A इतिहास (itihāsa - epic) is a special type of scripture which provides an historical account of the major incidents and also provides a record of the major philosophical and moral teachings that underlies those happenings. Literally, the Sanskrit term इतिहास (itihāsa) means इति ह आस् (iti ha ās – as it happened) while etymologically it is derived as इतिहास (itihāsa) = इति (iti) + आसः (āsaḥ). A popular definition of the term इतिहास (itihāsa - epic) is given below
These
epics are like the live biographical accounts of specific events in the life of
a historically important person. It is like writing a biography of Mahatma
Gandhi by some of his contemporary historians, i.e., biography written during
the hero’s life time itself. Similarly, in the case of தொழுவூர் வேலாயுத முதலியார் (toḻuvūr vēlāyuta mutaliyār) who captured various important spiritual
milestones and miracles in the life of the saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāca
irāmaliṅka vaḷḷalār), who was his contemporary (they lived during
the same time period). Similarly, Satprem captured the various spiritual
milestones of Mother Mirra Alfassa (Sri Aurobindo Ashram) in his famous work titled
Mother’s
Addenda , while Sri Mahendranath Gupta recorded the Gospel
of Sri Ramakrishna etc.
Coming
back to the case of the द्विधमहाइतिहासशास्त्रे
(dvidhamahāitihāsaśāstre – twofold major
epic-scriptures) viz. वाल्मिकि रामायण इतिहासकाव्य (vālmiki rāmāyaṇa itihāsakāvya) & व्यास महाभारत इतिहासकाव्य (vyāsa mahābhārata itihāsakāvya), the
biographical recordings were recorded not just ordinary mortal scholars or
historians but by saints who were themselves highly evolved spiritual
visionaries – technically referred as a महऋषिमुन्यः (mahaṛṣimunyaḥ–
supreme seer sages). Again, according to science of Vedic
etymology, a spiritual sage is called a ऋषि (ṛṣi - seer)
because he is able to दृश्यश्रव्यक
(dṛśyaśravyaka – audio visualize) events
through his yogic यौगिकज्ञानदिव्यचक्षुस् / யோகஞானதிவ்வியக்கண் (yaugikadivyacakṣus/ yōgajñāṉadivviyakkaṇ - yogic
gnostic spiritual eye) from the highest states of ब्रह्मज्ञान (brahmajñāna – spiritual wisdom) viz. विज्ञानमयकोश (vijñānamayakośa
– gnosis predominant realm), आनन्दमयकोश (ānandamayakośa
– bliss predominant realm) and
beyond.
महऋषि वाल्मीकि (mahaṛṣi vālmīki
– supreme seer/sage valmiki) was a contemporary of Lord भगवान् श्री रामचन्द्रमूर्ति (bhagavān
śrī rāmacandramūrti) who in turn is the महा विभव अवतार (mahā vibhava
avatāra – supreme glorious incarnation) during the त्रेतायुग (tretā yuga). महऋषि
वाल्मीकि (mahaṛṣi vālmīki
– supreme seer/sage valmiki) composed the epic poem
recording the history of भगवान् श्री रामचन्द्रमूर्ति
(bhagavān śrī rāmacandramūrti). In fact, श्री वलिमिक रामायणम् (śrī valimika rāmāyaṇam)
itself testifies the encounters between भगवान् श्री रामचन्द्रमूर्ति (bhagavān
śrī rāmacandramūrti) and the saint-poet.
Similarly,
महाभारत (mahābhārata) is a महा इतिहास काव्य शास्त्र (mahā itihāsa kāvya śāstra – grand historic epic
literature) yogically recorded by sage व्यास महऋषि (vyāsa mahaṛṣi) who
lived during the contemporary period of the events in the महाभारत (mahābhārata). This
noble महऋषिमुनिकवि (mahaṛṣimunikavi – supreme seer-sage-poet)
visualized these events as they were happening and recorded the same with the help
of none other than श्री गणेशभगवान् (śrī gaṇeśabhagavān) who
played the role of a यौगिकलिपिक (yaugikalipika –
yogic scribe).
