Bhaṭṭikāvya (Sanskrit:[bʱɐʈʈɪˈkaːʋjɐ]; "Bhatti's Poem") is aSanskrit-language poem dating from the 7th century CE, in the formal genre of the "great poem" (mahākāvya). It focuses on two deeply rooted Sanskrit traditions, theRamayana andPanini's grammar, while incorporating numerous other traditions, in a rich mix of science and art, poetically retelling the adventures ofRama and a compendium of examples of grammar and rhetoric.^[1] As literature, it is often considered to withstand comparison with the best ofSanskrit poetry.^{[citation needed]}

TheBhaṭṭikāvya also hasRāvaṇavadha ("The Death ofRāvaṇa") as an alternative title. It is improbable that this was the original title asRavana's death is only one short episode in the whole poem. It may have acquired this title to distinguish it from other works concerning themselves with the deeds ofRāma.

The poem is the earliest example of an "instructional poem" orśāstra-kāvya. That is, not a treatise written in verse but an imaginative piece of literature which is also intended to be instructive in specific subjects. To modern tastes, however, this can create an unpardonable artificiality in the composition. To the critics of late classical times in India technical virtuosity was much admired. Much of theBhaṭṭikāvya's popular success could also be ascribed to the fact that it must have been useful as a textbook.

The author,Bhaṭṭi, describes himself at the end of the book:

"I composed this poem inValabhi which is protected by Narendra, son of Shri-dhara, hence may the fame of that king increase, since the king causes joy among his subjects."(Bhaṭṭikāvya 22.35)

Even this eulogy is unreliable since variant readings of the verse show that his patron may have been Śrī Dharasena. Either way, the composition of the poem is placed at about 600 CE.

In form theBhaṭṭikāvya is a “great poem” (mahākāvya). It fits well within the definition of this genre given later byDaṇḍin in his “Mirror of Poetry” theKāvyādarśa:^[2]

It springs from a historical incident or is otherwise based on some fact; it turns upon the fruition of the fourfold ends and its hero is clever and noble; By descriptions of cities, oceans, mountains, seasons and risings of the moon or the sun; through sportings in garden or water, and festivities of drinking and love; Through sentiments-of-love-in-separation and through marriages, by descriptions of the birth-and-rise of princes, and likewise through state-counsel, embassy, advance, battle, and the hero’s triumph; Embellished; not too condensed, and pervaded all through with poetic sentiments and emotions; with cantos none too lengthy and having agreeable metres and well-formed joints, And in each case furnished with an ending in a different metre—such a poem possessing good figures-of-speech wins the people’s heart and endures longer than even akalpa.
Daṇḍin'sKāvyādarśa 1.15–19 trans.Belvalkar.

itihāsa-kath’’-ôdbhūtam, itarad vā sad-āśrayam, |catur-varga-phal’-āyattaṃ, catur-udātta-nāyakam,
nagar’-ârṇava-śaila’-rtu, |udyāna-salila-kṛīḍā-madhu-pāna-rat’-ôtsavaiḥ,
vipralambhair vivāhaiś ca, kumār’-ôdaya-varṇanaiḥ, |mantra-dūta-prayāṇ’-āji-nāyak’-âbhyudayair api;
alaṃ-kṛtam, a-saṃkṣiptaṃ, rasa-bhāva-nirantaram, |sargair an-ativistīrṇaiḥ, śravya-vṛttaiḥ su-saṃdhibhiḥ,
sarvatra bhinna-vṛttāntair upetaṃ, loka-rañjanam |kāvyaṃ kalp’-ântara-sthāyi jāyate sad-alaṃkṛti. ||
Kāvyādarśa 1.15–19

