Kisari Mohan Ganguli - The Mahabharata of Krishna-Dwaipayana Vyasa
Здесь есть возможность читать онлайн «Kisari Mohan Ganguli - The Mahabharata of Krishna-Dwaipayana Vyasa» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Издательство: ManyBooks.net, Жанр: на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.
- Название:The Mahabharata of Krishna-Dwaipayana Vyasa
- Автор:
- Издательство:ManyBooks.net
- Жанр:
- Год:неизвестен
- ISBN:нет данных
- Рейтинг книги:3 / 5. Голосов: 1
-
Избранное:Добавить в избранное
- Отзывы:
-
Ваша оценка:
- 60
- 1
- 2
- 3
- 4
- 5
The Mahabharata of Krishna-Dwaipayana Vyasa: краткое содержание, описание и аннотация
Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «The Mahabharata of Krishna-Dwaipayana Vyasa»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.
The Mahabharata of Krishna-Dwaipayana Vyasa — читать онлайн бесплатно полную книгу (весь текст) целиком
Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «The Mahabharata of Krishna-Dwaipayana Vyasa», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.
Интервал:
Закладка:
50. Yatra is not to be taken as a locative here. It is equivalent to yatah or for which.
51. Tasmin is taken, by Nilakantha as Apana sahite Prane.
52. Utkarshena anayati, hence Udana, says Nilakantha. The sense of the whole passage seems to be this. Worldly life is regulated by the life-breaths. These are attached to the Soul and lead to its individual manifestations. Udana controls all the breaths. Udana is controlled by penance. It is penance then that destroys the round of rebirths and leads to absorption into Brahman.
53. The meaning seems to be this: they who renounce sensuous objects can create them when they like. One casting off smell that has earth for its object can create earth when he likes.
54. What is stated in this passage is, shortly, this: the ear, etc, are the Hotris or sacrificing priests who are to pour libations on the sacrificial fire. The perceptions and functions of those organs constitute the Havi or libations that are to be poured. The points, wind, etc, are the Agni or sacred fires on which they are to be poured. These statements are recapitulated in verse 5. The objects of the senses, of the same as those in verse 3, are the fuel, previously described as Havi or libations, which are to be burnt off by being cast into the fires.
55. The Hridaya or heart is the Garhapatya fire. From it is produced another fire, the Ahavaniya, viz., the mind. 'The heart was pierced. From the heart arose mind, for the mind arose Chandramas,' is the declaration of the Sruti cited by Nilakantha. The Ahavaniya fire or mind is the mouth. Asyam ahavaniya is the Sruti. Annamayam hi Somya manas, apomayah pranah, tejomayi vak is the Sruti that bears upon this. Food or fire, poured into the mouth develops into speech or word. Vachaspati implies the Veda or word. First arises the word, the mind sets itself upon it, desirous of creation. This corresponds with the Mosaic Genesis.--'God said; let there be light, and there was light.' The word was first.
56. The last question seems to be this: in dreamless slumber, the mind disappears totally. If it is the mind upon which Prana rests, why does not Prana also disappear? It is seen to separate itself from mind, for it continues to exist while mind does not exist. If so, i.e., if existing, as it must be admitted to do, why does it not apprehend objects? What is it that restrains its powers of apprehension?
57. Bhutatmanam is ordinary Prajapati. Nilakantha takes it to mean here individual Jiva or self.
58. It is, through words that desirable fruits, visible and invisible, are acquired. Of course, word means both ordinary speech and Vedic Mantras.
59. The speaker is the Brahmana, which Nilakantha explains to mean 'the Brahmana named Manas or Mind'. Instead of such a learned interpretation, we may take it as implying that the Brahmana is repeating the answer which Bhutatman, i.e., Prajapati or Jiva, made to Word. The Brahmana is the real speaker. He recites the words of Jiva. Immovable, according to Nilakantha, means 'that which is seizable by the external senses'; and 'movable', that which is beyond the ken of the senses, such as heaven, etc. The external world being only a manifestation of the mind, it is spoken of here as identical with it. So, the ideas in the mind which are not due to the senses, are only the mind. This is the movable mind. That mind depends on word or the scriptures.
60. Telang gives a different version of this verse. I offer a verbal tendering, without attempting to explain it.
61. i.e., as noisy or noiseless.
