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Tilliyard and Kuntaka (A Comparative Stylistic Study)
  • Tilliyard and Kuntaka (A Comparative Stylistic Study)

    ₹300.00Price

    A humble effort has been made to tackle the difficult subject, in as lucid a manner, as possible. A comparison is very difficult - one has to analyze both the aspect of the problem's pros and cons - inside and outside - and it requires an impartial analysis to arrive at a conclusion, which is indeed a very difficult one when both the writers are supposed to be of a particular higher standard. The author has a difficult duty to observe that no injustice has been done to anyone even conscientiously. The balance has to be on both sides, which is rather an impossible task. Here the comparison has been undertaken between an Eastern and a Western writer, where the premises, the basis of thinking is quite varied one oriental and the other completely occidental, and out of the difficult two, one has to arrive at a judgment about the variability of one and the other. It is a decidedly difficult task undertaken; a task to remain un-balanced under any pressure because each one has one's own of looking at things. Bare-bodied beauty in the West has not much attraction; whereas the same situation in the Eastern side would raise an eyebrow.

    Thus, here the author has to be very very careful and he had to divide the volume into three distinct parts in the first part he has made a detailed survey of the achievements of a Foreign writer.

    In the second part, he tried to have a look at the Indian status, situation, and environment, and in the third part, he critically compared both individuals in the best possible way.

    Although it appears that his effort is sincere, the author's tilt is towards Eastern culture only and it is but natural, howsoever one would make an effort in his critical assessment, one's basic instinct would lead to him his own culture only and the author is guilty of this fault of slanting towards eastern hemisphere - it requires to be connived at. The author has critically commented on both the West and the East, and yet he has tried to remain impartial in the best possible way. His language appears to be not for a common man it appears to be a bit hyperbolical and at times difficult to follow fully, but that does not mean that he has done injustice in any way it is his style and he excels in it rather lucidly, lovingly, lively.

    SKU: 9788186050101
    • PRODUCT INFO

      AUTHOR HARI PRASAD PANDEY
      PUBLISHER BHARATIYA KALA PRAKASHAN
      LANGUAGE ENGLISH
      EDITION 1st
      ISBN 8186050108
      PAGES 185
      COVER HARDCOVER
      OTHER DETAILS 9.00 X 6.00 INCH
      WEIGHT 360 GM
      YEAR                        1998                                                        

      COUNTRY OF      

      ORIGIN 

      INDIA                                                     
    • AUTHOR INFO

      HARI PRASAD PANDEY

      Dr. Hari Prasad Pandey Atm-aj Shree Manikarnika Pandey. (Swatantra Senani) Born at Sultanpur (Uttar Pradesh) Education: M.A. 1982 Ph.D. 1987 Sahitya Shashtree Gold Madalist 1983 Sahitya Acharya Gold Madalist 1985 All at M.S. University, Baroda. Honored by Kanchi Kam Kotipithadhishwar 1981.

      Three Gold Medals by Dwarka Sharda Pithathishwar in the Sanskrit Elocution competition. Honored by Jawaharlal Nehru (Meritorious) Certificate - 1983.

      Worked as a Senate Member in the M.S.

      University, Baroda At present working as a "Pradhyapak' in the Sanskrit Mahavidyalaya under M.S. University, Baroda. In the absence of the authority, acted as Principal, Baroda Sanskrit Mahavidyalaya, Baroda. There are several achievements to his credit, e.g. - it is he, who got the Baroda Sanskrit Mahavidyalaya transferred from the congested city area to the Uni. Campus. It is with his efforts that the College was re-designated as "DEPARTMENT OF TRADITIONAL SANSKRIT STUDIES". At the art Faculty, the medium of instruction is English, whereas, at Baroda Sanskrit Mahavidyalaya, the medium of instruction is only Sanskrit.

      Dr. Pandey the author of the book - "A Comparative Stylistic Study of Tillyard & Kuntak' is a humble missionary man.

      Dr. Pandey had his primary education in U.P. only. He joined Baroda Sanskrit Mahavidyalaya as a student of the Sanskrit Language, which he picked up so quickly and so soon. Step by step, he gradually rose to the ladder and he completed Sahitya Shashtree, Sahitya Acharya, and Ph.D. in Hindi. He has two publications to his credit.

    • PREFACE

      According to the dictionary meaning it is an introduction to a book stating the subject: and the meaning of the word "treatise" is 'Literary composition dealing more or less systematically with the definite subject;

      My handling of the subject, vis-a-vis the above two dictionary meanings, is quite different it is out of the rut it is out of the tradition it is fortunately abnormal. Being a student of the Sanskrit language, I had a picture in my mind, as to how ideas evolve and take a specific shape in a specific form. For example:

       

        Signs  
        symbols  
        Letters  
        pre-fix  
        suffix  
        words  
        Meaning  
      Direct Indirect slanting
        comparision Oblique

      The comparison comes finally at last after having undergone a process. A comparison may be between two equals or not equals. It is just like a photograph - it exposes - it does not pre-suppose, suppose- or impose; it shows exactly what it is And that is comparison - this is this that is that the questionable qualities come to the fore and put before us the readers, what is what. Just like "Swan Theory, we have to select the 'Milk', leaving the 'water' behind.

