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Imee Ooi - Mantras Of The Sanskrit

Youtube - Wed, 07/15/2009 - 22:00
Imee Ooi - Mantras Of The Sanskrit
Heart Sutra Aryalokiteshvara Bodhisattva gambhiram Prajna Paramita caryam caramano, vyavalokiti sma panca-skanda asatta sca svabhava sunyam pasyati sma. Iha ... From: luctieuthien Views: 172707 760 ratings Time: 09:36 More in People & Blogs
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Lakshmi, Elephants, and Royal Power

The rains have not let up for about 50 hours. Some freinds and I are about to paddle down to Shirdi on our midterm break to inaugurate a trip to a collection of temples and samadhi shrines (sacral tombs) of famous Indian Saints. The great anticipation for this excursion is largely informed by a recent Sanskrit class field trip to two temples outside of Pune, Lord Koppeshvara (a form of Shiva) in Khidrapur and Maha Lakshmi in Kholapur. Both of these temples are living monuments from the 11th century.

In order to appreciate these unique sites, we studied the Sanskrit inscriptions that adorn them the week before. These inscriptions offer a window into an world of royal power and poetic intrigue that expressed itself aesthetically through the dynamic language of Sanskrit. This new political and elite social sphere emerged in the third century A.D., and was later to encompass regions spanning from Pakistan all the way to Indonesia: The Sanskrit Cosmopolis (see Sheldon Pollock, my main source for this idea). Permeating South and South East Asia with a new way of celebrating Kingly power, and expressed largely through inscriptions (प्रशस्ति) and high poetry (काव्य), Sanskrit went from a language reserved only for Brahmanical ritual and other religious discourse (and grammar), to suddenly explode on the scene of public and political representation, and participate in a vast social and temporal space, unified by an innovative use of this "language of the Gods."

Both the Lakshmi temple and the Shiva temple we visited were constructed at the twilight of this broad historical process, a time that immediately gave way to an expanded use of the local vernacular languages (vernacularization) which in some ways followed in the footsteps of Sanskrit's triumphal march.

At Khidrapur, the Shiva Temple is nestled in a quiet river valley that is totally inconspicuous, and foregoing the small stream of local devotees, the activity of the temple is marginal.

One poetic verse of the inscription at this site, etched into a pillar on the side of the temple, is a perfect example of the political and poetic use of Sanskrit throughout the Cosmopolis --

रिपुभूमिपालभालस्थलनिहितं क्षालययन्रणेषु चकास्ति ।
गजगलगलितमदांबुप्रवाहतोसौ जगयी सिंहनृपः ।

Translation: That Lion-like King who possesses the earth, shines in battles, cleansing the foreheads of the enemy kings with the flowing rut juice that drips from the cheeks of the royal elephants.

Okay, Explanation: Elephants, as you all must know, have a tendency to get very excited when they are in mating season. Not only do they raze villages, uproot palm trees, and turn jungles into dust; they secrete a juice from the glands in their cheeks which is emblematic of their unrestrainable power. Now, elephants also are key players in battles against "enemy kings". In fact, they can get so excited in these battles, that their intoxication juice begins to drip, drop. This is a clear sign not only of the elephants prowess and virility, but more importantly, the King who leads the army. He possesses budding and strapping elephants, who are sent into a fury at the mere sound of his war cry; now that is power. What is more, this particular King, who benevolenty sponsered the construction of this Shiva temple, uses this juice from his super-charged war elephants to cleanse the foreheads of the enemy kings. Strange? Not really, in the tropology of Sanskrit literature which is founded on a voluminous catalogue of figures of speech and similes (अलंकार). You see, it is well known (to me only recently) that people's fates are written on their forehead. For the enemy kings of this Lion-like King, that fate is obviously perverted, and has lead them to the unfortunate destiny of facing him (and his elephants) in battle. Such a fate needs to be cleansed, literally and metaphorically. On the literal level, the soul of these maligned Kings is cleansed, just as Shri Krishna purifies demons as he vanquishes them (in the Mahabharata). In terms of the poetic suggestion, "cleansing the forehead" with "rut juice" means killing these kings by means of his unihibited Kingly lustre.

Speaking about Kingly lustre, the goddess Maha Lakshmi, often known as the Goddess of Wealth, is often conceptualized as the King's own royal power (just like Elephants), investing him with fortune, abundance, and protecting his realm, which is often envisioned as expanding to all quarters of the earth in this vivid Sanskrit modality of literary imagination. As this auspicousness spreads through his kingdom it also flourishes in the subjects, and the King himself enjoys and partakes in the world through their prosperity.

