Chinmaya Summer School 2017 – Day 2

The second day of the Summer School jointly organized by Chinmaya Vishwavidyapeeth and Chinmaya International Foundation took the participants into a wonderful journey into the past. Starting off with an overview of the poets, it took everyone on the path of Rāma, helped them make friends with Kālidāsa and Guṇāḍhya, gave an artistic and insightful glimpse into the Pañcatantra, and finally concluded with a wonderful Hindustani classical music performance by Swapnil Chaphekar and Pramodini Rao.

Day 2, Session 1: Vyāsa, Vālmīki, and Kālidāsa

Śatāvadhāni Dr. R Ganesh

Who is Kālidāsa? He is a devotee of Kāli, the consort of Kāla, or Mahākāla, the famed deity that presides over Ujjain. Kālidāsa observes the cosmic play between Kāla and Kāli. He represents the inseparability of Śiva and Pārvatī; the inseparability of form and content. There might be an inherent dichotomy between intent and expression in life but in art, these become inseparable. While life is unconscious play, art is conscious play. Kālidāsa teaches us that life should become great art.

Dr. Ganesh explained the difference between Vyāsa-Vālmīki and Kālidāsa using the example of classical music. While the composers of the epics are like ghana rāgas, which can be sung for hours, Kālidāsa is like a short, peppy film tune that has the essence of the rāga. While Vyāsa and Vālmīki are like granaries, Kālidāsa is like the delicious food served on a silver plate. Kālidāsa is the successor of Vyāsa in essence and Vālmīki in structure. While Vyāsa-Vālmīki emphasize on dharma and mokṣa, Guṇādhya emphasize on artha and kāma, and Kālidāsa sums up all the four puruṣārthas.

Dr. Ganesh underscored the importance of Culture being rooted in Nature; if culture is not aligned with nature, then it becomes a pseudo-culture. Veda is a grand representation of such culturing. Veda basically means absolute knowledge. We must remember that it is no different from absolute joy. After all, what is the use of knowledge that doesn’t lead to ānanda? What is the use of knowledge whose very nature is pain? When the Upaniṣads proclaim “Satyaṃ jñānaṃ anantaṃ brahma” they are all but synonyms. Veda is ānanda.

How are Rāmāyaṇa and Mahābhārata related to the Vedas? They too are Vedas in their own right, in the sense that they have the same vision as the Vedas. However, we should never forget that first and foremost they are pure poetry that leads to rasa, in turn leading to ānanda. The Mahābhārata serves as a bridge to anything sacred – places or people.

The epic of Vālmīki has three names: Rāmāyaṇa, Sītācaritam, and Paulastyavadha. While Rāmāyaṇa is the path of Rāma, Sītā treading of Sītā that path is the Sītācaritam, which in turn led to the destruction of Rāvaṇa, i.e. Paulastyavadha. It was Sītā’s love for Rāma that eventually led to the destruction of Rāvaṇa. Sītā’s valour is in her deep love for Rāma. In spite of their separation—by mountains and oceans—Rāma and Sītā continued living in the hope that their beloved was alive. Vālmīki’s subtle art comes to play at so many instances in the epic.

Rāvaṇa had so much of wealth and strength; he was a powerful ruler. And yet, he was unable to coax Sītā into submission. He was helpless in front of this young girl. The reason for this was that he did not approach any woman with a sense of surrender. Rāma and Sītā had surrendered to each other, which resulted in a beautiful marital life. That is the reason they are hailed as the ideal couple. And Vālmīki’s epic teaches us that we too can rise to that level. Indian society is facing a great challenge, that of restoring the institution of marriage and the family values. In this battle against the erosion of values, it is Vālmīki and Vyāsa who will come to our aid and not the modern storytellers who are intent on disfiguring these epics.

That said, it is not that the heroes of our epics are beyond all faults. In fact, when Rāma has to abandon Sītā owing to many social factors, it is the author of the epic, sage Vālmīki himself who takes care of Sītā. It is in his hermitage that she gives birth to twin sons, Lava and Kuśa. It is Vālmīki who grooms them to the level of Rāma and Lakṣmaṇa. The twin boys have the privilege of first learning the Rāmāyaṇa. Vālmīki shows us the dignified way to offer a criticism of a hero by taking sides with Sītā.

