tag:blogger.com,1999:blog-48274077466383626062024-03-19T03:35:00.310-07:00Ancient ClassicsSanskrit/Prakrit/Pali Literature, Scriptures & Other GemsRaindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-4827407746638362606.post-19465296788131135232012-05-14T22:22:00.002-07:002021-08-29T06:22:33.603-07:00What a way to start your day<div dir="ltr" style="text-align: left;" trbidi="on">
As a child I was taught two Sanskrit shloks. One to be recited before I opened my eyes when I woke up from sleep in the morning. And the other before I stepped out of the bed to begin my day. I did it as a task and it became a habit. Looking back, now I can decipher their importance in scientific as well as psychological terms.<br />
<br />
The first shlok was-<br />
<br />
<span style="color: yellow;"><span face=""arial" , "helvetica" , sans-serif" style="line-height: 28px;">कराग्रे वसते लक्ष्मी, करमध्ये </span><span face=""arial" , "helvetica" , sans-serif" style="line-height: 28px;">सरस्वती</span></span><br />
<div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;">
<span style="color: yellow;">करमूले तु गोविन्दः, प्रभाते कर दर्शनम्</span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<span style="font-family: inherit;"><i>karagre vasate lakshmi, karmadhye saraswati/ </i><i>karmule tu govindah, prabhate kar darshnam</i></span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<i><span style="font-family: inherit;"><br /></span></i></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<span style="font-family: inherit;">It means - On the tip of you hand, resides Lakshmi (goddess of prosperity) as fingers are your working tools. In the palm resides Saraswati (goddess of knowledge) and she decides your destiny. Open palms are like an open book. And in the base of your hand resides Govind (God of sustenance as your pulse/good health). Wake up to the vision of these three that give you the power to shape your life. </span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8rPqEmzjus7NRaeglbGuyBBC15w9DP7mdy4xlwqFQ1t1XXTFLpxq-3rJXeAVvNRVYvu6jSDg-SpU2yx6iqIzsJMWfdpeV7VCHwMi1-JJ3rt-r28V8ARa2xTv8Q3zuNIv-VHTrRbE4jhK/s1600/hands.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8rPqEmzjus7NRaeglbGuyBBC15w9DP7mdy4xlwqFQ1t1XXTFLpxq-3rJXeAVvNRVYvu6jSDg-SpU2yx6iqIzsJMWfdpeV7VCHwMi1-JJ3rt-r28V8ARa2xTv8Q3zuNIv-VHTrRbE4jhK/s200/hands.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption">Invictus - I am the master of my fate:<br />
I am the captain of my soul. </td></tr>
</tbody></table>
<div style="text-align: -webkit-auto;">
<span style="line-height: 28px;"><span style="font-family: inherit;">I would say this shlok and slowly open my eyes. Open palms would be my first sight of the day. To know that the strength rests within you and whatever you do today affects your tomorrow is a great feeling to begin your day with. When we are asleep, our blood pressure, temperature, heart rate, metabolic activities etc are at an all time low. Not waking up suddenly and taking some time to open your eyes gives the body time to adjust and stabilize the body rhythm thus saving us from health problems. As we know, more heart attacks/strokes occur early morning than at any other time in the day. </span></span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<span style="font-family: inherit;"><br /></span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<span style="font-family: inherit;">The second shlok was-</span></div>
<div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;">
<span style="color: yellow;"><br /></span></div>
<div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;">
<span style="color: yellow;">समुद्र वसने देवी, पर्वत स्तन मण्डले </span></div>
<div style="line-height: 28px; text-align: -webkit-auto;">
<div style="font-family: Arial, Helvetica, sans-serif;">
<span style="color: yellow;">विष्णुपत्नी नमस्तुभ्यं, पाद-स्पर्शं क्षमस्व मे </span></div>
<div>
<span style="font-family: inherit;"><i>samudra vasane devi, parvat stan mandale/ </i><i>vishnupatni namastubhyam, paad-sparsham kshmaswa me</i></span></div>
<div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">It means - Dressed in the flowing robes of the seas and oceans (just like a draped saree), with mountains as your breasts (source of life giving nectar in form of rivers). O consort of Vishnu, I salute you and beg forgiveness for touching you with my feet. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">I would say this shlok right after opening my eyes, before stepping out of the bed. Talking to mother earth before you start your day, everyday. A dialogue that asks for forgiveness for needs which deplete the natural resources (conveyed here as disrespect shown by stepping on the ground) for my own survival. The earth is called Vishnu's wife as he is looked upon as the preserver and she the provider of all resources.</span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">By the time you head for that tube of toothpaste, you are calm, confident, grateful and smiling :)</span></div>
