Ādivaṃśāvataraṇa Parva: The Birth of Veda Vyasa

This article is part 6 of 22 in the series Vacana Bhārata by Prof A.R. Krishna Sastri

The fifty-seventh adhyāya of the Ādi-parva starts with the story of King Uparicara. Some scholars opine that this is the real beginning of the Bhārata epic because Uparicara’s daughter Matysagandhī (also called Satyvavatī, Kālī, Yojanagandhī, and Gandhavatī) is the mother of Vyāsa, who is the ancestor of both the Kauravas and the Pāṇḍavas. This section narrates the incidents that led to her becoming the daughter of a fisherman and the birth of Vyāsa through Parāśara; several fantastic explanations have been given to support these episodes.

Following this, until the end of adhyāya 61, we learn that the men and women of the Bhārata epic were born out of several celestial beings like the devas, dānavas, and gandharvas to rid the earth of evil. In the beginning, Vaiśampāyana only suggests this. However, Janamejaya is not satisfied and asks him to narrate the story in its entirety. Vaiśampāyana agrees and starts the narration from the story of Brahma – Brahma created six children from his mind: Marīci, Atri, Aṅgirasa, Pulastya, Pulaha, and Kratu. It further goes on to enumerate which celestial being was born to which terrestrial couple (typically, the good possess elements of the devas while the evil possess elements of rākṣasas). Janamejaya gets tired of these details and says, “Now tell me the details of the Kuru-vaṃśa.” Vaiśampāyana starts narrating the story of King Duṣyanta, who lived nine generations before King Kuru. Dhṛtarāṣṭra and Pāṇḍu come nine generations after Kuru. During the narration of the story, ancestors and descendants of those in the Bhārata lineage are described, making it a total of forty-eight generations. (Adhyāya 90).

Translators' notes

 

The story of Uparicara

There lived a righteous king called Uparicara. He liked hunting and used to go out to hunt everyday. One day, however, he got tired of it and felt that he should stop killing animals. He kept aside his weapons and sat down in the forest to deep penance. Indra and the other deities thought that Uparicara was performing the penance to usurp Indra’s status. They came down to the earth and did their best to turn him away from the penance.

The deities came and spoke to him thus – “You are greatly harming the world and dharma. If you give up taking care of the kingdom, goodness will vanish from Earth. Without a king, people will become reckless. It is thus only befitting that you go back to your throne’

Indra, too, said to him: “Uparicara, are you performing such intense penance to acquire greater worlds after death? If so, you need not perform any penance to acquire them. By merely ruling your kingdom with a dhārmic vision, you can gain the best of all worlds. So please continue as the king on earth and I will remain the king of the heavens. Let us be friends hereafter. Ask for any kingdom on earth, I will give it to you. Perhaps the kingdom of Cedi best suits you. It is filled with every conceivable richness and is like heaven on earth. The people of that land are kind and generous; saints and sages rejoice there. People belonging to all the four varṇas are always devoted to their responsibilities. You may become the king of such a land.

As the fruit of the penance you have performed so far, I shall give you boons – you will get to know everything that takes place in the three worlds. I will gift you a celestial flying-chariot. You will be the only person on earth to possess it. Along with this, I shall gift you the Vaijayantī garland made of lotuses. This garland never dries up and a person who wears this in battle can never be injured by any weapon. This will be known as Indramālā in the world. You will be known as the wearer of Indra’s garland.” Saying this, Indra not only gifted him with the flying chariot and the Vaijayantī garland, but also gave him a bamboo stick (vaiṇava-daṇḍa). The daṇḍa could not only fulfil all wishes, but could also protect the good. Uparicara received the daṇḍa from Indra and worshipped it with great devotion.

Then, Indra assumed the form of a swan and took up abode in the stick. Impressed by Uparicara’s devotion, Indra said ‘Following the great model set by Uparicara, if other earthly kings worship me in the form of a yaṣṭi with devotion, they will be blessed with great wealth and victory. The citizens will always be full of riches and happiness’(This ‘yaṣṭi-pūjā’ that Uparicara started is followed by royal families even today. On the first day of the new year, Indra in the form of a swan is invoked on the top of a tall stick. The stick is decorated and worshipped with grand rituals)

Uparicara, thus gave up his penance and became the king of Cedi. He regularly performed yāgas and Indrotsava on a great magnitude. He had five sons, all brilliant in character. He crowned his son Bṛhadratha as the king of Magadha. Pratyagra, Kuśāmba (Maṇivāhana), Māvella and Yadu were his other children. He named four provinces after his children and anointed them as the kings of the respective provinces. Having thus divided the earth between his five children, Uparicara always remained in his celestial chariot in the skies. His name thus found its real meaning – Uparicara – ‘the one who moves above’ (i.e., moves in the skies)

The birth of Satyavatī

Once, when the king Uparicara was roaming around the skies, he observed that the river Śuktimatī had got stagnated. On a closer examination, he found that a mountain named Kolāhala had stopped the river by force. Angered by the mountain’s insolence, Uparicara stepped on him and the mountain broke apart. Śuktimatī then started flowing through the cleavage thus formed. She gave him her two children who were born out of the mountain Kolāhala. She then continued on her journey to meet her real husband, the ocean. The children who were handed over by Śuktimatī were already adults. Uparicara made the young man commander-in-chief of his armies and married the lady. The lady, Girikā who was of a sweet and good nature, fell deeply in love with Uparicara. The king too could not stay away from her for even a moment. Ministers took care of their kingdom.

