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Vac

Vac

:This article is about the Sanskrit word. For other meanings see VAC. Vak or Vac IPA [va:c] (stem vāc-, nominative vāk) is the Sanskrit word for "speech", "voice", "talk", or "language". Personified, Vak is a goddess, most frequently she is identified with Bharati or Sarasvati, the goddess of speech. In the Veda she is also represented as created by Prajapati and married to him; in other places she is called the mother of the Vedas and wife of Indra.

VAC

VAC may refer to:
- volts of alternating current. It is not the same as VA for volt-amperes. : Care must be taken not to connect AC motors or transformers to direct current (DC) sources, as they can be seriously damaged by doing so. This is mostly a concern when dealing with low voltages, as normal electrical outlets almost always carry AC. : The voltage number itself is most important, as a device must never be connected to a supply higher than the device is rated to handle, or with a voltage switch set incorrectly.
- the callsign for a radio station on the west coast of Canada at Comox, British Columbia, operated by the Canadian Coast Guard.
- Valve Anti-Cheat, software by Valve Software designed to prevent players from cheating in its online games.
- Velvet Acid Christ, an Industrial band.
- Vác, a town in Hungary.
- Vac, both the Sanskrit word for speech, and the Hindu goddess of speech.

International Phonetic Alphabet

: "IPA" redirects here. For other uses, see IPA (disambiguation). The NATO phonetic alphabet has also informally been called the International Phonetic Alphabet. The International Phonetic Alphabet (IPA) is a system of phonetic notation devised by linguists to accurately and uniquely represent each of the wide variety of sounds (phones or phonemes) used in spoken human language. It is intended as a notational standard for the phonemic and phonetic representation of all spoken languages. For a treatment of the English language using the IPA, see International Phonetic Alphabet for English, for a brief chart, see IPA chart for English.
History

Description
The general principle of the IPA is to provide a separate symbol for each speech segment, avoiding letter combinations (digraphs) such as sh and th in English orthography, and avoiding ambiguity such as that of c in English.
The principle of formation
The IPA is what MacMahon (1996) has termed a "selective" phonetic alphabet. It aims to provide a separate symbol for every contrastive (that is, phonemic) sound occurring in human language. For instance, a flap and a tap are two different articulations, but since no language has (yet) been found to make a phonemic distinction between them, the IPA does not provide them with dedicated symbols. Instead, it provides a single symbol, , that covers both. For non-contrastive (that is, phonetic or subphonemic) details of these sounds, the IPA relies on diacritics, which are optional. Thus there is a certain level of flexibility in representing a language with the IPA.
The principles behind the used symbols
The letters chosen for the IPA are generally drawn from the Latin and Greek alphabets, or are modifications of Latin or Greek letters. There are also a few letters derived from Latin punctuation, such as the glottal stop (originally an apostrophe, but later given the form of a "gelded" question mark to have the visual impact of the other consonants), and one, , although Latin in form, was inspired by Arabic ﻉ. In contrast, the old Latin-derived symbols for the clicks have been abandoned in favor of the iconic Khoisanist symbols, such as . The sound-values of the consonants from the Latin alphabet correspond to usage in French and Italian, which are close to those of most other European languages as well: , , , (hard) , , , , , (unvoiced) , , , . English values are used for , , and , The vowels from the Latin alphabet (, , , , ) correspond to the vowels of Spanish and are similar to Italian. is like the vowel in piece, like rule, etc. The other symbols from the Latin alphabet (, , , , , and ) correspond to sounds these letters represent in other languages. has the Germanic value, English y in yoke. has the Scandinavian and Old English value (Finnish y, German y or ü, French u, Dutch u). Letters that share a particular modification sometimes correspond to a similar type of sound. For example, all the retroflex consonants have the same symbol as the equivalent alveolar consonant, with the addition of a rightward pointing hook at the bottom. Although there is some correspondence between modified letters, generally the IPA does not have a systematic "featural" relationship between graphic shape and articulation. For instance, there is not a consistent relationship between lowercase letters and their small capital counterparts, nor are all labial consonants linked through a common character design. Diacritic marks can be combined with IPA letters to transcribe modified phonetic values or secondary articulations. There are also special symbols for suprasegmental features such as stress and tone.
Types of transcriptions
The International Phonetic Association recommends that a phonetic transcription should be enclosed in square brackets ("[ ]"). A transcription that specifically denotes only phonological contrasts may be enclosed in slashes ("/ /") instead. If one is in doubt, it is best to use brackets, for by setting off a transcription with slashes one makes a theoretical claim that every symbol within is phonemically contrastive for the language being transcribed. Phonetic transcriptions try to objectively capture the actual pronunciation of a word, whereas phonemic transcriptions are model dependent. For example, Noam Chomsky transcribed the English word night phonemically as /nixt/. In his model, the phoneme /x/ is often silent, but shows its presence by “lengthening” the preceding vowel. The preceding vowel in this case is the phoneme /i/, which is pronounced [aj] when long. So phonemic /nixt/ is equivalent to phonetic [najt], but only if you share Chomsky's belief that historical sounds such as the gh in night may remain in a word long after they have ceased to be pronounced. For phonetic transcriptions, there is flexibility in how closely sounds may be transcribed. A transcription that gives only a basic idea of the sounds of a language in the broadest terms is called a "broad transcription"; in some cases this may be equivalent to a phonemic transcription (only without any theoretical claims). A close transcription, indicating precise details of the sounds, is called a "narrow transcription". These are not binary choices, but the ends of a continuum, with many possibilities in between. All are enclosed in brackets. For example, in some dialects the English word pretzel in a narrow transcription would be , which notes several phonetic features that may not be evident even to a native speaker. An example of a broader transcription is , which only indicates some of the easier to hear features. A yet broader transcription would be . Here every symbol represents an unambiguous speech sound, but without making any claims as to their status in the language. There are also several possibilities in how to transcribe this word phonemically, but here the differences are not of precision, but of analysis. For example, pretzel could be or . The special symbol for English r is not used, for it is not meaningful to distinguish it from a rolled r. The differences in the letter e reflect claims as to what the essential difference is between the vowels of pretzel and pray; there are half a dozen ideas in the literature as to what this may be. The second transcription claims that there are two vowels in the word, even if they can't both be heard, while the first claims there is only one. Occasionally a transcription will be enclosed in pipes ("| |"). This goes beyond phonology into morphological analysis. For example, the words pets and beds could be transcribed phonetically as and (in a fairly narrow transcription), and phonemically as and . Because /s/ and /z/ are separate phonemes in English (unlike Spanish, for example), they receive separate symbols in the phonemic analysis. However, you probably recognize that underneath this, they represent the same plural ending. This can be indicated with the pipe notation. If you believe the plural ending is essentially an s, as English spelling would suggest, the words can be transcribed and . If, as most linguists would probably suggest, it is essentially a z, these would be and . To avoid confusion with IPA symbols, it may be desirable to specify when native orthography is being used, so that, for example, the English word jet is not read as "yet". This is done with angle brackets or chevrons: . It is also common to italicize such words, but the chevrons indicate specifically that they are in the original language's orthography, and not in English transliteration.
Consonants (pulmonic)