In
other words, the events are happening in a continuum traversing through all the
realms of consciousness – physical / terrestrial, vital, psychic as well as
gnostic, and even spiritual which form a concentric hierarchy of consciousness
viz. புரப்புரம் /बाह्यबाह्य (purappuram/bāhyabāhya –
external outer), புரம் / बाह्य (puram/bāhya – outer), அகப்புரம் /अन्तर्बाह्य (agappuram / antarbāhya - internal outer), அகம்/ अन्तर (agam – inner) & அகமகம் / अन्तरन्तर (agamagam / antarantara – internal inter) respectively.
Please understand that these
boundaries are more epistemological layers rather than ontological tight walls
and represent the different hierarchies of the same spiritual continuum of the
absolute omnipresent non-dual singularity. At the outermost layer they are
manifested as terrestrial historic personalities operating from the जाग्रत् अवस्था (jāgrat avasthā – waking state) in
the अन्नमयकोश (annamayakośa – food
predominant realm) while at the inner most layer they are
operating from the तुरीयातीत अवस्था (turīyātīta avasthā – transcendent
state) in the परमानन्दमय कोश (paramānandamaya
kośa – supreme bliss predominant realm).
स्थण्डिल स्थानस्य (sthaṇḍila sthānasya – boundary of locus) (A) | कोश अविद्यामाया चैतनस्य (kośa avidyāmāyā caitanasya - sheath of nescient mystery-consciousness) (X) | कार्यवस्था बद्धात्म चैतन्यस्य (kāryavasthā baddhātma caitanyasya – effectual state of corporeal soul-consciousness) (Y) | स्थूलभूत तत्त्व अप्रवृत्ति चैतन्यस्य (sthūlabhūta tattva apravṛtti caitanyasya – gross material principle of inertial-consciousness) (Z) | |
1 | புரப்புரம் /बाह्यबाह्य (purappuram / bāhyabāhya – external outer) | अन्नमयकोश (annamayakośa – food-predominant sheath) | जाग्रत् अवस्था (jāgrat avasthā – waking state)
| पृथिवि तत्त्व (pṛthivi tattva – earth principle) |
2 | புரம் / बाह्य (puram/bāhya – outer) | प्राणमयकोश् (prāṇamayakośa – vital-predominant sheath) | स्वप्न अवस्था (svapna avasthā – dreaming state)
| अपस् तत्त्व (apas tattva – water principle) |
3 | அகப்புரம் /अन्तर्बाह्य (agappuram / antarbāhya - internal outer) | मनोमयकोश (manomayakośa – mind-predominant sheath) | सुषुप्ति अवस्था (suṣupti avasthā – sleeping state)
| अग्नि तत्त्व (agni tattva – fire principle) |
4 | அகம்/ अन्तर (agam – inner) | विज्ञानमयकोश (vijñānamayakośa – wosdom-predominant sheath) | तुरीय अवस्था (turīya avasthā – trance state) | वायु तत्त्व (vāyu tattva – air principle) |
5 | அகமகம் / अन्तरन्तर (agamagam / antarantara – internal inter) | आनन्दमयकोश (ānandamayakośa – bliss-predominant sheath) | तुरीयातीत अवस्था (turīyātīta avasthā – transcendent state)
| आकाश तत्त्व (ākāśa tattva – vaccum principle) |
Geometrically speaking these three dimensions viz. कोश अविद्यामाया चैतनस्य (kośa avidyāmāyā caitanasya - sheath of nescient mystery-consciousness) (X), कार्यवस्था बद्धात्म चैतन्यस्य (kāryavasthā baddhātma caitanyasya – effectual state of corporeal soul-consciousness) (Y) & स्थूलभूत तत्त्व अप्रवृत्ति चैतन्यस्य (sthūlabhūta tattva apravṛtti caitanyasya – gross material principle of inertial-consciousness) (Z) in the bove table, are mutually perpendicular to each other as shown below
And corresponding to each axises viz. X, Y & Z, there is a five fold nested concentric hierarchical boundaries as listed in A and the mutual interdependencies between them can be graphically visualized as follows:
It is the same reality that that runs through and links the स्थूल रूप (sthūla rūpa – gross form) and the सूक्षम रूप (sūkṣama rūpa – subtle form). The difference between them is in (epistemological) degrees and not in (ontological) kind. As above, so below. To quote Swami Vivekananda
“The
difference between the subtlest mind and the grossest matter is only one of
degree. Therefore the whole universe may be called either mind or matter, it
does not matter which. You may call the mind refined matter, or the body
concretised mind; it makes little difference by which name you call which. All
the troubles arising from the conflict between materialism and spirituality are
due to wrong thinking. Actually, there is no difference between the two”.
