Mahābhārata – Episode 76 – Droṇa becomes the Commander-in-Chief
DROṆA-PARVA
नारायणं नमस्कृत्य
नरञ्चैव नरोत्तमम् ।
देवीं सरस्वतीं व्यासं
ततो जयमुदीरयेत् ॥Having saluted Nārāyaṇa,
the human and the divine;
Sarasvatī; and Vyāsa –
May Jaya be hailed!
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The Sport of Renunciation
भोगे रोगभयं कुले च्युतिभयं वित्ते नृपालाद्भयं
माने दैन्यभयं बले रिपुभयं रूपे जराया भयम्।
शास्त्रे वादभयं गुणे खलभयं काये कृतान्ताद्भयं
सर्वं वस्तु भयान्वितं भुवि नृणां वैराग्यमेवाभयम्॥
Who are the Rasikas? (Part 1)
It will be appropriate to explain the purpose behind reminiscing several musicians and rasikas.[1] The purpose is simply the lament that connoisseurship has decreased in today’s world. Everywhere and in all walks of life, the business mindset reflected by the materialistic nature of people has increased. The number of people asking the question “What do you get by listening to music?” is increasing. High-rise buildings have value. Silk clothes have value. Motor cars have value.
Respectability of the Art of Dance
The mind and the intellect (manas and buddhi) are the two-primary means by which a man perceives the world and lets himself be perceived.
The eyes, the ears and other senses, and the parts of the body that shelter them become the instruments for the above two.
Training in arts strengthens the mind through refinement and the intellect acquires a refined strengthening through the knowledge of śāstras (roughly translated as ‘sciences’).
Mandra: The Tragic Character of Ramkumari
From one perspective, Ramkumari’s character is fundamentally tragic. She is the only character in Mandra who keeps “losing” throughout her life. Her loss isn’t merely her abandonment by Mohanlal or much later, by her own grown-up children who choose their long-estranged father’s fame and wealth over their mother’s lifelong sacrifice in nurturing them.
Mahābhārata and its Place in Indian Culture – Part 3
Just because the Mahābhārata was narrated in the period of King Janamejaya it doesn’t make it an ancient tale; it is fresh even today and it will forever be new because when will there not be disputes between cousins? Although it is a story of the kṣatriyas, such disputes exist in all communities around the world. The problem is described with great imagery and we feel as though the events are happening right before our eyes. Who doesn’t like a story?
வரலாற்றில் உபநயனத்தின் வளர்ச்சி
நமது பாரம்பரிய இலக்கியங்களான ஸ்ருதி (śruti), ஸ்மிருதி (smṛti) இவற்றைத் தெரிந்து கொள்வதற்குமுன்னும், ஒரு குறிப்பிட்ட நூலின் காலக்ரமம் மற்றும் வெவ்வேறு நூல்களுக்கு இடையேயான காலக்ரமங்கள் போன்றவற்றை உள்ளடக்கிய நவீன வரலாற்று கோட்பாடுகளை கருத்தில் கொள்வதற்கு முன்னும், இந்திய வரலாற்று பாரம்பரியத்தை பற்றின தெளிவான புரிதல் நமக்கு இங்கே அவசியமாகிறது.
Mahābhārata – Episode 75 – The Fall of Bhīṣma
The next morning, i.e. on the tenth day of battle, the Pāṇḍavas had created a battle formation with Śikhaṇḍi leading it. To his left and right stood Bhīma and Arjuna. Behind him, stood the Upa-pāṇḍavas (sons of the five brothers) and Abhimanyu (son of Arjuna). And behind them came Dhṛṣṭadyumna and other warriors along with the army. On the side of the Kauravas, as usual, Bhīṣma was at the forefront. Duśśāsana and other Kauravas stood to his left and right; behind him stood Droṇa, Aśvatthāma, Bhagadatta, and others.
S G Bindu Rao (Part 3)
One of the stories of Sri Ramakrishna
Whenever I remember Bindu Rao, a story that Bhagavān Ramakrishna Paramahamsa often narrated comes to my mind.
A scholar approached a king with request to help. The king asked him, “What is your area of scholarship?”
The scholar replied, “I expound the Śrīmad-Bhāgavata.”
“Is that so? That is good to know! I’m curious to listen to the Bhāgavata-purāṇa. But I’m not at leisure today. If you’re here next Saturday, I will be able to sit and listen.”
Vairāgya-vikrīḍitam
किं वेदैः स्मृतिभिः पुराणपठनैः शास्त्रैर्महाविस्तरैः
स्वर्गग्रामकुटीनिवासफलदैः कर्मक्रियाविभ्रमैः।
मुक्त्वैकं भवबन्धदुःखरचनाविध्वंसकालानलं
स्वात्मानन्दपदप्रवेशकलनं शेषा वणिग्वृत्तयः॥