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Figurative Poetry in Sanskrit Literature
Figurative Poetry in Sanskrit Literature
Description
Acknowledgments

My greatest handicap in writing this monograph has been the paucity of manuscript material to which circumstance has allowed me access. Unfortunately, I have not had the opportunity to see more than a tiny Number of the hundreds of manuscripts that most probably contain material to contribute to our knowledge of the Saiva canon and, indeed, the Kubjika cult. I can only hope that fate will be kinder to me in the future than it has been in the past and allow me access to the manuscripts in Nepal which for many years now I have dearly to study.

I wish to acknowledge my debt of gratitude to a number of people who have helped and inspired me during more than fifteen years of study in India and in Oxford, where I did the privilege of working for my doctorate. One of the first who comes to mind is Mr. G.S. Sanderson, whom I consider not only a fine scholar but also a friend. I would also like to express my gratitude to Professor R. Gombrich, who was my supervisor during my years at Oxford and is one of the most sincere people I know. I cannot be grateful enough to Professor Vrajavallabha Dvivedi, former head of the Yogatantra Department of Sampurnananda Sanskrit University. In our many conversations in Hindi and Sanskrit, he has been an inspiring guide to several areas of Tantrasastra. Dr. B.P. Tripathi, head of the Research Department of the same University, has also helped me a great deal, not so much in the field of Tantric studies, but in Sanskrit grammar. His profound knowledge of Panini ad the Sanskrit language has inspired me to take delight in the Sanskrit itself, not just as a tool to read texts but as a language to speak and write for its own sake.

I should acknowledge the many suggestions made by Dr. Goudriaan, who is at present at the University of Utrecht, and Dr. N. Rastogi at Lucknow University. They were kind enough to read this monograph carefully and to bring to my attention a number of important points that have contributed concretely to the final form of this work. I should also thank Dr. Harvey Alper, the editor of the SUNY series of studies in Kashmiri Saivism, for having chosen to include my work in the series and for his sustained encouragement throughout the long process of editing and publication.

Finally-and above all-I acknowledge my parents' contribution: their support in every way has been constant and unremitting; the, like my wife, have always had faith even when it failed me.

Form the Jacket

This book is an attempt at resolving and important tangle, that of the utility of Figurative Poetry in Sanskrit Literature. In the shape of Sabdacitra and Ubhayacitra, connoting verbal juggleries and intellectual riddles this literature amuses vast shades of people, even today. Arthacitra is the real imagist poetry. Even old Sanskrit rhetoricians, Ananda, Abhinava and Panditaraja had a flash of its imagist appeal.

The book has seven chapters. Chapter I is introductory and re-defines poetry and assesses the place of figurative poetry in that context. Chapter II deal with the historicity of different divisions and subdivisions of this branch of poetry as also with some new concepts either co-ordinate with them or contributory to their development. Chapters III and IV discuss the various divisions of Sabdacitra and Ubhayacitra with apt illustrations from copious sources. Chapters V and VI deal with Arthacitra and the development of Citrakavya right from the Vedic age. Chapter VII affirms and establishes the conviction of the concept treated in the previous chapters.

The book is documented with Preface, Abbreviations, Appendices, Bibliography and Index.

Back of the Book

Indian Kavya Literature

(6 Vols.)

A. K. Warder

Indian Kavya Literature is planned in seven volumes volumes as a comprehensive study of literature in the Indian tradition from the standpoint of the literary criticism of that same tradition, the aim being the enjoyment of literature as it was meant to be enjoyed.

Vol I present Indian Literary Criticism including the aesthetic theories about the nature of enjoyment of literature, the techniques of dramaturgy and poetics, the nature of the literary genres and a sketch of the milieu of the writers and critics. Vol. II deals with the formation of the tradition known as kavya, and the early classical models created by Valmiki, Gunadhya, Asvaghosa Satavahana and others. Vol. III presents the celebrated writers like Sudraka, Visnusarman, Kalidasa, Pravarasena, Amaruka, Bharavi, Subandhu and Visakhadatta, with a new analysis and appreciation of their poetry. Recently discovered mss, are utilised to resurrect writers like Sarvasena, Matrgupta, Mentha etc, touching briefly the history of the period. Vol. IV describes in more detail the extensive literature preserved from the 7th and 8th centuries. It analyses the extant novels of famous writers such as Bana, Dandin, Kutuhala, Haribhadra and Uddyotana. The plays of Harsa, Narayana, and Bhavabhuti are also assessed critically. Vol. V delineates in detail the play, dramas, legends, commentaries, dramatic criticism and techniques of the stage pertaining to the period coyering 9th and 10th centuries from Saktibhadra to Dhanapala. Vol. VI treats of the Indian Literature produced in the 11th century C.E. which is dominated by fiction including short and long stories, novels and legends in prose as well as poetry.