Single articulation
Closeup of the main pulmonic consonant section of the IPA chart The pulmonic consonant table, which includes most consonants, is arranged in rows that designate manner of articulation and columns that designate place of articulation. The main chart only includes consonants with a single place of articulation. Notes:
- Asterisks (
- ) mark reported sounds that do not (yet) have official IPA symbols. See the articles for ad hoc symbols found in the literature.
- Daggers (†) mark IPA symbols that do not yet have official Unicode support. Since May 2005, this is the case of the labiodental flap, symbolized by a right-hook v: labiodental flap ([http://std.dkuug.dk/jtc1/sc2/wg2/docs/N2945.pdf Proposal to add this symbol to Unicode])
- In rows where some symbols appear in pairs (the obstruents), the symbol to the right represents a voiced consonant (except for breathy-voiced ). However, cannot be voiced. In the other rows (the sonorants), the single symbol represents a voiced consonant.
- Although there is a single symbol for the coronal places of articulation for all consonants but fricatives, when dealing with a particular language, the symbols are treated as specifically alveolar, post-alveolar, etc., as appropriate for that language.
- Shaded areas indicate articulations judged to be impossible.
- The symbols represent either voiced fricatives or approximants.
- It is primarily the shape of the tongue rather than its position that distinguishes the fricatives , , and .
- The labiodental nasal is not known to exist as a phoneme in any language.
Coarticulation
Closeup of the co-articulated consonant section of the IPA chart
Notes:
- is described as a "simultaneous and ". However, this analysis is disputed. See the article for discussion.
- To be complete, this chart should also include the semi-palatalized postalveolar (palato-alveolar) fricatives and .
- The miscellaneous portion of the chart, as published by the IPA, includes additional symbols that would have been included in the main consonant chart were it not for difficulties in typesetting on a printed page. In this article, which does not suffer from such problems, they have been included in the main chart above.
Consonants (non-pulmonic)
Closeup of the non-pulmonic consonant section of the IPA chart Notes:
- All clicks are doubly articulated and require two symbols: a velar or uvular stop, plus a symbol for the release: , etc. When the dorsal articulation is omitted, a may usually be assumed.
- Symbols for the voiceless implosives are no longer supported by the IPA. Instead, the voiced equivalent is used with a voiceless diacritic: , etc.
- Although not confirmed from any language, and therefore not "explicitly recognized" by the IPA, a retroflex implosive, , is supported in the Unicode Phonetic Extensions Supplement, added in version 4.1 of the Unicode Standard, or can be created as a composite .
- The ejective symbol is often seen for glottalized but pulmonic sonorants, such as , but these are more properly transcribed as creaky ().
Vowels
Closeup of the vowel chart of the IPA Notes:
- Where symbols appear in pairs, the one to the right represents a rounded vowel, as does (at least prototypically). All others are unrounded.
- is not confirmed as a distinct phoneme in any language.
- is officially a front vowel, but there is little distinction between front and central open vowels, and is frequently used for an open central vowel.
Affricates and double articulation
Affricates and doubly articulated stops are represented by two symbols joined by a tie bar, either above or below the symbols. The six commonest affricates are optionally represented by ligatures, though this is no longer official IPA usage, due to the great number of ligatures that would be required to represent all affricates this way. A third affricate transcription sometimes seen uses the superscript notation for a consonant release, for example for , paralleling ~ . The symbols for the palatal plosives, are often used as a convenience for or similar affricates, even in official IPA publications, so they must be interpreted with care. Image of the six common affricate ligatures and their official IPA equivalents Note:
- If your browser uses Arial Unicode MS to display IPA characters, the following incorrectly formed sequences may look better due to a bug in that font: .
Extended IPA
The Extended IPA was designed for disordered speech. However, some of the symbols (especially diacritics, below) are occasionally used for transcribing normal speech as well. View a pdf file [http://www2.arts.gla.ac.uk/IPA/ExtIPAChart97.pdf here]. The last symbol may be used with the alveolar click for , a combined alveolar and sublaminal click or "cluck-click".
Suprasegmentals
Closeup of the suprasegmental section of the IPA chart
Intonation

Tone
IPA allows for the use of either tone diacritics or tone letters to indicate tones. Note:
- With regard to tone diacritics, Unicode encodes marks for some contour tones, but not all. In Unicode version 4.1, only hacek (rising) and circumflex (falling) diacritics were encoded. Subsequent versions may also include six additional diacritics for contour tones, such as the macron-acute and the grave-acute-grave ligatures. (See an image here.) Note that contour tone diacritics are not encoded as sequences of level tone diacritics in Unicode.
- With regard to tone letters, Unicode does not have separate encodings for contour tones. Instead, sequences of level tone letters are used, with proper display dependent on the font, usually by means of OpenType font rendition: or . (These are probably not displaying correctly in your browser. See the image for a sample of how they should appear.) Since few fonts support combination tone letters (see the external links for one that is free), a common solution is to use the old system of superscript numerals from '1' to '5', for example [e⁵³, e³¹²]. However, this depends on local linguistic tradition, with '5' generally being high and '1' being low for Asian languages, but '1' being high and '5' low for African languages. An old IPA convention sometimes still seen is to use sub-diacritics for low contour tones: for low-falling and low-rising.
- The upstep and downstep modifiers are superscript arrows. Unicode version 4.1 does not encode these, though subsequent versions will. The arrows for upstep and downstep should not be confused with the full-height arrows, which are used to indicate airflow direction.
Diacritics
Closeup of the diacritic section of the IPA chart
Sub-diacritics may be placed above a symbol with a descender, i.e. . The dotless i, <ı>, is used when the dot would interfere with the diacritic. Other IPA symbols may appear as diacritics to represent phonetic detail: (fricative release), (breathy voice), (glottal onset), (epenthetic schwa), o (diphthongization). Notes: #Some linguists restrict this breathy-voice diacritic to sonorants, and transcribe obstruents as . #With aspirated voiced consonants, the aspiration is also voiced. Many linguists prefer one of the diacritics dedicated to breathy voice. The state of the glottis can be finely transcribed with diacritics. A series of alveolar plosives ranging from an open to a closed glottis phonation are:
Extended IPA diacritics
The letters and diacritics of the ExtIPA The ExtIPA has widened the use of some of the regular IPA diacritics, such as for pre-aspiration, or for a linguolabial sibilant, as well as adding some new ones. Some of the ExtIPA diacritics can be used for non-disordered speech as well, for example for the unusual airstream mechanisms of Damin. One modification is the use of subscript parentheses around the phonation diacritics to indicate partial phonation; a single parenthesis at the left or right of the voicing indicates that it is partially phonated at the beginning or end of the segment. For example, is a partially voiced [s], shows partial initial voicing, and partial final voicing; also is a partially devoiced [z], shows partial initial devoicing, and partial final devoicing. These conventions may be convenient for representing various voice onset times. Phonation diacritics may also be prefixed or suffixed rather than placed directly under the segment to represent relative timing. For instance, is a pre-voiced [z], a post-voiced [z], and is an [a] with a creaky offglide. Other ExtIPA diacritics are, In addition to these symbols, a subscript < or > indicates that an articulation is laterally offset to the left or right, and a double exclamation mark indicates 'ventricular' phonation, though it is not clear how this differs from 'harsh' phonation.
Prosodic notation
The ExtIPA also makes use of musical notation for the tempo and dynamics of connected speech. These are subscripted on the insides of a notation that indicates that they are comments on the prosody. Pauses are indicated with periods or numbers inside parentheses.
Obsolete and nonstandard symbols

