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This wisdom, the wisdom of right thinking and right living, is preserved in the Jataka stories the Jataka tales, on which the present title is based, is a collection of 550 stories included in the pali canon. These are based on folklore, legends and ballads of ancient India. We cannot assign definite date to the Jataka stories. Taking into account archaeological and literary evidence, it seems likely that they were compiled in the period between 3rd century BC and 5t century AD. The Jataka tales provide invaluable information about ancient India civilization, culture and philosophy.
Atithideva bhava, or “may your guest be a god to you”, is an essential value mentioned in one of the Upanishads. The three stories in this book bear testimony to the extent of importance placed on hospitality as one’s primary dharma or duty.
‘The Golden Mangoose’ tells a story of ultimate sacrifice, where a Brahmin family risks starvation and death to fulfill the hunger of a guest. ‘The Enlightened Butcher’ speaks of duty and virtue, and the inseparable link between the two in one’s quest for truth. ‘The Pigeon’s Sacrifice’ is a simple story of hospitality as one’s foremost duty, beyond all else.
Our script is based on one of these legends.
Kalidasa is the author of several great Sanstrit poetic works (or Mahakavyas) and plays for which he is famous. Malavikagnimitram, Ritusamhara, Abhijnana-Shakuntalam, Meghaduta and Raghuvamsha are some of his most brillaian works. These reveal that Kalidasa was a lover of nature and his descriptions suggest that he traveled widely. His poetry has the freshness and beauty of a mountain stream. He portrays women with tenderness. He exhibits a special love for the town of Ujjayini in his writings and he probably knew it well.
Scholars have agreed that though all of kalidasa’s works are brilliant, his play Abhijanana-Shakuntalam must be rated as his greatest work. Today, Kalidasa is regarded as one of the immortals in the world of Literature, taking his place beside Shakespeare and Goethe.
This account of their life and times has been reconstructed form references, sometimes divergent, form Buddhist and Jain Literature. Both the sources claim the tow kings as adherents of their respective faiths.
The story of Sudama (a great devotee and childhood friend of Lord Krishna), which has retained its popularity with children down the ages, occurs in the some tenth book. The love of Krishna for Sudama forms the theme of many a devotional song and this story has been a source of sustenance of faith to the poor in the land. Sudama has understood the principle of non-attachment. He lives in dire poverty, and yet is happy. His wife too is content to do the same till some children are born to them.
How Sudama’s wife coaxes him to go and see Krishna, his prosperous and generous childhood friend, and what happens when Sudama does is retold in pictures in the following pages.
Rama was the eldest son of Dasharatha, the king of Ayadhya, who had three wives – Kausalya, Kaikeyi and Sumitra. Rama was the sone of Kausalya, Bharata of Kaikeyi and Laxman and Shatrughana of Sumitra. The four princes grew up to be braveand valiant. Rama won the hand of Sita, the daughter of King Janaka. Dasharatha wanted to crown Rama as the king but Kaikeyi objected. Using boons granted to her by Dasharatha earlier, she had Rama banished to the forest. Sita and Laxmana decided to follow Rama. While in the forest, a Rakshasi, Shoorpankha, accosted Laxmana but had her nose cut off by him. In revenge, her brother Ravana, king of Lanka, carried Sita away. Rama and Laxmana set out to look for her and with the help of an army of monkeys, they defeated Ravana.
When they returned to Ayothya after fourteen years in exile, Rama banished Sita on the suspicions of his subjects. She found refuge in the ashrama of sage Valmiki where she gave birth to twin sons, Luv and Kush.
This Amar Chitra Katha title is based on Uttara-Ramacharita of Bhavabhuti.
He wrote commentaries on the Brahmasutras, the Upanishads and the Bhagwad Gita. It was his view that these three philosophical texts proclaim bhakti as the chief means of realizing God.
In is life and teachings, Ramanuja upheld that all humans are born equal and that caste or social status has no role in determining one’s relationship with God. He accepted Kanchi Purna, who was not Brahmin, as his guru. One of his most worthy disciples, Dhanurdasa, was non-Brahmin form a lower caste. For Ramanuja, a Vaisnava (man of God) is worthy of respect; But be defined as true Vaishnava only one who has abundant love for God.
Krishna is often known as the ‘great lover’ in Indian mythology. Yet information of the women he had wooed, won and wed are surprisingly limited and is confined to his conquest of Rukmini.
This story encapsulates Krishna’s romantic marriage with Rukmini, who gives her heart to Krishna when she hears of his great deeds. Krishna’s whisking away of Rukmini under the very noses of his enemies is one of the most exciting parts of the tale.
