REVIEWS
The Critical Response: (Selected
Essays on the American, Commonwealth, Indian and British Traditions in
Literature): By Dr. D. V. K. Raghavacharyulu. Macmillan
Company of
In
this collection of essays which have appeared in literary journals in the past
fifteen years, Prof. Raghavacharyulu surveys a wide expanse of literature in
English with a sustained critical insight which is rare. On the colonial
experience in American literature, he writes with deep knowledge of the social
background requiring understanding of almost all the social sciences; without
the social background, literature would be sound and fury, howsoever
controlled, exquisite or rhythmical. He writes with equal insight on Emerson,
Whitman, Thoreau, O’ Neill and others or on the Negro in American literature.
The link essay is the one on
Prof.
Raghavacharyulu succeeds in bringing out not only the importance of American or
Commonwealth literature but its relevance to the Indian mind, which for years
was fed, apart from Shakespeare, on the honey-dew of the foggy
As
a life-long student of literary criticism who has watched its steady, robust,
and, in recent years, rapid growth into a major literary form all over the
world, as a part of the criticism of life which not only poetry but the whole
of literature is, I find Prof. Raghavacharyulu write with a confidence, fervour
and authority new to me in an Indian and in a style which does not lose
clarity, in spite of the load of learning. This achievement of closely-woven
argument and appreciation cannot be ignored, and Prof. Raghavacharyulu’s
critical faculty should help standards in Indo-English writing. Literature and
literary criticism must depend on each other, and in Prof. Raghavacharyulu,
literary criticism at least has come of age in Indo-English
writing.
–M. CHALAPATI
RAU
Rajaji’s Speeches:
Vols. 1 and 2. Bharatiya Vidya Bhavan, K. M. Munshi
Marg, Bombay-7. Price: Rs. 12 and Rs. 13.
In
two paperback volume of four hundred odd pages, the Bharatiya Vidya Bhavan has
brought out a collection from the utterances of Rajaji. The speeches are almost
from what he made during his official positions as Governor of West Bengal,
Governor-General of India and Chief Minister of the then composite State of
Madras. They naturally cover an extensive range of topics and are valuable for
their perennial relevance. In the first volume the extracts from speeches
necessarily from briefer space, while in the second volume at greater length
some of his addresses to important bodies such as universities,
International Congress, National Physical Laboratory, Weavers’ Conference,
Indian Committee of Cultural Freedom, etc., are gathered. Often the piquancy
and charm of his observations stir the reader to an immediate satisfaction of
how their appositeness could be appreciated not only contemporaneously but in
times to come.
He
has dealt here with topics such as what kind of religious instruction should be
given in schools, whether journalism is an art or an industry, the buiding up
of personality and the scope of straightforwardness to
help in the long run any type of public work–subjects which bear a very pointed
reference to problems which confront us today and would perhaps tomorrow as
well. Dwelling upon the integration which is required by human personality, the
following words can at once lift us to a plane of thought
expressed with a profound belief in a comprehensive outlook. “To integrate
ancient truth and modern knowledge is the only way to fulness of life to which
we are entitled. Ancient wisdom should not be treated as a thing apart from
modern Truth. Just as the material wealth of our forefathers has merged into
our own resources, so should the moral wealth inherited from them, flow into
and become one with modern truth and wisdom. Ancient and modern are not two
valleys divided by an impassable ridge, but are one continuous territory,
passing imperceptibly into each other.” (Vol. I, P. 164)
Interpreting
Home Science taught to the young women he observed very relevantly: “What I
want is that the aim of the Home Science curriculum, whether in the elementary
school or the college, should be to deal with the science of happiness in the
home and education should end in a practical application of what they learn to
the homes to which they go” (Vol. II, P. 82).
He
has not failed to point out the dangers which lurk in the cinema, especially to
women who are over-enthusiastic for taking roles in the pictures.
His treatise on Nuclear weapons also forms part of one of his speeches and
occupies the longest extent of pages here, thereby impressing on us the urgent
need for the big nations of the world abandoning the stock-piling of the
fiendish weapon.