<div>
<span style="font-family: inherit;">What a way to start the day!</span></div><div><span style="font-family: inherit;"><br /></span></div><div>Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>
</div>
</div>
Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com8tag:blogger.com,1999:blog-4827407746638362606.post-21953077784770343782012-01-30T00:34:00.001-08:002021-08-29T06:22:20.164-07:00The wicked cat says...<div dir="ltr" style="text-align: left;" trbidi="on"><i>Hitopadesha </i>(meaning Good Advice) is a collection of simple tales in Sanskrit which are a mix of the retelling of <i>Panchtantra Tales </i>by <i>Vishnusharma (</i>3rd century BCE) and new ones written by <i>Narayan Pandit </i>(12 century CE) in a way that are easily understood by children.<br />
<br />
One of the stories is about a blind old vulture <i>Jaradgav</i> who is tricked by a wicked cat. The moral of the story is 'not to make thick friends with people without knowing them well'. But there is a couplet in the middle of the story which is of immense significance too.<br />
<br />
Here the scheeming cat <i>Deerghakarna</i>, who is confronted by the angry vulture as it was trying to sneak up the tree and eat the new borns of the innocent birds, thinks to itself-<br />
<br />
<span face="Arial, Helvetica, sans-serif" style="color: yellow; line-height: 28px; text-align: -webkit-auto;">तावद् भयस्य भेतव्यम्, </span><span face="Arial, Helvetica, sans-serif" style="color: yellow; line-height: 28px; text-align: -webkit-auto;">यावद् भयम् अनागतम्</span><br />
<div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;"><span style="color: yellow;">आगतम् तु भयम् विक्ष्य, </span><span style="color: yellow;">नरः कुर्यात् यथोचितम्</span></div><div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;"><br />
It means-</div><div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;"><br />
</div><div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;">When danger is at a distance, that is the time to either fear it and run away or think of a plan to get out of it. A plan can be devised only by a rested and calm mind which is prepared to face what is ahead. But when it is at your doorstep facing you right in the face, it is the time for action. Fear or planning at that time are useless.</div><div style="font-family: Arial, Helvetica, sans-serif; line-height: 28px; text-align: -webkit-auto;"><i><br />
</i></div><div style="text-align: -webkit-auto;"><i><span face="Arial, Helvetica, sans-serif"><span style="line-height: 28px;">The gist implies that usually when the danger is afar we tend to neglect it. Only when it comes close do we either fear it or start planning to get out of it. And b</span></span><span face="Arial, Helvetica, sans-serif" style="line-height: 28px;">y the time we take action in this regard, more often than not it is very late and the calamity has already struck us.</span><span face="Arial, Helvetica, sans-serif" style="line-height: 28px;"> The above advice is dispensed keeping this human nature in mind.</span></i></div><div style="text-align: -webkit-auto;"><i><span face="Arial, Helvetica, sans-serif" style="line-height: 28px;"><br /></span></i></div><div style="text-align: -webkit-auto;">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div></div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com0tag:blogger.com,1999:blog-4827407746638362606.post-65519978673043316282011-11-26T21:30:00.001-08:002021-08-29T06:22:49.198-07:00'The Razor's Edge' & Kathopanishad<div dir="ltr" style="text-align: left;" trbidi="on">A few months back, I picked up 'The Moon and the Sixpence' by W. Somerset Maugham. Soon after, I started my studies of <i>Upanishads</i>. The more in depth the studies got, the more I wanted to buy books by Maugham. Bought one last week as well.<br />
<br />
I had absolutely no clue that both were linked somewhere. Sometimes things just happen.<br />
<br />
I found out today that the epigraph for the famous twentieth century novel 'The Razor's Edge' (1944) by W. Somerset Maugham comes from <i>Kathopanishad</i>.<br />
<br />
<i>The sharp edge of a razor is difficult to pass over;<br />
thus the wise say the path to Salvation is hard.</i> —<b>Katha-Upanishad, 3.14 </b><br />
.....So begins the novel.<br />
<br />
<br />
