22. CHAPTER XII SURANAS THEORY OF BEAUTY AND OF ITS EMERGENCE

CHAPTER XII SURANAS THEORY OF BEAUTY AND OF ITS EMERGENCE

Before proceeding to enqune mw me nature of Beauty as conceived by Surana, it is important to bear one point in mind. Kalāpūrnodayam is mainly a poem and not a treatise on aesthetics,and hence it deos not deal with the subject directly topic by topic as logic demands, but simply suggests it as dic- tated by relish or carvana. Creation of Beauty thus being the end in view,one should not expect either an elaborate and critical exposition or citattion of past and contemporary theones as in a regular treatise such as Dhvanyaloka, Resagangädhara etc. When such is the case one has to be careful not to miss the various

258 suggestions about Beauty and theory of Art scatterd over the whole length and breadth of the poem, and at the same time every precaution is to be taken so that one may not read one's own thoughts into these suggested ideas. Only to avoid this par- ticular danger, the fundamental principles of the philosophy of Visstadvaita and its conception of Beauty are given. So long as these points are kept in view, this enquiry will not be futile. The first suggestion about theory of Beauty is given to us when Kalabhasini admires Manikandhara's poetry in the follow- ing terms: "Moonlight is both cool and beautiful but lacks fra- grance. Crystals of camphor have coolness, beauty and fragrance, but they do not have softness. All these qualities are to be found in the gentle breezes emanating from the Malayaparvata but they are deficient in one thing .If they have only that sweetness, the words of this poet may be imagined to have equals in them."348 Here the objects brought in for comparison with the words of the poet are the moonlight, crystals of camphor and the gentle breezes which are all physical objects and which are deficient in one way or other when compared. That means Beauty in poetry is not an object of perception. In this context what are considerd are cool-

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and therefore Beauty is only a quality which cannot be grasped by perception. Then this question naturally arises, of which sub- stance is it a quality? Before answering it one has to consider another point also. If the poet thinks Beauty to be a quality, why docs he bring in the above and not the ten qualities or gunas Does not Dandin in his Kavyadarsa clearly say this?

Only two qualities mentioned by the poet are to be found in the list of the Alamkarikas and the other two have completely noth- ing to do with them. Therefore these four do not refer to Kāvya gunas and must belong to some other thing. If one only recollects what has been said in connection with the philosophy of Visistădvaita, it will be clearly evident that splendour, beauty, fragrance, tenderness, loveliness, youthfulness, softness etc. are 259

the qualiitiss of the divine and auspicious body of Brahman.350 Now it can be clearly seen that Beauty is a quality of Brah- man and that it is not an object of perception. The word 'Jo85' in the original text plainly indcates that it is revealed through im- agination and nothing else. At this juncture there may be a suspicion of reading one's own thought into the stanza. But this will be dispelled immediatly ifit is remembered that this idea is expressed by no other person than Kalabhasini who is not only a citizen of Dvaraka and a staunch devotee of Krsna but also a courtezan well accomplished in so many fine arts.351 Therefore Beauty is quality of Brahman and not a substance colour, sound, or word. Nor can it be grasped through perception or inference. Imagination only reveals it, and except this there is no other means of experiencing it. That Beauty abides in the five forms of Brahman,the tran- scendental, the incarnational, the vyuha, the immanent and the arcavatara is clearly suggested throughout the poem. In connec- G. V. Knshna Rao

tion with the fundamental principles of Visistadvaita and its. concept of Beauty,the nature of these five forms has been explained. In view of this one can easily understand the signifi- cance of ıntroducing Laksmı Narayana-Samvāda, Sri krsna, and the descriptions of the sacred places of piligrimage and the gods thereat. In the former the poet has given a graphic picture of the transcendental or para and in the second he has described one of the most important incarnations of Visnu. The elaborate de- scription of Manikandhara's pilgrimage gives various sacred idols or arcavataras of Visnu. The immanent aspect of Brahman is revealed through all the characters. None of them, however bad, is completely devoid of goodness,and none is represented as an embodiment of evil,pure and simple. The poet has every opportu- nity to paint Salyasura black without any trace of whiteness in him. But the very fact that the poet humanises him, as Dr.Reddy has pointed out, plainly shows that God is present in each and