In fact. the same, logic holds good for all phenomenal entities including the Divine and spiritual personalities – like the Hindu Gods viz. முருகன் (murugan), பிள்ளையார் (piḷḷaiyār), கண்ணன் (kaṇṇaṉ), அம்மன் (amman) etc., as well as saints like அகத்தியர் (agattiyar), மாணிக்கவாசகர் (māṇikkavācakar), திருஞானசம்பந்தர் (tiruñāṉacampantar), திருமூலர் (tirumūlar) etc., just to name a few. One can always view from the from the outermost material plane and narrate a historical account of their birth, growth, religious mission, and final emancipation etc. or one can view them from the innermost spiritual realm and narrate these personalities as occult शक्ति तत्त्व (śakti tattva – energy principle) in yogic experience. The difference is only from relativistic frame of reference and not in absolute terms i.e. whether you view from evolutionary perspective (outside-in view from grossest to subtlest) or the involutionary perspective (inside-out view from subtlest to grossest). Please remember the involution and evolution are relative phenomenal frames, but not for the absolute omnipresent noumenal reality. It transcends all such boundaries… To quote திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (tiru aruṭpirakāca irāmaliṅka vaḷḷalār), who glorifies such all-embracing omnipresent Divinity in the அருள்விளக்க மாலை (aruḷviḷakka mālai) from his magnum opus spiritual masterpiece திருவருட்பா (tiruvaruṭpā), as follows
Thus, इतिहास (itihāsa - epic) is essentially deals with history of important events that occurred in the past. But more importantly it provides a record of the past teachings, particularly in terms of the चतुर्विध पुरुषार्थाः (caturvidha puruṣārthāḥ - four-fold human pursuits) viz. धर्म (dharma - morals), अर्थ (artha - wealth), काम (kāma - desire) & मोक्ष (mokṣa - liberation). This fact is testified by the following popular प्रसिद्ध श्लोक (prasiddha śloka – popular verse)
The
following table summarizes about two most popular epics forming an integral part of Hindu
religious culture.
