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Apala_Atreyi_Cartoon_Film.mp4

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Part 10 · VIDEHA MITHILA MAITHILI DISCUSSION CRITICISM SERIES PART 10
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  1. 0:00–0:30अपाला अच्रेए. अठाल अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अप
  2. 0:30–0:38recitation, the pounding of soma, and the solemn voices of the brahmodya assembly.
  3. 0:38–0:39Scene 1.
  4. 0:39–0:42A girl and a boy stand amid the mango grove.
  5. 0:42–0:46Leaves rustle, water can be heard in the distance.
  6. 0:46–0:52The girl holds leaves and writing practice materials, she is already inquisitive.
  7. 0:52–0:54My name is Apala.
  8. 0:54–0:56I am Rishi, a threes daughter.
  9. 0:56–0:59Who are you, young Rishi?
  10. 0:59–1:02Are your eyes searching for letters or for a bow?
  11. 1:03–1:07I have come to study. Where is Wishi Atri?
  12. 1:08–1:13He has gone towards the pool to bathe. He should be back at any moment.
  13. 1:14–1:20Maharishi Atri enters, carrying a water pot in his right hand and bark cloth in his left.
  14. 1:21–1:24Daughter, who is this boy who has come here?
  15. 1:24–1:26good.
  16. 1:26–1:32Raviyad Rishi, the number of residents in the hermitage is about to increase by one.
  17. 1:32–1:34This boy has come to study.
  18. 1:34–1:36No.
  19. 1:36–1:39My initiation has not yet taken place.
  20. 1:39–1:44For now, I have come as a manavaka, to study under the teacher.
  21. 1:44–1:46See the staff in my hand.
  22. 1:46–1:51As a dandamanavaka, I shall come each day from my village and return in the evening.
  23. 1:51–1:57I am an Anrich unacquainted with Vedic mantras, but I hunger to learn.
  24. 1:57–1:58Very well.
  25. 1:58–2:02Then you shall become known as my tuple.
  26. 2:02–2:08The first part of the day is reserved for training in the use of weapons.
  27. 2:08–2:12You must remember every mantra I teach you.
  28. 2:12–2:18Later, I shall take you with me and arrange your formal initiation.
  29. 2:18–2:23Here, girls and boys alike have the right to ask questions.
  30. 2:23–2:28A question is the first step towards knowledge.
  31. 2:28–2:31I bow at the feet of the wise teacher.
  32. 2:31–2:34Curtain
  33. 2:34–2:35Scene 2
  34. 2:35–2:38The final stage of the initiation ceremony.
  35. 2:38–2:44A parlor and several other young students, girls and boys have undergone initiation.
  36. 2:44–2:48Fire glows on the altar, soft sama chanting rises.
  37. 2:48–2:51The students sit in deep concentration.
  38. 2:51–2:55Apala, your true education now begins.
  39. 2:55–3:02Knowledge is not merely memory, it is also a lamp within.
  40. 3:02–3:04He turns to the other students.
  41. 3:04–3:09All of you must regularly recite the Savitri Mantra.
  42. 3:09–3:17Om Bhur Bhuvah Swar, Tart Savitur Varenyam Bhargo Devasya Dhimahi, Dio Yona Prachodhyat.
  43. 3:17–3:29Savita, the Inspirer of all, possesses the venerable radiance beloved by all, spread across the earth, the mid-region and heaven, the highest sky.
  44. 3:29–3:32We meditate upon that radiance.
  45. 3:32–3:37May it inspire our intellect and understanding.
  46. 3:37–3:45Father, what will be taught as a preliminary course before formal study, together with Om Nama Siddham?
  47. 3:45–4:06Letters, vowel sounds, measures, short, long and prolonged accents, udatta, anudatta and swarita, pure pronunciation, the orderly arrangement of letters, that is spelling the manner of reading and speaking and the many ways of sounding the same letter.
  48. 4:06–4:10All these will form part of the instruction.
