LEC7 INDIAN EPICSRAMAYANA & MAHABHARATA - Copy - Copy - Copy.pptx

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1. Lecture Series for subject : “ Indian Epics Ramayana and Mahabharata ” 2020 [For English Medium] By: Dr. Shraddha M. Modi LECTURE 7

2. Dr. Shraddha M. Modi [PhD] Gold Medalist UG - PG Lecturer Language Coach Soft Skill Trainer

3. UNITS: UNIT – 1 : Introduction to Ramayana & Mahabharata UNIT – 2 : Political & Social condition depicted in Ramayana & Mahabharata Prepared By: Dr. Shraddha M. Modi

4. UNIT – 3 : Educational & Economical condition depicted in Ramayana & Mahabharata UNIT – 4 : Relevance of the values presented in both the epics in Modern times. Prepared By: Dr. Shraddha M. Modi

5. This Lecture’s Content: Educational & Economical condition depicted in Ramayana & Mahabharata [Part 2] Prepared By: Dr. Shraddha M. Modi

6. In the Vedic age there was no educational system in particular. Generally students would go to the guru’s house, at the age of five, and, completing their studies by the age of twenty-four, would return home. The reason for not having a solid educational system in the Vedic age was the incomplete establishment of even monarchism at that time. The gurus would maintain their catuspathiis by begging from the public. The students were in turn maintained by the catuspathiis . As the first phase of learning, one should be taught grammar. But in the Vedic age there was no grammar of the Vedic language. The Vedic language was a spoken language. In addition to this, there was no script, and people did not know how to write. Therefore the students would memorize the things uttered by the gurus. This is why a solid system could not be evolved. Since the students were listening to their gurus and remembering the things spoken, the Veda was named “ Shruti .” “ Shruti ” means “ear” as well as “to listen” The people in the Vedic age did not even realize well the value of education, a must for sharpening the intellect. If you go through the Veda you will come across a thousand and one grammatical mistakes, i.e. no grammar had been made. A strong Saḿskrta grammar was made by Panini. Panini, a great scholar and the first grammarian of Saḿskrta , was a Pakhtoon of the Peshawar area. Prepared By: Dr. Shraddha M. Modi

7. During the Mahábhárata period there was a system in the educational field to some extent. In the catuspathiis also there was some financial solidarity, as the kings as well as the people helped financially. The Vedic language had died in the Mahábhárata age. The language of the people was Prákrta . Though there was no solid written grammar, there was some kind of a grammatical structure . Though everybody would go to the guru’s house to study, there were some day-students too. Students from far-off places would live in the guru’s house. In the first phase they would learn grammar, then general knowledge of different subjects. After this they would learn the art of operating various weapons, according to their abilities. Those who were interested in learning the shastras were taught them. In the Vedic era there was division by caste, but there was no casteism at all. But during the Mahábhárata period, there was both caste division and some sense of caste, or casteism . Still, intercaste marriages were customary, and in one family someone might be a vipra , someone a shúdra , someone a vaeshya , as mentioned earlier. Casteism had not yet entered in. Those who had ability for the use of weapons would study martial arts more than the scriptures. Even a person born in a vipra family could study the use of weapon more than the scriptures if he was interested. Prepared By: Dr. Shraddha M. Modi

8. For example, there was Drona, who though born in a vipra family, was an expert in operating weapons, since he was interested in them. But persons born in vipra families lost respect if they became very skilled in the use of weapons . There was also a close link between the educational system and the social system, i.e., the society wanted persons coming from kśatriya families to be expert in military skills, as it was the duty of the kśatriyas to defend the country. The social system was that only the kśatriyas were to defend the country, if invaded; this resulted in a great weakness of the society, leading to the defeat of  India  when invaded by outside forces 2000 years after the Mahábhárata , wherein the majority of the kśatriyas had been killed, causing a great reduction in their numbers. Logic ( nyaya ), social code ( smrti ), Saḿskrta grammar and the science of  spirituality  were included in the educational curriculum of the then period. But that which we call  philosophy  today had not yet been born. The oldest philosophy in the world is the Samkhya philosophy of Kapila . Though the Samkhya philosophy was written down some time after the Mahábhárata period, the philosophical trend had already crept into the minds of the people of that period. The first world philosophy was formulated in India, and had its preparation on the battlefield of the Mahábhárata . Prepared By: Dr. Shraddha M. Modi

