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The great works of Kalidasa (कालिदास)

Who was Kālidāsa?

पुरा कवीनां गणनाप्रसङ्गे कनिष्ठिकाधिष्ठितकालिदासा। अद्यापि तत्तुल्यकवेरभावादनामिका सार्थवती बभूव ॥

Transliteration: purā kavīnāṃ gaṇanāprasaṅge kaniṣṭhikādhiṣṭhitakālidāsā। adyāpi tattulyakaverabhāvādanāmikā sārthavatī babhūva ॥ English translation: In ancient times, when all the poets were counted, Kālidāsa was assigned the little finger. But, no poet of genius comparable to his has existed till today; hence, the finger next to little finger (i.e., the ring finger) is meaningfully named as ‘anāmikā’. Hindi translation: पुराने ज़माने में, जब कवियों की गणना की जा रही थी, तब कालिदास को कनिष्ठिका पर विराजमान किया गया। उनसे तुलना हो सके, इतने प्रतिभाशाली कवि का आज तक अभाव होने के कारण कनिष्ठिका के बाजू की उंगली का ‘अनामिका’ यह नाम अर्थपूर्ण हो गया। 

This is a very significant verse about Kālidāsa in the Indian tradition. He has not told anything about himself in any of his works. Also, no other records about him written by anyone else are available. Very little about his personal history is known, but it is evident from his literary works that he had traveled throughout India. With that, he was very much acquainted with the Vedas, Upanishads, Purāņas, medicine, astronomy, etc. Also, he must have been a modest and intelligent person of high culture and liberal ideas.

Interestingly, the above fact also reflects modesty and humility of the great poet that he does not speak much about himself in his works.  This very fact brings him to the category of ‘Great’ poets.

Further, in Raghuvaṃśam, the poet says:

मन्दः कवियशःप्रार्थी गमिष्याम्युपहास्यताम्। प्रांशुलभ्ये फले लोभादुद्बाहुरिव वामनः॥

Transliteration: mandaḥ kaviyaśaḥ prārthī gamiṣyāmyapahāsyatām। prāṃśulabhye phale lobhādudbāhuriva vāmanaḥ॥ English translation: I am like a small person with small arms who cannot pluck the fruits which only a tall one can do, I will be ridiculed by the people (for trying to write on the great Raghukula), which requires eminent poet’s skills. Hindi translation: ऊँचे फल के लोभ के कारण अपने हाथ उठा रहे किसी बौने की तरह मैं भी मन्द होते हुए भी कवियश की प्राप्ति चाहने हेतु उपहास को प्राप्त होउंगा।  

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Works of kalidasa.

Some of the most noted and genuinely identified works of Kalidasa are –

The dramas:-

• Abhijñānaśakuntalam  (“The Recognition of Shakuntala”)
• Vikramorvaśīyam  (“Urvashi Won by Valour”)
• Māl a vikāgnimitram   (“Malavika and Agnimitra”)

And the epic poems:-

• Raghuvaṃśam   (“Dynasty of Raghu”)
• Kumārasaṃbhavam     (“Birth of the War God”)

And the short poems:-

• Meghadūtam   (“Cloud the Messenger”)
• Ṛtusaṃhāram   (“The cycle of the seasons”)

This does not mean that the other works were anyway less important and less brilliant. His genius has been recognized in India from very early times, as well as in the western world. His poetic genius has brought Sanskrit poetry to the highest level of elegance and subtlety.

His style of writing makes him different from other poets in Sanskrit literature. His style is pure, simple, genuine, and brief. An unaffected simplicity of expression and easy flowing language are the markings of his writings.

His diction is marked by the absence of long compounds, complex constructions, over-written rhetoric, and artificial puns

He exceeds other poets in the description of the noble, the beautiful, and natural scenery and phenomena. He is a mastermind in the use of similes too; take this verse from   Māl a vikāgnimitram,   for example:

स्मयमानमायताक्ष्याः किञ्चिदभिव्यक्तदशनशोभि मुखम् । असमग्रलक्ष्यकेसरमुच्छ्वसदिव पङ्कजं दृष्टम् ॥(माल. २.१०)

Transliteration: smayamānamāyatākṣyāḥ kiñcidabhivyaktadaśanaśobhi mukham । asamagralakṣyakesaramucchvasadiva paṅkajaṃ dṛṣṭam ॥ (māla. 2.10) Hindi Translation: स्मित करने की वजह से जिसके दांत किंचित व्यक्त हो रहे हैं, ऐसे इस बड़े आँखवाली स्त्री का मुख अभी अभी जो उमलने लगा है और जिसके केसर किंचित दिखाई दे रहे हैं, ऐसे कमल की तरह दिख रहा है। English Translation: The face of the girl with big beautiful eyes, and whose teeth are slightly seen because her smile is looking like a lotus flower, which has just started blossoming, and whose fibers are partially visible. 

His works mainly focus on the suggested meaning rather than the literal meaning. Suggested meaning is said to be the best expression of sentiment in poetry. Hence, Kālidāsa’s works fall under the category of ‘uttamakāvya’ on the basis of Indian poetics.

Kālidāsa is considered as the representative of Indian Culture. His character follows the ideals of Indian thought process. At the same time, their natural feelings are expressed by him very delicately and effectively. Many Arthāntaranyāsas are used by him that are able to express deep meaning in few words. Some of them are as follows:

अर्थो हि कन्या परकीय एव। (शाकुन्तल – ४.२२)

Transliteration: artho hi kanyā parakīya eva। Hindi Translation: कन्या पराया धन है। English Translation: Daughter is an object belonging to someone else!

रिक्तः सर्वो भवति हि लघुः पूर्णता गौरवाय। (मेघ. – २०)

अत्यन्तार्तिप्रशमनफलाः सम्पदो ह्युत्तमानाम्।

Transliteration: atyantārtipraśamanaphalāḥ sampado hyuttamānām। English translation: A good man’s wealth is intended to aid and succour the lowly and the lost. Hindi translation: श्रेष्ठ लोगों की सम्पत्ति का फल आपदा ग्रस्त जनों की पीड़ा को सर्वथा शान्त करना होता है। 

कस्यात्यन्तं सुखमुपनतं दुःखमेकान्ततो वा नीचैर्गच्छत्युपरिच दशा चक्रनेमिक्रमेण​।

Transliteration: kasyātyantaṃ sukhamupanataṃ duḥkhamekāntato vā nīcairgacchatyuparica daśā cakranemikrameṇa​। Hindi Translation: किसी को भी सदा सुख और सदा दुख नही मिलता। पहियों के घेरे की तरह (जीवन में सुख दुख) उपर नीचे होते ही रहते है। English Translation: No one gets always sorrow or always happiness. States (of happiness and sorrow) keep turning around just as the spokes of a wheel keep going up and down. 

All of these peculiarities make him the best poet in the world of Sanskrit literature. He is significantly known as ‘Kavikulaguru’; i.e., ‘magnificent among poets’.

His works mainly include three dramas, namely ‘ Māl a vikāgnimitram ’, ‘ Vikramorvaśīyam ’, ‘ Abhijñānaśakuntalam ’; two epics, namely ‘ Kumārasaṃbhavam ’ and ‘ Raghuvaṃśaṃ ’; and two minor poems (khaṇḍakāvya), namely ‘Meghadūtam’ and ‘ Ṛtusaṃhāram ’. ‘Kuntaleśvaradautyam’ is also a work assigned to Kālidāsa, but it is not available now.

