Bhagavata Purana
The Bhagavata Purana (; ), also known as the Srimad Bhagavatam, Srimad Bhagavata Mahapurana or simply Bhagavata, is one of Hinduism's eighteen great Puranas ("Mahapuranas"). Composed in Sanskrit by Veda Vyasa. It promotes "bhakti" (devotion) towards Krishna, integrating themes from the Advaita (monism) philosophy of Adi Shankara, the Vishishtadvaita (qualified monism) of Ramanujacharya and the Dvaita (dualism) of Madhvacharya. It is widely available in almost all Indian languages. The "Bhagavata Purana", like other puranas, discusses a wide range of topics including cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture. As it begins, the forces of evil have  won a war between the benevolent "devas" (deities) and evil "asuras" (demons) and now rule the universe. Truth re-emerges as Krishna, (called "Hari" and "Vāsudeva" in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and happiness – a cyclic theme that appears in many legends. The "Bhagavata Purana" is a revered text in Vaishnavism, a Hindu tradition that reveres Vishnu. The text presents a form of religion ("dharma") that competes with that of the Vedas, wherein "bhakti" ultimately leads to self-knowledge, salvation ("moksha") and bliss. However the  Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil. An oft-quoted verse (1.3.40) is used by some Krishna sects to assert that the text itself is Krishna in literary form. The date of composition is probably between the eighth and the tenth century CE, but may be as early as the 6th century CE. Manuscripts survive in numerous inconsistent versions revised through the 18th century creating various recensions both in the same languages and across different Indian languages . The text consists of twelve books ("skandhas") totalling 332 chapters ("adhyayas") and between 16,000 and 18,000 verses depending on the recension. The tenth book, with about 4,000 verses, has been the most popular and widely studied. It was the first "Purana" to be translated into a European language as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era. Nomenclature. 'Bhagavata Purana' can be translated as 'the history of the devotees of Vishnu'. 'Srimad Bhagavatam' can be translated as 'the glorious devotees of Vishnu'. Content  and structure. The 18,000 verses of the Srimad Bhagavatam consist of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousing Bhakti Yoga that go back and forth in time and across its twelve cantos: Stated authorship and purpose. From the A.C. Bhaktivedanta Swami Prabupada / Bhaktivedanta Book Trust (BBT) translation: From the Bibek Debroy translation: A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such as detachment or worldly or heavenly gains, a practice known as Bhakti Yoga : Puranic characteristics. As detailed in the Matsya Mahapurana, all Puranas must cover at least five specific subjects or topics - referred to in Sanskrit as "Pancha Lakshana" (literally meaning 'consisting of five characteristics' - in addition to other information including specific deities and the four aims or goals of life. From the K.L. Joshi (editor) translation: A sattvic Vaishnava Mahapurana (‘great purana’), the Srimad Bhagavatam adds another five characteristics, expanding this list to ten. From the J.M. Sanyal translation: The Bhagavata further elaborates on the differences between lesser and greater Puranas possessing five or ten characteristics, respectively. From the "Disciples" of Swami  Prabhupada / BBT translation: Shlokas / verses. Although the number of original Sanskrit shlokas is stated to be 18,000 by the Bhagavata itself - and by other Puranas such as the Matsya mahapurana - the number of equivalent verses when translated into other languages varies, even between translations into the same language and based on the same manuscript The English translation by Bibek Debroy (BD), for example, contains 78 more verses than the English translation by A.C. Bhaktivedanta Swami Prabhupada / BBT, despite likely being based on the same manuscript: In his discussion on the issue of varying numbers of verses in translations of the  Srimad Bhagavatam, Debroy states: Manuscript. Contrary to the western cultural tradition of novelty, poetic or artistic license with existing materials is a strong tradition in Indian culture, a "'tradition of several hundred years of linguistic creativity"'. There are variations of original manuscripts