Hindu Texts

"Sauti then said, ‘I bow to the Primordial Being, Isana, to whom the people all make offerings, whom the multitude adores. He is the true and immortal One – Brahman, manifest, unmanifest and eternal. He both exists and appears not to. He is the Universe and also distinct from the Universe, the creator of all things, high and low, the ancient, exalted, inexhaustible One. He is Vishnu, benign and benignity personified, worthy of all worship, pure, perfect. He is Hari, sovereign of the faculties, the mover of all things, mobile and motionless."

"Tell me, greatest of Dvijas, what would you hear from me? Shall I recount the sacred tales of the Puranas, which tell of dharma and artha, or shall I tell you about the deeds of enlightened Rishis and of the kings of men?’ The Rishis replied, ‘The Purana that was first propounded by the great Dwaipayana. When both the Devas and the Brahmarishis had heard it, they said it was the foremost of all Itihasas, histories. It varies in both diction and divisions, has intricate and subtle meanings, logically combined and gleaned from the Vedas, and it is a most holy work. It is composed in elegant language and includes the subjects of every other book. Other Shastras elucidate this Purana, and it reflects the inmost meaning of the four Vedas. We want to listen to that Itihasa, which is also called the Bharata, the magnificent Vyasa’s holy masterwork, which dispels the fear of evil. We would hear it exactly as the Rishi Vaisampayana told it, joyously, under the direction of Dwaipayana himself, at the sarpa yagna, the snake-sacrifice of Raja Janamejaya.’"

"Sauti said, ‘I heard the diverse, sacred and marvellous tales, which Krishna Dwaipayana composed in his Mahabharata, and which Vaisampayana narrated at the sarpa yagna of the noble Rajarishi Janamejaya, the son of Parikshit, foremost among Kshatriyas. Later, I ranged the Earth, visiting many tirthas and other shrines. I journeyed to Samantapanchaka, revered by the Dvijas, where the sons of Kuru and those of Pandu fought their Great War, with all the Kshatriyas of the land fighting for one side or the other. From there, being eager to meet you, I have come into your presence. Worshipful Sages, you are all like Brahman to me. Most blessed ones, you shine in this yagnashala with the splendour of the Sun. You have finished your dhyana and have fed the holy fire."

"It is precisely due to the lack of the knowledge of cultural subtleties on the part of the mere textual scholars…that their analyses sound worthless and useless to us. A profound literature like the Mahābhārata must essentially be understood by being firmly grounded in the Sanātana-dharma of Bhārata."

"In the Mahabharata, the ceremony for the oath of a new king includes the admonition: 'Be like a garland-maker, O king, and not like a charcoal burner.' The garland symbolizes social coherence; it is a metaphor for dharmic diversity in which flowers of many colors and forms are strung harmoniously for the most pleasing effect. In contrast, the charcoal burner is a metaphor for the brute-force reduction of diversity into homogeneity, where diverse living substances are transformed into uniformly lifeless ashes."

"A Hindu scholar has rated the Mahabharata as “the greatest work of imagination that Asia has produced”; and Sir Charles Eliot has called it “a greater poem than the Iliad”. ... Upon this theme of love and battle a thousand interpolations have been hung. The god Krishna interrupts the slaughter for a canto to discourse on the nobility of war and Krishna; the dying Bhishma postpones his death to expound the laws of caste, bequest, marriage, gifts and funeral rites, to explain the philosophy of the Sankhya and the Upanishads, to narrate a mass of legends, traditions and myths, and to lecture Yudishthira at great length on the duties of a king; dusty stretches of genealogy and geography, of theology and metaphysics, separate the oases of drama and action; fables and fairy-tales, love-stories and lives of the saints contribute to give the Mahabharata a formlessness worse, and a body of thought richer, than can be found in either the Iliad or the Odyssey."

