There are two well-known forms of Sanskrit literature, one Vedic literature and the other secular literature. Vedic literature includes Brāhman, Āraṇyaka, Upaniṣad and secular Sanskrit includes Rāmāyaṇa, Mahābhārata, Purāṇas, etc. The ultimate objective of both is public welfare. While Vedic literature propounds religion and spirituality, secular literature gives solutions to difficult situations arising in the worldly life. The first poets of secular Sanskrit literature such as Mahaṛṣi Vālmīki, Kālidāsa, Bhavabhūti, Bhāravi, etc. have included various types of diversity in their Suktas. In fact, Suktas are the foundation of human life, and some special Suktas in best compositions serve as a path in the journey of human life. Whatever the poet feels from his inner wisdom and whatever he sees happening in the public life, he expresses it in a few words through aphorisms, which are capable of influencing the society in a special way and making them feel happy. The aphorisms of the Uttararāmacarita written by Bhavabhūti are no different from this. The aphoristic sentence scheme found in the dialogues of the characters in the drama is very important from the point of view of direct public education.

Keywords - सूक्ति, लोकव्यवहार, साम्प्रतिक।

The Vedāṅgas are the six auxiliary disciplines of the Vedic studies. Nirukta is one of them which is considered ears of the Vedapuruṣa. Nirukta means ‘Etymology’ and it explains why a particular word has been used. The Nirukta ofYaska is the greatest example of linguistic studies. The etymologies are found before Yaska in the Vedic hymns and brāhmaṇas. The Gopathabrāhmaṇa is the only one brāhmaṇa associated with the Atharvaveda. The brāhmaṇa has mainly ten subjects. The Etymology is one among them which has described a clear picture of the linguistic analysis to help proper meaning of Vedic words. Some etymologies of the Gopathabrāhmaṇa are explained in this paper.

Keywords - अथर्ववेदः, गोपथब्राह्मणम्, निर्वचनम्, ओम्, अङ्गिरस्, ब्रह्म, प्रजापतिः, भृगुः, मखः, वषट्कारः, कुन्तापः, दक्षिणा।

The supreme purpose of all Indian philosophies is liberation. But the form of liberation of all philosophies is different. In the Philosophy of Naiyayika liberation is knowledge of matter. When knowledge of all things is completed, then the liberation of a man is attained. Among these sixteen objects are Chala Jāti and Nigrahasthāna The prescriptive production of that statement by changing the defined meaning of the argument is called Chala. In a reasonable cause, the case is Jāti by the intention of equation. Contradiction and non-contradiction are the Nigrahasthana. Here is a brief discussion of the differences between Chala, Jati and Nigrahasthāna along with examples.

Keywords - - न्यायं, दर्शनम्, पदार्थः, छलम्, जातिः, निग्रहस्थानम्, वादी, प्रतिवादी। 

Prose is an essential part of literature. In ancient Sanskrit literature, scholars such as Bhāmaha, Daṇḍin, Vāmana, Ānandavardhana, Bhojarāja, Viśvanātha, and Hemacandra classified prose into various forms, including Ākhyāyikā, Kathā, Muktaka, Vṛttagandhi, Utkalikāprāya, and Cūrṇika. Among these, Ākhyāyikā and Kathā are considered the most significant. In the modern era, prose has evolved into different forms such as essays, short stories, novels, memoirs, biographies, autobiographies, and travelogues. Modern Sanskrit prose is characterized by simplicity, clarity, and natural flow, enhancing its depth and meaning. Sanskrit prose not only reflects literary beauty but also conveys social, religious, and political thoughts. This paper aims to analyse the historical development, classification, and modern transformations of Sanskrit prose in detail.

