Adhyātma Rāmāyaṇa
- Idioma:
- inglés
- Traducción:
- Rai Bahadur Lala Baij Nath
- Estado:
- Obra completa
- Autoría:
- Escrita por el autor
- Estado del texto:
- Sin ruido de escaneo detectado (medición automática sobre todo el texto, no revisada a mano)
- Extensión:
- ~140.000 palabras · 665 pasajes
Cita esta obra
- APARamayana. (n.d.). The Adhyatma Ramayana [Adhyātma Rāmāyaṇa] (Rai Bahadur Lala Baij Nath, Trans.). Digital reproduction: SigPhi. https://sigphiai.com/es/works/ramayana/the-adhyatma-ramayana
- MLARamayana. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi, https://sigphiai.com/es/works/ramayana/the-adhyatma-ramayana.
- ChicagoRamayana. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi. https://sigphiai.com/es/works/ramayana/the-adhyatma-ramayana.
Referencia de la edición reproducida. SigPhi es la reproducción digital. Se incluyen año, editorial y traductor cuando constan; «n.d.» indica que no consta el año.
De qué trata
El «Adhyatma Ramayana», la versión vedántica del Ramayana: la misma historia de Rama, leída como una alegoría del alma y del absoluto.
Contexto e historia
Conviene no confundirla con el Ramayana de Valmiki, que es el poema épico original y muy anterior. Esta es una obra posterior —hacia los siglos XIV o XV— insertada dentro del Brahmanda Purana, y el cambio es de fondo: Rama ya no es principalmente un héroe sino Brahman mismo, Sita es su potencia, y cada episodio se lee como lo que le pasa al alma que busca la liberación. Contiene el «Rama Gita», un diálogo doctrinal al estilo de la Bhagavad Gita. Su importancia histórica es grande: es el texto que inspiró el «Ramcharitmanas» de Tulsidas, la versión hindi que en la India del norte es el libro religioso de la vida cotidiana. Si lo que se busca es la épica, hay que ir a Valmiki.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra 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.…