Kalidas biography in punjabi song download

By Mani Rao

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About the book

‘Mani Rao’s courageous approach to the Gita not only revitalizes an ancient philosophy but also restores power and majesty to the text’s poetry.’ – Arshia Sattar

‘My life is so much easier as I don’t have to go through maddening archaic prose thanks to Mani Rao’s uncluttered, refined poetry.’ – Devdutt Pattanaik

The Bhagavad Gita is by far the most revered text of ancient Indian thought. In the form of a dialogue between Arjuna and Lord Krishna, it explains the nature of the self and the universe.

However, the sheer number of translations, dense commentaries and complex interpretations has created distance between it and readers. With this volume – which includes the Sanskrit original, and a guide to reading and interpretation – poet, translator and religious studies scholar Mani Rao helps readers return to the source text and appreciate its nuances for themselves.

Critically acclaimed for its accuracy and freshness, Rao’s translation in free verse draws from modern poetics to redirect attention to the literary qualities of the Gita and sets a new standard for the translation of canonical spiritual texts.

Form of Indian semi-classical vocal music

For the sites known in Persian as tepe, see Tell (archaeology).

Tappa is a form of Indian semi-classical vocal music. Its specialty is a rolling pace based on fast, subtle and knotty construction. Its tunes are melodious and sweet, and depict the emotional outbursts of a lover. Tappe (plural) were sung mostly by songstresses, known as baigees, in royal courts.

History

Tappa originated from the folk songs of the camel riders in Punjab. The tappa style of music was refined and introduced to the imperial court of the Mughal EmperorMuhammad Shah, and later by Mian Ghulam Nabi Shori or Shori Mian, a court singer of Asaf-Ud-Dowlah, Nawab of Awadh.

In Bengal, Ramnidhi Gupta & Kalidas Chattopadhyay composed Bengali tappa and they are called Nidhu Babu's Tappa. Tappa gayaki took new shape and over decades became puratani, a semi-classical form of Bengali songs.

Tappa, as a significant genre in Bengali musical styles, reached levels of excellence in lyrics and rendition (gayaki), arguably unmatched in other parts of India. Hugely popular in the latter half of the 19th century and the beginning of the 20th, tappa was the genre of choice of the wealthy elite as well as the classes with more modest means. An evolved format of the tappa was the baithaki style, which evolved under the direct patronage of the landed elites of the zamindari classes of the late 19th and early 20th centuries, in their baithak-khanas (literally, baithak - assembly, khana - halls or salons) and jalsaghar (literally, halls for entertainment, mujra or nautch halls)

Composers of repute included Bidyasundar, Roopchaand Pakkhi, Dadathakur, and Hiralal Sarkhel. Unfortunately, tappa being mainly a vocal tradition, a lot of priceless material from the body of art has been lost in the passage of time. Many celebrated artists died before recordin

Odia poet and writer

Sarala Dasa (born as Siddheswara Parida) was a 15th-century poet and scholar of Odia literature. Best known for three Odia books — Sarala Mahabharata, Vilanka Ramayana and Chandi Purana — he was the first scholar to write in Odia and his revered as the Adi Kabi (First Poet) of Odia literature. As an originator of Odia literature, his work has formed an enduring source of information for succeeding generations.

Life

The early life of Sarala Dasa is not accurately known. He was a contemporary of the Gajapati King Kapilendra Deva. Though the date of his birth cannot be accurately determined, he can safely be placed to the 15th century AD. He was born at a village called kanakavati patana known as Kanakapura at the Tentuliapada, Jagatsinghpur district. Sarala Dasa belonged to Chasa community.

Sarala Dasa had no organized early education, and what he achieved through self-education was attributed to the grace of Sarala, goddess of devotion and inspiration. Though his early name was Siddheswara Parida, he was later known as Sarala Dasa, or 'by the boon of Sarala'. (The title Dasa means a slave or a servant of a particular god or goddess. A long list of poets, preceding and succeeding Sarala Dasa, have names ending this way. For example: Vatra Dasa, Markanda Dasa, Sarala Dasa, Jagannatha Dasa, Balarama Dasa, and Yasovanta Dasa.) A story – similar to those told of other Indian poets, such as Kalidasa, supposedly illiterate in early life until helped by the goddess Saraswati – tells that Siddheswara as a boy was once ploughing his father's field and singing so melodiously that the goddess Sarala stopped and listened to his song and endowed him with her power of composing beautiful poems.

There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Odisha.

Sarala Dasa spent his