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Induismo · Bhakti · Tradizione vedica

Narada

नारद

Figura leggendaria

Saggio divino (devarṣi) della tradizione indù, messaggero tra dèi e uomini e suonatore di vīṇā. Compare nel Ṛgveda, nell'Aitareya Brāhmaṇa, nella Chāndogya Upaniṣad (il suo dialogo con Sanatkumāra), nel Mahābhārata, nel Rāmāyaṇa — dove racconta a Vālmīki la storia di Rāma — e nei Purāṇa, che ne fanno il modello del devoto. Gli si attribuiscono il Nārada Bhakti Sūtra, di incerta data medievale, la Nārada Smṛti, trattato giuridico dei primi secoli della nostra era (secoli V-VI secondo Olivelle) che la critica assegna a un altro autore, il Nārada Purāṇa e il Nārada Pañcarātra.

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Nārada visita a Vālmīki

Nārada visita a Vālmīki · Public domain

Con le sue parole

«Sir, I am only a knower of mantras, not a knower of the Self.»

Chāndogya Upaniṣad VII.1.3, palabras de Nārada a Sanatkumāra; sánscrito de Wikisource; traducciones del investigador.

La sua idea centrale

Parabhakti (supreme love): The Nārada Bhakti Sūtra defines devotion as “supreme love” (paramaprema) directed to God and immortal in nature.

Biografia

5 min di lettura

Traduzione assistita dall'originale spagnolo, in attesa di revisione da parte di un traduttore madrelingua.

Il messaggero tra i mondi

Nārada è una delle figure più onnipresenti e sfuggenti della letteratura sanscrita. Compare negli inni vedici, nelle Upaniṣad, nei due poemi epici e in quasi tutti i Purāṇa, e sempre in movimento: un saggio divino (devarṣi) che percorre i tre mondi con la sua vīṇā, porta notizie dagli dèi agli uomini e dagli uomini agli dèi, consiglia re, istruisce poeti e spesso accende conflitti che finiscono per servire un disegno più alto. Non è un personaggio storico in alcun senso verificabile; è un tipo letterario e religioso che la tradizione è andata arricchendo per più di due millenni e sotto il cui nome si sono raccolte opere di epoche e generi molto diversi.

Dall'inno vedico all'Upaniṣad

Gli elenchi tradizionali degli autori del Ṛgveda attribuiscono a un Nārada della famiglia dei Kāṇva l'inno 8.13 e, insieme a Parvata, gli inni 9.104 e 9.105, dedicati al soma; sono attribuzioni tarde che non si possono leggere come dati biografici. Nell'Aitareya Brāhmaṇa, Nārada e Parvata abitano presso il re Hariścandra, che non ha figli, ed è Nārada a rispondergli in dieci strofe sul valore di un figlio e a consigliargli di prometterlo a Varuṇa: così comincia il celebre racconto di Śunaḥśepa. E nella Chāndogya Upaniṣad (VII) è protagonista di uno dei dialoghi più belli del corpus: il saggio che padroneggia tutti i saperi del suo tempo si presenta a Sanatkumāra e confessa di conoscere soltanto parole — «sono un conoscitore di mantra, non del Sé» — e di soffrire; il maestro lo conduce, gradino dopo gradino, fino all'infinito (bhūman), l'unico in cui vi sia felicità.

Il consigliere dell'epica

Nel Mahābhārata Nārada è il visitatore che giunge alla corte dei Pāṇḍava e sottopone Yudhiṣṭhira a un lungo questionario sull'arte di governare — il tesoro, l'esercito, i consiglieri, la giustizia, la cura dei contadini — prima di descrivergli le sale delle assemblee degli dèi; nello Śāntiparvan si reca all'isola bianca (Śvetadvīpa) per contemplare Nārāyaṇa, episodio centrale del Nārāyaṇīya e della teologia pāñcarātra. Nella Bhagavadgītā Kṛṣṇa dichiara di essere, tra i saggi divini, Nārada. Nel Rāmāyaṇa è Nārada che, interrogato da Vālmīki sull'uomo perfetto del suo tempo, gli riassume la storia di Rāma: secondo il racconto stesso del poema, l'intera opera nasce da quella conversazione.

Il devoto dei Purāṇa

I Purāṇa vaiṣṇava fecero di lui il modello del devoto. Il Bhāgavata Purāṇa gli attribuisce una vita precedente come figlio di una serva che, servendo alcuni asceti, ascoltò i loro racconti su Viṣṇu ed ebbe una visione fugace del dio; rinato come figlio di Brahmā, percorre l'universo cantando i nomi divini. È lui che trova Vyāsa abbattuto dopo la composizione del Mahābhārata e gli consiglia di cantare le glorie di Kṛṣṇa, origine tradizionale dello stesso Bhāgavata; lui che istruisce Prahlāda nel grembo materno e indirizza il piccolo Dhruva alla sua ascesi. Ma gli stessi testi conservano un Nārada orgoglioso, beffato dall'illusione (māyā) di Viṣṇu, e l'immaginazione popolare lo ha ritratto come un saggio impiccione che semina discordie fra dèi e re. L'ambivalenza fa parte del personaggio.

Gli aforismi dell'amore divino

L'opera più letta che porta il suo nome è il Nārada Bhakti Sūtra, ottantaquattro aforismi sulla devozione. Definisce la bhakti come amore supremo per Dio, raccoglie le definizioni di Pārāśarya, Garga e Śāṇḍilya prima di dare la propria — consacrare a Dio ogni atto e provare un'angoscia estrema nel dimenticarlo —, propone come modello le pastorelle (gopī) del Vraja, sostiene che la devozione è superiore all'azione, alla conoscenza e allo yoga perché è frutto di se stessa, e la dichiara ineffabile, come il sapore per un muto. La sua data è incerta: la dipendenza dal culto di Kṛṣṇa lo colloca in epoca medievale, e Gavin Flood lo ritiene forse del XII secolo. Ramakrishna raccomandava la devozione insegnata da Nārada come la via propria dell'età presente, e Vivekananda ne diede una traduzione libera durante gli anni trascorsi negli Stati Uniti.

Un nome per molti libri

Sotto la sua autorità si raccolsero testi di natura assai diversa. La Nārada Smṛti è il più giuridico dei trattati sul dharma: tralascia riti e penitenze per occuparsi soltanto del processo e dei diciotto titoli di lite — debiti, depositi, contratti, eredità, ingiurie. La sua data oscilla, secondo gli autori, fra i primi secoli della nostra era e i secoli V-VI proposti da Olivelle, e la critica non la attribuisce al saggio dell'epica, ma a un giurista che si pose sotto il suo nome. Il Nārada Purāṇa (o Nāradīya) e la sua versione minore, il Bṛhannāradīya, devono il titolo al fatto che Nārada vi è l'interlocutore; la Nāradīya Śikṣā tratta della fonetica e della musica del canto del Sāmaveda; il Saṅgītamakaranda, della musica; e il cosiddetto Nārada Pañcarātra è una compilazione devozionale tarda che Otto Schrader non annoverava fra le antiche saṃhitā pāñcarātra.

