मधुराविजयम् /99
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IN DEFENCE OF THE AUTHOR
Critics may raise certain objections in connection with the
present poem. We will consider some of these. It may be said
that a woman would not be able to compose such a poetical work
as this. But to say that a woman as such cannot compose poetical
works of this kind is preposterous. There is nothing inherent
in the nature of man making him a poet. The cause of a poem
is to be sought not in the gender of the individual, but in the
culture of the mind and the heart. This culture is called 'Sakti'
which is enlivened by the earlier 'Sanskaras'. From the 16th
century onwards we do come across poetesses like Vijjhaladevi,
Mohanangi, Varadambika, and Ramabhadramba. Even in the
earlier centuries we come across references to women grammarians
and teachers. As Rajasekhara put it, women, like men, can be
poets because the 'atmasanskara' needed by the poet does not
make a distinction between men and women. Rajasekhara's wife,
Avantisundari, was a poetess and critic.
It may be asked whether it is proper for a poetess to describe
the breasts and hair of a woman. If the main rasa in a poetical
work is Sringara, it has to be handled with great care and nothing
that is essential should be omitted. If a woman were to compose
a poem, how is she to develop this rasa? If she has to give up
this rasa, we will be once again imposing preposterous conditions
based on the gender of the author. In reality, a saner tradition
tells us that one who is not a Rishi cannot be a poet. Then the true
poet is one who transcends all dualisms and distinctions. Vagbhata
accordingly insists on the necessity of 'manah prasada' for the
Critics may raise certain objections in connection with the
present poem. We will consider some of these. It may be said
that a woman would not be able to compose such a poetical work
as this. But to say that a woman as such cannot compose poetical
works of this kind is preposterous. There is nothing inherent
in the nature of man making him a poet. The cause of a poem
is to be sought not in the gender of the individual, but in the
culture of the mind and the heart. This culture is called 'Sakti'
which is enlivened by the earlier 'Sanskaras'. From the 16th
century onwards we do come across poetesses like Vijjhaladevi,
Mohanangi, Varadambika, and Ramabhadramba. Even in the
earlier centuries we come across references to women grammarians
and teachers. As Rajasekhara put it, women, like men, can be
poets because the 'atmasanskara' needed by the poet does not
make a distinction between men and women. Rajasekhara's wife,
Avantisundari, was a poetess and critic.
It may be asked whether it is proper for a poetess to describe
the breasts and hair of a woman. If the main rasa in a poetical
work is Sringara, it has to be handled with great care and nothing
that is essential should be omitted. If a woman were to compose
a poem, how is she to develop this rasa? If she has to give up
this rasa, we will be once again imposing preposterous conditions
based on the gender of the author. In reality, a saner tradition
tells us that one who is not a Rishi cannot be a poet. Then the true
poet is one who transcends all dualisms and distinctions. Vagbhata
accordingly insists on the necessity of 'manah prasada' for the