sanskrit essay on my favourite poet

Essay on Mahakavi Kalidas in Sanskrit

This post is an essay on Mahakavi Kalidas in Sanskrit.

कालिदास पर संस्कृत में निबंध।

महाकविः कालिदासः इति विषये संस्कृतभाषायां निबन्धः।

Translation is given in Hindi and English for better understanding.

This essay can be referenced by school students and interested Sanskrit learners.

Table of Contents

Video of Essay on Mahakavi Kalidas in Sanskrit

महाकविः कालिदासः.

महाकविः कालिदासः मम प्रियः कविः अस्ति। तस्य काव्यनिपुणतायाः कारणात् सः ‘कविकुल-शिरोमणिः’, ‘कविकुलगुरुः’ च एतादृशैः उपाधिभिः सम्मानितः। तस्य रचनासु, ‘कुमारसम्भवं’ ‘रघुवंशं’ चेति द्वे महाकाव्ये। ‘मेघदूतम्’ इति तस्य खण्डकाव्यम्। महाकवेः कालिदासस्य ‘मालविकाग्निमित्रं’ ‘विक्रमोर्वशीयम्’ ‘अभिज्ञानशाकुन्तलं’ च इति तस्य त्रयः नाटकाः। तस्य ‘ऋतुसंहारम्’ इति ऋतुकाव्यम्। महाकवेः एताः सप्त रचनाः आकाशे सप्तर्षयः इव वर्तन्ते। विक्रमादित्यनृपस्य सभायाः नवरत्नेषु सः प्रमुख्यः। ‘उपमा कालिदासस्य’ इति उक्तिः महाकवेः कालिदासस्य काव्यकुशलतायाः कारणात् प्रसिद्धा। एतादृशं भारतीयं महाकविं कालिदासम् अहं नमामि।

mahākaviḥ kālidāsaḥ

mahākaviḥ kālidāsaḥ mama priyaḥ kaviḥ asti। tasya kāvyanipuṇatāyāḥ kāraṇāt saḥ ‘kavikula-śiromaṇiḥ’, ‘kavikulaguruḥ’ ca etādṛśaiḥ upādhibhiḥ sammānitaḥ। tasya racanāsu, ‘kumārasambhavaṃ’ ‘raghuvaṃśaṃ’ ceti dve mahākāvye। ‘meghadūtam’ iti tasya khaṇḍakāvyam। mahākaveḥ kālidāsasya ‘mālavikāgnimitraṃ’ ‘vikramorvaśīyam’ ‘abhijñānaśākuntalaṃ’ ca iti tasya trayaḥ nāṭakāḥ। tasya ‘ṛtusaṃhāram’ iti ṛtukāvyam। mahākaveḥ etāḥ sapta racanāḥ ākāśe saptarṣayaḥ iva vartante। vikramādityanṛpasya sabhāyāḥ navaratneṣu saḥ pramukhyaḥ। ‘upamā kālidāsasya’ iti uktiḥ mahākaveḥ kālidāsasya kāvyakuśalatāyāḥ kāraṇāt prasiddhā। etādṛśaṃ bhāratīyaṃ mahākaviṃ kālidāsam ahaṃ namāmi।

Essay On Mahakavi Kalidas

Mahakavi Kalidasa is my favourite poet. He has often been referred to as ‘Kavi-kula-shiromani’ and ‘Kavi-kula-guru’ because of his poetic excellence. Out of his literary works, ‘Kumarsambhavam’ and ‘Raghuvamsham’ are two of his epic poems. ‘Meghadutam’ is a short poem of his. The ‘Malavikagnimitram’, the ‘Vikramorvashiyam’, and the ‘Abhijnanashakuntalam’ are his three famous plays. ‘Ritusamharam’ is a seasonal poem of his. Just like the constellation of the Saptarshi, these seven works of Kalidasa are situated in the literary world. He was the most prominent of the nine jewels of King Vikramaditya’s court. The phrase, ‘Upama Kalidasasya’, is used in close association with Kalidasa to reflect his proficiency in poetry. I offer my obeisance to the great Indian Mahakavi Kalidasa.

महाकवि कालिदास पर निबंध।

महाकवि कालिदास मेरे प्रिय कवि हैं। उनकी काव्यनिपुणता के कारण ‘कविकुल-शिरोमणि’ और ‘कविकुलगुरु’ इस प्रकार की उपाधियों से उन्हें सम्मानित किया गया है। उनकी रचनाओं में से ‘कुमारसंभव’ और ‘रघुवंश’ उनके दो महाकाव्य हैं। ‘मेघदूत’ उनका एक खण्डकाव्य है। ‘मालविकाग्निमित्र’, ‘विक्रमोर्वशीय’ और ‘अभिज्ञानशाकुन्तल’ महाकवि कालिदास के तीन नाटक हैं। ‘ऋतुसंहार’ उनका एक ऋतुकाव्य है। महाकवि की ये सात रचनाएँ आकाश में सप्तर्षि नक्षत्र के समान हैं। वे राजा विक्रमादित्य की सभा के नवरत्नों में सबसे प्रमुख थे। ‘उपमा कालिदासस्य’ यह उक्ति का उपयोग महाकवि कालिदास के काव्य कौशल्य के लिए किया जाता है। ऐसे भारतीय महाकवि कालिदास को मैं नमन करता/करती हूँ।

Importance of Machines

Importance of Art

Republic Day of India

Examination

Pandita Ramabai

Teachers Day

The Experience of Covid

Essay on Ganeshotsav

Importance of Indian Festivals

Importance of Discipline

Importance of Sports

Nutritious Diet

Books My Friend

Mahatma Gandhi

Lokmanya Tilak

Importance of Knowledge

Makar Sankranti

Indian National Flag

Importance of Cleanliness

Importance of Exercise

Importance of Water

Summer Season

Rainy Season

My favourite Teacher

Indian Independence Day

Raksha Bandhan

International Yoga Day

World Environment Day

River Ganga

Abdul Kalam

Goddess Saraswati

Sanskrit Language

Festival of Holi

Shri Krishna

Shri Ganesha

Other interesting sections.

