Annual day Script 2011-12 Prakriti

Prakrti or Prakriti or Prakruti (from Sanskrit language , prakti) means "nature".[1] It is, according to Hindus, the basic nature of intelligence by which the Universe exists and functions. It is described in Bhagavad Gita as the "primal motive force". It is the essential constituent of the universe and is at the basis of all the activity of the creation.[2] It is composed of the three gunas which are tendencies or modes of operation, known as sattva (preservation), rajas (creation), and tamas, (destruction) [3] Sattva encompasses qualities of goodness, light, and harmony.[4] According to the Yoga Vasistha, people who are of a satvic nature and whose activities are mainly based on satva, will tend to seek answers regarding the origin and truth of material life. With proper support they are likely to reach liberation.[5] Rajas is associated with concepts of energy, activity, ambition, and passion; so that, depending on how it is used, it can either have a supportive or hindering effect on the evolution of the soul.[6] Tamas is commonly associated with inertia, darkness, insensitivity.[7] Souls who are more tamasic are considered imbued in darkness and take the longest to reach liberation.[8] Prakriti is closely associated with the concept of Maya within Vedic scripture.[9] Mulaprakriti can be translated as "the root of nature" or "root of Prakriti";[10] it is a closer definition of 'fundamental matter'; and is often defined as the essence of matter, that aspect of the Absolute which underlines all the objective aspects of Nature.[11] While plain Prakriti encompasses classical earth element, i.e. solid matter, Mulaprakriti includes any and all classical elements, including any considered not discovered yet (some tattvas.)[12] Devi Prakriti Shakti in the context of Shaktis as forces unifies Kundalini, Kriya, Itcha, Para, Jnana, Mantrika Shaktis. Each is in a chakra.[13] Prakriti also means nature.[14] Nature can be described as environment.[15] It can also be used to denote the 'feminine' in sense of the 'male' being the purusha. Prakriti also means health in Marathi. According to the ancient vedic science of Ayurveda, the three gunas (sattva, rajas and tamas) as they pertain to the human physiology are called doshas: kapha, pitta, vata.[16] The balance or imbalance of these doshas defines the prakriti or nature of one's body.[17] (1) Nature. (2) Material part of a human being which consists of his body including his mind and all other sense faculties. It also includes the three Gun - Sat Gun, Raj Gun, and Tam Gun. (3) According to Geetaa there are eight Prakriti, their names are - earth, water, fire, air, space, mind, Buddhi (intellect), and Ahankaar. (3) Prakriti is said to have 16 Vikaar (Swaroop or forms) - 5 Gyaan Indriyaan, 5 Karm Indriyaan, 5 Mahaa-Bhoot, and one mind. All joined together make a body.

This body is of two types - Sthaavar (immovable like trees, mountains etc) and Jangam (movable like human beings, animals etc).
(Bhaagvat Puraan, 7/3)

First he created Man (mind), and then Ahankaar. From Ahankaar appeared sound, touch, Roop (seeing), taste, and smell named Panch Tanmaatraa and Panch Mahaa-Bhoot (the five basic elements). Among these 10, 8 are Prakriti (means which produce others) - Prakriti (nature), Buddhi (intelligence), Ahankaar, seeing, taste, smell, sound, and touch Tanmaatraa. 5 Mahaa-Bhoot, 5 Gyaan Indriyaan, 5 Karm Indriyaan and mind - these 16 are their Vikriti (Vikaar or Swaroop or forms). These are not of anything's Prakriti, because nothing appears from them. Sound, touch, seeing, taste, and smell are the subjects of 5 Gyaan Indriyaa - ear, skin, eyes, tongue, and nose respectively.
[Bhavishya Puraan, p 224]

Prakriti is made up of three Gun (attributes). It is called A-Vyakt and Pradhaan (elements of material satisfaction) too. It is the playground of Krishn. It is the mother of Creation and Pralaya. Prakriti has innumerable places which are full of darkness. The upper limit of Prakriti is Virajaa River, but Sanaatan Prakriti has no limit below the River. When Prakriti grows, it creates; when it shrinks, it creates dissolution (Pralaya).
[Padm Puraan, 5/35]

A-Paraa Prakriti -

It encompasses mind intellect, psyche, ego, and all areas of knowledge. Gaayatree, one of the two wives of Brahmaa (the other one is Saavitree), is known as A-Paraa Prakriti. Paraa Prakriti Superior energy. Brahmaa's second wife Saavitree (the first one is Gaayatree), is called as Paraa Prakriti - material consciousness and inert nature. All movements of matter depend on her. The revolution of molecules, influence of chemicals, electricity, light, magnetism, ether etc. This A-Paraa Prakriti of Saavitree is responsible for the body functioning of all creatures and thus the world evolves. Siddhi and boons are attained via this power of Saavitree. Health, long life, might, enthusiasm, daring, beauty and other infinite qualities are dependent on it. On one hand it is widespread, yet its main focal point is Moolaadhaar Chakra (at the base of spine). All goals are attained by activating this power. While awakening Kundalinee power, Bandh, Mudraa, Aasan etc are considered important, but in pure Saavitree worship, one is limited to the periphery of the head. Soul power is Gaayatree and material power is Saavitree. ------------------------------------------------------------