260 very creature in the universe however ugly and censurable his form and character may be. Due to this conception alone on the part of the poet one finds the spark of true love in Salyasura. Not only in this character but also in every other person that appears in the story one sees something divine and lovable about him. The form uyuha of Brahman is only for the purpose of crea- tion of worlds etc. as it has been cited on more than one occa- sion. The poetic canvas of Surana extending over the three worlds- the worlds of Brahma, Indra and the mortals-suggests beyond doubt this form of vyuha. Had he not this in view, he would not have these three worlds as the scenes of action and would not have conceived the story in such a way that there appears to be no unity of place. Thus according to the poet Beauty abides in five forms. Because Beauty is a quality of Brahman, and because a quality does not exist apart from its substance, a beautiful object is a mode of the Absolute. Man or nature, therefore, cannot be its cause. Brahman alone is its cause, the one who is generally con- sidered to be the cause or agent in its manifestation is only an instrument and nothing else. This idea is clearly brought out by the follwoing lines: Studies in Kalapurnodayam

When Beauty is a quality and a beautiful object a mode of Brahman, the artist is only an instrument seleeted by Him for its manifestation. One will be selected to be an artist either by one's great merit or by divine grace. Barring these two,there is no other way open to become a genuine artist. One may devote all his energy and skill to the cultivation of his mind, but without this divine grace it is of no use. This point is clearly suggested by more than one episode in the story. Narada,the divine seer,in his anxiety to excel Tumburu in music tries every means at hand, studies under each and every teacher well. known for music but fals to achieve the standard required. At last, through his severe penance, he wins the grace of the Lord and becomes a perfect musician. Even though all this trouble is not undergone by Kalabhasını and Manıkandhara, they also become great musicians because they have earned the grace of Sri Krsna. This is plainly 261 brought to the forefront when Narada says :-

Manikandhara becomes a poet only after acquiring the grace of Mrgendravahana by cutting off his tongue with the sword in that temple. This information is gained when he says :-

ஸ்வில கனரை கக் ஸஜ்

G V Knshna Rao

Prathamagama and his three brothers are able to indulge in vicitrakavitva because they are the embodiment of the four Vēdās.355 Since Beauty is a quality of Brahman,and since it mani- fests itself by divine grace through the instrumentality of the in- dividual artist, the artist and the aesthte must be devotees. There cannot be any other relation between the Absolute and the indi- vidual self who entirely depends on Him to get his sustenance. This aspect is clearly illustrated by Narada, Manikandhara and Kalabhasini. All the three are devotees and artists of the highest 262 rank. Narada, is musician. Kalabhāsini has, on the other hand hand, mastery over painting, dancing and music. As Brahman is the ultimate goal and the very basis of the universe and as the creative faculty is the gift of divine grace, the poet or any artist must create in a spirit of complete devotion to Him. No other ulterior motive, pecuniary, personal, social or par- tisan gains should weigh with him in his creative activities. To portray Brahman, to please Him and to adore Him and to dedi- cate himself to Him he must devote his faculty. This is exactly the advice of narada to Manikandhara on the eve ofhis departure when the former says:

This is once again repeated when the vaisnava devotees advise Manikandhara in the following manner :-

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Answering the doubt regarding the utility of such an action they say :- 263

358

This poetry or any Art devoted and dedicated to Brahman will certainly, Surana opines,put the agent on the path of bhakti, the royal road to release or Moksa. It may not take place immediately and in the very same birth, but nonetheless it will have its effect at some point in the continuum. Can the sastras do more than this to their followers? Hence genuine Art has as much value as Sastra or philosophy if not more. We have seen the value of a work of Art from the standpoint of the artist. Now it is necessary to enquire into its value to the aesthete or other individuals who do not participate in its crea- tion but only enjoy it. This aspect of Art is not dealt with directly as in the previous instances but suggested in a roundabout man- aevbxAsrdapruna's conquest. Kalapurna signifies, as it is going

to be explained under the theory of emergence of Art, only a full fledged work of Art and nothing else. The poets's elaborate de- scription of Kalapuma's conquest of the kingdoms of Gauda of Kalāpūrna's conquest of the kingdoms of Gauda, Utkala, Kalınga, Dravıda, Pāndya. Kērala, Ghurjara, Kuru, Kasi, Pragjyotisa and other countnes bears a twofold significance, one in the context of the emergnce of Art and the other in the context of its objective value. Because the second aspect is under consideration,it is nec- essary to see what the poet suggests in this respect. From the above list of the kings conquered by Kalapurna,it is evident that a genuine work of Art will not only overcome the barriers of space but also of language and custom.It subdues unruly passions and emotions and establishes a rule of order and peace. This conception of the universality and utility of Art is not in any way peculiar to Surnan alone. Almost all the Älamkankas359 have invanably expressd the same opinion. There 264 may be one two writers like Panditaraya360 who have not stressed upon its utility, but nevertheless they do not deny it altogether. More valuable than the above practical use is than spir- itual aspect. With the gradual development of taste the sense of Beauty in the aesthete also develops. The craving for Beauty and quest for it increases in him as a result of which he acquires the spint of enquiry into its very nature. This search naturally leads him to see the truth that it is the quality of Brahman and there by to try to achieve that particular state which will enable him to be in eternal communion with the Absolute in which Beauty abides. Thus a good work of Art helps to realise the spirtual values,to leave behind the lusts of the flesh and thus to lift one- self above samsara. This is what is meant when the Vaisnavites informed Manikandhara that his composition would put him on the path of bhakti. After the survey of the nature of Beauty in general as con- ceived by Surana one can now turn to his theory of poetry. Before dealing with the subject, it is not out of place to mention that there are two divergent opinions. The first opinion which claims Studies in Kalapurnodayam

