essay on fox in gujarati language

ભારતીય સંસ્ક્રુતિના પાયા

Essays on the value of Indian civilisation and culture. This volume consists of various essays: 'Is India Civilised?', 'A Rationalistic Critic on Indian Culture', 'Defence of Indian Culture', 'Indian Culture and External Influence' and 'The Renaissance in India'. They were first published in the monthly review Arya between 1918 and 1921.

• The Renaissance in India
• 1997 Edition
• The Foundations of Indian Culture
• 1972 Edition

•   ભારતીય સંસ્ક્રુતિના પાયા    ગુજરાતી
•   भारतीय संस्कृतीचा पाया    मराठी
•   Les Fondements de la culture indienne    Français

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Translations.

• SABCL > The Foundations of Indian Culture ગુજરાતી मराठी Français

Essays on the value of Indian civilisation and culture.

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• તમામ ગુજરાતી નિબંધ
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ગુજરાતી નિબંધ | All Gujarati Essay | Gujarati Nibandh List

નીચે આપેલ ગુજરાતીમાં  100 , 200  અને 500 શબ્દોમાં નિબંધ ધોરણ 5 થી  10 ,  11  અને  12  માટે ઉપયોગી થશે.

ગુજરાતી નિબંધ | નિબંધ લેખન એટલે શું | all gujarati nibandh list, નિબંધ લેખન એટલે શું.

• નિબંધના ‘શીર્ષક' વિશે સૌપ્રથમ વિચાર થવો જોઈએ. શીર્ષકના આધારે નિબંધલેખનમાં કહ્યા મુદાઓ સમાવવા તેનો ખ્યાલ આવે છે. 
• નિબંધના બધા મુદ્દાઓનું અનુસંધાન તેનું શીર્ષક બની રહેવું જોઈએ. વિષયની બહાર જઈ મુદાઓની ચર્ચા કરવી-એમાં વિષયનું તાદૃશ્ય જળવાઈ શકતું નથી.
• શીર્ષકના આધારે તેના મુદાઓની નોંધ કર્યા પછી કયા મુદ્દાને કેટલો અને કેવી રીતે વિસ્તારવો છે તેનું મનન કરવું જોઈએ.
• મુદ્દાને અનુરૂપ અને વિષયને સંગત હોય તેવા અવતરણો, કહેવતો, રૂઢિપ્રયોગો, ગુજરાતી કે અન્ય જાણીતી ભાષાની પંક્તિઓ, સુભાષિતો, વગેરેનો ઉપયોગ નિબંધમાં કરવા જોઈએ, નિબંધના મુદાઓમાં અલગ-અલગ સ્થાને તે મુકાય; એકસાથે બધી જ પંક્તિઓ એક જ મુદામાં ન લખાય તેની સાવધાની રાખવી જોઈએ.
• વાક્યો અતિશય લાંબો ન થાય તેનો લખતી વખતે ખાસ ખ્યાલ રાખવો.
• પરિચ્છેદની સપ્રમાણતા જળવાઈ રહે તેવી કાળજી કરવી, અને
• વિરામચિહ્નોનો યોગ્ય ઉપયોગ થાય, અનુસ્વાર, જોડણી વગેરે પણ યોગ્ય રીતે લખાય તેની ખાસ કાળજી રાખવી.
• નિબંધનો પ્રથમ મુદ્દો પ્રસ્તાવના અને છેલ્લે મુદ્દો ઉપસંહાર યોગ્ય રીતે લખાય તે ખાસ જોવું. નિબંધના થોડા નમુનાઓ જોઈ જવાથી આ કુશળતા આવી જશે.
• કાગળમાં યોગ્ય હાંસિયો રખાય, મુદાઓ લખવામાં થોડા મોટા અક્ષર લખાય, ફકરા-પરિચ્છેદની શરૂઆતમાં યોગ્ય જગ્યા છોડાય અને પ્રત્યેક પેટા મુદાને અંતે ગુરુવિરામ મુકાય તે પણ ખાસ જોવું.
• પરીક્ષામાં પુછાતા નિબંધો વિદ્યાર્થીની વય-કક્ષા અને અનુભવ જગતને ધ્યાને રાખીને જ પુછાય છે, એટલે ‘શીર્ષક’ ઉપર થોડું મનન કરવાથી તે વિષય-નિરૂપણ માટેના મુદ્દાઓ અને રજૂઆતના શબ્દો અવશ્ય મળી આવે છે, પણ હા, એ માટે અગાઉ થોડા નિબંધો જોઈ જવા જરૂરી ગણાય.
• નિબંધ પૂરેપૂરો લખાઈ જાય પછી તેને ઓછામાં ઓછા એક વખત અવશ્ય વાંચી જવો જોઈએ, જેથી તેમાં રહેલી નાની પણ જરૂરી ક્ષતિઓ સુધારી શકાય છે
• સારું લખાણ લખવા માટે રોજબરોજની વૈશ્વિક, રાષ્ટ્રીય, પ્રાદેશિક અને આજુબાજુની મહત્ત્વની ઘટનાઓ વિશે જાણકારી પ્રાપ્ત થતી રહેવી જોઈએ. એ માટે વર્તમાનપત્રો, સામયિકો, સમાચારો સાથે નાતો જોડવો-જોડી રાખવો જોઈએ.
• પુરુષાર્થ એટલે શું ? 
• પુરુષાર્થ વિશે બીજાના - અનુભવીઓના કેવા ખ્યાલો છે ? 
• નસીબથી બધું સારું ગોઠવી શકાય કે પુરુષાર્થનો ખપ પડે ? 
• પ્રારબ્ધીઓ અને પુરુષાર્થીઓ બંનેમાંથી કોણ ચડિયાતું ગણાય ? 
• આપણે કેવા બનવું જોઈએ ? 
• પુરુષાર્થ દ્વારા કંઈક પામ્યાં હોય એવાં કોણ કોણ ? 
• પ્રસ્તાવના 
• પુરુષાર્થ અને પ્રારબ્ધની તુલના 
• પુરુષાર્થનું મહત્ત્વ અને જરૂરિયાત
• પુરુષાર્થીઓની સિદ્ધિઓ 
• ઉપસંહાર
• 'સિદ્ધિ તેને જઈ વરે, જે પરસેવે નહાય,'
• "उद्यमेन हि सिध्यन्ति कार्याणि न मनोरथैः "
• 'પુરુષાર્થ ભાગ્યનો ઘડવૈયો છે.'
• 'Self Help is the best Help.'
• તમે પહેલાં નક્કી કરો કે તમે કયા પ્રકારનો નિબંધ વધુ સારી રીતે લખી શકો. તમને ખ્યાલ તો હશે જ કે નિબંધ વિવિધ પ્રકારના હોય છે. પ્રકૃતિવિષયક, માહિતીપ્રધાન, ઘટનાપ્રધાન, ચિંતનપ્રધાન, આત્મકથા - જેવા નિબંધો લખવાના થતા હોય છે.
• તમે જે નિબંધ લખવા માંગો છો તેમાં કઈ વીગતો આવી શકે, તે વિચારો અને નોંધો. તેના મુદ્દા તારવો. આ મુદ્દાની કાચી યાદી બનાવો. ત્યાર બાદ મુદ્દાની ક્રમિકતા નક્કી કરો. કયો મુદો પહેલા લેવાથી તમારો નિબંધ વધુ ચુસ્ત બનશે અને લખાણ વધુ પ્રવાહી લાગશે.
• તમે સમાનાર્થી શબ્દો, વિરુદ્ધાર્થ શબ્દો, રૂઢિપ્રયોગ, કહેવત, દુહાઓ વગેરેનો અભ્યાસ કર્યો છે. તેનો ઉપયોગ કરો અને તમારા લખાણને વધુ સચોટ અને અસરકારક બનાવો.
• પસંદ કરેલા નિબંધ અનુસાર તમારી ભાષા હોવી જોઈએ.
• જો તમે પ્રકૃતિવર્ણનનો વિષય પસંદ કર્યો હોય તો તેમાં પ્રકૃતિનું દૃશ્ય નજર સામે ઊભું થઈ જાય તેવું, સૂક્ષ્મ વીગતો સાથે વર્ણન કરવું જોઈએ. પ્રકૃતિના રમ્ય - રૌદ્ર રૂપની વાત કરતી વખતે તેને માનવસ્વભાવની સંકુલતા સાથે પણ સાંકળી શકાય. પ્રકૃતિ મન - હૃદયને સ્પર્શતી હોય છે. તેથી તેમાં પ્રયોજાયેલાં ભાવવાચક, ઉદ્ગારવાચક વાક્યો પણ નિબંધને વધુ હૃદયસ્પર્શી બનાવી શકે.
• જો તમે માહિતીપ્રધાન નિબંધ લખવા માગતા હોવ તો તમારી પાસે મુદાઓને અનુરૂપ માહિતી હોવી જોઈએ. જરૂરી પરિભાષા, તેના લાભ-ગેરલાભ અંગે અથવા પક્ષ-વિપક્ષ અંગેની માહિતી, તેનાં કારણો, ઉપાયો વગેરે જેવી વીગતો સમાવી લેવી જોઈએ.
• ઘટનાપ્રધાન નિબંધ લખવા માગતા હોવ તો એ ઘટનાનું તમારે મન શું મહત્ત્વ છે, વ્યક્તિગત અથવા સામાજિક સંદર્ભોમાં એ ઘટના વિશેષ છે ? તમારા મનમાં રોપાયેલી ઘટના વાચનારના મનમાં રોપાય તેવું વર્ણન ઘટનાપ્રધાન નિબંધને આસ્વાદ્ય બનાવી શકે.
• જો તમારે આત્મનાત્મક નિબંધ લખવો હોય તો તમે વિચારી જુઓ કે તમને કેવી વાત સાંભળવામાં રસ પડી શકે? કોઈ પોતાની આત્મકથા કહે તો કોણ સાંભળ. ક્યારે સાંભળે? તેથી આ પ્રકારના નિબંધમાં બોલચાલની લઢણ નિબંધને આકર્ષક બનાવી શકે. વળી, જે પોતાના જીવનના અંતિમ તબક્કામાં હોય, તે પોતાના જીવનના સારરૂપ કોઈ સંદેશ આપે, તેથી કોઈ પણ આત્મકથા જે જીવનસંદેશ આપતી હોય તો તેનું મહત્ત્વ હોય.

