Contemporary Sanskrit Literature Final 2

Ph.D. Coursework Assignment

UNIT 2: SANSKRIT LanguageAncient & Modern

MODULE 5: MODERN TRENDS IN SANSKRIT

Submitted byG Anandaraj

General awareness of Post-Independence Sanskrit Literature

Important Works Deal with Story, Drama, Poem, Translation


Contents Contemporary Sanskrit Literature Post-independence Sanskrit literature in India Modern Sanskrit Poetics Important Writers

1. Bhatt Mathuranath Shastri 2. Satyavrat Shastri 3. Prof. Rewa Prasad Dwivedi 4. Abhiraj Rajendra Mishra 5. Rambhadracharya6. Manmohan Acharya7. H. R. Vishwasa

Contemporary literature and patronage1.The Sahitya Akademi Awards2. सा�हि�त्य अक्का�दमि� पु�रस्का�रजे�ता�र� (१९५६-२०१३)

१०८ आधु�हि�कासा स्का! तासा�हि�त्यका! ताय� References

Contemporary Sanskrit Literature

The contemporary Sanskrit literature, coming out of classical Sanskrit poetry, has ostensibly a gradual tilt towards modernity, both in style and content. Manifesting the life of common man, the modern poetry reflects the social & cultural changes, political tendencies & literary movements. For the same reason it seems somehow different & distinct from the earlier poetry. The modern poetry is not confined only to India but it has expanded its wings in the open sky. So that the characters like Tolstoy, Maxim Gorky, Lenin, George Kennedy etc. are bring picturised in Sanskrit poetry. Sanskrit poets are visiting foreign countries & creating poetry on them. The Kavyas like 'Swissdeshvarnanam' & Germanyyatravarnanam' of T.V. Parmesvara Ayyer, 'Sharmanyadesh Sutrām Vibhāti' & 'Thāideshvilāsam' of Prof. Satyavrata Shastri, Vimānyatrashatkam', 'Bālivilāsam', 'Bālipratyabhigyān-shalkam' & 'Yavadweepsāhityashatkam' of Prof. Abhiraj Rajendra Misra & 'Dharitridarshanam' of Prof.

PhD Coursework: UNIT 2 - SANSKRIT ANCIENT & MODERN/module 5


Radhavallabh Tripathi have opened the new door of horizon, which attracts the vision of foreign readers too.

Post-independence Sanskrit literature in India

Literature in Sanskrit continues to be produced, despite its relative neglect by both Sanskritists and non-Sanskritists. These works, however, have a very small readership. In the introduction to o aśī: An AnthologyṢ ḍ of Contemporary Sanskrit Poets (1992), Radhavallabh Tripathi writes: Sanskrit is known for its classical literature, even though the creative activity in this language has continued without pause from the medieval age till today. Consequently, contemporary Sanskrit writing suffers from a prevailing negligence.

Most current Sanskrit poets are employed as teachers, either pandits in pā haśālas or university professors. However, Tripathi also points out theṭ abundance of contemporary Sanskrit literature: On the other hand, the number of authors who appear to be very enthusiastic about writing in Sanskrit during these days is not negligible. Dr. Ramji Upadhyaya in his treatise on modern Sanskrit drama has discussed more than 400 Sanskrit plays written and published during the nineteenth and twentieth centuries. In a thesis dealing with Sanskrit mahākāvyas written in a single decade, 1961–1970, the researcher has noted 52 Sanskrit mahākāvyas (epic poems) produced in that very decade.

Similarly, Prajapati , in Post-Independence Sanskrit Literature: A Critical Survey, estimates that more than 3000 Sanskrit works have been composed in the period after Indian Independence (i.e., since 1947) alone. Further, much of this work is judged as being of high quality, both in comparison to classical Sanskrit literature, and to modern literature in other Indian languages.

Some modern mahākāvyas do not aim to satisfy all the traditional criteria, and take as their subject historical matter (such as Rewa Prasad Dwivedi's Svatantrya Sambhavam on the Indian independence movement, or K.N. Ezhuthachan's Keralodayah on the history of Kerala), or



biographies of historical characters (such as S.B. Varnekar's Shrishivarajyodayam on Shivaji, M. S. Aney's Sritilakayasornavah on Bal Gangadhar Tilak, or P. C. Devassia's Kristubhagavatam on Jesus Christ). Some others like the Śrībhārgavarāghaviyam (2002) composed by Jagadguru Rāmabhadrācārya continue to have the subject of the traditional epics.

Modern Sanskrit Poetics The concept of poetry has been a matter of deep discussion among

Sanskrit poeticians. In modern Sanskrit poetics of twentieth century some new sparks of thoughts have emerged in this field. The idea of combination of word and meaning being ‘kāvya’ has still gained momentum. The inherent element of beauty being summum bonum of poetry also had weight in modern age. The principle of poetic beauty was propagated by Prof. Shivaji Upadhyay in his work ‘Sāhitya-sandharbhah)’. The doctrine, which established that ‘Camatkāra’, extra-ordinary strikingness, is essence of poetry, was strongly propounded by Prof. Ram Pratap Vedalankar in his ‘Camatkāravicāracarcā’. Prof. Rewa Prasad Dwivedi in his book ‘Kāvyālańkārakārikā ’ proposes his original view that poetry is purely cognitive. It is cognition of the embellished meaning. Neither word nor meaning is poetry. ‘Vijñāna’ only is poetry. Dr. Brahmanand Sharma, refuting the theory of Prof. Dwivedi in his books ‘Kāvyasatyāloka’ and ‘Rasālocanam’, defines the word ‘Sāhitya’ on the basis of exposition of truth in poetry. He interprets poetry with a new approach in terms of socialistic ideology.

One more poetician Prof. Radha Vallabh Tripathi in his ‘Abhinavakāvyālańkārasūtram’ state that poetry is ‘reproduction of the world through words’. His words ‘loka’ and ‘anukīrtana’ are used in wider sense comprising whole of the world. Contrary to this notion Prof. Rajendra Mishra in his book ‘Abhirāja -yaśobhūs an)am’ maintains that poetry is ‘lokottara’ super-worldly due to new and new imaginations generated by the creative genius of the poet. New definitions proposed by modern poeticians have sound footing of earlier tradition of



Sanskrit literary criticism, but they certainly possess fresh approaches and original opinions. Combination of word and meaning is an inevitable factor and presentation of the element of bliss and beauty is a common feature in modern Sanskrit poetics. The matter is still open for discussion before the Sanskrit world of literature and literary criticism.

Now, we would concentrate on some of the stalwarts of Post-Independence Sanskrit Literature and their important works deal with Story, Drama, Poem and Translation with view to have a general awareness of the subject.

Bhatt Mathuranath Shastri Satyavrat Shastri Prof. Rewa Prasad Dwivedi Abhiraj Rajendra Mishra Rambhadracharya Manmohan Acharya H. R. Vishwasa

1. Bhatt Mathuranath Shastri

भट्ट �थु�र��थु शा�स्त्री') (March 23, 1889 – June 4, 1964) was an eminent Indian Sanskrit scholar, poet, philosopher, grammarian, polyglot and expert of Tantra from Jaipur, Rajasthan. He was one of the prominent Sanskrit writers of the twentieth century who wrote on both traditional and modern themes. He pioneered the use of several new genres in Sanskrit literature, writing radio plays, essays, travelogues, and short stories. He wrote many songs in Sanskrit including Ghazals, Thumris, Dadras and Dhrupads. He pioneered the use of Prakrit (Braja and Hindi) metres in Sanskrit poetry.

Life Birth



Bhatt Mathuranath Shastri was born in Jaipur in the famous Devarshi family which had a tradition of great Sanskrit scholars and poets going back to more than four hundred years. His ancestors were Tailanga Brahmins of the Gautama Gotra following the Krishna Yajurveda. The Devarshi family started with Baviji Dikshit, who migrated from Divrikhiya (alias Devalpalli) village (origin of their family name Devarshi) in current-day Andhra Pradesh to Varanasi during Mughal rule. The descendants of Baviji Dikshit later migrated from Varanasi to Prayag, then to Rewa and then to Bundi. From Bundi, Maharaja Sawai Jai Singh brought Devarshi Kavikalanidhi Krishna Bhatt, a celebrated poet of Sanskrit and Braj-Bhasha, to his Jaipur-court and awarded him the title of "Kavikalānidhi" (treasure of poetic expertise). Descendants of Krishna Bhatt in the Devarshi family include Dwarkanath Bhatt, Jagdish Bhatt, Vasudev Bhatt, and Mandan Bhatt, who were all royal poets in the court of the Maharajas of Jaipur. In this family, Mathuranath Shastri was born on March 23, 1889 in Jaipur.

EducationMathuranath Shastri after acquiring basic knowledge of Urdu and

Persian in the beginning, studied grammar and Sanskrit at the Maharaja's Sanskrit College in Jaipur. He topped in the grammar examination in 1903 and also in Upadhyaya examination for Sanskrit literature in the year 1906. In 1909, he passed the Acharya (Masters) examination in Sanskrit literature with highest marks. His teachers included Vidyavachaspati Pandit Madhusudan Ojha, Pandit Kashinath Shastri, Gopinath Nanglya, Laxminath Shastri, Haridutt Jha, and Shrikrishna Shastri. His contemporary Sanskrit scholar stalwarts were likes of Vedchoodamani Pandit Moti Lal Shastri, Mahamahopaadhyaya Pandit Giridhar Sharma Chaturvedi, Vyakaranmartand Pandit Lakshminath Shastri, Lakshmiram Swami, Rajguru Pandit Chandradutt Ojha, Pt. Sooryanaarayan Sharma, Pandit Gopinath Kaviraj and Pandit Chandradhar Sharma Guleri.

