Ramanisblog

Tag: Kalidasa

  • Raghu Rama’s Ancestor Conquered Central Asia China Middle East

    Raghu Rama’s Ancestor Conquered Central Asia China Middle East

    My view that Indian Puranas,Ithihasas,Ramayana,Mahabharatha,Literary works of Kalidasa,Kalhana in Sanskrit and the Tamil Classics of the Sangam Era and later works including the works of Azhwars,the worshipers of Vishnu and Nayanmars,worshipers of Shiva are recorded History of India.

    We tend to treat the Puranas and Ithihasas as fiction and figment of imagination and the litereary works as mere hyperbole.

    Nothing can be farther from Truth.

    Puranas and Ithihasas ,no doubt talk of spirituality but they are also facts.

    Similarly the Sanskrit and Tamil literature might contain exquisitely composed allegories,descriptive hyperboles of Kings’achievements and Nature,they also contain facts,geographical and historical.

    This is evidenced by a careful reading of these Texts,starting from the Vedas through Ramayana,Mahabharatha,Puranas and Tamil Sangam Classics .

    The facts mentioned can be verified against Geological,Historical facts as found in foreign literature and physical verification of Geographical descriptions.

    This blog has details of such verified facts and they can be accessed undr Hinduism,Tamils Category.

    I have been concentrating on the texts mentioned above save Sanskrit literature.

    Now I begin by exploring the Raghuvamsa by Kalidasa,which details the Dynasty of Raghu of Ikshvaku Dynasty.

    Lord Rama,who is from Ikshvaku Dynasty,is of such great stature that one does not bither about Rama’s illustrious ancestors,say Dillepa and Raghu.

    Raghu was so powerful that Kalidasa named his epic as Raghuvamsa,the Raghu Dynasty.

    Kalidasa records that Raghu invaded Cetral Asia and middle east and conquered them

    He defeated the Central Asians,the Chinese, the ancestors of the Arabs and White Huns.

    Please read my article on Huns.

    ‘The warrior Raghu leads a military expedition to Transoxiana. He defeats and subjugates local people along the way (presumably on his march through Central Asia) until he reaches the Vankshu, as the ancient Indians called the Oxus River. There, Raghu’s army battles the Hepthalites, or White Huns, whom the Indians called Hunas and Mlecchas (barbarians). The Hepthalites are defeated, and the Raghuvamsha boasts of “The exploits of Raghu, whose valor expressed itself amongst the husbands of the Huna women, became manifest in the scarlet colour of their cheeks.”

    After crossing the Oxus, Raghu and his army encountered the Kambojas, an ancient Indo-Scythian people often mentioned in Indian texts. The Kambojas submitted to Raghu and offered him gifts and treasures. Evidently, the Kambojas dwelt in the vicinity of the Pamirs. Kalidasa describes the preponderance of walnut trees in the Oxus country, this particular region is still known for the cultivation of walnuts…..

    Transoxiana (also spelled Transoxania), known in Arabic sources as Mā warāʼ al-Nahr(Arabic: ما وراء النهر‎‎ Arabic pronunciation: [ˈmaː waˈraːʔ anˈnahr] – ‘what [is] beyond the [Oxus] river’) and in Persian as Farārūd (Persian: فرارود‎‎, Persian pronunciation: [fæɾɒːɾuːd]—’beyond the [Amudarya] river’), is the ancient name used for the portion of Central Asiacorresponding approximately with modern-day Uzbekistan, Tajikistan, southern Kyrgyzstan, and southwest Kazakhstan. Geographically, it is the region between the Amu Darya (Ancient Greek: Ώξος Ốxos) and Syr Darya rivers.[1] The area had been known to the Romans as Transoxania (Land beyond the Oxus), to the Arabs as Mawarannahr (Land Beyond the River), and to the Iranians as Turan, a term used in the Persian national epic Shahnameh…

    Hephthalites (or Ephthalites) was the Latinised exonym for a people of Central Asia who were militarily important circa 450-560. They were based in Bactria and expanded east to the Tarim Basin, west to Sogdia and south through Afghanistan to northern India. They were a tribal confederation and included both nomadic and urban, settled communities…

    Chinese sources link the Central Asian tribes comprising the Hunas to both the Xiongnu of north east Asia and the Huns who later invaded and settled in Europe.Similarly, Gerald Larson suggests that the Hunas were a Turkic–Mongolian grouping from Central Asia. The works of Ptolemy (2nd century) are among the first European texts to mention the Huns, followed by the texts by Marcellinus and Priscus. They too suggest that the Huns were an inner Asian people’

    Reference and citation.

    https://en.m.wikipedia.org/wiki/Raghuvaṃśa

    Image Credit. https://www.google.co.in/search?q=raghuvamsa&client=tablet-android-huawei&prmd=vin&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjls4Ghg4TVAhVBq48KHYOeALUQ_AUICigC&biw=1280&bih=800#imgrc=K9mOu81d3RC0LM:

  • Vimana Aircraft Types From Rig Veda Purana Kalidasa

    I have written on the types of Vimanas referred to in ancient Texts.

