Sanskrit was the main literary language of Northern India during the Classical Period (A.D.-1000 A.D.), while the Dravidian languages were dominant in Southern India. Poetry and drama flourished during this time, with works like the Panchatantra, a collection of beast fables used to illustrate moral lessons, and Sakuntala, a famous Sanskrit play by Kalidasa about the love between a king and a girl. Other works from this period included The Little Clay Cart, a comic drama about a merchant who loses his money.
Sanskrit was the main literary language of Northern India during the Classical Period (A.D.-1000 A.D.), while the Dravidian languages were dominant in Southern India. Poetry and drama flourished during this time, with works like the Panchatantra, a collection of beast fables used to illustrate moral lessons, and Sakuntala, a famous Sanskrit play by Kalidasa about the love between a king and a girl. Other works from this period included The Little Clay Cart, a comic drama about a merchant who loses his money.
Sanskrit was the main literary language of Northern India during the Classical Period (A.D.-1000 A.D.), while the Dravidian languages were dominant in Southern India. Poetry and drama flourished during this time, with works like the Panchatantra, a collection of beast fables used to illustrate moral lessons, and Sakuntala, a famous Sanskrit play by Kalidasa about the love between a king and a girl. Other works from this period included The Little Clay Cart, a comic drama about a merchant who loses his money.
Sanskrit was the main literary language of Northern India during the Classical Period (A.D.-1000 A.D.), while the Dravidian languages were dominant in Southern India. Poetry and drama flourished during this time, with works like the Panchatantra, a collection of beast fables used to illustrate moral lessons, and Sakuntala, a famous Sanskrit play by Kalidasa about the love between a king and a girl. Other works from this period included The Little Clay Cart, a comic drama about a merchant who loses his money.
Download as PPTX, PDF, TXT or read online from Scribd
Download as pptx, pdf, or txt
You are on page 1/ 12
MEMBERS:
TRISHA MABALE RAINE ANGELIQUE BARNES ERIC JHAN GUMBA MARK LORENCE BRAGA TATIANA MAE MIASE MARKWAYNE DOMAEL ERMA MATIBAG JAY DENIEL SIU CLASSICAL PERIOD (A.D.-1000 A.D.) Group 2 Classical Period (A.D.-1000 A.D.) The main literary language of Northern India during this period was Sanskrit, in contrast with the Dravidian languages of Southern India. Sanskrit, which means “perfect speech” is considered a sacred language, the language spoken by the gods and goddesses. As such, Sanskrit was seen as the only appropriate language for the noblest literary works. Poetry and drama peaked during this period. Beast fables such as the Panchatantra were popular and often used by religious teachers to illustrate moral points. SANSKRIT Sanskrit is an ancient and classical language of India in which ever first book of the world Rigveda was compiled. The Vedas are dated by different scholars from 6500 B.C. to 1500 B.C. Sanskrit language must have evolved to its expressive capability prior to that. https://en.m.wikipedia.org/wiki/Sanskrit DRAVIDIAN The Dravidian languages (or sometimes Dravidic) are a family of languages spoken by 250 million people, mainly in southern India, north-east Sri Lanka, and south-west Pakistan.
https://en.m.wikipedia.org/wiki/Dravidian_languages PANCHATANTRA • The Panchatantra is a collection of Indian beast fables originally written in Sanskrit. In Europe, the work was known under the title The Fables of Bidpai after the narrator, and Indian sage named Bidpai, (called Vidyapati in Sanskrit). It is intended as a textbook of artha (wordly wisdom); the aphorisms tend to glorify shrewdness and cleverness more than helping of others. The original text is a mixture of Sanskrit prose and stanzas of verse, with the stories contained within one of five frame stories. The introduction, which acts as an enclosing frame for the entire work, attributes the stories to a learned Brahman named Vishnusarman, who used the form of animal fables to instruct the three dull- witted sons of a king. From the Panchatantra: “Right-Mind and Wrong-Mind” The good and bad of given schemes/ wise thought must first reveal: the stupid heron saw his chicks/ provide a mongoose meal. .. • The Panchatantra is an ancient Indian collection of interrelated animal fables in Sanskrit verse and prose, arranged within a frame story. The surviving work is dated to about 200 BCE, but the fables are likely much more ancient. • Five Treatises • Panchatantra, (Sanskrit: “Five Treatises” or “Five Chapters”) also spelled Pancatantra, collection of Indian animal fables, which has had extensive circulation both in the country of its origin and throughout the world.
https://www.goodreads.com/book/show/653242.Panchatantra SAKUNTALA • Sakuntala, a Sanskrit drama by Kalidasa, tells of the love between Sakuntala and King Dushyanta. What begins as a physical attraction for both of them becomes spiritual in the end as their love endures and surpasses all difficulties. King Dushyanta is a noble and pious king who upholds his duties above personal desire. Sakuntala, on the other hand is a young girl who matures beautifully because of her kindness, courage, and strength of will. After a period of suffering, the two are eventually reunited. Emotion or rasa dominates every scene in Sanskrit drama. These emotions vary from love to anger, heroism to cowardice, joy to terror and allows the audience to take part in the play and be one with the characters. . • Abhijnanashakuntalam, also known as Shakuntala. The Recognition of Shakuntala, The Sign of Shakuntala, and many other variants, is a Sanskrit play by the ancient Indian poet Kalidasa, dramatizing the story of Sakuntala told in the epic Mahabharata and regarded as best of Kalidasa's works.
https://www.kobo.com/ph/en/ebook/the-recognition-of-sakuntala-1 Excerpt from Sakuntala: King. You are too modest. I feel honoured by the mere sight of you. Shakuntala. Anusuya, my foot is cut on a sharp blade of grass, and my dress caught on an amaranth twig. Wait for me while I loosen it. (She casts a lingering glance at the king, and goes out with her two friends.) King. (sighing). They are gone. And I must go. The sight of Shakuntala has made me dread the return to the city. I will make my men camp at a distance from the pious grove. But I cannot turn my own thoughts from Shakuntala. It is my body leaves my love, not I;/ My body moves away, but not my mind; For back to her struggling fancies fly/ Like silken banners borne against the wind. (Exit.) . • The Little Clay Cart (Mrcchakatika) is attributed to Shudraka, a king. The characters in this play include a Brahman merchant who has lost his money through liberality, a rich courtesan in love with a poor young man, much description of resplendent palaces, and both comic and tragic or near-tragic emotional situations.
PROLOGUE (Benediction upon the audience)
May His, may Shiva's meditation be Your strong defense; on the Great Self thinks he, Knowing full well the world's vacuity. And again: May Shiva's neck shield you from every harm, That seems a threatening thunder-cloud, whereon, Bright as the lightning-flash, lies Gauri's arm. https://www.scribd.com/book/435866216/The-Little-Clay-Cart- Mrcchakatika? utm_medium=cpc&utm_source=google_search&utm_campaign=3Q_ Google_DSA_NB_RoW&utm_term=&utm_device=m&gclid=Cj0KCQiAyr acBhDoARIsACGFcS7mBOWd2ehz79tzEGdCtC3Pi8EmFrUrrrLK1FlXj6Y WrhHogpBNKUsaAjZoEALw_wcB .
