Podcasts about Duryodhana

(Chorus) Wrong friendship's a prison, with walls strong and high, Blinding your vision, beneath a false sky. Like Karna and Duryodhana, a bond built on pride, Ignoring the wisdom that truth can provide. Krishna's own counsel, a lifeline so clear, But loyalty's chains held him captive in fear. The post Song: Karna & Krishna Part 2 appeared first on Radha Krishna Temple in Utah.

Duryodhana em Kurukshetra e seu pai, Dhritarastra, em Hastinapura vivem o drama de seus fracassos.

Listen to the Full Episode on YouTube : https://youtu.be/q8P79LpCuPU?si=dfhaBuQ6f2fxu9uYListen to the Full Episode on Spotify : https://open.spotify.com/episode/1RZrpsaUq5TrwhsG64YFJB?si=4bb8ec0f9d8b41d2In this episode of Unraveling the Mahabharata with Ami Ganatra, we explore the untold aspects of the epic with author and management professional Ami Ganatra. Known for her books on Indian history, she shares fresh perspectives on key characters, dharma, and leadership lessons from the Mahabharata. Originally aired on 30 Jan 2024 this episode is a must-listen for anyone interested in ancient wisdom and its relevance today.Episode Highlights: The inner conflict of dharma—Arjun's dilemmas and why he is at the center of the story. Bhishma, Gandhari, Shakuni, and Duryodhana—were they really as history remembers them? Lessons from Shanti Parva—Raj Dharma, wealth creation, and the truth about Duryodhana's final journey.If you love exploring the Mahabharata beyond the usual stories, this episode is for you.

Arjuna continua sua saga atrás de Jayadrata. Drona e Duryodhana fazem planos. O dia está quase acabando.

In this talk, we discuss something very edgy and maybe even quite dark: hating God as a legitimate mode of worship!This is lesser known bhāva is called vipaksha or shatru-bhāv, the "mode of the enemy" and applies to great devotees like Mahishāsura in the Candi, Hiranyāksha, Hiranyakashipu, Kamsha and Sishupāla in the Bhāgavatam and even Jacob in the Old Testament.Importantly, a discussion on how "hating God" can help one to realize God takes us into deep Tantrik waters regarding the use of all emotions, even darker ones like anger, pride, hatred, jealousy, greed and lust to make spiritual progress! I think tonight's conversation will reveal something very essential and profound about how spiritual practice works with regard to the centrality of intensity and consistency in sādhana.As we see in a few select Ramprasad poems and taking Sri Ramakrishna's idea of "tāmasic Bhakti" (dark devotion), we learn that this attitude of "frustrating" or "annoyance" with God actually only implies real intimacy, not distance.Naturally, this is a continuation of last week's excting 6 hour satsangh on madhura bhava, the romantic mode in Kali worship which you can watch here.Here are some of the references we made towards the end of the talk:In Bhāgavata Purāna, Jaya-Vijaya, Vishnu's doorkeepers were cursed by Sanaka, Sanandana, Sanatana, and Sanatkumara (mind born sons of Brahma) to etiher be born 3 times as enemies or 7 times as devotees. They chose the former and became, in three respective ages:Satya Yuga: Hiranyakashipu, HiranyākshaTreta Yuga: Rāvana, Kumbhakarna Dvāpara Yuga: Sishupāla, Dantavakra Also Kamsha/Chānura, Duryodhana etc. In Skanda Purāna, we find Tarakāsura whose boon is to be slayed only by Shiva's unlikely son (this is where we get the Shiva burning Kāmadev story), in Brahmānda Purāna we get Bhandasura, born of the ash of Kamadev  who is then slain by Lalitā Devī. In Shiva Purāna, we get Andhakasura who is born from Parvati's sweat after the world is darkened and then born to Hiranyāksha, who does penance and who then gets the boon to be killed only when he lusts after his own Mother. This is also a matrka origin story and resembles the motif from Raktabījā. Which brings us to the Candi demons:"Ebhirhatair jagadupaiti sukham tathaite kurvantu nāma narakāya cirāya pāpamsangrāma mrtyumadhigamya divam prayāntuMatveti nūnamahitān vinihamsi devi" (4.18)For more detailed instructions for how to perform Kālī pūjā, watch this playlist: https://www.patreon.com/collection/233799Lectures happen live every Monday at 7pm PST and Friday 10am PST and again Friday at 6pm PST.Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrMSupport the show

