The poetry forms of Divya Prabhandam and the count of 4000 verses

Introduction.

One can see a divine design in the way aazhwars' avataras had been
effected and the way they have sung the prabandhams.

The songs of the first 3 Mudal aazhwars are all in traditional forms
of poetry namely in VeNbaa.
The aazhwars have started their verses in the traditional way of
lighting Thiru villakku as is done before starting any worship or
action.
Vilakku means `edu vilanga-ch-chaigiradO adu vilakku'. By
lighting the lamp, the aazhwars have removed the darkness or tamas.

The first verse of the Mudal Thiruvandaadhi, " vaiyam thagaliya..'
is about lighting the vilakku at the physical level with the world as
the lamp, the oceans as the ghee and the Sun as the light.
Modern
science considers the entire world as a single cell, in that whatever
happens in one part of the land affects the other parts too.
The
wind movements, monsoons, hurricanes are all only but a few examples
of global phenomenon.
Poigaiyaar had considered the earth as one unit
even in those times itself and lit the lamp for the entire human
race.

The second Thiruvandhaadhi begins with lighting the ViLakku at the
mental level. (anbE thagaLiyaa).

With this, the entire body of Bhagavan comes to be seen in the Third
Thiruvandhaadhi in Thiru-k-kandEn, pon mEni kanden..

Thereafter the other aazhwars have taken up the task of revealing
Bhagavan in various ways for the benefit of mankind.
And the poetry forms they have employed also shows
how wonderfully they have been able to convey their message in ways
that can not be easily ignored or forgotten.

Almost all of them are in Prabhandam form with suitable
types of sound enjoyment (rhythm) that can be easily memorized and
remembered.
Not to miss is the bhava and the emotion conveyed by them
by their choice of specific poetry forms.

Before proceeding, lets us know some basic grammar to understand the
verses.

Each letter is known as `yezhutthu' in tamil.
2 letters together are known as `asai'.
The asai, coming singly or in two or in three together is known
as `sIr'. It is nothing but the `word'.
It is this term sIr that one often finds in the poetry type of the
verses.

In Prabandham we find iru sIr (2 words), aru-sIr (6 words), ezhu-sIr
(7 words) or eN sIr (8 words) in each line.

Now about the poetry type. The poetry type is mostly a blend
of `Viruttham' and `kali'.

Viruttha-p-paa is known for its vOsai nayam (rhythm). So also, kali
and aasiriya-p-paa. We often find the blend of Viruttham with kali
and aasiriyam in AruLi-ch-cheyal giving different sound effects.

The basis of this is in placing `mellina mei' suitably in between 2
vallinam (ka, cha, ta, tha, pa, ra). This combination can be made in
countless ways and a beautiful stress can be attained on the
otherwise soft mellinam. The Viruttha-p-paa gives plenty of these
combinations. Kali viruttham is even more effective in bringing out
the sound variation effectively.

To understand this, let us take up 2 verses from SenniyOngu pasurams.
(Periaazhwar Thirumozhi). This is kali viruttham.
The 3rd verse `emmanaa en kula deivamE' is full of such placing of mellina
mei in between 2 vallinams or others.
The bhava effect and sound
effect in this is different from the very next verse "kadal kadaindu
amudam kondu" which is dominated by vallinams with much less of
mellina mei.
While the former exudes pathos, the latter excels
in `seppudal' (utterance).

The poetry forms

Now let’s see the poetry types of starting from Thiruppallaandu
( in the order as found in Mayilai Madahava dasan edition).

(1) Thiruppallaandu. –

aru sIr aasiriya viruttham.

You will find 6 words (sIr) of 4 lines (may be split up in different
publications)
The aasiriyam ensures the `agavalOsai' which is like calling someone
or in the note of a peacock.

(2) Periaazhwar Thirumozhi.

A variety of forms have been
employed. The popular one being Pillai-th-thamizh, about different
stages in the life of a child (pillai).

>In kali viruttham, one can find 4 words of 4 lines

Ø In kali-th-thaazhisai (seeda-k-kadal), there is addition of
extra lines due to use of thaazhisai. The effect is that of a `neer-
ch-chuzhi' (swirl) in thaazhisai as per grammar sutras

Ø Likewise in other forms of kali viruttham, you can find
differences in the number of words per line.

Ø In aru sIr aasiriya viruttham, 6 words per lines are used and
in eN sIr aasiriya viryttham, 8 words per line are used. The grammar
type such as aasiriyam depends on the other angas of Yaappu as per
grammar.

