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Kavya Aur Prakriti Poetry And Nature
'KAVYA A UR PRAKRITI': 'POETRY AND NATURE'
2.1. INTRODUCTION !
Nature is the unique gift of the Almighty. She is like our mother. Human as well as all
other living beings perform all their duties in the lap of nature. It is therefore, but natural that we
are so much intimate to her. Though all living beings have been fortunate enough to play and
grow-up in her lap, human being as a concious living being, have felt much for her. The changing
moods of nature not only fascinated human beings but frightened also. Hence the agents of nature
occupied the place as gods. Once they became gods, their worship began. The charming personal
ity of nature have always given birth to some extraordinary feelings and emotions in the heart of
the people living with her. The First piece of poetry,
n i T r f § r e n w y f t e i :
w n ftf tc w i" 1
perhaps was the outcome of that extraordinary feeling of human being. It is doubtful whether there
was any element of poetry, but undoubtedly that was the first poetic expression. It is therefore,
implicit that, nature is like our mother, who sustains, supports and nurtures us. Being a life long
companion of man, nature has been the main theme of Ms poetic expression since the dawn of
civilization.
2.1 MEANING OF NATURE ;
Nature is opposed to artificial. Eveiy detail what is not produced by man, comes under
nature. There are two types of creation we find in our day-to-day life. One what is made by man
and the other what is not made by man. Fine arts, houses, roads and scientific equipments are all
made by man. On the contrary, the earth, the atmosphere and the creatures on the earth is not made
by man, is the creation of Almighty and is called natural. Dr. K iran Kumari Gupta has said
about nature in the following words:
1’oiUci§iRrt> eft <HM<3c k vKicpl y<pfa cpgcl f:c?RpfcJ> $ FTRT 3 lk H5T, 3 R 7 # ftrT, 3 i # R 3Ttf% 3JSJT cTcW Pfffcr %
f i T r r f t ^ f e : i ” 1 2
1. VSlrrlb Kamayana - 1/12. Hindi Kavya Men Praknti Chitran - Dr. Kiian Kumari Gupta,
9
Page - 6
( For all practical purposes what ever is created by extra human forces comes under nature.
But in philosophical terms our body and soul, its sense-organs, psyche, ego, and subtle ele
ments like them come under nature. The nature of Sankhya philosophy is the root cause of
this creation)
Similarly Dr. Raghuvansh has also tried to define about nature. According to him -
" Tf pfcT ITT aSTReerr $ ust otct fi'Tcn? 3tt strit % i w w t 1ort 3T«f if wf>fcT
tpfgrgnr f , aft w o t - -n c O T dsf w lo R c g c ii cW T3? # 3tf& tecT
The Prakriti or nature of Sankhyaists is nothing more than the 'M aya' (Illusion) of
Vedantist. It is said ' rrrarg Ro^uicl' For them 'Brahma is the ultimate reality rest of the
Prakriti (nature) is 'M aya'. As " <3 Wcef srsicrftKrr l " The only difference exits between 'Prakriti
(Nature) and 'Maya' is that where the sankhyasits believe 'Prakriti'(Nature) 'Sat' the Vedantist
believe 'Maya' as 'Sadasat'.
The Sankhya philosophy says that nature without Purusha (man,, Paramatma) is help
less to perform She is totally dependent on Purusha (Paramatma). It is clear- that Prakriti(Nature)
have the p otentiality to create, but for this she has to take recourse to 'Purusha'(man). Where purusha
(man) is immutable, Prakriti (nature) is mutable. This make the difference between purusha (man)
and prakriti (nature) clearer. Being immutable, Purusha (man) is free from 'M aya' (illusion).
Whereas, being mutable, prakriti (nature) is surrounded with Maya. Sankhya philosophy says
about Prakriti (nature) in the following lines
■f^om f rra-: afrfrri
OZROT" cW T 3TOT5T cr^ffr rrftctfcTSJT rT t|JTW I
[ Nature is composed of three gunas and she is mutable. These three gunas are
'Visaya', ' Sa'manya - chetana' and 'Prasavadharmi. It means that nature is an object of
knowldge (vigaya), she is to be used by all (sa'manya) and able to produce new life
(Prasavadharmi). Puman (man) is different from her. He is immutable ]
Here it becomes clear that trigunatmaka Prakriti (nature) can be active only when
she acts in collaboration of Purusa (man). The believer o f" " the Vedantists
too acknowledge the existence of Prakriti for practical purposes. Dr. K iran Kumari Gupta writes
about the Prakriti of practical world.
3. Prakriti Aim Kavya - Dt Raghuvansh, IJage -3
10
J .
