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Journal articles on the topic 'Sanskrit poetry'
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Hemraj Saini. "Modern Sanskrit Children's Literature." Knowledgeable Research: A Multidisciplinary Journal 1, no. 09 (2023): 17–48. http://dx.doi.org/10.57067/kr.v1i09.75.
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In the modern poetry world, the use of the word 'literature' by the poets is considered in the sense of poetry. In the past, the noun 'poetry' actually used to express poet-action - kaveh karma kavyam.
In the modern context, the word 'literature' used in place of poetry has been used in three senses on the basis of evidence of practical experiments-
Firstly - on the evidence of 'Sahityapathonidhimanthannottham Kavyamritam Rakshat he Kavindra': The meaning of the word literature is very wide, that is, the word literature is also used in the meaning of all written oral literature.
Secondly - 'Sahitye Sukumarvastuni Dharvannayagrahagranthile', on the evidence of this statement of Shri Harsha, the word literature is used in the sense of a special 'poetry', a part of literature.
Thirdly - In 'Sahityavidyashramvarjiteshu.....' the word literature has been used in the combined sense of poetry and poetry.
In modern life, the word literature or poetry expresses the same feeling in Sanskrit... 'Sahiten Bhavah Sahityam'. In fact, 'poetry' or 'literature' is defined in different contexts from ancient poets to modern poets. In the context of literature, Acharya Bhamah of Kavyashastra has the opinion that- “Shabdharthau sahitau kavyam.”1
That is, the meaning of the meaning is poetry. The association of semantics is visible in practical sentences and sentences based on classical or scientific thinking. But the association of poetry is different from this. In fact, the feeling of Bhamaha word meaning which is called literature is an excellent quality of co-feeling. That association should be such that on the one hand the reader receives derived opinion in various purusharths, as well as the hearty child, the young man i.e. the poetry connoisseur gets joy and happiness.
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Arun Kumar Nishad. "Modern Sanskrit poetry and Other than Sanskrit words." Knowledgeable Research: A Multidisciplinary Journal 1, no. 08 (2023): 53–67. http://dx.doi.org/10.57067/pprt.2023.1.08.53-67.
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There has been trade in India since the Rig Vedic period. It is mentioned in the situation that the watery horses, powerful chariots and woolen clothes of the Indus region were famous all over the world. The Atharvaveda has only one Sukta in the name of Vanijya Sukta - Descriptions of sea visits are also found in Jataka stories and Buddhist stories. Business reasons are used to visit the traders of one country to another country. He (traders) had to teach the dialect of that country for their thoughts and purchasing and purchasing goods. The Harappans were identified as very good marine sailors. The Dakyard found in Lothal, Gujarat is very concrete evidence of the maritime trade being done during that time. The people of the Harappan civilization established contacts with the countries of Oman, Bahrain, and West Asia. Since the Harappan period, cloth has been continuously one of the major items of Indian trade. According to Hagel- “India is known as the land of ambitions in history. Their (traders) this reconciliation result was that each other's languages got so much that they started being used in colloquial just like Hindi-Sanskrit and gradually made their grip to literary disciplines.
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Sthavirah, Davuldena Jnanesvara. ""Regret" - Contemporary Sri Lankan Sanskrit Poetry." Buddhist Studies Review 20, no. 2 (2003): 183–88. http://dx.doi.org/10.1558/bsrv.v20i2.14274.
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Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.
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This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani has been suggested by certain scholars as also enriching the possibilities of interfaith dialogue. This paper argues for incorporating poetic frameworks like dhvani as modes of interfaith dialogue, especially when reading Christian texts in India.
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Uma, B. "The Structural Compression of Kāvyprakāsa and Taṇṭiyalaṅkāra". Shanlax International Journal of Arts, Science and Humanities 7, № 4 (2020): 84–90. http://dx.doi.org/10.34293/sijash.v7i4.2318.
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Tolkāppiyam, the first extant work of Tamil grammar covers the descriptions on the ‘Rhetoric Grammar’ (aṇiyilakkaṇam; figures of language) under the chapter simile. Later on, In ‘Vīracōḻiyam’ which is one of the five grammatical thoughts of Tamil, (Eḻuttu, Col, Poruḷ, Yāppu, Aṇi) the rhetoric aspects of the language was described as following Sanskrit work ‘kāviyātarca’. Subsequently, more works such as Taṇṭiyalaṅkāra, Māṟāṉalaṅkāram, Toṉṉūl Viḷakkam, Muttuvīriyam were written based on the Sanskrit rhetorical conventions. Though the rhetoric works in Tamil were written on the basis of Sanskrit rhetoric aspects, it would have been authored in the Tamil context. Considering the requirement of a comparative research to understand this, the present study proposes to analyses the Sanskrit work ‘Kāvyprakāsa’ written in 11thAD and Tamil work ‘Taṇṭiyalaṅkāra’ written in 12thAD. Noteworthy, both the books were authored in the same time period. This work is comparing the structure of the rhetoric grammatical work of kāvyaprakāsa in Sanskrit and Taṇṭiyalaṅkāra in Tamil. Kāvyaprakāsa divided into ten chapter (ullāsa) and comprises three parts, the kārikās (the stanzas), the vrutti (the explanatory prose gloss), and the examples. This book has 143 rules for poetics. Taṇṭiyalaṅkāram is the earliest complete rhetoric grammar of Tamil written by Dandi. He explains ‘Taṇṭiyalaṅkāram’ under ‘Potuvaṇiyiyal’ (common rhetoric), ‘Poruḷaṇiyiyal’ (rhetoric meaning) and ‘Collaṇiyiyal’ (rhetoric terms). I would like to look at the internal structure and external structure of both texts. Internal structure will deals with auspicious verse, purpose of poetry, divisions of poetry, poetry defects, poetry gunās and rhetoric terms. The chapter divisions will be considering as external structures.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 3, no. 2 (2021): 1–18. http://dx.doi.org/10.47298/jala.v3-i2-a1.