Brahmaa Jee said - "In the beginning I said to Prakriti "Devee, You be the cause of all Creation. I will start my Creation from you only." Hearing this Paraa Prakriti expressed herself in seven forms - Gaayatree, Vaagdevee (Saraswatee), wealth giver Lakshmee, Gyaan treasure Umaa, Shaktibeejaa, Tapaswinee and Dharmdravaa. These seven are the forms of Paraa Prakriti. Among them, from Gaayatree has manifested all Ved and Ved are the cause of existence of the whole Universe. Swasti, Swaahaa, Swadhaa and Deekshaa have also appeared from Gaayatree, therefore Gaayatree must always be pronounced in Yagya etc. Bhaaratee (Saraswatee) lives in everybody's mouth and heart and preaches Dharm in all Shaastra. Third Prakriti is Lakshmee from whom clothes and ornaments appeared. Comfort and kingdom of Tri-Lok is also because of her, that is why She is beloved of Vishnu. Fourth Prakriti is Umaa who is beloved of Shankar, should be considered the mother of Brahm knowledge. She lives in half body of Shankar. Fifth Prakriti is Shaktibeejaa, she is very angry and confuses the whole world. She maintains and destroys the world. Sixth Prakriti is Tapaswinee, she is the goddess of Tapasyaa. Seventh Prakriti is Dharmdravaa who lives in all Dharm. I considered Dharmdravaa as the highest so I kept her in my Kamandal and manifested her at the time Bali did the Yagya. When Hari measured the whole world in two steps. His one of the two steps appeared before me piercing the sky and Brahmaand. At that time I washed that foot from that Kamandal water. Its water fell on Hemkoot mountain and from there it went to Shiv Jee and stayed in Shiv's matted locks for long time. Later Bhageerath brought that water onto Earth by worshipping Shiv Jee. That water can give Mukti even to bones. Sagar's sons got Mukti only with a touch of that water to their bones."

Kanchana Sita (Malayalam: , English: Golden Sita) is a 1977 Indian Malayalam feature-length film scripted and directed by G. Aravindan. A mythological film, its story was adapted from C. N. Sreekantan Nair's play of the same name, which is a reworking of Valmiki's Ramayana. The film interprets a story from the Uttara Kanda of the epic poem Ramayana, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Sita is never actually seen in the film, but her virtual presence is compellingly evoked in the moods of the forest and the elements. The film retells the epic from a feminist perspective. It was shot in the interior tribal areas of Andhra Pradesh. The roles of the epic heroes are played by Rama Chenchu tribal people, who claim lineage to the mythological Rama. Director Aravindan interweaves the Samkhya-Yoga philosophical concepts of Prakriti-Purusha bonds throughout the film.

The film was produced by K. Ravindran Nair under the banner of General Pictures. The film features an original score by classical musician Rajeev Taranath, cinematography by cinematographer-turned-director Shaji N. Karun, editing by Ramesan, and art direction by Artist Namboothiri. The film became a major critical success upon its release in 1977, although a few mainstream critics panned it. It is credited with being at the forefront of a trend towards independent filmmaking in South India. The film earned Aravindan the National Film Award for Best Direction.

Contents

1 Plot o 1.1 Dnouement 2 Cast 3 Themes and analysis o 3.1 Significance of the title o 3.2 Differences between the play and Ramayana o 3.3 Dialogues o 3.4 Characterisation 4 Production o 4.1 Casting o 4.2 Filming 5 Reception 6 References o 6.1 Footnotes o 6.2 Bibliography 7 External links

[edit] Plot
The film begins with the journey of Rama and Lakshmana to kill Shambuka the shudra who performs penance but Shambuka's wife pleads for his life, and he is spared. Rama and Lakshmana return to Ayodhya to face Urmila, the spirited wife of Lakshmana. Rama replies to her reproaches for abandoning Sita in the Dandakaranya forests, through which they have just journeyed, that the husband of Sita is only a servant of the people of Ayodhya. The next day, Vasishta arrives to suggest that Rama perform the Ashvamedha yaga (the ritual sacrifice of a horse to Agni, the god of fire) but Rama cannot do without his wife by his side. He is averse to taking a second wife, as Vasishta further suggests. The anguish of Rama at this point is juxtaposed with the people of Ayodhya joyously celebrating the harvest. Bharata, a brother of Rama who had left Ayodhya twelve years ago, returns. He objects to Rama performing the yaga without Sita. Their argument almost culminates in a physical fight, but nature intervenes; the skies open and a cooling rain pours down upon them. The yaga begins, with Lakshmana accompanying the horse. The horse strays into Valmiki's ashram (hermitage), where Rama's son Lava and Kusha are being brought up. Lava stops the horse and is ready to fight Lakshmana (as the yaga demands). Lakshmana orders that the

horse be released, but once again nature takes a hand. Valmiki is strangely moved by what he sees, and he begins to compose the Uttara Rama Charita the story of Rama. The horse is led back to Ayodhya, and the ritualistic second stage of the yaga starts. Just then Rama receives the news that Shambuka has resumed his penance, and Lakshmana is despatched to slay the erring shudra. As the ceremony nears completion, Valmiki arrives with Lava and Kusha, but Vasishta debars Valmiki from entering the yagashala. Rama recognises Lava and Kusha as his sons, and takes them to his heart. The joy of Sita, then, is represented in the glorious splendour of nature.

[edit] Dnouement
The film ends with an epilogue depicting Rama's last journey, the Mahaprasthana, as he walks into the river with fire in his hand and becomes one with Sita, the all-pervading nature.[3] When asked whether Rama was really committing suicide, Aravindan replied, "Yes... in all probability. That is what I think. However, his death in Sarayu river is not like any other kind of death. It was a Mahaprasthanam an event of supreme self-sacrifice and purification, leaving everything behind. Everyone dear to him had gone. He had parted from Lakshmana. He was troubled by many guilt feelings the murder of Shambuka, the unfairness meted out to Sita... Towards the end of the film, this mood prevails Rama walks into the Sarayu river with the sacrificial fire, bearing everything, including his loneliness, calling out for Sita ... and disappears into the depths of the waters, carrying the sacrificial fire with him into the river is not in Ramayana it is an interpretation. Somehow the part I liked most in the film is this end."[4]