Kuntaka, the 11th Century Kashmiri poetician holds a unique place in Sanskrit poetics due to the astounding depth of his aesthetic theory and the literary insight he displays in judging great masters of Sanskrit literature. Through his Vakroktijīvita, he develops the concept of Vakrokti into an all comprehensive principle of literary criticism which can account for the entire range of the creativity manifested at different levels of poetry. The main attraction of Kuntaka's theory is that it can pinpoint any type of creative deviation effected by the poet causing aesthetic charm, form the phonetic patterning at the surface level to the deeper structural innovations. As a literary critic, he displays amazing insight in unraveling the inherent beauty of classics like the Abhijñānaśākuntala and Meghasandeśa. The present monograph gives a comprehensive account of his contributions to Sanskrit poetics.
C. Rajendran, Professor of Sanskrit, University of Calicut is a scholar of international repute. Apart from the MIL monographs Mahimabhaṭṭa, and Melputtur Nārāyana Bhaṭṭa his main works include Vyaktiviveka- A Critical Study, Studies in Comparative Poetics, The Traditional Sanskrit Theatre of Kerala, Sign and Structure, and Understanding Tradition. Recipient of several prestigious awards, he has also served as Visiting Professor at Ecole des Etudes en Social Science, Paris (2005) and Jagiellonion University, Krakow, Paris (2008).
**Contents and Sample Pages**
The Concept of Vakrokti in Sanskrit Poetics – A Reappraisal
In the whole range of Sanskrit poetics, the term Vakrokti took altogether a new significance and the highest position as the all pervading poetic concept in Kuntaka’s Vakroktijivita. He revived the concept from more verbal poetic figure to the lessons of poetry. He not only explains but also explore the multi – dimensional aspects of Vakrokti. But unfortunately, no comprehensive study of Vakrokti has been done in a systematic way. This book is an effort in this direction.
Presenting the major schools of Sanskrit poetics, the book gives general definition of Vakrokti and its multi dimensional implications. Further taking a close look a the views of different theorists on Vakrokti, it exposes in detail kuntaka’s theory of Vakrokti and makes its critical analysis in relation to various literary concepts – alankara, svabhavokti, rasavadalankar, marga and rasa. Finally, it deals with the striking similarities between dhvani and Vakrokti, and brings out the fundamental aspect of practical criticism as shown by kuntaka.
Suryanarayan Hegde is a devoted young scholar in the field of Sanskrit Poetics and Literature. He was awarded Ph. D. degree by Karnatak University, Dharwad. He has proved his ability and industriousness by getting the First Rank with Gold Medals in M.A. Sanskrit and the 8TH rank to University at the UG level.
Dr. Hegde is, at present, Teaching Assistant in Sanskrit at Karnatak College, Dharwad. He wields his pen in Sanskrit, English and Kannada with equal facility. He has presented his research papers in various national seminars.
When Dr. Suryanarayana Hegde approached me to write a foreword to his new venture, “Concept of Vakrokti in Sanskrit Poetics – A Reappraisal” I was a bit confused because of opposite feelings. The foremost felling was of affection and pride. For, Dr. Surya happens to be my past student and more than that he is a young scholar having commendable literary taste, sharp analytical skill, training in Epigraphy and Textual Criticism – qualities rarely found in present day students of Sanskrit. This feeling forced me to write this foreword. And the feeling that dragged me back was a kind of hesitation owing to my own limitations of not coming out with any new ideas. May be because much has been said on the Alankarasastra in particular and much more has been said on poetics and literary criticism in general, and my effort, therefore, will be nothing more than a Siddhasadhana! Still there may be some neglected corners yet unexplored. My attempt is to search such corners, if there are any!
