Kalidasa - Poems
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The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled
The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short. -
Mythological Concepts of Pre Vedic Mithila in Received: 28-06-2020 Accepted: 30-07-2020 Migration
International Journal of History 2020; 2(2): 81-83 E-ISSN: 2706-9117 P-ISSN: 2706-9109 IJH 2020; 2(2): 81-83 Topic - Mythological concepts of pre vedic Mithila in Received: 28-06-2020 Accepted: 30-07-2020 migration Dr. Swati Kumari P.S.- L.N.M.U. Campus Dr. Swati Kumari Dist- Darbhanga, Bihar, India DOI: https://doi.org/10.22271/27069109.2020.v2.i2b.48 Abstract Evetually the aboriginals attracted by the settled life of these vedic immigrants drew nearer to them and started co-operating with them participation in their agricultural operations and Ultimately were so to say, absorbed in the lowest rung to their society. It presented a contrast to the panorama of religious and philosophical thought of greater Mithila. The period discussed so far as we the immigration of many people into Mithila. The videha, Licchani vajji and a host of other Aryan as well as non-Aryan tribes entered in succession the virgin land of Mithila and settled there comfortable. Perhaps granting of land free of such king in Mithila. Keywords: Mithila, agriculture, immigrants, migrate, migration, Magadha, power Introduction Pre-vedic Mithila was inhabited by a number of tribes belonging to two groups. The Kiratas in the north and the Kolas in the south. They dwelt in forest and marshy land and lived on hunting and fishing. Near about 1500-1600bc. One Videghamathab. With a host of his learned priests and followers crossed the river Sadanira (Modem Gandak) from the west and [1] established his kingdom in Mithila . These vedic people new agriculture and cattle rearing and possessed a high standard of rural civilization and culture. -
King Dushyant and Shakuntala and His Name Was Bharat
King Dushyant 2 and Shakuntala Dushyant, the king of the Puru dynasty, ruled Hastinapur. He was a proficient administrator and a just ruler. Vidushaka, his friend, was always by his side. One day, king Dushyant made a plan of hunting in the forest; so he went into the forest with his huge army. After great efforts, he shot an arrow at a deer but the wounded deer ran away from his sight. He also started following the deer and reached an ashram. There he saw a beautiful girl, named Shakuntala, nursing the deer, her pet. Shakuntala was born to the sage Vishwamitra and Apsara Menaka. Menaka had come at the command of the king of gods, Indra, to distract the great sage Vishwamitra from his deep meditations. 10 English-5 King Dushyant profusely begged her forgiveness for harming the deer and spent some time at the ashram. Shakuntala’s beauty was so captivating that the king fell in love with her. Shakuntala too, was enchanted by his majestic personality. They married right there in the ashram. But as the king had to go to look after his kingdom, he told this to Shakuntala. At this, she was heartbroken but she knew her husband’s responsibility towards his kingdom. The day of his departure arrived. Shakuntala was in utter agony. Dushyant was also emotionally disturbed. When Dushyant left Shakuntala, he gave Shakuntala a royal ring as a sign of their love, promising her that he would return to her soon. Shakuntala was so dispirited by Dushyant’s separation. One day she was sitting in the garden and recalling her sweet memories with her husband, King Dushyant. -
8. the Guptas and Vardhanas
8. The Guptas and Vardhanas Exercises 1 A. Question Complete the following sentences by using suitable words in the blanks: The Guptas began their reign from the place ____________ . Answer The Guptas began their reign from the place Prayaga. The Gupta dynasty began in 275 C.E. from the place Prayaga in present-day Uttar Pradesh. Shri Gupta was the irst ruler of the dynasty. 1 B. Question Complete the following sentences by using suitable words in the blanks: Chandragupta I was called __________ . Answer Chandragupta I was called a irst historical person of Guptas. The title of irst historical person of Guptas tells that he rose as a irst strong king of the Gupta dynasty and Gupta era started from his reign. 