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lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  39 àdmg¶mÌm dU©Z bo.Vr.J§. ¶‘wZm~mB© JmoIbo (1926) am. X. amZS>o, nwUo, 6/1/1926 nwT>rb nwñVH$ H$miOrnyd©H$ dmMb| AgVm§, Ag| AmT>iyZ ¶oB©b H$s¨, ¶m nwñVH$mÀ¶m J«§WH$˶m© Vr. J§. ¶‘wZm~mB© JmoIbo ¶m§Zr qhXþñWmZm§Vrb ~hþVoH$ gd© VrWo] nmXmH«$m§V Ho$bt AmhoV. VrWmªg OmU| åhUOo EH$ ‘moR>m nwʶ‘mJ© Amho Ag| ~è¶mM H$min¶ªV bmoH$m§g dmQ>V hmoV|. VWm{n \"\"OoW| VoW| Ym|S>m nmUr & CJmM dUdU qhS>mo{Z H$m¶ hmoV|'' øm am‘Xmgm§À¶m Cº$sà‘mU| Xod gm§nS>ʶmg VrWm©g OmʶmM| H$maU ZgyZ \"\"R>m¶tM ~¡gmo{Z H$am EH${MÎm'' øm VwH$mam‘m§À¶m Cº$sà‘mU| Xod Amnë¶m Am§VM emo{Ybm AgVm§ Vmo ~mhoahr {Xgob h| Oar Ia| Amho VWm{n VrW©¶mÌog Joë¶mnmgyZ ZmZmàH$maMo Xoe, ZmZmàH$maÀ¶m ^mfm, ZmZmàH$maMo bmoH$ nmhʶm§V ¶oD$Z {dídmÀ¶m OJL²>ì¶mi ñdê$nmMr WmoS>r~hwV Var H$ënZm ¶oVo. \"Hy$n‘§Sy>H$' ݶm¶mZ| Amnë¶m OmVrMo, Amnë¶m Hw$bmMo, qH$~hþZm Amnë¶m Y‘©H$ënZm§Mo gwÕm g§Hw${MVËd Amnë¶m ܶmZm§V ¶oD$Z Amnbr Ñ{ï> {demb hmoVo. {edm¶ Vr. ¶‘wZm~mB© JmoIbo øm§Zt åhQ>ë¶mà‘mUo g§gmamM| Xþ:I {dgaʶmg VrW©¶mÌoMr WmoS>r~hþV Var ‘XV hmoVo. EH$mM 춺$sH$Sy>Z BV³¶m VrW©¶mÌm H$em Pmë¶m Aem àH$maMm AM§~mhr h| nwñVH$ dmMyZ dmQ>ë¶m{edm¶ amhUma Zmht. øm nwñVH$mÀ¶m J«§WH$˶m© ‘moR>çm MmUmj AgyZ ˶m§M| ^mfodarb à^wËdhr WmoS>çm ~hþV arVrZ| nwT>rb nwñVH$mdê$Z H$iyZ ¶oʶmOmoJ| Amho. h| nwñVH$ {b{hʶmMo H$m‘t ˶m§g am. e§H$aamd Y‘m©{YH$mar ¶m§Mr d BVa ‘§S>itMr Or ‘XV Pmbr ˶m~Ôb ˶m§Mo Am^ma ‘mZU| ˶m§g ¶wº$ AmhoV. Aem àH$maM| nwñVH$ ‘wbm‘wbtÀ¶m ZOaoImbt Joë¶mg, AJa øm nwñVH$mMm ‘wbm‘wbtÀ¶m Aä¶mgH«$‘m‘ܶo§ g‘mdoe Pmë¶mg, ˶m§Mr Ñ{ï> {demb hmoB©b ¶m§V g§e¶ Zmht. nwñVH$mMr ^mfm MQ>H$Xma Amho, d dU©Zhr n[a{‘V Amho. ¶m H$maUmZ| nwñVH$dmMZmMr C‘oX eodQ>n¶ªV A~m{YV amhrb ¶m§V g§e¶ Zmht. øm nwñVH$mMr Xþgar Amd¥{Îm H$mT>ʶmMm àg§J Amë¶mg J«§WH$Vug H$m§ht H$m§hr§ Jmoï>r WmoS>çm ~hþV {dñVmamZ| {b{hʶmg gm§nS>Vrb Aer ˶m§Mr C‘oX Amho. hm ˶m§Mm ‘ZmoX¶ g’$b hmodmo Aer BÀN>m àX{e©V H$ê$Z hr àñVmdZm nwar H$aVm|. nwU| am. X. amZS>o 6&1&26

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  40 Introduction to Indian Philosophy JWALA PRASAD, M.A. ALLAHABAD THE INDIAN PRESS, LTD. 1928 Prof. Jwala Prasad, M.A., of Robertson College, Jubbulpore, has laid the student- world under deep obligation by writing a concise and trenchant account of Indian philosophy, which, as is now well-known, most of the Indian universities have prescribed in their B.A. curriculum, so that the students might make a comparative study of Indian philosophy along with that of Western philosophers. The volumes written on Indian philosophy by Professors Radhakrishnan, Das Gupta, Belwalkar and the rest, are meant more for scholars, who want to carry on their researches in the higher fields of Indian philosophy. Thus, at most, they could be used as reference books by those who are making their first acquaintance with Indian philosophy at the B.A. The B A students of Indian universities who want to take a pass degree in Indian philosophy have not the patience or the leisure to study these great works. For them, what is wanted is a concise statement of the whole subject which would enable them to refresh their memories, and which would create an intelligent interest in them for further studies. There are very few concise manuals of Indian philosophy of this kind. Prof. Jwala Prasad has done great service in writing a book which might be regarded as probably the most suitable introduction among these to this difficult subject. Within the short compass at his disposal, Prof. Jwala Prasad has done his work ably. He touches even the most difficult points in these systems and treats them in a concise manner. His account of Jainism, Buddhism, and Nyaya might be regarded as instances in point. We could have wished that the account which the author gives of the Vedantic systems was more detailed. But let us hope that Prof. Jwala Prasad will remedy this in a later edition of his book. We are indeed glad to see that Prof. Jwala Prasad is going to England for further studies in Indian philosophy, and are also glad that he would be taking up there for his research work the subject of ''Indian Epistemology'', which he has been cherishing for a long time past, and upon which there are very few standard treatises. Let us hope that Prof. Jwala Prasad's work would be a distinct contribution to this subject, especially as he knows the texts of Indian philosophy at first hand, is fully conversant with the methods of European philosophy, and will be under the training of the great savants of philosophy in the West. We wish him a happy and prosperous career, and we also wish that Prof. Jwala Prasad on his return would be able to incorporate parts of his research work on Indian Epistemology in his second edition of the present work. The Glossary of terms in Indian Philosophy, as well as the Bibliography of works on Indian Philosophy, which Prof. Jwala Prasad gives towards the end of this book, will be found highly useful by the students. University ofAllahabad, R. D. Ranade 31stAugust, 1928

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  41 Ellora A Handbook of Verul (Ellora Caves) Shrimant Balasaheb ELLORA A HANDBOOK OF VERUL (ELLORA CAVES.) BY Shrimant Balasaheb Pant Pratinidhi, B. A., CHIEF OF AUNDH. This Edition is limited to one thousand copies Printed by B. S. Purohit at The AUNDH STATE Press published by D. B. TARAPOREVALA Sons & Co. VERUL FOREWORD I feel it a great privilege to be asked to write a brief Foreword to this volume on ''Verul.'' I do not consider myself as any specialist in the subject of discussion in this volume; but my great respect for the work which Shrimant Balasaheb Pant Pratinidhi, Chiefsaheb of Aundh, has been carrying on in this direction, tempts me to write a few brief words. It is well known to all Scholars of Literature and Art what great interest the Chiefsaheb has been taking in these matters, and as a sublime illustration of his combined interest in these two great fields, we have his edition of the Mahabharata, philologieally and collationally accurate, and beautifully illustrated with his own pictures, which is being published by the Bhandarkar Institute, Poona, with his munificent help. The Chiefsaheb has an idea that if we could go back to the earliest specimens of Art and Architecture in India, especially as embodied historically in the great work on Sculpture, Architecture, and Painting

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  42 which have been left to us by our ancestors of two or three thousand years ago, it might help us in arriving at, as nearly as possible, the manners, customs, dresses, ideas and so forth of the times of which our great epics of the Mahabharata and the Ramayana speak. With this end in view, as well as with an innate desire for spreading broadcast the knowledge of the great Art treasures of India, the Chiefsaheb has been tempted to bring out books of this kind, descriptive of works on Art, such as those at ''Verul'', ''Ajanta'', ''Badami'' and so forth so that in course of time, these might from a series of Art-volumes, embodying the personal reflections of a great Art-critic like the Chiefsaheb himself. For such a task the Chiefsaheb has got super-abundant qualifications. He is an accurate Sanskrit scholar, has an undiminishable interest in India's past, is a great artist himself, and has, in addition, both the leisure and the competence to bring to the notice of the people the great Art-treasures of India's past. Plato was talking of a ''Philosopher King''. Here we have an artist, a litterateur and a patriot, all combined in one; and from this point of view, it may surely be said that these volumes, when they come to the light of day, will win for the Chiefsaheb a high place among India'sArt-critics. Undoubtedly, the work under consideration at present is a valuable addition to the already existing literature on Verul. Those who are even casually acquainted with the past glories of India will little believe in the common and ignorant criticism by some superficial writers that India is a land incapable of anything great. In the various branches of human activity, such as religion, philosophy, architecture, sculpture, painting, empire-building, administration, etc., India has shown a wealth of genius that can compete with that of any other proud nation in the history of the world. Of the glories that stand at once as the monuments of Indian genius in the past, as witnesses of her decadence in the present, and as the inspiration of the renaissance that is already on us, the Cave temples of Verul are certainly very prominent. These caves which serve as landmarks in the development of Indian architecture and sculpture, are a product of the harmonious welding together of the two cultures, the Aryan and the Dravidian, with probably a predominance of the latter over the former. The Aryan was the conqueror in many respects, but was also the conquered in other resqeets and in architecture and sculpture he was also a borrower from the great builders of the south. A rehitecture as a useful art is indeed very ancient. The construction of even the rudest thatched cottage of the wildest man presupposes some rudimentary knowledge of architecture, while sculpture is decorative in its origin, essence and motive. Architecture is the older of the two, though it is not always a fine art, while

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  43 sculpture is always one. Architecture can claim to be a fine art only when it rises above the necessities of the situation, and employs itself purely for the purposes of decoration, design and joy. All fine art is its own end in the sense that it exists for the sake of the joy it gives to the artist as well as to the lover of art, as distinguished from the use that it may be put to. The creation of Rasa, joy-giving beauty, out of or on any material in nature is the principal aim of any art whatsoever, and the Indian artist had this predominant motive always in view. In fact, this was his urge and inspiration, as it was of all the greatest artists in the world. Some writers on Indian art are inclined to say that there was very little secular art in India, and that the Indian artist was very little swayed by popular themes. But this is a view quite contrary to facts. No doubt, the religious impulse dominated in India, and the artist rose to his highest when to the motive of creating beauty was added the devotion of an aspiring soul. But that only meant that the artist was at his best when he worked on divine themes, but it could little prove that he had no secular art. In fact, fine art is neither secular nor religious; it is the purpose for which it is used that makes it either of these. Moreover, when the Indian artist worked on Puranic themes he was already using his art for popular purposes and was in a way secularising it. Many of the existing Ajantan paintings are purely secular, sometimes even bacchanalian. To look only at the art of the Sistine Chapel and the Vatican and to pass a remark that the Christian artists of Europe did not employ their skill for secular purposes would be as partial and as unjustifiable. The cave temples of Verul are in more ways than one very important as art treasures of India. They are at once the shrines of the Hindus, the Jains, and the Buddhists, as well as the art galleries of the Indian artists in the matter of architecture and sculpture, and also in the matter of painting to a slight extent. Much of the painting has worn away and what remains in the Ranga Mahal as neither the charm, nor the power, nor the depth of Ajantan paintings. But it is clear that the designers of these panels intended them to be a complete and ideal set of art monuments, rather than one-sided and partial buildings of some sort. The history of these caves goes back to the 6th century A. D. Scholars like James Fergusson have come to the conclusion that the construction of the caves should be placed between 500-1100 A. D.; the Buddhistic caves coming first between 500-650 A. D., followed by the Hindu caves between 650-800 A.D., and finally by the Jain caves between 800-1100A.D. There is no doubt that Hinduism owes a deep debt to Buddhism in more respects than one, and though seemingly it has driven it out of India it has absorbed more of it than any other country. Just as we can say that the Buddha democratised religion by

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  44 preaching it to the masses in the then current Pali tongue, so too we can assert that Buddhism gave the greatest impetus to Indian art. Hinduism was wise enough to take advantage of this impetus, and to assimilate what Buddhism taught. Thus we see that though the beginnings of great art in India have been Buddhistic, soon enough when Buddhism itsefl became a stranger in the land of its birth, Hinduism was left in possession of the knowledge or art that had been thus accumulated, and it worked out in its own way its future development. Every visitor to the Verul caves is sure to be struck by one cave more than by any other, and that is the cave of Kailasnath. One can say without demur that it is the biggest and the most beautiful of all the caves, and combines in itself all the best elements of a great art. It has been definitely ascribed to the reign of king Krishna I, (757-783 A.D.) of the Rashtrakutas, who ruled at Malkhed in the Kanarese country. He was the successor of Dantidurga, who defeated Kirtivarma II, the Chalukyan prince, who ruled at Badami in the Bijapur District. The style in which the temple has been carved is called Vesara or the Chalukyan style. Many of the writers on this Kailasa cave say that it is carved after the temple of Virupaksha at Paitadkal in the Bijapur District built by Lakka Mahadevi, the queen of the Chalukyan king Vikramaditya (733-747 A.D.). That temple, however, in its own turn is said to be on the model of the Kailasanatha temple at Kanchi, which is in the Pallava style, and was built during the reign of Rajasinheshwar in the 7th century. Thus the temple of Kailasa at Verul has a pedigree which claims to combine the Dravidian and Chalukyan styles. But there is no doubt that the structure is mainly and predominantly Chalukyan. The Chalukyan style is so called after the Chalukyan dynasty that ruled at Badami (Vatapi) in the Bijapur District from 550 A. D. to the middle of the eighth century. The style was a creation of the artists round about Badami, and it was a harmonious combination of the Nagara and the Dravida styles with a number of original features superadded. Messrs. M.A. Anthalwar and Alexander Rea have very finely summarised the characteristics of that style in their book on Indian architecture. Looked at from that point of veiw, the Kailasa temple, though a carved cave, has all the features of a temple built in the open; because it is carved free from the rock both from inside and outside. That is a peculiarity unique in itself, and we have not heard of any such free-standing carved temple ixisting in any part of the world. Except the Shikharam which is Dravidian, everything belonging to this cave temple is Chalukyan. We need not give a complete description of the temple here; for that we would rever the readers to the description in the accompanying volume. We shall, however, crave