available for each Purana, including the Srimad Bhagavatam. The common manuscript for translations of the Bhagavata Purana - seemingly used by both Swami Prabhupada and Bibek Debroy- is the "Bhāgavatamahāpurāṇam" (Nag Publishers, Delhi), a reprint of Khemraj Shri Krishnadas' manuscript (Venkateshvara Press, Bombay). In regards to variances in Puranic manuscripts, academic Dr. Gregory Bailey states: Critical Edition. "The Bhāgavata  [Śrīmad Bhāgavata Mahāpurāṇa]: Critical Edition", edited by H. G. Shastri, et al., 4 vols. in 6 parts, Ahmedabad: B. J. Institute of Learning and Research, 1996-2002 (vol. 1, skandhas 1-3, ed. by H. G. Shastri, 1996; vol. 2, skandhas 4-6, ed. by Bharati K. Shelat, 1999; vol. 3, skandhas 7-9, ed. respectively by H. G. Shastri, B. K. Shelat, and K. K. Shastree, 1998; vol. 4, part 1, skandha 10, ed. by K. K. Shastree, 1997; vol. 4, part 2, skandhas 11-12, ed. by K. K. Shastree, 1998; vol. 4, part 3, Epilogue, by K.  K. Shastree, 2002). Date of origin. Academics estimate the date of origin of the Bhagavata Purana to be between 800 and 1000 CE, composed to popularize the worship of Vishnu. Characters. All tables provided apply to all complete translations of the Bhagavata Purana. All tables can also be sorted by column title. Avatars of Vishnu. The table below is primarily based on the avatars listed in Canto 1, Chapter 3 (SB 1.3) and Canto 2, Chapter 7 (SB 2.7) of the Srimad Bhagavatam (SB). The number given in parenthesis "()" after a name indicates the order of incarnation as stated in  Canto 1. Note that: Notable devotees. The table below does not include devotee avatars of Vishnu such as Narada, Kapila, or Prthu. Devotees featured or appearing repeatedly throughout the scripture are marked with "--" in the Canto column. Notable demons and villains. Many demons (villains) are mentioned throughout the Srimad Bhagavatam; cantos listed concern their primary (or only) appearances and/or descriptions. This table is not exhaustive. Cantos. For ease of reference, synopses of cantos cite a legal online copy of the complete 18-volume A.C. Bhaktivedanta Swami Prabhupada / Bhaktivedanta Book Trust (BBT) translation of the Srimad Bhagavatam, available at the Bhaktivedanta  Vedabase. It also provides original Sanskrit verses, transliterations, synonyms, and purports. With the exception of canto 10 (parts 2–4) onwards - translated by the disciples of Swami Prabhupada after his death in 1977 - unless otherwise stated, quoted verses and purports given are identical to the original (incomplete and unaltered) 30-volume translation of cantos 1-10 published by Krishna Books. Other translations of quoted verses have also been provided for comparison. The "non-exhaustive" overviews given apply to all complete translations. SB 1.1.3 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation: First Canto. Consisting of 19 chapters, the first canto opens  with an invocation to Krishna and the assertion that the Srimad Bhagatavam, compiled by Vyasadeva, is sufficient alone to realise God. The overarching narration begins at the onset of Kali Yuga as a dialogue between Sukadeva Gosvami (the son of Vyasadeva) and a group of sages headed by Saunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest of Naimisaranya. Questioned by the sages, topics covered by Suta Gosvami include the: SB 1.3.38 original Sanskrit: Swami Prabhupada translation: J.M. Sanyal Translation: Second Canto. Consisting of 10 chapters, the second canto opens with an invocation  to Krishna. The second layer of overarching narration begins as a dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river (narrated by Sukadeva Gosvami to a group of sages headed by Saunaka in the forest of Naimisaranya). Questioned by Pariksit, the topics covered by Suta Gosvami include the: SB 2.5.35 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation: Third Canto. Consisting of 33 chapters, the third canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Vidura, the sudra incarnation of Yama and devotee of Krishna, is the main protagonist  narrated. After being thrown out of his home by King Dhritarashtra (his older half-brother) for admonishing the Kaurava's ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the: SB 3.25.25 original Sanskrit: Swami Prabhupada translation: J.M. Sanyal translation: Fourth Canto. Consisting of 31 chapters, the fourth canto continues the dialogues of Sukadeva