All posts by hrodrigues

Book 2: Ayodhya Kanda (part 1)

In Ayodhya
Nicole Hembroff

Upon their return to the kingdom, Rama continued to be an ideal son. He was ever present at his father’s side. He was studious and excelled in the Vedas. He loved archery, music, art and everyone who surrounded him. Rama, although handsome and strong, was always humble and tried to show others how much he appreciated their actions, no matter how small. His divine nature did not inflate his ego, in fact, he rarely thought about it. It was only in moments like his encounter with Parasurama Barghava that he was forced to recognize his own power. Dasaratha had realized his son’s nature during that incident as well, but it was not long before he no longer considered it. Instead, he concentrated on the love he felt for his favorite son.

As the king neared the end of his days, he realized he must choose a yuvaraja, an heir. There was no question as to whom he would choose. Rama had been born for that very purpose and Dasaratha could not wait to see his son crowned yuvaraja. He knew Rama would prove to be an exceptional leader.

Soon after, Dasaratha began to see frightening visions. The universe was trying to tell him something and it wasn’t good. He believed the omens were warning him of his death. His time must have been coming sooner than he had expected. The king called his advisers and told them of his plan to crown Rama yuvaraja. After consulting many people in his kingdom, Dasaratha knew they shared his faith in Rama’s ability to rule.

When Rama arrived, Dasaratha said, “My son, you have proven yourself in every way. A father could not have more pride in his son and I want to crown you as heir to my throne.” The ceremony was to be held on Pusyami. But something in Rama’s heart did not bode well. He knew he had been training to be a king since birth, yet he felt uneasy about his father’s announcement.

It was not until after Rama had left that Dasaratha was told Pusyami was only a day away. He immediately called his son back, which only served to increase Rama’s anxiety. When he arrived, Dasaratha said, “You must participate in a fast with your wife Sita. For the next night you must sleep on a bed of darbha grass and you cannot embrace one another.”

The king felt the hurried ceremony was advantageous in some ways. The omens had been growing stronger since his decision, but that was not the only benefit. Rama’s younger brother Bharata was away with Satrughna to visit Kaikeyi’s father, King Asvapati. The brothers loved each other very much, but Dasaratha knew envy could manifest in the best of friends. Thus, with Bharata away, no unnecessary rivalry would occur.

After receiving a blessing from Kausalya, Rama and Sita began their fast. Just to be sure, his guru Vasistha was sent to watch over them. As one would expect, Rama and Sita stayed true to their fast. They slept soundly while preparations and festivities continued outside.

Although it seemed like everyone was celebrating, it was not the case. On a balcony Kaikeyi’s maid Manthara stood glaring at the joyous throngs of people below her. She was known for her hag-like qualities. She was not particularly pretty, young or even nice for that matter. When she discovered the celebrations were to be held in honor of Rama’s position as yuvaraja she was furious. The maid ran immediately to Kaikeyi’s chambers and snarled “Dasaratha has decided to crown Rama yuvaraja.” To her dismay, Kaikeyi was ecstatic. Even though Rama was not her son by blood, she loved him as though he were.

Kaikeyi’s response did not fit Manthara’s plan in the slightest. The maid proceeded to convince her with the aid of her silver tongue. She said, “Kaikeyi, don’t you know Rama perceives Bharata as a threat? Surely Rama or Kausalya will attempt to have him banished or more likely still, they will slaughter him.” Kaikeyi was horrified. She cried, “We must hatch a plan to stop Rama from being crowned or my son’s very life will hang in the balance.” Manthara was eager to help and reminded Kaikeyi, “You have two boons saved up from saving your beloved Dasaratha’s life. Don’t you remember that he was so grateful to you that he offered two boons in return for your heroism? You didn’t need them at the time but you asked him to remember his promise. Wouldn’t now be an excellent chance to claim them? Kaikeyi, you did say you would use them in a time of great need.” She grinned, showing her crooked teeth and said, “This moment is just such a time.”

That night, when Dasaratha went to see his favorite wife, he found out she was in her krodhagraha. The queen had never gone to her chamber of anger before. He was instantly concerned for her and rushed to discern what he could do to help. When he saw her, she hardly looked herself. It was as though she had been possessed by some demon, even her voice was not her own. He tried to touch her but she pulled away. Dasaratha told her “I will do anything to help ease your pain. I swear on Rama’s very life that I will end your suffering.”

This was Kaikeyi’s chance to take matters in her own hands. She asked, “Dasaratha, do you remember the two boons I have saved for so many years? I want to claim them now. I would like to use the first boon to send Rama into the forest for fourteen years and the second will make my son, Bharata king!” When Dasaratha realized what she was asking, he fainted. Upon awakening he wondered, “Am I dreaming?” He thought a demon must have possessed his beloved wife. How else could she ask such things?

When he realized Kaikeyi was perfectly serious, he cried that she was evil. He begged her “Please! Change your mind! Ask me for anything but this! How can you expect me to deny the throne to my beloved Rama, the very son everyone agrees is most worthy of ruling? How can you be so cruel, so twisted? What have you done with my dear wife?” He did not know how he would tell the family and his subjects about his decision, especially when he did not believe it himself. Time and time again he beseeched her to change her mind. The harder he begged the more she exclaimed “Never!” He knew he had no choice, he must honor her request. Dasaratha fainted once again.

The next morning, the whole city was ready to celebrate the crowning of Rama. Yet something seemed to indicate that all was not well. The sun did not shine and it even began to rain. Upon awakening, the king hoped to find his wife reformed, alas, her mind was unchanged. She was still infused with the ugly disposition she’d displayed the night before.

All the preparations had been made; everyone was expecting Rama to be crowned. Kaikeyi snarled at Sumantra, “Go and fetch Rama.” He could tell the queen was not at all like herself and the king looked incredibly distressed. Sumantra was worried but decided to push the feeling aside as he went to bring Rama to the king.

He told the prince, “Dasaratha wants to speak to you privately before the ceremony.” Rama was led through the crowd in a chariot. Sumantra had to demand the masses to let them through; they were all waiting to see their shining prince crowned as yuvaraja.

Finally, they reached the palace and Rama entered with his excited brother Laksmana. When they arrived in the royal chamber, Rama was surprised to see his father’s sad face juxtaposed with the evil shadow that had taken over his mother’s. He would receive no blessing that day, only the news that he was to be banished or condemn his father. Being the dharmic man he was, Rama exclaimed, “Of course I will agree to mother’s wishes. I would not wish to bring shame to my family.” He seemed to be the only one maintaining his composure at this moment. His father was crying, his brother was becoming angry and his mother still kept her cold demeanor intact.

Before leaving the kingdom he and Laksmana went to visit his mother, Kausalya. He worried about hurting her when he broke the news, but summoned up the courage to do what he must. The rumor had spread to her dwelling already. The queen hoped it was just that, a rumor. Rama had been her shining star, in a life where her husband largely ignored her. When Rama entered Kausalya’s apartment, he was greeted with joy and with blessings. Alas, those blessings were to go unfulfilled. He told her of the news she already hoped was untrue. She was shocked. For the first time in Rama’s life, his mother said, “Your father was never around for me, he cared for Kaikeyi the most. What will I do when you leave? I have no other choice but to come to the Dandaka vana with you.”

Finally, Laksmana lost his composure. “How could our father have done this to you Rama? He has surely become a slave to his love for Kaikeyi. Dasaratha is not thinking of his kingdom. He has lost sight of his duty and his wretched wife’s opinion should not matter. We must end this horror and kill both Kaikeyi and our father. Rama, you have to rule, it is your destiny!” Kausalya gave her full support. “Laksmana,” she said, “I think your idea is the only one that will work. You are right, Rama must be yuvaraja.”

Rama did not hold their words against them. In such strange times it seemed natural to be so distraught. He declined explaining, “I cannot dishonor my father. Such strange occurrences must be the workings of dharma. Why else would Kaikeyi, who loves me as though I were her biological child, sentence me to banishment in the blink of an eye? I am determined to go into the forest. I will only ask for your blessing.”

Despite his requests Kausalya and Laksmana could not calm down. They said, “Kaikeyi can not simply be an instrument of dharmaa. She must have some ulterior motive.” It was clear to them that the young queen was evil. It hurt Rama to think of the way Kaikeyi had treated him. He knew that was not the mother he had loved all his life. Their explanation must be wrong; she must have been possessed by the will of the Gods.

Rama knew he could not sacrifice a piece of heaven to fulfill his mother and brother’s wishes. Again, he asked them “Please offer me your blessings so I might go to the forest with some semblance of serenity. I urge you to act rationally. Al I ask is that you support me in my decision.”

Kausalya finally understood there was nothing she could do to persuade him to change his mind. She only hoped he would take her with him. Rama knew she mustn’t go. Who would be there to support Dasaratha in his time of need? It was clear the king had just as much opposition to Kaikeyi’s request as everyone else. Rama told her, “Mother you must stay and comfort my dear father. You are the only one who can truly take care of him.” As any loving mother would, Kausalya blessed him on his path and wished for his safe return. He bowed at her feet and left her apartment.

Rama now had the task of parting with his most beloved Sita. He could not maintain his cool exterior when he went to see her. She knew something was wrong as soon as she saw him. Holding her hands tightly, he told her of his fate. Before she could respond, he explained, “I must uphold my father’s dharma; I have no choice but to journey to the forest. Sita, you must stay behind and await my return, but it is important that you be careful when speaking to Bharata about me. No matter how close we are, it would still be difficult for him to hear your praise of my greatness. You must not mention that I should have been king. Please, remember me and pray for my safe return and I promise everyone will take care of you in my absence. Do not forget to help my mother and father through their grief; you three will find strength in each other. Sita, my love, if you stay behind, our time apart, although difficult, will pass more quickly than you think.”

To Rama’s surprise Sita became very angry with him. She cried, “How can you think of leaving me? Have I done something wrong? I was taught when a man and woman are married they are bound to share his path. To be cut from you for fourteen years would be the cruelest punishment you could offer me.” She wouldn’t have any of his requests. She demanded, “I am coming to the forest with you Rama. I will find happiness just by being near you. Any hardships we might bear will seem like joys as long we are together.”

Being the protective, caring husband he was, Rama tried to resist. “The forest will be too dangerous and do not forget, our time apart will pass quickly. How can you live off forest plants and clothe yourself in tree bark? It would surely be too much for your delicate body to handle.”

For the first time since he had known her, Sita started to cry. “I will not be parted from my one and only love. All the dangers in the world cannot keep us apart. In fact, they will only serve as a wonderful new experience for us, a change of scenery, a chance to enjoy each other without the burdens of the kingdom.” She even told him of a prophecy she had received from rsis when she was young. They foresaw she would spend years with Rama in the forest. It was fate; she had no choice but to accompany him. With her last hope of accompanying him Sita threatened, “Rama, I vow I will take my own life if you refuse me. We were meant to be together; we have been in the past and will be forever more.”
It was then that Rama realized how deep Sita’s love for him really was. He claimed he had been merely testing her loyalty. If their destiny was to go to the forest together then they would do so.

Laksmana had been eavesdropping and ran into the room. He shouted, “If Sita is going there is no way I will be left behind!” He would offer protection and help as they continued on their journey. Rama could not send him away; after all, they were inseparable. To part the two brothers would be a crime.

The three prepared for their journey. They gathered their weapons and armor, gave away their worldly possessions, and went to see Dasaratha one last time. The people had heard by now of Rama’s fate. They all wanted to follow him into the forest, leaving Kaikeyi and Bharata to rule nothing.

When they reached Dasaratha his wishes were much the same as those of his subjects. In the midst of fainting spells and crying, the king begged Rama, “You must betray me!” But Rama could not dishonor his father. The king gave up but asked him, “Could you stay one more day?” Knowing one more day would turn into many, Rama declined, I promise it will not seem long before we have all returned.” The king ordered his armies and possessions to be taken by the travelers but Kaikeyi would have none of it. They were to live like rsis, with nothing but bark for clothing.

Finally, Dasaratha was able to express his anger to his wife. He fumed, “You only said they were to go into the forest, you didn’t mention anything about what they can take with them!” Rama did not require his father’s generosity. He said, “Laksmana and I will be happy to wear valkala –bark clothing. But I will allow you to send silks and jewelry for Sita to wear. She should not have to give up her beauty just because she has chosen to accompany me into the forest.”

Rama asked, “Dasaratha will you promise to take care of my mother. She would be in need of your help. Through each others support I know you will find a way to overcome your grief.” Now his time had come to leave. After receiving the blessings of Kausalya, Sumitra, and Dasaratha, the three loyal companions entered Sumitra’s chariot and left the city. Everyone was weeping as the chariot drove away. Dasaratha ran to follow them but fell, crying for the chariot to be stopped. Kausalya took his hand and helped him to the palace. He could not be around Kaikeyi anymore; she had caused him too much pain. The king only hoped Bharata would remain loyal to his brother and bring him back to Ayodhya.

