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:-