to be in regular contact with the traditionsl views of Alamkāra Sastra argues that though the poet has not much to say about the nature of poetry in the Kalapurnodayam,he has tried to say something in his Prabhavatpradyumnam. It adds further that the poet's suggeston as to the imagination required on the part ot the reader to enjoy his later work hints at the poet's acquaint- ance with dhvart.361 The second opinion which does not seem to know the very significance of the Alamkarka terminology which the poet uses,maintains that Surana's conception of style had changed in the Prabhävatipradyumnam for the better. While in the Kalapurnodayam, according to this opiion, the poet was much attached to the Alankara Sastra, in the latter he evinced no such taith.362 But it is unfortunate that both the opinions should miss the truth and thus belittle Surana's achievement. If the first opin- ion ignores that Surana is the precursor to Panditaraya, the sec- ond does not perhaps realise that there is practically no change in his theory of poetry. 265 Before one takes up Surana's conception of poetry, one has to recollect that the Absolute conceived by Visistadvaita is, un- like that of Advaita and Kashmir Saivism, not abstract but con- crete having qualities and body. Though it is distinct from the body, it does not exist apart from the body. Similarly the body also is distinct and different from the Absolute, but it does not and cannot exist separately from the Absolute. It lives and ac- quires value and meaning as the body of the Absolute, and not as an independent entity. Every object in the space-time world is only a mode of the Absolute drawing from it its sustenance and breath .From the standpoint of Advaita these objects are not real but illusory where as for Käshmir Saivism they are real. For both of them these objects ultimately become one with the Absolute thereby losing their individuality. Visistadvaita,on the other hand, belives that though they attain the nature of Brahman they do not lose their individualıty. This conception has inspired Surana to come out with a new definition of poetry. As it has been observed on a previous occasion, every object consists of a body, soul and the all-pervad- G V. Knshna Rao

ing Brahman. Though these three factors have different values, one cannot exclude any one of them from reality, and reality con- sists of these three factors. A poem is an object and as such must consist of these three factors, the body, the soul and the Absolure. If the word is the body, the content is its soul, and beauty its Absolute. Because all the three factors are real, a poem cannot exist without any one of them. To stress the equal impor- tance of the body, Surana defined poetry as the composition of words fitting into each orhber like strings of pearls strung into harmony.363 This vague definition becomes clear with the relative position given to dhvani, rasa, riti, guna and alamkara pertaining to both the word and the meaning. Though noboky seems to have taken pains either to understand or explain this definition, it 1s clear that what the poet means here is that a self-evident and self-sufficient composition of words having unity in variety is po- etry. This is not reading one's own thoughts into the poem be- 266 cause he himself explains his definition in the Prabhavati- pradyumnam when he says through Sucimukhi :-

To put it in other words,while grammatical purity of words is nowhere neglected, affinity among the words should exist manly in view of the richness of meaning. Thought must be very clear,

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involving no difficulty for the reader and at the same time there should be no repetition whatever is necessary for understanding it should be supplied without losing oneself in unnecessary details by leaping from one point to another. What is important in the context should be established firmly. With reason pervadıng, and with no contradictions between the preceding and the succeeding, the various parts, sentences and purports must be in complete unity with the whole, the Mahavakya or the Mahakavya. All this is implied when the poet says that poetry 1s a compositionof words fitting into each other like strings of pearls strung into harmony. As a matter of fact he strictly followed the principle to the letter as discussed and explained in Chapters 5 and 6. When he gives this definition he is quite well aware of the various theories of dhvani, rasa, riti, guna and alamkara which were advocated by his predecessors. This is quite obvious from the fact that the poet not only mentions them, but also assigns them their respective places in his theory. In the verse "XcX 267 S3585' he comes from the highest principle to the lowest which is sabdalamkara. What he means there is that a poem is a com- position of words which is self-sufficient,self-evident and manı- festing unity in diversity. This is brought about, he thinks, only through dhvani. And dhvanikara and Abhinava have already es- tablished how riti, guna and alamkara are subordinate to dhvani. He borrows this picture in toto and attaches it to his theory to make it both comprehensive and at the same time synthetic. Just as Panditaraya accepts the theory of dhvani and defines poetry as the word that manifests beautiful meaning, so also Surana accepts dhvani and defines it as a composition of words that is self-sufficient, self-evident and at the same time manifesting unity in deversity. Thus he makes poetry a mode of the Absolure, more concrete and definite that of pandıtaraya. Now coming to the second opinion that Surna betrays no longer any attachment to Alamkara Sastra in the Prabhavati- pradyumnam, one can say that it has no textual support. If the second opinion is true, why should Sucimukhi announce with pride that she has recived the title upama-tisayokti-kamadhēnu G. V. Knshna Rao

