A version of this Post was published at Andhra Cultural Portal on June 12, 2015
Continuing our Series on Classical Indic Literature is Part II: Poetics. Long time readers may recall our previous post on Literary Theory. This piece will very briefly recap some of the related concepts before quickly moving on to expand upon our discussion of our traditional art of poesy.
ACP’s coverage of Andhra literature begins at its origin point, in Classical (sastra-based) Indic Literary Theory and Poetics. Andhra’s all India auteurs like Mallinatha and Princess Gangadevi were properly schooled and cultivated in the great tradition, in order to permit their own future works. In fact, the rajkumari of Vijayanagara herself mentions the main figure of today’s discussion as an highly accomplished poet, and noted authority on poetics.
Poetics (A reintroduction)
Literary theory in general and Poetics in particular were highly developed and sophisticated in ancient India. Indeed, it would be difficult to find a peer culture or civilization in this regard. This is apparent not only in the cultivation of the world famous Ancient Indic Nava Rasa theory, but also in the explication and categorization of works of fiction and drama, romance and comedy, poetry and prose, elite and common.
In fact, despite attempts to criticize, or failing that, digest it into the tradition of parvenus by poseurs, Classical Indic Literary Theory managed to incorporate both the elite and common worlds. As written previously, Sanskrit and Prakrit were used alongside each other, not only by the same author, but in the same dramatic compositions! In our preceding posts we discussed the theory of rasa at great length, and by association, rasavat, that which provokes sentiment. These dramatic concepts and alankara (art of rhetoric) are critical to poetics. Few demonstrated this as well as Dandin, famed for his way with words.
Upama Kalidasasya, Bharaverartha gauravam ! Dandinah padalalityam, Maghe santi trayogunah !!
The simile of Kalidasa, the depth of meaning of Bharavi, the word-play of Dandin, in Magha all three qualities are found! 
While Mahakavi Magha and his Sisupalavadha may be dealt with at another time, it is Acharya Dandin and his masterly art of wordplay that is our topic of today.
Having already discussed the Dasakumaracarita at length in the last piece, we will merely place it in context here, vis-a-vis Dandin and Poetics.
The Dasakumaracarita is considered an Akhyayika. An Akhyayika should include a genealogical account of the poet’s family and also of other poets; its verses may occur in it at intervals. Its chapters are called Asvaasas, which should contain introductory verses suggestive of episodes in the story. While the Dasakumaracarita does not strictly conform with this definition of the Akhayayika, it is nevertheless considered one.
Regarding the differences between the Akhyayika and the Katha, Visvanatha of the 15th century wrote in his Sahithyadarpana “In a Katha a charming plot is composed in prose, which is interspersed with stanzas in the Arya, Vaktra, and Aparavaktra metres; in the beginning there should be a salutation to a deity, a description of the nature of villains,etc. “[2, xii].
While most non-religious stories of Ancient India tend to claim descent from the Brihat-katha of Gunadya, the Dasakumaracarita of Dandin appears to be wholly original. If Kalidasa’s couplets read like supple vines, Dandin’s verses read like a rolling brook, pleasantly bubbling in our eyes and ears. The passage below illustrates this:
“There, in the course of conversation with regard to her lover, she, coming to know his family and name from Balachandrika, was overcome with intense love (with the fall of Cupid’s arrows), and began to grow emaciated day by day, like the crescent of the moon in the dark half of the month, from the pangs of separation. She gave up taking food and her other daily pursuits, and in her secret chamber restlessly rolled her creeper-like (slender) frame on a bed formed of (tender) leaves and flowers wetted with sandal-juice. Her female friends, seeing the delicate princess in that state withering with the fire of love, and feeling very sad, tried to cool her body, with materials for relief from the torment, such as water prepared for her bath, mixed with sandal, usira and camphor and kept in gold vessels, garments of lotus-fibres, and fans of lotus-leaves. Even that application of cooling reeds simply [causes] fire to appear on all sides in her body like water dropped in heated oil…(the princess) of delicate limbs was affected by the highest stage of the feverish condition of love” [1, 250-1]
The Dasakumaracarita is a must read for any lover of great literature, particularly the Classical and Indic. To understand the poetics and art of rhetoric that helped craft such perfect prose-poetry, Acharya Dandin’s own treatise must be read.
Dandin’s work on poetics is itself poetic. Literally meaning ‘Mirror of Poetry’, the Kavyadarsa imbues us with knowledge of kavya and alankara-sastra (rhetoric) in a language redolent with the art of poesy Dandin himself extols. It is one of the earliest works on Alankara [2,ix]. Rather than being a boring list of categories and a lexicon of terms, it is fluidly composed and easy to read and digest even for the unschooled. A work of poetics that is itself poetry, it commences in appropriate fashion. It is tradition in Sanskrit literature to begin with a benediction.
