CHAPTER SEVEN

HISTORY AND DEVELOPMENT

OF HIS THEORY IN SANSKRIT POETICS,

Bhamaha And The Philosophy Of Literary Art

Chapter -Seven

HISTORY AND DEVELOPMENT OF HIS

THEORY IN SANSKRIT POETICS

Development of Sanskrit poetics

Indian poetics has a gigantically vast history of two thousand years

commencing from W^. This tradition is contiguous and continuing as new

works are being produced m tiiis century too. Language medium might have

changed from Sanskrit to English, Hindi or any suitable vernacular language,

thus the study on Indian aesthetics is in a continuous process. Few modem

scholars make some comparisons also of our theories with the parallel ones

of the other parts of this world. Our theories are studied in a universal

perspective now with an able and generous assessments via inter

comparisons. These comparisons prove that India had a vast and rich

contribution in this field; as we salute Indian aesthetic theories like W, ^^^^Ff,

«^*Wl^d, etc., that are well praised all over the world for their stability and

appeal.

One major influence in the development of Indian systems of

knowledge was due to its philosophical affiliations. Most of the authors were

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 130

influenced by one or the other of a philosophical schools; eg., if we analyse

the different views on ^ , they all are the extensions of some school of

philosophy. The view of ^gc^c^i, which is classed as the production

(^cHicci) of W, is regarded as that of the H\H\iA\ school. The view of Mklf^,

which interprets the manifestation of ^ as a process of inference (3i^wiri), is

an extension of the Sl^qR of the ^M\\M'h school. HHWI*'s view of ^,

termed as ^ R c l ^ , shows influence both to the Ht^^ and to 41HWH^RM.

Finally, ^TTHHctym's explanation of the theory of W is deeply influenced by

the q^FcT school of thought. This philosophical influence prevalent in thought

is well noticed in other fields also.

Divisions of contents
Indian aesthetics too is developed under the influence of the local,

philosophical trends and these branches are mostly independent in nature. All

are self-developed own theories having their own philosophical affiliation. In

all these discussions on poem, we can see that they all revolve round some

core points trying to explain some questions, which can be listed as follows:

1. What is the origin of poetry (^icM^K'Jl)

2. What is the use of poem (+I«^M41VJ1H)

3. What are the characteristics of a poem (*l«^ciJ*M)

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 131

4. What are the divisions of poetry.(^PM^^JH).

5. What is the soul of poetry (*|c<^<:^icHl).

6. What are the decorations to poetry (*|cqi<A|;Ki)

7. What are the flaws and merits in poem building? (+|c'MtiU||:^^)

All the texts on poetics are elaborate explanations of these questions.

Different poeticians gave importance to different fields or questions, notably

the degree of importance given towards the questions do vary. However, all

of them discussed most of these questions. There are some texts, which used

only one question as its subject. The texts like

mainly discuss about the *|c<4lc*ii only. Some other texts like ^^c5^TFF^

discuss the ^C?4|;K part only. These texts may or may not refer the remaining

questions preferentially.

This division of contents and a framework of the text is the contribution

of ^IFH only. ^TOT, the only predecessor to ^IH^ is concentrated on the

dramas, dieatre and its practical stage performance to which, the poetry and

its beauty are insignificant. WW answered these questions by explaining

their meaning, as a glimpse of his genius he prepared the framework and list

of contents for the text.. He stalled with a (H;^oi-'^^) praise to the supreme

Bhanialia And The Philooophy Of Literarj Art

History And Develoment Of His Theory In Sanskrit Poetics 132

lord (HTq: tHW^:), Which drew some opinions that this HMfT is Buddha

only^ Being out of our subject of reference, it is not discussed here. This

J^^^c^NW is a practice now a days to start a poetical work either with a

blessing, prayer or reference to the content of the text or some other

auspicious deed. Here it may be take as both of prayer and of «<<:^M^^i, as he

tells both "SfTTRf ^ ^ " and "+I<^W|;K ? c ^ ^l^'^W^MI^^c^^'. (I am

starting the text of poetical beauty, owing before the supreme god according

to my will). This practice of starting a text with H;^c^M<yi is a continuing

practice and many are very strict about this practice; being puritans, it being

a part of writing.^ PiH^ MlWHii'-ci is considered as the purpose of this

practice.

^|c<4M<4l^Jt'^ :-^^T^: bigins his text entering into the subject and

continues with the use of poetry, as whilst narrating the poetry one should

primarily establish the use of it. It is famous that "even a fool will not work

without a purpose".'' WW opines about ^JTc'W^JFl

' According to aT^l^^t^T, ?TT% is a name to budha "H%: W^ I ^ y4<M*r1'4HH:" 1-1

^ 3<|iifWt|R-*ij| g ^ ^ R ^ giR H ^ (+l=ilK^I-l-14)