    Aircarft Drawing done in 1923 Based on Ancient Vimana Texts of India.jpg Aircraft Drawing done in 1923 Based on Ancient Vimana Texts of India.

    Rig Veda

    I have also written on the Aircraft designed and flown by Talpade in India, based on these ancient texts of Bharadwaja.

    Rotating Vimanas,

    Skyscrapers,

    Private Aircrafts

    Robots and space technology

    I have posted articles on these as well.

    here I present some texts and more references from the Rig Veda,Agastya Samhita.Artha Sastra and Kalidasa’s Vikramorvasiyaa.

     The Rig-Veda, the oldest document of the human race includes references to the following modes of transportation: Jalayan a vehicle designed to operate in air and water (Rig Veda 6.58.3).

    Kaara- Kaara- Kaara- a vehicle that operates on ground and in water.

    (Rig Veda 9.14.1)

    Tritala- Tritala- Tritala- a vehicle consisting of three stories.

    (Rig Veda 3.14.1);

    Trichakra Ratha, a three-wheeled vehicle designed to operate in the air.

    (Rig Veda 4.36.1)

    Vaayu Ratha, a gas or wind-powered chariot. 

    (Rig Veda 5.41.6)

    Vidyut Ratha a vehicle that operates on electromagnetic power.

    (Rig Veda 3.14.1).

                  The “Agastya Samhita” gives us Agastya’s descriptions of two types of aeroplanes. The first is a “chchatra” (umbrella or balloon) to be filled with hydrogen. The process of extracting hydrogen from water is described in elaborate detail and the use of electricity in achieving this is clearly stated. This was stated to be a primitive type of plane, useful only for escaping from a fort when the enemy had set fire to the jungle all around. Hence the name “Agniyana”. The second type of aircraft mentioned is somewhat on the lines of the parachute. It could be opened and shut by operating chords. This aircraft has been described as “vimanadvigunam” i.e. of a lower order than the regular aeroplane. Bhardwaja’s “Vaimanika Shastra” not only gives information on his methods of aeroplane construction but also provides a bibliography. He had consulted six treatises by six different authors previous to him. After him too there have been four commentaries on his work. Planes which will not break (abhedya), or catch fire (adaahya) and which cannot be cut (achchedya) have also been described. Along with the treatise there are diagrams of three types of aeroplanes , “Sundara”, “Shukana” and “Rukma”. It appears that aerial warfare was also not unknown, for the treatise gives the technique of “shatru vimana kampana kriya” and “shatru vimana nashana kriya” i.e. shaking and destroying enemy aircraft, as well as photographing enemy planes, rendering their occupants unconscious and making one’s own plane invisible.
     
             The Arthasastra of Kautilya (c. 3rd century B.C.) mentions amongst various tradesmen and technocrats the Saubhikas as ‘pilots conducting vehicles in the sky’. Saubha was the name of the aerial flying city of King Harishchandra and the form ‘Saubika’ means ‘one who flies or knows the art of flying an aerial city’. Kautilya uses another significant word ‘Akasa Yodhinah’, which has been translated as ‘persons who are trained to fight from the sky.’ The existence of aerial chariots, in whatever form it might be, was so well-known that it found a place among the royal edicts of the Emperor Asoka which were executed during his reign from 256 B.C. – 237 B. C. Only a few years ago, the Chinese discovered some Sanskrit documents in Lhasa, Tibet and sent them to the University of Chandrigarh to be translated. Dr. Ruth Reyna of the university said that the documents contain directions for building interstellar spaceships! The Chinese announced that they were including certain parts of the documents for study in their space program(* I had written on the ancient Sanskrit Texts found in Lhasa, Tibet)..’

    The Rig Veda, the oldest document of the human race includes references to the following modes of transportation:

    • Jalayan – a vehicle designed to operate in air and water. (Rig Veda 6.58.3)
    • Kaara- Kaara- Kaara- a vehicle that operates on ground and in water. (Rig Veda 9.14.1)
    • Tritala- Tritala- Tritala- a vehicle consisting of three stories. (Rig Veda 3.14.1)
    • Trichakra Ratha – Trichakra Ratha – Trichakra Ratha – a three-wheeled vehicle designed to operate in the air. (Rig Veda 4.36.1)
    • Vaayu Ratha- Vaayu Ratha- Vaayu Ratha- a gas or wind-powered chariot. (Rig Veda 5.41.6)
    • Vidyut Ratha- Vidyut Ratha- Vidyut Ratha- a vehicle that operates on power. (Rig Veda 3.14.1).

    Kathasaritsagara refers to highly talented woodworkers called Rajyadhara and Pranadhara. The former was so skilled in mechanical contrivances that he could make ocean crossing chariots. And the latter manufactured a flying chariot to carry a thousand passengers in the air. These chariots were stated to be as fast as thought itself. (source: India Through The Ages: History, Art Culture and Religion – By G. Kuppuram p. 532-533).