9. As said above, there was neither philosophy nor books in the Vedic era, but there was  spiritual  teaching, in the period of the Mahábhárata there was spiritual teaching, there were books, but there was no philosophy. After the Mahábhárata , people began to think very seriously about the origin of the world, the duties of human beings, on the basis of Lord Krśńa’s teachings in the Giita . Due to these questions, people created the first philosophy, after getting the answers to these questions. Therefore Maharsi Kapila was after the Mahábhárata , not prior to it . In the Mahábhárata age education was given through the medium of Saḿskrta . The Vedic language was a dead language then. The people’s language was Prákrta but teaching was not in the Prákrta medium. Books in Prákrta were also very few. Generally people did not write in Prákrta . The Prákrta language was reformed, and the language which came into being out of the reformation was named Saḿskrta . Saḿskrta is not the Vedic language. After the death of the Vedic language Prákrta was born. The synthetic language which was made by rectifying the Prákrta language was known as Saḿskrta . “ Saḿskrta ” means “reformed” – the reformation of the Prákrta language. Prepared By: Dr. Shraddha M. Modi

10. In the Vedic age the expression of address was “ Bho arya ” – “ arya ” means “ respectable.” In the Mahábhárata age, i.e., in Prákrta , “ arya ” became “ ajja .” In that age, after the death of the Saḿskrta language (meaning here the Vedic language), there emerged seven Prákrta languages. Towards the east of Allahabad in East India was Magadhii Prákrta ; towards the west of Allahabad and east of Delhi, i.e., in Northern Central India, there was Shaorasenii Prákrta ; in the Punjab, Kashmir and Himachal, i.e., to the northwest of Delhi, there was Paeshacii Prákrta ; towards the west and north of this Paeshachii land (in Afghanistan and South Russia) there was Pashcatya Prákrta ; towards the south of Multan, i.e., in Sindh and South Baluchistan, there was Pahlavii Prákrta ; in Central India Malavii Prákrta ; and in Southwest India, i.e., Maharastra and Goa, there was Maharastrii Prákrta . These were the seven Prákrta languages. But educated persons did not use Prákrta . They wrote few Prákrta books. Prepared By: Dr. Shraddha M. Modi

11. The leaders of the Mahábhárata , the Pandavas and the Kaoravas , spoke in Shaorasenii Prákrta , but they did not write that language. When the Pandavas were talking with Kuntii they used a blended language of Paeshacii and Shaorasenii Prákrta , but when they spoke with a gentleman they used reformed Shaorasenii Prákrta , i.e., Saḿskrta . Saḿskrta was not the natural language ( matrbhasa ) of anybody nor had it ever been. The natural language of Krśńa was Shaorasenii Prákrta . With Vasudeva, Nanda and Yashoda He talked in this very language, but with the Pandavas and the Kaoravas in Saḿskrta . As I told you earlier, in the Vedic era a gentleman was addressed as “ arya .” In the Shaorasenii language, the natural language of Krśńa , the grandmother of Hindi (which is a matter of glory for Hindi) “ arya ” became “ ajja .” After that, when Shaorasenii died, “ ajja ” became “ ajjii ” in Ardha Shaorasenii , the mother of Hindi. “ Ajjii ” became “ jii ” in present Hindi. Prepared By: Dr. Shraddha M. Modi

