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Doha is a very old "verse-format" of Indian poetry.It is an independent verse, a couplet, the meaning of which is complete in itself. [1] As regards its origin, Hermann Jacobi had suggested that the origin of doha can be traced to the Greek Hexametre, that it is an amalgam of two hexametres in one line.
The modern Hindi and Urdu standards are highly mutually intelligible in colloquial form, but use different scripts when written, and have lesser mutually intelligibility in literary forms. The history of Bible translations into Hindi and Urdu is closely linked, with the early translators of the Hindustani language simply producing the same ...
Modern Standard Hindi (आधुनिक मानक हिन्दी, Ādhunik Mānak Hindī), [9] commonly referred to as Hindi, is the standardised variety of the Hindustani language written in the Devanagari script. It is the official language of India alongside English and the lingua franca of North India.
The Bhagavad Gita (/ ˈ b ʌ ɡ ə v ə d ˈ ɡ iː t ɑː /; [1] Sanskrit: भगवद्गीता, IPA: [ˌbʱɐɡɐʋɐd ˈɡiːtɑː], romanized: bhagavad-gītā, lit. 'God's song'), [a] often referred to as the Gita (IAST: gītā), is a Hindu scripture, dated to the second or first century BCE, [7] which forms part of the epic Mahabharata.
In its strongest version, anti-realism rejects the existence of values in any form, claiming that value statements are meaningless. [56] [j] Between these two positions, there are various intermediary views. Some anti-realists accept that value claims have meaning but deny that they have a truth value, [k] a position known as non-cognitivism.
Many Hindus do not have a copy of the Vedas nor have they ever seen or personally read parts of a Veda, like a Christian, might relate to the Bible or a Muslim might to the Quran. Yet, states Lipner, "this does not mean that their [Hindus] whole life's orientation cannot be traced to the Vedas or that it does not in some way derive from it".
The value of pride in the individual or the society as a whole seems to be a running theme and debate among cultures. [42] This debate shadows the discussion on pride so much so that perhaps the discussion on pride should not be about whether pride is necessarily good or bad, but about which form of it is the most useful.
The Times of India comments: "In the play, the protagonist, Tughlaq, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his degenerated into anarchy and his kingdom." [8]