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Journal articles on the topic 'Indian epic poetry'
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1
Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (December 30, 2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.
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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance and modern - of lyric and of romantic and Indianist literature, culminating in an object of singular value within Brazilian poetry. Guesa, a Muisca Indian, personification of the Sun-god and representative of the pan-Indian project of Sousândrade, undergoes a metamorphosis at midnight: he resembles Lucifer and Prometheus, and sings his melancholy just like Baudelaire on the banks of the mythical Lethe.
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Smith, John D. "Winged words revisited: diction and meaning in Indian epic." Bulletin of the School of Oriental and African Studies 62, no. 2 (June 1999): 267–305. http://dx.doi.org/10.1017/s0041977x00016712.
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Scholars working in the field of oral epic all have a particular form of words committed to memory—Milman Parry's celebrated definition of the formula. The definition in fact appears in two slightly differing forms in Parry's writing. In 1928 he wrote, ‘In the diction of bardic poetry, the formula can be defined as an expression regularly used, under the same metrical conditions, to express an essential idea’ (Parry, 1971: 13). Two years later came the more familiar version: ‘The formula in the Homeric poems may be defined as a group of words which is regularly employed under the same metrical conditions to express a given essential idea’ (Parry, 1971: 272). The differences between the two forms of the definition are negligible, and Parry made no further attempt to refine or modify it during the five years of life that remained to him. For Albert Lord, too, the definition was clearly adequate as it stood: in ch. iii of The singer of tales he simply quotes it verbatim (Lord, 1960: 30), and proceeds directly to a consideration of the function of formulaic diction.
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Lesik, Ksenia A. "The Motif of Journey in Kunwar Narain’s Poetry." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 521–33. http://dx.doi.org/10.21638/spbu13.2020.404.
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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article is based on the bilingual collection of poems by Kunwar Narain “No other world”. The article argues that a journey becomes the leitmotif in the poet’s lyrics. As a result, the Indian poet writes a kind of a travel literature, which is based on the image of the way with two semantic motives: a journey as a hero’s movement in space and a hero’s search for his essence, including a peculiar path as an allegory of his spiritual formation. The article focuses on the compositional distribution of poems in the “Journey” section of the book. This distribution expresses the movement of the author’s thoughts. The analysis of the literary techniques, symbolic images and allusions was conducted in the frames of not only Indian literature, but also American poet Walt Whitman’s creations, which had a great influence on Kunwar Narain’s lyrics. Literary influences are identified that contributed to the formation of the Indian poet’s worldview.
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.
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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters 1 to 118 are told about art. In this book, nine chapters from 35 to 43 are of Chitrasutra. It is very popular and most notable and well-known. In which detailed information related to the painting is given, which is not found in any other book before it.In the same way, in the epic, Ramayana, Mahabharata, there is a description of paintings on chitrashalas, palaces, chariots and the great dramatist Bhasa has described the paintings in his three plays Swapnavasavadattam, Pratigya Yogandharayana and Dutavakya. Apart from this, painting has also been mentioned in texts like Abhilachirtartha Chintamani, Mansar, Samranga Sutradhar.It is only through these ancient Indian texts that the painter has been able to study the artifacts microscopically. That is, following the rules related to the picture in these texts can be seen in miniature paintings of Ajanta, Mughal, Rajasthan. By following these rules, painters have been able to express their artistry by imbibing expressions like harmony, balance and cooperation, effectiveness in their artworks. The example of which can be seen in the artwork made by Bengal school and artists of Calcutta.
