Literature

Story 7

King Trivikramasena, for the seventh time, heaved the corpse onto his shoulder and set out. The vetāla started narrating another tale:

DVG’s exposition of the philosophical footing of citizenship allures us by its timeless fragrance. Hearing him speak on this subject is like lending our ears to Bhagavan Chanakya, Svami Vidyaranya, or Svami Vivekananda:

Story 5

12. For the fifth time, king Trivikramasena took the corpse upon his shoulder and started to walk. The vetāla began to narrate another story:-

Long ago, Ujjainī was ruled by a king called Puṇyasena. He had a minister named Harisvāmī who had a son Devasvāmī and a daughter Somaprabhā. When Somaprabhā came of age, she told her parents and elder brother that she would only marry someone who was either valorous or wise or a man of science.

Mallinātha has made some insightful observations in commenting on this verse. According to him, there were pictures in the mansion of various episodes from the time that Rāma and Sītā spent in the forest. Among them were paintings that depicted Sītā’s abduction, Rāma’s lament, his search for Sītā, and so on. When Rāma and Sītā looked at these and mulled over the episodes once again, they were neither sad nor disturbed; instead, they were happy.

Volume Five (1949–1952) [1]

Trivikramasena carried the dead body on his shoulder for a fourth time. The vetāla started narrating another story.

The first relates to the word sampṛktau. The poet has preferred the rather rare word sampṛkti to the more common saṃyukti. Let us understand the nuances of these words. Sampṛkti is derived from the verbal root ‘pṛcī–samparke.’ It means union, mutuality and parity. On the other hand, the word saṃyukti simply means a merger or combination. The first evokes a feeling of compatibility and complementariness. The second does not.

Trivikramasena, for the third time, took the dead body, placed it on his shoulders and set out. The vetāla started narrating another story:-

This is a short list of poetic works in Sanskrit. Most of the works included here are well known to our literary tradition. This list is divided into two parts: The first part keeps in mind a lover of Sanskrit poetry who might not actively compose verses in the language. The second part comprises works that a budding Sanskrit poet who is serious about his passion ought to read. Needless, the first part is a must-read for budding poets as well.

The Purāṇas occupy a high rank amongst India’s literary contribution to the world. In addition to being written lore of the highest magnitude, the Purāṇas have also remained in the oral tradition, percolating to the grassroots.