kks/klafgrk - archive.org

KAVIKULAGURU KALIDAS SANSKRIT UNIVERSITY RAMTEK

'kks/klafgrk

A Bi-annual Interdisciplinary Research Journal of KKSUPeer Reviewed Journal of Fundamental & Comparative Research

Editor in Chief : Prof. Shrinivasa Varkhedi Hon'ble Vice Chancellor

General Editor : Prof. Madhusudan Penna

Editorial Board : Dr. Nanda Puri Dr. C.G.Vijaykumar Dr. Lalita Chandratre Dr. K. K. Pandey Dr. Deepak Kapde (Secretary)

Peer Review Dr. Leena RastogiCommittee : Dr. D. K. Kulkarni

Published by : Registrar, KKSU, Ramtek

laLÑr&rfnrjHkk"kkfo"k;da 'kkL=kfo"k;d×p la'kks/kua fon/krka foif'pn~ojk.kka la'kks/kus d`rizos'kkuk×p la'kks/kdkuka iqjr% 'kks/klafgrk;k uohufeee³~da leiZ;UR;k% es egkukuUnks Hkofr A vr ,o 'kks/klafgrk;k ek/;esu uohue~ mi;qDr×p la'kks/kua o;a izdk'kf;rqa loZnk m|qDrk bfr

u frjksfgra Hkorke~A

lkaizfrddkys laLÑrfo"k;s tukuka euLlq egR;fHk#fpn`Z';rs A txfr cgq=k laLÑrlac)a fofo/kfo"k;da la'kk s/ku a i zpyfr A vk/k q fudfoKkusu lg izkphuHkkjrh;&fpUruL; rqyuk a d`Rok Hkkjrh;foKku/kkjk;k% egRRoa izfrikn;rka la'kks/kdkuka la[;k p xjh;lh izfrHkkfrA vFkZ'kkL=kL;] oSekfud'kkL=kL;] d`f"k'kkL=kL; rfnrj'kkL=kL; p ekSfydfo"k;S% lg rqyuk Hkorq uke ija r;k lg izkphufoKkuL; xfjek uwua izfriknuh;%A

^;ks·uwpku% l uks egku~* bR;qDrkfn'kk Hkkjrh;fo|kijEijk uoksUes"kk; dYirs bfr u% fo'okl% A vr ,o 'Tradition for Innovation' bfr y{;a eufl fu/kk; 'kks/kdeZf.k o;a fujrk% A

y{;fen a eufl fu/ k k; fo}}j S % i z o fr Zr a l a ' k k s / ku a 'kks/klafgrk&izdk'ku}kjk izfro"kZ ftKklwuka ykHkk; izdk';rs A v³~ds·fLeu~ rkn`'kka 'kks/kiw.kZys[kkuka izdk'kua Ñre~ A ys[kk'p fofo/kfo"k;dk%A

v³~dL;kL; oSf'k"Vîfena orZrs ;r~ ,snaizkFkE;su 'kks/kPNk=kk.kka ys[kk'p izdk';Urs A ,rsu la'kks/ku{ks=ks 'kks/kPNk=kk vfi lksRlkga izorsZju~ bfr dkeuSok=k dkj.ke~ A

uohula'kks/kdk% izkIrizsj.kk vxzs vL;ka fnf'k izorZUrkfefr 'kqHkdkeuk es A

laikndh;e~---vkpk;Z% Jhfuokl% oj[ksMhdqyxq#%] ddklafo

Topic Author's Name Pg. No.

vfHkuoxqIrL; 'kSon'kZuizHkkforok.khfopkj% izk- uUnk iqjh 1

fnXns'kdkyfu.kZ;iz.kkY;ka Hkkjrh;fofpUrukfu A MkW- t;d`".ku~ uEiwfrfj ,u~-fM- 8

d`ikyqinfopkj% Mk-fç;ozrfeJ% 15

dr`ZRofu.kZ;% v;kfpr 'kUruq vEcknkljko 18

^^gyUR;e~** lw=kfo"k;s dqpefnZuhLFkif.Mrjkteri;kZykspue~ MkW- i³~dtdqekjO;kl% 22

egkjk"VªL; okjdjhlEiznk;L; Lo:ia Hkfäl³~dYiuk p MkW- jlkG fnus'k ikaMqjax 28

j?kqoa'kegkdkO;s vky³~dkfjdlEiznk;k% MkW- ijkx tks'kh 43

osns"kq dkSVqfEcdthouo.kZue~ MkW- f'kojke Hkê% 59

vi.kZtkrdL;kuqiyfC/kfopkj% 66cVªZe xzsxfj fy;uxs

Jhen~Hkkxoriqjk.ksT;ksfr%'kkL=kfo"k;k% MkW- ,l- mekifr% 73

dqUrdkpk vkSfpR;fopkj MkW- js.kqdk cksdkjs 81

izkjfEHkd f'k{k.k esa T;ksfrxZf.kr dh izklafxdrk MkW- d`".kdqekj ik.Ms; 88

Art of Ancient Indian Lexicography: An observation Dr. Jaywant Chaudhari 96

Conceptualising Professional Humane teacher and Teacher Education Anagha Ambekar 103

Lexicographical Contribution of the manuscript Halayaudha’s Kavirahasya Pallavi Kawale 108

Contribution of Raghuvansham in Rajendra D. MeshramStudent's Life Guide - Prof. Kavita S. Holey 118

Mridangacharya Paagaldas’s Sunil R. Sunkara, 136‘Mridang-Tabla Prabhakar’- Paullumi B. Mukheerjee, A theory into traditional kathak practice Guide- Dr Sandhya Purecha

Journal of Kavikulaguru Kalidas Sanskrit University, Ramtek

Vol. V 2018-19

laLÑrfoHkkx

Journal of Kavikulaguru Kalidas Sanskrit University, Ramtek ISSN : 2277 - 7067

'kks/klaafgrk Vol. V, 2018-19 1

vfHkuoxqIrL; 'kSon'kZuizHkkforok.khfopkj%izk- uUnk iqjh

vfHkuoxqIrkpk;Z ,d% ifj.krizK% Vhdkdkj%A lkfgR;'kkL=kL; d`rs rL; egnonkue~ A lkfgR;'kkL=kL;ksifj u rL; LorU=kk xzUFkjpuk A ukVî'kkL=kL;kfHkuoHkkjrh èoU;kyksdL; p ykspuVhdk rsu jpfrk A ija u kVî' k k L = k L; dk O;' k k L = k L; p ku q " k³ ~x s ' ku vu sd k % fo " k; k % Lo;aizKsukfHkuoxqIrkpk;sZ.kk=k pfpZrk%A vfHkuoHkkjR;ka pfpZrk jlizfØ;k] jlfo?ufopkj% ykspuVhdk;ka p lân;L; y{k.ka] dkO;iz;kstufopkj%] èofurRRofu:i.ks yko.;L; y{k.ka bR;kn;% fo"k;k% rL; Lo;aizKRoL; |ksrdk%A èoU;kyksdL; e³~xykpj.kL; foospus vfHkuoxqIrsu r=k èofuizdkjk% nf'kZrk% A lkoZesrÙkL;So cqf)foHkoe~ A vkuUnoèkZuL; èofuizfr"Bkiuk;k% fLFkjhdj.ka n`<hdj.k×p izFkeefHkuoxqIrsuSo lkfèkre~ A vfriznhIr&izKk] vykSfddizfrHkk xEHkhja 'kkL=kKkua jfldrk pSrs xq.kk% vfHkuoxqIrL;kykSfddRoa n'k Z;fUrA O;kdj.kU;k;ehek alkosnkUrrU=k'kkL=kfn"k q fo"k;s"k q rL; gLrkeydoRizHk qRoe~A i zR; sda 'kkL=kL; ifjiw.k ZKkuk; rL; rL; 'kkL=kL;kfèkdkfjH;% xq:H;% 'kkL=kk.;èkhrkfHkuoxqIrsu A HkêrkSr% rL; ukVî'kkL=kL; xq:jklhr~ HkêsUnqjkt'p lkfgR;'kkL=kL;A

vfHkuoxqIrkpk;Z% 'k Son'k ZuL;kpk;Z%A rL; oa'k s f'koHkfDr% ijEij;kxrk A izFkeiwoZtks·f=kxqIr% firkeg% ojkgxqIr% firka p ujflagxqIr% ,rs fo}kal% 'kkL=kif.Mrk% f'koHkDrkÜpklu~ A vfHkuoxqIrkpk;Z% ;ksfxuhHkwfjfr tuJqfrjklhr~A rsuSo 'kSokfl)kUrkuka ;FkkFkZKkueokIrqa 'kSofl)kUrkuka izfriknu×p drqZa l leFkZ bR;fi èkkj.kk·lhr~ A rsu rU=kkyksdkfn"kq xzUFks"kq 'kSofl)kUrk% izfrikfnrk% A rL; lkfgfR;dxzUFks"ofi 'kSorÙoKkuL; izHkko% n`';rs ,o A vfLeu~ 'kksèkxzUFks ykspuVhdkUrxZrok.khfopkj% foosfpr% èoU;kyksdL; prq.kkZeè;k;kukeUrs ok.khfo"k;dk% pRokj% 'yksdk miyH;Urs v=k vfHkuoxqIrkpk;Z% Øes.k ijka i';Urha eè;eka oS[kjh×p ukSfr A ,srs"kq 'yksds"kq

'kSon'kZuL; izHkkoa n'kZf;rqa iz;klks·=k d`r%A

_Xosns prl`.kka ok.khuka o.kZueqiyH;rs A pRokfj okd~ifjferk inkfu rkfu fonqczkZã.kk ;s euhf"k.k% xqgk =khf.k fufgrk us³~x;fUr rqjh;a okpa euq";k onfUrAA

ok.;k% =khf.k :ikf.k xqIrkfu rqjh;×p 'kCne;:ia loZ=k izpfyre~ A ijkokfxfr ok.;k% lw{ekfrlw{ea :ie~ A rifLou% rka rikpj.ksu tkufUrA ok.;k% lk{kkn~Hkforqa ;ksX;:ia ^i';Urh* ukEuk izfl)e~A i';Urh ok.;kè;kfRedkuqHkwrs% lkèku:ika rka i';Urha HkkSfrd'kCnS% lg ;k ;kst;fr lk eè;esR;qP;rs A vkfLeu~ txfr LFkwy:is.k loZ=k izl`rk ok.kh oS[kjh A eq[kLFkkus oS[kjh d.BLFkkus eè;ek mjLFkkus i';Urh ukfHkLFkkus p ijkokfxR;srklka ok.khuka LFkkukfuA

èoU;kyksdL; izFkeks|ksrL;kUrs ykspuVhdk;k% iz;kstuefHkuoxqIrsuksDre~ &

fda ykspua foukyksds Hkkfr pfUnzd;kfi fg A rsukfHkuoxqIrks·=k ykspuksUehyua O;èkkr~AA2

èoU;kyksdL;ksifj pfUnzdk ukfEu Vhdk dsukfi fojfprklhrkA bnkuheuqiyCèkk lk A èousjkyksd% pkfUnzd;kfi fouk ykspua nz"Vqa u 'kD;rs A vr ,o ,r;k Vhd;k vfHkuoxqIrsu ykspuksUehyua d`rfeR;FkZ% A rnuUrja l% ijka ok.kha ukSfr A

;nqUehyu'kDR;So fo'oeqUehy;kfr {k.kkr~ A LokRek;rufoJkUrka rka oUns izfrHkka f'koke~ AA3

'k SolEiznk;euql`R; izfrHkk:if'kok[;k ijk'kfDr% dwVLFk% ijef'ko'pA ijef'kok;rus rfLeu~ foJkUrs;a 'kfDr% LoksUehuylkeF;sZu {k.kknqEehy;fr fo'oe~A izR;qilxZiwoZdHkkèkkrks:RiUuks·;a izfrHkk'kCn% A ukLR;S"kk Lo;a izdkf'krk A vfi rq ijerÙoL; izdk'ksu izdkf'krs;a izfrHkk 'kfDr'kfDrerksjHksn bfr U;k;su ijerÙos·fLeUusdkdkjk fr"Bfr A vr ,o lk egs'oj ,o A izR;fHkKkn'kZus izfrHkk;k% Lo:ieqRiykpk;sZ.kksDre~ &

;k pS"kk izfrHkk rÙkRinkFkZØe:f"krk A vØekuUrkfpnzwi% izekrk l egs'oj%AA4



fo'ofufeZfrizfØ;k;ka ;nk egs'oj% LoO;Drhdj.kL; dYiuka djksfr rnS"kk f'kok;rus foJkUrk fufeZfrlkeF;Z;qrk ijkizfrHkk fo'oerqUehy;fr A vL;keoLFkk;ka l`"VîUrxZrk% losZ Hksnk% rL;ka lekfgrk% lfUrA

dkO;fufeZfrlUnHksZ dos% dfoRo'kfDr% dfoân;s foJkUrkfLr A dfojso rL;k% vk;rue~ A dkO;fuekZ.k{kek lk izfrHkk {k.kknU;nso dkO;fo'oeqUehyfr A vfHkouxqIrkpk;sZ.k ^viwokZfuekZ.k{kek izKsfr i×p rL;k% y{k.ka nÙka ykspuVhdk;ke~A jlkos'koS'k|lkSUn;ZdkO;fuekZ.k{keRofeR;srsu 6 opusu rL;k% lkeF;ZeI;qDre~A HkêrkSrsu izfrHkk;k% y{k.ka nÙke~ &

izKk uouoksUes"k'kkfyuh izfrHkk erk A rnuqizk.kkukthon~ o.kZukfuiq.k% dfo%AA7

,"kk izfrHkk jfldSukZuqeh;ekuk vfi rq rnkos'ksu Hkklekuka LokuqHkosu KkrsR;Fk Z % A ykspuVhdk;k% e³~xykpj.k s dkO;fo'oksUehyuizfØ;k vfHkuoxqIrkpk;sZ.k Li"Vhd`rk &

viwoZa ;}Lrq izFk;fr fouk dkj.kdyka

txn~xzkoiz[;a futjlHkjkRlkj;fr p A ØekRiz[;kizljlqHkxa Hkkl;fr ;r ~A

ljLoR;kLrÙoa dfolân;k[;a rÙoeqiknkudkj.ka fouk·iwoZa oLrq fuekZfrA Lojle;Rosu ik"kk.krqY;a txfnna je.kh;a djksfr A v=k dosjUrxZrdfoRo'kfDrjso ckáksiknkudkj.ka fouk dkO;fuekZ.k{kek A ;Fkk f'ko% LokRefu"B'kDR;k txnqRikn;R;qiknkudkj.ka fouk A izR;fHkKkn'kZuL;kpk;Z% olqxqIr% onR;kfLeUlUnHksZ &

fu:iknkulaHkkjefHkÙkkoso rUors A txfPPk=ka ueLrLeS dykukFkk; 'kwfyus AA9

{ksejktks·fi o.kZ;fr &

fpfr% LorU=kk fo'oflf)gsrq% LosPN;k LofHkÙkkS fo'oeqUehy;fr A10

txnqRifÙkdkj.ka f'ko'kDR;k% ,sD;a dkfynklsu j?kqoa'kL; e³~xykpj.ks mDre~A

okxFkkZfoo lai`DrkS okxFkZ% izfriÙk;s A



txr% firjkS oUns ikoZrhijes'ojkSAA11

v=kksieky³~dkjs.k ok.;k% lkSUn;ZaeFkZL;p xHkhjRoa O;f×tre~ A dkO;fuekZ.kk;sna e³~xykpj.ke~ A

vkuUnoèkZuks·fi dfoa iztkifr:is.k o.kZ;fr A vikjs dkO;lalkjs dfojsd iztkifr% A ;FkkLeS jksprs fo'oa rFksna ifjorZ;rs AA12

dfo% izfrHkk'kDR;k egkdfoRoekIuksfr A

vkuUnoèkZukuqlkja izfrHkk'kfDr% èoU;FkZLikfUnrdkO;d`freqRikn;fr A rsuSo dfo% egkdfoRoekIuksfr A 13

b;a izfrHkk ;Fkk dfoân;s rFkSo jfldân;s·fo orZrs A vr ,okfHkuoxqIrsu dfolân;k[;a ljLoR;kLrÙofefr e³~xykpj.ks mDre~ A v=k dfo% lân;[;sR;FkZ%A rsu Lokpk;ZL; HkêrkSrL; ere=kksn~èk`re~ & ^uk;dL; dos% Jksrq% lekuks·uqHkoLrr%A* jkt'ksjojs.kfi izfrHkk;k% izdkj};eqDre~ dos% dkjf;=kh izfrHkk jfldL; p Hkkof;=kh izfrHkk A

f}rh;ks|ksrL;kUrs·fHkuoxqIr% i';Urha oUnrs A izkI; izksYyklek=ka ln~Hksnsuklw=;rs ;;k A oUns·fHkuoxqIrks·ga i';Urha rkfena txr~ AA14

;;k vkuUnek=kln~Hkko:ia rÙoa oSfp=;s.k lg vklw=;rs mRifÙkiwoZeso txRLo;×p i';Urha rkega oUns bR;FkZ% v=kkLQqV:ia txfPp=ke~ A ;Fkk 'kfDr% f'koL; iqjr% vLQqV:is.k fo'oa izdV;fr rFkSo dkO;fuekZ.klUnHkZs dos% 'kfDrjfi dos% iqjr% dkO;fo'oa izdV;fr A vLQqVRoa fo|rs·=k A

r`rh;ks|ksrL;kUrs eè;eka f'kofiz;ka ukSfr vfHkouxqIr% A vklwf=krkuka Hksnkuka LQqVrkifÙknkf;uhe~ A f=kykspufiz;ka oUns eè;eka ijes'ojhe~ AA15

l`f"VfuekZ.kizfØ;k;kfer% iwoZ i';U;oLFkk;ka l`f"VHksnk vLQqV:ik% A bnkuha eè;ek 'kfDrjklwf=krkuka Hk snkuka LQqVrkifÙknkf;uh Hkofr A dkO;fuekZ.ks·fi dos% iqjr bnkuha 'kCnkuka izfrek% Li"Vk% HkofUr A



prqFkksZ|ksrL;kUrs rq;kZ'kfDra oS[kjha oUns bR;qDrefHkuoxqIrkpk;sZ.k

LQqVhd`rkFkZoSfp=;cfg% izlkjnkf;uhe~ A rq;kZa 'kfDrega oUns izR;{kkFkZfunf'kZuhe~ AA16

;k eu% p{kks% iqjr% LQqVhHkwrku~ inkFkkZu~ cfg% izlkj;fr izR;{kkFkZa n'kZ;fr lk rq;kZ oS[kjh A rkega oUns A v=k l`f"VfufeZfrizfØ;k iw.kZrk³~xrk A 'kCnkFkZ;qDrk oS[kjh ok.khnkuha dfoeq[kkCkfg% fu%ljfr A

m|ksrkjEHks·fHkuoxqIr% 'kk³~djha ukSfr A ,r;k 'kDR;kegs'ojL;kU;ksi& dj.ka fouk ltZu{keRoe=kksDre~ -

d`R;i×pdfuokZg;ksxs·fi ijes'oj% A ukU;ksidj.kkis{kks ;;k ukSfe 'kk³~djhe~ AA17

,r;k 'kDR;k ijes'oj% i×pfoèkd`R;iwR;ZFkZa ukis{krs·U; lkèkukuka lkgk¸;e~A mRifÙkfLFkfry;frjksèkkukuqxzgSrkfui×p d`R;kfu A loZn'kZul³~xzgs Li"Vhd`rkU;srkfu d`R;kfu A

i×pfoèka rRÑR;a l`f"VfLFkfrlagkjfrjksHkko% A r}nqxzgdj.ka izksDra lrrksfnrL;kL;AA18

eè;ekoLFkk;ka eu% p{kks% iqjr% Li"VhHkwrku~ fofoèkinkFkkZu~ 'kCn:is.k cfg% fu%lkj;Urh dfofopkjk.kka lk{kkí'kZua dkj;Urh oS[kjh ok.kh A

,oa èoU;kyksdL; ykspuVhdk;kefHkuoxqIrsu f'ko'kDR;k ,sD;su lg dfo&dfoi z fr H k k; k'p S D; a i z fri k fnre ~ ,r su l ` f "Vi z fØ;k; k % dkO;fuekZ.kizfØ;k;k vI;Sda nf'kZre~ A

prq"oZè;k;s"ofHkuoxqIrkpk;sZ.k ijki';Urheè;ekoS[kjhH;% ueLdkj% d`r%A ok.;k% prlz 'kDr; ,o egs'ojL; txnqRiÙks% dkj.k:ik% 'kDr;% A l`"V~;qRifÙkizfØ;;k lg dkO;fuekZ.kizfØ;k leRoa Hktrs A ;Fkk &

1½ l`tu'kfDr% f'kok;rus foJkE;fr ;k fufeZfr{kek 'kfDr% f'kosulg ,dkdkjk fr"Bfr lk ijk izfrHksR;qP;rs A vfHkuoxqIrsukL;k% ifjHkk"kk iznÙkk &

vuU;kisf{krk pkL; fo'okReRoa izfr izHkks%A rka ijka izfrHkka nsoha lafxjUrs gîqÙkeke~ AA19



dfol`f"Vizl³~xs ,"kk izfrHksR;qP;rs A dkO;jpuk;k% dkj.kHkwrdfoRo'kfDrjs"kk jlkReddkO;ksRiknku{kek A jlkLoknuL; Ñrs ;ksfxu% dBksja riekpjfUr ija dfo% lân;k'p ra jlkLokna fouk;kla izkIuqofUr A v=kkfHkuoxqIrsu HkêrkSrL; 'yksd% iznÙk% &

okXèksuqnqZXèk ,oa fg jla ;n~ ckyr`".k;kA rsu ukL; le% l L;kr~ nqgîrs ;ksfxfHkfgZ ;%AA20

2½ f'koL; l`"Vî qÙiÙk s fjPN;k vLQqV:ik 'kfDr% ifjLQqjfr l`f"VfuekZ.kkRiwoZeso b;a 'kfDrfo'oa i';fr A vr% lk i';Urh 'kfDr%A v=k Hksnjfgra fo'oa rL;ka lekfgrefLr A dkO;fuekZ.ksPN;k dfoizfrHkk vfi vLQqV:is.k tkx`rk Hkofr A v=k i';Urh ok.kh Hksnjfgra dkO;fo'oa dos% iqjr miLFkki;fr A

3½ f'koL; eè;ek 'kfDr% rL; iqjr% lHksna fo'oa izdV;fr A dos% iqjr'p eè;ekok.kh dYiukuka 'kCnkuk×p izfrek% lHksna fuekZfr A

4½ rq;kZ 'kfDr% LQqfVrku~ inkFkkZu~ lHksna cfg% izlkj;fr A lk izR;{kkFkZ& funf'kZuh oS[kjhA LQqVkFkZ'kCn:ik oS[kjh dfoeq[kkCnfgfuZLljfrA

5½ mHk;=kkI;sd:iRoesdkdkjRo×p fo|rs A miknkudkj.kfouSo l`"VîqRifÙk% dkO;fufeZfr'p HkofrA

,o a ' k S on'k ZuL; i z H k ko % vf H kuox q Ird `r yk spuVhdk;k a izfrikfnr&ok.khfopkjs"kq n`';rs A

lUnHkZlwfp% 1½ _Xosn% & 1-164-452½ èoU;kyksd% ¼ykspuVhdklfgr½ i`- 3043½ r=kSo i`- 3044½ loZn'kZulaxzg% & i`- 3105½ èoU;kyksd ykspuVhdk i`- 1476½ r=kso i`- 1477½ r=kSo i`- 1498½ èoU;kyksd ykspuVhdk e³~xykpj.ke~ i`- 1



9½ loZn'kZulaxzg & i`- 31610½ vfHkuoxqIr & I`- 10111½ j?kqoa'k% e³~xykpj.ke~ 12½ èoU;kyksd & m-m- 41] 42 o`fÙk% 13½ èoU;kyksd & 1-614½ èoU;kyksd ykspuVhdk m|ksr&2 i`- 58715½ r=kSo m|ksr 3 i`- 57816½ r=kSo m|ksr 4 i`- 68117½ r=kSo m|ksr 4 i`- 58718½ loZn'kZulaxzg 19½ vfHkuoxqIr I`- 10220½ èoU;kyksd ykspuVhdk i`- 146

lUnHkZxzUFklwfp%

1½ vfHkuoxqIr & x-=;a- ns'kikaMs] ¼fganh vuqokn½ vuqoknd fefFkys'k prqosZnh lkfgR; vdkneh fnYyh- izFke laLdj.k 1995