Family life



Mathuranath Shastri married thrice. In 1909, he married Savitri Devi, daughter of the royal priest of Orchha, Raghunath Dauju. Savitri Devi gave birth to three children who all died in infancy. She also expired later. His second wife Mathura Devi, daughter of Narayanrao of Ajaigarh (Madhya Pradesh) died of plague within one year of their marriage. Although grossly reluctant to remarry, on the insistence of his relatives, he married Rama Devi daughter of Pandit Gopikrishna Goswami (of Mahapura, near Jaipur), a descendant of famous Tantrik scholar Shivanand Goswami, in 1922. From Rama Devi, he had four children - two sons named Kala Nath and Kamla Nath, and two daughters named Jaya Goswami and Vijaya Tailong.[6] His grandchildren are Hemant Shesh, Jayant Goswami, Devendranath Devarshi, Kalpana Goswami, Dhirendra Devarshi, Bhartendu Tailang, Neelima Sharma, Pranjal Sharma and Prachi Goswami.

Teaching Appointed by the then Director of Education Shri Shyam Sunder

Sharma, Bhatt Mathuranath Shastri taught Sanskrit from 1926 to 1931 at the Maharaja College in Jaipur, where other subjects besides English and humanities were also taught. From 1931 to 1934 he was the chief examiner/ Inspector of schools run by the Maharaja of Jaipur. From 1934 to 1942 he then taught at Jaipur's Maharaja Sanskrit College, besides serving as the Head of Department of Literature.[6] During his teaching assignment, Pandit Bhatt wrote "Sanskrit-Subodhini" (in two volumes), a unique text book of its own kind to teach Sanskrit in an extremely simple and extra ordinarily interesting way. Another text book "Sulabh Sanskritam" written by Pandit Bhatt was published in 1960. For many decades 'Sulabh Sanskritam' remained the main text book prescribed by the Government of Rajasthan for learning Sanskrit. Rightly considering it to be a nationalistic cause, Pandit Bhatt was a great supporter and propagator of Hindi since his student days. On his personal initiative, Jaipur was recognized as one of the centers of examination for various diploma/ degree courses of Prathmaa, Madhyamaa (Visharad) and Uttamaa (Sahityaratna) run by the Hindi Sahitya Sammelan. For this purpose he started special night classes in a city-temple, where he himself taught the students free of cost. Despite apprehension of attracting displeasure of the British officials, Pandit Bhatt and his team of dedicated



teachers including Govind Rao Kaveeshwar, continued with conducting Hindi-teaching classes.

DeathMathuranath Shastri died of a heart attack at the age of 75 on June 4,

1964 in Jaipur. His death was termed as an "irreparable loss to the world of Sanskrit literature" and was mourned by provincial and central governments in India, various Governors, and by Sanskrit periodicals and journals.

Major Works Mathuranath Shastri wrote many books, articles, essays and songs in

Sanskrit, Hindi, Urdu, Bengali and Gujarati. He had started writing when he was just 14 years old and continued it until his death in 1964. His literature runs into more than one hundred thousand pages.[6]

Sanskrit(1906)Ādarśarama ī (ṇ आदशा(र�णी') published by 'Sanskrit Ratnakar'(1935) Gāthāratnasamuccaya (ḥ गा�थु�रत्�सा��च्चय�)(1987) Gīrvā agirāgauravam (ṇ गा'र्वा�(णीहिगार�गा-रर्वा�.)< publisher- Kendriya

Sanskrit Vidyapeeth, Jaipur ref name="modernsanskritbib"(1957) Govindavaibhavam (गा/हिर्वान्दर्वा1भर्वा�.)(1941) Ca akām (ṣ चषका�.): A Sanskrit commentary on the Kadambari of

Bā abha a published by Nirnaya Sagar Press, Bombay.ṇ ṭṭ(1947) Jayapuravaibhavam (जेयपु�रर्वा1भर्वा�.)(1988) Prabandhapārijāta (ḥ प्रबन्धपु�रिरजे�ता�) Publisher- Kendriya Sanskrit

Vidyapeeth, JaipurBhaktibhāvano Bhagavān ( भक्ति9भ�र्वा�/ भगार्वा��.)Bhāratavaibhavam (भ�रतार्वा1भर्वा�.)Mañjulaanā ikā (ṭ �ञ्जु�ला� ��टि=का�) A Radio play for All India Radio

published in series 'Prakhya'-6 by Hari Singh Gaur Sagar UniversityMogalasāmrājyasūtradhāro Mānasi ha (ṁ ḥ �/गालासा�म्रा�ज्यसा@त्रीधु�र/ ��सिंसाB��)(1939) (revised in 1946)Saralā (सारला�): A Sanskrit commentary on the

Rasaga gādharam of Panditraj Jagannath published by Nirnay Sagarṅ Press, Bombay.



Sa sk tasudhā (ṁ ṛ सा स्का! तासा�धु�): Rendering of the Prakrit Gaha Sattasai of Hāla in Sanskrit.

(1930) Sāhityavaibhavam (सा�हि�त्यर्वा1भर्वा�.)

An anthology titled Mañjunāthagranthāvali (ḥ �ञ्जु��थुग्रन्था�र्वाक्तिला�) consisting of all Sanskrit works of Shastri (along with his Sanskrit commentary) has been published by the Rashtriya Sanskrit Sansthan, New Delhi.[7]:119 Some of Bhatt's very important works are still unpublished. They include-

Bharat Vaibhawvam(भ�रतार्वा1भर्वा� .्) ( In two volumes)Dhatuprayogaparijatah (धु�ता�प्रय/गापु�रिरजे�ता�)Aaryaanamaadibhasha ( आय�(णी��. आटिदभ�ष�)Kavyakunja (का�व्यका� जे�.)Rassiddhantah (रसाक्तिसाद्धा�न्ता�)( Partly published in 'Shodhaprabha'by Lal

Bahadur Shastri Sanskrit Vidyapeeth, New DelhiVinodvaatika (हिर्वा�/दर्वा�टि=का�)Sanskrit-Katha-Nikunj (सा स्का! ता-काथु�-हि�का� जे�.)Bilhanstasya Kavyanch ( हिबल्�णीस्तास्य का�व्य च)Kavyasiddhantah(का�व्यक्तिसाद्धा�न्ता�)Stutikusumanjali (स्ता�हिताका� सा�� जेला')Rasgangadhar Commentary Detailed ( रसागा गा�धुर हिर्वास्ता!ता व्य�ख्य�)(detailed

Commentary)

Editing Mathuranath Shastri's massive contribution to Editing various

important and classical Sanskrit books is also noteworthy. He has edited "Kadambari", "Rasgangadhar" "Sanskritgathasaptshati", "Geervaangiraagauravam", "Prabandhpaarijat", "Shilalekhlalantika", "Geetgovindam", "Sulabh Sanskritam", "Sharnagati-rahasya", Vrij-kavita-veethi", "Chaturthistav", "Chandradutta-parichaya", "Ishwarvilas-mahakavyam", "Padyamuktavali" , "Vrittmuktavali" etc. He also edited prestigious Sanskrit journals and periodicals like "Sanskrit Ratnakar" (from 1904 to 1949) and "Bharati" (from 1952 to 1964).

Songs



Shastri wrote many songs in Sanskrit, introducing the popular folk music genre of Ghazal, and Hindustani classical music genres of Thumris, Dadras and Dhrupads into Sanskrit.[2][4] He wrote Dhrupad songs in Sanskrit at the insistence of Thakur Jaidev Singh.[6] He had a keen interest in Indian Classical Music and Rabindra Sangeet also.

Major Books published on the life and works of Bhatt Mathuranath Shastri

ManjunathvaagvaibhawamManjunathgadyagauravamShrimathuranathshastrinah krititva-sameekshanamSanskrit ke yug-purush: Manjunath (By Kala Nath Shastry)Many scholarly researches, including those for Ph.D and M.Phil degrees,

have been done on his works throughout India and abroad.

Awards and recognitionAwards Title of "Kaviśiroma i" (crest jewel of poets), given in 1936 by Akhilṇ

Bhartiya Sanskrit Sahitya Sammelan through the Maharaja of Jaipur Sawai Bhawani Singh.[1]

Title of "Kaviśiroma i" (crest jewel of poets), given by the All Indiaṇ Sanskrit Literature Conference.[1]

Title of "Kavisārvabhauma" (emperor of poets), given by the Vellanaatiya Tailanga Sabha.[1]

Title of "Sāhityavāridhi" (ocean of literature).[1] given by Bharat Dharma Mahamandal , Varanasi.

