Innovations and Turning Points

Toward A History of Kavya Literaure

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ISBN:

9780199453559

Publication date:

03/11/2014

Hardback

824 pages

247.0x175.0mm

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Price: 1895.00 INR

We sell our titles through other companies

Amazon

Go to Amazon website

Flipkart

Go to Flipkart website

Disclaimer :You will be redirected to a third party website.The sole responsibility of supplies, condition of the product, availability of stock, date of delivery, mode of payment will be as promised by the said third party only. Prices and specifications may vary from the OUP India site.

ISBN:

9780199453559

Publication date:

03/11/2014

Hardback

824 pages

247.0x175.0mm

Gary Tubb, Yigal Bronner & David Shulman

This volume is the first attempt to offer a panoramic historical overview of South Asian classical poetry, especially in Sanskrit. Many of the essays in this volume are the first serious studies of the great masterpieces of South Asian literature. Moreover, the book as a whole captures the millennium-long developmental logic of this literature by identifying a series of critical moments of breakthrough and innovation, allowing the tradition to reinvent itself.

Suitable for: This book will be of considerable interest to scholars and students of South Asian history, literary studies, cultural studies, and religious history.

Rights: World Rights

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Gary Tubb, Yigal Bronner & David Shulman

Description

With a panoramic overview of South Asian classical literature, this book identifies critical moments of breakthrough and innovation in Sanskrit literature—moments when the basic rules of composition and the aesthetic and poetic goals underwent dramatic change. It contests the still prevalent notion that Sanskrit poetry was impervious to change and that it underwent decline after a supposed acme in the period of Kalidasa. The essays in this volume focus on extended moments of brilliant innovation within the kavya tradition, including the new poetic models put in place by Bharavi and Magha, the revolutionary period in Kannauj linked to Ba?a, his predecessors and his great successors, and the transformative work of poets of genius such as Bilha?a, Srihar?a, Rajasekhara, and Murari. It also examines the origins of kavya and the creative experiments with its forms and practices in early modern Hindi and, beyond the subcontinent, in Java and Tibet.

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Gary Tubb, Yigal Bronner & David Shulman