- ’' oaragR t TT^fcT % FTTCr 3ftolgT WJGdtR 5PRT % % W #, Refer, W , 3J0R,
W g >jti?1w-<jTr, UTcT: yjfc'fl'Sj ^TP’KT - 3T3T®r di) 33T ftjoft - tS>ctM, 3fr? if 3jsff gspTT-’ftlftw 3 Sri
c^STffe ^ffJjrPdcl f I " 4
(For practical purposes we understand that nature is the world what is not cre
ated by man, what include rivers, hills, forests, vallies, moon, moonlitnight, dawn, dusk and
spontaneous somersalts of deers in the forests.)
It is clear that nature is a creation o f super natural power, i. e. Almighty, There is no say
of human power in the affairs o f nature.
As it has been told above, this nature is an object of human enjoyment. On just having
a glance over different facets of nature thousands of thoughts flash in our mind. We feel joy, won
der, exclaimed on a sight of charming and inspiring nature. We find good taste in fruits, pleasant
notes in the chirpings of birds, murmer of winds and streams, soothing eyesight in blooming flow
ers, rising and setting sun and smiling moon. In the root of all these experiences rest the human
aspirations to enjoy and consume. It is clear with the foregoing paragraphs that such a benevolent
nature if not is our mother who gave birth to us but certainly she is the force who sustains us and
there by she is equally important to us.
In the above paragraphs, we have dealt with practical as well as philosophical aspects
of nature. Now the question arises that how can a human being interact with nature upon whom the
former has got no control and how can she be the subject of poetry ? This question has been
responded to by a number of aestheticians. According to them inspite of nature not being created
by human being and herbeing elementarily different from human beings becomes the object of
poetry for her all pervasive character beyond what human being can not even think to go. This all
pervasive, all inspiring character of nature makes her the most preferred subject o f poetry. Nature
is though immovable but keeps on changing, though immutable but produces mutable effects,
though silent causes others to speak. She excites all our imagination blows all our passions and
stimutales our emotions. She is the life long companion of human race. How cannot, then, she be
the object of man's best literary expression poetry. This universe is enveloped by nature, one can
not think of surviving even for a moment without nature. Being without nature means living
without 'M a y a '. What even Brahma (Almighty) is vedantie view cannot afford.
In a word it can be said that nature is an object of knowledge and consumption. She
is without conciousness, despite she is capable to produce. She has to depend on Puruga (man) for
her activities. The best bestower of all happiness to us, nature is more than our mother . It is
therefore, she has been the object of poetry from the time immemorial.
4. Hindi Kavya men Pxaknti Chilian. - Di. Kiran Knmari Gupta, Page -8
1 1
2.3. RELATION BETWEEN POETRY AN NATURE :
B efore concentrating the su b je ct' R elatio n b etw een P o etry an d N a tu re (kavya aur
Prakriti), it shall be useful to discuss what is 'K a v y a ' (Poetry). The w ord 'K a v y a ' appears perhaps
first time in the *N a{yashastra' authored b y the father o f Indian aesthetics Acharya Bharata. Though
that reference cannot b e taken or accepted as the definition o f K avya it shall be o f use to refer here
the said c o p u le t:
^ d f e l c l M a H o S tii ? T s 5 r a r
- I
3Tg <pcT 7£T fliaf Ttftr 7TGW 3pgJT
H StcdcT spt OTSET M Sc? 11 (5TIOT STRoT)
(D ram a is th e sh ub h a k a v y a fo r its a u d ien ce w h a t is com posed o f so ft and ch arm
in g p ad as. T h e re are no d ifficu lt o r am b itious m ean in gs an d w h a t is easy to u n derstan d for
the com m on p eop le an d w h ere th ere is scope fo r p resen tation o f d an ce. In D ram a th ere is a
w ell th o u g h t o f a rra n g em en t o f 'R a s a ' an d d ifferen t 'N a ty a san d h is')
The above description o f N a jy a (drama) given by A c h a r y a B h a ra ta indicates that by
the time o f the N a jy a -sh astra there w as no established compartments for 'N ajya (Drama) and
kavya (Poetry). A fter A charya Bharata com es Bhamaha and according to him kavya (poetry) is as
follow s:
3rS3T*ff cbloilrt 1 5 ( gflgqiciaPKt)
(M ea n in gs a lon gw ith figu res o f speech m ake k a v ya )
For quite a long time the above definition remained inacceptance. With the passage o f
time kavya related definitions also had under gone a change, K a v y a w as defined by number o f
A charyas in their own w ays. In this course came the definition put forward b y Pan ditrtfj Jagan ndth.
