Mahābhārata – Episode 33 – Pāṇḍavas set out on a Pilgrimage

This article is part 33 of 112 in the series Mahābhārata

The Pāṇḍavas longed for the company of Arjuna and were getting bored without him[1]; they set out on a tīrthayātra (pilgrimage) with the intention of acquiring puṇya and also to get rid of the boredom.[2] They reached Naimiṣāraṇya, took a dip in the river Gomatī, and travelled around several famous and sacred spots. They finally reached the āśrama of Agastya. There Lomaṣā narrated the story and greatness of Agastya to them.

Agastya married Lopāmudrā, the princess of Vidarbha.[3] To run his family he wanted to acquire wealth and travelled around the world. He came across the abode of Ilvala, who generously hosted Agastya and killed a goat to feed him. The goat was his brother Vātāpi in disguise. It was a part of Ilvala’s treacherous scheme to get his brother to take the form of a goat, cook that meat, and offer it to their guest; once the meat was consumed, he would call out, “Vātāpi, come out!” Vātāpi would come out bursting open the belly of the guest. The brothers then consumed the flesh of the dead guest. However, Agastya who probably knew this scheme said after consuming the meat, “Vātāpi, get digested now!” Vātāpi was digested in Agastya’s stomach. When Ilvala called out for his brother, he did not come out. Later Agastya burnt Ilvala to death.[4]

After Vṛtrāsura was killed by Indra[5], his evil associates called the kāleyas hid themselves in the oceans and troubled the ṛṣis at night.[6] To fulfil the prayers of the devatās, Agastya drank the ocean and emptied it. This helped the devatās to quickly eliminate the kāleyas.[7]

Sagara’s yajñāśva (sacrificial horse) vanished into this dry ‘ocean.’ His sixty-thousand sons went in search of it and ended up in pātāḻa. There they found that the horse was in the company of the sage Kapila. When they tried to attack him to get back the horse, they were all reduced to ashes by the strength of his tapas. A few generations later, a person named Bhagīratha was born in their lineage; out of his intense tapas he brought Gaṅgā down to earth. Gaṅgā flowed over the ashes of Sagara’s sons and liberated them. The ocean was filled up.

The Vindhya mountain kept growing higher and higher and it obstructed the path of the sun and the moon, making it difficult for them to move. The devatās sought Agastya’s help, who went there along with his wife Lopāmudrā and addressed the mountains, “Revered Mountain King! I have to go to the South for some work. I request you not to grow any higher until I am back.” With these words he crossed the Vindhyas and the mountains stopped growing. As Agastya never returned to the North, the Vindhya didn’t grow higher.

The Pāṇḍavas left the āśrama of Agastya and bathed in two sacred rivers – Nandā and Aparanandā. They visited Hemakūṭa and came to the shore of the river Kauśikī. There they visited the āśrama of Sage Vibhāṇḍaka, whose son was Ṛṣyaśṛṅga. Lomaṣā narrated his story.[8]

There lived a king called Lomapāda. There was a great drought in his kingdom due to prolonged lack of rainfall. They were advised to invite Sage Ṛṣyaśṛṅga, upon whose arrival it was said that the land would be filled with rain. The sage had a pure heart and was extremely honest. King Lomapāda did not know how to bring the sage to his kingdom. Ṛṣyaśṛṅga was not worldly-wise. He knew no one except his father Vibhāṇḍaka. Lomapāda sent a few courtezans to the abode of Ṛṣyaśṛṅga, when his father was away. They tactfully brought him to the kingdom of Lomapāda. As per the prophecy it rained and the country was full of water. Lomapāda got his daughter Śāntā married to him and requested his son-in-law to live in his palace.

The Pāṇḍavas continued further and reached the Mahendra mountain. That region was called Paraśurāma-kṣetra. They heard the story of Paraśurāma and Kartavīrya.[9] There it was said that on the fourteenth and the eighth day of the month, Paraśurāma would show himself to the tapasvis. The Pāṇḍavas reached there on a day before the caturdaśī (fourteenth day of the lunar month) and stayed on to have a vision of the great warrior-sage. They continued further after having seen him.