Contents
Acknowledgements vii
PART ONE
The Saiva Agamas 1
Preliminary Remarks
The Saivagamas
Saivagama-Its Major and Secondary Divisions
The Pasupatas and Lakulisa
The Kapalikas
Other Tantras of the Vamasrotas
The Garuda and Bhuta Tantras
The Daksinatantras
The Pitha System of Classification
The Tantras of the Four Pithas
The Mantrapitha
The Vidyapitha
PART TWO
The Kaula Tantras 57
The Kulagama
The Mouth of the Yogini
The Amnaya Classification
The Amnayas of the Kaulatantras
The Amnaya Classification and the Four Amnayas According to the Cincinimatasarasamuccaya
Analysis
The Kaulatantras and Saivagama
The Pascimamnaya – The Cult of Kubjika
Kubjika, the 'Crooked One'
The Origins of the Kubjika Cult
PART THREE
Appendix AA History of the Study of the Kubjika Cult 95
Appendix BThe Manthanabhairavatantra 97
Appendix CThe Canon of the Jayadrathayamala 101
The Pitha Division
The Mantrapitha
The Vidyapitha
The Mudrapitha
The Mandalapitha
The 'Eight Times Eight' Bhairavatantras
The Srotas Division
Conclusion
Appendix DManuscripts of the Kubjikatantras 127
Abbreviations135
Notes137
Bibliography203
Index209

Figurative Poetry in Sanskrit Literature

Item Code:
IDK140
Cover:
Hardcover
Edition:
1989
ISBN:
8120826698
Size:
8.7" X 5.7"
Pages:
241
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Acknowledgments

My greatest handicap in writing this monograph has been the paucity of manuscript material to which circumstance has allowed me access. Unfortunately, I have not had the opportunity to see more than a tiny Number of the hundreds of manuscripts that most probably contain material to contribute to our knowledge of the Saiva canon and, indeed, the Kubjika cult. I can only hope that fate will be kinder to me in the future than it has been in the past and allow me access to the manuscripts in Nepal which for many years now I have dearly to study.

I wish to acknowledge my debt of gratitude to a number of people who have helped and inspired me during more than fifteen years of study in India and in Oxford, where I did the privilege of working for my doctorate. One of the first who comes to mind is Mr. G.S. Sanderson, whom I consider not only a fine scholar but also a friend. I would also like to express my gratitude to Professor R. Gombrich, who was my supervisor during my years at Oxford and is one of the most sincere people I know. I cannot be grateful enough to Professor Vrajavallabha Dvivedi, former head of the Yogatantra Department of Sampurnananda Sanskrit University. In our many conversations in Hindi and Sanskrit, he has been an inspiring guide to several areas of Tantrasastra. Dr. B.P. Tripathi, head of the Research Department of the same University, has also helped me a great deal, not so much in the field of Tantric studies, but in Sanskrit grammar. His profound knowledge of Panini ad the Sanskrit language has inspired me to take delight in the Sanskrit itself, not just as a tool to read texts but as a language to speak and write for its own sake.

I should acknowledge the many suggestions made by Dr. Goudriaan, who is at present at the University of Utrecht, and Dr. N. Rastogi at Lucknow University. They were kind enough to read this monograph carefully and to bring to my attention a number of important points that have contributed concretely to the final form of this work. I should also thank Dr. Harvey Alper, the editor of the SUNY series of studies in Kashmiri Saivism, for having chosen to include my work in the series and for his sustained encouragement throughout the long process of editing and publication.

