savitri

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ImageThe breeze felt warm and shadows came alive, it was as if each shadow had a story to tell.

Kathanika, had just finished reading the story of Nagamandala the much acclaimed play by Dr.Girish Karnad. The abstractness amused her .An untold story coming to life asking to be told.

“Well, the bird sings because it has a song”

“Says who”

“Mary Angelou”

Kathanika looked at the woman who invaded her privacy both in the physical world and somewhere in the realm of her thoughts.  And the answer Mary Angelo did not go with the woman in front of her, this woman was clad in hand-woven sari her long stresses caressing her she looked like she was from another era.

“And you are”

“What would you like to call me?”

“I don’t know what you are called.” The woman smiled “”okay you know me as Savitri”

“Haa! Sati Savitri,”

“If you choose to say so”

“Satyavaan Savitri”

“If you choose to say so, let’s talk about you before we talk about me”

My story wondered Kathanika, there was nothing much to her story, she was married off to  Manas because she was in love with him, now she wanted to divorce him because over the year she discovered that he was sick, a sick soul though he did love her the way his upbringing permitted him.

“Maybe you would disapprove of me”

“Why would I Kathanika, you don’t know my story”

“Yes I do you fought the God of death to bring your husband back to life.”

Savitri smiled, so that is the story, what were told after the story?

“I was told I should face hardships like you to save my marriage and husband.”

“Do you think I did right?”

“I don’t know Savitri right now I am at a place where my husband has a year at the maximum to live, I can donate my kidney and save him, but I don’t want to.  To tell you the truth I was planning to leave him before he fell sick.”

“This Kathanika is my sorrow every story teller has twisted me in his tale to so much that I am no more recognizable. Probably the story teller from Auroville came the closest to me and my persona, but he could not help making a Goddess out of me either.”

“I do not understand”

I did share my story with the sage of Auroville,

Kathanika, my story is very similar to yours, I was the daughter of Ashwapathy a King who brought me up with strong sense of right and wrong, he also taught me not to judge or preach but just be who I am and transform people.

When I fell in love with Sathyavaan, the Bard Narad warned my father that Sathyavan was not the right choice for he was saddled with a father who was blinded with ignorance and greed hence he was called Dhumatsaketu or the smoky one.  Sathyavaan himself was so activated by his father and his father’s thinking that he his self image, and sense of right and wrong or what we call as conscience was dying. The rate he was breaking he would hardly last a year before he breaks down completely.

What I did was to just be me, it took me almost a year to transform Dhumatsaketu, and it was a battle of wits and tact. With both the son and father. Then one day we had to go out to the forest and Sathyavan had reached his all time low. He was exhausted and collapsed.

Slowly and softly I asked him, what was that he wanted in his life, and talked of life instead of death, I spoke to him of the joy of living and sharing, a vision of future and hope how we could transform our lives as long as we wanted it. It took me almost the night but I could bring him back.

“So you did not argue with the Lord of Death”

“In a way I did, I spoke of living, to spoke to Sathyavan of the children we would have the kingdom we would reign with each of these he came back to the world of living.”

“Even Sri Aurobindo said you fought death”

“Yes, and you chose not to listen, I fought the act of giving up, I fought and dispelled that and not mortal death. It is about the conscience and right choice; it is about living and not existing.”

“So what is that you want from me now?”

“Kathanika, I do not want anything from you, but I want you to know when you say Savitri you are not talking about giving up you are not talking about sacrifice, you are talking choice.”

“Like”

“I chose to marry Sathyavan, and when he was giving up on life I chose to bring him back, not for him, not for the tradition but for me, because I loved Sathyavan. I choose which war I wanted to fight the Lord of death, it was either the war to keep Sathyavan alive, or it would be a war to deal with my conscience. Letting Sathyavan go would be compromising or killing my conscience that was a battle I did not want to fight.”

…..”And there was Savitri who fought for her marriage.”Manas grandmother was sniffing declaring her displeasure about Kathanika not wanting to donate her kidney.

Kathanika smiled to herself, she knew what Savitri came to tell her, it was her choice, 

the arrow of jambupati

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ImageAn interesting comparison.

Rama had only four arrows, each arrow would cleanse itself in the sarayu after use and return to Rama’s quiver. The arrow would manifest its use according to the need.

The arrow of Jambupati was poisonous and magical, it could transform into anything at all and no one could match its power.It always returned to the user.