Chaturmukha mukhaambhojavana hamsavadhur mama
Maanase ramataam nityam sarvasuklaa Sarasvati P.I,S.1
May the lovely lady swan that sports among the lotus-mouths of Brahma, the all-white Sarasvati roam for ever in delight in the lotus-pool of my heart. [2,1]
Goddess Sarasvati is particularly praised by poets of all ranks, as she is the fountain of knowledge, truth, and speech. As for the work itself, it is divided into three Paricchedas, or sections. First and foremost in the first Pariccheda, where he stresses grammar, and how it is critical to understanding and evaluating poetry.
He then moves on to discuss the body of a poetic composition.
“This (body) is classified threefold, as Padya, as Gadya as Misra (i.e. as verse, as prose and as a mixture of prose and verse). Verse has four feet; and (again) it is divided into two classes Vrttam and Jati (according to Varna and Matra respectively).” [2, 6]
Types of verse include Muktata, Kulaka, and Sanghaata, and are dealt with collectively as part of the Sarga-bandha. The truly great work of Poetry is the Mahakavya (Great Poem). A type of this is the Sarga-bandha, which is” a Mahakavya that has a beginning with a benediction or indication of contents, it deals with purusharthas and has one of the four types of heroes. It describes the various phases of romance between great lovers, their journeys, trials and tribulations, uses rasa and bhava, has reasonable size chapters and will survive several kalpas. [2, 8-10]
In contrast to poetry is prose, which is a sequence of words not constructed in metrical feet. Prose is divided into Akhyayika and Katha. The former, according to Dandin, is told only in the first person (from the mouth of the hero), while the latter may be told by all. The last type of literary body is Misra, which is a mix of prose and verse, usually in Nataka (dramatic) form and in Campu verse. Literature was further divided into four linguistic classes. [2,16]
“Samskrtam is the name of the celestial language which has been used by great sages; Prakrtam is divided into many ways as Tadbhava, Tasama and Desi.
In such language is the ocean of gemlike saying Setubhanda and other works.” [2,17]
In Poems, languages, like the Abhira and the like are considered as Apabhramsa; but in the sastras … any language other than Samskrtam is considered Apabhramsical. “[2, 18]
Sarga-bandha and other types of similar verses are Samskritam, Skanda and similar types are considered Prakritam, Aasara and others are Apabhramsa, and Nataka and others are considered Misrakam (due to their mixed linguistic nature).
Dandin then continues, explicating the path of word being twofold, the path of Vidarbha and the path of Gauda.
He describes the Vidarbha as having the characateristics of “Slesa (compact), prasada (charity), Samata (evenness), Madhuryam (sweetness), Sukumarata (elegance), Arthavyakti (expressiveness), Udaratvam (excellence), Ojas (vigour), Kanti and Samadhi (structure)”[2,21]
Gauda is referred to the as the opposite of these. Slistam is when the letters are not loose and not of small breath-value while Sithilam is loose. The latter is a key part of the Gauda and adds dignity to the composition. For the uninitiated, Gauda may be deemed cumbersome, compound (sandhi), and consonant, while Vidarbha is light, short-syllabled, and easy to grasp. Evenness of composition, or samatam, is divided into Mrdu, Sphuta and Madhyamam (soft, hard and medium).
He criticizes easterners as effecting a want of evenness in literature stating “unnevenness and desiring the display of pompous embellishments, the series of Kavyas of the Paurasyas (easterners) have developed.” I guess some reputations haven’t changed! It is the general poetry of his poetic work, and witty remarks like this, that truly make Dandin a delight to read. Indeed, he moves on by extolling sweetness (Madhurya) as the flavour in words and in sentiment. The wise, he says, are like bees in that both are intoxicated with honey. The related concept is Anuprasa, which is word sequences that conveys flavour or sentiment (rasa) through evenness with prior words. [2, 29]
Examples of Anuprasa in words and metrical feet are then given, followed by descriptions of Sruti and Saithilya. Sruti here is sequences of similar sounds and saithilya is want of coherence of sounds rugged in build. The recurrence of the same sequence of sounds in uneven fashion is called Yamaka (alliteration, i.e. consonance and assonance). Daksinatyas (Southerners) did not like incoherence of sounds. It appears the South’s reputation for stricture and conservatism was intact back then as well!
