Abstract

It has become a crucial time for the exploration of the worth of Eastern literature, especially Sanskrit, for occupying an identical space and its influence in the Western literature. The impact of East in the West was out of common thought for many in western literary texts, and is often presumed that seeking such influence of Sanskrit literature is absolutely reluctant. The belief of western philosophy by the colonials was, and still is, a dominance of knowledge and science of the West over the entire world. The ‘Eurocentric’ knowledge has veiled the minds of people in the East; making believe with the defunct of Sanskrit language, literature and philosophy. Consequently, it deprived even the Easterners to enter into Sanskrit treasure and seek the kernel of vast knowledge hidden in it. However, the situation was something different. Many writers in the West got touched by Sanskrit literature and they reflected Sanskrit, or rather Hindu philosophy, in their literary creations. It has made us believe that there is a great impact of Sanskrit literature in the Western literature. Unknown to many, Western writers were deeply influenced by their study of sacred Sanskrit literature.  This article tries to explore how Eastern philosophy / Sanskrit literature shaped Western writers and their experience of nature, and conclude with observations on bringing such Eastern perspectives to a richer, more mindful, and self-reflective way of knowing nature and the others effectively.

Keywords

English: Hinduism, Orientals, absolution, religion, transcendentalism

Sanskrit: brahma, kala, maya, karma, transcendentalism, dharma

Introduction

The Sanskrit literature has a long history. ‘The history of ancient Indian literature naturally falls into two main periods. The first is the Vedic, which beginning perhaps as early as 1500 B.C., extends in its latest phase to about 200 B.C’ (MacDonell, 1900); and it has occupied a large territory of human civilization. MacDonell further writes that Rigveda goes back to 1800 BC and it had influenced the Indian society and life style that time.

 

The Vedic literature in Sanskrit language introduced the Brahmanic culture reflecting the civilized life styles and the divine thought and perfect enlightenment. Both Vedic and classical Sanskrit literature filled both senses hearing ‘shruti’ and remembering ‘smriti’. The Vedas are for ‘shruti’ and ‘Puranas’ and ‘Upanisadas’ are for ‘smriti’. Literature is for both purposes, and they are pervading in different parts of world with the translations of international languages. It has an immense treasure of philosophy and literature. Consequently, there is never-ending effects of Sanskrit literature and philosophy in the Western literature and philosophy.

 

The abstractions represented by the Sanskrit language is present in the western writers, however the very word may not be existing in Sanskrit academic cultures. The terms like karma, artha, avatara, dharma, kama, kala, moksa, nirvana, shanty, yagga, purana, yuga, shastra, maya are common terminologies used in Sanskrit literature and philosophy. But they have corresponding analogies in English as action / work, material, way to, passion, cosmic time, release, liberty / way out, peace, worship, legend / fable, age, work, lust / temptation. Similarly, Sanskrit does not have the word ‘miracle’ as it is impossible to occur without ‘karma’; a very inspiring word to teach to adapt for the achievement in life. The concept of God in Sanskrit literature is not an omnipotent single God, rather the ‘god’ created by the human for worship; because there are infinite gods in this cosmology.

The occurrence of triple power Bramha (creator), Vishnu (preserver) and Shiva (destroyer) in Sanskrit literature has influenced the western writers. The concept of Bhramha has become a worthy concept in Ralf Waldo Emerson and his poem ‘Brahma’which amazes the mystery of creation, in which the creator is beyond our perception and understanding (Anwaruddin, 2013). Emerson’s poem reads:

If the red slayer think he slays,

Or if the slain think he is slain,

They know not well the subtle ways

I keep, and pass, and turn again.

Far or forgot to me is near;

Shadow and sunlight are the same;

The vanished gods to me appear;

And one to me are shame and fame.

They reckon ill who leave me out;

When me they fly, I am the wings;

I am the doubter and the doubt,

And I the hymn the Brahmin sings.

The strong gods pine for my abode,

And pine in vain the sacred Seven;

But thou, meek lover of the good!

Find me, and turn thy back on heaven.

Similarly, Sanskrit literature ‘heaven’ is not the place to reward the ‘good guy’; the reward is in never entering in the life cycle. The pray in Sanskrit philosophy refers to ‘sacrifice’ or renounce, or ‘not to demand anything’, rather one has ‘everything’. Sanskrit literature never states that one is poor. It is relative, not absolute.