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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.
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Dr.Arun Kumar Nishad. "Dr. Navalata's contribution to modern Sanskrit literature." Knowledgeable Research: A Multidisciplinary Journal 2, no. 07 (2024): 17–23. http://dx.doi.org/10.57067/kr.v2i1.215.
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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.
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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.
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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 1, no. 2 (2019): 10–17. http://dx.doi.org/10.47298/jala.v1-i2-a2.
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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.
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Madaan, Vishu, and Prateek Agrawal. "Anuvaad." International Journal of Social Ecology and Sustainable Development 13, no. 1 (2022): 1–14. http://dx.doi.org/10.4018/ijsesd.295088.
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Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.
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Dr. Mahavir Prasad Sahu and Dr. Kalpana Shringi. "Real disclosure of contemporary politics - "Vikramacharit Aakhyan"." Knowledgeable Research: A Multidisciplinary Journal 2, no. 10 (2024): 106–11. http://dx.doi.org/10.57067/1ahy8q92.
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Prof. born in Rajgarh district of Madhya Pradesh. Radhavallabh Tripathi is the outgoing Chancellor of the Rashtriya Sanskrit Sansthan (New Delhi). The works written by him include Adi Kavi Valmiki: (1976), Lokdharmi Tradition of Sanskrit Poetry (1976, 1999), Poetics and Poetry (1987), Lectures on Drama (1992), Drama and World Theatre (1988), Drama Encyclopedia (Chaturshu Khandeshu, 1999), etc., critical and poetic works. The text is important. In the field of literature, his major works are Rotikalahari (poetry), Abhinavasuk Saptati (collection of stories), Prekshanam Saptakam (street plays), Karuna (short novels), Anyachya (novel), Vikramcharitam (narratives). Due to your vast work of excellence, you have been honoured with many famous awards. Your composition 'Vikramcharitam' is a narrative divided into nine chapters, which, though written in mythological style, is a depiction of the political issues of the modern era through its subject matter. And it appears to express social problems.
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SAWHNEY, SIMONA. "Who is Kalidasa? Sanskrit poetry in modern India." Postcolonial Studies 7, no. 3 (2004): 295–312. http://dx.doi.org/10.1080/1368879042000311098.
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Schelling, Andrew. "Manuscript Fragments and Eco-Guardians: Translating Sanskrit Poetry." Manoa 11, no. 2 (1999): 106–15. http://dx.doi.org/10.1353/man.1999.0028.
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Truschke, Audrey. "Contested History: Brahmanical Memories of Relations with the Mughals." Journal of the Economic and Social History of the Orient 58, no. 4 (2015): 419–52. http://dx.doi.org/10.1163/15685209-12341379.
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Brahman Sanskrit intellectuals enjoyed a century of relations with the Mughal elite. Nonetheless, such cross-cultural connections feature only sporadically in Persian chronicles, and Brahmans rarely elaborated on their imperial links in Sanskrit texts. In this essay I analyze a major exception to the Brahmanical silence on their Mughal connections, theKavīndracandrodaya(“Moonrise of Kavīndra”). More than seventy Brahmans penned the poetry and prose of this Sanskrit work that celebrates Kavīndrācārya’s successful attempt to persuade Emperor Shah Jahan to rescind taxes on Hindu pilgrims to Benares and Prayag (Allahabad). I argue that theKavīndracandrodayaconstituted an act of selective remembrance in the Sanskrit tradition of cross-cultural encounters in Mughal India. This enshrined memory was, however, hardly a uniform vision. The work’s many authors demonstrate the limits and points of contestation among early moderns regarding how to formulate social and historical commentaries in Sanskrit on imperial relations.
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Norman, K. R. "A History of Classical Poetry: Sanskrit - Pali - Prakrit. Siegfried Lienhard." Buddhist Studies Review 4, no. 1 (1987): 84–88. http://dx.doi.org/10.1558/bsrv.v4i1.16030.
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Baishy, Lalta Prasad. "Współczesna sytuacja sanskrytu." Gdańskie Studia Azji Wschodniej, no. 24 (December 2023): 277–82. http://dx.doi.org/10.4467/23538724gs.23.035.19031.
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The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or Latin have in European society. India has a special day celebrating Sanskrit, and a special week for Sanskrit. People have started to learn Sanskrit in German schools and in US schools. NASA also uses Sanskrit. It is possible in the future that computers will work in Sanskrit. Sanskrit is the language in which the Vedas, Upanishads, Puranas, and texts on ethics are written. It has been a language used in India for a very long time. Sanskrit is a classical and historical language of India. The corpus of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, and Hindu religious texts. The importance of Sanskrit is quite evident from its all-India scope. It goes without saying that it is the basis of most of the modern Indian languages. I give several opinions of Sanskrit of some of the greatest orientalists that the world has ever produced; I show the consensus of the opinions of men like Professor Max Müller, Veer Savarkar, Rajendra Prasad, and Mahatma Gandhi. These opinions show the cultural importance of Sanskrit in the life of India as the only language that can culturally integrate the entire country and the entire Hindu society.