Perhaps the most critical sloka on poetics for our era of vulgar parvenu poetry is the following:
“Granting that all arts of speech (Alankara), and delectableness to the idea (conveyed) it is the absence of vulgarity of expression alone that is mostly responsible for delectableness” [2, 33]
Gramya is vulgarity in expression examples of this are given, as well as the opposite. The Acharya is very critical of vulgarity but also of unnecessary and overly complicated constructions to appear intelligent.
There has been a tendency, which Dandin appears to attribute to pretentious easterners, to preference difficult to pronounce compound words (sandhi) under the impression that they constitute grandeur. He exhorts that it is only by Sukumarata, tenderness (i.e. use of non-harsh letters) rather than over-embellishment that we get approval in the minds of the good. [2,39]
Moving on, he describes Udara as when all sequence of words find their excellence when the word sequence’s excellence is clear, while “Ojas [vigour] is in abundance of compound words. This is the soul of Gadya (prose;) in verse Padya also for the non-Southerners this alone is the goal” [2, 43]
While kantam (not straying from standard meanings) is mentioned, most important, according to Dandin, is the concept of Samadhi. It is structural embellishment or the simultaneous application of many characteristics.
“The guna or characteristic of poetry called Samadhi is the very treasure-house and constitutes the entire wealth of poetry. The entire group of poets follows (and uses) this characteristic.”[2, 53]
The Second Pariccheda focuses on Alankaras proper. This is the critical aspect of poetry that makes embellishment possible and sets it apart as an high art. But why explain what an old master does better:
“They give the names of Alankaras to the characteristics, which render kavyas attractive. These characteristics are even to-day diversified anew; who then can treat of them exhaustively?” [2, 57]
“The old masters have shown the following alankaras (figures of speech: -Realistic expression, simile, metaphor, light, repetition, objection, illustrative citation, differentiation, cause terseness, hyperbole, conceit, reason, subtlety, minuteness, sequence, felicity, provoking sentiment, vigour, paraphrase, unison, sublimity, denial, paronomasia, specialty, equation, direct praise, concealed praise, conjunctive expression, exchange, benediction, confusion and expressiveness. Realistic expression also called Jati or group description is the first alankara and describes the actual forms of different conditions of objects.” [2, 59]
Dandin moves on to discuss realistic expression of species (Jati), of action (Kriya), of characteristic (Guna) and of substance (Dravya). He then provides an entire section on the various and numerous types of upama, that is simile. This is delightfully done with poetic examples of this essential aspect of poetics. As it is too long to reprint here, we will merely list the different types of simile:
There is the simile of quality (Dharmopama), the simile of object (Vastupama),the transposed simile (Viparyasopama), the simile of mutuality (Anyonyopama), the simile of exclusive determination (Niyamopama), the simile of indetermination (Aniyamopama), the multiple simile (Sauccayopama), the hyperbolic simile (Atisayopama), the simile of conceit (Utpreksopama), the simile of wonder (Adhbutopama), the simile of delusion (Mohopama), the simile of doubt (Samsayopama), the simile of certainty (Nirnayopama), the paronomasiac simile (Slesopama), the simile of exactness (Samaanopama), the simile of contempt (Nindopama), the simile involving praise (Prasamsopama), simile involving the desire to express (Acikhyaasopama), the simile involving opposition (Virodhopama), the simile involving exclusion (Pratisedhopama), the simile of truthful expression (Asaadhaaranopama), the simile of impossibility (Adbhutopama), the simile involving statements contrary to nature (Asambhaavitopama), the simile of super-excellence (Vikriyopama), the simile in a series (Maalopama), the simile of sentences (Vaakyarthopama), the simile stating the object (Prativastupama), the simile of equalising (Tulyayogopama), and finally the simile involving a statement of the reasons (Hetupama). [2, 62-82].
While many figures of speech may seem similar to the simile, there is a rule in Sanskrit poesy that a simile cannot be in verbs. This is the word of the Aaptas (or authoritative writers). [2, 148]
As one can see, the exhaustive and methodical classification of the simile, so elementarily treated in english, reaches a near-impossible level of sophistication. Perhaps it is not for nothing Alankara, like the sastras, are ultimately credited to divine beings in the Classical Indic Tradition.
Next, Dandin describes the Metaphor. “Simile itself where the difference is implicity is called the metaphor, for example, arm-creeper, palm-lotus, foot-tendril” [2, 84]. There are 66 types of compound metaphors, which for reasons of brevity, won’t list here. The sanskrit word for metaphor is rupakam. The numerous varieties are so copious, there is even a rupaka-rupakam or metaphor on metaphor. [2, 94]
We move on from the two major concepts to other types of Alankara. The concept of Dipakam (or light) is unique as it is the notion of a word helping the entire sentence through jati (genus), kriya (action), guna (quality) or dravya, which is the subject-matter.[2,96] Avrtti, or repetition, is then discussed along with its assorted types and uses both in word and meaning. Aaksepa, which is objection and has a variety of classes. Interestingly, of the different types of objection includes anujnaksepa, that is objection in the form of apparent permission–a phenomenon with which married men the world over are all too familiar! Indeed, the section on Aaksepa is a veritable playbook for a woman in a relationship to influence her beloved!
