Sunday, May 29, 2016

CONTRIBUTION OF ANDHRA WOMEN TO ADVAITA VEDANTA

CONTRIBUTION OF ANDHRA WOMEN TO ADVAITA VEDANTA

                                                Dr. Chilakamarthi . Durga  Prasada  Rao
                              
Vedantadarsana, also known as UTTARA - MIMAMSA DARSANA is said to be the best of all Darsanas because it explains admirably the nature of soul and serves as the beacon light of human life. Moreover, it satisfies the human aspiration of getting rid of worldly entanglements and attaining salvation.

The edifice of the entire Vedanta system is built mainly upon the literary tripod of the Upanishads, the Brahmasutras of  Badarayana and the Bhagavadgita which are also known as prasthanatraya. On the basis of the above works, Sankara, Ramanuja and Madhva established their own theories –Advaita, Visistadvaita and Dvaita respectively.

The commentary written by Sankaracharya is known as Sarirakamimamsabhashya. Sarira, being impure has therefore come to  be known as sariraka, while the Jiva which dwells in the Sarira is sariraka. A discussion whether this saariraka is the same as Brahman or not is known as Sarirakamimsabhashya.

After Sankara’s departure, his philosophy got divided in to three branches; Bhamati, Vivarana and Vartika. The first two have survived and even enjoy critical examination, while latter one, Vartika has suffered extinction. The differences between Bhamati and Vivarana schools of thought are very few and they do not affect the Spirit of Advaita I.e., the oneness of Jiva and Brahman.

 Most of the Acharyas who existed in the Post - Sankara Period, composed commentaries and treatises independently, following either of the two schools, without  contradicting the other.  However, there are a few who followed one school contradicting the other.

Apart from the works based on these two Prasthanas, many independent works, both major and minor, as well as commentaries were written on Advaita Vedanta It is interesting to note that a few women scholars also contributed their might for the development of Advita - Vedanta.
Despite the unconscionable ban of women, quite a number of women not only studied the sastras but also participated in scholarly discussions with emerging success. Andhradesa can justly be proud that it also produced reputed scholars of the fair sex.

Contrary to popular notion, women were never treated as inferior to men. They were given equal status and privileges as men and were never subjected to gender discrimination. There is evidence to show that women, just like men, also got initiated in Gayatri and chanted the Vedas with equal alacrity. And, like men, they too participated in philosophical discourses. A shining example is found in the lively discussion on Vedanta between Yajnavalkya and his wife Maitreyi.

To some, it may come as a revelation that women even chaired
philosophical discussion and debates. Thus, Ubhayabharathi, wife
of Mandana Misra, had the privilege of presiding over the marathon
debating session where a furious debate took place between Sankara and
MandanaMisra on highly esoteric philosophical issues. What is more
stunning is that she, as judge, declared Sankara, not her husband,
MandanaMisra - the winner!

We have in recent times the shining example of a great scholar, Kamakshi.
Kamakshi [A.D.1852 -1920], daughter of Ramaswami, is from Andhradesa.
She was a great scholar in Nyaya and Vedanta.  After her husband Ramalingarya's
premature death, she proceeded to her mother's house and, rather than drowning i
n grief, steeped herself in the study of Nyaya and Vedanta with unswerving
concentration and determination. Kamakshi wrote the following scintillating works.

1) Advaitadipika : - This work substantiates the doctrines of Advaita                                        advocated  by  Madhusudanasaraswathi in Advaitasiddhi.

2) Sritiratnaprakasatippini : - This is a commentary on the                                                                            Sritiratnaprakasa of Tryambakabhatta.

3) Sritimatodyotatippani : -  This is also a commentary on  the                                                               Sritimatodyota of Tryambakabhatta.

All these works were published by Sri Vani Vilas press.

While on this discussion of Vedanta Philosophy, one needs to record that
a large number of contributors some contributed famous Telugu works while the
other wrote original works in Telugu still others wrote commentaries of some
Vedanta works in Telugu.  Here are a few notable examples.