નિબંધનું માળખુંઃ

• આરંભ 
• વિષયવસ્તુ 
• સમાપન

ગુજરાતી નિબંધ લેખન સ્વાધ્યાય:

• સ્વચ્છતા ત્યાં પ્રભુતા
• મારા પ્રિય લેખક
• મેં જોયેલી એક દુર્ઘટના
• મારો પાદગાર પ્રવાસ
• જો હું મુખ્યમંત્રી હોઉં તો
• શહેરીજીવનની સમસ્યાઓ
• પુસ્તકો : આપણાં મિત્રો
• એક સુકાયેલા ઝાડની આત્મકથા
• જાગ્યા ત્યારથી સવાર
• તહેવારોનું મહત્ત્વ
• રોશવની રમતનાં મારાં સંસ્મરણો
• મિત્રતાની મીઠાશ
• સિદ્ધિ તેને વરે જે પરસેવે નહાય
• જનની અને જન્મભૂમિ સ્વર્ગથી મહાન છે.
• સાગર તટે સંધ્યા
• મારો પ્રિય સર્જક
• જો હું કવિ હોઉં તો...
• જીવનમાં પ્રામાણિકતાનું મહત્ત્વ
• મારું પ્રિય પુસ્તક
• ગામડું બોલે છે.
• નેત્રદાનઃ મહાદાન
• વૃદ્ધાશ્રમની મુલાકાતે
• વસંત – વનમાં અને જનમાં
• આધુનિક સાધનો - શાપ કે આશીર્વાદ
• જીવનમાં રમતગમતનું મહત્ત્વ
• વર્ષાઋતુ
• પરિશ્રમ એ જ પારસમણી
• ખબર છે એટલી કે માતની હાકલ પડી છે.
• પાણી બચાવો - પ્રાણી બચાવો
• પ્રકૃતિનું રક્ષણ એ જ જીવનનું રક્ષણ
• દીકરી, ઘરની દીવડી
• વિદ્યા વિનયથી શોભે છે.
• પ્રાર્થના – જીવનનું બળ
• માતૃભાષાનું મહત્વ
• વૃક્ષ ઉગાડો, પર્યાવરણ બચાવો.
• રક્તદાન મહાદાન
• મારી પ્રેરણામૂર્તિ
• માનવી – પશુની નજરે
• સૃષ્ટિનો છે એક જ પોકાર, દીકરી બચાવી કરો ઉદ્ધાર
• મારી માટી  મારો દેશ - મેરી માટી મેરા દેશ
• ચંદ્રયાન મિશન 3 નિબંધ
• રામ મંદિર અયોધ્યા નિબંધ

પ્રાકૃતિક નિબંધ

• ઉતરાયણ વિશે નિબંધ
• વસંતઋતુ વિશે નિબંધ અથવા વસંત નો વૈભવ નિબંધ
• ઉનાળાની બપોર અથવા ગ્રીષ્મનો મધ્યાહન નિબંધ
• પ્રકૃતિના રમ્ય અને રૌદ્ર સ્વરૂપ નિબંધ
• કુદરતના હાસ્ય અને તાંડવ નિબંધ
• ભૂકંપ વિશે નિબંધ અથવા ધરતીકંપ એક કુદરતી આફત
• વહેલી સવારનું ભ્રમણ
• વર્ષાઋતુ નિબંધ
• મોસમનો પહેલો વરસાદ ચોમાસુ નિબંધ
• અતિવૃષ્ટિ નિબંધ
• અનાવૃષ્ટિ અથવા દુકાળ વિશે નિબંધ
• વિનાશક વાવાઝોડું નિબંધ
• પ્રકૃતિ પરમાત્માનું સ્વરૂપ નિબંધ

તહેવાર વિષયક નિબંધ

• હોળી પર નિબંધ
• ઉત્તરાયણ (મકરસંક્રાંતિ) વિશે નિબંધ
• મહાશિવરાત્રી  નિબંધ
• જીવનમાં તહેવારો નું મહત્વ નિબંધ
• ઉનાળામાં વેકેશન નિબંધ
• રથયાત્રા વિશે ગુજરાતી નિબંધ
• રક્ષાબંધન વિશે નિબંધ
• દશેરા વિશે નિબંધ
• ૧૫ મી ઓગષ્ટ નિબંધ
• દિવાળી વિશે નિબંધ
• નાતાલ નિબંધ
• 26 મી જાન્યુઆરી નો નિબંધ
• શરદ પૂર્ણિમા વિશે નિબંધ
• મારો પ્રિય તહેવાર નિબંધ