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Fiveyskaya, Anastasia, and Anastasia Guria. "Reworking of a Pre‑Literary Plot in the Literary Jātaka: the Case of Haribhaṭṭa's Hastī‑Jātaka." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 1 (2022): 12–22. http://dx.doi.org/10.31250/1238-5018-2022-28-1-12-22.
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The article focuses on the comparison of a literary Sanskrit jataka with its possible Pali prototype. Haribhatta, who wrote another Jataka‑mala one or two centuries after Arya Sura, is generally believed to be Kalidasa's contemporary. Our research is devoted mainly to the approaches of a Sanskrit kavya poet handling a pre‑literary source story. We studied Haribhatta's tale of the elephant Bodhisattva (partly based on Pali jataka 514, Chaddanta‑jataka), focusing on his reworking of the plot and on the comparison of style of the two texts. The plot reworking was analyzed within the framework of narratology, revealing a deliberate artistic composition in the later Sanskrit text. The style of the Jataka‑mala bears semblance to Kalidasa's poetry, as well as to some other court Sanskrit literature works.
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Bhatta, Panduranga Charanbailu. "Literary Creation: Insights from Sanskrit Literary Critics." European Journal of Multidisciplinary Studies 6, no. 1 (2017): 261. http://dx.doi.org/10.26417/ejms.v6i1.p261-268.
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All aspects of literary creation, from creation to expression, have been recorded with perceptive insights and in minute detail by the renowned Sanskrit literary critics. The main topics dealt with by these critics are: the definition and classification of literary creation, viz., poetry, prose, drama etc; the figures of speech (alamkaras), the sentiments (rasas), literary merits and defects (gunas and doshas), style (ritis), and purpose (prayojana). They discuss important ingredients of literary creation such as creative talent (pratibha), erudition (vyutpatti) and practice (abhyasa), the problem of coincidence (samvada), inexhaustible resources, etc. A great literary creation is one that has great imageries, natural descriptions, exquisite miniatures, precious maxims and keen observations of men and matter, besides revealing deep understanding of human character. It exhibits precise phrasing, proportion and restraint, delicacy, sensitiveness, and above all, a profound suggestiveness. Sanskrit literary critics’ views on the relative importance of word and sense in literary creation, their concept of poetry which has spontaneous expression of a deeply felt emotion as its essence, their appeal to make new literary creation, their views on what is essential for literary creation-all these are very valuable contributions towards literary creation. The main purpose of this paper is to help budding literary creators in any language irrespective of time and place by providing new insights.
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Karcz, Marta. "The ripeness of poetry—innovation in the concept of kāvyapāka as introduced by Bhoja." Cracow Indological Studies 22, no. 2 (2020): 63–78. http://dx.doi.org/10.12797/cis.22.2020.02.04.
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The paper examines the contribution of Bhoja, an 11th-century theoretician of Sanskrit literature, to the theory of kāvyapāka—the maturity or ripeness of poetry. The concept relies on comparison between a poem and a fruit as they likewise must come to fruition to reach perfection—the state when they are most pleasing to their recipients. The theory is mentioned in numerous important Sanskrit works on poetics. However, different theoreticians perceive the state of perfection in poetry somewhat differently. Bhoja provides yet one more view on this matter. Although he relies on his predecessors, and in some points agrees with them, he also offers fresh perspectives on the subject. The paper focuses on the analyses of relevant passages from Bhoja’s works, Sarasvatīkaṇṭhābharaṇa and Śṛṅgāraprakāśa, concerning the subject of kāvyapāka, and compares them with the views of other theoreticians as summarized in the first part of the study.
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Pigoniowa, Mariola. "Some Lamentation Passages in Sanskrit Poetry (Especially in Kālidāsa’s Mahākāvyas)." Archiv orientální 89, no. 1 (2021): 123–53. http://dx.doi.org/10.47979/aror.j.89.1.123-153.
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The paper gives a detailed comparison of the two Sanskrit lamentation passages, the laments of Aja (Ragh. 8. 37–69) and Rati (Kum. 4.1–38); it is conducted against the background of some other texts with similar content. The laments share a number of similar motifs. When examining the structure of these passages (as well as that of other related texts, not only those written in Sanskrit), the following elements may be discerned: the speakers’ stupor or loss of consciousness; their attempts at self-destruction; an address to the dead in which personal experiences are recalled. The lamenting persons are shown as coming to cry over themselves, thereby embracing some personal memories and finding comfort or protection. Apart from offering words of comfort, the consolatory speeches addressed to them also give an explanation of the causes of their loss (the death of Indumatī or the incineration of Kāma).
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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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D’Avella, Victor B. "Recreating Daṇḍin’s Styles in Tamil". Cracow Indological Studies 22, № 2 (2020): 17–41. http://dx.doi.org/10.12797/cis.22.2020.02.02.
