Vagbhattalankar

Comprehensive Summary of Vagbhattalankar

This summary is based on the provided text and focuses on the key aspects of the Vagbhattalankar, a significant work on Sanskrit poetics attributed to Vagbhatta Mahakavi and commented upon by Satyavratsinh.

1. Author and Context:

• Vagbhatta I (the Author): The text clarifies that the author of the Vagbhattalankar is Vagbhatta I, distinguished from Vagbhatta II who wrote the "Kavyanusashan." Both are identified as followers of Jainism.
• Jain Affiliation: The introductory verses clearly indicate Vagbhatta I's adherence to Jainism, revering "Shri Nabheya Jin" (Lord Adinath) and emphasizing the "Ratnatraya" (three jewels of Jainism).
• Historical Period: Based on references in the text and commentaries, Vagbhatta I is placed in the period roughly between 1093 and 1143 CE, coinciding with the reign of the Chalukya king Shri Jayasinghadeva. His association with Anahilavada (Anahilghat) is also established.
• Commentators: The text highlights the presence of various commentaries, including those by Singhadevgani, Jinavardhansuri, and Kshemsingh, which provide valuable insights into the work.

2. Structure and Content of Vagbhattalankar:

The Vagbhattalankar is a concise yet comprehensive treatise on poetics, divided into five chapters:

• Chapter 1 (Prathama Parichheda):

  • Mangalacharan (Invocation): Begins with a prayer to Lord Nabheya Jin, a characteristic of Jain works.
  • Purpose of Poetry: Defines the purpose of poetry as the attainment of "kirti" (fame). While acknowledging other purposes mentioned by later theorists like Mammata (wealth, knowledge, protection, bliss), Vagbhatta emphasizes fame as the primary goal.
  • Causes of Poetry: Identifies "pratibha" (genius/imagination), "vyutpatti" (erudition/learning), and "abhyasa" (practice) as the essential elements for poetic creation.
  • Nature of Pratibha: Describes "pratibha" as a luminous and all-encompassing intelligence that can conceive subtle ideas and generate new meanings.
  • Nature of Vyutpatti: Defines "vyutpatti" as profound knowledge acquired through a lineage of teachers, encompassing various branches of learning like grammar, dharma, artha, and kama.
  • Nature of Abhyasa: Explains "abhyasa" as diligent and continuous practice under a guru's guidance, emphasizing its role in mastering various poetic meters and techniques.
  • Bandhavaryutva (Pleasing Construction): Details methods to achieve pleasing poetic construction, including the proper articulation of vowel-sandhis, retention of visarga, and avoidance of jarring combinations.
  • Kavisamarthya Shiksha (Instruction for Poet's Capability): Offers guidance on using imagery, colors, numbers, and conventions in poetry. It also touches upon the acceptable deviations in specific figures of speech like Yamaka, Shlesha, and Chitra.

• Chapter 2 (Dwitiya Parichheda):

  • Poetic Body (Kavya Sharira): Discusses the languages that form the body of poetry: Sanskrit, Prakrit, Apabhramsha, and Paishachi.
  • Classification of Literature: Divides literature into "Chhanda" (verse) and "Gadhya" (prose), with a mention of "Mishra" (mixed) forms.
  • Poetic Flaws (Doshas): Enumerates and explains various flaws that detract from poetry:
    • Pada Doshas (Word Flaws): Anarthaka (meaningless), Shrutikatu (harsh to the ear), Vyahatarh (contradictory meaning), Alakshana (unconventional), Swasanketa-prakalpaartha (meaning according to private convention), Aprasiddha (uncommon), Asammata (unaccepted), and Gramya (vulgar/colloquial).
    • Vakya Doshas (Sentence Flaws): Khandita (broken), Vyastasambaddha (disjointed connection), Asammata (inconsistent), Apakrama (incorrect order), Chandobhrashta (violation of meter), Ritibhhrashta (violation of style), Yatibhrashta (violation of caesura), Dushtavakyasya (faulty sentence), and Asakriya (without a verb).
    • Vakyartha Doshas (Meaning Flaws): Related to context, time, doctrine, state, substance, and action.
  • Examples: Provides illustrative examples for each flaw.

• Chapter 3 (Tritiya Parichheda):

  • Poetic Virtues (Gunas): Discusses the qualities that enhance poetry.
  • Purpose of Gunas: Explains that gunas are essential for making even faultless words and meanings praiseworthy.
  • Ten Gunas: Lists and elaborates on ten gunas: Audarya (magnanimity), Samata (equanimity), Kanti (splendor), Arthavyakti (clarity of meaning), Prasanna (cheerfulness/lucidity), Samadhi (concentration/harmony), Shlesha (combination/alliteration), Ojas (vigor), Madhurya (sweetness), and Soukumarya (delicacy).
  • Illustrations: Provides examples for each guna.

