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Vyasa

व्यास · वेदव्यास · कृष्णद्वैपायन · Kṛṣṇa Dvaipāyana Vyāsa

Erzählung, die Geschichte, Theologie und Überlieferung verbindet

Legendärer Weiser, Kṛṣṇa Dvaipāyana genannt, dem die Überlieferung die Teilung des Veda in vier Sammlungen, die Abfassung des Mahābhārata – samt der Bhagavad Gītā – und der achtzehn Purāṇas zuschreibt und den sie mit Bādarāyaṇa, dem Verfasser der Brahma-Sūtras, sowie mit dem Kommentator der Yoga-Sūtras gleichsetzt. Im Mahābhārata ist er zugleich Autor, Erzähler und Großvater beider Parteien. Die Philologie sieht in ihm eine von den Texten geschaffene Autoritätsfigur; die Texte selbst entstanden zwischen dem 4. Jahrhundert v. Chr. und dem ersten Jahrtausend n. Chr.

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Vyāsa y sus discípulos ven llegar a Śuka (Razmnāma)

Vyāsa y sus discípulos ven llegar a Śuka (Razmnāma) · Public domain

In eigenen Worten

«Whatever is spoken about virtue, wealth, pleasure, and salvation may be seen elsewhere; but whatever is not contained in this is not to be found anywhere.»

Mahābhārata, Ādiparvan (1.56.33 de la edición crítica; sección LXII de la trad. de K. M. Ganguli, dominio público); versión española del investigador

Mahābhārata — Vyasa

Zum Einstieg ein Werk

Mahābhārata
Volltext lesen

Der zentrale Gedanke

Subtle dharma (sūkṣma dharma): One of the ideas running through the Mahābhārata is that dharma, the right order of conduct, is 'subtle' and hard to know: norms conflict, the just lose and the victors doubt their victory.

Im Zusammenhang sehen

Biografie

5 Min. Lesezeit

Unterstützte Übersetzung aus dem spanischen Original, Durchsicht durch einen muttersprachlichen Übersetzer ausstehend.

Der die Texte ordnete

Vyāsa bedeutet im Sanskrit »der Teilende« oder »der Ordnende« und ist weniger ein Name als eine Funktion. Die Überlieferung nennt so Kṛṣṇa Dvaipāyana, »den Dunklen, auf einer Insel Geborenen«, und schreibt ihm ein Werk zu, das kein Mensch hätte verfassen können: die Teilung des einen Veda in vier Sammlungen, die Abfassung des Mahābhārata – des längsten Gedichts der Antike –, die achtzehn großen Purāṇas, die Brahma-Sūtras und den klassischen Kommentar zu den Yoga-Sūtras. Kein äußeres Zeugnis belegt ihn. Die Philologie sieht in Vyāsa eine Autorfigur, die innerhalb der Texte geschaffen wurde, um ihnen Autorität zu verleihen, die Religionsgeschichte ein Gebilde, in dem sich über mehr als tausend Jahre Zuschreibungen abgelagert haben.

Sohn eines Weisen und einer Fährfrau

Das Mahābhārata erzählt seine Geburt. Der Weise Parāśara, ein Enkel Vasiṣṭhas, setzte im Boot der Satyavatī, der Tochter eines Fischers, über die Yamunā; er begehrte sie, hüllte sie in Nebel und schwängerte sie auf einer Insel im Fluss. Das Kind kam noch am selben Tag zur Welt, wuchs augenblicklich heran und zog davon, um Askese zu üben, mit dem Versprechen, stets zu kommen, wenn die Mutter es riefe. Weil er auf einer Insel geboren war, nannte man ihn Dvaipāyana; weil er den Veda geordnet hatte, Vyāsa. Jahre später heiratete Satyavatī König Śaṃtanu, und als ihre Söhne ohne Nachkommen starben, rief sie Vyāsa herbei, damit er nach dem Brauch des niyoga mit den Witwen Erben zeuge. Aus diesen Verbindungen gingen Dhṛtarāṣṭra, der Blinde, Pāṇḍu, der Bleiche, und Vidura, der Sohn einer Dienerin, hervor. Der Verfasser des Gedichts ist so der Großvater beider Parteien, die einander darin vernichten.

Autor und Figur

Vyāsa tritt in sein eigenes Werk ein und wieder aus ihm heraus. Er berät die Pāṇḍavas im Exil, verleiht Sañjaya die göttliche Sicht, damit er dem blinden König den Krieg schildern kann, tröstet die Überlebenden und lässt Jahre nach der Schlacht die gefallenen Krieger für eine Nacht aus den Wassern der Gaṅgā aufsteigen, damit ihre Familien sie wiedersehen. Das Gedicht stellt sich als Kette von Rezitationen dar: Vyāsa lehrt es seinen Schüler Vaiśampāyana, der es beim Schlangenopfer des Königs Janamejaya vorträgt, und der Barde Ugraśravas wiederholt es vor den Weisen des Naimiṣa-Waldes. Bruce Sullivan hat diesen Vyāsa als brahmāhafte Gestalt gelesen, als Schöpfer und Seher des »fünften Veda«; Alf Hiltebeitel als den Autor, der sich in den Text einschreibt, um dessen Lektüre zu lenken. Die berühmte Episode, in der Gaṇeśa nach Diktat schreibt, steht in der Vulgata, doch die kritische Ausgabe verweist sie in einen Anhang, weil sie in einem großen Teil der Handschriften fehlt.

Eine Bibliothek in achtzehn Büchern

Das Mahābhārata bezeichnet sich als »Sammlung von hunderttausend Strophen«; in achtzehn Bücher (parvan) gegliedert und durch das Harivaṃśa ergänzt, erzählt es die Rivalität zwischen den Kauravas und den Pāṇḍavas bis zum großen Krieg von Kurukṣetra und dessen Folgen, enthält aber auch Erzählungen wie die von Nala und Sāvitrī, eine Fassung der Rāma-Geschichte und ganze Bücher der Unterweisung über den dharma, die Staatskunst und die Erlösung. Das Gedicht selbst erklärt: »Was hier ist, mag sich auch anderswo finden; was nicht hier ist, ist nirgends.« Das Bhandarkar Oriental Research Institute in Pune veröffentlichte zwischen 1919 und 1966 die kritische Ausgabe. Über die Datierung herrscht keine Einigkeit: John Brockington beschreibt ein Wachstum über mehrere Jahrhunderte, zwischen dem 4. Jahrhundert v. Chr. und dem 4. Jahrhundert n. Chr.; Hiltebeitel und James Fitzgerald vertreten eine schriftliche, verhältnismäßig rasche Abfassung in den beiden letzten Jahrhunderten vor der Zeitenwende, auf die Erweiterungen folgten.