"'HMI>J1'1H^IK^M ^ W^ 5?^

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 133

(Composition of good poetry, leads one to proficiency in virtue ( ^ ) , riches

(3T2f) objects (^iW) and salvation^W) as also in fine arts (*c?^l). It also brings

fame and pleasure {*lid and Mllcl}). In life forms of Indian pursuit ^^PI is

the four aims of life and the fourth ' W is the ultimate goal. Again In this

world ^J^I^^T^ is considered as ^fn^F^T2[^l^!^ Goodwill and fame are two

objectives of this world too. Mw^ proposes them in the order of importance

itself, as the aim of poetry. According to W^^ art is intelligence combined.^

Aptly in other instance, ^1W5 tells that even after reaching heaven the poetic

body of good poets remains here. Therefore, a fortunate poet would occupy

the abode of gods as long as his undying fame pervaded the heaven and

earth. One who seeks this undying fame should persevere and attempt in ^Wl

with utmost preparation^. At the same time he also points out that not writing

is not a fault or guilt to be punished. Bad 'W^ will tease one as an evil son,

^ +MW|;K: - 1.2 tr. By JTTTFm 511^ (the quotation in 3 t ^ and in fuR-H^lf^^Ui gives the 'TIS
- ^ : cjj|ci|H^tju|)

*+ci|fl+rtHIRfn-(+MW|;K: -4.33)
' ^JMBfR: -1- 6 to 8

Bhamaha And The Philosophy Of Li.erary Art

History And Develoment Of His Theory In Sanskrit Poetics 134

hence urging us to be correct and careful even in the use of each word.^ He

proposes all the heavenly as well as worldly objectives as the result of good

poetry, it is notable that all these are oriented to writer than to hearer. W^

proposes enjoyment of self-realisation (depiction) as the main use of poetry

"+^<-d4d ^ ^\^<(^ vn^ ^3^ I cT^A^f ^ ^n^".^ This joy is

transferred to the readers heart. Later poeticians also welcomed aesthetic

enjoyment as the most accepted function of poetry. This point being much

discussed in later poetics, was awarded to the highest point by the

establishment of t ^ by 3 T F F ? ^ . a^^F^^vJ?? visualised the ^^l^fqiq^mtfcT as

the purpose of his work. '° ^ 1 ^ also poiposes f^^" and 3 ^ 1 ^ '^as the

function of poetry.

^TOf also agrees this by giving ^tfcT and Wcf to the use of poetry. He

considers J^S^T^jf^l^H , ^^^ etc., as blemishes leading to problems and

lending hindrance to our understanding ability. Giving importance to

^^(^qH'iMikl, he makes a concept of 3Tfe^^?TRB3?Htfcf ( the enjoyment of

^ ^45yiH(^M>-^4i ?r PlJ|l•yi^<^<^c^<H wciij^iuiii^ w p r m^^i w^ - * M W | ; K : - i.ii

^Rl^JRW -VII-2.3

'" cR ^ : <H4<^^H^d^ ( T r ^ • ^^^qTffl?..- 1-1

Bhamaha And The Philosophy Of Literar) \rt

History And Develoment Of His Tlieory In Sanskrit Poetics 135

scholars as well as ladies and children). Instance in the discussion of M^W+I,

he opines that ^fi^ must be simple and easy to understand, must not be a

wasting crown of any commentary since it will remain unapproachable to

common people.'^

(^ly^cjjust mentions the fame that remains here even after one's death.

It also helps to obtain the history of old kings and many other eminent

personalities, as highhghted and portrayed in the literature. ^FR also speaks

about RtfcT and ^ . ^ ^ ^ ^ ^ S l ^ ^ Mlld+lk^^c^d^i^ j ^ ^ ^ defines the

ftmction of poetry as ^ M ' ^ s s f ^ c^c^^KW^ R l ^ ^ R ^ flilMiH<fd^

^kdWI^ci'Ml ^M^^l<i^.'^ Poetry will confer fame, money, communication

knowledge, (the manners of the society) destruction of evil, and poetic bhss.

In immediate effect moreover that it is helpful as an advice of wife, which is

the advice with enjoyment. ^^T^ reveals this idea with a different example.:

'^ <A'l<^^H^^M-d'^ '<J<i^tld<lHWW4[d II ^TR^RTM-1-114,116

'^ +WWiK: 11-20.

" 3Tn^?F5Fq5itRR 3 ? ! ^ W^ ^ 1 ^ ^mWMyi^lH ^ ^ M^^WWId. (*|c^l<i{. 1-5)

"(^JMBfR^J^^-1.1.5)

'^(+MM+I^I-1.1)

Bhamaha And Tlie Philosophy Of Literary An

History And Develoment Of His Theory In Sanskrit Poetics 136

Hi^+ic^i^lP^at ^ll^J^>-^^^^^^^ 5P^Hw1(ii^q^: FRRT ^35te.'^(Even5n^,

when mixed with agreeable poetry, are gleefully enjoyed, a kin to one who

first tasted honey is able to swallow bitter medicine). It is also useful as an

accepted tool for teaching lightheaited and fickle students (^^^nftef:).

