Atmagata, Ātmagata, Atman-gata: 9 definitions
Introduction:
Atmagata means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Ātmagata (आत्मगत).—When overwhelmed with excessive joy, intoxication, madness, fit of passion, repugnance, fear, astonishment, anger and sorrow, one speaks out words which are in one’s mind (lit. heart), it is called Speaking Aside (ātmagata). This including arguments, is often to be used in plays like the Nāṭaka.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
Languages of India and abroad
Sanskrit dictionary
Ātmagata (आत्मगत).—a. produced in one's mind; °तो मनोरथः (to manorathaḥ) Ś.1.
-tam ind. aside (to oneself) being considered to be spoken privately (opp. prakāśam aloud); frequently used as a stage-direction in dramas; it is the same as स्वगतम् (svagatam) which is thus defined; अश्राव्यं खलु यद्वस्तु तदिह स्वगतं मतम् (aśrāvyaṃ khalu yadvastu tadiha svagataṃ matam) S. D.6.
Ātmagata is a Sanskrit compound consisting of the terms ātman and gata (गत).
Ātmagata (आत्मगत).—ind.
(-taṃ) Apart, to one’s self, (in theatrical language.) E. ātman and gata gone.
Ātmagata (आत्मगत).—[adjective] being connected with or contained in one’s self; [neuter] [adverb] to one’s self, i.e. aside ([drama]).
Ātmagata (आत्मगत):—[=ātma-gata] [from ātma > ātman] mfn. being on itself, [Mahābhārata xi, 566] ([edition] [Bombay edition]; See -ruha below)
Ātmagata (आत्मगत):—adj. auf ihm selbst (auf giri Berg zu beziehen) befindlich [Mahābhārata 11, 566] nach der Lesart der ed. Bomb.; ātmaruha ed. Calc.
Ātmagata (आत्मगत):——
1) Adj. auf — , in ihm selbst befindlich [Mahābhārata 11,19,20.] [Böhtlingk’s Sanskrit-Chresthomathie 172,13.] —
2) m Adv. für sich (als scenische Bemerkung) [295,17.304,16.]
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Kannada-English dictionary
Ātmagata (ಆತ್ಮಗತ):—
1) [adjective] being in or accompanying the soul.
2) [adjective] belonging to one (used reflexively).
3) [adjective] produced in one’s own mind.
--- OR ---
Ātmagata (ಆತ್ಮಗತ):—
1) [noun] an act or instance of talking to oneself.
2) [noun] words spoken by an actor expressing his or her thoughts in such a way that they are heard by the audience but supposedly not by the other actors; soliloquy.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
Ātmagata (आत्मगत):—adj. internal; subjective;
Nepali is the primary language of the Nepalese people counting almost 20 million native speakers. The country of Nepal is situated in the Himalaya mountain range to the north of India.
See also (Relevant definitions)
Partial matches (+0): Gata, Atman.
Full-text (+0): Atmagatam, Prakasham, Aatmagat, Atmaruha, Apavaritaka, Apavarya, Gam, Prakasha, Svagata.
Relevant text
Search found 16 books and stories containing Atmagata, Atma-gata, Ātma-gata, Ātmagata, Atman-gata, Ātman-gata; (plurals include: Atmagatas, gatas, Ātmagatas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Description of Ātmagata < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Description of Apavārita and Janāntika < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Modes of Addess in a Drama < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Nāṭyoktis < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Abhijnana Sakuntalam (with translation and notes) (by Bidhubhusan Goswami)
Chapter 1: Translation and notes < [Abhijnana Sakuntalam, text and notes]
Chapter 5: Translation and notes < [Abhijnana Sakuntalam, text and notes]
Chapter 1 - Prathama-anka (prathamo'nkah) < [Abhijnana Sakuntalam, text and notes]
Abhijnana Shakuntalam (Sanskrit and English) (by Saradaranjan Ray)
Chapter 1 - Prathama-anka (prathamo'nkah) < [Abhijnana Shakuntalam (text, translation, notes)]
Chapter 7 - Saptama-anka (saptamo'nkah) < [Abhijnana Shakuntalam (text, translation, notes)]
Chapter 4 - Caturtha-anka (caturtho'nkah) < [Abhijnana Shakuntalam (text, translation, notes)]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 13 - Technical Aspects of a Nāṭaka < [Chapter 1 - Nāṭaka (critical study)]
Part 11 - The technical aspects of a Prahasana < [Chapter 3 - Prahasana (critical study)]
Part 11 - Technical Aspects of a Prakaraṇa < [Chapter 10 - Prakaraṇa (critical study)]