One
cannot adequately assess the usefulness of Rajaji’s words in almost every field
of human thought and activity. It is but very timely those volumes have been
ushered in at a time when the nations of the world seem to be on the
brink of a baneful venture of outbidding each other in the race for
self-aggrandisement.
–K.
CHANDRASEKHARAN
Siva Sutras: The Yoga
of Supreme Identity: By Jaideva Singh. Motilal Banarsidass,
Original
works on Kashmir Saivism in authentic English rendering are precious few. The
Siya-sutram, esteemed as a “revealed” book, embodies the non-dualistic
philosophy of Sivaagama as a Saastra or a Saasana with a special accent on
practical discipline. Ksemaraaja’s commentary on the Sutras, known as
Vimarsini, is hailed as a most intimate and accurate expression of the spirit
of the original, having been offered by the commentator himself as a corrective
to current ventures at exposition. Dr. Jaideva Singh’s present translation of
the Sutras with the commentary is thorough and complete with copious notes on
significant expressions. His own exposition in English is remarkable for its
lucidity, reflecting rare insight, and deep faith. The whole work bears marks
of unfailing inspiration at its source-springs.
In
common, with the main systems of thought in the Indian tradition, the “Trika
Saastra” of Kashmir resting on its own triad–Siva, Sakti and
of which the whole
course of the Yoga becomes meaningful.
The
main body of the Sutras consists of three sections–the
Saambhavopaaya, the Saaktopaaya and the Anavopaaya. The purpose of these
disciplines is to lead the aspirant after Supreme identity to his ultimate goal
of the final awakening. The essence of the first Upaaya is in “the
absorption in Siva-consciousness”, which “occurs to one who has freed himself
of all ideation by an intensive awakening.” It does not actually presuppose any
exertion or conscious striving, but in the words of J. Krishnamurti (as the
exposition mentions) a “choiceless awareness” or an alert passivity. “Awareness
is not thought, not discipline, not habit.” The other two Upaayas serve
“as intermediate means to Saambbava Yoga.”
The
essential Self within is the Divine Self, Siva. But this awareness, which ought
to be a perennial experience of the individual, is hindered or interrupted by
the mind, whose characteristic being Vikalpa (or thought-construct),
acts as a barrier obstructing the vision and the experience. The removal or
dissolution of the screening Vikalpa is secured in laya. The key
to the laya is in the master-direction, “neither reject anything, nor
accept, abide in your essential Self which is an Eternal Presence.” That sums
up the Saambhavopaaya, but does not certainly sound easy enough. Its forthright
perfection is in that it starts with the Siva-state, and seems to beckon to the
aspirant from afar. The opening Sutra of the section, “Caitanyamaatmaa” would
well bear this out.
The
second and the third sections would offer more concrete guidance, though they
must finally lead to that state of awakening in identity, which has been
portrayed in the first. The Saaktopaaya, for instance, instructs in the
cultivation of Suddha vikatpa through reflection and meditation on the
Consciousness as the creative Sakti of the Supreme. It speaks of Mantra-Sakti
and Sat-tarka. A force from within is released, “which embraces out
so-called I to death; the limited I dies to live in the universal
I.” In the Anavopaaya the limited “I is more directly taken into
the reckoning, as would be evident from its opening Sutra, “Atmaa Cittam.” The Citta,
which is a complex of Buddhi, Ahamkara and Manas, is the
starting point for purposes of the practice, and the individual viewed in this
realistic context as Anu is really a speck, a magnitudeless point, to
realise which the whole course of this discipline is bent. Such a realization
would in turn secure that laya, which, signifies final awakening.
–Prof.
K. SESHADRI
Memoirs of a News
Editor: (30 years with “The Hindu”: By Rangaswami
Parthasaralhy. Copies can be had from: B. Mitra, Naya Prakash, 206, Bidhan
Sarani, Calcutta-6. Price: Rs. 70.