Kanakamba of Kanchanapalli family belongs to the 20th century.  She wrote
the great work Amrutasaramu, comprising 550 verses.  She was a student of
Amrutanandaswami and she incorporated the teachings of a guru in her works.
The importance of a guru in attaining Moksha, the greatness of pranava, the
concept of jivanmukthi and the means of attaining Atmasakshatkara are some 
of the important issues discussed in this treatise..

Another work of the same author is Ananadasaramu which consists of about
500 verses. In this monumental work the importance of Bhakti, Jnana, Vairagya and
Self experience are beautifully advanced.

Still another production of the same author, Jivayatra is also available.
This was written in 1800 poems. The title Jivayatra is suggestive of the empirical
journey of the jiva to the goal of Liberation.

Tarigonda Venkamamba of the 19th century translated Vasistaramayana also known as
Yogavasista in chaste Telugu. She used the Dwipada as metre using a simple but
elegant language. Subhadramba of Mamidanna family lived in the first half of
20th century. She authored Adhyatmaramayanamu where she discussed many
philosophical points such as the transitoriness of the world, the nature of
Supreme Being and the identity of Jiva and Brahaman.

Still there are many women authors of Advaita.  Besides, we find that there were
women ascetics also in Andhradesa who attained the state of Jivanmukthi
[Liberation while living] and whose presence inspired their devotees in attaining
or experiencing the state of liberation. Here is a list of the lady luminaries.

1) Tarigonda Venkamma [A.D. 1730 - 1817] of Chittur District.
2) Dontulamma [A.D. 1807 - 1932] of Machilipatnam of Krishna district.
3) Tikkalakshmamma [A.D. 1815 -1933] of Adoni.
4) Avadhuta Picchamma of [A.D. 1870 - 1951] of Kurumaddali.
5) Sukshamamurtemma [A.D.1807-1928] of Gangayapalli.
6) Venkamma [A.D.1808- 1862] of Manikyanagaram.
7) Chinnamma [A.D.1887 - 1956] of Repelle.
8) Eswaramma [A.D.1703 - 1803] of Kandimallaipalli.
9) Anasuya [A.D.1923 -1985] of Jillellamudi.

                                                                         ********















Monday, May 23, 2016

Some times it may boomerang

Some times it may boomerang
(Repartee in Sanskrit Literature)

Dr.Chilakamarthi Durgaprasada Rao

Sanskrit literature is vast and it is a treasure house of all literary trends ancient as well as modern. Repartee is one of the modern trends of English literature. According to Sankaranarayana dictionary Repartee means a ready reply retort; a witty reply or replies; talk characterised   by clever and witty replies; cleverness and wit in making replies.
We can come across a number of examples in Sanskrit literature for repartee. As a piece meal I would like to introduce one.

