Acharya Kuntaka’s Vakroktijivitam (Summary)

Acharya Kuntaka’s Vakroktijivitam

(Summary)

 

Vakrokti (obliquity) is a concept of Sanskrit poetics for making an assessment of kâvya (literature). Though all the Sanskrit Acharyas dealt with Vakrokti, it was Acharya Kuntaka who elevated this concept to a theory in his treatise Vakroktijivitam written in the first half of the eleventh century for the purpose of making an assessment of kâvya (literature). 

The word ‘Vakrokti’ consists of two components — ‘vakra’ and ‘ukti’— the first of which means ‘crooked, indirect or unique’ and the second means ‘expression or speech’. Thus, the literal meaning of Vakrokti is ‘crooked or indirect speech’. In literature Vakrokti was regarded as dhvani alankâra or sabdâlankâra. Sanskrit Acharyas considered Vakrokti to be present in all alankâras. To them, obliquity was the essential distinguishing feature of poetry.

Acharya Kuntaka treated Vakrokti in the first half of the tenth century in his treatise the Vakroktijivitam. It has four chapters. Kuntaka has classified vakrktâ into forty-nine sub-varieties under six major heads, such as varna-vinyasa-vakratâ (phonetic obliquity), pada-pûrvârddha-vakratâ (lexical obliquity), pada-parârddha-vakratâ (grammatical obliquity), vâkya-vakratâ (sentential obliquity), prakarana-vakratâ (episodic obliquity) and prabandha- vakratâ (compositional obliquity). Kuntaka’s approach to poetry is very minute and 

scientific and his Vakrokti embraces the entire poetic art. To him, uniqueness of expression, born of poet’s compositional skill, is vakrokti. It depends upon kavi-vyâpâra (the poetic function of a poet).  Kuntaka seems to add, that vakrokti and poetry have the same character. Vakratâ consists of the peculiar turn given to any expression due to the kavivyâpâra. Vakratâ is totally related to and is the result of poet’s genius. Mere vakratâ does not make poetry.

Kuntaka has included all possible arrangement of phonemes or consonants in kâvya. The first kind of arrangement is the free and irregular repetition of similar or identical varnas (phonemes or consonants) at varying intervals and this arrangement gives texture and beauty to the expression. Kuntaka further divides it into three sub-varieties — repetition of one varna, repetition of two varnas and repetition of more than two varnas. Kuntaka holds that the writer should beautify his work by the repetition of novel varnas. He says, that writers use sub-varieties of varna-vinyâsa-vakratâ to impart beauty to their poetic expression.

Pada-pûrvârddha-vakratâ (Lexical obliquity): There are words that impart strangeness, freshness, joys, etc., by their very plainness and commonness. There are yet other words which make kâvya richly and deeply evocative. Kuntaka defines that when the words of common usage are employed, we have pada-pûrvârddha-vakratâ.

Rûhi-vaicitrya-vakratâ (obliquity of usage) is the first sub-variety of padapûrvârddha-vakratâ. Kuntaka says that words are important not only for meaning but also for what they suggest.

Paryâya-vakratâ (obliquity of synonym) which Kuntaka explains in the second chapter of his Vakroktijivitam. In every language we have many words conveying the similar meaning, though they have different implications and associations. Such words are called synonyms. Kuntaka says that the writer should be aware of these different shades of meaning in them and should use them accurately. Each word has its own spirit and music.

Upacâra-vakratâ (obliquity of transference) deals with the introduction of human faculty in inanimate objects with oblique use of diction. This sub-variety treats the abstract phenomena and the inanimate objects metaphorically. Here both the objects, stated and implied, have difference in their basic natures and basic properties. If one is concrete, other is abstract; if one is animate, other is inanimate; if one is solid, other is liquid.

According to Kuntaka, adjectives also have a significant value in the composition of kâvya. It is the oblique use of adjectives that heightens the beauty and gives liveliness and picturesqueness to the poetic language. Kuntaka terms this oblique use of adjectives as viœesana-vakratâ (obliquity of adjectives). He holds that it is the right use of adjectives due to which rasa reaches its climax. The true test of a writer is to be seen in his use of adjectives.

