Araṇya-kāṇḍa Part 6: Rāma and Lakṣmaṇa search for Sītā

As she was being carried away by Rāvaṇa, Sītā was stricken with misery. With her eyes red with anger, she said, “You don’t appear to feel ashamed for performing this ignoble deed. I’m sure it was you, a vicious coward, who contrived to get my husband away by resorting to the illusion of a deer, so that you can carry me off. You even struck down the brave creature that tried to save me. You have displayed wonderful prowess, O vilest of rākṣasas! You did not win me in a battle! People around the world will forever speak of this despicable deed of yours. If you were to come within sight of the two princes, you would have been dead by now. Let me free—separated from my husband, I won’t survive for long. The very purpose for which you have abducted me will go in vain. You will soon see the river Vaitariṇī filled with blood and the terrible forests where the leaves are all swords. You are caught in the noose of Kāla!”

As she was being carried off, Vaidehī saw no one who would help her until she saw five mighty vānaras on a mountain peak. She dropped her golden-coloured silk uttarīya so that it would fall in their midst. She also dropped her beautiful ornaments hoping that they might inform Rāma about her whereabouts. In his excitement, Daśagrīva did not notice her doing so. The vānaras looked up at her without blinking their eyes, even as Vaidehī cried out. Rāvaṇa made his way across the lake Pampā, passed over innumerable forests, rivers, mountains, and lakes, speeding through the air like an arrow shot from a bow.

Rāvaṇa entered the city of Laṅkā with Sītā, his death incarnate, on his lap. Making his way through the well-laid streets of the city, he entered his antaḥpura through an array of gateways. There, he set free Sītā, who was dazed with grief. He instructed the female piśācīs there: “Ensure that no one, male or female, visits Sītā without my permission. Pearls, gold, raiment, and ornaments – whatever she may desire – all should be given to her as if I have myself ordered it. And if you wish to live, never utter anything that might displease Sītā, either willingly or inadvertently.”

Rāvaṇa commanded eight powerful rākṣasas to take residence in Janasthāna to spy on Rāma’s activities. He instructed them to try their best to kill Rāma. He then rushed back to his dwelling to see Sītā. She was in deep sorrow and was like a boat sinking in the open sea tormented by strong winds. She was like a doe that had strayed away from the herd and was attacked by hounds. The rākṣasa forced her to see his magnificent palace, which was full of skyscrapers and mansions with thousands of women in attendance. There were pillars elaborately worked in burnished gold, crystals, silver, and diamond. War drums echoed through golden archways as he walked up the staircase with her. There were lattice windows made of ivory and silver, which looked out onto rows and rows of mansions. Sītā stood lost in her grief as Rāvaṇa showed her lovely pools and ponds filled with all varieties of flowers. After showing her every corner of the palace, Rāvaṇa told Sītā, “There are thirty-two crores of rākṣasas, not including the aged and children, who are capable of ghastly deeds. I am their master. The reins of my royal power and my life are in your hands, Vaidehī; you are dearer to me than my own life. Please be my wife and be gracious to me, for I am tormented. Laṅkā is surrounded by the vast sea on all sides and even the devas cannot assault it. Of what use is the weakling Rāma, who is bereft of his kingdom. Become mine, Sītā. Do you think Rāma will come here? No one can bind the wind with ropes or catch the flames of the blazing fire. The result of all bad deeds of your past life resulted in your stay in the forest and you have expiated them; now, because of your former good deeds, you will enjoy your time here. Here is the Puṣpaka-vimāna, which I have forcibly snatched from my brother Kubera. It is lovely and flies as swift as thought. Enjoy yourself in it. Don’t fear that your association with me is adharma. I am falling at your feet, my lady; I press my heads at your feet. I am your dāsa – your slave!”

With these words, Rāvaṇa thought that he had won over Sītā.

Thus addressed, Vaidehī retorted fearlessly, though weakened by sorrow. She placed a blade of grass between herself and Rāvaṇa and spoke, “Daśaratha was a dhārmic king, and his son Rāma, whose fame is known in all the three worlds is the scion of the Ikṣvākus. He, along with his brother, Lakṣmaṇa will slay you. If he had seen you abducting me, you would be lying dead in Janasthāna, just like Khara. Because of what you have done to me, Laṅkā will become a city of widows. This body of mine is devoid of sensation of bondage or death. I care nothing about preserving my body or my life, rākṣasa!”

Hearing her words, Rāvaṇa spoke to instil fear in her: “If you, my beautiful Maithilī, do not come to me in the next twelve months, my cooks will chop you into pieces and I will consume you for my breakfast.” At his command, the most fearsome and deadly looking women appeared. Rāvaṇa instructed them, “Take Maithilī to Aśoka-vana and keep guard over her. Using scary threats and gentle coaxing, strive to make her amenable to my will, just like bringing a wild she-elephant under control in the forest.”

