Vana Parva, also known as the “Book of the Forest”, is the third of eighteen books of the Indian epic Mahabharata. Vana Parva has 21 sub-books and 324 chapters. It is one of the longest books in the Epic. It discusses the twelve-year sojourn of the Pandavas in the forest, the lessons they learn there and how it builds their character. It is one of the longest of the 18 books in the Mahabharata, and contains numerous discussions on virtues and ethics, along with myths of Arjuna, Yudhishthara, Bhima tales of “Nahusha the snake and Yudhisthira” as well as “Ushinara and the hawk”, love stories of “Nala and Damayanti”, as well as “Savitri and Satyavan”.The Vana Parva is a phase of learning and self-reflection for the Pandavas. They go into the Vana Parva quite dejected, but comes out at the end of it with renewed vigor and strength.
Discover the epic saga of ancient India in The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1, translated by Kisari Mohan Ganguli. This monumental work delves into the complexities of dharma, power, and human nature, inviting readers to witness a timeless tale of conflict, duty, and morality. As the narrative unfolds, you will be captivated by the legendary characters, each grappling with their destinies against the backdrop of an impending war. But here’s a thought-provoking question: What sacrifices will they make, and what truths will they uncover in the pursuit of righteousness?Through epic battles, intricate relationships, and philosophical dialogues, Ganguli’s translation brings to life the profound wisdom embedded in this ancient text. The Mahabharata transcends mere storytelling, presenting a rich tapestry of moral dilemmas and ethical quandaries that resonate with the human experience. Are you prepared to journey through a world where every choice carries weight and every action has consequences? This epic invites you to reflect on your own values and beliefs as you immerse yourself in its timeless wisdom.With its compelling narratives and unforgettable characters, The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 serves as both a literary masterpiece and a profound exploration of life’s greatest challenges. It’s not just a story; it's a guide to understanding our place in the universe. Don’t miss your chance to explore the depths of this epic tale. Purchase The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 today and embark on an extraordinary journey through history and philosophy!
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It Is A Transformation Of An Ancient Legend Into A Modern Novel. In This Process, It Has Gained Rational Credibility And A Human Perspective. The Main Incident, The Bharata War, Symbolic Of The Birthpangs Of A New World-Order, Depicts A Heroic But Vain Effort To Arrest The Disintegration And Continue The Prevailing Order. It Is Viewed From The Stand Points Of The Partisan Participants And Judged With Reference To The Objective Understanding Of Krishna. Narration, Dialogue, Monologue And Comment All Are Employed For Its Presentation. Shot Through With Irony, Pity And Understanding Objectivity, The Novel Ends With The True Tragic Vision Of Faith In Life And Hope For Mankind.
Om! Having bowed down to Narayana and Nara, the most exalted male being, and also to the goddess Saraswati, must the word Jaya be uttered. Ugrasrava, the son of Lomaharshana, surnamed Sauti, well-versed in the Puranas, bending with humility, one day approached the great sages of rigid vows, sitting at their ease, who had attended the twelve years’ sacrifice of Saunaka, surnamed Kulapati, in the forest of Naimisha. Those ascetics, wishing to hear his wonderful narrations, presently began to address him who had thus arrived at that recluse abode of the inhabitants of the forest of Naimisha. Having been entertained with due respect by those holy men, he saluted those Munis (sages) with joined palms, even all of them, and inquired about the progress of their asceticism. Then all the ascetics being again seated, the son of Lomaharshana humbly occupied the seat that was assigned to him. Seeing that he was comfortably seated, and recovered from fatigue, one of the Rishis beginning the conversation, asked him, ‘Whence comest thou, O lotus-eyed Sauti, and where hast thou spent the time? Tell me, who ask thee, in detail.’ Accomplished in speech, Sauti, thus questioned, gave in the midst of that big assemblage of contemplative Munis a full and proper answer in words consonant with their mode of life. “Sauti said, ‘Having heard the diverse sacred and wonderful stories which were composed in his Mahabharata by Krishna-Dwaipayana, and which were recited in full by Vaisampayana at the Snake-sacrifice of the high-souled royal sage Janamejaya and in the presence also of that chief of Princes, the son of Parikshit, and having wandered about, visiting many sacred waters and holy shrines, I journeyed to the country venerated by the Dwijas (twice-born) and called Samantapanchaka where formerly was fought the battle between the children of Kuru and Pandu, and all the chiefs of the land ranged on either side. Thence, anxious to see you, I am come into your presence. Ye reverend sages, all of whom are to me as Brahma; ye greatly blessed who shine in this place of sacrifice with the splendour of the solar fire: ye who have concluded the silent meditations and have fed the holy fire; and yet who are sitting—without care, what, O ye Dwijas (twice-born), shall I repeat, shall I recount the sacred stories collected in the Puranas containing precepts of religious duty and of worldly profit, or the acts of illustrious saints and sovereigns of mankind?” “The Rishi replied, ‘The Purana, first promulgated by the great Rishi Dwaipayana, and which after having been heard both by the gods and the Brahmarshis was highly esteemed, being the most eminent narrative that exists, diversified both in diction and division, possessing subtile meanings logically combined, and gleaned from the Vedas, is a sacred work. Composed in elegant language, it includeth the subjects of other books. It is elucidated by other Shastras, and comprehendeth the sense of the four Vedas. We are desirous of hearing that history also called Bharata, the holy composition of the wonderful Vyasa, which dispelleth the fear of evil, just as it was cheerfully recited by the Rishi Vaisampayana, under the direction of Dwaipayana himself, at the snake-sacrifice of Raja Janamejaya?’