Influence of Kālidāsa on Eastern and Western worlds

His writings made a great influence on the Indian and Western world. In India, these works became an inspiration for many later literary works. The traditions of the khaṇḍakāvyas, dūtakāvyas were started after the Meghadūtam. Also, the mahākāvyas Raghuvaṃśam and Kumārasaṃbhavam are two important Kāvyas among the five Mahākāvyas in the Indian Tradition.

Scholars like Rabindranath Tagore and Yogi Aurobindo were in love with Kālidāsa. Rabindranath Tagore has written a beautiful poem named ‘Cloud Messenger’ based on Meghadūtam. Yogi Aurobindo says, “Vālmīki, Vyāsa, and Kālidāsa are the essences of the history of ancient India; if all else were lost, they would still be its sole and sufficient cultural history.” With that, these works were translated into many Indian languages. They are being performed all over India till today.

The Western world had a miraculous effect of Kālidāsa’s work. Sir William Jones was the first one to translate Abhijnānaśākuntalam into English, in the year 1789. Then, it was translated into German, which was read by German dramatist Goethe. He was so overwhelmed, that he said,

एकीभूतमभूतपूर्वमथवा स्वर्लोकभूलोकयो: ऐश्वर्यं यदि वाञ्छसि प्रिय सखे ! शाकुन्तलं सेव्यताम्॥

Transliteration: ekībhūtamabhūtapūrvamathavā svarlokabhūlokayo: aiśvaryaṃ yadi vāñchasi priya sakhe ! śākuntalaṃ sevyatām॥ Hindi Translation: हे प्रिय मित्र, स्वर्गलोक और भूलोक का अभूतपूर्व ऐसा संगम और उनका ऐश्वर्य देखने की यदि इच्छा हो, तो शाकुंतल का आस्वाद लो । English Translation: Dear friend, if you wish to enjoy the unprecedented union of the Earth and the Heaven, and their enrichment; get acquainted with Śākuntala. 

When Friedrich Schlegel, a German poet, Indologist, philosopher, and pioneer of Indo-European studies, as well as comparative linguistics, came in contact with Shakuntala, he went to Paris, learned Sanskrit, and started the course of Indology in Germany. After that, all other works of Kālidāsa were translated and performed all over the world.

With that, the study of Sanskrit as well as the branches like comparative linguistics was accelerated all over the world. The Western world got attracted towards Indian culture and philosophy. Hence, Kālidāsa became an important connection between India and the rest of the world.

Hence, Kālidāsa is a milestone in the history of India. Though his personal details are still unknown, his literary works have been the source of delight and knowledge on Indian culture, Indian philosophical thought process, and wisdom for the whole world.

Hence, Bāṇa is very honest about his observations when he says,

निर्गतासु न वा कस्य कालिदासस्य सूक्तिषु। प्रीतिर्मधुरसान्द्रासु मञ्जरीष्विव जायते॥ (हर्षचरित – बाण)

Transliteration: nirgatāsu na vā kasya kālidāsasya sūktiṣu। prītirmadhurasāndrāsu mañjarīṣviva jāyate॥ (harṣacarita – bāṇa) Hindi Translation: कालिदास के आम्रमंजरी के समान मधुर और सरस सूक्तियों के प्रवाहित होने पर ऐसा कौन है, जिसके ह्रदय में उनके प्रति प्रेम का आविर्भाव नहीं होता! English Translation: After hearing the maxims of Kālidāsa, which are sweet like a mango-blossom and sensible, who will not be attracted towards Kālidāsa?

We hope you liked our version of the ‘Great Works of Kālidāsa’. We strongly recommend you to check out his work in detail. Here are some books that you can start with:

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The Epic Poetry Of Kalidasa: Masterpieces In Sanskrit Literature

Step into a world of enchantment and lyrical beauty as we uncover the remarkable work of Kalidasa, one of India’s finest poets. In this article, we explore the epic poetry of Kalidasa and its place in the rich tapestry of Sanskrit literature. As we delve into his masterpieces, we will uncover the timeless themes, intricate wordplay, and vivid imagery that continue to captivate readers and celebrate India’s literary heritage. Join us on this journey of discovery, as we immerse ourselves in the linguistic and literary treasures of Kalidasa’s extraordinary creations.

Table of Contents

Introduction to Kalidasa

Kalidasa, often hailed as one of the greatest poets in Sanskrit literature, holds a prominent place in the hearts of poetry enthusiasts around the world. Our exploration of Kalidasa’s life and works will shed light on his remarkable contributions to Sanskrit literature and his enduring legacy.

Biography of Kalidasa

Although the exact details of Kalidasa’s life are shrouded in mystery, his literary brilliance continues to captivate readers even centuries after his time. Born in the 4th or 5th century CE, Kalidasa is believed to have resided in India, most likely in the region of present-day Madhya Pradesh. Despite the scarcity of verifiable information about his personal life, his poetic genius remains undeniable.

Importance of Kalidasa

Kalidasa’s significance in Sanskrit literature cannot be overstated. His works stand as literary milestones, marking an era of creative excellence and artistic fervor. Through his poetry, Kalidasa embodies the pinnacle of Sanskrit literature, leaving an indelible mark on subsequent generations of writers.

Significance of Kalidasa in Sanskrit literature

In the realm of Sanskrit literature, Kalidasa is regarded as a luminary. His verses paint vivid pictures of love, beauty, and the complexities of human emotions, captivating readers of all backgrounds. Kalidasa skillfully utilizes metaphors, similes, and evocative language to transport us to a world imbued with poetic charm and timeless wisdom.

Mahakavyas: Kalidasa’s Epic Poetry

The Mahakavyas, or epics, form a monumental component of Kalidasa’s body of work. These grand narratives exemplify his unparalleled poetic prowess and his ability to create captivating tales that resonate with readers across cultures and time periods.

Definition of Mahakavyas

Mahakavyas are long, complex poems that delve into profound philosophical themes while narrating compelling stories. These epics are characterized by their intricate verse structures, vivid imagery, and a deep exploration of human nature. Kalidasa’s Mahakavyas stand as shining examples of this rich literary tradition.

Exploring Kalidasa’s Mahakavyas

Diving into Kalidasa’s Mahakavyas, we encounter profound tales that continue to enthrall readers to this day. Let us explore some of his most renowned works and unravel the poetic brilliance within them.

Raghuvamsha

Overview of raghuvamsha.

Raghuvamsha, one of Kalidasa’s most celebrated Mahakavyas, traces the lineage of the Raghu dynasty, focusing on the story of King Dilipa and his descendants. Drawing upon themes of heroism, sacrifice, and familial love, Raghuvamsha weaves a captivating narrative that spans generations.

Themes portrayed in Raghuvamsha

Raghuvamsha encompasses various central themes, including the importance of duty and lineage, the struggles faced by kings, and the power of love in shaping destinies. Kalidasa’s exquisite portrayal of emotions and his ability to capture the intricacies of human relationships make Raghuvamsha a masterpiece in Sanskrit literature.

Analysis of notable characters in Raghuvamsha

Kalidasa gifts us with a rich tapestry of characters in Raghuvamsha. From the noble and valiant King Dilipa to the enigmatic princess Shakuntala, each character embodies unique qualities and contributes to the intricate web of emotions that Kalidasa weaves throughout the poem. Through his skillful character development, Kalidasa breathes life into these figures, making them relatable and inspiring.

Kumarasambhava

Overview of kumarasambhava.

Kumarasambhava, another gem in Kalidasa’s collection, narrates the divine love story of Lord Shiva, the destroyer, and Parvati, the goddess of fertility and power. This epic poem delves into themes of love, desire, and the cycle of creation and destruction, presenting a mesmerizing portrayal of the divine and human realms.