|
# |
Name |
Metrics (# verses) |
Revealed
by |
|
1 |
वाल्मिकि रामायण इतिहासकाव्य (vālmiki rāmāyaṇa itihāsakāvya) |
24000 |
originally compiled by sage
वाल्मिकि (vālmiki) in
sanskrit (containing around 24000 verses) which was later translated into
local languages by many poets and sages including Kambar in Tamil, Tulasidas
in Telugu etc
|
|
2 |
व्यास महाभारत इतिहासकाव्य (vyāsa mahābhārata
itihāsakāvya) |
100000 |
This is one of the longest epics in the
world containing around 10000
verses, originally compiled by sage वेद व्यास (veda vyāsa)
|
We shall now take a brief look at both these sacred literature, and try to understand the underlying message conveyed through them
वाल्मिकि रामायण इतिहासकाव्य (vālmiki rāmāyaṇa itihāsakāvya)
वाल्मिकि रामायण (vālmiki rāmāyaṇa) is another महाइतिहासकाव्य (mahā itihāsakāvya – grand historic literature) narrating the legendary life history of Lord श्री राम (śrī rāma) who is the hero of this sacred epic, symbolizing the उत्तम पुरुष (uttama puruṣa - perfect being), an ideal role model of mankind who stood for the cause of धर्म (dharma - rightiousness) and perfection. In the words of Sri Aurobindho,
“The Ramayana embodied for
the Indian imagination its highest and tenderest human ideals of character,
made strength and courage and gentleness and purity and fidelity and
self-sacrifice familiar to it in the sauvest and most harmonious forms coloured
so as to attract the emotion and the aesthetic sense, stripped morals of all
repellent austerity on one side or on the other of mere commonness and lent a
certain high divineness to the ordinary things of life, conjugal and filial and
maternal and fraternal feeling, the duty of the prince and leader and the
loyalty of follower and subject, the greatness of the great and the truth and
worth of the simple, toning things ethical to the beauty of a more psychical
meaning by the glow of its ideal hues”.
Lord श्री राम (śrī rāma) represents the परमात्म (paramātma – Supreme Soul), while सीतादेवी (sītādevī), known for
her pious character and chastity represents an ideal जीवात्मन् (jīvātman – corporeal soul). The noble life of Lord श्री राम (śrī rāma) was very
beautifully captured by the poetic genius in sage श्री वाल्मीकि महऋषि (śrī vālmīki mahaṛṣi) and later by other poets including the great Tamil
poet கவிச்சக்ரவர்த்தி கம்பர் (kaviccakravartti kampar), श्री तुलसिदास (śrī tulasidāsa) etc.; His life
exemplifies the best practices to be followed by every human being in
discharging his धर्म (dharma - duty) towards father, mother, brothers, wife, children & society etc.
· As an obedient son of his father and mothers, श्री राम (śrī rāma) was ready to fulfill his father’s commands without any hesitation,
even at the cost of sacrificing the luxuries of his royal life as a king by
taking up 14 years of tough exile into the forests.
· As a responsible husband, he exemplified the noble dharma of एकपत्नीव्रत (ekapatnīvrata – monogamy austerity), which in my
opinion is one of the most critical morals that has been emphasized loud and
clear, particularly in a tradition when it was acceptable in those days for the
men of royal order to have multiple wives. श्री राम (śrī rāma), in this
regard is respected as one of the noblest of souls ever born - a true gentleman.
· Again, the bindings between श्री राम (śrī rāma) and his beloved
brothers illustrates the ideal relationship of brotherhood. श्री लक्ष्मन (śrī lakśmana), literally accompanied his brother श्री राम (śrī rāma), all through
the exile and the struggles faced by his bellowed brother, giving him physical
and moral support in overcoming the tough periods - as the saying goes, “தம்பியுடையான் படைக்கும் அஞ்சான் (tambiyuṭaiyāṉ paṭaikkum añjāṉ – man having a brother, fears not even an army)”. Similarly,श्री राम (śrī rāma)’s other
brother भरत (bharata), had so much regard and respect for श्री राम (śrī rāma), that he
wanted his brother’s shoes to take the prestigious throne, rather than himself.