Finally-and above all-I acknowledge my parents' contribution: their support in every way has been constant and unremitting; the, like my wife, have always had faith even when it failed me.

Form the Jacket

This book is an attempt at resolving and important tangle, that of the utility of Figurative Poetry in Sanskrit Literature. In the shape of Sabdacitra and Ubhayacitra, connoting verbal juggleries and intellectual riddles this literature amuses vast shades of people, even today. Arthacitra is the real imagist poetry. Even old Sanskrit rhetoricians, Ananda, Abhinava and Panditaraja had a flash of its imagist appeal.

The book has seven chapters. Chapter I is introductory and re-defines poetry and assesses the place of figurative poetry in that context. Chapter II deal with the historicity of different divisions and subdivisions of this branch of poetry as also with some new concepts either co-ordinate with them or contributory to their development. Chapters III and IV discuss the various divisions of Sabdacitra and Ubhayacitra with apt illustrations from copious sources. Chapters V and VI deal with Arthacitra and the development of Citrakavya right from the Vedic age. Chapter VII affirms and establishes the conviction of the concept treated in the previous chapters.

The book is documented with Preface, Abbreviations, Appendices, Bibliography and Index.

Back of the Book

Indian Kavya Literature

(6 Vols.)

A. K. Warder

Indian Kavya Literature is planned in seven volumes volumes as a comprehensive study of literature in the Indian tradition from the standpoint of the literary criticism of that same tradition, the aim being the enjoyment of literature as it was meant to be enjoyed.

Vol I present Indian Literary Criticism including the aesthetic theories about the nature of enjoyment of literature, the techniques of dramaturgy and poetics, the nature of the literary genres and a sketch of the milieu of the writers and critics. Vol. II deals with the formation of the tradition known as kavya, and the early classical models created by Valmiki, Gunadhya, Asvaghosa Satavahana and others. Vol. III presents the celebrated writers like Sudraka, Visnusarman, Kalidasa, Pravarasena, Amaruka, Bharavi, Subandhu and Visakhadatta, with a new analysis and appreciation of their poetry. Recently discovered mss, are utilised to resurrect writers like Sarvasena, Matrgupta, Mentha etc, touching briefly the history of the period. Vol. IV describes in more detail the extensive literature preserved from the 7th and 8th centuries. It analyses the extant novels of famous writers such as Bana, Dandin, Kutuhala, Haribhadra and Uddyotana. The plays of Harsa, Narayana, and Bhavabhuti are also assessed critically. Vol. V delineates in detail the play, dramas, legends, commentaries, dramatic criticism and techniques of the stage pertaining to the period coyering 9th and 10th centuries from Saktibhadra to Dhanapala. Vol. VI treats of the Indian Literature produced in the 11th century C.E. which is dominated by fiction including short and long stories, novels and legends in prose as well as poetry.

Contents
Acknowledgements vii
PART ONE
The Saiva Agamas 1
Preliminary Remarks
The Saivagamas
Saivagama-Its Major and Secondary Divisions
The Pasupatas and Lakulisa
The Kapalikas
Other Tantras of the Vamasrotas
The Garuda and Bhuta Tantras
The Daksinatantras
The Pitha System of Classification
The Tantras of the Four Pithas
The Mantrapitha
The Vidyapitha
PART TWO
The Kaula Tantras 57
The Kulagama
The Mouth of the Yogini
The Amnaya Classification
The Amnayas of the Kaulatantras
The Amnaya Classification and the Four Amnayas According to the Cincinimatasarasamuccaya
Analysis
The Kaulatantras and Saivagama
The Pascimamnaya – The Cult of Kubjika
Kubjika, the 'Crooked One'
The Origins of the Kubjika Cult
PART THREE
Appendix AA History of the Study of the Kubjika Cult 95
Appendix BThe Manthanabhairavatantra 97
Appendix CThe Canon of the Jayadrathayamala 101
The Pitha Division
The Mantrapitha
The Vidyapitha
The Mudrapitha
The Mandalapitha
The 'Eight Times Eight' Bhairavatantras
The Srotas Division
Conclusion
Appendix DManuscripts of the Kubjikatantras 127
Abbreviations135
Notes137
Bibliography203
Index209
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