Quest for News: By
R. Ramachandra Aiyar. Macmillan, Madrass-2. Price: Rs. 15.
Books
of reminiscences by newspaper editors in this country have been rather few and
far between. One could think only of those by K. Iswara Dutt and K. Rama Rao, Frank Moraes,
J. N. Sahni and Durga Das in this connection. Those by News Editors and Chief
Reporters may be fewer still. For one thing, many of them have to work under
such heavy pressure at the news desk or on the reporters’ rounds, in helping to
produce the day’s newspaper, that they might well have lost the habit of
looking back and seeing things in perspective. A few others might almost feel
like squashed out oranges, at the close of their working lives, trying hard to
make the ends meet, after their superannuation. This is not exactly the slate
of mind conducive to reminiscing about friends and former colleagues and
recapturing visions of far away and long ago!
It
is all the more welcome, therefore, that two senior members of the journalistic
fraternity in
Mr.
Rangaswami Parthasarathy has been a desk man all through, starting his career
as a Sub-Editor in The Mail in 1935
and retiring as News Editor of The Hindu
some four decades later. He had also had the rare opportunity of being
entrusted with the job of writing the history of The Hindu for its centenary in 1978. His “One hundred years of The Hindu is a substantial and well-documented
work, representing his solid achievement. He was also associated with the
preparation of its companion volume, “The
Hindu Speaks; A Hundred Editorials.”
One
does not know whether the author had kept a personal diary of his stay on these
two newspapers or his memory is so keen and retentive. He certainly provides a
detailed account of what ever important or exciting might have happened to him
or to his colleagues at either of these places.
The Mail, the oldest English daily of
For the author, who
certainly enjoyed his eight-year stay on The
Mail, it was a period of preparation, as his eager eyes were on the
adjacent building, taller, newer and statelier, that of The Hindu.
His cherished dream came true when he was able to enter it as a Sub-Editor in 1944. And he stayed on there for thirty-odd years, steadily going up the ladder, night editor, Chief Sub-Editor and finally as News Editor, in which position he served for a decade and a half. He made a mark by his hard work, efficiency and reliability, earning the confidence of the bosses.
The
account of his work on The Hindu is, understandably, a lot more
detailed. So are his experiences with his numerous colleagues in the editorial
department. A notable point he mentions is that he left the news-room less
chaotic than he found it. The book is full of pen-pictures of all those he had
worked with and come to know closely, including some well worth-mentioning,
others not quite; not at such length, at any rate. The place of priority
naturally goes to the late Editor, Kasturi Srinivasan, patriarchial, generous,
impulsive, changeable; N. Raghunatha Aiyar, long-time Chief leader-writer comes
next–brilliant, learned, orthodox, uncompromising. Due credit is given to the
present Editor, Mr. G. Kasturi, competent, observant, single-minded, unsparing,
who is responsible for professionalising the news service and modernising the
paper.
“Efficient
Baxter” is the sobriquet, earned by the author from his senior colleagues,
including Mr. K. Balaraman, known for his brilliance and wit, who contributes a
foreword to the book.
From
the news desk to the reporters’ field Ramachandra Aiyar is a seasoned newsman
who had served The Indian Express for four decades and more as a
reporter, including the last as Chief Reporter. He had also gained experience
as a teacher of journalism, by his association with the University Department
of Journalism and the Bhavan’s
In
this neatly produced paperback, titled Quest for News the author draws
upon his wide and varied experience in the field to present a compact account
of all aspects of the reporter’s job from covering public meetings to crime
stories, from Legislature reporting to human interest stories, from political
interviews to science news. He prefaces these sections with introductory notes
on journalism in general, attributes of a reporter and sources of news and
coverage strategy. The five ‘W’s and one ‘H’ are worth remembering by every
reporter, old or new–” Who, what, When, Where, Why and How?”
What
is particularly valuable in this well-planned guide-buok is that every general
statement or principle is illustrated by an example or two
and every observation is reinforced by personal experience.
Of
the twenty odd brief chapters of this book, the concluding one on the “Ethics
of Reporting” is particularly valuable. Among other things, the author says:
“Do not misquote or give wrong reports; if your colleague happens to come late
to a meeting or a function, help him. Help the juniors. Tell them the
news stories, Treat colleagues with courtesy. Be a real profession.”
If
more reporters follow this advice, the job will be not only professional, but
more pleasant and civilised. The author is certainly one of the pleasanter and
more civilized members of the reporting corps. His example is worth emulation
by the young and old alike.