12. The education in that period was in Saḿskrta , and people wrote on bhurja leaves, not palm leaves. The famous book of that age is the Mahábhárata , a part of which is the Giitá . In the Mahábhárata age people began to write the Veda, but the writing was completed after a pretty long time. On the Giitá we find the influence of only one book or set of books – the Vedic Upaniśads – because the only book which could have been called older than the Giitá was the Veda, which was not fully written either. The portion of the Veda dealing with knowledge is the Upaniśads . You know that the Veda has two portions – the first is Karmakanda and the second is Jiṋánakanda . In Jiṋánakanda in turn there are a couple of portions – Aranyaka and the Upaniśads . So the influence of the Upaniśads on the Giitá and even on Krśńa is very clear. And the influence was expressed when Lord Krśńa began to answer the complicated philosophical questions of Arjuna . And Maharsi Kapila’s Sáḿkhya philosophy is just the philosophical explanation of the Upaniśadik Jiṋánakanda . Prepared By: Dr. Shraddha M. Modi

13. About two hundred years after the Mahábhárata we find in the catuspathiis and in the educational complex of India the teachings of philosophical lore. In that period philosophy meant Kapil’s Sáḿkhya philosophy. Though the teaching of philosophy started two hundred years after the Mahábhárata , we can speak of Kapil as a contemporary of the Mahábhárata , as two hundred years is not a very long period. And in that period, if people talked of a man of letters, it invariably meant Kapil . In the Saḿskrta language the word “ Kapila ” has acquired the meaning of “first scholar” ( adi vidvan ), i.e., it was Maharshi Kapil who first received recognition as being a scholar. During the Mahábhárata age the panditas who were teaching in the catuspathiis were helped both by the government and by the public. People considered it to be a sacred deed to help the catuspathiis , which they did with food, clothing, etc , This was something spontaneous. Each pandita was the conductor of one catuspathii , and there was no such thing as a university. Each pandita set up his educational system and curriculum according to his wishes and his own teaching. Each student belonging to a catuspathii was the adopter ( dharaka ), supporter ( vahaka ), and patron ( pariposaka ) of a particular thought. Prepared By: Dr. Shraddha M. Modi

14. Students connected to different panditas had considerable variation in their knowledge. There was internal clash of thoughts and interpretations in all these catuspathiis , i.e., every catuspathii was a small university in itself . But in the Buddhistic age that was not so. Instead, controlling universities were there. As for instance, in East India there was Vaneshvarpur Vihara University, which is in the Rajasahi district in present Bangladesh. In East India, in Amga Desha, in the Bhagalpur district near Kahalgaon , was Vikramashila Vihara University. In East India, in Patna District, was Nalanda University. Nalanda was the greatest university, the controlling one. Towards the frontier side near Peshawar was Taksashila University. This was also a controlling university. In the Mahábhárata period the university system was not set up by the people. The difference between the catuspathiis of the Mahábhárata age and the viharas of the Buddhistic age was that the latter were not helped by the public but only by the kings. Prepared By: Dr. Shraddha M. Modi

15. This had a very damaging effect, as after the end of the supremacy of Buddhism, when Neo-Hinduism came in full swing, all the viharas failed, as none of the kings continued aiding them. So within only one hundred years of the end of the Buddhist states, all the viharas in India ceased to exist. Hence we see how dangerous it is for schools to depend completely on governmental aid. Educational institutions should depend on public help and not on governmental help . There is a well-known word, “ chátra .” This was first applied in the Mahábhárata period to any of the pupils staying under the canopy ( chatra ) of any particular pandit . As the pupils were under the control of, within the jurisdiction of, one pandit with one school of thought, they were known as “ chátra ”. “ Chátra ” has now wrongly been used to mean any student. Present students are not chatra . “ Chátra ” means one who is under the control and jurisdiction ( chátra ) of a school of thought of one guru. Prepared By: Dr. Shraddha M. Modi

16. Rama, the saint of Ramayana, has been depicted as an ideal person whose faultless life in his diverse jobs—as child, spouse, sibling, companion, lord, and so on has filled in as a model for the general population of India for every one of these ages. The loftiness of the topic, the fragile artistic frivolity, the superb peacefulness with which the changes of the saint are portrayed and the sustained tastefulness of lovely virtuoso make the Ramayana one of the best examples of Kavya writing in Sanskrit writing. The Mahabharata is the bulkiest epic comprising of I00,000 stanzas and is separated into 18 parvas (books). This book is usual¬ly doled out to Rishi Vedavyasa , yet researchers have communicated questions if such a voluminous work could have been practiced by one single individual. Prepared By: Dr. Shraddha M. Modi

