The story of Alwina
This movie is all about Josephine Baker and her life story. Cleverly crafted into screenplay after its successful showing of the French musical Zou. She was the first black woman to star in a major motion picture, titled Zouzou (1934).
This is a French movie with English subtitles starring Josephine Baker as a Tunisian girl (Alwina) who is befriended by a French novelist named Max de Mirecourt. He casts her as a heroine of his future novel, and brings her into Paris and teaches her French manners and customs. His wife who is flirting with an Indian Maharaja is infuriated and seeks help from her friend to a plot a revenge against her husband and embarrass Alwina in front of the Parisian elite. But that plan backfires and at the end it all ends well. The author calls his new book “Civilization.” Ironically it demonstrates the racial bigotry of the early 20th century in European circles which was considered as a civilized behavior.
Baker became a renowned entertainer in Paris. She renounced her American citizenship to become a citizen of France who was fluent in both English and French. Baker refused to perform for segregated audiences in the United States and is noted for her contributions to the Civil Rights Movement. In September 1939, when France declared war on Germany in response to the invasion of Poland, Baker was recruited by Deuxième Bureau, French military intelligence, as an "honorable correspondent". She received the French military honor, the Croix de Guerre and was made a Chevalier of the Légion d'honneur by General Charles de Gaulle.
The film closes with a scene of Alwina in Tunisia with her family in her farm. In the closing scene, a donkey eats the title page of "Civilization” off the floor. The movie reflects on part of her life in a racial divided society.
Monday, November 21, 2016
Sunday, November 20, 2016
Movie Reviewed: If I were Free, starring Irene Dunne
Behold we live
Screenwriter Dwight Taylor improvised this John van Druten’s play about two couples who are unhappily married. Irene Dunne plays a proprietor of a London antique shop (married to Nils Asther) falls in love with a married man (played by Clive Brook), a boring attorney. This story is one of the many controversial films made during pre-code Hollywood. In this illicit love, the viewers not only get to see Dunne smooching married Brook, but also adds another twist in the story, that is, Dunne knows that his wife (played by Lorraine MacLean) wouldn’t to give him divorce. The movie is pretty dull except for the fine performance of Irene Dunne.
Screenwriter Dwight Taylor improvised this John van Druten’s play about two couples who are unhappily married. Irene Dunne plays a proprietor of a London antique shop (married to Nils Asther) falls in love with a married man (played by Clive Brook), a boring attorney. This story is one of the many controversial films made during pre-code Hollywood. In this illicit love, the viewers not only get to see Dunne smooching married Brook, but also adds another twist in the story, that is, Dunne knows that his wife (played by Lorraine MacLean) wouldn’t to give him divorce. The movie is pretty dull except for the fine performance of Irene Dunne.
Movie Reviewed: The Girl from Missouri, starring Jean Harlow
Born to Be Kissed
Originally called Born to Be Kissed, this 1934 romantic comedy film stars Jean Harlow and Franchot Tone, and written by Anita Loos and directed by Jack Conway. Harlow plays as an ostensible virgin with cash register eyes is similar to the character she played in another hit movie, Red-Headed Woman but with a lot more humor of Anita Loose. Many laughs in this film is due to Patsy Kelly whose slam-bang delivery entertained scores of movie-fans. The film also features Lionel Barrymore, Lewis Stone, Alan Mowbray and Clara Blandick.
Originally called Born to Be Kissed, this 1934 romantic comedy film stars Jean Harlow and Franchot Tone, and written by Anita Loos and directed by Jack Conway. Harlow plays as an ostensible virgin with cash register eyes is similar to the character she played in another hit movie, Red-Headed Woman but with a lot more humor of Anita Loose. Many laughs in this film is due to Patsy Kelly whose slam-bang delivery entertained scores of movie-fans. The film also features Lionel Barrymore, Lewis Stone, Alan Mowbray and Clara Blandick.
Friday, November 18, 2016
Book Reviewed: The Geeta, the Gospel of Lord Krishna, by Purohit Swami
A simple English translation
This is a simple English translation of the Sanskrit version of Bhagavadgita. The translation is good and easy to understand the essence of Gita. The translations for each of the 18 chapters may be found in this book, but the verses are not numbered in the Faber paper covered edition. The veracity of the English translation by the author may be compared with other translators by taking Gita 3.3 as an example.
Gita 3.3 - loke 'smin dvi-vidha nistha pura prokta mayanagha; jnana-yogena sankhyanam karma-yogena yoginam
Purohit Swami Translation:
In this world, there is a two-fold path, O Sinless One! There is the path of Wisdom for those who meditate, and the path of action for those who work.
Franklin Edgerton Translation:
In this world a twofold foundation of religious salvation has been expounded by Me of old. By the discipline of the knowledge of the followers of Sankhya; and by the discipline of the action of the followers of Yoga.
Edwin Arnold Translation:
Shown to this world; two schools of wisdom. First The Sankhya's, which doth save in way of works Prescribed by reason; next, the Yoga, which bids Attain by meditation, spiritually:
Swami Mukundananda Translation:
O sinless one, the two paths leading to enlightenment were previously explained by me: the path of knowledge, for those inclined toward contemplation, and the path of work for those inclined toward action.
Swami Prabhupada Translation:
O sinless Arjuna, I have already explained that there are two classes of men who realize the Self. Some are inclined to understand Him by empirical, philosophical speculation, and others are inclined to know Him by devotional work.
The Harvard Classics Sacred Writings, Charles Eliot Translation:
I told thee, blameless Lord! There be two paths, Shown to this world; two schools of wisdom. First The Sânkhy’s, which doth save in way of works Prescribed one by reason; next, the Yôg, which bids Attain by meditation, spiritually
V. Jayaram Translation:
O’ Sinless One, I declared two-kinds of worship in the world before, one is the path of knowledge pursued by the Sankhya and the other the path of action meant for men of action.
Harry Bhalla, and the American & International Gita Society (both have same translations):
I have stated a twofold path of spiritual discipline in the past, the path of self-knowledge for the contemplative ones, and the path of unselfish work for all others.
The Bhagavad Gita, due to its syncretism of Samkhya, Yoga, and Vedanta philosophies has played a major role in in the thoughts of numerous men and women as a universal scripture written for mankind. There are numerous websites that provides, English translations free of charge and so is the original in Sanskrit with transliteration. Some of them are;
http://www.bhagavad-gita.org/
http://www.sacred-texts.com/hin/gita/
http://www.hinduwebsite.com/chapters.asp
http://www.holy-bhagavad-gita.org/
http://www.bartleby.com/45/4/
http://www.sanskritweb.net/sansdocs/gita-big.pdf
This is a simple English translation of the Sanskrit version of Bhagavadgita. The translation is good and easy to understand the essence of Gita. The translations for each of the 18 chapters may be found in this book, but the verses are not numbered in the Faber paper covered edition. The veracity of the English translation by the author may be compared with other translators by taking Gita 3.3 as an example.