 

The story of Jambupati.

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The benefits of offering needs are related in many stories such as the story of kind Jambupati(Phra Jcaho Jambupati.) which tells how during the dispensation of Phra Kassapa the Lord Sammamsambuddha.King Jambupati offered a needle to a certain monk in a spirit of faith as a result he was reborn in heaven for a long period. When he passed away from heaven he was reborn as king Jambupati. Kind Jambupati had a magical poison arrow which could shoot above and below, even down the underworld Naga realm. King Jambupati’s poisonous arrow had extraordinary magic power when he shot it into the earth it would penetrate as far a league and then return to its quiver. When shot into the underworld naga realm it could smash the Naga realms into dust. When he shot into water the writer would boil and smoke would roil up as if from a fire and then the arrow would turn into a royal envoy.

If any ruler did not pay homage the arrow would thread his year that is thread the ear of the ruler and force him to go into the presence of King Jambupati and pay homage according to the royal whim. The poisonous arrow could transform into anything at all and no one could match its power. And all this because king jampati offered a needle in the long ago dispensation Phras Kassapa the Lord Sammasambuddha. The story of Jambupati is one that Thai Buddhists have always liked to write down and listen to.

Murals and paints

  • Jambupati:
    • Buddhiasawan chapel Bangkok
    • Wat Thang Noppakhun.Thon buri
    • Wat Pa Ruak, Lunag Prahang Laos
    • King Kappina
      • Nine caves at Mogao grottoes Dunhuang.
      • Magical transformations and magical contest.
        • Origins
        • Anuttarah purusandamy sarathith
        • Haribhadra abhisamayalankaraloka.
        • Arya sundarandanda angulimala urubilva kasyapa and Maharja kaphina.
        • History
        • Crowned image in British museum dated 1540/41 by inscription of the base.
        • Verses celebrating the reclining Buddha.
        • Wat Paramabuddhavasa Vihara in Ayutthaya, reigns of King Boromakot.

A tale of two stories, a tale of two stories,

Reflections on the MahaKappinaraja Jataka and the Jambupati-sutra.

Peter skilling.

Presented at the international Sanskrit conference Bangkok.

Versions.

  • Story of king Kapinna
    • Mahakappinaraja Jatakaa—aPali palm leaf manuscript in the national library and temple collections.
    • Sutra of the wise and the foolish, Chapter 25, translated under the title Hsien-yu ching in CE 445.
    • Hindered avadans. No.88 available in Sanskrit and Tibetan.
    • Canto XX of mahakaya Kappinabhyudaya by sisvamin.
    • Summary in Tibetan life of Buddha.
    • Story of King Jamputai. Jambupati sutra.
      • Palm leaf manuscripts in national library Wat Bovorn Wat Pho and other temple collections. Bibliotheque Nationale Paris.
      • Thai Paper accordion books in south Thailand. Twelve are listed in the catalogue local literature from the southern region. One published.
      • Northern Thai palm leaf manuscripts
      • Shan paper accordion books in chiang mai.
      • On palm leaf manuscripts with Jambupati in their titles: Old catalogue of the former Bernard free library Rangoon.
        • N.128 slapt Janbupati
        • 129 Jambupatisvasaman
        • Jampubapitsut.

Khmer Palm-leaf manuscript in National library Rangoon.

Summarized in Tathagata-udana-dipani composed by Dipeyin Sayadaw in 1772

Previous research:

Finot recherché sur la literature laotienne(1917:66-69)

Prince Damrong introduction to Manha jambupati sutra 2464(1921)

Genres

Sutra Jataka anisama, Life of Buddha.

RamaLila

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ImageRamalila.

The ramacharita manas is a 400 year old text written by Gosai Tulasidas. This text is very rich because it has been compiled with the blending of literary and oral traditions.

The performance of Ramayana was based on oral traditions and not the parameters of Sanskrit drama. The first mention of a Rama based theme is in the Harivamsham, that was based on valmiki Ramayana

More popular forms came about from Mahanataka or Hanumanataka. This follows the tradition of Ramakatha again. Saradatanaya in his bhavaprakashana calls Mahanataka as samarga or the tradition that includes, music and dance. It is different in the sense it uses prakrit, dance, and music extensively in addition to philosophical rendering from Valmiki Ramayana. This was in the 10 -12th century. after which it faded.

