Yaśovarmā, Bhavabhūti’s contemporary, is the author of the now-unavailable play, Rāmābhyudaya. Eminent aestheticians such as Ānandavardhana have held this work in high regard and have quoted from it. This tells us that the play was indeed wonderful. Let us examine a verse that probably was a part of its prologue:
औचित्यं वचसां प्रकृत्यनुगतं सर्वत्र पात्रोचिता
पुष्टिः स्वावसरे रसस्य च कथामार्गे न चातिक्रमः।...
In the plays written by the great poet Bhavabhūti we find passages that not only reveal his personality and learning, but also his insights into literary aesthetics. Let us examine a few such passages. The poet presents the superior qualities of his creation in a verse that appears in Mālatīmādhava:
भूम्ना रसानां गहनप्रयोगाः
सौहार्दहृद्यानि विचेष्टितानि।
औद्धत्यमायोजितकामसूत्रं
चित्राः कथा वाचि विदग्धता च॥(1.4)
A profound plot rich with...
Māgha
In the second canto of Śiśupālavadha, the poet Māgha uses ideas from various sciences to support his arguments on polity. It is appropriate that he has included literary aesthetics as well. A few observations in this section are worth noting:
बह्वपि स्वेच्छया कामं प्रकीर्णमभिधीयते।
अनुज्झितार्थसम्बन्धः प्रबन्धो दुरुदाहरः॥(2.73)
It is easy to whip up incoherent statements one after another as per one’s whim. However, to create a...
Bāṇabhaṭṭa
Among the works written by the great poet Bāṇabhaṭṭa, it is only in Harṣacarita that we come across thoughts on literary aesthetics. Although the introductory verses in Kādambarī contain a couple of statements on the art of poetry, they are not directly linked to poetic theory. Besides, they are not very illuminating. Therefore, Harṣacarita is our only source. And it does not disappoint us.
The poet has this to say about pilferers of...
Harṣavardhana has made a mark in the annals of Sanskrit literature with his three plays: Priyadarśikā, Ratnāvalī and Nāgānanda. Interestingly, the prologues of these plays are largely similar. Although there is no discussion here significant to literary aesthetics, we do find a verse that lays down certain fundamental tenets:
श्रीहर्षो निपुणः कविः परिषदप्येषा गुणग्राहिणी
लोके हारि च वत्सराजचरितं[1] नाट्ये च दक्षा वयम्।
वस्त्वेकैकमपीह...
Bhāravi further refers to speech in the conversation between Indra and Arjuna:
प्रसादरम्यमोजस्वि गरीयो लाघवान्वितम्।
साकाङ्क्षमनुपस्कारं विष्वग्गति निराकुलम्॥
न्यायनिर्णीतसारत्वान्निरपेक्षमिवागमे।
अप्रकम्प्यतयान्येषामाम्नायवचनोपमम्॥
अलङ्घ्यत्वाज्जनैरन्यैः क्षुभितोदन्वदूर्जितम्।
औदार्यादर्थसम्पत्तेः शान्तं चित्तमृषेरिव॥ (11.38–40)
“Your speech is unambiguous, charming and resplendent. It is concise and yet...
After Kālidāsa, Bhāravi is perhaps the only poet who steered the ship of Sanskrit narrative poetry along a new route. Successive poets merely followed his lead. Known for investing words with profound meaning, Bhāravi has given some remarkable insights into poetics in his work, Kirātārjunīyam. Unsurprisingly, these insights mainly relate to the clarity and gravitas of poetic content. Let us examine this in some detail.
Yudhiṣṭhira allays Bhīma’s...
Mallinātha has made some insightful observations in commenting on this verse. According to him, there were pictures in the mansion of various episodes from the time that Rāma and Sītā spent in the forest. Among them were paintings that depicted Sītā’s abduction, Rāma’s lament, his search for Sītā, and so on. When Rāma and Sītā looked at these and mulled over the episodes once again, they were neither sad nor disturbed; instead, they were happy...
The first relates to the word sampṛktau. The poet has preferred the rather rare word sampṛkti to the more common saṃyukti. Let us understand the nuances of these words. Sampṛkti is derived from the verbal root ‘pṛcī–samparke.’ It means union, mutuality and parity. On the other hand, the word saṃyukti simply means a merger or combination. The first evokes a feeling of compatibility and complementariness. The second does not. The union of sound...
Über-human and sub-human characters do not produce rasa unless they are ‘humanized’ – this is a fundamental tenet of aesthetics. A great poet knows from experience that his work will gain depth only when the characters pass through various trials involving basic human feelings such as love, fury and hatred. Vālmīki and Vyāsa, Kālidāsa’s predecessors, have portrayed their protagonists as human beings through and through. They have succeeded not...