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In Sanskrit poetics, the defining characteristics of poetry, its very life breath, are the guṇas, ‘qualities’. They make up the phonetic and syntactic fabric of poetic language without which there would be nothing to further to ornament. Many of these intimate features are by necessity specific to the Sanskrit language and defined in terms of its peculiar grammar including phonology and morphology. In the present article, I will describe what happens to four of these guṇas when they are transferred to the Tamil language in the Taṇṭiyalaṅkāram, a close adaptation of Daṇḍin’s Kāvyādarśa. I wish to demonstrate that the Tamil Taṇṭi did not thoughtlessly accept the Sanskrit model but sought, in some cases, to redefine the qualities so that they are meaningful in the context of Tamil grammar and its poetological tradition. A partial translation of the Tamil text is included.
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Goren-Arzony, Sivan. "Feels Like Our Language: Vernacular Poetics in Premodern Kerala." Journal of South Asian Intellectual History 4, no. 2 (2022): 117–45. http://dx.doi.org/10.1163/25425552-12340032.
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Abstract This paper deals with the Līlātilakam, a premodern work from Kerala that analyzes the grammar and poetics of “Rubies and Coral” (Maṇipravāḷam), Kerala’s main premodern literary form, which combines Sanskrit and the local language. By examining the poetic sections of the Līlātilakam, I show some of the ways in which they are used to demonstrate that Rubies and Coral is not only a fitting tool for writing poetry in the Sanskrit style but also an autonomous literature with an internal structure of its own. In my analysis I illustrate this through the use of three case studies focusing on syntax, bi-textuality, and poetic convention.
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Gerow, Edwin, та Robert A. Hueckstedt. "The Style of Bāṇa: An Introduction to Sanskrit Prose Poetry". Journal of the American Oriental Society 107, № 2 (1987): 361. http://dx.doi.org/10.2307/602867.
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Salomon, Richard. "Concatenation in Kālidāsa and Other Sanskrit Poets." Indo-Iranian Journal 59, no. 1 (2016): 48–80. http://dx.doi.org/10.1163/15728536-05901002.
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Concatenation, that is, the linking of successive verses of a poem by the repetition of the same or similar words, has been discussed by several scholars in relation to Vedic and Prakrit poetry, but other than a ground-breaking article published by W. Schubring in 1955, it has been insufficiently studied in classical Sanskrit kāvya. This article argues that a particular form of concatenation, involving long-distance word repetition across as many as five or even ten verses, is characteristic of the works of Kālidāsa in particular but also of Sanskrit poets in general. Like Schubring’s article, this one focuses on the Meghadūta, but uses a broader definition of scope of concatenation.
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Galariya, Sabbir A. "World Literature and the Rise of Sub-nationalisms in Indian Vernaculars: British Romantic Poets in Gujarati Translation." Translation Today 17, no. 2 (2023): 1–28. http://dx.doi.org/10.46623/tt/2023.17.2.ar1.
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This paper focuses on how world literature played a crucial role in shaping a sub-national Gujarati identity. Narsinhrao Divatia (1859-1937) – the well-known Gujarati poet, critic and linguist presented partial or complete translations of British Romantic poets like Wordsworth, Keats, Shelley and Byron from the fourth part of F.T. Palgrave’s Golden Treasury (1861) in his seminal poetry anthology Kusummala (1887). This translation played a significant role in redefining Gujarati poetics and Gujarati identity. It also elevated the cultural status of Gujarati literature by introducing Sanskrit poetics in the Gujarati translations. However, in the Gujarati literary tradition, Divatia’s translations of the British Romantic poets are treated as ‘nakal’ (copy) and derivative of Western poetry. This paper argues that the Gujarati translations of the British Romantic poets in Kusummala (1887) cannot be dismissed as cheap copies, but have to be read as refractions, a kind of rewriting elaborated by André Lefevre. Kusummala is an example of an interliterary text where Gujarati translations of the British Romantic poets are mediated with the help of Sanskrit poetics. This paper also argues that the sub-national Gujarati identity goes beyond the dichotomy of Vishwa and Rashtra, as proposed by Vinay Dharwadker.
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Dejenne, Nicolas. "Hamsa Stainton, Poetry as Prayer in the Sanskrit Hymns of Kashmir." Archives de sciences sociales des religions, no. 192 (December 31, 2020): 300–302. http://dx.doi.org/10.4000/assr.58172.
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आचार्यः Acharya, भानुभक्त Bhanubhakta. "काव्यमुखेन व्याकरणरचनापरम्पराया अनुशीलनम् {A Study of Sanskrit Grammar Tradition Through Poetry}". Kaumodaki: Journal of Multidisciplinary Studies 4, № 1 (2024): 12–23. http://dx.doi.org/10.3126/kdk.v4i1.64540.