Last but not the least, श्री राम (śrī rāma) also known for his just rule as a noble king. In fact, the term āma rājyam has become almost de-facto standard to represent an ideal kingdom. श्री राम (śrī rāma’s). tenure has a king is supposed to be the golden era of ideal administration and governance where the whole society was clean and pure at heart. To quote Sri Aurobindho, once again,
And in the Ramayana we have an idealized picture of such a Dharmarajya, a settled universal empire. Here too it is not an autocratic despotism but a universal monarchy supported by a free assembly of the city and provinces and of all the classes that is held up as the ideal, an enlargement of the monarchical state synthesizing the communal autonomies of the Indian system and maintaining the law and constitution of the Dharma
According to some scholars, the
heroes of रामायण (rāmāyaṇa) also personify the चतुर्दसंहिताः (catur vedasaṃhitāḥ - four vedic corpuses). For example, श्री राम (śrī rāma) personifies ऋग्वेद संहिता
(ṛgveda saṃhitā), while
his brothers श्री लक्ष्मन (śrī lakśmana),
श्री भरत (śrī bharata)
& श्री शत्रुग्ण (śrī śatrugṇa) represent
the remaining त्रिवेदसंहिताः (trivedasaṃhitāḥ - triple vedic corpuses) viz. यजुर्वेदसंहिता
(yajurvedasaṃhitā), सामवेदसंहिता (sāmavedasaṃhitā) & अथर्ववेदसंहिता (atharvavedasaṃhitā) respectively.
Well, when discusses the essence of रामायण (rāmāyaṇa), one cannot afford
to miss the contribution of श्री भक्त हनुमान् (śrī bhakta hanumān), who worked as a humble friend, servant and devotee of श्री राम (śrī rāma). श्री भक्त हनुमान् (śrī bhakta hanumān) who is considered to be a चिरञ्जीवी (cirañjīvī – immortal), represents esoterically the mental aspect of
consciousness. That is why, हनुमान् (haṇumān) is half-human &
half-monkey deity. As a monkey, he represents the human mind which is generally
known for its unsteadiness, which keeps jumping from thought to thought. Moreover,
the human mind just as lord हनुमान् (haṇumān), does not
usually realize its own potential and is generally latent, which needs to be
kindled to rise up to the occasion. Once the mind realizes its own potential,
it begins manifestation of its strength, courage and wisdom – as did lord हनुमान् (haṇumān), who represents the infinite potential of the mind
to expand itself and reach higher realms of the Divine Consciousness. श्री भक्त हनुमान् (śrī bhakta hanumān) also exemplifies दास्य भक्ति (dāsya bhakti – servitude devotion) to his master श्री राम (śrī rāma).
If श्रीमद् भगवद्गीता (śrīmad bhagavadgītā – song celestial), embedded within महा भारत (mahābhārata) epic, was the philosophic gift to mankind in the form of a दिव्य दर्शन (divya darśana - divine vision) by भगवान् श्री कृष्ण (bhagavān śrī kṛṣṇa) to his beloved friend and devotee श्री अर्जुन (śrī arjuna), वासिष्टदर्शनम (vāsiṣṭadarśanam) also called a श्री योगवासिष्ठ महरामायण (śrī yogavāsiṣṭha maharāmāyaṇa) – a philosophic discourse given by the great श्री महऋषि वासिष्ट (śrī mahaṛṣi vāsiṣṭa) to none other than His Holiness Lord श्री राम (śrī rāma) on some of the highest spiritual truths.
Global versions of रामायण (rāmāyaṇa):
विद्वेशभक्ति रावणस्य (vidveśabhakti rāvaṇasya – hateful devotion of ravana)
Take the case of रावण (rāvaṇa), the महा असूर (mahā asūra – great demon) who confronted श्री रामचन्द्र (śrī rāmacandra) by abducting his beloved consort सीता देवी(sītā devī. Here, right at the beginning, रावण (rāvaṇa) had realized that श्री रामचन्द्र (śrī rāmacandra) who he was planning to confront, was none other than महा विभव अवतार (mahā vibhava avatāra – supreme incarnation) of श्री महा विष्णु (śrī mahā viṣṇu) the पर ब्रह्म (para brahma – absolute divnity).