That night, Kausalya was Dasaratha’s comfort. They shared stories and tears. Unfortunately, since Rama had left, Dasaratha had lost his sight. Their sorrows seemed to drown them until Sumitra came to fetch Kausalya. She said to Kausalya, “Dasaratha needs your strength now, not your grief. Our son will return before long.”
As Rama journeyed to the forest the people of Ayodhya followed him. They could not stop begging him to return. They vowed, “We will make you come back or you will force us to follow you into the forest.” He knew neither option was plausible. The crowd followed Rama, Sita, Laksmana and Sumantra until their day’s journey had ended. They all spent the night together by the river.

In the morning, the exiled party rose before dawn. They had to leave early in order to ensure that their followers could not trace them. They backtracked and finally headed toward the Dandaka vana. The people would think they had gone home and would not follow them.

The chariot carried them further into the lands of Kosala. From there they reached the Vedasruti river and from there the Gomati river. Along the way Rama told his companions stories of the lands they passed through. As they continued it dawned on Rama that he might never see his family or Sumantra again, but he had to remain strong for the other members of his party.

When they reached the Ganga, they decided to spend the night by a tree. It was not long before the group was greeted by a friend of Rama’s. His name was Guha and he was the king of hunters. He came bearing mattresses and a feast. Guha offered, “I have a place for you to stay for as long as you wish.” Rama politely declined, “I prefer to stay true to my life as a tapasvin –renouncer.” Instead, Guha spent the night with them. He, Sumantra, and Laksmana watched over the weapons while Rama and Sita slept.

Laksmana could not think of sleep. His head was filled with worries. His father would surely die of grief and they would never see him again. After he had gone, how were Kausalya and Sumitra to live under Kaikeyi and Bharata’s rule. His fears for his family plagued him constantly as the night wore slowly on.

Book 1: Bala Kanda

The Beginning
by Lindsay Anderson

On the sunrise of a day long past a humble and aged mendicant named Valmiki was deep in ritual meditation. It was not long before his solace was interrupted by the unmistakable voice of Narada. Narada, son of Brahma, was cursed to wander through life without rest. As Valmiki stared at Narada the rsi was drawn to the wanderer’s divine presence. Valmiki asked Narada, “Has there ever existed a moral man who embodies all the most noble virtues?” Valmiki began to list off countless merits, watching as Narada’s expression grew more eager. Narada’s response was the name Rama. Narada began the story of Rama, the dharmic ksatriya, in a voice that mirrored the whispers of the wind. Valmiki was mesmerized by the heart-felt story of Rama.

A significant amount of time had passed since Narada’s visit, but as Valmiki was walking along the Tamasa River with one of his disciples, visions of Rama still echoed in his mind. Upon hearing the call of two kraunca birds Valmiki turned to watch them dance as they made love. Suddenly, an arrow shot by a hunter flew through the daylight sky, killing the male kraucha instantly and causing Valmiki to tremble. In his anger, a powerful curse escaped Valmiki’s lips articulated in a profound and rhythmic meter. Even in meditation Valmiki could not get the morning’s events out of his mind. His eyes flew open and saw the god Brahma before him. Brahma spoke, “Valmiki, have no fear, I authored those words you spoke. Narada came on my authority and you must now tell the story of Rama in the same style of your curse.”

Sitting by the banks of the Tamasa, Valmiki assembled the story of the Ramayana composing it in twenty-four thousand verses, into six books. It was not until Lava and Kusa arrived at Valmiki’s asrama, or hermitage, that he spoke the sweet words of the Ramayana, only to hear them be repeated in a way he could not speak. It was then that he knew these boys were sent from providence in order to sing his story. After the two young men memorized the Ramayana, they went on their way to share it with the world. They spoke the words fluently as they told the story of the Ramayana at a military camp amongst the common people. A king joined the circle with tears in his eyes, for this was his story. The poets who recited it were his own sons.

The young men sang the history of Ayodhya, the capital of Kosala, speaking of the past kings from whom the perfect man had descended. The current king was Dasaratha, who felt fulfilled, except for the lack of a son, who would be able to take over the kingdom after he passed on. His constant prayers had been ignored in the past so Dasaratha decided to perform an asvamedha yajna, horse sacrifice, with Rsyasrnga as the priest, following the fortune foreseen by the sage Sanatkumara that he would have four sons to continue the Iksvaku line. They waited for the perfect day, in which all the flowers were in bloom and the water was clear, before they sent the horse into the fields of Bharatavarsa. As the year drew to a close, Dasaratha approached Rsyasrnga, bowing to his feet and asked “Rsi, make me fruitful.” As Rsyasrnga began to carry out the putrakama yajna, a sacrifice to bring the birth of sons, the devas (gods) hovered above. They had recently begged Brahma to control Ravana’s evil. Ravana was a demon who had received two boons. The first boon, from Siva, granted Ravana strength no other creature in the universe possessed. The second boon, from Brahma, provided immortality with one exception; Ravana could only be killed by a member of the human race. In order to rectify the balance of the earth Brahma decided that Visnu would be born to Dasaratha in the form of a human son.

Rsyasrnga had nearly completed the yajna when a dark messenger appeared from the fire holding a chalice full of payasa, a liquid sweet. He handed it to Dasaratha and ordered him to give it to his queens. When Dasaratha turned the messenger vanished. Dasaratha approached his wives with the vigor of youth. He informed them that his prayers were answered and that he would soon have the gift of four sons. That night Dasaratha approached each queen and slowly made sweet passionate love to each. The potion was successful and each queen conceived.

During Rama’s birth Kausalya, Dasaratha’s senior-most wife, was in bliss. Rama did not cry and even as an infant was excited by the thought of adventure. This month became known as Caitra. Kaikeyi, the youngest wife, gave birth to the beautiful baby Bharata. Within the next twenty hours as the moon had shifted into Aslesha, Sumitra bore the twins Laksmana, and Satrughna. The crowds in Ayodhya were never ending because the citizens came to celebrate the birth of the children, and potential heirs to the throne.

As the next sixteen years passed Dasaratha was at peace. He had everything he had ever wanted. His sons had grown up quickly remembering every detail they had ever had been taught. They succeeded in archery, the study of the Vedas, and the roles of ksatriyas. They had learned to drive the chariot as no other; Rama was normally in the lead, with the inseparable Laksmana at his side, while Bharata and his sidekick Satrughna followed. However, one day, a commotion at the gates would dramatically change Dasaratha’s world. A stern man stood there with eyes as dark as coal, and demanded to be announced to Dasaratha. All knew this was Visvamitra, once a king, now a brahmarsi, a warrior mendicant. Dasaratha came to welcome him saying, “My kingdom and services are here to assist you in every way.” Visvamitra replied, “I am here to request Rama’s assistance. I need him to journey with me to defeat two raksasas (demons) whose unholy acts tarnish my sacrifice.” Pleading with Visvamitra, Dasaratha cried, “No, not Rama. Anyone but him.” Visvamitra insisted, “You know your son will be safe with me.” Again, Dasaratha resisted. Visvamitra’s voice boomed, “If you do not keep your word to me you will bring shame to your entire kingdom.” Dasaratha’s guru, Vasistha, argued that a ksatriya should follow his dharmic path. Dasaratha finally consented and allowed Visvamitra to take Rama, as long as Laksmana could accompany him.

With the blessing of their mothers, Rama and Laksmana did as their father had requested. They obeyed every word Visvamitra had spoken, and followed him on the path out of Ayodhya. Viswamitra taught Rama the bala and atibala mantras, special incantations which would allow him to avoid hunger, tiredness, and thirst. As Rama filled his palms with water, the sound of the mantra spun around him. Rama began to shine with new resonance. Visvamitra turned to Laksmana and spoke the same words, causing the same event to occur. They prepared to sleep, removing their swords from their waist, and the bows from their hands; they laid close together in the tall grass for the first time in their lives.

After worshipping the rising sun and receiving a blessing from Visvamitra they were on their way. They did not rest until they saw the amazing sight of the strong dark waters of the Sarayu River flowing into the heavenly waters of the Ganga. Visvamitra showed the place and told the tale of Siva who under the influence of Kama, deva of love, became entranced by Parvati, who was the mountain’s daughter. Of the people there, Visvamitra spoke, “They are Sivabhaktas and can see the future as we see the past, and they await our company.” There, they received a welcoming fit for a god, and stayed up with the Kamasrama rsis half way through the night telling tales of the great god Siva. It was not until Viswamitra called an end to their stories that the night was brought to an end. Dawn would approach quickly and Visvamitra and the princes would need to be on their way. They received a boat from the rsis and bid them farewell. They proceeded along their dharmic paths paddling through the rivers that flowed as if directly connected to the sea.

Reaching the shoreline the princes followed Visvamitra into the deep dark forest that preserved a thick haze of evil. Rama acknowledged that this would be an excellent place for rsis, only to be informed of the true history of the jungle. Visvamitra declared that originally there had been no jungle, only the kingdoms of Malda and Karusa. Indra had been guilty of brahmahatya, murder of a Brahmin, and tried to convince the rsi of Devaloka to wash away his sins. Devaloka agreed, resulting with the water falling to the earth at this very place. The kingdoms became luxuriant and flourished until the day Tataka had entered their territory. She had not been born a raksasi but a child of Suketu who performed a tapasya, or penance, for a son, but received a daughter. She had married Sunanda, son of Jajara who died shortly after the birth of their son Marica. Tataka, drunk on forest brew, ventured into Agastya’s asrama, making advances on the rsi. Furious, Agastya cursed her to become a dark and hideous demoness. Visvamitra continued to tell Rama that it had been foretold that he would free her of this wicked spell. Instantly Rama’s head quickly turned to face a grassy knoll nearby, just in time to hear Tataka’s revealing roar. With her body encrusted with blood and grime, she grasped handfuls of earth to heave at them. Visvamitra pierced her heart with a mantra. Tataka picked up a large boulder, while Rama raised his bow and shot an arrow that viciously ripped off her arm, causing the boulder to fall upon her own feet. In amusement, Laksmana lifted his bow, discharged the arrow, and he cut off her nose, and ears. Tataka made herself invisible as soon as black blood spewed from her face. Rama and Laksmana made their way up the hill pausing in the middle as the screams of Tataka ceased. Rama stood with his bow ready to fire as she pounced. Rama’s arrow penetrated her heart, killing her instantly, relieving her of her curse. Tataka returned to her natural radiant form. She thanked Rama for saving her from such an awful curse and ascended to the skies. After the evening’s events at peace in their heart’s Visvamitra and the two princes were at peace and settled in for a good night’s rest.

They were astonished when they awoke the next morning, for the forest had begun to bloom with flowers of every color of the rainbow, and the evil haze had vanished. Visvamitra was so amazed with Rama’s accomplishment that he gave him a gift. While Rama sat towards the east, Visvamitra also taught him the mantra that would allow Rama to harness the power of these extravagant weapons. As Rama spoke the powerful words, the lords of the astras (weapons) appeared between the divine and earthly realms and whispered, “we belong to you and will do your bidding.” Rama told them to remain in his mind until they were needed. Rama shared the mantras with Laksmana.

Laksmana, Visvamitra, and Rama continued their adventure, only to stumble upon Visvamitra’s asrama called Siddhasrama. There Visvamitra began a six-day oath of silence, while Rama, and Laksmana stood guard with their bows in hand. The fifth day had passed and they knew it was only time before the raksasas, Marica and Subahu, would appear to prevent the completion of the yajna. All the rsis gathered around the raging fire, chanting the Vedas repeatedly. An undeniable cackle suddenly erupted from the raksasas ending the silence of the rsis sacred chant. Rama released his arrow into Marica’s chest sending him flying into the air. However, since Rama was compassionate the demon was only punished and not killed. Without hesitation, Rama called upon an agneyastra, a fire weapon or missile, and within a blink of an eye, Subahu was a heap of ashes. Visvamitra instantly knew who Rama truly was, so he spoke of Janaka’s sacrifice and told of Siva’s bow that lay in Mithila. No one had ever been able to lift it, but there was no doubt in Visvamitra’s mind that Rama would master the challenge.

The next morning Visvamitra summoned the princes and they were off to Mithila. Along their path, they came across a flourishing and wealthy land; Rama and Laksmana had never seen such greenery. Rama asked to whom this beautiful kingdom belonged. Visvamitra replied that the king, Kusa, was a descendent from Brahma, and had four sons, half-human and half-divine, that each of whom found a separate city to rule. Among those four sons, there was Kusanaba, the eldest, who brought Gadhi into this world, and Gadhi was Visvamitra’s father. Visvamitra spoke of his sister, Satyavati, who had become the rsi Ricaka’s wife, gaining svarga (heaven), due to her purity. She returned to earth as a ravishing river. It was at the side of this river that Visvamitra could continue to hold and protect her. Visvamitra spoke about how he felt at peace beside the lovely river, while the princes listened contentedly. It was after the tale that they decided to rest.

