Verse Lu T l1 is",. Out of curiosity, the descendent of Kakutstha sat down on every charming stone-slab, smiling slightly. Spring, like in the R. It is remark- able that the word spring is not even mentioned once in the whole passage. But the readers must have been so conversant with the R.
After some discussion on the topic, written in the narrative style and describe. Thus, as compared to the R.
But the 'ii the obtainment of his aim. Summer is greatly side-tracked, i ti in the distance. The two prominent seasons, the first Bhat!. It is therefore not surpri- what be sees. The expressions dadaria sa 71, etc. Thus we really see autumn through the and make him yield to the charms of the Apsarases. Under the in- fluence ofthe seasons, which clearly act as the uddipana-vibhatas i' cription, no particular rasa can be observed. After these various descriptive This cycle is very long , ll 38 ll t containing a total 79 verses. It is not actually one cycle, but The Apsarases' song, wbich was agreeable to hear and:: He dwells t longer on spring, the monsoon and autumn.
This is how goes. The second cycle is distinguished from the first by two The Si6. But quite a few verses, wbich describe 66 is entirely composed, in drutavilambitd. This sarga is written in the narrative style, but we must note the most diverse meters. By this display of virtuosity, as well as direct speech.
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In this respect, tbis cycle of seasons is not very contextual, nor The season description appears in I, Nala, though i he has never seen Damayanti, has heard so much of her beauty i is it relevant to the plot, since the main protagonist of the stor5r, 'r I and qualities that he is madly in love with her. The whole plan of the Sij. This indirectly ten I, pp. We or to make them more conspicuous by a cbange of meter. Here, we shall merely examine some of its general few verses are in a different meter. At the beginning of the passa ge 76 , it is said in the last I3 verses ofthe season description uses not less than that agardener shows to Nalathe beauties of the parf by point- 9 different meters.
Thus, about the use of the meter in these ing them out with his fingtrs. On the meters, and this trait, as far as the season descriptions are con- 'other hand, like in the SiS. From the point of view of narrative devices, we see that the. The whole park in is seen tbrough ,vmitten in the narrative style, with the exception of Bhatti in lis eyes. Some things fill h ers with detight' 'thepassages he copied from the R. But ,quite similar to tbe autumn descriptions of tbe Bhalf.
On the other hand, we 'seen by the two heroes. As we have seen, the rasa produced by the spring, mon-. As we have seen in the case ol the R. Another point in which the influence of the R. As we have seen, the reaction of the hero In this section, we shall examine in which texts and in what to the seasons is given great prominence in all the Bhatt.
The idea itself descriptions, as well as in the autumn description oI the Kir. This aspect is much deities, is a very old one since it appears already in the Veda less stressed in the Si6. It is of course totally lacking in the Kum. Their worship as deities tion and in the l ir.
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In the case of the autumn appear as personifications. In I I Kir. X, 18, the seasons appear in a group rtugana which I evokes a group of people. The same term is also used to desig- I t nate them in SiS. This is also already revealed by the open- ing verse of the Btus. Spring has finally merged with that of the god of Love himself.
Thus, in IX, 32, he is repre- paring arrows for him. This trait already appears in one verse of the Kum. IX,32, quoted above, wherc But it is mainiy in the Ragh. Thus, in Since they were not open, the very red paldfa-flowets were Kir. Spring in order to be his beloved, rhust 'each sarga of his Kir. This'might also be the reason why he therefore necessarily be a feminine. Some, like L, Rcnou, iri. This is to be explained by the fact that in case of ri it, the next chapter, in the section dedicated to ,-asanta. This is probably due to its: Thus in verse next chapter, is the season for military expeditions, and as such, I IV,74, this season go lar to a second.
This way of persouifying the season as a woman, more And in verse 17, it tri of the king: The personified autumn is moreover never quite disso- tanalz ll42ll ciable from the season as it appears in nature, and the two The one whose nanre destroys sin saw autumn which had for often seem to be superposed on each other. Thus, the personified hand, introduces autumn is. The same caD nevertheless also be said of spring in Kir, X, In both these -verses, the rainy season recommend to him a dress.