Kholapur, a small city in Maharastra, is home to a temple, built in the same period, that is dedicated to Maha Lakshmi

Probably being saturated with historical Sanskritic discussions, I leave you with a narrative of my visit to this powerful temple:

The temple is bustling by 5:30 a.m., and surrounded by an enclave of markets, and mini-temples to various local, and classical dieities, each with their own priests attending to the images. Entering the pavilion of the temple, I step into line to have Darshan (seeing, or a vision) of the goddess, Maha Lakshmi. I come around a corner in the maze of dark stone pillars that decorate the interior of the temple, and catch a glimpse of Maha Lakshmi, surrounded by Brahman priests and incense smoke, and rows of devotees clambering into her presence. The whole scene looks and feels like a bee hive, but Maha Lakshmi, standing in the middle is unmoved, glaring in a unreserved fashion right into my soul. Many depicitons of Lakshmi are benevolent and sweet --

In Kholapur, Mahalakshmi looks nothing like this. She is black, and she has beedy white eyes that pop off her head. She looks Terrible, demanding respect, and 900 years of devoted service and worship, including installation ceremonies where they infuse the deity with life-breath, making her actually inhabit the statue, seems to have accumulated in the atmosphere, making her countenance even more spectacular. Suddenly, the logic of the line drops me directly in front of this deity / force of nature, and very humbly I give my offering (tray of flowers and sweets) to the Brahman who stands at the threshold of the inner sanctum. He processes it: offering it to Her, and then giving me back a blessed portion of it (प्रसाद), the standard flow of the temple and spiritual economy that is ceasless in this temple. I bow, circumabulate the temple (a dark, tomb-like corridor channels around behind the diety), and then find a seat in the back row of the pavilion which faces her. I just want to sit quietly for some time, observe the space, the people, and let it all enter me.

I notice a group of women devotees, wrapped in emerald and pink and blue saris, moving back and forth on the dark temple stone. Their to and fro at first looks like that beautiful sway of joy, but then one women's movements become erratic, and suddenly she screams and contorts as her whole body begins to convulse. She is flung to her feet and begins to move in a way that I could only describe as head-banging, but her arms are locked together behind her, and she is crying and shaking, and saying "Oh Maha Lakshmi" among other plaintive Marathi comments that I fail to decipher. Another women, very calmy and confidently removes the hair tie from her hair, and everyone, exept a few wide-eyed children and myself, barely even notice the spectacle. With her hair loose, she begins to fling it back and forth, and I get an eery feeling that this is not just a show. Her shaking looks spontaneous, and the hairs standing on end on the back of my neck is a another clue. I catch a glimpse of Lakshmi's face in the distance; intense, black, penetrating. Some other women take a steel tray and begin waving a flame around the women, and they annoit her forehead as she grabs her own hair muttering and sweating, shaking back and forth less intensely now. Finally, the women drops to the floor, and I seem to notice a subtle spark of light go out of her.

The next possession event I witness is even more intimate. The women sitting directly in front of me knocks me off my socks as her sudden shrieking voice totally arrests a moment of early morning revelry. A Brahman priest comes and grabs her head familiarly, and smiles as her breath and body palpitate. Being animated by this particular form of the Goddess is clearly an intense experience, but for everyone around her, it is a time of sanctity, and the attention on the women is similar to that given to the Goddess herself, standing placidly in the background. This possession event ends with a grand finale. A women grabs the hand of this new, living object of reverance and pours some powder into it. She then lights a match, igniting a flame on her hand which remains perfectly cupped as the rest of her body continues to shake. With a loud "Om Mahalakshmi Namo Namah" and a lightning like movement, she swings her hand to her mouth and swallows the flame, and then proceeds to collapse to the ground in a pile of sari and exhaustion...

As the sound of birds picks up, and the sun blazes brighter in through the sides of the temple, tranquility begins to spread, and the possessions cease.

The whole scene, and the space of the temple was charged, and still vibrates in my imagination; Indian has a way of burning itself into you.