Waking the next morning refreshed, they traveled north until they reached the Ganga, where Viswamitra told the extensive story of her descent, and the curse of the Iksvaku line. It began with Sagara, one of Rama’s ancestors, who had two wives. One wife gave birth to an evil son, Asamanja, who was to continue the family name. He bore sixty thousand sons all of equal strength and wisdom. Asamanja was once caught drowning young children and was exiled, leaving behind his most devoted son, Asuman. In the hopes of maintaining Asuman’s good nature Sagara performed an asvamedha yajna, which was never completed because Indra, jealous of the ritual, had spirited the horse away to a cave. In this cave, Maharsi Kapila Vasudeva sat in meditation. The sixty thousand sons looked everywhere for the horse, and eventually stumbled upon the cave. Ignorant of the rsi’s power, they drew their weapons thinking he had seized the horse. Kapila turned them to ashes. When his uncles did not return Asuman went in search for them. Finding the cave, he waited patiently until the Maharsi awoke. Recovering the horse Asuman returned home. Years passed, but the Iksvaku name continued to be tainted, until Asuman’s grandson, Bhagiratha, performed a yajna asking Ganga to descend to the earth. After receiving permission, Bhagiratha prayed to Siva to break Ganga’s fall, to prevent destruction. With the completion of the yajna, the sixty thousands sons of Sagara were revived, went to heaven, and the Iksvaku name was purified.

Continuing on Visvamitra, Rama, and Laksmana reached Visala, where Rama heard the tale of Gautama, and his wife, Ahalya. Ahalya could not resist the touch and attention from Indra. One night when Gautama was praying by the riverside, she allowed Indra to make love to her. She sensed the danger and encouraged Indra to leave, however Indra’s response was to persist in his seduction. Gautama opened the door, only to be stopped by shock. He cursed Indra’s body to be adorned with a thousand phalluses, and cursed Ahalya to become dust until Visnu in the shape of a prince removed the curse. Standing before the asrama, Visvamitra opened the door; Rama walked and merely touched the pile of dust. Suddenly Ahalya appeared radiant before them. As Rama watched, Gautama appeared and was once again reunited with his wife.

Arriving in Mithila, Visvamitra and the princes listened to Sadananda (Gautama’s son) thank them for freeing his mother and tell the life story of Visvamitra. With the rising of the moon, everybody listened intently to the story being told, and it was not until the next morning when Siva’s bow was once again mentioned. Janaka (king of Mithila) began the story of how he acquired the bow. It had begun when Siva’s father in law, Daksa, held a yajna to which neither Siva nor his wife Sati had been invited. Therefore, Sati attended performing an austerity so strong she turned herself to ashes. Angered, Siva approached with an army of a thousand men who helped him cut off Daksa’s head and replaced it with a goat’s head. Being unable to control his grief, he did not trust himself with the bow, and gave it to Devaratha. Janaka continued to inform Visvamitra and the princes that there was a prize for being able to lift and string the bow. He explained that some years ago he had been plowing his field and came across a remarkable child lying on the ground; he picked the child, Sita, up and decided to raise her as his own. Sita was a remarkable child, different from any other. After many failed attempts, Janaka decided that the only person worthy of Sita’s marriage was the man who could lift and string Siva’s bow. Janaka then lead Visvamitra and the princes to the palace arena. With hope in his heart, Janaka called upon Rama to come and attempt to lift the bow. Rama approached the table; he picked the bow up with ease and as he strung the bow, the earth shook and the people fell stunned as the bow broke in half. Janaka embraced the prince with excitement, as he ordered his guards to go to Ayodhya and summon Dasaratha for the wedding.

Dasaratha accepted the invitation and left the next morning. When he arrived in Mithila a roar of people exploded. Dasaratha spent a peaceful night with his sons, hearing about their heroic adventures. It was not until the next morning that Dasartha and Janaka discussed their family’s histories. Both officially agreed to the marriage. Janaka continued to speak of his other daughter, Urmila and suggested that Laksmana take her as his bride. Believing this was a great idea Dasaratha agreed. Visvamitra suggested that Janaka’s brother Kusadhvaja’s two daughters be married to Bharata and Shatrughna, allowing their houses to be bound forevermore. The city was full of festive colors as the four princes were married and blessed by Visvamitra. After his blessing, it was time for Visvamitra to return to his sister’s side in the mountains. Brokenhearted, Rama and Laksmana watched him walk away.

It was time for Rama and Laksmana to return home with their new brides. They traveled along the path toward Ayodhya when they were interrupted by a storm that made them quiver. Out of the storm, an unkempt rsi appeared bearing a battle-ax in one hand and a bow in the other. He was none other than Parasurama Bhargava. He spoke, “Rama I have heard of your feats and of your lifting the bow in Mithila.” He continued, stating that he had another bow with which to test him, the bow of Visnu. He gave Rama two options; he could fight a duel, or accept Parasurama as his superior. Without hesitation, Rama grabbed the bow from Parasurama’s hand and quickly strung it. Drawing the bow, he pierced Parasurama’s heart. Admitting his own defeat, Parasurama vanished along with the darkness, allowing Rama and the princes to continue on the pathway towards their home in Ayodhya.

Hindu Asceticism

In traditional Hindu life, there are four stages which a Hindu would, theoretically, complete in order to acquire the greatest chance of attaining the ultimate goal of moksa (liberation). These stages include the sisya (student) stage, the grhasta (householder) stage, the vanaprastha (forest-dweller) stage and the samnyasin (renouncer stage). This last stage of the samnyasin is one of total renunciation of social and material things. It would typically be this time in one’s life when one would dedicate oneself entirely to attaining moksa, particularly by engaging in specific practices. One such set of practice that these renouncers would often adopt was asceticism. However, it is important to note that ascetic practices are not limited to the samnyasins. Many laypeople also practice forms of asceticism, such as Vrata [On Vrata and the Pativrata Ideal, see Rodrigues 2005: 160-167], to achieve higher objectives. Nevertheless, in general, the asceticism practiced by renouncers is usually more concentrated and intensely followed. This essay will be focusing mostly on the asceticism of the samnyasin. Therefore, any reference to asceticism or ascetic practices will refer to the customs of the standard samnyasin, unless otherwise stated.To go into great detail of all the differentiations and variations of ascetic practices would probably construct a small book. I can only give a brief background, explain the practices that are most widely used, and give the example of a famous ascetic who has contributed to modernization of the practice.

Before discussing the particularities and practices of asceticism, it is important to look at the background and origin of this practice. According to David M. Miller and Dorothy C. Wertz, in their book Hindu Monastic Life, the word “ascetic” is a translation into the word sadhu, which actually translates as “holy man” (Miller and Wertz 2), a term often used to describe a renouncer.This can give us an idea of what the literary origin is, but to discern the actual foundation of the practice is quite a bit harder.As Patrick Olivelle informs us in his translation of the Samnyasa Upanisads, there are many theories about where the practice of asceticism originated (Olivelle 19-22).He breaks these down into two main theories: that asceticism is a development of the Vedic tradition, and that asceticism is a newer practice than the traditional Vedic religion which “challenged and transformed the Vedic religion” (Olivelle 20).Olivelle sides with the assertion that ascetic practices did not develop out of the old Vedic tradition, but that they are a recent custom which tested and criticized the old Vedic ways. Even so, Olivelle states clearly that ascetic practices could not have appeared out of nowhere and says that “[he does] not subscribe to the view put forward by some scholars that ascetic modes of life were non-Aryan in origin” (Olivelle 21).Olivelle suggests that, even though asceticism has close ties with sacrificial religion and even though the Vedic religion set the conditions in which asceticism is set, asceticism acts as an original element that challenged some of the old Vedic traditions, such as sacrificial theology.

With this brief background of asceticism we can begin to discus what asceticism really is.To become an ascetic means to give up completely, as mentioned before, social and material things. The ascetic is then meant to meditate and concentrate on attaining the final goal of moksa. Since ascetics do not have anything at all, except perhaps a begging bowl and a staff, they rely totally on the lay community to provide for them food and sometimes clothes and shelter. As Vail F. Lise says in his article “Unlike a Fool, He Is Not Defiled: Ascetic Purity and Ethics in the Samnyasa Upanisads”: “ascetics are told to remain in solitude as much as possible, meditating and dis-identifying with their bodies. Nonetheless, Upanisadic passages about the virtues and behaviour proposed for samnyasis are unexpectedly rich in ethical reflection” (Lise 374). Lise is commenting on how, although ascetics are prescribed to not care about any worldly thing, they are taught to be moral, just, and wise among other men. Lise explains this further by saying that “the liberated renouncer is a master of silence, quite patient, and wise in matters of Brahman” (395). In response to this, a question that might arise is: how would one know about these rigorous ascetic practices and ways? The answer is in the Samnyasa Upanisads which “provide a basis in Vedic revelation for the institution of renunciation (samnyasa) and for the rules and practices associated with that state” (Olivelle 5). Therefore, the Samnyasa Upanisads are used as a guideline as how to live the life of the holy man. These Upanisads have been studied rigorously and elaborated on as the practice of asceticism grows and popularizes. Nonetheless, one of the only ways to fully understand true asceticism is to watch and learn from a genuine ascetic. It is important to remember that the customs mentioned are the typical routines practiced by Hindu ascetics. There are many people who do not follow the samnyasin path quite so rigorously and there are those take it to the extreme.

There have been many significant Hindu ascetics in the Indian history; for example, Mahatma Gandhi who helped India fight for independence from Britain [For additional information on Mahatma Gandhi see Robinson and Rodrigues (2006) pg 160; and Rodrigues (2005) pg 47-48, 422-424, and 249-250]. In their article “Karma Samnyasa: Sarkar’s reconceptualization of Indian asceticism” Shaman Hatley and Sohail Inayatullah discuss the life of the guru (teacher) Prabhat Ranjan Sarkar. Sarkar was a Tantric [On Tantrism see Robinson and Rodrigues (2006) pg 158-159] teacher who lived in the 20th century and who revolutionized Hindu asceticism. Hatley and Inayatullah go into detail about what Sarkar thought that asceticism really was, as they say, “the ascetic stands as a critic of society – not merely a post modern literary critic but one that questions the basis of current society by attempting to transform it” (Hatley and Inayatullah 14). In this way, Sarkar is saying that asceticism is not only about the physical state of renunciation, but also about the exercise of proper mental ethics. The article also emphasizes how Sarkar’s studies did not hold much interest in the traditional ways of Hinduism, but wanted to transform the religion by using asceticism to “eliminate elements based in social custom (such as asrama) and myth” (Hatley and Inayatullah 14).By studying Sarkar, Hatley and Inayatullah have introduced an interesting, modern, way to look at the practice of asceticism.

Overall, the practice of asceticism is a broad topic with a rich history and development.Ascetic practices have been used to help change and develop the Vedic Hindu tradition.Even the concept of the samnyasin has become increasingly revolutionized as more people become interested in these ascetic ways.This practice has, recently, even travelled to the West. Westerners are becoming increasingly interested in Hindu practices. Many books on ascetic practices such as meditation, renunciation, and cleansing of the mind now line the shelves of Western bookstores.

REFERENCES AND FURTHER READINGS

DeBary, William (1966) The Hindu Tradition. New York; Random House Inc.

Hatley, Shaman and Sohail Inayatullah (Feb 99) “Karma Samnyasa: Sarkar’s

Reconceptualization of Indian Asceticism”. Journal of Asian & African Studies

(Brill). 34:139, 14

Kaelber, Walter (1989) Tapta Marga: Asceticism and Initiation in Vedic India. Delhi; Sri

Satguru Publications

Miller, David and Dorothy C. Wertz (1976) Hindu Monastic Life: the Monks and

Monasteries of Bhubaneswar. Montreal and London; Mc Gill-Queen’s

University Press

Narayan, Kirin (1989) Storytellers, Saints, and Scoundrels: Folk Narrative in Hindu

Religious Teaching. Philadelphia; University Press

Olivelle, Patrick, trans (1992) Samnyasa Upanisads: Hindu Scriptures on Asceticism and

Renunciation. New York; Oxford University Press

Robinson, Thomas and Hillary Rodrigues (2006) World Religions: A Guide to the

Essentials. Peabody, Massachusetts; Hendrickson Publishers, Inc.

Rodrigues, Hillary (2005) Hinduism: The eBook. Journal of Buddhist Ethics; Online

Books, Ltd.