Maugham met Maharshi Raman in his Ashram in Tamilnadu in 1938. The character of Larry Darell is based on American Mining Engineering Guy Hague who had spent time in Ramana Ashram as well.<br />
<br />
The original statement goes as follows: <br />
<br />
<span style="color: yellow;">उत्तिष्ठ जाग्रत प्राप्य वरान्निबोधत | क्षुरस्य धारा निशिता दुरत्यया दुर्गं पथस्तत्कवयो वदन्ति || </span>(1.3.14) (<i>uttiShTha jAgrata prApya varAn_nibodhata | kShurasya dhArA nihitA duratyayA pathas_tat_ -avayo vadanti </i>|| ) - which means "Rise, awaken, seek the wise and realize. The path is difficult to cross like the sharpened edge of the razor (knife), so say the wise."<br />
<br />
NOTE: I always mispronounced 'Maugham'. In his own words about how his name is to be pronounced, says Maugham, "My name rhymes with waugham, as in 'a waugham day.' " </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com0tag:blogger.com,1999:blog-4827407746638362606.post-234840020983655332011-11-24T22:31:00.001-08:002021-08-29T06:22:59.625-07:00A funny Shlok<div dir="ltr" style="text-align: left;" trbidi="on">आपाण्डुराः शिरसिजास्त्रिवली कपोले<br />
दन्तावली किलिता न च मे विषादः ।<br />
एणीदशो युवतयः पाथि मां विलोक्य<br />
तातेति भाषणपराः खलु वज्रपातः ॥<br />
<br />
My temples are grey. My cheeks are without the rows of teeth within. My body is wrinkled. This doesn't bother me much. But when those doe-eyed young women call me <i>Taat</i> (a father figure/grandfather), it hits me worse than a lightning.<br />
<br />
<i>Men will be men across millenia :)</i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i><br /></i></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com2tag:blogger.com,1999:blog-4827407746638362606.post-75373734747696165312011-11-24T08:57:00.001-08:002021-08-29T06:23:19.071-07:00Childhood memories of Subhashits<div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: yellow;"><i><span style="color: #cccccc;">Subhashitani = Guiding mandates on how the practical world is or should be </span></i></span><br />
<br />
<span style="color: yellow;">चिता चिंता समाप्रोक्ता बिंदुमात्रं विशेषता।</span><br />
<span style="color: yellow;"> सजीवं दहते चिंता निर्जीवं दहते चिता॥1॥</span><br />
<br />
Chita and Chinta are two words separated by just a dot (in the devnagari script). While Chita (pyre) burns just the dead, Chinta (worry) burns the living ones to death.<br />
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<span style="color: yellow;">आयुषः क्षण एकोऽपि सर्वरत्नैर्न न लभ्यते।</span><br />
<span style="color: yellow;"> नीयते स वृथा येन प्रमादः सुमहानहो ॥2॥</span><br />
<br />
You cannot trade or buy back even a second of time when it has run out, with all the jewels in the world. So, to simply waste time when you have it is the biggest mistake of all.<br />
<br />
<span style="color: yellow;">सत्यं ब्रूयात् प्रियं ब्रूयात् न ब्रूयात् सत्यमप्रियं।</span><br />
<span style="color: yellow;"> प्रियं च नानृतं ब्रूयात् एष धर्मः सनातनः॥3॥</span><br />
<br />
Speak the truth. Speak the things which are nice to hear. Do not speak the truth in a way that is harsh. Do not say sweetly, what is not the truth.<br />
<br />
<span style="color: yellow;">अभिवादनशीलस्य नित्यं वॄद्धोपसेविन:।</span><br />
<span style="color: yellow;"> चत्वारि तस्य वर्धन्ते आयुर्विद्या यशो बलम्॥4॥</span><br />
<br />
Those who are polite and treat elders with respect, are blessed with age, knowledge, fame and power in return.<br />
<br />
<span style="color: yellow;">शनैः पन्थाः शनैः कन्था शनैः पर्वतमस्तके ।</span><br />
<span style="color: yellow;">शनैर्विद्या शनैर्वित्तं पञ्चैतानि शनैः शनैः ॥ </span><br />
<div style="color: #cccccc;"><br />
</div><div style="color: #cccccc;">Slow should be the pace of the travel, so should be the sewing. Unhurried should be the climbing of a mountain. Knowledge and furtune should be acquired at a slow pace as well.<br />
<br />
<span style="color: yellow;">वनानि दहतो वन्हेस्सखा भवति मारूत: |</span><br />
<span style="color: yellow;"> स एव दीपनाशाय कृशे कस्यास्ति सौहॄदम् || </span><br />
<br />
When a raging fire is engulfing a forest, the wind becomes its friend and partakes in the magnitude of the destruction. But the same wind is its enemy when the fire is just a small flame. Who wants to befriend the weak?</div><div><span style="color: #999999;"><br /></span></div><div><span style="caret-color: rgb(0, 0, 0);"><span style="color: #999999;">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</span></span></div></div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com0tag:blogger.com,1999:blog-4827407746638362606.post-76243641323155715912011-11-09T00:56:00.001-08:002021-08-29T06:17:16.669-07:00Why we love the ones we do?<div dir="ltr" style="text-align: left;" trbidi="on">Brihadaranyaka Upnishad of Yajur Ved is one of the oldest Primany Upnishad available. The setting of the texts is in the forest, hence the name which means Brihadaranyaka (great-wilderness) Upnishad in Sanskrit <br />