How to transcribe sounds that don't have symbols in the IPA charts
The remaining blank cells on the IPA chart can be filled without too much difficulty if the need arises. Some ad hoc symbols have appeared in the literature, for example for the lateral flaps and voiceless lateral fricatives, the epiglottal trill, and the labiodental plosives. Diacritics can supply much of the remainder, which would indeed be appropriate if the sounds were allophones. For example, the Spanish bilabial approximant is commonly written as a lowered fricative, . Similarly, voiced lateral fricatives would be written as raised lateral approximants, . A few languages such as Banda have a bilabial flap as the preferred allophone of what is elsewhere a labiodental flap. It has been suggested that this be written with the labiodental flap symbol and the advanced diacritic, . Similarly, a labiodental trill would be written (bilabial trill and the dental sign). Palatal and uvular taps, if they exist, and the epiglottal tap could be written as extra-short plosives, . A retroflex trill can be written as a retracted , just as retroflex fricatives sometimes are. The remaining consonants, the uvular laterals and the palatal trill, while not strictly impossible, are very difficult to pronounce and are unlikely to occur even as allophones in the world's languages. The vowels are similary manageable by using diacritics for raising, lowering, fronting, backing, centering, and mid-centering. For example, the unrounded equivalent of can be transcribed as mid-centered , and the rounded equivalent of [æ] as raised . True mid vowels are lowered , while centered are near-close and open central vowels, respectively. The vowels that aren't representable in this scheme are the compressed vowels, which would require a dedicated diacritic.
Names of the symbols
It is often desirable to distinguish an IPA symbol from the sound it is intended to represent, since there is not a one-to-one correspondance between symbol and sound in broad transcription. The symbol's names and phonetic descriptions are described in the Handbook of the International Phonetic Association. The symbols also have nonce names in the Unicode standard. In some cases, the Unicode names and the IPA names do not agree. For example, IPA calls "epsilon", but Unicode calls it "small letter open E".
The letters
The traditional names of the Latin and Greek letters are used for unmodified symbols. In Unicode, some of the symbols of Greek origin have Latin forms for use in IPA; the others use the symbols from the Greek section. Examples: Note #The Latin "upsilon" is frequently called "horseshoe u" in order to distinguish it from the Greek upsilon. Historically, it derives from a Latin small capital U. The IPA standard includes some small capital letters, such as , although it is common to refer to these symbols as simply "capital" or "cap" letters, because the IPA standard does not include any full-size capital letters. A few letters have the forms of cursive or script letters. Examples: Note #The "looptail G" 10 px is not strictly an IPA character, but is an acceptable alternative. #In form and origin, but not in name, this is the Greek upsilon. Ligatures are called precisely that, although some have alternate names. Examples: Many letters are turned, or rotated 180 degrees. Examples: The symbol can be described as a turned cee, but it is almost always referred to as open o, which described both its articulation and its shape. The symbol is often also called "caret" or "wedge" for it similarity to that diacritic. A few letters are reversed (flipped on a vertical axis): reversed E, reversed epsilon, reversed glottal stop [often called by its Arabic name, ayin]. One letter is inverted (flipped on a horizontal axis): inverted R. ( could also be called an inverted double-u, but turned double-u is more common.) When a horizontal stroke is added, it is called a bar: barred H, barred o, reversed barred glottal stop or barred ayin, barred dotless J or barred gelded J [apparently never 'turned F'], double-barred pipe, etc. One letter instead has a slash through it: slashed O. The implosives have hook tops: hook-top B, as does hook-top H. Such an extension at the bottom of a letter is called a tail. It may be specified as left or right depending on which direction it turns: right-tail N, right-tail turned R, left-tail N [note that has its own traditional name, engma], left-tail em, tail Z [or just retroflex Z], etc. When the tail loops over itself, it's called curly: curly-tail jay, curly-tail C. There are also a few unique modifications: belted L, closed reversed epsilon [there was once also a closed omega], right-leg turned M, turned long-leg R [there was once also a long-leg R], double pipe, and the obsolete stretched C. Several non-English letters have traditional names: C cedilla, eth (also spelled edh), engma, schwa, exclamation mark, pipe. Other symbols are unique to the IPA, and have developed their own quirky names: fish-hook R, ram's horns, bull's eye, esh [apparently never 'stretched ess'], ezh [sometimes also yogh], hook-top heng. The is usually called by the sound it represents, glottal stop. This is not normally a problem, because this symbol is seldom used to represent anything else. However, to specify the symbol itself, it is sometimes called a gelded question mark.
The diacritic marks
Diacritics with traditional names: : acute, macron, grave, circumflex, caron, wedge, or háček, diaeresis or umlaut, breve, (superscript) tilde, plus variants such as subscript tilde, superimposed tilde, etc. Non-traditional diacritics: : seagull, hook, over-cross, corner, bridge, inverted bridge, square, under-ring, over-ring, left half-ring, right half-ring, plus, under-bar, arch, subscript wedge, up tack, down tack, left tack, right tack, tie bar, under-dot, under-stroke. Diacritics are alternately named after their function: The bridge is also called the dental sign, the under-stroke the syllabicity sign, etc.
Comparison to other phonetic notation
The IPA is not the only phonetic transcription system in use. The other common Latin-based system is the Americanist phonetic notation, devised for representing American languages, but used by some US linguists as an alternate to the IPA. There are also sets of symbols specific to Slavic, Indic, Finno-Ugric, and Caucasian linguistics, as well as other regional specialies. The differences between these alphabets and IPA are relatively small, although often the special characters of the IPA are abandoned in favour of diacritics or digraphs. Other alphabets, such as Hangul, may have their own phonetic extensions. There also exist featural phonetic transcription systems, such as Alexander Bell's Visible Speech and its derivatives. There is an extended version of the IPA for disordered speech (extIPA), which has been included in this article, and another set of symbols used for voice quality (VoQS). There are also many personal or idiosyncratic extensions, such as Luciano Canepari's ^canIPA. Since the IPA uses symbols that are outside the ASCII character set, several systems have been developed that map the IPA symbols to ASCII characters. Two notable systems are Kirshenbaum and SAMPA (or X-SAMPA). These systems are often used in electronic media, although their usage has been declining with the development of computer technology, specifically because of spreading support for Unicode. See also: Unicode and HTML
See also

- International Phonetic Alphabet for English explains those IPA symbols used to represent the phonemes of English.
- IPA chart for English: simplifed version.
- TIPA provides IPA support for LaTeX.
- SAMPA, X-SAMPA and Kirshenbaum are other methods of mapping IPA designations into ASCII.
- List of phonetics topics
- Uralic Phonetic Alphabet (UPA)
External links

- [http://www2.arts.gla.ac.uk/IPA/ipa.html Official home page of the IPA]
Free IPA font downloads

- [http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&item_id=DoulosSILfont Doulos SIL], a Times IPA font that supports tone letters, the new labiodental flap, and many non-standard phonetic symbols, but only in roman typeface.
- [http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&item_id=Gentium Gentium], a highly legible international (Latin, Greek, Cyrillic) font in roman and italic typefaces that includes the IPA, but not yet tone letters or the new labiodental flap.
- [http://www.travelphrases.info/gallery/Test_IPA.html Test page] for installed fonts. Includes alternate variants and tone letters.
Keyboards

- [http://www.linguiste.org/phonetics/ipa/chart/keyboard/ Online keyboard]
- [http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&item_id=ipa-sil_keyboard IPA-SIL keyboard layout for Mac OS X] for Unicode IPA input
- [http://wikisophia.org/wiki/Wikitex#Tipa WikiTeX] supports editing IPA sequences directly in Wiki articles.
Sound files

- [http://hctv.humnet.ucla.edu/departments/linguistics/VowelsandConsonants/index.html Peter Ladefoged's Course in Phonetics (with sound files)]
- [http://hctv.humnet.ucla.edu/departments/linguistics/VowelsandConsonants/course/chapter1/chapter1.html Pronounceable IPA chart]
- [http://hctv.humnet.ucla.edu/departments/linguistics/VowelsandConsonants/vowels/contents.html An introduction to the sounds of languages]
- [http://web.uvic.ca/ling/resources/ipa/ipa-lab.htm IPA Lab] Chart with sound files at University of Victoria. (Works with QuickTime.)
- [http://www.paulmeier.com/ipa/charts.html Flash version of IPA charts, with sound samples]
- [http://www.ling.hf.ntnu.no/ipa/full/ Another set of IPA sound samples]
Charts

- [http://www2.arts.gla.ac.uk/IPA/fullchart.html IPA chart source]
- [http://www.linguiste.org/phonetics/ipa/chart/ IPA Chart] in Unicode and XHTML/CSS ----
- [http://web.uvic.ca/ling/resources/ipa/charts/IPANumberChart96.pdf IPA number chart], at University of Victoria.
Unicode
Official Unicode PDF files:
- [http://www.unicode.org/charts/PDF/U0250.pdf Unicode chart for main IPA letters]
- [http://www.unicode.org/charts/PDF/U02B0.pdf Unicode chart for IPA modifier letters]
- [http://www.unicode.org/charts/PDF/U0300.pdf Unicode chart including IPA diacritics] ----
- [http://www.phon.ucl.ac.uk/home/wells/ipa-unicode.htm International Phonetic Alphabet in Unicode]
- [http://tlt.its.psu.edu/suggestions/international/bylanguage/ipachart.html Unicode-HTML codes for IPA symbols:] Tables of symbol names and HTML codes at PennState.
Personal extensions of the IPA

