C h a p te r S eco nds__________________________________________________________________________________________ /

Kavya Aur Prakriti Poetry And Nature

'KAVYA A UR PRAKRITI': 'POETRY AND NATURE'

2.1. INTRODUCTION !

Nature is the unique gift of the Almighty. She is like our mother. Human as well as all

other living beings perform all their duties in the lap of nature. It is therefore, but natural that we

are so much intimate to her. Though all living beings have been fortunate enough to play and

grow-up in her lap, human being as a concious living being, have felt much for her. The changing

moods of nature not only fascinated human beings but frightened also. Hence the agents of nature

occupied the place as gods. Once they became gods, their worship began. The charming personal­

ity of nature have always given birth to some extraordinary feelings and emotions in the heart of

the people living with her. The First piece of poetry,

n i T r f § r e n w y f t e i :

w n ftf tc w i" 1

perhaps was the outcome of that extraordinary feeling of human being. It is doubtful whether there

was any element of poetry, but undoubtedly that was the first poetic expression. It is therefore,

implicit that, nature is like our mother, who sustains, supports and nurtures us. Being a life long

companion of man, nature has been the main theme of Ms poetic expression since the dawn of

civilization.

2.1 MEANING OF NATURE ;

Nature is opposed to artificial. Eveiy detail what is not produced by man, comes under

nature. There are two types of creation we find in our day-to-day life. One what is made by man

and the other what is not made by man. Fine arts, houses, roads and scientific equipments are all

made by man. On the contrary, the earth, the atmosphere and the creatures on the earth is not made

by man, is the creation of Almighty and is called natural. Dr. K iran Kumari Gupta has said

about nature in the following words:

1’oiUci§iRrt> eft <HM<3c k vKicpl y<pfa cpgcl f:c?RpfcJ> $ FTRT 3 lk H5T, 3 R 7 # ftrT, 3 i # R 3Ttf% 3JSJT cTcW Pfffcr %

f i T r r f t ^ f e : i ” 1 2

1. VSlrrlb Kamayana - 1/12. Hindi Kavya Men Praknti Chitran - Dr. Kiian Kumari Gupta,

9

Page - 6

( For all practical purposes what ever is created by extra human forces comes under nature.

But in philosophical terms our body and soul, its sense-organs, psyche, ego, and subtle ele­

ments like them come under nature. The nature of Sankhya philosophy is the root cause of

this creation)

Similarly Dr. Raghuvansh has also tried to define about nature. According to him -

" Tf pfcT ITT aSTReerr $ ust otct fi'Tcn? 3tt strit % i w w t 1ort 3T«f if wf>fcT

tpfgrgnr f , aft w o t - -n c O T dsf w lo R c g c ii cW T3? # 3tf& tecT

The Prakriti or nature of Sankhyaists is nothing more than the 'M aya' (Illusion) of

Vedantist. It is said ' rrrarg Ro^uicl' For them 'Brahma is the ultimate reality rest of the

Prakriti (nature) is 'M aya'. As " <3 Wcef srsicrftKrr l " The only difference exits between 'Prakriti

(Nature) and 'Maya' is that where the sankhyasits believe 'Prakriti'(Nature) 'Sat' the Vedantist

believe 'Maya' as 'Sadasat'.

The Sankhya philosophy says that nature without Purusha (man,, Paramatma) is help­

less to perform She is totally dependent on Purusha (Paramatma). It is clear- that Prakriti(Nature)

have the p otentiality to create, but for this she has to take recourse to 'Purusha'(man). Where purusha

(man) is immutable, Prakriti (nature) is mutable. This make the difference between purusha (man)

and prakriti (nature) clearer. Being immutable, Purusha (man) is free from 'M aya' (illusion).

Whereas, being mutable, prakriti (nature) is surrounded with Maya. Sankhya philosophy says

about Prakriti (nature) in the following lines

■f^om f rra-: afrfrri

OZROT" cW T 3TOT5T cr^ffr rrftctfcTSJT rT t|JTW I

[ Nature is composed of three gunas and she is mutable. These three gunas are

'Visaya', ' Sa'manya - chetana' and 'Prasavadharmi. It means that nature is an object of

knowldge (vigaya), she is to be used by all (sa'manya) and able to produce new life

(Prasavadharmi). Puman (man) is different from her. He is immutable ]

Here it becomes clear that trigunatmaka Prakriti (nature) can be active only when

she acts in collaboration of Purusa (man). The believer o f" " the Vedantists

too acknowledge the existence of Prakriti for practical purposes. Dr. K iran Kumari Gupta writes

about the Prakriti of practical world.

3. Prakriti Aim Kavya - Dt Raghuvansh, IJage -3

10

J .

