THIS POST IS CONTINUED FROM PART 109, BELOW--
SOMEONE CALLED ME UP AND CRIED..
CAPTAIN, WHY IS THAT WE KNOW ABOUT VISHNUs GATEKEEPER JAYA IN THE ROLE OF HIRANYAKASHIPU ( KILLED BY VISHNU AVATAR NARASIMHA ) AND RAVANA ( KILLED BY VISHNU AVATAR RAMA ) – BUT NEVER SISHUPALA ( KILLED BY VISHNU AVATAR KRISHNA )?
CHAKKAR KYA HAI.
GERMAN JEW ROTHSCHILD DELETED THE PURANA STORY OF SISHUPALA AS HE DID NOT WANT RUKMINI TO BE ASSOCIATED HER KULDEVI MALINITHAN TEMPLE IN ARUNACHAL PRADESH..
https://ajitvadakayil.blogspot.com/2019/12/ilp-cab-nrc-why-china-wants-arunachal.html
KRISHNA AFTER MARRYING RUKMINI VISITED THIS TEMPLE FOR BLESSINGS OF SHAKTI ( SHIVAs WIFE )..
MALINITHAN TEMPLE ( DURGA ) IN ARUNACHAL PRADESH IS 6000 YEARS OLD, NOT 800 AS PER WIKIPEDIA PROPAGANDA ..
http://ajitvadakayil.blogspot.com/2013/09/shishupala-and-dantavakra-third-re.html
KERALA KING SISHUPALA’S MOTHER WAS THE SISTER OF KRISHNA’S FATHER VASUDEV FROM GURUVAYUR KERALA.
http://ajitvadakayil.blogspot.com/2019/06/guruvayur-temple-idol-carved-out-of.html
MAYA DANAVA ESCAPED TO PATALA ( PERU ) IN HIS VIMANA FEARING KRISHNA.. KRISHNA CAUSED THE ESCAPE TO HAPPEN TO SET UP A FOREIGN CIVILIZATION OF MAYANS 6000 YEARS AGO ..
https://ajitvadakayil.blogspot.com/2019/08/6000-year-old-mayan-and-aztec.html
MAYA DANAVAs DAUGHTER MANDODARI MARRIED RAVANA.. KRISHNA CAUSED THE ESCAPE TO HAPPEN TO SET UP A CILILIZATION OF MAYANS
http://ajitvadakayil.blogspot.com/2013/09/king-ravana-of-ramayana-hero-or-villian.html
KRISHNA CAUSED THE BANISHING OF KERALA KING MAHABALI TO PATALA ( PERU ) WHERE HIS FATHER KING VIROCHANA WAS TREATED AS GOD.
https://ajitvadakayil.blogspot.com/2019/07/secrets-of-12000-year-old-machu-picchu.html
KRISHNAs BEAUTIFUL WIFE JAMBAVATI WAS THE DAUGHTER OF JAMBAVAN, THE KING OF THE BEAR KINGDOM ( KERALA )..
SYAMANTHAKA MANI ( KOHINIOOR DIAMOND ) WAS GIVEN TO KRISHNA AS DOWRY WHEN HE MARRIED JAMBAVANs DAUGHTER
IN KERALA WHEN OUR PURANA STORY TELLING GRANDMOTHERs UTTERED “JAMBAVAN KALAM” MEANS – LONG AGO IN THE ANCIENT TIME OF JAMBAVAN.
JAMBAVANs ANCESTOR WITNESSED VISHNU AVATAR VAMANA BANISHING KERALA KING MAHABALI TO PATALA ..
JAMBAVANs ANCESTOR WAS ONE OF THE 54 DANAVAs AT SAMUDRA MANTHAN ALONG WITH MAHABALIs ( DANAVA BLOODLINE HIRANAYA KASHIPUs / / VIROCHANAs / KALANEMIs ) ANCESTOR AND KING SWARBANUs ( HIRANYAKSHA ) ANCESTOR ..
http://ajitvadakayil.blogspot.com/2019/09/onam-our-only-link-to-planets-oldest.html
MAHABALIs SON KALANEMI BUILT THE 12,000 YEAR OLD BENT PYRAMID OF EGYPT.
https://ajitvadakayil.blogspot.com/2019/07/secrets-of-bent-pyramid-at-dahsur-egypt_28.html
HIRANYAKSHAs ( KILLED BY VISHNU AVATAR VARAHA ) ANCESTOR SWARBANU WAS ONE OF THE 54 DANAVAs AT SAMUDRA MANTHA. HIS HEAD WAS CUT OFF BY VISHNU AVATAR KURMA , THE HEAD BECOMING RAHU AND BODY BECOMING KETU.
SWARMANUs ( SENIOR) DESCENDANT KERALA KING SWARBANU (JUNIOR ) BUIILT THE 12,000 YER OLD SUDAN PYRAMIDS AND THE 12,000 YEAR OLD BAALBEK SHIVA TEMPLE ( MUTHAPPAN ) AT LEBANON .
https://ajitvadakayil.blogspot.com/2019/08/secrets-of-12000-year-old-baalbek.html
RAMAYANA AND MAHABHARATA HAD COMMON PEOPLE
http://ajitvadakayil.blogspot.com/2012/08/common-characters-of-ramayana-and.html
ROTHSCHILD THOUGHT THAT HE DELETED DANAVA CIVILIZATION HISTORY ..
BUT HE COULD NOT SINK THE KATHAKALI LORE—THIS PLANETs FIRST DANCE AND SONG FORM—WHICH ENACTED THE GLORIES OF DANAVA KINGS OF KERALA SWARBANU ( SENIOR) / SWARBANU ( JUNIOR) / KING HIRANYAKASHIPU / PRINCESS HOLIKA, SISTER OF HIRANYAKASHIPU / KING VIROCHANA/ KING MAKABALI/ KING KALANEMI..
http://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and.html
THE WOMAN YOU SEE WITH A CAPE IN SOME KATHAKALI STORIES ARE HOLIKA WITH HER MAGIC CAPE. WE DON’T CELEBRATE HOLI IN KERALA , AS WE CONSIDER HOLIKA AS A HEROINE.
WE DON’T CELEBRATE DIWALI IN KERALA AS WE CARE FOR OUR ANCIENT KING MAHABALI.. AMIT SHAH TRIED TO CHANGE THE NAME OF ONAM TO VAMANA JAYANTI AND HIS BALLS GOT BURNT.
http://ajitvadakayil.blogspot.com/2011/09/why-kerala-does-not-celebrate-diwali-or.html
CONTINUED TO 2-
CAPTAIN, WHY IS THAT WE KNOW ABOUT VISHNUs GATEKEEPER JAYA IN THE ROLE OF HIRANYAKASHIPU ( KILLED BY VISHNU AVATAR NARASIMHA ) AND RAVANA ( KILLED BY VISHNU AVATAR RAMA ) – BUT NEVER SISHUPALA ( KILLED BY VISHNU AVATAR KRISHNA )?
CHAKKAR KYA HAI.
GERMAN JEW ROTHSCHILD DELETED THE PURANA STORY OF SISHUPALA AS HE DID NOT WANT RUKMINI TO BE ASSOCIATED HER KULDEVI MALINITHAN TEMPLE IN ARUNACHAL PRADESH..
https://ajitvadakayil.blogspot.com/2019/12/ilp-cab-nrc-why-china-wants-arunachal.html
KRISHNA AFTER MARRYING RUKMINI VISITED THIS TEMPLE FOR BLESSINGS OF SHAKTI ( SHIVAs WIFE )..
MALINITHAN TEMPLE ( DURGA ) IN ARUNACHAL PRADESH IS 6000 YEARS OLD, NOT 800 AS PER WIKIPEDIA PROPAGANDA ..
http://ajitvadakayil.blogspot.com/2013/09/shishupala-and-dantavakra-third-re.html
KERALA KING SISHUPALA’S MOTHER WAS THE SISTER OF KRISHNA’S FATHER VASUDEV FROM GURUVAYUR KERALA.
http://ajitvadakayil.blogspot.com/2019/06/guruvayur-temple-idol-carved-out-of.html
MAYA DANAVA ESCAPED TO PATALA ( PERU ) IN HIS VIMANA FEARING KRISHNA.. KRISHNA CAUSED THE ESCAPE TO HAPPEN TO SET UP A FOREIGN CIVILIZATION OF MAYANS 6000 YEARS AGO ..
https://ajitvadakayil.blogspot.com/2019/08/6000-year-old-mayan-and-aztec.html
MAYA DANAVAs DAUGHTER MANDODARI MARRIED RAVANA.. KRISHNA CAUSED THE ESCAPE TO HAPPEN TO SET UP A CILILIZATION OF MAYANS
http://ajitvadakayil.blogspot.com/2013/09/king-ravana-of-ramayana-hero-or-villian.html
KRISHNA CAUSED THE BANISHING OF KERALA KING MAHABALI TO PATALA ( PERU ) WHERE HIS FATHER KING VIROCHANA WAS TREATED AS GOD.
https://ajitvadakayil.blogspot.com/2019/07/secrets-of-12000-year-old-machu-picchu.html
KRISHNAs BEAUTIFUL WIFE JAMBAVATI WAS THE DAUGHTER OF JAMBAVAN, THE KING OF THE BEAR KINGDOM ( KERALA )..
SYAMANTHAKA MANI ( KOHINIOOR DIAMOND ) WAS GIVEN TO KRISHNA AS DOWRY WHEN HE MARRIED JAMBAVANs DAUGHTER
IN KERALA WHEN OUR PURANA STORY TELLING GRANDMOTHERs UTTERED “JAMBAVAN KALAM” MEANS – LONG AGO IN THE ANCIENT TIME OF JAMBAVAN.
JAMBAVANs ANCESTOR WITNESSED VISHNU AVATAR VAMANA BANISHING KERALA KING MAHABALI TO PATALA ..
JAMBAVANs ANCESTOR WAS ONE OF THE 54 DANAVAs AT SAMUDRA MANTHAN ALONG WITH MAHABALIs ( DANAVA BLOODLINE HIRANAYA KASHIPUs / / VIROCHANAs / KALANEMIs ) ANCESTOR AND KING SWARBANUs ( HIRANYAKSHA ) ANCESTOR ..
http://ajitvadakayil.blogspot.com/2019/09/onam-our-only-link-to-planets-oldest.html
MAHABALIs SON KALANEMI BUILT THE 12,000 YEAR OLD BENT PYRAMID OF EGYPT.
https://ajitvadakayil.blogspot.com/2019/07/secrets-of-bent-pyramid-at-dahsur-egypt_28.html
HIRANYAKSHAs ( KILLED BY VISHNU AVATAR VARAHA ) ANCESTOR SWARBANU WAS ONE OF THE 54 DANAVAs AT SAMUDRA MANTHA. HIS HEAD WAS CUT OFF BY VISHNU AVATAR KURMA , THE HEAD BECOMING RAHU AND BODY BECOMING KETU.
SWARMANUs ( SENIOR) DESCENDANT KERALA KING SWARBANU (JUNIOR ) BUIILT THE 12,000 YER OLD SUDAN PYRAMIDS AND THE 12,000 YEAR OLD BAALBEK SHIVA TEMPLE ( MUTHAPPAN ) AT LEBANON .
https://ajitvadakayil.blogspot.com/2019/08/secrets-of-12000-year-old-baalbek.html
RAMAYANA AND MAHABHARATA HAD COMMON PEOPLE
http://ajitvadakayil.blogspot.com/2012/08/common-characters-of-ramayana-and.html
ROTHSCHILD THOUGHT THAT HE DELETED DANAVA CIVILIZATION HISTORY ..
BUT HE COULD NOT SINK THE KATHAKALI LORE—THIS PLANETs FIRST DANCE AND SONG FORM—WHICH ENACTED THE GLORIES OF DANAVA KINGS OF KERALA SWARBANU ( SENIOR) / SWARBANU ( JUNIOR) / KING HIRANYAKASHIPU / PRINCESS HOLIKA, SISTER OF HIRANYAKASHIPU / KING VIROCHANA/ KING MAKABALI/ KING KALANEMI..
http://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and.html
THE WOMAN YOU SEE WITH A CAPE IN SOME KATHAKALI STORIES ARE HOLIKA WITH HER MAGIC CAPE. WE DON’T CELEBRATE HOLI IN KERALA , AS WE CONSIDER HOLIKA AS A HEROINE.
WE DON’T CELEBRATE DIWALI IN KERALA AS WE CARE FOR OUR ANCIENT KING MAHABALI.. AMIT SHAH TRIED TO CHANGE THE NAME OF ONAM TO VAMANA JAYANTI AND HIS BALLS GOT BURNT.
http://ajitvadakayil.blogspot.com/2011/09/why-kerala-does-not-celebrate-diwali-or.html
CONTINUED TO 2-
CAPT AJIT VADAKAYIL
DECLARES ( I HAVE DONE IT BEFORE SEVERAL TIMES )—
EVERY VESTIGE OF
ANCIENT KNOWLEDGE TILL THE WHITE INVADER CAME TO INDIA, EMANATED FROM INDIA..
WHEN ELECTRICITY WAS INVENTED CAUSING AN EXPLOSION OF INVENTIONS, WE WERE SLAVES OF JEW ROTHSCHILD.
WHEN ELECTRICITY WAS INVENTED CAUSING AN EXPLOSION OF INVENTIONS, WE WERE SLAVES OF JEW ROTHSCHILD.
WE WERE SLAVES FOR 800
YEARS THANKS TO PEOPLE OF POOR MORAL FIBRE LIKE NARENDRA DAMODARDAS MODI.. THE WHITE INVADER CONVERTED INDIA FROM THE
RICHEST NATION TO THE POOREST NATION IN 250 YEARS FLA.
GUJJU NO 2 PUSHED
BHARATMATA FROM THE SHADOWS INTO THE KOSHER WELL OF HOMOSEXUALITY AND
ADULTERY..
MENSES BLOOD WILL NOW MIX WITH THEERTHAM WATER ON TEMPLE FLOORS.
WOMEN WILL UTTER
GAYATRI MANTRA WHILE CHANGING THEIR BLOODY STINKING SANITARY PADS..
OUR PRICELESS CULTURE
IS NOW HISTORY..
INDIA IS NO LONGER A MORAL OR NOBLE NATION..
EITHER THE WHITE KNOWLEDGE
THIEVES LEARNT IN KODUNGALLUR UNIVERSITY
KERALA OR LEARNT FROM VISITING NAMBOODIRI PROFESSORS FROM THIS UNIVERSITY WHO
TRAVELED ABROAD.
KODUNGALLUR UNIVERSITY
IS THIS PLANETs OLDEST UNIVERSITY BELONGING TO THE DANAVA CIVILIZATION WHICH
PRECEDED THE SARASWATI VEDIC CIVILIZATION BY SEVERAL MILLENNIUMS.
ALL KNOW FROM THE PURANAS THAT DEVAS COULD
NEVER ACHIEVE ANYTHING OF VALUE UNLESS THEY SOUGHT THE HELP OF THE DANAVAS.
VISITING PROFESSORS
FROM KODUNGALLUR UNIVERISTY KERALA ( FOREIGN UNIVERSITIES LIKE ALEXANDRIA /
TAXILA/ NALANDA / SARASWATI DHAR ) ARE THE ARYANS WITH SWASTIKA AS THEIR
SYMBOL...
NAMBOODIRIS WERE THE
SANSKRIT VEDAS ORAL ROUTE KNOWING CREAM OF DANAVA THIYYAS, THE RULING CLASS OF
KERALA..
THE ANCIENT GREEKS
STUDIED IN KODUNGALLUR UNIVERSITY OWNED BY THE CALICUT KING ( MY HOMETOWN
).. ALMOST ALL THE ANCIENT GREEK SCHOLAR
EXCEPT ARISTOTLE WHO WAS THE TEACHER OF ALEXANDER THE GREAT..
ARISTOTLE HAD THE NOTES OF HIS TEACHER PLATO WHO STUDIED IN KERALA, INDIA ..
ARISTOTLE HAD THE NOTES OF HIS TEACHER PLATO WHO STUDIED IN KERALA, INDIA ..
WE DID NOT HAVE THE
CULTURE OF AFFIXING NAMES OF AUTHORS ON GREAT ERUDITE WORKS.. THE ANCIENT
GREEKS WITH INFERIOR INTELLECT AND SHALLOW MINDS LIKE PYTHAGORAS, PLATO ,
SOCRATES ETC TOOK ADVANTAGE AND PATENTED THE KNOWLEDGE THEY STOLE ( HALF BAKED
UNDERSTANDING ) IN THEIR OWN NAMES.
WHEN WE FOUND OUT, WE
BLACKBALLED THE GREEKS AND MAHAA GRAND WESTERN KNOWLEDGE INSTANTLY DRIED UP LIKE WATER IN
THE LOOSE DESERT SANDS. NOBODY HAS EVER
PONDERED ABOUT THIS BIZARRE FACT ..
THEN THE WHITE MAN USED
ARABS ( SPICES MIDDLEMEN ) TO TRADE TRANSLATED INTO ARABIC KNOWLEDGE FOR GOLD . THESE STUPID ARABS WITH
MIDGET MINDS COULD NOT EVEN UNDERSTAND WHAT THEY BOUGHT IN GOLD..
THE GOLD WE RECEIVED
WAS STORED IN STRONG TEMPLE VAULTS—ANCIENT BANKS. JEW ROTHSCHILD USED JEW TIPU
SULTAN TO STEAL THIS GOLD AND KEEP IT IN A NEAT PILE AT HIS PALACE IN
SRIRANGAPATNAM.
ONE FINE DAY A ROTHSCHILDs AGENT SHOT TIPU SULTAN ON HIS
CHEEK WHILE EATING BREAKFAST AND TOOK AWAY ALL THIS GOLD BY SEVERAL SHIPS
WAITING IN ADVANCE , TO BE STORED IN ROTHSCHILDs VAULTS IN GERMANY..
TILL TODAY NOBODY KNOWS
HOW ROTHSCHILD SUDDENLY BECAME THE RICHEST MAN ON THE PLANET IN 1799 AD.
ALL THIS STOLEN GOLD
BELONGS TO THE CALICUT KING ( MY HOMETOWN ), THE FRUIT OF SEVERAL CENTURIES OF
SPICE AND KNOWLEDGE TRADE , WITH MIDDLE MAN ARABS ..
KODUNGALLUR UNIVERSITY
SAGES WROTE THE FIRST ORIGINAL COPY OF BIBLE AND KORAN. THESE DOCUMENTS HAVE
SINCE BEEN CORRUPTED BY PEOPLE WHO WANTED TO GRAB POWER.
THE DISGRACED LEFT
HANDED HOMOSEXUAL YOUNGER BROTHERS OF KERALA NAMBOODIRIS ( WHO COULD NOT MARRY
OR OWN LAND) ARE THE SEMITES WITH SIX POINTED STAR OF SHIVA/ SHAKTI TRIANGLE
MERGE AS THEIR SYMBOL.
THESE SEMITES CREATED
JUDAISM AND HEBREW TO BE WRITTEN BY LEFT HANDERS FROM RIGHT TO LEFT. THE REAL MOSES WAS JETHRO , HIS FATHER IN
LAW, A KERALA SAGE.. MOSES WAS AN IDIOT.
MOHAMMAD THE PROPHET
WAS THE YOUNGER BROTHER OF THE KERALA NAMBOODIRI PRIEST OF THE SHIVA TEMPLE AT
MECCA OASIS .. THIS TEMPLE ALSO DOUBLED
UP AS A SPICE CUSTOMS OUTPOST AND A FREE TRADE AREA.
ELDER
BROTHER NAMBOODIRIS COULD MARRY FOUR TIMES AND MOHAMMAD SOUGHT PARITY FOR HIS
NEW RELIGION ISLAM.
JESUS CHRIST NEVER
EXISTED .. JESUS WAS MODELLED AFTER KERALA SAGE APOLLONIUS OF TYANA , HIS SIDE
KICK DAMISA WHO MARRIED NAMBOODIRI WOMAN MARY MADGALENE AND COSMIC ALLEGORY ASTRONOMICAL
BLUE PRINT WHICH WE CREATED .
THE ITALIAN WAITRESS
AND HER HALF BREED SON , MUST KNOW THAT
EVERYTHING OF ANCIENT ROMAN GLORY WAS
HINDU. ALL CAESARS WERE HINDU.. ALL ROMAN SENATORS WERE HINDU.. ALL ROMAN RUINS
ARE HINDU.
ALEXANDER THE GREAT WAS
A HINDU.. JULIUS CAESAR WAS A HINDU.
NOW MANY TIMES MY
READERS HAVE ASKED ME—WHY DO YOU SAY ANCIENT GREEKS SCHOLARS NEVER UNDERSTOOD
WHAT THEY STOLE FROM INDIA .
OK— I WILL JUST GIVE TWO WEE EXAMPLES FOR THE LCD AGAIN ( IF I
PEN DOWN FOR HCD NOBODY WILL UNDERSTAND
) ABOUT “LINGUISTICS OF SAGE PANINI” AND “SONG
/ DANCE FINE ARTS OF NATYASHASTRA”.
YOU WILL SEE HOW DEEP
THE ANCIENT INDIAN WELL OF THOUGHT WAS .. YOUR CHEST WILL SWELL WITH PRIDE..
IF CAN QUOTE HUNDRED OF
EXAMPLES— BUT THEN IT GOES BEYOND THE SCOPE
OF MY SANATANA DHARMA SERIES.
WHAT WAS MY MISSION
STATEMENT , NINE YEARS AGO? YOU MUST KNOW THAT I AM THE NO 1 WRITER ON
THE PLANET —
I OCCUPY THE FIRST
HUNDRED SPOTS .. THE NO 2 WRITER ON THIS
PLANET ( PAST / PRESENT/ FUTURE ) CAN ONLY FILL UP THE NO 101 SPOT..
THE PROOF OF THE
PUDDING LIES IN THE EATING. MY BLOG PROFILE
VIEW IS NOW 769 MILLION..
BLOGSITE MISSION
STATEMENT : This
blogsite will transform your mind . You
yourself, are the teacher, the pupil, the messiah, the seeker, the traveller
and the destination . It is no measure
of health to be well adjusted to this profoundly sick society . I am from INDIA, the mother of all
civilizations . I will be re-writing
world history , and this will surely not gratify the evil hijackers of human
history . Awaken your inner voice . Experience the joy of your own being . Your own conscience is the best interpreter .
In a time of universal deceit, telling the truth is a revolutionary act . The naked truth can never be hate speech or
defamation. This blogsite does not
sacrifice truth on the altar of political correctness . You shall know the
truth and the truth shall set you free . . STRENGTH AND HONOR - ALWAYS !.
THE LYING WHITE
HISTORIAN NEVER EXPECTED AN INTERNET AGE AND A BROWN SKINNED BLOGGER NAMED CAPT
AJIT VADAKAYIL TO COME INTO TOWN..
THE ENTIRE INTELLECT
AND KNOWLEDGE OF THE FAKE AND LYING WHITE HISTORIANS , CAN BE FITTED UNDER THE
FORESKIN OF CAPT AJIT VADAKAYILs UNCIRCUMSIZED PRICK , WITH HAJAAAR SPACE FOR 99% MORE.
APUN JAASTI BOL DIYA
KYA?
BOL BHI DIYA TOH DEKH
LENGE !
Capt. Ajit Vadakayil
October 3, 2018 at 4:47
AM
SOMEBODY ASKED ME ABOUT
SANSKRIT BEING THE BEST LANGUAGE FOR PROGRAMMING CONSCIOUS COMPUTER.
INDEED !
The Backus-Naur Form
(BNF) should have been called PANINI FORM .
I will write in more
detail in my post Sanatana Dharma part 110.
capt ajit vadakayil
..
MY ELDER SON WAS KISSED
AND TAKEN TO CORNELL FOR HIS MASTERS IN
COMPUTER SCIENCE ONLY BECAUSE OF A PROJECT HE DID AN UNDERGRADUATE STUDENT .
THE COLLEGE DEAN SENT IT TO THE “WORLD CONGRESS ON ENGINEERING AND COMPUTER SCIENCE” AT SAN FRANSISCO AND THEY ADDRESSED HIM AS “DOCTOR” THINKING IT IS A PHD THESIS.
THEY REQUESTED HIM TO PRESENT IT PERSONALLY AT THE WCECS.
MY SON HAD BROKEN INTO UNCHARTED
TERRITORY .
HIS PAPER WAS TITLED “EXTENSION OF EARLEY
PARSER FOR MATRIX GRAMMARS”
CORNELL AGREED WITH HIS
UNDERGRADUATE PROFESSORS EVALUATION OF MY ELDER SON “ THIS BOY HAS THE SEEDS
OF THE FUTURE WITHIN HIM “..
WIKIPEDIA HAS WRITTEN
THEIR SHALLOW MINDED VERSION OF WHAT IS SANSKRIT GRAMMAR PIONEERED BY SAGE
PANINI 7500 YEARS AGO. IT WILL TAKE
ANOTHER 200 YEARS TO UNEARTH THE BRILLIANCE OF PANINI..
In linguistics and
computer science, a context-free grammar (CFG) is a formal grammar in which
every production rule is of the form
V → w
where V is a
non-terminal symbol and w is a string consisting of terminals and/or
non-terminals. The term "context-free" comes from the fact that the
non-terminal V can always be replaced by w, regardless of the context in which
it occurs. A formal language is context-free if there is a context-free grammar
that generates it.
Context-free grammars
are powerful enough to describe the syntax of most programming languages; in
fact, the syntax of most programming languages are specified using context-free
grammars. On the other hand, context-free grammars are simple enough to allow
the construction of efficient parsing algorithms which, for a given string,
determine whether and how it can be generated from the grammar.
AN EARL PARSER IS AN
EXAMPLE OF SUCH AN ALGORITHM
BNF (Backus-Naur Form)
is the most common notation used to express context-free grammars.
In computer science,
Backus–Naur form or Backus normal form (BNF) is a notation technique for
context-free grammars, often used to describe the syntax of languages used in
computing, such as computer programming languages, document formats,
instruction sets and communication protocols.
They are applied
wherever exact descriptions of languages are needed: for instance, in official
language specifications, in manuals, and in textbooks on programming language
theory. Panini’s notation to describe
Sanskrit word structure notation has more power than that of Backus and has better
properties.
Several white scholars
has written that Backus-Naur Form (BNF) should be truly called Panini-Backus
Form (PBF), as "we must give credit where credit is due."
Paninian grammars,
which consisted of over 4,000 algebraic rules and metarules have been studied
by a number of expert scholars..
Paninian-style generative rules and metarules
could assist in further advances in NLP ( natural language processing ).
Natural language processing (NLP) is an area of computer science and artificial
intelligence concerned with the interactions between computers and human
(natural) languages, in particular how to program computers to process and
analyze large amounts of natural language data.
Challenges in natural
language processing frequently involve speech recognition, natural language
understanding, and natural language generation.
In 1950s, Noam Chomsky,
then a professor at MIT, combined linguistics and mathematics, and formalized
CFGs, lifting from Panini's work with half baked understanding.
He called it Phrase
Structure Grammar. CFGs were then introduced as block structures into
programming languages, with Algol, by John Backus. Backus described the syntax
of Algol using Chomsky's context-free grammar.
This was called the Backus Normal Form.
A few years later,
Peter Naur improved on the BNF by reducing the size of the massive character
set used by Backus, renaming BNF to Backus-Naur Form. Backus-Naur Form is still
in heavy use today. Panini had come up
with better constructs independent of, and seven milliniums earlier than,
Backus or Naur).
In 1965, Noam Chomsky
wrote in the preface of his book Aspects of the Theory of Syntax that Pāṇini’s
grammar (Aṣṭadhyayi) is a “generative grammar, in essentially the contemporary
sense of this term”. If someone
developing a new theory bumps into a work that delineates the same theory, he
should study carefully this work before giving a next step.
It seems that Chomsky , a fellow of inferior
intellect , never understood Panini .. For Paṇini, a structure could never be
seen as deep and surface, but on pairs in one unique level. What makes the
structure (syntax) much more “computable”
Several white scholars
had remarked that if Chomsky had studied the Aṣṭadhyayi in 1965, with help from
Indian Sanskrit experts , maybe he could advance his theory and avoid major
mistakes his theory has.
Pāṇini’s treatment of
syntax and semantics presents analogies to various aspects of several modern
linguistic theories, What Chomsky calls Principles and Parameters model is
exactly what Paṇini calls Samanya (general) and Viseṣa (particular) and all his
grammar is delineated with them.
Chomsky, in an award acceptance
speech delivered in India in 2001, admitted "The first generative grammar in the
modern sense was Panini's grammar".
Panini does not need
Chomsky to declare his brilliance .
Dmitri Mendeleev had declared that he could
not create his PERIODIC TABLE of elemenst without riding on Panini’s shoulders. He left blank spaces for undiscovered
elements—placing absolute trust on Panini.
Mendeleev was able to exactly predict the properties of
eight elements yet to be discovered. Mendeleev
gave Sanskrit names to his
"missing" elements, and this pissed of Jew Rothschild who wanted
Indian to believe that they are worse than monkeys.
Like Nikola Tesla
Rothschild tried to bury Mendeleev..
Let me quote Wikiepdia-
QUOTE: Mendeleev was a friend and colleague of the
Sanskritist Böhtlingk, who was preparing the second edition of his book on Pāṇini[47]
at about this time, and Mendeleev wished to honor Pāṇini with his nomenclature..
Noting that there are
striking similarities between the periodic table and the introductory Śiva
Sūtras in Pāṇini's grammar, Prof. Kiparsky says:
"[T]he analogies
between the two systems are striking. Just as Panini found that the
phonological patterning of sounds in the language is a function of their
articulatory properties, so Mendeleev found that the chemical properties of
elements are a function of their atomic weights.
Like Panini, Mendeleev
arrived at his discovery through a search for the “grammar” of the elements
(using what he called the principle of isomorphism, and looking for general
formulas to generate the possible chemical compounds).
Just as Panini arranged
the sounds in order of increasing phonetic complexity (e.g. with the simple
stops k,p… preceding the other stops, and representing all of them in
expressions like kU, pU) so Mendeleev arranged the elements in order of
increasing atomic weights, and called the first row (oxygen, nitrogen, carbon
etc.) “typical (or representative) elements”.
Just as Panini broke
the phonetic parallelism of sounds when the simplicity of the system required
it, e.g. putting the velar to the right of the labial in the nasal row, so
Mendeleev gave priority to isomorphism over atomic weights when they
conflicted, e.g. putting beryllium in the magnesium family because it patterns
with it even though by atomic weight it seemed to belong with nitrogen and
phosphorus. In both cases, the periodicities they discovered would later be
explained by a theory of the internal structure of the elements.[49]"
The original draft made
by Mendeleev would be found years later and published under the name Tentative
System of Elements.[50]
Dmitri Mendeleev is
often referred to as the Father of the Periodic Table. He called his table or
matrix, "the Periodic System".[51]: UNQUOTE
The general form of Paṇini’s
syntatic rules and levels is in fact rather difference from those of a
generative grammar. In the theory of Chomsky, deep structures and surface
structures have the same formal properties. Both are represented by trees with
labeled nodes and ordered branches.
The set of deep structure categories
(Sentence, Noun Phrase, Verb, Phrase, etc.) is a subset (perhaps a proper
subset) of the set of surface structure categories. For Pāṇini, on the other
hand, each category belongs to one and only one level. For Pāṇini the constituents of a sentence are
all on a par, with no further hierarchical structure..
The great contribution
of Panini was to establish such a
phenomenal base of nearly 4000 rules to govern usage of the Sanskrit of his time, primarily to estabish a
strong and permanent foundation for the
understanding and preservation of the Vedic corpus of Knowledge.
This was a work for
which the oldest grammarian of the world
was held in in the greatest awe and admiration
It is interesting to see how the Indian ancients approached an understanding of language by an intensive
observation and analysis of how it
evolved, from within the human mind, while the Western approach arrived at more or less similar conclusions
from an intensive physical observation
of the external world.
Generative grammar is a
linguistic theory that regards grammar as a system of rules that generates
exactly those combinations of words that form grammatical sentences in a given
language. Noam Chomsky first used the term in relation to the theoretical
linguistics of grammar that he developed in the late 1950s
The generative school
has focused on the study of syntax and addressed other aspects of a language's
structure, including morphology and phonology. Sanskrit has no syntax or
spelling like stupid English language .
The grammar of the
Sanskrit language has a complex verbal system, rich nominal declension, and
extensive use of compound nouns.
Because of Sanskrit's
complex declension system, the word order is free. In usage, there is a strong
tendency toward subject – object – verb (SOV), which was the original system in
place in Vedic prose
Syntax is the set of
rules, principles, and processes that govern the structure of sentences in a
given language, usually including word order. The term syntax is also used to
refer to the study of such principles and processes
to have a close look at
the corresponding explorations of the
internal world of the human mind in India, and how these led human language to a level of perfection in the
Sanskrit language (The word “Sanskrit”
itself means “Done to perfection”). The level of sophistication reached by then was such that it needed a
whole battery of sciences, the Vedangas,
to explain, describe and preserve the language of the Vedas.
The level of
sophistication reached by the world’s first grammar of Panini, can be readily recognized by one of its
verses ( Panini 3.3.161 ) which lists
the different forms that the that a verb in the optative mood could take
so many shades of meaning, as:--
(The optative means
injunction, invitation, permission, respectful command, deliberation, or
request).
(a) injunction:
"You should go to the town";
(b) invitation:
"Please eat here";
(c) permission:
"You may sit here";
(d) respectful command:
"(Please) teach my son";
(e) deliberation:
"Should I study the Vedas or logic?"
(f) request: "May
I get a meal?"
Noam Chomsky,
acknowledged as today’s father of modern
linguistics, but who in turn, acknowledges his concept of generative grammar to be founded on the
grammar of Panini.
The first major contribution of Noam Chomsky
was to show that syntax is independent
from phonology and semantics. Syntax
continued to be analysed, derived from and stated in terms of rules, right from
the time of Panini
One can thus see that
the compilation of the Vedas in verse rested on what are possible the earliest
and most scientific principles of poetic
composition know to the world and practically anticipated all
developments of poetry of all other and
later cultures of the world.
It is simply astonishing that the Rig Veda should show such a
remarkable convergence of the highest of
thought, and deepest of meaning, set the choicest of words and conforming to the greatest beauty of poetic
aesthetics.
Modern epistemology
which deals with the sources of knowledge and modern semiotics which deals with
signs or symbols, look at thought, word
or meaning developing in this way, but this is precisely the way of thinking of the Indian ancients.
These were
remarkable methodologies of men like
Yaska and Panini, Patanjali and Bhatrhari who were at once Linguists, Grammarians and Philosophers all
rolled into one.
These were disciplines,
never assigned a separate and unique identity as in modern times, and though their contexts were broadly
recognized by the Vyakaranikas or
Grammarians and the Darshanikas, or Philosophers, they were always inter-meshed into a common
over-arching visualization of one
ultiimate truth.
The great contribution
of Panini was to derive from the language corpus of the Sanskrit of his time,
virtually a meta language comprised of nearly 4000 Sutras in much the same way as Backus-Naur
form has done for the natural languages
of today, paving the way to put them to use on
computers. the examples given in
Chapter 6 of Panini’s rules in encoded form for the constructions of syllables,
words and sentences.
Panini’s Ashtadhyayi is today available as a Computer Software package, called the
“Ganakashtadhyayi”
BELOW: PANINI LIVED IN 5500 BC .. OUR INDIAN GOVT IS STILL CONTROLLED BY WHITE COMMIE JEWS AND THEIR TRAITOR INDIAN JNU AGENTS
NOW LET ME PROCEED TO NATYASHASTRA
SEVERAL MILLENNIUMS
BEFORE THE WHITE MAN REACHED GRUNT GRUNT FOR LANGUAGE , INDIA HAD AN ADVANCED
FORM OF MUSIC AND DANCE.
NATYASHASTRA IS AN EXAMPLE.
I WILL JUST GIVE A
GLIMPSE OF HOW DEEP AND VAST THE OCEAN IS..
KATHAKALI OF THE DANAVA
CIVILIZATION OF KERALA WAS THE FIRST SONG AND DANCE FORM OF THIS PLANET..
IF THE ENTIRE WESTERN
DANCE AND DRAMA TILL TODAY IS A ONE PAGE BOOK-
KATHAKALI IS A ONE
MILLION PAGE BOOK -WITH NO SUPERFLUOUS WORDS
THE WHITE INVADER
KILLED KATHAKALI ..
THE WHITE INVADER GAVE
MONEY AND REDUCED PROUD KATHAKALI DANCERS TO PERFORMING SHAKESPEAREs PLAYS (
KING LEAR TYPES ) , JESUS AND MARY MAGDALENE , JEW ROTHSCHILDs
FAKE CREATIONS LIKE NALA DAMAYANTI
ROMANCE etc
THIS WAS LIKE ASKING A
RESPECTED GURU TO DANCE LIKE AN ASSHOLE ROTATING ON HIS HEAD , IN A DISCO
INDIAN DANCE CONTESTS
ON TV SHOWS TODAY, HAS BEEN REDUCED TO PELVIC
HUMPING, GROTESQUE BODY POSITIONS, TRAPEZE, ACROBATICS, GYMNASTICS, ROTATING ON
POLE, SHOWING ROTTEN TWAT DOING PEEK A BOO FROM BEHIND SHIT LADEN THONG WHILE
SPLAYING LEGS , SOMERSAULTS , ROTATING ON HEAD , TWISTING SAMBA ASS , BALLET TIP TOEING LIKE
IDIOTS – ETC IF YOU DON’T DO THIS YOU WONT GET A PRIZE
I ASK THE KERALA
TOURISM MINISTRY TO TELL KERALA KALAMANDALAM , THE TRUTH ABOUT KATHAKALI.
WE DON’T WANT KING LEAR
PERFORMANCES IN FUTURE. THIS KILLS THE
SOUL OF THE PERFORMER— WHO TRAINED HARD AND MADE PERSONAL SACRIFICE FOR
SOMETHING ELSE.
HE IS NOW A WHORE
DANCING TO THE HIGHEST BIDDER
HOW HAS JEW ROTHSCHILD
CONTROLLED THE WHOLE PLANET?..
BY CAUSING ANCIENT CULTURE TO BE
CONTAMINATED, AND MAKING PROUD PEOPLE
SELF LOATHING
Jewess Leela Samson
without any training became a Kathakali dancer —she murdered the ancient and
revered art. The BENAMI Christian media
praised her to the skies.
When Jewess Leela
Samson was Film Censor she was the first to allow explicit homosexuality on
Bollywood screen. The Italian waitress
appointed her the director of Kalakshetra.. She was given a Padma award .
Rabidly anti-hindu ,
during her tenure at Kalakshetra,
Jewess Leela Samson removed dancing Ganesha from the logo of the
institution and ordered removal of all Ganesha Idols in the premises. Ganesha,
the son of Shiva, is depicted as Ashtabhuja tandavsa nritya murtis (Eight armed
form of Ganesha dancing the Tandava) in temple sculptures.
WOMEN DANCERS ARE NOT
ALLOWED ON KATHAKALI STAGE FOR 330 CENTURIES .
JEWESS LEELA SAMSON
BROKE THE RULES –IN THE NAME OF GENDER EQUALITY WHICH WHITE JEWS ARE SO EAGER
TO INTRODUCE IN INDIA WITH THE HELP OF THEIR AGENT NARENDRA DAMODARDAS MODI
JEWESS LEELA
SAMSON WAS PRAISED AS THE “SAVIOR OF
KATHAKALI “ BY JEW ROTHSCHILDs COMMIE MEDIA" --WHO KNOW ZILCH ABOUT KATHAKALI.
EXAMPLE?
QUOTE: The careful execution of Leela Samson saw a
nayika (heroine) rich with lasya (graceful and languorous movements). She was able to overcome the basic thandava
(masculine vigour) oriented lasya that female roles of Kathakali usually depict
, as such roles are taken up by male actors.UNQUOTE
VOCALISTS BECAME
DANCERS --IT WAS A WHOREHOUSE ON KATHAKALI
STAGE
I CAN SET A 1000 ITEM
KATHAKALI EXAM QUESTION PAPER EXAM FOR LEELA
SAMSON--
SHE WILL SCORE ZERO--
WHO KNOWS WITH THE
SUPPORT OF MODI ( MAN SANS HONOUR WITHOUT
CHILDREN ) --- VERY SOON KATHAKALI PLAYS WILL HAVE HOMOSEXUAL ANAL SEX ON STAGE
TO THE BEAT OF THE DRUMS !
BHAAD MEIN GAYE ,
SANSKARI CENSOR !
BHARATANATYAM HAS NOTHING
TO DO WITH BHARATA MUNI , AS IS POPULAR PERCEPTION
THE COMBO BHA – RA - THA MEANS SOMETHING ELSE. I WILL GET TO THIS
LATER..
INDIA IS NAMED BHARATA
– AFTER BHA-RA-THA— BHAVA / RAGA/ TALA OF KATHAKALI
THE FOREIGN FUNDED
CHRISTIAN NGO DROHIS ARE MAKING KERALA KATHAKALI DANCERS TO DANCE WITH ONLY ONE
BELL ANKLET ( QUOTING THE BULLSHIT TAMIL PRIDE
KANNAGI / SILAPATHIKARAM ) WHICH TOTALLY SABOTAGES THE DANCE..
The Christians NGOs
have forced the Kathakali dances to dance to wind and string instruments for
Shakaspeare’s plays ( in the name of fusion ) — which is blasphemy
There is NO other dance
form on this planet other than Kathakali which dishes out a generous visual,
audio and INTELLECTUAL extravaganza.