from Sarasvati? Ifhe had no respect and attachment to Alamkara he would have made Sucimikhi inform us that she had recived some other title than upama-tisayôktı-kāmadhénu Besides,as ex- plained in the previous paragralp the poet is only making ex- plicit what is implicit in the first line of the verese beginning with c 38a5 ..... . If this is not conceded, sucimikhi's title can- not be consistent with the conception of poetry defined in the verse beginning with edod7d3w .. . which occurs in the very same book, Therefore the second opinion appears to be only an opinion, not based on facta and understanding. Suruana's con- ception of poetry and Art as revealed in the Kalapurnodaym had not changelby the time when he wrote his Prabhavatıpradyumnam because, as had already been pointed out, there was no changed in his outlook on life. What is to be seen is only, as Dr.Reddy points out, matunty of his style in the Prabhavatıpradyumnam. It had gamed more mn crspness, ease, depth and naturalness 268 that is all. Before considering the relative merits and dements of Surana's definition of poetry,one has to understand his theory regarding the emergence of Art which occpies a predominant position in the Kalapumodavm. There are many theones defin- ing Art and explaining aesthetic expenence but there seems to be not even one apparently accepatable theory regarding the emer- gence of Art.

EMERGENCE OF ART

Art according to Surana is neither imitation nor reflection of Nature. The artist,he firmly believes, does not hold the murror up to Nature and produce thereby a permanent record of fleeting images of life. Much less does he select certain portions of it that are universal and record them through his medium. He does not echo simply what is felt and thought by the majority like politi- cian. Nor does he create out of an empty brain something daz- zling and attractive. For him artistic creations are not in any way illusory or erroneous. Both a Realist and an Individualist that he Studies in Kalapurnodayam

s, he not only admits the pluralistic world and its influence on the artist, but also concedes it as the ground for the emergence of Art. His own contribution lies in the realisation that a work of Art results through the artist's reaction to life that is going on with- out and within. Without this individualtity reacung and creaung,there cannot be Art. Individualistic expenence, there- fore, is the sine qua non for a work of Art. But it is not the be-all and the end-all because, in that case, an individual's pnvate ex- penences, illusions and drems also become works of Art. What is meant is that artistic creation begins here and it is the first stage. The second stage commences with the sublimation or transfor- mation which is again owing to subjective conditions such as the artist's outlook, reaction and culture on the one hand, and to the objective conditions such as events in the world and its conven- tions and regulations on the other. Even at this stage, this crea- tion will not differ in the least from our day-to-day life. Nor does it possess grater value, higher reality or deeper significance. In the third and final stage, the artis's imagination makes it self-suffi- 269 cient and self-evident. In this stage of development what are im- plicit in the experience of the second stage are made explicit and vice-versa as demanded by the two principles of self-sufficiency and self- evidence. Even new things and events may be added for fulfilling the two principles. In this process, at this stage, objec- tive life will play to some extent its own role. By the time when this expenence emerges as a work of Art, imagination sees to the other aspect of making the unity in diversity very clear. Thus a full-fledged work of Art, as it emerges is neither pure subjective experience like a dream nor pure unversal expenence like that of mathematics or any other exact science. It is sui geners, a unique fusion of percept and concept. According to Surana it is only universalised individualistic experence and not a univesal expe- nence made concrete as pure idealists maintain. Now one may wonder whether such a theory is really put forth by Surana anywhere in the Kalapurnodayam. But the fact is he has done it, and in a more deataild manner too. It is necessary,therefore, to examine how he does it and what other minute details he provides. G. V. Knshna Rao