Themes portrayed in Kumarasambhava

Through Kumarasambhava, Kalidasa delves into the eternal dance between love and power, intertwining mortal desires with the celestial realm. The poem encapsulates emotions ranging from passion and longing to jealousy and devotion. Kalidasa’s lyrical verses evoke a sense of wonder and introspection, prompting readers to contemplate the intricacies of human existence.

Analysis of notable characters in Kumarasambhava

Within the pages of Kumarasambhava, we encounter a multitude of characters who embody a spectrum of emotions and qualities. From the fierce and resolute Shiva to the compassionate and devoted Parvati, each character adds depth to the narrative, symbolizing the various facets of human nature and the eternal interplay between mortals and gods.

Abhijnanasakuntalam

Overview of abhijnanasakuntalam.

Abhijnanasakuntalam, often referred to as “The Recognition of Shakuntala,” weaves a tale of love, loss, and redemption. This poignant play tells the story of Shakuntala, a virtuous and beautiful maiden, and her journey from an idyllic forest life to the trials and tribulations of the royal court.

Themes portrayed in Abhijnanasakuntalam

Abhijnanasakuntalam delves into profound themes such as love, destiny, and the nature of identity. Kalidasa explores the consequences of forgetting one’s true self and the transformative power of recognition and forgiveness. The play presents a nuanced exploration of human relationships, highlighting the complexities of love and the consequences of our actions.

Analysis of notable characters in Abhijnanasakuntalam

The characters in Abhijnanasakuntalam are vividly portrayed, each with their own distinct traits and motivations. From the passionate and impetuous King Dushyanta to the tender and resilient Shakuntala, Kalidasa’s characterization evokes a range of emotions, allowing us to empathize with their joys and sorrows. Their journey through love, separation, and eventual reunion serves as a mirror to our own human experiences.

Overview of Meghaduta

Meghaduta, or “The Cloud Messenger,” showcases Kalidasa’s mastery of poetic imagery and his ability to evoke emotions from the natural world. This lyrical poem tells the story of a lovelorn Yaksha, a celestial being, who sends a message through a passing cloud to his beloved wife, who resides far away.

Themes portrayed in Meghaduta

Meghaduta explores themes of longing, separation, and the power of nature to connect beings across vast distances. Through the Yaksha’s heartfelt message, Kalidasa’s verses echo with emotions of love, melancholy, and hope. The poem serves as a reminder of the enduring power of love, even in the face of physical separation.

Analysis of poetic elements in Meghaduta

In Meghaduta, Kalidasa skillfully employs vivid imagery, metaphors, and vivid descriptions of nature to create a palpable sense of longing and beauty. His mastery of the poetic form shines through in the delicate interplay of words, evoking emotions and painting vivid scenes in the reader’s mind. Meghaduta stands as a testament to Kalidasa’s sublime command over language and his ability to bring the natural world alive through verse.

The Art of Sanskrit Poetry

Features of sanskrit poetry.

Sanskrit poetry possesses distinct features that elevate it to a realm of unparalleled beauty and depth. The language’s intricate grammar, rich vocabulary, and sophisticated metrical systems provide a foundation for poets like Kalidasa to create exquisite works that combine intellectual rigor and emotional resonance.

Use of metaphors and similes in Kalidasa’s poetry

Metaphors and similes abound in Kalidasa’s poetry, enriching his verses with layers of meaning and sensory imagery. He skillfully compares elements of the natural world to human emotions and experiences, creating a tapestry of poetic metaphors that captivate our senses and stir our souls.

Rasa theory in Kalidasa’s works

Rasa theory, a fundamental concept in Indian aesthetics, explores the emotional and aesthetic appeal of artistic creations. Kalidasa’s works exemplify the principles of rasa theory, evoking a range of emotions, such as love, longing, courage, and compassion. His poetry resonates deeply with readers, transcending time and cultural boundaries.

Kalidasa’s Influence on Indian Literature

Impact of kalidasa on subsequent poets.

Kalidasa’s artistic legacy reverberates throughout Indian literature, inspiring countless poets and writers who followed in his footsteps. His masterful storytelling, lyrical language, and exploration of profound themes continue to shape the landscape of Indian literature, laying the foundation for future generations to build upon.

Translation and adaptation of Kalidasa’s works in other languages

Kalidasa’s works have not only left an indelible mark on Sanskrit literature but have also transcended linguistic boundaries. His epic poems have been translated into numerous languages, bringing his magnificent verses to a wider audience and allowing his poetic genius to be appreciated by people all over the world.

Legacy of Kalidasa

Continued popularity and recognition of kalidasa’s works.

Kalidasa’s works have withstood the test of time, captivating readers for centuries and continuing to garner widespread acclaim. His poems are still studied, admired, and recited, highlighting the enduring appeal and timeless relevance of his literary contributions.

Importance of preserving Sanskrit literature

The preservation of Sanskrit literature, including the works of Kalidasa, is crucial in maintaining a connection with our cultural and linguistic heritage. Scholars, enthusiasts, and cultural institutions across the world have played a vital role in safeguarding and promoting Sanskrit literature, ensuring that future generations can bask in the brilliance of poets like Kalidasa.

As we journey through the life and works of Kalidasa, we discover a poetic genius who continues to capture our hearts with his exquisite verses and profound insights. Kalidasa’s Mahakavyas, his evocative imagery, and his resounding impact on Indian literature make him an immortal figure in the realm of poetry. Let us cherish the linguistic and literary treasures he has bequeathed to us, and may his legacy inspire generations to come.

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• Indianetzone - Bharavi
• ILoveIndia.com - Biography of Bharavi

Bharavi (flourished 6th century ad ) was a Sanskrit poet who was the author of Kiratarjuniya (“Arjuna and the Mountain Man”), one of the classical Sanskrit epics classified as a mahakavya (“great poem”). His poetry , characterized by its lofty expression and intricate style, may have influenced the 8th-century poet Magha .

Bharavi probably hailed from southern India and flourished during the reigns of King Durvinita of the Western Ganga dynasty and King Simhavishnu of the Pallava dynasty . His Kiratarjuniya was based on an episode from the third parvan , or section, of the long Sanskrit poem Mahabharata (“Great Epic of the Bharata Dynasty”). In 18 cantos, Bharavi described the Pandava prince Arjuna’s encounter and ensuing combat with a kirata , or wild mountaineer, who in the end proves to be the god Shiva. For his valour and penance, Shiva awards the ascetic hero with a coveted weapon of the Pashupata Hindu sect. The 15th chitrakavya , or canto, is known for its verbal complexity; the 14th stanza contains elaborate rhythmic consonance and the 25th features anagrammatic internal rhyme .

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Introduction to famous sanskrit poets – part 1.

A free webinar course on 10 great poets of Samskrita literature starting from Valmiki. In this course, Dr.Usharani Sanka highlights their life-details, poetic style and features, introduction to the works, the poet’s personality and covers the events or stories around the poet in Samskritam. This is a part of syllabus in Chittoor Samartha exam and will be helpful for students attempting the same.

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• Basic knowledge of Sanskrit language and grammar, at the level of Chittoor - Vichakshana / Samskrita Bharati – Shiksha / CBSE 10th std.
• Ability to understand Spoken Sanskrit.