‘Dharma’ refers to ‘self-motivated’ for good deed without any expectation. ‘saba – dharma’ refers to self-preservation, ‘kula – dharma’ refers to family preservation,  ‘yuga- dharma’ refers to the preservation of time and its spirit, and ‘sanatana – dharma’ refers to the preservation of the eternal truth (Pal, 2014). As Mahabharata states Arjun’s difficulty in making the choice of these four ‘dharma’, this can determine the quality of life.

The ‘cosmic time’ or ‘kaal’ in Sanskrit literature, presents as a mysterious thing; a continuous motion in which it is our creation but has power to destroy and Lord Shiva, who is known as ‘Maha Kaal’.  It is difficult ideology about time which is powerful and ambiguous. As T.S. Eliot speaks in the first of ‘The Four Quartets’ about the ‘Kaal’:

Time present and time past

Are both perhaps present in time future,

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation (Pal, 2014).

The rise of transcendentalism opened more doors to peep the eastern philosophy; especially Hindu philosophy through Sanskrit literature and many writers started to use the ideas of the East in the Western writings.  ‘Atman’ refers to the supreme self, or the impersonal God, cognitive power or essential self.  It is universal heart to give one’s presence.

‘The atman is below, above, to the west, east, south, and north; the atman is, indeed, the whole world’ (qtd. in Hamilton 30).

 

The concept of ‘Maya’ refers to the product of the power of creativity and the power of the self. But this power is magical, mysterious and it really deceives us. So, Maya is illusion.  Lord Krishna declares in the ‘Bhagawata Gita’ that he is existed from his own Maya. Emerson’s essays ‘Experience’ and ‘illusions’ present the concept of Maya. Emerson presents himself in his poem ‘Maya’ in this way:

Illusion works impenetrable,
Weaving webs innumerable,
Her gay pictures never fail,
Crowds each on other, veil on veil,
Charmer who will be believed
By man who thirsts to be deceived.
Illusions like the tints of pearl,
Or changing colors of the sky,
Or ribbons of a dancing girl
That mend her beauty to the eye.

‘Dharma’ refers to duty ignoring all selfishness and personal feelings. Lord Krishna in Bhagawata Gita declares that he is born in order to save ‘dharma’ in this world rejecting ‘adharma’. Dharma is justice, responsibility and right conduct.  So, Emerson writes in his ‘Letters’ about ‘over-soul’ which is similar to ‘Brahman’ (Rusk, 1939)

The Sanskrit literature (Hindu philosophy) has attracted most of the prominent poets and philosophers of the West, not just because of ‘tell to tell’ but because of ‘something to be told’ in order to know the self and others well.

 

Objectives

The objective of this article is to assure that the Sanskrit literature has innumerable influences in the western literary phenomena. Although we enjoy being isolated from the Sanskrit literature, the prominent English writers have adopted this philosophy in their major literary creation.

Statement of the Problem

The great achievement of the West in literature has significant impact of Sanskrit literature which is really amazing.  All disciplines of human researches and learning would start from the definitions of the European of American writers, thinkers and philosophers. But no area of studies till now has admitted that the Sanskrit literature reflected through Hindu philosophy has strong ground to enrich the ideas of the Western mind. Rather the idea of ‘colonialism’ emerged in order to uplift ‘Eurocentric truth’. The late twentieth and early twenty- first century American critic Lois Tyson writes in her book ‘Critical Theory Today’ (2006):

Today, this attitude—the use of European culture as the standard to which all other cultures are negatively contrasted—is called Eurocentrism. A common example of Eurocentrism in literary studies is the long-standing philosophy of so-called universalism. British, European, and, later, American cultural standard-bearers judged all literature in terms of its ‘universality’: to be considered a great work, a literary text had to have ‘universal’ characters and themes. However, whether or not a text’s characters and themes were considered ‘universal’ depended on whether or not they resembled those from European literature. Thus, the assumption was that European ideas, ideals, and experience were universal, that is, the standard for all humankind.

