SANATHANA - DHARMA - LIFE

SANATHANA DHARMA LIFE NOTES

INDEX

1. HINDU’s SANATHANA DHARMA on page 3

2. SANATHANA DHARMA IN VEDIC VIEWS on page 6

3. VEDIC WAYS OF PURUSHARTHAS on page 9

4. PURUSHARTHA–The Blue Print of Practical LIFE on page 12

5. MOKSHA on page 16

6. MOKSHA & SWARGAM : POORTHA & ISHTA on page 19

7. PARAM DHAANAM – Best Offering on page 21

8. RITUALS on page 26

9. TEMPLE RITUALS on page 30

10. TEMPLES AND ITS POWER on page 34

11. AGAMA SHASTRA on page 38

12. ENERGY CREATED IN TEMPLES on page 41

13. ENERGY IN HYMNS/ MANTRAS on page 45

14. PRAYERS IN DAILY LIFE on page 48

15. IMPORTANCE OF KARMA (ACTION) on page 52

16. MEDITATION IN ACTION on page 56

17. BHAGAVAD GITA on page 60

18. BRAHMA-VIDYA on page 65

19. YOGA SASTHRAM on page 69

20. UPANISHADS on page 73

21. VEDAS on page 77

22. FOUR VEDAS on page 81

23. UPAVEDA on page 86

24. VEDANGAS on page 91

25. SAMHITAS on page 95

26. BRAHMANAS - Sruti and Ritual Guide on page 100

27. ARANYAKAS on page 104

28. MAHABHARATA – PANCHALI, DICE & EXILE on page 114

29. MAHABHARATHA – WAR on page 118

30. Rivalry PLOT due to DRAUPADI on page 123

31. DIES GAME AND EXILE – DRAUPADI on page 129

32. KURUKSHETRA WAR AND DRAUPADI on page 135

33. GANDHARI– SADDEST & POWERFUL WOMAN on page 141

34. KUNTI : THE PERFECT DEVOTED MOTHER on page 146

35. YUDHISHTHIRA (DHARMARAJA) – Towards War on page 152

36. KURUKSHTHRA WAR and DHARMAPUTHRA on page 157

37. DUDRYODHANA UNDER DHRITHARASHTRA on page 163

38. DURYODHANA’S KURUKSHETRA WAR on page 169

39. WAR - 18th Day : DURYODHANA’s END on page 174

40. ASHWATHAMA - SON OF DRONACHARYA on page 180

41. ASHWATHAMA IN WAR AFTER DRONA on page 187

42. ABHIMANYU on page 191

43. PANDU on page 196

44. SHAKUNI - THE MASTER CONSPIRATOR on page 202

INDEX

45.

1. HINDU’s SANATHANA DHARMA

HINDU – Religion

The name ‘Hindu’ was used by Persians or such people from outside India who for referring the people living near the river Sindhu (Indus) and its eastwards. Later on, the faith of indigenous people of the region came to be grossly known as Hinduism, and today geographical identity is lost, and the religious identity is kept for the word.

The word Religion is from French (obligation/bond/reverence) and Latin (to bind) and used in Middle English for ‘life under monastic vows’. Today Religion technically refers to a set of hard and fast rules and regulations established written in a holy book which the believers must abide by and have a stern faith in it. In Urdu/Farsi religion is called ‘Mazhab’ but Sanskrit has no word equal to Religion, as in India we had no religion. Hinduism is not a religion but is a way of life called Sanathana Dharma followed by the people in this part of the world, living beside the river Sindhu, from the Himalayas to the Indian Ocean.

Himalayam Samarabhya Yavadindu Sarovaram
Tham Devanirmitham Desam Hindusthanam Prachakshath

SANATHANA DHARMA

Dharma is; righteousness, duty, morality, holiness, values and virtues; again not well defined. For any individual, he could have his own dharma along with family dharma, professional dharma, social (political/friends/community/cast/etc.) dharma, region (village/town/state/nation/world) dharma and can always have a conflict at various levels. A dharmic person balances all these dharma’s while giving priority from individual to global.

Sanathana Dharma has remained for long and is being followed without any stipulated schedules and practices, but it is transferred from generations to generations. The reason being - its life principles were still modern in outlook though were generated millions of years back. Thus, it is called Nithya Noothana (Most Modern) and Chira Purathana (Oldest of the Oldest).

In today’s context of global city life and mixing of different culture across the globe, what we as Indians (the people from this geographical region) can carry and spread to the world across is Sanathana Dharma. It is a code of ethics, a way of living through which one may mingle with people around to be happy - moksha (enlightenment, liberation). It is the world's most ancient culture with ever existing socio, spiritual, and religious tradition of the largest inhabitants. Sanathana Dharma teaches a way of life to love the whole world as our own family (vasudhaiva kutumbakam) with a coherent and rational view of reality.

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2. SANATHANA DHARMA IN VEDIC VIEWS

KEYWORDS – Vedic, Sanathana Dharma, Karma, Jnana, Sankalpa, God, Purusharthas

Vedic literature starting from Brahmanas until Bhagavad Gita, including Upanishads, Aranyakas, Ithihasas, Puranas and all the studies on these literatures are all dealing with Sanathana Dharma. Hinduism is almost like a synonym for Sanathana Dharma, the way of life since Vedic time. To a large extent, it is followed even today.

It explains not just the Eternal Laws which governs the life of a human but also delves with his relationship with the world. Sanathana Dharma is always ready to get redefined based on the demand of activity, place and time and hence it changed over millions of years.

The basic character of Sanathana Dharma is Karma (Action). It is understood that Action comes only from Jnaanam (Knowledge). For example, if someone confuses a rope with a snake, he will not be able to act. As he won’t be able to go forward by thinking it as a snake and might not want to leave the place thinking it as a rope. One must acquire the knowledge to distinguish and thus comes the firm decision making capability.

To proceed not for a short time, but for a long way ahead in life – the path is Dharma (right decision) - acceptable to larger group around us based on culture and the law of land. It all depends on the way people look at it and could interpret it as they wish; thus, Dharma is undefined, so is Sanathana Dharma, a way of life. Thus, it is all SANKALPA (imagination) – similar to the concept of GOD in Hinduism.

Living in harmony and limiting life to its bare minimum is what all the Vedas (Rig – Yajur – Sama) prescribes (Adharva is different in its views). Purusharthas (life requirements for happiness) are dealt with systematically in Vedic lifestyles, which defines Sanathana Dharma pitching to its root. It is one that you need to run a life that will take you to the ultimate happiness, self-actualization, realization, yoga with God – Samadhi, etc. – It enables to Reach THE ULTIMATE in a Spiritual Path.

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3. VEDIC WAYS OF PURUSHARTHAS

KEYWORDS –Purusharthas, Vedic, Sanathana Dharma, Kama, Artha, Dharma, Moksha, Brahmacharyam, Grihasthyam, Vanaprastham, Sanyasam, Four Stages of LIFE

Purushartha is an objective that deals with ways and feelings which are the results of a human pursuit in a lifespan. Purushartha is based on Sanathana Dharma as it defines the ways of life and is defined in Vedas.

Purushartha describes the starting spark of everyone’s life as Desire (KAMA). To satisfy the KAMA one need to get the ways and means; that is ARTHA (WEALTH - it could be economic, power, position, fame, relationship or any such that can support). DHARMA (righteousness, moral values etc. defined by the space and time as per the culture, law of the land and practices as defined by Sanathana Dharma) is what one must follow in KAMA and ARTHA as prescribed by Veda.

Sanathana Dharma says this way of life should be acceptable to the neighbourhood/environment; which means live for others, as all are the sons of the same Brahma, by spreading happiness around. To do this one has to be happy by self, called MOKSHA (attaining this is only possible through liberation and spiritual values).

Generally, these four aspects are said in the order Dharma – Artha – Kama - Moksha. These Purushartha are to be seen and enjoyed in all the FOUR STAGES OF LIFE – Brahmacharyam (Student), Grihastha (House-holder), Vanaprastha (Retirement), and Sanyasa (Renunciation).

During BRAHMACHARYAM strong KAMA (desire) focused for KNOWLEDGE (Jnaanam) is must; so that he can grow to attain ARTHA to be a GRIHASTHA in his next stage of life. Grihastha Dharma is to attain ARTHA to support self and the family and give back to society. During VANAPRASTHA, one has to be in the family to guide the Brahmachari’s and Grihastha’s to follow Dharmic ways. The last stage of life is when the family responsibilities are done and get to into the society - social service by getting rid of all attachments – SANYASA (ultimate Dharma of being human).

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4. PURUSHARTHA – The Blue Print of Practical LIFE
KEYWORDS –Purusharthas, Kama, Artha, Dharma, Moksha, Satisfaction, Happiness

Purushartha is Kama-Artha-Dharma-Moksha. KAMA is that desire which makes the world to develop. Each human must be unsatisfied in life and must be an embodiment of desires. The more the desire is, the more is the self, family, social and world development. But the desire must be based on DHARMA. If the desire is undesirable to the family, society or nature - it is Adharmic and he who is in desire gets himself into a selfish desire that will bury him in sadness (NO MOKSHA).

Who doesn’t want happiness? But, should it be temporary or permanent happiness? Purushartha gives balanced ways of being happy. KAMA - desire practically means dissatisfaction. Unsatisfied doesn’t mean not happy. One can be unsatisfied and be happy – that is the essence of life and MOKSHA. It is that state of happiness where he always lives in the present and aspires for a better and brighter future – not for the self but for a larger community. Ultimate Desire for a human being as he proceeds for a better life prescribes him to get educated and be creative. A creative happiness-filled balanced-life brings meaning to spiritual development. Physical fitness, Emotional Balance, Intellectual Sharpness, Socially active too; to gain long term happiness.

Education and creativity are the blessings of Saraswathi and Brahma. For any KARMA(Action), ARTHA is a must. God of ACTION is VISHNU; thus, got the pair LAKSHMI, the god of ARTHA (WEALTH). MOKSHA is the stage of bliss, the samadhi level and what is needed for anyone at that stage is health, energy. Provided and supported by Sakti (Parvati) and Shiva. Thus, Purusharthas are the inherent values of the Universe working with the help of Trinity.

Assume I want to go for a site-seeing trip. That desire is KAMA for which I must get the ticket and make all the arrangements. That can be a sponsored trip from my relative/friend, my payment from my savings – whatever is the means is the ARTHA. Assume I am not able to arrange these resources and I am to take some wrong ways of making the money needed for the trip, that is ADHARMA. If my means is ADHARMA, even after having everything which can make me enjoy, the inner feeling will be of the guilt and I will not be enjoying it fully. If my ways are Dharmic, I will enjoy in full. That enjoyment is called MOKSHA.

Let LIFE be Live-In-Full-Enjoyment, where soon after doing anything, let the self not tell to yourself; ‘Oh, I should not have done it’ – or for not doing any action; let self not tell yourself; ‘Oh, I should have done it’. RIGHT ACTION (KARMA) at the RIGHT TIME is DHARMIC, that gives MOKSHA as prescribed by PURUSHARTHA.

The blue print is drawn following the footsteps of Srimad Bhagvad Gita (BG) from Chapter 2, Verse 7 (BG – 2/7) where Arjuna’s Kama is on desire and was confused in his Dharma. Lord Krishna leading to Moksha (BG – 18/66-72) through Bhakti and Karma (Artha) through chapters 2nd to 18th for e.g. BG – 8/16, 9/28, 11/55.

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5. MOKSHA

KEYWORDS :: Purushartha, Karma, Artha, Dharma, Moksha, Yoga, Meditation, LIFE

In Hindu tradition, moksha is the ultimate aim to be attained during a life’s journey through Dharma, Artha and Kama - called Purushartha. Moksha is a psychological & emotional stage as understood by Religious Philosophical discussions related to death.

Moksha in Hinduism, Buddhism, Jainism and Sikhism discusses on mukti (detachment) from karma (doesn’t mean NO ACTION, but take it easy and be devoted), liberation from Dharma (it is being for Self-Family-Social-Whole World; realizing you are part of the single entity – GOD and again get devoted), emancipation from life (Samsara/Prarabhda is only a temporary stage and all have to go one day, understanding everything is temporary will give a relief), and self-realization, self-actualization, self-knowledge or enlightenment. Happiness / Liberation / Freedom attained in LIFE is practically Moksha. Moksha is also known as Jeevanmukti / vimoksha / vimukti / kaivalya / apavarga / mukti and nirvana. Life’s greatest pursuit is not happiness; LIFE itself is Live In Full Enjoyment.

According to Hinduism, Moksha (Physical – bhautika, Mental – manasika, and Spiritual – adhyatmika) is a result of past karma, own actions and God’s grace. The impediments on Moksha are actions (karma), desires (kama) egoism (aham), ignorance (avidya), impurities (malas), delusion (maya) and attachments (pasas). Many ways of circumventing these impediments are chosen by a variety of practices under Hinduism based on selected paths. These paths are called Yoga Paths. Yoga is the ultimate union in bliss, that is Moksha.

Raja Yoga or Ashtanga/Classical Yoga (BG Chap – 6 verses – 45 & Hathayoga Pradipika Chap 4 Verses – 1 & 7)with eight-limbs; 1. Yama- Morals 2. Niyama- Ethics 3. Asana- Posture 4. Pranayama- Control of the breath 5. Pratyahara- Control of the senses 6. Dharana- Concentration 7. Dhyana- Meditation 8. Samadhi- One-pointed absorption is another strong way to be in Moksha. Samadhi these days are mostly understood as Meditation and a silent inactive state, but in Vedic structure samadhi is Meditative Action.

Bhagavad Gita (BG) prescribes Karma Yoga or the Path of Action, Bhakti Yoga or the Path of Devotion, and Jnana Yoga or the Path of Knowledge. Karma practiced in a yogic style leads to Creative Brahma. Most popular brief – end of all the chapters of BG, as an essence it says–

Upanishatsu Brahmavidyayam

yogasastre Sri Krishnarjuna samvade …..

Thus, ‘Sri Mad Bhagavad Gita’, leads to MOKSHA Sanyasa Yoga.

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6. MOKSHA & SWARGAM : POORTHA & ISHTA

KEYWORDS :: Sanathana Dharma, Swarga, Moksha, Ishta, Poortha, Dharma, Karma

Bharatheeya Dharma talks about two activities - Ishta and Poortha; Or to be precise Sanathana Dharma is Ishta-Poortha. Ishta will take people to swarga and poortha can give moksha.
ishtathelabhathe swargam poorthe mokshamavapuyeth

Ishta karma is the activity that one does for the self, salvation, peace, better life, prosperity etc.

agnihothram thapa sathyam vedaanaam chaanupaalanam
aadithyam vaisyadhevam cha ishta ithyabhitheeyathe

Agnihothra (Fire Offering), Thapa (Penance), Reading Vedic Texts, Welcoming Guests, Developmental Activities in Society are all ISHTA Karma.

The Poortha karma is more of a Social Commitment, caring for the Environment, Protecting Earth for Future Generations etc. Service comes under “poorth karma” and it includes digging wells and ponds, feeding the poor, building temples for the spiritual well-being, laying out gardens. Excavating wells and ponds have been mentioned first. Next comes Annapradhanamudhyannam which means Fruit Bearing Trees – Meaning one should plant fruit bearing trees that will serve all animals, flies, birds apart from humans – to get Mokhsa.

vaapee koopa thadakaani dhevathanayathanani cha
anna pradhanamudyannam poortha ithyabhitheeyathe

Swargalokam - heaven is the place of the world after death for the good people and naraka – hell for the bad ones. The swargaloka is not the place of gods. The gandharvas used to be some time at the swarga loka too as guests from their gandhrvaloka.

Moksha (Freedom or Salvation) from the cycle of birth and death is the ultimate goal of Hindu religious life. Moksha is the state of supreme bliss and there is no quest beyond it. Moksha releases from all attachments. It is a state in which the self remains ever in untrammeled freedom and blessedness to be in bliss. The chief purpose of religion is to teach us how this supreme state may be attained.

The mention of feeding and educating are not seen as poortha karma directly, but had given much importance and could be rated as higher than many of the other karma. Thus, reading between the lines and analyzing the relevance in today’s context poor feeding and educating are to be considered as the greatest Dhana Dharma and added into the Poortha Dharma.

7. PARAM DHAANAM – Best Offering

KEYWORDS :: Dhaanam (offering), Annadhaanam, Vidyadhaanam, Food, Education

Last SUNDAY we reflected on ISHTA POORTHAM and made it clear that POORTHA karma is important as it is serving others. Among the Best Service, here we are reflecting on PARAM DHAANAM – analyzing the merit of Annadhaanam (Offering Food) and Vidyadhaanam (Educating).

Annadhaana or the gift of food is one kind of service (paropakara). We talk of service to the poor, social service and so on. Today all this is done with much fanfare and publicity. In the past, the needy were served naturally, without making any advertising and was an everyday routine. Earlier before closing the kitchen, mothers were supposed to go to the entry gate and ask loudly “is there any around who require supper?”.

Many slokas indicate the importance of annadhaanam. It says annadhaanam is greater than donating many horses, elephants, gold ornaments, vessels, land, kanyadhanam etc.

Gaja turaga Sahasram Gokulam koti danam
Kanaka Rajatha patram Methini sagarantham
Upaya kula vishuttam Koti kanya pradanam
Nahi nahi bahu danam Annadanam samanam

Feeding is a good philanthropic activity. But educating is much higher. The food will get digested soon. Education will remain for the whole life.

अन्नदानं महादानं विद्यादानमतः परम् ।
अन्नेन क्षणिका तृप्तिः यावज्जीवञ्च विद्यया ॥

This probably was the source for the saying 'Give a man a fish, you feed him once. Teach him how to fish and you feed him for life'.

With the education, we purify our intelligence, with meditation we purify our mind, with shlokas or poetry we purify our speech, by exerting ourselves in the service of others one must purify the physic or body; that is why the DasaMahaVidya is prescribing Dasami / Navarathri (10 days / 9 nights) rituals. The Tenth Day (Dasami) is for Saraswati with Education and Learning, everyone at home sits together to demonstrate their learning.

Rituals has been so mechanical these days in the religious activity. Many of the offerings are done without even knowing the meaning. The word ‘ritual’ itself became a synonym for anything we do with out proper understanding. Thus giving knowledge and gaining knowledge (VIDYADAANAM) is the best offering that will be leading to best RITUAL.

