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14
Thallapakam Poets"
"The minor works of Thallapakam Poets"
CbSoo Q&^Q SS^Sca ^6^ 19356^
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14. 9S^T-x3-^ ^S$CSB^^S30 (&>&
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15,16. vi
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?pS eojaoo^yCb^ ^jo. 42
17. esg,2o!r2x^c3^o-
a^ads.a.o.3. ^i^dcs
- 3
18.
- S.d.S.- ^Kbtfo 1976, 1980
t.Q
19.*)o/rtf
SoltfSeo - 2)SS -7T8^gc7>&> Sao^tf^ 3). 32
20. Minor Works of Tallapakam Poets, T.T.D.gb-cfcties
eta
21.
cS 3feoy8 t9J6od5^oj'8 ^jo. 124
22,23. eS^jNy^ ^3el ^a^^oo-
<3yS<3-^^J^
-^)u. 45
24. eSQSj*^^ ^3^^SS^^oa
-a^SdS
- -3^^ 3)". 48
25. S&ol$6 e^pSos--3^^
~SdSj J6o3> 15,16,17
26. 3cySj*x3"tf TSO^JfiSaa
--3^^
-(fljadS) ^jo. 24
27. wJSSjvyfi xJS SS^ - I. "I I
28.
<rf 5tir8 oSod&ir'S ^jw. 325
29. 0"#)>g g)o^3bcu- 3Sa ^r>^
c^ ^t^r-a Sod5^0LT>8 ^to. 328
30. e^Sa-aydj ^8^ !D&^ - l.t ^^ip6(pjp^fi ^^ ^)ta. 116
31. ^ol6J6o^es^co
-OS^S^
-2da^ So^l2
32.Sjo/WS Sold^eo - 122 ^o^fej^o
- /T8lD
3)u. 59
33. oSa i>eS ^-!r2aa - S8^ ^^o. 14,
- ^5^0
BE.
"(38)
R.S. Moulton
<3?jc3."The improvised lyrical song, communal or individual,
a popularor artistic is probablythe sumplestand mostspontaneousform of lyric expression...The true song is primarily. The instructive
out burst of emotion or emotional thought in language which byaptness of word and rythem echoes suggests the underlyingemotion and melody of tune and harmony of stanza is adoptedto such modulations of the singing voice as naturally distinguish
emotional utterence........ Thesdngis therefore more than any other
lyric kind, a musical cry" (39) 2<3 SSo-aa'aaoSo rtr*6 Mouiton
"that the popular or the traditional bollad is FOLK POETRY,
i.e., poetry that has originated usually in oral form among a
homogeneous non-literary people, and has been handed down
among them by word of mouth, is generally concended* (40).
23^"!
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P.?
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2- -
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(45)
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(52)
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(55)
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'
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. (60)
. (62)
S^JS&ool Soi&SeSc&o, o3oo, 0Ao6
2.
3.
4.A Practical Sanskrit
Dictionary- By Arthur
Anthony Macdonnel(Sanskrit
-Telugu)
= Quarter
Quarter verse word, readng of
veda in which the words are given
seperately irrespective of the rules
of Sandhi
5. Apte Sanskrit-English
Dictionary
6. Theodora Benfery
Sanskrit -English Dictionary
7. V.S. Abtes enlarged
Edition (Dictionary)
8. Z
9.
1954
Padam- aeSQ.tf ^<3o -Aquarter line
of a stanza, verse-verse -kavitha,
Padyam Kavyam-Slokam
Charanam , Padam
s A verse, A kind of reading
Veda without applying the rules of
sandhi.
A fourth Part of a Stanza.
30
(1)
(2)
(3)
35
ooo (4)
(5)
36
(7)
if <5:
eF)r'35c>o
jfbijjdrsii (
8)
(9)
crll
"On the side of theorists, the writers on Poetics, Rasas were only
eight upto the time of DANDI who briefly described and illustrates only
the eight Rasas". (1 0)
rtrd36^,
d^^oocoSStyC*
cdoD5.
(11)
37
(12)
<,<? 43
^02:00'^'. (13)
3t (SiQ, ty\2ri5w, ifcS, ^rfoS) SoocSort
SC53G3 6 5<33."
(14)
(15)
s*<33.
aS^O
ScS^ <5<b: (17)
s'CSi. ^cbodo d^d^^ s*do.
