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A well-known Sanskrit verse ("Upamā Kālidāsasya...") praises his skill at upamā, or similes. Anandavardhana, a highly revered critic, considered Kālidāsa to be one of the greatest Sanskrit poets. Of the hundreds of pre-modern Sanskrit commentaries on Kālidāsa's works, only a fraction have been contemporarily published.
The English renderings of these Sanskrit plays tend to avoid erotic and explicit aspects due to moral tastes of modern audience. [6] The play depicts Kalidasa as a court poet of Chandragupta who faces a trial on the insistence of a priest and some other moralists of his time. [7] [8]
Raghuvaṃśa (Devanagari: रघुवंशम्, lit. 'lineage of Raghu') is a Sanskrit epic poem by the celebrated Sanskrit poet Kalidasa.Though an exact date of composition is unknown, the poet is presumed to have flourished in the 5th century CE. [1]
Palm-leaf manuscript cover illustrated with scenes from Kalidasa’s Shakuntala play, Kathmandu Valley, Nepal, circa 12th century. Plots similar to the play appear in earlier texts. There is a story mentioned in the Mahābhārata. A story of similar plot appear in the Buddhist Jātaka tales as well. In the Mahābhārata the story appears as a ...
Shakuntala (Sanskrit: शकुन्तला, romanized: Śakuntalā) is a heroine in ancient Indian literature, best known for her portrayal in the ancient Sanskrit play Abhijnanashakuntalam (The Recognition of Shakuntala), written by the classical poet Kalidasa in the 4th or 5th century CE.
Meghadūta (Sanskrit: मेघदूत literally Cloud Messenger) [1] is a lyric poem written by Kālidāsa (c. 4th–5th century CE), considered to be one of the greatest Sanskrit poets. It describes how a yakṣa (or nature spirit), who had been banished by his master to a remote region for a year, asked a cloud to take a message of love to ...
The Mālavikāgnimitram (Sanskrit, meaning Mālavikā and Agnimitra) is a Sanskrit play by Kālidāsa. Based on some events of the reign of Pushyamitra Shunga , [ 1 ] it is his first play. Mālavikāgnimitram tells the story of the love of Agnimitra , the Shunga Emperor at Vidisha , [ 2 ] for the beautiful handmaiden of his chief queen.
The classical theory of Sanskrit drama, known as Natyaśāstra makes it a rule that the plot of a Sanskrit drama 'must be famous'. Accordingly, authors of Sanskrit plays use the stories from Purāṇas, Vedic texts and classic epics, namely Mahābhārata and Rāmāyaṇa for developing plays. However, the core objective of a drama is entertainment.