Il primo musicista

Nell'immaginario indiano Nārada è soprattutto il musicista degli dèi: il saggio dalla barba bianca che cammina con la vīṇā — chiamata Mahatī dalla tradizione — e canta il nome di Nārāyaṇa. La tradizione gli attribuisce l'invenzione di quello strumento, e il suo nome presiede a trattati di teoria musicale. L'iconografia — miniature moghul e rajput, pitture di Kangra, le marionette del wayang giavanese, dove Batara Narada è il consigliere degli dèi — mostra fin dove si spinse il messaggero. La sua nascita (Nārada Jayantī) si celebra nel mese di jyeṣṭha, e la stampa indiana lo invoca talvolta, con ironia, come il primo giornalista.

Un'autorità di passaggio

Nārada non ha biografia perché la sua funzione è essere di passaggio. Ovunque una storia abbia bisogno di una notizia, di un consiglio o di una spinta, ecco che compare. La tradizione ha fatto di questa mobilità una figura dell'anima devota, che non si stabilisce in alcun mondo e canta in tutti; la critica vi legge l'impronta di un personaggio composto da molte mani nel corso dei secoli. Fra le due letture resta il tratto che egli condivide con i grandi maestri leggendari dell'India: la sua autorità risiede in ciò che gli si attribuisce, non in ciò che si può provare che abbia fatto.

Fonti: Vivekananda, Swami. «Narada-Bhakti-Sutras (a free translation dictated by Swamiji in America)», en The Complete Works of Swami Vivekananda, vol. 6 (Notes of Class Talks and Lectures). Texto en Wikisource. · Sturdy, E. T. (trad.). Nârada Sûtra: An Inquiry into Love (Bhakti-jijnâsâ). Londres: Longmans, Green & Co., 1896. · Sinha, Nandalal (trad.). The Bhakti Sûtras of Nârada. Allahabad: Pāṇini Office (Sacred Books of the Hindus 7, parte 1); ejemplar digitalizado fechado en 1917. · Jolly, Julius (trad.). The Minor Law-Books, parte I: Nârada, Brihaspati. Oxford: Clarendon Press, 1889 (Sacred Books of the East 33). Introducción sobre la Nāradasmṛti. · Lariviere, Richard W. (ed. y trad.). The Nāradasmṛti. 2 partes. Filadelfia: Department of South Asia Regional Studies, University of Pennsylvania, 1989 (University of Pennsylvania Studies on South Asia 4–5); reimpr. Delhi: Motilal Banarsidass, 2003 (ISBN 9788120818040).

Cronologia

La vita, anno per anno

Ogni punto è un evento documentato. Fai clic per leggerlo, con la sua fonte e il suo grado di certezza.

  1. X secolo a.C.

    Nārada in the lists of Ṛgvedic poets

    The Anukramaṇī ascribes hymn 8.13 to Nārada Kāṇva and, with Parvata, hymns 9.104 and 9.105. A traditional ascription later than the hymns themselves.

    Tradizione

  2. ca. 700 a.C.

    Counsellor of Hariścandra (Aitareya Brāhmaṇa)

    In the story of Śunaḥśepa (AB VII.13–14), Nārada answers King Hariścandra in ten stanzas on the worth of a son and advises him to ask Varuṇa for one. The text’s date is approximate (late Vedic period).

    Tradizione

  3. VI secolo a.C.

    Nārada before Sanatkumāra (Chāndogya Upaniṣad VII)

    A dialogue in which Nārada, master of all learning, confesses that he knows only words and is led to the infinite (bhūman). The Upaniṣad’s date is approximate.

    Tradizione

  4. ca. 200 a.C. – 400

    The sage of the epic

    The Mahābhārata presents him as Yudhiṣṭhira’s counsellor (Sabhāparvan 5) and the seer of Nārāyaṇa in Śvetadvīpa (Nārāyaṇīya); the Rāmāyaṇa, as the one who tells Vālmīki the story of Rāma. The epics took shape between c. 300 BCE and 400 CE.

    Probabile

  5. ca. 500

    The Nārada Smṛti

    A legal treatise devoted to procedure and the eighteen titles of litigation. Olivelle places it around the 5th–6th centuries; other scholars, in the first centuries CE. Scholars do not ascribe it to the sage of the epic.

    Discusso

  6. ca. 850

    The Bṛhannāradīya Purāṇa

    Hazra dates this upapurāṇa centred on devotion to Viṣṇu to around the 9th century; the major Nāradīya would be later, with parts earlier than the 11th century.

    Discusso

  7. ca. 900

    Teacher of Vyāsa in the Bhāgavata Purāṇa

    The Bhāgavata (I.4–6) gives him a previous life as the son of a maidservant and shows him advising Vyāsa to sing the glories of Kṛṣṇa. The Purāṇa’s date is debated (c. 9th–10th centuries).

    Discusso

  8. XII secolo

    The Nārada Bhakti Sūtra

    Composition of the 84 aphorisms on devotion ascribed to Nārada. Uncertain date; Flood considers it possibly twelfth-century.

    Discusso

  9. 1865

    Edition of the Nārada Pañcarātra

    K. M. Banerjea publishes in Calcutta, in the Bibliotheca Indica, the Sanskrit text of the Jñānāmṛtasāra, known as the Nārada Pañcarātra.

    Documentato

  10. 1889

    Jolly translates the Nārada Smṛti

    Julius Jolly publishes the English translation in the Sacred Books of the East (vol. 33).

    Documentato

  11. 1896

    First English translation of the Bhakti Sūtra

    E. T. Sturdy publishes in London “Nârada Sûtra: An Inquiry into Love”.

    Documentato

  12. 1989

    Critical edition of the Nārada Smṛti

    Richard W. Lariviere publishes the critical edition and annotated translation in Philadelphia.

    Documentato

Opere

Opere essenziali

Le opere senza le quali non si comprende la sua eredità.

