User talk:Bhojappa.K.Kallihala

Hello Friends, I am Bhojappa.K.K.i want say about Belagavi.the city of Belagavi is one of the beautiful district of Karanataka. Belagavi is a place the very part of the Karunadu which it means that Kannadada Nela.mainly the Kannada is vernacular language in this part of Land or the Kingdom of Karnataka.regional peoples can speak mainly Kannada and for the business purpose they are using Marathi.because Belagavi is last boarder of the Karnataka State which is near by the Maharashtra.automatically neighbors language Marathi influence to the Kannadiga.everyone know border languages but mainly Kannada is officially and vernacular language in this part of the Land.that is by mistake Maharashtra`s peoples saying that Belagavi is belongs to their state.that is wrong,misunderstood by the Marathi peoples.i clarified above by those words.Kannadiga is only king in the Belagavi because their part of the Land.Marathi peoples have to learn from the History otherwise no respect in Belagavi regarding useless dispute.

Jai Hind Jai,Jai,Jai Karnataka Jai Kingdom of Karnataka.

Contents [hide]

* 1 Life o 1.1 Date o 1.2 Location * 2 Works o 2.1 Plays o 2.2 Poetry * 3 Style * 4 Critical Esteem * 5 Kalidasa in modern culture * 6 Notes * 7 Further reading * 8 See also * 9 External links

[edit] Life The Kalidas Smarak at Ramtek

Nothing apart from his works is known with certainty about the life of Kālidāsa, such as his period or where he lived.Little is known about Kalidasa's life. According to legend, the poet was known for his beauty which brought him to the attention of a princess who married him. However, as legend has it, Kalidasa had grown up without much education, and the princess was ashamed of his ignorance and coarseness. A devoted worshipper of the goddess Kali(Maa Sarada Devi at Jhankad,Jagatsingpur,Orissa) (his name means literally Kali's slave), Kalidasa is said to have called upon his goddess for help when he was going to commit suicide in a pond after he was betrayed by his wife, and was rewarded with a sudden and extraordinary gift of wit. He is then said to have become the most brilliant of the "nine gems" at the court of the fabulous king Vikramaditya of Ujjain. Legend also has it that he was murdered by a courtesan in Sri Lanka during the reign of Kumaradasa.

[edit] Date

A terminus ante quem is given by the Aihole Prashasti of 634 AD, which has a reference to his skills; and a terminus post quem can be presumed from his play Mālavikāgnimitra in as much as the hero, King Agnimitra of the Shunga dynasty, assumed the throne of Magadha in 152 BC. The linguistic features of the Prakrit dialects used by some of the minor characters in his plays have been adduced to suggest that he could not have lived before the 3rd century AD. There has been great ambiguity regarding the exact date of Kalidasa but in 1986, Sanskrit scholar Dr. Ramchandra Tiwari of Bhopal claims to have conducted a thorough research on Kalidasa and after analysing 627 archaeological evidences which included 104 sculptures, 30 pictures and 493 scriptural words determined that Kalidasa lived in the period 370-450AD. One of the archaelogical proofs was provided by Padmanbh Sheshshayi Lakshminarayan.[1]

In his works, Kālidāsa did not mention any king as his patron, or any dynasty other than the Shunga dynasty, but several historians have credited the traditional account of Kālidāsa as one of the "nine gems" at the court of a king named Vikramāditya. There were, however, several kings in ancient India by that name. One among them was the Tuar Rajput emperor Vikramaditya of Ujjain who founded the Vikrama Samvat following his victory over the Sakas in 56 BCE[2]. Scholars have noted other possible associations with the Gupta dynasty, which would put his date in the range of 300-470 AD:

* His play about a couple in Vedic mythology, Pururavas and Urvashi, being titled Vikramorvashīya, with "Vikram" for "Pururavas", could be an indirect tribute to a patron possibly named Vikramāditya. * Kumāragupta was the son of Chandragupta II Vikramāditya. The title of Kālidāsa's epic poem, Kumārasambhava, about the begetting of Kartikeya, the god of war who was the son of Siva and Pārvati, could be an indirect tribute to either of these royal patrons. * The mention of Huns in his epic poem, Raghuvamsa, could be a veiled reference to the victory over them of Kumāragupta's son and successor, Skandagupta. Alternatively, the campaign of Raghu in this poem may have been modeled on the celebrated campaigns of Chandragupta II Vikramāditya's father, Samudragupta.