The result of this ‘West demined knowledge’ paved the initial phase of our learning either starting with the definition of Plato or Aristotle. But no learning starts with what the enlightening texts of Sanskrit literature are. The result is that the Sanskrit texts have been made reluctant. The value of Sanskrit literature is not allowed to be judged; rather it is declared to be in ‘dead’ language. This article tries to project the ground of Sanskrit literature for the creation of literature in the West.

Literature Review

There is enormous flow of evaluating western literature, literary writers and their works. They are adapted all over the world; because they are supposed to be excellent, standard, scientific and authentic. However, the global studies of literature and philosophy have offered a good space for the Sanskrit literature for the last half millennium (Muller, 1860, p-1). Similarly, the study of Sanskrit literature (MacDonell, 1900) presents the history of Sanskrit literature and its dimensions. Jeffrey Somer’, under the title ‘The Renaissance Writers Who Shaped the Modern World’ (2019), claims that the Western ideas have influenced the entire world. Somer further writes:

 

Some of the writers who emerged during the Renaissance remain the most influential   writers of all time and were responsible for literary   techniques, thoughts, and philosophies   that are still borrowed and explored today.

 

The world enchanted the western mind as the source of ‘personal helicon’ for the creation of art and literature. But this is not entirely authentic. The contribution of the Sanskrit literature to the west has infinite bound, and it is found in prominent English poets and philosophers.

Hypothesis

Many people, even writers, have failed to perceive that Sanskrit literature has the power to influence western literature. They believe Sanskrit literature does not have this light and everything emerged in the west. To believe Sanskrit literature is believed to be ‘regressive’ in some political schools and it is forced to believe either European or American writers or philosophers. Even British writers like EM Forster and Rudyard Kipling had feelings of ‘Western superiority’. Debendra Bahadur Shah in ‘JMC Research Journal’ under the title ‘Implicit Colonialist Identity in E.M. Forster’s Passage to India’ (2016, Vol-I, No-I) writes:

‘A Passage to India’ strengthens the colonialist ideology of superiority and its narrative reinforces the stereotypes, the East.

This is a blunder and a great deception. In fact, Hindu civilization and culture reflected in Sanskrit literature has played significant role to influence the Western mind and their poetic creation and thoughts.

Research Methodology

This research paper is mainly based on textual reading, both printed hard copy, and the soft copies in the web addresses. The enormous treasure of Sanskrit literature has infinite genres and works. Similarly, the writers, poets and philosophers in the West have infinite impacts of Sanskrit literature in their thoughts and creation.

This article tries to examine the impacts of Sanskrit literature in major poets, writers and philosophers of the West; mainly Max Muller, T.S. Eliot, William Butler Yeats, Ralf Waldo Emerson, George William Russell, Walt Whitman, Friedrich Nietzsche. Their poems, prose articles and philosophical ideas are extracted in order to support this argument that they are influenced by Sanskrit literature. The extraction is made both from the hard copy books, and the books and research articles in the web addresses. Edward Said in ‘Orientalism’ (1979) sees the relationship between the East and the West; in which the West have created mirror to see the East. This mirror is the result of the discourse which is paved by the power. The west attained political power along with the colonization to the East and the Easterners devalued what they had with them. The amazing stereotype has been formulated that the Western ideas are ‘scientific’ and ideas generated in Sanskrit are ‘unscientific’ or ‘irrational’. As a result, the Easterners adhered what they did not have. But the Westerners made researches on Sanskrit literature and made it as their source of creation. They had much influences from the treasures hidden in Sanskrit medium.

Discussion

The Sanskrit literature, considered as Hindu philosophy, has influenced the writers and the philosophers in the West. brahma, kala, maya, karma, dharma have played significant role in the western writers’ source of creation.

 

Sanskrit influences are scattered everywhere in the work of the British (American-born) poet/critic/dramatist T. S. Eliot (1888– 1965). He had compassion towards the Indian treasures and destiny of people. So, he has portrayed real political reflection of Indian abstractions and their imperial life under British colony in the poem ‘To the Indians who Died in Africa’.  This poem states the ‘five’ elements of the cosmic composition stated in  Bhagawata Gita, which claims ‘nothingness’ or futile action (Uprety, 1998). All action is futile and the fruit ought not to be expected. Who can tell if our faring is linear (in the Western sense of time) or circular (in the Eastern sense, karma)? Eliot expressed a similar doubt in 1943 in his poem ‘To the Indians who Died in Africa’ written at the request of Miss Cornelia Sorabjee for ‘Queen Mary’s Book for India’.  Eliot’s poem ‘To the Indians who Died in Africa’ reads —

 

This was not your land, or ours: but a village in the Midlands,
And one in the Five Rivers, may have the same graveyard.
Let those who go home tell the same story of you:
Of action with a common purpose, action
None the less fruitful if neither you nor we
Know, until the judgment after death,
What is the fruit of action.

