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Item Imagination and Symbolization in Sanskrit Poetical Literature(International Conference on Sanskrit and Eastern Studies, 2018 Department of Sanskrit and Eastern Studies, Faculty of Humanities, University of Kelaniya, Sri Lanka, 2018) Balakailasanathasarma, M.The examination of the processes of imagination and ‘symbolization’ and the study of their relationship to human experience has contributed greatly to the understanding of the human mind. Especially Sanskrit poetical literature laid claim to an ample heritage of mythology and symbolism. Yet, a strict appraisal of the nature and functions of images and symbols in their literary connotation has not received adequate attention. This study focused on this gap using critical analytical method by analyzing the nature and functions of images and symbol in Sanskrit Poetics. Objective of this study is to identify Imagination and Symbolization in Sanskrit Poetical Literature. Imagination and symbolization in Sanskrit poetical literature is not merely a borrowing of the devices formulated by grammarians and linguists or the copying out in its entirety of a well-established symbolism of a religious culture. The poets were indeed compelled to draw from ancient religion, folklore and mythology the symbols they required, but in doing so they did not always follow traditional lines for the medium of poetry made it necessary to adapt them or sometimes transform them. To conclude this paper in Sanskrit poetics the ideas underlying the concepts of ‘image’ and ‘symbol’ appear to have been generally recognized but the undue emphasis laid on the aspects of imagery dealing with ‘figurative expression’(alankara), in the early period, prevented a clear formulation of the principles. An increasing awareness of the critical approach to literature that came in the wake of analytical studies of language, grammar and logic brought about critical attitudes in the conception of imagery and symbolism of poetry, in Sanskrit. From then on critics were not only interested in examining the functions of these literary devices but also attempted to relate them to aesthetic theories of Sanskrit poetryItem The Pentadic Universe in the Sanskrit Text of Saivagamas.(International Conference on Sanskrit Studies, 2017 Department of Sanskrit, University of Kelaniya, Sri Lanka., 2017) Balakailasanathasarma, M.In the integral vision of the Saivagamas the world is seen to be composed of consciousness (cinmaya), flooded with light, made of light and permeated with light (prakasa), but though being consciousness in essence a substance is seen and experienced as insentient. The question baffles us why being consciousness in essence it is perceived as insentient.To this question the answer given by the Saivagamas is that the substance is apparently seen to be insentient in so far as it dose not have self-reflection of its own. Only because of the absence of self-reflection some substances are considered insentient and are therefore relegated to the level of matter but some others on account of self-reflection, are raised to the highest excellence of spirit, the sentient beings. In Saivagamas speciallyin the non-dualistic Saivagamas, no such dichotomy of spirit and matter exists, rather it sees it as an integrated whole. The Saivagamas also do not like to classify the whole into asti, bhati, priya, nama and rupa like the Vedantins stigmatizing the world of the name and form to be negated, conceiving it to be illusory while accepting only that aspect of Brahman which is being, consciousness and bliss. But the ideal vision of the Saivagamas is to see everything as the One, not many. It explains Saivagamas of the Upanisadas the entirety, not multiplicity (nana) because in this integral vision there is no such diversity that is not in essence light (prakasaparamartha). The universe as it shines before us consists of two aspects- the one is signifier called vacaka and the other is paramarsa, the process of cognition manifesting itself in the vacya, the signified consciousness. In the Agamas the accepted number of principles is thirty-six but even there the scheme of grouping them into five divisions can be possible. So the Agamic thinkers not only see the ptesence of five categories in the gross level of their manifestation but also on the subtle level. To conclude we may say that the bhutas (elements) are thought to be the basic elements of the world-the world of pain and pleasure. But to the agamic thinkers they should be utilized in a different way in order to attain the ultimate goal of life. We have discussed that the bhutas have gross, subtle and the highest forms. To the aspirant the base from which he starts his sadhana and tries to see the dynamic form of it everywhere in order to achieve his aim of Sivahood.Item A Study of the Saivagamic language style based on Ajitagama(University of Kelaniya, 2015) Balakailasanathasarma, M.Āgamas and Vedas are assigned a high status among the religious texts in Hinduism. A vigyana which comes from teacher to disciple from time immemorial is called an Āgama. The texts of the Ᾱgamas are conceived as the speech of the Lord intended to deliver a teaching. The Āgamas literature mainly deals with the personal and temple rituals and those concerned with them.The objective of the study is identifying the language style of Āgamas with special reference to Ajitāgama. This study investigates various linguistics aspects of Ajitāgama using descriptive research method. This investigation will reveal the fact that the Language of Agitāgama is classical Sanskrit, and it differs from the language of literary genres only in the technicality of the vocabulary. The sentences of Ajitāgama are often very long, extending over several stanzas. Many of its linguistic features have already been recorded in Sanskrit grammars. At the same time, punctuation in āgamas should not be overlooked, and one should not assume that they are examples of free or loose composition. This study emphasizes the quality of the āgamic language systems and styles, as it is a carefully written text of a learned redactor who possessed true pāṇḍitya, which is evident in the richness and the tightness of expression.