Once, Goddess Lakshmi, the wife of Lord Vishnu visited Kailash to see her friend Parvati, the wife of Lord Siva. Parvathi welcomed Lakshmi with love and affection. Since Lakshmi was very rich she wanted to make fun of Parvati, who is a simple and ordinary woman. Lakshmi on seeing the surroundings of her house thought of making fun of Parvathi. At the very out set she put a question: (1) भिक्षार्थी स क्व यात:? bhiksharthi sa kva yatah? (Where did the beggar go)? Since Siva is known to all as ‘Adibhikshu’ Lakshmi had a chance of ridiculing Parvati by using the word ‘beggar’. This question pinned the heart of parvati, because no woman can tolerate while her husband is abused even by her own kith and kin. What to say about others. But what she can do? She cannot push Lakshmi out of her house who happened to be the guest then. So she wanted to teach her a lesson silently. She replied. सुतनु बलिमखे ‘ sutanu! Bali makhe’ (Oh my dear beautiful one! he might have gone to attend the sacrifice preformed by Bali). The idea behind Parvathi’s reply is that her husband alone is not a beggar the husband of Lakshmi is also a beggar who approached the king, Bali for three feet of land.   This unexpected answer like slapping on her cheek shocked Lakshmi. It took some time for Lakshmi to become normal.
After coming to normal state Lakshmi put another question to Parvati in the same manner. She asked (2) ताण्डवं क्वाद्य भद्रे? Tandavam kva adya bhadre ? (Oh! My dear Parvathi! Where does your husband dance today?  The very intention of Lakshmi in putting this question is that Lord Siva always spends time in dance without doing any useful work. This question also hurt the feelings of Parvati.  She understood that the intention of Lakshmi is put her in tension. Now she became free from tension and retorted. मन्ये बृन्दावनान्तेManye brindavanante’ (I hope that he is dancing in Brindavana).  The central idea of Parvati’s reply is that not only her husband but Lakshmi’s husband also dances. But there is a huge difference between those two. Siva dances lonely while Krishna dances along with other women who fall in love with Him. She reveals her intention without saying.  “My husband is better than that of yours”. On hearing this smooth but pungent reply again Lakshmi was puzzled. She concealed her feelings and put one more question (3) क्वनु च मृगशिशु: ?  kvanu cha mRugashishu: (Where is your animal like child). It is well known to all that Lord Ganesha, son of Parvati is elephant headed and he is not that handsome as Manmatha (Cupid) son of Lakshmi and also he is considered as the most handsome personality even among Gods.
This bitter criticism made by Lakshmi against her son made Parvati very sad. She answered नैव जाने वराहम् naiva jaane varaaham .( There was a pig roaming around he my son might have gone to play with it. Parvathi apparently answered that my son is elephant headed only but your husband (Adivaraha) is a pig totally. My son is far better than your husband.  It is known that Lord Vishnu took the form of Varaha (pig) to protect the Earth. Lakshmi again received shock for the third time. Lakshmi some how concealed her feelings again and asked Parvathi बाले ! कच्चिन्न दृष्ट: जरठवृषपति:  baale kachchit na dRuShTah jaraTha vRuShapathih  (Where is the old ox, your vehicle? It is not seen here)
The intention of Lakshmi in putting this question is that they (Lakshmi and her husband) ride on Garuda which flies in the sky but parvati ride on an ox which a very old one.
Parvati again gave a very strong reply in a very silent manner. गोप एवास्य वेत्ता Gopa evaasya vettaa (a person who rears cattle knows about that very well).  Why do you ask me about ox?  How can I answer? Your husband rears cattle, so it is better to ask him about that.
Actually this is a fiction and this jovial conversation reveals the fact that a person how great he or she may be but they are not supposed to degrade others. If they do so some times it may boomerang. So be careful. Treat others also as you wish to be treated by others. No one is superior and no one is inferior. Treat everybody equally irrespective of their status high or low and haves and have not’s. The poet finally concludes that the conversation of Lakshmi and Parvati may protect us all. This is the sloka.
               
भिक्षार्थी स क्व यात: ? सुतनु बलिमखे ताण्डवं क्वाद्य भद्रे?
मन्ये बृन्दावनान्ते क्वनु  च मृगशिशु: ? नैव जाने वराहम्
बाले ! कच्चिन्न दृष्ट: जरठवृषपति: गोप एवास्य वेत्ता
लीलासल्लाप इत्थं जलनिधि हिमवत्कन्ययो: त्रायतां व ||

             ( From कुवलयानन्दम् of Appayyadikshita )    

Thursday, May 19, 2016

SOME NOTABLE AND QUOTABLE QUOTATIONS

                   SOME NOTABLE AND QUOTABLE QUOTATIONS

1. Many centuries before Christ when the people of England were still wearing raw skins on their painted bodies and roaming wildly in forests; even in remote antiquity Indians had attained a high degree of civilization.
                                                        Lord Macaulay 
2.  A tribute of Albert Einstein on 300th centenary of Newton.

Look to the heavens and learn from them how one should really honor the Master. The stars in their courses extol Newton’s laws in silence eternal. 
 