Learn about Sanskrit Axioms which is a statement or proposition which is regarded as being established, accepted, or self-evidently true.

Learn about Sanskrit Proverbs which are a short, well-known saying, stating a general truth or piece of advice.

Learn about Shloka or shlokas in Sanskrit which consists of four padas of 8 syllables each, or of two half-verses of 16 syllables each.

• Teach@Vyoma
• my learning

This website uses cookies and other tracking tools to provide you with the best experience. By using our site, you acknowledge that you understand this and are willing to comply with the terms in our privacy policy and cookies policy .

🌟 Exciting News! 🌟

‘Sanskritfromhome’ App is now available on your mobile device

Get the app today, stay connected & enjoy your Learning on the Go!!!

Maintenance Alert

Please note that the site will be down for maintenance from 14th April 10 p.m. IST (Friday) to 15th April 10 p.m. IST (Saturday) approximately. We are sorry for any inconvenience caused.

Thank you for your support.

प्रसिद्धसंस्कृतकवीनां परिचयः - भागः १

Introduction to famous sanskrit poets – part 1.

A free webinar course on 10 great poets of Samskrita literature starting from Valmiki. In this course, Dr.Usharani Sanka highlights their life-details, poetic style and features, introduction to the works, the poet’s personality and covers the events or stories around the poet in Samskritam. This is a part of syllabus in Chittoor Samartha exam and will be helpful for students attempting the same.

No of Enrollment

No of lectures, schedule of classes, modal title.

About the Course

What will you gain from this course? (Key Benefits / Learning Outcomes)

• Gain a detailed knowledge about the historical and literary aspects of 10 eminent poets of Sanskrit literature.
• Discover the poetic genius of these poets through an in-depth analysis of the characteristic features of their poetry.
• Helpful structure and tips for presenting detailed answers about the poets in any exam.

What are the materials/support you get?

• 15 live sessions with opportunities for interaction with the teacher.
• Recorded videos and audios which you can access anytime, from any device.
• Presentations used for the classes in PDF format.
• Doubt clarifications directly and through Email.

What are the pre-requisites to get the best out of this course? (Eligibility)

• Basic knowledge of Sanskrit language and grammar, at the level of Chittoor - Vichakshana / Samskrita Bharati – Shiksha / CBSE 10th std.
• Ability to understand Spoken Sanskrit.

About the Teacher

Know more about the course, about the text and author, what is the syllabus, will i get a certificate, how do i join, course content, related courses, courses by the same teacher on vyoma samskrta pathasala.

• Lifestyle Lounge
• Art & Entertainment
• Beauty & Fashion
• Gadgets & Gizmos
• Home & Living
• Parenting & Family

• Automobiles
• Health & Fitness

Sanskrit Poets

More from iloveindia. com.

• Hotels in India
• Sports in India
• Indian Wildlife
• Parenting Tips
• Spirituality
• Real Estate
• Indian Heroes
• Indian Traditions
• Indian Clothing
• Indian Railways
• Airlines in India
• Government of India
• Constitution of India
• National Symbols
• Airports in India
• India City Guide
• Indian Geography
• Privacy Policy
• Copyright iloveindia.com All Rights Reserved.

• Free writing courses
• Famous poetry classics
• Forums: Poet's • Suggestions
• My active groups   see all
• Trade comments
• Print publishing
• Rate comments
• Recent views
• Membership plan
• Contact us + HELP

Famous poet / ?-420  •  Ranked #92 in the top 500 poets

Kalidasa stands as a towering figure in Classical Indian Literature . His works, composed in Sanskrit, are celebrated for their lyrical beauty, intricate narratives, and profound insights into human nature. While his exact dates remain unknown, his writing flourished during the Gupta Empire, a period often referred to as the "Golden Age of India," marked by significant advancements in art, science, and literature.

Kalidasa's poetic style is characterized by its rich imagery and flowing rhythms . He possessed a remarkable ability to evoke emotions and paint vivid portraits of both the natural world and the human psyche. His most famous works include the plays Abhijñānaśākuntala ( The Recognition of Shakuntala ) and Vikramōrvaśīyam ( Urvashi Won by Valor ), and the epic poems Raghuvaṃśa ( Dynasty of Raghu ) and Kumārasambhava ( Birth of Kumara ).

While Kalidasa's personal life is shrouded in mystery, his enduring legacy rests upon the timeless appeal of his writings. His works have been translated into numerous languages and continue to be studied and performed worldwide. Kalidasa's influence extends beyond India, resonating with poets and playwrights across cultures and epochs. His exploration of universal themes such as love, longing, duty, and the human condition ensures that his work remains relevant even today.

Other notable authors of the period, including Bhasa, Shudraka, and Vishakhadatta, also made significant contributions to Sanskrit drama and literature. However, Kalidasa's masterful command of language and his ability to weave complex narratives with lyrical grace set him apart as a literary giant whose works continue to captivate and inspire generations of readers and audiences.

Look To This Day

Look to this day: For it is life, the very life of life. In its brief course Lie all the verities and realities of your existence. The bliss of growth, The glory of action, The splendour of achievement Are but experiences of time. For yesterday is but a dream And tomorrow is only a vision; And today well-lived, makes Yesterday a dream of happiness And every tomorrow a vision of hope. Look well therefore to this day; Such is the salutation to the ever-new dawn!

Shakuntala Act 1

Famous poets ( ranked #92 ).

• Send Message
• Open Profile in New Window

• INTRODUCTION TO THE CLAY SANSKRIT LIBRARY (CSL) By JOHN P. CLAY
• About Ramáyana
• About Maha·bhárata
• THE DIGITAL CLAY SANSKRIT LIBRARY (eCSL)
• DIGITAL BODLEIAN PLATFORM
• THE CLAY SANSKRIT LIBRARY COMPENDIUM A Sanskrit Treasury
• THE JOHN P CLAY GRADUATE SCHOLARSHIP

Messenger Poems

By Kālidāsa, Dhoyī, and Rūpa Gosvāmin Translated by Sir James Mallinson

Kali·dasa’s fifth-century CE “Cloud Messenger” is a beautiful and pure expression of an exiled lover’s love. That first messenger poem is imitated in the twelfth century in the “Wind Messenger,” its sentiment diluted with Dhoyi’s praise of his royal patron King Lákshmana·sena of Gauda (Bengal), and the “Swan Messenger,” in which romantic and religious love are combined, to produce a poem that shines with the intensity of love for Krishna, the godhead.

