The Pāṇḍavas wandered from one forest to another for several days.[1] [Starting from Vāraṇāvata, they travelled through the provinces of Matsya, Trigarta, Pāñcāla, and Kīcaka. They were in the guise of tapasvis – with long matted hair, wearing barks of trees and kṛṣṇājina (deer-hide) for garments.

Recognition and reversal (‘Anagnorisis’ and ‘Peripeteia’) The crux of a tragedy lies in recognition and reversal. A simple plot is an action which is continuous and unitary, but whose transformation lacks reversal and recognition. A ‘complex’ plot is one whose transformation contains recognition or reversal or

Plot: Aristotle holds the plot as the primary principle and the soul of tragedy, while character is secondary. Drawing parallels with a painting, he says, if one were to cover a surface randomly even with the finest colours, one would provide less pleasure than by an

After their escape from Vāraṇāvata, the Pāṇḍavas went southward, moving quickly in the light of the stars, and reached a dense forest. By this time, all of them were exhausted, tormented by thirst and overcome by sleep; at that point, Dharmarāja told Bhīma, "Trapped in

Abstract: The current article attempts to examine where the Indian play Abhijñāna-Śākuntalam, considered to be the best by both the lay and the learned, by oriental and occidental aestheticians, stands when examined using the parameters of literary aesthetics that evolved in a different culture, albeit a

(“ಮಹಾಭಾರತ”ದ ಹಿನ್ನೆಲೆಯಲ್ಲಿ “ಕರ್ಣಾಟಭಾರತಕಥಾಮಂಜರಿ”, “ಕೃಷ್ಣಾವತಾರ” ಮತ್ತು “ಪರ್ವ”ಗಳ ತೌಲನಿಕಚಿಂತನೆ) ಕರ್ಣಾಟಭಾರತಕಥಾಮಂಜರಿ [caption id="attachment_12329" align="alignleft" width="153"] Kumaravyasa[/caption] ಕುಮಾರವ್ಯಾಸನ ಪ್ರತಿಭಾಫಲವಾದ ಈ ಕಾವ್ಯ ಕನ್ನಡದ ಅತ್ಯಂತ ಬೃಹತ್ತೂ ಮಹತ್ತೂ ಆದ ಕೃತಿಯೆಂದರೆ ಅತಿಶಯವಲ್ಲ. ಈ ಮುನ್ನವೇ ನಾವು ಕಂಡಂತೆ ಇದು ಮೂಲಭೂತವಾಗಿ ಕಥನಕಾವ್ಯ, ಅಂದರೆ ಇತಿವೃತ್ತಪ್ರಧಾನವಾಗಿ ಸಂದರ್ಭಗಳನ್ನೂ ಘಟನೆಗಳನ್ನೂ ಹೆಣೆದುಕೊಂಡು ಹೋಗುವುದರೊಟ್ಟಿಗೆ ವಕ್ರೋಕ್ತಿವೈಚಿತ್ರ್ಯಪ್ರಧಾನವಾದ ಕಾವ್ಯವನ್ನು ನಿರ್ಮಿಸುವುದು ಇಲ್ಲಿಯ ವಿಶೇಷ. ಈ ಕಾರಣದಿಂದಲೇ ಹೆಚ್ಚಿನ ಪದ್ಯಗಳು ಸ್ವಯಂಪೂರ್ಣವಾಗಿಯೇ ಸೊಗಯಿಸುತ್ತವೆ;