"dharmādarthaśca kāmaśca sa kimarthaṁ na sēvyatē"

"धर्मादर्थश्च कामश्च स किमर्थं न सेव्यते"

"There is no shelter (protection against the sun) like the mother. There is no refuge like the mother. There is no defense like the mother. There is no one so dear as the mother. p. 248"

"Twice blessed be the man that reflects long before he acts. One that reflects long before he acts is certainly possessed of great intelligence. Such a man never offends in respect of any act. p. 248"

"That person who gives unto all creatures the assurance of harmlessness obtains the merit of all sacrifices and at last wins fearlessness for himself as his reward. There is no duty superior to the duty of abstention from injuring other creatures. He of whom, O great ascetic, no creature is frightened in the least, obtains for himself fearlessness of all creatures. He of whom everybody is frightened as one is of a snake ensconced within one's (sleeping) chamber, never acquires any merit in this world or in the next. p. 236"

"Whatever fruits one enjoys by penances, by sacrifices, by practising liberality, by speaking the truth, and by paying court to wisdom, may all be had by practising the duty of harmlessness. p. 236"

"This practice of universal harmlessness hath arisen even thus. One may follow it by every means in one's power... It is sure to lead also to prosperity and heaven. In consequence of their ability to dispel the fears of others, men possessed of wealth and followers are regarded as foremost by the learned. They that are for ordinary happiness practise this duty of universal harmlessness for the sake of fame; while they that are truly skilled, practise the same for the sake of attaining to Brahma. p. 236"

"Tuladhara said, 'O Jajali, I know morality, which is eternal, with all its mysteries. It is nothing else than that ancient morality which is known to all, and which consists of universal friendliness, and is fraught with beneficence to all creatures. That mode of living which is founded upon a total harmlessness towards all creatures or (in case of actual necessity) upon a minimum of such harm, is the highest morality. p. 234"

"Threefold is this way to hell, ruinous to the self, lust, anger, and likewise [[Greed|avarice]]; therefore one should abandon this triad. Released from these three ways to darkness, O son of Kuntî! a man works out his own welfare, and then proceeds to the highest goal."

"Honoured (only) by themselves, void of humility, and full of the pride and frenzy of wealth, these calumniators (of the virtuous) perform sacrifices, which are sacrifices only in name, with ostentatiousness and against prescribed rules; indulging (their) vanity, brute force, arrogance, lust, and anger; and hating me in their own bodies and in those of others. These enemies, ferocious, meanest of men, and unholy, I continually hurl down, to these worlds, only into demoniac wombs. Coming into demoniac wombs, deluded in every birth, they go down to the vilest state, O son of Kuntî! without ever coming to me."

"Entertaining insatiable desire, full of vanity, ostentatiousness, and frenzy, they adopt false notions through delusion, and engage in unholy observances. Indulging in boundless thoughts ending with death, given up to the enjoyment of objects of desire, being resolved that that is all, bound down by nets of hopes in hundreds, given up to anger and desire, they wish to obtain heaps of wealth unfairly for enjoying objects of desire. p. 116"

"Freedom from fear, purity of heart, perseverance in (pursuit of) knowledge and abstraction of mind, gifts, self-restraint, and sacrifice, study of the Vedas, penance, straightforwardness, harmlessness, truth, freedom from anger, renunciation, tranquillity, freedom from the habit of backbiting, compassion for (all) beings, freedom from avarice, gentleness, modesty, absence of vain activity, noblemindedness, forgiveness, courage, purity, freedom from a desire to injure others, absence of vanity, (these), O descendant of Bharata! are his who is born to godlike endowments. Ostentatiousness, pride, vanity, anger, and also harshness and ignorance (are) his, O son of Prithâ! who is born to demoniac endowments. Godlike endowments are deemed to be (means) for final emancipation, demoniac for bondage. p. 115"

"सृगालोऽपि वने कर्ण शशैः परिवृतो वसन् । मन्यते सिंहमात्मानं यावत्सिंहन पश्यति ॥"

"यथा च स्वगृहस्थः श्वा व्याघ्रं वनगतं भषेत् । तथा त्वं भषसे कर्ण नरव्याघ्रं धनंजयम् ॥"

"The Kama Sutra is neither exclusively a sex manual nor, as also commonly believed, a sacred or religious work. It is certainly not a tantric text. In opening with a discussion of the three aims of ancient Hindu life – dharma, artha and kama – Vatsyayana's purpose is to set kama, or enjoyment of the senses, in context. Thus dharma or virtuous living is the highest aim, artha, the amassing of wealth is next, and kama is the least of three."