35 ^<x> sa
dc&r
Sdo
38
INTRODUCTION TO SAHITYA DARPANA tf
We know that Bhattatouta was the Guru of Abhinava Gupta and
that he wrote a work called "KAVYAKOUTHUKA" on which Abhinava
Gupta wrote a vivarana. One of his doctrines was that SANTA was at
the Head of all rasas as it led on Moksha.
39
"close on the foot steps of Santa an aspect of love called preya or
Vatsaiya covering cases of non-sexual love like that between Parents
and Children, Elders and Youngsters, became a Rasa.
The olden preya of BHAMAH and DANDIN as speech expressive
of Non-Sexual love developed into new Rasa.
DANDIN says that this preya is very closely related to Srinagara
but is distinct. Since Prithi is the basis of the former whereas Rathi is the"
Sthayi of Sringara. (18)
Scr
(19)
40
(20)
(21)
41
". (22)
(23)
(24)
(25)
42
(26)
.,
28)
1020
5^
43
(29)
eoj^ifca rStfda.
(so)'
44
(31)
5^ (32)
(33)
45
(34)
i
46
-5.
crrfo o$>3''
( 3 5 )
(36)
to) >
ig ^on*<JAfr- ^cB^dfc
"Rasa is the fundamental joy of life, love of life
------------The mortal aspects of Rasa are turned
into immortal ones when diverted towards HIM
or comprehended in His LILA" (37)
47
1.-3-&$*\jJ (
<S - $$&>&> (-7}
2. s*3iQQs*6Q\rtr36&:- S!^<F3o;^d^<PC&^|^<b- 279w\
3. 5^5^05*0 SoifKraSdes:- ^^g'^o^j'de^' credoof^,;fc)43-
279
4.5.
6.
7. c3*&g^3&>o ?JcJ&&> (16-1)
8. ^&g^^ 5tf^5<g5 (18)
9. >^3J<%l?c><5b:- ST'^CP^) -18
10. Number of Rasas - Dr. Raghavan
11. e30ii>e5a&C5 O&f3fr~&&ix> )<b 289
12.C5^C^OeS^00
-<S30($DO 55<3^ SJ)& 1 5 2
13. s*aoos*&$w- (15-17)
14.15.
16.
17. s^^oo^d ^oirf^r<5x>-
)&> 299
1 8 . The Number of Rasas -by V. Raghavan Chapter VI Page No. 11 9
19.
20.
48
21.
2 2. d&croe$<&o - eo^So 5<3K$)& -178
23.
ff
~2 4.
2 6 .
#rf3<^!c5^o&i^^> - ^(^^j-^ s<j^a, ^ds^er^c^- 1 o <5
2 7 .
2 8.
29. ^rrt<5S^x>- (11-2-45)
3 .
31. #rf<S<3! d^c&,5^> - ^3<^>^P(3^ S<SSi3 - GS(B3j;&$ -55^5
32. ^d^df d^csS33^o -,)c^)^rcS<5 Sd33 - CScapep^^D - 57,3
33.
34. Jrti5cS| 6d'CSb3x> - &^^y<35 lidSS CScS^cj^^ - 74
- 49, 60
37. The Bhakti cutt in Ancient India - Page -411 by Prof. BhagabatKumar Sastri. M.A.,
49
f,
-^So^Sotf
51
-
9
(2)
(3)
(4)
53
"Karma Yoga and Gnana Yoga are means
to Mukti only through Bhakti Yoga. Bhakti Yogais the direct pathway to perfection, as it leads to
the very heart of the relegious consiousness" (5)
"(6)
(7)
(8)
Sort,
54
"meditation deepens into Bhakti and it is the
practice that becomes the direct path-way."
Bhakti is continuous meditation on Brahman touched with love or
Priti. It is absolute devotions to Bhagavan as the life of your life, and is
love for loves sake. The true Bhakti is the true gnani as he knows that
Bhagavan alone in the source and satisfaction of life".
"Bhakti is continuous meditation in which representation acquiresthe vividness of living presence" (1 0)
(11)
(12)
<3* c&3))*o&><&>o (13)
55
c&>o<&
"(14)
5aa^rt)
S^DOu), ^toiSM^CJOMOiSj^". (15)
"(16)
"
By Bhakti we mean on intense !ove of God" (17)
"Bhakti is pure affection forthe highest living, who although he has
the whole world within him" &3 3oc-Sd> 6" rrdo D5OoO5. (18)
(19)
(20)
soda
56
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(31)
(32)59
2.
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8.
