III
We shall now turn to the role of idiomatic language in poetry. As we all know, idiom is the life of any language. It is the hallmark of a great poet to employ idioms in his verses. At the same time, this is also a challenge, as idioms are generally easier to fit into a prose passage. Here are a few examples from languages other than Sanskrit:
The focus of this article, as evident from the title, is on the role played by meter, idiom, diction and figures of speech—features that enrich the total aesthetic appeal of a poem—in classical Indian poetry. Art is created when emotions are sublimated and imagination is brought into action. Emotions moulded by imagination (pratibhā)—with or without the assistance of erudition (vyutpatti) and practice (abhyāsa)—result in a work of art, while mere emotions end up in their worldly destination of pain and pleasure.
Perhaps there is no other poet in Sanskrit or any other Indian language who has described the mythology, knowledge, geography, flora and fauna of our country in such vivid and intimate detail as Kālidāsa has. This is the primary reason why he should be our national poet. For him, no place was just a mass of land; no river just a mass of water; no city just a mass of people; and no Indian value just a thought. This can be seen from many illustrations in his works.
There are many works in Sanskrit claiming Kālidāsa to be their author. However, after critical analysis, scholars are unanimous in crediting seven works to Kālidāsa. We can take a brief look at each one of them.
India is home to a unique and vibrant civilization. It is unique for being the only ancient civilization to have survived the test of time. The ancient Egyptian, Mesopotamian, and Assyrian cultures are only of academic interest today. Even the not-so-ancient Greek civilization has been wiped out clean from its homeland. But the Vedic civilization of India, which has its origins in the Sindhu-Saraswati river basins, is very much alive today.
This is part two of the paper presented at the international conference New Frontiers in Sanskrit and Indic Knowledge in June 2017 organized by the Chinmaya International Foundation. Part 1 of the paper can be found here.
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This paper by Shashi Kiran B N and Hari Ravikumar was presented at the international conference New Frontiers in Sanskrit and Indic Knowledge in June 2017 organized by the Chinmaya International Foundation.
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Sanskrit, one of the greatest gifts of India to the world, is unique in many ways. The Pāṇinian system of grammar, logical in its structure and exhaustive in its delineation, gave the language great strength in terms of word-generation ability, brevity, and freedom from ambiguity.
अत्तुमम्ब तव पाकमद्भुतं
वाञ्छितं स्म करपञ्चकं मम ।
अश्म-केश-तृणशोधनाय य-
त्ताडनार्थमुदरास्ययोरपि ॥
In its history of more than a thousand years, Kannada literature’s most recent golden age came in the 20th century with the advent of the Navodaya movement, which can be called as the ‘Kannada literary renaissance.’ Many of the poets and writers of this era were polyglots and they drew from the rich cultural streams of regional language writings, thus adding to the perennial river of Indian literature.