"In our culture there is no seduction. Our marriages are arranged. There is no art of sex. Some of the boys here talk to me of the Kama Sutra. Nobody talked about that at home. It was an upper-caste text, but I don’t believe my poor father, Brahmin though he is, ever looked at a copy. That philosophical-practical way of dealing with sex belongs to our past, and that world was ravaged and destroyed by the Muslims."

"Various taxonomies of season, landscape, times, gunas or qualities (and their material bases), tastes, characters, emotions, essences (rasas), etc., are basic to the thought-work of Hindu medicine and poetry, cooking and religion, erotics and magic… Even the Kama-Sutra is literally a grammar of love, which declines and conjugates men and women as one would nouns and verbs in different genders, voices, moods and aspects. Genders are genres. Different body-types and character-types obey different rules, respond to different scents and beckonings."

"The Kama Sutra was composed, according to the precepts of Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student, and wholly engaged in the contemplation of the Deity."

"Women are hardly ever known in their true light, though they may love men, or become indifferent toward them; may give them delight, or abandon them; or may extract from them all the wealth that they may possess."

"The extent of the love of women is not known, even to those who are the objects of their affection, on account of its subtlety."

"A man may resort to the wife of another, for the purpose of saving his own life, when he perceives that his love for her proceeds from one degree of intensity to another. These degrees are ten in number, and are distinguished by the following marks: 1. Love of the eye 2. Attachment of the eye 3. Constant reflection 4. Destruction of sleep 5. Emaciation of the body 6. Turning away from objects of enjoyment 7. Removal of shame 8. Madness 9. Fainting 10. Death"

"A man who is of a low mind, who has fallen from his social position, and who is much given to traveling, does not deserve to be married; neither does one who has many wives and children, or one who is devoted to sport and gambling, and who comes to his wife only when he likes."

"A girl who is called by the name of one of the twenty-seven stars, or by the name of a tree, or of a river, is considered worthless, as also a girl whose name ends in "r" or "l". But some authors say that prosperity is gained only by marrying that girl to whom one becomes attached and that therefore no other girl but the one who is loved should be married by anyone."

"A man should fix his affections upon a girl who is of good family, whose parents are alive, and who is three years or more younger than himself. She should be born of a highly respectable family, possessed of wealth, well connected, and with many relations and friends. She should also be beautiful, of a good disposition, with lucky marks on her body, and with good hair, nails, teeth, ears, eyes and breasts, neither more nor less than they ought to be, and no one of them entirely wanting, and not troubled with a sickly body. The man should, of course, also possess these qualities himself."

"If variety is sought in all the arts and amusements, such as archery and others, how much more should it be sought after in the art of love."

"Man, the period of whose life is one hundred years, should practise Dharma, Artha, and Kama at different times and in such a manner that they may harmonize, and not clash in any way. He should acquire learning in his childhood; in his youth and middle age he should attend to Artha and Kama, and in his old age he should perform Dharma, and thus seek to gain Moksha, that is, release from further transmigration."

"Your ancient home, your auspicious friendship, O Heroes, your wealth is on the banks of the Jahnavi."

"May we not anger you, O God, in our worship By praise that is unworthy or by scanty tribute."

"The wise speak of what is One in many ways."

"Of the Vedic poetic art Watkins writes: “The language of India from its earliest documentation in the Rigveda has raised the art of the phonetic figure to what many would consider its highest form”."