Aśoka-vana was filled with all kinds of flowering and fruit-bearing trees and could produce them at one’s wish. Birds flocked the grove every season and filled the environs with melodious songs. But Sītā, who was amidst the ghastly rākṣasīs, was engulfed in grief like a doe amidst tigers. They glared at her through their threatening eyes. She always thought of her god-like husband and brother as she stayed in the grove.

~

Meanwhile, after having killed Mārīca, who had taken the form of a deer, Rāma quickly headed back towards his āśrama. As he rushed to see his dear wife Maithilī, he heard a jackal’s harsh howl behind him. He was worried that it was an indication of something inauspicious. He realised that the golden deer was a plot by the rākṣasas and that Mārīca had called out Lakṣmaṇa’s name only to lead him away from the āśrama. Filled with dread, Rāma hurried back to Janasthāna hoping that Sītā was safe. Birds and beats circled around him, going from right to left, uttering raucous cries. In a moment’s time, Rāma spotted Lakṣmaṇa, who seemed to be dejected and lacked lustre. Rāma, who was terribly distraught began to rebuke him for leaving Sītā alone in the rākṣasa-infested forest. He said, “Alas! Lakṣmaṇa, what a terrible thing you have done by coming here, leaving Sītā alone there. It was a rākṣasa, who lured me into the forest in the disguise of a deer. Where is Vaidehī, Lakṣmaṇa, the gentle lady, who followed me into the Daṇḍaka and shares my sorrows? I cannot bear to live, even for a moment, without her! I see and hear evil portents. I hope Vaidehī is still alive. Once I die craving for Vaidehī and with you out of the way as well, Kaikeyī will be thrilled with her desire fulfilled. And with her son dead, I hope Kausalyā will not be turned into a servant of Kaikeyī. If I do not find Vaidehī in the āśrama, I will end my life, Lakṣmaṇa! Please tell me if Vaidehī is still alive or if some rākṣasa has devoured her because of your carelessness. She is young and delicate and has known no suffering before. I suspect that the rākṣasa’s cry frightened you as well and in her panic, Vaidehī must have sent you off at once to find me. You have given an opportunity for the flesh-eating rākṣasas to avenge the death of Khara!”

Feeling hungry, tired, thirsty, his mouth parched and face pale, Rāghava reached his āśrama only to find it empty. He rushed inside and searched every spot where he used to revel in Vaidehī’s company. With his hairs on end, he thought, “Just as I had feared.”

When Rāma questioned him again, Lakṣmaṇa explained, “I did not come of my free will, abandoning her. When Maithilī heard the cry that sounded just like her husband’s voice, she insisted that I go to your rescue. I tried to convince her by saying I know of no rākṣasa who can harm Rāma and told her that it must be the voice of a deceptive rākṣasa. Out of her love for you, Vaidehī was in a disordered state of mind. With tears streaming down her eyes, she said these cruel words to me: ‘You are entertaining the wicked desire to have me when your brother is dead, but you shall never get me. You followed Rāma to the forest, as you are Bharata’s ally. That is why you refuse to help Rāma, when he is crying in pain.’ When Vaidehī spoke to me thus, I was enraged. With my eyes red and lips quivering in anger, I left from the āśrama to look for you.”

 Rāma replied, “You did a grave mistake, my dear brother, by coming to seek me without her. I am extremely displeased that you abandoned Maithilī just because she spoke harsh words. You failed in your duty of adhering to my instructions and succumbed to your anger!”

The empty cottage now looked like a lotus pond that was devoid of Śrī, the goddess of beauty, upon the coming of the snowy season. The rustling trees appeared to almost weep, with their flowers faded and birds gone. At the sight of this, Rāma lamented, “She is dead, lost, consumed, or abducted. Or, is she hiding, scared of something? She has perhaps gone to pick fruits and flowers. Or, must have gone to the lotus pond or the river to fetch water.”

Rāma went searching like a madman. He went from tree to tree, river to river, and to the mountains and asked every animate and inanimate object about Maithilī. He asked, “O kadamba tree, have you seen my beloved, who was so fond of you? Bilva tree! Pray tell me if you have seen her. Her breasts are like bilva fruits and her limbs as smooth as your young shoots. O aśoka! You are free of śoka (sorrow), but I am submerged in śoka! Tell me where my beloved is, so that I can become aśoka (sorrowless) like you! O deer! Do you know where my deer-eyed dear is gone? She might be amidst the does for her glances are just like theirs. Elephant and you, tiger! Do you know where my Maithilī is? Ah, I spot you there, my beloved. Why are you running away? I just saw you hiding behind a tree! You never pull pranks on me but why are you ignoring me now. I can see your yellow silk clothes and they have betrayed you! Run, if you like! I have spotted you. But stop, if you have any affection for me. Phew, looks like it is not her. She must have been harmed, for she is not someone who would ignore my requests and pleadings. Her full-moon face is not eclipsed in darkness. I abandoned her only to be devoured by rākṣasas. O Lakṣmaṇa, do you see my beloved anywhere? O Sītā, where have you gone?”

