The Bhagavad-Gita is significant as a scriptural form in that it contains the idea of revelation occurring through incarnation. God (Visnu) incarnates himself in the human form of Krishna, a prince and chariot driver, to teach people divine truth. (Symbolized by Arjuna, the warrior whose chariot Krishna drives) The story of The Bhagavad-Gita is start with Krishna joins Arjuna on the eve of battle between two related dynasties, the Pandavas and the Kauravas. Arjuna sees his own relatives on both opposing sides and is full of anxiety. Disguised as his charioteer, Krishna explains how one should follow one’s calling in life and for Arjuna this is as a warrior.
Bhagavad Gita: What Krishna told Arjuna Bhagavad Gita is one of the most important texts in Hinduism as in it, god speaks directly to man. Bhagavad Gita is said to have captured the importance of the Vedas. Gita is considered to be dated around 200 CE. The day Bhagavad Gita is narrated is celebrated as Ekadashi. When the armies of Kauravas and Pandavas stood facing each other at the battleground in Kurukshetra, suddenly a chariot drew away from the side of Pandavas.
What Anshuman A Mondal reads as reason being bound with desire in the novel can also be read as satwa being entwined with rajas in human life. Even Assistant Superintendent of Police Jyoti Das who shows a remarkably grand philosophical objectivity in his attitude to and association with the world and the life, ultimately succumbs to rajas when ‘terrified of the future, without a past, aware only of the prickings of his painfully virginal flesh’(The Circle of Reason 440) he becomes obsessed with Kulfi. Bhudeb Roy, another important character in the story, initially appears to be the epitome of rajasik guna. Balaram’s sattvik scrutiny revealed that Bhudeb Roy’s project of opening the school was not wholly spiritual; and that even his worship of Ma Saraswati was ‘not learning’, but ‘Vanity’( The Circle of Reason 33). Ironically enough, it is this same Bhudeb Roy, Balaram’s alter-ego, his doppelganger, who speaks out sattvik sentiment after the plane crash: “ A new time beckons.
In the main story of the Arabian Nights, Shahrazad believes that the power of her tales will be able to keep King Shahryar from killing her or any more innocent women. Storytelling for Shahrazad is life, it isn’t only life for her but for the King, the young women in the kingdom, and society. Shahrazad is the storyteller, she carries out message, information, and knowledge, in an enjoyable way for the King. Shahrazad tells stories that relates to her and the Kings situation. Shahrazad takes the position of not only the storyteller, but also of the educator in a sense.
Also, I was intrigued by the way the book does an excellent job in making its content relatable by incorporating true short stories told by the ancient Babylonians. By having these stories as examples it was exciting to see Arkad’s opinion. I also enjoyed the fact that the book was written and published in old English. I found the book inspirational because it discloses the secrets to being both wealthy and successful. This book holds the key to all you desire and everything you would wish to accomplish in life.
Shahrazad wanted to end this horrid cycle, so she devised a plan to tell the King a story every night, and she would leave the story off on a cliff hanger. This was effective because it ensured that if the King wanted to hear the rest of the story the next
Saoli Mitra uses the tradition of kathakata for both her plays – NathabatiAnathabatand Katha Amrita Saman.Kathakata is an indigenous folk form of story-telling in Bengal. In the Bengali translation of ‘Narrative Theatre’ written by Saoli Mitra, Saoli says that the idea of performing the play, NathabatiAnathabatin the folk tradition of Kathakata came naturally to her. It is quite interesting to hear from Saoli that she never saw Kathakata before 1983(NathabatiAnathabat’sfirst performance). Saoli defines the Kathak as a narrator, a story-teller in pre-modern Bengal who would narrate the major Hindu scriptural texts with verbal and musical embellishment. Such performers were mostly males paid to perform at annual rituals or family rites of passage.
KAIZAAD KOTWAL Born to Mahabanoo Mody Kotwal, Kaizaad Kotwal is an Indian veteran actor, producer, director, writer, and designer. He was born in Mumbai, Maharashtra, India around 1969. Kotwal’s passion for theater began when he was 18. Genuinely inspired by the feminist Kamla Ramchandani’s “The Witness,” Kotwal adapted the script and directed his first play for a theater competition in high school which received high critical acclaim. The success of this play has drawn him towards the strong feminist theme, whose emphasis can be seen in his later works.
ishna who has imparted the ancient ultimate spiritual knowledge through this scripture, Sage Vyasa who is the author who composed the verses for Bhagavad Geetha, Mahabhatratha, the longest and fantastic epic in the world in which Bhagavad Geetha forms a portion, an overall view of Bhagavad Geetha, some of the the Vedic and Upanishadic verses the essence of which are found in this scripture, the essential teachings of Bhagavad Geetha, a few of the oft repeated terms found in this Scripture and their multiple meanings, defense against the main criticisms leveled against this sacred scripture, the greatness of Bhagavad Geetha and the sayings of a few great men appreciating and marveling at the supreme
Girish Karnad, as Aparna Bhargava Dharwadker sets forth in her introduction to the first volume of his Collected Plays, belongs to the “formative generation” (vii) of Indian playwrights that collectively shaped the trajectory of modern Indian theatre, influenced heavily by the models of theatre available to them at the time, or lack thereof, alongside their experience of unprecedented political autonomy, idealism, and the decisive and vehement rejection of colonial theatrical practices. Following the independence of India in 1947, modern Indian theatre found itself struggling with the disjunction between the commercialism of the Parsi model of theatre, and the radical populism of the Indian People’s Theatre Association – both of which ultimately became unsatisfactory models for the development of urban drama. According to Dharwadker, this “sense of disconnection from the immediate past led…” playwrights to construct and sustain “radical connections with an older past as well as the postcolonial present in India.” (vii, “Introduction, Volume One”) The dominant presence of mythology, and the ancient and medieval past in Karnad’s drama is a result of both personal and cultural compulsions, and his ability to contend with “the timeless and the temporal together” is perhaps most evident in this juxtaposition of myth and history in his works, in the simultaneous embrace of the historical and the ahistorical, where the mythical-folklore plays evoke a “chronologically