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  45 the indulgence of our readers to make excerpts here from two estimates of the great Art-critics, James Fergusson and Dr. A. Coomarswamy. Fergusson says ''Kailasa is itself one of the most singular and interesting monuments of architectural art in India. The floor of the whole temple is 280 x 160 ft. In the rectangular court stands s VIMANA 96ft. high, in front of which is a large porch supported by 16 columns''. Dr. A. Coomarswamy says, ''The Kailasnatha cave has been decorated with some of the finest and boldest sculpture compositions in India. In no other art, geotectonic conceptions have been visually realised with any such pwoer as here.'' If we take a general view of the group of caves and particularly of the Kailasa cave we are struck by the choice of the site and the rock, by the grand design laid by the patient carvers, by the bold mythological themes depicted, by the devotion that must have prompted the designers to pour money like water for accomplishing these things in art. The creative imagination that first visualised such a great temple as that of Kailasa in the rough solid block of granite at Verul must really have belonged to that of a Mastermind. The hands that actually wrought the idea out with the patient skill of gold-smiths and brought shape to such a monument are well worthy of the highest laurels in the world of art. These monuments have stood there from 8 to 13 centuries, defying the ravages of time, and still more tha ravages of iconoclasts. To whatever faith one may belong, and with whatever intensity one may believe in it, one has absolutely no right to destroy or injure the works of art and the places of worship belonging to the people of other faiths and other religions. Each of the three faiths, Budhism, Hinduism, Jainism, struggled with one another, but let it be said to their eternal credit, that they never tried to demolish or injure the monuments of their rival faiths. On the other hand, they often tried to preserve, emulate, and surpass them. The Indian race being an essentially artistic one, did not allow itself to be blinded by religious fanaticism, and did not destroy the art-treasures of the various sects. That is why we can see the work of artists continued through generations and centuries both in Ajanta and Verul, whoever the princes that ruled, and whatever the faiths that prevailed in the land. That is also why these caves stand to-day both as temples of toleration, and as sentinels guarding and preserving theArt-culture of India. With the short time at his disposal, the Chiefsaheb has taken photographs of the most significant parts of the caves approachable by the camera, and has embodied them in this book with apt descriptive notes. The descriptions give us just hwat we want about the photographs given , and are sufficient to give us an insight into the art value and knowledge of the things there. But after all, no mere descriptions, however good and complete in themselves, can give satisfaction to the mind about the art at Verul. An

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  46 actual visit alone can repay us our troubles; the best descriptions can, at best, intensify our desire to visit the caves personally and I am sure the present volume surely accomplishes the task. The Chiefsaheb, to our mind, has opened a new line by not restricting himself to the art-aspect only of the caves at Verul. No doubt the main interest and the predominant theme is the art. But his outlook is wider and opens to the student a few new lines of research, which have not been hitherto touched by any other writer on Verul. The Chiefsaheb gives food for the student of our Puranas, of our customs and manners, of the differences between the Aryan and Dravidian modes of wearing dresses. He throws out hints to the historian, as well as to the student of iconography. Hence this book makes a wider appeal and urges us to study Verul and its art from more points of view than we are accustomed to. In some places, the Chiefsaheb has argued that the art of Verul is Dravidian, in so far as the custom of wearing clothes is distinctly Dravidian, as compared to the customs and fashions of figures in Sanchi and Barhut which are Aryan. His interpretation of the supple yet strong and soft yet powerful limbs of sculptured figures in Indian art as different from the predominantly muscular Grecian and Roman figures, is certainly noteworthy. We wish he had developed some of these points more, though he has given us sufficient indications to show that the art-treasures are not merely art- treasures but are also important from the point of view of history, sociology and iconography, and that they can be made to reveal to us many more secrets than they were yet suspected to hold. We also wish very much that the Chiefsaheb developed at a later stage, either in a second edition of this volume or in the further volumes of the series, his idea that all the nine Rasas or Emotions have been carved in stone in these works of Art. From that point of view, his work would be useful to students of the Psychology of Aesthetics also. Altogether, the Chiefsaheb has very successfully shown how to interpret Art in its bearings on Religion, History, Antiquities, Sociology, and so forth, and has given to the world a very valuable volume on ''Verul'', and we assure him that we are all expectantly looking to the other volumes in the series, especially the next one on ''Ajanta'', on the paintings of which he has bestowed so much trouble and money, and which, when it is brought to the notice of the world in a few more months' time, will surely win for the volume a high place among works descriptive of paintings in any part of the world. Nimbal R. D. Ranade 27th Nov. 1929

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  47 A^§J‘mbm bo. lr‘§V amO‘mVm nwVimamOogmho~ S>’$io, g§ñWmZ OV, (1935) am. X. amZS>o, à¶mJ, ‘hm{edamÌ, Vm. 6/1/1926 lr‘§V amO‘mVm nwVimamOogmho~ S>’$io g§ñWmZ OV ¶m§Zt Ho$boë¶m ¶m Aï>moÎmaeV A^§Jm§g àñVmdZm {b{hʶmg ‘bm ’$ma AmZ§X dmQ>Vmo. nwñVH$mMr ^mfm gmonr d öX¶§J‘ AgyZ à˶oH$ A^§Jm‘ܶ| ˶m§M| Xodmdarb ào‘ ѽJmoMa hmoV AmhoV. {H$˶oH$ A^§J BVHo$ CÎm‘ Pmbo AmhoV H$s¨, ˶m§Mo eodQ>Mo MaUm§V \"\"VwH$m åhUo'' ho eãX KmVbo Va à˶j VwH$mam‘mZ| Ho$boë¶m A^§JmV d ¶m A^§Jm§V H$m§htM ’$aH$ {XgyZ ¶oUma Zmht. OJmÀ¶m Xþ:ImZ| hmoaniyZ Joë¶m‘wi| ˶m§Mr XodmH$S>o Or EH$‘¶ d¥{Îm Pmbr ˶m d¥ÎmrMm n[aUm‘ åhUOo hr àñVwVMr ^{º$‘¶ H${dVm hmo¶. àñVwV àñVmdZm boIH$mÀ¶m bhmZnUmnmgyZ ˶mg g§ñWmZ \"\"OV'' ¶m Zm§dm‘ܶ| EH$ na‘mWm©Mr OmXÿ ^abr Amho Ag| dmQ>V hmoV|. ˶mMo Jwê$ lr.^mD$amd ‘hmamO ho g§ñWmZ OV Imbrb C‘Xr Jm§dMo Xoenm§S>o hmoV. ˶m§M| OmU|¶oU| Zoh‘t OVog hmoV Ago. H¡$. lr‘§V am‘amd Am~mgmho~ amOo ¶m§g gZ 1922 gmbt ^oQ>ʶmMm àñVwV boIH$mg EH$Xm§ ¶moJ Ambm hmoVm. Oar ˶mdoiog ‘mOr Mr’$gmho~ ¶m§Mm WmoS>mgmM n[aM¶ àñVwV boIH$mg Pmbm, Var ˶m§M| gm¡Oݶ, ˶m§Mm ‘Z{‘imD$nUm d ˶m§M| YramoXmÎm dV©Z ¶m§Mm àñVwV boIH$mg WmoS>m Var n[aM¶ Pmë¶m§dmMyZ am{hbm Zmht. {ZK©¥U H$mimZ| ˶m§g ˶m§À¶m Aënm¶wî¶m‘ܶ|M AmË‘gmV² Ho$ë¶mZ| ˶m§À¶m hmVyZ g§ñWmZMm d àOoMm CËH$f© H$aʶmMr Or ˶m§Mr ‘Zrfm hmoVr Vr ˶m§Mo {Ma§Ord lr‘§V {dO¶qghamd amOo g§ñWmZ OV ¶m§À¶mH$Sy>Z nyU© Pmë¶mdm§MyZ amhmUma Zmht. Á¶m g§ñWmZm‘ܶ| lr. ^mD$amd ‘hmamO ¶m§À¶mgmaIo gËnwéf {Z‘m©U Pmbo, ˶m g§ñWmZM| ^m½¶ CX¶mg Amb|M nm{hOo. ¶m OJm‘ܶo n[anyU© H$moUrhr Zmht, hr ^mdZm Amnë¶m öX¶m§V dmJdrV Joë¶mZ| d B©œamda {dœmg R>odyZ amÁ¶àn§M AJa ImgJr àn§M MmbdrV Joë¶mZ| Xodmg CËH$fm©Mm {Xdg XmIdmdm bmJobM. lr‘§V amO‘mVm nwVimamOogmho~ OV ¶m§Zt Amnë¶m nwÌmH$S>o d na‘oœamH$S>o bj R>odyZ Ho$di na‘mWm©V Amnbr Am¶wî¶H«$‘Um H$aʶmMm {Zü¶ Ho$ë¶mZ| CÎmamoÎma ˶m§À¶m à¶ËZmZwê$n B©œamM| d¡^d ˶m§g nmhmd¶mg {‘iobM. H${dVm hr EH$ B©œae{º$ Amho. ˶m§Vë¶m ˶m§V na‘mW©{df¶H$ H${dVm hr Va ˶m eº$sM|

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  48 CËH¥$ï> ê$n hmo¶. ‘moR>‘moR>çm {dÛmZm§g, ‘moR>‘moR>çm VÎdkm§g AJa ‘moR>‘moR>çm dmL²>‘¶monmgH$m§g ^{º$¶wº$ H${dVm H$[aVm§ ¶oB©bM Ag| Zmht. Aem àH$maMr CËH¥$ï> H${dVm C^¶ Hw$bm§H$Sy>Z amO¡œ¶mªV amhmUmè¶m lr‘§V amO‘mVm nwVimamOogmho~ OV ¶m§Zm H$aVm Ambr h| EH$ B©œamÀ¶m KaM| Eoœ¶©M hmo¶. ¶mà‘mU|M ˶m§À¶mH$Sy>Z A{YH$ H${dVm {Z‘m©U ìhmì¶m, d ˶m§VM ˶m§M| ‘Z V„rZ hmoD$Z ˶m§g AmË‘gwImMm bm^ H$m§ht A§emZ| Var àmá ìhmdm, ¶mIoarO Or{dVmM§o CƒVa ܶo¶ H$moUV| AgU| e³¶ Amho? Vg|M Amnb| d Amnë¶m àOoMo àmMrZ H$mbmZwê$n nma‘m{W©H$ d AmYw{ZH$ H$mbmZwê$n Eo{hH$ {hV gmYmd|, ¶mIoarO Xþgam H$moUVm CXmÎm hoVw amOnwÌm§g gmYVm§ ¶oUma Zmhr? \"\"Zdmo@ao gd©ñ¶ H$m‘m¶ gd©{‘X§ {ට ^d{V AmË‘ZñVw H$m‘m¶ gd©{‘X§ {ට ^d{V &'' ¶m Am¡n{Zf{XH$ dm³¶mà‘mU| Amnë¶m gd© {H«$¶m§M|, gd© kmZm§M|, gd© eº$s¨M| A{Yð>mZ B©œa Amho Ag| g‘OyZ ˶mÀ¶mM MaUt Amnë¶m gd© H¥${V An©U H$aU| hmM B©œag§Ý¶mg hmo¶. à¶mJ, ‘hm{edamÌ am. X. amZS>o Vm. 3 ‘mM© 1935

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  49 fð> A^§J‘mbm bo. lr‘§V amO‘mVm nwVimamOogmho~ S>’$io, g§ñWmZ OV, (1935) S>m°. am. X. amZS>o, E‘².E.S>r.{bQ²>. ^yVnyd© CnHw$bJwé, Abmhm~mX {dÚmnrR>, qZ~mi, AZ§VMVwX©er, 1872 COibo VoO| ‘§{Xat àH$me & ^mdnwînm§Mm Xadibm gwdmg &&2&& h[aào‘mMm J§Y {^Zbm Xohm§V & Xm{g åhUo ‘J H¢$Mm XþOm ^md CaV &&3&& hmhr A^§J ’$maM Mm§Jbm gmYbm Amho. ¶m ‘¥Ê‘¶ Xoh‘§{Xam§V öX¶qghmgZmda B©œamMr ‘y{V© emo^V Amho. ^º$sÀ¶m ewÕ Á¶moVrMm àH$me nS>bm Amho. ‘mPt ^mdnwîn| Ot Vw¶m MaUt dm{hbt AmhoV ˶m nwînm§À¶m dmgmZ| gd© {Xem ^ê$Z Joë¶m AmhoV. Aem arVrZ| gd© {dœM XodmZ| ì¶m{nb| Agë¶mZ| XþOm ^md am{hbm Zmht Ag| lr‘§V amUrgmho~ ¶m§M| åhUU| Amho (A.76). A^§J 81 ‘ܶ| lr‘§V amUrgmho~ ¶m§Zt EH$ ‘moR>m VmpÎdH$ àíZ CnpñWV Ho$bm Amho. ¶m OJm§V gX²JwUr ‘Zwî¶mg Xþ:I ^moJmd| bmJV| d XþJw©Ur ‘Zwî¶ gwIg§nXm ^moJVmo ¶mM| H$maU H$m¶ Ag| ˶m Xodmg {dMmaVmV. hm àíZ nwîH$i VÎdkmݶm§Zt CnpñWV Ho$bm AgyZ H$m§ht bmoH$ ¶m àýmM| CÎma nmR>r‘mJÀ¶m OÝ‘mÀ¶m H¥$VrZwê$n XoVmV Va H$m§ht VÎdkmZr nwT>rb OÝ‘mda {^ñV R>odyZ ˶m§V ¶m H$moS>çmMm CbJS>m hmoB©b, Ag| åhUVmV. Ia| VÎd B©œaM OmUo (A.81). A^§J 82 hmhr ’$maM Mm§Jbm gmYbm Agë¶mZ| Vmohr ¶oW| {dñV¥VnU| XoVm|. hmg hmg ao ‘wHw§$Xm & ’w$bdr öX¶H§$Xm && ^wb{db|gr gÝ‘Zm bmJb| Vw¶m N>§Xm &&Y¥.&& Vy§ OrdmMm {dgmdm Vy§{M AmË‘mZ§Xm & gwIgd© AmoW§~b| Vw¶m Zm‘t JmoqdXm &&1&& öX¶H$‘b{dhmam go{d ¶m ào‘‘H$a§Xm & åhUm Amnwbr Xmgrbm ‘J H$m¶ CU| AmZ§Xm &&2&& lrH¥$îU Ho$ìhm§ hmñ¶ H$arb d ˶m‘wi| ^º$mÀ¶m öX¶mg Ho$ìhm§ g§Vmof {‘iob Ag| lr‘§V amUrgmho~ {dMmaVmV. EH$Xm§ XodmZ| ^º$mMm A§{JH$ma Ho$ë¶mda ˶mg Omo AmZ§X hmoVmo Vmo AdU©Zr¶ Amho (A.82). amZmoamZt VwPm emoY H$ê$Z ‘r l‘ë¶mda ‘moR>çm H$ï>mZ| VwP| Ûma CnbãY Pmb|. ˶m Ûmamda ‘r ’$ma doi C^r Agë¶mZ| ‘bm ào‘mMr {^jm Kmb (A.85). A§VatM| AkmZnQ>b H$mTy>Z

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  50 AmË‘Á¶moVrMm àH$me ‘bm XmIrd (A.86). g§Vm§Zt dmQ> XmI{dë¶mda ‘r ˶mda ZoQ>mZ| nmD$b| Q>mH$sV OmB©Z (A.101). ‘ZmMr H$R>moaVm gmoSy>Z H¥$îUê$n ‘bm XmIrd d EH$Xm§ Var ‘m¶met g§^mfU H$a (A.107). ‘r AmdS>rZ| hm eãXhma Vw¶m Jù¶m§V KmVbm Amho d Vmo ào‘mÀ¶m V§Vyda Jm|dbobm Amho ˶mMm ¶mo½¶ dmQ>ë¶mg ñdrH$ma H$a (A.108). Aer lr‘§V amUrgmho~ B©œamMr àmW©Zm H$aVmV. ¶m darb CVmè¶m§V VÎdkmZ, Zr{Vemó d gmjËH$ma ¶m§Mt ~atM Cƒ VÎd| Jm|{dbt AmhoV h| MmUmj dmMH$m§À¶m ZOaog ¶oB©bM. AemM àH$maMr nwÝhm A^§JaMZm hmoD$Z OZmX©ZmMr d OZVoMr ˶m§OH$Sy>Z godm KS>mo Aer A§V:H$aUmnmgyZ ‘mPr BÀN>m Amho. qZ~mi am. X. amZS>o Vm. 25 OyZ 1940 Á¶oð> d&& 6, 1862