2½ èoU;kyksd & vpk;Z fo'os'oj'kkL=kh] laik- MkW- ukxsUnz KkueaMG] fyfeVsM] okjk.klh] r`rh; laLdj.k 1998

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1 3ldkjL r L ; y k s i % l p gY³ ~; k C H ; b R ; u s u s f r * mYy s [ k kr ~ txUukFkksäL;kl³~xrRokr~ A vfi p r=kSo Hkk";s dS;Va O;kp{kk.kks ukxs'k m|ksrs ^la;ksxkUrL; inkUrL;sfr O;k[;kuel³~xreso] ?olksfjfrlw=ks f}'kdkjks funsZ'k bfr Hkk";fojksèkkr~ A la;ksxlaKklw=ks·UrinlkeF;sZu f}opukUrsu lekl bfr èou;rk Hkk";d`rk iz;kstukUrjkHkkoL; èofurRosu rkn`'ks·FksZ ekukHkkokPp*14 bfr dFk;u~ txUukFkksDri{kL; Li"Vr;k·izkek.;a lwp;fr A



v u ; k j h R ; k d ` r k ; k a e u k s j e k d q p e f n Z u h L F k f o p k j L ; i;kZykspuk;kesrsa·'kk% fl)k% A ;nsdnsf'kHkk";ksfäa Lohd`R; Hkêksftd`r& lw=kko`fÙkjfrreke;qäSfr if.Mrjktksfä% fl)kfUrHkk";fo#)Rokr~ dsoya ijer[k.Muk; izo `Ùkk] u rq r=k fdf×pnfLr izkek.;e~ A ,oeso Loksäizek.kkUrjk.kkefi Hkk";ks|ksrkfnxzUFk& fo#)Rokr~ fuewZyRokPpk& i z kek.;e so A nhf{krk sä a r q H k k ";lEerfeR;r% ^ ^gyUR;e ~ * * bfr lw=kko`fÙkjU;ksU;kJifjgkjk; ;qäSosfr fnd~A

iknfVIi.;%

1- Hkêksftnhf{krfojfproS;kdj.kfl)kUrdkSeqnh i`-la- 1

2- Hkêksftnhf{krfojfprizkS<euksjek i`-la- 5&13

3- Hkêksftnhf{krfojfprizkS<euksjekdqpefnZU;ka i`-la- 2&3

4- egkHkk";s f}rh;[k.Ms ^gyUR;e~** ¼1&3&3½ lw=ks i`-la- 130

5- egkHkk";s f}rh;[k.Ms ^gyUR;e~** ¼1&3&3½ lw=ks iznhis i`-la- 130

6- egkHkk";s f}rh;[k.Ms ^gyUR;e~** ¼1&3&3½ lw=ks m|ksrs i`-la- 130

7- egkHkk";s f}rh;[k.Ms ^gyUR;e~** ¼1&3&3½ lw=ks i`-la- 130

8- Hkêksftnhf{krfojfprizkS<euksjek i`-la- 11

9- egkHkk";s f}rh;[k.Ms ^gyUR;e~** ¼1&3&3½ lw=ks m|ksrs i`-la- 130

10- y?kq'kCnsUnq'ks[kjs laKkizdj.ks i`-la- 14

11- egkHkk";s f}rh;[k.Ms ^l:ik.kke~** ¼1&2&64½ bfrlw=ks i`-la- 75

12- r=kSo

13- r=kSo iznhis

14- r=kSo m|ksrs



ifj'khfyrk xzUFkk% &

1- Hkêksftnhf{krfojfprizkS<euksjek ¼y?kq'kCnjRu&T;ksRluk&dqpefnZuh& VhdkfHk% izHkk&foHksfr fVIi.kh};ksisrk½] pkS[kEck&vejHkkjrh&izdk'kue~] okjk.klh] f}rh;laLdj.ke~] 1983

2- H kê k s ftnh f { kr foj fpro S; kdj.k fl)kUrdk Se qn h ¼e wye ~ ½ ] JhLokfeukjk;.kkfJrS% Jher~ ^Jhd`".kLo:idkO;rhFksZ%* la'kksfèkrk] pkS[kEck&ifCy'klZ] okjk.klh] 2004

3- ukxs'kHkêiz.khry?kq'kCnsUnq'k s[kj% ¼e-e-JhHk SjofeJfojfpr;k pUnzdy;k Vhd;k lesr%½] pkS[kEcklaLd`rlaLFkkue~] okjk.klh] r`rh;laLdj.ke~] 2001

4- J h e n ~ H k x o R i r × t f y e q f u f o j f p r O ; k d j . k e g k H k k " ; e ~ ¼iznhiks|ksrPNk;klefUore~½ 1&2&6 [k.Mk%] lEik-& JhHkkxZo'kkL=kh] pkS[kEck&laLd`r&izfr"Bkue~] nsgyh] iqueqZfnzrlaLdj.ke~ 2007-



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2 rqdk Eg.kts djk A t;t;dkj vkuans AA

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3 rqdk Eg.ks eu ikoksfu foJkarh f=kfo/k uklrh rki {k.ksAA

okjdjh lEiznk;%

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ghp Ogkoh ek>h vkl tUekstUeh rq>k nkl A 4 ia<jhpk okjdjh okjh pqdks u ns gjh AA

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lar ukensoo;ksZ·fi &

ia<jhpk okl pUnzHkkxs Luku A vkf.kd n'kZu foBksckps A 5

gsfp ?kMks et tUetUekUrjh A ekx.ks Jhgjh ukgh nqts AA

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laink lksgGk ukoMs eukyk ykxyk VdGk ia<jhpk AA6

tkos ia<jhlh vkoMs euklh dbZ ,dkn'kh vk"kk<h;sAA bfr

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mikL;a nSore~

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10 ek>s ekgsj ia<jh vkgs fHkojsP;k rhjhA bfrA

ekr`Lo:i% foB~By% HkDroRly% orZrs A lkekU;kukefi eks{kizkfIr% L;kfnfr gsrks% lalkjlkxja rrqZa rs"kkefi 'kfDr% fo'okl'p L;kfnfr fofpUR; ,o Hkxoku~ ia<jiwje~ vkxr%A ;fLeu~ lalkjlkxjs egkUrks·fi rifLou%] Kkfuu%] fo}kal% dnkfpr~ fuefTtrk% HkofUr lks·;a lalkjlkxj% en~~HkDrk% yhy;k rjfUr bfr Hkxoku~ Lofoxzg}kjk izfrikn;r~A Hkxof}xzgs rL; gLrkS furEcksifj Lr rr~ fdeFkZfefr HkxRiknk% o.kZ;fUr &

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11 ik.Mqj³~xe~AA

oSdq.BizkIrkS fo|ekua dkfBU;a foKk; loZFkk vxE;fena lkekU;ukfefr eRok ldyyksdL; oSdq.Bokllq[ka Hkorq bfr fopk;Z oSdq.Beso HkwekS vku;r~ A rnqP;rs &

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,oa ldyyksdkuUniznk;d% oSdq.Bkf/kifr% ik.Mqj³~xijekRek l E i z n k ; L ; m i k L ; a n S o r e f L r A v L ; n ' k Z u e k = k s . k S o t u k fofPNUuldylalkjcU/kk% tk;UrsA



lEiznk;s HkfDrl³~dYiuk

Hkt~ lsok;ke~ bR;Lekr~ /kkrks% fu"iUuks·;a HkfDr'kCn% A vL;kFkZ% lsokA Hkxor% lsok ,o HkfDr% A lUrKkus'oj% HkfDrLo:ia izfrikn;u~ o.kZ;fr & ruq

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15 Hkwrn;k Bsok ex dk; m.ks A izFke lk/ku gsfp vls AA

bfr vHkaxksäjhR;k Hkwrkuka ijLijiszeHkkosuSo HkxoRlk{kkRdkjL; izFkea lk/kue~ A ,dukFkks·fi o.kZ;fr &



en~Hkkoks tksMy;k lokZ Hkwrh A rs.ks izdkjs ek>h pkSFkh HkDrh AA16

frP;k ik;h pkjh eqDrh A lnk ykxrh ------ AA

txfr Hkxon~Hkkouk }s"kHkkouk;k% mi'keukuUrjeso tk;rs A l p mi'ke% fo'oa fo".kq% vFkok fo".kqe; tx bfr fopkjs lR;so Hkofr A vr% HkfDr% uke losZ"kq Hkxoí'kZukuqHkwfrjso A lartukckbZ LokuqHkoa izdV;fr &

okelos nksfgdMs fnls nsokps :iMs AA [kkyh ikgh vFkok ojh ftdMs ikgkos frdMs gjh AA MksGs >kdwfu;k ikgs iq<s xksikG mHkk vkgs AA

17 v.kqjsj.kq pØik.kh [kw.k >kyh nklh tuhAA

izi×ps loZ=k losZ"kq dk;sZ"kq inkFksZ"kq vga HkxoUra i';kfe] lw{ekfrlw{es v.kkofi Hkxonzwieso n`';rs A bfr Hkxon~~Hkäs% ijkdk"Bka lwp;fr lartukckbZ A

ldyHkwrs"kq HkxonuqHko ,o HkfDr;ksx% bfr lUrKkus'ojL; opuefi r=k izek.ke~ &

ts ts HksVs Hkwr rs rs ekfuts HkxoUr AA 18 gk HkfDr;ksxq fuf'pr tk.k ek>k AA

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42- Kkus'oj vHkaxxkFkk] 19543- Kkus'ojh 112044- Kkus'ojh 12-3645- fuR;ikB 46- Kkus'ojh 15-43



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d#.kkfoeq[ksu e`R;quk gjrk Roka on fda u es âre~AA

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^^,rn~fxjsekZY;or% iqjLrknkfoHkZoR;Ecjysf[k 'k`³~xe~A 28

uoa i;ks ;=k èkuSeZ;k p Ron~foiz;ksxkJq lea fol`"Ve~ AA

lk{kkr~ Hkxorks JhjkepUnzL; foiz;ksxkJqikr% v=k dk#.;eq[ksu dkfynklsu iznf'kZr%A vU;=k r=kSo vU;fLeu~ izl³~xs ;Fkk &

^^lS"kk LFkyh ;=k fofpUork Roka Hkz"Va e;k uqiwjesdeqO;kZe~ A 29 vn`';r RoPpj.kkjfoUnfo'ys"knq%[kkfno c)ekSue~ AA

vkgR; j?kqoa'kdkO;s egkdfouk dkfynklsu 'k`³~xkjL; mHkkofi HksnkS] d#.kjl'p lkèkq of.kZr ,o A rFkSo j?kqfnfXot;;k=kkeq[ksu ohjjlL; Hk;kudjlL; izfriknuefi lq"Vq d`re~ A vkJeriksokfluka o.kZus"kq 'kkUrjlL; vfHkO;fDrjfi Dofpr~ n`';rs psr~ eUna gklks·fi iznf'kZr%A bRFka dkO;kReHkwra jla j?kqoa'kegkdkO;s lao.;Z dkfynkl% jllEiznk;L; miLFkkiuedjksr~A lok s Z Rd`"VL; jlèous% o.k Zu a dqo Zu ~ vkuUnoèk Zu su ;nqfYyf[kra &

30^^ØkS×p}U}fo;ksxksRFk% 'kksd% 'yksdRoekxr%** rL;Sokuqdju~ dqoZu dkfynkl% vfi dkO;L; jlkReHkwrRoa izfrikn;u~ vo.kZ;r~ ;Fkk &

^^rkeH;xPNnzqfnrkuqdkjh dfo% dq'ksèekgj.kk; ;kr% A 31

fu"kknfo)k.Mtn'kZuksRFk% 'yksdRoeki|r ;L; 'kksd%AA**



j?kqoa'kegkdkO;s jhfrlEiznk;% &

^jhfrjkRek dkO;L;* bfr Li"VksDR;k okeusu jhrs% dkO;L; vkReRosu izfriknua d`re~ A dk uke jhfr% bfr iz'us jhfrfl)kUrizorZdsu okeusu jhfry{k.ka izfrikfnra ;Fkk &

32 ^^fof'k"Vk injpuk jhfr% A fo'ks"kks xq.kkRekA**

v=k injpukoSf'k"V~;a jhfrinsu vfHkizSre~ A l p fo'ks"k% xq.k:i%A vr ,o jhfrlEiznk;% xq.klEiznk;L; ukEuk·fi vfHkèkh;rsA i)fr%] 'kSyh bR;kn;% jhrsjFkZcksèkdk% i;kZ;'kCnk%A jhfrukZe fof'k"Vxq.kleosrk inla?kVukA dspu ^jlksfpr'kCnkFkZfucUèkua jhfr%* bR;fi vonu~ A oSnHkhZ] xkSMh] ik×pkyh psfr frlz% jhr;%A vklq lqizfl)k oSnHkhZjhfr% oSnHkhZjhrs% y{k.kfeRFkfLr oSnHkhZ yfyrØek* bfrA dkfynklLrq oSnHkhZekfJR;So LodkO;kfu vfy[kr~ A rf}"k;s mP;rs·fi ;r~ &

^^oSnHkhZjhfrlUnHksZ dkfynklks fof'k";rs**

dkfynkl% oSnHkhZjhrs% ewèkZU;% dfo%A mP;rs ;r~] oSnHkhZjhfr% rfLeUuso tk;rs ; mRd`"VdkO;jpukleFk Z % ] i q.;kRek dfoHk Zofr A b; a o SnHkh Zjhfr% Jo.ksfUnz;kuUniznkf;uh] es?ka fouk·fi lqèkkof"kZ.kh] okfXoyklL; tuuh bfr mP;rs ;Fkk &

^^vuHkzo`f"V% Jo.kke`rL; ljLorh foHkzetUeHkwfe%A 34

oSnHkZjhfr% Ñfrukeqnsfr lkSHkkX;ykHkizfrHkw% inkuke~AA**

j?kqoa'kegkdkO;s loZ=k oSnHkZjhrs% iz;ksx% n`';rs A eèkqj'kCnkukeqi;ksx% ykfyR;iw.kZjpuk] leklkuka loZFkk vHkko%] izlknxq.k'p oSnHkhZjhfra lqyfyra djksfrA rL;k% n'kZua izfr{k.ka j?kqoa'kegkdkO;s tk;rs ;Fkk &

^^,dkri=ka txr% izHkqRoa uoa o;% dkUrfena oiq'p A 35 vYiL; gsrkscZgqgkrqfePNu~ fopkjew<% izfrHkkfl es Roe~AA

egkdos% dkfynklL; Hkk"kk ljyk euksjek p fo|rs A nh?kZleklkukeHkko% rRdkO;a ljyhdjksfr ;Fkk &

^^lk nq"iz/k"kkZ eulk·fi fgalSzfjR;fnz'kksHkkizfgrs{k.ksu A 36

vyf{krkH;qRiruks u`is.k izlg~; flag% fdy rka pd"kZAA**



fpRrO;kid% loZlkèkkj.k% izlknxq.k% oSnHkZjhrs% ân;a ;=k dkfynkl% fuiq.k%A ;Fkk &

^^rkezksnjs"kq ifrra r#iYyos"kq fuèkkSZrgkjxqfydkfo'kna fgekEHk% A vkHkkfr yCèkijHkkxr;k/kjk s "B s yhykfLera ln'kukfpZfjo

37 Ronh;e~AA**

;Fkk izlknxq.ko.kZus ikj³~xr dkfynkl% rFkSo ekèkq;Zxq.kks·fi rL;kHkh"V% xq.k% A ekèkq;Zxq.k ,o [kyq 'k`³~xkjjlL; vkèkkj%A lqUnja ok lkSUn;Ze~ bfr 'kCn% dkfynklk; u fiz;% A 'k`³~xkjo.kZus ekèkq;Zxq.ko.kZus ok rsu euksKa ] euksgkfj] eèkqja] je.kh;a] pk:] yfyra] lqHkxa] je.kh;rk] ekèkq;Za lkSHkkX;feR;kfn 'kCnk% iz;qDrk% A ekèkq;Za ;Fkk &

^^r;ksjik³~izfrlkfjrkfu fØ;klekifÙkfuofÙkZrkfu A 38 ºzh;U=k.kkekuf'kjs euksKkeU;ksU;yksykfu foykspukfu AA

^'k`³~xkjs foizyEHkk[;s d#.ks p izd"kZor~ A ekèkq;ZeknzZrka ;kfr ;rLr=kkfèkda eu%** bfr vkpk;ZeEeVerkuqlkja dkfynkl% LodkO;s"kq ekèkq;Znzqfra rjy;fr loZ=k A ;Fkk j?kqoa'ks ekèkq;Znzqfr% &

^^rn~xhrJo.kSdkxzk lalnJqeq[kh cHkkSA 39

fgefu";fUnuh izkrfuZokrso ouLFkyhAA**

izkr%dkyhua fgeikrfeo ouLFkyh vHkor~ lk laln~ ;=k lhrk;k% Lej.ksu vJqikrks·Hkor~ A oLrqr% dkfynkl% lqdqekjekxZL; dfo%A dkO;ys[kule;s l% vR;Ura lkoèkkusu iz;qDrdYiuk;k% vuq:ia 'kCne~ mi;q³~Drs A izfl)L; bfrgkldkjL; la'kksèkdL; fo-ok- fejk'kh egksn;L; erkuqxq.ka dkfynklsu j?kqoa'kegkdkO;s ,dkn'klxsZ lIrpRokfja'kn~ rFkk v"VpRokfja'kn~ 'yksd;ks% mi;qDrk% lekukFkZdk% 'kCnk% rL; dYiuk#fpa Li"VoDr`Roa p izn'kZ;fUr A izFke'yksda fojp¸; vr`Ir% l% f}rh;a 'yksdejp;r~ bfr Hkkfr A ;Fkk &

^^n`"VlkjeFk #nzdkeqZds oh;Z'kqYdefHkuU| eSfFky% A jk?kok; ru;ke;ksfutka :fi.kha fJ;feo U;osn;r~ AA**

r=kSo vfxze 'yksds &



^^eSfFky% lifn lR;l³~xjks jk?kok; ru;ke;ksfutke~ A 40

lfUuèkkS |qfrerLriksfuèksjfXulkf{kd bokfrl`"Voku~ AA**

,oa Jqfreuksgkfj.;k inkoY;k] izlknxq.kok.;k] ekèkq;Z;qDrsu oplk dkfynklL; ok.kh oSnHkhZjhfra iq".kkfr A rnFkZeso [kyq lwDra nf.Muk &

^^fyIrk eèkqnzos.kklu~ ;L; fufoZo"kk fxj% A 41 rsusna oReZ oSnHkZ dkfynklsu 'kksfèkre~ AA**

j?kqoa'kegkdkO;s vy³~dkjlEiznk;% &

vy³~djksfr bfr ok vyf³~Ø;rs vusu bfr ok vy³~dkj%A ;Fkk dVdq.Mykn;% 'kjhj'kksHkkdkfj.k% r}r~ dkO;'kksHkkdkfj.k% miekn;% A ;Fkk fg v³ ~xuk' kj hj a Lu ku fue Zy a ] pUnul qj f H kr a ] iV ~Vdk S " k s ; H k w f " kr a ] gkjdq.Mykfnef.Mra lnSo i';Ttukdf"kZ Hkofr rFkSo dkO;efi vy³~dkjS% lq'kksfHkra euksgj.kk; izHkofr A ^u dkUrefi fuHkwZ"ka foHkkfr ofurkuue~* bfr lwDreso A vr ,o okeukpk;sZ.k mP;rs ;r~ dkO;a xzkgîey³~dkjkr~* A mDr×p vfXuiqjk.ks·fi ^vy³~dkjjfgrk foèkoSo ljLorh** bfr A vy³~dkjk.kke~ bZn`'ka egUegÙoa KkRoSo dkfynkl% LodkO;s"k q ;Fkkizns'ke~ vy³~dkjk.kk a fofuos'kuedjksr~ A dkfynkls jlky³~dkj;ks% o.kZuL; viwoZ% ef.kdk×pu;ksx% ifjy{;rs A mieky³~dkjo.k Zus izkIroSnq.;k; dkfynklk; ^miek dkfynklL;* bfr fc:nsu lEeku;u~ A u dsoye~ miek vfirq vFkkZUrjU;kls] n `"VkUrky³~dkj s p fuiq.kk s·;a dfo%A rFk So 'kCnky³~dkjku~ vfi lR;keko';drk;ka iz;q³~Drs A dkfynkldkO;s"kq vy³~dkjlEiznk;L; vkRerÙoey³~dkj% ;Fkkolja fofuosf'kr%] vr ,o rL; dkO;s"kq lkSUn;Za ifjylfr loZnk ] r=kkfi j?kqoa'kegkdkO;s vy³~dkjk.kka 'kksHkk dkfpn~ fouwruk ,o A fo"k;k s·;e~ vfrfo'kky% rLekn~ j?k qo a'kegkdkO;s of.k Zrkuke~ vFkk Zy³~dkjk.kk a 'kCnky³~dkjk.kk a lUnHkk Zu~ mn~èk `R; vfLeu~ dkO;s vy³~dkjlEiznk;L; LFkkua izfrikn;kfe A rf}ospua fo"k;oSiqY;o'kkr~ uk=k miLFkkI;rs A lqfèk;% losZ·fi lân;k% fo"k;feea cks)qeo';a izHkoUR;so bfr fo'oL; lkglfene~A

1½ j?kqoa'kegkdkO;s mieky³~dkj% & 42

1½ l×pkfj.kh nhif'k[kso jk=kkS ---- ¼nhif'k[kk;k% miek½

2½ iqjLd`rk oReZfu ikfFkZosu izR;qn~xrk ikfFkZoèkeZiRU;k A



43rnUrjs lk fojjkt èksuqfnZu{kikeè;xrso lUè;kAA

3½ izo`Ùkek=ks.k i;kafl ikrqekoÙkZosxkn~ Hkzerk ?kusu A 44vkHkkfr Hkwf;"Be;a leqnz% izeF;ekuks fxfj.kso Hkw;%AA

4½ èkkjkLouksn~xkfjnjheq[kks·lkS 'k`³~xkxzyXukEcqtoizi³~d%A 45cèukfr es cUèkqjxkf=k! p{kqn`ZIr% ddqn~ekfuo fp=kdwV%AA

5½ ,"kk izlUufLrferizokgk lfjf}nwjkUrjHkkorUoh 46

eUnkfduh Hkkfr uxksid.Bs eqDrkoyh d.Bxrso Hkwes%AA47 6½ czkg~ea lj% dkj.kekIrokpks cq)sfjokO;DreqnkgjfUr A

7½ 'kjhjlknknlexzHkw"k.kk eq[ksu lky{;r yksèkzik.Mquk A 48

ruqizdk'ksu fops;rkjdk izHkkrdYik 'kf'kuso 'koZjhAA

8½ rL; izlg~; ân;a fdy 'kksd'k³~dq% 49Iy{k izjksg bo lkSèkrya foHksn AA

9½ HkzejS% dqlqekuqlkfjfHk izfodh.kkZ ifjokfnuh equs% A 50nn`'ks ioukoysita l`trh ck"ifeok×tukfoye~ AA

51 10½ ekxZa euq";s'ojèkeZiRuh JqrsfjokFkZa Le`frjUoxPNr~ A

11½ 'k kL=k h;k siek % ;Fk k ehek alk siek ^viokn bok s Rlx Z a 52O;korZf;rqeh'oj%* bR;=k] O;kdj.k'kkL=kksiek ^èkkrks% LFkku

53bokns'ka lqxzhoa laU;os'k;r~* bR;=k] ^i'pknè;;ukFkZL; 54

èkkrksjfèkfjokHkor~* bR;=k p A lka[;n'kZuL; miek iwoZe~ mDrk ,o cq)sfjokO;DreqnkgjfUr* bR;=k A x`gLFkkJeL; jktuhrs'p

55miek ^uoikf.kxzg.kka oèkwfeo* bR;=k A ,rkn`'kheqiek& ifjiw.kZrkeqiy{;So ^miek dkfynklL;* bfr mfDr% izfl)k vHkor~ A

2½ j?kqoa'kegkdkO;s vFkkZUrjU;kl% &

56 1½ fo"keI;e`ra Dofpn~Hkosne`ra ok fo"keh'ojsPN;k & 57

2½ fèkfxeka nsgHk`rkelkjrke~ &





58 3½ ej.ka izÑfr% 'kjhfj.kka foÑfrthZforeqP;rs cqèkS%A 59

4½ fHkUu#fpfgZ yksd%

603½ j?kqoa'ks n`"VkUrfy³~dkj% & oiq"kk dj.kksf×>rsu bR;=kA

4½ j?kqoa'ks ;edky³~dkj% & 61 1½ ;eorkeork×p èkqfjfLFkr%A

62 2½ luxjauxjUèkzdjkStl%A 63

3½ Jeuqna euqn.MèkjkUo;e~ A 64

4½ lo:.kko:.kkxzlja #pkA 65 5½ okxi#"kk i:ik{kjehfjrkA

5½ j?kqoa'ks 'ys"kky³~dkj% & 66 1½ jk lsuka egrha d"kZu~ A

67 2½ l×pkjiwrkfu fnxUrjkf.kA

6½ j?kqoa'ks vuqizklky³~dkj% &68 1½ Hkqts HkqtxsUnzlekulkjsA 69 2½ bR;qn~xrk% ikSjoèkweq[ksH;%A