For thousands of years our ancients were fascinated by the magic played by ‘Vagartha.’ Attempts were made to explore almost all the nuances of language. Our approach towards language was mystics on the one side and analytical on the other. But aesthetic element was bound to be there in both the approaches. Therefore, one can find abundant instances of poetry even in our works on scientific literature like Charakasamhita, Lilavati etc. Similarly the creative works in literature, as in ornate poetry, also were brimmed with scientific details. The only convincing answer to this fact that readily strikes to one’s mind can be found in the great concept called ‘Synthesis’.
In India synthesis was not in knowledge but in person. It was, therefore, a fact that a grammarian was found as a Rasika and a Naiyayika had an element of poetic creativity. Inclusiveness was (and is) a pan – Indian phenomenon. It was therefore accepted that an Adhikarin (a qualified student) was the one who was well informed in other branches of knowledge and a beginner in a particular system.
Vakrokti is an off –shoot of such an Indian mind that it can refer to any ‘deviated expression’. What makes a man a man? Vakrokti can become an answer. The cross-road from which man deviated from animal instincts was definitely Vakrokti. Finding of such a deviated expression necessarily pre-requires a vision that is basically aesthetic. Thus, we arrive at a stage where aesthetic aptitude was aroused in man, which was later named as ‘Rasa’, The happy co-operation of Rasa and Vakrokti culminates in a creative work of art.
In this background Dr. Surya,s work is a welcome effort for many reasons. First of all it is a store – house of hundreds of rare references. One can well understand the meticulous search for sources the author has sought for and looked into. And again, this work exemplifies his wide an in depth acquaintance with even unpopular works on the Alankarasastra. As far as I know, such a study on the concept of Vakrokti was not done so comprehensively as by this promising scholar. There are numerous instances to cite in support of Dr. Surya’s innovative study. To mention one or two: He finds the origin of Vakrokti in Bharata’s ideas on Laksana. Similarly relating Vakrokti to Vamana’s definition of Riti seems to be a new finding.
The original contribution of Dr. Surya lies in his discussion on Kashmir Saivism at great length. Many of Kuntaka’s findings were rooted in this philosophical system. This idea was discussed in general in many critical works on the Alankarasastra. But probably it is this scholar who specifically relates Kuntaka’s ideas to corresponding details in Kashmir Saivism. It may be a matter of controversy that Kuntaka appears to be nearer to his philosophy than abhinavagupta. The boldness in arriving at such a conclusion is commendable but needs to reflected upon on much more substantial grounds.
Again the difference between Kuntakas Alankarya and Anandavardhana’s Dhvani (in the sense of Kavyartha), Kuntaka’s Sahitya and Anandavardhana’s Auchitya needs to be shed more light upon. Mahimabhatta’s terse remarks on Kuntaka and on his Vakroktijivita would also have been with. Equating Vakrokti with poet’s Pratibha itself seems to be a concept worship.
Despite these limitations, so to say, this work exemplifies Dr. Surya’s praiseworthy qualities, which I have already referred to at the out – set, and they have worked as an under current through out this study.
A close study of Kuntaka’s Vakroktijivita led me to take up a detailed study of the concept of Vakrokti in Sanskrit poetics. The concept of Vakrokti took altogether new significance and supreme position as all – pervading poetic concept in Kuntaka. His concept of Vakrokti emerges as a viable theory of poetic language parexcellence. In order to comprehend Kuntaka’s theory, it is necessary to trace the ideas on the concept in earlier and later Sanskrit poetics. A remarkable divergence of conception is noticeable in the same theory of Vakrokti as treated by Bhamaha, Dandin, Vamana, Rudrata and so on. In fact, it is interesting to note that the very concept was taken up for a detailed discussion by Kuntaka, Bhoja and Abhinavagupa who belonged to the same age. Thus, in Sanskrit literary context, Vakrokti theory shows remarkable divergence of conception and treatment from writer to writer.