–DR. D.
ANJANEYULU
The Poems of
Shakespeare’s Dark Lady (Salve Deus Rex Judaeorum): By
Emilia Lanier.
The
1590’s were the golden age of sonneteering in Elizabethan England. The most
phosphorescent and profoundly disturbing sequence of course came from
Shakespeare whose Sonnets were published by T. T. and dedicated to Mr. W. H.
The personality of the ‘Dark Lady’ referred to in many of them has teased, if
not demoralised, some of the finest critical brains into Sherlock Holmesian
sleuthery for the last three centuries and more. Who was
she? Was she no more than a strumpet? Was she really Lady Rich, the Earl of
Pembroke’s flame? Was she a “married woman...(and) no common
courtesan “as Dover Wilson says?
The
well-known Elizabethan historian and critic, Dr. A. L. Rowse said less than two
decades ago: “In fact, we do not know, and are never likely to know, who she
(the Dark Lady) was.” But having wormed assiduously among the treasures of the
Bodleian, Huntington and other libraries, he now sings a very different tune.
The Dark Lady was Emili Lanier. And the Dark Lady was a poet too, “the second
best woman poet of the age!” And here is the whole body of the poems, preceded
by Dr. Rowse’s own enthusiastic thesis on Shakespeare’s Dark Lady.
Emilia
was the illegitimate daughter of one of the Queen’s Italian musicians, Baptista
Bassano. She was orphaned when quite young and became the mistress of old Lord
Hunsdon, the Lord Chamberlain. When she became pregnant, she was married off to
one of the Queen’s musicians, Alphonso Lanier, and was then largely left to her
own devices. Her morals were understandably loose, and she was a naughty witch
as well, if we are to believe: the jottings of Simon Forman (one of her many
lovers). The Dark Lady of Shakespeare’s Sonnets must also have been a
betwitcher in her own right. But Dr. Rowse’s emphatic equation that
Shakespeare’s Dark Lady was the same as Hunsdon’s, Lanier’s and Forman’s seems
to be a wild leap at guessing rather than a sober demonstration.
As
a poetess, Emilia was too facile and too fluent; “She wrote too much, and she
padded out what she had to say–it would have been more effective if shorter.” Salve
Deus Rex Judaeorum (1611)–published two years after Shakespeare’s
Sonnets–comes to us today as a frayed item out of an old curiosity shop. It is
dull, though it may tickle the specialist in Elizabethan verse. The inset prose
item is perhaps rather more lively and pepperish than the formal rhymed and
stanzaed exercises. And indeed Dr. Rowse, apt is usual to be carried away by
his enthusiasms, hears in the prose piece the first ‘feminine’ voice that
carries the debate back to apple-eating Adam himself! But why should we assume,
as Dr. Rowse does, that the prose piece is Emilia’s backlash rebutting the
defamatory portrait of herself in the Sonnets?
After
Dr. Dowse’s 37-page discursive introduction that rouses our expectations about
this second best woman poet of the Elizabethan age, the poetry itself comes as
an anti-climax. Several dedications to the queen and the society ladies of the
time come first. The prose 2-page effort is addressed to ‘the virtuous reader’
to assure him that the fair sex is far superior to the male counterpart. The main
poem, Salve Deus, is worthily devoted to the Passion of Christ. There
are occasional flashes to relieve the monotony, but after all the exhibit is
important as a historical footnote rather than as a flower of poesy.
–DR.
PREMA NANDAKUMAR
Marx and Gandhi: Madhu
Dandavate. Popular Prakashan,
Comparing
the ideas of two of the greatest men of modern times, that too men of such
different backgrounds, could be a hazardous exercise. Usually there are two
types of people who venture such comparisons–those who are “committed” to
either of the two streams of thought and who are bent upon proving the
superiority of their theme, and the scholarly and academic persons who pack
their works with quotations, arguments and tautological observations. Madhu
Dandavate’s small book is an exception to this rule and is indeed a
thought-provoking work in this regard.