Slokas are referenced from Subhashita Ratnakara

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8. RITUALS

KEYWORDS :: Rituals, Ishta Poortha, Offering, Dhyaanam, Yoga, Pooja, Kriya, Temple

Rituals when we say, it is Pooja that comes to everyone’s mind. Pooja is the Offering for/to God. Having reflected upon Best offering to mankind as Vidya-dhaanam (Education). Rituals are also called Service/Dhaanam. Thus, rituals are the thanksgiving service offered to God, by which one gets into the Dharana level among the Ashtanga Yoga (Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana, Samadhi). After Dharana one can get to the Dhyana and then may attain Samadhi (Meditation).

We reflected earlier on ISHTA POORTHA as SANATHANA DHARMA. In ISHTA Karma Agnihothram is most important which is Ritualistic thanksgiving to SUN, the prime GOD. Here a part of His (SUN) blessings – a bit of rice and ghee – is offered back to him saying it is all due to him (SOORYAYA SWAHA, SOORYAYA IDAM NAMAMA).

agnihothram thapa sathyam vedaanaam chaanupaalanam
aadithyam vaisyadhevam cha ishta ithyabhitheeyathe

All VAIDIKA ACHARA (offering to fire) with SWAHA (let sun eat this) offering HAVIS (material) is a major ritual at home and temples too. But mostly in Temples, PAURANIKA ARADHANA on VIGRAHA (Deity) is what is followed. Vaidika is more Veda mantra oriented, where self and the universe is part of the ritual, while Temple / Pauranika / Kshethra Aradhana are more of a public and utility oriented ritual.

While rituals conducted by the priest for the society, the dharana is that the rituals are done by Him, due to Him, for Him as explained in the following slokas:

कायेन वाचा मनसेन्द्रियैर्वा बुद्ध्यात्मना वा प्रकृतेः स्वभावात्
kayena vacha manasendriayirva bhudhyathmana va prakruthe swabhavath
करोमि यद्यत्सकलं परस्मै गुरुवरायेति समर्पयामि
karomi yadhyathsakalam parasmai gururvarayethi samarpayami

Meaning:: All these rituals I am into with my Body, Speech, Mind or Sense Organs, using my Intellect, Feelings of Heart or (unconsciously) through the natural tendencies of my Mind, I do all for others (i.e. without the sense of attachment to the results), and I Surrender them to YOU Supreme Guru (MOSTLY for the GOD/GODDESSES that you are keeping in SANKALPA).

While and when all the rituals are done as POOJA with manthra and the activity of offering (KRIYA) with full BHAKTI (devotion) there could be errors in the rituals; here it says it is all DUE TO HIM (THE GOD Thyself).

मन्त्रहीनं क्रियाहीनं भक्तिहीनं जनार्दन

यत्पूजितं मया देव परिपूर्णं तदस्तु मे
manthraheenam kriyaheenam bhaktiheenam janardhana

yath-poojitham maya deva paripoornam thadasthu me

This sloka unambiguously says Rituals are Godly affairs and needs to be done with utmost SRADDHA (concentration) and BHAVA (understanding the inner meaning).

Unfortunate that these days Rituals became a synonym for anything that one does casually without attention. Most of the Rituals done in the temples too are without this Sraddha (concentration).

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9. TEMPLE RITUALS

KEYWORDS :: Temple Rituals, Offering, Agama Shastra, Anushtana, Achara

We reflected on the rituals as Dharana done in full SRADDHA (concentration) and BHAVA (understanding the inner meaning). Temple rituals are only intact in India whereas places like ancient Egypt, where all such rituals once were highly active, has lost and forgotten all its richness in heritage.

Hindu Temples in and outside India still keep and continue rituals which are older than the oldest that exists in this world. Hindu temples are mushrooming all over the world, numbering in hundreds of thousands in structures like luxurious and rich palaces, rustic abandoned warehouses, simple halls with just a picture of God or granite stone in a jungle or roadside.

To participate in the temple rituals, one should dress modestly, respect the priests and other visitors, refrain from gossip and worldly talk to enjoy a spiritual time. The Hindu worship service follows certain procedures- rituals called puja, literally adoration with mantras (verses/hymns) and hand gestures (mudras), ringing bell etc. These procedures are mostly based on Vedas which are modified to fit in the temple as described under Agama Shastra. There are special occasions like yearly mega festivals (like Utsavam etc) where specific procedures are followed apart from the daily temple rituals.

Following are the steps followed in the daily Temple Rituals as prescribed in the Agama Shastra

1. The Priest should purify himself

2. Sanctify the place of worship

3. Spiritualize the precious substances to offer the Deity like - water, uncooked rice, holy ash, sandalwood paste, Kumkum and the lamp to be lighted

4. Light the lamp

5. Invites God/Goddesses to come and dwell in the lamp/deity/image

6. A ritualistic bath, called abhishekam, in which water, sesame oil, turmeric, saffron, milk, yogurt, ghee, honey, lime juice, vibhuti, sandalwood paste, panchamritam (a mixture of five fruits), coconut water and rosewater, is given for the Deity

7. Deity is dressed in new clothes and beautifully decorated with flowers, etc.

8. Incense, oil lamps and food will be offered

9. The Priest offers flowers while chanting 108 names of the God and devotees may also sing bhajans to please the God

10. At the highest point of the puja, a large lamp is waved before the Diety and bells are rung loudly as God sends His power through the holy image of Himself that is absorbed by the water, food, flower, ashes (vibhoothi)

11. When the lamp is lowered, everyone prostrates to the Divine.

12. The lamp is then carried out to bless the worshipers, who often leave a donation on the tray (or later in the temple offering box).

13. Finally, depending on the tradition, sacraments such as sacred ash, blessed water, sandalwood paste, kumkum, fruits, sweets and flowers are passed out to bless everyone who is present. These include a portion of the offerings--flowers, cooked food and more--brought by devotees.

14. Devotees may then sit in meditation, relaxing in the blessings invoked by the puja.

15. Make God to sleep, devotees may sing devotional songs during this time.

What we described here as the ritual is called ANUSHTANA and varied versions of this may be in practice at different places with variations acceptable to the locals which are called ACHARAS.

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10. TEMPLES AND ITS POWER

KEYWORDS :: Temple, Construction, Installation, Daily Care, Devotees, Power

After seeing Temple Rituals, as a continuation, here the reflection is on the Power of Temples since the Rituals are for maintaining the power in Temples. According to Hinduism, temple is not just a prayer hall, it is the Source of Energy. God’s presence is felt in the temples. Pooja Rituals are for producing energy in the temples.

Installation – The chief priest (thanthri - is the custodian of the God/Goddess) will be associated with the temple since the time of installation. All the power of the temple depends on various aspects like aitheehiya (the story behind the installation), power of the rituals, the people involved in installation and materials used etc. To demonstrate the power of temples, we take the examples of famous temples installed by Rama, Parasurama, Kuleepani Maharshi et. al. As said in the below sloka – a person’s Archana (proper offerings) turns a Shila (stone) into Shankara (God) and any wrongdoings will turn Shankara into a Shila.

अर्चकस्य प्रभावेन शिला भवति शङ्करः ।
आभिरूप्याच्च मूर्तीनां देवः सान्निध्यमृच्छति ॥

archakasya prabhAvena shilA bhavati shangkaraH |
AbhirUpyAchcha mUrtInAM

devaH sAnnidhyamRuchChati ||

Temples may have only thousands of years story, but rituals and Achara – anushtana (explained in earlier Sunday Reflections) have hundreds of thousands of years of heritage but might have undergone changes over time depending on local situations. Yagna / Yaga was the first concept from where Temples came into existence.

Most of the temples today are not powerful from the time of its inception but became famous and got the power by and from the people visiting the temple. The power of the temples depend on the activities and number of devotees visiting the temple.

The Bimba (deity) in the temple is made of any of these items - Mud, Wood, Stone, Granite, Mix of Metals (Panchaloha) etc. The construction process starts at the Garbha Gruha (Sanctum Sanctorum) as it is believed to be the Naval place of the God during his lying down position, wherein the front and back entry gates will be the head and leg of the God respectively.

The architecture of the temple is defined based on the main deity and the area around. The location and the structure of the temple including the entry is decided by the local story and is in-line with the Agama Shastra specifications. Yantra, Mantra, and Thantra are the pillars of powers. Yantras are the geometric figures that are used to conserve energy. Mantras are the hymns with power in it. Thantras are the ritualistic actions of the priest.

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11. AGAMA SHASTRA

KEYWORDS :: Temple, Construction, Agama Shastra, Energy Preserve, Distribution

Shastra in Indian tradition means that which is useful for human beings (lokaanam upakaraya). The system of the temple and the social gathering with religious practices are around for many years as people found them useful and thus temples played a significant role in making a better life for people.

Sthapathya Veda has two parts – Vastu and Agama Shastra. Temples are constructed as per Agama Shastra and houses are constructed as per Vastu.

Agama means tradition or "that which has come down" from generations; it also means the energy that came down from God to us. Agama Shastra is a combination of cosmology, epistemology, philosophy, texts on meditation and practices, yoga, mantras, deity worship etc. and Sthapathy is a person who can design the temple to pass on these energies to devotees effectively. Thus, in order to build a temple as a first step, a Sthapathy will be consulted to design the temple understanding the local needs. Brahmarishi Mamuni Mayan (https://en.wikipedia.org/wiki/Mamuni_Mayan) is one of the Guru (Master architect) who developed this science during ancient times and authored MAYAMATHAM.

Basic Principle states that the energy generated through Yanthra, Manthra, Thanthra and all rituals in the temple will be densified, preserved and distributed to the visitors because of the temple design based on Agama. As per Agama Shastra temples are of different styles for - Shaivism (Shiva), Vaishnavism (Vishnu), Shaktism (Devi), Ganapathya (Ganesha) and Soura (Sun God).

Depending on the God, no of sub-deities, size of the idols, direction, sanctum, number of visitors expected, special religious functions etc., the layout and construction will be planned. All the cosmic powers and pancha bhootha (5 basic elements – earth, water, air, fire, space) are unified to energize the temple. The Kshethra meaning temple is also understood as the body of God.

The temple satisfies the Indriyas (Sensory organs) of the devotees. This is where the Agama Shastra plays an important role. Thus it is vital for the temple to be located in a place where it is having a good support of the electromagnetic energy all around. As the energy gets densified inside the sanctum sanctorum with all the rituals, once the doors are open the energy from the sanctum gets injected into the devotees.
The science of temple, installation, energy creation, and reaching up to devotees is described under “Thanthra Samuchayam”.

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12. ENERGY CREATED IN TEMPLES

Keywords:: Temple, Bimba, Energy, Creation, Preservation, Distribution, Circumambulation

Devotees visit Temples in order to revitalize themselves with the positive Energy in Temple. Along with the Creation of such energy, Preservation and Distribution are equally important. Thus, the structure and Maintenance of the Temple and Procedures followed in the Temple are of great relevance. Energy doesn’t depend on the facility and size of the Temple but is based on the ambience and vibrations created by the devotees. Some of the factors of energy creation are:

1. Place (Location), Direction and Structure (Agama) of the Temple.

2. Maintenance of Cleanliness like - Pujari’s Sapta Sudhi (7 cleanliness procedures for the Priest), Devotees’ Sareera Sudhi (Cleanliness of the Body), etc.

3. It is always said outer pradakshina (circumambulation) is three times better than the inner pradakshina. Many texts prescribe certain number of pradakshina based on God. Example: ekam vinayake kuriyal (one circumambulation for Ganapathi). For pradakshina the rule is :: padal padanugatham gache (walk slow with one foot after the other) / karau chalana vivarjithau (without moving hands – better to be in NAMASTE mode/fold hands keeping close to chest) / vachasthuthi hrudi dhyanam (slow lip movement with prayers in full devotion) / evam kuriyal pradakshinam (this is the rule for the circumambulation).

4. The entry into Sanctum sanctorum (Garbhagriha) where Bimba (Deity/idol) is placed is generally only for the Pujari. One could stand on the pathway on both sides and look ahead to see the Bimba to be in Dhyana (silence).

5. Energy is created inside the Sanctum Sanctorum through all the rituals of chanting of mantras (hymns) with mudras (specific hand posters), offering of flowers, sanctified water, flames of light (deepam), incense (dhoopam) etc. This energy is created and conserved around the special material used for the Bimba and through the rituals.

All the decorations and eye catching views in the temples including colorful flowers, pleasing music like the chanting and vadya (instrumental music) including the conch, tasty prasada, sandalwood paste / vibhoothi / Kumkum that are applied especially at the ajna chakra (between the eyebrow and nose joint) etc., are for the wholistic panchendriya (all sensory organs) satisfaction to energize the devotee.

Apart from serving as the place for devotion, temples should also serve as the place for socialization and as a center for art, culture & heritage. Temples belong to the devotees and as more number of devotees participate in learning and teaching activities in the temple, the upliftment of the customs and rituals (achara and anushtana) will get enriched and spread to the next generation.

This reflection that we had on Energy Created in Temples will lead us to wonder how these systems are transferred through generations over thousands of years through Manthras.

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13. ENERGY IN HYMNS/ MANTRAS

KEYWORDS :: Hymns, Mantras, Energy, Meaning, Chanting Style, Esoteric

Sound is sacred and powerful which connects us, heals us and expands our hearts. A mantra is a series of words chanted in a religious tradition to invoke spiritual qualities. Mantra chanting is an ancient key that unlocks and opens us up to mysterious sounds in another level reaching to the entire universe and has the transformative power. Mantra effects and affects all the fivefold levels - Physical, Emotional, Intellectual, Social and Spiritual.

Three main types of mantras are - Beeja (seed), Saguna (With Shape), and Nirguna (without Shape).

Beeja mantras correlate the God/Goddess with all the chakras. Saguna mantras invoke the God/Goddess as an individual person in Shape/Form. Nirguna mantras originate from the Vedic texts with no deities or personalized aspects of God in a specific form or meaning to them.

The power of mantras is directly proportional to the number of times they are repeated and this is called mantra Siddhi. The practice of repeated chanting of a mantra silently or aloud - sitting in a comfortable position, with closed eyes - is considered as the easiest form of meditation. Paying careful attention to the speed and rhythm of your chanting, pronouncing correctly, knowing the esoteric meaning of the mantra will make the mind focused on letting the thoughts flow. Some people use a Mala (a string of beads) to count a series of 108 repetitions of the mantra.

There are esoteric moola mantras for every deity in a temple. The chanting of the first mantra – “Agamarthanthu Devaanam, Gamanaartham thu Rakshasam” (meaning let Godly energy get in and let Demonic energy get out) has the power to change the energy and it happens only when the priest is able to invoke it. The priest gains that ability from his daily rituals like Sapta-Sudhi (7 cleanliness process) which is by the mantra - Prana-pana vyano dhana samana me sudhyantham… and Gayatri mantra.

We reflected on the mantras and Hymns and it is for Energy in Temples and Special Pujas etc.

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14. PRAYERS IN DAILY LIFE

KEYWORDS :: Hymn, Mantra, Stothra, Bhajan, Prayer, Chanting, Worship, Hindu Home

Energy in Mantras in Temples and drawn a parallel to Prayers in Daily Life at Homes. Heart of Hinduism is in the Homes of Hindus. Prayer is the Life of Hinduism. Prayers are the asset that traditions from the past transferred to us and we are responsible to pass it on to the next generation. There are uncountable prayers for God & Goddesses apart from hymns / mantras / sookthas / suthras / anushtups / chanda etc. in the Vedic Texts. We shall now see only the Daily Prayers and reserve our discussions on scriptures one by one in other heading.

Hinduism doesn’t prescribe a style of Prarthana (Prayer / worship) to individuals at home. It is all the tradition and culture imbibed from past or picked up from relatives or friends and at times is prescribed by their mentors / Guru. Some worship their kula (family) deva(God) or an Ishta (favorite) deva at home.

One can follow a scaled version of the temple Puja (worship process) by chanting the mantras like Saptha Suddhi in the morning or evening after bath. Children will learn through the practice being followed at home and no special training is generally done on this. The sequence during the puja could be Gayatri Mantra, Shanthi mantra, Ganesha Vandanam followed by offerings and sthuthi (praising); all these are to be done through japa (prayers).

A puja thali (plate) consists of a lamp, Haldi, Kumkum, Sweetmeats or fruits, Water, Bell, incense and Perfume sticks. All these ingredients are offered with specific mantra / Aarti. Food(Naivedhyam) is offered to God/Goddess. This will be continued with the japa (prayers in silence) or Bhajan (group singing).

After the puja is done, Kumkum / Vibhoothi (Sacred Ash) is put on the forehead and Prasadam (Naivedhyam) is consumed with appropriate Prayers like (brahmarpanam …). Then an athma pradakshina is done with chanting kani-yani-cha-papani… followed by sashtanga pranamam by laying on the floor stretching folded hands towards the puja place. May read more at

http://www.drtps-shiksha.in/pdfs/Nithya%20Slokah.pdf

All these activities have a scientific / philosophical / spiritual meaning which one has to learn. Could read

https://rare-news-collection.blogspot.com/2009/03/

We reflected by discussing the Bhakti (devotion) path to attain the blessings of God. The other major path as per Hindu Philosophy is Gnana (Wisdom path).

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15. IMPORTANCE OF KARMA (ACTION)

KEYWORDS :: Karma, Yogam, Margam, Action, Intention, Timeline, Meditative Action

Having reflected on Jnana-Margam (path of Knowledge), now we shall discuss Karma Yogam - Importance of Action. Karma Yogam is to purify the thoughts/mind. Karma Yogam prescribes dharma in work as a Godly action with Awareness, Detachment, Joy, Compassion, and Love; benefit for the self is unimportant in comparison to the larger good.

The word Karma is derived from the Sanskrit word “Kri” meaning to do. Any action that we do and its aftereffects are called Karma. Our Karma determines what we deserve and what we can assimilate. With regard to Karma-Yoga, the Gita mentions it as the science of doing work with cleverness. According to Gita when one knows how to work, he/she can obtain the greatest results. A man works with various motives - people work for fame, money, power, satisfaction, etc. [KARMA YOGA by Swamy Vivekananda].

Action is done with two intentions - Sakama and Nishkama. Sakama Karma is done with a selfish motive. There is no yogam for sakama karma as it is a bondage and creates egoism, hatred and jealousy. Nishkama Karma breaks the bondage of karma and hence is a selfless action. Forgiveness, helping, compassionate behaviour of humanity are the examples of selfless action leading to renunciation, which further purifies the mind.

Based on the timeline, Karma is categorized into Sanchita - Prarabdha - Agami Karmas; which are based on the actions we had performed in the past, performing now & the result of the actions we will perform in the future. Sanchita karma is an accumulated work of the past. Prarabdha is the karma (performed action) is responsible for the present condition of a person, as a debt of our past karma. Agami means forthcoming, which can be modified according to the actions that we are into at this moment. The Law of Karma states that what we do in the past defines our present and our present will govern the future.