Usually children drink bitter medicines using honey first; likewise, in

^TTll^^cTT of poetry, science becomes easy to understand and assimilate. The

example of M^cl«-^ is notable here. ^T^g^t^ also claims that he used poetry in

teaching Buddhist teachings as a teacher because *Wdl had ability to attract

people^^ '^«-d* opined that ^11^ remains like a bitter medicine which cures

the disease of ignorance (^l^ltjic^iWcHt^M) while poetiy is the nectarine in

performing the same job. (^Tra^^JTi^N^)'^ W W I , places ^JT^ also as a W^,

whose main aim of poetry was to educate people.

WW' defmes '^i\^ as the alliance of ^\^' and ^ ' (word and sense)

W^J^ MJ^dl ^Tc^. As an authority, He stresses the importance of an

" (^RTe^BfR: V.3. trans by nagnath sastri.)

^^ ^P^TRF^:- 18.63,64.

''" i^^MM^^i^ 3?%iRiteFt an^i^pj^g^^ a i f a i V i ^ "-ci^^MftH i-5.7- p-6

Bhamaha And The Philosophy Of Literary Ajt

History And Develoment Of His Theory In Sanskrit Poetics 137

inseparable union of word and sense in poetry. This view is widely accepted

by most of the later critics. 3 F F ^ ^ ^ twice refers this definition while

discussing and negating the arguments on ^;;9PWra^. ^TTVR^gticT also clearly

states his no objection to this definition: "cT?a.?:i?^ ^J^^^OF^ WMfdMkdRld

^^Nld"^^ WW. proposes *|c^c^ to the "'HiRcM" of word and the meaning.

As per this definition, word or meaning alone or a mere union of them cannot

become ^ F ^ . ^JP^ must be the till^cM -essentially the inter-supportmg union

of word and meamng. Some important definitions are

3TR5^^^: -"•i^KI^AIiii cTl^^fn^"

WW gives two views on +l<^c!ii^, in which first is of ^W|;K«<iR for

whom the poetic beauty is in the ^ic^tKl like ^ .

'° as told in g^^RSFsftRRT - p. 102.

^' t«^r^irt|<t>.- P.26,34 and ^ R ^ there upon

Bhamaha And The Pliilosophy Of Uierary Art

History And Develoment Of His Theory In Sanskrit Poetics 138

(iM+IK<c^|;KW^^k"^44ylKd:).^^ They take the support of the example that

without ornaments even the beautiful lady faces appear not charming.

According to the otliers (the second group) the figures of speech decorate

externally only. The real beauty is in words -grammatical perfection, style

etc.^"^After telling both the views, "WW suggests that he appreciate both

understanding that their functions are different- one decorates 5T^ while the

other ^ . ^ ^ ^Tc^ means not word alone or meaning alone. It is the alliance of

both. In ^ P ? both of them had their own role in promoting the beauty. ^ ^

wrote "actually this is the starting point and no one can ignore this essential

element so long as poetry is a kind of expression, expressed through the

medium of language.

This view is an unquestioned one throughout the history of ^'^|;K^ll^.

Even poets agree to this view. Mc5^RT compares ^T^FH to ^^^J^TKR^.

("^Tipfrf^ W{^ clHI^MMMcd^ WJ^'- NcRt ^ Ml4dlM<i^^") Wi also

• definitions quoted by i^l«<<M <?liij>^^|iW, on tlie ^ to ^JPWJT^T. P-17-20

25
51^;iWmTc5fR^M^ 5 ^ 3 ^: II 'hlciJWfK [-15
26
vide. Raghavan. ^^KM+I*I: p-82.

BhaniJia And Tlic Pniiosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 139

comments that "a learned man depends on fate and self exertion conversely

as a poet relied on word and meaning. "^^

In poetics, most of the later poeticians are avowed to the combined form

of word and meaning as poem, ^•-d*: addes "cjsti+Wc^Nli^llfoHl" and

"dl^<I^K+lRy|l" to ^m:s definition, which are not alien to W^, though

they are not present in his defmition. stressing these two points at many

places and later enlarging its scope he announces " ^ ^ ^ ^ «l*hii^ci 3FM?^

ravn^ 31?P7T foRT' (2-85). Everything in poetry is ^^tf^ only and there

is no 37c5fR without that. Thus ^•-cl<*s defmition to ^^tf^ is just a

modification of ^H^'s idea.

^R^' like a follower of W^, appears following W^s ideas literally

vis-a-vis expanding and elaborating some of the ideas, "^"-cl^'s main

contribution is of one such elaboration. When M\H^ told "^^ilW

Qi|ij|«?Kd ^^ MNWcA^kl.-^^" W^' fashioned it to a M-fledged theory "

^' 5 ^ ^c+wRcii^ W ^ ((RI^qiH^-11-86)

^* ^ReqrafK: -1-36

Bhamalia And The Philosophy Oi Literary Art

History And Develomem Of His Theory In Sanskrit Poetics 140

q^i^d*. ^iP^^H^"^^. In his opinion ^^i^^wfNWcT can be termed as

qq^li^ci:^". Again he expands this ideas as ^^tflcT: MW'iMf^Mc^ld^f+'jD

qn^^im>in^'. where ^Rmf^ is the transcendental charm evolved from the

extraordinary talent of the poet. (^n>^cjiJq\qT) this extra ordinary poetic

talent is by itself the MHdHI'ild'1fl>'+jKMKMl^^<il ^ifcWT^'^ thus l^^^!^:

stresses on three points 1. 5 ^ [ 1 ^ : f^^^f^Wm^: 2. MkiHM«-<^^Hc*i<:

J^T^f also follows HTOf as well as ^r^ on saying Mm'&iH,

HHI^C^-J-M q^ "^N^^W-^^ 3 ^ ^ ^ - ^ ^ #ssf: ^ ^^tf^c^^T^^^ ll(when the

same things are presented in an extra ordinary way for =(M>M: it is told as

There is another view in Sanskrit poetics about the structure of poetry.

Some people argue that 5T^ is the most important thing in W^. cfP5^ is

one of the most prominent exponents of this view, to whom *l=^ is the

^'#cTto'^«t>lRd-^Hdl-10
" ^ to af^TOiftRcI 1-25

Bhamaha And The Philosophy Of literary An

History And Develomem Of His Theory In Sanskrit Poetics 141

garland of words (5T^,) which expresses the intended meaning.^"^ Another

noted figure is Hi>J«dtM ^^FF^PT. In his words, poetry is the words which

express sparks of charm in the meaning.^^ This scholar, comparatively new,

refutes WW^ who follows Wm and a T F F ^ ^ taking both W^ and m

together as poetry. ^JFFRT^ argues that "there are sayings that "poem heard,

meaning is not followed." Here ^Tc^ is used for 5 1 ^ only not for 3TST,"

R^€R1^ is another author of the same view defining " ^ m W\r^^ ^^"^^

^JFFRFTs question can be answered like this. One is correct when saying

"poetry heard but meaning is not understood". Here the word 'poetry' is used

to refer the skeleton or outer structure of the poem. This outer structure of

words and sentences can only be hear not for enjoyment. The enjoyment

arises when he understands the ^ of heard 5I«2[. There is no 3T^ without

51^. So poetry means neither 5T^ or 3T?T alone. Quoting W^ there are twelve

aspects of poetry, which work as a bridge from the study of" grammar to that

" <^|4dN^+-l-66

35

Bhamaha And The Philosophy Of Literary -\n

History And Develoment Of His Theory In Sanskrit Poetics 142

37
of ^ . ^?c!^ refutes the view that poetry is 51^ only, argumg that just as

oil exists in every grain of sesame, aesthetic delight exists in W^ and ^

equally. ^^^J^gq^N MHHC^WC^IB di^<I^K+lRc^H ^ ^ ^i^cfi^x^ 38

As seen, Indian thinkers had somewhat common opinion about the

origin of poetry. Everyone of them agrees to the dominance of innate talent

in poetic creation, as well indicates supportive nature of exertion and

awareness too. Thinkers differ in the relative importance of these faculties

only. Some people include all these under the single faculty of talent. ,JS^

divides SlfcRT as ^^I^ and vscMi-yi^"^, some others, like tM^<5i< had divided

W^ it self to 'him^ and ^IT^M. Indian thinkers nurtured a vast area of

5(fcrm.

WW is the first poetician who wrote about the sources required for die

origin of poetry. He held that W^ will be worthy only if it comes from a

talented or gifted man. He also differentiates poetry from scientific works, in

^' Warder, The Science OfCriticisn In India. P. 3 8

^' «l«hlRd^j(iWd P - 1 7 ,
39
^<^'?^K^I fl^'^lcHlill =^ ?n ^ W^ _ - + | c ^ W t l < " . ^ 1.13

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 143

terms of origin. He opines that anybody can learn 5TM with the help of a

teacher, but poetry is a gifted one and it is produced and enjoyed by a innate

talent only'*°. ^M«-c^=<4^ also confirmed that one could see the difference of

WcW of great poets from their words itself*' Even defects in the

craftsmanship will submerge in the ability of the poet's JHcRT. There talented

people can change this ordinary world to poetic beauty and this suggested

meaning is different from all the bodily ornaments, embellishments just like

the charm (C^N^M) of ladies.'*^ So as long as STFcRT is present, the province of

poetry is never exhausted, the goddesses ^T^[f^ herself will help such a poet

in finding new ideas of expression"*^.

This concept of iimate talent inferred in poet is conferred with the words

of ^ 1 ^ "*^<«-d''[d ^Jm". This itself is developed to the form of 5lfcRT in later

literature. After revealing its innate nature, WW lists the sources, which

helps in the potential development of this faculty. 5T^^3^^^tWTRPfl

^ +|c^W4l<: 1-5

(^,^1^+.. .1^)

' ' # ? [ r a W W ^ c5OTlR13pg (Vc(r^lcl|+,. -1-4)

Bhamaha And The Philosophy Of Literary An

History And Develoment Of His Tlieory In Sanskrit Poetics 144

^icl^WI?raT ^^ ^t^ 5 ! ^ ^^dfcT WWm cf5|ci|4lH^:^^ here for the first

time in Indian poetics, we see a reference of M^iwf. He also says that for

one study and practice of the old literature and the training under the eminent

persons is needed before creative attempt''^ Thus ^^Wf says that poetic

genius is inborn and one should improve its quality through he different

methods explained above, also converses about a faculty of inmitive

consciousness which rejuvenated anew afresh at every moment. Only

because of this talent (^TR^) a poet becomes competent to wnte poem.