Sanvrti-vakratâ (obliquity of concealment) operates in kâvya when the subject of description is screened by the use of pronoun and so on, in order to achieve excellence of expression. Acharya Kuntaka is fully aware of the fact that art lies concealing art. He explains all possible kinds of this vakratâ in kâvya:

1. When an extraordinary beautiful object is contemplated directly, there is a loss in its beauty. So, in order to check this loss and enhance the beauty, the writer employs pronouns to screen contemplation.

2. Sometimes when the words fail to explain the natural beauty of an object, the writer employs pronouns to accelerate the beauty of expression.

3. Sometimes an extraordinary delicate object, due to its excessive qualities, starts vibrating with beauty not by description but by sheer use of pronouns.

4. The objects which are only worth-experiencing by senses and inexplicable by words, are expressed by this device.

5. It is not possible to describe an object perceptible by the experience of senses. In such a case, the writer uses this device.

6. When an object, having a flaw in its nature or due to poet’s desire of describing it, fails to be equated with a great sin or evil, it is screened by pronouns.

7. Sometimes there is a doubt that an object, due to the writer’s desire of describing it, may be a victim of inferior expression. In such a case poet uses this vakratâ in kâvya to protect the beauty of expression.

Vrtti-vakratâ (obliquity of indeclinable) is used in relation to the compound words or suffixes. Kuntaka says that when the indeclinables dominate and heighten the expression, we have vrtti-vakratâ. According to Kuntaka, the obliquity of indeclinable means a formation of new structures like compound words, secondary derivatives, participles and slangs which impart beauty to the expression in kâvya.

Linga-vaicitrya-vakratâ (obliquity of gender) is another sub-variety of padapûrvârddha-vakratâ. It occurs in kâvya when a gender is employed in such a way as to enhance the beauty of expression. This vakratâ is employed with figures of speech like, simile, metaphor, personification etc.

Kriyâ-vaicitrya-vakratâ (obliquity of verb) is pertaining to the speciality of verb, which can be realized in no less than five forms:

·      When there is a cohesion of the subject with the verb;

·      When another subject attains excellence in relation to the same verb;

·      When the adverbials go to quality it;

·      When metaphorical superimposition heightens the beauty of the verb-form and;

·      When the direct object, though concealed, gets charmingly communicated.

Pada-parârddha-vakratâ (Grammatical obliquity) In kâvya, the writer is guided by the consideration of special tense, case, number, person, voice, prefix, suffix and particle. Kuntaka says that when several forms of literary turns occur together in such a way as to enhance the beauty of one another, they produce artistic charm, reminiscent of myriad-faced beauty. According to Kuntaka, this charm is termed as pada-parârddha-vakratâ. Kuntaka states that when in kâvya, expression attains excellence due to the striking use of a tense in a particular context and the reader feels transported, it is called kâla-vaicitryavakratâ (obliquity of tense). A talented writer is very conscious of time and place. He turns to the remote in time and place. He finds in the past enough beauty and joy to feed the waning flame of his soul. This past proves fruitful in suggesting themes and satisfies the craving for the mysterious, as well as for the picturesque.

Kâraka-vakratâ (obliquity of case) is based on the oblique transposition of the cases. Kuntaka says that when an ordinary case is employed in kâvya, by the writer, as a main case or vice-versa or the cases are transposed, we have kâraka-vakratâ. The beauty or strikingness, produced by this vakratâ, depends solely on the transposition of the cases.

Sânkhya-vakratâ (obliquity of number) functions on the basis of the oblique transposition of numbers. Singular number is changed into plural number and vice-versa. This interchange of two opposite numbers imparts beauty and charm to the poetic expression and consequently the meaning gets its heightened form.

Purusa-vakratâ (obliquity of person)- Sometimes poet, in order to attain sublimity in kâvya, transposes persons also. Kuntaka says that the charm, beauty or strikingness is the outcome of this transposition of persons. The appropriate use of the obliquity of person is possible only in epic poetry.

Upagraha-vakratâ (obliquity of voice)-It works upon the two modes or voices— active and passive. According to Kuntaka, these voices have an important role in kâvya. Sometimes either of the modes or voices is employed by poet, in order to produce beauty in kâvya.