Dr. Ganesh emphasized that it would be an injustice to the poet if we impose all sorts of interpretations and theories on Rāmāyaṇa – be it religious extrapolation, pseudo-science, pseudo-philosophy, feminism, subaltern views, etc. Instead we should respect the poet’s humanity and savour the poem’s rasa, which will naturally lead us to ānanda. Indeed, there is no harm in having a constructive difference, for it eventually leads to harmony. However, a forced unity with malignant intentions can only lead to eternal divergence.

While Vālmīki’s epic is called Rāmāyaṇa, the path of Rāma, Vyāsa’s epic is called Mahābhārata and not Kṛṣṇāyaṇa or Arjunīya! The Mahābhārata is the story of India itself. It is an encyclopaedia of India and Indian culture. It is not connected merely with one person or one family or one theme. It relates to the whole of the culture. It is a work that enlightens and delights. It contains so many worlds within it.

The main antagonists in the epic are the duṣṭacatuṣṭaya – Duryodhana, Duśśāśana, Karṇa, and Śakuni. Among these, many people have a great fascination for Karṇa; such people should look into the life of Vidura. He was of a lower birth compared to Karṇa, he wasn’t a ruler of any kingdom, nor was he particularly a great warrior. But he never complained about his birth or his circumstances. By the dint of his hard work and intelligence, he gained respect and recognition. It is noteworthy that neither Duryodhana nor Karṇa had regard for Vidura!

Kunti was a great woman and a great mother. After the war, when Vyāsa makes an appearance after Vidura’s death, Kunti meets him. She expresses her grief for the crime she committed as a young girl, of discarding her newborn child. At this point, the compassionate Vyāsa tells her: "सर्वं बलवतां पथ्यम्" (All actions of the strong are agreeable!)

Vyāsa had great kindness even towards people who have erred. He displays compassion towards all his characters – be it Draupadi or Gāndhāri, Bhīṣma or Karṇa. Vyāsa’s greatest creation is Kṛṣṇa, a character who is peerless in past or present. He is a self-chiselled vigraha, a master of yoga. A person who can truly understand the life of Kṛṣṇa will know the essence of India.

Dr. Ganesh concluded the session with a Q&A during which he stressed the importance of drawing value from the epic rather than blindly examining the facts. Whether a verse is interpolated or not shouldn’t be our approach. Instead, we should ask ourselves if it evokes rasa.

Day 2, Session 2: The Rāmāyaṇa

Shashi Kiran B N

There is no Rāma without the Rāmāyaṇa. We know the man and god because of the epic of Ādikavi Vālmīki that set the tone for all future kāvyas of India. In the creation of such an epic, it is not just the influence of the time and the place but also the pratibhā (innate talent) of the poet and the rāsikya (art appreciation capacity) of the sahṛdaya (connoisseur). It is the sahṛdaya who enjoys the art and then becomes a means of sharing the joy of art. Bhāradvāja was such a sahṛdaya to Vālmīki.

Shashi Kiran spoke about Vālmīki’s compassion that was so deep, not just towards humans. The killing of a kraunca bird (while mating with its beloved) by a hunter evoked such sorrow in him—a former hunter—that he spontaneously composed a verse. Unable to tolerate that assassination of joy, he uttered words of lament that took the shape of a verse set to a poetic meter. This aucitya (appropriateness of artistic usage) that gave the poet strength, thus giving rise to a rasa-filled work, the consumption of which makes life more meaningful. In this process, it is essential for the connoisseur to willingly suspend his disbelief.

Shashi Kiran spoke about the conception of Dr. Ganesh – ānanda ṛṇa – the debt we repay to people who bring us joy through their art. When a sahṛdaya realizes his own self through the creation of a great kavi, naturally a sense of gratitude arises in him. In fact, when Rāma, the hero of the epic, heard his twin sons reciting his life story, he was so enamoured by it. He wanted to share his joy of listening to it with everyone.

