DOCSLIB.ORG

4` X Eycvre UV]Rjvu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4` X Eycvre UV]Rjvu C M Y K / RNI Regn. No. CHHENG/2012/42718, Postal Reg. No. - RYP DN/34/2013-2015 ,-(.,/"0$1 0((01 20,3*4 5(0 "=7445$ 7807.574/.4"=7 ,.,..D/"0#9,.37/ ,"4.09 N4.#O:47?57.0 :7$.0;5;"48$7//".4 # 34@ ,,5 '-A B./ 7 . # ' $!"02 " !"#$% &' " "! %% ( ! "$% !& " R & iour” and “misuse” of author- ity. Rajya Sabha Chairman M Venkaiah Naidu rejected the $75702 dead, while the other two are notice, saying the case against battling for their lives. the then CJI was based on “sus- n auto-driver was lynched A case of murder has been picion and conjectures”. Aby a mob in Dwarka's registered and one person has Modi said the Congress has Uttam Nagar on Saturday been arrested for questioning, no faith in democracy and evening after two battery said police. judiciary. “It does not hold dia- thieves who were riding on his The deceased was a resi- logue and stall proceedings in vehicle diverted the ire of the dent of Shahjahanpur and was Parliament, but the new game mob blaming the driver for the living in Vikas Nagar in Delhi. they are playing now is dan- crimes. gerous and this must be debat- The victim auto-driver, ed for a bright future of the identified as Avinash Kumar, country.” had picked two passengers, “When their shameless tac- identified as Mani Ram and tics fail, they use the threat of Prakash, from Uttam Nagar. impeachment to bend the Mani and Prakash asked judges to their will. This is a the unsuspecting auto driver to dangerous play. The Congress stop at Mohan Garden for wait is committing a crime by using for sometime, police said. impeachment to stop lawful Meanwhile, the auto driver !" procedures. They are enslaving Avinash went to attend the the country using their power $ nature's call. When he came $75702 sands of Vishwa Hindu in the Rajya Sabha,” Modi said. back, a crowd had already Parishad (VHP) workers and He urged intellectuals to gathered near his auto and s the BJP seeks to rekindle supporters trooped into the analyse this “dangerous game” they were beating Mani and Athe politically sensitive venue of the “Dharm Sabha” at of the Congress in the interest Prakash for stealing car bat- Ayodhya issue, Prime Minister Ayodhya called by the VHP to of the country. $ teries. Narendra Modi on Monday discuss the way forward for the The 200-member As soon as the auto driver accused the Congress of inter- construction of the temple. Rajasthan Assembly is sched- returned to his vehicle, Mani fering in the Supreme Court’s Sibal, a Supreme Court uled to go to polls on and Prakash blamed Avinash ' proceedings on the Ram lawyer, also said that he had not December 7. The counting of % for the thefts claiming that he Temple-Babri Masjid case, say- appeared in the court since votes will take place on is the kingpin. In the melee, the ing that their Rajya Sabha lead- January 2018 and that neither December 11. thieves placed a stolen battery ers intimidate Supreme Court the Congress nor the BJP are * .9"529. show some patience,” the seer issue on November 23. He in Avinash’s auto and con- judges with the threat of party to the court proceedings. , remarked. assured me that after vinced the crowd that the auto impeachment if they don’t stall “The Congress is not a party in he Vishwa Hindu Parishad The seers at the Dharm December 11, we will sit with driver was the mastermind. the case until after the general these proceedings. Nothing T(VHP) sponsored Dharm Sabha administered oath to the the PM and will take a deci- The furious crowd immediate- elections of next year. can prevent the court from - - Sabha did not announce any crowd and asked people to sion on this issue. I am hope- ly jumped on him and beat him “If a Supreme Court judge hearing the matter. The CJI has date for the construction of take back soil of Ayodhya and ful that a legislation will come to death. does not prepare the time table said it is not a priority matter .