    According to Dr. Vyacheslav Zaitsev:

    “the holy Indian Sages, the Ramayana for one, tell of “Two storied celestial chariots with many windows” “They roar like off into the sky until they appear like comets.” The Mahabharata and various Sanskrit books describe at length these chariots, “powered by winged lighting…it was a ship that soared into the air, flying to both the solar and stellar regions.”
    (source: Temples and Spaceships – By V. Zaitsev – Sputnik, Jan. 1967 and Hinduism in the Space Age – By E. Vedavyas p. 31-32

    The mention of airplanes is found many times throughout Vedic literature, including the following verse from the Yajur-Veda describing the movement of such machines:

    “O royal skilled engineer, construct sea-boats, propelled on water by our experts, and airplanes, moving and flying upward, after the clouds that reside in the mid-region, that fly as the boats move on the sea, that fly high over and below the watery clouds. Be thou, thereby, prosperous in this world created by the Omnipresent God, and flier in both air and lightening. (Yajur Veda, 10.19)

    The Rig Veda, the oldest document of the human race includes references to the following modes of transportation:

    • Jalayan – a vehicle designed to operate in air and water. (Rig Veda 6.58.3)
    • Kaara- Kaara- Kaara- a vehicle that operates on ground and in water. (Rig Veda 9.14.1)
    • Tritala- Tritala- Tritala- a vehicle consisting of three stories. (Rig Veda 3.14.1)
    • Trichakra Ratha – Trichakra Ratha – Trichakra Ratha – a three-wheeled vehicle designed to operate in the air. (Rig Veda 4.36.1)
    • Vaayu Ratha- Vaayu Ratha- Vaayu Ratha- a gas or wind-powered chariot. (Rig Veda 5.41.6)
    • Vidyut Ratha- Vidyut Ratha- Vidyut Ratha- a vehicle that operates on power. (Rig Veda 3.14.1).

    Kathasaritsagara refers to highly talented woodworkers called Rajyadhara and Pranadhara. The former was so skilled in mechanical contrivances that he could make ocean crossing chariots. And the latter manufactured a flying chariot to carry a thousand passengers in the air. These chariots were stated to be as fast as thought itself. (source: India Through The Ages: History, Art Culture and Religion – By G. Kuppuram p. 532-533).


    According to Dr. Vyacheslav Zaitsev:

    “the holy Indian Sages, the Ramayana for one, tell of “Two storied celestial chariots with many windows” “They roar like off into the sky until they appear like comets.” The Mahabharata and various Sanskrit books describe at length these chariots, “powered by winged lighting…it was a ship that soared into the air, flying to both the solar and stellar regions.”
    (source: Temples and Spaceships – By V. Zaitsev – Sputnik, Jan. 1967 and Hinduism in the Space Age – By E. Vedavyas p. 31-32

    Vimanas  in Ramayana.

    It was capable of accommodating all the vanaras besides Rama, Sita and Lakshman.

                 Again in the Vikramaurvaisya, we are told that king Puraravas rode in an aerial car to rescue Urvasi in pursuit of the Danava who was carrying her away. Similarly in the Uttararamacarita in the flight between Lava and Candraketu (Act VI) a number of aerial cars are mentioned as bearing celestial spectators. There is a statement in the Harsacarita of Yavanas being acquainted with aerial machines. The Tamil work Jivakacintamani refers to Jivaka flying through the air. Kathasaritsagara refers to highly talented woodworkers called Rajyadhara and Pranadhara. The former was so skilled in mechanical contrivances that he could make ocean crossing chariots. And the latter manufactured a flying chariot to carry a thousand passengers in the air. These chariots were stated to be as fast as thought itself.

    The Arthasastra of Kautilya (c. 3rd century B.C.) mentions amongst various tradesmen and technocrats the Saubhikas as ‘ pilots conducting vehicles in the sky’. Saubha was the name of the aerial flying city of King Harishchandra and the form ‘Saubika’ means ‘one who flies or knows the art of flying an aerial city.’ Kautilya uses another significant word ‘Akasa Yodhinah’, which has been translated as ‘persons who are trained to fight from the sky.’ The existence of aerial chariots, in whatever form it might be, was so well-known that it found a place among the royal edicts of the Emperor Asoka which were executed during his reign from 256 B.C. – 237 B. C. The Vaimanika Shastra (Hindi edn) refers to about 97 works and authorities of yore of which at least 20 works deal with the mechanism of aerial Flying Machine, but none of these works is now traceable. The Yuktikalpataru of Bhoja includes a reference to aerial cars in verses 48-50 and a manuscript of the work belonging to the Calcutta Sanskrit College dated at 1870 A.D.

