Studien Zur Indologie Und Iranistik - Book Summary

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This article, "A Formal Type of Arrangement in the Vulgata of the Gâthâsaptasati of Hâla" by Herman Tieken, published in Studien Zur Indologie Und Iranistik, Heft 4 (1978), delves into the complex organizational principles of the Gâthâsaptasati (also known as Gathasaptashati), a significant collection of Prakrit poetry attributed to King Hâla. While the text itself is primarily about Sanskrit and Prakrit literature, the publication venue, Studien Zur Indologie Und Iranistik, indicates its academic context, and the Jain Educational International (JAINQQ) catalog link signifies its inclusion in Jain scholarly resources.

The core of the article addresses the challenge of how compilers of "kosas" (collections of short, beautiful verses) should arrange individual poems. The Gâthâsaptasati, with its 698 verses primarily focused on love and human emotions, presents a unique case because each verse is self-contained. Tieken highlights various existing arrangement principles in other collections, such as grouping by theme, motif, poetical device, or even alphabetically.

The article then focuses on different recensions of the Gâthâsaptasati, particularly the Vulgata and the S (Sâdhâranadeva) and T (Telinga) recensions.

S and T Recensions: These recensions are noted for their organized structure, dividing the verses into sections called vrajyâ-s (in S) or paddhati-s (in T). The principles for these groupings vary, including poetical devices (like utprekṣâ), motifs (like madhukara - bee), and themes (like separation, anger, etc.). Tieken observes similarities in the ordering of sections across S, T, and another collection, the Subhâsitaratnakosa (Srk), suggesting a common tradition. Notably, both S and T begin with praise of God and then discuss seasons, though T places the seasons section at the end.
Vulgata Recension: Tieken proposes a significant discovery regarding the Vulgata: an arrangement based on a formal type of concatenation, where verses are linked by sharing one or more common words. This can manifest in various patterns, such as A:B, B:C, or A:B and A:C, and can even involve more complex interlocking sequences. The words involved can be nouns, verbs, adjectives, adverbs, pronouns, numbers, interjections, and even different derivatives of the same root.

Tieken provides a detailed analysis of a portion of the Gangadhara-version of the Vulgata (verses 30-51) to illustrate this formal concatenation. He meticulously traces the connections between verses through shared words, highlighting how this formal linking can sometimes be reinforced by thematic content or, conversely, contrast thematic content while maintaining the formal link.

Key Observations and Arguments:

Distinction between Content and Theme: Tieken clarifies that "content" refers to the literal meaning of a verse, while "theme" is the underlying situation or allusion. Classification can be based on either.
Varying Classification Principles: Compilers likely used multiple criteria (theme, alamkāra (poetical device), motif) for classification, potentially for didactic purposes or as a form of commentary.
Differences in Recensions: The S and T recensions offer a more thematic and device-based arrangement, while the Vulgata, particularly the Gangadhara-version, exhibits a distinct formal, word-based concatenation.
Significance of Formal Arrangement: This formal concatenation, as seen in the Vulgata, is unique and not explicitly mentioned in Indian literary tradition concerning kosas. Tieken suggests it might have been a forgotten practice, possibly originating in the Atharva-Veda or reappearing independently.
Potential for Competition: The article speculates that this word-based linking could have been a strategy for poets to compete and showcase their skill by reinterpreting or building upon existing verses, a practice potentially used in royal courts or village gatherings.

In essence, Tieken's article provides a new perspective on the structural organization of classical Indian poetry, highlighting a sophisticated, formal method of arrangement in the Vulgata recension of the Gâthâsaptasati that goes beyond thematic or stylistic groupings. This analysis is significant for understanding the scholarly and compositional practices surrounding these ancient texts.