It is not what we do that matters, but how we do is important too which is explained through this famous Story of the Three Brick Masons. When the masons were asked what they were doing - the first one answered, “I’m building a wall”, the second one replied, “I’m working in order to earn money for my family”. But, the third man enthusiastically said, “I’m building a cathedral!”

There is a joy in acting (serving) naturally out of enthusiasm and generosity without anxieties, fears, and expectations. None in this world, when they are in jagrath (not in sleep) can avoid Karma; wanted or not, consciously or unconsciously all of us are into action.

When we add the word Yogam, it means an action performed with meditative awareness. So, Karma Yogam is actually the yoga of Dynamic Meditation or Meditation in Action.

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16. MEDITATION IN ACTION

KEYWORDS :: Karma Yoga, Meditation, Samadhi, Action, Passion, Rashtra Dharma, Jnana, Bhakti

We reflected on the Importance of Karma, Karma Yoga with full awareness of the chosen destination and path as prescribed by scriptures, following Dharma Sastra through the Jnana-Marga in Devotion (Bhakti) is called Mediation in Action / Meditative Action or Dynamic Meditation.

Conceptually Meditation is Samadhi and practically it is Dharana as people practice Guided Meditation, that too for a specific interval of time in groups etc.

As per Ashtanga Yoga - yama (non-violence, ethical restraints or abstentions), niyama (self-discipline, lifestyle observances), asana (Physical yoga – body making flexible, postures), pranayama (breath practice, breath control), prathyahara (withdrawal of the senses / sensory perception), dharana (concentrating on one, focused), dhyana (devotion / meditation), and samadhi (merge into self, absorption into the Divine) are the progressive steps for meditation.

For a passionate driver, driving becomes a meditative action, as it becomes so casual that all the responses during driving becomes very natural without any stress. If you ask the same driver to sit at a place with closed eyes, (s)he might not be able to do so as (s)he thinks that closing eyes and sitting at one place is a waste of time and unproductive. Hence, meditation is an individual inner feeling to be in bliss.

Same is the case with anyone who is passionate in reading, music, cooking, walking, lecturing, doing worship, bhajan etc. But each of us have to choose the work that is passionate for us as it gives us no stress and becomes casual and soothing and helps in making our life blissful.

Not many are gifted with a profession which could also be a passion. But assume you are skillful and are also devoted fully in that, then you are sure to enjoy. This implies that the karma for which you have enough jnana and you submit to it with full bhakti, is called Meditation in Action. Thus, Jnana-Yoga and Bhakti-Yoga mixed with the action will lead you into Karma-Yoga which is Meditation in Action.

The question arises whether is it possible to make many / most of the activities in your life as meditative, if the answer is yes then you are in bliss. Else, for the time being when one is in that action, he is happy and rest of the time becomes suffering. To avoid this, one must not work to live but live to work, work for the betterment of self, family and the people around.

Meditative action is not just one action in meditation, but all that actions we are into must be made meditative and enjoyable experience to give a meaning to your life. Any job when added to skill/knowledge and done with devotion benefitting the people around us will reap the fruits which you can enjoy through the feelings of others is the credit in LIFE. When the benefit is for the nation you are into Rashtra Dharma.

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17. BHAGAVAD GITA

KEYWORDS :: Bhagavad Gita, Krishna, Arjuna, Kurukshethra War, Mahabharatha, Yoga, Upanishad

Mediation in Action / Meditative Action or Dynamic Meditation and concluded by quoting Bhagavad Gita is a handbook for meditative action as prescribed by Krishna to Arjuna. Bhagavad Gita is composed of 700 slokas, split into 18 chapters by commentators for easy understanding.

The first chapter - Arjuna Vishadha Yoga explains about the war field: Duryodhana preparing for the battle while Arjuna – the distressed disciple explains his desire to quit the war to his master Krishna. Second Chapter - Sankya (number) Yoga, sam (good) khya (declared) is the best communication of Yoga. Chapter 3 - Karma Yoga talks about the nature of the action and how one has to approach. Chapter 4 Jnana Karma Sanyasa Yoga deals with Arjuna's questions on the detachment of Action from the result. Chapter 5 - Karma Sanyasa Yoga talks about Action without bondage.

In Chapter 6 - Dhyana Yoga, Krishna explains Dhyana to Samadhi as parallel to Patanjali's Yoga Sastra. Chapter 7 - Jnana Vignana Yoga gives the distinction of External and the internal phenomenon as Prakruti and Purusha. Chapter 8 - Akshara Brahma Yoga is to elaborate on Krishna’s cosmic existence. Chapter 9 - Raja Vidya Raja Guhya Yoga explains the existence and beyond. By the end of Chapter 10 - Vibhoothi Yoga, Arjuna attains realization and wanted to see God in His form. In Chapter 11 - Viswarupa Darsana Yoga, Krishna blesses Arjuna by providing his cosmic appearance.

Chapter 12, Bhakti Yoga is on devotion. In Chapter 13 - Kshethra Kshethrajna Vibhaga Yoga, the field and consciousness are explained in detail. Chapter 14 - Gunathraya Vibhaga Yoga discusses Satwa, Rajas and Thamas. Chapter 15 -Purushothama Yoga talks about the nature of human existence and how to identify the self. Chapter 16 - Daivasura Sampad Vibhaga Yoga is to point out the human potential to choose divine or Demonic nature. Chapter 17, Sradhathraya Vibhaga Yoga talks about three fold characterization on thoughts and believes on actions.

Chapter 18 - Moksha Sanyasa Yoga summarizes the various kinds of spiritual paths to follow attain Moksha, the ultimate goal of a human. By the end of this chapter after clearing the doubts, Arjuna thanks Krishna and promises to obey Krishna and be in Action to fight the war.

First Sloka in Bhagavad Gita starts with a question by Drutharashtra (BG-1-1) “O Sanjay, after gathering on the holy field of Kurukshetra, and desiring to fight, what did my sons and the sons of Pandu do?”

धृतराष्ट्र उवाच |

धर्मक्षेत्रे कुरुक्षेत्रे समवेता युयुत्सवः |

मामकाः पाण्डवाश्चैव किमकुर्वत सञ्जय ||BG-1-1||

dhṛitarāśhtra uvācha

dharma-kṣhetre kuru-kṣhetre samavetā yuyutsavaḥ

māmakāḥ pāṇḍavāśhchaiva kimakurvata sañjaya

for which Sanjaya answers in the last sloka (BG-18-78) “Wherever there is Shree Krishna, the Lord of all Yoga, and wherever there is Arjun, the supreme archer, there will also certainly be unending opulence, victory, prosperity, and righteousness. Of this, I am certain.”

यत्र योगेश्वर: कृष्णो यत्र पार्थो धनुर्धर: |

तत्र श्रीर्विजयो भूतिध्रुवा नीतिर्मतिर्मम || BG-18-78||

yatra yogeśhvaraḥ kṛiṣhṇo yatra pārtho dhanur-dharaḥ

tatra śhrīr vijayo bhūtir dhruvā nītir matir mama

Through Karma-Jnana-Bhakti-Raja-Sanyasa Yoga; any confused individual gets clarity on his own duty and understands that his actions should lead to a social benefit which is the core of Bhagavad Gita which is the essence of Upanishads, Brahma Vidya and Yoga Sasthra.

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18. BRAHMA-VIDYA

KEYWORDS:: Bhagavad Gita, Brahma Vidya

Bhagavad Gita is majorly Brahma Vidya, and here we shall reflect on Brahma Vidya.

ॐ तत्सदिति श्रीमद्भगवद्गीतासूपनिषत्सु

om tat sat iti srimad bhagavadgeetaasu upanishatsu

ब्रह्मविद्यायां योगशास्त्रे श्रीकृष्णार्जुनसंवादे

brahma vidyaayaam yogashaastre sri krishnaarjuna samvaade

Vid ("to know") is the root for Vidya (Knowledge) as per the Vedas. The ultimate Vidya to KNOW THE SELF is Brahma Vidya. Brahma Vidya is the spiritual knowledge of divine faith/God/existence/absolute truth itself. In the Puranas, this is divided into two branches - one dealing with the Vedic mantras called para vidya or former knowledge and the other dealing with the study of the Upanishads called the apara vidya or latter knowledge. Both para and apara vidya constitute brahma vidya.

Brahman is the absolute Reality, pure Consciousness. According to ADVAITA VEDANTA philosophy, Brahman is the Absolute non-dual reality, and its essential nature is existence, consciousness, and bliss. Self and Brahman is one; the difference or duality between Brahman and the Self is a mere illusion.

These days Brahma Vidya is seen as the spiritual path for seekers of ultimate reality, explaining the logic behind experiential and experimental sciences. According to Hindu philosophy Brahma is imperishable. For the imperishable to exist, a perishable object is to be Mundakopanishad says – Brahma vidya is the Sarva Vidyam Pratishtam, the foundation of all kinds of Knowledge. The Indriyas, the base of knowledge is from these sense organs of perception, thought, imagination, which are all managed by the Brahma. Learning and gaining this in all that we do is called Brahma Vidya.

Infinite things around this world are reduced into 5 senses and then is preserved as impression implying that the world is only an impression. That impression in us is understood by the Brahma residing in the center of our heart-cave, shining in the form of the Self with immediacy as 'I'.

[https://www.arunachala.org/docs/hrdaya-kuhara-madhye/]

हृदयकुहर मध्ये केवलं ब्रह्ममात्रम्।

hṛdayakuhara madhye kevalaṃ brahmamātram।

Brahmavidya Upanishad is one of twenty Yoga Upanishads in the four Vedas. The Brahmavidya Upanishad has 110 verses. The key issues dealt with in the scripture are Brahmavidya– the knowledge of Brahman, the character of Brahman, the Om symbol and an individual’s nature of self-consciousness, human attachments and freedom therefrom.

Bhagavad Gita is the essence of Upanishads, Brahma Vidya and Yoga Sasthra, having seen Brahma Vidya now, next we shall reflect on Yoga Sasthram.

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19. YOGA SASTHRAM

Gita is the essence of Upanishads, Brahma Vidya and Yoga Sasthram; having briefed Brahma Vidya, now we shall reflect on Yoga Sasthram.

Yoga is known to the world as Yogasana (physical exercise) and breathing practice; a bit deeper will be Ashtanga Yoga explaining eight steps (yama, niyama, asana, pranayama, prathyahara, dharana, Dhyana, samadhi).

But in the Spiritual terminology, Yoga is Union / Contact / Reaching etc.; thus, it is realizing God. Mainly, Karma Yoga - Yoga of work and renunciation, Jnana Yoga - Yoga of knowledge, Bhakti Yoga - Yoga of devotional service, are explained in Bhagavad Gita.

Sasthram means that is experiential and/or experimental and what is useful for the world. In the whole of the Bhagavad Gita, the word Yoga (including yoga and yukta) is appearing 155 times in various discussions. Undoubtedly Gita is the most used and discussed book in the world.

Yoga is the Sastra of uniting individual self with cosmic consciousness, here the dvaita is the base. Advaita Vedanta and Yoga are the two largest surviving schools of Hindu traditions. In principle, they are same but differ in concepts. Advaita Vedanta uses Patanjali's yoga practices and lessons from Upanishads for the self-realization/salvation.

The methods of Yoga Sastra according to Yoga Darshana of Patanjali is that binding (bandha) of jiva (atma/self/soul) is due to intellect (buddhi). Jiva is beyond all these but cannot exist without all these - body (sareera), senses (indriya), mind (manas), intellect (buddhi), memory (chitha) and ego (ahankara). The self-conscious state is being with that cosmic Being by dissolving the physical and mental consciousness; which is the path (ways) through Yoga Sastra.

योगश्‍चित्तवृत्तिनिरोधः

(yogaś citta-vṛtti-nirodhaḥ)

[Yoga Sutras 1.2]

Swami Vivekananda translates the sutra as "Yoga is restraining the mind-stuff (Chitha) from taking various forms (Vruthis). Yoga in India has a meditative and spiritual core.

Yoga is mentioned in the Rigveda, but most likely developed further around the sixth and fifth centuries BCE, references are seen in Upanishads. "When the five senses, along with the mind, remain still and the intellect is not active, that is known as the highest state. They consider yoga to be firm restraint of the senses. Then one becomes un-distracted for yoga”, says Katha Upanishad. Bhagavad Gita (BG) deals with Yoga all through and defines "Yoga to be equanimity" (BG:2-48); "Yoga is skill in action" (BG:2-50); "Know that which is called yoga to be separation from contact with suffering" (BG:6-23).

As we have reflected on Brahma Vidya and now on Yoga Sasthram, let us next read on Upanishads.

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20. UPANISHADS

KEYWORDS:: Upanishad, Brahman, Atman, Vidya, Avidya, Karma, Moksha, Samsara, Rebirth

After Brahma Vidya and Yoga Sasthra, now we shall reflect on Upanishads.

Upanishad Upa- (near), ni- (down), shad (to sit): it translates to sitting near the guru. In olden days the students used to clarify their doubts from their teacher after formal learning from Vedas; thus Upanishads are Vedantas (the end of Knowledge). Though Hindu tradition says Upanishads are as old as Vedas, it is believed that various seers and sages compiled Upanishads between 800-500 BCE, the Upanishads are a culmination and completion of an earlier body of Hindu sacred texts called the Vedas. The Teachings of the Upanishads has Six Key Concepts - Brahman, Atman, Avidya, Karma, Moksha, and Samsara.

Brahman - The Upanishads emphasize the impermanence of the empirical world, physical reality as we experience it through our senses and it takes us to learn the imperishable - Maya – to the Ultimate Cosmic Reality too. Brahman alone is Real, unchanging and permanent; everything else is Illusion. The distinction between Maya and Brahman allows Upanishadic thinkers to affirm the unity or oneness of all things. Brahman is SatChitAnanda; “being” (sat), “consciousness” (chit), and “bliss” (ananda). Brahman is a state in which subject-object duality ceases to exist; it is not-this, it is not-that (neti, neti). [Brhad-aranyaka Upanishad, II, 3, 6].

Atman is the True Self; the individual personality, soul, or self (jiva) belongs to the realm of Maya. The jiva is conditioned by Atman. Atman is timeless, spaceless, unchanging pure consciousness, only temporarily manifested as jiva in Maya. The Upanishads teach the existence of a true Self called Atman. The Atman is to the jiva is like what the space around a jar is to the space within the jar. Space within the jar is space bounded and limited by the edges of the jar. So the jiva is Atman bounded and limited by individuality.

Tat Tvam Asi (Atman is Brahman) Chandogya Upanishad says that there is a common consciousness between Atman and Brahman.

Avidya and vidya is a perspective characterized by ignorance (avidya) of the true nature of reality and the self. A rope may appear to be a snake, this is appearance only, grounded in avidya till one gets Vidya to experience a Snake.

Samsara, Karma and Moksha can be seen as egocentric desires as Samsara creates actions (Karma) in the physical forms or vehicles for atman. Upanishadic teachings are for the Reincarnation or Rebirth (Humans live multiple embodied lives, experiencing a cyclical process of birth, death, and rebirth called samsara). Lack of satisfaction in life - is associated with material forms of existence. Rebirth is governed by karma, as per the law of cosmic justice, the moral quality of the action. Rebirth is not desirable. It implies that a person is still trapped in ignorance about the nature of reality. Suffering, associated with material existence, has not yet been transcended.

Suffering is transcended only by release from samsara and absorption into Brahman, the one ultimate reality. This is a state of knowledge, enlightenment, or absolute consciousness in which the true nature of reality (Brahman) and the true self (Atman) is perceived. It is also a state of freedom (moksha). The only thing that can be free is that which has no desire, there is nothing left to suffer. The ultimate goal is not to be reborn, the goal is to obtain moksha and be free from desire and the cycle of death and rebirth.

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21. VEDAS

KEYWORDS:: Vedas, Apaurusheya, Sruti, Smriti, Vedism, Hinduism, Rites, Sacrifies, Panchabhoothas

After Upanishads, now we shall reflect on Vedas.

Vid means to know. Veda means knowledge, Vedas are the oldest scriptures of Hinduism. Veda is apaurusheya (impersonal, authorless). Vedas are called Maṛai or Vaymoli in parts of South India, particularly in Tamil. Marai literally means hidden (a secret, mystery). The Vedas are a large body of knowledge / spiritual texts (not religious) composed in Vedic Sanskrit. The Vedas are the oldest written text on our planet. They date back to the beginning of Indian civilization and are the earliest literary records of the whole Aryan race. They are supposed to have been passed through oral tradition (Sruti) for over 100,000 years. Other Hindu texts usually attributed to an author though might have been written by many and are called Smriti (that which is remembered).

Vedas are considered revelations seen by ancient sages after intense meditation, and are the texts that have been more carefully preserved since ancient times, may be available to us in written form between 4000-6000 years ago. Religious study groups and researchers called the religion of the ancient Indo-European-speaking people who entered India about 1500 BCE as Vedic religion / Vedism. Vedic materials are the texts known as the Vedas, which were composed and handed down orally over a period of about 10 centuries, from about 1500 to 500 BCE. This Vedic religious activity in the Bharatheeya tradition is what is shaped as Hinduism in India. The earliest Vedic religious beliefs had a mix of Indo-European-Iranians systems. It is hard to know when Vedism eventually gave way to classical Hinduism. Vedic schools from the 5th century BCE onwards turned more into Hindu character.

Vedism is a system connected with the natural phenomena, thus is a polytheistic religion involving the worship of numerous male and female divinities as representatives of natural forces. Vedic ceremonies are the ritualistic sacrificial rites performed by offering havis (sanctified materials) to a sacred fire, which itself was deified as Agni and which carried the oblations to the Gods. Agni and Soma were at the same time material elements of the ritual offering: Agni was considered as the fire of the sun; Soma was the deified aspect of the liquid poured in the oblation. Another great deity was Varuna, who was the upholder of the cosmic and moral laws. Vedism had many other deities, among whom were Gods, Goddesses, Demigods and Demons.

Every sacrifice was performed on behalf of an individual, the patron or yajamana (“sacrificer”), who bore the expenses. All the rites are related to Panchabhoothas (primary forces - Earth, Water, Fire, Air and Space). The domestic rites were observed by the householder himself or with the help of a single priest and were performed over the domestic hearth fire. It is daily or monthly, and others accompanied a particular event, such as the samskaras, sacraments marking each stage of life, from conception to death.

After reflecting on Vedas in general and more on Vedism, next we shall see Four Vedas.

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22. FOUR VEDAS

KEYWORDS:: Vedas, Rig, Sama, Yejur, Adharva

Following an Introduction on Vedas, now we shall reflect on Four Vedas.