$ Ram Temple, but one of its make pledge that they will not for temple construction.” The two thieves too faced (for hearing cases) as per their for the Supreme Court, and the senior seers claimed that the let die down struggle for mak- The Swami further said the fury of the mob and sus- (Congress’s) political inten- PM has no courage to say any- + Centre will take some decision ing a grand Ram temple at the Minister had asked us to tained grievous injuries. tions and wants to hear all to thing against the CJI. Blaming on this issue after results of Ayodhya. The Dharm Sabha keep patience. “The Police said all the three deliver justice on a serious the Congress for making polit- 08#3$" Assembly polls were out on underlined the strong senti- Government will respect our were rushed to hospital where and sensitive issue, such as ical capital won’t help,” Sibal December 11. ment for Bill or Ordinance for sentiments this is what a Avinash was declared brought Ayodhya, then the party’s added. ttacking Prime Minister Amid growing demand for Ram Temple by the Centre. senior Minister told me. I am lawyers, who are Rajya Sabha Modi alleged the Congress ANarendra Modi, Shiv Sena the construction of the Ram Chairman of the Ram a devotee of Lord Ram and members, start the game of threatened Supreme Court chief Uddhav Thackeray said if Temple in Ayodhya without Janmabhoomi Nyas Mahant Ram Janmabhoomi is our scaring the judges in the name judges with impeachment the BJP Government was further delay, Ramji Das of Nritya Gopal Das, who right,” he said. '(() of impeachment,” Modi said. when they tried hearing the determined to honour court's Nirmohi Akhara told VHP’s presided over the Sabha, said He further said he also Senior Congress leader and Ayodhya dispute cases earlier order why it promised people Dharm Sabha on Sunday that that people still have faith in spoke to RSS chief Mohan Rajya Sabha member Kapil this year. The PM claimed that during elections that con- dates for the same will be the BJP Governments at the Bhagwat who “assured me Sibal rubbished Prime Congress party’s Rajya Sabha struction of Ram Temple at announced early next year dur- Centre and Uttar Pradesh. that pressure will be mounted Minister’s claim saying he members, who are also lawyers, Ayodhya will start during their ing Kumbh in Prayagraj. “This congregation proves on the Government for bring- * should start a new programme had tried to scare away the apex regime. Addressing the sabha after the point that people want ing in a legislation” in on the lines of “Man ki baat” court judges to ensure the “The Ram Temple will be the inauguration marked by temple at Ayodhya. Till Modi Parliament for temple con- + titled “jhooti baat” so that peo- hearing in the cases is delayed constructed at any cost chanting of mantras at the is PM, and Yogi is Chief struction. “We want all MPs to ple are aware that the state- until after the 2019 Lok Sabha whether the Modi Badey Bhaktmaal ki Bagia, Minister of UP, I am sure that be united and the Bill be ments he makes on a weekly election. Government returns to power Ramji Das said, “The date for they will find a way out,” he passed with 2/3rd majority,” ! basis are “inconsistent with Seven Opposition parties or not. For some people, Ram construction of the Ram said. This sentiment was also the Swami said. facts”. led by the Congress had moved Temple may be a 'jumla' but for Temple will be declared in the echoed by Swami The congregation was Prime Minister’s comment a notice for the impeachment us it is a matter of national 2019 Kumbh which will be Rambhadracharya, who dis- amalgamation of sants, RSS, ! on the Ayodhya issue came at of then Chief Justice of India pride,” he said without taking held in Prayagraj.” closed, “I spoke to a senior VHP and BJP leaders. The " an election rally at Alwar, Dipak Misra in April this year, name of Modi while talking to “It is only a matter of a few Minister in the Central sants took the lead while oth- Rajasthan, on a day when thou- accusing him of “misbehav- reporters here on Sunday. days, and I request you all to Government regarding this ers followed. $75702 # $ %&'( he Special Cell, the anti-ter- Trorist unit of the Delhi R ! ! " Police, on Sunday claimed to # O L M have averted a major terrorist ! strike in the national Capital by arresting three terrorists "!# " ## $%& belonging to the Islamic State $%"" # Jammu and Kashmir (ISJK), an * + /4$..4 Shopian district of south again opened fire. In the retal- outfit influenced by ISIS ide- Kashmir during the night iatory firing, two more ultras ology. even terrorists, an Army hours to launch an attack on a were shot. “The terrorists have been Sjawan, and a civilian were house where suspected terror- The group belonged to identified as Tahir Ali Khan, ,-( killed in separate incidents of ists were hiding. The security Hizbul Mujahideen (HM) and Haris Mushtaq Khan and Asif violence in south Kashmir on forces had specific tip-off on Lashkar-e-Tayyeba (LeT) out- Suhail Nadaf. Police said the Sunday amid a massive their presence. fits and all but one slain ter- men, all from Kashmir, were $# .