Rāma had great courage and strength. He was a true kṣatriya. When he went to Mithila, he had genuine interest to know more about the Śivadhanus, which he eventually broke as if it were a toy. As an upright person, Rāma got whatever he wanted without ever asking for it. But a twist of fate also took away everything from him. He had to let go of everything, which he did without a complaint. He took his father’s words seriously. The killing of the kraunca bird – the killing of joy – is a recurring motif in the Rāmāyaṇa. At the age when Rāma was brimming with youth and energy, an age when he should have been pampered and supported, he was sent off to the forest. After Sītā is abducted, Rāma is so helpless. He is forced to take the help of monkeys. He befriends another soul in distress, Sugrīva.

While Rāma has a great deal of asceticism in his conduct, he is also an emotional person. He cries, he laughs, he gets furious, and he forgives with compassion. He protects lives and also takes them when needed. He kills Rāvaṇa, the greatest warrior of his time. Rāvaṇa is no ordinary man. He is the perfect villain: A great warrior, a scholar, and an artist, but lacking in dharma.

Shashi Kiran mentioned how the Sītā-parityāga episode has been a much debated one. Justice is on Sītā’s side but one cannot hold anything against Rāma. The mutual affection between Rāma and Sītā was immense. When Rāma was banished to the forest for fourteen years, he never asked her to go with him. She went of her own accord. And not once did she repent her decision, in spite of all the trials and tribulations they went through. They were an ideal couple and several later poets too have dwelt on this śṛṅgāra aspect.

Anyone who has a feeling for these characters—perhaps thinking of them as family members or friends—will naturally be moved by Vālmīki’s writing. The poet captures such subtle emotions and nuances! Just as an example, when Viśvāmitra comes to the court of Daśaratha and asks for Rāma to be sent with him, Lakṣmaṇa also joins Rāma although Viśvāmitra has not specifically mentioned him. It is unthinkable for him to be without his brother. Rāma lived for so long without Sītā but he gives up his life the day after Lakṣmaṇa dies.

The manner in which the characters turn out is both unpredictable and enjoyable. Viśvāmitra becomes a mentor to Rāma, who is already a highly motivated and inquisitive young boy keen on knowing more about the world. Kaikeyi, Rāma’s stepmother who loves him suddenly changes her mind and punishes him with her cruel requests. The people of Ayodhya who loved Rāma and Sītā so much that they were willing to join them in the forest, after a gap of fourteen years, ended up becoming the reason for the separation of the divine couple.

The Rāmāyaṇa forms the basis of Indian culture and it has had a lasting influence on world literature and also on several art forms.

Day 2, Session 3: Kālidāsa and Guṇāḍhya

Śatāvadhāni Dr. R Ganesh

People say that Kālidāsa was a shepherd who attained poetic genius by the grace of Kāli. To say that his poetry is a divine gift is merely an endorsement of his talent. Only a remarkably gifted poet can compose a perfect poem like the Meghadūtam. In some sense, we are all poets at heart; if we have the power to feel, then we are poets. Not everyone might have the talent to give expression to emotion, but there is a poet hidden in all of us.

Reading the works of Kālidāsa is like having a friend next to you. Kālidāsa is that friend, sitting beside you, patting your shoulders, and introducing you to the wonderful world of beauty that you perhaps missed in your fleeting glances of the world, buried in your own troubles and unable to see beyond yourself. Dr. V Raghavan says in his illuminating book on the Kavikulaguru that Kālidāsa is both an attractive and reliable proponent of Indian heritage. Kālidāsa’s poetry is so powerful that his predecessors were hurled into oblivion while his successors were modelled after his compositions. Kālidāsa can convert a Comedy, a frivolous and light-hearted theme into a Tragedy, an emotion-rich and profound work, thus connecting us with the Divine Comedy of saṃsāra and helping us transcend it.

Kālidāsa, the alchemist poet, transformed everything into gold. A consummate polymath, he was skilled in several arts and śāstras, and that knowledge comes out naturally in his plays and poems. We find so many riveting details in his works, be it about music, dance, sculptures, paintings, or even the elaborate rituals that are part of the ṣoḍaśa saṃskāras. He gives us an approach to both the arts and the rituals. It’s not surprising in the least that he has been the inspiration for generations of artists.

