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Books > Hindu > Krishna Geetam: Delight of Existence
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Krishna Geetam: Delight of Existence
Krishna Geetam: Delight of Existence
Description
From the Jacket

Krishna Geetam recalls in verse the universally cherished Krishna story set in the cosmic perspective of Vishnu's Ten Incarnation- Fish, Tortoise, Bear, Man-lion to Dwarf-Boy, Parashu Rama, Raghu Rama and Bala Rama- and the prospective Kalki.

The Krishna-theme, deriving from ancient myth, folk-lore and legend, growing in range, dimension and detail in Mahabharata, Harivamsa and Vishnu Purana, achieved a rounded fullness of recordation in Srimad Bhagavatam. But Krishna Geetam is neither translation nor mere abridgement, and is rather meant to stand on its own as a fresh re-telling of the age long Krishna saga for a present-day English readership in India, and perhaps even abroad.

Krishna Geetam lays selective stress on the Child Gokula Krishna, the Boy prodigy drawing upon the powers of his yoga maya, and the ravishing Flute-player of Brindavana, all leading to the Rassa Reveals on a shared Purnima moonlight night, when Radha joins Krishna to lead the Dance with the uncanny evocation of the love Divine, its universality and permanent currency in the Brinda Earthly Paradise.

Radha is central to Krishna Geetam and in a manner quite different from the way the theme has been travestied in certain schools of post-Jayadeva Vaishnavism. In Krishna Geetam Radha is indeed Adya Shakti's Willed descent to collaborate in Krishna's Avatar-mission, and she is verify the heart and soul of the Flute-Call and is alchemic power to blaze forth the love divine and Delight of Existence.

After the Rassa, while Radha and the Flute remain in Brindavana, Krishna moves, first to Mathura and after the killing of Kamsa, shifts to Dwarka and plays the role of prince, Warrior, House-holder, Peace maker, the Gitcharya on the fields of Kaurukshetra, and guides the Pandavas to victory over their Kaurava kinsmen. His avatar role ending, he withdraws from the world when hi is accidentally hit by hunter's arrow.

After Krishna, following the ministry of Mahavira and the Buddha, the Message of the Flute Call – The Gospel of Divine Love- finds inspired Apostles in Vishnuchitta, Gods Devi, Chaitanya Mahaprabhu, and Bhakt Meera. The light of being to the present day when, perhaps, Kalki is poised to usher in the decreed New Dawn and the sunrise of human concord and Delight of Existence.

About the Author

Born on 17 April, 1908, K.R. Srinivasa Iyengar took his M.A. and D.Litt. from madras university , taught at Valvettiturai, Belgaum and Bagalkot, and moved to Andhra University, Waltair, in 1947 as Professor of English, and was Vice-Chancellor in 1966-68. Elected Vice President, Sahitya Academy, in 1969, retired as Acting President in 1978. He was member, Press Council of India, 1971-75.

Prof. Iyengar was elected Hon. Member of Modern Language Association in 1984, fellow of Sahitya Academy in 1985, Vice President, P.E.N. All India Centre in 1987, and Hon. Member of Authors; Guild of India in 1993. He has received the D. Litt. Honoris causa from Andhra, Sri Venkateswara and Nagarjuna Universities. He is Adhishtata of Sri Aurobindo Ashram, and recipient of Dr. Kalidas Nag Memorial Medal, and of the Dr. B.C. Roy national Award in 1991 for eminence in Letters.

He has contributed numerous learned papers and reviews, many of which are collected in The Adventure of Criticism, Mainly Academic, Two Cheers for the Commonwealth, A Big Change, and Dawn to Greater Dawn. Several of his contributions appear in New Catholic Encyclopaedia and Encyclopaedia of Indian Literature.