3. One tree makes a million matchsticks. But when the time comes only one match stick is enough to burn a million trees. So be good and do well.
When a bird is alive it eats ants; when bird is dead ants eat bird. Time and circumstances can change at any time. Do not devalue or hurt any one in life. You may be powerful today, but remember that the time is more powerful than you.    




Wednesday, May 11, 2016

SPOKEN SANSKRIT-20

SPOKEN SANSKRIT-20
Dr. Durga Prasada Rao Chilakamarthi
Lesson—16
                                                      विशेषणविशेष्यभाव:

Generally an adjective qualifies noun or a pronoun in a sentence. Normally adjectives have no definite gender. They are used in accordance with the gender of the noun or pronoun.  In Sanskrit Grammar there is complete declension for all adjectives quite in accordance with the noun or pronoun. Here is the rule: यल्लिङ्गं यद्वचनं या च विभक्ति: विषेष्यस्य तल्लिङ्गं तद्वचनं सा च विभक्ति: विशेषणस्यापि which means that the noun and the adjective should be in the same gender, same number and same case. If the noun is in masculine gender the adjective is also in masculine. If the noun is in singular number the adjective is also in singular. Similarly if the noun is in nominative case the adjective is also in the nominative case. This rule is applicable even for numerical words also.  

विशेषणविशेष्यभाव: in three genders:

                पुंलिङ्ग:        स्त्रीलिङ्ग:         नपुंसकलिङ्ग:
   रम्य: राम:      -    रम्या सीता           रम्यं वनम्
     सुन्दर:  बालक:  -      सुन्दरी बालिका              सुन्दरं पुस्तकम्
    रमणीय: वृक्ष:  -         रमणीया लता            रमणीयं पुष्पम्
    कमनीय: ग्रन्थ: -       कमनीया कथा                कमनीयं काव्यम्        
    चतुर: कथक: --               चतुरा नटी                    चतुरं प्रदर्शनम् 
  
विशेषणविशेष्यभाव: in three genders, three numbers and seven case.                                                   
पुंलिङ्ग: (masculine gender)                
 विभक्ति :                    एकवचनम्          द्विवचनम्              बहुवचनम्             
n      प्रथमा --  सुन्दर: बालक: *   सुन्दरौ बालकौ *         सुन्दरा: बालका:
n      संबोधन प्रथमा-- हे सुन्दर बालक ! * हे सुन्दरौ बालकौ *  हे सुन्दरा: बालका:
n      द्वितीया -- सुन्दरं बालकं *     सुन्दरौ बालकौ *       सुन्दरान् बालकान्
n      तृतीया -- सुन्दरेण बालकेन*  सुन्दराभ्यां बालकाभ्याम् *   सुन्दरेभ्य: बालकेभ्य:
n      चतुर्थी-- सुन्दराय बालकाय * सुन्दराभ्यां बालकाभ्याम् *   सुन्दरेभ्य: बालकेभ्य:
n      पञ्चमी-- सुन्दरात् बालकात्* सुन्दराभ्यां बालाकाभ्याम् *  सुन्दरेभ्य: बालकेभ्य:
n      षष्ठी-- सुन्दरस्य बालकस्य*  सुन्दरयो: बालकयो:*      सुन्दराणां बालकानाम्
n      सप्तमी -- सुन्दरे बालके *  सुन्दरयो: बालकयो: * सुन्दरेषु बालकेषु                                          

  स्त्रीलिङ्ग: (feminine gender)  
विभक्ति:    एकवचनम्          द्विवचनम्              बहुवचनम्             
              