- ’' oaragR t TT^fcT % FTTCr 3ftolgT WJGdtR 5PRT % % W #, Refer, W , 3J0R,

W g >jti?1w-<jTr, UTcT: yjfc'fl'Sj ^TP’KT - 3T3T®r di) 33T ftjoft - tS>ctM, 3fr? if 3jsff gspTT-’ftlftw 3 Sri

c^STffe ^ffJjrPdcl f I " 4

(For practical purposes we understand that nature is the world what is not cre­

ated by man, what include rivers, hills, forests, vallies, moon, moonlitnight, dawn, dusk and

spontaneous somersalts of deers in the forests.)

It is clear that nature is a creation o f super natural power, i. e. Almighty, There is no say

of human power in the affairs o f nature.

As it has been told above, this nature is an object of human enjoyment. On just having

a glance over different facets of nature thousands of thoughts flash in our mind. We feel joy, won­

der, exclaimed on a sight of charming and inspiring nature. We find good taste in fruits, pleasant

notes in the chirpings of birds, murmer of winds and streams, soothing eyesight in blooming flow­

ers, rising and setting sun and smiling moon. In the root of all these experiences rest the human

aspirations to enjoy and consume. It is clear with the foregoing paragraphs that such a benevolent

nature if not is our mother who gave birth to us but certainly she is the force who sustains us and

there by she is equally important to us.

In the above paragraphs, we have dealt with practical as well as philosophical aspects

of nature. Now the question arises that how can a human being interact with nature upon whom the

former has got no control and how can she be the subject of poetry ? This question has been

responded to by a number of aestheticians. According to them inspite of nature not being created

by human being and herbeing elementarily different from human beings becomes the object of

poetry for her all pervasive character beyond what human being can not even think to go. This all

pervasive, all inspiring character of nature makes her the most preferred subject o f poetry. Nature

is though immovable but keeps on changing, though immutable but produces mutable effects,

though silent causes others to speak. She excites all our imagination blows all our passions and

stimutales our emotions. She is the life long companion of human race. How cannot, then, she be

the object of man's best literary expression poetry. This universe is enveloped by nature, one can

not think of surviving even for a moment without nature. Being without nature means living

without 'M a y a '. What even Brahma (Almighty) is vedantie view cannot afford.

In a word it can be said that nature is an object of knowledge and consumption. She

is without conciousness, despite she is capable to produce. She has to depend on Puruga (man) for

her activities. The best bestower of all happiness to us, nature is more than our mother . It is

therefore, she has been the object of poetry from the time immemorial.

4. Hindi Kavya men Pxaknti Chilian. - Di. Kiran Knmari Gupta, Page -8

1 1

2.3. RELATION BETWEEN POETRY AN NATURE :

B efore concentrating the su b je ct' R elatio n b etw een P o etry an d N a tu re (kavya aur

Prakriti), it shall be useful to discuss what is 'K a v y a ' (Poetry). The w ord 'K a v y a ' appears perhaps

first time in the *N a{yashastra' authored b y the father o f Indian aesthetics Acharya Bharata. Though

that reference cannot b e taken or accepted as the definition o f K avya it shall be o f use to refer here

the said c o p u le t:

^ d f e l c l M a H o S tii ? T s 5 r a r

- I

3Tg <pcT 7£T fliaf Ttftr 7TGW 3pgJT

H StcdcT spt OTSET M Sc? 11 (5TIOT STRoT)

(D ram a is th e sh ub h a k a v y a fo r its a u d ien ce w h a t is com posed o f so ft and ch arm ­

in g p ad as. T h e re are no d ifficu lt o r am b itious m ean in gs an d w h a t is easy to u n derstan d for

the com m on p eop le an d w h ere th ere is scope fo r p resen tation o f d an ce. In D ram a th ere is a

w ell th o u g h t o f a rra n g em en t o f 'R a s a ' an d d ifferen t 'N a ty a san d h is')

The above description o f N a jy a (drama) given by A c h a r y a B h a ra ta indicates that by

the time o f the N a jy a -sh astra there w as no established compartments for 'N ajya (Drama) and

kavya (Poetry). A fter A charya Bharata com es Bhamaha and according to him kavya (poetry) is as

follow s:

3rS3T*ff cbloilrt 1 5 ( gflgqiciaPKt)

(M ea n in gs a lon gw ith figu res o f speech m ake k a v ya )

For quite a long time the above definition remained inacceptance. With the passage o f

time kavya related definitions also had under gone a change, K a v y a w as defined by number o f

A charyas in their own w ays. In this course came the definition put forward b y Pan ditrtfj Jagan ndth.