Late in life, Prof. Iyengar has turned to lyric and narrative verse beginning with Tryst with the Divine (1974), and followed by Leaves from a Log and Australia Helix, and the massive Sitayana (1987) and Saga of Seven Mothers (1991). His verse rendering of the Sundara Kanda Presents it as the Epic Beautiful. Prof. Iyengar has translated also Devi Mahatmayam and Atma Bodha from Sanskrit; Tirukkural, Tiruandiram and Tiru-Arutpa from Tamil; and the Vachanas of Basava and Akka Mahadevi.

He chaired the All India English Teachers Conference at Jaipur and has attended many seminars and Conferences in India and abroad. He represented Indian at the PEN- UNESCO sponsored East West Symposium in Tokyo-Kyoto in 1957, and was Visiting Professor in 1959 at the University of Leeds. He has given Foundation Lecture in Indian Universities and under the auspices of various cultural or ganisations

CONTENTS
Preface vii
Contents xi
Introduction xiv
Prologue
Canto
1 On the Sand Dunes xxxv
2 New Times, New Mores xxxvii
3 In and out of the Temple xxxix
4 Introspection; Nitya's Discourse xli
5 Face to Face with Nitya xliv
6 Delight of Existence: Krishna's Flute xlvi
7 A Project, with Benediction l
Invocation To the Child Divine liv
BOOK ONE DIVINE DESCENTS
Canto
1 Suka's Coming to Parikshit 3
2 Why Incarnations 8
3 Fish-Tortoise-Wild Boar 14
4 Man-Lion 27
5 Vamana- Trivikrama 32
6 Rama with the Battle-Axe 36
7 The Rama- Sita Manifestation 40
BOOK TWO GOKUL-KRISHNA
Canto
1 Ramarajya and after: the Asuric Upsurge 49
2 Devaki and Vasudeva 52
3 Birth of Balarama and Krishna 56
4 Growing up in Gokula 64
5 Naughty Child or Infant Prodigy 69
6 Tied to a Mortar 74
7 The Naming Ceremony 76
BOOK THREE THE FLUTE-PLAYER OF BRINDAVAN
Canto
1 The move to Brindavan 85
2 Kamsa's Emissaries of Death 87
3 A Lesson for Brahma 90
4 Dance on Kaliya's Head 99
5 Pralamba's End, and a Lesson for Agni 103
6 Sharad and the Flute-Call 107
7 Govardhana, and a Lesson for Indra 117
BOOK FOUR BELOVED OF THE GOPIS
Canto
1 The Sacramental Flute-Call 123
2 The boat-ride on the Yamuna 125
3 The Divine Flute Player 131
4 Priest Garga and Nandagopa 136
5 Autumn Again, the Flute-Call and the Gopis Response 140
6 Krishna and the Gopis 144
7 Rhapsodies on an Autumnal Night 152
BOOK FIVE RADHA AND RAASA REVELS
Canto
1 The Sacramental Sublime 159
2 Enter Radha 161
3 The Call of the Flute 164
4 Krishna and Radha 167
5 The Raasa Dance 170
6 Parikshit's Query and Suka's Answer 173
7 A new Dawn; Radha and Krishna 177
BOOK SIX MATHURA-DWARAKA
Canto
1 Akroora's Mission 187
2 Gloom in Brindavan: Krishna and Yasoda 189
3 Krishna's Leave- taking of Radha 196
4 Mathura 205
5 The Death of Kamsa, and After 208
6 Krishna's Message to the Gopis 210
7 Dwaraka 211
BOOK SEVEN AFTER KRISHNA
Canto
1 Vardhamana Mahavira 223
2 Gautama Buddha 227
3 The Iron Age: Roads to Liberation 235
4 Vishnuchitta and Goda Devi 242
5 Goda Devi in Srirangam 253
6 Chaitanya Mahaprabhu 261
7 Bhakt Meera 271
ENVOI
Ananda Yoga
EPILOGUE
Canto
1 After Meera 287
2 Radha in Brindavana 288
3 The Hardening Iron Age 290
4 Introspection 293
5 Mother Mirra 299
6 With Nitya and the Muni 302
7 Kalki and Next Future 306
Notes 313
Appendix Additional Notes on Radha Krishna 321
Select Bibliography 323

Krishna Geetam: Delight of Existence

Item Code:
IDH636
Cover:
Paperback
Edition:
1994
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Size:
8.5" X 5.5"
Pages:
324
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From the Jacket

Krishna Geetam recalls in verse the universally cherished Krishna story set in the cosmic perspective of Vishnu's Ten Incarnation- Fish, Tortoise, Bear, Man-lion to Dwarf-Boy, Parashu Rama, Raghu Rama and Bala Rama- and the prospective Kalki.