The Vedas are divided into four groups - Rigveda, Yajurveda, Samaveda and Atharvaveda; these are the oldest four collections (Samhitas).

The Rig-Veda Samhita - is Verses of Rishis or visionaries written in a sense of intimate communion of adoration to the nature; The Rigvedic deities and the elements. It has 1,028 hymns and 10,600 verses, organized into ten books (mandalas) by Sages and poets from different priestly groups compiled between 2000 – 900 BCE around Punjab (Sapta Sindhu), India.

Rigveda also contains variety of subjects varying from procedure of wedding to the folly of gambling. Two-thirds of Rigveda is about Gods Agni (Fire) and Indra (Ruler of the Gods). Other Rigvedic Gods include Rudra, the two Ashvins, Savitar and Surya, Varuna, the Maruts and the Ribhus. Elements like divine creeper, the Soma, whose juice was an energizer and animals like horses, some rivers, and even some implements (like mortar and pestle) were deified. People in the times of the Rigveda had a settled home, definite mode of life, developed social customs, political organizations, and even arts and amusements.

The Yajur-Veda ("Veda of sacrificial formulas") consists of short prose passages concerned with rituals, mostly archaic prose mantras and also part of verses borrowed from the Rig-Veda. Yajur Veda is a practical text, each mantra with an action in sacrifice, offering in Agni (Fire) including the Soma offering. There are two Yajur Vedas; Sukla and Krishna. Shukla (White) Yajur-Veda contains only the verses and sayings necessary for the sacrifice, while explanations exist in a separate Brahmana work. Krishna (Black) Yajur-veda, has explanations in the work itself, often immediately following the verses which explains rituals and matters of phonology and accent.

The Sama-Veda is the metrical hymn "Veda of chants", “song of praise” or "Knowledge of melodies". It has 1875 verses in 1549 stanzas, taken entirely (except 78) from the Rig-Veda. The udgat ("singer" priest) in rituals (ud-gai) sings the chant hymns from the Sama-Veda (similar to a cantor). The styles of chanting are important for the liturgical use of the verses. The hymns were to be sung according to certain fixed melodies; musical ragas, specifically indicated melodies using the seven svaras (notes) – Samagana.

According to Patanjali, Sama Veda had 1000 recensions (Shakhas); but at present there are only three available – (1) Kauthuma (2) Jaiminiya (3) Ranayaniya. Samhita of Kauthumas, consists of two parts, Archika (offering) and gana (song). The Archika is also separated in two – Purva-Archika (First Adoratona) and Uttar-Archika (Later Adoration). Here verses are sung for the three Gods Agni (Fire), Indra (King of Gods) and Soma (Energizing Herb). [http://vedicheritage.gov.in/samhitas/samaveda-samhitas/]

Atharvaveda - Veda of the Wise and the Old - is a later compilation that includes incantations and magic spells. It is also called Atharva-Angirasa, associated with the name of the ancient poet Atharvan (The Wise Old One) and with a rishi, Angiras. Atharvaveda reveals a more primitive culture than the Rigveda. The custom is to enumerate Yajurveda and Samaveda after the Rigveda, and mention Atharvaveda last. Atharvaveda contains about 6 thousand verses forming 731 poems and a small portion in prose. About one seventh of the Atharvaveda text is common to the Rigveda.

Atharvaveda contains first class poetry coming from visionary poets, much of it being glorification of the curative powers of herbs and waters. Many poems relate to diseases like cough and jaundice, to male and female demons that cause diseases, to sweet-smelling herbs and magic amulets, which drive diseases away. There are poems relating to sins and their atonement, errors in performing rituals and their expiatory acts, political and philosophical issues, and a wonderful hymn to Prithvi or Mother Earth. [https://www.tokenrock.com/explain-vedas-165.html]

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23. UPAVEDA

After our reflection on the four Vedas, let's discuss here on the Upaveda.

UPAVEDA (supplementary knowledge/wisdom) is a Vedic school (Shakha) to Veda. Four types that are usually specified are: Ayurveda (medicine), Gandharvaveda (music and dancing), Dhanurveda (martial arts, ‘archery’), and Sthapatyaveda (architecture) or, alternatively, Silpasastra. Upavedas are applied knowledge, and are specific applications of Vedic teachings.

AYURVEDA

Ayurveda (knowledge of life) is an Upaveda (supplementary) associated with the Atharva Veda, and mythologically derived from the Gods. It has historical roots in the lost past and is still in practice with increasing importance. Contribution of Sushruta (6^th Century BC) and Charaka (3rd Century BC ). The traditional Hindu system of medicine, which is based on the idea of balance in bodily systems, uses diet, herbal treatment, and yogic breathing.

The aim of Ayurveda is the attainment of Moksha or liberation as a healthy body is the basic requirement for the attainment of Purushaarthas. Ayurveda is a guide to keep the body and mind fit to attain the Purushaarthas. Ayurveda is used to cure diseases caused by the imbalance of the three doshas : vatha (rheumatic) , pitha (obesity related) and kapha (respiratory troubles).

GANDHARVA VEDA

Gandharvaveda is the study of aesthetics and it speaks of all art-forms like music, dance, poetry, sculpture etc. Gandharva Veda has its root in all the four Vedas - Rig Veda, Yajur Veda, Sama Veda and Atharva Veda. Gandharva means skilled singer or master of music. Gandharva is not just the science of Music, but the Vedic science on the influence of sound and music in all, including the body and soul of the yogi. Ayurveda uses Gandharva Veda to promote physical and mental health.

DHANURVEDA

Dhanurveda is the science of warfare and archery, traditionally regarded as an Upaveda attached to the Yajur Veda, and attributed either to Bhrugu or Visvamitra. More widely, the knowledge of martial arts, specifically the bow. A section of the Agni Purana (8^th -10^th Century AD) dealing with warfare and combat techniques from it are used in 15^th – 16^th century during Mughal Emperor Akbar.

STHAPATYAVEDA

Sthapatyaveda, also called Shilpa Veda, is the Upaveda (supplementary branch) of Atharva Veda relates with Engineering and Architecture. Sthapatya means establishing, Sthapatyaveda deals with establishing a relationship between the dweller, dwelling and cosmos. Sthapatyaveda deals with planning, designing, and construction of temples, houses, villages, and cities. Vaastu Shastra, the Indian science of Architecture, has its origin in Sthapatyaveda. Ancient civilizations around the world were influenced by this architecture, remnants of which still exist.

Shri Vishvakarma (builder of the Universe) is the source of the knowledge contained in the Sthapatyaveda. The universe is created with the very same principles that he passed to Rishis and Maharishis thousands of years ago to utilize in designing homes, cities and countries helping us to improve our life and growth.

All people are influenced by the building in which they reside, work and worship. According to the design of a structure, one feels either comfort or discomfort. Building designed in accordance with laws of nature will produce a sense of bliss, calmness and fulfillment. In incorrectly designed structures one feels anxious, stressful and despondent. Poorly designed structures produce sickness and depression.

Having discussed different branches of Upaveda, let us delve into the ways and the philosophy of practicing by understanding Vedangas next.

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24. VEDANGAS

Vedangas, limbs of Veda; are six in number and are to be reflected along with Vedas. Just like the limbs of the body, they perform various supportive and augmenting functions in the study, preservation and protection of the Vedas and the Vedic traditions. The six Vedangas are Shiksha (Phonetics), Niruktam (Explanation), Kalpam (Ritual Canon), Jyothisham (Astrology), Chandas (Vedic meter), and Vyakaranam (Grammar). All these are additional chapters in the Vedas; disciplines associated with the study and understanding of the Vedas.

They represent the organs of the Veda Purusha. Paniniya Shiksha (41-42) narrates two verses on the importance of the Vedangas which describe Veda as a Purusha having six limbs as six Vedangas. Shiksha and Chandas are aids for pronouncing and reciting Vedic mantras correctly, Vyakaranam and Niruktam are for understanding their meaning, and Jyotisham and Kalpam provide appropriate times and methods for performing the Vedic sacrificial rites and rituals.

The Vedangas played an important role in maintaining the purity and integrity of the Vedic tradition. For centuries they taught and continue to teach Vedic students how to recite the Vedic hymns, understand their meaning and perform the various rituals and ceremonies strictly according to the established procedures. The Vedangas greatly help us in proper understanding and application of the Vedas.

The Vedangas likely developed towards the end of the Vedic period. Individually, these auxiliary disciplines of study are traceable to the 1^st to 5th - century BCE. However, it is unclear when and where a list of six Vedangas were first conceptualized.

The Vedangas developed as ancillary studies for the Vedas, were sciences that focused on helping understand and interpret the Vedas that had been composed many centuries earlier. The insights into meters, structure of sound and language, grammar, linguistic analysis and other subjects influenced post-Vedic studies, arts, culture and various schools of Hindu philosophy. The Kalpa Vedanga studies, for example, gave rise to the Dharma-sutras, which later expanded into Dharma-shastras.

Let us learn in brief, each of the six Vedangas:

1. SHIKSHA: phonetics, phonology, pronunciation. This auxiliary discipline has focused on the letters of the Sanskrit alphabet, accent, quantity, stress, melody and rules of euphonic combination of words during a Vedic recitation.

2. NIRUKTAM: etymology, explanation of words, particularly those that are archaic and have ancient uses with unclear meaning. This auxiliary discipline has focused on linguistic analysis to help establish the proper meaning of the words, given the context they are used in.

3. KALPAM: ritual instructions. This field focused on standardizing procedures for Vedic rituals, rites of passage rituals associated with major life events such as birth, wedding and death in family, as well as discussing the personal conduct and proper duties of an individual in different stages of his life.

4. JYOTISHAM: Auspicious time for rituals, astrology and astronomy. This auxiliary Vedic discipline focused on time keeping.

5. CHANDAS: prosody. This auxiliary discipline has focused on the poetic meters, including those based on fixed number of syllables per verse, and those based on fixed number of morae per verse.

6. VYAKARANAM: grammar and linguistic analysis. This auxiliary discipline has focused on the rules of grammar and linguistic analysis to establish the exact form of words and sentences to properly express ideas.

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25. SAMHITAS

The Veda is organized into four divisions. The Rig Veda, Sama Veda, Yajur Veda, and Atharva Veda. Samhita is the first and customarily of the main part of the Veda. Samhita is not a teaching; it is a collection of mantras associated with a Rishi, and a Devata. And it is designed to produce a certain effect or give access to a certain kind of supra natural force; which is the core of Vedas.

Each of the Veda there are recensions / variations or Shakhas / parts; with slightly different collection of mantras / texts / traditions. Each Veda (recension therefore) has four parts (popularly believed by scholars like Shankaracharya)

· the Samhitas (Mantra Samhita - meaning collection of Mantras) – Only mantras and benedictions

· the Aranyakas (text on rituals, ceremonies, sacrifices and symbolic-sacrifices) - Philosophical speculation about reality. Somewhat like metaphysics, but tending to Adhyatma

· the Brahmanas (commentaries on rituals, ceremonies and sacrifices) - literature investigating in principle the rituals included in the tradition.

· the Upanishads (text discussing meditation, philosophy and spiritual knowledge) - A more focused investigation into the very essence of the Aranyaka.

Vedas consists of Mantra Samhitas only, which believed to be Apourusheya - not of human origin but divine creation. Brahmanas and Aranyakas are basically the same and Upanishads are written by sages (ancient scholars) as interpretation of Vedas.

The Samhitas are sometimes identified as karma-khanda (action/ritual-related section), while the Upanishads are identified as jnana-khanda (ज्ञान खण्ड, knowledge/spirituality-related section). The Aranyakas and Brahmanas are variously classified, sometimes as the ceremonial karma-khanda, other times (or parts of them) as the jnana-khanda.

The Vedic Samhitas were chanted during ceremonies and rituals, and parts of it remain the oldest living part of Hindu tradition.

Samhita means "put together / joined / union / collection", and "a methodically rule-based combination of text or verses". Samhita is the most ancient among Vedic Texts consisting of mantras, hymns, prayers, litanies and benedictions – sacred sounds with or without literal meaning, as well as panegyrics, prayers, litanies and benedictions petitioning nature or Vedic deities.

Vedic Samhita refer to mathematically precise metrical archaic text of each of the Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda).

RIGVEDA SAMHITA

The whole of the Rigveda-Samhita is in the form of verses, known as Rik. ‘Rik’ is the name given to those Mantras which are meant for the praise of the deities. Thus, the collection (Samhita) of Riks is known as Rigveda-Samhita. The Rigveda Samhita contains about 10552 Mantras, classified into ten books called Mandalas.

YAJURVEDA SAMHITA

Yajurveda-Samhitas are the prayer-books for the Adhvaryu priest; for the purposes of sacrificial rituals. His works vary from the selection of a plot of land for the sacrificial altar down to offering oblations to the sacred fires.

SAMAVEDA SAMHITA

The Samaveda Samhita is an independent collection (Samhita), yet it has taken many verses, a large number indeed, from the Samhita of Rigveda. Samaveda-Samhita is the songbook of the Udgata priest (singers during the Sacrifice, Yaga/Yajna).

ADHARVANAVEDA SAMHITA

The Atharvaveda Samhita contains hymns many of which were charms, magic spells and incantations meant to be pronounced by the person who seeks some benefit, or more often by a sorcerer who would say it on his or her behalf. The most frequent goal of these hymns charms and spells were long life of a loved one or recovery from some illness. In these cases, the affected would be given substances such as a plant (leaf, seed, root) and an amulet.

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26. BRAHMANAS - Sruti and Ritual Guide

The Brahmanas are the commentaries on the hymns of the four Vedas. They are a layer or category of Vedic Sanskrit texts embedded within each Veda, and form a part of the Hindu Sruti literature. They are primarily a digest incorporating myths, legends, the explanation of Vedic rituals and in some cases speculations about natural phenomena or philosophy.

The Brahmanas are particularly noted for their instructions on the proper performance of rituals, as well as explain the original symbolic meanings - translated to words and ritualistic actions in the main text. Brahmanas lack a homogeneous structure across the different Vedas, with some containing chapters that constitute Aranyakas or Upanishads in their own right.

Each Vedic shakha (school) has its own Brahmana. Brahmana texts existed in ancient India, but most of them are lost now. A total of 19 Brahmanas are existing at least in their entirety basically because these texts were orally taught for generations without documentation. Four Vedas, Brahmanas, Aranyakas and early Upanishads were documented in pre-Buddhist times (ca. 600 BCE). Brahmanas could be dated to about 900 BCE.

Mythology and Rituals

The Brahmanas layer of Vedic literature contain the exposition of the Vedic rites and rituals. For example, the first chapter of the Chandogya Brahmana, one of the oldest Brahmanas, includes eight suktas (hymns) for the ceremony of marriage and rituals at the birth of a child. The first hymn is a recitation that accompanies offering a Yajna oblation to deity Agni (fire) on the occasion of a marriage, and the hymn prays for prosperity of the couple getting married. The second hymn wishes for their long life, kind relatives, and a numerous progeny. The third hymn is a mutual marriage pledge, between the bride and groom, by which the two bind themselves to each other, as follows (Chāndogya Brāhmaṇa, Chapter 1).

यदेतद्धृदयं तव तदस्तु हृदयं मम ।

यदिदं हृदयं मम तदस्तु हृदयं तव ॥

That heart of thine shall be mine, and this heart of mine shall be thine.

The next two hymns of the first chapter of the Chandogya Brahmana invoke deities Agni (fire), Vayu (air), Kandramas (moon), and Surya (sun) to bless the couple and ensure healthful progeny. The sixth through last hymn of the first chapter in Chandogya Brahmana are not marriage-related, but related to hymns that go with ritual celebrations on the birth of a child.

The Brahmanas are particularly noted for their instructions on the proper performance of rituals, as well as explanation of the symbolic importance of sacred words and ritualistic actions in the main text. These instructions insist on exact pronunciation (accent), chhandas (meters), precise pitch, with coordinated movement of hand and fingers – that is, perfect delivery. Satapatha Brahamana, for example, states that verbal perfection made a mantra infallible, while one mistake made it powerless. Scholars suggest that this orthological perfection preserved Vedas in an age when writing technology was not in vogue, and the voluminous collection of Vedic knowledge were taught to and memorized by dedicated students through Svādhyāya, then remembered and verbally transmitted from one generation to the next.

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27. ARANYAKAS

The Aranyakas ("Forest Books") discuss rites deemed not suitable for the village (thus the name "forest"); it constitutes the philosophy behind ritual sacrifice texted in the Vedas. The major contents of the Aranyakas are theosophy (Brahmavidya), meditation (Upasana) and knowledge of breath (Pranavidya). They describe the secret meaning of the sacrifice and the concept of Brahma as well. The creation of the universe, the power of the Almighty, Om, the soul and the cycle of birth and death are explained in Brihadaranyaka in a simple manner. In the Aranyakas we find certain important geographical, historical, social and cultural points also. All this makes their study more significant.

The Brahmanas advocating Yajna and other rituals are prescribed only for those who live in homes and lead the life of house-holders (Grihastha). But it has to be understood that Vedic rituals are intended to confer not only material benefits but also mental purity by constant discipline. Aranyakas containing explanations of the rituals and allegorical speculations thereon are meant for non-materialistic seekers. This may be the reason why these texts were propounded by the Rishis who resided in the forests and thought upon the secrets of the Yajnas. Aranyakas describe the actions of life and also acquisition of knowledge. These works form the basis of the Rahasya or secrets discussed in the Upanishads, therefore, another name of the Aranyakas was ‘Rahasya‘ as well. This name is mentioned in the Gopatha Brahmana and Manusmriti.

Aranyakas is to bridge the gap between the ritualistic Brahmanas and the more philosophical Upanishads. Aranyakas are non-homogeneous in content and structure. In the immense Vedic literature, there is no absolute universally true distinction between Aranyakas and Brahmanas, as some Upanishads are incorporated inside a few Aranyakas. Aranyakas, along with Brahmanas, represent the emerging transitions in later Vedic religious practices. The transition completes with the blossoming of ancient Indian philosophy from external sacrificial rituals to internalized philosophical treatise of Upanishads.

Aranyakas describe and discuss rituals from various perspectives, but some include philosophical speculations. For example, the Katha Aranyaka discusses rituals connected with the Pravargya (ceremony introductory to the Agnishtoma (Soma sacrifice – devotion / worship / offering; to any ritual done in front of a sacred fire, often with chanting mantras), at which fresh milk is poured into a heated vessel called mahavira or gharma and offered to the Ashvins (twin Vedic gods of medicine. They are also described as divine twin horsemen in the Rigveda. They are the sons of Surya (in his form as Vivasvant) and his wife Saranyu, a goddess of the clouds)). The Aitareya Aranyaka includes explanation of the Mahavrata ritual from ritualisitic to symbolic meta-ritualistic points of view.