- [http://venus.unive.it/canipa/ ^canIPA] : Luciano Canepari's system (500 base symbols)
References

- Albright, Robert W. (1958). The International Phonetic Alphabet: Its background and development. International journal of American linguistics (Vol. 24, No. 1, Part 3); Indiana University research center in anthropology, folklore, and linguistics, publ. 7. Baltimore. (Doctoral dissertation, Standford University, 1953).
- Ball, Martin J.; Esling, John H.; & Dickson, B. Craig. (1995). The VoQS system for the transcription of voice quality. Journal of the International Phonetic Alphabet, 25 (2), 71-80.
- Canepari, Luciano. (2005a). "A Handbook of Phonetics: ‹Natural› Phonetics." München: Lincom Europa, pp. 518. [https://ssl.kundenserver.de/s83009615.einsundeinsshop.de/sess/utn1541a7584d7471b/shopdata/0002_New+titles/product_details.shopscript ISBN 3-8958-480-3] (hb).
- Canepari, Luciano. (2005b) "A Handbook of Pronunciation: English, Italian, French, German, Spanish, Portuguese, Russian, Arabic, Hindi, Chinese, Japanese, Esperanto." München: Lincom Europa, pp. 436. [https://ssl.kundenserver.de/s83009615.einsundeinsshop.de/sess/utn1541a7584d7471b/shopdata/0002_New+titles/product_details.shopscript ISBN 3-89586-481-1] (hb).
- Duckworth, M.; Allen, G.; Hardca

Goddess

A goddess is a female deity, in contrast with a male deity known as a "god". A great many cultures have goddesses, sometimes alone, but more often as part of a larger pantheon that includes both of the conventional genders and in some cases even hermaphroditic (or gender neutral) deities. As the concept of monotheism and polytheism can be relativistic, so too can related concepts be culturally misunderstood. The concept of gender as applied to a god and goddess, may connote deeper tendencies of patriarchy and matriarchy, which may have equivalence to the rift between monotheism and polytheism. The Goddess concept is advocated by modern matriarchs and pantheists as a female version of, or analogue to God, (i.e. the Abrahamic god) who in feminist and other circles is perceived as being rooted in patriarchal concept of dominance— much to the exclusion of feminine concepts. Use of parallel language such as "patriarchy" and "matriarchy" to indicate gender tendencies can add to the misunderstanding of the social organizational preferences of women and men, as evidenced in archaeological and cultural anthropological findings. The feminine-masculine relationship between deifications is sometimes rooted in monism, ("One-ism") rather than through a definitive and rigid concept of monotheism versus polytheism, wherein the Goddess and God are seen as the genders of one transcendental monad.

Hinduism

Hinduism is a complex of various belief systems that sees many gods and goddesses as being representative of and/or emanative from a single source, Brahman, understood either as a formless, infinite, impersonal monad in the Advaita tradition or as a dual God in the form of Lakshmi-Vishnu, Radha-Krishna, Devi-Shiva in Dvaita traditions. Shaktas, worshippers of the Goddess, equate this God with Devi, the mother goddess. Such aspects of One God as male God (Shaktiman) and female energy (Shakti), working as a pair are often envisioned as male gods and their wives and provide many analogues between passive male ground and dynamic female energy. Brahma pairs with Sarasvati and Shiva with Uma, Parvati, or Durga. Kali is a form of Parvati. A further step was taken by the idea of the Shaktis. Their ideology based mainly on tantras sees Shakti as the principle of energy through which all divinity functions, thus showing the masculine to be dependent on the feminine. Indeed, in the great shakta scripture known as the Devi Mahatmya, all the goddesses are shown to be aspects of one presiding female force, one in truth and many in expression, giving the world and the cosmos the galvanic energy for motion. It is expressed through both philosophical tracts and metaphor that the potentiality of masculine being is given actuation by the feminine divine. Local deities of different village regions in India are easily seen by outsiders as their own Goddess in different form, a process that has been called Sanskritization. It comes from a common misunderstanding of various aspects of the same personality as various independent personalities. Others attribute it to the influence of monism or Advaita which discounts polytheist or monotheist categorization. While the monist forces have led to a fusion between some of the goddesses (108 names are common for many goddesses), centrifugal forces have also resulted in new goddesses and rituals gaining ascendance among the laity in different parts of Hindu world. Thus, the immensely popular goddess Durga was a pre-Vedic goddess who was later fused with Parvati, a process that can be traced through texts such as Kalika Purana (10th century), Durgabhaktitarangini (Vidyapati 15th century), Chandimangal (16th century) etc.

Judaism and Christianity

Monotheist cultures, which recognise only one central deity, generally do implicitly or explicitly characterize that deity as male; e.g. in English by using the masculine pronoun, and words like "Father", "Son", and "Lord". This trend has almost entirely excluded the feminine pronoun "she" as sacred, and images such as "Mother", "Daughter", and "Lady" as divine. In some language, this may be nothing more than an artefact of language, which uses the masculine gender also as "default" gender, or for mixed groups. Although mainstream Judaism uses masculine words to describe God, Judaism maintains that God has no gender. While some mystics within the monotheist religions have used markedly feminine terms, e.g. the Collyridians in the time of early Christianity, who viewed Mary as a Goddess, the medieval visionary Julian of Norwich, the Judaic Shekinah and the Gnostic Sophia traditions, and some Sufi texts in Islam, belief in a feminine deity under Christianity was usually deemed heretical, and characteristic of heresy. Since the 1980s Christian feminists have challenged this view; some such as Mary Daly no longer consider themselves Christian but others continue to seek room within their traditions for the Divine Feminine and for female spiritual leadership. (See thealogy.)

Pre-Islamic Arabia

In the pagan religion prevalent in Arabia before Islam, a number of goddesses were worshipped, including the three referred to as daughters of Allah: Al-Lat, Al-Uzza and Manat. In the 1990s, Salman Rushdie has brought this issue in the limelight. At the core of the argument is the following apocryphal verse which appears as a quotation in The Satanic Verses (novel): : (tilk-al-gharaniq al-'ula wa inna shafa'ata-hunna la-turtaja - p.340 Viking, New York) meaning "These are the exalted females [literally, cranes] whose intercession is to be desired." (In Arabic تلك الغرانيق العلى وإن شفاعتهن لترتجى.) These lines are an antithesis of the strong monotheism that is Islam, and attributing it to the Prophet is blasphemy. The lines however, are part of a historical debate - they appear in the work of two early Arab historians (al-Waqidi, 747-823, and at-Tabari, 839-923), but repudiated by later Islamic scholars. The controversial sentence, known as Satanic Verses in the debate, was well known to Rushdie who wrote a paper on Muhammad for his Cambridge tripos in history. The story is that these lines were inserted into the Qur'an by Muhammad so as to alleviate the persecution of the faithful by those who believed strongly in these goddesses. However, later these lines were recanted: :He stands in front of the statues of the Three and announces the abrogation of the verses which Shaitan [Satan] whispered in his ear. These verses are banished from the true recitation, al qur'an. New verses are thundered in their place. 'Shall He have daughters and you sons?' Mahound recites. 'That would be a fine division! These are but names you have dreamed of, and your fathers. Allah vests no authority on them.' - p.124 Muhammad Haykal (author of the "Life of Muhammad") comments that "the story arrested the attention of the western Orientalists who took it as true and repeated it ad nauseam." (Haykal 105). According to Haykal, The controversy over what is known as the "Gharaniq incident" is that it is a fabrication created by the unbelievers of Mecca in the early days of Islam. The main argument against the authenticity of the two verses in Haykal's work and elsewhere is that "its incoherence is evident upon the least scrutiny. It contradicts the infallibility of every prophet in conveying the message of His Lord." (Haykal 107). Haykal then concluded that "this story of the goddesses is a fabrication and a forgery, authored by the enemies of Islam after the first century of Hijrah" (Haykal 144). [http://www.satanicverses.mihanblog.com/?ArticleId=8]