It w as as fo llo w s :

3 J P # 5 T S f P f c T O T 3 3 > : « t J T O O T I 6 ( ^ a W T C R )

(T h e co m b in atio n o f w o rd s w h a t p ro d u ce a w in som e m eaw in g is k a v ya .)

In this definition P an d itra j J a g a n n a th winsom eness m eans celestial pleasure. This

celestial pleasure can be derived only when the w ords are arranged in their best w ay and contents

bear their natural state o f existance. Relating kavya to the production o f winsom e meaning is the

5. ’Kivyflankar' - Acharya Bhamah - First Chapter, Page - 166. ’Ras-Gangadhar’ - Pandit Raj Jagannath, Page - 4

12

essence of Jagannatha's definition. Better the words better the meaning. In this context a reference

of western critric.CoUeridge's words can be quoted.

" Poetry is the best words in the best order

Like Indian Acharyas western critics have also pondered over the question of what is

kavya (poetry). Aristotai, Phillip Sydney etc have accepted that kavya (Poetry) was an art and

imitation was an essential elements of kavya(poetry). Later on Danis establishes that imitation of

nature is poetry where the pathetic as well as musical language becomes the medium. In his

words:

"Poetry is an imitation of nature by a pathetic and numerous speech"

Now it is obvious that Prakriti (nature) is there in the root of all poetic expres­

sions. What is expressed by the best arrangement of best words and what bears the winsome

meaning.

In this context, view of the veteran Hindi critic Acharya Ram Chandra Shukla on

poetry can be referedto —

" fSrar w r 3Pcitt 3jtPrar-aiT cFgcrrcfl f , trrft w r o

j j t BFcryarr <r gcrrcf t f 1 g f e # w r a w r % m g s z r # g m f t o ft f i l e r s3TRftt, 37t mfcTcTI eg;g?t | l" 7

(As the free state of the soul is the state of knowledge (GySndashl) so the free

state of heart is the state of 'Rasa'. For this freedom of heart what arrangement is made by

human speech is called 'Kavita' (poem).

A heart can be free only when there is no prejudice, pertinacity and ill will in it and is

made up of free thoughts and what is eager to express it in simple terms. This state of heart is

possible only when man dwells in open surroundings, amidst nature. People hankering after power

and pelf cannot afford to remain in the tranquil atmosphere with nature. They have to discharge

certain responsibility in order to earn name and fame . This is possible only for the people who

dare to discard artificial life and prefer natural surrounds. Nature gives such great people, the gift

of speech. They are popularly called poets and whose utterings become kavya (poetry).

In short we can say, in kavya or poetry human aspirations find its expression in the

best arrangement of best words and what emits winsome emotional thoughts and who are based

on the refined imitation of Prakriti (Nature).

7. ‘ChintSmani' Part - 1 Kavita kya'hai ? Acharya Shukla Page 93

• 13

2.3.A. DIFFERENCE BETWEEN A POET AND COMMON MAN :

Poets are different from common fellows. Being emotional, visionary and sensitive

poets roam in another world what is not attainable by an ordinary fellow. His imaginary vision and

sensitivity gives unique touch even to a common thing. This miracle an ordinary fellow cannot

make. Poet's thought is extraordinarily fast and penetrating and vision unbelievably vast and com­

manding. These features of a poet distinguish him from other people. That is why it has been said

th a t" 5TBT oftr^T7forg^itr||-^flr " (where even the sun cannot make his appearance, a poet can

make. ) Different objects of nature what quench our thirst is seen differently by a poet. He puts

some element of imagination to the thing one beholds and presents in his best arrangement of best

words. This presentation becomes poetry . Murky nature becomes brilliant when a poet draws her

pen-picture. Mundane life becomes exciting when it is painted by a poet. This is the power of a

poet who can make such difference. An ordinary man can not do this.

B. MAN AND NATURE : MANAV AUR PRA K RITI:

Since the dawn of creation, man has been closed to nature. Men are not only the

offsprings of nature but they are the ones who lead their life in her lap.Prior to being social, men

used to roam in groups in search of food. In this course, men came closer and closer to nature. This

closeness led men to understand different moods of nature from which they had by now been

frightened. Different moods of nature made men sometime happy and the other time unhappy.

Perhaps the origin of poetry is the human attempt to record his experiences with nature. It is also

suggested that the poetry had its origin in the eulogistic utterings of human beings in praise of

different agents of nature.