  49. 4:10–4:16Teaching will be given through Samasantana, that is simple song.
  50. 4:16–4:25Reviewed teacher, when pronunciation is faulty, meaning changes, when vision is faulty, the human being changes.
  51. 4:25–4:29The rules of the hermitage are now explained.
  52. 4:29–4:33The creatures of the forest are not to be harmed.
  53. 4:33–4:39Fruit for food shall be gathered from the forest trees on the previous evening.
  54. 4:39–4:44Agnihotra will be performed morning and evening.
  55. 4:44–4:53For it, firewood, kusha grass, clarified butter, and milk shall be arranged collectively each day.
  56. 4:53–4:57Here may roam freely through the hermitage.
  57. 4:57–5:05Though farming is not permitted among the Kadamba, Ashoka, Ketki, Madhuka, Vakula, and Sudhakara
  58. 5:05–5:14trees, grain that grows by itself on uncultivated land Akrishtapacha grain may be used.
  59. 5:14–5:20Knowledge and nature are not possessions to rule, both are to be served.
  60. 5:20–5:25Once we study in the same seat of learning, we are fellow students.
  61. 5:25–5:30Revered teacher, besides a staff and water pot, are we permitted to keep anything else?
  62. 5:30–5:37We're a waste girdle and deerskin, and prepare yourselves, so that you may be ready for the
  63. 5:37–5:4412-year sacrificial session, and after the great sacrifice concludes, take part in serious
  64. 5:44–5:50discussions at the Brahmodaya, the Viddhath Council, the Upanishadic gathering, and the
  65. 5:50–5:53Forest Assembly.
  66. 5:53–5:56Curtain.
  67. 5:56–5:58Scene 3.
  68. 5:58–6:02Inside the hut, Rishi Atri consults several physicians.
  69. 6:02–6:07From outside comes the faint sound of a pala's Sama practice.
  70. 6:07–6:11Inside are the worries of a father and of the physicians.
  71. 6:11–6:17Since, signs of a skin disease are appearing on young Apalas body.
  72. 6:17–6:22White patches resembling kushta are becoming visible.
  73. 6:22–6:29The illness is on her body, but society turns it into an accusation against the soul, that
  74. 6:29–6:32is what I fear as well.
  75. 6:32–6:37For many months we have prepared various medicines for the girl to take, and cells
  76. 6:37–6:39for her skin.
  77. 6:39–6:44The illness is stubborn but the girl's spirit is stronger.
  78. 6:44–6:47Apala is now approaching marriageable age.
  79. 6:47–6:52I am also seeking a worthy husband for her.
  80. 6:52–6:59But he must be a man who sees Apala's learning, not merely her skin.
  81. 6:59–7:01I have heard of Krishashiva.
  82. 7:01–7:07He possesses every virtue and is devoted to caring for his aged parents.
  83. 7:07–7:11He would be entirely suitable for our apala.
  84. 7:11–7:13Then why delay?
  85. 7:13–7:20On an auspicious day, you should contact his parents.
  86. 7:20–7:25Scene 4 A wedding rite is underway in the mango grove of the hermitage.
  87. 7:25–7:30An altar has been prepared, and the officiating priests offer barley and sesame into the
  88. 7:30–7:31fire.
  89. 7:31–7:36The flames are bright, but in a pala's heart there is a faint apprehension.
  90. 7:36–7:42With the majestic lines of the Tripundra upon his forehead, a well-formed body, and humility
  91. 7:42–7:47embodied, this is Krishashva, my companion for life.
  92. 7:47–7:54Will he see the soul that shares my mantras, or only the marks upon my skin?
  93. 7:54–7:57At that moment Krishashva's eyes meet Apalas.
  94. 7:57–8:04She lowers her gaze, yet her head remains held high, preserving the dignity of womanhood.
  95. 8:04–8:12the assembled circle of rishis, and with the sacred fire as witness, I unite Apala and Krishash
  96. 8:12–8:20in marriage. As they circle the fire, Krishashva's upper garment slips slightly, and the jasmine
  97. 8:20–8:24garland in Apala's hair falls to the ground.