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वैदिकवाङ्मये पुराणादौ च काव्यमाध्यमेन व्याकरणरचनापरम्परायाः मार्गदर्शकाः शास्त्रकाव्यत्वेन प्रथिताः कृतयः कात्स्न्र्येन नोपलभ्यन्ते । श्रुतौ आंशिकरूपेण पुराणादौ चानुषङ्गिकरूपेण व्याकरणस्य विषयाः पद्येनानुस्यूता वर्तन्ते । अस्मिन्नालेखे काव्यमाध्यमेन संस्कृतव्याकरणरचनापरम्पराया उपजीव्यविषया वेदे मिलन्तीति निर्धारणं विधाय तेषां संक्षेपेण विश्लेषणं कृतमस्ति । पुराणेषु प्रोक्ता काव्यमुखेन व्याकरणनिर्माणपरम्पराया अवस्थितिरत्र गवेषिताऽस्ति । अग्निपुराणे व्याकरणसम्बद्धाः कति अध्यायाः प्रोक्ताः सन्ति, संज्ञाविषये सन्धिविषये च कीदृशं व्याख्यानं मिलति, विभक्तिः कतिधा भवति, रूपचालनप्रक्रिया कीदृशी एतासां जिज्ञासानां समाधानं प्रस्तुतमस्ति । काव्यमुखेन व्याकरणनिर्माणपरम्पराया अनुशीलनक्रमे बृहन्नारदीयपुराणे पद्येन रचिता लादेशादिनियामका व्याकरणविषया विमृष्टाः सन्ति । महागरुडपुराणे लिखितानां सिद्धशब्दज्ञानाय कल्पितानां विषयाणामनुशीलनं कृत्वा भविष्यपुराणे प्रोक्तविषयाणा संक्षिप्तविश्लेषणं विहितं वर्तते । काव्यमुखेन व्याकरणकाव्यकर्तारः कवयः के के वर्तन्ते, तैः कीदृशा ग्रन्था विरचिताः सन्ति, पाणिनिना विरचिते जाम्बवतीविजयकाव्ये व्याकरणसम्बद्धाः कीदृशो विषया सन्यस्ताः, बलचरितकाव्यस्य संक्षिप्तरिचयः कीदृग् वर्तते, एषां विषयाणां गवेषणं विश्लेषणञ्चात्र निष्पादितम्। वररुचिना प्रणीते स्वर्गारोहणकाव्ये शेषावतारेण पतञ्जलिना रचिते महानन्दककाव्ये च वर्णितानां विषयाणामन्वेषणविश्लेषणेऽत्र स्तः । रावणार्जुनीयकाव्ये लिखितानां भट्टिकाव्येच काव्यमुखेन वर्णितानां व्याकरणविषयाणामध्ययनमत्र विहितं वर्तते । एवमेव प्रस्तुतोऽयं लेखो व्याकरणविषयमवलम्ब्य काव्यमाध्यमेन रचितानां कविरहस्यम्, कुमारपालचरितम्, सुभद्राहरणम्, वासुदेवविजयम्, धातुकाव्यमित्येतेषां व्याकरणकाव्यमूलकानां ग्रन्थनामनुशीलने विश्लेषणे च केन्द्रितो वर्तते । काव्यमाध्यमेन संस्कृतव्याकरणनिर्माणपरम्परा कीदृशी आसीदिति जिज्ञासासमाधाने प्रकृतमध्ययनं उपयोगि वर्तते । उपर्युक्तग्रन्थेषु प्रतिपादितविषयाणां पौर्वापर्यरूपेणाध्ययनाय समीक्षणाय चायमालेख उपकारकंो भविष्यति ।
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Wojtczak, Lidia. "The Winding Ways of Poetry: Ratnaśrījñāna on Daṇḍin’s mārgas". Cracow Indological Studies 22, № 2 (2020): 1–15. http://dx.doi.org/10.12797/cis.22.2020.02.01.
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One of the earliest Sanskrit poeticians, Daṇḍin, dedicates an entire chapter of his Kāvyādarśa to the investigation of mārgas or the ‘ways’ of poetry. These are based on adaptable configurations of poetic qualities and faults and, although there seems to be an infinite number of ‘ways’, Daṇḍin characterises only two, Vaidarbha and Gauḍīya. In this paper, I show how the earliest known commentator of the Kāvyādarśa, Ratnaśrījñāna, uses philosophical discussions and archetypes to expand on Daṇḍin’s rather cursory engagement with the methodology of the ‘ways’ to create a truly śāstric schema.
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Logan, Katharina. "A Difficult Equation: The Search for Identity in the Poetry of Diego Bastianutti." Italian Canadiana 38, no. 1 (2024): 5–28. http://dx.doi.org/10.33137/ic.v38i1.43405.
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Diego Bastianutti’s poetry is part of a cathartic process of coming to terms with his exile from Fiume during the Julian-Dalmatian exodus immediately following the Second World War. This article analyzes Bastianutti’s poetry, focusing on his process of coming to terms with his exile and his multi-layered cultural identity. His self-identification as mestizo, a Spanish term usually used to describe someone of mixed Spanish and Indigenous descent, and then as an antevasin, a Sanskrit term for a border-dweller, emerge as solutions to, or rationalizations for, the problem of the pain Bastianutti wrestles with as a result of his exile, displacement, and emigration.
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Schelling, Andrew. "Nobby, or Metamorphosis." boundary 2 49, no. 3 (2022): 123–32. http://dx.doi.org/10.1215/01903659-9789752.
