To see the other types of publications on this topic, follow the link: Sanskrit Epic poetry.
Journal articles on the topic 'Sanskrit Epic poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 21 journal articles for your research on the topic 'Sanskrit Epic poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Dr.Arun Kumar Nishad. "Dr. Navalata's contribution to modern Sanskrit literature." Knowledgeable Research: A Multidisciplinary Journal 2, no. 07 (February 29, 2024): 17–23. http://dx.doi.org/10.57067/kr.v2i1.215.
Full textAbstract:
Many poetesses have penned their poetry in the continuously flowing Sanskrit poetry stream from Aarsh epic to Adyavadhi period, whose brilliance has enlightened the literary world. The poetesses who created these poems, through their creations, tried to make the kind hearted readers happy, to equip them with proper wisdom and knowledge, to make them like them by creating beautiful pictures and by giving guidelines to the society, they tried to avoid its evils. Have done Among such poetesses, contemporary poetess ‘Dr. The name of Navalata is also noteworthy.
2
Truschke, Audrey. "A Padshah like Manu: Political Advice for Akbar in the Persian Mahābhārata." Philological Encounters 5, no. 2 (April 8, 2020): 112–33. http://dx.doi.org/10.1163/24519197-12340065.
Full textAbstract:
Abstract In the late sixteenth century, the Mughal Emperor Akbar sponsored the translation of more than one dozen Sanskrit texts into Persian, chief among them the Mahābhārata. The epic was retitled the Razmnāma (Book of War) in Persian and rapidly became a seminal work of Mughal imperial culture. Within the Razmnāma, the Mughal translators devoted particular attention to sections on political advice. They rendered book twelve (out of eighteen books), the Śānti Parvan (Book of Peace), into Persian at disproportionate length to the rest of the text and singled out parts of this section to adorn with quotations of Persian poetry. Book twelve also underwent significant transformations in terms of its content as Mughal thinkers reframed the Mahābhārata’s views on ethics and sovereignty in light of their own imperial interests. I analyze this section of the Razmnāma in comparison to the original Sanskrit epic and argue that the Mughal translators reformulated parts of the Mahābhārata’s political advice in both style and substance in order to speak directly to Emperor Akbar. The type of advice that emerged offers substantial insight into the political values that Mughal elites sought to cultivate through translating a Sanskrit work on kingship.
3
Chalise, Keshav Raj. "Mayavini Sarsi (Circe): Devkota’s Reworking to Western Myths." Literary Studies 33 (March 31, 2020): 20–30. http://dx.doi.org/10.3126/litstud.v33i0.38032.
Full textAbstract:
Laxmi Prasad Devkota, celebrated poet as the Mahakavi or Poet the Great wasborn in 1966 BS. Writing in distinct style from the tradition, Devkota has broken the convention in Nepalese writing, both in form and content, though he was in the difficult mode of free expression due to Rana observation over writings and even the discouraging situation on free thinking and creative writing.
He has adapted Sanskrit tradition of writing epics, (Mahakavya) and also, he has composed the epic on free verse. He has introduced and applied western Romantic trend of writing poetry. With these new modes, he has introduced new genre and approach in writing poems and other forms of literature. Openness, lucidity and honesty are some of the characteristics of Devkota’s poetic works. His feelings, sensibility and expressions have been blended perfectly and brilliantly with words and meanings that have created an explosion of thoughts and ideas in his writings. We find spontaneous expression in his poems and there is no artificial sense.
As a versatile writer, he has composed in all literary genres, pomes, epics, essays, plays and fictions, but he is basically a poet. Having with the knowledge both in eastern Sanskrit literature and western literary traditions, he has combined both traditions in his Nepali writings. With the use of the western and eastern mythical references, he has united the traditions of the both in his writings. This article aims to observe his revisit to the eastern and western mythical references in Mayavini Circe, the epic on free verse.
4
Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
Full textAbstract:
The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
5
Pallathadka, Harikumar, Laxmi Kirana Pallathadka, Pushparaj, and Telem Kamlabati Devi. "Role of Ramayana in Transformation of the Personal and Professional Life of Indians: An Empirical Investigation Based on Age and Regions." Integrated Journal for Research in Arts and Humanities 2, no. 6 (November 24, 2022): 116–22. http://dx.doi.org/10.55544/ijrah.2.6.15.