Recognition Radha Vallabh Tripathi writes that Mathuranath Shastri was one of his

kind in his time who started new genres, foresaw the future of Sanskrit composition and a composer of novel works and songs. Tripathi says that barring two or three poets like Mathuranath Shastri, nobody has demonstrated command over a wide variety of poetry and prose genres. He further adds that Mathuranath Shastri brought a new dawn in the field of Sanskrit literature. His outstanding contribution to Sanskrit literature has been recognized by Uttar Pradesh Sanskrit Sansthan, Lucknow in their



prestigious publication "Sanskrit Vangmaya Ka Vrihad Itihas", 2004 (Edited by Pandit (Baldev Upadhyaya) by naming one of the three modern Sanskrit literature-eras as "Bhatt-Yug" (1930-1960). Kalidas Samiti in Ujjain regularly organized “Kalidas Samaroh” since 1940’s. Impressed by Pandit Bhatt’s poetic excellence and his deep appreciation of the aesthetics of poetry, the Kalidas Samiti honoured him at an All India Kavi Sammelan in Ujjain by calling him “Abhinav Kalidas” (modern day Kalidas). His birth anniversary is celebrated regularly by many reputed south Indian literary and academic institutions. After his name, a chair has been established in Jagadguru Ramanandacharya Rajasthan Sanskrit University Jaipur. 'Manjunath Shodh Sansthan' (C-8, Prithwi Raj Road, C-Scheme, Jaipur-302001 phone:+91 141 2376008) is active in research and publication work relating to the life and literary contribution of Bhatt Mathuranath Shastri and maintains his huge library.

2. Satyavrat Shastri

Satya Vrat (or Satyavrat) Shastri (born 29 September 1930) is a highly decorated Sanskrit scholar, writer, grammarian and poet from India. He has written three Mahakavyas, three Khandakavyas, one Prabandhakavyas and one Patrakavya and five works in critical writing in Sanskrit. His important works are Ramakirtimahakavyam, Brahattaram Bharatam, Sribodhisattvacharitam, Vaidika Vyakarana, Sarmanyadesah Sutram Vibhati, and "Discovery of Sanskrit Treasures" in seven volumes.

He is currently an honorary professor at the Special Centre for Sanskrit Studies, Jawaharlal Nehru University, New Delhi. He was the Head of the Department of Sanskrit and the Dean of the Faculty of Arts at the



University of Delhi, where he was the Pandit Manmohan Nath Dar Professor of Sanskrit (1970–1995).

During his career he has won many national and international awards, including, the Sahitya Akademi Award for Sanskrit, given by Sahitya Akademi, India's National Academy of Letters, in 1968 for his poetry work, Srigurugovindasimhacharitam, then in 2006, he became the first recipient of the Jnanpith award in Sanskrit language (conferred in 2009 by his disciple and Thailand's Princess Maha Chakri Sirindhorn).

Literary writingso Brhattaram Bharatam ( A Kavya in Sanskrit ) Sarasvati Susama,

Journal of the Sampurnanand Sanskrit University, Varanasi, Vol. XII, No. 1, Samvat 2014

o Sribodhisattvacaritam (A Kavya in Sanskrit), First Ed. Self Publication, Delhi, Samvat 2017 (A.D. 1960) pages iv+ 120, Second Ed. Meharchand Lacchmandas, Delhi 1974,

o Srigurugovindasimhacaritam (A Kavya in Sanskrit) (With a Foreword by Dr. V.Raghavan), First Ed. Guru Gobind Singh Foundation, Patiala, 1967, Second Ed. Sahitya Bhandar, Meerut, 1984,

o Sarmanyadesah Sutaram Vibhati (A Kavya in Sanskrit), Akhil Bharatiya Sanskrit Parishad, Lucknow, 1976

o Indira Gandhi-caritam (A Kavya in Sansktir), Bharatiya Vidya Prakashan, Delhi, 1976,

o Thaidesavilasam (A Kavya in Sanskrit) (With a Foreword by Prof. Visudh Busyakul), Eastern Book Linkers, Delhi 1979

o Sriramakirtimahakavyam (A Kavya in Sanskrit) (with a foreword by Her Royal Highness Maha Chakri Sirindhorn, the Princess of Thailand), Moolamall Sachdev and Amarnath Sachdeva Foundations, Bangkok, First Ed. 1990, Second Ed. 1991, Third Ed. 1995.

o Patrakavyam (A Kavya in Sanskrit), Eastern Book Linkers, Delhi 1994

o New Experiments in Kalidasa (Plays), Eastern Book Linkers, Delhi 1994



o Chanakyaniti, Bharatiya Vidya Mandir, Kolkata, 2013, ISBN 978-81-89302-42-9

o Charan Vai Madhu Vindati (Sanskrit-Hindi), Vijaya Books, Delhi-110032, 2013 - ISBN 978-93-81480-30-4

3. Prof. Rewa Prasad Dwivedi

Prof. Rewa Prasad Dwivedi, eminent Sanskrit author and scholar, was born in 1935 in Varanasi. His contribution to Sanskrit language and literature is outstanding.

Sitacaritam and Svatantryasambhavam His most significant works, Sitacaritam and Svatantryasambhavam are

two epic poems. The first mahakavya (epic poem), Uttara Sita-charitam, composed from 1956 to 1968, is based on the Ramayana and deals with the later life of Sita, but is recast to contemporary times and deals with Indian polity and patriotism. His second epic, Svatantrya-sambhavam, which won the Sahitya Akademi Award in 1991, portrays the Indian



national freedom movement, from the time of Rani Lakshmi Bai of Jhansi to events of post-Independence India.

Other Sanskrit worksHis other Sanskrit works include Pramatah (1988, a collection of poems

on the atomic age), Sri Rewa Bhadrapitham (1988, verses in praise of the river Rewa, Narmada), Shatapatram (1987, poems about poetry), and Yuthika (a four-act play).

He has written a number of stories. He has written extensively on Sahityasastra (Poetics) and produced such great works as Kavyalankarakarika, Natyanusasanam, and Sahityasarirakam. Dwivedi has edited many works, of which The Complete works of Kalidasa is his greatest contribution to Sanskrit literature. He has also presented research papers in various seminars on Sanskrit and Oriental studies.

Academic Positions and AwardsDwivedi held many prestigious academic positions in Universities and

other institutions. He was a member of the Executive Council, Academic Council, Board of Studies, Banaras Hindu University; Central Sanskrit Board for two terms; Rashtriya Sanskrit Sansthan, New Delhi; Kalidasa-Samiti, Government of Madhya Pradesh and Sanskrit Academies of Uttar Pradesh and Madhya Pradesh. He is an Emeritus Professor of Sanskrit, Banaras Hindu University and the founder of Kalidas Samsthan, Varanasi. He taught in Banaras Hindu University from 1977-1995 in various capacities. He worked as Dean, Faculty of Sanskrit, Banaras Hindu University for three terms (1979-81; 85-87; 87-89). He was Emeritus fellow of the University Grants Commission from 1990 to 1992.

Dwivedi has been honored for his many contributions to Sanskrit language and literature. He received a Certificate of Honor from The President of India in 1978. He was honored with four awards for his Svatantryasambhava, an epic poem: Sahitya Akademi Award, 1991; Kalpavalli Award by Bharatiya Bhasha Parishad, Calcutta, 1993; Vacaspati award by K.K. Birla Foundation, New Delhi, 1997; and Sriveni award by R.J. Dalmiya Sriveni Trust, Delhi, 1999. He was conferred nine different awards on his works by the Government of Madhya Pradesh and Uttar



Pradesh. He also received two Mitra Puraskara, one Bhojapuraskara and one Vyasapuraskara .

4. Abhiraj Rajendra Mishra

(born 1943) He is a Sanskrit author, poet, lyricist, playwright and the former Vice-Chancellor of the Sampurnanand Sanskrit University, Varanasi. He has served as the head of department of Sanskrit in Himachal Pradesh University, Shimla. He has also been a visiting professor at the University of Indonesia, the oldest university of Indonesia.

Abhiraj Rajendra Mishra is the winner of Sahitya Akademi Award for Sanskrit for the year 1988.[3] He is popularly known as Trive ī Kavi.[2]ṇ He has composed many books in Sanskrit, Hindi, English and Bhojpuri.

Personal life He was born in Dronipur in Jaunpur district in Uttar Pradesh, to Pandit

Durgaprasad Mishra and Abhiraji Devi. His Dīk ā Guru is Jagadguruṣ Rāmabhadrācārya, whose epic poem Gītarāmāya am was released by himṇ on January 14, 2011.[1] After retirement, he is settled in Shimla, Himachal Pradesh.

Major Works The major works of Abhiraj Rajendra Mishra are -

o Ikshugandhao Aranyanio Abhiraja-Yasobhushanamo Dhara-Mandaviyamo Janaki-Jivanamo Madhuparnio Samskrit Sahitya Mein Anyoktio Sapta-Dharao Poetry and Poetics



o Abhiraja-Sahasrakam,o Natya-Panchagavyamo Natya-Panchamritamo Vag-Vadhutio Mridvikao Srutimbharao Bali-Dvipe Bharatiya Samskritiho Vimsa-Satabdi-Samskrita-Kavyamritam (ed.)o Sejarah Kesusatraan Sanskerta (History of Sanskrit in Bahasa

Indonesia)o Suvarna-Dvipiya Rama-Kathao Samskrita-Satakam

Awards and Honours o Sahitya Akademi Award for Sanskrit in 1988 for his collection of

short stories Ikshugandha.o Certificate of Honour from the President of India in 2002.o Valmiki Samman o Vachaspati Samman

5. Rambhadracharya

Jagadguru Ramanandacharya Swami Rambhadracharya (born Giridhar Mishra on 14 January 1950) is a Hindu religious leader, educator, Sanskrit scholar, polyglot, poet, author, textual commentator, philosopher, composer, singer, playwright and Katha artist based in Chitrakoot, India. He is one of four incumbent Jagadguru Ramanandacharya and has held this title since 1988.