New religious movements

Wicca and Neopaganism

Wiccan practice generally includes veneration of the Great Goddess along with the Horned God, though Dianic Wiccans celebrate only the Goddess or goddesses. Wiccan mythology mostly draws on ancient European mythology, which informs other kinds of neopaganism, and other neopagans are interested in reconstructing various ancient pagan religions directly. Many pagans today draw a connection between a Mother Earth goddess and ecological concerns. The Goddess can appear as the "Lady of the Ten Thousand Names", as did Isis. Adherents refer to her as 'Queen of Heaven', 'Lady of the Beasts', 'Creatrix' and just 'the Lady.' Worshippers sometimes approach her through her different aspects, represented by individual goddesses like Sarasvati, Lakshmi, Uma, Kali (of the Hindu tradition) Isis, Guan Yin, Pele or Athena. Some Wiccans perceive the goddess Aradia as a kind of messianic Daughter deity. They revere the yoni or vulva as a symbol of the Goddess, together with the cowrie shell, the (Moon) Crescent, the Earth, the Serpent, the Tree, the five pointed pentagram and the Eight Pointed Star, the Quartered Circle (compare Celtic Cross), and many animals and birds.

Triple Goddess

Celtic Cross Goddesses or demi-goddesses appear in sets of three in a number of ancient European pagan mythologies; these include the Greek Erinyes (Furies) and Moirae (Fates); the Norse Norns (Fates); Brighid and her two sisters, also called Brighid, from Irish or Keltoi mythology, and so on. One might also see the three witches in Shakespeare's Macbeth as following this pattern. Robert Graves popularised the triad of "Maiden" (or "Virgin"), "Mother" and "Crone", and while this idea did not rest on sound scholarship, his poetic inspiration has gained a tenacious hold. Considerable variation in the precise conceptions of these figures exists, as typically occurs in Neopaganism and indeed in pagan religions in general. Some choose to interpret them as three stages in a woman's life, separated by menarche and menopause. Others find this too biologically based and rigid, and prefer a freer interpretation, with the Maiden as birth (independent, self-centred, seeking), the Mother as giving birth (interrelated, compassionate nurturing, creating), and the Crone as death and renewal (wholistic, remote, unknowable) — and all three erotic and wise. Often three of the four phases of the moon (waxing, full, waning) symbolise the three aspects of the Triple Goddess: put together they appear in a single symbol comprising a circle flanked by two mirrored crescents. Some, however, find the triple incomplete, and prefer to add a fourth aspect. This might be a "Dark Goddess" or "Wisewoman", perhaps as suggested by the missing dark of the moon in the symbolism above, or it might be a specifically erotic goddess standing for a phase of life between Maiden (Virgin) and Mother, or a Warrior between Mother and Crone. There is a male counterpart of this in the English poem "The Parlement of the Thre Ages". The Triple Goddess as Maiden, Mother and Crone has also reached modern popular culture, such as Neil Gaiman's own conception of the Furies in The Sandman, and elsewhere.

Religious feminism

:Main article: Goddess movement The Goddess movement is a religious movement in the West focused on goddesses or more usually a single "Great Goddess".

Secular use

The term "goddess" has recently found an ever more popular and secular use to describe female sex appeal the males succumb to. Young single ladies (see Bridget Jones) want to feel like a goddess. Extremely desirable actresses, singers, sportswomen and other lady celebrities are often described by Sunday press as sex goddesses (see Marilyn Monroe, Elle MacPherson, Kylie Minogue, Anna Kournikova, etc.) Several TV advertisements promptly took advantage of this trend (e.g. Gilette Venus ladies' razors). There is also the term "domestic goddess".

Sarasvati

Saraswati is the first of the three great goddesses of Hinduism, the other two being Lakshmi and Durga. Saraswati is the consort of Lord Brahma, The Creator.

Origins and context in Hinduism

Saraswati (Sarasvati, Saraswathi) is the first goddess worshipped in the Hindu religion. She is first mentioned in the Rig Veda. She is also mentioned in Puranic texts, such as Ramayana. She likely originated as a river goddess.

Saraswati as a river

The Rig Vedic hymns, dedicated to Saraswati, mention her as a mighty river with creative, purifying, and nourishing properties. It was on these banks that the entire vedic civilisation took root, as the Holy Vedas were composed here. The location of the river that once bore her name cannot be verified, but along the banks of the river that is believed to have been the one, the earliest writing in India has been found.

Other associations

India As a water goddess, she symbolises fertility, and prosperity. She was associated with purity and creativity, especially in the context of literary and verbal skills. In the post-vedic age, she began to lose her status as a river goddess and was increasingy associated with literature, arts, music--i.e., anything that flowed. In the Rig-Veda (6,61,7), Saraswati is credited with killing the asura (demon) Vritra, who represents drought, darkness, and chaos. She is often seen as equivalent to the other Vedic goddesses like Vāk (divine word, also romanised as Vac), Savitri (illumination) and Gayatri. Saraswati represents intelligence, consciousness and cosmic knowledge. Perhaps as the ancient river dried up or changed course, the goddess became less related to the river. The Divine Mother Saraswati is the wife or consort of Lord Brahma, the creator. Therefore, she stands for creativity. Goddess Saraswati stands for knowledge, education, enlightenment, music, arts and power. She is not only worshipped for secular knowledge, but for the true divine knowledge which is essential to achieve self-realization (moksha). Saraswati Stuthi tells us that she is the only goddess to be revered by all the three great gods of Hinduism, Brahma and Vishnu and Shiva. She is the only goddess to be worshipped equally by all the gods, the demons, the gandharvas (the divine musicians) and the nagas (the divine serpents).

Appearance

Goddess Saraswati is often depicted as a beautiful fair woman dressed in pure white often seated on a white lotus. She is associated with the colour white, which signifies the purity of true knowledge. She is also associated with the yellow of the mustard flowers that bloom at the time of her festival in the spring. She is not adorned heavily with jewels and gold like the goddess Lakshmi, but is dressed austerely--perhaps representing her preference of knowledge over worldly material things. She is generally shown to have four arms, holding:-
- A book, which is the sacred Vedas, representing the universal, divine, eternal, true knowledge and her perfection of all the sciences and the scriptures.
- A rosary of white pearls, representing the power of meditation and spirituality.
- A pot of sacred water, representing creative and purificatory powers.
- The musical instrument called the veena, representing her perfection of all arts and sciences. A white swan is often besides her feet. The sacred swan, if offered a mixture of milk and water, is said to be able to drink the milk alone. The swan thus symbolizes discrimation between the good and the bad or the eternal and the evanescent. Due to her association with the swan, Goddess Saraswati is also referred to as Hamsa-vahini, which means "she who has a swan as her vehicle". She is usually depicted near a flowing river, which may be related to her early origins as a water goddess. The swan and her association with the lotus also point to her ancient origin. Sometimes a peacock is shown beside the goddess. The peacock represents arrogance and pride over its beauty, and by having a peacock as her mount, the Goddess teaches us not to be proud of external appearances and be wise to know the eternal truth.

Festivals for Saraswati

The goddess Saraswati is worshipped during Navarathri. In southern India, Saraswati Puja is a very important festival. The last three days of Navarathri starting from Mahashtami are dedicated to the goddess. On the ninth day of Navaratri (Mahanavami), books and all musical instruments are ceremoniously kept near the gods early at dawn and worshipped with special prayers. No studies or any performance of arts is carried out, as it is considered that the Goddess herself is blessing the books and the instruments. The puja is concluded on the tenth day of Navarathri (Vijaya Dashami) and the goddess is worshipped again before the books and the musical instruments are removed. It is customary to study on this day, which is called Vidya-aarambham (literally, Commencement of Knowledge). During Basant Panchmi, which is either at the end of January or the beginning of February, prayers and pujas are offered to her, especially by artists, musicians, scientists, doctors, lawyers. In Pushkar in Rajasthan, a temple has been made in her name on a mountain higher than that of Lord Brahma's.