Table of contents

Acknowledgements

I. Introduction

by Yigal Bronner, David Shulman, and Gary Tubb

1. A. Asti kascid vag-vises.ah.

B. Awareness of Change

C. What Is New about This Book

II. Kalidasa and Early Classicism

2. Waking Aja

by David Shulman

A. Theme as Frame

B. The Rhythms of Emptying

C. On Repetition

D. How Time Moves

3. Baking Uma

by Gary Tubb

A. Patterns of Innovation in the Mahakavya

B. Kalidasa and Asvaghos.a: Common Origins and Contrasting Visions

C. Prevailing Images in Kalidasa's Vision of Purity and Power

4. On Beginnings: Introductions and Prefaces in Kavya

by Herman Tieken

A. Introduction

B. Types of Beginnings

C. The Storyteller in the Text and His Relationship to the External Author

D. The Significance of the Absence of a Introduction in Mahakavya

E. Kavya and Epic

F. The Scribes' Background

G. The Proliferation of Genres within the Kavya Tradition

H. The Preface

I. Epilogue

III. The Developing Mahakavya

5. Pace and Pattern in the Kiratarjuniya

by Peter Khoroche

A. Bharavi's Originality

B. Changes of Pace in Narration and Description

C. Characteristics of Bharavi's Style

D. The Subject of the Poem

6. The Conquest of Cool: Theology and Aesthetics in

Magha's Sisupalavadha

by Lawrence McCrea

A. The Poetics of Inaction

B. The Ideal of Emotional Restraint

C. Literary Techniques and Aesthetic Objectives

D. Conclusion

7. Kavya with Bells On: Yamaka in the Sisupalavadha

by Gary Tubb

A. Magha of the Bells

B. Yamaka and the Problem of Citra

C. Yamaka in the Mahakavya

D. Magha's Yamakas

E. Conclusion

8. A Constant Flow of Pilgrims: Kavya and

the Early History of the Kakawin

by Thomas M. Hunter

A. Introduction

B. The Historical Setting

C. The Glories of Temple Architecture and the

Metrical Inscription of 856 CE

D. The Prehistory of the Kakawin

E. Sabdala?kara in the Metrical Inscription of

856 CE and the Bha??ikavya

F. Yamaka in the OJR: The Problem of Univocality

G. Yamaka in the OJR: The Aesthetic Effects of

Doubling and Repetition

H. Bha??i's Arthala?kara and the OJR

IV. The Masters of Prose

9. The Nail-Mark That Lit the Bedroom:

Biography of a Compound

by Yigal Bronner

A. Introduction

B. The Sanskrit Compound and the Problems

of Translation

C. Score and Structure

D. Sanskrit Compounds and the Ecosystem of Love

E. Center and Periphery: Female Subjects and the Forces of Nature

F. Conclusion

10. Ba?a's Death in the Kadambari

by Herman Tieken

A. Introduction

B. His Father's Voice

C. Speaking of Death

D. Fathers and Sons

E. Breaking the Rules of the Genre

F. Ba?a's Genealogy

G. Ba?a's Trademark

H. Inventing One's Own Death

11. Persons Compounded and Confounded:

A Reading of Ba?a's Kadambari

by David Shulman

A. Introducing Kadambari

B. Who's Who

C. Sources, Models, Telos

D. The Yoga of Syntax

E. What Words Can Do

F. I'm Still Me

G. Disjunction as Resolution

H. Conclusion

12. On the Boldness of Ba?a

by Gary Tubb

A. Ba?a's Benedictory Verses

B. Anthology Verses: The Moonlight Sequence

C. Verse Sequence: The Poor Traveler in Winter

V. The Sons of Ba?a

13. Something New in the Air: Abhinanda's Ramacarita and Its Ancestry

by Gary Tubb

A. Poetic Pedigrees

B. Anthology Verses

C. Abhinanda's Mahakavya

D. Abhinanda's Meta-comments

E. Conclusion 392

14. The Plays of Bhavabhuti

by Gary Tubb

A. Bhavabhuti's Distinctive Use of Language

B. Constructive Progress in the Sequence of the Plays

C. The Intermingling of Aesthetic Theory and Emotional Description

15. The Poetics of Perspective in Rajasekhara's

Young Ramaya?a

by Lawrence McCrea

A. The Centrality of Rava?a

B. Spectacles and Spectators

C. The View from Below

D. The View from Above

16. Murari's Depths

by David Shulman

A. Introducing the Anargharaghava

B. Polishing the Sun

C. A Poet's Craft

D. Moon-struck Rama

E. A Kinematic Spectrum and the Murari Twist

F. Conclusion

VI. Poets of the New Millennium

17. The Poetics of Ambivalence: Imagining and Unimagining

the Political in Bilha?a's Vikrama?kadevacarita

by Yigal Bronner

A. Introduction: The Place of a Poet

B. Setting the Right(?) Tone: Bilha?a's Introductory

Appeal to His Audiences

C. On Thickening: Imagining the Political in the VDC

D. On Thinning: Unimagining the Political in the VDC

E. On Ambivalence: Bilha?a's Poetic Stance

F. Afterlives and Afterthoughts: Bilha?a's Posthumous Career and Its Lessons

18. Putting the Polish on the Poet's Efforts: Reading the

Kar?asundari as a Reflection on Poetic Creativity

by Phyllis Granoff

A. The Play: Reading Beyond the Plot

B. Creating the New and Improbable: The Poet's Task in the Kar?asundari

C. Conclusion

19. Shadows

by Charles Malamoud

A. Chaya

B. Se?a and Sle?a

C. The King, the Earth, and the Cardinal Regions

D. Sarasvati and Damayanti's Wisdom

E. Love's Shadow

20. Indian Kavya Poetry on the Far Side of the Himalayas: Translation, Transmission, Adaptation, Originality

by Dan Martin

A. Introduction

B. Early Kavya in Tibet: The Evidence of the Stotras

C. Local Tibetan Poetry

D. Kavya 's Tibetan Naturalization

VII. Regional Kavyas

21. Sakalya Malla's Telangana Ramaya?a : The Udararaghava

by David Shulman

A. Spreading the News

B. Poet and Wrestler

C. Telangana Sanskrit

D. Playing with Aspect and Mode

E. Radical Retelling

22. The Classical Past in the Mughal Present:

The Brajbhasha Riti Tradition

by Allison Busch

A. Literary Newness in Dialogue with Tradition

B. New Directions in Indian Kavya : the Mancarit of Narottam Kavi

C. The Self-presentation of the Orchha Court in

the Virsim. hdevcarit of Kesavdas

D. Being Sub-imperial: Multilayered Cultural Identity in the Lalitlalam of Matiram Tripat?i

E. Conclusion

23. Poetry and Play in Kavikar?apura's Play Within the Play

by Gary Tubb

A. Playing with Sounds: The Role of Yamakas

B. Th e Renunciation of Yamakas

C. Playing with Identities: The Role of Roleplayings

24. Modernity in Sanskrit? Viswanatha Satyanarayana's

Am?ta-sarmi??ham

by Velcheru Narayana Rao

A. Viswanatha Satyanarayana: An Introduction

B. Am?ta-sarmi??ham : A Close Reading

C. Modernity in Am?ta-sarmi??ham

D. Minor Characters in the Play

E. Sanskrit Drama in Performance

25. A Distant Mirror: Innovation and Change in

the East Javanese Kakawin

by Thomas M. Hunter

A. Introduction

B. Not Vakrokti

C. Processions: A Thematic Link between Asvagho?a, Kalidasa, and the Kakawin Poets

D. Airlangga and the Dawn of the Classical Kakawin Style

E. The East Javanese Figural Tradition 1: Mpu Ka?wa and

the Development of Techniques of Suggestion in

the East Javanese Kakawin

F. The East Javanese Figural Tradition II: The Question of Rasa and the Bha?a Kakawin Form of the Lyrical Verse

G. The East Javanese Figural Tradition III: The Contributions

of Mpu Panuluh

H. The East Javanese Figural Tradition IV: Mpu Dharmaja

and the Smaradahana

I. Conclusion

Notes on Editors and Contributors

Index

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Gary Tubb, Yigal Bronner & David Shulman