17. Hopkins trusts that it was created by not one individual, nor even by one age, however by a few. The epic enlightens us regarding the extraordinary common war between the Kurus and Pandavas battled at Kuruksetra , close Delhi. It likewise contains a substantial number of different scenes and additions. It is considered as a fortune place of India's national custom, an incredible reference book of morals and religion, or legislative issues and ethics. The style of Mahabharata is immediate and striking; however it contains numerous regularly rehashed buzzwords and stock sobriquets, which are average of conventional epic writing all over the place. The main characters have been portrayed in extremely straightforward an blueprint, which makes them look genuine people. A portion of the added scenes in Mahabharata are likewise of impressive legitimacy. Santi Parva , one of the longest scenes, is an exposition on statecraft and morals, however not of much abstract esteem. Prepared By: Dr. Shraddha M. Modi

18. “These two Epics not just provided the later artists with inex¬haustible material for an intricate treatment however the Ramayana, specifically, additionally outfitted them with the models for the elaborate style which created in different routes in their grasp. The impact of these two extraordinary takes a shot at Sanskrit writing when all is said in done and on the kavya writing specifically is however excessively understood." Certain examples of the most punctual degree examples of kavya are found in the Mahabhasya of Patanjali , which is dated about the center of the second century B.C. Patanjali makes reference to two sensational sonnets— Kamsavadha and Bali- bandhana , which have tragically not come down to us. Pingala , a known sage, is credited with Chandahsutra , in which he manages both Vedic and established meters. Prepared By: Dr. Shraddha M. Modi

19. In spite of the fact that this work can't be dated with sureness, it demonstrates that poetical writing had significantly grown even before he composed this work. It appears to be far-fetched that Pingala made the distinctive meters. Then again it is progressively likely that he recorded and characterized precisely the different meters as of now being used in writing. The soonest Sanskrit verse which has endure and come down to us is that of the Buddhist author Asvaghosa , who is accepted to be a contemporary of Kanishka and most likely lived in the principal century A.D. Of his various works, the Buddha Charita and Saundarananda are generally famous. The previous is a Mahakavya managing the life of Buddha from his introduction to the world to his triumph over Mara. Prepared By: Dr. Shraddha M. Modi

20. The last portrays how the attractive ruler Sundara took to the life of a Buddhist priest much against the will and to the pain of his wonderful spouse, who cherished him beyond a reasonable doubt. Ashvaghosha was a mix of an extraordinary writer and a religious educator. Therefore he was effective in building up the amazing subjects in great style. His works are additionally wonderful for the suddenness and power of his language, lovely appeal and authenticity. He, be that as it may, came up short on the specialized aptitude and nuance of the later artists. Another conspicuous Buddhist artist, who comes not long after Ashvaghosha , was Matricheta . He formed Buddhist psalms which look like the arrangements of Ashvaghosha so intently that it is in reality hard to recognize crafted by the two. Prepared By: Dr. Shraddha M. Modi

21. EDUCATION SYSTEM IN THE ANCIENT INDIA IN THE LIGHT OF KALIDASA’S WRITING To the insufficient and unsure information recently customs might be included some data about Kalidasa's life accumulated from his own works. He makes reference to his own name just in the introductions to his three plays, and here with a humility that is beguiling without a doubt, yet enticing. One wishes for a part of the informativeness that portrays a portion of the Indian writers. He talks in the principal individual just once, in the stanzas early on to his epic sonnet The Dynasty of Raghu.1 Here additionally we feel his unobtrusiveness, and here again we are shied away of subtleties as to his life. We know from Kalidasa's works that he spent no less than a piece of his life in the city of Ujjain. He alludes to Ujjain more than once, and in a way barely conceivable to one who did not know and love the city. Particularly in his sonnet The Cloud-Messenger does he abide upon the city's charms, and even offers the cloud make a bypass in his long adventure in case he should miss making its acquaintance.2 Prepared By: Dr. Shraddha M. Modi

