Srimad Bhagavatam Study Notes Pdf
Francisco Raya
The Bhagavata Purana (Sanskrit: भगवतपुरण; IAST: Bhāgavata Purāṇa), also known as the Srimad Bhagavatam (Śrīmad Bhāgavatam), Srimad Bhagavata Mahapurana (Śrīmad Bhāgavata Mahāpurāṇa) or simply Bhagavata (Bhāgavata), is one of Hinduism's eighteen great Puranas (Mahapuranas).[1][2] Composed in Sanskrit and traditionally attributed to Veda Vyasa,[3] it promotes bhakti (devotion) towards Krishna,[4][5][6] an avatar of Vishnu, integrating themes from the Advaita (monism) philosophy of Adi Shankara, the Vishishtadvaita (qualified monism) of Ramanujacharya and the Dvaita (dualism) of Madhvacharya.[5][7][8][9] It is widely available in almost all Indian languages.
The Bhagavata Purana is a central text in Vaishnavism.[12] The text presents a form of religion (dharma) that competes with that of the Vedas, wherein bhakti ultimately leads to self-knowledge, salvation (moksha) and bliss.[13] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[14] An oft-quoted verse (1.3.40) is used by some Krishna sects to assert that the text itself is Krishna in literary form.[15][16]
The text consists of twelve books (skandhas or cantos) totalling 335 chapters (adhyayas) and 18,000 verses.[15][17] The tenth book, with about 4,000 verses, has been the most popular and widely studied.[3] It was the first Purana to be translated into a European language, as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era.[6][18]
The Bhagavata Purana has been among the most celebrated and popular texts in the Puranic genre, and is, in the opinion of some, of non-dualistic tenor.[19][20] But, the dualistic school of Madhvacharya has a rich and strong tradition of dualistic interpretation of the Bhagavata, starting from the Bhagavata Taatparya Nirnaya of the Acharya himself and later, commentaries on the commentary. The Chaitanya school also rejects outright any monistic interpretation of the purana.
Since the 19th-century, most scholars believe that the Bhagavata Purana was written by a group of learned Brahmin ascetics, probably in South India, who were well versed in Vedic and ancient Indian literature and influenced by the Alvars.[40] Postmodern scholars have suggested alternate theories.[41]
The Bhagavata Purana consists of twelve skhandas or cantos consisting of 18,000 verses of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousing Bhakti Yoga that go back and forth in time:
We have alluded to the Bhagavata's identity as a Purana, an important feature of which is its multilevel dialogical structure... the layered arrangement of dialogues, in which a speaker (typically Suka, the main reciter, addressing his interlocutor, King Pariksit) quotes an "earlier" speaker (for example, Narada, addressing King Yudhisthira, Pariksit's granduncle, in a dialogue understood to have taken place earlier and elsewhere), who may in turn quote yet another speaker. Two or three such layers are typically operative simultaneously... the compounding of voices serve to strengthen the message delivered; and second, one is left with the sense that one cannot, and indeed need not, trace out the origin of the message.
A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such as detachment or worldly or heavenly gains, a practice known as Bhakti Yoga:
What makes the Bhagavata unique in the history of Indian Religion... is its prioritization of Bhakti. The main objective of this text is to promote Bhakti to Vishnu in his incarnation as Krishna referred to variously, and to illustrate and explain it... what makes the Bhagavata special is its emphasis on an intense personal and passionate Bhakti...
The following are the five characteristics of the Puranas: They describe (1) the creation of the universe, (2) its genealogy and dissolution, (3) the dynasties, (4) the Manvantaras, (5) the dynastic chronicles. The Puranas, with these five characteristics, sing the glory of Brahma, Vishnu, the Sun and Rudra, as well as they describe also the creation and dissolution of the Earth. The four [aims of human life] (Dharma, Artha, Kama and Moksa) have also been described in all the Puranas, along with evil consequences following from sin. In the sattvika Puranas there is largely a mention of Hari's glory.