[edit] Location

Scholars have speculated that Kālidāsa may have lived either near the Himalayas or in the vicinity of Ujjain. The two speculations are based respectively on Kālidāsa's detailed description of the Himalayas in his Kumārasambhava and the display of his love for Ujjain in Meghadūta.

[edit] Works

[edit] Plays

Kālidāsa wrote three plays. Among them, Abhijñānaśākuntalam ("The Recognition of Shakuntala") is generally regarded as a masterpiece. It was among the first Sanskrit works to be translated into English, and has since been translated into many languages [3]. Shakuntala stops to look back at Dushyanta, Raja Ravi Varma (1848-1906)

* Mālavikāgnimitram ("Mālavikā and Agnimitra") tells the story of King Agnimitra, who falls in love with the picture of an exiled servant girl named Mālavikā. When the queen discovers her husband's passion for this girl, she becomes infuriated and has Mālavikā imprisoned, but as fate would have it, Mālavikā is in fact a true-born princess, thus legitimizing the affair.

* Abhijñānaśākuntalam ("The Recognition of Shakuntala") tells the story of King Dushyanta who, while on a hunting trip, meets Shakuntalā, the adopted daughter of a sage, and marries her. A mishap befalls them when he is summoned back to court: Shakuntala, pregnant with their child, inadvertently offends a visiting sage and incurs a curse, by which Dushyanta will forget her completely until he sees the ring he has left with her. On her trip to Dushyanta's court in an advanced state of pregnancy, she loses the ring, and has to come away unrecognized. The ring is found by a fisherman who recognizes the royal seal and returns it to Dushyanta, who regains his memory of Shakuntala and sets out to find her. After more travels, they are finally reunited.

* Vikramōrvaśīyam ("Pertaining to Vikrama and Urvashi") tells the story of mortal King Pururavas and celestial nymph Urvashi who fall in love. As an immortal, she has to return to the heavens, where an unfortunate accident causes her to be sent back to the earth as a mortal with the curse that she will die (and thus return to heaven) the moment her lover lays his eyes on the child which she will bear him. After a series of mishaps, including Urvashi's temporary transformation into a vine, the curse is lifted, and the lovers are allowed to remain together on the earth.

[edit] Poetry

Kālidāsa is the author of two epic poems, Raghuvamsa ("Dynasty of Raghu") and Kumārasambhava ("Birth of Kumāra"). Among his lyric poems are Meghadūta ("Cloud Messenger") and Ṛtusamhāra ("The Exposition on the Seasons").

* Raghuvamsa is an epic poem about the kings of the Raghu dynasty.

* Kumārasambhava is an epic poem which narrates the birth of Kartikeya, Parvati being sent by her father to serve the meditating Siva, Manmadha attempting to create love in Siva for Parvati, Siva destroying Manmadha in his fury, Parvati's penance for Siva, Siva agreeing to marry Parvati, Siva and Parvati living in marital bliss, etc.

* Ritusamhāra describes the six seasons by narrating the experiences of two lovers in each of the seasons.

* Meghadūta or Meghasāndesa or Meghadoota is the story of a Yaksha trying to send a message to his lover through a cloud. Kalidasa set this poem to the 'mandākrānta' meter known for its lyrical sweetness. It is one of Kalidasa's most popular poems and numerous commentaries on the work have been written.