 

 While the earth was going to have Pralaya (dissolution), the three shantis (peace blessings benedictions) that conclude The Waste Land, which builds up the long poem of 1920 into an Upanishad, for in the Sanskrit (Indian) tradition in which the Upanishads are permitted the triple benediction at the end. While acknowledging the Brihadaranyaka–Upanishad, Eliot delivers the advice of the King Dakshya Prajapati to the three kinds of intelligent forms who came to him as disciples: gods, anti-gods, and man. In the original Sanskrit literary form, the gods are given the final advice by the King Prajapati to be disciplined, to control themselves, because gods might be victims of arrogance; the anti-gods are suggested to be compassionate, because they might be brutal and vicious; and the men are asked to be giving, because they might become victims of selfishness. Eliot turns the sequence into-

 

These fragments I have shored against my ruins

Why then Ile fit you. Hieronymo’s mad againe

Datta. Dayadhvam. Damyata.

Shantih. Shantih. Shantih. (Abrams, 2012)

 

Data (give), dayadhvam (be compassionate), and damyata (be self-controlled). He has switched the order of the shastra (rule).

 

In 1944, ‘The Dry Salvages’ section of Eliot’s poem Album ‘Four Quartets’ (no. 3- III. of the 4) sets forth the advice by Krishna to Arjuna on the battlefield of Kurukshetra as stated in Bhagawata Gita, ‘Do not think of the fruit of action.’ Eliot may have been arguing here to the Allied soldiers in the Battle of Britain (Eliot was an ARP warden). Was he trying to say that one should fight but forget that one is fighting to save democracy from Nazism and Fascism? The doubt lingers and making a decision is a complicated aspect of life. The poem reads:

 

I sometimes wonder if that is what Krishna meant—

Among other things—or one way of putting the same thing:

That the future is a faded song, a Royal Rose or a lavender spray

Of wistful regret for those who are not yet here to regret,

Pressed between yellow leaves of a book that has never been opened.

And the way up is the way down, the way forward is the way back.

 

Similarly, the profound poet of the twentieth century, and dramatist W. B. Yeats (1865–1939), in December 1885 he attended a talk in Dublin on philosophy with Mohini Mohun Chatterjee, who had put Yeats in a dream. Yeats anticipates in his essay ‘The Way of Wisdom’ to get release from the dream, which bases the Hindu epic Mahabharata.  Forty-three years, to be exact, because in 1928 he wrote what is probably the only poem in English literature that has for its title the name of a living Indian person ‘Mohini Chatterjee’. Chatterjee’s explanation of life and love to Yeats in 1885 was absurdly simple:

 

Don’t ask for anything, because you will get it—and get fed up with it, sooner or later. Especially don’t ask for love. Speak from a position of strength, not weakness; fulfillment, not emptiness; giving, not begging. Only by giving love can you receive it. Life is the greatest gift; life is fulfillment, not love. This pronouncement apparently placed Yeats in that incredibly long dream. In the third and fourth quatrains of ‘Quatrains and Aphorisms’ (Rawal,  2013)

 

Yeats does seem to endorse Mohini’s philosophy:

Long for nothing, neither sad nor gay;

Long for nothing, neither night nor day;

Not even “I long to see thy longing over”

To the ever-longing and mournful spirit say.

The ghosts went by with their lips apart

From death’s late languor as these lines, I read

On Brahma’s gateway, “They within have felt

The soul upon the ashes of the heart.”

 

Yet Yeats wanted love. He craved for Maud Gonne, an ideal character in most of his poems. When she refused to marry with him, and married John MacBride, ‘a drunken, vainglorious lout’, he proposed to her stepdaughter Iseult, who on Maud’s advice rejected him also. Yeats did not accept the wise advice of Mohini whom he describes as a ‘handsome young man with the typical face of Christ, an Indian who taught ‘all action and all words that lead to action were a little trivial (What Mohini meant, of course, was ‘ego-loaded’ action.)