22. We realize further that Kalidasa voyaged broadly in India. The fourth canto of The Dynasty of Raghu portrays a visit about the entire of India and even into locales which are past the outskirts of a barely estimated India. It is difficult to trust that Kalidasa had not himself made such a "stupendous visit"; such a large amount of truth there might be in the convention which sends him on a journey to Southern India. The thirteenth canto of a similar epic and The Cloud-Messenger additionally depict long adventures over India, generally through areas a long way from Ujjain. It is the mountains which inspire him generally profoundly. His works are loaded with the Himalayas. Aside from his most punctual show and the slight sonnet called The Seasons, there isn't one of them which isn't genuinely aromatic of mountains. One, The Birth of the War-god, may be said to be all mountains. Nor was it just Himalayan glory and sublimity which pulled in him; for, as a Hindu faultfinder has intensely watched, he is the main Sanskrit writer who has depicted a specific blossom that develops in Kashmir. The ocean intrigued him less. To him, as to most Hindus, the sea was an excellent, horrendous hindrance, not an interstate to experience. The "ocean belted earth" of which Kalidasa talks intends to him the territory of India. Prepared By: Dr. Shraddha M. Modi

23. Another end that might be absolutely drawn from Kalidasa's composing is this, that he was a man of sound and rather broad instruction. He was not for sure a wonder of learning, as Bhavabhuti in his own nation or Milton in England, yet no man could compose as he managed without hard and canny examination. In the first place, he had a minutely exact information of the Sanskrit language, when Sanskrit was to some degree a counterfeit tongue. To some degree an excessive amount of pressure is frequently laid upon this point, as though the essayists of the traditional period in India were making in an unknown dialect . Each author, particularly every artist, forming in any language, writes in what might be known as an odd figure of speech; that is, he doesn't compose as he talks. However the facts confirm that the hole between composed language and vernacular was more extensive in Kalidasa's day than it has regularly been. The Hindus themselves see twelve years' investigation as essential for the authority of the "head all things considered, the art of syntax." That Kalidasa had aced this science his works bear bounteous observer. Prepared By: Dr. Shraddha M. Modi

24. He moreover aced the takes a shot at talk and emotional hypothesis—subjects which Hindu academics have treated with incredible, if some of the time hair-part, creativity. The significant and inconspicuous frameworks of rationality were additionally controlled by Kalidasa , and he had some information of space science and law. Taranatha , the popular Tibetan student of history, has gone to the degree of suggest¬ing that there was just the writer who bore these names. I-t sing, the acclaimed Chinese traveler who visited India in the start of the eighth century A.D. is additionally brimming with commendation for Matricheta and portrays him as the songbird singing the respect because of Buddha. It might be noticed that as in the event of Ashvaghosha just certain pieces of crafted by Matricheta have come down to us. Prepared By: Dr. Shraddha M. Modi

25. The Sanskrit writing created till this day did not have the characteristic suddenness on the grounds that, as Basham puts: It was primarily composed for recitation or execution at court, or for relatively little circles of artistic, all knowledgeable in the inflexible standards of the abstract convention and exceedingly keen to verbal inventiveness. In such circumstances it is purposeless to expect the local wood-notes of a Clare or the normal enchantment of a Wordsworth. The writers lived in nearly static culture, and their lives were controlled in detail by a group of social traditions which was at that point antiquated and which had the assent of religion behind it. They were never in rebellion, against the social framework, and Indian Shelley's and Swinburne's are deficient. A large portion of this writing was composed by men very much incorporated in their general public and with few of the complex mental difficulties of the cutting edge essayist; thus the otherworldly anguish of a Cowper, the heart-looking's of a Donne, and the social cynicism of an early T.S. Eliot, are as a rule missing. Prepared By: Dr. Shraddha M. Modi

