تولسيداس

تولسيداس
معلومات شخصية
	تعديل مصدري - تعديل

تولسيداس (الأبجدية الهندوسية: तुलसीदास، Hindi pronunciation: [t̪uls̪iːd̪ɑːs̪] والمعروف أيضا باسم جوسوامي تولسيداس)،^[1] (1497/1532–1623) قديس وشاعر ومُصلح وفيلسوف هندوسي معروف بتفانيه الشديد في عبادة الإله راما (Rama). ألف العديد من الأعمال الشعبية، أشهرها ملحمة راماشاريتاماناس (Ramcharitmanas) التي تروي قصة رامايانا (Ramayana) السنسكريتي في اللغة الأوادية (Awadhi) الدارجة. وكان يتصف طيلة حياته بأنه تناسخ للشاعر فالاميكي (Valmiki) مؤلف الرامايانا الأصلية بالسنسكريتية.^[2] كما يعتبر تولسيداس هو مؤلف الترنيمة التعبدية هانومان شاليسا (Hanuman Chalisa) التي تصف هانومان قائد القردة المقدسة المؤمن بالإله راما.^[3] عاش تولسيداس طيلة حياته في مدينة فارنيسي المعروفة حاليًا باسم بيناريس ومات فيها.^[4] وقد سُميت تولسي غات إحدى مناطق مدينة فارنيسي باسمه بعد موته.^[1] كما أسس تولسيداس معبد سانكاتموخان المخصص لهانومان حيث يقع في المكان الذي يُعتقد أنه تمت رؤية هانومان فيه.^[5] ويعد تولسيداس هو أول من بدأ في مسرحيات رامليلا (Ramlila)، تلك المؤلفات المسرحية الفلكلورية المتعلقة برامايانا.^[6] واشتُهر بأنه واحد من أعظم الشعراء في الآداب الهندوسية والهندية والعالمية.^[7]^[8]^[9]^[10] ولا يزال تأثير أعمال تولسيداس في الفنون والثقافة الهندية وكذلك المجتمع الهندي ظاهر حتى اليوم خاصة في اللغة الدارجة ومسرحيات رامليلا (Ramlila) والموسيقى الكلاسيكية الهندوستانية والموسيقى الشعبية والمسلسلات التليفزيونية.^[6]^[11]^[12]^[13]^[14]^[15]