Load more

Recommended publications
  • Aniruddha Hidden in Usha's Room After His Abduction Aniruddha
    Aniruddha hidden in Usha’s room after his abduction From the Bhagavata Purana (Ancient Tales of the Lord Vishnu) Nepal, ca. 1800 Ink, opaque watercolor, and gold on paper This painting belongs to a series of over a hundred illustrations from the tenth book of the sacred Hindu text the Bhagavata Purana, on Krishna’s progeny. When the princess Usha falls in love with a youth in her dream, her attendant helps identify her beloved as Krishna’s grandson Aniruddha and kidnaps the prince. He and the princess enjoy each other’s company secretly in Usha’s chambers until Usha’s disapproving father discovers them. While the bright color palette and portfolio format suggest inspiration from the Rajput courts of India, the grand architectural settings reflect local palace and temple forms still surviving in Nepal. Aniruddha escondido en la habitación de Usha después de haber sido secuestrado Del Bhagavata Purana (Antiguos relatos del Señor Vishnú) Nepal, ca. 1800 Tinta, acuarela opaca y oro sobre papel Esta pintura pertenece a una serie de más de cien ilustraciones del décimo libro del texto sagrado hindú Bhagavata Purana, acerca de la progenie de Krishna. Cuando la princesa Usha se enamora de un joven que ve en su sueño, su sirviente la ayuda a identificar a su amado, el nieto de Krishna, Aniruddha y lo secuestra. La pareja disfruta de su mutua compañía en secreto en las habitaciones de Usha hasta que su padre los descubre muy disgustado. Si bien la paleta de colores vivos y el formato de carpeta parecen inspirados en la pintura de las cortes rajput de India, los grandiosos escenarios arquitectónicos reflejan las formas de los palacios y templos que aún sobreviven en Nepal.
    [Show full text]
  • Pahari Paintings from the Eva and Konrad Seitz Collection
    PAHARI PAINTINGS FROM THE EVA AND KONRAD SEITZ COLLECTION francesca galloway ww.francescagalloway.com 1 2 Pahari paintings, meaning paintings from the hills, come from the in Jammu, and Chamba had returned to their non-naturalistic Rajput roots mountainous regions of northern India once known as the Punjab Hills but and were illustrating traditional Hindu texts such as the Ramayana (cat. 2), the which now form the present day states of Jammu and Kashmir, Himachal Rasamanjari and Ragamalas (cat. 1) in brilliantly assured fashion, dependent Pradesh and Uttarakhand. They include some of the most brilliant as well as again on line and colour with their figures set against conceptual renderings the most lyrically beautiful of all Indian painting styles. of architecture and landscape. Such a style had spread throughout most of the Pahari region in the early 18th century. In the 17th and 18th centuries this area was divided into over 30 kingdoms, some of moderate size, but others very small. The kingdoms were established in Although much of the hill region formed strongholds for the worship of Shiva the fertile valleys of the rivers that eventually flowed into the plains – the Ravi, and the Devi, and paintings and manuscripts reflected this (e.g. cats. 12, 13), the Beas, Sutlej, and the Jumna and Ganges and their tributaries – and divided spread of Vaishnavism and, especially the worship of Krishna, induced patrons from each other by high mountains. The Himalayas to the north-east formed to commission illustrated versions of Vaishnava texts, such as the Bhagavata the almost impenetrable barrier between these little kingdoms and Tibet.
