Religion and diversified religious experiences are always held suspect and not spared from apprehensions regarding its value, its ethics, its revelatory claims and its approaches. Time immemorial religion and religious experiences have played a pivotal role in building up society for betterment and also for deterioration. Man’s intellectual activity throughout the history was on the line of religion. The sacred in religion has always empowered man in many paths of his life, say, to bring social reformation, be it environmental concern (...) or women empowerment. The sacred in religion have brought wonders in human life. (shrink)

Philosophical aspects of Rāmāyaṇa, classical Hindu epic by Valmiki; a study.

In this paper moral philosophy of Mahrishi Valmiki discussed on the basis of his ideas in the Ramayana.

A delightfully straightforward and lyrical retelling of the ancient Indian epic of loyalty, betrayal, redemption, and insight into the true nature of life -- one of history's most sacred ethical works, rendered with completeness and sterling accuracy for the modern reader. Here is one of the world's most hallowed works of sacred literature, the grand, sweeping epic of the divine bowman and warrior Rama and his struggles with evil, power, duplicity, and avarice. The Ramayana is one of the foundations of (...) world literature and one of humanity's most ancient and treasured ethical and spiritual works. 'This new version is so simply and beautifully written -- it will stir the soul!' --David Lynch. (shrink)

Jābāli, one of the priest-cum-counsellors of king Daśaratha, has long been recognized as an odd character, preaching materialism in order to persuade Rāma to go back to Ayodhyā after the death of his father. The critical edition of the Vālmīki Rāmāyaṇa reveals several stanzas interpolated in the vulgate so as to denigrate Jābāli and brand him as a rank opportunist. In spite of that, whatever remains of Jābāli’s speech addressed to Rāma evinces one of the basic tenets of materialist ontology, (...) i.e., denial of the existence of any other-world, and hence the futility of performing rites for the ancestors. However, nothing is said about the epistemology,, ethics, and metaphysics of materialism as it existed at the time when the Rāmāyaṇa was redacted. Considering all this it is better to call Jābāli a proto-materialist who speaks of a philosophy akin to the teachings of Ajita Kesakambala, a senior contemporary of the Buddha, whose doctrine has been dubbed as that of annihilation in the Tipiṭaka. Both of them belong to the pre-Cārvāka materialist tradition in India. (shrink)

The key event at the start of the Sanskrit Ramayana attributed to Valmiki is the death of a bird at the hands of a hunter. In Sanskrit, that bird is termed krauñca. Various identifications have been offered in the past but uncertainty persists. Focusing on the text of the critical edition and drawing on ornithological data regarding the birds commonly suggested, this article establishes beyond doubt that Valmiki's krauñca bird is the Indian Sarus Crane. It then considers a key verse (...) in the southern recension, omitted by the editors of the critical edition, which supports this identification. Finally, the article explores the significance of the Indian Sarus Crane for the epic scene. (shrink)

This paper looks at Vālmīki’s use and placement of his female characters as significant markers of religious identity. It argues that Vālmīki conceptualizes and creates specific types of female figures and carefully locates the episodes in which they appear to mark specific narrative transitions and real or imagined anxiety-inducing threats to the author’s idealized world. Moreover, Vālmīki provides his audience with potential resolutions to those threats. Thus, in addition to such major figures as Sītā, Kausalyā, and Kaikeyī, (...) characters such as Anasūyā, Śabarī, Svayaṃprabhā, and even the non-human characters Surasā and Nikumbhilā are demonstrated to have a specific and integrated function within the narrative and are argued to form part of a larger, gendered narrative frame in which the epic action occurs. Each of these characters, I contend, represents a particular level of the feminine intruding into the culture’s religious practices in an ever-increasing destabilization of the poet’s idealized vedic world or as the means for its reemergence as a stronger, more stable, and less corruptible one. Vālmīki’s creation and use of these intriguing figures provide further testament both to the author’s genius and the underlying unity of structure of his great epic. (shrink)

Nirbhaya, Asifa, Manisha Valmiki, and the list of victims, (be it women, children or men) in India goes on. There is myriad of legislations enacted in the past to curb the offences, but the crimes in the society seem to be unstoppable. During the COVID time, in the lockdown too, the crimes continued to take place. There were several instances of domestic violence and rapes heard in news. Many instances of suicides were reported. It is really difficult to understand what (...) place in the country is safe for the existence and peaceful survival of any person? The question that arises is whether a victim who comes before the court is provided with the adequate relief? Has the Judiciary or the Parliament done something with this regard? Does the concept of compensatory jurisprudence exist in India? What more is required to be done to enhance the position of victims and rehabilitate them? The research article shall look into the concept of compensatory jurisprudence with respect to India and other nation states as well. There are prevailing enormous laws which discuss about the punishment to be given to the accused person guilty to have committed crime, but unfortunately, there is no specific law regarding the steps to be taken to rehabilitate a victim who has been the subject matter of any crime. The research paper shall deal with various aspects and try to analyse laws or rules, if any, existing with regard to the protection of victims in India or around the globe. It shall also try to look into the role that the States play in rehabilitating and compensating the sufferers and victims of various crimes. The article shall conclude with suggestions as to how the research gaps related to victim reparation be filled. (shrink)

Values and ethics in in the Ramayana of Valmiki.