(3) Thiruppavai –

Iyal tharavu iNai kochchaga-k-kali-p-paa.

Tharavu is the first part of kali-p-paa. There are many varieties by
which the taravu is applied in a poem. By the name of it, I guess
that it is about the first two taravu (taravu iNAi) blending
naturally (iyal – iyalbaaga).
We find that the first 2 taravus (words) of each line go together.
Like
Maagazhi-thingaL
Neeraada-p-pOduvIr
Vongi-ulagu

That is, the words are blended in such a way that one of them
conveys something of the other, either as adjective or adverb. They
are best interpreted as one.

This is understood from the way that the verses are paused at the
next or previous line while reciting.

Such as,
In the 3rd verse, Vongi ulagu, we make a pause at seertha mulai
pattri vaanga and not at the end of 4th sIr, seertha mulai pattri.
Because only then the next verse `kudam –niraikkum' completes the
grammar `iyal taravu iNai.'
It should not be vaanga –k-kudam which is not a double taravu as per
the grammar of Thituppavai. It should be `kudam-niraikkum'.

Some other places where we recite the taravu (from previous line)
together are
`nammaal pOttra' (not narayanan nammaal and then pOttra-p-parai
tharum)
`pandoru naaL koottram' (not puniyanaal pandorunaaL)
`vulaginil thOttramaai'
`matthinaal vOsai-p-paduttha' (we should not stop at matthinaal along
with the previous line)
`maadhavi-p-pandal mEl'
`abhimaana bhangamaai'

(4) Naachchiyaar Thirumozhi –

The now familiar types of poetry forms are found in this
composition. The basic form is Kali Viruttham with beautiful rhythmic
effect. The kOchchgam is also a kind of Kali-p-paa which has some
blends in sIr. There is another prabhandam type blended here, which I
will quote while taking up Madal. The Thoodhu vidudal (sending clouds
as messenger) is also a famous type of prabandham

(5) Thiru-ch-chanda viruttham –

There are not just 2 but 3 types of sound- based poetry forms blended
into one, the chandam, kali and viruttham. There is a beautiful blend
of all the three as per meanings of the verses. The chandam is based
on yedugai, the 2nd letter in the first word of every line. The
language itself is rhythmic in this combination.

My favourites, `voonin mEya' and `atthannagi' which I consider as the
essence of all Vedanta are more chandam based than the other two
types. There is that forceful declaration by using more of vallinam
in the former and a `kuzhaivu' by using more of mellina mei in the
latter one (above quoted)

(6) Thirumaalai –

 aru sIr aasiruya viruttham.
6 words in each line with aasiriya—p-paa grammar and viruttham.

(7) Thiru-p-paLLiyezhuchchi –

eN sIr aasiriya viruttham.
8 words in each line with aasiriyam and viruttham.

(8) Amalanadhi piraan –

Aasiriya-th-thurai.

Usually, thurai is the sub-set of the main one (like the banks of the
river forming the subset of the river. Thurai means bank –like in
aattru-th-thurai).

Here the main poetry form is aasiriya-p-paa. The traditional form of
it will have 4 words in all lines except the penultimate line which
will have one less. (That is, 3 words). The minimum number of lines
will be 5. Maximum any number.

In this prabandham, the grammar is that of aasiriya-p-paa.
All lines have 5 words (since it is thurai)
The penultimate line has lesser words than the other lines.
The last one `kondal vannan' is kali viruttham having 4 words in 4
lines.

(9) KaNNi nuN sirutthaambu –

kali viruttham

(10) Peria Thirumozhi –

Various types of kali, aasiriyam, viruttham
with 6 or 7 or 8 words are used.

One can understand the types by the sIr used and its number.

>In `vaanavar thangaL' , thurai of aasiriyam is used which
can be determined by the
number of words in each line and the way they are repeated.

Ø In `VaNduNu naru malar' vanji viruttham is used.
As per Yaaparumkalam sutram, there are 4 lines of sindhu-p-paa
(another variety of prabandham) joined with viruttham of 4 words each line.

( 11) Thiru-k-kurum thaandagam.

Thaandagam is a type of prabandham and this one is a shorter version
(kurugiya) of it having 6 words of 4 lines. The specialty of this
type is that the lines look similar. The rhyme is distinct which can
be experienced while reciting. The paadu-pOruL (the Hero, in other
words) is always some God. In contrast the other prabandhams may have
any valiant person, a king or God as the theme of the composition.

(12) Thiru nedum thaandagam.

