SANATANA DHARMA , HINDUISM EXHUMED AND RESURRECTED, PART 110 - CAPT AJIT VADAKAYIL

THIS POST IS CONTINUED FROM PART 109, BELOW--

http://ajitvadakayil.blogspot.com/2018/09/sanatana-dharma-hinduism-exhumed-and_28.html

Capt. Ajit VadakayilDecember 19, 2019 at 4:06 AM

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-

1. Capt. Ajit VadakayilDecember 19, 2019 at 4:07 AM

   CONTINUED FROM 1--
   
   KATHAKALI ALSO ENACTS KERALA KING VALI, WHOM VISHNU AVATAR, MARYADA PURUSH RAMA KILLED BY DECEIT WITH A ARROW, HIDING BEHIND A TREE.
   
   http://ajitvadakayil.blogspot.com/2014/10/king-vali-and-queen-tara-of-ramayana.html
   
   VALI WAS NOT A MONKEY.. HANUMAN WAS A MERE MONKEY PROMOTED TO GOD BY ROTHSCHILD—TO CREATE DEVADASIS FOR HIS WHITE SOLDIERS TO HAVE SEX ( PEDOPHILES ).
   
   http://ajitvadakayil.blogspot.com/2014/02/devadasi-system-immoral-lie-of-temple.html
   
   VALIs WIFE TARA IS THE MOST BEAUTIFUL IN PURANA LORE, FOLLOWED BY RAVANAs WIFE MANDODARI ( DAUGHTER OF KERALA ARCHITEST MAYA DANAVA ) , FOLLOWED BY RUKMINI , DRAUPADI AND KAUSHALYA..
   
   KAUSHALYA NEVER USED A DEAD HORSEs PRICK AS A DILDO, AS PER ROTHSCHILDs AND WENDY DONIGERs FAKE ASHWAMEDHA HISTORY..
   
   http://ajitvadakayil.blogspot.com/2014/09/ashwamedha-yagam-bloodless-sacrifice.html
   
   ROTHSCHILD MAKE MONKEYs OUT OF RULING THIYYA KINGS OF KERALA ( ETRUSCANS ) WHO SET UP THE ROMAN CIVILIZATION.
   
   http://ajitvadakayil.blogspot.com/2019/10/perumal-title-of-calicut-thiyya-kings.html
   
   I AM AN ETRUSCAN.
   
   http://ajitvadakayil.blogspot.com/2019/08/secrets-of-roman-pantheon-inaugurated.html
   
   MY REVELATIONS NOW TAKE AN ALMIGHTY LEAP TO 60.14%.. PRESERVE THIS COMMENT FOR POSTERITY. THIS IS WHO WERE ARE.. WE HAVE A PRICELESS CULTURE ..
   
   Capt ajit vadakayil
   ..

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.

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 ..

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 ..

http://ajitvadakayil.blogspot.com/2011/10/tipu-sultan-unmasked-capt-ajit.html

http://ajitvadakayil.blogspot.com/2013/01/mansa-musa-king-of-mali-and-sri.html

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.

http://ajitvadakayil.blogspot.com/2017/12/the-rotating-statue-on-nemi-ship-on.html

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.. 

https://www.blogger.com/profile/14410812789424637654

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”

http://ajitvadakayil.blogspot.com/2010/11/my-son-at-cornell-university-capt-ajit_25.html

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..

https://en.wikipedia.org/wiki/Sanskrit_grammar

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..

http://ajitvadakayil.blogspot.com/2016/12/108-numerical-equivalent-of-hindu-king.html

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”

https://www.youtube.com/watch?v=l3Wo5MYljzc

https://www.youtube.com/watch?v=srolCX6KnHU

https://www.youtube.com/watch?v=OxJ9_6TGAGw

https://www.youtube.com/watch?v=G5uWkanhm0M

https://www.youtube.com/watch?v=DvCQQyFjhDI

https://www.youtube.com/watch?v=eiaG2P294Xo

https://www.youtube.com/watch?v=XPvRzuBFOAs

http://sanskrit.inria.fr/portal.html

https://www.youtube.com/watch?v=fJUCky-ANNE

https://www.youtube.com/watch?v=RnmGrm5Ims0

https://www.youtube.com/watch?v=3s0xj-EvCfI

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.