The object of a translator should ever be to hold the mirror upto his author. That being so, his chief duty is to represent so far as practicable the manner in which his author's ideas have been expressed, retaining if possible at the sacrifice of idiom and taste all the peculiarities of his author's imagery and of language as well. In regard to translations from the Sanskrit, nothing is easier than to dish up Hindu ideas, so as to make them agreeable to English taste. But the endeavour of the present translator has been to give in the following pages as literal a rendering as possible of the great work of Vyasa. To the purely English reader there is much in the following pages that will strike as ridiculous. Those unacquainted with any language but their own are generally very exclusive in matters of taste. Having no knowledge of models other than what they meet with in their own tongue, the standard they have formed of purity and taste in composition must necessarily be a narrow one. The translator, however, would ill-discharge his duty, if for the sake of avoiding ridicule, he sacrificed fidelity to the original. He must represent his author as he is, not as he should be to please the narrow taste of those entirely unacquainted with him. Mr. Pickford, in the preface to his English translation of the Mahavira Charita, ably defends a close adherence to the original even at the sacrifice of idiom and taste against the claims of what has been called 'Free Translation,' which means dressing the author in an outlandish garb to please those to whom he is introduced. In the preface to his classical translation of Bhartrihari's Niti Satakam and Vairagya Satakam, Mr. C.H. Tawney says, "I am sensible that in the present attempt I have retained much local colouring.
The Mahabharata, "What is found here, may be found elsewhere. What is not found here, will not be found elsewhere." The ancient story of the Mahabharata casts the reader's mind across spiritual and terrestrial vistas and battlefields. Through the experiences of divine incarnations and manifest demons, a great royal dynasty is fractured along fraternal lines, resulting in the greatest war of good and evil ever fought in ancient lands. This most venerable of epics remains profoundly timeless in it teachings of truth, righteousness and liberation. This second edition ebook of the Mahabharata is Kisari Mohan Ganguli's 1896 translation and is complete with all 18 parvas in a single ebook. It features a comprehensive table of contents, book summaries and double linked footnotes.
The Mahabharata is one of the two major Sanskrit epics of ancient India. It is an epic narrative of the Kurukshetra War and the fates of the Kauravas and the Pandava princes as well as containing philosophical and devotional material, such as a discussion of the four goals of life. Here we have Vana Parva, the third, which discusses the twelve-year exile of the Pandavas in the forest. It is one of the longest of the eighteen books in the Mahabharata, and contains in it both the story of Arjuna and the Kirata, and that of Nala and Damayanti. Vyasa is a revered figure in Hindu traditions. He is a kala-Avatar or part-incarnation of God Vishnu. Vyasa is sometimes conflated by some Vaishnavas with Badarayana, the compiler of the Vedanta Sutras and considered to be one of the seven Chiranjivins. He is also the fourth member of the Rishi Parampara of the Advaita Guru Parampar of which Adi Shankara is the chief proponent.
The present book is a translation of original Mahabharata written by Vyasa in sanskrit prose. This translation has been carried out in the form of prose in the English language.