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Abstract Andrew Schelling recalls and discusses a college course, “World Poetry,” which Norman O. Brown taught at University of California, Santa Cruz, in 1974. The turbulent politics and weird, harrowing culture changes of North America set a context. Brown's class met weekly in a remote meadow ringed by second-growth redwoods. Brown developed his interest in the “law of metamorphosis,” which he thought poetry captures, and put his attention on how the human body changes, producing text as sound or performance. Using two anthologies compiled by Jerome Rothenberg, Brown drew students into a poetry that was physical, raw, multilingual, and perhaps a scriptural base for the era's counterculture. Schelling portrays Brown as a quixotic figure, Sir John Falstaff among scholars. A quick sketch of the “Santa Cruz ecosystem” brings into the mix Gregory Bateson, whose thoughts on evolution paralleled Brown's on poetry, and Jan Willis, veteran civil rights activist and scholar of Sanskrit.
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Truschke, Audrey. "A Padshah like Manu: Political Advice for Akbar in the Persian Mahābhārata." Philological Encounters 5, no. 2 (2020): 112–33. http://dx.doi.org/10.1163/24519197-12340065.
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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.
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Dr. Budhanath Pratihast. "A.K. Ramanujan’s Select Poems: A Humanistic Approach." Creative Launcher 5, no. 2 (2020): 48–53. http://dx.doi.org/10.53032/tcl.2020.5.2.05.
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Attipat Krishnaswamy Ramanujan (1929-1993), needs no introduction in the word of Indian English Poetry. His poems are liked by every person because his poems are either replete with the humanistic approach or his poem have autobiographical elements. He was a poet, translator, playwright and folklorist. He belonged to a Hindu family. He was a trilingual writer who wrote in English, Tamil and Kannada. He has interpreted some works written in Sanskrit and Tamil bases on some classical and modern variants. He had four poetry collections to his credit: The Striders (1966), Relations (1971), Second Sight (1986), and The Black Hen (1995). Ramanujan’s poems are so easy and personal that these poems touch the heart of reader.
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DEZSŐ, CSABA. "The Story of the Irascible Yakṣa and the King Who Nearly Beheaded Himself in Dhanapāla's Tilakamañjarī". Journal of the Royal Asiatic Society of Great Britain & Ireland 22, № 1 (2012): 73–91. http://dx.doi.org/10.1017/s1356186311000848.
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The Tilakamañjarī, Dhanapāla's poem in prose (gadyakāvya) is one of the masterpieces of classical Sanskrit literature and deserves to be better known. What he says in one of the introductory verses about his contemporary audience is also true about the readers of our time: “People, smelling danger, turn away from prose which contains a forest of unbroken lines (i.e. compounds filling whole lines) and lots of descriptions, as they keep away from the many-coloured tiger which lives in the dense Daṇḍaka forest”. Although Dhanapāla shows more restraint in his descriptions and in the use of alliteration and long compounds than his illustrious predecessor Bāṇa, the extremely intricate plot of the Tilakamañjarī might discourage those who otherwise appreciate Sanskrit poetry. I am certain, however, that once a taste for gadyakāvya is acquired all these deterring factors turn into sources of delight.
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Vyas, Mina S. "A study of an Emphasis on Sanskrit Language in New Education Policy (NEP) 2020." Revista Review Index Journal of Multidisciplinary 2, no. 4 (2022): 07–09. http://dx.doi.org/10.31305/rrijm2022.v02.n04.002.
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Indian language instruction and study must be fully included into K-12 and post-secondary curricula. There has to be a continual supply of high-quality learning and print materials in these languages, such as textbooks, workbooks, movies, plays, poetry, novels, magazines, etc., for them to stay relevant and dynamic. The strategy also suggests that languages should have regular, official revisions to their dictionaries and glossaries, which would be communicated to a large audience, to ensure that the latest topics and ideas may be addressed fluently in these languages. The Union Cabinet has adopted the National Education Policy (NEP) 2020, with a focus on establishing an Indian Institute of Translation and Interpretation and obligatorily emphasising Sanskrit and other Indian languages. According to NPE 2020, the Indian and regional languages must get adequate attention, and Sanskrit will be incorporated into the curriculum.
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Oleksiw, Susan, Gudrun Bühnemann, Budha-Kauśika, Gudrun Buhnemann та Budha-Kausika. "Budha-Kauśika's Rāmarakṣāstotra: A Contribution to the Study of Sanskrit Devotional Poetry". Journal of the American Oriental Society 105, № 2 (1985): 385. http://dx.doi.org/10.2307/601751.
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Nadarajah, Devapoopathy. "Punalaatu in Tamil and Sanskrit Classical Poetry: A Study in Culture Variation." Journal of Indian Studies 5, no. 1 (1993): 89–100. http://dx.doi.org/10.22452/jis.vol5no1.10.
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Obrock, Luther. "Poetry as Prayer in the Sanskrit Hymns of Kashmir, by Hamsa Stainton." Indo-Iranian Journal 63, no. 4 (2020): 395–99. http://dx.doi.org/10.1163/15728536-06304006.
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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.
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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.
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Shacham, Ilanit Loewy. "Expanding domains and the personal, imperial style of Kṛṣṇadevarāya". Indian Economic & Social History Review 56, № 3 (2019): 311–37. http://dx.doi.org/10.1177/0019464619852437.