In this episode, Shri Krishna takes on the role of a messenger, or Rajdoot, for the Pandavas. With the looming threat of war between the Kauravas and the Pandavas, Krishna travels to Hastinapur to offer one last chance at peace. He meets the Kaurava elders, Bhishma and Dronacharya, and King Dhritarashtra, to persuade them to avoid the devastating war. Krishna urges Duryodhana to return the rightful share of the kingdom to the Pandavas, emphasizing the futility of conflict and destruction. However, Duryodhana, blinded by ego and greed, rejects Krishna's counsel, leading to heightened tensions. This episode beautifully captures Krishna's diplomatic efforts, his wisdom, and his foresight, while foreshadowing the inevitable Kurukshetra war.

How Balaramas Causeless Mercy On Duryodhana Was Still Less For Duryodhana by Exploring mindfulness, yoga and spirituality

When Krishna wanted to replace Duryodhana with Yudhishthira, was his reason moral or spiritual? by Exploring mindfulness, yoga and spirituality

Did Krishna Provoke Duryodhana And Cause The War by Exploring mindfulness, yoga and spirituality

Dronacharya, o General dos Kurus tenta satisfazer Duryodhana. Enquanto Arjuna e Bhima tornam a guerra um espetáculo assistido tanto pelos homens quanto pelos Deuses.

**Title:** *Mahabharata: Duryodhana's Honest Admission and Shakuni's Strategic Role*In this insightful episode of the Mahabharata, Duryodhana demonstrates a rare moment of self-awareness by admitting that he lacks the skill to play the game of dice. Instead of taking on a challenge he knows he cannot win, Duryodhana wisely calls upon his uncle, Shakuni, to play on his behalf. This decision, while leading to significant consequences, showcases Duryodhana's honesty and his recognition of his own limitations. Explore how this moment of clarity and Shakuni's strategic intervention shape the course of the epic's unfolding drama.

Início do Drona Parva, o sétimo segmento do Mahabharata. Primeiro dia de Drona como General Chefe de Duryodhana.

When Yudhishthira Considered Duryodhana A Good King Was Killing Him Necessary To Establish Dharma by Exploring mindfulness, yoga and spirituality

Duryodhana Unaffected By Place Of Dharma - Gita Verses 2 1.2 To 1.4 by Exploring mindfulness, yoga and spirituality

Even though Karna and Arjuna were brothers, their relationship was marred by circumstances. That's why Karna became a close friend of Duryodhana from childhood. Why did Duryodhana crown Karna as a king, and why did Karna desire to humiliate Arjuna? If you want answers to these questions, then listen to this audiobook until the end only on "Audio Pitara". Stay Updated on our shows at audiopitara.com and follow us on Instagram and YouTube @audiopitara. Credits - Audio Pitara Team Learn more about your ad choices. Visit megaphone.fm/adchoices

Those Eighteen Days 4 - Mahabharata Wisdom - - Duryodhana Humbled - How Our Mind Blinds Us by Exploring mindfulness, yoga and spirituality

