Relevant bibliographies by topics / Sanskrit Love poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sanskrit Love poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Sanskrit Love poetry"

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Dr Arun Kumar Nishad. "'Abhigyanam' on constitution of Ghazal." Knowledgeable Research: A Multidisciplinary Journal 1, no. 3 (2022): 20–24. http://dx.doi.org/10.57067/pprt.2022.1.3.20-24.

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In Indian literature, Ghazal is considered as an imported form of innocent poetry. This is an Arabic word which means - yarn warp, when used for women, it means - talking about love-love with women, praising their beauty, having fun with them etc. The first use of the word Ghazal as a form of poetry was made by the Iranian 'Roudaki' between 840-941 AD. Acharya Bhatt Mathuranath Shastri is considered to be the father of Sanskrit Ghazal.
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Laxman, Majhi, and LAXMAN MAJHI. "The Poetical Analysis of Jayadeva's Śrī Gītagovinda." International Journal of Multidisciplinary Horizon 1, no. 1 (2024): 29–32. https://doi.org/10.5281/zenodo.13893626.

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<strong>Abstract:</strong>This research paper provides a comprehensive analysis of Jayadeva&rsquo;s Gīta Govinda, alyrical composition in Sanskrit that describes the love between Rādhā and Kṛṣṇa. Thepaper explores the structure and themes of the poem, focusing on the use of variouspoetic devices and their effect on the reader. The research also delves into the historicaland cultural context of the poem, highlighting its importance in the tradition of Indianclassical poetry. Through close reading and critical analysis, the paper sheds light on thecomplex and multi-layered nature of the poem, an
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Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (2020): 471. http://dx.doi.org/10.3390/rel11090471.

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Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of B
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Sivanandan, SRUTHI. "Traversing Boundaries: An Analysis of the Unremitting Psychic Unity in The Waste Land." BL College Journal 5, no. 2 (2023): 138–45. http://dx.doi.org/10.62106/blc2023v5i2e14.

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Known as ‘Pope of Russel Square’ in the history of English literature from the 20th century, T. S. Eliot’s, literary ingenuity augmented the modernist writings. ‘The Waste Land’ is one such eventuality that, retrospectively from the publication, permuted worldwide, giving boundless definitions and ceaseless critical appraisals. Contriving the idiom of modern poetry, his career as a part never went over the hill since it was chiselled out of the emotional and intellectual retaliation to a gest which was his life itself. The close-grained, fragmented study of his works, has seemingly been immens
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Aditi, Mishra. "Timeless Verses: A Modern-Day Reading of Vidyapati." Criterion: An International Journal in English 16, no. 1 (2025): 189–202. https://doi.org/10.5281/zenodo.14973915.

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This paper discusses Vidyapati as a poet through his Maithili song &lsquo;Piya Mor Balak&rsquo; and its scope in the present day. The study aims to raise awareness regarding the society about which he wrote and to help contemplate his relevance in today&rsquo;s world, evaluating how much change has occurred in relation to women&rsquo;s issues. &nbsp;India has been home to many intellectuals, thinkers, artists, and revolutionaries. Literature today, recognizes some of the greatest writers and poets who wrote in their native language. The writings, mainly composed of songs and poetry, were under
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Beby Anjelika. "Analisis Lirik Lagu “Nia Anak Surga” Karya Erwin Chan Menggunakan Pendekatan Mimetik." Jurnal Yudistira : Publikasi Riset Ilmu Pendidikan dan Bahasa 3, no. 1 (2024): 121–34. https://doi.org/10.61132/yudistira.v3i1.1453.

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Literary work is an expression of the representation of the author's mind using language as a medium, where the human or author's feelings here are personal in the form of experiences, thoughts, feelings, ideas, enthusiasm and beliefs which are formed in a picture of life that can brings out the charm that uses language tools in written form. According to Teeuw (1988:23) in (Asria Fera Nurnazilia et al., 2022) literature comes from the root word "sas" (Sanskrit) which means to direct, teach, give guidance and instruction, while the suffix "tra" means tool, means. So, lexically, literature mean
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Devi, Asha. "NATURE IN HINDI LITERATURE." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3264.