Gosvami, Uddhava, and Maitreya. There are additional layers of dialogue, such as between the  sage-avatar Narada and King Pracinabharhisat (as narrated by Maitreya to Vidura). Focusing on the female descendants of Svayambhuva Manu, topics covered include the: SB 4.16.17 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation: Fifth Canto. Consisting of 26 chapters, the fifth canto focuses on the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between the avatar Rsabha and his sons, and between Bharata and King Rahugana (the former was perceived as a fool and made to carry the latter's palanquin). Topics covered include the: SB 5.5.1 original  Sanskrit: Swami Prabhupada translation: J.M. Sanyal translation: Sixth Canto. Consisting of 19 chapters, the sixth canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Yama and his messengers (called the "Yamadatas"). With the main focus on the battles of the demon-devotee Vrtrasura and his armies against the demigods led by Indra, as well as the life of King Citraketu, topics covered include the: SB 6.3.13 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation: Seventh Canto. Consisting of 15 chapters, the seventh canto continues  with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Narada and Yudhishthira about Prahlada, the devotee-son of the demon-King Hiranyakasipu (brother of Hiranyaksa, destroyed by the Varaha avatar in the third canto; the demonic brothers are incarnations of Jaya and Vijaya). Prahlada, protected by Krishna, survives multiple attempts to kill him until the arrival of the Nrsimha avatar to destroy his father, who could not be killed by any weapon, by any man or beast, or in the water, air, or on land. Topics  covered include the: SB 7.14.9 original Sanskrit: Swami Prabhupada translation: J.M. Sanyal translation: Eighth Canto. Consisting of 24 chapters, the eighth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between the Vamana avatar and King Bali about the demon-King Hiranyakasipu. Topics covered include the: SB 8.5.30 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation: In 7th chapter of eighth canto mentioned Lord Shiva is also non different from Brahman. He is supreme ruler of the universe and the eternal refugee of all living beings . Motilal Banarsidass Publications: Ninth Canto. Consisting of 24 chapters, the ninth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. With no notable additional layers of dialogue, the primary focus is upon the male dynasties of various ruling figures (the female sides are covered in the fourth canto). Topics covered include the: SB 9.24.59 original Sanskrit: Swami Prabhupada translation: Bibek Debroy translation (the J.M. Sanyal translation is missing verse 58 onwards of this chapter): Tenth Canto. Consisting of 90 chapters, the tenth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the  banks of the Ganges river. Notable additional layers of dialogue all involve the "lila" (divine play) of the supreme and transcendental Krishna avatar. Thus focusing on the appearance and pastimes of Krishna, topics covered include the: SB 10.90.50 original Sanskrit: "Disciples" of Swami Prabhupada translation: J.M. Sanyal translation: Study. The largest canto with 4,000 verses, the tenth canto is also the most popular and widely studied part of the Bhagavata. It has also been translated, commented on, and published separately from the rest of the Srimad Bhagavatam. A. C. Bhaktivedanta Swami Prabhupada stated this canto is distinct from the others , albeit while warning against studying it before reading the previous nine: Eleventh Canto. Consisting of 31 chapters, the eleventh canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between Narada and Vasudeva, and between Krishna and Uddhava (and in turn, other dialogues such as that between the Hamsa (swan) avatar and Brahma). Topics covered include the: SB 11.7.33-35 original Sanskrit: "Disciples" of Swami Prabhupada translation: Swami Ambikananda Saraswati translation: The Uddhava or Hamsa Gita. Containing the final teachings of Krishna to His devotee Uddhava, the eleventh  canto is also referred to as the 'Uddhava Gita' or 'Hamsa Gita'. Like the tenth canto, it has also been translated and published separately, usually as a companion or 'sequel' to the Bhagavad Gita. 