K Krishnamoorthy (Part 3)

This article is part 13 of 15 in the series Exemplars of Indian Wisdom from Karnataka

Translations form a major part of Krishnamoorthy’s oeuvre. His English translations of Sanskrit works include Dhvanyāloka, commentary by an anonymous author on the first chapter of Locana, Vakroktijīvita, Yaśodharacarita, Kavikaumudī and a few sections in Ancient Indian Literature (vol. 2) published by Sahitya Akademi.


His Kannada translations of Sanskrit classics include Pratimānāṭaka, Yajñaphala, Svapnavāsavadatta, Dūtaghaṭotkaca, Karṇabhāra, Madhyamavyāyoga, Abhijñānaśākuntala, Mālavikāgnimitra, Mṛcchakaṭika, Uttararāmacarita, Āścaryacūḍāmaṇi (plays); Mudrārākṣasakathāsāra and the first six cantos of Kirātārjunīya (poems); Kāvyālaṅkāra, Kāvyādarśa, Kāvyālaṅkārasūtravṛtti, Dhvanyāloka, Kāvyamīmāṃsā, Aucityavicāracarcā, Kavikaṇṭhābharaṇa and Kāvyaprakāśa (treatises on poetics).


His Kannada renderings of the works of Bhāmaha, Ānandavardhana and Mammaṭa are classics in their own right. Krishnamoorthy places the texts in their historical backdrop, discusses ancillary concepts related to them, cites the opinions of several commentators, profusely draws parallels from Western criticism and presents an up-to-date summary of the views of modern scholars on the subject. If a person with a perceptive head and sensitive heart carefully studies just the introduction and footnotes of these works, he will surely become a scholar of Indian aesthetics.  


Krishnamoorthy also translated into Kannada James Hilton’s English novel Lost Horizon as Lupta Diganta, one volume of P V Kane’s monumental History of Dharmaśāstra, one volume of M Winternitz’s A History of Indian Literature, Bankim Chandra’s Bengali classic Śrīkṛṣṇacaritra, several introductions and articles in The History and Culture of the Indian People and The Cultural Heritage of India.  


Whether translating from Sanskrit into English or Kannada, Krishnamoorthy achieves a high degree of readability while staying close to the original. He adheres to the natural idiom of the language and does justice to the tone of the text – be it a play, a discursive essay or a treatise on aesthetics. In Kannada, he translates verse as verse, mostly sticking to the metrical form of the original. Depending on the structure of the original and the purpose of the translation, he chooses time-honoured metres such as kanda and vṛttas or adopts a mātrā measure. Let me give a few examples of his translation:


रविसङ्क्रान्तसौभाग्यस्तुषारावृतमण्डलः।
निःश्वासान्ध इवादर्शश्चन्द्रमा न प्रकाशते॥(Dhvanyāloka of Ānandavardhana, 2.1; p. 40)


All the charm to the sun hath fled
And the orb is hid in snow;
Like a mirror by breath blinded
The moon now does not glow (Dhvanyāloka of Ānandavardhana, 2.1; p. 41)


मानिनीजनविलोचनपाता-
नुष्णबाष्पकलुषाननुगृह्णन्।
मन्दमन्दमुदितः प्रययौ खं
भीतभीत इव शीतमयूखः॥ (The Vakroktijīvita of Kuntaka, 1.7, p. 9)


Slowly and softly the moon does rise
As if he were gripped with fear,
Exposed to the burning glances of damsels
Bathed in hot and streaming tears (The Vakroktijīvita of Kuntaka, 1.7, p. 295)


दारिद्र्याद्ध्रियमेति तत्परिगतः प्रभ्रश्यते तेजसो
निस्तेजाः परिभूयते परिभवान्निर्वेदमापद्यते।
निर्विण्णः शुचमेति शोकविहतो बुद्ध्या परित्यज्यते
निर्बुद्धिः क्षयमेत्यहो निधनता सर्वापदामास्पदम्॥ (Mṛcchakaṭika, 1.14)


ದಾರಿದ್ರ್ಯದಿಂ ಲಜ್ಜೆ, ಲಜ್ಜೆಯಿಂ ಕಳೆಯಳಿವು
ಕಳೆಯಳಿಯಲವಮಾನ ಬಿಡದೆ ಬಹುದು;
ಅವಮಾನದಿಂ ಖೇದ, ಖೇದದಿಂ ಕಟುಶೋಕ,
ಕಟುಶೋಕಮಾವರಿಸೆ ಮತಿ ಪೋಪುದು;
ಮತಿ ಪೋಗಲದೆ ನಾಶವೀ ತೆರದೆ ಬಡತನವು
ಆಪತ್ತುಗಳಿಗೆಲ್ಲ ಬೀಡಪ್ಪುದು (Kannaḍa Mṛcchakaṭika, p. 7)