Man, the creator of poetry, is the child of nature and nature is the theme of poetry. It is

therefore, poetry is possible only when man comes in contact with nature. The 'Rasadasha' is

possible only through human speech as we have seen no other living being could have aequired the

power of speech and the treasure of poetry. Here it is necessary to pointout that, though no other

living being could have acquired gift of poetry, yet poetry is indebted to them, for, they inspired

poets to compose poetry. Since the first day of poetry till today, the objects of nature like flora and

fauna, sunrise and sunset have been the subject of poetry. These objects of nature have been stimu­

lating human beings. Poets have been putting their imagination to these objects and expressing

them in words. It, there fore, can be said that relation between poet and nature is eternal. Speaking

on the existing relation between man and nature Dr. Kiran Rum ari Gupta observes :

14

” cjr-cic) if- Tj^frr srfe # jttctt % ?ft en?ft stereo 11 3ttot 3 sm«fl'JWcirn2ftsPte ^T iPw ^ tO TOT ^ e fta fte tjjn sn riftp r ^7cft3TT#| iwng s r a w q^erT,

fa sW <ST w r - U5H 2T®? PfteT 3 *1fell, “TST5T - W 5gq--qjq 4>'gIPi A t ? , t t e P d e i T s l ' M l W

^cUrfT, tifo^cpl f e d Rflcifq>e 'pT Msefl, 3TO5ft GAtlfcl R<£luf W%rTT 3?f7 sflcld PSTcf 3d4U

IT r^ % # ^ ^ 3T T W g '< ^ V T 3 ^ 3 T g 'q 3 7 (T r t3 # 7 7 n w f-^ e r s f fe

3 ^ i^ t O T ^ r f e # W c r r t i " 8

Nature has been a life long companion of man. This has led to the narration of

nature as a living identity in the poetry. This companionship is proved in the description of life

given in our scriptures where saints and sages have been shown living in wilderness. Even to-day

this premitive urge finds expression when people go out and spend some time in the lap of nature

or if not, try to keep birds, fishes etc. in their surroundings.

The eternal love of man with nature is found minutely picturised in modem literature,

specially in romantic poetry. The poets under this study are immortal nature poets of Assamese

and Hindi modem poetry of romantic stream Both the poets have been totally devoted to nature,

Choudhary admits that he has got 'Sahavas' (copulation) with nature. In his words :

tnuf mot 9rr?r t o t ? (tn^s) sragfer srrenn? i 9

Same is the expression of P a n t:

F t e s p f n f i 3fcg T5FJT, e fte TJfifcT 7T 9ft 3TFE,

w r ! ? 10

With above discussion it becomes clear that, poetiy and nature are interdependent.

Presentation of poetry is not possible if nature is not taken into account and nature may remain

unnoticed if poetry forgets to give an account of her.

2-4. DIFFERENT FORMS OF NATURE IN POETRY (KAVYAI:

It has already been established that there remains a relastionship of interdependence

between man and nature. This has the reason why the creator of poetry tried to depict nature as he

found and liked her. This depiction is being made from time immemorial. It is called ’Pi akriti-

Chitran' or depiction of nature. Nature has been depicted in different languages in different ways.

8. Hindi Kavya Men Prakriti Outran - Dr. K X Gupta, Page -99. Raghunath Choudhary Rachanawak - Shri Atul Ch, Barua, Page - 65 lO.Suxnitrattandan Pant Granthawah - Dr. Shank Joshi, Page - 195

15

There has been difference of perception among different poets over a single mood or agent of

nature. This diverse viewing angles make the Prakriti - O u tran or depiction of nature, much

more vibrant and exotic. For example following is a beautiM description of nature from 'Mahakavi'

K alidas ':

c # j p t . 9 5 !? t •a lcfc -r y r f l f c r i « fu & c i w i ^

Slffh^T tP R ttec fr gcafr77#fcraW9J II

y ic W f UiJ-ict g^5TTcT__#5ffr ]Jcf oifao-^1-

Mc3T fN-cc|fo ^Rn^SfeWSFSCT: I 11

In the above lines Kalidas has, by his unique power of imagination and egression, on

the one hand given the living description of nature in the morning and on the other hand, he

compares with that nature with human gesture and there by presents a fine example of personifica­

tion.

In the above example from Kalidas, the 'VIrahi Yaksha' cautions the clouds against

its attempt to come in the sun's way.

He adds as the lovers of the khanditas come to their beloveds in the morning and

removes latters agonies, so the sun is coming to his “beloved lilies and tries to remove its agony, hr

these lines Kalidas has successfully made a comparision between a natural phenomena (coming of

the sun and blooming of lilies) with a human action (coming of a lover of Khandita to his beloved)

Such types of pleasant description have been coming down to us from our ancestors

and making our heritage richer. In this connection Prof Kshem writes :

"cp-fcT STTcfr £ T fe c T tfcpfcT cpr srdcpff

cPTST % f rtr'Sf3ng'3n?ft' ?lcq % I

i " 12

It is clear that poets not only see conciousness in the uneoncious nature, rather, they try

to establish rapport with her and free their heart to make high fly with her. In this process, they

better under stand nature. Their better understanding of nature is evident from their works.