'Hamsa' means 'swan' or 'spirit', and: Twelfth Canto. Consisting of 13 chapters, the twelfth and final canto completes the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river, and ends with the overarching dialogue between Sukadeva Gosvami and the group of sages led by Saunaka, at the forest of Naimisaranya. Focusing on prophecies and signs of Kali Yuga, topics covered in this  canto include the: SB 12.13.11-12 original Sanskrit: "Disciples" of Swami Prabhupada translation: A Wikipedia editor's translation: Philosophy. While Bhakti Yoga and Dvaita Vedanta are the prominent teachings, states T. S. Rukmani, various passages show a synthesis that also includes Samkhya, Yoga, Vedanta, and Advaita Vedanta. Bhakti. Cutler states the Bhagavata is among the most important texts on bhakti, presenting a fully developed teaching that originated with the Bhagavad Gita. Bryant states that while classical yoga attempts to shut down the mind and senses, Bhakti Yoga in the Bhagavata teaches that the mind is transformed by filling it with  thoughts of Krishna. Matchett states that in addition to various didactic philosophical passages the Bhagavata also describes one of the activities that can lead to liberation ("moksha") as listening to, reflecting on the stories of, and sharing devotion for Krishna with others. Bhakti is depicted in the Purana, adds Matchett, as both an overpowering emotion as well as a way of life that is rational and deliberately cultivated. Samkhya. Surendranath Dasgupta describes the theistic Samkhya philosophy taught by Kapila in the Bhagavata as the dominant philosophy in the text. Sheridan points out that in the Third Canto, Kapila is described  as an avatar of Vishnu, born as the son of the sage Kardama Muni, in order to share the knowledge of self-realization and liberation with his mother, Devahuti; in the Eleventh Canto, Krishna also teaches Samkhya to Uddhava, describing the world as an illusion, and the individual as dreaming, even while in the waking state. Krishna expounds Samhkhya and Yoga as the way of overcoming the dream, with the goal being Krishna Himself. Sheridan also states that the treatment of Samkhya in the Bhagavata is also changed by its emphasis on devotion, as does Dasgupta, adding it is somewhat  different from other classical Samkhya texts. Advaita. Kumar Das and Sheridan state that the Bhagavata frequently discusses a distinctly advaitic or non-dualistic philosophy of Shankara. Rukmani adds that the concept of moksha is explained as "Ekatva" (Oneness) and "Sayujya" (Absorption, intimate union), wherein one is completely lost in Brahman (Self, Supreme Being, one's true nature). This, states Rukmani, is proclamation of a 'return of the individual soul to the Absolute and its merging into the Absolute', which is unmistakably advaitic. The Bhagavata Purana is also stated to parallel the non-duality of Adi Shankara by Sheridan. As an  example: Scholars describe this philosophy as built on the foundation of non-dualism in the Upanishads, and term it as "Advaitic Theism". This term combines the seemingly contradictory beliefs of a personal God that can be worshiped with a God that is immanent in creation and in one's own self. God in this philosophy is within and is not different from the individual self, states Sheridan, and transcends the limitations of specificity and temporality. Sheridan also describes Advaitic Theism as a "both/and" solution for the questions of whether God is transcendent or immanent, and credits the Bhāgavata with  a 'truly creative religious moment' for introducing this philosophy. The text suggests that God Vishnu and the soul (atman) in all beings is one in quality (nirguna). Bryant states that the monism in Bhagavata Purana is certainly built on Vedanta foundations, but not exactly the same as the monism of Adi Shankara. The Bhagavata asserts, according to Bryant, that the empirical and the spiritual universe are both metaphysical realities, and manifestations of the same Oneness, just like heat and light are "real but different" manifestations of sunlight. Dharma. Kurmas Das states the Bhagavata Purana conceptualizes a form of Dharma that  competes with that of the Vedas, suggesting that Bhakti ultimately leads to Self-knowledge, Moksha (salvation) and bliss. The earliest mention of bhakti is found in the Shvetashvatara Upanishad verse 6.23, but scholars such as Max Muller state that the word Bhakti appears only once in this Upanishad; and that being in one last verse of the epilogue it could be a later