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Extra resources for A History of Indian Literature - Vol. V: Scientific and Technical Literature (Part II) - Fasc. 3: Indian Poetics

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Gerow • Indian Poetics Psychologically the problem is quite the reverse, fomt appears tjiat this 'jDoetic' domairjj&£aj more natural to languagejbhan the scientific and univocal uses that in high culture forms assume more importance. denoJfeation (abhidhd) that later is 'discoyered'i JhejRfieds of explicitude. are. 150 ) The contention that one of the natural functions of language is associated with poetic and non-declaratory utterance in effect resolves the historicalscientific paradox, but it remains a mere contention unless it can be shown that there is an essentially different mode of apprehension associated with 'poetic' as opposed to 'scientific' meaning.

138 Dramas continued to be written, but we presume, were rarely performed—which is to say in plain language that drama was deprived of its chief distinctive characteristics, and reduced to the status of a written art. The writing of drama, deprived of the medium in which the drama comes alive, came increasingly under the dominance of the poetic styles, where ornate metaphor, difficult language, and unplayable (nondramatic) stories dominate. But oddly enough, as drama ceased to be a living 136 The vexed question as to whether the author of the karika portion of the Dhvanyaloka was also Anandavardhana is of almost no doctrinal significance, nor even of much historical significance—inasmuch as no trace of separate influence of the karika text is preserved.

119 The eight rasas enumerated by Bharata are: srngdra (amorous), hdsya (comic), karuna (pitiable), raudra (violent), vlra (heroic), bhaydnaka (terrifying), bibhatsd, < (disgusting), and adbhuta (wondrous), to which a ninth, Santa (peaceful) and others are added later. The literature on rasa is quite large; this notion is rightly thought to be both central and specific to the Indian theory of art. Most accounts of rasa however concentrate on its psychological or metaphysical import, rather than its strictly 'aesthetic' significance; a good portion of the history of Indian poetics is however devoted to explaining just how and in what contexts a notion as apparently innocent as "taste" can have such a functional overload.

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