[edit] Style

Kālidāsa's poetry is celebrated for its beautiful imagery and dazzling use of similes. The following are some specimen verses from his works:

sthitAh kshanam pakshmasutaDitAdharA payOdharOtsE dhanipAtaCUrnitA valIsAtshyuh sKalitah prapEdirE cirENanAbhim pradhamOda bindavah     (Kumarasambhava) As Parvati was meditating, the first rain drops of the monsoon fell on her. The rain drops which came from above fell on her eyelids and stayed for one full second on her eyelashes. Then they fell down and hit her lower lip. From there, they fell on her breasts and were pulverised. From there, the drops slipped through the folds of her tummy. After a long struggle, the drops somehow escaped the folds and settled in her navel.

na pruthagjanavaccu cOvasam vasinAmutthamaganthumarhasi drumasAnumtAm kimantaram yadivAyau dvitayEpitEcalA        (Raghuvamsa) O king! you are the finest among men with self-control. It is not fit of you to be struck by sorrow like the ordinary folk. If a great wind can move a tree and a mountain equally, how is the mountain better?

anAghrAtam puspankisalayamalUnankararuhe ranAviddam ratnam madhunavamanAswAdi tarasam aKandam puNyanAm Palamiva catadrUpamanamam najAnE bhoktArankamiha samuvastasyatividhi     (Abhijñānaśākuntalam) who is this girl, like a flower that hasn't been smelled, like a tender leaf that hasn't been pressed by nails, like a jewel in which a hole hasn't been bored, like a new honey that hasn't been tasted. Her beauty is the fruit of unbounded good deeds. Do not ask me who God has chosen to enjoy her beauty.

sancArinI dIpasikhEvarAtrau yamyam vyatIyAhA patimvarAsA narEndramArgAtta ivavrapEdE vivarNabhAvam nanabhUmipAlah   (Raghuvamsa) As Indumati walked past each king and went to the next king (in a ceremony of choosing her husband), the king's face would turn bright and then pale. It was like watching a line of houses in the night as a dazzling lamp passed by.

apituraga samIpadutpatam tammayUram sasaru cirakalApam bAnalakshicakAra sapadigata manaskaccinna mAlyAnukIrnE rativigaLitabandekEsapAsEsukEsyah       (Raghuvamsa) Dasaratha saw many beasts as he was hunting. Although, he saw a peacock fly very close to his chariot, he did not shoot his arrow. For, as the peacock spread its tail feathers before him, it reminded him of his wife's hair adorned with flowers of different kinds and how it would become disarranged during their lovemaking.

sApaurAn paurakAntasya rAmsyAbhyudaya Srutih pratyekam hlAdayAncakrEkulyEvO dyAnapAdapAn    (Raghuvamsa) The news of the beloved Rama being crowned as king gave special joy to every citizen, like a stream that wets every tree in a garden.

[edit] Critical Esteem

Many oriental and occidental scholars have written commentaries on the works of Kālidāsa (particularly on the two epic poems and the Meghadūta). The most studied ones are those of Kolāchala Mallinātha Suri, written in the 15th century during the reign of the Vijayanagar king, Deva Rāya II. The earliest surviving commentaries appear to be those of the tenth-century Kashmirian scholar Vallabhadeva.[4] Eminent Sanskrit poets like Bāṇabhaṭṭa, Jayadeva and Rajasekhara have lavished praise on Kalidasa in their tributes. Anandavardhana, a highly revered critic, considered Kalidasa to be one of the greatest sanskrit poets ever. Only a tiny handful of the hundreds of pre-modern Sanskrit commentaries on Kālidāsa's works have been published to date. Such commentaries furnish evidence of a gradual revision of the his poetry over the centuries.