Explanation: I have none. Thoughts on possession: future posts. :0)

For contrast, this image is from a peaceful afternoon the day before. A meeting with a Jain holy women (in white) near the Shiva temple --

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On June 17th Pune, India becomes a channel for an annual river of pilgrims from the Warkari tradition. They were accompanied by palanquins which carried the sandals of two Maharastran saints, Jnaneshwar Maharaj and Tukaram Maharaj. Their sandals (living embodiments of each sage) are carried from their home, the sacral places where each saint left their body (mahasamadhi shrines), to the living statue of Lord Vishnu in Pandharpur, India: Vithoba. The night before the festival I met a reporter, Devidas Deshpande, from the local newspaper, The Pune Mirror. Devidas warmly engaged me about my background and home country and after we were clearly hitting it off I suggested he feature a piece about our American contingent studying Sanskrit in Pune over the summer. In order to spice it up, I let him know that the first ever Hip Hop song in Sanskrit was in the process of being composed, and the article could also announce the upcoming debut of its local performance (a small cultural show at the end of the semester). This article, of course, would be a precursor to a new movement in Indian contemporary music led by a troop of local and foreign artists that blend Indian philosophy, Bolliwood beats, and Sanskrit alliteration in a fresh, vitalizing form of Hip Hop; truly newsworthy, even in the early stages of development. Devidas shrugged off the suggestion, but told me to meet him in front of the newsroom during the procession. The next day he found me in the masses that surged down the main road of Pune and summoned me to the newsroom of the Pune Mirror where I was treated to chai and then asked to write a short piece on my experience of the procession. Devidas, I found out, shared a love for the Indian thinker Shri Aurobindo, and moved by his genuine interest to see the pilgrimage through my own eyes, I agreed wholeheartedly and speed typed a small exposition which was featured on the front page with a huge photo they took of me superimposed on a background image of the festival. Here is the piece with a photo I gleaned from the Pune Mirror photographer of the pilgrimage outside the city:

Ben Williams, a student of Deccan College, Pune has done his Masters in Sanskrit from the USA, and has been in town for the last two months [this was an error based on miscommunication]. Being an avid fan of Saint Tukaram [this is true] and reader of Dnyaneshwari [Jnaneshwar's magnum opus], he couldn't miss out on the sights and sounds of the Palkhi procession. While the dindi flowed through Fergusson College Road, Ben recounted his experience for Pune Mirror

Visiting Pune for the first time on a summer Sanskrit program, I was immediately swept into the vibrancy and power of the Warkari procession. The first thing that struck me was the joy of the pilgrims on their yatra. Their smiles, the generousness of their spirit, were both contagious. As the procession overflowed the streets I became overwhelmed by the sea of color, chanting, and dancing. Because I have studied the poetry of Tukaram Maharaj and the Dyaneshwari in English as a masters student of Hindu studies in America, I could appreciate the significance of the songs that everyone chanted with all their heart. The most miraculous moment so far (as I am about to rejoin the throngs) has been seeing a Warkari group dancing in unison with their cymbals. They were moving back and forth in total synchronicity, the energy building steadily, until they collapsed together on the ground. Lying on each other, they continued chanting and clashing their bells, kicking their legs, laughing. I realized with a sense of wonder, that this procession was just a snapshot of a 300 km non-stop celebration. Reading the Dnyaneshwari several years ago, and studying it recently in my program in the USA, I am continually surprised that more people in West are not aware of Jnaneshwar's religious genius and poetic brilliance. My own appreciation of Jnaneshwar's philosophical and literary insights has now been magnified by this glimpse of the living tradition that has continued in an unbroken fashion for 700 years. My familiarity with many of the stories surrounding Jnaneshwar and Tukaram's lives and the centrality of Pandharpur in their own religious universe has been deepened by seeing the love reflected in the thousands of Warkaris on their way to that auspicious abode and I wonder if Tukaram and Jnaneshwar would have known that they would be visiting their beloved Lord for centuries after their mahasamadhi.

