Re: {भारतीयविद्वत्परिषत्} VakroktiH Kavyajivitam

[hn bhat]

It is the statement of a thing to be said  is called Vakrokti. In other words, Vakrokti is defined   as the statement of a thing   in a clever way. 

The complete verse is the definition of Vakrokti ;by Kuntaka, who holds that Vakrokti, the poetic language is the only the life of any Poetry, a school literary criticism contemporary to the well established Dhvani theory, which compromises between the theory of Suggestion and others into a new school:

उभावेतावलंकार्यौ तयोः पुनरलंकृतिः।

वक्रोक्तिरेव वैदग्ध्य-भङ्गी-भणितिरुच्यते॥ १.१०॥

Both of these are to be adorned and their Alankarra (ornamentation Figure of Speech) is Vakrokti which is said to be the statement of things (to be presented) in a poetical language(way).

वैदग्ध्यम् = विदग्ध-भाव: (विदग्धस्य = कवेः, भावः, कर्म वा) कौशलम् (cleverness, तस्य भङ्गी = विच्छित्तिः (=शोभा) (splendour, beauty), तया भणितिः (statement, speech) = विचित्रैव अभिधा (denotation), वक्रोक्तिरित्युच्यते।

In short, the presentation of a topic in a way other than the popularly used by normal people, that it conveys more than what the words convey in their normal way is called Vakrokti. The above is the explanation. Hope you will be aware of Abhidhaa = the primary meaning, the denotation if you are introduced to Literary Criticism or any alankara-grantha. Otherwise, it would take a lot of space to expain the above sentence here. His announcement is 

"वक्रोक्तिः काव्यजीवितम्॥" is very popular way of evaluating poetry should be based on the poetical way of presentation of things which he calls and explains in his book.

 वक्रोक्तिजीवितम्.

Hope  the above sheds some light on the phrase you had accidentally presented. More can be known as you learn further about Alankara-s.

With regards

--
Dr. Hari Narayana Bhat B.R.
EFEO,
PONDICHERRY

--
Dr. Hari Narayana Bhat B.R.
EFEO,
PONDICHERRY

[Surendra Mohan Mishra]

को  विदग्ध इति 'लीला-कलासु दिग्धात्मा विदग्ध इति कीर्तित:' इति कुत्रापि कोशवचनं स्मर्यते । विदग्धस्य भावो वैदग्ध्यं तद्विशिष्टभंगीसहिता या
भणितिः सैव वक्रोक्तिरुच्यते । तदर्थः " clever,shrewed " इत्यादि यदपि भवति तदत्र प्रसङ्गे " artistic competence " एव संभवति ।- सुरेन्द्रः ।

2010/8/6 hn bhat <hnbh...@gmail.com>

--
अथ चेत्त्वमिमं धर्म्यं संग्रामं न करिष्यसि।
ततः स्वधर्मं कीर्तिं च हित्वा पापमवाप्स्यसि।।
तस्मादुत्तिष्ठ कौन्तेय युद्धाय कृतनिश्चयः।
निराशीर्निर्ममो भूत्वा युध्यस्व विगतज्वरः।। (भ.गी.)

--
*****
Surendramohan Mishra
Dept of Sanskrit,Pali & Prakrit
Faculty of Indic Studies,Kurukshetra University
KURUKSHETRA-136 119,Haryana,INDIA
Tel : (Off.)01744 238410(extn.)2504
(Mob.)098960 86579;(Res.)01744-238567
Blogs : http://surendrashastram.blogspot.com
            http://surendra-shaastram.blogspot.com

[S P Narang]

Of course, vidagdha includes all the aesthetic qualities. But in local languages, it is equated with chhailaa or chailaa in Hindi where the qualities of a vagabond are found. It is found in Karpuramanjari where the sanskrit chaayaa is found as vidagdha. Its etymological meaning: burnt from inside: expresses its ingredients. Prakrit chailaa is different from Sanskrit vidagdha. Regards, spnarang

---

From: Surendra Mohan Mishra <dr.surendramo...@gmail.com>
To: bvpar...@googlegroups.com
Sent: Sun, August 8, 2010 12:20:26 AM
Subject: Re: {भारतीयविद्वत्परिषत्} VakroktiH Kavyajivitam

[VKG]

प्रणामाः

लीलाकलासु दिग्धात्मा - विदग्ध इति मन्यते इति यदुदाहृतं सुरेन्द्र
मिश्रैः, तच्चिन्त्यम्। कथं दिह - (उपचये)धातुः क्तान्तः, (वि पूर्वकात्)
दह (भस्मीकरणे) धातोः क्तन्ततां अवापदिति?

अन्यच्च, विदग्ध पदस्य अर्थस्त्वेवं भाति, यः बहु शृतः। (Here शृतः means
baked. Vidagdha is the one, baked more than normal requirement).