The Mahabharata, a timeless tale of war and duty, also holds stories of intricate relationships. In this episode of Mythlok, we explore the fascinating yet tragic bond between Duryodhana, the ambitious Kaurava prince; Karna, the mighty warrior ostracized for his caste; and Ashwathama, the son of the legendary Dronacharya. We delve into the foundation of their unlikely friendship, forged in a shared sense of rejection and a fierce loyalty that transcended societal norms.But loyalty, like any powerful force, comes with a price. We analyze how their unwavering support for Duryodhana, fueled by both noble intentions and personal motivations, impacted the course of the Kurukshetra war. We dissect the moral dilemmas they faced, the strategic advantages their skills brought, and the dark consequences of actions fueled by blind loyalty.Their story raises profound questions that resonate even today. Did their loyalty make them heroes or pawns? Could they have served their friends and their honor simultaneously?Join us on Mythlok as we embark on a deep dive into the Mahabharata, examining this complex friendship, its influence on the war, and the enduring questions it leaves behind. Share your thoughts in the comments - did this unlikely brotherhood resonate with you? Was theirs a story of unwavering loyalty or a cautionary tale of blind allegiance?Read more at https://mythlok.com/karna-duryodhana-and-ashwathama-a-tale-of-loyalty-and-tragedy/

When Panda as come back to Hastinapur, Dhritarashtra is again faced with the dilemma of giving Yudhistir his rightful place at the throne. But the blind king's blind love for his son Duryodhana would never allow him to do so. So what does he do? Find out in this episode…

Duryodhana tries to kill the Pandavas by setting them up in a wax palace and burning it to the ground. Does he succeed? Listen to the episode to find out!

Transgender candidate Hemangi Sakhi runs to the right of Modi, some Mahabharata madness--tricky moral tests, transgenderism, karna, and more on the Patreon!

The young princes complete their training and come back to Hastinapur and get a grand welcome. As they display their feats, Vasusena arrives to the scene and challanges Arjun. He is not allowed to, as per rules only a prince can challange a prince. Hearing this Duryodhana makes Vasusena the King of Anga and announces him as his friend and equal. Vasusena is moved by the gesture and takes an oath to be forever loyal to his new best friend.

Title: The Three Levels of Intellect and Happiness18th Chapter: verse 26, 27, 28, 30, 31, 32, 37, 38, 39Lord Krishna divides human traits in three areas – sattvic, rajasik and tamasik.Jnanam (knowledge), karta (doer), karma (action), buddhi (intellect) and sukham (happiness) – all can be divided into these three traits.We can infer which trait is predominant in a person by observing his external temperament. A sattvik person is calm and serene even in difficult situations. A rajasik person is swayed by his circumstances. A tamasik person is dull and non-responsive., not understanding what is happening around him.The 26th, 27th and 28th verses discuss the three levels of refinement of karta (doer) - sattvik, rajasik and tamasik.26th verse: “Who is a sattvik karta? He is totally devoid of any attachment. He does a lot of good things but does not identify himself as the doer.”If we engage in a lot of work without sense of doer ship, we are not fatigued. The body may take a toll, but the mind stays fresh.27th verse: “Who is rajasik karta? His mind moves from one polar opposite to another, from extreme joy to depression. When he gets expected results, he is overjoyed (harsha). When he does not get expected results, he is depressed (shoka). Obsessed by what he is doing, he is mentally fatigued.”28th verse: “Who is tamasik karta? He is totally disturbed, crude, without politeness, dishonest, malicious, indolent, never in a happy mood, arrogant and perpetually procrastinating.”The tamasik karta is always unhappy seeing the whole world as his enemy and seeing the whole world as doing injustice to him.The 30th, 31st and 32nd verses discuss the three levels of refinement of buddhi (intellect) - sattvik, rajasik and tamasik.30th verse: “What is an example of sattvik, most refined intellect? That intellect by which one knows what ought to be done, how it ought to be done, what ought not to be done, how to begin and retire from work, and how to combine action and contemplation, how to avoid actions that create bondage, is sattvik.”Work can bring desires and ambitions that are not helpful. One should do his duty properly but have the ability to say “NO” to his own mind.According to Patanjali Yoga Sutras, a spiritual seeker should practice friendliness (Maitri) towards fellow spiritual seekers, practice compassion (Karuna) towards those who are less evolved, practice happiness (Mudita) towards those who are more evolved and practice a filtering attitude (Upeksha) towards those who may shake his faith.31st verse: “What is an example of rajasik intellect? That intellect by which one mixes up dharma (righteousness) and adharma (unrighteousness),  by which one does not have the discerning wisdom to choose what is to be done and what is to be avoided, is rajasik.”32nd verse: “What is an example of tamasik intellect? That intellect which enveloped in ignorance and delusion covers the truth and sees everything in an inverted way, which considers dharma as adharma and adharma as dharma, which deliberately thinks that doing something wrong is the best thing for the world, is tamasik.”In the Mahabharata, Duryodhana says: “I know what the right thing is to do, but I cannot do that. I know what the wrong thing is to do, but I cannot resist from doing it.”People with tamasik intellect have an obsession to do something which eventually brings their own downfall.How do we know that we are following the path of dharma? We feel inner tranquility and contentment. We feel – “I have done what I ought to have done and I have attained what I ought to have attained.”The 37th, 38th and 39th verses discuss the three levels of refinement of sukham (happiness) - sattvik, rajasik and tamasik.37th verse: “What is the nature of sattvik happiness? Certain activities appear in the beginning to be like poison (difficult and painful), but eventually is like nectar (brings greatness, joy and contentment) – such happiness is sattvik.38th verse: “What is the nature of rajasik happiness? Certain activities which are like nectar in the beginning (which appear to be very pleasant because they are the result of senses and mind coming in contact with objects of enjoyment), but which are like poison in the end (which inevitably lead to unpleasant outcomes) – such happiness is rajasik.39th verse: “What is the nature of tamasik happiness? The happiness which is delusive and unpleasant both in the beginning and in the end, which is the result of laziness, delusion, ignorance, which is the result of understanding dharma as adharma, is tamasik.”To develop bhakti, one should have a strong desire to get out of the cycle of happiness and unhappiness. Second, one should pray to God or engage in karma yoga. Third, one should read about the life and teachings of great spiritual personalities.While the condition of the mind affects our actions, our actions also affect the mind. Good. Noble actions done without a selfish motive generate spiritual energy and create more sattvik qualities in the mind.We always function at the emotional level, not intellectual level. Through spiritual practices, what we know intellectually, we should strive to become our emotional state. 