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In modern literary histories of Telugu literature, no period shines as bright as King Kṛṣṇadevarāya’s reign (1509–29). This period is noted for its bustling literary court from which a significant part of the Telugu canon emerged. These works, commonly referred to as the prabandhas, are often characterised as the Telugu counterpart of the Sanskrit mahākāvya/court poem and within this context, Kṛṣṇadevarāya’s reign is called ‘the golden age’ of Telugu literature and the ‘age of prabandha’. Close examination of the prabandhas indicates that despite common influences from Sanskrit and Telugu literature, each of the prabandhas, takes a radically different approach to poetry, convention, and language, and is innovative in extremely diverse ways. As a case study, this article uses Kṛṣṇadevarāya’s own celebrated Telugu poem, the Āmuktamālyada. Though Kṛṣṇadevarāya uses many of the conventions associated with Sanskrit courtly culture in general and with the mahākāvya in particular, he does so in unconventional ways. He gives everyday life a new, prominent role (previously unavailable to it in mahākāvyas) and is able to do so by creating a new type of division of labour between Sanskrit and Telugu. He also integrates new poetic realms such as the village and temple into the so-called courtly settings, creating a new mode of narration. Thus, examined outside the context of the golden age of the Telugu prabandha, the Āmuktamālyada emerges as a work in which previous schemes of power are inverted: the periphery and so-called margins—social, geographic, linguistic, and religious—create a new core which in turn, reflects Kṛṣṇadevarāya’s unique personal and political worldview.
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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 Buddhist narrative: (1) discouragement with worldly objects and renunciation, and (2) courageous act of self-sacrifice. Vidyākara’s anthology of Sanskrit poetry (Subhāṣitaratnakoṣa) and the poetics section of Sa skya Paṇḍita’s introduction to the Indian systems of cultural knowledge (Mkhas pa rnams ’jug pa’i sgo) offer two rare examples of Buddhist engagement with aesthetics of emotions. In addition to some developed views of literary critics, these two Buddhist writers are relied on in this study to provide perspectives on how Buddhists themselves in the final phase of Indian Buddhism might have read Buddhist literature in light of what they learned from the theory of aesthetics.
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Thornton, Elizabeth. "“Go Home, Purūravas”: Heterodox Rhetoric of a Late Rigvedic Dialogue Hymn." Journal for the History of Rhetoric 22, no. 2 (2019): 208–22. http://dx.doi.org/10.5325/jhistrhetoric.22.2.0208.
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ABSTRACT This essay attempts to de-link the study of the Rigveda from both colonial philology and ongoing Hindu nationalist projects. It brings the rhetoric of form, especially as theorized by Kenneth Burke, to open up space for critics and commentators with a broader range of relationships to Brahmanical liturgy. To further the goal of delinking, it first narrows the scope of analysis to dialogue hymns, which are reminiscent of debates found within Buddhist conversion narratives rendered in versified Sanskrit. It then centers formal linguistic figures that these two layers of Sanskrit poetry have in common. Finally, conceptualizing these formal devices, it uses analytic categories from a South Asian critical tradition (alaṃkāraśāstra). Framed and constrained in this manner and applied to the (ex-)lovers’ quarrel of Purūravas and Urvaśī (in R.V. 10.95), a Burkean analysis reveals an exchange that both satisfies the “appetites” and allays the concerns of conservative audiences, who otherwise might fear that their wives could follow Urvaśī’s example and happily part with their wedded partners-in-sacrifice.
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Chunsaengchan, Palita. "Poeticizing Cinematic Experiences: Traditional Thai Poetry in the Early Film Magazine Phappayon Siam." Journal of Modern Periodical Studies 14, no. 2 (2023): 230–51. http://dx.doi.org/10.5325/jmodeperistud.14.2.0230.
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ABSTRACT This article analyzes Thai poems that discussed the early days of cinema in three weekly issues of Phappayon Siam from 1922. Published among other prose writings, the poems depicted the poets’ moviegoing experiences, the splendor of cinema, and references to Buddhism using archaic words and Sanskrit literary forms. The article examines the unusual connection between traditional poetry and modern cinema and argues that this convergence not only reshapes the way we think about the hegemonic narratives about prosaic influences on cinema but also the scope of indigenous investment in traditional religious figures and their relationship to cinema and modernity.
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Kapadia, Aparna. "The Last Cakravartin? The Gujarat Sultan as ‘Universal King’ in Fifteenth Century Sanskrit Poetry." Medieval History Journal 16, no. 1 (2013): 63–88. http://dx.doi.org/10.1177/097194581301600103.
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Gokhale, Prajakti. "PYTHAGOREAN TRIPLES: THE CONNECTION BETWEEN NUMBER THEORY, GEOMETRY AND ALGEBRA THROUGH THE VEDIC MATHEMATICS PERSPECTIVE." International Transactions in Mathematical Sciences and Computer 15, no. 01 (2022): 15–24. http://dx.doi.org/10.58517/itmsc.2022.15103.
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The ancient mathematics of India is an amalgamation of poetry, literature, art, architecture and also scientific thought. Looking at Sanskrit literature, the literature developed for expressing mathematical thoughts and ideas have their special place in linguistic evolution. We can observe that the technical Sanskrit language evolved through the centuries as rich mathematical ideas developed. For the expression of these ideas, the strong technical vocabulary ofthe language was needed. This language approach was very different, it can be compared to today’s technical vocabulary we have developed for modern computer which was alien even 30 years ago. The ancient technical vocabulary was difficult for contemporary scholars to understand and hence mathematical ideas remain hidden in it for a longer time. The new approach of mathematics invented and developed by Bharti Krishna Tirtha, which did not show such language barriers. It was written in the form of one-line simple Sanskrit words called ‘sutra’. The deep meaning of sutra, its connection and its interpretation to different branches of mathematics and also the deep spiritual thought behind the sutra, is worth studying and researching. In my research paper, I will be presenting the technicalities of ancient mathematical language and exploring the method of Pythagorean triples through the Vedic mathematics ‘sutras’ formulated by Bharati Krishna Tirtha. I will also be highlighting the applications of triples in current mathematical scenario, to connect the different fields of mathematics, implication of which is making mathematics easy, conceptually clear and alsoperceived with a new dimension of thought.