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Saturday, July 28, 2018

K. krishnamurti's essay sanskrit poetics.

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What To Do with the Past?: Sanskrit Literary Criticism in Postcolonial Space

• Published: 08 March 2021
• Volume 49 , pages 129–144, ( 2021 )

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• V. S. Sreenath   ORCID: orcid.org/0000-0002-7597-6126 1  

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Throughout its history of almost a millennium and a half, Sanskrit kāvyaśāstra was resolutely obsessed with the task of unravelling the ontology kāvya (literary prose and poetry). Literary theoreticians in Sanskrit, irrespective of their spatio-temporal locations, unanimously agreed upon the fact that kāvya was a special mode of expression (distinctly different from the ordinary form of speech) characterized by the presence of certain unique linguistic elements. Nonetheless, this did not imply that kāvyaśāstra was an intellectual tradition unmarked by disagreements. The real point of contention among the practitioners of Sanskrit literary theory was the prioritization of certain formal elements as the ‘soul’ of literature. This strong sense of intellectual disagreement on the question of what constituted the soul of kāvya eventually paved the way for the emergence of new frameworks of criticism and extensive scrutiny of the existing categories, thus playing a vital role in keeping this tradition alive and new.

But towards the turn of the 20th century, Sanskrit kāvyaśāstra tradition underwent an epistemic rupture primarily because of a change in the way the idea of literariness was understood. During this phase, the traditional Formalistic notions about literature (to which Sanskrit kāvyaśāstra conformed) underwent a radical transformation, and the style and language of literature eventually became similar to everyday speech. This trend played an important role in severing Sanskrit kāvyaśāstra ’s natural tie with literature. Eventually, the vigour in which new treatises in Sanskrit literary poetics were produced also dwindled. This did not mean that the scholarship ( pāṇḍitya ) in Sanskrit poetics vanished. Scholars in Sanskrit poetics continued to flourish in India, but in a different form and shape. In other words, the focus of scholars in Sanskrit poetics slowly got shifted from the production of new treatises in Sanskrit poetics to the creation of the intellectual history of this field and the application of these theories to evaluate the literary merit of modern literary texts. Though these two approaches played a vital role in disseminating the knowledge about Sanskrit poetics in modern times, they were caught up in an ontological certitude. In other words, neither of these two directions attempted to study these theoretical positions from a standpoint other than that of literary theory. To borrow a Barthian terminology, these two approaches treated Sanskrit poetics as a ‘work,’ instead of a ‘Text.’ This paper aims to intervene in this lacuna of scholarship by proposing the Derridian idea of ‘play’ as a methodological framework to unearth the potentialities lying dormant in these theories and to move beyond the ontological certitude traditionally imposed on these theoretical positions. The new methodological praxis that I put forward in this paper is further exemplified through a non-canonical reading of Ānandavardhana’s avivakṣita - vācya - dhvani ( dhvani where the literal meaning is not intended).

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Gayatri Chakravorty Spivak: Can the Subaltern Speak?, in: Cary Nelson/Lawrence Grossberg (Hg.): Marxism and the Interpretation of Culture, University of Illinois Press: Urbana 1988, S. 271–313 (dt. Can the Subaltern Speak? Postkolonialität und subalterne Artikulation, Turia + Kant: Wien/Berlin 2008, 159 S.)

Ezra Pound, Chinese culture and the variation theory

Discerning philosophy in the uttarāmnāya liturgies of the newars.

Hemacandra in Kāvyānuśāsana observed that it is the presence of four components such as śabda (word), artha (meaning), guṇa (poetic quality) and alaṅkāra (figures of speech) that constitutes a kāvya (I.22). Vāgbhaṭa II delimited the ambit of kāvya by defining it as a composition of śabda (word) and artha (meaning) marked by the absence of doṣa s and the presence of guṇa s and alaṅkāra s (14). Mammaṭa observed that kāvya is composed of flawless words and sense adorned with merits and excellences of style (I.4). In Candrāloka , Jayadeva also set the limit of poetic expression by defining kāvya as a verbal icon characterized by the absence of doṣa s and the presence of lakṣaṇā (deviant utterance), rīti (diction or style; literally means ‘path’), guṇa , alaṅkāra , rasa (aesthetic emotion) and vṛtti (linguistic modality) (I.7). Vidyānātha in Pratāparudrīya saw kāvya as a special composition of both gadya (prose) and padya (poetry) bereft of doṣa s and adorned by guṇa , alaṅkāra , śabda and artha (II.1). Bhaṭṭa Nāyaka talked about three crucial components that were conspicuously absent in other uses of language and present only in kāvya . According to him, these three elements were abhidhāyakatva (denotative function), bhāvakatva (ability to evoke aesthetic experience) and bhogakṛttva (the experience of aesthetic emotion). In his commentary on Dhvanyāloka , Abhinavagupta reproduced this view of Bhaṭṭa Nāyaka ( Locana 2.4 L ). Kuntaka opined that the figurative deviation of speech ( vakrokti ) makes kāvya different from ordinary expression and the use of language in śāstras (291). According to Bhoja, although poetry is called the combination of word and meaning, not all compositions of word and meaning could claim the status of a kāvya . In Śṛṅgāraprakāśa , Bhoja made a clear distinction between kāvya and other linguistic genres based on the nature of language employed in them. According to Bhoja, workaday language is the explicit language of science and daily life. On the other hand, kāvya was the deviant language found in texts teeming with aesthetic pleasure (I;221). We can see this view of kāvya as a special linguistic category with complex literary conventions and elaborate metrical schemes, unchangingly going down the line till the end of the active phase in Sanskrit literary culture in the seventeenth century, with Jagannātha observing that kāvya is a special combination of word and meaning, with beautiful words denoting noble significations ( ramaṇīyārthapradipādakaḥ śabdaḥ kāvyaṃ ; 4).

gatoऽstamarko bhātīnduryānti vāsāya pakṣiṇaḥ| ityevamādi kim kāvyaṃ vārtāmenāṃ pracakṣate || (Ibid. II.87).

saiṣā sarvaiva vakroktiranayārtho vibhāvyate | yatnoऽsyāṃ kavinā kāryaḥ koऽlaṅkāroऽnayā vinā || ( Kāvyālaṅkāra 2.85). Ānandavardhana in Dhvanyāloka repeats this idea. See ( Dhvanyāloka 3.36) .

rītirātmā kāvyasya | ( Kāvyālaṅkārasūtravṛtti I.2.6).

Ānandavardhana is indirectly criticizing literary theoreticians like Bhāmaha, Daṇḍin and Vāmana who opine that kāvya is primarily a combination of śabda and artha (sound and sense). For detailed reading, see Bhāmaha (I.16), Daṇḍin (I.10) and Vāmana (I.1).

asphuṭasphuritam kāvyatattvametadyathoditam |

aśaknuvadbhirvyākartum rītayaḥ saṃpravartitāḥ || ( Dhvanyāloka III.46 K)

śabrarthau sahitau vakrakavivyāpāraśālini | bandhe vyavasthitau kāvyam tadvidāhlādakāriṇi ( Vakroktijīvita I.7).

vakroktiḥ prasiddhābhidhānavyatirekiṇī vicitraivābhidhā | (Ibid. kārikā on I.10).

ubhau dvāvapyetau śabdārthāvalaṅkāryāvalaṅkaraṇīyau kenāpi śobhātiśayakāriṇālaṅkaraṇena yojanīyau | kim tat tayoralaṅkaraṇamityabhidhīyate—tayoḥ punaralaṅkṛtiḥ | tayordvitvasaṅkhyāviśiṣṭayorapyalaṅkṛtiḥ punarekaiva yayā dvāvapyalaṅkriyete | kāsau—vakroktireva | vakroktiḥ prasidhābhidhānavyatirekiṇī vicitraivābhidhā || (Ibid. I.10)

