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Assuming that, more than a specialized religious technique, yoga was a cultural phenomenon, and therefore its study should consider its various representations, including those from literature, this article explores the image of yoga in the epic poem Raghuvamśa (The dynasty of the Raghus) by the Indian author Kālidāsa (5th century). Thus, key passages are translated for the first time from Sanskrit into Spanish and analyzed, arguing that representation of yoga in the poem rests upon the ideals of equilibrium and self-mastery in accordance with the political, spiritual, and aesthetical values of the period, and noting the importance of such representation for the study of the History of yoga. [ABSTRACT FROM AUTHOR]

El lector tiene en sus manos la primera traducción directa del sánscrito al español del segundo capítulo de la obra satírica Samayamātṛkā (Madre por conveniencia), escrita hacia el año 1050 por Kṣemendra, el prolífico autor de Cachemira, al extremo norte de India. Inspirado en el Kuṭṭanīmata [Las lecciones de la madama], la novela en prosa de Dāmodaragupta (siglo VIII), otro oriundo de Cachemira, el libro ofrece un mordaz retrato de la vida cotidiana india desde la perspectiva marginal de una artera proxeneta, la temible Kaṅkālī, y su joven aprendiz, la hermosa prostituta Kalāvatī, ambas habitantes de Pravarapura (1.1), la actual Shrinagar. Kalāvatī acaba de perder a su “madre” y, en medio de su desconsuelo (1.32), recibe la visita de un viejo amigo, el barbero, quien le aconseja adoptar una nueva tutora (1.40), y acto seguido le recomienda a la célebre Kaṅkālī, “huesuda de complexión, las venas [se le saltaban] como cuerdas y tenía el vientre sumido hasta las vísceras; era como un espectro con el cuerpo enjuto y el rostro cadavérico” (4.2).

This is the first Spanish translation of the fifth chapter in the Sanskrit satire Mother by contract (Samayamātṛkā), composed by the great Kashmiri poet Kṣemendra (11th CE). Entitled "A Concise Typology of Desire" (rāgavibhāgopanyāsa), this chapter is part of the lessons taught -according to the work's plot- by a seasoned procuress to her young student in the oldest profession in the world. In a deeper sense, the chapter is a sort of theoretical digression about various types of lovers from the perspective of their manifested desire (rāga). This typology stands out for its style and contents, as well as for the absence of parallels in the Sanskrit corpus. In this context, the paper calls attention to the significance of the chapter and indicates topics for further research. [ABSTRACT FROM AUTHOR]

Este es un artículo que analiza desde el punto de vista mítico-simbólico la serpiente Veneno lento, personaje principal de la fábula 10 del Libro III, del Pañchatantra titulada Las ranas que cabalgan la serpiente

Se ofrece aquí una traducción al español del célebre episodio en la epopeya sánscrita el Rāmāyana sobre el ataque de locura (unmāda) que sufre el protagonista, el príncipe Rāma, al no hallar a su amada, la princesa Sītā, raptada con engaños por el rey demonio Rāvana. El episodio forma parte del tercer libro de la epopeya, el “Libro de la selva” (aranyakānda), y tiene como núcleo los cantos 57-61, aquí traducidos, con los cantos 55-56 como preámbulo y los cantos 62-64 como epílogo.

El presente artículo amplía investigaciones previas en torno al significado de la imaginación en la cultura sánscrita llamando la atención sobre un importante episodio tardío: la obra del teórico literario Jagannātha Paṇḍitarāja (siglo XVII). Así, con base en pasajes clave de su Rasagaṅgādhara, el artículo subraya la originalidad de la teoría de Jagannātha sobre la imaginación a la luz de las ideas de historicidad, subjetividad y relatividad, sugiriendo además su deuda con el inusual horizonte intelectual de nuestro autor: bajo el auspicio de la corte mogola.

Es posible afirmar que la Ilíada es un texto épico porque el término épica, de origen griego, se acuña para designar un género literario griego. En el caso del Mahābhārata no se emplea originalmente el término épica, pero sus características apuntan igualmente a este género literario. El propósito de este trabajo es contrastar la definición griega de épica con la definición sánscrita de épica. Para ello, se efectúa un estudio léxico: en griego, ἔπος; en sánscrito, smṛti, itihāsa, mahākāvya, gātha. Además, se ofrecen ejemplos tomados de las obras literarias. El resultado de la investigación es que algunas características se repiten en ambas definiciones: héroe, métrica, epítetos, símiles, catálogos, discursos, mitos. No obstante, el orden narrativo, el narrador, la participación de los dioses y los valores difieren de una cultura a otra.