Kathakali has roots in
the aesthetics of Natyashastra
The white invader
converted Bharata Muni to a mortal who penned the Natyashastra. Sorry, Natya Shastra like Vedas have NO
author as it is a SRUTI . It is Natya
Shastra of Bharata ( India ) NOT written
by a mortal person named Bharata..
Bharata is an acronym for the three
syllables: bha for bhaava (emotion) , ra
for raaga ( melody) , and ta for
taala (rhythm).
AGAIN, INDIA IS NAMED
BHARAT. THE REAL NAME IS BHA- RA- TA .
BHAVA RAGA / TALA ARE STEEPED IN AMAZING WISDOM.
Natya Shastra ( used for Kathakali by Shukracharya the
mentor of King Mahabai ) was transmitted orally for more than 33 millenniums
along with the Vedas was finally penned down in 5000 BC consisting of
12, 200 verses structured into 39 chapters.
The verses of Natyashastra are in precise
Anustubh meter (4x8, or exactly 32 syllables in every shloka)..
The term Kathakali is
derived from Katha which means
"story", and Kali which means "performance”.
The music theory in the
Natyashastra, centers around three
themes – sound, rhythm and prosody applied to musical texts. The text asserts
that the octave has 22 srutis or microintervals of musical tones or 1200 cents.
The Greeks stole all
this while studing at Kodungallur University in Kerala and patented it in their
own names..
Each sruti computes to
54.5 cents, while the Greek enharmonic quartertone system computes to 55 cents
The text discusses
gramas (scales) and murchanas (modes), mentioning three scales of seven modes
(21 total), some of which are the same as the Greek modes..
THIEF Pythagoras who
studied at Kodungallur University was the first in the West to formulate the
law of musical pitches depending on numerical proportions. From this he based
his underlying principle of ‘harmonia’ as a numerical system bound together by
interlocking ratios of small numbers. This discovery led him to the
idea of the Harmony of the Spheres ( SIC ) .
Pythagoras just stole –
he was not the first to formulate that concept, which reflects the whole cosmic
plan and showed the intimate connection between the laws of mathematics and of
music.
The connection between music, mathematics, and astronomy had a profound
impact on history. It resulted in music's inclusion in the Quadrivium, the
medieval curriculum that included arithmetic, geometry, music, and astronomy,
and along with the Trivium (grammar, logic,and rhetoric) made up the seven
liberal arts.
The metaphors of the
Vedas are simultaneously descriptive of astronomy, mathematics, music, poetry
and art. They describe a dynamic and cyclic universe with the harmonic musical
ratios operating as a physical, figurative and literal medium between ourselves
and brahmAn the field..
The cent is a
logarithmic unit of measure used for musical intervals. Twelve-tone equal
temperament divides the octave into 12 semitones of 100 cents each.
Typically,
cents are used to express small intervals, or to compare the sizes of
comparable intervals in different tuning systems, and in fact the interval of
one cent is too small to be heard between successive notes.
Normal adults are
able to recognize pitch differences of as small as 25 cents very reliably. An
octave—two notes that have a frequency ratio of 2:1—spans twelve semitones and
therefore 1200 cents
In music, 22 equal
temperament, called 22-tet, 22-edo, or 22-et, is the tempered scale derived by
dividing the octave into 22 equal steps (equal frequency ratios).
SRUTI = 1/22 OF OCTAVE
= 1/22 X 1200 CENTS = 54.5 CENTS
The basic concepts of
this music includes shruti (microtones), swaras (notes), alankar
(ornamentations), raga (melodies improvised from basic grammars), and tala
(rhythmic patterns used in percussion).
Its tonal system divides the octave
into 22 segments called Shrutis, not all equal but each roughly equal to a
quarter of a whole tone of the Western music.
Swara is a Sanskrit
word that connotes a note in the successive steps of the octave. More
comprehensively, it is the ancient Indian concept about the complete dimension
of musical pitch.
The swara differs from
the shruti concept in Indian music. A shruti is the smallest gradation of pitch
that a human ear can detect and a singer or instrument can produce. A swara
is the selected pitches from which the musician constructs the scales, melodies
and ragas.
The ancient Sanskrit text Natya Shastra identifies and discusses twenty
two shruti and seven swara.. The word swara (Sanskrit: स्वर)
is derived from the root svr which means "to sound"
The swara concept is
found in Chapter 28 of the 400 centuries old ancient Natya Shastra. It
calls the unit of tonal measurement or audible unit as Śhruti,with verse 28.21
introducing the musical scale as follows:--
तत्र
स्वराः
–
षड्जश्च
ऋषभश्चैव
गान्धारो
मध्यमस्तथा
।
पञ्चमो
धैवतश्चैव
सप्तमोऽथ
निषादवान्
॥
२१॥
— Natya Shastra, 28.21
The seven notes of the
musical scale in Indian classical music are shadja (षड्ज),
rishabha (ऋषभ), gandhara (गान्धार),
madhyama (मध्यम), panchama (पञ्चम),
dhaivata (धैवत) and nishada (निषाद).
In Indian music the
Sanskrit names Sa–Re–Ga–Ma–Pa–Dha–Ni (स–रे–ग–म–प–ध–नि)
is used
Greeks lifted and used
the solfège naming convention Do–Re–Mi–Fa–Sol–La–Si
In India children learn
music at a very early age. To master Indian classical music it takes 50 years .
It is that complex.
Orpheus an Indian seer
from Kerala went to Greece and taught music. Today they have stolen our music
and patented it in their names. We are supposed to be black dirty savages who
know only how to clang rocks.
The classical music
part of Sama Veda 5000 BC is missing.
Whatever music came
down the ages is all by Guru-Shishya mode of oral training.
The WHITE SKINNED
THIEVES lifted and made it Do Re Mi Fa
So La Si Do and then claimed that we stole it from them.
In India children learn
music at a very early age. To master Indian classical music it takes 50 years .
It is that complex.
Orpheus an Indian seer
from Kerala went to Greece and taught music.
Many Greeks came to Kodungallur University to learn music.
Today they have stolen
our music and patented it in their names. We are supposed to be black dirty
savages who know only how to clang rocks.
The classical music
part of Sama Veda 5000 BC is missing.
Whatever music came
down the ages is all by Guru-Shishya mode of oral training.
Indian classical music,
divides the octave into 12 semitones of which the 8 basic notes are, in
ascending tonal order, Sa Re Ga Ma Pa Dha Ni Sa for Hindustani music and Sa Ri
Ga Ma Pa Dha Ni Sa for Carnatic music.
The WHITE SKINNED
THIEVES lifted and made it Do Re Mi Fa
So La Si Do and then claimed that we stole it from them.
Western Classical music
is the quintessential DIRT IN THE FINGER NAIL of Indian classical music--
Here is a raga Yaman
Kalyan—the flute of Krishna is in the lead with Sitar and Santoor accompanying.
We now have R commies
like Girish Karnad giving away our ancient music to foreign Sufi JEWS.
Indian classical music
was born out of spirituality.
Without single-minded devotion
and lifelong commitment you cant complete learning. Indian music must have - melody, rhythm and
harmony. Indian music has the power to move us because it can speak to our
deepest emotions through the moods it creates. Your charkhas are sent to over drive will every body cell resonating.
Different sets of notes evoke different moods
and inspire different feelings. Musicians became paupers during the foreign
rule of 800 years. The musicians were branded as providing music for whores by
the white invader.
There are stooges who
claim that our music got upgraded by Islamic rule—while they learnt the
elements of music from us. Sama Veda ragas were associated with colour hues—thousands
of them.
This is why Indian
music has a complex use of microtones. But for notation and explanation, we
divide an octave into 12 semitones.
We use a movable scale,
which means that your octave can start anywhere you like. Your starting point
is the root of your octave, all the other notes are defined in relation to the
root. Learning to recognize a raga aurally is a complex process.
You can group the
twelve notes in an octave in hundreds of ways to make five-note ragas,
six-note, seven-note, eight-note, nine-note, ten-note...even twelve-note ragas.
You can have ragas that use a certain number of notes in ascent and a different
number in descent.
You can create
variations at the microtonal level. Vedic math is interwoven.
There is NO random raga
making . A Sama Veda raga must comprise a minimum of five notes in an octave
(three-note scales are used in mantra
chanting).
All ragas must include
the root note sa. All ragas must include at least one or both of the notes ma
(the fourth) or pa (the fifth). A raga may use both the natural and flat/sharp
versions of any of the variable notes (re, ga, ma, dha, ni), but not in
succession
INDIAN CLASSICAL MUSIC
HAS ITS BASIS IN THE DIVINE GEOMETRY OF SRI YANTRA.
If Indian classical music is the SUN, western
classical music is a run down battery operated torch.
Natyashasta evolved ten
basic postures of the body, nine of the
neck, thirty-six of the hand, and thirteen
poses of the head—postures that required the disciplined use of the
entire body and all of its potential for
expression.
Various schools of dance have
elaborated on these principal postures, each of which blossoms into
an exactingly coordinated repertoire of
associated hand, facial, eye, foot, and total body movements synchronized to
the rhythm of intricate instrumental and vocal music to communicate a “telling”
story.
EVEN TODAY WHEN WHITE
TURISTS COME TO KERALA THEY THINK KATHAKALI IS A DANCE OF SAVAGES LIKE WHAT THE
RED INDIANS OR ABORGINES DO..
THEY HAVE NO IDEA OF THE LEVEL OF SOPHISTICATION
AND PROFOUND THOUGHT THAT GOES INTO KATHAKALI -- MEANT FOR THE INTELLIGENT CULTURED AUDIENCE
KATHAKALI IS THE FIRST
DANCE AND SONG ART FORM ON THIS PLANET, THE FRUIT OF DANAVA CIVILIZATION..
WHICH PRECEEDED THE SARASWATI VEDIC CIVILIZATION BY SEVERAL MILLINIUMS.
THE ORIGINAL KATHAKALI
WAS DEVELOPED TO TELL THE STORY OF VISHNU AVATARS NARASIMHA AND VAMANA WHO
KILLED KERALA DANAVA KINGS HIRANYKASHIPU AND MAHABALI..
THIS IS WHY WE DO NOT CELEBRATE MAJOR FESTIVALS
HOLI AND DIWALI IN KERALA..
WHAT I WRITE ABOUT
KATHAKALI BELOW IS JUST 0.5% OF WHAT MUST BE WRITTEN — AND THAT TOO FOR THE
LOWEST COMMON DENOMINATOR..
The Natya Shastra has a
text of 6000 slokas and treats of all the arts of dance, drama and music in astonishing
technical detail. There is considerable
attention to the communication of meaning through every possible mode of expression.
These involve
concepts of bhava and rasa which give
colour and impact to the communication. There is here a whole world of communication of meaning through not
only sound and word, but of thought,
action and feeling through bodily movements, poses, gestures, and facial expressions. These are physical
expressions laden with overlays of bhava
and rasa, form and essence, colour and taste to enrich the communication.
When one considers these
different representations of thought,
action and feeling, one begins to see the significance of the Vedic constructs of the Mantra, Tantra and Yantra
as vehicles of great power Bharata
established the Shadja, as the first defining note of the musical scale, where Shadja means “six”, that refers
to its giving birth to the remaining six
notes together with which it forms the octave, and makes the Grama or basic scale of music.
These
seven notes be indeed a reference to
“the meeting together of the seven noisy birds” in the Rig Veda (X-71-3)
Bharata’s formulations provide
the foundations for Indian classical
music system of today, though of course, the intervening millenniums
since then have seen a great deal of sophistication and development.
The chief innovation of course,
is a shift from the Grama here the
Shadja has a fixed absolute frequency level, to the Raga where the Shadja can be fixed at any level that
suited the singer. Music could then be
set in a variety of octaves of different frequencies, making for the same musical patterns and impacts by
different musicians with different voice
endowments and impretative and innovative skills.
The Melakarta Raga In this scheme the octave is made of
12-note level comprised of 7 tones and 5
half-tones, which, in different 7-note
combinations, yields the number of 72 standard Ragas.
The order
positions assigned to the Ragas in this
interestingly derived from an old numbering
system called the Katayapa scheme where number values were mapped
to the letters of the Sanskrit alphabet
arranged in four groups beginning with
the letters ka, ta, ya and pa as below :
1 2 3 4 5 6 7 8 9 0
ka kha ga gha ~ma cha Cha ja jha ~na
Ta Tha Da Dha Na ta tha da dha na
pa pha ba bha ma
ya ra la va Sa sha sa ha
For example,
Harikambhoji raga starts with syllables Ha and ri, which have numbers 8 and 2 associated with them.
Reversing them we get 28. Hence
Harikambhoji is the 28th Melakarta raga.
When we come to the medium of dance, we find the Mudra or a dance
pose is a physical action frozen in
time, that expresses an object or an activity or a quality, that replaces a whole string of
words with as much if not greater impact
than the word itself, indeed side-stepping the need for the word altogether.
Mudras convey profound meanings of the Bharata Natya dance form, as prescribed in the Natya Sastra.
Kathakali is a complex
amalgam of culture , story, dance, theatre, poetry, vocals , mudras and
percussion, each component governed by well-defined rules . It takes decades to be qualify as a Kathakali
dancer, starting at a young age .
This is NOT some stupid tip-toe on toes ,
splaying your legs , showing your camel
toe/ ass to the accompaniment of a hollering soprano male/ female quivering their deep throats .
A connoisseur of Kathakali knows the story line and characters to appreciate what is going on with just eye
/ facial muscles rasa / finger mudra /
hand / leg movements and drums. The actors speak a "sign
language", where the word part of the character's dialogue are expressed
through "hand signs (mudras)", while emotions and mood is expressed
through "facial and eye" movements.
In parallel, vocalists
in the background sing rhythmically the play, matching the beats of the
orchestra playing, thus unifying the ensemble into a resonant oneness. If you
understand the process, it is terrific
He is brainwashed by
vested interests in foreign payroll , to forget the striking elements in
Kathakali -- its dramatic quality; gods and heroes, demons and spirits , boons
and curses, the cosmic dance of the opposites
-- He now no longer inspired to a
world of myth and legend.
Kathakali creates a
world of illusion unmatched by any other form of theater. With its captivating
dramatics, its independently stylish grandeur and its transformational
theatrics, Kathakali MUST dominate the world theatre.
Kathakali’s generic
structure may be viewed in terms of mudras (hand gestures), rhythm, body
movements (kinetics), body language (kinesics), performance methods, costumes
and make-up (aharya).
Rasa is prepared,
states Natya Shastra, through a creative synthesis and expression of vibhava
(determinants), anubhava (consequents) and vyabhicharibhava (transitory
states).
In the process of
emotionally engaging the individual in the audience, the text outlines the use
of eight sentiments – loving, comic, pathetic, terrible, furious, odious,
heroic and marvelous..
The Natyashastra
defines drama as that which aesthetically arouses joy in the spectator, through
the medium of actor's art of communication, that helps connect and transport
the individual into a super sensual inner state of being.
Drama in this ancient
Sanskrit text, thus is an art to engage every aspect of life, in order to
glorify and gift a state of joyful consciousness.
The text discusses the
universal and inner principles of drama, that it asserts successfully affects
and journeys the audience to a supersensual state of discovery and
understanding. The stories and plots were provided by the Itihasas (epics), the
Puranas and the Kathas genre of Hindu literature
The function of drama
and the art of theatre, as envisioned in Natyashastra is to restore the human potential, man's
journey of "delight at a higher level of consciousness", and a life
that is enlightened.
Just like the taste of
food, states Natyashastra, is determined by combination of vegetables, spices
and other articles such as sugar and salt, the audience tastes dominant states
of a drama through expression of words, gestures and temperaments.
These dominant states
are love, mirth, sorrow, anger, energy, terror, disgust and astonishment.
There are 33
psychological states which are transitory such as discouragement, weakness,
apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience
There are eight temperamental states that a
drama can deploy to carry its message. The text describes four means of
communication between the actors and the audience – words, gestures, dresses
and aharya (make ups, cosmetics), all of which should be harmonious with the
temperament envisioned in the drama.
The ideal poem produces
bliss in the reader, or listener. It transports the audience into an
imaginative world, transforms his inner state, and delivers him to a higher
level of consciousness, suggests Natyashastra. Great songs do not instruct or
lecture, they delight and liberate from within to a state of godlike ecstasy.
The text defines the
basic dance unit to be a karana, which is a specific combination of the hands
and feet integrated with specific body posture and gait (sthana and chari
respectively). There are 108 karanas as
the building blocks to the art of dance
The text states the
various movements of major and minor limbs with facial states as means of
articulating ideas and expressing emotions
Verse 28.21 of Natya
Shastra introduced the musical scale as follows,( stolen and patented by the white man -- Do,
Re, Mi, Fa, So, La, Ti--)
तत्र
स्वराः
–
षड्जश्च
ऋषभश्चैव
गान्धारो
मध्यमस्तथा
।
पञ्चमो
धैवतश्चैव
सप्तमोऽथ
निषादवान्
॥
२१॥
— Natya Shastra,
28.21- 5000 BC
Svara/ (Long)
Sadja/(षड्ज)
Rsabha/(ऋषभ)
Gandhara/(गान्धार)
Madhyama/(मध्यम)
Pañcama/(पञ्चम)
Dhaivata/(धैवत)
Nisada/(निषाद)
Sadja/(षड्ज)
Svara/ (Short)
Sa/(सा)
Ri/(री)
Ga/(ग)
Ma/(म)
Pa/(प)
Dha/(ध)
Ni/(नि)
Sa/ (सा)
The Natysashastra text
has been influential in other arts.
The 108 dance forms
described in the Natyasastra, for example, have inspired Shiva sculptures
IN INDIAN DANCE THERE
IS --
NO SHOWING CAMEL
TOE,
NO ASSHOLE DOING PEEK A
BOO BEHIND THONG ,
NO GYMNASTICS,
NO ACROBATICS,
NO ROTATING ON FUCKIN' HEAD
NO TRAPEZE,
NO ROPE CLIMBING ,
NO TIP RIDICULOUS
TOEING,
NO WHIRLING AROUND A
STUPID POLE ,
NO SOMERSAULTS ,
NO MORBID PELVIC
THRUSTS,
NO SOPRANO HOLLERING --
WE DANCE REAL !
IN MODERN TV DANCE
SHOWS—THE JUDGES HAVE A MISSION.. BRING
DOWN THE LEVEL OF INDIAN SONG AND DANCE TO THE STUPID DANCE OF THE WEST
Several ancient
Sanskrit texts such as Natya Shastra and Hastha Lakshanadeepika discuss hand
gestures or mudras.
Kathakali follows the Hastha Lakshana deepika
most closely, unlike other classical dances of India
Hasta Mudras in
Kathakali or the codified finger movements in Kathakali are full of definite
symbolical significance and meaning and are effective substitutes for spoken
language.
Imitative, technical
and suggestive they are cent per cent symbolical and denote objects, actions
and even inflection. Hasta Lakshana Deepika and Abhinaya Darpana are two
standard works on Mudras.
The Mudras which
constitute the alphabet of a language of more than seven hundred words aim at
indirect suggestion rather than direct exposition. Each pose has a different name.
Greater significance has been attached to indirect suggestion.
Mudras have their
origin in the Tantric rites of the old. The Kathakali dancer embodies this
struggle with his own body. Kathakali
then ceases to be a danced drama, and an ancient ritual is substituted for
it.
The dancer, by the
eloquence and expressiveness of his gesticulation, his movements of the feet
and the body, and by his mimicry, must plunge the spectator not only into the
atmosphere and the action of the drama, and also reconstruct the place where it takes place.
Subtle gestures,
movements, body position or rhythmic sequence are not an attempt to present a
reality directly, but to represent it reconstruct it by means of
"figures", "ideograms" whose conventional symbolic meaning
escapes the uininitiated and the profane --who sees such a spectacle for the
first time.
This complex alphabet
of signs, consists of facial expressions, gesticulations, and pre-established
corporeal kinetics. There are thus nine
movements of the head, eleven ways of looking, six movements of the eyebrows,
four positions of the neck.
The movements of the
limbs - in all sixty-four - include those of the feet, the toes, the heels, the
ankles, the waist, the hips, in short all the flexible parts of the body.
The face is the
emotional mirror of the actor. The actor expresses and communicates through the
action of the neck, eyes, eyelashes, iris, eyebrows, lips, teeth, nose, ears,
chin, cheeks and tongue-deep psychic processes. The mudras permit endless permutations and
combinations, providing ample scope to the talented artists endowed with
originality to express his rare and full volumed genius.
Hast-Mudras are shown
with one hand and both hands as befitting the occasion.
Showing a basic Mudra
with one hand is called Asamyukta pose while showing the same root Mudra with
both hands is called Samyukta Pose. The display of one root mudra with one hand
and simultaneously another root mudra with other hand is known as Misra.
The twenty-four basic
mudras are Pataka, Mudrakhya, Kataka, Mushti Kartarimukha, Sukatunda
Kappitthaka, Hamsa-paksha, Sikhara, Hamsasyam, Anjali, Ardhachandra, Mukura,
Bhramara, Suchimukha, Pallava, Tripataka, Mrigasirsha, Sarpasira Vardhamanaka,
Arala, Urnanabha, Mukula and Katamugha.
There are 24 Basic
Mudras (hand gestures) in the "Hasthalakshana Deepika", the book of
hand gestures, which Kathakali is followed. There are 'Asamyutha Mudras' (that
is shown using single hand) and 'Samyutha Mudras' (mudras shown in double hands)
in each Basic Mudras, to show different symbols.
Considering all these
Mudras and their seperations there are totally 470 symbols used in Kathakali.
Mudras (hand gestures)
are the mainstay of communication in Kathakali. The Mudras convey meaningful
interpretations, poetic meanings, sentiments and dramatic actions.
A mudra is not a static
entity;it communicates only when it becomes dynamic along with body movements.
The significance of the three levels, which is head, chest and waist, at which
different mudras are delineated. A combination of the mudras at the three
levels to form ‘sentences’
Kathakali is a
harmonious combination of five forms of fine art:--Literature (Sahithyam) |
Music (Sangeetham) | Painting (Chithram) | Acting (Natyam) | Dance (Nritham)
The Nava Rasas are the
nine emotions in Kathakali
Rasa is accomplished as
a result of the conjunction of Vibhava, anubhava and vybhicari bhava
It means the flavour of
essence. There are basically nine rasas which is nava (nine) rasa and it
corresponding bhava or emotion.
The rasa can be seen as
the equals of the daily life emotions or bhava.
Verses for 33 Sanchari
Bhavas -- cross feelings which are ancillary to a permanent mood.
निर्वेदग्लानिशङ्काख्यास्तथासूया
मदः
श्रमः।
आलस्यं
चैव
दैन्यं
च
चिन्तामोहः
स्मृतिर्धृतिः॥१८॥
व्रीडा
चपलता
हर्ष
आवेगो
जडता
तथा।
गर्वो
विषाद
औत्सुक्यं
निद्रापस्मार
एव
च॥१९॥
सुप्तं
विबोधोऽमर्षश्चापि
अवहित्थं
अथोग्रता।
मतिर्व्याधिस्तथा
उन्मादस्तथा
मरणमेव
च॥२०॥
त्रासश्चैव
वितर्कश्च
विज्ञेया
व्यभिचारिणः।
त्रयस्त्रिंशदमी
भावाः
समाख्यातास्तु
नामतः॥२१॥
Vyabhicari [Sanchari]
Bhavas – They are thirty three in number viz. Nirveda (Despondency), Glani
(Weakness), Sanka (Suspicious), Asuya (envy), Mada (Inebriation), Srama
(exhaustion), Alasya (lethargy), Dainya (Depression), Cinta (anxiety), Moha
(delusion), Smrti (recollection), Dhrti (fortitude), Vrida (Bashfulness),
Capalata (in constancy), Harsa (joy), Avega (excitement), Jadata
(Stupefaction), Garva (Arrogance), Visada (Despair), Autsukya (impatient
curiosity), Nidra (sleep), Apasmara (Loss of memory), Svapna (Dreaming),
Prabodha (Wakening), Amarsa (indignation), Avahittha (Dissimulation), Ugrata
(Cruelty), Mati (self assurance), Vyadhi (Sickness), Unmada (madness), Marana
(death), Trasa (fright)and Virarka (deliberation).
The eight Bhavas can
only be felt with a sensitive heart and an involved mind. With the oneness with
the characters’ emotions, an actor can physically represent them.
The sastra also
mentions about the temperamental emotions and put them at the highest level as
far as the actors’ feelings and capability of delivering is concerned. They are
termed as Satvika Bhavas in the Natya Sastra
Verse for below
Sattvika bhavas :--
स्तम्भः
स्वेदोऽथ
रोमाञ्चः
स्वरभेदोऽथ
वेपथुः।
वैवर्ण्यं
अश्रु-प्रलय
इत्यष्टौ
सात्विकाः
स्मृताः॥२२॥
The Sattvika Bhavas are
eight in number. They originate from the physical form. They are Stambha
(Paralysis), Sveda (Sweat), Romanca (horripilation), Svarasada (feebleness in
the voice), Vepathu (Trembling), Vaivarnya (change of color), Asru (Shedding
tears), Pralaya (Loss of Sense).
"सत्त्वं
नाम
मनःप्रभवम्।
एतदेव
समाहितमनस्त्वादुत्पद्यते।
" इति
भरतः।
"एतदेवास्य
सत्त्वं
यत्
दुःखितेन
प्रहर्षितेन
वा
अश्रु-रोमाञ्चादयो
निवर्त्यन्ते।
तेन
सत्त्वेन
निर्वृत्ता
भावाः
- सात्त्विकाः
भावाः।
तद्भावभावनं
च
भावः।"
इति
धनिकः।
"पृथग्
भावा
भवन्त्यन्येऽनुभावत्वेऽपि
सात्त्विकाः।
सत्त्वादेव
समुत्पत्तेस्तच्च
तद्भावभावनम्॥"
इति
धनिकः।
Thus, physical
expression of the feelings of the mind are called sattvika. The theory of rasas
forms the aesthetic underpinning of all Indian classical dance and theatre
Expressing Rasa in
classical Indian dance form is referred to as Rasa-abhinaya. The Natyashastra
carefully delineates the bhavas used to create each rasa.
The expressions used in
Kathakali are exaggerated theatrical expressions
Comparison of Bhava ,
Vibhava and Anubhava -- (Being, Feeling
and Doing).
Bhava ( to emote ) is the essence of literary and performing
art.
Bhava is the becoming.
In other words, everything (objective or material) that can exist or comes in
to existence is bhava.
Going by this simple
understanding, the state of mind and even the material conditions like birth
and death or growth and decay or existence and transformation is bhava.
This understanding can
be extended to artistic creativity. The ‘feeling’ and ‘the thought process’ are
the direct outcome of the state of mind in real life and at the same time,
attributes like place, time, action, movement, gesture, posture, etc. can also
be defined and described as bhava.
The only difference
that needs to be acknowledged is that in real life “becoming” is more due to
direct implications of what we call the law of causation and with the reference
to artistic creativity, it is the artist who influences it; using the sheer
power of his imagination and creativity.
The artist does this by
creating situations, incidents, characters and infusing attributes like
feelings, thoughts, actions etc. It would be termed as process of “becoming”
with the reference to artistic creativity more as, induced or caused and not as
a production of material thing.
Natya Shastra considers
that art has no boundaries or any limits.
From the Natya Shastra,
a text on the arts, this beautiful quotation and translation is often quoted by
Indian classical dance instructors:
"Yato hastastato
drishtihi"..."Where the hand is, the eyes follow"
"Yato drishtistato
manaha"..."Where the eyes go, the mind follows"
"Yato manastato
bhavaha"..."Where the mind is, there is the feeling" Where the
mind goes, the mood (bhava) follows,
"Yato bhavastato
rasaha"..."Where there is feeling, there is mood/flavour, sweetness
(i.e.,appreciation of art; aesthetic bliss)" Where the mood goes, there
arises the sentiment
So vast are the
subtleties expressed in the hand gestures of hasta that the vastness of what
being human entails, and perhaps even what the entire universe contains, might
be expressed by the dancer
Mudras , gestures with
well-designed meaning composed by hands and fingers, are veritable visual
ideograms that replace speech.
There 24 fundamental
mudras which, in Kathakali , according to the various possible combinations of
them, and in relation to the movements
of the body and the mimicry of the face, can express more than three thousand words .. Each word in the
piece is expressed by a mudra , even grammatical themes such as "if",
"when", "but".
The Kathakali actor is graded
by his own imaginative faculty and this talent for improvisation - manodharma
- indispensable qualities for an
actor. It is NOT right to say that
Kathakali is a rigid science.
In reality, the actor
is a sculptor whose body is simultaneously chisel and block of marble. It takes
some intelligence to understand this. A
mountain is not simply a gesture. Its altitude can be read in the eyes of the
Kathakali actor, in his gaze, while we see the body climb this mountain, the
body which is simultaneously mountain and mountaineer.
This dialectic of the
game allows the viewer to judge the exterior as interior, to be introduced into
the internal mechanism and to apprehend it as a totality. In his game, the actor arrives at a
continual superposition between the subject and the object, between the world
of subjective emotions and the phenomenological world, between action and
reaction. Till today no white man has
really understood Kathakali at a deep level.
Mudras are not only a
visual ideogram of descriptive value, but constitute a process of emotional
plastic representation that engages the actor's body in the empty space he
fills with his presence and dynamics.
The expression of each
word of the play by a mudra can be regarded as the cause of the long duration
of a Kathakali show. A play, which takes only twenty minutes, presented in this
way on the stage, can last more than
four consecutive hours with the audience transfixed.
Rasa, the dominant
emotion, aroused by a Kathakali recital , is
tasted by the audience, --it has a different quality from that which is
aroused in real life. Rasas are created by bhavas. Rasa is about what the mind
feels and the expression of the feeling thereafter.
There are 2 kinds of
narration – Primary and Embedded. Primary narrative comes first and embedded is
the hidden one. A visual performance makes use of both the narratives in which
the story comes as primary narrative whereas the techniques form an embedded
narrative.
Usually the sloka will
be Sanskrit and the padam which follows this will be in manipravalam which is
the combination of Sanskrit and Malayalam.
The play, mudras as
well as mimic of the face, uses a language where the reality is not illustrated
passively, but recreated by original artistic means. The process distorts the
actor's dynamic, without hindering it.
The style of singing
particular to Kathakali is called Sopana sangeetham (Sopana Music). Of the two
singers, the first singer (pinnani) keeps the steady beat of the thala
(rhythmic pattern) by using the chengila (gongs), made of bell metal.
Music as a vachika
element in Kathakali is designed entirely to enable and enhance
characterisation, and not primarily for expressing classical virtuosity. Also
the singer has to keep his eyes riveted on the actor for every little body movement
has to synchronise with the gong beat.
So adept are
experienced singers that every nuance of a moving facial muscle is anticipated
and synchronised with the gong rhythm. The training of a singer for Kathakali
is in conjunction with a performing actor..
Kathakali experts price
the singer more for his conducting ability than for his melodious rendition..
Apart from the slow singing which is very difficult to master, the fluidity
takes years to acquire. Unlike classical musicians, a Kathakali musician goes
from raga to raga with no pause.
KATHAKALI IS THE ONLY
DANCE FORM ON THIS PLANET WHERE STUDENTS MUST DO ONE HOUR OF EYE EXERCISE FOR
EIGHT YEARS..
This facial gymnastics
makes it possible to reach the control of each muscle of the face, thus to go
beyond the mimic stereotypes.
It is very important
here to have different facial muscles move in different rhythms simultaneously,
the movements of which are not synchronized in life.
For example, very
quickly shake the eyebrows and very slowly the muscles of the cheekbones. Or, engage in a fast rhythm the left part of
the face, while the right part comes alive with very slow movements.
1. Raising of the lower
eyelids, without moving the upper eyelids.
2. Lifting a single
eyebrow.
3. Trembling of both
eyebrows, eyes normally open.
4. Trembling eyebrows,
eyes wide open.
5. Trembling of the
eyebrows, the lower eyelids raised.
6. Trembling of the
eyebrows while the head accomplishes movements.
7. Trembling of the
eyebrows, combined with various expressions of the face (disgust, contempt,
hate, joy, etc ...).
8. Trembling of the
eyebrows, while the face expresses a feeling and that the head accomplishes
movements.
9. Trembling of the
eyebrows accompanied by a tremor of the shoulders. These two tremors must not
be synchronized.
10. Tremor of the
eyebrows and horizontal displacement of the iris from left to right and vice
versa. The displacement of the iris is at first very slow, then very fast.
Avoid synchronization of eyebrow shake and iris movement.
11. Trembling of the
eyebrows accompanied by vertical displacement of the iris from top to bottom
and vice versa. Avoid synchronization.
12. Trembling muscles
of the cheekbones without moving eyes and mouth.
13. Trembling of the
muscles of the corners of the mouth faster and faster.
14. Trembling of the
muscles of the chin without moving the corners of the mouth without tightening
the teeth and without engaging the muscles of the anterior part of the neck.
15. Tremor of the
nostrils.
16. Vibrations of the
eyelashes.
The Kathakali Man is
the most beautiful of men--because his body is his soul.
Underneath that gaudy
outfit lies a supremely fit , determined , talented and level headed man..
A Kathakali actor needs
immense powers of concentration, skill, patience and physical stamina..and of
course the ability to sacrifice .
Kathakali dance-drama
is like a clear blue deep ocean- don’t muddy it by using Rothschild’s creations
Jayadeva, DASA nonsense and
Shakespeare’s mindless shallow plays!
Kathakali MUST draw
from the bottomless well of our ancient puranas chronicling the lives, loves
and conflicts of the gods and heroes of Indian mythology.
Kathakali provides a
window into our glorious past – here is an opportunity to understand our
ancient heritage that has been preserved for millenniums..
Kathakali expresses
emotions that go beyond words—and how !
The ancient
temple rituals, first performed in secret, evolved into a vibrant drama
that embraces the essence of what it is to be human.
Let us not create
situation where Kathakali can draw an audience only if the dancer shows his
balls and asshole– like Madonna or Lady Gaga or Miley Ray Cyrus.
Kathakali is all about
an extravagant spectacle against a minimal set with a single light source
Vilakku.
IN NATYASHASTRA
ABHINAYA ( PLAY ACTING ) HAS FOUR DIVISIONS AS PER VERSE “ANGIKO
VACHIKASCHAIVA AHARYO SATWIKA “.
Kathakali ignores
Vachika –the Kathakali actors are quiet on stage . The dancer does not sing –the singer does
NOT dance
Natyashastra describes
how the actor should deal with dialogue rendering and voice modulations with
his own effort. Kathakali has liberated
itself for sustaining the sheer magnitude of acting and dancing .
Totally freed nay
LIBERATED from the complications and nuances of of dialogues, the dancer can
focus is attention on more important matters like eye and facial
expressions.
Dancing for eight hours
continuously in such a rigorous manner cannot be done by all. The muscles and ligaments have been
stretched by painful chavitti uzhichal ( foot massage ) from a young age during
8 years of relentless training.
The Kathakali actors
though he does NOT show is often breathless due to extreme physical . Kathakali’s expressional acting would never
be appreciated if major portion of the actors energies went into dialogues or
songs.
In Natyashastra ,
Satwikabhinaya is considered a vital part of abhinaya . The rest of Indian
classical dance follows this , except Kathakali.
Bhava and Rasa are
mutually dependent..
Natyashastra classifies
the Rasa under eight categories (ashtarasa) and gives the corresponding Bhava
which gives rise to the rasa.
These are known as
Sthayi Bhava or pervading stable emotion.
They are rati(love),
hasa(mirth), shoka(grief), krodha(anger), utsaha(heroism), bhaya(fear),
jugupsa(disgust), and vismaya(wonder). The corresponding eight Rasa are
sringara(amorous), hasya(humorous), karuna(pathetic), raudra(furious),
vira(valorous), bhayanaka(horrific), bibhatsa(repugnant), and
adbhuta(wondrous).
There are t hree types
of Bhava, namely, Sthayi (eight types), Vyabhichari (thirty three), and Satvika
(eight), totaling to forty-nine.
The Satvika bhava are
the physical manifestation of intense emotion.
They are
sthamba(petrification), sveda(perspiration), romancha(horripilation),
svarabheda(voice change), vepathu(trembling), vaivarnya(facial colour change),
asru(weeping), and pralaya(fainting).
It is an amazing
analysis of human emotions put in a nutshell !
Karanas are the 108 key
transitions in the classical Indian
dance described in Natya Shastra. Karana is a Sanskrit verbal noun, meaning
"doing".
Each of the Karna
comprises specific movement of foot, calf, thigh, knee, waist, chest, neck,
arms, and hands.
According to
Natyashashstra, Karana is not a pose but the complete unit of dance movements.
List of 108 Karanas
1) Talapuṣpapuṭam 2)
Vartitam 3) Valitōrukam 4) Apaviddam 5) Samanakam 6) Līnam 7) Swastikarēchitam
8) Manḍalaswastikam 9) Nikuṭṭakam 10) Ardhanikuṭṭam 11) Kaṭīchinnam 12)
Ardharēchitam 13) Vakśaswastikam 14) Unmattam 15) Swastikam 16) Pṛṣṭhaswastikam
17) Dikswastikam 18) Alātam 19) Kaṭīsamam 20) Ākśiptarēchitam 21)
Vikśiptākśiptam 22) Ardhaswastikam 23) Añchitam 24) Bhujaṅgatrāsitam 25)
Ūrdhvajānu 26) Nikuñchitam 27) Mattalli 28) Ardhamattalli 29) Rēchitanikuṭṭam
30) Pādāpaviddakam 31) Valitam 32) Gūrṇitam 33) Lalitam 34) Daṇḍapakśam 35)
Bhujaṅgatrastarēchitam 36) Nūpuram 37) Vaiṣākharēchitam 38) Bhramaram 39)
Chaturam 40) Bhujaṅgāñchitam 41) Daṇḍarēchitam 42) Vṛśchikakuṭṭitam 43) Kaṭībhrāntam
44) Latāvṛśchikam 45) Chinnam 46) Vṛśchikarēchitam 47) Vṛśchikam 48) Vyamsitam
49) Pārśvanikuṭṭakam 50) Lalāṭatilakam 51) Krāntam 52) Kuñchitam 53) Chakramaṇḍalam
54) Urōmaṇḍalam 55) Ākśiptam 56) Talavilāsitam 57) Argaḷam 58) Vikṣiptam 59)
Āvartam 60) Dōlāpādam 61) Vivṛttam 62) Vinivṛttam 63) Pārśvakrāntam 64) Niṣumbhitam
65) Vidyutbhrāntam 66) Atikrāntam 67) Vivartitakam 68) Gajakrīḍitam 69)
Talasamsphoṭitam 70) Garuḍaplutam 71) Gaṇḍasūchī 72) Parīvṛttam 73) Pārśvajānu
74) Gṛdrāvalīnakam 75) Sannatam 76) Sūchī 77) Ardhasūchī 78) Sūchīviddham 79)
Apakrāntam 80) Mayūralalitam 81) Sarpitam 82) Danḍapādam 83) Harinaplutam 84)
Prēnkōlitam 85) Nitambam 86) Skalitam 87) Karihastam 88) Prasarpitam 89)
Simhavikrīḍitam 90) Simhākarṣitam 91) Udvṛttam 92) Upaśṛtam 93) Talasaṅghaṭṭitam
94) Janitam 95) Avahittakam 96) Nivēśam 97) Ēlakākrīditam 98) Ūrūdvṛttam 99)
Madaskalitam 100) Viṣṇukrāntam 101) Sambhrāntam 102) Viśkhambam 102) Udghaṭṭitam
104) Vṛśabhakrīḍitam 105) Lōlitam 106) Nāgāpasarpitam 107) Śakaṭāsyam 108) Gaṅgāvataranam
Natya Shastra has
described 108 karanas, each comprising of movements of abstract dance. Each of
the Karna comprises specific movement of foot, calf, thigh, knee, waist, chest,
neck, arms, and hands.
According to
Natyashashstra, Karana is not a pose but the complete unit of dance movements.
Karna is the most important primary unit of movement. Angahara is the name of
collective movements comprising several Karnas.
When Shiva performs the
Tandava, several Karanas are linked together to form a garland of dance poses
and movements. These become the Angaharas, garlands of dance poses of Lord
Shiva.
One of the most
interesting aspects of Kathakali is its elaborate make-up code. Kathakali
make-up is an elaborate process lasting for over three hours. Paints used in
Kathakali make-up are freshly prepared and applied to ensure correctness of
rhythmic curves and precision.
Kathakali depicts the
clash between good and evil in a narrative form. One of the toughest dance
forms, Kathakali requires tremendous control over the body and mind besides
elaborate facial make-up.
This is to ensure an
effortless portrayal of epic legends through mudras of hands and facial
expressions. Special exercises are imparted at a young age to master the
movements of the eyebrows, lips, chins, cheeks and eyes— with heavy foot
massages to stretch the ligaments supple at a tender age .
Kathakali has
traditionally been an art that has continued from one generation to the next
through a guru-disciples (gurukkula) based training system. In between foreign
money spoke and rot set in.
A typical course work
in Kathakali emphasizes physical conditioning by yoga Yoga and body massage is done to tone the muscles and sculpt the growing body,
along with rigourous dance practice.
Without passion you
cant be a Kathakali dancer
Kathakali’ incorporates
the most intricate make-up code, costume, face masks, head dress and brightly
painted faces among all Indian classical dance forms. Nothing can measure up
anywhere on this planet.
Its unique costume, accessories and make-up
complimented with spectacular performance, music and lightings bringing life to
the characters of the great epics and legends attracts and flabbergasts both
young and the old thus creating a surreal world around.