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The love of nature of Hindi writers is well known. Poetry has been composed on nature in all times during the ancient, medieval and modern times. The famous cinematic poet Jayashankar Prasadji writes-Let me forget my sailor slowly - where in the uninhabited deep-tinged love story in the ears of Sagar-Lahiri-Ambar - Avni of Taj BabelThe poet has here pointed out the peace of man. Humanity is not noisy, nor does he want such an earth. Nature has loved human as (wave of ocean) and (abar). This is what it is like, why is it, who is destroying the unbreakable relationship between human and nature.
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Singh, Harvindar. "The Study of Prathama Ank of Dinkar's Urvashi in the Backdrop of Srngara Rasa." Remarking An Analisation 9, no. 2 (2024): E34—E49. https://doi.org/10.5281/zenodo.12530950.

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This paper has been published in Peer-reviewed International Journal "Remarking An Analisation"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; URL : https://www.socialresearchfoundation.com/new/publish-journal.php?editID=9048 Publisher : Social Research Foundation, Kanpur (SRF International)&nbsp; &nbsp; Abstract : &ldquo;कौन&nbsp;कहे?&nbsp;यह&nbsp;प्रेम&nbsp;हृदय&nbsp;की&nbsp;बहुत&nbsp;बड़ी&nbsp;उलझन&nbsp;है। जो&nbsp;अलभ्य,&nbsp;जो&nbsp;दूर,&nbsp;उसी&nbsp;को&nbsp;अधिक&nbsp;चाहता&nbsp;मन&nbsp;है।&rdquo; (दिनकर&nbsp;
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Yılmaz. "Poetic Translation of Mathnawī by Fayḍullah Sājid". Eskiyeni, № 44 (20 вересня 2021): 611–28. https://doi.org/10.37697/eskiyeni.907930.

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<em>Mathnawī</em><em>,</em> one of the basic works of Islamic civilization, has received great attention since the day it was written. In addition to Eastern languages such as Arabic, Hindi, Sanskrit and Urdu, it has also been transleted to Western languages such as German, Dutch, French, English, Spanish and Italian. Feyḍullah Sājid (1892-1978) was one of the translators of the <em>Mathnawī</em>, many translations and commentaries of which were made into Turkish literature. Sājid translated the first book of <em>Mathnawī</em> in 4,118 couplets in syllabic meter and published the first thirty-
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Suparna, Bhattacharya. "Resonances of the 'forbidden' and 'Madhav tuya abhisarak lagi' in Rajmohan's Wife." Trivium A multi disciplinary journal of humanities of Chandernagore College 2, no. 3 (2018): 58–75. https://doi.org/10.5281/zenodo.13827010.

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With his &lsquo;Sanskritic learning, Vaishnava devotionalism&rsquo; and acquaintance with Western literature and philosophy, Bankim Chandra Chattopadhyay represents an interesting juncture in colonial politics as he attempted to handle the novel as an emerging genre. In Rajmohan&rsquo;s Wife (1864) he undertook various thematic and stylistic challenges, re-workings and strategic fashioning to portray the emotional tumult and decisions of Matangini. Her journey through the dark stormy night is generally read within typically Gothic tropes and her passion for Madhav is framed within the novelist
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Dissertations / Theses on the topic "Sanskrit Love poetry"

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Italia, Maddalena. "The erotic untranslatable : the modern reception of Sanskrit love poetry in the West and in India." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30309/.

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Books on the topic "Sanskrit Love poetry"

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Vidyākara. Sanskrit love lyrics. Writers Workshop, 1991.

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2

Somaprabhācārya. Kaviśrīsomaprabhācāryaviracitā Śr̥ṅgāravairāgyataraṅgiṇī: "Sukhabodhinī"-Hindīṭīkāsahitā. Caukhambhā Saṃskr̥ta Saṃsthāna, 1987.