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  51 g‘m{YeVH$ bo. amdOr Zo‘M§X ehm, gmobmnya (1940) S>m°. am. X. amZS>o, E‘².E.{S>.{bQ²>., ^yVnyd© CnHw$bJwê$ Abmhm~mX {dÚmnrR>, qZ~mi, AZ§VMVwX©er, 1872 gwà{gÕ àmMrZ O¡Z‘wZr lr.nyÁ¶nmX ¶m§Zt {b{hboë¶m \"g‘m{Y eVH$m'Mr (‘yi g§ñH¥$V íbmoH$ d ‘amR>r {ddaU) hr {Vgar Amd¥{Îm ‘mPo ñZohr lr. amdOr Zo‘M§X ehm, dH$sb, gmobmnya ho à{gÕ H$arV AmhoV. ˶mg àñVmdZm {b{hʶmg ˶m§Zt ‘bm gm§{JVbodê$Z Vr ‘r AmZ§XmZ| {b{hV Amho. lr.am.Zo. ehm ¶m§Mm O¡Z Ym{‘©H$, VmpÎdH$ d Z¡{VH$ dmL²>‘¶mMm Aä¶mg gImob d XrK©H$mbmMm AgyZ ˶m§Mm øm àíZmH$S>o nmhʶmMm Ñ{ï>H$moZ {demb d g§nyU©arVrZo nyd©J«ha{hV Agë¶mZ| VmpÎdH$ Ñï>çm ’$ma àe§gZr¶ Amho. ˶m§Zr \"g‘m{YeVH$' ‘bm Joë¶m XmoZ dfm©V 8&10 doim§ EoH${db|. àW‘ dmMZmZ|M ‘bm hm bhmZgm J«§W ’$ma AmdS>bm d åhUyZ ¶m {Vgè¶m Amd¥Îmrg àñVmdZm {b{hʶmÀ¶m lr. amdOrgmho~m§À¶m BÀN>og ‘r AZw‘{V {Xbr. BVH$m Cera bmJʶmMo H$maU Xþga| {Vga| H$m§htM ZgyZ agmñdmX KoV AgVm§ ZdrZ àd¥{ÎmM CËnÞ hmoD§$ eH$V Zmht, AWdm ^«‘a Ogm agmñdmX KoV AgVm§Zm \"A‘wî¶m¶§ ag: A‘wî¶m¶§ ag:' Aem àH$maM| ^mZ ˶mg hmoV Zmhr VÛV agmñdmX ~amMgm Pmë¶mZ§VaM àñVmd boIZmH$S>o Am÷m§g diVm§ Ambo. Ogo Abo³P|S>a Zm§dmÀ¶m VÎdkmZ| åhQ>bo Amho H$s¨, \"Enjoyment and contemplation can't go together. While you enjoy you cannot contemplate and vice versa.' AWm©V² agmñdmX d qMVZ EH$mMdoit hmoD$ eH$V Zmht. \"g‘m{Y eVH$mMo H$V} lrnyÁ¶nmX ho H$Zm©Q>H$s¶ AgmdoV Ag| ˶m§À¶m OÝ‘^y‘rÀ¶m C„oImdê$Z d H$mZS>r H${d lrM§Ðæ¶m ¶m§Zr H$mZS>r ^mf|V {b{hboë¶m ˶m§À¶m M[aÌmdê$Zhr AZw‘mZ H$aVm§ ¶oB©b. ˶m§À¶m d{S>bm§M| Zm§d lr‘hmXod^Å> d AmB©M| lrXodr Ag| hmoV|. ¶m§M| Zmd AmYr \"XodZ§Xr' Ag| hmoV| d ˶m§Zm \"{OZoÝÐ~w{Õ' Ago{h g§~mo{Ybo OmV| ho OJËnyÁ¶ hmoVrb Ag| Á¶mo{Vî¶mZ| gm§{JVë¶m‘wi| ˶m§Mo Zmd \"nyÁ¶nmX' Ag| R>odʶm§V Amb|. ho \"lrHw$ÝXHw§$XmMm¶©' ¶m§À¶m na§naoVrb EH$ à{WV¶e VÎdk d ¶moJtÐ hmoVo. MVwW© - n§M‘ eVH$m§Vrb J§JamOm§n¡H$s n{hbo d Xþgao amOo ¶m§Mo {eî¶ hmoVo. ˶m§Mm H$mb gw‘mao B.g. 420 Vo 490 ‘mZbm Jobm Amho. nyÁ¶nmX dmL²>‘¶ g‘rjU : lrnyÁ¶nmX {da{MV J«§W AZoH$ AmhoV, d Vo gd©M ‘hÎdmMo AmhoV. ˶m§dê$Z ˶m§Mr MVwaòVm

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  52 Ñï>moËnÎmrg ¶oVo. ì¶mH$aU, VÎdkmZ, N>§X:emó, Á¶mo{Vf, d¡ÚH$ d ¶moJ ¶m gd© {df¶m§da ˶m§Mo J«§W à{gÕ AmhoV d ˶m§À¶m ~w{Õ‘ÎmoMr gd© Adm©MrZ n§{S>Vm§ZtgwÕm ‘wº$H§$R>mZo ñVw{V Ho$br Amho. ˶m§Zr aMboë¶m AZoH$ J«§Wm§n¡H$s VrZ Va ’$maM à{gÕ AmhoV. Vo 1. O¡Z|ÝÐì¶m§H$aU \"gdm©W©{g{Õ' d 2. g‘m{YeVH$ ho hmoV. \"g‘m{Y eVH$' hm J«§W ¶moJna d kmZna AgyZ \"gdm©W©{g{Õ' d \"O¡Z|ÝÐì¶m§H$aU' AZwH«$‘| VÎdkmZ, Ì¡bmo³¶dU©Zna d ì¶mH$aU {df¶H$ AmhoV. \"g‘m{Y eVH$' J«§Wm§V AmË‘{df¶H$ ¶moJ d kmZ ‘w»¶V: à{Vnm{Xb| Amho. ¶m VrÝhr J«§WmH$S>o nm{hb| åhUO| ì¶mH$aU‘hm^mî¶H$ma nVÄObr {df¶t à{gÕ Agboë¶m g§ñH¥$V íbmoH$mMr AmR>dU ¶oVo Vr Aer- ¶moJoZ {MÎmñ¶ nXoZ dmMm§ ‘b§ earañ¶ M d¡ÚHo$Z & ¶mo@nmH$amoÎm§ àda§ ‘wZrZm§ nVÄOqbàmÄO{bamZVmo@pñ‘ && ¶m g§~§Ym§V ‘mPo {dÛmZ ñZohr lr. grVmam‘ O¶am‘ Omoer ‘mOr àmܶmnH$ ~Zmag qhXþ- {dÚmnrR> ¶m§Zr g‘m{YeVH$mÀ¶m H$˶m©{df¶r íbmoH$ a{Mbm Amho Vmo Agm- lr‘ËnyÁ¶‘wZragy[aa{MVm J«ÝWm:à{gÕmó¶mo, O¡Z§ ì¶mH$aU§ g‘m{YeVH§$ gdm©W©{g{ÕñVWm & BËW§ VoZ {dYm¶ gm¡{baMZm: gdm©Ë‘Zm go{dVmo ‘mJ©: H$mo{dXdU© gå‘VVa: {j˶m§ ¶eñVݶVm && O¡Z|Ð ì¶mH$aU nwZ: nwZ à{gÕ H$amd| bmJV AgyZ ˶mdarb {Za{Zamù¶m ^mî¶ (d¥{Îmgh) àH$m{eV Pmbo Amho. {edm¶ ¶m g‘m{YeVH$mMo doXm§Vm§er {H$Vr gmå¶ Amho V| nwT>rb {ddoMZmdê$Z {XgyZ ¶oB©b. g‘m{Ygma : ¶m J«ÝWm§V nyÁ¶ AmMm¶mªZr AmË‘mZw^dmZ| gma àH$Q> Ho$b| Amho. emó, AZw^d d VH©$ ¶m§Mm AmYma KoD$Z gwg‘m{XV ‘ZmZ| hm J«ÝW {b{hbm Agë¶mMo n{hë¶m H$m§ht íbmoH$m§V ˶mZt Z‘yX Ho$b| Amho. (1-4) nwT>o AmËå¶mMo VrZ àH$ma Xe©{dbo AmhoV. Xoh hmM AmË‘m ‘mZUmao Ord ~{hamË‘dmXr hmoV. Xoh d AmË‘m ¶m§À¶m§Vrb ^oXmM| gå¶H²$ AWdm VmaVå¶mË‘H$ kmZ Á¶mg hmoVo Vmo AÝVamË‘dmXr hmo¶. AmË‘m XohmhÿZ loð> d {Z‘©b Amho Ago ‘mZUmao na‘mË‘dmXr hmoV. (5-6) Xoh d AmË‘m ¶m§Vrb ^oX OmUyZ Omon¶ªV AmË‘m Xohmnojm§ loð> d {^Þ Amho Ag| OmUb| Zmht Vmon¶ªV A˶§V XþY©a VníM¶m© H$ê$Z hr {Zdm©U àmá hmoD§$ eH$V Zmht. (íbmoH$ 33)

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  53 naVÎdmÀ¶m A‘¥Vñnem©gmR>r : AmËå¶m§VM Á¶mMr Ñ{ï> pñWa Pmbr Amho ˶mbm Xþgè¶m H$em§Vhr AmZ§X dmQ>Uma Zmht d Xþgè¶m H$emdahr ˶mMm {dídmg ~gUma Zmht. (49) AmË‘kmZmnojm§ loð> Ag| H$m§ht hr Zmht Ag| g‘OyZ gXm AmË‘{MÝVZM H$amd|. (50) AmZÝXê$n à~wÕ AmËå¶mM| qMVZ H$arV Agbo åhUOo gd© ag {dag dmQ>VmV; AJXt {’$¸o$ nS>VmV. earamdaMr àrVr Zmhrer hmoVo, dmUr ‘m¡Z YmaU H$aVo d ‘Z {Z‘©b hmoVo. gd© Xmofm§nmgyZ V| ‘wº$ hmoVo. (16) ~{hdm©H²$ d AÝVdm©H²$ XmoÝhrMm g§nyU© ˶mJ H$ê$Z Omo na‘mËå¶mMm àH$me Amho Agm ¶moJ gmYmdm bmJVmo. (17) ¶mo½¶mZ| OZmMm g§gJª dOm©dm H$maU OZm§V ~gbo AgVm§ ~mobmd| bmJV|. ~mobʶmZ| {MÎmmMm ^«‘ hmoVmo (72) d«V| d Ad«V| ¶m§Zr {‘iUmè¶m nwʶ d nmnm§Mm j¶ Pmë¶m{edm¶ ‘mojbú‘r {‘iUma Zmhr; åhUyZ d«V| Ad«V| ¶m Xmohm|Mmhr ˶mJ H$amdm (84) hmM emídVgwI d em§VrMm Cnm¶ Amho. (Pathway to peace and eternal Bliss i.e. Salvations) g‘m{YeVH$m§Vrb AmËå¶mM| dU©Z ’$maM CËH¥$ï> VèhoM| Amho na‘mË‘m {Z‘©b, Ho$db, ewÕ, {d{dº$, à^w, A춶, na‘oð>r, B©ída, Am{XbjUm§Zt ¶wº$ Amho (6) Vmo Aà{VnmÚ, {Z{d©H$ën, AdU©Zr¶, kmZê$n, EH$, emídV d ñdg§doÚ Amho. (18-21) AmËå¶m§V dU©, qbJ d g§»¶m ^oX Zmht. åhUOo ‘r Vmo Zmhr qH$dm V| Zmht qH$dm Vr hr Zmht AWdm Vmo EH$ Zmht, XmoZ Zmht qH$dm ~hþVhr Zmht. AmËå¶mÀ¶m ¶moJmZ|M AmnU AmËå¶mbm OmUmd| qH$dm AmË‘kmZmZoM AmËå¶mMm AZw^d ¿¶mdm. AmË‘~bmZ| amJm{X{dH$ma Zmhtgo hmoVmV. AmË‘k ÛÝÛmVrV hmoVmo. AmË‘kmZmZ| A^¶ àm{á hmoVo; (22-29) AmË‘mM Cnmñ¶ Amho. AmË‘kmZr {df¶m§nmgyZ Xÿa amhÿZ ~moYmËå¶mbm àmá H$ê$Z KoD$Z na‘mZ§XmMr àm{á H$ê$Z KoVmo. (31-32) AmË‘m CÎm‘Á¶mo{Vê$n, AmZ§X‘¶ d kmZê$n Amho. ˶mÀ¶m{df¶rM ~mobmd|, MMm© H$amdr, BÀN>m H$amdr d VÐÿnM ìhmd|. H$maU AmË‘mM Iam jo‘§H$a Amho. (51-55) AmË‘m Jm¡a, ñWyb qH$dm H¥$e Zmht; {Zîn§X Aem AmËå¶mÀ¶m kmZmZ| em§{V {‘iVo. (67- 70) AmË‘kmZmZ§Va Vn H$arV AgVm§ kmݶmbm Xþ:I AWdm ³boe hmoV ZmhtV. H$maU Vmo AmË‘mZ§Xm§V brZ AgVmo (34) à¶ËZ Ho$ë¶m{edm¶ AmË‘kmZ àmá hmoV Zmht. gwImgwIr àmßV Pmbob| kmZ Xþ:ImMm Kmbm nS>bm AgVm§ {Q>H$V Zmht (101-102). Xoh H$igyÌr ~mhþbrà‘mU| Amho, ˶mg hmb{dUmam AmË‘m hmo¶ (103). AmËå¶m§V AmË‘^mdZm CËnÞ Pmbr åhUOo {dXoh{Zîn{Îm hmoVo (74). AmË‘kmg ‘aUmMr ^r{V Zmhr. H$maU ‘aU åhUOo dómÝVa hmo¶. (77) kmZr ì¶dhmam§V {Z{ÐV AgyZ AmË‘kmZm§V OmJ¥V AgVmo. AÝVkm©ZmÀ¶m Aä¶mgmZ| Vmo AÀ¶wV hmoVmo d ˶mMr Xoh ^mdZm Zï> Pmë¶m‘wi| OJV² ˶mbm CÝ‘ÎmdV² d Z§Va H$mð>nmfmUdV² ^mgy§ bmJV|. (78-80) ñdßZm§V XoIrb Xoh AmË‘m Amho Aer ^mdZm hmoUma Zmht Ag| AmË‘kmZ ˶m§gm àmá hmoVo; (82) AmË‘Xeu ‘mUgmg gd© AdñWm gma»¶mM AgVmV. (93). AmËå¶mZ| AmËå¶mMr