On different forms found in poetry noted linguist Dr. Bholanath Tiwary writes :

’ % 3TT§f3ra3 g5TcT ir ffrifrRT: B'RJTqT# 35T3T ^ tfcpfcT Urt 3rtpt JtySRcW

sff after?rffirnycpi 3fte^ rtf3cfaftaeflci ftsrefr i'®rtrraicfr

11. Meghdoot - Kalidas, verses No - 4212. Chhayavad Ke Ganrav Chihna - Prof. Sluipal Skngh Ksero, Page -112

16

gsfterf % CT^fcr gst # vffrr ^ ?rrsr arrerftgs m a i sst aft ? f e f & <ja? ft ft c r ftssrr i

I ? n r e > T ? c T S f t t # r a T ? S c g ? ^ T S T T S f 3 T § f f i f J P 0 ? T a f f t ? i f t s f t 3 ® T S r A % I " 1 3

There is a saying " gcrl'jjafjrf^r-fif^T" The meaning what this saying contains is that there are as many opinions exist as the number of the people is. Same has been the case with viewing nature. Dr. Kiran Kumari Gupta has rightly observed in this direction ;

' ’3fF£|Picfc> rplpf if W<|>!d % viMli-l<P CTCTF9", TcT 3lf? Pl?ldl 3nft 35ftraf ^ Mcpfci % f t ? r - 1% ? f t f e f t 31W 2J T 1 1 w h t <? f t t r f f t r t f t i i i ;a ? t f t f t ? T O ? ? r g f t s r o f t f a r 3 5 ? Q « y r t , t i e r % f t j R f t i r f f t <fft ? w g e r r m crrsT f t s s r r 1 3 f t ? f t r e r e r r f t ^ 'c iiP g c S T s i f t ? j r m u s ? t y ? r i r m s f t t eW c P T O - i f 35T S f l f t q C T f ^ T T f I ” 14

(Nature poets of modern times like Prasa'd, Pant and Nirala have adopted differ­ent forms of nature. Prasad has offerred entire universe in the feet of Goddess nature, Pant has enjoyed the charm and serenity of beloved nature and Nirala has personified her, taking her as a means of conveying his thought.)

Same thing is applicable to the other regional language of India. In Assamese litera­ture, nature has been finding since the dawn of poetic activities. But the best of that is seen in contemporary modem poetry and particularly Raghunath Choudhary's poetry in general. For his flair for writing nature poets, he has been acknoledged as 'Prakriti - Kavi'.

We quote here the view to Dr Dwarika Prasad Saxena regarding the different forms of Nature found in poetry:

" S T T f l ^ ^ ^ t P f r f c r - IxtWW d f t f t f t e r O T l ft l s r ? M rifftcj f I 3TT3T *P T c p f t i T f f t r

g f t 3 T U ft cPToq JJcTren? iHIdciT f 3 ft? t T f # % # 3 TTKP T f t 3 T O ftt S T f lft ft i5 c q i*tl3 ft u f t 3 f f f e T t C

^ ? c u f i t % 3Trgl%q5 U ifa c ii f t 5 f f # r l i f t e r f t f t f t ? r f i ?rrerr?oTcTErr 3Tr§ftra>

cpiosiT f t sjeftar ^ ? r ? n ft f t f t f t e r p f f - i . 3 n ? w w f t ? . w f t i. ? f t f t «

^idid^ui Pinfur?wiis. ?s?^iic,n35^cr# s. M cfterW O T -ftis 3id3>i? sTftforr ft c . jnsfcflv?°r ? * q f t s . f t f t 5 # s r r % ? » q f t 3 ? k 10, G j£ ft% ? 5 c r ft r ’ 15

The above paragraph makes the sense clear that poets have been adopting nature in different forms, hr the foregoing paragraphs, brief discussion is being made on different forms of nature depicted in poetry.