Dandavate,
one of the most articulate and honest men in our public life, has a sparkling
mind. He is a physicist and a teacher with a distinguished record of service. A
versatile man with some excellent books to his credit, Dandavate makes here a
sincere effort to compare the ideas of Marx with those of Gandhi and find out
their relevance to our troubled times. As Dandavate says in the early pages of
the book, the work of Marx or Gandhi must be tested on the touchstone of
experiences and realities. History is the judge. The author’s goal is to
“explore a system which will combine the early liberating influence of Marx
with the humane and democratic methodology and institutions urged by Gandhi
with the emphasis on the initiative of man and flowering of human personality.”
The
shortcomings of both Marx and Gandhi in their understanding and interpretation
of events also come in for a critical examination. The chapter entitled
“Divergence in Perspectives” is a refreshing contribution in this regard. For
example, Dandavate says that the dogmatic assertion of the
inevitability of violence is not borne out by history. Another remark that
compels the reader’s attention is “Marx over-emphasised collective entity at
the expense of the individual while Gandhi did the opposite.” The author
recalls the Gandhian commitment to the promotion of the interests of the rural
population. The peasant is the architect of new order not the barrier according
to the Mahatma. Dandavate cautions the present rulers to take care of the
growing chasm between the rural masses and urban elites and pleads for bridging
this gap harmoniously.
The
observation that no individual’s thoughts or actions can ever have the sole
frame of reference for the science of transforming human society reveals the
author’s pragmatic outlook. Obsession with certain ideologies and doctrines has
been the bane of our society. And in making an effort to steer clear of such
obsessions Dandavate’s well-written work deserves high praise.
–Dr. A. Prasanna
Kumar
Comparative Ethics in
Hindu and Buddhist Traditions: By Roderick Hindery.
Motilal Banarsidass, Delhi-7. Price: Rs. 65.
This
work as the author himself has stated is primarily intend to those with moral
and political interests, but will be highly useful to students, teachers and
others interested in literatures, philosophies and religions of other cultures
also. In the very first chapter the method and mechanics to be adapted for a
comparative study of ethics are explained clearly. Questions that a student of
comparative ethics has to bear in mind are also pointed out.
This
chapter thus gives basic guidance to fresh researchers in this field. The next
seven chapters are devoted to a historical, comparative and critical study and
estimate of the ethics in the Rigveda; Upanishads, Manu Samhita, Ramayana,
Bhagavadgita, popular classics of poetry and drama, and philosophers and
reformers. In all these, searching questions are answered and many of the
previous critics answered or approved. A comparative ethical summary of
pluralistic Hindu tradition, and relativism and motivation in ethical judgement
form the subject matter of the ninth chapter which also contains an epilogue
wherein the author states his preferences. Tenth chapter is an introduction to
ethical thought in Mahayana Buddhist texts. Appendix one is a study of critical
textual matters in the Ramayana and the Mahabharata. Appendix two contains a
diagram of topical parallels. All these chapters are individually annexed by
detailed notes. Select bibliography and index makes the volume
a model for modern research work. Some of the
observations may be called in for comments, but the author, it can be said, is
sincerely objective in his study. Many of his statements are noteworthy. “This
transmoral world of the Upanishads did not exclude morality
from its purview (P. 67).” Though critical of the ethics in the Manu
Samhita, he is cautious and plainly states as follows: “A process view of
cultural evolution forbids one to judge the laws of Manu by the standards of
the declaration of Human Rights or by modern national
constitution including that of
–B.
KUTUMBA RAO
The Visions of Sri
Ramakrishna: Compiled by Swami Yogeshananda. Sri Ramakrishna
Math,
Neat
and compact, this little book under review is a welcome addition to the
existing stock of books relating to the life and teachings of Sri Ramakrishna
Paramahamsa. It is not an original composition, but a compilation of a number
of super-sensuous experiences of the great Master, more or less in the order of
their occurrence in his life. It had originally appeared as a series of
articles in The Vedanta Kesari during 1967-’69 by Brahmachari
Buddha Chaitanya, who, now, has become a Sannyasin and assumed the name of
Swami Yogeshananda.