Rāma cried out loud, “If you are trying to charm me by playfully hiding behind a tree, please stop it. The fawns which used to play with you are worried and tearful. My father will surely see me soon in the other world, as I will die of my grief. He will rebuke me saying, ‘How dare you come here so soon, breaking the vow you had made? Fie upon you!’ You have left me, O Sītā, like good reputation leaving a dishonest man.”

As Rāma sank down in sorrow like an elephant in a swamp, Lakṣmaṇa consoled him, with his best interests at heart. He said, “Don’t despair, O valorous one! Let us together search the forest. There are many beautiful caverns and Maithilī loves to move around in the woods. She might have gone down to the river or might be hiding to frighten us. Let us search for her.” They together searched the entire forest, the mountains, and the caverns, but were not able to spot Sītā. No words of Lakṣmaṇa could console Rāma.

Rāma asked Lakṣmaṇa to look for her near the river Godāvarī. When he returned finding no trace of Sītā, Rāma himself went down and pleaded the river to tell him where Sītā was. The wild animals did not tell him, though they knew that she was carried away by the king of the rākṣasas, who deserved to die. The creatures requested the river to reveal the truth. But Godāvarī did not tell anything, as she feared the appearance and actions of the wicked Rāvaṇa. As the river provided him no leads either, Rāma said to Lakṣmaṇa, “What shall I tell Janaka and Vaidehī’s mother when I meet them? The nights are going to be very long for me.”

Rāma then spotted a trail of flowers strewn on the earth and recognised them immediately. He said, “Lakṣmaṇa! These were the flowers I gave Vaidehī and she wore them.” Rāma grew furious and roared at the mountains and rivers: “I will burn your slopes with my arrows, if you don’t show me the golden-hued Sītā! Lakṣmaṇa, I will dry this river if it does not tell me about Sītā.” Rāma’s eyes looked as though they would burn the entire world. But suddenly, he spotted the footprints of Sītā and the huge ones of the rākṣasa. He immediately pointed out to his dear brother: “Look, here are specks of gold from Vaidehī’s ornaments. There are different kinds of garlands as well. Saumitri! The ground is covered with drops of blood that look like burnished gold. I think Sītā has been butchered by the rākṣasas who take any form at will. Or perhaps, two rākṣasas quarrelled over her at this place. Whose could be this great bow and golden armour lying shattered on the earth? Whose donkeys are these and whose arrows are those? My animosity towards the rākṣasas is now growing hundredfold. Sītā’s dhārmic nature could not protect her from being abducted. Watch now. I will fire arrows into the skies and bring all planets to a standstill; I will smash mountain peaks, dry up rivers and oceans, and uproot every tree and vine. If the devas do not bring back my Sītā right away, they will witness the full extent of my power. No creature will escape into the sky as my arrows form a net without a gap. I will get the world rid of the rākṣasas. My rage cannot be withstood by the world, just as old age, fate, and death have never been defied by any creature.” Rāma raged like Rudra at Dakṣa’s yajña.

Lakṣmaṇa had never seen Rāma like this before and joined his hands in reverence. With his mouth gone dry with fear, he said, “You have been soft-hearted and self-controlled all along. You should not allow your anger to overpower you. Don’t abandon your true nature. Just as the radiance of the moon, brilliance of the Sun, the movement of the wind, and the forbearance of the earth are constant, so is your unparalleled glory. A battle must have indeed taken place here; the spot looks dreadful. You must not vow to destroy the entire creation because of one evil being. It looks like only one rākṣasa has engaged in the fight and not more, for I don’t see footprints of many people. You have always been the refuge of all creatures and no being will approve the loss of your wife. You should look for Sītā with me on your side, the bow in your hand, and with the assistance of the great seers. If you cannot find her through peaceful means, by tact or diplomacy, you may unleash your power. If a person like you cannot bear this grief, what can we say of ordinary men! Everyone has suffered misfortunes. Yayāti, the son of Nahuṣa had to suffer even after going to Indra’s loka. Our purohita, Vasiṣṭha, lost all his hundred sons in a single day. Bhūmi, the mother of all the worlds, also suffers from quakes and tremors. The Sun and the Moon are eclipsed from time to time as well. No one can escape destiny. Carefully think over what we should do next without letting grief and rage cloud your mind. Act only after carefully weighing advantages and disadvantages of your decisions. In the past you always advised me. I am only trying to awaken your consciousness which has been put to sleep by grief. You have human and divine powers. Focus them on killing your enemy. What do you get by destroying everything?”

 

To be continued...
[The critically constituted text and the critical edition published by the Oriental Institute, Vadodara is the primary source. In addition, the Kannada rendering of the epic by Mahāmahopādhyāya Sri. N. Ranganatha Sharma and the English translation by Sri. N. Raghunathan have been referred.]

 

Author(s)

Valmiki
About:

Visionary sage and the author of the fifth Veda, the Rāmāyaṇa

Translator(s)

About:

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

Prekshaa Publications

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...

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...