It w as as fo llo w s :
3 J P # 5 T S f P f c T O T 3 3 > : « t J T O O T I 6 ( ^ a W T C R )
(T h e co m b in atio n o f w o rd s w h a t p ro d u ce a w in som e m eaw in g is k a v ya .)
In this definition P an d itra j J a g a n n a th winsom eness m eans celestial pleasure. This
celestial pleasure can be derived only when the w ords are arranged in their best w ay and contents
bear their natural state o f existance. Relating kavya to the production o f winsom e meaning is the
5. ’Kivyflankar' - Acharya Bhamah - First Chapter, Page - 166. ’Ras-Gangadhar’ - Pandit Raj Jagannath, Page - 4
12
essence of Jagannatha's definition. Better the words better the meaning. In this context a reference
of western critric.CoUeridge's words can be quoted.
" Poetry is the best words in the best order
Like Indian Acharyas western critics have also pondered over the question of what is
kavya (poetry). Aristotai, Phillip Sydney etc have accepted that kavya (Poetry) was an art and
imitation was an essential elements of kavya(poetry). Later on Danis establishes that imitation of
nature is poetry where the pathetic as well as musical language becomes the medium. In his
words:
"Poetry is an imitation of nature by a pathetic and numerous speech"
Now it is obvious that Prakriti (nature) is there in the root of all poetic expres
sions. What is expressed by the best arrangement of best words and what bears the winsome
meaning.
In this context, view of the veteran Hindi critic Acharya Ram Chandra Shukla on
poetry can be referedto —
" fSrar w r 3Pcitt 3jtPrar-aiT cFgcrrcfl f , trrft w r o
j j t BFcryarr <r gcrrcf t f 1 g f e # w r a w r % m g s z r # g m f t o ft f i l e r s3TRftt, 37t mfcTcTI eg;g?t | l" 7
(As the free state of the soul is the state of knowledge (GySndashl) so the free
state of heart is the state of 'Rasa'. For this freedom of heart what arrangement is made by
human speech is called 'Kavita' (poem).
A heart can be free only when there is no prejudice, pertinacity and ill will in it and is
made up of free thoughts and what is eager to express it in simple terms. This state of heart is
possible only when man dwells in open surroundings, amidst nature. People hankering after power
and pelf cannot afford to remain in the tranquil atmosphere with nature. They have to discharge
certain responsibility in order to earn name and fame . This is possible only for the people who
dare to discard artificial life and prefer natural surrounds. Nature gives such great people, the gift
of speech. They are popularly called poets and whose utterings become kavya (poetry).
In short we can say, in kavya or poetry human aspirations find its expression in the
best arrangement of best words and what emits winsome emotional thoughts and who are based
on the refined imitation of Prakriti (Nature).
7. ‘ChintSmani' Part - 1 Kavita kya'hai ? Acharya Shukla Page 93
• 13
2.3.A. DIFFERENCE BETWEEN A POET AND COMMON MAN :
Poets are different from common fellows. Being emotional, visionary and sensitive
poets roam in another world what is not attainable by an ordinary fellow. His imaginary vision and
sensitivity gives unique touch even to a common thing. This miracle an ordinary fellow cannot
make. Poet's thought is extraordinarily fast and penetrating and vision unbelievably vast and com
manding. These features of a poet distinguish him from other people. That is why it has been said
th a t" 5TBT oftr^T7forg^itr||-^flr " (where even the sun cannot make his appearance, a poet can
make. ) Different objects of nature what quench our thirst is seen differently by a poet. He puts
some element of imagination to the thing one beholds and presents in his best arrangement of best
words. This presentation becomes poetry . Murky nature becomes brilliant when a poet draws her
pen-picture. Mundane life becomes exciting when it is painted by a poet. This is the power of a
poet who can make such difference. An ordinary man can not do this.
B. MAN AND NATURE : MANAV AUR PRA K RITI:
Since the dawn of creation, man has been closed to nature. Men are not only the
offsprings of nature but they are the ones who lead their life in her lap.Prior to being social, men
used to roam in groups in search of food. In this course, men came closer and closer to nature. This
closeness led men to understand different moods of nature from which they had by now been
frightened. Different moods of nature made men sometime happy and the other time unhappy.
Perhaps the origin of poetry is the human attempt to record his experiences with nature. It is also
suggested that the poetry had its origin in the eulogistic utterings of human beings in praise of
different agents of nature.