Then there is illustrative citation (arthantara-nyaasa). Assorted figures of speech are used to express ideas by citing other objects such as those that are universally applicable (visvavyaapi), special (visesastha), panoro-masiac (slesa-viddha), having opposition (virodhavaan), incongruous (ayuktakaari ), fitting (yuktatma), partly incongruous and partly fitting), and contrary (viparyaya). [2, 123]
Acharya Dandin asserts that “Reason (hetu) and subtlety and minuteness (suksma and lesa) constitute the best alankaras of words” .[2,151] This is because a slight reference to a thing discloses (lesa) both indicates and excites the imagination.Correspondingly, Ingita and Aakaara are mentioned as facial gesture and condition of the body respectively. [2,163] Paryayoktham is the paraphrase .[2,178] Drstantam is defined as illustration.
Udaattam (sublimity) is the alankara used to express the pre-eminent greatness of a person, both his qualities and his riches. Apahnuti is denial and is used to great effect in order to enhance the description. [2,184]. Slistam is paronomasia, or words with a single form but many meanings [2,187]. Indeed, there is an entire sub-section on specialty, which again, for brevity’s sake, we will leave at here.
Among other interesting concepts include variations of ninda (insult/deprecation) and praise, stuti. There are numerous categories of stuti, such as Aprastuta-prasamsa (indirect praise) and Vyaajastuti (concealed praise). Concealed praise is where it is in the form of despise and virtues are described through mention of vices.
With all these alankaras, or embellishments, Dandin uses examples to not only illustrate, but to very frequently entertain. What could easily have been an exhausting effort because engagingly educative.
In the third pariccheda, Dandin moves on to the more structural aspects of poetics. He discusses recurrences of letters (Yamaka) and various types of feet (pada), one through four. Types of recurrences are discusses such as Vyapeta-Yamaka (mediate recurrence) and Avyapeta (mixed recurrence of mediate and immediate). [2, 228]. This is described with great complexity with all the permutations and combinations of letter recurrences.
Finally, this magnum opus of poetics concludes with a veritable lesson in linguistics. From the listing of vowels to the various consonant types, it is highly detailed and worth a review. He also discusses Prahelikas (or Amusing Riddles). These are described as “useful in the entertainment of sportive assemblies; and by those who know them for the purpose of secret consultation in a crowd and for setting riddles to others” [2,262]. Once more, he goes into the technical aspects of riddles, and the various components and component types. In fact, there were as many as 16 types of Prahelikas.
Ten faults of artless poets are also discussed: “Apaartham (or meaninglessness), Vyartham (or contrary meaning), Ekaartham (or identical in meaning), Samsayam (or doubtful meaning), Apakaaramam (or want of sequence), Sabdahinam (or wanting in word), Yatibhrastam (or absence of pause), Bhinnavrttam (or metrical defect). Visandhikam (absence of Sandhi, or pause) and impropriety in place, time, in branch of learning, etc.” (desadhi-virodhi,kala-virodha, nyaya-virodha, etc) [2, 276-7]. He nevertheless mentions how a clever poet can use any and all of the improprieties to lift up from the region of fault to the good qualities of poetry.
He concludes with concepts associated with love. Laya is the blending of tunes. Harmonious laya is said to promote Raaga or Love while”Utka and Unmanayantya both convey the longing of the beloved“. [2, 281]
Thus, with an exhaustive but easy-to-read treatise, Acharya Dandin explicates his educative exegisis on kavya and alankara-sastra. Fittingly, he ends with the following advice for would-be poets:
With his intellect, trained by this Path of guna and dosa (Excellences and Faults) shown according to the rules, the blessed person sports like a youth attracted by Words, who have loving eyes and who remain in his control; and he also obtains fame. [2, 305]
- Kale, M.R. Dasakumaracarita of Dandin. New Delhi: MLBD. 2009
- Sastrulu, V.V., and Ed. Rabindra K. Panda. Kavyadarsah of Dandin. Delhi: Bharatiya Kala Prakashan. 2008
Das, Sisir Kumar. A History of Indian Literature, 500-1399: From Courtly to the Popular. New Delhi: Sahitya Akademi. 2005. p.75