Nārada Bhakti Sūtra (Nārada’s Aphorisms on Devotion) — Narada

Attribuzione tradizionale · ca. 1150

Nārada Bhakti Sūtra (Nārada’s Aphorisms on Devotion)

नारदभक्तिसूत्र

Eighty-four aphorisms defining devotion (bhakti) as supreme love for God, immortal in nature. After quoting the definitions of Pārāśarya (worship), Garga (sacred stories) and Śāṇḍilya (delight in the Self), it gives Nārada’s own: to consecrate every act to God and to feel extreme anguish at forgetting Him, like the gopīs of Vraja. It holds that bhakti is superior to action, knowledge and yoga because it is its own fruit; teaches its means —renunciation, ceaseless worship, hearing and singing the divine qualities and, above all, the grace of great souls—; declares it ineffable, “like taste for a mute”; distinguishes secondary from supreme devotion and lists eleven forms of attachment to God.

12 edizioni

Nārada Smṛti (Nārada’s Treatise on Law) — Narada

Attribuzione tradizionale · ca. 500

Nārada Smṛti (Nārada’s Treatise on Law)

नारदस्मृति

The only treatise on dharma devoted entirely to procedural and substantive law, without rules on rites or penances. After an introduction on procedure (the plaint, the answer, evidence, witnesses, documents and ordeals), it sets out the eighteen titles of litigation: debts, deposits, partnerships, resumption of gifts, service, wages, sale without ownership, non-delivery and rescission of purchase, conventions, boundary disputes, relations between husband and wife, inheritance, violence, verbal and physical assault, gambling and betting, and miscellaneous cases. It survives in two recensions; the shorter was commented on by Asahāya and revised by Kalyāṇabhaṭṭa.

6 edizioni

Raccolta posteriore · ca. 1000

Nārada Purāṇa (Nāradīya Purāṇa)

नारदपुराण (नारदीयपुराण)

A Vaiṣṇava Purāṇa in two parts: the first (125 chapters, in four sections) deals with devotion to Viṣṇu, the duties of classes and stages of life, rites and vows and the auxiliary sciences of the Veda, and devotes a chapter to summarising each of the eighteen major Purāṇas, which makes it a valuable document for their history; the second (82 chapters) includes the story of King Rukmāṅgada and long glorifications of pilgrimage places along the Ganges. It is distinguished from the shorter Bṛhannāradīya.

Non disponibile Vedi il libro

3 edizioni

Citazioni

Citazioni localizzate in un'opera precisa. Ciascuna porta con sé la sua provenienza e il suo grado di affidabilità.

Sir, I am only a knower of mantras, not a knower of the Self.

so 'haṃ bhagavo mantravid evāsmi nātmavit

VerificataChāndogya Upaniṣad VII.1.3, palabras de Nārada a Sanatkumāra; sánscrito de Wikisource; traducciones del investigador.

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Citazioni apocrife o di attribuzione discussa (1)
  • «“The best path to union with God is to follow the way of divine love as taught by Narada.”»

    It circulates attributed to Ramakrishna without a specific reference. What is documented in the 1911 English Gospel is the idea —the devotion taught by Nārada is the path suited to this age—, not this literal sentence.

Ultime parole

Non esistono testimonianze verificabili delle sue ultime parole.

Nārada is a mythical figure to whom tradition ascribes no death: the texts present him as a divine sage who travels the worlds in every age. There are no last words to record.

Chiedi

Ciò a cui risponde la sua opera

Dodici grandi domande dell'umanità e ciò che i suoi testi permettono di rispondere, con riferimenti. Non gli mettiamo mai parole in bocca.

  • Che cos'è l'Assoluto? Dio esiste?

    God is the beloved Lord to whom every act is consecrated

    Un Dio personaleLo dice espressamente

    The Nārada Bhakti Sūtra does not discuss God's existence: it takes it for granted and deals with how to love him. It defines devotion as supreme love directed to him (sūtra 2) and its sign as the surrender of all acts to the Lord and extreme anguish at the slightest forgetting (sūtra 19). This God is personal: he has qualities that are heard and sung (sūtra 37), he grants grace (sūtra 40) and he can be loved as master, friend, child or lover (sūtra 82). The model it proposes is the cowherd women of Vraja, in love with Kṛṣṇa (sūtra 21). The text does not deny ultimate unity, for it goes so far as to say that between God and his own there is no difference (sūtra 41), but the Absolute is reached here as a relationship of love, not as an abstract principle.

    Confronta questa domanda con altri maestri
  • Chi sono io? Esiste un vero sé?

    He does not theorise the self: he describes how love of God transforms it

    Non si è pronunciato

    The Nārada Bhakti Sūtra does not ask what the self is: its subject is devotion. It does describe what happens to one who attains it: he becomes perfect, immortal and satisfied (sūtra 4), ceases to desire, to grieve and to hate, and becomes intoxicated, still and delighting in himself (sūtra 6). The question appears more clearly elsewhere in the tradition, in the Chāndogya Upaniṣad, where Nārada is the disciple who confesses to Sanatkumāra that he knows the mantras but not the Self, and learns that the infinite is the ātman, the only source of happiness. But that passage presents him as a pupil, not as a teacher, and cannot be taken as his doctrine.

    Confronta questa domanda con altri maestri
  • Perché soffriamo?

    Forgetting God hurts, and bad company multiplies the passions

    La separazione da DioSi deduce dalla sua dottrina

    The Nārada Bhakti Sūtra offers no theory of suffering, but one can be deduced from its doctrine. The sign of true love is to feel extreme anguish at the slightest forgetting of God (sūtra 19), and full devotion is described as a state in which one no longer desires, grieves or hates (sūtra 5): ordinary pain thus comes from living turned towards something else. The text also points to its mechanism: bad company arouses desire, anger, confusion, forgetfulness of the goal, loss of judgement and ruin; the passions, which at first are ripples, become an ocean (sūtras 43–45). In the Chāndogya Upaniṣad, Nārada comes to his teacher in sorrow and learns that there is no happiness in the small.

    Confronta questa domanda con altri maestri
  • Che cosa accade dopo la morte?

    The sūtra promises the immortality of love; it does not describe the beyond

    Non si è pronunciato

    The Nārada Bhakti Sūtra is not concerned with what happens after death. It says that devotion is immortal in nature (sūtra 3) and that one who attains it becomes perfect, immortal and satisfied (sūtra 4), but it does not clarify whether that immortality is a state of the soul after death, a life in God's presence, or the fullness that love already gives in this life, which is what the context suggests. Nor does it discuss rebirth, which the culture of its time took for granted. The Vaiṣṇava traditions that read it place the devotee, after death, in God's world and at his service; the Purāṇic stories about Nārada himself, who remembers a previous life, belong to legend, not to the sūtra.

    Confronta questa domanda con altri maestri
  • Come si raggiunge la liberazione o la salvezza?