Die Bhagavad Gītā

Im sechsten Buch, dem Bhīṣmaparvan, als die Heere schon aufgestellt sind, weigert sich der Krieger Arjuna, gegen seine Verwandten zu kämpfen, und Kṛṣṇa, sein Wagenlenker, antwortet ihm mit siebenhundert Strophen in achtzehn Gesängen: der Bhagavad Gītā. Die Überlieferung schreibt sie Vyāsa als dem Kompilator des Gedichts zu, und die Erzählung bettet den Dialog in den Bericht ein, den Sañjaya dank der Gabe des Weisen dem blinden König erstattet. Seit der ersten englischen Übersetzung, der von Charles Wilkins 1785, ist sie der außerhalb Indiens meistgelesene indische Text; die Übersetzungen von Kashinath Trimbak Telang (1882) und Edwin Arnold (1885) sind heute gemeinfrei.

Der Ordner des Veda und der Purāṇas

Die Purāṇas machen aus Vyāsa ein kosmisches Amt: In jedem dvāpara-Zeitalter der Welt erscheint ein Vyāsa, der den Veda aufteilt, und das Viṣṇu-Purāṇa zählt achtundzwanzig auf, darunter Vasiṣṭha, Vālmīki und Parāśara, bis hin zu Kṛṣṇa Dvaipāyana, dem des gegenwärtigen Zeitalters. Er übergab den Ṛgveda an Paila, den Yajurveda an Vaiśampāyana, den Sāmaveda an Jaimini, den Atharvaveda an Sumantu und die Geschichte und die Purāṇas an Lomaharṣaṇa. Das Bhāgavata-Purāṇa fügt hinzu, Vyāsa sei nach alledem unzufrieden geblieben, bis Nārada ihm riet, die Taten Kṛṣṇas zu besingen: So sei das Bhāgavata entstanden, das er seinen Sohn Śuka lehrte. Ludo Rocher hat gezeigt, dass die Zuschreibung der Purāṇas an Vyāsa eine Autoritätsformel für Texte ist, die im gesamten ersten Jahrtausend und darüber hinaus verfasst wurden.

Bādarāyaṇa und der Kommentar zum Yoga

Auch zwei philosophische Traktate stehen unter seinem Namen. Die Brahma-Sūtras, Grundlage des Vedānta, werden Bādarāyaṇa zugeschrieben, den die spätere vedantische Überlieferung mit Vyāsa gleichsetzt; die Forschung unterscheidet beide und datiert die Abfassung der Aphorismen in die ersten Jahrhunderte n. Chr. – Hajime Nakamura schlug 400–450 vor. Der Kommentar zu den Yoga-Sūtras (Yogabhāṣya) wird seit den mittelalterlichen Kommentatoren Vyāsa zugeschrieben, doch Philipp Maas und Johannes Bronkhorst vertreten die Auffassung, dass Aphorismen und Kommentar ein einziges Werk bilden, das Pātañjalayogaśāstra aus der Zeit um 325–425.

Was sich sagen lässt

Der Historiker kann Vyāsa weder Daten noch einen Ort zuweisen. Er kann feststellen, dass sein Name zwei Jahrtausende lang als Siegel der großen Texte der brahmanischen Überlieferung diente und dass das Mahābhārata ihn als einen in seinem Werk gegenwärtigen Autor gestaltete – zugleich Großvater, Zeuge und Erzähler. Indien ehrt ihn an jedem Vollmond des Monats āṣāḍha mit der Guru Pūrṇimā, dem Fest der Lehrer, und zählt ihn zu den Unsterblichen, die noch immer die Welt durchwandern. Im letzten Buch des Gedichts fasst Vyāsa seine Lehre in einer Klage zusammen: »Mit erhobenen Armen rufe ich, und niemand hört mich: Aus dem dharma entspringen Reichtum und Lust; warum folgt man nicht dem dharma?«

Quellen: Sullivan, Bruce M. Kṛṣṇa Dvaipāyana Vyāsa and the Mahābhārata: A New Interpretation. Leiden: Brill, 1990; reed. como Seer of the Fifth Veda: Kṛṣṇa Dvaipāyana Vyāsa in the Mahābhārata. Delhi: Motilal Banarsidass, 1999. · Hiltebeitel, Alf. Rethinking the Mahābhārata: A Reader's Guide to the Education of the Dharma King. Chicago: University of Chicago Press, 2001 (caps. 1–2, sobre Vyāsa como autor y la fecha de composición). · Fitzgerald, James L. (trad.). The Mahābhārata, vol. 7: Book 11, The Book of the Women; Book 12, The Book of Peace, Part One. Chicago: University of Chicago Press, 2004. Introducción. · Brockington, John. The Sanskrit Epics. Leiden: Brill, 1998 (Handbuch der Orientalistik, 2. Abt., Bd. 12). Capítulos sobre el Mahābhārata. · Sukthankar, Vishnu S. (ed.). The Mahābhārata for the First Time Critically Edited. Vol. 1: The Ādiparvan, with Prolegomena. Poona: Bhandarkar Oriental Research Institute, 1933 (edición crítica completa, 1919–1966).

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  1. um 400 v. Chr. – 400

    Formation of the Mahābhārata

    According to John Brockington, the epic grew over some eight centuries, from an oral bardic tradition to a text of a hundred thousand stanzas. This is the range of the work ascribed to Vyāsa, not of a person.

    Umstritten

  2. um 150 v. Chr.

    Written composition, according to Hiltebeitel

    Alf Hiltebeitel and James Fitzgerald argue that the Mahābhārata was composed in writing by a group of Brahmin authors in a relatively short period, between the mid-second century BCE and the turn of the era, and then enlarged.

    Umstritten

  3. um 300 – 1000

    The composition of the Purāṇas

    The great Purāṇas, ascribed to Vyāsa, were composed and reworked throughout the first millennium and later, according to Ludo Rocher; in them Vyāsa appears as the arranger of the Veda in each age of the world.

    Wahrscheinlich

  4. um 325 – 425

    The Pātañjalayogaśāstra

    The date Philipp Maas proposes for the Yogasūtras and their commentary, which medieval tradition ascribed to Vyāsa and which Maas regards as the work of the same author as the aphorisms.

    Umstritten

  5. um 400 – 450

    Bādarāyaṇa's Brahmasūtras

    Date proposed by Hajime Nakamura for the final redaction of the Brahmasūtras, which Vedāntic tradition ascribes to Bādarāyaṇa, identified with Vyāsa.

    Umstritten

  6. 1598

    Vyāsa in the Razmnāma

    Banwari paints Vyāsa with his disciples for an illustrated copy of the Razmnāma, the Persian translation of the Mahābhārata commissioned by Akbar; the folio is in the Victoria and Albert Museum.

    Belegt

  7. 1785

    First English translation of the Gītā

    Charles Wilkins publishes The Bhagvat-Geeta, the first translation of the Bhagavad Gītā into a European language.

    Belegt

  8. 1883 – 1896

    Ganguli's translation

    Kisari Mohan Ganguli translates the complete Mahābhārata into English, published by Pratap Chandra Roy; it is the only complete public-domain English translation.