The Western twist that Yeats gives to Mohini’s Hindu belief is obvious.  Yeats puts it: ‘Grave is heaped on grave’ to seek and find the perfect love (Rawal, 2013). To argue that love is not fulfillment is self-deception. Love is moksha (liberation, or release from the changing world and the cycle of birth and rebirth, samsara). Mohini Chatterjee would have smiled at that.

 

The second Indian in Yeats’s life was Rabindranath Tagore, with whom he kept up an on-and-off epistolary relationship until 1930. He found Tagore’s prose poem translations from the Bengali Gitanjali good enough for inclusion in his anthology ‘The Oxford Book of Modern Verse.’

 

The third Indian was a Swami whose poems also found place in Yeats’s anthology. With Swami Purohit, Yeats entered the esoteric realm of Hindu religious myth and symbolism. Yeats met the Swami in 1930 and collaborated with him in translating the Upanishads and other sacred Sanskrit texts. Faber & Faber published these in book form through the good offices of one of its directors, T. S. Eliot, who, incidentally, had earlier in his ‘primer of modern heresy’ xi consigned Yeats to literary hell, along with James Joyce and D. H. Lawrence, for producing morally dubious and corrupting literature. The primer was aptly titled After Strange Gods. Before he met the Swami, Yeats had composed in 1920, two years after the havoc of World War I, a poem titled ‘The Second Coming’. He writes:

 

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity

 

Yeats transforms St. John’s vision of the coming of the Anti-Christ into a fearful image of an avatar of Vishnu, Nara-Simha (the Man-Lion), turning him into a Doomsday beast who, at the end of the 2000–year gyre of Christian civilization, crawls toward the Christ-child’s manger. In other words, the Christian values of love and innocence have been wasted on mankind. Bethlehem has become Bedlam (etymologically, “bedlam” is a corruption of Bethlehem Asylum in London). Poor Nara-Simha, one of the nine manifestations of Vishnu who restore dharma each time it declines in the successive yugas (ages). A perfectly sensible Hindu avatar saving an age of men- lions is metamorphosed (with a touch of the Sphinx) into a world-destroying monster in Yeats’s Christian imagination.

 

Rawlinson, H. (1947) shows how Max Müller would always emphasize that ‘Indian fables and folktales’ found their way onto the West in the beast stories, where the Indian animals such as lion, cobra, peacock, jackal and elephant would be adapted to other western animals such as wolf or the fox, but the stories would essentially remain the same, made more credible nonetheless, to the local audience through the adaptations that sound familiar.

Likewise, the leading contemporary French poet Jean de La Fontaine (1621-1695)’s ‘The Stories of Pilpay’, is said to have traveled from India via Baghdad, and translated into almost every European language. Pilpay in the Indian version is Bidya or Vidyapati. The story of ‘Cinderella’ is supposed to find its inspiration in the Indian folktale of Suvarnadevi, who loses her slipper while bathing. The nursery tales, according to Rawlinson, is also inspired from numerous Indian folk tales and fables.

According to Franklin Edgerton (1885-1963), an American linguist scholar who has written and translated books of Sanskrit books, seems to have grand knowledge of Sanskrit language and literature. His stories of ‘Panchatantra’ is the most translated literary product:

…there are recorded over two hundred different versions known to exist in more than fifty languages, and three-quarters of these languages are extra-Indian. As early as the eleventh century this work reached Europe, and before 1600 it existed in Greek, Latin, Spanish, Italian, German, English, Old Slavonic, Czech, and perhaps other Slavonic languages.

Andrew Marvell (1621-78) in his poem ‘To His Coy Mistress’ refers The Ganga River as the holy place ‘to be with rubies’ and the ‘most sacred place to find true love’ (Abrams 2012). Ganga River is referred in almost Hindu legends, tales and Upanisadasha.

We would sit down, and think which way

To walk, and pass our long love’s day.

Thou by the Indian Ganges’ side

Shouldst rubies find; I by the tide.

 

The speaker in the poem is seeking true love ‘getting access to Ganga’, and he has completr reliance on it, so have the Hindus. Ganga River is still worshipped for ‘purification’.