Hindi : प्राचीन भारतीय ग्रन्थों में चित्रकला से सम्बन्धित नियमों का उल्लेख विस्तृत रूप से मिलता है जिसमें काव्य, नाटक, महाकाव्य, पुराण, उपनिषद् व विभिन्न विषयों के ग्रन्थों द्वारा भारतीय चित्र लेखन की प्राचीन परम्परा व सांस्कृतिक विधियों एवं जनमानस में उनकी लोकप्रियता का वर्णन मिलता है। इसके अतिरिक्त कुछ ऐसे ग्रन्थ भी हैं, जिनमें स्वतन्त्र व व्यापक रूप से चित्रकला की व्याख्या विस्तार रूप से की गयी है। उदाहरण स्वरूप विष्णुधर्मोत्तर पुराण मार्कण्डेय द्वारा रचित इस ग्रन्थ में 269 अध्याय हैं। जिसके अन्तर्गत तीसरे खण्ड में संस्कृत विषयों में विशेषकर ललित कलाओं के लिये सर्वाधिक महत्वपूर्ण हैं। जिसमें अध्याय 1 से लेकर 118 तक कला के बारे में बताया गया है। इसी ग्रन्थ में 35 से 43 तक नौ अध्याय चित्रसूत्र के हैं। यह बहुत चर्चित व सर्वाधिक उल्लेखनीय एवं बहुचर्चित हैं। जिसमें चित्रकला से सम्बन्धित विस्तृत जानकारी दी गयी है, जो इससे पहले अन्य किसी ग्रन्थ में नहीं मिलती।
इसी तरह से महाकाव्य, रामायण, महाभारत में चित्रशालाओं, महलों, रथों पर चित्रकारी का वर्णन मिलता है व महान नाटकार भास ने अपने तीन नाटकों स्वप्नवासवदत्तम्, प्रतिज्ञा योगंधरायण तथा दूतवाक्य में चित्रों के बारे में बताया है। इसके अलावा अभिलषितार्थ चिन्तामणि, मानसार, समरांगण सूत्रधार जैसे ग्रन्थों में भी चित्रकला का उल्लेख किया गया है।
इन प्राचीन भारतीय ग्रन्थों के माध्यम से ही आज चित्रकार कलाकृतियों का अध्ययन सूक्ष्मरूप से करने में सक्षम हो सका है। अर्थात् इन ग्रन्थों में चित्र से सम्बन्धित नियमों का पालन अजन्ता, मुगल, राजस्थान के लघु चित्रों में देखा जा सकता है। इन नियमों का पालन करते हुये ही चित्रकार अपनी कलाकृतियों में सामंजस्य, सन्तुलन व सहयोग, प्रभाविता जैसे भावों को आत्मसात करते हुये अपनी कलाकृति को अभिव्यक्त कर पाने में समर्थ हो सके हैं। जिसका उदाहरण बंगाल स्कूल व कलकत्ता के कलाकारों द्वारा बनायी कलाकृतियों में देखा जा सकता है।
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Reichl, Karl. "The search for origins." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.
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Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of ritual. A second important aspect linking epic performance to ritual is that both events are meaningful in a similar way. It can be shown that in the performance of heroic epics tribal and cultural origins are explored and that hence the primary function of epic is not entertainment but the search for ethnic and cultural identity.
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Plourde, Éric. "Kalevala through Translation: Continuity, Rewriting and Appropriation of an Epic." Langue, traduction et mondialisation : interactions d’hier, interactions d’aujourd’hui 51, no. 4 (December 11, 2006): 794–805. http://dx.doi.org/10.7202/014343ar.
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Abstract The Kalevala, the national epic of the Finnish people, published in the 19th century and created by E. Lönnrot from songs collected in the Karelian countryside (Northwestern Russia), is the result of a long process of rewriting. This process has manifested itself through successive retranslations in various languages and through certain strategies favored by the epic’s translators. Recent translations reflect a tendency to appropriate the epic through the use of a vocabulary and poetic style that are specific to the culture of the translator. For example, verse translations in Tamil are structured in the manner of folk epics of Southern India; while in the French verse translation the translator has made abundant use of archaisms and neologisms.
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van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry." New England Quarterly 90, no. 3 (September 2017): 418–41. http://dx.doi.org/10.1162/tneq_a_00626.
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Two exceptional colonial poems, Thomas Morton's version of the events around his Maypole at Merrymount and Benjamin Tompson's epics on King Philip's War, are heavily classical, especially in their descriptions of Native Americans. The essay examines the advantages that the use of classical comparisons have over the more common tropes of Biblical typology.
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НАЗАРОВ, НАЗАРІЙ А. "Індоєвропейські витоки обрядовості слов’янського епосу." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 117–30. http://dx.doi.org/10.1556/060.2019.64110.