    Devotion surpasses action, knowledge and yoga: it is its own fruit

    Con la devozione e l'abbandonoLo dice espressamente

    The Nārada Bhakti Sūtra places devotion above the other paths: it is greater than action, knowledge and yoga (sūtra 25), because it is not a means to anything else but its own fruit (sūtras 26 and 30). It reviews the opinions of other teachers —that knowledge is its means, or that the two support each other— and concludes that devotion needs no other foundation. Its means are renunciation of objects and of company, unbroken worship and the hearing and singing of God's qualities (sūtras 35–37), but the principal one is the grace of great souls or a drop of divine grace (sūtra 38). The goal is neither a knowledge nor an absorption but love itself, which leaves the devotee satisfied and immortal.

    Confronta questa domanda con altri maestri
  • Serve un maestro?

    The principal means is the company of great souls; flee bad company

    Comunità e tradizioneLo dice espressamente

    The Nārada Bhakti Sūtra speaks not of an individual guru but of the company of saints. It declares that the principal means of attaining devotion is the grace of great souls or a drop of divine grace (sūtra 38); that company is hard to obtain, unattainable by one's own effort and unfailing in its effects (sūtra 39), and is gained only by God's grace, since between him and his own there is no difference (sūtras 40–41). Hence the exhortation: seek that, seek that alone (sūtra 42). The reverse is equally sharp: bad company must always be avoided (sūtra 43). The text closes by invoking a long series of teachers of devotion, from the Kumāras and Vyāsa to Hanumān (sūtra 83), as guarantors of the tradition.

    Confronta questa domanda con altri maestri
  • Il mondo è reale?

    The world is not denied: it is offered to God with all it contains

    Manifestazione del divinoSi deduce dalla sua dottrina

    The Nārada Bhakti Sūtra has no cosmology, but neither does it treat the world as an illusion to escape from. It asks the devotee not to be troubled by worldly losses, since he has surrendered to God his own self, the world and the Veda (sūtra 61), and specifies that, once devotion is attained, activity in the world is not to be abandoned, but its fruit renounced (sūtra 62). The world is thus the field in which love is exercised and consecrated. The Purāṇic literature associated with Nārada and the Vaiṣṇava theology in which the sūtra is read complete the picture: the universe is the Lord's work and manifestation, real and dependent on him, and not an appearance superimposed on an impersonal absolute.

    Confronta questa domanda con altri maestri
  • Che cos'è l'amore?

    Intense love for God, inexpressible like taste for a mute

    Anelito e unioneLo dice espressamente

    Love is the whole subject of the Nārada Bhakti Sūtra. It defines it as supreme love for God (sūtra 2), immortal in nature, and says it begins when all thoughts, words and deeds are surrendered to the Lord and the slightest forgetting brings extreme anguish (sūtra 19). Its nature is inexpressible: as the mute cannot say what he tastes, but his gestures betray it (sūtras 51–52). The model is the cowherd women of Vraja, who loved Kṛṣṇa without forgetting his greatness (sūtras 21–24). That love, though one, takes eleven forms, from servanthood and friendship to the love of a lover and the supreme pain of separation (sūtra 82). And it knows no human boundaries: among those who love thus there is no distinction of caste, learning, form or wealth (sūtra 72).

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  • Siamo liberi o è tutto determinato?

    Keep acting, renounce the fruit and surrender everything to God

    Karma e sceltaSi deduce dalla sua dottrina

    The Nārada Bhakti Sūtra does not pose the problem of determinism, but a position can be deduced from its counsels. The devotee goes on acting: once devotion is attained, activity in the world is not to be abandoned, but its fruit renounced (sūtra 62), and even once conviction is firm the rules of scripture must be respected (sūtras 12–13). What is decisive is a sustained choice: to consecrate all acts to God (sūtra 19) and to direct towards him even desire, anger and pride (sūtra 65). At the same time, the principal means does not depend on one's own effort: it is the grace of great souls or of God (sūtras 38–40). Human freedom is real, but its highest use is to surrender to another.

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  • Perché meditare o pregare?

    Remembering unceasingly, hearing and singing the Beloved's qualities

    Amicizia con DioSi deduce dalla sua dottrina

    For the Nārada Bhakti Sūtra spiritual practice is a form of loving intercourse with God. Its means are unbroken worship (sūtra 36) and, even amid ordinary life, the hearing and singing of the Lord's qualities (sūtra 37). The mark of true love is constant remembrance: consecrating all acts to him and suffering at the slightest forgetting (sūtra 19). The relationship can take eleven forms, from service to friendship, filial affection, the love of a lover and total absorption (sūtra 82), and the devotee who surrenders thus does not do so to obtain anything: devotion is its own fruit. To pray is neither to ask nor to train, but to keep alive a personal relationship that fills the whole of existence.

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  • Può la ragione conoscere l'ultimo?

    One must not enter into disputes: love is not explained, it is tasted

    L'ultimo è al di là della menteLo dice espressamente

    The Nārada Bhakti Sūtra relativises discursive knowledge in two ways. First, it places devotion above knowledge (sūtra 25) and, against those who hold that knowledge is its means, affirms that it is its own fruit (sūtras 28–30), like a king or a banquet, which are enjoyed not by knowing about them but by having them (sūtras 31–32). Second, it advises against dispute: one should not resort to argument, because it leads to excess and has no end (sūtras 74–75). The nature of love is inexpressible, like taste for a mute (sūtras 51–52). Study is not excluded —the texts that nourish devotion are recommended (sūtra 76)— but the ultimate is known by loving.

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  • Ritirarsi dal mondo o trasformarlo?

    Not abandoning life in the world: renouncing the fruit and offering everything

    Contemplazione nell'azioneLo dice espressamente

    The Nārada Bhakti Sūtra expressly rejects withdrawal as a condition of devotion. Once devotion is attained, activity in the world is not to be abandoned, but its fruit renounced, and the means that sustain it are to be kept up (sūtra 62); the devotee should not be troubled by worldly losses, since he has surrendered to God his self, the world and the Veda (sūtra 61). What it asks is to transform motivation: to direct towards God even desire, anger and pride (sūtra 65). Ordinary life thus becomes the place of love. The renunciation the sūtra does demand is of bad company and of talk about women, wealth, unbelievers and enemies (sūtras 43 and 63).

