Monday, October 17, 2016

Champu kavyas.

"Gadya padyamayi Kacinchampuritya midoyathe." Dandins definition of Champu.
Narrative prose works into which descriptive verses were introduced here and there to make it interesting and beautiful. in course of time the prose works were improved to match the verses and thus rose champu kavya.
Nalachampu and Mandalasachampu of Trivikrama Bhatta are the earliest work now available.
Nala champu also called Damayanthi katha is an incomplete work consisting of seven ucchvasas. It describes the story of Nala and Damayanthi in a terse style he incorporates Bana's style of long compounds and puns galore. It is said that the father of Trivikrama bhatta was challenged by rivals, and Trivikrama wrote the work in his fathers absence and on arrival of his father he stopped writing hence it remained incomplete .
other famous champus are Yashastilaka champu of Somadeva. Jeevandhara champu of Harichandra, Ramayana champu of Bhoja, Bhagavada champu of Abhinava Kalidasa, Bharata champu of Anantha bhatta, chidambarakavi also wrote Bhagavata champu.
sodala a kshatriya has written udayasundari katha which is beautiful and can be treated as champu. Shesha Krishna has written Parijatha harana champu.
Nelakanta dikshitar has authored Nilakanta vijaya champu dealinbg with Sivas conquest of tripura a strong city of the demons.
The famous Venkatadwari is the author to Visvaguna darshana champu. in this the authour gets two persons to visit various places in India and debate amongst themselves on the merits and demerits of the places they have visited and the people they have met. he has written three other champu kavyas which are of lesser importance Varadabayadara champu, uttara champu and srinivasa champu.
Draupadi parinaya champu by Chakra kavi and Varadambik parinaya champu of Thiruvalamba are also there.

Sunday, October 16, 2016

Kalidasa

age
Sir William jones places him in 1st century B.C.
ProfA B Keith and Vincent Smith to 4th century A. D.
Prof MaxMuller to 6th centuryA.D.
The first five centuries of the Christian Era Is considered as the dark age of Indian literature. This was followed by the glorious period of the6th century. A.D.
King Vikramaditya was a great patron of literature in whose court the famous nine gems of scholars and poets existed.this we learn from the verse Dhanvanti rakshipanakmarasimha shanku, vetalambhat ghatakarpara kalidasa.
Kyatho vrahamihiro Nirupa the have sambhaya,
Rathnanibhai vara ruchiranava vikramasya.
This verse is from jyothirvidabharanam which belongs to the9th century.

Kalidasa has given two of the best mahakavyas, three of the best dramas and two of the best lyrics. no other poet or dramatist in Sanskrit literature can claim such an abundant literary output.
The Raghuvamsa 19 cantos and the Kumarasambava 8 cantos are the two mahakavyas.

kalidasa shows remarkable skill in the ready manufacturing of verses to order to describe a given situation or to complete an imperfect stanza or a more circumstentail legend. famous among them are Raghu's conquests, The sandal of Kashmir, The pearl fisheries of Tamrapani,, The deodars of the Himalayas, The betel and coco palm of the Kalinga, the sand of the Indus.

still researching any lecture notes if any one can share will be pleased.
to be continued. 

Gnomic and Didactic poems. (Subhasitani.)

The gnomic spirit found its expression in almost all branches of sanskrit literature. /gnomic verses are found in the Vedas, in Dharma shastras, smrithis and the epics, mahakavyas, dramas and fables. There are also independent poems dealing with morals, ethics, religion philosophy etc. The Buddhists and Jains have contributed much to this type of poetry. All branches of literature are influenced by religion and philosophy hence they contain a large no of didactic imports.
Poems meant for instructions are called didactic poetry while those in the form of short maxims expressing general truth are called gnomic poems.
They cover a wide range of topics example fickle nature of human existence, the worthlessness of worldly pleasures, the advantages of detachment and renunciation, the power of the inevitable fate, the need for human effort, the honour attached to wealth and the contempt of poverty, the result of good and bad company, the nature of the wise. And the wicked, the greateness of learning, the policies to be adopted for success etc they are endowed with much poetic beauty.
Mahabharata contains a rich collection of didactic poetry.
To be continued.

