Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0003
Luther Obrock
In his essay on Muslim mahākāvyas, Luther Obrock studies exchanges between the cosmopolitan idioms of Sanskrit and Persian at pre-Mughal Sultanate courts. He introduces three remarkable texts: Udayaraja’s Rājavinoda, an encomium that praises the Muzaffarid Sultan Mahmud Begada of Gujarat using terms adapted from idealized representations of Hindu kingship; Kalyana Malla’s Sulamaccarita, a retelling of both the Biblical narrative of David and Bathsheba and the story of the jinn and the fisherman that appears in the Thousand and One Nights; and finally Shrivara’s Kathākautuka, a translation of Jami’s Yūsuf wa Zulaykhā that effectively transforms the Persian, Sufi-influenced masnavī into a Sanskrit kāvya of Shaivite devotion. These works can be understood as sites of cultural and literary encounter where poets and intellectuals experimented creatively to secure Sanskrit’s continuing relevance in the changing literary ecology of the regional sultanates.
在他关于穆斯林mahākāvyas的文章中，路德·奥布罗克研究了在莫卧儿王朝之前的苏丹国法庭上，梵语和波斯语的世界性习语之间的交流。他介绍了三个杰出的文本:Udayaraja的Rājavinoda，这是一篇赞美古吉拉特邦穆扎法里德苏丹马哈茂德贝加达的文章，使用的术语改编自理想化的印度教王权;Kalyana Malla的《苏拉玛卡丽塔》(Sulamaccarita)，重述了《圣经》中大卫和拔示巴的故事，以及《一千零一夜》中出现的精灵和渔夫的故事;最后是Shrivara的Kathākautuka，这是Jami的Yūsuf wa zulaykhha的翻译，它有效地将受苏菲派影响的波斯语masnavi转化为梵语的kāvya。这些作品可以被理解为文化和文学相遇的场所，诗人和知识分子在这里进行创造性的实验，以确保梵语在地区苏丹国不断变化的文学生态中继续保持相关性。
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0002
A. Dudney
Focusing on the writings of Siraj al-Din ʿAli Khan ‘Arzu’ (d. 1756), a critic of Persian literature and early theorist of what would come to be known as Urdu, Arthur Dudney shows how the sociolinguistic concept of ‘language planning’ can be used to understand the historical process through which a literary language is delineated and defined as such. Defining a new literary idiom involves identifying what that idiom is but also specifying what it is not. In the writings of Arzu and others, Dudney finds that the concept of rozmarrah (colloquial or ‘everyday’ language) was essential to defining what Urdu was, just as the exclusion of lexical items and forms of speech from Persian and Brajbhasha established what Urdu was not.
Arthur Dudney专注于Siraj al-Din al- Ali Khan ' Arzu '(1756年)的作品，他是波斯文学批评家和乌尔都语的早期理论家，他展示了如何使用“语言规划”的社会语言学概念来理解文学语言被描绘和定义的历史过程。定义一个新的文学习语包括确定这个习语是什么，但也要说明它不是什么。在Arzu和其他人的著作中，Dudney发现rozmarrah(口语化或“日常”语言)的概念对于定义乌尔都语是至关重要的，就像波斯语和布拉杰巴沙语中词汇项目和语言形式的排除确定了乌尔都语不是什么一样。
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0011
Teiji Sakata
Teiji Sakata compares various poems of the bārahmāsā or ‘twelve-month’ form, showing how they form a piece of shared literary heritage between languages that in the modern period have usually been considered to be quite separate. Sakata surveys several poems composed according to the stylistic conventions of this ‘twelve-month’ form, showing that each one has a distinct narrative, religious, and performative context that informed its reception and shaped its meaning. The bārahmāsā contained within Jayasi’s Padmāvat dramatizes the emotional states of characters implicated in a longer narrative. The bārahmāsā attributed to Mirabai expresses longing for the Divine in the form of Krishna. ‘Folk’ versions of the bārahmāsā in Avadhi and Bundeli express more worldly concerns like longing for a distant beloved or the fear of moneylenders.
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0007
J. Strnad
Jaroslav Strnad recognizes that the existing body of Kabir’s poetry was produced by the interplay of both oral and written traditions. He analyses the internal structure of individual poems as well as the organizational structure of manuscripts to show how we might trace the growth of this poetry along thematic and stylistic lines, and through the efforts of multiple performers and composers. He consequently argues that the study of poets in the early modern period—many of whose ‘original’ oeuvres are as elusive as that of Kabir—might be more fruitfully pursued as the mapping of such ‘streams’ of poetic development, rather than as a hunt for ur-texts.