Nipâta-vakratâ (obliquity of particle)- Nipâta-vakratâ is also concerned with the oblique use of particle. Though a particle is an independent component or merely an exclamatory sound and has no grammatical bond with words, it plays an important role in kâvya. According to Kuntaka, the combination of particle and word which enhances the beauty of expression, is called upasarga-vakratâ.

Vâkya-vakratâ (Sentential obliquity) – It operates at the level of vâkya (sentence) to deal with vastu (contents or subject-matter). Kuntaka writes that when the vastu is described in a way conducive to beauty by virtue of the charming words, we have vâkya or vastu-vakratâ. Kuntaka has divided vâkya-vakratâ into two sub-varieties: sahajâ-vakratâ (natural obliquity) and âhârya-vakratâ (imposed obliquity). Kuntaka says that the charm lies in the vastu itself. Kuntaka accepts both the objective and subjective substances. He gives equal importance to both the subject-matter and the writer. According to him, the beauty is the result of the relationship between the poet’s function and the vastu. literary piece is nothing but a manifestation of the writer’s own soul.

According to Kuntaka, svabhâvokti alankâra is not a figure of speech, but an act of figure of speech. He argues that if the ordinary nature of things is treated as svabhâvokti alankâra, then anybody can describe this nature of an object. Such description would not require any poetic art or function. The natural beauty of the vastu, which is termed as vastu-vakratâ, should be considered as an act of figures of speech employed in tune with the message to be conveyed.

Kuntaka gives his consent for the employment of all possible alankâras in kâvya. He also says that when the subject-matter has natural beauty, it should not be heavily embellished with alankâra like metaphor etc. Otherwise, it may cause a harm to the natural beauty of the subject-matter.

Âhârya vakratâ (Imposed obliquity)- is the second sub-variety of vâkya-vakratâ. When the expression attains a heightened beauty due to the use of skill, we have âhârya vakratâ. Here the technical art excels the beauty of individual elements such as words, meaning, attributes and embellishment. The subject-matter and the writer’s art are complementary to each other to arrive at the same end. According to Kuntaka, art transforms the subject-matter and describes it in various ways.

Kuntaka describes animate and inanimate. Animate has two sub-kinds — primary and secondary. The primary subject-matter includes deities, devils, super-human beings and men while the secondary subject-matter covers birds and animals or beasts. As far as the subject-matter, based on inanimate objects, is concerned, it includes the objects of Nature i.e., water, trees, flowers etc. Thus Kuntaka, first places deities, devils, super-human beings, and men. The animates like birds and beasts fall in the secondary subject-matter. Kuntaka employs inanimate objects, too, as the subject of kavya, considering them as stimulants in the production of rasa. In this way, the subject- matter has its two kinds — nature dominated subject and rasa dominated subject. Kuntaka also includes the means of attaining salvation — dharma, (righteousness) artha (worldly possessions), kâma (desire), moksha (salvation), too, as the subject-matter.

Prakarana-vakratâ (Episodic obliquity) - This vakratâ deals with the oblique use of prakarana (episode). Kuntaka says that when the intended object is capable of maintaining suspense all along and is the product of the unique, boundless poetic skill we have prakarana -vakratâ (episodic obliquity). Here he means to say, that the writer, overwhelmed with the zest of creation, creates an alluring charm in the subject - matter. According to him, this very charm is nothing but prakarana -vakratâ.

Kuntaka holds that a prakarana (episode or incident) is merely a desert. It is the emotions that infuse music of life in it. The writer creates such emotional states in the episodes of his composition.

Utapâdya lâvanya vakratâ (obliquity of modified source story) is another subvariety which is associated with the source of the kâvya. The pictures of life, portrayed by the writers, are not faithful copies, accurately rendered in words. They are modified by imagination. They become striking by associated thoughts or images awakened by imagination. Imagination plays an important role in transforming or changing the source material of the composition. The present sub-variety is based on the writer’s imagination. The writer also aims at introducing universal element in the source story. He has in his mind, the things as they were or are, things as they are said or thought to be and things as they ought to be. The writer and the historian differ not by writing in verse or prose but the true difference is that the historian relates to what has happened, while the poet holds what may happen.

