Adhyātma Rāmāyaṇa
- Idioma:
- anglès
- Traducció:
- Rai Bahadur Lala Baij Nath
- Completesa:
- Obra completa
- Autoria:
- Escrita per l'autor
- Estat del text:
- Sense soroll d'escaneig detectat (mesura automàtica sobre tot el text, no revisada a mà)
- Extensió:
- ~140.000 paraules · 665 passatges
Cita aquesta obra
- APARamayana. (n.d.). The Adhyatma Ramayana [Adhyātma Rāmāyaṇa] (Rai Bahadur Lala Baij Nath, Trans.). Digital reproduction: SigPhi. https://sigphiai.com/ca/works/ramayana/the-adhyatma-ramayana
- MLARamayana. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi, https://sigphiai.com/ca/works/ramayana/the-adhyatma-ramayana.
- ChicagoRamayana. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi. https://sigphiai.com/ca/works/ramayana/the-adhyatma-ramayana.
Referència de l'edició que reprodueix SigPhi: SigPhi n'és la reproducció digital, no l'editor. L'any de l'edició no consta a les metadades (per això «n.d.») i el traductor només hi surt quan consta.
De què tracta
L'«Adhyatma Ramayana», la versio vedantica del Ramayana: la mateixa historia de Rama, llegida com una al·legoria de l'anima i de l'absolut.
Context i història
Convé no confondre-la amb el Ramayana de Valmiki, que es el poema epic original i molt anterior. Aquesta es una obra posterior —cap als segles XIV o XV— inserida dins del Brahmanda Purana, i el canvi es de fons: Rama ja no es principalment un heroe sino Brahman mateix, Sita es la seva potencia, i cada episodi es llegeix com el que li passa a l'anima que busca l'alliberament. Conté el «Rama Gita», un dialeg doctrinal a l'estil de la Bhagavad Gita. La seva importancia historica es gran: es el text que va inspirar el «Ramcharitmanas» de Tulsidas, la versio hindi que a l'India del nord es el llibre religios de la vida quotidiana. Si el que es busca es l'epica, cal anar a Valmiki.
Context editorial, no una font citable: a diferència dels passatges de l'obra, aquestes dades no es poden contrastar amb el corpus.
differentiated by name and form was created. The whole mobile and immobile creation so evolved consists of the five elements (pancha mahdbhutn), the three gunas or attributes of Satava (goodness^, Rajas (activity), and Tamas (inertia), the five organs of perception, Jfianendriya the ears, the skin, the eyes, the tongue and the nose, the five of action, speech, the hands, the feet and the two organs of generation and excretion. The objects of the senses, hearing, sight, taste and smell. The mind which is the faoulty of doubt and desire, the buddhi the faculty of determination were also evolved from the five elements and the five vital airs which move the body, viz., prdna the air which is exhaled, apdna which is inhaled, samana which equalizes and distributes the food in. the body, the vydna which causes the various nerves to perform their functions and the uddna which carries the embodied self upwards, were also similarly evolved. Seated in the conglomeration of the senses, their objects and the attributes and the vital airs, is the self (dtmd) who, because he has indentified himself with it and all that appertains to it t is called Jiva, or the embodied self, subject to pleasure and pain, happiness and misery, birth and death, increase and decay. Thus he goes from birth to birth up and down in ceaseless motion, till he turns his thought inwards aud through the teachings of a teacher and the declaration of the Vedas, knows himself fcn be other than the body, and having sublated all that is seen and unseen, finds his rest in his own true self and becomes the supreme self he really was. The light of self, says Vydsa, in the Mahdbhdrata is in the heart, not outside it. It is the same in all beings. It is perceived by those who themselves through minds directed towards it, alone see it.…