Vail, Lise (Fall 2002) “Unlike a Fool, He Is not Defiled: Ascetic Purity and Ethics in the

Samnyasa Upanisads.” Journal of Religious Ethics. 30:373-397, 25

Related Topics for Further Investigation:

Atman

Brahman

Dharma

Guru

Sadhu

Swami

Yogas (Karma, Jnana, Bhakti, Raja, Kondalini, Hatha)

Yogi

Noteworthy Websites Related to the Topic:

www.founder.proutist-universal.org

www.prout.org

http://www-scf.usc.edu/~hso/faq.htm

http://buddhism.kalachakranet.org/pre_buddhism_history.html

Article written by Jahliele Paquin (April 2006) who is solely responsible for its content.

Jainism

Jainism is the heterodox branch of Hinduism, with roots tracing all the way back to 500 B.C.E. Some say the existence of Jainism is much older, but it has not yet been proven. The Jains trace their origins back to India, where their existence represents a little less than a million and a half of the world’s population. European scholars, who familiarized themselves with Jainism through samples of Jaina literature, hastily came to the conclusion that Jainism was just a subsidiary of Buddhism. It has now been proven beyond reasonable doubt that Jainism is not an offshoot of Buddhism, and is at least as old as Buddhism (see Dasgupta 169-170). The leader of Jainism is attributed to Vardhamana Mahavira, the last prophet, also known as Tirthankara of the Jains. Jainism has twenty-four Tirthankaras: Risabha (being the first), Ajita, Sambhava, Abhinandana, Sumati, Padmaprabha, Suparshva, Candraprabha, Puspadanta, Sitalnatha, Sreyamsa, Vasupujya, Vimala, Ananta, Dharma, Santi, Kuntha, Aara, Mallinatha, Munisuvrata, Nami, Nemi, Parsvanath, and last but not least, Mahavira.

Jain Tirthankara, 12th century AD (Gwalior Archaeological Museum 2017)

According to belief of orthodox Jains, the Jaina religion is eternal, and it has been revealed again and again in every one of the endless succeeding periods of the world by innumerable Tirthankaras” (Dasgupta 169). All the Tirthankaras have attained moksa at their death, and are regarded as “Gods” by the Jain worshippers. There are two main sects of Jain worshippers: The Svetambaras and the Digambaras.

The Svetambaras are known as “the wearers of white clothes,” whereas the Digambaras are known as “the cloth less.” Digambaras are found mainly in Southern India but also in the Northwestern provinces such as: Eastern Rajputana and the Punjab. The Svetambaras on the other hand, are mainly found in Gujarat, and Western Rajputana, but they can also be found all over Northern and Central India. Although both sects generally agree on all the fundamental principles of Jainism, the Digambaras keenly believe that perfect saints such as the Tirthankaras live without food, and that a monk who owns any property and wears clothes cannot obtain moksa. They also contend that no woman can obtain moksa. The Digambaras deny all canonical works of the Svetambaras and state that the values the Svetambaras have were lost immediately after Mahavira. The Digambaras, who separated from the Svetambaras, developed eccentric religious rituals. Sanskrit works of the Digambaras go way back before the works of the Svetambaras if we do not include the canonical works of the Svetambaras. The views of these two sects differ when it comes to the true meaning of existence (samsara) but both believe that Mahavira was the true leader of this complex religion.

Mahavira was a ksatriya (warrior) of the Jnata clan. He was the second son of Siddhartha and Trisala. The Svetambaras believe that the embryo of Mahavira was transferred from a Brahmin (priestly class) lady named, Devananda to the womb of Trisala. This story however, is frowned upon by the Digambaras. Siddhartha and Trisala gave him the name Vardhamana (Vira or Mahavira). Mahavira later went on to marry Yasoda, who later gave birth to their only daughter. At the age of thirty, Mahavira’s life had changed drastically. With the death of his parents and the permission of his brother, Mahavira became a monk, and after twelve years of self-humiliation and meditation “he attained omniscience” (see Dasgupta 173). He eventually attained moksa in 480 B.C.E. after preaching for approximately forty years making him the very last Tirthankara known to Jains. Mahavira was also an avid follower of the five great vows (panca-mahavrata), which consist of: Ahimsa, Satyam, Asteyam, Brahmacaryam, and Aparigraha.

Ahimsa is defined as “abstinence from all injury to life” (Chatterjee & Datta 107). Life is seen as existence that goes beyond the “moving beings.” Plants and beings inhabiting bodies of the earth are also seen as being part of ‘life’. Thus, the ideal of the Jains is, therefore, “to avoid abusing life not only through the moving beings, but also of the non-moving ones” (Dasgupta 169). Often seen throughout India, are Jain saints who try to follow this ideal. They are seen wearing a piece of cloth that is tied over their noses so they do not inhale and destroy the life of any organism floating in the air. “The Jaina attitude of ahimsa is the logical outcome of their metaphysical theory of the potential equality of all souls and recognition of the principle of reciprocity” (Chatterjee & Datta 107). This basically means do to others, what you would want done to you. The typical Jain tries to perform this duty in everything he or she does, because he or she wants to be consistent with the principle he or she has adopted. Not only is ahimsa practiced through action, but it also must be practiced through thought, speech and action. The next vow is to abstain from falsehood.

Satyam does exactly this through the vow of truthfulness, which consists of speaking of things that are not only true, but also moral and pleasant. Without the moral and pleasant qualifications, speaking the truth can lead to “vulgarity, frivolity, vilification, etc” (see Chatterjee & Datta 108). In order to carry out the perfect maintenance of satyam, Jains must surmount greed, fear, anger and even stealing.

Asteyam is the vow to abstain from stealing. It emphasizes the point to never take what is not given to you. A Jain writer once said, “wealth is but the outer life of man and to rob wealth is to rob life.” This alludes back to the vow of ahimsa with the “sanctity of property” being a direct comparison of the “sanctity of life” (See Dasgupta 180-211).

Another vow that has extreme importance in the conducting of Jain principles is that of brahmacaryam. This is the abstinence from self-indulgence. Brahmacaryam is seen in the context of abstaining from celibacy, however it goes deeper than that. It is interpreted as the vow to give up kama (self-indulgence) of every form. Jains believe that although physical indulgence may stop, the continuation of self-indulgence may still occur through subtle forms such as: speech, thoughts, and in the hopes of enjoyment hereafter in heaven. In order to abide by this vow, a Jain must, therefore, resist all forms of self-indulgence whether it is external or internal, subtle or obvious, and even direct or indirect.

Last but not least comes aparigraha, the abstinence from all attachment. “This is explained as the vow to give up all attachment dealing with the five senses: pleasant sound, touch, color, taste and smell” (Chatterjee & Datta 108). Attachment to any of the world’s objects means the soul is placed under bondage to the world, and according to sources, it causes rebirth, and liberation is unattainable without the withdrawal of attachment. The only way to overcome this attachment is through “right knowledge, faith and proper conduct.” When a person successfully overcomes the forces of all passions and karmas, the soul becomes free from its bondage and in turn attains liberation (moksa). When liberation is attained, Jains believe the fourfold perfection is achieved. It consists of: infinite knowledge, infinite faith, infinite power, and infinite bliss (see Chatterjee and Datta 109-111). Mahavira as well as the other twenty-three Tirthankaras achieved these five great vows and to assume the role of the prophets in Jainism.

Although these prophets are sacred and revered, they are not considered Gods. In fact, Jainism does not believe in God. The skepticism of the Jains is based on the following grounds: “Like the existence of God, the qualities of omnipotence, unity, eternity and perfection, are generally attributed to Him” (Chatterjee & Datta 110). If God is the “all mighty” (omnipotent), then God is supposed to be the cause of all things. The Jains however, argue that through the omnipotence of His character. They feel that He did not create everything and through that the Jains come to reject the belief in God. The Jains do, however, feel it necessary to meditate on and worship the liberated souls. The tirthankaras already possess the perfections, as mentioned earlier, and so they easily take the place of God in the eyes of the Jains. “The liberated souls serve only as beacon lights” (Chatterjee & Datta 111). This guides the Jainas to ultimate liberation.

The Jain religion is undoubtedly one of the oldest religions out there that are still being practiced to this day. Despite Jains being dispersed all throughout the world presently, the total Jain population hasn’t changed much. Its strict rules thus make it a “religion of the strong and the brave” (Chatterjee & Datta 111). It has recently become a scholar’s fervor to explore this antediluvian religion, due to its teachings, and its ability to function without a God. The complexity of this religion will most definitely have scholars enticed to find out more about this religion and perhaps dig its roots back to before 500 B.C.E. when it was first noted as being found.

WORK CITED & RELATED READINGS

Bhargava, Dayanand (1968) Jaina Ethics. Delhi: Motilal Banarsidass.

Chapple, Christopher (1993) Nonviolence to Animals, Earth, and Serf in Asian Traditions. Albany: State University of New York Press.

Chatterjee, S., and Datta, D.M. (1984) An Introduction to Indian Philosophy. Calcutta: Calcutta University Press.

Dasgupta, Surendranath (1975) A History of Indian Philosophy: Volume I. Delhi: Motilal

Banarsidass.

Tahtinen, Unto (1976) Ahimsa: Nonviolence in Indian Tradition. Ahmedabad: Navajivan

Publishing House.

Thapar, Romila (1992) Interpreting Early India. Delhi: Oxford University Press.

Related Topics for Further Investigation

Jainism

Tirthankaras

Svetambaras

Digambaras

Moksa

Samsara

Ahimsa
Mahavira
Gujarat
Rajputana

Jnata

Ksattriya

Varddhamana

Vira

Panca-mahavrata

Satyam

Asteyam

Brahmacaryam

Aparigraha

Rishabha

Ajita

Sambhava

Abhinandana

Sumati

Padmaprabha

Supaarshva

Chandraprabha

Pushpadanta

Shitalnatha

Shreyaamsha

Vaasupujya

Vimala

Ananta

Dharma

Shanti

Kuntha

Aara

Mallinaatha

Munisuvrata

Nami

Nemi

Paarshvanath

Websites Related to the Topic

http://www.engr.mun.ca/~asharan/bihar/jainism.html

http://www.angelfire.com/co/jainism/

http://www.arham.com/abt_jain_index.htm

http://members.tripod.com/~jainoc/mahavir/mahavir.html

http://www.jainworld.com/literature/dictionary/alphaframe.htm

http://www.cs.colostate.edu/~malaiya/j/dreams16/Dreams16.html

http://www.jcnc.org/jainism/reference.asp

http://www.umich.edu/~umjains/jainismsimplified/jainsimp.html

http://www.cs.colostate.edu/~malaiya/om.html

http://en.wikipedia.org/wiki/Jainism

Written by Raj Shah (Spring 2006), who is solely responsible for its content.

The Philosophy of Sanskrit Grammar

Language is possibly the most important aspect of human social life and interaction that we know of today. Although scientists have studied various languages and their sources for ages, they have never found another animal on this planet that is able to communicate quite the way humans can, exchanging abstract ideas and conceptual representations through words alone. Since ancient times, the Hindu tradition in India has paid close attention to the use of language in everyday life, and how it is able to effortlessly convey meanings, thoughts, impressions, beliefs, and other complex notions that can be demonstrated in no other manner. Language was so important to Hindus that they incorporated it directly into their spiritual practices, and it became yet another medium for reaching their ultimate goal, moksa: realisation of the Ultimate Truth within oneself.

Although there have been hundreds of languages spoken across India since ancient times, the Hindus selected Sanskrit as the language in which to write their spiritual literature. Obviously then, Sanskrit must be considered an extremely important aspect of the Hindu tradition, so important that some Hindus believed in a deified language, the goddess Vac. According to her myth, the world was created through her divine speech, and the Sanskrit used today is merely a part of that language she spoke (Coward 3). Others believed, according to what is written in the Brahmanas, that the Indian warrior god, Indra, was the first to create coherent language when he analysed speech utterances in terms of their parts and created a grammatical structure (Coward 13). However, the Hindu grammarians who studied Sanskrit held a more practical view of the language, and put a great deal of time and effort into examining its subtleties. Most of the Hindu grammarians studied how the grammar was initially constructed, including the most famous grammarian, Panini. He is believed to have lived between the 7th and 3rd centuries BCE, and was the author of the oldest surviving literary work on Sanskrit grammar, the renowned Astadhyayi (The Eight Chapters) which lays down the entire structure of Sanskrit grammar in roughly four thousand sutras (Coward 111). Although Panini’s contribution to the composition of the Sanskrit language is unsurpassed, the Astadhyayi is foremost a linguistic analysis, and Panini did not spend much time discussing the actual philosophy behind Sanskrit.