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Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain praise (slava) of natural forces can be regarded as remnants of pagan beliefs with strongly proved Indo-European background. The common motives of slava in different Slavic epic traditions give us important insights into the Slavic pagan religion. At the end of dumas, bylinas, and South Slavic heroic songs, there is a distinct part in which the singer, apart from the main story, blesses the audience and the universe. This part had preserved the composition scheme comparable to that of Old Indian stuti hymns, Pindaric, and Vedic poetry: 1) an invocation to the deity or a person with higher social rank; 2) a recounting of the previous (semi)mythological precedent; 3) a request. The obligatory lexical element of the final part of Slavic eposes is slava. As it is mentioned in the context of mourning over the dead or calming the natural forces, it is very likely that the concept was connected to the cult of ancestors and natural forces - one of the most archaic forms of religion. It is proved by two non-neighbouring cognate folklore sources. In Hutsul funerals up to the beginning of the 20th century, slava used to serve as a taboo name of the soul of the deceased. Meanwhile, at least up to 19th century, the Serbs preserved the holiday of slava that is interwoven with the cult of the dead (e.g., kolyvo was eaten during the rite). Thus, though we cannot claim the existence of the personified goddess named Slava, we have strong evidence about the notion of slava (praise, fame) that could have been current in Common Slavic religion. It is even more likely due to the underlying Indo-European tradition, in which the notion of fame was not personified though crucial for the ideology of warring elites (like in Pindar's lyric). Such evasive notion of slava that was not always personified though praised comforts very well to the picture of ancient Slavic religion handed down to us by Procopius of Caesarea. He claimed that ancient Slavs praised natural forces, rivers, and forests. Likewise, in the fragments preserved in some of Ukrainian dumas and songs from Kirsha Danilov's collection, the praise (slava) was sung not only to the heroes but also to rivers and fields.
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Cruz, Gabriela. "Laughing at History: the third act of Meyerbeer' L'Africaine." Cambridge Opera Journal 11, no. 1 (March 1999): 31–76. http://dx.doi.org/10.1017/s0954586700005516.
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A mythical giant, a Malagasy slave, a song, an accomplished baritone, an outraged critic; these seemingly incompatible figures are bound together in the Paris premiere of Giacomo Meyerbeer's L'Africaine in 1865. They are the fundamental elements of my story of the opera's third act, a narrative web binding together early modern nautical history, epic poetry, grand-opera dramaturgy, and the nineteenth-century politics of operatic performance and listening in an exploration of how the opera's rather fictionalised account of Vasco da Gama's first sea voyage to India five centuries ago bears witness to the strength of the historicist project in grand opera.
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Sohnen, Renate. "On the concept and presentation of yamaka in early Indian poetic theory." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 495–520. http://dx.doi.org/10.1017/s0041977x00012921.
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Figures of repetition occur very early in Sanskrit literature. In the oldest stratum, the hymns of the Rgveda, this phenomenon seems to be restricted to the repetition of words with the same meaning, its function being either to express continuation or regularity, i.e. in the case when a single word, normally an adverb, is duplicated (āmreḍita, e.g. dive-dive), or to give a special emphasis to a phrase, preferably at the end of a number of stanzas of a hymn (refrain type). Both kinds of repetition continue to be used in later literature, such as the Pāli Jātakas and the two epics, Mahābhārata and Rāmāyaṇa.
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Khan, Muhammad Sajid. "Hali’s Poetic Endeavors to Change the Perception of Society About the Indian Widows." Pakistan Journal of Gender Studies 19, no. 1 (September 8, 2019): 91–104. http://dx.doi.org/10.46568/pjgs.v19i1.77.
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This paper attempts to address a very sensitive social issue that concerns the status of a widow in the society of the Sub-Continents. The purpose of this paper relates to the period of undivided India. However, the theme takes into its fold the widows also of the present time. Keeping in view the status of women, widows still face many problems as they suffered at classical epic period. The social norms and practices in those days (and even at present) are not much different about widows. In some societies, remarriage of the widow did not allow once their husbands die. This situation is a highly sensitive social issue concerning the rest of the life of the widow who is in many cases is young and has usually many years to live ahead. The social practices and traditions refuse to allow her to live another wedded life which leaves her in a prolonged misery till her death. A widow is generally looked down upon by even her own relations and in-laws. For this reason, Altaf Hussain Hali is found to be the most prominent among the scholar and poet worked for women reforms and had realized the rights of women, especially their right to acquire education. Hali’s prominence is that he wrote a poem ‘Manajaat-e-Bewah’ (Hymn of the widow) and described the pains and grief a young widow has to go through after the sudden death of her husband. The qualitative method was applied and discourse analysis approach was also used to understand the women’s experiences. This paper analyses the prominent role of Hali on this important social issue which remained ignored for centuries and which needs to be addressed forcefully even in present times.
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Rubiés, Joan-Pau. "Tamil Voices in the Lutheran Mission of South India (1705-1714)." Journal of Early Modern History 19, no. 1 (December 19, 2015): 71–81. http://dx.doi.org/10.1163/15700658-12342439.
