GITA AS SHE IS In Krishna’s Own Words

Book I

A Critical Study of Gita Chapters 1, 2 & 12

With Ratnakar-Bhagavad-Gita

Learn Gita through Sanskrit and Sanskrit through Gita

Prof. Ratnakar Narale

COLOUR CODED EDITION

PUSTAK BHARATI BOOKS - INDIA

R Ratnaka

Author : Dr. Ratnakar Narale, Ph.D (IIT), Ph.D. (Kalidas Sanskrit Univ.) Prof. Hindi. Ryerson University, Toronto.

Title : Gita As She Is, In Krishna’s Own Words, Volume I

This is a critical research work. This book is a lifetime study for one who has dedication and patience to learn and contemplate on every word of the divine Gita. May you be a New learner, a Scholar, an Author, a Swami, a Professor or an Institution, this is the right resource for a critical study. If one wants to learn or teach Gita through Sanskrit and Sanskrit through Gita, there is no substitute. From an elementary level to most scholarly level, to know the "Gita As She is in Krishna's Own Sanskrit Words," this book is the sole authority. Regardless of how many books on Gita you may have read, studied or written, while going through this treasure of information, you will discover many Surprises, Interesting facts and Important points, which you would never have known without going through this book. This books removes all the misconceptions and wrong notions one has collected without properly knowing what the Sanskrit words of Krishna truly mean. Seeing is believing.

Published by : Pustak Bharati (Books-India) www.books-india.com www.ratnakar-books.com

Published for : Sanskrit Hindi Research Institute, Toronto

Available at : Wholesale : Ingram Retail : Amazon, Barnes and Noble, Books-India Copyright ©Aug 2014

ISBN : 978-1-897416-56-3 Hard Cover, Coloured Edition, with Illustrations. © All rights reserved. No part of this book may be copied, reproduced or utilised in any manner or by any means, computerised, e-mail, scanning, photocopying or by recording in any information storage and retrieval system, without the permission in writing from the author.

THE COVER STORY Scene of Lord Krishna’s dialogue with Arjuna, according to the verses of the G&ta@

OaRIma®gava§Itaayaa: paRsaGÐ:_

1. During the dialogue (sa>vaadimadma A®utama Gita 18.76), horses of the chariot were standing, they

were NOT running. G&ta@ was not spoken in a running chariot (sYaapaiyatvaa rYaaeTamama Gita 1.24).

2. Krishna and Arjuna were sitting in the chariot (rYaaepasYa qpaaivaPata Gita 1.47). Even though the

pose looks very nice for a sketch, they were NEITHER standing or sitting on the ground nor standing on the chariot. During the dialogue, Arjuna was sitting in the middle part of the chariot. Krishna was sitting at the front, talking to Arjuna. At the behest of Krishna (tasmaata` qiTaP# Gita 11.33), finally at the end of the last chapter, Arjuna said, “I will stand

up” (kirPyae vacana> tava Gita 18.73)

3. Arjuna was sitting sadly in the middle part of the chariot. He was NOT sitting at the back or in the front chambers of the chariot (rYaaepasYae qpaaivaPata Gita 1.47, upastha = middle part) . It

means Arjuna had a big chariot (mahita syandnae isYataaE Gita 1.14 and rYaaeTamama Gita 1.24), and it

had three chambers. It had white horses (ovaetaEh|yaEyau|F’ Gita 1.14).

4. Arjuna removed and kept his bow and quivers of arrows in the chariot itself. They were NOT thrown on the ground (ivasa\jya saoar> caapa> Gita 1.47).

5. During the dialogue, Arjuna’s face was dejected (oaaeksa>ivagnamaanasa: Gita 1,47). He was NOT

excited like a mad warrior, standing at the front of the chariot eager to fight (na yaaetsae Gita

2.9). Lord Krishna had a pleasant face (paRhsai²va Gita 2.10), sitting on the chariot.

6. During the dialogue, both armies were standing quitely in the background, oblivious and non-functional. No one was engaged in fighting, arrows were not flying, slaughtered men were not lying in the pool of blood...etc. Gita is NOT a book on war. It is book of righteous (Zama|xae%ae Gita 1.1) spiritual guidance (Zamya|> sa>vaadmaavayaae: Gita 18.70), for all times.

7. It was a day time. 8. Arjuna’s chariot had a flag bearing Hanumana’s image (kipaZvaja: Gita 1.20)

9. Lord Krishna’s divine (idvyaaE Gita 1.14) conch shell (paaØcajanyama ÊPaIk’Pa: Gita 1.15) and

Arjuna’s divine conch shell (devadTa> ZanaØjaya: Gita 1.15) are part of the scene. Lord Krishna

was nor bearing the Sudarshana-chakra. During the Gita, Krishna was only an unarmed charioteer.

10. The Pandavas were on the ‘right’ side (Zamya|> Gita 18.70).

Ratnalar Narale

Ratnalar Narale

Ratnalar Narale

INDEX

anukraman<ika@ AnauÛmaiNaka

The Cover Story mauSapa\P#ma` i

The anus>t>ubh metre AnauP@uBa`-Cnd: iv

Preface AamauSama` v

List of Abbriviations sa>xaepasaUica: ix

Background of the Gita paaova|BaUima: 1

The Great Family Tree from Mahabharata mahaBaartaIyaivaoaaLava>oava\xa: 29

Krishna’s 301 Names as they appear in the Gita ×PNanaamaaina 36

Basic Grammar of the Gita gaItaavyaakrNama` 53

Rules for Proper Transliteration 53 Euphonic Conjugations, the 25 Rules sa>iZa: 55

THE GITA gaItaa 72

Background of the Gita gaItaaepainaPad 72

Gita Chapter 1, Visha@dyogopanis<hat ivaPaadyaaegaaepainaPata` 81

Gita Chapter 2, The Crux of Karmayoga saa>SyayaaegaaepainaPata` 156

The Introductory Essay 158 Renunciation of Authorship of Karma 193 Gita Chapter 12, The Bhaktiyogopanis<hat BaiFyaaegaaepainaPata` 312

References AaZaarsaUica: 343

Books by Ratnakar Narale 344

The Anus<t>ubha Metre

The earliest and most important work on the Sam~skr<t prosody is the Pin[gala-c{handa-s{a@stra. Most popular among the metres used for the s{loka/ of the Sam~skr>t epics, such as Ra@mayan<a and Maha@bha@rata, is the celebrated anus<t>ubh metre. In general a meter with 32 syllables is anus<t>ubh metre. For their lyrical value and in order to maintain uniformity, Ratnakar-Bhagavad-Gita composed in the anus<t>ubh metre is included in this book. There are many types of the anus<t>ubh metre, however, the one that is used in the composition of the Sam~skr>t s{loka/ (|s{lok, to praise in verses) follows the following definition, itself written in the anus<t>ubh metre.