Tuesday, October 11, 2016

Dance  are performed to express joy and happiness among themselves. Folk and tribal dances are performed for every possible occasion, to celebrate the arrival of seasons, birth of a child, a wedding and festivals. The dances are extremely simple with minimum of steps or movement. The dances burst with verve and vitality. Men and women perform some dances exclusively, while in some performances men and women dance together. On most occasions, the dancers sing themselves, while being accompanied by artists on the instruments. Each form of dance has a specific costume. Most costumes are flamboyant with extensive jewels. While there are numerous ancient folk and tribal dances, many are constantly being improved. The skill and the imagination of the dances influence the performance.



Bathkamma.

Bathukamma bathukamma uyyalo…bangaru bathukamma uyyalo||2||
aanati kaalana uyyalo…dharmangudanu raju uyyalo…
aa raju baryayu uyyalo…athi sathyavathiyandru uyyalo…

nuru nomulu nomi uyyalo…nuru mandhini kaanche uyyalo…                                                          

vaaru surulai uyyalo…vairulache hathamairi uyyalo…
thallithandrulapudu uyyalo…tharagani sokamuna uyyalo…
dhana dhanyamula baasi uyyalo…dhayadhulanu baasi uyyalo…
vanithatho aa raju uyyalo…vanamandhu nivasinche uyyalo…
kaliki lakshmini kurchi uyyalo…ganatha pondhirinka uyyalo…
prathyakshamai lakshmi uyyalo…paliki varamadagamane uyyalo…
vinipinchi vedadhini uyyalo…veladhi thana garbamuna uyyalo…


puttamani vedaga uyyalo…puboni madhi mechi uyyalo…

sathyavathi garbamuna uyyalo…janminche sri lakshmi uyyalo…
anthalo munulunu uyyalo…akkadiki vachiri uyyalo…
kapila gaalila uyyalo…kashyapaanga rushulu uyyalo…
athri vasistulu uyyalo…aagandri nanu chuchi uyyalo…
bathukaneeya thalli uyyalo…bathukamma nanirantha uyyalo…
piluvuga athivalu uyyalo…premaga thalithandrulu uyyalo…
bathukamma yanuperu uyyalo…prajalantha andhuru uyyalo…

thaanu dhanyudantu uyyalo…thana biddatho raju uyyalo…

nijapatna mukegi uyyalo…nelapalinchaga uyyalo…
sri mahavishnundu uyyalo…chakrangudanu peru uyyalo…
raju veshamuna uyyalo…raju intiki vachi uyyalo…
ellita maniyundi uyyalo…yedhaga bathukammanu uyyalo…
pendlaadi kodukulanu uyyalo…pekkumandhini kanche uyyalo…
aaru vela mandhi uyyalo…athi sundharangulu uyyalo…
dharmangudanu raju uyyalo…thana baarya sathyavathi uyyalo…
sarileni garimatho uyyalo…santhoshamondhiri uyyalo…
jagathipai bathukamma uyyalo…shasvathammuga velise uyyalo…
ye paata paadinanu uyyalo…ye paata vinnanu uyyalo…
soubagyamulanichu uyyalo…sri gowri devi uyyalo…
siri sampadhalichu uyyalo…sri lakshmi devi uyyalo…
ganamaina keerthini uyyalo…sri vaani kosagunu uyyalo…
bathukmma bathukamma uyyalo…bangaru bathukamma uyyalo…