المراجع

^ ^أ ^ب de Bruyn، Pippa؛ Bain، Dr. Keith؛ Allardice، David؛ Joshi، Shonar (2010). Frommer's India. Hoboken, New Jersey, United States of America: John Wiley and Sons. ص. 471. مؤرشف من الأصل في 2021-03-07.
^ Lutgendorf 2007, p. 293.
^ Rambhadracharya 2008, p. 306.
^ Prasad 2008, p. 857, quoting Mata Prasad Gupta: Although he paid occasional visits to several places of pilgrimage associated with Rama, his permanent residence was in Kashi.
^ Callewaert، Winand M.؛ Schilder، Robert (2000). Banaras: Vision of a Living Ancient Tradition. New Delhi, India: Hemkunt Press. ص. 90.
^ ^أ ^ب Handoo 1964, p. 128: ... this book ... is also a drama, because Goswami Tulasidasa started his Ram Lila on the basis of this book, which even now is performed in the same manner everywhere.
^ Prasad 2008, p. xii: He is not only the supreme poet, but the unofficial poet-laureate of India.
^ Prasad 2008, p. xix: Of Tulasidasa's place among the major Indian poets there can be no question: he is as sublime as Valmiki and as elegant as Kalidasa in his handling of the theme.
^ Jones، Constance؛ Ryan، James D. (2007). Encyclopedia of Hinduism (Encyclopedia of World Religions) (ط. Hardbound, Illustrated). New York, New York, United States of America: Infobase Publishing. ص. 456. It can be said without reservation that Tulsidas is the greatest poet to write in the Hindi language. Tulsidas was a Brahmin by birth and was believed to be a reincarnation of the author of the Sanskrit Ramayana, Valmiki.
^ Sahni, Bhisham (2000). Nilu, Nilima, Nilofara (بالهندية). New Delhi, India: Rajkamal Prakashan Pvt Ltd. pp. 78–80. हिन्दी का सौभाग्य है कि उसके काव्यकुंज की तुलसी-मंजरी की जैसी सुगंध संसार की साहित्य वाटिका में शायद कहीं नहीं। ... आकर्षण दोनों में अत्यधिक है अपने-अपने ढंग पर दोनों ही बहुत बड़े हैं, पर फिर भी सब तरफ़ से केवल काव्य के सौंदर्य पर विचार करने पर तुलसीदास ही बड़े ठहरते हैं – भाषा साहित्य में रवीन्द्रनाथ के संबंध में कहना पड़ता है कि भ्रम त्रुटियाँ मिल सकती हैं पर तुलसीदास के संबंध में कोई शायद ही मिले। ... और यही कारण है निराला जी तुलसीदास को कालिदास, व्यास, वाल्मीकि, होमर, गेटे और शेक्सपियर के समकक्ष रखकर उनके महत्त्व का आकलन करते हैं।
^ Lutgendorf 1991, p. 11: ... – scores of lines from the Rāmcaritmānas have entered folk speech as proverbs – ...
^ Mitra، Swati (5 مايو 2002). Good Earth Varanasi City Guide. New Delhi, India: Eicher Goodearth Publications. ص. 216.
^ Subramanian، Vadakaymadam Krishnier (2008). Hymns of Tulsidas. New Delhi, India: Abhinav Publications. ص. Inside Cover. Famous classical singers like Paluskar, Anoop Jalota and MS Subbulakshmi have popularised Tulsidas's hymns among the people of India.
^ Lutgendorf 1991, p. 411: The hottest-selling recording in the thriving cassette stalls of Banaras in 1984... was a boxed set of eight cassettes comprising an abridged version of the Manas sung by the popular film singer Mukesh... it is impossible to say how many of the sets were sold, but by 1984 their impact was both visible and audible. One could scarcely attend a public or private religious function in Banaras that year without hearing, over the obligatory loudspeaker system, the familiar strains of Murli Manohar Svarup's orchestration and Mukesh's mellifluous chanting.
^ Lutgendorf 1991, p. 411–412: On January 25, 1987, a new program premiered on India's government-run television network, Doordarshan... it was the first time that television was used to present a serialized adaption of a religious epic. The chosen work was the Ramayan and the major source for the screenplay was the Manas. Long before the airing of the main story concluded on July 31, 1988, the Ramayan had become the most popular program ever shown on Indian television, drawing an estimated one hundred million viewers and generating unprecedented advertising revenues. Throughout much of the country, activities came to a halt on Sunday mornings and streets and bazaars took on a deserted look, as people gathered before their own and neighbors' TV sets.... The phenomenal impact of the Ramayan serial merits closer examination than it can be given here, but it is clear that the production and the response it engendered once again dramatized the role of the epic as a principal medium not only for individual and collective religious experience but also for public discourse and social and cultural reflection.

وصلات خارجية

مقالات تستعمل روابط فنية بلا صلة مع ويكي بيانات

تولسيداس في المشاريع الشقيقة:

[frommer-1] أ ^ب de Bruyn، Pippa؛ Bain، Dr. Keith؛ Allardice، David؛ Joshi، Shonar (2010). Frommer's India. Hoboken, New Jersey, United States of America: John Wiley and Sons. ص. 471. مؤرشف من الأصل في 2021-03-07.

[2] Lutgendorf 2007, p. 293.

[3] Rambhadracharya 2008, p. 306.

[4] Prasad 2008, p. 857, quoting Mata Prasad Gupta: Although he paid occasional visits to several places of pilgrimage associated with Rama, his permanent residence was in Kashi.

[5] Callewaert، Winand M.؛ Schilder، Robert (2000). Banaras: Vision of a Living Ancient Tradition. New Delhi, India: Hemkunt Press. ص. 90.