View larger

Gary Tubb, Yigal Bronner & David Shulman

View larger

Gary Tubb, Yigal Bronner & David Shulman

Description

Table of contents

Acknowledgements

I. Introduction

by Yigal Bronner, David Shulman, and Gary Tubb

1. A. Asti kascid vag-vises.ah.

B. Awareness of Change

C. What Is New about This Book

II. Kalidasa and Early Classicism

2. Waking Aja

by David Shulman

A. Theme as Frame

B. The Rhythms of Emptying

C. On Repetition

D. How Time Moves

3. Baking Uma

by Gary Tubb

A. Patterns of Innovation in the Mahakavya

B. Kalidasa and Asvaghos.a: Common Origins and Contrasting Visions

C. Prevailing Images in Kalidasa's Vision of Purity and Power

4. On Beginnings: Introductions and Prefaces in Kavya

by Herman Tieken

A. Introduction

B. Types of Beginnings

C. The Storyteller in the Text and His Relationship to the External Author

D. The Significance of the Absence of a Introduction in Mahakavya

E. Kavya and Epic

F. The Scribes' Background

G. The Proliferation of Genres within the Kavya Tradition

H. The Preface

I. Epilogue

III. The Developing Mahakavya

5. Pace and Pattern in the Kiratarjuniya

by Peter Khoroche

A. Bharavi's Originality

B. Changes of Pace in Narration and Description

C. Characteristics of Bharavi's Style

D. The Subject of the Poem

6. The Conquest of Cool: Theology and Aesthetics in

Magha's Sisupalavadha

by Lawrence McCrea

A. The Poetics of Inaction

B. The Ideal of Emotional Restraint

C. Literary Techniques and Aesthetic Objectives

D. Conclusion

7. Kavya with Bells On: Yamaka in the Sisupalavadha

by Gary Tubb

A. Magha of the Bells

B. Yamaka and the Problem of Citra

C. Yamaka in the Mahakavya

D. Magha's Yamakas

E. Conclusion

8. A Constant Flow of Pilgrims: Kavya and

the Early History of the Kakawin

by Thomas M. Hunter

A. Introduction

B. The Historical Setting

C. The Glories of Temple Architecture and the

Metrical Inscription of 856 CE

D. The Prehistory of the Kakawin

E. Sabdala?kara in the Metrical Inscription of

856 CE and the Bha??ikavya

F. Yamaka in the OJR: The Problem of Univocality

G. Yamaka in the OJR: The Aesthetic Effects of

Doubling and Repetition

H. Bha??i's Arthala?kara and the OJR

IV. The Masters of Prose

9. The Nail-Mark That Lit the Bedroom:

Biography of a Compound

by Yigal Bronner

A. Introduction

B. The Sanskrit Compound and the Problems

of Translation

C. Score and Structure

D. Sanskrit Compounds and the Ecosystem of Love

E. Center and Periphery: Female Subjects and the Forces of Nature

F. Conclusion

10. Ba?a's Death in the Kadambari

by Herman Tieken

A. Introduction

B. His Father's Voice

C. Speaking of Death

D. Fathers and Sons

E. Breaking the Rules of the Genre

F. Ba?a's Genealogy

G. Ba?a's Trademark

H. Inventing One's Own Death

11. Persons Compounded and Confounded:

A Reading of Ba?a's Kadambari

by David Shulman

A. Introducing Kadambari

B. Who's Who

C. Sources, Models, Telos

D. The Yoga of Syntax

E. What Words Can Do

F. I'm Still Me

G. Disjunction as Resolution

H. Conclusion

12. On the Boldness of Ba?a

by Gary Tubb

A. Ba?a's Benedictory Verses

B. Anthology Verses: The Moonlight Sequence

C. Verse Sequence: The Poor Traveler in Winter

V. The Sons of Ba?a

13. Something New in the Air: Abhinanda's Ramacarita and Its Ancestry

by Gary Tubb

A. Poetic Pedigrees

B. Anthology Verses

C. Abhinanda's Mahakavya

D. Abhinanda's Meta-comments

E. Conclusion 392

14. The Plays of Bhavabhuti

by Gary Tubb

A. Bhavabhuti's Distinctive Use of Language