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विचित्रोऽयं चित्रकारः

Vykharee - Tue, 07/07/2009 - 15:00
बहवोऽत्र केरलेषु निरुद्योगिनः सन्ति। 'उद्योगं विना वृत्तिं विना कथं वा जीवनं कुर्याम? किमर्थं सृष्टिकर्ता अस्मान् एवम् असृजत्? तस्यैव कर्तव्यमस्ति वृत्तिविधानम्, सैव नो वृत्तिं दद्यात्' इति चिन्तयित्वा केचन केरलीयाः "वृत्तिं दद्यात्, वृत्तिं दद्यात्, स्रष्टा अस्मभ्यं वृत्तिं दद्यात्" एवं रूपैः *वाक्यगाथाघोषैः भगवत्समीपमगच्छन्।
तदा भगवान् सृष्टिकर्ता कर्मनिरतः आसीत्। हंसान् शुक्लवर्णैन, शुकान् हरितवर्णैन, काकान् कृष्णवर्णेन, मयूरान् तु बहुवर्णैः च चित्रयन् सःविचित्रकरस्तिष्ठति स्म।

तं दृष्ट्वा निरुद्योगिन: अचिन्तयन्-

अत्यन्तं व्य्स्तोऽयं चित्रकारः।

**येन शुक्लीकृता हंसाः
शुकाश्च हरितीकृताः।
मयूराश्चित्रिता येन
स नो वृत्तिं विधास्यति!॥

"हलो भगवन्, भवान् यदि एवंविधं व्यस्तः तर्हि किमर्थम् वयं वृत्तिविहीनाः भवाम:? अनीतिः मास्तु, वृत्तिविहीनान् निरुद्योगिनः नो वृत्तिं विदधातु" इति ते प्रख्यापितवन्तः।

"तथास्तु" इत्युक्त्वा सृष्टिकर्ता तूष्णीं स्थितवान्।

एवं भूता भगवता चित्रकाराणां सृष्टिः॥

*वाक्यगाथाघोषैः = with slogans, മുദ്രാവാക്യങ്ങളോടെ
വൃത്തിവിഹീനഃ = തൊഴിലില്ലാത്തവന്‍
** प्रसिद्धोऽयं श्लोकः| केन रचितः इति जानाति चेत् कृपया वदतु।
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Youtube - Sun, 07/05/2009 - 23:24
From: cramsingapore Views: 125177 169 ratings Time: 04:33 More in Music
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tumultuous - tumul

Sanskrit-iz-ed Words - Sun, 07/05/2009 - 00:22
tumul-tu-ous - tumul in Sanskrit means same.

We can understand how English gets 'ous' but not sure how Latin gets 'tu'.
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A Himalayan journey of a Raindrop

वाच: अर्थ: - Fri, 07/03/2009 - 00:18
At this point of time, there are exactly 3 people whose very mention of the name gives me goosebumps. One of these is Kalidasa, the other two I will reserve for a later post.

The language is the vehicle of expression of human feelings. We often hear "I cannot express the feelings in words". Isnt it merely a limitation of the language? Suppose there is a language that would facilitate the expressions in a very precise and articulate manner. Would that be sufficient? Not necessarily. The human being who converses in that language must also be good enough to communicate it effectively.

Fortunately Panini 'established' a language called Samskrita which provides a medium to express pretty much everything a man could think of in terms of communication. But is that enough? Several playwrights, poets come along write great literature that enhances the language by their own small capacity. Several hundred years after Panini, comes Kalidasa and writes such a brilliant poetry which outshines all the other gems put together. Often Kalidasa is compared to Shakespeare. This is so wrong on several accounts. Kalidasa embellished what is only already a perfect language. Shakespeare had to deal with a less-than-so-perfect language like English and brings the beauty out of it. In that sense, Shakespeare's effort is like that of ant's ability to carry 700 times its own weight. (I am writing about Kalidasa, how can I not do similies!) But unlike Shakespeare, Kalidasa lived during the times of the giants of Samskrita literature, who unanimously recognized his greatness. Reminds of me a subhAshita: It is easy to find a great man, but it is hard to find a man who acknowledges the greatness of another man.

Here is a fantastic piece of poetry from kumArasambhava.

sthitA: kshaNam pakshmasu tADita adharA: payodhara utsedha nipAta chUrNitA: |
balIshu tasyA: skhalitA: prapedire chireNa nAbhim prathamoda bindava: ||

Lets rewrite this in prose order:

prathamoda bindava: kshaNam pakshmasu sthitA:
(ata:) tAditA: adharA:
(ata:) payodhara utsedha nipAta chUrNitA:
(ata:) tasyA: balIshu skhalitA:
(ata:) chireNa nAbhim prapedire |

prathama oda bindava: - The first drops of rainfall
kshaNam - for a while
pakshmasu - on eye-brows
sthitA: - rested (then)
tAditA: - lashed
adharA: - on the lips (then)
nipAta - fell
payodhara - on the breast
utsedha chUrNitA: - and pulverized into several droplets (then)
tasyA: - of her
balIshu - belly
skhalitA: - skidded down (then)
chireNa - after a long time
nAbhim - navel
prapedire - surrendered.