Olaek’ PaP#> saòdaó dIeóza|> Lazau ca paØcaòma>ó taòYaa _

Axar> saptaòma>ó dIóza|> ta\taIyae paRYaòmaeó paòde _

catauPpaadsya OaRIyauFae vaaLmaIikkivanaa ×ta: _

Vai%a>oaVNa|yauFae ih Cndae~nauP@uBa sa kYyatae __ - rtnaakr:

In the above definition I say that, in a s{loka (verse), there are four quarters (pa@da), each with eight syllables. The fifth syllable of each quarter should be short (laghu), the sixth long (d&rhga), and the seventh alternately long and short in the odd and even quarters. e.g. (gaItaa : 1.1)

Zama|xae%ae kÖòwóxaeó%ae samavaetaa yauòyauótsaòva: _

maamaka: paaNDòvaaóocaEóva ikmakÖva|taò sa>ójaòya __

PREFACE AamauSama` _

S}r&madbhagavadg&ta@ is a science (s{a@stra). She is a unique faculty of the divine knowledge for mankind. For she is a part of the epic song of Maha@bha@rata, she is called G&ta@ (Song Celestial). It is unquestionable that the original purity, clarity, peculiarity, style and sweetness of a song (or poem) can only be relished by reading the song itself and never through a substitute translation - prose or poetic! Many writers have translated and commented upon the G&ta@ and they have provided a great service to the people in general. But, consequently, the average reader, instead of actually reading shr& Vya@sa's original Sam~skr<t text, imagines its beauty through a translation rendered by someone. The helpless readers, without reading the pious words of Vya@sa, in which he has set the divine words of Bhagava@n S}r& Kr<s<n<a, treat the interpretational skill of a translator as the divine poetry of Maha@mahars>i Vya@sa. Before learning Sam~skr<t good enough, I had read many translations, skipping the Sam~skr<t text. Of course, confounded with a thought that, for a reader who reads a translation and skipping the Sam~skr<t text, it makes no difference to him if the author of the G&ta@ was Kr<s<n<a or anybody else; and whether it was a prose or a poetry in any meter in any language! Also, I was concerned that because all the translations do differ from each other, they must differ from the original sam~hita@ too. Therefore, bewildered with these questions, I wanted to understand the original text by myself for myself. Perplexed by reading some of the grave misinterpretations of Lord Sri Krishna’s words (see the footnotes in this book), I have introduced a method by which the Sanskrit of the G&ta@ is made clear, as an interesting experience, and on that foundation the meaning of Krishna’s own words along is clarified, with the footnotes. Colourful translations, reviews and criticisms of the G&ta@ have already been made available by great men. In 1983 Callewaert and Hemraj have reported 1891 interpretations and translations of the G&ta@ in 75 different languages. There must be numerous more known and unknown works. Therefore, rather than adding one more of my own interpretation, here I am taking the readers back to the original basic Sam~skr<t foundation and from there assisting them to understand each word of Kr<s<n<a as they would see it themselves. It is hoped that after this study, the readers will then be able and eager to digest the writings of the great writers properly. While reading the scriptures of different world religions I was not aiming specifically at studying the

G&ta@ in such a depth. However, G&ta@ was the only book that attracted my attention strongly; and I felt like reading her translations one after other. In those days I took help of the translations alone. But, while reading various translations, I was surprised to see the differences among them and the variation in each of them from the original Sam~skr<t text. Suddenly one day I decide to study the G&ta@ properly from the original Sam~skr<t text. At that time I had no intension of writing a book on G&ta@. But, the amazingly happy experience I gained from the step by step study gave rise to a compelling desire in my heart to share my experience with other G&ta@ lovers. Today I am putting it in front of the readers with a great pleasure. The reason I was attracted to the G&ta@ was that, ‘Vya@sa's words which are already sweet, are adorned with the beautiful attributes of the Lord!’ Also, there perhaps is no scripture in the world to equal in the pure sublimity of its teachings and noble yet practical nature of the ideal G&ta@ places before a common man. G&ta@ is a science unique. She is neither a perception of some thinker nor a word of a middleman. In her is the divine word from the mouth of the Lord Himself. G&ta@ is holy. In her, the important and uncommon subjects like amr<t, ahimsa@, a@tma@, karma, tapa, tya@ga, da@na, buddhi, brahma, bhakta, bhakti, jn~a@na, moks<a, om, yajn~a, yoga, vidya@, vibhu@ti, veda, satya, sada@c{a@ra, samata@, sam~yama, sva@dhya@ya, siddhi, ...etc. are told not as commandments but as an advice full of love and care. G&ta@ is nirgun<a, nirdvandva and nitya. She is a practical, implementable and useful science. She is model. She is easy to understand yet deep to fathom and comprehend. She is sana@tana. She is the most suitable guide. She is best to follow. In warmth, She is a mother.

G&ta@ sug&ta@ kartvya@ kimanyaih< s{a@stravistaraih<, ya@ svayam[ padmana@bhasya mukhapadma@dvinih<sr<ta@.

G&ta@ of Lord Kr<s<n<a is a pleasure giving and beneficial word, however, is not possible to comprehend her true essence without regular contemplation with full faith in the Lord. For the Sam~skr<t is not our everyday language, we are mostly compelled to study her with the help of the available translations and commentaries. And for this convenience we must first thank those great souls who have painstakingly worked life time for their own curiosity and for the benefit of the people. And, therefore, I honourably mention a few important names, in order to appreciate them.