http://ajitvadakayil.blogspot.com/2011/12/kalaripayattu-oldest-and-deadliest.html

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.

http://ajitvadakayil.blogspot.com/2014/08/chanakya-taxila-university-professor.html

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

http://ajitvadakayil.blogspot.com/2016/12/108-numerical-equivalent-of-hindu-king.html

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.

1. 
   

   1. 
      

Capt. Ajit VadakayilOctober 4, 2018 at 10:34 AM

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
..

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.

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.

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

http://magicalmethods.com/FREE/applications_in_sw/VM_in_digital_signal_processing.pdf

http://www.caeaccess.org/archives/volume5/number1/gaikwad-2016-cae-652140.pdf

http://www.academia.edu/2349528/A_Digital_Multiplier_Architecture_using_Urdhva_Tiryakbhyam_Sutra_of_Vedic_Mathematics

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

http://ajitvadakayil.blogspot.in/2010/12/perfect-six-pack-capt-ajit-vadakayil.html

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.

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.

http://ajitvadakayil.blogspot.in/2013/01/mansa-musa-king-of-mali-and-sri.html

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

http://ajitvadakayil.blogspot.com/2011/01/isaac-newton-calculus-thief-capt-ajit.html

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.

http://ajitvadakayil.blogspot.com/2017/04/sanatana-dharma-hinduism-exhumed-and_71.html

http://ajitvadakayil.blogspot.com/2017/04/sanatana-dharma-hinduism-exhumed-and_22.html

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.

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

 http://conference.vedicmaths.org/2016%20Conference/The%20sutras%20of%20VM%20in%20Geometry.pdf

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

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

https://web.northeastern.edu/shah/papers/Pingala.pdf

FIBONACCI WAS A THIEF

http://ajitvadakayil.blogspot.com/2010/12/perfect-six-pack-capt-ajit-vadakayil.html

http://thesoundofnumbers.com/wp-content/uploads/2017/02/sections2_1_2.pdf

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

http://ajitvadakayil.blogspot.in/2011/08/mihira-muni-great-astrologer-cum.html

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

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.

http://ajitvadakayil.blogspot.com/2017/01/the-art-of-writing-capt-ajit-vadakayil.html

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.

http://ajitvadakayil.blogspot.com/2011/10/worst-racists-on-planet-earth-capt-ajit.html

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.. 

http://ajitvadakayil.blogspot.com/2013/01/mansa-musa-king-of-mali-and-sri.html

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 

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.

http://ajitvadakayil.blogspot.com/2013/03/kodungallur-bharani-festival-capt-ajit.html

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?

http://ajitvadakayil.blogspot.com/2018/08/objective-arguments-but-subjective.html

http://ajitvadakayil.blogspot.com/2018/05/discretion-subjective-objective-value.html

 "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.

http://ajitvadakayil.blogspot.com/2014/08/chanakya-taxila-university-professor.html

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.

http://ajitvadakayil.blogspot.com/2013/03/secrets-of-shankh-or-conch-product-of.html

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.

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.

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:

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.

CONTINUED TO 2--

CONTINUED FROM 1--

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

..

1. 
   Aiswarya rFebruary 16, 2019 at 1:10 PM

   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
   
   
   
   

   1. 
      Capt. Ajit VadakayilFebruary 16, 2019 at 4:38 PM

      WHEN IN SCHOOL ( AGE 13 ) WE WENT ON A PICNIC TO TIRUNAVAYA TEMPLE IN KERALA..
      