    We are thus in possession of some manuscript material and from the above it appears that there were Vimanas or aircrafts in ancient India and they followed the route over the western sea i.e. Arabian Sea – Africa – Atlantic ocean – Latin America/Mexico, this being the shortest route.

    Some ships also might have followed this route, but most of the cargo ships, however, had to follow the longer route over the Pacific ocean via Indonesia – Polynesia – Latin America/Mexico because of the favorable trade winds and the equatorial currents which made the navigation easier.

    And if the ancient Indians could perhaps boast of some form of air travel the Nazca lines of Peru acquire an added significance. Not only the scriptural references of aircrafts and the routes of navigation, even some base landing sites might have possibly been found in the tangled outlines and figures in the Pampas of Nazca. Maria Reiche, a German scientist, through her life-long dedication studied these seriously, preserved them from destruction and publicized them before the world. The huge figures which are visible from the sky might have helped the ancient pilots (Sauvikas) of India to land in Peru.

    (For more information please refer to Chapters on Pacific, Suvarnabhumi, War in Ancient India, Hindu Scriptures and Seafaring in Ancient India).


    The Nazca lines of Peru seem to be landing signal for the air chariots of pre-Colombian times. There are several references in Sanskrit texts about the Indian Vimanas carrying kings and dignitaries to pataldesa.Ramayana describes Ravana’s flight from Varunalaya (Borneo) to Rasatala (Peru).


    Prof. D. K. Kanjilal analyses the legend of the Matsya Purana (chapters 129) in his Vimana in Ancient India in the following words:

    “Behind the veil of legend and scientific truth comes out that three flying-cities were made for and were used by the demons. Of these three, one was in a stationary orbit in the sky, another moving in the sky and one was permanently stationed in the ground. These were docked like modern spaceships in the sky at particular time and at fixed latitude/longitudes. Siva’s arrow obviously referred to ablazing missile fired from a flying satellite specially built for the purpose and the brunt spaceship fell in the Indian ocean. Vestiges of onetime prosperous civilization destroyed in battles only flicker through these legends.


    These references sharply point to the use of some kind of aerial flying vehicles known as Vimana apart from mechanical contrivances, armored cars, various types of missiles etc. These references sounding queer and unscientific even in recent past have been approximated to the present-day technology through the innovation of highly sophisticated weapons and of the space-satellites likeMariner, Vostok, Soyuz, Aryabhatta etc. These facts require more than a passing notice.


    The flying vehicles were firstly designated Ratha (vehicle or carriage) in the Rig Veda. Vimanas possessed a very high speed. This aerial vehicle was triangular, large, 3-tier uneven and was piloted by at least three persons (tribandhura). It has three wheels which were probably withdrawn during aerial flight. In one verse the chariot is said to have three columns. It was generally made of anyone of the three kinds of metals, gold, silver or iron but the metal which usually went into its make up according to the Vedic text was gold. It looked beautiful. Long nails or rivets were attached to it. The chariot had three types of fuel. Possessing very fast speed, it moved like a bird in the sky soaring towards the Sun and the Moon and used to come down to the earth with great sound”.

    (source: The Indians And The Amerindians

    By Dr. S. Chakravarti p.141-146).
    In addition to the Vaimanika Shashtra, the Samarangana Sutradhara and the Yuktikalpataru of Bhoja, there are about 150 verses of the Rig Veda, Yajurveda and the Atharvaveda, a lot of literary passages belonging to the Ramayana, the Mahabharata, the Puranas, the Bhagavata and the Raghuvamsa and some references of the darma Abhijnanasakuntalam of Kalidasa, the Abimaraka of Bhasa, the Jatalas.

    The Avadhana Literature and of the Kathasaritsagara and a number of literary works contained either references to graphic aerial flight or to the mechanism of the aerial vehicles used in old ages in India. In the Ramayana both the words “Vimana” and “Ratha” have been used:

    • Kamagam ratham asthaya…nadanadipatim (3. 35. 6-7). He boarded the aerial vehicle with Khara which was decorated with jewels and the faces of demons and it moved with noise resembling the sonorous clouds.
    • You may go to your desired place after enticing Sita and I shall bring her to Lanka by air.. So Ravana and Maricha boarded the aerial vehicle resembling a palace (Vimana) from that hermitage.
    • Then the demons brought the Puspaka aerial vehicle and placed Sita on it by bringing her from the Ashoka forest and she was made to see the battle field with Trijata.
    • This aerial vehicle marked with Swan soared into the sky with loud noise.

    Reference to Flying vehicles as Vimana occur in the Mahabharata in about 41 places of which the air attack of Salva on Krisna‘s capital Dwaraka deserve special notice. The Asura king Salva had an aerial flying machine known as Saubha-pura in which he came to attack Dwaraka.


    He began to shower hails, and missiles from the sky. As Krishna chased him he went near the sea and landed in the high seas. Then he came back again with his flying machine and gave a tough fight to Krishna staying about one Krosa (about 4,000 ft) above the ground level. Krishna at last threw a powerful ground-to-air weapon which hit the plane in the middle and broke it into pieces. The damaged flying machine fell into the seas. This vivid description of the air attack occurs in the Bhagavata also. We also come across the following references to missiles, armaments, sophisticated war-machines and mechanical contrivances as well as to Vimanas in Mahabharata.