70 3½ HkwrkuqdEik ro psfn;aA

,oey³~dkjk.kka O;kida je.kh;×p o.kZueqiyH;rs j?kqoa'kegkdkO;sA

j?kqoa'kegkdkO;s oØksfLrlEiznk;% &

71 ^lS"kk loZ=k oØksfDr% vu;kFkksZ foHkkO;r*A bfr mn~?kks"k;Ur% vky³~dkfjdk% oØksfDrlEiznk;L; egÙoa LohdqoZfUr dkO;s A vkpk;ZdqUrdsu izofrZrks·;a lEiznk;% oØksfDreso dkO;L; vkRe:is.k izfrikn;fr A vL; oØksfDrlEiznk;L; miLFkkiuefi j?kqoa'kegkdkO;s ifjy{;rs A lk{kkr~ vkpk;ZdqUrd% ,o oØksfDra izfrikn;u~ lqdqekjekxZo.kZus Lejfr dkfynkla ;Fkk &



^^lqdqekjkfHkèk% lks·;e~] lks·;a iwoksZDry{k.k% lqdqekj'kCnkfHkèkku%A 72;su ekxsZ.k lRdo;% dkfynklizHk`r;ks xrk%A** bfr A lqdqekjekxZL;

vkJ;nkrk dkfynkl% dFka rRiz;ksxa j?kqoa'ks vdjksfnfr oSnHkZjhfro.kZus voyksfdreso bfr gsrksj=k u iqu:P;rs A vU;=kdqUrd% 'kCnkFkZ;ks% Lo:ia dFk;u~ ;nokspr~ &

^^leloZxq.kkS lUrkS lqânkfoo l³~xrkS] 73 ijLijL; 'kksHkk;S 'kCnkFkkSZ Hkorks ;FkkA**

,rL; Hkko% dkfynklsu j?kqoa'kegkdkO;L; e³~xykpj.ks Li"Vhd`r%A iqu'p oØksfDra o.kZ;rk vkpk;ZdqUrdsu 'kCnkFkZLo:idFkukokljs j?kqoa'kL;

74^rkeH;xPNnzqfnrkuqlkjh* bR;;a 'yksd% mnkâr% A vij=k oØksDrs% okD;oØrka o.kZ;rk vkpk;ZdqUrdsu dkfynkl% Le`r% ;Fkk &

^^mifLFkrka iwoZeikL; y{eha oua e;k lkèk Zefl iziUu%A 75 RokekJ;a izkI; r;k uq dksikRlks<k·fLe u Ron~Hkous olUrhAA**

,rS% mnkgj.kS% Li"Va Kk;rs oØksfDrlEiznk;L; j?kqoa'kegkdkO;s dhn`'ke~ miLFkkiueklhfnfrA

j?kqoa'kegkdkO;s vkSfpR;lEiznk;% &

^vkSfpR;euqèkkofUr losZ jlxq.kkn;%* bfr dFk;u~ vkpk;Z{ksesUnzs.k ;% vkSfpR;fopkj% izfrikfnr% l% ;Fkkor~ dkfynklsu j?kqoa'kegkdkO;s miLFkkfir%A vr ,o dkO;esrn~ je.kh;rjeHkor~ A vkSfpR;iw.kZo.kZua mfprjlkuqdwyk³~dkjizos'k%] vkSfpR;iw.kZ'kCnjpuk bR;srs va'kk% dkO;fene~ vyadqoZfUr A ;Fkk &

^^mR[kkr yksd=k;d.Vds·fi lR;izfrKs·I;fodRFkus·fi A Roka izR;dLekRdyq"kizo`ÙkkoLR;so eU;qHkZjrkxzts es AA**76

v=k okYehfdjso Jhjkes eUFkqa drqZa {ke bfr KkÙoSo vkSfpR;iw.kZa dFkuedkfj dkfynklsu A vij=kkfi ;Fkk &



^^lk pw.kZxkSja j?kquUnuL; èkk=khdjkH;ka djHkksiHkks:%A 77 vkl×t;kekl ;Fkkizns'ka d.Bs xq.k ewrZfeokuqjkxe~ AA**

v=k ;FkkLFkkuekl×t;kxkl fdUrq èkk=;k lquUnk;k% djkH;ka u rq Lo;fefr vukSfpR;fujkdj.ka d`re~ A vfi p

^^ l ikVyk;ka xfo rfLFkokala èkuqèkZj% dslfj.ka nn'kZ A vfèkR;dk;kfeo èkkrqe¸;k yks?kznzqea lkuqer% izQqYye~AA**78

v=k vuq:ikeqieka iznk; vkSfpR;fuokZg% d`r%A ,oekSfpR;lEiznk;% j?kqoa'ksA

milagkj% & j?kqoa'kegkdkO;a uke egkdos% dkfynklL; vf}rh;k jpukA v=k iwoksZDrizfriknuS% Li"VeoxE;rs ;r~ egkdkO;fena jpf;rk dkfynklsu dkO;L; losZ·fi fo"k;k%] dkO;rÙokfu lk³~xksik³~xa foosfprkfu A vr ,o j?k qo a' kegkdkO; s o;ey³~dkj'kkL=kL; " k..kkefi lEi znk;kuk& eqiLFkkueoyksdf;rqa izHkoke%A ^Jqrsu ;Rusu p okxqikflrk] èkqzoa djksR;so deI;uqxzge~* bfr opukuqlkja dkfynklL; izfrHkk ra fof'k"Vkuqxzga izki¸; vejdhfrZa izk;PNr~ A rn~ n`"VSo 'kkL=ks lxkSjoeqP;rs ;r~ dkfynklkn; i×p'k% ,o do;% egkdo;% bfrA*

^ ^vLi ` "Vnk s " k k ufyuho n ` "Vk ] gkjkoyho x z fF krk x q. k k S ? k S %A fiz;k³~dikyho foenZâ|k u dkfynklknijL; ok.khAA**

AA bfr 'ke~ AA

vUrf"VIiU;%

1½ iz-:- 1-5 rs 8 2½ lk-ik- i`- 42

3½ èoU;k- 1-1 4½ clk- ik- i`- 32

5½ lk- ik- Ik`- 54 6½ lk- ik- i`- 38

7½ ukV~;- i`- 202 8½ vkS- p- i`- 32



9½ dk- eh- Ik`- 212 10½ èoU;k- 1-1

11½ èoU;k- 1-13 12½ dq- la- 5-24

13½ dq- la- 6-84 14½ j?kq- 14-84

15½ j?kq- 5-64 16½ j?kq- 5-64 ¼l×thouh Vhdk½

17½ j?kq- 5-38 18½ j?kq- 13-23

19½ j?kq- 13-21 20½ j?kq- 6-29

21½ j?kq- 6-63 22½ lk-ik- i`- 33

23½ j?kq- 9-47 24½ j?kq- 13-35

25½ j?kq- 13-49 26½ j?kq- 8-46

27½ j?kq- 8-67 28½ j?kq- 3-26

29½ j?kq- 13-23 30½ èoU;k- 1-5

31½ j?kq- 14-70 32½ lk-ik- i`- 49

33½ fo|kèkj% ,dkoY;ke~ 34½ foØek³~d- 1-7

35½ j?kq- 2-47 36½ j?kq- 2-27

37½ j?kq- 5-70 38½ j?kq- 7-23

39½ j?kq- 15-66 40½ j?kq- 11-47 & 48

41½ dk- eh- Ik`- 218 42½ j?kq- 6-62

43½ j?kq- 2-20 44½ j?kq- 13-14

45½ j?kq- 13-47 46½ j?kq- 13-48

47½ j?kq- 13-60 48½ j?kq- 3-2

49½ j?kq- 8-93 50½ j?kq- 8-35

51½ j?kq- 2-2 52½ j?kq- 15-7

53½ j?kq- 12-58 54½ j?kq- 15-9

55½ j?kq- 8-7 56½ j?kq- 8-46



57½ j?kq- 8-51 58½ j?kq- 8-87

59½ j?kq- 8-30 60½ j?kq- 8-38

61½ j?kq- 9-1 62½ j?kq- 9-2

63½ j?kq- 9-3 64½ j?kq- 9-6

65½ j?kq- 9-8 66½ j?kq- 4-32

67½ j?kq- 2-15 68½ j?kq- 2-74

69½ j?kq- 7-16 70½ j?kq- 2-48

71½ lk-ik-i`- 40 72½ oØks- i`- 113

73½ oØks- Ik`- 1-18 74½ oØks- i`- 45

75½ j?kq- 14-63 76½ j?kq- 14-733

77½ j?kq- 6-83 78½ j?kq- 2-29

lUnHkZxzUFkk%

1½ j?kqoa'kegkdkO;e~ & efYyukFkVhdk & pkS[kEck izdk'ku

2½ dkfynkl ehekalk & ds'ko'kkL=kh eqlyxkaodj

3½ oØksfUrthfore~ & vkpk;ZdqUrd%

4½ lkfgR;ikFks;e~ & izk- ijkx tks'kh

5½ èoU;kyksd% & vkuUnoèkZu%

“इ� �ा�म अिन� दरीकत� य: अलौिककम उपाय वदयित स वद:”

इित सायणाचाय�: कथयित । “सव��ानमयो िह स:” इित �ितकारा: कथय��

। नारायणोपिनषिद अकार उकार मकार इित ओकारा�क:

ऋ�ज�ाम�प: “ ��याम�ामयजषी इित वदा�य�यी” इित

अमरकोषानसार च ि�िवधा�क: वद: काला�र �ा�ान िव�ारयन

अथव�नामक चतथ� �कार �ापत। एवमककोऽिप वद: पत�ल:

�ाकरणमहाभा�ानसारम एकशतम�य�शाखा: , सह�व�ा� सामवद: ,

नवधा अथव�णवद:, एकिवशितधा बाहव�म इित िवपलशाखोपत: महान

वटव�: समजिन। तत: अितग�ीरतर� भगवतो वद� अथ�म अवगमियत

मानषशम�श��ात िश�ादीिन षड�ािन �ावित�षत । यथा –

छ�:पादौ त वद� ह�ौ क�ोऽथ प�त ।

�ोितषामयन च�िन�� ो�म�त ॥

िश�ा �ाण त वद� मख �ाकरण �तम । १

त�ा�ा�मधी�व ��लोक महीयत ॥ इित पािणनीयिश�ाया

वद� िभ�िभ��कार: अवगमनाय षड�ािन ��िपषत । एव

�णवा�क� वद� अवगमनाय त�ाखा:, षड�ािन, उपिव�ा:,

आष�का�ादीिन, पराणािन इ�ादीिन िनरप�� ।

काला�र �णवा�क वदमवग�मश�ा: उपायम��:

ति�िहत गढमथ� �ात �यतमाना: महष�य: अकार ऋ�दम, उकार यजव�दम,

मकार सामवद च अप�न । त� िव�ास वदान इित �ास: इित ��ा

�ास: वदाना िवभजनमकरोत इित क�न स�दाय: �यत । तत:

अविश�िवषयान एक�ीक� अि�रा: महिष�: चतथ� वदम अथव�नामानम

अप�त इ�िप स�दायिस�: । त� �ाचीन: �थम: ऋ�द: �ाथ�ना�प:

��ोिनब�: दवताना �ित�प: वत�त । ि�तीय: यजव�द: ग�ा�क:



वदष कौट��कजीवनवण�नम

डा. िशवरामभ�:

य�िवधानबोधक: अ�� । ततीय: सामवद: दवताना �ित�प: गाना�क:

वत�त । चतथ�: अथव�वद: मारणमोहनो�ाटनादीनाम आिभचा�रककम�णाम

आयव�दशकनपशिव�ादीना च बोधक: वत�त । चतणा� वदाना च�ार:

अिधका�रण: स�� । यथा - ऋ�द� अिधकारी होता, यजव�द� अिधकारी

अ�य�:, सामवद� अिधकारी उ�ाता, अथव�वद� अिधकारी ��ा इित ।

“वदो िन�मधीयता तदिदत कम� �न�ीयताम” इित शकरभगव�ादाना

वचनन वद: िन�म�त�:, तदिदत कम� अिप अन�यम इित मानवजीवन�

सव� सा� सािधत भवित।

वद: न कवलम अ�ा��ान� आगार: । वद: न कवल

भौितकपदाथा�ना प�रचायक: । वद: न कवल य�ािदकम�का��ितपादक: ।

अिप त वद: राि�यसामािजकपा�रवा�रक�व�थानामिप �व�थापक: �

वरीवित� । वद: कौट��कजीवन� पथ�दश�क: वत�त । मन�: एक:

सामािजक: �ाणी वत�त । अत: स: क��न अिप आ�म भवत नाम कट�न

सह स��ो बोभव�व । अत: य: अ�ान आवणोित स��ाित स: प�रवार:

भवित । �ीप�षयो: स��ात प�रवार�ङखला िनिम�ता भवित । त� म�ा:

भव�� – पित:, प�ी, माता, िपता, प�:, प�ी, �ाता, भिगनी, अ�जानजौ,

अ�जानज, नना�ा, दवर:, �षा, �जावती, मातल:, मातलानी, �शर:, ��:

इ�ादय: । एतषा पर�रस��: कौट��क�व�थाया िनिद��: वत�त । पित:

प�ी च स�ान� मातरिपतरौ कौट��कजीवन मध��थान भजत: । तत:

�थाियस��ा ि�तीय�थान प�� भवित िपत�ा सह िनर�रवासात

त�शानवत�ना� । क�ा िववाह�व�थाधीन�ात काल परगहस��:

कारणात उभयकलसयोिजनी समाज कौट��कब�न च मह�

�थानमावहित । एव �ीप�षयो: सयोगात पा�रवा�रक�ङखला आर�ा

िवव�ा च भवित ।

कौट��कजीवनम –

वदष ब�� कौट��कजीवन �ितपािदतम�� । प�रवार सद�ाना क:

पर�र स��:? तषा दािय� िकम? साम�� कथ िनव�हणीयम ? इित त�

त� िवशदतया �ितपािदतम�� ।



प�ादीना पार��रकस��: -

अथव�वद प�ादीना पार��रकस��: प�रवार इ� भविदित विण�तोऽ�� ।

यथा –

अन�त: िपत: प�ो मा�ा भवत स�ना: ।

२जाया प� मधमती वाच वदत शा��वाम ॥ इित अथा�त यिद प�: िपत:

अन�त: �ात तिह� कलह: कत:? यिद मा�ा समाना िवचारधारा �ात

नारीकल� ितर�ार: कत:? प�ा सह प�ी मधरवा�ा वदत तिह� अशा��:

कत:? इित पर�र सहजीिवत साम�� च �थािय स�ादियत माग�: �ादिश� ।

एवमव �ातणा पर�रसाम��ाय अपरा �ित: इ� कथयित । यथा –

मा �ाता �ातर ि��न मा �सारमत �सा । स��: स�ता भ�ा वाच वदत ३भ�या ॥ इित �ातर: भिग�� पर�र �ष मा क�त । समानमाग�म

अनसर�: समानिनयम पालय�: भ�वा�ा: �योग क�त इित अनया ��ा

�ातभिगनीना पर�र सहिजवन बोिधतम ।

सा�ितककाल त��ान� वगन उ�ोगकत�रतया जनाना

पा�रवा�रकजीवन� मया�दा मह� दािय� कत�� च िव�त�ाय

ब�नाम�ात�ाय च वत�त । तन प�रवार ��ानाम आदर: �न: सजात: । तथा

च त�: जीवनानभवमाग�दश�न �ा� न श�त । पर वदष

पा�रवा�रकजीवनाय प�ाना महाय�ाना �व�था कता । त� िपतय�ोऽिप

अ�तम: । ��ानाम, िवदषाम, ग�जनानाम, ब�नाम, अितथीना स�ार:

सवा च गह�थ� अप�रहाय�म अनवाय� च पिव� कम� किथतम�� । यथा –

अ� िपतरो मादय� यथाभागमावषाय�म । अमीमद� िपतरो यथा ४

भागमावषाियषत ॥ इित िपतणा सवया आदरण प�रवार मन�: सव�िवध सौ� �ा� श�ोित इित भाव: ।

�शरगह ��या: सािधकार जीवनम -

��या: �शरगह स�ानपव�कपा�रवारजीवनयापन� माग�: �द��त ऋ�द

अथव�वद च । यथा –

स�ा�ी �शर भव स�ा�ी ��वा भव । नना��र स�ा�ी भव स�ा�ी अिध



५दवष ॥ इित

६स�ा�िध �शरष स�ा�त दवष । नना�द: स�ा�िध स�ा�त ��वा: ॥

इित म�: �ीणा गह�था�म �शरगह सव�� स�ानपव�क जीवन �ादिश� ।

यथा रा�ी �ासाद आन�न वसित जीवित तथव भवती अिप �शरण ��वा

नना�ा दवरण च सह सािधकार स�ा�ी िनवसत इित ��या: दासीभाव:

सतरा ितर�त: ।

िन�पट: �वहार: -

अथव�वद �ीप�षयो: प�रवार पर�र िन�पट: �वहार: भविदित विण�तम ७

। यथा – यद�र त�ा�म । य�ा� तद�रम इित अ�: बा� च �वहार:

सव�षा समान: �ात इित आशय: । यजव�द आर�कऽिप “य�ाचा वदित

त�म�णा करोित” इित वा�म�णो: पारदश�क�म एककाय�� च अवािच ।

द��ो: �मभाव: -

द��ो: पर�र �मभाव: �ात । पर�र कामययाताम । तयो: पर�र

िवरोध: न �ात इित िवषय अथव�वद उ�त । यथा –

यथा व� िलबजा सम� प�रष�ज । एवा प�र�ज� मा यथा मा कािमनी ८ ९

अस: यथा म�ापगा अस: इित । अ�: कण� मा �िद मन इ�ौ सहासित

इित ।

िववाहस�भ� अिप वर अि� सा�ीक� उ��ताया: व�ा: दि�ण�स

�दि�णबा� िनधाय आ��न इव दि�णन ह�न त�ा: �दयमिभमशित

। यथा – मम �दय �दय त अ� । मम िच� िच�म� त । मम वाचमकमना:

�ण मामवान�ता । सहचाया� मया भव इित ।

सहधम�: -

बोधायनग�स� क�ादाता वर� कत वदित यत “धम� च अथ� च काम च

नाितच�रत�ा �ययम । सहधम��य�ताम । च�र�ािम” इित वर: �ित�णोित

इित ।



द��ो: स�म –

सखाय: स�पदा अभम । स� त गमयम । स�ा� मा योषम । स�ा�

मायो�ा: । इित द��ो: पर�र िम�भाव: ��पािद ।

वीरस�ानो�ि�कामना –

यशोदायक� वीरव�म� स�ान� कामना ि�यत द�ती�ा वद । यथा – १०िज� रथ�ा सभयो यवा� यजमान� वीरो जायताम इित िवजयशील: रथ

उपवशनशील:, सभाया स�ान �ा� यो�:, त�ण: प�: यजमान� भवत

इित कामना अका�र ।

िपतदािय�म –

११स न: िपतव सनवऽ� सपायनो भव । सच�ा न: ��य ॥ इित

अि�दवमि�� िपत: उपमान दीयत । यथा प�� सक� िपता स�रम

उप��थतो भवित तथव ह अि�दव! �मिप अ�ाक क�ाणाय स�र

सि�िहतो भव इित काल स�ान� क�िनवारण िपत: दािय�म�म ।

अितिथस�ार: -

पण� ना�र � भार क�मत घत� धाराममतन सभताम ।

१२इमा पा�ीममतना समङ�� इ�ापित�मिभ र�ा�नाम ॥ इित पित: प�ी

वदित यत अितथीना कत

प�रवषणाथ� घत� घटमानय । अितिथ�: यावदाव�क तावत दिह ।

सकोच मा क� । एव दानकरणन गह� शोभा वध�त । अितथीना स�ारण

प�रवार� इ�ापित�: भवित गह च सरि�त भवित इित आशय: ।

अनण�म –

प�रवारजना: ऋण न कय�: इ�ाशयक स�श वदित अथव�वद: । यथा –

अनणा अ��न अनणा: पर��न ततीय लोक अनणा: �ाम ।

१३य दवयाना: िपतयाणा� लोका: सवा�न पथो अनणा आ ि�यम ॥ इित अ��न

लोक ऋणरिहता: �ाम । परलोक ऋणरिहता: �ाम । ततीयलोक अिप



ऋणरिहता: �ाम । दवयानिपतयानमाग� अिप ऋणरिहता: �ाम इ�व

��क गह�थोऽिप अनणो भवत इित आशय: । ऋण कत बहव: आप�य:

आपत�� । द��ा: द:खमयजीवन िहसकोप�वा: िवकास बाधा: िनध�नता

अपश�ो�ारण�भाव: च इ�ादीना द:खिवशषाणाम आवि�: जीवन भवित

इित सतराम ऋण न कत��म इित बोधयित ।

उपसहार: -

एव िविभ��कार: कौट��कजीवन प�रवारसद�ाना पर�रस��: दािय�

च वदष ��तया िनिद��: वत�त । सा�ितककाल प�रवार साम��थापनाय

प�रवार�व�थाया: सरि�तानवत�नाय एतषा म�ोपदशाना काल काल महती

आव�कता वत�त । अ�था भारतीया या सखमयी

सनातनपा�रवा�रक�व�था स�ण�तया नाश ग�त । समाज अ�व�था

जागयात । तन समाज� कौट��कजीवन� च िवघटन �ात । एता�शाना

वदो�ानाम उपदशाना सा�ितककौट��कजीवन आचरणाभावात प�रवार

पर�र जनाना िव�ास: ना�� । पर�रम आ�िनय�ण ना�� ।

एकसगित�भावना ना�� । अ�ो�ािव�ात� �वहार� व��: जाता ।

कवल भौितकसखावा�य एव पा�रवा�रक�व�थाया: भावना सम��ा । अत:

अ�ाक भारतीया वदो�कौट��क�व�था यथोिचत पन��त: �ात ।

तन कौट��क�व�था स�ढा भवित । जना: पर�रम आन�न जीिवत

श�व�� । तदा एव ध�ो गह�था�म: इित सक�ना सािथ�का भवित इित

वदष पा�रवा�रकजीवनदश�न स��थत स�ढ च ��पीित �ितपा�

िवर�त ।

स�भ�िट��: –

१. पािणनीयिश�ा – �ोकस�ा – ४१,४२

२. अथव�वद: -०३.३०.०१

३. त�व – ०३.३०.०३

४. यजव�द: - ०२.३१

५. ऋ�द: - १०.८५.४६



६. अथव�वद: - १४.०१.४४

७. त�व – ०२.३०.०४

८. त�व – ०६.०८.०१

९. त�व – ०७.३६.०१

१०. यजव�द: - २२.२२

११. ऋ�द: - ०१.०१.०९

१२. अथव�वद: - ०३.१२.०८

१३. त�व - ०६.११७.०३

प�रशीिलत��ा: -

०१. ऋ�दसिहता – स�ादनम, अमलधा�रिसहगौतम:,

महिष�सा�ीपनीवदिव�ा�ित�ानम, उ�ियनी

०२. मलयजव�दसिहता – सकलियता, महिष�दवरात:,

काशीिह�दिव�िव�ालय:, वाराणसी

०३. सामवद: - दि�ण�ाय�ीशारदापीठम, ��र

०४. अथव�वदसिहता – स�ादक:, �ीरामशमा� आचाय�:, यगिनमा�णयोजना,

मथरा

०५. विदकिनब�माला – डा. धम�� शा�ी, िव�ािनिध�काशनम, दहली



बम गिर िलयनग

॥अपणक जातकानपलििवचारः॥कािरकाः

अवाि सभाव बभावोऽिप तकवत । योग क चतथ ितमा गित िवना ॥०१॥

कदािप न व ितमाािवित । योग तदनमानादवण परात ॥०२॥

अफलिविनदश सानषः तीयत ।अिवनाभावसाथापणक जातक ॥०३॥

अिकितन कायक ारणकना । तषामिवमान साधमि नषधनम ॥०४॥

उपलानमि यावगोचर।तवानपलाना नािम गत ॥०५॥

सताथ नाि िवम ितानतः ।अिबिहानमिवनाभावयोिजतम ॥०६॥

काय भावसाव ानपलनम । जातक बोिधसन सट त शावत ॥०७॥



तीका

अ चोत चतरायस मिधक

अवाि सभाव बभावोऽिप तकवत ।

योग क चतथ ितमा गित िवना ॥०१॥

िसभाव ःखसमदयिनरोधानामवाि साना तकवकशाानगतानमानयिसि-

साबभावाोयप िसमिप चतथ मागस क योगिमित ितमा गित भगवतो धम ित जिनतानगमन िवना।

िक तकवत। ःख लोकः ितित इित कायिचपीडनाथा ार- िनसखपीकरणाथा ा ःख मािसियम। तथा

तमदयारण पसाभतता। अनयोः िबितिबभावव बीजारभाववत। यथा िबावरण ितिबापिसशन ताय

ःखिनरोध इित तानमानिसिः। अिप त तायामाग ितपाना का बिमाग प य मोािधगम तिमित। न िह ान

नानमान वा। ताितमा गितम। उ न ाजात उपसमित भगवता। उ न शराचायन ािप िसित एव वििनवपपिरित

