The Essential Sanātana-dharma

Hinduism, the universal way of life, is practised by more than one billion people the world over. Adherents of the Hindu faith comprise a sixth of the global population. Available records tell us that it is the oldest religious order in the world, with an unbroken history of at least seven thousand years.[1] A person who follows Hinduism is called a ‘Hindu’ but we must remember that this term is more a geographical indicator than a religious one.

For practical purposes, we say that Hinduism is a ‘religion’ but its framework is different from the Semitic (or Abrahamic) idea of religion.[2]

Hinduism is arguably the most profound, most diverse, and most sophisticated system of religio-philosophical thought and practice in the world.

In its original and purest form, Hinduism is Sanātana-dharma, which can be roughly translated as ‘timeless tradition’ or ‘eternal way of life’ or ‘ageless global ethic.’[3] It has been drawn from Nature and remains free of space-time constraints. But in the practical application of Sanātana-dharma, we adopt specific spatiotemporal frames.

Where and when did Hinduism start?

We don’t know. We are unsure about its origins. Sanātana-dharma is older than the idea of religion. It has no single founder. The revelations of several seers—both men (ṛṣis) and women (ṛṣikās)—make up its foundational treatises.[4] Hinduism does not have a single ‘Holy Book’ nor a single ‘God’ nor a ‘prophet.’ What one may call as Hindu scriptures are numerous and variegated.* They are composed in the Sanskrit language, the fountainhead for many languages of Greater India.[5]

Our ancestors did not know the term ‘Hinduism.’ Even today, many of the common people of our land do not know it. Strictly speaking, the ancient way of life in India has no name. The reason we give a name to something is to distinguish it from another of the same kind. But when only one exists, what is the purpose of a name![6]

Similarly, the ancient language of India was just called bhāṣā—‘language’—and only later was it given the name ‘Sanskrit[7].’

So we must remember that ‘Sanātana-dharma’ (or ‘Hinduism’) is a general name and not a specific one. We use these appellations merely for convenience.

Sanātana-dharma

The dictionary gives the following meanings for the word sanātana[8]

sanātana adj. 1 Perpetual, constant, eternal, permanent. 2 Firm, fixed, settled. 3 Primeval, ancient.

From linguistic and cultural viewpoints, the word sanātana is a symbol of an unbiased, non-dogmatic, universal spirit.

There are some words like dharma that do not have a simple, one-word equivalent in English. In such cases, it is best to retain the original Sanskrit word instead of giving an inaccurate one-word equivalent!

We can try to capture the spirit of ‘dharma’ in English by calling it ‘righteousness,’ ‘way of life,’ ‘global ethic,’ ‘moral principle,’ ‘justice,’ ‘nature,’ ‘charity,’ etc.

The dictionary gives the following meanings for the word dharma[9]

dharmaḥ 1 …the customary observances [of different groups] 2 Law, usage, practice, custom, ordinance, statute. 3 Religious or moral merit, virtue, righteousness, good works (regarded as one of the four ends of human existence). 4 Duty, prescribed course of conduct. 5 Right, justice, equity, impartiality. 6 Piety, propriety, decorum. 7 Morality, ethics. 8 Nature, disposition, character. 9 An essential quality, peculiarity, characteristic property, (peculiar) attribute. 10 Manner, resemblance, likeness…

The word dharma signifies all these concepts put together. In a nutshell, we can say that dharma is the principle of sustenance.[10] If we are forced to provide a single-word equivalent in English, we may use the word ‘sustainability.’

The literal meaning of Sanātana-dharma is ‘eternal sustainability’ and a reasonable approximation of the implied meaning is ‘ancient Indian way of life’—or even ‘Indian Culture,’ roughly speaking.

While defining the words ‘sanātana’ and ‘dharma,’ there was no mention of a Supreme Being (god). There was no allusion to a special messenger of the divine (prophet) nor any sacred text (holy book); there was neither a reference to a ‘chosen people’ (the faithful) nor to ‘non-believers’ (infidels[11]).

In other words, while defining Sanātana-dharma, we mentioned nothing connected to faith, dogma, doctrine, or religion.

The very definition of Sanātana-dharma suggests a universal approach to understanding life: observing nature, comprehending facts, and realizing values through first-hand experience. The bedrock of ancient Indian thought has been rational enquiry, but not in a narrow, reductionist sense.

Having said that, we will do well to remember that Sanātana-dharma makes allowance for all kinds of faiths, beliefs, and traditions – a Supreme Being, various gods and goddesses, divinely-inspired seers, a multitude of scriptures, a diverse array of rituals and customs, belief in rebirth, social classification, festivals, multiple forms of worship, and so forth.

Let us return to rational enquiry now.

We shall begin by exploring the absolute basics of consciousness – something that each and every one of us experiences directly.



[1] See the writings of S Srikanta Sastri, Ramesh Chandra Majumdar, Michel Danino, Shrikant G Talageri, Navaratna S Rajaram, David Frawley, et al. to know more about the hoary antiquity of the Vedas.

 

[2] The defining features of Semitic/Abrahamic religions (which include Judaism, Christianity, and Islam) are the following:

• Unquestioning belief in an exclusive divine person: God, who is an individual and not an impersonal metaphysical essence.

• God is an elderly patriarch (not a female nor a young person let alone non-human), a father-figure who resides in Heaven (not elsewhere); His eternal nemesis is Satan, evil incarnate.