  98. 8:24–8:31Scene 5. Apala's marital home. Her elderly parents-in-law are seated while Apala works
  99. 8:31–8:37about the house. In one corner lie materials for Vedic study, she attends both to household
  100. 8:37–8:40service and to learning.
  101. 8:40–8:47Dear Krishasw, so many days have passed. In your home, I have never felt controlled.
  102. 8:47–8:53Your tender love towards me has always been present. Yet these white patches that burn
  103. 8:53–8:59upon me like a living presence, seem, over the past few days, to have become a coldness
  104. 8:59–9:07towards me in your heart. Sometimes the silence of a house cuts more sharply than words.
  105. 9:07–9:10My coldness, Apala?
  106. 9:10–9:19Yes, Krishashu. I have seen the change. Does its cause lie in my skin condition?
  107. 9:19–9:28Apala, a conflict is raging within me. It is a struggle between love and desire. Love tells me that Apala is a Brahma Vadini, a woman of the divine.
  108. 9:28–9:33woman of the divine. But desire tells me that the condition of a parlour's skin has turned
  109. 9:33–9:39my eyes away from her beauty, in a version. I confess my weakness, I cannot give it the
  110. 9:39–9:42name of Dharma.
  111. 9:42–9:48This is a woman's humiliation at a man's hands. This is a man, corrupted by desire,
  112. 9:48–9:55crushing the flower of a woman's heart. I have studied the Vedas. The moon's blemishes
  113. 9:55–10:01disappear in its radiance, but the white marks on my skin have not disappeared amid the abundance
  114. 10:01–10:09of my virtues. The marks are on my body. It is your vision that has fallen ill.
  115. 10:09–10:15Krishashva is stunned into silence. I will not surrender before a physically strong
  116. 10:15–10:24man. To preserve my self-respect, I am returning to my father's forest hermitage, Krishashva.
  117. 10:24–10:31A house in which the soul must make itself small is not a home, it is a prison.
  118. 10:31–10:32Scene 6.
  119. 10:32–10:38At dawn, a parlor offers kindling into the fire pit, and begins worship and recitation
  120. 10:38–10:39to Indra.
  121. 10:39–10:42She sits upon a kuzhagras seat.
  122. 10:42–10:43The air is still.
  123. 10:43–10:49The sound of soma being pounded slowly becomes the rhythm of the mantra.
  124. 10:49–10:52I found soma beside the stream.
  125. 10:52–10:58I brought it home and said, I shall press it for Indra, for Shakra.
  126. 10:58–11:00She steadies her breath.
  127. 11:00–11:06Oh Indra, this Soma is not merely medicine, it is my resolve.
  128. 11:06–11:11Wandering from house to house and beholding everything, drink this Soma from the little
  129. 11:11–11:18peg crushed by my teeth while you eat it with grain and curds, hear songs of praise.
  130. 11:18–11:24We are wholly intent upon knowing you well, yet no one has been able to attain you.
  131. 11:24–11:31O Moon, flow slowly, continuously, drop by drop, into Indra.
  132. 11:31–11:33Will He not help us?
  133. 11:33–11:36Will He not act for us?
  134. 11:36–11:39Will He not make us prosperous?
  135. 11:39–11:44After our enmity with our King, shall we now reconcile ourselves with Indra?
  136. 11:44–11:52O Indra, cause growth in three places upon my father's head in his field and near my abdomen.
  137. 11:52–11:55Let all these crops grow.
  138. 11:55–12:00You have plowed our field, my body and my father's head as well.
  139. 12:00–12:02You purified Apala.
  140. 12:02–12:08O Indra, three times, once through the opening of a wheeled cart, once through the opening
  141. 12:08–12:14of a four-wheeled cart and once through the yoke resting upon the shoulders of two oxen.
  142. 12:14–12:16O Shatakratu!