When we do examine the philosophy behind Sanskrit, we see that language was often related with the life-cycle of the universe, and there is no better example than that of the Hindus’ most sacred mantra, Aum. For Hindus, the entire creation and destruction of the universe can be represented by the utterance of this one monosyllable, and although it may be difficult for some people to immediately grasp this concept, the explanation for how it works is actually quite elegant. Aum is said to encompass all spoken language because the “A” syllable begins at the back of the mouth—where all language must begin—and then the whole word ends with a “fourth” syllable, silence (Prattis 83). If language is used as a metaphor for the universe, then Aum is that essential element that holds the cosmos together; when it stops, the universe will stop as well. Hindus identify Aum as “a primordial sound, inherent in the Universe” (Prattis 82) and “it denotes the super conscious state of Samadhi or Turiya” (Prattis 83).

This description of Aum as a cosmic concept is related to the sphota theory of language, which is spoken of extensively by another grammarian, Bhartrhari. Although Bhartrhari was not the grammarian who originally invented the sphota theory, he comments on it extensively in his work, the Vakyapadiya, which explains how sentences are meaningful to us despite differences in accent, speech tempo, and so forth. The sphota theory also states that individual words cannot have meaning when they are uttered on their own; it is only when they are ordered together into a coherent sentence that they take on meaning. Sentences are also unable to gain meaning without the active participation of both the speaker and the listener. Both individuals must understand the sentence in order for it to make sense, or the language merely becomes gibberish. When the sentence is thought of by the speaker and understood by the listener, they work as a single unit, and only then does meaning erupt from the words and enter the minds of both individuals (Coward 10-11). Where the mantra, Aum, is concerned, the meaning of the Ultimate Truth will supposedly issue from the sound of Aum while it is chanted. People seeking the Truth are both the speakers and listeners of this mantra, and they have only to grasp the meaning before they are able to fully understand the Ultimate Truth and achieve spiritual liberation.

Patanjali, another very famous Hindu grammarian, was careful to emphasize the fact that language is special; it is not some everyday commodity that can be created and destroyed at will, but rather an ever-changing means of communicating with one another. He had a famous notion, known today as “Patanjali’s Potters Principle,” which roughly states that “if you want pots, you go to a potter, but if you want words, you don’t go to a grammarian” (Staal 27). What he meant by this was that languages are more significant than regular, everyday commodities like pots. Words cannot just be made up on the spot by a grammarian like a pot can by a potter, but rather, new words come into being as a language evolves. Patanjali also made it clear that grammarians were not the creators of languages, but merely the analysers of it. It was not the grammarians who decided whether something in a language was “right” or “wrong” but the people who spoke that language instead. He said that if a man wanted to learn about how a language was put together, then he should see a grammarian, but if he wanted to learn a new language altogether, the only way would be to go to where that language was spoken and simply listen to it himself (Staal 27).

Language and speech has had a tremendous amount of influence on Hindu thought and philosophy. The amount of time, thought, and effort that Indians have put into creating and preserving their elegant Sanskrit is astounding to other cultures who have never viewed language as anything more than a simple means of communication. Hindus understand that this unique type of expression is not something to be taken for granted, and they revere language as something that can actually help them achieve that crucial goal they strive for throughout their lifetimes, knowledge of the Ultimate Truth of both the universe without, and the true Self within.

REFERENCES & RECOMMENDED READING

Coward, H.G. & K. Kunjunni Raja (1990) Encycolpedia of Indian Philosophies: The Philosophy of the Grammarians. Princeton: Princeton University Press.

Prattis, J.I. (2002) “Mantra and consciousness expansion in India.” Journal of Ritual Studies. Vol. 16, no. 1, pp. 78-96.

Staal, Frits (1982) “Ritual, grammar, and the origins of science in India.” Journal of Indian Philosophy. Vol. 1, no. 0, pp. 3-36.

Related Topics for Further Investigation

Sanskrit grammatical structure

Hindu grammarians

Panini

Patanjali

Bhartrhari

The Astadhyayi

The Mahabhyasa

The Vakyapadiya

The sphota theory of language

Mantras

Meditation using mantras

Mantras used in rituals

Ancient languages

Noteworthy, Related Websites

http://sanskrit.gde.to/dict/

http://www.samskrita-bharati.org/newsite/index.php

http://www.sanskrit.org/

http://en.wikipedia.org/wiki/Sanskrit

http://en.wikipedia.org/wiki/Sanskrit_grammarians

http://www.sanatansociety.org/indian_music_and_mantras/sounds_of_tantra_mantras.htm

http://www.dalsabzi.com/Mantras/mantras_intro.htm

Written by Jackie Hannaford (Spring 2006), who is solely responsible for its content.

The Tradition of Sati

The Hindu tradition is a complex religious system that has many rites of passage and traditions. Among these customs are death rituals that consist of performing a specific ceremony or making a sacrifice for a loved one. One of these sacrificial rituals prescribed for a widow is called sati. Sati is a ritual in which a woman may choose to burn herself alive on her dead husband’s funeral pyre to free him from all his sins. This sacrifice is an indication of a wife’s devotion to her husband.

The practice of sati has created a debate over whether it is an acceptable religious ritual or an unacceptable Hindu practice. The defence of sati lies in sacred texts that are read by most people following the Hindu tradition. Arguments against sati are based on changing social norms and a history of people such as Rammohun Roy who fought for the elimination of sati. From the time it was first practiced to modern times, sati has become more controversial, and was eventually outlawed.

The oldest section of the Vedas is known as the Samhitas and there are four texts under this section.The Rig Veda Samhita is one of these four. It contains 1028 hymns in ten books written “by priests for specific needs of the ritual services” (Embree 5). Rig Veda 10.18.7 provides a passage called the Sati hymn in defence of sati. There it states,

“Let these women, whose husbands are worthy and are living, enter the house with ghee (applied) as corrylium (to their eyes). Let these wives first step into the pyre, tearless without any affliction and well adorned.”

This verse is saying that devoted wives should step into their deceased husbands pyre as a personal sacrifice to their husband. This is understood as an argument in favor of sati. In this scripture, sati is described as a wife entering the funeral pyre, a pile of wood used for burning a corpse during a death ritual. Sati was practiced because it is outlined in sacred scripture. The Rig Veda explains rituals practiced by the authors, the Aryans, and since sati is included in one of the hymns, this can be used as a justification for sati.

The second sacred text in Hinduism that defends sati is the Atharva Veda Samhita. It is also from the same collection of Samhita as the Rig Veda but it “consists largely of spells and incantations” and has to do with situations of people, offering assistance and support (Embree 5). The funeral verses in the Atharva Veda are given in Kanda 18, Sukta 3 of this text.

“This woman, choosing her husband’s world, lies down (nipad) by you that are departed, O mortal, continuing to keep [her] ancient duty (dharma); to her assign you here progeny and property.”

Sati is mentioned in both the Rig Veda and the Atharva Veda, both sacred texts that are vital to the Hindu tradition. The reason why it was practiced for so many years was because of discussion in these texts. The debate over sati began when reformers started questioning scripture and pointing out what was considered to be wrong with the tradition.

Another piece of literature in Hinduism is an ancient epic known as the Mahabharata. The Mahabharata has become accepted as smriti meaning that it is highly respected, although it was not regarded as directly revealed to the ancient Rishis. This epic is about a great war between two families known as the Dhritarashtras and the Pandus (Embree 137). Sati is mentioned among the many stories throughout the Mahabharata that teach and share wisdom. The fact that sati is discussed in the Mahabharata, a popular choice of reading for the Indian people, presents more evidence that sati was an acceptable religious tradition.

The first mention of sati in the Mahabharata is in the story of the pigeon and the hunter. Sati is described in the Mahabharata as a “ritual suicide” following the passing of a wife’s husband and it is a way for her to “follow him to heaven” (Sutton 87). Bhisma, one of the Pandu brothers, tells the story where the pigeon’s wife decides that no moral woman could still live if her husband was dead and so she decides to throw herself into her husband’s funeral fire (Sutton 87). The result of her actions is that she is sent to svarga-loka (celestial world) alongside her husband in a “celestial chariot” (Sutton 87). The Mahabharata is acknowledged as a highly regarded piece of literature to people who follow Hinduism. The mention of sati within its pages can be understood as another justification for the tradition.

Sati is discussed further in the Mahabharata when wives of main characters commit the ritual. From the two families come two royal brothers who end up trading the leadership of the kingdom (Embree 137). One of these brothers, and the father of the five main characters, is Pandu (Embree 137). Pandu’s second wife, named Madri, decides to commit sati, as do the widows of warriors and Vasudeva (Sutton 430). Since the act of sati was perceived to be rewarded in the afterlife it has led to thoughts that there were “social pressures exerted upon widows” (Sutton 430). An incentive to perform sati was the spark that ignited a debate among people in and outside the Hindu tradition.

Even though sati is discussed in Hindu texts such as the Rig Veda, Atharva Veda and the Mahabharata, people began looking more closely at what these verses were really saying. The defense for sati is found in sacred texts but social norms and different opinions were formed. As the history of sati is examined, it is clear that new government and reformers would change the legal acceptance of sati.

Sati was generally practiced from the eighth century to the seventeenth century but mostly by upper classes (Embree 98). The areas where sati was commonly practiced was in Rajasthan, Karnataka, Maharashtra, and Gujarat (Hawley 35). In these areas, the discovery of sati stones prove the existence of the ritual. Sati stones are similar to tombstones but have images of sati being performed on them (Hawley 35).

It is difficult to identify the number of women who actually performed sati. The collection of data did not begin until the ninteenth century, thus complicating the process of determining numbers from before that time. The number of recorded burnings that occurred in 1815 was 378 and tripled to 839 in 1818 (Hawley 21). Traditionally, sati was performed by higher caste women; a study was completed in order to prove this phenomenon. In 1823 an investigation into the tradition proved that 64 percent of these events were “predominant among the brahmins (teachers), kayasths (warriors/rulers), vaidyas (farmers/merchants)” (Mani 22).

When focusing on the history of India, it is apparent that the presence of Muslims in India would become important to the eventual prohibition of sati. The people known as the Mughals invaded India in the sixteenth century (Embree 230). One of the leaders from this reign was named Akbar, and he ruled from 1556 to 1658 (Embree 230). He was significant to Hinduism because of his views on sati. Akbar took a passive role in preventing sati but tried to ascertain that women were not being forced into participating in the tradition (Hawley 53). Another Mughal leader was Jehangir, who took steps in stopping sati by persuading women with “gifts and land” (Hawley 140). The Muslim influence in India was positive for eliminating the tradition of sati.

Britain began colonizing India in the seventeenth century but it was not until the nineteenth century that Britain’s influence reached its peak. Colonization brought specific views, especially Christian and western ones, and this ignited controversy over practices and traditions of Indians. Sati was one of the issues that got to the point when Britain decided to create a law prohibiting the practice. In 1829 sati was officially prohibited (Mani 24). The abolition of sati can be seen as a great moment for Indian women or as a restriction on religious freedom. The elimination of sati can be seen as beneficial because bad many people viewed sati as a gratuitous ritual to be practiced. In some cases of sati, there was an element of force being inflicted on the widow. Since colonization, there has been an increased awareness that supported the movement towards prohibition.

Rammohun Roy was an influential man who worked timelessly to bring about the prohibition of sati. It was primarily Roy’s efforts and campaigning that led the government to officially ban the practice (Hawley 140). He denied passages from sacred texts because, in his opinion, they were too vague, thus giving no excuse for sati to continue (Mani 50). He believed that widow burning was not a necessary ritual in traditional Hinduism.

Once sati was prohibited, it was recognized by most as a negative practice. This created an public awareness of widows who may be forced into, or who may have already been forced into performing the ritual. Although some Indians believed that sati was an acceptable ritual, the example of Roop Kanwar has caused a realization about the rare cases in which women were being manipulated into a ritual that they did not wish to perform. In 1987 it was reported by Roop Kanwar’s in-laws that she had performed the ritual sacrifice by choice after her husband of eight months passed away (Hawley 101). Since she had a large dowry and her husbands death was questionable, there was controversy over whether or not she was forced or drugged into sati (Hawley 122). Even though this led to more debate over sati, it still increased awareness of women’s rights over 100 years after it was prohibited in India.

The tradition of sati, known by the English title of “widow-burning”, has raised many questions over its true meanings and justifications, and the significance it has to the Hindu tradition. The defence of sati is shown in texts such as the great epic Mahabharata or sacred texts as the Rig Veda and the Atharva Veda. Since these writing are held as authentic canon for the Hindu tradition and they illustrate passages promoting sati, it was not considered wrong to practice sati. On the other hand, even before the colonization of India and the introduction of western education, new ideas and opinions promoted anti-sati views, resulting in the official prohibition of sati. The beliefs of influential people and their efforts in banning widow-burning is an indication of the anti-sati views of a reforming nation. In addition, the banning of sati and the debate it caused has created a heightened awareness of women’s rights in India. The combination of women, death and faith makes sati an incredibly controversial tradition, and one that has attracted the attention of the whole world.