    The inscriptions of emperor Asoka are by far the most authentic records in support of the existence of aerial flying vehicles which are mentioned as Vimana. The existence of aerial chariots in whatever form it might be was so well-known that it found a place among the royal edicts of the Emperor Asoka which were executed during his reign from 256 B.C.- 237 B.C. Vatsyana in his Kama Sutra referred to mechanical contrivances in their origin among 64 ancillary Sciences.

    The Arthasastra of Kautilya (3rd century B.C), a treatise mainly dealing with political economy but containing information on kindred scientific topics refers to a class of mechanic known as Saubhika…

    8. Sundara Vimana: Vertical Section

    A discussion regarding the existence of and the use of flying vehicles in ancient India naturally waits for an advanced state of knowledge in cosmogony. A close and careful study of the Vedic literature shows that it was not just a collection of primeval poetry but a varied literature of a powerful and dynamic society where the people had the knowledge of cloud and vapor, of the season and of the monsoon, of the different types of wind, of the expanse of the sky, of the strength of the wind blowing at high speed and so on.

    Three types of cloud have been referred to in the Rig Veda (1.101.4). which also states that smoke and vapor surcharged with water turn into cloud. Formation of vapor through heat and the subsequent formation of cloud has been referred to in the Vedas. Indian meteorological concepts thus date back to the age of the Rig Veda.

    Citations.

    http://trusciencetrutechnolgy.blogspot.in/2013_07_01_archive.html

    http://www.bibliotecapleyades.net/vimanas/esp_vimanas_2a.htm

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  • Intellectual Bhakti Kalidasa’s Genius Vagarthaviva

    Bhakthi is a form of worshiping God.

    Bhakti is Love tinged with Devotion, Mind, Heart and Soul.

    It is an emotional bond.

    God as Man and woman.Jpg
    Man Woman God,Shiva and Sakthi

    Like Music Bhakthi can transport you into God’s.

    Hinduism attaches importance to Bhakthi, mostly emotional as a means of being with God, Realizing the Ultimate Cause.

    There are other means too.

    Path of Knowledge, Gnana Yoga, where one is wise enough to realize the transient nature of things and the Permanence that is God/Reality.

    Path of Action, where the renunciation of the fruits of action, at the mental level itself, is Karma Yoga.

    Raja Yoga , the path of controlling breath by strict practices.

    All these paths are from experience.

    Logic plays a secondary role.

    And these have delivered results as the Lives of Great souls reveal.

    I have noticed a fact that there seems to be two approaches even in bhakti.

    When I go through some inspired Sanskrit Poems, Tamil Verses, in the Bhakthi Bhava, the approach of Love  of/to God,I find there are two distinct types.

    One is Bhakthi tinged with Reason and Intellectual approach.

    Another is total emotional immersion in the Love of God.

    And example of an intellectual bhakti may be discerned in Kalidas’s first sloka of Raghuvamsa , which set about describing the Dynasty of Lord Rama.

    Curiously the work that is about to talk about Lord Hari,Vishnu , begins with a Sloka on Lord Shiva and Parvathi.

    This is the sloka.

    The genius of Kalidasa lies in that this poem is open for Twenty Five meanings!

     

    वागर्थाविव संपृक्तौ वागर्थप्रतिपत्तये|
    जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ||
    Vag-arthou-iva-samprukthou-vag-artha-prati-patthaye-jagathah-pitarou-vande-parvathi-paramesvarou”
     I salute the parents of the world, Parvati and Parameswara, who are inseparable like the “vAk” (word) and “artha”(its meaning); to gain expertise in the right understanding of the words and their meanings.

    ‘The verse is addressed to many deities depending on how we interpret it. Thus:

