Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Ramayana by Valmiki (classic reads txt) 📖
- Author: Valmiki
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Professor M. Williams's English-Sanskrit Dictionary. Indra.
“The second person of the Hindu triad, and the most celebrated and popular of all the Indian deities. He is the personification of the preserving power, and became incarnate in nine different forms, for the preservation of mankind in various emergencies. Before the creation of the universe, and after its temporary annihilation, he is supposed to sleep on the waters, floating on the serpent Śesha, and is then identified with Náráyaṇa. Brahmá, the creator, is fabled to spring at that time from a lotus which grows from his navel, whilst thus asleep.… His ten avatárs or incarnations are:
[pg 523]“1. The Matsya, or fish. In this avatár Vishṇu descended in the form of a fish to save the pious king Satyavrata, who with the seven Rishis and their wives had taken refuge in the ark to escape the deluge which then destroyed the earth. 2, The Kúrma, or Tortoise. In this he descended in the form of a tortoise, for the purpose of restoring to man some of the comforts lost during the flood. To this end he stationed himself at the bottom of the ocean, and allowed the point of the great mountain Mandara to be placed upon his back, which served as a hard axis, whereon the gods and demons, with the serpent Vásuki twisted round the mountain for a rope, churned the waters for the recovery of the amrita or nectar, and fourteen other sacred things. 3. The Varáha, or Boar. In this he descended in the form of a boar to rescue the earth from the power of a demon called ‘golden-eyed,’ Hiraṇyáksha. This demon had seized on the earth and carried it with him into the depths of the ocean. Vishṇu dived into the abyss, and after a contest of a thousand years slew the monster. 4. The Narasinha, or Man-lion. In this monstrous shape of a creature half-man, half-lion, Vishṇu delivered the earth from the tyranny of an insolent demon called Hiraṇyakaśipu. 5. Vámana, or Dwarf. This avatár happened in the second age of the Hindús or Tretáyug, the four preceding are said to have occurred in the first or Satyayug; the object of this avatár was to trick Bali out of the dominion of the three worlds. Assuming the form of a wretched dwarf he appeared before the king and asked, as a boon, as much land as he could pace in three steps. This was granted; and Vishṇu immediately expanding himself till he filled the world, deprived Bali at two steps of heaven and earth, but in consideration of some merit, left Pátála still in his dominion. 6. Paraśuráma. 7. Rámchandra. 8. Krishṇa, or according to some Balaráma. 9. Buddha. In this avatár Vishṇu descended in the form of a sage for the purpose of making some reform in the religion of the Brahmins, and especially to reclaim them from their proneness to animal sacrifice. Many of the Hindús will not allow this to have been an incarnation of their favourite god. 10. Kalki, or White Horse. This is yet to come. Vishṇu mounted on a white horse, with a drawn scimitar, blazing like a comet, will, according to prophecy, end this present age, viz. the fourth or Kaliyug, by destroying the world, and then renovating creation by an age of purity.”
William's Dictionary. Vishṇu.
“A celebrated Hindú God, the Destroyer of creation, and therefore the most formidable of the Hindú Triad. He also personifies reproduction, since the Hindú philosophy excludes the idea of total annihilation without subsequent regeneration. Hence he is sometimes confounded with Brahmá, the creator or first person of the Triad. He is the particular God of the Tántrikas, or followers of the books called Tantras. His worshippers are termed Śaivas, and although not so numerous as the Vaishṇavas, exalt their god to the highest place in the heavens, and combine in him many of the attributes which properly belong to the other deities. According to them Śiva is Time, Justice, Fire, Water, the Sun, the Destroyer and Creator. As presiding over generation, his type is the Linga, or Phallus, the origin probably of the Phallic emblem of Egypt and Greece. As the God of generation and justice, which latter character he shares with the god Yama, he is represented riding a white bull. His own colour, as well as that of the bull, is generally white, referring probably to the unsullied purity of Justice. [pg 524] His throat is dark-blue; his hair of a light reddish colour, and thickly matted together, and gathered above his head like the hair of an ascetic. He is sometimes seen with two hands, sometimes with four, eight, or ten, and with five faces. He has three eyes, one being in the centre of his forehead, pointing up and down. These are said to denote his view of the three divisions of time, past, present, and future. He holds a trident in his hand to denote, as some say, his relationship to water, or according to others, to show that the three great attributes of Creator, Destroyer, and Regenerator are combined in him. His loins are enveloped in a tiger's skin. In his character of Time, he not only presides over its extinction, but also its astronomical regulation. A crescent or half-moon on his forehead indicates the measure of time by the phases of the moon; a serpent forms one of his necklaces to denote the measure of time by years, and a second necklace of human skulls marks the lapse and revolution of ages, and the extinction and succession of the generations of mankind. He is often represented as entirely covered with serpents, which are the emblems of immortality. They are bound in his hair, round his neck, wrists, waist, arms and legs; they serve as rings for his fingers, and earrings for his ears, and are his constant companions. Śiva has more than a thousand names which are detailed at length in the sixty-ninth chapter of the Śiva Puráṇa.”—Williams's Dictionary, Śiva.
