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Agnimitra : son & successor of Pushyamitra who the founder of the Śuṅga dynasty (q.v.). During his father’s reign he was the viceroy in the Narmada region with his capital as Vidisha, the modern Bhilda. He defeated his southern neighbour, the king of Vidarbha (Berar in British times) & extended the Śuṅga dominions up the Wardha River. He succeeded his father in about 149 B.C. & ruled, according to the Puranas, for eight years. His love affairs formed the theme of Kālidāsa’s drama Mālavikāgnimitram. His name has also been found on several coins.

6 result/s found for Agnimitra

... . His helplessness when confronted by Aushinarie compares badly with the quiet self-possession & indulgent smile with which Agnimitra faces Iravatie in a much more compromising situation. Characteristic too is his conduct when the jewel is lost. We feel certain that Agnimitra when rushing out of his tent would have caught up his bow & arrows & and shot the thief on the spot; Pururavus occupies time... Kalidasa Early Cultural Writings Vikramorvasie: The Characters Pururavus is the poet's second study of kinghood; he differs substantially from Agnimitra. The latter is a prince, a soldier & man of the world yielding by the way to the allurements of beauty, but not preoccupied with passion; the subtitle of the piece might be, in a more innocent sense... "owes" her respect & affection, but in spite of his glowing language and fine acting we feel that he cherishes towards her none of the genuine respect & affection or of the real & indulgent kindliness Agnimitra feels for Dharinie & Iravatie. In the last Act he expresses some fear that he may lose religious calm; one feels that religious calm in Pururavus must have been something like the King's robe in Hans ...

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...     Chapter VI. The Drama before Kalidasa; elements of Hindu drama.. the three plays studies of one subject.    Chapter VII. The Agnimitra; its plot; perfection of dramatic workmanship; Kalidasa's method of characterisation; the characters. Dramatic style. Relation of the Agnimitra to the Raghu.    Chapter VIII. The Urvasie.. dramatic workmanship & conception; character of the poetry; relation to Meghaduta ...

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... its old pure moral ideality and heroic intellectualism, weakened in fibre & sunk towards hedonism & materialism, the centre of its culture & national life began to drift westward. Transferred by Agnimitra in the second century to Videsha of the Dasharnas close to the Malavas, it finally found its true equilibrium in the beautiful and aesthetic city of Ujjaini which the artistic & sensuous genius of ...

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... "Raghu vansha" Sri Aurobindo : That is a new discovery – if he says so. Disciple : Kalidas we know as one who is not particular about morality. His Malvikagnimitra depicts the king Agnimitra falling in love with a dancing girl who turns out to be a princess. So also, in his other poems like Rati Vilap he mentions women in the state of drunkenness and is not shocked. Sri Aurobindo ...

... Sheva and Parvatie are merely grand paintings while Dushyanta, Shacountala, Sharngarava, Page 170 Priyumvada & Anasuya, Pururavus and Urvasie and Chitraleqha, Dharinie and Iravatie and Agnimitra are living beings who are our friends, whom we know. The difference arises from the importance of speech in self-revelation and the comparative inadequacy of acts, except as a corroboration or a check ...

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... under that hero of legend, Vikramāditya of Ujjayinī, connected with the founding of the era of 57 B.C. One of Kālidāsa's most celebrated plays, Mālavikāgnimitra, deals both with Pushyamitra's son Agnimitra and with Pushyamitra himself. 6 As a pendant to our discussion of the Kandahār inscription we must build a proper perspective of the two Aramaic and one Greek epigraphs discovered ...

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