    Belegt

  9. 1900

    Vivekananda speaks on the Mahābhārata

    Swami Vivekananda devotes a lecture to the Mahābhārata before an American audience and presents Vyāsa as its author.

    Belegt

  10. 1919 – 1966

    The Bhandarkar Oriental Research Institute's critical edition

    Under the direction of V. S. Sukthankar and his successors, the Pune institute publishes the critical edition of the Mahābhārata, which relegates to appendices the passages missing from many manuscripts, such as that of Gaṇeśa as scribe.

    Belegt

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Mahābhārata — Vyasa

Traditionelle Zuschreibung · um 400 v. Chr.

Mahābhārata

महाभारत (Mahābhārata)

The longest epic in world literature, a 'collection of a hundred thousand stanzas' in eighteen books, with the Harivaṃśa as a supplement. It narrates the rivalry between the Kauravas and their cousins the Pāṇḍavas for the kingdom of Hastināpura, the dice game, the exile and the eighteen-day war at Kurukṣetra, with its aftermath. It includes the Bhagavad Gītā and numerous tales and treatises on dharma, politics and liberation, and regards itself as a 'fifth Veda'.

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8 Ausgaben

Bhagavad Gītā (The Song of the Lord) — Vyasa

Traditionelle Zuschreibung · um 200 v. Chr.

Bhagavad Gītā (The Song of the Lord)

भगवद्गीता (Bhagavadgītā)

A dialogue of seven hundred stanzas in eighteen cantos between the warrior Arjuna, who refuses to fight his kinsmen, and Kṛṣṇa, his charioteer, who teaches him to act without attachment to the fruit of action, sets out the paths of knowledge, action and devotion and reveals himself to him in his universal form. It is the most commented text of Hinduism —by Śaṅkara, Rāmānuja, Madhva and so many others— and the most widely read outside India.

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Spätere Zusammenstellung · um 300

The eighteen great Purāṇas (traditional attribution)

महापुराण (mahāpurāṇa)

Encyclopaedias of mythology, cosmology, royal genealogies, ritual and devotion. According to the canonical list there are eighteen: Brahma, Padma, Viṣṇu, Śiva (or Vāyu), Bhāgavata, Nārada, Mārkaṇḍeya, Agni, Bhaviṣya, Brahmavaivarta, Liṅga, Varāha, Skanda, Vāmana, Kūrma, Matsya, Garuḍa and Brahmāṇḍa. The lists vary slightly from text to text, and alongside them there are numerous upapurāṇas or minor Purāṇas.

Nicht verfügbar Das Buch ansehen

0 Ausgaben

Brahmasūtras (Aphorisms on Brahman) — Vyasa

Traditionelle Zuschreibung · um 400

Brahmasūtras (Aphorisms on Brahman)

ब्रह्मसूत्र (Brahmasūtra), también वेदान्तसूत्र

Some 555 aphorisms in four books systematising the teaching of the Upaniṣads on Brahman: its nature, the refutation of other schools (Sāṃkhya, Buddhists, Jains), the means of realisation and the fruit of liberation. Their concision makes them intelligible only with a commentary, and each school of Vedānta —Śaṅkara, Rāmānuja, Madhva— founded its doctrine on its own.

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Das gesamte Werk (30)

Alle 30 Werke in der Bibliothek ansehen

Zitate

Zitate, die in einem bestimmten Werk nachgewiesen sind. Jedes trägt seine Herkunft und seinen Grad an Verlässlichkeit.

Whatever is spoken about virtue, wealth, pleasure, and salvation may be seen elsewhere; but whatever is not contained in this is not to be found anywhere.

dharme cārthe ca kāme ca mokṣe ca bharatarṣabha / yad ihāsti tad anyatra yan nehāsti na tat kvacit

GeprüftMahābhārata, Ādiparvan (1.56.33 de la edición crítica; sección LXII de la trad. de K. M. Ganguli, dominio público); versión española del investigador

1 / 5

Letzte Worte

Es gibt keine überprüfbaren Aufzeichnungen der letzten Worte.

There is no record of his death: tradition counts him among the ciranjīvins, the immortals who will live until the end of the age. His last words in the Mahābhārata are the closing verses of the Svargārohaṇaparvan, but they are not presented as the words of a dying man.

Quelle: Wikipedia (inglés), «Vyasa», sobre la Guru Pūrṇimā (Vyāsa Pūrṇimā), los cirañjīvin y los lugares de culto asociados.

Fragen

Was das Werk beantwortet

Zwölf große Fragen der Menschheit und was sich aus den Texten darauf antworten lässt, mit Belegen. Wir legen niemandem Worte in den Mund.

  • Was ist das Absolute? Gibt es Gott?

    Formless Brahman and the supreme Lord: the Gītā holds both

    Persönlich und unpersönlich zugleichAusdrücklich gesagt

    In the Bhagavad Gītā, which tradition ascribes to Vyāsa, the Absolute has two faces that the text does not separate. On one side is the supreme brahman, beginningless, of which it cannot be said that it is or that it is not (13.12); on the other, Kṛṣṇa presents himself as the Lord who sustains the world, the «supreme spirit» beyond both the perishable and the imperishable (15.16–18), and even says that he is the foundation of brahman itself (14.27). Chapter 12 compares those who worship the unmanifest with those who worship him, and declares the first path harder. The Brahmasūtras, ascribed to Bādarāyaṇa, whom tradition identifies with Vyāsa, define brahman as that from which the birth, subsistence and dissolution of the world proceed (1.1.2).

    Diese Frage mit anderen Meistern vergleichen

  • Wer bin ich? Gibt es ein wahres Selbst?

    The embodied one is neither born nor dies; the ego believes it acts

    Das Selbst ist das AbsoluteAus der Lehre abgeleitet

    The Bhagavad Gītā distinguishes sharply between the embodied one (dehin) and the body: the former is neither born nor dies, is not wounded by weapons nor wetted by water, and changes bodies as one changes clothes (2.20–22). The sense of being the author of one's acts belongs to material nature: one deluded by the ego (ahaṃkāra) thinks «I am the doer», when it is the qualities of nature that act (3.27). Chapter 13 identifies the knower of the field in all bodies with Kṛṣṇa himself, and the one who attains wisdom «becomes brahman» (18.54). The Gītā thus invites one to recognise oneself as an eternal Self, witness of the activity of body and mind.

    Diese Frage mit anderen Meistern vergleichen

  • Warum leiden wir?

    From attachment comes desire, from desire anger, and from anger ruin

    Begehren und AnhaftenAusdrücklich gesagt

    The Bhagavad Gītā describes a precise chain: whoever dwells on the objects of the senses becomes attached to them; from attachment comes desire, from desire anger, from anger delusion, and thence the loss of memory and intelligence, down to ruin (2.62–63). When Arjuna asks what drives a person to do wrong even against his will, Kṛṣṇa answers that it is desire, which turns into anger, the insatiable enemy (3.37). The remedy is not to stop acting, but to act without attachment to the fruit. Behind desire lies an ignorance that veils knowledge (5.15). The Mahābhārata as a whole, for its part, shows the collective suffering to which the greed and pride of a lineage that destroys itself can lead.