13. Kavi Prasad - Dr. Bholanath Tiwari, Page - 15614. K adi KSvya Mea Praknti Ciritraa - Dr K,K.Gupta, Page - 2615. Hindi Ke Adhrmik Pratinidbi Kavi - Dr Dwarika Prasad Saxena, Pages - 277 - 27S

17

2.4. ffl ALAMBAN K E RO O P MEN PRA K RTTI: NATURE USED AS ALAMBAN

'A lam ban' literary means'Adfiar' a basis. Here nature is depicted not as a means but as

an end . Two kinds o f depicting nature as 'Alamban' or means is in vogue. First, where the synthetic

and grandiose picture is made, where nature is found with all her charms. In other words, we can

say that in such type o f descriptions where the extra human creation o f the world becomes the

subject matter o f poetry,nature is described as Alamban. In poetic such type o f style is called "

1%rw jront'ft, " Second, where the synthetic or complete picture o f nature is not made but

different agents o f nature are talked about is also taken as the Alamban chitran o f nature. In poetics,

it is called " WOTrrftwopTtiWTcfl' " From the earliest poetry to the modem one, these two forms have

been finding place in nature poetry. S ri K rishna K um ar Singh writes about the 'Alamban - Chitran'

of nature in the following words :

%3PT - WrSPT, gtrf ncpfcT

It is needless to say that while portraying nature as Alamban, the observation of poets

is not only sharp but self forgetting. Resultantly, the reader too forgets himself while going through

such piece o f poetry. Our literature is replete (rich) with such description. Old literature is full of

’A lam ban C hitrap’ (depiction o f Alamban). Defferent forms o f Nature in poetry is the legacy of

modem poetry.

2.4. (II) ’ UPDIPAN K E RO OP MEN PRAKRTTI1 : NATURE USED AS UDDIPAN :

When a poet takes recourse to different elements o f nature to arouse the feeling in

human beings by Ms poetry, then the nature is called to be used as 'U ddipan'. In other words, we

can say that when nature is portraited as a means and not as an end, the nature is called to he used

as 'Uddipan'. In this situation picturization o f hero and heroine's character becomes the end and to

acMeve this end nature is picturized as a means . Nature has bear portraited as 'Uddipan' in our

literature since long. Like 'Alamban', 'Uddipan' form of nature is also o f two kinds. Nature is portraited

as Uddipan mainly k Shringar - Vamana . To depict two forms o f shringar 'Sanyoga and Viyoga'

a poet takes help o f prakriti. In tMs state the p a k and pleasure what the characters feel is shown

through nature. This trend is very old k Indian literature. In the poetry o f Valmlld, Kalidas,

Bhavabhuti, M agha etc, tMs style is successfully adopted . M ahakavi Kalidas had described

16 Adhunifc Kaw Pant - Piakntx - Chilian - Sn Krishna Kx Singha, Pag© - 106

18

Shakuntala's beauty with the help of nature in the following copulet:

’3T£R : OTT: qslflcl' R cM l^ cP lfW ) s r if |

^ ■ h H W < d j 1 d ° i 4 % T i p ^ j r j ” 1 7

Here the poet says that the lips of Shakuntala are painted with the red derived from the

tender leaves, her arms complete with branches in their tenderness and her bosom wins the flowers

in their charm. What natural and better a description can be made of a heroine's beauty that the

above ! It is to be noted here that nature is used here only as a means. In the Sanjoga state of

shringara, the agents what make the character happy in viyoga state of shringara the same agents

make him unhappy or sad. A character in viyoga state of shringara forgets the distinction between

animate and inanimate objects and starts sharing his worries with inanimate trees and flowers.

The above discussion makes it clear that the style to express human feeling with the

help of nature is called 'Uddipan ke roop men Prakriti - O u tran '.

2.4. (m ) APRASTUT (ALANKARt YOJANA KE ROOP MEN PRAKRITI

NATURE USED AS 'APRASTUT - YOJANA' :

Human being is a lover of beauty. Since time immemorial different agents of nature

have been used for making a comparision and contrast of human beauty. This style of depiction

nature is called 'Aprastut (Alankar) Yojana'. Aprastuta means the natural agents, describing what

is not the object of the poet. For making a comparision of Prastuta (Characters) nature is used as a

means. The end there is the description of the beauty of the character. Nature comes there only to

high light them This is also called 'Alankara -Yojana'. As an Alankara (ornament) is necessary

to enhance the beauty of a maiden or woman, so an Alankara (figures of speech) is also necessary to

add additional beauty to poetry. Acharya Dandi has said in following line that the elements

responsible for adding beauty to poetry is called 'Alankara'.

" ’35iczr sfarr cfjtst srrfrr 3icT®raarvtra-§r i ’ ’ ( )

Highlighting the necessity of Alankaras in Kavya Acfiarya Jaydeva has said that a

poetry without Alankara is a flame without heat. He says.

