By Alain Daniélou
Examines how visionaries of historical Shaiva knowledge outlined our position in production, how now we have deserted this position, and motion we will take to creatively impression our future. the writer spent greater than twenty years in India and used to be the most individual orientalists.
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The Bhagavad Gita, the track of the Lord, is an historic Hindu scripture approximately advantage, offered as a discussion among Krishna, an incarnation of God, and the warrior Arjuna at the eve of an exceptional conflict over succession to the throne.
This new verse translation of the vintage Sanskrit textual content combines the abilities of top Hinduist Gavin Flood with the stylistic verve of award-winning poet and translator Charles Martin. the result's a dwelling, bright paintings that avoids boring pedantry and continues to be actual to the terribly influential unique. A devotional, literary, and philosophical masterpiece of unsurpassed attractiveness and inventive relevance, The Bhagavad Gita has encouraged, between others, Mahatma Gandhi, J. Robert Oppenheimer, T. S. Eliot, Christopher Isherwood, and Aldous Huxley. Its common themes—life and dying, struggle and peace, sacrifice—resonate in a West more and more attracted to japanese non secular stories and the Hindu diaspora.
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Examines how visionaries of old Shaiva knowledge outlined our position in production, how we have now deserted this position, and motion we will be able to take to creatively impact our future. the writer spent greater than two decades in India and was once probably the most uncommon orientalists.
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Extra info for While the Gods Play: Shaiva Oracles and Predictions on the Cycles of History and the Destiny of Mankind
32–39. aya, chapter 1, in the Javāharlāl Caturvedı¯ edition, pp. 7–11; in the Ved Prakāś edition, p. 56. ā verse called Hazārā (Hajārā). The name Brahma refers to Bı¯rbal, Akbar’s courtier. Other poets in the list are sometimes given shorthand designations; an explanatory key is provided by Javāharlāl Caturvedı¯ on pp. 9–10. The term translated as “poetry” in the ﬁnal line is kāvya. ā a poetic genealogy that would make it amenable to the aesthetic categories that had been developed to describe the virtues of elevated Sanskrit verse (kāvya).
The exact sequence of mātrās is not governed by formal regulation. 41 (6) Each verse contains a caesura (yati), which falls either exactly halfway through the line or, more frequently, at a slightly later point. In the sār meter, for example, it divides the verse into sixteen and twelve instants. ek is normally equivalent in length to the portion of a verse that precedes the caesura (in sār, sixteen instants). itā) or seal (chāp) appears in the poem itself, usually in the ﬁnal verse but sometimes in the penultimate verse instead.
In the sixteenth century, the term Hari was also frequently used as a designation for God in an even more general sense—the sort of God who loved to help those who loved him, and had designed the world as a theater in which that sort of action could be performed. So Hari can mean many things, but when Nābhādās speaks of Hari in connection with Sūrdās, he is clearly thinking of Krishna, the deity whose trademark is his “playful acts,” his līlās. For Nābhādās, as for Rāmcandra Śukla and countless others, Sūrdās is ﬁrst and foremost a poet of Krishna.
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