Contrary to the western cultural tradition of novelty, poetic or artistic license with existing materials is a strong tradition in Indian culture,[50] a 'tradition of several hundred years of linguistic creativity'.[51] There are variations of original manuscripts available for each Purana, including the Srimad Bhagavatam.[50] The common manuscript for translations of the Bhagavata Purana - seemingly used by both Swami Prabhupada and Bibek Debroy- is the Bhāgavatamahāpurāṇam[52] a reprint of Khemraj Shri Krishnadas' manuscript.[53] In regards to variances in Puranic manuscripts, academic Dr. Gregory Bailey states:
[S]ignificant are the widespread variations between manuscripts of the same Purana, especially those originating in different regions of India... one of the principal characteristics of the genre is the status of Purana as what Doniger calls "fluid texts" (Doniger 1991, 31). The mixture of fixed form [the Puranic Characteristics] and seemingly endless variety of content has enabled the Purana to be communicative vehicles for a range of cultural positions... [the] idea of originality is primarily Western and belies the fact that in the kind of oral genres of which the Puranas continue to form a part, such originality is neither promoted nor recognised. Like most forms of cultural creation in India, the function of the Puranas was to reprocess and comment upon old knowledge...
O ye devotees possessing a taste for divine joy, Srimad Bhagavata is the fruit (essence) of the wish-yielding tree of Veda, dropped on earth from the mouth of the parrot-like sage Suka, and is full of the nectar of supreme bliss. It is unmixed sweetness (devoid of rind, seed or other superfluous matter). Go on drinking this divine nectar again and again till there is consciousness left in you.
Consisting of 19 chapters,[54] the first canto opens with an invocation to Krishna and the assertion that the Srimad Bhagatavam, compiled by Vyasadeva, is sufficient alone to realise God. The overarching narration begins at the onset of Kali Yuga as a dialogue between Sukadeva Gosvami (the son of Vyasadeva) and a group of sages headed by Saunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest of Naimisaranya. Questioned by the sages, topics covered by Suta Gosvami include the:
The power of the Lord who wields the discus in His hand is infinite; though the Maker of this world, He remains ever beyond it. He alone can know His ways who inhales the fragrance of His lotus-feet through constant and sincere devotion to them.
Consisting of 10 chapters,[55] the second canto opens with an invocation to Krishna. The second layer of overarching narration begins as a dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river (narrated by Suta Gosvami to a group of sages headed by Saunaka in the forest of Naimisaranya). Questioned by Pariksit, the topics covered by Sukadeva Gosvami include the:
Consisting of 33 chapters,[56] the third canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Vidura, the sudra incarnation of Yama and devotee of Krishna, is the main protagonist narrated. After being thrown out of his home by King Dhritarashtra (his older half-brother) for admonishing the Kaurava's ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the:
Through the fellowship of saints one gets to hear My stories, leading to a correct and full knowledge of My glory and pleasing to the heart as well as to the ear. By hearing such stories one is sure to develop one after another reverence and fondness for and Devotion to the Lord, whose realization is preceded by the cessation of ignorance.
Consisting of 31 chapters,[57] the fourth canto continues the dialogues of Sukadeva Gosvami, Uddhava, and Maitreya. There are additional layers of dialogue, such as between the sage-avatar Narada and King Pracinabharhisat (as narrated by Maitreya to Vidura). Focusing on the female descendants of Svayambhuva Manu, topics covered include the:
He regards and reveres the wives of others as His mother and loves His own wife as a half of His own body. He is loving as a father to those over whom He rules; He looks upon Himself as a servant to those who are well-versed in the Vedic lore.
Consisting of 26 chapters,[58] the fifth canto focuses on the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between the avatar Rsabha and his sons, and between Bharata and King Rahugana (the former was perceived as a fool and made to carry the latter's palanquin). Topics covered include the:
This (human) body in the mortal world does not deserve to be given up to (the pursuit of) sensuous pleasures, which are (really) a source of misery and which are enjoyed even by swine, dogs and other animals (that feed on ordure). It is worthy of being devoted, My beloved sons, to sublime austerities whereby the mind is purified; and from purity of mind follows the unending bliss of absorption into the Absolute.
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