Sanskrit Messenger poems evoke the pain of separated sweethearts through the formula of an estranged lover pleading with a messenger to take a message to his or her beloved. The plea includes a lyrical description of the route the messenger will take and the message itself. The first was the “Cloud Messenger,” composed by Sanskrit’s finest poet, Kali·dasa, in the fifth century CE. The next was its imitator, the “Wind Messenger,” composed in praise of King Lákshmana·sena of Gauda (Bengal) in the twelfth century by Dhoyi, one of his court poets. Numerous more followed, including the third in the CSL selection, the sixteenth-century “Swan Messenger,” composed in Bengal by Rupa Gosvámin, a devotee of Krishna.

Wasted by anguish, lying on one side in her bed of separation, she will look like the last slender sliver of the moon on the eastern horizon. Wondering how she might join me, if only in a dream, she will be longing for sleep, the sting of her tears preventing its arrival. (The Cloud Messenger)

293 pp.  |  ISBN-13: 978-0-8147-5714-7  |  ISBN-10: 0-8147-5714-6  |  Co-published by New York University Press and JJC Foundation

“Rupa Go·svamin: The Swan Messenger” (pp. 175–195) (28 pp, 1.36mb)

Download Excerpts (pdf) Download CSL Front Matter (pdf) Ord e r Now

Download the title page and table of contents and one chapter of the book (in English and Sanskrit on facing pages), bundled together as a .pdf file. You can also download the CSL Front Matter (6pp, 1.3mb). It describes how we transliterate the Sanskrit text in the Roman alphabet and includes a guide to pronunciation. It also explains our system of representing phonetic fusion (sandhi).

You can set Adobe Acrobat Reader to display the Sanskrit text and translation in facing page view. Simply go to “View” in the toolbar, select “Page Layout” and click on “Facing.”

About the Translator

Sir James Mallinson translates and edits Sanskrit literature for the JJC Foundation, co-publishers (with NYU Press) of the Clay Sanskrit Library. He also translated The Emperor of the Sorcerers (volume one) , The Emperor of the Sorcerers (volume two) , The Ocean of the Rivers of Story (volume one of seven) and The Ocean of the Rivers of Story (volume two of seven) .

Search This Blog

Sanskrit made simple.

The motive of this blog is to enrich the interest of students studying Sanskrit language! 😄

मम प्रियः कविः - कालिदासः। Sanskrit essay on my favourite poet Kalidas

Post a Comment

Popular posts from this blog, मम प्रिया भाषा - संस्कृतम् । essay on sanskrit language in sanskrit |.

चित्रकाव्यम्। माध्यमभाषया लिखत।Chitrakavyam Madhyambhasa Answers |

व्यसने मित्रपरीक्षा। माध्यमभाषया उत्तरत। Vyasane Mitrapariksha Madhyambhasa Answers |

How to score 100 out of 100 marks in sanskrit in ssc board exam useful tips and tricks, आवृत्तिवाचकः। aavruttivachak sanskrit grammar concept |.

संस्कृत में वेद व्यास पर निबंध। Essay on Vedvyas in Sanskrit

संस्कृत में वेद व्यास पर निबंध.

हिन्दुपरम्परायां कश्रन प्रमुखः । महाभारतस्य रचनाकारः भगवान् व्यासः । वेदानां विभागः अनेन कृतः इत्यतः वेदव्यासः इति एतस्य नाम । द्वीपे अस्य जन्म अभवत् इत्यतः ‘कृष्णद्वैपायनः’ इत्यपि एतस्य नाग। एतस्य पिता पराशरमुनिः माता च सत्यवती । व्यासस्य शैली अपि वाल्मीकः इव सरला एवं महाभारतम् अपि आधिक्येन अनुष्टुप्छन्दसा एव उपनिबद्धम् अस्ति। भगवान् वेदव्यासः महर्षेः पराशरस्य पुत्रः। एषः कैवर्तराजस्य पालितपुत्र्याः सत्यवत्याः गर्भ जन्म प्राप्तवान् । एषः कश्रन अलौकिक शक्तिसम्पन्नः महापुरूषः अपि च महानाकारक पुरूषः आसीत्। एषः  अपि च महानाकारक पूरूषः आसीत्। एषः जनानां स्मरणशक्तेः क्षीणां दृष्ट्वा वेदानाम् ऋग्वेदः, यजुर्वेदः, सामवेदः, अथर्वणवेदः च इति विभजनम् अकरोत् । प्रत्येक संहिताम् अपि प्रत्येक शिष्य बोधितवान् ।  एकै कस्याः संहितायाः अपि अन्यायाः शाखाः उपशाखाः च अभवन्। एवम् एतस्य यत्नेन  वैदिकसाहित्यस्य बहुविस्तारः आसादितः । विस्तारं व्यासः इति वदन्ति। वेदस्य विस्तार  एतेन सम्पादितः इति कारणेन एषः वेदव्यासः इति नाम्ना प्रसिद्धः जातः । एतस्य जन्म कमिश्रित द्वीपे अभवत्। श्यामलवर्णस्य एवं जनाः कृष्णद्वैपायन इत्यति आसीत्।  अष्टादशपुराणाति, महाभारतस्य रचनाम् एषः  एव अकरोत् । संक्षेपण उपनिषदः तत्वान्। बोधयितुं ब्रह्यसूत्राणां निर्माणम् अकरोत्। तेषां । विषये अन्यान्याः आचार्यः भाष्याणि रचयित्वा  स्वेषां विभिन्नान् अभिप्रायान् प्रकटितवन्तः । ‘व्यासस्मृतिः’ एतेन रचितः कश्रच्न स्मृतिग्रन्थः एवं भारतीयसाहित्यस्य, हिन्दूसंस्कृतेः, विषये  व्यासस्य महत् योगदानम् अस्ति। श्रुति-स्मृति  -पुराणोत्तस्य सनातनधर्मस्य कश्रच्न  प्रधानः व्याख्यानकारः व्यासः इति उच्यते । हिन्दवः भारतीयसंस्कृतिः च यावत् पर्यन्तं तिष्ठति तावत् पर्यन्तम् एतस्य नाग अगर एवं जगति एव एषः महान् श्रेष्ठः पथप्रदर्शकः,  शिक्षकः च इति उच्चते।