Same as Thiru-k-kurum thaandagam. Only that the words are more per
line. It is 8. Usually, Thaadagam comes only in 6 or 8 sIr per line.

(13) Mudal Thiru andhaadi.

Nerisai Venbaa with andhaadi adi.

This veNbaa type has 4 lines of 4 words in the first 3 lines and 3
lines in the last line. The first words of the first two lines have
similarity in rhyme (yedugai) followed by the 4th sIr of the 2^nd
line having the same yedugai which blends with the 3rd line. There
will be a ‘–’ in the 2^nd line showing the split. The last 2 lines go
together in yedugai. There are grammar rules to determine how the
last sIr of the poem must end.

This type is also an andhaadhi, a prabandham type. The first 3
Thiruvandhaadis are a blend of traditional veNbaa and prabandham
(andaadhi)

Andaadhi is that in which the andam of the previous verse, becomes
the aadhi of the next verse. That is, the last word of the previous
verse becomes the first word of the next verse.

(14) Irandaam Thiruvandaadhi

Same as the previous one.

(15) Moondraam Thiruvandaadhi

Same as previous one.

(16) Naan mugan Thiruvandaadhi

Same as previous one.

(17) Thiru viruttham

The type is kattalai kali-th-thurai
The viruttham ensures rhyme. But this is one of the difficult ones to
compose going by the grammar used. There are rules in using the other
angas of poetry such as thaLai and the kind of sIr (nEr 16 and nirai 17 ).
The last word also must be of specific sIr type. This comes
under a category, Iyal paa, meaning strictly adhering to traditional
grammar form.

(18) Thiru aasiriyam

This is also an iyal paa, composed in a traditional type, aasiriyappa
with 4 words in all lines except the penultimate line where it will
be 3

(19) Peria Thiruvandaadhi.

VeNbaa and andaadhi together. Same as Mudalaazhwars' pasurams.

(20) Thiruvezhu koottrirukkai.(Thiru yezhu koottru irukkai)

This is in aasiriyappa form with a beautiful build-up of verses. The
words indicate a ThEr thattu (temple car) in successive layers.

That is, it begins with words meaning 1,2,1
1,2,3,2,1
1,2,3,4,3,2,1……
upto 7 (yezhu koottru)
The last layer will be 1,2,3,4,5,6,7,6,5,4,3,2,1.

(21) Siriya Thiru madal.
I am too excited to write about madal. I think Bhagavan too would
have been excited to listen to Thirumangai aazhwar sing this. A
daring poetry fittingly given by a daring person with whom bhagavan
too enjoyed His leela. It is perhaps to enjoy the madal that bhagavan
chose none other than our Kaliyan who was so vociferous in expressing
his feelings and emotions.

Madal is originally known as MadalEral or Madaloordal in Tamil.
Madal is the palm leaf and the dried twigs of the palm leaf (panai
maram).

The scenario always involves a nayaka and a nayaki (thalaivan and
thalaivi). The two are in love and there are obstructions to
consummate their love into marriage. In another scenario, the nayaka
is in love, but the nayaki is not serious about his love.
In any of these circumstances,
the nayaka takes the extreme step of madaloordal.

In this, he paints the picture of his lady-love on a palm leaf, makes
a horse out of the dried palm leaves, takes the picture and looks at
it as though nothing else matters and sits on this madal horse and
moves around in that (oordal) like a mad person.

He would not care what people think about him, nor would he bother about the shabby
looks he has developed due to lack of care of his body. Such a person
would even roam like this with no clothes on.
The sharp edges of the palm leaf would hurt him. If by such hurt, his vital fluid is
released, people would think that his love is indeed supreme and see to it that he marries his lady-love.
If the obstacle to his love is from the nayaki herself, she would relent.
But instead, if blood seeps out due to the scratches by palm leaf, people would not
consider his as true love.

There are instances when the nayaka would blackmail the nayaki that
he would mount the madal if she refuses him. If he mounts the madal,
every one in the town would come to know of the affair and the tiff
between them and it won’t be a pleasant one for the nayaki. So, she
would oblige.

A similar threat is sounded by Andal in the first pasuram of
Naachchyaar Thirumozhi when she takes refuge in Ananga devan. This is
an indirect warning to PerumaaL that he must come immediately to
accept her.

Thirumangai aazhwar excels in flinging such `ultimatums' to PerumaL
in his two madals. The entire composition is fast-paced showing his
‘aattraamai’ and anger that Bhagavan has not yet taken him with Him. If
recited with bhava after knowing the meaning, I am sure the madals
are a great experience.

