A History of Indian Literature A History of Classical by Siegfried Lienhard

By Siegfried Lienhard

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S the understanding of poetry is constantly being deepened, the significance of further details in a work of art may become apparent with the passage of time. It ,"'ill therefore be no surprise to find that modern readers have also discovered hitherto unsuspected aspects in various kavyas. y Indian 15 in Meghadiita 11, 16. ,t See p. 5, ~~The introduction of another object", a poetic figure that re-affirms what has already been said by quoting some suitable dictum, proverb or general truth. Sugamanvaya Vrtti.

OJ 9:! rtMtnMII HHere - "free from trouble' - stands the asoka tree, \vhich endlessly increases the troubles of lovers (and) whose clusters (of blossom), shaken by the \l\dnd, seem to threaten me:' Buddhac. 4, 45: asoko drsyatiirn e~a kamisokavivardhana~ "'Behold, here (is) the "free-from-trouble' (tree. '" Rtus. " Raghuv. " 93 Acacia Sirissa. 94 Skt. kamala. saroruha. saroja, pahkaja, etc. 95 Skt. hamsa. 96 Skt. rajahamsa. 97 See p. 23. 98 Skt. saptacchada, Alstonia scholaris. 99 Skt. hemanta.

We have also seen85 that the disciplined poet was not prepared to write haphazardly and at irregular intervals but set aside a definite period of time for each step in the creative process, including re-reading, revision and improvement. It cannot be denied that this conscientious, somewhat hide-bound attitude of authors to their work had a conservative effect and is therefore partly responsible for the great unity uniformity even - of classical poetry. We observe time and again that the differences between one poet and another as far as their manner of writing is concerned are not 8~ One of the best examples is the Bauls of Bengal.

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