This fact is testified by महऋषि व्यास (mahaṛṣi vyāsa) in the following verses from the आरण्य काण्डम् (āraṇya kāṇḍam) in the अध्यात्मरामायणम् (adhyātmarāmāyaṇam), wherein रावण (rāvaṇa) contemplates thus when he heard the complaint of his sister सूर्पनख (sūrpanakha) about her mutilation by श्री रामचन्द्र (śrī rāmacandra) and his brother,
The important point for us to understand is that, the all these episodes are are of a greater design, in other words, a beautifully dramatized ब्रह्म लीला (brahma līlā - divine play). For example, it has been pre-destined by ब्रह्म संकल्प (brahma saṁkalpa) of Lord महा विष्णु (mahā viṣṇu) Himself, that his two trusted द्वारापाला (dvārāpālā - gatekeeprs) at श्री वैकुण्ठ (śrī vaikuṇṭha) viz. जय (jaya) & विजय (vijaya), would be born repeatedly thrice in the असुर वंश (asura vaṁśa – demonic race) and in each birth would reach me back through विद्वेश भक्ति (vidveśa bhakti – confrontational devotion) as testified in the following verses of श्रीदेवीभगवतमहापुराण (śrīdevībhagavatamahāpurāṇa)
Accordingly, जय (jaya) & विजय (vijaya) were born as हिरण्याक्ष (hiraṇyākṣa) killed by वारह अवतार (vāraha avatāra) & हिरण्यकशिपु (hiraṇyakaśipu) killed by नरशिम अवतार (naraśima avatāra), as रावण (rāvaṇa) & कुम्भकर्ण (kumbhakarṇa) killed by राम अवतार (rāma avatāra), and finally as शिशुपाल (śiśupāla) & दन्तिवक्त्र (dantivaktra) by कृष्ण (kṛṣṇa). In each of these the confrontational episodes, the confronting जीवात्म (jīvātma – bound soul), when all the मल (mala - impurities) are cleansed in the hands of the परमात्म (paramātma - Divine being) finally unites with the same. This fact is testified in the अध्यात्मरामायणम् (adhyātmarāmāyaṇam) itself, where it is stated thus,
Again, in the युद्ध काण्ड (yuddha kāṇḍa – battle section), at the fag end of the युद्ध (yuddha - battle), just before the final onslaught of रावण (rāvaṇa), his chief consort मन्दोदरी (mandodarī) caringly warns him that he is actually fighting a losing battle as he is confronting श्री रामचन्द्र (śrī rāmacandra), who was none other the Almighty महा विष्णु (mahā viṣṇu) and who had earlier destroyed similar defaulters धर्म (dharma - righteousness) viz., हिरण्याक्ष (hiraṇyākṣa) & हिरण्यकशिपु (hiraṇyakaśipu). रावण (rāvaṇa) in response to his wife’s warning, reassures her of that he was already aware of these facts and yet decided to take the path of confrontation as a fast track to मोक्ष (mokṣa - salvation).
First and foremost, it is a peculiar kind of संबन्ध (saṁbandha - relation) that develops between the पशु (paśu – bound soul) and the पति (pati - god) which eventually leads the former’s deliverance. It is peculiar because it is characterized by क्षत्रुपक्ष वैकारिक (kṣatrupakṣa vaikārika – antogonistic emotion) between the two. In other words, the भक्ति (bhakti - devotion) here is disguised by तिग्मद्वेश (tigma dveśa – intense hatred) rather than प्रीति (prīti - love) and hence the modus operandi in the process of मुक्ति (mukti - liberation) is more उग्र (ugra – violent). Moreover, as the पशु (paśu – bound soul) resorts to अधर्म (adharma - unrighteousness) by misusing all his सूरत्व (sūratva - valour), the forceful (violent) rectification was needed, in order to correct the defaulting soul.