    1. Parvathi parameshwarau  means divine Mother Parvathi and Lord Shiva. Very simple! This is the original intended meaning by Shri Kalidas.  All other meanings are our interpretations. Arrangement(anvaya): Vagrthapratipattaye vagarthaviva sampriktau jagatah pitarau parvatiparameshwarau vande |
    2. Sampruktau Parvathi Parameshwarau:  inseparable or conjoined (samprukatu) Lord Shiva and Shri Devi. What is the deity? Lord Ardha Nareeshwara! i. e. the deity in which right half is Lord Shiva and left half is Shri Devi. Just amazing! Right?  Arrangement(anvaya): Vagrthapratipattaye  jagatah pitarau vagarthavivasampriktau parvatiparameshwarau vande |
    3. Parvathipa – rameshwarau: Pravathipa means Lord Shiva and Rameshwarau means Lord Vishnu. In other words, it represents popular deity Hari –Hara(Lord Vishnu and Lord Shiva). sampriktau suggests that Hari and Hara are intricately connected together. Arrangement(anvaya): Vagrthapratipattaye  jagatah pitarau vagarthavivasampriktau parvatipa-rameshwarau vande |
    4. Parvathipa – rameshwarau: Parvathipa means Lord Shiva accompanied with Parvathi Devi. Rameshwaru means Lord Vishnu with Ramaa(Shri Lakshmi). Arrangement(anvaya): Vagrthapratipattaye  jagatah pitarau vagarthavivasampriktau parvatipa-rameshwarau vande |
    5. Vagarthau parvathipa rameshwarau:  Saraswati Devi is Vak and Artha is Brahma.Parvathipa : Parvathi Devi and Lord Shiva. Rameshwarau: Shri Lakshmi and Lord Vishnu. This is par excellence! It represents the Hindu Trinity Lord Brahma, Lord Vishnu and Lord Shiva along with their consorts Saraswati Devi, Lakshmi Devi and Parvathi Devi. Arrangement(anvaya): Vagrthapratipattaye  jagatah pitarau iva(sthithau),  sampriktau, vagarthau parvatipa-rameshwarau (cha) vande | HereVagartha indicates Brahma accompanied by Saraswati Devi. Samprikta refers to Lord Brahma and Lord Hari-Hara. It says, Lord Brahma, Hari(Lord Vishnu) and Hara(Lord Shiva) are intricately connected together.

     

    What are we Praying for in the verse?

    Again, it depends on how we interpret! Let us see.

    1. Vagarthah  pratipattaye:  Vak also means word and speech. Artha means meaning. So, the entire phrase says – To know the word and its meaning. In other words, to get expertise in literary skills.  It also means – to know speech and its meaning to get proficiency in oratory skills. This is the original meaning  as intended by Shri Kalidasa.
    2. Vak also means The Holy Vedas. So, the word vagartha means: meaning of the Vedas. Now, vagartha pratipattaye means to access the meaning of the Vedas. All others below are our insights.
    3. Pratipaataye vagartha:  Pratipattaye means to access. Vagartha :  inseparable Lord Shiva and Parvathi Devi. They together form the Universal Self. Accessing means to merge with them. In other words, we intend to merge with the Universal Self, i.e. to achieve liberation(moksha).  This is the real goal of yoga and the highest purpose of human life.
    4. Vak-artha, pratipattaye: Vak also means Shri Devi  or Kundalini Devi  who gives liberation(moksha) and artha  means prosperity or material enjoyment(bhoga). Shruti(The Vedas) says – Devim vacham ajanayanta devah etc. Remember, Shridevi is the consort(power) of Lord Shiva who is the ruler of liberation(moksha). It is well-known that Shri Lakshmi is the presiding deity of prosperity and material comforts.
    5.  Vak, artha  and pratipattaye: As said earlier, Vak  symbolizes liberation(moksha),Artha  is material enjoyment(bhoga) and Pratipatti means Knowledge.  Together, these three represent three presiding deities Parvathi Devi, Lakshmi Devi and Saraswati Devi respectively. Caution: This meaning is based on vagartha (word and its meaning) only. So, may not be grammatical.

    Mathematically, how many meanings are possible now? 5 x 5 = 25! You may pick your combination and pray now! Is it not magical and amazing!?  Hats off to the Great Poet Shri Kalidasa!!

    Citation.

    https://rudrakshayoga.wordpress.com/2013/03/20/vagarthaviva-a-magical-verse-from-poet-kalidasa-one-prayer-25-meanings-part-3/

     
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  • Poems That Killed ,Revived Kalidasa Nandhik Kalambakam

    It is the practice of brahmin households to prohibit people from saying words that are inauspicious.

    To drive home this point, it is said that there are Asthu Devatas who say’Asthu’ (May It Be”, and the inauspicious things might take place.

    Yatha Bhaavo That Bhavathi,

    As your dispositions, so are the Happenings.

    Lord Krishna , while talking about Satva, Rajas and Tamo Gunas in the Bhagavad Gita observes that one becomes what one eats and what he thinks.

    Indian culture and Religion repeatedly emphasize the concurrence of Thought and deed.

    In one place, Krishna states that to attract the sin of Killing one need not commit Murder, the very thought would do!

    So one is advised to think , speak and do good.

    On the Philosophical side, Savitri is the Stage when the thoughts remain as thoughts on the verge of becoming words.

    Once Sarasvati touches it, the thoughts become words.

    Please read my Post.

    The primordial sound is Pranava, the First Cause, Brahman is Attributed with it.

    One has to be careful in what he/she utters.

    Words become very powerful in the hands of a Master craftsman like Kalidasa or a Spiritual Leader Liked Swami Vivekananda.

    His famous quote,

    Kalidasa,Sanskrit Poet.jpg Kalidasa,Sanskrit Poet.

    ‘Arise, Awake, Stop not ‘

    became powerful and ushered in resurgence.

