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Shloka
Shloka or śloka ( sa, श्लोक , from the root , Macdonell, Arthur A., ''A Sanskrit Grammar for Students'', Appendix II, p. 232 (Oxford University Press, 3rd edition, 1927). in a broader sense, according to Monier-Williams's dictionary, is "any verse or stanza; a proverb, saying"; but in particular it refers to the 32-line verse, derived from the Vedic '' anuṣṭubh'' metre, used in the '' Bhagavad Gita'' and many other works of classical Sanskrit literature. In its usual form it consists of four ''pādas'' or quarter-verses, of 8 syllables each, or (according to an alternative analysis) of two half-verses of 16 syllables each. The metre is similar to the Vedic '' anuṣṭubh'' metre, but with stricter rules. The ''śloka'' is the basis for Indian epic poetry, and may be considered the Indian verse form ''par excellence'', occurring as it does far more frequently than any other metre in classical Sanskrit poetry. The ''śloka'' is the verse-form generally used in the ''M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shloka Hemistich
Shloka or śloka ( sa, श्लोक , from the root , Macdonell, Arthur A., ''A Sanskrit Grammar for Students'', Appendix II, p. 232 (Oxford University Press, 3rd edition, 1927). in a broader sense, according to Monier-Williams's dictionary, is "any verse or stanza; a proverb, saying"; but in particular it refers to the 32-line verse, derived from the Vedic ''anuṣṭubh'' metre, used in the ''Bhagavad Gita'' and many other works of classical Sanskrit literature. In its usual form it consists of four ''pādas'' or quarter-verses, of 8 syllables each, or (according to an alternative analysis) of two half-verses of 16 syllables each. The metre is similar to the Vedic ''anuṣṭubh'' metre, but with stricter rules. The ''śloka'' is the basis for Indian epic poetry, and may be considered the Indian verse form ''par excellence'', occurring as it does far more frequently than any other metre in classical Sanskrit poetry. The ''śloka'' is the verse-form generally used in the ''Maha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anceps
In languages with quantitative poetic metres, such as Ancient Greek, Latin, Arabic, Sanskrit, and classical Persian, an anceps (plural ''ancipitia'' or ''(syllabae) ancipites'') is a position in a metrical pattern which can be filled by either a long or a short syllable. In general, ''anceps'' syllables in words, such as the first syllable of the Greek words (the Greek god of war) or "bitter", which can be treated by poets as either long or short, can be distinguished from ''anceps'' elements or positions in a metrical pattern, which are positions where either a long syllable or a short syllable can be used. Another distinction can be made between the ordinary ''anceps'' positions at the beginning or middle of a line of verse and the phenomenon of ''brevis in longo'', which is when a short syllable at the end of a line counts as long because of the pause which follows. The word ''anceps'' comes from the Latin ''anceps, ancipitis'', meaning "two-headed, uncertain, unfixed". The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anuṣṭubh
( sa, अनुष्टुभ्, ) is a meter and a metrical unit, found in both Vedic and Classical Sanskrit poetry, but with significant differences. By origin, an anuṣṭubh stanza is a quatrain of four lines. Each line, called a ''pāda'' (lit. "foot"), has eight syllables. In Vedic texts Arnold distinguishes three varieties of anuṣṭubh in the Vedic corpus: an early free form, with very few restrictions except a general iambic (u – u x) tendency in the cadence (vṛtta) of each of the four ''pāda''s; e.g. : , , – – – – , u – u – , : , ‖ – – – – , u – u – ‖ : , , – – – u , u – u u , : , ‖ – – – – , u – u – ‖ Next came a mildly trochaic development in the opening of each ''pāda''; and finally the development of the "epic anuṣṭubh" (mostly in the Atharvaveda) prefiguring the classical śloka form. Although in these hymns the iambic cadence of the first verse is still the most frequent (25%) of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit Prosody