3 7 W ^ ^ identifies it with 5McT. "5Tf^: srfcWR, ^^^Ml^i^^^^f^^PI^^T^^tc^

^TT^cTc^.''^ This is explained as an intuition capable of creating new things.

3i'^c[c«-^M4'J|iFn 5lp SifcRT, the capacity to make poetry endowed with

wi^^i. in|ilR^ compares ^ifcRT with the third eye of lord Shiva - the eye

helps a poet to visualise past present and future. W^ opmes that MTcT^ is

the seed of poetry and its combination with <^cHlcd and 3T)^^TO results in

"^ quoted by C.R.Subhadra,/^ crittical study ofKavyalamkara, phd thesis, Calicut

university. 1993
'" *MWiK: - 1-9

''^ncqrafR:l.IO

^^ ^ . p.522

Bhamaha And The Philosophy Of Literary Art

History And Develomeiu Of His Theoiy In Sanskrit Poetics 145

poetry akin to a seed that sprouted with the help of water and earth.''^

is the man who suggested a faculty for connoisseur too, which helps

him to appreciate art. To him srfcRT is of two types *KW4) and ^ N m l

(Creative and appreciative talent). 3#Rg also refers these two types of W^

in ^ N ^ in the fu-st verse itself

Mw^ issues a statement about the inborn nature of Mlcl*1T, thus allowing

importance to all sources that improve it. RlcRT is a given thing where we are

totally partless . In awareness and practice, we do have a role. He enlists the

thing, which support improvement of RTcWT. Grammar, science of meter,

lexicon, epics, worldly practices, logic, art etc., too are the sources, which

enhance the creative process. A poet is advised to learn these fields, get

trained under scholars, and refer works of others before an auspicious attempt

of creation. He uses another word to denote this prepared man "NK^dqti'-

(one who knew all the needed), here this inclination towards the effort and

knowledge is visible.

Bhamaha And The Philosophy Of Literary xui

History And Develoment Of His Theory In Sanskrit Poetics 146

Most of the later writers agree with this view. H*^d writes

Poetic genius,which is an inherent talent, knowledge bom of the study of the

world of science, poetry etc., under an eminent person who is expert in poesy

and poetics, and the practice in writing of the poetry, correcting and rewriting

of those versed in poetry- the three together constituting the source of poetry.

?f^ writes "H^Rkl =^ W[^\ ^ =^ 4iUA^ ^FF^ajlf^^l^'llf^l^ ^OT

^icM^^H?^:"^"'. (Inborn genius, knowledge that is free from doubts and constant

training or poetic exercises are the cause of this excellence in poetry). ^FR

also writes " ^jf^ ^^TT^ 5 I # ^^^SVi^^^l^ld: cR^ "^^ HW^cdl c^cMlcdf^

^ K I ^ ^ T ' . ' ' <M^<«^<^^ ^W^^ and ^H^^'^etc, also admit the importance of

^ncrm, accepting the other two , '=^cHllccl and STvqnr by which one can

improve the JTfcRT.

"' +l<=ilH*l*l -1 -3 (translated by 'TJP'M W)

50
+i<^i«^i%I-1-103 (tr. By Ramapad Bhattacharya)

^' quoted by ^ ^ T ^ H^flnrte-in ^JP^-Sanskrit book depot. Calcutta

'-" HgHi^N 5ITOg?*lW^ - ^nnjiMn, P.29

" •' SHHVnFTl^: c^fqc^vm^ g mW(\: "3? ?l?:^l^'_ 'bc^l^li^H, fcH on 1.4

Bhamaha And The Philosophy Of Literary Ait

History And Develomem Of His Theory In Sanskrit Poetics 147

M\H^ is considered as the founder of 3irt|;K school, and ^<A|;K in an

elaborated way. W^ refers mainly four 3lc^fK, ^3^^\, ^ , ^ h ^ and '^^^.^^

But on discussing, *' TOT again divides them. For example, he explains about

four types of ^MHI. 1. One thing is resembling to one, 2. One resembling to

many things, 3. Many things are equated to one and 4. Many things are

equated to many. In another viewpoint, he says about five types of ^MHI -

5RRTT, FF^, ^icHdi, ^{^ and 37cq^l^. Again one can see the seeds of

some other 37c5^ in these divisions. For example, this M^I-HIMHI is similar to

W^^ elaborates these ^ci|;I<s. He starts thus stating that there are five

^c<»|;Ks ah-eady mentioned by others^^. Here ^^MltH is one, which is not

mentioned by ^T^. W^ refutes the 37c5fKc^ of l l , ^^ and ^ , as they do

not contain ^^fRcf. It is evident that some early people had discussed them as

figures of speech and M\HV was aware about that.

