Vedāntadeśika is one of many Sanskrit intellectuals who wrote prolifically in both poetic and philosophical genres. This essay considers how his poetry is related to his philosophical concerns. Scholars have understood the relationship between his poetry and philosophy in a number of ways, some arguing that his poetry permitted a freer exploration of his philosophical ideas, others wishing to discuss his poems independently of his philosophy. My paper will propose a distinct way of understanding this relationship by focusing specifically on (...) a strain of Vedāntadeśika’s poetry inspired by Kālidāsa. Examining selections from his poetry alongside his theological writing on the nature of devotional attention, I will argue that the poetic practice Vedāntadeśika learns by reading Kālidāsa activates the same mental faculty involved in bhakti-yoga, or the devotional contemplation of god. This strain of Vedāntadeśika’s poetry thus amounts to a performance of the devotional practice he describes in his philosophical writings. (shrink)

The values framework of a society is best reflected in contemporary literature. This essay is an attempt to identify the values that influenced the socio-political behaviour of the people of times of Kālidāsa. How relevant are those values now? Nature plays an important role in Kālidāsa's plays. Part I of this essay deals with this aspect of his plays. This value is certainly coterminous with the growing consciousness about protection of ecology in modern times. Part II of the (...) essay deals with another important aspect of Indian philosophy—with out sorrow, without pain, pleasure cannot be achieved. Part III of the essay discusses general social values which emerge from the plays. Part IV describes the political and administrative values that guided the actions of the kings and rulers. (shrink)

For well over a thousand years, countless audiences have taken pleasure in watching unfold the following fearful event:Filled with dread, desperately tossing unchewed grass from its mouth, looking back at the hunting king, a beautiful deer springs into flight to escape a fast-approaching chariot from which repeated arrows fly — one of which will inevitably lodge in the deer’s defenseless body. This is not a scene from “National Geographic” or an episode from some sadly popular TV hunting show. Indeed, this (...) scene has been played out far longer than any current program on America’s “Outdoor Channel,” and it comes to most Westerners from half a world away. Kālidāsa’s The Signet-Ring of Śakuntalā, the most famous poem.. (shrink)

This study accounts for disparate portrayals of divine destroyer Śiva in the normative Rāmāyaṇa and Mahābhārata as opposed to Kālidāsa’s amatory Kumārasaṃbhava and Raghuvaṃśa by contrasting the primary and secondary Sanskrit epic authors’ respective reliances on the Mānavadharmaśāstra and the Kāmasūtra. By arguing, per Richard Johnson’s postpoststructuralism, that these mythological and philosophical differences deliberately reflect those poets’ specific sociohistorical contexts, this inquiry accounts more accurately for Śiva’s classical-epic depictions than do Stella Kramrisch’s and Wendy Doniger [O’Flaherty]’s investigations informed by (...) Claude Lévi-Strauss’s structuralism and Don Handelman and David Shulman’s researches influenced by Gilles Deleuze and Félix Guattari’s poststructuralism. The present work, in revising such prevailing Indological notions as Romila Thapar’s traditional construal of the “classical,” Donald R. Davis Jr.’s anthropocentric definition of puruṣārtha (human aim), and Sheldon Pollock’s unvarying characterization of śāstras (treatises), models a historically aware approach that appreciates the interrelationship of mythological philosophy and philosophical mythology. (shrink)

The influence of Aśvaghoṣa on the later tradition of kāvya was largely passed over in the South Asian tradition, even though the debt to his influence is clear in processional scenes developed by Kālidāsa and the attempted seduction of Arjuna developed by Bhāravi in his Kirātārjunīyam. We know from the testimony of the Chinese pilgrim Yijing that the Buddhacarita was a revered object of study in the Sumatran capital Śrībhoga near the close of the seventh century CE. It thus (...) perhaps comes as no surprise that three tropes or themes developed by Aśvaghoṣa were developed by several important composers of kakawin, the Old Javanese literary genre comparable to the kāvya of South Asia. This paper looks at the development of the themes of processions, divine battles and attempted seductions in a long history beginning with Aśvaghoṣa and closing with the work of the Javanese author Mpu Tantular, who completed the Buddhist kakawin Sutasoma c. 1365–1389 CE. This paper is partly based on a revised perspective on the history of the Shailendra and Sañjaya dynasties of central Java developed by examining the role of the “Shailendra royal preceptors” in bringing Sanskrit learning to Central Java in the period 778–847 CE. (shrink)