Man, the creator of poetry, is the child of nature and nature is the theme of poetry. It is
therefore, poetry is possible only when man comes in contact with nature. The 'Rasadasha' is
possible only through human speech as we have seen no other living being could have aequired the
power of speech and the treasure of poetry. Here it is necessary to pointout that, though no other
living being could have acquired gift of poetry, yet poetry is indebted to them, for, they inspired
poets to compose poetry. Since the first day of poetry till today, the objects of nature like flora and
fauna, sunrise and sunset have been the subject of poetry. These objects of nature have been stimu
lating human beings. Poets have been putting their imagination to these objects and expressing
them in words. It, there fore, can be said that relation between poet and nature is eternal. Speaking
on the existing relation between man and nature Dr. Kiran Rum ari Gupta observes :
14
” cjr-cic) if- Tj^frr srfe # jttctt % ?ft en?ft stereo 11 3ttot 3 sm«fl'JWcirn2ftsPte ^T iPw ^ tO TOT ^ e fta fte tjjn sn riftp r ^7cft3TT#| iwng s r a w q^erT,
fa sW <ST w r - U5H 2T®? PfteT 3 *1fell, “TST5T - W 5gq--qjq 4>'gIPi A t ? , t t e P d e i T s l ' M l W
^cUrfT, tifo^cpl f e d Rflcifq>e 'pT Msefl, 3TO5ft GAtlfcl R<£luf W%rTT 3?f7 sflcld PSTcf 3d4U
IT r^ % # ^ ^ 3T T W g '< ^ V T 3 ^ 3 T g 'q 3 7 (T r t3 # 7 7 n w f-^ e r s f fe
3 ^ i^ t O T ^ r f e # W c r r t i " 8
Nature has been a life long companion of man. This has led to the narration of
nature as a living identity in the poetry. This companionship is proved in the description of life
given in our scriptures where saints and sages have been shown living in wilderness. Even to-day
this premitive urge finds expression when people go out and spend some time in the lap of nature
or if not, try to keep birds, fishes etc. in their surroundings.
The eternal love of man with nature is found minutely picturised in modem literature,
specially in romantic poetry. The poets under this study are immortal nature poets of Assamese
and Hindi modem poetry of romantic stream Both the poets have been totally devoted to nature,
Choudhary admits that he has got 'Sahavas' (copulation) with nature. In his words :
tnuf mot 9rr?r t o t ? (tn^s) sragfer srrenn? i 9
Same is the expression of P a n t:
F t e s p f n f i 3fcg T5FJT, e fte TJfifcT 7T 9ft 3TFE,
w r ! ? 10
With above discussion it becomes clear that, poetiy and nature are interdependent.
Presentation of poetry is not possible if nature is not taken into account and nature may remain
unnoticed if poetry forgets to give an account of her.
2-4. DIFFERENT FORMS OF NATURE IN POETRY (KAVYAI:
It has already been established that there remains a relastionship of interdependence
between man and nature. This has the reason why the creator of poetry tried to depict nature as he
found and liked her. This depiction is being made from time immemorial. It is called ’Pi akriti-
Chitran' or depiction of nature. Nature has been depicted in different languages in different ways.
8. Hindi Kavya Men Prakriti Outran - Dr. K X Gupta, Page -99. Raghunath Choudhary Rachanawak - Shri Atul Ch, Barua, Page - 65 lO.Suxnitrattandan Pant Granthawah - Dr. Shank Joshi, Page - 195
15
There has been difference of perception among different poets over a single mood or agent of
nature. This diverse viewing angles make the Prakriti - O u tran or depiction of nature, much
more vibrant and exotic. For example following is a beautiM description of nature from 'Mahakavi'
K alidas ':
c # j p t . 9 5 !? t •a lcfc -r y r f l f c r i « fu & c i w i ^
Slffh^T tP R ttec fr gcafr77#fcraW9J II
y ic W f UiJ-ict g^5TTcT__#5ffr ]Jcf oifao-^1-
Mc3T fN-cc|fo ^Rn^SfeWSFSCT: I 11
In the above lines Kalidas has, by his unique power of imagination and egression, on
the one hand given the living description of nature in the morning and on the other hand, he
compares with that nature with human gesture and there by presents a fine example of personifica
tion.
In the above example from Kalidas, the 'VIrahi Yaksha' cautions the clouds against
its attempt to come in the sun's way.
He adds as the lovers of the khanditas come to their beloveds in the morning and
removes latters agonies, so the sun is coming to his “beloved lilies and tries to remove its agony, hr
these lines Kalidas has successfully made a comparision between a natural phenomena (coming of
the sun and blooming of lilies) with a human action (coming of a lover of Khandita to his beloved)
Such types of pleasant description have been coming down to us from our ancestors
and making our heritage richer. In this connection Prof Kshem writes :
"cp-fcT STTcfr £ T fe c T tfcpfcT cpr srdcpff
cPTST % f rtr'Sf3ng'3n?ft' ?lcq % I
i " 12
It is clear that poets not only see conciousness in the uneoncious nature, rather, they try
to establish rapport with her and free their heart to make high fly with her. In this process, they
better under stand nature. Their better understanding of nature is evident from their works.