Saraswati in other cultures

Besides her role in Hinduism, she was also, like the Hindu goddess Tara, absorbed from Vedic culture into the Buddhist pantheon and came to China via the Chinese translations of the Sutra of Golden Light, which has a section devoted to her. Now largely forgotten in China, she is still worshipped in Japan under the name Benzaiten. Other names for her include:-
- Vinidra ("she who is always awake")
- Brahmī (Brahma's consort)
- Bharathi
- Hamsavahini ("one who has a swan for a mount")
- Sharada
- Vani.
- The Tibetan Buddhist dakini Yeshey Tsogyel is sometimes considered a manifestation of Saraswati.

External links

- [http://www.courses.rochester.edu/muller-ortega/rel249/saraswati/ Detailed information about Goddess Saraswati]
- [http://www.exoticindiaart.com/article/lakshmiandsaraswati/ Tales of Saraswati in Mythology and Art]
- [http://www.rudraksha-ratna.com/articledt.php?art_id=168 Goddess Saraswati Mantra]

References

- Category:Hindu goddesses ja:サラスヴァティー

Prajapati

In Hinduism, Prajapati is Lord of Creatures, thought to be depicted on ancient Harappan seals, sitting in yogic posture, with an erection and what appear to be bison horns. Like the Biblical Adam, he is in close communication with Nature and Nature revolves around him. In the Vedas, Prajapati is the name of God as the sustainer of all beings. This would identify him with Vishnu. Prajapati has also been associated with the non-Aryan Shiva. The presence of hundreds of what appear to be shivalinga discovered amid the ruins of hundreds of Harappan] cities and villages located in the [[Indus Valley Civilization]] in what is today known as [[Pakistan would seem to reinforce the indentification of Prajapati with Shiva. Also in Hinduism, the Prajapatis are a group (or one) of creation gods, children of Brahma, including Daksha.

Vedas

The Vedas (Sanskrit:- वेद), collectively refers to a corpus of ancient Indo Aryan religious literature that are considered by adherents of Hinduism to be revealed knowledge. The word Veda means Knowledge and is cognate with the word "wit" in English (as well as "vision" through Latin). Many Hindus believe the Vedas existed since the beginning of creation. The texts of the Vedas have several references to specific patterns in the ancient flows of the Ganges River, which coincide with the sites of its ancient (but now dried) tributaries. The newest parts of the Vedas are estimated to date back to around 500 BCE. The oldest text (RigVeda) found is now dated to around 1,500 BCE, but most Indologists agree that a long oral tradition possibly existed before it was written down. They represent the oldest stratum of Indian Literature and according to modern scholars are written in forms of a language which evolved into Sanskrit. They consider the use of Vedic Sanskrit for the language of the texts an anachronism, although it is generally accepted.

The Vedas consist of several kinds of texts, all of which date back to early times. The core is formed by the Mantras which represent hymns, prayers, incantations, magic and ritual formulas, charms etc. The hymns and prayers are addressed to a pantheon of gods (and a few goddesses), important members of which are Shiva, Varuna, Indra, Agni, etc. The mantras are supplemented by texts regarding the sacrificial rituals in which these mantras are used as well as texts exploring the philosophical aspects of the ritual tradition, narratives etc.

Organization

The Mantras are collected into anthologies called Samhitas. There are four Samhitas, the Rk (= Poetry), Sāman (=Song), Yajus(=Prayer) and Atharvan (=A kind of priest) commonly referred to as the Rig Veda, Yajur Veda, Sama Veda and Atharva Veda. Each Samhita is preserved in a number of versions, the differences among them being minor, except in the case of the Yajur Veda, where there are the "Black" (krishna) and "White" (shukla) versions, with the Black also containing explanatory material apart from the Mantras. The Rig Veda contains the oldest part of the corpus, and consists of 1028 hymns. The Sama Veda is mostly a rearrangement of the Rig Veda for musical rendering. The Yajur Veda gives sacrificial prayers and the Atharva Veda gives charms, incantations, magic formulas etc. Apart from these there are some stray secular material, legends, etc. The next category of texts are the Brahmanas. These are ritual texts that describe in detail the sacrifices in which the Mantras were to be used, as well as commenting on the meaning of the sacrificial ritual. The Brahmanas are associated with one of the Samhitas. The Brahmanas may either form separate texts, or in the case of the Black Yajur Veda, can be partly integrated into the text of the Samhita. The most important of the Brahmanas is the Shatapatha Brahmana of the White Yajur Veda. The Aranyakas and Upanishads are theological and philosophical works. They often form part of the Brahmanas (e.g. the Brhadaranyaka Upanishad). They are the basis of the Vedanta school of Darsana.

Position and compilation

Hindu tradition regards the Vedas as uncreated, eternal and being revealed to sages (Rishis). The hymns of the Rig-Veda Samhita are believed to have been collected and arranged by Paila under the supervision of Vyasa. Others were chanted during religious and social ceremonies and were compiled by Vaishampayana under the title Yajus mantra Samhita (see Yajur-Veda). Jaimini is said to have collected hymns that were set to music and melody — 'Saman' (see Sama-Veda). The fourth collection of hymns and chants known as Atharva Samhita. Philosophies and sects that developed in the Indian subcontinent have taken differing positions on the Vedas. In Buddhism and Jainism, the authority of the Veda is repudiated, and both evolved into separate religions. The sects which did not explicitly reject the Vedas remained followers of the Sanatana Dharma, which is known in modern times as Hinduism. In later Hinduism, the Vedas hold an exalted position. They are regarded as Shruti, i.e. Revelation, and the Brahminical caste based on the Vedas forms an important part of Hindu religious life to this day. Vedanta, Yoga, Tantra and even Bhakti acknowledge the Vedas as revelation.

Study

In the dharmashastras the study of the Vedas was regarded as a religious duty of the three upper varnas (Brahmins, Kshatriyas and Vaishyas). Women and Shudras were neither required nor allowed to study the Veda (this came to happen only in the very Later Vedic or the Sutra Age, because numerous evidences suggest that all humans were equally allowed to study the Vedas, and many Vedic "authors" were women). Elaborate methods for preserving the text (by learning them by heart and not by writing), subsidiary disciplines (Vedanga), exegetical literature, etc., were developed in the Vedic schools. In the fourteenth century Sayana wrote famous commentaries on the Vedic texts. In modern times, Vedic studies are crucial in the understanding of Indo-European linguistics, as well as ancient Indian history. It may be interesting to note that Hinduism encourages the Vedic mantras to be interpreted as liberally and as philosophically as possible unlike the Abrahamic religions (concerning the Tanakh, the Bible and the Koran). Infact, too literal interpretation of the mantras is actually discouraged, and even the three layers of commentaries (Brahmanas, Aranyakas and Upanishads), which form an intergral part of the shruti literature, actually interpret the seemingly polytheistic, ritualistic and highly complex Samhitas in a philosophical and metaphorical way to explain the "hidden" concepts of God (Ishwara), the Supreme Being (Brahman) and the soul or the self (Atman). Also, many Hindus believe that the very sound of the Vedic mantras is purifying for the environment and human mind.

