Sanskrit Poetry Research Articles

The Influence of Hashadev Madawan's Sijokavyas on Sanskrit Literature

Since ancient times, Sanskrit poetry has been world-famous for its structure, theme, rasa, characters, etc. It can be seen that the structure of modern Sanskrit poetry is completely different from this traditional form. Because of the greatness of ancient Sanskrit poetry, it was transferred to other languages and literature. But today, Sanskrit poetry tends to adopt the literary styles of other languages and its literature. Various literary styles and writing styles from all over the world have found their way into the Sanskrit language today. As such, Sijo poems are a type of poetry that has gained acceptance in the field of modern Sanskrit poetry. It is a style of poetry that exists in South Korea. It is a poetic style that completely records the things to be said in three lines, different from the four-line sloka system of Sanskrit poetry. This article depicts some Sijo poems mentioned in a book, named Shirisha Pushpeshu Vrishtibindavaha, a collection of poems by Dr. Harshadev Madhavan, who is one of the leading modern Sanskrit poets. It is clear from this study that Sijo, Haiko, Tan, and other forms were introduced in Sanskrit poetry and these types of literary forms are suitable for Sanskrit language and literature.

HISTORICAL STUDY OF CULTURAL IMPORTANCE OF VALMIKI RAMAYANA

Valmiki's Ramayana is that wonderful and very important book of Indian Sanskrit literature which can be considered as the beginning of secular Sanskrit literature. It is a very primitive poem because it has poetry in an ornate style in accordance with the elements of epic. This Valmiki Ramayana is divided into seven chapters, Bal Kand, Ayodhya Kand, Aranya Kand, Kishkinda Kand, Sundar Kand, Yudh Kand and Uttar Kand. Each chapter is divided into cantos. The cantos are in romantic Sanskrit verses. Which are associated with beautiful meters like Anushtup, Upjati, Vanshstha etc. The highest number is of Anushtup meters which are also called Shlokas. There are 24 thousand verses in the entire text, so it is called the Thousand and One Vatmar “Chaturvishanti Sahasri Samhita”. In Valmiki Ramayana, all aspects of human life have been analysed and discussed in detail. In South East Asian countries, the story of this Valmiki Ramayana is popular in various forms and Ram Katha is regularly recited there. This shows the importance of Valmiki Ramayana.

Real disclosure of contemporary politics - "Vikramacharit Aakhyan"

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.

Dr. Navalata's contribution to modern Sanskrit literature

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.

Measuring the Manasika Prakrti of the Children by the Parent Rating Scale

ABSTRACT Background: Inventories to asses guna personality have been developed and validated for adults. However, are not based on Ayurveda concepts. The objective of the study was to develop and standardize an inventory to assess the Manasika prakrti of the children according to Ayurveda. Methods: The 70-item Ayurveda guna inventory for children (AGIC) was developed on the basis of the translation of Sanskrit verses describing Sattva (A), Rajas (B), and Tamas prakrti (C) characteristics and by taking the opinions of experts (ten Ayurveda experts and three psychologists). The scale was tested out in Maxwell Public School, Bangalore. The scale was administered on parents of children of the age group 6–12 years. Results: The AGIC was associated with excellent internal consistency. The Cronbach’s alpha for the A-, B-, and C-scales was 0.80, 0.55, and 0.56, respectively. Moreover, the split-half reliability was 0.79, 0.56, and 0.64, respectively. Factor validity coefficient scores on each item were above 0.5 on the Sattva, Rajas, and Tamas scale. Conclusions: The Manasika prakrti (trigunas) of the children can be measured reliably by this instrument.