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Somaprabhācārya. Kaviśrīsomaprabhācāryaviracitā Śr̥ṅgāravairāgyataraṅgiṇī: "Sukhabodhinī"-Hindīṭīkāsahitā. Caukhambhā Saṃskr̥ta Saṃsthāna, 1987.

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4

Unni, N. P. Keralīya-Saṃskr̥tasandeśakāvyasamīkṣā. Rāṣṭrīya-Saṃskr̥ta-Saṃsthānam, 1996.

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5

Hiṇḍocā, Haṃsābahena Ena. Gītagovinda-paramparānāṃ kāvyo tulanātmaka abhyāsa. Haṃsā Hiṇḍocā, 1998.

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6

Bhaṭṭācārya, Nr̥pendra Nātha. Premera līlā, yuge yugāntare. Maḍela Pābaliśiṃ Hāusa, 1999.

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7

Vidyāsundara. Vidyā-sundara pañcāśikā evaṃ Caura pañcāśika: Hindī, Aṅgrejī anuvāda sahita. Haṃsā Prakāśana, 2009.

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8

Bilhaṇa. Caurapañcāśikā: Caurapañcāśikā : an Indian love lament of Bilhaṇa Kavi. Oriental Book Agency, 1985.

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9

Bilhaṇa. Phantasies of a love thief: An eleventh century Sanskrit lyric poem. Inanna Press, 1994.

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10

Kālidāsa. Meghadūta-bhāvanuvāda: Mūla sahita Hindī padyātmaka. Anubhūti Prakāśana, 1987.

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Book chapters on the topic "Sanskrit Love poetry"

1

Selby, Martha Ann. "Reading the Sanskrit Amarufataka." In Grow Long, Blessed Night. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0004.

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Abstract When foregrounded against the diverse categories of Sanskrit literary genres, it becomes apparent that the Amarusataka represents a part of a distinct movement away from the traditional mythic materials and categories that earlier Sanskrit poets and dramatists, such as Kalidasa, drew upon. As V. Raghavan, Siegfried Lienhard, and others have pointed out, the Amarusataka “is really a continuation in Sanskrit of the Prakrit tradition of love poetry begun in Hala’s Ga ā thasā ptasat ī with the exception of a few interpolated poems by other authors, it is the first anthology of short eroti
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2

Hawley, John Stratton. "Introduction." In The Memory of Love. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195373981.003.0001.

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Abstract Ask someone who lives in the West to name an Indian classic, and the answer is almost foreordained: the Bhagavad Gītā. This poetic work, depicting a didactic encounter between an exemplary human being and the god Krishna, has been translated into European languages hundreds of times. Yet surprisingly few inhabitants of the populous states of north India can recite more than a phrase or two of the Sanskrit original. The Krishna they know as the subject of classic poetry is apt to come from quite another source: Hindi poet-singers of the early modern period, and the greatest of these is
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Venkatkrishnan, Anand. "Across the Nilgiris." In Love in the Time of Scholarship. Oxford University PressNew York, 2025. http://dx.doi.org/10.1093/oso/9780197776636.003.0002.

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Abstract This chapter challenges the historiographical assumption that the Bhāgavata Purāṇa was exclusively a Vaiṣṇava text by tracking its reception in medieval Kerala. The chapter focuses on the work of three Śaiva Advaitin scholars—Lakṣmīdhara, Pūrṇasarasvatī, and Rāghavānanda—who found in the Bhāgavata Purāṇa the perfect place to bring together their interests in Vaiṣṇava poetry, Śaiva and Śākta theology, Sanskrit poetics, and Advaita philosophy. It also argues that in Kerala, the Bhāgavata became the public face of private, esoteric, initiation-based practices. For the poetry and scholar
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Selby, Martha Ann. "Reading “North” and “South”: Issues of Comparative Reading and the Classical Poetry of South Asia." In Grow Long, Blessed Night. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0002.