Its subject matter is the life of a hero who is at once a human soldier yet divine. Eachcanto has a uniformmetre and there is one canto (canto 10) deploying a variety of metres. The end of each canto suggests the topic for the next. The main sentiment orrasa of the poem is “heroism”, (vīrya). The poem through its form and subject matter is conducive to the attainment of the four aims of human life (puruṣārtha): “righteousness” (dharma), “wealth and power,” (artha), “pleasure” (kāma) and “spiritual liberation” (mokṣa).Bhaṭṭi’s Poem contains descriptions of cities, the ocean, mountains, seasons, the rising and setting of the sun and moon, and the sports of love and sex. Five such poems are traditionally enumerated in addition to which our work is sometimes named the sixth. The five are theRaghuvaṃśa^[3] (“Lineage of Raghu”) and theKumārasambhava (“Birth of the war God KumAra/KartikEya/Muruga”) ofKālidāsa, theŚiśupālavadha (“Slaying of Śiśupāla”) ofMāgha,^[4]Kirātārjunīya (“Arjuna and the Mountain Man”) ofBharavi and theNaiṣadhacarita (“Adventures of the Prince of Nishadha”) ofŚrīharṣa. The multitude of manuscripts found in libraries demonstrates the popularity of theBhaṭṭikāvya and the thirteen extant and eight further attested commentaries instantiate its importance to the tradition.^[5]

“Bhaṭṭi’s Poem” has two purposes: it is both a poetic retelling of the adventures of Rāma and a compendium of examples of grammar and rhetoric for the student. As literature, cantos 1, 2 and 10 in particular stand comparison with the best of Sanskrit poetry. TheBhaṭṭikāvya provides a comprehensive exemplification of Sanskrit grammar in use and a good introduction to the science (śāstra) ofpoetics or rhetoric (alaṃkāra, lit. ornament). It also gives a taste of thePrakrit language (a major component in everySanskrit drama) in easily accessible form. Finally it tells the compelling story of Prince Rāma in simple, elegant Sanskrit: this is theRāmāyaṇa faithfully retold.

The learned Indian curriculum in late classical times had at its heart a system of grammatical study and linguistic analysis.^[6] The core texts for this study were the notoriously difficult “Eight Chapters” (Aṣṭādhyāyī) ofPāṇini, thesine qua non of learning composed in the 4th century BCE, and arguably the most remarkable and indeed foundational text in the history of linguistics. Not only is theAṣṭādhyāyī a description of a language unmatched in totality for any language until the nineteenth century, but it is also presented in the most compact form possible through the use of an elaborate and sophisticated metalanguage, again unknown anywhere else in linguistics before modern times. This grammar ofPāṇini had been the object of intense study for the ten centuries prior to the composition of “Bhaṭṭi’s Poem”. It was plainlyBhaṭṭi’s purpose to provide a study aid toPāṇini’s text by using the examples already provided in the existing grammatical commentaries in the context of the gripping and morally improving story of theRāmāyaṇa. To the dry bones of this grammarBhaṭṭi has given juicy flesh in his poem. The same could be said for poetics, prosody and Prakrit. The intention of the author was to teach these advanced sciences through a relatively easy and pleasant medium. In his own words:

This composition is like a lamp to those whose those who perceive the meaning of words and like a hand mirror for a blind man to those without grammar. This poem, which is to be understood by means of a commentary, is a joy to those sufficiently learned: through my fondness for the scholar I have here slighted the dullard.
Bhaṭṭikāvya 22.33–34.

The traditional story given to account for the technical or shastric nature of the poem goes thatBhaṭṭi’s class on grammar was one day disturbed by an elephant ambling between him and his pupils. This bestial interruption necessitated an interdiction of study for a year as prescribed by the solemn law books. To ensure that no vital study time was lost our poem was composed as a means of teaching grammar without resorting to an actual grammatical text.

In the first section of the poem, thePrakīrṇa Khaṇḍa “Diverse Rules”, where the intention appears to be the illustration of miscellaneous rules, it is not obvious how to determine which specific rule if any is intended to be exemplified in any particular verse. Hundreds of rules could in theory be applicable. The commentators assist somewhat where they cite those rules which they think to be worth quoting in that context. The other guide is the Sanskrit language itself: it is likely that the most unusual or aberrant forms would have been exemplified. The frequent coincidence of these two heuristic principles is also helpful. Where the word in the verse is also given as an example in the grammatical texts then we can be almost certain about the topic.
It could be conjectured at this point that within this section of “Diverse Rules” those verses which were intended to illustrate the grammar would be those without figures of speech or at least with very simple figures. That supposition would be consistent with the lack of ornament in some sections of the poem and would also explain why there is such a marked distinction betweenBhaṭṭi’s high style in canto 1 and much of 2 and his plainer style in much of the rest of the poem. It may be that “Bhaṭṭi’s Poem” was first intended to be a typical courtly epic or “high kāvya” and that the idea of creating this new genre of educational poem or “śāstra-kāvya” evolved as the poem was being composed. This is supported by the progression in styles from highly ornate poetry in the first two cantos, through unadorned verse with no apparent systematic exemplification of grammar, the so-called “Diverse Rules Section”Prakīrṇa Khaṇḍa, to the second major section from near the end of canto 5 until the end of canto 9, theAdhikāra Khaṇḍa "Illustration of Particular Topics".