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  54 CnmgZm Ho$ë¶mZ| H$mð>mg H$mð>mM| Kf©U hmoD$Z A{¾ {Z‘m©U ìhmdm ˶mà‘mU| AmË‘kmZ àmá hmoV|. A{Zdm©À¶ na§nX {‘imë¶mda Vmo nwÝhm§ OÝ‘mbm ¶oV Zmhr. (98-99) AmË‘m AI§S>, A{dZmer Amho åhUyZ Vmo ‘mojmdñW|V hr VgmM amhVmo. (101). na~w{Õ Ah§Vm d ‘‘Vm hr Xþ:IH$maH$ åhUyZ ˶m§Mm ˶mJ H$amdm d ¶m g‘m{Y-eVH$m§V gm§{JVë¶mà‘mU| na‘mËå¶mM| qMVZ H$amd|. åhUOo Á¶mo{V‘©¶ AmË‘kmZ àmá hmoD$Z {Ma§VZ d Ia| gwI {‘iV|. (105) g‘m{YeVH$m§Vrb darb gma^yV CXmÎm {dMma dmMyZ H$moUmhr ‘w‘wjyg AmZ§X Pmë¶m[edm¶ amhUma Zmht. øm§Vrb H$m§ht H$m§ht ^mJ gd© bmoH$m§g {Z˶nmam¶Umg Cn¶moJr nS>Vrb Ag| ‘mP| ‘V Amho. ¶m§V naVÎdmMm gwdU©ñne©hr Amho. hm J«§W N>mnʶmM| H$m‘t Am‘Mo ñZohr lr‘§V nm¶nm O¸$nm hZJ§S>rH$a XogmB© ¶m§Zt AmZ§XmZo àH$meZ IM© {Xë¶m~Ôb ‘r ˶m§Mm ’$ma Am^mar Amho. øm nwñVH$mMo g§nmXH$ lr. amdOr Zo{‘M§X ehm ¶m§Mo {ddaUmË‘H$ B§J«Or ^mfmÝVa Amho; qhXrMt XmoZ d JwOamWtV ^mfmÝVa| d ‘amR>tV XoIrb ehm§MoM XmoZ doim AZwdmX à{gÕ Pmb| AgVm§Zm XoIrb {Vgè¶m§Xm V| nwñVH$ ˶m§Zt {ddoMZnyd©H$ ^mfmÝV[aV Ho$b| Amho, ¶mdê$Z ¶mMr Cn¶mo{JVm d ‘amR>r ^mfmÝVamMr bmoH$m§Zm nQ>V Agbobr Amdí¶H$Vm àH$Q> hmoV Amho. lr. amdOr ho AZoH$ J«ÝWm§Mo g§nmXH$ AgyZ ˶m§Mm {dÚmì¶mg§J gd© {dlwV Amho. O¡ZdmL²>‘¶, O¡ZY‘© d Xe©Zm§Vrb gw^m{fV| EH${ÌV H$ê$Z \"Zr{V‘mJ©àXrn' ¶m Zm§dmZo EH$ J«§W Vo ¶m AܶmË‘-{dÚm‘§{XamMo ZoV¥ËdmImbt bdH$aM N>mnUma Agë¶mM| H$iV|. Vg| Pmb| AgVm§ V| nwñVH$ gd© gm‘mݶ dmMH$m§g ’$ma Cn¶moJr R>aob Ag| dmQ>Vo. eodQ>r, g‘m{YeVH$mMm hm ‘amR>r {ddaUmË‘H$ AwZdmX, ‘yiíbmoH$ d Q>rH$m ¶m§g Yê$Z Pmbm Amho; d Vmo gw~moY Pmbm Amho. g‘m{YeVH$mMm hm AZwdmX à{gÕ H$ê$Z am. ehm ¶m§Zt na‘mW©-ào‘r bmoH$m§da CnH$ma Ho$bo AmhoV ˶m~Ôb ˶m§Mo A{^Z§XZ H$aVmo. qZ~mi am. X. amZS>o AZ§VMVwX©er 1872 * ñdV:À¶mM AmËå¶mg§~§Yr (Thy Ownself) H$er ^mdZm R>odmdr ¶mg§~§Yr ¶moJgmaH$˶m©Mm CnXoe. * ñdV:Mm AmË‘m d na‘mË‘m ¶m§Vrb A^oX^mdZoM| (A{^ÞmËå¶mMr CnmgZm Ho$ë¶mM|) ’$i. 98 g‘m{YeVH$ (am.Zo. ehm ¶m§Mm {ddoMZnyd©H$ B§J«Or AZwdmX.) Am§Vaamï´>r¶ H$s{V© {‘i{dbobo qhXþ {dÚmnrR>mMo Xe©ZmMm¶© àm.AÌo¶ E‘².E., {S>.{bQ²>. ¶m§Mr CX²~moYH$ àñVmdZm Amho.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  55 * {^Þ A{^Þ ñdê$n AmË‘^mdZoMm Cng§hma. (97 d 98 íbmoH$m§Mm) (99) * AmË‘VÎdmg§~§Yr MmdmªH$ d gm§»¶ ¶m§À¶m ‘Vm§M| I§S>Z. (100) * ‘aUmoÎma (Xoh Zme Pmë¶mZ§Vahr) CÎmamdñW|V AmËå¶mMo ApñVËd H$m§ Agy§ eH$Vo? (101) * AZm{X {ZYZ ñdê$nr AmËå¶mbm ‘mojàm{á H$[aVm§ XþY©a VníMaUm{X H$ï> H$aʶmMr Amdí¶H$Vm. (102) * earamhÿZ AmË‘m gd©Wm {^Þ AgVm§hr AmËå¶mÀ¶m J{VpñWVr‘wio earamMr{h VrM pñW{V H$er d H$m§ hmoVo? (103) * earaê$nr ¶§ÌmbmM AmË‘m ‘mZUmè¶m ‘yIm©bm d Vg| Z g‘OUmè¶m kmZr Ordmbm H$m¶ ’$b àm{á hmoVo? (104) * g‘m{YV§Ì - ‘moj‘mJ©. (Cng§hma) (105) * ¶m J«§Wm§Mo g§ñH¥$VQ>rH$mH$ma n§. à^mM§X ¶m§Mr Q>rH$m àepñV (1) * lrnyÁ¶nmXmMm¶mªMm O¶O¶H$ma; A§{V‘ ‘§Jb H$m‘Zm. 

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  56 I - Upanishad Rahasya (Kannada) Kannada Translators: R.R. Diwakar, D.R.Bendre, S. Joshi FOREWORD Two years have passed since I wrote the English book, The Constructive Survey of Upanishadic Philosoply, which includes a complete reflections on philosophy of Upanishads.As my friends suggested, I got my English book translated into Kannada and Marathi, so that it will be of great use to all my kinsfolk. I am very happy to see that the publication of Kannada version is done faster than the Marathi. It is enough, if I say, the published Kannada book is a translation by Shri Ranganath R Diwakar, Shri Dattopant Bendre and Shri Shankarrao Joshi. I need not tell, how good the translation is! It is not necessary to tell the Kannadigas that the above mentioned, three friends of mine are experts in Kannada. By reading this Kannanda translation of Upanishad Rahasya, I can generously say that it is far more luscious and more delightful than the English original. Further, the financial assistance to publish such books is essential. It is a pleasure to say that some of my friends, Rajeshri Gopalrao Asundi,B A of Gadag, Rajeshri Bodhrao Savkar, B.A.,L.L.B. of Dharwad and Rajeshri Yashawant Shankar Jathar, B.A., L.L.B. the owner of Karnataka Printing Press, have extended their help at appropriate time. I am extremely happy to see the early publication of the Kannada translation of my book, as the place of my teacher, from whom I came to know the pathway to spirituality, is In Karnataka itself. As my birthplace is Jamkhandi, I am also acquainted with Kannada, rather a little, since my childhood. One more speciality is that, I gave my very first lectures regarding Upnishads in Bangalore itself, the centre of Karnataka. Along with these reasons, it is a distinctly significant event, that the Kannada translation of my English book, is being published in book form, from Dharwad. I will be extremely satisfied, if the desirous aspirants are able to understand, what is Realisation, according to Eastern and Western philosophy, by reading this book.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  57 Many Shaiva and Vaishnava virtuous people have collected the treasure of spiritual realization in Kannada. Upanishads are the original source of all these treasures. Therefore, I will be supremely happy, if the spiritual desire of the aspirants of Karnataka, gets satisfied, at least to a little extent, by studying this Upanishad Rahasya. Having said so much, I dedicate this book to my dear Kannadigas. R. D. Ranade Ashadh Vaibhav Samvantsara 1850 Adhyatma Bhavan, Nimbal. (Translated from original Kannada to English) Published by Ranganath R Diwakar, Adyatma Karyalaya, Hubballi, First Edition: 1928

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  58 II - Upanishad Rahasya (Kannada) Kannada Translators: R.R. Diwakar, D.R.Bendre, S. Joshi FOREWORD It is a matter of great joy that the second edition of Upanishad Rahasya has come out now. Last year in Patna, I thought of giving three lecturers on the hidden thoughts of Upanishads and their benefit in spiritual life, and to give their essence in appendix form in English and Kannada, in the second edition. But it was not possible because of my other preoccupations. I intend to provide this appendix in the forthcoming English and Kannada version. Here the angle of vision is not just analytical or descriptive, but to show how the Upanishads throw light on spiritual life. When I read the Kannada translation of this Upanishad Rahasya, published in 1928, I was convinced that it was more luscious and more delightful, at places, than the original English. Even today, I feel this is true. One need not go elsewhere to find the reason for this. Kannada has not just acquired its word treasure from Sanskrit, and not just developed its life from Dravidian languages, but it has acquired and developed its beauty, luster and glory from a unique combination of both Aryan -Dravidian languages. As the Upanishadkars are essentially spiritualists, there is no confusion about caste and clan in their doctrines. It need not be said separately, how in today's context, the Upanishads are taking the perplexed humanity towards the frontiers of divine peace, and also helping the mankind in seeking the ultimate truth, which has been confused a lot with the caste and creed discriminations, duality of wisdom and hubbub of broken thoughts etc. Many philosophical and spiritual monuments, including the Bhagvad Geeta, have been inspired by the Upanishads. They are the very foundation of Indian philosophy and spiritualism. It is not only the source of tenets like Monism, Dualiam and Qualified Monism but also the source of Shaiva and Vaishnava bhakti traditions. Therefore one can say without hesitation that Upanishads alone are the necessary means to understand the Indian culture and spiritual wisdom. Scholars like Dr. Rajendra Prasad, Shri Chakravarti Rajgopalacharya, Shri Madhav Aane, Shri Ranganath Diwakar are worthy of praise, because, though they have a great pressure of political and social work on them, they have studied and brought out

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  59 in book forms, the blazing Indian culture and treasure of wisdom, in order to spread them. The wisdom and knowledge they have spread is doubtlessly beneficial not only for Indians, but also for all westerners. Shri Ranganath Diwakar, though being a Governor, has written books on Upanishads and realized saints of Shaiva and Vaishnava cult of Karnataka and thus did a great work in the field of spiritual literature. I believe that the spiritual aspirants make their life fruitful by reading this second edition, being brought out by him. Nimbal (Dist. Vijapur) R. D. Ranade 21st October 1954. (Translated from original Kannada to English) Published by Ranganath R Diwakar, Adyatma Karyalaya, Hubballi, Second Edition: 1955

