By Lokesh Chandra
The entire variety of phrases, compounds, and words methods 200,000 entries. phrases of technical topics like astronomy, medication, iconography, metrics, prosody and philosophy have additionally been integrated. the entire Tibetan vocabulary entries are prepared alphabetically: the compounds and significant words too seem of their alphabetic order to facilitate the duty of the person. Inclusion of compounds and words has been a selective approach during which the matter of discarding used to be moment basically to that of including. each Tibetan access is by way of its Sanskrit an identical. The Sanskrit equivalents have additionally been given in alphabetic series.
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Additional resources for Tibetan - Sanskrit Dictionary
32–39. aya, chapter 1, in the Javāharlāl Caturvedı¯ edition, pp. 7–11; in the Ved Prakāś edition, p. 56. ā verse called Hazārā (Hajārā). The name Brahma refers to Bı¯rbal, Akbar’s courtier. Other poets in the list are sometimes given shorthand designations; an explanatory key is provided by Javāharlāl Caturvedı¯ on pp. 9–10. The term translated as “poetry” in the ﬁnal line is kāvya. ā a poetic genealogy that would make it amenable to the aesthetic categories that had been developed to describe the virtues of elevated Sanskrit verse (kāvya).
The exact sequence of mātrās is not governed by formal regulation. 41 (6) Each verse contains a caesura (yati), which falls either exactly halfway through the line or, more frequently, at a slightly later point. In the sār meter, for example, it divides the verse into sixteen and twelve instants. ek is normally equivalent in length to the portion of a verse that precedes the caesura (in sār, sixteen instants). itā) or seal (chāp) appears in the poem itself, usually in the ﬁnal verse but sometimes in the penultimate verse instead.
In the sixteenth century, the term Hari was also frequently used as a designation for God in an even more general sense—the sort of God who loved to help those who loved him, and had designed the world as a theater in which that sort of action could be performed. So Hari can mean many things, but when Nābhādās speaks of Hari in connection with Sūrdās, he is clearly thinking of Krishna, the deity whose trademark is his “playful acts,” his līlās. For Nābhādās, as for Rāmcandra Śukla and countless others, Sūrdās is ﬁrst and foremost a poet of Krishna.
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