Full textAbstract:
Ramayana is one of the greatest and holiest Sanskrit epics and one of the first written pieces of literature in the context of India. In the past few centuries, several authors have been exploring different dimensions of the epic Ramayana, which range from spirituality, philosophy, economics, politics, language, culture, poetry, literature, and technology. However, management does not seem to be popular in terms of subject analysis from Ramayana, even though Valmik Ramayana offers examples of several managers. Thus, several studies have been done to fill the gap in the literature by simply exploring the relevance of Ramayana for the growth and development of contemporary managers. These papers explore dharmic management, work motivation, vigilance, principles for control from Ramayana that offers lessons for improving managerial efficiency. The prospects to explore Ramayana in the other management domains like people management, and strategy management, may also be considered in the future.
6
Ha, Do Thu. "Localizing India’s Values of Ramayana in Southeast Asia- The Case of Hikayat Seri Rama." International Journal of Religion 5, no. 11 (June 14, 2024): 910–20. http://dx.doi.org/10.61707/4vqpgs68.
Full textAbstract:
Intercultural communication is the communication among different cultures, different communities with different lifestyles and worldviews, which is a dispensable and unavoidable trend. The Ramayana is one of the largest ancient epics in world literature and has had an important influence on later Sanskrit poetry and Hindu life and culture because it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia. There are many versions of the Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese and Malaysian versions of the tale. The paper analyzes the characteristics on receiving Indian culture in the case of Seri Rama - the Malay literary adaptation of the Hindu Ramayana epic in the form of a hikayat such as the receiving methods, principles in selecting, acquiring and localizing Indian cultural values.
7
पाण्डेय Pandey, गणेश Ganesh. "संस्कृत साहित्ये नैपालमिथिलाक्षेत्रस्य योगदानम् [Contribution of Nepali Mithila Region in Sanskrit Literature]." Haimaprabha 20 (July 30, 2021): 13–24. http://dx.doi.org/10.3126/haimaprabha.v20i0.38588.
Full textAbstract:
सूर्यवंशीयराज्ञो निमेः शरीरमन्थनाज्जातेन मिथिनाम्ना राज्ञा प्रवर्तितत्वात् तदीया राजधानी मिथिलेति प्रसिद्धिमुपगता । मिथिलायाः सीमासङ्कोचविस्तारयोर्जातेऽपि प्रवृmताध्ययने नेपालस्य साम्प्रतिकः द्विसङ्ख्यकः प्रदेशः मिथिलाक्षेत्रत्वेन गृहीतः । मिथिलाराज्यस्य सीमायाः परिवर्तने दृष्टेऽपि मिथिलासंस्वृते राजधानी जनकपुरं वर्तते । मिथिलायां वैदिककाले विश्वामित्रप्रभृतयो ऋषयो दृश्यन्ते । तेषु महर्षिर्याज्ञवल्क्यः सर्वाधिक्येन प्रदीप्तं मिथिलायाः प्रोज्ज्वलं रत्नं वर्तते । अर्वाचीनेषु कविषु वंशमणिशर्मा हरिकेलिमहाकाव्यमाध्यमेन सर्वोत्वृष्टं स्थानं लभते । मिथिलायां स्फुटरूपेण संस्वृmतकवितारचनायाः परम्परा सम्प्रत्यपि जीविता वर्तते । [This research confirms that the naming of the Mithila region was initiated by a king named Mithi, who was born by churning the body of Suryavanshi king Nimi. Although the border of Mithila has been constricting and widening over time, in this study, the current state number two of Nepal has been taken as Mithila region. Janakpur remained the capital of Mithilaculture even when the borders of Mithila state changed. Vishwamitra and other sages have been seen in Mithila during the Vedic period. Among them, MaharshiYajnavalkya is the brightest gem. In the modern age, it has been confirmed that Vanshamani Sharma has reached the best place through the epic Harikeli. This research has confirmed that the tradition of composing Sanskrit poetry in Mithila is still alive today.]
8
Yatoo, Altaf Hussain. "From Central Asia to Kashmir: A Holistic View of Mysticism." Teosofia: Indonesian Journal of Islamic Mysticism 10, no. 1 (April 29, 2021): 127–42. http://dx.doi.org/10.21580/tos.v10i1.8507.
Full textAbstract:
Persian spirituality exerted a profound influence on the religious culture of Kashmir. The local Hindu Shaivite monism that went back to the ninth century was propagated by the Rishi ascetics. This paper aims to examine the influence of Sufism on the popular Islamic culture in Kashmir, in particular the role of the fourteenth-century figure of Nund Rishi or Shaykh Nūruddīn. The findings will be based on the qualitative analysis of the historical sources pertaining to the period concerned, with a focus on the Sanskrit epic of Rajatarangini and the poetry of Nund Rishi which explicitly refers to famous Persian mystics. This study has valid implications for the research on the causes of the socio-cultural transformation of Kashmir that were not only initiated but also taken to its completion and fruition by the local Rishi order.