addition, and that the context suggests that it is a panentheistic idea and not theistic. Scholarly consensus sees bhakti as a post-Vedic movement that developed primarily during the Puranas era of Indian history. The Bhagavata Purana  develops the Bhakti concept more elaborately, states Cutler, proposing "worship without ulterior motive and with kind disposition towards all" as Dharma. T.R. Sharma states the text includes in its scope intellectual and emotional devotion as well as Advaita Vedanta ideas. The text does not subscribe, states Gupta and Valpey, to context-less "categorical notions of justice or morality", but suggests that "Dharma depends on context". They add that in a positive or neutral context, ethics and moral behavior must be adhered to; and when persistently persecuted by evil, anything that reduces the strength of the "evil and poisonous circumstances" is  good. That which is motivated by, furthers, and enables bhakti is the golden standard of Dharma. Yoga. Sarma states that the Bhagavata Purana describes all steps of yoga practice, and characterizes yoga as bhakti, asserting that the most important aspect is the spiritual goal. According to Sarma and Rukmani, the text dedicates numerous chapters to yoga, such as Canto 10 (chapter 11), which begins with a declaration that Siddhi results from concentrating one's mind on Krishna, adding this substitutes the concept of a "personal god" in the Yogasutras of Patanjali, and contrasts with Patanjali's view that Siddhi is  considered powerful but an obstacle to Samadhi. In other chapters of the text, Rukmani states, Śuka describes different meditations on aspects of Krishna, in a way that is similar to the Yoga Sutras of Patanjali. However, adds Bryant, the Bhagavata Purana recommends the object of concentration as Krishna, thus folding in yoga as a form of bhakti and the "union with the divine". Bryant describes the synthesis of ideas in Bhagavata Purana as: Sheridan as well as Pintchman affirm Bryant's view, adding that the Vedantic view emphasized in the Bhagavata is non-dualist, as described within a reality of  plural forms. Significance. The source of many popular stories of Krishna's pastimes for centuries in the Indian subcontinent, the Bhagavata Purana is widely recognized as the best-known and most influential of the "Puranas," and as a part of Vedic literature "("the Puranas, Itihasa epics, and Upanishads) is referred to as the "Fifth Veda". It is important in Indian religious literature for its emphasis on the practice of devotion compared to the more theoretical approach of the Bhagavad Gita, for challenging the ritualism of the Vedas, and for its extended description of a God in human form. Hindu Festivals . The stories in the Bhagavata Purana are also the legends quoted by one generation to the next in Vaishnavism, during annual festivals such as Holi and Diwali. The International Society for Krishna Consciousness (ISKCON) celebrates the promise of Canto 12, Chapter 13, Verse 13 by distributing sets of Srimad Bhagavatam leading up to the full-moon day of the month of Bhādra (Bhādra Purnima) in India and around the world. "Disciples" of Swami Prabhupada translation: Vaishnavism. Gaudiya Vaishnavism. The Bhagavata has played a significant role in the emergence of the Krishna-bhakti (Gaudiya Vaishnavism) movement of Lord Chaitanya (1486–1534 CE ), in Bengal. The scriptural basis for the belief that Lord Chaitanya is an avatar of Krishna is found in verses such as the following ("Disciples" of Swami Prabhupada translation): Chaitanya is commonly referred to as 'Gauranga' in regards to His golden complexion (as detailed in the Gauranga article, the Sanskrit word 'ākṛṣṇaṁ' means 'not blackish' and 'golden'), and is most notable for popularising the Hare Krishna maha-mantra. In regards to not being explicitly named as an avatar (unlike others such as Kalki) in the Bhagavata, this is also explained (Swami Prabhupada translation): The key word in this verse in  regards to Krishna incarnating in the age of Kali Yuga is 'channaḥ' ("S"anskrit छन्न")," which means ' hidden', 'secret', or 'disguised'. In Gaudiya Vaishnavism, Chaitanya is accepted as a hidden avatar of Krishna that appeared in the age of Kali (also known as 'the Iron Age' and 'the age of quarrel') as His own devotee to show the easiest way to achieve Krishna Consciousness. Modern Gaudiya movements such as the Gaudiya Math (established by Bhaktisiddhanta Sarasvati in 1920) and others established by disciples of Bhaktisiddhanta Sarasvati, such as the International Society for Krishna Consciousness (by A.C. Bhaktivedanta Prabhupada in 1966) and  the Sri Chaitanya Saraswat Math (by Bhakti Rakshak Sridhar in 1941), trace their disciplic lineages back directly to Lord Chaitanya. Other Vaishnava Traditions. In the 15th–16th century Ekasarana Dharma in Assam, a panentheistic tradition whose proponents, Sankardeva and Madhavdeva, acknowledge that their theological positions are rooted in the "Bhagavata Purana", purged of doctrines that find no place in Assamese Vaishnavism and adding a monist commentary instead. In northern and western India the "Bhagavata Purana" has influenced the "Hari Bhakti Vilasa" and "Haveli"-style Krishna temples found in Braj region near Mathura-Vrindavan. The text complements the Pancharatra Agama texts of Vaishnavism . While the text focuses on Krishna "Lord Narayana (Vishnu) himself appears and explains how Brahma and Shiva should never be seen as independent and different from him". The sixth book includes the feminine principle as "Shakti", or goddess Devi, conceptualizing her as the "energy and creative power" of the masculine yet a manifestation of a sexless Brahman, presented in a language suffused with Hindu monism. Jainism and Buddhism. The fifth canto of the "Bhagavata Purana" is significant for its inclusion of legends about the first Tirthankara of Jainism, Rishabha, as an avatar of Vishnu. Further, his father Nabhi is mentioned  as one of the Manus and his mother Marudevi also finds a mention. It further mentions the 100 sons of Rishabha including Bharata. While homage to Shakyamuni Buddha is included in by declaring him as an avatar of Vishnu, the interpretation of Buddhism-related stories in the Purana range from honor to ambivalence to polemics wherein prophecies predict some will distort and misrepresent the teachings of the Vedas, and attempt to sow confusion. According to T. S. Rukmani, the Bhagavata Purana is also significant in asserting that Yoga practice is a form of Bhakti. The Arts. The Bhagavata Purana played  a key role in the history of Indian theatre, music, and dance, particularly through the tradition of "Ras" and "Leela". These are dramatic enactments about Krishna's pastimes. Some of the text's legends have inspired secondary theatre literature such as the eroticism in Gita Govinda. While Indian dance and music theatre traces its origins to the ancient Sama Veda and Natyasastra texts, the "Bhagavata Purana" and other Krishna-related texts such as "Harivamsa" and "Vishnu Purana" have inspired numerous choreographic themes. Many '"Ras"' plays dramatise episodes related in the "Rasa Panchadhyayi" ("Five chapters of the Celestial Dance"; Canto 10 , Chapters 29–33) of the "Bhagavatam". The "Bhagavatam" also encourages theatrical performance as a means to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and this has led to the emergence of several theatrical forms centred on Krishna all across India. Canto 10 of "Bhagavatam" is regarded as the inspiration for many classical dance styles such as Kathak, Odissi, Manipuri and Bharatnatyam. Bryant summarizes the influence as follows, Commentaries and translations. Commentaries. The Bhagavata Purana is one of the most commented texts in Indian literature. There is a saying in Sanskrit - vidyā bhāgavatāvadhi - Bhāgavatam is the limit of  one's learning. Hence throughout the centuries it attracted a host of commentators from all schools of Krishna worshippers. Over eighty medieval era "Bhāṣya" (scholarly reviews and commentaries) in Sanskrit alone are known, and many more commentaries exist in various Indian languages. The oldest exegetical commentary presently known is "Tantra-Bhagavata" from the Pancaratra school. Other commentaries include: Translations. The "Bhagavata" has been rendered into various Indian and non-Indian languages. A version of it is available in almost every Indian language, with forty translations alone in the Bengali language. From the eighteenth century onwards, the text became the subject  of scholarly interest and Victorian disapproval, with the publication of a French translation followed by an English one. The following is a partial list of translations: Bengali. Sri Krishna-Vijaya by Maladhara Basu, a translation of the 10th Canto and a bit from others. Odia