We can wonder why the poets of the king, but it is not otherwise personified. This might be due to the fact tbat in the other seasons in. IV,24 and X' -endowed. Moreover, autunln is the time of crops, fruits and It also appears in been associated. All these considerations rnay have prompted the poet sonification of a season, IV, Here its wives are the directions to depict the rains as a male personification.
The Seasons in Mahâkâvya Literature | Danielle Feller - theranchhands.com
The term used here to designate the. We know that usually it is Spring who I seems to be a single occutrence in Sanskrit poetry, its usual: But spring in this cycle is only personified as a l meaning being sirnply that of "wind perfumed by kadambas". The monsoon directions which are like wives cannot but shine.
As we see, in both verses in which it is pcrsonified Kir. IV, the othcr hand pcrsonifics only autumn and spring. On the other hand, in the other three passages in which the and who desired to enjoy himself on the mountaln' seasons appear as personifications, namely the Kum. It did not require the ili i touch of beautiful women's feet which are adorned with ili ii ': In Sanskrit poetry, as general, it is the most erotic of fluence all creatures, animals as to love. Moreovcr, the sea- texts, as well as in the male readers. In this,case, more or This probably accounts for tbe fact that Sanskrit, and i inra, it is nevert.
But, excepting the instances. Alas, wbich is the means here whereby love-lorn hero- We find thus a great' number of verses in this I shall be cured of my fever? Among them, we also occasion- ally find women whose husbands are away on. See also vcrses l5 and ofthc samc parsage, therefore is an. For similar expressions of gricf, sce also verscs 4, 13, 14,16, Strangely enough, the R. Lovolonging is likened 'When to a fire or a fever Bhat!. VI, 83 which internally consumes rhe Madana, with his flowery bow strung, reached that unhappy lover. Even things as fresh and cool as the spring- place in the company of Rati, the couples exhibitcd by their.
IV, 1, ' Bhatt. See also verses full of water fragrant with lotus-pollen; the cokravaka-bird 5, 6 and 9 of thc same passagc. This is the case in the Ragh. It is only id the cycle of seasons of the Ragh. One in the spring description and another one songs of the female cuckoos, all troups of tbe god in the cycle of seasons. Verse IX, 2g of the Ragh. This does not mean of around the rope of the seat, out of desire to embrace thc n cannot also appear in other contexts: But the description is contrived in such away that it becomes highly erotic, for the movements.
The effects in flocks. The male cuckoo, lrrith his throat Not only the cuckoos, but other spring characteristics too,- rendered astringent by- eating mango-shoots, was melodiously provoke inordinate passion in the ladies. This is for example'' capable of destroying the singing things the case of the mango-flower in the Ragh. A linc of honey-drinkers i. The same theme is again mentioned in SiS. VI, 70' com- This trait is to be to parts of a found in at our aescriptions, irreSpective of the types of heroes -find and situations in which they in the later texts.
In this discussion, we shall first exaniine nal case, nannely the one of thee". IX, 35, we find: IX, 35 we frnd: X, 32 we frnd: Verse X, 34 of the Kir. In Ragh -clcmeot of description. Svasano means "breeze" if applied tgthe,crcep,er, buq,.. But here, ,io"" I the sun is a i lat ha! See for instance Kum, VI[, 4 and I4.
In one verse of the R. But as we can see, this image is not at all erotic' and there- l1 foredoesnotcomeintocontradictionwithourthesis.. In summer, love is always described as weakened, like not shine. XVI, 5l synibolically shows.
Whenever the poets seek to saya. But the tree's appar. The i in our texts. B racter in this tre indeed to inspire them in the scorching Indian summer. But otherlvise, lummer only appears in the Kir. XVI, 50 it is the god of Love himself who, by means. The jasmine-flowers here evening- jasmines are one of them, for they produce an impression of - freshness by their delicious fragrance. I, a summer 8. XVI, 46, which describes the drying ponds, The jalayantramandirant of from below the Rtus. But in spite of these variations in the vcca- 5, We must nevertheless note tl: And in both 7.
Here, the image is so to saytransposedro a vertical 6. In spite of sorne differences in ';the vocabulary Here there is a ilesa on the word. Then sunrmer arrived, as if to recommend ,: Vr'hat the poets pre- mer-attire, with the sandal-paste anointing their breasts, the 'ferred to dwell upon in these descriptions are the various charming ornaments set with pearls and the gem-girdles devices invented by people to make the heat more bearable, hanging on their hips.
