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Bibliographie zu Werken des Kālidāsa Die Bibliographie enthält Monographien, ei

Bibliographie zu Werken des Kālidāsa Die Bibliographie enthält Monographien, einschlägige Beiträge in Sam- melbänden, Zeitschriften und Sonderdrucken. Bearbeiter: Utz Podzeit (utz.podzeit@univie.ac.at). 1971 1971 1971 1971 TUCCI, Giuseppe: Note sulle fonti di Kālidāsa. In: Giuseppe Tucci. Opera minora. Pt. 1. (Università di Roma. Studi Orientali pubblicati a cura della Scuola Orientale 6). Roma: Giovanni Bardi 1971; pp. 1-26. I: Kālidāsa e il Sākhya. – II: Kālidāsa e la scienza politica. – III: Kālidāsa e la Ratnaparīk7ā. Erstveröffentlichung in: Rivista degli Studi Orientali 9 (1921/23) 1-26. 1984 1984 1984 1984- - - -86 86 86 86 BHATTACHARJI, Sukumari: Words Denoting Separation in Kālidāsa. Rʘtam, Journal of Akhila Bharatiya Sanskrit Parishad 16-18 (1984-86) 41-45. "Though, primarily a poet of love, Kālidāsa also excels in the poetry of separation. A study of three words denoting separation may reveal certain levels of emotional depth in the poet's subconscious: three such words are: viraha, viyoga and vip- rayoga. The Mālavikāgnimitra does not use any of the three words except once in a compound Agnimitra's infatuation for a young girl is considered to be an episode and his temporary separation from Mālavikā is not treated with any depth. The fourth act of the Vikramorvaśīya uses viraha many times indicating Pururavā's separation from Urvaśī who had temporarily been transformed into a creeper in the Kumāravana. In the RaghuvaBśa and other works the word viraha has been used at different places. The next word denotative of separation is viyoga, is avail- able in all the Kālidāsa's dramas. And the last word is viprayoga, which does not occur in any of the dramas. It is found in Kālidāsa's poem only i.e. Meghadūta, Kumārasambhava etc. – D. D. K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 139f. avi 2 2 GUPTA, D. K.: Kuntaka's Critique of Kālidāsa as a Master of Sukumāra Style. Rʘtam, Journal of Akhila Bharatiya Sanskrit Parishad 16-18 (1984-86) 133-144. "Kuntaka the famous author of Vakroktijīvita, attempts in his own way, a critical appreciation of a good number of classical writings with reference to the poetic elements propounded by him and makes a critical assessment of them in perspec- tive. Of the classical writers of note, Kālidāsa enamours Kuntaka the most and naturally draws, therefore, his foremost attention. He is represented in his treatise as master par excellence of the Sukumāra style, one of the three styles critically elaborated by him in the first chapter of his work. He has given some verses from different works and remarked that Kālidāsa's poetry is enshrined in a diction which is singularly adorned by Vakrokti or artistic turn of speech and is happily fashioned in the Sukumāra style, which has a general resemblance to the Vaidarbhī style Rīti, long associated, in literary tradition with his name. – D.D.K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 146. JANAKI, S. S.: Mallinātha's Commentary Sañjīvanī on Ku- mārasambhava Canto VIII. Rʘtam, Journal of Akhila Bharatiya Sanskrit Parishad 16-18 (1984-86) 161-169. "The authenticity or otherwise of the 8th canto of the Kumārasambhava (K.S.) has been discussed by writers dealing with Sanskrit literature. Scholars in the early years of the 20th century has accepted the 8th canto as a genuine composition of Kālidāsa. However some scholars have argued for considering all the seventeen cantos to be the real work of Kālidāsa. According to the New Catalogus Catalo- gorum (Madras University) only seven of a total 65 commentaries extend to or include canto VIII. In this paper the author wants to critically present the commen- tary of Mallinātha on canto VIII. It has to be noted that some scholars seem to doubt M's Sañjīvanī on the K.S. extending to the 8th canto. The commentator Sita- rama claims that he is composing the commentary from the 8th canto onwards as M commented only the first seven cantos. However the author has given his comments on Kālidāsa's flight of imagination of the frank love description of the divine par- ents. – D.D.K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 174. SHASTRI, Satya Vrat: Kālidāsa's RʘMis. Rʘtam, Journal of Akhila Bharatiya Sanskrit Parishad 16-18 (1984-86) 347-366. avi 3 3 "Unlike modern writers Kālidāsa, has said nothing about himself with the excep- tion of a bare mention of his name in one of his dramas but in the course of his works he has left sufficient hints about his way of thinking, the working of his mind, helping us to