<br />
It was written by Rishi Yagnyavalkya of Mithila in the times of Gupta Dynasity around 320-500 CE (appx.). He had two wives. Katyayini and Maitreyi. Katyayini was adept at managing the household whereas Maitreyi was a scholar of Brahmhavidya.<br />
<br />
Yagnyavalkya decided to renounce the world. He called both his wives and told them of his decision. <br />
<br />
Maitreyi questioned him about why he wished to burden them with what he himself wished to renounce (worldly possessions). She was more interested in knowing why he wished to go and what would bring them the liberation that he was in quest of as well.<br />
<br />
End of the conversation between Yagnyavalkya and Maitreyi in the 5th statement of the 4th chapter of the 2nd part of the Upnishad (Br. 2.4.5) brings to light a universal truth-<br />
<br />
<div style="color: yellow;">आत्मनस्तु कामाय सर्वं प्रियं भवति </div><div style="color: yellow;"> - Not for the sake of the beings are the beings loved, but they are loved for the sake of self.</div><br />
It means that attachments are born of the conviction that this particular object or this particular person can bring me happiness. Conclusions born of this erroneous belief give rise to various likes and dislikes.<br />
<br />
<br />
If 'I love you' or 'I love this' were indeed for the happiness of the other person or object then when the person or the object went away, we would be happy for them because there alone lies their happiness. But we are not. We are sad for our grief. Our loss.<br />
<br />
Personal fullness (internal peace which has no gradation) is the motive for all things we love. It is not for the other person whom we profess eternal love to but for our very own self that we impose our love onto others. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, along with the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com2tag:blogger.com,1999:blog-4827407746638362606.post-61572577980487839612011-10-18T03:53:00.001-07:002021-08-29T06:23:30.467-07:00Nature of the seekers - Bhagvad Gita<div dir="ltr" style="text-align: left;" trbidi="on"><blockquote style="color: yellow;">चतुर्विधा भजन्ते मां जनाः सुकृतिनोऽर्जुन<br />
आर्तो जिज्ञासुरर्थार्थी ज्ञानी च भरतर्षभ [७.१६]</blockquote>चतुर्विधा = 4 types of, भजन्ते = pray, मां = me, जनाः = people, सुकृतनः = of virtuous deeds, आर्तः = hurt, the afflicted, जिज्ञासु = the seeker of knowledge, अर्थार्थी = seeker of wealth or materialistic things, ज्ञानी = the one who is learned, भरतर्षभ = of Bharat Dynasty<br />
<br />
Here in the 16th <i>Shloka</i> of Chapter 7 of <i>Bhagvad Gita</i>, is defined the nature of a <i>Bhakta (</i>devotee/seeker).<br />
<br />
Four classes/kinds of people take to prayers. Prayers here are thoughts positive in nature which look outward of oneself for relief. It is not necessarily a hymn or chanting. It could be addressed to anyone you hold in high regard & faith (teacher, parents, seniors, king, nature, deities etc.) in the form of a heartfelt request for help. <br />
<br />
First one is आर्तः - someone who is in any kind of pain. The afflicted one, who is overwhelmed with anxiety, worry and sadness. As anxiety, worries, hurt, afflictions are nothing but a state of mind and born out of our very own thoughts which are negative in nature; a good way to counter them would be to put forth our very own thoughts which are positive in nature. It is not easy to think of positive thoughts when one is in the numbness of pain, hence a prayer (admission of surrender and asking for support) is the starting point. It is an easy antidote to all the mental negativity and helps us bear with it till our sense of reasoning and analysis is back. <br />
<br />
Second is जिज्ञासु - the seeker of knowledge. The one who wants to learn.<br />
<br />
Third is अर्थार्थी - the one who seeks material success.<br />
<br />
Fourth is ज्ञानी - the learned one. The one who has understood the truth. Just because his prayers (of any kind) have been answered doesn't stop him for being a seeker. It is just like being a traveller who remains a traveller even when he has reached his destination.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com1tag:blogger.com,1999:blog-4827407746638362606.post-84332270823703071872011-10-16T02:33:00.001-07:002021-08-29T06:23:40.590-07:00Goethe on Shakuntala<div dir="ltr" style="text-align: left;" trbidi="on"><i>Abhigyanshakuntalam</i> is a seven act play written by the renowned Sanskrit poet and dramatist <i>Kalidas</i> (around 4 CE). It is based on the story of King<i> Dushyanta</i> and<i> Shakuntala</i>, foster daughter of sage <i>Kanva</i>. It deviates from the original story mentioned in the epic<i> Mahabharat</i> in two aspects.<br />