   प्रथमा:-   सुन्दरी बालिका ||   सुन्दर्यौ बालिके ||        सुन्दर्य: बालिका:
सं || प्रथमा:-  हे सुन्दरि बालिके || हे सुन्दर्यौ बालिके || हे सुन्दर्य: बालिका:
द्वितीया:-  सुन्दरीं बालिकाम् || सुन्दर्यौ बालिके ||      सुन्दर्य: बालिका:
तृतीया:-  सुन्दर्या बालिकया || सुन्दरीभ्यां बालिकाभ्याम् || सुन्दरीभि: बालिकाभि:
   चतुर्थी:-  सुन्दर्यै बालिकायै || सुन्दरीभ्यां बालिकाभ्याम् || सुन्दरीभ्य: बालिकाभ्य:
   पञ्चमी:- सुन्दर्या: बालिकायै || सुन्दरीभ्यां बालिकाभ्याम् || सुन्दरीभ्य: बालिकाभ्य:
   षष्ठी-  सुन्दर्या: बालिकाया: || सुन्दर्यो: बालिकयो: ||     सुन्दरीणां बालिकानाम्
   सप्तमी- सुन्दर्यां बालिकायाम् || सुन्दर्यो: बालिकयो: ||    सुन्दरीषु बालिकासु

नपुंसकलिङ्ग: (Neuter gender)

विभक्ति:        एकवचनम्          द्विवचनम्              बहुवचनम्
      प्रथमा   सुन्दरं  पुस्तकम्  * सुन्दरे पुस्तके *                     सुन्दराणि पुस्तकानि  
द्वितीया सुन्दरं  पुस्तकम्  * सुन्दरे पुस्तके *                      सुन्दराणि पुस्तकानि  
तृतीया -- सुन्दरेण पुस्तकेन * सुन्दराभ्यां पुस्तकाभ्याम्  * सुन्दरै: पुस्तकै:
चतुर्थी--  सुन्दराय पुस्तकाय * सुन्दराभ्यां पुस्तकाभ्याम् * सुन्दरेभ्य: पुस्तकेभ्य:
पञ्चमी-- सुन्दरात् पुस्तकात् * सुन्दराभ्यां पुस्तकाभ्याम्  * सुन्दरेभ्य: पुस्तकेभ्य:
षष्ठी--  सुन्दरस्य पुस्तकस्य* सुन्दरयो: पुस्तकयो:     *  सुन्दराणां पुस्तकानाम् 
सप्तमी -- सुन्दरे पुस्तस्के  * सुन्दरयो: पुस्तकयो:     *  सुन्दरेषु पुस्तकेषु

        पुंलिङ्ग:              स्त्रीलिङ्ग:           नपुंसक लिङ्ग:
n      एक:                      एका                एकम् 
n      एक: बालक:-                     एका बालिका                  एकं  पुस्तकम्
n      एक: वृक्ष:                       एका लता              एकं   पुष्पम्
n      एक: चमस:                       एका दर्वी                 एकं  पात्रम्
n      एक: पुरुष:                      एका महिला                  एकं मन्दिरम् 
n      एक: समुद्र:                       एका नदी                  एकं सर:
 Example:-  एक: बालक: एका बालिका च एकं पुस्तकं पठत:      
   द्वौ                           द्वे                    द्वे
n      द्वौ बालकौ               द्वे बालिके                    द्वे पुस्तके 
n      द्वौ वृक्षौ                    द्वे लते                    द्वे पत्रे 
n      द्वौ पुरुषौ                  द्वे महिले                    द्वे वाहने
 Example: द्वौ बालकौ    द्वे बालिके च  द्वे पुस्तके गृहीत्वा पाठशालां गच्छन्ति
   त्रय:                      तिस्र:                              त्रीणि 
 त्रय: युवका :             तिस्र:  वनिता:                  त्रीणि पुस्तकानि    
     त्रय: वृक्षा:                       तिस्र: लता:                      त्रीणि पत्राणि
त्रय: क्रीडाकारा:          तिस्र: क्रीडाकारिण्य:                त्रीणि कन्दुकानि  
Example: त्रय: युवका:, तिस्र: वनिता: त्रीणि कन्दुकानि गृहीत्वा क्रीडाङ्गणे क्रीडन्ति
       चत्वार:                 चतस्र:                   चत्वारि
चत्वार: पुरुषा: -       चतस्र: महिला: -            चत्वारि फलानि
चत्वार: बालका:       चतस्र: बालिका:            चत्वारि पुष्पाणि
चत्वार: पर्वता:        चतस्र: नद्य:              चत्वारि सरांसि
Example: चत्वार: बालका:, चतस्र: बालिका: च चत्वारि फलानि देवाय समर्पयन्ति
From five the forms are the same in all genders:
पञ्च                    पञ्च                           पञ्च
 पञ्च बालका:          पञ्च बालिका:               पञ्च पुस्तकानि
 पञ्च बालका: पञ्च बालिका: च  पञ्च पुस्तकानि गृहीत्वा ग्रन्थालयं गच्छन्ति 

