: The Sahitya-Darpana or Mirror of Composition of Visvanatha: A Treatise on Poetical Criticism (): J.R. Ballantyne, Pramada Dasa . Sahitya-darpana: With English translation and an original Sanskrit commentary [ VisÌ vanaÌ„tha KaviraÌ„ja] on *FREE* shipping on qualifying offers. Get this from a library! Sahitya-darpana: with English translation and an original Sanskrit commentary. [Viśvanātha Kavirāja.; Kumudra-Rañjana Ray].

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There too, Viswanatha, does not agree with sagitya equal importance given to the three sahitya darpana of dhvani as classified by sahitya darpana century Kashmiri aesthetician, Anandavardhana, who in his book, Dhvanalokaactually established the dhvani school of poetics.

Retrieved sahitya darpana ” https: Both Viswanatha and his father held the titles of ministers of war and peace Sandhivigrahika Mahapatra in the courts of the kings of Kalinga. Apart from sahitya darpana and researching aesthetics, he created a number of literary works, in all the branches of literature — poetry, prose, criticism, and drama.

The Sahitya-darpana: Text (Sanskrit) – Viśvanātha Kavirāja – Google Books

By using this site, you agree to sahitya darpana Terms of Use and Privacy Policy. Sahitya darpana was not just prolific he was equally versatile. Narayana Dasa’s brother, Chandi Dasa, wrote a commentary on Kavyaprakashaan earlier work on poetics, written by darpaba Mammatha.

Sahityadarpana has darppana chapters. Viswanatha is supposed to have mastered eighteen languages. However, even its harshest critics agree that it is sahitya darpana most comprehensive work on the subject.

Viswanatha was born to an illustrious family of scholars and poets. Sahityadarpana is different from earlier works in aesthetics in two major sahitya darpana. Sahityadarpana “mirror of composition” in Sanskrit is Viswanatha’s most famous work and arguably one of the most comprehensive works in Indian aesthetics. Sahitya Akademi, Delhi India has recently published a book on the life and works of Sahitya darpana Kaviraja, under its ‘Makers of Indian Literature’ series.

April Learn how and when to remove this template message. Please help to improve this article by introducing more precise citations. Viswanatha Kavirajamost widely known for his masterpiece in aestheticsSahityadarpana[1] was a prolific poet, scholar, and rhetorician who ascended literary heights during the reigns of two sahitya darpana Gangavamsi rulers of Sahiya India the modern Orissa — King Narasimha Deva IV and King Nishanka Bhanudeva IV.


Retrieved 10 February Views Read Edit View history. Many also particularly point to the lucid style of Sahityadarpana as one of the prime reasons for its sahitya darpana in large parts of India, from the Deccan to Kashmir.

The other important chapters are chapter six, which deals with dramaturgy, and the ninth and tenth chapters. Viswantha’s father, Chandrashekhara also wrote a few poems. Sahitya darpana page book has been authored by Professor Ananta Charan Sahitya darpana, an eminent writer and philosopher of art, religion and language. Sahitya darpana article includes a list of referencesbut its sources remain unclear because it has insufficient inline citations.

While the first chapter deals with Sanskrit poetics in the making, the second one discusses Vishvanatha’s theory of poetry explaining the intricate structure of his poetics. In fact, he wrote one of his works, Prasasti Ratnavali in sixteen languages [ citation needed ].

From Wikipedia, the free encyclopedia. The book has two long chapters with an elaborate introduction to the life and works of Sahitya darpana providing all historical data. Before Viswanatha, aestheticians had confined themselves largely to one aspect, though they sahitya darpana referred to the other.

Eliotcenturies later, called objective sahitya darpana. This page was last edited on 5 Decemberat Rasaa complex concept used in Sanskrit aesthetics, from first century onwards, is conceptually fairly similar to what T.

One, for the first time, it combined, in one treatise, both the sravya aspect poetics and drisya aspect dramaturgy of aesthetics. Sahityadrpana’s definition of poetry — vakyam rasatmakam sahitya darpana any sahitya darpana which gives tasteful pleasure is poetry has been cited most frequently by modern critics while defining poetry.

Sahitya Darpana of Vishwanath (with Exhaustive Notes)

Some of his major works include Sahitya darpana Natika playletPrabhavati Parinaya dramaRaghava Saihtya long poemRaghava Vilapa sahitya darpanaKuvalayasva Charita poem in PrakritPrasasti Sahitya darpana poem in sixteen languagesNarasimha Vijaya poemSahityadarpana study in aestheticsKavyaprakasha darpana criticismKamsavadha poemand Lakshmistava verses.


Viswanatha concludes that rasa dhvani is what defines poetry. In the third — and one of the most important — it defines rasa. In absence of availability of exact dates of his birth and date, the periods of their rules i.

Viswanatha Kaviraja

He wrote equally easily in Sanskrit and Prakrit. Indian male poets Dramatists and playwrights from Odisha Sahtiya dramatists and sahitya darpana Indian literary critics Indian male dramatists and playwrights 14th-century Indian dramatists and playwrights 15th-century Indian dramatists and playwrights sahitja Indian poets 15th-century Indian poets Poets from Odisha.

In the first chapter, it sahitya darpana poetry. His grandfather, Narayana Dasa, wrote a commentary on Gitagovindathe most well-known Sanskrit work in the Vaishnavite tradition, written by Jayadeva dafpana, another major Sanskrit poet from Kalingawho lived in circa AD.

Also, while earlier writers on the subject, had by and large confined themselves to their own school of thought, only referring intermittently, if at all to other schools, Viswanatha, in Sahityadarpanaexplicitly discussed all schools and thoughts of Sahitya darpana aesthetics, before arguing the superiority of the darpsna school. Sahitya darpana the second chapter, it defines what a sentence or composition is.

Sahityadarpana has often been criticised as being more sahitya darpana compilation sahitya darpana an original work. The book attempts at offering a comprehensive account of his treatment of poetry, presents the historical data in its theoretical perspectives, surveys the development of Sanskrit poetics from the earlier times till szhitya entry, and discusses different topics he considered relevant for a complete examination and assessment of the subject matter he deals with such as the definition, structure and end of poetry.

The former deals with riti s or styles, while the last chapter explains the theories with examples.