॥०१॥

न व। उत।

कदािप न व ितमाािवित।

योग तदनमानादवण परात ॥०२॥

कदािप य पषाथणावतो मागप य फलािथश ील व गमनकाम मागव िणत ितमाात न भिवित सशयात। उ िह भगवता

शाागमावामाण िधा िवपाका साथा। त चतथ मागस चतरायस स योग खनमानादनमाननव

साधियतम। भगवतािप मलाधारिवरिहताममौिलका वा सकारणिवचारपवक ाकारवामपदिशत म। उ िह

धमक ीितप ादनाथान थि ववचनानमानायािदित।



तादािदमाावलोकनामावणसशम परात। अिवसवादानन फलोादनमाग एव िनशय गत॥०२॥

नन फलोदयान मागप य ितपत। गहावत मडरवािसना कथ कत। अत उत।

अफलिविनदश सानषः तीयत ।

अिवनाभावसाथापणक जातक ॥०३॥

मागप य फल अ ताि नाि वा िविनदश मवसाय त कायक ारणभावानषसिहतात सानषः तीयत एव। कात।

तषामिवनाभावसात। यथापणक जातक इित िकम।

अपणक जातक साथव ाहनबोिधसना जल य वाता िमा मषािमित ाथान मानन ाा पराथान मानन कीयाापिया

जलपणापाथ िनि िवना मागप य दशन माग वश कतम। तदा कीयानिभा-िाार सरो परणी वाीित तपव वित तन

बोिधसन थममावा िवचािरतम। बतमाण िकि स भवित। एकतमाण नानतम। इतोऽिप िकिाधम

बपलभाषणशाागमवाताय ा समावयत चत ावरीाकारी भवित। स पनय वचनािभावाभावपरीयन पित

विवातसमीरण र मघशीष दशन िवताया अवभास मघश वण यत एतािन वाः कायक ारणपािण। अयमानविवषयऽ-

नपलिान माणम ॥०३॥

निवमानविवषय एवानपलिमाण यम। ययमानवनोऽिप सावहािरकन सभाव चत कथम-

नपलिमाणन त िनितिमम। यमतद। तनाह

अिकितन कायक ारणकना ।

तषामिवमान साधमि नषधनम ॥०४॥

विसपरीाया बोिधसन वि ागवकितम। यावता वा



िवमानमनपलन तावता ताः कायक ारणपविवातमघशीषाद ीना परीण सयोजनम।

ततदि कितन तायक ारणकना। तषा विवातादीनामिवमान सित विरीित पधम िनरम। यिद

वतो वि चषा विवातादीना भावसाा कायस ाा वसायमहतऽिवनाभाविनयमात। तदनमानम।

तािमानािवमानमागफ ल मागाव तीण पवम नमानमाणन ात समथम । ताननव हयोपादानिमित का न कवल ितमाण

वििन-वम। यथापणक जातक बोिधसन यवाता वणमाण न जलपण का वभाविनितमनसा माग िवटम ॥०४॥

नन कििदशिवशष उपलिलणाानपलिशा। त रदशिवशष विना ीभानपलि-दश कालभाविवकाना

दशिवकात। त यम। उत।

उपलानमि यावगोचर।

तवानपलाना नािम गत ॥०५॥

अानपलिस ान गोचर ादशिवशष किचन अि चत तोपलिभावन भताथऽ-यिमित वा गोचर

उपलानामिात। भदकानािमियानमािद गाित तिनतरानानाम-सवात। योिगानमिियानपवक म।

इियानन िमतभताथ भावनाकषप य तवात। चरा-िदपियिवषय इियानम। न कवल

चरापतनपथािकादतीिय परो वा यमियगोचरसामात । कदािचरािद बाधकहतना वनः

कत चिव ान नोवित। ततः तदनमानायम। न त र गप ाता-लवनः कायक ारणानषानािमियगोचरात।

तषामभत व नाीनपलिग त ॥०५॥

नानपलिानन वभतमामव सटम। जलशो वििवगमदश इित बिः त कथ ाम। मघवषा- िवयकाल ी

किचदश जल सवित न। ततो वनपलिानन िवजलदशोऽयिमित मा न का जल-पणमयोय कत महासन।



नवम। न वििवगमदशजलशिमाकमिम। तनोत।

सताथ नाि िवम ितानतः ।

अिबिहानमिवनाभावयोिजतम ॥०६॥

कििदिधान जलमि च वनपलः सताथ जल नािमहत इित िवममिवनाभाविनयम-िवात। य य

जलमि त त विरि वा य य जल नाि त त विनाि वायितरकवशा त िनयमम। न जातक महासन बोिधसन

जलशोऽय दश इित ानन वम। अिप त वििवगमकाल ी च जल नीभावो लोकिसः। अिनराकत तीित च। अिप च

सााकटीभतवनोऽि नाि वा नानमानिवषयम। कवलमयमानमाण य नािमाभास तािबिः

ितानतः सवित चहानाथऽ िवनाभावयोयानपलिः॥०६॥

अतो बोिधसानपलियोग शािव नाीाह।

काय भावसाव ानपलनम ।

जातक बोिधसन सट त शावत ॥०७॥

तादातीित ौ सा अनमानाितौ भावकाय पयोः। योजनवशा वसभाविसः। तयोरवा-नपलिान

वितषधयोजन। ताव ानपलनमिप कायक ारणसात। अिातक बोिधस-महासन यथा

शाोि तथा तावानपलिान सट कतम। तथा।

जलिबसकीणश ीतशज नकवातो विवातः। वषाक ाल विपतन एकयोजनमा विवातशः । ताशि लन यावरत

एकयोजनमा तावा असवः। कायान पलिः।

नभशीष ामघाकारछाया मघशीशम । तषा दशन मकयोजनमा। मघकारण सित वकायि मित का तषामयमान कारणानपलिः।

तथाऽिप िवता चतप योजनमा कायत। मघश एकियोजनमाम। एतयोः कवल ाभदः। न योगभदः।

एतयोग षोडशयोगमऽिप न सगहीतम। अनपलियोगाना



गणना न कािप सा। ता काय भावसादनपलिानिमित सपतः। एति स

िवता मघश मघाना कायभ तौ विसश। यथाम तापौ। य माभावो त तापाभाव विरभावात। ततः कारणाकायान पलिः

सदशयोगः।

ताितमाण िवचारिवयानन ावतः वििनव न कदािप कािप यम । अ फलऽनमानायन वा िनिद फलाथ भवत

यथापणक जातक। ॥ इपणक जातकानपलििवचारो नाम बम गिर िलयनगय

चचा ॥

References

(S.I.p.40) (A.III.p.294) (Dhp. verse. 354) (M.I.p.479) See BGS XIII.2 and also II.21 (M.II.p.170) (M.II.p.170) (M.I.p.320 and M.I.p.401) (PVSV. Before verse 1) (M.II.p.170) (J. pp.102-103) (NB. II.12) (VP. XVI) (TB. pp. 81-85)

Abbreviations

A - The Aṅguttara-nikāya. Part III, ed., E. Hardy. London: Pali Text Society, 1976.

BGS - Śrīmad Bhagavad Gītā with Śaṅkarabhāśya. Delhi:



Motilal Banarsidas, 2011.

Dhp - Dhammapada. eds., O. von Hinüber and K.R. Norman. Oxford: Pali Text Society, 1995.

J - The Jātaka together with its Commentary. Vol.I, ed., V. Fausbøll. London: Pali Text Society, 1962.

M - The Majjhima-nikāya. Vol.I, ed., V. Trenckner. London: Pali Text Society, 1979.

- The Majjhima-nikāya. Vol.II, ed., Robert Chalmers. London: Pali Text Society, 1977.

NB - (Nyāyabindu), Pandita Durveka Miśra's Dharmottarapradīpa: Being a Sub-commentary on Dharmottara's Nyāyabinduṭīkā, a Commentary on Dharmakīrti's Nyāyabindu. ed., Pandita Dulsukhbhai Malvania. Patna: Kashi Prasad Jayaswal Research Institute, 1971.

PVSV - The Pramāṇavārttikam of Dharmakīrti: The First Chapter with the Autocommentary. ed., Raniero Gnoli. Roma: Istituto Italiano Peril Medio Ed Estremo Oriente, 1960.

S - The Saṃyutta-nikāya of the Sutta-piṭaka. Part. I, ed., M. Léon Feer. Oxford: Pali Text Soceity, 1991.

TB - (Tarkabhāṣā), An Introduction to Buddhist Philosophy: An Annotated Translation of Tarkabhāṣā of Mokṣākaragupta. Yuichi Kajiyama. Vienna: 1998.

VP - Vaidalyaprakaraṇa. eds., Fernando Tola and Carmen Dragonetti. Delhi: Motilal Banarsidas, 2004.



सिविदतमवद यिदद भागवतपराणर ीमता वदासमिनना िवरिचतिमित । अ िह समशााणा त िनगिदत यत । त यत

शािमित, ाः नानीयिमित, सवश ाोपकारकिमित ,

वदाातमिमित च ाथ भवित य होरा, सिहता, िसापण

िधाभत धमाच रणाथम पित कालावगमन महपकरोित, फल

भणित इ, पिरहार वदित अिन, त ोितशााादरो

दरीयत। परमहससिहताभत ीमागवतपराण आथम

ादशपय शाा िवषयाः ाा य , िवशषत

पम ।

१) होरािवषयाः -

ीमागवतथम ादशााय परीिहाराज जातक

दवग यत । तदनसार फलािप ो तः। ताय िवशषः परीितो मरणमिप कथ सभवीित कत इम -

"तकादानो म िजपोपसिजत ात । पत उप

मसः पद हरः ॥

इित रा उपािदय िवाः जातककोिवदाः" ॥ [ भा I: 13:27,29]

िक जीवोिरिप होराशा बहातक, बहाराशरािदष विणत ा भवित । स च िवषयः भागवत तया ोिमम -

"कलल कराण पराण बदम । दशाहन त ककः



ीमागवतपराण ोितःशािवषयाः

MkW- ,l- mekifr%

पयड वा ततः परम ॥

मासन त िशरो, ाा बाािवहः । नखलोमािचमाि ण

िलिोवििभः ॥

चतिभधात वः स, पिभः डवः । षिजर ायणा वीतः कौ

ाित दिण ॥

आर समाासाबोधोऽिप विपतः"॥

[भा:III:31: 2,3,4,10]

एवमव बहातक िनषकााया - 'उदयित मभाश सम च

म यिद भवित िनषकः सितरयण ।

शिशिन त िविधरष ादशऽ कयाि गिदतिमह िच सितकालऽिप या ॥ (२२ ो)

इित िनषकसमयहिाधारण वष य, ादशवष वा

सितकालः ोत । त ातया भागवत -

" ाजाप त तजः परतजोहन िदितः । दधार वषाि ण शत शमाना सरादन ात" ॥ [ भा: III :31 : 15:1 ]

इित िदतः वषश तकािलकगभध ारण यत । एवमव तव

िनषकाायोिवपरीतफलोदाहरणन भागवत -

" अथािप काममत त जा करवायलम । यथा मा नाितवोचि मत ितपालय ॥

एषा घोरतमा वला घोराणा घोरदशन ा । चरि या भतािन भतशानचरािण च" ॥ [भा: III :14 : 21,22]

इित कयपः कामपीिडता िदित ो, कालाितािमण तामवाच -

"अायादान दोषाौितक ात । मिदशाितचारण



दवाना चाितहलनात ॥

भिवतवाभौ अभ जाठराधमौ ॥ [भा: III :14 :37,38]

इित॥

अ मतद ोषण सितः भवित इित किथत यत|

२) सिहतािवषयाः -

सामािजकिवषयाणा, वािवषयाणा समासासकथन भव सिहताभाग इित सवि विदतम । त सिहताभागमाणभत

बसिहता वािवााय, ासादलणााय चवमम -

"तष च यथानप वणा िवादयो वााः" इित (६७) ,

"िवहगािदिभरवलीनराकितिपतःित तथा" (१२) ,

"भिरपिवकर सतोरण तोयपणक लशोपशोिभतम । धपगबिलपिजतामर ाणिनयत िवशद गहम ॥" (१२३)

इित वािवााय चातव यग हवा, ासादष पिणामायः,

गहारालरणािदक विणत मि। इदमव भागवत िनत दशम ीक मथरानगरवशसमय -

"ददश ता ािटकतगोपरारा बहमकपाटतोरणाम। ताारकोा पिरखारासदामानरोपवनोपशोिभताम ॥"

"जष जालामखरकिमािवपारावतबिहन ािदताम। सिसरापणमागच रा कीणम ाारलाजतडलाम ॥"

"आपणक भदि धचनोितः सनदीपाविलिभः सपवः। सवरामकः सकतिभः लतारगहा सपिकः॥"

[भा: X:41:20,22,23]

एव ासादलणााय "का भत सिललमारामान िविनवय



च। दवतायतन कयाद यशोधमाि भवय ॥"(१), "सरःस निलनीछिनररिव रिमष॥"(४), "वनोपानदीशलिनझर ोपाभिमष

॥"(८) इािदना जलाशयपिरत, उपवनािदशोिभत, पाित नगर भवत ,

तव ासाद िनमात इित कत । एतव िनपण कतमि भागवत

थम क ारकागमन, एव दशम ारकािनमाण सभ च । उ िह ीशकनम -

" सवत स व िवभवपयवलतामः । उानोपवनारामवत पाकरियम ॥

गोपरारमागष कतकौतकतोरणाम । िचजपताकारःितहतातपाम॥" [भा:I:11:12,13]

"यत य िह ा िवान िशनपणम । राचरवीथीिभयथ ावा िविनिमत म ॥"[भा:X:50:51]इित|

एवमव शकनशािवषया अिप सामिहकफलसचका इित का बहिहतािदसिहताष पिमगादीना वहारण

शभाशभािदफलिनपण कतम । तद बहिहताया िशवतााय ; " धिमतािभमखी हि रदीा िदगीरान "(३), इित िशवायाः दीरण

तन राः नाशः ोत। एवम अऽितााय "अकायभ ीतोऽिवलोचन िशव न भत रगोऽिभध"(१४) इनन

दता वािजना ािमनः अशभ सत इम । एवमव "अपसा शकना दीा भयिनविदनः" इित (५७) शाकनााय, अ च यो,

त सहः यत भागवत थम अजन ाकािणः यिधिर वचःस - "ऊवि बाहवो म र पनःपनः । वपथािप दय आरााि

िवियम ॥

िशवषोमािदमिभरौनलानना । माम सारमयोऽयमिभरभभीवत ॥



शाः कवि मा स दिण पशवोऽपर । वाहा पषा लय दतो मम"॥[भा: I:14:11,12,13]

इमनक सिहताभागिवषयाः ल एवािन पराणऽनक ।

३) िसािवषयाः -

गिणताधारण य िवषयाः िय त िसाभाग अभव ीित दवाः । कालिनणय ः, तदथ सयाि दहसार िनपणम,

पिथािदमानिनयः इादयोऽ िवषयाः । एतिपक सयि साा आष सव ादौ कालिनपण यगमानपणारत ।

त ममािधकार मानषवषः िद वष मीयत । त ३६० मानषवषाि ण एक िदवषि मित गयत । ताशिदवषाण ा ादशन महायग (चतयग म)

पिरगयत "तादश सहािण चतयग मदातम " (१५ो) इित ।

एत एव िवषयाः भागवत ततीय िवरमयसवाद सिनिपता भवि एवम -

"कत ता ापर किलित चतयग म । िदाद शिभः वषः सावधान िनिपतम ॥" (ो १८)

"चािर ीिण चक कतािदष यथामम । सातािन सहािण िगणािन शतािन च ॥"(ो १९)

"िलोा यगसाह बिहराणो िदनम । तावव िनशा तात यिमीलित िवसक ॥"(ो २२)

"याविन भगवतो मनतदश॥"(ो २३) " काल मनभ सािधका कसितम ॥"(ो २४) इित।

िक पम भगोलखगोलादीना वणन म वतत । िवना ोितःशाायन सयच ािदिवषयकान ा भवम, यधीयत

पमः। अ िह भमः सधा िवभागमा, त जीपवणनार



'यो वाऽय ीपः कवलयकमलकोशारकोशो िनयतयोजनिवशालः समवतल ो यथा परपम' (V:16:5) इित वयत । त च जीप

नववषाि ण िवभ य भारतिमित वष सिस भवित । िक

शाा नायकः, सकलजीवरािशसिकता, ाडरिता भवित साात सयन ारायणः । तदवोत भागवत पम -

"सयण िह िवभ िदशः ख ौमह ी िभदा । गाप वग नरकाः

रसौकािस च सवश ः॥

दवितय नाणा सरीसपसवीधाम । सवज ीविनकायाना सय

आा गीरः ॥" (V:20:45,46) इित ।

एवमव सयि सा भगोलााय मय उर वदन सयप षः "वासदव एव पर , तदव पषः, स का अपः सा, तास

वीयम वासजत । तदव वीयम ड समभवत। त िहरयगभः थम ीभतः। स एव आिदभतात आिद इित, सा सय इित च” थत|

तदव “तदडमभवत हम सव तमसावतम " (१४) इािदना वणय ित ।

ीमागवत च ततीय सवद व तः, अचतनााड चोदन शिः दिशत ा, पर सफल न जातम । पर यदा नारायणोऽःिवः

तदाडिमदमदितत अथात चतनवातिमत -

"ततनानिवो योऽडमचतनम । उित पषो

यादितदसौ िवराट ॥

िहरयमयादडकोशााय सिललशयात । तमािवय महादवो बधा िनिबभ द खम ॥" (III:26:51,53)

एव पमऽिप "मतऽड एष एतिदभतो मात ड इित पदशः िहरयगभ इित यिरयाडसमवः" इित वयत ।(V:20:44)

एवमव त ितमास कालभदोऽिप यत । तारणमत



भागवत "यगतो भगवान तपता पितपन आतपन .... यथासवनमिभपमानः मकरािदष रािशष अहोराािण दीघ समानािन

िवध । यदा मषतलयोवत त तदाहोराािण समानािन भवि यदा वषभािदष पस च रािशष चरित तदाहाव वध सित च मािस

माका घिटका रािष"(V:20:3,4) । अिप च समााय रवः

गितव यत ।

िक ीभाराचायि वरिचतिसािशरोमणौ चहणािधकार "भानोगि तःशरहता रिविभिवभ ा ..... िवध िवधिरन हण िपध"(ो९)

इित चहणिवचार यो तदवा भागवत 'यददरणम डल तपततिरतो योजनायतमाचत ादशसह सोम

योदशसह राहोयः पवि ण तवधानकरानबः सयाच मसाविभधावित।.... मम िजमानिकतदयः आरादव

िनवतत तपरागिमित वदि लोकाः'(V : 2 4 : 2 , 3 ) इित

भायायाःरापक का उपरागः विणत ः ।

एवमव भगोल माणलणतः वणन कतमि पम

'तााधानव भगोलिवशष नामपमानलणतो ााामः'

(V:16:4) इाराायपकन । अ लोकालोकाचल वणन 'एतावाोकिवासो मानलणसािभिवि चितः किविभः स त

पाशोिटगिणत भगोल तरीयभागोऽयम लोकालोकाचलः' (V:20:38) इित भ-मान ५०,००,००,००० योजनानीित िनिपतम ।

एवमव ाचीनाचायर वोदीिरता िशशमारसािप भागवत “कचनतोितरनीक िशशमारसानन भगवतो वासदव

योगधारणायामनवणय ि”(V:23:4) इित िवशदतया ोा । िक बना

दवः कमफ लतया य नरकाः ो त चोाः पमा “त हक

नरकानकिवशित गणयि अथ ता राजामपलणतोऽनिमामािमोऽतािमो .... ऩरका



िविवधयातनाभमयः”(V:26:7) इित।

एवमव सवा ादश एकादशााय सय ितमासगितः,

नाम, फल वयत । िक सयि सा ोितःशा आिदम कथयित 'शामा तदवदम'(म.अ.९) इित । वदादीना स वदाभता

आ कथिमित सह तवोत 'यव ाह भारः । यगाना विरवतन कालभदोऽ कवलः' (ो ९) इित । अममव िवषय माणयित

पराणम -"एव नािदिनधनो भगवान हिररीरः। क क माान

लोकानवजः"॥(XII:12:50) इित।

इ ीमागवतपराण आात आ ोितःशािवषयाः दरीय इित शम ॥

उपयसची

१) ीमागवतपराणम - मोतीलाल बनारसीदास , दहली १९८३

२) सयि साः - चौखासतभवन , वाराणसी १९९५

३)िसािशरोमिणः - चौखासान , वाराणसी २००५

४) बहातकम - मोतीलाल बनारसीदास , दहली १९८५

५)बहिहता - चौखासान , वाराणसी १९९५



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odzrkHksn vkf.k vkSfpR;

dqUrdkus izk;% loZp Hksnkae/;s dks.kR;k uk dks.kR;k Lo:ikr vkSfpR;fopkj dsyk vkgs-o.kZfoU;kl odzrsr o.kkZapk foU;kl odzrkiw.kZ vlkokp ijarq izlaxkyk vuq:i vl.ks vfuok;Z vkgs] rlsp vks<wu rk.kwu udks- iniwokZ/kZodzrsP;k fo'ks"k.k] o`fRr o fyax odzrse/;s rlsp okD;odzrsvarxZr ;s.kk&;k vyadkjkaP;k o.;Zfo"k;kuq:i ;kstusr] izdj.kodzrk o izca/kodzrsP;k fofo/k Hksnkae/;s vkSfpR;kpk fopkj R;kus dsyk vkgs- fo'ks"k.kkP;k izHkkokus fØ;k fdaaok dkjdkps lkSan;Z LQqfjr gksrs rh fo'ks"k.koØrk gks;- ;k fo'ks"k.koØrsps lkQY; gs vkSfpR;iw.kZ fo'ks"k.kkP;k ;kstus}kjs gksrs- ;k vkSfpR;iw.kZ fo'ks"k.kkaph ;kstuk gs mRre dkO;kps thou vlrs- dkj.k ;k vkSfpR;iw.kZ fo'ks"k.kkauh ;qDr mRre dkO;kr jl mRd"kkZizr iksgkspysyk vlrks-

,rn so fo' k s " k . koØRo a u ke i z Lr qr k S fpR; ku ql kj h ldy lRdkO;thforRosu y{;rsA ;LeknusuSo jl% ijka ifjiks"kinoheorh;ZrsA 6



vkSfpR;iw.kZ oØdkO;kps lkQY; gs jlifjiks"kkr vkgs gs Li"V vkgs-

iwoZlwjh aP;k fopkjk aP;k ikÜoZHk wehoj dqUrdkps osxGsi.k & vkSfpR;fopkj EgVY;koj {ksesUnzkpk vkSfpR;fopkjppkZ gk xzaFk vkBorks] rs lkgftdp vkg-s dkO;'kkL=kh; ijaijsr dkO;krhy vkSfpR;kpk fopkj >kY;kps fnlwu ;srs- Qkj dk; lk{kkr~ vkSfpR; 'kCnkpk funsZ'k ulsy ijarq dkO;krhy iz;ksT;&viz;ksT; 'kCnkapk fopkj vlks ok nks"kizdj.k vlks Hkkeg] vkuano/kZu] eEEkV] ia- txUukFkki;Zar lokZauhp gk fopkj dkO;fo"k;kP;k vuq"kaxkus lksnkgj.k ekaMyk vkgs- ;kps egRRokps dkj.k Eg.kts dkO; gs dsoG 'kksHksph oLrw ulwu rh vkLok|] ltho dykd`rh vkgs gs vkgs-