Rambhadracharya is the founder and head of Tulsi Peeth, a religious and social service institution in Chitrakoot named after Saint Tulsidas. He is the founder and lifelong chancellor of the Jagadguru Rambhadracharya Handicapped University in Chitrakoot, which offers graduate and



postgraduate courses exclusively to four types of disabled students. Rambhadracharya has been blind since the age of two months, had no formal education till the age of seventeen years, and has never used Braille or any other aid to learn or compose.

Rambhadracharya can speak 22 languages and is a spontaneous poet and writer in Sanskrit, Hindi, Awadhi, Maithili, and several other languages. He has authored more than 100 books and 50 papers, including four epic poems, Hindi commentaries on Tulsidas' Ramcharitmanas and Hanuman Chalisa, a Sanskrit commentary in verse on the Ashtadhyayi, and Sanskrit commentaries on the Prasthanatrayi scriptures. He is acknowledged for his knowledge in diverse fields including Sanskrit grammar, Nyaya and Vedanta. He is regarded as one of the greatest authorities on Tulsidas in India, and is the editor of a critical edition of the Ramcharitmanas. He is a Katha artist for the Ramayana and the Bhagavata. His Katha programmes are held regularly in different cities in India and other countries, and are telecast on television channels like Sanskar TV and Sanatan TV. He is also a leader of the Vishva Hindu Parishad (VHP).

First Sanskrit compositionAt the Adarsh Gaurishankar Sanskrit College, Giridhar learnt the eight

Ganas of Sanskrit prosody while studying Chandaprabhā, a work on Sanskrit prosody. The next day, he composed his first Sanskrit verse, in the Bhuja gaprayāta metre.ṅ

��घो/रशा/का�ग्निL��ऽऽताप्य�� पुतान्ता हि�र�सा�रसा सा�रक्तिसान्ध-।अ��थु जेडं �/�पु�शा�� बद्धा प्रभ/ पु�हि� �� सा�र्वाकाक्ला�शा�र्त्तः(�॥

O omnipotent Lord, remover of the distress of your worshippers! Protect me, who is being consumed by the extremely dreadful fire of sorrows, who is helplessly falling in the ocean of the mundane world, who is without any protector, who is ignorant, and who is bounded by the shackles of delusion.



Sanskrit Works

Rambhadracharya has authored more than 100 books and 50 papers, including published books and unpublished manuscripts. Various audio and video recordings have also been released. His major literary and musical compositions are listed below.

(1996) Ājādacandraśekharacaritam (आजे�दचन्द्रशा�खरचरिरता�.) – Sanskrit minor poem.

(1996) Āryāśatakam (आय�(शाताका�.) – Sanskrit hymn of praise.(1996) Ga apatiśatakam (ṇ गाणीपुहिताशाताका�.) – Sanskrit hymn of raise.(1996) Ca īśatakam (ṇḍ चण्डं'शाताका�.) – Sanskrit hymn of praise.(1996) Jānakīk pāka āk am (ṛ ṭ ṣ जे��काWका! पु�का=�क्ष�.) – Sanskrit hymn of praise.(1996) Mukundasmara am (ṇ ��का� न्दस्�रणी�.) – Sanskrit hymn of praise.(1996) Śrīrāghavābhyudayam (श्री'र�घोर्वा�भ्य�दय�.) – Single-act Sanskrit play-

poem.(1996) Śrīrāghavendraśatakam (श्री'र�घोर्वा�न्द्रशाताका�.) – Sanskrit hymn of

praise.(1997) A ādhyāyyā Pratisūtra Śābdabodhasamīk a am (ṣṭ ḥ ṃ ṣ ṇ अष्टा�ध्य�य्य��

प्रहितासा@त्री शा�ब्दब/धुसा�'क्षणी�.) – Sanskrit commentary in verse on the Sutras of the Ashtadhyayi.

(1997) Śrīrāmabhaktisarvasvam (श्री'र��भक्ति9सार्वा(स्र्वा�.) – Sanskrit poem of one hundred verses.

(1998) Śrīga gāmahimnastotram (ṅ श्री'गाङ्गा��हि�म्�स्ता/त्री�.) – Sanskrit hymn of praise.

(2001) Sarayūlaharī (सारय@ला�र') – Sanskrit minor poem.(2001) Laghuraghuvaram (लाघो�रघो�र्वार�.) – Sanskrit minor poem.(2001) Namo Rāghavāya ( ��/ र�घोर्वा�य) – Sanskrit hymn of praise.(2001) Śrīnarmadā akam (ṣṭ श्री'��(द�ष्टाका�.) – Sanskrit hymn of praise on the

river Narmada.(2001) Bhaktisārasarvasvam (भक्ति9सा�रसार्वा(स्र्वा�.) – Sanskrit hymn of praise.(2001) Ślokamauktikam (श्लो/का�-क्ति9का�.) – Sanskrit hymn of praise.(2001) Śrīrāghavacara acihnaśatakam (ṇ श्री'र�घोर्वाचरणीक्तिचह्नशाताका�.) – Sanskrit

hymn of praise.



(2001) Śrījānakīcara acihnaśatakam (ṇ श्री'जे��काWचरणीक्तिचह्नशाताका�.) – Sanskrit hymn of praise.

(2001) Śrīrāmavallabhāstotram (श्री'र��र्वाल्लाभ�स्ता/त्री�.) – Sanskrit hymn of praise.

(2010) Sarvarogaharā akam (ṣṭ सार्वा(र/गा�र�ष्टाका�.) – Sanskrit hymn of praise.(2001) Śrīcitrakū avihārya akam (ṭ ṣṭ श्री'क्तिचत्रीका@ =हिर्वा��य(ष्टाका�.) – Sanskrit hymn of

praise.(2001) Śrījānakīk pāka āk astotram (ṛ ṭ ṣ श्री'जे��काWका! पु�का=�क्षस्ता/त्री�.) – Sanskrit

hymn of praise.(2002) Śrībhārgavarāghavīyam (श्री'भ�गा(र्वार�घोर्वा'य�.) – Sanskrit epic poem.

The poet was awarded the 2004 Sahitya Akademi Award for Sanskrit for the epic.

(2002) Śrīrāghavabhāvadarśanam (श्री'र�घोर्वाभ�र्वादशा(��.) – Sanskrit minor poem.

(2003) Kubjāpatram (का� ब्जे�पुत्री�.) – Sanskrit letter poem.(2004) Bh gadūtam (ṛṅ भ!ङ्गादूता�.) – Sanskrit minor poem of the Dūtakāvya

(messenger-poem) category.(2007) Manmathāriśatakam (�न्�थु�रिरशाताका�.) – Sanskrit hymn of praise.(2008) Cara apī āharā akam (ṇ ḍ ṣṭ चरणीपु'डं��र�ष्टाका�.) – Sanskrit hymn of

praise.(2008) Śrīsītārāmakelikaumudī (श्री'सा'ता�र��का� क्तिलाका-��दd) – Hindi Rītikāvya

(procedural-era Hindi poem).(2009) Śrīsītārāmasuprabhātam (श्री'सा'ता�र��सा�प्रभ�ता�.) – A Sanskrit

suprabhatam.(2010) A āvakra (ṣṭ अष्टा�र्वाक्र) – Hindi epic poem.(2011) Gītarāmāya am (ṇ गा'तार��यणी�.) – Sanskrit lyrical epic poem.(2011) Avadha Kai Ajoriyā ( अर्वाधु का1 अजे/रिरय�) – Awadhi lyrical poem.(2011) Śrīsītāsudhānidhi (ḥ श्री'सा'ता�सा�धु�हि�मिधु�) – Sanskrit minor poem of the

Stotraprabandhakāvya category.

Literary style Rewa Prasad Dwivedi writes in his Sanskrit poem dedicated to

Rambhadracharya that he is an encyclopaedia of learning whose literature is like numerous Narmadā rivers flowing out simultaneously, and in whose literary works Shiva and Parvati delight while performing Tandava and Lasya.



Devarshi Kala Nath Shastry writes in his review of Rambhadracharya's works that Rambhadracharya is an accomplished and eloquent poet who is the foremost among scholars and is also well-versed in all scriptures, and who even talks in extemporaneously composed poetry with Sanskrit scholars, usually in Upajāti metre. Rambhadracharya uses with great effect the Da aka style with Sanskrit adjectives in his speeches. Shastryṇḍ recounts a use of a long sentence in the Da aka style at a speech inṇḍ Jaipur in July 2003 by Rambhadracharya, in which one sentence with multiple adjectives lasted around seven minutes and was "replete with poetic beauty". Shastry writes that among Sanskrit poets, only Śrīhar aṣ (poet of Nai adhīyacaritam) has been described as having such wonderfulṣ command over Sanskrit as Rambhadracharya has.

Shastry critiqued the work Śrībhārgavarāghavīyam in the January 2003 issue of the Sanskrit monthly Bhāratī. Shastry writes that the work has poetic excellence, variety of meters and dexterity of language which has not been seen hitherto in Sanskrit epics. Shastry finds the twentieth canto of the epic to be an excellent illustration of Sanskrit poetry in Prakrit verses, a style which was pioneered by Shastry's father.