ततोऽरुणपरिस्पन्दमन्दीकृतवपुः शशी।
दध्रे कामपरिक्षामकामिनीगण्डपाण्डुताम्॥


ಕಿರಣಾರುಣಗಣಮೇರ--
ಲ್ಕುರುಬಿಂಬಂ ಮಂದಮಂದಮೆನಿಸಲ್ ಚಂದ್ರಂ
ವಿರಹದ ಬಿಸುಪಿಂ ಬಳಲುವ
ತರುಣಿಯ ಮೊಗದೊಳ್ಪಿನಂತೆ ಬೆಳ್ಪಿಂದೆಸೆದಂ (Kannaḍa Kāvyaprakāśa, p. 137)


पश्चादङ्घ्री प्रसार्य त्रिकनतिविततं द्राघयित्वाङ्गमुच्चै-
रासज्याभुग्नकण्ठो मुखमुरसि सटां धूलिधूम्रां विधूय।
घासग्रासाभिलाषादनवरतचलत्प्रोथतुण्डस्तुरङ्गो
मन्दं शब्दायमानो विलिखति शयनादुत्थितः क्ष्मां खुरेण॥


ಬಿಡಿಸುತ್ತುಂ ಪೂರ್ವಪಾದದ್ವಯಮನವನತಸ್ಕಂಧದಿಂದಂಗಮುದ್ದಂ
ನಡೆ ಕಾಣಲ್, ಬಾಗೆ ಕಂಠಂ, ಮೊಗಮಿರಲೆದೆಯೊಳ್, ಕೇಸರಂ ಧೂಳಿಧೂಮ್ರಂ
ನಡುಗುತ್ತುಂ ಪಾರೆ, ಪುಲ್ಲಂ ಮೆಲುವ ಬಯಕೆಯಿಂ ಬಾಯನಳ್ಳಾಡಿಸುತ್ತುಂ
ನಿಡಿದುಂ ಕೂಗುತ್ತಮಶ್ವಂ ಬರೆವುದು ಗೊರಸಿಂ ಭೂಮಿಯಂ ನಿದ್ರೆ ಜಾರಲ್ (Kannaḍa Kāvyaprakāśa, p. 236)


* * *


At the beginning and end of his essays, Krishnamoorthy usually quotes verses that are rare and beautiful. These verses reveal his wide reading and impeccable aesthetic taste. H M Nayak, the well-known Kannada littérateur, has recorded a nice anecdote, which I would like to quote here.


Krishnamoorthy was put up at Kumta while working on the translation of Bhāmaha’s Kāvyālaṅkāra. He had finished writing the introduction but was looking for an apt verse to conclude the essay. It was raining when he went to college that morning. No sooner had he reached the library than an old piece of paper that had fallen from a book stuck to his wet shoes. Krishnamoorthy picked it up, read and found the perfect verse he was looking for (Saṃpradāna, pp. 141C–141D):


कस्यचिदेव कदाचि-
द्दयया विषयं सरस्वती विदुषः।
घटयति कमपि तमन्यो
व्रजति जनो येन वैदग्धीम्॥(Daśarūpaka, 1.3)


Someone, sometime, endowed with Sarasvatī’s grace, understands a con-cept; realization dawns on him. Armed with this, someone else becomes a scholar.


Krishnamoorthy believed that the sayings of past masters supply strength to our feeble words. A well-crafted verse with a telling imagery can easily accomplish what pages and pages of logical exposition cannot.
He cites the verses of poets and scholars such as Ratnaśrījñāna, Abhinavagupta, Bilhaṇa, Maṅkha, Dhanañjaya, Narendraprabha-sūrī, Appayya-dīkṣita, Vedānta-deśika, Bhaṭṭoji-dīkṣita, Nīlakaṇṭha-dīkṣita, Siṃhabhūpāla and Śrīkṛṣṇa-brahmatantra-svāmī.


The following are a few representative examples:


चिरन्तनो वा कविरद्य वा स्फुटं
गुणोत्तरं वाक्यमुपास्यते बुधैः।
तरोः पुराणस्य नवस्य वा फलं
निरस्तशङ्कं मधुरं निषेव्यते॥ (Ratnaśrī; Aspects of Poetic Language, p. 34)


वाणी पङ्करुहासनस्य गृहिणीत्यास्थायि मौनव्रतं
लक्ष्मीः सागरशायिनः प्रियतमेत्यग्राहि भिक्षाटनम्।
इत्थं स्वामिनिषिद्धसेवकवधूसम्भोगबीभत्सया
पञ्चासेविषत त्वया धृतिदयादान्तिक्षमामुक्तयः॥ (Bilhaṇastava, 19; Indian Literary Theories, p. 30)