    [Show full text]
  • Bhakti Movement
    TELLINGS AND TEXTS Tellings and Texts Music, Literature and Performance in North India Edited by Francesca Orsini and Katherine Butler Schofield http://www.openbookpublishers.com © Francesca Orsini and Katherine Butler Schofield. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Orsini, Francesca and Butler Schofield, Katherine (eds.), Tellings and Texts: Music, Literature and Performance in North India. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/10.11647/OBP.0062 Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ In order to access detailed and updated information on the license, please visit: http://www.openbookpublishers.com/isbn/9781783741021#copyright All external links were active on 22/09/2015 and archived via the Internet Archive Wayback Machine: https://archive.org/web/ Digital material and resources associated with this volume are available at http:// www.openbookpublishers.com/isbn/9781783741021#resources ISBN Paperback: 978-1-78374-102-1 ISBN Hardback: 978-1-78374-103-8 ISBN Digital (PDF): 978-1-78374-104-5 ISBN Digital ebook (epub): 978-1-78374-105-2 ISBN Digital ebook (mobi): 9978-1-78374-106-9 DOI: 10.11647/OBP.0062 King’s College London has generously contributed to the publication of this volume.
    [Show full text]
  • N·A Approaches Ra¯Dha¯ and Her Confidante
    95 Mirjam Westra KR. S. N. A APPROACHES RāDHā AND HER CONFIDANTE IN A GARDEN WITH TREES, PLAYFUL MONKEYS AND GLORIOUS blUE peacocks (1620-1640) Love, both human and divine, is a major theme in poetic and literary work in India. Of the nine main rasa (sentiments) that form the basis of · Indian aesthetics, śr. ngāra (erotic love) is regarded as the most important. · There are two main kinds of śr. ngāra, of which the first is sam. yoga – love in union – and the other viraha bhakti – love in separation. The latter has been an endless source of inspiration for art and literature.1 Keshavdas (Keśavadāsa) is one of the foremost poets who composed works that merged love poetry and analyses of the passion of love.2 One of the Rijksmuseum’s folios depicts Kr.s.n. a approaching Rādhā and her confidante in a garden (fig. 1). The miniature painting belongs to 3 an illustrated manuscript of the Rasikapriyā (‘The Lover’s Breviary’), 4 AND HER CONFIDANTE the most famous work by the poet Keshavdas. The Rasikapriyā is ¯ well described by Bahadur, who translated the versified poem in 1972: ‘Rasikapriyā is a panegyric of love and a mine of entertainment. Above all it is a book of pleasures.’5 According to Sternbach ‘Keshavdas was a master of Hindi poetry, of eroticism and of metrics. His poems are true DHA jewels of devotional and love poetry in its purest form’.6 Keshavdas was a ¯ A native of the Bundelkhand region, in today’s Madhya Pradesh. He became 7 R a court poet for the king of Orchha in the 16th century, and is a founding figure of the rīti tradition.
    [Show full text]
  • N·A Approaches Ra¯Dha¯ and Her Confidante
    95 Mirjam Westra KR. S. N. A APPROACHES RāDHā AND HER CONFIDANTE IN A GARDEN WITH TREES, PLAYFUL MONKEYS AND GLORIOUS blUE peacocks (1620-1640) Love, both human and divine, is a major theme in poetic and literary work in India. Of the nine main rasa (sentiments) that form the basis of · Indian aesthetics, śr. ngāra (erotic love) is regarded as the most important. · There are two main kinds of śr. ngāra, of which the first is sam. yoga – love in union – and the other viraha bhakti – love in separation. The latter has been an endless source of inspiration for art and literature.1 Keshavdas (Keśavadāsa) is one of the foremost poets who composed works that merged love poetry and analyses of the passion of love.2 One of the Rijksmuseum’s folios depicts Kr.s.n. a approaching Rādhā and her confidante in a garden (fig. 1). The miniature painting belongs to 3 an illustrated manuscript of the Rasikapriyā (‘The Lover’s Breviary’), 4 AND HER CONFIDANTE the most famous work by the poet Keshavdas. The Rasikapriyā is ¯ well described by Bahadur, who translated the versified poem in 1972: ‘Rasikapriyā is a panegyric of love and a mine of entertainment. Above all it is a book of pleasures.’5 According to Sternbach ‘Keshavdas was a master of Hindi poetry, of eroticism and of metrics. His poems are true DHA jewels of devotional and love poetry in its purest form’.6 Keshavdas was a ¯ A native of the Bundelkhand region, in today’s Madhya Pradesh. He became 7 R a court poet for the king of Orchha in the 16th century, and is a founding figure of the rīti tradition.