Dr. Brajesh Dikshit, Sanskrit scholar from Jabalpur, says that that Śrībhārgavarāghavīyam combines the styles of three previous Sanskrit epics – it has two leading characters like in Bhāravi's Kirātārjunīyam, the poetic excellence and variety of prosodic metres is like in Śrīhar a'sṣ Nai adhīyacaritam, while the length and extent of the work is like theṣ Śiśupālavadham of Māgha.

Shastry also critiqued the work Bh gadūtam, about which he says thatṛṅ it has many new usages (Prayogas) not seen earlier in Sanskrit poetry. As per Shastry, new dimensions in Sanskrit literature are seen in the play Śrīrāghavābhyudayam where there are songs in the Gīti style, and Gītarāmāya am which is an epic poem in the Gīti style of Gītagovindam byṇ Jayadeva. Dikshit writes that Kubjāpatram is a revival of the letter-poem (Patrakāvya) genre in Sanskrit after 2000 years, and is the first work in Sanskrit literature whose lead character is disabled.

Shastry says that rhyme (Antyānuprāsa) is a distinguishing feature of Rambhadracharya's Sanskrit poetry. Shastry notes that that another feature of Rambhadracharya's works is the devotion to motherland and patriotism, which is most evident in the poetic work



Ājādacandraśekharacaritam on the life of Chandrashekhar Azad. Shastry says that this strong feeling of love towards motherland is reminiscent of old Sanskrit literature including Prithvi Sukta of Atharva Veda, various Puranas including Bhagavata Purana, and also in the Sanskrit works of Swami Bhagavadacharya, a former Jagadguru Ramanandacharya. Dikshit says that the nationalistic play Śrīrāghavābhyudayam establishes Rambhadracharya as a successful playwright at a young age. Dikshit praises the aesthetics of the work Śrīsītārāmakelikaumudī saying that it represents all the six Sampradāyas of Indian literature (Rīti, Rasa, Ala kāra, Dhvani, Vakrokti and Aucitya), and that it is a unique work ofṅ Rambhadracharya when it comes to figures of speech. Dikshit says that this work places Rambhadracharya in the league of Ritikavya poets like Raskhan, Keshavdas, Ghananand and Padmakar; but observes the distinction that while the works of all these poets are primarily in the Ś ngāra Rasa, Śrīsītārāmakelikaumudī is a work which has Vātsalya Rasaṛ as the primary emotion, which is augmented by Ś ngāra Rasa.ṛ

Dinkar notes that in the poems of Rambhadracharya, the three poetical styles of Pāñcālī (secondary figurative sense with short and sweet-sounding compounds), Vaidarbhī (with compounds and soft contexts and without many figures of speech) and Lā ī (with precise contexts andṭ without many figures of speech) are dominant.

International recognitionIn 1992 Rambhadracharya led the Indian delegation at the Ninth World

Conference on Ramayana, held in Indonesia. He has travelled to several countries, including England, Mauritius, Singapore, and the United States to deliver discourses on Hindu religion and peace. He has been profiled in the International Who's Who of Intellectuals. He was also one of the key figures of the Dharma Prachar Yatra at Detroit.

Address at Millennium World Peace SummitRambhadracharya was one of the spiritual and religious Gurus from

India at the Millennium World Peace Summit, organised by the United Nations in New York City from 28 to 31 August 2000. While addressing the gathering, he gave Sanskrit definitions for the words Bharata (the



ancient name of India) and Hindu, and touched upon the Nirguna and Saguna aspects of God. In his speech on Peace, he called for developed and developing nations to come together to strive for the eradication of poverty, the fight against terrorism, and nuclear disarmament. At the end of his speech, he recited the Shanti Mantra.

Awards and honours Rambhadracharya has been honoured by several leaders and

politicians, including A. P. J. Abdul Kalam, Somnath Chatterjee, Shilendra Kumar Singh, and Indira Gandhi. Several state governments, including that of Uttar Pradesh, Madhya Pradesh, and Himachal Pradesh have conferred honours on him.

6. Manmohan Acharya

Born October 20, 1967, Lathanga, OrissaPen name VanikaviOccupation Poet, Script writer for Indian Classical Dance, Playwright

essayist

Subjects Post modernism, Realism,Notable work(s) Gita-Milindam, Gitamohanam

Manmohan Acharya is a poet and lyricist from India. He is also a researcher and published author. His contribution appears significant by inspiring the classical dance, Odissi, for the first time to enter into Bollywood with his lucid Sanskrit lyrics.

His Gita-Milindam contains 15 gunjans (songs) in different melodious rhythms. Manomohan Acharya speaks for the common mass. His creative technique suggests his attitude to life. Looking at his off-beat themes, none can deny that he is projecting the voice of the mass and hence is a postmodern poet. A devotional song from his Gitamohanam is included in the 2009 movie, The Desire. He authored many Sanskrit poetry to his credit. Some worth-mentioning are Gita-bhaaratam, Palli-panchaasika (Khandakavya), subhasa-charitam (Mahakavya), Sri Sivananda-Laharika (Philosophical Kavya) and Yati-giti-satakam (Sataka-kavya). As a playwright, Manomohan Acharya has written many dance dramas, including Arjuna-Pratijnaa, Shrita-kamalam, Pada-pallavam, Divya-



Jayadevam, Pingalaa, Mrtyu, Sthitaprajnah, Tantram, Purva-sakuntalam, Uttara-sakuntalam and Raavanah.

1 Early life and education2 Works2.1 Poetry2.2 Dance drama2.3 Translation2.4 Research3 Awards

Early life and education

Manmohan Acharya was born in the village Lathanga in Jagatsinghpur district in Orissa, India in 1967. He was born in a Sanskrit family of Lathanga, Orissa of parents Pandit Mayadhar Acharya and Parvati Devi.

Works

Manomohan Acharya has contributed a lot to modern Sanskrit literature both as Poet and Play-wright.

Poetry

Gitamohanam of the songs were adapted for the Bhakti Sangeeta C.D. of International Prajnan Mission; a devotional song is included in the 2009 movie, The Desire.

Gita-bhaaratam(lyrics). Compilation of patriotic songs.

Lyrical Sanskrit poetry ‘Gita-bharatam’ is very much amazing. This literary document is meant to express the glory of the great India. This kavya contains 10 numbers of sweet patriotic songs. In this poetry somewhere the literary style of Jayadeva is traced and somewhere the Raagas and Taalas of Oriya heritage have become the tune of this kavya. Above all the literary style of Manmohan is unique. He posed Sanskrit language as a world glory through his literature. In his melodious song,



Madhura-bhaaratam, Sweet India the poet comprehend each particle of India a sweet one.

Gita milindam (lyrics)Gita milindam contains 15 gunjans (songs) in different melodious

rhythms. The poet sweeped over untouched horizons and speaks for the common mass. The couple of bumble-bees are the natural singers and enjoyers of life's honey. By taking them as anchors of his presentation of poetic message, the poet has not only shown a creative technique but also suggested his attitude to life. Looking at his off-beat theme, none can deny that he is projecting the voice of the mass and hence he is a postmodern poet. The author of Gita-milindam does not present the theme of courtly love. Instead, while subverting the Jayadeva tradition he has composed a parody that ridicules lyrical romantic love in its lyrical structure, typically popular in the Sanskrit literary tradition.

The male and female bumblebees are the hero and heroine of the poem. They present their dialogues in different cantos. The male bee is a passionate lover of sensual enjoyment whereas the female bee opposes it. The male is the hero of the Omar Khayam who wishes to live away his life in sensuality. Parallels are drawn between him and a Tennysonian "lotus eater" - heedless to the closure of the lotus flower at sunset and even its resultant death. The female partner warns him, reminding him of the contemporary social and economic crises such as child labour, unemployment and political corruption that shatter society as a whole, resulting in severe and pitiable conditions that compel an old woman like archetypical Kunti to moving from door to door. Doctors are taking the lives of living human beings while the god of death takes away only the lives of the dead. We are reminded of the September 11 attacks that devastated New York City. Environmental pollution, children's death due to starvation and many other social problems seek to draw the attention of the bee-poets to presenting their experience rather than the ethereal and unnaturally high pitch of Romanticism of bygone days. The female bee is not a materialist, but certainly a representative of the Marxist socialism objecting to the feudalistic luxury and courtly ideology so typical of the age-old Sanskrit literature.

Poet Manomohan has been successful in lyricizing the theme that has for so long been considered anti-lyrical. The reader wonders at how Acharya has overcome the challenging task of reorienting the Sanskrit language to accommodate the contemporary theme in such traditional meters. While using nine ragas from Jayadeva,(cantos 1-5, 8-10 and 13),



he has used Raga from other sources, the six ragas, Abhinava being his own invention.

Quotations

'O! Poet Bumblebee, don’t repeat such poetry on ornamented face of a lady dazzling through fish like eyes and glorified by long black hairs. Here, the foetus of girl child, swimming fearlessly in mother’s womb is killed by her own father. Sita........, an innocent girl is made like a commodity in the horrible dowry market.' 'O! Partner Bumblebee, realize the pain. Please think deeply on it. Remember that the pen which steals both hunger and attention, is really a pen, nectar-flowing.'

Translations

Gitamilindam was translated into English by Bernad Ambrose. Dr. R.N.Mohapatra, Former Professor and Head of the P.G. Department of Hindi, Ravenshaw University translated the poetry into Hindi.

