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object:Vidyapati
subject class:Poetry
class:author

dob:1352-1448
pob:Bisfi (present day Madhubani Bihar, India)

Wikipedia
Vidyapati (c.1352 1448), also known by the sobriquet Maithil Kavi Kokil (the poet cuckoo of Maithili), was a Maithili and Sanskrit poet, composer, writer, courtier and royal priest.[2] He was a devotee of Shiva, but also wrote love songs and devotional Vaishnava songs.[3] He knew Sanskrit, Prakrit, Apabhramsha, and Maithili.[3]

Vidyapati's influence was not just restricted to Maithili and Sanskrit literature but also extended to other Eastern Indian literary traditions.[2] The language at the time of Vidyapati, the prakrit-derived late Abahattha, had just begun to transition into early versions of the Eastern languages such as Maithili and Bhojpuri. Thus, Vidyapati's influence on making these languages has been described as "analogous to that of Dante in Italy and Chaucer in England".[4] He has been called the "Father of Bengali literature".[4]

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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

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SEE ALSO


AUTH

BOOKS

IN CHAPTERS TITLE

IN CHAPTERS CLASSNAME
1.vpt_-_All_my_inhibition_left_me_in_a_flash
1.vpt_-_As_the_mirror_to_my_hand
1.vpt_-_He_promised_hed_return_tomorrow
1.vpt_-_My_friend,_I_cannot_answer_when_you_ask_me_to_explain
1.vpt_-_The_moon_has_shone_upon_me

IN CHAPTERS TEXT
1.17_-_The_Transformation
18.01_-_Padavali
1.vpt_-_All_my_inhibition_left_me_in_a_flash
1.vpt_-_As_the_mirror_to_my_hand
1.vpt_-_He_promised_hed_return_tomorrow
1.vpt_-_My_friend,_I_cannot_answer_when_you_ask_me_to_explain
1.vpt_-_The_moon_has_shone_upon_me
2.05_-_On_Poetry
30.01_-_World-Literature
30.04_-_Intuition_and_Inspiration_in_Art
30.05_-_Rhythm_in_Poetry
30.12_-_The_Obscene_and_the_Ugly_-_Form_and_Essence
31.01_-_The_Heart_of_Bengal

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author
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Vidyapati

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NEW FULL DB (2.4M)

   5 Vidyapati

*** WISDOM TROVE ***

*** NEWFULLDB 2.4M ***

1:He promised he'd return tomorrow. And I wrote everywhere on my floor: "Tomorrow." The morning broke, when they all asked: Now tell us, when will your "Tomorrow" come? Tomorrow, Tomorrow, where are you? I cried and cried, but my Tomorrow never returned! Vidyapati says: O listen, dear! Your Tomorrow became a today with other women.

~ Vidyapati, He promised hed return tomorrow
,
2:All my inhibition left me in a flash, When he robbed me of my clothes, But his body became my new dress. Like a bee hovering on a lotus leaf He was there in my night, on me! True, the god of love never hesitates! He is free and determined like a bird Winging toward the clouds it loves. Yet I remember the mad tricks he played, My heart restlessly burning with desire Was yet filled with fear!

~ Vidyapati, All my inhibition left me in a flash
,
3:As the mirror to my hand, the flowers to my hair, kohl to my eyes, tambul to my mouth, musk to my breast, necklace to my throat, ecstasy to my flesh, heart to my home -- as wing to bird, water to fish, life to the living -- so you to me. But tell me, Madhava, beloved, who are you? Who are you really? Vidyapati says, they are one another. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov

~ Vidyapati, As the mirror to my hand
,
4:The moon has shone upon me, the face of my beloved. O night of joy! Joy permeates all things. My life: joy, my youth: fulfillment. Today my house is again home, today my body is my body. The god of destiny smiled on me. No more doubt. Let the nightingales sing, then, let there be myriad rising moons, let Kama's five arrows become five thousand and the south wind softly, softly blow: for now my body has meaning in the presence of my beloved Vidyapati says, Your luck is great; may this return of love be blessed. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov

~ Vidyapati, The moon has shone upon me
,
5:My friend, I cannot answer when you ask me to explain what has befallen me. Love is transformed, renewed, each moment. He has dwelt in my eyes all the days of my life, yet I am not sated with seeing. My ears have heard his sweet voice in eternity, and yet it is always new to them. How many honeyed nights have I passed with him in love's bliss, yet my body wonders at his. Through all the ages he has been clasped to my breast, yet my desire never abates. I have seen subtle people sunk in passion but none came so close to the heart of the fire. Who shall be found to cool your heart, says Vidyapati. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov

~ Vidyapati, My friend, I cannot answer when you ask me to explain
,

IN CHAPTERS [12/12]



   8 Integral Yoga
   4 Poetry


   6 Nolini Kanta Gupta
   4 Vidyapati


   5 Collected Works of Nolini Kanta Gupta - Vol 07


1.17 - The Transformation, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
  Songs of Vidyapati, 1893-1905 (Baroda) 1st ed. 1956
  Rodogune, 1893-1905 (Baroda) 1st ed. 1958

18.01 - Padavali, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
   Vidyapati in dread of the last summons, cries:
   There is no way out for me but Thee alone.
  --
   Vidyapati
   II
  --
   Vidyapati says, of the soul's satisfaction
   not even one in a million possessed it.
   Vidyapati
   III
  --
   Vidyapati says how shall you without the divine comrade
   pass your days and nights!
   Vidyapati
   IV

1.vpt - As the mirror to my hand, #unset, #Anonymous, #Various
   English version by Edward C. Dimock, Jr. and Denise Levertov Original Language Maithili As the mirror to my hand, the flowers to my hair, kohl to my eyes, tambul to my mouth, musk to my breast, necklace to my throat, ecstasy to my flesh, heart to my home -- as wing to bird, water to fish, life to the living -- so you to me. But tell me, Madhava, beloved, who are you? Who are you really? Vidyapati says, they are one another. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov <
1.vpt - He promised hed return tomorrow, #unset, #Anonymous, #Various
   English version by Azfar Hussain Original Language Maithili He promised he'd return tomorrow. And I wrote everywhere on my floor: "Tomorrow." The morning broke, when they all asked: Now tell us, when will your "Tomorrow" come? Tomorrow, Tomorrow, where are you? I cried and cried, but my Tomorrow never returned! Vidyapati says: O listen, dear! Your Tomorrow became a today with other women. <
1.vpt - My friend, I cannot answer when you ask me to explain, #unset, #Anonymous, #Various
   English version by Edward C. Dimock, Jr. and Denise Levertov Original Language Maithili My friend, I cannot answer when you ask me to explain what has befallen me. Love is transformed, renewed, each moment. He has dwelt in my eyes all the days of my life, yet I am not sated with seeing. My ears have heard his sweet voice in eternity, and yet it is always new to them. How many honeyed nights have I passed with him in love's bliss, yet my body wonders at his. Through all the ages he has been clasped to my breast, yet my desire never abates. I have seen subtle people sunk in passion but none came so close to the heart of the fire. Who shall be found to cool your heart, says Vidyapati. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov <
1.vpt - The moon has shone upon me, #unset, #Anonymous, #Various
   English version by Edward C. Dimock, Jr. and Denise Levertov Original Language Maithili The moon has shone upon me, the face of my beloved. O night of joy! Joy permeates all things. My life: joy, my youth: fulfillment. Today my house is again home, today my body is my body. The god of destiny smiled on me. No more doubt. Let the nightingales sing, then, let there be myriad rising moons, let Kama's five arrows become five thousand and the south wind softly, softly blow: for now my body has meaning in the presence of my beloved Vidyapati says, Your luck is great; may this return of love be blessed. [2203.jpg] -- from In Praise of Krishna: Songs from the Bengali, Translated by Edward C. Dimock, Jr. / Translated by Denise Levertov <
2.05 - On Poetry, #Evening Talks With Sri Aurobindo, #unset, #Integral Yoga
   Disciple: Can you give an instance of psychic poetry? Is there a psychic element in Vidyapati?
   Sri Aurobindo: Ithink there is some, though it is rare even in Chandidas. As for psychic poetry, take Shelley's lines:

30.01 - World-Literature, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   In our Bengali literature Vidyapati and Chandidas are the pioneer poets who made an attempt at creating genuine poetry surpassing all plebeian poetry. They had infused the popular literature with a new spirit, and thus formed a basis for real poetic utterance. The joy we derive from the songs of Vidyapati and Chandidas can be called the real poetic pleasure. For example,
   Hearken, O Madhava, Radha is at large.
  --
   It is said that Valmiki is the pioneer poet in Sanskrit literature. In our Bengali literature it is Vidyapati, nay, to be more precise and accurate, it is Chandidas who is the father of poetry. He raised the natural vital experiences to the level of the psychic. He has transformed even colloquial expressions into a deeper rhythm and flow. But even theirs was only the initial stage that required a long time to develop fullness and maturity. In truth, this is the third stage we have already referred to. Throughout the era of the Vaishnava poets, coming down to the time of Bharat Chandra the same line of sadhana, of spiritual practice, continued. The Bengali poets who flourished after Chandidas have hardly made any new contri bution, they have not unveiled another layer of the soul of the poetic genius of Bengali literature. What they have done amounts to an external refinement and orderliness. The literature of this age has tried to transcend the ordinary thoughts, i.e.,the manner of ordinary thinking, and has considerably succeeded too; still the presence of imperfection, the signs of a lower flight loom large there. We do not find there - in the words of Matthew Arnold - 'a humanity variously and fully developed' or a multifarious free scope of the universal life such as we have already mentioned.
   This very achievement of breaking down the limited movements within a narrow compass and spreading it out into the vast has been won by Madhusudan, Bankim and Rabindranath in Bengali literature during the current period of English influence. The day Bankim produced his artistic beauty, 'Kapalkundala', and Madhusudan penned -

30.04 - Intuition and Inspiration in Art, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   Now, in the creation nothing can remain itself and unaltered for good. Difference and polarity are the inviolable laws of nature. Therefore it is not that we do not find glimpses of pure intuition here and there among the Bengalees. Chandidas, the pioneer poet of Bengal, represents an unalloyed, pure inspiration and Vidyapati reflects glimpses of intuition. When a feeling of emotion tingled through the blood of Chandidas he turned deep within and sang to himself with his eyes closed, in trance as it were:
   Sister, who has sung first the sweet name of the Lord
  --
   On the other hand, the self-poised Vidyapati with his eyes wide open sang:
   Childhood and youth fuse together.

30.05 - Rhythm in Poetry, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   It is this quality of sweetness that has made the fame of Bengali language and literature, from Vidyapati and Chandidas right down to Rabindranath. But the possibilities of this language and literature, not only for sweetness or grace but also for strength and nobility have been brought out by Madhusudan. He has not the power and depth of thought, but there is in his style and manner something reminiscent of that "stepping of the goddess" in Virgil. One hears as if the rumbling of the clouds in the opening lines of Meghnadbadh:
   ...

30.12 - The Obscene and the Ugly - Form and Essence, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   Kalidasa has excelled in depicting the beauties of form. Shakespeare sought not beauty but the wide surge of vital truths. Petrarch abounds in the beauty of form. He created more and yet more beauty of form. But Dante is to be appreciated rather through the poetic truths that stood out as unmoving rocks, the tremendous energy petrified as it were in the form. Our Indian poet Vidyapati was mad after the beauty of form. He expressed the pangs of his heart thus:
   "Since my birth I have been seeing beauty after beauty, yet my eyes are not satiated."