Gita 3.3 - loke 'smin dvi-vidha nistha pura prokta mayanagha; jnana-yogena sankhyanam karma-yogena yoginam
Purohit Swami Translation:
In this world, there is a two-fold path, O Sinless One! There is the path of Wisdom for those who meditate, and the path of action for those who work.
Franklin Edgerton Translation:
In this world a twofold foundation of religious salvation has been expounded by Me of old. By the discipline of the knowledge of the followers of Sankhya; and by the discipline of the action of the followers of Yoga.
Edwin Arnold Translation:
Shown to this world; two schools of wisdom. First The Sankhya's, which doth save in way of works Prescribed by reason; next, the Yoga, which bids Attain by meditation, spiritually:
Swami Mukundananda Translation:
O sinless one, the two paths leading to enlightenment were previously explained by me: the path of knowledge, for those inclined toward contemplation, and the path of work for those inclined toward action.
Swami Prabhupada Translation:
O sinless Arjuna, I have already explained that there are two classes of men who realize the Self. Some are inclined to understand Him by empirical, philosophical speculation, and others are inclined to know Him by devotional work.
The Harvard Classics Sacred Writings, Charles Eliot Translation:
I told thee, blameless Lord! There be two paths, Shown to this world; two schools of wisdom. First The Sânkhy’s, which doth save in way of works Prescribed one by reason; next, the Yôg, which bids Attain by meditation, spiritually
V. Jayaram Translation:
O’ Sinless One, I declared two-kinds of worship in the world before, one is the path of knowledge pursued by the Sankhya and the other the path of action meant for men of action.
Harry Bhalla, and the American & International Gita Society (both have same translations):
I have stated a twofold path of spiritual discipline in the past, the path of self-knowledge for the contemplative ones, and the path of unselfish work for all others.
The Bhagavad Gita, due to its syncretism of Samkhya, Yoga, and Vedanta philosophies has played a major role in in the thoughts of numerous men and women as a universal scripture written for mankind. There are numerous websites that provides, English translations free of charge and so is the original in Sanskrit with transliteration. Some of them are;
http://www.bhagavad-gita.org/
http://www.sacred-texts.com/hin/gita/
http://www.hinduwebsite.com/chapters.asp
http://www.holy-bhagavad-gita.org/
http://www.bartleby.com/45/4/
http://www.sanskritweb.net/sansdocs/gita-big.pdf
Tuesday, November 15, 2016
Book Reviewed: Leading Men by Turner Classic Movies
A look-back at the matinee idols of Hollywood (four stars)
This is definitely a collector’s book, compiled by Turner Classic Movies (TCM) that brings into life some of the most unforgettable leading men during studio era. They thrilled audiences, and the studios capitalized on their looks, and appeal during the golden age of Hollywood. The movie-fans got to see their favorite lead actors and relate personally with them. These men flirted, fought, loved, suffered, sang and danced in movies, and the viewers found joy and forgot their own insecurities in life.
Each of these men were unique in style; John Gilbert, Rudolph Valentino, Douglas Fairbanks, Clark Gable, Cary Grant, Gary Cooper, John Wayne, Humphrey Bogart, Jimmy Stewart, and Frank Sinatra. All of them wanted to perform well and please the audience. But there were glitches in the early careers of some stars. Some studios had second thoughts about them. A Hollywood executive lamented about employing Fred Astaire: “Can’t act, slightly bald, also dances.” At Warner Brothers Studios, Darryl Zanuck complained about Clark Gable as “his ears are too big, and he looks like an ape.” Now this is all in history, and Hollywood made the best of these men and they became very productive for the film industry.
A brief summary of the book is as follows; the work of each actor in this book is narrated with a brief introduction to their movies, behind the scenes stories and a very short bio of about 50 leading men. Some of they are fascinating to read. New demystifying biographies say how strenuously icons like Cary Grant worked to fashion his glistening image as vigilant as any glamour girl. Few stars blazed as brightly or fell as precipitously as John Barrymore. He with his brother Lionel, and his sister Ethel Barrymore constituted “The Royal Family of Broadway” with John clearly the King. He commanded the box office. His role in the movie “Dinner at Eight” was clean reflection of his personal life. Humphrey Bogart was successful before he broke into movies and later became the leader of the Rat Pack, a group of drinking buddies who got together at Mike Romanoff’s Restaurant in Hollywood. Frank Sinatra was just a member and became its leader when Bogie passed away. Charlie Chaplin was well known for his political controversy. He often criticized the government, law-enforcement, and big business. He was disliked during WWII by largely conservative groups. After he returned from England in 1952, he was denied re-entry to the United States, and he retired in Switzerland. Even in 1972, a decision by the Academy to honor him was considered controversial.
Jane Fonda recalled later in her life that her father fell in love with actress Lucille Ball when they did the movie “Yours, Mine, and Ours” and would have liked to marry her in real life. Clark Gable, three years after the death of his wife Carole Lombard, and over studios objection joined the U. S. Army Air Corps distinguishing himself with wartime service. Lombard was largely responsible since she encouraged him to join the armed forces when she was alive. He returned to Hollywood and made big hits like “Mogambo” with Grace Kelly, and “Misfits” with Marilyn Monroe. Jimmy Stewart also distinguished himself serving with the U.S. Army Air Corps and he retired from U.S. Air Force as Brigadier General. This is highest rank by any Hollywood actor. He had a clause inserted in his movie contracts prohibiting from production companies mentioning his military service. Robert Taylor was once a successful actor and also husband of Barbara Stanwyck. He later became a friendly witness against his fellow men in Hollywood at the hearing House Committee on Un-American Activities to root out leftist and liberals from Hollywood. MGM later honored him by naming the writer’s building as Robert Taylor’s Building. In 1989, a group of writers successfully protested to have that name removed. John Wayne was another actor who wanted to serve in the military but an injury to his ear during the filming of “The Wild Wind’ in 1942 made him unfit to enroll in the armed forces. The Republican Party asked him to run for the presidency in 1968 but he refused saying that the public wouldn’t take him seriously.
There are numerous pictures in this book, but all are in black and white. My favorite pictures are; a rare picture of Barrymore brothers with sister Ethel Barrymore; a 1920s picture of Douglas Fairbanks with his son; a 1957 picture of Henry Fonda with daughter Jane and Peter; a 1959 picture of Doris Day and Rock Hudson; a 1920s picture of Rudolph Valentino and a memorable 1926 picture from the film “Son of Sheik.” This is certainly an interesting book to read, and recommended to readers interested in Hollywood history and classic films.
