Act of word-play

SRI MADHVACHARYA's YAMAKA BHARATA: Dr. D. N. Shanbhog - Editor; Sole selling agents: Bharat Book Depot and Prakashan, Shankar Plaza, P. B. Road, Dharwad-580001. Rs. 150 (paperback), Rs. 180 (hardbound).

MADHVACHARYA IS well known as the propagator of the Dvaita (dualistic) school of philosophy. The fact that he is also a poet of extraordinary merit is not so well known to the general public.

His ``Yamakabharata'' is unique in several respects. Yamaka is a literary act of word-play. Primarily it consists of rhymes and alliterations. In other words, it consists of words and letters of similar sounds but with different meanings. Yamaka, as a literary device, is recognised by even Bharata in his Natyasastra. In fact, Bharata has mentioned only four figures of speech (Alankara), namely Upama (simile), Rupaka (metaphor), Dipaka (illuminator) and Yamaka. Of this Yamaka alone is a figure of speech with respect to sound while the others are that of the sense.

Poets like Bharavi, Maagha and Sriharsha excel in the usage of Yamaka. Some literary critics like Dandin welcome this kind of feat and call it ``Madhura'' (sweet). Kuntaka brings it under the variety called Varnavinyaasavakrata. But Aanandavardhana is not in favour of the figures of sound. According to him, it demands an extra effort on the part of the poet and hence is a hindrance to his spontaniety. The alliterations and the like are unnatural and can only satisfy the beginners and children.

Jagannatha Pandita brands such poetry as ``Sabdachitra'' and calls it the lowest class of poetry. But poetry consists of word and sense. The beauty of sound may be as much appealing, if not more, as that of sense. For a gifted poet alliterations fit into their places naturally, without any extra effort and are quite appealing too. Mere word-play can be tiring, but word-play combined with the beauty of sense can be source of aesthetic pleasure. According to Kuntaka, Yamaka should have beauty of sound, different interpretations, easy understandability, propriety of sense and a flash at appropriate places.

There are a number of varieties of Yamaka like similar sounds appearing in the beginning or at the end of a verse and so on. There are in fact 300 varieties of Yamaka.

Madhva, also known as Anandathirtha (Purnapragna), is credited with the authorship of 31 works, a majority of them being Sastra works. The present work is also known by two other names ``Krishnakatha'' and ``Mahabharatatatparyasangraha''. It is said that a challenger contended that Madhvacharya could write only philosophical works. In order to silence him, he wrote this work exhibiting his extraordinary talent in word-play as well.

The work consists of 81 verses. One of them (verse 78) is composed of just one letter ``Bha'', repeated 32 times. Another poem (71) can be interpreted in 20 different ways. This verse also refers to all the 10 incarnations of Vishnu and also to Hayagriva and Vedavyasa.

Madhva's idea of composing this poem is not just for exhibiting the academic feat of word-play. He has infused his poems with devotion which is the central theme of this work. In fact, he has not narrated all the incidents of the Mahabharata story. He has highlighted the glory of Lord Krishna throughout the poems. It is a figurative poem for ordinary readers, but is a spiritual text for Sadhakas, leading to God-realisation.

The doctrines of Dvaita philosophy are also interwoven into the poems. The different interpretations of the verses may be beyond the capability of an ordinary reader but fortunately the commentaries, there are at least five of them, which come to our rescue.The edition has exhaustive notes and translation in English, besides very useful appendices.

As to why Madhvacharya has preferred the figure of sound rather than that of the sense, the editor gives a plausible explanation. Most of the figures of sense are based on comparison where the object of comparison will be greater than the relevant person or thing. Here Krishna, being the hero, one cannot think of anything else greater than Him and hence the poet has resorted to the figures of sound. The editor has to be congratulated for his painstaking work in providing all the interpretations of each verse.

P. V. SIVARAMA DIKSHITAR

Send this article to Friends by E-Mail

Section  : Features
Previous : Ayurveda handbook
Next     : Total literacy and weak economic base!