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Aneddoti e racconti

Aneddoti e racconti

Tradizione oraleperiodo upaniṣádico

“I know mantras, not the Self”

The Chāndogya Upaniṣad relates that Nārada came before the sage Sanatkumāra with the pupil’s formula: “Teach me, sir.” The teacher asked him first to say what he already knew, and Nārada recited an astonishing list: the four Vedas, the ancient histories, grammar, ancestor rites, arithmetic, divination, chronology, logic, ethics, the science of the gods and that of spirits, the art of war, astronomy, serpent lore and the fine arts. And he added: “But, sir, I am only a knower of mantras, not a knower of the Self. I have heard from people like you that whoever knows the Self crosses beyond sorrow. I am in sorrow: take me across to the other shore of sorrow.” Sanatkumāra replied that all that was mere name, and led him up a ladder of ever wider realities —speech, mind, will, thought, meditation, breath— to the infinite (bhūman): “The infinite is happiness; there is no happiness in the small.”

Origine del racconto: Chāndogya Upaniṣad VII.1–26, checked against the Sanskrit on Wikisource. A didactic dialogue in an early Upaniṣad; not a historical event but a teaching in narrative form. The translations of the sentences quoted are the researcher’s.

Fonte: Wikisource en sánscrito: «छान्दोग्योपनिषद्/अध्यायः ७» (Chāndogya Upaniṣad VII, diálogo de Nārada y Sanatkumāra).

Tradizione oraleperiodo védico tardío

The childless king and the promise to Varuṇa

The Aitareya Brāhmaṇa relates that King Hariścandra, of the house of Ikṣvāku, had a hundred wives and no son. Two sages lived in his house, Parvata and Nārada, and one day the king asked Nārada in a stanza what fruit is gained from a son, since all beings desire one. Nārada answered him with ten stanzas celebrating the son as a boat that carries the father to the far shore and as a light in the highest heaven. Then he advised him to ask Varuṇa for a son, promising to sacrifice him to the god. Rohita was born, and the king kept postponing the sacrifice with successive pretexts, until the boy fled to the forest and bought as a substitute Śunaḥśepa, the son of a poor Brahmin, who was saved from the sacrificial post by singing hymns to the gods. Nārada’s advice thus sets off one of the most disquieting stories of Vedic literature.

Origine del racconto: Aitareya Brāhmaṇa VII.13–18, checked in Martin Haug’s translation (1863; repr. 1922). The story was recited at the royal consecration (rājasūya). A ritual text, not a chronicle.

Fonte: Haug, Martin (trad.). The Aitareya Brahmanam of the Rigveda. Bombay, 1863; reimpr. Allahabad: Pāṇini Office, 1922. VII.13–14 (Hariścandra y Nārada).

Racconto agiograficotiempo legendario

Vālmīki asks about the perfect man

The Rāmāyaṇa opens with a hermitage scene. The ascetic Vālmīki, devoted to study, asks Nārada, the most eloquent of sages, whether there exists in the world a man who is virtuous, brave, versed in duty, grateful, truthful, firm in his vows, compassionate to all beings, wise, capable and handsome, free from anger yet at whose wrath even the gods tremble. Nārada replies that such qualities are rarely found in one man, but there is one: Rāma, descendant of Ikṣvāku. And he tells him, in about a hundred stanzas, his whole story. Shortly afterwards, on the banks of the Tamasā, Vālmīki sees a hunter kill one of a pair of birds in the act of love; from his grief the first verse (śloka) is born spontaneously, and Brahmā asks him to compose in that metre the story Nārada has told him. Thus, according to the poem, poetry was born.

Origine del racconto: Rāmāyaṇa, Bālakāṇḍa, sargas 1–2 (critical ed.; trans. Robert P. Goldman, 1984). The first two sargas belong to the layers of the poem considered later; the story is an aetiology of poetry, not a historical event.

Fonte: Goldman, Robert P. (trad.). The Rāmāyaṇa of Vālmīki: An Epic of Ancient India, vol. I: Bālakāṇḍa. Princeton: Princeton University Press, 1984. Sarga 1–2 (Nārada narra a Vālmīki la historia de Rāma).

Racconto agiograficotiempo mítico

The son of the maidservant

The Bhāgavata Purāṇa relates that Vyāsa, after dividing the Vedas and composing the Mahābhārata, felt dissatisfied without knowing why. Nārada visited him and gave him the reason: he had narrated duty and history, but had not fully sung the glories of God. To convince him, he told him of his own previous life. In another age he had been the son of a maidservant who served some ascetics spending the rainy season in her village. The boy attended them devotedly, ate the remains of their food and listened to their stories about Viṣṇu. When his mother died from a snakebite, he went to the forest, meditated under a tree and saw the Lord for an instant in his heart; then the vision vanished, and a voice told him he would not see Him again in that life, but that longing would purify him. At death he was reborn from Brahmā as Nārada, and ever since he has roamed the worlds singing. Vyāsa, persuaded, composed the Bhāgavata.

Origine del racconto: Bhāgavata Purāṇa I.4–6, a devotional text of debated date (c. 9th–10th centuries), checked in Burnouf’s French translation (1840). The scene works as a foundation story for the Bhāgavata itself.

Fonte: Burnouf, Eugène (trad.). Le Bhâgavata Purâna, ou Histoire poétique de Krĭchṇa, tome premier. París: Imprimerie royale, 1840. Libro I, caps. 4–6 (Nārada y Vyāsa; la vida anterior de Nārada).

Racconto agiograficotiempo mítico

Kubera’s sons turned into trees

Nalakūbara and Maṇigrīva, sons of Kubera, the god of wealth, were bathing drunk and naked with nymphs in a Himalayan river when Nārada passed by. The nymphs covered themselves in shame; the young men, intoxicated by wine and by pride in their wealth, did not even stir. The sage reflected that nothing blinds like opulence and laid on them a curse that was also a remedy: they would become two arjuna trees until, after a hundred divine years, Kṛṣṇa touched them. The Bhāgavata tells the outcome: the child Kṛṣṇa, tied by his mother to a wooden mortar to stop his mischief, crawled between the two trees, which fell uprooted; from them emerged the two young men, freed and grateful. The episode illustrates a constant idea in the tradition about Nārada: his curses are forms of grace.

Origine del racconto: Bhāgavata Purāṇa X.10 (Sanskrit on Wikisource), taken up in Kṛṣṇaite iconography as the episode of the yamalārjuna trees. A devotional story with no historical basis.

Fonte: Wikisource en sánscrito: «श्रीमद्भागवतपुराणम्» (Bhāgavata Purāṇa; libros IV, VII y X para Dhruva, Prahlāda y los hijos de Kubera).