Keywords - गद्यसाहित्यम्, आख्यायिका, कथा, अधुनिकगद्यरूपाणि, साहित्यिकसौन्दर्यम् 

वेदाङ्गेषु शिक्षावेदाङ्गः अन्यतमः भवति । ऋग्वेदभाष्यभूमिकायां शिक्षायाः लक्षणविषये एवमुच्यते- स्वरवर्णाद्युच्चारणप्रकारो यत्र शिक्ष्यते उपदिश्यते, सा शिक्षा ।[i] अर्थात् यस्मिन् शास्त्रे अकार-ककारादिवर्णानां, उदात्तादिस्वराणां, ह्रस्वदीर्घादिमात्राणां, स्थानप्रयत्नादिवलानां, माधुर्यादिगुणानां, गीत्यादिदोषाणां, वर्णागमलोपादिसन्तानानां च वर्णना विद्यते, तत् शास्त्रं शिक्षाशास्त्रमित्युच्यते । शिक्षाशास्त्रे स्वरवर्णादीनां सम्यगुच्चारणकौशलं शिक्ष्यते । महर्षिपतञ्जलिना उच्यते-  एकः शव्दः सम्यग्ज्ञातः सुप्रयुक्तः स्वर्गे लोके च कामधुग् भवति ।

रामकृष्णः भवति षोडशश्लोकीशिक्षाग्रन्थस्य कर्त्ता । षोडशश्लोकीशिक्षाग्रन्थः भवति शुक्लयजुर्वेदीयशिक्षाग्रन्थः । अयं शिक्षाग्रन्थः कारिकात्मकः भवति । अस्मिन् शिक्षाग्रन्थे  षोडशसंख्याकाः(१६) कारिकाः वर्ण्यन्ते । सम्पूर्णे शिक्षाग्रन्थे वर्ण-स्वर-मात्रा-वल-सामश्च पञ्च तत्त्वानां विषये वर्णनं क्रियते । शोधपत्रेऽस्मिन्  विस्तारतया तेषाम् उपस्थाप्यते ।

कुञ्चिकाशब्दाः

रामकृष्णः, शिक्षा, वर्णः, स्वरः, मात्रा, वलं, सामः, सन्तानः, स्वरवर्णः, ह्रस्वः, दीर्घः, प्लुतः, व्यञ्जनवर्णः, स्पर्शवर्णः, अन्तःस्थवर्णः, उष्मवर्णः, जिह्वामूलीयः, उपध्मानीयः, अनुस्वारः, विसर्गः, ओभावः विवृत्तिभावश्च ।

- In the context of classical Sanskrit drama, Rūpakam refers to the different types or genres of dramatic works, encompassing both Nāṭya (the art of dramatic performance) and Rupakam as a literary classification. The term Rūpakam is also used in some texts to describe different types of literature that follow a specific pattern, style, or structure. In the classical Indian drama, Rūpakam has been used in a broader sense to refer to various types of plays and theatrical genres. These could be the works of famous dramatists such as Bhāravi, Kālidāsa and Bhavabhūti, where the structure of plays, poetry, and performances was meticulously crafted. Rūpakam is often associated with these poetic or dramatic forms, contributing to their timeless quality in terms of language, performance, and narrative.

Keywords - Rūpaka, Śrauta, Karmakāṇḍa, Nāṭaka, Rāmāyaṇa, Mahābhārata, Harivaṃśapurāṇa, 

From ancient times to modern times, the flow of spirituality has been flowing continuously, whose philosophy we find in Vedas, Upanishads and Aranyakas. Spirituality is an important element in poetic literature, which reveals the deep spiritual feelings and spiritual quest of poets. This feeling not only expresses the inner experiences of a person but also reveals a deep understanding of society and culture. The search for spirituality in poetic works is a unique and profound journey, which introduces readers to the depths of life. There have been many poets in modern Sanskrit literature, who have clarified their views on spirituality. A similar effort has been made by Harekrishna Meher, a leading poet of modern Sanskrit literature, in his original works such as Matrgeetikaanjali:, Pushpanjali Vichitra, Swasti-Kavitaanjali:, etc., in various Sanskrit poems, where spirituality has been beautifully, simply and in detail described according to the context.

In this article, many aspects of spirituality described in poet Meher's lyric poem 'Matrigeetikaanjali' have been clarified. Many topics like the nature of God, the idea and proper use of divine elements in human life, etc. are described here. The interrelationship between language and spirituality in his poetry highlights the search for individual and collective understanding. 'Matrigeetikaanjali:' – In the compositions like Vishwageetika, Purushottam-geetika, Vibhugeetika, Prabodhgeetika, etc., the poet has included spiritual elements in an emotional style. In this research paper, an attempt has been made to discuss the spiritual thoughts described in his original lyric poem Matrigeetikanjali. Through this research the researcher will move forward to write on the unseen aspects and new topics of life through the depths of the soul present in the poet's poetry, thoughts on the essence of life, inner peace, purpose of life, glory of God and self-realization.

