Publication: การศึกษาวิเคราะห์บทละครสันสกฤต อภิชญานศากุนตลม องก์ที่ 1-2
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2011
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th
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การศึกษาวิเคราะห์บทละครสันสกฤต อภิชญานศากุนตลม องก์ที่ 1-2
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An analytical study of the Sanskrit drama Abhijnanasakuntalam act I-II
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Abstract
The objective of thesis is threefold: Firstly, a study of a historical background and overview of the Abhijñānaśākuntam Act I-II; Secondly, an analytical study of the Abhijñānaśākuntam Act I-II in a literary aspect; Thirdly, an analytical study of the Abhijñānaśākuntam Act I-II in a grammatical aspect. The manuscripts used in the study are 1) a Devanāgarī edition with English translation and commentary, edited by M. R. Kale and published by Motilal Barnasidass in 1969, and 2) a Devanāgarī edition with English translation and commentary, edited by Monier Williams and published by the Clarendon press in 1876. The study is limited to Act I and Act II. The first stage of the study was to transliterate the play from the Devanāgarī into the Thai script and to translate the text from Sanskrit into the Thai. The text, then, was studied in the aspects of literature and grammar. Vocabulary with its meaning and origin was sought with an aid of Sanskrit-English dictionaries. All words were sorted alphabetically, and the redundancy was omitted. The data was analyzed in a further stage, categorized into the topics accordingly for the discussion and conclusion. The result of the study shows that Abhijñānaśākuntam, a play in 7 acts, is written by a poet called Kālidāsa who was inspired with a story of Śakuntalā in Ādiparva of the Mahābhārata. The play was created after the Sanskrit convention of play called Nāṭaka, a major drama. The poet used an elaborate technique to create an attractive plots with several sentiments, especially the erotic. Moreover, the characters were created humanly, the conversation were lively and the verses were beautiful and full of figures of speech. In the grammatical aspect, the poet employed a limited verbal roots (dhātu) to create unlimited verbs in tenses and moods, among them which the most frequently used are the present tense followed by the imperative. Some participles were abundant in the play, especially the participles formed from affixes, the most used affixes are ta (to acquire the past active participle), tvā (to acquire the gerund), and tum (to acquire the infinitive). Finally, the poet created new words by a technique of the compound (samāsa) to combine 2 or more word into a new single word. The compound found in the two acts were categorized in almost type of the Sanskrit compound. The most frequent used was called the Determinative compound (tatpuruṣa). Most compound were formed by 2 words. However, there were some compounds of 3 or more words, and categorized into a complex compound, among which the largest one was formed from 8 words.
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ศิลปศาสตรมหาบัณฑิต
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ปริญญาโท
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ศูนย์สันสกฤตศึกษา
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มหาวิทยาลัยศิลปากร