સામાજિક, આર્થિક, સાંસ્કતિ અને કેળવણી વિષયક નિબંધ

• બેટી બચાવો બેટી પઢાવો નિબંધ
• વાંચન નું મહત્વ નિબંધ
• નારી તું નારાયણી નિબંધ
• નારી સશક્તિકરણ નિબંધ
• માતૃપ્રેમ નિબંધ અથવા વાત્સલ્યમૃતિ મા નિબંધ
• દીકરી ઘરનો દીવો નિબંધ
• ઓનલાઇન શિક્ષણ ના ફાયદા અને ગેરફાયદા
• સ્વચ્છતા ત્યાં પ્રભુતા નિબંધ
• સમયનું મહત્વ નિબંધ
• શ્રમનું મહત્વ નિબંધ
• કોરોનાથી બચવાનો એકમાત્ર ઉપાય રસીકરણ
• ભ્રષ્ટાચાર નિબંધ
• પર્યાવરણ નું મહત્વ નિબંધ
• પર્યાવરણ બચાવો નિબંધ
• વિશ્વ પર્યાવરણ દિવસ નિબંધ
• જય જય ગરવી ગુજરાત નિબંધ
• ગુજરાતના કોરોના વોરિયર્સ નિબંધ
• આત્મનિર્ભર ભારત નિબંધ
• જીવનમાં શિસ્તનું મહત્વ નિબંધ
• ગાય વિશે નિબંધ
• માનવ અને પશુની મૈત્રી નિબંધ
• મોર વિશે નિબંધ
• માતૃભાષા નું મહત્વ નિબંધ
• માતૃભાષામાં શિક્ષણ નિબંધ
• પુસ્તકો આપણા સાચા મિત્રો નિબંધ
• વૃક્ષો આપણા મિત્રો નિબંધ
• જીવનમાં પ્રામાણિકતાનું મહત્ત્વ પર નિબં ધ
• વહેલી સવારનું ભ્રમણ વિશે નિબંધ
• વિશ્વ બંધુત્વ નિબંધ
• મિત્રતાની મીઠાશ નિબંધ
• પ્રવાસનું મહત્વ નિબંધ
• સમાજનું નવનિર્માણ અને તરુણો નિબંધ
• જીવનમાં સાદગીનું મહત્વ નિબંધ
• વિજ્ઞાનનું મહત્વ નિબંધ
• પ્લાસ્ટિક મુક્ત ભારત નિબંધ
• વસ્તી વધારો નિબંધ
• ઓનલાઇન થઇ રહેલું વિશ્વ નિબંધ
• મને શું થવું ગમે નિબંધ
• શિક્ષક દિન નિબંધ
• સૈનિક વિશે નિબંધ
• કુદરતી આપત્તિ નિબંધ
• હાય રે ! મોંઘવારી નિબંધ
• કારગિલ વિજય દિવસ
• વિશ્વ સંસ્કૃત દિવસ
• વિશ્વ આદિવાસી દિવસ
• વિશ્વ મહિલા દિવસ નિબંધ
• રાષ્ટ્રીય એકતા નિબંધ
• કન્યા વિદાય નિબંધ
• યુદ્ધ નહી પણ બુદ્ધ નિબંધ
• મારી શાળા નિબંધ
• મારો શોખ નિબંધ
• મારું ગામ નિબંધ
• મારું શહેર નિબંધ
• મારા દાદાજી નિબંધ
• મારા દાદીમાંનિબંધ
• મારા સપનાનું ભારત નિબંધ
• મારા શૈશવના સંસ્મરણો નિબંધ
• સ્ટેચ્યુ ઓફ યુનિટી વિશે નિબંધ
• આઝાદી કા અમૃત મહોત્સવ નિબંધ
• મારી પ્રિય રમત ક્રિકેટ નિબંધ
• જાહેરાતોનું વિશ્વ નિબંધ
• મતદાન જાગૃતિ નિબંધ
• પિતા દિવસ નિબંધ
• પશુ પ્રેમ નિબંધ
• પર્યાવરણના સંરક્ષણ માટે મારો ફાળો નિબંધ
• પોપટ વિશે નિબંધ
• હાથી વિશે નિબંધ
• કુતરા વિશે નિબંધ
• સિંહ વિશે નિબંધ
• વાઘ વિશે નિબંધ
• બિલાડી વિશે નિબંધ

આત્મકથાત્મક નિબંધ

• એક નદીની આત્મકથા નિબંધ
• એક ફૂલની આત્મકથા નિબંધ
• એક ખેડૂતની આત્મકથા નિબંધ
• એક ફાટેલી ચોપડીની આત્મકથા નિબંધ
• એક રૂપિયાની આત્મકથા નિબંધ
• એક શિક્ષિત બેકારની આત્મકથા નિબંધ
• નિશાળનો બાંકડો બોલે છે...આત્મકથા નિબંધ
• એક ચબુતરાની આત્મકથા નિબંધ
• એક વડલાની આત્મકથા નિબંધ
• એક ભિખારીની આત્મકથા નિબંધ
• એક છત્રીની આત્મકથાનિબંધ
• એક ઘડિયાળની આત્મકથા નિબંધ
• એક નિવૃત શિક્ષકની આત્મકથા નિબંધ
• જો હું સૈનિક હોઉં તો... નિબંધ
• જો હું વડાપ્રધાન હોઉં તો...નિબંધ

વ્યકિતલક્ષી- જીવનલક્ષી નિબંધ

• ગાંધીજીના વિચારો નિબંધ
• ભગતસિંહ વિશે નિબંધ
• મધર ટેરેસા વિશે નિબંધ
• જવાહરલાલ નહેરુ નિબંધ
• ડો બાબાસાહેબ આંબેડકર નિબંધ
• ગુરુ નાનક પર નિબંધ
• મારા પ્રિય નેતા નરેન્દ્ર મોદી વિશે નિબંધ
• ડૉ. વિક્રમ સારાભાઈ નિબંધ
• ડૉ. APJ અબ્દુલ કલામ નિબંધ
• લાલ બહાદુર શાસ્ત્રી નિબંધ
• ડૉ. સર્વપલ્લી રાધાકૃષ્ણનનિબંધ
• અટલ બિહારી વાજપેયી નિબંધ
• ચંદ્રશેખર આઝાદ નિબંધ
• રાણી લક્ષ્મીબાઈ નિબંધ
• સ્વામી વિવેકાનંદ નિબંધ
• છત્રપતિ શિવાજી મહારાજ નિબંધ
• નેતાજી સુભાષચંદ્ર બોઝ નિબંધ
• અન્ય મહાન વ્યકિતઓ વિશે નિબંધ

Conclusion :

ગુજરાતી વિશ્વકોશ

સ્થાપના ૧૯૮૫, ગુજરાતી કીબોર્ડ સ્થાપિત કરવા માટે અહીં ક્લિક કરો.

વિશ્વકોશ ખંડસૂચિ

અઇયોળનાં મંદિરોથી

આદિવાસી સમાજ

આદિવિષ્ણુથી ઈલાઇટિસ

ઈલેટિનેસીથી ઔરંગઝેબ

ઔરંગાથી કાંસું

કિઓન્જારથી ક્રિમોના

ગુજરાતી ભાષા, સાહિત્ય અને સંસ્કૃતિના સંવર્ધનનું કાર્ય કરતા ગુજરાત વિશ્વકોશ ટ્રસ્ટ(અમદાવાદ)ની પ્રવૃત્તિનો પ્રારંભ થયો. ગુજરાતી ભાષામાં સર્વપ્રથમ ગુજરાતી વિશ્વકોશ(encyclopedia)ની રચનાના 1985ની 2જી ડિસેમ્બરે એના મુખ્ય સંપાદક ધીરુભાઈ ઠાકર ની પ્રેરણા અને માર્ગદર્શનથી તથા  કુમારપાળ દેસાઈ જેવા સાથીમિત્રોથી આરંભાયો.

