Tilliyard and Kuntaka (A Comparative Stylistic Study)

About The Book

An humble effort has been made to tackle the difficult subject, in lucid a manner, as is possible. A comparison is very difficult - one has to analyse both the aspect of the problem 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 any one even unconcientiously. The balance has to be on both the sides, which is rather an impossible a 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 one absolutely oriental and the other completely occidental and out of the difficult two, one has to arrive at a judgement about the valuablity of one and the other. It is 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 West has not much attraction; whereas the same situation in Eastern side would raise the eye-brow.

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

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

Although it appear that his effort is sincere, but yet the author's tilt is towards Eastern culture only and it is but natural, howsoever one would make an effort in his critical assessment, but one's basic natural instict 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 his best possible way. His language appears to be not for 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 own style and he excels in it rather lucidly, lovingly, lively.

About the Author

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. Honoured by Kanchi Kam Kotipithadhishwar 1981.

Three Gold Medal by Dwarka Sharda Pithathishwar in Sanskrit Elocution competition. Honoured 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 this book - "A comparative Stylistic Study of Tillyard & Kuntak' is an 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 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 book stating subject: and the meaning of the word "treatise" is 'Literary composition dealing more or less systematically with definite subject;

My handing 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 the student of Sanskrit language, I had a picture in my mind, as to how the ideas evolve and take a specific shape in a specic form. For example:

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

Comparison comes finally at last after having undergone at 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 than we cannot say who is wrong who is right.

Foreword

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 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 upto the reader how it 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 caries a vast meaning in all the respects. It carries colossal chaos and cosmos - both. Easily and un-easily each letter of the alphabet carries a meaning; every sign a symbol, a dot, a curve, carries a meaning, - such symbols and signs added to the alphabet, metamorphoses the meaning materially. Prefixes/suffices in the form of letters or pair 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 is applicable to one, may not necessarily be applicable 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. More you study it, more you like it, 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/uneaseness, whereas Sanskrit literature is the only subject, where you never get bored you never get tired; 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 lasting for ever and ever. Nothing has withered them, in the past, nor the future will do so.

The Book 'Poetry Direct a Oblique' by Tilliard is worth having a second look. 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 the students of the Poetry of Sanskrit Literature. "Swabhavokti" and "Vakrokti" are the aspects, which always draw attention of those who are interested in the subject. The Book of the Tilliard also touches 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 endeavoured very cleverly to blend the two together in his own dexttrous 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. Tilliard & Anandwardhan go parallel the difference is in observation only. Tilliard has based his remarks/observations, having taken into con sideration only western poetry and that also in short. His principle observations is based on the principle's of 'Vakrokti' only. But even in 'Abhidha' analysis, his observations is quite important. In India these principles have been discovered 1000 years before, whereas, the western learned persons have taken the responsibility on this own about having found out this principle in the 20th Century. Although the subject discussed is the same, Tilliard's observations and criticism is important and worth its weight at appropriate level. Whatever Tilliard observes, it has to be observed and compared with the 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 having its Indian technique and handling, he was supporter of the several principles beneficial to Indian culture; This is also the observation of Tilliard. He too is also having in insight of practicality and his depthness is not only imbibed with 'rasa', but also it affects 'Bhavtatva' in reality. Although he is supporter of the beneficial principles, he has considered the advise of Mathew Arnold as wrong and directed that he should select any other subject. In a poetry, subjects relating to lofty ideals must get appropriate place in literature this 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 is of the opinion that the high ideals must have a background of some personal ex perience with the hope of 'Dhwani', he should express himself cf fectively. He has put all his force in the principles of 'Dhwani' in his book.

Book's Contents and Sample Pages