Etymolody is simple>
वि उपसर्गः, दह धातुः। क्त प्रत्ययः।

पौरोडाशिके प्रकरणे (यजुर्वेदे) अस्य पदस्य उदाहरणत्वं नैर्ऋतत्वेन
दीयते। यो विदग्ध स्स नैर्ऋतः। यः पुरोडाशः (पच्यमानः
अर्थात् )मृत्कपालेषु तव्यमानः हविः, अत्यन्तं दग्धो भवति, सः नैर्ऋतः
निर्ऋति देवताको भवति, तन्मा भूत्, पर्याप्त शृतत्वमेव अपेक्ष्यते,
सदेवत्वाय इति भावः।

एवं दृष्टे सति, पद पदार्थ पर्यालोचनया, यः बहुषु शास्त्राद्यध्ययन -
अध्यापन तपस्सु, अत्यन्तं तप्तः, स एव विदग्धः इति वैदुष्य - अनुभव
सूचकमेतदिति पदं मन्महे।

विरमामः।
वंशीकृष्ण घनपाठी

On Aug 8, 5:40 pm, S P Narang <spnar...@yahoo.com> wrote:
> Of course, vidagdha includes all the aesthetic qualities. But in local
> languages, it is equated with chhailaa or chailaa in Hindi where the qualities
> of a vagabond are found. It is found in Karpuramanjari where the sanskrit
> chaayaa is found as vidagdha. Its etymological meaning: burnt from inside:
> expresses its ingredients. Prakrit chailaa is different from Sanskrit vidagdha.
> Regards, spnarang
>
> ________________________________

> From: Surendra Mohan Mishra <dr.surendramohanmishra....@gmail.com>

> To: bvpar...@googlegroups.com
> Sent: Sun, August 8, 2010 12:20:26 AM
> Subject: Re: {भारतीयविद्वत्परिषत्} VakroktiH Kavyajivitam
>
> को  विदग्ध इति 'लीला-कलासु दिग्धात्मा विदग्ध इति कीर्तित:' इति कुत्रापि कोशवचनं
> स्मर्यते । विदग्धस्य भावो वैदग्ध्यं तद्विशिष्टभंगीसहिता या
>
> भणितिः सैव वक्रोक्तिरुच्यते । तदर्थः " clever,shrewed " इत्यादि यदपि भवति तदत्र
> प्रसङ्गे " artistic competence " एव संभवति ।- सुरेन्द्रः ।
>

> 2010/8/6 hn bhat <hnbha...@gmail.com>

[subrahmanyam korada]

namo vidvadbhyah

 

There are three words -- vaidagdhya - bhangI - bhaniti .

 

Vaidagdhdyam -- the word ' vidagdha' is a  'rUdhisabda ' , like ' praveenah ' (YougikArtha is - prakrstA veenA yasya sah) and 'kusalah' (YougikArtha is - kusAn lAti ) . the YougikArtha , i.e. visesena dagdhah , is not to be taken - why ?rUdhiryogamapaharati / yogAdrUdhirbalIyasI .

 

Upon vi = dah , it is ' napumsake bhAve ktah' ( Pan 3-3-114 ) . Vidagdham asya asti iti ' MatvarthIyah ac', just like - bhuktA

brAhmanAh , vibhaktA bhrAtarah, dugdhA gAvah (Mahabhasyam), Samskrtam etc.

 

So here it means ' nipunah'. Tasya ' karma ' vaidagdhyam (gunavacanabrAhmanAdibhyah kamani ca , Pan 5-1-123, syan).

One would become Nipuna (nipunatA) thru - lokasastrakAvyAdyaveksanAt (Kavyaprakasah) .
 

In TaittirIyasamhitA , DarsapUrnamAsaprakarana (1-6-8) ( The Mahavakyartha is discussed in my book Mahavakyavicarah,1986) the following Mantra is there -

 

"yo vidagdhah sa nairrtah, yo'srtah sa raudrah , yah srtah sa devah I tasmAdavidahatA srapayitavyam sadevatvAya "

The Mimamsa here is as to whether the sentences ' yo vidagdhah' etc are Vidhis or ArthavAdas . ArthavAdas - is the SiddhAnta -- 'parusiditaghrtapUrnaghrtavidagdham ca tadvat ( niveetavat) ' is the Jaiminisutram (3-4-3-11) .

 

So here , following the Jaiminisutra - " avistastu vAkyArthah(lokavedayoh) 1-2-4-32 , and the SAbarabhAsya thereupon, i.e.ya eva laukikAh sabdAh ta eva vaidikAh , ta eva esAmarthAh , the YougikArtha has to be taken .

 

BhangI - it means - prakArah , paddhatih etc . Bhangyantarena vakti - is the usage in Sastras .