This is termed as siriya Thirumadal going by its size. The entire
composition is in single kali veNbaa with no full stop in between!

(22) Peria Thirumadal.
This is same as the previous one, only that it is lengthier than it.
Usually a madal is mounted by the man. Women don't mount it. But
aazhwar makes a deviation from the established norms and takes up
nayaki bhava in madaloordal. "mannum vada neriyE vEndinOm" meaning
that though this is not in vogue in Tamil culture, he has taken up
the way of Northies.

(23) Thiruvaimozhi.
All types discussed above have been handled by aazhwar with most of
them also of andaadhi type.

Even madaloordal has been done by Nammaazhwar.
In 2-1-4, (kadalum, malaiyum, visumbum.) he expresses the nature of
the one mounting the madal in always moving around without sleep
catching the `vudalam nOi'

The vanji-th-thurai of `veedumin' (1-2) and `vodum puLLEri' (1-8) are
another special form of poem. In this there are 2 words of 4 lines
which speak about a specific notion. They are usually written in
kuraLAdi, two lines like kuraL.

Ramanuja Noottrandaadhi is in the difficult kattaLai kali-th-thurai,
like Thiru viruttham.
 

How the 4000 are calculated.

As per Tamil grammar, Siriya Thirumadal and Peria thirumadal
are considered as single Kali veNbha each and as such
the total pasuams are 3774 + 2 = 3776.
This is what is followed in most of the publications.

But there 3 ways by which the 4000 is arrived at.

By one method, each ‘kaNNi’ of the 2 Thiru madal are taken as each pasuram,
thereby arriving at 77-1/2 + 148-1/2 = 226.

Then the total will be 3774 + 226 = 4000

To substantiate this, the Vaazhi –thiru-naama cheyyuL is quoted which says,

“Elangezhu kootrirukkai iru madal eendhaan vaazhiyE;

im-moondril iru-nootru-irupatthEzhu eendhaan vaazhiyE”


By another method, the pasurams in Siriya Thirumadal are calculated as 40

and in Peria Thirumadal as 78 and by adding Iramanusa Nootrandhaadhi,

it is calculated 3774 + 40+ 78+ 108 = 4000

This is based on Sri Vedantha Desikar’s verses,

“siriya madal paatu muppatthu ettu irandum (38+2)

sir peria madalaranil yezhupatthettum (78)”

and

“mutthi tharum yadiraasar ponnadikkE, mozhinda amutha nal paadal noorum ettum”


By yet another method, it is said that

since it is customary to consider the 947 of the mudalaayiram as a 1000,

and 1137 as 2000 (irandaayiram),

it is also acceptable to say 3776 as 4000.

Epigraphic evidence for the year of the Mahābhārata war

 This is in continuation of the previous article on Methodology and methods of research for dating Mahābhārata

In dating the past, inscriptions are the primary sources of evidence. The year of the Mahabharata war can be deduced from the inscriptions of Janamejaya in whose presence Mahabharata was recited for the first time. Vyasa, the author also being present at that time, makes the decrees of Janamejaya the first rate primary evidence for dating.

Four copper plate grants issued by Janamejaya found in the district of Shivamogga in Karnataka are seen with time elements such as Shaka year, year name, month, tithi, star and weekday that help us in finding out the date of the grants. Two were given on solar eclipse days. Three of them were given to Brahmins of Shivamogga on the occasion of Sarpa-yaga done by Janamejaya.

One was given to a mutt at Bhimanakatte, presently following Madhvacarya's  philosophy. The donated land was occupied by the Pandavas during their exile. The boundaries of this grant are traceable to R.Thunga in the east, R.Varahi (Pāṣāṇa in the grant) and R.Bhima in the north now lost. Agastyasrama in the south is no longer seen.

This grant given on a day of eclipse contains Śaka year (89^th Yudhishthira Śaka), year name (Plavanga) and Pancanga details. They match with each other for the date Nov 2, 3013 BCE in Surya Siddhanta settings and not for any other setting. Janamejaya donated this by offering the water of Thungabhadra in front of Harihara shrine.

This date exactly matches with the Kali Yuga begin year at Pramathi when Parikshit ascended the throne following the abdication of the throne by the Pandavas upon the departure of Krishna from this world. Though Kali Yuga date is confirmed in many other inscriptions and continues to be followed in India, this grant of Janamejaya comes as a primary evidence for the year of Mahabharata 35 years before that.