The Pāṇḍavas then passed through the city of Prabhāsa[10] and reached the shores of the river Payoṣṇi. Gaya is said to have performed seven Aśvamedha-yāgas at that place and is supposed to have shared large parts of his wealth with the needy. His donations were innumerable, just as the stars in the sky, the showers of rain, and the grains of sand on earth. They continued further and arrived at the Vaiḍūrya mountain. The sage Cyavana was performing tapas on the shores of a lake nearby. An anthill had grown around him. One day, Śaryāti came there with his wife and children. His little daughter Sukanyā was roaming about the area and came across the anthill. Peeping inside, she found something glittering like two gems. Curious, she poked them with a thorn. They were the eyes of Cyavana. His eyes started bleeding and all the blood flowed out from his body. Śaryāti’s retinue had their excreta blocked in their body, which caused them tremendous trouble. Śaryāti met Cyavana and begged his pardon for the mischief of his daughter Sukanyā. Cyavana said that he would forgive her only if her hand was given in marriage to him.

Śaryāti agreed and left his daughter behind with the sage. Sukanyā took great care of her blind husband. One day, the aśvini-devatās came to the hermitage and desired her. Sukanyā did not respond to their advances. Impressed by her chastity, they had her husband bathe in the lake, which made him regain his sight and his handsome features. Later on, he performed a yāga and offered soma to the aśvini-devatās. When Indra tried to interrupt the yāga by stopping the sage from offering soma, the sage bravely held Indra’s shoulder and continued with the ritual.

Thereafter, they went to a spot near Maitragiri where the king Māndhāta had performed yāgas and then having visited the Somakāśrama and Markāṇḍeyāśrama, they reached a place near the rivers Jalā and Upajalā.[11] That was the place where the emperor Śibi had performed his yāga. The emperor was renowned for his acts of dāna and dharma. On one occasion, Indra and Agni came to the yajña in the form of an eagle and pigeon, respectively with a view to test him. The pigeon, terrified of the eagle sought refuge from Śibi. The eagle said ‘O dharmātmā! What you’re doing is against dharma. Ravaged by hunger, I was chasing my prey; why have you hidden it away from me? Let it go!” Śibi said that when a creature has come to him fearing life, seeking refuge, he cannot let it go. The eagle argued with Śibi. “O king! In your quest to save a life, you will incur the sin of killing several. If I die out of hunger without getting an opportunity to eat this pigeon, soon after me, my wife and children will die. Therefore, your act is opposed to dharma. Dharma is that which does not oppose dharma; and the act that obstructs dharma is adharma. Think about this and then take a decision!” Śibi said, “All you want is food, is it not? In place of this pigeon, I shall give you a cow, a young bull, a pig, a deer, or a buffalo. What do you want? The eagle did not agree. “The natural food for an eagle is a pigeon. This is divinely ordained. What shall I do with the meat of a cow, a young bull or a pig?” Finally, the eagle agreed with Śibi’s proposition that he would give a pound of his own flesh equal in weight to the pigeon. Accordingly, Śibi had a weighing scale brought there, placed the pigeon on one side and on the other, placed the flesh he constantly chopped from his body. However many slices of his own flesh he placed on the scale, it did not weigh as much as the pigeon. Finally Śibi himself sat on the scale. Then Indra and Agni took their real forms and granted him all the boons that he desired before going away.

After this they came to the Śvetaketu āśrama. Śvetaketu was one who had debated with Goddess Sarasvatī herself. He and his sister’s son Aṣṭāvakra went to the capital of the king of Videha, defeated Vandi in a debate, and had him drowned.[12] Prior to this, Vandi had defeated Aṣṭāvakra’s father Kahoḍa in a similar debate and had had him drowned. Aṣṭāvakra bathed in the Samaṅgā river and all the crookedness in his body disappeared, making him normal.

Travelling thus over many days, the Pāṇḍavas traversed several regions, crossing Uttarakuru, and visited the Kailāsa mountain, Naranārāyaṇāśrama, and Badarīvṛkṣa. The clear and cool waters of the river Bhāgīrathī (Gaṅgā) was flowing in the vicinity. Divine flowers and juicy fruits oozing with essence were there; brāhmaṇas and maharṣis were there. They spent six days there, involved deeply in various ritualistic activities like bathing, performing the daily worship, offering tarpaṇa to the deities and to the ancestors.