Also Read: Essay on Importance of Sanskrit Language Essay on Satsangati Essay on Satyamev Jayate Essay on Shram(Labour) Essay on Terrorism Essay on Time

Leave a Comment Cancel reply

What To Do with the Past?: Sanskrit Literary Criticism in Postcolonial Space

• Published: 08 March 2021
• Volume 49 , pages 129–144, ( 2021 )

Cite this article

• V. S. Sreenath   ORCID: orcid.org/0000-0002-7597-6126 1  

531 Accesses

Explore all metrics

Throughout its history of almost a millennium and a half, Sanskrit kāvyaśāstra was resolutely obsessed with the task of unravelling the ontology kāvya (literary prose and poetry). Literary theoreticians in Sanskrit, irrespective of their spatio-temporal locations, unanimously agreed upon the fact that kāvya was a special mode of expression (distinctly different from the ordinary form of speech) characterized by the presence of certain unique linguistic elements. Nonetheless, this did not imply that kāvyaśāstra was an intellectual tradition unmarked by disagreements. The real point of contention among the practitioners of Sanskrit literary theory was the prioritization of certain formal elements as the ‘soul’ of literature. This strong sense of intellectual disagreement on the question of what constituted the soul of kāvya eventually paved the way for the emergence of new frameworks of criticism and extensive scrutiny of the existing categories, thus playing a vital role in keeping this tradition alive and new.

But towards the turn of the 20th century, Sanskrit kāvyaśāstra tradition underwent an epistemic rupture primarily because of a change in the way the idea of literariness was understood. During this phase, the traditional Formalistic notions about literature (to which Sanskrit kāvyaśāstra conformed) underwent a radical transformation, and the style and language of literature eventually became similar to everyday speech. This trend played an important role in severing Sanskrit kāvyaśāstra ’s natural tie with literature. Eventually, the vigour in which new treatises in Sanskrit literary poetics were produced also dwindled. This did not mean that the scholarship ( pāṇḍitya ) in Sanskrit poetics vanished. Scholars in Sanskrit poetics continued to flourish in India, but in a different form and shape. In other words, the focus of scholars in Sanskrit poetics slowly got shifted from the production of new treatises in Sanskrit poetics to the creation of the intellectual history of this field and the application of these theories to evaluate the literary merit of modern literary texts. Though these two approaches played a vital role in disseminating the knowledge about Sanskrit poetics in modern times, they were caught up in an ontological certitude. In other words, neither of these two directions attempted to study these theoretical positions from a standpoint other than that of literary theory. To borrow a Barthian terminology, these two approaches treated Sanskrit poetics as a ‘work,’ instead of a ‘Text.’ This paper aims to intervene in this lacuna of scholarship by proposing the Derridian idea of ‘play’ as a methodological framework to unearth the potentialities lying dormant in these theories and to move beyond the ontological certitude traditionally imposed on these theoretical positions. The new methodological praxis that I put forward in this paper is further exemplified through a non-canonical reading of Ānandavardhana’s avivakṣita - vācya - dhvani ( dhvani where the literal meaning is not intended).

This is a preview of subscription content, log in via an institution to check access.

Access this article

Subscribe and save.

• Get 10 units per month
• Download Article/Chapter or eBook
• 1 Unit = 1 Article or 1 Chapter
• Cancel anytime

Price includes VAT (Russian Federation)

Instant access to the full article PDF.

Rent this article via DeepDyve

Institutional subscriptions

Similar content being viewed by others

A New Territory? Literary Criticism as a Literary Genre

Developments in Russian Literature: Examining the Pre- and Post-Soviet Prose of Kazakh-Russian Writer Anatoly Kim

Postmodernism in the United States and Canada

Explore related subjects.

• Artificial Intelligence

Hemacandra in Kāvyānuśāsana observed that it is the presence of four components such as śabda (word), artha (meaning), guṇa (poetic quality) and alaṅkāra (figures of speech) that constitutes a kāvya (I.22). Vāgbhaṭa II delimited the ambit of kāvya by defining it as a composition of śabda (word) and artha (meaning) marked by the absence of doṣa s and the presence of guṇa s and alaṅkāra s (14). Mammaṭa observed that kāvya is composed of flawless words and sense adorned with merits and excellences of style (I.4). In Candrāloka , Jayadeva also set the limit of poetic expression by defining kāvya as a verbal icon characterized by the absence of doṣa s and the presence of lakṣaṇā (deviant utterance), rīti (diction or style; literally means ‘path’), guṇa , alaṅkāra , rasa (aesthetic emotion) and vṛtti (linguistic modality) (I.7). Vidyānātha in Pratāparudrīya saw kāvya as a special composition of both gadya (prose) and padya (poetry) bereft of doṣa s and adorned by guṇa , alaṅkāra , śabda and artha (II.1). Bhaṭṭa Nāyaka talked about three crucial components that were conspicuously absent in other uses of language and present only in kāvya . According to him, these three elements were abhidhāyakatva (denotative function), bhāvakatva (ability to evoke aesthetic experience) and bhogakṛttva (the experience of aesthetic emotion). In his commentary on Dhvanyāloka , Abhinavagupta reproduced this view of Bhaṭṭa Nāyaka ( Locana 2.4 L ). Kuntaka opined that the figurative deviation of speech ( vakrokti ) makes kāvya different from ordinary expression and the use of language in śāstras (291). According to Bhoja, although poetry is called the combination of word and meaning, not all compositions of word and meaning could claim the status of a kāvya . In Śṛṅgāraprakāśa , Bhoja made a clear distinction between kāvya and other linguistic genres based on the nature of language employed in them. According to Bhoja, workaday language is the explicit language of science and daily life. On the other hand, kāvya was the deviant language found in texts teeming with aesthetic pleasure (I;221). We can see this view of kāvya as a special linguistic category with complex literary conventions and elaborate metrical schemes, unchangingly going down the line till the end of the active phase in Sanskrit literary culture in the seventeenth century, with Jagannātha observing that kāvya is a special combination of word and meaning, with beautiful words denoting noble significations ( ramaṇīyārthapradipādakaḥ śabdaḥ kāvyaṃ ; 4).