TheAdhikāra Khaṇḍa is the "Illustration of Particular Topics" in which the verses exemplify in sequence long series of rules from the “IAST|Aṣṭādhyāyī”. Here again poetry is subjugated to the pedagogic purpose of exemplification: the metre is the humbleanuṣṭubh orśloka and there are few figures of speech to decorate the tale. This change of metre from the longer 44 syllableupajāti for the first three cantos to the shorter and simpler 32 syllableanuṣṭubh for the next six may also be indicative of a gradually evolving intention.

From the end of canto 5 up to the end of canto 9 the verses exemplify in sequence long series of aphorisms (sūtras) from theAṣṭādhyāyī ofPāṇini. These aphorisms are short coded rules, almost algebraic in form.

As an example, considerPāṇini’s rule 6.1.77: 'iko yaṇ aci'. This translates as “When followed by any vowel, the vowelsi, u,ṛ andḷ in any length are respectively replaced by the semivowelsy, v, r andl.” This is quite a mouthful of translation for five syllables of Sanskrit. How doesPāṇini do it? To start with, the three words of the rule in their uninflected form areik, yaṇ andac which are a type of acronym for their respective series of letters: the simple vowelsi, ī, u, ū, ṛ, ṝ, ḷ; the semivowelsy, v, r, l; and all the vowelsa, ā, i, ī, u, ū, ṛ, ṝ, ḷ, e, o, ai, au. The cases are used to indicate the operation which is to take place: Thegenitive ofik indicates “In place ofik”; thelocative ofac indicates “whenac follows” andyaṇ in thenominative indicates “there should be ayaṇ” or “yaṇ is the replacement”.Pāṇini givesmetarules to explain the formation and use of these acronyms and the special uses of the cases within the rules. It is thus a rule for the simplesandhi which would occur for example between the wordsiti andevam, smoothing the juncture between their vowels intoity evam.

This is but a small taste of the economy, intricacy, beauty and intellectual power of theAṣṭādhyāyī, surely one of the greatest wonders and perhaps the supreme intellectual achievement of the ancient world. It is to the layman a treasure chest whose key is locked deep inside itself. However, the reader does not have to be familiar with this system to enjoy theBhaṭṭikāvya. By using the references to the “IAST|Aṣṭādhyāyī” given in the table above, the reader may refer to the rules as he reads and become familiar with them in advance of reading each verse. The examples used in “Bhaṭṭi’s Poem” are not included in the actual aphorisms of the “IAST|Aṣṭādhyāyī” themselves but are ones given by later commentators to facilitate discussion. The most widely used traditional examples are included in the two editions of the “IAST|Aṣṭādhyāyī” cited in the bibliography below.^[7]

Each canto from 14 through to 22 illustrates a particular mood or tense. (For more details see the table above.)

A detailed study of the examples given in theBhaṭṭikāvya compared with those of the earlier “Great Commentary”Mahābhāṣya ofPatañjali and later works such as the “Kashi Commentary”Kāśikā and the “Moonlight on the Tradition”Siddhāntakaumudī still remains to be done. It remains to be seen to what extent examples of usage may have been introduced into the grammatical tradition by “Bhaṭṭi’s Poem”. The poem itself might then have become an authority on usage.