I would like to point out the two opposing views regarding the evolution of Sanskrit poetics. While scholars like Kane and De follow the classification of Sanskrit poetics along the lines of guṇa and rīti , McCrea (2008) rejects it. For Kane and De’s views, see respectively History of Sanskrit Poetics , p. 372 and History of Sanskrit Poetics Vol II, 32. For McCrea’s view, see The Teleology of Poetics In Medieval Kashmir , pp. 30–31.

iha viśiṣṭau śabdārthau kāvyam | tayośca vaiśiṣtyam dharmamukhena, vyāpāramukhena, vyaṅgyamukhena, vā iti trayaḥ pakṣāḥ | ādyeऽpyaalaṅkārato guṇato vā iti dvaividhyam | dvitīyeऽpi bhāṇītivaicitryeṇa bhogakṛttvena vā iti dvavidham| iti pañcaṣu pakṣeṣvādya udbhaṭādibhirāṅgīkṛtaḥ, dvitīyo vāmanena, tritīyo vakroktijīvitakāreṇa, caturtho bhaṭṭanāyakena, pañcama ānandavardhanena | (Samudrabandha, commentary on Alaṅkārasarvasva 4). Samudrabandha, a twelfth century Sanskrit critic from Kerala, is known for his commentary on Ruyyaka’s Alaṅkārasarvasva .

For a detailed reading of the debate between navyas and prācīnas , see “Vastutas tu: Methodology and the New School of Sanskrit Poetics” by Bronner and Tubb.

Highlighting the popularity of Kāvyaprakāś , Maheśvara (17 C.E.), the author of Kāvyaprakāśādarśana , says that although a commentary of Kāvyaprakāśa is prepared in almost all houses, it still escapes the grasp of intellectuals by its innovative nature (Jhalakikar 39). For a detailed reading of commentarial tradition, see The Kāvyaprakāśa in the Benares-Centered Network of Sanskrit Learning by Cummins (2020).

For a review of all the works in Sanskrit poetics ever published in India, see An Annotated Bibliography of the Alaṃkāraśāstra by Timothy C. Cahill. A note of warning should be sounded now: though Sanskrit kāvyaśāstra texts continued to get produced in the 19th century, the amount of original thought that went into these texts remains to be determined. Any categorical observation about the originality of these texts in terms of their interaction with the tradition requires a great amount of work. However, one thing we can say for certain is that none of these texts composed during the colonial period could become landmarks in the history of Sanskrit poetics as Jagannātha’s Rasagaṅgādhara or Appayya Dīkṣita’s Kuvalayānanda could do in the previous epoch.

For detailed reading of modern works in Sanskrit, especially of those from the 19th and 20th century, read Radha Vallabh Tripathi’s “Modern Writings in Sanskrit: A Resume.” Tripathi notes that “Modern Sanskrit writers made a departure from their age-old literary traditions by the way to looking towards vernaculars and European languages also” (169).

guṇadoṣānaśāstrajñaḥ kathaṃ vibhajate janaḥ| kimandhasyādhikāroऽsti rūpabhedopalabdhiṣu|| ( Kāvyādarśa I.8).

na vidyate yadyapi pūrvavāsanā

guṇānubandhi pratibhānamadbhutam |

śrutena yattena ca vāgupāsitā dhruvam karotyeva kamapyanugraham || (Ibid. I.104).

śabdābhidheye vijñāya kṛtvā tadvidupāsanaṃ |

vilokyānyanibandhāmśca kāryaḥ kāvyakriyādaraḥ || ( Kāvyālaṅkāra I.10).

sa doṣaguṇālaṅkārahānādānābhyāṃ|

sa khalvalaṅkāro doṣahānāt guṇālaṅkārādānācca sampādyaḥ kaveḥ || śāstrataste || te doṣaguṇālaṅkārahānādāne śāstrādasmāt ||

śāstrato hi jñātvā doṣāñjahyāt guṇālaṅkārāṃscādadīta || ( Kāvyālaṇkārasūtravṛtti I.1.3-4).

śāstrapūrvakatvāt kāvyānāṃ pūṛva śāstreṣvabhiniviśeta | nahyapravrtitapradipāste tavārdhasārdhamadhyakṣyanti |(Rājaśekhara, Kāvyamīmāṃsa 20)

K.C Anthappayi’s Bhāṣānāṭakapariśodhana is a case in point. In this work, Anthappayi criticizes the predilection of Malayalam playwrights for Sanskrit dramas. He also opines that critics should do away with the guṇanirūpaṇam (analysis of literary merits) of Malayalam dramas based on the parameters of literariness set by Sanskrit poetics.

For a detailed reading of the role that Western literature played in the consolidation of colonial power in I ndia, see Gauri Viswanathan’s Masks of Conquest Literary Study and British Rule in I ndia .

Ontological certitude is the act of reducing the identity of an entity to a set of fixed assumptions.

vyañjakatvam hi kvacit vācakatvāśrayeṇa vyavatiṣṭhate| yathā vivakṣitānyaparavācye dhvanau| kvacittu guṇavṛttyāśrayeṇa| yathā avivakṣitānyaparavācye dhvanau| tadubhayāśrayatvapratipādanāyaiva ca dhvaneḥ prathamataram dvau prabhedāvupanyastau. (Ibid., p. 427).

See the complete verse from Dhvanyāloka. gaganam ca mattamekham dhārālulitarjunāni ca vanāni |

nirahaṅkāramṛgāṅkā haranti nīlā api niśāḥ || (273).

ayamapi na doṣaḥ | yasmāt avivakṣitavācyo dhvaniḥ guṇavṛttimārgāśrayoऽpi bhavati, na tu guṇavṛttirūpa eva | guṇavṛttirḥ vyañjakatvaśūnyāpi dṛśyate | (432).

Ānandavardhana cites a lot of examples where dhvani does not occur even in the presence of gauṇavṛtti (secondary usage). A case in point is the word lāvaṇya. Ānanda observes, “Words such as lāvaṇya, which are used idiomatically in a sense other than their proper (etymological) sense, are never instances of dhvani” (184). rūḍhā ye viṣayeऽnyatra śabdāḥ svaviṣayādapi | lāvaṇyādyāḥ prayuktāste na bhavanti padam dhvaneḥ || (Ibid., p. 147).

ata eva vācakatvāttasya viśeṣḥ vācakatvam hi śabdaviśeṣasya niyata ātmā, vyulpattikālādārabhya tadavinābhāvena tasya prasiddhatvāt | sa tvaniyataḥ aupādhikatvāt | prakaraṇādyavacchedena tasya pratīteḥ itarathā tvaprātīteḥ |(436-437)

kintu tadeva kevalam aparimitaviṣayasya dhvanivyavahārasya na prayodanakam avyāpakatvāt | tathā darśitabhedatrayarūpam tālparyeṇa dyotyamānam abhiprāyarūpam anabhiprāyarūpam ca

sarvameva dhvanivyavahārasya prayojakamiti yathoktavyañjakatvaviśeṣedhvanilakṣaṇe nātivyāptiḥ na

cāvyāptiḥ . (443).

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Ānandavardhana. (1990). Dhvanyāloka of Ānandavardhana with the Locana of Abhinavagupta (D. Ingalls, J. Masson, & M. V. Patwardhan, Trans. and Eds.). Harvard: Harvard University Press.