Once, Girikā, who longed to give birth to a son, approached Uparicara. At the same time, however, the ancestors of

Image Courtesy:- Google image search

Uparicara came down to him in their physical form and asked him for ‘śrāddha-bhojana’ (the food offered to ancestors during yearly death ceremonies). They asked for the meat of a deer. Although the king wanted to be with his beloved wife Girikā, he could not turn down his forefathers’ request and went to the forest in search of deer, but with his heart and mind still lingering on Girikā.

He had his ancestors seated and headed to the forest for hunting. As the spring season (vasanta) was at its peak in the forest, the king felt that he was in the celestial gardens of Kubera. Trees and creepers were filled with flowers and seemed to reflect Girikā’s youth. The king grew jealous of the bees that were getting to kiss different flowers to extract their nectar. Tired physically from walking and exhausted emotionally, the king laid himself down by an Aśoka tree. Malayamāruta, the soft breeze that carried the fragrance of different flowers, kindled sensual feelings in the king. The king imagined that the splendid nature around him was a manifestation of his beautiful wife Girikā, and he experienced an ejaculation of his sperm. The next moment, he gathered it in a tree’s leaf and thought that his sperm should not go waste; Girikā was also ready to conceive. He spoke to an eagle that was near him:

“Dear bird! Kindly carry my sperm and hand it over to my wife Girikā in the palace. She is ready to conceive.” The eagle immediately consented, grasped the sperm in his claws and took to flight at great speed. The eagle was sighted by another eagle which took the sperm for a piece of meat and attacked it. In the fight that ensued, the sperm fell into the river Yamunā.

An apsarā named Adrikā, who was cursed to take the form of a fish in the river Yamunā, had been waiting for hundreds of years to receive Uparicara’s seed. As it fell into the waters, she engulfed it within her womb. After nine months, as pre-destined, she fell into the hands of fishermen. The fishermen were astonished at her strange form. They carefully cut open her womb, and two dazzling babies came out. The apsarā, who had taken the form of a fish due to the curse of a brāhmaṇa, now assumed her real form, blessed her babies and went back to the heavens.

The fishermen thought the babies were somehow extraordinary, and reported the events to their king. The king adopted the boy and handed over the baby girl to the king of the fishermen. This male child grew up to become famous as ‘Matsyarāja'. The girl who grew up with the king of fishermen became famous as Matsyagandhā. Even as a girl, she was good natured, charming and beautiful. She was therefore also called ‘Satyavatī by her foster parents. She took care of ferrying people, one at a time, across the river Yamunā. Pleased with her skill, travellers used to reward her some money, which she always handed over to her father.

 

The birth of Vyāsa

Once, the sage Parāśara during his travels happened to come to the banks of the river Yamunā. Satyavatī was the only ferry woman present when he arrived. Satyavatī’s beauty was such that it could even capture the hearts of the learned sages. Parāśara, who knew that she was of a divine birth, expressed his wish to have venereal bliss in her company, as they were riding on the boat. In reply, Satyavatī said that she was embarrassed as both the banks of the

Image Courtesy:- Google image search

river had hermitages of sages and it would catch their sight. Parāśara then created a foggy envelope around the boat and created privacy. As Satyavatī  expressed her concerns about losing virginity, he said with a smile ‘After being with me, you will regain your virginity. You do not have to get pregnant like other women. With my blessings, you will give birth to a brilliant son immediately. If you have any other wishes, please ask me and I shall fulfil them too.’

Satyavatī thought for a moment and requested him to rid her of fish’s smell that had come to her by birth. With the sage’s blessings, the bad odour was removed from her body and she also became fragrant. As her fragrance could be felt even at large distances (as far as a ‘yojana’) she came to be called ‘Yojanagandhā’. Satyavatī was thrilled and she fell into the sage’s arms. A brilliant son was born to them in the middle of an island of the river Yamunā. He bowed down to his mother and sought her permission to perform penance. He promised to come to her whenever she thought of him. The child later became famous as Kṛṣṇa-dvaipāyana - Kṛṣṇa, as he had a dark complexion and dvaipāyana, as he was born in a dvīpa, an island. He reorganised the Vedas into four and came to be called Veda- vyāsa, i.e., the re-organiser/ re-classifier of the Vedas. He also composed the Mahābhārata that is considered the fifth Veda.

 

To be continued.

Thanks to Śatāvadhāni Dr. R Ganesh for his astute feedback.

 

 

Author(s)

About:

Prof. A R Krishna Sastri was a journalist, scholar, polyglot, and a pioneer of the modern Kannada renaissance, who founded the literary journal Prabuddha Karnāṭaka. His Vacana-bhārata and Kathāmṛta are classics of Kannada literature while his Saṃskṛta-nāṭaka and Bankimacandra are of unrivalled scholarship.

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...