Professional Documents
Culture Documents
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COLLECTED WORKS OF
VASISHTHA KAVYAKANTHA GANAPATI MUNI
VOLUME TEN
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JE
PY
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Editor
K. Natesan
Associate Editor
Dr. Sampadananda Mishra
Published by
V. S. Ramanan
President, Board of Trustees
Sri Ramanasramam
Thiruvannamalai
Tamil Nadu - 606603
Researched and Edited by
Kavyakantha Ganapati Muni Project
Guru Nayana and Maharshi: The Call and the Grace Trust
1, 8th cross, Tagore Nagar
Pondicherry - 605008
Copyright
Sri Ramanasramam
Thiruvannamalai
Tamil Nadu - 606603
Printed in India by
All India Press
Kennedy Nagar
Pondicherry - 605001
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CONTENTS
10.1.1.
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1&4
10.1.2.
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5&8
10.1.3.
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10.1.4.
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15&20
10.1.5.
21&23
10.1.6.
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24&30
10.1.7.
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31&34
10.1.8.
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35&43
9&14
10.1.9.
44&51
10.1.10.
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52&59
10.1.11.
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60&66
10.1.12.
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67&70
10.1.13.
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71&75
10.1.14.
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76&82
10.1.15.
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83&85
10.1.16.
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86&90
10.1.17.
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91&94
10.1.18.
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95&97
10.1.19.
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98&104
10.1.20.
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105&108
10.1.21.
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109&113
10.1.22.
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114&119
10.1.23.
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120&122
10.1.24.
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123&127
10.1.25.
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128&133
10.2.1.
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134&137
10.2.2.
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138&141
10.2.3.
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142&147
10.2.4.
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148&155
10.2.5.
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156&157
10.2.6.
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158&164
10.2.7.
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165&169
10.2.8.
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170&173
10.2.9.
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174&175
10.2.10.
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176&182
10.2.11.
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183&186
10.2.12.
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187&195
10.2.13.
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196&200
10.2.14.
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201&204
10.2.15.
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205&210
10.2.16.
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211&215
10.2.17.
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216&217
10.2.18.
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218&226
10.2.19.
227&233
10.2.20.
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234&235
10.2.21.
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236&239
PUBLISHERS NOTE
This volume entitled PurKD, is an imaginary novel written
by Vasistha Ganapati Muni. This presents the story of king
Satyasena of Anga who was defeated by Pradyotana, the king of
Magadha. The supporters of Satyasena secretly form organisations
in order to fight against Pradyotana and help Satyasena getting
back his kingdom. In this mission Purna, the daughter of Satyasenas
sister Manimala, plays an improtant role. Therefore the title has
been aptly given as PurKD. It is a matter of regret that the novel is
incomplete. The available text is diveded into two parts and has
forty-six chapters. Each chapter is given a title which suggests the
subject matter of the chapter. The language, style, presentation,
characterisation of the novel present Muni as a distinguished
novelist of ninteenth century. This novel has one defect, that it is
incomplete. Otherwise from various other standpoint PurKD is a
successful novel.
We trust that the readers of this volume will have a new
taste of Munis genius, and a very different aspect of Munis literary
personality.
We earnestly pray that Sri K. Natesan, who has dedicated
himself to the compilation, editing and publication of all the works
of the Muni, may continue to receive Sri Bhagavans Grace and
Blessings enabling this ardent nonagenarian devotee to successfully complete his cherished project.
Sri Ramanasramam
Tiruvannamalai 2008
V.S. Ramanan
PUBLISHERS NOTE
This volume entitled PurKD, is an imaginary novel written
by Vasistha Ganapati Muni. This presents the story of king
Satyasena of Anga who was defeated by Pradyotana, the king of
Magadha. The supporters of Satyasena secretly form organisations
in order to fight against Pradyotana and help Satyasena getting
back his kingdom. In this mission Purna, the daughter of Satyasenas
sister Manimala, plays an improtant role. Therefore the title has
been aptly given as PurKD. It is a matter of regret that the novel is
incomplete. The available text is diveded into two parts and has
forty-six chapters. Each chapter is given a title which suggests the
subject matter of the chapter. The language, style, presentation,
characterisation of the novel present Muni as a distinguished
novelist of ninteenth century. This novel has one defect, that it is
incomplete. Otherwise from various other standpoint PurKD is a
successful novel.
We trust that the readers of this volume will have a new
taste of Munis genius, and a very different aspect of Munis literary
personality.
We earnestly pray that Sri K. Natesan, who has dedicated
himself to the compilation, editing and publication of all the works
of the Muni, may continue to receive Sri Bhagavans Grace and
Blessings enabling this ardent nonagenarian devotee to successfully complete his cherished project.