  143. 12:16–12:21You cleansed Apala and gave her skin like the sun.
  144. 12:21–12:22O Indra!
  145. 12:22–12:30But let it be remembered, not only the skin, the vision must also be purified.
  146. 12:30–12:32Scene 7.
  147. 12:32–12:38After the completion of the great sacrifice, the Brahmadya Assembly, the officiating priests,
  148. 12:38–12:43students, and residents of the Hermitage sit in solemn attention.
  149. 12:43–12:48Apala is calm, the signs of illness have disappeared from her body, but in her eyes lies the depth
  150. 12:48–12:51of experience.
  151. 12:51–12:58Before this great gathering of officiating priests, I can include Apala's hymn among the mantras
  152. 12:58–13:04of the rig, because it arose spontaneously, and is consecrated by mantra.
  153. 13:04–13:11Apala's skin disease has been cured by it, here is the immediate evidence.
  154. 13:11–13:15But the proof is not merely the cure of disease.
  155. 13:15–13:20The proof is that suffering itself can become a hymn.
  156. 13:20–13:24Apala is the seer of this mantra.
  157. 13:24–13:28Atri, we too have beheld this mantra.
  158. 13:28–13:33Indeed, there can be no question whether it should be included.
  159. 13:33–13:37From this day it is part of the rig.
  160. 13:37–13:41Apala's name shall not be separated from the mantra.
  161. 13:41–13:47After this recognition, the other proceedings of the Brahmodya assembly begin.
  162. 13:47–13:51Kriyashiva approaches Apala with a troubled heart.
  163. 13:51–13:57Apala, I am sorry for our separation and for the narrowness of my vision.
  164. 13:57–14:03Kri Shashva, this skin bestowed by Indra is a result of spiritual discipline.
  165. 14:03–14:09Your rejection made me capable of attaining it, but you have no claim over it now.
  166. 14:09–14:16I love that abandon me when I bow marks cannot demand rights over a body without them.
  167. 14:16–14:23I am Apala Atre, not an object of anyone's pity, but the seer of my own hymn.
  168. 14:23–14:27They slowly leave the stage in opposite directions.
  169. 14:27–14:30The light brightens towards the altar on Aparla's side.
  170. 14:30–14:34On Krishashiva's side, it fades.
  171. 14:34–14:35Wounds of the body may heal.
  172. 14:35–14:38Wounds of vision are healed by learning.
  173. 14:38–14:43Aparla's hymn lives, because she did not allow her suffering to remain silent.
  174. 14:43–14:45Curtain.
  175. 14:45–14:49Aparla Atrei, written by Gajendra Thokku.
  176. 14:49–14:59by Videha, the first Mathili fortnightly e-journal, ISSN 2229, 547X, www.videha.co.in.

Plain text

अपाला अच्रेए. अठाल अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अपाला अप recitation, the pounding of soma, and the solemn voices of the brahmodya assembly. Scene 1. A girl and a boy stand amid the mango grove. Leaves rustle, water can be heard in the distance. The girl holds leaves and writing practice materials, she is already inquisitive. My name is Apala. I am Rishi, a threes daughter. Who are you, young Rishi? Are your eyes searching for letters or for a bow? I have come to study. Where is Wishi Atri? He has gone towards the pool to bathe. He should be back at any moment. Maharishi Atri enters, carrying a water pot in his right hand and bark cloth in his left. Daughter, who is this boy who has come here? good. Raviyad Rishi, the number of residents in the hermitage is about to increase by one. This boy has come to study. No. My initiation has not yet taken place. For now, I have come as a manavaka, to study under the teacher. See the staff in my hand. As a dandamanavaka, I shall come each day from my village and return in the evening. I am an Anrich unacquainted with Vedic mantras, but I hunger to learn. Very well. Then you shall become known as my tuple. The first part of the day is reserved for training in the use of weapons. You must remember every mantra I teach you. Later, I shall take you with me and arrange your formal initiation. Here, girls and boys alike have the right to ask questions. A question is the first step towards knowledge. I bow at the feet of the wise teacher. Curtain Scene 2 The final stage of the initiation ceremony. A parlor and several other young students, girls and boys have undergone initiation. Fire glows on the altar, soft sama chanting rises. The students sit in deep concentration. Apala, your true education now begins. Knowledge is not