A glimpse of Indology: Romance in Indian classic Sanskrit poetry and drama

A glimpse of Indology: Romance in Indian classic Sanskrit poetry and drama

A Review of Chhanda (Meters) Found in Ashtanga Hridaya

Sanskrit, the oldest language in the world also called the ‘language of Gods’ not without any reason. It is the language of the four Veda. Chhanda Shastra is one among the six Vedanga. It is an essential component of Sanskrit Literature. Ayurvedic literature composed thousands of years ago, were written in Sanskrit only. Most of the Ayurveda Acharya were expert in other Shastra like Chhanda, Vyakarana etc. Ashtanga Hridaya written by Acharya Vagbhata is one of the most revered compendia in India and abroad as well. It is also one of the treatises which is translated into many languages. It is in the form of Padya (poem) and hence makes it very popular for recitation and memorization. Meters or Chhanda are an important and essential part of Sanskrit poetry. It is this part that makes it different from the prose. Chhanda are of many types -important among them are Sama vritta, Ardha sama vritta and Vishama Vritta Chhanda. In this article, Sama Vritta Chhanda, a type of Akshara Chhanda found in Ashtanga Hridaya are explored and they are explained with examples. There are around 25 types of Sama Vritta Chhanda are found in Ashtanga Hridaya. The knowledge of these Chhanda may help in understanding the sutra better and recitation easier with proper rhythm.

Modern Sanskrit poetry and Other than Sanskrit words

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.

King Śibi in the Vahnipurāṇa

Although the many extant Sanskrit versions of the story of King Śibi and the dove have been thoroughly studied, one version, from the Vahnipurāṇa, has so far escaped the attention of scholars. This paper presents a new, critical edition of the Sanskrit text, based on all available material — an existing edition, quotations, and a recently discovered Nepalese fragment — followed by a translation. Connections to Buddhist and Jain versions of the story are discussed. The long afterlife of the text presents an opportunity to study how it has been reused and recast over the course of many centuries, quoted in dharmanibandhas and harvested for material for other stories.

New Fragments of the Sanskrit Lotus Sūtra in the Serindia Manuscript Collection (IOM, RAS)

The present work deals with the four previously unpublished fragments of the Sanskrit Lotus Sūtra kept in the Serindia Collection in the subcollection of N.F. Petrovsky under the call numbers SI 2098 (2 fragments), SI 3693, SI 3694. These fragments have some points in common considering the information about the codicological and paleographical features. The fragments present a remarkable similarity to each other in terms of material, type of script and ductus of the writing. It is estimated that the original complete folios of the manuscripts had 7 lines and the same presumable dimensions. On these grounds it is very probable that the four fragments belong to one and the same manuscript. Apart from this, the analysis of text makes it clear that the two fragments under the call number SI 2098 are the two almost conjoining parts of one and the same folio. The article includes transliteration and English translation of the fragments, their comparison with the corresponding text from the Kashgar manuscript of N.F. Petrovsky and with the text of the Kern Nanjio edition. As a result of comparing the text of the fragments with the texts representing two currently known Sanskrit versions of the Lotus Sūtra (the Gilgit-Nepalese and the Central Asian) it becomes possible to assume that our fragments are closer to the Central Asian version. Fragments containing the texts of this version are of particular interest and utmost importance for the textual history of the Sanskrit Lotus Sūtra, because such texts represent the earlier stage of textual development of the Sūtra than the Sanskrit texts from Nepal and Gilgit that show more modern and remodeled variant.

Three Versions of Crow Omens

This paper examines three versions of crow omens composed in Sanskrit verses of anuṣṭubh metre from two different sources, one Brahmanic, Gārgīyajyotiṣa, and the other Buddhist, Śārdūlakarṇāvadana. Their similarities in language and content leave little doubt that they had a common source that was probably located in the northwest of the Indian sub-continent sometime around the beginning of the Common Era.

A critical review of Rasa Jala Nidhi

Rasa Jala Nidhi is an important treatise of Rasa Shastra which is also pronounced as "Ocean of Indian Chemistry & Alchemy". It is a compilation work of Sanskrit verses transmitted from generation to generation either through oral tradition or from the citations occurring in ancient texts of alchemical chemistry. It is considered as one of the elaborated works written on Rasa Shastra. The present work is an illustrative and critical review on the text Rasa Jala Nidhi to highlight the unique and significant contribution in the field of Rasa Shastra.