9
Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)." Yog-garima 1, no. 1 (March 28, 2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.
Full textAbstract:
If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
10
Pimpuang, Kowit. "Sound Change, Value of PL-SKT Loanwords and Reflections of Society and Beliefs in the Epic Thao Hung or Cheuang." Journal of Language Teaching and Research 14, no. 6 (November 1, 2023): 1761–72. http://dx.doi.org/10.17507/jltr.1406.35.
Full textAbstract:
The objectives of this study were to explore the linguistic changes, to discover the value of Pali (PL) and Sanskrit (SKT) loanwords in an old and important epic work entitled “Thao Hung or Cheuang”, and to describe the society depicted in this work and its beliefs. The conceptual framework of this study consists of (1) usage of PL-SKT words through sound change theories (2) values of the PL-SKT loanwords applied in Thao Hung or Cheuang and (3) reflections on the society and beliefs of the people in this epic. A qualitative method was employed and the data were collected from volumes 1-4 of the Dictionary of the Vocabulary in the Northeastern Thai Literary Work Thao Hung or Thao Cheuang published by the Royal Society of Thailand. The findings revealed that there are 679 PL-SKT loanwords in the work. The vowel and consonant sound changes were made for the sake melodiousness of the poetry of the work. The values of PL-SKT words can be categorized into five dimensions, namely, 1) language usage 2) word usage 3) sound usage 4) semantic usage and 5) aesthetic usage. The work also reflects the society it depicts, namely: urban society on a plateau which is class-based and agricultural, in which there is gender inequality between men and women and marriage between relatives of the ruling class, and in which there are multiple cultural influences. The following two types of beliefs were found in the society, namely: old beliefs and Brahman and Buddhist beliefs.
11
A, Rajamaragatham. "Values in ‘Perunkathai’ Family System." International Research Journal of Tamil 4, S-9 (July 28, 2022): 90–103. http://dx.doi.org/10.34256/irjt22s913.
Full textAbstract:
In the world of Tamil poetry, Perunkathai is held in equal esteem with the five great epics. The original text of Perunkathai was written by Gunadithiyar in the Paisasam language, a vernacular dialect of Prakrit, in the name of Pragatatha. After that, it was written in Sanskrit under the name Prigathkathai by a Ganga king named Durvineethan in the fifth or sixth century AD. Konguvelir wrote it in Tamil under the name of Udhayanan Kathai. He is considered to belong to the Velalar class of Kongu Country. This book, which was written in the seventh century AD by Konguvelir, is also known as Udhayanan Kathai, Konguvel Maakathai, and Perunkathai. This epic poem is composed by focusing on the lives of the kings. The grammar, literature, and epics of the Tamil language are all written with the aim of making the readers refined and virtuous. The aim of this book is that man should live a long time with perfect human nature. A family is a system in which one has children and lives together. This system undergoes many changes from time to time. Family structure is determined based on occupation, job, preference, need, etc. They classify family systems as joint family systems where grandfather, grandmother, paternal aunt, maternal uncle, elder paternal uncle, elder maternal aunt, younger maternal aunt, younger paternal father, grandson, granddaughter, etc., live together and classify them as single family systems where mother, father, and child live together. No matter what the system is, the family system will gain specialness and value only if it accepts the personal feelings, desires, needs, obligations, and duties of each individual. Many changes occur in human characteristics according to the living conditions of the changing and growing living conditions of people. The purpose of this article is to highlight the family values that are mentioned in the story in order to properly refine these changes and make us live in a good way.
12
Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 3, no. 2 (April 1, 2021): 1–18. http://dx.doi.org/10.47298/jala.v3-i2-a1.
Full textAbstract:
A puzzle in Sanskrit’s sociolinguistic history is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) viewed the ‘Sanskrit Renaissance’ as a brahmins’ attempt to combat these invaders. Ostler (2005) attributed Sanskrit victory to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The early-CE public appearance of Sanskrit as a sudden event hypothesis is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests ... that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial is his claim that kāvya literature was foundational to this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic, as he ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most importantly, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
13
Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.