    [Show full text]
  • Reconciling Surdas and Keshavdas: a Study of Commonalities and Differences in Brajbhasha Literature
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 6, Series 4 (June. 2020) 17-32 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Reconciling Surdas and Keshavdas: A Study of Commonalities and Differences in Brajbhasha Literature Prateek Pankaj Department of History, Hindu College, University of Delhi, India Abstract: Surdas and Keshavdas are two of the most prominent poets of early Hindi literature, who wrote in Brajbhasha, a language of the masses. This was a literary tradition that grew in the late medieval to early modern period and produced compositions that were not only widely read in their time but became and remain a staple in cultural memory even today. There have been ample and detailed studies about both these poets. However, much lesser effort has been made in attempting to examine whether these two icons can be brought closer to each other in how we understand them and their compositions. This is the context behind this paper. This paper begins by examining Brajbhasha literature as a cultural development and contextualising it in its historical roots, main stylistic features and relationship with the Mughal court. It then moves on to the lives of Surdas and Keshavdas individually to get a sense of similarities and differences between them. Ultimately, the aim of this paper is to suggest elements of similarity between the works of both our poets, and through them draw broader inferences about the traditionally perceived dichotomy between bhakti and rīti genres of Brajbhasha literature, which has also been questioned by many. The paper seeks to extend this line of inquiry by arguing that thematically there are many points of commonality between Surdas and Keshavdas, and the bhakti- rīti dichotomy is not so solid.
    [Show full text]
  • Poetry of Kings: the Classical Hindi Literature of Mughal India” by Allison Busch, Oxford University Press, 2011
    ”Poetry of kings: the classical Hindi literature of Mughal India” by Allison Busch, Oxford University Press, 2011. xx + 339 pp. reviewd by Ghanshyam Sharma Ghanshyam Sharma To cite this version: Ghanshyam Sharma. ”Poetry of kings: the classical Hindi literature of Mughal India” by Allison Busch, Oxford University Press, 2011. xx + 339 pp. reviewd by Ghanshyam Sharma . 2015, http://religionandlit.nd.edu/issues/archives/46-1-spr-2014—current/. hal-01388527 HAL Id: hal-01388527 https://hal.archives-ouvertes.fr/hal-01388527 Submitted on 27 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Religion and Literature, University of Notre Dame, Vol. 46.1, 212-215. Poetry of kings: the classical Hindi literature of Mughal India. Allison Busch Oxford University Press, 2011. xx + 339 pp. Reviewed by Ghanshyam Sharma No matter how pacific an invader’s ultimate aim may be at the outset, invasions are generally a determining factor of significant upheaval in the life of a country. One cannot underestimate the influence of the Mughal Empire and the British Raj on all spheres of human life in India. The outsiders not only spread Islam and Christianity in India, they brought linguistic diversity, architectural skills and technical know-how.