    Diese Frage mit anderen Meistern vergleichen

  • Was geschieht nach dem Tod?

    It is not slain when the body is slain: it changes bodies like clothes

    Was ich bin, wird nie geboren und stirbt nieAusdrücklich gesagt

    The Bhagavad Gītā's answer is born on a battlefield: Arjuna does not want to kill his kinsmen, and Kṛṣṇa teaches him that the embodied one is neither born nor dies, is eternal and ancient, and is not slain when the body is slain (2.20). As a man discards worn-out clothes and puts on new ones, so it discards worn-out bodies and enters others (2.22); for one who is born death is certain, and for one who dies, birth. What one remembers on leaving the body determines where one goes (8.6), and whoever thinks of Kṛṣṇa at death reaches him and is not born again (8.5, 8.15–16). The Mahābhārata tests this teaching in the yakṣa's question to Yudhiṣṭhira: the greatest wonder is that, seeing everyone die, each believes himself immortal.

    Diese Frage mit anderen Meistern vergleichen

  • Wie erlangt man Befreiung oder Erlösung?

    Action without attachment, knowledge and, finally, refuge in the Lord alone

    Durch Hingabe und ErgebungAusdrücklich gesagt

    The Bhagavad Gītā presents several paths: action without attachment to the fruit (karmayoga), knowledge (jñāna), meditation and devotion (bhakti). It does not set them against one another but integrates them, and the text culminates in surrender. Kṛṣṇa says that only by exclusive devotion can he be known and seen as he is (11.54); that whoever offers him with love a leaf, a flower, a fruit or water, he accepts it (9.26); and, at the end, he asks Arjuna to abandon all duties and take refuge in him alone, for he will free him from all evil (18.66). The Brahmasūtras, ascribed to Bādarāyaṇa, whom tradition identifies with Vyāsa, assert instead that the human goal is attained through the knowledge of brahman (3.4.1).

    Diese Frage mit anderen Meistern vergleichen

  • Braucht es einen Lehrer?

    Learn from the sages who have seen the truth, serving and questioning them

    UnverzichtbarAusdrücklich gesagt

    The Bhagavad Gītā is itself a scene of teaching: Arjuna, paralysed, declares himself Kṛṣṇa's disciple and asks him for instruction (2.7). Kṛṣṇa explains that this knowledge was handed down from teacher to teacher since ancient times and was lost over time (4.1–2), and advises seeking it by prostrating, questioning and serving the sages who have seen the truth, for they will teach it (4.34). Tradition made Vyāsa the teacher par excellence: the one who divided the Veda and transmitted it to his disciples, and whose birth is celebrated on the full moon of āṣāḍha, Guru Pūrṇimā, the festival in which teachers are honoured. The seat from which the texts are recited is still called the «seat of Vyāsa».

    Diese Frage mit anderen Meistern vergleichen

  • Ist die Welt wirklich?

    The world is the Lord's nature, which Arjuna sees whole in his form

    Offenbarung des GöttlichenAusdrücklich gesagt

    In the Bhagavad Gītā, Kṛṣṇa says that the world proceeds from his twofold nature (prakṛti): the lower, made of earth, water, fire, air, space, mind, intellect and ego, and the higher, the life principle that sustains the universe (7.4–6). Everything is strung on him like pearls on a thread (7.7). In chapter 11, Arjuna receives divine sight and beholds the entire universe, with its gods and its armies, in Kṛṣṇa's body. The world here is not a dream, but the divine unfolded, although the Gītā also calls māyā the power by which the Lord produces it, which is hard to cross (7.14). The Brahmasūtras hold that brahman is both the material and the efficient cause of the world (1.4.23).

    Diese Frage mit anderen Meistern vergleichen

  • Was ist Liebe?

    Whoever loves me is in me, and I in him; you are dear

    Sehnsucht und VereinigungAusdrücklich gesagt

    In the Bhagavad Gītā love is above all devotion (bhakti), and it is reciprocal. Kṛṣṇa says he is the same towards all beings, but that those who worship him with devotion are in him and he in them (9.29). He accepts what is offered with love, be it a leaf or a little water (9.26), and at the end declares to Arjuna that he is very dear to him and that, if he fixes his mind and his devotion on him, he will come to him (18.64–65). Love so understood is the force that leads the being to its source. It also has an ethical side: the devotee the Lord loves is the one who hates no being, is friendly and compassionate, without possessiveness or egoism, equal in pain and pleasure (12.13–20).

    Diese Frage mit anderen Meistern vergleichen

  • Sind wir frei, oder ist alles vorherbestimmt?

    Nature's qualities act; the deluded believes himself the author

    Es gibt keinen HandelndenAus der Lehre abgeleitet

    The Bhagavad Gītā states that all actions are performed by the qualities (guṇa) of nature, and that only one deluded by the ego thinks «I am the doer» (3.27). The sage, absorbed in reality, thinks that he does nothing while he sees, hears or breathes (5.8). In chapter 11, after showing him his universal form, Kṛṣṇa tells Arjuna that the warriors have already been slain by him and that Arjuna is merely his instrument (11.33); and in chapter 18, that the Lord dwells in the heart of all beings and turns them as if mounted on a machine (18.61). The freedom that remains is not that of a separate agent, but that of acting without attachment, offering one's acts and renouncing the idea of being their author.

    Diese Frage mit anderen Meistern vergleichen

  • Wozu meditieren oder beten?

    Fix the mind on the Lord, who calls the disciple friend

    Freundschaft mit GottAus der Lehre abgeleitet

    The Bhagavad Gītā describes meditation in detail: sitting in a clean, steady place, holding body, head and neck erect, fixing the gaze and stilling the mind like a flame that does not flicker where no wind blows (6.10–19). But the object of that concentration is not a void: the yogin is to sit «intent on me», with his mind on Kṛṣṇa (6.14). Practice culminates in a personal relationship. Kṛṣṇa imparts his teaching to Arjuna because he is his devotee and his friend (4.3), accepts what is offered with love (9.26) and assures him that, fixing his mind on him, he will come to him (18.65). Meditating and praying thus converge in dealing with a Lord who knows and loves whoever turns to him.

    Diese Frage mit anderen Meistern vergleichen

  • Kann die Vernunft das Letzte erkennen?

    Brahman is known through scripture; reasoning alone has no firm footing

    Schrift und DenkenAusdrücklich gesagt

    The Brahmasūtras, which tradition ascribes to Bādarāyaṇa and identifies with Vyāsa, establish from the outset that scripture is the source of the knowledge of brahman (1.1.3) and that reasoning on its own lacks a firm foundation, because what one thinker proves a cleverer one refutes (2.1.11). Reasoning is not discarded: the whole text is an exercise in interpretation that reconciles passages and refutes other schools, such as Sāṃkhya or Buddhism. But its role is to serve scripture, not to replace it. The Bhagavad Gītā says the same in the field of conduct: let scripture be the authority in deciding what to do and what not to do (16.24), and whoever abandons it to follow his whim does not reach perfection.

