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Shlokas
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 ''Ma ... [...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. Both ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Foot (prosody)
The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation. The English word "foot" is a translation of the Latin term ''pes'', plural ''pedes'', which in turn is a translation of the Ancient Greek ποῦς, pl. πόδες. The Ancient Greek prosodists, who invented this terminology, specified that a foot must have both an arsis and a thesis, that is, a place where the foot was raised ("arsis") and where it was put down ("thesis") in beating time or in marching or dancing. The Greeks recognised three basic types of feet, the iambic (where ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kurukshetra
Kurukshetra (, ) is a city and administrative headquarter of Kurukshetra district in the Indian state of Haryana. It is also known as Dharmakshetra ("Realm of duty ") and as the "Land of the Bhagavad Gita". Legends According to the Puranas, Kurukshetra is a region named after King Kuru, the ancestor of Kauravas and Pandavas in the Kuru kingdom, as depicted in epic ''Mahabharata''. The Kurukshetra War of the ''Mahabharata'' is believed to have taken place here. Thaneswar whose urban area is merged with Kurukshetra is a pilgrimage site with many locations attributed to ''Mahabharata''. In the Vedas Kurukshetra is described not as a city but as a region ("kshetra" means "region" in Sanskrit). The boundaries of Kurukshetra correspond roughly to the central and western parts of the state of Haryana and southern Punjab. According to the Taittiriya Aranyaka 5.1.1., the Kurukshetra region is south of Turghna (Srughna/Sugh in Sirhind, Punjab), north of Khandava (Delhi and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhritarashtra
Dhritarashtra ( sa, धृतराष्ट्र, ISO-15919: Dhr̥tarāṣṭra) was a Kuru king, and the father of the Kauravas in the Hindu epic ''Mahabharata''. He was the King of the Kuru Kingdom, with its capital at Hastinapura. He was born to Vichitravirya's first wife, Ambika. Dhritarashtra was born blind. He fathered one hundred sons and one daughter, Dushala, by his wife, Gandhari and a son, Yuyutsu, by his wife's maid. These children, including the eldest son Duryodhana, but not including Yuyutsu and Dushala, came to be known as the Kauravas. Etymology and historicity ''Dhṛtarāṣṭra'' means "He who supports/bears the nation" A historical Kuru King named Dhritarashtra Vaichitravirya is mentioned in the '' Kāṭhaka Saṃhitā'' of the Yajurveda ( 1200–900 BCE) as a descendant of the Rigvedic-era King Sudas of the Bharatas. His cattle was reportedly destroyed as a result of the conflict with the ''vrātya'' ascetics; however, this Vedic mention d ... [...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". ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trochee
In English poetic metre and modern linguistics, a trochee () is a metrical foot consisting of a stressed syllable followed by an unstressed one. But in Latin and Ancient Greek poetic metre, a trochee is a heavy syllable followed by a light one (also described as a long syllable followed by a short one). In this respect, a trochee is the reverse of an iamb. Thus the Latin word "there", because of its short-long rhythm, in Latin metrical studies is considered to be an iamb, but since it is stressed on the first syllable, in modern linguistics it is considered to be a trochee. The adjective form is ''trochaic''. The English word ''trochee'' is itself trochaic since it is composed of the stressed syllable followed by the unstressed syllable . Another name formerly used for a trochee was a choree (), or choreus. Etymology ''Trochee'' comes from French , adapted from Latin , originally from the Greek (), 'wheel', from the phrase (), literally 'running foot'; it is connected wit ... [...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 example o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Choriamb
In Greek and Latin poetry, a choriamb is a metron (prosodic foot) consisting of four syllables in the pattern long-short-short-long (— ‿ ‿ —), that is, a trochee alternating with an iamb. Choriambs are one of the two basic metra that do not occur in spoken verse, as distinguished from true lyric or sung verse. The choriamb is sometimes regarded as the "nucleus" of Aeolic verse, because the pattern long-short-short-long pattern occurs, but to label this a "choriamb" is potentially misleading.Halporn ''et al.'', ''Meters'', pp. 29–31. In the prosody of English and other modern European languages, "choriamb" is sometimes used to describe four-syllable sequence of the pattern stressed-unstressed-unstressed-stressed (again, a trochee followed by an iamb): for example, "over the hill", "under the bridge", and "what a mistake!". English prosody In English, the choriamb is often found in the first four syllables of iambic pentameter verses, as here in Keats' ''To Autumn'': ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paeon (prosody)
In prosody a paeon (or paean) is a metrical foot used in both poetry and prose. It consists of four syllables, with one of the syllables being long and the other three short. Paeons were often used in the traditional Greek hymn to Apollo called paeans. Its use in English poetry is rare. Depending on the position of the long syllable, the four paeons are called a first, second, third, or fourth paeon. The cretic or amphimacer metrical foot, with three syllables, the first and last of which are long and the second short, is sometimes also called a paeon diagyios. Use in prose The paeon (particularly the first and fourth) was favored by ancient prose writers since, unlike the dactyl, spondee, trochee, and iamb, it was not associated with a particular poetic meter, such as the hexameter, tetrameter, or trimeter, and so produced a sound not overly poetical or familiar. Regarding the use of the paeon in prose, Aristotle writes: :All the other meters then are to be disregarded for the r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilhana
Kaviraj, Kavi Bilhana was an 11th-century Kashmiri Pandits, 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 language, Kashmiri version does not specify what the outcome was. The ''Caurapâñcâśikâ'' was first translated into a European language, French language, French, in 1848. Subsequently, it was translated several other times. Notable trans ... [...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 (known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