Rumini is a perfect foil to Krishna in this idyllic tale. It is she who, though coy, makes the first move by confidently revealing her heart to her lover. She plans the details of their escape while demonstrating the high status of women in ancient India.
An ill-fated housewife, Kannagi loses her husband, Kovalan, to the art of a dancer, Madhavi, and finds him again only to lose him to the blind low of a king. Her story is set in the three ancient cities of South India – Poompuhhar, the Chola capital where she grew up; Madurai, the Pandya cpital where she fell; and Vanji, the Chera capital which placed her on a pedestal.
The epic is a rich record of a great civilization, vivid with descriptions of edifices, shrines, docks, market-places, squares; of laws and rituals, of Natya Shastra (the science of dance), musicology and musical instruments of the day. Known for its high dramatic content, Silappadikaaram is a shining jewel in Tamil literature.
Te Tamil Nadu Government has recently perpetuated the memory of Ilanga and his immortal classic by erecting at Kaveripattinam, a magnificent seven-storeyed art gallery called Silappadikaaram Kalaikoodam in ancient Dravidian architectural style. The structure narrates the story of Kannagi in stone carvings.
The path he advocated was the now well-known eight-fold path – right speech, right action, right means of livelihood to achieve control on the physical plane; right exertion, right-mindedness, right meditation to achieve mental strength; right resolution and right point of view for intellectual development. When these guidelines are adhered to, they bring about peace of mind. And this is borne out by the Buddhist tales that have come down to us over the year.
This Amar Chitra katha comprises of multiple stories. The first, ‘The Acrobat’, is about Ugrasena’s transformation from the royal treasurer’s son to an acrobat to a follower of Buddha. In the second story, ‘The Harvest’, Buddha teaches a farmer about the benefits of detachment. Buddha explains the ills of desire to the young Prince Kumara in the third story, ‘The Golden Maiden’. And finally, ‘Buddha and Krisha Gautami’ is one of the more famous stories, wherein Buddha teaches the distraught Gautami about the inevitability of death.
This wisdom, the wisdom of right thinking and right living, is preserved in the Jataka stories. The Jataka tales, on which this title is based, is a collection of 550 stories included in the Pali canon and are based on the ballads, legends and folklore of ancient India.
According to the Maha Ummagga Jataka, the Bodhisattva was once born as Aushadha Kumar who was endowed with celestial knowledge and superhuman powers. This issue of Amar Chitra Katha presents the second set of tales connected with Aushadha Kumar, and contain his adventures in the court of Mithila. The first set, ‘The Battle of Wits’, had stories form his childhood.
In the Puranas, the heaven over which Indra ruled is referred to as Indraloka or Devaloka and is inhabited by the devas, the secondary deities. His city is Amaravati; his elephant, the four-tusked Airavata; and his horse, Uchchaishravas.
Stories like the ones included in this collection, which depict India as a benign and noble deity, are rare. Most of the stories in the Puranas depict Indra as a deity jealous of mortals who performed tapas (austerities) or yajnas (fire sacrifices). This was because, according to Puranic lore, the Position of Indra could be attained by anyone who performed a hundred Ashwamedha Yajnas.
All the stories in this collection are based on the Mahabharata. The story of Shibi is similar to the one narrated in the Mahabharata about Ushinara, his father.
This wisdom, the wisdom of right thinking and right living, is preserved in the Jataka stories. The Jataka tales, on which the present title is based, is collection of 550 stories included in the Pali canon. These are based on folklore, legends and ballads of ancient india. We cannot assign a definite date to the Jataka stories. Taking into account archaeological and literary evidence, it seems likely that they were compiled in the period between 3rd century BC and 5th century AD. The Jataka tales provide invaluable information about ancient Indian civilization, culture and philosophy.
This volume of bird stories that deals with issues of friendship, greed and loyalty, will keep the children amused, while never failing to point out the ultimate triumph of good over evil.
In Vikramacharita, Bhoja discovers the throne of Vikramaditya, which is adorned by 32 statues. Each of these statues tells him a story. These statues are Apsaras (fairies) who are under a curse. Only when Bhoja has proved to them that he is as magnanimous, noble and generous as Vikramditya may he ascend the throne. He does and they are released from the curse.
But the Bhojaprabandha (narrative of Bhoja) by Ballala from which the following episodes have been retold is romantic tale, written in Sanskrit, partly in verse and partly in prose.
Balalla was interested not so much in history as in heroics. In his attempt to magnify Bhoja as a patron of art and letter, Ballala has ignored historical facts. The poets Kalidasa and Bana, who, he said adored Bhoja’s court, belonged to centuries much before Bhoja
Foreign invaders took advantage of India’s disunity. Some time in the 12th century. The Afghan Chief Shahabuddin Ghori (also known as Mohammad of Ghor) captured the empire of Mahmud of Ghazni and became the new ruler of Ghazni.