Tradizione oraletiempo mítico

The water Viṣṇu asked for

Nārada asked Viṣṇu to show him the secret of his māyā, the power of illusion that sustains the world. The god agreed and first asked him for a little water. Nārada went to a nearby village, knocked at a door and was greeted by a girl of extraordinary beauty. He forgot his errand; he stayed, married her, had children, inherited his father-in-law’s house and fields and lived for twelve years as a prosperous farmer. Then came a flood: the river swept away the house, the cattle, his children and, last of all, his wife, who slipped from his hand. Thrown onto the bank, Nārada was weeping for his lost life when he heard a familiar voice: “Child, where is the water you went to fetch me? I have been waiting almost half an hour.” It was Viṣṇu, and the village had vanished. That, said the god, is my māyā.

Origine del racconto: A Purāṇic story with many variants: in the Devī-Bhāgavata Purāṇa (book VI) Nārada is turned into a woman by bathing in a pond; the version with the village and the flood is the one popularised by Heinrich Zimmer (1946), who drew it from Purāṇic sources. Details (twelve years, half an hour) vary between versions; Zimmer’s is followed here.

Fonte: Zimmer, Heinrich. Myths and Symbols in Indian Art and Civilization, ed. Joseph Campbell. Nueva York: Pantheon Books, 1946 (Bollingen Series VI). Capítulo I, relato de Nārada y la māyā de Viṣṇu.

Contestatotradición medieval y moderna

The highwayman who became a poet

A widespread legend tells that Vālmīki was in his youth a highwayman named Ratnākara, who robbed travellers to support his family. One day he waylaid Nārada, who asked him whether his family would share the weight of his sins. Ratnākara went to ask, and all refused: they accepted the loot, not the guilt. Disillusioned, he returned to the sage, who taught him to repeat the name of Rāma; since the highwayman could not pronounce it, he had him say “marā”, which repeated endlessly sounds like “Rāma”. Ratnākara meditated so long that an anthill (valmīka) covered him, hence his new name. The story underlies many popular performances, but it does not come from Vālmīki’s Rāmāyaṇa.

Origine del racconto: The highwayman legend is later than the Rāmāyaṇa. In the Adhyātma Rāmāyaṇa it is the seven sages (saptarṣi) who convert the highwayman; the figure of Nārada as initiator belongs to later popular versions. No ancient source supports it.

Fonte: Wikipedia en inglés, «Valmiki» (versiones de la leyenda del bandolero Ratnākara: los siete sabios en el Adhyātma Rāmāyaṇa, Nārada en los relatos populares).

Insegnamenti

Insegnamenti

Le nozioni che articolano il suo pensiero, spiegate nel loro contesto.

Parabhakti (supreme love)para-bhakti
The Nārada Bhakti Sūtra defines devotion as “supreme love” (paramaprema) directed to God and immortal in nature. It is not one feeling among others but a total transformation: whoever attains it desires nothing, grieves not, hates not, delights in nothing else, becomes “intoxicated” and at rest in the self. Its mark is twofold: to consecrate every act to God and to feel extreme anguish at the slightest forgetting. The text distinguishes it from “secondary” devotion (gauṇī), which varies according to the three qualities and the devotee’s motives —the afflicted, the one who seeks something, the one who seeks truth— and presents it as the goal in which all of them culminate. For Nārada bhakti is superior to action, knowledge and yoga because it is not a means to anything else: it is its own fruit (svayaṃ phalarūpā).

It is the central notion of the Vaiṣṇava theology of devotion, later developed by the schools of Rāmānuja, Madhva and Caitanya; the Nārada Bhakti Sūtra and the Śāṇḍilya Bhakti Sūtra are its two aphoristic manuals.

Fonte: Wikisource en sánscrito: «नारदभक्तिसूत्रम्» (Nārada Bhakti Sūtra, 84 aforismos).

Bhūman (the infinite)bhuman
In the Chāndogya Upaniṣad, Sanatkumāra leads Nārada from “name” up to bhūman, a word meaning fullness, abundance, what has no limit. The definition is famous: “Where one sees nothing else, hears nothing else, knows nothing else, that is the infinite; where one sees something else, hears something else, knows something else, that is the small.” The infinite is immortal and rests in its own greatness; the small is mortal. And the practical consequence is the one that answers Nārada’s sorrow: “The infinite is happiness; there is no happiness in the small.” The passage then identifies that infinite with the self (ātman), which is above, below, in front and behind, and concludes that whoever sees, understands and delights in it thus attains freedom in all worlds.

It is one of the Upaniṣadic texts most quoted by Vedānta; the Brahmasūtra (I.3.8–9) discuss whether bhūman denotes breath or Brahman.

Fonte: Wikisource en sánscrito: «छान्दोग्योपनिषद्/अध्यायः ७» (Chāndogya Upaniṣad VII, diálogo de Nārada y Sanatkumāra).

Mahatsaṅga (the company of great souls)mahat-sanga
Among the means of attaining devotion, the Nārada Bhakti Sūtra lists renunciation, ceaseless worship and the hearing and singing of God’s qualities, but declares that the principal means is the grace of great souls (mahat) or a drop of divine grace. That company is hard to obtain, impossible to reach by one’s own effort and unfailing in its effects, and is gained only by the grace of God, because between Him and His own there is no difference. Hence the repeated exhortation: “seek that, seek that alone.” The text adds the reverse: bad company must always be avoided, because it awakens desire, anger, confusion, forgetfulness of the goal, loss of judgement and total ruin; the passions are at first like ripples and, through company, become an ocean.

The value placed on the company of the saintly (satsaṅga) is a feature common to Hindu devotional movements, from the Bhāgavata to the medieval poet-saints.

Fonte: Wikisource en sánscrito: «नारदभक्तिसूत्रम्» (Nārada Bhakti Sūtra, 84 aforismos).

The eleven forms of attachment to Godekadasha-asakti
The penultimate aphorism of the Nārada Bhakti Sūtra (82) states that devotion, though one, manifests in eleven ways according to the kind of attachment: to God’s qualities and greatness, to His beauty, to His worship, to remembering Him, to serving Him as a servant, to treating Him as a friend, to loving Him as a child, to loving Him as a lover, to complete self-surrender, to total absorption in Him and to the supreme pain of separation. The list gathers the modes of relationship (bhāva) that devotional literature was developing, and in it the beloved’s love and the suffering of absence —that of the gopīs when Kṛṣṇa departs— appear as full forms of devotion, not deviations. The following aphorism invokes the authority of a long series of teachers, from the Kumāras and Vyāsa to Hanumān.

The classification anticipates the theory of devotional sentiments (bhakti-rasa) systematised in the sixteenth century by Rūpa Gosvāmī, a disciple of Caitanya.

Fonte: Wikisource en sánscrito: «नारदभक्तिसूत्रम्» (Nārada Bhakti Sūtra, 84 aforismos).