This is definitely a collector’s book, compiled by Turner Classic Movies (TCM) that brings into life some of the most unforgettable leading men during studio era. They thrilled audiences, and the studios capitalized on their looks, and appeal during the golden age of Hollywood. The movie-fans got to see their favorite lead actors and relate personally with them. These men flirted, fought, loved, suffered, sang and danced in movies, and the viewers found joy and forgot their own insecurities in life.
Each of these men were unique in style; John Gilbert, Rudolph Valentino, Douglas Fairbanks, Clark Gable, Cary Grant, Gary Cooper, John Wayne, Humphrey Bogart, Jimmy Stewart, and Frank Sinatra. All of them wanted to perform well and please the audience. But there were glitches in the early careers of some stars. Some studios had second thoughts about them. A Hollywood executive lamented about employing Fred Astaire: “Can’t act, slightly bald, also dances.” At Warner Brothers Studios, Darryl Zanuck complained about Clark Gable as “his ears are too big, and he looks like an ape.” Now this is all in history, and Hollywood made the best of these men and they became very productive for the film industry.
A brief summary of the book is as follows; the work of each actor in this book is narrated with a brief introduction to their movies, behind the scenes stories and a very short bio of about 50 leading men. Some of they are fascinating to read. New demystifying biographies say how strenuously icons like Cary Grant worked to fashion his glistening image as vigilant as any glamour girl. Few stars blazed as brightly or fell as precipitously as John Barrymore. He with his brother Lionel, and his sister Ethel Barrymore constituted “The Royal Family of Broadway” with John clearly the King. He commanded the box office. His role in the movie “Dinner at Eight” was clean reflection of his personal life. Humphrey Bogart was successful before he broke into movies and later became the leader of the Rat Pack, a group of drinking buddies who got together at Mike Romanoff’s Restaurant in Hollywood. Frank Sinatra was just a member and became its leader when Bogie passed away. Charlie Chaplin was well known for his political controversy. He often criticized the government, law-enforcement, and big business. He was disliked during WWII by largely conservative groups. After he returned from England in 1952, he was denied re-entry to the United States, and he retired in Switzerland. Even in 1972, a decision by the Academy to honor him was considered controversial.
Jane Fonda recalled later in her life that her father fell in love with actress Lucille Ball when they did the movie “Yours, Mine, and Ours” and would have liked to marry her in real life. Clark Gable, three years after the death of his wife Carole Lombard, and over studios objection joined the U. S. Army Air Corps distinguishing himself with wartime service. Lombard was largely responsible since she encouraged him to join the armed forces when she was alive. He returned to Hollywood and made big hits like “Mogambo” with Grace Kelly, and “Misfits” with Marilyn Monroe. Jimmy Stewart also distinguished himself serving with the U.S. Army Air Corps and he retired from U.S. Air Force as Brigadier General. This is highest rank by any Hollywood actor. He had a clause inserted in his movie contracts prohibiting from production companies mentioning his military service. Robert Taylor was once a successful actor and also husband of Barbara Stanwyck. He later became a friendly witness against his fellow men in Hollywood at the hearing House Committee on Un-American Activities to root out leftist and liberals from Hollywood. MGM later honored him by naming the writer’s building as Robert Taylor’s Building. In 1989, a group of writers successfully protested to have that name removed. John Wayne was another actor who wanted to serve in the military but an injury to his ear during the filming of “The Wild Wind’ in 1942 made him unfit to enroll in the armed forces. The Republican Party asked him to run for the presidency in 1968 but he refused saying that the public wouldn’t take him seriously.
There are numerous pictures in this book, but all are in black and white. My favorite pictures are; a rare picture of Barrymore brothers with sister Ethel Barrymore; a 1920s picture of Douglas Fairbanks with his son; a 1957 picture of Henry Fonda with daughter Jane and Peter; a 1959 picture of Doris Day and Rock Hudson; a 1920s picture of Rudolph Valentino and a memorable 1926 picture from the film “Son of Sheik.” This is certainly an interesting book to read, and recommended to readers interested in Hollywood history and classic films.
Thursday, November 10, 2016
Book Reviewed: The Rig Veda: Book 1, by Ralph T.H. Griffith
Rig-Veda Mandala-I: The English Translation of sacred texts (four stars)
Ralph Griffith’s translation of Rigveda is based on Max Müller's six-volume Sanskrit edition of the sacred text, and also by the work of well-known Vedic interpreter Sayana. This translation is readily available online. The exegesis of Vedic religion is complex but its interpretation is still debated by many scholars, and Griffith’s translation is useful in understanding the meaning of the sacred texts.
Rigveda is one of the four canonical sacred texts (śruti) of Hinduism which has 1,028 hymns in ten books (Mandalas). Generally each hymn contains more than one verse, and the entire text of Rigveda consists of 10,600 verses. The hymns are arranged according to its composer and often a group of hymns are composed by a single seer. Books 2-7, known as the "family books" is written by the members of the same family. There are ten families of seers who are responsible for the composition of large part of Rigveda. Hymns are typically dedicated to various deities, and the chief of whom are Indra, Agni, Soma, the Adityas, Mitra, Varuna, Ushas, Savitr, Vishnu, Rudra, Pushan, Brihaspati and others.
One of the most important hymns of Rig-Veda in spiritual and philosophical dimesnsion is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the schism of Western scholars that does not acknowledge the wisdom in Rig-Veda. These verses are not merely liturgical. One can understand the mind of the seer who remains calm and unflinching in the analysis of reality and the cosmic creation. A sample of the translation for Rigveda I.164.17 illustrate the veracity and meaning of the translation:
Rigveda I.164.17
Transliteration:
avaḥ pareṇa para enāvareṇa padā vatsaṃ bibhratī ghaurudasthāt
sā kadrīcī kaṃ svidardhaṃ parāghāt kva svit sūte nahi yūthe antaḥ
R.T.H Griffith Translation
Beneath the upper realm, above this lower, bearing her calf at foot the Cow hath risen.
Witherward, to what place hath she departed? Where calves she? Not amid this herd of cattle.
R.L. Kashyap and Kapali Shastriar Translation:
Below the far-off (domain), or above the lower, The Ray-cow has stood up,
Bearing her calf with her feet. Where has she gone away, to which half (ardha) has she gone?
Where is she given birth? (Clearly) it is not in this herd.
Devichand Translation (based on Dayananda’s interpretation)
Beneath the upper realm above, this lower one, this power of God sustaining the universe is visible everywhere. None knows whence it comes and whither it goes, and to what Gracious God it returns. How it creates innumerable creatures is not known. God Himself belongs not to the world of Matter.
Swami Amritananda Translation:
The cow (oblation in the form of a cow) carrying her calf (Agni) underneath her forefeet and then above her with her hind-feet has risen. Where has she gone? For whose sake did she turn back when half way? Where does she deliver? Certainly not amidst the herd.