Keywords - आध्यात्म, ईश्वर, विभु, सर्वव्यापी, पुरुषोत्तम, प्रबोध, गीतिका |

This chapter has discussed the aesthetic significance of forests. Forest is a God-given natural property. Many poets have discussed the forest in their Kāvyas. In Sanskrit literature, forests description has been done in huge forms. The aesthetic description of the forest is extremely heartfelt. The aesthetic beauty of forests such as Gandhamādana, Nandana, Citrakūṭa and Pañcavaṭī,etc, along with of some other forests is found very rich in Sanskrit Literature. The depiction of the Upavana in Kāvya is also very interesting here. Tapovana's description is also reflected in the Sanskrit Kāvyas. Sages were mentioned meditating in the sacred Tapovana which was discussed. Tapovana was the best place for austerity. The flora and fauna have enhanced the beauty of Nature. Flora and fauna are the main representatives of Nature. They have enhanced the beauty of the forest is discussed here.

Keywords - Vana , Upavana, Tapovana , Flora and Fauna

Vaishnava Devotional Literature - The Vaishnava faith is rich in literature that intertwines bhakti (devotion), personal experiences of the divine, and profound philosophical insights. The balance between devotion and philosophical depth varies among the poets and saints across India. While the earliest Vaishnava texts were composed in Sanskrit, the rise of the bhakti movement witnessed the texts in regional languages, making them accessible to a wider audience. This movement simplified the understanding of complex philosophical concepts while infusing them with deeply emotional expressions of devotion. This paper attempts to explain how Vaishnava literature not only focuses on devotional aspects, such as prayers or bhakthi, but also explores deep philosophical concepts. This blend of devotion and philosophy is a hallmark of Vaishnava devotional literature. The contributions of various Vaishnava schools and their poet-saints to this literature will be briefly discussed. To further illustrate its depth, particular attention will be given to select works of the Azhwars, with a focus on Sri Periyazhwar. The philosophy referenced by Azhwars is deep rooted in the concepts of tatva (realities), hita (path), and purushartha (goal)—namely, the nature of realities in the universe, the final goal one should seek in life, and the path to attaining it.

Keywords - Vaishnava, Devotional literature, Vishishtadvaita, saranagati, Azhwar, Periyazhwar

This paper investigates the complex interaction between rhetoric and grammar in Āryabhaṭa I's mathematical lexicon, focusing on the terms varga and avarga within his Āryabhaṭīya. It argues that Āryabhaṭa's numbering system is deeply rooted in Sanskrit grammatical principles, particularly phonetics as detailed in the śikṣās and prātiśākhyas. The paper explores how Āryabhaṭa leverages the phonetic classes of Sanskrit grammar to construct his numerical notation, drawing parallels with Pāṇini's metalinguistic encoding techniques (anubandha and pratyāhāra). Furthermore, it analyzes these man ticevolution of varga through a four-stage process of upacāra(implication), demonstrating how rhetorical conventions of South Asian tradition shape its meaning shifts. By examining the interplay of phonetics, grammar, and rhetoric, this paper illuminates the sophisticated linguistic and conceptual foundations of Āryabhaṭa's mathematical contributions and offers a deeper understanding of his scientific thought.

Keywords - South Asian mathematics, numeral systems, South Asian rhetoric, Sanskrit grammar, Sanskrit phonetics.