This section of the poem has been the most studied in modern times. It constitutes an important text in its own right in the history ofSanskrit poetics. That said, its importance lies in its raising far more questions than it answers. Chronologically it stands between the “Science of Theatre”Nāṭyaśāstra as the earliest surviving text on Sanskrit poetics and the first great systematic treatments of the subject in the “Mirror of Poetry”Kāvyādarśa ofDaṇḍin (660–680 ce) and the “Ornament of Poetry”Kāvyālaṃkāra ofBhāmaha (700 ce).^[8] Tantalizingly, we have the examples only and not the explanations or contemporary commentaries. A major problem of Sanskrit poetics is the lack of agreement on any system of nomenclature for the figures. The figures are given names in some manuscripts of theBhaṭṭikāvya but this is no proof that these were the names thatBhaṭṭi knew. The fact that this naming of figures is quite different from that of the writers on poetics suggests that they might well pre-date them. If this is the case then in these we have the fragmentary residua of a missing link in the tradition of poetics. It is most likely thatBhaṭṭi based his treatment of the figures of speech on a text now lost. Other questions about this canto present themselves. Why is there only one example of alliteration (anuprāsa)? Was this figure not fully elaborated untilDaṇḍin? Why do those verses said to exhibit the figure ‘illuminator’dīpaka in the manuscripts show nothing of the sort according to later theorists? Given that many of the verses contain more than one figure, does this mean that they were not intended to be a systematic illustration of figures but rather a collection of verses showing diverse poetic traits? Since the order of the names given in the manuscripts corresponds to the order of figures treated byDaṇḍin, did he base his work on this order or were the names applied retrospectively to “Bhaṭṭi’s Poem” in an attempt to match it up to later systems? That “Bhaṭṭi’s Poem” canto 10 is a major work on Sanskrit poetics is amply demonstrated by Söhnen^[8] in her examination of ‘doubling’yamaka of 10.2–22 showing that the treatment of this figure inDaṇḍin’s “Mirror of Poetry” and Bhāmaha’s “Ornament of Poetry” is influenced by theBhaṭṭikāvya.

Cantos 11 and 12 are held to display respectively the qualityguṇa of “sweetness”mādhurya and the sentimentrasa of “intensity of expression”bhāvikatva.^[5] The texts describing these qualities post-dateBhaṭṭi so again we cannot be sure that he intended to illustrate what happens to be described by later authors. Assuming thatBhaṭṭi did intend to show these, their precise characteristics described in his source text would be best discovered from careful analysis of the language of his own work rather than from the pronouncements of later writers on poetics.

Canto 13 is written in what is called “like the vernacular”bhāṣāsama, that is, it can be read in two languages simultaneously:Prakrit andSanskrit.^[9] The Prakrit used here is of course no real vernacular but a literary version almost as highly codified as Sanskrit. Because of this Prakrit’s similarity to Sanskrit it can be read in that elevated language by someone with no knowledge of Prakrit. With minor exceptions the vocabulary and grammar used are common to both languages. Where the grammar is not common the differences are disguised by sandhi. As many of the Prakrit terminations originate in Sanskrit forms generalised to their most common forms insandhi, this is not impossible. As an example, the nominative singular ofsubstantives in-a in Sanskrit is-aḥ and in Prakrit it is-o. In verse 13.2 we have three nominative singulars in -a:bhīmaḥ,rasaḥ andsamaḥ. In Prakrit they would bebhimo,raso andsamo. Because the following words all begin with voiced consonants, in Sanskrit sandhi the ending-aḥ is in all these cases changed to-o, thus making the form indistinguishable from the Prakrit. Where the Sanskrit termination is undisguisably altered in Prakrit as for example with the instrumental plural-bhiḥ which becomes-hi, these terminations are concealed within compounds. It is for this reason that long compounds are so extensively used in this canto. The reader will also notice a lack of finite verb forms. It is more common for participle forms to be the same in the two languages. On occasion the commentators need a deal of learning and ingenuity to explain how forms are defensible in both languages. For instance in verse 13.3 the Sanskritsabhā “hall” would normally becomesahā in Prakrit by the rulekhaghathadhabhāṃ haḥ “h is the replacement forkh, gh, th, dh andbh,” (Prākṛtaprakāśa 2.27).Mallinātha defends the retention ofsabhā in Prakrit by saying that there is the continued operation (anuvṛtti) ofprāyaḥ “generally” from an earlier rule. With the exception of verse 13.7 which is irregular and verses 13.26–28 which are in theupajāti metre, the entire canto is composed in theāryāgīti metre which is the older lyric metre most commonly used for Prakrit texts.

Cantos 14 through to the end at canto 22 are each written in a particular tense or mood. Given that this is a rather broad restriction it is surprising thatBhaṭṭi does not indulge in more ornamentation in these verses. He does include many obscurer roots here but in other respects his language is simple and uncluttered.