Editions

Gita milindam was first published in 1999 by the publication division of S.S. College, Jagatsinghpur, Orissa with the bare Sanskrit text in Devanagari Script. The Second Edition was published by K. Mohapatra, Advocate, Orissa High Court, Cuttack in 2008 with Hindi translation by Prof. R.N. Mohapatra. The 3rd edition was published as an English translation, Song of the Bumblebee, by Bernad Ambrose and Ramashish Acharya on Scribd on July 12, 2010.

Palli-panchaasika (Khandakavya)

Palli-panchasika is a Khandakavya written by Acharya Manmohan published in the year 1987. Dr. Acharya successfully added a new kavya of Panchasika type to the treasury of Sanskrit literature. This work basically describes the external nature of pallis, the villages and the internal natural expression of a son towards his mother, who lives abroad.

Subhasa-charitam (Mahakavya)



Sri Sivananda-Laharika (Philosophical Kavya)Yati-giti-satakam(Sataka-kavya)

Dance drama

Arjuna-Pratijnaa Shrita-kamalam Pada-pallavam Divya-Jayadevam Ravana PingalaaMrtyu SthitaprajnahTantram Purva-sakuntalamUttara-sakuntalam

Translation Gitagovinda of Jayadev as Gitagovind Rasaavali

Research o Dr. Acharya was conferred the Fellowship Sistaachaara (Book) o Maagha And Bhanja in Picture Poetry (Book) o Indian Trend of Human Rights o An Algebraic Operation in Vedic Mathematics o Sharadindu-sundara-ruchih devi, Vani vaa Shakti-ruupini o Sixty Four Arts, A Studyo Contribution of Sanskrit in Advancement of Oriya Language o An Encyclopedic Dictionary Of Yajurvedic Upanishads (Book)o Vedic Research In Orissa during 20 th Centuryo Mind in Shiva-samkalpa hymn, A psycho-philosophical Analysis o Bhaarata-pamkaja-dalamidam Utkal-mandala-miti viditam yat o Description of Heart in Upanisads o Concept of Human Rights in Vedic Tradition o Vedic Trend of Human Rights vrs. Varna- Ashrama System o Financial Emergency: Kautilya's Arthashastra vis-a-vis Indian

Constitution



o Kavivara- Bhaarata-varsham Shrauta-puraatanamaarsham o Tarka Vaachaspati Madhusudan Mishra, A study o Map of Puranic India

Awards

o Sanskrit Eloquency Award, Vikram University, Ujjain, M.P., 1990o Vanikavi Award from Vanivinodi Parishad, Utkal University, 1991o Doctor of Philosophy from Sri Jagannath Sanskrit University, 2003o Gita-Saarasa Award from Christ College, Cuttack administration,

05/02/2005o Delhi Sanskrit Academy Award for instant poem writing, 2007o Ananda Bharadvaja Sammanah, 2007o Lokakavyanidhi Award,from All India Lokabhasa Prachara

Samiti,Puri, 2008o Bharata-Bharati-Samman from National Sanskrit Sahitya Academy,

2009o Abhinava Jayadeva Samman, 2009, o Bhaktakavi Sri Jayadeva Samaroha samitio Sanskrit Sangeet Nataka Academy Award, 2010o Fellowship of Vachaspati from SARASWATI Research Institute o Chinta Chetana National Baisakhi Award, 2012

7. H. R. Vishwasa

Dr. H. R. Vishwasa (also written H. R. Vishwas) is a Sanskrit scholar residing in Mangalore, India. He won a Sahitya Akademi Translation Award in 2010 for translating S. L. Bhyrappa's Kannada novel Aavarana into Sanskrit.

He has been involved with Sanskrit revival. He was the editor of the Sanskrit monthly magazine Sambhashana Sandesha, for five years. He is the "Akhil Bharatiya Prashikshan Pramukh" (All-India Chief of Teaching) as well as Prakashana Pramukh (Chief of Publishing) of the organisation Samskrita Bharati, and was on the working committee of the first World Sanskrit Book Fair, held in January 2011. He was one of the teachers in a



Sanskrit-teaching series that was commissioned by the Rashtriya Sanskrit Sansthan and was broadcast on DD Bharati and later on Gyan Darshan. He wrote a weekly column, "Sangata", for the newspaper Hosa Digantha. He was also on the Karnataka government committee deciding Sanskrit syllabus for classes 5 to 7.

He has an M.A. in Sanskrit and a doctorate from Kuvempu University, as well as a Vidwat degree. His wife Shantala also works for Samskrita Bharati.

His translation of Avarana took six months and was released in November 2008. His Kannada book Matte Hottitu Hebrew Hanate was released by the Kannada scholar G. Venkatasubbaiah, and was briefly on the bestseller list in 2006. He also translated Bhyrappa's Parva into Sanskrit, which was released in 2012. He won the Sahitya Akademi's Bala Sahitya Puraskar for the year 2013, for "Marjalasya Mukham Drishtam", a book of plays.

Works in SanskritApashchimah Pashchime ( अपुश्चिg�� पुश्चिg��, An Easterner in the West,

travel-writing)Hemacchakatika (Gold Toy Cart; the title is a reference to

Mrcchakatika)Koushala Bhodhinee (handbook for Sanskrit teachers)Translation of Avarana

PapersAnalysis of sentences in Sanskrit and Knowledge Representation

Techniques by HR Vishwasa, RV Hudli and T Vishwanathan, presented at Knowledge Representation in Sanskrit conference, 1986, Bangalore.

Contemporary literature and patronage

The Sahitya Akademi Awards



The Sahitya Akademi Award is an annual award, given by the Sahitya Akademi (India's National Academy of Letters), to writers in 24 Indian languages. The award was instituted and first awarded in 1955. It carries a monetary reward of 50,000 Rupees and a citation. The award for Sanskrit was first given in 1956. The first five awards went to works in other languages, dealing with Sanskrit culture. Since 1967, the award has been given only to works in Sanskrit.

Since 1967, the Sahitya Akademi, India's national academy of letters, has had an award for the best creative work written that year in Sanskrit. In 2009, Satyavrat Shastri became the first Sanskrit author to win the Jnanpith Award, India's highest literary award. Vidyadhar Shastri wrote two epic poems (Mahakavya), seven shorter poems, three plays and three songs of praise (stavana kavya), he received the Vidyavachaspati award in 1962. Some other modern Sanskrit composers include Abhiraj Rajendra Mishra (known as Trive ī Kavi, composer of short stories and severalṇ other genres of Sanskrit literature), Jagadguru Rambhadracharya (known as Kavikularatna, composer of two epics, several minor works and commentaries on Prasthānatrayī).

The list of Sanskrit language writers who have won the award is given below.

सा�हि�त्य अक्का�दमि� पु�रस्का�रजे�ता�र�

(१९५६-२०१३)कर्ता�� क� तिःर्ता�

तिःषयः�१९५६ �.�. हिपु. हिर्वा. का�णी� History of Dharma Sastra,

Vol. IV (Research) (social laws and customs; religious and civil law)१९६१ हिगारिरधुर शा�( चता्�र्वाhदd र्वा1टिदका हिर्वाज्ञा�� और भ�रता'य सा स्का! हिता (A study in Hindi)

(Research)



१९६३ हिब. ए�.. का! ष्णी�@र्तिताB शा��( A History of Dvait School

of Vedanta and its Literature (Research)१९६४ �.�. गा/हिपु��थु काहिर्वार�जे ता�न्त्रिन्त्रीका र्वा�ङ्मय �q शा9 दृमिष्टा� (Treatise in Hindi)

(Research)१९६६ हिर्वा. र�घोर्वा�. Bhoja's Sringara Prakasa

(Aesthetics)१९६७ र��रूपु पु�ठका क्तिचत्रीका�व्यका-ता�का�. (का�व्य�.)१९६८ सात्यव्रता शा�स्त्री' श्री'गा�रुगा/हिर्वान्दसिंसाB�चरिरता�. (का�व्य�.)१९७० हिर्वा. सा�ब्रह्मण्य शा�स्त्री' शाब्दतारहिङ्गाणी' (Treatise) on verbal

cognition१९७३ ए�.. एसा.. आ�� श्री'हितालाकायशा/णी(र्वा� (इहिता��साका�व्य�.)

