Kālidāsa in the context of "Sanskrit"

Sanskrit (/ˈsænskrɪt/; stem form संस्कृत; nominal singular संस्कृतम्, saṃskṛtam,) is a classical language belonging to the Indo-Aryan branch of the Indo-European languages. It arose in northwest South Asia after its predecessor languages had diffused there from the northwest in the late Bronze Age. Sanskrit is the sacred language of Hinduism, the language of classical Hindu philosophy, and of historical texts of Buddhism and Jainism. It was a link language in ancient and medieval South Asia, and upon transmission of Hindu and Buddhist culture to Southeast Asia, East Asia and Central Asia in the early medieval era, it became a language of religion and high culture, and of the political elites in some of these regions. As a result, Sanskrit had a lasting effect on the languages of South Asia, Southeast Asia and East Asia, especially in their formal and learned vocabularies.

Sanskrit generally connotes several Old Indo-Aryan language varieties. The most archaic of these is the Vedic Sanskrit found in the Rigveda, a collection of 1,028 hymns composed between 1500 and 1200 BCE by Indo-Aryan tribes migrating east from the mountains of what is today northern Afghanistan across northern Pakistan and into northwestern India. Vedic Sanskrit interacted with the preexisting ancient languages of the subcontinent, absorbing names of newly encountered plants and animals; in addition, the ancient Dravidian languages influenced Sanskrit's phonology and syntax. Sanskrit can also more narrowly refer to Classical Sanskrit, a refined and standardized grammatical form that emerged in the mid-1st millennium BCE and was codified in the most comprehensive of ancient grammars, the Aṣṭādhyāyī ('Eight chapters') of Pāṇini. The greatest dramatist in Sanskrit, Kālidāsa, wrote in classical Sanskrit, and the foundations of modern arithmetic were first described in classical Sanskrit. The two major Sanskrit epics, the Mahābhārata and the Rāmāyaṇa, however, were composed in a range of oral storytelling registers called Epic Sanskrit which was used in northern India between 400 BCE and 300 CE, and roughly contemporary with classical Sanskrit. In the following centuries, Sanskrit became tradition-bound, stopped being learned as a first language, and ultimately stopped developing as a living language.

Aśvaghoṣa, also transliterated Ashvaghosha (Sanskrit: [ˌɐɕʋɐˈɡʱoːʂɐ], अश्वघोष; lit. "Having a Horse-Voice"; Tibetan: སློབ་དཔོན་དཔའ་བོ།, Wylie: slob dpon dpa' bo; Chinese: 馬鳴菩薩; pinyin: Mǎmíng púsà; lit. 'Bodhisattva with a Horse-Voice') (c. 80 – c. 150 CE), was a Buddhist philosopher, dramatist, poet, musician, and orator from India. He was born in Saketa, today known as Ayodhya.

He is believed to have been the first Sanskrit dramatist, and is considered the greatest Indian poet prior to Kālidāsa. It seems probable that he was the contemporary and spiritual adviser of Kanishka in the first century of our era. He was the most famous in a group of Buddhist court writers, whose epics rivaled the contemporary Ramayana. Whereas much of Buddhist literature prior to the time of Aśvaghoṣa had been composed in Pāli and Prakrit, Aśvaghoṣa wrote in Classical Sanskrit. He may have been associated with the Sarvāstivāda or the Mahasanghika schools.

Bhāsa is one of the earliest Indian playwrights in Sanskrit, predating Kālidasa. Estimates of his floruit range from the 4th century BCE to the 4th century CE; the thirteen plays attributed to him are commonly dated closer to the first or second century CE.

Bhasa's plays had been lost for centuries until the manuscripts were rediscovered in 1910 by the Indian scholar Ganapati Shastri. Bhāsa had previously only been known from mentions in other works, such as the Rajashekhara's Kāvya-mimāmsā, which attributes the play Swapnavāsavadattam to him.

Birch bark manuscripts are documents written on pieces of the outer layer of birch bark, which was commonly used for writing before the mass production of paper. Evidence of birch bark for writing goes back many centuries and appears in various cultures. The oldest such manuscripts are the numerous Gandhāran Buddhist texts from approximately the 1st century CE, from what is now Afghanistan. They contain among the earliest known versions of significant Buddhist scriptures, including a Dhammapada, discourses of Buddha that include the Rhinoceros Sutra, Avadanas and Abhidharma texts.

Sanskrit birch bark manuscripts written with Brahmi script have been dated to the first few centuries CE. Several early Sanskrit writers, such as Kālidāsa (c. 4th century CE), Sushruta (c. 3rd century CE), and Varāhamihira (6th century CE) mention its use for manuscripts. The bark of Betula utilis (Himalayan Birch) is still used today in India and Nepal for writing sacred mantras. Russian texts discovered in Veliky Novgorod have been dated to approximately the 11th to 15th centuries CE. Most of those documents are letters written by various people in a local dialect, Old Novgorodian. The Irish language's native writing system Ogham, sometimes called the "tree alphabet", was traditionally attributed to the god Ogma who wrote a proscription on birch to Lugh, warning him; the text of this proscription can be found in the Book of Ballymote. The first letter of Ogham is beith; beithe means "birch".

Kumārasambhavam (Sanskrit: कुमारसम्भवम् ) (transl. - "The Birth of Kumāra") is an epic poem by Kālidāsa. It is widely regarded as the finest work of Kalidasa as well as the greatest kāvya poem in Classical Sanskrit. The style of description of spring set the standard for nature metaphors pervading many centuries of Indian literary tradition. Kumārasaṃbhavam basically talks about the birth of Kumāra (Kārtikeya), the son of Shiva (Śiva) and Pārvatī (Umā). The period of composition is uncertain, although Kalidasa is thought to have lived in the 5th century.

A fierce debate has raged over the question as to whether the whole of the seventeen cantos came was penned by Kalidasa. Vitthala Śastrin, who in 1866, published Cantos VIII to XVII in The Paņdit, took them as genuine work of Kalidasa while scholars like Hermann Jacobi took Cantos IX to XVII as a later interpolation. Stylistic inferiority of these cantos, rarity of manuscripts, silence on the part of early commentators and lack of citation in Alaṃkārasutra are often presented as reasons for rejecting this latter cantos of the poem.