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Viśvanātha who wrote Sāhityadarpaṇa starts off by criticizing the attributes of poetry as described by Mammaṭa and others, and ridicules the suggestion that comes from the topic or the object of poetry. Such suggestion, in his opinion, cannot be poetry. From his perspective, sentences filled

Moving on to one of the greatest masters of all schools of thought and a very creative and gifted genius Abhinavagupta, we see humour sparkling aptly in both his excellent and incomparable commentaries Abhinavabhāratī (on the Nāṭyaśāstra) and Locana (on the Dhvanyāloka). Both his works,

जगत्सन्दर्भसौन्दर्यसंवित्संस्पन्दसाक्षिणम्। प्रणमामि सितस्मेरप्रणवं गणनायकम् ॥ Humour is a divine gift to humans. While experiencing humour is wonderful, analyzing it can be quite difficult. It’s easy to find passages in treatises of alaṅkāra-śāstra (loosely translated as ‘Indian Aesthetics’) about analysis of humour along with and in comparison with

Back at Hastināpura, Gāndhārī too was pregnant; even as she was carrying, she heard that Kuntī had given birth to Yudhiṣṭhira. She hadn’t given birth even after two years of pregnancy; the pain was unbearable too. So one day, extremely upset, she squeezed her abdomen

१ सामान्यतया वदामः किल वयं लोके “इयमस्माकं प्रकृतिः,” “तत्तस्य नैजम्,” “इदं मे नैजम्” इत्यादीनि वचांसि। कोऽसौ प्रकृतिः? किं नाम नैजम्? आ जनेर्मानवेषु समन्विता भवन्ति केचन पदार्थाः, काश्चन शक्तयो गुणप्रवृत्तयश्च। मानवेन कथं वेदं वस्तुजातं समासादितम्? येन केनापि विधिनेति वक्तव्यम्—जन्मान्तरेण जातं, वरत्वेन लब्धं, पूर्वकर्मफलरूपेण संप्राप्तं वा। यत्किमपि भवतु

The epics, Iliad and Odyssey of Homer, largely complement each other in terms of what they offer to connoisseurs. Using the terminology of the rasas (flavours of emotions), the predominant rasa in the Iliad, which also acts as the sthāyi-bhāva, is valour (vīra). To sustain