      WE WENT BY LARGE BOATS --BHARATA PUZHA RIVER.. WE ROCKED THE BOATS AND MADE THE FEMALE TEACHERS CRY ( GIRLS ALSO JOINED IN THE PRANK WHICH WAS VERY DANGEROUS ) .. THE PRINCIPAL OP GUPTA ( KENDRIYA VIDYALAYA ) GOT WILD...
      
      WE PLAYED KABADDI AND OTHER GAMES -- HAD HAJAAAR FUN.. EVEN TODAY WHEN I WANT TO FEEL GOOD I THINK ABOUT THIS PICNIC..
      
      NOBODY KNOWS THAT TIRUNAVAYA IS ONE OF THE OLDEST TEMPLES OF INDIA, PART OF THE DANAVA CIVILIZATION WHICH PRECEEDED THE VEDIC CIVILIZATION BY MILLINIUMS...IT IS OLDER THAN THE 6000 YEAR OLD GURUVAYUR TEMPLE..
      
      PARASHURAMA HAS CONSECRATED AN AYYAPPA IDOL IN THIS TEMPLE ..
      
      THE RIVER SPOT WAS HOLY AND INDIANS FROM ALL OVER CAME THERE TO DO SHRADDH .. THIS SPOT IS KNOWN AS SOUTHERN KASHI..
      
      IT HAD THE LARGEST LIBRARY IN IN INDIA (SANSKRIT AND MALAYALAM ) WHICH ROTHSCHILD STOLE AND CARTED AWAY TO GERMANY..
      
      THIS INCLUDED ORIGINAL COPIES TECHNICAL PARTS OF VEDAS (PART 2 BRAHMANAS AND PART 3 ARANYAKAS ) AND THE UPANISHADS..
      
      THIS IS WHY GERMANY TEACHES SANSKRIT AND MALAYALAM IN THEIR UNIVERSITIES.. THIS WAS REVEALED BY ANGELA MERKEL..
      
      https://timesofindia.indiatimes.com/india/Malayalam-gets-global-push-new-status-in-Germany/articleshow/48522400.cms
      
      http://ajitvadakayil.blogspot.com/2011/12/hermann-gundert-hermann-hesse-and.html
      
      THE TEMPLE LIBRARY WAS SET ON FIRE IN 1743 TO MAKE LOCAL BELIEVE THAT BOOKS WERE LOST IN THE FIRE..
      
      JEW HYDER ALI AGAIN SET THE TIRUNAVAYA TEMPLE ON FIRE IN 1761 AD AND RAZED IT TO THE GROUND-- HE WAS LOOKING FOR GOLD IN THE UNDERGROUND VAULTS..
      
      THE TIRUNAVAYA LIBRARY HAD BEEN REBUILT AND WE LOST ORIGINAL DOCUMENTS SCROUNGED FROM OTHER KERALA TEMPLES AND SRINGERI MUTT , THE SECOND TIME..
      
      http://ajitvadakayil.blogspot.com/2011/10/tipu-sultan-unmasked-capt-ajit.html
      
      THE ANCIENT MAMANKAM FESTIVAL ON TIRUNAVAYA TEMPLE RIVER BANKS WAS A INTERNATIONAL CULTURAL FEST WHERE ANCIENT GREEKS WHO STUDIED IN KODUNGALLUR UNIVERSITY PARTICIPATED--
      
      ALL ANCIENT GREEKS SCHOLARS EXCEPT ARISTOTLE..THEY HAVE WRITTEN ABOUT KATHAKALI DANCES THE WHOLE NIGHT ..
      
      http://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and.html
      
      THE WIKIPEDIA POST BELOW IS A FOUL LIE..
      
      THE TAMIL PRIDE BASTARD WITH THE BIG BLACK STINKING ASS HAS INJECTED TAMIL SHIT ALL OVER..
      
      https://www.youtube.com/watch?v=OR5KC71zQN0
      
      COMMIES ARE TRYING TO KILL HINDUIM IN KERALA.. ATHEIST COMMIE PINARAYI VIJAYAN MUST KNOW THAT CAPT AJIT VADAKAYIL WILL NOT ALLOW IT..
      
      https://www.youtube.com/watch?v=gCBC1-KYL8s
      capt ajit vadakayil
      ..

