Dhiralalita, Dhīralalita, Dhira-lalita, Dhīralalitā: 11 definitions
Introduction:
Dhiralalita 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)
Dhīralalita (धीरललित) refers to the “self-controlled and light-hearted” type of hero and represents one of the four classes of heroes (nāyaka) defined in the Nāṭyaśāstra chapter 34. Accordingly, “kings are self-controlled and light-hearted (dhīralalita)”.
Dhīralalita (धीरललित) refers to a “hero who is interested in fine arts and always happy and carefree” (kaiśikī-vṛtti) and represents one of the four kinds of “heroes” (nāyaka) in a dramatic representation, as used within the classical tradition of Indian dance and performance, also known as Bharatanatyam.—In the depiction of any mood or sentiment, a dance performance or a dramatic representation takes the medium of the hero (nāyaka) and the heroine (nāyikas). The heroes are once again classified on the basis of their nature into four types [viz., Dhīralalita].
Dhīralalita (धीरललित) refers to one of the five types of Heroes (nāyaka) in Indian Dramas, according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—In the Viṣṇudharmottarapurāṇa, it is narrated that Kings should be dhīralalita i.e., firm, brave and sportive. The word dhīra is associated with each of the varieties. The term dhīra means firmness. So, it can be said that according to the Sāhityadarpaṇa, all the four types of hero should be associated with the quality of firmness.
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).
Kavyashastra (science of poetry)
Dhīralalita (धीरललित) refers to one of the four kinds of Nāyaka (“epic heroes”) in a Mahākāvya (‘epic poem’).—The self-controlled and the light-hearted hero (dhīralalita) is free from anxiety, fond of arts (songs, dance etc) happy and gentle. [...] These are the four popular types of heroes who lead other characters whether their action is directed towards success in love or any heroic exploit.
Kavyashastra (काव्यशास्त्र, kāvyaśāstra) refers to the ancient Indian tradition of poetry (kavya). Canonical literature (shastra) of the includes encyclopedic manuals dealing with prosody, rhetoric and various other guidelines serving to teach the poet how to compose literature.
Languages of India and abroad
Sanskrit dictionary
Dhīralalita (धीरललित).—hero of a poetic composition who is firm and brave, but sportive and reckless; निश्चिन्तो मृदुरनिशं कलापरो धीरललितः स्यात् (niścinto mṛduraniśaṃ kalāparo dhīralalitaḥ syāt) S. D.68.
Derivable forms: dhīralalitaḥ (धीरललितः).
Dhīralalita is a Sanskrit compound consisting of the terms dhīra and lalita (ललित).
--- OR ---
Dhīralalitā (धीरललिता).—f. Name of a metre with the गुण (guṇa)s as भरनरनग (bharanaranaga).
Dhīralalitā is a Sanskrit compound consisting of the terms dhīra and lalitā (ललिता).
Dhīralalita (धीरललित).—m.
(-taḥ) The hero of a poem or play, who is firm and brave, but reckless and inconsiderate. E. dhīra and lalita sportive.
1) Dhīralalita (धीरललित):—[=dhīra-lalita] [from dhīra] mfn. firm and brave, but reckless and sportive (hero of a play), [Sāhitya-darpaṇa]
2) Dhīralalitā (धीरललिता):—[=dhīra-lalitā] [from dhīra-lalita > dhīra] f. a kind of metre, [Catalogue(s)]
Dhīralalita (धीरललित):—[dhīra-lalita] (taḥ) 1. m. The brave but rash hero of a play.
Dhīralalita (धीरललित):—(1. dhīra + la)
1) adj. standhaft aber dabei guter Dinge, Bez. einer Art von Helden: niścinto mṛduraniśaṃ kalāparo dhīralalitaḥ syāt [Sāhityadarpana 68.] —
2) subst. (im Ind. f. tā) Name eines Metrums (4 Mal ¯ ˘ ˘ ¯ ˘ ¯ ˘ ˘ ˘ ¯ ˘ ¯ ˘ ˘ ˘ ¯) [Colebrooke II, 162 (XI, 5).]
Dhīralalita (धीरललित):——
1) Adj. standhaft und dabei von liebenswürdiger Einfalt (ein Held). —
2) f. ā ein best. Metrum.
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.
Nepali dictionary
Dhīralalita (धीरललित):—n. hero of a poetic composition who is firm, brave and sportive;
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): Dhira, Lalita, Tira.
Starts with (+0): Dhiralalitanayaka.
Full-text (+0): Naraka, Dhiralalitanayaka, Kamakrida, Dhiralalit, Viralalita, Nayakacatushtaya, Anukulanayaka, King, Thera, Lalita.
Relevant text
Search found 23 books and stories containing Dhiralalita, Dhīralalita, Dhira-lalita, Dhīra-lalita, Dhīralalitā, Dhīra-lalitā; (plurals include: Dhiralalitas, Dhīralalitas, lalitas, Dhīralalitās, lalitās). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (g): Characters < [Chapter 3 - Drama and Dance]
Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.1.230 < [Part 1 - Ecstatic Excitants (vibhāva)]
Verse 2.1.224 < [Part 1 - Ecstatic Excitants (vibhāva)]
Verse 2.1.232 < [Part 1 - Ecstatic Excitants (vibhāva)]
Ashta Nayikas and Dance Forms (study) (by V. Dwaritha)
Part 3 - Male characters—Nāyaka < [Chapter 1 - Introduction]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Description of Nāṭaka < [Chapter 2 - Nature and Classification of Sanskrit Drama]
The Hero of the Dramatic Play < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
The Usage of Language in a Drama < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
The Ratnavali-natika and the Chandrakala-natika (study) (by Jewti Boruah)
Part 6.1 - The Characters of the Ratnāvalīnāṭikā < [Chapter 3 - Dramatic aspects of the Ratnāvalīnāṭikā and the Candrakalānāṭikā]
Part 5 - The Ratnāvalīnāṭikā as a nāṭikā < [Chapter 1 - General Introduction]
Part 7 - The Candrakalānāṭikā as a nāṭikā < [Chapter 1 - General Introduction]
Abhijnana Sakuntala (with Katayavema commentary) (by C. Sankara Rama Sastri)