The influence of "Bhaṭṭi’s Poem" has extended to Java where it became the source text for theOld JavaneseRāmāyaṇa^[10] which is the oldest surviving example of classical Javanese epic poetry (Kakawin). The JavaneseKakawin Rāmāyaṇa follows “Bhaṭṭi’s Poem” closely as far as canto 12, sometimes to the extent of directly translating a verse, but begins to diverge thereafter. It would seem that the form of “Bhaṭṭi’s Poem” as a ‘great poem’ mahākāvya was important to the Javanese author as many of his additions make more complete the Old-JavaneseRāmāyaṇa’s conformity to the genre as described byDaṇḍin, indicating that his “Mirror of Poetry” or its precursor as followed byBhaṭṭi was also available to him. MoreoverHooykaas^[11] has also shown that the Old-JavaneseRāmāyaṇa uses ‘doubling’yamaka underBhaṭṭi’s influence.

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• Anderson, Rev. P. 1850.Journal of the Bombay Branch of the Royal Asiatic Society. Vol 3. No 13: Some Account of the Bhatti Kavya. M.A.
• Fallon, Oliver (2009). "Introduction".Bhatti's Poem: The Death of Rávana (Bhaṭṭikāvya). New York: New York University Press,Clay Sanskrit Library.ISBN 978-0-8147-2778-2.
• Gerow, Edwin. 1971.A Glossary of Indian Figures of Speech. The Hague:Mouton.
• Gerow, Edwin. 1977.A History of Indian Literature: Vol. V, fasc. 3 Indian Poetics.Wiesbaden:Otto Harassowitz.
• Henry, Patricia B. 2001. “The Poetics of the Old Javanese Rāmāyaņa: A Comparison with the Sanskrit Bhaṭṭikāvya”, presented at The International Rāmayana Conference, Northern Illinois University, DeKalb, Illinois. September 21–23, 2001
• Hooykaas, C. 1957. “On Some Arthālaṃkāras in the Baṭṭikāvya X”.Bulletin of the School of Oriental and African Studies: Vol. 20, No 3, Studies in Honour of Sir Ralph Turner, Director of the School of Oriental and African Studies, 1937–57, London:SOAS.
• Hooykaas, C. 1958. The Old Javanese Rāmāyaṇa, an Exemplary Kakawin as to Form and Content. Amsterdam.
• Kane, P. V. 1971.History of Sanskrit Poetics. Delhi:Motilal Banarsidass.
• Keith, A. B. 1928.A History of Sanskrit literature. Oxford:The Clarendon press.
• Macdonell, Arthur Anthony (1900)."Classical Poetry" .A History of Sanskrit Literature. New York: D. Appleton and company.
• Narang, Satya Pal. 1969.Bhaṭṭikāvya, A Study. Delhi: Motilal Banarsidass.
• Narang, Satya Pal. 2003. An Analysis of the Prākṛta of Bhāśā-sama of the Bhaṭṭi-kāvya (Canto XII). In: Prof. Mahapatra G.N., Vanijyotih: Felicitation Volume,Utkal University, *Bhuvaneshwar.
• Söhnen, Renate. 1995. “On the Concept and Presentation of ‘yamaka’ in Early Indian Poetic Theory”. In:Bulletin of the School of Oriental and African Studies Vol. 58. No. 3 p 495–520.
• Sudyaka, Lidia. 2002. What Does the Bhaṭṭi-kāvya teach? In Essays in Indian Philosophy, Religion and Literature edited by Piotr Balcerowicz and Marek Mejor, Warsaw.

• Fallon, Oliver. 2009.Bhatti’s Poem: The Death of Rávana (Bhaṭṭikāvya). New York:Clay Sanskrit Library[1].ISBN 978-0-8147-2778-2 |ISBN 0-8147-2778-6
• Joshi, V. N. S. and Sarma, S. V. 1914.The Bhaṭṭikāvya of Bhaṭṭi with the Commentary of Jayamangala. Bombay: Nirnaya Sagar Press.
• Shastri, Shri Shesharaj Sharma. Undated. Haridas Sanskrit Series no. 136:Bhaṭṭikāvyam, Edited with the Candrakala-Vidyotini Sanskrit-Hindi Commentary. 3 vols. Varanasi: Chowkhambha Sanskrit Series Office.
• Kamlashankar Trivedi (1898)."Bombay Sanskrit Series no. 56:The Bhaṭṭikāvya or Rāvaṇavadha composed by Śri Bhaṭṭi with the Commentary of Mallinātha with critical and explanatory notes. 2 vols. Bombay".Internet Archive. Retrieved24 June 2015.