The Aranyakas are associated with, and named for, individual Vedic shakhas.

· Rigveda

o Aitareya Aranyaka belongs to the Aitareya Shakha of Rigveda

o Kaushitaki Aranyaka belongs to the Kaushitaki and Shankhayana Shakhas of Rigveda

· Yajurveda

o Taittiriya Aranyaka belongs to the Taittiriya Shakha of the Krishna Yajurveda

o Maitrayaniya Aranyaka belongs to the Maitrayaniya Shakha of the Krishna Yajurveda

o Katha Aranyaka belongs to the (Caraka)Katha Shakha of the Krishna Yajurveda^[17]

o Brihad Aranyaka in the Madhyandina and the Kanva versions of the Shukla Yajurveda. The Madhyandina version has 9 sections, of which the last 6 are the Brihadaranyaka Upanishad.

· Samaveda

o Talavakara Aranyaka or Jaiminiya Upanishad Brahmana belongs to the Talavakara or Jaiminiya Shakha of the Samaveda

o Aranyaka Samhita is not a typical Aranyaka text: rather the Purvarchika of the Samaveda Samhitas has a section of mantras, called the 'Aranyaka Samhita', on which the Aranyagana Samans are sung.

The Atharvaveda has no surviving Aranyaka, though the Gopatha Brahmana is regarded as its Aranyaka, a remnant of a larger, lost Atharva (Paippalada) Brahmana.

The Mahabharata is an Ithihasa wherein Vyasa, the story-teller himself has a role. The story is of cousins - Pandavas and Kauravas, in the Kurukshetra War for the throne of Hasthinapura. Dictated by Vyasa and written by Ganesha. With 100,000 verses, it is the longest epic poem ever written. It was composed in the 4th century BCE or earlier. The Bhagavad Gita within Mahabharata is one of the most important texts not only of the Indian literature but also of the World literature.

Shantanu, the king of Hastinapur, was married to River Ganges, had a son Devavrata who was supposed to be Shantanu's heir. But, Shantanu fell in love with Satyavati and her father in order to agree for the marriage insisted the king that Satyavati's son and descendants would inherit the throne, Shantanu declined to do so. Devavrata, after knowing about this, vowed to renounce the throne and to remain celibate throughout his life (thus known as Bheeshma) and asked Satyavati for his father. Pleased Shantanu granted Bheeshma the boon to select the time of his own death.

Vichitravirya, son of Shantanu and Satyavati was enthroned. Bheeshma abducted the three princesses of a neighboring kingdom and brought them over to Hastinapur to be wedded to Vichitravirya. The eldest of these princesses declared that she was in love with someone else, so she was let go; the two other princesses were married to Vichitravirya, who died soon after, childless.

Satyavati summoned her son (born to the great sage Parashara before her marriage to Shantanu) Vyasa to impregnate the two queens. By the Niyog custom, the two queens each had a son of Vyasa: to the elder queen - Dhritarashtra, and to the younger – pale son Pandu. To a maid of these queens was born a son of Vyasa - Vidura. Bheeshma brought up these three boys with great care and made them great : Dhritarashtra - the strongest of all princes in the country, Pandu - extremely skilled in warfare and archery, and Vidura – expert in all the branches of learning, politics, and statesmanship.

Since Dhritarashtra was blind, Pandu was crowned. Bheeshma negotiated Dhritarashtra's marriage with Gandhari, and Pandu's with Kunti and Madri. Pandu was a great king, but left the kingdom to elder brother to look after the state affairs, and retired to the forests with his two wives for some time. A few years later Kunti returned with her five little boys, after the death of Pandu and Madri. The five boys were the sons of Pandu, born to his two wives through the Niyog custom from Gods: the eldest was born of Dharma, the second of Vayu, the third of Indra, and the youngest - twins - of the Ashvins. In the meanwhile, Dhritarashtra and Gandhari too had 100 sons and one daughter.

All of the 105 princes were entrusted to the care of a teacher Kripa. Drona's school at Hastinapur also had Karna, of the Suta clan. It was here that hostilities developed between the sons of Dhritarashtra (Kauravas) and the sons of Pandu (Pandavas). Duryodhana and Bheem had a fight, Karna - uninvited as he was not a Kuru prince - challenged Arjuna, was insulted on account of his non-royal birth, and was crowned king of a vassal state by Duryodhana. Questions began to be raised about Dhritarashtra occupying the throne, since he was supposed to be holding the crown for king Pandu. To keep peace in the realm, Dhritarashtra declared the eldest Pandava, Yudhishthira, as the crown prince and heir apparent.

Yudhishthira's rising popularity with the citizens was extremely distasteful to Duryodhana. He plotted to get rid of the Pandavas. This he did by making his father send the Pandavas and Kunti off to a nearby town on the pretext of a fair; the stay in that town was built by an agent of Duryodhana; the palace was made entirely of inflammable materials since the plan was to burn down the palace. The Pandavas, however, were alerted of this fact by their other uncle, Vidura, and had a counter plan ready; they dug an escape tunnel underneath their chambers and escaped.

This is how the Mahabharata PLOT was created.

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28. MAHABHARATA – PANCHALI, DICE & EXILE

Pandavas and Kunti went into hiding, moving from one place to another and passing themselves off as a poor brahmin family. During these wanderings, Bheem killed two demons, married a demoness, and had a demon child called Ghatotkach. They also went for a swayamvaram (a ceremony to choose a suitor by the Princess) at Panchal to see the festivities. The princess Draupadi, born of fire, was famed for her beauty and every prince from every country for miles around had come to the swayamvaram, to win the task: a long pole on the ground had a circular contraption spinning disc with a fish to arrow looking down into this water-mirror. One by one, the kings and princes tried to shoot the fish, and failed; neither could lift the bow; nor could string it. The Kauravas and Karna were also present; Karna picked up the bow and strung it in a moment, but was prevented from taking aim when Draupadi declared she would not marry anyone from the Suta clan. After every one of the royals had failed, Arjuna, the third Pandava, affixed all of the five arrows to it, shot, and pierced the fish's eye with all of the five arrows in a single attempt. Arjuna had won Draupadi's hand.

The Pandava brothers, still as poor brahmins, took Draupadi back to the hut they were staying; as reached they called for Kunti, "Ma, Ma, come and see what we've brought back today." Kunti, said, "Whatever it is, share it among yourselves". That is how Draupadi became Panchali. Meanwhile, Draupadi's twin Dhrishtadyumna, following them secretly. He is a cousin brother to Krishna and Balarama of the Yadava clan (They were related to the Pandavas - their father was Kunti's brother - but they had never met before.) Vyasa also arrived at the scene at this point.

After the wedding ceremonies at Panchal, the Hastinapur palace invited the Pandavas and their bride back; Dhritarashtra partitioned the kingdom, giving them a huge tract of barren land which soon Pandavas transformed into a paradise. Yudhishthira was crowned there, and he performed a sacrifice that involved all of the kings of the land to accept - either voluntarily or by force - his suzerainty. The new kingdom, Indraprastha, prospered.

The prosperity of Indraprastha and the power of the Pandavas was irritating Duryodhana. He invited Yudhisthira to a dice game and got his uncle, Shakuni, to play for him. Shakuni was an accomplished player; Yudhishthira step by step lost his entire wealth, his kingdom, his brothers, himself, and Panchali. Panchali was dragged into the dice hall and was insulted. Seeing this Bheema vowed to kill each and every Kauravas. Dhritarashtra intervened and unwillingly gave the kingdom and their freedom back to the Pandavas and Panchali; and set them off to Indraprastha. Duryodhana again invited Yudhishthira to another dice game; the condition was that the loser would go on a 12-year exile followed by a year of life incognito. If they were discovered during this incognito period to repeat the 12+1 cycle again. In the dice game Yudhishthira lost again.

Pandavas left mother Kunti behind at Hastinapur, in Vidura's place. They lived in forests and visited holy spots; Arjuna went to heavens and learned the techniques of several divine weapons from the Gods, he also learnt how to sing and dance from the gandharvas. After 12 years, during incognito they lived in the Virat kingdom; Yudhishthira as king's counsellor, Bheema in the royal kitchens, Arjuna as teacher to sing and dance, the twin-brothers to keep horses, and Panchali as maid to the queen. At the end of the incognito - the Pandavas revealed themselves. The Virat king was overwhelmed; his daughter Uttara got married to Arjuna's son Abhimanyu.

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29. MAHABHARATHA - WAR

At the wedding ceremony of Arjuna with Uttara at Virat, a large number of Pandava allies gathered to draw out a war strategy. Emissaries were sent to the Kauravas to demand the return of Indraprastha, the land granted by Dhritarashtra, and developed by the Pandavas, but lost to the Kauravas during a dice game. The attempt to settle the issue peacefully was a failure, even though Krishna, an avatar of Vishnu and a maternal cousin of the Pandavas, went on the mission by himself. Duryodhana refused to give away as much land as was covered by the point of a needle, let alone the five villages proposed by the peace

missions. The Kauravas also gathered their allies around them, and even broke away a key Pandava ally - the maternal uncle of the Pandava twins - by trickery.

The Kurukshetra War broke out. Scholars are divided in their opinion as to when this war took place, and even the historicity of this war is a subject of much debate. In any case, according to the Mahabharata, the Kurukshetra War lasted for 18 days, during which most of the characters in the epic were killed. Arguably the most famous episode in the epic, the Bhagavat Gita , occurs here, just before the fighting begins.

Just before the war bugle was sounded, Arjuna saw arrayed before him his relatives: his great-grandfather Bheeshma who had practically brought him up, his teachers Kripa and Drona, his brothers the Kauravas, and, for a moment, his resolution wavered. Krishna, the warrior par excellence, had given up arms for this war and had elected to be Arjuna's charioteer. Arjuna requested Krishna to take him back as he can not kill these people; my father, my brothers, my teachers, my uncles, my sons. He said he has no desire on kingdom and kingship at the cost of many dear lives. Krishna gave his philosophical discourse - the Bhagavad Gita explaining the impermanence of Kshathriya (Kingly) life, and the importance of fulfilling one’s duty, and keeping on the path of righteousness which made Arjuna to pick up his bow to fight.

The battle was for 18 days. The army had 18 akshauhinis, 7 on the Panadava side and 11 on the Kaurava (1 akshauhini = 21,870 chariots + 21,870 elephants + 65,610 horses + 109,350 soldiers on foot). At the end of the war, the Pandavas emerge victorious, though the losses on both sides are almost total. Among those left lives were Duryodhana and all of the Kauravas, all of the menfolk of Draupadi's family, including all of her sons by the Pandavas. Karna was revealed to be a son of Kunti, before her marriage to Pandu, and thus, the eldest Pandava and the rightful heir to the throne. The grand old man Bheeshma lost life. Their teacher Drona was dead, also all kinsfolk related to them either by blood or by marriage. In about 18 days, the entire country lost almost three generations of its men. It was a war not seen on a scale before, it was the Great Indian war, the Maha-Bharat war.

The war, however, is not the end of the epic. After the war, Yudhishthira became king of Hastinapur and Indraprastha. The Pandavas ruled for 36 years, after which they abdicated in favour of Abhimanyu's son, Parikshit. The Pandavas and Draupadi proceeded on foot to the Himalayas, intending to live out their last days climbing the slopes heavenwards. One by one, they fell on this last journey and their spirits ascended to the heavens.

Years later, Parikshit's son Janmejaya, a great-grandson of Arjuna, succeeded his father as king. He held a big snake sacrifice, at which this entire story was recited for the first time by Vaishampayan, a disciple of Vyasa. Since that time, this story

has been retold countless times, expanded upon, and retold again.

The Mahabharata remains popular to this day in India. It has been adapted and recast in contemporary mode in several films and plays. Children continue to be named after the characters in the epic. The Bhagvad Gita is one of the holiest of Hindu scriptures. Beyond India, the Mahabharata story is popular in south-east Asia in cultures that were influenced by Hinduism such as Indonesia and Malaysia.

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30. Rivalry PLOT due to DRAUPADI

Logically if it is to think why and for whom Mahabharata started, many can be named; most prominent among them is Draupadi.

Draupadi is the daughter of King Drupada (Yajnasena) of the Panchala (Bareilly region) kingdom; hence she was named as Draupadi (Drupadakanya) and Panchali. According to the Mahabharata, she took birth from the sacred fire (Yajna), so she is also called as Yagnaseni. Draupadi is referred to by multiple names in the Mahabharata. She took birth as a maiden and never went through the stages of childhood; Draupadi’s mission and Drupada’s intent is Mahabharata.

Drupada(son of King Prishata) and Drona (who later was the Guru for Pandavas and kauravas and fought for Dhuryodhana) studied together under the tutelage of Rishi Bharadwaja, Drona's father. They become great friends and Drupada assures Drona that once he becomes king, he will share half of his kingdom with Drona. When Drupada got kingship after the death of Prishata, Drona lived a life of poverty. Drona approached Drupada for help but he refused to acknowledge friendship and shuns Drona, calling him a beggar. Drona is later employed by Bhishma to train the Kuru princes. After the military education of the Kauravas and the Pandavas ends, as his gurudakshina as requested by Drona, Arjuna defeated Drupada and subsequently took half his kingdom. To avenge this, Drupada performed Putrakameshti yajna; from the sacrificial fire, Draupadi emerged as a beautiful dark-skinned young woman (who would enter the Kuru family and divide it) after her sibling Dhrishtadyumna (who would kill Drona).

King Drupada arranges a swayamvara for his daughter Draupadi. To win Draupadi's hand, the king's invitees, all of them royalty themselves, must string an enormous bow and shoot five arrows simultaneously through a revolving ring onto the eye of a revolving fish. All the kings fail to even string the bow; when Karna is about to succeed, he was stopped by Draupadi, who refuses to marry the son of a charioteer. The five sons of the late King Pandu of Hastinapur are present at the swayamvara, dressed as holy men. As the other attendees, including the Kauravas, protest at a Brahmin winning the competition and attack, Arjuna and Bhima protect Draupadi and are able to retreat. When Draupadi arrives with the five Pandavas to meet Kunti, they inform her that Arjuna won alms, to which Kunti says, "Share the alms equally". This motherly command leads the five brothers to become the five husbands of Draupadi.

Polyandry is justified here as in her previous birth, Draupadi did “Ghora- Thapasya” (hard penance) and invoked Eswara (God Shiva). She asked for a husband with 14 qualities (the main 5 are Moral values, physical strength, skilled, handsome and intelligent). Shiva said all these qualities cannot co-exist in one man and he can’t bless. There was protest from many including Drupa and Pandavas. But Vyasa and Krishna played their role to convince all.

Earlier Upon the news of Pandavas' death at Varnavrat, the title of crown prince had fallen to Duryodhana. Upon revealing that they are alive Dhritharashtra invites the Pandavas to Hastinapur and proposes that the kingdom be divided. The Pandavas are assigned the wasteland Khandavaprastha, referred to as unclaimed desert. With the help of Krishna, Pandavas rebuilt Khandavaprastha into the glorious Indraprastha. The crown jewel of the kingdom was built at the Khandava forest, where Draupadi resided in the "Palace of Illusions". Yudhishthira performed the Rajasuya Yagna with Draupadi by his side; the Pandavas gained lordship over many regions.

A lesser known fact is Draupadi's role as an Empress. Trained in economy, she took upon the responsibility of looking after the treasury of the Empire and ran a citizen liaison.

Duryodhana and his entourage were exploring the keep during their visit to Yudhishthira's Rajasuya Yagna. While touring the grounds, an unsuspecting Duryodhana fell prey to one of the many illusions that could be seen all around the palace. When he stepped on the apparently solid part of the courtyard, there was a splash and Duryodhana found himself waist deep in water, drenched from head to foot by the hidden pool. The myth is, Draupadi and her maids saw this from the balcony with amusement, and joked Andhasya Putra Andhaha meaning 'a blind man's son is blind'.

Insult suffered by Duryodhana is often considered to mark a definitive moment in the story of Mahabharata. It is one of the driving reasons for the dies Game, Exile and that ultimately led to the Kurukshetra War.

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31. DIES GAME AND EXILE - DRAUPADI

Duryodhana together with his brothers, Karna and Shakuni conspired to call the Pandavas at Hastinapur and win their kingdoms in a game of gambling. Shakuni, the gambler, winning by unfair means played against Yudhishthira and won at the gambling table what was impossible to win at the battlefield.

As the game proceeds, Yudhishthira loses everything at first. In the second round, Yudhishthira's brother Nakula was at stake, and Yudhishthira loses him. Yudhisthtira subsequently gambles away Sahdeva, Arjuna and Bheema. Finally, Yudhishthira puts himself at stake, and loses again. For Duryodhana, the humiliation of the Pandavas was not complete. He prods Yudhishthira that he has not lost everything yet; Yudhishthira still has Draupadi with him and if he wishes he can win everything back by putting Draupadi at stake. Inebriated by the game, Yudhishthira, to the horror of everybody present, puts Draupadi up as a bet for the next round. Playing the next round, Shakuni wins. Draupadi was horrified after hearing that she was staked in the game and now is a slave for Duryodhana. Draupadi questions Yudhishthira's right on her as he had lost himself first and she was still the queen. Duryodhana, angry with Draupadi's questions, commands his younger brother Dushasana to bring her into the court, forcefully if he must.

Dushasana drags Draupadi to the court by the hair. Seeing this, Bheema pledges to cut off Dushasana's hands, as they touched Draupadi's hair. Now in an emotional appeal to the elders present in the forum, Draupadi repeatedly questions the legality of the right of Yudhishthira to place her at stake.

In order to provoke the Pandavas further, Duryodhana bares and pats his thigh looking into Draupadi's eyes, implying that she should sit on his thigh. The enraged Bhima vows in front of the entire assembly that he would break Duryodhana's thigh, or else accept being Duryodhana's slave for seven lifetimes.

Karna calls Draupadi "unchaste" for being the wedded wife of five men, adding that dragging her to court is not surprising act whether she be attired or naked. He orders Dushasana to remove the garments of Draupadi. Arjun tries to help Draupadi but Yudhishtira forbids him. Arjun vows to kill Karna for insulting his wife

After her husband’s fail to assist her, Draupadi prays to Krishna to protect her. Dushasana attempts to disrobe her, but she is miraculously protected by Krishna, and Dushasana finds that as he continues to unwrap the layers of her sari, the amount of fabric covering her never lessens. Dushasana is eventually reduces to exhaustion, as the awed court observes that Draupadi is still chastely dressed. At this point, a furious Bhima vows to drink the blood from Dushasana's chest, at the pain of not seeing his ancestors/entering heaven. This vow unsettles the entire court.