24 વર્ષના પુરુષાર્થથી ગુજરાતી વિશ્વકોશના 25 ગ્રંથોના 'અ'થી 'હ' સુધીના 26,000 પૃષ્ઠોમાં માનવવિદ્યાના 8,360, વિજ્ઞાનના 8,083, સમાજવિદ્યાના 7,640 - એમ કુલ 24,083 અધિકરણો (લખાણો) સમાવેશ પામ્યાં છે. જેમાં 11,660 ચિત્રો અને આકૃતિઓ, 7,647 લઘુચરિત્રો, 563 વ્યાપ્તિ-લેખો અને 246 અનૂદિત લેખોનો સમાવેશ થાય છે. આશરે 1,593 જેટલા લેખકો દ્વારા આ લખાણો તૈયાર થયાં છે. 1,73,50,000 જેટલી શબ્દસંખ્યા ધરાવતો ગુજરાતી ભાષાનો આ સર્વપ્રથમ વિશ્વકોશ છે.

ગુજરાતી ભાષામાં પ્રથમવાર તૈયાર થયેલો સર્વસંગ્રાહક વિશ્વકોશ (General Encyclopedia)

એક હજાર પાનાંનો એક એવા પચીસ ગ્રંથોની શ્રેણી.

ગુજરાતની અસ્મિતાને ઉપસાવી આપતો ગુજરાતી ભાષા, સાહિત્ય, સંસ્કૃતિ, વિજ્ઞાન, વાણિજ્ય, ટૅક્નૉલૉજી, ઉદ્યોગ, વિશિષ્ટ વ્યક્તિઓ, સંસ્થાઓ અને ગુજરાતી પ્રજાની તમામ ક્ષેત્રની પ્રવૃત્તિઓનો વિગતસમૃદ્ધ રસપૂર્ણ અધિકૃત પરિચય.

નિષ્ણાતો દ્વારા લખાયેલા સ્વતંત્ર લેખો રૂપે વિશ્વ વિશે, ભારત વિશે અને ગુજરાતી વિશેની અદ્યતન તેમજ પ્રમાણભૂત માહિતી.

અઢી કરોડ રૂપિયાના ખર્ચે તૈયાર થયેલી આ ગ્રંથશ્રેણી વિદેશમાં વસતા ગુજરાતી સમાજ માટે મૂલ્યવાન સંસ્કારરક્ષક જ્ઞાનસાધનની ગરજ સારે છે.

ગુજરાતી વિશ્વકોશના પ્રથમ નવ ખંડની નવસંસ્કરણ ધરાવતી, અદ્યતન માહિતી સાથે તૈયાર થયેલી બીજી આવૃત્તિમાં વિગતોનો સમાવેશ.

ગુજરાતી વિશ્વકોશ એક ઝાંખી

ભાગ 1 થી 25

1987 થી 2009 : 22 વર્ષમાં ગુજરાતી વિશ્વકોશના 25 ગ્રંથોનું પ્રકાશન

24,083 અધિકરણો 8,360 માનવવિદ્યા 8,083 વિજ્ઞાન 7,640 સમાજવિદ્યા 7,647 લઘુચરિત્રો 563 વ્યાપ્તિલેખો 246 અનૂદિત લેખો 11,660 ચિત્રો અને આકૃતિઓ 1,593 જેટલા લેખકો દ્વારા તૈયાર થયેલાં લખાણો 170 જેટલાં વિષયો

1,73,50,000 જેટલી શબ્દસંખ્યા ધરાવતો ગુજરાતી ભાષાનો સર્વપ્રથમ વિશ્વકોશ

ભૂમિકાખંડ 1985થી 1987 : જેમાં સમગ્ર વિશ્વકોશમાં આવરી લેનારા 169 વિષયોની સૂચિ તથા વિષયવાર વિષયનિષ્ણાતોની સમિતિ અને વિગતો આપવામાં આવી છે.

આવશ્યક સ્પષ્ટતા

1985ની બીજી ડિસેમ્બરે ગુજરાત વિશ્વકોશ ટ્રસ્ટની સ્થાપના થઈ અને ગુજરાતી ભાષામાં વિશ્વકોશનું સર્જન કરવાની કામગીરીની શરૂઆત થઈ. 22 વર્ષમાં ‘અ’થી ‘હ’ સુધીના તમામ મૂળાક્ષરો ધરાવતાં ગુજરાતી વિશ્વકોશના 25 ગ્રંથોનું પ્રકાશન થયું. એ પછી તો વિશ્વકોશની યાત્રા વિશેષ આગળ ચાલી અને એના દ્વારા ‘બાળવિશ્વકોશ’ અને ‘પરિભાષાકોશ’ તૈયાર થયા અને ‘બૃહદ્ નાટ્યકોશ’, ‘નારીકોશ’ અને ‘વિજ્ઞાનકોશ’ જેવાં કોશ તૈયાર થઈ રહ્યાં છે. પુસ્તકો અને સામયિકના પ્રકાશન ઉપરાંત વ્યાખ્યાનશ્રેણી પણ ચાલે છે.

ગુજરાતી વિશ્વકોશનું પ્રકાશન થયા બાદ એનાં બે કે ત્રણ પુનઃસંસ્કરણ થયાં છે અને એના પુનઃસંસ્કરણમાં જરૂરી ઉમેરાઓ પણ કર્યા છે. જે તે વિશ્વકોશની રચના પછી ફરીવાર એનું પ્રકાશન થતી વેળાએ એનું પુનઃસંસ્કરણ થતાં વચ્ચે ઘણાં વર્ષોનો ગાળો વીતી જાય તે સ્વાભાવિક છે. આથી વિશ્વકોશની અહીં પ્રસ્તુત કરેલી માહિતીમાં કેટલીક માહિતી થોડા સમય અગાઉની હોય તે સ્વાભાવિક છે અને તેથી દરેક અધિકરણની ઉપર જે વર્ષમાં વિશ્વકોશનું પ્રકાશન થયું તેનું વર્ષ લખેલું છે. વિશ્વકોશના પચ્ચીસે ગ્રંથો ઑનલાઇન ઉપલબ્ધ થાય તે અમારું પહેલું કાર્ય સિદ્ધ કરવાનો પ્રયાસ કરી રહ્યાં છીએ અને એ પછી વિશ્વકોશનાં જુદાં જુદાં તજ્જ્ઞો દ્વારા એમાં જરૂરી શુદ્ધિ-વૃદ્ધિ કે સંવર્ધન કરવામાં આવશે. આથી ખાસ એ વિગત પર લક્ષ આપશો કે જે વર્ષ લખ્યું છે તે વર્ષ સુધીની માહિતી ઉપલબ્ધ થશે. આ માહિતીનો આપ ઉપયોગ કરો, તો ગુજરાત વિશ્વકોશ ટ્રસ્ટના સૌજન્યનો ઉલ્લેખ કરશો.

આ સંદર્ભમાં કોઈ વિશેષ જાણકારી જોઈતી હોય તો વિશ્વકોશના ઈ-મેઇલ [email protected] પર આપ જણાવી શકો છો. આશા રાખીએ છીએ કે ગુજરાતી ભાષી વિદ્યાર્થીઓ, અભ્યાસીઓ અને વિદ્વદ્જનો આધુનિક ઑનલાઇન સ્વરૂપે મળતી આ માહિતીની પ્રાપ્તિ વધુ સરળ અને સુલભ બનશે.