On different forms found in poetry noted linguist Dr. Bholanath Tiwary writes :
’ % 3TT§f3ra3 g5TcT ir ffrifrRT: B'RJTqT# 35T3T ^ tfcpfcT Urt 3rtpt JtySRcW
sff after?rffirnycpi 3fte^ rtf3cfaftaeflci ftsrefr i'®rtrraicfr
11. Meghdoot - Kalidas, verses No - 4212. Chhayavad Ke Ganrav Chihna - Prof. Sluipal Skngh Ksero, Page -112
16
gsfterf % CT^fcr gst # vffrr ^ ?rrsr arrerftgs m a i sst aft ? f e f & <ja? ft ft c r ftssrr i
I ? n r e > T ? c T S f t t # r a T ? S c g ? ^ T S T T S f 3 T § f f i f J P 0 ? T a f f t ? i f t s f t 3 ® T S r A % I " 1 3
There is a saying " gcrl'jjafjrf^r-fif^T" The meaning what this saying contains is that there are as many opinions exist as the number of the people is. Same has been the case with viewing nature. Dr. Kiran Kumari Gupta has rightly observed in this direction ;
' ’3fF£|Picfc> rplpf if W<|>!d % viMli-l<P CTCTF9", TcT 3lf? Pl?ldl 3nft 35ftraf ^ Mcpfci % f t ? r - 1% ? f t f e f t 31W 2J T 1 1 w h t <? f t t r f f t r t f t i i i ;a ? t f t f t ? T O ? ? r g f t s r o f t f a r 3 5 ? Q « y r t , t i e r % f t j R f t i r f f t <fft ? w g e r r m crrsT f t s s r r 1 3 f t ? f t r e r e r r f t ^ 'c iiP g c S T s i f t ? j r m u s ? t y ? r i r m s f t t eW c P T O - i f 35T S f l f t q C T f ^ T T f I ” 14
(Nature poets of modern times like Prasa'd, Pant and Nirala have adopted different forms of nature. Prasad has offerred entire universe in the feet of Goddess nature, Pant has enjoyed the charm and serenity of beloved nature and Nirala has personified her, taking her as a means of conveying his thought.)
Same thing is applicable to the other regional language of India. In Assamese literature, nature has been finding since the dawn of poetic activities. But the best of that is seen in contemporary modem poetry and particularly Raghunath Choudhary's poetry in general. For his flair for writing nature poets, he has been acknoledged as 'Prakriti - Kavi'.
We quote here the view to Dr Dwarika Prasad Saxena regarding the different forms of Nature found in poetry:
" S T T f l ^ ^ ^ t P f r f c r - IxtWW d f t f t f t e r O T l ft l s r ? M rifftcj f I 3TT3T *P T c p f t i T f f t r
g f t 3 T U ft cPToq JJcTren? iHIdciT f 3 ft? t T f # % # 3 TTKP T f t 3 T O ftt S T f lft ft i5 c q i*tl3 ft u f t 3 f f f e T t C
^ ? c u f i t % 3Trgl%q5 U ifa c ii f t 5 f f # r l i f t e r f t f t f t ? r f i ?rrerr?oTcTErr 3Tr§ftra>
cpiosiT f t sjeftar ^ ? r ? n ft f t f t f t e r p f f - i . 3 n ? w w f t ? . w f t i. ? f t f t «
^idid^ui Pinfur?wiis. ?s?^iic,n35^cr# s. M cfterW O T -ftis 3id3>i? sTftforr ft c . jnsfcflv?°r ? * q f t s . f t f t 5 # s r r % ? » q f t 3 ? k 10, G j£ ft% ? 5 c r ft r ’ 15
The above paragraph makes the sense clear that poets have been adopting nature in different forms, hr the foregoing paragraphs, brief discussion is being made on different forms of nature depicted in poetry.