The only Kauravas who object to the disrobing of Draupadi in the court are Vikarna and Vidura. Queen mother Gandhari enters the scene and counsels Dhritarashtra to undo her sons' misdeeds. Fearing the ill-omens, Dhritarashtra intervenes and grants Draupadi a boon, gives them back their wealth, and grants them permission to go home.

Amused by the sudden turn of events, Karna remarks that they "have never heard of such an act, performed by any of the women noted in this world for their beauty." He taunts the Pandavas by praising their wife, as she had rescued them "like a boat from their ocean of distress"

Having restored their pride and wealth, the Pandavas and Draupadi leave for Indraprastha. Shakuni, Karna and Duryodhana later convince Dhritarashtra to invite Pandavas for a new game of dice, with modified rules, in which the loser would be given an exile of 12 years followed by a year of Agnathavasa, meaning "living in incognito". Yudhishtira yet again accepts the invitation and loses and goes on an exile with his brothers and wife Draupadi.

While the Pandavas in exile were in the Kamyaka forest, they often went hunting, leaving Draupadi alone. At this time Jayadratha, the son of Vriddhakshatra and the husband of Duryodhana's sister Dussala, passed through Kamyaka forest on the way to Salwa Desa. Jayadratha met Draupadi and then started beseeching her to go away with him and desert her husbands, forced her onto his chariot. Pandavas caught and shaved Jayadratha's head at five places in order to publicly humiliate him and sent him back.

While on the last one year of Ajnana vasa (stay hiding); one day Kichaka, and the commander of king Virata's forces, requested her hand in marriage. Draupadi refused him. Many attempts to disturb was ended in Draupadi’s curse Kichaka with death by her husband's hand. Later Kichaka trapped by Draupadi to come to the dancing hall at night were Bhima (in the guise of Draupadi), fights with Kichaka and kills him.

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32. KURUKSHETRA WAR AND AFTERMATH - DRAUPADI

Students of Drona, when trained had only one role; defeat his enemy Drupada. Thus, Drupada got defeated and half of the kingdom was got under Drona. Now it is Drupada’s turn to fight back Drona and his students. They can only be won when they are divided. Drupada needs a trump card here. Hence, Draupadi was born. Her mission was to create jealousy among the first cousins, the Kauravas and the Pandavas, which will make her a cause for war through humiliation and will make the brothers kill other brothers. Drupada’s classical example of Divide and Conquer can only be achieved by a woman whose beauty has no match on this planet.

The plot of the swayamvara hiding Arjuna’s identity, though Arjuna knew that Drupada whom he defeated is the father of Draupadi, got her married. The dice game and the plot created for the war is to make Bheema’s pledge to kill Kauravas. Thus, Kurukshetra war is a requirement of Drupada through Draupadi.

During the war, Draupadi stays at Ekachakra with other women. On the 16th day, Bhima kills Dushasana, drinking his blood and fulfilling his oath to Draupadi.

There is a popular myth often depicted in well-known adaptations of Mahabharata. It says that, Draupadi washed her hair with her brother-in-law Dushasana's blood, as a mark of her vengeance against the abuse she had suffered at the dice-game. Though an extremely powerful and symbolic theme, this incident does not appear in Vyasa's Sanskrit Mahabharata.

Ashwathama, in order to avenge his father's as well as other Kuru warriors' deceitful killing by the Pandavas, attacks during his surprise raid on Pandavas camp at night with Kripacharya and Kritavarma. Aswathama killed Shikhandi, Dhrishtadyumna and Upapandavas (Draupadi had five sons, one son each from the Pandava brothers. They were known as Upapandavas; Prativindhya, Sutasoma, Shrutakarma, Satanika, and Shrutasena. None of the Draupadi's children survive the end of the epic.)

In the morning, Yudhishthira hears the news and asks Nakula to bring Draupadi from Matsya kingdom. Draupadi vows that if the Pandavas do not kill Ashwathama, she would fast to death. The Pandavas find Ashwathama at Vyasa's hut. Arjuna and Ashwathama end up firing the Brahmashirsha astra at each other. Vyasa intervenes and asks the two warriors to withdraw the destructive weapon. Not endowed with the knowledge to do so, Ashwathama instead redirects the weapon to Uttara's womb, killing the Pandavas' only heir (Parikshit, who was again revived by Krishna). Krishna curses him for this act. As a punishment, Ashwathama was asked by Vyasa to surrender the gem on his forehead to Pandavas.

After the cremation was done Yudhishtira was crowned as the king of Hastinapur and he in consultation with Dhrithrashtra was running the Kingdom and is loved by all people. When Yudhishtira became the king of Hastinapura, Draupadi again became the queen.

Later Dhrithrashtra and Gandhari made their mind to retire to woods to do penance. After pacifying by Vyasa, Vidura, Yudhishtira was ready to let them retire. After performing due rituals when they were ready to leave for the woods then Vidura and Sanjaya also wanted to accompany them and seeing all this Kunti also accompanied them to woods.

Thus, Draupadi became the senior queen at Hastinapura.

After Lord Krishna ascended to Vaikhunta-loka; Pandavs after the advice of Veda Vyasa left their Kingdom in the hands of Parikshit and left for the Himalayas. When they were travelling to Himalayas a Dog accompanied them throughout their journey.

When her husbands retired from the world and went on their journey towards the Himalayas and heaven, Draupadi accompanied them, and was the first to fall on the journey. When Bhima asked Yudhishthira why Draupadi had fallen, Yudhishthira replied, "O best of men, though we were all equal unto her she had great partiality for Dhananjaya. She obtains the fruit of that conduct today, O best of men."

The Draupadi Amman sect (or Draupadi devotional sect) is a tradition that binds together a community of people in worshipping Draupadi Amman as a village goddess with unique rituals and mythologies. The sect believes that Draupadi is the incarnation of goddess Kali. Fire walking or theemithi is a popular ritual enacted at Draupadi Amman temples. At the ancient religious festival of Bangalore named Karaga, Draupadi is worshipped as an incarnation of Adishakti and Parvati in a nine-day event.

There are over 400 temples dedicated to Draupadi in the Indian state of Andhra Pradesh, Tamil Nadu, Karnataka and other countries like Sri Lanka, Singapore, Malaysia, Mauritius, South Africa. In these regions, Draupadi is worshipped mainly by people of the Vanniyar caste. There are a few processions and festivals which are conducted for about 3 weeks a year. The most famous festival is in the village Durgasamudram, Tirupati of Chittoor district.

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33. GANDHARI – SADDEST AND MOST POWERFUL WOMAN

Gandhari is a less sung heroine of Mahabharata. She was brave and powerful with deep traits of dharma and adharma (for the better). She tried guiding Duryodhana through righteousness and was sad on failing in it.

Gandhari was a beautiful princess of Gandhar (Qandahar - a small kingdom with region spanning northwestern Pakistan and eastern Afghanistan) ruled by King Subala who was the contemporary of Bhishma half-brothers, Chaitrangad and Vichitravirya. Gandhari had obtained a boon of 100 sons from Lord Shiva and Bhishma knew this.

Bhishma was looking for suitable wives for his nephews - Dhritarashtra and Pandu (and Vidura too). Bhishma felt that Gandhari would be an ideal wife for Dhritarashtra, the eldest (blind by birth) prince. As he was blind, Pandu became the ruler and hence Gandhari couldn't become the queen.

Gandhari faced a difficult life. When she heard that she was to be married off to a blind prince, she chose to blindfold herself for the rest of her life. There are many opinions on this. Some (majority) say that this was the epitome of her sacrifice and she thus qualified herself to be an ultimate pati-vrata (a devout wife) and then sat in the ranks of Savitri, Sita, Damayanti, etc. Modern thinkers say that this was her snub to the society for not having given her the choice - a swayamvaram style.

Folklore says that this marriage was brought out of force by a show of strength. This "bulldozing" caused Shakuni, the brother of Gandhari, to flare up in anger, but could do nothing. Folklore also says that he swore eternal vengeance on the Kurus and made it his lifelong purpose. Movies and films (as well as many books) liked this drama angle and happily adopted the myth.

Gandhari bore a hundred sons, (collectively known as the Kauravas), and one daughter Dhushala who married Jayadratha.

After Pandu’s death, Dhritharashtra was ruling and hence Gandhari became the queen. She was always considerate to Pandavas and was always upholding Dharma.

That is why though Gandhari's sons were portrayed as villains, the Mahabharata attributes high moral standards to Gandhari. She repeatedly exhorted her sons to follow dharma and make peace with the Pandavas. Gandhari was especially close to Kunti who respected her like an elder sister.

Gandhari made a single exception to her blindfolded state, when she removed her blindfold to see Duryodhana rendering his entire body except his loins invulnerable to any foe. This was however to prove fruitless as Bhima smashed Duryodhana's thighs in their decisive encounter on the eighteenth day of the Kurukshetra battle, a move both literally and figuratively below the belt.

The Kauravas, principally Duryodhana and Dhushasana, were the villains of the Mahabharata, and were all killed in their war against their cousins, the Pandavas, at Kurukshetra.

Gandhari was also devout; an ardent worshipper of Lord Shiva. Gandhari's sacrifice of her eyesight and her austere life was to grant her great spiritual power. Gandhari's anguish in the loss of her hundred sons resulted in her cursing Krishna in effect ensuring the destruction of the Yadavas. It is also said that through a small gap in the napkin in which her eyes were blindfolded, her gaze fell on Yudhisthira's toe. The toe was charred black due to her wrath and power.

Krishna came and hugged her. She wept. And she felt Draupadi weeping next to her. Both were being hugged by Krishna, the mother of villains and the mother of heroes, both being comforted by him who they say is God. He said nothing. He allowed Gandhari to vent out her venom and he accepted the curse quietly – no retaliatory curse. Yes, his children would die as Gandhari had deemed fit and so would he. Let his clan suffer so that the spiral of vendetta does not continue. It must end sometime. And if this demands the sacrifice of his clan, then let it be so.

Gandhari ended her life with her husband and her sister-in-law Kunti in the Himalayas, where they died in a forest fire.

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34. KUNTI : THE PERFECT DEVOTED MOTHER

In Mahabharata, Kunti was the daughter of Shurasena, and foster daughter of his cousin Kuntibhoja. She was married to King Pandu of Hastinapur and was the mother of Karna and the three of the Pandavas - Yudhishtira, Bhima, Arjuna. She was the paternal aunt of Krishna, Balarama, and Subhadra. She was a beautiful and intelligent lady. She is often regarded as one of the protagonists of the Mahabharata.

Kunti's story is also told within Srimad Bhagavatam, wherein she speaks on the philosophy of devotion of Krishna, known as Bhakti yoga. Kunti is thus held as a figure of great importance within many Hindu traditions and especially with worshippers of Krishna (Vaishnavas).

Her father was Surasena of the Yadu clan, and she was named Pritha (Pŗtha). She was thus the sister of Vasudeva, father of Krishna. She was given in adoption to the childless King Kuntibhoja, after which she came to be known as Kunti. After her arrival, King Kuntibhoja was blessed with children. He considered her his lucky charm and took care of her until her marriage.

When she was young, rishi Durvasa told her a mantra with which Kunti could summon any deva and have a child by him without a pregnancy. When Kunti asked why he gave her this mantra, he told her that it would be useful to her later in life.

Kunti could not believe the mantra, so she tried to use it. The God Surya, appeared. She asked him to go back, but Surya said he was compelled to fulfill the mantra before returning. Kunti then abandoned the child in a basket on a river. This child was later found and adopted by a chariot driver and his wife, and was named Karna. He went on to become an important character in the Mahabharata. The ambiguous emotions Karna felt about his birth mother play an important role in the Mahabharata.

Kuntibhoja organized Kunti's swayamvara. Kunti chose King Pandu of Hastinapur, and this made her the Queen of Hastinapur.

Soon after, during his mission to expand his empire, Pandu married Madri, a princess of Madra in order to secure the vassalage of Madra. Madri was of the view that Kunti was inferior by birth to her because Yadavas were cattle herders while Madri was a princess. Kunti was disturbed by her husband's act, but eventually reconciled with him.

Pandu, while hunting in a forest, mistakenly shot and killed Rishi Kindama and his wife as they had taken the form of deer to mate. The dying sage placed a curse on Pandu since he had not only killed them in the midst of lovemaking but was not remorseful for his action. King Pandu argued with sage Kindama by misquoting sage Agastya's ruling on the right of Kshatriyas on hunting. Sage Kindama then decided to curse him to die if he ever should become intimate with his wife. Pandu renounced the kingdom and went into exile with Kunti and Madri. He met some sages and asked them a way for the heaven and salvation. They said, without children, one can never aspire for heaven. When Pandu expressed to Kunti his despair at the prospect of dying childless, she mentioned the boon granted to her. He advised her to beget children by suitable, illustrious men.

She used it three times, first receiving a son, Yudishtira, from the god Yama, then Bhima from the god Vayu, and thirdly Arjuna, from the god Indra.

Kunti's character within the Mahabharata is accorded much respect within the Hindu tradition. Her activities were that of a very pious and loyal wife and of a person with a great deal of self-control. Kunti was given a special boon which enabled her to bear the sons of great celestial devas as many times as she wished. However Kunti did not misuse her boon, limiting herself to three sons only.

And when requested by Pandu, she shared this special mantra with Madri, Pandu's other wife. Madri bore twin sons, Nakula and Sahadeva, from the twin Gods the Asvins. The five together are known as the Pandavas.

One day, Pandu, forgetting his curse, attempted to make love with his wife Madri. But, as a result of Kindama's curse, he died. Madri committed sati as she was the cause of his death. Kunti was left helpless in the forest with her children.

After the death of Pandu and Madri, Kunti took care of all five Pandava children taking them back to Hastinapur. As the rivalry culminated between Pandavas and Kauravas, she decided to go back to Kuntibhoja. But her attempt was stopped by Bhishma.

After the great battle and in her old age, she goes into exile to the forest, with her brothers-in-law Dhritarashtra and Vidura, and Dhritarashtra's wife Gandhari, where they die together in a forest fire.

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35. YUDHISHTHIRA (DHARMARAJA) – TOWARDS KURUKSHETRA WAR

In Mahabharata, Yudhishthira(Dharmaputhra) was the eldest son of King Pandu and Queen Kunti. He was the king of Hastinapura and Indraprastha was the principal protagonist of the Kurukshetra War.

Pandu, due to a curse, was unable to father children and asked his wife, Queen Kunti to invoke the wish granted to her by Rishi Dhurvasa in order to give birth to children. Urged by Pandu, Kunti gave birth to Yudhishthira by invoking the Lord of Righteousness, Dharma. Yudhishthira's four younger brothers were Bhima, (born by invoking Vayu); Arjuna, (born by invoking Indra); and the twins Nakula and Sahadeva, (born by invoking the Ashwini Gods). As Karna, the son of Kunti was born before her marriage by invocation of Surya, Yudhishthira was considered as the eldest. Yudhishthira's dharma was markedly distinct from that of other righteous kings. He married Draupadi along with his four brothers, the dharma that modifies itself to suit the times.

Yudhishthira was trained in religion, science, administration and military arts by the Kuru preceptors Kripa and Drona. He was a master of the spear weapon, and a maharatha, capable of combating 10,000 opponents all together at a time. Yudhishthira's true prowess was shown in his unflinching adherence to satya (truth) and dharma (righteousness), which were more precious to him than any royal ambitions, material pursuits and family relations.

Being Pandu's eldest son, Yudhishthira was the rightful heir to the throne. However, this claim was contested by the Dhritarashtra's son, Duryodhana. Yudhishthira is also known as Bharata (Descendent of the line of Bharata) and Ajatashatru (One without Enemies).

Yudhishthira rescued Bhima from Yama, and all of his four brothers from death by exemplifying not only his immense knowledge of dharma but also his very own way of understanding the finer implications of dharma, as judged by Yama, who was testing him in the guise of a Crane and a Yaksha.

Yudhishthira learned dice play from Narada Muni and assumed the guise of a brahmin courtier and dice player in the Matsya Rajya of king Virata. Yudhishthira was unable to refuse when Duryodhana's maternal uncle Shakuni, challenged him to a game of dice. Thanks to Shakuni's cheating, Yudhishthira lost each throw, eventually gambling away his kingdom, his wealth, his brothers and finally his wife. Owing to the protests of Vidura, Bhishma and Drona, Dhritarashtra returned all these losses. However, Shakuni challenged Yudhishthira one more time, and Yudhishthira once more lost. This time, he, his brothers and his wife were forced to discharge the debt by spending thirteen years in exile, with the condition of anonymity in the last year, in the forest before they could reclaim their kingdom.

When the period of exile was completed, Duryodhana and Shakuni nevertheless refused to return Yudhishthira's kingdom. Yudhishthira made numerous diplomatic efforts to retrieve his kingdom peacefully; all failed. To go to war to reclaim his birthright would mean fighting and killing his own relatives, an idea that appalled Yudhishthira. But Krishna, Yudhishthira's most trusted advisor (whom he recognized as the Avatar of Vishnu, the Supreme God), pointed out that Yudhishthira's claim was righteous, and the deeds of Duryodhana were evil. If all peace efforts failed, war was therefore a most righteous course.

Thus, Yudhishthira agreed for the Kurukshetra war.

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36. KURUKSHTHRA WAR and DHARMAPUTHRA

There are many passages in the Mahabharata in which you will see Yudhisthira arguing against fighting a bloody war for the sake of a kingdom, but Krishna justifies the war as moral and as the unavoidable duty of all moral warriors.

Yudhisthira and his brothers were favored by the Kuru elders like Bhishma, Vidura, Kripa and Drona over Duryodhana and his brothers, the Kauravas, due to their devotion to their elders, pious habits and great aptitude in religion and military skills, and for having the necessary qualifications for the greatest of the kshatriya order.

In the war, the Kuru commander Drona was killing thousands of Pandava warriors. Krishna hatched a plan to tell Drona that his son Ashwathama had died, so that the invincible and destructive Kuru commander would give up his arms and thus could be killed. The plan was set in motion when Bhima killed an elephant named Ashwathama, and loudly proclaimed that Ashwathama was dead. Drona, knowing that only Yudhisthira, with his firm adherence to the truth, could tell him for sure if his son had died, approached Yudhisthira for confirmation. Yudhisthira told him: "Ashwathama has died". However Yudhisthira could not make himself tell a lie, despite the fact that if Drona continued to fight, the Pandavas and the cause of dharma itself would have lost and he added: "naro va kunjaro va" which means he is not sure whether elephant or man had died. Krishna knew that Yudhisthira would be unable to lie, and had all the warriors beat war-drums and cymbals to make as much noise as possible. The words "naro va kunjaro va" were lost in the tumult and the ruse worked. Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna.