A critical study of the Vakroktijivita and the isolated concepts of Kuntaka like sahitya, marga- guna, svabhavokti, rasavadalankara, etc, has been made by modern scholars in detail. However, the comprehensive study of Vakrokti, through the ages, has not been done in a systematic way. On the other hand, there is a need of unified study of the concept. “None of the concepts can be studied in isolation, tearing them apart either from each other or from rasa which is the overall end and aim of all literature. This need for an integrated approach was fully realized by masterly writers like Mammata, Visvanatha and Jagannatha in their works. What is most needed today in our Alankara studies is a similar integrated perspective.” These words of Dr. K. Krishnamoorthy inspired me to take up this concept and to study in the said perspective.
Thus, the main object of this research work is to present the comprehensive study of the concept of Vakrokti with an integrated approach. The important original works concerning the concept of Vakrokti have been taken for the study. And, all the available sources related to the field, both primary and secondary, have been utilized as far as possible.
The views of respective theorists on various aspects have been treated after a careful and critical observation. We have entered into the details of all difficult problems and have left no point worth notice.
The method adopted in the study is critical- cum- comparative, historical and objective. In studying the history of Vakrokti, much emphasis is put on the ideas behind the concept, not only to the term. Hence, the inter – related concepts are also discussed occasionally. While dealing with Kuntaka’s views on various literary concepts, the views of different theorists too are discussed. Also, Kuntaka’s influence on his successors is highlighted throughout the work. The value of Vakrokti theory to modern critical thought is indicated as well. Thus, an attempt is made to present the critical exposition of the concept of Vakrokti with an integrated perspective.
It is a pleasant duty for me to acknowledge the help extended by various persons in preparing this research work. The task of completing such a research work was made by the generous guidance of my revered teacher Dr. K. B. Archak, Reader, Department of Sanskrit, Karnatak University, Dharwad. I feel myself proud to extend my deep sense of gratitude to him.
In fact, words fail to express my deep sense of gratitude to my beloved Guru, Dr. Mahesh Adkoli, who initiated me in studying Sanskrit poetics. He is kind enough to go through the manuscript, rectify the errors and make valuable suggestions. He had always been a source of inspiration to me through out my academic career. He in the midst of his busy schedules is also kind enough to contribute scholarly and insightful foreword to this work.
I am profoundly indebted to Dr. Shrinivas Ritti, formerly Professor of Ancient Indian History and Epigraphy, Karnatak University, Dharwad. The discussions with him regarding research in general were highly informative and constructive.
I place on record my reverence to Dr. D.N. Shanbhag, Professor (Retd.) of Sanskrit, Karnatak University, Dharwad for his constant encouragement.
I am extremely thankful to Dr. C.S. Naikar, Professor, Department of Sanskrit, and various authorities of Karnatak University for their co – operation and timely help.
I offer my heart – felt regards and sincere obligation to my parents and brothers for their help and encouragement throughout my career.
It is my pleasant duty to record my thankfulness to Readworthy Publications, New Delhi for having published this work in a splendid manner.
Last but not the least, I express my indebtedness to Mr. R.k. Hegde and his associates for type –setting with all patience and care.
All opinions, observations, and comments of readers will be received with full of sportive spirit.
An humble effort has been made to tackle the difficult subject, in lucid a manner, as is possible. A comparison is very difficult - one has to analyse both the aspect of the problem pros and cons - inside and outside - and it requires an impartial analysis to arrive at a conclusion, which is indeed a very difficult one, when both the writers are supposed to be of a particular higher standard. The author has a difficult duty to observe that no injustice has been done to any one even unconcientiously. The balance has to be on both the sides, which is rather an impossible a task. Here the comparison has been undertaken between an Eastern and a Western writer, where the premises, the basis of thinking is quite varied one one absolutely oriental and the other completely occidental and out of the difficult two, one has to arrive at a judgement about the valuablity of one and the other. It is decidedly difficult task undertaken; a task to remain un-balanced under any pressure, because each one has one's own of looking at things. Bare-bodied beauty in West has not much attraction; whereas the same situation in Eastern side would raise the eye-brow.