Only an audience who
already knows something about the story being enacted will be better able to
appreciate the “personalization” of characters by individual Kathakali actors.
Each character in
Kathakali dance is immediately recognizable by characteristic makeup and
costume.
Performance aspects are
developed through years of intensive training.
Four separate dramatic
elements of Kathakali- --
Aharyabhinaya refers to
the decorative elements of the play, particularly costume, makeup, and
accessories. The others are Vachikabhinaya (speeches and songs), Angikabhinaya
(dance, body position, mudras/hand gestures, eye movements, etc.) and
Satvikabhinaya (the expression of psychic states associated with emotions).
One of the major
enjoyments for traditional Kathakali connoisseurs is distinguishing and
discussing the "personalizations" that each actor brings to his
depiction of the story.
The success or failure
of amateur Kathakali artists is determined by their ability to successfully
personalize characters.
A Kathakali orchestra
is composed of a lead vocalist (“ponnani”) keeping time with a resounding gong
made of bell metal (chegala), which can be struck with a wooden stick; and a
minor vocalist (“singidi”) with a pair of clanking cymbals (elethalam)
Both Kathakali and
Kalari required body movements that were motivated by sacred inner rhythm.
Most
Kathakali performers were Kalari experts.
In the opera, the
performance is given more priority while the character that is performing the
act takes a back seat, whereas in Kathakali the CHARACTER takes preponderance
–the act, and the performance too are
important.
Imagery and diction are
conventionalized in Kathakali. The
Pataka Mudra is therefore formed by the actor holding his hand up with the ring
finger bent inward and the rest of the fingers stretched outward.
When this gesture is
shown, the meaning could be perceived in various ways. The average number of ways has been known to
be 36.
This tells us that the
relation between the denotation of a word and the word itself is not inherent.
The word is therefore not a symbol but a sign.
Kathakali has therefore
reversed the aesthetic transformation direction and enabled the growth of an
extensive unmatched gesture language.
This process therein
includes the actor’s skill in transforming the verbal text into a code for
gesture and the audience is relied upon to decode this code.
Kathakali includes
detailed gesture languages and a whole lot of other techniques and
tactics without which it would not have reached its level of supremacy.
Set apart from all the
other dance forms of India and abroad, Kathakali rules as the KING of all
classical-dance drama..
Kathakali being a
speechless art it is termed NRITYA instead of NATYA .
Kathakali takes the anatomic structure of the
human body seriously by making use of the muscular and skeleton parts of the
human body in its structure.
Unlike other forms of
dance Kathakali focuses on the use of the muscles and priority is given to
facial muscles, making the movement of these parts one of the most essential
elements in the training routine it employs for new dancers.
According to
Natyashastra rasa or sentiment‘ is the mental condition of delectation produced
in the spectator of a play or in the hearer or the reader of poem, as the
inevitable reaction of the bhavas or emotions manifested by the characters
No one word or phrase
is adequate to convey the total meaning of rasa. Rasa is the impression created
on the mind of the sympathetic audience by the expression of bhavas or
emotions‘ and is an experience the individual is subjected to on account of
this expression.
Bhava is the emotion
that creates a sense of enjoyment or experience which in itself is an entity
and that enjoyment or experience is rasa.
If rasa is the purpose
of Kathakali then the tool, which is utilized to bring about rasa, is abhinaya.
The word abhinaya means
that which brings the thing to the spectator, or the different ways in which
the actor brings the play with its meaning and feelings to the spectator.
According to
Natyashastra rasa or sentiment‘ is the mental condition of delectation produced
in the spectator of a play or in the hearer or the reader of poem, as the
inevitable reaction of the bhavas or emotions manifested by the characters
No one word or phrase
is adequate to convey the total meaning of rasa. Rasa is the impression created
on the mind of the sympathetic audience by the expression of bhavas or
emotions‘ and is an experience the individual is subjected to on account of
this expression.
Bhava is the emotion
that creates a sense of enjoyment or experience which in itself is an entity
and that enjoyment or experience is rasa.
If rasa is the purpose
of Kathakali then the tool, which is utilized to bring about rasa, is abhinaya.
The word abhinaya means
that which brings the thing to the spectator, or the different ways in which
the actor brings the play with its meaning and feelings to the spectator.
The eyes play the most
important role with regard to the expressions of feelings and emotions. In a
dramatic performance, all the bhavas and the rasas are expressed through the
eyes.
The bhava is first
indicated by eyes and then represented by limbs.
Natyashastra mentions
thirty–six different types of dristis or ‗eye-movements‘ in his Natyasastra .
Eight of them known as
rasadristis correspond to the eight sentiments, and another group of eight
called sthayi-dristis represent the eight sthayi-bhavas and the remaining
twenty eye movements known as sancari-dristis are related to the depiction of
the vyabhicari-bhavas. Another detail is regarding the movements of the pupils of
the eye, which are nine.
The modes of glances
are eight. Yet another detail is related to the movements of the eye lashes,
which are nine.
The movements of the
eyebrows are of seven types. The movements of the nose, cheeks and of the lips
are of six kinds. The movement of the chin is of seven types. The mukhakarma
which denotes the actions of the face are of six varieties. The actions of the
neck are of nine types.
They are thirty-two in
total, out of which, the first sixteen belongs to the earth and the next
sixteen to the sky. There are six sthanas or stances to be resorted to by men
while engaging in conversation, expressing certain sentiments etc.
All this artificial
gesticulation and stylish body language transforms any emotion into a beautiful
kinetic form which takes natya into the realm of fantasy, helping the process
of rasanubhava that is the aesthetic flavour of the universalized emotion to be
experienced by the spectators through the art of theatre.
The dialogue of a
Sanskrit play has a number of functions. Apart from carrying forward the theme,
it always lays the setting and describes feelings and emotions of the
characters.
In the course of a
play, minute incidents not required for action, certain details that are not
physically present or rather not necessarily required on the stage, what is to
be known and only be heard by audience, parts of the story that have happened
between two scenes or acts, confidential speech between characters; all of
these were conveyed to the audience with the help of various conversational
techniques.
Some of those devices
are prakasa (aloud) that is what is to be heard by all, svagata or atmagata
(aside) that is what is not to be heard by all, janantika, ( personal address)
that is mutual conversation in the presence of other persons by shutting out
the others in the middle of a story by the hand with three fingers raised,
tripataka in which the ring finger is bent down, the thumb slightly curved
inward, and the other fingers are outstretched and apavarita ( confidence) that
is a secret told by one actor to the
another by turning around towards the character that is to hear the secret.
Human behaviour is
molded mostly by reactions of the mind expressed through the face, words and
the body. These three aspects have become the three abhinayas—sattvika, vacika
and angika in drama.
Indeed Natyasastra penned down 7000 years ago, in
Sanskrit verses , is a colossal work on dramatic art and technique –when the
white man was doing GRUNT GRUNT for language
The eight involuntary
mental states, thoroughly described in Natyashastra, are paralysis (stambha),
sweating (sveda), bristling (romancha), change of voice (svarabheda), change of
skin color (vaivarnya), trembling (vepathu), crying (ashru) and fainting
(pralaya).
To look authentic on
stage, these eight sudden urges of emotion should be represented in concordance
with the temperament behind them. Therefore their stage presentation relies not
only on the way the actor performs, but also on his distinguishing mental and
physical characteristics, on his manner of thinking, behaving or reacting.
In this process the actor’s unique life
experience is also to be employed to the full: while acting, many times he
needs to create the impression of seeing or touching objects which are not
real.
To do so he must
imagine and make his own senses as though the stimuli were real. The actor must
remember his own life reactions in order to train his senses to respond to
imaginary objects and create an emotional reaction to what he imagines.
According to
Natyashastra the eight sattvikabhava occur for certain reasons and shall be
represented on stage through fixed actions.
In terms of modern psychology emotion is a
term expressing the mental state of the individual, influenced by different
actors and circumstances. Emotion can have a positive (joy, lyrical) or
negative (distress, sadness) valency, but can also be a state of indifference
(apathy, carelessness, indifferent).
Emotion is a complex
process associated with the internal states of the body and is manifested in
the individual's behavior, which is its external observable side. Emotions can
vary in intensity, also called force. The stronger the emotion, the stronger is
the physiological manifestation.
The eight basic
emotions are joy, fear, anger, grief, love, disgust, surprise and contempt. In
addition to the basic emotions there are complex categories in which certain
emotions are combined to form complex emotions. One model involves complex
emotions arising from the basic emotions, influenced by cultural conventions or
associations.
There are also
meta-emotions - organized and structured set of emotions and cognitions about
emotions, including both the individual's own emotions and the emotions of
others. The concept of meta-emotions reflects the idea that every time you
generate a certain emotion it stirs subsequent emotions associated with the way
in which the primary emotion is experienced.
Emotion is a complex
psychological condition that includes three main components: subjective
experience, physiological reactions and behavioral responses
Natyashastra says that sattvikabhinaya is the most important mode
of expression. A play is supreme if it contains sattvikabhinaya.. To
enact sattvikabhava on stage the actor should be in state of high
concentration, becoming mentally engaged in the extreme emotion situation, to
experience it to such an extent, that it cause his temper to manifest
accordingly by specific physiological reactions.
This is the reason why
in Kathakali the dancer does NOT speak. He does not follow the music, the music
follows him. Kathakali hence cannot
have music from tape recorders
A Tala literally means a "clap, tapping one's
hand on one's arm, a musical measure" It is the term used in Indian
classical music to refer to musical meter that is any rhythmic beat or strike
that measures musical time
The measure is
typically established by hand clapping, waving, touching fingers on thigh or
the other hand, verbally, striking of small cymbals, or a percussion instrument
Along with raga which
forms the fabric of a melodic structure, the tala forms the time cycle and
thereby constitutes one of the two foundational elements of Kathakali
A tala in Indian music
covers "the whole subject of musical meter". Indian music is composed
and performed in a metrical framework, a structure of beats that is a tala. The
tala forms the metrical structure that repeats, in a cyclical harmony, from the
start to end of any particular song or dance segment,
A tala measures musical
time in Indian music. However, it does not imply a regular repeating accent
pattern, instead its hierarchical arrangement depends on how the musical piece
is supposed to performed.
A metric cycle of a
tala contains a specific number of beats, which can be as short as 3 beats or
as long as 128 beats.
The pattern repeats, but the play of accent
and empty beats are an integral part of Indian music architecture. Each tala
has subunits. In other words, the larger cyclic tala pattern has embedded
smaller cyclic patterns, and both of these rhythmic patterns provide the
musician and the audience to experience the play of harmonious and discordant
patterns at two planes.
A musician can choose
to intentionally challenge a pattern at the subunit level by contradicting the
tala, explore the pattern in exciting ways, then bring the music and audience
experience back to the fundamental pattern of cyclical beats.
The tala as the time
cycle, and the raga as the melodic framework, are the two foundational elements
of classical Indian music. The raga gives an artist the ingredients palette to
build the melody from sounds, while the tala provides her with a creative
framework for rhythmic improvisation using time.
The chants in the Vedic
recital text, associated with rituals, are presented to be measured in matras
and its multiples in the invariant ratio of 1:2:3. This system is also the
basis of every tala
the idiophone in the
form of "small bronze cymbals" were used for tala. Almost the entire
chapter of Natyashastra on idiophones,
Each tala is divided in
two ways to perfect the musical performance, one is called kala (kind) and the
other gati (pulse). A tala does not have a fixed tempo (laya) and can be played
at different speeds
Kerala’s greatest
contribution to the world of music is its intricate and complex talas and of
course tala Vadyas. . Thus talas of Kerala can be classified into;---
A] Those used in the
temple rituals of Kerala
B] Those figuring in
the ensembles performed during temple festivals or Utsavas of Kerala.
C] Those employed in
the music that accompanies the dance and traditional theatrical performances.
Kshethra talas or talas
used in the temple rituals of Kerala.
In each temple, for
each ritual specific talas are prescribed to be played on a group of
instruments such as Idakka, Timila , Maddalam, Maram, Chenda Ilathalam etc.
this is a very old tradition and still followed with great devotion and
austerity
There are talas specified
for each deities, Balipeetas, corners, places and Pradakshinas. Some talas are
also found prescribed for more than one deity and occasion. There are about 11
such talas followed in temple rituals.
Ekam--The old name for
this tala is Ekaputam. It consists of one Anga and one Matra.ie.4 aksharakalas.
Randam talam--- Randam
talam consists of one Laghu and Guru, thus total Matras 3 ie.12 aksharakalas,
Moonnaam talam--- This
talam consists of Plutam, Guru and Guru, total Matras being 7, 28
aksharakalas..
Nalaam talam--- Nalaam
talam has 8 Matras, 32 aksharakalas and its constituent Angas are Plutam,
Laghu, Guru and Guru.
Anchaam talam--- This
consists of Plutam, Laghu, Laghu, Guru and Guru, so total Matras 9 ie.36
aksharakalas . Among these the first Anga Laghu is silent.
Sambhu talam---- Sambhu
talam of 3 Matras,12 aksharakalas, is used in the third Purapradakshinam.
Mangala talam--- This
prominent talam consists of Guru, Laghu and Laghu comprising 4 Matras,16
aksharakalas. It is played for Digbali at the north-east corner.
Sakatu talam---- Sakatu
talam consists of Laghu, Laghu and Guru of 4 Matras,16 aksharakalas . It is
used in the outer Pradakshinam.
Mutakku talam--- The Angas of Mutakku talam are Guru, Laghu
and Guru, Matras will be five. So aksharakalas will be Twenty.
Takatu talam--- Takatu
talam is 9 Matras,36 aksharakalas. Its constituent Angas are Plutam, Laghu,
Laghu, Guru and Guru. In this talam also first Laghu is silent.
Kaarika talam---
Kaarika talam consists of the Angas Laghu, Laghu, Laghu and guru of 5 Matras ie
20 aksharakalas. This is played during Digbalis at four main quarters.
Shatkalam or playing in
6 speeds is a common feature followed in Kerala ensembles. The starting tempo
of a Melom will be Pati Kalam-Ati Ati Vilamba Kalam having duration of 32
Akshara Kalas.
The Sanskrit word
"bhAAva" means "emotion, sentiment, state of body or mind,
disposition", while "bhava"
means "being, worldly existence, becoming, birth, be, production,
origin".
The former term is
rooted in latter, and in some context also means "becoming, being,
existing, occurring, appearance" while connoting the condition thereof.
śāntabhāva, the calm,
peaceful, gentle or saintly attitude
dāsyabhāva, the attitude
of devotion
sakhyabhāva, the
attitude of a friend
vātsalyabhāva, the
attitude of a mother towards her child
madhurabhāva (or
kantabhava), the attitude of a woman in love
tanmayabhava, the
attitude that the Lord is present everywhere
The human body is made
up of minute anatomical units which function individually or in combination
with other parts. The muscles play an important part in Kathakali and the
movements of the facial muscles are a most significant part of a dancer's
training.
The geometrical pattern
which the dancer follows may be described as RECTANGLE , with the dancer
standing with book feet apart, knees turned out and the outer soles of the feet
touching the ground. This position may be identified as the mandala sthana shown on the THIRASHEELA . The dancer covers space also in patterns of
rectangles.
The right foot meets
the left and one side of the rectangle. The dancer moves forward to the third
corner of the rectangle and then back to the second corner and finally comes
back to the first corner but only touching all four points. With his arms and
hands, the dancer covers space usually in figures of rectangles or clearly
drawn diagonals along these rectangles.
Occasionally the hands
execute figures of eight and the eyes follow, but the movement sequence always
limits imaginary geometric pattern. The KNEES are always turned OUT and there
is invariably space of two to three feet between the feet.
The torso is used as
one unit or occasionally, two i.e. the upper and lower torso. Jumps, spirals,
sweeps and leaps are characteristic. Leg extensions are clear and the weight
must be shifted from one foot to the other in these extensions with ease.
It is an essential part
of the dancers training to learn how to use each facial muscle separately. The
movement of the eyebrows, the eyeballs and the lower eyelids described in
Natyasastra are not used to such an extent in any other dance style of India.
In the nritta portions
of Kathakali, the dancer executes leg-extensions and jumps still covering space
in a series of rectangles to a given time cycle (tala). The units of the nritta portions are the
Kalasams. In Kathakali these cadences of
dance patterns culminate in compositions known as araddis which are usually
multiples of three.
Kathakali actor uses
the hastas, i.e. the hands and the eyes as his most important instruments of
communication never forgetting that these are used along with other micro
movements of the face and the micro movements of the lower lower limbs and the
torso.
The Kathakali tradition
of the hastas is different from that of the Natyasastra and the Abhinaya
Darpana. The extended hand is called tripataka in the Kathakali tradition.
The text followed by
the Kathakali actor is the 'Hasta Lakshana Dipika' which described 24 basic
hastas of single hands and an equal number of combined hands. Each hasta can be
used in its permutation and combination with another hasta.
It can be used at
different levels, it can be used along with the movements of the arms and the
eyes delicately or with energy or without. The Kathakali tradition has enlarged
and elaborated the language of gesture.
Koodiyattam ( MUTHAPPAN
THEYYAM ) , performed in North Kerala KAVU temples predated Kathakali , much
before Natya Shastra was conceived --- this dance inspired the formation of
Kathakali. This dance form was created
during the DANAVA CIVILIZATION OF THE THIYYAS.
This was the first civilization
on the planet, which preceded the Vedic civilization by several
milliniums. All professors of the
Saraswati Vedic civilization were Namboodiris from Kerala. Namboodiris are the
Sanskrit and Veda knowing cream of the Thiyyas.
Chanakya was such a
professor. They were called ARYANS who
had a side skikka ( kudumi ) hair style.
Shiva’s damaru (
knotted cords ) was played. Indeed in anient days there could be no Sopanam
without Shiva’s Damaru which beat Sanskrit language and 54 alphabets into
existence . Malayalam too has 54
alphabets. In Shiva Shakti format is gives the magic number of 108
Jew Rothschild’s agent
Indian President Sarvapalli Radhakrishnan converted Koodiyattam into
Rothschild’s play using all Rothschild’s FAKE DASA creations
According to the Rasa
theory of the Natya Shastra, entertainment is a desired effect of performance
arts but not the primary goal, and that the primary goal is to transport the
individual in the audience into another parallel reality, full of wonder and
bliss, where he experiences the essence of his own consciousness, and reflects
on spiritual and moral questions
The "rasa
theory" of Natyashastra, presumes that bliss is intrinsic and innate in
man, it exists in oneself, that manifests non-materially through spiritual and
personally subjective means. Performance arts aim to empower man to experience
this rasa, or re-experience it. Actors aim to journey the spectator to this
aesthetic experience within him.
When the literary
focalisations are named as first person narration, second person narration and
third person narration, the visual narration names it as external focalisation,
internal focalisation and Zero focalisation. The external focalisation is the
view point of a person outside the play. The soothrdhara of ancient Sanskrit
plays can be categorized under external focalisation..
The internal
focalisation is the perspective of a character. The character guides the story
through his feelings and thoughts. It can be a soliloquy or an unspoken
narration through his past. Zero focalisation gives a perspective of an
omniscient narrator.
The Natya connects
through abhinaya, that is applying body-speech-mind and scene, wherein asserts
Natyashastra, the actors use two practices of dharmi (performance), in four styles
and four regional variations, accompanied by song and music in a playhouse
carefully designed to achieve siddhi (success in production).
The Natyashastra states
that the playwright should know the bhavas (inner state of being) of all
characters in the story, and it is these bhavas that the audience of that drama
connects with. The hero is shown to be similar to everyone in some ways, trying
to achieve the four goals of human life in Hindu philosophy, then the vastu
(plot) emerges through the "representation of three worlds – the divine,
the human, the demonic".
Drama has dharma, it
has artha, it has kama, it has humor, fighting and killing. The best drama
shows the good and the bad, actions and feelings, of each character, whether
god or mandrama is that art which accepts human beings are in different inner
states when they arrive as audience, then through the art performed.
It provides enjoyment
to those wanting pleasure, solace to those in grief, calmness to those who are
worried, energy to those who are brave, courage to those who are cowards,
eroticism to those who want company, enjoyment to those who are rich, knowledge
to those who are uneducated, wisdom to those who are educated.
Drama represents the
truths about life and worlds, through emotions and circumstances, to deliver
entertainment, but more importantly ethos, questions, peace and happiness.
The text discusses the
dominant, transitory and temperamental states, for dramatic arts, and the means
that an artist can use to express these states
The Natyasastra
describes the stage for performance arts as the sacred space for artists, and
discusses the specifics of stage design, positioning the actors, the relative
locations, movement on stage, entrance and exit, change in background, transition,
objects displayed on the stage, and such architectural features of a theatre;
the text asserts that these aspects help the audience get absorbed in the drama
as well as understand the message and the meaning being communicated
Indian art evolved with
an emphasis on inducing special spiritual or philosophical states in the
audience, or with representing them symbolically.
Eyes and the gestures
with eyes are a very important part of Kathakali. Within the series of eye
movements, eight kinds of movements are important: after each exercise, the eye
focuses on one point, cutting itself off the environment. Over time, the calm
interval gradually turns into a means of meditation.
When chenda leaves
areas of pause in percussion, the the slack is picked up by maddalam, which
also synchronises the pitch.
Kathakali performers
with their heavy, stylized makeup, complemented by elaborate costumes and
opulent head dresses, make a striking psychological impression on the
viewer. Therein lies the magic.
Each character’s every
emotion is expressed on the face with an intense, stylized vividness, in
harmony with the rhythm of the dance and melody of the music. The actors not
only express the subjective emotions of the human heart, but give objective
impersonations of the characters, scenes, creatures and surroundings.
The Kathakali dancer
never stands erect. He is dictated by
a conscious inner force. His angular
movements, are tense and virile, he is a
weaver who creates a mindboggling fabric
of rhythms .
Powerful expression,
religious fervor, and pantomime shall sustain Kathakali as the king among play
acts
SANATANA DHARMA IS
ROOTED IN SHABDA ( SOUND )-YET WE HAVE CONVERTED SOUND INTO GEOMETRY AT WILL
.
THE EYE COULD SEE SOUND
THE MAGIC OF KATHAKALI
LIES IN THE SINGLE FLICKERING LIGHT SOURCE OF AN OIL LAMP, WITH LIGHT CASTING
UPWARD SHADOWS ON THE ACTORS.
THE AUDIENCE SITS IN DARKNESS.
IF THIS IS TAKEN AWAY
THE SHOW IS AESTHETICALLY DEAD .
THE ACTOR USES THE
WHITE BEARD BASE TO PLAY WITH SHADOWS ON HIS OWN FACE
KATHAKALI DELIVERS
ULTIMATE CATHARSIS .
DURING THE THREE HOUR
PERIOD WHEN DANCERS ARE UNDERGOING MAKE UP—THERE IS ABSOLUTE SILENCE
DURING THE PERFORMANCE
THERE IN NO CLAPPING— JUST A TRANSFIXED APPRECIATIVE AUDIENCE WHO KNOWS THE
INTRICACIES AND SUBTLETIES
LIGHTING IS JUST ONE
SINGLE LAMP CALLED KALI VILAKKU ( NILA VILAKKU ) WITH FAT WICKS AND A LARGE
RESERVOIR OF COCONUT OIL …
THE SINGLE LAMP ON A
MOONLESS NIGHT FLICKERS AND THIS HAS A HYPNOTIC EFFECT ON THE AUDIENCE
THE FLAMES WEAVE AROUND
CASTING EERIE SHADOWS , REFLECTING ON THE SWEAT OF THE FACE OF THE DANCERS .
THE AUDIENCEs EYES ARE
AT THE LEVEL OF THE FLAMES— THE LAMP COMES UP TO THE WAIST OF THE DANCERS—
INDEED THE LIGHT SOURCING IS HYPNOTIC –THE DANCE IS DONE ON DARK NEW MOON
DAYS
THE PLAY STARTS AT 10
PM AND CONTINUES TILL DAWN
WHEN THE SHOW IS OVER ,
THE SUN PEEPS AND A NEW AUSPICIOUS DAY STARTS –
WITH THE EVIL FORCES CONQUERED ON STAGE,
BY THE GOOD FORCES
WHEN THE DRUM BEATS
CEASE THE AUDIENCE WAKES UP FROM A MAGICAL REVERIE , EXHAUSTED BUT TRIUMPHANT AS IF THEY HAVE DANCED WITH THE
GODS .
THERE IS A SPRING IN
THEIR STEP , WHILE THEY WEND THEIR WAY HOME , DEEP IN THOUGHT, CHEWING THE CUD
There is NO written or
oral invitation. Anybody can come to the
temple for the Kathakali performance .
Kathakali recital is a
treat par excellence for the layman and connoisseur alike and is indeed the
true essence of Kerala, Gods Own Country.
THE PRESIDENT OF INDIA, SUPREME COURT, CJI AND PM MUST NOTE THE FOLLOWING..AND MAKE AMENDS...
1) RIGHT TO DARSHAN IN A HINDU TEMPLE IS NOT THE SAME AS RIGHT TO WORSHIP.. DARSHAN IS A PRIVATE AFFAIR.. RIGHT TO WORSHIP AS PER THE CONSTITUTION IS A PUBLIC THINGY..YOU CANT BARGE INTO A TEMPLE WHEN SANCTUM NADA DOORS ARE SHUT AND TELL THE PRIEST TO OPEN THE DOORS QUOTING YOUR FUNDAMENTAL RIGHT..
2) MORE THAN 81% OF THE PEOPLE OF INDIA AND WOKEN UP IN THE MORNING BY BLARING AZAN CALLS BY LOUDSPEAKER FITTED ON MOSQUES AT AN UNEARTHY HOUR OF 0430 IST.. WHY IS THIS ALLOWED ?
3) THE SUPREME COURT HAS IGNORED THE "AGGRIEVED PERSON" PROVISION AS PER OUR CONSTITUTION .. A MUSLIM NON-BELEIVER NAMED NAUSHAD AHMAD KHAN FILED THE CASE AGAINST MENSTRUATING WOMEN ENTRY IN SABARIMALA JUST TO THROW A MONKEY WRENCH INTO THE WORKS OF A RIVAL RELIGION HINDUISM..
4) WHY IS SHANI SHIGNAPUR TEMPLE BEING USED AS A LITMUS PAPER AGAINST SABARIMALA.. THIS IS LIKE COMPARING AN ELEPHANT TO AN ANT.. SABARIMALA IS THIS PLANETs NO 1 PILGRIMAGE , ATTRACTING TWICE THE NUMBER OF PILGRIMS OF MAHA KUMBH MELA
5) WHY ARE WHITE COMMIE JEWS AND THE WHITE CHRISTIAN JEALOUS OF SABARIMALA ? JEW ROTHSCHILD WHO RULED INDIA REMOVED AYYAPPA AS THE NINTH AVATAR OF VISHNU AND INSERTED MORTAL BUDDHA WHO DID NOT BELIEVE IN THE SOUL, AND STRUGGLED FOR SALVATION.. KANCHI MUTT, UDIPI MUTT, TIRUPATI TEMPLE WERE ALL APPAYYA TEMPLES BEFORE THE WHITE INVADER CAE TO INDIA.. THIS IS WHY WE FIND TAMILS, TELUGUS AND KANNADIGAS COMING TO SABARIMALA .. FESTIVALS ARE NEVER FORGOTTEN..
6) TAKING DECISIONS WHICH AFFECT THE FORTUNES OF THE ENTIRE NATION IS THE SOLE PREROGATIVE OF THE ELECTED LAW MAKERS..WHO ARE ACCOUNTABLE TO THE PEOPLE AND THE WATAN…. THIS IS THE MEANING OF DEMOCRACY..
7) THE INDIAN CONSTITUTION HAS NOT GIVEN POWERS TO THE JUDICIARY TO STRIKE DOWN LAWS, CREATE NEW LAWS OR TAKE UP PUBLIC INTEREST LITIGATION ( PIL ) WHICH AFFECTS THE FORTUNES OF THE ENTIRE POPULATION OF INDIA….
8) WE EXPECT OUR LEGISLATURE TO DELIVER SUBJECTIVE DHARMA… NOT OBJECTIVE “ BLIND JUSTICE “ OF COURTS WHICH TRAMPLES ON OUR PRICELESS CULTURE …
9) WE ASK THE LEGISLATURE TO CREATE AN IMMEDIATE LAW WHICH RESTRICTS THE NUMBER OF PEOPLE WHICH CAN BE AFFECTED BY A PIL RULING BY JUDGES …
10) WOMEN CANNOT UTTER GAYATRI MANTRA WHEN THEY HAVE MENSES. MY WIFE HAS NOT ENTERED THE PUJA ROOM INSIDE MY HOME IN 36 YEARS OF MARRIAGE DURING HER PERIODS.
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
WE THE PEOPLE WHO ARE ABOVE THE CONSTITUTION DECLARE THAT THE RULINGS OF THE SUPREME COURT ON ADULTERY , HOMOSEXUALITY AND SABARIMALA IS "NULL AND VOID".. THESE ARE MATTERS LEFT TO ACCOUNTABLE AND ELECTED LAWMAKERS ..NOT COLLEGIUM JUDICIARY WHICH IS NOT ALLOWED AS PER OUR CONSTITUTION..
capt ajit vadakayil
..
PUT ABOVE CRITICAL COMMENT IN WEBSITES OF--
CJI GOGOI
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
PMO
PM MODI
ATTORNEY GENERAL
CM OF KERALA
GOVERNORS OF ALL STATES
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
RAHUL EASHWAR
ALL MLAs OF KERALA
ALL MINISTERS OF KERALA
DGP OF KERALA
IG OF KERALA
ALL COLLECTORS OF KERLALA
KERALA MEDIA
SONIA GANDHI
RAHUL GANDHI
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
CMs OF ALL STATES
ALL MINISTERS MINISTERIES CENTRAL AND STATE
NCW MAIN
NCW STATES
NHRC
NCM
RSS
MOHAN BHAGWAT
ADVANI
MURLI MANOHAR JOSHI
BAJRANG DAL
PRESIDENT OF INDIA
VP OF INDIA
ALL MEDIA OF INDIA
E SREEDHARAN
SOLI BABY
FALI BABY
SALVE BABY
AJIT DOVAL
ALL 3 ARMED FORCE CHIEFS
SPREAD ON SOCIAL MEDIA
ALL MUST CO-OPERATE
capt ajit vadakayil
..
1) RIGHT TO DARSHAN IN A HINDU TEMPLE IS NOT THE SAME AS RIGHT TO WORSHIP.. DARSHAN IS A PRIVATE AFFAIR.. RIGHT TO WORSHIP AS PER THE CONSTITUTION IS A PUBLIC THINGY..YOU CANT BARGE INTO A TEMPLE WHEN SANCTUM NADA DOORS ARE SHUT AND TELL THE PRIEST TO OPEN THE DOORS QUOTING YOUR FUNDAMENTAL RIGHT..
2) MORE THAN 81% OF THE PEOPLE OF INDIA AND WOKEN UP IN THE MORNING BY BLARING AZAN CALLS BY LOUDSPEAKER FITTED ON MOSQUES AT AN UNEARTHY HOUR OF 0430 IST.. WHY IS THIS ALLOWED ?
3) THE SUPREME COURT HAS IGNORED THE "AGGRIEVED PERSON" PROVISION AS PER OUR CONSTITUTION .. A MUSLIM NON-BELEIVER NAMED NAUSHAD AHMAD KHAN FILED THE CASE AGAINST MENSTRUATING WOMEN ENTRY IN SABARIMALA JUST TO THROW A MONKEY WRENCH INTO THE WORKS OF A RIVAL RELIGION HINDUISM..
4) WHY IS SHANI SHIGNAPUR TEMPLE BEING USED AS A LITMUS PAPER AGAINST SABARIMALA.. THIS IS LIKE COMPARING AN ELEPHANT TO AN ANT.. SABARIMALA IS THIS PLANETs NO 1 PILGRIMAGE , ATTRACTING TWICE THE NUMBER OF PILGRIMS OF MAHA KUMBH MELA
5) WHY ARE WHITE COMMIE JEWS AND THE WHITE CHRISTIAN JEALOUS OF SABARIMALA ? JEW ROTHSCHILD WHO RULED INDIA REMOVED AYYAPPA AS THE NINTH AVATAR OF VISHNU AND INSERTED MORTAL BUDDHA WHO DID NOT BELIEVE IN THE SOUL, AND STRUGGLED FOR SALVATION.. KANCHI MUTT, UDIPI MUTT, TIRUPATI TEMPLE WERE ALL APPAYYA TEMPLES BEFORE THE WHITE INVADER CAE TO INDIA.. THIS IS WHY WE FIND TAMILS, TELUGUS AND KANNADIGAS COMING TO SABARIMALA .. FESTIVALS ARE NEVER FORGOTTEN..
6) TAKING DECISIONS WHICH AFFECT THE FORTUNES OF THE ENTIRE NATION IS THE SOLE PREROGATIVE OF THE ELECTED LAW MAKERS..WHO ARE ACCOUNTABLE TO THE PEOPLE AND THE WATAN…. THIS IS THE MEANING OF DEMOCRACY..
7) THE INDIAN CONSTITUTION HAS NOT GIVEN POWERS TO THE JUDICIARY TO STRIKE DOWN LAWS, CREATE NEW LAWS OR TAKE UP PUBLIC INTEREST LITIGATION ( PIL ) WHICH AFFECTS THE FORTUNES OF THE ENTIRE POPULATION OF INDIA….
8) WE EXPECT OUR LEGISLATURE TO DELIVER SUBJECTIVE DHARMA… NOT OBJECTIVE “ BLIND JUSTICE “ OF COURTS WHICH TRAMPLES ON OUR PRICELESS CULTURE …
9) WE ASK THE LEGISLATURE TO CREATE AN IMMEDIATE LAW WHICH RESTRICTS THE NUMBER OF PEOPLE WHICH CAN BE AFFECTED BY A PIL RULING BY JUDGES …
10) WOMEN CANNOT UTTER GAYATRI MANTRA WHEN THEY HAVE MENSES. MY WIFE HAS NOT ENTERED THE PUJA ROOM INSIDE MY HOME IN 36 YEARS OF MARRIAGE DURING HER PERIODS.
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
WE THE PEOPLE WHO ARE ABOVE THE CONSTITUTION DECLARE THAT THE RULINGS OF THE SUPREME COURT ON ADULTERY , HOMOSEXUALITY AND SABARIMALA IS "NULL AND VOID".. THESE ARE MATTERS LEFT TO ACCOUNTABLE AND ELECTED LAWMAKERS ..NOT COLLEGIUM JUDICIARY WHICH IS NOT ALLOWED AS PER OUR CONSTITUTION..
capt ajit vadakayil
..
PUT ABOVE CRITICAL COMMENT IN WEBSITES OF--
CJI GOGOI
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
PMO
PM MODI
ATTORNEY GENERAL
CM OF KERALA
GOVERNORS OF ALL STATES
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
RAHUL EASHWAR
ALL MLAs OF KERALA
ALL MINISTERS OF KERALA
DGP OF KERALA
IG OF KERALA
ALL COLLECTORS OF KERLALA
KERALA MEDIA
SONIA GANDHI
RAHUL GANDHI
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
CMs OF ALL STATES
ALL MINISTERS MINISTERIES CENTRAL AND STATE
NCW MAIN
NCW STATES
NHRC
NCM
RSS
MOHAN BHAGWAT
ADVANI
MURLI MANOHAR JOSHI
BAJRANG DAL
PRESIDENT OF INDIA
VP OF INDIA
ALL MEDIA OF INDIA
E SREEDHARAN
SOLI BABY
FALI BABY
SALVE BABY
AJIT DOVAL
ALL 3 ARMED FORCE CHIEFS
SPREAD ON SOCIAL MEDIA
ALL MUST CO-OPERATE
capt ajit vadakayil
..
SPEECH FIRST DEVELOPED
IN INDIA SEVERAL MILLENNIUMS BEFORE THE WHITE AN COULD MAKE SENSE OUT OF GRUNT
GRUNT SOUNDS.. HINDUS WERE THE FIRST ON
THE PLANET TO DEVELOP FULL CONSCIOUSNESS..
BELOW: THIS YOUTUBE VIDEO IS BULLSHIT-- KODUNGALLUR UNIVERSITY SOLD WHATEVER IS CLAIMED IN AL-KHWARIZMIs NAME FOR GOLD.. IN READY MADE ARABIC TRANSLATION.
BELOW: THIS YOUTUBE VIDEO IS BULLSHIT-- KODUNGALLUR UNIVERSITY SOLD WHATEVER IS CLAIMED IN AL-KHWARIZMIs NAME FOR GOLD.. IN READY MADE ARABIC TRANSLATION.
In mathematics and
computer science, an algorithm is a self-contained sequence of actions to be
performed. Algorithms can perform calculation, data processing and automated
reasoning tasks.
An algorithm is an
effective method that can be expressed within a finite amount of space and time
and in a well-defined formal language for calculating a function.
Starting from an
initial state and initial input (perhaps empty), the instructions describe a computation that,
when executed, proceeds through a finite
number of well-defined successive states, eventually producing
"output" and terminating at a final ending state.
The transition from one state to the next is not necessarily deterministic; some algorithms, known as randomized algorithms, incorporate random input.
The transition from one state to the next is not necessarily deterministic; some algorithms, known as randomized algorithms, incorporate random input.
THIS PLANET MUST KNOW
THAT ALGORITHMS WERE FIRST INVENTED BY INDIANS
IT WAS STOLEN BY GREEK EUCLID
WHO STUDIED IN KODUNGALLUR UNIVERSITY AND PATENTED IN HIS OWN NAME.
LATER KODUNGALLUR UNIVERSITY SOLD MATH TO
ARABS FOR GOLD
FATHER OF ALGEBRA MUHAMMAD IBN MUSA AL-KHWARIZMI BOUGHT HIS
READY MADE TRANSLATED INTO ARABIC ALGEBRA FROM THE KERALA SCHOOL OF MATH
https://en.wikipedia.org/wiki/Algorithm
Let me quote Wikipedia
--
QUOTE :--The words
'algorithm' and 'algorism' come from the name al-Khwārizmī.[60] Al-Khwārizmī
(Persian: خوارزمی, c. 780–850) was a Persian mathematician, astronomer,
geographer, and scholar in the House of Wisdom in Baghdad, whose name means
'the native of Khwarezm', a region that was part of Greater Iran and is now in
Uzbekistan.[61][62] About 825, he wrote a treatise in the Arabic language, which
was translated into Latin in the 12th century under the title Algoritmi de
numero Indorum. This title means "Algoritmi on the numbers of the
Indians", where "Algoritmi" was the translator's Latinization of
Al-Khwarizmi's name.[63] Al-Khwarizmi was the most widely read mathematician in
Europe in the late Middle Ages, primarily through his other book, the
Algebra.[64] In late medieval Latin, algorismus, English 'algorism', the
corruption of his name, simply meant the "decimal number system". In
the 15th century, under the influence of the Greek word ἀριθμός 'number' (cf.
'arithmetic'), the Latin word was altered to algorithmus, and the corresponding
English term 'algorithm' is first attested in the 17th century; the modern
sense was introduced in the 19th century.[65] UNQUOTE
Capt. Ajit Vadakayil
November 12, 2015 at
2:46 PM
Somebody just asked me
–
If Kerala Namboodiris
created RIGHT to LEFT Hebrew, then who created Arabic?
The answer is the same
Kerala Namboodiris !
Pythagoras and Plato
studied in Kodungallur University of Kerala. Same way several Persian scholars
studied Math in Kerala .
Arabic language was
created by Kerala Namboodiris. Their numerals are called Hindu-Arabic even
today.
This is why 786 becomes
OM
It was in the North
African city of Bejaia that the Italian scholar Fibonacci first encountered the
numerals; his work was crucial in making them known throughout Europe, and then
further to the Europeans who spread it worldwide.
I wrote the post below
5 years ago-about how Italian THIEF Fibonacci stole the Vedic series and
patented it in his name
The Persian
Mathematician Muhammad ibn Musa al-Khwarizmi studied in Kodungallur University
in Kerala.
Fibonacci took his
Arabic works to Italy from Bejaya , Algeria.
ALGEBRA is derived from
Al-Jabr, one of the two operations he used to solve quadratic equations. Algorism
and algorithm stem from Algoritmi, the Latin form of his name.
Let me quote wikipedia:
QUOTE- Ibn al-Nadīm's
Kitāb al-Fihrist includes a short biography on al-Khwārizmī together with a
list of the books he wrote. Al-Khwārizmī accomplished most of his work in the
period between 813 and 833. After the Muslim conquest of Persia, Baghdad became
the centre of scientific studies and trade, and many merchants and scientists
from as far as China and India traveled to this city, as did al-Khwārizmī. He worked
in Baghdad as a scholar at the House of Wisdom established by Caliph al-Ma’mūn,
where he studied the sciences and mathematics, which included the translation
of Greek and Sanskrit scientific manuscripts.
Al-Khwārizmī's Zīj
al-Sindhind[11] (Arabic: زيج السند هند, "astronomical tables of Sindh and
Hind") is a work consisting of approximately 37 chapters on calendrical
and astronomical calculations and 116 tables with calendrical, astronomical and
astrological data, as well as a table of sine values. This is the first of many
Arabic Zijes based on the Indian astronomical methods known as the
sindhind.[22] The work contains tables for the movements of the sun, the moon
and the five planets known at the time. This work marked the turning point in
Islamic astronomy. Hitherto, Muslim astronomers had adopted a primarily
research approach to the field, translating works of others and learning
already discovered knowledge.
-UNQUOTE
https://en.wikipedia.org/wiki/Muhammad_ibn_Musa_al-Khwarizmi
Al-Biruni was a
Sanskrit scholar who learnt Math and astronomy in from Namboodiri professors
adept in Sanskrit and Arabic .