Sanskrit prosody or Chandas refers to one of the six Vedangas, or limbs of Vedic studies.James Lochtefeld (2002), "Chandas" in The Illustrated Encyclopedia of Hinduism, Vol. 1: A-M, Rosen Publishing, , page 140 It is the study of poetic metres and verse in Sanskrit. This field of study was central to the composition of the Vedas, the scriptural canons of Hinduism, so central that some later Hindu and Buddhist texts refer to the Vedas as ''Chandas''. The Chandas, as developed by the Vedic schools, were organized around seven major metres, and each had its own rhythm, movements and aesthetics. Sanskrit metres include those based on a fixed number of syllables per verse, and those based on fixed number of morae per verse. Extant ancient manuals on Chandas include Pingala's ''Chandah Sutra'', while an example of a medieval Sanskrit prosody manual is Kedara Bhatta's ''Vrittaratnakara''. The most exhaustive compilations of Sanskrit prosody describe over 600 metres. This is a subs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramayana
The ''Rāmāyana'' (; sa, रामायणम्, ) is a Sanskrit epic composed over a period of nearly a millennium, with scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE. ''Ramayana'' is one of the two important epics of Hinduism, the other being the ''Mahābhārata''. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Sita, the Princess of Janakpur, and Rama, a legendary prince of Ayodhya city in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration. The ''Ramayana'' is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sushruta Samhita
The ''Sushruta Samhita'' (सुश्रुतसंहिता, IAST: ''Suśrutasaṃhitā'', literally "Suśruta's Compendium") is an ancient Sanskrit text on medicine and surgery, and one of the most important such treatises on this subject to survive from the ancient world. The ''Compendium of Suśruta'' is one of the foundational texts of Ayurveda (Indian traditional medicine), alongside the '' Charaka-Saṃhitā'', ''the Bheḷa-Saṃhitā'', and the medical portions of the Bower Manuscript. It is one of the two foundational Hindu texts on the medical profession that have survived from ancient India. The ''Suśrutasaṃhitā'' is of great historical importance because it includes historically unique chapters describing surgical training, instruments and procedures which is still followed by modern science of surgery. One of the oldest ''Sushruta Samhita'' palm-leaf manuscripts is preserved at the Kaiser Library, Nepal. History Date Over a century ago, the scholar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vedic Sanskrit
Vedic Sanskrit was an ancient language of the Indo-Aryan subgroup of the Indo-European language family. It is attested in the Vedas and related literature compiled over the period of the mid- 2nd to mid-1st millennium BCE. It was orally preserved, predating the advent of writing by several centuries. Extensive ancient literature in the Vedic Sanskrit language has survived into the modern era, and this has been a major source of information for reconstructing Proto-Indo-European and Proto-Indo-Iranian history. In the pre-historic era, Proto-Indo-Iranian split into Proto-Iranian and Proto-Indo-Aryan and the two languages evolved independently of each other. History Prehistoric derivation The separation of Proto-Indo-Iranian language into Proto-Iranian and Proto-Indo-Aryan is estimated, on linguistic grounds, to have occurred around or before 1800 BCE. The date of composition of the oldest hymns of the Rigveda is vague at best, generally estimated to roughly 1500 BCE. Bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilhana
Kavi Bilhana was an 11th-century Kashmiri poet. He is known for his love poem, the ''Caurapañcāśikā''. According to legend, Bilhana fell in love with the daughter of King Madanabhirama, Princess Yaminipurnatilaka, and had a secretive love affair. Bilhana kavi came to rajya for to learn Chandassu . They were discovered, and Bilhana was thrown into prison. While awaiting judgement, he wrote the ''Caurapâñcâśikâ'', a fifty-stanza love poem, not knowing whether he would be sent into exile or die on the gallows. It is unknown what fate Bilhana encountered. Nevertheless, his poem was transmitted orally around India. There are several versions, including ones from South India which had a happy ending; the Kashmiri version does not specify what the outcome was. The ''Caurapâñcâśikâ'' was first translated into a European language, French, in 1848. Subsequently, it was translated several other times. Notable translations are those of Sir Edwin Arnold(London 1896) and Edward ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalidasa
Kālidāsa (''fl.'' 4th–5th century CE) was a Classical Sanskrit author who is often considered ancient India's greatest poet and playwright. His plays and poetry are primarily based on the Vedas, the Rāmāyaṇa, the Mahābhārata and the Purāṇas. His surviving works consist of three plays, two epic poems and two shorter poems. Much about his life is unknown except what can be inferred from his poetry and plays. His works cannot be dated with precision, but they were most likely authored before the 5th century CE. Early life Scholars have speculated that Kālidāsa may have lived near the Himalayas, in the vicinity of Ujjain, and in Kalinga. This hypothesis is based on Kālidāsa's detailed description of the Himalayas in his '' Kumārasambhava'', the display of his love for Ujjain in '' Meghadūta'', and his highly eulogistic descriptions of Kalingan emperor Hemāngada in ''Raghuvaṃśa'' (sixth ''sarga''). Lakshmi Dhar Kalla (1891–1953), a Sanskrit schola ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharavi
Bharavi () was a 6th century Indian poet known for his epic poem ''Kirātārjunīya'', one of the six ''mahakavyas'' in classical Sanskrit. Time and place As with most Sanskrit poets, very few concrete details are available about Bharavi's life, and inferences must be made from references to him. His name, along with great poet and dramatist in the Sanskrit language Kālidāsa's name, is mentioned in a Chalukya stone inscription dated 634 C.E. found at Aihole, located in present day Karnataka. In another inscription, the king Durvinita of the Western Ganga Dynasty mentions having written a commentary on the fifteenth canto of Bharavi's Kirātārjunīya. The Western Ganga Dynasty ruled from about the middle of the fourth century, and Durvinita is usually believed to have lived in the later half of the sixth century. The poet Daṇḍin, who was born during the seventh century, reports that his great-grandfather was a friend of Bharavi and was introduced by him to a king Viṣṇu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magha (poet)
Magha (c. 7th century) ( sa, माघ, ) was a Sanskrit poet at King Varmalata's court at Shrimala, the then-capital of Gujarat (presently in Rajasthan state). Magha was born in a Shrimali Brahmin family. He was the son of Dattaka Sarvacharya and the grandson of Suprabhadeva. His epic poem (''mahākāvya'') Shishupala Vadha, in 20 ''sarga''s (cantos), is based on the Mahabharata episode in which Krishna uses his ''chakra'' (disc) to behead the defiant king Shishupala. He is thought to have been inspired by, and is often compared with, Bharavi. Life and work Māgha's fame rests entirely on the Shishupala Vadha. Vallabhadeva and Kshemendra quote some verses that are not found in the Shishupala Vadha as that of Māgha, so it is believed that Māgha wrote some other works that are now lost. Unlike most Indian poets who give no autobiographical details or allude to any contemporary events, Māgha gives some autobiographical details in the concluding five verses of the work (kn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Molossus (poetry)
A molossus () is a metrical foot used in Greek and Latin poetry. It consists of three long syllables. Examples of Latin words constituting molossi are ''audiri, cantabant, virtutem''. In English poetry, syllables are usually categorized as being either stressed or unstressed, rather than long or short, and the unambiguous molossus rarely appears, as it is too easily interpreted as two feet (and thus a metrical fault) or as having at least one destressed syllable. Perhaps the best example of a molossus is the repeated refrain of ''no birds sing'' in the first and last verse of John Keats' poem " La Belle Dame Sans Merci" (1819) especially for the way it forces the reader to slow down, which is the poetic essence of this metrical foot. The title of Lord Tennyson's poem " Break, Break, Break" (1842) is sometimes cited as a molossus, but in context it can only be three separate feet: Clement Wood proposes as a more convincing instance: ''great white chief'', of which an examp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
