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verses Tag

The poetic conversation between Vāsiṣṭha-gaṇapati-muni and Ambikā-datta that took place at the conference of scholars—‘paṇḍita-goṣṭhi’—at Nava-dvīpa (Nadia) is a good example for the genre of dialogue-poetry. Vāsiṣṭha-gaṇapati, who was then a young lad of twenty-two, went to participate in the extempore poetry—‘āśukavitā’—competition in Nava-dvīpa, following the advice of Śivakumāra, the great

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Dialogue-poetry was not restricted to scintillating exchanges among scholars in India. Though rare, there are instances where this form of dialogue took place with foreigners as well. The current example captures an episode that is more morose than cheerful. As India was losing its sovereignty to the British, William Bentinck, who

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Adhyāya 2. Parvasaṅgraha-parva The second adhyāya contains the Parvasaṅgraha section.  This contains information such as the number of parvas in theMahābhārata, the stories contained in them, the number of adhyāyas and verses in each of them. Before this, the seers ask Ugraśrava what the Samanta-pañcaka was, and in response he says, “In the period between the Tretā and the Dvāpara yugas, Paraśurāma killed a

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अत्तुमम्ब तव पाकमद्भुतं वाञ्छितं स्म करपञ्चकं मम । अश्म-केश-तृणशोधनाय य- त्ताडनार्थमुदरास्ययोरपि ॥ Dvyaṅguḻi Śrīnivāsacārya was a Sanskrit scholar who lived in the province of Mysore in the early decades of the 20th century. He was known for his strange mannerisms. He had lost all the fingers on his hands except two and had earned

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इत्यर्थ-क्वथितं चैवा- प्येतिभावाख्य-तेमनम् । सज्जीकृते सुभुक्त्यर्थं तुष्यताद्भवदाशयः ॥ We have seen that Mallinatha, lost in his scholarly activities, didn’t spend quality time with his wife. Studying difficult works of shastra was his favourite pastime. This was, in a way, not unreasonable: In order to write commentaries on the works of prodigious scholar-poets like Kalidasa,

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तिन्त्रिणीदलसमानलोचने देवदुन्दुभिसमानमध्यमे । अर्कशुष्कफलव्ध्वनस्तनि रामवैरिभगिनीव राजसे ॥ Mallinatha was a great commentator. His felicity in capturing the crux of a poem and explaining its finer aspects is extraordinary. He wrote glosses on Magha’s Shishupalavadha and Kalidasa’s Meghadutam – Sarvankasha and Sanjivini respectively – and exclaimed माघे मेघे गतं वयः (I’ve read Shishupalavadha and Meghadutam. What

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किं वाससा चीकरिबाकिरेण किं दारुणा वङ्कर-टिङ्करेण । सर्वज्ञभूपालविलोकनार्थं वैदुष्यमेको विदुषां सहायः ॥ Mahamahopadhyaya Mallinatha Suri, the celebrated scholar, wrote commentaries on important Sanskrit kavyas. His explanation of the five epic-poems and Kalidasa’s Meghadutam are good testimonies of his scholarship. He was also a gifted poet. Raghuviracharitam and Udarakavya are his independent works.  Following the

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We have long had a fascination for the final answer, the Holy Grail, the Grand Unified Theory, the ultimate solution, and the quintessential element. Douglas Adams mocks this tendency in his masterpiece Hitchhiker’s Guide to the Galaxy (1979) by assigning a random number – 42 – to represent the answer

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