 

In the following extract of a poetry written by the Anglo-Irish poet George William Russell (1867-1935), the extent of spread of Indian philosophy is quite distinct:

 

Shadowy-petalled like the lotus

Loom the mountains with their snows

Through the sapphire,

Soma rising

Such a flood or glory throws,

As when first in yellow splendor

Brahma from the Lotus rose.

 

Unlike the conjecturing behind the name of the beer brand ‘Brahma’, there has been no dispute of the fact that the ‘Brahma’ (Hindu God of Creation), the Lotus (a very preferred flower in Hinduism), and Soma (an unidentified but oft-mentioned plant the juice of which was a fundamental offering in Vedic sacrifices) are indeed, Indian in origin.

Arthur Schopenhauer (1788-1860) , a German Philosopher, examined about the ‘Upanishads’:

That incomparable book…. stirs the spirit to the depths…It has been the solace of my life, and will be the solace of my death (Rawlinson, 1947: p. 145).

Let’s hold onto our breaths, because the reason Schopenhauer held high the Hindu philosophy, was because it was free from ‘engrafted Jewish superstitions’.

The Bhagvad Geeta’s philosophy of the niskama karma (work for its own sake), immortality of the soul, the infinite goodness of God, the nothingness of death and the virtual denial of the existence of evil, would impart just the required level of mysticism, as well as optimism to thirsty European scholars, poets and philosophers, evidences of which could be found in Alfred Tennyson’s ‘In Memoriam’, and Robert Browning’s ‘La Saisaz’; both of these pieces of work written after the death of their intimate friends.

But the soul is not the body:

And the breath is not the flute;
Both together make the music:

Either marred and all is mute.

 

Walt Whitman (1819-1892), an American poet, writes in his brief poem ‘Roaming in Thought’ with the identical analogy of ‘Gita’, which has been talking about this comforting notion of God, of being inherently existing in all that is good and which is always triumphant over evil and thereby Karma happens or justice is served. The poem ‘Roaming in Thought’ reads:

Roaming in thought over the Universe, I saw the little that is Good steadily hastening towards immortality,

And the vast all that is call’d Evil I saw hastening to merge itself
and become lost and dead.

The profound philosopher Friedrich Nietzsche (1844-1900) was also significantly influenced in his philosophy and works from s ‘Manu Smriti’ (Laws of Manu). This book was hailed ‘as a work spiritual and superior beyond comparison’, something that cannot even be spoken of in the same breath of Bible or the Holy Ghost.

The ‘Shakuntala’ was not just a love story of a woman with a child deserted by her royal husband. Since it was translated in English by William Jones in 1789, the story impacted European romanticism and literary works and scholars, particularly, Johann Wolfgang von Goethe, and of the noblest ‘overtures’ in European music is considered the following piece known as the Shakoontala overture of the Hungarian composer Karl Goldmark (1830-1915). The songs reflect the selfhood and wisdom in his most of the albums (Goldmark).

 

 

Conclusion

The Western writers, even if it be a bit, enjoyed using eastern images and symbols in their literary creation. The process of begetting a literary creation begins from the ‘search of  self being’ and this ground is really broad in Sanskrit literature. Anyone who reads Sanskrit literature can see the self through ‘bramha’ (knowledge of the self), ‘kaal’ (time), ‘Maya’(desire), ‘karma’(action), ‘dharma’ (duty), ‘aatma’ (self) and they become the ‘personal Helicon’ (the source of the creation of art). Same thing we have found in the veteran poets and writers of the West- T.S. Eliot, William Butler Yeats, Jean de La Fontaine, Franklin Edgerton, Andrew Marvell, John Milton, George William Russell, Arthur Schopenhauer, Walt Whitman, Friedrich Nietzsche and Karl Goldmark who are inspired from the ‘self- reliance’, ‘good conduct’, ‘dharma’ and ‘rahasya’ (mysticism) stated in Sanskrit literature . They used Sanskrit words, lines and benedictions in their work of art. They found the contents of Sanskrit literature really impressive and enthusiastic. So, they adopted the philosophy in their creation, which is expressed in Sanskrit language, which is meant to teach for the Hindu cults.

References

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#Baskota Dhananjaya