Sarvas{r& jagadguru S}an[kara@c{a@rya (788-820), Bhaskara@ca@rya, Abhinava Gupta, Yamuna@c{a@rya (918-1038), Ra@ma@nuja (1017-1137), Hemac{andra Su@ri (1077-1172), A@andat&rtha Ma@dhava (1199-1278), Nimba@rka, Brahma@nanda A@nanda Giri, Sant Jn~a@nes{vara (1275-1296), Ra@ma@nanda (1299-1410), Vidya@dhira@ja T&rtha (1388-1412), Swa@m& S}ivadaya@lu S}r&dhara (1350-1450), C}aitanya Maha@prabhu (1486-1534), Appaya@

Diks<itar (1554-1626), Vallabha@c{a@rya (1479-1531), Ra@ghavendrat&rtha Yati (1623-1671), Swa@m& Jaganna@thada@sa (1728-1809), Sir Charles Wilkins (1750-1836), Prof. John Muir (1810-1862), Swa@m& Ra@makr<s<n<a Paramaham~sa (1836-1886), Ralph Thomas Hotchkin Griffith (1826-1910), Ka@s{ina@th Trimbak Telang (1850-1893), James Talboys Wheeler (1824-1897), Sir Monir Monirwilliam (1819-1899), Swa@m& Viveka@nanda (1863-1902), Sir Edwin Arnold (1832-1904), A@nanda C}aralu Panambakam (1843-1908), Romesh C}andra Dutta (1848-1920), Lokma@nya Ba@l< Gan[ga@dhar T<il>ak (1856-1920), Subramanya Bha@rat& (1882-1921), Dr. Annie Besant (1847-1933), Poet Ra@mara@ya@ (1875-1935), A@c{a@rya Maha@v&r Prasa@d Dvived& (1862-1938), Swa@m& Akhan<d<a@nanda (1874-1942), Maha@dev Haribha@& Desa@& (1892-1942), Va@sudevs{a@str& Maha@dev (1862-1948), Maha@tma@ Mohanda@s Karamc{and Ga@ndh& (1869-1948), Arvind Ghos{a (1872-1950), Raman<a Mahars<i (1879-1950), Maithilis{aran< Gupta (1886-1964), Sa@dhu Thanvarda@s L&la@ra@m Va@sva@n<& (1897-1966), Dr. Gokul C}and Na@rang (1878-1969), Dr. Sarvapall& Ra@dha@kr<s<n<an (1888-1975), Swa@m& Bhaktiveda@nta Prabhupa@da (1896-1977), C}akravart& Ra@jagopa@la@c{a@r& (1879-1978), A@c{a@rya Vinoba@ Narhari Bha@ve (1895-1982), C}inta@man< Dva@rka@na@th Des{mukh (1896-1982), Ba@bura@o Pat>el (1904-1982), Bhagava@n S}r& C}andra Mohan Rajn&s{ (1931-1990), Mora@rj& Bha@& Ran<c{hod<aj& Desa@& (1896-1995), ...etc. It is also my honest duty to express thanks to my caring wife Sun&ta@ for the unending encouragement and constant assistance she gave me and the sacrifice she made at every step, year after year, during the long course of this work. I would also like to express my sincere thanks to S}a@str&j& Jagdish Chandra S{a@rada@, Mr. Sun&l Nara@le and all other good people who have given me help and encouragement during the course of this work. Based on my own experience I can certainly say that if one systematically analyzes each compound word into simpler component words and carefully understands it’s form and meaning, it is easy to enjoy the sweetness and the beauty of the teachings of the G&ta@. After this basic study, the reader is ready to tackle the great commentaries and essays written by the great authors like T<il<ak, Dr. Ra@dha@kr<s<n<an, Swa@m& Viveka@nana, Swa@m& Prabhupa@da, Swa@m& C}inmaya@nanda, Arvind Ghos{a, Swa@m& Rajnis{, etc. But, at the same time, it must be remembered that for the proper study of the G&ta@, along with the reading, it is equally important to have full faith in the Lord. The present work is prepared with the objective of providing a complete reference book for the

readers who are interested in understanding the original G&ta@ as She is, in Kr<s<n<a's words. It is arranged in the same fashion and order as I studied the G&ta@ from Sam~skr<t and the Sam~skr<t from the G&ta@. Therefore, a layman in Sam~skr<t can also study both G&ta@ and Sam~skr<t with the help of this book. I have endeavoured to make this work as self-sufficient, self-explanatory and self-evident as possible, so that the reader may not need to go outside this book for any reference. Nonetheless, I beg the discreet readers to excuse me if they find any deficiency, error or omission. With the above framework in mind, first I have given the historical background and short sketches of all character that appear in the G&ta@. With it, I have given a unique family tree of all these important people to show their interrelation, based mainly on the information available in the Maha@bha@rata. After this, for a starter, I have introduced the Sam~skr<t alphabet and the rules of compounding the words (sandhi) used in the G&ta@. Then I have shown the analysis of how these rules apply to each of the compound words in the entire G&ta@. Following this, I have clarified the basics of how the cases, tense and moods work in Sam~skr<t. Having explained all these basics, the readers are systematically brought to the most important part of -seeing for themselves the exact nature of each word of the G&ta@- so that they can precisely discern what is a proper translation from an improper interpretation of each word. This is done by showing a complete analysis of each compound and component word of the G&ta@ with respect to its gender, number, person, case, tense, mood and root, so that the reader can see for himself-herself how each word has originated from its root and developed into the given form. The grammatical meaning of each word and the composite meaning of each verse are then given. But, spoon feeding a premade English translation of the verses is not the aim of this book. Helping readers see the true meaning of G&ta@’s each Sanskrit word themselves, is the aim. This book could thus be used for teaching Gita through Sanskrit and teaching Sanskrit through the Gita. Based on my success in teaching the G&ta@ and Sam~skr<t (to the G&ta@ lovers who do not know Sanskrit well enough, but have curiosity and patience), I can say that this work is a good guide to learn the original G&ta@, in Kr<s<n<a's own words. This work is in three volumes, encompassing a complete study of the G&ta@, as She is, in Kr<s<n<a's own words. Appended to the Lord Krishna’s divine Shrimad-Bhagavad-Gita, I have

given my own rendering called Ratnakar-Bhagavad-Gita in 1110 anus<t<ubh shlokas, for the

purpose of explaining the details and answering possible questions to help the Gita loving readers. Hati Om Tat Sat, Ratnakar