      
      
   2. Capt. Ajit VadakayilFebruary 16, 2019 at 4:47 PM

      PUT ABOVE COMMENT IN WEBSITES OF-
      
      CM PINARAYI VIJAYAN
      ALL KERALA MINISTERS
      ALL KERALA MLAs
      ALL KERALA COLLECTORS
      DGP BEHERA
      RAMAN SRIVASTAVA
      HIGH COURT CHIEF JUSTICE KERALA
      GOVERNOR P SATHASIVAM
      ALL MEDIA OF KERALA
      PRESIDENT OF INDIA
      VP OF INDIA
      SPEAKER LOK SABHA
      SPEAKER RAJYA SABHA
      I&B DEPT
      COL RATHORE
      EVERY MP OF LOK SABHA AND RAJYA SABHA
      EVERY CENTRAL MINISTER / MINISTRY
      MLAs OF ALL STATES
      CMs OF ALL STATES
      GOVERNORS OF ALL STATES
      PC GEORGE MLA
      RAHUL EASHWAR
      PADMA PILLAI
      SRIDHARAN PILLAI
      PARASARAN
      SAI DEEPAK
      VIDYASAGAR GURUMURTHY
      JANAM TV
      PMO
      PM MODI
      AJIT DOVAL
      CBI
      NIA
      ED
      IB
      RAJNATH SINGH
      HOME MINISTRY
      NHRC
      NCM
      LAW MINISTER
      LAW MINISTRY
      NCW STATES
      NCW MAIN
      CJI GOGOI
      INDU MALHOTRA
      ROHINGTON NARIMAN
      KHANWILKAR
      CHANDRACHUD
      ALL SUPREME COURT JUDGES
      AMIT SHAH
      SWAMY
      GURUMURTHY
      ALL BJP SPOKESMEN
      ALL CONGRESS SPOKESMEN
      RAHUL GANDHI
      SONIA GANDHI
      SOLI BABY
      FALI BABY
      SALVE BABY
      AMITABH KANT
      NITI AYOG
      RSS
      VHP
      AVBP
      JOHN BRITTAS
      CLOSET COMMIE ARNAB GOSWMI
      RAJDEEP SARDESAI
      BARKHA DUTT
      NAVIKA KUMAR
      ZAKKA JACOB
      ANAND NARASIMHAN
      BARKHA DUTT
      SHEKHAR GUPTA
      PRANNOY JAMES ROY
      AROON PURIE
      VINEET JAIN
      RAGHAV BAHL
      BRINDA KARAT
      PRAKASH KARAT
      SITARAM YECHURY
      SUMEET CHOPRA
      DINESH VARSHNEY
      VC OF JNU
      VC OF DU/ JU/ TISS
      DEAN OF FTII
      SIDHARTH VARADARAJAN
      N RAM
      MANI SHANKAR AIYERAN
      ROMILA THAPAR
      IRFAN HABIB
      NIVEDITA MENON
      AYESHA KIDWAI
      DANIEL RAJA
      NCERT
      SHOBHAA DE
      ARUNDHATI ROY
      SHASHI THAROOR
      MANI SHANGARAN AIYERAN
      SURESH GOPI
      MOHANLAL
      SRI SRI RAVISHANKAR
      SADGURU JAGGI VASUDEV
      DGPs OF ALL STATES
      SOLI BABY
      FALI BABY
      SALVE BABY
      KATJU BABY
      AMISH TRIPATHI
      CHETAN BHAGAT
      DEVDUTT PATTANAIK
      PAVAN VARMA
      RAMACHANDRA GUHA
      LK ADVANI
      MURLI MANOHAR JOSHI
      ARUN SHOURIE
      RAM MADHAV
      WEBSITES OF DESH BHAKT LEADERS
      SPREAD ON SOCIAL MEDIA
   3. 
      