The
book is an attempt at the exploration of the mind of Sri Ramakrishna when in
Samadhi with a view to find out if there exists a pattern behind the
bewildering number and variety of super-sensory experiences of the great saint.
Sri Yogeshananda had taken pains to collect almost all the recorded visions of
the Master and subject them to skilful analysis in the fashion of a
psychologist. The book assumes the air of a case-book.
–Dr.
G. SRIRAMAMURTY
Brahma Sutras: Sri
Bhashya of Ramanuja: English translation by Swami Vireswarananda (Part I) and
Swami Adidevananda (Part II). Advaita Ashram, 5 Delhi Entally Road,
Calcutta-l4. Price: Rs. 19.
The
English translation of Sri Bhashya by the Ramakrishna Mission has filled up a
gap among the English-reading Hindu public, who are interested in knowing the
Visishtadvaita view regarding the Brahtna Sutras of Vedavyas. Tradition says
that Ramanuja took a vow to write three books on (1) Brahma Sutras (2) Draavida
Veda and (3) Parasara Sathagopa Namakaranams, whereupon the
curved three fingers of Yaamunacharya (who was on death-bed) became released.
Perhaps there was then a prevailing practice that any
creed could be regarded as “standard” only when the founder writes Bhashyams
(commentaries) on Upanishads, Bhagavad Gita and Brahma Sutras, canvassing his
new creed. In fulfilment of the said vow, and also to standardise his pet
creed, the Sri Bhashya was written on Brahma Sutra.
The
creed of Ramanuja in brief is that Brahma (the highest being), the Jagat
(cosmos) and Jiva (individual souls) are all eternal. As Bandha (bondage) is
also real, liberation (Mukti) must be secured through devotion to Lord
(Narayana). The Vedic rituals are a must and the grace of Lord shall be secured
through rituals and meditation. Ramanuja’s godhead is one with infinite
beneficial attributes (Anant Kalyan Guna), and he can be invoked through
devotion (Bhakti).” The entire Cosmos (consisting the animate and inanimate) is
the body (Upaadhi) of the Lord. Thus, the creed is fully theistic, and is based
upon the text of Veda primarily and Vedanta secondarily. Regarding ‘Jeeva’
there is eternality, and there are as many Atmans (souls) as there are ‘Jeevas’
in the Cosmos. Liberation means the Jeeva after death, secures the prescience
of Narayana and takes pleasure in His service. As the Cosmos is the physical
body of the Lord, it is eternal, though it may undergo a change at Pralaya
(final annihilation). The Sage Ramanuja leans in favour of Parinaama Vaada
(Evolution), when explaining the existence of Cosmos and Jeeva.
The
Sri Bhashyam, excluding the portion of attacks on Advaita creed, is useful for
the beginners and lovers of personal God, and Bhakti-worship. Sankara also
lauds all Bhaktas, and recommends Aparaa Bhakti at early stages arid Paraa Bhakti
in the final stages. Sankara’s creed for the layman is not at variance with
Ramanuja’s preachings, though not vice versa. Sankara is a Jagatguru and
his Bhashyam does not dwell in open criticism of any one creed. He respected
all creeds, but postulated Vedanta as the final creed.
The
book of Sri Bhashya helps for a full understanding of Ramanuja’s creed, and his
views on Advaita, though critical, will help the spiritualists to be on their
guard, Books of this type must be welcomed by one and all.
–SRI
VIMALANANDA BHARATHI(Jr.)
The Amaravati Mode of
Sculpture: By C. Sivaramamurti. The
The
sculptures on the Amaravati Stupa are among the finest creations of the Indian
genius. The Stupa might have been founded in the second century B. C., probably
at the instance of Asoka. It was enlarged in the second century A. D. A great
deal of the sculptures has perished. Of those that survived the tooth of time
and the ignorance or vandalism of man, a large number were taken to the
The
sculptures tell stories from the Buddhist scriptures. Their makers were
influenced primarily by their heritage of art, as in Sanchi and Bharhut, and
also to some extent by some foreign motifs. But, while these influences must be
admitted, what made the sculptures was the sculptural genius
of the Andhra people in the second century A. D. It evoked elegant beauty,
svelte grace and ease of lyrical movement so much so that the Amaravati idiom
is one of the finest in the history of world sculpture. Many South-East
Asian countries copied the style and many works from Amaravati were taken to
them.