Garba.
Garba (ગરબા in Gujarati) is a form of dance which was originated in the state of Gujarat in India. The name is derived from the Sanskrit term Garbha ("womb") and Deep ("a small earthenware lamp"). Many traditional garbas are performed around a centrally lit lamp or a picture or statue of the Goddess Shakti. The circular and spiral figures of Garba have similarities to other spiritual dances, such as those of Sufi culture(Garba being an earlier tradition). Traditionally, it is performed during the nine-day Hindu festival Navarātrī (Gujarati નવરાત્રી Nava = 9, rātrī = nights). Either the lamp (the Garba Deep) or an image of the Goddess, Durga (also called Amba) is placed in the middle of concentric rings as an object of veneration.
The Garbha Deep has another symbolic interpretation. The vessel itself is a symbol of the body, within whom Divinity (in the form of the Goddess) resides. Garba is danced around this symbol to honor the fact that all humans have the Divine energy of Devi within theBoth men and women usually wear colorful costumes while performing garba and dandiya. The girls and the women wear Chaniya choli, a three-piece dress with a choli, which is an embroidered and colorful blouse, teamed with chaniya, which is the flared, skirt-like bottom, and dupatta, which is usually worn in the traditional Gujarati manner. Chaniya Cholis are decorated with beads, shells, mirrors, stars, and embroidery work, mati, etc. Traditionally, women adorn themselves with jhumkas (large earrings), necklaces, bindi, bajubandh, chudas and kangans, kamarbandh, payal, and mojiris. Boys and men wear kafni pyjamas with a Ghagra - a short round kurta - above the knees and pagadi on the head with bandhini dupatta, kada, and mojiris. There is a huge interest in Garba among the youth of India and in particular, the Gujarati diaspora.

Kolattam.

Kolannalu or kolkolannalu (also named kolattam), 'stick dance', is one of the most popular dance narratives in Andhra Pradesh. It's a rural art usually performed during village festivals. It is a combination of rhythmic movements, songs and music. The Kolattam group comprises dancers ranging from 8 to 40 where they are grouped in pairs. The sticks provides the main rhythm. The dancers are led by the leader and move about in two circles. The inner circle receive the strikes on their sticks from the artists in the outer circle that deliver them. Kolattam is also called Kolanna in the Prakasam district of Andhra Pradesh state.


MATA PITA tvam gurusadgatih Srih
Tvameva sanjivanahetubhuta
Anyam na manye jagadekanathe
Tvameva sarvam mama Devi Satyam.

Monday, October 3, 2016

TEACHER

Heart of A Teacher
by Paula J. Fox

The child arrives like a mystery box…
with puzzle pieces inside
some of the pieces are broken or missing…
and others just seem to hide
But the HEART of a teacher can sort them out…
and help the child to see
the potential for greatness he has within…
a picture of what he can be
Her goal isn’t just to teach knowledge…
by filling the box with more parts
it’s putting the pieces together…
to create a work of art.
The process is painfully slow at times…
some need more help than others
each child is a work in progress…
with assorted shapes and colors
First she creates a classroom…
where the child can feel safe in school
where he never feels threatened or afraid to try…
and kindness is always the rule
She knows that a child can achieve
much more when he feels secure inside
when he’s valued and loved…and believes in himself …
and he has a sense of pride
She models and teaches good character…
and respect for one another
how to focus on strengths…not weaknesses
and how to encourage each other
She gives the child the freedom he needs…
to make choices on his own
so he learns to become more responsible…
and is able to stand alone
He’s taught to be strong and think for himself…
as his soul and spirit heal
and the puzzle that’s taking shape inside…
has a much more positive feel
The child discovers the joy that comes…
from learning something new…
and his vision grows as he begins
to see all the things he can do
A picture is formed as more pieces fit…
an image of the child within
with greater strength and confidence…
and a belief that he can win!
All because a hero was there…
in the HEART of a teacher who cared
enabling the child to become much more…
than he ever imagined…or dared
A teacher with a HEART for her children…
knows what teaching is all about
she may not have all the answers…
but on this…she has no doubt
When asked which subjects she loved to teach,
she answered this way and smiled…
“It’s not the subjects that matter…