Vyavahāra (litigation and its eighteen titles)vyavahara
The Nārada Smṛti makes vyavahāra —judicial procedure— its sole subject. It explains that litigation exists because men have lost the righteousness of the first ages and that the king, assisted by learned judges, must resolve it according to four foundations: law, documentary or testimonial evidence, custom and royal edict, of which the last prevails over the earlier ones. It regulates the plaint, the answer, the burden of proof, the assessment of witnesses and documents and recourse to ordeals when human evidence is lacking. And it orders substantive law under eighteen titles, from debts to gambling and betting. Its technical approach, almost free of religious doctrine, made it a reference for later legal commentators.

It is the only dharmaśāstra that entirely excludes ritual and penance; scholars ascribe it to a jurist distinct from the sage of the epic.

Fonte: Lariviere, Richard W. (ed. y trad.). The Nāradasmṛti. 2 partes. Filadelfia: Department of South Asia Regional Studies, University of Pennsylvania, 1989 (University of Pennsylvania Studies on South Asia 4–5); reimpr. Delhi: Motilal Banarsidass, 2003 (ISBN 9788120818040).

Devarṣi (divine sage)devarshi
Tradition distinguishes between human sages (ṛṣi or maharṣi), sages of royal lineage (rājarṣi) and divine sages (devarṣi), who belong to the world of the gods but move freely among all planes. Nārada is the devarṣi par excellence: the Bhagavad Gītā (10.26) has Kṛṣṇa say that among divine sages he is Nārada. His status explains his narrative role: he can carry news from heaven to earth and from earth to the underworld, knows past and future, counsels gods, demons and kings, and is at once witness and mover of events. In Vaiṣṇava theology he is also regarded as a partial manifestation of God, empowered to carry out missions in His name.

The category brings together a small group of figures in the Purāṇas; Nārada is the only one who became a recurring character throughout narrative literature.

Fonte: Arnold, Edwin (trad.). The Song Celestial, or Bhagavad-Gîtâ. Londres: Trübner, 1885. Capítulo X, versos 13 y 26. Project Gutenberg n.º 2388.

Video

Video

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Galleria

Galleria

Immagini con licenza verificata. Ciascuna conserva la sua paternità e la sua attribuzione.

Relazioni

Relazioni

Influenze, discepolati e affinità. Si distingue la relazione documentata dalla somiglianza individuata per analisi.

  • Maestro di

    Vyasa

    According to the Bhāgavata Purāṇa (I.4–6), Nārada advises Vyāsa, dissatisfied after composing the Mahābhārata, to sing the glories of Kṛṣṇa; the Bhagavad Gītā (10.13) names them together among those who proclaimed God. A narrative relation within the tradition.

    Relazione documentata

  • Influenzò

    Valmiki

    In the first sarga of the Rāmāyaṇa, Nārada tells Vālmīki the story of Rāma, the kernel from which the poem arises. The later legend making Nārada the initiator of the highwayman Ratnākara does not come from the Rāmāyaṇa.

    Relazione documentata

  • Influenzò

    Swami Vivekananda

    Vivekananda dictated in the United States a free translation of the Nārada Bhakti Sūtra, included in volume 6 of his complete works.

    Relazione documentata

  • Influenzò

    Ramakrishna

    Ramakrishna recommended the devotion “of the Rishi Narada” as the path suited to the present age, according to the 1911 English edition of the Gospel.

    Relazione documentata

  • Idee affini a

    Kapila

    The Bhagavad Gītā (10.26) names in the same verse Nārada, foremost of divine sages, and Kapila, foremost of the perfected; the Mahābhārata presents Nārada as versed in Sāṃkhya.

    Somiglianza individuata per analisi

  • Idee affini a

    Uddalaka Aruni

    The Chāndogya Upaniṣad brings together, in consecutive chapters, Uddālaka’s teaching to Śvetaketu (VI) and Sanatkumāra’s to Nārada (VII): two paths to knowledge of the Self.

    Somiglianza individuata per analisi

  • Idee affini a

    Yajnavalkya

    The Nārada Smṛti and the Yājñavalkya Smṛti are the two great dharmaśāstras after Manu; Olivelle places Nārada’s after Yājñavalkya’s and regards it as the most specialised in law.

    Somiglianza individuata per analisi

  • Idee affini a

    Chaitanya Mahaprabhu

    Caitanya’s Gauḍīya school inherits the theology of devotion of the Bhāgavata, where Nārada is Vyāsa’s teacher, and its authors quote definitions of bhakti under the name Nārada Pañcarātra.

    Somiglianza individuata per analisi

  • Idee affini a

    Mirabai

    Mīrābāī’s love for Kṛṣṇa, with its pain of separation, corresponds to the forms of attachment that the Nārada Bhakti Sūtra (82) recognises as full devotion, following the model of the gopīs.

    Somiglianza individuata per analisi

Fonti

Fonti

Bibliografia e cataloghi consultati per questa scheda.