Translated by David Farrell Krell. This essay continues the project, also found in "Qui est le Zarathoustra de Nietzsche?" published in first issue of this journal, of discerning the importance of Asian sources for emergent modern European thought. It explores Novalis's relation to the now mostly neglected Sanskrit myth (and play by Kālidāsa) of Shakuntala, clarifying its importance for Novalis's view of the interpenetration of the visible and the invisible and the need for a visual symbol, such as the (...) ring, as pointer and reminder of the invisible's fullness and pervasiveness, in this world, as Love. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Between Two Worlds: East and West: An AutobiographyWilliam EdelglassBetween Two Worlds: East and West: An Autobiography. By J. N. Mohanty. Oxford: Oxford University Press, 2002. Pp. x + 134.The British philosopher Anthony Quinton once described J. N. Mohanty as "The one and only x who is a specialist in Navya-Nyāya, Husserl, and Frege." Between Two Worlds: East and West is the extraordinary story of Mohanty's career as a (...) student, teacher, and scholar of Indian and German philosophy. Told against the backdrop of the struggle for Indian Independence, the trauma of partition, the intellectual and cultural glory of Calcutta, postwar Germany, and the United States of the last generation, Mohanty's story is a page-turner filled with fascinating anecdotes from his own life as well as the lives of the many remarkable thinkers and public figures he has encountered. It is also a story of the concrete historical situations that enabled Mohanty's singular contribution to philosophy: the decades of study with some of India's most learned paṇḍits, the opportunities offered during his years as a student in Göttingen, and his close collegial relationships with Aron Gurwitsch, Hans Jonas, and Hannah Arendt. Though he set out to write an autobiography that was explicitly not a philosophical text, Mohanty observes that "since my life has been primarily dedicated to the pursuit of philosophical ideas, the connection of the story of my life to my philosophical interests was almost unavoidable" (p. ix). In addition to brief discussions of some of the philosophical questions he has pursued in his previous writings, Mohanty here reflects on cultural identity, the life of the mind, and religion and spirituality, as well as social and political questions.Born in 1928, Mohanty enjoyed a pleasant and comfortable childhood supported by the loving attention of an extended family. (In this story families are adaptable, ever incorporating others into the love and care of a network grounded in mutual support, shared food, and conversation.) The family home was in the small village of Nilakaṇṭhapur (the seat of the blue-necked god, i.e., Śiva), where Mohanty's [End Page 139] father had been raised. His father had left the village for a successful career as a judge under the British Raj, bringing both social prominence and moderate wealth. But his father's career required periodic moves, and it was the village to which they regularly returned that Mohanty considered home. It is a pleasure to read Mohanty's descriptions of the cycle of the seasons, village life, local customs, family characters, and the rambling house with its temple and many rooms. Mohanty still thinks of himself as a "village boy," and these pages are written with much tenderness and enough historical background to contextualize his descriptions.Unlike his father, Mohanty was not educated in the village school. He himself was born in the regional capital of Cuttack and educated at the English government school in town. Mohanty has fond recollections of his teachers and the special school holidays, including the sports festivals, the single religious holiday observed by the school—the worship of the goddess of learning, Saraswati—and the distribution of prizes for academic distinction. Mohanty would inevitably receive numerous prizes. Later, at his matriculation from high school, Mohanty achieved the highest scores in all of Orissa, and stood first in the university following his studies of mathematics, logic, and Sanskrit in Cuttack. Upon completion of his study of philosophy and law at Presidency College (Calcutta), Mohanty again stood first in the First Class, and then again for his graduate work at Calcutta University. Mohanty's schooling was augmented with lessons from private tutors at home that preceded or followed the regular school hours. "Every morning," Mohanty writes, he and his siblingswould recite conjugations and declensions of Sanskrit verbs and nouns loud enough to be heard outside the house; we would compete to do it first. The pandit [Nilakantha Misra, Mohanty's first Sanskrit teacher] taught me all the grammar that I learnt later. He also taught this ten-year-old boy the primer of logic Tarkasaṃgraha, and Kalidāsa's Raghuvaṃśaṃ. (p. 6)Mohanty... (shrink)