    [Show full text]
  • Introduction
    Introduction Poetry of Kings: The Classical Hindi Literature of Mughal India Allison Busch Print publication date: 2011 Print ISBN-13: 9780199765928 Published to Oxford Scholarship Online: January 2012 DOI: 10.1093/acprof:oso/9780199765928.001.0001 Introduction A Forgetting of Things Past Allison Busch DOI:10.1093/acprof:oso/9780199765928.003.0001 Abstract and Keywords This chapter introduces literature in Brajbhasha and outlines the premises of the book. One aim is to expose some of the fault lines in the historiography of premodern Hindi literature. One reason that Brajbhasha court literature has not attracted the kind of deep, sympathetic study it merits is because literary historians have been too quick to stamp the stigma of decadence on late precolonial traditions. The study of literature has been trapped in stale paradigms of Mughal decline that have long been discredited in other disciplines. This chapter proposes a new approach to classical Hindi literature that recognizes the value of this early modern archive both as literature and for Keywords: , Brajbhasha, historiography, court literature, Mughal, early modern Literature and its Discontents Imagine an English-literature classroom in which Milton was derided for retelling a story using the classical epic form. The remonstrating teacher would shake her head and scold the poet for imitating Virgil, dismiss his Latinate vocabulary and style as pure pedantry, and wonder why he did not derive his subject matter from personal observation, writing poems that expressed his inner feelings in the language of everyday speech. Or imagine reading a history of French literature that privileged fourteenth- and fifteenth-century hymnals or Page 1 of 22 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com).
    [Show full text]
  • A.W. Entwistle Braj Centre of Krishna Pilgrimage Egbert Forsten
    A.W. Entwistle Braj Centre of Krishna Pilgrimage Egbert Forsten. Groningen. 1987. file:///W|/Resources/AA/00/00/03/01/00001/00002.txt[21/11/2016 07:19:08] This book has been written and published with financial support from the Netherlands Organization for the Advancement of Pure Research (Z.W.O.) Cover illustration & frontispiece: The temple of Shrinathji on the Govard- han hill as seen from Anyor Cover design: Jurjen Pinkster Distributor for India and the Indian Subcontinent: Motilal Banarsidass, Bungalow Road, Jawahar Nagar, Dehli 110 007 (India). CIP-GEGEVENS KONINKLIJKE BIBLIOTHEEK, DEN HAAG Entwistle, Alan W. Braj, Centre of Krishna Pilgrimage / Alen W. Entwistle. Groningen : Forsten. Ill., krt. (Groningen Oriental Studies ; vol. 3) Met 3 kaarten. Met lit. opg., reg. isbn 90-6980-016-0 geb. siso 214.4 UDC 294-5 (54) (091) Trefw. : Braj (India); cultuurgeschiedenis / Krishna-cultus ; bedevaart; India. Copyright 1987, Egbert Forsten, Groningen, The Netherlands All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. file:///W|/Resources/AA/00/00/03/01/00001/00003.txt[21/11/2016 07:19:08] Contents Abbreviations vii Preface ix 1 Introduction 1 The landscape 1 2 The local inhabitants 4 3 The devotional sects 8 4 Varieties of pilgrimage 12 5 Rules and regulations 19 2 The myth 1 The scriptural sources 22 2 The setting 27 3 The birth of
    [Show full text]
  • OCCASIONAL PUBLICATION Allison Busch
    OCCASIONAL PUBLICATION 12 Braj beyond Braj: Classical Hindi in the Mughal World by Allison Busch Assistant Professor of Hindi-Urdu Literature Middle East, South Asian and African Studies Columbia University INDIA INTERNATIONAL CENTRE 40, MAX, MUELLER MARG, NEW DELHI-11 0 003 TEL.: 24619431 FAX: 24627751 OCCASIONAL PUBLICATION 12 ~ -"'.,, Braj beyond Braj: Classical Hindi in the Mughal World The views expressed in this publication are solely those of the author and not of the India International Centre The Occasional Publication series is coordinated and edited by Bela Butalia, Deputy Editor, and published for the India International Centre by Cmde. R. Datta. Design: Kamal Puma lammual. Braj beyond Braj: Classical Hindi in the Mughal World by Allison Busch Introduction Throughout the course of my sabbatical in India this year it has been a privilege to meet many colleagues and Ph.D. students working in the field of Hindi literature. I have learned much from hearing about their projects on diverse subjects ranging from Dalit literature, the rise ofHindi journalism, Bhojpuri film lyrics, feminist hermeneutics, and many other topics. It is to detract nothing from the worth or intrinsic interest of these subjects to mention that I have been struck by the modem focus-even presentism-of literary study in Indian universities. It is rare indeed to encounter se .olars who do their primary research on Brajbhasha or Avadhi texts, which is to say the premodern or '.'classical" Hindi literary heritage. As a professor who often teaches the subject I would be the first person to state that modem Hindi literature is one of the world's most fascinating and multifaceted traditions.