H.H. Wilson Translation:
The cow, holding her calf underneath her fore-feet, and then above with her hind feet, has risen up; whither is she gone; to whom has she turned back when half-way; where does she bear young: it is not amidst the herd.
Ralph Griffith’s translation of Rigveda is based on Max Müller's six-volume Sanskrit edition of the sacred text, and also by the work of well-known Vedic interpreter Sayana. This translation is readily available online. The exegesis of Vedic religion is complex but its interpretation is still debated by many scholars, and Griffith’s translation is useful in understanding the meaning of the sacred texts.
Rigveda is one of the four canonical sacred texts (śruti) of Hinduism which has 1,028 hymns in ten books (Mandalas). Generally each hymn contains more than one verse, and the entire text of Rigveda consists of 10,600 verses. The hymns are arranged according to its composer and often a group of hymns are composed by a single seer. Books 2-7, known as the "family books" is written by the members of the same family. There are ten families of seers who are responsible for the composition of large part of Rigveda. Hymns are typically dedicated to various deities, and the chief of whom are Indra, Agni, Soma, the Adityas, Mitra, Varuna, Ushas, Savitr, Vishnu, Rudra, Pushan, Brihaspati and others.
One of the most important hymns of Rig-Veda in spiritual and philosophical dimesnsion is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the schism of Western scholars that does not acknowledge the wisdom in Rig-Veda. These verses are not merely liturgical. One can understand the mind of the seer who remains calm and unflinching in the analysis of reality and the cosmic creation. A sample of the translation for Rigveda I.164.17 illustrate the veracity and meaning of the translation:
Rigveda I.164.17
Transliteration:
avaḥ pareṇa para enāvareṇa padā vatsaṃ bibhratī ghaurudasthāt
sā kadrīcī kaṃ svidardhaṃ parāghāt kva svit sūte nahi yūthe antaḥ
R.T.H Griffith Translation
Beneath the upper realm, above this lower, bearing her calf at foot the Cow hath risen.
Witherward, to what place hath she departed? Where calves she? Not amid this herd of cattle.
R.L. Kashyap and Kapali Shastriar Translation:
Below the far-off (domain), or above the lower, The Ray-cow has stood up,
Bearing her calf with her feet. Where has she gone away, to which half (ardha) has she gone?
Where is she given birth? (Clearly) it is not in this herd.
Devichand Translation (based on Dayananda’s interpretation)
Beneath the upper realm above, this lower one, this power of God sustaining the universe is visible everywhere. None knows whence it comes and whither it goes, and to what Gracious God it returns. How it creates innumerable creatures is not known. God Himself belongs not to the world of Matter.
Swami Amritananda Translation:
The cow (oblation in the form of a cow) carrying her calf (Agni) underneath her forefeet and then above her with her hind-feet has risen. Where has she gone? For whose sake did she turn back when half way? Where does she deliver? Certainly not amidst the herd.
H.H. Wilson Translation:
The cow, holding her calf underneath her fore-feet, and then above with her hind feet, has risen up; whither is she gone; to whom has she turned back when half-way; where does she bear young: it is not amidst the herd.
Book Reviewed: Tales of Ancient India by J. A. B. van Buitenen
Legends and folk lore: A collection of love and romantic stories
This is a collection of 26 stories translated into English from the Sanskrit version of Brhatkathāsaritsāgara (The Ocean of the Rivers of the Great Romance). This is a famous 11th-century collection of Indian legends and folk tales about love, romance, marriage and relationships. The Sanskrit version is said to have been adopted originally from Guṇāḍhya's Brihatkatha, which was written in an obscure language known as Paiśācī. This work is now extinct but a few recensions and adaptations such as the one written by Somadeva is available. In this book by University of Chicago Professor van Buitenen translates Somadeva’s work in such a way that the original style, fantasy and love is retained. The first English translation of the Somadeva’s work by Charles Henry Tawney was published in 1880, and the Norman Mosley Penzer’s book published in 1924 supplemented the stories with notes and compared to the legends of other ancient literature.
A brief summary of the book is as follows: In ancient India, for cultural companionship, the gentleman had to look for a courtesan or the dancing girl of a temple who lived in an artistic role. She was generally an accomplished musician, dancer, actress, and singer and probably contributed more to special grace and elegance of civilization than she was credited for during ancient times. Despite her high talents she could not pass for a high-born to be married and have children like a “normal” female. Despite this obstacle, the Indian literature and the authors had some fascination for a courtesan in love and romance. In the ‘First Prince’s story,” the ambiguity of a courtesan is brought out in the character study of two sisters, Kamamanjari and Ragamanjari. The former is known for ruthless rapacity and faithlessness, and the later a loving actress and a mistress. In the “Travels of Sanudasa, the Merchant,” Ganga, the harlot represents both greed and loving nature. But in the story “Man who impersonates God Vishnu” the courtesan is very loving and happily married off. Other legends similar to this include Lilith of ancient Hebrews, who was regarded as a female demon (lilītu) in Mesopotamian religion, and she was the first wife of Adam. When she finds out that Adam was trying to over-power her, Lilith leaves Adam in Eden. She returns, later, to force herself upon him. However, before doing so she attaches herself to Cain and bears him numerous spirits and demons. She later becomes demonized due to the rise of patriarchy. Other modern views hold that Lilith is a dark moon goddess on par with the Hindu goddess Kali.
In the story of “The Tale of the Two Bawds.” A courtesan becomes the betrayer by first professing her love for the son of the merchant in order to gain his fortune. Then she fleeces him and drops him. The gist of this story is that courtesan represents faithlessness and deceit, and the young merchant is a gullible man.
In the story “Mahosadha’s Judgment” is derived from a Buddhist Jataka story. Buddha in one of his previous incarnations as the sage Mahosadha arbitrates between a mother and a Yakshini (a beautiful mythical being, a temptress) who kidnapped a mother's baby and claimed that was hers. The sage announced a tug war: He drew a line on the ground and asked the two to stand on opposite sides of the line, one holding baby’s feet and the other baby’s hands - The one who would pull the baby's whole body beyond the line would get him. The mother, seeing how the baby suffers, released him and let the Yakshini take him. When the sage saw that, he turned the baby back to the hands of the true mother, exposed the identity of the Yakshini and expelled her from the land. The Judgment of Solomon refers to a similar story from the Hebrew Bible in which King Solomon of Israel ruled between two women both claiming to be the mother of a child by tricking the parties into revealing their true feelings.
The story “The Red Lotus of Chastity” is about the women and protecting the honor. Guhasena is married to Devasmita get matching red lotus tattoos that will disappear if one of them is unfaithful. While on a business trip Guhasena gets drunk and tells his buddies about the red lotus. Then his friends go and try to seduce Devasmita, when she finds out what they're up to, she tricks them. Her husband on learning this betrayal comes to her rescue and destroys her attackers.