Full textAbstract:
Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters 1 to 118 are told about art. In this book, nine chapters from 35 to 43 are of Chitrasutra. It is very popular and most notable and well-known. In which detailed information related to the painting is given, which is not found in any other book before it.In the same way, in the epic, Ramayana, Mahabharata, there is a description of paintings on chitrashalas, palaces, chariots and the great dramatist Bhasa has described the paintings in his three plays Swapnavasavadattam, Pratigya Yogandharayana and Dutavakya. Apart from this, painting has also been mentioned in texts like Abhilachirtartha Chintamani, Mansar, Samranga Sutradhar.It is only through these ancient Indian texts that the painter has been able to study the artifacts microscopically. That is, following the rules related to the picture in these texts can be seen in miniature paintings of Ajanta, Mughal, Rajasthan. By following these rules, painters have been able to express their artistry by imbibing expressions like harmony, balance and cooperation, effectiveness in their artworks. The example of which can be seen in the artwork made by Bengal school and artists of Calcutta.
Hindi : प्राचीन भारतीय ग्रन्थों में चित्रकला से सम्बन्धित नियमों का उल्लेख विस्तृत रूप से मिलता है जिसमें काव्य, नाटक, महाकाव्य, पुराण, उपनिषद् व विभिन्न विषयों के ग्रन्थों द्वारा भारतीय चित्र लेखन की प्राचीन परम्परा व सांस्कृतिक विधियों एवं जनमानस में उनकी लोकप्रियता का वर्णन मिलता है। इसके अतिरिक्त कुछ ऐसे ग्रन्थ भी हैं, जिनमें स्वतन्त्र व व्यापक रूप से चित्रकला की व्याख्या विस्तार रूप से की गयी है। उदाहरण स्वरूप विष्णुधर्मोत्तर पुराण मार्कण्डेय द्वारा रचित इस ग्रन्थ में 269 अध्याय हैं। जिसके अन्तर्गत तीसरे खण्ड में संस्कृत विषयों में विशेषकर ललित कलाओं के लिये सर्वाधिक महत्वपूर्ण हैं। जिसमें अध्याय 1 से लेकर 118 तक कला के बारे में बताया गया है। इसी ग्रन्थ में 35 से 43 तक नौ अध्याय चित्रसूत्र के हैं। यह बहुत चर्चित व सर्वाधिक उल्लेखनीय एवं बहुचर्चित हैं। जिसमें चित्रकला से सम्बन्धित विस्तृत जानकारी दी गयी है, जो इससे पहले अन्य किसी ग्रन्थ में नहीं मिलती।
इसी तरह से महाकाव्य, रामायण, महाभारत में चित्रशालाओं, महलों, रथों पर चित्रकारी का वर्णन मिलता है व महान नाटकार भास ने अपने तीन नाटकों स्वप्नवासवदत्तम्, प्रतिज्ञा योगंधरायण तथा दूतवाक्य में चित्रों के बारे में बताया है। इसके अलावा अभिलषितार्थ चिन्तामणि, मानसार, समरांगण सूत्रधार जैसे ग्रन्थों में भी चित्रकला का उल्लेख किया गया है।
इन प्राचीन भारतीय ग्रन्थों के माध्यम से ही आज चित्रकार कलाकृतियों का अध्ययन सूक्ष्मरूप से करने में सक्षम हो सका है। अर्थात् इन ग्रन्थों में चित्र से सम्बन्धित नियमों का पालन अजन्ता, मुगल, राजस्थान के लघु चित्रों में देखा जा सकता है। इन नियमों का पालन करते हुये ही चित्रकार अपनी कलाकृतियों में सामंजस्य, सन्तुलन व सहयोग, प्रभाविता जैसे भावों को आत्मसात करते हुये अपनी कलाकृति को अभिव्यक्त कर पाने में समर्थ हो सके हैं। जिसका उदाहरण बंगाल स्कूल व कलकत्ता के कलाकारों द्वारा बनायी कलाकृतियों में देखा जा सकता है।
14
Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 1, no. 2 (April 1, 2019): 10–17. http://dx.doi.org/10.47298/jala.v1-i2-a2.
Full textAbstract:
A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
15
Sohnen, Renate. "On the concept and presentation of yamaka in early Indian poetic theory." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 495–520. http://dx.doi.org/10.1017/s0041977x00012921.