The
Amaravati bibliography is a considerable one. But most of it is devoted, on the
one hand, to the history of the Stupa and, on the other, to an attempt to
reconstruct it in the mind’s eye, studying what may be called the mechanics of
its constituent parts. There has also been some examination of the aesthetics.
But, here in this book, Mr. Sivaramamurti examines how in
actual practice the sculptors set to work in translating their ideas
into practice.
The
author has long believed that literature has influenced, even made, Indian art.
He has found “echoes” of some great authors in later art. He may be right, but
it is a question to be considered whether, in fact, it was true that the
ancient Indian artists were so well read in literature that they were impelled
to illustrate episodes in their sculpture. But if that premise is granted
nothing can be more admirable than the percipient skill with which Mr.
Sivaramamurti has identified the episodes.
Here
he considers how, in illustrating the incidents, the Amaravati sculptors set
about their task. A favourite device (this word is, strangely enough, spelt
“devise” in this work) is the synoptic method, so splendidly illustrated in the
medallion of the subjugation of Nalagiri, the mad elephant. But there are many
other devices. The most important relates to the depiction of Buddha
symbolically in view of the canonical Hinayana ban on personal representation.
What
is important is that the sculptures often depict psychological situations
subtly. The characteristic Amaravati sculpture is not only elegant to look at
but it is also a faithful portrayal of emotion. This is what has carried it to
the first rank in the history of world sculpture.
The
author writes not only with knowledge but also with loving concern. Himself an
artist, he knows how brethren of the craft function. He examines many of the
sculptures in relation to other representations of the theme in other schools
like Nagarjunakonda.
The
plates have been carefully chosen. But the reproductions of a few of them are
rather poor.
–N.
S. RAMASWAMI
Puyal Nilaippadillai
(Storms Never Last): By Dr Prema Nandakumal. Tamil Writers’
Co-operative Society Ltd., 107, Big Street, Madras-5. Price: Rs.
7.
Dr.
Prema Nandakumar is a familiar name in print in the English language. Her
contributions to various magazines range from articles, stories, reviews, etc.
She has also a number of literary works to her credit. She wields a pen with a
singular command and equal felicity of expression in English. She has lately
chosen to try her genius in Tamil also. Her long and short stories enrich the
annual and special numbers of the weeklies and monthlies in
Tamil.
Here
is a collection of eight stories from her pen. Her fertile imagination finds in
the all-absorbing devotion to God of the Alwars, the theme, which provides the
silken thread for weaving the fine fabric of her story.
The
first story in the collection depicts the universal aspect of motherhood and
the mother’s love for all beings high and low, old and young, sick and
suffering in the most glowing language full of compassion from
Andal, the Divine mother. In the fourth, a prize-winning story, the author
makes a sarcastic remark on the deplorable effect of foreign influence on our
younger generation. Nothing is more pitiable in the eye of
the author, than the fact, a young man nurtured in the western way of life,
should be so ignorant, on that account, of the culture and tradition of his own
religion, though born and bred in it, while the young foreigner has made a deep
study of the Hindu scriptures and the lives of the Alwars. The author makes
clear her conviction and justification in the story, that a young couple of
different faiths with cultural understanding can rise above caste, creed and
colour and be united in happy wedlock. Even the most orthodox old lady in the
story approves of the match and blessed them with her whole heart. The last
story, the title of the book, shows the author leaving her idealistic view of
life to the more realistic one. She describes the fine instincts and
sensibilities of a noble woman who gives up the age-long custom, by dropping
the veil and going to meet her creditors and clear the debts to save the honour
of the family.
On
the whole, the eight stories in the collection easily establish the attempt of
Dr. Prema Nandakumar, with success in the field of Tamil literature.
–K.
SAVITHRI AMMAL
Srinathuni Sahitya
Prasthanamu: By Dr. J. Jayakrishna Bapuji. Kalyana Bharati,
Ravindranagar, Guntur-6. Price: Rs. 30.