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The English edition of the Bibliotheca Malabarica, a manuscript catalogue of the Tamil works collected by the young Lutheran missionary Bartholomäus Ziegenbalg during his first two years in India (1706-8), attests to his prodigious effort to acquire, read, and summarize all the works of the “heathens” of South India that he could possibly get hold of. Most of this literature seems to have originated from local Śaiva mattams. Besides epics and puranas, the collection included many popular works on ethics, divination and astrology, devotional poetry, or folk narratives and ballads. Ziegenbalg seems to have acquired these through his Tamil teacher in Tranquebar—an elderly schoolmaster—and his son. In this respect, a focus on the social and cultural dynamics by which local knowledge was transmitted to Europeans is no less important than identifying the literary sources for their interpretation of Hinduism. A fascinating work, the Tamil correspondence conducted between 1712 and 1714 by the Lutheran missionaries with a number of learned Hindus reveals their desire to embark on a kind of inter-religious dialogue as a foundation for their Christian apologetics. The replies received from his “heathen” correspondents would inform much of Ziegenbalg’s interpretation of Śaivism as a form of natural monotheism. Translated into German and published in Halle, they also became part of the Pietist propaganda concerning the mission, exerting a much wider impact than Ziegenbalg’s unpublished monographs about Hindu doctrines and theology. But how authentic were these Tamil voices? Close analysis suggests that even if we conclude with the editors that the letters were what they claim to be, that is a direct translation of the work of many independent Tamil correspondents, the extent to which there was a religious “dialogue” based on reciprocity is open to question.
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Demchenko, Maxim B. "MUNDANE MIRACLES IN AWADH. ENCOUNTERS WITH THE REVEALED AND THE HIDDEN." Studia Religiosa Rossica: Russian Journal of Religion, no. 3 (2020): 130–40. http://dx.doi.org/10.28995/2658-4158-2020-3-130-140.
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The sphere of the unknown, supernatural and miraculous is one of the most popular subjects for everyday discussions in Ayodhya – the last of the provinces of the Mughal Empire, which entered the British Raj in 1859, and in the distant past – the space of many legendary and mythological events. Mostly they concern encounters with inhabitants of the “other world” – spirits, ghosts, jinns as well as miraculous healings following magic rituals or meetings with the so-called saints of different religions (Hindu sadhus, Sufi dervishes),with incomprehensible and frightening natural phenomena. According to the author’s observations ideas of the unknown in Avadh are codified and structured in Avadh better than in other parts of India. Local people can clearly define if they witness a bhut or a jinn and whether the disease is caused by some witchcraft or other reasons. Perhaps that is due to the presence in the holy town of a persistent tradition of katha, the public presentation of plots from the Ramayana epic in both the narrative and poetic as well as performative forms. But are the events and phenomena in question a miracle for the Avadhvasis, residents of Ayodhya and its environs, or are they so commonplace that they do not surprise or fascinate? That exactly is the subject of the essay, written on the basis of materials collected by the author in Ayodhya during the period of 2010 – 2019. The author would like to express his appreciation to Mr. Alok Sharma (Faizabad) for his advice and cooperation.
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Cook, James Wyatt. "Mark Davie, Half-serious Rhymes: The Narrative Poetry of Luigi Pulci Dublin: Irish Academic Press, 1998. 199 pp. $39.50. ISBN: 0-7165-2601-8. - Luigi Pulci, Morgante: The Epic Adventures of Orlando and His Giant Friend Morgante Trans. Joseph Tusiani. Intro, and notes, Edoardo A. Lèbano. Bloomington: Indiana University Press, 1998. xxxiii + 975 pp. $49.95. ISBN: 0-253-33399-7." Renaissance Quarterly 52, no. 2 (1999): 504–7. http://dx.doi.org/10.2307/2902067.
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Pierdominici Leão, David. "Through the Eyes of a Warrior, Traveller and Poet: Portugal, Malabar and Indian Traditions as Seen by Luís Vaz de Camões ("Os Lusíadas" VII, 17–85)." Cracow Indological Studies 21, no. 2 (December 31, 2019). http://dx.doi.org/10.12797/cis.21.2019.02.06.
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An adventurer, soldier and great poet, Luís Vaz de Camões (1524–1580) arrived in India in 1555 and remained there till 1567, with ups and mishaps. The author of the Portuguese national epic poem, Camões recounted in a marvellous poetic form the heroic crossing of Vasco da Gama, who reached the Calicut coasts in 1498, skirting for the very first time the Cabo da Boa Esperança (Cape of Good Hope). The paper focuses on the analysis of some ottavas from the 7th canto of Os Lusíadas, in which the arrival of Portuguese sailors and the first meeting with emissaries from the Zamorin are narrated. These passages, concerning the religious and cultural traditions of Malabar (but Indian in general) and its political organization, will be the starting point for a reflection on Indo-Portuguese relationships, as seen not from a historical source, but from a little-studied literary one.