Hkkegkus dkO;kr dks.krs 'kCn ;ksX; vkf.k v;ksX; ;kapk fopkj dsyk vkgs- R;kyk rks iz;ksT;&viz;ksT; 'kCnfopkj Eg.krks- gk fopkj varrksxRok dkO;kr xzkE;] vukxj] nks"kiw.kZ 'kCnkapk R;kx vkf.k ;ksX; o fo"k;oLrwyk vkSfpR;dkjh 'kCnkapkp fopkj ekaM.kkjk vkgs- Hkkegkus izR;{k vkSfpR; gk 'kCn okijyk ulyk rjh dkO;fufeZrh izfØ;k fo'kn djrkuk ekykdkjkpk n`"Vkar nsÅu R;kus dkO;krhy 'kCnkFkkSZfpR;kpk fopkjp dsY;kps fnlwu ;srs-

Hkkegkuarj vkSfpR;kpk lfoLrj fopkj vkuano/kZukus dsyk vkgs- R;kus dfoxr] dkO;krhy ik=ks] jlHkkoxr] dkO;izdkjxr] i#"kk] ukxfjdk b- o`fRralg x|ca/kkrhy vkSfpR;kpk O;kid fopkj dsyk vkgs- eqDrd vlks ok izca/kdkO; fdaok x|ca/k vlks ;ke/;s vl.kkjh jlkfHkO;Drh gh HkkokSfpR;iw.kZ dFkkjpuk] vuq:Ik la/;axfoU;kl] leqfpr jlHkkofoykl o lqlaxr vyadkj;kstuk g;kaP;k}kjs gksr vlrs- vkSfPkR;kph vkiyh Hkwfedk iq<hy dkfjdsr vkuano/kZu vf/kd Li"V djrks&

vukSfpR;kn`rs ukU;n~ jlHkaxL; dkj.ke~ Aizfl)kSfpR;cU/kLrq jlL;ksifu"kr~ ijkAA /oU;kyksd] m|ksr 3] i`- 362

vkSfpR; gs mifu"knkaizek.ks jl:Ik czg~erRRokps izdk'kd vkgs- gs lkaxwu

okP;kuka okpdkuka p ;nkSfpR;su ;kstue~A jlkfnfo"k;s.kSrRdeZ eq[;a egkdos%AA /o- 3@32

jlkfnaukp eq[;r;k dkO;kFkZ ekuwu R;kaP;k vfHkO;Drhyk vuq:Ik 'kCn o vFkkZaph ;kstuk dj.ks gs egkdohps deZ vkgs gs iqUgk ,dnk v/kksjsf[kr djrks-

gkp fopkj eEeVkus nks"kizdj.kkr dsyk vkgs- nks"kkph O;k[;kp



^eq[;kFkZgfrnksZ"k%A*7 v'kh d:u gk eq[;kFkZ dks.krk\ ;kps mRrj jlÜp eq[;%A8 vls Li"V d:u R;kus vkuano/kZukP;k erkyk nqtksjkp fnysyk vkgs- ;kf'kok; laiw.kZ dkO;krhy nks"kkapk fopkj ex rks v;ksX; tkxh lq;ksX; 'kCnkpk fadaok lq;ksX; tkxh v;ksX;@xzkE;@jkloV@vÜyhy 'kCnkpk vlks] gk 'ksoVh dkO;krhy vkSfpR;kdMsp funsZ'k dj.kkjk vkgs-

izR;sd dkO;'kkL=kKkus dkO;kpk ,dk fo'ks"k rRRokP;k vuq"kaxkus fopkj dsyk rjh R;kyk R;k fof'k"V ?kVdkph xrkFkZdrk gh vkSfpR;kr vlY;kps uewn dj.ks vko';d okVys vkf.k 'ksoVh vyadkj] /ouh] oØksDrh vlks ok vkSfpR; gh loZ rRRos jlkis{khp vlkosr fdacgquk R;kauh jlkSfpR; lkaHkkGkos gk vkxzg lokZapkp! Eg.kwu {ksesUnzkus fnysyk n`"VkUr ;ksX;p Bjrks & vyadkj v;ksX; vo;okyk ?kkrys rj rs 'kksHkwu u fnlrk jMrkr- varrksxRok dkO;kph bfrJh vkf.k R;kps lkSan;Z [kqyfo.kkjh th dkgh rRRos fdaok vyadj.ks vkgsr fryk vkSfpR;p gos] rs jk[k.;kps dk;Z dohus dsys ikfgts] UkOgs rh R;kph tckcnkjhp Bjrs gs iwoZlwjhaP;k vkf.k dqUrdkP;k fopkjkaps lkj vkgs-

fu"d"kZ

odzdkO;krhy vkSfpR;kps vfuok;ZRo vkf.k vkSfpR;xq.kkP;k lfUuos'kkus odzksfDrdkO;kpk gks.kkjk ifjiks"k ;k nksUgh xks"Vhaoj dqUrdkpk Hkj vkgs-

odzksDrh vkf.k vkSfpR; ;kapk ?kfu"B laca/k vlyk rjh gs nksUgh fl)kar ,d:i ukghr fdaok ijLijkaps i;kZ;gh ukghr dkj.k dqUrdkP;k ers] vkSfpR; gs odzksDrhps thfor vkgs rjhgh rs nksUgh ,dp ukghr- odzrk;qDr dkO;kpk ewyk/kkj vkSfpR; vkgs dkj.k vkSfpR;foghu odzdkO; lg`n;kauk vkYgknd Bjr ukgh Eg.kwup dqUrdkus vkSfpR; gs dkO;lkSan;kZpk Eg.ktsp odzrspk vfuok;Z lkekU; xq.k ekuyk- dqUrdkyk odzrsP;k loZ Hksnkae/;s vkf.k dkO;lkSan;kZr vkSfpR;kph fLFkrh vfuok;Zrssus ekU; vkgs- ijarq vkSfpR;kP;k loZ :ikae/;s odzksDrh vfuok;Z ukgh- ;kf'kok; ;k nksUgh fl)karkP;k ewG n`f"Vdksukae/;s ,d Hksn vkgs rks vlk & odzksDrhpk vk/kkj oLrqfu"B dYiuk vkgs rj vkSfpR;kpk vk/kkj O;fDrfu"Brk vkgs- dkO;kps thfor oØksDrh( oØksDrhps thfor vkSfpR;( oØdkO;kpk vk/kkj izfrHkk vkf.k vkSfpR; vkf.k vkSfpR;iw.kZ oØdkO;kps thfor jl v'kh gh J`a[kyk vkgs-

vkSfpR;i)frizHksnprqj% lqdfo% A v'kh mRre dohph O;k[;kp rks



djrks- ;k loZ n`"Vhus fopkj djrk dkO;kr vkSfpR; rRRokph ekuysyh vfuok;Zrk vkf.k R;keqGs fuekZ.k gks.kkjs dkO;lkSan;Z fdaok vukSfpR;keqGs gks.kkjh dkO;lkS an;k Zph gkuh ;kdMs dqUrdkus dkO;Kkaps y{k os/kys vkgs- oØksfDrdkO;kps fu;ked rRRo Eg.kwu R;kus izfrHkk vkf.k vkSfpR; ;kauk fnysys LFkku gs dqUrdkpk dkO;fufeZrh lanHkkZrhy xaHkhj n`f"Vdksu vkf.k lkfgR;kpk O;klax v/kksjsf[kr dj.kkjk vkgs-

iwoZlwjh vkf.k dqUrd ;kauh dkO;krhy vkSfpR;iw.kZ 'kCnkaph fuoM vkf.k ;kstuk gh jlkis{khp ekuyh vkgs- R;keqGs dqUrdkus iwoZlwjhaP;kp ikoykoj ikÅy Vkd wu vk S fpR;kp s egRRo ekU; d sy s vlY;kp s fnlr s - oØksfDrdkO;klkj[;k ltZu'khy] vfHkO;DrhP;k ukohU;rsps n'k Zu ?kMfo.kk&;k dkO;izdkjkyk vkSfpR;rRRokps ikyu dj.ks b"V Bjrs- ltZu'khy oØksfDr dkO;kfo"dkjkdfjrk vkSfpR;rRRokps egRRo ekU; dj.kkjk dqUrd gk fuf'prp ØkUrn'khZ lkfgR;'kkL=kK Bjrks-

lanHkZ lwph

1- oØksfDrthfor] laik- MkW- uxsUnz] O;k[;kdkj] vkpk;Z fo'os'oj] fnYyh fo'ofo|ky;] fnYyh] iz- vk- 1995] i`- 163

2- r=kSo] i`- 184

3- r=kSo] i`- 164

4- r=kSo] i`- 167

5- r=kSo] i`- 531

6- r=kSo] i`- 236

7- dkO;izdk'k] O;k[;kdkj MkW- lR;ozr flag] pkS[kEck fo|kHkou] okjk.klh] vdjkoh vko`Rrh] 1998] i`-181

8- r=kSo



fgUnhfoHkkx

1¬ iw.kZen% iw.kZfena iw.kkZRiw.kZeqnP;rsAiw.kZL; iw.kZeknk; iw.kZesokof'k";rsAA

mifu"kn~ n'kZu ds bl ea=k ds nk'kZfud o vk?;kfRed O;k[;k ds vfrfjDr xf.krh; O;k[;k Kkufiiklqvksa dks fofLer dj nsrk gSA 'kwU; ds ;ksx ¼$½ 'kwU; ds fo;ksx ¼µ½ vFkok 'kwU; esa 'kwU; dk xq.ku Hkh 'kwU; gksrk gSA bl izdkj dh O;k[;k;sa tks xf.krh; tfVyrk dks lgtrk ls tkuus esa lgk;d gSA mDr 'yksd ljy&lq[kn&lqxE; o vkuUnnk;h Hkh gS] tks FkksMs 'kCnkssa esa O;kid vFkksZa dks lgsts gq;s gSA izks- bjfou dh iqLrd Lisl Vkbe LVªDpj ds vuqlkj “The

most important number in Mathematics is Zero” xf.kr ds fo"k; esa fo}kuksa dh ;g /kkj.kk fd “Mathematics is the Queen of all Sciences” vFkkZr~ loZ foKku 'kk[kkvksa ds ewy esa xf.kr gSA HkkLdjh; chtxf.kr esa 'kwU; ds xf.krh; fØ;k dks vR;Ur lqUnj 'yksd esa vfHkO;Dr fd;k gSA

2ß[k;ksxs fo;ksxs ?ku.kZa rFkSo P;qra 'kwU;rLrf}i;kZlesfrA 3

c/kknkS fo;R[kL; [ka [ksu?kkrs [kgkjkSHkosr~ [ksu HkDrL; jkf'k%AAß

bl 'yksd esa «[kgj« jkf'k dk mYys[k gS vFkkZr~ ftl fdlh jkf'k esa 'kwU; ls Hkkx fn;k tk; og jkf'k [kgj ¼vuUr½ gks tkrh gSA

orZeku esa f'k{k.k ds vusdkusd uohu ,oa izkphu fo"k;kas ds izokg esa xf.kr'kkL=k Lo;a esa egÙoiw.kZ gksrs gq;s vusd fo"k;ksa ds lgk;d ;k eq[;rk ds #i esa iz;qDr gSA rduhfd dky[k.M gksus ds dkj.k gekjh fuHkZjrk rduhfd ;a=kks ij c<rh tk jgh gSA ;g vf/kdkf/kd ;a=kks ij fuHkZjrk gekjs Hkfo"; esa f'k{k.k fodkl ds fy, dqN n`f"V ls gkfuizn izrhr gksrk gSA laLd`r ds izkphu T;ksfrxZf.kr ds xzUFkksa esa egÙoiw.kZ HkkLdjd`r fl/nkUr f'kjksef.k gSA fl/nkUr f'kjksef.k xzaFk ds okluk



izkjfEHkd f'k{k.k esa T;ksfrxZf.kr dh izklafxdrkMkW-d`".kdqekj ik.Ms;

Hkk"; Vhdk esa Jhu`flag nSoK ds vuqlkj& ftl 'kkL=k esa la[;kvksa dh x.kuk dh 4tk;s mls xf.kr 'kkL=k dgrs gaSA ßx.;rs la[;k;rs rn~ xf.kre~ÞA bl xzUFk

ds pkj Hkkx yhykorh ¼vadxf.kr½ HkkLdjh; chtxf.kre~] xzgxf.kre~ ,oa xksy xf.kre~ gSA

yhykorh xzaFk esa HkkLdj us ladYi fd;k fd ykfyR;iw.kZ i| ds ek/;e ls xf.kr dks vfHkO;DÙk d#axk&

5ÞikVha ln~xf.krL; ofPe prqjizhfriznka izLQqVkaALakf{kIrk{kjdkseykeyinSykZfyR;yhykorhe~ÞAA

xf.krh; ifjikVh dks HkkLdj us ,d Øec/n lksiku ds #i esa la[;k ls izkjEHk dj [kxksyh; x.kuk rd dh lEiw.kZ xf.krh; tfVyrkvksa dks lgtrk ls vfHkO;Dr fd;k gSAvkt tc fd Nk=kksa esa izkjfEHkd xf.kr dh tfVyrkvksa ds dkj.k fo"k; esa v#fp mRiUu gksus yxrh gSA lax.kd (Calculator) ij fuHkZjrk dh leL;k ds vusd dkj.kkas dk lek/kku djus esa T;ksfrxZf.kr'kkL=k dk egÙoiw.kZ ;ksxnku gks ldrk gSA dqN fo'ks"k dkj.kksa dk mYys[k fuEufyf[kr gS &

1- vadks ds LFkkukfn x.kuk ds izfr v#fpA

2- ;ksx] vUrj] xq.kk] Hkkx esa v#fpA

3- oxZ o oxZ ewyA

4- ?ku o ?kuewyA

5- lax.kd (Calculator) ij fuHkZjrkA

6- fHkUu xf.kr dh leL;kA

7- 'kwU; ds fofo/k iz;ksx

8- =kSjkf'kdkfnd leL;kA

9- Jss.khO;ogkjA

10- {ks=kO;ogkjA 11- Hkqt dksfV d.kZ dk KkuA

12- o`Rr lEcfU/k xf.krA

13- Nk;k O;ogkjA



14- dqêdA

15- vadik'kA bR;kfnA

mijksDr lHkh xf.krh; leL;kvksa dk lek/kku yhykorh xzaFk f'k{k.k ls fuEu#i esa lEHko gksrk gSA

1- laLd`r 'yksd ¼i|½ esas xf.kr 'kkL=k gksus ls lgtrk o ljyrk gSA 2- 'yksd ¼i|½ d.kZ fiz; gksrs gaSA 3- daB djus esa lqfo/kktudA 4- [ksy [ksy esa tfVyrkvksa dk lek/kkuA 5- oxZ ?ku dh ,d ls vf/kd fof/k ,d gh 'yksd esa gksukA 6- Xkf.kr dk laxhre; gksukA 7- yhykorh dh fo"k; ØecðrkA 8- 'kuS% 'kuS% viukiu dk vkHkklA 9- dFkk&dgkuh tSls mnkgj.kA 10- nSufUnu O;kogkfjd thou ds djhc dh ckrksa dk mYys[k bR;kfnA

izkjfEHkd xf.kr ds dqN fo'ks"k fcUnqvksa dk foospu&

1½ LFkkfud eku&

vB~Bkjg vadks dh la[;k ds LFkkfud eku dks nks 'yksdks esa fy[kk x;k gSA

6,dn'k'krlgL=kk;qry{kiz;qrdksV;% Øe'k%AA

vcqZneCta [koZfu[koZegkin~e'kadoLrLekr~AA

tyf/k'pkaR;a e/;a ijk/kZfefr n'kxq.kksÙkjk% lKk%AA

la[;k;k% LFkkukuka O;ogkjkFkZ d`rk% iwosZ%AA

;gkWa ,d 1] n'k 10] 'kr 100] lgL=k 1000] v;qr 10000] y{k 100000] iz;qr 1000000] dksfV 10000000] vcqZn 100000000] vCt 1000000000] [koZ 10000000000] fu[koZ 100000000000] egkin~Ek 1000000000000] 'kadq 10000000000000] tyf/k 100000000000000] vUR; 1000000000000000 ] e/; 100000000000000000 ,o a ij k / k Z 1000000000000000000 bl izdkj n'k xq.kkRed 18 vadksa dh ys[ku iðfr dk Kku ,d] n'k ls izkjEHk dj ijk/kZ rd lgtrk ls fd;k tk ldrk gSA

2½ ladyu& O;dyu ¼$] µ½ & 7

dk;Z% ØeknqRØerks FkO;kad;ksxks ;FkkLFkkudearja okA

;gkWA tksMus o ?kVkus ds fy, vadks dks LFkkfud eku ds vk/kkj ij j[kdj dk;Z djuk crk;k gS vFkkZr~ ckydksa dks igys vadks ds LFkkfud O;oLFkk dks /;ku



esa j[kuk gS rnqijkUr ;ksx ¼$½ ;k fo;ksx ¼µ½ dh izfØ;k djuh pkfg,A bl fØ;k ds vH;kl ds fy, ,d d.kZfiz; 'yksd esa leL;k ¼iz'u½ fn;k x;k] ftlesa ftKklq Nk=k dks izsfjr dj iz;kl djus dks dgk tk jgk gSA ;g iz'u iwNus dh HkkoukRed izfØ;k Nk=k dks fo"k; dh vkSj vkdf"kZr djrh gS A ;g fo'ks"k /;ku nsus ;ksX; gSA

8v;s ckys yhykofr efrefr czwfg lfgrku~

f}iap}kf=ka'kfR=kufr'krk·"Vkn'kn'kAA

'krksisrkusrku;qrfo;qrka'pkfi on es

;fn O;Drs ;qfDrO;odyuekxZs·fl dq'kykAA

iz'u esa igys Nk=k dks efreku cqf/neku dgdj mls izksRlkfgr djus dk dk;Z fd;k x;k rRi'pkr~ mldh dq'kyrk dk ijh{k.k fd;k tk jgk gSA

3½ xq.kk djuk&

yhyorh esa xq.kk djus dh vadxf.kr esa ikap ¼5½ izdkj gS tks vko';drk ,oa Nk=k dh n{krkuqlkj crk;h x;hA orZeku esa xq.kk djus dh ek=k ,d fof/k dk gh izpkj izlkj gSA ftllsa fofo/krk dk vHkko izrhr gksrk gSA Øe ls ikapks fof/k fuEu izdkj gS&

9Lkw=k 1& Xkq.;kUR;eada xq.kdsu gU;knqRlkfjrsuSoeqikUR;eknhu~A

xq.; ds var ds vad dks xq.kd ls xq.ksA fQj mlds lehi ds vad dks mlh xq.kd dks mBkdj mlls xq.ksA blh izdkj mlh xq.kd ls vkfn ds ftrus vad gS lcdks Øels xq.ksA

10lw=k 2 &Xkq.;LRo/kks·/kks xq.k[k.MrqY;LrS% [kaMdS% laxqf.krks ;qrks okA

xq.kd ds ftrus [kaM dYiuk djas] mrus gh txg xq.; dks j[kdj vkSj uhps jD[ks gq, xq.kd ds [kaMksa ls xq.; dks vyx 2 xq.kk djds tksM nsa rc xq.kuQy izkIr gksrk gSA

11lw=k 3 &HkDrks xq.k% 'kqðfr ;su rsu yC?;k p xq.;ks xqf.kr% Qya okA

xq.kd esa fdlh vad dk Hkkx nsus ls ;fn fu%'ks"k gks tk; rks ftldk Hkkx fn;k ml Hkktd ls vkSj ml yfC/k ls xq.; dks xq.kk djus ls Hkh xq.kuQy izkIr gksrk gSA

12lw=k 4& f}/kk HkosnzwifoHkkx ,oa LFkkuS% i`Fkxok xqf.kr%A



xq.kd ds igys ,dLFkkuh vad ls fQj n'kLFkkuh vad ls blh izdkj ftrus xq.kd esa vad gks lcls Øe ls vyx 2 xq.kk djds tksM ns] rc xq.kuQy izkIr gksrk gSA

13lw=k 5& b"Vksu;qDrsu xq.ksu fu?uks·Hkh"V?uxq.;kfUoroftZrks okA

xq.kd esa dksbZ vad ,slk ?kVk;k vFkok tksMk tk;] ftlls xq.kk djus ls ljyrk gks mlls xq.; dks xq.kk djds tks vad xq.kd esa ?kVk;k gks mlls xq.; dks xq.kk djds ?kVk;s gq, xq.kd ls xq.kk djus esa tks yfC/k izkIr gqbZ Fkh mlesa tksM ns vkSj ;fn xq.kd esa dksbZ vad feyk;k gks rks mlh vad ls xq.; dks xq.kk djds tksMs gq, xq.kdls xq.kk dh gqbZ yfC/k esa ?kVk ns rc 'ks"k xq.kuQy gksrk gSA

mDr ikapks lw=k xq.ku dh fofo/krk dks iznf'kZr djrs gaSA blds vk/kkj ij xq.; ,oa xq.kd ds eku fo'ks"kkuqlkj fdlh Hkh lw=k ls xq.kk dh izfØ;k dh tk ldrh gSA bl izdkj Nk=k dks ,d ls T;knk ckSfðd vH;kl dk volj izkIr gksrk gSA ,sls esa izkjEHk ls gh ckSfðd rhozrk dks c<kok fn;k tk ldrk gSA ;gkWa Hkh mnkgj.k esa Nk=k dks izksRlkfgr dj ljl 'yksd ds ek/;els iz'u iwNk x;kA

lw=k (I) lw=k (II) lw=k (III)

135 12=8+4 3)12 (4X 12 135 135 4X3=12 1620 X 8 X 4 135 1080 540 X 4

1080 540 + 540 X 3 1620 1620

lw=k (IV) 135 X 12 = 135 135

X 2 X 1 270 135 LFkkukuqlkj

+ 270 1620lw=k (V) 135 X 12 = 135 135

12= (10+2) X 10 X 2



135 270 + 270 1620

oxZ djus dh fof/k&14Lkef}?kkr% d`fr#P;rs·"FkLFkkI;ksUR;oxkZs f}xq.kkUR;fu?uk%A

LoLoksifj"VkPp rFkk ijs·dkaLR;DRokUR;eqRlk;Ziqu'pjkf'ke~AA

[k.M};L;kfHkgfrf}Zfu?uh rR[k.MoxZSD;;qrkd`frokZA

b"Vksu;qxzkf'ko/k% d`fr% L;kfn"VL; oxsZ.k lefUorks okAA

mDr 'yksd esa oxZ djus ds pkj izdkj fn;s x;s gaSA lqfo/kk dh n`f"V ls fdlh Hkh ,d fu;e ls oxZ fd;s tk ldrs gaS] ijUrq bldka fu/kkZj.k iz'u ds Lo#i o lek/kku drkZ }kjk viuh cfqð xzkárk ¼lqfo/kk½ ls dh tkrh gSA

vf/kdkf/kd fo|kfFkZ;ksa dh lqxerk gsrq laLd`r Nk=kksa ds fy, FkksMs FkksMs Hkkx dk vH;kl djk;k tk ldrk gSA laLd`rsrj fo|kfFkZ;ksa ds fy, buds ewy o Hkk"kkUrj dj ds Hkh mUgsa ykHkkfUor fd;k vk ldrk gSA HkkLdj usa chtxf.kr esa xf.kr ds mn~ns'; dk mYys[k fd;k gS& ÞmRiknda ;r~ izonfUr

15cqfð%AÞ yhykorh ¼vadxf.kr½ drkZ vkpk;Z HkkLdj us rks bldh izla'kk esa fuEu 'yksd fy[kk g S&

16Þ;s"kka lqtkfrxq.koxZ foHkwf"krkaxh

'kqðkf[ky O;og`fr% [kyq d.BlDrkA

Ykhykorhg ljlksfDreqnkgjUrh

Rks"kka lnSo lq[klEinqiSfr o`fðe~AAÞ

bl lalkjesa fu'p; djds vusd izdkjds xq.kksadh jhfr oxZdh jhfr ls 'kksHkk;eku Li"V gS laiw.kZ xf.kr dh jhfr ftlesa lqanj jl;qDr gS mnkgj.k ftlesa ,slh ;g yhykorh ¼xzaFk½ ftuds d.BLFk gksrh gS( nwljk vFkZ& bl vikj lalkjesa fu'p; djds lqanj tkfr vkSj pkrq:;kZfnxq.kksads lewgls 'kksHkk;eku vaxokyh laiw.kZ O;ogkjksadh 'kqðjhfrls djusokyh lqanj jlhys opuksadks cksyusokyh ÞyhykorhÞ ftuds daBesa vkfyaxu djrh gS mudks vlhe lq[kdh izkfIr gksrh gSA



xf.kr f'k{k.k ds ftu mís';ksa dks ysdj vk/kqfud f'k{k.k izfof/k viuk;h tk jgh gSA muesa nks mís'; gSaA izFke lkekU; mís'; tks nSfud thou ds O;ogkj esa xf.krh; iz;ksxksa dks fl[kkrk gSA f}rh; xf.kr dh d{kk ds ek/;e ls Kku] vkdyu] mi;kstu ,oa dkS'kY; o`fð djuk gSA bu mís';ksa gsrq tks rdfudh viuk;h tk jgh gS mu lHkh dk leUo; laLd`r esa miyC/k yhykorh xf.kr xzaFk esa ifjyf{kr gksrk gSA buds varxZr mn~xkeh] voxkeh fof/k] fo'ys"k.k lkjka'k fof/k] leL;k lek/kku ,oa Lo;a 'kks/ku dh {kerk fodflr djuk gSA mDr lHkh lanHkksZa gsrq laLd`r f'k{k.k ds ek/;e ls xf.kr f'k{k.k dks foLrkj nsus gsrq bl n`f"Vdks.k ls Hkh fopkj djuk mfpr izrhr gksrk gSA

lanHkZ xzUFk lwph

1- 108 mifu"kn~ & Kku [k.M& czgeopZl] 'kkafrdqat] gfj}kj la- 1997A

2- yhykorh & d`".knkl vdkneh] okjk.klh] la- 1993

3- xf.kr v/;kiu&fouksn iqLrd eafnj] vkxjk ys[kd lrlaxh ,oa n;kyA

4- HkkLdjh; chtxf.kre~& Jh j.kohj dsfUnz; laLd`r fo|kihB] tEew la- 1977&78A

5- xf.kr f'k{k.k& fou; j[kstk] esjB ys[kd ,-ds- dqyJs"B] la- 2006A

6- fl/nkUr f'kjksef.k ¼oklukHkk";½ laEiw.kkZuUn laLd`r fo'ofo|ky;] okjk.klh la- 1998A

lUnHkZ&

1- 108 mifu"kn~ Kku[k.M i`- 34 bZ'kkokL;sifu"kn~& 'kkfUrikB%A

2- Hkk- cht- Ik`- 20 'yksd 16 A

3- Hkk- cht- Ik`- 22 'yksd 18A

4- fl- f'kjks- ok- Hkk"; i`-1A

5- yhykorh Ik`- 1 'yksd&1A

6- yhykorh Ik`- 6 'yksd&2] i`- 7 'yksd&3A

7- yhykorh Ik`- 7 'yksdA










15- Hkk- chtxf.kr i`- 2 'yksd&1A

16- yhykorh Ik`- 324 'yksd&vafreA



EnglishSection

Art of Ancient Indian Lexicography: An observation

Dr. Jaywant Chaudhari

Introduction:

Lexicons or dictionaries are the essential tools for the study of any language. It serves multiple purposes depending upon the user. Today we have many forms of dictionary. Even the e-dictionary has become so popular that it has superseded the position of the book-dictionary. The new editions and version of dictionaries and lexicons are being researched by the linguistics and philologists. Then also, the ancient Indian lexicons have sustained their position amidst these variegated updated forms of modern lexicons and dictionaries. This fact astonished me; hence I decided to conduct further research on the ancient Indian art of lexicography and some of the popular texts thereon.