    [Show full text]
  • Separation and Longing in Viraha Barahmasa”
    Srivastava, P.K. (2016). “Separation and Longing in Viraha Barahmasa”. The Delhi University Journal of the Humanities and the Social Sciences 3: 43-56. Separation and Longing in Viraha Barahmasa PREM KUMARI SRIVASTAVA1 Maharaja Agrasen College, University of Delhi ABSTRACT It is true that migration, geographic dislocation and in some cases spiritual-separation experience, differently impact the lives of women and men. In this paper my propositions furrow through the general landscape of the genre of Barahmasa (song of twelve months), a tradition of poetry writing that intersects the socio-cultural and religious traditions of North India, ancient and modern. The paper uses the ethos of longing of the Barahmasa alongside John Hawley's concept of ‘Viyoga’ as a frame to posit the changing patterns of this evolutionary genre. (1981) In a way the paper attempts to present a kaleidoscope, rather a mosaic of recast registers, transformed texts and translated ideas with only one family foci: yearning. The paper concludes with the breakdown and deconstruction of conventional gender stereotypes in its description of the devotional Barahmasa of the sants (saints) specially the Radhasoami tradition. Keywords: Barahmasa, Viraha, Virahini, Viyoga, Radhasoami, Sants 1. INTRODUCTION It is true that Barahmasa literature has always been a noteworthy resident in Indo-Aryan literatures. Viraha Barahmasa, (poems/song of twelve months of longing) which, revolves around the theme of painful separation of the beloved from her lover is at the centre of the ever- growing repertoire of Barahmasa literature. With the critical positioning of ‘feminine longing’ at the center, the poetic form has been primarily written by male poets capturing the agonies and pangs of separation of women.
    [Show full text]
  • Translation of Key Passages from Konrad Seitz, Orchha, Datia, Panna: ''Malwa''- Miniaturen Von Den Rajputischen Höfen
    Translation of key passages from Konrad Seitz, Orchha, Datia, Panna: ‘‘Malwa’’- Miniaturen von den Rajputischen Höfen Bundelkhands 1580- 1850 “Orchha 1592“, not “Malwa 1634“ (Vol. I, pp. 12-18) Scholars of Indian painting traditionally have classified the miniatures presented in these volumes as School of Malwa. Moreover, the founding series of the School has been dated 1634. Both assumptions are disastrously wrong. These two erroneous suppositions have prevented us from understanding not only that these paintings constitute the earliest of the Rajput Schools in the Mughal period but also that they represent the only School which in its founding period exhibits an Indian Kunstwollen - artistic vi- sion - still free of Mughal influence. The date of “1634“ Let us first deal with the date of 1634. This is found in a Rasikapriya manuscript whose illustrations are considered the basis of our School: Cat. 1.1, Vol. I, p. 49: Radha’s Sakhi speaks to Krishna. From the “1634“ Rasikapriya. In the yellow text field of one of the pages, housed in the National Museum in New Delhi, a colophon dates the manuscript to 1634. Stylistically such a date seems absurd, given that the paintings are execut- ed in a pre-Mughal style of the 16th century. No less absurd is the colophon itself, as Vishakha Desai had demonstrated already in 1984: - Firstly, the colophon is incomplete. It reads as follows: „Samvat 1690 Samaye Vaishaka Sudi 5 Guruo ….“ (in 1634, on Thursday, fifth day of the fifth month). - Second, the verses to which the colophon is attached are not from the Rasikapriya, but from the Kavipriya.
    [Show full text]