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  60 à^w{dZ à^o (H$Þ‹S>) FOREWORD It gives me great pleasure in writing a short Foreword to Shri. Manoharrao Deshpande's book - 'Prabhu-vina-Prabhe' - the spiritual Life and Teachings of Shri. Prabhudeva, one of the greatest of Veerashaiva Saints of the twelfth Century, in Karnatak. One thing that strikes me as most appropriate and opportune is that it is being published at the very place, Kalyan where this great Saint had established the Spiritual Assembly called Anubhava Mantap over which he presided for a number of years, and on the day on which the important 16th Session of Veerashaiva Mahasabha is being celebrated. The author of the book, a disciple of Nimbargi Sampradaya, is a close student of Mysticism and of Karnatak Mysticism in particular and is eminently qualified to explain the mystical life and teachings of the great saint, Prabhudeva. Shri. Deshpande is the master of a facile style in Kannada and has succeeded in dealing with his subject - matter in a very lucid manner. I feel assured that the book will be found very useful by all the lovers of Karnatak Mysticism. Nimbal Ashram R. D. Ranade 29th Dec. 1954 P.S. : I call it important because Shri Prabhudeva, lived in Balligavi, near - about the mysore territory and the conference is being opened by the Maharaja of Mysore.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  61 ¶moJ{gÕr Am{U B©œagmjmËH$ma bo.S>m°.{d.‘. ^Q> (1955) S>m°. am. X. amZS>o (E‘².E.S>r.{bQ²>.) Abmhm~mX, {X. 1/5/1955 S>m°. {d. ‘. ^Q> ¶m§À¶m \"\"¶moJ{gÕr Am{U B©œagmjmËH$ma'' ¶m CËH¥$ï> J«§Wmbm àñVmdZm åhUyZ Mma eãX {b{hʶmV ‘bm ’$ma g§Vmof hmoV Amho. hm J«§W {b{hʶmV nmV§Ob ¶moJemómMo {dñV¥V {ddoMZ H$aʶmMm S>m°. ^Q> ¶m§Mm hoVy ZgyZ ho emó à¶moJ{Zð>Voda AmYmabobo Amho, hr Jmoï> {Okmgy dmMH$m§nwT>o ‘m§S>yZ ˶m~Ôb AmñWm d H$iH$i CËnÞ H$aUo hm Amho. H$maU, Xþ:I‘wº$s, emœV gwIàmár Am{U nwéfmMm nwéfmoÎm‘ hmoʶmMo ܶo¶, Ord-{edm§À¶m Eo³¶mZo, ~«÷gmjmËH$mamZoM gmܶ hmoD$ eH$Vo; Am{U g‘mYr hm ˶mMm Cnm¶ Amho, ¶m {gÕm§Vmda ˶m§Mr ÑT> lÕm AgyZ ¶moJemómÀ¶m Aä¶mgmZo d g§Vm§À¶m g§JVrZo Vr ÑT>Va Pmbr Amho. åhUyZ ¶m gwImÀ¶m ‘mJm©H$S>o ~w{Õ‘mZ {Okmgy§Mo bj doYmdo Ago ˶m§Zm dmQ>Vo. ¶m J«§WmV boIH$mZo nmümζ emór¶ nÕVrMm Adb§~ Ho$bm Amho. nwîH$i nwamdm Jmoim H$aUo d ˶mbm g˶mg˶{ZU©¶mMr H$gmoQ>r bmdyZ Vmo {ZU©¶ R>a{dUo, hr Vr nÕVr hmo¶. Ooåg, {‘g² A§S>a{hb, bm°O, H$m°ZZ S>m°B©b ¶mgma»¶m ‘mZgemókm§Zr ¶m nÕVrZo BVam§À¶m AZw^dm§Mm nwamdm Jmoim H$ê$Z ˶mdê$Z Amnbo ‘mZgemómVrb d AܶmË‘emómVrb {gÕm§V R>a{dbo AmhoV. S>m°. ^Q> ¶m§Zr nmüm˶ boIH$m§Zr O‘{dbobm ^maVr¶ emóm§Vbm d Aݶ àH$mao {‘iUmam nwamdm, d ˶mdê$Z {ZKUmam {gÕm§V, ¶m§Mm ’$ma n[al‘mZo, XrK© H$mb Aä¶mg H$ê$Z, Vm¡b{ZH$ nÕVrZo ¶moJemó d gmjmËH$maemó ¶m§Mm ˶m§À¶mer nS>Vmim KoʶmMm ñVw˶ d ¶eñdr à¶ËZ Ho$bm Amho. Vo ñdV: S>m°³Q>a Agë¶m‘wio ˶m§Zm ^m¡{VH$emómMo nwîH$i kmZ AmhoM. Voìhm nmüm˶ nÕVrZo J«§W {b{hʶmMm hm ZdrZ CnH«$‘ ˶m§Zr A{Ve¶ Mm§Jë¶m àH$mao nma nmS>bm Amho. AmË‘gmjmËH$ma d B©œagmjmËH$ma ho ‘mZdmMo ܶo¶ Agbo Var ˶m~amo~aM ˶m§Zr ¶moJ{gÕtMmhr {dñV¥V {dMma Ho$bm Amho. H$maU, ˶mdê$Z Xoh, ‘Z, ~wÕr ¶m§À¶m nbrH$S>o H$mhr eº$s Amho d ¶m {gÕt‘wio KSy>Z ¶oUmar H$m¶} hr ˶m eº$sZo - AܶmË‘eº$sZo - hmoVmV d åhUyZ ‘mZdr OrdmMm {dñVma Ho$di Xoh, qH$dm Xoh, ‘Z, ~wÕr ¶mnwaVmM ZgyZ Vmo ˶m§À¶m ’$ma nbrH$S>o, AJXr AmË‘eº$sn¶ªV Amho, ho {gÕ hmoVo. {edm¶ OS>dmXr emókm§À¶m ‘Vm§Mo I§S>Z hmoD$Z gm‘mݶ OZm§Zm OJmV àn§Mì¶dhmamnojm AX²^wV eº$s Amho hm à˶¶ ¶oVmo; Am{U ˶m§Mr AܶmË‘mH$S>o, {dœ~§YwËdmH$S>o àd¥Îmr hmoVo, hr boIH$mMr ¶m {ddoMZVm ^y{‘H$m Amho. {gÕtZr {‘iUmao kmZ d hmoUmar H$m¶} ¶mdê$Z ñWyb eara{da{hV; na§Vw ñWyb earamMm H|$Ð d MmbH$ Am{U gmnojVoZo {X¸$mbmVrV Agbobm qbJXoh {gÕ hmoVmo. \"\"‘r H$moU?'' ¶m àýmÀ¶m CÎmamMm hm n{hbm Q>ßnm hmo¶.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  62 ¶moJ{gÕtMr CnnÎmr bmdVmZm ñWyb XohmÀ¶m ZmemZ§Vahr OrdmMo ApñVËd qbJXohmÀ¶m ê$nmZo AgVo. hm qbJXoh ‘Zwî¶ {Od§V AgVmZmhr H$mhr {d{eï>, g‘mYrgma»¶m, {MÎm{ZamoYmÀ¶m AdñWoV, XohmnmgyZ {Zamim hmoD$Z amhÿ eH$Vmo d H$m¶} H$aVmo. XohZmemZ§Vahr Xþgè¶m XohmV Z {eaVm, VgmM amhÿZ Vmo H$m¶} H$aVmo, ho AZw‘mZ AZoH$ KQ>Zm§À¶m nwamì¶mdê$Z boIH$mZo H$mT>bo Amho. \"\"AZmÚZ§V AmËå¶mMo CÎmamoÎma MT>Vo d {dbjU eº$sMo ho Am{dîH$ma ‘˶©, ñWyb earamnojm gyú‘, AÑí¶XohmYrZ AgVmV. ¶m§ZmM AmnU \"{gÕr' åhUVmo. Vo Am{dîH$ma à˶j dmñVd g¥ï>rV àVrV hmoVmV d ˶mV H$mhr AVt{жkmZmMr àMrVr ¶oVo.'' åhUyZ ˶m§Zr ¶m AVt{ж {gÕtMm nam‘e© KoVbm Amho. ˶mMà‘mUo \"\"{gÕtZr gmYH$mMm AmË‘{dœmg dmT>Vmo. AVEd {gÕr åhUOo {d¿Zo hmoV ho Iao Agbo Var ˶m§Mo H$mhr ’$m¶Xohr AmhoV. gmYwg§Vm§Zr namonH$mamH$[aVm {g{Õ dmnamì¶m Ago lr. AaqdXm§Mohr ‘V Amho.'' Ago boIH$ åhUVmV. (n¥.402). ¶m gd© {gÕrV ¶oUmar eº$s hr {dœeº$sM Amho. OJmVrb gd© eº$s {dœeº$sMoM Am{dîH$ma AmhoV d hr ~«÷m§S>mVrb eº$s qnS>mVhr Amho. ñWyb XohmV {VMm Am{dîH$ma ’$ma ‘¶m©{XV, gyú‘- qbJXohmV Vmo A{YH$ à^mdr, ì¶mnH$ d {X¸$mbmVrV AgVmo. Varhr qbJXohmVrb ho gm‘϶© A§{V‘, emœV VÎdmÀ¶m Ñï>rZo AnyU© qH$dm ‘¶m©{XVM AgVo; na§Vw emœV, nyU© gwImgmR>r Va OrdmËå¶mbm na‘mËå¶mer, (~«÷m§S>eº$ser) gm¶wÁ¶VoMm AZw^d hdm AgVmo. åhUyZ qbJXohmMm gmjmËH$ma d ˶mda nyU© gÎmm àmá Pmbr Var gmYH$mbm H¥$VmW©VoMm hm eodQ>Mm Q>ßnm JmR>Vm ¶oV Zmhr. åhUyZ boIH$mZo AmË‘gmjmËH$mamMm d B©œagmjmËH$mamMm {dMma Ho$bm Amho. ¶moJ‘mJm©Zo AmË‘eº$sMm {dH$mg hmoV OmD$Z à{V‘m qH$dm àkm (intuition) hr {g{Õ àmá hmoVo; d àkoZo - AVrV-AZmJV kmZ - na{MÎm- kmZ, H$m¶ì¶yhkmZ hr kmZo gmܶ hmoVmV. ˶mM àkoZo AmË‘kmZ d AmË‘gmjmËH$mahr hmoVmo. ho AmË‘kmZmMo gmYZ gm§JyZ \"à{Vàgd' nÕVrZo, gmYH$mÀ¶m XohmVrb nwéf qH$dm AmËå¶mn¶ªVMo gd© KQ>H$ Vmã¶mV R>odbo d Vo VmËnwaVo ñW{JV Ho$bo, H$s nwéfXe©Z qH$dm ñdê$nmdñWm àmá hmoVo hr ¶m¡{JH$ CnnÎmr boIH$mZo {Xbr Amho d hrM {MÎmd¥{Îm-{ZamoYmMr, g‘mYrMr AdñWm AmË‘-g‘n©U qH$dm VÎdqMVZ ¶m§Zr Pmbr åhUOo ^º$mbm B©œaXe©Z qH$dm kmZ-¶mo½¶mbm AmË‘Xe©Z hmoVo Ago à{Vnm{Xbo Amho. Varhr CnnÎmr nwamì¶mZoM {gÕ Pmbr nm{hOo åhUyZ gmjmËH$mar nwéfm§Mr AZoH$ CXmhaUo {Xbr AmhoV. gmjmËH$mamMm {dMma H$aVmZm \"\"gJwU gmjmËH$ma'', \"\"ñdßZg‘m{Y'' qH$dm \"\"Aà˶j gmjmËH$ma'' d \"\"Ord{ed¡³¶ d ñdê$nà{Vð>m'' ¶m gdmªMo {ddoMZ boIH$mZo Ho$bo Amho d nwamì¶mZo ˶m§À¶m g˶VoMr à‘mUo {Xbr AmhoV. ~«÷m§S>mnmgyZ qnS>mn¶ªV EH$ {dœmË‘eº$sM CËH«$m§V hmoD$Z Am{d^y©V hmoVo. hrM {MÀN>{º$ hmo¶. ‘mZdH$moQ>rVë¶m ¶m {MÀN>º$sMm A{YH$m{YH$ d namH$moQ>rMm {dH$mg KS>dyZ AmUUo hm ¶moJemómMm CÔoe d ZamMm Zmam¶U hmoUo hr ˶m {dH$mgmMr n[agr‘m Amho. doXmÝVg§‘V hm {gÕm§V, da gm§{JVë¶mà‘mUo, à˶j nwamdm d CnnÎmr XoD$Z S>m°. ^Q> ¶m§Zr ‘m§S>bm Amho. Vmo ‘m§S>VmZm {gÕtÀ¶m H$m¶m©À¶m nwamì¶mdê$Z ‘Zwî¶mÀ¶m ñWyb XohmnbrH$S>o qbJXoh Amho ho àW‘ XmIdyZ Z§Va

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  63 \"ñdê$nà{Vð>oMo', ‘mZdmÀ¶m H¥$VmW©VoÀ¶m AdñWoMo {ddoMZ Ho$bo Amho. ¶m gd© {ddoMZmV, AZwf§JmZo AZoH$ ‘hÎdmÀ¶m àíZm§Mm boIH$mZo gyú‘ d CX²~moYH$ {dMma Ho$bobm {XgyZ ¶oVmo. ˶mVrb H$mhr ‘wÔçm§Mm WmoS>³¶mV C„oI H$aUo ¶mo½¶ hmoB©b. ho àíZ gd© {dMmar bmoH$m§À¶m ‘ZmV CX²^dVmV d ˶mg§~§Yr MMm© ~moYàX dmQ>Vo. ˶m àíZmg§~§Yr J«§WH$˶m©Mr dm³¶oM nwT>o XoVmo - \"\"B§{жX‘Zm{edm¶ g§ñH¥$VrMr dmT>M hmoD$ eH$V Zmht. g‘mOmÀ¶m gwIñdmñ϶mgmR>r Ho$bobo d WmoS>ogo A§JdiUr nS>bobo B§{жX‘Z hoM ¶moJ-emóm§Vë¶m {MÎmd¥{Îm{ZamoYmMm nm¶m Amho.''; \"\"Zwg˶m ~wÕçZwJm‘r kmZ¶moJmbm nmV§Ob¶moJmMr OmoS> {Xë¶m{edm¶ Iam kmZ¶moJ AZw^yVrZo {gÕ hmoV Zmhr... doXm§VmMo VÎdkmZ ¶moJemóm‘wio à˶j ì¶dhmamV Ambo Am{U ˶mVë¶m VÎdm§Mr H$gmoQ>r ¶moJr d B©œar gmjmËH$ma Pmboë¶m gmYw-g§Vm§Zr (Mystics) bmdbr.'' \"\"OÝ‘-Am¡f{Y‘§Ì-Vn:g‘m{YOm: {gÕ¶:'' ¶m gyÌmMm {dMma H$aVmZm Vo {b{hVmV, \"\"¶m A˶§V {^Þ{^Þ gmYZm§V H$moUVo EH$ gm‘mݶ VÎd Agy eHo$b, H$s Á¶mnmgyZ {gÕr ho EH$M H$m¶© CËnÞ hmoB©b? ¶m VÎdmMm gwJmdm g‘m{Y{gÕrV bmJVmo... {MÎmd¥{Îm{ZamoYmZo ñWyb earamnmgyZ B§{жo-‘Z~wÕr-Ah§H$mam{X gd© ‘mZ{gH$ d¥ÎmtMm {ZamoY hmoVmo... d AmË‘m ho EH$M VÎd {e„H$ CaVo.... AmË‘eº$s hrM gd© bhmZ- ‘moR>çm {gÕtMr OZZr åhUyZ ‘mZUo ^mJ nS>Vo.'' emœV OrdZ‘yë¶m§déZ AmË‘eº$s {gÕ H$aVmZm S>m°. ^Q> {dMmaVmV, \"\"¶m ^ì¶, {Xì¶, AZ§V, JyT>, gyú‘, AܶmË‘ d ‘mZgg¥ï>rV X¶m, ‘m¶m, AmZ§X, ào‘, lÕm, em§Vr ¶m ({Z˶) ‘yë¶m§ZrM Oa OrdZmV ag d AmZ§X {Z‘m©U hmoVmo Va ¶m ‘yë¶m§Mo A{Yð>mZ Var H$moR>o Amho?'' {MÀN>º$s hoM ¶m ‘yë¶m§Mo A{Yð>mZ ho ¶m àíZmbm ˶m§Mo CÎma Amho. ¶moJemómV ¶oUmè¶m \"àmU' ¶m eãXmÀ¶m AWm©~Ôb nwîH$i doim {Zü¶ hmoV Zmhr. S>m°. ^Q> {b{hVmV, \"\"nyd©H$mbrZ AmMm¶mªZr XohmÀ¶m ‘yi g§MmbH$ eº$sbm \"àmU' hr g§km XoD$Z, {Za{Zamù¶m eº$s¨À¶m Am{dîH$mambm ¶mM àmUeº$sMo-dm¶ygma»¶m nXmWm©Mo Zìho- nmM ^mJ H$ënyZ àmU, AnmZ... Aer Zmdo {Xbr.'' ¶moJemóm{edm¶ ^maVr¶ àmMrZ emómV ‘mZgemómda ñdV§Ì J«§W ZmhrV Ago gm§JyZ, ¶moJemómVrb ‘mZgemómÀ¶m {gÕm§VmMm {dMma H$aVmZm nmüm˶ ‘mZgemómMr AnyU©Vm ˶m§Zr ’$ma ‘m{‘©H$nUmZo XmI{dbr Amho. \"\"‘ZmMrM ‘wir gd©‘mݶ Aer ì¶m»¶m AÚmn R>abobr Zmhr... ‘mZgemómÀ¶m ‘yi VÎdm§da gwÕm ‘mZgemókm§Mo EH$‘V Zmhr. ¶moJemómV {MÎm¡H$mJ« d {MÎmd¥{Îm{ZamoY ¶m§g àmYmݶ Va nmümζ ‘mZgemómV \"{já', \"‘yT>' d \"{d{já' d¥ÎmtZm A˶§V ‘w»¶ ñWmZ!... EH$mJ« d {Zê$Õ {MÎmd¥{Îmn¶ªVM nmümζ ‘mZgemó ¶oD$Z R>onbo Amho. nV§Obr ˶mÀ¶mnwT>o Jobo AmhoV.'' Varhr, ‘Zmo{dûcofUmZo Á¶mMm emoY bmJbm Vo \"A§V‘©Z' qH$dm \"A§VX}h' ¶mbm ’$ma ‘hÎd Amho d ‘mZgmonMma d Abm¡{H$H$ ‘mZgemó ¶m§Mmhr ’$ma Cn¶moJ Amho ho ˶m§Zr àm§ObnUo H$~yb Ho$bo Amho. AVrV-AZmJV kmZ-{gÕrMm {dMma H$aVmZm, AZmJV (^{dî¶) kmZ hmoVo ho ‘mZbo Va {Z¶{VdmX (Determinism) ‘mZmdm bmJVmo; ‘J nwéfà¶ËZmbm OmJm H$moR>o am{hbr? {Z¶{VdmX H$m à¶ËZdmX ¶mdarb S>m°. ^Q> ¶m§Mo {dMma ‘ZZr¶ AmhVo.\"\"H$mhr Jmoï>r ‘¥Ë¶ygma»¶m AQ>b Am{U H$mhr à¶ËZmYrZ åhUyZ n[ahm¶© AgVmV...