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Sreenath, V.S. What To Do with the Past?: Sanskrit Literary Criticism in Postcolonial Space. J Indian Philos 49 , 129–144 (2021). https://doi.org/10.1007/s10781-021-09466-1

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Essay on Valmiki (Poet)

December 10, 2017 by Study Mentor 1 Comment

Table of Contents

Land of Sages

India is home to many saints and poets since ancient times. Earlier sages used to be part of big Gurukuls, what we term today as international schools that taught its students lessons and chapters, not just on one or two specialized subjects, but provided and taught the students holistic learning methods and intensive life lessons.

They also taught him to be a warrior, they bred them well in Vedic studies, taught them Sanskrit, they were well versed in Sanskrit hymns, they learnt skills in many other fields too. The main reason why students were sent to these centers of learning was because back then, these were the only centers of learning that imparted formal education to students and made them ready for their higher living.

Students were taught about the various phases a man will go through in his life and imparted life lessons to them. They were taught skills in archery, they played games, learnt horse riding, learned how to handle weapons, etc.

Sages of India meditated for long periods of time and reached penance in their lives. They led lives of enlightenment. Kings consulted them before taking big decisions, they were considered as messengers of god who could correctly decide the right thing from wrong.

They carried out havans, did Pooja, lived in small hamlets, renounced happiness in the world, lived a live free of even the basic rights in life and gave importance to spirituality of the mind and higher levels of attaining peace and sanctity in life.

They realized higher meanings in life and looked at life from a totally different level and attitude. They lived deep in the forests and meditated for years together. No rain or any other natural forces could deter them and they could be brought back to the normal state only after they were done with their meditating period.

They did not have any deep desires for food, clothing, materialistic things etc. they had a small piece of cloth to cover themselves and they had sacrificed all essential desires any person would have.

Athri, Bharadwaja, Valmiki, Agastya, Dadhichi, Nachiketa, Vasishta etc were famous sages of India who wrote many spiritual scriptures and poems and recitations that shook the world.

The world was amused at the kind of knowledge they displayed and the kind of living they led. They lived a higher level of living and they were a great influence on kings.

Adi Kavi or The First Known Poet

Valmiki is the first poet of India, popularly called Adi Kavi who gave the world, the most beautiful epic, the Ramayana. Valmiki, as the world knows him, was a very great Sanskrit poet and all his creations were written in Sanskrit language.

Valmiki is world famous for his contribution to Indian literature, in that he gave the world, the most important scripture in Sanskrit, Ramayana. It consisted of 24,000 Shlokas and it is rendered in the form of a poem by Valmiki. Valmiki wrote Ramayana and created history.

The story of Ramayana deals with the story of lord Ram and his childhood days, his education, childhood diaries, chapters, after he married goddess Sita, when they renounced the palace and went into the forest with Ram’s brother Lakshmana, the hardships they faced in the forest, Sita’s abduction and finally the burning of Lanka and the end of Ravan.

There are many verses in Ramayana and Valmiki has presented each sequence by giving attention to detail and anyone reading the Ramayana in detail and researching on it would know the intricacies and the complexities with which the poet has woven the fine details into the poem.

The poem presents lord Ram, goddess Sita and all other characters in high glorification and one can gain a great gateway to the world of spiritual knowledge by reading through the texts. Lord Brahma assisted Valmiki in writing Ramayana, it is said popularly.

After the burning of Lanka, it was Valmiki who provided shelter to Goddess Sita and her two sons when Lord Ram gave her many tests to take up before accepting her as his own. Sita took shelter in his ashram for many days After Valmiki wrote Ramayana, he brought Sita’s two sons and started teaching them as well.

Sita’s two sons, Luv and Kush then went to Ram’s empire and re-told everything they were taught during the Ashwamedh Yagna and Ram was surprised looking the wonders of the kids. He followed them closely to Valmiki’s Ashram where he found out about the two guys, being his own children.

Qualities he Possessed

Older stories related to the sage call him by his earlier name, Agni Sharma. Some are of the belief that his first name was Ratnakara.  A popular story goes that it was mainly because of Lord Vishnu that Valmiki earned this title for himself.

One day when Valmiki and his close disciple Bharadwaja were travelling, they came across a stream of water. The stream of water looked so pure and clear that Valmiki was happy seeing the waters and decided to take a bath in there.

When he jumped into the waters, he saw two cranes sitting beautifully next to each other and since it was the mating season for birds, the two birds mating there looked very picturesque for the poet. He was impressed by the beauty of nature and he put his eyes on the two cranes.

He started admiring their beauty and wondered how beautiful nature really was. At the same time, an arrow flew in the sky and hit one of the cranes. Neither Valmiki nor his disciple was able to understand from which direction the arrow came in and why the crane was the target of the arrow.

Naturally, Valmiki was very angry at the demise of one of the cranes. He could very easily understand the pain of the other crow and decided to put the whole sequence in words. That’s how Valmiki’s first creation took birth.

Valmiki Jayanthi is celebrated across the country to celebrate and honor the great poet’s contribution to Hindu religion and culture.

His outstanding contribution in terms of his greatest contribution, the Ramayana is read and worshipped by many Hindus. In fact many Hindu people personally prefer to keep their own copy of Valmiki Written Ramayana so that they can be spiritually connected and can do things in the right way.

Valmiki as an Inspiration

Valmiki’s message to the society stands relevant even today. He has spoken in all his creations to be true to self and lead a life of righteousness. He never encouraged people to fall prey to their own desires and needs. He took pity at the dead crane. He was hurt by its sufferings.

He was enraged looking at the arrow. These are some of the qualities known of Valmiki. He taught people to fight injustice. He shook the whole world by his strong use of Sanskrit words.

Many of his works are researched by great scholars and they have given their beautiful tribulations to a man who composed the most beautiful epic of Indian history.

Valmiki was a great poet, the first known poet in India and he was bent on writing in Sanskrit. All his creations were in Sanskrit language.

The world still looks at our country for the rich cultural heritage our country possesses. Great sages, saints from time immemorial have contributed in large to the society, telling people what seems right to them and have always asked people to live a life of truth and sincerity.

They believed in the powers of god and always bowed down before them. Their treasure of knowledge cannot be compared to anything in this world. The younger generation should be allowed to spread their wings and dig into the ancient epics of India to really know what our country was known from the past.

Many foreign researchers are working on the rich creations of these poets and they are really amused and astonished at the rich culture our country possesses. They have provided their tribute to these poets by researching for so many years and have taken this knowledge back to their own countries and spread the word there.

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The Beauty of India

• Bhavabhuti – The Great Dramatist in Sanskrit

Essay on Bhavabhuti

Bhavabhuti was a famous Sanskrit poet and scholar during the 8 th century. He was born in Padmapura, present located in the village of VIdarbha in Gondia district, on Madhya Pradesh and Maharashtra border. His father name was Nilakantha and mother Jatukarni. At first he was named Srikantha Nilakantha, later famous as Bhavabhuti. He received the education under the guidelance of Paramhans Dnyananidhi. He composed the play ‘Kalpi’, which gives us about the historical events and importance culture of the people during 8 th century. The poet spent his educational days at ‘Padmapawaya’, where his guru Dnyananidhi lived. The historians believe that he worked as the court poet of King Yashovarman of Kannauj.

