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culminate in the consummation of their marriage (by sexual intercourse) is only proper and reasonable. What is wrong, therefore, if a highly gifted poet like Kalidasa describes their amour very artistically and poetically ?
If now, the argument is advanced that sädhäraṇtkaraṇa (depersonalisation, generalisation or universalisation) is impossible in the case of gods and goddesses like Siva and Päivati in respect of rati, then it should be equally impossible in respect of other emotions like utsaha,, vismaya, and so on. Accepting this position would mean that the life of gods (deva-carita) should altogether be eschewed by the poet when composing poems or plays-a position not acceptable even to Abhinavagupta. For he says:
रामादिचरितं तु न सर्वस्य हृदयसंवादीति महत्साहसम् । चित्रवासनाविशिष्टत्वाच्चेतसः । यदाह – “तासामनादित्वम् आशिषो नित्यत्वात्। जाति-देश- कालव्यवहितानामप्यानन्तर्य स्मृतिसंस्कारयोरेकरूपत्वात्"" ।
"To say that the life of Räma, etc. (describing extra-ordinary deeds, such as building a bridge across the ocean, etc.,) does not appeal to one and all is very inconsiderate-being very rash. For everyone's mind is characterised by a variety of vāsanās. For Patanjali says: "Vāsanās are without beginning, because desire is eternal". "Although separated by birth, place and time nonetheless there is a correspondence between smṛti and samskara". In other words, although several births intervene, vdasands still produce instinctive reactions to external situations".
Thus if sadharanikarana is possible in respect of heroic deeds, it should be equally. possible in respect of love as well. If it be argued that it is not possible in this particular case of Siva and Pärvati, the father and mother of the world, we have already replied that they represent man and wife.
One would perfectly agree with the critics if they were to say that the Canto is highly erotic. But what is erotic is not necessarily obscene; and we must never mix up aesthetics with ethics. In the realm of literature and its appreciation we must be solely guided by aesthetics and we must refuse to be impressed by extraneous considerations of morality and immorality and its effect or impact on society. As literary. critics our duty ends when we appreciate the beauty of the literary creation and experience aesthetic rapture. To censor passages from books on grounds of morality or their evil influence on society is the job of law-courts. Viewed in this light the Devt-sambhoga-varṇana as portrayed by Kalidasa, gifted with divine creative imagination, would not appear improper and obscene.
Anandavardhana's approach to poetry or literature in general is two-fold: aesthetic and ethical. From the aesthetic point of view he passes the judgment that the breach of decorum in the poet's description of the sexual love between Siva and Parvati is covered up or concealed by the poet's genius. His view that there is a breach of decorum in such a description is based on an ethical approach to literature. The
9. Locana (Banaras edition with Balapriya commentary) pp.187-88
