By Yigal Bronner
* Logical web page numbering fastened (front topic numbers have been mangled and infrequently reproduction, physique web page numbers have been off via one throughout).
Summary from Columbia Press:
Beginning within the 6th century C.E. and carrying on with for greater than 1000 years, a rare poetic perform was once the trademark of a big literary circulation in South Asia. Authors invented a distinct language to depict either the obvious and hidden facets of disguised or twin characters, after which used it to relate India's significant epics, the Ramayana and the Mahabharata, simultaneously.
Originally produced in Sanskrit, those twin narratives finally labored their method into neighborhood languages, specifically Telugu and Tamil, and different creative media, similar to sculpture. students have lengthy pushed aside simultaneous narration as an insignificant interest, if now not an indication of cultural decline in medieval India. but Yigal Bronner's severe Poetry successfully negates this place, proving that, faraway from being a meaningless hobby, this complicated, "bitextual" procedure either transcended and reinvented Sanskrit literary expression.
The poems of simultaneous narration teased and estranged current conference and showcased the interrelations among the tradition's foundational texts. by means of targeting those achievements and their reverberations via time, Bronner rewrites the historical past of Sanskrit literature and its aesthetic ambitions. He additionally expands on modern theories of intertextuality, which were mostly restrained to Western texts and practices.
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Additional info for Extreme Poetry: The South Asian Movement of Simultaneous Narration (South Asia Across the Disciplines)
Just as Aśvaghosa and Āryaśūra rendered the popular tales of the Buddha into poetry, and Kālidāsa rendered stories from the epic and Purānas into ornate verse, Subandhu aimed to rework kathā materials into the cosmopolitan and prestigious medium of Sanskrit belles lettres. Like the earlier breakthroughs of Aśvaghosa and Kālidāsa, Subandhu’s poetic reworking of the kathā genre resulted in a new and distinctive literary form. ”22 Existing scholarship on the Vāsavadattā oﬀers us a variety of possible labels for its genre.
Insofar as lexicographers merely reﬂected a reality, they reﬂected the conscious eﬀort of poets to expand and reinvent their language. But, as I argue later, there is good reason to believe that they too were active agents in this process. The idea that the linguistic construct found in grammars, lexicons, and poems reﬂects some kind of natural state of aﬀairs and the thought that Sanskrit as we know it—a language whose very name means “the Reﬁned”—is a natural product do not stand to reason. 49 There is no inherent or natural reason why English writers could not have crafted tools similar to those used by Sanskrit poets, had they so desired.
Vast portions of the text are devoted to lengthy descriptive passages, dedicated to the heroine and hero and to a variety of natural entities such as nighttime, spring, Mount Vindhya, and the ocean. ”30 But although he is clearly invested in the work’s descriptive portions, Subandhu is not unmindful of the plot. The Vāsavadattā is carefully built around the parallel versions of the shared dream experienced by the hero and the heroine—one narrated directly, the other through the parrot’s story- within- a-story—and prudently withholds the mystery of Vāsavadattā’s disappearance until the heroine’s explanation at the very end.