merely memory, it is also a lamp within. He turns to the other students. All of you must regularly recite the Savitri Mantra. Om Bhur Bhuvah Swar, Tart Savitur Varenyam Bhargo Devasya Dhimahi, Dio Yona Prachodhyat. Savita, the Inspirer of all, possesses the venerable radiance beloved by all, spread across the earth, the mid-region and heaven, the highest sky. We meditate upon that radiance. May it inspire our intellect and understanding. Father, what will be taught as a preliminary course before formal study, together with Om Nama Siddham? Letters, vowel sounds, measures, short, long and prolonged accents, udatta, anudatta and swarita, pure pronunciation, the orderly arrangement of letters, that is spelling the manner of reading and speaking and the many ways of sounding the same letter. All these will form part of the instruction. Teaching will be given through Samasantana, that is simple song. Reviewed teacher, when pronunciation is faulty, meaning changes, when vision is faulty, the human being changes. The rules of the hermitage are now explained. The creatures of the forest are not to be harmed. Fruit for food shall be gathered from the forest trees on the previous evening. Agnihotra will be performed morning and evening. For it, firewood, kusha grass, clarified butter, and milk shall be arranged collectively each day. Here may roam freely through the hermitage. Though farming is not permitted among the Kadamba, Ashoka, Ketki, Madhuka, Vakula, and Sudhakara trees, grain that grows by itself on uncultivated land Akrishtapacha grain may be used. Knowledge and nature are not possessions to rule, both are to be served. Once we study in the same seat of learning, we are fellow students. Revered teacher, besides a staff and water pot, are we permitted to keep anything else? We're a waste girdle and deerskin, and prepare yourselves, so that you may be ready for the 12-year sacrificial session, and after the great sacrifice concludes, take part in serious discussions at the Brahmodaya, the Viddhath Council, the Upanishadic gathering, and the Forest Assembly. Curtain. Scene 3. Inside the hut, Rishi Atri consults several physicians. From outside comes the faint sound of a pala's Sama practice. Inside are the worries of a father and of the physicians. Since, signs of a skin disease are appearing on young Apalas body. White patches resembling kushta are becoming visible. The illness is on her body, but society turns it into an accusation against the soul, that is what I fear as well. For many months we have prepared various medicines for the girl to take, and cells for her skin. The illness is stubborn but the girl's spirit is stronger. Apala is now approaching marriageable age. I am also seeking a worthy husband for her. But he must be a man who sees Apala's learning, not merely her skin. I have heard of Krishashiva. He possesses every virtue and is devoted to caring for his aged parents. He would be entirely suitable for our apala. Then why delay? On an auspicious day, you should contact his parents. Scene 4 A wedding rite is underway in the mango grove of the hermitage. An altar has been prepared, and the officiating priests offer barley and sesame into the fire. The flames are bright, but in a pala's heart there is a faint apprehension. With the majestic lines of the Tripundra upon his forehead, a well-formed body, and humility embodied, this is Krishashva, my companion for life. Will he see the soul that shares my mantras, or only the marks upon my skin? At that moment Krishashva's eyes meet Apalas. She lowers her gaze, yet her head remains held high, preserving the dignity of womanhood. the assembled circle of rishis, and with the sacred fire as witness, I unite Apala and Krishash in marriage. As they circle the fire, Krishashva's upper garment slips slightly, and the jasmine garland in Apala's hair falls to the ground. Scene 5. Apala's marital home. Her elderly parents-in-law are seated while Apala works about the house. In one corner lie materials for Vedic study, she attends both to household service and to learning. Dear Krishasw, so many days have passed. In your home, I have never felt controlled. Your tender love towards me has always been present. Yet these white patches that burn upon me like a living presence, seem, over the past few days, to have become a coldness towards me in your heart. Sometimes the