<br />
One - in the original story <i>Dushyant</i> is ashamed of his jungle escapade with the hermit girl <i>Shakuntala </i>and refuses to accept her as his pregnant wife (despite their marriage in the forest according to the <i>Gandharva</i> ceremony) when he gets back to the city.<i> Kalidas</i> introduces the curse of irascible sage<i> Durvasa</i> in his play, thus softening and building up Dushyanta's character. <i>Durvasa's</i> curse on <i>Shakuntala</i> does not exist in the original texts of <i>Mahabharat</i> in this regard.<br />
<br />
Two - <i>Kalidas</i> has also tempered down <i>Shakuntala's</i> characterisation by presenting her as a shy, demure, compassionate and fatalist possesing heavenly beauty. This is quite contrary to the bold and outrightly strightforward <i>Shakuntala</i> of<i> Mahabharat</i> who agrees to marry <i>Dushyanta </i>only on the precondition that the son he has from her would be the future king, no one else. She also doesn't hesitate to the narrate herself, the story of her birth as a result of the union of sage<i> Vishwamitr</i> and heavenly nymph<i> Menaka</i> out of wedlock.<br />
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Johann Wolfgang Von Goethe, German poet, dramatist, biologist, theoretical physicist and polymath expressed his admiration in 1792 for Shakulntala as:<br />
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<i>Willst du die Blüthe des frühen, die Früchte des späteren Jahres,<br />
Willst du, was reizt und entzückt, willst du was sättigt und nährt,<br />
Willst du den Himmel, die Erde, mit Einem Namen begreifen;<br />
Nenn’ ich, Sakuntala, Dich, and so ist Alles gesagt.</i><br />
<blockquote class="templatequote"><div class="templatequotecite">—Goethe</div></blockquote><blockquote class="templatequote"><div>Wouldst thou the young year's blossoms and the fruits of its decline<br />
And all by which the soul is charmed, enraptured, feasted, fed,<br />
Wouldst thou the earth and heaven itself in one sole name combine?<br />
I name thee, O <i>Sakuntala</i>! and all at once is said.</div><div class="templatequotecite">—translation by E.B. Eastwick </div></blockquote><br />
It means - If you wish to see the young flowers of Spring and the ready to pluck fruits of Summer at once; or if you wish to see that object which pleases, hypnotises, delights and quenches you at once; or if you wish to see the earth and heaven in one look; I invoke the name of <i>Shakuntala </i>and all quests are answered at once.<br />
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Heinrich Heine's posthumus work in 1869 brings to our notice an important fact. In the chapter 'Thoughts & Ideas' he wrote "Goethe made use of Sakontala at the beginning of <i>Faust</i>". Goethe's 'Vorspiel auf dem Theater' (Prologue to the Theater) of<i> Faust</i> is inspired from <i>Shakuntala</i> where an actor/director comes on stage and flatters the audience of their wisdom and cultured disposition to seek their blessings and patronage (though the audiences were quite different in both eras).</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com8tag:blogger.com,1999:blog-4827407746638362606.post-78002866832533479802011-10-14T07:27:00.001-07:002021-08-29T06:24:02.168-07:00MALAVIKAGNIMITRAM by Kalidas<div dir="ltr" style="text-align: left;" trbidi="on">Kalidas is a celebrated Sanskrit poet and dramatist<i> </i>who is believed to have lived around 4 CE.<br />
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He wrote three plays - <i>Abhigyan Shakuntalam</i>, <i>Vikramovarshiyam </i>and <i>Malavikagnimitram.</i><br />
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<i> </i><i>Malvikagnimitram </i>was the first one in the series. This is a 5 Act play about the love-story of King <i>Agnimitra</i> of of Vidisha from the Shunga dynasty (presumed to have ruled <i>Magadha </i>around 152 BCE) and <i>Malavika</i>, who is the maid to the chief Queen <i>Dharini</i>. He falls in love with her when he sees her portrait. His childhood friend <i>Gautam</i> (Vidushak - court entertainer) is his partner in crime.<i> Gautam</i> and<i> Malavika'</i>s friend, a fellow handmaiden <i>Bakulavalika,</i> help the couple avert the wrath of the queens <i>Dharini</i> and <i>Iravati. </i>Here is how the story unfolds -<br />