ब�लागाङ्गा�धुरहितालाकास्य जे'र्वा��.१९७४ डं�{ एसा.. हिब. र्वाणीhकार श्री'क्तिशार्वार�ज्य/दय�. (इहिता��साका�व्य�.) ६८ सागा|� क्तिशार्वाजिजेजे'र्वा��.१९७७ शा�न्त्रिन्ता श्चिभक्ष� शा�स्त्री' ब�द्धाहिर्वाजेयका�व्य�. (का�व्य�.) १९७९ का� . ए�. एष़ु�र्त्तःच्छ�. का� रला/दय� ((इहिता��साका�व्य�.) का� रला�हिता��सा�१९८० हिपु. सा'. द�र्वास्य� हिक्रस्ता�भ�गार्वाता�. (इहिता��साका�व्य�.) ३३ सागा|� य�श्वोः/� जे'र्वा��.१९८१ जेगान्ना�थु पु�ठका काहिपुशा�य�' (का�व्य�.) ११ अध्य�यय�ता� काहिर्वाता�सा��र�, पु�सा�काहिर्वाता�शा1ल्य��.१९८२ हिपु. का� . ��र�यणीहिपुळ्ळा� हिर्वाश्वोःभ�� (इहिता��साका�व्य�.) ��त्��गा�न्धिन्ध�/ जे'र्वा��.)१९८३ श्री'��थु एसा.. �सा@का( र क्तिसान्ध�कान्य� (Historical novel)



१९८५ र्वासान्ता हित्रीम्बका क्तिशार्वाद� हिर्वान्ध्य�र्वा�क्तिसा�'हिर्वाजेय��का�व्य�. (इहिता��सा�)१९८६ का�क्तिलाका�प्रसा�द शा�क्ला श्री'र�धु�चरिरता��का�व्य�. (इहिता��सा�)१९८७ हिर्वाश्वोः��र�यणी शा�स्त्री' अहिर्वा��शा' (novel)

१९८८ अश्चिभर�जे र�जे�न्द्र मि�श्री इक्ष�गान्ध� (लाघोकाथु��)१९८९ र��कारणी शा��( सान्ध्.य� (काहिर्वाता�)१९९० ओगा�हिता पुर'श्चिक्षता शा��( श्री'�त्प्रता�पुर�णी�यणी�. ��का�व्य�. (इहिता��साका�व्य�.) ��र�णी�प्रता�पुस्य जे'र्वा��.)१९९२ र�र्वा� प्रसा�द हि�र्वा�दd स्र्वा�तान्त्रीसा भर्वा�. (इहिता��साका�व्य�.)

भ�रतास्र्वातान्त्रीता�सा ग्र��काथु�१९९३ जेLगा� आल्र्वा�र अय्यङ्. का�र जेयन्त्रिन्ताका� (novel)

१९९४ र�धु�र्वाल्लाभ हित्रीपु�ठ� सान्ध��. (काहिर्वाता�)१९९५ रक्तिसाका हिर्वा��र' जे/ष' श्री'र�धु�पुञ्चशाता'१९९६ का� शार्वाचन्द्र द�शा ईशा� (काहिर्वाता�)१९९७ श्य��द�र्वा पुर�शार हित्रीर्वा�णी' (काहिर्वाता�)१९९८ बच्च@ला�ला अर्वास्थी' प्रता�हि��' (काहिर्वाता�)१९९९ श्री'हि�र्वा�सा रथु ताद�र्वा गागा� सा1र्वा धुर� (काहिर्वाता�)२००० एसा. श्री'हि�र्वा�सा शा��( जेगाद्गु�रु� श्री'चन्द्रशा�खर�न्द्रसारस्र्वाता'हिर्वाजेय�. (का�व्य�.)२००१ हिपु. र��चन्द्रुडं� का/ र्वा1 रसा� (उपुन्य�सा�)२००२ का�क्तिशा��थु मि�श्री �ष(चरिरता�ञ्जुर' (काहिर्वाता�)२००३ भ�स्कार�च�य( हित्रीपु�ठ� हि�र्झ(रिरश्चिणी� (काहिर्वाता�)२००४ द�र्वार्तिषB काला��थु शा�स्त्री' आख्य��र्वाल्लार' (लाघोकाथु�)



२००५ स्र्वा��' र��भद्र�च�य(� श्री'भ�गा(र्वार�घोर्वा'य�. (इहिता��सा�) पुरशा�र��-र��य/� चरिरता�.२००६ �ष(द�र्वा ��धुर्वा तार्वा स्पशाh स्पशाh (काहिर्वाता�)२००७ �रिरदर्त्तः शा��( लासाल्लाहिताका� (काहिर्वाता�)२००८ ओंप्रका�शा पु�ण्डं� रसाहिप्रय-पु�रिरसा.-र�जेधु��' ..... (काहिर्वाता�)२००९ प्रशास्य मि�त्री शा�स्त्री' अ�भ'प्सिप्साता�. (लाघो�काथु��)२०१० मि�क्तिथुला� प्रसा�द हित्रीपु�ठ� (काहिर्वाता�)२०११ �र�का! ष्णीशातापुथु' भ�रता�य��. (��का�व्य�.)२०१२ र��जे' ठ�का� र लाघो�पुद्यप्रबन्धत्रीय' (काहिर्वाता�)२०१३ र�धु�का�न्ता ठ�का� र चलादूरर्वा�णी' (काहिर्वाता�)

१०८ आधु�हि�कासा स्का! तासा�हि�त्यका! ताय�

र्वाता(��सा�य्� भ�रतास्य सार्वाhष� प्रद�शा्�ष� सा��रूपु्�णी

सा स्का! ताग्रन्था्�� क्तिलाख्.यन्ता�, पुठ्यन्ता� च। सा स्का! ता्� आधु�हि�कासा�हि�त्यका�र्1� क्तिलाग्निखता�� सा�स्तापु�स्ताका्�� पुरिरचय्� प्रद�ता� ��त्री पु�य(ता�। बहुचर्चिचBता्�� ता�ष� का! ता्'�� सा��न्यहिर्वार्वारणी अधु/हि�र्दिदBष्टा�.।

क्र�� का्� सा�हि�त्यका�र्� का! हिता��

१ - श्री' का� ०एला० र गा'ला�द�सा - व्य गा�त्�काका��ग्र�सागा'ता�

२ - श्री' का� ० काल्य�णी' - भ�रता'हिर्वाला�पु

३ - श्री' ए�०का� ०ता�ता�च�य( - भ�रता'��/रथु�.

४ - श्री' जे'०र्वा' पुद्म��भ�च�य( - पुर्वा�दूता�.



५ - श्री' गाणीपुहिता शा�स्त्री' - ध्रु�र्वा चरिरता�. ,ता�=का� पुरिरणीय�. , हितारगाशाताका�.

६ - श्री' हिर्वाजेयर�घोर्वा - सा�रश्चिभसा द�शा�.

७ - श्री' हित्रीशा@र��र�यणी �@ष - कापु/ता सा द�शा�.

८ - श्री' र गा�च�र' - हिपुकासा द�शा�.

९ - श्री' सा'० सा�गामिन्ना ��यर - सा'ता��रणी�.

१० - श्री' रहिर्वा र्वा��( ताम्ब@र�� - पुद्मपु�टि=का�

११ - श्री' सा�न्दर र�जे� - सा�रश्मिश्�का�शा�'र�. ,अभ�णीभ�र�.

१२ - श्री' सा@य(�श्चिणी रथु - सा�स्य�पु@र्तिताB शाताका�.

१३ - श्री' का� शार्वाचन्द्रद�सा - ईशा�

१४ - श्री' का� ० र��र्वाता�र शा��( - ��द्गुर दूता�.

१५ - श्री' ता�पु�श्वोःर सिंसाB� तापुस्र्वा' - पु��र्मि�Bला��., �रहिप्रय�

१६ - श्री' र्वा��श्वोःर पु�ठका - प्लार्वा गादूता�., �'र/चरिरता�.

१७ - श्री' र��शा'ष पु�ण्डं�य - �य@खदूता�., का�व्यका�दम्बका�.

१८ - श्री' अश्चिभर�जे र�जे�न्द्र - आय�(न्य/क्ति9शाताका�., �र्वा�ष्टाका�श्मिल्लाका�, च-रशाताका�.

१९ - श्री' पु'०का� ०��र�यणी हिपुल्लाई - �य@रदूता�.

२० - श्री' का! ष्णी�@र्तिताB - �त्का� णी�ष्टाका�.

२१ - श्री' र�जेगा/पु�ला चक्रर्वार्तिताB - �धु�कारदूता�.

२२ - श्री' का� ०एसा०र�जेगा/पु�ला�च�य( - शा�कासा द�शा�.

२३ - श्री' आसा�रिर अ�न्ता�च�य( - साम्��जे(�'शाताका�.

२४ - श्री' श्री' हि�र्वा�सा�च�य( जे�क्तिला��ला - श्री' ता'थु(क्ष�त्रीहिर्वाला्�साका�व्य�.

२५ - श्री' प्र�थु��थु ताका( भ@षणी - का/हिकालादूता�.

२६ - श्री' हिर्वाधु�शा�खर भट्ट�च�य( - य-र्वा�हिर्वाला�सा



२७ - श्री' �०का०का/च �रसिंसाB��च�य( - हिपुकासा द�शा�., गारुडंसा द�शा�.

२८ - श्री' ब'०सा�ब्ब�र�र्वा - दश्चिक्षणी�त्य��घोसा द�शा�.

२९ - श्री' जेगान्ना�थु पु�ठका - काहिपुशा�मिय�', हिपुपु�सा�

३० - श्री' र��का! ष्णी - ता�र�चरिरता�. , चण्डंद�र्वाचरिरता�. ,

३१ - श्री' शा�काद�र्वा शा�स्त्री' - जिजेता�ला चरिरता�. ,स्र्वाच्छन्दहित्रीर्वा�णी'

३२ - श्री' र्वा�दका� ��र' घोई - उर्मि�B�

३३ - श्री' पु�ष्कार��थु शा�स्त्री' - र्वा�सान्ता'

३४ - श्री' श्री'का! ष्णीर�� व्य�सा - स्�रणीशाताका�.

३५ - श्री' हि�त्य��न्द शा�स्त्री' - ��द्दू£ता�.

३६ - श्री' अश्चिभ�र्वाभता!(�रिर - र्वा1र�Lयशाताका�. , �'हिताशाताका�.