A REVIEW ON SANSKRIT VERSES FROM THE CHARAKA SAMHITA WITH SPECIAL REFERENCES TO EPILEPSY

The neurological disease of epilepsy is covered in detail in the ancient Ayurvedic text, Charaka Samhita, compiled more than 2000 years ago. The description of the disease and treatment options mention several essential herbs and plants, which may help identify new medications for epilepsy. This article outlines the English transliteration of a few important Sanskrit verses from the Charaka Samhita and mentions the botanical names of herbs and plants mentioned in the text. Few verses that describe how to maintain a healthy lifestyle and good nutrition to avoid disease are also included.

On Mpu Tanakuṅ, Daṅ Hyaṅ Nirartha, and the Authorship of the Bhuvanakośa

This article takes as a point of departure the first Sanskrit verse of the Sanskrit-Old Javanese Śaiva scripture Bhuvanakośa, which has come down to us in Balinese palm-leaf manuscripts. It argues that this verse forms an introductory hymn (maṅgala or stuti) praising Śiva and, at the same time, revealing the identity of the compiler of the text—whether genuine or fictively attributed ex post—through a “signature” expressed by means of a Sanskrit word hinting at the name Tanakuṅ, an author of Old Javanese literary and religious works who lived in the 15th century. It then elaborates on the socio-historical and religious background of that period, and links the figure of Tanakuṅ and the texts ascribed to him to Ḍaṅ Hyaṅ Nirartha, an important Balinese religious figure who is believed to have been active on the island between the late 15th and early 16th century.

VALUES AND ETHICS EMBEDDED IN THE PHILOSOPHY OF SHRIMAD BHAGAVAD GIT

The Bhagavad Gita is an ancient Indian text which is a dialogue between Lord Krishna and Arjuna, narrated in the Bhishma Parva of the Mahabharata. This long text consists of eighteen discourses of a total of 701 Sanskrit verses which is known as the Bhagavad Gita. It is also referred to as the Gita. Its teachings are rational and scientific in approach. The Gita’s ethics is discussed mostly in the concepts like, svabhava, svadharma and niskama karma. In this paper I shall be discussing the concept of niskama karma which constitutes the rock-button of the Gita’s ethics. Niska karma is the Philosophy of Karma yaga of the Gita which elucidates that one has to perform actions with right imagination, having no desire for the consequences. The Bhagavad Gita which is a part of The Mahabharata is purely a spiritual document that encompasses everything connected with human beings and life on earth and it helps humanity to attain the goal of enlightenment and self-realization. In this I have discussed the Gita’s teaching concerning value. It’s teaching would be beneficial for both students and teachers for inculcating value sloping education among them for the betterment of the society as a whole

What’s in a name? William Jones, ‘philological empiricism’ and botanical knowledge making in eighteenth-century India

ABSTRACT ‘What is Indian Spikenard?’, asked the eighteenth-century orientalist, Sir William Jones (1746–1794), in a famous paper, ‘On the Spikenard of the Ancients,’ published in Asiatick Researches, Volume II (1790). The question serves here as a point of entry into Jones’s method for creating culturally specific plant descriptions to help locate Indian plants in their Indian milieu. This paper discusses Jones’s philological method for identifying the jaṭāmāṁsī of the Sanskrit verse lexicon, the Amarakośa, and materia medica texts, a flowering plant with important medicinal properties and great commercial value, as the ‘Spikenard of the Ancients’. Philology, for Jones, was of a piece with language study and ethnology, and undergirded by observational practices based on trained seeing, marking a continuity between his philological and botanical knowledge making. The paper follows Jones through his textual and ‘ethnographic’ explorations, as he creates both a Linnaean plant-object – Valeriana jatamansi Jones – and a mode of plant description that encoded the ‘native’ experience associated with a much-desired therapeutic commodity. The result was a botanical identification that forced the jaṭāmāṁsī to travel across epistemologies and manifest itself as an object of colonial natural history. In the words of the medic and botanist, William Roxburgh (1751–1815), whose research on the spikenard is also discussed here, Jones’s method achieved what ‘mere botany’ with its focus on the technical arrangement of plants could not do.

Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability

The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.

Comparing the Literatures: Literary Studies in a Global Age

Comparing the Literatures: Literary Studies in a Global Age

Development and Validation of Vikrti Measuring Scale – A Pilot Study

Objective: This is a preliminary report on the development of a scale to measure the pathology of tridoshas in a group of diseases by using the concepts of Āyurveda. Design: The 97-item tridosha diagnosis scale (TDS) was developed based on the translation of Sanskrit verses describing vātaja (V), pittaja (P), and kaphaja (K) vikrti-vriddhi-kshaya and by taking the opinions of experts (fifteen Āyurveda experts, five psychiatrists, and five psychologists). Settings: Arogyadhama holistic health hospital, VYASA, Bangalore, India. Subjects: Thirty-five samples with a history of Diabetes, Back pain, Knee pain, Acidity, and cancer were included in the study. The patients with chronic illness and Cardiac diseases were excluded. Results: The TDS was associated with excellent internal consistency. The Cronbach's alpha for V, P, and K vriddhi and kshaya scales were 0.939,0.945,0.853, 0.867,0.942,0.785 respectively. The Split-Half reliability for V, P, and K vriddhi, kshaya scales were 0.927, 0.962, 0.883, 0.848, 0.960, 0.688, respectively. Scores on vātaja, pittaja, and kaphaja scales were inversely correlated, suggesting that they are mutually exclusive. The three subgroups of back pain, acidity, diabetes had significantly high loadings on the vata vriddhi, pitta vriddhi, kapha vriddhi, respectively. While five cancer patients had significantly high loadings on vataja and kaphaja vriddhi, respectively. Factor analysis revealed that 70 items had good construct validity. Conclusion: The TDS is a reliable and valid instrument. The scores on each of these doshas help in planning intervention.

SANSKRIT PROSODY: A POTENTIAL TOOL TO IMPACT NEUROPSYCHOLOGICAL VARIABLES IN MIDDLE SCHOOL CHILDREN

Background /Aim: Psychological changes during transition from primary to middle school are immense, leading to a lack of attention in children. Chanting has been beneficial to improve attention and other cognitive parameters, but the impact of individual elements of chanting is yet to be explored. The current four-armed comparative study was attempted to explore the impact of prosody/Chanda on sustained attention and response interference in middle school children. Methods: A total of 138 students (12.12 ± 0.74 years) were recruited from grades 7 and 8 of an English medium School and were allocated into four groups; Humming a Chanda (HC), Chanting a Sanskrit verse (CS), Reading an English verse (RE) and Silent sitting (SS). Fifteen minutes of the intervention was provided every day, divided into three sessions of 5 minutes each for four weeks. Baseline and post-intervention data were collected using Digit Letter Substitution Test (DLST) and Stroop color-word test. Results: The current study had a cent percent adherence to the protocol. Within-group analysis using sample t-test demonstrated significant changes in HC, CS, and SS groups (p<0.001) with DLST scores. Post-hoc analysis revealed that the CS group had higher scores; however, there were no differences between the HC and CS groups. Stroop scores improved in all groups except for the SS group. Post-hoc analysis to examine the superiority between groups presented a higher statistical significance in CS group when compared to HC group. A statistical significance was also observed between the chanting and SS group. There were statistical differences within the group in both HC and CS groups in the Stroop mistake scores, but no differences were observed between groups. Conclusion: Our study results revealed that humming prosody and chanting a mantra have similar effects on sustained attention; however, humming has no effect on response interference among middle school children.