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<div style="color: yellow;"><b>Act I</b></div><br />
Two learned sclolars <i>Ganadas</i> and <i>Hardatt </i>are arguing amongst themselves so as to settle the issue of who is a better mentor and pundit in the field of dance & drama. This serves as an excellent backdrop for King <i>Agnimitra </i>who is besotted by the portrait of a chambermaid named <i>Malavika</i> standing next to Queen<i> Dharini</i> in the royal painting, to summon her without making his desires obvious.<br />
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<i>Malavika</i> is a student of Guru <i>Ganadas</i>. One of his best proteges. If ever there were to be a competition, he would showcase her and no one else. This fact was known to the court entertainer Vidushak, <i>Gautam</i>. He was <i>Agnimitra's</i> childhood friend and quite aware of his love-struck king's secret infatuation. He sets up a contest between the two gurus hoping to get to see Malavika for real.<br />
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All this is being planned as other royal orders of going into a battle with the King of <i>Vidarbha </i>are carried out. Wardens of the King of Vidarbha had captured his cousin, prince<i> Madhavsen</i>, who was to enter into a matrimonial alliance with his royal brother.<i> Madhavsen's</i> sister had escaped by disappearing in the confusion of the capture.<br />
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<i>Kanchuki</i>, chief of the inner chambers of the Palace arranges for the dance performances while another minister Amatya <i>Vahtak</i> gets busy with military preparations.<br />
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The King insists that Parivrajika<i> Kaushiki </i>(<i>Madhavsen's</i> minister <i>Sumati's</i> sister), who has renounced the world should be present during the dance contest. Her decision would be decisive, not that of the other queens who were an audience too.<br />
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<i> </i><br />
<div style="color: yellow;"><b>Act II</b></div><br />
Vidushak <i>Gautam's </i>plan is a success. Guru<i> Ganadas</i> has chosen<i> Malavika </i>to perform as his chief disciple. She performs a quartet written by <i>Sharmishtha </i>in the form of a<i> Chhalik</i> playact. Her beauty is described in detail and the king is unable to take his eyes off her. Her voice is as sweet and innocent as her looks. She sings the part of a beloved yearning for her lover. The King feels as if she is calling out to him. Before he can say anything, the performance ends.<br />
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The young danseuse had left quite an impression. <i>Gautam</i> reliases that there was one expresson that she had failed to enact which the King was waiting for impatiently. He hadn't seen her smile. Being a court jester, <i>Gautam</i> quips about something. Everyone laughs. The King, the Queens, the Ministers, Teachers.<br />
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<i>Malavika </i>had taken the exit bow and was about to leave when she smiles gently. Just a glimpse of her teeth and shy eyes do their magic. The King is happy.<br />
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He is not interested in the other teacher, the performances of his pupils or the contest anymore. His purpose was served. He saw Malavika for real. He wonders how he can get out of enduring another dance recital by someone he didn't wish to see. This is when <i>Vaitalik</i> arrives. <i>Vaitalik</i> is a <i>'stuti pathak</i>' by profession. A bard. His job is to sing praises of the King. He announces that it is lunch time now and all must rise for the meal. <i>Agnimitra</i> and <i>Gautam</i> look at it as divine intervention and rush out of the recital chambers.<br />
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<div style="color: yellow;"><b>Act III</b></div><br />
<i>Kaushiki's</i> maid<i> Samahitika</i> and <i>Madhukarika </i>(caretaker of the Queens garden) are discussing the final outcome of the dance competition and <i>Malavika's</i> undisputed victory as they walk about, collecting lemons for <i>Kaushiki</i>. Everyone knows that the King has a soft corner for the new pretty chambermaid.<br />
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Underneath the Golden Ashoka tree stand<i> Malavika </i>and <i>Bakulavalika</i> who have been sent there by the chief queen <i>Dharini </i>to perform the ceremony of<i> dohada</i> so that the tree flowers soon. The chief queen is unable to take part in the ritual herself as her feet hurt after a fall from the swing. The queen has promised Malavika that if the tree blooms within five days of the ritual, she would grant her a wish.<i> Bakulavalika</i> adorns <i>Malavika's</i> beautiful feet with red pigment <i>aalata</i> and also conveys King's love-message which has been passed onto her by Vidushak<i> Gautam</i>. <br />