    Diese Frage mit anderen Meistern vergleichen

  • Sich von der Welt zurückziehen oder sie verwandeln?

    Your right is to action, never to its fruits

    Kontemplation im HandelnAusdrücklich gesagt

    The Bhagavad Gītā is born of a thwarted renunciation: on the battlefield, Arjuna lets fall his bow and would rather live on alms than kill his kinsmen. Kṛṣṇa replies that no one can stop acting even for an instant, that true renunciation is not abandoning action but attachment to its fruits, and that each must fulfil his own duty (svadharma) even if imperfectly. Let right deeds be the motive, not the fruit which comes from them; live in action (2.47). The model is Janaka, who attained perfection through action (3.20). The Mahābhārata, for its part, devotes two whole books to Bhīṣma's teaching on the duty of the king and on conduct in times of crisis.

    Diese Frage mit anderen Meistern vergleichen

Affinitäten und Spannungen

Affinitäten und Spannungen

Frage für Frage aus den Positionen berechnet. Den Grund jeder Übereinstimmung und jedes Widerspruchs zeigt ein Klick.

Anekdoten und Erzählungen

Anekdoten und Erzählungen

Hagiographische Erzählungrelato épico

Born on an island in the Yamunā

Satyavatī, the adopted daughter of a chief of fishermen, ferried travellers across the Yamunā in her boat. Her body smelt of fish, and so she was called Matsyagandhā. One day the sage Parāśara boarded the boat and desired her; she reminded him that they were in sight of the sages on both banks, and he wrapped the river in mist. He also promised her that she would keep her virginity and that her smell would become perfume. On an island in the river, that same day, the child was born, who grew up at once, asked his mother's leave to go and practise austerities and promised to come whenever she called him. Because he was born on an island he was called Dvaipāyana; because of his dark skin, Kṛṣṇa. Satyavatī would call him years later, having become queen of Hastināpura, when the dynasty was left without heirs.

Herkunft der Erzählung: Mahābhārata, Ādiparvan, section LXIII of Ganguli's translation (and Satyavatī's account to Bhīṣma, section CV). It is epic legend with no verifiable historical basis.

Quelle: Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.

Hagiographische Erzählungrelato épico

The grandfather of both sides

When the sons Satyavatī had borne King Śaṃtanu died without issue, the queen had recourse to the custom of niyoga, by which an appointed man could beget an heir on another's widow. She called her first son, Vyāsa, who came from his austerities with the fearsome look of an ascetic: dark, bearded, with blazing eyes. The first widow, Ambikā, closed her eyes in fear, and her son, Dhṛtarāṣṭra, was born blind; the second, Ambālikā, turned pale, and her son, Pāṇḍu, was born pale. Satyavatī asked for a third son, but Ambikā sent a servant in her place, who received the sage without fear: from her was born Vidura, the wisest and most just of the lineage. Dhṛtarāṣṭra's sons will be the Kauravas; Pāṇḍu's, the Pāṇḍavas. The author of the poem is the grandfather of those who exterminate one another in it.

Herkunft der Erzählung: Mahābhārata, Ādiparvan, sections CV–CVI of Ganguli's translation. Sullivan sees in this episode a central piece in the construction of Vyāsa as an author figure.

Quelle: Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.

Umstrittenrelato épico (interpolación)

Gaṇeśa the scribe

According to a passage in the first canto, when Vyāsa had conceived the poem in his mind he wondered how to make it known, and Brahmā advised him to call Gaṇeśa to write it down. The god accepted on one condition: his pen would not stop for a single instant. Vyāsa set another: Gaṇeśa would write nothing he had not understood. So, whenever he needed time to compose, the sage dictated a verse of intricate meaning that forced the scribe to stop and think; that is why, the text says, there are thousands of verses of obscure meaning in the poem. The scene, so widespread in iconography and the popular imagination, presents the Mahābhārata as a written book. But it is missing from many manuscripts, and the Pune critical edition removed it from the text and published it in an appendix.

Herkunft der Erzählung: Ādiparvan, section I of Ganguli's translation (vulgate). Sukthankar's critical edition (1933) relegates it to appendix I of the Ādiparvan because it is missing from many manuscripts: it is regarded as an interpolation.

Quelle: Sukthankar, Vishnu S. (ed.). The Mahābhārata for the First Time Critically Edited. Vol. 1: The Ādiparvan, with Prolegomena. Poona: Bhandarkar Oriental Research Institute, 1933 (edición crítica completa, 1919–1966).

Hagiographische Erzählungrelato épico

Sañjaya's divine sight

On the eve of the war, Vyāsa visited his son, the blind king Dhṛtarāṣṭra, and offered him sight so that he might behold the battle. The king refused: he did not wish to see the slaughter of his family, but to hear of it. Then Vyāsa granted the gift to Sañjaya, the king's charioteer and counsellor: nothing that happened on the field, by day or by night, not even what the warriors thought, would escape his eyes; weapons would not wound him and weariness would not overcome him. Thanks to that gift, Sañjaya narrates the whole war to Dhṛtarāṣṭra, including the Bhagavad Gītā. The episode explains within the poem how what happened at Kurukṣetra could be known, and makes Vyāsa the very source of the account we hear.

Herkunft der Erzählung: Mahābhārata, Bhīṣmaparvan, section II of Ganguli's translation (Jambū-khaṇḍa-nirmāṇa). Text checked.

Quelle: Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.

Hagiographische Erzählungrelato épico

One night with the dead

Years after the war, the blind king Dhṛtarāṣṭra, his wife Gāndhārī and Kuntī, mother of the Pāṇḍavas, lived in retirement in the forest, and the victors visited them. The mothers could not forget their dead sons. Vyāsa promised them that that night they would see what no living person had seen. At nightfall he bathed in the Ganges and called the fallen warriors; then, with a roar, there rose from the waters by thousands Bhīṣma, Droṇa, Karṇa, Dhṛtarāṣṭra's hundred sons, Abhimanyu and Draupadī's sons, with resplendent bodies, free of hatred and rancour. They spent the night with their families and at dawn plunged back into the river; the widows who wished to follow them entered the water and were reunited with them. It is one of the most moving episodes of the poem and the sage's last great intervention in the story of his descendants.

Herkunft der Erzählung: Mahābhārata, Āśramavāsikaparvan, sections XXXI–XXXIII of Ganguli's translation. Text checked (section XXXII).

Quelle: Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.