Full textAbstract:
Figures of repetition occur very early in Sanskrit literature. In the oldest stratum, the hymns of the Rgveda, this phenomenon seems to be restricted to the repetition of words with the same meaning, its function being either to express continuation or regularity, i.e. in the case when a single word, normally an adverb, is duplicated (āmreḍita, e.g. dive-dive), or to give a special emphasis to a phrase, preferably at the end of a number of stanzas of a hymn (refrain type). Both kinds of repetition continue to be used in later literature, such as the Pāli Jātakas and the two epics, Mahābhārata and Rāmāyaṇa.
16
Setiawan, Ida Bagus Putra. "Social and Moral Guidance of Balinese Life in Kakawin Niti Sastra." Bali Tourism Journal 7, no. 1 (March 15, 2023): 10–12. http://dx.doi.org/10.36675/btj.v7i1.87.
Full textAbstract:
Estimated to be written in 350 B.C. In the Magada Kingdom of India, Niti Sastra is one of the knowledge references that gives readers an overview of leadership and management. In Bali, the script is better known as Kakawin Niti Sastra. Kakawin is poetry written in the Kawi language, an extinct old Javanese language. Niti Sastra is the Sanskrit term for "science of morality," and it refers to the study of how to uphold Dharma or morality in one's conduct and in all of life. Politics and leadership are generally discussed in academia, as per Niti Sastra. After that, it gives a general summary of how the teachings of the Niti Sastra relate to those of other Hindu texts and goes on to describe the Ramayana and Mahabharata Epics in more detail. However, a closer look reveals that Niti Sastra also further documents and outlines social communication processes. Ideas given in the Kekawin Niti Sastra, particularly those pertaining to the arena of social life, have universal values, as evidenced by the presentation of several examples, even in a nation that no longer has a feudal administration system and its socioeconomic conditions. These principles, which are founded on Hinduism, still hold true. Thus, the Niti Sastra Book might be a good resource for academics looking to gain a deeper understanding, particularly about the application of moral principles to daily life.
17
-, Meenu Aryaa, Kusum Kundu -, and Simpi -. "Feminist Discussion of The Ramayana." International Journal For Multidisciplinary Research 5, no. 1 (January 31, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i01.1512.
Full textAbstract:
The Ramayana and the Mahabharata are two of India’s greatest epics that have influenced the Hindu way of thinking and belief system. The two epics are believed to be partially based on historical events and are considered "itihasa" in Sanskrit, which means historical texts. The Ramayana is an epic story that provides many insights into the values of ideology, duty, relationship and karma. It is known to be part of the sacred literature for the Hindus not only because it speaks of the meaning of life, but it also provides a spiritual meaning and wisdom. Andrew Long, a Scottish poet, novelist, and literary critic, says that "The epics are not only poetry but history, history not of real events, indeed, but of real manners, of a real world, to us otherwise unknown." The Ramayana and its numerous adaptations tell us the same story of Ram and Sita, but except for my state of mind and my spectacles, what is it that changes on every new reading? I’m not talking about the actual frame and pieces of lens, but the feminist lens. A feminist is ‘a person who supports the belief that women should have the same rights and opportunities as men’. But these post-mid-19th century noun insertions and their parameters are increasingly getting used for modern reimaginations of leading lady characters in the Ramayana, like Kaikeyi, Sita, Tara, Surpanakha, or Mandodari. How inspiring are these women as reclaimed icons for contemporary feminism? Can their societies and male counterparts be termed feminists-in-retrospect?
18
-, Longjam Sharatachandra Singh, and Y. Uttambala Devi -. "Romantic Lyrics of Dr. Jodha Chandra Sanasam." International Journal For Multidisciplinary Research 5, no. 6 (December 16, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.10463.
Full textAbstract:
Dr. Jodha Chandra Sanasam (1944-2021) was an eminent Professor and surgeon of the Regional Institute of Medical Science (RIMS: 1972), Imphal. He was very popular in Manipuri literature both Poetry and Novel. He got the Sahitya Akademi Award, New Delhi in 2012. Some Manipuri scholars remarked him as ‘the second literary incarnation of the first Manipuri poet and novelist, Dr. Kamal (1900-1934).’ First of all, I compared with the literary art of Dr. Jodha Chandra Sanasam and Dr. Kamal. Then I critically analysis on his lyrical verse, Ngaseedi Ashengba Haydoklage (Today, I shall tell the truth: 2009) with reference to Dr. Kamal’s novel, MADHABI (1931) and anthology of verses, LEIPARENG (Garland: 1931), English romantic poet, Thomas Moore (1779-1851)’s poem, ‘ The Light of the Other Days’ , Sanskrit epic poet, Kalidasa's MEGHADOOT and Manipuri romantic poet, Khumanthem Ibohal (1924-1988)’s NUNGSI KEINA KADA (To the beloved KEINA: Ballad: 1964), etc. At last, I concluded to give his literary beauties and art forms of Dr. Jodha Chandra Sanasam with some suitable quotations from his above-mentioned book.