gatoऽstamarko bhātīnduryānti vāsāya pakṣiṇaḥ| ityevamādi kim kāvyaṃ vārtāmenāṃ pracakṣate || (Ibid. II.87).

saiṣā sarvaiva vakroktiranayārtho vibhāvyate | yatnoऽsyāṃ kavinā kāryaḥ koऽlaṅkāroऽnayā vinā || ( Kāvyālaṅkāra 2.85). Ānandavardhana in Dhvanyāloka repeats this idea. See ( Dhvanyāloka 3.36) .

rītirātmā kāvyasya | ( Kāvyālaṅkārasūtravṛtti I.2.6).

Ānandavardhana is indirectly criticizing literary theoreticians like Bhāmaha, Daṇḍin and Vāmana who opine that kāvya is primarily a combination of śabda and artha (sound and sense). For detailed reading, see Bhāmaha (I.16), Daṇḍin (I.10) and Vāmana (I.1).

asphuṭasphuritam kāvyatattvametadyathoditam |

aśaknuvadbhirvyākartum rītayaḥ saṃpravartitāḥ || ( Dhvanyāloka III.46 K)

śabrarthau sahitau vakrakavivyāpāraśālini | bandhe vyavasthitau kāvyam tadvidāhlādakāriṇi ( Vakroktijīvita I.7).

vakroktiḥ prasiddhābhidhānavyatirekiṇī vicitraivābhidhā | (Ibid. kārikā on I.10).

ubhau dvāvapyetau śabdārthāvalaṅkāryāvalaṅkaraṇīyau kenāpi śobhātiśayakāriṇālaṅkaraṇena yojanīyau | kim tat tayoralaṅkaraṇamityabhidhīyate—tayoḥ punaralaṅkṛtiḥ | tayordvitvasaṅkhyāviśiṣṭayorapyalaṅkṛtiḥ punarekaiva yayā dvāvapyalaṅkriyete | kāsau—vakroktireva | vakroktiḥ prasidhābhidhānavyatirekiṇī vicitraivābhidhā || (Ibid. I.10)

I would like to point out the two opposing views regarding the evolution of Sanskrit poetics. While scholars like Kane and De follow the classification of Sanskrit poetics along the lines of guṇa and rīti , McCrea (2008) rejects it. For Kane and De’s views, see respectively History of Sanskrit Poetics , p. 372 and History of Sanskrit Poetics Vol II, 32. For McCrea’s view, see The Teleology of Poetics In Medieval Kashmir , pp. 30–31.

iha viśiṣṭau śabdārthau kāvyam | tayośca vaiśiṣtyam dharmamukhena, vyāpāramukhena, vyaṅgyamukhena, vā iti trayaḥ pakṣāḥ | ādyeऽpyaalaṅkārato guṇato vā iti dvaividhyam | dvitīyeऽpi bhāṇītivaicitryeṇa bhogakṛttvena vā iti dvavidham| iti pañcaṣu pakṣeṣvādya udbhaṭādibhirāṅgīkṛtaḥ, dvitīyo vāmanena, tritīyo vakroktijīvitakāreṇa, caturtho bhaṭṭanāyakena, pañcama ānandavardhanena | (Samudrabandha, commentary on Alaṅkārasarvasva 4). Samudrabandha, a twelfth century Sanskrit critic from Kerala, is known for his commentary on Ruyyaka’s Alaṅkārasarvasva .

For a detailed reading of the debate between navyas and prācīnas , see “Vastutas tu: Methodology and the New School of Sanskrit Poetics” by Bronner and Tubb.

Highlighting the popularity of Kāvyaprakāś , Maheśvara (17 C.E.), the author of Kāvyaprakāśādarśana , says that although a commentary of Kāvyaprakāśa is prepared in almost all houses, it still escapes the grasp of intellectuals by its innovative nature (Jhalakikar 39). For a detailed reading of commentarial tradition, see The Kāvyaprakāśa in the Benares-Centered Network of Sanskrit Learning by Cummins (2020).

For a review of all the works in Sanskrit poetics ever published in India, see An Annotated Bibliography of the Alaṃkāraśāstra by Timothy C. Cahill. A note of warning should be sounded now: though Sanskrit kāvyaśāstra texts continued to get produced in the 19th century, the amount of original thought that went into these texts remains to be determined. Any categorical observation about the originality of these texts in terms of their interaction with the tradition requires a great amount of work. However, one thing we can say for certain is that none of these texts composed during the colonial period could become landmarks in the history of Sanskrit poetics as Jagannātha’s Rasagaṅgādhara or Appayya Dīkṣita’s Kuvalayānanda could do in the previous epoch.

For detailed reading of modern works in Sanskrit, especially of those from the 19th and 20th century, read Radha Vallabh Tripathi’s “Modern Writings in Sanskrit: A Resume.” Tripathi notes that “Modern Sanskrit writers made a departure from their age-old literary traditions by the way to looking towards vernaculars and European languages also” (169).

guṇadoṣānaśāstrajñaḥ kathaṃ vibhajate janaḥ| kimandhasyādhikāroऽsti rūpabhedopalabdhiṣu|| ( Kāvyādarśa I.8).

na vidyate yadyapi pūrvavāsanā

guṇānubandhi pratibhānamadbhutam |

śrutena yattena ca vāgupāsitā dhruvam karotyeva kamapyanugraham || (Ibid. I.104).