13. Kavi Prasad - Dr. Bholanath Tiwari, Page - 15614. K adi KSvya Mea Praknti Ciritraa - Dr K,K.Gupta, Page - 2615. Hindi Ke Adhrmik Pratinidbi Kavi - Dr Dwarika Prasad Saxena, Pages - 277 - 27S
17
2.4. ffl ALAMBAN K E RO O P MEN PRA K RTTI: NATURE USED AS ALAMBAN
'A lam ban' literary means'Adfiar' a basis. Here nature is depicted not as a means but as
an end . Two kinds o f depicting nature as 'Alamban' or means is in vogue. First, where the synthetic
and grandiose picture is made, where nature is found with all her charms. In other words, we can
say that in such type o f descriptions where the extra human creation o f the world becomes the
subject matter o f poetry,nature is described as Alamban. In poetic such type o f style is called "
1%rw jront'ft, " Second, where the synthetic or complete picture o f nature is not made but
different agents o f nature are talked about is also taken as the Alamban chitran o f nature. In poetics,
it is called " WOTrrftwopTtiWTcfl' " From the earliest poetry to the modem one, these two forms have
been finding place in nature poetry. S ri K rishna K um ar Singh writes about the 'Alamban - Chitran'
of nature in the following words :
%3PT - WrSPT, gtrf ncpfcT
It is needless to say that while portraying nature as Alamban, the observation of poets
is not only sharp but self forgetting. Resultantly, the reader too forgets himself while going through
such piece o f poetry. Our literature is replete (rich) with such description. Old literature is full of
’A lam ban C hitrap’ (depiction o f Alamban). Defferent forms o f Nature in poetry is the legacy of
modem poetry.
2.4. (II) ’ UPDIPAN K E RO OP MEN PRAKRTTI1 : NATURE USED AS UDDIPAN :
When a poet takes recourse to different elements o f nature to arouse the feeling in
human beings by Ms poetry, then the nature is called to be used as 'U ddipan'. In other words, we
can say that when nature is portraited as a means and not as an end, the nature is called to he used
as 'Uddipan'. In this situation picturization o f hero and heroine's character becomes the end and to
acMeve this end nature is picturized as a means . Nature has bear portraited as 'Uddipan' in our
literature since long. Like 'Alamban', 'Uddipan' form of nature is also o f two kinds. Nature is portraited
as Uddipan mainly k Shringar - Vamana . To depict two forms o f shringar 'Sanyoga and Viyoga'
a poet takes help o f prakriti. In tMs state the p a k and pleasure what the characters feel is shown
through nature. This trend is very old k Indian literature. In the poetry o f Valmlld, Kalidas,
Bhavabhuti, M agha etc, tMs style is successfully adopted . M ahakavi Kalidas had described
16 Adhunifc Kaw Pant - Piakntx - Chilian - Sn Krishna Kx Singha, Pag© - 106
18
Shakuntala's beauty with the help of nature in the following copulet:
’3T£R : OTT: qslflcl' R cM l^ cP lfW ) s r if |
^ ■ h H W < d j 1 d ° i 4 % T i p ^ j r j ” 1 7
Here the poet says that the lips of Shakuntala are painted with the red derived from the
tender leaves, her arms complete with branches in their tenderness and her bosom wins the flowers
in their charm. What natural and better a description can be made of a heroine's beauty that the
above ! It is to be noted here that nature is used here only as a means. In the Sanjoga state of
shringara, the agents what make the character happy in viyoga state of shringara the same agents
make him unhappy or sad. A character in viyoga state of shringara forgets the distinction between
animate and inanimate objects and starts sharing his worries with inanimate trees and flowers.
The above discussion makes it clear that the style to express human feeling with the
help of nature is called 'Uddipan ke roop men Prakriti - O u tran '.
2.4. (m ) APRASTUT (ALANKARt YOJANA KE ROOP MEN PRAKRITI
NATURE USED AS 'APRASTUT - YOJANA' :
Human being is a lover of beauty. Since time immemorial different agents of nature
have been used for making a comparision and contrast of human beauty. This style of depiction
nature is called 'Aprastut (Alankar) Yojana'. Aprastuta means the natural agents, describing what
is not the object of the poet. For making a comparision of Prastuta (Characters) nature is used as a
means. The end there is the description of the beauty of the character. Nature comes there only to
high light them This is also called 'Alankara -Yojana'. As an Alankara (ornament) is necessary
to enhance the beauty of a maiden or woman, so an Alankara (figures of speech) is also necessary to
add additional beauty to poetry. Acharya Dandi has said in following line that the elements
responsible for adding beauty to poetry is called 'Alankara'.
" ’35iczr sfarr cfjtst srrfrr 3icT®raarvtra-§r i ’ ’ ( )
Highlighting the necessity of Alankaras in Kavya Acfiarya Jaydeva has said that a
poetry without Alankara is a flame without heat. He says.