In my search, I came to know that there are more than hundred lexicons in Sanskrit. All of them are not available to me. I came to know about their names through primary and secondary sources. I have referred and studied some of the available lexicons which are variegated in nature. I have listed here their type and style of composition.

Types of lexicon

Lexicons are basically composed in three different styles. First variety is ,dkFkZl³~xzg% (synonymous lexicons), vusdkFkZl³~xzg%

(homonymous lexicons) and feJl³~xzg% (lexicons contains both

synonyms and homonyms). Apart from these three main styles of lexicons, some other compositions of lexicons are also found like



Ekākcarakośas, Avyayakośa, Dvirūpakakośa and Trirūpakakośa, etc.

,dkFkZl³~xzgdks'k% – It means lexicons comprising of synonyms

(i.e. ,dkFkZ). Abhidhāna CintāmaGi of Hemacandrācārya (1088-

th1175 AD), Nāmamālā by DhananBjaya (first half of 12 century thAD), Ekākcarakośa by Purucottamadeva (12 century AD),

Ekākcaranāmamālikā of Viśvaśambhu, Ekakcaranāmamāla of Sudhākalaśa, Ekākcaranāmamāla of Mādhava (1350 AD), Ekākcaranāmamāla of Vararuci and Ekākcaranāmamālikā of

thAmaracandra (13 century AD) and Kalpadru Kośa (1660 AD) are 1some of the famous synonymous lexicons (Ekākcarakośas).

vusdkFkZl³~xzgdks'k% & The lexicons that are homonymous in

nature (i.e. vusdkFkZ%). They are also known as ukukFkZl³~xzg%.

NānārthasaAgraha by Ajayapāla (circa 1075-1140 AD), Viśvakośa by Maheśvara (1111 AD), AnekārthasaAgraha by Hemacandra, Anekārthakośa (also known as MaEkhakośa) by MaEkha (1128-1149 AD), NānāthārGavakośa by Keśavasvāmi

th th(circa 12 century) and Medinīkośa by Mediīkāra (circa 13 century) are a few examples of homonymous lexicons.

feJl³~xzgdks'k% & Composite Lexicons that combine both

synonyms and homonyms. NāmaliEgānuśāsanam by t hAmarasiAha (Circa 6 century AD), Vaijayantikośa by

thYādavaprakaśa (11 century AD), Hārāvali by Purucottamadeva th(circa 12 century AD), Śabdārthākara by Vāmana Bhamma

th(1375-1445 AD) and Kośakalpataru by Viśvanātha (circa 16 century) are the examples of Composite lexicons.

vO;;dks'k% & The separate lexicons dealing with Avyayas

(adverb) have also been composed e.g. the Avyayakośa of 2Mahādeva and AvyayārGva of Jayabhammārka.

3,dk{kjhdks'k% & An Ekākcrīkośa by Amara, is also found. It is a

comprehensive in nature. Each and every letter of Sanskrit



alphabet along with the conjuncts is presented as having special meaning. It is a unique style of lexicon where each letter is imagined as having potency of giving variegated meaning when comes within the contact of different vowels. But, it is not accepted as a form of lexicons by many scholars.

f}:iddks'k% & In the Dvirūpakakośa, the words are spelled in

the ways either according to mātras or letters or declensions or even usage e.g. vxkja&vkxkja] pyqda&pqyqda] pej%&pkej%] etc. Some

Dvirūpakakośa are – Dvirūpakośa of Purucottamadeva, DvirūpadhvanisaAgraha of Bharatamallika, Dvirūpakośa of

4Śriharca.

f=k:iddks'k% & Only one Trirūpakakośa by Kacanabihan is

5available.

Hemacandra has composed four lexicons. All of them differ in nature. His lexicographical works are - AbhinadhānacintamaGi which is synonymous in nature; AnekārthasaAgraha which is homonymous; NighaGmuśeca which is botanical nighaGmu and

6Deśināmamālā which is Prakrit lexicon. In the last chapter of Hemacandra, much attention is paid to their subsequent disposition and these vocabularies therefore, although consulted with more facility than those which are described above.

Style of Lexicons

There were different methods for arranging the order of the words. In synonymous lexicons, the words are arranged according to the different categories of the objects in the world like Svarga, P[thvi, Naraka, Deva, etc. The synonyms of each significant are strung together in a metrical combination in which they take the situation that match rhythm. The inconvenience of this arrangement is obvious. It is not always easy in the first instance to know in which division of the work, the word is located. But when the word founded there occurs amalgamation of Sanskrit vocabularies which requires a sound knowledge of Sandhi and Samāsa. This



difficulty of identification of desired word is, to some extent, nicely dealt with in the Nāmārtha chapter of most of the synonymous lexicons. The chapter having the title Nāmārtha contains words possessing various senses. In this chapter, words have been listed alphabetically like what we find in modern dictionaries.

The alphabetical arrangement, however, is in some cases partial, as in the Amarakośa where words terminating with the same fixed letter are contiguously placed, but they are then disposed at random; in other like in Ajayapāla, the initial letter in the connective characteristic as in the former case, the arrangement goes on further.

In Medinīkośa, which is exclusively appropriated to homonymous terms, a new methodical system is adopted, perplexing from its fastidious exactness. Here the vocables are compiled first according to their final letters, then that have been grouped agreeably to the number that befits syllabus they contain and

7finally they have been placed in strict alphabetical order.

In Medinīkośa, the method adopted for the arrangement of words is quite similar to Nānārthakośa. Here the words are arranged according to their final letters and syllabic extent.

Another Kośa which is equally significant like Medinī is Śabdamāla of Rāmeśvara ŚrmaGa. It is a work of limited extent and value and is little better than a supplement to the Amarakośa.

The first Kośa after that of Amara is Abhidhānaratnamāla of Halāyudha Bhamma. It is a vocabulary of limited extent, divided into five books; the first book is related to Heaven and the Deities; the second to Earth; the third to Hell, Water, etc; the fourth to miscellaneous objects and the last contains words of various signification. The author cites as his authorities the Amaradamma and the Kośa of Vararuchi, Bhāguri, Vopālita and others. We may conjecture that his work should be of some antiquity as he is quoted by Mallināha who is certainly prior to Medinīkara. His



omission of the Amarakośa from his list of authorities can scarcely lead us to infer the priority of his own work, but it is possible that the reputation of that vocabulary was not fully established in his time and therefore it is included in the appendix Ādi, or etc, added

8to his enumeration.

Ajaya or Ajayapāla is a work of small extent but of considerable authority. It is confined to the Nānārtha or words of various meanings. Here words are arranged according to the initial letters. The author does not specify his authorities nor does he give any clue to his age or history. Another striking Kośa is DharaGikośa of DharaGi Dāsa. In this work, vocabulary is of some extent limited to words of various meanings. They are arranged according to their final letters and number of syllables. The author specifies no authorities and only states that his vocabulary is compiled from older writers. He himself is of some relic as besides the place he

9holds, he is often cited by Mallināha and other commentators. Another is TrikāG

Śeca, which is a vocabulary in three chapters composed purposely as a supplement to the vocabulary of Amara and hence sometimes named as Amaraśeca. It follows a similar arrangement and adds a

10number of words of comparatively rare occurrence.

Harāvali is a collection of uncommon words. It is divided into two parts; the first contains synonyms and the second, the words of various meanings. The first part is again divided into three portions according to the extent of the synonyms and their recapitulation through a whole stanza or a half or a quarter.

The Nāmamāla of DhananBjaya is also a lexicon worth of referring. It is a small collection of synonyms strung together without any order or arrangement in 200 stanzas. Some techniques are given to derive the meaning of the words like if the word Dhara is suffixed to any synonym of earth, it give render the sense of mountain; the word suffixed to the synonym of a tree, render the

11meaning of a monkey and so on.

Some Dhatukośas or catalogues of roots are also available in good



number. The root appears to be different from the primitives of other languages in its fulfilling no other object and being incapable of entering into any form of speech. In order to make it fit for this purpose, it must undergo certain preparatory modifications and it is then evolved with the aid of additional particles into a noun or verb at pleasure. At the same time, as a matter of convenience, the grammarians have connected it more directly with verbal then nominal inflection and in the classification adopted in their lists it wears a more determinate shape and may then be regarded as the crude verb. The form of the Sanskrit root is as indentified as its character and it is in fact only the general sign of all the positive varieties of action or being that are referable to a common nature. It is usually explained by a noun and the noun most frequently is in

the seventh or locative case e.g. - H k w & l Ù k k ; k e ~ ( in be ing ) ,

12ºykn~&vO;äs 'kCns (in inarticulate sound), etc. Many roots also have

13a great variety of meanings like vo~&vofr (1.P.) has nineteen

acceptances, etc generally signifies numeration or counting is susceptible of any meaning a writer may chose to employ it in, and this indeed so far applies to every other radical that in derivatives of which the form is clearly traceable to a root of a very different signification and thus the difficulty is immediately solved by the general rule /kkrksjusdkFkZRokr~ (the roots are capable of various

interpretations). However, these varieties of sense are either rendered perfectly intelligible in books from the context or they are explained in the commentaries and most of the verbal inflections are of an application sufficiently precise.

Conclusion

Thus, from the study of ancient Indian Lexicons, I conclude that Sanskrit vocabularies are in use in considerable number from the time innumerable. It is a fact that they imitate each other to some extent, but still each of them has made some additions to the labour of its predecessors. It was a well developed and practiced tool for learning the language. Apart from this, these lexicons help to have thorough command over the language and for making fine poetic



expression. It is a very surprising fact that the varieties that Sanskrit lexicons or dictionaries have is found nowhere in any other language of the world. That is why these lexicons have survived their unparallel position in modern era.

(Footnotes)1 AmarasiAha, NāmaliEgānuśāsanam, Ed., Unni, N.P., New Bharatiya Book

Corporation, Delhi, 20082 Ibid, Unni, N.P., intro. p. iii

3 fo'okfHk/kkudks'kkfu izfoyksD; izHkk";rs A vejs.k dohUnzs.kSdk{kjukeekfydk AA

DhananBjaya, Nāmamālā with the Bhācya of Amarakirti & Anekārtha nighaGmu and Ekākcarīkośa, Bharatiya Jnanapitha, Kashi, 1950, p. 106

4 Op cit, Unni, N.P., intro. p. v5 Unni, N.P., p. vi6 Ibid, p. xi7 Medinīkośa, Edi., Kumar Kuldeep, Bharatiya Vidya Prakashan, Delhi, 20148 Wilson H.H., Grammar & Dictionaries of the Sanskrit Language, Nag

Publication, Delhi, 1979, p. 53.9 Ibid, p.5510 Ibid.

11 rRifr% 'kSyHkwE;kfn/kj'pØ/kjLrFkk AA76AA Op cit, DhananBjaya, p. 38

12 Virkar, Krishnaji Bhaskar, Dhaturupakosa (Vol I-III), Keshav Bhikhaji Dhavale, Pune, 1949

13 To drive, to impel, to animate, to promote, to favour, to lead, to bring to, to be please with, to like, to accept, to guard, to defend, to protect, to govern, to consume, to devour, to satisfy, to refresh, to offer, etc. Williams, M.M., A Sanskrit English Dictionary, Motilal Banarasidass, Delhi, 2011, p. 69



Historical and spiritual perspective of Education thBhagwan Mahavira , the 24 Jain Tirthankara was an embodiment

of non-violence and compassion. His teachings are preserved in Jain ‘Agamas’. The ‘Agamas’ cover a vast array of subjects including philosophy, Ethics, Religion, Logic, metaphysics, Cosmology and astrology.

To Conceptualize the humane teachers and teacher education, these ‘Agamas’ are very very relevant for the modern society.

Right faith, right knowledge and right conduct together lead a way out the path of perfection.

Right faith is the basis of attaining spiritual knowledge. Right knowledge helps to understand the truth, the control of mind, purity of the soul.

In modern period, the same is told by Swami Vivekananda that character building is the foundation of Education. Even a little knowledge will yield great benefits if it is accompanied by virtuous conduct. Without character , human birth is futile. Nobel conduct comprises of self-control, compassion, truth, non-stealing, contenment , right faith, knowledge and austerity. It is the noble conduct that leads man to liberation, the ultimate goal of human Life.

The ‘Acharyas’ (teacher- as nomenclatured in modern Life) have a crucial role in the transmission of knowledge. An 'Acharya' should lead a life as austerity and penance.

Conceptualising Professional Humane Teacher and Teacher Education

Anagha Ambekar



Professional and Humane teachers. This includes both qualitative and ethical development of teacher educators. The objectives for focusing the quality in teacher education.

* To include and experiment innovtion of ideas and practices.

* To make education broad based.

* To produce performance and competence oriented, teachers and teacher educators.

* To adopt interdisciplinary approach in preparation of teacher and teacher educators.

* Provide inclusive environment.

* To empower the teacher and educators to integrate physical education, art education, e-learning , value education, Yoga education etc.

The following are the areas of competencies -

Contextual competences, conceptual competencies, curricular and content competencies, transactional competencies, competencies in other educational activities , competencies related to teaching learning material, Evaluation competencies, management competencies , competencies related to community contact and co-operation.

This lead to the following - a) learners b) society c) profession d) excellence e) basic human values the areas of commitment by teachers.

Role of teacher in quality enhancing –

Teacher quality is a point of concern throughout the world. There is a need to redesign and re-engineer the complete process of teacher training course, wastage of time, money and efforts. To ensure quality, long term thinking , planning and organizing is required. Following strategies may be useful to ensure the quality.

* Appropriate balance between theory and practice.



* Review and modification of the prevailing curriculum .

* Teacher Education to be made dynamic and responsive.

* Professional commitment and feeling of responsibility.

* Implementation of latest research .

* Knowledge and skills in teaching methodologies.

* confidence.

* Fluency in language.

* Ability to communicate effectively.

* General professionalism good morale, dedication.

* Ability to communicate enthusiasm

* Interest in students as individuals, sense of caring and creating good people and a sense of compassion.

* Good character, sense of ethics and personal discipline.

* Ability to work with others and to build good relationships within the educational institutions and community.

Character of Humane Teacher –

As per Swami Vivekananda, the goal of Education is ‘Man making Education’. It is always true that ‘Education is the manifestation of perfection already in man’. To achieve such goals, the teachers must have the following characteristics.

1. Affirmation of ones infinite possibilities:-

We have to keep faith in our hidden and latent potential. We have to keep faith in our ability to grow and have thorough knowledge as well as experience. One has to keep faith that we can expand our aspirations and make ourselves worthy of them. If any challenging situation arises then one must build ability to draw upon the hidden strengths.



2. Building ones character and personality:-

One can develop the courage to be truthful and honest irrespective of the consequences. One has to learn to deal positively with failure and figure out the remedies, one must take on responsibilities and keep our commitments as sacred. Teacher must have the empathetic approach. One must learn to collaborate and work with others rather than compare and compete. For this we must expand ourselves to include other in our thinking.

3. Developing ones career worthiness:-

The teachers must have the futuristic approach. What knowledge and skill will be needed in coming period is to be thought. One must develop the knowledge that is related to our potential in career and area of work. It is not only the knowledge but how to present the ideas and thinking in a simple way. For this one must develop capabilities that help us to engage with work, people and situations. The teacher must develop the life skills that will help us to become more efficient, effective and productive in our career. Application of knowledge is important in real situation. So one must be able to apply what we learnt.

4. The most important goal of education is contributing to study:-

Because our profession is a means for nation building. So a teacher must use education to upgrade the manufacturing industry of the country. So one must identify the areas where will be able to innovate and create break throughts. A teacher must go deep into our field of study and contribute to the benefit of all. The teacher can use the professional capabilities to find solutions to many of the challenge that we face in our society. One must take up a large purpose or idea we take up a large purpose or idea we believe in and dedicate our whole life to it.



References –

1) Edu tracks July 2018 , Vol.17 Nov.2011, Ensuring Quality in Teacher Education, page 09 to 12.

2) University News, Voi.56, No. -28, July 9-15, 2018 page 03 to 09 .

3) University News, Vol No.- April 2017. 29, 30.

4) The Vedanta Kesari, Aug 2017. Page 8, 9

5) The Vedanta Kesari,Vol No. - 56, 20-27, July 02 to 08, 2018.

6) The Vedanta Kesari, Jan.2018.

Contribute to society .

Develop my career worthiness

Build my character and personality.

Affirm my infinite possibilities.

Education goal map



Manuscriptology is a new and advanced branch of study today. It deals with the study of ‘Manuscripts’. This manuscript Kavirahasya is penned by ‘Halayudha’. He has mainly three works under his name - Abhidhanratnamala or Halayudha Kosha, Mrutsanjeevani’ - a commentary on Chandashastra and Kavirahasya. ‘Kavirahasya’ – this manuscript simultaneously touches four mainstream subjects. Sanskrit Literature, Sanskrit Grammar, Indian History and Sanskrit Lexicography. It is a poem in 274 verses, Sanskrit Literature, it describes Rashtrakuta king Krishna III., Indian History, it is a compilation of various Sanskrit roots, Sanskrit Grammar and it is a ‘Kosha – or dictionary, Lexicography.

This research paper focusses on lexicographical contribution of this manuscript.

Keywords –Manusciptology, Manuscript, Kavirahasya , Halayudha, Lexicography.

Introduction

Manuscriptology is a new and advanced branch of study today. It deals with the study of ‘Manuscripts’.’ They are old written documents by hand i.e. hand written documents. Manuscript is the combination of two words. ‘Manus’ by hand and ‘script’- pictorial representation of a language. Hence it is any document written by hand. But anything written by hand does not imply to be a manuscript. For being a manuscript the text should be recognized as a literary treatise, should be around hundred years old.

‘Kavirahasya’- this manuscript is penned by ‘Halayudha’.

Lexicographical Contribution of the manuscript Halayaudha’s Kavirahasya

Pallavi Sanjay Kawale



He was a celebrated author in India, moreover Sanskrit Literature. Being the mother language, Sanskrit houses a vast stream of knowledge. Halayudha is one such flow. He has mainly three works under his name.

· Abhidhanratnamala or Halayudha Kosha the most popular text among the three. It is a thesaurus. It has around nine hundred verses in meters. It is further divided into five categories or ‘Kanda’.

· ‘Mrutsanjeevani’ - a commentary on Chandashastra of Aacharya Pingala. This commentary in divided into eight categories. It is a Sutragrantha’.

· Kavirahasya – it is a text praising Rashtrakuta king Krishna III. It is a poem i.e. a laghu kavya.

This Manuscript ‘Kavirahasya’ is currently kept in an institution named ‘Aanandashram’ in Pune. It was donated to the institution by ‘Vidyabhushan Rangacharya Balkrushancharya, Shree Kshetra, Wai, Dist. Satara. It has 25 folios. It is written in Sanskrit Language and Devanagari Script. It is a paper manuscript written in black ink. The manuscript text contains 274 verses in meters.

‘Kavirahasya’ – this manuscript simultaneously touches four mainstream subjects. Sanskrit Literature, Sanskrit Grammar, Indian History and Sanskrit Lexicography. It is a poem in 274 verses, Sanskrit Literature, it describes Rashtrakuta king Krishna III., Indian History, it is a compilation of various Sanskrit roots, Sanskrit Grammar and it is a ‘Kosha – or dictionary, Lexicography.

Halayudha’s former two works are very popular i.e. Halayudha Kosha and Mrutsanjeewani commentary but the later ‘Kavirahasya’ is not popularized. It remained behind the mainstream literature for several years. This research paper emphasis on bringing this brilliant work of Halayudha in front of the people.

Kavirahasya can be categorized as a laghu Kavya. It has 274 verses. Various poetic meters are used in this poem like



Anushtubha, Mandakranta, Shardulvirkridita etc.

For example –

t;fUr eqjftRiknu[knhf/kfrnhfidk%A

egka/kdkj fo/oalkUeqfDrekxZizdk'kdk%AA

This is the first verse of the manuscript. It is in anushtubha meter.

Further the subject matter of this kavya is the praise of Rashtrakuta King Krishna III. It is mentioned here in the manuscript in verse 05

vxLR;eqfuT;ksRlukifo=ks nf{k.kkiFks A

Ñ".kjkt bfr[;krks jktk lkezkT;nhf{kr%AA

The poet here mentions the name of the king

rksy;R;qya 'kDR;k ;ks Hkkja Hkqous'oj%A

dLra rwy;fr LFkkEuk jk"Vªdwyksuge~AA

Rashtrakuta was a dynasty which ruled over the Indian th thsubcontinent around 07 to 10 Centuries. This king’s reign

stretches form 940 – 953 A.D. They ruled over the Dakshinapath i.e. the Vindhya maintain range. This king was a great, powerful king, he performed various sacrifices Soma, Ashwamedha etc. These qualities are described here throughout the poem. All these particulars are penned by Halayudha.

Many researchers claim that ‘Halayudha’ was the court poet of Krishna III. Hence he was very attached to the king and painted his whole life on this canvas.

An another important aspect of the manuscript is its interlinking with Grammar. It is a poem but teaches Sanskrit Grammar. This text can be categorized as a ‘Dhatukosha’ or a list of collection of Sanskrit roots. The subject matter is the life of



Krishna III, but the words used are all the roots used in the language. The mere objective of this work is to depict the various forms of the roots.