REFERENCES AND FURTHER RECOMMENDED READINGS

Embree, Ainslie T. (ed.) (1966) The Hindu Tradition: Readings in Oriental Thought. New York: Random House Inc.

Joshi, K. L. (ed.) (2000) Atharvaveda Samhita. Delhi: Parimal Publications.

Mani, Lata (1998) Contentious Traditions: The Debate on Sati in Colonial India. Berkeley: University of California Press.

Hawley, John Stratton (ed.) (1994) Sati: The Blessing and the Curse: The Burning of Wives in India. New York: Oxford University Press.

O’Flaherty, Wendy Doniger (ed.) (1981) The Rig Veda. London: Penguin Group.

Sutton, Nicholas (2000) Religious Doctrines in the Mahabharata. Delhi: Motilal Banarsidass.

Related research topics

Rammohun Roy

sati stones

Rajasthan

Roop Kanwar

Mughals

British colonialism

Related websites

http://muslimsonline.com/babri/sati.htm

http://www.geocities.com/~abdulwahid/hinduism/hindu_women.html

http://www.vivaaha.org/sati.htm

http://hinduwebsite.com/hinduism/h_suicide.htm

http://www.hinduismtoday.com/archives/1987/12/1987-12-04.shtml

http://www.sikhnet.com/sikhnet/discussion.nsf/By+Topic/6F93C74D4C983F838725664D00776C63!OpenDocument

http://students.vassar.edu/~reli350/trover/sati.html

Article written by Brooke Brassard (April 2006) who is solely responsible for its contents.

Sati

Sati is an ancient ritual that is now outlawed throughout India and the East. Sati, or suttee as the British call it, is the act of a widow cremating herself on her husbands burning funeral pyre (see Embree 98). Sati is a Sanskrit word that has many meanings, one of them meaning goddess. Therefore, when a women would perform this rite, the word sati could mean either the ritual itself, or what the woman would become (a goddess) through performing the ritual (Hawley 30). Western thinking found this ritual appalling, which type of thinking is what led to the passing of the Sati Abolition Law in 1829. Since that time there have still been a few instances of widows performing sati, and by some Hindus today it is still revered as an honorable act (Narasimhan 71). During the time period when sati was allowed, there were many reasons why a widow chose it over a solitary life. There are also many reasons why it was outlawed, and cases of sati being performed since then.

Hindus have many rituals, and are particularly detailed in the way in which the rituals are performed. One account of how the ritual of sati is performed started with the men, usually Brahmins and male relatives, preparing the pyre. Women then washed the widow’s feet, and the Priests would explain to her what to do. She would lay down alongside her husband, with “her right hand under his neck, his right arm over hers, and his right leg over her” and the male relatives would then start the fire (Leslie 179). Throughout this, the women would continue wearing bangles, or jewelry of some sort. The wearing of such things shows that one is married, and in this case is a symbol of the women’s continuing state of marriage (Hawley 35).

There are cases in which women did not voluntarily perform sati, but this was uncommon. There are other uncommon cases in which a woman would want to perform sati, but be persuaded not to by friends and family. In another account, a Queen attempts to explain to her grieving son, why it is that she is performing sati, while trying to convince him to let her do it: “Daughter, spouse, mother of heroes, how otherwise could such a woman as I, whose price was valour, act?… Thus every limb has fulfilled its mission I have spent my store of good works, what more should I look to… I cannot endure… to make unavailing lamentations for a burnt husband. Going before, like the dust of your father’s feet, to announce his coming to the heavens, I shall be high-esteemed of the hero-loving spouses of the gods. Therefore dishonour me no more . . . with opposition to my hearts desire” (Embree 99-100).

The ritual of sati stemmed from the negative attitudes towards being a widow. The idea of sati is not a monolithic one, and many books of scripture have different ideas on it. Some ancient scriptures, however, do promote sati due to the negativity of becoming a widow. One such scripture is, The Laws of Manu, which is an ancient book of Hindu scripture that dictates how individuals should act. In this book of scripture it is taught that widows cannot speak the name of another man. If a widow remarries she is disgracing herself and her Lord (Wilkins 211). Hindu widows wore white saris, little or no jewelry and removed the red spot on their forehead that had been worn since marriage (Ganeri 7). There are customs by which every Hindu lives that are written in such books of scripture as The Laws of Manu. Some customs by which widows had to live by were, only eating one meal per day, and two days a month going completely without food (Wilkins 211). Even in the year 1987, over one hundred years since the abolition of sati, one Hindu woman stated that it was better to die than to be a widow. She said that widows are not permitted to wear nice clothes or eat good food and must stay inside for the rest of their life (Narasimhan 28). Pativrata is a Sanskrit term for the ideal woman and encompasses the thought that “if her [the pativrata] husband . . . is dead, she should also die” (Narasimhan 29). Although there are many negative factors to widowhood, performing sati gives you a positive way in which to deal with becoming a widow. A women who performs sati is not only honored and respected, but is thought to dwell in heaven for thirty-five million years [This number comes from the fact that she should reside in heaven for as many years as she has hairs on her head, which is thought to be 35, 000, 000 (Wilkins, 1887)] (Wilkins 223). When one performs sati, she becomes a goddess and may thereafter be worshipped as one, by having shrines or temples built in her honor (Hawley 34-36).

During the Reform Period in India, Ram Mohon Roy was a very influential man, and son of a wealthy Bengali Brahmin family. He lived from 1772-1833, during which time the British were heavily influencing Indian culture, education and society. Ram Mohon Roy was the founder of a famous society called the Brahmo Samaj (The Encyclopedia of Religion 479). Throughout Ram Mohon Roy’s lifetime he rejected many traditional Hindu beliefs. “He was the first Indian to publicly denounce [sati]” (Narasimhan 102). His ideas of widow remarriage and forbiddance of sati were highly influential in its future abolition. Many European travelers also witnessed sati and believed that it was inhumane (Embree 98). In 1829, Lord William Cavendish Bentick passed the Sati Abolition Law of 1829 prohibiting this ritual [This act was also called the Bengal Regulation XVII of 1829.]. Despite this law, there were still occurrences of sati, leading to the Sati Prohibition Act of 1987 (Narasimhan 53).

There are still some modern cases of sati, such as the highly publicized case of Roop Kanwar in 1987. Kanwar was a young Hindi woman, eighteen years old, and had only been married for 8 months. Shortly following her husbands death, she decided to perform this self-immolation ritual (Hawley 103). Throughout the world many groups, societies and individuals strongly opposed this action. In contrast, many Hindus respected and revered her. Soon after she performed sati, a widely distributed newspaper wrote and editorial on the death of Roop Kanwar, giving their approval and respect for what she did [This newspaper is called the Jansatta and is highly read and distributed throughout North India. This act became heavily debated leading to many articles, essays and books on the Roop Kanwar case.]. It states: “Roop Kanwar did not become a Sati because someone threatened her… [S]he purposely followed the tradition of [sati] which is found in the Rajput families of Rajasthan . . . It is quite natural that her self-sacrifice should become the centre of reverence and worship”(Hawley 105). Many individuals still cling to ancient thoughts and traditions and greatly revere the women who choose a different path than widowhood, the still commonly respected way of a Sati.

REFERENCES AND FURTHER RECOMMENDED READING

Nelson, Lance E. (1998) Purifying the earthly Body of God: Religion and Ecology in Hindu India. Albany: State University of New York Press.

Ganeri, Anita (1998) Journey’s End: Death and Mourning. New York: Peter Bedrick Books.

Rodrigues, Hillary (2005) Hinduism – the eBook. Journal of Buddhist Ethics Online Books Ltd.

Leslie, Julia (1991) Roles and Rituals for Hindu Women. Cranbury: Associated University Presses.

Mani, Lata (1998) Contentious Traditions. London: University of California Press Ltd.

Wilkins, W.J. (1887) Modern Hinduism. Delhi: B. R. Publishing Corporation.

Narasimhan, Sakuntala (1990) Sati, Widow Burning in India. New York: Penguin Books India, Ltd.

Embree, Ainslie T. (1972) The Hindu Tradition, Readings in Oriental Thought. New York: Random House Inc.

Hawley, John Stratton (1994) Sati, The Blessing and the Curse: The Burning of Wives in India. New York: Oxford University Press.

Eliade, Mircea (1986) “Roy, Ram Mohan.” The Encyclopedia of Religion. New York: Collier Macmillan Canada, Inc. V. 12, p.479.

Related Topics for Further Investigation

Sruti

Smrti

Parvati

Ramayana

Dharma

Karma

Sati

Ram Mohan Roy

The Laws of Manu

Noteworthy Websites Related to the Topic

http://www.kamat.com

http://muslimonline.com

www.hinduismtoday.com

www.sati.org

http://en.wikipedia.org/wiki/Sati

Written by Crystal Haitsma (Spring 2006), who is solely responsible for its content.

Hindu Vratas

All kinds of vows of fasting and asceticism are practiced on the occasion of diverse religious festivals celebrated during the course of the year. These vows can be performed on the occasion of the Hindu rites, which are related to specific stages in life; such as birth, name-giving, first eating of solid food, puberty, the beginning of Vedic studies, marriage, and cremation. Among these, vratas are incredibly a striking part of the Hindu religion. Even today, millions of Hindus abide by the rituals and implement all kinds of vratas.

In Hinduism, the term vrata has been widely known since the early Vedic Period. In the Rgveda, one of the oldest classical texts in Hinduism, the word vrata occurs just over two hundred times alone or in combination with other words (Kane 5). This implies that the term itself, effectively, is at least three thousand years old. Furthermore, the word vrata is also referred to in other respected groups of texts such as the Samhitas, Brahmanas, Upanisads and Sutras (Pearson 44). The term vrata has been mentioned in various literatures for several centuries until today, however, many still do not understand the true implication of vrata; even scholars today often debate on the authentic meanings of this word.

Vrata is viewed uniquely by the distinct castes and regions in the diverse parts of India. Pearson explains that “…the concept of vrata in the Rgveda is closely connected with the larger metaphysical concept of the cosmic order, righteousness in the Hindu tradition, and with the governed and governing activity of the gods” (Pearson 45). Vratas throughout the Hindu tradition is contemplated as part of dharma (righteousness) for each individual, placing each of the gods to their highest level. Moreover, Pearson defines vrata as a rite that is performed on a regular basis to achieve particular objectives, following respective rules that have been transmitted from one generation to the next (Pearson 45). Vratas have been an important feature of Hindu religious life for a long while; however, the beliefs and practicing of vratas is often associated generally more often with Hindu women. In Sanskrit, more universally, vrata denotes a “religious vow”. Vrata signifies a set of rules and discipline stemming from the verbal root ‘vrn’ which literally means ‘to choose’. These vows are said to be imperative ritualistic obligations serving on the sacrificer for several reasons.

Many may wonder the purpose of performing vratas. The rationales behind and the kinds of vratas vary depending on the precise caste system or region in India to which one belongs to. Pearson in her study, “Because It Gives Me Peace of Mind,” states: “Some Vratas seem to be related to individual status and primary roles—so that one god’s Vrata may be quite different from another’s, or the Vrata of a male cowherd different from that of a female teacher.” For instance, Navarata (nine nights) vratas may be common in North India, while Nagpancami vratas may be common in South India [Navaratri literally means ‘nine nights’, this vrata is observed in most parts of India from the first till the ninth day of Ashvin (Brown 230). It commemorates the victory of Durga over a demon. It is also known as Rama Navami, it is popular in northern India. Nagpancami is an old festival common in South India celebrated for the purpose of appeasing snakes (Pearson 291)]. Nevertheless, some vratas do have common purposes. In general, vratas found throughout India are optional ritual observances. Placing the respective deity to its supreme degree, vratas would commonly involve certain rituals such as fasting (upavasas), worship (puja), the recital of narratives (kathas), and the giving of gifts such as money, food items and clothing to specified recipients (Pearson 229).

In Northern India, vratas are closely associated to bhakti devotional rituals and comprise a crucial element of many devotional practices (Wadley 147). Wadley further explains that most vratas are also performed to gain moksa (liberation from the cycle of life and death), to recuperate life, to alleviate past karmas, and above all, most prominently and commonly to please the different gods and goddesses (Wadley 148). It is believed by many individuals in India that vratas aim for the improvement of life which may alter destiny, or help maintain rta (the cosmic order). This betterment, nevertheless, requires the abolition of previous sins that have led to current difficulties. Moreover, through observing vratas, one could also expect to gain bhukti (objects of enjoyment), mukti (liberation from life and birth), and the destruction of sins (Mishra 61). The basic aim of a vrata, more often than not, is to influence some deity to come to one’s support as one traverses the ocean of existence (Wadley 149). One’s faith and devotion signals to the deity the sincerity allied with the vrata. It is then commonly assumed by these loving devotees that the respective deity will reward their faith and service with some kind of boon (reward).