62. I have given as close a verbal rendering of the passage as possible. The sense, however, is not very intelligible to me. The gloss of Nilakantha is as unintelligible as the text. Telang also has given a verbal rendering which differs from the above slightly. His foot-notes do not, I think, bring out the meaning at all. As regards the two vernacular versions, both are useless.
63. The correct reading is cha after arthan and not twam after it. Hence, the Senses say that, without ourselves and without those which are our objects, thou canst not have thy enjoyments.'
64. Thus creatures may exist through us, even though mind may be out of order.
65. Both mental purposes and dreams having failed to gratify him.
66. The reading sarvam in the second line is incorrect, though Nilakantha adopts it. The different portions of the fire are indicated as the different attributes. The smoke is of the form of Darkness (Tamas): the ashes are the attributes of Passion; while the blazing flame, that into which the oblation is thrown, is the attribute of Goodness.
67. I give a close rendering of these verses, without endeavouring to bring out the sense as explained by the commentators. The printed texts are not correct. The text adopted by Nilakantha differs from that of Arjuna Misra. The very order of the verses is not uniform in all the texts.
68. 'These' refers to action, agent and instrument. The qualities of which they are possessed are goodness, passion, and darkness.
69. What is stated in these two verses is this: it is the Senses that enjoy; and not the Soul. This is well known to those that are learned. On the other hand, those that are not learned, regard this or that to be theirs, when in reality they are different from them. They are their selves, and not their senses, although they take themselves for the latter, ignorantly identifying themselves with things which they are not.
70. What is stated here is this: Restraining the senses and the mind, the objects of those senses and the mind should be poured as libations on the sacred fire of the Soul that is within the body.
71. i.e., truth is the Sastra of the Prasastri.
72. Narayana is taken by Nilakantha to stand here for either the Veda or the Soul. The animals offered up to Narayana in days of old were the senses offered up as sacrifices.
73. Srota here means preceptor or dispeller of doubts. Amaratwam is the status of the immortal head of all.
74. I think Telang is not correct in his rendering of this verse. What is stated here is plain, viz., that it is He who is the preceptor and the disciple. Ayam srinoti,--'prochyamanam grihnati,--'tat prichcchatah ato bhuyas anye srinanti is the grammar of the construction. The conclusion then comes--'gururanyo na vidyate'.
75. One who understands the truth.
76. The seven large trees are the five senses, the mind, and the understanding. The fruits are the pleasures and pains derived from or through them. The guests are the powers of each sense, for it is they that receive those pleasures and pains. The hermitages are those very trees under which the guests take shelter. The seven forms of Yoga are the extinctions of the seven senses. The seven forms of initiation are the repudiation, one after another, of the actions of the seven senses.
77. The correct reading is bhavantyanityah and vahuswabhavan.
78. Swabhava is explained by Nilakantha as sutaram abhava.
79. The sense seems to be this; the life-winds indicate the operations of the several organs of action: the tongue, which stands here for all the organs of perception, of the sensual perceptions; the mind, of all the internal operations; the quality of goodness, of all pleasure; and the quality of passion, of all kinds of pain. These, therefore include the whole external and the internal worlds. He that is free from these, transcends sin, for sin is destroyed by freedom from these, knowledge being the means of attaining to that freedom.
80. 'I have no fault etc.'--The sense seems to be that by doing these rites with the aid of Mantras I have done that which has been approved from ages past by those who have always been regarded wise. My eyes, however, have now been opened by thee. I should not be held responsible for what I did while I was ignorant.
81. Kshatriyas always require Brahmanas for assisting them in their acts. These particular Kshatriyas, through fear of Rama, fled to the forests and mountains. They could not, accordingly, find Brahmanas for assisting them. Their children, therefore, fell away from the status of Kshatriyas and became Vrishalas or Sudras.
Читать дальшеИнтервал:
Закладка:
Похожие книги на «The Mahabharata of Krishna-Dwaipayana Vyasa»
Представляем Вашему вниманию похожие книги на «The Mahabharata of Krishna-Dwaipayana Vyasa» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.
Обсуждение, отзывы о книге «The Mahabharata of Krishna-Dwaipayana Vyasa» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.