The East has seen totality in a far more consistent and systematic way than the West; and India more so than any other civilisation in the East. When the Swami Siddheswarananda came to France to lecture on Vedic philosophy, he entitled his address, Outline of a Philosophy of Totality’. The expression could have been applied to the philosophies of India as a whole. But the world of thought, coextensive with culture, is far broader than philosophy. It is no exaggeration to (...) assert that India is the land of totality par excellence. Is it not even, according to one dictum, bigger than the world …? The notion of totality, implicit or conscious, poetic or theoretical, original or final, is present throughout Indian culture, both in its religion and in its arts, both in its customs as in its language. The Mahabharata, the largest epic poem ever conceived, proclaims: everything in the Mahabharata can be found elsewhere, but what is not in the Mahabharata cannot be found anywhere. Whilst the absolute beginning of a piece of Western music is in keeping with a dramatic time analogous to that of the Creation, Indian music seems to come from the eternity of a universe without transcendence. The body takes on a cosmic meaning through dance. By performing the tandava, the cosmic dance, Shiva Nataraja (‘Lord of the dance’) endlessly creates and destroys worlds. Indian art is an art of proliferation: both the reiteration of motifs sculpted in architecture and the litanies and metaphors spun out in epic poetry are symbolic attempts to capture the totality of the world. Every single element, being, movement or thing within this continuous space and time points towards all the others. The texts describe the sky of Indra with its web of pearls arranged in such a way that when one looks into one, one sees all the others reflecting in it; in the same way, each object of this world is not merely itself but comprises every one of the others and actually is all the others. The culture of India is one of plenitude, presence and continuity. At the opposite extreme, Japan developed a culture based upon the values of emptiness, absence and the interval. When a guru speaks, Valmiki and Vyasa know that it will take them many scores of verses. A Zen master's reply to his disciple takes up a single-line anecdote, or a word, or even a silence. At the other extreme, hundreds of statues line the gopuram of the temple at Madurai: not all of the thirty-three million gods ‘recognized’ in the writings are there, of course, but at least their unbelievable abundance gives us a plausible image of them. (shrink)

This essay explores possible paths after postcolonial theory, with the after understood not as a negation, but as a form of inheritance and the creation of routes, such that an aftermath need not have a resentful or self-hating relation and nor simply an acceptance of given pictures of ‘western’ thought. The route explored here is neither fully secular nor religious, and nor from a radically alternative ontology, but rather prompted by three enduring concerns within the global humanities, explored in three (...) sections of this paper. The first section ‘Political Theologies as an Alternative to the Dichotomy of Religion and Secularism’, asks what the difference and proximity between theology and theory may be, if we acknowledge the at times less visible theological genealogies of ‘secular’ social and critical theory. Rather than taking such genealogies only to be an effect of Eurocentrism, or as the lasting hegemony of Protestant Christian assumptions, we examine other ways of navigating tentative movements across ontological borders. The second section, ‘Theory as Darsan (Pilgrimage/Path/School)’ suggests that rather than thinking of concepts as anchored entirely to given territories or identities or as tools of ‘generalization’, we might place the word theory in relation to its genealogical kin, theos and theoria/darsan, as the formation of contemplative styles that emerge through forms of recurrent journeying within and across territories, following the tracks of others. As an instance of such journeying, we focus on a particular thinker, Stanley Cavell, whose writing suggests ways of remapping geographies of thought, in ways that could be significant for global thought, across so-called western and non-western territories. How might such journeys be continued? Section 3: ‘A Darsan: the Killing of Birds, Some Centuries Apart’ offers one such journey, three minor coordinates of a world map, located in three poetically enshrined bird killings, in Valmiki’s Ramayana, in Coleridge’s Rime of the Ancient Mariner, and in Richard Power’s The Echo Maker, each of which incants a curse of unsettlement, and a fault line in relation to being human. This article hopes to contribute to debates on decolonization, currently underway in universities across the world, and seeks to offer a possible alternative to static conceptions of west and non-west. (shrink)

Contributed articles on Yogavāsiṣṭharāmāyaṇa, work expounding early Vedantic approach in Hindu philosophy; seminar organized by Maharshi Valmiki Chair, Punjabi University, Patiala.

This descriptive exposition of Hindu ethics in the "Rāmāyaṇa", India's most celebrated people's classic, analyzes the Vālmīki version in terms of four ethical questions about mores, ethos, societal structures, and forms of ethical validation. The epic's life-affirming ethos, together with its moral education and esthetical persuasion through model characters, is viewed as a pluralistic alternative to forms of Hindu ethics more known in the West. The latter are those implied in Hindu non-dualistic philosophies, mysticism, and an ascetical ethos of world-denial. (...) Two appendices are provided: one on the classic's historical impact and related textual matters; another on the role of women in Indian society. (shrink)