Hagiographische Erzählungrelato épico

Śuka's echo

Śuka, Vyāsa's son, attained detachment so young that he decided to leave the world and merge with the Absolute. He rose into the air, passed through a mountain that split as he went, and kept ascending until he became one with Brahman. Vyāsa, full of affection, followed him along the same aerial path; when he reached the place of departure and learned what had happened, he began to lament and to call his son by name, and his voice resounded through the three worlds. Śuka, who had already become the soul of all the elements, answered him with a single syllable, 'bho', in the form of an echo, and the whole universe repeated the answer with him. Ever since, the poem says, mountains and caves give back sounds as if they were still answering for Śuka. The story sets the father's affection against the son's liberation.

Herkunft der Erzählung: Mahābhārata, Śāntiparvan (Mokṣadharma), sections CCCXXXIII–CCCXXXIV of Ganguli's translation. The Bhāgavata Purāṇa (1.2.2) preserves a version in which the trees answer.

Quelle: Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.

Hagiographische Erzählungrelato purāṇico

Vyāsa's dissatisfaction

The Bhāgavata Purāṇa opens with a scene of crisis. Vyāsa has divided the Veda, composed the Mahābhārata and written for the good of all, and yet, seated on the banks of the river Sarasvatī, he feels empty and does not know why. Then Nārada, his teacher, arrives and gives him the diagnosis: he has spoken much of dharma and little of the glory of God; as long as he does not sing the deeds of Kṛṣṇa, his work will give him no peace. Vyāsa withdraws into meditation, contemplates the divinity and composes the Bhāgavata, which he teaches to his son Śuka. The story serves the Purāṇa to present itself as the culmination of all of Vyāsa's work and to affirm the primacy of devotion (bhakti) over ritual and moral knowledge.

Herkunft der Erzählung: Bhāgavata Purāṇa, book I, chaps. 4–7. A self-presentation of the Purāṇa itself, composed according to scholarship around the ninth–tenth centuries; summary after Bryant's introduction (2003).

Quelle: Bryant, Edwin F. (trad. e introd.). Krishna: The Beautiful Legend of God. Śrīmad Bhāgavata Purāṇa, Book X. Londres: Penguin, 2003. Introducción (el marco del Bhāgavata y su atribución a Vyāsa).

Lehren

Lehren

Die Begriffe, die das Denken gliedern, in ihrem Zusammenhang erklärt.

Subtle dharma (sūkṣma dharma)dharma-sutil
One of the ideas running through the Mahābhārata is that dharma, the right order of conduct, is 'subtle' and hard to know: norms conflict, the just lose and the victors doubt their victory. Yudhiṣṭhira, the king of dharma, stakes his wife at dice and lies to Droṇa; Kṛṣṇa recommends deceptions to win the war; Bhīṣma devotes two whole books to teaching how to act when the rules are not enough. Hiltebeitel has read the poem as an 'education of the dharma king'. Vyāsa's final lament —'from dharma come wealth and pleasure; why is it not followed?'— sums up that tension between ideal and experience.

Ethics of the Mahābhārata.

Quelle: Hiltebeitel, Alf. Rethinking the Mahābhārata: A Reader's Guide to the Education of the Dharma King. Chicago: University of Chicago Press, 2001 (caps. 1–2, sobre Vyāsa como autor y la fecha de composición).

The fifth Veda (itihāsa)quinto-veda
The Mahābhārata presents itself as a 'fifth Veda': according to the Ādiparvan, Vyāsa taught his disciples 'the Vedas having the Mahabharata for their fifth'. The formula claims for the epic the authority of revelation without belonging to it, and opens it to those who could not study the Vedas, such as women and śūdras. The genre is called itihāsa, 'thus indeed it was': exemplary history, distinct from the poetry (kāvya) of the Rāmāyaṇa and from the Purāṇas, though related to both. Bruce Sullivan has read Vyāsa precisely as the seer of that fifth Veda, a Brahmā-like figure who creates and transmits the sacred word.

The Mahābhārata's self-understanding (Ādiparvan, section LXIII).

Quelle: Sullivan, Bruce M. Kṛṣṇa Dvaipāyana Vyāsa and the Mahābhārata: A New Interpretation. Leiden: Brill, 1990; reed. como Seer of the Fifth Veda: Kṛṣṇa Dvaipāyana Vyāsa in the Mahābhārata. Delhi: Motilal Banarsidass, 1999.

Vyāsa as a function: the twenty-eight Vyāsasvyasa-de-cada-era
The Purāṇas turn Vyāsa into a cosmic office. In each dvāpara age, when human capacity declines, a form of Viṣṇu appears as Vyāsa to divide the Veda and make it accessible. The Viṣṇu Purāṇa lists twenty-eight in the present period of the world: among them Vasiṣṭha, Vālmīki, Śakti and Parāśara, and finally Kṛṣṇa Dvaipāyana; the next will be Aśvatthāman. The doctrine explains how a single name can sign so many texts: Vyāsa is not so much a person as the function of arranging and transmitting revelation, discharged by different sages in different ages.

Viṣṇu Purāṇa, part III, chaps. 3–4.

Quelle: Dutt, Manmatha Nath (trad.). A Prose English Translation of Vishnupuranam (Based on Professor H. H. Wilson's Translation). Calcuta, 1894. Parte III, secc. III–IV (los veintiocho Vyāsa y la división del Veda). Project Gutenberg n.º 66208.

Action without desire for the fruit (niṣkāma karma)nishkama-karma
The Bhagavad Gītā answers Arjuna's paralysis with a doctrine of action: it is not a matter of renouncing action, which is impossible, but of acting without attachment to results, fulfilling one's own duty and offering the action to the divine. 'Your right is to action alone, never to its fruits', says Kṛṣṇa (2.47). Karmayoga is combined in the text with the path of knowledge (jñāna) and that of devotion (bhakti), and their synthesis explains the work's enormous fortune in modern India, from Tilak and Gandhi to Aurobindo, and beyond.

Bhagavad Gītā, cantos 2–5.

Quelle: Telang, Kashinath Trimbak (trad.). The Bhagavadgîtâ, with the Sanatsugâtîya and the Anugîtâ. Oxford: Clarendon Press, 1882 (Sacred Books of the East 8).

Guru Pūrṇimā (Vyāsa Pūrṇimā)guru-purnima
The full moon of the month of āṣāḍha (June–July) is celebrated in India as Guru Pūrṇimā or Vyāsa Pūrṇimā, the festival on which disciples honour their teachers, and is considered Vyāsa's birthday, venerated as the primordial teacher. In Vedāntic lineages and many monastic orders the rainy-season retreat begins that day. The festival shows how the figure of the compiler of the texts became the archetype of the guru: the one who receives, arranges and transmits knowledge. The seat from which the epic is recited in temples is still called the vyāsapīṭha, ‘Vyāsa’s seat’.

Hindu religious calendar.

Quelle: Wikipedia (inglés), «Vyasa», sobre la Guru Pūrṇimā (Vyāsa Pūrṇimā), los cirañjīvin y los lugares de culto asociados.

