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Some Essays on Sanskrit Literary Criticism

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Some Essays on Sanskrit Literary Criticism

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Specifications

	Publisher: Sanjay Prakashan
	Author Manjul Gupta
	Language: ENGLISH AND HINDI
	Pages: 204
	Cover: HARDCOVER
	9x6 inch
	Weight 420 gm
	Edition: 2025
	ISBN: 9788174530714
	HBW566

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Book Description

About the Book The present book is a collection of research papers which were written on various topics from time to time. This book includes papers written on literary criticism. Some deal with the knotty problems of Sanskrit Poetics. Such as Number of Rasas and Arthopakşepakas in Bharata, while some deal with the works written in sanskrit in modern times which defy the set patterns of the old. All the papers have been written keeping in view the tenets of Sanskrit Poetics and Dramaturgy, only two essays, 'Adhunika Sanskrit Näțaka and Adhunika Sanskrit Sahitya mein Viduşiyon kā Yogadāna' are descriptive and informative in nature. I will be very thankful if any of the scholars are benefitted by reading the present book. I seek all the blessings of learned scholars and hope that the book will be received with goodwill in literary circles of sanskrit scholars.

About the Author Name: Manjul Gupta Birth: Born on 9th March, 1945 at Muzaffarnagar (U.P.) Education: Schooling upto Inter-mediate from V. P. P. Inter College. Muzaffarnagar. Beat the previous records of the school in securing first division in High School and Intermediate. B.A. and M.A. (English) from S.D. College, Muzaffarnagar, affiliated to Agra University, Agra, M.A. (Sanskrit) from Meerut University, Meerut, Ph.D. from Punjab University, Chandigarh. Good Academic record throughout first divisioner except M.A. English. At Present: Teaching P.G. classes in Skt. Deptt., M.D. University, Rohtak Since 1981. Now working as Reader since 1989. Deeply interested in Literature and Poetics. Read many reserch papers in different sessions of the conferences. Two more books to her credit: (1) A Study of Abhinavabhārati on Bharata's Natyaśāstra and Avaloka on Dhanañajaya's Daśarūpaka. Dramaturgical Principles. (2) Kirātārjunīyam II canto with English and Hindi Translation and Sanskrit commentary of Mallinatha.

Introduction The present book is contains thirteen essays in all written critically on various literary topics. But the comman thread running through them all is that all of them have been written. Keeping in view the principles of Sanskrit Dramaturgy and Poetics. Sanskrit Poetics is a vast area, it includes tenets of dramaturgy as well as of Poetics. Bharata is regarded as the first exponent of Sanskrit Poetics, especially of dramaturgy, though the origin of dramaturgy may be dated back to much earlier period. After Bharata Poetics became separate from dramaturgy. We came across three types of rhetoricians writing on Sanskrit Poetics, viz., some writing on dramaturgy only as Dhananjaya etc., secondly some writing exclusively on poetics as Bhamaha, Dandin, Rudrața, Mammata etc. and thirdly some including both, poetics as well as dramaturgy in their works e.g. Viśvanātha. The first essay 'Some Reflections on the Episode (Patākā) in Abhijñānaśakuntalam' is the result of ruminations about the existence of Patākā in Abhijñānaśākuntalam. A play can have two types of plot-main and subsidiary, the subsidiary again may be of two types, the longer one and shorter one. The episode that goes along to a considerable length with the main story is termed Patakä and the incidents of shorter duration is termed Prakari. A play may have or may not have Patäkä in it. When I read different views about Patākā in Abhijñānaśakuntalam. I was forced to rethink, what actually may be called Patākā in Abhijñānaśākuntalam and whether it has the one or not. The second essay 'The Element of Patäkä and the Plays of Kalidasa' deals with the same problem on a larger scale and wider perspective. Here I have selected all the three plays of Kalidasa to consider upon and after deep pondering. I have reached the conclusion that all the three plays of Kalidasa lack this element of Patākā in them, although some may not agree with my conclusion. In the next essay "The concept of three Unities and the Plays of Bhāsa', I have tried to examine all the plays of Bhasa on the test of three Unities; although it is a western concept. Among the three Unities, the greatest Unity is that of action, effect or impression which a playwright must follow and Bhasa, being a great dramatist has successfully followed the basic Unity of effect, though we come across other Unities too in his plays. The essays 'Arthopakşepakas in Bharata" was inspired by an article of G.K. Bhatta, entitled 'Introductory scenes in Bharata, published in 'Aruņa Bharati', Professor A.N. Jani Felicitation Volume, S.R. 12, Poona, 1975. I did not agree to some of the points in that paper and so I was compelled to write this essay, to express my view. A play may have two kinds of matter. Some to be show on the stage and some to be indicated. To indicate the unintersting, lengthy, unpalatable matter there are five devies, mentioned by the name of Arthopakşepakas, namely-Vişkambhaka, Praveśaka, Cülikā, Ańkāvatāra and Ańkamukha. The present essay deals exhaustively with their minute details and differences in them. The essay 'Viyogavallari of Durgadatta Śāstry-A Katha, Äkhyāyikā or a Novel', deals with the prose work of Durgadatta Śāstry, named Viyogavallari, Kathā and Ākhyāyikā have been generally accepted as the two forms of Sanskrit prose. Novel is a modern form in sanskrit prose. But the Viyogavallari of Sh. Durgadatta Śăstry is altogether a new form. While having a mixture of many prevalent forms, it can not be put in the category of a fixed definite form. After studying it critically, this much can be said about it that it is a piece of beautiful fiction written in prose in sanskrit, most innovative and experimental structured like a novel, it also combines the elements of Katha and Äkhyayikä and hence it is a mojor challenge. The essay 'Modern Trends in Sanskrit Plays of V. Krishnan Tampy' critically examines the eight plays of V. Krishnan Tampy, written in sanskrit, on the basis of modern characteristics found in them. All the eight plays (1) Draupadīvijayam, (2) Ajñātavāsa, (3) Dhruvacaritam, (4) Pratikriyā, (5) Vanajyotsnā, (6) Dharmasya Sükşma Gatiḥ, (7) Pețikāsanyāsin and (8) Lalită, althouth written on different themes, display some modern characteristics in stark contrast to older plays of sanskrit. These plays do not begin with a Nändi or Prastāvanā. They begin at once, nor these plays have Bharata Väkya at the end. They are divided into scenes, not in Acts. These plays don't have either the introductory scenes of Arthopakşepakas.

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