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HomePosts Tagged "chandas"

chandas Tag

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 the undercurrent of valour for

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Alam ativistareṇa. Let us delve right in. नन्वाश्रयस्थितिरियं तव कालकूट केनोत्तरोत्तरविशिष्टपदोपदिष्टा । प्रागर्णवस्य हृदये वृषलक्ष्मणोऽथ कण्ठेऽधुना वससि वाचि पुनः खलानाम् ॥ O Kālakūṭa poison, who taught you to ascend to newer, better heights? First you were submerged deep in the ocean, Then you rose to live in Śiva's throat And now you’re everywhere, in the words

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Literature has for its aim the creation of rasa, the aesthetic experience; it does not admit any other purpose. Bhaṭṭanāyaka stated this point blank – kāvye rasayitā sarvo na boddhā na niyogabhāk, ‘Literature offers enjoyment to every reader; as far as it is concerned, there exists neither an instructor nor

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Critics of Indian—particularly Kannada—literature find monotony and boredom in the rhythm of classical poetic meters[1] of Kannada and Sanskrit. They accuse our poets of the yesteryear for neither having the capacity nor showing the intent to break away from this so-called boredom. But in reality, many of our poets—however limited be

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नृसिंहाख्ये गण्डशैले  वरदाख्यो महामणिः | निपत्य खलु तत्तैव व्यशीर्यत सहस्रधा || A grammarian by name Narasiṃhaśāstri once presented a verse in the form of a eulogy to the King Mummaḍi Kṛṣṇarāja Wodeyar of Mysore. The verse was set to a rare chandas (meter), that was not commonly used. Upon hearing the verse,

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ಅನಪೇಕ್ಷಿತಗುರುವಚನಾ ಸರ್ವಾನ್ಗ್ರಂಥೀನ್ವಿಭೇದಯತಿ ಸಮ್ಯಕ್ | ಪ್ರಕಟಯತಿ ಪರರಹಸ್ಯಂ ವಿಮರ್ಶಕಶಕ್ತಿರ್ನಿಜಾ ಜಯತಿ || ಗುರೂಪದೇಶದ ಅಪೇಕ್ಷೆಯಿಲ್ಲದೆ ಕಗ್ಗಂಟಿನಂಥ ಎಲ್ಲ ತೊಡಕುಗಳನ್ನೂ ಸುಲಭವಾಗಿ ನಿವಾರಿಸಿಕೊಳ್ಳುವ ಹಾಗೂ ಗಹನವಾದ ಪರಮರಹಸ್ಯವನ್ನೂ ಅರ್ಥೈಸಿಕೊಳ್ಳುವ ಸಾಮರ್ಥ್ಯವು ಸ್ವಂತವಿಮರ್ಶಕಶಕ್ತಿಯಿಂದ ಲಭಿಸುವುದು. [caption id="attachment_8470" align="alignleft" width="333"] SEDIYAPU KRISHNA BHAT[/caption] ಶ್ರೀಯುತ ಸೇಡಿಯಾಪು ಕೃಷ್ಣಭಟ್ಟರನ್ನು (8.6.1902 – 8.6.1996) ನೆನೆದಾಗಲೆಲ್ಲ ವಲ್ಲಭದೇವನ ಸುಭಾಷಿತಾವಲಿಯ ಪ್ರಕೃತಪದ್ಯವು ನನಗೆ ನೆನಪಾಗುತ್ತದೆ. ಅಕ್ಷರಶಃ ಇದರಂತೆಯೇ ಇತ್ತು ಅವರ ಮೇಧೆ. ಜ್ಞಾನದ ಸಂಪಾದನೆ ಮತ್ತು ಅದರ ಪ್ರಸಾರವನ್ನು ತಪಸ್ಸಿನಂತೆ ನಡೆಸಿದವರು

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Of late in classical dance performances, the proportion of nrutta, which lacks creative interpretation and expression, is on the rise. At the same time, rasabhinaya, i.e., aesthetic communication with creative interpretation of the lyrics and the music is decreasing. [Note: 1. Bhavas are specific emotional states (chitta-vrutti) of a person. They are

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