Jagadguru Rambhadracharya composed the epic in 2002 at Chitrakuta during his sixth six-month Payovrata (milk-only diet).[3] The poet chose 21 as the number of cantos due to several reasons. He composed the epic at the beginning of the 21st century, and it was the first Sanskrit epic to be composed in the 21st century. The number 21 is also associated with the narrative of the epic. Reṇukā, the mother of Paraśurāma, beats her chest 21 times after the Haihaya kings murder her husband Jamadagni. Subsequently, Paraśurāma annihilates the Kṣatriyas 21 times from the earth.
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Of these things,
Speak, Immortal One,
And tell the tale once more in our time.
Source: The Odyssey, Book I, Lines 1-20 by Homer – Poems | poets.org
The narrator begins by stating the main theme, invoking a muse or guiding spirit to inspire him in his great undertaking, and then asking the muse to answer a grand question. The narrative as a whole is supposed to answer this grand question.
The Epic of Darkness (traditional Chinese: 黑暗傳; simplified Chinese: 黑暗传; pinyin: Hēi Àn Zhuàn) is a collection of tales and legends of primeval China in epic poetry, preserved by the inhabitants of the Shennongjia mountain area in Hubei. It is composed of numerous Chinese myths relating to the creation of the world, containing accounts from the birth of Pangu till the historical era. It dates back to the Tang Dynasty of China. It was translated and published by Hu Chongjun after the discovery of a manuscript in 1982.
Like the Homeric epics, the written poem was likely preceded by an oral tradition dating back to at least the Tang Dynasty. Wooden copies of Darkness are said to have survived to the Ming Dynasty but none have been found today.
Source: Epic of Darkness – Wikipedia
Féth fíada (Old Irish: féth fíada, féth fiada, feth fiadha, fé fíada, faeth fiadha), in Irish mythology is a magic mist or veil which the Tuatha Dé Danann uses to enshroud themselves, rendering their presence invisible to human eyesight.[1] Féth denotes this mist in particular, and fíada originally meant “knower”, then came to mean “lord, master, possessor”.[2][3]
Source: Féth fíada – Wikipedia
The prayer is part of the Liber Hymnorum, a collection of hymns found in two manuscripts kept in Dublin[1] and published in 1903 in the Thesaurus Paleohibernicus. The document gives this account of how Saint Patrick used this prayer:
“Saint Patrick sang this when an ambush was laid against his coming by Loegaire, that he might not go to Tara to sow the faith. And then it appeared before those lying in ambush that they (Saint Patrick and his monks) were wild deer with a fawn following them.[2]”
The description concludes “fáeth fiada a hainm”, which the Thesaurus Paleohibernicus translates as “Its name is ‘Deer’s Cry’. However, the phrase ‘fáeth fiada’ is used elsewhere in Irish mythology to mean a mist of concealment.[3]
Since this time, however, Ovarion had sat empty, as following the taboo after additive modifications are made to the landscape by the Changer. As the songs taught: On grounds newly laid, one must wait for the Dweller to enter the Palace. This dictum served a both potentiating mystical reflection on intent and purpose and an utterly practical use: in case the Changer should reappear and happen to change his mind, and reclaim what had been called forth. The songs told it had happened before, but not in recent living memory.
“The four Vedas (Rig, Yajur, Sama and Atharva) are not ‘books’ in the usual sense, though within the past hundred years each veda has appeared in several printed editions. They are comprised rather of tonally accented verses and hypnotic, abstruse melodies whose proper realizations demand oral instead of visual transmission. They are robbed of their essence when transferred to paper, for without the human element the innumerable nuances and fine intonations – inseparable and necessary components of all four compilations – are lost completely. The ultimate authority in Vedic matters is never the printed page but rather the few members … who are today keeping the centuries-old traditions alive.”[2]
Source: Vedic chant – Wikipedia
Balor is described as a giant with an eye which wreaks destruction when opened. The Cath Maige Tuired calls it a destructive and poisonous eye that when opened, permits an entire army to be overwhelmed by a few warriors[4]. It was said that four warriors had to lift the eyelid, which became poisonous after Balor looked into a potion being concocted by his father’s druids. Later folklore says that he has only one eye and describes it as follows: “He had a single eye in his forehead, a venomous fiery eye. There were always seven coverings over this eye. One by one Balar removed the coverings. With the first covering the bracken began to wither, with the second the grass became copper-coloured, with the third the woods and timber began to heat, with the fourth smoke came from the trees, with the fifth everything grew red, with the sixth it sparked. With the seventh they were all set on fire, and the whole countryside was ablaze!”.[2]
Source: Balor – Wikipedia
In Irish mythology, Luchtaine (or Luchta) was a son of Brigid and Tuireann and the carpenter or wright of the Tuatha Dé Danann; elsewhere he is described as the son of Luachaid[1]. He and his brothers Creidhne and Goibniu were known as the Trí Dée Dána, the three gods of art, who forged the weapons which the Tuatha Dé used to battle the Fomorians. Specifically Luchtaine agrees to make all the shields and javelin shafts required for The Second Battle of Moytura.[2]
Source: Luchtaine – Wikipedia