The Krishna-theme, deriving from ancient myth, folk-lore and legend, growing in range, dimension and detail in Mahabharata, Harivamsa and Vishnu Purana, achieved a rounded fullness of recordation in Srimad Bhagavatam. But Krishna Geetam is neither translation nor mere abridgement, and is rather meant to stand on its own as a fresh re-telling of the age long Krishna saga for a present-day English readership in India, and perhaps even abroad.

Krishna Geetam lays selective stress on the Child Gokula Krishna, the Boy prodigy drawing upon the powers of his yoga maya, and the ravishing Flute-player of Brindavana, all leading to the Rassa Reveals on a shared Purnima moonlight night, when Radha joins Krishna to lead the Dance with the uncanny evocation of the love Divine, its universality and permanent currency in the Brinda Earthly Paradise.

Radha is central to Krishna Geetam and in a manner quite different from the way the theme has been travestied in certain schools of post-Jayadeva Vaishnavism. In Krishna Geetam Radha is indeed Adya Shakti's Willed descent to collaborate in Krishna's Avatar-mission, and she is verify the heart and soul of the Flute-Call and is alchemic power to blaze forth the love divine and Delight of Existence.

After the Rassa, while Radha and the Flute remain in Brindavana, Krishna moves, first to Mathura and after the killing of Kamsa, shifts to Dwarka and plays the role of prince, Warrior, House-holder, Peace maker, the Gitcharya on the fields of Kaurukshetra, and guides the Pandavas to victory over their Kaurava kinsmen. His avatar role ending, he withdraws from the world when hi is accidentally hit by hunter's arrow.

After Krishna, following the ministry of Mahavira and the Buddha, the Message of the Flute Call – The Gospel of Divine Love- finds inspired Apostles in Vishnuchitta, Gods Devi, Chaitanya Mahaprabhu, and Bhakt Meera. The light of being to the present day when, perhaps, Kalki is poised to usher in the decreed New Dawn and the sunrise of human concord and Delight of Existence.

About the Author

Born on 17 April, 1908, K.R. Srinivasa Iyengar took his M.A. and D.Litt. from madras university , taught at Valvettiturai, Belgaum and Bagalkot, and moved to Andhra University, Waltair, in 1947 as Professor of English, and was Vice-Chancellor in 1966-68. Elected Vice President, Sahitya Academy, in 1969, retired as Acting President in 1978. He was member, Press Council of India, 1971-75.

Prof. Iyengar was elected Hon. Member of Modern Language Association in 1984, fellow of Sahitya Academy in 1985, Vice President, P.E.N. All India Centre in 1987, and Hon. Member of Authors; Guild of India in 1993. He has received the D. Litt. Honoris causa from Andhra, Sri Venkateswara and Nagarjuna Universities. He is Adhishtata of Sri Aurobindo Ashram, and recipient of Dr. Kalidas Nag Memorial Medal, and of the Dr. B.C. Roy national Award in 1991 for eminence in Letters.

He has contributed numerous learned papers and reviews, many of which are collected in The Adventure of Criticism, Mainly Academic, Two Cheers for the Commonwealth, A Big Change, and Dawn to Greater Dawn. Several of his contributions appear in New Catholic Encyclopaedia and Encyclopaedia of Indian Literature.