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Translating Gujarat: On Raising Visibility and Sharing Literary Wealth

Gujarat boasts a vibrantly active and industrious 24% of India’s overall seacoast. At 1,600 kilometers, this is the longest coastline of all Indian states and, since ancient times, has invited an unceasing influx of travelers, traders, and warriors from all over the world. The region connects with present-day Afghanistan and Pakistan via northbound land routes through the Sindh desert and what is presently known as Rajasthan. Its eastern mainland adjoins the rest of northern and central India. And in the south, it neighbors agriculturally productive and highly industrialized towns and cities like present-day, cosmopolitan Mumbai. The state’s topography is also filled with extremes and contrasts, from the salt deserts and marshes of Kutch in the northwest to the arid and semiarid scrublands of the western Kathiawad peninsula to the forested mountains and fertile plains in the southeast. Frequented by migratory tribes and clans of pastoralist warriors, pilgrims, and traders, these age-old routes and vastly diverse ecologies have allowed for a fascinating hybridization of cultures and languages from all around the country and the world. Even the name Gujarat originates from a tribal dynasty, the Gurjara-Pratiharas, who came from the north in the mid-eighth century to defeat the local rulers and rule the region along with much of northern India.

Given all of the above, the Gujarati language has never been a discrete or stable entity despite the pre-Independence attempts by British colonial officers, Gandhi, and other Indian nationalist leaders to codify it as such. As scholars like Riho Isaka, Samira Sheikh, Sitanshu Yashaschandra, Rita Kothari, Aparna Kapadia, et al. have proved, the language is a richly complex linguistic system without fixed boundaries that has evolved through centuries of economic, political, and cultural interactions between speakers of Sanskrit, Prakrit, Gujari, Arabic, Persian, Turkish, Portuguese, Dutch, Urdu, Sindhi, Hindi, and more.

This plurality enabled the flourishing of numerous ethnolinguistic identities within the region, which, in turn, have engendered diverse literatures and cultural artifacts through the centuries. Arguably, though, Gujarat had its major literary renaissance in the late 1800s. In part, this was due to cross-pollination with the growing number of literary translations from English and other Indian and European languages. And, in part, it was due to a sociopolitical awakening among Gujarat’s literati—most of whom were educated elites—driven by anti-colonialism, nationalism, and the independence movement. Both of these factors led to a profuse blossoming of the modern Gujarati short story, groundbreaking first novels and memoirs, literary criticism approached as a rigorous art form in itself, travelogues that became established as a literary genre, and modern poetic forms that deviated from all previous traditions. Writers, poets, critics, and dramatists like Dalpat, Narmad, Nilkanth Sr., Navalram Pandya, Nandshankar Mehta, and others led the initial charge.

During this pre-Independence peak era of literary output, the historical novel genre became notably dominant because it also grappled with identity-building, a sense of nationalism, and state formation. Gujarati historical novels of this time are, in themselves, sources of history—beyond the stories they contained, they were also modes of collective consciousness, social reform, and earnest attempts to transcend history itself. This pre-Independence rise of Gujarati historical fiction was deeply influenced by the likes of Scott, Tolstoy, Cervantes, and others. The first-ever Gujarati novel, Nandshankar Mehta’s Karan Ghelo, published in 1866, was historical fiction. Next came the canonical, near-historical novel quartet Sarasvatichandra,  by Govardhanram Madhavram Tripathi, published from 1887 to 1901. With over 150 characters and 2,000 pages, its length surpassed Tolstoy’s War and Peace and it preceded Proust’s In Search of Lost Time . Writers like K. M. Munshi and Dhumketu published several historical fiction series set in pre-British India. Jhaverchand Meghani painstakingly collected ancient oral folklore from different regional communities into multi-volume works. Gunvantrai Acharya created swashbuckling tales of the nautical adventures of Gujaratis who traveled far and wide.

Yet, the first-ever English (or any language) translations of a handful of these works have only emerged in the last decade or so. The rest remain like faint memories of long-buried treasures despite the recovery and preservation efforts of a few stalwarts in every generation. In particular, many works remain unknown even to the Gujarati readership because they came from marginalized Gujarati communities—for example, the Parsi Gujarati community, which was much smaller than the Hindu majority but produced relatively more books at the time.

We can draw a line connecting the aforementioned Acharya to his daughter, the celebrated and prolific author Varsha Adalja, whose fiction opened this collection. Crossroad is a multi-generational historical novel set during the time of India’s independence movement. Written when the author was in her seventies, the work is groundbreaking for several reasons. In particular, despite Gujarat giving India its two most well-known Independence leaders—Mahatma Gandhi and Muhammad Ali Jinnah—and Sabarmati Ashram in Ahmedabad being Gandhi’s political base, this is among the handful of contemporary Gujarati novels to carefully explore those volatile times. That it does so mostly through the lives and experiences of women is another singular feat. Adalja’s prose is colloquially lyrical and true to its time and place. It is also cinematic and immersive, while not shying away from the worst sociopolitical issues like the infanticide and rape of young girls. As I finish my translation of the novel, I am frequently struck by the depth of her craft and research. And I am reminded of how much we still need to learn about Gujarat during those decades beyond the lives and works of Gandhi, Jinnah, and the intelligentsia.

Immediately after independence from the British in 1947, Gujarat became part of Bombay State, and the Mahagujarat Movement for a separate state became the next big political drive. From 1947 to 1960, a Sanskritized version of the language became more standardized, relegating the many regional variations to dialect status. This is also when, as translator Meena Desai writes in her introduction to a ghazal by Befaam (the pen name of Barkat Ali Ghulam Husain Virani), the Gujarati ghazal form came into its own as part of the “burgeoning movement toward an independent identity of a much-colonized country.” Tracing its origins back to seventh-century Arabic love poetry, the ghazal had gathered Persian influences as it spread across South Asia in the twelfth century through Sufi mystics and Islamic Sultanate courtiers. Ghazals continue to enjoy popularity today—especially in Bollywood—in different languages and regions of India, Pakistan, and Bangladesh. Even noted American poets have composed ghazals in English. Though difficult to translate because of their layered meanings, repetitions, and symbolism, Gujarati ghazals continue to flourish both in India and among the diaspora.

Shortly after Independence, another upheaval in Gujarat—particularly the large regions of Kathiawad and Saurashtra—involved the unification of more than two hundred independent princely states. In British India, these states had functioned more like allies rather than subordinates of the British Raj. The newly-formed Indian government pushed hard to integrate the nearly six hundred total princely states, which made up more than half the country. But legacies, traditions, and memories lingered on, as we see in an excerpt of Hasmukh Shah’s upcoming memoir, Dithu Mai . . . ( From the Margins of History ), translated by Mira Desai. Shah describes markers of a world that was quickly disappearing at that time—a Muslim ruler, his integrated team of Hindu and Muslim drivers from across caste and class hierarchies, and his garage filled with expensive and difficult-to-maintain British and American vehicles. From the child narrator’s innocent point of view, all of this is fascinating and impressive. We know the child grew up to become a key staff member for three separate Indian prime ministers. Undoubtedly, some of his diplomatic and negotiation skills had begun developing in those humble yet culturally syncretic beginnings.