On the same date Janamejaya had issued a grant to Usha Mutt in Kedarnath. He must have handed over that personally when he visited Kedarnath. Both Bhimanakatte and Kedarnath are connected with Bhima. Bhima was said to have built a dam at Thunga, by which the place got the name Vrikodara-Kshetra (inscription), now known as Bhimanakatte.

Bhimanakatte (Source: http://bheemanakattemutt.com/photos/)

Closer analysis reveals that the Pandavas had visited the places related to Ramayana in Karnataka and they were identified by Janamejaya who made arrangements for the upkeep of those places. Krishkindha seems to be the seat of Vaali-guhe (Balligavi). From there Bhimnanakatte is only 320 km.

Other three  inscriptions found at Begur, Kuppagede and Gauj in Shivamogga dt, reveal that the sarpa yaga was done in the 88th Kali year (Parābhava). Janamejaya gave these grants to the recipients in the 89th Kali year, while on a Dik-vijaya to this region. The dates exactly match with Kali Era beginning in the year Pramathi in 3101 BCE.

Surprise element is that Begur and Kuppagede (Pushpagade in the grant) were given in Caitra maasa – both Adhika and Nija following each other. This can be simulated only in Surya Siddhanta settings and not in any other settings. This confirms the 7200y cycle of equinoxes and not 26k western astronomy.

The Bhimanakatte grant with year name (Plavanga) and Śaka year (89^th in Y. Śaka) confirms that Parikshit ascended the throne in 3101 BCE following the departure of Pandavas and Krishna. 35 years before that Mahabharata war was fought, i.e. in 3136 BCE in the year Krodhi.

The detailed article can be read here: https://jayasree-saranathan.medium.com/epigraphic-evidence-for-the-year-of-the-mah%C4%81bh%C4%81rata-war-ee00d087cf55

 

Methodology and methods of research for dating Mahābhārata

Any research must follow a proper methodology. The dating research of the Itihāsas is no exception. They describe the past events as had happened. As such they come closer to history that is aimed at absolute or exact dating of the events. In this write-up I have assessed the methodologies as applicable to the Itihāsas and arrived at primary and secondary sources of evidence as suitable for dating Mahābhārata

Primary evidences are original documents and materials of the period under study. The text of Mahabharata is the prime most evidence. Fortunately the time period of Kali Yuga starting at the time of the author of Mahabharata offers another source of prime evidence. In fact Mahabharata was recited to the outside world only after Kali Yuga began. It was recited in the presence of the author, Vyasa and the king Janamejaya. Therefore any inscription issued by Janamejaya having relevance to dates becomes another primary source of evidence. Contemporaneity is the hallmark of primary evidence.

Secondary sources are those created by non-contemporaneous people, not having firsthand experience of the event. Written works by later day people based on primary sources become secondary evidence. They are admissible in support of primary evidence but do not stand on their own. The so-called Epoch of Arundhati running for 6000 years is neither primary evidence nor secondary evidence. A product of 'Hypothetico-deductive method', it is a mis-fit for absolute dating of Mahabharata. Mahabharata date is neither a hypothesis, nor a theory, but a point of time, an exact time.

Dvaraka submergence becomes a primary evidence, by having an exact date coming 7 days after Kali Yuga began. Any marine excavation coming up with a date matching with primary evidence is admissible, otherwise no. Any evidence not going along with date of primary evidence is rejected.

Other evidences such as Saraswati drying-up, Sutlej, Yamuna changing the course and genetic dip are not admissible for not being date-specific, and happening over years. They come under geological, paleological, genetic studies, but not historical dating of Mahabharata. 

Coming to the methods of research, the methods are techniques or tools to find the answer to the research question. In Mahabharata, the date is already available by Primary evidence. So there is NO research question. This date must be verified by 2 types of data derived from Mahabharata.

Since Mahabharata gives the dates in traditional Pancanga elements, it is high time people realize that a dating process done with a proper methodology of research and in conformance with the original time elements given in Mahabharata lends authenticity to the date.

Two data sets -(1) Pancanga elements of events and (2) planetary references - must be collected and tested in simulators. The choice of simulator depends on passing the test of reliability - the test being the Kali Yuga date with pancanga features and planetary positions.

Reasons for the unsuitability of astronomy simulators are listed in the article. In contrast astrology software simulated to Surya Siddhanta passes the test of Kali Yuga proving the reliability of that model for Kali Yuga time of zero ayanamsa. It has triple advantages. Read the details in the article here: Methodology of Research for Dating Mahabharata

The plan of the article:

·         Scientific dating of Mahābhārata

·         Where Itihāsa research differs from Science research

·         Methodology for dating.