Bhavabhuti Books

Bhavabhuti as the Brahman of Vidarbha, easily got the post in the court of Yashovarman of Kannauj as a chief poet. There his literary life thrived with the plays of Mahaviracharita, Malatimadhava and Uttararamacharita. The first book Mahaviracharita means the story of a great hero. In the book he narrated about the main incidents in the life of Lord Rama of defeat of Ravana and the coronation of Rama. The second book Malatimadhava is based on the love story between two important characters of Malati and Madhava. In the book narrated the lifestyle of the people and culture during his period. The human sacrifice and Tantric practice made the readers attach to the story deeply.

There are many films also shoot in various languages in India on the basis of Malatimadhava. The last play is Uttararamacharita, which narrates about the story of Lord Rama after the death of Ravana. His coronation to the throne of Ayodhya and banishment of Sita was deeply narrated with lamented heart.

Bhavabhuti compare to Shakespeare

The Dramatist  was very success to built the characterization of the characters, continuing suspense and unimaginable climax. His figures of speech and metaphors made him to compare his writing skills to Mahakavi Kalidas . The present scholars compare the poet to Shakespeare, but Bhavabhuti lived in 7th century and Shakespeare lived in 16th century. So Shakespeare’s writing skills are comparable to this old Dramatist.

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January 2019

• Maharaja Sayajirao University of Baroda (India)

Sanskrit has a continuous history of literary output from the most ancient times to the present day. In this long process various forms have been developed by both classical and modern poets. Sanskrit has grown into a national language with a unique Pan-Indian character by enriching itself with many forms.The 21st century is a golden period in the history of modern Sanskrit literature. Many Sanskrit writers are endeavoring to make Sanskrit language living by way of creating literature in various modern forms which are not found in the age of classical literature.The field of poetry is the richest and substantial in comparison to other areas of creation in Sanskrit literature. The Sanskrit poets have always preference for poetry. Therefore, even in the present time we get a good number of poem-collections which dominate other forms of Sanskrit literature. In second chapter the criticism of some available Mahāakāvyas, Khaṇḍakāvyas and other poetic forms attempted. I have try to asses these epics from the perspective of their theme, language, structural presentation.The modern poets have taken initiative in composing poems in modern style with modern technique under the influence of English, Japanese, Corean as well as regional languages. Dr. Harshdev Madhava has a credit to introduce these foreign forms to modern Sanskrit literature. Gazal or Galajjalika is one of the popular poetic forms which modern Sanskrit literature has borrowed from the Urdu. Urdu gazals are generally focus on the cliché subjects like love, beautiful girl and wine. But Dr. Abhiraj Rajendra Mishra didn‟t compromise with the dignity of Devabhāśāand has written gazals on themes like Culture, religion, human emotions, patriotism etc.New themes are being introduced and new ideas are being inculcated in the age-old language. Sanskrit poets have exhibited remarkable receptivity. The various genres and forms have been adopted by contemporary Sanskrit poets are: (1) Stutikāvya and Eulogy, (2) Anyokti or allegory, (3) Samasyāpūrti, (4) Romantic poetry, Personal poems, (5) Satire, Parody and Humour, (6) Poems infused with national spirit and global issues, (7) Gazals, (8) Rāgakāvya (9) Gīta, (10) Poems written for an occasion, (11) Poems imbibing Regional colours i.e. Garba of Gujarat, Lavani of Maharashtra, Bhangara of Punjab etc., (12) Khaṇḍakāvyas (13) Songs inspired by folklore, Folk-poetry of Folk-songs, (14) translations of poems in other languages, (15) Śatakakāvya and Didactic poems; (16) Laharīkāvya, (17) Dūtakāvya (18) Poems in Hindi meters like Dohā etc., (19) Forms adopted from foreign literatures like Haiku, Schizo, Tānkā, Sonnet etc. The modern poets write poems based on contemporary themes like Kargil, earthquake, Tsunami, Orissa cyclone and Godhara incident etc. I find plethora of modern songs composed in the tune of modern movie songs. I have included 16 Mahakavyas and 44 Kavyasamhagrahas of various modern forms in my study.In modern Sanskrit prose, Sanskrit literature has adopted many new literary forms from the various foreign and Indian regional languages. Novel is one of the most popular modern literary forms which Sanskrit literature has adopted from English literature. Though there are many prose works since the time of Vedas but we cannot define those as novels. Now a day modern Sanskrit literary world has an author like Keshab Chandra das who has written 13 novels. In the tenure of my research i.e from 2001 to 2011, I found seven original Sanskrit novels written during this period. These novels are short in length. Novel should have minimum 300 pages, but all these novels hardly reach to 150 pages. The style of writing of modern Sanskrit novelists is different than traditional writings. They use simple Sanskrit sentences; they avoid long compounds. The use of newly coined Sanskrit words is noteworthy. We found other prose literature like Travelogue, Diary and Gadyakavya also. But they are less in number. Though it is a good contribution for which we should feel proud of.The Drama literature is also written in modern period. There are 14 dramas I found. Most of them are one act play. Some of them have a quality of stage performance.An area of modern Sanskrit literature that has been continuously enriched and attracting the attention of the modern readers of twenty first century is the field of translation. Many important and outstanding works especially novels have been translated into Sanskrit from other Indian languages like Odiya, Kannada, Hindi, Tamil, and Bengali etc.Śivarājavijaya is the first novel in Sanskrit language. Pandit Srirama Dave has translated Nirmalā of Premachanda and other works. Four novels of S.L.Bhayarappa have been translated into Sanskrit. Jala aur Jwālā of Harishankara Parasai is translated from Hindi into Sanskrit. Chitralekha of Bhagavaticharan Varma is translated from Hindi into Sanskrit. This shows the unique feature and progressive nature of modern Sanskrit literature.The Drama literature is also written in modern period. There are 14 dramas I found. Most of them are one act play. Some of them have a quality of stage performance. The study concludes with the summary and the findings of my investigation along with my observations and critical remarks followed by Bibliography of reviewed literature.

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Revealed: Harvard Business School’s New MBA Essays For Applicants

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Harvard Business School’s Baker Library.

With just 10 weeks before its first application deadline on Sept. 4th, Harvard Business School today (June 25) revealed a newly revised application for MBA candidates, including a new set of three short essays along with a refresh on how it will evaluate applicants for future classes.

The new prompts?

Business-Minded Essay : Please reflect on how your experiences have influenced your career choices and aspirations and the impact you will have on the businesses, organizations, and communities you plan to serve. (up to 300 words)

Leadership-Focused Essay : What experiences have shaped who you are, how you invest in others, and what kind of leader you want to become? (up to 250 words)

Growth-Oriented Essay : Curiosity can be seen in many ways. Please share an example of how you have demonstrated curiosity and how that has influenced your growth. (up to 250 words)

NEW HARVARD BUSINESS SCHOOL ESSAYS PUT THROUGH BY NEW MBA ADMISSIONS CHIEF

Eagerly awaited by thousands of prospective students and admission consultants, you can bet that the admissions pages of the HBS website were continually refreshed all morning for a glimpse at the new essay. The Harvard Business School essay prompt for the Class of 2027 was posted at 10:30 a.m. with the opening of the 2024-2025 application online.

This year’s change was put through by Rupal Gadhia , who joined the school as managing director of admissions and financial aid last October. A 2004 Harvard MBA, Gadhia came to the school with no previous admissions experience, having been the global head of marketing for SharkNinja robots.

In explaining the change in a blog post , Gadhia noted that “we have refreshed the criteria on which we evaluate candidates. We are looking for applicants who are business-minded, leadership-focused, and growth-oriented…This is your opportunity to discuss meaningful or formative experiences that are important to you that you haven’t had a chance to fully explore elsewhere in your application…Be authentic, be yourself.”