[handoo-ramlila-6] أ ^ب Handoo 1964, p. 128: ... this book ... is also a drama, because Goswami Tulasidasa started his Ram Lila on the basis of this book, which even now is performed in the same manner everywhere.

[7] Prasad 2008, p. xii: He is not only the supreme poet, but the unofficial poet-laureate of India.

[8] Prasad 2008, p. xix: Of Tulasidasa's place among the major Indian poets there can be no question: he is as sublime as Valmiki and as elegant as Kalidasa in his handling of the theme.

[jonesryan-tulsi-9] Jones، Constance؛ Ryan، James D. (2007). Encyclopedia of Hinduism (Encyclopedia of World Religions) (ط. Hardbound, Illustrated). New York, New York, United States of America: Infobase Publishing. ص. 456. It can be said without reservation that Tulsidas is the greatest poet to write in the Hindi language. Tulsidas was a Brahmin by birth and was believed to be a reincarnation of the author of the Sanskrit Ramayana, Valmiki.

[nirala-tulsi-10] Sahni, Bhisham (2000). Nilu, Nilima, Nilofara (بالهندية). New Delhi, India: Rajkamal Prakashan Pvt Ltd. pp. 78–80. हिन्दी का सौभाग्य है कि उसके काव्यकुंज की तुलसी-मंजरी की जैसी सुगंध संसार की साहित्य वाटिका में शायद कहीं नहीं। ... आकर्षण दोनों में अत्यधिक है अपने-अपने ढंग पर दोनों ही बहुत बड़े हैं, पर फिर भी सब तरफ़ से केवल काव्य के सौंदर्य पर विचार करने पर तुलसीदास ही बड़े ठहरते हैं – भाषा साहित्य में रवीन्द्रनाथ के संबंध में कहना पड़ता है कि भ्रम त्रुटियाँ मिल सकती हैं पर तुलसीदास के संबंध में कोई शायद ही मिले। ... और यही कारण है निराला जी तुलसीदास को कालिदास, व्यास, वाल्मीकि, होमर, गेटे और शेक्सपियर के समकक्ष रखकर उनके महत्त्व का आकलन करते हैं।

[11] Lutgendorf 1991, p. 11: ... – scores of lines from the Rāmcaritmānas have entered folk speech as proverbs – ...

[12] Mitra، Swati (5 مايو 2002). Good Earth Varanasi City Guide. New Delhi, India: Eicher Goodearth Publications. ص. 216.

[13] Subramanian، Vadakaymadam Krishnier (2008). Hymns of Tulsidas. New Delhi, India: Abhinav Publications. ص. Inside Cover. Famous classical singers like Paluskar, Anoop Jalota and MS Subbulakshmi have popularised Tulsidas's hymns among the people of India.

[14] Lutgendorf 1991, p. 411: The hottest-selling recording in the thriving cassette stalls of Banaras in 1984... was a boxed set of eight cassettes comprising an abridged version of the Manas sung by the popular film singer Mukesh... it is impossible to say how many of the sets were sold, but by 1984 their impact was both visible and audible. One could scarcely attend a public or private religious function in Banaras that year without hearing, over the obligatory loudspeaker system, the familiar strains of Murli Manohar Svarup's orchestration and Mukesh's mellifluous chanting.

[15] Lutgendorf 1991, p. 411–412: On January 25, 1987, a new program premiered on India's government-run television network, Doordarshan... it was the first time that television was used to present a serialized adaption of a religious epic. The chosen work was the Ramayan and the major source for the screenplay was the Manas. Long before the airing of the main story concluded on July 31, 1988, the Ramayan had become the most popular program ever shown on Indian television, drawing an estimated one hundred million viewers and generating unprecedented advertising revenues. Throughout much of the country, activities came to a halt on Sunday mornings and streets and bazaars took on a deserted look, as people gathered before their own and neighbors' TV sets.... The phenomenal impact of the Ramayan serial merits closer examination than it can be given here, but it is clear that the production and the response it engendered once again dramatized the role of the epic as a principal medium not only for individual and collective religious experience but also for public discourse and social and cultural reflection.

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