Bhasma, an ancient concept rooted in Indian philosophy and Āyurvedic medicine, holds a unique place in the history of human thought and well-being. This research paper delves into the profound philosophical underpinnings of bhasma, exploring its origins, significance, and its deep connection to the principles of transformation, purification, and spiritual evolution. By examining bhasma from historical, cultural, and philosophical perspectives, this paper aims to shed light on its relevance in contemporary society and the broader implications it holds for human understanding and well-being. The Upaniṣads, ancient Indian texts that form the philosophical cornerstone of Hinduism, encompass a wealth of profound insights into the nature of existence and the pursuit of spiritual realization. One intriguing yet enigmatic theme within these scriptures is the concept of “bhasma” or sacred ash. This research paper delves deep into the intricate philosophy surrounding bhasma in the Upaniṣads, unraveling its symbolic, metaphysical, and transformative dimensions. Bhasma, more than mere ash, serves as a powerful metaphor for the cycle of life and death, the impermanence of existence, and the quest for spiritual liberation. By analyzing key Upaniṣadic passages, commentaries, and historical contexts, this study provides a comprehensive exploration of the philosophical underpinnings of bhasma, shedding light on its relevance in Hinduism and its resonance in the broader landscape of philosophical and spiritual traditions. This research not only enriches our understanding of the Upaniṣads but also underscores the enduring wisdom and universal significance of bhasma as a symbol of profound transformation and self-realization.

Keywords - Bhasma, Upaniṣad, Philosophy, Hinduism, Sacred Ash, Spiritual Transformation Sanskrit Literature, Purification, Spiritual Evolution, Ancient Texts, Vedas, Metaphor, Advaita Vedānta, Indian Philosophy, Human Condition.

The Upaniṣads, in their profound wisdom, declare: “sarvaṁkhalvidaṁ brahma” All this is indeed Brahman" (ChāndogyaUpaniṣad 3.14.1). This statement encapsulates the essence of non-duality (Advaita), where reality is indivisible, infinite, and transcendent beyond perception. Modern quantum physics echoes this vision, unraveling a cosmos where matter dissolves into probability waves, and entangled particles defy classical separations. This paper introduces Quantum Brahman, a paradigm that intertwines the metaphysical insights of the Upaniṣads with the counterintuitive principles of quantum mechanics. Through wave-particle duality, superposition, and observer-dependent reality, both disciplines gesture toward an underlying unity—a field of infinite potential where observer and observed merge. By bridging these ancient and modern perspectives, Quantum Brahman challenges the illusion of material determinism, offering a new ontological model of existence. In this synthesis, science and spirituality converge, not as opposing forces, but as complementary lenses through which the fabric of reality can be understood anew.

Keywords: Quantum Brahman, Advaita Vedānta, Upaniṣads, Non-duality, Ātman, Māyā, Quantum Mechanics, Philosophy of Mind, Vedic Science, Quantum Field, Science and Spirituality, Metaphysics and Physics.

This paper explores the characterization of Yaugandharāyaṇa, the central figure in Bhāsa’s play Pratijñāyaugandharāyaṇa, through the lens of the 16 Personality Trait Theory, a framework devised by psychologist Raymond Cattell. Bhāsa, one of the earliest and most celebrated Sanskrit playwrights, skillfully crafts a protagonist who exhibits multifaceted traits that drive the plot and embody the socio-political and ethical complexities of ancient India. By applying the 16 Personality Trait Theory, this paper aims to decode Yaugandharāyaṇa’s personality beyond his role as a political strategist and loyal minister. The study examines traits such as warmth, emotional stability, dominance, vigilance, and rule-consciousness, which are pivotal to understanding his decisions, interactions, and the moral dilemmas he faces. The analysis sheds light on how these traits shape his strategies to restore the throne to the rightful king, Udayana, and how they reflect both his cunning statecraft and profound loyalty. This interdisciplinary approach not only offers a psychological dimension to Yaugandharāyaṇa’s character but also presents a novel perspective on the play’s thematic depth and Bhāsa's portrayal of heroism and loyalty. Through this exploration, the paper highlights the timeless relevance of the character, demonstrating how his traits resonate with contemporary notions of leadership, loyalty, and emotional intelligence. Ultimately, the study aims to bridge classical Sanskrit literature with modern personality psychology, offering a comprehensive understanding of how Yaugandharāyaṇa’s traits contribute to the enduring legacy of Bhāsa’s work. This analysis also contributes to the growing scholarship that examines Indian classical characters through the lens of modern psychological theories, providing new insights into the rich narrative traditions of Sanskrit drama.

Keywords - Yaugandharāyaṇa, 16 Personality Trait Theory, Bhāsa, Pratijñāyaugandharāyaṇa, Sanskrit drama, character analysis, personality psychology.