Sri Ramanasramam
Tiruvannamalai 2008
V.S. Ramanan
EDITORIAL
*The first verse here is by Ganapati Muni and the remaining three are by
Sri Kapali Sastriar.
ii
writings reflected the depth and vastness echoing Vedic spirituality, encompassing varied topics, like verses of adoration to different deities (in various metres), verses depicting the principles of
existence, aphorisms on a vast array of subjects, prose writings
such as commentaries, on Dyurveda, on astrology and even in the
form of novel. However, most of his writings have not yet been
published. The Muni, a genuine spiritual seeker who attained to
great heights and depths of spiritual realisation and wrote extensively on various topics, was never concerned in the matter of the
preservation and publication of his writings. Those close to the
Muni knew that he would simply hand over many of his writings
to his disciples and would not ask for the same again, and in the
process many were slost. Nevertheless, the writings of the Muni
were an outpouring of his tapas, the souls seeking for the Eternal. Therefore, these are not only of great spiritual value but also
immensely important from a socio-cultural viewpoint, and need to
be preserved for ages to come.
I came to the lotus-feet of Sri Ramana Maharshi in the
year 1922 through my first Sanskrit teacher, Sri Vasudeva Sastry.
I met Ganapati Muni for the first time in 1926. Munis son, Sri
Mahadeva Sastry, was my Sanskrit teacher in the Municipal High
School where I studied. The Muni used to come to the school
and speak to us at length on various topics (under the auspices of
the Sanskrit Association). It was at this time that the Muni initiated me into certain mantras. Out of my simplicity, once I asked
him as to how to master the Sanskrit language. His reply was
immediate, direct and simple. He advised me to read and write all
his works again and again, leaving the rest to the Grace. His
advice became a mantra, which has primarily governed the rest
of my life till date. I started collecting all his works and have been
reading and writing them again and again. Although these efforts
eventually took me over completely, I feel it was really the grace
iv
Sri Ramanasramam
Thiruvannamalai
14.04.2008
K. Natesan
vii
A CKNOWLEDGMENTS
Sri Ramanasramam
Thiruvannamalai
14. 04. 2008
K. Natesan
versed in mantra QDstra, astrology and Dyurveda. With this traditional family background, proficiency in these subjects came
naturally to Ganapati. When he was only 10 years old, he was
able to prepare the pacDOgam (almanac). He finished studying
the classical Sanskrit poems and then devoted himself to the study
of grammar and poetics. At the same time he delved deep into the
writings of Vyasa and Valmiki. Again and again he read the
Mahabharata. His horizon widened and his intellect mellowed with
an ever-deepening perception. Like the ancient Rishis, Ganapati
wanted to experience immense strength and power by the practice of tapasyD through mantra japa and meditation. Although
married at an early age to Srimati Vishalakshi, he started visiting
one sacred place after another for his tapas when he was 18
years old. He used to stay in one place for a few days or even
months. In one such visit to Bhubaneswar (in Orissa, where the
famous Lingaraj temple of Lord Siva is located), during his
tapas, Ganapati had a vision, in which Goddess lalitDmbikD
(bhubaneQvarn) appeared before him, offering divine nectar. As
Ganapati tasted this heavenly nectar, the Goddess watched him
with a sweet smile, full of grace. From then onwards, the sweetness of the nectar became an integral part of him. After this incident, Ganapatis intellect developed a rare sharpness and he attained complete mastery over poetry. Indeed, the literary work
composed after this incident is endowed with a distinct sweetness
and grace.
When Ganapati was staying in Kashi, he came to know
that an assembly of scholars (harisabhD) would be held in the
famous city of Nabadwipa in Bengal. On the advice of his friends
he got a letter of introduction and went to Nabadwipa. There he
excelled in all the difficult tests that he was put to with an effortless
ease that stunned his examiners, who unanimously conferred the
title kDvyakaKFha (one who has poetry in his throat voice of
xiii
However, in his case, with the strength of his own tapasyD and
the Grace of his most compassionate Master, he lived for fourteen
long years (although he had to observe certain physical restrictions, such as that he could not shave his head nor could put his
bare feet on the ground) after this experience. This event speaks
volumes on the extraordinary nature of his tapasyD and the fact
that he was perhaps the greatest Master of tantra born on this
earth. In fact, the final revision of his magnum opus UmDsahasram after this experience, remains, testimony not only to his
supreme mastery over the tantras but also his ability to find the
reconciliation and concordance between the Vedic, Upanishadic
and the Tantric schools of thoughts. The kapDlabheda experience also reconfirms the conviction that he was the direct aWQa
(portion) of the Vedic deity agni (who resides as the power of
kuKoalinn in the mulDdhDra of human beings).