3T3TT 332lfcr 35I°£t STs^T&llcWc-i opett I
3rcfr at ■Ho-'ijcl cp't’H |<S<JjbU|±)o1c1 ^ e f t I ‘ ‘ (-cl0-01 c lW )
17. Abhigyan Shakuntalam - first Act - Kalidas verses No. - 18
19
It is clear that Alankaras are the embellishments of Kavya with out whose kavya
remains unattrctive. We know that the sweetest expression of human emotion is kavya, where
characters are portraited, we always compare the gestures of those characters with that of nature.
The style of making comparision ofprastuta i.e. gestures of the characters with Aprastuta ie. agents
of nature is called 'Aprastut-Yoj ana' in poetry. In this context following lines of Dr. K iranRum ari
Gupta are worth mentioning.
"Sldtlfej ycpfci 3fr? TTIlvRf'fl% <5>ku| gsffr TTOT-
3 q 3 T P F r T ! ^ f r l % # 5 r ^ # ^ c T T ^ r t I fC T tiW R ls f^ 'o i^ s fb '^ c T o T , Hep Id' s ftTH lo lci f r ep^'^dl
f 3fte HlfifricP cF?g3Tf cpf -JTTsra' 35T3M.HM % 35TCW fe5TTc fT
t l " 18
Thus, it has been observed that the tradition of taking T pam an’ from nature,the objects of
comparision to express the beauty of human world is very old. For example, for the beauty of face,
moon and lotus, for eyes, Khanjan (a bird) and deer, for nose, parrot, for lips, Bimba fruit, for
teeth Dadim (pomegranate) and pearl, for sweet voice Koel(cuckoo) for gait, hastini, for black
hair, clouds are being used from time immemorial. Describing nature in this purpose, in poetics, is
called 'Aprastut - Vidhan.'
2.4(IV) MANAVIKARAN KE ROOP MEN PRA K RITI:
NATURE USED AS MANAVIKIRAN (PERSONIFICATION! :
The closeness of nature with human world leads to the exchange of ideas, in poetry
between each other. On such occasions human beings forget that agents of nature are inanimate.
The 'Puranic stories suggest that trees and shrubs, birds and streams also behaved like human
being. The attempt in poetry to personify nature and establish a rapport is said 'Manavikaranu In
this context following lines of Dr. H ardari Lai Sharma is worth mentioning :
“ 3Pt|oici if 311-fiM cp^oi ^ ^ n tr R W Ucjfcf^T wQfill 35) ,HMqW-<V| ^FgT^Hdl % 1 " 18
This trend of Manavikaran has very old history in Indian literature, despite the way it
has found place in modem poetry is not seen in old poetry. The 'Chhayavadi Yuga' excels in
Manavikaran. We can trace the Romantic age on Chhayavada. In this context Dr. K iran Kumari
Gupta writes:
18. Hindi Kavya man Prakrit. - cbitran -Dr. K.K Gupta, Page N o .-1519. Hindi Sahitya kosha (Part - 1) Dr. Hardwan Lai Sharma, page - 589
20
TJ95 UcpK ^ «i|il!cU4 % jft 2J3T %5f ft, ^cfcjcff cJdIoM S fT T
ycpu % yiilcjj ofjff (incici If srf% fcb-i-fl ^ ctJ T JtMcflcBW 9ft % eft 3'Hfl 3TT^Pi4= <t>lct ^i) Tft
^psftcfcTT, ^ c r^e fT , 3U?icfT 3ft7 JTT§3f T # f I “ 20
Similarly noted Hindi critic Dr. Dwarika Prasad Saxena says in the following lines
about the personification of nature :
“ 3TTgf3ra5 cpfcfrif % tp^fcT T ? JTToTriter 3n rit, W W R f TJcT%SZI3fr cP T 3T T #T oP ^
3 r r a r ? # c f 5 T w r # % i f 3 ! c ^ r { f e g o f w f f e r r 1 1 w g o -fa r ft j i r a g s - R g s t s t j c p r ', •fS r^ o r mt t r j v t ,
g 'o f r g > q 'ir f > f r r % f t f i t e r 3 q w f # g # # ^ g f t e w d ^ t r ? c p c £ t s r r e f t 1 1 B w i g r #
c p f i t e l ^ I H q f f r f g § f 3 T c S l f if e 5 J P ^ T f O T ^ W I 1 1 " 21
With the above analysis, it becomes clear that the portrait of nature's personification
what is produced (found) in Chhayavadi Yuga, is not seen in so details in any other time of our
literatures as Chhayavad.