• God is superior to humans and Heaven is superior to earth; God, humans, and the world are forever separate (philosophy of extreme dualism).

• God is the creator of the world, a patriarchal monarch who lords over the universe; He is the law-giver and the ultimate judge (religion is therefore inseparable from divine monarchy).

• God created man in His own image and created the world (including women) for man’s enjoyment.

• The Divine Will of the ruler-God is revealed to the people through a male Prophet (special divine messenger), who alone is capable of being mediating between God and man (religion therefore equals obeying the Will of God; humans do not have free will and thus, uniformity is lauded and diversity is abhorred).

• The revelations of prophets are recorded in a Holy Book (the single authoritative source for the religion); and in the case of Islam, the Prophet of God is the last prophet and there can be nobody after him.

• There is a clear distinction between sacred and profane as laid out in the Holy Book; God rewards the sacred and punishes the profane (emphasis is more on creed than conduct).

• People who believe in all the principles of the religion are the faithful while those who do not have faith are infidels, who must either be converted (which takes place through proselytization) or killed (which takes places by Holy War).

Apostasy (formal disaffiliation from or abandonment of the religion) is punishable by expulsion from home, confiscation of property, imprisonment, or even death.

• During the Last Judgment (or Judgment Day), all humans who have ever lived will be judged by God; those who adhered to the teachings of the Holy Book are granted salvation (eternal stay in heaven) or damnation (eternal stay in hell)—the focus is more on the afterlife than the present life.

• In general, art, idolatry, humour directed against religion, making friends with infidels (or marrying them), following a lifestyle slightly varying from the Holy Book (even in food and clothing, let alone sexual orientation), intellectual freedom rooted in universal experience, etc. are not tolerated to the point of being punishable by religious law.

[Needless to say, there are minor variations in tenets between the three main Abrahamic religions but the aforementioned maxims give a broad picture of their school of thought.]

 

[3] In Ṛg-veda-saṃhitā 3.3.1, we see the phrase “sanatā dharmāṇi” (eternal principles). Also see –

satyaṃ brūyāt priyaṃ brūyān-na brūyāt satyam apriyam

priyaṃ ca nānṛtaṃ brūyād-eṣa dharmaḥ sanātanaḥ

—Manu-smṛti 4.138

cātur-vedye ca ye proktāś-cātur-hotre ca bhārata

sāṅkhye yoge ca niyatā ye ca dharmāḥ sanātanāḥ

—Mahābhārata 12.50.32

parasparābhisaṃrakṣā rājñā rāṣṭreṇa cāpadi

nityam eveha kartavyā eṣa dharmaḥ sanātanaḥ

—Mahābhārata 12.128.30

 

[4] It is noteworthy that men and women enjoyed similar kinds of privileges in the pre-Buddha period. A simple example should suffice to show the respect accorded to women: it is perhaps only in Hinduism that we have female deities (to the extent of having a śākta cult that only worships the goddess), female seers whose compositions are part of the Vedas (the foremost revealed scriptures of Hinduism), and even female rulers (all the way down to Prime Ministers and Presidents of many countries that were part of Greater India). See Great Women of India, edited by Swami Madhavananda and Ramesh Chandra Majumdar (Kolkata: Advaita Ashrama, 2014)

 

[5] While the primary sources of Sanātana-dharma are in Sanskrit, there are many sacred compositions in the major languages of India that capture the essence of the primary texts and these compositions are revered just like the scriptures. For example, Divya-prabandhams and Tevārams (Tamil), vacanas and dāsara-padas (Kannada), abhaṅgs (Marathi), etc.

 

[6] Sarasvatī, Candraśekharendra. Aspects of our Religion. Bombay: Bharatiya Vidya Bhavan, 1966. pp. 1–2

 

[7] The word ‘saṃskṛta’ (anglicized as ‘Sanskrit’) is explained as saṃyak kṛtam iti saṃskṛtam—‘made perfect,’ ‘refined,’ ‘cultivated,’ ‘polished,’ etc.

 

[8] Apte, V S. The Practical Sanskrit-English Dictionary. Poona: Prasad Prakashan, 1957–59, p. 1617

 

[9] Ibid., p. 857

 

[10] Dharma comes from the word-root √dhṛdhāraṇe, meaning ‘to bear,’ ‘to support,’ ‘to possess,’ ‘to hold.’

 

[11] Semitic religions have branded (in their Holy Books, no less) adherents of other religions as ‘enemies.’ Hinduism has also identified its enemies; they are known as the ari-ṣaḍ-varga (‘class of six opponents’) – kāma (lust), krodha (anger), lobha (greed), moha (obsession), mada (intoxication, arrogance), mātsarya (envy). See Bhagavad-gītā 16.21


To be continued.

 

   Next

Author(s)

About:

Dr. Ganesh is a 'shatavadhani' and one of India’s foremost Sanskrit poets and scholars. He writes and lectures extensively on various subjects pertaining to India and Indian cultural heritage. He is a master of the ancient art of avadhana and is credited with reviving the art in Kannada. He is a recipient of the Badarayana-Vyasa Puraskar from the President of India for his contribution to the Sanskrit language.

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

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 ಗ್...

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 महा...

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 चम्पकमालोत...

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 प्रकल्पित...

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...