silence of a house cuts more sharply than words. My coldness, Apala? Yes, Krishashu. I have seen the change. Does its cause lie in my skin condition? Apala, a conflict is raging within me. It is a struggle between love and desire. Love tells me that Apala is a Brahma Vadini, a woman of the divine. woman of the divine. But desire tells me that the condition of a parlour's skin has turned my eyes away from her beauty, in a version. I confess my weakness, I cannot give it the name of Dharma. This is a woman's humiliation at a man's hands. This is a man, corrupted by desire, crushing the flower of a woman's heart. I have studied the Vedas. The moon's blemishes disappear in its radiance, but the white marks on my skin have not disappeared amid the abundance of my virtues. The marks are on my body. It is your vision that has fallen ill. Krishashva is stunned into silence. I will not surrender before a physically strong man. To preserve my self-respect, I am returning to my father's forest hermitage, Krishashva. A house in which the soul must make itself small is not a home, it is a prison. Scene 6. At dawn, a parlor offers kindling into the fire pit, and begins worship and recitation to Indra. She sits upon a kuzhagras seat. The air is still. The sound of soma being pounded slowly becomes the rhythm of the mantra. I found soma beside the stream. I brought it home and said, I shall press it for Indra, for Shakra. She steadies her breath. Oh Indra, this Soma is not merely medicine, it is my resolve. Wandering from house to house and beholding everything, drink this Soma from the little peg crushed by my teeth while you eat it with grain and curds, hear songs of praise. We are wholly intent upon knowing you well, yet no one has been able to attain you. O Moon, flow slowly, continuously, drop by drop, into Indra. Will He not help us? Will He not act for us? Will He not make us prosperous? After our enmity with our King, shall we now reconcile ourselves with Indra? O Indra, cause growth in three places upon my father's head in his field and near my abdomen. Let all these crops grow. You have plowed our field, my body and my father's head as well. You purified Apala. O Indra, three times, once through the opening of a wheeled cart, once through the opening of a four-wheeled cart and once through the yoke resting upon the shoulders of two oxen. O Shatakratu! You cleansed Apala and gave her skin like the sun. O Indra! But let it be remembered, not only the skin, the vision must also be purified. Scene 7. After the completion of the great sacrifice, the Brahmadya Assembly, the officiating priests, students, and residents of the Hermitage sit in solemn attention. Apala is calm, the signs of illness have disappeared from her body, but in her eyes lies the depth of experience. Before this great gathering of officiating priests, I can include Apala's hymn among the mantras of the rig, because it arose spontaneously, and is consecrated by mantra. Apala's skin disease has been cured by it, here is the immediate evidence. But the proof is not merely the cure of disease. The proof is that suffering itself can become a hymn. Apala is the seer of this mantra. Atri, we too have beheld this mantra. Indeed, there can be no question whether it should be included. From this day it is part of the rig. Apala's name shall not be separated from the mantra. After this recognition, the other proceedings of the Brahmodya assembly begin. Kriyashiva approaches Apala with a troubled heart. Apala, I am sorry for our separation and for the narrowness of my vision. Kri Shashva, this skin bestowed by Indra is a result of spiritual discipline. Your rejection made me capable of attaining it, but you have no claim over it now. I love that abandon me when I bow marks cannot demand rights over a body without them. I am Apala Atre, not an object of anyone's pity, but the seer of my own hymn. They slowly leave the stage in opposite directions. The light brightens towards the altar on Aparla's side. On Krishashiva's side, it fades. Wounds of the body may heal. Wounds of vision are healed by learning. Aparla's hymn lives, because she did not allow her suffering to remain silent. Curtain. Aparla Atrei, written by Gajendra Thokku. by Videha, the first Mathili fortnightly e-journal, ISSN 2229, 547X, www.videha.co.in.

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