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Abstract I have already alluded to some major differences in the ways in which Tamil, Sanskrit, and Prā krit love poems have been read and understood by “competent” readers, that is, by readers of poetry who have “internalized the grammar of literature,” permitting them to “convert linguistic sequences into literary structures and meanings.”1 In the next few pages, I will delineate in far greater detail some of the more fundamental differences in various reading processes in these three literary traditions. Specifically, I will compare what I identified above as the three most important critic
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Selby, Martha Ann. "Conclusion." In Grow Long, Blessed Night. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0006.

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Abstract In contemplating the interpretive foci and critical methods for these three literary establishments, I have come to several conclusions. In my opening pages, I addressed the problem of attempting to arrive at a definition of what we might term a “Pan-Indian classical love lyric.” On the level of fundamental materials-that is, the building blocks in South Asian intellectual, emotional, and geophysical environments that provide the necessary “gestalts” from which poetic conventions are built-we can speak of “commonalities.” On this very basic level-the level of the “pre-text”-there are
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"Appendix 2 Poetic Meters in Sanskrit Text." In Dance of Divine Love. Princeton University Press, 2005. http://dx.doi.org/10.1515/9780691190174-026.

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Austin, Christopher R. "A kāvya Casting for Pradyumna." In Pradyumna. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190054113.003.0008.

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The Pradyumnābhyudaya—a thirteenth-century Sanskrit play by King Ravivarman—is the focus of Chapter 7. This work, based directly on the Prabhāvatī episode of the late Harivaṃśa, appears to be the first Brahminical kāvya or courtly belles-lettristic work to make Pradyumna its protagonist. Of central importance is Ravivarman’s molding of the story into conformity with common standards and expectations for poetic expression in courtly writing. In particular it is argued that two conventions of the Sanskrit drama, the garbhāṅka or nested play, and the śleṣa or double-meaning verse form, become the
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Selby, Martha Ann. "Young Men Speak to Their Lovers "Anger Has Become Your Lover, Not l"." In Grow Long, Blessed Night. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0011.

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Abstract This group of seven poems opens with four fine verses from the Sanskrit Amarufataka in which the man begs his beloved for forgiveness (it is unclear in some of these verses whether the pair are married or unmarried lovers). This particular theme is a favorite among Sanskrit poets, and it is one greatly favored by the poets anthologized in the Amaru collection especially. Compare poem 11.2 with poem 11.4, a Prakritgatha, keeping in mind their contexts and the suggestion that we can understand such verses to be “studied arguments.” s Poem 11.5 is a lovely example of Prakrit pillow talk,
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Jarow, E. H. Rick. "The Meghadūta of Kālidāsa." In The Cloud of Longing. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566633.003.0002.

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This chapter offers a verse by verse translation of the Meghadūta, which is at once poetic and scrupulously accurate. The translation highlights the landscapes visited by the Cloud, their mytho-historical significance, and the fluid blending of language, image, feeling, and form. The entire journey is taken over the pathos of loss, which accounts for the gently stepping meter of the poem that was said by Sanskrit poeticians to be suitable for “love in separation” and was equated with certain landscapes and seasons of the year. Footnotes are provided that explain names, place, and other referen
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J. Desai, Dr Jayshriben. "KALIDAS’S SHAKUNTALA: A SOCIAL PERSPECTIVE." In Emerging Trends in Literature and Social Sciences. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/nbennuretlsch3.

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Abhigyan Shakuntalam is also known as Shakuntala, The Recognition of Shakuntala, The Sign of Shakuntala, and many other variants, is a Sanskrit play by the ancient Indian poet Kalidasa, dramatizing the story of Śakuntalā told in the epic Mahābhārata and regarded as best of Kālidāsa's works. Its exact date is uncertain, but Kālidāsa is often placed in the 4th century CE. Shakuntala fell in love with Dushyant and married him secretly. After sometime, she became pregnant but Dushyant left her. Due to the curse of monk Durvasa, Dushyant has forgotten Shakuntala. This paper is a sincere attempt to
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