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CHAPTER IV
N ~ A Y Q A D~KSITA - THE POET
In Sansknt poetics, eminent Scholars from Bhamaha to
Jaganniitha Pandita . . have defined poetry and established some
schools. The main six schools are &bd%rtha ~dlityaprasthfuna,
&bdapr%dhSnyaprasth5na, Stiprasthka, , RasadhvaniprasthSna
and DvanidvamsakaprasthEna. Bh-maha is the pioneer of the
~Lbdirha~rasthZna. According to him and his follows, poetry is
nothing but an inseparable combination of words and ~nea~+. r .
L J . ~: ~ . , ). The words and the meanings should ( - ~ . i ~ ~ ~ ~ ~ , i ~ , r ~ . ~ , ~ ~ + ~ - ( ,
have equal importance in the poetry. Hcarya D q & , the pioneer
for ~abdapr5dh2nyaprasth5na views that &b& is the Gvya --- -. ( .i; Y i<,l , ). Following of footprints of Dan&,
Jagannaa Pandita . . points out poetry is meaningfull speech -~ e v o h g rasa. ( i l i ; 1-1,1 ,; .: i , 7 i ; . ;) ?<,I; q ; ~ ). V h a n a author of
Ksvydatikarasiitravftti, considers ;ti the style as the soul of A\
poetry ( .>, , ,&, ; : ; j ~ i ; c-,;i ; j ,+ ). Bharata, BhattarGiyaka,
Mahunabhatta . . and so on consider rasa as the essential element
. I ' -~ - .~ of the poetry ( I i q '*,/ z,,~,, ). For .&~~andavarcll~a~~q
Mammata etc the sod of poetry is the suggestive rasa ... .~-> -.-- --.~ ( . i .TI .< , ; , ! , c ;,!. , 7 , -2 ! ) . ViivanFitha autllor of
~ & t ) - a d a r ~ a p holds the view that poetry is the speach redolent
with rasa. Mallimabhatta . . in lus fanlous work Vyktiviveka
establishes that the soul of poetry has: the inferred rasa. While
Kuntaka the author of ~akroktsvi ta considers Vakrokti as the
essence of poetic speech. Ksemenclra establishes that the
propriety is the life of poetry in Ills work Aucityavicar~ai~ca -
! ~ . . - .. . .--2 j. The later theories follow ( '3;j:-::: .,, ,;;,v , ,. ;,., ', ::.~ ,-, $;, ,> : >
the mew of kandavardhana and consider Rasadhvani is the
soul of poetry.
CONCEPT OF POETRY.
Following the Dhvani School, the playwright Njrayiyana
~&s i t a a , also considers rasa as the soul of poetry.' Poctry for
him i:; speech full of rasa wbch delights readers. He stresses the
I .4F Act-I Slolca No. 3,4,5 & I 0
impofiwce of propriety in poetry. Poetry is the work in wluch
the sentiment is rich. He admits its importance of in literary
composition. At the same time he encourageous the new literary
composition full of rasa. Among the different rasas he gives the
foremost place to the erotic sentiment.
N&iray~a ~ i k @ t a has, to a certain extent, satisfied the
standards of poetry in the drama. The chief rasa is the smgaa.
Though there is a sight measures of hfferent rasas. The word a
and sense get equal impoyce. The play is rich in colourful
descriptions. The author has a weakness for using high
sounding and alliterative words. HIS language is sweet. The
verses are attractive. The poet prefers the Vydarbhi style.. In
short poet Narayana Diksita is a talented poet as revealed from
the following hscussion.
CONCEPT OF LOVE
In the imaginative Sansknt literature, LOVE is a recurrent
theme. Most of the poets and dramatists show keen Interest in
explaining all the aspects of ideal love. It is an dnit ted fact that
only geat poets have succeeded in this attempt. Love is
described as a the biologcal instinct, sensual pleasure,
temperamental feehgs, understanding, conjugal harmony and
spiritr.al triumph. NSrSyana ~ i k ~ i t a has a noble concept of love.
Love for him is a sublime experience. It has to go through ups
and downs. The love should have some obstacles in its path
only then it would be fully enjoyed. But at last it wins its prize.
Both King ~/&aji and the Princess ~ilgvah are constant in
their love. Clouds of doubts come in their way. But no
impehen t can either strike or weaken their love. The mutual
separation makes it deeper and stronger. Their erotic interest is
the result of mutual sight. AU the situations are favourable to
their love except the fury on the part of the queen. The queen
also understands their love is not a sensual one. The love is
created* per the plal of the minister ~vlio wants to strengthen
the iungdom. Hence the queen also is calmed. So it is in love
that the hero and the heroine find life's ultinlate fulfillnlent.
N5r5yana ~ l k s i t a has b e d ]us best to depict the picture of love
very effectively.