Religious views: Monism, Monotheism, Henotheism and Polytheism

The religion of the Vedic period, particularly at its earliest, was distinct in a number of respects, including reference to females in positions of religious authority (female rishis, or sages), an apparent lack of belief in reincarnation, and a markedly different pantheon, with Indra generally the chief god, and little mention of the later primary gods Vishnu and Shiva, although Brahma does appear quite frequently. While Hinduism is generally monistic or monotheistic admitting emanating deities, the early Rig Veda (undeveloped early Hinduism) was what Max Müller based his views of henotheism on. In the four Vedas, Müller believed, a striving towards One was being aimed at by the worship of different cosmic principles, such as Agni (fire), Vayu (wind), Indra (rain, thunder, the sky; also the King of gods), etc. each of which was variously, by clearly different writers, hailed as supreme in different sections of the books. Indeed, however, what was confusing was an early idea of Rita, or supreme order, that bound all the gods. Other phrases such as ekam sat, vipraha bahudha vadanti (Truth is One though the sages know it as many) lead to understandings that the Vedic people admitted of fundamental oneness. There were attempts at monism by subordinating other gods to singular entities or gods of supreme power, three most notably being Vishvakarma, Indra and Varuna, though Indra was the most eulogized as supreme in his 200 Rig Vedic verses. From this mix of monism, monotheism and naturalist polytheism Max Müller decided to name the early Vedic religion henotheistic. He decided that while polytheism did not fit with views so clearly admitting of fundamental unity, monism in his opinion was not yet fully developed. This, however, is clearly a one-man view. Extremely advanced, indeed unprecedented and thitherto unduplicated ideas of pure monism are to be found in the early Vedas, notwithstanding clearly monist and monotheist movements of Hinduism that developed with the advent of the Upanishads. One such example of early Vedic monotheism is the Nasadiya hymn of the Rig Veda: "That One breathed by itself without breath, other than it there has been nothing." To collectively term the Vedas henotheistic, and thus further leaning towards polytheism, rather than monotheism, is to ignore the bent of the Vedas that laid the foundation for the Upanishads as early as 1000 BCE.

Cosmogony

The Vedic view of the world and cosmogony sees one true divine principle self-projecting as the divine word, Vaak, 'birthing' the cosmos that we know from 'Hiranyagarbha' or Golden Womb, a primordial sun figure that is equivalent to Surya. The varied gods like Vayu, Indra, Rudra (the Destroyer), Agni (Fire, the sacrifical medium) and the goddess Saraswati (the Divine Word, aka Vaak) are just some examples of the myriad aspects of the one underlying nature of the universe.

External links

- [http://www.vedmandir.com A great source of information]
- [http://www.stephen-knapp.com/complete_review_of_vedic_literature.htm A Complete Review of Vedic Literature]
- [http://www.comparative-religion.com/hinduism/vedas/ Vedas: Rig, Sama, Yajur, and Artharva]
- [http://www.vedah.com/org/index.asp Excellent site about Vedas (Aurobindo)]
- [http://san.beck.org/EC7-Vedas.html Veda and Upanishads]
- [http://veda.harekrsna.cz/ VEDA - Vedas and Vedic Knowledge Online (Vaishnava and general)]
- [http://sarasvati.tripod.com/veda.htm Vedic Chanting .mp3 audio files]
- [http://www.india-picture.net/vedic_ritual Photos of the performance of Vedic rituals in India]

References

- Winternitz, Moritz : History of Indian Literature, Vol.1 (Calcutta 1926)l.
- Category:Holy scripture Category:Religious texts Category:Sanskrit texts ko:베다 ja:ヴェーダ

Indra

In Hinduism, Indra (इन्द्र) is god of weather and war, and Lord of Heaven or Swargaloka. He was also an important figure in non-Hindu traditions.

Iranian Indra

Indra is known in early Indo-Iranian religion. Whether Indra is cognate with other Indo-European thunder-gods such as Thor, Tarhun and Taranis is highly speculative; it is generally considered that the Indo-European root for the name cannot be reconstructed. However, in Vedic religion Indra has a prominence over chief god of the Indo-European pantheon Dyēus (Dyēus appears in the Vedas as Dyaus Pita, a relatively minor deity who, interestingly, is the father of Indra). Indra was the Supreme Deity, God of war and a natural phenomena personified for the Indo-Aryans. Some modern historians suggest the possibility that Indra is based on the earliest leader of the Aryan tribes that entered and settled in India, inspiring their folklore, legends and worship. The battle between Indra and Vritra is depicted in ancient Iranian religions such as Zoroastrianism. Some think that the Indo-Aryans settled not only India but also Iran and that may prove Indra's pre-Hindu origins, and his original status for ancient Aryans.

Indra in Hinduism

The Rig-Veda states, :He under whose supreme control are horses, all chariots, and the villages, and cattle; :He who gave being to the Sun and Morning, who leads the waters, He, O men, is Indra. (2.12.7, trans. Griffith)

Status and function

Although Vishnu and Shiva have been the Supreme Godhead of Hinduism since fairly ancient times, Indra remains an important god, hero of many tales and epics. He leads the Devas (the gods who form and maintain Heaven and the elements, such as Agni (Fire), Varuna (Water) and Surya (Sun)), and constantly wages war against the demonic Asuras of the netherworlds, or Patala, who oppose morality and dharma. He thus fights in the timeless battle between good and evil. In addition, he is one of the Ashta-Dikpalas, representing the east. Some scholars think that originally Indra was probably a solar deity, riding a gold chariot across the sky. He brought water to Earth, and as such is sometimes worshipped as a god of fertility who can also resurrect soldiers who die in battle.

Characteristics

In art, Indra is depicted as a muscular, red man, sometimes with four very long arms. Indra's weapon, which he used to kill Vritra, with the help of other gods), is the thunderbolt (Vajra), though he also uses a bow, a net and a hook. He rides a large, four-tusked albino elephant called Airavata. When portrayed having four arms, he has lances in two of his hands which resemble elephant goads. When he is shown to have two, he holds the Vajra and a bow (Masson-Oursel and Morin, 326). Indra lives in Svarga in the clouds around Mt. Meru. Deceased warriors go to his hall after death, where they live without sadness, pain or fear. They watch the Apsaras and the Gandharvas dance, and play games. The gods of the elements, celestial sages, great kings and warriors enrich his court.

Relations with other gods

He is married to Indrani (whose father, Puloman, Indra killed), and is the father of Arjuna (by Kunti), [Jayanta]], Midhusa, Nilambara, Rbhus, Rsabha. Indra is also the father of Vali and Surya. He is attended to by the Maruts (and the Vasus), children of Diti and Rudra. Indra had murdered Diti's previous children, so she hoped her son would be more powerful than him and kept herself pregnant for a century, practicing magic to aid her fetal son. When Indra discovered this, he threw a thunderbolt at her and shattered the fetus into 7 or 49 parts; each part regenerated into a complete individual, and the parts grew into the Maruts, a group of storm gods, who are less powerful than Indra. According to one belief, Indra pulled his father, Dyaus Pita, from the sky by the foot; he fell to his death; afterwards, Indra married his mother Prthivi, who supported the murder. Zeus of Greece is very similar to Indra.

Stories about Indra

The curse on Indra

Indra is not a perfect being, and is ascribed with more human characteristics and vices than any other Vedic deity. Perhaps consequently, he also has the most hymns dedicated to him: 250 (Masson-Oursel and Morin, 326). A well-known story about Indra tells of a sin that he committed and how he was punished for it. Indra had an affair with Ahalya, wife of Gautama Rishi. He was punished by Gautama with a curse that ten thousand phalluses would protrude of his body in a grotesque and vulgar display, and that his reign as king of gods would meet with disaster and catastrophe. Gautama later commuted the curse, upon the pleading of the gods of Heaven, to ten thousand eyes, instead of phalluses. Due to this sin Indra's throne remains insecure forever. He is repeatedly humiliated by demonic kings like Ravana of Lanka, whose son Indrajit (whose name means victor over Indra) bound Indra in serpent nooses and dragged him across Lanka in a humiliating display. Ravana released Indra when Brahma convinced him to do so, but Indra, as the defeated, had to pay tribute and accept Ravana's supremacy. Indra realized the consequences of his sin, and was later avenged by the Avatara of Vishnu, Rama, who slew Ravana to deliver the three worlds from evil, as described in the epic Ramayana.