The description is about Parvati meditating in the Himalayas on Shiva to attain him as her husband.

See the verbs picked so appropriately for each action of the raindrop.

Rested on the eye-browse, lashed the lips, pulverized into droplets, skidded down the belly, surrendered to the navel.

Everytime I contemplate on this piece, it gives me goosebumps because of its unmatched precision in bringing out the beauty of the language. I just cant express my feelings in words :-)
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Sanskrit Quote : Category :: High-Souled

Sanskrit Quote - Wed, 07/01/2009 - 20:51
कुसुमस्तबकस्येव द्वयी वृत्तिर्मनस्विन:।

मूर्ध्नि वा सर्वलोकस्य विशीर्येत वनेऽथवा॥

English Translation of Sanskrit Quote:

High-souled persons have only two states like that of a bunch of flowers; either they have to be on top of the whole world or they should wither away.

English Commentary on Sanskrit Quote:

This couplet from the 'Neethishathakam' of Bharthrihari, extols the virtues of those who are self-respecting. Self respecting persons have only two place to adorn; either top or attain a nameless state. They simply don't fit in every places. They carve out a niche for themselves. Otherwise they simply vanish from this world without making much ado. It is simply not in their blood to make compromises.
The poet rightly likens them to a bunch of flowers. They should either remain on top of someone's head, keeping themselves high, apart from adorning the head that bears it. They don't settle for a lesser state. If they cannot attain this envious state, they prefer simply to wilt away in a forest shrub, unnoticed by anyone.
This is said as and advice for those who, without aware of their high-status, make compromises for all and sundry gains. It is really not worthy of their status. Look at the beauty of the simile the poet has chosen; simple yet potent
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Sanskrit Quote : Category :: Wandering mind

Sanskrit Quote - Tue, 06/23/2009 - 23:15
परिभ्रमसि किं व्यर्थं क्वचन चित्त विश्राम्यतां

स्वयं भवति यद्यथा तत्तथा नान्यथा।

अतीतमपि न स्मरन्नपि च भाव्यसङ्कल्पय-

न्नतर्कितगमनाननुभवस्व भोगानिह॥

English Translation of the quote:

Why do you wander, 'O' mind, rest somewhere. The natural course of thing to happen cannot be altered. It is bound to happen. Therefore enjoy the pleasures, whose arrival and departure cannot be ascertained, without remembering the past and without expecting the future.

English commentary on Sanskrit quote:

I really don't know why i am so impressed by Bharthrihari's quotes!! -I wonder sometimes. But answers are not far to seek. Perhaps i am impressed by two great minds thinking alike. I am amazed by how close is Bharthrihari to the Buddha when he says this.
The greatest finding of the Buddha according to me is the explanation of the structure and functioning of the mind beyond any shred of doubt. The negativity we acquire from our childhood days without our knowledge lead us astray. The mind fools us by shuttling back and forth in time. We either suffer in our mind regretting about what happened in the past or craving for some pleasant thing to happen in future. This determines how we behave in the present according to the predetermined mindset. This creates a vicious circle and we act blindly, but unknowingly.
While the Buddha speaks in philosophical terms, Bharthrihari speaks common parlance. What the Buddha realized through Insight-meditation, Bharthrihari seems to have realized through the experience of suffering in life.
In the guise of addressing the mind, Bharthrihari seems to address himself. The mind is weary wandering constantly with lightning speed. The body suffers untold miseries because of this. So he suggests that the mind should stop wandering and rest somewhere. Since unknowing of the mind's deeds we act with predetermined mindset. Everything seems predetermined because of this. There is no use struggling to mend what is to come. So it is the safe bet to accept gracefully what comes in our life without opposing. So Bharthrihari seems to suggest that we should neither worry about our past nor crave for the future. For a lay person past has changed, and the future is yet to come. So it is futile to resist the present. So why not welcome the present, in whatever way it presents itself before us?
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Interdict - antar-dikS(h)T

Sanskrit-iz-ed Words - Mon, 06/22/2009 - 10:08
Interdict - to intervene

antar - inside, in-between

dikS(h)T - dikS(h) + t -> dikS(h)T - Present Participle - seeing, directing. "S(h)" is Cerberal Sibilant Sound 'S' and "T" is Cerberal "t" sound. Past Participle would be "dikS(h)it".