Late in life, Prof. Iyengar has turned to lyric and narrative verse beginning with Tryst with the Divine (1974), and followed by Leaves from a Log and Australia Helix, and the massive Sitayana (1987) and Saga of Seven Mothers (1991). His verse rendering of the Sundara Kanda Presents it as the Epic Beautiful. Prof. Iyengar has translated also Devi Mahatmayam and Atma Bodha from Sanskrit; Tirukkural, Tiruandiram and Tiru-Arutpa from Tamil; and the Vachanas of Basava and Akka Mahadevi.

He chaired the All India English Teachers Conference at Jaipur and has attended many seminars and Conferences in India and abroad. He represented Indian at the PEN- UNESCO sponsored East West Symposium in Tokyo-Kyoto in 1957, and was Visiting Professor in 1959 at the University of Leeds. He has given Foundation Lecture in Indian Universities and under the auspices of various cultural or ganisations

CONTENTS
Preface vii
Contents xi
Introduction xiv
Prologue
Canto
1 On the Sand Dunes xxxv
2 New Times, New Mores xxxvii
3 In and out of the Temple xxxix
4 Introspection; Nitya's Discourse xli
5 Face to Face with Nitya xliv
6 Delight of Existence: Krishna's Flute xlvi
7 A Project, with Benediction l
Invocation To the Child Divine liv
BOOK ONE DIVINE DESCENTS
Canto
1 Suka's Coming to Parikshit 3
2 Why Incarnations 8
3 Fish-Tortoise-Wild Boar 14
4 Man-Lion 27
5 Vamana- Trivikrama 32
6 Rama with the Battle-Axe 36
7 The Rama- Sita Manifestation 40
BOOK TWO GOKUL-KRISHNA
Canto
1 Ramarajya and after: the Asuric Upsurge 49
2 Devaki and Vasudeva 52
3 Birth of Balarama and Krishna 56
4 Growing up in Gokula 64
5 Naughty Child or Infant Prodigy 69
6 Tied to a Mortar 74
7 The Naming Ceremony 76
BOOK THREE THE FLUTE-PLAYER OF BRINDAVAN
Canto
1 The move to Brindavan 85
2 Kamsa's Emissaries of Death 87
3 A Lesson for Brahma 90
4 Dance on Kaliya's Head 99
5 Pralamba's End, and a Lesson for Agni 103
6 Sharad and the Flute-Call 107
7 Govardhana, and a Lesson for Indra 117
BOOK FOUR BELOVED OF THE GOPIS
Canto
1 The Sacramental Flute-Call 123
2 The boat-ride on the Yamuna 125
3 The Divine Flute Player 131
4 Priest Garga and Nandagopa 136
5 Autumn Again, the Flute-Call and the Gopis Response 140
6 Krishna and the Gopis 144
7 Rhapsodies on an Autumnal Night 152
BOOK FIVE RADHA AND RAASA REVELS
Canto
1 The Sacramental Sublime 159
2 Enter Radha 161
3 The Call of the Flute 164
4 Krishna and Radha 167
5 The Raasa Dance 170
6 Parikshit's Query and Suka's Answer 173
7 A new Dawn; Radha and Krishna 177
BOOK SIX MATHURA-DWARAKA
Canto
1 Akroora's Mission 187
2 Gloom in Brindavan: Krishna and Yasoda 189
3 Krishna's Leave- taking of Radha 196
4 Mathura 205
5 The Death of Kamsa, and After 208
6 Krishna's Message to the Gopis 210
7 Dwaraka 211
BOOK SEVEN AFTER KRISHNA
Canto
1 Vardhamana Mahavira 223
2 Gautama Buddha 227
3 The Iron Age: Roads to Liberation 235
4 Vishnuchitta and Goda Devi 242
5 Goda Devi in Srirangam 253
6 Chaitanya Mahaprabhu 261
7 Bhakt Meera 271
ENVOI
Ananda Yoga
EPILOGUE
Canto
1 After Meera 287
2 Radha in Brindavana 288
3 The Hardening Iron Age 290
4 Introspection 293
5 Mother Mirra 299
6 With Nitya and the Muni 302
7 Kalki and Next Future 306
Notes 313
Appendix Additional Notes on Radha Krishna 321
Select Bibliography 323
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