Kālidāsa's Abhijñānaśākuntalam was one of the first works of Indian literature, that became known to Europe. It was first translated to English and then from English to German. It was received with wonder and fascination by eminent poets like Herder and Goethe. The inspiration this work evoked in the literary circles of Germany is best described in Goethe's words: [5]

"In case you desire to rejoice in the blossoms of early years, the fruits of age advanced In case you want to have something that charms, something that is enchanting In case you want to call both heaven and earth by a common name I refer you to the Sakuntala, and thus I describe these all"

"Here the poet seems to be in the height of his talent in representation of the natural order, of the finest mode of life, of the purest moral   endeavor, of the most worthy sovereign, and of the most sober divine meditation; still he remains in such a manner the lord and master of his    creation "

[edit] Kalidasa in modern culture

* Koodiyattam artist and Natya shastra scholar Māni Mādhava Chākyār choreographed and performed popular Kālidāsā plays like Abhijñānaśākuntala, Vikramorvaśīya and Mālavikāgnimitra.

* V. Shantaram made the Hindi movie Stree based on Kālidāsa's Shakuntala. Kaviratna Kalidasa and Mahakavi Kalidasa are Kannada movies based on the legend of Kālidāsa.

* Mohan Rakesh's play in Hindi, Āshad ka ek din(A Day In The Month Of Āshad), tries to capture the conflict between the ethereal beauty repeatedly portrayed in Kālidāsa's works and the harsh realities of his time.

* Surendra Verma's Hindi play Athavan Sarga, published in 1976, is based on the legend that Kālidāsa could not complete his epic Kumārasambhava because he was cursed by the goddess Pārvati, for obscene descriptions of her conjugal life with Lord Shiva in the eighth canto. The play depicts Kālidāsa as a court poet of Chandragupta who faces a trial on the insistence of a priest and some other moralists of his time.

* Asti Kashchid Vagarthiyam is a five act Sanskrit play written by Krishna Kumar in 1984. The story is a variation of the popular legend that Kālidāsa was mentally challenged at one time and that his wife was responsible for his transformation. Kālidāsā, a mentally challenged woodcutter, is married to Vidyottamā, a learned princess, through a conspiracy. On discovering that she has been tricked, Vidyottamā banishes Kālidāsa asking him to acquire scholarship and fame if he desires to continue their relationship. She further stipulates that on his return he will have to answer the question, Asti Kashchid Vāgārthah" ("Is there anything special in expression?"), to her satisfaction. In due course, Kālidāsa attains knowledge and fame as a poet. Kālidāsa begins Kumārsambhava, Raghuvansha and Meghaduta with the words Asti ("there is"), Kashchit ("something") and Vāk ("expression.")

* Dr. Bishnupada Bhattacharya's "Kalidas o Robindronath" is a comparative study of Kalidasa and the Bengali poet Rabindranath Tagore

[edit] Notes

1. ^ AA Macdonnell, "Kalidasa", article in Encyclopedia Britannica, 1902 2. ^ The cyclopædia of India and of Eastern and Southern Asia by Edward Balfour, B. Quaritch 1885, p502 3. ^ Kalidas, Encyclopedia Americana 4. ^ Dominic Goodall and Harunaga Isaacson, The Raghupañcikā of Vallabhadeva, Volume 1, Groningen, Egbert Forsten, 2004. 5. ^ Maurice Winternitz and Subhadra Jha, History of Indian Literature

[edit] Further reading

* K.D. Sethna. Problems of Ancient India, p. 79-120 (chapter: "The Time of Kalidasa"), 2000 New Delhi: Aditya Prakashan. ISBN 81-7742-026-7 (about the dating of Kalidasa)

[edit] See also

* Sanskrit literature * Sanskrit drama

[edit] External links Sister project 	Wikiquote has a collection of quotations related to: Kālidāsa

* Kalidasa: Translations of Shakuntala and Other Works by Arthur W. Ryder * Biography of Kalidasa * Works by Kalidasa at Project Gutenberg * Clay Sanskrit Library publishes classical Indian literature, including the works of Kalidasa with Sanskrit facing-page text and translation. Also offers searchable corpus and downloadable materials. * Kalidasa at The Online Library of Liberty