·         Primary evidence for the date of Mahābhārata

·         Importance of inscriptions as primary evidence for dating

·         Are there secondary sources of evidence to Mahābhārata?

·         Is the Epoch of Arundhati a source of evidence?

·         Status of Dvaraka submergence, a primary or secondary evidence?

·         Other evidences.

·         Methods of dating research

·         A note on Pancāṅga elements

·         Compilation of the data

·         Verification of the data and the date through simulators.

·         Choice of simulators.

 

Upa-grahas or ‘Satellites’ of the grahas in Vedic astrology.

 

Science recognizes physical existence of the satellites of the planets. Vedic astrology also speaks about satellites or Upagrahas for the nine planets – not the nine planets of the solar system recognized by science but the Nava grahas of the Vedic system.

The Upagrahas are not physical entities. They are points in the zodiac, computed mathematically.  They are plotted in the horoscope.

What for they are used?

1.      For accuracy in predictions. Where a prediction has failed, the role of Upagrahas is noted and found to have influenced the prediction made from the grahas.

2.      Upagrahas are powerful and responsible for certain adverse results.

3.      Importance given in olden days. Mantreswara, the author of Phala Deepika quotes Purvacaryas in his exposition of Upagrahas.

Major texts that have written about Upagrahas.

1.      Brihad Parasara Hora Sastra

2.      Phala Deepika

3.      Uttara KAlAmrutam

4.      JAtaka PArijatam

Where are they used?

1.      Travels

2.      Money matters

3.      About progeny

4.      In horary astrology such as Yuddha prasna

The list of Upagrahas along with their parent grahas

Sun - kAla

Moon - parivesha / paridhi

Mars - dhooma

Mercury - ardha- praharana

Jupiter - yamaghanta

Venus - Indra dhanush / IndrachApa / kodanda

Saturn - gulika / mAndi

Rahu - vyatipAta

Ketu - Ketu / Upaketu/ dhumaketu+

Of these there are two schools of thought on whether gulika and mAndi are the same or different. Kalidasa (different from Kalidasa, the composer of Shakuntalam) in his text Uttara KAlAmrutam quotes the sage Mandavya as having said the two are different. In their computation,  gulika is immediately after mAndi.

Sage Satyacarya associates Gulika with progeny. According to him

1.      If the putra sthana (5H) is associated with or aspected by Saturn and Gulika, adoption of a son is possible.

2.      If the putra sthana is in between Saturn and Gulika, then also adopted son.

The Upagrahas are grouped into two, DhumAdi grahas and GulikAdi grahas.

1.      DhumAdi Grahas

Among the nine upagrahas, five are grouped as 'DhumAdi grahas'. They are

Dhuma (of Mars)

VyatipAta (of Rahu)

Parivesha (of Moon)

 Indra- dhanush (of Venus)

 Upaketu  (dhumaketu) (of Ketu)

These are grouped together because the computation of each of these is dependent on one another.

How?

Dhuma is calculated first by adding 4 signs-13 degrees-20 minutes to the true position of the sun on any day.

VyatipAta is 12 signs from Dhuma.

Parivesha is VyatipAta + 6signs

Indrachapa is Parivesha + 12signs

Upaketu is Indrachapa + 16°40'

If location of one of these is known, the rest can be plotted.

2.      GulikAdi grahas

The remaining four Upagrahas are under this group. They are

yamaghanta (of Jupiter)

ardha-praharana (of Mercury)

kAla (of Sun)

gulika (of Saturn)

 

These four can be seen in the traditional Pancangas, given with a time.

How are they calculated?

The day time is divided into 8 equal parts and the 7 parts are taken into consideration. The 8^th part is left out.

The Upagraha of a day starts in the first part of the day ruled by its main graha. It would be in the 2^nd part of the day in the previous day, in 3^rd part on the day before and so on. In this way the time of ruling of an Upagraha is counted backwards.

For example, Yamaghanta will rule the first 1/8^th of the day on Thursday, the day of Jupiter.

1/8^th = 1 and a half hours. Assuming sunrise at 6 AM, Yamaghanta will be ruling from 6 to 7-30 AM on Thursday.

Now we have to start counting backwards.

On Wednesday, Yamaghanta will rule the 2^nd part of the 8 part division, i.e. from 7-30 to 9 AM. In this way one has to find out for other days.