Author van Buitenen is a well-known scholar of Sanskrit and translated numerous works of Hindu literature including Mahabharata and Bhagavadgita. This is a non-religious literature and sure is interesting.
This is a collection of 26 stories translated into English from the Sanskrit version of Brhatkathāsaritsāgara (The Ocean of the Rivers of the Great Romance). This is a famous 11th-century collection of Indian legends and folk tales about love, romance, marriage and relationships. The Sanskrit version is said to have been adopted originally from Guṇāḍhya's Brihatkatha, which was written in an obscure language known as Paiśācī. This work is now extinct but a few recensions and adaptations such as the one written by Somadeva is available. In this book by University of Chicago Professor van Buitenen translates Somadeva’s work in such a way that the original style, fantasy and love is retained. The first English translation of the Somadeva’s work by Charles Henry Tawney was published in 1880, and the Norman Mosley Penzer’s book published in 1924 supplemented the stories with notes and compared to the legends of other ancient literature.
A brief summary of the book is as follows: In ancient India, for cultural companionship, the gentleman had to look for a courtesan or the dancing girl of a temple who lived in an artistic role. She was generally an accomplished musician, dancer, actress, and singer and probably contributed more to special grace and elegance of civilization than she was credited for during ancient times. Despite her high talents she could not pass for a high-born to be married and have children like a “normal” female. Despite this obstacle, the Indian literature and the authors had some fascination for a courtesan in love and romance. In the ‘First Prince’s story,” the ambiguity of a courtesan is brought out in the character study of two sisters, Kamamanjari and Ragamanjari. The former is known for ruthless rapacity and faithlessness, and the later a loving actress and a mistress. In the “Travels of Sanudasa, the Merchant,” Ganga, the harlot represents both greed and loving nature. But in the story “Man who impersonates God Vishnu” the courtesan is very loving and happily married off. Other legends similar to this include Lilith of ancient Hebrews, who was regarded as a female demon (lilītu) in Mesopotamian religion, and she was the first wife of Adam. When she finds out that Adam was trying to over-power her, Lilith leaves Adam in Eden. She returns, later, to force herself upon him. However, before doing so she attaches herself to Cain and bears him numerous spirits and demons. She later becomes demonized due to the rise of patriarchy. Other modern views hold that Lilith is a dark moon goddess on par with the Hindu goddess Kali.
In the story of “The Tale of the Two Bawds.” A courtesan becomes the betrayer by first professing her love for the son of the merchant in order to gain his fortune. Then she fleeces him and drops him. The gist of this story is that courtesan represents faithlessness and deceit, and the young merchant is a gullible man.
In the story “Mahosadha’s Judgment” is derived from a Buddhist Jataka story. Buddha in one of his previous incarnations as the sage Mahosadha arbitrates between a mother and a Yakshini (a beautiful mythical being, a temptress) who kidnapped a mother's baby and claimed that was hers. The sage announced a tug war: He drew a line on the ground and asked the two to stand on opposite sides of the line, one holding baby’s feet and the other baby’s hands - The one who would pull the baby's whole body beyond the line would get him. The mother, seeing how the baby suffers, released him and let the Yakshini take him. When the sage saw that, he turned the baby back to the hands of the true mother, exposed the identity of the Yakshini and expelled her from the land. The Judgment of Solomon refers to a similar story from the Hebrew Bible in which King Solomon of Israel ruled between two women both claiming to be the mother of a child by tricking the parties into revealing their true feelings.
The story “The Red Lotus of Chastity” is about the women and protecting the honor. Guhasena is married to Devasmita get matching red lotus tattoos that will disappear if one of them is unfaithful. While on a business trip Guhasena gets drunk and tells his buddies about the red lotus. Then his friends go and try to seduce Devasmita, when she finds out what they're up to, she tricks them. Her husband on learning this betrayal comes to her rescue and destroys her attackers.
Author van Buitenen is a well-known scholar of Sanskrit and translated numerous works of Hindu literature including Mahabharata and Bhagavadgita. This is a non-religious literature and sure is interesting.
Tuesday, November 8, 2016
Book Reviewed: Hebrew law in Biblical times, by Ze’ev W. Falk
Law and Religion in Ancient Israel
This book is a conceptual approach to Hebrew law which is largely based on the books of Old Testament and Torah. It documents the life in ancient Israel and the norms practiced with emphasis on a range of topics including, property and contracts, personal rights, family relationships, inheritance, crime and punishment. The ancient Hebrew tradition did not distinguish between the norms of religion, morality and law. A citizen was required to obey all of them with equal consciousness. Torah includes both Rabbinic Judaism's written law and oral law that enforces Jewish religious teachings throughout history, including the Mishnah, the Talmud, the Midrash and more. Torah’s narratives, statements of law, and statements of ethics are referred to as biblical law or commandments.
The Pentateuch, the first five books of the twenty-four books of the Tanakh (Hebrew Bible) including perushim (rabbinic commentaries) refers to the books of Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. They include the oldest codes of law including the Ten Commandments. The covenants of the Pentateuch are agreements made between God and Abraham and the ancient Israelites. Deuteronomy 30:5 and 30:20; Genesis 15:18-21 and 17:8 and Jeremiah 31:30-33 details the covenant that explicitly entitles Hebrew population to own the land of Israel.
The author quotes from the five books of Pentateuch extensively to narrate the social structure, government and the law that regulated life in ancient Israel. A wide range of specific topics are discussed including, royal administration, kingship, local government, role of synagogue, administration of justice, the operation of courts, rabbinic interpreters, contracts, property law, ownership, barter and sale; civilian rights and how it differed from its application to women, foreigners, and slaves; family law, divorce, polygyny, endogamy, children and male succession; crime and punishment.
The Hebrew laws were dominantly sexist, and all interpreters of law and holy books were men. Slavery was tolerated for a variety of reasons. The law and religion were inseparable and the name of god was very convenient to enforce law that was discriminatory.
This book is a conceptual approach to Hebrew law which is largely based on the books of Old Testament and Torah. It documents the life in ancient Israel and the norms practiced with emphasis on a range of topics including, property and contracts, personal rights, family relationships, inheritance, crime and punishment. The ancient Hebrew tradition did not distinguish between the norms of religion, morality and law. A citizen was required to obey all of them with equal consciousness. Torah includes both Rabbinic Judaism's written law and oral law that enforces Jewish religious teachings throughout history, including the Mishnah, the Talmud, the Midrash and more. Torah’s narratives, statements of law, and statements of ethics are referred to as biblical law or commandments.
The Pentateuch, the first five books of the twenty-four books of the Tanakh (Hebrew Bible) including perushim (rabbinic commentaries) refers to the books of Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. They include the oldest codes of law including the Ten Commandments. The covenants of the Pentateuch are agreements made between God and Abraham and the ancient Israelites. Deuteronomy 30:5 and 30:20; Genesis 15:18-21 and 17:8 and Jeremiah 31:30-33 details the covenant that explicitly entitles Hebrew population to own the land of Israel.