The poet seer Kavyakantha Ganapati Muni met
Sri Aurobindo on 15th August 1928. He stayed at the Sri Aurobindo
Ashram for about a fortnight. During this stay at the Ashram, the
Muni meditated with The Mother a few times. After one such
meditation, The Mother expressed that the Muni was a real yogi
who could plunge into great depths the moment he started meditation and that she had not so far found any person abiding in Her
spiritual consciousness as Ganapati Muni did. Further, at the instance of Sri Kapali and Sri S. Doriswamy Iyer, the Muni translated some portions of Sri Aurobindos The Mother
(mDtrtattvaprakDQikD) in chaste Sanskrit verses with some notes.
On reading the Munis translation, Sri Aurobindo seems to have
very generously observed, It far excels the original. It is also
worth mentioning that the Muni presented to Sri Aurobindo the
last and final version of his UmDsaharam (written in his own handwriting after his experience of kapDlabeheda) with specific notes
on each chapter before his meeting in 1928.
xvi
Of his vast and variety of sutra writings, it would be difficult to single out any one as more meritorious than the others.
DaQamahDvidyDsutram (the ten cosmic powers of the Divine
Mother as described in the tantras) is an outstanding composition, in which the Muni has described the ten cosmic aspects of
the Divine Mother and their significance. Here he has also brought
out the association of these ten cosmic aspects of the Mother
described in the Tantra with the corresponding Vedic deities.
Thereby, not only he has been able to bring forth a link between
the Vedas, Upanishads and Tantras, but also has been successful
in dispelling several wrong conceptions on the significance of these
deities. These compositions reflect Munis great powers of Yogic
perception. The way in which he has expounded the different deities such as kDln, tDrD, sundarn, bhuvaneQvarn, pracaKoacaKon,
etc., and correlates them to the Vedantic concepts has once for all
removed all antagonisms and has bridged the so-called gulf between the Vedantic and Tantric schools of philosophy. RDjayogasDrasutra is a short and concise exposition of the Upanishadic
methods of the inner quest. Caturvyuhasutra is a revelation of
the cosmic divinities wherein he has expounded the four important
emanations of the Vedic deity Indra (DkDQa, kDla, vidyut and
surya). JaiminnyatarkavDrtikam is his own interpretation of the
sutras of Jaimini, where he has advocated that the Vedas are indeed pauruIeyam (of human origin). Further, in this he has given
his own interpretation of the mnmDWsD philosophy, placing it on a
higher pedestal in relation to Vedanta. His QabdapramDKacarcD
also discusses the origin of Vedas. PacajanacarcD and
vivDhadharmasutram are related to social aspects. In the former
one the practice of untouchability is condemned with the authority of QDstras. In the latter he deals with marriage as a sacrament. His other sutra writings also include cikitsDnuQDsanam
(Dyurveda) and gaKaka-kaKFhDbharaKam (astronomy) as well
xix
K. Natesan
xxi
INTRODUCTION TO THE
CONTENTS OF VOLUME TEN
We have seen various types of writngs of Vasishtha Ganapati
Muni in the earlier volumes of his Collected Works. We have seen
his poetical compositions in numerous metrical forms, we have
seen his writings in sutra form, we have seen his commentetorial
writings in prose form. In this volume we see Vasistha Ganapati
Muni as a distinguished novelist. This volume is entitled as PurKD.
This is an imaginary novel in Sanskrit written by Vasistha Ganapati
Muni. It is difficult to say in which year he wrote this novel. But we
can certainly say that in the begining of the ninteenth century when
writing novel in Sanskrit was very unusual, it was Vasishtha Ganapti
Muni who has given us this beautiful novel entitled PurKD. The
word purKD means full, complete, finished, concluded. But
this novel of Vasishtha Ganapati Muni is an incomplete one. The
entire text, as it is available, is divided into two parts. The first part
has twenty-five chapters and is complete. The second part has
twenty-one chapter and is not complete. In the begining of the
novel there are eight introductory verses in which the Muni explains
about the techinque he has followed in writing this novel. At the
very begining he invokes the mystic power of lord Indra to guide
him in writing the novel by providing him illuminating intuition and
charming speech. At the end of these introductory verses the Muni
proclaims that no description here is dry and uninteresting and
irrelevant. A conscious reader can very well appriceate the speech,
style and diction of the Muni. The development of the story through
many chapters is amazing. The novel is crowded with many
characters. One would often get confused with many names. But
the Muni has handled all of them so beautifully that one never gets
confused while reading the novel. Indeed, PurKD is a unique
xxii
considered him as the son her fathers enemy. She wants to take
revenge on Pradyotana and is ready to kill even her huband
Vishvasara, if necessary. So to fulfill her mission she decides to
come close to Vishvasara under the pretention of love. Vishvasara
dissapointed by the refusal of Madhumati, Chandraprabha etc.
turns towards Rajasena who with all love accepts him. But
Vishvasara does not understand that he is being constantly cheated
by the love of Rajasena.
