The magic weapon of shiva

The Magic Weapon of Shiva, Shivastram

This Tamil drama, The Magic Weapon of Shiva, while having as its central theme the penance of Arjuna, also explores the philosophies of Saiva and Vaishnava groups. Divinity, devilry, the greatness of sages, the discipline of mankind, the expertise of warriors, kindness of God Krishna, the path for meditation and penance, detachment, the glories of prayer of Shiva, the mercy of God and the virtues of Nama Shivaya "The Panchakshari" - all these subjects are explained in this drama. Tamil Land has great sacred virtues. Here the first prayer goes to the sages; they were the ones who guided us by disciplining the social life, with wise books, arts and good conduct. They guarded the society, established duties, and created brave warriors. When these scholarly, selfless sages lived among us, doing their penance and guiding the society, India attained a glorious state. During that time education, industry, art, trade, politics, good conduct and bravery reached to great heights.

The famous texts written in this golden age still guide us. Great people exuded greatness; they guided those who sought their help to realise God; they trained the kings in administration, control of senses and divinity. They elevated the social life to higher levels. Behind the renaissance of our land, we see the hand of these great men. The inner power of Ramadasa inspired Shivaji to do great things. Vivekananda became a universally respected philosopher, because of the influence of sage Ramakrishna Paramahamsa. With his divine power, guru Gobind roused the religious sentiments of his disciples. Those who do penance are doing their duty. Penance not only helps to build up inner strength, but also helps to succeed in politics. Arjuna, by getting the advice of sage Vyasa did penance in the Himalayas and acquired the divine weapon from God Shiva, demolished the army of Kauravas in the battle of Bharath, and established justice. This drama was written by keeping the Vana Parva of Mahabharata of Vyasa, the Tamil Mahabharata, Kirathrjunia of Bharavi, Bhagavad Gita, and Shiva Jnana Bodam as basic sources.

A warm thank you to Daye Craddock for her help in careful editing of this book, and to Dr. Balamuralikrishna, a great Carnatic vocalist and multi-instrumentalist, for his preface. He is also acclaimed as a poet, composer and respected by all Indian classical musicians for his knowledge of Carnatic music. We arranged for him a tour of Indian Carnatic music and dance in Switzerland in 1992.

Editions ASSA, Christian Piaget