• An anonymous introduction and translation of the first canto, published inThe Pandit, Varanasi (1867).
• Brough, J. 1951. Selections from Classical Sanskrit Literature, with English Translation and Notes. London: Luzac and Co.
• Brough, J. JB N/4Notes on the Bhattikavya undated: 1 bundle (1) and 1 vol (2) English and Sanskrit, JB N/4/1 Draft transcription and translation of cantos 1–2, 10, 15 and 22, incomplete, JB N/4/2 Notes on cantos 1–2. University of Cambridge, Faculty of Oriental Studies, Archive Collections.
• Leonardi; G[iuseppe]. G[iovanni]. 1972.Bhattikavyam. Translation and notes. Leiden: Brill.
• Fallon, Oliver. 2009.Bhatti’s Poem: The Death of Rávana (Bhaṭṭikāvya). New York:Clay Sanskrit Library[2].ISBN 978-0-8147-2778-2 |ISBN 0-8147-2778-6
• Karandikar, Maheshwar Anant & Shailaja Karandikar. 1982.Bhatti-kavyam, edited with an English translation. New Delhi, Motilal Banarsidass.
• Turner, R. L. JB B/12Translation of the Bhattikavya, undated, 2 vols. JB B/12/1 Translation of cantos 6–14, Annotated by Brough; JB B/12/2 Translation of cantos 15–17. University of Cambridge, Faculty of Oriental Studies, Archive Collections.

• Anderson, Rev. P. 1850.Journal of the Bombay Branch of the Royal Asiatic Society. Vol 3. No 13: Some Account of the Bhatti Kavya. M.A.
• Gerow, Edwin. 1971.A Glossary of Indian Figures of Speech. The Hague: Mouton.
• Gerow, Edwin. 1977.A History of Indian Literature: Vol. V, fasc. 3 Indian Poetics. Wiesbaden: Otto Harassowitz.
• Henry, Patricia B. 2001. “The Poetics of the Old Javanese Rāmāyaņa: A Comparison with the Sanskrit Bhaṭṭikāvya”, presented at The International Rāmayana Conference, Northern Illinois University, DeKalb, Illinois. September 21–23, 2001
• Hooykaas, C. 1957. “On Some Arthālaṃkāras in the Baṭṭikāvya X”.Bulletin of the School of Oriental and African Studies: Vol. 20, No 3, Studies in Honour of Sir Ralph Turner, Director of the School of Oriental and African Studies, 1937–57, London: SOAS.
• Hooykaas, C. 1958. The Old Javanese Rāmāyaṇa, an Exemplary Kakawin as to Form and Content. Amsterdam.
• Kane, P. V. 1971.History of Sanskrit Poetics. Delhi: Motilal Banarsidass.
• Keith, A. B. 1928.A History of Sanskrit literature. Oxford: The Clarendon press.
• Narang, Satya Pal. 1969.Bhaṭṭikāvya, A Study. Delhi: Motilal Banarsidass.
• Narang, Satya Pal. 2003.An Analysis of the Prākṛta of Bhāśā-sama of the Bhaṭṭi-kāvya (Canto XII). In: Prof. Mahapatra G.N., Vanijyotih: Felicitation Volume, Utkal University, Bhuvaneshwar.
• Söhnen, Renate. 1995. “On the Concept and Presentation of ‘yamaka’ in Early Indian Poetic Theory”. In:Bulletin of the School of Oriental and African Studies Vol. 58. No. 3 p 495–520.
• Sudyaka, Lidia. 2002. What Does theBhaṭṭi-kāvya teach? InEssays in Indian Philosophy, Religion and Literature edited byPiotr Balcerowicz and Marek Mejor, Warsaw.

• GRETIL: Göttingen Register of Electronic Texts in Indian Languages Electronic text of theBhaṭṭikāvya.
• TITUS Indica
• Official page of theClay Sanskrit Library, publisher of classical Indian literature with facing-page texts and translations. Also offers numerous downloadable materials.
• Sanskrit Documents Collection: Documents in ITX format of Upanishads, Stotras etc., and a metasite with links to translations, dictionaries, tutorials, tools and other Sanskrit resources.

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