śabdābhidheye vijñāya kṛtvā tadvidupāsanaṃ |

vilokyānyanibandhāmśca kāryaḥ kāvyakriyādaraḥ || ( Kāvyālaṅkāra I.10).

sa doṣaguṇālaṅkārahānādānābhyāṃ|

sa khalvalaṅkāro doṣahānāt guṇālaṅkārādānācca sampādyaḥ kaveḥ || śāstrataste || te doṣaguṇālaṅkārahānādāne śāstrādasmāt ||

śāstrato hi jñātvā doṣāñjahyāt guṇālaṅkārāṃscādadīta || ( Kāvyālaṇkārasūtravṛtti I.1.3-4).

śāstrapūrvakatvāt kāvyānāṃ pūṛva śāstreṣvabhiniviśeta | nahyapravrtitapradipāste tavārdhasārdhamadhyakṣyanti |(Rājaśekhara, Kāvyamīmāṃsa 20)

K.C Anthappayi’s Bhāṣānāṭakapariśodhana is a case in point. In this work, Anthappayi criticizes the predilection of Malayalam playwrights for Sanskrit dramas. He also opines that critics should do away with the guṇanirūpaṇam (analysis of literary merits) of Malayalam dramas based on the parameters of literariness set by Sanskrit poetics.

For a detailed reading of the role that Western literature played in the consolidation of colonial power in I ndia, see Gauri Viswanathan’s Masks of Conquest Literary Study and British Rule in I ndia .

Ontological certitude is the act of reducing the identity of an entity to a set of fixed assumptions.

vyañjakatvam hi kvacit vācakatvāśrayeṇa vyavatiṣṭhate| yathā vivakṣitānyaparavācye dhvanau| kvacittu guṇavṛttyāśrayeṇa| yathā avivakṣitānyaparavācye dhvanau| tadubhayāśrayatvapratipādanāyaiva ca dhvaneḥ prathamataram dvau prabhedāvupanyastau. (Ibid., p. 427).

See the complete verse from Dhvanyāloka. gaganam ca mattamekham dhārālulitarjunāni ca vanāni |

nirahaṅkāramṛgāṅkā haranti nīlā api niśāḥ || (273).

ayamapi na doṣaḥ | yasmāt avivakṣitavācyo dhvaniḥ guṇavṛttimārgāśrayoऽpi bhavati, na tu guṇavṛttirūpa eva | guṇavṛttirḥ vyañjakatvaśūnyāpi dṛśyate | (432).

Ānandavardhana cites a lot of examples where dhvani does not occur even in the presence of gauṇavṛtti (secondary usage). A case in point is the word lāvaṇya. Ānanda observes, “Words such as lāvaṇya, which are used idiomatically in a sense other than their proper (etymological) sense, are never instances of dhvani” (184). rūḍhā ye viṣayeऽnyatra śabdāḥ svaviṣayādapi | lāvaṇyādyāḥ prayuktāste na bhavanti padam dhvaneḥ || (Ibid., p. 147).

ata eva vācakatvāttasya viśeṣḥ vācakatvam hi śabdaviśeṣasya niyata ātmā, vyulpattikālādārabhya tadavinābhāvena tasya prasiddhatvāt | sa tvaniyataḥ aupādhikatvāt | prakaraṇādyavacchedena tasya pratīteḥ itarathā tvaprātīteḥ |(436-437)

kintu tadeva kevalam aparimitaviṣayasya dhvanivyavahārasya na prayodanakam avyāpakatvāt | tathā darśitabhedatrayarūpam tālparyeṇa dyotyamānam abhiprāyarūpam anabhiprāyarūpam ca

sarvameva dhvanivyavahārasya prayojakamiti yathoktavyañjakatvaviśeṣedhvanilakṣaṇe nātivyāptiḥ na

cāvyāptiḥ . (443).

Abhinavagupta. (1990). Locana . In D. Ingalls, J. Masson, & M. V. Patwardhan, (Trans. and Eds.), The Dhvanyāloka of Ānandavardhana with the Locana of Abhinavagupta . Harvard: Harvard University Press.

Ānandavardhana. (1990). Dhvanyāloka of Ānandavardhana with the Locana of Abhinavagupta (D. Ingalls, J. Masson, & M. V. Patwardhan, Trans. and Eds.). Harvard: Harvard University Press.

Ashcroft, B., & Tiffin, H. (2002). The empire writes back . New York: Routledge.

Google Scholar  

Bhāmaha. (1998). Kāvyālaṅkāra . (B. N. Sarma & Baldeva Upadhyay Eds.). Benares: Chowkhamba Sanskrit Series Office.

Bronner, Y. (2002). What is new and what is Navya. Journal of Indian Philosophy, 305 (5), 441–462.

Article   Google Scholar  

Barthes, R. (1986). From work to text. In The rustle of language (R. Howard, Trans.) (pp. 56–64). New York: Hill and Wang.

Daṇḍin. (1962). Kāvyādarśa of Daṇḍin (P. Tarkabagisa, Ed.). Culcutta: Royal Asiatic Society.

Derrida, J. (1997). Structure, sign, and play in the discourse of the human sciences. In K. M. Newton (Ed.), Twentieth-century literary theory . New York: Palgrave.

Eagleton, T. (2008). Literary theory: An introduction . Minneapolis: University of Minnesota Press.

Gerow, E. (1977). Indian poetics (A history of Indian literature) . Wiesbaden: Harrassowitz.

George, K. M. (1973). Literary criticism in Malayalam. Indian Literature 16 (3), 1973.

Jagannātha. (1888). The Rasagaṅgādhara of Jagannātha Paṇḍita with the commentary of Nāgeśa Bhaṭṭa. D. Prasad, & K. P. Parab, Eds. Bombay: The Nirnaya Sagara Press.

Krishnamoorthy, K. (1977). Vakroktijīvita by Kuntaka . Dharwad: Karnatak University.

Mammaṭa. (1966). Kāvyaprakāśa of Mammaṭa , G. Jha, Ed. Bharathiya Vidya Prakashan.

Pollock, S. (2001). New intellectuals. Indian Economic and Social History, 38 (1), 1–16.

Rājaśekhara. (2000). Kāvyamīmāṃsā . (D. K. Sadhana Parashar, Ed.). New Delhi: Print World.

Royle, N. (2003). The uncanny . Manchester: Manchester University Press.