Vratas are also undertaken to venerate the birth of a deity; for example, Janmastami (the birth of Lord Krsna), which is held yearly. Furthermore, vratas may also be performed on a certain day of the week for the deity associated with that day which may serve a specific purpose. In India some of the most common such vratas include: Monday Vratas sacred to Lord Siva and Friday’s Santosi Ma Vrata conducted for making wishes come true (Brown 252). In Hinduism, the days of the week are ruled by the planetary deities and are also indirectly related to the main deities of Hinduism (Walters 47). Fellow devotees may choose to fast, or also abstain from certain substances like fish, meat, or even onion and garlic on the day dedicated to the deity they are addressing with their vow. For example, Somavara (Monday) is dedicated to Candra (the moon) and to Lord Siva. Fasting on Monday is directed to all general spiritual purposes. On this day, when one performs vrata, the Somavara Vrata Katha is also heard or narrated. As part of the ritual, milk and honey may be poured to the linga (embodiment of Siva). Also meat, onion, and garlic are avoided for consumption on this day (Subramuniyaswami 111).

The rituals and traditions of devotion diverge from vrata to vrata, but most commonly, rites also differ based on the respective deity. For instance, Swarna-Gauri-Vrata is dedicated to Ma Gauri, another name for Parvati Devi. Similarly, the Vara Siddhi Vinayak Vrata is for Lord Ganesha and the Satya NarayanaVrata is for the appraisement of Lord Vishnu. Like these, there are numerous vratas exceptionally frequent throughout India.

For Hindus, particularly women, performing vratas is quite essential. From an early age, Hindu girls learn about the procedures, principles, and meanings of Vratas through observation of elder, experienced female relatives and gradual participation in the rites. They are taught that it is their duty and special ability as women to promote auspiciousness and well-being in the family (Kalakdina 22). The performance of vratas is an important part of this process because it involves bringing together special time, place and items considered favorable for keeping an environment charged with auspiciousness (Pearson 1993:233).

Although women are the predominant ones to perform vratas, male participation should not be underestimated. Hindus believe that anyone who has faith in a vrata and wishes to perform it as per the rules can keep the vrata. During the Vedic period, sacrifices were strictly restricted to men of the three upper castes, known as the dvijas (twice born) (Timothy, 570). As the generations passed by, the doors of the vratas were thrown open to one and all, thus bringing this aspect of ritualistic Hinduism to the lower castes and women (Timothy 571). Amazingly, women have become the leading ones performing these vratas today.

As mentioned earlier, the rituals of each vrata differ depending on the occasion. It is highly believed that these vratas do work; within the limit of their powers, deities are able to reward their devotees. Each vrata serves its own ideal purpose. Some vratas are performed to gain eternal happiness while others promise sons, good health, wealth or even the well being of a specific loved one (Robinson 182). For example, Karva Chautha is a significant vrata kept by many North Indian women to ensure the well being, prosperity, and longevity of their husbands. Karva Chautha provides the opportunity for all married women to get close to their in-laws. Possessing tremendous social and cultural importance, this festival is celebrated by keeping a fast, applying henna, and exchanging gifts. This vrata is categorized as a nirjala vrata, which literally means “without water.” During the day, customarily, women from the family gather to carry out a special puja (worship) and an elderly woman, usually the mother-in-law, narrates the legend of Karva Chautha (vrata katha) .Women break their fast only after sighting the moon in the evening and after offerings of water are made to it. They then drink water, indicating the end of the Vrata (Sharma and Young 22).

Distinct rituals like pujas and kathas are exceptionally essential constituents of these extraordinary vratas. Wadley explains “Khatas [i.e. kathas] are manuals detailing ritual rules and associated myths” (Wadley 1983:150). Some very popular vrata kathas are the Satyanarayan Katha, which contains the rituals of the monthly vrata and myths of the Lord Satyanarayan. Similarly, the Sukravar Vrata Katha contains the rules and katha for the performance of a vrata in honor of the goddess Santosi Ma, the Contented Mother (Narayan 17). Unlike most vrata kathas, the Santosi Ma vrata katha is only read by the worshippers themselves; priests are not involved in the worship of Santosi Ma. Vrata kathas like the Satyanarayan Vrata Katha, on the other hand, can be read by Brahmin priests or the worshippers themselves (Narayan 17). Principally, vratas tend to be incomplete without kathas and pujas.

While performing vratas, one must abide by several rules. However, as generations have passed, these rules have loosened considerably and thus embraced larger segments of contemporary society. Some rules, nevertheless, need to be adhered particularly carefully in order to protect the holiness of the ritual system itself. Primarily and most perceptibly, during the period of the observance of a vrata, one should keep clean and pure, observe celibacy, speak the truth, practice forbearance, avoid non-vegetarian food, and scrupulously perform all the rituals connected with the vrata (Subramuniyaswami 156). A vrata should never be left unfinished, nor should a new one be started before completing the old one. Fortunately enough, it is believed that if one is sick or too old, a close relative may perform the vrata on the other’s behalf. Finally, vratas are typically done at specific auspicious timings, places, and in modes laid out by astrological findings (Subramuniyaswami 156).

As the generations have passed there has been a significant decrease in the amount of Hindus that perform this auspicious ritual, nevertheless, the value of vratas has tremendously increased over the past years. As mentioned earlier, to women in particular, performing vratas has become a vital part of life. Vratas have become a daily routine and highly essential ritualistic observance for many Hindus throughout the world. Though in the past vratas were quite essential and many Hindus abided by it each day, many Hindus, with the guidance of elders, continue performing vratas even today.

REFERENCES AND FURTHER RECOMMENDED READING

Brown, Mackenzie C. The Song of the Goddess. Albany: State University of New York
       Press.

Gopalan, Gopalan V. “Vrat: Ceremonial Vows of Women in Gujrat, India.” Asian    
       Folklore Studies 37 no 1. 1978. Terre Haute: Indiana State University. 
       http://0-63.136.1.23.darius.uleth.ca/pls/eli/ashow?aid=ATLA0001435339

Kalakdina, Margaret (1975) “The Upbringing of a Girl.” In Indian Women: Report on
       the Status of Women in India, ed. Devaki Jain. New Delhi: Ministry of Information
       and Broadcasting. 

Kane, P.V. (1974) History of Dharmasastr. 5 vols. 2nd ed. Poona: Bhandarkar Oriendtal
       Research Institute. 

Leslie, Julia I. (1989) The Perfect Wife. Delhi: Oxford University Press.

Lubin, Timothy “Vrata Devine and Human in the early Veda.” Journal of the American
       Oriental Society 121 no 4. 2001. Washington: Lee University.
       http://search.epnet.com/login.aspx?direct=true&db=aph&an=6260350

Narayan, Kirin Mondays on the Dark Night of the Moon. US: Oxford University Press

Pearson, Anne “Aspects of Hindu Women’s Vrat Tradition as Constitutive for an Eco-
       Spirituality.” Journal of Dharma. 18. (1993): 228-236

Pearson, Anne (1996) Because it gives me peace of mind: ritual fasts in the religious lives
       of hindu women. Albany: State University of New York Press.

Robinson, Sandra P. “Hindu paradigms of women: images and values.” Women, religion
       and social change 1985: 181-215. Albany, NY:  State University of New York Pr.

Rodrigues, Hillary (1999) “Because it gives me peace of mind: ritual fasts in the
       Religious lives of hindu women.” Review in Studies in Religion/Sciences religieuses
       28 no 2. 240-241

Sharma A., and Young Katherine K (eds.) (2003) Her Voice Her Faith: Women Speak on
       World Religion. Colorado: Westview Press.

Subramuniyaswami, Satguru Sivaya Living with Siva: Hinduism’s Contemporary
       Culture. India, USA: Himalayan Academy.

Wadley, Susan S. “Vrats: Transformers of Destiny.” Karma, an Anthropological Inquiry.
       Berkeley, Calif. Los Angeles: University of California Press, 1983. 147-162. 

Walters, Donald J. The Hindu Way of Awakening: Its Revelation Its Symbols. USA:
       Crystal Clanty Publishers.


Related Topics for Further Investigation

Navaratri Vrata
Sivaratari Vrata
Ekadashi Vrata
Karva Chautha Vrata
Nagpanchami Vrata
Agni 
Dharma
Karma
Rta
Santosi Ma
Durga Ma
Somvara Vrata
Dipavali 
Rama Navami 
Vrata Kathas
Sukravar Vrata
Swarna-Gauri-Vrata
Vara Siddhi Vinayak Vrata
Satya NarayanaVrata
Janmastami


Noteworthy Websites Related to the Topic

http://www.brihaspati.net/vratas.htm

http://www.geocities.com/Athens/2583/fesinf_f.html

http://members.tripod.com/~esh/fesinf_f.html

http://www.svbf.org/sringeri/journal/vol1no4/festivals.pdf

http://www.integraldesign.abk-stuttgart.de/wildenstein/lectures/BW_2002/pdf/Vrata.PDF

http://www.sacred-texts.com/hin/db/bk09ch08.htm

http://en.wikipedia.org/wiki/MahaLakshmi_vratha

http://en.wikipedia.org/wiki/Ganesh_Chaturthi

http://en.wikipedia.org/wiki/Rama_Navami

Article written by Anju Punjabi (April 2006), who is solely responsible for its content.

The Six-Fold Policy of the Arthasastra

History and Background

Authored by Kautilya in 300 BCE the Arthasastra was written as a “science of politics” (Boesche 9-10). As the key advisor to the Indian king Chandragupta, Kautilya offered the Arthasastra as discussions on war and diplomacy. Kautilya’s desire was for his king to conquer the world, through teachings of “how to defeat his enemies and rule on behalf of the general good” (ibid. 10-11). As opposed to the idealism of Plato, Kautilya’s Arthasastra is typically classified as a book on political realism. It does not offer how the world should or ought to work, but rather how the world does work and the measures that a king must sometimes take to maintain common good and the state (ibid. 13-14).

Kautilyan Foreign Policy

Kautilyan foreign policy offers the theory that “an immediate neighbouring state is an enemy and a neighbour’s neighbour, separated from oneself by the intervening enemy, is a friend” (Rangarajan 542). The conqueror would thus affect the line of allies and enemies, as well as the differing types of allies and enemies a conquering king has. Kautilya describes a Circle of States like a wheel with the conqueror at the hub. His allies are pulled towards him along the spikes although they may be parted by enemy territory (ibid. 561). When appropriate, the conquering king shall apply the six methods of foreign policy, regularly known as the six-fold policy, to the various components of his Circle of States. These methods work interdependently and bind others to the conqueror so he may do as he pleases with them when necessary.

Six-Fold Policy

Different teachers believe different policies. For example, Vatavyadhi taught that there were only two approaches to foreign policy: make peace or wage war. Kautilya however believes that there are spin-offs of these, thus providing six methods of foreign policy. These are making peace, waging war, staying quiet, preparing for war, seeking support, and the dual policy of making peace with one while waging war against another (Rangarajan 563). One’s circumstances will dictate which methods should be used.

To make peace, one must enter into an agreement, such as a treaty, with specific conditions. Treaties can have specific conditions, or will not have any obligations. Treaties without conditions are mainly used for gaining information on the enemy, so the king may strike after learning of the antagonists’ weak points (ibid. 581). Treaties with commitments allow a “wise king to make a neighbouring king fight another neighbour to prevent them from uniting and attacking him” (ibid. 582). The only time a king will make peace is when he finds himself in relative decline compared to his enemy (ibid. 563).

When a king is in a superior position compared to his enemy, he will attack and wage war (ibid. 568). There are three types of war as part of this second method of foreign policy. There is open war which has a specified time and place; secret war that is sudden, terrorizing, threatening from one side and attacking from another, etc.; and undeclared war which uses secret agents, religion or superstition, and women as weapons against the enemies (Rangarajan 568-569; Boesche 10). Kautilya approved weapons-of-war that tricked unsuspecting kings and fought in unconventional ways. The use of secret agents to befriend and then kill enemy leaders, “religion and superstition to bolster his troops and demoralize enemy soldiers” (Boesche 10), and women who seduced the enemy as means of war (ibid.) were all examples of they way Kautilya believed one should wage an undeclared war.

By neither making peace nor waging war, one acts indifferently to a situation and stays quiet. If a king feels that his enemy and he are equal and neither can harm the other nor ruin the other’s undertakings, then he shall choose to do nothing (Rangarajan 563-565).

When a king increases his own power and has special advantage over his enemy, he will take part in the forth approach of Kautilyan foreign policy by making preparations for war (ibid. 563). While preparing for war, the king must ensure that the enemies’ undertakings will be destroyed while his own will come to no harm (ibid. 565).