That idea of cultural syncretism is also brought forth in Bharat Trivedi’s poem about Ahmedabad , an ancient city with a rich history named after a fifteenth-century Muzaffarid Sultan. As Mira Desai writes in her translator’s note, “Beyond the Hindu, Muslim, and Maratha dynasties and the British colonial rulers, there were also the Siddis, descendants of shipwrecked Africans, who bequeathed an intricate and famous carved stone screen (referenced here as Siddi Sayyed ni jali) to the city.” Though it has seen much communal tension in the last two decades, Ahmedabad has always been a political and intellectual hotbed, particularly during the Gandhi years. And while it is a constant muse for poets, writers, filmmakers, and songmakers, the walls of this city guard many untold stories still. I lived in the sprawling outskirts from mid-2014 to early 2020 and continue to explore its past and present in my own fiction. Once it grabs hold of your imagination, Ahmedabad remains a perpetual state of mind.

The third poet we’ve featured, Jayesh Jeevibahen Solanki, grew up in a village close to Ahmedabad and was a prominent, brave voice in the Gujarat Dalit Movement for most of his adult life. As translator Gopika Jadeja writes in her introductory note , “These poems give us a glimpse into a promising young mind, a poet and activist who envisioned a different future for Dalit and marginalized communities in India.” The objects described starkly in these two poems—stolen mangoes, torn kites, ice lollies for a rupee, a shirtless torso, and shoeless feet—all reveal the impoverishment that Solanki experienced throughout his life, which he tragically ended in October 2020. During my time in Ahmedabad, when I was fictionalizing the 2014 Dalit flogging incident in Una for a short story, I found a few videos of Solanki talking to journalists and reciting his poetry. His grounded convictions and passionate energy will forever haunt all who encountered him, virtually or in person.

It takes both a deep passion and a certain kind of energy to persist as a bilingual poet and writer, as Pratishtha Pandya writes in her personal essay, “ Writing in Mother Tongue and an Other Tongue .” Pandya traces her lifelong encounters with different languages and literatures to understand how her translation practice made her “more attuned to the sounds, nuances, and even limitations of the languages I was working with.” More profoundly, she investigates how there are things she can write in the “other tongue” that she cannot approach in her mother tongue because of cultural conditioning. This linguistic hopscotching about may feel ungainly at times, she writes. Still, there is joy in the spontaneous discoveries it can yield for those willing to jump past boundary constructs and land on just the right words to express themselves fully.

Sachin Ketkar also talked about the pleasures and challenges of bilingualism in my interview with him. As a Marathi-speaking Maharashtrian who grew up speaking Gujarati in Gujarat and working with English as a scholar and academic, Dr. Ketkar experienced “subtractive bilingualism”—a phenomenon I have also experienced since leaving India in 1991 but had not been able to name until this conversation. This is when, as he told me, the acquisition of an elite and powerful language like English results in the depletion and deprivation of linguistic, cultural, and creative resources of the language(s) in which one is raised. We discussed his own literary and translation journey and how intricate questions of cultural identity, tradition, modernity, and relevance stared at him with every step of that journey. Translation, for him, is primarily a creative process of negotiating through those questions. As he also shares in the interview: while creative bilingualism or multilingualism has been additive in nature for literatures in other Indian languages (e.g. Tamil, Hindi, Bangla, Marathi, and more), it has not been the same with Gujarati literature for various reasons.

In a country with so many languages, translation is, as Rita Kothari put it in my interview with her, “an un-self-conscious act [that’s] in the air, in the cosmos. And it’s hidden by being most proximate and natural.” As a multilingual scholar, translator, academic, and author, she has written extensively about Gujarati literature and translation theory. She has also co-translated, with Abhijit Kothari, the most famous historical fiction in our literary canon: K. M. Munshi’s Patan trilogy. Here, we discussed the evolution and craft of Gujarati literature in translation . This is my third interview with Dr. Kothari, and one of the recurring themes is how she sees languages as sociopolitical constructs that are, beyond their uses for communication, about power and identity. Given the evolutionary aspects I described above, this is truer than ever for the Gujarati language. In closing, Dr. Kothari recommends another great Gujarati-to-English translator, to whom we turn next.

Tridip Suhrud is renowned for his Gandhian scholarship. He is also the only Gujarati-to-English translator who has been brave enough to take on the work of translating the canonical Gujarati historical quartet, Sarasvatichandra , which I mentioned earlier. In this interview , we discussed some of his milestone translations, and I asked him where Gujarati literature stands with respect to literatures from other Indian languages in terms of creativity, innovation, diversity, volume, and recognition. He reflected on the Gujarati intellectual tradition overall, and said that “. . . we in Gujarat [ . . . ] have not thought about ourselves in our tongue with as much rigor and originality as we ought to have, or the seriousness with which language communities like Marathi, Bangla, Kannada, Tamil, and Malayalam have done.” Regarding the Gujarati translation scene, he has also discussed elsewhere how we Gujaratis are very good at bringing literary wealth from other cultures into ours, but not so good at sharing our own wealth.

Though that last bit was also a good-humored dig at the age-old Gujarati stereotype as the mercantile, business-minded community, when we look at the three Gujarati-to-English translations published in 2022 (excluding my own Dhumketu translation, which was the US edition of the 2020 Indian publication), it bears out. In her omnibus review , Shalvi Shah writes that they were “all written and translated by men and the only literary works translated from Gujarati to English in India in 2022 were published and are set more than five decades ago.” As a young translator herself, she calls out the difficulties of finding daring, new, experimental works. Sadly, this latter point also bears out, although I’m grateful that we have rare translations of books by a Gujarati Parsi and a Gujarati Dalit among those three.

Earlier, I mentioned a literary renaissance period for Gujarati literature as the independence movement got underway. The next big turning point came in the post-Gandhian era of the 1950s and 1960s with avant-garde writers like Mohammad Mankad and Suresh Joshi. Though Joshi was trained and well-read in Western literary traditions, he chose to write in Gujarati. To date, there has been no other who can match Joshi’s experimental aesthetics and prolific works of fiction, literary prose, literary criticism, and translations from several languages. In his 1992 essay collection, Imaginary Homelands , Salman Rushdie writes this about meeting Joshi:

To go on in this vein: it strikes me that, at the moment, the greatest area of friction in Indian literature has nothing to do with English literature, but with the effects of the hegemony of Hindi on the literatures of other Indian languages, particularly other North Indian languages. I recently met the distinguished Gujarati novelist Suresh Joshi. He told me that he could write in Hindi but felt obliged to write in Gujarati because it was a language under threat. Not from English, or the West: from Hindi. In two or three generations, he said, Gujarati could easily die. And he compared it, interestingly, to the state of the Czech language under the yoke of Russian, as described by Milan Kundera.

(Joshi’s stance predates that of contemporary writers like J. M. Coetzee, Ngũgĩ wa Thiong’o, and Minae Mizumura, who have all also made the political choice to write against the hegemony of English by first publishing their books in Spanish, Gikuyu, and Japanese respectively.)

Today, there is still a language pyramid in India where Bangla, Hindi, Urdu, Tamil, Malayalam, and others sit at the top. The language and history scholars I mentioned earlier have explored the whys and wherefores in their various books and papers. Globalization continues to diminish the ranks of Gujarati readers and writers by increasing the dominance of English. A quick check on Amazon India shows that, beyond academic texts, the Gujarati-language bestsellers are self-help and how-to books translated from English alongside the perennial favorite books about Steve Jobs and Elon Musk. With each generation, the body of Gujarati literature seems to become less abundant, vibrant, and innovative than it was during Joshi’s time. The Indian government and a handful of Gujarati literary institutions do what they can. For example, in 2007, the Gujarati Sahitya Akademi created a prize to recognize and encourage Gujarati authors and poets below the age of thirty . At last count, there are at least twenty different Gujarati literary awards . The Gujarati Sahitya Parishad, the oldest literary organization, has at least thirty different literary awards .