Capt. Ajit VadakayilOctober 9, 2018 at 6:20 AM

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
..

1. Capt. Ajit VadakayilOctober 9, 2018 at 6:23 AM

   
   PUT ABOVE COMMENT IN WEBSITES OF--
   SAI DEEPAK
   PARASARAN
   RAHUM EASHWAR
   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
   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
   ..

namiOctober 7, 2018 at 9:40 AM

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

1. 
   Capt. Ajit VadakayilOctober 7, 2018 at 1:09 PM

   A SARARIMALA VRAT MUST BE 100% NATURAL.. IT IS RIGID SELF DISCIPLINE , NOT EXTERNAL DRUG ASSISTED DISCIPLINE..

   
   

   
   

   SEXUAL URGE OF NOT TO HAVE SEX WITH WIFE OR MASTRURABTE ( DURING 41 DAYS OF VRAT ) MUST BE BY HUMAN WILL, NOT BY AN INJECTION WHICH LEAVES THE PENIS LIMP..
   SABARIMALA PILGRIAGE IS THE ONLY ONE WHERE PEOPLE SHED THEIR NEGATIVE KARMIC BAGGAGE ..
   VRAT HELPS YOU TO CONTEMPLATE ( SVADHAYA ) .
   
   THE WHITE WOMAN TAKES PILLS TO POSTPONE HER PERIODS IN CASE IT FALLS IN BETWEEN HER HOLIDAYS..
   
   SOME INDIAN HINDU WOMEN TAKE THESE PILLS TO MAKE SURE SHE DOES NOT HAVE PERIODS ON THE DAY OF MARRIAGE – AN AUSPICIOUS DAY FIXED BY HOROSCOPE.. 
   
   They are effective in delaying periods for up to 16 days.. These pills contain Norethisterone, which is a man-made version of progesterone, a female sex hormone… 
   
   Norethisterone causes SEVERE hormone imbalances …
   
   There are no cheaters in Sabarimala vrat . Nobody monitors, as it is about your own mind cleansing…
   
   For 41 days the pilgrims abstain from sex, alcohol, cigarettes, non-vegetarian food, foul language and lack of discipline…
   
   They have to bathe twice a day and visit the local temple to offer prayers. They sleep for 41 days on the floor without pillows. Sabarimala pilgrimage is a great leveller…
   
   On the first day the pilgrim will be initiated by a Guru Swami, who has undertaken 18 successive years of Sabarimala pilgrimage. He has to present himself after a bath, clean shaven with nails trimmed. A sanctified Mala or garland of Rudrakha beads is put on the neck, while chanting the mantra, "Swamiye Sharanamayyappa" …
   
   A SABARIMALA 41 DAY VRAT IS A CONSCIOUS SELF EFFORT THAT YOU ARE UNWILING TO SURRENDER TO DESTINY.. THAT YOU PLAN TO FORGE THE HINGES OF YOUR DESTINY ON YOUR OWN TERMS. KARMA CATCHES UP.. 
   
   Swadhaya ( contemplation ) happens during the 41 day vrat-- you delve into yourself with an open mind and heart.. you’ll move beyond the boundaries of thought and emotion and tap into the pure consciousness that lies deep within… 
   
   You make a sincere attempt to know the reasons for your happiness and sorrow, anger, greed and attachment…
   
   Witnessing yourself and studying one’s own personality is swadhyaya. Introspection and self analysis is is translated into action after the pilgrimage . Always use PAIN and adversity to introspect. These are god given opportunities to drive real change…
   
   This is the magic of Sanatana Dharma. 
   If we know we are beyond the body and mind, we can sit in our pain ( caused by vrat ) without pushing it away-this was the meaning of TAPASYA done by our ancient yogis. A yogi will not cheat himself during self analysis. ..
   
   He can fail himself. ..
   
   Self reflection for a yogi is a humbling process. Swadhyaya inspires and elevates the mind to high spiritual altitude. .
   