The author quotes from the five books of Pentateuch extensively to narrate the social structure, government and the law that regulated life in ancient Israel. A wide range of specific topics are discussed including, royal administration, kingship, local government, role of synagogue, administration of justice, the operation of courts, rabbinic interpreters, contracts, property law, ownership, barter and sale; civilian rights and how it differed from its application to women, foreigners, and slaves; family law, divorce, polygyny, endogamy, children and male succession; crime and punishment.
The Hebrew laws were dominantly sexist, and all interpreters of law and holy books were men. Slavery was tolerated for a variety of reasons. The law and religion were inseparable and the name of god was very convenient to enforce law that was discriminatory.
Book Reviewed: Sacred Writings, 5: Hinduism - The Rig Veda by Ralph T.H. Griffith
An English Translation of Rigveda
Ralph Griffith’s translation of Rigveda is based on Max Müller's six-volume Sanskrit edition of the sacred text, and also by the work of well-known Vedic interpreter Sayana. This translation is readily available online. The exegesis of Vedic religion is complex but its interpretation is still debated by many scholars, and Griffith’s translation is useful in understanding the meaning of the sacred texts.
Rigveda is one of the four canonical sacred texts (śruti) of Hinduism which has 1,028 hymns in ten books (Mandalas). Generally each hymn contains more than one verse, and the entire text of Rigveda consists of 10,600 verses. The hymns are arranged according to its composer and often a group of hymns are composed by a single seer. Books 2-7, known as the "family books" is written by the members of the same family. There are ten families of seers who are responsible for the composition of Rigveda. Hymns are typically dedicated to various deities, and the chief of whom are Indra, Agni, Soma, the Adityas, Mitra, Varuna, Ushas, Savitr, Vishnu, Rudra, Pushan, Brihaspati and others.
The Gāyatrī Mantra is a highly revered mantra from the Rig Veda 3.62.10, which is recited commonly in modern Hinduism. For example, Griffith translation of this hymn reads as follows: “May we attain that excellent glory of Savitar the God: So May he stimulate our prayers.” The same hymn is translated slightly differently by Monier-Williams. “Let us meditate on that excellent glory of the divine vivifying Sun, May he enlighten our understandings.”
One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts emerge from this composition. This hymn has influenced generations of seers of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi Dīrghatamas, the author of hymns 140 to 164 of Mandala-1 was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the schism of Western scholars in not acknowledging the wisdom in Rig-Veda, and treat it merely as a liturgical text, we can study the mind of this rishi who remains calm and unflinching in the description of cosmic creation.
Ralph Griffith’s translation of Rigveda is based on Max Müller's six-volume Sanskrit edition of the sacred text, and also by the work of well-known Vedic interpreter Sayana. This translation is readily available online. The exegesis of Vedic religion is complex but its interpretation is still debated by many scholars, and Griffith’s translation is useful in understanding the meaning of the sacred texts.
Rigveda is one of the four canonical sacred texts (śruti) of Hinduism which has 1,028 hymns in ten books (Mandalas). Generally each hymn contains more than one verse, and the entire text of Rigveda consists of 10,600 verses. The hymns are arranged according to its composer and often a group of hymns are composed by a single seer. Books 2-7, known as the "family books" is written by the members of the same family. There are ten families of seers who are responsible for the composition of Rigveda. Hymns are typically dedicated to various deities, and the chief of whom are Indra, Agni, Soma, the Adityas, Mitra, Varuna, Ushas, Savitr, Vishnu, Rudra, Pushan, Brihaspati and others.
The Gāyatrī Mantra is a highly revered mantra from the Rig Veda 3.62.10, which is recited commonly in modern Hinduism. For example, Griffith translation of this hymn reads as follows: “May we attain that excellent glory of Savitar the God: So May he stimulate our prayers.” The same hymn is translated slightly differently by Monier-Williams. “Let us meditate on that excellent glory of the divine vivifying Sun, May he enlighten our understandings.”
One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts emerge from this composition. This hymn has influenced generations of seers of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi Dīrghatamas, the author of hymns 140 to 164 of Mandala-1 was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the schism of Western scholars in not acknowledging the wisdom in Rig-Veda, and treat it merely as a liturgical text, we can study the mind of this rishi who remains calm and unflinching in the description of cosmic creation.
Friday, November 4, 2016
Book Reviewed: Leading Couples by Turner Classic Movies
The leading couples of Hollywood since the golden era
This is definitely a collector’s book, compiled by Turner Classic Movies (TCM) that brings into life some of the most unforgettable couples during studio era. They thrilled audiences and the studios capitalized on a simple theme to attract viewers and create movie fan base. This simple marketing strategy worked and the fans got to see their favorite couples again and again in many films, and perhaps relate their own lives to the stories of the movies. These movie sweethearts teased, flirted, fought, loved, suffered, laughed, sang and danced in several movies. The work of each team is unique. Janet Gaynor and Charles Farrell made 12 films together at Fox Studios, 1927 to 1934 which were sweet, noble and unsophisticated. Greta Garbo and John Gilbert were teamed four time by MGM Studios and the relationships onscreen were supposed to be stormy, sensual, complex and often doomed. Doris Day and Rock Hudson were playful and fun-loving couple. Myrna Loy and William Powell did 14 films together and gave fans plenty of joy in playfulness and working together as a team. Ginger Rogers and Fred Astaire; and Jeanette McDonald and Nelson Eddy thrilled audience with their magical performances.
A brief summary of the book is as follows; the work of each couple in this book is narrated with a brief introduction to the movies they did together, a brief history of their onscreen relationship, behind the scenes stories, off-screen relationships, key quotes and a very short bio of each of about 40 couples. Some of they are fascinating stories. For example, in the movie “Casablanca”, lack of proper script delayed production and the actors could barely remember the dialogue, since it was received only few hours prior to shooting. And in the iconic parting scene of the movie, director Michael Curtiz insisted that Rick (Bogart) must kiss Ilsa (Bergman) before sending her off on a plane. Humphrey Bogart refused saying that it is out of character of Rick. Producer Hal Wallis had to step in to settle the matter and he sided with Bogart. When the allied forces landed in Casablanca during the filming, the sales and marketing department of Warner Brothers Studio wanted to include this fact in the movie, but David O. Selznick and Studio Head Jack Warner decided that changing the ending would be a mistake.