Let me quote Wikipedia
again-
QUOTE: Al-Biruni wrote
an encyclopedic work on India called “Tarikh Al-Hind” (History of India) in which
he explored nearly every aspect of Indian life, including religion, history,
geography, geology, science, and mathematics. My book is nothing but a simple
historic record of facts. I shall place before the reader the theories of the
Hindus exactly as they are, and I shall mention in connection with them similar
theories of the Greeks in order to show the relationship existing between
them.(1910, Vol. 1, p. 7;1958, p. 5)
CONTINUED TO 2-
Ajit Vadakayil
November 12, 2015 at
2:47 PM
CONTINUED FROM1-
Hindus considered
Muslims violent and impure, and did not want to share anything with him.
Over time, Al-Biruni
won the welcome of Hindu scholars. Al-Biruni collected books and studied with
these Hindu scholars to become fluent in Sanskrit, discover and translate into
Arabic the mathematics, science, medicine, astronomy and other fields of arts
as practiced in 11th century India. He was inspired by the arguments offered by
Indian scholars who believed earth must be ellipsoid shape, with yet to be
discovered continent at earth's south pole, and earth's rotation around the sun
is the only way to fully explain the difference in daylight hours by latitude,
seasons and earth's relative positions with moon and stars.[36] Al-Biruni was
also critical of Indian scribes who he believed carelessly corrupted Indian
documents while making copies of older documents.[37] Al-Biruni's translations
as well as his own original contributions reached Europe in 12th and 13th
century, where they were actively sought.
While others were
killing each other over religious differences, Al-Biruni had a remarkable
ability to engage Hindus in peaceful dialogue. Mohammad Yasin puts this
dramatically when he says, “The Indica is like a magic island of quiet,
impartial research in the midst of a world of clashing swords, burning towns,
and burned temples.” (Indica is another name for Al-Biruni’s history of India).
(Yasin, 1975, p. 212). :UNQUOTE
https://en.wikipedia.org/wiki/Al-Biruni
ANCIENT ARABS AND
GREEKS DO NOT HAVE A SINGLE INVENTION OR DISCOVERY repeat NOT A SINGLE
INVENTION OR DISCOVERY , WHICH IS NOT STOLEN FROM INDIA .. .
THE GREEK AND ARABIC TRANSLATIONS WERE DONE IN KERALA KODUNGALLUR UNIVERSITY.
THE GREEK AND ARABIC TRANSLATIONS WERE DONE IN KERALA KODUNGALLUR UNIVERSITY.
Zakir Naik can stop
boasting that Arab Muslims—
AL HULL BURRR invented
Math
AL KULL HURRR invented
astronomy
AL PRRRR KURR invented
science
--and get faalthu
wahabi awards from the CRYPTO JEW Al Saud synasty. Mind you this man is giving
away his motherlands discoveries to an alien Muslim nation ruled by crypto jew
bloodline installed by Rothschild.
The entire Math ,
astronomy , science in Arabic was sold in gold by the Calicut King.
capt ajit vadakayil
..
THE BASIC FOUNDATION OF
COMPUTER SOFTWARE IS THE BINARY CODE
WE CAN SEE BINARY CODE
EXAMPLES ALL OVER OUR ANCIENT SANSKRIT TEXTS.
Binary code represents
text, computer processor instructions, or any other data using a two-symbol
system. The two-symbol system used is often the binary number system's 0 and 1.
The binary code assigns a pattern of binary digits, also known as bits, to each
character, instruction, etc. For example, a binary string of eight bits can
represent any of 256 possible values and can therefore represent a wide variety
of different items.
In computing and
telecommunications, binary codes are used for various methods of encoding data,
such as character strings, into bit strings. Those methods may use fixed-width
or variable-width strings. In a fixed-width binary code, each letter, digit, or
other character is represented by a bit string of the same length; that bit
string, interpreted as a binary number, is usually displayed in code tables in
octal, decimal or hexadecimal notation. There are many character sets and many
character encodings for them.
The brain is an
electrochemical machine that processes through binary code - zeroes and ones
that create patterns of experiences and realities.
Indian Scholar Pingala
(500 BCE) Developed a Binary System
Pingala is the author
of Chandahsastra, a Sanskrit treatise on
prosody- the patterns of rhythm and sound used in verses.
Pingala used using
binary numbers in the form of short and long syllables (the latter equal in
length to two short syllables), a notation similar to Morse code. Pingala used the Sanskrit word Sunya
explicitly to refer to zero.
Pingala work
Chandahsastra means science of meters, is a treatise on music .
Pingala in
Chandahsastra 8.23 has assigned the following combinations of zero and one to
represent various numbers, much in the same way as the present day computer
programming procedures.
0 0 0 0 numerical value
= 1
1 0 0 0 numerical value
= 2
0 1 0 0 numerical value
= 3
1 1 0 0 numerical value
= 4
0 0 1 0 numerical value
= 5
1 0 1 0 numerical value
= 6
0 1 1 0 numerical value
= 7
1 1 1 0 numerical value
= 8
0 0 0 1 numerical value
= 9
1 0 0 1 numerical value
= 10
0 1 0 1 numerical value
= 11
1 1 0 1 numerical value
= 12
0 0 1 1 numerical value
= 13
1 0 1 1 numerical value
= 14
0 1 1 1 numerical value
= 15
1 1 1 1 numerical value
= 16
Other numbers have also
been assigned zero and one combinations likewise.
Pingala’s system of
binary numbers starts with number one (and not zero). The numerical value is
obtained by adding one to the sum of place values. In this system, the place
value increases to the right, as against the modern notation in which it
increases towards the left.
The procedure of
Pingala system is as follows:--
Divide the number by 2.
If divisible write 1, otherwise write 0.
If first division
yields 1 as remainder, add 1 and divide again by 2. If fully divisible, write
1, otherwise write 0 to the right of first 1.
If first division
yields 0 as remainder that is, it is fully divisible, add 1 to the remaining
number and divide by 2. If divisible, write 1, otherwise write 0 to the right
of first 0.
This procedure is
continued until 0 as final remainder is obtained.
Example to understand
Pingala System of Binary Numbers
Find binary equivalent
of 122 in Pingala System
Divide 122 by 2.
Divisible, so write 1 and remainder is 61. 1
Divide 61 by 2. Not
Divisible and remainder is 30. So write 0 right to 1. 10
Add 1 to 61 and divide
by 2 = 31.
Divide 31 by 2. Not
Divisible and remainder is 16. So write 0 to the right. 100
Divide 16 by 2.
Divisible and remainder is 8. So write 1 to right. 1001
Divide 8 by 2.
Divisible and remainder is 4. So write 1 to right. 10011
Divide 4 by 2.
Divisible and remainder is 2. So write 1 to right. 100111
Divide 2 by 2.
Divisible. So place 1 to right. 1001111
Now we have 122
equivalent to 1001111.
Verify this by place
value system: 1×1 + 0x2 + 0x4 + 1×8 + 1×16 + 1×32 + 1×64 = 64+32+16+8+1 = 121
By adding 1 (which we
added while dividing 61) to 121 = 122, which is our desired number.
In Pingala system, 122 can
be written as 1001111.
Though this system is
not exact equivalent of today’s binary system used, it is very much similar
with its place value system having 20, 20, 21, 22, 22, 23, 24, 25, 26 etc used
to multiple binary numbers sequence and obtain equivalent decimal number.
Chandahsastra presents
the first known description of a binary numeral system in connection with the
systematic enumeration of meters with fixed patterns of short and long
syllables (Short = 0, Long = 1).
As Pingala’s system
ranks binary patterns starting at one (four short syllables — binary
“0000” — is the first pattern), the nth pattern corresponds to the binary
representation of n-1, written backwards.
By “the nth term” an
expression that will allow us to calculate the term that is in the nth position
of the sequence. For example consider the sequence
2, 4, 6, 8, 10,…
The pattern is easy to
see.
The first term is two.
The second term is two
times two.
The third term is two
times three.
The fourth term is two
times four.
The tenth term is two
times ten.
the nineteenth term is
two times nineteen.
The nth term is two
times n.
The ‘nth’ term is a
formula with ‘n’ in it which enables you to find any term of a sequence without
having to go up from one term to the next.
‘n’ stands for the term
number so to find the 50th term we would just substitute 50 in the formula in
place of ‘n’.
Other numbers have also
been assigned zero and one combinations likewise.
Pingala’s system of
binary numbers starts with number one (and not zero). The numerical value is
obtained by adding one to the sum of place values. In this system, the place
value increases to the right, as against the modern notation in which it
increases towards the left.
We now use zero and one
(0 and 1) in representing binary numbers, but it is not known if the concept of
zero was known to Pingala— as a number without value and as a positional
location.
Pingala’s work also
contains the Fibonacci number, called mātrāmeru.
Pingala also knew the
special case of the binomial theorem for the index 2, i.e. for (a + b) 2,
--
GREEK THIEF Euclid patented this in
his name. All Euclid’s work in Geometry is STOLEN from the
Kerala school of Math.
Every vestige in his
book THE ELEMENTS ( 13 volumes ) was taught in Kodungallur Univeristy . This
THIEF Greeko Euclid just stole it and claimed that he invented Geometry
Pingala's Chandahsastra (8.24–25) describes the method of obtaining
binary equivalent of any decimal number in detail. These were used two millenniums
before westeners invented binary system.
THIEF Leibniz was the
first to publish Binary code. He stole it from the Kerala school of Math around 1673. In 1679, he perfected the notation for
integration and differentiation that everyone is still using today.
Binary
arithmetics based on the dual system he invented around 1679, and published in
1701.
Isaac Newton and
Gottfried Wilhelm Von Leibniz stole
Calculus from Madhavan of Kerala who published a Calculus text in Malayalam
We now use zero and one
(0 and 1) in representing binary numbers, but it is not known if the concept of
zero was known to Pingala — as a number without value and as a positional
location.
Pingala’s work also
contains the Fibonacci number, called Matrameru, and now known as the
Gopala–Hemachandra number. Pingala also knew the special case of the
binomial theorem for the index 2, ie. for (a + b) 2. THIEF Euclid stole it after nearly three
centuries and patented it in his own name..
In elementary algebra,
the binomial theorem (or binomial expansion) describes the algebraic expansion
of powers of a binomial
Pascal's Triangle gives
us the coefficients for an expanded binomial of the form (a + b)n, where n is
the row of the triangle. The Binomial Theorem tells us we can use these
coefficients to find the entire expanded binomial, with a couple extra tricks
thrown in
PASCALs TRIANGLE IS
LIFTED FROM MERU. MERU ALONG WITH
FIBONACCI SERIES AND GOLDEN MEAN IS EMBEDDED IN OUR VEDIC SHRUTIS.
Number theory considers
the connection between perfect numbers and Mersenne primes (known as the
Euclid–Euler theorem), the infinitude of prime numbers, Euclid's lemma on
factorization (which leads to the fundamental theorem of arithmetic on
uniqueness of prime factorizations), and the Euclidean algorithm for finding
the greatest common divisor of two numbers” .
Indians had recorded this more than two milliniums before Euclid was born.
Indians had recorded this more than two milliniums before Euclid was born.
Books 1 through 4 deal
with plane geometry:--
Book 1 contains
Euclid's 10 axioms (5 named 'postulates'—including the parallel postulate—and 5
named 'common notions') and the basic propositions of geometry: the pons
asinorum (proposition 5), the Pythagorean theorem (proposition 47), equality of
angles and areas, parallelism, the sum of the angles in a triangle, and the
three cases in which triangles are "equal" (have the same area).
Book 2 is commonly
called the "book of geometric algebra" because most of the propositions
can be seen as geometric interpretations of algebraic identities, such as a(b +
c + ...) = ab + ac + ... or (2a + b)2 + b2 = 2(a2 + (a + b)2). It also contains
a method of finding the square root of a given number.
Book 3 deals with
circles and their properties: inscribed angles, tangents, the power of a point,
Thales' theorem
Book 4 constructs the
incircle and circumcircle of a triangle, and constructs regular polygons with
4, 5, 6, and 15 sides
Books 5 through 10
introduce ratios and proportions:
Book 5 is a treatise on
proportions of magnitudes. Proposition 25 has as a special case the inequality
of arithmetic and geometric means.
Book 6 applies
proportions to geometry: similar figures.
Book 7 deals strictly
with elementary number theory: divisibility, prime numbers, Euclid's algorithm
for finding the greatest common divisor, least common multiple. Propositions 30
and 32 together are essentially equivalent to the fundamental theorem of
arithmetic stating that every positive integer can be written as a product of
primes in an essentially unique way, though Euclid would have had trouble
stating it in this modern form as he did not use the product of more than 3
numbers.
Book 8 deals with
proportions in number theory and geometric sequences.
Book 9 applies the
results of the preceding two books and gives the infinitude of prime numbers
(proposition 20), the sum of a geometric series (proposition 35), and the
construction of even perfect numbers (proposition 36).
Book 10 attempts to
classify incommensurable (in modern language, irrational) magnitudes by using
the method of exhaustion, a precursor to integration.
Books 11 through to 13
deal with spatial geometry:
Book 11 generalizes the
results of books 1–6 to space: perpendicularity, parallelism, volumes of
parallelepipeds.
Book 12 studies volumes
of cones, pyramids, and cylinders in detail and shows, for example, that the
volume of a cone is a third of the volume of the corresponding cylinder. It
concludes by showing that the volume of a sphere is proportional to the cube of
its radius (in modern language) by approximating its volume by a union of many
pyramids.
Book 13 constructs the
five regular Platonic solids inscribed in a sphere, calculates the ratio of
their edges to the radius of the sphere, and proves that there are no further
regular solids.
EUCLID DID NOT UNDERSTAND
WHAT HE STOLE
VEDIC MATH IS DONE
MOSTLY IN THE MIND ( ORAL ROUTE ) IS MUCH FASTER
The first book,
Geometry for an Oral Tradition, states and proves theorems as far as elementary
properties of a circle.
The second book, The
Circle Revelation, re-presents the material of Geometry for an Oral Tradition
informally.
Euclid’s foundations
are inadequate. The Elements is based on ten axioms, which traditionally had
been accepted on the grounds of being self-evident.
But this consensus fell
apart when it was discovered that being apparently self-evident is no guarantee
of the truth of a statement.
The status of Euclid’s
axioms plummeted to being assumptions, generally (more on this later). It
cannot be acceptable to base a fundamental subject such as geometry on a set of
assumptions.
The first step in
sorting this matter out is taken in Geometry for an Oral Tradition, which,
instead of Euclid’s ten axioms relies on a single axiom, namely, magnitudes are
unchanged by motion. (The term postulate is used in Geometry for an Oral
Tradition, rather than axiom, a postulate being defined there as an assumption
made for the purpose of the study.) However, relying on even one assumption
fails to set the subject on terra firma.
The third book, Eight
Essays on Geometry for an Oral Tradition, eliminates this single axiom
(postulate) by using two well-supported principles to prove it, as we show
next. The result is rocksolid foundations.
PROOF OF THE GEOMETRY
FOR AN ORAL TRADITION POSTULATE
To be proved.
Magnitudes are unchanged by motion.
Given.
Principle 1 Once
completed, a figure in a plane at rest remains unchanged.
Principle 2 If any two
planes are in relative motion, either of them can serve as our standard of
rest. That is to say, all states of rest and motion are relative.
Proof
Calling the two
relatively moving planes A and B, let us first treat plane A as our standard of
rest. [By Principle 2]
Then a figure drawn in
plane A remains unchanged [by Principle 1], and so do its magnitudes.
Now, instead, let plane
B serve as our standard of rest.
Then plane A is in
motion relative to plane B,
But we have just shown
that the magnitudes in plane A remain unchanged.
Therefore the motion of
the magnitudes in plane A relative to plane B does not change them.
That is, magnitudes are
unchanged by motion. QED.
Euclid’s axioms are
unsatisfactory the need is to find more satisfactory axioms. This amounts to
replacing one set of assumptions by another set of assumptions. Rock-solid
foundations are not obtainable in this way.
Let us take a closer
look at some of Euclid’s axioms, first covering ground also useful to us in
another way as we do so.
GROUNDS FOR ACCEPTING A
STATEMENT
1) It has been proved.
2) There is adequate
evidence for it.
3) It is self-evident,
and accepted as an axiom.
4) It is an assumption.
Re the second point
above, consider the first three of Euclid’s postulates. They are as follows.
Let the following be
postulated:--
Postulate 1. To draw a
straight line from any point to any point.
Postulate 2. To produce
a finite straight line continuously in a straight line.
Postulate3. To describe
a circle with any centre and distance.
Euclid does not say
that he is using a straight edge and compasses; however, these first three
postulates refer to what you can do with them, as anyone familiar with these
instruments will be aware. What is being relied on here is evidence obtained
from use of a straight edge and compasses.
Euclid gives two more postulates and five common notions . These seven are not supported
by evidence, and so,
since being self-evident is no longer considered to be grounds for accepting a
statement we are obliged to treat them as assumptions. That is to say, instead
of being soundly based Euclid’s Elements rests on seven assumptions (plus three
postulates which are well supported by
evidence
The other point covered
by the above analysis is that being adequately supported by evidence is grounds
for accepting a statement, and this applies to Principles 1 and 2 used in the
proof given above. (The evidence is spelt out in Essay 6 of the Eight Essays On
Geometry for an Oral Tradition.)
So much for the three
books of the title; now for the paper.
WHAT THE PAPER A
MUCH-NEEDED INNOVATION IN GEOMETRY CONTRIBUTES
It explains how a Vedic
mathematics approach proved helpful in formulating the foundations for Geometry
for an Oral Tradition, in various ways. These include:--
1) Having no more than
a handful of geometry proofs initially , a completely fresh start for the study
of geometry was needed.
2) The paper explains
why there was no reason to suppose that axioms are needed in Vedic geometry.
3) The Vedic tradition
is an oral one, which draws attention to the vital role of language and
especially of speech in the study. (This is discussed further in the paper A
Much-needed Innovation in Geometry, and also in Geometry for an Oral Tradition,
both in the Preliminaries and in the Commentary, Part II, Section 3(f).)
4) The word
‘Innovation’ in the title of the paper refers to treating determination of the
foundations as a problem to be solved. Euclid did not do this and there is no
reason to think that anyone else has thought of doing so prior to the present
project.
The Vedic approach has
made a contribution here, too, as the above-mentioned ‘Innovation’ paper
explains.
Note that this ‘problem
to be solved’ approach was crucial to eventual success. (See Essays 3 and 7 of
the Eight Essays on Geometry for an Oral Tradition for an explanation of how
the foundations were worked out.)
* * * * * * * * * *
Finally, two matters
conclude the present paper; they are:
(i) A statement of the
foundations of geometry.
(ii) An example of
Euclid’s proof of one of his theorems, and the brief proof of the same theorem
given in both The Circle Revelation and Geometry for an Oral Tradition.
(i) THE FOUNDATIONS OF
GEOMETRY
These consist of the
two Principles given above, plus the first three Provisions given in Geometry
for an Oral Tradition. The three Provisions can readily be seen to be
indispensable for the study:for remove any one of them and the study is not
possible.
PROVISIONS
1. A language, in use.
2. A means of drawing
figures in a plane, using a straight edge and compasses.
3. The ability to
recognise valid reasoning.
PRINCIPLES
1. Once completed, a
figure drawn in a plane at rest remains unchanged.
2. If any two planes
are in relative motion, either may be used as the standard of rest. That is to
say, all states of rest and motion are relative.
There are a few further
points to be made concerning these foundations.
1. Euclid takes Principle
1 for granted without mentioning it, and Geometry for an Oral Tradition
likewise.
2. Principle 2 is
necessary because it is well-established that space is relative. In combination
with Principle 1, Principle 2 also meets the need to start the sequence of
Propositions off, via proof of the postulate used in Geometry for an Oral
Tradition.
3. Thus Principles 1
and 2 are necessary for the study, and so are the three Provisions (the
indispensables). To establish that the foundations are both NECESSARY and SUFFICIENT
for the study, we now need to show to what extent they suffice. They certainly
suffice to take the sequence of propositions at least as far as elementary
properties of s circle, as Geometry for an Oral Tradition shows; we cannot rule
out that they suffice to take the investigation much further.
(ii) TWO PROOFS OF A
THEOREM
Euclid’ proof of Book I
Proposition 32 is given in an attachment. It shows that the angles in a
triangle total two right angles. In Geometry for an Oral Tradition the same
theorem is covered by Proposition B17, which states that the angles in a
triangle total a half turn. The proof is given in a second attachment; The
Circle Revelation re-presents this proof in a more informal way
In India Math was
synonymous to the context of spiritual pursuit. Spiritually advanced India was
a grandmaster in the principles of mathematics, yet we saw no necessity to
explore those principles beyond that which was helpful in the advancement of
God realization.
Intoxicated by the
gross power inherent in STOLEN from India mathematical principles, later
western civilizations, succumbing to the all-inviting arms of illusion,
employed these principles and further explored them in an attempt to conquer
nature.
Both Archimedes and
Pythagoras ( both studied at Kodungallur University ) had NOTHING original of
their own .
Whatever they published in the names- every last vestige was stolen from India
Whatever they published in the names- every last vestige was stolen from India
Panini's treatise on
Sanskrit grammar distinguishes Chandas as verses that compose the Vedas, and
Bhasya to be the speech language used for learned discourse and scholastic
discussion of the Vedas
The Vedic Sanskrit
texts employ fifteen meters, of which seven are common, and the most frequent
are three (8-, 11- and 12-syllable lines).
The post-Vedic texts,
such as the epics as well as other classical literature of Hinduism, deploy
both linear and non-linear meters, many of which are based on syllables and
others based on diligently crafted verses based on repeating numbers of morae
(matra per foot)..
About 150 treatises on
Sanskrit prosody from classical era are known, in which some 850 meters were
defined and studied by the ancient and medieval Hindu scholars
A syllable (Akshara),
in Sanskrit prosody, is a vowel with one or more consonants, or a vowel without
any. The short syllable is one with short (hrasva) vowels, which are a (अ),
i (इ),
u (उ),
ṛ (ऋ)
and ḷ (ऌ).
The long syllable is defined as one with long (dirgha) vowels, which are ā (आ),
ī (ई),
ū (ऊ),
ṝ (ॠ),
e (ए),
ai (ऐ),
o (ओ)
and au (औ).
A stanza (pāda) is
defined in Sanskrit prosody as a group of four verses, also called as four
quarters. Indian prosody studies developed two types of stanzas. Vritta stanza
are those that are crafted with precise number syllables, while Jati stanza are
those that are designed based on syllabic instants (morae, matra).
The Vritta stanza are
further recognized in three forms, with Samavritta where the four quarters are
similar in its embedded mathematical pattern, Ardhasamavritta where alternate
verses keep similar syllabic structure, and Vishamavritta where all four
quarters are different.
A regular Vritta is
defined as that where the total number of syllables in each verse is less than
or equal to 26 syllables, while irregulars contain more. When syllabic instants (matra) is the
foundation of the Sanskrit prosody, a short syllable is counted as one instant,
and a long syllable is counted as two instants.
The metres found in
classical Sanskrit poetry are sometimes alternatively classified into three
kinds.--
Syllabic verse (
aksharavritta): meters depend on the number of syllables in a verse, with
relative freedom in the distribution of light and heavy syllables. This style
is derived from older Vedic forms, and found in the great epics, the
Mahabharata and the Ramayana…
Syllabo-quantitative
verse (varṇavṛtta or varnavritta): meters depend on syllable count, but the
light-heavy patterns are fixed.
Quantitative verse
(mātrāvṛtta): meters depend on duration, where each verse-line has a fixed
number of morae, usually grouped in sets of four.
In most of Sanskrit
poetry the primary determinant of a meter is the number of syllables in a unit
of verse, called the pāda ("foot" or "quarter"). Meters of
the same length are distinguished by the pattern of laghu ("light")
and guru ("heavy") syllables in the pāda.
The rules
distinguishing laghu and guru syllables are the same as those for non-metric
prose, and these are specified in Vedic Shiksha texts that study the principles
and structure of sound, such as the Pratisakhyas. Some of the significant rules
are:--
A syllable is laghu
only if its vowel is hrasva ("short") and followed by at most one
consonant before another vowel is encountered.
A syllable with an
anusvara ('ṃ') or a visarga ('ḥ') is always guru.
All other syllables are
guru, either because the vowel is dīrgha ("long"), or because the
hrasva vowel is followed by a consonant cluster.
The hrasva vowels are
the short monophthongs: 'a', 'i', 'u', 'ṛ' and 'ḷ'
All other vowels are
dirgha: 'ā', 'ī', 'ū', 'ṝ', 'e', 'ai', 'o' and 'au'. (Note that,
morphologically, the last four vowels are actually the diphthongs 'ai', 'āi',
'au' and 'āu', as the rules of sandhi in Sanskrit make clear.)
Gangadasa Pandita
states that the last syllable in each pāda may be considered guru, but a guru
at the end of a pāda is never counted as laghu.
For measurement by
mātrā (morae), laghu syllables count as one unit, and guru syllables as two
units.
Gaṇa (Sanskrit,
"group") is the technical term for the pattern of light and heavy
syllables in a sequence of three. It is used in treatises on Sanskrit prosody
to describe meters
Pingala's method
described any meter as a sequence of gaṇas, or triplets of syllables
(trisyllabic feet), plus the excess, if any, as single units. There being eight
possible patterns of light and heavy syllables in a sequence of three, Pingala
associated a letter, allowing the meter to be described compactly as an acronym
Pingala's order of the
gaṇas, viz. m-y-r-s-t-j-bh-n, corresponds to a standard enumeration in binary,
when the three syllables in each gaṇa are read right-to-left with H=0 and L=1.
The sacred Gayatri
meter of the Hindus consists of three of iambic dimeter lines, and this
embedded meter alone is at the heart of about 25% of the entire Rigveda
The Vedic Sanskrit
prosody included both linear and non-linear systems. The field of Chandas was
organized around seven major meters,
called the "seven birds" or "seven mouths of
Brihaspati", and each had its own rhythm, movements and aesthetics. The
system mapped a non-linear structure (aperiodicity) into a four verse
polymorphic linear sequence.
गायत्रेण
प्रति
मिमीते
अर्कमर्केण
साम
त्रैष्टुभेन
वाकम्
।
वाकेन
वाकं
द्विपदा
चतुष्पदाक्षरेण
मिमते
सप्त
वाणीः
॥२४॥
With the Gayatri, he
measures a song; with the song – a chant, with the Tristubh – a recited stanza,
With the stanza of two
feet and four feet – a hymn; with the syllable they measure the seven voices. ॥24॥
— Rigveda
1.164.24, 5000 BC
The seven major ancient
Sanskrit meters are the three 8-syllable Gayatri, the four 8-syllable Anustubh,
the four 11-syllable Tristubh, the four 12-syllable Jagati, and the mixed padas
meters named Ushnih, Brihati and Pankti.
Beyond these seven
meters, ancient Sanskrit scholars
developed numerous other syllable-based meters (Akshara-chandas). Examples
include Atijagati (13x4, in 16 varieties), Sakkari (14x4, in 20 varieties),
Atisakkari (15x4, in 18 varieties), Ashti (16x4, in 12 varieties), Atyashti
(17x4, in 17 varieties), Dhriti (18x4, in 17 varieties), Atidhriti (19x4, in 13
varieties), Kriti (20x4, in 4 varieties) and so on
Gana-chandas or
Gana-vritta, that is meters based on mātrās (morae, instants). The metric foot
in these are designed from laghu (short) morae or their equivalents.
Sixteen classes of
these instants-based meters are enumerated in Sanskrit prosody, each class has
sixteen sub-species. Examples include Arya, Udgiti, Upagiti, Giti and Aryagiti.
This style of
composition is less common than syllable-based metric texts, but found in
important texts of Hindu philosophy, drama, lyrical works and Prakrit poetry.
The entire
Samkhyakarika text of the Samkhya school of Hindu philosophy is composed in
Arya meter
Sanskrit hymns, used meters as tools of
literary architecture, wherein they coded a hymn's end by frequently using a
verse of a meter different than that used in the hymn's body. However, they
never used Gayatri meter to end a hymn or composition, possibly because it
enjoyed a special level of reverence in Hindu texts.
In general, all meters
were sacred and the Vedic chants and hymns attribute the perfection and beauty
of the meters to divine origins, referring them as mythological characters or
equivalent to gods.
Large and significant
changes in meter, wherein the meter of succeeding sections return to earlier
sections, is an indication of POISON INJECTION
The Anushtubh Vedic
meter has been the most popular in classical and post-classical Sanskrit works
It is also octosyllabic, next harmonic to Gayatri meter that is sacred to the
Hindus, and it appears either in free verse or fixed syllabic form (shloka).
It has a rhythm, offers
flexibility and creative space, but has embedded rules such as its sixth
syllable is always long, the fifth syllable is always short; often, the seventh
syllable in even numbered lines of a stanza is short (iambic) as well.
The Anushtubh is
present in Vedic texts, but its presence is minor, and Trishtubh and Gayatri
meters dominate in the Rigveda for example. A dominating presence of the
Anushtubh meter in a text is a marker that the text is likely post-Vedic.
The Mahabharata, for
example, features many verse meters in its chapters, but an overwhelming
proportion of the stanzas, 95% are shlokas of the anustubh type, and most of
the rest are tristubhs.
The Hindu epics and the
post-Vedic classical Sanskrit poetry is typically structured as quatrains of
four pādas (verses), with the metrical structure of each pāda completely
specified. In some cases, pairs of pādas may be scanned together as the
hemistichs of a couplet.
It is then normal for
the pādas comprising a pair to have different structures, to complement each
other aesthetically. Otherwise the four pādas of a stanza have the same
structure.
The Chandas have been
revered in Hindu texts for their perfection and resonance, with Gayatri meter
treated as the most refined and sacred, and one that continues to be part of
modern Hindu culture as part of Yoga and hymns of SURYANAMASKAR
Pingala in his
Chandaśāstra propounded the term Gaṇa (Sanskrit, "group") for the
pattern of light and heavy syllables in a sequence of three. Pingala's method
described any meter as a sequence of gaṇas, or triplets of syllables, plus the
excess, if any, as single units.
There being
eight possible patterns of light and heavy syllables in a sequence of
three, this scheme called for ten
descriptive elements in all. With each of these
ten, Pingala associated a letter, allowing the meter to be described
compactly as an acronym.
The word
yamātārājabhānasalagāḥ (or yamātārājabhānasalagaṃ), is a mnemonic for Pingala's
gaṇas, using the vowels "a"
and "ā" for light and heavy syllables respectively with the letters of his scheme.
In the form without a
grammatical ending, yamātārājabhānasalagā is self-descriptive, where the
structure of each gaṇa is shown by its own syllable and the two following it
The mnemonic also encodes the light "la" and heavy "gā"
unit syllables of the full scheme.
• ya-gaṇa: ya-mā-tā =
L-H-H
• ma-gaṇa: mā-tā-rā =
H-H-H
• ta-gaṇa: tā-rā-ja =
H-H-L
• ra-gaṇa: rā-ja-bhā =
H-L-H
• ja-gaṇa: ja-bhā-na =
L-H-L
• bha-gaṇa: bhā-na-sa =
H-L-L
• na-gaṇa: na-sa-la =
L-L-L
• sa-gaṇa: sa-la-gā =
L-L-H
• The units:
• l: a
"light" syllable (L), called laghu
• g: a
"heavy" syllable (H), called guru
Pingala's order of the
gaṇas, viz. m-y-r-s-t-j-bh-n, shows a striking correspondence to standard
modern binary representation, when each sequence is read right-to-left with H=0
and L=1.
The Chandaḥśāstra presents the first known description of a binary numeral system in connection with the systematic enumeration of meters with fixed patterns of short and long syllables. The discussion of the combinatorics of meter corresponds to the binomial theorem
The Chandaḥśāstra presents the first known description of a binary numeral system in connection with the systematic enumeration of meters with fixed patterns of short and long syllables. The discussion of the combinatorics of meter corresponds to the binomial theorem
FIBONACCI WAS A THIEF
Halayudha ( 300 BC ) a
Kerala mathematician wrote the Mṛtasañjīvanī, a commentary on Pingala's Chandaḥśāstra
( 500 BC) …. His discussion of combinatorics of poetic meters led him to a
general version of the binomial theorem two milliniums before Isaac Newton. His commentary includes a presentation of the
Pascal’s triangle for binomial coefficients (called Meruprastara).
MUCH BEFORE KERALA
MATHEMATICIAN VARAHAMIHIRA 2660 BC EXPOUNDED PASCALS TRIANGLE
In mathematics, THIEF
Pascal's triangle is a triangular array of the binomial coefficients.
Pascal's triangle
determines the coefficients which arise in binomial expansions. For an example,
consider the expansion
(x + y)2 = x2 + 2xy +
y2 = 1x2y0 + 2x1y1 + 1x0y2.
Notice the coefficients
are the numbers in row two of Pascal's triangle: 1, 2, 1. In general, when a
binomial like x + y is raised to a positive integer power we have:
(x + y)n = a0xn +
a1xn−1y + a2xn−2y2 + ... + an−1xyn−1 + anyn,
where the coefficients
ai in this expansion are precisely the numbers on row n of Pascal's triangle.
In other words,
{\displaystyle a_{i}={n
\choose i}.} a_{i}={n \choose i}.
This is the binomial
theorem.
THE MYTHICAL MOUNTAIN MERU IS THE PASCALs TRIANGLE
Anena
ekadvyaadilaghukriyasiddhyartham, yaavadabhimatam prathama prastaravat
meruprastaram darsayati, uparistadekam chaturasrakoshtam likhitva, tasya
adhastat ubhayatordhaniskrantam koshtadwayam likhet, tasyapiadhastatrayam
tasyapiadhastatccaturtyamevam yaavadabhimatam sthanamiti meruprastarah tasya prathame
koshte ekasamkhyam vyasthapyalakshanamidam pravarttayet, tatra
dvikoshtaayaampanktau ubhayo koshtayorekaikamankam dadyaat, tatastritiyaayaam
panktau, paryantakoshtayorekaikamankam dadyaat,
madhyamakoshtethuparikoshtadvayaankamekikrtya purnam nivesayediti
purnasabdarthah, chaturtyampanktavapi, paryantakoshtayorekaikamankam sthapayet,
madhyamakoshtayothuparakoshtadvayaankamekikrtya purnam trisamkhya rupam
sthapayeth, uttaraataraapyevameva
nyaasah, tatra dwikoshtaayaam pankatauekaakshrasya prastaarah,……. tritiyayaam
pankatau, dviakshrasya prastaarah, chaturtyaam pankatau, triakshrasya
prastaarah, ….
The above is a text
describing a method for constructing a mathematical table. Pingala ( 500 BC) in his Chandahsutra had
given the rules for formation of different chandahs (≈ musical meters) for
Sanskrit prosody.
These words need to be
broken into individual words properly to obtain the intended meaning of these
words. Here is a translation in English with proper separation of words.
Anena ekadvyaadi laghu
kriya siddhyartham, yaavadabhi matam
(To get every
combination of one, two, etc. syllables as required)
Prathama prastaravat
meru prastaram darsayati.
(from first row onwards
, the meru tabulation will be shown below)
Uparihi tad ekam
Chaturasrakoshtam likhitva,
(At the top itself one
square cell is drawn)
Tasya adhah tat
ubhayato ardhani skrantam
(Below this row let us
have a pair, half over lapping)
Koshtadwayam likhet.
(Two cells are drawn)
Tasyapi adhah tat
trayam
(Again the row below
will have three)
Tasyapi adhah tat
chaturtyam,
(Again its next line
will have four)
Evam yaavadabhi matam
sthanam
(same way, up to
the required stage, cells are
constructed)
iti meru prastarah.
(This is called Meru
Prastara or Meru-Tabulation)
Tasya prathame koshte
eka samkhyam
(Its first stage-cell
will hold the number 1)
Vyvasthapya
lakshanamidam pravarttayet
(From here on, the
following is the way it grows)
Tatra dvikoshtaayaam
panktau
(in its twin-cell row)
ubhayo Koshtayoh eka
ekam ankam dadyaat
(the pair of cells
holds numbers 1,1)
Tatah tritiyaayaam
panktau, paryanta Koshtayoh Eka ekam ankam dadyaat
(then in the 3rd row,
the extreme cells will hold numbers 1,1)
Madyama koshteth, upari
koshtadvayah ankam eki krtya purnam nivesayeth
(middle cell takes the
added value of the two cells above)
Iti purnasabdarthah
(Thus completes the table for 2nd power)
Chaturtyam panktau api,
paryanta Koshtayoh eka ekam ankam sthapayet
(then in the 4th row
also, the extreme cells will hold numbers 1,1)
Madyama koshtayoth,
upara koshtadvayah ankam eki krtya purnam
(middle cells take the
added values of the two cells above each)
Trisamkhya rupam
sthapayeth
(this completes the 3rd
power)
Uttara utaaro api
evameva nyaasah,
(next and next stages
also follow the same rule)
tatra dwikoshtaayaam
pankatau, eka akshrasya prastaarah
(Here the twin-cell row
gives one syllable table)
tritiyaam pankatau, dvi
akshrasya prastaarah
(the 3rd row gives two
syllables table)
chaturtyaam pankatau,
tri akshrasya prastaarah
(Thus 4th row gives
three syllables table)
And so on.
It is the same as
Pascal’s Triangle, STOLEN by Blaise Pascal 4 nearly 3.5 centuries ago.
This table gives in
every nth line the coefficients (a+b)**(n-1). i.e. the second line gives
coefficients of (a+b) as 1,1; the second line gives 1,2,1, as coefficients of
(a+b)2.; the third line gives 1,3,3,1 as coefficients of (a+b)3 and so on.
Halayudha derived this
table from Pingala’s cryptic clue which he translates to a set of rules, as
below (with a and b as the two syllables to be combined, in any n-syllable
chandah):
First write down all
(‘n’ number of) b’s as the first
combination
In the next line,
replace the first ‘b’ with an ‘a’
At the same line,
replace all letters to the left of this new ‘a’ with ‘b’
For the next and the
subsequent lines repeat the steps 2 & 3.
Continue as above till
we arrive at a line with all a’s,
This can be clearly
seen as a binomial expansion (a+b)n staring with bn and ending in an. Halayudha
later puts these results on a table known as Meru Prasthara ( MOUNT MERU ) . He
later gives a step-by-step method as above, for constructing this table without
specifically going through the above rules.
Meru Prastarah traveled
to Europe via middlemen Arabs who bought translated into Arabic knowledge for
gold.
MOUNT MERU WAS USED TO CHURN THE COSMIC OCEAN IN SAMUDRA MANTHAN
NOW YOU KNOW WHY THE BASTARD WHITE INVADER CLAIMED
THAT HE IS THE ARYAN - HE CREATED SANSKRIT AND HE WROTE OUR VEDAS
PLEA BARGAINED CHITPAVAN JEW NAY BRAHMIN LOK MANYA BAL GANGADHARA TILAK, COMES OUT OF THE DREADED MANDALAY JAIL IN BURMA, GLOWING PINK , WITH CHUBBY
CHEEKS HOLDING A BOOK “ARCTIC HOME OF THE VEDAS” .
NOBODY CAME OUT OF MANDALAY
JAIL ALIVE.. THE PRISONERS ARE SLOWLY STARVED AND HAVE DYSENTRY EVERY DAY.
CHITPAVANJEW NAY BRAHMIN TILAK GAVE AWAY SANSKRIT AND VEDAS TO THE BLUE EYED
BLONDE WHITE SKINNED MAN..
IN REALITY HE SPEND HIS ENTIRE JAIL TERM IN EUROPE ( ROTHSCHILDs GUEST ) PENNING THE BOOK ALONG WITH MAX MUELLER
IN REALITY HE SPEND HIS ENTIRE JAIL TERM IN EUROPE ( ROTHSCHILDs GUEST ) PENNING THE BOOK ALONG WITH MAX MUELLER
Indian mathematician
Virahanka's work was translated into Arabic in 600 AD.
Fibonacci series or
sequence : 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597,
2584, 4181, ... (each number is the sum of the previous two). The ratio of successive
pairs is so-called golden section - 1.618033989.
Fibonacci was the first
to introduce the Hindu-Arabic number system into Europe- the system we now use
today- based on ten digits with its decimal point and a symbol for zero: 1 2 3
4 5 6 7 8 9. and 0
A golden rectangle is a
rectangle whose side lengths are in the golden ratio, 1: 1.618. whose
reciprocal is 0.618033989 . . . . . so that we have 1/G = 1 + G.
The golden ratio is
lifted from the mystic geometry of Sri Yantra
Matrameru, is the field
of counting sequences such as 0, 1, 1, 2, 3, 5, 8 and so on ( stolen Fibonacci
numbers), in their prosody studies.
The Fibonacci
numbers appeared, under the name
matrameru (mountain of cadence), in the work of the Sanskrit grammarian Pingala
( Chandah-shastra, the Art of Prosody).
Prosody was important
in ancient Indian ritual because of an emphasis on the purity of utterance. The
Indian mathematician Virahanka (6th century AD) showed how the Fibonacci
sequence arose in the analysis of metres with long and short syllables.
Reality is a
consciousness hologram (algorithm) that uses the Fibonacci Sequence to create
experiences in which we vicariously experience.
Algorithms enumerate
binomial combinations of meters through pratyaya. For a given class (length),
the six pratyaya were:--
prastāra, the
"table of arrangement": a procedure for enumerating (arranging in a
table) all metres of the given length,
naṣṭa: a procedure for
finding a metre given its position in the table (without constructing the whole
table),
uddiṣṭa: a procedure for
finding the position in the table of a given metre (without constructing the
whole table),
laghukriyā or
lagakriyā: calculation of the number of metres in the table containing a given
number of laghu (or guru) syllables,
saṃkhyā: calculation of
the total number of metres in the table,
adhvan: calculation of
the space needed to write down the prastāra table of a given class (length).