And yet, consider this: Gujarati has fifty-six million speakers worldwide. It is the sixth most spoken language in South Asia and the third most spoken language in the South Asian American diaspora . By some accounts, the Gujarati diaspora is spread over 125 countries . But my 2022 translation, The Shehnai Virtuoso and Other Stories by Dhumketu, was the first ever Gujarati-to-English literary translation to be published in the US. It was also the first ever book-length translation of this modern Gujarati short story pioneer, who published nearly twenty-six volumes of short stories alone.

For any literary culture to thrive, its readership must grow within its own societies and beyond with more translations into and from the language. This first-ever collection at Words Without Borders is a cultural intervention to bring these works to a wider readership, and to also help raise visibility within Gujarati society, especially the global diaspora. For translators from under-represented languages like ours, the act of translation can also be a mode of recovery and reclamation. Together, this small sample reveals rich glimpses of the diverse, complex, and ever-evolving literary traditions of Gujarat. It is an effort to share some of our literary wealth and celebrate our Gujarati ways of being.

Copyright © 2023 by Jenny Bhatt. All rights reserved.

Jenny Bhatt

Jenny Bhatt is a writer, literary translator, book critic, and the founder of Desi Books, a global multimedia forum for South Asian literature.

Into English: Sachin Ketkar on Bilingual Translation

Swedish for immigrants, wwb in 2023: the year in fiction.

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The Gujarati language is spoken by millions, primarily in the Indian state of Gujarat. As part of the Indo-Aryan language family, it shares similarities with other languages in the region. Its script, derived from the Brahmi script, is uniquely tailored to its sounds. Gujarati for beginners is one of over 50 free language packs that you can get from us.

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Gujarati speakers also form significant diaspora communities around the world, especially in the UK, USA, and East Africa. This global presence has led to Gujarati influencing and being influenced by other languages and cultures. Its speakers maintain a vibrant cultural identity, celebrating festivals and traditions that enrich the global tapestry. Learn Gujarati fast with 100 Gujarati language lessons organized by topic.

The Gujarati language is spoken by millions, primarily in the Indian state of Gujarat. As part of the Indo-Aryan language family, it shares similarities with other languages in the region. Its script, derived from the Brahmi script, is uniquely tailored to its sounds.

Historically, Gujarati evolved from Old Gujarati, dating back to the 12th century. This period marks its distinction from other related languages. Over the centuries, it has been influenced by Persian, Arabic, and English, enriching its vocabulary and expression.

Gujarati is renowned for its rich literary tradition, spanning centuries. The language has produced numerous notable poets and writers, including Kavi Dalpatram and Narmad, who played pivotal roles in its literary and cultural development.

In terms of grammar, Gujarati operates with a subject-object-verb order, similar to many South Asian languages. It features three genders and two numbers, along with a complex system of verb conjugations that express tense, mood, and aspect.

The Gujarati script is an abugida, where each character represents a consonant with an inherent vowel. Other vowels are indicated with diacritics. This script is cursive, making the written language flow smoothly on the page.

Gujarati speakers also form significant diaspora communities around the world, especially in the UK, USA, and East Africa. This global presence has led to Gujarati influencing and being influenced by other languages and cultures. Its speakers maintain a vibrant cultural identity, celebrating festivals and traditions that enrich the global tapestry.

Start learning Gujarati now!

Gujarati for beginners is one of over 50 free language packs that you can get from us.

‘50LANGUAGES’ is the effective way to learn Gujarati online and for free.

Our teaching materials for the Gujarati course are available both online and as iPhone and Android apps.

With this course you can learn Gujarati independently - without a teacher and without a language school!

The lessons are clearly structured and will help you achieve your goals.

Learn Gujarati fast with 100 Gujarati language lessons organized by topic.

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The Android or iPhone app ‘Learn 50 languages’ is ideal for all those who want to learn offline. The app is available for Android phones and tablets as well as iPhones and iPads. The apps include all 100 free lessons from the 50LANGUAGES Gujarati curriculum. All tests and games are included in the app. The MP3 audio files by 50LANGUAGES are a part of our Gujarati language course. Download all audios for free as MP3 files!

English Gujarati Dictionary | અંગ્રેજી ગુજરાતી શબ્દકોશ

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fox - Meaning in Gujarati

Fox - meaning in gujarati, fox word forms & inflections, definitions and meaning of fox in english.

Fox , Fox , George Fox

Charles James Fox , Fox , Fox

• dodger , slyboots
• bedevil , befuddle , confound , confuse , discombobulate , fuddle , throw
• "These questions confuse even the experts"
• "This question befuddled even the teacher"
• "This question completely threw me"

flim-flam , fob , fob , play a joke on , play a trick on , play tricks , pull a fast one on , trick

• "We tricked the teacher into thinking that class would be cancelled next week"

Synonyms of Fox

• charles james fox
• flim-flam , fob , play a joke on , play a trick on , play tricks , pull a fast one on , trick

Foxes are small-to-medium-sized omnivorous mammals belonging to several genera of the family Canidae. They have a flattened skull; upright, triangular ears; a pointed, slightly upturned snout; and a long, bushy tail ("brush").

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What is fox meaning in Gujarati, fox translation in Gujarati, fox definition, pronunciations and examples of fox in Gujarati.

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Translation of fox – English–Gujarati dictionary

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fox noun ( ANIMAL )

• The hunt chased the fox until it was too tired and weak to run and then closed in for the kill .
• The hounds had lost the scent of the fox near the river .
• As the fox came into the yard , the chickens began squawking in alarm .
• Dogs, cats , foxes and bats can all carry rabies.
• There was a fox on the prowl earlier .

(Translation of fox from the Cambridge English–Gujarati Dictionary © Cambridge University Press)

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an occasion when a driver in a motor race stops in the pits (= area where cars are repaired)

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Essay on gujarati language (1230 words).

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Essay on Gujarati Language!

Gujarati evolved from a dialect of the Gurjara Apabhramsa. It reached a distinctive form by the 12th century. Jain influence is strongly evident in the early stages of its development.

Jain authors transformed the Rasa, originally a folk dance, into melodious dramatic poetry. In the eleventh century, due to the development of trade and commerce, the religious influence of Jainism and that of Hinduism, and the encouragement provided by Siddhraj, Solanki and Vaghela Rajputs, literary activities flourished.

In the context of gradual evolution, the history of Gujarati literature is generally classed into three broad periods: the early period (up to c. 1450 AD), the Middle period (up to AD 1850) and the Modern period (AD 1850 onwards). However, Gujarati literature and its tremendous maturation and proficiency have been traced back to the Muzaffarid dynasty, which had provided the sultans of Gujarat in western India from 1391 to 1583.

The first four centuries of the second millennium AD— Praag Narsinh-Yug—saw the emergence of the distinguished Jain monk and scholar Hemchandracharya Suri, one of the earliest scholars of Prakrit and Apabhramsha grammars and the mother of the Gujarati language. He had penned a formal set of ‘grammarian principles’, a treatise that formed the cornerstone of Apabhramsa grammar in the Gujarati language. He wrote Kavyanushasana, a handbook or manual of poetry, Siddha-haima-shabdanushasana, Prakrit and Apabhramsha grammars, and Desinamamala, a list of words of local origin.