    Ordinary words, but when uttered by a spiritual man, they become powerful.

    Let me narrate, quote two incidents from Indian History.

    For me things handed down by my ancestors is History.

    Not what others write from another country.

    I shall not use the term Folk lore as this term now is considered to be a pack of lies or result of Imagination.

    In the cases I am about to mention these verses are facts.

    As to their application the original authors must rise from the Dead.

    Kalidasa and Bhoja(Bhoja is considered to be Vikramadhitya and there is a controversy on this ‘I shall be writing on this.

    ‘The king knew well the talent of Kalidasa as a poet especially the innumerable ways of bringing simile in his poems. He developed a strange interest, knew not why, but he desired Kalidasa to sing the last song for him before he died. Normally the ‘ charama sloka’ is sung only after a person is dead. Kalidasa, therefore made it clear to the king that as he was blessed by Kali Devi if he sang the song, the king ‘s life would come to an end immediately. Bhoja raja got angry with Kalidasa for disobeying his order and banished him from the capital of ‘ Tara’.

    Kalidasa wandered in the city of Tara in the disguise of a hermit . But the King could not get over his strange wish. He launched a search to find Kalidasa’s whereabouts and for this purpose he disguised himself as a ‘ Sooth Sayer ‘ . The king spotted the sanyasi near a mutton shop and to make sure that he was none other than Kalidasa he enquired him, ” You are a Sanyasi, how come you are seen near a mutton shop , Is it not unbecoming of a true sanyasi?”

    Kalidasa, impulsively reacted to the remarks of thr Sooth Sayer but unfortunately let the cat out of the bag by saying, ” Where else a person can go after his banishment by the king?”. On hearing this, the king became sure that he was Kalidasa only. The King decided to play a strategy to make Kalidasa to sing the last song for him. He continued the conversation with Kalidasa.

    In due course Kalidasa also enquired the Sooth Sayer where from he hailed. The Sooth Sayer replied ” Tara” .

    Kalidasa with genuine interest in the welfare of King Bhoj enquired him for the news of Tara and whether the King Bhoj was keeping sound health. The Sooth Sayer replied ,” Oh, what a calamity, Bhoj King is dead as he was unable to bear the separation from his best friend and poet Kalidasa”. Kalidasa was shattered to hear the sad news about his friend and with great grief sang the ‘ charama sloka’ in praise of the departed soul!!

    ” ATHYA TARA NIRATARA NIRALAMBA SARASWATHI;
    PANDITHAHA KANDITHA SARVE BHOJRAJA DIVAM GATHE ”
    ( meaning :- The Kingdom of Tara is now deserted due to the demise of Bhoj Raj. The learned poets would get punished anywhere now as Goddess Saraswathi has lost the grip and interest.)
    The moment Kalidasa sang the charama sloka, the King in thedisguise of the’ Sooth Sayer ‘ fell down on the ground and died. Kalidasa was quick to realise that it was none other than his best friend and the King himself who acted as the Sooth Sayer to hear the charama sloka from him.

    Kalidasa prayed to Kali Devi to spare his friend by singing the same sloka to give the opposite meaning:-

    ” ATYA TARA SADHA TARA SADALAMBA SARASWATHY
    PANDITHA MANDITHA SARVE BHOJ RAJA DIVAM GATHE ”

    Kali Devi was moved by Kalidasa’s poetry and gave a new lease of life to the King but restricted it to a time of 3.75 Nazhi. ( a very short time only)

    Kalidasa embraced the King and told about the short life at his disposal. King Bhoj urged to compose Kalidasa an epic and Bhoj also joined him to make it.The kavya is well-known as” Bhoj Sambu ” ..

    Nandhi Kalambakam, Tamil.

    King Parameshwara Varma, A Pallava, from Kanchipuram died leaving his second wife and her three children uncared for.

    They were driven out by the new King,.

    Those driven out vowed that they would regain the Kingdom.

    While the two elder brothers chose to fight it out, Nandi varman was advised that he could kill the King by Tamil Poem!

    he chose this option and became a scholar in Tamil.

    His fame reached the King.

    He , in the meanwhile lost interest in Kingdom and was totally devoted to Tamil saying that after learning Tamil deeply, these worldly things did not matter and he would pursue Tamil full-time.

    The King called for him and asked him to sing a series of songs on him in the kalambakam format.

    This format is a special one.

    I shall Post separately.

    Nadhivarma informed his brother that his rendering of the 100 poems in kalambakam Format would kill the king.

    The King replied that if by his death, Tamil would gain such a gem of a Poem, he was willing to die.

    So hundred Pandals, Shamianas were erected , 99 were empty and the last one had he King seated.

    As Nandhi Kalambakam by Nadhivarma was in progress, the Pandals caught fire, and turned into ashes at the end of each Poem

    When the last Poem was sung, the King and the last Pandal caught fire and the King died.

    This is the Poem.