3T3TT 332lfcr 35I°£t STs^T&llcWc-i opett I

3rcfr at ■Ho-'ijcl cp't’H |<S<JjbU|±)o1c1 ^ e f t I ‘ ‘ (-cl0-01 c lW )

17. Abhigyan Shakuntalam - first Act - Kalidas verses No. - 18

19

It is clear that Alankaras are the embellishments of Kavya with out whose kavya

remains unattrctive. We know that the sweetest expression of human emotion is kavya, where

characters are portraited, we always compare the gestures of those characters with that of nature.

The style of making comparision ofprastuta i.e. gestures of the characters with Aprastuta ie. agents

of nature is called 'Aprastut-Yoj ana' in poetry. In this context following lines of Dr. K iranRum ari

Gupta are worth mentioning.

"Sldtlfej ycpfci 3fr? TTIlvRf'fl% <5>ku| gsffr TTOT-

3 q 3 T P F r T ! ^ f r l % # 5 r ^ # ^ c T T ^ r t I fC T tiW R ls f^ 'o i^ s fb '^ c T o T , Hep Id' s ftTH lo lci f r ep^'^dl

f 3fte HlfifricP cF?g3Tf cpf -JTTsra' 35T3M.HM % 35TCW fe5TTc fT

t l " 18

Thus, it has been observed that the tradition of taking T pam an’ from nature,the objects of

comparision to express the beauty of human world is very old. For example, for the beauty of face,

moon and lotus, for eyes, Khanjan (a bird) and deer, for nose, parrot, for lips, Bimba fruit, for

teeth Dadim (pomegranate) and pearl, for sweet voice Koel(cuckoo) for gait, hastini, for black

hair, clouds are being used from time immemorial. Describing nature in this purpose, in poetics, is

called 'Aprastut - Vidhan.'

2.4(IV) MANAVIKARAN KE ROOP MEN PRA K RITI:

NATURE USED AS MANAVIKIRAN (PERSONIFICATION! :

The closeness of nature with human world leads to the exchange of ideas, in poetry

between each other. On such occasions human beings forget that agents of nature are inanimate.

The 'Puranic stories suggest that trees and shrubs, birds and streams also behaved like human

being. The attempt in poetry to personify nature and establish a rapport is said 'Manavikaranu In

this context following lines of Dr. H ardari Lai Sharma is worth mentioning :

“ 3Pt|oici if 311-fiM cp^oi ^ ^ n tr R W Ucjfcf^T wQfill 35) ,HMqW-<V| ^FgT^Hdl % 1 " 18

This trend of Manavikaran has very old history in Indian literature, despite the way it

has found place in modem poetry is not seen in old poetry. The 'Chhayavadi Yuga' excels in

Manavikaran. We can trace the Romantic age on Chhayavada. In this context Dr. K iran Kumari

Gupta writes:

18. Hindi Kavya man Prakrit. - cbitran -Dr. K.K Gupta, Page N o .-1519. Hindi Sahitya kosha (Part - 1) Dr. Hardwan Lai Sharma, page - 589

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TJ95 UcpK ^ «i|il!cU4 % jft 2J3T %5f ft, ^cfcjcff cJdIoM S fT T

ycpu % yiilcjj ofjff (incici If srf% fcb-i-fl ^ ctJ T JtMcflcBW 9ft % eft 3'Hfl 3TT^Pi4= <t>lct ^i) Tft

^psftcfcTT, ^ c r^e fT , 3U?icfT 3ft7 JTT§3f T # f I “ 20

Similarly noted Hindi critic Dr. Dwarika Prasad Saxena says in the following lines

about the personification of nature :

“ 3TTgf3ra5 cpfcfrif % tp^fcT T ? JTToTriter 3n rit, W W R f TJcT%SZI3fr cP T 3T T #T oP ^

3 r r a r ? # c f 5 T w r # % i f 3 ! c ^ r { f e g o f w f f e r r 1 1 w g o -fa r ft j i r a g s - R g s t s t j c p r ', •fS r^ o r mt t r j v t ,

g 'o f r g > q 'ir f > f r r % f t f i t e r 3 q w f # g # # ^ g f t e w d ^ t r ? c p c £ t s r r e f t 1 1 B w i g r #

c p f i t e l ^ I H q f f r f g § f 3 T c S l f if e 5 J P ^ T f O T ^ W I 1 1 " 21

With the above analysis, it becomes clear that the portrait of nature's personification

what is produced (found) in Chhayavadi Yuga, is not seen in so details in any other time of our

literatures as Chhayavad.