sketch a picture of his personality, what he likes and dislikes, his preferences and priorities. – A study of his works reveals that RʘMis occupy a sub- stantial part of his thinking. As a matter of fact the story of the best of his plays, the Abhijñānaśākuntala he has woven round RʘMis, one RʘMi who gives birth to Śakun- talā, another one who brings her up, still another one who pronounces a curse on her and the fourth one who affords her shelter after her repudiation. Similarly all his works have involved a large number of sages in one way or other. – D.D.K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 172. TIVĀRĪ, RamāśaBkara: Kālidāsa aur Abhinavagupta. Rʘtam, Journal of Akhila Bharatiya Sanskrit Parishad 16-18 (1984-86) 367-375. "It is significant to note, that by the scholars, in the whole range of Sanskrit poet- ics, Kālidāsa has been cited the most for critical appreciation. Rāma and Sītā with DuMyanta and Śakuntalā have often been quoted by the authors of the Rasa school. The celebrated scholar Ānandavardhana's primary objective in his Dhvanyāloka was to provide a philosophical acceptable theory of the essence of poetry as envis- aged by men of taste. When Vālmīki witnessed the cruel slaughter of the he-curlew and the she-curlew started crying pathetically, the grief (śoka) of a sage became verse (śloka), the primary verse in the RāmāyaJa. Abhinavagupta in his Abhi- navabhāratī has quoted a verse from Kālidāsa's Śakuntalā 'GrīvābhaMgābhirāmam etc.' appears to be a kaleidoscope of Rasa. – D.D.K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 175. 1986 1986 1986 1986 RAU, Wilhelm: Poetical Conventions in Indian kāvya Litera- ture. The Adyar Library Bulletin 50 (Golden Jubilee Volume) (1986) 191-197. 1988 1988 1988 1988- - - -89 89 89 89 DWIVEDI, R. P.: Kālidāsa's Meghadūta and Vāstuśāstra. Journal of Oriental Institute, Baroda 38 (1988-89) 279-289. avi 4 4 "The description of the city of Alakā as well as that of residence of YakMa are the reminiscent of the poet's knowledge of Vāstu-Śāstra. In the end of Pūrvamegha, YakMa says to the cloud 'when you reach on the summit of mountain Kailāśa you will be able to recognize the city of Alakā, for certain, by the help of the Ganges, flowing by her side' According to Viśvakarmā Vāstu-Śāstra the description of Alakā is as a 'Swastika Nagara'. Again YakMa says to Megha 'when you reach Alakā you will find a mansion to the North of Kubera's palace, that is mine. There is a small pond i.e. Vāpī which is covered with full blown golden lotuses and adorned with emeralds gems'. Similarly description of Alakā has construction and situation of mansions, temples, towers, ponds, pleasure gardens, bedrooms, win- dows and so on. Kālidāsa had before his mind's eye certain rules of Vāstuśāstra. Here in Meghadūta some words such as dvāropānte, vimānāgrabhūmiQ etc. are reminiscent of the architectural knowledge of Kālidāsa. – D.D.K." From: Prācī-Jyoti. Digest of Indological Studies [Yearly Publications] 32-34 (2002) 143f. 1989 1989 1989 1989 BACK, Dieter: "Kameraführung" in Kalidasas Meghaduta. Zeitschrift der Deutschen Morgenländischen Gesellschaft, Sup- plement 7 (1989) 322-329. INSLER, Stanley: The shattered head split and the Epic tale of Śakuntalā. Bulletin D’Éutdes Indiennes 7-8 (1989-90) 97-139. SOHONI, S. V.: Geographical basis of Kālidāsa’s works. An- nals of the Bhandarkar Oriental Research Institute 70 (1989) 221-233. 1989 1989 1989 1989- - - -91 91 91 91 DWIVEDĪ, Rewa Prasad: A march towards the text of Kālidāsa literature. Journal of the Asiatic Society of Bombay 64-66 (1989-91) [New Series] 49-60. TRIPATHI, L. K.: Rāma in the RaghuvaTśa. Sri Venkateswara University Oriental Journal 32-34 [Golden Jubilee Volume] avi 5 5 (1989-91) 41-56. 1990 1990 1990 1990 KAK, Subhash C.: Kālidāsa and the Agnimitra Problem. Jour- nal of Oriental Institute, M. S. University of Baroda 40 (1990) 51-54. [Abstract in: Prācī-Jyoti 39-40 (2003-2004) 113:] The author opines that the ac- cepted chronological problem of Indian literature should be solved on the basis of astronomical and literary evidences. One such problem is the date of Kālidāsa which is accepted by many scholars around 400 A. D. But the question is, why did he chose the story from the life of king Agnimitra who had lived more than 500 years earlier. – Discussing the references found in Jain literature and Mahābhā7ya of Patañjali the author propounds his view that it was highly unlikely for Kālidāsa to base his play on the life story of a minor king 500 years after his death. Kālidāsa was born about 100 B. C. and remembered about 100 . C. and uploads/s3/ kalidasa-bibliography.pdf