Panini's grammar
consists of four parts:
Śivasūtra: phonology
(notations for phonemes specified in 14 lines)
Aṣṭadhyāyī adhyāyī:
morphology (construction rules for complexes)
Dhātupāṭha: list of
roots (classes of verbal roots)
Gaṇapāṭha: lists
classes of primitive nominal stems
An important part of
traditional forms of phonology has been studying which sounds can be grouped into distinctive
units within a language; these units are
known as phonemes. If two similar sounds do not belong to separate phonemes, they are called allophones
of the same underlying phoneme.
In ancient India, the
Sanskrit grammarian Pāṇini in his
text of Sanskrit phonology, the Shiva
Sutras, discusses something like the
concepts of the phoneme, the morpheme and the root. The Shiva
Sutras describe a phonemic notational
system in the opening part of the Aṣṭādhyāyī.
The notational system introduces different clusters of phonemes that serve special roles in the
morphology of Sanskrit, and are referred
to throughout the text.
Panini's grammar of
Sanskrit had a significant influence on
Ferdinand de Saussure, the father of modern
structuralism, who was a professor of Sanskrit.
THIEF Ferdinand de
Saussuren( died 1913) was a Swiss linguist and semiotician. His ideas laid a
foundation for many significant developments in both linguistics and semiology
. He is widely considered one of the founders of 20th-century linguistics and
one of two major founders of
semiotics/semiology.
Ferdinand de Saussuren lifted Vedic material from the University of Leipzig in 1876. Leipzig to defend his doctoral dissertation De
l'emploi du génitif absolu en Sanscrit, and was awarded his doctorate in
February 1880. Soon, he relocated to the University of Paris, where he lectured
on Sanskrit,
Saussure's contribution
to linguistics and the study of "the whole range of human sciences. It is
particularly marked in linguistics, philosophy, psychology, sociology and
anthropology.
THIEF Charles Sanders
Peirce ( died 1914) was an American philosopher, logician, mathematician, and
scientist who is sometimes known as "the father of pragmatism" ..
Geometry is used
throughout the Rig Veda. However, unlike modern geometry, the emphasis was not
on proofs but on usage. The maharishis
had knowledge of the concept of precision, and this is evident from various
descriptions of applications and use of geometry.
Further, the depth of
precision was based on the requirements of the task or study being described.
For example, descriptions of constructions were limited in precision whereas
descriptions of astronomical phenomena were described in greater precision
The following verse in
the Rig Veda deals with the formation of the universe.
Who was the measurer
prama? What was the model pratimâ? What were the building materials for things
offered nidânam ãjyam? What is the circumference (of this universe) paridhih?
What are the meters or harmonies behind the Universe chandah? What is the triangle
(yoke) praugam [which connects this universe to the source of driving force,
the engine?
The concept of Shunya,
or zero void, was originally conceived as the symbol of Brahman, expressing the
sum of all distinct forms. The symbol of zero and the decimal system of
notation is described in the Atharvaveda
The concept of shunya
was not just mathematical or scientific, but is deeply rooted in all branches
of thought - especially metaphysics and cosmology. Shunya is the transition
point between oposites, it symbolises the real balance between divergent
tendencies.
Most ancient
mathematicians defined zero as the sum of two equal and opposite quantities.
Zero produces all figures, but is itself not limited to a certain value. Zero
is the primary or final reservoir of all single numbers. The symbol of zero and
the decimal system of notation is described in the Atharvaveda.
The concept of ‘Zero’
or Shunya is derived from the concept of a void. The concept of void existed in
Hindu Philosophy hence the derivation of a symbol for it.
In 7000 year old
Yajurveda , Maharishis mentioned such large numbers such as ayuta (अयुत)
for ‘ten thousand’, niyuta (नियुत) for ‘hundred
thousand’, prayuta (प्रयुत) for ‘million’, arbuda
(अर्बुद)
for ‘ten million’, nyarbuda for ‘hundred million’ etc.
Pingala Chandas
shastram - in Sutra 8.29 "rupe shunyam" and Sutra 8.30 "dvihi
shunye" - both these sutras use connect the 'valueless' usage of
"0".
Aryabhata ( 2700 BC ) used
the word "Kha" widely to denote emptiness ("Kham").
Sri.Suryadeva commenting on Aryabhata’s "Kha", says that , “khani
sunya upa lakshitani” In Brahmagupta’s
work, the word "Kha" gets prominence. "Kha" and Shunya
(void) is used synonymously.
'Lilavati', penned by
the great mathematician Bhaskaracharya. He has explained gravity without an
apple 1200 years before Isaac Newton.
In Lilavati, when one
come across the chapter on description of Shunya (zero), it’s a veritable
carnival of kha. The verse reads as follows:
"Yoge kham
kshepsamam, vargado kham, khabhajito rashi Khahara syat, khaguna kham, khaguna
nishchantayashcha sheshavidhau!!" - verse 46, Lilavati
Zero- "0" as
a place value system was always there
and also "0" as a number was there since the Vedic times - in other words means "anaadi" -
beginingless or time immemorial.
In Sanskrit we have
many words for "0" depending on its value.
They are below:
पूज्य,
/सत्
(poojya /sat) = Holy (complete) - from the word Wholly
शून्य,
रिक्त,
रन्द्र
(shunya, rikta, randra) = Valueless
आभु,
अव्यक्त
(Aabhu, avyakta) = Inexpressible (value can't be determined)
पूर्ण,
अनन्त
(purna, ananta) = Complete, full, endless (infinite value)
ख, दिब,
व्योम,
(kha /kham, diba, vyoma) = Infinity
बिन्दु
(bindu) = Point /Dot (used in fractions)
अव्यय,
(avyaya) = NaN / Indeclinable
साङ्खेय,
द्रबिणम्
(saankheya, drabinam) = Ordinal (while counting "0" as a number)
Pingala used the
Sanskrit word śūnya explicitly to refer to zero 2500 years ago. .
In the ancient times
the Ganita shaastra (mathematics) has its branches as - Geometry (Gyamiti) is the study of shapes and
their applications; Algebra (Bija Ganita) is the study of operations and their
applications; Trigonometry (Trikonamiti) is study of Triangles and the
relationships between their sides and the angles and Calculus (Chalana-kalana
Ganita) the study of change.
Brahmagupta made use of
an important concept in mathematics, the number zero.
The Brahmasphutasiddhanta
is the earliest known text to treat zero as a number in its own right, rather
than as simply a placeholder digit in representing another number as was done
by the Babylonians or as a symbol for a lack of quantity , as was done by Ptolemy
and the Romans.
In chapter eighteen of his Brahmasphutasiddhanta, Brahmagupta
describes operations on negative numbers. He first describes addition and
subtraction.
In "Brhadaranyaka
Upanishad 5.1" of the Shukla Yajur Veda 1.4.10 quotes "Kham
Brahmn" based on "adhibhoudika" meaning of this passage
"Zero is Brahman" (complete, infinite, etc...)
Geometry is used
throughout the Rig Veda. However, unlike modern geometry, the emphasis was not
on proofs but on usage. The maharishis
had knowledge of the concept of precision, and this is evident from various
descriptions of applications and use of geometry.
Further, the depth of
precision was based on the requirements of the task or study being described.
For example, descriptions of constructions were limited in precision whereas
descriptions of astronomical phenomena were described in greater precision
The following verse in
the 7000 year old Rig Veda deals with the formation of the universe.
Who was the measurer
prama? What was the model pratimâ? What were the building materials for things
offered nidânam ãjyam? What is the circumference (of this universe) paridhih? What are the meters or harmonies behind the Universe chandah? What is the
triangle (yoke) praugam [which connects this universe to the source of driving
force, the engine?
The concept of Shunya,
or zero void, was originally conceived as the symbol of Brahman, expressing the
sum of all distinct forms. The symbol of zero and the decimal system of
notation is described in the Atharvaveda
The concept of shunya
was not just mathematical or scientific, but is deeply rooted in all branches
of thought - especially metaphysics and cosmology. Shunya is the transition
point between oposites, it symbolises the real balance between divergent
tendencies.
Most ancient
mathematicians defined zero as the sum of two equal and opposite quantities.
Zero produces all figures, but is itself not limited to a certain value. Zero
is the primary or final reservoir of all single numbers. The symbol of zero and
the decimal system of notation is described in the Atharvaveda.
The concept of ‘Zero’
or Shunya is derived from the concept of a void. The concept of void existed in
Hindu Philosophy hence the derivation of a symbol for it.
In 7000 year old
Yajurveda , Maharishis mentioned such large numbers such as ayuta (अयुत)
for ‘ten thousand’, niyuta (नियुत) for ‘hundred
thousand’, prayuta (प्रयुत) for ‘million’, arbuda
(अर्बुद)
for ‘ten million’, nyarbuda for ‘hundred million’ etc.
Pingala Chandas
shastram - in Sutra 8.29 "rupe shunyam" and Sutra 8.30 "dvihi
shunye" - both these sutras use connect the 'valueless' usage of
"0".
Kerala sage Aryabhata ( Aryan Bhattathiripad ) used the word
"Kha" widely to denote emptiness ("Kham"). Sri.Suryadeva
commenting on Aryabhata’s "Kha", says that , “khani sunya upa lakshitani” In Brahmagupta’s work, the word
"Kha" gets prominence. "Kha" and Shunya (void) is used
synonymously.
In the ancient times
the Ganita shaastra (mathematics) has its branches as - Geometry (Gyamiti) is the study of shapes and
their applications; Algebra (Bija Ganita) is the study of operations and their
applications; Trigonometry (Trikonamiti) is study of Triangles and the
relationships between their sides and the angles and Calculus (Chalana-kalana
Ganita) the study of change.
In the 7000 year old
Rig Veda we can trace the origin of the use of "kha" for space in the
context of the “hole in the nave of a wheel through which the axle runs”. “ Sunya" (void) as well as
"purna" (full) have a common reference in the Vedas.
The
wheel (chakra - cycle), the names of various parts of wheel were used to explain metaphysical concepts. Now,
"kha" is the "Naabhi" of the wheel, the space within the
hub. "Naabhi" is also the navel, navel of beings and things.
Thus, "kha"
is the central space of things and beings. In the Rigveda, "kha" or
"Naabhi" of the world wheel is regarded as the receptacle and fountain
of all order, formative ideas and goods.
ZERO was referred to by
Aryabhatta in 2700 BC several times.
Today BrahmAn ( aakasha
/ ether ) is called ZERO POINT FIELD by modern science
In quantum field
theory, the vacuum state is the quantum state with the lowest possible energy
is called Zero Point Field ; it contains no physical particles, and is the
energy of the ground state.
AIYOOOO—
TOBA TOAHBAAHHHH
I
HAVE WANDERED DEEP INTO THE HCD FIELD – I PLEAD GUILTY OF BEING TOO TECHNICAL
LET
ME GET BACK TO THE LCD ( LOWEST COMMON DENOMINATOR ) MODE.. ONLY LCD MODE CAN HOLD INTEREST.
ANY
IDIOT CAN GET YOU ATTENTION, BUT VERY FEW CAN HOLD YOUR INTEREST.
In the ancient Indian
approach to knowledge, the individual could take an intellectual position from
where he could proceed in any of two directions : --
one probing with his
resources of faith, instinct, and intuition to a synthetic understanding of
existence in terms of the highest levels of abstractions in the widest possible
philosophical or spiritual context;
-- and the other,
probing with the resources of thought, sound, word and meaning to an analytical
understanding of the deepest detail of the specifics of the more immediate and
compelling circumstances of physical existence.
The terms Sruti and
Smriti applied to the ancient sources of Knowledge seemed to reflect this dual
approach. If the Vedas or Scriptures followed the direction of synthesis, the
Shashtras or Disciplines followed the direction of analysis.
If Vyasa and the Rishis
before him were exemplars of the first group, Panini and the
Linguist-Grammarians who followed were clearly the exemplars of the
second.
Sruti, what was heard
by the ancient Rishis. That they were “Aupurusheya” or Divine, and “Anadi” or
Timeless, status of a divine authority that placed them beyond question.
AGAIN, THE SANSKRIT SRUTIS WERE
NOT COMPOSED BY ANY MORTAL..
THESE 400 CENTURIES OLD
VERSES WERE DOWNLOADED BY SEERS WHO SAW
THESE VERSES WITH THEIR FRACTAL BRAINS AND HEARD THEM TOO ..
THESE ANCIENT SEERS HAD
12 STRAND DNA AND KING SIZED PINEAL GLANDS.
Today Panini is
acknowledged as the first and greatest grammarian known to any of the world’s cultures, with an
influence reaching even into the structures of computer languages of
today.
Srutis and Smritis, is the range
and depth that it achieved over 400 centuries ago, through the use of just one
instrument, man’s consciousness guided mind.
The ancient Hindu sage had anticipated so much of what the modern mind
had achieved but with the aid of the vast OBJECTIVE methods and instrumentation of Science which relies on
the narrow bandwidth 5 human senses.
“Veda” means wisdom,
and it manifests the language of the gods in Sanskrit. The laws of the Vedas in
amazing Sanskrit verses , regulate the bedrock of culture and customs of the
Hindus to this present day. All the obligatory duties of the Hindu owe their allegiance
to the Vedas.
The Vedas in its
unchanged unabridged format in Sanskrit verses , have guided the Indian’s religious direction for ages and will
continue to do so till our sun goes supernova..
The cunning white man
tried his best to prove that Aryan invasion happened inwards, so that they
could claim credit for writing the Vedas. In this DNA age, all these fraudulent
claims have been consigned to the dustbin of history.
ARYANS ( SYMBOL
SWASTIKA ) ARE THE ELDEST KERALA NAMBOODIRI BROTHER
SEMITES ( SYMBOL SIX
POINTED STAR ) ARE THE YOUNGER NAMBOODIRI BROTHERS.
ONLY ARYANS COULD HOLD
LAND AND MARRY FOUR TIMES .
NAMBOODIRIS WERE THE
SANSKRIT KNOWING , ORAL VEDA EXPERT, CREAM OF KERALA THIYYAS WHO WERE RULING
CLASS.
JEW ROTHSCHILD
CONVERTED THIYYAS INTO MONKEYS.. COCONUT TREE TODDY TAPPERS AND GOT IN A CRYPTO
JEW VARMA RULING CLASS, JUST LIKE THE CHITPAVAN JEW PESHWAS..
THE WORLDS FIRST
UNIVERSITY OF THE DANAVA CIVILIZATION KODUNGALLUR ( OWNED BY THE CALICUT KING )
IS NOTHING MORE THAN A WHOREHOUSE TODAY. ( AS OF 2018 )..
BJP /RSS COMMIES
/CHRISTIANS OF KERALA ARE ALL PART OF THIS HUMONGOUS WHITE COMMIE JEW DECEIT..
HINDU TEMPLES ARE TAKEN OVER BY A GOVT DEVASWOM BOARD , THE TEMPLE LAND USURPED AND RICHES STOLEN BY THE KERALA GOVT..
THE DEEP STATE CONTROLLED INDIAN GOVT ( WITH COLLEGIUM JUDICIARY AND BENAMI MEDIA IN CAHOOTS ) NOW EYES THE TWO LAKH CRORE PRISTINE GOLD GOLD TREASURE INSIDE THE PADMANABHASWAMY TEMPLE , BY DECLARING THAT TEMPLES ARE PUBLIC PLACES..
THIS PURE GOLD IS DESTINED FOR THE VAULTS OF BIG BROTHER JEW ROTHSCHILD WHO STILL RULED INDIA BY PROXY..
THIS BLOGSITE ASKS KERALA HINDUS-- DO NOT PUT ANY MONEY INTO THE TEMPLE HUNDIS WHICH THE ATHEIST KERALA GOVT EMPTIES AND USES FOR EVEN HAJ SUBSIDY .
INSTEAD DEPOSIT YOUR DONATIONS INTO BANK ACCOUNTS WHICH CAN BE USED FOR TEMPLE MAINTENANCE..
THE SILENT REVOLUTION TO SAVE SANATANA DHARMA STARTS NOW
INSTEAD DEPOSIT YOUR DONATIONS INTO BANK ACCOUNTS WHICH CAN BE USED FOR TEMPLE MAINTENANCE..
THE SILENT REVOLUTION TO SAVE SANATANA DHARMA STARTS NOW
MENSES BLOOD MIXED WITH SEMEN, URINE AND SHIT IS THROWN INTO THE KODUNGALLUR TEMPLEs INNER SANCTUM..
THIS WAS ONCE THE VENERABLE SPOT WHERE FINAL PASSING OUT "TAT TWAM ASI " CONVOCATIONS FOR ANCIENT GREEKS LIKE PYTHOGARUS, PLATO, SOCRATES ETC WERE HELD.
These Vedic texts
include hymns, liturgical instructions, and philosophical courses . The ancient
Maharishi , were Epistemologists whose theories deal with puzzles about the
source, nature, foundation, scope, validity and limits of human knowledge.
Vedas show how ancient rishis experienced the divine reality and how they
responded with exuberant joy, confidence and a feeling of intimacy. This
literature is not rustic or primitive but highly developed in its literary
form, in its intellectual insight, and in its questioning attitude.
The glory
of this vast literature is its imaginative and emotional qualities. The magic
lies in the sound they create when uttered. There is a vibration or resonance
in the sounds of Sanskrit..
The principles of sound harmonics of Vedic verses
works precisely and consistently . The way words unfold from their seed forms
is amazing. The mathematical precision throughout the language gives Sanskrit
verses its extraordinary power . There is a direct link between the sound and
signs, it is phonetic.
The writing of Sanskrit language is based on the sound
of the spoken form. Sanskrit has no spelling, nor there are any silent letters
. There is logic in its sound system, and a natural continuity in its
word-making as well as sentence-making.
Sanskrit sentence structure is flexible, it gives no importance to
syntax. The order of words in a sentence does not matter. .
The Vedic srutis
represent the most amazing celebration of life that has ever been created. The
white man with shallow mind has been unable to translate the Vedic srutis into
English..
Vedas introduced CONSCIOUSNESS
, the most valuable thing on this planet , to Western philosophical
thought.
The Vedas are considered to be eternal, without beginning and end as
they represent the divine truth itself as perceived through the elevated
consciousness of great seers. 400 centuries ago the Vedas taught us that that creation is without
beginning or end, and that the sum total of cosmic energy is always the same.
These seers and channels said, that the
universal laws are clear, your attitude about your life will shape it , that
matter and energy are interchangeable when under the induction of consciousness
. Consciousness is the intelligence, the
organising principle behind the arising of form, unlike what Darwin says .
The
quantum field or pure consciousness is influenced by intention and desire.
Consciousness is the intelligent force
that started the blueprint which ultimately manifested itself as a particular
form. There is a consciousness in every molecule of matter.
All atoms in the entire universe are capable
of mind reading and communicating with other atoms. The expanded abilities of
self awareness is abstract reasoning, free will, creativity, foresight etc.
To the Hindu, Shruti is what cannot be
thought up by the limited human intellect, but is of divine origin. It is what is forever valid, never changes,
is not dependent on the limited capacity for understanding of any one
historical person or human founder .
The Hindu for this reason is proud not to
need a historical founder or a SINGLE MESSIAH like other religions. The founder
and foundation of the Vedas and the Upanishads is the Supreme force itself, is what is indestructible and
timeless.
Srutis wisdom is enmeshed in the DNA of the man who is born in the holy
land of Bharat. Our Rothschild’s APCO branded PM Modi has been arm twisted by
the white JEW into legalizing adultery and homosexuality in India. It wont
work..
Moksha can happen only from India..
Like indestructible
diamonds of brilliant fire they have come down 400 centuries without losing a
syllable or tone in astounding spotless
perfection, with no need to be revised or abridged, to suit the modern
era.
7000 years ago, divine Sanskrit
srutis were penned don in Grantha lipi as the human DNA was degrading .
Sanskrit is the most digitally perfect
language in the world, Sanskrit, with a scientific alphabet and perfected
vocabulary, and a grammar which is itself a great work of art. Sanskrit has a
construct like geometry in cymatics and can be digitalised.
It is possible to
make conscious computers ( which can laugh at a subtle joke or tell the moral
of a story ) if this language is adapted to computers who use water instead of
Silicon with organic wiring . It can be adapted to Backus-Naur Form grammar
that is used to describe modern programming languages today.
The Vedic revelations
are so cosmic that they approach more closely the findings of modern quantum
physics and astronomy than the pious pronouncements of rabid preachers.
The rishis made claims
so cosmic that even modern physics seems only to be catching up with them and
realizing, after every scientific breakthrough, that the ancients were there
long before them.
The Vedas are the world's oldest intellectual legacies.
They are the only composition in the universe invested with Divine origin, and
hence divine sanctity. Sanskrit is a
divine language.
Vedas have been
heirlooms of the Hindus from generation to generation for the past 400
centuries. The Vedas are the discoveries of the laws of nature, the world and
the beings living in it and the Ultimate Truth. They are called apauruseya
grantha (authorless works) .
To the Vedic sages,
creation indicated that point before which there was no Creator, the line
between indefinable nothingness and something delineated by attributes and
function, at least. Like the moment before the Big Bang Theory.
These concepts
preoccupy high wisdom, the Truth far removed from mere religion. No other
religion has dared to address creation of the cosmos. If at all they have done
it it by stealing nuggets they could figure out with their OBJECTIVE brains ..
The Vedas are the
inspired utterances of a whole galaxy of realized souls, of spiritual geniuses,
of people not merely well versed intellectually but with spiritual
enlightenment. Vedic hymns are used
today at Hindu wedding ceremonies, and temple and school prayers in an astonishing example of continuous
tradition.
The feat of memorizing and handing down humongous amount of oral
literature for 400 centuries is a hallmark of Sanatana Dharma.
Imagine the white
invader managed to make the Hindu self loathing by unlimited lies. Not any more
!
The Vedas haunt me. In
them I have found eternal compensation, unfathomable power, unbroken peace. Ralph
Waldo Emerson
WE REALLY DON’T CARE IF
ROTHSCHILDs AGENTS LIKE BR AMBEDKAR AND EVR PERIYAR THINK THAT VEDAS ARE A
USELESS SET OF BOOKS.
THE SMRITIS HAVE MORTAL
AUTHORS.
THE SMRITIS COULD BE
QUESTIONED AND DEBATED UNLIKE THE VEDIC SRUTIS.
Debates were done through the disciplines of Siksha
(Phonetics), Nirukta (Etymology),Vyakarana (Grammar), and Chandas (Poesy). The
Indian rishis were the first to engage their great minds in dialectics in
philosophy—the method of investigating
the nature of truth by the criticism of initial concepts and hypotheses—all in
the most peaceful natural surroundings .
The ancient Indian
Vedic dialectic is based on a dialogue between two or more rishis , master or
student - people who may hold differing views, yet wish to pursue truth by
seeking agreement with one another.
The Vedic seers ,
propounded six systems of philosophy explaining man, universe, and God, before
which thief Aristotle's and thief Plato's theories ( stole without
understanding ) look like juvenile endeavors.
They discovered the
Earth's rotatory and revolutionary motions, and studied the courses of
constellations and stars, and founded the twin sciences of astronomy and
astrology.
Smriti means "that
which is remembered." Smriti scriptures are derived from the Vedas and are
considered to be of human origin and not of divine origin. They were written to
explain and elaborate the Vedas, making them understandable and more meaningful
to the general LCD population.
Puranas were clever allegorical stories .. Idiots like Zakir Naik will never understand them.
All authoritative
writings outside the Vedas are collectively referred to as Smriti. Smriti
include the Dharma Shastras, Nibhandas, Puranas, The Epics, Agamas or Tantras,
Darshanas and VEDANGAS (Upa Vedas which
are expounded in part 109 of this Sanatana Dharma series) .
The range and depth of
the ancient knowledge is recognized
today as so incisive, that they have had a profound influence on modern studies especially in the
area of linguistics. Much of the ancient
knowledge in this area form the corpus of the VEDANGAS..
Shiksha, one of the six Vedangas, constituting a masterly
exposition of the disciplines of
Phonology and Phonetics developed in India, several millenniums before
any other culture of the world had
anything comparable to show for itself.
The conscious mind ,
clearly bore the faculty, that could just with a thought, initiate the chain of inner events
that culminated in the spoken word.
The sages reflected deep on these inner sequences and
named the starting point the Sabda, the
pure sound or wordless language,
originating in turn from an Ultimate Reality called the Sabda Brahman.
The Sabda carried the creative energy to shape an
intent or meaning into a word and
transfer its energy to the vocal chords and cause the word to be articulated.
The meaning could come
from a recall of an earlier experience
stored in their original words, or a new thought or a new experience
or meaning, and clothe it in one of the
older words, creating additional
meanings for the same word, or create a new words derived from the
old words or create new words altogether
clearly overawed by the range, depth and value of knowledge that was embedded
in their hymns.
Maharishis were
persons of extraordinary vision,
intellect and intuition who set their inspired visions to words.
The first step was to
establish an iron disciple for the recitation of the texts, and this became the
Siksha Vedanga.
Taittiriya Upanishad contains one of the
earliest description of Shiksha as follows,
ॐ शीक्षां
व्याख्यास्यामः
।
वर्णः
स्वरः
।
मात्रा
बलम्
।
साम
सन्तानः
।
इत्युक्तः
शीक्षाध्यायः
॥
१
॥
Om! We will explain the
Shiksha.
Sounds and
accentuation, Quantity (of vowels) and the expression (of consonants),
Balancing (Saman) and
connection (of sounds), So much about the study of Shiksha. || 1 ||
— Taittiriya
Upanishad 1.2, Shikshavalli- 5000 BC
Vedas were transmitted
from one generation to the next by oral tradition, and the preservation and the
techniques of preservation depended on phonetics..
The alphabet had been
categorized into vowels (svara), stops
(sparsa), semivowels (antastha) and spirants (usman). The field was fundamental
to the ancient study of linguistics, and it developed as an interest and
inquiry into sounds rather than letters.
Shiksha, as described
in these ancient texts, had six chapters - varna (sound), svara (accent), matra
(quantity), bala (strength, articulation), saman(recital) and samtana
(connection between preceding and following sounds) mapped to the anatomical
nature of human sounds, from the back to the front - throat (at the very back),
palate, palatal ridge, teeth and lips.
The letters of the
Sanskrit alphabet were further organized by the Vedic scholars into a magic
square, making symmetrical and resonant alternate readings of the letters
possible, such as top to bottom in addition to left to right.
Further, the Shiksha
scholars added Mudra (hand signs) to go with each sound, thereby providing a
visual confirmation and an alternate means to check the reading integrity by
the audience, in addition to the audible means.
Existence as a manifestation,
implied creation of form with a purpose, which meant an action with a result,
or a cause with an effect.
This generative concept
evolved in a variety of contexts, like sound generating the word, or as the ancient grammarians
proposed, at the later levels of
development, the cause-effect chain of thoughts generating words,
and from within the domain of words, the
verb generating the noun, and then the
sentence and language as the final vehicle of meaning.
The Vedas are the
quintessence of classical Hindu philosophy. Thinking with your heart; loving
with your mind.
For a Hindus DHARMA is
subjective .
And when the heart
sees, it sees the unknowable, nameless, formless, limitless, supreme God. He is
called the nonexistent because he is eternal, beyond existence. God manifest is
the fabric of creation itself. They are one.
They explain the nature of the universe, of life, while admitting that
Creation itself is the one unknowable mystery.
Even today there is
hardly a Hindu in Kerala who married off his son or daughter without comparing
the horoscopes..
My wife and I, matched
more than 500 horoscopes for my elder son. It costs good money to get one horoscope matched .. Do I look like a stupid duffer to you?
"In the history of the world, the Veda
fills a gap which no literary work in any other language can fill." --Max Muller
While the Vedas look
outward in reverence and awe of the phenomenal world, the Upanishads look
inward, finding the powers of nature
only an expression of the more awe-inspiring powers of human consciousness.
SANATANA DHARMA FIGURED
OUT WHAT IS THE SOUL , 400 CENTURIES AGO..
BUDDHSIM WHICH HAS NO
SOUL DIED IN INDIA..
THERE WAS NOT A SINGLE BUDDHIST IN INDIA WHEN THE WHITE
INVADER CAME TO INDIA.
NEVER MIND THE ENDLESS
LIES USING COMMIES AND BRIBED AGENTS.
What does it mean? It
means that you are none other than God. Who else is God, if not you? -- Chandogya Upanishad, 5000 BC
Vedanta taught the
technique of self-development. The ultimate destiny of man is to discover
within himself the true Self as the changeless behind the changing, the eternal
behind the ephemeral, and the infinite behind the finite.
Greater wisdom was
never compressed into three little words than by the Chandogya Upanishad which
proclaimed the true Self of man as part of the Infinite Spirit - tat twam asi:
"That Thou Art".
Upanishads are the
divine revelations received by ancient seers. The sages who gave them to us did
not care to leave their names; the truths they set down were eternal, and the
identity of those who arranged the words irrelevant.
The Upanishads are
humanity's most profound philosophical inquiry and the first perceptions of the
unity of all, the oneness of man and God. The Upanishads are also called the
Vedanta. The literal meaning of Vedanta is 'the end of the Vedas.'
The basic teaching of
the Upanishads is that the essence of all beings - from a leaf to the perfect
human being - and all things is the Divine Spirit, called Brahman ( the FIELD
).
The Upanishads focus on
philosophical questions such as the purpose of life, origin of the universe,
concepts of time, space and matter, as well as concepts of atman, Brahman,
maya, immortality, rebirth, karma, and the world.
Gratitude and
application of the template of human conscience is inherent, which makes this
religion noble . Example: A Hindu will never ever neglect his aged and
vulnerable parents. Divorce rate within Hindus is the lowest in the world--it
is a mindset .
Marriage is NOT based on lust, but by sacred commitment of 7
pheras around a holy fire.
A true Hindu
will not exploit vulnerability.
Hinduism does not allow you to breach a trust.
When a Hindu says "thank you", he really means it.
When a Hindu
greets you with a Namaste, he bows to the greatness ( soul ) in you.
There is great tolerance to other
cultures and spiritual paths.
The
SUBJECTIVE CODE OF DHARMA is a
relentless pursuit of truth, flexible to suit all situations ..
Free from
theology and OBJECTIVE dogma, the Upanishads remain the primary source of
inspiration and guidance for millions of Hindus.
The central concern of
the ancient Maharishis , revolved around the basic question of existence and
its meaning and purpose.
The starting point of their philosophical formulations
was that existence was a manifestation of something that was finite in terms of
time and space from out of something
that their intuitions indicated as being infinite and eternal.
The Upanishads are the
remarkable compositions, which contain sublime and philosophical speculations
concerning the Universal Soul, and cosmic consciousness.
The Upanishads tell us
that there is a Reality underlying life which rituals cannot reach, next to
which the things we see and touch in everyday life are shadows.
They teach that
this Reality is the essence of every created thing, and the same Reality is our
real Self so that each of us is one with the power that created and sustains
the universe.
The Upanishads are not philosophy but are darshanas, “something
seen” and therefore to be realized.
"As flowing rivers
disappear into the sea, losing their name and form, thus a wise man, freed from
name and form, goes to the divine person who is beyond all." - Mundaka
Upanishad III 2. - 5000 BC
The Upanishads
give answers to the three pregnant questions :--
"Where is the life
we have lost in living"
Where is the wisdom we
have lost in knowledge?
Where is the knowledge
we have lost in information?
The Rishis had
repeatedly emphasized that the ultimate reality lies beyond the realms of the
senses and the grey matter beneath our skulls.
Hark again to the Upanishads:--
"There the eye
goes not
Speech goes not, nor
the mind.
We know not, we
understand not,
How would one teach
it?"
The Upanishads teach
that both space and time are endless or infinite. Modern science completely
agrees.
The ancient Maharshis understood the staggering scale of the divine
play. Many centuries later the scientific mind still boggles at the scale of
creation which makes infinity intelligible.
The Rishis clearly perceived that
the most fundamental characteristic of this incomprehensible creation was that
it was in a perpetual state of movement, flow and change. Lila is a rhythmic play
which goes on in endless cycles, the One becoming the many and the many
returning to the One.
Science, in its
most advanced stage, is closer to Vedanta than ever before.
The intuition of
Indian mystics led them to understand the multidimensional reality and of
space-time continuum which is the basis of the modern theory of relativity.
The
Upanishads are summits of thought on mankind and the universe, designed to push
human ideas to their very limit and beyond. They give us both spiritual vision
and philosophical argument, and it is by a strictly personal effort that one
can reach the truth.
Vedanta unleashes a
vast proliferation of knowledge in the fields of linguistic disciplines like Phonetics, Phonology,
Morphology, Philology, Etymology, Semantics, Pragmatics, Epistemology, Ontology
etc, with the highest of modern scholars acknowledging that they drew their inspiration ultimately from those
awesome ancient Hindu sages, supermen in
reality.
The aim of every Hindu
is MOKSHA, escape from endless re-births on planet earth by reducing the karmic
baggage to zero.
The soul within the human yearns for homecoming …merging back
with the mother field of brahmAn.
The human being is the
central mystery of the universe holding the key to all other mysteries. It was
such a science that India sought and found in the Upanishads in an attempt to
unravel the mystery of human beings and of consciousness.
The purpose of the Vedas was to ensure the
true welfare of all beings, worldly as well as spiritually. Before such a
synthesis could be achieved, there was a need to penetrate the inner worlds to
its depth.
This is what the
Upanishads did with precision and gave us the science of the self, which helps
man leave behind the body, the senses, the ego and all other non-self elements,
which are perishable.
The Upanishads tell us
the great saga of this discovery — of the divine in the heart of man.
In the
Upanishads we get a glimpse into the workings of the minds of the great Indian
thinkers who were unhampered by the tyranny of religious dogma, political
authority, pressure of public opinion, seeking truth with single-minded
devotion, rare in the history of
thought.
The physical and mental
climate that made it possible is the land of plenty and land of security , that
was India.
"The history of
India for many centuries had been happier, less fierce, and more dreamlike than
any other history. In these favorable conditions, they built a character -
meditative and peaceful and a "nation of philosophers such as could
nowhere have existed except in India." .-- H. G. Wells
The Maharishis found
leisure and peace to think and ask questions. They had the choice to utilize
the leisure either to conquer the outer world or the inner.
With their mental
gifts, they had turned their mental energies to the conquest of the inner world
rather than of the world of matter and life at the sensate level.
The
Upanishads have given us a body of insights that have a universal quality about
them and this universality derives from their impersonality. The sages who
discovered them had depersonalized themselves in the search for truth.
Whatever may be the
discoveries of the scientific mind, none can dispute the eternal truths
propounded by the Upanishads. The Upanishads have tackled every fundamental
problem of life. They have given us an intimate account of reality. On the tree
of wisdom there is no fairer flower than the Upanishads, and no finer fruit
than the Vedanta philosophy-- Paul
Deussen disciple of Arthur Schopenhauer
Unlike modern Western
philosophers who lift ideas without understanding it, and patent it in their
names.
The rishis wanted to go beyond nature and realize the transcendental
nature of man. They dared to take up this challenge and the Upanishads are the
unique record of the methods they adopted, the struggles they undertook and the
victory they achieved in this astonishing adventure of human spirit.
And this
is conveyed to us in verses of great resonance power and poetic charm. In
seeking the immortal, the Vedic seers conferred the immortality upon the
literature that conveyed it.
In the
Upanishads we can study the graceful conflict of thought with thought, the
emergence of more satisfactory thought and the rejection and unlearning of
inadequate ideas.
Hypotheses were advanced and rejected on the touchstone of
experience and not at the dictate of a creed. Thus thought forged ahead to
unravel the mystery of the world in which we live..
"The Upanishads
contain such godlike fullness of wisdom on all things that I feel the authors
must have looked with calm remembrance back through a thousand passionate
lives, full of feverish strife for and with shadows, ere they could have
written with such certainty of things which the soul feels to be sure." --
A. E. George Russell Poet, mystic
"In the morning I bathe my intellect in
the stupendous and cosmogonal philosophy of the Bhagavad Gita in comparison
with which our modern world and its literature seems puny."-- Henry David Thoreau
One of the oldest and
longest of the Upanishads, the Brihadaranyaka ( 1.3.28 ) says: This was my
school morning assembly prayer.
ॐ असतो
मा
सद्गमय
।
तमसो
मा
ज्योतिर्गमय
।
मृत्योर्मा
अमृतं
गमय
।
ॐ शान्तिः
शान्तिः
शान्तिः
॥
Om Asato Maa Sad-Gamaya
|
Tamaso Maa Jyotir-Gamaya
|
Mrtyor-Maa Amrtam
Gamaya |
Om Shaantih Shaantih
Shaantih ||
"From the unreal
lead me to the real!
From darkness lead me
to light!
From death lead me to
immortality! ( MOKSHA )"
Sound in the ancient
Indian tradition was considered the first manifestation of a divine vital energy or Prana, the vital
energy that created and sustained all
life and its activities. Sound in its crudest form is what we call noise, an
unregulated chaos of vibrations or what in physics might be called frequencies.
The word ‘vibrant’
suggests something that is full of energy, full of life. Vibrations in the air
register on our ear as sound, and if
they are in the higher frequencies they may register on our eye as
colour, or on our skin as heat or on our
wireless instruments as a buzz, all of
which we describe as noise until they become vehicles bearing significance of some kind, like meaning.
The earth vibrates at
7.83 Hz and so does OM.. The secrets of this universe are contained in energy ,
frequency and vibration.
Resonances of earth,
ie, 7.83, 14, 20, 26, 33, 39 and 45 Hertz of earth. 7.83 hz being the strongest
of all, OM or Schumann frequency.
Ohm- 7.83 Hz
Gam - 14 Hz
Hleem - 20 Hz
Hreem - 26 Hz
Kleem - 33 Hz
Krowm - 39 Hz
Sreem - 45 Hz
The inner ear gives the
cycloid spiral space curve motion. Vedic seers used the inner ear method for
bending space time. The audio range is 20 hz to 20 K Hz. 1 hertz is one cycle per second. All
musicians convey the message in the 0.5- 4 KHz range .
A sound wave is a
longitudinal wave--a series of compressions and rarefactions.. Higher the
frequency, higher the perceived pitch. The wonder of the cilia hairs of the
inner ear is that it can perceive 1500 levels of pitch. The number of
discriminable tones in in the hundreds of thousands.
Once frequencies become
more regular, they become recognizable as tones and if they fall into the
intervals of an octave, they acquire the more attractive forms of music.
The voice box of all creatures produce
all these shades of sound, ranging from
the croak of a frog to the song of the bird.
While man too can sing,
he has the endowment of a powerful mind that uses sound for articulating his
thought into the word, laden with meaning and structured by language for
communication with the world around him.
The mind of man also
gives him a host of other capacities : the capacity to count and calculate,
draw and measure, compare and contrast,
differentiate and integrate, elaborate and
explain (and also confuse and confound), observe the external world around him, store internally what he sees,
hears or otherwise senses, as images or
words and reflect on all that happens in the world within him.
These skills lead him
into deep understanding and great accomplishments of knowledge of both the external world of
Nature and internal world of the human
Nature. And given the duration and rhythm of the breathing process, when the Rishis committed all this
knowledge to the word in the Rig Veda
and Sama Veda, it seemed just natural that they should set the word to poetry and music in the rhythms of
metre and tala
OM is considered as the
sound of Cosmic Energy and contains all the sounds in itself. OM
when dragged to MMMMM generates Nitric Oxide , the magic molecule..
The Christian AMEN and
the Jewish SHALOM is nothing but a lift from the Hindu King Mantra OM. OM releases Nitric Oxide-- Amen and Shalom
does nothing.
Chanting OM produces a
sonorous vibration like the buzz of a mighty transformer. The vibrations
produce scalar waves which calms the mind. It produces an antigravity effect on
water, due to the science of cymatics , and your body is mostly water.
OM tone has a vibratory
massage effect on your organs. The vibrations penetrate the deepest tissues and
nerve cells, blood circulation round the body increases, bringing much more
oxygen to different organs and the secretion of hormonal glands is also
stimulated.
Most importantly, this amplifies your ability to
visualize. Chanting OM raises your vibration to a higher
consciousness, and it clears the channel for intuition.
Here then was the
first word OM proclaimed by the Vedas as
the very first manifestation of the
Divine as the Word !
Uttering of OM is
identifying oneself with the cosmic resonance the efficacy of the mantric power
of OM emanates not only from its sound vibrations, but also from the inner
attitude of the speaker-- his spiritual purity and his freedom from
worldliness.
From the conch OM sound
comes. This is why all Vedic Hindu temples have it. The puja room in my house
has 2 king sized conches. The sound it produces is awesome.
OM opens up quantum
tunneling, where the wormholes do NOT have a restriction of speed of light. DNA
is a superconductor that stores light at body temperature, and can create
magnetic wormholes in ZPF .. Microtubules and axional membranes are also hollow
cylinders.
Chanting OM stimulated
your Vagus nerve which releases anti-ageing neuro-trasnsmitters.. It helps
regenerate your organs and cells by activating stem cells.
Of course, the mouth
continued to use the different arts of
its anatomical structure to give further shapes and stresses to these basic vowel sounds.
It used the throat,
palate, tongue, teeth and lips to create
the guttural, cerebral, palatal dental and labial consonants that could then create all the possible basic
sound components of speech, not
surprisingly, common to virtually every language spoken by man.