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The younger queen <i>Iravati</i> has invited King <i>Agnimitra</i> to the royal garden to welcome the onset of spring by sharing a ride with her on the swing. She sends him<i> Kurbak</i> flowers and waits for him in the pleasure-garden with her lady in waiting<i> Nipunika.</i><br />
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The King wonders how he can hide his true emotions and not let<i> Iravati </i>know that his affections belong somewhere else now.<i> Gautam</i> advises that he shouldn't withdraw from his other wives even though his heart wishes none from his harem. They head towards the pleasure-grove.<br />
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The King,<i> Gautam, Bakulvalika, Malavika, Iravati, Nipunik</i>a come face to face in the garden.<br />
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<div style="color: yellow;"><b>Act IV</b></div><br />
Vidushak brings the news of <i>Malavika </i>and<i> Bakulavalika's</i> imprisionment in the underground dungeons by the chief queen <i>Dharini</i>. Strict orders are in place not to set them free unless someone brings the order of their aquittal by producing the seal of her ring <i>Nagmudrika</i>. Queen<i> Iravati </i>and her maid <i>Nipunika</i> have done their job of informing the chief queen of the clandestine meeting of forbidden lovers in the pleasure-grove. Queen<i> Dharini </i>is furious and refuses to show any signs of mercy.<br />
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The king decides to meet queen <i>Dharini</i> in her chambers. She is nursing her hurt feet with red sandalwood paste. Parivrajika<i> Kaushiki</i> keeps her entertained by telling her stories. Summoning his wits, <i>Gautam</i> decides to help the King in getting <i>Malavika </i>released from the prison.<br />
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<i>Gautam</i> feigns a snake-bite. He is sent to the royal physician <i>Dhruvasiddhi</i>. Chaos and commotion takes precedence in the chief queen's quarters. Everyone is eager to be of some help. The door-keeper informs that the physician requires any talisman which has an image of a snake to perform the ritual of <i>Udakumbhavidhana</i>, which can invalidate the deadly poison.<br />
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<i>Dharini</i> gives her ring as it has an image of a snake without knowing the real purpose it was asked for.<br />
The ring is shown to the keepers of the dungeons and <i>Malavika</i> is free again.<br />
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<div style="color: yellow;"><b>Act V</b></div><br />
The Ashoka tree is in full bloom within five days. The chief queen is obliged to fulfill her promise of granting <i>Malavika</i> one wish. She is very happy as her son, prince<i> Vasumitra </i>has won the battle that had arisen out of capturing of the Ashvamedha Horses. The King of Vidarbha had surrendered as well.<br />
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Everyone is assembled under the Ashoka tree.<br />
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Two maids who have been brought from Vidarbh desh as performers recognise Malavika as their princess. Madhavsen's sister is <i>Malavika</i>, who was in the hiding for so long after her brother's capture. The story unfolds. <i>Kaushiki</i> explains how all this came about.<br />
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Queen<i> Dharini</i> knows that her husband secretly loves <i>Malavika.</i> Now that it has been established that Malavika is of royal birth as well, the Chief Queen gifts her maid to him which in turn also serves as granting <i>Malavika</i> one wish which she had promised.<br />
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THE END <br />
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Note: You can read the book at <a href="http://www.archive.org/stream/cu31924022967578">Malvikagnimitram - English Translation by C.H. Tawney</a></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Disclaimer: I am a Sanskrit Enthusiast. Not academically qualified. In case of any error, please do let me know, alongwith the correct information. I will be happy to make the amendment.</div>Raindrophttp://www.blogger.com/profile/05348806432394388278noreply@blogger.com1