To every student of the Kalāpūrnodaym it is well known that Sarasvatı-Caturmukha-Krida is the very seed out of which the entire theme of the poem emerges. Without this there is neither unity nor value. In one word, Brahma, the divine artist, is the reason and ground for the whole creation. Out of his personal expenence emerges the whole story in all its aspects. How does this occur? Has he created it out of his pure imagina- tion with nothing to guide him and no material to mould? This is far from the truth and facts speak aginist such conclusion. His dalhance with his beloved in the garden near the lake, with a manistambha in its centre, is the very substance which is sublimated or transformed into the basic elements of the story. Sarasvatı and her various actions and reactions,the parrot in the cage,and the lake with its pillar reflecting the beautiful face of the goddess are really there and Brahma puts them together. Why does he do it? Does he want to puclaim his creative power 270 or impart some message to the anxiously awaiting universe at large? These considerations are not felt at all. He simply reacts to the beauty of Sarasvatı, his love for her sublimates every ele- ment into some other thing. As the various incidents in that epi- sode are already touched upon in one of the preceding chapters, they need not be repeated here. What concern us here are the vanious froms they assume in the pocess of sublimation. The reflected face of Sarasvatı, the poet himself tells us, 304 is the King Kalapuma. Her arched eye-brows, and sidelong glances are the bow and arrows bestowed by a siddha named Svabhāva on the king, whereas her beautiful lip becomes the jewel. The lake easily gests itself transformed into a city called Kasārapura. Brahma's desire, expenience of formal beauty and courage are changed into the Kıng Madāsaya, his wife Rupānubhuti and his minster Dhirabhava, while the four faces of Caturmukha be- comes the four purohits of Madasaya. Sarasvati's self is spoken of as Satvadātman, the minister of Kalapurna. Her proximity and Manistambha are transformed into Sumakhasatti and Manistabha, are transformed into Sumakhasatti and Manistambha, the fa- Studies in Kalapurnodayam

ther and mother of Kalapurna respectively. The gentle smile on the face of the goddess becomes Abhinavakaumudi, the wife of Kalapurna. Brahma's sweet solicitation assumes the form of Madhuralalasa, the daughter of Madasaya and the second queen of Kalapurna. With these transformations and new realtions sarasvatı- Caturmukha-Krida sublımates itself into the following story :- There lives in the city of Kasārapura a kıng named Kalapurņa. He conquers all the contemporaneous king without the least ef- fort. The moment he is born he becomes a sturdy youth and re- ceives a jewel, a bow and arrows invested with supernatural pow- ers. In course of time he comes across Madaya, and he not only defeats him but also makes him his vassal. This hero is later on loved by Abhinavakaumudi whom he accepts as his wife. Sumakhäsatti and her husband Manistabha are his father and mother. With the help of his minister, Satvadatman, he becomes 271 the anointed kıng of Angadēsa which has Kramuka-Kanthottara for its capital. Madasaya, having constructed golden fort around the metropolis, earns the sympathy of the monarch whose jewel bestows on Ruppanubhuti a bady called Madhuralālasa. Attracted by the jewel, the four Agamäs also attend upon the monarch when it so happens that one of them offends Kalapurna by fondling with it too much. Getting wild, Kalapurna drives away the four purohits and demolishes the fort built by Madāsaya. Unable to bear this insult, the latter leaves the court along with his wife and child and goes to Madhyadesa. On his way he comes across a pair of beautiful pots which gives him much solace and pleas- ure. But in the meanwhile his baby, Madhuralālasa, loses her health whereupon he once again returns to the court of Kalpurna. To his great surprise, the baby recovers immediately. Naturally Maaasaya attributes this spontaneous recovery to her love for Kalapurna and requests Kalapurna to accept her as his wife. By this time she has attained proper age and enjoys the fruit of con- jugal love with Kalapurna.

The later events in the love episode of Sarasvati and Caturmukha are beautifully fitted into the story by Brahma when he consoles the curesed parrot with the boon that she will in her second birth he born as Madhuralalasa and marry Kalapurna. At the same time he utters a warning or a blessing that one reveal- ing this story will be born on the earth and enjoy a long and prosperous life. Now the question is why and how this sublimation or tranformation has taken place. Only one thing is known beyond doubt-every word and phrase suggests the love affair between Sarasvatı and Caturmukha. Why does the divine artist suppress facts as they are and burst into the language of symbols and suggestion? This question has been touched upon by Prof. S.Kuppuswamy Sastri and discussed at some length when he says :- "What is the secret of the force of vyarjana as an artistic