The pure sounds that originated in the vocal
chords were the Svaras or vowels and
when these were shaped by the different parts of the mouth, they became the Vyanjanas or consonants of the
Sanskrit alphabet.
Mudras continue to be part of the classical
Indian dance tradition. This interplay of the gesture and sound in Sanskrit
recital, is similar to the gesture of a conductor and the sound produced by
music players in any classical orchestra.
In Sanskrit, the posture of the
performer is an added dimension to those of pronunciation and gesture, together
these empowered muscular memory with acoustic memory in the Hindu tradition of
remembering and transmitting Sanskrit texts from one generation to the next.
The methodical phonetic procedure developed by Shiksha helped preserve the
Vedas without the slightest variants in the most faithful way possible.
It made
the Vedas and embedded Principal Upanishads the canonical scriptures of
Hinduism. The rules and symmetric of Shiksa helped the student to master
enormous volumes of knowledge, and use the embedded codes and rules to self
check his memory.
The TRIAD of Mantra,
Tantra and Yantra may perhaps be
described as the Linguistics in the perspective of Metaphysics,
that science which treats of the deeper
psychological or philosophical
principles underlying the world of physical existence.
Mantra uses
Words to go beyond their literal
meaning, while Tantra uses Actions and Yantra
uses Objects to embody and communicate meanings that lie beyond the reach of Words at levels of experience and
understanding far beyond those of our
physical existence-- in other words, a world of metaphysics.
Metaphysics is the
branch of philosophy that studies the essence of a thing.
This includes questions
of being, becoming, existence, and reality.. Topics of metaphysical
investigation include existence, objects and their properties, space and time, cause
and effect, and possibility. Like mathematics, metaphysics is a non-empirical
study which is conducted using analytical thought alone.
Like foundational
mathematics , it tries to give a coherent account of the structure of the
world, capable of explaining our everyday and scientific perception of the
world, and being free from contradictions..
Metaphysics, the philosophical study whose object is to determine the real nature of things—to determine the meaning, structure, and principles of whatever is insofar as it is.
Metaphysics, the philosophical study whose object is to determine the real nature of things—to determine the meaning, structure, and principles of whatever is insofar as it is.
Every vestige of ancient Greek metaphysics is
stolen from Kodungallur University of Kerala.
Mantra is a construct
that rests on words, but often do not
point directly or clearly to meaning. They
use words more for its sound content
to convey a different level of esoteric
meaning that we may not be able to comprehend readily.
For instance, OM is taken as a word meaning the first
manifestation of physical existence, or
a primordial sound that puts us in resonant contact with the divine.
Phonetics is the
systematic study of human speech-sounds. It provides means of describing and
classifying virtually all sounds that can be produced by human vocal tracts.
Vedic srutis gave great emphasis to phonetics.
Ancient India phoneticians
made a splendid attempt to establish the theory of language on the strong base
of philosophical quest. Unlike
semantics, which deals with the meaning of words, phonetics is focused
exclusively on the properties of speech sounds and their production.
Within phonetics, there
are three main areas of analysis :--
1. Auditory phonetics:
The study of speech perception and how the brain forms perceptual Representation of the input it receives
during the course of communication.
2. Articulatory
phonetics : The study of phonetics and movements of the lips, tongue, vocal
tract and other speech organs.
3. Acoustic phonetics :
The study of the sound waves and how they are perceived by the inner ear.
The
Shiksha Vedanga played an important role in maintaining the purity and
integrity of the Vedic tradition.
For centuries they taught and continue to
teach Vedic students how to recite the Vedic hymns, understand their meaning
and perform the various rituals and ceremonies strictly according to the
established procedures.
Their study inculcates among its students a sense of discipline and respect for tradition and helps them conduct themselves in society as upholders of the Vedic dharma and traditional family values.
Their study inculcates among its students a sense of discipline and respect for tradition and helps them conduct themselves in society as upholders of the Vedic dharma and traditional family values.
As the Veda was learnt by
recitation and proper pronunciation, it
was necessary to learn the science of
Shiksha. Shiksha means ‘to give’. The
Guru was giving the Veda to his pupil by uttering it. So, knowledge of Shiksha was the first
necessary requirement for study of Veda , it’s mastery depended upon its proper
pronunciation and recitation.
It is made clear in a verse Rg-Vedic hymn-VII, 03
in the expression .Where the word ‘Shaktasa = shaktimatah shikshyakasya’ refers
to a teacher who was possessed of the ability to teaching by his knowledge of
the science of Shiksha, according to which he was uttering and pronouncing the
Vedic text and his pupils were reciting from his lips (anuvadati).
The Significance of
Phonetics and Shiksha Vedanga doctrine
is about sound, accent, pause and junction of sound. Besides, it
includes scientific classification of sounds according to a place of
articulation, pitch, co-relation with musical notes, character of modifications
and definition of tempo of the Vedic relation.
In the Vedic mantras, the
quantity of syllables and their longitude are determining factors. The quantity
of syllables is strictly established for all the Vedas.
Correct division into
syllables of Samhitas conjoint text would be not possible without the advanced
science of phonetics. Therefore, Shiksha has also the status of the Vedanga
(vital part of the Veda).
All sounds are
divided into five groups depending on pitch (high, low and variable, and also
nine modifications), co-relations of pitch with certain musical notes, length
(short, long and lengthened or pluta of three measures) and efforts (initial
and subsequent).
The Vedic phonetics has
been dealt in a systematic manner in
various siksa texts as well as in the
ratisaksyas, which perform various
supportive and augmenting functions in the study preservation and
protection of Vedas and the Vedic traditions.
Phonetics is the study of the physical
sound of human speech. It is concerned with the physical properties of speech (phones) and
the process of their physiological production, auditory reception, and
neurophysiologic perception.
Individual sounds in
the Sanskrit have independent personalities, and the reciter helps develop
their character and their timbre.
Traditionally syllables (not letters) in Sanskrit are called Akshara,
meaning "imperishable (entity)": "atoms" of speech, as it
were.
These aksharas are classified mainly into two types:
These aksharas are classified mainly into two types:
Svara (pratyahara aC):
Vowel
Vyanjana (pratyahara
haL): Consonant
Svara aksharas are also
known as prana akshara; i.e., they are main sounds in speech, without which
speech is not possible. Pāṇini referred to svara as ac pratyahara. Later they
became known as ac Akshara.
Vyanjana means
embellishment, i.e., consonants are used as embellishment in order to yield
sonorant vowels. They are also known as Prani akshara; that is, they are like a
body to which life (svara) is added. Pāṇini's name for vyanjana was Hal
Pratyahara, which were later referred to as Hal akshara.
Vyanjana aksharas are
divided into three types:--
Sparsa: Stop
Antastha: Approximant
Usman: Sibilant
Sparsa aksharas include
syllables from ka to ma; they are 25 in number. Antastha aksharas include
syllables ya, ra, la and va. Usman aksharas include śa, ṣa, sa and ha.
Vowels
Main article: Vedic
accent
Each vowel can be
classified into three types based on the duration of pronunciation (morae):
Hrasva: Short vowel,
Eka-mātra
Dīrgha: Long vowel,
Dvi-mātra
Pluta: Prolonged vowel,
Tri-mātra (pluti)
We see that each vowel
can be pronounced in three ways according to the duration of articulation. The
unit of time is a mātra (approx. 0.4 seconds).
Each vowel can be
further classified into two types based on the manner of pronunciation:
Mukha: Oral (open)
Nāsika: Nasal (all
vowels are considered phonemically oral)
Each vowel can also be
classified into three types, that is, pronounced in three ways, based on accent
of articulation. This feature was lost in Classical Sanskrit, but used in
reciting Vedic and Upanishadic hymns and mantras.
Udātta: high pitch
Anudātta: low pitch
Svarita: descending
pitch (usually follows high pitch)
Articulation
Generally, in
articulatory phonetics, the place of articulation (or point of articulation) of
a consonant is the point of contact, where an obstruction occurs in the vocal
tract between an active (moving) articulator (typically some part of the
tongue) and a passive (stationary) articulator (typically some part of the roof
of the mouth).
But according to Indian
linguistic tradition,there are five passive places of articulation:--
Kaṇṭhya: Velar
Tālavya: Palatal
Mūrdhanya: Retroflex
Dantya : Dental
Ōṣṭhya : Labial
Apart from that, other
articulations are combinations of the above five places--
Dant'oṣṭhya:
Labio-dental (E.g.: v)
Kantatālavya: e.g.:
Diphthong e
Kaṇṭōṣṭhya:
labial-velar (E.g.: Diphthong o)
There are three active
places of articulation:
Jihvāmūla: tongue root,
for velar
Jihvāmadhya: tongue
body, for palatal
Jihvāgra: tip of
tongue, for cerebral and dental
Adhōṣṭha: lower lip,
for labial
Effort (or manner) of
articulation (Uccāraṇa Prayatna) is of two types for consonants,
Bāhya Prayatna:
External effort
Spṛṣṭa: Plosive
Īshat Spṛṣṭa:
Approximant
Īshat Saṃvṛta:
Fricative
Abhyantara Prayatna:
Internal effort
Alpaprāna: Unaspirated
Mahāprāna: Aspirated
Śvāsa: Unvoiced
Nāda: Voiced
The Vedic Sanskrit text
demands adequate range of characters as well as
exhaustive rendering rules to achieve the advanced typographic quality.
The range includes Swara Varnas, Swara Bhedak Chinhas, Vyanjan Varnas, Vyanjan
Bhedak Chinhas, various other chinhas to
show nuances of spoken language like kaal (time
duration), bala (stress), kamp (vibration) as well as specific Vedic
chinhas such as Vedic Anuswaras, Visargas,
Swaritas and Saamvedic intonation chinhas.
The provision has been also made for
further speech-related controls such as the tonality, peculiarity of voice,
pauses, etc.
Sound, in the ancient
Indian tradition, was considered to the first
manifestation of an infinite and eternal existence, a divine vital
energy or Prana, in a finite form, bound
by space and time. To state this in simpler
terms, the vital energy that gave life to man, also created a thought in
his mind that in turn generated sound in
his mouth, that took the form first, of just sounds, and later of words.
The
energy initiated a vibration of the
vocal cords, which manifested as a simple, single tonal frequency,
and changes in the levels of energy
created tones of more frequencies.
The
frequencies themselves fell into pleasing intervals that ultimately constituted the octave of music, which had
the added charm of harmony with each
higher or lower octave, and without the burden of words and meaning, created the world of music.
It
should be no surprise that while the Rig
Veda built on meaning and word, the Sama Veda built on the sound and music ! And it was inevitable that Time
should soon regulate these vibrations in
Space through the meter of poetry and the melody and tala of music !
The Shiksha field of
Vedic studies arranged the Sanskrit alphabet in a rational order, each mapped to the anatomical nature of human
sounds, from the back to the front - throat (at the very back), palate, palatal
ridge, teeth and lips
The letters of the
Sanskrit alphabet were further organized by the Vedic scholars into a magic
square, making symmetrical and resonant alternate readings of the letters
possible, such as top to bottom in addition to left to right.
Further, the
Shiksha scholars added Mudra (hand signs) to go with each sound, thereby
providing a visual confirmation and an alternate means to check the reading
integrity by the audience, in addition to the audible means.
These Mudras
continue to be part of the classical Indian dance tradition. This interplay of
the gesture and sound in Sanskrit recital, is similar to the gesture of a conductor and
the sound produced by music players in any classical orchestra
In Sanskrit, the
posture of the performer is an added dimension to those of pronunciation and
gesture, together these empowered muscular memory with acoustic memory in the
Hindu tradition of remembering and transmitting Sanskrit texts from one
generation to the next
The methodical
phonetic procedure developed by Shiksha helped preserve the Vedas without the
slightest variants in the most faithful way possible It made the Vedas and
embedded Principal Upanishads the canonical scriptures of Hinduism.
The rules
and symmetric of Siksa helped the student to master enormous volumes of
knowledge, and use the embedded codes and rules to self check his memory
Shiksha methodology has been not just highly
technical, it has strong aesthetic "sensuous, emotive" dimension,
which foster thinking and intellectual skills in a participatory fashion. The
reciter's mind and body are engaged, making language and sound as an emotional
performance.
The study of phonetics functioned to transform a Vedic text, which
traditionally was composed as language-music, into a musical performance. Individual sounds in the Sanskrit have independent personalities, and the
reciter helps develop their character and their timbre. Naradiya Siksa, a
phonetics treatise on the Sama Veda explains this aspects of phonology with
various similes
Just as a tigress takes
her cubs tightly in her teeth without hurting them, whilst fearing that she
might drop them and injure them, so one should approach the individual
syllables.
— Naradiya Siksa
2.8.31,
Pratisakhyas are the
oldest Siksa textbooks of each branch of the Vedas. Later Siksa texts are
more specialized and systematic, and often titled with suffix
"Siksa", such as the Naradiya-Siksa, Vyasa-Siksa, Pari-Siksa and
Sarvasammata-Siksa..
The Pratishakhyas,
which evolved from the more ancient Vedic Texts padapathas (padapāṭha) , deal
with the manner in which the Vedas are to be enunciated. There are separate
Pratishakhyas for each Veda. They complement the books called Shiksha written
by various authorities.
The Shiksha Texts and
the Pratishakhyas led to great clarity in understanding the surface structure
of language. For clarity of pronunciation, they broke up the large Vedic
compounds into word stems, prefixes, and suffixes.
Certain styles of recitation
(pāṭha), such as the jaṭāpāṭha, involved switching syllables, repeating the last
word of a line at the beginning of the next, and other permutations. In the
process, a considerable amount of morphology is discussed, particularly
regarding the combination of sequential sounds, which leads to the modalities
of sandhi.
The Samaveda Pratishakhya, one of the earliest,organizes the stop
consonant sounds into a 5x5 varga or square
One of the most remarkable features here was the presentation
of the main Consonants in the Varga structure, a 5 x 5 matrix. What is
interesting is that the pattern of
pronunciation of the letters remains the same when pronounced within rows and within the columns
of the matrix.
The magic square within Sanskrit alphabet[
|
|||||
Gutturals
|
ka
|
kha
|
ga
|
gha
|
ṅa
|
Palatals
|
ca
|
cha
|
ja
|
jha
|
ña
|
Retroflex
|
ṭa
|
ṭha
|
ḍa
|
ḍha
|
ṇa
|
Dentals
|
ta
|
tha
|
da
|
dha
|
na
|
Labials
|
pa
|
pha
|
ba
|
bha
|
ma
|
The alphabet is
designed such that the difference between sounds is preserved whether you
recite it horizontally or vertically. It was extended and completed with
fricatives and sibilants, semi-vowels, and vowels and was eventually codified
into the Grantha alphabet, which is one of the most systematic sound-to-writing
mappings.
Like Mendelejev’s Periodic System of Elements, the varga system was
the result of centuries of analysis. In the course of that development the
basic concepts of phonology were discovered and defined
The following list
contains some of these surviving texts : Amoghanandini Shiksha, Apisali Shiksha
(in sutra form), Aranya Shiksha, Atreya Shiksha, Avasananirnyaya Shiksha,
Bharadvaja Shiksha, Chandra Shiksha of Chandragomin (sutra form), Charayaniya
Shiksha, Galadrka Shiksha, Kalanirnya Shiksha, Katyayani Shiksha, Kaundinya
Shiksha, Keshavi Shiksha, Kramakarika Shiksha, Kramasandhaana Shiksha,
Laghumoghanandini Shiksha, Lakshmikanta Shiksha, Lomashi Shiksha, Madhyandina
Shiksha, Mandavya Shiksha, Mallasharmakrta Shiksha, Manasvaara Shiksha, Manduki
Shiksha, Naradiya Shiksha, Paniniya Shiksha (versified), Paniniya Shiksha (in
sutra form), Paniniya Shiksha (with accents), Parashari Shiksha, Padyaatmika
Keshavi Shiksha, Pari Shiksha, Pratishakhyapradipa Shiksha, Sarvasammata
Shiksha, Shaishiriya Shiksha, Shamaana Shiksha, Shambhu Shiksha, Shodashashloki
Shiksha, Shikshasamgraha, Siddhanta Shiksha, Svaraankusha Shiksha, Svarashtaka
Shiksha, Svaravyanjana Shiksha, Vasishtha Shiksha, Varnaratnapradipa Shiksha,
Vyaali Shiksha, Vyasa Shiksha, Yajnavalkya Shiksha
The Shiksha Vedanga
forms the traditional science of Phonology and
Phonetics and is limited to the sound content of words. The content structure of sentences is covered by
Vyakarana or Grammar.
One of the first
concerns of the ancient Vedic scholars was how the Vedas should be accurately
recited, and to lay down rules that would ensure this for all time.
The earliest teachings
towards this objective were the Padapāthas
The mouth continued to
use the different parts of its anatomical
structure to give further shapes and stresses to create more sounds. It
used the throat, palate, tongue, teeth and lips to create the guttural, cerebral, palatal dental and labial
consonants that could then create the basic components of speech, not
surprisingly common to virtually every language spoken by man.
From this
collection of sounds called Aksharas,
came the Svaras or vowels and Vyanjanas or consonants of the
Sanskrit alphabet.
These components were
first suggested in the Vedas and clearly defined later by Panini, in India,
long before any other culture of the world had anything comparable to show for
itself. It is here that the Shiksha Vedanga begins its formulations..
The Sanskrit alphabet
had been categorized into vowels
(svara), stops (sparsa), semivowels (antastha) and spirants (usman). The field was fundamental to the ancient study
of linguistics, and it developed as an interest and inquiry into sounds rather
than letters.
Shiksha, as described in
these ancient texts, had six chapters - varna (sound), svara (accent), matra
(quantity), bala (strength, articulation), saman(recital) and samtana
(connection between preceding and following sounds).
The Samhita texts of the Vedas had basic word components joined into compound words by systematic rules of Sandhi, meaning joining, to enable continuous, euphonic rendering of the texts.
The Padapātha then led to the
compilation of the Pratishakyas which described
the correct pronunciation and intonation of Sanskrit and also the rules
of sandhi or euphonic combination of
words.
The Pratishakyas were specific to
the Shakhas or schools that were established throughout the country for the preservation and dissemination of the
Vedas and these form part of the corpus
of Shiksha, one of the six Vedangas. .
The Pratishakya texts
are composed in the form of metric
verse, or the more condensed form of Sutras. They present the basic structure of Sanskrit by
breaking up its words into stems,
prefixes and suffixes as aids to their correct pronunciation.
They
then prescribe different styles of
recitation, involving a regulated,, repetitive
patterned switching of syllables or words of a text as aids for
memorizing and correctly articulating
the slokas. This led to rules of sandhi, of how
syllable or word sequences could be joined during articulation.
At a level of greater
structural detail, the alphabet got developed in terms of the syllable called
the Akshara, or “imperishable” unit of sound,
comprised of the Vyanjana or consonant and the Svara or vowel, the former being the body which received life
from the latter.
What is more
interesting is that these five groups appear in the same order in which the sounds are generated as they
emerge in the vocal passage, as seen in
the diagram below, starting with the throat, and through the palate, tongue, and teeth and ending at the lips.
This is why they are referred to the
gutturals, cerebrals, palatals, dentals and labials respectively. But what is truly remarkable is that these concepts
accepted as standard today in modern
linguistics, appeared for the first time nearly 7000 years ago in the shiksha
texts of the Vedic corpus in India.
In this matrix, the
stress difference between sounds is
preserved whether you recite it
horizontally or vertically. This was
extended and completed with fricatives
and sibilants, semi-vowels, and vowels,
and was eventually codified into the Grantha alphabet, which is one of
the most systematic approaches of
mapping sound to writing.
The varga
system was clearly the result of centuries of analysis. In the course of that
development, the basic concepts of
phonology were discovered and defined
Syllabicity :
Traditionally syllables (not letters) in Sanskrit are called Akshara, meaning "imperishable
(entity)", as it were "atoms" of speech.
These aksharas are
basically classified mainly into two types.
• Svara (pratyahara aC)
: Vowel
• Vyanjana (pratyahara
haL) : Consonant
Svara akṣaras are also
known as prāṇa akṣara i.e. they are main sounds in speech, without which speech is not possible.
Vyañjana means embellishment, i.e., consonants are treated as embellishment for
the vowels to make a language sonorant.
They are also known as Prāni akshara i.e., they are like a
body in which life (svara) is
present. It is only when the consonant is joined by a vowel, when
the body is joined by life that
articulation becomes possible
Reciting Vedic &
Upanishadic hymns and mantras. The three types are the Udātta : high pitch; the Anudātta : low
pitch; and the Svarita : falling pitch
According to the Indian linguistic tradition, articulation is analysed
by different parameters and features.
Generally,
in articulatory phonetics, the place of
articulation (also point of articulation) of a consonant is the point of contact, where an obstruction occurs in
the vocal tract between an active
(moving) articulator (typically some part of the tongue) and a passive (stationary) articulator (typically some part
of the roof of the mouth).
The passive places of
articulation are classified as five.
They are:-
Kaṇṭhya : Velar;
Tālavya : Palatal; ūrdhanya : Retroflex; Dantya : Dental; and Ōshtya : Labial. Apart from that, other
places are combinations of the above
five places. They are:- Dantōsthya : Labio-dental (Eg: v); Kantatālavya : Eg: Diphthong e; and
Kantōsthya : Labial-velar (Eg: Diphthong o)
The active places of
articulation are classified as three, they are --
Jihvāmūla : tongue root, for velar; Jihvāmadhya : tongue body, for
palatal; Jihvāgra : tip of tongue, for
cerebral and dental; and Adhōṣṭa : lower lip, for labial
The stress or effort of
articulation (Uccāraṇa Prayatna a Prayatna) is of two types for consonants,
(a) Bāhya Prayatna :
External effort : these are Spṛṣṭa : Plosive; Īshat Spṛṣṭa : Approximant; and Īshat Saṃvṛta :
Fricative
(b) Abhyantara Prayatna
: Internal effort : these are Alpaprāna :
Unaspirated; Mahāprāna : Aspirated; Śvāsa : Unvoiced; and Nāda :
Voiced Articulation of Consonants then
proceeds in a variety of logical
combination of components in the two types of effort for articulation.
Modes of recitation :
We are now in a position to consider the methods of recitation and memorizing the texts. Students
are first taught the samhita pātha, that
is the text with sandhi applied.
Other pāthas include vakya, pada, krama, jata,
mala, sikha, rekha, dhvaja, danda, ratha, ghana and these could follow the Padāptha. A pāthin is a
scholar who has mastered the patha.
Thus, a ghanapaathin has learnt the chanting of the scripture up to the
advanced stage called ghana.
Ghanapathins chant the
ghana by intoning a few words of a mantra in different ways, back and forth.
The sonority natural to Vedic chanting is
enhanced in ghana.The padapātha consists of dividing the sentence (vakya) into individual pada or words.
The
kramapatha consists of pairing two words
at a time. In Jatapatha, the words are braided together, so to speak, and recited back and forth. The
Ghanapatha or the "Bell" mode of
chanting is so called because the words are repeated back and forth in
a bell shape.
The samhita, vakya and
krama pathas can be described as the
natural or prakrutipathas. The remaining 8 modes of chanting are
classified as Vikrutipathas as they
involve reversing of the word order.
The backward chanting of words does not alter the meanings
in the Vedic (Sanskrit) language.The
chief purpose of such methods is to ensure that not even a syllable of a mantra is altered to the
slightest extent, which has resulted in
the most stable oral tradition of texts worldwide.
In ancient India various types of information
as well as instructions were imparted through oral (vak) and listening
(shravana) mode. The ancient sacred Vedas are
reservoir of information, knowledge and wisdom of Indian past.
This
knowledge has been passed on from the
teacher to the student through guru-shishya parampara using oral mode and its associate techniques
such as recitation, repetition, memorization
and oral reproductions, etc.
Clear and correct pronunciations of syllabic clusters by the teacher as well as
attentive and meaningful listening by the
pupils were integral parts of this methodology. In addition to 4 vedas
(Rigveda, Yajurveda, Atharvaveda and
Samveda) the ancient text such as Brahmans,
Aaranyaks and Upanishads dealt with theoretical, philosophical and
practical aspects of human life and
beyond.
Humongous amount of information on various topics was thus preserved from generation to
generation in the Indian sub-continent through
oral tradition. .
The Shikshas and Pratishakhyas attached to different Vedas and shakha/upshakhas,
constitute parametric studies on phonetics
and formations of linguistic elements. A spoken
word was transferred into a written word. The minimal sound unit called
'Varna' (phoneme) was identified as a
root base for the writing system.
'Varnas' were divided into two groups: Consonants and
Vowels and into further classifications.
This range was called
Varna Samamnaya.. Sanskrit phonetics, laws of euphonic combination (sandhi),
and the science of making language pleasant and understood without mistakes.
Shiksha as a supplemental branch of the Vedas, included teaching proper
articulation and pronunciation of Vedic texts.
https://informationisbeautiful.net/visualizations/what-islamic-golden-age-thinkers-discovered-long-before-the-west/
I NEED TO PRICK THE BLOATED ARAB INTELLECTUAL AND INVENTOR BUBBLE..
Zakir Naik can stop boasting that Arab Muslims—
AL HULL BURRR invented Math
AL KULL HURRR invented astronomy
AL PRRRR KURR invented science
- and get faalthu wahabi awards from the CRYPTO JEW Al Saud synasty. Mind you this man is giving away his motherlands discoveries to an alien Muslim nation ruled by crypto jew bloodline installed by Rothschild.
And get CLAP CLAP CLAP – PWEEEET PWEEEET --
FROM AN DUMB MUSLIM AUDIENCE WHO KNOWS ONLY HOW TO READ FROM RIGHT TO LEFT –
EVERY VESTIGE OF GREEK KNOWLEDGE IS FROM KODUNGALLUR UNIVERISTY OWNED BY THE CALICUT KING ( MY HOMETOWN ).
ALL ANCIENT GREEK GREAT ( EXCEPT ARISTOTLE WHO HAD NOTES FROM HIS TEACHER PLATO ) STUDIED IN KODUNGALLUR UNIVERISTY
EVERY VESTIGE OF ARAB KNOWLEDGE IS WRITTEN AND TRANSLATED ( TO ARABIC ) IN KERALA AND THEN SOLD TO ARABS FOR GOLD.
http://ajitvadakayil.blogspot.in/2013/01/mansa-musa-king-of-mali-and-sri.html
The entire Math ,astronomy , science in Arabic was sold in gold to Arabs by Calicut, Kerala Kings.
ANCIENT ARABS AND GREEKS DO NOT HAVE A SINGLE INVENTION OR DISCOVERY repeat NOT A SINGLE INVENTION OR DISCOVERY , WHICH IS NOT STOLEN FROM INDIA .. .
We never affixed author’s names on our books of knowledge.
Kodungallur university BLACK BALLED all stealing Greeks who patented knowledge in their own names BINDAASSSS.
And ancient Greek knowledge suddenly dried up like water in the hot desert sands..
Arabic language was created by Kerala Namboodiris . Their numerals are called Hindu-Arabic even today.
#####################
Al Biruni
AL fuckin’ BIRUNI STUDIED IN KODUNGALLUR UNIVERSITY AND TOOK ELABORATE NOTES WITH HIM -WITHOUT UNDERSTANDING, AS HE WAS NOT VERY BRIGHT
Al-Biruni was a Sanskrit scholar who learnt Math and astronomy in from Namboodiri professors adept in Sanskrit and Arabic .
Let me quote Wikipedia -
QUOTE: Al-Biruni wrote an encyclopedic work on India called “Tarikh Al-Hind” (History of India) in which he explored nearly every aspect of Indian life, including religion, history, geography, geology, science, and mathematics. My book is nothing but a simple historic record of facts. I shall place before the reader the theories of the Hindus exactly as they are, and I shall mention in connection with them similar theories of the Greeks in order to show the relationship existing between them.(1910, Vol. 1, p. 7;1958, p. 5)
Hindus considered Muslims violent and impure, and did not want to share anything with him.
Over time, Al-Biruni won the welcome of Hindu scholars. Al-Biruni collected books and studied with these Hindu scholars to become fluent in Sanskrit, discover and translate into Arabic the mathematics, science, medicine, astronomy and other fields of arts as practiced in 11th century India. He was inspired by the arguments offered by Indian scholars who believed earth must be ellipsoid shape, with yet to be discovered continent at earth's south pole, and earth's rotation around the sun is the only way to fully explain the difference in daylight hours by latitude, seasons and earth's relative positions with moon and stars.[36] Al-Biruni was also critical of Indian scribes who he believed carelessly corrupted Indian documents while making copies of older documents.[37] Al-Biruni's translations as well as his own original contributions reached Europe in 12th and 13th century, where they were actively sought.
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While others were killing each other over religious differences, Al-Biruni had a remarkable ability to engage Hindus in peaceful dialogue. Mohammad Yasin puts this dramatically when he says, “The Indica is like a magic island of quiet, impartial research in the midst of a world of clashing swords, burning towns, and burned temples.” (Indica is another name for Al-Biruni’s history of India). (Yasin, 1975, p. 212). :UNQUOTE
https://en.wikipedia.org/wiki/Al-Biruni
############################
Ibn al-haytham
Ibn fuckin’ al-Haytham or Alhazen has been made out to be the first theoretical physicists, -- a system where a hypothesis must be proved by mathematical evidence.
Alhazen’s ( Ibn al-Haytham) science of optics is not his own. He just lifted and patented.
As regards Alzhazen’s OPTICS, the wolrd must know we Indians were masters in TOTAL INTERNAL REFLECTION – the ultimate in optics
http://ajitvadakayil.blogspot.in/2011/10/total-internal-reflection-capt-ajit.html
Ptolemy stole from the astronomical data from Surya Siddhanta . The white historians had the gall to LIE that Varahamihira 2660 BC stole from Ptolemy of 155 AD.
He went back and patented SWASTIKA ( dhruv / Polaris and sapt rishis/ great bear ) in his own name.
We never affixed author’s names on our books of knowledge.
Kodungallur university BLACK BALLED all stealing Greeks . And ancient Greek knowledge suddenly dried up like water in the hot desert sands..
##########################################
Muhammad ibn Zakariya al-Razi
Muhammad fuckin’ ibn Zakariya al-Razi studied in Kodungallur University in 886 AD. He left behind several translated to Arabic manuscripts on medicine and surgery ( Al Mansuri ) and astronomy. This knowledge of Susruta and Charaka was sold to him for gold . All the manuscripts he left behind were ready made translated knowledge from Kodungllur university ..
###############################
Nasir al-Din al-Tusi
Nasir al-Din fuckin’ al-Tusi studied in Kodungallur University in 1260 AD. He is called the father of Trigonometry This is nonsense . He was NOT a bright student and he was given translated Math knowledge ( Kitāb al-Shakl al-qattā ) from the Kerala school of Math in exchange for gold. Whatever he wrote on Astronomy about the Milky way ( Akash Ganga ) was bought for gold.
############################################
Abū Kāmil Shujāʿ ibn Aslam
Abū Kāmil Shujāʿ ibn fuckin’ Aslam studied in Kodungallur University in 889 AD. He was given ready made translated to Arabic knowledge of Math in exchange for vast amount of gold.. Fibonacci stumbled on his work in Bejaya and patented it in his own name.
http://ajitvadakayil.blogspot.com/2010/12/perfect-six-pack-capt-ajit-vadakayil.html
################################################
Ibn Zuhr
Ibn fuckin’ Zuhr is considered a great cat in Surgery.
BALLS !
Ibn Zuhr was not a surgeon at all. He bought ready made translated to Arabic texts on surgery from the Cordoba library for gold.
NOW I HAVE BAD NEWS FOR JEW , MUSLIMS AND CHRISTIANS.
IT IS ABOUT A KERALA MERCHANT IN THE CALICUT KINGs EMPLOYMENT – A THIYYA NAMED MAIMONIDES
THERE IS A STATUE OF HIM IN CORDOBA MADE BY THE JEWS.
Jews call him Moshe ben Maimon. ( statue below in Cordoba )..
Muslims call him Abu Imran Musa bin Maimun .
Christians call him Maimonides.
THE LIBRARY OF CORDOBA IN SPAIN WAS RUN BY THE CALICUT KING. WESTERN UNIVERSITIES WERE STARTED BY LIFTING KNOWLEDGE FROM HERE . AND OF COURSE THEY HAD THE LIFTED AND PATENTED GREEK KNOWLEDGE TOO .
CONTINUED TO 3--
CONTINUED FROM 2-
THE HUGE SPICE BAZAAR OUTSIDE CORDOBA LIBRARY WAS OWNED BY THE CALICUT KING.
##########################################
Abū Kāmil Shujāʿ ibn Aslam
Abū Kāmil Shujāʿ ibn fuckin’ Aslam studied in Kodungallur University in 889 AD. He was given ready made translated to Arabic knowledge of Math in exchange for vast amount of gold.. Fibonacci stumbled on his work in Bejaya and patented it in his own name.
http://ajitvadakayil.blogspot.com/2010/12/perfect-six-pack-capt-ajit-vadakayil.html
################################
Muhammad ibn Musa al-Khwarizmi
Mathematician Muhammad ibn fuckin’ Musa al-Khwarizmi studied in Kodungallur University in Kerala.
Fibonacci took his Arabic works to Italy from Bejaya , Algeria.
ALGEBRA is derived from Al-Jabr, one of the two operations he used to solve quadratic equations. Algorism and algorithm stem from Algoritmi, the Latin form of his name.
Let me quote wikipedia:
QUOTE- Ibn al-Nadīm's Kitāb al-Fihrist includes a short biography on al-Khwārizmī together with a list of the books he wrote. Al-Khwārizmī accomplished most of his work in the period between 813 and 833. After the Muslim conquest of Persia, Baghdad became the centre of scientific studies and trade, and many merchants and scientists from as far as China and India traveled to this city, as did al-Khwārizmī. He worked in Baghdad as a scholar at the House of Wisdom established by Caliph al-Ma’mūn, where he studied the sciences and mathematics, which included the translation of Greek and Sanskrit scientific manuscripts.
Al-Khwārizmī's Zīj al-Sindhind[11] (Arabic: زيج السند هند, "astronomical tables of Sindh and Hind") is a work consisting of approximately 37 chapters on calendrical and astronomical calculations and 116 tables with calendrical, astronomical and astrological data, as well as a table of sine values. This is the first of many Arabic Zijes based on the Indian astronomical methods known as the sindhind.[22] The work contains tables for the movements of the sun, the moon and the five planets known at the time. This work marked the turning point in Islamic astronomy. Hitherto, Muslim astronomers had adopted a primarily research approach to the field, translating works of others and learning already discovered knowledge.
-UNQUOTE
https://en.wikipedia.org/wiki/Muhammad_ibn_Musa_al-Khwarizmi
LIES WONT WORK ANYMORE
FROM 800 AD TO 1450AD KODUNGALLUR UNIVERSITY OWNED BY THE CALICUT KING EARNED HUGE AMOUNT OF GOLD FOR SELLING READY MADE TRANSLATED KNOWLEDGE ..
OF COURSE IT WAS NOT AS MUCH FORTUNE AS MADE BY TRADING SPICES..
Capt ajit vadakayil
.
I ASK MY READERS TO SPREAD THIS KNOWLEDGE ON SOCIAL MEDIA..
#############################################################
Capt ajit vadakayil
..
- Sir,
https://reclaimtemples.com/restarting-centuries-old-hindu-festival-of-kerala/
Maghamakam ritual at tirunavaya restarted.
https://medium.com/@subhashkak1/is-indias-strategic-plan-for-ai-credible-4edf09bfb3f1
Need of the hour is indigenous STEM research. But our system is corrupt.
God save us.
Thankyou captainji
Thyaga
October 9, 2018 at 4:28 AM
Dear Captain ji,
It seems Sai got the same message from many sources. Here is his response
"Kindly stop sending me this stuff over and over again".
you may want to ask readers dont send this link to him anymore
Thanks
Thyaga
Delete
#############
Capt. Ajit Vadakayil
October 9, 2018 at 6:19 AM
SEND SAI DEEPAK THIS MESSAGE FROM CAPT AJIT VADAKAYIL- AFTER THAT EXCLUDE THIS WANNABE MESSIAH FROM THIS BLOGSITE..
SAI DEEPAKs CURRENT ARGUMENTS ARE NO GOOD..THAT IS WHY WE ARE SENDING HIM TRUE STUFF.
JEW ROTHSCHILD RULED INDIA, NOT THE QUEEN OR THE BRITISH PARLIAMENT..
AYYAPPA BORN 5490 YEARS AGO IS VISHNUs NINTH AVATAR..
AYYAPPA WAS NOT BORN 900 YEARS AGO AS THAT FOOL RAHUL EASHWAR KEEPS REPEATING ON TV TO SUSTAIN HIS TELUGU TANTRI ANCESTORS LIE..
RAHUL EASHWAR WANTSS AYYAPPA TO BE YOUNGER THAN ISLAM / CHRISTIANITY TO SUSTAIN THE MUSLIM VAVAR AND ARTUNGAL VELUTHACHAN LIE..
ROTHSCHILD BROKE THE MILLINIUMS OLD KERALA NAMBOODIRI TRADITION AND INJECTED TELUGUS INTO SABARIMALA..
AYYAPPA WAS DELETED BY JEW ROTHSCHILD AND BUDDHA WAS INSERTED AS THE NINTH AVATAR OF VISHNU..
WHEN THE WHITE INVADER CAME TO INDIA THERE WAS NOT A SINGLE BUDDHIST IN INDIA..
AYYAPPA DISAPPEARED FROM INDIA AS A SMALL CHILD AFTER RIDING A LACTATING TIGER TO GIVE HIS STEP MOTHER TIGERs MILK ..
SHE WAS PRETENDING TO BE SICK , AND HOPED THE TIGER WILL EAT HIM UP SO THAT HER OWN SON CAN BE KING..
AYYAPPA RESURFACED IN EGYPT AS THE "GOD WHO CAME FROM THE EAST".
I HAVE BEEN TO EGYPT MORE THAN 80 TIMES.. I KNOW HOW MUCH IMHOTEP IS REVERED IN EGYPT..
http://ajitvadakayil.blogspot.com/2011/08/imhotep-patron-saint-of-freemasons-capt.html
JEW ROTHSCHILD STOLE AYYAPPA ( IMHOTEP ) FOR HIMSELF , AS AYYAPPA WAS A VERY POTENT DEITY..
ROTHSCHILD HAD ENOUGH REASON TO DELETE SABARIMALA PILGRIMAGE..
ALL AYYAPPA TEMPLES WERE CONVERTED TO TEMPLES OF VISHNUs OTHER AVATARS .. FOR EXAMPLE UDIPI MUTT, KANCHI MUTT AND TIRUPATI MUTT WERE AYYAPPA TEMPLES BEFORE..
YET SABARIMALA PILGRIMAGE REFUSES TO DIE , AS THE 41 DAY VRAT GAVE PROVEN SOLACE TO THE PILGRIMS..
YOU CANNOT PURIFY YOUR CONSCIOUSNESS WITHOUT SELF INFLICTED PAIN.
YOU SHOULD SEE THE FACES OF THE TELUGU/ TAMIL/ KANNADA SABARIMALA PILGRIMS A DAY BEFORE THEY REACH SABARIMALA..
THEY ARE FULL OF HOPE..THEY ARE SURE THAT THIS PILGRIMAGE WILL REDUCE THEIR NEGATIVE KARMIC BAGGAGE AND BRING THE CLOSER TO MOKSHA.
MOST OF THEM GO TO GURUVAYUR TEMPLE FOR DARSHAN BEFORE REACHING SABARIMALA..
61% OF MALAYALI PILGRIMS ARE COMMUNISTS OF KERALA.. CM PINARAYI VIJAYAN HAS KILLED HIS OWN PARTY, THE LAST BASTION OF COMMUNISM .. CONGRATULATIONS TO HIM !
LET KERALA COMMIE LEADERS NOW HAVE THEIR OWN PILGRIMAGE TO AK GOPALAN ( ROTHSCHILDs AGENT ) CENTRE .. AKG SUPPORTED CHINA IN 1962 WAR AGAINST INDIA.. JEW ROTHSCHILD CREATED COMMUNISM..
WOMEN OF AGE 10 TO 50 ARE NOT BARRED FROM ANY AYYAPPA TEMPLE.. THE AGE RESTRICTION IS ONLY FOR THE PILGRIMAGE TO SARAIMALA..
THE REASON IS THE 41 DAY VRAT..
IT TAKES 21 DAYS TO BREAK A BAD HABIT.. REASON , OUR BODY IS LIKE A RIVER- BODY CELLS RENEW BUT NEED TO BE REPROGRAMMED TO GET RID OF PHOBIAS AND TRAUMAS.. SABARIMALA VRAT OFFERS DOUBLE THE TIME ..
VRAT IS EVERYTHING.. WOMEN CANNOT OBSERVE 41 DAY VRAT DUE TO MENSES IN BETWEEN ..
IT IS FOR THE WOMENs OWN GOOD. IF A WOMAN CHANTS GAYATRI MANTRA DURING MENSES , SHE HARMS HERSELF BADLY..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
ALL TELL THIS SAI FELLOW-- CAPT AJIT VADAKAYIL SAYS WE DONT NEED MESSIAHS TO SAVE SABARIMALA..
capt ajit vadakayil
..
October 9, 2018 at 4:28 AM
Dear Captain ji,
It seems Sai got the same message from many sources. Here is his response
"Kindly stop sending me this stuff over and over again".
you may want to ask readers dont send this link to him anymore
Thanks
Thyaga
Delete
#############
Capt. Ajit Vadakayil
October 9, 2018 at 6:19 AM
SEND SAI DEEPAK THIS MESSAGE FROM CAPT AJIT VADAKAYIL- AFTER THAT EXCLUDE THIS WANNABE MESSIAH FROM THIS BLOGSITE..
