2023-03-29 18:09:40 by ambuda-bot
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47
close or literal interpretation of the form, and yet it is conveyed; this
indeterminateness is the vakrokti.
HISTORY OF THE SEARCH FOR SYSTEM
It can be assumed that neither Bhämaha nor Dandin intended to
oppose svabhāvokti to vakrokti so categorically, for to do so would have
been to deny poetic status to svabhāvokti, which neither is willing to do.
I think the key to the understanding of svabhāvokti lies in our discussion
of conventional discourse. Svabhāvokti is not to be taken as synonymous
with "literal" or direct discourse, but rather is a cover term for the poetic
possibilities implied by conventional language. This would in itself
account for Bhämaha's uncertainty regarding it. The point of view might
have been as follows: granted that certain poetic usages may by repetition
become conventional and lose their claim to be called poetry, nevertheless,
what of the inverse case? Cannot the inherent tendency of language to
stereotype, in certain cases and under certain conditions, be given a
poetical application? Conventionality, as a formal aspect of language,
ought also to have a certain, albeit very limited, poetic scope, just as
any structure of language may be so exploited.116 The conventional
becomes either more or less expressive than its usual function would
dictate. The most striking example is the genre of anibaddha poetry
called jāti (it is no accident that this is another name for the figure we are
discussing), in which a single detached verse encapsulates the characteristic
aspect of a certain general type: "The children, bodies grey with dust,
are intent at their play; assuming grave miens and voices, choosing one
among them to occupy the station of a King."
** 117
The description here is so vivid, the type brought into such striking
perspective, that, in the opinion of Dandin (and following him, Rudrața),
a special type of vakrokti has to be allowed which is aviparita (for it is
exact in reference), anupama (for there is no secondary reference),
anatiśaya (for the only exaggeration is that of the graphic quality and not
of the image itself), and aśleșa (for the words of the expression are not
themselves interesting). A type of vakrokti called svabhāvokti is, as it
were, vakra only in the secondary sense that of the manner of its
comprehension not with reference to its subject or content. It may be
opposed on this subordinate level to vakrokti, which by a misapplication
of form, distorts the apprehension of its content.¹18
116 Rhyme, alliteration.
117 Rudrata, Kavyalamkāra, 7.32. The discussion, it should be remembered, concerns
svabhāvokti as an arthālamkāra; the examples will still illustrate many śabdalamkāra,
such as metre, alliteration.
118 Dharminder Kumar, in an unpublished thesis of the Panjab University ("A Study
of Dandin") has put the matter justly, although from another perspective: "It is
close or literal interpretation of the form, and yet it is conveyed; this
indeterminateness is the vakrokti.
HISTORY OF THE SEARCH FOR SYSTEM
It can be assumed that neither Bhämaha nor Dandin intended to
oppose svabhāvokti to vakrokti so categorically, for to do so would have
been to deny poetic status to svabhāvokti, which neither is willing to do.
I think the key to the understanding of svabhāvokti lies in our discussion
of conventional discourse. Svabhāvokti is not to be taken as synonymous
with "literal" or direct discourse, but rather is a cover term for the poetic
possibilities implied by conventional language. This would in itself
account for Bhämaha's uncertainty regarding it. The point of view might
have been as follows: granted that certain poetic usages may by repetition
become conventional and lose their claim to be called poetry, nevertheless,
what of the inverse case? Cannot the inherent tendency of language to
stereotype, in certain cases and under certain conditions, be given a
poetical application? Conventionality, as a formal aspect of language,
ought also to have a certain, albeit very limited, poetic scope, just as
any structure of language may be so exploited.116 The conventional
becomes either more or less expressive than its usual function would
dictate. The most striking example is the genre of anibaddha poetry
called jāti (it is no accident that this is another name for the figure we are
discussing), in which a single detached verse encapsulates the characteristic
aspect of a certain general type: "The children, bodies grey with dust,
are intent at their play; assuming grave miens and voices, choosing one
among them to occupy the station of a King."
** 117
The description here is so vivid, the type brought into such striking
perspective, that, in the opinion of Dandin (and following him, Rudrața),
a special type of vakrokti has to be allowed which is aviparita (for it is
exact in reference), anupama (for there is no secondary reference),
anatiśaya (for the only exaggeration is that of the graphic quality and not
of the image itself), and aśleșa (for the words of the expression are not
themselves interesting). A type of vakrokti called svabhāvokti is, as it
were, vakra only in the secondary sense that of the manner of its
comprehension not with reference to its subject or content. It may be
opposed on this subordinate level to vakrokti, which by a misapplication
of form, distorts the apprehension of its content.¹18
116 Rhyme, alliteration.
117 Rudrata, Kavyalamkāra, 7.32. The discussion, it should be remembered, concerns
svabhāvokti as an arthālamkāra; the examples will still illustrate many śabdalamkāra,
such as metre, alliteration.
118 Dharminder Kumar, in an unpublished thesis of the Panjab University ("A Study
of Dandin") has put the matter justly, although from another perspective: "It is