Adhyātma Rāmāyaṇa
- Langue:
- anglais
- Traduction:
- Rai Bahadur Lala Baij Nath
- État:
- Œuvre complète
- Paternité:
- Écrite par l'auteur
- État du texte:
- Aucun bruit de numérisation détecté (mesure automatique sur tout le texte, non vérifiée à la main)
- Étendue:
- ~140 000 mots · 665 passages
Citer cette œuvre
- APARāmāyaṇa. (n.d.). The Adhyatma Ramayana [Adhyātma Rāmāyaṇa] (Rai Bahadur Lala Baij Nath, Trans.). Digital reproduction: SigPhi. https://sigphiai.com/fr/works/ramayana/the-adhyatma-ramayana
- MLARāmāyaṇa. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi, https://sigphiai.com/fr/works/ramayana/the-adhyatma-ramayana.
- ChicagoRāmāyaṇa. The Adhyatma Ramayana [Adhyātma Rāmāyaṇa]. Translated by Rai Bahadur Lala Baij Nath. Digital reproduction, SigPhi. https://sigphiai.com/fr/works/ramayana/the-adhyatma-ramayana.
Référence de l'édition que reproduit SigPhi : SigPhi en est la reproduction numérique, pas l'éditeur. L'année de l'édition ne figure pas dans les métadonnées (d'où « n.d. ») et le traducteur n'apparaît que lorsqu'il est connu.
De quoi il s'agit
L'« Adhyatma Ramayana », la version védântique du Râmâyana : la même histoire de Râma, lue comme une allégorie de l'âme et de l'absolu.
Contexte et histoire
Il ne faut pas la confondre avec le Râmâyana de Vâlmîki, qui est le poème épique original et bien antérieur. Celle-ci est une œuvre postérieure — vers les XIVe ou XVe siècles — insérée dans le Brahmânda Purâna, et le changement est de fond : Râma n'est plus principalement un héros mais le brahman même, Sîtâ est sa puissance, et chaque épisode se lit comme ce qui advient à l'âme qui cherche la délivrance. Elle contient le « Râma Gîtâ », dialogue doctrinal à la manière de la Bhagavad-Gîtâ. Son importance historique est grande : c'est le texte qui inspira le « Râmcharitmânas » de Tulsîdâs, la version hindi qui, dans l'Inde du Nord, est le livre religieux de la vie quotidienne. Si l'on cherche l'épopée, il faut aller à Vâlmîki.
Contexte éditorial, non une source citable : contrairement aux passages de l'œuvre, ces données ne peuvent pas être vérifiées dans le 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.…