As one can see, the Sanskrit sounds and spellings are more subtle and English (and European Language) takes an approximation of the sounds as one uninitiated speaker would do when copying something that was invented elsewhere, which is the case for the Speech and Languages.

Immigrants most of the times, when migrating, are not able to keep their authentic culture as it was in their homeland. Such is the case in cooking, religion and languages.
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Sanskrit Quote : Category :: Association of learned men

Sanskrit Quote - Mon, 06/22/2009 - 08:38
यदा किञ्चिज्ज्ञोऽहं द्विप इव मदान्ध: समभवम्

तदा सर्वज्ञोऽस्मीत्यभवदवलिप्तं मम मन:।

यदा किञ्चित्किञ्चिद्बुधजनसकाशादवगतं

तदा मूर्खोऽस्मीति ज्वर इव मदो मे व्यपगत:॥

English translation of Sanskrit quote :

When I had little knowledge, I had become blind by pride like an elephant (during rut). Then my mind was proud , thinking that I am an omniscient. As and when I realized bit by bit in the association of wise men, my pride waned like a fever, as I came to know that I was a fool, actually.

English commentary on Sanskrit quote:

This couplet by Bhirthrihari the celebrated author of 'Shatakatrayi', in fact summarizes what is said in Sanskrit "अल्पविद्य: महागर्वी" [little knowledge, great pride.]

We all have it in us, in varying degrees: Vanity of knowledge. For those who have a little bit of outspokenness in them, there is realization sooner or later. This is narration of realization on the part of the author, which is not different from our own stories of realization.
Possession of a bit of knowledge makes a man proud of his knowledge, by nature. This short term "elation" makes him blind to the reality about himself. He sees a large than life portrait of himself. This is likened to the behavior of an elephant in rut, when it disobeys its own leader and wanders off.

Of course, this is a short ride of the ego and lasts till his realization. The association of the learned men which comes like a boon to everyone, is enough to pin his inflated balloon of ego. A little bit of realization is enough for him to know what is amiss. Once there is realization, it does not take long of us to know the fact about us. The more we gain knowledge wise, it should make us realize our own shortcomings and make us humble and meek. Standing at the periphery of the vast ocean of Knowledge man's vanity vanishes. That is what is said in another couplet " विद्या ददाति विनयम्।"-Education is what should humble us. If it doesn't, it is not worth the exalted name "Education"
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Sanskrit Quote for Pratik Adhikari

Sanskrit Quote - Sun, 06/21/2009 - 12:17
अतिदानाद्बलिर्बद्धो ह्यतिमानात् सुयोधन:।

विनष्टो रावणो लौल्यादति सर्वत्र वर्जयेत्।

English Translation of Sanskrit Quote:

(The demon king) Bali was vanquished due to his excessive charitable nature.
King Duryodhana was humbled for his excessive pride.
(Demon Emperor) Ravana was destroyed due to excessive womanising.
Hence one should shun excessiveness in all things.
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Yesudas Sanskrit bhajan Achyutashtakam Krishna Bhajan by Yesudas Sanskrit song

Youtube - Sat, 06/20/2009 - 17:14
Yesudas Sanskrit bhajan Achyutashtakam Krishna Bhajan by Yesudas Sanskrit song
Achyutashtakam Krishna Bhajan by gana gandharva Yesudas Achyutashtakam Keshavam rama narayanam Sanskrit devotional song achyutam keshavam Original ram bhajan... From: TheHrisforu Views: 297543 410 ratings Time: 04:54 More in Music
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Entertainment - antar-tRpt-A-mant - ananta-tRpt-A-mant

Sanskrit-iz-ed Words - Thu, 06/18/2009 - 00:53
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1. the act of entertaining; agreeable occupation for the mind; diversion; amusement: Solving the daily crossword puzzle is an entertainment for many. 2. something affording pleasure, diversion, or amusement, esp. a performance of some kind: The highlight of the ball was an elaborate entertainment. 3. hospitable provision for the needs and wants of guests. 4. a divertingly adventurous, comic, or picaresque novel. 5. Obsolete. maintenance in service. Origin:
1525–35; entertain + -ment

antar - within, something between

tRp - to be satiated, to be pleased, to relish - is verb root

tRp-t - makes it Active Present Participle. It could have been Passive Past Participle but an "i" would have shown up before 't', and it would make it as "tarpit", which means "satisfied".