In contrast to preparing for war, a king may require the help of another to protect his own undertakings. This idea of building an alliance is Kautilya’s fifth method of foreign policy. A king seeking an alliance must ensure that he finds a king more powerful than the neighbouring enemy. Sometimes it is not possible to find a stronger king than the enemy; in this case one should make peace with the enemy (ibid. 573).

Lastly, having a dual policy of befriending one through peace and promoting one’s own undertakings, whilst ruining another’s mission by waging war against them is the sixth method (ibid. 563-565). Under this method the conqueror may have supplies and reinforcements provided from allies, prevent an attack from the rear where the Circle of States warns us there is an enemy as a neighbour, and have twice as many troops as the other. After discussing waging a war with allies and agreeing on terms a treaty is concluded. However, if the allies do not accept the obligations they are considered and treated as hostile (ibid. 575).


REFERENCES

Boesche, R. (2003) “Kautilya’s Arthasastra on War and Diplomacy in Ancient India.” Journal of Military History, 67, 1, 9-37.

Rangarajan, L.N. (1992) The Arthashastra: Edited, Rearranged, Translated and Introduced. New Delhi, India: Penguin Books India Ltd.

Further Readings

Jatava, D.R. (2003) Riddles of Indian Politics. Jaipur, India: ABD Publishers.

Kangle, R.P. (ed. and trans.) (1960-61) Kautilya’s Arthashastra. Bombay: University of Bombay.

Sharma, P. (1975) “Kautilya and modern thought.” Proceedings of the First International Sanskrit Conference, 2.2, 247-252.

Rangarajan, L.N. (1992) The Arthashastra: Edited, Rearranged, Translated and Introduced. New Delhi, India: Penguin Books India Ltd.

Roberts, James Deotis (1965-66) “Religious and political realism in Kautilya’s Arthashastra.” Journal of Religious Thought, 22.2, 153-166.

Related Research Topics

Kautilyan State and Society

King Chandragupta

Different Books/ Parts of the Arthasastra ( e.g. Law and Justice, Sources of Revenue, Departments of the Government, Defence and War, etc.)

Notable Websites

http://www.swaveda.com/elibrary.php?id=89&action=show&type=etext&PHPSESSID=76860abbd304db649f15371d328d

http://www.hinduism.co.za/newpage115.htm

http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_1/arthashastra.html

Written by Janelle Tibbatts (Spring 2006), who is solely responsible for its content.

The Kamasutra

The full details of the composition of the Hindu literary text, Kamasutra, is not fully known but is estimated to have been composed around the first century B.C.E. (Peterson 135). It was composed by Vatsyayana in northern India and written in the ancient Indian literary language, Sanskrit. There is very little on the background of Vatsyayana but it is believed that he was a Hindu religious man who was a part of the upper classes (Peterson 135). Vatsyayana had taken pieces of earlier works from the Kamasastra [Tradition of works and literature on erotics, love and pleasure (science of love)] to put together what the western world terms the “paradigmatic textbook for sex” (Doniger 2003:18). Vatsyayana directs the reader’s attention towards the promotion of the greater whole. “He made this work in chastity and in the highest meditation, for the sake of worldly life, he did not compose it for the sake of passion” (Kakar 7.2.57). Since works from the Kamasastra were not easily accessible, Vatsyayana wanted to summarize these works into one. The Kamasutra is the aphoristic summary of the Kamasastra and since sutras precede the sastras in Indian history, it is given more religious authority than the Kamasastra (Doniger 2001:82). Hence the name sutra, which literally means a “thread of thoughts and pages” are put together in such a way to form a “string” of meaning (Doniger 2001:82). Another example of this type of literary composition consists of the literature on dharma, The Laws of Manu which is part of the Dharmasastras [Hindu legal treatises on moral, ethical and social laws. To get a further understanding on the Dharma Sastra texts in comparison to the Kamasutra, see Rocher (1985)].

The Kamasutra was first translated into English by Sir Richard Francis Burton in 1893 and the majority of the English world is familiar with the text through this translation. Many other translations have been composed over the past century by such people as Indra Sinha in 1980, and most recently by Wendy Doniger in 2002. People of today have a misconception of what the Kamasutra truly delivers in terms of its contents. Many consider it a text that is about sexual positions, or a guide to make one skilful with love making. The Kamasutra does help in this area of romance, but that is only a portion of what it has to offer to those who read it. This Hindu text covers all areas in the art of loving, from finding a partner, maintaining a marriage, committing adultery, living with courtesans, the use of drugs, and of course, positions of sexual intercourse (Doniger 2002:126). Other authors after Vatsyayana composed similar texts to that of his Kamasutra. During the 11th century a man named Koka Pandit composed the Rati Rahasya [Koka Pandit physically engaged in the arts of love, and therefore was able to give a more extensive study with his personal endeavours in the Rati Rahasya] based on Vatsyayana’s Kamasutra. Then a few centuries after, another man named Kalyanmalla in the 15th century composed the Ananga Ranga [Kalyanmalla had written the Ananga Ranga originally for the benefit of his own master, Lad Khan, who was a Muslim nobleman] which is based off the other two texts (Thomas 75). All three of these texts are highly regarded for its contents on love and its pursuit in life.

Within Hindu society and tradition, the Kamasutra is generally read by males who are a part of the twice-born (dvija) class in their second stage of life, that of the householder (grhasta), which is initiated with marriage (vivaha). Within this stage of life, the male must pursue and fulfill the goals that are prescribed for the householder. These goals are dharma (religious duties, morality, social obligation—the spiritual), artha (skill, attainment of wealth—political and economic welfare), and kama (desire/attachment—love and pleasure). These are what are known as the trivarga, and Vatsyayana generates a form of hierarchy with these three aspects of the trivarga (Rocher 521-522). Unlike kama, the texts that are associated with artha and dharma to fully understand and obtain the meanings of each, are laid out in the Dharmasastra and the Arthasastra [This text was written by Kautilya with its focus upon pursuing the attainment of material success for householders. Traditionally it was intended to help aid a king in his role and guidance of ruling a kingdom. To get a further understanding on the Artha Sastra in comparison to the Dharma Sastra and Kamasutra, see Rocher (1985)]. Notice the difference between the three goals and the texts that are generally associated with it. The Kamasutra is not a sastra because Vatsyayana asserts that the actions of kama comes naturally, where dharma and artha must be developed and learned (Rocher 522). According to Sir Richard Burton’s translation of the Kamasutra, “[h]e should acquire learning in his childhood; in his youth and middle age he should attend to artha and kama; and in his old age he should perform dharma…” (5).

Throughout the householder’s stage of life, it is the goal of kama and artha that are the primary concerns and in order to prosper in society one must pursue these goals relentlessly. As a result, this stage is the most crucial aspect of the life of a householder; to be able to cultivate the art of love to have children and to obtain wealth and power to leave for the children after the completion of this stage (Ostor 110).

Originally, according to traditional lore, the Kamasutra contained thousands of chapters, and over time it was reduced down to what it is considered to be “thirty-six chapters, in sixty-four sections, in seven books, consisting of 1,250 sutras” (Kakar 1.1.4-23). The written work of the Kamasutra is not composed in such a way that it resembles a rule book, where each rule is numbered and one must follow from one step to the next. The text is written along the lines of a work of dramatic fiction and underneath all the sexual content and details of married life it appears to take on the characteristics of classical Indian drama (Doniger 2003: 20). The Kamasutra therefore consists of characters whose sex lives are used to demonstrate the appropriate behaviours to be undertaken by the householders. The man and woman whose lives are illustrated throughout the text are called the hero (nayaka), the heroine (nayika), and the men who assist the hero are termed the libertine (pitamarda), pander (vita) and clown (vidushaka) (Doniger 2001:88 and Doniger 2003:20). Like most classical Indian dramas as noted above, the Kamasutra is composed of seven acts. Each act depicts the different phases of the hero’s life. Act one is an introduction into the text giving a general idea of love and its involvement in the lives of men and women. Act two is an in-depth discussion on the beginnings of sexual techniques. Act three describes the process of acquiring a potential wife and engaging in marriage. Act four is the section in which the text describes the proper conduct of a wife and her roles in a marriage. Act five depicts how a male goes about seducing other women and other men’s wives. Act six is the exploration of various women, more specifically those who are courtesans. Finally, act seven is the exposition of the male exploring different aphrodisiacs and magic spells as a means of attracting others to himself.

Throughout the text, there are a total of sixty-four chapters [The Kamasutra is not entirely composed of prose but also includes several loka verses which are cited at the end of each chapter. These loka verses comprise about a tenth of the total text, see Kakar (2002)]. Within the Indian culture, sixty-four is considered to be a sacred number, somewhat of a natural number. Hence the sixty-four various sexual positions or arts, depicted in the text (Kakar xxiii). Vatsyayana believed that there are eight different ways of making love, and within those eight there are eight different positions totalling sixty-four forms of the art on love. The Kamasutra does not only prescribe how the male should act throughout the householder stage in search of kama, but it also prescribes duties and actions of how a female should act as well. These sixty-four forms of art in which the female is encouraged to perform include, singing, dancing, cutting leaves into shapes, arranging flowers, playing water sports, making costumes, the science of strategy (Kakar 1.3.15) and many more. Therefore, Vatsyayana suggested that women should at one point be encouraged to read the Kamasutra, “[a] woman should do this before she reaches the prime of her youth, and she should continue when she has been given away, if her husband wishes it” (Kakar 1.3.2).

In total, about one-fifth of the text is committed to the art of love making and sexual pleasure, while the rest is guidance for males and females in their relationships and relationships of that with others. It has helped those who are in the householder stage of life on their pursuit to fulfill the goal of kama. Vatsyayana gave a positive definition of kama in which,

“[p]leasure, in general, consists in engaging the ear, skin, eye, tongue, and nose each in its own approptriate sensation, all under the control of the mind and heart driven by the conscious self. Pleasure in its primary form, however, is a direct experience by the sensual pleasure of erotic arousal that results from the particular sensation of touch. A man learns about pleasure from the Kamasutra and from associating with the circle of men-about town” (Kakar 1.2.11-13).

Although today in Western society, people still consider the Kamasutra to be solely based on depictions of sexual endeavours; those who follow tradition will find that the Kamasutra is a text of useful insight and guidance on their pursuit of love and pleasure. In summation, the fundamental effect one might feel while reading and following the Kamasutra is an overall experience of sukha (happiness).

REFERENCES AND FURTHER RECOMMENDED READINGS

Burton, Sir Richard and F.F. Arbuthonot (1997) Kamasutra of Vatsyayana. Mumbai; Jaico Publishing House.

Doniger, Wendy (2001) “On Translating the Kamasutra: A Gurudakshina for Daniel H.H. Ingalls.” Journal of Indian Philosophy. 29 no. 1-2 April, p 81-94.

______ (2002) “On the Kamasutra.” Daedalus. Spring, vol. 131 Issue 2, p126-129.

______ (2003) “The Kamasutra: It Isn’t All About Sex.” Kenyon Review. Winter, vol. 25 Issue 1, p 18-36.

Kakar, Sudhir (2002) Kamasutra. New York: Oxford University Press.

Ostor, Akos (1992) Concepts of Person: Kinship, Caste, and Marriage in India. Delhi: Oxford University Press.

Peterson, Valerie (2002) “Text as Cultural Antagonist: The ‘Kama Sutra of Vatsyayana’.” Journal of Communication Inquiry. April vol. 26, Issue2, p 133-154.

Rocher, Ludo (1985) “The Kamasutra: Vatsyayana’s Attitude towards Dharma and Dharmasastra.” Journal of the American Oriental Society; Jul.-Sept., vol. 105, no. 3, p 521- 529.

Thomas, P. (1956) Kama Kalpa: The Hindu Ritual of Love. Bombay; D. B. Taraporevala Sons & Co. Private Ltd.

Related Topics for Further Investigation

Kama Sastra

Dharma Sastra

The Laws of Manu

Kautilya

Artha Sastra

dharma

artha

trivarga

Rati Rahasya

Koka Pandit

Ananga Ranga

Kalyanmalla

dvija

Grhasta

vivaha

shloka

Courtesans (Act Six)

Aphrodisiacs and drugs (Act Seven)

64 arts

Women in the Kamasutra

Noteworthy Websites Related to the Topic

http://en.wikipedia.org/wiki/Kama_Sutra

http://www.swaveda.com/

http://en.wikisource.org/wiki/Kama_Sutra

http://www.kamashastra.com/

http://www.kamat.com/kalranga/erotica/kamasutra/index.htm

http://www.spaceandmotion.com/kamasutra.htm

http://www.tantraattahoe.com/kama-sutra/indian-kama-sutra.htm

Article written by Alicia Penny (March 2006) who is solely responsible for its content.