 

Here is an example for " bhujanga - bhangi - bhAsitam" of Banabhatta (Kadambary - Maasvetavrttantah) and it can be a Vakrokti as well (Mahasveta to Kapinjala) -

kumAra (ku + mAra) ! taveyam apahasitAhamkArakAntApesalatA prItiparavasam janam kamiva na kArayati ?

 

'anAghrAtam puspam kisalayamalUnam kararuhaih' (Sakuntalam ) etc are other examples .

 

Bhaniti (striyAm ktin, Pan 4-1-3) means ' bhanitam' , 'uktih' . Here is  -Gitagovindam SrIjayadevabhanitamiti gItam (napumsake BhAve ktah) . Both ' bhaniti' and ' bhanitam', are mostly used in the poitic sense ( also ' kim bhanitam ? in common parlance).

 

To sum up - the  vaidagdhya - paddhati - sahita - bhanitam (of a Kavi ) is Vakrokti .

 

Digdha -- it means ' anuviddha' , ' anusyUta ' . Samdigdha - is a counter example . DhatUnAm anekArthatvAt (the meanings

of roots available were appended by Bhimasena  et al and not Panini , they are just like a 'diksUci, . 'Anuviddhamiva jnAnam sarvam sabdena bhAsate (Brahmakanda - Vakyapadiyam ) .

 

dhanyo'smi

Prof.Korada Subrahmanyam
Professor of Sanskrit,
CALTS,
University of Hyderabad 500046
Ph:09866110741(R),91-40-23010741,040-23133660(O)

[hn bhat]

Thanks for the well founded explanation for the sentence of Kuntakacharya.

As it happens, while Anandavardhana well established his new school of Dhvani theory as the essence of Poetry with his philosophical exegesis, against Riti of Vamana and Dandi, with many followers attracted by the systematic presentation they could develop, Kuntaka, tried to set the path in a new perspective taking his clue from his predecessor Bhamaha, who had long ago hinted the possibility of the expansion of the concept of Alankara itself:  

"सैषा सर्वत्र वक्रोक्तिरनयार्थो विभाव्यते।
यत्नो ऽस्यां कविना कार्यः को ऽलंकारो ऽनया विना॥"

And his work is the outcome of his thinking in line with Bhamaha, but unfortunately in spite of his सहृदय aesthetic approach, it could not attract any followers and ended up with himself and moved behind the scene of literary criticism at all. The reason seems to be obvious as he tried to reconcile different theories of Meaning into Poetic Language (in support of and against Dhvani theory) to take it beyond the constraints of the prevalent theories in the name of Vakrokti, the vyapara of Kavi. This the staunch followers of Dhvani, didn't tolerate and put him aside even giving him a try. Even the follower of Alankara school Ruyyaka, favored (if properly taken) Mahimabhatta's Kavyanumiti, and not Vakrokti of Kuntaka as himself found influenced by the Dhvani school.

This the short background of the statement of Kuntaka, when he says,

"...तयोः पुनरलंकृतिः।

वक्रोक्तिरेव (या) वैदग्ध्यभङ्गीभणितिरुच्यते॥"

which is clearly a retaking of Bhamaha-s statement in its wider perspective  Kavi-vyapara. (or kavi-vibhavana) poetical imagination. More comments in this respect are solicited.

Thanks for all who contributed to this discussion in their own way. Originally, a beginner had asked for an explanation of this he found somewhere while reading.

[VKG]

Sri Korada Sastry ji!

I have certain observations about your post:

These lines need more explanation.

Probably, we have little difficulty in reading Samskruta thru your
English Transliteration. (Devanagari for Sanskrit is a better
Alternative)>

---------
1. You say Vidagdha is the Roodhi. Again you quote Sabara Bhashya, to
say.
--------------
> So here , following the *Jaiminisutra - " avistastu vAkyArthah(lokavedayoh*)
> 1-2-4-32 , and the *SAbarabhAsya* thereupon, i.e.*ya eva laukikAh sabdAh ta
> eva vaidikAh , ta eva esAmarthAh* ,
------

the YougikArtha has to be taken .

----------
How is this explained??

----------------
2.
> *Digdha* -- it means ' anuviddha' , ' anusyUta ' . Samdigdha - is a
> counter example . *DhatUnAm anekArthatvAt* (the meanings
> of roots available were appended by *Bhimasena*  et al and *not Panini* ,
> they are just like a '*diksUci*, . *'Anuviddhamiva jnAnam **sarvam sabdena

--------

Your comments in the above matter do not seem to address the poit
raised by me. We all know the fact *DhatUnAm anekArthatvAt*.