   Swadhaya during vrat cuts new spiritual grooves for the mind to move on. It harnesses the mind run in these new grooves to have your bruised soul healed. The conscious mind can dip into the subconscious where beliefs are embedded , in order to eliminate it. .
   
   A sincere Sabarimala pilgrim can meditate, to rewrite these negative programmes that cause you misery…
   
   Men go for Sabarmiala after a emotional breakup.. 
   
   If we are willing to look at behaviors, motivations, and strategies we habitually use to maintain our own FAALTHU keeping up with the Joneses self-image, we can use svadhyaya to pierce through the veil that this self-image creates and into the nature of our own essential being…
   

   
   

   Going to a psychiatrist who will pump you with toxic mind drugs is the worst thing to do..
   

   
   

   Vrat strengthens the flickering faith before it is snuffed ..
   
   You expect a commie atheist or a single holy book/ single messiah padre to know all this?..
   
   

   This is only one thing in this cosmos which you can be cock sure is bringing change to yourself with self discipline ( vrat ). ..

   
   The other is death…
   
   Capt ajit vadakayil
   ..
   
   
   
   
2. Capt. Ajit VadakayilOctober 7, 2018 at 1:10 PM

   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
   ..

1. 
   Capt. Ajit VadakayilOctober 6, 2018 at 6:50 PM

   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

   
   

   
   

   ONAM IS CELEBRATED BY ALL- THERE ARE NO DIVIDES.. WE IN KERALA ARE VERY PROUD OF OUR CULTURE--THE MOST ANCIENT 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
   ..

1. 
   Capt. Ajit VadakayilOctober 6, 2018 at 12:10 PM

   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
   ..
   
   

   
   

   
   
   

   1. Capt. Ajit VadakayilOctober 6, 2018 at 12:11 PM

      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
      ALL SUPREME COURT LAWYERS
      ALL SUPREME COURT JUDGES
      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
      ..

1. 
   Capt. Ajit VadakayilOctober 6, 2018 at 10:34 AM

   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.. 

   
   

   
   

   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..
   
   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
   ...
   
   
   
   

   
   

   
   
   

   1. Capt. Ajit VadakayilOctober 6, 2018 at 10:35 AM

      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
      ALL SUPREME COURT LAWYERS
      ALL SUPREME COURT JUDGES
      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
      ..

1. 
   Capt. Ajit VadakayilOctober 5, 2018 at 7:44 PM

   
   
   
   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

Capt. Ajit VadakayilOctober 5, 2018 at 6:34 PM

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-

1. Capt. Ajit VadakayilOctober 5, 2018 at 6:35 PM

   CONTINUED FROM 1-
   
   yadagiri gawrayya
   Abhijeet Rai
   Aman Thakur
   Arun Jha
   Seeker of knowledge
   Himvijay
   Srikapilan G
   Praju Wish
   Shekhar
   Razor Skidrow
   ajay partap singh chauhan
   Anupam Pradhan
   RVK
   Charlotte Standford
   Prapulla
   Balamurali Shivaram
   Ravi
   Satish Kartik
   Shivoham
   Proud to be Hindu
   Dineshkumar Kanesan
   mayank talwar
   Vicky Pokhriyal
   Ashish Kumar Singh
   
   sandeep Mishra
   E T
   Ram
   Aditya Upadhyay
   sagar9
   hadley d'mello
   Amrita L
   CPV Kumar
   Karthikeyan
   Krismohi
   vikas bharti
   Dark angel
   pavan kumar
   Dipesh Agarwal
   Om Namah Shivay
   Tat Tvam
   Jay Giri
   Mahaishwar
   Siva Krishna
   Swagat
   Madhan Medappa
   Abhijit M
   RVK
   A Tiwari
   