व्यास महाभारत इतिहासकाव्य (vyāsa mahābhārata itihāsakāvya)
In महाभारत (mahābhārata), we discover the classic case of how religion has successfully embedded the greatest of spiritual truths and wisdom within पुराणशास्त्र (purāṇaśāstra – purānic scripture). Specifically with महाभारत (mahābhārata), which is credited to be the longest know epic poem (having more than 74000 verses with roughly around 1.8 million words) is a fantastic combination of historical, literary, philosophical, ethical, metaphysical, spiritual and artistic masterpiece. In fact, it is emphatically declared by श्री वैशंपायन महऋषि (śrī vaiśaṃpāyana mahaṛṣi) in the आदिपर्व (ādiparva – first epoch) that
Yes, महाभारत (mahābhārata) is one of the longest and greatest ever written account of the then
political dynamics (including its emotions, pathos, lust, greed, heroism,
villainy etc.), plus a comprehensive coverage of every aspect of चतुर्विध पुरुषार्थाः (caturvidha
puruṣārthāḥ - fourfold human goals) viz. இன்பம் / काम (inbam / kāma – passional persuit), பொருள் /अर्थ (poruḻ / artha – wealth pursuit), அறம் / धर्म (aṛam / dharma – ethical persuit) & வீடு/मोक्ष (vīḍu / mokśa –
soteriologial pursuit) - you name it, it is
there in the longest ever recorded महाइतिहासशास्त्र (mahāitihāsaśāstra – mega epic sscripture).
All though there are many
controversial views on the historical nature of the great wars described in the
epic, some of the recent discoveries backed by archaeo-astronomical,
indological and historical investigations reveal that there are ample evidence
available, indicating the historicity of such a war as early as around 3102 BC.
Even from purely an artistic and
literary point of view, one cannot stop admiring the perfection with which the
whole story and its hundreds of sub divisions have been constructed, interwoven
and dramatized. Every character in this great drama has been so beautifully
defined and each role carries a particular message. Here are some examples – देवकि (devaki), भीम (bhīma), अर्जुन (arjuna), युधिष्ट्र (yudhiṣṭra), नकुल (nakula), सहादेव (sahādeva), द्रौपदि (draupadi), दुर्योधन (duryodhana), शकुनि (śakuni), द्रोणाचार्य (droṇācārya), अभिमन्यु (abhimanyu), अश्वत्ताम (aśvattāma), एकलव्य (ekalavya), कर्ण (karṇa), धुषासन (dhuṣāsana), गान्धारि(gāndhāri), कुन्ति (kunti), पाण्डु (pāṇḍu), यशोध(yaśodha), विधुर (vidhura), कम्स (kamsa), शकुन्तल (śakuntala), सावित्रि (sāvitri), नल (nala) & दमयन्ती (damayantī) and above all भगवान् श्री कृष्ण (bhagavān śrī kṛṣṇa).
The महाविभव
अवतार (mahāvibhava avatāra – supreme glorifying incarnation)
as भगवान् श्री कृष्ण (bhagavān śrī kṛṣṇa) is considered to be one of the most complex yet most beautiful and
relishing incarnations as the personality maps very comfortably with a common
man’s milestones in life including his fun filled pranks as a child, his
romances as a teenager, his bravery and skills as a youth, his wisdom as an
adult etc. Thus, although श्री कृष्ण (śrī kṛṣṇa), looked typically
like a guy next door, in terms of his ordinary day to day life, yet at the
other extreme he represents the highest principle of Divinity.- the पर ब्रह्मन् (para brahmam – absolute divinity), who had
descended down upon earth with a purpose and to
drive home a specific message सनाथन धर्म (sanāthana dharma – eternal spirituality) through His श्रीमद् भगवद्गीता (śrīmad bhagavadgītā – song celestial).