1 C. Question Complete the following sentences by using suitable words in the blanks: One of the great dramas of Kalidasa is ____________. Answer One of the great dramas of Kalidasa is Abhijnana Shakuntala. Kalidasa is a famous Sanskrit poet and dramatist who belonged to the reign of Chandragupta II. Abhijnana Shakuntala is the most popular and great drama of him. 1 D. Question Complete the following sentences by using suitable words in the blanks: Vishakadatta’s literary work is _______. Answer Vishakadatta’s literary work is Mudrarakshasa. Mudrarakshasa is a Sanskrit play which tells about the rise of king Chandragupta Maurya written by Vishakadatta, a Sanskrit poet and playwright. 1 E. Question Complete the following sentences by using suitable words in the blanks: The literary work written by Sudraka is _________. Answer The literary work written by Sudraka is Mricchakatika. -
2.2 Sophocles' Oedipus the King and Kalidasa's Shakuntala
This course material is designed and developed by Indira Gandhi National Open University (IGNOU), New Delhi. OSOU has been permitted to use the material. Master of Arts in English (MAEG) MEG-07 COMPARATIVE LITERATURE Block-1 INTRODUCTION TO COMPARATIVE LITERATURE UNIT-1 WHAT IS COMPARATIVE LITERATURE UNIT-2 THE PRACTISE OF COMPARATIVE LITERATURE UNIT-3 THEORY OF COMPARATIVE LITERATURE UNIT-4 MODERNISM: THE WEST AND THE EAST EXPERT COMMITTEE Prof. Indranath Choudhury Prof. Satyakam Formerly Tagore Chair Director (SOH). Edinburgh Napier University School of Humanities Prof. K. Satchidanandan (English Faculty) Academic, Poet, Translator, Critic Prof. Anju Sahgal Gupta, IGNOU Prof. Shyamala Narayan (retd) Prof. Neera Singh, IGNOU Formerly Head, Dept of English Prof. Malati Mathur, IGNOU Jamia Millia Islamia, New Delhi. Prof. Nandini Sahu, IGNOU Prof. Sudha Rai (retd) Dr. Pema E Samdup, IGNOU Formerly Dean, Department of English Dr. Parmod Kumar, IGNOU Rajasthan University, Jaipur Ms. Mridula Rashmi Kindo, IGNOU Dr. Malathy A. COURSE COORDINATOR Prof. Malati Mathur, School of Humanities, IGNOU BLOCK PREPARATION Course Writers Block Editor Prof. C. T. Indra (retd.) formerly Head, Prof. Malati Mathur Dept of English, Madras University, Chennai School of Humanities IGNOU Mr. Parsa Venkateswara Rao Jr journalist and Critic Prof. R. Ramanujam STRIDE, IGNOU Secretarial assistance: Ms. Reena Sharma Executive DP (SOH) PRINT PRODUCTION Mr. C.N. Pandey Section Officer (Publication) SOH, IGNOU, New Delhi May, 2018 © Indira Gandhi National Open University, 2018 ISBN-978- All rights reserved. No part of this work may be reproduced in any form, by mimeograph or any other means, without permission in writing from the Indira Gandhi National Open University. -
The Lyricism of Kalidasa and the Classical Sanskrit Drama
The Lyricism of Kalidasa and the Classical Sanskrit Drama The World’s Classics lecture series The topics about which I shall speak today… • What is Classical Sanskrit literature? • Who is Kalidasa? Why should we be interested in him? • The lyric drama of Kalidasa, Recognition of Shakuntala • What we can gain from studying Kalidasa’s works. India and the Classics Modern Indian Languages: 1652; 129 languages spoken by more than a million people Official Indian Classical Languages: Sanskrit, Tamil, Telugu, Kannada What makes a language classical? a. “High antiquity of its early texts/recorded history over a period of 1500-2000 years; b. A body of ancient literature/texts, which is considered a valuable heritage by generations of speakers; c. The literary tradition it original and not borrowed from another speech community” Two Distinct but Interrelated Classical Traditions • 1. Dravidian South : Tamil, Kannada, Telugu Indo-European North • Sanskrit and its ancient sisters • These will become Hindi, Gujarati, Bengali etc. Why do we read the classical literature of India? • It has shaped the culture of a major civilization of the world. • It helps us to understand the mind-set of a major portion of the world’s population. • It is full of excellent works that speak to all of us. Classical India: AD 400-1000 • In itself an historical concept = India of the Gupta Emperors • The area covered is huge. • Many different cultures and languages. • Sankrit provides a lingua franca among the educated. The Physical Reality of India of the 1st Millennium of our Era Classical India • The literary legacy of Sanskrit Literature • The Classical Language as standardized by Panini • The literature produced in Classical Sanskrit includes works by Dravidian, Nepali and Sinhalese as well as Indian authors. -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi -
Greek Poetry and Indic Asceticism As Cures for Lovesickness
Greek Poetry and Indic Asceticism As Cures for Lovesickness: The Empathy and Enlightenment of Parvati and Polyphemus In this talk, I will compare Polyphemus — Homer’s ferocious Cyclops turned bumbling lover who unsuccessfully woos a sea nymph in Theocritus’ Idylls — and Parvati, the beautiful daughter of the Himalaya, who is in love with the unapproachable ascetic god Shiva in Kalidasa’s Kumarasambhava. Though Kalidasa’s plays and Indian dramatic/poetic theory have frequently been compared with their Greek counterparts, nothing has been written comparing his other poems with Alexandrian works. Theocritus and Kalisdasa, were court poets of powerful monarchs who wrote in multiple dialects with elaborate and learned poetic styles featuring beautiful natural settings, semi-divine beings and erotic themes. Both these poems treat of rejection in love, a recurring theme for both authors. Their characters seem to have very different responses since the giant one-eyed Sicilian shepherd turns to composing poetry and song on the seashore while the Hindu goddess begins to practice a severe form of asceticism in the mountains. Yet Abhinavagupta, a yogi and Sanskrit commentator on poetics, posits an analogy between the state of aesthetic enjoyment of the rasika (the connoisseur who is moved by the rasa of a play, poem or work of art) and the state of the yogi who attains enlightenment. The purpose of Indian drama and poetry, kavya, is to evoke rasa, “aestheticized emotions” in the spectator (Ashton and Tanner 2016 14-18). Of these the romantic is among the most frequent. Yet these are different from normal emotions through aesthetic distancing (6). -
Ancient History of Bihar
Ancient History of Bihar By- BPSC Notes http://bpscnotes.com The word ‘Bihar’ has originated from the ‘Viharas’ which means resting house of Buddhist monk but it was the Muslim rulers of 12th Century who started calling the state as ‘Bihar’. Advent of Aryans in Bihar 1. Aryans started moving towards Eastern India in the later Vedic period (1000-600 BC). 2. Satapatha Brahmana mentioned the arrival and spread of Aryans. 3. Varah Puran mentions that Kikat as inauspicious place and Gaya, Punpun and Rajgir as auspicious place. The Mahajanpada The Buddhist and Jaina literature mentioned that 6th century India was ruled by a number of small kingdoms or city states dominated by Magadha. By 500 BC witnesses the emergence of sixteen Monarchies and Republics known as the Mahajanapada. 1. Anga: Modern divisions of Bhagalpur and Munger in Bihar and also some parts of Sahibgunj and Godda districts of Jharkhand. 2. Magadha: Covering the divisions of Patna and Gaya with its earlier capital at Rajgriha or Girivraj. 3. Vajji: a confederacy of eight republican clans, situated to the north of river Ganges in Bihar, with its capital at Vaishali. 4. Malla : also a republican confederacy covering the modern districts of Deoria, Basti, Gorakhpur and Siddharth nagar in Eastern U.P. with two capitals at Kusinara and Pawa. 5. Kashi: covering the present area of Banaras with its capital at Varanasi. 6. Kosala: covering the present districts of Faizabad, Gonda, Bahraich etc. with its capital at Shravasti. 7. Vatsa: covering the modern districts of Allahabad and Mirzapur etc. with its capital at Kaushambi. -
Supernatural Intervention in Kalidasa's