Videos

Videos

Aufnahmen, Gespräche und Dokumentarfilme. Die Videos werden von YouTube wiedergegeben; sie werden nicht hier gespeichert.

  • Understanding the Mahabharata

    Vortrag· EN· 2021· 79 min

    Oxford Centre for Hindu StudiesOffizieller Kanal

  • Mahābhārata - History or Mythology? | Prof. Robert P. Goldman

    Vortrag· EN· 2022· 92 min

    Argumentative Indians

  • Dharma and Dharmas: The Moral and Ethical Legacies of the Mahābharata and Rāmāyaṇa

    Vortrag· EN· 2022· 109 min

    Karwaan Heritage

  • The Geography of the Mahabharata

    Vortrag· EN· 2022· 67 min

    Bhandarkar Oriental Research InstituteOffizieller Kanal

  • From Manuscripts to Masterpieces - Bhandarkar Institute's Mahabharata Publications

    Dokumentarfilm· EN· 2023· 3 min

    Bhandarkar Oriental Research InstituteOffizieller Kanal

  • Dr. Vishwa Adluri - Mahābhārata: The Principal Monument to Bhakti

    Vortrag· EN· 2018· 54 min

    Indian Institute of World Culture - IIWCOffizieller Kanal

  • Wendy Doniger: Cutting the Red Cord of Vengeance — The Oresteia and the Mahabharata

    Vortrag· EN· 2021· 37 min

    Einstein ForumOffizieller Kanal

  • Peter Brook on the making of his 1985 production of The Mahabharata

    Gespräch· EN· 2015· 3 min

    Young VicOffizieller Kanal

  • Mahabharata: the Ancient Indian Epic

    Dokumentarfilm· EN· 2021· 16 min

    World History EncyclopediaOffizieller Kanal

  • Brahma Sutra with Shankara Bhashyam | Session 13 (Sutra 1.1.4) | Swami Tattwamayananda

    Vortrag· EN· 2026· 79 min

    Vedanta Society of New YorkOffizieller Kanal

  • Bharat Ek Khoj | Episode-5 | Mahabharata, Part I

    Dokumentarfilm· HI· 1988· 49 min

    Prasar Bharati ArchivesOffizieller Kanal

  • Bharat Ek Khoj | Episode-6 | Mahabharata, Part II

    Dokumentarfilm· HI· 1988· 43 min

    Prasar Bharati ArchivesOffizieller Kanal

  • Juan Arnau. Bhagavad Gita. Tesoros de la Literatura India

    Vortrag· ES· 2020· 35 min

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  • Diálogo entre Òscar Pujol y Agustín Pániker: «La Bhagavadgītā»

    Vortrag· ES· 2023· 76 min

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Galerie

Galerie

Bilder mit geprüfter Lizenz. Jedes bewahrt seine Urheberschaft und seinen Herkunftsnachweis.

Handschriften

Handschriften

Handschriftliche Zeugen und alte Texte, mit ihrer verwahrenden Einrichtung und ihren Einsichtsbedingungen.

  • FA · Nastaʿlīq (persa) · Mahābhārata (s. IV a. C.–IV d. C.); traducción persa de la década de 1580

    Razmnāma (traducción persa del Mahābhārata), copia ilustrada de 1598

    Erhaltener Textzeuge
    Copia ilustrada de 1598, hoy dispersa
    Verwahrende Einrichtung
    Folios dispersos; uno en el Victoria and Albert Museum (Londres) y otro en el Dallas Museum of Art
    Digitalisierung
    collections.vam.ac.uk/item/O112323/painting-the-…
Handschriften →

Beziehungen

Beziehungen

Einflüsse, Schülerschaften und Verwandtschaften. Die belegte Beziehung wird von der durch Analyse ermittelten Ähnlichkeit unterschieden.

  • Familie von

    Vasishtha

    According to the Mahābhārata, Vyāsa is the son of Parāśara, grandson of Śakti and great-grandson of Vasiṣṭha. A textual, not historical, genealogy.

    Belegte Beziehung

  • Schüler von

    Narada

    In the Bhāgavata Purāṇa, Nārada appears as Vyāsa's teacher and advises him to compose the Bhāgavata. A textual relation.

    Belegte Beziehung

  • Verwandte Gedanken mit

    Valmiki

    The two 'authors' of the epics are at once characters in their works and names that authorise whole corpora; the Viṣṇu Purāṇa counts Vālmīki among the twenty-eight Vyāsas.

    Durch Analyse ermittelte Ähnlichkeit

  • Beeinflusst von

    Patañjali

    Tradition ascribes to Vyāsa the commentary (Yogabhāṣya) on Patañjali's Yogasūtras; Maas maintains that both texts are by the same author.

    Belegte Beziehung

  • Beeinflusste

    Adi Shankara

    Śaṅkara commented on the Brahmasūtras, which he ascribes to Bādarāyaṇa (identified with Vyāsa by tradition), and on the Bhagavad Gītā.

    Belegte Beziehung

  • Beeinflusste

    Rāmānuja

    Rāmānuja founded his Vedānta on his commentary on the Brahmasūtras (Śrī Bhāṣya) and also commented on the Gītā.

    Belegte Beziehung

  • Verwandte Gedanken mit

    Gaudapada

    The traditional list of Advaita teachers places Gauḍapāda after Vyāsa and his son Śuka; it is a school genealogy, not historically documented.

    Durch Analyse ermittelte Ähnlichkeit

  • Beeinflusste

    Swami Vivekananda

    In 1900 Vivekananda devoted a lecture to the Mahābhārata and commented on the Gītā on many occasions.

    Belegte Beziehung

  • Beeinflusste

    Paramahansa Yogananda

    Yogananda wrote an extensive commentary on the Bhagavad Gītā, God Talks with Arjuna, published posthumously in 1995.

    Belegte Beziehung

  • Verwandte Gedanken mit

    Sri Aurobindo

    Aurobindo made the Bhagavad Gītā one of the foundations of his integral yoga; the relation is one of reception of the work ascribed to Vyāsa.

    Durch Analyse ermittelte Ähnlichkeit

  • Verwandte Gedanken mit

    Chaitanya Mahaprabhu

    The Bhāgavata Purāṇa, ascribed to Vyāsa, was the central text of Caitanya's devotion and of the Gauḍīya school.

    Durch Analyse ermittelte Ähnlichkeit

Von anderen Einträgen aus verknüpft

Quellen

Quellen

Für diesen Eintrag herangezogene Bibliografie und Kataloge.