Both in the Anga and Magadha kingdoms, two or three
powerful organisations grow up and these started working secretly
in order to harass and fight against the rude king Pradyotana.
Among these organisations Udayankarasangha is the most
powerful, and people connected with this organisation work
sincerely to bring back Satyasena to rule over Anga and Magadha.
King Pradyotana is very much afraid of this organisation and is
not at peace.
Till the sixth chapter of the first part of the novel we see that
this is how the story was narrated by a wandering lady monk
named Devarakshita to Purna, the daughter of Vishalaksha and
Manimala, the niece of the defeated king Satyasena. From the
seventh chapter of the first part till the end of the available text we
see that the Muni has described the present situation of Magadha
and Anga, the workings of one secret organisation named
Udayankara-sangha, and the active participation of its members
in reestablishing Satyasena in Anga. From this point onwards we
meet new characters, young and old, and new stories connected
with the life of these characters etc. In each chapter herefrom we
see dialogues between two or a few characters where the issue is
either related to the political situation of the country or the workings
of Udayankarasangha or about some matrimonial matter. Each
chapter in this novel has been given a title, and the title itself suggests
the subject of that chapter. For example the chapter titled
xxvi
xxix
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vuqekuHksnk%
109
,doka izdj.ke~
vuqekuHksnk%
110
iw . kkZ
vuqekuHksnk%
111
112
iw . kkZ
vuqekuHksnk%
113
114
iw . kkZ
}koka izdj.ke~
vku; futkRetkre~
vku; futkRetkre~
115
mis{krs jktln% A
HktxxSjkuqqHkks o`kfoksk%
11- vnZ;fr nfUrohjks enZ;fr gk fukEHkq% A
nskelrka fu;Urk ikrq o`i;k l kEHkq% AA
12- v=k foifn izcq)k ;ksfxojekxZfl)k A
jktlnlks fgrkFk dhrZ;fr dfnFkZe~ AA
iz|ksru% & ^^l dksFkZ% \ dhrZ;rq r=kHkorh A k`.kq;kktln% A**
jktdkyh & ^^k`.kq ( HkV~Vkjd ! k`.kq A
13- vku; futkRetkra lal`frHk;su ;kre~ A
khryfxjkS riUra Hkwry;kLdja re~ AA
14- yky;rq loZnska pky;rq uhfrlw=ke~ A
iky;rq /keZek|a dhy;rq fn{kq Hke~ AA
15- iszj;rq loZkhekZj;rq nqtkye~ A
okj;rq cU/kqck/kka dkj;rq jko`f)e~ AA
16- kks/k;rq nskroa cks/k;rq ;ksxekxZe~ A
lk/k;rq nsodk; lk/kqfouqr% l /khj% AA
116
iw . kkZ
vku; futkRetkre~
117
118
iw . kkZ
vku; futkRetkre~
119
120
iw . kkZ
=k;ksoka izdj.ke~
k`kjukVde~
k`kjukVde~
121
122
iw . kkZ
fiz;eU;RLi`g.kh;e~ A**
folkj% & ^^fiz;s ! lw;sZ izHkso folkjs jktlsukizhfr% kkrh A**
jktlsuk & Loxre~ ^^Q.kk/kjs fokfeo folkjs forFka kkre~ A**
izdkke~ ^^mifokrq k;k;kek;Ziq=k% A**
folkj% & ^^Ro;kfi enfUros k;k;keqiosO;e~ A**
mHkkS xRok k;k;keqifokr% A
folkj% & Loxre~ ^^eU;s] b;a Lodh;a euksfuosZna fol`orh A
gseyrk;ksVk minskk% QyoUrksHkwoksrkork dkysu A**
vFk deuh;onuka fiz;ka ckgqH;ka ifjjH; diksys fpjepqEchf}lkj% A