The revival of Ramakatha has occurred again in the 14th century.

TRIYATRA

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Actors ( KapilImageImage, sharma, Abhishek jhankal, Vishal Bhatt, Priyadarshini, Anshul, Aashna, Krishna, Gagan, Yash, Bhuvenesh & Karan ) of CURIO a group of performing art society, Jaipur unit performed TRIYATRA play on 18 september 2012 at Kurukshetra-Haryana. This performance is directed by Gagan & priyadarshini ( Brother & sister)

This is our old performance & we have performed more than 17 shows at Jaipur, Bhopal, Allahabad, Gaya, Sagar, Pathancot, Chandigarh, Kurukshetra,Bikaner, Ajmer and other cities of India.

We need ur blessings & support pls give us.

thanks
Gagan Mishra                        Priyadarshini Mishra
M-09829631909
Rajasthan, Delhi, Haryana, Punjab Units
pls visit at-www.curioperformingart.in

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Free Thoughts by Ranjit Singh

When we were small boys, every year ten days before the festival Dussehra, our mother would choose a small area on one of the mud walls and make a crude image of a woman, stars and moon and bullocks with the cow dung. We lived in the village. Almost everyone has some land on which agriculture was done. Also there were plenty of animals like cows and buffaloes. Houses were made of mud and walls and floors were plastered with wet cow dung. We did not understand all this and thought this as some folk art. It was called Sanjhi. Now this ritual has almost vanished like many other rituals which were observed in the rural parts of the country. The images slightly resembled the Warli art. Both were drawn almost in the straight lines meeting to form triangles and squares.

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The image is called Sanjhi and established…

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Goa readers club input of Devsaar.

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ImageRecently, an aunt told me some stories of a ghost / spirit that used to stay in the forests around some of the villages in Goa long ago when her mother was a young woman – my aunt is in her eighties now – I tried looking up this word devsaar / deosaar? But I couldn’t find any information on it – has anybody heard of these wood spirits? And what the name deosaar indicates?

Thanks,
Vaishali

Devsaar among catholics mean the devil or demon.  It is used in
doctrine and cathechism. However it might have been a word picked by
missionaries from Hindu philosophy to represent another force.  In
many villages they say among catholics that the devil resides in
certain trees especially on the boundaries of the village. The Hindus
too celebrate the feast as that  Rankondar or the village guardian who
walks round the village. They are also termed as  Ishwar with the
place or some connotation attached to them. At some places at
strategic  position there are crosses to which the  people hold a
litany. But sometimes the Vodil ( Senior ) men of the  place puts some
drink like feni which is supposed to be offered to the so termed devil
behind the cross, . For instance the senior fellow may loudly end by
calling on Voddavedlo Devnchar to take account of the misdeeds of an
enemy. Most of these things are hidden as they are frowned by the
Church authorities
Visit my web site http://www.ismilda,com
Carmo  .

‘Devchar’ or ‘devchaar’ is a devil or Satan for Catholics. But one has to be careful of this meaning as along the West coast there is also the local concept of ‘devchar’ [devacho achar] as the ‘guardian spirit‘ or ‘rakhondar’ who is a benevolent spirit and may appear in human form to help people in distress. This could be understood as ‘guardian angel’ [though there may be theological debates in such an interpretation].

Rap heal fernandes

S: I remember Dr William R da Silva, priest-sociologist but a very open one, saying once that the word “devchar” probably comes from “devacho-achar” (meaning, a manifestation of the deity… if not mistaken).

Frederick Norohna.

Along the coast of Karnataka, we have a similar concept called the Devva, sometimes they are also called Jakkini. the guardian spirit of  an area.

Ben Antao

Jaknni bandh is located in Navelim, Salcete. It refers to the bridge under which ranes used to hide and attack
Ben Antao
Jaknni bandh is located in Navelim, Salcete. It refers to the bridge under which ranes used to hide and attack
those walking on the road. This myth began in the 1700s and survived through word of mouth until I was growing up
in Margao in the 1940s.
Incidentally, I’ve used this bridge in my novel BLOOD & Nemesis (2005), about Goa’s freedom struggle from the
Portuguese rule. My protagonist Santan Barreto says Jai Hind at the bridge where the police cop Jovino Colaco
stood to halt the carreiras overloading passengers. The old bridge, now rebuilt, is on the main road coming into Margao from Chinchinim
just after the Dramapur exit.

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