DESCRIPTIVE SKILL
Sanskrit poets are very skilled for presenting b~dhant
word pictures. Natural phenomena and female chasm get good
treal~~ient at their hands. Niiriyapa ~ i k s i t a is not an exemption
to ths . He has enriched his play with colourful descriptions of
nature and of feminine beauty. His descriptive passages are.
lucid,simple and relevcint. He tnes to adorn them with
ornaments. The colours, melodies and odours of nature have
brought the best in him.' The descriptions of glorious dawns,
the rosy sunsets, moonlit nights, creepers, flowers, scattered
1 AP ActISLNo. 18-2l,Act III SL .29-30,Act N S16,7 and 9
here md there reveal lus poetic cahbre.Tne foUo~%~g verses
i i '7 '1' .,, S9iF>T9KqT L ?,- uJ.. -, . , i q . ; y .? . \~ ,?~ ; .~? . ,~ -, . ~- . i'
. ) I ! , . , / ' ' / :
--v -. -. - ~~
I ' ~ , i j ~ / , h ~ ~ i , ~ , < , f -.---,-&I . ..
i i ?,- r / r ~ j / ? ! , 11' ,TI ! , ,;,., jc-,,., . , . - ~ . > _ _ _~ Q~ ,;,.~ ,,., ,. --- , ~ j - . ~ 1.. .~ , -. , ~ . ~ ,
-J / / / I / . . - , ; > , : . . , i \: , . , ,
_. -. .- TI : / , - . . . , i-.-~.----. J- i i; . , - t i i y ' / . 0 ,1 : .~ ~ .~
'> , '.,. ,. . . ,. ,
I > -, 3 . -. , ,, " >, , 1- .. : Y - ~ ~L - - < 1 J ~ i / .:>, c/ i I . ~ '--J ,
.'I J ) : / . % , I . , ,.:: L : ~ ~ 5, ,, ,,i :,, , , . . " , I " / ,< '
1 -1- - - - - L - ~ ~ - . . . , _ , 1) ~1 $7 i-$,~'i ? I i LT .:gi ,di> .,J.N j , . y ; ,! .., ! :, ,., ;;, : 1 - ; . -I_ ,- -1.- . - , ' ,.
(,-'Jc. ., :dTI<.J,;, (.! .,<,,o, - I- ~ . '. f / . 1 ilj~,? i , , c l i . : , f , ! i ,. ,,,i . - , , , / , ~1--. .. I \ ' ," -.- - ~~~. , - . : I ~ / d i 5\ ' -C! :?-_ I L C ; ,& , . , . , . . , , c. ,
,- , , , : ' 'i . c ! , , ' , ' ,
The poet becomes eloquent h describhg fede
beauel, as can be e~~er ienced " the ponrart of
p ~ c z s s ~;ivati. These are some e m p l e s : -
The darkness of the hair which is flapped on either side
and is lightened by the rays from the ear rings as seperated into
two by puting kumkum powder in between them.
By churning the sea of beauty using the Mandara of
youth, the fresh adharamrta is put in to your mouth. By
enjoylng this adharamrta I won't consider the heaven even as a
grass.
LITERARY STYLES
The arrangement of powerful words arouslng aesthetic
experience is called style. It is of three kinds. Vaidarbhi, Gaudi, -- - .
and Pan_c&. Every statement has a corresponding style. So, the
lh iy~r$~t I$ tfi SIIZIJ~OY d ~crktit?~ of b ? ~ a , r y style. ht' I V ~ E ~ + @ ~ - &ita has used various styles in the play 111 tune wit11 the
demands of the situation. He has tried to blend them into a
hanno~llous whole .
Niriiyqa ~ k i t a generdy uses the vaidarbhi style. This
mode of expression shows directness, simplicity and lucidity .
High-soundint compounds, verbal jugglory and other wordy
tricks have no place. Sweetness is the predominating quaLty .
Vidarbhi style is the most appropriate evoking love and pathos.
Here are some examples of the Vaidarbhi style.
The Gaudi Style is that having lone and intricate
compounds. Here harsh consonants are predominant. Vigour
is its power . The style is employed to express valour, horror,
anger and such mood, . We can experience the abihty of
~iriiya?a ~ k @ t a from the following examples.
- - -..L . ' i r . l a - ~ ~ . ~ ~ J / ~ ~ Q / J ~ : $ < ~ / Q / / ~ ~ I / ' / ~ . ' I / G h cr J \ -
P 1 ~
-<i-g.~- -.~~,q . - A-.~. - .-
! / I 1 1 . 1 1 I r I . - L\\_-~_-Q_ . - _/.--] , ~
4 i i . l i c i i c ( i d o ~ / i ~ chc2 > / / I C I ~ , E / ~ , ( ~ ~ ~ I / " (-a-
/ / ,J-/..+Ctj ' [,$/,J(q -,-1- '3 3 1 4. 2;11 lf -. @-, -,, , 5 / ,>,JL2 -;, / < l : i ~ l - ~,
Pii@hli style is aroused from the use of compounds of
five or six words. It evinces both M&urya and SoukumZrya.
The quality of Prasaa, that is clarity , is predo~ninant one.