fnu=k;kRiwo ;k nguTokyk lk| rL; kjkfUdkHkwr~ A
xk<ekfy;Ura izl pqEcUra p ra jktlsuk jDrsuso eulk
izR;xzghr~ A deuh;rjekReu% kjhja fuoZua lk iR;s leirorh A
folkjks uq H koR;fuoZ p uh;ekuUna iz s e ifjjEHk.kte~ A
rfLekkfyujlkLokns pqEcukfu rL;ksinakdYikU;Hkwou~ A
jktlsuk rq rL;S LFkwya leI;Z lw{es kfjjs rkskfoekZuUs /kuSjkH;Urja
ks/kkuya Toy;Urh futa drZO;eso fpUr;UR;LFkkr~ A izR;qkuho
LiqjfUr rL;kfks izfrKk{kjkf.kA
fpjkRlekosk%
123
prqoka izdj.ke~
fpjkRlekosk%
124
iw . kkZ
fpjkRlekosk%
125
126
iw . kkZ
fpjkRlekosk%
127
128
iw . kkZ
ioka izdj.ke~
iquo?kVue~
iquo?kVue~
129
130
iw . kkZ
iquo?kVue~
131
132
iw . kkZ
iquo?kVue~
133
134
iw . kkZ
iw.kkZ
f}rh;ks Hkkx%
izFkea izdj.ke~
ohjHkL; js izos k%
ohjHkL; js izosk%
135
136
iw . kkZ
ohjHkL; js izosk%
137
138
iw . kkZ
f}rh;a izdj.ke~
lef/ko`R; lEHkkk.ke~
lef/ko`R; lEHkkk.ke~
139
140
iw . kkZ
lef/ko`R; lEHkkk.ke~
141
lq[kfuke~ A
iz|ksruLrq jktdkyhxeuknuUrjefi efU=kfHkofo/kekyksP;
loZi;z RuS% l};/oaluk; o`rfu;ksUr%iqjexkr~ A fpUrkkUrL;
rL; fukHkwnYik A lkfi nq%Loiorh A mfRFkr% l ,dnk
futejkke.ko`kkUreLekkhZr~ A fo|qfno {k.ka rRikifefr
LiwrjHkwr~ A iqujU/kdkjs.kko`ra eu% A lkezkT;r`.kkcyniZ Hkw;ks
ykspu;ks% iqjksHkorke~ A
142
iw . kkZ
r`rh;a izdj.ke~
xqjkst;
Z UR;qRlolUnsk%
xqjkst;
Z UR;qRlolUnsk%
143
144
iw . kkZ
xqjkst;
Z UR;qRlolUnsk%
145
146
iw . kkZ
xqjkst;
Z UR;qRlolUnsk%
147
148
iw . kkZ
prqFk izdj.ke~
dfoRoijh{kk
dfoRoijh{kk
149
150
iw . kkZ
dfoRoijh{kk
151
152
iw . kkZ
dfoRoijh{kk
153
154
iw . kkZ
dkfUreR;k A**
rnuq ijexq#fizsfjrk pUizHkkodh Dof.krkuqdkfj.kk Jks=k&
jtosu Lojs.kkikfBRLos i|s A rka iBUr fuueskek{khf}lkj% A
6 ^^ij;qofrfoyksy% L;knqHk;HkqoufoHkz% A
vfrpjfru;ks tk;ke;eeyre% fk% AA
7 ^^ijiq#ktqkka h.kkelqjfHkpfjra fuU|e~ A
ifreufrpjUrhuka inljfl#ga oU|e~ AA
JhukFk% & ^^oRls ! Hkkj}kft ! izlkje.kh;Lrs i|cU/k% A Hkkokskr% A**
ikRijexq#fizsfjrk Qfyuh dksfdydkdY;uqdkfj.kk Jo.k&
riZ.ksu Lojs.kkikBhRLos i|s A
8 ^^vU;hkq jr% lqo`ra oakL;So [kyks gjfr A
/kU;ks ekr`onU;o/kw% i;fUofgrjfr AA**
9 vU;k/khueuk yyuk HkrqZ% ln~eHkjks Hkofr A
ikfrozR;orh lqnrh tkrsekSZfyef.kyZlfr AA**
JhukFk% & ^^oRls ! ukx/kfj ! mkeLrs i|cU/k% A euksgjks Hkko%A**
vFk ijexqjksfZ oZjdeZ.k% iq=k izR;xer~ A lk eke;wjosdkuqdkfj.kk
dfoRoijh{kk
155
156
iw . kkZ
iea izdj.ke~
p{kq%izhfr%
p{kq%izhfr%
157
158
iw . kkZ
ka izdj.ke~
k..kka ln%
k..kka ln%
159
160
iw . kkZ
k..kka ln%
161
162
iw . kkZ
fopkjf;rO;e~ A**
iw.kkZ & ^^vga ekssnukuqeksns euksjek;k% l[;k% izHkksjFksZ Qfyuh&
oj.kfene~ A**
jktdkyh & fokkyk{keoyksD; ^^iw.kkZ dLeS fufrk \**
fokkyk{k% & ^^fo.kqkeZ.ks uxjikyk; A**
jktdkyheuksjekQfyU;% lk; k`.ofUr A vuUrja fokkyk{ks.k
lgsrqdekReuks fu.kZ;% leFkr% A r`k jktdkyh A
euksjek & ^^fdeho`rokfUo.kqkekZ \**
fokkyk{k% & ^^iz;% f;rs A vfdfj;R;fpjkfnfr ee <ks
fokl% A**
Qfyuh & ^^mikUrks fok;% lekif;rO;% A l[k euksjeka dLeS
nkrqeqfprka eU;rs Hkxorh \**
jktdkyh & ^^rL;k;ksuq:ik% j.kU/kjekyksD; oRl j.kU/kj !