Duryodhana, moribundo, faz articulações importantes durante a noite.

Embark with us on a journey of introspection as we delve into the profound impact of cultivating deep thought in our daily lives. Exploring the timeless narratives of characters like Duryodhana and Arjuna, we unravel the intricate threads of the human psyche. Join our discussion on the wisdom encapsulated in books, spanning generations, offering invaluable insights into the human experience. Discover the importance of discerning between confidence and ego, unlocking the keys to personal and interpersonal harmony. Hope you enjoy and if you like my content, drop me a follow and find me on Instagram @stoicspirituality, Tiktok @stoicspirituality, and Youtube @stoicspiritualityFind my other podcast episodes and platforms here: https://rss.com/podcasts/stoicspirituality/If you would like one-on-one mindset coaching, schedule a sample session with me:https://calendly.com/stoicspiritualitylifecoaching/sample-session?month=2023-04

Kumaravyasa's Bharata is a crown jewel of Kannada literature, beloved by scholars and common people alike. In this 15th-century classic, Kumaravyasa reimagines Vyasa's epic, making it more compact, dramatic, closer to everyday life and language. He dispenses with most didactic material, cuts out subsidiary tales, and concludes with the end of the war. Here, Krishna, who is cool, clever, charming, and charismatic, is the central character, but many others, such as Draupadi, Karna, and Duryodhana leave an indelible mark. He narrates the story through fast-moving, deftly crafted situations, where characters confront grand conflicts and articulate subtle and complex emotions in brilliant metaphorical language. In this series of masterclasses, Professors SN Sridhar and Krishnamurthy Hanuru will introduce the audience to several aspects of Kumaravyasa's poetic genius, illustrating them with the modern English translations the first volume of which has just been published as The Kannada Mahabharata by Harvard University Press in the Murty Classical Library of India series. The first episode places the poet in relation to his life and times, discusses his unique poetic manifesto, outlines the work, and highlights his originality in the way he creatively transforms Vyasa's prototype of the Mahabharata and Pampa's version. In this episode of BIC Talks Professors Sridhar and Hanuru illustrate Kumaravyasa's genius and versatility while analysing what accounts for the enduring popularity of his work for over half a millennium. This is an excerpt from an in-person masterclass series that took place in January 2024. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including Apple Podcasts, Spotify, Google Podcasts, Castbox, Overcast, Audible and Amazon Music.

