Sanskrit poeticians make the visionary faculty of pratibhā a necessary part of the professional poet’s make-up. The term has a pre-history in Bhartṛhari’s linguistic metaphysics, where it is used to explain the unitary perception of meaning. This essay examines the relation between pratibhā and possible theories of the imagination, with a focus on three unusual theoreticians—Rājaśekhara, Kuntaka, and Jagannātha Paṇḍita. Rājaśekhara offers an analysis of pratibhā that is heavily interactive, requiring the discerning presence of the bhāvaka listener or critic; (...) he also positions pratibhā in relation to Bildung (vyutpatti) and practice. For Kuntaka, pratibhā, never an ex nihilo creation by a poet, serves as the basis for the peculiar forms of intensified insight and experience that constitute poetry; these may also involve the creative scrambling and re-articulation of the object in terms of its systemic composition. At times, Kuntaka’s pratibhā comes close to a strong notion of imaginative process. But the full-fledged thematization of the imagination, and of pratibhā as its support and mechanism, is best seen in the seventeenth-century debates preserved for us by Jagannātha. A link is suggested between the discourse of poetic imagination in Jagannātha and similar themes that turn up in Indo-Persian poets such as Bedil. (shrink)

The primary function of Sanskrit kāvya was always to please the readers. Literary theoreticians like Abhinavagupta often considered esthetic experience as a supramundane (alaukika) experience where the readers transcend their mundane attachments. Viśvanatha compared it to the experience of knowing brahman, the ultimate truth. But this does not mean that Sanskrit kāvya was devoid of any pragmatic concerns and was exclusively concerned with esthetic bliss. This paper examines how the purvamīmāmsā theory of bhāvanā was effectively employed by Sanskrit literary theoreticians (...) in Early India to make the readers of Sanskrit kāvya self-fashion themselves according to the existing notions about the practice of puruṣārtha-s. This mechanism, which literary critics from Kuntaka onwards explicitly mentioned, capacitated kāvya with a symbolic power to influence the worldview of readers and to make them conform to the existing dharmavidhi (legal injunction with respect to the four aims of human life). How did the idea of bhāvanā function in the composition of Sanskrit kāvya to self-fashion the readers? And how did the writers of kāvya precondition their texts so that readers should self-fashion themselves? The present paper explores these two crucial questions which shed light on the pragmatic use of Sanskrit kāvya. (shrink)