Jaroslav strad认识到现存的卡比尔诗歌是由口头和书面传统的相互作用产生的。他分析了单个诗歌的内部结构，以及手稿的组织结构，向我们展示了如何沿着主题和风格线，通过多位表演者和作曲家的努力，来追踪这些诗歌的发展。因此，他认为，对早期现代诗人的研究——他们中的许多人的“原创”作品和卡比尔的一样难以捉摸——可能更有成效的是绘制诗歌发展的“流”，而不是寻找原始文本。
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0016
Heidi Pauwels
Nagaridas’s Tīrthānand (1753) is the memoir of a two-year pilgrimage to Braj composed by Nagaridas, also known as Savant Singh, the deposed king of Kishangarh in Rajasthan. Pauwels delineates how the ‘culturally mediated category’ of pilgrimage structures Nagaridas’s experience and its narratological reconstruction in the versified memoir. Just as pilgrimage itself is a polysemous experience that satisfies multiple goals and needs, so the Tīrthānand too works at multiple levels. As Nagaridas narrates events in the mundane world—visits to temples, devotional singing, religious plays, and the like—he frequently elevates these happenings onto the mythological plane of Radha and Krishna’s eternal Braj. Yet contemporary political circumstances and errands of royal necessity intrude at critical junctures of the narrative. The Tīrthānand is thus a tribute to mythical Braj, a travelogue, and a chronicle of contemporary political and social developments.
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0014
Dalpat S. Rajpurohit
Dalpat Rajpurohit demonstrates that although the late eighteenth-century poet Padmakar Bhatt composed in Brajbhasha, he incorporated metric and stylistic conventions from martial poetry found in multiple traditions. Certainly Padmakar drew on the rāso and Diṅgaḷ poetry of Rajasthan, but he worked on the basis of a knowledge of texts one might not expect, for example, the Rāmcaritmānas of Tulsidas. Rajpurohit describes how techniques of martial poetry drawn from various sources made their way into the Brajbhasha poetry of the seventeenth and eighteenth centuries. He shows how this range provided Padmakar with the tools to construct a didactic account of war so that he could present Anupgir Gosain as an ideal Kshatriya warrior.
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0008
H. Nagasaki
Hiroko Nagasaki looks closely at the poet Raskhan’s signature chands, that is, the metrical forms in which he most frequently composed, focusing in particular on the savaiyā. What she finds is a metrical structure that combined Persian and Indic systems of prosody, allowing different methods of scansion and therefore different stylistic options. This discovery in turn reveals a connection between Raskhan’s poems of Vaishnava bhakti and the highly stylized world of the Persian ghazzal, a form heavily influenced by the idiom of Sufi devotion. These insights into stylistic crossover are especially significant in light of the hagiographical tradition surrounding Raskhan, which claims he was a Muslim who took up devotion to Krishna at some point in adulthood.
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0018
Swapna Sharma
In this chapter, Swapna Sharma brings to light the special contributions of Gadādhar Bhaṭṭ and his family to the constitution of Vrindavan’s distinctive spiritual culture, relating these especially to the family’s Telangana origins and in their distinctive position as a bridge between Vallabhite, Chaitanyite, Haridasi, and Radhavallabhi religious communities (sampradāya). Among other things, Sharma draws attention to Gadādhar’s close relationship to Jīva Gosvāmī and his reputation as a practitioner of bhāgavata kathā, but it is the appeal of his Brajbhāṣā poetry that stands out above all.
在本章中，Swapna Sharma揭示了Gadādhar Bhaṭṭ和他的家族对温达文独特精神文化构成的特殊贡献，特别是与他们家族的特伦甘纳起源以及他们作为瓦拉比派、柴坦尼派、哈里达西派和拉达瓦拉比派宗教社区之间桥梁的独特地位(sampradāya)有关。在其他事情中，Sharma提请注意Gadādhar与jj ā va Gosvāmī的密切关系，以及他作为bhāgavata kathā实践者的声誉，但最突出的是他Brajbhāṣā诗歌的吸引力。
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0009
S. Cavaliere
Stefania Cavaliere shows that the Vijñānagītā of Keshavdas is much more than a translation of an allegorical Sanskrit drama, the Prabodhacandrodaya of Krishnamishra. The allegorical battle between aspects of the mind in Krishnamishra’s text becomes in Keshavdas’s hands a platform for a much broader discussion of metaphysics, theology and religious aesthetics, incorporating such diverse influences as the Yogavāsiṣṭha, the Purāṇas, the Dharmaśāstras, and the Bhagavad Gītā. In this way the Vijñānagītā reads more like a scientific treatise (śāstra) than a work of allegorical poetry, and reflects Keshavdas’s erudition and innovation in weaving together strands of bhakti, Advaita Vedānta and rasa aesthetic theory.
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