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Journal articles on the topic 'Sanskrit Love poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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’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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3

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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4

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 ‘Piya Mor Balak’ 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’s world, evaluating how much change has occurred in relation to women’s issues.  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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6

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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7

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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8

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"                      URL : https://www.socialresearchfoundation.com/new/publish-journal.php?editID=9048 Publisher : Social Research Foundation, Kanpur (SRF International)    Abstract : “कौन कहे? यह प्रेम हृदय की बहुत बड़ी उलझन है। जो अलभ्य, जो दूर, उसी को अधिक चाहता मन है।” (दिनकर 

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9

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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10

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 ‘Sanskritic learning, Vaishnava devotionalism’ 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’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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11

Feller, Danielle. "Food and Love in Sanskrit Poetry: On the Margin of Desires." Cracow Indological Studies 21, no. 2 (2019). http://dx.doi.org/10.12797/cis.21.2019.02.03.

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In Western representations, food and sex are frequently connected and compared in an erotic context. A survey of Sanskrit poetry shows that it was not so in the context of ancient India, despite the kāmaśāstras’ dictates. Parts of women’s bodies are occasionally likened to certain items of food (mostly fruit and nectar), and can sometimes be drunk, but are rarely said to be eatable. Lovers who are madly in love or suffer from the pangs of separation lose their appetite, and in consequence become thin. In contexts of love-in-union, wine, but not food, is frequently consumed and appreciated for

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12

Akepiyapornchai, Manasicha. "Translating Tamil God into Sanskrit in Vedāntadeśika’s Dramiḍopaniṣattātparyaratnāvalī". JAOS 145, № 1 (2025). https://doi.org/10.7817/jaos.145.1.2025.ar003.

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This study explores the Śrīvaiṣṇavas’ commitment to upholding both the Sanskrit and Tamil scriptures or ubhayavedānta (literally, the dual Vedāntas). In particular, it focuses on how one of the most influential post-Rāmānuja ācāryas in the community, Vedāntadeśika (1269–1369), supported the two-scriptures principle in his Dramiḍopaniṣattātparyaratnāvalī. In this work Vedāntadeśika summarizes and translates the Tamil scripture, the Tiruvāymoḻi of Nammāḻvār, arguably the most authoritative South Indian Vaiṣṇava poet of a group collectively known as the Āḻvārs (ca. si

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13

Bhattacharya, Deepak. "Urdu: Evolution, Influence, and Resilience in Indian Linguistic Landscape." Indonesian Journal of Public Policy Review 23 (September 22, 2023). http://dx.doi.org/10.21070/ijppr.v23i0.1315.

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       This study delves into the rich linguistic tapestry of Urdu, tracing its origins in Sanskrit grammar, its versatile phonetics, and its enduring presence from love poetry to revolutionary discourse. Emerging in India, Urdu played a pivotal role as the lingua franca in the historical Awadh kingdom and served as a vital conduit during the 1857 revolt. Its roots as Proto Urdu, or Hindvi, can be traced to imperial Delhi, prior to Aurangazeb's reign. Following the Indo-Pak partition, Urdu was adopted as the National Language of Pakistan. While the per

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14

Pauwels, Heidi. "The Vernacular Pulse of Sanskrit: Metre and More in Songs of the Gītagovinda and Bhāgavata Purāṇa". Journal of Hindu Studies, 11 грудня 2020. http://dx.doi.org/10.1093/jhs/hiaa018.

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Abstract This article explores the metrical patterns of Gītagovinda’s songs, to investigate what they reveal about their origin and inspiration, building on previous scholarly research into the vernacular nature of the songs. Seemingly abstruse, metre lies at the heart of the performative nature of the text, but is often overlooked in a quest for meaning. The article starts with the approach of Sanskrit commentators, focusing on Mahārāṇā Kumbhakarṇa of Mewar’s fifteenth-century Rasikapriyā, interrelating with his theoretical work on music, the Saṃgītarāja. This reveals the problem of the discr

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15

-, Laxman Majhi, та Prof Subash Chandra Dash -. "The Pursuit of Puruṣārthas in Śrīharṣa's Naiṣadhīyacaritam: A Philosophical and Poetic Exploration". International Journal For Multidisciplinary Research 7, № 1 (2025). https://doi.org/10.36948/ijfmr.2025.v07i01.35118.

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Śrīharṣa’s Naiṣadhīyacaritam, a celebrated Sanskrit mahākāvya, is a masterful blend of poetic brilliance and philosophical depth. At its core, the text serves as a profound exploration of the four puruṣārthas dharma (righteousness), artha (wealth and statecraft), kāma (desire and love), and mokṣa (liberation) which constitute the foundation of the Indian Knowledge System (IKS). This paper examines how these puruṣārthas are intricately woven into the narrative of Nala and Damayantī’s journey, revealing the interdependence and harmony of these human goals. Through an analysis of the characters,

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16

"Tracking The Parrot’s Path: A Promulgation of Cultural Heritage." International Journal of Recent Technology and Engineering 8, no. 3 (2019): 5386–91. http://dx.doi.org/10.35940/ijrte.c6143.098319.

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Among multiple genres of Sanskrit poetry, the sandeśa or dūtakāvyas1 (messenger poems) have inspired curiosity among litterateur aficionados of the classics. Albeit such communications often involved exchanges of confidential messages among remote lovers, these poetries equally served as travelogues. Among the sandeśakāvyas composed in Kerala2 , Śukasandeśa of Lakṣmīdāsa, of the 14th century, is a remarkable literary work. Lakṣmīdāsa conveys his heartfelt feelings to Raṅgalakṣmī, his sweetheart, through a śuka (parrot). The messenger parrot travels from Rameswaram3 , where the separated lover

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17

Jain, Priyanka, and Marcos Steagall. "Decolonizing Picture Recitation." Link Symposium Abstracts 2020 2, no. 1 (2021). http://dx.doi.org/10.24135/link2021.v2i1.150.

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Picture recitation is the art of storytelling in verse accompanied with a visual prop like a scroll painting or a tapestry. Numerous picture recitation practices were active in India but suffered during colonization by the British in many ways. The subtle Victorian censorship of the theme of erotic expressed in the religious narratives (which formed the bulk of the picture recitation genre), the erasure of orature as primitive, the relegation of picture recitation practices as folk art and the split between picture (object and props that can be displayed in museums) and recitation (performativ

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18

Curran, Bev. "Portraits of the Translator as an Artist." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1923.

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The effects of translation have been felt in the development of most languages, but it is particularly marked in English language and literature, where it is a highly charged topic because of its fundamental connection with colonial expansion. Britain shaped a "national" literary identity through borrowing from other languages and infected and inflected other languages and literatures in the course of cultural migrations that occurred in Europe since at least the medieval period onward. As Stephen Greenblatt points out in his essay, "Racial Memory and Literary History," the discovery that Engl

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19

Brown, Malcolm David. "Doubt as Methodology and Object in the Phenomenology of Religion." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.334.

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Photograph by Gonzalo Echeverria (2010)“I must plunge again and again in the water of doubt” (Wittgenstein 1e). The Holy Grail in the phenomenology of religion (and, to a lesser extent, the sociology of religion) is a definition of religion that actually works, but, so far, this seems to have been elusive. Classical definitions of religion—substantive (e.g. Tylor) and functionalist (e.g. Durkheim)—fail, in part because they attempt to be in three places at once, as it were: they attempt to distinguish religion from non-religion; they attempt to capture what religions have in common; and they a

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