B. Constructive Progress in the Sequence of the Plays

C. The Intermingling of Aesthetic Theory and Emotional Description

15. The Poetics of Perspective in Rajasekhara's

Young Ramaya?a

by Lawrence McCrea

A. The Centrality of Rava?a

B. Spectacles and Spectators

C. The View from Below

D. The View from Above

16. Murari's Depths

by David Shulman

A. Introducing the Anargharaghava

B. Polishing the Sun

C. A Poet's Craft

D. Moon-struck Rama

E. A Kinematic Spectrum and the Murari Twist

F. Conclusion

VI. Poets of the New Millennium

17. The Poetics of Ambivalence: Imagining and Unimagining

the Political in Bilha?a's Vikrama?kadevacarita

by Yigal Bronner

A. Introduction: The Place of a Poet

B. Setting the Right(?) Tone: Bilha?a's Introductory

Appeal to His Audiences

C. On Thickening: Imagining the Political in the VDC

D. On Thinning: Unimagining the Political in the VDC

E. On Ambivalence: Bilha?a's Poetic Stance

F. Afterlives and Afterthoughts: Bilha?a's Posthumous Career and Its Lessons

18. Putting the Polish on the Poet's Efforts: Reading the

Kar?asundari as a Reflection on Poetic Creativity

by Phyllis Granoff

A. The Play: Reading Beyond the Plot

B. Creating the New and Improbable: The Poet's Task in the Kar?asundari

C. Conclusion

19. Shadows

by Charles Malamoud

A. Chaya

B. Se?a and Sle?a

C. The King, the Earth, and the Cardinal Regions

D. Sarasvati and Damayanti's Wisdom

E. Love's Shadow

20. Indian Kavya Poetry on the Far Side of the Himalayas: Translation, Transmission, Adaptation, Originality

by Dan Martin

A. Introduction

B. Early Kavya in Tibet: The Evidence of the Stotras

C. Local Tibetan Poetry

D. Kavya 's Tibetan Naturalization

VII. Regional Kavyas

21. Sakalya Malla's Telangana Ramaya?a : The Udararaghava

by David Shulman

A. Spreading the News

B. Poet and Wrestler

C. Telangana Sanskrit

D. Playing with Aspect and Mode

E. Radical Retelling

22. The Classical Past in the Mughal Present:

The Brajbhasha Riti Tradition

by Allison Busch

A. Literary Newness in Dialogue with Tradition

B. New Directions in Indian Kavya : the Mancarit of Narottam Kavi

C. The Self-presentation of the Orchha Court in

the Virsim. hdevcarit of Kesavdas

D. Being Sub-imperial: Multilayered Cultural Identity in the Lalitlalam of Matiram Tripat?i

E. Conclusion

23. Poetry and Play in Kavikar?apura's Play Within the Play

by Gary Tubb

A. Playing with Sounds: The Role of Yamakas

B. Th e Renunciation of Yamakas

C. Playing with Identities: The Role of Roleplayings

24. Modernity in Sanskrit? Viswanatha Satyanarayana's

Am?ta-sarmi??ham

by Velcheru Narayana Rao

A. Viswanatha Satyanarayana: An Introduction

B. Am?ta-sarmi??ham : A Close Reading

C. Modernity in Am?ta-sarmi??ham

D. Minor Characters in the Play

E. Sanskrit Drama in Performance

25. A Distant Mirror: Innovation and Change in

the East Javanese Kakawin

by Thomas M. Hunter

A. Introduction

B. Not Vakrokti

C. Processions: A Thematic Link between Asvagho?a, Kalidasa, and the Kakawin Poets

D. Airlangga and the Dawn of the Classical Kakawin Style

E. The East Javanese Figural Tradition 1: Mpu Ka?wa and

the Development of Techniques of Suggestion in

the East Javanese Kakawin

F. The East Javanese Figural Tradition II: The Question of Rasa and the Bha?a Kakawin Form of the Lyrical Verse

G. The East Javanese Figural Tradition III: The Contributions

of Mpu Panuluh

H. The East Javanese Figural Tradition IV: Mpu Dharmaja

and the Smaradahana

I. Conclusion

Notes on Editors and Contributors

Index