List of Abbreviations

1\ The 1st Class of verbs Bvaaid - þBaU (to be, become)

Bavaaima (Aaima) Bavaava: (Aava:) Bavaama: (Aama:) bhava@mi bhava@vah< bhava@mah< 2\ The 2nd Class of verbs Adaid - þAd (to eat)

Ai¯ (ima) AV: (va:) A¯: (ma:) admi advah< admah< 3\ The 3rd Class of verbs jauhaetyaaid - þhu (to offer)

jauhaeima (Aaeima) jauhuva: (va:) jauhuma: (ma:) juhomi juhuvah< juhumah< 4\ The 4th Class of verbs idvaaid - þidva (to shine)

dIvyaaima (Aaima) dIvyaava: (Aava:) dIvyaama: (Aama:) d&vya@mi d&vya@vah< d&vya@mah< 5\ The 5th Class of verbs svaaid - þsau (to sprinkle, bathe)

saunaaeima (Aaima) saunauva: (va:) saunauma: (ma:) sunomi sunuvah< sunumah< 6\ The 6th Class of verbs taudaid - þtaud (to strike)

taudaima (Aaima) taudava: (Aava:) taudama: (Aama:) tuda@mi tuda@vah< tuda@mah< 7\ The 7th Class of verbs wZaaid - þwZa (to stop)

wNaiZma (ima) wnZva: (va:) wnZma: (ma:) run<adhmi rundhvah< rundhmah< 8\ The 8th Class of verbs tanaaid - þtana (to spread)

tanaaeima (Aaeima) tanva:-tanauva: (va:) tanma:-tanauma: (ma:) tanomi tanuvah< tanumah< 9\ The 9th Class of verbs Ûyaaid - þÛya (to buy)

ÛINaaima (Aaima) ÛINaIva: (Aava:) ÛINaIma: (Aama:) kr&n<a@mi kr&n<&vah< kr&n<&mah< 10\ The 10th Class of verbs cauraid - þcaur (to steal)

caaeryaaima (yaaima) caaeryaava: (yaava:) caaeryaama: (yaama:) c{oraya@mi c{oraya@vah< c{oraya@mah< 11\ The 11th Class of verbs kNDÔaid - þkNDu (to itch)

kNDUyaaima (yaaima) kNDUyaava: (yaava:) kNDUyaama: (yaama:) kan<d<u@ya@mi kan<d<u@ya@vah< kan<d<u@ya@mah< 1nom\ Nominative Case paRYamaa-ivaBaiF:, ktaa|-karkma

2acc\ Accusative Case iVtaIyaa-ivaBaiF:, kma|-karkma

3inst\ Instrumental Case ta\taIyaa-ivaBaiF:, krNa-karkma

4dat\ Dative Case catauYaI|-ivaBaiF:, sampaRdana-karkma

5abl\ Ablative Case paØcamaI-ivaBaiF:, Apaadana-karkma

6pos\ Possessive Case or Genetive Case PaP#I-ivaBaiF:, sambanZa:

7loc\ Locative Case saptamaI-ivaBaiF:, AiZakrNa-karkma

8voc\ Vocative Case sambaaeZanama

1st-per\ First Person, the speaker qTama-pauwPa:

2nd-per\ Second Person, to whom the speaker is talking maZyama-pauwPa:

3rd-per\ Third Person, about whom the speaker is talking paRYama-pauwPa:

act\ Active, Active Voice kta|ir-paRyaaega:

adj\ Adjective ivaoaePaNama

adv\ Adverb iÛyaaivaoaePaNama

a@tmane\ a@tmanepad&, when the fruit of action accrues to the doer AatmanaepadI

caus\ Causative paRyaaejakma

des\ Desiderative Mood }cCaYa|kma, sa²ntapaRiÛyaa

dual\ Dual Number iVvacanama

f\ Feminine Gender ÅIiLaGÐma

fut1\ Definite, Periphrastic Future, First Future or Future Anatanae Lau@

fut2\ Future Tense, Second Future, Indefinite Future ApaUNa|-BaivaPyaita Á@

imperative\ Imperative Mood ivaZyaadaE Laae@

ind\ Indeclinable Avyayama

inf\ Infinitive taumauna, taumanta-Avyayama

ipp\ Indeclinable Past Participle, Gerund paUva|kaiLak-ZaatausaaiZata- Avyayama

lyp\ Past Participle with an indeclinable prefix other than A; (Lyapa, Lyabanta-Avyayama)

m\ Masculine Gender pauiLLaGÐma

n\ Neuter Gender napau>sakiLaGÐma

num\ Numerical sa>SyaaivaoaePaNama

potential\ Potential Mood ivaZyaYaI|, vaaSyaatama, ivaiZaiLaGma

parasmai\ Parasmaipad&, fruit of the action accrues to someone other than the subject parsmaEpadI

pass\ Passive, Passive Voice kma|iNa-paRyaaega:

past\ Past Tense BaUtakaLa:

past-imp\ Imperfect Tense, Imperfect Past Tense Ana^tanae BaUtae LaG

pastind\ Past Indefinite tense, Aorist or Third Preterite BaUtae LauG

past-perf\ Perfect, Perfect Tense paraexae iLa@

pl\ Plural bahuvacanama

ppp\ Past Passive Participle BaUtaBaUtasaaiZatama

pres\ Present tense vata|maanae La@

pron\ Pronoun sava|naamana, sava|naama, saava|naaimak-

prop\ Proper noun, given name s-avyayi\ Adverbial Compound AvyayaIBaava-samaasa:

s-bahuvr&\ Attributive or Relative Compound bahuvaRIih-samaasa:

s-dvandva\ Dual or Aggregative Compound V>V-samaasa:

s-dvigu\ Numeral or Collective Compound iVgau-samaasa:

s-karmadha\ Appositional Compound kama|Zaarya-samaasa:

s-n.bahuvr&\ Negative Attributive Compound naØa-bahuvaRIih-samaasa:

s-n.tatpu\ Negative Determinitive Compound naØa-tatpauwPa-samaasa:

s-sbahuvr&\ Instrumental Attributive Compound sahbahuvaRIih-samaasa:

s-tatpu\ Determinitive, Dependent Compound tatpauwPa-samaasa:

s{atr<\ Present Participle of parasmaipada (oata\) formed with suffix Ata

s{a@nac{\ Present Participle of a@tmanepada (oaanaca) formed with affix Aana, maana

sing\ Singular Number ]kvacanama

ubh\ ubhayapad&, where the action applies both to the subject and the object qBayapaid

v\ Verb iÛyaapadma _

vi\ Intransitive Verb Akma|k-iÛyaa _

vt\ Transitive Verb sakma|k-iÛyaa

Elsewhere\ In other translations, commentaries or books on the G&ta@. $ The term on left side comes from the one on right. # The term on right side comes from the one on left. % Please see above, Referred above. (%) See above in this paragraph itself. ^ Please see below, Referred later.