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4.
ir5 ^g^)^Sx>-#J i^Sb^p erd^^^o <^>o<S - 1 3 6 <5
S . The Philosophy of Visishtadvaitha - By P. N. Sreenivasa Charya
- Page 354
6.
7,8.
9. eso^S ^S^ ^"Ir^i5w. CP. 3. (f^oa*4 -^)<io 3 6
10. The Phylosophy of Visishtadvaitha - by P.N. Sreenivasa Charya
Page 358
11. &&C$;)to3- 3s;$(ajVfc$ - 17, 18, 19 g^^oo
12.|A)CSj)/ttd
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13. 4 fia^^^iSM- & Issycr^) oSa^o^c? a-gsjrg^c&x)
- 1 3 43 )&
14. l^d^ft-S-cr^^gpgo^^oo
-$Jf cSj.1<^o 16, 18
15.
16.
1 7. The Gospel of Love - Lala Kannomal (1 923)
18. The Origin and development of Vaishnavism - S. Jaiswal
Page 119
19. 3;poi$5 T8^c&;$ cr.
20. ^riiteto- oS-g&ij&eS&SM- 3, 29-11, 12.
79
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27.
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81
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86
^ 3>c5
Love to him (According to the Author of Sringara Manjari) is an
motion which can have only one object whether it be the case of Sviya>r Parakeeya, Kulata or Samanya. it is some thing which having comeito being for some body, produces no desire for any body else, it canlever before money and yet to be love; and such love arises not by anyeason of beauty; Experience shows that such love is a blessing that
providence gives us. 3
." 5^3 G.
87
09
9
3
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a
12-67
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ess
89
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90
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96
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2. "3os3^
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(16-2)
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3 . 3o> tSo<5<3 Sej; S^poSS^Sa - (28-285
4. a>oS reiSM 0(& ^DCT c5o3 - (30-315)
.Td ^0226 -
98
a-
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eta
99
(14-17)
as43
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100
(22-260)
cp. ^r$D5 <S' rrda
"The Author of "Sringara Manjari" Criticises, Bhanudatta's defini-
tion that it is not applicable to a sviya on Samanya who do not go to a
trysiirg place, But one exporting union on meeting at their own residence
and are dis-appointed by the lovers failure to present himself. Thus the
Sringara Manjari really on larges the scope of the "Vipra Labdha" offers
its definition that she is one in the pang of separation consequent on
disappointment caused by the lover" (20)
^0236 s^doD
^c&r- S^oa^ ^rooo^ ^(JrSSo ^orrtf ^0236
101
cr.
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3.
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102
5.
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113
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varieties ofwoman called "Padmini" etc., which the previous treatises on
the subject of Nayaka-Nayaki enumarated by him earlier do not deal with
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four classes of women. He says that so far he has been deeling with the
varieties of "NAYIKAS" as dealt with in the "Rasamanjari" on the basis
of different kinds of moods and reactions in love and that now he would
deal with a classification of both Nayika and nayaka by gunas, following
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232
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page 38
8 4. Introduction to sringara Manjari Dr. V. Raghavan Page - 39.
8 6 . Introduction to sringara manjari by Dr. V. Raghavan page 40.
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9 3 . Introduction to sringara Manjari by Dr. V. Raghavan * Page 39.
235
1. e 3* " ^^ &i&S ( C&tf) -
2 .
3.
4. Atffifoo&s-^ato- escft&S
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
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1 7 .
1 8 .
1 9 .
20.
21.
22.
236
23,
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2 5.
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2 8.
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'
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oJ*e$i O? o^^o^ucdocij^ io6ioS30~ cr^o so. 3.o a o
45. Bestow iscS^S^ - c*. OS. f>Oi"ii>\
46.
237
47.
4 8 .
49.
53. aoASo- "Soofb
54.
55. Minor works of Taliapakam Poets T.T.D. Publication.
56. The modern study of literature - R.G. Moulton.
57. Methods and materials of literary criticism - R.G. moulton.
58. The great integrators- the saints of India - by V. Raghavan.
59. The Philosophy of visishtadvaitha - by P.N. Srinivasachari.
60. Number of Rasas by V. Raghavan.
61 . The Bhakti cult in ancient India by Prof. Bhagabat Kumar Shastri
M.A.
62. The gospai of love -by Lala Kannomal.
63. The origin and development of vaishnavism -by S. Jaiswal.
64. Introduction to sringara Manjari of St. Akbar Shah -by Dr. V.
Raghavan.
65.
66.
238
^6 <fd'e 0*^MA, Ph.D. rraSg^
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