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  64 H$mhr ^{dî¶H$mbrZ KQ>Zm {Z{üV Agë¶m Var ˶m ì¶{º$Ñï>rZo n[ahm¶© AgVmV. à¶ËZdmX ¶oWn¶ªVM ‘¶m©{XV Amho.'' hm à¶ËZhr \"aKwZmWH¥$noZo'M ¶eñdr hmoVmo. ‘ZmMr amoJQ> AdñWm d g‘mYr ¶m§Mm {dMma H$aVmZm ˶m§Zr g‘mYrMr CÎm‘ H$gmoQ>r gm§{JVbr Amho. \"\"g‘mYrVyZ OmJ¥V Pmë¶mda ¶mo½¶mbm H$mhr Var A{YH$ kmZmMm, Zì¶m Ñï>rMm, eº$sMm d AZw^dmMm bm^ Pmbm nm{hOo... g‘mYr kmZdY©H$ B©œa-gmjmËH$m[aUr Am{U {g{ÕXm¶H$ AgVo.''˶mMà‘mUo ܶmZg‘mYr d kmZg‘mYr ¶m§Mm g§~§Yhr ñnï> Ho$bm Amho. \"\"ܶmZg‘mYr hr kmZg‘mYrÀ¶m nyduMr, OdiMr n{hbr nm¶ar. kmZg‘mYr gmYbr, H$s bm§~bMH$ ܶmZg‘mYrMr JaO ZgVo. ܶmZg‘mYrÀ¶m nyU©VoZ§Va kmZ-g‘mYr hr ghOmdñWm hmoVo, {MaH$mb {Q>H$Vo. kmZg‘mYr d OmJ¥Vr ¶m§À¶mVbm Xþdm ܶmZg‘mYr Amho.'' S>m°. ^Q>m§Mo OrdZ ~hþa§Jr Amho. AJXr VéUnUr H«$m§{VH$maH$ åhUyZ ˶m§Zr nmM dfmªMm EH$m§V-H$mamJ¥hdmg ^moJbm. Z§Va Vo \"Ho$gar' nÌmMo Cng§nmXH$ Pmbo. nwT>o ‘ܶoM gwQ>bobm S>m°³Q>arMm Aä¶mg nwam H$ê$Z S>m°³Q>a åhUyZ Y§Xm H$ê$ bmJbo. ¶m gd© Jmoï>t~amo~a AZoH$ boI d nwñVHo$ {b{hbr. gËnwéfm§Mm n[aM¶ d g§JVr d ¶moJemómMm Aä¶mg ¶m Jmoï>r gwé hmo˶mM. ¶m OrdZmÀ¶m {d{dYVoV ܶo¶{Zð>m d gX²^mdZm gVV AZwñ¶yV {XgVmV. S>m°. ^Q>m§Mm qnS> ‘ybV: ^mdZmàYmZ, åhUyZ na‘mWm©V ^º$sM Amho, ho ˶m§À¶m nwñVH$mdê$Z ñnï> {XgVo d Vgo ˶m§Zr Amnë¶m \"AmË‘-{ZdoXZmV' gm§{JVbohr Amho. åhUyZ \"\"B©œa-à{UYmZmÛm'\" \"\"VV: (B©œa- à{UYmZmV²) à˶³MoVZm{^J‘: A§Vam¶m^mdü'' d \"\"g‘m{Y-{g{Õ: B©œaà{UYmZmV²'' ¶m d VËg§~§Yr gyÌm§dê$Z ^{º$¶moJ nV§ObtZm {ZImbg ‘mݶ hmoVm d B©œa-H¥$no{edm¶ Ho$di ‘Zwî¶- à¶ËZmZo ¶moJ{g{Õ d B©œagmjmËH$ma hmoUma Zmhr Ago ˶m§Zr åhQ>bo Amho. \"\"¶mo½¶m§À¶m, g§Vm§À¶m, ^º$m§À¶m gd© eº$s¨Mo d {gÕtMo ‘yi A{Yð>mZ na‘mË‘eº$s qH$dm B©ída- VmXmËå¶ d ˶mMr H¥$nm d gm‘϶© hoM Amho. B©œambmM ^º$m§M| B©pßgV nwao H$amdo bmJVo.'' nU doXmÝVr d ^º$ ¶m§À¶m VwbZoZo nmV§Ob ¶moJemómVrb B©œamMo ñdê$n d ñWmZ ~aoM Jm¡U Amho. B©œamMo g¥{ï>H$V¥©Ëd d OJƒmbH$Ëd ‘mݶ Zgbo d B©œaà{UYmZ ho gmjmËH$mamMo EH$‘od gmYZ Z ‘mZVm n¶m©¶ gmYZ ‘mZbo Va B©œa hr H$ënZm ’$ma Xþ~©b hmoVo d gm§»¶m§à‘mUo nmV§Ob ¶moJmV {ZarœadmX Zgbm Var, VoWo B©œamMo fS²>JwU¡œ¶© àVrV hmoV Zmhr Ago nwîH$i {dÛmZm§Mo ‘V Amho. AmUIrhr XmoZ-VrZ ‘wÔçm§da {dÛmZm§Mm ‘V^oX {XgVmo. àkm qH$dm à{V^m (Intuition) hr EH$ {gÕr Amho, Ago S>m°.^Q>m§Mo ‘V Amho. ~wÕr, ^mdZm d {H«$¶meº$s ¶mgmaIrM Vr EH$ ‘Zwî¶mMr ‘yi eº$s Amho Ago Xþgao ‘V Amho. {VMm {dH$mg ’$maM WmoS>çm 춺$s¨V Pmbobm AgVmo d Vmo JwéH¥$noZo d ‘mJ©Xe©ZmZo Ho$boë¶m gmYZmZo hmoVmo. B©œaXe©Z, AmË‘àMrVr hoM àkoMo ‘w»¶ H$m¶©. AmË‘àMrVr hrM {VMr IyU. kmZ{gÕr ho {VMo AJXr jw„H$ ñdê$n Amho d Vo {Z{üV J‘H$hr Zmhr. \"\"ZrhmaYy‘mH$m©Zbm{Zb'' d \"\"ZmZm VèhoMo AZmhV ÜdZr'' ho ¶m naVÎdmMo Am{dîH$ma

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  65 AmhoV, nXmW©kmZ Zìho; ‘mÌ Vo CƒÎm‘ Am{dîH$mahr (acme of spiritual experience) ZìhoV. VgoM \"\"‘w§Om{Xdo{fH$m§ Y¡¶}U'' ¶m dMZmV earamVyZ qbJXoh doJim H$aʶmMr H$ënZm ZgyZ {MÝ‘¶ AmË‘mM ~mhoa H$mT>ʶmMr Amho. VgoM gm§»¶m§à‘mUo ñdV§Ì àH¥$Vr d AZoH$ ñdV§Ì nwéf ‘mZUmè¶m ¶moJmVrb \"H¡$dë¶' d doXm§Vm§Vrb d ^{º$¶moJmVrb \"~«÷mË‘^mdê$n' d \"gdm©Ë‘-^mdê$n AÛ¡V gmjmËH$ma' ¶m§Mo ñdê$n EH$M Amho H$m hmhr EH$ {ddmÚ àíZ Amho. Agmo. darb {df¶mda Or {^ÝZ ‘Vo AmhoV ˶m§Mm ghO C„oI Ho$bm Amho. gd© emóm§V ‘V^oX AgVmV d ˶mVyZM àJVr hmoVo. ‘Z-~wÕr-B§{жmVrV Aem AܶmË‘emóm§V ‘V^oX ’$maM AgUma. nwamì¶mda AmYmaboë¶m {gÕm§Vmdahr AZoH$ H$maUm§Zr EH$‘V hmoV Zmhr. CXmhaUmW©, nwamì¶mMr J«møVm Vmo XoUmè¶m§À¶m àm‘m{UH$nUmda d ~m¡{ÕH$ A{YH$mamda Adb§~yZ AgVo d nwamì¶mdéZ Aݶ CnnÎmr {ZKUo Ae³¶ Agob VaM {gÕm§V {ZXm}f R>aVrb; na§Vw ‘V^oXmnojm ‘mݶ ^mJmdaM {deof bj XoD$Z kmZ-ܶmZ-^º$s-H$‘© ¶m Mma ‘mJmªVrb gm‘mݶ VÎdm§Mm YmJm XmIdyZ ‘V¡³¶mMm Ñï>rZo S>m°.^Q>m§Zr ’$ma ‘hÎdmMo d Cn¶wº$ H$m¶© Ho$bo Amho. ˶m§À¶m ‘VmZo ¶m gd© ‘mJmªVrb gmYZm§V {MÎmd¥{Îm{ZamoY hmoD$Z XodmMm gmjmËH$ma hmoVmo d ¶m ‘mJm©V B©œamMo (‘J B©œamMo ñdê$n ¶m Mma ‘mJmªVrb {gÕm§Vm§à‘mUo H$mhrhr Agmo.) d B©œaà{UYmZmMo gmhmæ¶ ¿¶mdoM bmJVo. ho Mma ‘mJ© AJXr {^Þ AmhoV, Ago AZoH$ bmoH$ à{VnmXZ H$aVmV; na§Vw IamoIa Vo Vgo ZmhrV. ¶m Mmam§Mm g‘Ýd¶M Zìho Va g§J‘ H$ê$Z d ˶mbm JwéH¥$noMr OmoS> XoD$Z, gmjmËH$mamMm \"n§WamO' V¶ma hmoVmo. S>m°. ^Q> ¶m§Zr BVH$m gImob Aä¶mg H$ê$Z d A˶§V n[al‘ KoD$Z gÎmarÀ¶m Kambm Amë¶mda d öX¶{dH$mamZo eara OO©a Pmbo AgVmZmhr Agm gw§Xa, CX²~moYH$ d {dMmaàdV©H$ J«§W {Z‘m©U Ho$bm hr H$m¡VwH$mñnX d A{^Z§XZr¶ Jmoï> Amho. hm J«§W nm¡dm©Ë¶ d nmüm˶ VÎdkmZmMm d ‘mZgemómMm Aä¶mg H$aUmè¶m {dÛmZm§Zm VgoM gmYH$m§Zm, {Okmgy§Zm d gm‘mݶ dmMH$m§Zmhr Cn¶wº$ dmQ>ob ¶mV e§H$m Zmhr. nwT>o Ho$ìhm Var ‘mZgemómÀ¶m Aä¶mgH«$‘mV Cn¶wº$ ‘amR>r nwñVH$ åhUyZ {dœ{dÚmb¶mMr ˶mbm ‘mݶVm {‘iy eHo$b. Agm hm J«§W {b{hë¶m~Ôb S>m°. ^Q>m§Mo ‘r A§V:H$aUnyd©H$ A{^Z§XZ H$aVmo. Abmhm~mX am. X. amZS>o 1-5-1955 E‘².E.,S>r.{bQ²>.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  66 EH$mXe A^§J‘mbm bo. lr‘§V nwVimamOo S>m°doOa amUrgmho~, OV (1955) am. X. amZS>o, ‘w. qZ~mi (R.S.), Vm. 11 ‘mho gßQ>|~a, gZ 1955 B. OV g§ñWmZÀ¶m amO‘mVm, lr‘§V nwVimamOo gmho~ ¶m§À¶m AH$amì¶m A^§J‘mbobm àñVmdZm {b{hʶmg ‘bm ’$ma AmZ§X dmQ>V Amho. lr‘§V amUrgmho~ ¶m§Mr hr \"\"boIZH$sV©Z^{º$'' Jobt drg df] AI§S> gwê$ Amho, ¶m~Ôb ˶m§Mo ‘ZmnmgyZ A{^Z§XZ Ho$bo nm{hOo. B.gZ 1935 Vo 1941 n¶ªV à{Vdfu EH$ ¶mà‘mU| ˶m§Zt n{hë¶m gmV A^§J‘mbm à{gÕ Ho$ë¶m. nwT>rb Aï>‘, Zd‘ d Xe‘ ‘mbm AZwH«$‘| B.gZ 1945, 1949 d 1951 ‘ܶ| à{gÕ hmoD$Z hr AH$amdr A^§J‘mbm 1955 ‘ܶ| V¶ma Pmbr Amho. AWm©V² BV³¶m XrK© H$mbm§V ˶m§Mm ‘Zmo{dH$mg d ˶m‘wi| {dMma-{dH$mg hmoV JobobmM Amho. B©œamdarb ^{º$ào‘mMr dmT> h|M ¶m {dH$mgmM| ñdê$n hmo¶; åhUyZ nyduÀ¶m ‘mbm§À¶m VwbZoZ| ¶m ‘mboM| d¡{eï>ç H$m¶ Amho ¶mMm WmoS>m {dMma H$ê§$. n{hë¶m XmoZ Mma ‘mbm§V Eo{hH$ Xþ:Im‘wi| d Amnë¶m‘Yrb AnyU©VoÀ¶m Om{Udo‘wi| hmoUmar Vi‘i Ñï>rg nS>Vo h| gmh{OH$M Amho, H$maU gm‘mݶV: ‘Zwî¶mM| ‘Z, Eo{hH$ Xþ:ImZ| hmoanië¶m‘wi|M ^º$sH$S>o diV|; d lr‘§V amUrgmho~ ¶m§M|hr Vg|M dibob| {XgVo. Aem doit Amnë¶m‘Yrb Xmofm§Mo Om{Udo‘wi| gmYH$mÀ¶m A§V:H$aUm§V Z¡{VH$ loð>Vo~Ôb Vi‘i CËnÞ hmoVo d \"\"‘Zmbm em§{V Xo'' Aer H$éUm gmYH$ XodmOdi ^mH$sV AgVmo. ˶m~amo~a B©œam~Ôb ^º$shr hiyhiy dmT>V AgVo. hr AdñWm n{hë¶m H$m§ht ‘mbm§V {XgyZ ¶oVo. nwT>| B©œamdarb dmT>˶m ào‘m~amo~a ^º$sMm AmZ§X OgOgm AZw^dmg ¶oD§$ bmJVmo d \"\"Xodm VwP| ào‘ Xo, ^{º$ kmZ Xo, ¶m{edm¶ H$m§hthr ZH$mo'' hrM àmW©Zm gmYH$ H$ê§$ bmJVmo. ¶m AH$amì¶m ‘mb|V lr‘§V amUrgmho~m§Mr hrM d¥{Îm {XgyZ ¶oVo; ¶m§Vhr Vi‘i Amho na§Vw Vr Z¡{VH$ Vi‘i ZgyZ AmܶmpË‘H$ Vi‘i Amho. hr Vi‘i H$YtM g§nV Zmht d B©œamM| ào‘ B©œamBVH|$M AZ§V Amho åhUyZ V| {H$Vrhr {‘imb| Var AmUIr {‘imd| hm hì¶mg amhUmaM. \"\"VwH$m åhUo nmoQ> Kmbo{M Z Ym¶o & ImXb|{M Im¶o AmdS>rZ| &&'' qH$dm \"\"{n~V H$~ram Zm W³¶m& AOhÿ§ ào‘ {n¶mg'' Aer ¶m ào‘m‘¥VmMr AdrQ> JmoS>r Amho. \"\"Am¡a {n~ZH$s Amg'' eodQ>n¶ªV amhVoM. ‘mÌ ¶m EH$m BÀN>odm§MyZ Xþgar H$moUVrM BÀN>m CaV Zmht. \"\"‘J O| O| H$m§ {Z{‘I & XoIob ‘mP| gwI & VoVwb| AamoMH$ & {df¶t KoB©b'' ¶m lrkmZoœam§À¶m {gÕmÝVmà‘mU| ^º$sMm dmT>Vm AmZ§X AZw^dmbm ¶oD§$ bmJë¶mda Eo{hH$ Xþ:ImMm {dga nS>yZ EH$ B©œaào‘mMrM AmoT> d Vi‘i bmJbobr ¶m ‘mboV {XgyZ ¶oVo. \"\"pñW{Vna''

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  67 d \"\"H$éUmna'' A^§J d \"\"Xodmnmet ‘mJU|'' ¶m ^mJm§V AZoH$ agmi, ^{º$nyU©, öX¶ñneu A^§J AmhoV. ˶m§V darb Vi‘i à{Vq~{~V Pmbobr gm§nS>ob. pñW{Vna A^§Jm§Mr g§»¶m ¶m ‘mb|V BVa ‘mbm§nojm§ ‘moR>r Amho hr bjm§V R>odʶmgmaIr Jmoï> Amho. ¶mnwT>rb nm¶ar åhUOo JwéH¥$noMr àm{á. ˶m~m~V H«$‘m§H$ 32, 59 d 101 ¶m A^§Jm§V C„oI Amho. ˶m§n¡H$s¨ H«$‘m§H$ 101 ¶m A^§Jm§V Vr JwéH¥$nm AmnUm§g H$er d Ho$ìhm§ àmá Pmbr ¶mM| g{dñVa dU©Z ˶m§Zt Ho$b| Amho, Vmo A^§J Imbrbà‘mU|:- \"\"nwa{dbr ‘ZrMr Amg & harZ| nwa{dbr ‘ZrMr Amg &&Y¥0&& Wmoa g§V kmZoe ^º$ Jwê$ ‘O bmYbo && V¶mZ| g’$b Or{dV Pmb| && ‘mP| &&1&& am‘H¥$îU har gwb^ Agm hm ‘§Ì ‘O {Xbm && Vmo ‘r öX¶t gm§R>{dbm && AI§S> &&2&& eHo$ AR>ame| ehmÎmam§V & H$m{V©H$ dÚ MVwX©er {XZt && lrJwé§Zt nmdZ Ho$b| ‘O &&3&& ~moYm‘¥V nmOwZr ‘O ZdOrdZ {Xb| && ‘mP| ^m½¶ CX¶m Amb| && AmVm§ &&4&& gVV XoD${Z¶m§ ñ‘aUmgt && Û¡V ^md Zmer && AmVm§ ‘r {Z^©¶ Pmb| gd©ñdt && AmVm§ &&5&& Xoht Xoh^mdMr AmVm§ ‘wit Z Cabm && XmgrXoh H¥$îU‘¶ Pmbm && AdKm &&6&&'' ˶mZ§Va H«$‘m§H$ 93 Vo 95 d 98 ¶m A^§Jm§V, ˶m§Zt lrkmZoœam§M| ào‘mXanyd©H$ ñVdZ Ho$b| Amho, V|hr {Okmgy§Zt Oê$a nmhmd|. ¶m gd© A^§Jm§Mm H$mbmZwH«$‘ ‘mÌ H$iUog ‘mJ© Zmht. BVa A^§J‘mbm§à‘mU| ¶m ‘mb|Vhr, VÎdkmZ, Zr{Vemó, ^{º$, gmjmËH$ma ¶m {df¶m§darb ~atM Cƒ VÎd| d {dMma AmT>iVmV. ˶m§Mm ñWb{ZX}e ˶m§À¶mM eãXm§V nwT>| Ho$bm Amho. \"\"harM| gJwUê$n nm{hb| H$s¨, gJwU d {ZJw©U hm ^oX Zï> hmoD$Z ‘rVy§nUmMm ^md OmVmo.'' (H«$.3). AZoH$ g§Vm§À¶m OrdZmdê$Z {gÕ hmoV| H$s¨, \"\"Zm‘m{dU OJt gwI Zmht; Zm‘m‘wi| AZoH$ n{VV CÕabo AmhoV.'' (H«$.8) \"\"à^wZm‘mÀ¶m A‘aÁ¶moVrÀ¶m àH$memZ| gÝ‘mJm©Z| OrdZ H«$‘md| d öX¶t harMr ‘y{V© gm§R>dmdr.'' (H«$.19). \"\"gdmª^yVt g‘^md R>od, gmZWmoa hm ^oX gmoS>, Ah§H$ma, Ûof, ‘Ëga Xÿa H$a.'' (H«$.21) \"\"{dÇ>bZm‘ JmBë¶mZ| OrdZm§V AmZ§Xr-AmZ§X hmoB©b.'' (H«$.24). \"\"MamMat Agbobm B©œa Amnë¶m öX¶m§Vhr Amho, nU ˶mMr Amnë¶mbm AmoiI ZgVo, Vr g§V-ghdmgm§V hmoVo.'' (H«$.25). \"\"Xodmda AT>i ^md R>o{dbm AgVm§ Vmo ào‘^mdmMm ^wHo$bm har ^º$m§Mt gd© g§H$Q>|