For example -

/kwuksfrpEidoukfu/kquksR;'kksda

pwra /kqukfr /kqofrLQqqfVrkfreqDra A

ok;wfoZ/kwu;fr dsljiq"ijs.kw &

U;Rdkuus /kofr pUnue×tjhÜpAA

This is verse 08, in the manuscript a very popular verse in literature. Roots beginning with the letter ^/k* are used here. These

roots mean ‘to move’ The roots used here are -

l /kquksfr l /kqukfr l /kqofr l /kwu;fr l /kofr

This is the special ornamental feature of this poem. Roots beginning with a same letters and almost similar meaning are depicted here.

Lexicographical Contribution of the text

As stated above this manuscript is a ‘Dhatukosha’. Dhatu – roots in the language and ‘Kosha’ - Lexicon. It is a root lexicon. It is a thesaurus in Sanskrit. This lexicons are mainly categorized in two parts.

• a lexicon which gives synonyms.

• a lexicon which gives a list of words regarding a word.

This manuscript ‘Kavirahasya’ is a poem, but serves as a Dhatukosha. It is a collection of Sanskrit roots. Further their usage is also seen here. While praising the king, he deliberately use these roots and its various forms. He not only uses them in the verses but also takes care of them beginning with the same letters. He even maintains or retains the meanings of this roots. The example for this is already mentioned above. A special feature of the text is that



it not only gives the monotonous list of the roots but also weaves them into verses praising the King. This needs a special ability and great knowledge of the stream or the subject. ‘Halayudha’ proves himself as a great lexicographer and a Grammarian.

Sanskrit Language has a huge vocabulary but we cling to use only a few roots while conversing. Only popular roots are used by the people. But this lexicographical text brings all the different, unusual and not so popular roots under a roof, that too in the form of a poem praising a great king in the rich history of our country. Using such unpopular roots makes our conversation fertile and rich. This roots make our work, a work of great scholarship. Sanskrit language is rich in terms of this vocabulary and this text depicts all the possible roots at a place. Further they are even sorted with the similar meaning and even beginning with the same letters.

Many examples can be seen the text, to mention a few

e`"k;fr u u`ik.kka e`";rs uksn~/krkuk

euqfpre.kqek=ka u f}"kka e"kZrs ;%A

vfi 'kreijk/kku~ e"kZfr czkã.kkuka

flroluHk`rka ;ks e"kZ;R;kxeK% AA

l e`";fr l e`";rs l e"kZfr l e"kZ;fr - to forgive.

df'pr~ dkSfr dj.kS#iih·;ekuLrL;

iztklq dqors u p rLdjs.kA

dkO;kfu ;Üp dors dfooYyHkks·lkS ra

iwt;R;fHkerS foZHkoSjtlze~AA

l dkSfr l dqors l dors - to compose.



yHkrs ;ks foi{ksH;ks t;y{eha egkgos A

ykHk;kfUr u`ikLrkÜp ;rks e`Ùok ojfL=k;%AA

l yHkrs l YkkHk;fur - to get

[k.Mrs okfnuka niZa eq.Ma [k.M;fr f}"kke~ A

Hkw"k;kfUr xq.kk% losZ ;ks xq.kkuso Hkw"kfr AA

l [k.Mrs l [k.M;fr l Hkw"k;fur l Hkw"kfr

Here the first line uses the root [k.M~* - to break

And the second line uses to root Hkw"k~* - to decorate to adorn.

Such verses depict Anupras alankar (alliteration)

After the first verse which is the auspicious or the ‘mangalacharan, Halayudha himself quotes.

yksds"kq 'kkL=ks"kq p ;s izfl)k% dkO;s"kq ;s lRdfofHk% iz;qDrk%A

mfPpR; rkafÜprfouksnk; 'kCnkuga /kkrqfHk:n~/kjkfe AA

,dkFkkZ ,d'kCnkÜp fHkUukFkkZÜpSo okpdk%A

ln`'kkFkkZfHk/kkuÜp fHkUukFkkZ% ln`'kk{kjk%AA

,dkFkkZLrqY; 'kCnkÜp fuc/;Urs·=k /kkro%A

/kkrqikjk;.kkEHkksf/kikjksRrh.kZf/k;k e;k AA

Here Halayudha himself describes the motive of the text.

As the title suggests ‘Kavirahasya’ one may think that the text deals with the poet, the writer of the text. But the ‘rahasya’ or the secret here is that while praising the king, Halayudha uses only these Sanskrit roots which makes this manuscript a Dhatukosha or a root lexicon. So we can express that this manuscript single handedly deals with literature, grammar, lexicography and history . This is the secret or the rahasya of this text. This is my view



regarding the title of the manuscript.

Conclusion

This Manuscript ‘Kavirahasya’ by Halayudha is a very rare and unusual piece of art. It can be referred as a piece of art in the field of literature. It simultaneously touches four mainstream subjects at a time.

We can articulate that this manuscript is a masterpiece by ‘Halayudha’. Kavirahasya is a tool to learn Grammar. It is composed in order to learn Grammar. These types of texts should come before the masses. They deserves to gain popularity. Such literary works are milestones in the history of literature. They should be popularized. Further this work gives a platform to new aspiring poets to attempt such types of poems which perform dual roles.

One more interesting fact about the text is that the use of roots in a verse in selected skillfully . Roots which begin with similar letters are kept together. This makes them more interesting. Pronunciation of such verses is a fun task, they serve as tongue twisters. Hence, this poet ‘Halayudha’ gains immense respect.

This poet Halayudha was such a multitalented person, such a scholar who had a strong hold in the language as well as the subject. His skill immediately grabs the reader’s attention.

So this text should be popularized and brought before the curtain and further also will serve as an inspiration to such budding composers and writers of the language.



Specimen of the manuscript Kavirahasya by Halayudha



Chronology of Rashtrakuta Dynasty



StudentSection

Abstract -0

'kS'kos·H;Lrfo|kuka ;kSous fo"k;Sf"k.kke~A

ok/kZ eqfuo`Ùkhuka ;ksxsukUrs ruqR;tke~AA8AA

Students being pillars of the nation, they should get right education at right time. Now a days students are getting education in schools and colleges in various mediums-languages. Every curriculum is based on value education. Values are very essential for proper growth of student's personality, manners and mentality. Whatever valuable thoughts are taught to the students, they are expected to absorb them wholeheartedly and mentally and should use in day to day life.The values and valuable thoughts are very essential in the life of a student. The values, principles and ideals are essential to the students which become an ideal and responsible citizen of the nation.

In the 'Raghuvanshammahakavya' number of values, principles, ideals and thought are embedded. Present study evolved and tried to collect some important values which are essential to the student community in order to become responsible citizen. All these things are very useful to the students to become successful in life, achieve their desired aim and to be a responsible and ideal citizen of the nation.

Instructions from of Raghuvansham for Student's Life

Rajendra D. MeshramPh.D. Researcher, PGTD Sanskrit Bhashatatha Sahitya, K.K.S.U., Ramtek

Prof. Kavita S. HoleyHoD, PGTD Sanskrit Bhashatatha Sahitya,K.K.S.U., Ramtek



Key Word :- Sanskrit, Raghuvansham, Mahakavya, Value Education, Student, Teacher.

1. Introduction :

Indian Mythologyis one of the richest elements of Indian Culture, which enriches it further and makes it a unique one in the world. Through generations, the stories in Indian mythology have been transferred from generation to generation either by word of mouth or through scriptures.The interesting aspect of the stories in Indian Mythology, is that they are usually meant to convey subtle facts, rules and maxims to guide our daily lives.These stories, which form the backbone of Indian mythology, area great medium for people especially parents to inculcate interest in Indian Culture in the younger generation and to impart values of Indian culture to them.Who doesn't enjoy a well written story? Naturally story-telling is the best medium for conveying even powerful messages.

Indian epic poetry is the epic poetry written in the Indian subcontinent, traditionally called SanskritKavya. The Ramayana and the Mahabharata, which were originally composed in Sanskrit and later translated into many other Indian languages. These are the great source of Indian mythology and culture.

Kavikulaguru Kalidas is a sparkling gem in the garland of Sanskrit Literature. There are seven compositions to his credit and all are world famous. These compositions are categorized as- Mahakavyas:(1) Raghuwansham (2)Kumarsambhavam,

Dramas :(1) AbhidnyanaShakuntalam, (2)Vikramorvashiyam, (3)Malvikagnimitram,

Khandakavyas :(1) Meghadootam, (2) Rutusamhara.

Kalidasa is most celebrated Sanskrit poet. The exact date of composition of Raghuvansham is not know, but it is presumed by the scholars as 5 th century A D . The s tory of Raghuvanshammahakavya is related to Raghu dynasty. The story



of mahakavya started from King Dilipa and goes up Agnivarna, which includes Raghu, Aja, Dasharatha and Rama.

In all 21 Vruttas and Chhandas are used in this epic by Kalidasa, They are Anustup, Indravajra, Upajati, Upendravajra, Aupacchandasika, totaka, Drutavilambita, Puspitagra, Praharsini, Manjubhasini, Mattamayura, Mandakranta, Malini, Rathoddhata, Vamsastha, Vasantatilaka, Vaitaliya, Sardulvikridita, Salini, Svagata, Harini.

Raghu, born in Ikshvakuvansha was born to king Dilipa and queen Sudakshina. The history of his dynasty is described by Kalidasa in Raghuvansham. After accepting the throne, he expanded his kingdom in all four directions. After some time his Guru Vashistha instructed him to perform VishwajitYajna and gave all his wealth as Dana. As per the Guru's instructions he undertake yajna and completed it. After the yajna Raghu was wealth less. Sage Kautsa was disciple of Vartantu. Guru Vartantu asked Kautsa to give me 14 koti gold coins as Gurudakshina as you have learnt 14 Vidyas from me. Then Kautsa started thinking how to collect and from where to arrange such an huge amount. He had heard the name of Raghu as a Dani King. One day VartantuShiyaKautsa came to Raghu and narrated the story and requested him to give 14 koti gold coins. But after some time, Kautsa came to know that now Raghu is wealth less and can not arrange 14 koti gold coin for me. Kautsa decided to return empty handed. Raghu being a king of his word asked Kautsa to rest in my palace and assured him of giving of 14 koti gold coins as Guru Dakshina. Raghu commended his army to be ready for invasion to Kuber on the following morning. When Raghu was heading to Kubera, he was told by his treasurer by virtue of fear war Kubera rained cold coin last night. Raghu gave those gold coins to Sage Kautsa to fulfil his Gurudakshina

There are five mahakavyas famous all over the world as 'Panchamahakavyas'. Raghuwansham is a one of the Panchamahakavyas. This Mahakavya is divided into 19 Sargasand 1564 shlokas.



There are number slokas in RaghuwanshamMahakavya which teaches somethings, which gives some message to the society directly or indirectly. This article is aimed at

2. Contents :

lks·gektUe'kq)kukekQyksn;deZukaA

vkleqnzf{krh'kkukekukdjFkoReZuke~ AA

vkQyksn;deZ.kke~ & This word gave a valuable teaching and

inspiration to the student community. Constancy to the purpose is very essential for the success. The aim of any student is to achieve success and it is possible only when the student is honest to his studies. The secret of success is constancy to purpose. Success is no accident. It is hard work, perseverance, learning, studying, sacrifice and most of all, love of what you are doing or learning to do. ;Fkkdkyizcksf/kuke~ & The saying 'time is money' is famous all

over the world. Time is precious and priceless for everyone, so we never waste time. We should use our time properly in positive manner.Time is more than money as money spent can be earned again however once time spent can never be earned. Value of time is more than money. We should always understand the meaning of time and use it accordingly in positive way to fulfill some purpose. We should learn something from this continuously running time. If it runs regularly without any stoppage, then why we cannot.There is a common saying that "Time and Tide waits for none". It is as true as existence of life on the earth. Time runs continuously without stoppage. It never waits anyone. So, we should never spend our precious and priceless time without purpose and meaning at any stage of our life. So the students should understand the importance of time.

'kS'kos·H;Lrfo|kuka ;kSous fo"k;Sf"k.kke~A

ok/kZds eqfuo`Rrhuka ;ksxsukUrs ruqR;tke~AA



'kS'kos·H;Lrfo|kuka & Generally entry of child to school is at the

age of 5-6 and it goes continuously up to the age of 30. Most of the students finish their studies between the age of 20 to 30. In this age they are totally free from the responsibilities. They don't have to care for food, clothes, shelter, money and relations. Their mind is free from all these things and their main business is only to study. Roughly, after the age of 25 automatically they have to bear many responsibilities. Then the mind of the student is diverted to job, family and many more. In this period his mind is disturbed and it becomes difficult to concentrate on the studies. lnln~O;fägsro%

& Every student should develop a skill to identify what is wrong

and what is right by his conscious. It is the sense of right or wrong. In the family child is taught, what is good and what is bad? In schools and colleges students are taught manners, values and the so many things which are essential for their future. They also the childhood he learn, family teaching and from teachings and values he received from school and college. j s[kkek=kefi

{kq..knkeuksoZReZu% ije~ & Student willing to achieve his goal,

should not divert from his path of marching towards his goal. He has to go straight. If he is deviated, it is impossible for him/her to reach or achieve the goal. He/she should think in the direction of his aim. tqxksikRekue=kLrksHksts /keZeukrqj% & It is for the learner to

protect himself/herself from the evils created in the mind. Mind is continuously wandering. He/she has to control his mind. Student also has to protect his dharma. The dharma of the student is to follow the path of study, follow the path marching towards his goal.

KkusekSua] {kek 'käkS] R;kxs 'yk?kkfoi;Z;%A

xq.kkxq.kkuqcfUèkRokRrL; lizlok boAA

The characteristic of the knowledgeable person is nobility, sacrifice and forgiveness. If he has the knowledge, he has the power. The knowledge in itself is a power, i.e. power of



knowledge. His behavior with other persons in the society should be ideal. He should not be proud of his knowledge. rFkkfg

losZrL;klUijkFkSZdQykxq.kk% & The student should inculcate all the

good qualities in himself. He should work for the welfare of the society and should be ready to help people who are in need of held and should work for the benefits of the society. fo|keH;lususo

izlknf;rqegZfl & Knowledge is not achieved easily. One has to

take painstaking efforts to achieve knowledge. By studying hard, with constancy and concentration knowledge can be achieved by the student.

{kqf/krA Various types of hungers can be expressed. Some

are hungry for food, some for money, some for love and some for knowledge. Those who are hungry for knowledge they are the students in real sense. izxYHka & A student should be open minded.

He should have acquire the capacity of analyzing the things by all quarters.

HkDR;kxqjkS e¸;uqdEi;k p izhrkfLe rs iq=ka! oja o`.kh"oA

u dsoykuka i;lka izlwfreosfg eka dkenq/kka izlUuke~AA

HkDR;kxqjkSA It is the duty of the student to believe and obey

his teacher. Whatever work or assignment is given or assign to the student he should do it wholeheartedly and honestly in which the success of the student is hidden. lfg".kq% & Nothing can be

achieved at once or suddenly. Success is the result of painstaking efforts on the part of the student. Student have to tolerate number instances in his life to achieve success.

vFkksiuhra fof/kof}if'prks fofuU;qjsua xqjok xq#fiz;e~A

vcU/;;Ruk'p cHkwoqj=k rs fØ;k fg oLrwifgrk izlhnfrAA

xq#fiz;e~ A Being dear to the teacher is good for any



student. But it is the general observation that no student is enemy or teacher never hate student. All students are equal for him and he teaches equally to all. But the student who is sincere in his studies and follow each and every instruction of the teacher is dear to him. f/k;% lexzS% & Student have to take painstaking efforts to achieve

success. The main aim of the any student is to gain success. While studying he should unite his brain and soul to concentrate on studies. fulxZlaLdkjfouhr & Student should humble by nature

and culture. When he has to deal with youngers and elders, he should behave in humble and cultured manner. rsukfrjkalqnq%lg%A

Student in his life has to face many examinations and many challenges. He should acquire invincible capacity to his existence. ;'kks/kukS%& It is for the student to strive only for

knowledge and not for other types of wealth. Knowledge itself is wealth for the student. inafgloZ=k xq.kSfuZ/kh;rs & It is better for the

student to inculcate and improve qualities in himself. Qualities are always valued and are appreciated everywhere. fiz;aon &

Student should speak politely and in soft language. He should not speak arrogantly with any one.

rst% lfo=kso& the sun brighten all the universe by his light, in the

same way student should brighten his surroundings by the glare of his knowledge. ukfr'khrks".kks & It is the identity of the

knowledgeable person to maintain balanced mind, to be in the balanced state of mind in the situation of sorrow and joy.

;FkkizYgknukPpUnz% izrkikRriuks ;FkkA

rFkSo lks·HkwoUoFkksZ jktk izd`frj×tukrAA

;FkkizYgknukPpUnz% & As the Moon gives joyous feeling to

the heart, the presence and advice of the knowledgeable person gives bliss to the people. iztkFkZlk/kus & A student is a part and

parcel of the society. He should make efforts for the welfare of the



society and should use his knowledge for the wellbeing of the society. izlknlqeq[ks & Student should try to develop his

personality in such a manner so that he should be able to attract people towards himself by his smiling and welcoming face. ;k=kk=kSpksn;ekl & It is the duty of an ideal student to inspire to the

other students to achieve success. izdk'kkfu 'kfäeÙokPpdkj &

While studying or while preparing for any event or examination student should use his all strength of mind in order to achieve success. vuk'kkL;t;ks & Student should develop himself in such

a manner so that there should no need of taking extra efforts to achieve success. v{kksH;e~ ;'kksjkf'ka & Constancy and hard work is

the key of the success. The student should develop a quality and strong caliber so that he should be able to stand confidently and achieve unbeatable success.

re/ojs fo'oftfr f{kfr'ka fu%'ks"kkfoJkf.krdks'ktkre~A

mikRrfo|ks xq#nf{k.kk·FkkSZ dkSRl% izisns ojrUrqf'k";%AA

mikRrfo|ks & Whatever be the field of the knowledge, but

the knowledge of that branch should be thoroughly achieved by the student. His knowledge of that subject should be rich. ;'klkizdk'k% & Successful Student should be enlightened by

thoughts and by behavior with the help of power of knowledge so that society could be benefited. Kkue'ks"kekIra & There are many

types of students. Some are nominally and some are studying wholeheartedly. The student who study wholeheartedly, they obtained deep knowledge of that subject. dk;suokpk eulk·fi &

Reading, writing and memorizing is the right way of learning. The student following this path surely get success. loksZidkj{kee~

& Helping to others is a good thing and it is not easily found in our

surroundings. A cultured and ideal Student is always ready to help



others. mikÙkfo|afof/kon~xq#H;Lra & The role of the teacher is very

important in the life of student. The teachers are the creators. They are the creators of future of the nation. If he create cultured, noble and honest student, they are able to face any situation throughout their life.

Rklq fJ;k jktijEijklq izHkkfo'ks"kksn;nqfuZjh{;%A

lglz/kkRek O;#pf}Hkä% i;heqpka iafä"kq fo|qrsoAA

fo|qrso & As lightening in the sky illuminate the

surroundings quickly in the same way student should be able to illuminate his surroundings. vUr%dj.kS% & Students while

studying use various methods. Some get average marks and some get distinction. The students studying wholeheartedly they are always ahead.

vxk/klÙo% & Matchless efforts is the key of success. The student

willing to achieve success should do incomparable efforts. vxzsljS%

& Students are the the tomorrow's citizens of nation so they should

be able to lead the society. rfelzi{ks·fi & A training is acquired by

the student from their parents and teachers to face any contrary or any situation in the life with courage. vkpkj'kq)ksHk;oa'knhia &

Good manners and culture is very essential to be a good citizen of a nation. It is the type of the training obtained by the student from parents and teachers to lead successful life.

Nqdwyoklk% l o/kw lehia fuU;s fouhrSjojk?kj{kS%A

osykldk'ka LQqVQsujkftuZoS#nUokfuo pUnziknS%A

fouhrS% & Humbleness is the good quality. Student should

be humble and polite. xq#.kk iz;qäk & It is the duty of the student to

engulf each and everyinstruction, direction and assignment by the t e a c h e r. I t t h e c h a r a c t e r i s t i c o f i d e a l s t u d e n t .



izR;k'olUre~vkpdk³~{k & There are many ups and downs in the

life of the student. Success and failure are two sides of a coin. But student should not lose his courage in adverse situation. He should be ready to face the situation with fresh mind. loZiz;Rusu & To

achieve success in the studies, student should try by heart and soul.

ln;a cqtxs egkHkqt% lglks}sxfe;a oztsfnfrA

vfpjksiurk l esfnuh uoif.kxzg.ka o/kwfeoAA

ln;a & Kindness is the quality of soul. The heart of an

educated person should be full of compassion towards the people who are in need of help and who are depressed. He should try to understand their problem and try to solve them. LodeZ.kka & Now-

a-days a trend of correspondence courses, distance courses, online courses is going on everywhere. Student willing to undertake such type of courses, in this case own efforts plays very vital role.

xq.koÙkkfiijiz;kstuk & The merit or efficacy of the student should

be useful for the welfare of the society. izcykekRed`rsu &

Effective study always produce effective result. For the effective study mind and soul should be united together. Mind should not be diverted here and there.

firqjuUrjeqRrjdkslykUlef/kxE; lekf/kftrsfUnz;%A

n'kjFk% iz'k'kkl egkjFks ;eorkeorka p /kqfj fLFkr%AA

lekf/kftrsfUnz;% & Learning process is generally

undertaken in childhood and bachelorhood. After a particular age students mind is divided in numerous responsibilities for work and family. In the childhood and bachelorhood it is very easy for the student to control his all sense organs and perform study wholeheartedly. Jeuqna & It is for the student to take endless efforts to achieve success. The weightage of success is equivalent



to the study. ;rfxja & Chattering is not good for the student. His

speech should be to the point and not in vain. He should be able to present his point confidently before the people but not in talkative manner. dfydkeftrke~ & Anger and maliciousness are just like

obstacles in the progress of learner. He should behave amicably and in co-operative manner with his colleagues. y{;hd`rL; &

With aim or target the learner is directionless. There should be a specific aim in the life of the student and should always strive to achieve the desired aim or goal.

vH;klfux`ghrsu eulk ân;kJ;e!A

T;ksfreZ;a fofpUofUr ;ksfxuLRoka foeqä;sAA

vH;klfux`ghrsu & Indulging in so many tasks may divide the

mind of student. If he is able to concentrate on his studies wholeheartedly, he will never look at the subjects which will lose his control. tkx:dL; & It is the one of the important

characteristics of the student to be watchful towards new theories and current affairs. Today being the age of Information and Communication Technology awareness of related information is essential. vuokIreokIrO;a & No one can have all types of

knowledge. There is some deficiency on the part of the student. Whatever drawbacks are noted, they should be fulfilled by the student in order to maintain level. xq.kkLrL;kU;nqyZHkk% & Some

good qualities are there which found rarely in students. These qualities are very useful to be an ideal student and to be successful in the life. These qualities are Sincerity, honesty, discipline, consistency, hard work, sharp observation, attitude, academic skills, ability, perceptiveness etc.

rkS cykfrcy;ks% izHkko.rksfo|;ks% ifFk eqfuizfn"V;ks%A

eEyrquZ ef.kdqfV~VeksfprkS ekr`ik'oifjofrZukfooAA



izHkkorksfo|;ks% & The knowledge gained by the student

should be effective. Effective in the sense it should be useful to the society and also be of applied nature for the cause of wellbeing of the masses. vU/krelkr~ jj{krqfo?ur% & In the society there so

many bad customs and superstitions and blind faiths that are followed by the people since very long with any reason or without any scientific base. All these things are burdensome and sometimes expensive and time consuming. A good student can save the society from the superstitions and blind faiths. vkikLre[kfo?u;ks% & In the studentship there are so many

difficulties and every student has to undergo difficulties. Difficulties like money problem, residence problem, food problem, household problem and many more. Student has to acquire the skill to overcome the difficulties. 'kSylkje~ & There

are many ups and downs in the life of the student, but he should not lose his courage and to stand in any storm as mountain.

fufoZ"Vfo"k;Lusg% l n'kkUreqisf;oku~A

vklhnklUufuokZ.k% iznhikfpZfjoks"kflAA

iznhikfpZ% bo & As the lamp illuminate its surroundings and

show path to the people who missed their path because of darkness, in the same way a scholar can guide thousands people who have deviated from their road. reuqxPNUrh & It is the duty of

student to follow his teachers. The student following the instructions of his teacher he never face the failure.

euksjFkk% bo & Each and every student has some aim. To fulfil his

aim he will have to work hard, take pains taking efforts, to follow discipline then only his aim can be fulfilled. veks?ke~ & Student

should well aware about his curriculum and syllabus. He should take efforts and learn accordingly. He should check that he going in right direction or not so that his efforts should not go in vain.



vFkkReu% 'kCnxq.ka xq.kK% ina foekusu foxkgeku%A

jRukdja oh{; feFk% l tk;ka jkekfHk/kkuks gfjfjR;qokpAA

xq.kK% & Scholarship is not achieved suddenly or easily.

