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Salok
Shloka or śloka ( , 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-syllable 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 eight 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 ''Mahabharata'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syllable
A syllable is a basic unit of organization within a sequence of speech sounds, such as within a word, typically defined by linguists as a ''nucleus'' (most often a vowel) with optional sounds before or after that nucleus (''margins'', which are most often consonants). In phonology and studies of languages, syllables are often considered the "building blocks" of words. They can influence the rhythm of a language, its prosody, its poetic metre; properties such as stress, tone and reduplication operate on syllables and their parts. Speech can usually be divided up into a whole number of syllables: for example, the word ''ignite'' is made of two syllables: ''ig'' and ''nite''. Most languages of the world use relatively simple syllable structures that often alternate between vowels and consonants. Despite being present in virtually all human languages, syllables still have no precise definition that is valid for all known languages. A common criterion for finding syllable bound ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Valmiki
Valmiki (; , ) was a legendary poet who is celebrated as the traditional author of the epic ''Ramayana'', based on the attribution in the text itself. He is revered as ''Ādi Kavi'', the first poet, author of ''Ramayana'', the first epic poem. The ''Ramayana'', originally written by Valmiki, consists of 24,000 shlokas and seven cantos (kaṇḍas). The is composed of about 480,002 words, being a quarter of the length of the full text of the ''Mahabharata'' or about four times the length of the ''Iliad''. The ''Ramayana'' tells the story of a prince, Rama of the city of Ayodhya (Ramayana), Ayodhya in the Kosala, Kingdom of Kosala, whose wife Sita is abducted by Ravana, the demon-king (Rakshasa) of Lanka. The 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, although original date of composition is unknown. As with many traditional epics, it has gone through a process of interp ... [...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". Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trochee
In poetic metre, a trochee ( ) is a metrical foot consisting of a stressed syllable followed by an unstressed syllable, unstressed one, in qualitative meter, as found in English, and in modern linguistics; or in quantitative meter, as found in Latin and Ancient Greek, 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 (poetry), iamb. Thus the Latin word , 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 language, French , adapted from Latin , originally from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Molossus (poetry)
A molossus (; from Greek ) 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's 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 whi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Choriamb
In Greek and Latin poetry, a choriamb (Ancient Greek: χορίαμβος - ''khoriambos'') 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 iam ... [...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 ... [...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 E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magha (poet)
Magha (c. 7th century) (, ) was a Sanskrit Language, Sanskrit poet at Vatsraj, King Varmalata's court at Bhinmal, Shrimala, the then-capital of Gujarat (presently in Rajasthan state). Magha was born in a Shrimali Brahmins, 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 (Canto, cantos), is based on the Mahabharata episode in which Krishna uses his ''Sudarshana Chakra, 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 autobio ... [...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. Date According to multiple grant inscriptions of the Ganga dynasty, such as the Gummareddipura inscription, the Ganga king Durvinita wrote a Kannada-language commentary on the Canto 15 of Bharavi's '' Kirātārjunīya''. The date of the Gummareddipura inscription is debated among scholars, but the end of Durvinita's reign is dated to c. 580 CE, which means that Bharavi lived around or before this time. ''Avanti-sundara-katha'' of Dandin (7th-8th century) suggests that Bharavi was a contemporary of the kings Simha-vishnu, Vishnu-vardhana, and Durvinita; he was also a contemporary of Dandin's fourth-generation ancestor Damodara (see Biography below). Based on this account, Sanskrit scholar G. Harihara Sastri theorizes prince Kubja Vishnuvardhana of Chalukya family was a patron of Bharavi, before he became the Eastern Chalukya king ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalidasa
Kālidāsa (, "Servant of Kali"; 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 Hindu Puranas and philosophy. 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 during the Gupta era. Kalidas is mentioned as one of the seven Brahma avatars in Dasam Granth, written by Guru Gobind Singh. 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 '' Kumārasambhavam'', the display of his love for Ujjain in '' Meghadūta'', and his highly eulogistic descriptions of Kalingan emperor Hem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
