Love Or Leave Bhartuharis Dilemma

This paper, "Love or Leave? Bhartṛ-hari's Dilemma" by Ashok Aklujkar, explores the complex and universal human experience of being torn between worldly attachments and spiritual renunciation, using the Sanskrit poet Bhartṛ-hari as a central figure.

The author begins by acknowledging the inherent difficulty in making choices where all options involve loss or disadvantage, and suggests that the question of "loving or leaving" is not unique to Bhartṛ-hari but is a shared human dilemma. He notes that humans often create dichotomies, find them limiting, and then seek to transcend them. The paper aims to investigate what happens when an author known for depicting śṛṅgāra (love, sensuality, aesthetic experience) also exhibits vairāgya (detachment, renunciation), and vice versa.

Aklujkar clarifies that he will not approach the topic on a purely theoretical level regarding śṛṅgāra rasa and śānta rasa (the aesthetic sentiments of love and peace/renunciation), as these are already well-addressed in Sanskrit traditions. Instead, he will focus on the concrete interplay between śṛṅgāra (love) and śaṇagāra (physical embellishment, ornaments) in Bhartṛ-hari's work.

The paper delves into the identity of Bhartṛ-hari, acknowledging the existence of at least three potential personas: one from oral literature associated with renunciation and disillusionment with his wife, and two from written literature, one associated with the Śataka-traya (Three Centuries of Poems) and another with the Vākyapadiya (a philosophical work on grammar). The author discusses the scholarly debate on whether these personas are historical individuals or a single, complex literary figure. He highlights the recurring pessimism and disillusionment in the Śataka-traya, suggesting a connection to the renouncing persona. He also notes the possibility of a name variation ("Bhartṛ-hara" vs. "Bhartṛ-hari") and a similarity in attitude and time/place between the Śataka-traya author and the grammarian Bhartṛ-hari, suggesting a single, multifaceted author.

Aklujkar posits that the fundamental attitude uniting these personas is a relentless pursuit of life's meaning, devastating honesty, a transcending of conventional boundaries, a return to perspectivism, and a constant engagement with language. He emphasizes Bhartṛ-hari's universal appeal, likening his poignant expression of life's questions to Omar Khayyam, but with greater versatility.

The core of the paper focuses on Bhartṛ-hari's "dilemma of loving and leaving." The author points out that Bhartṛ-hari's legends often mirror this tension: he loves the worldly realm but leaves it abruptly, experiencing both spiritual delight and the persistent pull of worldly pleasures. What distinguishes Bhartṛ-hari, Aklujkar argues, is the clarity, varied expression, tradition-setting nature, and heart-rending honesty with which he articulates this struggle. The paper notes Bhartṛ-hari's admission of repeated failures in overcoming desire and his uncompromsing pursuit of the "real, unalloyed, full 'stuff."

The paper analyzes specific stanzas from the Śataka-traya that explicitly articulate this dilemma, such as the contrast between the allure of a beautiful woman and the pain she can cause, and the choice between the "youth of beautiful women" and "the forest" (representing renunciation). The author also examines instances where Bhartṛ-hari expresses profound frustration and failure in renouncing desire, alongside moments of success. He quotes verses that capture this struggle, like "I did not consume. I was consumed," and the persistent "thirst for pleasure" even in ascetic life.

Aklujkar then investigates Bhartṛ-hari's engagement with śaṇagāra (ornaments and embellishments). He observes that references to physical ornaments in Bhartṛ-hari's poetry are surprisingly sparse and often restricted to common items. He notes a preference for natural ornaments, similar to Kalidasa. The author suggests that the selective and often understated use of ornaments, coupled with a predilection for specific body parts (breasts, hips) and the "glance," indicates that for Bhartṛ-hari, the living and moving are more important than the artificial and unresponsive. This points to a sophisticated aesthetic that values subtle communication and cultivated expression.

The paper also explores how Bhartṛ-hari downplays the value of physical ornamentation by contrasting it with abstract qualities or by juxtaposing abstract qualities. Examples are given of verses that highlight kindness as an ornament for power, restrained speech for valor, and moral conduct as the ultimate adornment, rather than physical embellishments. The poet also integrates abstract cultural achievements like poetry, music, and erudition into his descriptions of valued experiences, suggesting that sensual pleasure alone is insufficient for true enjoyment.

Aklujkar further discusses the "ornamentation" of Bhartṛ-hari's poetry itself. He notes the "well-chiselled" nature of his stanzas, the use of specific meters, alliteration, and symmetrical phrasing, which create a sense of proportion. While this might seem artificial, the author attributes it to the poet's likely strong grammatical background, allowing for effortless manipulation of language. He also considers the possibility that Bhartṛ-hari, as a revolutionary linguist-literary and religio-philosophical persona, might have engaged in this linguistic exploration as a form of "Yoga," a mental discipline for concentration and practice.

In conclusion, Aklujkar argues that Bhartṛ-hari's poetry offers a profound exploration of the human condition, marked by a clear consciousness of conflicting desires, honest expression of personal struggles, and a sophisticated aesthetic that elevates cultural refinement and natural beauty over superficial adornment. The "dilemma" of loving and leaving, intertwined with the interplay of śṛṅgāra and śaṇagāra, is presented not just as a personal struggle but as a universal human experience articulated with exceptional clarity and intensity by Bhartṛ-hari.