SAI DEEPAKs CURRENT ARGUMENTS ARE NO GOOD..THAT IS WHY WE ARE SENDING HIM TRUE STUFF.
JEW ROTHSCHILD RULED INDIA, NOT THE QUEEN OR THE BRITISH PARLIAMENT..
AYYAPPA BORN 5490 YEARS AGO IS VISHNUs NINTH AVATAR..
AYYAPPA WAS NOT BORN 900 YEARS AGO AS THAT FOOL RAHUL EASHWAR KEEPS REPEATING ON TV TO SUSTAIN HIS TELUGU TANTRI ANCESTORS LIE..
RAHUL EASHWAR WANTSS AYYAPPA TO BE YOUNGER THAN ISLAM / CHRISTIANITY TO SUSTAIN THE MUSLIM VAVAR AND ARTUNGAL VELUTHACHAN LIE..
ROTHSCHILD BROKE THE MILLINIUMS OLD KERALA NAMBOODIRI TRADITION AND INJECTED TELUGUS INTO SABARIMALA..
AYYAPPA WAS DELETED BY JEW ROTHSCHILD AND BUDDHA WAS INSERTED AS THE NINTH AVATAR OF VISHNU..
WHEN THE WHITE INVADER CAME TO INDIA THERE WAS NOT A SINGLE BUDDHIST IN INDIA..
AYYAPPA DISAPPEARED FROM INDIA AS A SMALL CHILD AFTER RIDING A LACTATING TIGER TO GIVE HIS STEP MOTHER TIGERs MILK ..
SHE WAS PRETENDING TO BE SICK , AND HOPED THE TIGER WILL EAT HIM UP SO THAT HER OWN SON CAN BE KING..
AYYAPPA RESURFACED IN EGYPT AS THE "GOD WHO CAME FROM THE EAST".
I HAVE BEEN TO EGYPT MORE THAN 80 TIMES.. I KNOW HOW MUCH IMHOTEP IS REVERED IN EGYPT..
http://ajitvadakayil.blogspot.com/2011/08/imhotep-patron-saint-of-freemasons-capt.html
JEW ROTHSCHILD STOLE AYYAPPA ( IMHOTEP ) FOR HIMSELF , AS AYYAPPA WAS A VERY POTENT DEITY..
ROTHSCHILD HAD ENOUGH REASON TO DELETE SABARIMALA PILGRIMAGE..
ALL AYYAPPA TEMPLES WERE CONVERTED TO TEMPLES OF VISHNUs OTHER AVATARS .. FOR EXAMPLE UDIPI MUTT, KANCHI MUTT AND TIRUPATI MUTT WERE AYYAPPA TEMPLES BEFORE..
YET SABARIMALA PILGRIMAGE REFUSES TO DIE , AS THE 41 DAY VRAT GAVE PROVEN SOLACE TO THE PILGRIMS..
YOU CANNOT PURIFY YOUR CONSCIOUSNESS WITHOUT SELF INFLICTED PAIN.
YOU SHOULD SEE THE FACES OF THE TELUGU/ TAMIL/ KANNADA SABARIMALA PILGRIMS A DAY BEFORE THEY REACH SABARIMALA..
THEY ARE FULL OF HOPE..THEY ARE SURE THAT THIS PILGRIMAGE WILL REDUCE THEIR NEGATIVE KARMIC BAGGAGE AND BRING THE CLOSER TO MOKSHA.
MOST OF THEM GO TO GURUVAYUR TEMPLE FOR DARSHAN BEFORE REACHING SABARIMALA..
61% OF MALAYALI PILGRIMS ARE COMMUNISTS OF KERALA.. CM PINARAYI VIJAYAN HAS KILLED HIS OWN PARTY, THE LAST BASTION OF COMMUNISM .. CONGRATULATIONS TO HIM !
LET KERALA COMMIE LEADERS NOW HAVE THEIR OWN PILGRIMAGE TO AK GOPALAN ( ROTHSCHILDs AGENT ) CENTRE .. AKG SUPPORTED CHINA IN 1962 WAR AGAINST INDIA.. JEW ROTHSCHILD CREATED COMMUNISM..
WOMEN OF AGE 10 TO 50 ARE NOT BARRED FROM ANY AYYAPPA TEMPLE.. THE AGE RESTRICTION IS ONLY FOR THE PILGRIMAGE TO SARAIMALA..
THE REASON IS THE 41 DAY VRAT..
IT TAKES 21 DAYS TO BREAK A BAD HABIT.. REASON , OUR BODY IS LIKE A RIVER- BODY CELLS RENEW BUT NEED TO BE REPROGRAMMED TO GET RID OF PHOBIAS AND TRAUMAS.. SABARIMALA VRAT OFFERS DOUBLE THE TIME ..
VRAT IS EVERYTHING.. WOMEN CANNOT OBSERVE 41 DAY VRAT DUE TO MENSES IN BETWEEN ..
IT IS FOR THE WOMENs OWN GOOD. IF A WOMAN CHANTS GAYATRI MANTRA DURING MENSES , SHE HARMS HERSELF BADLY..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
ALL TELL THIS SAI FELLOW-- CAPT AJIT VADAKAYIL SAYS WE DONT NEED MESSIAHS TO SAVE SABARIMALA..
capt ajit vadakayil
..
When I shared messages about menses and inability to undertake 41 days vrat I was ticked off and told women take tablets to postpone menses.etc etc
- THE WHOLE OF INDIA IS GONNA WITNESS A MOST BIZARRE THING...IN KERALA , THE LANGUAGE BINDS...
YOU WILL SEE THAT SABARIMALA PROTESTS WILL TRANSGRESS ALL BOUNDARIES...
HINDUS , CHRISTIANS , MUSLIMS WILL JOIN HANDS-- MEN AND WOMEN.
BJP , CONGRESS, MUSLIM LEAGUE , COMMIE CADRE ( LEAVE OUT COMMIE LEADER PINARAYI VIJAYAN WHO HAS FAILED TO FEEL THE PULSE OF HIS OWN COMMIE CADRE ) WILL JOIN HANDS..
THIS STRANGE PHENOMENON CAN NEVER BE SEEN ANYWHERE ON THIS PLANET
KING MAHABALIs FATHER EMPEROR VIROCHANA RULES THE WHOLE PLANET IN ANTIQUITY..
WE IN KERALA DO NOT CELEBRATE HOLI AND DIWALI -- AS WE WERE AT THE RECEIVING END OF VISHNU AVATARS NARASIMHA AND VAMANA..
AYYAPPA IS THE NINTH AVATAR OF VISHNU .. MALAYALIS REVERE AYYAPPA..
IF KERALA CM PINARAYI VIJAYAN DOES NOT SEE STARK REALITY AND NAKED TRUTH -- COMMUNIST PARTY IN KERALA WILL BE HISTORY..AND THERE GOES THE LAST BASTION OF COMMUNISM CREATED BY JEW ROTHSCHILD WHO RULED INDIA..
WE KNOW THE DEEP STATE AGENTS OF JEW ROTHSCHILD IN KERALA..
WE THE PEOPLE WATCH..WE WONT ALLOW JUDICIARY TO RIDE ROUGH SHOD OF PRICELESS KERALA CULTURE..THE MOST ANCIENT ON THE PLANET--
DANAVA CIVILIZATION PRECEDED VEDIC CIVILIZATION BY SEVERAL MILLENNIUMS..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
capt ajit vadakayil
..
PUT ABOVE COMMENT IN WEBSITES OF--
CM / DGP/ IG / GOVERNOR/ MINISTERS/ MLAS OF KERALA
CM/ DGP/ IG / GOVERNOR/ MINISTERS/ MLAS OF TAMIL NADU
CM / DGP/ IG/ GOVERNOR MINISTERS MLAs OF KARNATAKA
CM/ DGP/ IG/ GOVERNOR/ MINISTERS/ MLAs OF TELENGANA
CM/ DGP IG / GOVERNOR / MINISTERs / MLAs OF ANDHRA PRADESH
RAHUL EASHWAR
EVERY ACTIVIST OF PARTY OR GROUP WHO IS AGAINST THE SUPREME COURT JUDGEMENT
PMO
PM MODI
PRESIDENT OF INDIA
VP OF INDIA
CJI GOGOI
ATTORNEY GENERAL
ROHINGTON NARIMAN
INDU MALHOTRA
CHANDRACHUD
FALI BABY
SOLI BABY
SALVE BABY
ALL SUPREME COURT LAWYERS
ALL SUPREME COURT JUDGES
ALL 3 ARMED FORCE CHIEFS
LAW MINISTRY AND LAW MINISTER RAVISHANKAR PRASAD..
ALL MEDIA OF KERALA/ TAMIL NADU/ KARNATAKA/ ANDHRA/ TELENGANA
RAJNATH SINGH
HOME MINISTRY
AJIT DOVAL
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
NCW STATES
NCW MAIN
NCM
NHRC
NITI AYOG
AMITABH KANT
SWAMY
GURUMURTHY
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
SONIA GANDHI
RAHUL GANDHI
ARNAB GOSWAMI
VINEET JAIN
AROON PURIE
PRANNOY JAMES ROY
N RAM
RAGHAV BAHL
BARKHA DUTT
SHEKHAR GUPTA
SIDHARTH VARADARAJAN
RAJDEEP SARDESAI
NAVIKA KUMAR
RAHUL KANWAL
NIDHI RAZDAN
VIKRAM CHANDRA
FAYE DSOUZA
SUHEL SETH
SHOBHAA DE
SIDDHARTH VARADARAJAN
RAMACHANDRA GUHA
PAVAN VARMA’
SPREAD ON SOCIAL MEDIA
capt ajit vadakayil
..
- CM OF KERALA AND DGP OF KERALA LISTEN UP..
THE LANGUAGE MALAYALAM BINDS THE PEOPLE OF KERALA , UNLIKE THE REST OF INDIA.
YOU WILL FIND ALL IN KERALA SUPPORTS THE SABARIMALA PROTESTS , ALL POLITICAL PARTIES, COMMIE CADRE ( 61% OF MALAYALI PILGRIMS ARE COMMIES ) , CHRISTIANS , MUSLIMS , ALL HINDUS ..
EVEN THE KERALA COMMIE GOVT MINISTERS SECRETLY SUPPORT THIS MOVEMENT FROM WITHIN THEIR HEARTS.. THEY ONLY PRETEND TO BE ATHEISTS..
AYYAPPA IS THE NINTH AVATAR OF VISHNU..
JEW ROTHSCHILD WHO RULED INDIA DELETED AYYAPPA AND INSERTED A MORTAL NAMED BUDDHA WHO DID NOT BELEIVE IN SOUL AND ATE PIG.. ROTHSCHILD USURPED AYYAPPA IN THE FORM OF IMHOTEP AS THE PATRON DIETY OF ALL JEWISH FREEMASONS..
WHEN THE WHITE INVADER CAME TO INDIA THERE NOT ONE SINGLE BUDDHIST IN INDIA..
AYYAPPA EXISTED IN 3900 BC..
AYYAPPA DISAPPEARED FROM KERALA AT A YOUNG AGE TO KEEP HIS STEP MOTHER HAPPY, AND SURFACED IN EGYPT AT IMHOTEP WHO WAS CONSIDERED AS GOD AND MORE POWERFUL THAN THE PHAROAH..
http://ajitvadakayil.blogspot.com/2011/08/imhotep-patron-saint-of-freemasons-capt.html
SABARIMALA IS ALL ABOUT TWO HEROES BHISHMA AND AYYAPPA.. BOTH SWORE TO BE BACHELORS SO AS NOT TO DEPRIVE THEIR BELOVED FATHERS OFF THE THRONE..
THE THREE FLASHES ON MAKARA VILAKKU DAY IS THE EXACT MINUTE BHISHMAs SOUL LEFT HIS MORTAL COIL WHILE LAYING ON THE BED OF ARROWS ON KURUKSHETRA FIELD..
THE FLAME USED IS A CONTINUOUS FIRE , THE YAGNA FIRE INTO WHICH PRINCESS AMBA JUMPED WHILE PARASHURAMA AND BHISMA WERE FIGHTING AND DECLARED THE LONG FIGHT AS A DRAW.… PARASHURAMA HAD WANTED RELUCTANT BHISHMA TO MARRY AMBA..
UDIPI MUTT, KANCHI MUTT AND TIRUPATI TEMPLE WERE AYYAPPA TEMPLES WHEN THE WHITE INVADER CAME TO INDIA… THIS IS WHY YOU HAVE TAMILS/ TELUGUS AND KANNADIGAS THRONGING INTO SABARIMALA..
SABARIMALA IS THIS PLANETs NO 1 PILGRIMAGE TWICE THE SIZE OF MAHA KUMBH MELA..
CM PINARAYI VIJAYAN IS KILLING HIS OWN COMMUNIST PARTY.. THERE WILL BE NO RECOVERY.. COMMUNIST PART IS NOW OFFICIALLY DEAD AND THANKS TO A RASH DECISION BY PINARAYI VIJAYAN..
THE BENGALI AND TELUGU COMMIE TOP LEADERSHIP ARE JEALOUS AND NOT HAPPY WITH KERALA COMMIES WEILDING POWER AND GETTING POPULAR WITH PEOPLE, AFTER THE EXCELLENT RESPONSE DURING KERALA FLOODS..
THE MAGIC OF SABARIMALA THIS PLANETs LARGEST PILGRIMAGE LIES IN THE 41 DAY VRAT... TO BREAK A DEEP ROOTED VICE OR TRAUMA OR PHOBIA IT TAKES 21 DAYS ...
THE HUMAN BODY IS LIKE A RIVER .. BODY CELLS KEEP RENEWING..
SABARIMALA OFFERS DOUBLE THIS TIME..
PEOPLE STEEPED IN NEGATIVITY , WHO INFLICTED UNTOLD MISERY , BEATEN THEIR WIVES AND CHILDREN AND CAUSED EXTREME UNHAPPINESS IN THEIR HOMES , HAVE GONE FOR SABARIMALA PILGRIMAGE AND COME BACK LIKE NEW BORN BABIES WITH LIGHTER KARMIC BAGGAGE..
WE ASK THE LEGISLATURE TO CREATE AN IMMEDIATE LAW WHICH RESTRICTS THE NUMBER OF PEOPLE WHICH CAN BE AFFECTED BY A PIL RULING BY JUDGES …
WE EXPECT OUR LEGISLATURE TO DELIVER SUBJECTIVE DHARMA… NOT OBJECTIVE “ BLIND JUSTICE “ OF COURTS WHICH TRAMPLES ON OUR PRICELESS CULTURE …
THE INDIAN CONSTITUTION HAS NOT GIVEN POWERS TO THE JUDICIARY TO STRIKE DOWN LAWS, CREATE NEW LAWS OR TAKE UP PUBLIC INTEREST LITIGATION ( PIL ) WHICH AFFECTS THE FORTUNES OF THE ENTIRE POPULATION OF INDIA….
THE SUPREME COURT HAS IGNORED THE "AGGRIEVED PERSON" PROVISION AS PER OUR CONSTITUTION .. A MUSLIM NON-BELEIVER NAMED NAUSHAD AHMAD KHAN ( CRYPTO JEW ) FILED THE CASE AGAINST MENSTRUATING WOMEN ENTRY IN SABARIMALA JUST TO THROW A MONKEY WRENCH INTO THE WORKS OF A RIVAL RELIGION HINDUISM..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
Capt ajit vadakayil
..
- https://twitter.com/Swamy39/status/1048401894664617987
ALL THOSE WHO THINK SUBRAMANIAN SWAMY AND HIS BULLSH!T VIRAAT SENA ARE PRO-WATAN AND PRO-HINDU , RAISE YOUR HANDS …
ALL THOSE WHO THING SWAMY AND VIRAAT SENA ARE RABIDLY PRO-ISRAEL, RAISE YOU HANDS..
BASSSS --- DOODH KA DOODH PAANI KA PAANI..
THE MAGIC OF SABARIMALA THIS PLANETs LARGEST PILGRIMAGE LIES IN THE 41 DAY VRAT...
A VRAT IS A MILLION TIMES STRONGER THAN A NEW YEAR RESOLUTION..
Vrat works only because it has a spiritual tinge . It is all about steadfastness in purpose.
A pilgrim under vrat , wears black , goes barefooted , grows a beard, goes to temple twice a day after bath in cold water, harnesses ego , curbs sex urge , sleeps without pillows on hard floor, and abstains from all worldly pleasures.
The pilgrims behavior outside and behind closed doors is the same ( karma ) and hence it sends a message to an onlooker about how resolute he is in achieving his goal, that he is firm as a rock and unwilling to surrender to destiny.
That he plans to forge the hinges of your destiny on his own terms. There are no vrat cheaters. Nobody monitors, as it is about your own internal cleansing.
Non-violence, love, truth , unselfishness, sacrifice, grace, honesty form the warp and weft of this vrat fabric. Optimism , courage , perseverance , contemplation and fortitude form the fibre.TO BREAK A DEEP ROOTED VICE OR TRAUMA OR PHOBIA IT TAKES 21 DAYS ... THE HUMAN BODY IS LIKE A RIVER .. BODY CELLS KEEP RENEWING..
SABARIMALA OFFERS DOUBLE THIS TIME..
Humans contain about 12 trillion (13 zeros ) cells...
Our body is like a river, it may look the same but water gets changed all the time. 98.1 % of our body renews itself every 8 years.
Our skin renews itself every 28 days, our blood plasma every ten days, white blood cells renew three weeks, stomach lining turns over every 4 days, the villi which absorbs nutrients in the small intestine renews every 3 days, the inner lining of the cheeks in a few hours, taste buds on tongue in weeks etc . In six weeks, each cell of the liver would have died, to be replaced by new cells. Our eye cells regenerate every two days, our skin cells regenerate about every 23 days, and our stomach lining regenerates about every four days.
Cells die by millions every minute. The life spark in each cell immediately reincarnates and does so over and over again as long as the human system lasts.
The intelligence of all the cells makes up the sum total of the intelligence of the human system...
What we commonly refer to as "The Cellular Memory" is the collective energy field generated by these individual cell memories.The Cellular Memory is the database on the storage disk. The files within the database are the cell memories.
Every cell in our body has the ability to remember. Our cellular memory can store the memory of physical trauma like accidents, wounds, surgeries, abuse,trauma , fear etc that manifests in low self-esteem, stress etc. When trauma is suppressed into the cellular memory, that energy can get stuck.
The problem with suppressed cellular memory is not only does it limit our ability to live freely and joyfully in life but it can also catalyse the body in developing physical illness and negativity .
The cellular memory is the complete blueprint for your existence.
Therefore, if we can somehow interrupt the negative programming, and reprogramme the cell towards positivity, healing can take place.
WOMEN CANNOT HAVE A 41 DAY VRAT AS THEY MENSES COME IN BETWEEN .. CELL PHANTOM MEMORIES REMAIN.
VRAT IS EVERYTHING.
.
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
http://ajitvadakayil.blogspot.com/2018/04/the-dirty-secret-of-christian.html
capt ajit vadakayil
...
SOMEONE ASKED ME..
WHAT HAPPENS IF MY WIFE ENTERS THE PUJA ROOM OR CHANTS GAYATRI MANTRA DURING HER PERIODS.. SHE HAS NOT DONE IT IN 36 YEARS OF MARRIAGE ..
IF SHE DOES NOT HAVE A CHILD, HER FUTURE CHILDREN WILL NOT BE CHAMPIONS..
IF SHE HAS CHILDREN, THEN THE NEXT GENERATION OF CHILDREN ( CHILD'S CHILD ) WILL NOT BE CHAMPIONS--THEY WILL BE BELOW MEDIOCRE HUMANS..
NO HINDU WOMAN GOES TO TEMPLES DURING HER PERIODS ..SHE DOES THIS ON HER OWN ACCORD..
NO HINDU WOMAN GETS MARRIED AND DOES THE PHERA AROUND THE SACRED FIRE WHEN SHE HAS HER PERIODS..
IT IS NOT ABOUT SEX ON THE WEDDING NIGHT ..COMMIE CM OF KERALA PINARAYI VIJAYAN OR DGP OF KERALA , DO NOT HAVE THE POWERS TO ARM-TWIST WOMENs POLICE ( OF LESS THAN 50 YEARS OF AGE ) TO ENTER SABARIMALA SANCTUM..
WARNING-- WE THE PEOPLE WILL WATCH ...
NO JUDGE OR RULER OR POLICE CHIEF HAS THE RIGHT TO FORCE AN INDIAN MUSLIM TO EAT PORK-- GIVING THE EXAMPLE OF OTHER NATIONS.. THE ERRING JUDGE OR ELECTED RULER WHO TRAMPLES ON CULTURE CAN BE IMPRISONED ..
WE THE PEOPLE ARE ABOVE THE CONSTITUTION.. ABOVE WE THE PEOPLE LIES DHARMA ( NATURAL JUSTICE )..
SORRY , THAT USELESS FELLOW EX-CJI DIPAK MISRA ( SUPREME COURT IS SUPREME BLAH BLAH ) DOES NOT UNDERSTAND THE SCOPE OF HIS OWN POWERS..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
capt ajit vadakayil
..
PUT ABOVE COMMENT IN WEBSITES OF--
CM / DGP/ IG / GOVERNOR/ MINISTERS/ MLAS OF KERALA
CM/ DGP/ IG / GOVERNOR/ MINISTERS/ MLAS OF TAMIL NADU
CM / DGP/ IG/ GOVERNOR MINISTERS MLAs OF KARNATAKA
CM/ DGP/ IG/ GOVERNOR/ MINISTERS/ MLAs OF TELENGANA
CM/ DGP IG / GOVERNOR / MINISTERs / MLAs OF ANDHRA PRADESH
RAHUL EASHWAR
EVERY ACTIVIST OF PARTY OR GROUP WHO IS AGAINST THE SUPREME COURT JUDGEMENT
PMO
PM MODI
PRESIDENT OF INDIA
CJI GOGOI
ATTORNEY GENERAL
ROHNIGTON NARIMAN
INDU MALHOTRA
CHANDRACHUD
FALI BABY
SOLI BABY
SALVE BABY
LAW MINISTRY AND LAW MINISTER RAVISHANKAR PRASAD..
ALL MEDIA OF KERALA
RAJNATH SINGH
HOME MINISTRY
AJIT DOVAL
NCW STATES
NCW MAIN
SPREAD ON SOCIAL MEDIA
capt ajit vadakayil
..
CLARIFICATION : MY NINTH DEEKSHA WILL AFFECT THE PERSON WHO SEND ME THE WISHES , PLUS HIS-HER PARENTS/ SISTERS / BROTHERS/ WIFE -HUSBAND/ CHILDREN / GRANDCHILDREN
I THANK THE FOLLOWING READERS FOR WISHING ME ON MY BIRTHDAY...
I HAVE SENT A BLESSING INTO THE COSMOS BY CARRIER WAVE WHICH WILL AFFECT ONLY THE PEOPLE IN THE LIST BELOW
THE ATHARVA VEDA MANTRA DIGITALISED IS-- ( NINTH DEEKSHA -- SELECTIVE )
68476838614
POTENT ISOTOPE MAGIC-- YOUR BRAIN WILL PICK UP THE BEST ROUTE AND TRAIN OF THOUGHTS --FOR BEST CHOICES..
PUT THIS NUMBER AS A SCREEN SAVER IN YOUR MOBILE PHONE.. IF YOU DONT HAVE ONE WRITE IT DOWN ON A PIECE OF PAPER AND KEEP IT SECURELY INSIDE YOUR PURSE.
IF ANY OF MY DETRACTORS USE THIS NUMBER --THEIR BRAIN WILL FAIL AT CRITICAL MOMENTS --BE WARNED..DONT LAND IN HOSPITAL..
HERE IS THE LIST--
Bert
DHARMAPADA
Paadi Panta
UMohan
Muthu Swamynathan
Aiswarya r
Vikas Gandhi
wolf pack
knox j
Thyaga
Newage Clout
Chetan Patel
Abhay
Unknown
bhuvan som
Debdoot Sarkar
Ramkumar Jayaraman
Slasher
Kumar
Suman
Jimihndrxguitar
C Prabhu
srinu k
Prashanthkind
Anoop Hariharan
Shankar
Abhishek Jangra
Zentrenu
vishwanath n
Saathvik Bhat
MK
Jayesh J
A2Z
Jignasu
Munna
sambit dash
Sangeetha
HARDIK BHARDWAJ
Subhash Rao
Pixar6
PRASAD
Deofevente
Chiron
Sagar Dev Bhardwaj
Raja Hindustani
DHARMAPADA
Madnight
Freak I Am
SiD
Vyshak Sam
Venkat
Sparrow
Vineet
Thyaga
Shouri Suman
Dilli Ram Chettri
undefined. Geek
sujeet kadam
Enes
Aquarius
Unknown
Azad Rana
GB Abhinav Kashyap
Abhishek Sharma
Sailee
Name
Raghavendra Desai
Rajan
Anjali Anand
Amardeep Singh Mann
Ankush
Sehaj
Osho
Akshay Chavan
Anjali Anand
Diya
Cool Singh
SHEVALI RAINA
Om follower
Shivoham
Prakash Kulkarni
nilesh patil
E.S.Manian .
Veena N
Shadows of Time
KP
SRINIVASAN
vikash kumar
vikash kumar
Saurin Purohit
Ashwani Tyagi
Amit Mittal
Jai Krishnan
Jayasree Narayanan Pillay
RAHUL SHARMA
PP
Ramana
Jay
Ajith Kumar
Shasta devotee
ajay partap singh chauhan
Hemanta Kumar Gogoi
Unknown
Nishant Goyal
Mysticscience
Prashant Uchil
Infinite Explorer
SId_Awaken
vishal shah
Sumish Bhaskar
Rajesh Rawat
OM
Aks
Naveen Sharma
Rhushi
MeraBharat
Mythra81
Ashwini Bane
Trinity
UMohan
Omkar Padhye
Sunil Adekar
Vatsal
Gautam
Sreejith Vasant
A J
northern k
Garry Sanders
Srikanth
prashanth venktaswamy
Ranjeet Chauhan
KanDyFloes
Reflections
hm0
Mk K
Garvit Rawat
Nami
amit Mishra
Jayasree Narayanan Pillay
AVK
Karthik Sankaran
Ss
CONTINUED TO 2-
I HAVE SENT A BLESSING INTO THE COSMOS BY CARRIER WAVE WHICH WILL AFFECT ONLY THE PEOPLE IN THE LIST BELOW
THE ATHARVA VEDA MANTRA DIGITALISED IS-- ( NINTH DEEKSHA -- SELECTIVE )
68476838614
POTENT ISOTOPE MAGIC-- YOUR BRAIN WILL PICK UP THE BEST ROUTE AND TRAIN OF THOUGHTS --FOR BEST CHOICES..
PUT THIS NUMBER AS A SCREEN SAVER IN YOUR MOBILE PHONE.. IF YOU DONT HAVE ONE WRITE IT DOWN ON A PIECE OF PAPER AND KEEP IT SECURELY INSIDE YOUR PURSE.
IF ANY OF MY DETRACTORS USE THIS NUMBER --THEIR BRAIN WILL FAIL AT CRITICAL MOMENTS --BE WARNED..DONT LAND IN HOSPITAL..
HERE IS THE LIST--
Bert
DHARMAPADA
Paadi Panta
UMohan
Muthu Swamynathan
Aiswarya r
Vikas Gandhi
wolf pack
knox j
Thyaga
Newage Clout
Chetan Patel
Abhay
Unknown
bhuvan som
Debdoot Sarkar
Ramkumar Jayaraman
Slasher
Kumar
Suman
Jimihndrxguitar
C Prabhu
srinu k
Prashanthkind
Anoop Hariharan
Shankar
Abhishek Jangra
Zentrenu
vishwanath n
Saathvik Bhat
MK
Jayesh J
A2Z
Jignasu
Munna
sambit dash
Sangeetha
HARDIK BHARDWAJ
Subhash Rao
Pixar6
PRASAD
Deofevente
Chiron
Sagar Dev Bhardwaj
Raja Hindustani
DHARMAPADA
Madnight
Freak I Am
SiD
Vyshak Sam
Venkat
Sparrow
Vineet
Thyaga
Shouri Suman
Dilli Ram Chettri
undefined. Geek
sujeet kadam
Enes
Aquarius
Unknown
Azad Rana
GB Abhinav Kashyap
Abhishek Sharma
Sailee
Name
Raghavendra Desai
Rajan
Anjali Anand
Amardeep Singh Mann
Ankush
Sehaj
Osho
Akshay Chavan
Anjali Anand
Diya
Cool Singh
SHEVALI RAINA
Om follower
Shivoham
Prakash Kulkarni
nilesh patil
E.S.Manian .
Veena N
Shadows of Time
KP
SRINIVASAN
vikash kumar
vikash kumar
Saurin Purohit
Ashwani Tyagi
Amit Mittal
Jai Krishnan
Jayasree Narayanan Pillay
RAHUL SHARMA
PP
Ramana
Jay
Ajith Kumar
Shasta devotee
ajay partap singh chauhan
Hemanta Kumar Gogoi
Unknown
Nishant Goyal
Mysticscience
Prashant Uchil
Infinite Explorer
SId_Awaken
vishal shah
Sumish Bhaskar
Rajesh Rawat
OM
Aks
Naveen Sharma
Rhushi
MeraBharat
Mythra81
Ashwini Bane
Trinity
UMohan
Omkar Padhye
Sunil Adekar
Vatsal
Gautam
Sreejith Vasant
A J
northern k
Garry Sanders
Srikanth
prashanth venktaswamy
Ranjeet Chauhan
KanDyFloes
Reflections
hm0
Mk K
Garvit Rawat
Nami
amit Mishra
Jayasree Narayanan Pillay
AVK
Karthik Sankaran
Ss
CONTINUED TO 2-
- https://en.wikipedia.org/wiki/Padmanabhaswamy_Temple_treasureTAMIL PRIDE CUNTS HAVE INVADED PADMANABHA SWAMY TEMPLE OF KERALA..I KNOW THE TAMIL PRIDE CUNT WITH A BIG FAT BLACK UNWASHED ASS WHO IS INJECTING TAMIL TAMIL TAMIL / SILAPATTIKARAM /SILAPATTIKARAM / SILAPATTIKARAM ALL OVER WIKIPEDIA ..The valuables are believed to have been accumulated in the temple over several thousands of years, having been donated to the Deity, and subsequently stored in the Temple, by various Dynasties, such as the Cheras, the PANDYAS, the Travancore Royal Family, the Kolathiris, the PALLAVAS, the CHOLAS and many other Kings in the recorded history of both South IndiaSORRY --TAMIL CHOLA AND PANDYA DYNASTIES HAVE NOTHING TO DO WITH THIS TEMPLEMost scholars believe that this was accumulated over thousands of years, given the mention of the Deity and the Temple in several extant Hindu Texts, the Sangam TAMIL literature (500 BC to 300 AD wherein it was referred to as the "Golden Temple" on account of its then unimaginable wealth),The ancient late- TAMIL-Sangam epic SILAPPATIKARAM (circa 100 AD to 300 AD) speaks of the then Chera King Cenkuttuvan receiving gifts of gold and precious stones from a certain 'Golden Temple' (Arituyil-Amardon) which is believed to be the Padmanabhaswamy Temple.[17][18][19][20][21]The Malabar region (as a part of the "TAMILAKAM" region of recorded history) had several centers of trade and commerce since the Sumerian Period.There are over 3000 bundles of 'Cadjan' leaves (records) in Archaic Malayalam and Old TAMIL, each bundle consisting of a hundred-thousand leaves, which adhere to donations of gold and precious stones made exclusively to the temple over the millennia.
HEY TAMIL PRIDE CUNT-- IS CAPT AJIT VADAKAYIL ALSO TAMILIAN ?
THE BULLSHIT STORY OF SILAPATTIKARAM IS SPRINKLED ALL OVER WIKIPEDIA --LIKE HOW GUJJUS BONGS PUT SUGAR EVERYWHERE OR BHAIYYAS PUT CHAT MASALA EVERYWHERETHE DESECRATION OF KODUNGALLUR TEMPLE EVERY YEAR BY TAMIL DALITS IS BASED ON THE BULLSHIT RUMOR STARTED BY JEW ROTHSCHILD THAT KANNAGI- THE HEROINE OF BULLSHIT TAMIL NOVEL SILAPATTIKARAM IS IMPRISONED INSIDE THE TEMPLE VAULTS ..http://ajitvadakayil.blogspot.com/2013/03/kodungallur-bharani-festival-capt-ajit.htmlEVERY TIME THE TAMIL CHOLAS AND TAMIL PANDYAS EYED MALAYALI CHERA KINGDOWM --WE RAPED THEM.. THE DESCENDANTS ARE STILL WIPING BLOOD OFF THEIR ASSHOLES..A LOT OF DISINFORMATION ON WIKIPEDIA IS BY TAMIL PRIDE CHRISTIAN CONVERTS ..capt ajit vadakayil..
https://en.wikipedia.org/wiki/Muziris
CHECK OUT WHAT THE TAMIL PRIDE CUNT HAS DONE TO MUZIRIS -- THE ROMAN NAME FOR KODUNGALLUR. KODUNGALLUR WAS THE CULTURAL CAPITAL OF THE CALICUT KING ..
Muziris has found mention in the bardic TAMIL Sangam literature and a number of classical European historical sources.[2][3][4][5] The locations of unearthed coin-hoards suggest an inland trade link from Muziris via the Palghat Gap and along the Kaveri Valley to the east coast of India ( TO TAMIL NADU ) .The derivation of the name "Muziris" is said to be from the native TAMIL name to the port, "Muciri" (TAMIL, முசிறி). In the region. A tantalizing description of Muziris is in Akanaṉūṟu, an anthology of early TAMIL bardic poems (poem number 149.7-11) in Eṭṭuttokai[18]..The great TAMIL epic SILAPPATIKARAM (The Story of the Anklet) written by Ilango Adigal, a Jain poet-prince from Kodungalloor (Muziris) during the 2nd century A.D., described Muziris as a place where Greek traders would arrive in their ships to barter their gold to buy pepper ..Three TAMIL-Brahmi scripts were also found in the Pattanam excavations. The last TAMIL-Brahmi script (dated to c. 2nd century AD, probably reading "a-ma-na", meaning "a Jaina" in TAMIL) was found on a pot-rim at Pattanam.
AIYOOOO THAMBI MUNIYAANDI !
capt ajit vadakayil
..
CHECK OUT WHAT THE TAMIL PRIDE CUNT HAS DONE TO MUZIRIS -- THE ROMAN NAME FOR KODUNGALLUR. KODUNGALLUR WAS THE CULTURAL CAPITAL OF THE CALICUT KING ..
Muziris has found mention in the bardic TAMIL Sangam literature and a number of classical European historical sources.[2][3][4][5] The locations of unearthed coin-hoards suggest an inland trade link from Muziris via the Palghat Gap and along the Kaveri Valley to the east coast of India ( TO TAMIL NADU ) .The derivation of the name "Muziris" is said to be from the native TAMIL name to the port, "Muciri" (TAMIL, முசிறி). In the region. A tantalizing description of Muziris is in Akanaṉūṟu, an anthology of early TAMIL bardic poems (poem number 149.7-11) in Eṭṭuttokai[18]..The great TAMIL epic SILAPPATIKARAM (The Story of the Anklet) written by Ilango Adigal, a Jain poet-prince from Kodungalloor (Muziris) during the 2nd century A.D., described Muziris as a place where Greek traders would arrive in their ships to barter their gold to buy pepper ..Three TAMIL-Brahmi scripts were also found in the Pattanam excavations. The last TAMIL-Brahmi script (dated to c. 2nd century AD, probably reading "a-ma-na", meaning "a Jaina" in TAMIL) was found on a pot-rim at Pattanam.
AIYOOOO THAMBI MUNIYAANDI !
capt ajit vadakayil
..
- Dearest Captain , Happy Navratri to you and all the readers , may you and your family be showered with happiness and prosperity.
With Gratitude.
THIS POST IS NOW CONTINUED TO PART 111, BELOW-
CAPT AJIT VADAKAYIL
..
https://timesofindia.indiatimes.com/sports/cricket/west-indies-in-india/everything-is-not-happening-from-one-place-kohli-clarifies-on-nair-omission/articleshow/66051977.cms
ReplyDeleteVIRAT KOHLIs TEST AVERAGE IS 54.3
KARUN NAIRs TEST AVERAGE IS HIGHEST IN INDIA--62.3
VIRAT KOHLIs FIRST CLASS AVERAGE IS 54.5
KARUN NAIRs FIRST CLASS AVERAGE IS 55.01
OH YES-- KOHLI DOES NOT WANT TO SURRENDER THE LIMELIGHT
capt ajit vadakayil
..
SEND ABOUT COMMENT TO
VIRAT KOHLI
BCCI
RAVI SHASTRI
SUNIL GAVASKAR
KAPIL DEV
ReplyDeleteCapt. Ajit VadakayilOctober 3, 2018 at 7:39 PM
WE ASK AJIT DOVAL TO PROTECT CAPT AMARINDER SINGH ..
THERE IS ONE MAN WITHIN HIS GOVT WHO WANTS TO TOPPLE HIM AND BECOME CM..
DO NOT ALLOW THE KARTARPUR CORRIDOR..
UNESCORTED WOMEN HAVE BEEN SEDUCED BY HANDSOME ISI PAKISTANI AGENTS WEARING TURBANS , AND FORCED TO BECOME FENTANYL DRUG MULES ...
WE ASK CAPT AMARINDER SINGH, TO LEGALIZE MARIJUANA..
MARIJUANA IS OUR NATIONS NATURAL RESOURCE.. IT IS NON ADDICTIVE..
DO NOT LISTEN TO STUPID FELLOW NAVJOT SINGH SIDHU WHO WANTS TO LEGALIZE HIGHLY ADDICTIVE OPIUM.. KHALISTANIS WANT PUNJAB TO BE A DRUGGED STATE...
KACHRAWAAL WON FOUR LOK SABHA SEATS IN 2016 , ONLY BECAUSE OF KHALISTANI DRUG MAFIA SUPPORT BASED IN PAKISTAN..
http://ajitvadakayil.blogspot.com/2012/10/say-no-to-plastics-human-suffering-and.html
capt ajit vadakayil
..
PUT ABOVE COMMENT IN WEEBSITES OF--
CAPT AMARINDER SINGH
HOME MINISTER PUNJAB
DGP PUNJAB
AJIT DOVAL
RAJNATH SINGH
HOME MINISTRY
NIRMALA SITARAMAN
DEFENCE MINISTRY
PRESIDENT OF INDIA
capt ajit vadakayil
..
Happy Birthday Capt. Wishing you good health, wealth, Joy. Many thanks for your work. Om Shanti..!
ReplyDeleteDearest Captain,
ReplyDeleteThe vedas were initially went on oral route for 330 centuries ago before being penned down 70 centuries ago, does this mean sankrit language was invented that time, before 70 centuries ago there was no language on this planet ? Only the voice of maharishis reciting vedas ? What I meant to say is when maharishis were chanting vedas it was never being penned down in written and when it's penned down the language used for the first time is Sanskrit ? (To write something for the first time you need a language) Please correct me if I am worng.
Regards
happy birthday captain ironman
ReplyDelete
ReplyDeleteCapt. Ajit VadakayilOctober 4, 2018 at 3:50 AM
THERE WILL BE HEAVY RAINS IN KERALA TODAY -- 4TH OCT THURSDAY
WHAT THE IMD SAYS IS NONSENSE.. IT IS NOT A CYCLONE. THE SEAS OF KERALA WILL BE ROUGH..
THIS RAIN IS GOOD TO WASH OFF THE FLOOD SILT.. PEOPLE MUST COME OUT IN RAIN, USE HEAVY BROOMS AND SHOVELS AND GET RID OF THE HARD SILT COVERING THE TO SOIL ON WALKWAYS..
THE TOP SOIL MUST GET OXYGEN --DRIED UP HARD SILT PREVENTS SOIL AERATION.. FOR THIS USE POINTED LONG CROW BARS AND POKE HOLES TO ALLOW WATER AND SUNLIGHT TO GET UNDER THE TOP SOIL LAYER -- POKE HOLES ALL AROUND WELLS WHOSE WATER LEVELS HAVE GONE DOWN AFTER FLOODS.
The supply of oxygen to roots in adequate quantities and the removal of CO2 from the soil atmosphere are very essential for healthy plant growth. The abnormal effect of insufficient aeration on root development is most noticeable on the root crops..undeveloped root system cannot absorb sufficient moisture and nutrients from the soil..
The microorganisms living in the soil also require oxygen for respiration and metabolism. Some of the important microbial activities such as the decomposition of organic matter, nitrification, Sulphur oxidation etc depend upon oxygen present in the soil air. The deficiency of air (oxygen) in soil slows down the rate of microbial activity.
WE MUST GO BACK TO ORGANIC FARMING . ARTIFICIAL FERTILSERS KILL EARTH WORMS WHICH AERATE THE SOIL TO SUSTAIN HEALTHY SOIL MICROBES.
The decomposition of organic matter is retarded and nitrification arrested. The microorganism population is also drastically affected by poor aeration.
Poor aeration results in the development of toxin and other injurious substances such as ferrous oxide, H2S gas, CO2 gas etc in the soil.
A deficiency of oxygen has been found to check the nutrient and water absorption by plants. The energy of respiration is utilized in absorption of water and nutrients. Under poor aeration condition (this condition may arise when soil is water logged), plants exhibit water and nutrient deficiency..
Insufficient aeration of the soil also leads to the development of root wilt diseases.
DUNG OF HUMPLESS COW IS TOXIC.. USE ONLY HUMPED VEDIC COW DUNG..