NOTE :

The ` : and { accent-marks used with the Roman Sam~skr<t

characters such as h<:, d` , k` , m~, m` , n` , s`, t` , c{ and c{h in this book are employed only for the purpose of the ease of their corelation with the devana@gar& Sam~skr<t counterparts. The discreet readers may simply ignore them if they do not need this improvisation. However, some readers may find it to be a very useful innovation over the common systems of transliteration.

Πatha s{r&madbhagavadg&ta@ pra@rabhyate

AYa ÃIma®gava§Itaa paRarByatae _

CHAPTER 1

prathamo]dhya@yah<:å1æ paRYamaae~Zyaaya: _

YOGA OF THE MELANCHOLYå2æ

(THE YOGA THAT OVERWHELMED AND HUMBLED ARJUNA)

vis<a@dayogopanis<hat ivaPaadyaaegaaepainaPata` _

Vya@sa’s divine sam~skr<t words :

Dhr<tara@s<t<ra said (Dhr<tara@s<t<ra uva@c{a Za\taraP@¼ qvaaca _ )

å1æ NOTE: The additional innovative accent marks attached with the characters such as C} c{ d` h<: k` m` n` s` t` etc. are devised

only for associating these English characters closely with their Sam~skr>t counterparts ca ca d : ma na ta sa respectively, and

to differentiate them from the common English characters C, c, d, h, k, m, n, s and t that appear elsewhere in the English text. e.g. (i) ‘vac{anam` is a collective noun;’ as against (ii) ‘vacanam is a collective noun.’ These accents are purposefully innovated as a visual help for the discreet readers. The readers who do not need them, or refuse to adopt or accept them, may simply ignore them.

å2æ Elsewhere\ arjunavis<a@dayoga # Arjuna’s Vishad Yooga, Yoga of Arjuna’s Despondency, Arjuna Yoga, Arjuna’s Melancholy ...etc.

ì Each chapter in the G&ta@ is an Upanis<hat. This Upanis<had in the G&ta@ is the yoga of ‘melancholy.’ The Melancholy, that affected Arjuna. The ‘melancholy,’ that overwhelmed and humbled Arjuna, should affect you and me to make us benevolent to hear an advise from elders. It is not given by Lord Krishna as the yoga of only ‘od Arjuna’ or ‘Arjuna’s melancholy.’ Remember : Lord Krishna gave the ‘Yoga of Melancholy’ to Vivasva@n much before he gave it to Arjuna.

1.1 Zama|xae%ae k•wxae%ae samavaetaa yauyautsava: _

maamaka: paaNDvaaocaEva ikmak•va|ta saØjaya __

dharmaks<etre kuruks<etre samaveta@ yuyutsavah<:, ma@maka@h<: pa@n<d<ava@s{c{aiva kimakurvata san~jaya. ( verse 1.1 ) PLEASE NOTE THAT, in all verses of in this book :

(§1) = Analysis of the verse, with the 25 Sandhi Rules explained above, (§2) = Grammatical analysis of each Sanskrit word with the rules given earlier, (§3) = Plain grammatical English meaning of each Sanskrit word of the shloka based

on the grammar given in Step §2. These exact English words are used in step §5 below, (§4) = Sanskrit words re-arranged in the order of English syntax, (§5) = English meaning of the shloka, exactly as translated in step (§3) above.

(§1) Dissection of the verse, with the 25 Sandhi Rules explained above :

AYa ÃImata Bagavata` gaItaa paRarByatae _ paRYama: AZyaaya: _ Ajau|na-ivaPaad-yaaega: _ Za\taraP@¼: qvaaca _ Zama|xae%ae k•wxae%ae samavaetaa: yauyautsava: _ maamaka: paaNDvaa: ca ]va ikma` AkÖva|ta saØjaya _

atha s{r&mat` (rule 9ösub-rule 8) bhagavat` (r\ 9ö4)å3æ g&ta@ pra@rabhyate. prathamah<: (r\ 15ö1) adhya@yah<:. arjunavis<a@dayogah<:. dhr<tara@s<t>rah<: (r\ 19ö4) uva@c{a.

dharmaks<etre kuruks<etre samaveta@h<: (r\ 20ö14) yuyutsavah<: (r\ 22ö8) ma@maka@h<: (r\ 22ö3) pa@n<d<ava@h<: (r\ 17ö1) c{a (r\ 3ö1) eva kim` (r\ 8ö16) akurvata san~jaya ( 1.1 )

(§2) Grammatical Analysis of Each Sanskrit Word with the Rules given earlier : atha (see verse 1.20å4æé); s{r&madbhagavadg&ta@ (f\ 1nom\ sing\ ÿtatpu\ s{r&mat`-

å3æ PLEASE NOTE : In each Section (§1), the r\ (for example : r\ 9ö4) refers to rule\ number, i.e. one of the 25 the Sandhi

Rules mentioned in the Euphonic Conjunctions used in G&ta@ sainZamaImaa>saa section in the chapter on “THE BASIC

GRAMMAR OF THE GITA,” earlier in this book. For detailed grammar, see my “Sanskrit Grammar and Reference Book.”

