The current series on the epics of Homer is in six parts. The series contains a brief synopsis of the stories, analysis of the main characters and events, figures of speech and a discussion on the Greek epic structure. A talk on this topic was delivered by the author on 20th June 2016 in a seminar on Mahakavyas organized by the Bharatiya Vidya Bhavan, Bangalore
The current article adopts anglicized versions of proper nouns and the English translations provided in [1] and [2]
Having borne the title of Śatāvadhāni, I’m often referred to as having a ‘computer mind.’ Whether this is done out of affection or ignorance, it causes me a great deal of embarrassment. It’s true that the art of avadhāna is a special one and gaining any level of mastery over it, is remarkable. Perhaps devoid of nuanced understanding based on analysis of its internal and external facets, it is branded as a gigantic memory feat; this is an injustice to the art form.
विदितमेव खलु काव्यं दृश्यं श्रव्यं चेत्यादौ द्वेधा विभक्तं; पश्चाद्गद्य-पद्य-चम्पूभेदत्वेन त्रेधा चेत्यपि । तथा च मुक्तक-युग्मक-सान्दानितक-कलापक-कुलक-अष्टक-शतकादिपद्यसङ्ख्यानुसारं विभागा वर्तन्त एव । अपि च गद्ये पद्यगन्धि-उत्कलिका-चूर्णिकाप्रायादयः सन्ति नैके विभागाः । महाकाव्यं, खण्डकाव्यं, आख्यायिका, कथा इत्यादयः श्रव्यकाव्यप्रभेदास्तथा नाटक-प्रकरण-भाणादिदशररूपकत्वेन च नाटिका-त्रोटक-सट्टकाद्यष्टादशाधिकोपरूपकत्वेन दृश्यकाव्यप्रकारा अपि राजन्ते । एवमेव नूतनसंप्रदायानुसारं लघुकथा (short story), दीर्घकथा (novel), प्रवासकथनं (travelogue), ललितप्रबन्धः (essay), जल्पकथानकं (comic writing) इत्या
The poetic conversation between Vāsiṣṭha-gaṇapati-muni and Ambikā-datta that took place at the conference of scholars—‘paṇḍita-goṣṭhi’—at Nava-dvīpa (Nadia) is a good example for the genre of dialogue-poetry.
With this part, we conclude the translation series of the preface to Vacanabhārata. The current article describes the literary approach of AR Krishna Sastri in composing the prose rendition of the Mahābhārata in Kannada. Drawing inspiration from his approach, the current translators, Arjun Bharadwaj and Hari Ravikumar are working on bringing out a prose rendition of the Mahābhārata in English.
The article also contains some autobiographical details that throw light on the meticulousness of the author.
Dialogue-poetry was not restricted to scintillating exchanges among scholars in India. Though rare, there are instances where this form of dialogue took place with foreigners as well. The current example captures an episode that is more morose than cheerful.
Dharmaprakasha Sajjan Rao's [i] home named, “Lakshmi Nivasa” is located opposite the North East side of the Venkataramana Swamy Temple at the Bangalore Fort. The verandah of that house sported the photographs of some Sadhus and Sants. Among these photographs was that of an Avadhoota[ii] named Mahadeva Sastri.
It was on the twenty-sixth day of November, 1949 that India gave unto herself the Constitution; indeed a historical event for all Indians. We celebrate it as the Samvidhan Divas (Constitution Day of India) every year. The Constitution of India is one of the most detailed and lengthy constitutions in the world.
Prekshaa Journal in association with Wise Words takes immense pleasure to announce the launch of its maiden publication, "Stories Behind Verses," the English translation of Shatavadhani Dr. R Ganesh's acclaimed Kannada work "Kavithegondu Kathe" on 3 December 2017 at the Indian Institute of World Culture, Bangalore. The Chief Guest for the event is Smt Sudha Murty.
The contribution of Kerala to Sanskrit literature is tremendous. Just recalling the name of Śrī Śaṅkarācārya is enough to evoke in our minds the vast magnitude of the literary contribution from Kerala. The state had a unique setup, where anyone could learn Sanskrit irrespective of their caste or creed, and such indeed is the outlook of sanātana-dharma. Women in particular used to be trained in Sanskrit. One such Sanskrit scholar was Manoramā Tampuraṭṭi, who was born in 1760 CE.