Jean Harlow and Clark Gable did five movies together and their last movie was “Saratoga.” When Gable heard that Harlow passed away while he was on the set, he was tremendously sad and overcame with emotion and raced to the hospital. He was one of the pallbearer and an usher at her funeral. Greta Garbo and John Gilbert were fascinating couples and he was the only man in her life who convinced the reclusive Swede to meet him at the altar. He was also the only man who also persuaded her to attend a premiere of a film and smile for a photograph. Their real life romance was doomed, since it started, because of Garbo’s fierce desire to be independent collided with Gilbert’s passion. His love for Garbo also was his downfall from his successful acting career and died shortly after that at the age of 39. Janet Gaynor on her relationship with Charles Farrell said they cared for each other intensely, but “it wasn’t marrying kind of love. No one understands anyway. Actors are terribly attractive but not to commit your life to.” Farrell married actress Virginia Valli and Gaynor married her publicist Lydell Peck. The news hit the press and it hurt at the box office; her fans were baffled. Mickey Rooney and Judy Garland’ team work was a match made in heaven. They were great friends. Rooney was brought in to prop up her popularity and appeal with movie goers and it worked, and in fact she became more popular than him. MGM Studios used the pair for their 1939 movie, “Babes in Arms” and it was the most profitable film for the studio and studio head Louis B. Mayer was so happy that he teamed them up in three more musicals produced by Arthur Freed. Busby Berkeley directed her musicals. His wild temperament and long working hours fueled her insecurities and she hit the alcohol and prescription drugs.
There are numerous pictures in this book, but all are in black and white. But one drawback of this book is TCM while playing politically correct, held out some facts. These couple-team had problems in their personal and professional relationship. There are numerous books that discusses this. Problems related to working together on the set and sexual affairs were common among some of the star-couples. TCM attempts to provide a “happy” picture.
This is definitely a collector’s book, compiled by Turner Classic Movies (TCM) that brings into life some of the most unforgettable couples during studio era. They thrilled audiences and the studios capitalized on a simple theme to attract viewers and create movie fan base. This simple marketing strategy worked and the fans got to see their favorite couples again and again in many films, and perhaps relate their own lives to the stories of the movies. These movie sweethearts teased, flirted, fought, loved, suffered, laughed, sang and danced in several movies. The work of each team is unique. Janet Gaynor and Charles Farrell made 12 films together at Fox Studios, 1927 to 1934 which were sweet, noble and unsophisticated. Greta Garbo and John Gilbert were teamed four time by MGM Studios and the relationships onscreen were supposed to be stormy, sensual, complex and often doomed. Doris Day and Rock Hudson were playful and fun-loving couple. Myrna Loy and William Powell did 14 films together and gave fans plenty of joy in playfulness and working together as a team. Ginger Rogers and Fred Astaire; and Jeanette McDonald and Nelson Eddy thrilled audience with their magical performances.
A brief summary of the book is as follows; the work of each couple in this book is narrated with a brief introduction to the movies they did together, a brief history of their onscreen relationship, behind the scenes stories, off-screen relationships, key quotes and a very short bio of each of about 40 couples. Some of they are fascinating stories. For example, in the movie “Casablanca”, lack of proper script delayed production and the actors could barely remember the dialogue, since it was received only few hours prior to shooting. And in the iconic parting scene of the movie, director Michael Curtiz insisted that Rick (Bogart) must kiss Ilsa (Bergman) before sending her off on a plane. Humphrey Bogart refused saying that it is out of character of Rick. Producer Hal Wallis had to step in to settle the matter and he sided with Bogart. When the allied forces landed in Casablanca during the filming, the sales and marketing department of Warner Brothers Studio wanted to include this fact in the movie, but David O. Selznick and Studio Head Jack Warner decided that changing the ending would be a mistake.
Jean Harlow and Clark Gable did five movies together and their last movie was “Saratoga.” When Gable heard that Harlow passed away while he was on the set, he was tremendously sad and overcame with emotion and raced to the hospital. He was one of the pallbearer and an usher at her funeral. Greta Garbo and John Gilbert were fascinating couples and he was the only man in her life who convinced the reclusive Swede to meet him at the altar. He was also the only man who also persuaded her to attend a premiere of a film and smile for a photograph. Their real life romance was doomed, since it started, because of Garbo’s fierce desire to be independent collided with Gilbert’s passion. His love for Garbo also was his downfall from his successful acting career and died shortly after that at the age of 39. Janet Gaynor on her relationship with Charles Farrell said they cared for each other intensely, but “it wasn’t marrying kind of love. No one understands anyway. Actors are terribly attractive but not to commit your life to.” Farrell married actress Virginia Valli and Gaynor married her publicist Lydell Peck. The news hit the press and it hurt at the box office; her fans were baffled. Mickey Rooney and Judy Garland’ team work was a match made in heaven. They were great friends. Rooney was brought in to prop up her popularity and appeal with movie goers and it worked, and in fact she became more popular than him. MGM Studios used the pair for their 1939 movie, “Babes in Arms” and it was the most profitable film for the studio and studio head Louis B. Mayer was so happy that he teamed them up in three more musicals produced by Arthur Freed. Busby Berkeley directed her musicals. His wild temperament and long working hours fueled her insecurities and she hit the alcohol and prescription drugs.
There are numerous pictures in this book, but all are in black and white. But one drawback of this book is TCM while playing politically correct, held out some facts. These couple-team had problems in their personal and professional relationship. There are numerous books that discusses this. Problems related to working together on the set and sexual affairs were common among some of the star-couples. TCM attempts to provide a “happy” picture.
Wednesday, November 2, 2016
Book Reviewed: The rig Veda: First Mandala, by David R Slavitt
Rig-Veda Mandala-I: The translation of sacred texts
This book is a translation of Mandala-1 (Book One) of Rig-Veda which contain esoteric and mystical verses. The author has offered his own translation. One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the fact that schism of Western scholars that does not acknowledge the wisdom in Rig-Veda, and treat it merely as a liturgical text, one can understand the mind of the seer of this hymn who remains calm and unflinching in the analysis of reality and the cosmic creation.
The highlight of Mandala I (RV I.164) is the verse 46, this is the first documentary evidence for strictly the monotheistic nature of Rig-Veda that later evolved conspicuously in Upanishads, Brahma-sutra and Vedanta philosophy. The Hindu belief system acknowledges that there is only ONE God, but He is worshiped in different forms. This verse assures us that Vedic faith is not a polytheistic religion. Hence, the source of all origin of all creations is really the One Unit-Absolute, the Truth – a divine hawk (like Lord Garuda) swooping down with nectar. But sages designate him by different names; Indra, Mitra, Varuna, Agni, Yama, Matarishva, etc. (indraṃ mitraṃ varuṇamaghnimāhuratho divyaḥ sa suparṇo gharutmān; ekaṃ sad viprā bahudhā vadantyaghniṃ yamaṃ mātariśvānamāhuḥ).
I prefer R.T.H Griffith’s English translation which is readily available online, and the Sanskrit version with transliteration of Rig-Veda is also available online at sacred-texts.com. This author’s translation to English is adequate and this is certainly a good reference book for readers interested in Rig-Veda and ancient Hinduism.