å4æ PLEASE NOTE : In each Section (§2), the 1\ in the expressions such as ÿ1\AiZaþ} refers to one of the Eleven classes of

the of Verbs mentioned in the List of Abbreviations. Here (in 1\AiZaþ}), the 1\ indicates that the root verb þ} belongs to

Class 1, the Bvaaid gaNa: of the verbs.

bhagavat`-g&ta@, ÃImata: Bagavata: gaItaa ÿadj\ s{r&mat` 6.41 é + adj\ bhagavat` 10.14 é + f\

g&ta@ ÿppp\ adj\ g&ta 13.5 é); pra@rabhyate (3rd-per\ sing\ pres\ vata|maana`-La@` a@tmane\

ÿ1\paR-Aa-þrBa` (to brgin) ). prathamah<: (m\ 1nom\ sing\ ÿnum\ adj\ prathama ÿ1\þpaRYa` (to

grow) 1.18^); ìadhya@yah<: (chapter) (1nom\ sing\ ÿm\ adhya@ya ÿ1\AiZaþ} (to enter, come,

go).å5æ arjunavis<a@dayogah<: (m\ 1nom\ sing\ ÿtatpu\ arjuna-vis<a@da-yoga, Ajau|nama`

AiBaBaUtasya ivaPaadsya yaaega: ÿm\ prop\ arjuna 1.4 é + m\ ìvis<a@da (melancholy) 1.27 é + m\

yoga 2.39 é). ìdhr<tara@s<t>rah<: (m\ 1nom\ sing\ ÿbahuvr&\ adj\ or prop\ dhr<tara@s<t>ra, Za\tama raP@¼ma rajapaaLayaita ya: ÿppp\ adj\ dhr<ta ÿ1\þZa\ (to bear) + n\ ra@s<t>ra ÿ1\þraja` (to rule);

ìuva@c{a (said) (1.25 é). dharmaks<etre (n\ 7loc\ sing\ ÿtatpu\ dharma-ks<etra, Zama|yauFkmaa|Naama xae%ama _ Zaaima|kma

xae%ama _ Zama|yauFkmae|Bya: paRisa&> xae%ama ÿm\ ìdharmaå6æ (what ought to be done) ÿ1\þZa\ (to bear) + n\

ìks<etra (land) ÿ6\þixa (to stay); kuruks<etre (n\ 7loc\ sing\ ÿtatpu\ kuru-ks<etra, kÖwNaa>

xae%ama _ kÖwNaa vaa kÖwiBa: vaa Zama|yauFkÖwiBa: paRsYaaipatama xae%ama ÿm\ adj\ kuru, kÖrae: gaae%aapatyama +

n\ ks<etra è);å7æ ìsamaveta@h<: (m\ 1nom\ plu\ ÿppp\ adj\ samaveta (assembled) ÿ2\sama`-

Avaþ} (to enter) ÿind\ sam` ÿ4\þsaae (to complete) + ind\ ava ÿ1\þ} (to come); ìyuyutsavah<: (m\

1nom\ plu\ ÿdesi\ adj\ yuyutsu ÿf\ yudh` ÿ4\þyauZa (to fight) + sana); ìma@maka@h<: (m\

1nom\ plu\ ÿadj\ ma@maka (my) ÿpron\ asmad` 1.7é); pa@n<d<ava@h<: (1nom\ plu\ ÿm\ -taddhita\ pa@n<d<va, paaNDae: Apatyama` ÿprop\ pa@n<d<u ÿ10\þpaND` (to be learned) ; c{a (and) (ind\

aggregative ÿ5\þica (to gather) ; eva (ind\ ÿ1\þ} (to come); kim` (what?) (ind\ adv\ or n\ 2acc\

sing\ ÿpron\ kim`, -what?); akurvata (did) (3rd-per\ plu\ -past-imper\ LaG` BaUtaý a@tmane\

ÿ8\þ˜ (to do); san~jaya (m\ 8voc\ sing\ ÿprop\ san~jaya ÿ1\sama`þija (to win) ( 1.1 ) HOW TO READ THE ANALYSIS GIVEN IN STEP (§2)

for example :

å5æ PLEASE NOTE : In each Section (§2), the numer in the expressions such as (1.20) refers to the Gita Chapter Number

and The verse number in that Chapter. Therefore, 1.20 = Verse 20 in Chapter 1, and so on. This is done to avoid the repetition of the same explanation over and over in the subsequent chapters.

å6æ PLEASE NOTE : In each Section (§2), the underline suggests that this word appears for the first time in the G&ta@ in this verse and that it also appears at more places ahead after this verse. Its grammatical analysis is given only in this shloka. And after this point, wherever it appears again, it is referred to this shloka for its grammatical analysis. This method is used in all sholkas, to avoid unnecessary repetitions of the explanations.

å7æ kÖwxae%ama : inaimaPa> inaimaPaaZa|> vaa ya%a itaP#inta yaaeigana: _ ta%a ta%a kÖwxae%a> paRyaagaae naEimaPa> vanama __ (uttarag&ta@ 3.9)

samaveta@h<: (m\ 1nom\ plu\ ÿppp\ adj\ samaveta (assembled) ÿ2\sama`-Avaþ} (to enter) ÿind\ sam` ÿ4\þsaae ... ) Key Words : (the key words are provided for the readers to choose the meaning that suits better for their own

style and understanding) ì adhya@yah>: AZyaaya:, paa#:, qLLaasa:, qcCÔasa:, saga|:, vaga|:, paircCed:, q©ata:, pairvata|:, pa@La:, kaND:, paRkrNama,

pava|:, sknZa: _

ì vis<a@dah<: ivaPaad:, ivaPaNNataa, inaiva|NNataa 6.23, daEma|nasyama, inavae|d: 2.52, naEraoyama, Avasaad: 1.5, qVega: 5.20,

oaaecanama, manastaapa:, pairvaednama, pairdevanaa 2.28 _

ì dhr<taras>t>rah<: Za\taraP@¼:, parntapa: 2.9, Baarta: 1.24, BartaOaReP#:, BartaoaadU|La:, BartaPa|Ba:, BartasaTama:, kÖwoaadU|La:,

kÖwOaReP#:, pa\iYavaIpaita: 1.18, mahIpaita: 1.20 _

ì uva@c{a (iLa@) qvaaca, AbaRvaIta 1.2, ABaNayata, AkYayata, ABaaPata 11.14, kYayaØcakar, kYayaambaBaUva, kYayaamaasa,

jagaad; (La@) Aah 1.21, gadita, BaNaita, kYayaita _

ì dharmah< Zama|:, sadacaar:, nyaaya:, kta|vya> 3.22, kaya|> 3.17, krNaIyama _

ì ks<etram[ xae%ama, sYaanama, sYaLama, deoa:, paRdeoa:, BaU: 2.47, BaUima: 7.4 _