31.01 - The Heart of Bengal, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   The nervous system of the Bengalis is not very strong, but it is very sharp. Their vital energy is not solid, but it is pliant. Prompt are they in their actions, but not persevering. They have a subtle sensitivity and a quick sensibility. In addition, they are sentimental and emotional; and consequently, they are thoughtful and imaginative. They are unsteady; therefore they are ever open to the new. They do not want to see the world as it is with calm and plain eyes; they would like to see the world coloured with the collyrium of their heart. They are swayed to and fro by the impulse of their heart, like a pendulum. No others can make the impulses of the heart intense and one-pointed to such a high degree. Chandidas was a typical Bengali poet. Judging from this point of view, Vidyapati does not seem to be a Bengali poet at all. In him we find a play of intellect and reasoning, an attitude of casting side glances, and an alertness. But Chandidas was self-oblivious and beside himself with poetic imagination.
   The Bengalis have the power of thinking, and in it we find flashes of genius, a deep insight and bright glimpses of experience, There the calm, placid and self-absorbed tenure of the reasoning faculty is not to be found. It is hard for the Bengalis to derive pleasure from mere intellectual pursuit, setting aside the feelings of the heart. They have hardly the patience and endurance necessary for carrying on the intellectual process for its own sake; their nerves can hardly put up with the tension of doing so. But in the thought that has once been able to touch their hearts, in the thought that has as its fount their vital emotion, there they have excelled. They have adhered to it steadily and persistently like a leech and have brought forth argument after argument, truth after truth. It would be difficult for a Shankara to see the light ofday on the soil of Bengal; but the birth of someone like Nimai Pundit (Chaitanya) is quite consistent, because there was a vast ocean of vital emotion behind his erudition. The Bengali logician is at his best especially when someone is able to arouse and excite him. But in the field of calm argumentation, perhaps a Bengali cannot be a match for a South Indian scholar. Also, in the field of reasoning, the Bengalis lose all sense of practicality, whereas no one else does the same. There is an ancient saying that if once the French are seized by mania (furia franca),then there is no escape from it. They lose the balance of their consciousness, and are capable of anything. Likewise, the Bengali race tends to be somewhat crazy.
  --
   Vidyapati, also breathing the atmosphere of Bengal, as it were, queried, "Do you ask me about my own experience?" It is the experience of the heart that has mobilized, glorified and widened all other faculties of the Bengalis. .
   Bengal, the wet and fertile land, has the power to appreciate the essence of the supreme Delight more than any other province. The creations of Bengal are but the creations of Delight. We do not know if the Bengalis are the "sons of Immortalily" (amrtasya putrah),but they are undoubtedly the children of Delight. The inspiration of their works does not derive from a dry sense of duty or from stern discipline. There is hardly any place for austerities in the temperament of the Bengalis. They cannot accept from the bottom of their hearts the stoic ideal of Mahatma Gandhi. Rabindranath is the model of a Bengali. The Deccan has produced Shankara; Nanak and Surdas appeared in the North; but in the fertile soil of Bengal were born Sri Chaitanya, Chandidas and Ramprasad. The cult of devotion exists, no doubt, in other parts of India; but the cult of looking upon God as the Lover of the beloved devotee has blossomed only in Bengal. The worship of Kartikeya prevails in some parts; Sri Rama or Sita and Rama are worshipped in some parts. But the full significance of Radha's pining for Krishna has been appreciated only by the Bengalis. Mahadeva (Siva) has taken his abode in many places, but it is the Bengalis who have been mad over his consort, Gauri. The doctrine of Vedanta has spread all over and has absorbed all other doctrines, but the Bengali race has sought for a way of spiritual culture which transcends the injunctions of the Vedas. The worship of the Self is not enough. The worship of man, Sahaja Sadhana,has resulted from the genius of Bengal.

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