SUPERNATURAL INTERVENTION IN KALIDASA'S ABHIJNANASAKUNTALA AND SHAKESPEARE'S TEMPEST by MANDAKRANTA |BOSE B.A., University of Calcutta M.A., University of Calcutta B.Lftt.,University of Oxford THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Comparative Literature) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1978 (c) Mandakranta Bose, 1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Mandakranta Bose , Comparative Literature artment of The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 24 November 1978 ABSTRACT Widely separated by time and cultural heritage as they are, Kalidasa's Abhi jnanas'akuntala and Shakespeare's Tempest offer valid grounds for comparison. Both are romantic tragicomedies that explore the themes of loss, re-union,and forgiveness. The actions of both plays revolve round noble lovers, both have young and innocent heroines brought up far away from the society of ordinary people, and both are set in remote lands. An even more striking similarity lies in the use that Kalidasa and Shakespeare make of supernatural elements. -
Anasuya-Priyamvada Charitkatha the Story So Far: Shakuntala, the Adopted Daughter of Rishi Kanva and the Real Daughter of Menaka
Anasuya-Priyamvada Charitkatha The Story So Far: Shakuntala, the adopted daughter of Rishi Kanva and the real daughter of Menaka and Visvamitra, was separated from her husband, King Dushyanta, due to the curse of Rishi Durvasa who was quite infamous for his temper and curses. During this separation, she was carrying the child of King Dushyanta and their son, Bharat, would one day lead the Puru Kingdom and would also initiate the dynasty of Bharat. They did meet after the curse was lifted (most curses had an escape clause). What happened when Shakuntala left the ashram of Kanva: Shakuntala had left the ashram with some escorts. Her close friends, Anasuya and Priyamvada, were left behind. They were roughly of the same age and were quite beautiful themselves. Anasuya: O dear Priyamvada, Shakuntala has managed it quite well. Hooked a husband who is a big king; she is also carrying his child. She is all set. Priyamvada: Anasuya, we should be happy for her. Shakuntala got a head-start, no doubt there, but we too need to set up ourselves. Anasuya: What do you plan to do? Do we stand there below the Big Banyan tree and anoint ourselves with sandal-paste and other stuff? Good husband material is rare (it holds true even today, same goes for good wife material too). Unknown to them both two brothers - broad shouldered, learned and of royal heritage - were heading towards the ashram of Rishi Kanva. Indrasen, the elder of the two, was a very learned person. He was tall, a little dark but was very handsome. -
Poetry's Afterthought: Kalidasa and the Experience of Reading Shiv
Poetry’s Afterthought: Kalidasa and the Experience of Reading Shiv Subramaniam Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy on the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Shiv Subramaniam All rights reserved ABSTRACT Poetry’s Afterthought: Kalidasa and the Experience of Reading Shiv Subramaniam This dissertation concerns the reception of the poet Kalidasa (c. 4th century), one of the central figures in the Sanskrit literary tradition. Since the time he lived and wrote, Kalidasa’s works have provoked many responses of different kinds. I shall examine how three writers contributed to this vast tradition of reception: Kuntaka, a tenth-century rhetorician from Kashmir; Vedantadesika, a South Indian theologian who lived in the thirteenth and fourteenth centuries; and Sri Aurobindo, an Indian English writer of the late nineteenth and early twentieth centuries who started out as an anticolonial activist and later devoted his life to spiritual exercises. While these readers lived well after Kalidasa, they were all deeply invested in his poetry. I wish to understand why Kalidasa’s poetry continued to provoke extended responses in writing long after its composition. It is true that readers often use past literary texts to various ends of their own devising, just as they often fall victim to reading texts anachronistically. In contradistinction to such cases, the examples of reading I examine highlight the role that texts themselves, not just their charisma or the mental habits of their readers, can have in constituting the reading process. They therefore urge us to formulate a more robust understanding of textual reception, and to reconsider the contemporary practice of literary criticism.