This essay seeks to characterize one of the leading ideas in Bhaṭṭa Jayanta's Nyāyamañjarī, the fundamental role that the idea of complexity plays in its theory of knowledge. The appeal to the causally complex nature of any event of valid awareness is framed as a repudiation of the lean ontology and epistemology of the Buddhist theorists working in the tradition of Dharmakīrti; for Jayanta, this theoretical minimalism led inevitably to the inadmissible claim of the irreality of the world outside of (...) consciousness. In countering this Buddhist position, Jayanta adopts some of his opponents’ characteristic terminology, most notably in his use of sāmagrī, “causal complex” itself. He resituates this borrowed vocabulary within a strong appeal to the theory of the kārakas or the semantic roles detailed by grammarians since the time of Pāṇini. Possibly borrowing this sāmagrī-kāraka amalgam from the Buddhist grammarian-epistemologist Jinendrabuddhi, Jayanta uses it as a point of departure for a sustained attack on the views of Dharmottara, who Jayanta understood as offering the most advanced and most problematic Buddhist philosophical position available in his time and place. (shrink)

The Sūktimuktāvalī, an anthology compiled in 1258 CE, is by far the most important source of testimonia for Bilhaṇa’s biographical mahākāvya, the Vikramāṅkadevacarita, composed ca. 1085. While the anthology’s value for the primary textual criticism of the kāvya is limited, its value for its interpretation is considerable: Bilhaṇa is the anthology’s most frequently cited poet, and its selection of his verses amounts to a reading of the poem as a whole. The recovery of this interpretation also provides the opportunity to (...) consider the anthology’s complex authorship and to situate it within the late medieval literary cultural history of western India. (shrink)

This article represents the first of a projected series of annotated translations of the Mahārthamañjarīparimala of Maheśvarānanda, a Śaiva Śākta author active in Cidambaram around the turn of the fourteenth century of the Common Era. The present translation includes excerpts from the text’s presentation of two of the levels of reality ( tattvas ), puruṣa and prakṛti . These two tattvas , the apex of the older Sāṃkhya scheme incorporated centuries earlier by the Śaivas, provide for Maheśvarānanda the centerpiece and (...) climax of his understanding of the structure of the Śaiva cosmos. Fundamental to the rhetoric of Maheśvarānanda’s idiosyncratic presentation is his reliance upon a simultaneous strategy of integration and distinction of his argument within the wider world of Śaiva doctrinal common sense. He seeks to integrate the characteristic meditative structure of his Krama or Mahārtha system within a theological framework shared by all Śaiva theists. It can be seen that Maheśvarānanda’s interpretation of the junction between these two reality levels delineates a picture of what it is to be a human being, equipped with an inner life and a personality. The article also reviews the quality of the published editions of the Mahārthamañjarī , discusses its textual history, and offers a number of suggested emendations to the passages translated. (shrink)

In this essay, I trace the enabling conditions for the major statement of the subversive subtext in Bilhaṇa’s Vikramāṅkadevacarita (VDC) by unpacking the operation of the work’s patent, eulogistic text. In particular, I will explore the place given to the depiction of male intimacy as a poetic substitute or simulacrum for the political alliances central to Vikramāditya’s coming to the throne, as described in the mahākāvya’s fourth through sixth sargas . My intention in focusing on the intense friendships between men (...) is to highlight a significant rhetorical strategy of Bilhaṇa’s, which allowed the poet both to introduce and to buffer the poem’s most explicit statement of his skepticism towards royal power. It is this charged affective theme—one that occupied only a tenuous position within the regnant critical discourse of literary emotion at the time—that sets up Bilhaṇa’s most powerful and explicit denunciation of kingship. The explicit theme of royal praise and the subtext of its denunciation can thus be seen as contrapuntally related, which goes some way towards explaining how the court poet was able to successfully carry off his potentially incendiary literary project. (shrink)