tRp-t-mant - makes it Passive Present Participle. Singular is "tRp-t-mAn". One who gets satisifed (passively).

tRp-t-Atman - Satisifed Soul

So we have four choices:

antar-tRpt-mant - One who gets satisfied inside (passively)

antar-tRpt-Atman - Soul who gets satisfied inside (passively)

ananta-tRpt-mant - One who gets satisfied in un ending way (passively)

ananta-tRpt-Atman - Soul who gets satisfied in un ending way (passively)
Categories: Other Language Links

Estrogen and Testerone - astra-jaan and ta-iST-ra-ya-aan

Sanskrit-iz-ed Words - Mon, 06/08/2009 - 03:42

Female Harmone that is instrumental in the reproductive cycle which makes a woman bear an egg that awaits fertilization by Man's sperm.

astra-jaan - instrument that gives life

as-tra - instrument

as - is strong root for verb

as-t - to make it into action noun as present participle

as-tra - to make it into an agent noun.

jaan - life

ja - to give birth

aan - Singular Agent Present Participle indicating Action Noun.


The male equivalent of Estrogen and that causes sperm creation in a Man.

ta-iST-ra-ya-aan - that follows or yields to its desired "goal".

ta - pronoun for that

iST -desired - "S" and "T" are Cereberal sounds (with tounge rolled up and touching pallets, while trying to pronounce "s
and "t", which in Sanskrit and Hindi are treated as separate sounds).

iSTra - agent noun

ya - to go, to follow,

aan - to make it into a Singular Present Participle.

Categories: Other Language Links

sanskrit websites

These Websites are developned by Mr. Ranade (Father of my friend)
Looks interesting
http://www.sanskrit deepika.org
www.mymarathi. com
--"shripad dixit"

"Pradeep K.Ratnaparkhi"
Add sender to Contacts
delhimarathi@yahoogroups.com, abhijeet_godbole@hotmail.com
Hello all, I am the son of a sanskrit scholar, Late Shri A.R. RATNAPARKHI, who had written a novel in Sanskrit (named KUSUMLAKSHMI) and one booking containing one-act plays (named SAMVADMALA). Kusumlakshmi was in the MA course of Rajasthan University in sixties and the book Samvadmala was in the course of BA in Meerut University in middle sixties. The book Kusumlakshmi, is said to be the first novel (originally written in Sanskrit), the book Samvadmala is a book of teaching day to day conversation in sanskrit, like Rapidex English Speaking Course for English.
Sanskrit is said to be the most accurate language grammatically too. It is unfortunate that India, where the sanskrit language was in use during its golden era, has been put aside. But some other countries like Germany are really making use of this language in learning science from the Veda's.
There may be many more such book hidden in the libraries, book stores - without any future. Our effort should be to promote the language and bring it back to its golden period, because it will then bring golden period for India again.
It is long time since my email about sanskrit. Now we
have moved somewhat ahead, though not speedily.
Pl visit
and get back with your suggestions.
you can call me at 022-22844658-res
or 022-22843711-off
--- Abhijeet Godbole
> Dear Leena Mehendale Madam
>> I hope you may remember me. We had met many times
> when we used to come for promotion of Indian Science
> Congress in your office at PCRA.
>> I have gone thru your note on Promotion of Sanskrit
> and would like to be a active member for the same.
> My interest area and where I hope I can be helpful
> is into managing Advertising and Press Relations
> which are my core areas for last 18 years. Currently
> I am in Delhi and would look after the Press
> Promotions & Relations for this Mission here from
> Delhi.
>> If I can be of any help for this social cause please
> give me the opportunity to join your MISSION.
>> Also would like to know your current address and
> contact numbers if possible as I had heard that now
> you are in Mumbai.
>> Regards
>> From :
> Abhijeet Vasant Godbole
> Marketing Manager - North
> Dalal Street Investment Journal Magazine
> New Delhi
> Mobile : 98681-70020
http://www.samartha ramdas.com/ gatha/manacheshl ok/SHOLK- 1.swf
Dear Yashpal
pls inform Ms Mehendale, i m unable to send msg thru her site.There are certain things about sanskrit.
i had attempted to work on animal language. This is known as inter Species Communication i.e non human communicating back to human in human language. In sanskrit there is mention of YONI ANTAR BHASHA. If you translate it into english you actually get word Inter Species Communication.
It was was my interest in learning languages which had taken me to this world of animal language. While learning these languages i use to keep visualisng there correspndings in Lut Lakar, Langh Lakar, Lot Lakar etc. or the Dev,Nadi Roopaaks etc.
i shall certainly be glad to assist in what ever way possible to the best of my knowledge and capacities.
Categories: Other Language Links