   KrishPillai
   Soujanya V
   Sai
   Jeet_r
   Gaurav B
   Anil Kumar
   Anupam Pradhan
   Indianatherat
   Kalyan
   ZIKALE
   Ladali
   ramas parmar
   Ankit
   SMHARAN
   C.K. Vignesh
   Atul
   Aman Thakur
   Vikshot
   Shekhar Sharma
   Bidu.B
   prasad chawan
   Tyu
   Biju
   M Z
   
   Padmanabhan R
   Praveen Baji
   Scientific Spirituality
   Div
   Ratna Muchandi
   Sudheer Kumar
   Harry K
   shankar Subramanian
   Rakesh Prattipati
   Leo
   Pratik
   Ravi Kumar
   Punith – Seeker
   your shishya
   Abinash
   MRM
   subramanya b r
   Nandulal Gavali
   sushant jain
   bhushan patil
   Ishana NirajW
   BheOM 333
   Abcindiagogo
   Unknown
   The Scriptwriter
   
   Buddha Zorba
   Unknown
   KT
   sharmila pe
   kunal patil
   Unknown
   Anish Bhandarkar
   shriram hedge
   TheCosmicSparkle
   Akshahantre
   Daamini
   Shashi
   Vks07
   Proud to be Hindu
   saurabh giri
   sri kapilan
   Yogi
   aswini sudheer
   sparsh,singh
   Mohit Prajapati
   Dinesh Chandel
   Hari
   gopi reddy
   Nithya/ Srinivas MM/ Sukanya/ Free Spirit
   
   CAPT AJIT VADAKAYIL
   ..
2. 
   

1. 
   Capt. Ajit VadakayilOctober 4, 2018 at 6:57 PM

   https://en.wikipedia.org/wiki/Padmanabhaswamy_Temple_treasure

   
   

   TAMIL 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 BONGS 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 BULLSHIT TAMIL NOVEL 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

   ..

Capt. Ajit VadakayilOctober 5, 2018 at 4:07 AM

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
..

1. Ramkumar JayaramanOctober 5, 2018 at 10:05 AM

   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...

   
   
2. 
   Capt. Ajit VadakayilOctober 5, 2018 at 11:01 AM

   CHERAS WERE IN KERALA .
   
   CHOLAS WERE NORTH OF TAMIL NADU
   
   PANDYAS 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
   ..

1. Gaurav BOctober 10, 2018 at 6:13 AM

   Dearest Captain , Happy Navratri to you and all the readers , may you and your family be showered with happiness and prosperity.
   
   With Gratitude.
   
   

   
   

   
   
   

   1. 
      Capt. Ajit VadakayilOctober 10, 2018 at 6:38 AM

      
      http://ajitvadakayil.blogspot.com/2014/09/navratri-festival-durga-puja-capt-ajit.html
      
      I WISH ALL MY READERS A HAPPY NAVRATRI.
      
      http://ajitvadakayil.blogspot.com/2011/10/ayudha-puja-9th-day-of-navratri.html
      
      NAVRATRI HAS NOTHING TO DO WITH RAMA OR RAVANA..

      It is about opposing forces Shakti (Durga-wife of Shiva ) and Mahishasura –both are cosmic forces.

      
      This FAKE tradition of Ram/ Ravana tradition was created by JEW Rothschild using his stooge king in Mysore..
      
      Before the white invader came to India Mysore never celebrated Dusshera in Mysore, where the King's SWORD is worshiped and taken out on a procession.
      
      AMIMAL SACRIFICES IN BENGAL AND NE STATES ( DURGA PUJA ) OR FOR KULDEVI IN RJASTHAN WERE NEVER DONE BEFORE THE WHITE INVADER CAME TO INDIA..
      
      http://ajitvadakayil.blogspot.com/2014/11/all-animal-sacrifices-in-hindu-temples.html
      
      capt ajit vadakayil
      ..

THIS POST IS NOW CONTINUED TO PART 111, BELOW-

http://ajitvadakayil.blogspot.com/2018/10/sanatana-dharma-hinduism-exhumed-and_10.html

CAPT AJIT VADAKAYIL
..