Samudrabandha. (1915). Alaṅkārasarvasva of Rājānaka Ruyyaka with the commentary of Samudrabandha, (Ganapathy Sastri Ed.). Trivandrum: Travancore Government Press.

Sreenath, V. S. (2017). Avivakṣita-vācya-dhvani and the deterritorialization of signifier: A liberating experience for author and reader. Journal of Indian Philosophy, 45 (5), 817–836.

Satchidananda, K. (2014). Dilemmas of Indian literary criticism. Frontline, March 21, 2014.

Vāmana. (2000). Kavyalankarasutravrtti , E. Nambootiri, Ed. Kerala Bhasha Institute.

Secondary Works

Kane, P. V. (1951). History of Sanskrit Poetics . Banaras: Motilal Banarsidass.

McCrea, Lawrence, J. (2008). The teleology of poetics in medieval Kashmir . Cambridge: Harvard University Press.

Pathak, R. S. (1982). The Indian Theory of vakrokti in relation to the stylistic concept of deviance. Annals of the Bhandarkar Oriental Research Institute, 63 (1), 195–211.

Pollock, Sheldon. (2016). The rasa reader. New York: Columbia University Press.

Pollock, Sheldon. (Ed.) (2010). What was Bhaṭṭa Nāyaka Saying: The Hermenuetical Transformation of Indian Aesthetics. In Epic and Argument in Sanskrit Literary Theory, (pp. 143–184). New Delhi: Manohar Publishers.

Pollock, S. (2001). Death of Sanskrit. Society for Comparative Study of Society and History, 43 (2), 392–426.

Pollock, Sheldon. (Ed.). (2003). Sanskrit Literary Culture from the Inside Out. In Literary Cultures in History: Reconstructions from South Asia . London: University of California Press.

Ravishankar, Chinya V. (2018). The Sons of Sarasvatī. Suny Press, 2018.

Reich, James D. (2018). Bhaṭṭa Nāyaka and the Vedanta Influence on Sanskrit Literary Theory. Journal of the American Oriental Society, 138 (2), 533–557.

Rayan, K. (1965). Rasa and the Objective Correlative. The British Journal of Aesthetics, 5 (3), 246–260.

Sastry, P. S. (1988). Indian Poetics and New Criticism . In M.S Kushwaha (Ed.) Indian Poetics and Western Thought: Argo Publishing House.

Sivarudrappa, G. S., & Seshagiri Rao, S. L. (1985). An Essay from ‘Kavyartha Chintana’: Literary Criticism in Indian Poetics. Indian Literature 28 , (5): 67-78.

Tripathi, R. (2016). Modern Writings in Sanskrit: A Resume. Indian Literature, 60 (1), 168–183.

Vaghbhata II. (1915). Kavyanusasana of Vaghbhata with His Own Gloss. Edited by Pandit Sivadatta. Bombay: Nirnaya Sagar.

Vaidyanatha. (1933). Prataparudriya. Edited by K. S Ramamurthi and S. R Matha. Oriental Research Institute.

Download references

Author information

Authors and affiliations.

Department of Humanities and Social Sciences, Indian Institute of Science Education and Research (IISER), Bhopal, India

V. S. Sreenath

You can also search for this author in PubMed   Google Scholar

Corresponding author

Correspondence to V. S. Sreenath .

Additional information

Publisher's note.

Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Rights and permissions

Reprints and permissions

About this article

Sreenath, V.S. What To Do with the Past?: Sanskrit Literary Criticism in Postcolonial Space. J Indian Philos 49 , 129–144 (2021). https://doi.org/10.1007/s10781-021-09466-1

Download citation

Accepted : 08 January 2021

Published : 08 March 2021

Issue Date : March 2021

DOI : https://doi.org/10.1007/s10781-021-09466-1

Share this article

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

• Ontological certitude
• Sanskrit Poetics
• New direction
• avivakṣita-vācya-dhvani
• Find a journal
• Publish with us
• Track your research

• Class-8 » Sanskrit

I want a essay in Sanskrit on my favourite poet.

Yogesh answered this

Smriti Shalini answered this

Anjali Mishra answered this

Gauri Mahajan answered this

• Terms & Conditions
• Our Results

Copyright © 2024 Aakash EduTech Pvt. Ltd. All rights reserved.

• Website Inauguration Function.
• Vocational Placement Cell Inauguration
• Media Coverage.
• Certificate & Recommendations
• Privacy Policy
• Science Project Metric
• Social Studies 8 Class
• Computer Fundamentals
• Introduction to C++
• Programming Methodology
• Programming in C++
• Data structures
• Boolean Algebra
• Object Oriented Concepts
• Database Management Systems
• Open Source Software
• Operating System
• PHP Tutorials
• Earth Science
• Physical Science
• Sets & Functions
• Coordinate Geometry
• Mathematical Reasoning
• Statics and Probability
• Accountancy
• Business Studies
• Political Science
• English (Sr. Secondary)

Hindi (Sr. Secondary)

• Punjab (Sr. Secondary)
• Accountancy and Auditing
• Air Conditioning and Refrigeration Technology
• Automobile Technology
• Electrical Technology
• Electronics Technology
• Hotel Management and Catering Technology
• IT Application
• Marketing and Salesmanship
• Office Secretaryship
• Stenography
• Hindi Essays
• English Essays

Letter Writing

• Shorthand Dictation

Essay on “My Favorite Poet” Complete Essay for Class 10, Class 12 and Graduation and other classes.

My favorite poet, 2 best essay on “my favourite poet”.

Essay No. 01

There are many well-known names in the world of literature. The poems of Williams Words have impressed me the most. His poems soothe the sense. He was a devotee of nature. He was inspired by nature to write poetry. Recording Wordsworth is like sitting amidst nature.

William Wordsworth was the pioneer of the English Romantic Movement. He launched the English Romantic Revolution with the help of Samuel Taylor Coleridge. He was the poet laureate of England from 1843 to 1850. His poems depict man’s relation with nature. He also placed poetry at the center of human experience. Wordsworth created some of the greatest English poets of his centenary.