  1. Wikipedia (inglés), «Vyasa», sobre la Guru Pūrṇimā (Vyāsa Pūrṇimā), los cirañjīvin y los lugares de culto asociados.
  2. Wikidata, «Vyasa», QID Q330521 (sabio legendario, compilador de los Veda y autor del Mahābhārata; LCCN n79109341; GND 119017687; BnF 11928738t).
  3. Sullivan, Bruce M. Kṛṣṇa Dvaipāyana Vyāsa and the Mahābhārata: A New Interpretation. Leiden: Brill, 1990; reed. como Seer of the Fifth Veda: Kṛṣṇa Dvaipāyana Vyāsa in the Mahābhārata. Delhi: Motilal Banarsidass, 1999.
  4. Hiltebeitel, Alf. Rethinking the Mahābhārata: A Reader's Guide to the Education of the Dharma King. Chicago: University of Chicago Press, 2001 (caps. 1–2, sobre Vyāsa como autor y la fecha de composición).
  5. Fitzgerald, James L. (trad.). The Mahābhārata, vol. 7: Book 11, The Book of the Women; Book 12, The Book of Peace, Part One. Chicago: University of Chicago Press, 2004. Introducción.
  6. Brockington, John. The Sanskrit Epics. Leiden: Brill, 1998 (Handbuch der Orientalistik, 2. Abt., Bd. 12). Capítulos sobre el Mahābhārata.
  7. Sukthankar, Vishnu S. (ed.). The Mahābhārata for the First Time Critically Edited. Vol. 1: The Ādiparvan, with Prolegomena. Poona: Bhandarkar Oriental Research Institute, 1933 (edición crítica completa, 1919–1966).
  8. Ganguli, Kisari Mohan (trad.). The Mahabharata of Krishna-Dwaipayana Vyasa. Calcuta: Bharata Press (P. C. Roy), 1883–1896. Ādi Parva, secc. I, LXII, LXIII y CV–CVI; Bhishma Parva, secc. II; Asramavasika Parva, secc. XXXII; Svargarohanika Parva, secc. V. Project Gutenberg n.º 15474–15477.
  9. Telang, Kashinath Trimbak (trad.). The Bhagavadgîtâ, with the Sanatsugâtîya and the Anugîtâ. Oxford: Clarendon Press, 1882 (Sacred Books of the East 8).
  10. Arnold, Edwin (trad.). The Song Celestial; or, Bhagavad-Gîtâ (from the Mahâbhârata). Londres: Trübner, 1885. Project Gutenberg n.º 2388.
  11. Rocher, Ludo. The Purāṇas. Wiesbaden: Otto Harrassowitz, 1986 (A History of Indian Literature, vol. II, fasc. 3).
  12. Dutt, Manmatha Nath (trad.). A Prose English Translation of Vishnupuranam (Based on Professor H. H. Wilson's Translation). Calcuta, 1894. Parte III, secc. III–IV (los veintiocho Vyāsa y la división del Veda). Project Gutenberg n.º 66208.
  13. Nakamura, Hajime. A History of Early Vedānta Philosophy, Part One. Delhi: Motilal Banarsidass, 1983 (sobre Bādarāyaṇa y la fecha de los Brahmasūtra).
  14. Maas, Philipp A. «A Concise Historiography of Classical Yoga Philosophy». En Eli Franco (ed.), Periodization and Historiography of Indian Philosophy. Viena: Sammlung de Nobili, 2013, pp. 53–90.
  15. Woods, James Haughton (trad.). The Yoga-System of Patañjali … and the Comment, called Yoga-bhāshya, attributed to Veda-Vyāsa. Cambridge (Mass.): Harvard University Press, 1914 (Harvard Oriental Series 17).
  16. Bryant, Edwin F. (trad. e introd.). Krishna: The Beautiful Legend of God. Śrīmad Bhāgavata Purāṇa, Book X. Londres: Penguin, 2003. Introducción (el marco del Bhāgavata y su atribución a Vyāsa).
  17. Thibaut, George (trad.). The Vedânta-Sûtras with the Commentary by Śaṅkarâkârya. Part I. Oxford: Clarendon Press, 1890 (Sacred Books of the East 34). Introducción. Project Gutenberg n.º 16295.
  18. Vivekananda, Swami. «The Mahabharata», conferencia en Pasadena, 1 de febrero de 1900. The Complete Works of Swami Vivekananda, vol. 4 (Wikisource).
  19. Thibaut, George (trad.). The Vedânta-Sûtras with the Commentary by Râmânuja. Oxford: Clarendon Press, 1904 (Sacred Books of the East 48). Project Gutenberg n.º 7297.
  20. Paramahansa Yogananda. God Talks with Arjuna: The Bhagavad Gita. Royal Science of God-Realization. 2 vols. Los Ángeles: Self-Realization Fellowship, 1995.
  21. Wikipedia (inglés), «Bhagavad Gita», sección de traducciones (Charles Wilkins, The Bhagvat-Geeta, Londres, 1785).
  22. Victoria and Albert Museum, «The sage Vyasa with disciples observes his son Suka approaching them», pintura de Banwari para una copia del Razmnāma (traducción persa del Mahābhārata), 1598 (registro O112323).
Rechteinhaber
Textos sánscritos de dominio público. Traducciones con derechos propios: University of Chicago Press (van Buitenen, Fitzgerald), Penguin (Debroy, Smith, Patton, Bryant), Bantam (Miller), SUNY Press (Sargeant, Hariharānanda Āraṇya), Seuil (Biardeau), Kairós, Edaf (Barrio), Trotta (Consuelo Martín), Advaita Ashrama (Gambhirananda). Son de dominio público las de Ganguli (1883–1896), Telang (1882), Arnold (1885), Burnouf (1861), Schroeder (1912), Thibaut (1890–1904), Woods (1914) y Dutt (1894–1897).

Bestätigung ausstehend

Was dieser Eintrag noch nicht klären konnte. Wir sagen es lieber, als es aufzufüllen.

  • Fechas: no hay nacimiento ni muerte; la línea de tiempo usa las fechas de los textos atribuidos. Las horquillas (Brockington, Hiltebeitel, Nakamura, Maas, Rocher) se resumen sin cita de página: precisarlas.
  • Ediciones en español: solo se han verificado la adaptación de R. K. Narayan (Kairós) para el Mahābhārata y las Gītā de Edaf y Trotta. Buscar con ISBN la Bhagavadgītā de Òscar Pujol (Kairós) y ediciones españolas de los Purāṇa y de los Brahmasūtra distintas de Trotta; también ediciones en italiano, ruso e hindi (Gita Press).
  • Obras atribuidas menores (Vyāsa Smṛti, Devī Bhāgavata, Adhyātma Rāmāyaṇa): falta fuente académica propia y ediciones con ISBN.
  • Sala de lectura: falta la segunda parte de los Vedānta-Sūtras de Thibaut (SBE 38) en una fuente con texto; no se ha encontrado traducción española de dominio público de ninguna obra. Las páginas inglesas por libro del Mahābhārata en Wikisource son esbozos y no se han registrado.
  • Manuscritos: identificar las signaturas de los folios del Razmnāma de 1598 (V&A, Dallas) y añadir el manuscrito de Jaipur (1584–1586).
  • Vídeos: verificar el idioma de otras charlas en hindi de canales académicos (BORI) para equilibrar las lenguas.

Recherchiert am 2026-10-26