In the same way the ruling time of the other Gulikadi grahas are calculated-

 kAla from the 1^st part of Sunday,

ardha-praharana from the 1^st part of Wednesday and

Gulika from the 1^st part of Saturday.                   

These times are fit for doing or not doing certain activities.

What are they?

Yamaghanta – good for doing curative works or propitiation for Jupiter and Jupiter related afflictions in the horoscope.

Ardha-praharana – depends on Mercury related issues in the horoscopes. The propitiations for them are to be done in this time.

kAla – Poisonous as snake. To be avoided for auspicious works. Since sun is the graha signifying government, employer, senior etc. any works or favours to be requested to them should not be done in this time.

Gulika – Destructive as Yama. Avoided for auspicious works. Any work done in this time would have to be done repeatedly. Therefore taking out funeral is not done in this time on the belief that one would get to do the same many times, meaning there would be more deaths at home.

Rahu kala is not part of the Upagrahas, but used for identification of certain time. The division of time doesn’t take the 1^st of the 8 part division but starts from the last part of the day.

The counting is done from Sunday starting from the 8^th part (4-30 to 6 PM) and follows a different pattern.

The basic rationale is obstruction of the work related the day-lord during Rahu kala of the day. Eg. Venus is for marriage, jewels, happy union etc. Avoid Rahu kala for these on Fridays.

In the horoscope, prediction part depends on the location of the Upagrahas in the bhavas and the planets in conjunction with them. Upagrahas have no aspects (pArvai / Dhrishti)

In practice the affliction is found pronounced in diseases and matrimonial discords when the Upagrahas, particularly MAndi and Gulika are associated with the planets relevant to these issues. If one starts applying the results given for the Upagrahas in each house of the horoscope, then no one can be said to be leading a reasonably happy life. So, no need to make a big fuss about them in predictions beyond the two issues mentioned above.

Did lakhs of people belonging to 18 Akshauhinis participate in the Mahabharata war?

 

It is thought that lakhs of soldiers participated in the Mahabharata war with all of them having perished within the 18-day duration of the war. This is based on the version found in the 2^nd chapter of the first Parvan of Mahabharata that 18 Akshauhinis of the Pandavas and the Kauravas participated in the war. An Akshauhini is a measure of the number of foot soldiers, elephants, horses and chariots in what can be called a military unit. This measure given in Mahabharata is of stupendous proportions making us wonder whether so many people really existed at that time. This post is aimed at clearing that confusion.

Both Ramayana and Mahabharata do talk about huge numbers in the context of armies pressed into service. Let me begin from Ramayana for getting a better understanding.  

Huge army described in Ramayana.

In Ramayana we come across a description of the size of the army - not of men or horses or chariots that Mahabharata describes - but of Vanaras!!

Take a look at these verses of chapter 28 of Yuddha Kanda of Valmiki Ramayana.

“O, king! Do you observe those monkeys resembling huge elephants in rut, rising like banyan trees on the banks of River Ganga or Sala trees on Himalayas? Those warriors, able to change their form at will, are irresistible, equal to celestials and demons, and in a battle, are endowed with the valour of the gods.

There are twenty one thousand crores, a thousand Shankus and a hundred Vrindas of these monkeys.” (Verses 2, 3 &4)

What are these crores and Shanku?

From 33rd verse onwards the explanation is given:-

"Wise men call a hundred lakhs as a crore.

A hundred thousand crore is reckoned as a Shanku.

A hundred thousand Shanku is said to be one Maha Shanku.

A hundred thousand Maha Shanku is called one Vrindam here.

A hundred thousand Vrinda is said to be one Maha vrindam.

A hundred thousand Mahavrinda is called one Padmam here.

A hundred thousand Padma is said to be one Mahapadmam.

A hundred thousand Mahapadma is called one Kharvam here.

A hundred thousand Kharva is said to be one Mahakharvam.

A hundred thousand Mahakharva is called one Samundram.

A hundred thousand Samudra is said to be one ogha here.

A hundred thousand Ogha is acclaimed a one Mahaugha."

"This Sugreeva, the king of monkeys, having great strength and valour, always surrounded by a colossal army, is approaching you to make war, accompanied by the valiant Vibhishana and the ministers, as also a hundred thousand Crores of Shankas, a thousand Mahashankus, a hundred Vrindas, a thousand Mahavrindas, a hundred Padmas, a thousand Mahapadmas, a hundred Kharves, Samudras and Mahaughas of the same number, and a Crore of Mahaughas whole army as such is identical of an ocean." (Verses 33 to 39)

This description shows that the narrator (Shuka to Ravana) wanted to convey that Rama's army of Vanaras was like an ocean. To drive home the point he reminds Ravana of all the highest numbers known to them and says that so many numbers of Vanaras were present in the army of Rama.