Kālidāsa, the national poet of India, has truly described India in its entirety. Knowing him is knowing India.

Kālidāsa is a poet of niceties. He writes in such a manner that one is bound to agree to that Sanskrit is poetry. It is music. It is a dance of sound. He has an uncanny knack of depicting contrast. He can be a sweet bard singing a song filled with hope and romance and he can be a curt poet chanting verses of harsh reality. In the ninth canto of Raghuvaṃśam he says that life is an accident and death is an incident:

मरणं प्रकृतिः शरीरिणां
विकृतिर्जीवितमुच्यते बुधैः ।
क्ष्णमप्यवतिष्ठते श्वसन्
यदि जन्तुर्ननु लाभावानसौ ॥

Guṇāḍhya was a great poet of the spoken dialect of Sanskrit, i.e. Prakrit. He was in the kingdom of Śātavāhana at Paithan (Pratiṣṭhāna) in Maharashtra, on the banks of Narmada. Hāla Śātavāhana is famous for compiling the Gāhāsattasayī, an anthology of seven hundred poems by three hundred poets.

The story goes that Guṇāḍhya lost a bet and was forced to abandon composing in Sanskrit. He went away to the forest to meditate when he meets a ghost who tells him numerous stories that Śiva had told Pārvatī.

In Guṇāḍhya, there are all kinds of stories and plot structures. It is so easy to find characters like ourselves in his writing. His Bṛhatkathā is a festival of imagination. If Vālmīki can be likened to the Ganga, Vyāsa is like the Yamuna, and the largely unknown Guṇāḍhya is like the Saraswati, while Kālidāsa is the ferry man who helps us traverse across these great rivers. If Vālmīki and Vyāsa are the ṛṣis of saṃskṛti, Guṇāḍhya is the ṛṣi of prakṛti.

Day 2, Session 4: Holy Allegory – Translating Tradition for Young  Audiences

Prof. Ramaa Bharadvaj

Ramaa Bharadvaj spoke about her dance-theater production based on the Pañcatantra, a derivative of Guṇāḍhya’s Bṛhatkatha. She said that if we retell our stories through art, then rasa is kept alive. Pañcatantra is a nītiśāstra, which is more than 1,500 years old. It is said that King Amaraśakti told a great scholar Viṣṇuśarma to teach the art of statecraft to his three sons who were dullards. It contains eighty-six clever and witty fables divided into five treatises.

Viṣṇuśarma seems to have used animals to explain these concepts because animal characters have the power to touch the delicate parts of the human psyche. Perhaps the author of this work felt that the equilibrium of nature should be brought into us to find the equilibrium in our minds.

Ramaa Bharadvaj created her dance-theatre production with a view to promote ecological values. One of the key questions that she asked herself during the inception stages was what the Indian diaspora was doing for their culture. Were we using cultural pillows to cure our home-sickness? Aren’t the first trans-national audiences our own children?

In this production, she selected one story from each treatise of the Pañcatantra, each in a different language (Telugu, Hindi, Marathi, Gujarati, and Tamil). The music was composed by the renowned singer Rajkumar Bharathi.

While choreographing the dance-drama, she wanted to empirically translate the emotions using animals in human form based on her observation of various animals. She said, “We were not humans acting as animals but animals acting as humans.” She induced a great deal of spontaneity both in the rehearsals and the performances. For fifteen years, the production was in the repertoire of her dance company. Apart from taking this beautiful production to over 20,000 children in the US, she also conducted forty intimate workshops for underprivileged children using this theme. She showed snippets from the dance-drama, which was received by the audience with great cheer.

Ramaa Bharadvaj concluded her presentation by mentioning that being original is not so much about creating something new but rather about going to the origin, the very roots of our culture. She also stressed on taking culture to children and planning our performances specifically for children and not adulterating them!



Prekshaa is a premium journal of Indian culture and philosophy drawing from the vast and timeless treasure trove of various aspects of India's grand heritage.

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...


इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।


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...


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...


“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...