The second part of the Btus. In a verse I 1. The of the idle rich. The monsoon is not only depicted as violent, it also pro- lokes violentr or at lcast suddeu, compulsive and forceful reactions in various creatufes. IV, 27 , 20 the 'battlel: See also below, P. This givcs of the king the i: Finally, the third type. The rain comes of course into the first turn g. Vy'e can for instance refer to the above-quoted verse i, see also bclow. IV, 27, 8, by means of a. Iz Likewise, in verseVI, 36, the ate compared to shoot' bees ing stars, because tn"y carrying the white'pollen of the jasmines: This kind of "l"rrot.
U,27,5; 6; and Thus, verse IV, R. Sjnce we upf"r, in this text: In both these verses, the red colour of the twilight is used" anulmyau: IV, 29, 20 The terms raga 3 ar'l. In ull r" onset of the monsoon. T 'elements excrt on the lives, behaviour, m. X3il thudder,,takes it for the truinpeting of a rival: To this effect, we can This verse immediately reminds us of a very similar, but so.
A similar image can be fouod in the autumn des: II, 9 , where a lion, hearing the echoes of his own roars, takes them for the roars ofanother lion. Here agaiu, fear seems-to If the jambu-fruit seems to be typical of the rainy season,ss be mired with desire, for tbc cloud is describcd as gaiakadantl: See for instance R. VI, 30 One ,elements which do not beloog to sky' For the function of all the of the monsoon wind, thjs time oo ,r"uiir.. In this sebtion dedicated to the rainy season, rve have trever- sed through three successive phases of analysis n'hich have brought o, to human concerns' The first kind of "u"r.
For the monsoolis a time during rvhich the. This is described in verse 28 of the R' this way of describing the season is that these pas-sages are autumn description, where the rivers are comPared to women: But since here they announce, by lyf ki: This is also the main theme of the Ragh. Just like the season itself, Raghu syrx- bolizes at the same time power and peacefulness. Enmities as well as roads are made eq. Thus, we see in these verses, again expressed. IV, 21, where the Yaksa tells Arjuna: Finally vokes beilicose feelings -in delighted to see Raghu an an expedition of conquest Not only are the objects of description and the attitude of which will le of India: Iessness and indeed nearly religious purity and auspiciousness.
Autumn, which makes the rivers fordable and dries up the We must note here that tliis kind of dcscriptions of simple rural nud on the paths, incited him to start on an expedition, before his own energy did so. And there are indeed in both pass- expeditions is a promiuent thenie of many autumn descriptions. Thus, the growing crops are for instance described in Bhatt. Lotuses are indeed a stciking characteristic of. VII,17, the sun is called the ,.
The rotus is the blue uater, and thus its presence is revealed only by its perfume. On this white background, the birds are of course totally invisible. Where- comes back in the morning after spending the night with an-. Moreover, although they ,the lotus gave rise to the image. It is interesting to note songs which are delightful to hear. This is also thc case in Ragh. IV, 19 quoted abovc , in which ,both swans and lotuscs are mcntioacd. A very similar image can be found in Kir, X, 34, in the context In his commentary, Mallinatha says: Another kind of animal which appears predominantly tnthe IV.
They arealso mentioned in IV, 12 and 13' Bulls. Verse IV, 3l is practically identical to this verse. Verse IV, 19 of the Kir' people. He was delighted to see the cowherdesses'modest behaviour, with their cattle the same relation as this ornament of women' their charming though not crooked with brothers, litt- glances, and their honest Dature, which inspired confidence' As we mentioned above; this description' Ifentanta. Tbrough these examples, we see that this R' winter descrip' tion evokes in highly poetical and delicate tcrms the mysterious and somnolent atmosphere of the cold season' verses mainly describe the effect that the cold has on lovers.
III, 15, 15, blows from the West 2. Here, we have preferred to: Thus,in verse 55 taih I it burns the tearful eyes of the. Prinia facie, this bhy! Moreover, it covers the buds. Veise 63 underlines-the wiuter-like aspects: Heri this- scason appears to be a. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Not Enabled Word Wise: Enabled Amazon Best Sellers Rank: Amazon Music Stream millions of songs.
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