Wordsworth was born on April 7, 1770, in the Lake District of northern England. He was the second of five children of a prosperous estate manager. Both his parents died at an early age and so Wordsworth Was sent off by his guardian to a grammar school at Hawkshead. There he received education in classics literature and mathematics. There he received education in classics, literature, and mathematics. The beautiful landscape at Hawkshead gave him confidence and pleasure and it inspired him. He grew amidst nature playing and indulging in boyhood pleasure outdoors.

Wordsworth was an interpreter of nature in her many moods. The natural scenery of English lakes could terrify as well as please, which Wordsworth has later testified in his line, ” I grew up fostered alike by beauty and boy fear.” But its generally benign aspect gave the growing boy the confidence he articulated in one of his important poems Tintern Abbey ” that Nature never did betray the heart that loved her.

Wordsworth moved on in 1787 to St. John College, Cambridge. After attaining his degree from Cambridge he went to France he had to return to England in 1792.

For the first three or four years after his return to England Wordsworth had virtually no work. The aftermath of the war moved Wordsworth with sympathy for the sufferers. At this time he started writing poetry. He also reunited with his sister Dorothy whom he loved dearly. Wordsworth also became friends with Samuel Taylor Coleridge a fellow poet. They formed a partnership in writing. It is this partnership that altered the course of English poetry.

The Prelude is among Wordsworth’s finest poems. It reflects the growth of a poet’s mind. It is an autobiographical poem. It describes the way in which the imagination overpowers the reason and the senses. Wordsworth’s other works include The Excursion Ecclesiastical Sketches, Home at Grasmere The Borderers, Salisbury Plain, The River Duddon, etc. In his later years, Wordsworth revised the edition of his earlier poems.

Wordsworth wrote in Tintern Abbey that Nature never did betray the heart that loved her. He formulated in his poems, a new attitude towards nature. He introduced nature imagery into his poems. Wordsworth nature. He introduced nature imagery into his poems. Wordsworth was a worshipper of nature which is evident in his poems.

According to Wordsworth poetry is the first and last of all knowledge it is as immortal as the heart of man. Critics place Wordsworth next to John Milton and William Shakespeare among all-time great poets of English Literature. His contribution to English Literature is immense.

Essay No. 02

My Favourite Poet

William Wordsworth (1770-1850) was a devotee of Nature. He was inspired by nature to write poetry. He was the pioneer in the English Romantic Movement He launched the English Romantic Revolution with the help of Samuel Taylor Coleridge by their joint work, ‘The Lyrical Ballads.’ Wordsworth was the poet laureate of England from 1843 to 1850. Wordsworth was born on April 7, 1770, in the Lake District of northern England.

He lost his parents at an early age. He completed his education at Hawkshead Grammar School and then from St. John’s College, Cambridge. He married Annette Val long a French woman- and-later Mary Hutchinson, an English lady. He was blessed with six children. Wordsworth composed a great number of poems that deal with Nature, rural people, and human nature. He created some of the greatest English poets of his century. Critics placed him next to John Milton and William Shakespeare.

Wordsworth Was, born on April 7, 1770, in the Lake District of northern England. He was the second of five children of a prosperous estate manager. Both his parents died while he was still at an early age. So, Wordsworth was sent off by guardian uncles to a grammar school at Hawkshead. There, he received education in classics, literature, and mathematics. The beautiful landscape at Hawkshead gave him confidence and pleasure and inspired him to write poetry. Wordsworth moved on in 1787 to St. John’s College, Cambridge. In 1790, he write on a summer vacation to France. After getting a degree from Cambridge, he went back to France in 1791. While

Wordsworth was in France in 1791, he married Anette ValIon, a French woman. But before their daughter was born, war compelled him to return to England in 1792. He met his daughter and his wife in 1802 when he went to France again for some time. Later, he got married, to Mary Hutchinson, a childhood friend. They were blessed with three sons and two daughters by 1810.

About evirtualguru_ajaygour

commentscomments

very nice essay writing.it help me a lot. it means a lot for me. thanks

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Quick Links

Popular Tags

Visitors question & answer.

• Simple on English Essay on “The Blessings of Science” complete Paragraph and Speech for School, College Students, essay for Class 8, 9, 10, 12 and Graduation Classes.
• Jayprakash on Hindi Essay on “Aitihasik Sthal ki Yatra” , ”ऐतिहासिक स्थल की यात्रा” Complete Hindi Essay for Class 10, Class 12 and Graduation and other classes.
• Diksha on Official Letter Example “Write a letter to Superintendent of Police for theft of your bicycle. ” Complete Official Letter for all classes.
• Anchal Sharma on Write a letter to the Postmaster complaining against the Postman of your locality.
• rrrr on Hindi Essay on “Pratahkal ki Sair” , ”प्रातःकाल की सैर ” Complete Hindi Essay for Class 10, Class 12 and Graduation and other classes.

Download Our Educational Android Apps

Latest Desk

• Write a letter of reply to the following advertisement in a newspaper. Indicate to which post, you are applying. Include your bio-data.
• Write a letter to the editor of a newspaper complaining of frequent failure of power supply in your locality.
• Write a letter to the Commissioner of Police complaining about the increasing thefts in your locality and seeking adequate relief.
• Write a letter in not more than 200 words to a national daily about the neglect of priceless historical monuments in and around your city
• Wither Indian Democracy?-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
• Do Not Put Off till Tomorrow What You Can Do Today, Complete English Essay, Paragraph, Speech for Class 9, 10, 11, 12, Graduation and Competitive Examination.
• Shabd Shakti Ki Paribhasha aur Udahran | शब्द शक्ति की परिभाषा और उदाहरण
• Shabd Gun Ki Paribhasha aur Udahran | शब्द गुण की परिभाषा और उदाहरण
• Write a letter to be sent to an important regular guest of your hotel trying to regain his confidence.

Vocational Edu.

• English Shorthand Dictation “East and Dwellings” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines.
• English Shorthand Dictation “Haryana General Sales Tax Act” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.
• English Shorthand Dictation “Deal with Export of Goods” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.
• English Shorthand Dictation “Interpreting a State Law” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.