272 principle? I refer to the suppressed elements in the case of sug- gestion. Why should there be a suppressed elements at all even in ordinary sentences? We wish to create a minimum degree of interest possible in the minds of heares. Wighout interesting the hearers to some extent at least, we cannot create anything like a desirable impression on the minds of the readers. Even to attract attention, a minimum degreee of interest we should provide, and the elements of suppression is necessary. Now this element of suppression may be enhanced in its value, this element of sup- pression may be intensified, may be improved upon in various ways; in poetic expression, it is this element of suppression and the principle of suggestion that rests upon it that prove all im- portant. In fact it was discovered in the 9th and 10th centuries A. D. by Anandavardhana and Abhinavagupta that this is the centre, the soures of poetic charm. Well, what is the secret of this attraction? What is the secret of this force? Some people would say that there is an element of novelty in vyanjana or suggestion. The suggested idea is envisaged with a certain degree of novelty. What is suppressed and let out, and what is suppressed and suggested may appear novel or may be envisaged with a certain Studies ın Kalapurnodayam

putlook of freshness for the time being. Is this the element that is the real source of attraction? I do not think it is the real source of attraction. It is suggested by a Sanskrit writer that there is scope for some sort of intellectual quest in the process of vyarjana, quest provided in vyanjana certainaly leads to some conquest. Now these two things, quest and conquest, are enough to create some interest. Well, is it decause of the scope for quest and con- quest that we have in vyafyjana that it proves to be attractive? There is some truth in this explanation but it is not the whole truth. The same idea is expressed in some works on Sanskrt poetics in another way. Something is concealed for the time be- ing, and concealing for a moment and withholding from your view might tend to enhance the degree of charm, like distance, con- cealing and withholding might lead to enhance its charm-gudham sat camatkarotı. Like the charms of an attractive beauty which do not obtrude upon notice in an immodest way, but which are pre- sented through a veil and in a properly concealed fashion, like 273 the physical charms of a modest beauty, then suggested element when it is presented, when it is disclosed after some degree of concealment proves to be attractive. This is also true to some extent. But it is only a poetic way of presenting the other expla- nation. There is scope for quest and conquest here. But the fact is, as far as I have been able to gather, that vyanjana makes it possible for art, for every suggestive art to re-live its life in itself through a purely artistic process and to find its fulfilment and consummation in a definitely artistic purpose. That is the secret of the force of the whole charm of vyarjana". 365 All these points are too true to be denied,and as amatter of fact,Sarasvati's reaction to this story clearly substantiates them. The only thing, however, lacking in this explanation is the sub- jective aspect. It does not give the clue to the workings of Brahma's creatve faculty and the necessity for such a sublimation. This wonderful imagery can only be explaned if one takes Brahma's profound love for Sarasvati, the temporary check it receives from the latter and the characterstics of the language and the traditon G. V Knshna Rao

behind. Had Brahma to express himself in some other language, the story he gives would have been altogether different. On the other hand, if he had not such a strong desire there would have been no story at all; the lake would have continued to be a lake and Kalåpürna would not have been born. Therefore, it is abun- dantly clear that the very basis of the artist's creative activity is his strong reaction to life. He does not receive it calmly and coolly like a scientist. Much less does he resemble a camera, automati- cally recording whatever goes on before it. On the other hand, he transforms every event of his experience in such a way that it is loaded to the full with significance, attitude, feeling and unity. Every work and event in the story of Brahma speaks of his love to Sarasvatı and nothing else. The next question how this sublimation takes place 1s really a great problem which has been to some extent tackled and

274 solved by Sigmund Freud in his interpreatation of dreams. It is enough if one knows that it is the result of symnbolisation, inver- sion, displacement, fusion, condensation, overdetermination and the like.366 A Various forms of dhavant are nothing but the vari- ous techniques which the creative activity of the mine assumes. As space and scope are limited one cannot go further into these details. To return to the subject, the episode of Sarasvati and Caturmukha along with the story narrated by the latter com- prses only the first two stages in the emergence of art. That means, the whole train of events that takes place in the world of Brahma is only ordinary life. This statement in view of the story given by Brahma may be surprising. When there is so much of wonder, novelty and suggestion, why does it not become a work of art? Is it not said that suggestion or dhvani is the soul of poetry? Moreo- ver, why is it not different from ordinary life? When it is said that all the events happening in the world of Brahma are only the first two stages and that they do not differ form ordinary life,the meaning is this :- Life is a never-ending process; and as such, the preceding event badly wnats the Studies in Kalapumnodayam