    ‘
    வானுறு மதியை அடைந்ததுன் வதனம்
    மறிகடல் புகுந்ததுன் கீர்த்தி
    கானுறு புலியை அடைந்ததுன் வீரம்
    கற்பகம் அடைந்ததுன் கரங்கள்
    தேனுறு மலராள் அரியிடம் புகுந்தாள்
    செந்தழல் அடைந்ததுன் தேகம்
    நானும் என்கலியும் எவ்விடம் புகுவேம்
    நந்தியே நந்தயா பரனே.

    Rough Translation.

    Your Face become the Moon.

    Fame, the Ocean.

    Valour, the Tiger,

    Hands-the Karpaga vruksha, (that gives whatever one wishes for),

    Wealth, Lakshmi Reached Hari(Vishnu)

    Where would we go,,Me and My Tamil”

    To conclude that this is quite possible and let me narrate an incident from the Great Tamil Poet  Kannadasan’s Life.

    ( I had the honor of knowing him personally)

    When Nehru died , he wrote an eulogy on him in Tamil weekly Kumudam( The magazine is being published even now)

    The next day, his perfectly healthy grand child died.

    Kannadasan said that even while writing the verse I knew that this poem consisted Aram.

    Aram means, in this context, certain words ,though unintended, might harm.

    The general meaning of Aram is Dharma.

    I would never write an eulogy in future.

    He followed this.

    People may be aware that the legendary TMS, TM Soundararajan of Tamil Film industry lost his market after singing a song reluctantly in T.Rajendar’s ‘OruThalai Ragam..

    Such is he power of language!

    Readers from other languages may share similar news involving the language.

    http://www.chennailibrary.com/mis/nandhikalambagam.html

  • Brahma Suktham,Hymn On Brahma Kalidasa

     

    As Lord Brahma is the Creator and  the cause of birth, which is the cause for misery,Brahma does not have many temples and the Stotras on Him are

    Limited.

     

    Lord Brahma with His wife arasvati
    Brahma and Sarasvati

     

    Listen to the Brahma Suktham.

     

    Brahma Suktham Audio

    I have not been able to get some Stotras on Lord Brahma, excepting this one from Kalidasa in Kumara Sambhavam.

     

    Brahma Suktha by Kalidasa
    Brahma Suktham

     

    ”

    Salutations for You, Who has the three forms of Brahmā, Viṣṇu and Śiva, Who was the only being before the creation, Who divided (the universe) into the three qualities (guṇa), and Who became manifold thereafter.[2.4] O Brahmā, Who is the unborn One! That ever-sprouting seed which was cast by you in the midst of the waters, from that the universe — comprised of the inert and the ambulant (came into existence). You are hailed as its progenitor.[2.5]

    Bringing forth your glory by the means of your three states (of Brahmā, Viṣṇu and Śiva), You, Who is the One, become the cause of generation, protection and destruction.[2.6] The feminine and the masculine are the divisions of Your own, of One whose form was split (into two) out of a desire to sire. These two came to be known as the mother and the father of the creation forming a part of the (process of) generation.[2.7]

    The sleep and the awakening of Yours, Who has split (time) into night and day as per your own measurement of time, are the dissolution and appearance of the beings.1[2.8] You are the cause of the universe, and are yourself without a cause. You are the end of the world, and are without an end. You are the beginning of the universe and are without a beginning. You are the Lord of the universe, and without a Lord.[2.9]

    You know Yourself by Your own self; You create Yourself by Your own self; You are absorbed in Yourself only by Your own capable self.[2.10] You are fluid and You are solid; You are infinite and You are infinitesimal; You are light and You are heavy; You are manifest and You are non-manifest; and You have Your free will in the (eight) siddhi (such as aṇimā).[2.11]

    You are the cause of the speeches (hymns of the Veda), whose commencement is the ॐ, whose enunciation is by the the three rules (of udātta, anudātta and svarita), whose execution is the yajña and whose fruit is heaven.[2.12] They determine You to be the prakṛti, which incited (the beings) to the objects (of existence — dharma, artha, kāma and mokṣa). And they know You only to be the observer of the prakṛti, the indifferent puruṣa.[2.13]

    You are the father of the ancestors; You are the God of the demi-gods; You are superior to (even) the most supreme, and You are the creator of the creators.[2.14] You are the offering and (also) the offerer; You are the enjoyment and (also) the enjoyer; You are the known and (also) the knower; You are the ultimate object of meditation and (also) the meditator.[2.15]

    Footnotes:

    1 A day of Brahmā is said to be made of one hundred four-yuga cycles (caturyugī). The first fifty cycles is when the universe stays and in the next 50 is is dissolved.

    2 The translator wishes to thank the commentary of Mallinātha for its invaluable insights.

    References

    Poet: Mahākavi Kālidāsa

    Book: Kumārasambhavam

    © Stutimandal 2011-05-10 Posted here in Public Interest.

    Link.

    Brahma Sthuthi

    Translator: Guruyaamya

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