rskq Roesd% A f}rh;ks j.kohj% A r`rh;ks /kut;% A ,rsoU;rea
o`.kksrq Lo;a euksjek A ;fn j.kohjks foz;rs rg egkdk;Zflf)&
i;ZUra oRl;k dU;;So HkforO;e~ A l fg lEizfr u cU/kqtukeks|&
ojdksVkS A /kut;sf};rs dfri;fnue/; ,o fookgks Hkosr~ A
k..kka ln%
163
j.kU/kjs|FksPNkeLrFkk A**
euksjek & ^^dfukEck ;a eeqfpra eU;rs l ,o e;k foz;rs A**
fokkyk{k% & ^^HkfxuhdkfUreR;fLeksokskjk;.ks oRlk;k% ifj.k;a
fuoZrfZ ;rqa fokskr%A oqrwgyorh ;rsA vrks j.kU/kj/kut;;ks&
jU;rj ,o fu.ksZrO; bfr ee lwpue~ A**
jktdkyh & ^^Hkzkr% ! r;ksHkZoku~ oa eU;rs oRlk;k vuq:ie~ \**
fokkyk{k% & ^^lEink oqyxkSjos.k pkf/kdks /kut;%A /keZfuk;keqHkkS
rqY;kS A brjS% loSZoZjxq.kSjf/kdks j.kU/kj% A v;a Liks fok;%A**
jktdkyh & ^^v=kkgeqfpra eU;s A vu;ksjU;rjks oRlk;k% lEer bfr
dFkf;;kE;ga HkkoL; jk.kk;uL;kxzs A l ,o fu/kkZj;RoU;rje~ A**
fokkyk{k% & ^^;q% dYi% A**
iw.kkZ & ^^;Rl[;k euksje;k lwfpra rnI;=k lnfl fu/kkZjf;rO;e~ A
lk fg izHkksxZtohjL;kFksZ Qfyu oj;rs A**
jktdkyh & ^^vga leFkZ;kfe r}j.ke~ A**
iw.kkZ & ^^e;k izkxso leFkre~ A**
164
iw . kkZ
eq[kkeqf[k
165
lea izdj.ke~
eq[kkeqf[k
166
iw . kkZ
eq[kkeqf[k
167
168
iw . kkZ
eq[kkeqf[k
169
170
iw . kkZ
vea izdj.ke~
euksjekifj.k;%
euksjekifj.k;%
171
172
iw . kkZ
pUizHkkk &
19- ^^gkfjoD=kokfjtk;S lfw jekSfy/kkfjrk;S A
vuktukprk;S eya euksjek;S AA
Qfyuh &
20- ^^lk/kqkhyef.Mrk;S loZkkif.Mrk;S A
lRlHkkLo[kf.Mrk;S eya euksjek;S AA
vuUrja pr eyuhjktua izTokY; prqnka uhjktuik=ka
/k`Rok jktdkyheq[ka vk{kq% A rklka sjkk;a KkRok jktdkyh &
^^eya uhjktuxkus i|eqkeesdesokye~ A r=k i`FkDi`FkxsoSd;k
ikn ,oSdks oO;% A** bR;kfn{kr~ &
e/kqerh &
21- ohj/kut;thforl[;S
iw.kkZ &
kkSfjo/kwiBuky;eq[;S A
pUizHkk &
fpkylo;s foeyk;S
Qfyuh &
LofLregkdo;s efgyk;S AA
euksjekifj.k;%
173
170
iw . kkZ
vea izdj.ke~
euksjekifj.k;%
euksjekifj.k;%
171
172
iw . kkZ
pUizHkkk &
19- ^^gkfjoD=kokfjtk;S lfw jekSfy/kkfjrk;S A
vuktukprk;S eya euksjek;S AA
Qfyuh &
20- ^^lk/kqkhyef.Mrk;S loZkkif.Mrk;S A
lRlHkkLo[kf.Mrk;S eya euksjek;S AA
vuUrja pr eyuhjktua izTokY; prqnka uhjktuik=ka
/k`Rok jktdkyheq[ka vk{kq% A rklka sjkk;a KkRok jktdkyh &
^^eya uhjktuxkus i|eqkeesdesokye~ A r=k i`FkDi`FkxsoSd;k
ikn ,oSdks oO;% A** bR;kfn{kr~ &
e/kqerh &
21- ohj/kut;thforl[;S
iw.kkZ &
kkSfjo/kwiBuky;eq[;S A
pUizHkk &
fpkylo;s foeyk;S
Qfyuh &
LofLregkdo;s efgyk;S AA
euksjekifj.k;%
173
174
iw . kkZ
uoea izdj.ke~
izFkea lUnkZue~
