankadeva charitham) has written a love lyric in 50 stanzas called ‘caaOrpHcaiSaka’ (Chaurapanchasika). There is an attractive tradition associated with this title. The author is said to have enjoyed stealthily the love of the princess of Kashmir and when condemned to death by the king on discovery he composed many verses recalling the pleasant time he had spent with the princess. He composed these stanzas as the last recollection of his love with the princess. The stanzas enchanted so much the king that gave the poet his daughter whom he loved, as a reward for the verses. This tradition is more fanciful and less authentic. But the stanzas have a clear melody of their own and the scenes of love recounted are fairly interesting though in some cases it is merely conventional. The poet belongs to the latter half of the 11^th century AD. 

MAHAKAVYAS (MAJOR COURT EPICS) IN SANSKRIT PART II

 

‘Bai+: (Bhatti):

Batti is the author of ‘ravaNavaQakavyama\’ (Ravanavadha Kavyam). It is also called ‘Bai+kavyama\’. He belongs to the 7^th C.A.D. This work contains 22 cantos dealing with the story of Rama. It is more a manual of grammar and rhetorics in illustration than a poem with an artistic aim. The distinct purpose of the author is only to illustrate the rules of grammar and the rhetorics. Since this poem helps the students to acquire a sound knowledge in grammar it has always been studied as an advanced text book in Kavyam. Some scholars have identified this Bhatti with VatsaBhatti, the author as an inscription. But the very fact that Bhatti is a veteran grammarian whereas VatsaBhatti commits grammatical errors in some of his verses goes against such identification.

     ‘kumaardasa:’ (Kumaradasa):

             ‘kumaardasa:’ (Kumaradasa) is supposed to be the King of Ceylon and the author of the Mahakavyam ‘jaanakIhrNama\’ (Janakiharanam). As the title suggests it deals with the story of Ramayanam. The free use of certain grammatical forms in the book shows that he knew ‘kaiSakavaRi<a’ (Kasikavritti) a work on grammar written around 650 A.D. So it is likely that he belongs to the part of the 7^th C.A.D. The identification of Kumaradasa with the King of Ceylon and the traditional stories connecting him with the poet Kalidasa lack historical evidence. The style of Kumaradasa is simple and he tries to imitate Kalidasa. But for his love in abundant alliterations he can be said to have completely succeeded in his imitation of Kalidasa. Only 20 cantos of his Mahakavyam has seen the light of the day. The style, poetical embellishments and other artistic qualities have won for Kumaradasa an eulogy from ‘rajaSaoKr’ (Rajasekhara) the author of ‘kavyamaImaaMsaa’ (Kavyamimamsa) in the following lines:

‘jaanakIhrNaM ktu-M rGauvMaSao isqato sait.

      kiva:kumaardasaSca ravaNaSca yaid xama:..’