WHAT HARVARD BUSINESS SCHOOL IS REALLY LOOKING FOR IN THE NEW ESSAYS

The school added some context to its new criteria for admission, more clearly defining what it means by business-minded, leadership-focused, and growth-oriented.

Business-Minded

We are looking for individuals who are passionate about using business as a force for good – who strive to improve and transform companies, industries, and the world. We are seeking those who are eager to solve today’s biggest problems and shape the future through creative and integrated thinking. Being business-minded is about the interest to help organizations succeed, whether in the private, public, or non-profit sector. This business inclination can be found in individuals with a variety of professional and educational experiences, not just those who come from traditional business backgrounds.

In Your Application: We will look for evidence of your interpersonal skills, quantitative abilities, and the ways in which you plan to create impact through business in the future.

Leadership-Focused

We are looking for individuals who aspire to lead others toward making a difference in the world, and those who recognize that to build and sustain successful organizations, they must develop and nurture diverse teams. Leadership takes many forms in many contexts – you do not have to have a formal leadership role to make a difference. We deliberately create a class that includes different kinds of leaders, from the front-line manager to the startup founder to the behind-the-scenes thought leader.

In Your Application: Your leadership impact may be most evident in extracurriculars, community initiatives, or your professional work.

Growth-Oriented

We are looking for individuals who desire to broaden their perspectives through creative problem solving, active listening, and lively discussion. At HBS you will be surrounded by future leaders from around the world who will make you think more expansively about what impact you might have. Our case and field-based learning methods depend on the active participation of curious students who are excited to listen and learn from faculty and classmates, as well as contribute their own ideas and perspectives.

In Your Application: We will look for the ways in which you have grown, developed, and how you engage with the world around you.

TIGHTER TIMEFRAME FOR ROUND ONE APPLICANTS

The new essay prompts come  nearly two months after candidates to the school’s MBA program would more typically know what was expected of them. Some admission consultants say the delay over the prompt’s release, along with nearly a month’s slow down in releasing application deadlines, is “wildly insensitive” to applicants who will have less time than normal to prepare for the round one deadline of Sept. 4th.

That’s especially true because the most successful applicants to HBS have highly demanding jobs that consume the vast majority of their time. Many candidates go through multiple drafts of their essays to get them as close to perfection as humanly possible. MBA admission consultants are expecting a lot of up-to-the-deadline work this year to help prep candidates for Harvard and other top business schools.

The new application still preserves the post-interview reflection for applicants who are invited to a 30-minute admissions interview. Within 24 hours of the interview, candidates are required to submit a written reflection through the school’s online application system.

REACTION TO THE NEW CHANGE IS MIXED

Early reaction to the change suggests the likelihood of mixed reviews. “This is an uninspired and odd set of questions,” says Sandy Kreisberg, founder of HBSGuru.com and an MBA admissions consultant who closely reads the tea leaves of Harvard’s admissions process. “I don’t know how it’s different from what else do you want us to know about you, frankly,” he adds in a reference to last year’s single essay prompt.

“HBS has certainly moved from the abstract to the concrete,” believes Jeremy Shinewald, founder and CEO of mbaMission, a leading MBA admissions consulting firm. “Some applicants previously felt like they didn’t know where to start and some weren’t sure if they had answered the question, even when they were done. Now, the questions are quite straightforward and all have a cause and effect relationship — one where the applicant discusses the past to reveal the present or future. Smart applicants will understand how to share their experiences and, more importantly, how to relay their values. Some will mistakenly try to whack HBS over the head with stories of their epic feats, but the key isn’t to brag or embellish – the key is to simply create a clear relationship, via narrative, between past experience and true motivations.”

Shinewald found it astonishing that Harvard could not have made the change earlier. “It is, of course, surprising that HBS left applicants on edge until the last minute, all to create very traditional essays,” he adds. “As applicants learn in MBA classrooms, change can be hard and take time. The bottom line here is that these essays are somewhat of an applicant’s dream – they allow the savvy applicant to play to their strengths and draw on their best anecdotes and experiences to create a complete story. Some applicants will lament the absence of a ‘Why HBS?’ prompt, but my guess is that the admissions committee recognized that they would get an almost homogenous collection of essays touting the case method and other well known features. HBS gets some kudos for keeping the focus on the applicant.”

Adds Petia Whitmore of My MBA Path: “I think they reflect one of the traits of this new generation of candidates which is that they don’t handle ambiguity well. So it seems like Harvard had to spell out what they’re looking for way more prescriptively than in the past.”

Some, however, find the new essays a return to the past. “To me, the prompts feel quite regressive, and a return to the more formulaic approach that pervaded MBA applications two decades ago,” believes Justin Marshall, a New York-based MBA admissions consultant. “Because the previous prompt was so open ended, it forced applicants to be introspective and self-aware. You couldn’t just ramble for 900 words; you had to identify themes in your life to show how your personal experiences shaped your values, your leadership style, and your goals. Comparatively, these new prompts are much more paint-by-numbers. Applicants will likely cover the same ground in terms of topic, but there’s very little room for nuance and self-expression. I think it will be harder for applicants with less conventional backgrounds and experiences to differentiate themselves. I’m sure HBS grew tired of reading so many painfully earnest ‘life story’ essays, but I suspect they’ll soon find themselves yearning for essays that have a heartbeat and personality. 250 words just doesn’t allow for that unless you’re a very crafty writer.”

Whatever the case, getting into Harvard’s MBA program is still a daunting exercise. Last year, 1,076 of the 8,264 candidates who applied for admission to Harvard Business School gained admission, an acceptance rate of 13.2%, making HBS the second most selective prestige MBA program in the country after Stanford Graduate School of Business which had an admit rate of 8.4%. Harvard saw a 15.4% drop in MBA applications from the 9,773 it received a year-earlier.

Joint degree applicants for the Harvard Medical School, Harvard School of Dental Medicine, Harvard Graduate School of Arts and Sciences, Harvard Law School, and Harvard Kennedy School must provide an additional essay: How do you expect the joint degree experience to benefit you on both a professional and a personal level? (up to 400 words)

BIGGEST CHANGE IN HARVARD BUSINESS SCHOOL ESSAY IN NEARLY A DECADE

Joint degree applicants for the Harvard Paulson School of Engineering and Applied Sciences must provide an additional essay: The MS/MBA Engineering Sciences program is focused on entrepreneurship, design, and innovation. Describe your past experiences in these areas and your reasons for pursuing a program with this focus. (recommended length: 500 words). Applicants will also be able to respond to an optional essay.

In any case, it’s the biggest change in Harvard Business School’s application in nearly a decade. The last time HBS made a major switch, moving to the essay prompt it just eliminated, was in 2016. That change to just one essay with no word limit and a post-interview reflection was made by then admissions chief Dee Leopold.

When Leopold applied to Harvard as an MBA candidate in 1978, she had to write eight essays. Over her years as managing director of admissions, she first cut the essays down to four and then one, making it optional, and finally the one last prompt with a post-interview reflection, saying that applying to HBS should not be a writing contest .

OUR BUSINESS CASUAL PODCAST: The New HARVARD BUSINESS SCHOOL MBA Application:   Fortuna Admissions’ Caroline Diarte-Edwards and ApplicantLab’s Maria Wich-Vila join P&Q’s John A. Byrne to offer applicant advice on how to answer the new HBS essay prompts

DON’T MISS: 2024-2024 MBA APPLICATION DEADLINES or  HARVARD BUSINESS SCHOOL WILL NOW UPDATE ITS MBA ESSAY 

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