If we take the literal head count of Vanaras told by this number, then that might far exceed the number of monkeys existed throughout the globe until now. So what is being told here is a kind of comparison by exaggeration to convey the enormity of the size of the army of the Vanaras.

Huge army of Mahabharata war

Coming to Mahabharata, the narration of the composition of Akshauhini is given by Sauti to other rishis. There he gives the description of sub- sub parts that make up an Akshauhini.

(from Mahabharata 2nd chapter in Adi parva) :-

"One chariot, one elephant, five foot-soldiers, and three horses form one Patti;

three Pattis make one Sena-mukha;

three Sena-mukhas are called a Gulma;

three Gulmas, a Gana;

three Ganas, a Vahini;

three Vahinis together are called a Pritana;

three Pritanas form a Chamu;

three Chamus, one Anikini;

and an Anikini taken ten times forms, as it is styled by those who know, an Akshauhini.

 

O ye best of Brahmanas, arithmeticians have calculated that the number of chariots in an Akshauhini is twenty-one thousand eight hundred and seventy.

The measure of elephants must be fixed at the same number.

O ye pure, you must know that the number of foot-soldiers is one hundred and nine thousand, three hundred and fifty,

the number of horse is sixty-five thousand, six hundred and ten." (end quote)

This is for one Akshauhini.

For 18 Akshauhinis the final tally is:

Chariots = 3,93,660

Elephants = 3,93,660

Horses = 11,80,980

Foot soldiers = 19,68,300

 

Now our question is how much space is required to accommodate them.

From the current data of high density of population, 20,000 are living in one square kilometer of Mumbai.

At this rate, 19,68,300 foot soldiers can be accommodated 98.415 square kilometer area.

But this is modest number because most of Mumbai population lives in high rise buildings.

So just to accommodate the 18 Akshauhinis in tents, we need at least double the area, i.e around 200 square kilometer land.

Even more than that area is needed to accommodate the chariots, elephants and horses and their attendants.

The battle field is also required to be of double the size of all these accommodations.

Leaving aside the issues of logistics – the most basic being how communication could have flowed from the front end to the back end or vice versa of such huge army formations – the main issue is the size of the battle field!

The battle took place on the banks of the river Sarasvatī in a place known as 'Samanta Pancaka'.

It was the place where Parasurama killed the ksahtriyas that left 5 pools of blood. Five adjoining pools gave the place the name, Samanta Pancaka.

Samnata Panchaka means 'the adjoining five'.

Parasurama invokes his pitrus there and gets an assurance that his sins of killing kshatriyas will be absolved. From then onwards, that place became a holy place where the sin of killing in war is absolved.

Sauti continues to say that "The region that lieth near unto those lakes of gory water, from that time hath been celebrated as Samanta-pancaka the holy."

This makes it clear that Mahabharata was fought in a particular region on the banks of river Sarasvatī which already got notoriety on account of a war between Parasurama and other kshatriyas and was called as Samanta Pancaka. This location being adjacent to the five pools, it could not have stretched for 100 and odd square kilometers, in which case it cannot be identified as being next to the five pools.

The only derivation is that it was not vast enough to accommodate the 18 Akshauhinis in the truest number of men, animals and chariots. The location rules out the participation of lakhs of soldiers in the war.

If we read carefully the passage that describes the numbers in an Akshauhini, we get to realize that Sauti had described the numbers.

"These, O Brahmanas, as fully explained by me, are the numbers of an Akshauhini as said by those acquainted with the principles of numbers."

Sauti had done what Shuka did in Yuddha kanda of Ramayana - that of narrating the size denoted by the numbers.

This doesn’t mean the exact numbers had assembled.

What appears possible in reality was that there must have been 18 units of army - each one of them huge enough to resemble an Akshauhini.

In chapter 4-72, there comes the description of who brought how many Akshauhinis.

King of Kasi and Saivya brought one Akshauhini.

Drushtadhyumna brought one Akshauhini.

Like this Kritavarman and King of Chedi arrived with one Akashuhini each.

But these could not have been the exact number of an Akshauhini.

Every huge unit of army brought by important allies must have been counted as an Akshauhini.