n      Unit 2.

पुरातनम् (old/Ancient) x नूतनम् (new/modern)
हस्तिनापुरं (Hastinapuram) पुरातनं नाम देहली (Delhi) नूतनं नाम
Hastinapura is the ancient name Delhi is the modern name.
पाटलीपुत्रं  (PaaTaliputram) पुरातनं नाम पटना (Patna) नूतनं नाम
Pataliputra is the ancient name Patna is the modern name.
कोणार्कमन्दिरं पुरातनम् अस्ति बिर्लामन्दिरं नूतनम् अस्ति
Konark temple is ancient and Birla Mandir is modern

n      Unit – 3.

बहुxकिञ्चित् (more/large amount of ) x किञ्चित् ( less/little amount of)

n      समुद्रे जलं बहु अस्ति कासारे जलं किञ्चिद्  अस्ति ||
There is much amount of water in sea and little amount of water in a tank.
n      वित्तकोशे धनं बहु अस्ति - गृहे धनं किञ्चिद्  अस्ति ||
There is large amount of money in the Bank and little amount of money in the house.
n      ग्रामजीवने सौख्यं बहु अस्ति नगरजीवने सौख्यं किञ्चिद् अस्ति ||
Rural life is more delightful and urban life is less delightful.
n      राजकीयनायक: बहु वदति किञ्चिद् अपि न करोति ||
     A politician speaks a lot and does not do even a little bit.   

Unit – 4             
  ह्रस्व: x दीर्घ
ह्रस्व: (short)  x दीर्घ: (long)
n      गजस्य वाल: ह्रस्व: अस्ति गजस्य तुण्ड: तु दीर्घ: अस्ति ||
    The tail of an elephant is short but the trunk is long.
n      नदीतरङ्ग: ह्रस्व: अस्ति समुद्रतरङ्ग: दीर्घ: अस्ति || 
    The wave of a river is short and the wave of an ocean is long.   
n      आम्रवृक्ष: ह्रस्व: अस्ति तालवृक्ष: दीर्घ: अस्ति
      Mango tree is short palm tree is long.

स्थूल: x कृश:
स्थूल: (stout ) x कृश: (lean)
गजस्य तुण्ड: स्थूल: भवति (elephant’s trunk is stout  )
गजस्य वाल: कृश: भवति (Elephant’s tail is lean)
अङ्गुष्ठ: स्थूल: भवति ( Thumb is stout)
अनामिका कृश: भवति ( Little finger is lean)

n       Unit – 5.
इव (like/as if)

बालक: वृद्ध: इव मन्दं गच्छति
The boy is walking slowly like an old man.
अस्मिन् आधुनिके काले महिला: पुरुषा: इव सर्वासु कलासु नैपुण्यं प्रदर्शयन्ति ||
In this modern age women are showing talent like men in all types of arts.
राजकीयनायक: भिक्षुक इव सञ्चरति ||
The politician is wandering like a beggar.
अर्जुन: भीरु: इव विलपति ||
Arjuna is lamenting like a timid fellow.   
अलसा: रोगिण: इव मञ्चेषु शयनं कुर्वन्ति ||
Lazy people are lying on beds like patients.
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