By Siegfried Lienhard; Jan Gonda (Edtior)
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Additional info for A History of Indian Literature, Volume III: Classical Sanskrit Literature, Fasc. 1: A History of Classical Poetry, Sanskrit - Pāli - Prakrit
Sohoni the two words have been selected with deliberation and great care. , between the asoka- and the kesara-tree) there is a golden post: (on it is) mounted a crystal seat and its root is studded with jewels which have the sheen of young bamboo. On this, in the evening perches (our)116 friend, (the) peacock, which my dearest causes to dance (in the daytime) with the rhythm (which) her tinkling bracelets (make)". Sohoni draws attention to the play of colours in the stanza: it is evening and dark, yet the peacock's golden perch shines forth and the jewels glow green like bamboo ("emerald-green" according to Mallinatha and Caritravardhana).
Readers and Critics 41 excellence, and he is variously referred to in Sanskrit texts as sahrdaya, the "congenial (reader)", rasajna, rasika, the "connoisseur of sentiment" or simply sat, vidvat, sudhi or vidagdha, the "experienced", "knowledgeable". As the last of these epithets indicates, the connoisseur is above all a learned man. Early theorists expressly stated the value they put upon his bahusrutatva, the "breadth of his knowledge". In later times, however, when the implied (dhvani), sentiment (rasa) and feeling (bhava) came to be recognized as central to poetry, then the connoisseur became the expert on sentiment whose main interest was focused on the degree of sentiment achieved at any given time.
Classical poets also built their works on original concepts, but their inspiration was kept strictly within bounds. Their creative activity had to obey numerous objective laws, which tended to make poetic composition easier, and it had to follow conventions that laid down in detail the way in which many themes were to be dealt with. A great many themes and set phrases turn up again and again and although the rules were originally based on accepted practice, as in other literatures, they were further developed by theorists and these developments in their turn subsequently influenced poetic practice.
A History of Indian Literature, Volume III: Classical Sanskrit Literature, Fasc. 1: A History of Classical Poetry, Sanskrit - Pāli - Prakrit by Siegfried Lienhard; Jan Gonda (Edtior)