But that this means, digdha will become dagdha.?? Any sootra to
convert dih to dah

(As long as we are discussing the Pratyaya Kta, the Prakuti Pratyaya
Vibhaaga, the context does not matter, unless specified by Paanini
Achaarya.)
--
And by the way the when you say, the Purodaada need not be baked in
right proportions>> Do you mean that>> It can be excessively baked or
unbaked, infering Arthavaada>>>

Here Arthavaada has to be attributed to the extent of Deity only; not
on the practical aspects mentioned in the Sruti Vaakya. That sort of
interpretation to SabaraSwamy/ Jaimineeya Sootram would do justice to
the practical aspects of Purodaasa Karanam.

More thoughts are welcome. In light of your inter disciplenary wisdom,
this explanation would be apt, I hope.

Regards
Vamshi Krishna Ghanapaathi

> ...
>
> read more »

[subrahmanyam korada]

namo vidvadbhyah

 

I (rather many) have have  the problem - some people (non-sanskritists) have difficulty in

reading the Devanagari fluently . Scolars prefer  the script .

 

1. Jaimini etc is quoted simply to show that the meaning that is there in Veda, which is Yougika

should not be applied in Alankarasastra , but the RUdhi is to be taken .

 

2. I never said , rather anybody can say that 'digdha' becomes 'vidagdha' , both are separate words . I just explained the meaning of the former because it is not  in currency .

 

'LIlAkalAsu digdhAtmA vidagdha iti kItritah ' - is right .

 

3. I did not say 'purodasa need not etc.' . In fact, i did not discuss the meaning or anythingelse much but just gave the context  to show that  the  analysis involving the term 'vidagdha' .

 

If any scholar wants we can discuss the Mahavakyartha .

Any other comments are welcome

dhanyo'smi

[ss murty]

Sir, Namaste!

I want to know if any short-cut method is there to find out whether a Sanskrit noun is in masculine gender or common gender  so that it will be easy to use the `bahuvachana' correctly.  For example, we say in Telugu `vedam' whereas it is 'veda' singlular and `vedaH' in bahuvachanam.  How to know whether to say vedaH or vedani; graamaaH or graamani;  vrikshaaH or vrikshani; grihaaH or grihaani; mithraaH or mitrani.

It may be a silly doubt to put before the scholars who are writing in these columns.  Still I would like to know any method is there.  Because in Sabdamanjari the examples given may not be for all the nouns.  Which noun becomes napunsaka lingam or pumlingam is my doubt please. 

Thanks and regards to the Scholars,

s.s.murty (9849499899 Hyderabad)

---

From: subrahmanyam korada <kora...@gmail.com>
To: bvpar...@googlegroups.com
Sent: Tue, 10 August, 2010 11:50:06 AM

[Jsra Prasad]

Dear Sir,
PraNaam. The dual and plural forms of words just convey the multiplicity word referent while the meaning is constant.
As a Sanskrit student, I try to analyse the gender suffix involved in the declension form of a valid word. Say, for instance, 'घञ्' is the suffix involved in treating the word 'veda' for masculine gender. As a thumb rule, all such words are in masculine gender, wherever you find the above suffix. Similar function is with respective suffixes in feminine and neuter gender words. Alternatively, you may refer to the 'लिङ्गानुशासनम्' in which you can find the word classifications of all three genders.
File is attached. Thanks to the courtesy of Rashtriya Sanskrit Samsthan, Delhi.
Scholars are pramaNa for elaborations.
Regards,
Prasad

2010/8/11 ss murty <ssmur...@yahoo.co.in>

--
Jsra Prasad, Asst. Professor,
Dept. of Sanskrit Studies
University of Hyderabad,
Gachibowli, Hyderabad - 500 046
Tel: 040-2313 3803

[subrahmanyam korada]

namo vidvadbhyah

 

once it was typed but had gone due to Machine problem .

 

It is better to get by heart  'Namalinganusasanam ' ( Amarakosa) . I learnt it at the age of  five or so . Note the following --

 

pustakasthA ca yA vidyA parahaste ca yaddhanam I

kAryakAle samAyAte  na sA vidyA na taddhanam II
 

Irrespective of age one can learn a Kosa - ajarAmaravatprAjnah vidyAmartham ca sAdhayet , kosavAn AcAryah . 
Without prejudice to any person or subject , presently the learning and retention are at the stage of 'ApaksIyate' . MedhAsakti (dhIrdhAranAvatI medhA - Amarakosa)  is not being put to use.

Once upon a time the Whiteman used to call the Indian scholars as ' walking libraries ' .

 

Amarakosa gives both - Lingas and ParyAyas .

 

2. Learn Panini's Linganusasanam . 'GhanajabantAh'  - this sutra tells you that  the words ending in the listed Pratyayas will be in Pumlinga .

 

3. Read a lot of Literature , different Sastras, Darsanas etc. Hardwork is the secret .

 

4. If at an young age one may consume - SarasvatIlehyam and SarasvatItailam to enhance memorypower . Ghrtena vardhate buddhih.

 

dhnyo'smi