• Chapter 4 (Chaturtha Parichheda):

  • Figures of Speech (Alankaras): This chapter is dedicated to the exposition of various figures of speech.
  • Classification: Divides alankaras into two main categories:
    • Shabda Alankaras (Sound-based Figures): Chitra (pictorial), Vakrokti (indirect speech), Anupras (alliteration), and Yamaka (rhyme).
    • Artha Alankaras (Meaning-based Figures): A comprehensive list of 35 figures including Jati (class), Upama (simile), Rupaka (metaphor), Prativastupama (metaphorical simile), Bhrantiman (mistake), Akshepa (objection), Samshaya (doubt), Drishtanta (example), Vyathireka (contrast), Apahnuti (concealment), Tulyayogita (parallel actions), Utpreksha (hyperbole), Arthantaranyasa (argument by analogy), Samasokti (personification), Vibhavana (cause without effect), Dipaka (lamp), Atishaya (exaggeration), Hetu (reason), Paryayokti (periphrasis), Samahita (harmonious), Parivritti (transference), Yathasankhya (order), Vishama (unequal), Sahokti (concurrent action), Virodha (contradiction), Avasara (opportunity), Sara (essence), Samkshepa (condensation), Samuchchaya (collection), Aprastuta Prashansa (indirect praise), Ekavali (chain), Anumana (inference), Parisankhya (enumeration), Prashnottara (question-answer), and Sankara (mixture).
  • Detailed Explanations: Provides definitions and examples for many of these figures, including sub-classifications for Chitra, Vakrokti, Anupras, Yamaka, Upama, Rupaka, Virodha, and Anumana.
  • Vagbhatta's Approach: Notes that Vagbhatta meticulously details some figures while omitting others, justifying this by stating that the omitted ones either lack significant charm or are implicitly covered by the discussed figures.
  • Styles (Ritis): Briefly discusses styles, recognizing only two: Gaudia (characterized by compound words) and Vaidarbhi (characterized by fewer or no compounds).

• Chapter 5 (Panchama Parichheda):

  • Essence of Poetry (Rasa): Focuses on the nine principal "rasas" (emotions or sentiments) that are the essence of poetry.
  • Importance of Rasa: Emphasizes that just as salt is essential for cooked food, rasa is crucial for making poetry palatable.
  • Definition of Rasa: Defines rasa as the "sthayi bhava" (dominant emotion) amplified by "vibhava" (causes), "anubhava" (consequences), "sattvika bhava" (involuntary expressions), and "vyabhichari bhava" (transitory emotions).
  • The Nine Rasas and their Sthayi Bhavas:
    1. Shringara (Love/Eroticism): Rati (love)
    2. Veera (Heroism): Utsaha (enthusiasm)
    3. Karuna (Pathos/Sorrow): Shoka (grief)
    4. Hasya (Laughter/Humor): Hasa (mirth)
    5. Adbhuta (Wonder): Vismaya (astonishment)
    6. Bhayana (Fear): Bhaya (fear)
    7. Raudra (Anger): Krodha (anger)
    8. Bibhatsa (Disgust): Jugupsa (disgust)
    9. Shanta (Peace/Tranquility): Shama (tranquility)
  • Shringara Rasa: Discusses Shringara in detail, dividing it into "Sanyoga" (union) and "Vipralambha" (separation). It also outlines the types of heroes (Anukula, Dakshina, Shatha, Dhrishta) and heroines (Anudha, Swakiya, Parakiya, Pavanangana).
  • Vipralambha Rasa: Further elaborates on Vipralambha, categorizing it into four types: Poorvanuraga (prior affection), Maana (pride/resentment), Pravasa (separation due to travel), and Karuna (sorrow/grief).
  • Other Rasas: Briefly describes the remaining rasas and their characteristics, including the types of laughter, causes of fear, expressions of anger, objects of disgust, and the nature of Shanta rasa.

3. Key Concepts and Contributions:

• Poetics as a Complete Discipline: Vagbhattalankar is presented not just as a treatise on figures of speech but as a complete introductory work on the science of poetry.
• Emphasis on Clarity and Meaning: Throughout the text, there's a consistent focus on achieving clarity of meaning ("arthavyakti") and avoiding flaws that obscure or distort the intended message.
• Practical Guidance for Poets: The work offers practical advice on poetic composition, meter, figures of speech, and the evocation of emotions, making it valuable for aspiring poets.
• Jain Philosophical Underpinnings: The consistent invocation of Jain principles and deities throughout the text underscores its unique philosophical perspective within the broader landscape of Indian poetics.

In essence, the Vagbhattalankar, as presented in this text, is a significant contribution to Indian literary criticism, offering a well-structured and detailed exploration of poetic elements from a distinctly Jain perspective.