ì samaveta@h<: samavaetaa: 1.1, samaagataa: 1.23, imaiLataa:, saimmaiLataa:, samaetaa:, samaupaagataa:, sa>htaa: _

ì yuyutsavah<: yauyautsava:, rNaaetsauka:, yau&dud|maa:, yaae&ukama: 1.22 _

ì ma@maka@h<: maamaka:, mama 1.7, madIyaa:, maamakIna:, AsmadIyaa: _

(§3) Plain Grammatical Meaning of each one of the Sanskrit words of the shloka

(exact same English words to be used in step 5 below) : atha (Now, as follows); s{r&madbhagavadg&ta@ (subj\ the Celestial G&ta@); pra@rabhyate (vi\ it begins).

prathamah<: (adj\-subj\ the first); adhya@yah<: (subj\ the chapter). arjunavis<a@dayogah<: (The Yoga of the Melancholy that overwhelmed Arjuna). dhr<tara@s<t>rah<: (subj\ Dhr<atara@s<t<ra); uva@c{a (vt\ he said).

dharmaks<etre kuruks<etre (on the sacred land of Kuruks<etra, on the place established by the Kuru/ for

Original Gita word Gender

CASE No. & Name

NUMBER sing. dual. plural

The Term on left side comes from

the Term on Right side of the arrow

Part of Speech

Uninflicted word

English Meaning

The Term on left side comes from

the Term on Right side of the arrow

Gan<a of the Root Verb Prefix

qpasaga|:

The Verb Root Zaatau:

Meaning of the verb Zaata

The bold italic style inicates :

The first occurance of that word in the Gita The Underline inicates :

This word appears more than once again in Gita

Part of Speech

righteous works);å8æ samaveta@h<: (adj1\-subj1-2\ assembled) yuyutsavah<: (adj2\-subj1-2\ those who are

eager for battle); ma@maka@h<: (subj1\ mine); pa@n<d<ava@h<: (subj2\ sons of Pa@n<d<u; Pa@n<d<u's sons); c{a (and); eva (and, also); kim` (what?); akurvata (did they do); san~jaya (O San~jaya!). ( 1.1 )

(§4) Sanskrit words re-arranged in the order of English Syntax : atha pra@rabhyate s{r&madbhagavadg&ta@. prathamah<: adhya@yah<:. arjunavis<a@dayogah<:. dhr<tara@s<t>rah<:

uva@c{a. san~jaya! kim` ma@maka@h<: c{a pa@n<d<ava@h<: -yuyutsavah<: eva samaveta@h<: dharmaks<etre kuruks<etre- akurvata? ( 1.1 )

(§5) English Meaning of the shloka, exactly “as translated” in step (§3) aboveå9æ (additional connecting or filler words, if any, are enclosed in brackets) : Now begins the Celestial G&ta@. The first chapter. The Yoga of the Melancholy (The Yoga that

overwhelmed Arjuna).

Dhr<atara@s<t<ra said : O San~jaya! What did mineå10æ and Pa@n<d<u's sons --eager for battleå11æ and assembledå12æ on

the sacred landå13æ of Kuruks<etra-- do? ( verse 1.1 )

å8æ A note for the readers who know Hind& language: For the essential history and background of the G&ta@, answers to your

questions, clarification of your doubts and definitions of the key words, please read my ƒsa>gaIta-×PNa-ramaayaNa’ ISBN 978-1-

897416-43-3). å9æ The true meaning of an original verse, as it is, lies ONLY within Kr>s<n<a’s and Vya@sa's Sanskr<t words, and nowhere else.

It can only be obtained by understanding the original Sam~skr<t words and then deducting your own heartfelt meaning. There is no better way. No translation or commentary is a substitute. For your help, alternate Sam~skr<t words are provided for most of the KEY WORDS. They are your second best guide.

PLEASE treat English meaning of Sam~skr<t text as an approximation only. Do not depend solely on translation and defeat the purpose of this book. Please use it only as a guide, if and when you need help. Giving the English translation is not within the objectives of this book, however, it is provided just to complete the step-by-step flow and proper termination of the process of explanation. Notwithstanding, to render an honest translation in step 5, care is taken to use the same English words given as meaning in step 3 above. It holds good for the entire book.

å10æ Elsewhwre\ ma@maka@h< # my sons ì maamak adj\ = my, mine, belonging to me, belonging to my side ...etc.)

å11æ Elsewhere\ yuyutsavah< # desiring (gerund) ì yauyautsau is not a gerund or verb. It is a desederative adj\ # he who is desirous or eager for the battle.

å12æ Elsewhere\ Samaveta@h< # they are assembled, when they assembled ...etc. (verb). ì samavaetaa: is not a verb. It is a ppp\ adj\ # assembled people, as an adjective. samavaetaa: yauyautsava: maamaka: ikma AkÖva|ta?