“Originally these deities seem to have been personifications of the vapours which are attracted by the sun, and form into mist or clouds: their character may be thus interpreted in the few hymns of the Rigveda where mention is made of them. At a subsequent period when the Gandharva of the Rigveda who personifies there especially the Fire of the Sun, expanded into the Fire of Lightning, the rays of the moon and other attributes of the elementary life of heaven as well as into pious acts referring to it, the Apsarasas become divinities which represent phenomena or objects both of a physical and ethical kind closely associated with that life; thus in the Yajurveda Sunbeams are called the Apsarasas associated with the Gandharva who is the Sun; Plants are termed the Apsarasas connected with the Gandharva Fire: Constellations are the Apsarasas of the Gandharva Moon: Waters the Apsarasas of the Gandharva Wind, etc. etc.… In the last Mythological epoch when the Gandharvas have saved from their elementary nature merely so much as to be musicians in the paradise of Indra, the Apsarasas appear among other subordinate deities which share in the merry life of Indra's heaven, as the wives of the Gandharvas, but more especially as wives of a licentious sort, and they are promised therefore, too, as a reward to heroes fallen in battle when they are received in the paradise of Indra; and while, in the Rigveda, they assist Soma to pour down his floods, they descend in the epic literature on earth merely to shake the virtue of penitent Sages and to deprive them of the power they would otherwise have acquired through unbroken austerities.”—Goldstücker's Sanskrit Dictionary.
“Here is described one of the avatárs, descents or manifestations of Vishṇu in a visible form. The word avatár signifies literally descent. The avatár which is here spoken of, that in which, according to Indian traditions, Vishṇu descended [pg 525] and appeared upon earth in the corporeal form of Ráma, the hero of the Rámáyana, is the seventh in the series of Indian avatárs. Much has been said before now of these avatárs, and through deficient knowledge of the ideas and doctrines of India, they have been compared to the sublime dogma of the Christian Incarnation. This is one of the grossest errors that ignorance of the ideas and beliefs of a people has produced. Between the avatárs of India and the Christian Incarnation there is such an immensity of difference that it is impossible to find any reasonable analogy that can approximate them. The idea of the avatárs is intimately united with that of the Trimúrti; the bond of connection between these two ideas is an essential notion common to both, the notion of Vishṇu. What is the Trimúrti? I have already said that it is composed of three Gods, Brahmá (masculine), Vishṇu the God of avatárs, and Śiva. These three Gods, who when reduced to their primitive and most simple expression are but three cosmogonical personifications, three powers or forces of nature, these Gods, I say, are here found, according to Indian doctrines, entirely external to the true God of India, or Brahma in the neuter gender. Brahma is alone, unchangeable in the midst of creation: all emanates from him, he comprehends all, but he remains extraneous to all: he is Being and the negation of beings. Brahma is never worshipped; the indeterminate Being is never invoked; he is inaccessible to the prayers as the actions of man; humanity, as well as nature, is extraneous to him. External to Brahma rises the Trimúrti, that is to say, Brahmá (masculine) the power which creates, Vishṇu the power which preserves, and Śiva the power which destroys: theogony here commences at the same time with cosmogony. The three divinities of the Trimúrti govern the phenomena of the universe and influence all nature. The real God of India is by himself without power; real efficacious power is attributed only to three divinities who exist externally to him. Brahmá, Vishṇu, and Śiva, possessed of qualities in part contradictory and attributes that are mutually exclusive, have no other accord or harmony than that which results from the power of things itself, and which is found external to their own thoughts. Such is the Indian Trimúrti. What an immense difference between this Triad and the wonderful Trinity of Christianity! Here there is only one God, who created all, provides for all, governs all. He exists in three Persons equal to one another, and intimately united in one only infinite and eternal substance. The Father represents the eternal thought and the power which created, the Son infinite love, the Holy Spirit universal sanctification. This one and triune God completes by omnipotent power the great work of creation which, when it has come forth from His hands, proceeds in obedience to the laws which He has given it, governed with certain order by His infinite providence.
“The immense difference between the Trimúrti of India and the Christian Trinity is found again between the avatárs of Vishṇu and the Incarnation of Christ. The avatár was effected altogether externally to the Being who is in India regarded as the true God. The manifestation of one essentially cosmogonical divinity wrought for the most part only material and cosmogonical prodigies. At one time it takes the form of the gigantic tortoise which sustains Mount Mandar from sinking in the ocean; at another of the
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