After the war of Kurukshetra, Yudhisthira performed the funeral rites of all his people including Karna. He was deeply hurt that many of his men were killed. His mother Kunti came and said she tried to inform Karna of his relationship with Yudhisthira and persuade him to give up his enmity. Even the Sun god also spoke to Karna but because of his friendship with Duryodhana, he did not change his position. Kunti revealed that Karna was her son, and one of them.

Upon the onset of the Kali yuga and the death of Krishna, Yudhisthira and his brothers retired, leaving the throne to their only descendant to survive the war of Kurukshetra, Arjuna's grandson Parikshit. Giving up all their belongings and ties, the Pandavas made their final journey to pilgrimage in the Himalayas.

While climbing the peaks, one by one Draupadi and each Pandava in reverse order of age fell to their deaths, dragged down by the weight of their guilt of few, but real sins. But Yudhisthira reached the mountain peak, because he was unblemished by sin or untruth. On the mountain peak, Indra, King of Gods, arrived to take Yudhisthira to heaven in his Golden Chariot. As Yudhisthira was about to step into the Chariot, told him to leave behind his companion dog, an unholy creature not worthy of heaven. Yudhisthira stepped back, refusing to leave behind the creature who he had taken under his protection. Indra wondered at him - "You can leave your brothers behind, not arranging proper cremations for them and you refuse to leave behind a stray dog!"

Yudhisthira replied, "Draupadi and my brothers have left me, not me [them]." And he refused to go to heaven without the dog. At that moment the dog changed into the God Dharma, his father, who was testing him and he had passed with distinction.

Yudhisthira was carried away on Indra's chariot. On reaching Heaven he did not find either his virtuous brothers or his wife Draupadi. Instead he saw Duryodhana and his evil allies. The Gods told him that his brothers were in Naraka (hell) atoning their little sins, while Duryodhana was in heaven since he died at the blessed place of Kurukshetra.

Yudhisthira loyally went to Naraka (hell) to meet his brothers, but the sights and sounds of gore and blood horrified him. Tempted to flee, he mastered himself and remained on hearing the voice of his beloved brothers and Draupadi calling out to him, asking him to stay with them in their misery. Yudhisthira decided to remain, ordering the Divine charioteer to return preferring to live in hell with good people than in a heaven of evil ones. At that moment the scene changed. This was yet another illusion to test him on the one hand, and on other hand to enable him to atone for his sin of using deceit to kill Drona. Indra and Krishna appeared before him and told him that his brothers were already in Heaven, along with his enemies, for earthly virtues and vices don't hold true in heavenly realms. Krishna yet again hailed Yudhisthira for his dharma, and bowed to him, in the final defining moment of the epic where divinity bowed down to humanity.

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37. DUDRYODHANA UNDER DHRITHARASHTRA

Blind King Dhritarashtra of Hasthinapura and and his wife Queen Gandhari from Gandhar got hundred children which is more magical than the Pandava story of Kunti. Gandhari's pregnancy continued for an unusually long period of time, she beat her womb in frustration. This caused a hardened mass of grey-coloured flesh to issue from her womb. She implored Vyasa, the great sage who had blessed her as "shatha putra praptirasthu" ("blessed with a hundred sons"), to redeem his words. Vyasa divided the ball of flesh into one hundred and one equal pieces, and put them in pots of ghee, which were sealed and buried into the earth for two years. At the end of the second year, the first pot was opened, and Duryodhana emerged. Followed by other brothers and a sister of Duryodhana. Duryodhana (Dur = Extremely hard + Yodhana = Yudh/Fight), the one with whom the fight is extremely hard.

Duryodhana's hatred for the Pandavas stems from his sincere belief that he being the son of the eldest brother and the then king is the heir apparent to the throne of Hastinapura. Because of his blindness, his father had to renounce the throne in favor of the younger brother, Pandu. Duryodhana deeply believed that what was rightfully his was being given away to his older cousin Yudhishthira. He also felt that the Pandavas were sons of Kunti and (devas/deities), not of Pandu. He never believed that their divine origin alone proved their superiority, on many occasions questioning their merits, and always calling them the 'Kaunteya' (sons of Kunti).

Duryodhana participated in a plot by Shakuni to burn the Pandavas in a house of wax at Varnavata; however, they managed to escape the trap having been warned by Vidura. After the Pandavas reveal that they have survived the wax house, Bhishma suggests that the kingdom be divided in order to ease the obvious tension. Yudhishthira is given half the kingdom and made king of Khandavprastha, so as to avoid a clash with the Kaurava princes over the whole Kuru Kingdom. Duryodhana bacame the crown prince of Hastinapura, and owing to the age and blindness of his father, he accumulates much control and influence, managing the state affairs himself with a group of his advisers that include his uncle Shakuni, brother Dushasana, Bhishma, Vidura, and Karna.

Duryodhana remains jealous of Yudhishthira, especially after the Pandavas along with Krishna transform Khandavaprastha to Indraprastha. Moreover, Yudhishthira performs the Rajasuya Yagna and gains the authority over several other kingdoms; Indraprastha's prosperity and fame appear to exceed Hastinapura's.

Raging in jealousy by the prosperity and fame of Indraprashta, and being humiliated by the Pandavas Duryodhana wishes to throw down the Pandavas. To support his will, Shakuni devises a scheme to rob Yudhishthira of his kingdom and wealth by defeating him in a game of dice, which Shakuni cannot lose due to his superior skill over Yudhishthira's ineptitude and addiction to the game of dice.

Unable to resist the challenge, Yudhishthira gambles away his entire kingdom, his wealth, his four brothers and even his wife, in a series of gambits to retrieve one by staking another. Duryodhana encourages his brother Dushasana to drag Draupadi into the court. As she is Duryodhana's property after Yudhishthira gambled everything away to him, Duryodhana tells Draupadi to sit on his left thigh, showing and patting it to insult her for revenge. He also instructs Dushasana to disrobe her, however, she is saved by Krishna.

As an enraged Draupadi is about to curse the Kuru clan, Gandhari intervenes. Fearing retribution by the Pandavas, their allies, and history, Dhritarashtra and Gandhari reverse all of Yudhishthira's losses. But then (either through Duryodhana forcing his father to command the Pandavas to play again, or through Shakuni's vicious tricks) the game is repeated. For this game of dice Shakuni sets the condition that upon losing, Yudhishthira and his brothers must spend thirteen years in exile in the forest before they may reclaim their kingdom. The thirteenth year must be passed incognito, or else the term of exile would be repeated. The Pandavas lose and begin their exile.

At the end of the exile term, Duryodhana refuses to return Yudhishthira's kingdom, despite the counsel of Bhishma, Dronacharya, and Vidura. In a final attempt at securing peace, Krishna returns with the Pandavas' final proposal: the Pandavas would give up all claims to Indraprastha and Hastinapura in exchange for five villages. Scoffing, Duryodhana says he will not even give a needlepoint of land to the Pandavas. Egged on by Krishna, Duryodhana attempts to arrest him. Krishna reveals his Vishvarupa form. The entire Kaurava court, except for Bhishma, Drona, Vidura, and Dhritarashtra (who was granted divine vision in order to see that by supporting his son, he was going against God), is temporarily blinded by the form. Duryodhana, being vastly egoistic (in some versions of the story an outright atheist), brushes off the incident, not convinced of Krishna's divinity, and believing that strength of arms, not philosophy, would win him a war.

Gandhari always kept asking her son to take the right path and Duryodhana kept answering “Mother, I know what is right and I am not able to follow; I know what is wrong and I kept following that. As my desire is what leads me and I am not able to control it.”

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38. DURYODHANA’S KURUKSHETRA WAR

Being the first born son of the blind king, he was the crown prince of Kuru Kingdom and its capital Hastinapura along with his cousin Yudhishtra who was older than him. Karna was Duryodhana's closest friend. Unlike Bhima, who overly relied on his strength to defeat opponents, Duryodhana used his greater skill in wielding the mace to defeat opponents. This extreme proficiency in mace fighting is what allowed him to go toe-to-toe with the former, possibly even defeating him, had the former not resorted to unfair practices. He was also an extremely courageous warrior and he was said to be a just ruler.

Duryodhana's greed and arrogance, were the two qualities said to have lead to his downfall in the Mahabharata, mentored by his maternal uncle Shakuni who masterminded most of Duryodhana's plots to humiliate and kill the Pandavas.

As plan started for the War, Duryodhana gathered support from all corners and made a large army. Bhishma, Drona, Karna, Kripa, Ashwatthama, Shrutyudha et. al. are forced to fight for Duryodhana due to their previous commitments.

On Shakuni’s advise Duryodhana went for Krishna's help. When Duryodhana reached Dwaraka Krishna was sleeping; he waited at the head of Krishna's bed. Arjuna too arrived with the same goal and waited at the foot. When Krishna wakes up, both Duryodhana and Arjuna appeal for his alliance. Krishna offers a choice of himself, completely unarmed, or the entire Vrishini army. Duryodhana wanted the chance first as he arrived first, Krishna says that because he saw Arjuna first and because Arjuna is younger, that Arjuna gets first choice. Duryodhana was worried but got overjoyed when Arjuna selected Krishna and left the whole Vrishini army. Duryodhana returns to Hastinapura with the Vrishini army on which Shakuni was unhappy as he knows Krishna is worth many armies by himself.

Duryodhana also manages to win the army of Shalya, the maternal uncle of the Pandavas. Duryodhana intercepts Shalya's army as it comes to Kurukshetra and offers hospitality; Shalya accepts thinking Yudhishthira had made the offer. After Shalya has enjoyed Duryodhana's comforts, Duryodhana reveals the duplicity and indicates that Shalya is now indebted to him. He uses this indebtedness to extract Shalya's army and support. Duryodhana wanted Shalya mainly so that Karna would have an equivalent charioteer to Arjuna's Krishna.

In the war, Duryodhana repeatedly eggs on the invincible Bhishma and Drona to forward his cause, even though his main hope is Karna. He desires to appoint Karna as his commander-in-chief; however, Karna and Shakuni point out that his already reluctant allies would much rather fight under Bhishma, an older, experienced, god-born, kshatriya than fight under a suta-putra. Reluctantly, Duryodhana appoints Bhishma as the commander in chief. When Bhishma falls to Arjuna, Duryodhana appoints Drona as commander-in-chief and orders him to capture Yudhishthira to win the war. On the thirteenth day of battle, his heir Lakshmana is killed by Arjuna's son, Abhimanyu, who proceeds to try and arrest Duryodhana. Duryodhana orders his soldiers to brutally kill Abhimanyu, even if though it takes unethical means to finish him off.

Duryodhana is repeatedly frustrated, as the Pandavas succeed in downing Drona, and is emotionally distraught when, on the 14th day, Arjuna, enraged by Abhimanyu's death, tears through the Kaurava army and slays Duryodhana's brother-in-law Jayadratha. Throughout the war, Bhima is steadily slaying Duryodhana's brothers, increasing his misery and bringing him closer to a defeat.

Duryodhana's hopes are finally shattered when Karna was fallen by the strategy of Lord Krishna and Arjuna. It is said that Duryodhana never shed a single tear for any of his real brothers except Dushasana who were killed in the battlefield, but when his beloved friend Karna was slain, he was inconsolable. Duryodhana appoints Shalya as the next commander-in-chief.

When Karna's identity was revealed to him, Duryodhana's love for Karna only grows and it is said to be he, and not the Pandavas, who performs Karna's last rites. Krishna confirms that he has the highest right over Karna, as they loved and supported each other truly.

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39. WAR - 18th Day : DURYODHANA’s END

On the final day of Kurukshetra war, Duryodhana takes out his anger by smashing open Chekitana's head. Chekitana was from Dwarka, capital of Yadavas with the Pandavas who saved Nakula from the clutches of Duryodhana on the fifteenth day of Kurukshetra War. As Shalya is killed by Yudhishthira, Duryodhana's army-once eleven akshauhinis strong-breaks, and the army is essentially routed.

Having lost his horse, Duryodhana leaves the battlefield. He cools his body by entering a lake, with all the hope of winning lost. Yet, he prepares for his final battle; for a death befitting a warrior on the battlefield and hoping to reunite with his friends and relatives in the afterlife. He re-emerges from the lake after Ashwatthama and Kripa counsel him to face his destiny with courage. In some versions of the story, after Karna's death, Duryodhana doesn't even join his army and instead heads immediately to the lake.

On the eighteenth day of the war, with his army reduced to himself, Ashwatthama, Kripa and Kritvarma, Duryodhana goes to meditate in a lake. When Pandavas and Krishna met him, Duryodhana tells them that he wants to gift the kingdom to them, and retire to the forest. Yudhishthira balks at the offer, telling him that Hastinapur is not Duryodhana's to gift. Instead, he offers that Duryodhana may pick any of the Pandava brothers to fight against one-to-one with a weapon of his choice, with the winner of the conflict the victor of the war.

Despite his proposed advantage over Yudhishthira, Arjuna, Nakula, or Sahadeva with the gada, Duryodhana picks his nemesis Bhima. Despite Bhima's physical advantage, Duryodhana had the better technique due to his devotion to his craft. After a long and brutal battle between the two disciples of Balarama, Duryodhana begins to exhaust Bhima, and nearly makes Bhima faint.

At this point, Krishna, observing the fight, calls out to Bhima and signals him by repeatedly clapping his own thigh with his hand. As intended, Bhima was reminded of an oath he had taken after the game of dice to crush Duryodhana's thighs. Bhima victoriously attacks Duryodhana with his mace and strikes his thigh, mortally wounding Duryodhana. After having his face insultingly kicked by Bhima, Duryodhana bemoans that he was slain by unfair means, given that it was illegal to attack below the waist in a mace fight.

Infuriated at the violation, Balarama, the brother of Lord Krishna, raises his weapon to attack. Lord Krishna consoles Balarama, by reminding him of Duryodhana's evil deeds, and reprimands him for trying to influence a war he refused to participate in.

Lying defeated, Duryodhana boasts to the Pandavas about how he will die a glorious death, about how he got to enjoy Hastinapur while the Pandavas were in exile, and about how he would now spend the afterlife in the company of his friends and relatives. He again eviscerates the Pandavas for all their chicanery during the war and decries their legacy. Venerating his own character, Duryodhana proclaims he will die happily.

Much to the Pandavas' dismay, Krishna confirms that through his powers of illusion and artifice, he was able to enervate and weaken champions such as Bhishma, Karna, and Duryodhana, confirming that Duryodhana's side was clearly stronger and that such tricks were necessary to ensure the Pandavas' victory. The Pandavas, weeping, bemoan their own actions and trickery, while the Gods shower flowers on a dying Duryodhana, full of glory.

When the coast is clear, Ashwatthama, Kripacharya, and Kritvarma, having witnessed the fight and not wanting to interrupt so as to rob Duryodhana of his honor, come to Duryodhana's broken body. Duryodhana commands them to take revenge on the Pandavas, and to specifically kill all the pandava brothers and Panchala. Using the blood from his body, Duryodhana appoints Ashwatthama as the army's supreme commander.

Already angry at the deceitful killing of his father Drona, Ashwatthama ambushes the Pandava camp at night. After destroying the entire Pandava camp, Ashwatthama proceeds towards Duryodhana.

According to the Mahabharata, after entering the Swarga (heaven) with a human body on Indra's invitation, Yudhishthira witnessed that Duryodhana "was seated on a beautiful throne and he was shone with the splendor of the sun and around him stood in attendance the goddess of heroism and other entities of righteousness". Yudhishthira found this insufferable and reminded the dwellers of Swarga about his sinful deeds.

Following that, Narada smiled at Yudhishthira and explained that Duryodhana had suffered for his sins, and that ultimately, Duryodhana was a warrior who had defended his dharma and fought bravely and valiantly, having been a great ruler, a true friend, and a terrible foe.

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40. ASHWATHAMA - A BLESSED SON OF DRONACHARYA

Ashwathama, born to Drona, the Guru of the Pandavas, and Kripi (Sister of Kripacharya, The Kulaguru - Chief priest of Hastinapur), is a Chiranjeevi, an immortal being (believed to be a living survivor of the Kurukshetra War). Ashwathama is one of the seven "Chiranjeevi" among Rishyashringa, Kripacharya, Galav, Shatanand, Kaashyapa, and Parashurama. Ashwathama is one of Saptarishis of the next (8^th) Manvantara. Ashwathama is so special due to a very strong lineage of Saptarishis both on the Paternal and Maternal side.

Ashwathama’s father was Guru Drona who is the son of Great Sage Bharadhwaja. (Bharadhwaja is one of the Saptarishi’s of our current Manvantara). Bharadhwaja himself was the grandson of Great Sage Angirasa (Angirasa is quoted to be Saptarishi of first Manvantara).

Ashwathama's mother is Kripi, who is the daughter of Rishi Shardwan. Rishi Shardwan was the son of Gautama Maharishi. (Gautam Maharishi is Saptarishi of this Manvantara)

Some other important facts to consider about him are, both his parents were different, as they were not born out of the human womb. Guru Drona was born in a vessel made of leaves and hence the name Drona. Similarly, Kripi is born out of the Vitality of Sage Shardwan. Guru Drona meditated and did severe penance to Lord Shiva to have a son who should be an avatar of Lord Shiva himself. Hence, Ashwathama is considered as 12th Rudra by many as he is an Amsha of Shiva joined with Yama and Kama - three devas merged together.

When Ashwathama was born he made a loud cry like Indra’s horses, he was named Ashwathama by an akashvani (voice from space). He was born with a gemstone on his head, which gives him power over all living beings lower than humans; it protects him from hunger, thirst, and fatigue. Guru Drona and Kripi loved their son very much and Ashwathama also had a tremendous love for his parents.

Though an expert in warfare, Dronacharya lived a simple life of a Brahmin, with little money or property. As a result, Ashwathama has a difficult childhood, with his family unable to even afford milk. Young Ashwathama was so clever that he understood the predicament of his parents and prayed to Lord Shiva for milk. Lord Shiva was so happy with Ashwathama’s prayer that he provided with milk that dripped on the Shiva linga (Statue) in the cave where they lived. (This temple is called Tapkeshwar Temple located near Dehradun.)

Wanting to provide a better life for his family, Drona goes to the Panchal Kingdom to seek aid from his former classmate and friend, Drupada. However, Drupada rebukes the friendship, claiming a king and a beggar cannot be friends.

