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The Sanskrit scholar Barbara Stoler Miller translated these sections as Among Fools and Kings, Passionate Encounters and Refuge in the Forest respectively. Especially in the Vairāgyaśataka , but also in the other two, his poetry displays the depth and intensity of his renunciation as he vacillates between the pursuits of fleshly desires and ...
A shataka (Sanskrit: शतकम्, romanized: śatakam) is a genre of Sanskrit literature. [1] It comprises works that contain one hundred verses. [2] [3] It is also a popular genre of Telugu literature. [4]
It mentions three "knots" (granthis), a kind of chakra, which have to be pierced to allow the Kundalini to pass through. The three are the knots of Brahma at the base of the Sushumna channel, of Vishnu at the heart, and of Rudra , between the eyebrows.
The Avadānaśataka (A Hundred Tales) is a Buddhist anthology in Sanskrit of one hundred Buddhist avadāna legends associated with the Mūlasarvāstivāda school. [1] [2] The Sanskrit text's composition date is uncertain, with an approximate origin around 100 CE or later, between the second and fourth centuries CE. [2] [3]
Sumati Satakam has been extremely popular for a long time with parents and teachers who try to teach the right conduct and social values to young children. The language used is very simple. The poems have the musical quality of classical meters. Most of the words are simple Telugu. The use of Sanskrit words is very limited.
The above names are composed of the first verbal root in each class followed by ādayaḥ "etc.; and next" – bhv-ādayaḥ thus means "the class starting with bhū". The small number of class 8 verbs are a secondary group derived from class 5 roots, and class 10 is a special case, in that any verb can form class 10 presents, then assuming ...
This results in differing transliterations for Sanskrit and schwa-deleting languages that retain or eliminate the schwa as appropriate: Sanskrit: Mahābhārata, Rāmāyaṇa, Śiva, Sāmaveda; Hindi: Mahābhārat, Rāmāyaṇ, Śiv, Sāmved; Some words may keep the final a, generally because they would be difficult to say without it:
That “ Bhaṭṭi ’s Poem” canto 10 is a major work on Sanskrit poetics is amply demonstrated by Söhnen [8] in her examination of ‘doubling’ yamaka of 10.2–22 showing that the treatment of this figure in Daṇḍin ’s “Mirror of Poetry” and Bhāmaha’s “Ornament of Poetry” is influenced by the Bhaṭṭikāvya.