19
Goldman, Robert P. "Acquainted with Grief." Journal of the American Oriental Society 142, no. 4 (December 14, 2022). http://dx.doi.org/10.7817/jaos.142.4.2022.ar034.
Full textAbstract:
The authors of the numerous medieval and early modern Sanskrit-medium commentaries on the various recensions and sub-recensions of the Vālmīkirāmāyaṇa frequently found themselves in a somewhat awkward hermeneutical position. The epic itself, like many Indic texts, is highly revered both as a religious text, one of the earliest and most influential Vaiṣṇava texts, and as a literary work that is not only a great poem but indeed the very first poem and the fons et origo of all subsequent poetry. Moreover, like Vyāsa, the author of the Rāmāyaṇa’s sister epic, the Mahābhārata, Vālmīki was regarded not merely as an inspired poet and sage, but as a ṛṣi, that is to say an inerrant seer whose speech, in his case inspired directly by the creator divinity Brahmā and the god’s gift of a divine vision, must therefore be accepted as absolutely true and authoritative. The problem facing the work’s commentators is that Vālmīki’s text portrays its hero, Rāma, as not only a god in the form of a man, but as one who, ignorant of his own divinity, suffers all of the mental, emotional, and physical pain to which ordinary mortals are prey. In this Rāma differs sharply from the subsequent Vaiṣṇava avatāra and central figure of the Mahābhārata, Kṛṣṇa, who, fully aware of his godhood, rarely suffers in any way mentally or physically. But the Rāmāyaṇa’s commentators are living and writing in a world in which the development of the medieval bhakti movements has led poets and theologians to conceive of and write about Rāma as an omnipotent and omniscient figure very much like Kṛṣṇa.
The present essay discusses the lexical, grammatical, and hermaneutical strategies the commentors adopted to negotiate the tension between Vālmīki’s apparent depiction of the suffering of his hero and a proposed deeper meaning in which the avatāra conforms more fully to what became the medieval and modern theology of god on earth.
20
Pande, Suruchi. "Krauncha and Sarasa in Sanskrit Literature." Journal of Ecological Society 16, no. 1 (April 1, 2003). http://dx.doi.org/10.54081/jes.015/06.
Full textAbstract:
The author is discussing the cultural and historical significance of cranes, especially the Sarus crane in various countries like India, China and Australia and religions like Hinduism, Jainism, and Buddhism. Ancient Indian texts including the Rig Veda and Ayurveda mention cranes. Sanskrit poetry by Kalidasa and the epics of Ramayana and Mahabharata feature cranes who appear to have made a distinct impact on the ancient Indian mind.
21
-, Himanshu Parmar. "Canonical Indian Literature and Bhasa: a Study in Texts and Their Aesthetics." International Journal For Multidisciplinary Research 5, no. 3 (June 22, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i03.3907.
Full textAbstract:
Indian Knowledge System, the repository of the entire literary and aesthetic corpus of the sub-continent, has a rich repertoire comprising texts like The Ramayana and The Mahabharata and critical texts like The Natyasastra. The former belong to the canon of Epics, they stand representatives of a tradition comprising texts like Chandrabati’s Ramayana, Jaini Ramayana, Asura: Tale of the Vanquished by Neelakantan, Draupadi by Pattanaik, etc. The genres that the tradition comprises vary from poetry to novel and a long oral tradition, as Nabneeta Dev Sen opines, of songs from these epics. In the list, however, is another writer, belonging to the canon of Sanskrit Dramaturgy, whose works are the oldest surviving extant texts in Sanskrit drama: Bhasa, the father of Sanskrit Drama. Chronologically, Bhasa is placed between the composition of Natyasastra and Malvikagnimitram and his plays are dramatic representations of the events of The Ramayana and The Mahabharata. The research paper attempts to delve into two primary questions: that of aesthetic fidelity of the father of Sanskrit drama, to a tradition of writing that precedes him; and secondly, his literary fidelity to the foundational narratives in the Indian Literary Traditions. Through an interrogation of Bhasa’s works on these two parameters, and applying the terminologies of Adoption, Adaptation and Abrogation, the paper shall strive to place him in the canon of Indian Literature and the implications of his positionality, on Indian Literature, especially in relation to contemporaneity.