Earth Worms help to increase the amount of air and water that gets into the soil. They break down organic matter, like leaves and grass into things that plants can use. When they eat, they leave behind castings that are a very valuable type of fertilizer.
Earth worms digests the organic materials it consumes, it refines them. Nutrients, including minerals and trace elements, are reduced to their most usable form. The castings ( shit of earthworms ) have a neutral pH of 7.0.
Castings do contain more nitrogen than your average garden soil, but in a slow release form due to the mucous the worms secrete as they digest . This causes the top soil to retain moisture. Earthworms introduce uncountable numbers of beneficial microbes and bacteria into the finished product, guaranteeing the healthiest soil possible..Earth worms remove heavy metals and other toxins from soil.
We ask the CM of Kerala to adopt vermicomposting.. Time to get rid of GREEN REVOLUTION nonsense of DESH DROHI MS SWAMINATHAN..
READ ALL 6 PARTS OF THE POST BELOW--
http://ajitvadakayil.blogspot.com/2017/05/ground-water-resources-of-india-capt.html
capt ajit vadakayil
..
PUT ABOVE COMMENT URGENTLY IN THE WEBSITES OF--
CM OF KERALA PINARAYI VIJAYAN
ALL MINISTERS OF KERALA
ALL MLAs OF KERALA
ALL DISTRICT COLLECTORS OF KERALA
DGP OF KERALA
PMO
PM MODI
MEDIA OF KERALA.
capt ajit vadakayil
..
I HAVE COME TO THE CONCLUSION THAT MATTERS ON HOMOSEXUALITY AND SABARIMALA HAS COME TO THIS STATE ONLY BECAUSE 99.9% OF MY READERS HAVE NOT TAKEN ANY INTEREST IN PROPAGATING MY COMMENTS TO VARIOUS AUTHORITIES THE WAY I ASKED YOU TO..
ReplyDeleteI HAVE NO INTEREST NOW IN CONTINUING WITH THIS BLOGSITE
THIS IS NOT A PLACE WHERE PEOPLE AN COME AND HAVE TIME PASS WITH FREE READING STUFF.
I AM PISSED OFF !
capt ajit vadakayil
..
Captain,
Deleteexactly...
https://www.youtube.com/watch?v=HQ22LBrFBm4
when i posted above video yesterday in your commnets there were more people attaking her in comments than people supporting her....and now the video has gone viral and she is facing flak cuz idiots outnumber the sensible kind........many more people need to be made educated...
Captain,
DeleteI sent to various ministries and departments, private organisations.
Personally, i felt the protests in Kerala for sabarimala majorly due to your messages sent by mail to certain authorities ti important organisations(like avbp).
Only because of call by certain organisations in Kerala, people gathered in huge numbers.
There will be protests in Bangalore and various cities this saturday.
You need not to loose interest. I think there are devious groups who constantly takes away your energy and mental health.
Block the people(somebody) who constantly tells you
"I dont believe what you said"
"you have become too arrogant"
"how can you say it".
These people could be the reason of your frustration.
U r right. I have tried for close to a year to get traction on Twitter and FB with your viewpoints and there is only a handful of people trying to do the same. I think the corporation water makes everyone inactive and spineless.
DeleteCaptain please give us a last chance...this won't happen again
DeleteThere are more people who spread your word than you realize Captain.Just today we showed the middle finger to USA and bought the s400 missile systems from Russia despite threat of sanctions from USA. Not to mention that there are already questions being asked of the collegium foreign funded judiciary after the recent rulings, Urban Naxals, the fentanyl smuggling into India and greater investment in HAL and DRDO because of lagging projects. On twitter i keep seeing this. It is not a sprint but a marathon, we can't give up now. We are here because millions of Hindus - you included - had thrown their full weight behind BJP and more importantly Modi. i have no doubt that Dharma will triumph at some point anyway, the night is oft darkest just before dawn and people are coming out of the slave mindset that has afflicted for a long time since independence. A lot of that is down to you and people like you who reaffirm and co opt the Hindu cause. Like someone said, it is the people who have been reading your blog who need you and not the other way round.
DeleteCaptain
DeleteThis is my twitter ID
Shrikant Agarwal
@imlikethis14
Check how much of ur comment I post on twitter...
Abcindigo, Sangeeta and some more members of this blog share my tweets
THE PRESIDENT OF INDIA, SUPREME COURT, CJI AND PM MUST NOTE THE FOLLOWING..AND MAKE AMENDS...
ReplyDelete1) RIGHT TO DARSHAN IN A HINDU TEMPLE IS NOT THE SAME AS RIGHT TO WORSHIP.. DARSHAN IS A PRIVATE AFFAIR.. RIGHT TO WORSHIP AS PER THE CONSTITUTION IS A PUBLIC THINGY..YOU CANT BARGE INTO A TEMPLE WHEN SANCTUM NADA DOORS ARE SHUT AND TELL THE PRIEST TO OPEN THE DOORS QUOTING YOUR FUNDAMENTAL RIGHT..
2) MORE THAN 81% OF THE PEOPLE OF INDIA AND WOKEN UP IN THE MORNING BY BLARING AZAN CALLS BY LOUDSPEAKER FITTED ON MOSQUES AT AN UNEARTHY HOUR OF 0430 IST.. WHY IS THIS ALLOWED ?
3) THE SUPREME COURT HAS IGNORED THE "AGGRIEVED PERSON" PROVISION AS PER OUR CONSTITUTION .. A MUSLIM NON-BELEIVER NAMED NAUSHAD AHMAD KHAN FILED THE CASE AGAINST MENSTRUATING WOMEN ENTRY IN SABARIMALA JUST TO THROW A MONKEY WRENCH INTO THE WORKS OF A RIVAL RELIGION HINDUISM..
4) WHY IS SHANI SHIGNAPUR TEMPLE BEING USED AS A LITMUS PAPER AGAINST SABARIMALA.. THIS IS LIKE COMPARING AN ELEPHANT TO AN ANT.. SABARIMALA IS THIS PLANETs NO 1 PILGRIMAGE , ATTRACTING TWICE THE NUMBER OF PILGRIMS OF MAHA KUMBH MELA
5) WHY ARE WHITE COMMIE JEWS AND THE WHITE CHRISTIAN JEALOUS OF SABARIMALA ? JEW ROTHSCHILD WHO RULED INDIA REMOVED AYYAPPA AS THE NINTH AVATAR OF VISHNU AND INSERTED MORTAL BUDDHA WHO DID NOT BELIEVE IN THE SOUL, AND STRUGGLED FOR SALVATION.. KANCHI MUTT, UDIPI MUTT, TIRUPATI TEMPLE WERE ALL APPAYYA TEMPLES BEFORE THE WHITE INVADER CAE TO INDIA.. THIS IS WHY WE FIND TAMILS, TELUGUS AND KANNADIGAS COMING TO SABARIMALA .. FESTIVALS ARE NEVER FORGOTTEN..
6) TAKING DECISIONS WHICH AFFECT THE FORTUNES OF THE ENTIRE NATION IS THE SOLE PREROGATIVE OF THE ELECTED LAW MAKERS..WHO ARE ACCOUNTABLE TO THE PEOPLE AND THE WATAN…. THIS IS THE MEANING OF DEMOCRACY..
7) THE INDIAN CONSTITUTION HAS NOT GIVEN POWERS TO THE JUDICIARY TO STRIKE DOWN LAWS, CREATE NEW LAWS OR TAKE UP PUBLIC INTEREST LITIGATION ( PIL ) WHICH AFFECTS THE FORTUNES OF THE ENTIRE POPULATION OF INDIA….
8) WE EXPECT OUR LEGISLATURE TO DELIVER SUBJECTIVE DHARMA… NOT OBJECTIVE “ BLIND JUSTICE “ OF COURTS WHICH TRAMPLES ON OUR PRICELESS CULTURE …
9) WE ASK THE LEGISLATURE TO CREATE AN IMMEDIATE LAW WHICH RESTRICTS THE NUMBER OF PEOPLE WHICH CAN BE AFFECTED BY A PIL RULING BY JUDGES …
10) WOMEN CANNOT UTTER GAYATRI MANTRA WHEN THEY HAVE MENSES. MY WIFE HAS NOT ENTERED THE PUJA ROOM INSIDE MY HOME IN 36 YEARS OF MARRIAGE DURING HER PERIODS.
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
WE THE PEOPLE WHO ARE ABOVE THE CONSTITUTION DECLARE THAT THE RULINGS OF THE SUPREME COURT ON ADULTERY , HOMOSEXUALITY AND SABARIMALA IS "NULL AND VOID".. THESE ARE MATTERS LEFT TO ACCOUNTABLE AND ELECTED LAWMAKERS ..NOT COLLEGIUM JUDICIARY WHICH IS NOT ALLOWED AS PER OUR CONSTITUTION..
capt ajit vadakayil
..
PUT ABOVE CRITICAL COMMENT IN WEBSITES OF--
CJI GOGOI
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
PMO
PM MODI
ATTORNEY GENERAL
CM OF KERALA
GOVERNORS OF ALL STATES
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
RAHUL EASHWAR
ALL MLAs OF KERALA
ALL MINISTERS OF KERALA
DGP OF KERALA
IG OF KERALA
ALL COLLECTORS OF KERLALA
KERALA MEDIA
SONIA GANDHI
RAHUL GANDHI
ALL BJP SPOKESMEN
ALL CONGRESS SPOKESMEN
CMs OF ALL STATES
ALL MINISTERS MINISTERIES CENTRAL AND STATE
NCW MAIN
NCW STATES
NHRC
NCM
RSS
MOHAN BHAGWAT
ADVANI
MURLI MANOHAR JOSHI
BAJRANG DAL
PRESIDENT OF INDIA
VP OF INDIA
ALL MEDIA OF INDIA
E SREEDHARAN
SOLI BABY
FALI BABY
SALVE BABY
AJIT DOVAL
ALL 3 ARMED FORCE CHIEFS
SPREAD ON SOCIAL MEDIA
ALL MUST CO-OPERATE
capt ajit vadakayil
..
Mails sent sir...
DeleteSir, Shared on fb and whatsapp.
DeletePratik,
DeleteDo you mind sharing emails here? I use Jaishree's list of emails but most of them are not working emails.
Thanks in advance,
Thyaga
https://timesofindia.indiatimes.com/city/lucknow/court-fines-doctors-rs-5000-for-poor-handwriting/articleshow/66061795.cms
ReplyDeleteBAD HANDWRITING IS DELIBERATE...
THE DOCTORS MAKE THEIR HANDWRITING BAD TO PROTECT THEIR OWN INCOMPETENCE , TO ENSURE THEY DONT GET SUED FOR MURDER....
http://ajitvadakayil.blogspot.com/2011/09/why-doctors-write-illegible.html
INDIANS ARE USED AS GUINEA PIGS , BEFORE COMBO MEDICINES ARE ALLOWED IN THE WEST...
http://ajitvadakayil.blogspot.com/2014/11/sterilisation-deaths-of-13-tribalwomen.html
HPV VACCINATIONS WERE FORCED ON INDIAN SCHOOL GIRLS WHO REMAIN VIRGINS TILL MARRIAGE...
http://ajitvadakayil.blogspot.com/2016/03/say-no-to-hpv-vaccination-for-indian.html
capt ajit vadakayil
..
PUT ABOVE CRITICAL COMMENT IN WEBSITES OF--
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Namaskar Guruji - Karnataka's dance yakshagaana also forms the same style of Kathakalli. It seems that Kerala is the mother of all traditions followed in South India. Most of the words we speak in Kannada are same as Malayalam. No doubt that Malayalam is also the mother of all South Indian Languages. Please clarify that how come so many similarities in the entire South Indian traditions but still we fall apart? Is it that whole of South India comes under the umbrella of Kerala? Your views will be appreciated.
ReplyDeletehttps://timesofindia.indiatimes.com/india/sc-allows-deportation-of-seven-rohingyas-from-assam-to-myanmar/articleshow/66065021.cms
ReplyDeleteWHY IS NAPUNSAK PM MODI ALLOWING COLLEGIUM SUPREME COURT TO CALL THE SHOTS ON ILLEGAL IMMIGRANTS ?
KYA HO RAHA HAI ?
WE THE PEOPLE ARE SICK AND TIRED OF THIS SPINELESS COMMIE JEW DARLING NARENDRA DAMODARDAS MODI..
AND HEY, ASADUDDIN OWAISI WARNS --IF INDIA DOES NOT ABSORB ROHINGYAS INDIA WILL NOT GET A SEAT IN UNSC.. THIS FELLOW MUST BE JAILED FIRST..
capt ajit vadakayil
..
PUT ABOVE COMMENT IN WEBSITES OF--
PMO
PM MODI
MEA
SUSHMA SWARAJ
MEA
RAJNATH SINGH
HOME MINISTER
PRESIDENT OF INDIA
VP OF INDIA
AJIT DOVAL
ALL 3 ARMED FORCE CHIEFS
NIRMALA SITARAMAN
DEFENCE MINISTRY
Sir
ReplyDeleteYou have said that Sikhism was created to spill Muslim blood.
So Sufism was created to spill Hindu blood.(Rothschilds playing double game).
Captain you had said that "WE DID NOT HAVE THE CULTURE OF AFFIXING NAMES OF AUTHORS ON GREAT ERUDITE WORKS"
ReplyDeleteCaptain then how come we Indians know about genuises like Aryabhatta, Chanakya, Panini, Pingala etc?
WRITTEN WORKS !
DeleteSTUPID QUESTION !!
https://en.wikipedia.org/wiki/Padmanabhaswamy_Temple_treasure
ReplyDeleteTAMIL PRIDE CUNTS HAVE INVADED PADMANABHA SWAMY TEMPLE OF KERALA..
I KNOW THE TAMIL PRIDE CUNT WITH A BIG FAT BLACK UNWASHED ASS WHO IS INJECTING TAMIL TAMIL TAMIL / SILAPATTIKARAM /SILAPATTIKARAM /SILAPATTIKARAM ALL OVER WIKIPEDIA ..
The valuables are believed to have been accumulated in the temple over several thousands of years, having been donated to the Deity, and subsequently stored in the Temple, by various Dynasties, such as the Cheras, the PANDYAS, the Travancore Royal Family, the Kolathiris, the PALLAVAS, the CHOLAS and many other Kings in the recorded history of both South India
SORRY --TAMIL CHOLA AND PANDYA DYNASTIES HAVE NOTHING TO DO WITH THIS TEMPLE
Most scholars believe that this was accumulated over thousands of years, given the mention of the Deity and the Temple in several extant Hindu Texts, the Sangam TAMIL literature (500 BC to 300 AD wherein it was referred to as the "Golden Temple" on account of its then unimaginable wealth),
The ancient late- TAMIL-Sangam epic SILAPPATIKARAM (circa 100 AD to 300 AD) speaks of the then Chera King Cenkuttuvan receiving gifts of gold and precious stones from a certain 'Golden Temple' (Arituyil-Amardon) which is believed to be the Padmanabhaswamy Temple.[17][18][19][20][21]
The Malabar region (as a part of the "TAMILAKAM" region of recorded history) had several centers of trade and commerce since the Sumerian Period.
There are over 3000 bundles of 'Cadjan' leaves (records) in Archaic Malayalam and Old TAMIL, each bundle consisting of a hundred-thousand leaves, which adhere to donations of gold and precious stones made exclusively to the temple over the millennia.
HEY TAMIL PRIDE CUNT-- IS CAPT AJIT VADAKAYIL ALSO TAMILIAN ?
THE BULLSHIT STORY OF SILAPATTIKARAM IS SPRINKLED ALL OVER WIKIPEDIA --LIKE HOW GUJJUS PUT SUGAR EVERYWHERE OR BHAIYYAS PUT CHAT MASALA EVERYWHERE
THE DESECRATION OF KODUNGALLUR TEMPLE EVERY YEAR BY TAMIL DALITS IS BASED ON THE BULLSHIT RUMOR STARTED BY JEW ROTHSCHILD THAT KANNAGI-THE HEROINE OF SILAPATTIKARAM IS IMPRISONED INSIDE THE TEMPLE VAULTS ..
http://ajitvadakayil.blogspot.com/2013/03/kodungallur-bharani-festival-capt-ajit.html
EVERY TIME THE TAMIL CHOLAS AND TAMIL PANDYAS EYED MALAYALI CHERA KINGDOWM --WE RAPED THEM.. THE DESCENDANTS ARE STILL WIPING BLOOD OFF THEIR ASSHOLES..
A LOT OF DISINFORMATION ON WIKIPEDIA IS BY TAMIL PRIDE CHRISTIAN CONVERTS ..
capt ajit vadakayil
..
Captain,
DeleteIt happens every march/april. I will work in my free time in the coming months to create awareness and shove the officials to stop this shit forever. Let me see what will come.
https://indianexpress.com/article/india/vladimir-putin-india-visit-live-updates-india-russia-agreements-summit-narendra-modi-5385957/
ReplyDeleteDONALD TRUMP
LISTEN UP
AND LISTEN GOOD
QUESTION : DONALD THE TRUMP--ARE YOU A CUNT ?
YOU CALL INDIA A FRIEND
FRIENDS DONT ARM TWIST EACH OTHER ..
INDIA WILL NEVER EVERY BE PART OF THE YANK COWBOY RIDING POSSE..
INDIA WILL BUY RUSSIAN ARMS
INDIA WILL BUY IRANIAN OIL
IN 15 YEARS INDIA WILL BE THIS PLANETs NO 1 SUPERPOWER EVERY WHICH WAY
SAVVY ?
BETTER SAVVY !
COMMANDING RESPECT OUT OF FEAR AINT NO RESPECT AT ALL.
BALLS TO YOUR THREAT OF SANCTIONS GHODI-- NAY-- GHADI GHADI..
capt ajit vadakayil
..
Someone has tWeeted this , and mentioned @realdonaldtrump
DeleteJust to inform you!
https://mobile.twitter.com/imlikethis14/status/1048302386727378944
Deletesorry forgot to mention its the tweet link.
DeleteI have asked to remove it indirectly to the account holder.
https://mobile.twitter.com/imlikethis14/status/1048302386727378944
WARNING: DO NOT TWEET TO TRUMP, OR ANY OTHER NATION RULER-- UNLESS I AUTHORIZE..
DeleteCapt,
ReplyDeleteIt seems you are ignoring about my comments on HERVS or humans own genetic material being interpreted as HIV . The viral load or PCR test for HIV doesnt look for virus itself , it looks for some rna/dna fragments which are found even in negative persons.
A person improving from cold fever might test with few thousands of viral load in the HIV viral load test. Why there is no direct gold standard test for HIV which detects virus itself in blood instead of Antibodies, rna /dna crap??
Guruji,
this is a biggest scam on earth , much more than GLobal warming, You cannot be silent on this.
Thank you!
Captain sir I have a very beloved person in my family diagnosed with HIV, regular medicines are prescribed by the doctor. I kindly request to shed light on the above comment.
DeleteIf this true it will be explosive.
Only you can expose this sir
Hope you reviewed this blog ? http://ajitvadakayil.blogspot.com/2013/06/hiv-does-not-cause-aids-many-aids.html
DeleteThe post about Ayyappa Swami is sent to Amitabh Bacchan 8 days ago still waiting moderator approval will try other way
ReplyDeleteKERALA CM PINARAYI VIJAYAN HAS MADE A HIMALAYAN BLUNDER..
ReplyDeleteHE DOES NOT REALISE THAN 65% OF THE KERALA COMMIES GO FOR SABARIMALA..
THESE POOR PEOPLE WERE ONCE SWEPT BY IDEOLOGY OF COMMIE AK GOPALAN AND EMS NAMBOODIRIPAD ( AGENTS OF JEW ROTHSCHILD WHO CREATED COMMUNISM )--THEY BECAME ATHEISTS AND EVEN MARRIED IN COMMUNIST PARTY OFFICE..
ATHEISM IS NOW DEAD IN KERALA--EXCEPT FOR A FEW COMMIES WHO STILL PRETEND TO BE ATHEISTS FOR SELFISH MOTIVES.
CM PINARAYI VIJAYAN SINGLE HANDEDLY HAS STRUCK THE DEATH KNELL FOR KERALA COMMUNISM..
AT IT TOOK WAS A SINGLE INDISCRETION OF IGNORING THE SENTIMENTS OF HIS VOTERS OVER SABARIMALA .. PEOPLE WHO WERE ONCE HARDCORE SUPPROTERS ARE PISSED OFF.
THIS SPACE WILL BE USURPED BY BJP..
capt ajit vadakayil
..
Dear Captain ji,
DeleteMay be, is this what BJP high command wanted to happen ?
Captain sir,
ReplyDeleteA close friend from Kerala, a communist, always says I am a Hindu but my family votes for them.
A month ago media was crying about the fake news of gulf support to Kerala floods. Nobel women of Kerala are protesting against the Sabarimala ruling of SC which is hurting the Indian media. Indian media is trying to alienating the whole issue as if Kerala is somewhere in gulf now.
Sold out media talks about 3 talak in favour of mullahs. They talk about eating beef in a Hindu majority country in name of being secular. But they want equality when it comes to Hindu’s.
Modi is only hungry of votes
Regards,
Sumish.
https://en.wikipedia.org/wiki/Muziris
ReplyDeleteCHECK OUT WHAT THE TAMIL PRIDE CUNT HAS DONE TO MUZIRIS -- THE ROMAN NAME FOR KODUNGALLUR. KODUNGALLUR WAS THE CULTURAL CAPITAL OF THE CALICUT KING ..
Muziris has found mention in the bardic Tamil Sangam literature and a number of classical European historical sources.[2][3][4][5] The locations of unearthed coin-hoards suggest an inland trade link from Muziris via the Palghat Gap and along the Kaveri Valley to the east coast of India ( TO TAMIL NADU ) .The derivation of the name "Muziris" is said to be from the native TAMIL name to the port, "Muciri" (Tamil, முசிறி). In the region. A tantalizing description of Muziris is in Akanaṉūṟu, an anthology of early TAMIL bardic poems (poem number 149.7-11) in Eṭṭuttokai[18]..The great TAMIL epic SILAPPATIKARAM (The Story of the Anklet) written by Ilango Adigal, a Jain poet-prince from Kodungalloor (Muziris) during the 2nd century A.D., described Muziris as a place where Greek traders would arrive in their ships to barter their gold to buy pepper ..Three TAMIL-Brahmi scripts were also found in the Pattanam excavations. The last TAMIL-Brahmi script (dated to c. 2nd century AD, probably reading "a-ma-na", meaning "a Jaina" in TAMIL) was found on a pot-rim at Pattanam.
AIYOOOO THAMBI MUNIYAANDI !
capt ajit vadakayil
..
Respected Captain,
DeleteNamaskaram. It's really frustrating to see these kind of fake Tamil pride fellows want to own everything. How ignorant they are. Being a Tamil i find this completely illogical. Why should they use the route via palghat, cauvery delta then east coast. He will be brushing the other way around it seems.
Captain i am requesting again. Pls expose the history of Tamils. Right from our school days we have been taught that all chera chola and pandiya are part of tamilagam.just because the cheras ruled many parts of current TN they started claiming him to part of tamilagam and Malayalam part of Tamil. It's clearly evident that the entire southern part was ruled by Danava Mahabali who ruled the world and they used a script and language which over time became known in different names. The ezhavas maybe linked to pandiyas who were also pearl divers. Pandiyas were into kalari. If sangam by Pandiyas is true then It's this Danava language which got branched out. There's no one ancient tamil literature without Chera. It's only the cholas who fought against the cheras and Pandiyas for land. Even cholas claim to be part of sun dynasty.
Pls expose that all are from the Danava and when and how this split came...
From where did they derive this name Tamil.
Is it out of the desire to have a separate ruling territory and history the Pandiyas brought this language and culture out of the Danava civilization? Otherwise how can there be similarities between Malayalam and Tamil. Later wherever the Danava script was found the white historian and stooges labeled them as Tamil for divide and rule and subvert the oldest Danava civilization. If all the ancient links were made to Tamil the history cannot go beyond 500BC but if made to the Danava then they will have to accept that Danavas are the fountain head...
Delete
DeleteCHERAS WERE IN KERALA .
CHOLAS WERE NORTH OF TAMIL NADU
PANDAS WERE SOUTH OF TAMIL NADU AND INCLUDED SRI LANKA
ANCIENT SRI LANKA ( NORTH ) WAS INFESTED THE MALAYALIS ..
DURING BRITISH RULE MALAYALIS CAME RUNNING BACK TO KERALA, AS THE BRITISH WERE TREATING THEM LIKE ANIMALS IN THEIR PLANTATIONS..THEIR DESCENDANTS HAVE MIXED BLOOD WITH TRIBALS FROM MOUNTAIN RANGE ( MALAYYARS ) ARE THE EZHAVAS WITH BLUNT FACIAL FEATURES.
ROTHSCHILDs HISTORIANS DELETED THE DANAVA CIVILZATION LIKE HOW HE DELETED NIKOLA TESLA..
THIS IS WHY THEY CONVERTED THE OLDEST UNIVERISTY OF THE PLANET FROM WHERE ARYANS ( NAMOODIRI PROFESSORS ) WENT ALL OVER AS VISITING PROFESSORS --TO A WHORE HOUSE
http://ajitvadakayil.blogspot.com/2013/03/kodungallur-bharani-festival-capt-ajit.html
THE DESECRATION IF KODUNGALLUR TEMPLE BY TAMIL DALITS ( KANNAGI PARTY ) IS INAUGURATED BY THE CRYPTO JEW VARMA RULER OF KODUNGALLUR..
JEWS HAD A REASON TO HIDE THE FACT THAT NAMBOODIRI ELDER BROTHERS WERE THE ARYANS AND DISGRACED NAMBOODIRI YOUNGER BROTHER WERE THE SEMITES..
ARYABHATTA WAS A NAMBOODIRI .. HIS NAME WAS ARYAN BHATTATHIRIPAD-- WHO ARE THE MATH EXPERT CREAM OF NAMBOODIRIS.. NAMBOODIRIS ARE SANSKRIT / ORAL VEDAS KNOWING CREAM OF RULERS THIYYAS ..
THIYYAS WERE THE ORIGINAL AYURVEDIC EXPERTS PROFICIENT IN SURGERY-- AND THEY WERE NAVIGATORS WHO SAILED RIGHT UP TO CRETE ( GREECE ) AND CARTHAGE ( MODERN TUNISIA ).
SURGEON SUSRUTA WAS A THIYYA FROM KERALA .. PHYSICIAN CHARAKA WAS A NAMBOODIRI WERE KEPT AWAY FROM BLOOD AND GORE..
KALARI EXPERTS WERE ALL THIYYAS..
MAPPILAS OF KERALA WERE ALL HINDU THIYYAS. BEFORE THE ADVENT OF ISLAM..THEY WERE IN CHARGE OF THE SPICES WHILE ON OVERLAND ROUTE TILL PALESTINE AND GEORGIA.
FOREIGNERS CAME TO ANCIENT INDIA VIA KERALA SHIPS..
IT WAS IMPOSSIBLE TO ENTER VIA BOLAN AND KHYBER PASS OF HINDU KHUSH MOUNTAINS , UNLESS YOU HAD INDIAN CONTACTS WHO INVITED YOU AND PROVIDED GUIDES.
LATER THE BOLAN/ KHYBER PASS WERE CONTROLLED BY CRYPTO JEW AFRIDIS AND KHANS --WHO WERE IN THE PAYROLL OF JEW ROTHSCHILD..
JEW ROTHSCHILD CONTROLLED INDIA-- HE MONOPOLIZED SHIPPING AND THE BOLAN/ KHYBER PASS.
80% OF THE MOGHUL EMPERORS WERE CRYPTO JEWS..
70% OF THE TURKISH SULTANS OF THE OTTOMAN EMPIRE WERE CRYPTO JEWS..
THE KHILAFAT MOVEMENT WAS ALL ABOUT CRYPTO JEW GANDHI RUNNING INTO KERALA WITH CRYPTO JEW MOHAMMAD ALI JAUHAR TO WHIP UP PASSIONS FOR A CRYPTO JEW OTTOMAN TURKISH SULTAN.. AND FINALLY CRYPTO JEW MUSTAFA KEMAL ATTATURK TOOK OVER TURKEY..
MAJJA HAI--KISSI KOH KUCH NAHIN POTHA-- NAY--PATHA..
ISRAEL IS DESPERATELY TRYING TO PLACE A CRYPTO JEW RULER IN SYRIA AND IRAN..
REST ALL OIL RICH KINGDOMS AROUND ISRAEL ARE RULED BY CRYPTO JEWS ..
capt ajit vadakayil
..
Respected Captain,
DeleteApologies for commenting here again. This will be the last one.
You exposed that right from ancestors of Mahabali till Ayyappa are Danavas and Danava civilization is older than Vedic civilization. Is the Vedic civilization also part of Danava. What made some Danavas after Mahabali to rule from North?
Are devas only puranic characters to write down the puranas?
Sir - Are thiyyas Danavas or Aryans or a mix of Danavas and Aryans?
DeleteThank you
ARYANS ARE DANAVAS
DeleteSEMITES ARE DANAVAS
THIYYAS ARE DANAVAS
https://timesofindia.indiatimes.com/india/parties-seek-to-cash-in-on-sabarimala-ruling/articleshow/66078181.cms
ReplyDeleteTHE WHOLE OF KERALA INCLUDING CONGRESS, BJP, MUSLIM LEAGUE , COMMUNIST PARTY CADRE ( LEAVE OUT CM PINARAYI VIJAYAN ) , CHRISTIANS ARE ALL AGAINST SUPREME COURT JUDGES PLAYING GOD..
SABARIMALA IS THE CULTURAL BEDROCK OF KERALA . KERALA HISTORY IS TIED TO AYYAPPA ..
WHEN COLLEGIUM JUDICIARY WITH SLIMY CONNIVANCE OF RSS/ BJP TRIED TO KILL THRISSUR POORAM FESTIVAL-- THE CATHOLIC BISHOP OF THRISSUR SAVED THE MILLINIUMS OLD FESTIVAL.. WE HINDUS WILL NEVER FORGET THIS ..
http://ajitvadakayil.blogspot.com/2013/04/thrissur-pooram-festival-mother-of-all.html
RSS / BJP HAVE JUMPED INTO THE SABARIMALA FRAY ONLY BECAUSE CHRISTIAN LED CONGRESS SUPPORTED SABARIMALA..
HAS ONE SINGLE RSS CHIEF MARRIED SINCE THE RSS WAS FOUNDED?
WHAT HAS OPPORTUNISTIC RSS / BJP DONE FOR HINDUS SINCE INDEPENDENCE OTHER THAT TRYING TO CONVERT HINDUS INTO HOMOSEXUALS ?.. WHITE JEW SPONSORED RSS/ BJP EXISTS TO FIGHT WITH MUSLIMS..
WE HINDUS ARE NOT EVEN SURE IF GUJJU NO 2 MODI AND AMIT SHAH ARE HINDUS..
GUJJU NO 1 GANDHI WAS A KATHIWARI JEW-JAIN ( THE SAME CLAN AS ALL FILTHY RICH ANTWERP DIAMOND TRADERS , ROTHSCHILD MIDDLEMEN )
THE SUPREME COURT HAS IGNORED THE "AGGRIEVED PERSON" PROVISION AS PER OUR CONSTITUTION .. A MUSLIM NON-BELEIVER NAMED NAUSHAD AHMAD KHAN ( CRYPTO JEW LAWYER ) FILED THE CASE AGAINST MENSTRUATING WOMEN ENTRY IN SABARIMALA JUST TO THROW A MONKEY WRENCH INTO THE WORKS OF HINDUISM..
THIS IS CULTURAL TERRORISM TO KILL THIS PLANETs NO 1 PILGRIMAGE ..
MORE THAN 81% OF THE PEOPLE OF INDIA AND WOKEN UP IN THE MORNING BY BLARING AZAN CALLS BY LOUDSPEAKER FITTED ON MOSQUES AT AN UNEARTHY HOUR OF 0430 IST KILLING REM SLEEP.. WHY IS THIS ALLOWED ?
WE THE PEOPLE WHO ARE ABOVE THE CONSTITUTION DECLARE THAT THE RULINGS OF THE SUPREME COURT ON ADULTERY , HOMOSEXUALITY AND SABARIMALA IS "NULL AND VOID".. THESE ARE MATTERS LEFT TO ACCOUNTABLE AND ELECTED LAWMAKERS ..NOT COLLEGIUM JUDICIARY WHICH IS NOT ALLOWED AS PER OUR CONSTITUTION…
NCW MUST KNOW THIS-- REAL WOMENs EMPWERMENT IS HAPPENING IN KERALA WHERE HINDU WOMEN SAY THAT WE ARE HAPPY TO WAIT TILL MENOPAUSE AND THEY DONT CARE FOR THIS ILLEGAL ULTERIOR MOTIVED JUDGEMENT BY AN UNCONSTITUTIONAL COLLEGIUM JUDICIARY..
THEY HAVE THE SUPPORT OF MUSLIM AND CHRISTIAN WOMEN--JUST AN EXAMPLE OF HOW MALAYALAM LANGUAGE BINDS THE PEOPLE..
IF ROHINGYAS AND BANGLADESIS ENTER KERALA ILLEGALLY -- KERALA WILL DISINTEGRATE FASTER THAN KASHMIR ..
http://ajitvadakayil.blogspot.com/2018/07/menstruating-women-and-sabarimala.html
capt ajit vadakayil
..
PUT ABOVE CRITICAL COMMENT IN WEBSITES OF--
CJI GOGOI
ALL SUPREME COURT JUDGES
ALL SUPREME COURT LAWYERS
PMO
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ATTORNEY GENERAL
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GOVERNORS OF ALL STATES
SPEAKER LOK SABHA
SPEAKER RAJYA SABHA
RAHUL EASHWAR
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E SREEDHARAN
SOLI BABY
FALI BABY
SALVE BABY
AJIT DOVAL
ALL 3 ARMED FORCE CHIEFS
SPREAD ON SOCIAL MEDIA
ALL MUST CO-OPERATE
capt ajit vadakayil
..
TODAY , 5TH OCT 2018 ( FRIDAY ) THERE WILL BE HEAVY RAINS ALL OVER KERALA ..
ReplyDeleteSEAS WILL BE ROUGH..
THERE IS NO CYCLONE AS TOLD BY USLESS IMD..
THIS RAIN IS A BLESSING IN DISGUISE TO GET RID OF CAKED UP HARD SILT
MARK ALL HOUSES WHICH GET FLOODED THE SECOND TIME .. GET THEM TO SHIFT..
NO COMPENSATION MUST BE PAID GHADI GHADI AFTER A PERIOD OF TWO YEARS ..
capt ajit vadakayil
..
https://timesofindia.indiatimes.com/india/diabetes-is-bleeding-indians-dry/articleshow/66078379.cms
ReplyDeleteI HAVE INTERVIEWED MORE THAN A HUNDRED STAR DOCTORS IN INDIA OVER THE PAST EIGHT YEARS..
NOT ONE OF THEM COULD ANSWER QUESTIONS ON LADA-- DIABETES 1.5..
LAST WEEK I SAW SOME DOCTORS ON A TV CHANNEL BEING INTERVIEWED.. ONE OF THEM KEPT REPEATING THAT IF ANYBODY ON SOCIAL MEDIA WRITES ABOUT CHOLESTEROL DRUGS- HE MUST BE ARRESTED BY THE CYBER CELL.
WHAT MAKES A DOCTOR AN EXPERT ON CHEMICALS ?
99.9 % DOCTORS DONT EVEN KNOW THE GENERIC CONTENTS OF THE MEDICINES THEY PRESCRIBE. THIS IS WHY THEY MAKE THEIR HANDWRITING DELIBERATELY BAD..
http://ajitvadakayil.blogspot.com/2011/09/why-doctors-write-illegible.html
THIS BLOGPOST ON STATIN DRUGS HAS BEEN SENT TO PM MODI AND JP NADDA SEVERAL TIMES.
http://ajitvadakayil.blogspot.com/2015/11/cholesterol-lowering-drugs-with-side.html
WHAT I HAVE NOT WRITTEN IN THE POST ABOVE IS THAT STAIN CHOLESTROL DRUGS WHICH ARE TAKEN BY 80% OF AGED INDIANS AFFECT THE DIABETES BLOOD SUGAR READING.. EVIL PHARMA WANTS TO SELL THEIR DIABETES MEDICINES..
The blood sugar (blood glucose) level increases when you take a statin.. The US Food and Drug Administration (FDA) has issued a warning on statin labels regarding blood glucose levels and diabetes. Why ?
Studies have proven increases in blood sugar levels, and brain fog directly attributable to ingesting statins .
http://ajitvadakayil.blogspot.com/2016/12/lada-latent-autoimmune-diabetes-of.html
http://ajitvadakayil.blogspot.com/2013/12/type-2-diabetes-evolving-epidemic-in.html
http://ajitvadakayil.blogspot.com/2014/03/hypoglycemia-low-blood-sugar-and-road.html
QUOTA PARTY INDIANS DOCTORS ARE USELESS..
capt ajit vadakayil
..
MODI IS BUYING USELESS AND EXPENSIVE RAFALE JETS TO SAVE JEWISH DASSUALT FOR BANKRUPCY.. THIS WILL KEEP HIS DEEP STATE MASTERS HAPPY..
ReplyDeleteIN A WAR WITH CHINA RAFALE JETS WILL BE A BIG LIABILITY..
IF WE UPGRADE INDIAN MIG-29 JETS THEY WILL BE BETTER THAN RAFALE JETS.
SU-57 CAN JAM INCOMING MISSILES.
https://www.youtube.com/watch?v=vF3hJ0wbffo
INDIA MUST BUT RUSSIAN GAS BY BARTER SYSTEM.
Capt ajit vadakayil
..
Captain,
DeleteYou are asking too much. A clown cant rule like king...
ReplyDeleteCapt. Ajit VadakayilOctober 5, 2018 at 11:27 AM
INDIA REQUIRES 18 NUCLEAR SUBMARINES...
THESE SUBMARINES MUST BE RUSSIAN...
WE MUST INVEST IN A SIX BILLION USD FABLAB FOR CHIPS.. TAKE HELP FROM TAIWAN..
WESTERN SUBMARINES WILL NOT BE ABLE TO HIDE FROM NATO NATIONS..
WE ASK MODI TO PERSONALLY SEND OFF PUTIN AT THE AIRCRAFT WHEN HE GOES BACK TO RUSSIA
RUSSIA IS THE ONLY RELIABLE SECURITY PARTNER..
DO BARTER WITH RUSSIA FOR GAS ..
NATO DOES NOT DARE TO TAKE ON KIM OF NORTH KOREA AS KOREA HAS FIVE MORE SUBMARINES THAN USA.. MASSIVE SECOND STRIKE CAPABILITY IS THE ONLY THING WHICH CAN CONTAIN CHINA..
INDIA MUST BUY IRANIAN OIL.. IRAN IS SHIA, PAKISTAN IS SUNNI..
IF MODI MOTHBALLS COAL ( NOW THAT HE HAS WRANGLED A PRIZE ALONG WITH MACRON FROM JEW ROTHSCHILD ) WE THE PEOPLE WILL KICK HIM OUT OF INDIA.. INDIA WILL CONTINUE BURNING COAL..
capt ajit vadakayil
..
PUT ABOVE COMMENT IN WEBSITES OF--
PM MODI
PMO
MEA SUSHMA SWARAJ
DEFENCE MINISTRY
NIRMALA SITARAMAN
AJIT DOVAL
RAJNATH SINGH
HOME MINISTRY
ALL 3 ARMED FORCE CHIEFS
PRESIDENT OF INDIA
VP OF INDIA
COL RATHORE
I&B DEPT
INDIA AMBASSADOR TO RUSSIA.
capt ajit vadakayil
..
https://twitter.com/ndtv/status/1047872355354079232
ReplyDeleteDEEP STATE CONTROLLED DESH DROHI !
Wow! 7 returned. While 1000s come in and lakhs of illegal Bangladeshis. At least Congress deported a few thousand. Last year asshole Modi deported 51.
DeleteDear Ajit Vadakayil Sir,
ReplyDeleteA humble request to look into the matter of Gir Lions. Something very fishy going on.
I don't think I am at the level of suggesting you your next step.
Love you
Sapna Panchal
https://www.businesstoday.in/current/economy-politics/india-russian-signs-dollar-5-billion-deal-5-s400-missile-systems/story/283970.html
ReplyDeleteWe have signed the deal sir.
Once upon a time a douchebag said that shani temple of shani singapur should have doors.. how come it doesn’t have .. he said it cant be a miracle & all .. said its superstition.. to which the then old aged lion of Maharashtra said sure go and try breaking the rule.. a new magic will happen.. all of a sudden stones will start falling on your head. Hahahahaha such “miracle” will happen by the people if women who are not menopause try to enter sabrimala!
ReplyDeleteAlso, no hindu god fearing women would dare even think of entering any temple during menses ... let alone sabrimala before menopause. I think such attempts will be made by only non hindu women whom a bunch of traitors will pay for.
Due to 377, sabrimala & adultery law I wont be voting for current party even if last moment some ram mandir related “drama” happens. Hindus cant be fooled any longer
While dipshits are running the country, the most valuable resource is a two finger typist blogger who gets no national recognition...this is effed up.
ReplyDeleteArun Jaitley running economy into the ground and no opposition. That's how tight the Lutyens crowd is i.e. deep state a__holes!
I THANK THE FOLLOWING READERS FOR WISHING ME ON MY BIRTHDAY...
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thanks guruji i am so delighted. what to ask more in life when the guru itself is blessing us. tears of happiness rolled. guruji always love you :-)
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