26. The central subjects of established artists of Sanskrit were love, nature, laudatory, lecturing and narrating. As respects the affection, the traditional artists talk energetically of physical love; they treated nature in connection to man and not for the wellbeing of its own. The panegyric component (recognition of lord and his precursors) is likewise found in plenitude in their works. At long last practically every one of the works enjoyed lecturing, which in course of opportunity arrived to be considered as one of the authentic alamkaras . The Sanskrit Kavya achieves unbeatable greatness and tallness of flawlessness in progress of Kalidasa . There is parcel of discussion among researchers with respect to the careful period when Kalidasa lived and composed. While a few researchers might want to put him in the second century B.C. others would convey him to the 6th century A.D. Yet, the most ordinarily acknowledged view is that Kalidasa flou¬rished in the rules of Chandra Gupta II and Kumara Gupta I (376-454 A D.). Prepared By: Dr. Shraddha M. Modi

27. As indicated by specific researchers every one of the works attributed to Kalidasa were not his creation and they were just passed under his name. Rajashekhara went to the degree of inducing that there were at least three Kalidasa's previous him. Without going into this contention, the greater part of the general population presently perceive one and only Kalidasa —the Kalidasa who was the creator of Abhijnanasakuntala , Meghaduta , Raghuvamsa . Kumara- sambhava , and Ritu-Samhara , which won him unstinted esteem from the popular European artist Goethe. Moreover Kalidasa likewise composed different works which have not endure. The Meghduta (Cloud Messenger), an interesting little Kavya of a hundred and twenty-one refrains, is a melodious pearl of the most perfect beam tranquil. This ballad has a solidarity and an equalization, and gives a feeling of wholeness which is once in a while found somewhere else. In this little sonnet Kalidasa has swarmed such a large number of stunning pictures and word-pictures that it appears to contain the core of an entire culture. Prepared By: Dr. Shraddha M. Modi

28. As respects the subject of the lyric it depicts the message of a yaksa who abides in the heavenly city of Alaka , in Himalayas and has been isolated from his adored through a revile. He sees a substantial cloud passing northward to the mountains and spills out his heart to it. He not just passes on a message of delicate love and confirmation of association with his better half who is consuming her time on earth in distress anticipating her significant other's arrival, yet in addition tells the course which the cloud ought to pursue to achieve his better half. While portraying the course Kalidasa des¬cribes in lovely stanzas the grounds, waterways and urban areas over which the cloud must pass. Remarking on this work of Kalidasa A.B. Keith says, "Indian analysis has positioned Meghaduta most noteworthy among Kalidasa's ballads for quickness of articulation, wealth of substance and influence to inspire opinion, and the applause isn't undeserved. Prepared By: Dr. Shraddha M. Modi

29. The Ritusamara or 'Cycle of the Seasons' is another wonderful ballad of Kalidasa in which he gives a poetical depiction of the six periods of the year and the relating temperaments of the sweethearts. This aesthetic relationship of human feelings with the attributes of the periods of the year makes the sonnet something other than what's expected from shepherd's logbook and positions it among a portion of the fine examples of idyllic extravagant. As indicated by Macdonell "maybe no other Sanskrit lyric shows such strikingly profound compassion for the physical world, sharp powers of perception and ability in portraying an Indian scene in distinctive hues". The Kumarasambhava is another extraordinary Kavya of Kalidasa which manages the topic of the marriage of Uma and Siva. Prepared By: Dr. Shraddha M. Modi

30. Some More Reflections: In this kavya Kalidasa builds up the possibility that genuine romance is anything but an insignificant passing extravagant dependent on physical fascination yet is an association of spirits sublimated by atonement and penance. Uma's endeavors to vanquish Siva by the blandishments of her tempting charms neglected to win Siva. It was just when her affection was changed into otherworldly commitment through compensation, renunciation and committed love that the Mahayogi was vanquished and guaranteed Uma "From this minute, O hanging lady, I am thy slave, purchased by thy repentance". It likewise manages the birth and endeavors of their child Kumara of Skanda . The most remarkable nature of this sonnet is the splendor of extravagant and the glow of feelings. Prepared By: Dr. Shraddha M. Modi