succeeding, and the succeeding entirely depends on the preced- ing. Thus it will never be complete and self-event The events occurring in the world of Brahma are also of the same nature having no completeness and self-evidence. If it is argued that these events do differ from ordinary life on the ground that the former contain sublimation or transformation or suggestion, it 1s better to recollect from one's own experience that even ordinary life does not lack such sublimation. A mother, when her child becomes impetuous and puts up a strong resstance, cajoles it with its own story as Brahma does. Even in dreams one does the same thing by fantastic creation of one's wish-fulfilment. These are also parts of ordinary life. Simply because there is suggestion or sublimation t does not become an aesthetic experience. Supose two people who have no mutual goodwill happen to cross each other on a narrow stair-case, and suppose the first says impu- dently that he would not give way to fools while the other promptly retorts that he would. In this case there is ample suggestion-they 275 are calling each other fool. Does this exchange of workds become aesthetic experience for the two people involved in it? Even for others as spectators, it cannot be because they will wonder why there is so much acrimony exhibited. Therefore suggestion, sim- ple and pure, cannot be aesthetic expenence .It must have what Abhinavagupta calls atma-uisränti or self-sufficency and self-evi- dence. These are the only characterstice which differentiate life, private or public, from aesthetic experience. When it is said that the events in the world of Brahma are merely events of ordinary life, it means that they are not self-sufficient and self-evident. Now the question is, in what way is the story narrated by Brahma not self-sufficient and self-evident? That Kalāpūrna 1S born to his father Manıstambha by his mother Sumukhasattı and that he has become a youth the moment he is born are not self-evident. Such things do not happen in this world of space and time. Why does Svabhava bestow a jewel, a bow and arrows on Kaläpürna? How is the parrot born into the world of mortals and in what circumstances does she become an unchaste woman? G V Knshna Rao

Is that looseness of character an inherent or acquired quality? Above all, how has the story come to be known by mortals when there is the specific prohibition by Brahma? The accounts of abhimavakaumudi, Madhuralslāsa, Manıstambha, Sumukhāsattı, Madāsaya, Svabhāva and Satvadātman are too sketchy to give complete satisfaction. In the third and final stage of its emergence all these short- comings are overcome. Everything is made self-suffcient and self- evident. The story becomes a unique whole having unity in van- ety. For this purpose only the story of Narada, the temple of Mrgendravähana and the episode of the manihara are futher added though there is not even the slightest suggestion of them in the onginal. What are implict in the second stage are made explicit in the final. The story of Kalabhasını, Sumukhasatti, Abhinava- kaumudi, Alaghuvrata, Satvadātman, Madāsaya etc. becomes

276 concreate as explained in an earlier chapter. To what extent so- cial realıty, ālankarka tradıtion and ideological inhertance in- fluence the artist in this stage can be understood by the reader himself when he reads the episode of Sugātri, the marnage of Madhuralalasa and chapters 3, 8 and 11 of this essay. With this final phase, there emerges a fullfledged work of Art which has meaning and values not only to the artist but also to all who know the tongue. Thus it is not an imitaion of life but a creation and improvement on life is so far as it is self-sufficient and self-evident.

Now there is one thing more to be noted so that one may not misunderstand Surna's theory. Just as the story of Kalapurna is a self-expression of Brahma and just as he has not gained anything new except self-satisfaction, so also the artist, it may be thought, will not gain anything but this simple self satisfaction. But this is clearly a case of misunderstanding his theory. What is to be remambered is that the artist is only an instrument in this selfexpession of Brahman. Brahman alone does not desire or ac- quire any worldly gains. This manifestation or self-expression gives him self-satisfaction and nothing else. The artist, on the other Studies in Kalapurnodayam

hand,who is an instrument or medium not only gets this self- satısfaction but also acquires worldly gains such as wealth, fame etc. As mentioned by the alamkānkas The above survey gives Surana's conception of Beauty in general and poetry in particular It also explains his theory of emergence of art and its value in life. Now one can proceed with the consideration of the relative merits and demerts of considera- tion of the relative merts and demerts of his theory. As it has been repeatedly said that as the theory of Beauty entirely de- pends on epistemology,its merits and demerits also depend on it. Sınce Sürana's theory ıs based on Vısıstādvaita, its relatıve mer- its and demerts will be found in his theory too. It is now, there- fore, incumbent on one to probe into them before one pronounces judgment on the poet's theory of Beauty. The one fundamental drawback in Visistadvaita is its conception of substance,quality and time. To conceive that quality has substance for its locus and that substance is ths sub-stratum of quality is not only un- 277 scientific but also illogical. If this theory is true, quality requires substance to have a locus. Now the substance simlarly must require some other thing for its locus. But Visistadvaita does not concede this. On the other hand,it says that substance exists by itself. Why cannot the same thing be conceded to quality? Secondly,it maintains that dharmadhutamana and the like can both be a substance and a quality at the same time. This is a simple vildation of the law of contradication unless qualty is identical with substance. One wonders why this school takes strong objection to Advaitin's conception Maya. Thirdly, to say that time is a substance is another fallacy similar to that men- toned under the first. Foutthly, how can the Absolute be both transcendental and immanent at the same time? Changing with- out change is as inconceiveble as reaching a different place with- out any kind of motion. Fifthly, to say that reason cannot reveal the transcendental or the noumena and that the latter can only be known through the scriptures is to send free thought and enqurry to the scaffold. It is making philosophy the hand-maid of dogma and blind faith. Sixthly and finally, cosmology and the