Thus, here the author has to be very very careful and he had to divide the volume in three distinct parts in first part he has made a detailed survey of the achievements of a Foreign writer.
In second part he has tried to have a look at the Indian status, situation and environment, and in third part he has critically compared both the individuals in the best possible way.
Although it appear that his effort is sincere, but yet the author's tilt is towards Eastern culture only and it is but natural, howsoever one would make an effort in his critical assessment, but one's basic natural instict would lead to him his own culture only and the author is guilty of this fault of slanting towards eastern hemisphere - it requires to be connived at. The author has critically commented on both the west and the east, and yet he has tried to remain impartial in his best possible way. His language appears to be not for common man it appears to be a bit hyperbolical and at times difficult to follow fully, but that does not mean that he has done injustice in any way it is his own style and he excels in it rather lucidly, lovingly, lively.
Dr. Hari Prasad Pandey Atm-aj Shree Manikarnika Pandey. (Swatantra Senani) Born at Sultanpur (Uttar Pradesh) Education: M.A. 1982 Ph.D. 1987 Sahitya Shashtree Gold Madalist 1983 Sahitya Acharya Gold Madalist 1985 All at M.S. University, Baroda. Honoured by Kanchi Kam Kotipithadhishwar 1981.
Three Gold Medal by Dwarka Sharda Pithathishwar in Sanskrit Elocution competition. Honoured by Jawaharlal Nehru (Meritorious) Certificate - 1983.
Worked as a Senate Member in the M.S.
University, Baroda At present working as a "Pradhyapak' in the Sanskrit Mahavidyalaya under M.S. University, Baroda. In the absence of the authority, acted as Principal, Baroda Sanskrit Mahavidyalaya, Baroda. There are several achievements to his credit, e.g. - it is he, who got the Baroda Sanskrit Mahavidyalaya transferred from the congested city area to the Uni. Campus. It is with his efforts that the College was re-designated as "DEPARTMENT OF TRADITIONAL SANSKRIT STUDIES". At the art Faculty, the medium of instruction is English, whereas at Baroda Sanskrit Mahavidyalaya, the medium of instruction is only Sanskrit.
Dr. Pandey the author of this book - "A comparative Stylistic Study of Tillyard & Kuntak' is an humble missionary man.
Dr. Pandey had his primary education in U.P. only. He joined Baroda Sanskrit Mahavidyalaya as a student of the Sanskrit Language, which he picked up so quickly and so soon. Step by step, he gradually rose to ladder and he completed Sahitya Shashtree, Sahitya Acharya, and Ph.D. in Hindi.
He has two publications to his credit.
According to the dictionary meaning it is an introduction to book stating subject: and the meaning of the word "treatise" is 'Literary composition dealing more or less systematically with definite subject;
My handing of the subject, vis-a-vis the above two dictionary meanings is quite different it is out of the rut it is out of the tradition it is fortunately abnormal. Being the student of Sanskrit language, I had a picture in my mind, as to how the ideas evolve and take a specific shape in a specic form. For example:
The book happens to deal with two ideologies; Eastern & Western The Oriental and Occidental. What has been stated by Tilliard has been established long back by Indian authors; much much beyond, but than we cannot say who is wrong who is right.
Forward of a book is nothing but its synopsis - a summary - a conception of what the writer wishes to convey in the entire book. It is just like squeezing sea in a ciborium - a Herculean effort to put in a pit the great Himalayas; but then there is crude method also to give a vicarious description of the same item in a different form-in a metamorphosis - just a transmogrification of original vastness.
Two different writers - Eastern and Western - propound the same theory of oblique expression - slanting/ironical exhibition of their views in a lucid way. It is upto the reader how it interprets and understands it. To deep thinkers, they could over it carefully, whereas super silious would just pass over cursorily and ignore it - even the original and the comparison - both.