  1. Wikidata, «Narada» (santo de la clase celestial), QID Q844066; GND 118818422; VIAF 193295452.
  2. Wikisource en sánscrito: «नारदभक्तिसूत्रम्» (Nārada Bhakti Sūtra, 84 aforismos).
  3. Vivekananda, Swami. «Narada-Bhakti-Sutras (a free translation dictated by Swamiji in America)», en The Complete Works of Swami Vivekananda, vol. 6 (Notes of Class Talks and Lectures). Texto en Wikisource.
  4. Sturdy, E. T. (trad.). Nârada Sûtra: An Inquiry into Love (Bhakti-jijnâsâ). Londres: Longmans, Green & Co., 1896.
  5. Sinha, Nandalal (trad.). The Bhakti Sûtras of Nârada. Allahabad: Pāṇini Office (Sacred Books of the Hindus 7, parte 1); ejemplar digitalizado fechado en 1917.
  6. Jolly, Julius (trad.). The Minor Law-Books, parte I: Nârada, Brihaspati. Oxford: Clarendon Press, 1889 (Sacred Books of the East 33). Introducción sobre la Nāradasmṛti.
  7. Lariviere, Richard W. (ed. y trad.). The Nāradasmṛti. 2 partes. Filadelfia: Department of South Asia Regional Studies, University of Pennsylvania, 1989 (University of Pennsylvania Studies on South Asia 4–5); reimpr. Delhi: Motilal Banarsidass, 2003 (ISBN 9788120818040).
  8. Olivelle, Patrick. «Dharmaśāstra: A Textual History». En Timothy Lubin, Donald R. Davis Jr. y Jayanth K. Krishnan (eds.), Hinduism and Law: An Introduction. Cambridge: Cambridge University Press, 2010, pp. 28–57.
  9. Wikisource en sánscrito: «छान्दोग्योपनिषद्/अध्यायः ७» (Chāndogya Upaniṣad VII, diálogo de Nārada y Sanatkumāra).
  10. Goldman, Robert P. (trad.). The Rāmāyaṇa of Vālmīki: An Epic of Ancient India, vol. I: Bālakāṇḍa. Princeton: Princeton University Press, 1984. Sarga 1–2 (Nārada narra a Vālmīki la historia de Rāma).
  11. Burnouf, Eugène (trad.). Le Bhâgavata Purâna, ou Histoire poétique de Krĭchṇa, tome premier. París: Imprimerie royale, 1840. Libro I, caps. 4–6 (Nārada y Vyāsa; la vida anterior de Nārada).
  12. Arnold, Edwin (trad.). The Song Celestial, or Bhagavad-Gîtâ. Londres: Trübner, 1885. Capítulo X, versos 13 y 26. Project Gutenberg n.º 2388.
  13. M. [Mahendranath Gupta]. The Gospel of Sri Ramakrishna (According to M., a Son of the Lord and Disciple). Edición inglesa condensada del autor. Madrás: Ramakrishna Math, 1911.
  14. Rocher, Ludo. The Purāṇas. Wiesbaden: Otto Harrassowitz, 1986 (A History of Indian Literature II.3). Entradas sobre el Nāradīya y el Bṛhannāradīya.
  15. Tagare, Ganesh Vasudeo (trad.). The Nārada-Purāṇa. 5 vols. Delhi: Motilal Banarsidass, 1980–1982 (Ancient Indian Tradition and Mythology 15–19).
  16. Haug, Martin (trad.). The Aitareya Brahmanam of the Rigveda. Bombay, 1863; reimpr. Allahabad: Pāṇini Office, 1922. VII.13–14 (Hariścandra y Nārada).
  17. Schrader, F. Otto. Introduction to the Pāñcarātra and the Ahirbudhnya Saṃhitā. Madrás: Adyar Library, 1916.
  18. Flood, Gavin. An Introduction to Hinduism. Cambridge: Cambridge University Press, 1996 (capítulo sobre la devoción vaiṣṇava).
  19. Wikisource en sánscrito: «नारदीयशिक्षा» (Nāradīya Śikṣā).
  20. Telang, M. R. (ed.). Saṅgīta-makaranda of Nārada. Baroda: Central Library, 1920 (Gaekwad's Oriental Series 16).
  21. Zimmer, Heinrich. Myths and Symbols in Indian Art and Civilization, ed. Joseph Campbell. Nueva York: Pantheon Books, 1946 (Bollingen Series VI). Capítulo I, relato de Nārada y la māyā de Viṣṇu.
  22. Jamison, Stephanie W. y Joel P. Brereton (trads.). The Rigveda: The Earliest Religious Poetry of India. 3 vols. Nueva York: Oxford University Press, 2014. Introducciones a RV 8.13 y 9.104–105.
  23. van Buitenen, J. A. B. (trad.). The Mahābhārata, vol. 2: The Book of the Assembly Hall; The Book of the Forest. Chicago: University of Chicago Press, 1975 (Sabhāparvan 5–11); y The Mahābhārata, edición crítica, Śāntiparvan (Nārāyaṇīya), Poona: BORI, 1949–1966.
  24. Banerjea, K. M. (ed.). Śrī Nārada Pañcarātram: the Jñānāmṛtasāra Saṃhitā. Calcuta: Asiatic Society, 1865 (Bibliotheca Indica); trad. inglesa de Swami Vijnanananda, Allahabad, 1921 (Sacred Books of the Hindus 23).
  25. Wikisource en sánscrito: «नारदस्मृतिः» y «नारदपुराणम्» (textos sánscritos con subpáginas).
  26. Hazra, Rajendra Chandra. Studies in the Upapurāṇas, vol. I. Calcuta: Sanskrit College, 1958 (sobre el Bṛhannāradīya).
  27. Wikipedia en inglés, «Narada» (consultada para la iconografía, el culto, Nārada Jayantī y la imagen popular; contrastada con las fuentes primarias).
  28. Wereldmuseum Amsterdam (antiguo Tropenmuseum), marioneta de wayang golek «Batara Narada», inv. TM-4283-48; descripción en Wikimedia Commons.
  29. Wikisource en sánscrito: «श्रीमद्भागवतपुराणम्» (Bhāgavata Purāṇa; libros IV, VII y X para Dhruva, Prahlāda y los hijos de Kubera).
  30. Wikipedia en inglés, «Valmiki» (versiones de la leyenda del bandolero Ratnākara: los siete sabios en el Adhyātma Rāmāyaṇa, Nārada en los relatos populares).
Titolare dei diritti
Textos sánscritos en dominio público. Las traducciones de Vivekananda (m. 1902), Jolly (m. 1932), Haug (m. 1876) y Burnouf (m. 1852) son de dominio público; la de E. T. Sturdy (1896; m. 1957) solo lo es en EE. UU. Las ediciones modernas (Sri Ramakrishna Math, Vedanta Press, Bhaktivedanta Book Trust, Art of Living, Advaita Ashrama, Inner Traditions, Motilal Banarsidass, University of Pennsylvania) tienen derechos propios.

In attesa di conferma

Ciò che questa scheda non ha ancora potuto chiarire. Preferiamo dirlo piuttosto che riempirlo.

  • Ediciones en español con ISBN del Nārada Bhakti Sūtra, de la Nārada Smṛti y del Nārada Purāṇa: no localizadas (Open Library sin resultados; Google Books devolvió error 429). Revisar BNE e Iberlibro.
  • Comprobar en Flood (1996) la página exacta de la datación «posiblemente del siglo XII» del Nārada Bhakti Sūtra, tomada de una referencia secundaria.
  • Comprobar la fecha de muerte de Nandalal Sinha y la fecha original (1911 o 1917) de su traducción en la serie Sacred Books of the Hindus.
  • Verificar la referencia exacta de la versión de Zimmer del relato de la māyā (capítulo y fuente purāṇica que él cita).
  • Localizar una edición con ISBN de la Nāradaparivrājaka Upaniṣad (p. ej., en las Saṃnyāsa Upaniṣads de Olivelle) y del Saṅgītamakaranda.
  • Los vídeos no traen año de publicación en oEmbed; se dejó year en null. El vídeo de la Vedanta Society of Sacramento devuelve 401 (no insertable).

Ricerca effettuata il 2026-10-26