After this incident, and seeing the plight of Drona, Kripacharya invites Drona to Hastinapur. There, he comes upon the attention of his co-disciple Bhishma. Thus, Dronacharya becomes the guru of both Pandavas and Kauravas in Hastinapur. Ashwathama is trained in the art of warfare along with them.

After Pandavas defeated the king of Panchal and offered the throne as guru-dakshina, Drona gave the rulership of Northern Panchala kingdom to his son Ashwathama and (Fee for the Teacher) stayed at Hastinapura the capital of Kuru Kingdom. Ashwathama always sided with Kauravas as Duyodhana was his friend. He supported them in each blameworthy act. As Drona loved his son, he also sided Kauravas in the great war. Ashwathama supported Kauravas in reprehensible act towards Draupadi. Thus, He presented himself as a disgraceful leader who was confused and full of greed.

Since Hastinapura, ruled by King Dhritarashtra, offered Dronacharya the privilege of teaching the Kuru princes, both Dronacharya and Ashwathama are loyal to Hastinapur and fought for the Kauravas in the Kurukshetra war. Before Dronacharya's death, Ashwathama visits his father, desiring a blessing of victory that he is denied. Drona advises Ashwathama to win the war using his own strength and not through a blessing.

The sixth day was marked by a prodigious slaughter. Drona caused an immeasurable loss of life on the Pandava side. The formations of both the armies were broken. However, Bhima managed to penetrate the Kaurava formation and attack Duryodhana. Duryodhana was defeated but was rescued by others. The Upapandavas (sons of Draupadi) fought with Ashwathama and destroyed his chariot. The day's battle ended with the defeat of the Kauravas.

On the 10^th day of the war, after Bhishma falls, Drona is named the supreme commander of the armies. He promises Duryodhana that he will capture Yudhishthira, but then he repeatedly fails to do so. Duryodhana taunts and insults him, which greatly angers Ashwathama, causing friction between Ashwathama and Duryodhana.

On 15th day, After King Drupada and King Virata were slain by Drona, Bhima and Dhrishtadyumna fought him on the fifteenth day. Because Drona was very powerful and invincible, having the irresistible Brahmanda astra, Krishna hinted to Yudhishthira that Drona would give up his arms if his son Ashwathama were dead. Bhima proceeded to kill an elephant named Ashwathama and loudly proclaimed that Ashwathama was dead. Drona approached Yudhishthira to seek the truth of his son's death. Yudhishthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was not sure whether it was Drona's son or an elephant, the latter part of his proclamation (Naro va Kunjaro va) was drowned out by the sound of a conch blown by Krishna intentionally. Prior to this incident, the chariot of Yudhishthira, proclaimed as Dharma Raja (King of Righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

Drona was disheartened and laid down his weapons. He was then killed by Dhrishtadyumna to avenge his father's death and satisfy his vow.

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41. ASHWATHAMA IN KURUKSHETRA WAR AFTER DRONA’S DEATH

After learning of the deceptive way his father (Dronacharya) was killed, Ashwathama was filled with wrath and invokes the celestial weapon called the Narayanastra, against the Pandavas.

When the weapon is invoked, violent winds begin to blow, peals of thunder are heard, and an arrow appears for every Pandava soldier. This puts fear into the Pandava army, but Krishna, while stopping the troops, advises that the army lay down all its weapons and surrender to the weapon. As he is the part of Narayana, he knows about the weapon, as the weapon only targets an armed person while ignores unarmed ones. After getting their soldiers to disarm (including Bhima with some difficulty), the astra passes by harmlessly.

Along with Kripa and Kritavarma, Ashwathama plans to attack the Pandavas camp at night. Ashwathama first kicks and awakens Dhrishtadyumna, the commander of the Pandava army and the killer of his father. Ashwathama strangles the half-awaken Dhrishtadyumna by choking him to death. Ashwathama proceeds with butchering the remaining warriors, including Shikhandi, Yudhamanyu, Uttamaujas, and many other prominent warriors of the Pandava army; many texts put an emphasis on his exploits against those from Panchal. He also kills Draupadi’s children in their sleep. Even as some soldiers tried to fight back, Ashwathama remained unharmed due to his abilities as one of the eleven Rudras. Those who try to flee from Ashwathama's wrath were hacked down by Kripacharya and Kritavarma at the camp's entrances.

After the slaughter, the three warriors went to find Duryodhana. They found Duryodhana already dead and, they performed the cremation rites by mourning.

The Pandavas and Krishna who were away during night returned to their camp the next day morning. Hearing the news of these events, Yudhishthira faints and the Pandavas become inconsolable. Bhima angrily rushes to kill Drona's son. The Pandavas, along with Krishna, went to save Bhima. They found him at sage Vyasa's ashram near the bank of Bhageeratha.

While fighting with Arjuna, both used Brahmastra, the most dreadful weapon for maximum destruction. All the sages and Lord Brahma, the Lord of creation appeared to both and advised them to withdraw their weapons because their collision would cause univeral destruction. Ashwathama was given the option of deviating his weapon towards and uninhabited place, so that the weapon could explode resulting in no harm. Because of his barbarous thoughts, Ashwathama instead directed the weapon towards the womb of the pregnant Uttara, who was the wife of Abhimanyu. Krishna himself saved the child within the womb who became the great Parikshita in the future.

Ashwathama was arrested and brought to Draupadi by Arjuna. The angered Pandavas want to kill Ashwathama, but Sage Vyasa stopped them to do this. As a punishment, Ashwathama was asked by Vyasa to surrender the gem on his forehead to Pandavas. Krishna then cursed Ashwathama that he will roam in the jungle with blood and puss oozing out of his wounds and cry for death for 3000 years.

-- More from DrTPS at (www.drtps-shiksha.in) -- INDEX

42. ABHIMANYU

Abhimanyu was the re-incarnation of a son of the Moon-God Chandra. When Chandra was asked to let his son incarnate himself on earth, he made a pact that his son will only remain on earth for 16 years, as he could not bear to be separated from him any longer than that. So, Chandra's son was born as the 5th and youngest son of Arjuna. His biological mother was Subhadra and surrogate mother was Pragati.

All five Pandavas have children with Draupadi, and also with other wives; but Abhimanyu, the son of Arjuna and Subhadra is the greatest hero of Mahabharata. Draupadi once said that if the Pandavas are not willing to wage war, then her sons led by Abhimanyu will attack and get justice for her.

Subhadra while she was pregnant with Abhimanyu, sat beside Arjuna for most of his discussions on art of archery and war. Abhimanyu mastered the art of archery and war in the womb and became a great warrior by the time he was born. When Arjuna was in the middle of explaining how to break the whirlpool battle formation (the Chakra-Vyuha), Krishna interrupted Arjuna, thus, Abhimanyu learnt only how to break and get into the formation, and not how to break out.

Abhimanyu was two years old when Pandavas went for thirteen year exile; after failing in gamble game with Kauravas. Abhimanyu was fifteen when they returned.

Abhimanyu during childhood was in Dwaraka with his uncles Krishna and Balarama. He found his pair in Balarama’s daughter, Vatsala (Sasirekha). Balarama wanted Vatsala to marry Duryodhana’s son, Laxman. Abhimanyu requested Krishna’s help; he advised Abhimanyu to take the help of Ghatotkacha (Rakshasa - Bhima’s son with Hidimbi). Ghatotkacha took Abhimanyu and Vatsala out of Dwaraka and got them secretly married in the forest. Ghatotkacha then used magic powers to take the form of Vatsala and presented himself in the wedding with Laxman. On holding the hand Ghatotkacha squeezed Laxman’s hand so hard that he fainted. When Duryodhana realized this he was reminded of Subhadra marrying Arjuna instead of him. These events added Duryodhana’s hatred for the Pandavas.

Arjuna after returning from exile got a second wife for his son (princess Uttara, daughter of Virata of Matsya Kingdom; was offered to marry Arjuna but Arjuna took her as his daughter-in-law).

Pandavas were prepared for the war against the Kauravas, who refused to return the Pandava's kingdom. Abhimanyu was sixteen with two wives when Kurukshetra war was announced. Abhimanyu’s second wife, Uttara, was already pregnant with Parikshit, the only descendent of the Pandavas who would survive the war.

On the 13th day of the war, Drona attacked the Pandava army with the dreaded Chakra-vyuha formation. The only warrior who could shatter this formation was Arjuna but Krishna had taken Arjuna to the far side of the battlefield to destroy the dreaded chariot-warriors, the Samsaptakas. The whirlpool soon surrounded the Pandavas. Yudhishthira was desperate. “Can no one break this formation?” he asked. Abhimanyu then revealed that he knew how to break into the formation, an act that would allow the Pandava army to escape. ABHIMANYU enters chakravyuha saying that “If I came back then today will be the end of Kurukshetra war and victory for Pandavas and if I don't then it will be proud to my father that his son died in a war after doing some impossible things”. Bhima and Yudhishthira were. behind Abhimanyu but Jayadratha stopped them and thus Abhimanyu alone entered Vyuha and defeated all around as a real hero.

Karna broke his bow and chariot and then Drona, Kripa, Karna, Ashwathama, and the king of the Kosalas, and Kritavarman, these six chariot -warriors surrounded Abhimanyu. Having surrounded that child all those great chariot -warriors–too many for him although he was contending to the utmost of his power, deprived him of his chariot. The Pandavas trapped outside could only hear his cries as he was hacked to death. The last blow was struck by Dusshasana’s son. But before dying, Abhimanyu managed to kill him too.

Thus, the Abhimanyu's story ended.

-- More from DrTPS at (www.drtps-shiksha.in) -- INDEX

43. PANDU

Pandu (popularly known as the father of the Pandavas) is the son of Vichitravirya (younger son of queen Satyavati and king Shantanu) and his second wife, Ambalika. King Shantanu of Hastinapura married Satyavati and had two children: Chitrangada and Vichitravirya. Chitrangada died young in a war, so his younger brother Vichitravirya became king.

Bhishma, Shantanu’s son from Ganga, abducted the Kasi princesses Amba, Ambika, and Ambalika from their Swayamvara to marry Vichitravirya. Amba refused to marry Vichitravirya, but Ambika and Ambalika married Vichitravirya.

After Vichitravirya's death from a dangerous disease, his mother Satyavati sent for her first born, Rishi Veda Vyasa.

Satyavati convinced her son Vyasa to bestow motherhood upon Ambika and Ambalika. Ambika first came to Vyasa. When Vyasa shined a light on her face, she shut her eyes tight. This resulted in her having the blind son, Dhritharashtra. Ambalika went next. When Vyas shone a light on her, she went pale with fear. This caused her to have the pale son, Pandu. Satyavati got even more worried. Dhritharashtra, the rightful heir of Vichitravirya, was blind. A blind king couldn’t rule Hastinapura. She told Vyasa to grant another son to Ambika. Ambika didn’t want to go because she was scared of Vyasa’s look and the light he had put on her. She sent her maidservant, Parishrami to Vyasa. Parishrami wasn’t scared and was granted a healthy normal child. Parishrami named him Vidura.

When the three brothers grew up, one of them had to become king. Though Dhritharashtra would be king as he was the eldest, Vidura objected, saying he was blind. So, it was decided that Pandu would be the king of Kuru and will rule the kingdom. Pandu was educated in the fields of archery, politics, administration, and religion by Bhishma and proved excellent as archer. Pandu conquered the territories of Dasarnas, Kashi, Anga, Vango, Kalinga, Magadha etc. and thus re-established their superiority over all the kings.

Pandu went to the Swayamvara of Kunti, the adopted daughter of Kuntibhoja and Kuntirashtra. At the Swayamvara, he won Kunti’s hand. He returned to Hastinapura and established Kunti as his queen. Bhishma brought Madri, the daughter of king Artyana on Madra and sister of Shalya, to Hastinapura to marry Pandu. Pandu was enchanted by her beauty and the two married.

While hunting in a forest, Pandu shot two deer(who were engaged in a sexual intercourse), later realized that the two deer were Kindama rishi and his wife. Kindama rishi cursed Pandu that whenever he engages in intercourse with any women, he will die.

Pandu and his two wives with some attendants went to live in a forest retreat on the southern slopes of the Himalayas. Pandu sent away his attendants and decided to go to the mountains with his wives.

When the news of the pregnancy of Gandhari (wife of Dhritharashtra) reached Pandu and his wives, Pandu spoke to Kunti to invoke the boon given by Durvasa to get a child from any God.

He wanted to have a child who had the qualities of righteousness, justice, truth, and sincerity and would never commit a crime. He also knew that his child would have rights over the throne of Hastinapur, as he would be the first-born prince of the next generation. He told Kunti to invoke Yama, also called Dharma raja, who was the God of truth and righteousness.

Kunti then invoked Yama, who appeared there instantly. When the child was born, a voice from the sky said that the boy shall be named Yudhishthira and will become a great emperor. Kunti after Yudhishthira (by Lord Yama) got Bhima (by Lord Vayu) and Arjuna (by Lord Indra).

Kunti also passed her boon to Madri, on the advice of Pandu. Madri bore Nakula and Sahadeva twins from t the Gods - Ashwini Kumar twins. Thus, the Pandavas of Pandu were born. They grew up in the Satasringa valley. As foretold, their skills were amazing. They were respectful to their parents and were always in reverence to the sages.

Once, Pandu was walking alongside the river with Madri. It was spring, so the ground was covered with flowers. Madri reached into the river to pluck a flower. At that moment, Pandu couldn’t resist the beauty of Madri. He forgot about his curse and had sexual intercourse with her. Madri tried to stop him, but couldn’t. The curse took its toll immediately and Pandu collapsed dead. Madri screamed. Kunti and the Pandavas arrived there immediately. Kunti was angry and scolded Madri, but calmed down later. Madri jumped into the fire of Pandu's funeral pyre and died. Kunti and the Pandavas then went to Hastinapura, guided by the sages. Kunti wanted the Pandavas to have the protection of Bhishma and Dhritharashtra.

-- More from DrTPS at (www.drtps-shiksha.in) -- INDEX

44. SHAKUNI - THE MASTER CONSPIRATOR

Shakuni (prince of the Gandhara Kingdom, which is in present-day Kandahar in Afghanistan) was the son of Subala, who was the father-in-law of Dhritharashtra. Shakuni, Gandhari’s brother (Duryodhana's maternal uncle), was extremely intelligent and was credited as the mastermind behind the Kurukshetra War. He was the greatest illusionist after Lord Krishna. Shakuni was greatly devoted to Lord Shiva.

There are many reasons for Shakuni to have enemity with Bheeshma and Kuru family due to his father’s unhappiness because of marriage of Gandhari (Gandhari was very close to Shakuni). His entire mission was to take revenge for several unjust events that took place in his life or the life of his near and dear ones.

It is believed that he used the thigh bones and backbone of his father's body to create the dice, using which he was able to defeat the Pandavas in the elaborate Game of Dice that followed in the years ahead. This set of dice is said have magical abilities, as his father's soul resided within them. They would help him win all the games of dice he ever played during his lifetime.

Shakuni was the guardian of all the hundred Kaurava sons. He moved closely with all of them, showing special attention and affection towards Duryodhana. With the passage of time, he became their trusted confidante. He used this trust to instill hate and wicked thoughts about the Pandavas in all of them. He knew that the Kauravas would not stand a chance against their mighty cousins, the Pandavas. Yet, he spurred them on to fight the latter – this brought the eventual downfall of the Kauravas.

Strangely, Shakuni was well aware, in a corner of his heart, that he would never be able to fight and win against Krishna and that the Kauravas would eventually have to accept defeat. But his hatred for Dhritharashtra and the Pandavas too was so great, that it overrode anything and everything else.

Poisoning Bheema's Food, Planning the Lakshagraha (Palace of Wax), Playing the Game of Dice, forcing Draupadi, were all Shakuni’s play. During the war, Shakuni plotted with Duryodhana to kill Abhimanyu, the young and valiant son of Arjuna and Subhadra.

After the way Shakuni and the Kauravas had insulted the Pandavas in the Game of Dice episode, the latter swore to kill them all. They were especially particular about killing Shakuni, who they considered the main villain behind the unfortunate turn of events.

Accordingly, they were looking for just one opportunity to kill Shakuni. The latter, however, managed to outsmart them each time and managed to slip away, in order to avoid being slain by them. He survived till the very last day of the war. He had seen the mighty Bheeshma falling on his Sharshaiya (bed of arrows) and then breathing his last; Drona's death; Karna getting killed unjustly, while trying to pry out the wheel of his chariot, which had stuck in a rut; Dusshasana being mutilated and killed; and all Kauravas being slain mercilessly – all expect one, namely, Duryodhana. He knew that Shalya's death was impending and that the great warrior could fall at any time. He then realized that his time was running out as well. He knew in his heart that Duryodhana would fall too, and that he would probably not be alive to see it happen. However, Shakuni was at peace in a sense, knowing that he had fulfilled the mission he had worked so hard at, all these years – of taking revenge on the Kuru Dynasty; of destroying each and every one belonging to that mighty empire.

On the penultimate day, that is, on the eighteenth day of the Kurukshetra war, Sahadeva faced Shakuni on the battlefield. Being the wisest of the Pandavas, Sahadeva knew exactly what the latter's motive was, and the actual reason why he waged war against the Pandavas – in order to seek revenge. Sahadeva asked Shakuni to stop fighting, since he had already achieved what he wanted to. He asked him to go back to his kingdom, Gandhara, and rule, instead of participating in this meaningless violence and killing.

In that moment, Shakuni felt deep remorse and a genuine repentance for all that had transpired in the recent past. He suddenly felt like opening out to this young man standing in front of him – to talk to him, like an elder does to a younger member in a family. He recounted to Sahadeva all his childhood events; how his whole family had been tortured at the hands of Dhritharashtra; and how his sister had suffered marrying a blind King. He admitted to having poisoned Bheema; planning the Lakshagraha incident; chalking out a strategy to kill Abhimanyu and so on. He also confessed to all the other crimes he had committed in his lifetime and told the young man that he could no more bear to live on; carrying this load of remorse and guilt for all the evil deeds he had done.

Shakuni finally revealed his good side – something that no one ever imagined existed! He told Sahadeva that the only thing left for him to do would be to sacrifice his life on this very battlefield. He further stated that it would be an honor for him to shed his mortal coil in a battlefield as great as Kurukshetra; in a place where such great Maharathis (mighty warriors) had fought and been martyred.

Once he had finished saying all that he had to, Shakuni started attacking Sahadeva with arrows. He knew he had to die and so, was spurring on the latter to kill him. After a brief fight, Sahadeva cut off his head. That marked the end of evil – the slaying of Shakuni.

-- More from DrTPS at (www.drtps-shiksha.in) -- INDEX

Dr T P Sasikumar

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drtpsasikumar@gmail.com

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