This paper investigates the description of Laṅkā, the capital of the demonic kingdom, in the fifth book of the Rāmāyaṇa. While stressing the importance of Brahmanical ethics and values, this description introduces a sort of poetic consecration of secular life that suggests a more heterogeneous social dynamic. Finally, We mention some examples from later versions of the Rāmāyaṇa where this heterogeneity is contracted into a purely religious vision. [ABSTRACT FROM AUTHOR]

The present paper offers an edited, critical transcription of an early, relevant text on haṭhayoga. The transcription is based on three different recenssions fom North and South India. One purpose is to overcome difficulties in the reading of the text, due to the discrepancies among different editions. It also seeks to foster further academic work (both philological and exegetical) from different scholars on this text as well as on the broader textual tradition of haṭhayoga. [ABSTRACT FROM AUTHOR]

Neste artigo pretende-se fazer uma exposição do diálogo entre os registros imagético e narrativo no âmbito da cultura indiana mediante breve estudo da peca Uttararāmacaritam "O último feito de Rāma", de Bhavabhūti (séc. VIII d.C.). Particularmente intrigante em termos de sua carpintaria - quase evocando uma construção en abîme -, a peca coloca em cena os episódios finais do poema epico Rāmāyana, quais sejam as circunstâncias ligadas ao banimento de Sītā, grávida, esposa de Rāma, e ao encontro com seus dois filhos, ainda desconhecidos dele. O que toma interessante a dramatização dessa situação e que seu autor recorreu a registros variados de representação que se conjugam com o estatuto narrativo/teatral que estrutura a peça, na qual tudo se faz obliquamente, transversalmente: os fatos anteriores mais importantes são evocados através de painéis pintados que são visitados e "narrados" pelas personagens; além disso, o reconhecimento entre pai e filhos e o acerto final entre Rāma, Sītā e Laksmana se da durante uma representação teatral escrita e dirigida por Vālmikī, que nada mais e do que o suposto autor do poema épico - numa sugestão bastante evidente da "teatralização" de uma certa Verdade sobre o discutido caráter de Rāma.

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Os autores têm por objetivo rastrear, em fontes literárias sânscritas, aspectos diversos relativos ao conceito de "adivinhação". Na primeira parte, com um exame do léxico sânscrito da "adivinhação", articula-se um repertório da prática em questão. A seguir, procura-se ampliar o exame no ambito específico do Yogadarçana. Finalmente, por meio de seleção de passagens extraídas da literatura sânscrita, exemplifica-se o convívio estreito com aspectos variados da "adivinhação" e sua utilização como recurso para a urdidura dramática da narrativa.

In this article, we analyze the concept of yajña (sacrifice) in terms of karman (action) taking in consideration the transition from a social and public emphasis on the performance of solemn sacrifices (Śrauta) in the Indian tradition to a practice that emphasizes the individual consciousness, according to the Bhagavad-gītā philosophy as proposed by the Vaiṣnavism of Caitanya. In the Bhagavad-gītā, yajña is described in a general manner, in opposition to the strict rules and taboos of the Indian ritual tradition, being related to different stages of knowledge and detachment which aim at mokṣa (liberation), once that yajña, in relation to Bhakti, has the preliminary goal of acquit one from the burden of action - one of the central topics of the Gītā -, which ties the living entities to the cycle of the transmigration of the soul (samsāra). [ABSTRACT FROM AUTHOR]

Abhinavagupta lived between the ninth and tenth centuries. Though mainly known as the leading thinker of the non dualistic branch of Kashmir Shaivism, his contribution to Sanskrit culture encompasses a variety of fields like dramaturgy, aesthetics, and ritual theory. Such a prolific figure is thought to have composed the prayer (stotra) in eight stanzas (astiká) here translated for the first time into Spanish. The topic of this brief panegyric is anuttara. Grammatically an exocentric compound (bahuvñhi) literally meaning «having no superior», anuttara designates the absolute, non-dual nature of the deity. To an important extent, the prayer's relevance rests on the word's rarity within Sanskrit literature. In this regard, the paper offers a brief genealogical survey about the word, defending the thesis that Abhinavagupta's appropriation represents a dramatic innovation: from now onwards the object qualified as anuttara is as important as the very fact of being qualified by such word. As the prayer shows, this centrality has to do with the word's polysemy, in particular with the fact that its equivocal construction points simultaneously to the highest as well as to the lowest. [ABSTRACT FROM AUTHOR]