2.4.(V) ADHYATMIK - SANKETSTHALI KE ROOP MEN PRA K RITI:
NATURE AS ADHYATMIK - SANKETSTHALI:
Nature has been the goddes who bestows upon men all shorts of pleasure and prosper
ity. Human being takes birth in her lap and grows with her. In this way, human being and nature
have been interdependent. Nature is like mother of human being. Both are known to each other due
to the closeness they enjoy. Human beings bow before nature taking(aecepting) her to be a goddess
as she appears to them living while non-living and moving while stationary. Man used to be aston
ished to come across different agents of nature and used to serve(worship) her. Thus nature
Ibecomes mysterious to man. Man finds the image of the Almighty in her and depicts accordingly.
Taking nature as 'Viswatma' and himself' Jiwatma' man experiences a fundamental unity between
both of them. It indicates towards the 'Sarvavad' where man belived to be the part of Parama'tma.
'Sarvavad' believes that in form of a part of God exits in all the things of this creation. Thus God
rests in all forms of living and non-living objects of his creation. This thought has been nicely dealt
with in the Vedas, the Puranas. the Upanisadas, the Geeta etc. In this context reference of the
following verse of the Geeta can be quoted :
‘‘g r a i f t r ;n<% T R fi # 3 f i
*T cTc?fSfr t t s r r T*WT 9JcT 'rRTxI'OTJ! ‘ ‘ 22
20 K adi Kavya men Piakriti - chitran - Dr K,K,Gupa, Page No- 5821. K adi Ke Adhunik Pratimdhi Raw - Dr D.P Saxena, Page - 28322. Shri Mad Bhagavat Geeta -10/39
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( In the above verse Sri Krisna says to Arjuna, his companion "Oh Arjixna ! I
am the only cause of the evolution of all the creatures. W hat ever living or non-living you
find in this world is nothing beyond me. I am there everywhere.)
The picture what has been made in literature taking nature as an invisible and inex
pressible existence is called 'Rahasyatmak or Adhyatmik Sanketsthali'. Almost all the poets
of modem age have made such picture of nature.
2.4. (V1) ANYA ROOPON MEN PRAKRIT! ; NATURE IN OTHER FORMS :
Besides these, there are other forms of nature found in Indian literature what has
been not described above. They are (A) 'Upadeshak', nature as preacher,(B) Dooti, nature as
messenger and (C) Pratika, nature as symbols. Following is a brief description of the above
mentioned forms:
2.4. tVI¥A! UPADESHAK KE ROOP MEN PRAKRTTI: NATURE AS PREACHER :
Because of having close relationship with nature man has been considering her ideal
and thus leading his life. This has encouraged human will to face the odds of life. A failure man,
when finds waves of the seas straggling against rocks, feels comfortable and gains courage to
fight one more in his life. These and similar other forms of nature come to the common man as
preachers. When such type of description comes in poetry it is classified as Prakriti (nature) as
preacher. Though this has been an old tradition, in modem poetry such descriptions are found
many in number. In this context Dr. P. Adeswar Rao has rightly observed :
-m fruf# ~ fk m 3Tftra?cRt r o t n c e r «pQwf frr w s w i t 11 1,23
Inspite of the above mentioned observation it is not true that the style of nature
description has come down to us with western influence. There are a number of beautiful exam
ples o f description of nature in our old literature. Man has learnt forgiveness from the
earth,dutifulness from mountains, open heartedness from sea and generosity from the sky. Thus
the nature used as preacher in the literature.
23. Kavi Pant aai Unki Chkayavadi Rachanayen - Dr. P. Adeswar Rao, Page - 132
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B DOOTI VA SANDESHBAHAK KE ROOP MEN PRAKRITI :
NATI'RE AS MESSENGER :
The hfe long companion of man with nature makes her a messenger of the former This
is called the 'Sandeshbahak Ke roop men Prakriti'
When Ravana, the king of Lanka abducted Sita, the wife of Rama, Rama not only
cried rather he asked the trees, shrubs, birds and beasts about Sita. Mahakavi Kalidas has. in his.
'The Meghdoot' pictured the cloud as the messenger of virahi Yaksha. The traditional style of
picturing nature as messenger is more evident and conspicuous in modem poetry.
C. PRATIKATMAK ROOP MEN PRAKRITI :NAIT RF l SI 1) AS SN MltOl
Human being takes recourse of nature just to make expression of his feelings. This has
been an age old style. But in modem times this style has got much more popularity. For example, in
modem poetry the moon or light symbolizes for happiness or prosperity where as cloud or dark
ness stands for sorrow and distress. The koel(cuckoo) symbolizes for virtue and the peacock
stands for love. Similarly the earth is picturized as the embodiment of compassion and forgive
ness and heat stands for life. These are some forms of nature what are common symbols used in
poetiy.
Tlrus we can derive a conclusion that nature the life long companion of man has been
stimulating, inspiring and encouraging human emotion what become the theme of poetiy with the
best arrangements of best words.
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