One has to take painstaking efforts and hard work to be a knowledgeable or scholar. izd`frizxYHkk% & Maturity is the state of

mind achieved by open mindedness and study of surroundings. It is the ability achieved by a person to decide, to taken decision, to justify, to understand and to behave etc. Maturity is very essential for the student to decide what is right and what is wrong. izo`Ùkek=ks.k & Timely motivation plays a vital role in the life of the

student. Inspiration can give a direction to the directionless student. Hence impetus and encouragement from time to time is very essential to the student community. nwjkUrjofrZuk & Aim or

success is always away from the student. To bring the success nearer dedication, sincerity, hard work and efforts are essential on the part of the student. izR;iZf;";fr & Student is living in the

society. He is going ahead because of the support of society. It is the duty of the society to pay back to the society as a gratitude.

mHkkoqHkkH;ka iz.krkS grkjh ;FkkØea foØe'kksfHkukS rkSA

foLi"Velzu/kr;k u n`"VkS KkrkS lqrLi'klq[kksiyEHkkr~A

foØe'kksfHkukS & Success is achieved by hard work and

dedication. It is not obtained easily. One has to take painstaking efforts to achieve success and the success in itself is radiant and the gallantry is the effort of the student. 'kqfpuk o`Ùksu & Behavior or the

student should be ideal an untouched. Many peoples are coming in contact of the student at various level. So the behavior of the student with the people should be purified. 'kk'ore~ &

Perseverance of the student to achieve success or aim should be everlasting. Aim is not achieved easily or by shortcuts. Student



has to maintain courage till the goal is not achieved.

oRlyokRl~ & Kindness is the property of heart. Student should

have compassion in his heart for the suffering humanity or towards the people who are in need and are depressed, downtrodden and backward.

yo.ksu foyqIrsT;kLrkfelzs.k reH;;q%A

equ;ks ;equkHkkt% 'kj.;a 'kj.kkfFkZu%

'kj.;e~ & After achieving the success he should try to

protect the interest of people who are kept away from right. Oppressed people are always looking forward for the help from educated and learned class of people. /kelaj{k.kkFkSZo & The

education should be aimed at protection of religion. In this world humanity is the great religion. Now a days humanity is to be protected as a world religion. laLrw;ekuL; & Successful student

is always praised at everywhere. Because success is not achieved easily. It is the result of hard work and painstaking efforts on the part of the student and hence he is liable for the commendations. ikS#"kHkw"k.k% & Success is achieved by the sincerity, honesty,

consistency, hard work and pains while studying. After such type of long journey the success is achieved hence the success itself is an adornment.

vFksrjs lIr j?kqohjk T;s"Ba iqjkstUer;k xq.kS'pA

pØq% dq'ka jRufo'ks"kHkkta lkSHkzk=kes"kka fg dqykuqlkfjAA

jRufo'ks"kHkkte~ & While studying student has to refer many

books, notes available in the market, notes given by the student, notes obtained from the friends and colleagues and the internet. Student should use or refer all the study material sources available to him to achieve goal. vuqikjrkuke~ & Learning should be

continued from childhood till the success is not achieved. Student



performing studies in discontinued manner, it is very difficult for him to achieve success. laHk`rlk/kuRokr~ & To a learner various

types of material is required for the study. Material like dictionary, table book, log book, notes obtained from various sources. Student has to prepare thoroughly in order to get though an examination. vfHkuU|ekue~ & There are so many instances on

which student receive greetings from his parents, family members, friends and relatives. It is the particular occasion on which people congratulate a learner. The occasion of congratulation is success.

vfrfFka uke dkdqRLFkkRiq=ka izki dqeq}rhA

if'pek|kfeuh;kekRizlknfeo psrukAA

izlkne~ bo & Malice is very bad habit which student should

not possess. He should be cooperative and free from jealousy to his colleagues by which his personality will be a developed one. /kqjkseks{ke~ & In the society there so many burdens on the peoples.

Some are suffering from blind faith, some are suffering from misguidance and some are suffering from social evils. Education is a powerful weapon by which man can overcome all these burden.

dYirjksfjo & Education is just like a tree of imagination. As the

tree of imagination fulfil our all the wishes in dream. Education has power to fulfil all the dreams and wishes of a man. So to achieve the education student has to work hard. feF;ku & Truth is

very powerful. Truth is most often used to mean being in accord with fact or reality, or fidelity to an original or standard. Truth may also often be used in modern contexts to refer to an idea of "truth to self," or authenticity. Student should adhere to truth.

rsuks#oh;sZ.k firk iztk;SdfYi";ek.ksu uuUn ;wukA

lqo`f"V;ksxkfno thoyksd% lL;su lEifRrQyksUeq[ksuAA



iztk;SdfYi";ek.ksu & Student should acquire such a

qualities so that society can be relies on him. Todays students are the tomorrow's responsible citizen of the nation. Every citizen has to go through studentship. So he should be capable and competent in the eyes of people in the sense society. iztk{ksefo/kkun{ke~ &

Student is the part and parcel of the society. He should be cultured and good mannered as he has to deal with various sections in the society. He always should be strive for the welfare of the society. vxz;k;h & Leadership quality found very rare. Student should try

to develop the leadership quality in himself and should be ahead whenever needed. mnkj'khy% & Student should be able to give

something to the society whatever he has acquire throughout his studentship. He should be open handed to give to the society whatever he has.

Uke oYyHktuL; rs e;k izkI; HkkX;efi rL; dk³~{;rsA

yksyqia uuq euks eesfr ra xks=kfoL[kfyrewpqj³~uk%AA

dk³~{;rs & There should be some aim of the student.

Without aim student is directionless. If there is aim then he will go in that particular direction. vU;dk;Zfoeq[k% & Student should not

pay attention to other things other than studies. He should concentrate only on his studies. izHkkor% & The personality of the

student develops and become impressive because of knowledge. Hence it is essential to gain knowledge to be of impressive personality. HkkokFk± & Education is for the welfare. Education is

the root cause of the welfare of student as well as of society.

3. Conclusion :

Sanskrit Literature is very vast and wide. Most of the Vedic literature is in the form of poetry. But the modern Sanskrit



literature includes poetry, prose, drama, mathematics, philosophy, jyotish, puranas & history and politics. The Sanskrit literature is not merely the net of the words, but it is the flow of thoughts. Sanskrit literature is world famous. The composition of Kalidasa, Bhavabhuti, Bharavi, Magha, Shriharasha and Banabhatta are some of the best. Sanskrit language has great importance in respect of culture, literature, art, science and metaphysics. Indian philosophy written Sanskrit speaks about the real meaning of life. With the knowledge of soul man could achieve eternal goal and with the knowledge of metaphysics man could experience heavenly happiness. Human values, manners, culture and path of life is safeguarded by the Sanskrit language, hence it is possible to know and understand real India. The ancient and oldest treasure of Sanskrit is not for keeping in memory but is for use and application in this modern age also. Sanskrit literature is the gift to us by our forefathers.

Sanskrit literature is inspirational and motivating not only to the common man but also to student community. Especially the literature of Kalidasa is eye opener and is full of etiquette, values and manners. Raghuvansham is one of the famous composition of Kalidasa. There are lots of such inspirational and motivating words which are very useful and beneficial to the students. It is essential for everyone to study Sanskrit literature, particularly the literature of Kalidasa.

It is tried to collect inspirational and motivational words from Raghuvansham that are motivational, inspirational and useful to the students. In this article efforts are made to find out few words which may inspire students. But still there scope for research in respect of 'Value Education in Raghuvansham' and 'Eternal Values in Raghuvansham'



4. Reference :

1. Internet

2. Shrikrishanamani Tripathi, Raghuvansham of Kalidasa, Sanjivini Commentary of Mallinatha and Chandrakala Hindi Commentary, Chaukhamba Surbharati Prakashan, Varanasi, Reprint, 2011

3. Radhakrishnam S., The Raghuvamsa of Kalidasa, Critically edited by Reva Prasada Dwivedi, Sahitya Akademi, New Delhi, First Edition, 1993

4. Devadhar C.R., Raghuvamsa of Kalidasa, Motilal Banarsidass Publishers Pvt Ltd., Delhi, First Edition, Delhi, 1985, Reprint, Delhi, 1993, 1997.

5. Kingwadekar Ramchandrashastri, Editor, Borvankar Ramchandra Ganesh, Translator, Raghuvamsh of Kalidasa.



Abstract - Mridangacharya Paagaldas was a pioneer in attributing emotions(bhava) to various rhythmic cycles (taals) that he composed in the form of descriptive (lakshan) dohas. In the modern day stage presentation of Kathak, the Taal-paksha occupies a prominent space. An analytical study of the various dohas in Brij Bhasha shows how every taal is interlinked with certain prominent bhavas. An application of the work of Paagaldas in the presentation of Kathak performance and pedagogy , will lead to text-to-pratice innovation within the traditional format of Kathak.

I. Introduction -

Traditional Indian classical dance is based on the shastras and scriptures. At the same time tradition does not inhibit innovation. The innovation in the dance shastras are reflected in simultaneous innovations in language and other associated arts. The word Shastra etymologically means ‘Saasti Tat Shastram’. Shastra is that which regulates or governs a systematic or orderly exposition. A dancer uses these texts into traditional practice. What is used traditionally in the dance is already a part of the scriptures and the innovation which arises from it is also a part of the scriptures. Post-independence India saw a revival and reformation of a number of art forms among which Kathak came to prominence in the north. The period saw the coming together of genealogical practitioners of the art (gharanedaars), who structured the

Mridangacharya Paagaldas’s ‘Mridang-Tabla Prabhakar’- A theory into traditional kathak practice (An analytical study of various taal-bhava combinations in Brij Bhasha) Research Candidates- Sunil R. Sunkara, Paullumi B. Mukheerjee, Guide- Dr Sandhya Purecha



components of Kathak into a ‘Vastu-kram’ or ‘sequential presentation’ in which the taal-paksh showcasing nritta-nritya is a prominent feature [3,6,10,19]. The Dasharupaka [12] succinctly describes Nritta as ‘Nrittam taal-laya-ashrayam’ (dancing based on rhythm and time) which is closely connected to nritta presentation in Kathak. Looking at a birds-eye view nritta is rhythmic movement of the limbs of the body while nritya is related to bhavashrayam (dependent on emotion), though both of them explore the aangika abhinya [5,8,9] Nritta-Nritya go hand in hand in Kathak taal-paksh presentation, with a fine line of separation between them. In this context Lacchu Maharaj connected every movement in the Lucknow gharana kathak vocabulary to an emotion [20]. In the presentation of taal-paksh in kathak aural impetus is created by both the lehera and theka. Theka is the foundation of presenting a bandish that uses a certain set of syllables (varnas) to travel cyclically like a mandala [14] The success of the dancer is to incorporate the ‘ang’ or movement vocabulary such that it suits the euphonic and rhythmic character of various individual syllables used in the bandishes. Modern day kathak legend Pt Birju Maharaj often describes taal as that which has an emotive aspect or mood in its very intrinsic nature[21]. In Chapter 33 of the Natyashastra is described the various varieties of drumming to suit various occasions. For example the movements of gods, kings and men have been elaborated through use of certain recall value rhythmic phrases like bram, ghemtaam and titthi. Thus we see that right from the inception of the NS, the associative power of an aural sound with evoking emotions is well documented [4,15]. Mridangachaya Paagaldas, with an academic bent of mind was a pioneer in directly connecting taal with bhava which is published in ‘Mridang-Tabla Prabhakar’ He gave every taal a distinct identity by giving them humanlike and divine attributes described in descriptive lakshan dohas. This is the iconic surviving work of the pioneer. This paper discusses few aspects of this rare work as a blueprint to create innovation in the traditional taal-paksh presentation of kathak.



Table 1: Division of Taals by Mridangacharya Pagaldas

Taal Name Adhyaya Matra

1 Aada Chautaal Tabla 14

2 Gajajhampa Mridang 15

3 Chandakrida Mridang 9

4 Chandra Chaartaal Mridang 13

5 Chaartaal Mridang 12

6 Jhaptaal Mridang 10

7 Teentaal Mridang 16

8 Dhamaar Mridang 14

9 Bhagwan Mridang 17

10 Bhanumati Mridang 11

11 Matta Mridang 18

12 Rupak Tabla 7

II. Analysis of Descriptive Dohas of Popular Taals

In Mridang-Tabla Prabhakar, Pagaldas describes each taal through descriptive dohas composed in the Maatrika Chhand. The translations of the dohas describing the popular taals are given in this section. The corresponding sthyaibhavas or vyabhicaribhavas [17,18] as described in Natyashastra are attributed to each of these taals.

Jhaptaal

Khand Jaati Dus Maatra, Ek Khali Treya Taal

Koti Kama Lakhi Sankuchita, Suchi Sundar Jhaptaal.



Translation: A taal having cycle of 10 matras, belonging to the Khand Jaati(divisions of 5), it is shown using 3 taalis(claps) and 1 khali(wave of the hand)The thousandfold beauty of Goddess Kamalakshmi (sometimes considered as one of the astalakshmis) is condensed into the beautiful feminine Jhaptaal. Commentary: The sthayibhava rati (love) can be used to describe the mood of this taal. The theka of Jhaptaal (Dhi Na Dhi Dhi Na Ti Na Dhi Dhi Na) reflects the ethereal feminine grace mentioned by Paagaldas.

Chautaal Dwadasha teeya muskaan mridu

brahm roop jagapal Chartaal, Dwai Kaal Yut, Sukavi Bhanat Chautaal

Translation: Chautaal is the one who has the attributes of the four faced (12 divided by 3) Lord Brahma, the one among the trinity(teeya) who always has a gentle smile and is the protector of the true devotee. The good poet uses four taalis and 2 khalis to describe chautaal. Commentary: The opening phrase of Chautaal (Dha Dha Dhin Ta) lends to a feeling of stability. Smita hasita described in the NS is where there is a gentle smile on the face, without exposing the teeth. This is the countenance commonly used to show Lord Brahma in artistic representations synonymous with

Paagaldas’s description of ‘mridu muskaan’. According to the Natyashastra, the primary jaatis are tishra(3) and chatusra(4) which are used as the base to form new jaatis. Thus one finds relevance in Pagaldas using the term ‘Dwadasha Teeya’ (twelve by three) as the opening thought while describing chautaal. The sthayibhava haas (laughter) and vyabhichri bhavas of joy (harsha) and contentment (dhriti) describe the mood of this taal.

Dhamaar Treya Taali Khali Padhat,

Matra Chaudah Dhaar Simha Dwani Gehrat Sadaa,

Jayati Su Taal Dhamaar



Translation: In the flow of 14 matras, taal dhamaar descends like a waterfall with 3 taalis and 1 khali. The sound of this victorious taal is like that of a roaring lion. Commentary: The sthayibhaav of this taal is utsaha(enthusiasm) which leads to the veer rasa or heroic sentiment. By using the word ‘sada’ Paagaldas refers to the unique fact that in the theka of dhamaar, every bol is said with equal and expansive weightage. Also the beginning of the theka ‘Ka Dhit’ has the feeling of cascading water, and is reflected in Paagaldas using the word ‘dhaar’ to describe the succession of the matras (like currents or torrents). This taal is always associated with strength and valour ,the hallmark of a leader.

Teentaal Bhuja Pralambha Maha Danda Dhara

Treyataali Ek Taal Das Anuchari Shata Tiya Sangh

Viharata Aadi Tritaal

Translation: A king who is long limbed and holding a staff, teentaal, the first of his kind is composed of 3 taalis and 1 khali. Six wives and ten attendants accompany him on a pleasurable walk. Commentary: The six wives(tiya) [16] mentioned by Paagaldas correspond to the syllable ‘Dha’ that occurs six times in the theka of teentaal and holds the structure of the taal. The other bols like ta, dhin and tin follow the dha bol, making the other bols anucharis(one who walks in the path of). By describing him as a King, Paagaldas pays tribute to the magnificence and importance of teentaal. The word ‘aadi’ signifies that teentaal is meant for the beginning and it itself is the first or primeval among taals. This premise created by him is a setting for the exploration of all 8 sthayibhavas rati,haasa, utsaha, krodha, shoka, bhaya, jugupsa and vismaya.

III. Innovation in Tradition-

Taal Chakra Choreographed on Paagaldas Lakshan Dohas Mridangacharya Pagaldas pioneered in creating rare taals that he delineated with emotional attributes. This was brought together as a pathbreaking taal chakra at the Bharata College of Fine Arts &



Culture, Mumbai, under the guidance of Dr Sandhya Purecha. The taal chakra was composed of taals having odd-number of matras in a reductive sequence - Bhagwan(17), Gajajhampa(15), Chandra Chartaal(13), Bhanumati(11) and Chandrakrida(9). The presentation follows the vastu kram of kathak that highlighted the mood of each taal as described by Paagaldas in the lakshan dohas of each of these taals. Thaat, Upaj and Paran-aamad presented in Bhagwan taal, reflects the dheerodaata character of Lord Ram. A variety of amads are presented in Gajajhampa that highlight the graceful gait of the elephant, a signature of beauty. In Chandra Chaartaal, the beauty of nature is depicted through parmelus followed by parans in Bhanumati taal, that highlights unpredictable approaches to the sama. The presentation concludes in the chandrakrida taal where the romance of Radha and Krishna are presented through Gat. Each taal was interlinked using lakshan dohas and leheras that we all in the same raga. Thus by connecting the emotions ascribed by Paagaldas to each taal, once can have a perfect union between the taal-leherabandish. This is pioneering example of text-to-practice where one can create innovation in the traditional taal-paksh presentation of Kathak, while keeping with the tradition. The audience connects with the taal chakra, not as something abstract or obtruse, but as something organic that has a character they can connect with, and experience on an emotional plane.

IV. Application in pedagogy -

Sanskrit training is done through sutras, which could be a theorem or aphorism distilled into a few words. Similarly, in kathak training, learning the descriptive doha gives the lakshana (sutra like) of the taal making it easy to understand the nature of the taal and connect with it. At the same time, the taali khali and taal structure can be memorized easily. Thus these dohas can be used as a pedagogical tool. A kathak dancer has to often select bandishes to present in a taal, the art of which is subtle and often unclear. By connecting with the bhava created through the taal itself, as explained by Paagaldas, the dancer can master the mood or ‘mizaz’ that a successful taal presentation demands.



V. Conclusion -

An analysis of the work done by Mridangacharya Pagaldas and its application to Kathak illustrates the significance of the descriptive dohas as a tool to innovate within tradition. It has great potential in helping a kathak dancer connect with the audience through the taal-paksh presentation as well as a pedagogical tool. The significant points established in this paper.

The interrelation of taal with bhava and their conjugation as described by Paagaldas is unique and has no prior precedent

The descriptive dohas can be sung in the corresponding taals

The descriptive dohas can be danced in the corresponding taals with a presentation of the narrative as described within the doha

The complete presentation of the descriptive dohas and the taalpaksh can be done with the traditional aangik abhinaya of the kathak with usage of the vachik abhinaya in Braj Bhasha as composed by Paagaldas

The traditional aharya abhinaya with a touch of Brij costumes can be used for innovative presentation

Saatvik Abhinaya with the sattva as suggested by Paagaldas can be explored in the presentation.

The usage of the work by Paagaldas goes hand in hand with the innovation within tradition approach of the Lucknow gharana maestros of the Maharaj gharana. Furthermore, it highlights the interlinked approach of taal-bhava presentation that is a signature of the Lucknow gharana of kathak. The theory of Mridangacharya Paagaldas is unused and weaving it into the kathak idiom is truly a pathbreaking innovation within tradition making this work a milestone in traditional kathak practice.



References

1. Jaychandra Sharma, ‘Rangmanch aur Nrutya-Pradarshan’, Sangeet Bharati Shodh Vibhaag,Bikaner, 1980

2. Lakshminarayan Garg, Balkrishna Garg, Prabhulal Garg, ‘Sangeet Mridang Ank’ , Sangeet Karyalaya Hatras, 1965

3. Sushil Kumar Saxena, ‘Swinging Syllables, Aesthetics of Kathak Dance’, Sangeet Natak Academy, 1991

4. Manomohan Ghosh, ‘ Natyashastra Volume II’ , Chowkhamba Sanskrit Series Office, Varanasi, 2012

5. Puru Dadich, ‘ Sanskrit Prayog Vigyaan tatha kalidasiya Rupak’, Bindu Prakashan, Ujjain, 1989

6. Mohanrao Kalyanpurkar, ‘Kathak- An analytical study’, Papers from the first dance Seminar, Sangeet Natak Academy 1958

7. Nageshwar Lal Karna, ‘ Kathak Nritya ke saath tabla sangiti’, kanikshka Publishers, New Delhi, 2001

8. Sandhya Purecha, ‘Theory and Practice of Angikabhinaya In Bharatnatyam’, Bhavans Book University, 2003

9. Sandhya Veersingh Purecha and Shrihari Vasudev Gokarnakar, ‘ ‘Bharatmunivirachitam Natyashastram’ , Maharashtra Rajya Sahitya aani Sanskruti Mandal, Mumbai, 2016

10. Shovana Narayan, ‘ Kathak’, Dances of India Wisdom Tree, 2004

11. Peter Manuel, ‘ Thumri in Historic and stylistic Perspectives’ , Motilal Banarasidass, Delhi, 1989

12. George C O Haas, ‘ The Dasarupa, A treatise on Hindu Dramaturgy by Dhananjaya’ , Columbia University Press, New York, 1912



13. Shrikrishnamani Tripathi, ‘Raghuvamsham of Kalidasa’, Chaukhamba Surbharti Prakashan, Varanashi, 2012

14. Bhagwandas Mrudangacharya &Ramshankardas Pagaldas, ‘ Mridang-Tabla Prabhakar-Bhaag Pratham’ , Sangeet Karyalaya, Hatras, 1976

15. R a m s h a n k a r d a s P a g a l d a s & B h a g w a n d a s Mrudangacharya, ‘ Mridang-Tabla Prabhakar-Bhaag Dusara’ , Sangeet Karyalaya, Hatras, 1977

16. Birju Maharaj, ‘Ras Gunjan, Maharaj Bindadin ki Rachnayein’, Popular prakashan Mumbai, 1994

17. Pushpendra Kumar and M.M Ghosh, ‘ Natyashastra of Bharatamuni Text, commentary of Abhinava Bharati by Abhinavaguptacharya and English Translation’, New Bharatiya Book corporation Delhi,2006

18. Babulal Shukla Shastri, ‘Natyashastram’, Chaukhambha Sanskrit Sansthan, 1984

19. Margaret Walker, ‘India’s Kathak Dance in an historical perspective’, Musicultures, Volume 43/ 1 , 2016

20. Paullumi Mukheerjee, ‘ Kathak Nritya Ki Pehchaan’, Study Circle Publications, Mumbai, 2013

21. Saswati Sen, ‘Birju Maharaj, The master through my eyes’, Niyogi Publication, 2013

22. Ralph T H Griffith, ‘ The Rigveda’, Pantianos Classics, 2017





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Dr. Jayakrishnan nampoothiri N.D.Asst.professor, Dept. of Sanskrit-JyothishaGovernment Sanskrit College, Thiruvananthapuram, Kerala

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Bertram G. LiyanageDeputy Editor, Encyclopaedia of Buddhism, Sri Lanka

Dr. S. UmapathiHead & Assnt. Professor, Department Of SahityaThe Madras Sanskrit College, Chennai

Contributors....



MkW- js.kqdk cksdkjsdfodqyxq: dkfynkl laLd`rfoÜofo|ky;] jkeVsd

izk-d`".kdqekj ik.Ms; dfodqyxq: dkfynkl laLd`r fo'ofo|ky;] jkeVsd Hkze.k/ofu Øekad& 9324151155 bZ esy [email protected]

Dr. Jaywant ChaudhariAssistant Professor, Dept. of Veda & Vyakarana Kavikulaguru Kalidas Sanskrit University, Ramtek, Nagpur,

Anagha AmbekarAsst. Professor, K.K.S.U., Ramtek

Pallavi KawaleAsst. Professor, K.K.S.U., Ramtek

Rajendra D. MeshramPh.D. Researcher, PGTD Sanskrit Bhashatatha Sahitya, K.K.S.U.Guide - Prof. Kavita S. HoleyHoD, PGTD Sanskrit Bhashatatha Sahitya, K.K.S.U., Ramtek

Research ScholarsSunil R. Sunkara, Paullumi B. Mukheerjee, Guide- Dr Sandhya Purecha* *Bharata College of Fine Arts & Culture, Mumbai| [email protected]

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