Srinatha, who flourished between 1360-1450 A. D., is a celebrated name in the field of classical Telugu literature. He was not a mere poet. He was a linguist proficient in the traditional eight languages and a thorough scholar in Vyakarana, Nyaya, Mimamsa, etc., besides his mastery of Vedic and Puranic lore. It is this all-round mastery that made him defeat Arunagirinatha Dindima Bhatta.
Though
seventeen poetical works are attributed to him, ten are not extant. Among the
remaining seven Sringara Naishadha (a translation of “Naishadheeya charita” of
Bhatta Harsha from Sanskrit), Haravilasa, Bheemeswara purana, Kaseekhanda,
Sivaratri Maahaatmya, Kreedabhiraama and Palnaati Veera charitra are justly
famous for his poetic art, though the authorship of the last two was first
questioned but later accepted by critics and scholars.
It
is from these extant works, many Caatus that Srinatha composed in his
chequered career and the inscriptions that he authored that Jaya Krishna Bapuji
draws his material for his work. The work is a Doctoral thesis submitted to the
The
work is divided into seven major chapters each containing one part devoted to a
succinct exposition of the theory and the other to applied criticism. Thus the
first chapter Rasa Prasthaana contains the exposition of Rasa school in
the first part and in an applied way examples are cited and explained for all the
rasa-s, rasa-abhasa-s, rasa-sankaras. Under Sringara the various
sub-divisions vibhavas, anubhaavaas, saatvikabhaavas and sancaris are
considered. The second chapter deals with Alamkaara Prasthaana. This is
a ticklish ground and very often even seasoned scholars are not sure of
themselves in deciding an Alamkaara. Yet the author has ably dealt with his
material. One hundred arthaalamkaaraa-s and five sabda-alamkaaras are
cited and explained from Srinatha’s works thus confirming his mastery. The
chapter on reeti prasthaana is rewarding Guna-s, Vritti-s and Pravritti-s
are rightly dealt with in this chapter. The author is to be congratulated
for his correct configuration and exposition of the concept of reeti in
general and Vaidarbhi in particular.
The
last is the camatkaara prasthaana. This school was given shape by
Visveswara who was in the court of Sarvajna Singabhupala and a contemporary of
Srinatha himself. From the Alapaadu copper plate inscription of S. S. 1334
(1412 A. D.) it is known that a scholar by name Visveswara was the recipient of
Alapaadu Agrahaara from Peda Komati Vemabhupala who was the patron of Srinatha.
In all probability this Visveswara must be Visveswara of the above cited
camatkaara prasthaana. In this chapter the ten types of Camatkaara
enumerated earlier by Kshemendra in his Kavikanthabharana as also those
propounded by Visveswara are dealt with; nay even a few
more.
The
book delineates Srinatha’s genius and poetic callisthemics from the point of
view of all the seven schools of criticism. The author’s grasp of the various
schools is commendable and his exposition and interpretation pellucid. However,
one or two observations. The predominant characteristic of Srinatha’s
compositions is his Sayyaasnubhaagya admired by one and all. The author
has dealt with it under camatkaara. Surely sayya in Srinatha
deserves a better and deeper discussion. Alamkaarikas define it as
non-inter-changeability or mutual affinity of words. But what is the criterion
to decide either of these? These definitions go only half-way to tell us about sayya.
The correct way of understanding it seems to be that sayya should
contribute to or result in artha-vyakti. The posturing of words should
help the intended meaning display itself to its best advantage. Reeti and
sayya are both connected with the mode of composition; rather the
‘texture’ of composition. There is much in modern English criticism written
about this ‘texture.’ While an author has to be judged by the standards of his
time, application of a fresh point of view is no sin, for it is for discovering
new pleasures that we do it and not to derogate.
The
book contains at least four useful appendices regarding Srinatha’s idioms,
sayings, usages, etc. A concordance of example verses cited in the book would
have enriched the value of the book.
The
work is educative and highly satisfying. A must for all serious students of
Telugu literature and more so for the fans of Srinatha.
–PROF.
SALVA KRISHNAMURTHI