केचिद्विस्तरदुस्तरास्तदितरे सङ्क्षेपदुर्लक्षणाः
सन्त्यन्ये सकलाभिधेयविकलाः क्लेशावसेयाः परे।
इत्थं काव्यरहस्यनिर्णयबहिर्भूतैः प्रभूतैरपि
ग्रन्थैः श्रोत्रगतैः कदर्थितमिदं कामं मदीयं मनः॥ (Alaṅkāramahodadhi; Aspects of Poetic Language, pp. 67–8)


अप्पय्यदीक्षितेन्द्रा-
नशेषविद्यागुरूनहं वन्दे।
यत्कृतिबोधाबोधौ
विद्वदविद्वद्विभाजकोपाधी॥ (Tantrasiddhāntadīpikā; Alaṅkāraśāstrakkè Appayyadīkṣitara Koḍugè, p. 2)


नेदानीन्तनदीपिका किमु तमःसङ्घातमुन्मूलये-
ज्ज्योत्स्ना किं न चकोरपारणकृते तत्कालसंशोभिनी।
बालः किं कमलाकरं दिनमणिर्नोल्लसयेदञ्जसा
तत् सम्प्रत्यपि मादृशामपि वचः स्यादेव सत्प्रीतये॥ (Rasārṇavasudhākara; New Bearings of Indian Literary Theory and Criticism, p. 30)


अन्धीभूय गुणागुणेषु तरवो वातावधूता इव
श्लाघन्ते यदि साहितीं रसवतीमज्ञास्ततः किं फलम्।
जानन् व्यङ्ग्यचमत्कृती रसगतीरर्थौचितीरादरा-
दन्तःशर्म यदश्नुते सहृदयः सा जीवनाडी कवेः॥ (Alaṅkāramaṇihāra; Indian Literary Theories, p. 32)


Apart from these, he quotes verses from epigraphs, unpublished manuscripts and works on various śāstras. 

* * *

Among his original works in English, the following are the most significant: The Dhvanyāloka and its Critics, Essays in Sanskrit Criticism, Studies in Indian Aesthetics and Criticism, Some Thoughts on Indian Aesthetics and Literary Criticism and Indian Literary Theories: A Reappraisal.


Krishnamoorthy edited a few chapters of Bharata’s Nāṭyaśāstra published from the Gaekwad Oriental Series, Baroda. He wrote monographs on Bāṇa and Kālidāsa for Sahitya Akademi. In the evening of his life, he worked on A Critical Inventory of Rāmāyaṇa Studies.


He was not a mere theorist. He undertook practical criticism whenever the opportunity presented itself. He analyzed poetry in Sanskrit, Kannada and English in the light of fundamental tenets of Sanskrit aesthetics such as rasa, dhvani, aucitya and vakrokti.


As far as Sanskrit poetry is concerned, he wrote two wonderful papers on the figures of speech in Vālmīki’s Rāmāyaṇa and Kumāradāsa’s Jānakīharaṇa,  covering between these all turns of expression that poets are likely to employ in sublime and ornate epics. His analysis of a famous verse in the Dhvanyālokaanurāgavatī sandhyā...—is a landmark in Sanskrit practical criticism. He has unraveled the viśvarūpa of alaṅkāras by identifying as many as seven figures of sense in this small verse: śliṣṭa-rūpaka, samāsokti, viṣama, viśeṣokti, vibhāvanā, ākṣepa and nidarśana.  Space does not permit more details.


Krishnamoorthy has analyzed several poems using dhvani in Kannada. In Ānandavardhanana Kāvyamīmāṃsè, he has chosen apt examples for various types of poetic suggestion from ancient and modern Kannada works. This is a remarkable achievement. He has also analyzed the vacanas of Basavanna using the tenets of Indian aesthetics. His article on the figures of speech in Karṇāṭa-bhārata-kathāmañjarī is unique. Its title is indicative of Krishnamoorthy’s keen literary sensibility: Kumāravyāsanalli Vidyāpariṇatara Alaṅkāra. Students of Kannada literature will immediate recognize vidyāpariṇatara alaṅkāra as a phrase that appears in the very poem that the essay sets out to analyze. He wrote a full-length book on the science of criticism in Kannada, titled Kannaḍadalli Kāvyatattva. He also edited Kavirājamārga, a seminal work on poetics and grammar in Kannada.

To be continued.

Author(s)

About:

Shashi Kiran B N holds a bachelor’s degree in Mechanical Engineering and a master's degree in Sanskrit. His interests include Indian aesthetics, Hindu scriptures, Sanskrit and Kannada literature and philosophy.

Prekshaa Publications

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...