55

56
^ ({1M+1M^ ffcRRm^fRI: q | g p % S I ^ : II ^JPTBfR:;- 2.4

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 148

According to W^^', ^«|;K is the employment of words and meaning in

a fashion, much out of the ordinary way.^^ Again points to the importance of

<4shlNd. In another instance, he speaks that" ^[^ml^^tf^: ...^fefKts^M

to"^^ . So for him ^l^^fR means (<=hl<=^lfcil<H|i| 3 ^ q^RT ^ ^ i.^<^t\i:)

one which is enough to make poetic enjoyment. To =»IH«i it is beauty only

(tii't^4H«HK:)^^ it may be in this meaning he named *l<^i«|;K to his work,

(qn^q^ a7c5fRt m +|ci|fi||c<!)^|<l gr ^JMl^SfR:). So 37^fR means all those,

ornaments, which beautifies poetry. 2[f^^ states "^ic^^Il+ii^ti'i. ^^T'^i

31^fRR 5p^^"^° ^-d^ns words lend little more clarity to this idea. He says

"3l^fc!F? +|c^cc|fHld ^ W : ^ +1=^1^^ 37c5fK:"^'. STFl^iJ^ puts forward

very genuine, definite and concrete idea about ^'A§;K. In his concept, ^ci»|;K

should be "S^cft'Mr'iMqVi" -employed with no special effort. For a poet of

original genius, diere is no need for any special effort to employ ^c^|;K. The

^' WM 5 F ^ ci4^i^<c!.|;KW ^ ^ (<+.|ci|W|;K: 5-66)

'^^(Hqi^fR: 2.85.

60

<i«i>iw^wci - p.6.

Bhamaha And The Philosophy Of Literary Ai t

History And Develoment Of His Theory In Sanskrit Poetics 149

3i0|;Ks will compete each other to serve a talented writer . Lady and poetry

are charming only if they come at their own will.63

WW gives around thirty eight 37c5fRs. He wrote separate examples

for some ^ 0 | ; K S while for some only a definition was given. His ^c<»|;Ks are

as follows. S^^SIRT (two types) 'W^ (five types) c^iii^^iti, ^ (two types),

^H^ (three types), ^3qTTT, sfe^^JJRT, ^TT^ (two type), ^kd't.^^Hi^, ^kK<=ti,

m\\i^, ^J^TccT (two type), fe^, ^Tqffcf, W^N)Kd, ] ^ , ^e^l^lHIdl,

^Mf^dM^WI, crMMf^ld, F i ^ , viM^liM*, ^M^^M^I, mm, qRfoT, ^TO%,

3 F F ^ , xic^5^Nii^, H ^ , vnf^, ^:^^iT?lf^ and ^ m m .

The ^cr4|;Ks that WW gave are somewhat unquestioned by later

poeticians and can be considered as authentic. He narrates 3^<A|;|< as one

group only. But later people nanated ^c^|;K under different categories. One

major division in s^^JfR is as 5T^Ic5fR and 3rflc5fR. ^ divides 3?^fR in

the heads s f e l ^ , W=^, ^TRT^ and 5 ^ . ^PS^classifies them into two heads:

62

'^^ +WdWHdl^c| H^I^c^Md!TOi^l^I^^qiTHT ^ W^ WB •t^MrMl^'h-11.16. p.219

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 150

t<«*iiqli^(i and ^f^tf^.^'* ^T!^ discusses them in three categories 5T^, 37sf and

^3c^, one of the major 3nc5|^TR^ after Mw^' is somewhat following

^IFTi:, wliile discussing ilie ^^^fR. He avoids ^cM5^W^c|, ^ t p R l ^ and 3TIRRT

fi-om WWs list and added ^\^ii, ?^JRT, and ^ 1 ^ . He offered a list of 38

^«|;Ks. «^|uvs«i^gives thirty five, but for each, he gave many subsidiaries. For

example, ^3^WT is of thirty type and ^ ^ is of twenty, according to him. So

altogether, there may be more than hundred ^<A|;KS in his list. Most of the

^l"A|;lK*s followed this path only. As time advanced the number of ^c?:>|;K

also increased. Take the number of 31^|iK explained by each of them, it will

be clear. This increasing trend is more evident in 3T^lc?i|;K than 51^1^5|^ .

W gives 68 S^^^fRs. ^ in ^iWdl^'JiWi.'JI gives 72 (24 each in 5T^, 31?J

and ^^^.) In ^TF^^p^ also some 71 are given. Wm gave 67. In Wlfer^<>|iJ|

there are 77 3T^l<?i|;K and 7 5T^Ic^fR with both definition and examples.

