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1

Women’s Town—Ghost Town. A Picture of a Dying City in the "Raghuvamśa"

100%
Winiarski T.
Cracow Indological Studies
|
2013
|
vol. 15: Text History and Society as Depicted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose
37-66
EN
The following article analyses the passage of Kālidāsa’s Raghuvaṃśa 16.4–24. The focus is on the image of a dying city—how it is portrayed and what makes Kālidāsa’s depiction so distinctive. The author’s main interest is in the role of the female characters in the description: who they are, why they and their activities are chosen to serve as a mirror reflecting the city condition. The importance of Śrī and her connection to female citizens and the city itself is analysed. Also the relation of “masculinity” and “femininity” and the role it plays in the process of deconstructing/reconstructing the city and the reality is analysed. Next, the article briefly deals with the relation between the real and unreal in the text, how they interplay and what the role of narrating the story and retelling the reality for the above-mentioned process of city deconstruction/reconstruction is. The Sanskrit text translation is given in the appendix.
2
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Pigeons and Doves in Classical Sanskrit Literature

100%
Trynkowska A.
Acta Asiatica Varsoviensia
|
2022
|
issue 35
263-280
EN
The main aim of the present study is to indicate the most salient elements of the image of pigeons and doves in Classical Sanskrit literature (kāvya). The author has identified three groups of such elements, which are dealt with in three separate sections of the paper: pigeons and doves are discussed as birds closely associated with humans, as well as symbols of love and sorrow. With the help of this information, in another section of the paper, selected kāvya stanzas featuring pigeons or doves are analysed in more detail.
3

Mistreated Vasanta: Comical Degradation of Ritual in the Hāsyārṇavaprahasana

88%
Pierdominici Leão D.
Cracow Indological Studies
|
2017
|
vol. 19
|
issue 2
61-77
EN
The Hāsyārṇava of Jagadīśvara (14th century CE), because of its crude and, sometimes, vulgar tones, is one of the least studied prahasanas. The work depicts the celebration of the Spring Festival, Vasantotsava, with particular features which have few parallels in Sanskrit literature. The sacred meaning of the festivity in itself, which showed connections with the cult of Kāma and in this way centred on the themes of birth and regeneration, is mocked through comical devices. These themes contribute to outline a frame characterized by vulgar and degraded sexual elements. Despite its farcical and grotesque atmosphere, this comical piece undoubtedly underlines deep connections existing between a ritualistic act (understood here as the undertaking of the rite in the prahasana itself) and performative theatre in general.
4

Ucchvāsa, sarga and lambha: Text divisions in Sanskrit poems (mahākāvyas)

75%
Sudyka L.
Cracow Indological Studies
|
2011
|
vol. 13
15-39
EN
The article is devoted to the structure of Sanskrit mahākāvyas in prose (kathā and ākhyāyikā) and verse (sargabandha). It seems that the origin of kathā is connected with the art of storytelling, whereas the roots of ākhyāyikā are in the heroic epic tradition, which facts influenced the inner organization of the texts belonging respectively to both genres. One of the main aims of sargabandha is to present the events from the past (described earlier also in the Mahābhārata or Rāmāyaṇa), however in accordance with theory and practice of kāvya tradition. Again, it has its impact on the text architecture as will be shown.
5

The Nātyaśāstra: the Origin of the Ancient Indian Poetics

75%
Lidova N.
Cracow Indological Studies
|
2012
|
vol. 14
61-85
EN
The Sanskrit treatise Nāṭyaśāstra is the most ancient and authoritative Indian text on the arts. Some researchers, trying to single out the most ancient kernel of the text, dated it to the 5th century BCE. Others, meaning the concluding stage of its formation, by which the treatise had incorporated interpolations from different times, proposed much later dates up to the 7th-8th centuries CE. It is widely believed that the treatise acquired its modern form between the 2nd century BCE and the 2nd century CE. Of an encyclopaedic scope, the Nātyaśāstra treats a great variety of topics and comprises a manual for producers and performers, treatises on the theory of drama and aesthetics, as well as the oldest poetic theory in the Indian tradition. The main aim of this paper is to analyze the Nātyaśāstra as the earliest available source for the study of the Ancient Indian poetics.
6

"Kavirahasya", “The Secret of Poets”: Rājaśekhara’s View on Poetry

51%
Pażucha K.
Cracow Indological Studies
|
2013
|
vol. 15: Text History and Society as Depicted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose
143-166
EN
In the tenth century AD, a Sanskrit poet Rājaśekhara composed a peculiar text, the Kāvyamīmāṃsā, “Investigation in Poetry”. In this work he proposed a new, fresh approach to literature: kāvya as a sphere of life rather than mere theory of figuration, alankāraśāstra. This paper will concentrate on the Kavirahasya, the first chapter of the Kāvyamīmāmsā, describing a poet and his place in the world of literature.
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