English - better, Urdu - bhetar, Sanskri - uttar

Sanskrit-iz-ed Words - Sun, 05/31/2009 - 05:10
There is a Sanskrit rule called "Samprassana" or making of Vowels into Consonants, where "u" becomes "v", "i" becomes "y", and "R(i)" becomes "ar".

So "uttar" is a comparative pronoun and it becomes "vattar" which becomes "better".

"b" and "v" are two sounds that get intermixed.

Like a Bengali Indian would say "Bijoy" instead of "Vijay" (note "a" becomes "o" also).

Same way the state of Bihar was actually called Vihar during its golden period, literally meaning Paradise (another word taken from Sanskrit and Persian, and is actually "para-desh", the state beyond, which is heaven).

Now it is another matter that it has become a "Bekar" State (useless), but still produces many Intellectuals but most of them chose to go to IAS (Indian Administrative Services) only to become corrupt Beauracrats.

Or "Varma" becomes "Burma" or "Varman" becomes "Burman". "Varman" is the generic noun root which means "chosen one" or "the best", e.g., because you choose the best. "Varma" is Singular Subject Noun.

Yes that brings to "Uttar Pradesh" which has become "Ulta Pradesh" (the upside down State).

Categories: Other Language Links

Bhagavad Gita Chapter 1 (Sanskrit)

Youtube - Sun, 05/24/2009 - 20:32
Bhagavad Gita Chapter 1 (Sanskrit)
Bhagavadgita Chapter 1 (Sanskrit) From: bhagavadgita4u Views: 21956 69 ratings Time: 07:16 More in Education
Categories: Other Language Links

propagate - pra-paa-gaat, pra-apa-gaat, pra-paa-aa-gaat, pra-apa-aa-gaat

Sanskrit-iz-ed Words - Fri, 05/22/2009 - 06:34
propagate - to move forward following a pettern of dispersion

pra-paa-gaat, pra-apa-gaat, pra-paa-aa-gaat, pra-apa-aa-gaat

pra - prefix to self forth an action denoted by certain verb root.

paa - to obtain (but unlikely as in sanskrit forming compounds of 2 verbs is something I can not think of immediately).

apa - prefix for underaway

aa - prefix for "towards itself"

gaat - going. The root is "ga" which means to go (wow see the connection in sound and how the "a" of learned becomes "o" for the unlearned), and "gat" or "gaat" is either present participle meaning "going" or past participle meaning "gone".
Categories: Other Language Links

Pamela,Pamella, Pamila, Pamilla - Premilla, Premila, Prem-i-Leela, Prem-i-Lila

Sanskrit-iz-ed Words - Thu, 05/21/2009 - 11:30
This just shows yet another Indo Europeans spreading out from a common root, which the modern scholars have tough time locating to a physical place.

Prem - to love, to show love.

Lila - is the act, the play.

missing "r" just shows the westerners had a tough time sounding "cereberal sounds" where the toung has to curl up and touch the palate. In Sanskrit, we have 5 + 1 sounds, and only "r" has survived as semi-vowel as part of the semi-vowels, "y", "r" "l", and "v"(one cal also include "h". which is spoken soft stop and counter part to "ah", which is visarga, the unspoken hard stop).

Hypothetically - and not really correct - if "a" is a hard vowel, then "ah" can be taken as hard aspirated vowel, then "h" can be taken as soft (semi) vowel, and "hh" can be taken as aspirated soft vowel - but in reality we taken "a" as a soft vowel and do not have "hh" as any vowel.

So "a" is kept seperate, and "ah" and "h" are taken as counter parts, one as "visraga" hard aspirate and the other as "h" soft aspirate, even though "a" is taken as a soft vowel and removed from the pairing.

Further "ah" can become "aR", "aS", "as" and "ach" sounds when following Sandhi or Phonetics Combination Principles of Sanskrit Sounds.
Categories: Other Language Links


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