^<?>|;K'«<^'M explains about 80. He also differentiates and points out the

minute differences between m^s. ^W^ of mm, M ' ^ of felRI^,

" +MI«^A1- n-360

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 151

*|c^l^^lWH of iw^^, ^(FH^MtK *l'=^ld*IWH of ^F^S II, etc., all discuss

around 60-70 ai^fR.s. W^ in his =^^^0^ tells about 100. Taking these

^ n t ^ s of this text as such, ^F^^i^^^lf^ wrote ^^^^?R^, which contain 115

^<A|;Ks. ^''I^il^ also discusses 3irt|;Ks around this number^^ Within the

time of^^MI^ and ^MM^-M^IRTCT, this ^c1>|;KM<Ald become truly conventional

and as we observe, survived conflicts.

In 'tJl'^INHvri'i also ^TFIi;:'s makes a model and most of the later

developments in this field are the modification of his ideas. He gives

elaborate and wide divisions of poetry. At first he divides literary art to 'KI

and ' ^ . This division is a widely accepted one and the only development

came to this division is by Sjjo^ that poetry is of three types ^KI, ' ^ and

W?T.. This W?T is then named as "^^ Another division M\HV gives is in

threefold as iit%<^, Ml"^cl and ^T^l^. This division is not that much discussed

among the later poeticians. The reason for this may be the fact that "The

division of poem according to the language it is an endless process and

*^ quoted by T.Bhaskaran, +I'^W|;K:. P.28.

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 152

literature lives beyond the bounds of language". The next division is the

division into four catagories according to the nature of content (IccT) whether

it is ^<:<IK-^Rd<iWl, ^Jc'TKl^, ^Hc^^^^ and ^51MT?1^. The next is division of

^ T ^ as five fold 1. WW^ {W^J^fi\^l 2) m ^ ^ or drama, 3)

3Tn?':mW, 4) ^^, and 5) 37TO5 or ^ ^ . ^ ^ This also had a good

appreciation and its division is elaborately discussed and followed by later

poeticians.

Most of the early writers had shown much interest in H^I+I^M.

3ii'*'i^'t,|y| gives a very vast description about H5.I"=M='H. It elaborately tells

about the meter, chapters, characteristics of its hero, contents to be included

etc. Many later works define H5.i"^l«^. We can see that M\H^ also had done

the same. WW defines H5.l«hicH as

*^ TT^ q ^ ?%T ^i^ 5n^" =^F^2['^, m m\ II

^ I ' M F I ^ ^ ^<^KC^IN+| ^ I 3TFR^ -^m^ H ^ : q ^ ^ l ^ II <+>MW41<::-1-16 toI8

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 153

Many writers followed this and repeated the same with some minor

changes. ^H^ writes

JlTKiufcffte^ ^•-AI+f<^^'J|^: ^^H^WciJhi^l Jl^MH<d"irW^: II

NMci^^^^l^clil^ ^ i T R t ^ q ^ : H-^^dM^NIIM HW+I^-^4^<N II

3 1 ^ | c T O i ^ ^^THNkK-di ^^li'HidNWl'jf ? ^ S ^ ^ g ^ S F ^ : II

^c[::<HH4cdl«%i^d c^*<3l* ^Tlcq *eMkd<^IW ^HT^ ^\i^tk\ \f^

^ in W^^^ '^I'JiWi'JI ^^ also gives some characteristics of a H^i*!'^

that follows, g ^ Mfdy<M-»|^S^aj i:R^Nm: ^ i j ^ R # i f %W 5 1 ^ '^^

3TRlT5F^cmHW ^^^ feci gHP3R W-i^^kdfcd =^ ^JFq

c ^ l ^ S F F F ^ II He marks elaborately the characters and items, which should

be included m a H^l*l<^ II i.H-^«-j^: had made a noted comment on H^l^lc'M,

like.

*' <+>MH|;K: I-(19-21)

68
+l^l<*i-1.14-19

® pages 487-88 of the edition of ^Tl^ l?[rR?I ^A\^^\i and ^ 1 ^ ^¥^ 5T1^ ^Rft^,

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 154

^i|cif<+,rg ^ J ^ H^^RFVT ^l=<l4lN54|L|d 4^4l+|c^H.II (+l<=^ld^lWH -VIII.-6)

In the later definitions on H^l'^lc'M also these lines are repeated as such.

Sfi^^ gives a big definition on illJ^filcq, starting with the same line ^^^N^

H5.i*l'^' only. W^^ gave not much description to drama as it is aheady

explained.

WWs idea of ^iKj^iN-^hi and ^F^ was widely discussed and followed by

the generation after him. He narrates ^l<pmi"M*i

^ccRP?qF^ cR^ R F ^ W^Rdd I ^ ^ -^m^^ =^ ^ ^c^RfiifW ^ II

+^<HW«(r<^ ^ %T%^%cTT +-^l^<"JHv^^.i4|t|MMcJ,tHl«^i^|H:idl 11^°

A n d ^ ^ as

^ c^^micir+^ltqi ^ .Hl^WcicilN m^ ^t^^cH %^T ^JWTQ^THT^ cl^TT II

3T^%R^^W cR^ HI^^H^ ^ 1 ^ Wi]U|IN>^^ild ^4KH^Id: ^ ^ : 11^'

For 3iP?qiF^ he says that it is the prose in which a sublime theme is

narrated. The language must be simple and decent. The story is narrated by

die ^TFlRi only, which carries a decoration on the narration of a girl bemg

abducted, grief, battle and victory. The poet will add some of his own

™ *lcilWiK: -1-25 to 27
" ibid 1-28,29

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 155

comments also in this type of literature. In ^^ the meters ^ ^ and 3TO^^

are not used. Another specialty in ^ i ^ is, ^TF^ is not supposed to narrate the

story here as one mightily bom man can not do self praise.