izFkea lUnkZue~
175
174
iw . kkZ
uoea izdj.ke~
izFkea lUnkZue~
izFkea lUnkZue~
175
176
iw . kkZ
nkea izdj.ke~
b;a lk kh
b;a lk kh
177
178
iw . kkZ
b;a lk kh
179
180
iw . kkZ
b;a lk kh
181
182
iw . kkZ
fukEHkks% izFkenqxi
Z rue~
183
,dknka izdj.ke~
fukEHkks% izFkenqxi
Z rue~
184
iw . kkZ
fukEHkks% izFkenqxi
Z rue~
185
186
iw . kkZ
fo.kks% ld#.kLokFkZR;kxoS[kjh
187
}knka izdj.ke~
fo.kks% ld#.kLokFkZR;kxoS[kjh
188
iw . kkZ
fo.kks% ld#.kLokFkZR;kxoS[kjh
189
190
iw . kkZ
fo.kks% ld#.kLokFkZR;kxoS[kjh
191
192
iw . kkZ
fo.kks% ld#.kLokFkZR;kxoS[kjh
193
194
iw . kkZ
fo.kks% ld#.kLokFkZR;kxoS[kjh
195
196
iw . kkZ
=k;ksnka izdj.ke~
/kekZlufu.kZ;%
/kekZlufu.kZ;%
197
rRdkyful`kFkZifz rfuf/kjU;kk% A
^^vFk fo.kksu.kZ;%**
^^fukEHkquk ijUriluk;osu lkeUr#fpjkk; fyf[kra izFkea
ys[ka ;fn ijh{kkegs rsu }kS fok;kS LikS Hkor% A lkeUr%
ijUrilksiuk;osoU;re% ijUrilL; y{;a p ex/klkezkT;s
lfefrt;L;Sdnqfgrq% lw;ZizHkk;k% iqu% lgklus laLFkkiufefr A
fukEHkquSo lkeUrk; fyf[kra f}rh;a ys[ka ;fn ijh{kkegs rsu }kS
LikS Hkosrka fok;kS ijUrikuka /kua y{k};lqo.kZfera lkeUrL;
x`gs U;klho`ra rk lkezkT;s ukukfnXH;% lEikfnrfefr A rsuSo
lkeUrk; fyf[kra r`rh;a i=ka eq[;esoa fok;a Lihdjksfr A rsu
lkeUr vkKkI;rs ;koPND;a lEikx`gfoyq.Busu Hkwfj /kua
lEiknf;rO;fefr A rL;So prqFk foiofl)sjuUrja rqH;a dkfknskks
nh;r bfr lkeUra izyksHk;fr A lkeUrL; x`gs fefyra iqLrdesoa
lkeUrL; gLrs fLFkrkuka ijUrillH;kuka LogLrlukFkka
dkfRifV~Vdka cks/k;fr A
fefyrkfu loZf.k i=kk.;fyikS orZUrs A vfyfiKks jkf;%
lR;jFkLrkfu lE;o~ ifBrokfufr o;a r`k% Le% A vijkf/kuka
izfrfuf/k lk ukfyfifjfr ok jkf;% lE; u ifBrokfufr ok
fu:if;rqa ukkdr~ A
brjSyf[krkfu i=kk.khrjkuijkf/kRosu LFkkif;rqa u izHkoUrhfr
JhekUHkkxZo% djksfr okne~ A r;k;lw=ka o;eI;hoqeZ% rFkkfi
198
iw . kkZ
/kekZlufu.kZ;%
199
200
iw . kkZ
vYij.kksigkj%
201
prqnZka izdj.ke~
vYij.kksigkj%
202
iw . kkZ
vYij.kksigkj%
203
204
iw . kkZ
nk;foHkkx%
205
inka izdj.ke~
nk;foHkkx%
206
iw . kkZ
nk;foHkkx%
207
208
iw . kkZ
nk;foHkkx%
209
210
iw . kkZ
xf.kdkize
s ifj.kke%
211
kksMka izdj.ke~
xf.kdkize
s ifj.kke%
212
iw . kkZ
xf.kdkize
s ifj.kke%
213
214
iw . kkZ
xf.kdkize
s ifj.kke%
215
216
iw . kkZ
lnka izdj.ke~
lqdeZ.k% izfrKk{kjkf.k
lqdeZ.k% izfrKk{kjkf.k
217
218
iw . kkZ
vknka izdj.ke~
ohjlgL;ksPN;%
ohjlgL;ksPN;%
219
220
iw . kkZ
pysRlE;DNklu;U=ke~ A**
Hkz k ej lekklf;rq e kyks p ua ohjlgs u lg drq ukfLr