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transcendental as conceived by Visistadvaita are only probble and not logically necessary and as such, they are little better than fiction. If the above objections are conceded, then Beauty cannot be a quality as Surana maintains. Aesthetic expenence in its high- est stage which was long ago noticed and pointer out by Abhinavagupta denies it. In this context one has to think of one's own exper- ence. When one reads a poem, one experriences ananda. Even after one ceases reading, the ideas still continue for some time in one's imagination. These gradulally sınk below completely and a stage will be reached when there is nothing but änanda. How can this be explained if Beauty is a quality and that too of Brahman who is quite different from Atman? Hence it cannot be quality at all. That Beauty has five forms, the transcendental, the incamational, the vyuha, the immanent and the arcavatâra is 278 only metaphysical. To give the highest place to poetry and estab- lish hierarchy in arts is also unjustified because each is uniqe and important in its own way like our five senses. The function of the ear can never be discharged by the eye. To have a full view of the universe all the five senses are essential. Similaryly life can never be complete and comprehensive without any one of the fine arts. That a work of Art invanably bnngs fame, confers wealth and fights out evil is rather doubtful. How can one explain the fact that we have recovered the works of Bhsa, Nannecoda, etc., only during recent times? How many poets and artists have died in utter penury and need? Why does Peddana enjoy more popularty than Surana and Ramakrsna? Recent census shows that literacy and cultivation of arts have increased. Is there a corresponding decrease in evil? All these alleged utilities of Art are probably a defence in support of its unique value which is purely intrinsic. Setting aside these drawbacks, Surans's conception of poety is really satisfactory as well as comprehensive. Whatever may be one's outlook and philosophy, one cannot deny the poet's defini- tion that poety is a composition of words having unity in vanety, Studies in Kalapurnodau in

self-sufficiency and self-evidence. Even suggestion, as explained above, when it is devoid of the latter qualities cannot become poetry. This definition is far better than that of Visvanatha because it admits vastudhvani and alankaradhvant also as poetry. It is more realistic than that of Panditaraya because the latter's conception of ramaniyata is rather abstract and melaphysical. Above all these things, Surana's conception of the emergence of Art merits the highest consideration. He does not yield to idealism that says" the mind is its own place and in itself can make a heaven of hell and hell of heaven." Nor does he succumb to gross materalism claming tha matter is everyting and spirt nothing. He holds the blance between the two and gives his correct judgment. His deeper insight into human psychology helps him to probe into the mystenous depths of the creative mind and give a real picture of the artistic process. There may be 279 many things which admit of improvement but the facts he gives cannot be denied. The three phases in the artistic creation may not be as distinct and separate as he indicates. Nevertheless,they have to take place at some time or other before the work of Art emerges. Its birth is not only logical but also psychological. This is really the greatest contribution Surana has made to aesthetics, perhaps as great as Abhinavagupta's to the explanation of aesthetic expenence. With the foregoing survey in view one can say this much.Hıs main idea in writhg the Kalapurnadayam is to depict the complete emergence of Art and he has conceived it from the point of view of Visistadvaita. Misssing this point is missing the central idea of the poem and its unity as well as its beauty. If one is to judge a work of Art by the object the poet sets for himself to acheve, Surana must be declared as having achieved complete success. Even this is not a proper criterion for the judgment of a work of Art. The object or idea which the artist select for

G. V. Knshna Rao

depiction must also be self-sufficient and self-evident. When viewed from this angle, Kalapurnodayam is not altogether without fault. The episode of Laksmı-Narayana-Samvada is definitely out of place and betrays one-sided outlook while the description of Manıkandhara's piligrimage, Madhuralalasa's marriage and Kalapurana's expedition and conquest are some what lengthy. Apart from these three minor faults Kalāpurnodayam is superb and unique. In conception and presentation,in plot and character delineation, and in breadth and depth,it is marvellous and occupies a high place in the best literary works of the world.

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Studies in Kalapurnodayam