^ N ^ makes comments on this violently. He says " a group of words

without metrical feet is called ^J^.^^" But he does not believe in any

distinction of the two type ^1<PMIN*I and '^^. He asks "what objection is

there, if we rhyme ^F^ in ^ ^ and SiHt'^'^i? What is in a name of c5T3f,

^3c^TO or ^-^^m? Hence ^l<pHlN*l and ^^ are therefore one and the same

class denoted by two names. "^^ He also refutes W^ 's idea of the speaker in

3iK«^ii^ctj| and ^fj^. Poetry is not solely for g ^ r ^ ^ . It is the narration of

some story that too in a special way. In this the speaker may or may not be

the W^. Another objection ^P5^ makes, is the contents,

^-^l^i'JIfl^ilWWMcliJ-Hl^^Mdl... etc., are as in Ht\^\^ only. There is

nothing special in it.

" ^R^^-1-25 to 30. (Uanslation by Rampada bhattacliarjee.p.43)

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskri t Poetics 156

3TFR[^^, ^TFR^^y^ and t T ^ ^ had discussed about some other types

of prose. 37F;:^gvf^ is discussing about ' f e ^ , -W+e^*^, and <j<'J^i+m.

•^TPl^TSf^y^T had commented upon these discussions. t^TT^^ gives a big Hst.

^ n ^ ? ^ , H ^ , W f ^ , HcdW+, Hiui^c^l, qR^J^IT, ?3^i^S^J^, ?T^5^5^5^, and

^3^^Rj^.^'* He also gives defmitions to this but this division is not followed

much later. W^ just refers about 3 7 F R ^ being already discussed, no in-

depth illustration was made thus showering it showing all respects to W^.

^IH^ gives much importance to ^imcM and many verses are devoted for

that in his work. In the 3^'* verse of the first chapter itself he says about

The science knowledge of an '^*l^' will be futile, like the generosity

of a poor man or the coward's archery abilities, or the academic talent of the

ignorant man. This verse is meant to show die importance of # H c ^ . In every

area, an awareness of the significance of propriety is seen. He opines that

tii'^q^iw^q is very important. Nobody makes garment with leaves. But if it

'"^ W^l^Sm^ -p.405.

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 157

IS properly arranged, leaves also will appear beautiful. Being fully aware of

the concept of propriety, this idea is developed as the ^IIMC^MTI^K in the later

poetics.

The importance *TW1 had given to qsMf^ci is known. For him, it is the

soul of poetry. There is no ^rt|;K without ^^!f^. Therefore, a poet should

concentrate on this. According to some modem scholars, cfwRcT is one of the

prime theories of "W^, for example NVJ1"H«I4^ opines "m W^K 's view ^*t>ii^cl

is the most important factor which distinguishes poetic language from the

ordinary speech. "^^ It is only by the virtue of ^^tRcT that an ordinary

expression changes into poetic expression it is through ^^tRcT only the

meaning is expressed.^^ Meaning is brightened through =(*^il^ci. In every

division of poetry ^^tflcT should be employed, especially in ^M«<^ ^TPTT and

5^^'*'^. This idea of presenting ^ F ^ in an arranged way got much

appreciation among later writers. '^«-d* simply developed these ideas and

elevated ^ItblKd to the status of a theory. All the essence of this theory is

^ Vijayvardhana, Outlines of Sanskrit Poetics. p.30

" 31?M^ fsRlcqcf. (^IcqBfR: -2-85)

™^THlBfR-1.30

Bhamaha And The Philosophy Of Literary Art

History And Develoment Of His Theory In Sanskrit Poetics 158

taken from Wf^ only. He classifies ^^^ to dufN-^Wcjihdl, M<4c|Mc|Jhdl,

MrM'Mii^dclitidl, c||eWcjshdl, M<tJ'(.'J|qit5dl,and M<s<«-yc|jhdl, while giving definition

and examples for each one.

Conclusion

W^ occupies a very rare place in Indian poetics as the first man

known, who discussed about the poetic beauty. Consequently, most of the

later developments can be considered as the developments of his ideas. But

even then it is clear that the subjects, like the importance given to ^ W ^ , the

narration and arrangement of ^«A|;KS, design for the =FTc?N%, his definitions

to various subjects hke ^51=^, ^Ic'M+K'Ji^ +|ci|M4lvrlH, H^.I^M^'M, etc., had helped

and influenced the development of the later Sanskrit aesthetics considerably,

perhaps giving a suitable thrust to any prognosis that could emerge in the

modem day poetics.

Bhamaha And The Philosophy Of Literary Art