folkjL;kssk% A lEizfr l dnkfpnkReHkfxuhfgrk; Hkzkejh&
lEcU/ka nwjhdrq ;fn iz;rsr rg da L;kfnfr jktiq=kL;
rkRdkfydh f% ^^izFkea rLeS Hkzkejh lEcU/kdFkkdFkueso
LoL;kijk/k% A jkKka cgqihdRoa Hkwk.kfefr rL;ksiU;klkfUoL;
Lo;a dfFkroku~ A br% ija Hkzkejh lEc)a ;fRdfnfi ohjlgk;
u dFkf;rO;e~ A** bfr rL;kLrkRdkfydsjuqcU/kks fu;% A
rLekRizlkUrjk; xPNUiqujkg & ^^l[ks ekSY; ! vLRoskk dFkk A
izFkea fopkjf;rO;ks fokk[kL; fok;% A dFkeiz;kstua rnUosk.ke~ A**
ohjlg% & ^^ee fi=kk dfFkre~ A l e`r bfr lE;xifjkks/; ee
firk u fdfRdFk;sr~ A**
folkj% & ^^dnk dfFkrokaLrs firk \**
ohjlg% & ^^;nk /kut;L; fookgs o/kwojkokfkkkfHkufUnrqekxr%
rnk eedFk;r~ A**
folkj% & ^^dFka Kkrfena ro firk \**
ohjlg% & ^^lEizfr ee firk fgekpya xRoSo izR;kxr% A**
folkj% & ^^rL; fgekpyxeus dks gsrq% \**
ohjlgL;ksPN;%
221
222
iw . kkZ
ohjlgL;ksPN;%
223
224
iw . kkZ
ohjlgL;ksPN;%
225
226
iw . kkZ
227
,dksuoka izdj.ke~
228
iw . kkZ
27-
229
fu#iekksHkk kfkonus;e~ A
xq.kkreL;k% dfotuxs;e~ AA
230
iw . kkZ
231
232
iw . kkZ
233
234
iw . kkZ
oka izdj.ke~
HkokeZ.kfklaLdkj%
HkokeZ.kfklaLdkj%
235
236
iw . kkZ
,doka izdj.ke~
iqujoyksdue~
iqujoyksdue~
237
238
iw . kkZ
iqujoyksdue~
239
j.kU/kj% & ^^k`.kksrq eka fiz;l[k% A iw.kkZ;k% loksZ Hkkjks ef; fufgrks
ekrqysu A rka pkga fiz;l[kk; nok o`ro`R;ks HkforqfePNkfe A
rL;k% ifj.k;kRiwoZega nkjxzg.ka drq uksRlgs A rLekRl[;q%
izfropunkuk;k;eizk% dky% A**
j.kU/kjL; opuekd.;Z fu#RlkgksHkwf}.kq% A rnSo iw.kk ifj.ksrqa
Lo;ek% A vkReuk fg izfrKkra ijUrileuqUewY; nkjxzg.ka
u oq;kZfefr A rkoUra dkya pUizHkka dU;keso LFkkif;rqa ukfLr
LoL; kffja ok A vFkkg l eUnsu Lojs.k&^^ijUrileuqUewY;
nkjxzg.ka u oq;kZfefr ee izfrKk A ;|fi dk;i izfrxzghrqa ee
Hkw;kaRlUrkskLrFkkfi izfrKkfojks/ksu fdefi drq uksRlgs A rkoUra
dkya iw.kk dU;keso LFkki;rsfr oDrqa ee ukLR;f/kdkj% A u
pkfLr lEefr% A ,rkoUe;k oDrqa kD;rs A mifLFkrs ee nkjxzg.k&
dkys ;fn dU;So iw.kkZ ;fn fnRlfUr p HkoUrLrg Hkonh; ,o
Hkos;e~ A Hkw;% lPNksrqfePNkfe fiz;l[kL;kk;e~ A**
j.kU/kj% & Loxre~ ^^ijUrilesoksnkgjfr uksn;ja le~ A
bnesoa qkHke~ A vga ;|LeRle;s <fLrs;a fo.kks% iw.kkZ;ka
dnkfp}kSjL;a tk;sr A rnfue~ ! rLeknsoefHk/kkL;s A** izdkke~
^^l[ks ! ;fn Hkoku~ okD;a n|kfktizfrKkfuoZg.kknuUrja iw.kk
ifjx`h;kfefr A rg Hkor% lwpua fkjlk x`h;ke~ A Hkork fu.khZrs
dkys Hkonh;euqtkekgksfLon~ Hkork iznkrkeU;ka usea------ A
vlekIre~