"All attempts to date the Vedic literature on linguistic grounds have failed miserably for the simple reason that (a) the conclusions of comparative philology are often speculative and (b) no one has yet suceeded in showing how much change should take place in a language in a given period."

"There is nothing in any of the 1,028 poems that make up the collection to suggest that their authors were incomers to the area that they describe in their poems. Rather the opposite."

"If we can dig beneath the assumptions about meaning that overlay the text... we shall uncover a very different Rigveda from the one that we have come to accept."

"There was nothing in the Rgveda to look for a primitive or primarily nomadic society [sic]. . . . Chariots and wagons and boats which occur so frequently in the Rgveda do not agree well with nomadism. Movement of cars presupposes existence of roads and defined routes, which in turn presuppose settlements and regular traffic from point to point. Boats and ships are not floating logs. They presuppose ferry ghats and fixed destinations. . . , there was much in the Rgveda that defied explanation. . . . But instead of reconciling the discordant features, scholars either ignored them or distorted the facts and features. (Singh 1995, 8)"

"That age [of the Rigveda] is not known with even an approximate degree of certainty."

"These dates Mueller later insisted were minimum dates only, , and latterly there has been a sort of tacit agreement.... to date the composition of the Rigveda somewhere about 1400-1500 BC, but without any absolutely conclusive evidence."

"The translation of the Veda will hereafter tell to a great extent on the fate of India and on the growth of millions of souls in that country. It is the root of their religion, and to show them what the root is, I feel sure, is the only way of uprooting all that has sprung from it during the last 3000 years."

"It is quite clear that we cannot fix a terminum a quo, whether the Vedic hymns were composed 1000 or 2000 or 3000 years BC, no power on earth will ever determine"

"I need hardly say that I agree with almost every word of my critics. I have repeatedly dwelt on the entirely hypothetical character of the dates I ventured to assign to the first three periods of Vedic literature. All I have claimed for them has been that they are minimum dates"

"Max Müller, Weber, Muir, and others held that the Punjab was the main scene of the activity of the Rgveda, whereas the more recent view put forth by Hopkins and Keith is that it was composed in the country round the SarasvatI river south of modem AmbAla.”"

"[The Vedic Gods] “are nearer to the physical phenomena which they represent, than the gods of any other Indo-European mythology”."

"The Rigveda “reflects not so much a wandering life…. as a life stable and fixed, a life of halls and cities, and shows sacrificial cases in such detail as to lead one to suppose that the hymnists were not on the tramp, but were comfortable well-fed priests” [...] If the first home of the Aryans can be determined at all by the conditions topographical and meteorological, described in their early hymns, then decidedly the Punjab was not that home. For here there are neither mountains nor monsoon storms to burst, yet storm and mountain belong to the very marrow of the Rigveda. ...[it is] ―a district [...] where monsoon storms and mountain scenery are found, that district, namely, which lies South of Umballa (or Ambālā). It is here, in my opinion, that the Rigveda, taken as a whole, was composed. In every particular, this locality fulfils the physical conditions under which the composition of the hymns was possible, and what is of paramount importance, is the first district east of the Indus that does so."

"“As in its original language, we see the roots and shoots of the languages of Greek and Latin, of Celt, Teuton and Slavonian, so the deities, the myths and the religious beliefs and practices of the Veda throw a flood of light upon the religions of all European countries before the introduction of Christianity. As the science of comparative philology could hardly have existed without the study of Sanskrit, so the comparative history of the religions of the world would have been impossible without the study of the Veda.”"

"Goldstücker ([I860] 1965) objected that "neither is there a single reason to account for his allotting 200 years to the first of his periods, nor for his doubling this amount of time in the case of the Sutra period" (80). He points out that, ultimately, "the whole foundation of Muller's date rests on the authority of Somadeva . . . [who] narrated his tales in the twelfth century after Christ [and] would not be a little surprised to learn that 'a European point of view" raises a 'ghost story' of his to the dignity of an historical document" (91)."