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DR. MUHAMMAD YOUSAF and DR. AMBREEN KHAWJA. "Influence of Literary Figures on Urdu Poetry of Azad Kashmir: A Study." DARYAFT 16, no. 01 (2024): 27–46. http://dx.doi.org/10.52015/daryaft.v16i01.392.
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The study of the influence of literary figures on the poetry of Azad Kashmir shows that there are influences of Sanskrit, Kashmiri, Persian, Arabic, Urdu and other regional languages as well as classical and modern poetry on the literature of Azad Kashmir. There are intellectual and artistic influences on the poetry of Azad Kashmir from to the present period. Some thought is prominent, some artistic imitation is visible. There is similar style; there is also the use of similar tone. However, all these influences despite this, the poetry of Azad Kashmir have its own individuality and its own style. Azad Kashmir's poetic capital, while being a part of the poetic tradition of Urdu language, has interesting, unique experiences and individual characteristics in terms of theme, theme, style innovation, new symbols, techniques, untouched and unique creative experiences and many other aspects. Azad Kashmir's own regional symbols and some unique experiences give its distinctive color to the poets of Azad Kashmir. Happily, the influence of movements, ideologies and personalities in the footsteps is less visible in the new generation. The poets of the new generation are actively and diligently engaged in creating their own special point of view, their own tone, their own style, and their own color. In spite of the influence of literary movements, critical schools, literary theories, poetic styles and poet personalities in the poetry of Azad Kashmir, its own color and harmony exist with all the beauty, rather, the colors and styles of the poets of Azad Kashmir are different from those of many other regions.
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पाण्डेय Pandey, गणेश Ganesh. "संस्कृत साहित्ये नैपालमिथिलाक्षेत्रस्य योगदानम् [Contribution of Nepali Mithila Region in Sanskrit Literature]". Haimaprabha 20 (30 липня 2021): 13–24. http://dx.doi.org/10.3126/haimaprabha.v20i0.38588.
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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.]
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Shomakhmadov, Safarali H., та Jens-Uwe Hartmann. "Recent Insights into a Manuscript of Ornate Poetry from Toyoq: A new Fragment of Mātṛceṭa’s <i>Varṇārhavarṇa</i>". Written Monuments of the Orient 8, № 2 (2023): 58–70. http://dx.doi.org/10.55512/wmo112468.
Full textAbstract:
The article continues a series of publications of the Sanskrit manuscript fragments written in the Proto-Śāradā script, kept in the Serindia Collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences. The authors introduce into scientific circulation a fragment of the Varṇārhavarṇa, the work of the famous Buddhist thinker and poet Mātṛceṭa. The article provides the paleographic analysis of the manuscript fragment, as well as brief information about the author, his works, the Varṇārhavarṇa structure. The article provides transliteration and translation of the fragment.
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Goodwin, Robert E. "Paradise in a Prison Cell: the Yaugandharāyaṇa Plays of Bhāsa". Journal of the Royal Asiatic Society 3, № 1 (1993): 53–76. http://dx.doi.org/10.1017/s1356186300003679.
Full textAbstract:
It takes a determined sceptic to doubt the attribution of the Svapnavoāsavadatta (SV) to Bhāsa, a playwright Kālidāsa himself named as so favoured in his time that the younger generation of nāṭyakāras had a difficult time getting a hearing. After sifting through the evidence, the most likely conclusion is that the play we have of that name (or a variant), first discovered for Indology by T. Ganapati Sastri in 1909, is a somewhat shorter version of the play known to Śāradātanaya, Rāmacandra and Guṇacandra, Sāgaranandin, Abhinavagupta, Bhoja, and others. And one can scarcely admit the genuineness of SV without accepting the Pratijñayaugandharāyaṇa (PY): the two are perfectly complementary in plot, theme, treatment, and style. But even if we could not locate these two plays among the earliest extant of the whole Sanskrit corpus, we would be justified on aesthetic and thematic grounds in including them in any study of the key works of Sanskrit poetry. The plays are simple, yet charming and sophisticated, and more genuinely dramatic – giving us a more complicated sense of conflicting human interests (especially SV) – than any play except the Mudrārākṣasa (MR) of Viśākhadatta, who, however, completely lacks Bhāsa's lightness of touch. The two plays provide a thematic bridge between Kālidāsa and Viśākhadatta, combining the latter's resolute focus on sentiment-negating political demands (artha, utsāha) with the former's luxuriating treatment of the inner world of erotic emotion (kāma, śrṅgāra).
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Yatoo, Altaf Hussain. "From Central Asia to Kashmir: A Holistic View of Mysticism." Teosofia: Indonesian Journal of Islamic Mysticism 10, no. 1 (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.