      The book happens to deal with two ideologies; Eastern & Western The Oriental and Occidental. What has been stated by Tilliard has been established long back by Indian authors; much much beyond, but then we cannot say who is wrong and who is right.

    • FOREWARD

      The forward of a book is nothing but its synopsis - a summary - a conception of what the writer wishes to convey in the entire book. It is just like squeezing sea in a ciborium - a Herculean effort to put in a pit the great Himalayas; but then there is a crude method also to give a vicarious description of the same item in a different form-in a metamorphosis - just a transmogrification of original vastness.

      Two different writers - Eastern and Western - propound the same theory of oblique expression - slanting/ironical exhibition of their views in a lucid way. It is up to the reader how she interprets and understands it. To deep thinkers, they could over it carefully, whereas super silious would just pass over cursorily and ignore it - even the original and the comparison - both.

      It is just the 'meaning' that matters: The word meaning carries a vast meaning in all respects. It carries colossal chaos and cosmos - both. Easily and un-easily each letter of the alphabet carries a meaning; every sign symbol, dot, a curve, carries a meaning, - such symbols and signs added to the alphabet, metamorphose the meaning materially. Prefixes/suffices in the form of letters or pairs of letters, or words, carry different meanings, according to the text, time, and place. One meaning at one place or province may not have the same meaning, at another place. If we go on giving examples of each, it would need an additional volume, which is beyond the reach of this compass. The 'meaning' differs from person to person, - what applies to one, may not necessarily apply to another the other should have a different word altogether and not the same one according to the meaning desired to be conveyed.

      Then touching the subject of the book hereinto- there are 'direct' meanings and 'indirect' meanings each different from one another poles asunder according to time, place, and person. Told to someone else, applies to someone else.

    • INTRODUCTION

      Sanskrit Literature is rich unquestionably no doubt; Years have gone by, Eons have gone by - the time has passed into thousands of years, and yet Sanskrit Literature is as rich as ever; as fresh as ever, as relishable/ as palatable, as ever. The more you study it, the more you like it, and the more you love it. In all other subjects, at one stage or the other, you will feel a feeling of averseness, a feeling of uncomfortableness/uneasiness, whereas Sanskrit literature is the only subject, where you never get bored you never get tired; the more you taste deep, more you relish it because of its versatility, variability, veracity, and virtue.

      Many writers have given their views on their subjects of liking, and these views, these creations, these eternal creations are permanent, steadfast, and last forever and ever. Nothing has withered them, in the past, nor the future will do so.

      The Book 'Poetry Direct an Oblique' by Tilliard is worth having a second look at. It deals with the principles of Kuntak manifested by him in his book "Vakrokti - Jivitam' in a very lucid way. It is an interesting study for those who are students of the Poetry of Sanskrit Literature. "Swabhavokti" and "Vakrokti" are the aspects, which always draw the attention of those who are interested in the subject. The Book of the Tilliard also touches on the subject of the Book 'Dhwanyalok' written by Shree Anand Vardhan. He has taken care of both the books mentioned above; if you read between the lines, you will find that he has endeavored very cleverly to blend the two in his dexterous way. That shows his deep study of the subject too; and had it not been so, he would not have justified the subject, in the splendid way that he has done. Hilliard & Anandwardhan go parallel the difference is in observation only. Hilliard has based his remarks/observations, having taken into consideration only Western poetry and also in short. His principle observations are based on the principles of 'Vakrokti' only. But even in the 'Abhidha' analysis, his observations are quite important. In India, these principles have been discovered 1000 years before, whereas, the Western learned persons have taken the responsibility on this own for having found out this principle in the 20th Century. Although the subject discussed is the same, Tilliard's observations and criticism are important and worth their weight at the appropriate level. Whatever Tilliard observes, it has to be observed and compared with Indian domination.

      As far as Tilliard is concerned, his attention is towards, "Dhwanivad" only, but when he gives examples, he has been brought nearer to Shree Ramachandra Shukla. "Rasvad" (before Shuklaji) was complete in its Indian atmosphere and had its Indian technique and handling, he was a supporter of several principles beneficial to Indian culture; This is also the observation of Tilliard. He too is also having an insight into practicality and his adeptness is not only imbibed with 'rasa', but also it affects 'Bhavtatva' in reality. Although he is a supporter of the beneficial principles, he has considered the advice of Mathew Arnold as wrong and directed that he should select any other subject. In poetry, subjects relating to lofty ideals must get an appropriate place in literature which he has made abundantly clear. He is opposing the theory of Arnold because it does not suit his technical thoughts which have no background. He thinks that the high ideals must have a background of some personal experience with the hope of 'Dhwani', he should express himself cf effectively. He has put all his force into the principles of 'Dhwani' in his book.

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