After taking Lahore, he started his incursions into India. He marched to Delhi, which was then ruled by the valiant Rajput king Prithviraj Chauhan, who defeated him in the battle of Tarain.
The following year Mohammad returned to India and again met the forces of the Rajput king on the same battlefield. This time the Muslim invader inflicted a crushing defeat on the Hindu army.
This second battle proved to be a turning point in India history. It put an end to the Hindu Empire in Northern India forever and established Muslim rule.
Prithviraj Chauhan was a famous king and warrior. He was noted for his valour and chivalry. Despite his defeat and death, his name has been immortalized and he had become the hero of many legends. The story of Pithviraj Chauhan as told in the following pages is based on these legends.
But he is perhaps the most popular as Krishna, the divine lover, playing his celestial flute on the moonlit banks of river Yamuna. And it is this form of Krishna that has come to us through the devotional lyrics of Mirabai.
There is no dearth of mystics in India. But among them Mirabai is unique. She was born a princess, and become a queen through marriage. Yet she chose to abide only in the kingdom of Krishna, unswerving in her immutable faith and devotion. Uncharitable relatives and doubting friends could not hinder her devotion. She had given herself to Krishna – she belonged to him completely.
The sweetness and passion of Mirabai’s songs in praise of Krishna made them popular all over the land. Even today, her lyrics remain a rich heritage of mystic poetry in India the story of Mira as narrated in this book is based on legend rather than on historical facts.
Thus, first they were born as Hiranyaksha and Hiranyakashipu, next as raven and Kumbhakaran and last as Shishupala and Datavaktra.
While the first two pairs were leading characters in their times, Shishupala remains a minor character in the Mahabharata and Dantavaktra, almost a nonentity.
Shishupala for all his show of valour remains a man of straw. In fact his only distinction was that he died at the hands of Krishna. He is also remembered as the jilted suitor of Rukmini.
Mahatma Gandhi needs no introduction, nor does the magnanimity of his personality. With the principles of ahimsa (non-violence) and satya (truth), the cornerstones of his ideals, ingrained in his consciousness from childhood Gandhiji’s life is a lesson in quiet determination, unfaltering faith and profound values.
In the legendary words of Mahatma Gandhi himself:
“…for me the road to salvation lies through incessant toil in the service of my country and therefore of humanity.”
“…I recognize no God except the God that is to be found in the hearts of the dumb millions.”
“…how con I talk of God to the millions who have to go without two meals a day? To them, God can only appear as bread and butter.”
“…I may live without air and water, but not without Him. You may pluck out my eyes, but that will not kill mi. you may chop off my nose, but that will not kill me. But blast my belief in God and I am dead.”
The Rama of his story did not tolerate anyone who showed disrespect to Shiva. Tulsidas worshipped not only at temples dedicated to Rama but also at Krishna temples. His works and teachings stressed the importance of the life of a householder and weaned people away from tantric cults.
Tusidas hailed from a poor family of Rajapur in Uttar Pradesh. He was orphaned soon after his birth and even his foster-mother died when he was barely seven years old. When he was married, he became deeply attached to he wife, Ratna. She was the only person he could call his own. One day, not finding her at home on his return, he became extremely restless and rushed to his father-in-law’s house in the dead of the night, braving heavy rains and storm. But Ratna rebuded him and said, “Had you loved Rama as intensely as you do this bundle of flesh and bones, you would have overcome all mortal fears.” This was the turning point in his life.
The story narrated in this book is mostly based on legends of Tulsidas.
Indian music had no system of notations and therefore there is no way of knowing how musicians performed in the past. Tansen is still a living influence today because of his original composition like Miyan Ki Malhar, Darbari Kanada, Miyan Ki Todi and Dhrupad, which are everlasting in their appeal and are enriched by Tansen’s typical genius.
The legends of Tansen’s ability to start a fire with his rendition of the raga Deepak or to bring down rains with Raga Megh Malhar may not bear scrutiny of science perhaps. But they certainly contain a seed of truth about the immense potentialities of music, it invoked by geniuses like Tansen.
It is ironical that Bheeshma, who declined to be a king, wielded royal power longer than any other king of that dynasty. He was the regent for his stepbrothers and for his nephews. Yet, all his was not of his choosing – he had to rule despite his renunciation until duryodhana came of age.
It was perhaps because he had guarded Dhritarashtra’s throne all his life that he sided with Duryodhana against the Pandava princes in the great Mahabharata war and remained loyal to his king. Bheeshma commanded the Kaurava army, and as a soldier and a leader, he was invincible.
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