King Dushyant and Shakuntala and His Name Was Bharat
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Uttarakandam
THE RAMAYANA. Translated into English Prose from the original Sanskrit of Valmiki. UTTARAKANDAM. M ra Oer ii > m EDITED AND PUBLISHED Vt MANMATHA NATH DUTT, MA. CALCUTTA. 1894. Digitized by VjOOQIC Sri Patmanabha Dasa Vynchi Bala Sir Rama Varma kulasekhara klritapatl manney sultan maha- RAJA Raja Ramraja Bahabur Shamshir Jung Knight Grand Commander of most Emi- nent order of the Star of India. 7gK afjaraja of ^xavancoxe. THIS WORK IS RESPECTFULLY INSCRIBED BY MANMATHA NATH DUTT. In testimony of his veneration for His Highness and in grateful acknowledgement of the distinction conferred upon him while in His Highness* capital, and the great pecuniary help rendered by his Highness in publishing this work. Digitized by VjOOQ IC T — ^ 3oVkAotC UTTARA KlAlND^M, SECTION I. \Jn the Rakshasas having been slain, all the ascetics, for the purpose of congratulating Raghava, came to Rama as he gained (back) his kingdom. Kau^ika, and Yavakrita, and Gargya, and Galava, and Kanva—son unto Madhatithi, . who dwelt in the east, (came thither) ; aikl the reverend Swastyastreya, and Namuchi,and Pramuchi, and Agastya, and the worshipful Atri, aud Sumukha, and Vimukha,—who dwelt in the south,—came in company with Agastya.* And Nrishadgu, and Kahashi, and Dhaumya, and that mighty sage —Kau^eya—who abode in the western "quarter, came there accompanied by their disciples. And Vasishtha and Ka^yapa and Atri and Vicwamitra with Gautama and Jamadagni and Bharadwaja and also the seven sages,t who . (or aye resided in the northern quarter, (came there). And on arriving at the residence of Raghava, those high-souled ones, resembling the fire in radiance, stopped at the gate, with the intention of communicating their arrival (to Rama) through the warder. -
Kalidasa - Poems
Classic Poetry Series Kalidasa - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Kalidasa(4th Century - 5th Century) Kalidasa (Devanagari: ??????? "servant of Kali") was a renowned Classical Sanskrit writer, widely regarded as the greatest poet and dramatist in the Sanskrit language. His floruit cannot be dated with precision, but most likely falls within 4th Century AD. His plays and poetry are primarily based on Hindu Puranas and philosophy. <b> Life </b> Nothing apart from his works is known with certainty about the life of Kalidasa, such as his period or where he lived. Little is known about Kalidasa's life. According to legend, he was known for his beauty, which brought him to the attention of Princess Vidyottama and she married him. However, as legend has it, Kalidasa had grown up without much education, and the princess was ashamed of his ignorance and coarseness. A devoted worshipper of Kali (by other accounts of Saraswati), Kalidasa is said to have called upon his goddess for help when he was going to commit suicide in a well after he was humiliated by his wife, and was rewarded with a sudden and extraordinary gift of wit. He is then said to have become the most brilliant of the "nine gems" at the court of the king Vikramaditya of Ujjain. Legend also has it that he was murdered by a courtesan in Sri Lanka during the reign of Kumaradasa. <b> Date </b> A terminus ante quem is given by the Aihole Prashasti of 634 AD, which has a reference to his skills; and a terminus post quem can be presumed from his play Malavikagnimitra in as much as the hero, King Agnimitra of the Shunga dynasty, assumed the throne of Magadha in 152 BC. -
The Kanva and Madhyandina Recensions of the Isha Upanishad
The Kanva and Madhyandina Recensions of the Isha Upanishad: Exegetical Notes and Translations VIKRAMAN BALAJI n this series of articles, we will be guided by the following O Pushan, O Sole Rishi, O Yama, O Surya, O power of Prajapati, mar- general principle: the deeper one comprehends the Veda, the more one unravels the mysteries in the Upanishads. Our primary blessed form, that in you I behold and experience. Yonder Purusha there I sources of inspiration are the writings of Sri Aurobindo [1,2] and my-Self am He! (Compare [2]) I [4] Ananda Coomaraswamy . In this article, we take several verses from the Isha Upanishad as an illustration of this general principle. In his brief lecture[10] on the Isha Upanishad, Swami Vivekananda gives an interpretative rendering of these verses as “Thou sun, THE CONTEXT