Kumaravyasa's Bharata is a crown jewel of Kannada literature, beloved by scholars and common people alike. In this 15th-century classic, Kumaravyasa reimagines Vyasa's epic, making it more compact, dramatic, closer to everyday life and language. He dispenses with most didactic material, cuts out subsidiary tales, and concludes with the end of the war. Here, Krishna, who is cool, clever, charming, and charismatic, is the central character, but many others, such as Draupadi, Karna, and Duryodhana leave an indelible mark. He narrates the story through fast-moving, deftly crafted situations, where characters confront grand conflicts and articulate subtle and complex emotions in brilliant metaphorical language. In this series of masterclasses, Professors SN Sridhar and Krishnamurthy Hanuru will introduce the audience to several aspects of Kumaravyasa's poetic genius, illustrating them with the modern English translations the first volume of which has just been published as The Kannada Mahabharata by Harvard University Press in the Murty Classical Library of India series. The second session discusses some of the themes, characters and episodes in Kumaravyasa's Bharata, such as the sexual harassment of Draupadi, the diplomacy of Krishna, the manipulative, determined Duryodhana, the tragedies of Abhimanyu and Karna, the killing of Shishupala, the tragic death of Pandu, and Arjuna's confrontations with Shiva and Urvashi. In this episode of BIC Talks Professors Sridhar and Hanuru explore the contemporaneity and universality of Kumaravyasa's ideas about class, caste, war, power, human relations, patriarchy, women's status, and so forth. This is an excerpt from an in-person masterclass series that took place in January 2024. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including Apple Podcasts, Spotify, Google Podcasts, Castbox, Overcast, Audible and Amazon Music.

Kumaravyasa's Bharata is a crown jewel of Kannada literature, beloved by scholars and common people alike. In this 15th-century classic, Kumaravyasa reimagines Vyasa's epic, making it more compact, dramatic, closer to everyday life and language. He dispenses with most didactic material, cuts out subsidiary tales, and concludes with the end of the war. Here, Krishna, who is cool, clever, charming, and charismatic, is the central character, but many others, such as Draupadi, Karna, and Duryodhana leave an indelible mark. He narrates the story through fast-moving, deftly crafted situations, where characters confront grand conflicts and articulate subtle and complex emotions in brilliant metaphorical language. In this series of masterclasses, Professors SN Sridhar and Krishnamurthy Hanuru will introduce the audience to several aspects of Kumaravyasa's poetic genius, illustrating them with the modern English translations the first volume of which has just been published as The Kannada Mahabharata by Harvard University Press in the Murty Classical Library of India series. The first episode places the poet in relation to his life and times, discusses his unique poetic manifesto, outlines the work, and highlights his originality in the way he creatively transforms Vyasa's prototype of the Mahabharata and Pampa's version. In this episode of BIC Talks Professors Sridhar and Hanuru illustrate Kumaravyasa's genius and versatility while analysing what accounts for the enduring popularity of his work for over half a millennium. This is an excerpt from an in-person masterclass series that took place in January 2024. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including Apple Podcasts, Spotify, Google Podcasts, Castbox, Overcast, Audible and Amazon Music.

Duryodhana e Dhritarastra sofrem pela morte dos 14 principes e o quinto dia de batalha que segue.

Kunti invokes her boon from Sage Durvasa and has 3 kids namely Yudhisthir, Bheem and Arjun. She then teaches Madri the mantra who has teins namely Nakul and Sahadev. One day, Pandu having forgotten about the curse, touches Madri and loses his life. Madri soon dies of a broken heart too. Kunti and the 5 Pandava brothers are then taken by Bheeshma to the palace of Hastinapur where they grow up along with the 100 Kaurava princes. Duryodhana tries to kill Bheem, but he survives and is blessed by the King of Serpents to have the strength of a thousand elephants.