This style is common for a l l sentiments . Here are some
examples
FIGURES OF SPEECH
Poetic speech is distinguished from everyday speech by
the use of various rhetorical devices. Ordinary writings at
communicating truth or giving some counsels. The language of
poetry aims at the development of emotions. It intends only to
convey an experience of life. Ths emotional content
distinguished literary art from other writings. The
differentiative element in the orchary language and literary
language are G ~ a s and Alankaras. An expression embehhed
with an A l d i r a capable of rnakmg a suggestive sense, is
poetry.
Poetry is a means for communicating what is otherwise
incommunicable. For achieving this goals the poet wants to
draw sensuous pictures in words. For releasulg emotion or
passions into the heart of the readers. T ~ E is why the poets use
figures of speech.
Figures of speech are of two kinds - ArthiiIailkka and
&b. .alahkh. The first kind consists of metaphor, simile etc.
Which beautify the soul of poetry by using images or symbols.
The second category provides extunal embellishment. Both of
them together intens* the emotions. Niiriiyaqa ~ ;ks i t a uses
both varieties of alankiras. His most favourable alankaras are
Upama, rupaka and Atis'ayokihih. Here are attempt is made to
give some examples for the fi'c ures of speech used by him.
IJpana - d ,
Upama or sirmle consists in comparing two objects
defferent from each other. < ~ - I 1 . r>f,2t&-$mJ ?:;; ; *-<mqF<~i-T.-~
~ere' the figure is Upama breasts of heroine are compared
to mountains because of their height and heaviness. Her hai~
which is decorated with pearls is compared to the night shining
with stars.
That beautiful girl enters the garden along with her
friends just like the crescent moon showering moon Light enters
the cloud along with stars.
Riip&ti.-
Riipaka is that in which the colouc of the upmima
( 321~7 I ) is ascribed to the upameya (
Here the heroine is depicted as the divine creeper to
fulliU all the dreams of the hero, the remedy for his pangs of
Here the whole world is depicted as an king's empire.
Sam5sokti:-
Samiisokti is where an implied meaning is dscernible
besides the expressed one. Here the expressed meaning alone
appears predominant and the suggested sense is secondary.
-0 T..-- +yJ? - - -J---:---- - , .L I i .. . I F$ r / i o + / - ? , i ~ .ir ~ g ~ ~ ~ ~ ~ i . ~ j / ~ / ~ : , ~ , + ~ ~ , / ~ i ~ ~ ~ j ~ ; , 2 - , .. -<-- - -J--_I -;C -I~ _-1 - . _ -- C- "2- - w, * q 2 . . j c,, 4 /,J% +,,JT/.?-, L1i/<>/,:j, , I , i- t4 <.:.
-~-qII, ------ V -- 2- T i . . ! ' 1 < c ( I y 54 . z l i ~ : ~
I ~hf L S ) / J / ) C / / ? c 3 - i / ? - ~ / / . / //
Here the functions attributed to the Lotus ( .3j?il.Y, 1 . j )
is applicable to the heroine also.
SvabhEv0kti:-
SvabGvokti consists in describing the natural disposition
(svab11ava)of an object.
Here the autumn season is described. Here a l l the
activities of both the living and non- living things are picturised
beautifully.
Atislay ow:- When a speciality far exceedmg the usual htlits of
propriety is expressed, it is Atiiayokti. The fundamental
principle of Atis'ayokti is exageration .
Here it is said that the mind is inigated with nectar. It is
real exaggeration.
-- -__~_ \- '-- - 2.)- ~- :'- .\i.J-Yt.tl iaL!a ; ?\'I ,?.?/ qq'i ? / 6, ,; { i ( c i ( p i . i . / R 'q &f/ - 2 : -li- - * 1; -.Ip / / / / T ! ( q 7-7 / ,.,T 1 t?;?
4 1 I
& l
.7---+ h- ;?~; - -- ---I-i- /? .-I "(.Wi/lc/ / 7 + / 2 / ~ - . nhsd~q/ 71 c,,?/ i td- i I . L I . c+:./;l!j
..-a. 4 - 2 -~.x.-.2 i( cqt +/ &>) /,; c/,>-c,<-,, y* <-, 4 ~,?~cP -
2 , , -- ?*rL I /
The beauty of the heroine is narrated here. It excels the
beaubj of Rambha the heavenly beauty, R& Devi and Goddess
Laksnli. Therefore it is ari example of Atis'a~okti.
Arthhtaranyiisa: -
Where a general and p d c u l a ~ statement are expressed,
the figure of speech is ArthintaranyGa.
Hearing the charming words of the heroine the hero says
that there is no surprise about it. Because a garland of
Mandiirii flowers will not have an ordinary smell.
Sandeha:-
Where the sight of an object causes a doubt owing to
similarity, the figure is Sandeha.
The King's thoughts are described here. Who would be
fortunate to get her.
METRES
The structural character of poetic language depends on its
meterical patterns also. "Metre is the most distinguishing factor
between the ordmary language and language of poetry' . This
1 3L.D. Munda "The language of poetry," classical publishing company, New
Delhi. 1981 - P-2
gives a rhythrmc flow to &tic language. The Metres can be
divided into two - Syllabic and quantitative metres. Niir5ya.a
~-&$ta has succeeded to a certain extent, to use the varieties of
the two types of metres in his play.
Syllabic:-