2.4.(V) ADHYATMIK - SANKETSTHALI KE ROOP MEN PRA K RITI:

NATURE AS ADHYATMIK - SANKETSTHALI:

Nature has been the goddes who bestows upon men all shorts of pleasure and prosper­

ity. Human being takes birth in her lap and grows with her. In this way, human being and nature

have been interdependent. Nature is like mother of human being. Both are known to each other due

to the closeness they enjoy. Human beings bow before nature taking(aecepting) her to be a goddess

as she appears to them living while non-living and moving while stationary. Man used to be aston­

ished to come across different agents of nature and used to serve(worship) her. Thus nature

Ibecomes mysterious to man. Man finds the image of the Almighty in her and depicts accordingly.

Taking nature as 'Viswatma' and himself' Jiwatma' man experiences a fundamental unity between

both of them. It indicates towards the 'Sarvavad' where man belived to be the part of Parama'tma.

'Sarvavad' believes that in form of a part of God exits in all the things of this creation. Thus God

rests in all forms of living and non-living objects of his creation. This thought has been nicely dealt

with in the Vedas, the Puranas. the Upanisadas, the Geeta etc. In this context reference of the

following verse of the Geeta can be quoted :

‘‘g r a i f t r ;n<% T R fi # 3 f i

*T cTc?fSfr t t s r r T*WT 9JcT 'rRTxI'OTJ! ‘ ‘ 22

20 K adi Kavya men Piakriti - chitran - Dr K,K,Gupa, Page No- 5821. K adi Ke Adhunik Pratimdhi Raw - Dr D.P Saxena, Page - 28322. Shri Mad Bhagavat Geeta -10/39

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( In the above verse Sri Krisna says to Arjuna, his companion "Oh Arjixna ! I

am the only cause of the evolution of all the creatures. W hat ever living or non-living you

find in this world is nothing beyond me. I am there everywhere.)

The picture what has been made in literature taking nature as an invisible and inex­

pressible existence is called 'Rahasyatmak or Adhyatmik Sanketsthali'. Almost all the poets

of modem age have made such picture of nature.

2.4. (V1) ANYA ROOPON MEN PRAKRIT! ; NATURE IN OTHER FORMS :

Besides these, there are other forms of nature found in Indian literature what has

been not described above. They are (A) 'Upadeshak', nature as preacher,(B) Dooti, nature as

messenger and (C) Pratika, nature as symbols. Following is a brief description of the above

mentioned forms:

2.4. tVI¥A! UPADESHAK KE ROOP MEN PRAKRTTI: NATURE AS PREACHER :

Because of having close relationship with nature man has been considering her ideal

and thus leading his life. This has encouraged human will to face the odds of life. A failure man,

when finds waves of the seas straggling against rocks, feels comfortable and gains courage to

fight one more in his life. These and similar other forms of nature come to the common man as

preachers. When such type of description comes in poetry it is classified as Prakriti (nature) as

preacher. Though this has been an old tradition, in modem poetry such descriptions are found

many in number. In this context Dr. P. Adeswar Rao has rightly observed :

-m fruf# ~ fk m 3Tftra?cRt r o t n c e r «pQwf frr w s w i t 11 1,23

Inspite of the above mentioned observation it is not true that the style of nature

description has come down to us with western influence. There are a number of beautiful exam­

ples o f description of nature in our old literature. Man has learnt forgiveness from the

earth,dutifulness from mountains, open heartedness from sea and generosity from the sky. Thus

the nature used as preacher in the literature.

23. Kavi Pant aai Unki Chkayavadi Rachanayen - Dr. P. Adeswar Rao, Page - 132

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B DOOTI VA SANDESHBAHAK KE ROOP MEN PRAKRITI :

NATI'RE AS MESSENGER :

The hfe long companion of man with nature makes her a messenger of the former This

is called the 'Sandeshbahak Ke roop men Prakriti'

When Ravana, the king of Lanka abducted Sita, the wife of Rama, Rama not only

cried rather he asked the trees, shrubs, birds and beasts about Sita. Mahakavi Kalidas has. in his.

'The Meghdoot' pictured the cloud as the messenger of virahi Yaksha. The traditional style of

picturing nature as messenger is more evident and conspicuous in modem poetry.

C. PRATIKATMAK ROOP MEN PRAKRITI :NAIT RF l SI 1) AS SN MltOl

Human being takes recourse of nature just to make expression of his feelings. This has

been an age old style. But in modem times this style has got much more popularity. For example, in

modem poetry the moon or light symbolizes for happiness or prosperity where as cloud or dark­

ness stands for sorrow and distress. The koel(cuckoo) symbolizes for virtue and the peacock

stands for love. Similarly the earth is picturized as the embodiment of compassion and forgive­

ness and heat stands for life. These are some forms of nature what are common symbols used in

poetiy.

Tlrus we can derive a conclusion that nature the life long companion of man has been

stimulating, inspiring and encouraging human emotion what become the theme of poetiy with the

best arrangements of best words.

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