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  68 dmaVmo.'' (H«$.28) hm gd© A^§JM CÎm‘ dmQ>ë¶mZ| Vmo Imbt CX²Y¥V Ho$bm Amho. ào‘^mdmMm ^wHo$bm har & ^º$hmHo$gr Ymdo lrhar &&Y¥0&& ào‘| godm ^º$m§Mr H$ar & Eogm X¶miy Vmo {J[aYmar &&1&& AT>i ^md R>o{dVm§ hardar & gH$b g§H$Q>| Vmo à^w {Zdmar &&2&& em‘ gw§Xaê$n {Zhmar & ‘J Vmo {Xgob gH$bm§^rVat &&3&& Amnbm AmnU {dMma H$ar & KQ>KQ>m§V ^abmgo Vmo har &&4&& Eog| gm§JVr g§V {Za§Vat & Vmo ~moY R>gdmdm Amnwë¶m A§Vat &&5&& Xmgr {dZdr Vwåhm§ namonar & ÑT>^md R>odm OJXremdar &&6&& \"\"‘mP| N>Ì, ‘mVm{nVm gd© H$m§ht har Amho; ‘J ‘bm H$m¶ CU|? gd© AmZ§XrAmZ§X Amho.'' d \"\"H$moUr qZXm, H$moUr d§Xm; h[aZm‘ hm ‘mPm Y§Xm Amho'' Ago {dMma H«$‘m§H$ 32 d 43 ¶m§‘ܶ| ˶m§Zt J«{WV Ho$bo AmhoV. \"\"‘‘ öX¶’$bH$mdar & Jwê$Z| H$mo[ab| Zm§d lrhar'' (H«$.56) \"\"H$boH$boZ| öX¶t dmTw>§ Xo h[aào‘^{º$'' (H«$.62) \"\"Vy§ ‘m¶m öX¶m§V AI§S> ahm h|M ‘mJU|'' (H«$.88). \"\"Xodm, Xod^º$nU OVZ H$a, eaUmJVmMm A{^‘mZ Ya' (H«$.91). \"\"AmË‘ñdê$n ‘m¶mOdiM AgVm§Zm, ‘r amZmoamZt qhS>V hmoV|. ˶m ñdê$nmMr OmU ‘bm g§Vm§Zt {Xbr'' (H«$.96) hmhr gw§Xa A^§J Imbr {Xbm Amho. \"\"g§Vm§Zt ‘mPr ‘O Ho$br AmoiIU & AmË‘ñdê$nmMr ‘O OmU && ‘mPo ‘OOdit AgVm§ nyU© && qhS>V hmoV| ‘r amZmoamZ &&1&& Zgo nyd}bm Zm CÎmaobm && ZM X{jUogr dm n{ü‘obm &&2&& Zm ^yVit Zm AmH$met && gd©H$mit Ago Vmo ‘Onmet &&3&& ‘rVy§nUmMm Zgo ^md Cabm && g§VH¥$n| hmo OmU AmVm§ Xmgrbm &&4&&'' \"\"AmVm§ OrdZm§V EH$ XodM gma Cabm Amho.'' (H«$.100) \"\"Om|da Xoh Amho Vm|da Vw¶m godogmR>t gd© B§{ж| gwpñWV R>od'' (H«$.104) hmhr A^§J CÎm‘m§Vbm Amho. \"\"eodQ>M| EH$ VwOàVr ‘mJU| & nañdmYrZ ‘mP| ZH$mo H$ê§$ {OU| &&Y¥0&& Om|dar X|hm§V amhrb hm àmU & Vm|dar, hmV nm¶ Am{U H$mZ &&1&& gwpñWV R>odr Xodm Vd godoH$maU & A{^‘mZ VwO ¶m XohmMm OmU &&2&& Eo³¶mMm ^mdMr Ago à‘mU & XmgrM| H$m§ht A{YH$ Z dXU§ &&3&&'' \"\"gdmªZm gÝ‘{V Xo, B©œa {Zð>m Xo, gwZr{V A[U ^{º$ Xo, gd© Ordm§Zm gwI d g‘mYmZ bm^y§ Xo.'' (H«$.106) Ago AZoH$ gw§Xa ~moYna {dMma 춺$ H$ê$Z 108 À¶m eodQ>À¶m A^§Jm§V Xodmbm ˶m {dZ{dVmV; \"\"nm§Sw>a§Jm, H$Vm©H$a{dVm Vy§ Amhog, Amnb| Zm‘ Vy§M ‘OH$Sy>Z dX{dVmog, ˶m

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  69 Zm‘nwînm§Mr ‘mbm Vw¶m MaUt A{n©br Amho, {VMm ñdrH$ma H$a.'' AmVm§n¶ªV hOmamda A^§J {b{hë¶m‘wi| ^mfmgm¡ð>d, eãX‘mYw¶©, ^md d ag ¶m§Mm n[anmof B˶m{X H$mì¶JwUhr dmT>bo AmhoV h| ñnîQ> {XgyZ ¶oB©b. ¶mà‘mU| ¶m gd© A^§Jmbm {b{hʶm§V lr‘§V amUrgmho~ ¶m Jobt drg df} dmL²>‘¶-Vn H$arV Amë¶m AmhoV, ˶m‘wi| ˶m§À¶m A§V:H$aUm§V B©œamg§~§Yt {dMma d ˶m§Modarb ào‘ ¶m§Mm \"\"àga'' hmoD$Z Eo{hH$ {dMmam§Mr \"\"AmQ>Ur'' hmoV Jobr Amho. ˶m A^§J {b{hVmV ˶mà‘mUo ^OZm§V ag^[aVnU| Vo JmVmVhr åhUyZ ˶m§À¶m ¶m ^º$sbm \"\"boIZ-H$sV©Z-^{º$'' Ag| da åhQ>b| Amho. ¶m ^º$sZ| ñdV:À¶m CÕmambm ‘XV hmoVoM na§Vw BVam§À¶m CÕmamghr WmoS>r’$ma ‘XV H$aVm§ ¶oVo; Aer e³¶ Vr ‘XV H$aU| h| à˶oH$ gmYH$mM| H$V©ì¶ Amho d V|hr lr‘§V amUrgmho~m§Mo hmVyZ KS>V Amho. lr. Zm‘Xod åhUVmV, \"\"Xþb©^ ZaXoh Pmbm Vwåhm§ Amåhm§ & ¶oU| gmYy§ ào‘m {dR>mo~mMm &&'' \"\"EH$‘oH$m H$ê§$ gXm gmdYmZ & Zm‘t AZwg§YmZ VwQ>m| ZoXÿ§ && àñVwV boIH$mMo Jwê$ lr.^mD$gmho~‘hmamO ho OVon¡H$s¨ C‘Xr Jm§dMo Xoenm§S>o hmoVo d ˶m§Mr EH$ ‘moR>r A{YH$mar {eî¶rU 'lr{edqbJìdm' ¶m OVoÀ¶m a{hdmgr AgmoZ ˶m§Mr g‘m{Yhr VoW|M Amho. ˶m§M| na‘mW©na {bImU ’$ma Cƒ XOm©M| Amho. ˶m§Vrb H$m§ht Cƒ àVrÀ¶m H${dVm àñVwV boIH$mZ| ˶mÀ¶m \"\"H$Zm©Q>H$ {‘pñQ>{gP‘'' ¶m hmoUmè¶m J«§Wm‘ܶ| KoVë¶m AmhoV. ˶m§M| h| gd© {bImU Ho$ìhm§Var à{gÕ hmoʶmg hd|. lram‘Xmg ¶m§Mr {eî¶m Á¶mà‘mU| \"doUy~mB© Am¸$m' ˶mà‘mU|M lr.^mD$gmho~ ‘hmamOm§À¶m \"{edqbJìdm' ¶m hmoV. ¶m gd© H$maUm‘wi| àñVwV boIH$mbm OV g§ñWmZ~Ôb àW‘nmgyZM AmXa d ào‘ dmQ>V Amho hr Jmoï> n{hë¶m d ghmì¶m A^§J‘mboÀ¶m àñVmdZodê$Z 춺$ hmoB©bM. àñVwV àñVmdZm {b{hʶm‘ܶ| ‘mP| Jwê$~§Yy lr.J.{d. Vwinwio, E‘².E., [aQ>m¶S>© S>r.nr.E‘².Or. ‘w§~B© ¶m§Mr Zoh‘rà‘mU| ‘bm ’$ma ‘XV Pmbr Amho h| Z‘yX H$aʶm§V ‘bm ’$ma AmZ§X dmQ>Vmo. ‘w. qZ~mi (R.S.) am. X. amZS>o Vm. 11 ‘mho gßQ>|~a, gZ 1955 B.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  70 Verul Krishanaji Vinayak Vajhe

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  71

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  72 C- Reviews written by Gurudev R. D. Ranade 1. The Education of Karl Witte By H. A. Bruce (Harrap the P.I.I. Book Depot, Bangalore 4-6 net) “This is one of those books which do not appeal to the reader's imagination at the first glance but which prove to be wonderful and suggestive on a careful perusal. The Book discusses an important educational question as to whether the child's education should begin immediately with the dawning of its intelligence, that is, say, at the age of about three years, or whether the child should be allowed to take its own course until it arrives at an age when it could no longer receive the benefit of home influences. Mr. Witte who throughout the book appears as the guardian angel of his son Karl. at home, at school, and on the play-ground, has spared absolutely no pains in training his son up from his second year onwards until he enables him, at the age of nine, to read not merely his own native tongue, German, but also the two classical languages, Latin and Greek as well as three foreign languages, Italian, French and English. Mr. Witte early instils in his son Karl's mind, a love of Science and Mathematics and a fruitful power of imagination which is the key of all original

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  73 work. The son Karl becomes a Doctor of philosophy at the wonderfully early age of fourteen and becomes a great Dante scholar in his life. His mental powers remain intact until he dies in his eighty third year. Such in brief is the life-story of Karl. The thesis for which the book stands namely that mere school education without an early home education is absolutely a failure and that home education must begin at the dawning of the child's intelligence, is amply illustrated in the case of Lord Kelvon, the greatest of the nineteenth century physicists, and John Stuart Mill, one of the most illustrious English political economists. The objection that one may overstrain the child's intellect by beginning it's education so early may be rebutted by a quotation from a brilliant American psycho-pathologist. \"In my practice as physician in nervous diseases. I can say without hesitation I have not met a single case of nervous trouble caused by too much thinking or overstudy.\" The book thought it is a translation from a German manuscript is so beautifully done that it reads like a novel, and no father who wishes to make his child in the words of Helvetius, \"a Superior man,\" cannot afford to neglect this most instructive life-story of Karl Witte that we have before us in one of the most recent contribution to the Science of Pedagogy.” The Fergusson College Magazine, Vol. VIX, No. 3, December 1915

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  74 2. Ancient Greece By H. B. Cotterill, M.A., (Harrap the P.T.I. Book Depot, Bangalore; P.P. 449, 7-6 net) “We are glad to announce the publication of a very important series by Messrs. Harrap, entitled \"The Great Nations\" Series. The book under review forms the first publication of the series, another publication being 'Republican Rome' which is already out. Messrs Harrap also intend to bring out very soon a book on \"Ancient India\" in the same series under the Editorship of E. B. Havell, M. A. We hope the same high level will be maintained throughout the series, as has been attained in the book under review. Mr. Cotterill has been entirely successful in the handling of the manifold activities of Ancient Greece. It has been said by a great writer that there is nothing under the Sun which is not Greek in its origin. And if we wish to find some justification for this remark, we have just to turn to Mr. Cotterill's pages. Mr. Cotterill gives us not merely the history of Ancient Greece from very ancient times to the age of Alexander the Great, but also gives us a beautiful account of the artistic, literary and philosophical activities of the period about which he is writing.