OF THE ISHA UPANISHAD IN THE who hast covered the Truth with thy golden disc, do thou remove YAJURVEDA AND ITS IMPLICATIONS the veil, so that I may see the Truth that is within thee. I have The Isha Upanishad is the last chapter (Chapter 40) of the Shukla known the Truth that is within thee, I have known what is the real Yajurveda and derives its name from the first word of this last meaning of thy rays and thy glory and have seen That which shines chapter. We read in the Srimad Bhagavata that the Shukla Yajurveda in thee; the Truth in thee I see, and That which is within thee is was revealed to Vajasaneya Yajnavalkya by Aditya, so it would be within me, and I am that.” reasonable to take Yajnavalkya to be the “author” of this work. -
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. -
Arxiv:1411.7312V2
COMETS IN ANCIENT INDIA Patrick Das Gupta1, ∗ 1Department of Physics and Astrophysics, University of Delhi, Delhi - 110 007 (India) Abstract The Indo-aryans of ancient India observed stars and constellations for ascertaining auspicious times in order to conduct sacrificial rites ordained by vedas. It is but natural that they would have recounted in the vedic texts about comets. In Rigveda (∼ 1700 - 1500 BC) and Atharvaveda (∼ 1150 BC), there are references to dhumaketus and ketus, which stand for comets in Sanskrit. Rigveda mentions a fig tree with roots held up in the sky (Parpola 2009, 2010). Could it have been inspired by the hirsute appearance of a comet’s tail? Similarly, could ‘Ketu’ (the torso or the tail part of Rahu) be a Dravidian loan word, since ‘kottu’, an old Tamil word, is associated with scorpion’s sting and top tuft of hair? Varahamihira in 550 AD and Ballal Sena (∼ 1100 - 1200 AD) have described a large number of comets recorded by ancient seers such as Parashara, Vriddha Garga, Narada, Garga, etc. In this article, I conjecture that an episode narrated in Mahabharata of a radiant king, Nahusha, ruling the heavens, and later turning into a serpent after he had kicked the seer Agastya (also the star Canopus), is a mythological retelling of a cometary event. arXiv:1411.7312v2 [physics.pop-ph] 30 Nov 2014 1 1 INTRODUCTION Barring the regular waxing and waning of the Moon, ancient observers seldom witnessed celestial objects undergoing metamorphosis. In the pre-telescope era, our ancestors were treated to such rare spectacles only on two occasions, during (a) the solar/lunar eclipses and (b) cometary sightings wherein a gradual growth of a tail is seen, as the comet approaches Sun. -
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. -
Kalidasa's Shakuntala and Shakespeare's Miranda
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.6 Issue 2 An International Peer Reviewed (Refereed) Journal 2019 Impact Factor (SJIF) 4.092 http://www.joell.in RESEARCH ARTICLE KALIDASA’S SHAKUNTALA AND SHAKESPEARE’S MIRANDA: STRUGGLE FOR IDENTITY Dr. Madhvi Rathore1, Prabha Gour2 1(Associate Professor, Department of English, Bhupal Nobles University, Udaipur, Rajasthan.) Email: [email protected] 2(Research Scholar, Department of English, Bhupal Nobles’ University, Udaipur, Rajasthan.) Email: [email protected] doi: https://doi.org/10.33329/joell.62.25 ABSTRACT The Abhijnanashakuntalam and The Tempest is a unique formulation of the exceptionally good dramatist Kalidasa and Shakespeare and also considered as the best Indian literary effort of any period. Abhijnanashakuntalam is taken from an epic legend Mahabharata whereas The Tempest is based on Italian tale. They both shared many things in common. The paper will give a short overview of how Miranda and Shakuntala struggle for identity and evaluate how they react on various social problems. They make us conscious of the original identity of which is reconquered after the great scramble and hurdle generated by the society. Keywords: Kalidasa, Shakespeare, Identity formation, Women struggle. Author(s) retain the copyright of this article Copyright © 2019 VEDA Publications Author(s) agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License . 25 Dr. Madhvi Rathore1, Prabha Gour2 VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.6 Issue 2 An International Peer Reviewed (Refereed) Journal 2019 Impact Factor (SJIF) 4.092 http://www.joell.in The young orphan Brahmin boy by the grace brought up in the sanctified atmosphere of high of goddess Kali became known to the world as ascetic discipline.