Indra and Vritra

Vritra, an asura, stole all the water in the world and Indra drank much Soma to prepare himself for the battle with the huge serpent. He passed through Vritra's ninety-nine fortresses, slew the monster and brought water back to Earth. In a later version of the story, Vritra was created by Tvashtri to get revenge for Indra's murder of his son, Trisiras, a pious Brahmin whose increase of power worried Indra. Vritra won the battle and swallowed Indra, but the other gods forced him to vomit Indra out. The battle continued and Indra fled. Vishnu and the rishis brokered a truce, and Indra swore he would not attack Vritra with anything made of metal, wood or stone, nor anything that was dry or wet, or during the day or the night. Indra used the foam from the waves of the ocean to kill him at twilight. In yet another version, recounted in the Mahabharata, Vritra was a Brahmin who got hold of supernatural powers, went rogue and became a danger to the gods. Indra had to intervene, and slew him after a hard fight. A horrible goddess named Brāhmanahatya (personified sin of brahmin murder) came from the dead corpse of Vritra and pursued Indra, who hid inside a lotus flower. Indra went to Brahma and begged forgiveness for having killed a Brahmin. "Vajrayudha" which Indra possessed is believed to be prepared from backbone of a sage Dadhichi to kill Asuras.

Indra in Buddhism and Jainism

In Buddhism, Indra is purported to have given the Buddha courage in undertaking the difficult task of teaching humanity the path to nirvana/liberation. In Jainism, Indra awards a golden robe to Mahavira, and later welcomes him into heaven.

References

1. Masson-Oursel, P.; Morin, Louise (1976). "Indian Mythology." In New Larousse Encyclopedia of Mythology, pp. 325-359. New York: The Hamlyn Pulishing Group.

External links

- [http://koenraadelst.bharatvani.org/books/ait/ch47.htm Indra and Shiva] - By Koenraad Elst

Uses outside Hinduism

Indra is also a given name for girls in Italy, Germany and other countries. Category:Hindu gods Category:Sky and weather gods Category:Solar gods Category:War gods Category:Hurrian deities ja:インドラ

List of Hindu deities

This is a List of Hindu deities.

A

- Aakash
- Acyutah
- Adimurti
- Aditi
- Aditya
- Agni
- Amman
- Ammavaru
- Anala
- Anila
- Ansa
- Anumati
- Anuradha
- Apa
- Apam Napat
- Aranyani
- Ardhanari
- Ardra (goddess)
- Aruna
- Arundhati
- Aryman
- Ashta-Dikpalas
- Aslesa
- Astamatara
- Asura
- Asvayujau
- Aswini
- Ayyappan

B

- Badi Mata
- Bagala
- Bagalamukhi
- Balarama
- Banka-Mundi
- Bhadra
- Bhaga
- Bhairavi
- Bharani
- Bharati
- Bharat Mata
- Bhavani
- Bhumidevi
- Bhumiya
- Bhutamata
- Bhuvaneshvari
- Bhuvanesvari
- Bombay Kamayan
- Brahma
- Brahmani
- Brihaspati
- Budha
- Buddhi
- Budhi Pallien
- Balamma
- Balaji

C

- Chamunda
- Chandra
- Chhinnamasta
- Chitragupta
- Chinnamastaka

D

- Daksha
- Dakshayani
- Danu
- Dattatreya
- Deva (Hinduism)
- Devi
- Dhanvantari
- Dhara
- Dhatri
- Dhumavati
- Diti
- Durga

E

- Eesana

G

- Ganesha
- Garuda
- Gayatri
- Ghanshyam

H

- Hanuman

I

- Indra
- Indrani
- Ishvara
- Ishna

K

- Kala
- Kali (Mahankali)
- Kama (Hinduism)
- Kamalatmika
- Kartikeya
- Kasyapa
- Krishna
- Kubera
- Khandoba
- Kathyayini

L

- Lakshmi
- lila
- Lord Ayyappa
- Lalitha

M

- Mahavidya
- Mahavishnu
- Minaksi
- Manasa
- Marut
- Matangi
- Mitra
- Mohini
- Muthyalamma

N

- Nandi
- Narada
- Nataraja
- Nirrith
- Nirrta
- Nirguna Brahman
- Nagaraja
- Naga Devata
- Narasimha
- NallaPochamma

P

- Parasiva
- Parjanya
- Parvati
- Pashupati
- Prajapati
- Prithvi
- Pushan
- Purusha
- Pochamma
- Peddamma

R

- Radha
- Ramya
- Rama
- Ranganatha
- Rati
- Ratri
- Ravi
- Rbhus
- Revanta
- Rohini Nakshatram
- Rudra

S

- Sarabeswarar
- Saraswati
- Saranyu
- Savitri
- Sesha
- Shakti
- Shakti Peethas
- Shiva
- Sitala
- Soma
- Subrahmanya
- Surya
- Svaha
- Swaminarayan
- Shirdi SAI

T

- Tara (Devi)
- Tripura Sundari
- Tvashtri

U

- Uma (goddess)
- Ushas

V

- Vac
- Vaishnodevi
- Varuna
- Vasu
- Vayu
- Vishnu
- Vivasvat
- Vishwakarma
- Venkateshwara
- Varaha

Y

- Yama
- Yami
- Yellamma Note: There are several local and regional Gods all of which cannot be listed

Aspects

Incarnations

"Mental son" of Brahma

- Narada

Incarnations of Vayu

- Hanuman
- Bhima
- Shri Madhvacharya

"Avatara" of Lakshmi

- Sita Devi

Manifestation of Durga

- Chandanayika

Avatars of Vishnu

Dasavatara

#Matsya, the fish #Kurma, the tortoise #Varaha, the boar #Narasimha, the Man-Lion (Nara = man, simha = lion) #Vamana, the Dwarf #Parashurama, Rama with the axe #Rama, Sri Ramachandra, the prince and king of Ayodhya #Krishna (meaning dark or black; see also other meanings in the article about him.) #Buddha #Kalki ("Eternity", or "time", or "The Destroyer of foulness"), who is expected to appear at the end of Kali Yuga, the time period in which we currently exist, which will end in the year 428899 CE.

The 25 Avatars of the Puranas

The Puranas list twenty-five avataras of Vishnu. A description of these is found in the Bhagavata Purana, Canto 1. #Catursana #Narada #Varaha #Matsya #Yajna #Nara-Narayana #Kapila #Dattatreya #Hayasirsa #Hamsa #Prsnigarbha #Rsabha #Prithu #Narasimha #Kurma #Dhanvantari #Mohini #Vamana #Parasurama #Raghavendra (Rama) #Vyasa #Balarama #Krishna #Buddha #Kalki

Category:Hindu goddesses

Category:Asian goddesses Category:Goddesses by culture Category:Hindu deities

Matteo Bandello

Matteo Bandello (1480—1562) was an Italian novelist. He was born at Castelnuovo, near Tortona, about the year 1480. He received a good education, and entered the church, but does not seem to have been very interested in theology. For many years he lived at Mantua, and superintended the education of the celebrated Lucrezia Gonzaga, in whose honour he composed a long poem. The decisive Battle of Pavia, as a result of which Lombardy was taken by the emperor, compelled Bandello to flee; his house at Milan was burnt and his property confiscated. He took refuge with Cesare Fregoso, an Italian general in the French service, whom he accompanied into France. He was later raised to the bishopric of Agen, a town in which he resided for many years before his death in 1562. Bandello wrote a number of poems, but his fame rests entirely upon his extensive collection of Novelle, or tales (1554, 1573), which have been extremely popular. They belong to the same genre as Boccaccio’s Decameron and Margaret of Navarre’s Heptameron. The common origin of them all is to be found in the old French fabliaux, though some well-known tales are evidently Eastern, and others classical. Bandello’s novels are thought the best of those written in imitation of the Decameron, though Italian critics find fault with them for negligence and inelegance of style. The stories on which William Shakespeare based several of his plays (Romeo and Juliet in particular) were supplied by Bandello, probably through Belleforest or Paynter.

Books

- Bandello and the "Heptameron": Study in Comparative Literature by K H Hartley ISBN 0424054604 Bandello, Matteo Bandello, Matteo Bandello Matteo Bandello, Matteo

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Vac

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VAC

International Phonetic Alphabet

History

Description

The principle of formation

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Goddess

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Triple Goddess

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Sarasvati

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Saraswati as a river

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Prajapati

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Vedas

Contents

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Indra

Iranian Indra

Indra in Hinduism

Status and function

Characteristics

Relations with other gods

Stories about Indra

The curse on Indra

Indra and Vritra

Indra in Buddhism and Jainism

See also

References