Yes, the narration of the
physical battle between two clans’ viz. कौरववंश (kaurava vaṃśa – kaurava clan) & पाण्डववंश (pāṇḍava vaṃśa – pandava clan) in the battlefield at कुरुक्क्षेत्र (kurukkṣetra), is not the core message in the महाभारत (mahābhārata) and it has a deeper meaning and
significance. The esoteric message of the great epic refers to the battle
within. The पञ्चभ्रात्रः पाण्डववंशस्य
(pañcabhrātraḥ
pāṇḍavavaṃśasya - five brothers of pandu clan) correspond to the पञ्चज्ञानेन्द्रियाणि पुरुषस्य
(pañcajñānendriyāṇi puruṣasya – five cognitive
senses of man). The शतभ्रात्रः कौरववंशस्य (śatabhrātraḥ
kauravavaṃśasya – hundred brothers of kuru clan) refer to the hundreds of sensual distractions and desires. कुरुक्षेत्र (kurukṣetra) is
the battlefield of the mind. And भगवान् श्री कृष्णपरमात्मन् (bhagavān śrī kṛṣṇaparamātman), who played the role of श्री पार्थसारथि (śrī
pārthasārathi – divine charioteer of arjuna), refers to the अन्तःकरण (antaḥkaraṇa – inner faculty) sixth sense of
mankind – The बुद्धि (buddhi - intellect) which
discriminates the good from evil and directs and enlightens the five senses to
take the right path using चतुर्मार्गाः (caturmārgāḥ – four paths) to Divinity viz. भक्तिमार्ग (bhaktimārga – devotion-path), कर्ममार्ग
(karmamārga– service-path), ज्ञानमार्ग (jñāna mārga – gnosis-path) and ध्यानमार्ग (dhyānamārga – meditation-path).
Of course, it does not end here, there are many
other practical aspects also to be learnt from it – right from love, duties of
a person as an individual, a member of a society, an official etc, service,
business management techniques, better governance and administration of the
state, best practices for state defense and security.
Of course this is not the only meaning of महाभारत (mahābhārata). The following video for example provides deep insights into its enduring multivalent meanings of
and
श्रीमद् भगवद्गीता (śrīmad bhagavadgītā – song celestial) which is part of the महाभारत (mahābhārata) is one of the most widely read, transliterated and translated scriptures to multiple languages in the world and is equally adored by all kinds of people across the globe including spiritualists like श्री आदिशंकराचार्य (śrī ādiśaṁkarācārya), श्री रामानुजाचार्य (śrī rāmānujācārya), श्री मध्वाचार्य (śrī madhvācārya), श्री वल्लभाचार्य (śrī vallabhācārya), श्री निम्भर्काचार्य (śrī nimbharkācārya), श्री अभिनवगुप्ताचार्य (śrī abhinavaguptācārya), Bhagavan Sri Ramakrishna Swami Vivekananda, Sri Aurobindho, Swami Chinmayananda, Svami Sivananda, scientists like Albert Einstein, Mahatma Gandhiji, Albert Schweitzer & Mother Theresa.
In fact, the श्रीमद् भगवद्गीता (śrīmad bhagavadgītā – song celestial) is considered to be a युक्ति प्रस्थान (yukti prasthāna – logical source) and part of the प्रस्थान त्रयी (prasthāna trayī – triple sources) viz.
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# |
प्रस्थान शास्त्र (prasthāna śāstra-
source scripture) |
Focus |
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1 |
मुख्योपनिषदः (mukhyopaniṣadaḥ) |
श्रुति
प्रस्थान (śruti prasthāna – scriptural source) |
|
2 |
श्रीमद्
भगवद्गीता (śrīmad bhagavadgītā) |
युक्ति
प्रस्थान (yukti prasthāna – logical source) |
|
3 |
ब्रह्म सूत्र / शारीरक सूत्र (brahma sūtra / śārīraka sūtra) |
साधन प्रस्थान (sādhana prasthāna – instrumental
source) |
In addition to the famous श्रीमद् भगवद्गीता (śrīmad bhagavadgītā – song celestial),the major gifts to humanity from महाभारत (mahābhārata) include the great scriptures like there are others like व्याधगीता (vyādhagītā), अनुगीता (anugītā), पराशरगीता (parāśaragītā), पिङ्गलगीता (piṅgalagītā), बोध्यगीता (bodhyagītā), विदुरनीति¢ (viduranīti) etc.