The earliest writings in this language were by Jaina authors. Rasas were long poems which were essentially heroic, romantic or narrative in nature. Salibhadra Suri’s Bharatesvara Bahubalirasa (AD 1185), Vijayasena’s Revantgiri-rasa (AD 1235), Ambadeva’s Samararasa (AD 1315) and Vinayaprabha’s Gautama Svamirasa (AD 1356) are the most illustrious examples of this form.

Other notable prabandha or narrative’ poems of this period include Sridhara’s Ranamalla Chhanda, Merutunga’s Prabodhachintamani, Padmanabha’s Kanhadade Prabandha and Bhima’s Sadayavatsa Katha.

The phagus are poems that pictured the blissful and cheery nature of the spring festival, examples being Rajasekhara’s Neminatha-phagus (AD 1344) and Vasantha- vilasa (AD 1350). “Neminatha Chatuspadika”, written in 1140 by Vinayachandra, is the oldest of the baramasi genre of Gujarati poems.

The earliest work in Gujarati prose was written in 1355 by Tarunaprabha (Balavabodha). Manikyasundara’s Prithvichandra Charita (AD 1422), a religious romance, is the best illustration of old Gujarati prose.

During the fifteenth century, Gujarati literature was deeply influenced by the Bhakti movement. Narsinh Mehta (AD 1415- 1481) was the foremost poet. The Ramayana, the Bhagavad Gita, the Yogavashistha and the Panchatantra were all translated into Gujarati. This period also experienced the colossal Puranic revival, which led to the rapid growth and maturation of devotional poetry in Gujarati literature.

Meera and Dayaram, along with Narsinh Mehta, were foremost contributors of the sagun bhakti dhara. Bhalana (1434- 1514) had translated Banabhatta’s Kadambari into Gujarati. Bhalana composed Dasham Skandha, Nalakhyan, Ramabal Charitra and Chandi Akhyana. Meera supplied many padas (Verse).

Premanand Bhatt elevated the Gujarati language and literature to a new height. Shamal Bhatt was an extremely creative and productive poet (Padniavati, Batris Putli, Nanda Batrisi, Sinhasan Batrisi and Madana Mohan).

Dayaram (1767-1852) wrote religious, ethical and romantic lyrics (the ‘Garbi’) in his works Bhakti Poshan, Rasik Vallabh and Ajamel Akhyan. Parmanand, Brahmanand, Vallabha, Haridas, Ranchhod and Divali Bai were other authoritative ‘saint poets’ from this period.

The nirgun bhakti dhara was represented by again Narsinh Mehta. Akho’s Akhe Gita, Chittavichar Samvad, Anubhav and Bindu are seen as ’emphatic’ compositions on the Vedanta. Other contributors are Mandana, Kabir-Panthi, Dhira Bhagat, Bhoja Bhagat, Bapusaheb Gaikwad, and Pritam.

From the middle of the 19th century, Gujarati came under the strong western influence, due to colonial residence. Modern Gujarati literature is associated with Dalpatram (1820-1898) who wrote Vinacharitra and Narmad (1833-1886) who wrote the first Gujarati dictionary, the Narmakosh.

It is a history of the world, and also an authority on poetics. Narmad’s Rukmini Haran and Virasinh are considered to be masterpieces. The other great works in this era are Bholanath Sarabhai’s Ishvara Prarthanamala (1872), Navalram’s Bhatt nu Bhopalu (1867) and Veermati (1869), and Nandshankar Mehta’s Karana Ghelo (1866)— the first novel of Gujarati literature.

Ranchhodlal Udayaram Dave (1837-1923) is seen as a groundbreaker in the art of play- writing in Gujarati. Other dramatists of note were Dalpatram, Narmad and Navalram. The poets of note include Narsinhrao Divetiya (Smarana Samhita, Kusumamala, Hridayavina, Nupur jhankar and Buddha Charit); Manishankar Ratanji Bhatt or Kavi Kant (Purvalap) and Balwantray Thakore (Bhanakar).

Poet Nhanalal, author of Vasantotsava (1898) and Chitradarshan (1921), an epic referred to as Kuruksetra, outshone in his apadya gadya or rhyming prose. Govardhanram Tripathi (1855-1907), author of Saraswatichandra, was among the celebrated novelists of Gujarati literature.

During the period of influence of Gandhi, Gujarat Vidyapith became the nerve-centre of all literary activities. Novels, short stories, diaries, letters, plays, essays, criticisms, biographies, travel books and all kinds of prose began to flood Gujarati literature.

Modern Gujarati prose was given prominence by KM. Munshi, one of the best known literary figures of Gujarati literature whose works include dramas, essays, short stories and novels and Mahatma Gandhi, whose An Autobiography of My Experiments with Truth, Satyagraha in South Africa, Hind Swaraj or Indian Home Rule, a political pamphlet, and a paraphrase in Gujarati of John Ruskin’s Unto The Last are well- known works.

During the 1940s, there could be witnessed a rise in communistic poetry and this inspired a movement for progressive literature in Gujarati. Poets like Umashankar, Sundaram, Shesh, Snehrashmi and Betai, amongst others, centred on the existing social order, the struggle for independence and the travails of Mahatma Gandhi himself.

Inspired by Rabindranath Tagore’s poems, Umashankar Joshi enriched Gujarati literature by writing in Tagore’s style. His writings include Prachina, Mahaprasthan, Nishith (Jnanpith Award in 1967). The Gujarati novel was also made a household name by G.G. Joshi (‘Dhumaketu’), Chunilal V. Shah, Gunvantrai Acharya, Jhaverchand Meghani, Pannalal Patel and Manubhai Pancholi.

Chandravadan Mehta, Umashankar Joshi, Jayanti Dalai and Chunilal Madia were some significant dramatisits and Kaka Kalelkar, Ratilal Trivedi, Lilavati Munshi, Jyotindra Dave and Ramnarayan Pathak the noted essayists of the time.

In the 1940s and the 1950s, poetry dominated. Rajendra Shah, Niranjan Bhagat, Venibhai Purohit, Prahlad Parekh and Balmukund Dave were the major poets.

Post-independence Gujarati poetry revealed greater subjectivity and explored newer philosophies, thoughts and imagery. The poems are very subjective and brutal. Gujarati poets of the era include critically acclaimed poets like Suresh Joshi, Gulam Mohamed Sheikh, Harinder Dave, Chinu Modi, Nalin Raval and Adil Mansuri.

Post-independence prose literature had two distinct trends: traditional and modern, the former represented by writers of ethical values (Gulabdas Broker, Mansukhlal Jhaveri, Vishnuprasad Trivedi and others) and the latter by writers reflecting the influence of existentialism, surrealism and symbolism (Chandrakant Bakshi, Suresh Joshi, Madhu Rai, Raghuvir Chowdhury, Dhiruben Patel, Saroj Pathak and others).

Popular writers like Vithal Pandya, Sarang Barot, Dinkar Joshi, Harkisan Mehta, Ashwini Bhatt wrote novels that won the hearts of the common people. Pannalal Patel’s novel Maanavi Ni Bhavaai received the Jnanpith Award in 1985.

After the mid-1980s, Gujarati literature has seen the likes of Bhagwatikumar Sharma, Vinesh Antani, Dhruv Bhatt, Yogesh Joshi, Bindu Bhatt, and Kanji Patel who have brought freshness in narration in novels.

Gujarat Vidhya Sabha, Gujarat Sahitya Sabha, and Gujarati Sahitya Parishad are Ahmedabad-based literary institutions promoting the spread of Gujarati literature.

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