What Kuntaka values most in prakarana vakratâ is the mutual relationship in episodes, which he calls prakarana upakârya-upakâraka bhâva vakratâ (obliquity of episodic relationship). He means that all incidents should be complementary to one-another in a kâvya. They should assist one another mutually in achieving the intended end. The incidents do not have their existence in isolation in the composition. Rather, they exist meaningfully by the relationship of mutual assistance.

Viœismha prakarna vakratâ (obliquity of particular event and episode)- It is concerned with the oblique use of event and episode. Kuntaka says that when a meaning in the episodes of a kavya, even being repeated again and again, embellished with new kind of ornaments each time, produces a striking beauty, we have this sub-variety of prakarna vakratâ.

Angirasa nisyandanikasa vakratâ (obliquity of dominant rasa) - is the consummation of angirasa which generally takes place in epic poems or works of such scale and compass. Kuntaka says that when a particular episode contributes to the consummation of angirasa in such a way as has not been manifested by any other episode of either of the parts — former and latter — of the composition, we have this sub-variety of prakarna vakratâ.

Apradhâna prasanga vakratâ (secondary episode)- also contributes to the meaning of kâvya, if it is arranged properly. A talented writer inducts a charming small reference or event within an episode for the sake of achieving the primary aim. He arranges interesting and meaningful secondary references or episodes within the episodes of his kâvya. The induction of the secondary references or episodes is not merely decorative. They are employed integrally to attain the main purpose of the composition. Kuntaka unfolds that when apradhâna prasanga vakratâ is arranged integrally within an episode to nurse the purpose of the composition, we have this sub-variety of prakarna vakratâ.

Sandhi viniveœa vakratâ (obliquity of juncture) - includes different stages or junctions which take place in kâvya. A sandhi (juncture) is a combination of different phases of main action with its subsidiaries. It marks the division of the dramatic actions.

Kuntaka says that the junctures should be arranged in accordance with the rasa and the matter should be modified accordingly. He says that the poet should not have excessive craze for observing rules even when the junctures are inopportune, provided the episode reveals a unique charm of originality.

Prabandha- vakratâ (compositional obliquity): Prabandha-vakratâ (compositional obliquity) is the last variety of vakratâ (obliquity). This variety is said to bear the beauty of the combined complex of the five varieties:

varna-vinyâsa-vakratâ (phonetic obliquity),

pada-pûrvârddha-vakratâ (lexical obliquity),

pada-parârddha-vakratâ (grammatical obliquity),

vâkya-vakratâ (sentential obliquity),

prakarana-vakratâ (episodic obliquity).

Kathâ-viccheda-vakratâ (obliquity of intending end) is concerned with the contingent result and contingency or suddenness of result in kâvya. By considering this sub-variety, as one of the important devices of composition, Kuntaka has proved himself to be a genuine beholder of beauty. He says that a talented writer, in order to attain the excellence of another event, uses this device. This attainment of excellence is the intended end. For this, the writer dissects the natural development of the source story and achieves his intended end in the middle of the source story.

Nâmakarana-vakratâ (obliquity of title) is the oblique use of title of a kâvya. Kuntaka holds that the title of kâvya is also replete with a kind of vakratâ. He adds that sometimes even a symbolic mark or name of the source story produces a remarkable beauty. The title of the work attracts the reader due to its striking meaning. Hence, a great writer entitles his kâvya in such a way that it vibrates with strikingness, indicating the tilt being given to it.

Kuntaka says that the title does not have merely a ceremonial purpose. The purpose of a good title is to unlock and underline the soul of the work; it enables the reader to know the main idea in either of the ways — symbolic or literal.

Tulya-kathâ-vakratâ (obliquity of identical subject) is the last sub-variety of prabandha-vakratâ. Âchârya Kuntaka holds, that even when great writers compose different literary works, based on an identical theme, each one of them, possesses infinite individual beauty. The reason is that the poets have their own approaches to and view of looking at an identical subject and because of their individuality, they give entirely a new design.