Duryodhana manda um mensageiro ao acampamento dos Pandavas.

Order my first book 'Build, Don't Talk' here: https://amzn.eu/d/eCfijRu--------------In today's episode of Figuring Out, Raj talks with Anand Neelakantan, one of India's top selling authors of over 10 books including the famous ‘bahubali.' Anand Neelakantan wrote the official prequel series of novels for the Baahubali film series. Anand is also a columnist, screenwriter, and a public speaker. He is known for writing mythological fiction for TV & shows. Hailing from Kerala, Anand resides in the city of Mumbai owing to his passion for writing. Being well versed with multiple editions of the ancient Indians epics, Anand shares with us some unheard stories from Rsamayan & Mahabharat and compels us to view them from a fresh lens. He sheds light on how the visualisation in TV has made us see the our epics from a restrained perspective and broadens the horizon of what all can be learnt from Ramayana & Mahabharata. He discusses the cyclic nature of life and explains how karma has given its boon and bane to even the gods of our epic tales. He helps us understand the different ways of lives that Lord Rama & Lord Krishna have led and what are the outcomes of the two. This episode will be extremely enlightening for you, so make sure you watch it till the end!-------------------------

665 A queda de Duryodhana Parte 2 by Gloria Arieira

Among the noble characters of Mahabharat, 'Yudhishtir' was the most virtuous of the Pandavas. The show is written by Manvendra Bhattacharya and narrated by Anamay Verma. How did Yudhishtir build the beautiful Indraprastha? How did Yudhishtir end up losing everything to Duryodhana in a game? To find answers to these questions, listen to our trending show 'Mahabharat Ke Paatra (Characters of Epic Mahabharat podcast in hindi)' only on Audio Pitara. Let us know your thoughts by commenting, and share it with your friends . Keep listening to interesting free podcasts, only on "Audio Pitara". Stay Updated on our shows at audiopitara.com and follow us on Instagram and YouTube @audiopitara. Credits - Audio Pitara Team Learn more about your ad choices. Visit megaphone.fm/adchoices

664 A queda de Duryodhana Parte 1 by Gloria Arieira

662 Duryodhana preparado para lutar Parte 02 by Gloria Arieira

661 Duryodhana preparado para lutar Parte 01 by Gloria Arieira

654 Krpa e o rei Duryodhana Parte 02 by Gloria Arieira

653 Krpa e o rei Duryodhana Parte 01 by Gloria Arieira

652 Duryodhana e seu avô Parte 02 by Gloria Arieira

651 Duryodhana e seu avô Parte 01 by Gloria Arieira

Karna is one of the most important characters who play a key role in the Hindu epic poem, Mahabharata. Although growing up as a child who did not know his parents, Karna becomes an accomplished warrior and a gifted speaker. He eventually became the king of Anga, a region in Bengal, under Duryodhana and joined the forces of Duryodhana during the Kurukshetra war. He was supposed to kill the third Pandava Arjuna, but he eventually died in battle with him.In the Mahabharata, Karna is shown to be a flawed but good man. After meeting his biological mother, he learns that his sworn enemies are his half-brothers but decides to continue being a loyal friend to Duryodhana. The character of Karna is a symbol of a man who is rejected by those who should love him but finds respect and love from the very people he should have stood against. Despite his shortcomings, he still manages to become a role model to many around him.His character is often developed to raise and discuss major moral and ethical dilemmas. His story has inspired various works of Hindu literature, both in India and southeast Asia.Read full article at https://mythlok.com/karna/

#kiranprabha #Yadavalli #telugumovies Yadavalli Suryanarayana was a super star, 100 years ago, on Telugu Stage. He was the one who acted as very first time as Sri Rama in Telugu Movies. He was also first Dushyantha , first Duryodhana in Telgu Movies. KiranPrabha narrates the brief life sketch of Yadavalli Suryanarayana Garu in this short talk show.