Kalidasa – författare

Kalidasa is the major poet and dramatist of classical Sanskrit literature - a many-sided talent of extraordinary scope and exquisite language. His great poem, Meghadutam (The Cloud Messenger), tells of a divine being, punished for failing in his sacred duties with a years' separation from his beloved. A work of subtle emotional nuances, it is a haunting depiction of longing and separation. The play Sakuntala describes the troubled love between a Lady of Nature and King Duhsanta. This beautiful blend of romance and comedy, transports its audience into an enchanted world in which mortals mingle with gods. And Kalidasa's poem Rtusamharam (The Gathering of the Seasons) is an exuberant observation of the sheer variety of the natural world, as it teems with the energies of the great god Siva.

KING Yes. I shall release you -SAKUNTALA When?KING When?When, like a bee, I kiss the bud of your unbruised lipAnd flood my thirsting mouth with nectar.Kalidasa''s play about the love of King Dusyanta and Sakuntala, a hermitage girl, their separation by a curse, and eventual reunion, is the supreme work of Sanskrit drama by its greatest poet and playwright (c.4th century CE). Overwhelmingly erotic in tone, in peformance The Recognition of Sakuntala aimed to produce an experience of aesthetic rapture in the audience, akin to certain types of mystical experience.The pioneering English translation of Sakuntala in 1789 caused a sensation among European composers and writers (including Goethe), and it continues to be performed around the world. This vibrant new verse translation includes the famous version of the story from the Mahabharata, a poetic and dramatic text in its own right and a likely source for Kalidasa. The introduction discusses the play in the aesthetic and cultural context of ancient India.ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

KING Yes. I shall release you -SAKUNTALA When?KING When?When, like a bee, I kiss the bud of your unbruised lipAnd flood my thirsting mouth with nectar.Kalidasa's play about the love of King Dusyanta and Sakuntala, a hermitage girl, their separation by a curse, and eventual reunion, is the supreme work of Sanskrit drama by its greatest poet and playwright (c.4th century CE). Overwhelmingly erotic in tone, in peformance The Recognition of Sakuntala aimed to produce an experience of aesthetic rapture in the audience, akin to certain types of mystical experience.The pioneering English translation of Sakuntala in 1789 caused a sensation among European composers and writers (including Goethe), and it continues to be performed around the world. This vibrant new verse translation includes the famous version of the story from the Mahabharata, a poetic and dramatic text in its own right and a likely source for Kalidasa. The introduction discusses the play in the aesthetic and cultural context of ancient India. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