å13æ Elsewhere\ Zama|xae%ama = Zama|sya xae%ama _ kÖwxae%ama = kÖrae: xae%ama _

AYa AnauP#upa`-Cndisa gaItaaepainaPad` _ 1.1

(rtnaakr qvaaca)

AnZaOaRIma|ndbaui&oca maiLanaae manasaa taYaa _

qvaaca kaErvaae maU$ae du:Saena saØjaya> na\pa: __ 539/1110 (Za\taraP@¼ qvaaca)

Zama|BaUima: kÖwxae%a> ivaovae Xaata> ih paavanama` _

savae| samaagataasta%a yau&> ktau|> tau Zaaima|kma` __ 540/1110

paaNDvaa: paØca vaIrastae sautaaoca oata maamaka: _

ta%aakÖva|ta ikä ikä tae baRUih tanmae saivastarma __ 541/1110

Sanjaya said (san~jaya uva@c{a saØjaya qvaaca _) 1.2 ±P@Ôa tau paaNDvaanaIkä vyaU$> duyaae|Zanastada _

Aacaaya|maupasaGÐmya rajaa vacanamabaRvaIta` __

dr<s<t>va@ tu pa@n<d<ava@n&kam[ vyu@d<ham[ duryodhanastada@, a@c{a@ryamupasan[gamya ra@ja@ vac{anamabrav&t. ( 1.2 ) (§1) saØjaya: qvaaca _ ±P@Ôa tau paaNDvaanaIkma` vyaU$ma` duyaae|Zana: tada _ Aacaaya|ma` qpasaGÐmya rajaa vacanama` AbaRvaIta` _

san~jayah<: (r\ 19ö4) uva@c{a. dr<s<t>va@ tu pa@n<d<ava@n&kam` (r\ 14ö1) vyu@d<ham` (r\ 14ö1) duryodhanah<: (r\ 18ö1) tada@ (r\ 23ö1) a@c{a@ryam` (r\ 8ö20) upasan[gamya ra@ja@ vac{anam` (r\ 8ö16) abrav&t` ( 1.2 )

(§2) san~jayah<: (m\ 1nom\ sing\ ÿprop\ san~jaya 1.1); uva@c{a (1.25). ìdr<s<t>va@ (ipp\ ind\ ÿ1\þ±oa (to see);

tu (ind\ ÿ6\þtaud` (to strike); pa@n<d<ava@n&kam` (n\ or m\ 2acc\ sing\ ÿtatpu\ pa@n<d<ava@n&ka, paaNDvaanaama AnaIkma

or AnaIk: ÿm\ pa@n<d<ava 1.1 + n\ or m\ ìan&ka (army) ÿ4\þAna (to move); vyu@d<ham` (n\ m\ 2acc\ sing\

ÿppp\ adj\ vyu@d<ha (arrayed) ÿ1\þvah (to carry); duryodhanah<: (m\ 1nom\ sing\ ÿprop\ duryodhana ÿadj\

duryodha ÿind\ dur` ÿ5\þdu (be bad) + f\ yudh` 1.1); tada@ (then) (ind\ ÿpron\ tad`, -that ÿ8\þtana (to spread);

a@c{a@ryam` (m\ 2acc\ sing\ ÿtaddhita\ a@c{a@raya, (guru) Aacaaryaita ya: ÿm\ a@c{a@ra ÿ1\Aaþcar` (to move);

ìupasan[gamya (past-participle lyp\ ind\ ÿ1\qpa-samaþgama (to go); ìra@ja@ (1nom\ sing\ ÿm\ ra@jan` (king)

ÿ1\þraja (to rule); ìvac{anam` (2acc\ sing\ ÿn\ vac{ana (expression) ÿ2\þvaca` (to speek); abrav&t` (said) (3rd-per\

sing\ -past-imper\ LaG BaUtaý parasmai\ ÿ2\þbaRU (to speak) ( 1.2 )

ì dr<s<t>va@ ±P@Ôa, AvaLaaeKya, samaIxya 1.27

ì anikam` AnaIkma, baLa> 1.10, saEnya> 1.7, saenaa> 1.21, camaU> 1.3, vaaihnaIma, dNDma, caÛma, ZvaijanaIma, yaaeZasamaUhma,

pa\tanaama, vaWiYanaIma _

ì upasan[gamya qpasGÐmya, AiBagamya; samaIpa> gatvaa, inak@> gatvaa _

ì ra@ja@ rajaa, janaaiZapa: 2.12, pa\iYavaIpaita: 1.18, mahIpaita:, BaUpaaLa:, BaUpaita:, BaUimandR:, ZaraZaIoa:, narpaita:, pa\YvaIpaaLa:, BaUmaIoa:, BaUimapaita:, nareovar:, naraiZapa:, nareoa:, narendR:, LaaekpaaLa:, Laaek’oa:, LaaeknaaYa:, AvainapaaLa:, AvanaIoa:,

ixataIoa:, ra@, }ndR:, }ravaana, svaamaI, C%apa:, C%apaita: _

ì vac{anam` vacanama, BaaPaNama, qiFma, vyaaharma, vaFvyama, kYanama, inadeoama, vaca: 2.10, Laapama, Lapanama, BaaPaNama,

vaaKya> 1.21, vyaaÊitama _

ì abrav&t` AbaRvaIta, qvaaca see 1.1%) ( 1.2 )

(§3) san~jayah<: (subj\ San~jaya); uva@c{a (said). dr<s<t>va@ (having seen, seeing, beholding); tu (an emphatic

expletive particle; and then); pa@n<d<ava@n&kam` (obj1\ the army of the Pa@n<d<ava/) vyu@d<ham` (adj\-obj1\ strategically arranged, arrayed in phalanx); duryodhanah<: (subj\ Duryodhana); tada@ (at that time); a@c{a@ryam` (obj2\ a@c{a@rya, Dron<a@c{a@rya); upasan[gamya (having approached); ra@ja@ (adj\-subj\ King); vac{anam` (obj3\ the expression); abrav&t` (said). ( 1.2 )

(§4) tada@ dr<s<t>va@ pa@n<d<ava@n&kam` vyu@d<ham` tu upasan[gamya a@c{a@ryam` ra@ja@ duryodhanah<: abrav&t`

vac{anam`

(§5) At that time, beholing the armyå14æ of the Pa@n<d<ava/, arrayed in phalanx, and then having approachedå15æ Dron<a@c{a@rya, King Duryodhana said (this) expression.å16æ ( 1.2 )

... 350 Pages

å14æ Elsewhere\ an&kam # soldiers ì It should be (collective) singular, e.g. army å15æ Elsewhere\ upasan[gamya # went, approached ...etc. (past tense) ì qpasaGÐmya is not a tense. It is a qpa-samaþgama lyp\ ipp\ gerund participle # having gone, having approached.

å16æ Elsewhere\ vac{anam # words, these words (plural) ì vacanama should be translated singular, may be as a colloective singular noun, such as : word, expression, utterance,

statement, wording. The same is true for the word va@kyam` vaaKyama in 1.21 and 2.1; and vac{ah> vaca: in 2.10