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  75 As one approaches the end of the volume, one wishes Mr. Cotterill takes up for another volume of the series of the whole important period when Greek history, aspiring to be the history of the world, at last merges in Roman history. That is a subject not a whit less important than the one that has actually been taken up, and we would like to hear more of Alexander and Aristotle, as we have heard about Philip and Plato. Mr. Cotterill begins the historical portion of the book from the days of the Aegean civilisation, the existence of which has been brought to light within the last thirty or forty years an undreamt of civilisation of very considerable importance existing long before the first Olympiad (776 B. C.). He passes graphically throughout the dark age, and the age of persian invasions, the Rise of Antheniam Empire and the peloponnesian war, the Spartan and the Theban supremacy until he comes to the age of Philip and Alexander. Mr. Cotterill tells us how the existence of Greece as a free country ends at this time, and her history henceforth, after a few vain attempts to regain liberty, merges in that of Macedonia, and is no longer of much interest except in so far as by her art and literature and philosophy, she takes captive, her barbarian conqueror \"Graecia capta ferum victorem cepit\" (Horace Ep. II 156) which applies as well to Macedonia as to the later conqueror, Rome. Here ends the historical portion of the book. As regards the development of art, this is amply shown by about 150 illustrations in half-tone and 5 plates in colour dispersed throughout the book. We may especially draw the attention of readers is the beautiful illustrations of the Pheidian Athence (P.314), Sophocles (P.358). Euripides (P.362), Heremes and Hypnos (P.394), the Satyr of Praxiteles (P.400), Demosthenes (P.432), and Aphrodite of Melos (P.444), which are most exquisitely done. As regards the development of literature, Mr. Cotterill shows why Homer must be placed before Hesiod, though Herodotus has affirmed the contrary (P.102). He translates for us some most charming fragments of the Sappho (PP. 1 8-71). He translates from zenophanes his beautiful doctrine of God. (P.196) He gives an exceedingly good account of five out of seventy of Aeschylus' tragedies (P. P.313-18) He just passes by Herodotus (P.319) but gives eight excellent extracts from Thucidides (P. P.347). The section in his book from P. P.355 to 367, giving an account of Sophocles, Euripides andAristophanes must be read by everybody. We cannot say that Mr. Cotterill has been as successful in his treatment of the

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  76 philosophic development as in the case of literary one. The earlier philosophers are treated with greater detail, but only scant justice is done to plato. Aristotle is mentioned only in passing, as he does not come properly within the author's prescribed period Thales and Amaximander and Heracleitus, as well as Pythagoras are very well treated. Zeno's contention that motion is impossible is shown to be refuted by the simple arguement of walking Solvitur ambulando' (P.208) Empedocles and Anaxagoras are dealt with summarily (P. P.322-325). Mr. Cotterill gives a good account of Socrates (P.P.373-382). In regard to Plato, the author gives us two chief extracts from the Phaedo and the Phaedrus: the parable of the cave, and the allegory of this chariot (P.412-415) On the whole, it may be said that we prize the book not simply for its historic narration: it is possible that so far as mere history is concerned, we may have even a better book than the under review e. g. one like that of Prof. Bury. What makes the book unique, is its very clever amalgamation of history proper with the development of art and literature and philosophy, and we believe that there is no book in existence which accomplishes this impossible feat within such a short compass of only 500 pages.” The Fergusson College Magazine, Vol. VIX, No. 3, December 1915

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  77 3. An Introduction to Ethics By G. A. Johnston M. A., lecturer in Moral philosophy, Glasgow : Macmillan & Co., July 1915, P.P. 254, 3 S. net) “The book under review is a very lucid statement of the way in which Ethics should be taught in training colleges. \"Ethics\", says Mr. Johnston \"is the science of the good, which consists in the development of a strong character in the activities of a socially valuable position in the community.\" (P.10). He begins by tracing the origin of character in instinctive behaviour. Now this instinctive behaviour develops in two different directions, in the direction of impulses which ultimately grow into relatively permanent desires, and in the direction of emotions which are organised into sentiments. There desires and sentiments which are more or less permanent in nature are unified in a permanent self: here it is that we reach the level of formal character. Mr. Johnston then proceeds to investigate the relation between character and conduct; and he also brings out in a very lucid way the implications of conduct, which are according to him four (1) freedom (2) responsibility (3) obligation (4) Value (p.122). The question that he takes up is the standards of moral judgement by which we are to determine the moral value of our actions. The standard is neither private opinion, nor social conviction, nor feeling, but reason. It is the element of reason

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  78 which imparts objectivity. universality, impartiality and authority to our moral judgement. He then analysis a typical moral action, for example, the action of General Joffre in commanding a general resumption of the offensive on the Marne on Sept. 6th, 1914. (p.141) He then goes into the problem of the sanctions of morality and says how these sanctions have a certain educational value in the case of a child who cannot understand the absoluteness of morality. He then discusses the place of duty and that of pleasure in the moral life, and concludes that neither pleasure, nor duty, constitutes the highest good but that the highest good consists of happiness which reconciles the opposite claims of pleasure and duty. The good man finds that his pleasure consists in doing his duty, and the pleasure that accrues to him from doing his duty, is happiness. Then Mr. Johnston goes into the problem of vocation which has been attracting so much attention since Rashdall's book on the 'Theory of Good and Evil' was published, and he comes to the conclusion that a man should choose the vocation which is enjoined on him by considerations of duty and inclination. What then is the moral ideal? Self-assertion or Self-denial? Mr. Johnston says that compromise is not the true solution of the dispute between these, that self-denial cannot be the ultimate moral ideal, while the true moral ideal is self assertion in the best sense of the word, the 'self including relations to the family, state and church' (p.p.191-194). When we have chosen our vocation, our completed loyalty to it can be rendered not only by knowing that we have chosen the vocation, but feeling that we have been chosen by it. (p. 196). Mr. Johnston next considers the relation of vocation to the various virtues or types of good-ness which are according to him the platonic virtues of courage and temperance and justice and wisdom, and definitely asserts that the child is capable of being educated in these. (p.215) In the last chapter he examines the four great institutions of moral life, the state, the family, the school and the church, which last he says, differs from the first three in being unobligatory; but he recognises that the church has done more than all the other institutions put together to inculcate lofty ideals, because it demands loyalty not to an abstract idea but to a Person. Finally he asserts that moral progress is not an illusion, while moral optimism is not merely our birth-right but almost our duty. We warmly recommend the book to all beginners in Ethics as well as to all students in Training Colleges, and we assure them that they may not easily find another lucid book of his kind on the subject of Application of Ethics to the problems of Education. Herein lies the originality of the Book.” The Fergusson College Magazine, Vol. VIX, No. 3, December 1915

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  79 4. A Practical Course in Secondary English George Ogilvie and Edward Albert “As the name of the book under reviews implies, it is intended to be a course in Secondary English. The authors aim at providing ample material for a three year's course, leading up to University classes. Indeed, the authors think that 'even University students will find it useful.' The book is divided into three parts: the first part dealing with Style, the second part with Form, and the third with Language. The first part deals with the elements of style such as words, sentences, paragraphs and figures of speech. The second part deals firstly with the subject of prosody and then with the subject of Literary Forms of various kinds, such as fables, allegories, orations, essays, biographies, novels, dramas and poetry of various kinds. This is the most valuable part of the book. The third part deals with the history of the English Language and also deals in passing with Modern Grammar and Idioms. A very valuable feature of the book is the number of quotations which the authors have culled from various writers for the sake of illustration. The book is fit to be introduced as a text book for composition in Indian Colleges.” The Fergusson College Magazine, Vol. VIX, No. 3, December 1915

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  80 5. India and the Western World H. E. Rawlinson M.A. Cambridge University Press 1916, 7/6 Net. Pg. vi +196 We owe an apology, both to the author and the publishers of this work for the present review being inordinately delayed. The book came to hand last year even though it was printed in 1916. We think therefore that a detailed review of the work would lose much of its charm and novelty. We cannot forbear remarking, however, that Mr. Rawlinson's book is a classic in its field; and anybody who would be dealing with the Greco-Indian problem without consulting Mr. Rawlinson's book would be dealing in anachronisms. Mr. Rawlinson is one of the very few people in the Indian Educational Service, of whom the educational department might well be proud. He has been truly an intellectual agnihotri: he has kept ablase the fire of knowledge incessantly throughout the seasons. Not to speak of his other contributions to historical learning, the work under review would in itself be sufficient to give Mr. Rawlinson a niche in the temple of learning. We regard the present work as manifestly the best work that Mr. Rawlinson has yet produced. Mr. Rawlinson has based his work on the original texts collected by the late Dr. J. W. McCrindle and the excellence of his treatment can only be equaled by his brevity and luminosity. Every single sentence is pregnant with Courtesy: Indian Philosophical Review, Vol. 3, Pg. 101, 1920

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  81 thoughts. Mr. Rawlinson has written a short work that every one of his sentence should be pondered and reflected upon. The present reviewer has been so much influenced by Mr. Rawlinson's Greco-Indian thought that he does not know what parts to select for review. The general influence exercised by Mr. Rawlinson will be present in the reviewer's forthcoming Philosophy of the Upanishads, which will contain a chapter on the parallelism of Greek and Indian thought. It will be sufficient to note in the present place that the last chapter of Mr. Rawlinson's book is also the copestone of his argument. He discusses the question of the inter-influence of Greece and India in the matter of Art, Literature, Philosophy, Science, and Mythology; and his general conclusion is that, even though we have more than enough justification for tracing the inter-influence between Greece and India after Alexander, we have no justification for saying that they influenced each other very much before Alexander's time. We shall argue later for an ethno-psychological parallelism between the thought of Greece and India, and that is the most important point for the readers of this review. In the meanwhile, we cannot allow this brief review to close without mentioning once more the great debt under which Mr. Rawlinson has placed all Greco-Indian scholars by his careful and sustained contribution to comparative historical research. 7

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  82 6. Sri Krishna Bhakti in Sanskrit Gandirao Talapadathur, 1918 “This is a small treatise written from the point of view of Dvaita philosophy with a view of criticizing and undermining the Advaita philosophy of Sankara. The writer's main point is to prove that Bhakti has no place in the Advaitic doctrine, and that it necessarily presupposes an ineradicable dualism between the Individual and the Universal soul. The author mainly relies on Puranas to prove his point of view. The book will be useful to the followers of Madhava.” The Indian Philosophical Review, Vol. 2, 1918-1919, Pg. 371

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  83 7. Sasvata Kosa Edited by Mr. K. G. Oak Published by the Oriental Book Supplying Agency, 1918 “This is a useful dictionary of homonyms bearing the authorship of Saswata who is said to have flourished between Amarasinha and Kshira Svamin; There is only one edition of the book previously printed viz. The Berlin Edition of Prof. Zacharias. The printing leaves nothing to be desired. The book is published by the enterprising manager of the Oriental Book Supplying Agency and is dedicated to His Holiness Sri Sankaracharya of Karvir Peeth.” The Indian Philosophical Review, Vol. 2, 1918-1919, Pg. 371

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  84 8. Rahasya-Nirikshana Being a critical review of Mr. B. G. Tilak's Gitabhasya by Mr. P. G. Chinchalkar, Poona, 1917 “This book which has been written in a flowing Marathi style purports to assail Mr. Tilak's “Way of works” from the point of view of the “Way of knowledge.” The author combines in himself both an admiration for Mr. Tilak's book as well as the critical faculty by means of which he sits in judgment on Mr. Tilak's explanation of the Karma Yoga. It is impossible in the present place to enter into a discussion of the two chief ways of self-realisation. We only point out to those who wish to enter into the controversy that the book under review is written from the Absolute point of view and is thus a vindication of Sankara's interpretation of the Bhagavadgita.” The Indian Philosophical Review, Vol. 2, 1918-1919, Pg. 371

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  85 9. Works of Sri Sankaracharya (In the original Sanskrit) Vol. I-III Edited by Mr. Hari Raghunath Bhagvat Ashtekar & Co., Poona, 1916-18 “We have before us a delightful series of volumes edited by Mr. H. R. Bhagwat B. A. of Poona. We cannot praise too highly the services which have been rendered by Mr. Bhagwat to the cause of S'ankara's Philosophy. We have already before us three out of the five volumes which Mr. Bhagwat has projected. The first volume on the Gita Bhashya was printed two years ago when paper and printing were not so dear as at present. The general get up of this volume is therefore very good. Mr. Bhagwat gives S'ankara's commentary on the Bhagawadgita with an alphabetical index of the verses in Bhagwadgita at the end. It is a great relief to us that Mr. Bhagwat does give a subcommentary on the commentary of S'ankara. In the second volume Mr. Bhagwat gives S'ankara's Commentary on the ten principal Upanishads. It should be noticed that these Upanishadas have been arranged in an alphabetical order. The printing of this volume would have been done better if the war, with its enormous increase in the price of printing and paper, had not intervened. With the necessity of getting this large volume printed at an early date Mr. Bhagwat was obliged to engage three different presses, which fact is responsible for the want of a consecutive order in the pages of the volume. This however is a minor defect which may be remedied in the second edition. Very great credit is due to Mr. Bhagwat for having edited this volume of S'ankara's commentary or the Upanishads. Here for the first time, we get a handy volume which contains S'ankara's commentary on all the ten Upanishads. The price of the book is almost nothing when we take into account the fact that Mr. Bhagwat gives to his reader no less than 900 pages on the whole. We warmly recommend this volume to all those people who cannot purchase S'ankara's commentary on the Upanishads printed at Anandashrama in ten volumes or at the Vani Vilas Press in five volumes. We must mention in passing that Mr. Bhagwat has been long known as an Upanishadic Scholar. Since he first edited the Marathi translation, along with the sanskrit text, of the ten principal Upanishads more than five years ago, Mr. Bhagwat, like his friends, has been surprised to find that the first edition should have sold so rapidly. In the second edition of this book which the editor brought out two years ago he has spared no pains in making the edition as acceptable as possible. To our mind The Indian Philosophical Review, Vol. 2, 1918-1919, Pg. 263-264

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  86 this second edition of the Marathi translation of the Upanishads printed at the Chitrashala Press is a monument of what an Indian press could achieve. The third volume of S'ankara's works consists of the commentary on the Bhrahma- sutras. Even this has been well printed. It is priced at Rs 2 and, on the whole, it fairly deserves to compete with the Nirnays Sagar Edition of the same book. One of the special features of this book of the table of contents in the serial order of the Adhikaranas, which Mr. Bhagwat prefixes to the book mainly following Deussen. It would have been more serviceable if Mr. Bhagwat had, as in the Nirnaya Sagar Edition of the book given the references to the Upanishads in the body of the book. Yet something is certainly to be said in favour of Mr. Bhagwat's arrangements of the Upanishadic quotations in their alphabetical order towards the end of the book. It seems Mr. Bhagwat has corrected the mistakes which are unfortunately to be found in other editions of the book. Mr. Bhagwat has on hand at present two remaining volumes which will be devoted to the miscellaneous works of Sankara's. With an alert eye Mr. Bhagwat has been looking out for the various short treatises of S'ankara disposed in many places. We will certainly review these volumes when they appear. It may however be pointed out that much critical skill will be required in dissociating the authentic miscellaneous works of S'ankara from those which are merely specious. We hope very much that Mr. Bhagwat's labours in the cause of S'ankara's philosophy may be appreciated.” 7

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  87 10. History of The Maratha People By Kincaid and Parasnis “Mr. Kincaid is known to all students of Maratha literature and culture as a man deeply imbued with an admiration for the historical and mythological themes which he handles. His history of the Marathas comes in only incidentally for a review in this journal, as the subject he treats of is primarily historical in its nature. But the history of the Marathas, as students of Mr. Ranade's book on the subject, know thoroughly well, has not merely a historical significance, but a religious significance as well. Mr. Kincaid has published only the first volume of his work, bringing down the narrative from the earliest times, namely, through the Satawahana, Chalukya; and Yadava kings down to the death of Shivaji. His second volume will carry the narrative down to the year 1750, and the third will bring it to the destruction of the Maratha kingdom in the year 1818. Mr. Kincaid has been greatly helped by Rao Bahadur Parasnis, who has been known for his historical researches, but in spite of this alliance we find that no justice has been done to the many récent researches of the Bharat Itihas Sanshodhak Mandal. As the late Prof. Limaye said, Mr. Kincaid writes history as if it was a mere complex of stories, and is therefore more or less mythological in his treatment; Mr. Sarcar's recent pronouncements on Shivaji, even though they embody careful research, are still partial, biassed, and if the expression may be allowed, wayward; a history of the Marathas which duly takes into account the many recent researches of the Mandal is badly needed. We wish some enterprising historian would take up the work.” The Indian Philosophical Review, Vol. 3, 1920, Pg. 105

lrJwéXod am. X. amZS>o ¶m§Mr dmL²>‘¶rZ g§nXm  88 11. Tales of the Saints of Pandharpur “We have very much to complain against Mr. Kincaid's Tales of the Saints of Pandharpur. We cannot give to Mr. Kincaid any flattering praise as was given to him by the reviewer in the Times of India. We have said above that Mr. Kincaid is gifted with a style for story-telling, but that is not enough. Mr. Kincaid's manner of writing is simple, but not brilliant. It is chaste, but it is not ornate. Mr. Kincaid writes for the higher forms of an English school, but he scarcely does justice to the scholarly side of the subject. As a translation of the Bhakti Vijaya, Mr. Kincaid's book is partial and incomplete. As a contribution to the rationalization of Hindu religion, it is a failure. The historical basis is lacking. Mr. Kincaid could have easily assured himself of the flourit of many of these saints by reference to Dr. Bhandarkar's Shaivism and Vaishnavism. What we want in future is a rationalization of Hindu Religion based on a historic foundation and appealing to the scholars of the world. Mr. Kincaid's book is badly deficient in these respects. It would do well for a matriculation English class.” The Indian Philosophical Review, Vol. 3, 1920, Pg. 106