A new English translation of Raghuvaṃśa by the celebrated Sanskrit poet Kalidasa, who inspired such modern writers as Goethe and Tagore.For a millennium and a half, Kalidasa’s works—from The Cloud Messenger to The Recognition of Shakuntala—have delighted audiences in India and beyond. Although the renowned poet and dramatist inspired many literary works over the centuries, little is known about his life. He likely lived in central India in the late fourth or early fifth century.Kalidasa’s The Lineage of the Raghus, or Raghuvaṃśa, belongs to the Sanskrit literary tradition of mahākāvya, or court poem. It recounts the lives of ancient kings in the sūryavaṃśa, the Solar Dynasty who ruled from the capital city of Ayodhya. The poem describes, among other episodes, the quest for offspring by Dilipa, a descendant of the primordial king Manu; the world conquest of his son Raghu, which offers a panorama of the Indian subcontinent; the exploits of the famous Rama, an incarnation of Vishnu; and the debaucheries of Agnivarna, which jeopardize the future of the lineage.This volume presents a new edition of the Sanskrit text in the Devanagari script alongside a fresh English translation of this enduring epic.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures.India's dramatic literature demonstrates extraordinary range, depth, and sophistication. Thousands of years ago the theory and practice of how to make theatre was detailed in the Natyashastra. As a result, powerful plays were written; and, over time, a multiplicity of theatrical cultures have developed.Examining recurring themes such as the misuse of authority, the oppressive caste practices, the expression and legitimacy of romantic love, societal gender expectations, and the search for meaning in seemingly empty or destructive human endeavours, this anthology threads together diverse cultures, drawing connections across space and time. Though each play is its own unique entity, exploring them together allows readers to consider what theatrical techniques and cultural concerns may be significant aspects of Indian drama.Featuring work by the first Asian Nobel Laureate, acclaimed political writers, and a female gynaecologist who created startling drama from the women she had encountered, the range of playwrights speaks to the cultural diversity of the drama: with plays ranging from classical Sanskrit drama through major works from the beginning to the end of the 20th Century.Through taking an international perspective, Global Theatre Anthologies draws together work from ancient, indigenous, and modern times, encouraging thinking across boundaries and questioning what theatrical and societal values are part of India drama,, and what the relationships are between the old and new world.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures.India's dramatic literature demonstrates extraordinary range, depth, and sophistication. Thousands of years ago the theory and practice of how to make theatre was detailed in the Natyashastra. As a result, powerful plays were written; and, over time, a multiplicity of theatrical cultures have developed.Examining recurring themes such as the misuse of authority, the oppressive caste practices, the expression and legitimacy of romantic love, societal gender expectations, and the search for meaning in seemingly empty or destructive human endeavours, this anthology threads together diverse cultures, drawing connections across space and time. Though each play is its own unique entity, exploring them together allows readers to consider what theatrical techniques and cultural concerns may be significant aspects of Indian drama.Featuring work by the first Asian Nobel Laureate, acclaimed political writers, and a female gynaecologist who created startling drama from the women she had encountered, the range of playwrights speaks to the cultural diversity of the drama: with plays ranging from classical Sanskrit drama through major works from the beginning to the end of the 20th Century.Through taking an international perspective, Global Theatre Anthologies draws together work from ancient, indigenous, and modern times, encouraging thinking across boundaries and questioning what theatrical and societal values are part of India drama,, and what the relationships are between the old and new world.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. India''s dramatic literature demonstrates extraordinary range, depth, and sophistication. Thousands of years ago the theory and practice of how to make theatre was detailed in the Natyashastra. As a result, powerful plays were written; and, over time, a multiplicity of theatrical cultures have developed. Examining recurring themes such as the misuse of authority, the oppressive caste practices, the expression and legitimacy of romantic love, societal gender expectations, and the search for meaning in seemingly empty or destructive human endeavours, this anthology threads together diverse cultures, drawing connections across space and time. Though each play is its own unique entity, exploring them together allows readers to consider what theatrical techniques and cultural concerns may be significant aspects of Indian drama. Featuring work by the first Asian Nobel Laureate, acclaimed political writers, and a female gynaecologist who created startling drama from the women she had encountered, the range of playwrights speaks to the cultural diversity of the drama: with plays ranging from classical Sanskrit drama through major works from the beginning to the end of the 20th Century. Through taking an international perspective, Global Theatre Anthologies draws together work from ancient, indigenous, and modern times, encouraging thinking across boundaries and questioning what theatrical and societal values are part of India drama,, and what the relationships are between the old and new world.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. India''s dramatic literature demonstrates extraordinary range, depth, and sophistication. Thousands of years ago the theory and practice of how to make theatre was detailed in the Natyashastra. As a result, powerful plays were written; and, over time, a multiplicity of theatrical cultures have developed. Examining recurring themes such as the misuse of authority, the oppressive caste practices, the expression and legitimacy of romantic love, societal gender expectations, and the search for meaning in seemingly empty or destructive human endeavours, this anthology threads together diverse cultures, drawing connections across space and time. Though each play is its own unique entity, exploring them together allows readers to consider what theatrical techniques and cultural concerns may be significant aspects of Indian drama. Featuring work by the first Asian Nobel Laureate, acclaimed political writers, and a female gynaecologist who created startling drama from the women she had encountered, the range of playwrights speaks to the cultural diversity of the drama: with plays ranging from classical Sanskrit drama through major works from the beginning to the end of the 20th Century. Through taking an international perspective, Global Theatre Anthologies draws together work from ancient, indigenous, and modern times, encouraging thinking across boundaries and questioning what theatrical and societal values are part of India drama,, and what the relationships are between the old and new world.

Salutation to Life includes reading of the eponymous prayer followed by beautiful piano music based on original compositions of Pyotr Tchaikovsky. Piano music includes: The Seasons, Les Saisons Op. 37a, May: Starlit Nights. Prayer read in English, unabridged by Josh Verbae. Music recording by Anton Kingsbury.

This meditation intention is focused on living in the present moment and embracing the opportunities and possibilities each new day brings. The focus is on growth, action, and achievement, and recognizing that the past is gone and the future is uncertain, but the present moment is real and full of potential. The meditation ends with ambient music to encourage continued peace and reflection.