It is just the 'meaning' that matters: The word meaning caries a vast meaning in all the respects. It carries colossal chaos and cosmos - both. Easily and un-easily each letter of the alphabet carries a meaning; every sign a symbol, a dot, a curve, carries a meaning, - such symbols and signs added to the alphabet, metamorphoses the meaning materially. Prefixes/suffices in the form of letters or pair of letters, or words, carry different meanings, according to the text, time, and place. One meaning at one place or province may not have the same meaning, at another place. If we go on giving examples of each, it would need an additional volume, which is beyond the reach of this compass. The 'meaning' differs from person to person, - what is applicable to one, may not necessarily be applicable to another the other should have a different word altogether and not the same one according to the meaning desired to be conveyed.
Then touching the subject of the book hereinto- there are 'direct' meanings and 'indirect' meanings each different from one another poles asunder according to time, place and person. Told to someone else, applies to someone else.
Sanskrit Literature is rich unquestionably no doubt; Years have gone by, Eons have gone by - the time has passed into thousands of years and yet Sanskrit Literature is as rich as ever; as fresh as ever, as relishable/ as palatable, as ever. More you study it, more you like it, more you love it. In all other subjects, at one stage or the other, you will feel a feeling of averseness, a feeling of uncomfortableness/uneaseness, whereas Sanskrit literature is the only subject, where you never get bored you never get tired; more you taste deep, more you relish it because of its versatility, variability, veracity and virtue.
Many writers have given their views on their subjects of liking, and these views, these creations, these eternal creations are permanent, steadfast, and lasting for ever and ever. Nothing has withered them, in the past, nor the future will do so.
The Book 'Poetry Direct a Oblique' by Tilliard is worth having a second look. It deals with the principles of Kuntak manifested by him in his book "Vakrokti - Jivitam' in a very lucid way. It is an interesting study for those who are the students of the Poetry of Sanskrit Literature. "Swabhavokti" and "Vakrokti" are the aspects, which always draw attention of those who are interested in the subject. The Book of the Tilliard also touches the subject of the Book 'Dhwanyalok' written by Shree Anand Vardhan. He has taken care of both the books mentioned above; if you read between the lines, you will find that he has endeavoured very cleverly to blend the two together in his own dexttrous way. That shows his deep study of the subject too; and had it not been so, he would not have justified the subject, in the splendid way that he has done. Tilliard & Anandwardhan go parallel the difference is in observation only. Tilliard has based his remarks/observations, having taken into con sideration only western poetry and that also in short. His principle observations is based on the principle's of 'Vakrokti' only. But even in 'Abhidha' analysis, his observations is quite important. In India these principles have been discovered 1000 years before, whereas, the western learned persons have taken the responsibility on this own about having found out this principle in the 20th Century. Although the subject discussed is the same, Tilliard's observations and criticism is important and worth its weight at appropriate level. Whatever Tilliard observes, it has to be observed and compared with the Indian domination.
As far as Tilliard is concerned, his attention is towards, "Dhwanivad" only, but when he gives examples, he has been brought nearer to Shree Ramachandra Shukla. "Rasvad" (before Shuklaji) was complete in its Indian atmosphere and having its Indian technique and handling, he was supporter of the several principles beneficial to Indian culture; This is also the observation of Tilliard. He too is also having in insight of practicality and his depthness is not only imbibed with 'rasa', but also it affects 'Bhavtatva' in reality. Although he is supporter of the beneficial principles, he has considered the advise of Mathew Arnold as wrong and directed that he should select any other subject. In a poetry, subjects relating to lofty ideals must get appropriate place in literature this he has made abundantly clear. He is opposing the theory of Arnold because it does not suit his technical thoughts which have no background. He is of the opinion that the high ideals must have a background of some personal ex perience with the hope of 'Dhwani', he should express himself cf fectively. He has put all his force in the principles of 'Dhwani' in his book.
Book's Contents and Sample Pages
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