३७ - श्री' क्तिशार्वार�� शा�स्त्री' - �य�(णी'य�.

३८ - श्री' सात्यद�र्वा बक्तिशाष्ठ - सात्य�ग्र��'हिताशाताका�.

३९ - श्री' �@लाशा कार य�क्तिज्ञाका - हिर्वाजेय ला�र'

४० - श्री' �ष(द�र्वा ��थु�र - रथ्य�सा� , जेम्ब@र्वाणी�(�� क्तिशार�णी��.

४१ - श्री' अप्पु�शा�स्त्री' साक्तिशार्वाडं�कार - �श्मिल्लाका� का� सा��. , पु जेरबद्धा� शा�का�

४२ - श्री' र��थु भट्ट - सा��/��/र जे��.

४३ - श्री' प्रज्ञा�चक्ष� गा�ला�बर�य - हिप्रयप्र��/न्��द�

४४ - श्री' पुश्मिण्डंता क्ष��र�र्वा - सात्य�ग्र�गा'ता�, �'र�ला�र'

४५ - श्री' र��चन्द्र शा�श्मिण्डंल्य - का��दूता�.

४६ - श्री' बलाभद्र शा��( - ला'ला�रहिर्वान्दका�व्य�.

४७ - श्री' शा�क्तिलाग्र�� शा�स्त्री' - सा�रभ�रता'सा द�शा�

४८ - श्री' ��र�यणी शा�स्त्री' - ग्निखस्ता�दक्ष�ध्र्वारध्र्वा सा�.



४९ - श्री' र्वा=�का��थु शा��( - बल्लादूता�.

५० - श्री' �धु�सा@द� मि�श्री - प्रब�द्धार�ष्ट्र�.

५१ - श्री' र��का! ष्णी शा��( - पु�थु�यशाताका�.

५२ - श्री' र��का�न्ता शा�क्ला - भ�हिता �� भ�रता�.

५३ - श्री' �रिरदर्त्तः शा��( - गा'ताकान्दक्तिलाकार , उत्काक्तिलाका�

५४ - श्री' चन्द्रभ�� हित्रीपु�ठ� - गा'ता�ला', � गाल्य�

५५ - श्री' क्तिशार्वाका� ��र मि�श्री - दय��न्दसा@क्ति9साप्ताशाता'

५६ - श्री' उ��का�न्ता शा�क्ला - का@ ��

५७ - श्री' र्वा�गा'शा शा�स्त्री' - ��(साप्ताशाता'

५८ - श्री' र्वा�गा'शा शा�स्त्री' - आता कार्वा�दशाताका�.

५९ - श्री' र्वा�गा'शा शा�स्त्री' - सा स्का! तार्वा� L�य� थु��.

६० - श्री' र्वा�गा'शा शा�स्त्री' - काथु�सा र्वार्तिताBका�

६१ - श्री' र्वा�गा'शा शा�स्त्री' - का! षका�णी� ��गापु�शा� (र�हिडंय/ रूपुका)

६२ - श्री' इच्छ�र�� हि�र्वा�दd - मि�त्रीदूता�.

६३ - श्री' प्रशास्यमि�त्री शा�स्त्री' - का/�लाकाण्=का�र्वाक्तिला�

६४ - श्री' र्वा��ला' हिर्वाश्वोः�ला - सा गा��श्चिभर��

६५- श्री' रघो�पुहिता शा�स्त्री' - सा��य��धुर्वा�, का-��दdका� सा��.

६६ - श्री' र��चन्द्र र�य - गा��च�य(��ला�

६७ - श्री' प्र'ता�ला�ला काच्छd - आर�धु��शाताका�.

६८ - श्री' गाजे�� कार�लाका�र - ला/��न्य�ला का�र

६९ - श्री' बच्च@ला�ला अर्वास्थी' 'ज्ञा��' - अगाहिताकागाहिताका�. ,प्रता�हि��'

७० - श्री' श्य��गा/पु�ला र�र्वाला� - ��Lधु� , का�क्तिलाद�सा�ष्टाका�.

७१ - श्री' �@ गा�र�� हित्रीपु�ठ� - सा स्का! हिता� सा स्का! ता�.



७२ - श्री' प्र��र�यणी हि�र्वा�दd - सा-न्दय(साप्ताशाता'

७३ - श्री' रुद्रद�र्वा हित्रीपु�ठ� – पुत्रीदूता�., पु�दत्री�णीदूता�.

७४ - श्री' क्तिशार्वाचरणी शा��( - जे�गारणी�.

७५- श्री' प्रभ�कार ��र�यणी कार्वाठ� कार - र�जेय/हिगा�' , धुन्य/ ग्र��

७६ - श्री' का! ष्णीका�न्ता चता�र्वाhदd - श्री! गा�रगाभ(��9कासा ग्र��

७७ - श्री' भ�स्कार�च�य( हित्रीपु�ठ� - �!त्का@ =�., लाघो�-रघो�

७८ - श्री'�ता' पु�ष्पु� दdश्चिक्षता - अग्निL�क्तिशाख�

७९ - श्री' भगार्वाता'ला�ला र�जेप्र/हि�ता - भL�� साभ�

८० - श्री' र�साहिर्वा��र' हि�र्वा�दd - श्री'का! ष्णीस्य स्र्वास्ताि्सा द�शा�

८१ - श्री' का��ता� प्रसा�द हित्रीपु�ठ� - गा�श्मिण्डंर्वा�. ,सार्वा(गान्ध�

८२ - श्री' र�धु�र्वाल्लाभ हित्रीपु�ठ� - ला�र'दशाका�. गा'ताधु'र्वार�.

८३ - श्री' का� द�र��र�यणी जे/शा' - अर्वा�(च'� सा स्का! ता�.

८४ - श्री' शा�न्ताप्रका�शा सात्यद�सा - अशाआर-रसाधु�र�

८५ - श्री' शा�स्त्री' हि�त्यगा/पु�ला का=�र� - पु चगाव्य�., ��ता��भ�रता�.

८६ - श्री' हिर्वान्ध्य�श्वोःर' प्रसा�द मि�श्री - सा�रस्र्वातासा��न्��ष�

८७ - श्री' ब�लाका! ष्णी शा��( - सा स्का! ता��9का�.

८८ - श्री' सा�धु�कार शा�क्ला - द�र्वादूता�.

८९ - श्री' का�ला� अक्षर सा��ता� - शातापुत्री�., श्री'र�र्वा�भद्रपु'ठ�.

९० - श्री' र�र्वा�प्रसा�द हि�र्वा�दd - खण्डंका�व्य�.

९१ - श्री' श्री'हि�र्वा�सा रथु - ताद�र्वागा�� सा1र्वा धुर�

९२ - श्री' प्रभ�दय�ला अग्निL��/त्री' - हिर्वा�रहिता क्तिशार्वा� भर्वा��'

९३ - श्री' आर०का� ० सार�फ - रक्षणी'य�ऽस्��का सा स्का! हिता�

९४ - श्री' गाणीपुहिता शा कार शा�क्ला - भ@द��यज्ञागा�थु�



९५ - श्री' श्री'हि�र्वा�सा चक्रर्वार्तिताB - श्री'हि�र्वा�सा सा�स्र��

९६ - श्री' साद�क्तिशार्वा ��सालागा��र्वाकार - क्तिशान्द� हिर्वाला�सार्वाम्पू@

९७ - श्री' ब्रजे�न्द� हित्रीपु�ठ� - श्री'र��स्ता/त्री�.

९८ - श्री' सा@य(��र�यणी व्य�सा - भव्यहिर्वाभ@ताय�

९९ - श्री' ता�र��थुव्य�सा - श्री'�त्प्रहिताज्ञा�त्� �'र�जे��.

१०० - श्री' श्री'धुर भ�स्कार र्वाणीhकार - ��ता!भ@ला�र'

१०१ - श्री' भगार्वा�� दर्त्तः शा�स्त्री' - का! ष्णी� गालास्र्वा�

१०२ - श्री' ला/का��थु शा�स्त्री' - गाणी�शा�ष्टाका�.

१०३ - श्री' र��स्र्वारूपु शा�स्त्री' - भ�र्वा��ला� शाताका�.

१०४ - श्री' काला��थु शा�स्त्री' - ‘जे'र्वा�स्य पु!ष्ठ�य�.’ (उपुन्य�सा्�),

‘आख्य��र्वाल्लार'’ (काथु�-सा ग्र�्�) ‘��ट्यर्वाल्लार'’(��=का्�),

‘सा�धु'जे�र्वा!र्त्तः�.’, ‘काहिर्वाता�र्वाल्लार'’॥

Reference

o Inventory of Sanskrit Scholars, General Editor: Radha Vallabh Tripathi, Rashtriya Sanskrit Sansthan, Deemed University , New Delhi, 2012

o A Bibliography of Modern Sanskrit Writings, General Editor: Radha Vallabh Tripathi, Rashtriya Sanskrit Sansthan, Deemed University , New Delhi, 2012

o The Concept of Poetry in Modern Sanskrit Poetics, Prof. Hari Dutt Sharma



o http://www.sanskrit.nic.ino http://en.wikipedia.org/wiki/Sanskrit_literatureo http://www.indology.bun.kyoto


Contemporary Sanskrit Literature Final 2

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Transcript of Contemporary Sanskrit Literature Final 2