To be continued…

This is an English translation of Prof. A R Krishna Shastri’s Kannada classic Vacanabhārata by Arjun Bharadwaj and Hari Ravikumar published in a serialized form. Thanks to Śatāvadhāni Dr. R Ganesh for his review and astute feedback.


[1] During this period, the Pāṇḍavas hunted animals with non-poisonous arrows and fed the meat to several brāhmaṇas.

[2] When the Pāṇḍavas are feeling dejected and bored without the company of Arjuna, Sage Nārada comes to meet them. Yudhiṣṭhira asks him about various tīrthakṣetras (pilgrimage spots; typically near water bodies). Nārada then narrates to them the details about the various tīrthakṣetras just as Sage Pulastya had once described to Bhīṣma. (In the course of the narration, there are many references to the rivers Sarasvatī and Sindhu, both of which flowed into the Western Ocean at that point.) Then Nārada instructs Yudhiṣṭhira and his brothers along with Draupadī to go on a pilgrimage. Yudhiṣṭhira then tells his preceptor Dhaumya about him sending away Arjuna to procure divine weapons for the impending war and seeks permission to set out on a tīrthayātra. Dhaumya gives his blessings and suggests a travel plan. Then Sage Lomaṣā comes there from the world of Indra and tells the Pāṇḍavas about Arjuna – how he obtained celestial weapons from Rudra, Indra, Yama, Varuṇa , and Kubera and how he learnt several arts including music and dance. Lomaṣā then shares Arjuna’s message to his brothers and wife – All of you must go on a pilgrimage. Accompanied by Dhaumya and Lomaṣā as well as a small retinue of brāhmaṇas, the Pāṇḍavas and Draupadī set out on a tīrthayātra after paying their respects to Kṛṣṇa-dvaipāyana Vyāsa who appears there at the time of their departure.

[3] Ilvala, the daitya (demon) had killed several of Agastya’s ancestors and they requested him to beget a child to grant them liberation. That is the reason Agastya goes in search of a suitable wife.

[4] After this episode, Lomaṣā tells Yudhiṣṭhira the story of the encounter of Dāśarathi Rāma and Paraśurāma.

[5] Unable to withstand the attacks of Vṛtrāsura, Indra went to Brahmā who instructed him to go to Sage Dadīci and ask for his bones out of which the powerful Vajra weapon was made. It is with the help of this celestial weapon that Indra defeated Vṛtra.

[6] The kāleyas (or kālakeyas) massacred thousands of brāhmaṇas during the nights.

[7] After the kāleyas were destroyed, the devatās went to Agastya and requested him to fill up the ocean. But Agastya said that he had digested all that water and they now had to find some other means to fill the ocean.

[8] Once when the sage Vibhāṇḍaka was bathing in a lake, he saw the apsarā Ūrvaśī and ejaculated semen. A doe licked it and conceived; a child was born to that doe with a single horn on his head and he was named Ṛṣyaśṛṅga. He grew up to be a great ṛṣi of rigid vows.

[9] Akṛtavarma, a disciple of Paraśurāma, tells them the story.

[10] When the Pāṇḍavas were at Prabhāsa, Kṛṣṇa and Balarāma along with the Vṛṣṇis come to meet them.

[11] Through the course of their travels, Lomaṣā narrates the story of Māndhāta, who was born directly to his father and Somaka, who sacrificed his son in order to gain a hundred (as well as the life of the sacrificed son).

[12] Aṣṭāvakra was a child prodigy; he takes revenge for his father’s death by arguing with Vandi and winning the debate. Their discussion brings to mind the yakṣapraśna episode; it is interesting that Yudhiṣṭhira hears the story narrated by Lomaṣā before his encounter with the Ajagara (in the forest) or the Yakṣa (in the enchanted lake).



Prof. A R Krishna Sastri was a journalist, scholar, polyglot, and a pioneer of the modern Kannada renaissance, who founded the literary journal Prabuddha Karnāṭaka. His Vacana-bhārata and Kathāmṛta are classics of Kannada literature while his Saṃskṛta-nāṭaka and Bankimacandra are of unrivalled scholarship.



Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh


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

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...