31. The Raghuvamsa is one more Mahakavya , in which Kalidasa portrays the account of the epic legend Rama and his commendable precursors. This work however fragmented bears a declaration to the flexibility of Kalidasa's gifts and magnificence of his artistic expertise. The above works of Kalidasa bear declaration to the significance of Kalidasa as an artist. "The material expertise, the flashes of compelling expressing, simple and musical progression of stanza, his ability in portraying nature and in utilizing analogies, the quickness and adequacy of lingual authority and the sublimity of his idea of excellence mark him off as the most skilled artist of India". Various writers composed Mahakavyas after Kalidasa and in this way proceeded with the custom set by him. In spite of the fact that their works couldn't be an improvement over the verse of Kalidasa they wove "progressive robes of decoration". Prepared By: Dr. Shraddha M. Modi

32. These artists showed extreme love for indulgence of word usage and symbolism. Therefore their works Jack suddenness and instinctive nature. Their kavyas joined such an extensive amount digressive issue that the significance of the primary topic was extraordinarily decreased. Their works do not have the natural solidarity and give off an impression of being only a gathering of graceful pieces. Not long after Kalidasa , two epic writers— Bharavi and Magha, earned extraordinary notoriety by their works. Bharavi , the creator of Kiratarjuniyam was the first to prosper. The precise date of Bharavi isn't known, however it is usually trusted that he won acclaim as a writer before 634 A.D. since his name shows up in the Aihole engraving of that year alongside Kalidasa . Bharavi in his sonnet running in eighteen books manages the scene of Arjuna getting an awesome weapon from Siva to battle against the Kauravas . Prepared By: Dr. Shraddha M. Modi

33. Siva so as to test the saint's fearlessness assumes the presence of a half-savage Hillman of the Kirata clan. The story is of little significance. The main estimation of the work lies in the depictions of nature which are practically equivalent to Kalidasa's . Bharavi draws unique pictures and communicates unforeseen considerations. In this way he says, "The sun slants east¬wards , tipsy with the nectar which he has drawn with his hands ( kara signifies 'beam' and 'hand') from the measures of the lotuses of day. The moon is a silver container which the night brings for the sanctification of the King of Love. The brilliant dust of the lotus which shudders in the breeze over a gathering of blooms is the brilliant parasol which mirrors the essence of Lakshmi while it shades it". The commentators have commended Bharavi for his profundity of thought, for his direction of flaw¬less and stately expressions, the nature effortlessness and clean of lingual authority, and the splendid and incredible play of extravagant. Prepared By: Dr. Shraddha M. Modi

34. Magha was another exceptional artist of the post- Kalidasa period. Most likely he lived in the last 50% of the seventh century. In his work Sisupala- vadha he manages the narrative of Vishnu's battle with the evil presence Sisupala, a notable topic from Maha¬bharata . Despite the fact that the story isn't all around told and the ballad has no similarity to solidarity, a portion of the stanzas are actually quite fine bits of Sanskrit verse. Magha shows total dominance of language by embedding’s numerous stanzas of stunning resourcefulness. As indicated by well-known researchers, "Magha exceeds even Bharavi in the specialty of versification, for he utilizes twenty-three unique meters as against Bharavi's nineteen he likewise exceeds him in traps. Lines which have two implications, accord¬ing to the manner by which the compound words are isolated, lines which have a contrary significance when perused in reverse, stanzas in which the syllables are rehashed in order to frame geometrical figures, and, progressively indulgent still, the utilization of just two, consonants in a line are the last accomplishment of this over-astute verse". Prepared By: Dr. Shraddha M. Modi

35. With this we conclude our first lecture, now let us have IMP questions for exams from this “Lecture 7” IMP QUES FOR EXAM FROM THIS LECTURE 7: Give the details of education system in Ramayana and Mahabharata age Give the details of Gurukul tradition Give the details of Indian aesthetics and tradition according to Indian poets and authors All The Best Prepared By: Dr. Shraddha M. Modi

36. Dr. Shraddha M. Modi [PhD] Gold Medalist UG - PG Lecturer Language Coach Soft Skill Trainer WhatsApp No.:9510163881 [email protected]

37. Thank You Lecture Faculty: Dr . Shraddha M. Modi