This book is a translation of Mandala-1 (Book One) of Rig-Veda which contain esoteric and mystical verses. The author has offered his own translation. One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the fact that schism of Western scholars that does not acknowledge the wisdom in Rig-Veda, and treat it merely as a liturgical text, one can understand the mind of the seer of this hymn who remains calm and unflinching in the analysis of reality and the cosmic creation.
The highlight of Mandala I (RV I.164) is the verse 46, this is the first documentary evidence for strictly the monotheistic nature of Rig-Veda that later evolved conspicuously in Upanishads, Brahma-sutra and Vedanta philosophy. The Hindu belief system acknowledges that there is only ONE God, but He is worshiped in different forms. This verse assures us that Vedic faith is not a polytheistic religion. Hence, the source of all origin of all creations is really the One Unit-Absolute, the Truth – a divine hawk (like Lord Garuda) swooping down with nectar. But sages designate him by different names; Indra, Mitra, Varuna, Agni, Yama, Matarishva, etc. (indraṃ mitraṃ varuṇamaghnimāhuratho divyaḥ sa suparṇo gharutmān; ekaṃ sad viprā bahudhā vadantyaghniṃ yamaṃ mātariśvānamāhuḥ).
I prefer R.T.H Griffith’s English translation which is readily available online, and the Sanskrit version with transliteration of Rig-Veda is also available online at sacred-texts.com. This author’s translation to English is adequate and this is certainly a good reference book for readers interested in Rig-Veda and ancient Hinduism.
Book Reviewed: Rig-Veda Summary by Rajmohan Nath
Rig-Veda Mandala-I: The translation and interpretation of sacred texts
This book is a translation of Mandala-1 (Book One) of Rig-Veda and offers an esoteric and mystical interpretation of selected verses. The author has offered his own translation from Sanskrit, and metaphysical elements gleaned from his interpretations. One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the fact that schism of Western scholars that does not acknowledge the wisdom in Rig-Veda, and treat it merely as a liturgical text, one can understand the mind of the seer of this hymn who remains calm and unflinching in the analysis of reality and the cosmic creation.
The highlight of the author’s interpretation include the following; verses 35-36, the universe act per the guidance of Vishnu. The universe is held by means of mental force and manifested the whole universe by scintillation of this energy (Vipaschita). The Brahman’s highest heaven where Speech abides; verses 38-39, upon what syllable of holy praise-song, as it were their highest heaven, the Gods repose them (ṛco akṣare parame vyoman). The author states that this is first reference to the cosmic sound OM that generates the supreme sphere in which all gods exist. And he who can realize this himself get merged with this cosmic sound, and he who does not vainly recites Rig-Vedic hymns. In the verse 46, we find the evidence for strictly the monotheistic nature of Rig-Veda that later evolved conspicuously in Upanishads, Brahma-sutra and Vedanta philosophy. The Hindu belief system acknowledges that there is only ONE God, but He is worshiped in different forms. This verse assures us that Vedic faith is not a polytheistic religion. Hence, the source of all origin of all creations is really the One Unit-Absolute, the Truth – a divine hawk (like Lord Garuda) swooping down with nectar. But sages designate him by different names; Indra, Mitra, Varuna, Agni, Yama, Matarishva, etc. (indraṃ mitraṃ varuṇamaghnimāhuratho divyaḥ sa suparṇo gharutmān; ekaṃ sad viprā bahudhā vadantyaghniṃ yamaṃ mātariśvānamāhuḥ).
The numbering of verses in this book are slightly different from other works. I have used the numbering systems of R.T.H Griffith whose translation is readily available online, and the Sanskrit version with transliteration of Rig-Veda is also available online at sacred-texts.com. The author’s translation to English is adequate and his exegetical analysis is interesting but there would be schism on the part of some readers and it open for debate. This is certainly a good reference book for readers interested in Rig-Veda and ancient Hinduism.
This book is a translation of Mandala-1 (Book One) of Rig-Veda and offers an esoteric and mystical interpretation of selected verses. The author has offered his own translation from Sanskrit, and metaphysical elements gleaned from his interpretations. One of the most important hymns of Rig-Veda in spiritual and philosophical terms is found in the hymn 164 of Mandala-1. There are 52 verses in this hymn and some of the profound thoughts seems to emerge from the seer of this hymn. This hymn may have influenced the seers and scribes of early Upanishads that dealt with physical reality and quantum consciousness. This hymn is addressed to Visvedevas (viśve-devāḥ "all-gods"); various Vedic gods taken together as a whole. The rishi or the scribe is Dīrghatamas. He was well known for his philosophical views in the Rig-Veda, and the author of hymns 140 to 164 of Mandala-1. He was the chief priest of King Bharata (Aitareya Brahmana VIII.23), after whom the nation was named as Bharata (the traditional name of India). Despite the fact that schism of Western scholars that does not acknowledge the wisdom in Rig-Veda, and treat it merely as a liturgical text, one can understand the mind of the seer of this hymn who remains calm and unflinching in the analysis of reality and the cosmic creation.
The highlight of the author’s interpretation include the following; verses 35-36, the universe act per the guidance of Vishnu. The universe is held by means of mental force and manifested the whole universe by scintillation of this energy (Vipaschita). The Brahman’s highest heaven where Speech abides; verses 38-39, upon what syllable of holy praise-song, as it were their highest heaven, the Gods repose them (ṛco akṣare parame vyoman). The author states that this is first reference to the cosmic sound OM that generates the supreme sphere in which all gods exist. And he who can realize this himself get merged with this cosmic sound, and he who does not vainly recites Rig-Vedic hymns. In the verse 46, we find the evidence for strictly the monotheistic nature of Rig-Veda that later evolved conspicuously in Upanishads, Brahma-sutra and Vedanta philosophy. The Hindu belief system acknowledges that there is only ONE God, but He is worshiped in different forms. This verse assures us that Vedic faith is not a polytheistic religion. Hence, the source of all origin of all creations is really the One Unit-Absolute, the Truth – a divine hawk (like Lord Garuda) swooping down with nectar. But sages designate him by different names; Indra, Mitra, Varuna, Agni, Yama, Matarishva, etc. (indraṃ mitraṃ varuṇamaghnimāhuratho divyaḥ sa suparṇo gharutmān; ekaṃ sad viprā bahudhā vadantyaghniṃ yamaṃ mātariśvānamāhuḥ).
The numbering of verses in this book are slightly different from other works. I have used the numbering systems of R.T.H Griffith whose translation is readily available online, and the Sanskrit version with transliteration of Rig-Veda is also available online at sacred-texts.com. The author’s translation to English is adequate and his exegetical analysis is interesting but there would be schism on the part of some readers and it open for debate. This is certainly a good reference book for readers interested in Rig-Veda and ancient Hinduism.
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