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Shri Mahavir Jain Aradhana Kendra
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1
VAJJALAGGAM
poetry is in evidence in the case of most of the erotic stanzas included'in the VL and the Gäthāsaptasati and also in the case of those cited in works on poetics as illustrations of Chram. The subtle, hidden meaning is conveyed by suggestion based on the use of ambivalent words () or ambivalert actions and situations (1). This peculiarity of Prakrit poetry is called (st. 21) or auf (st. 27), and it consists in keeping the real intention (fg9q4 ) hidden behind a simple and unsophisticated exterior (Cf. st. 491-496).
Acharya Shri Kailassagarsuri Gyanmandir
The real test of the poetic quality of the utterances of poets is their ability to charm or fascinate the mirds of cultured audiences (st. 14), to thrill their bodies with joy ard to cause them to nod their heads in approval and admiration (st. 26). Poetry must be effectively and charmingly recited. Composition of poetry: is undoubtedly difficult, but even its flawless ard effective recitation (gésurpatar) before cultured audiences is equally difficult. Only such a public recitation of poetry (r. 47) can confer upon a composer the status and distinction of a Prakrit poet (st. 5, 795). Prakrit gāthās are meant to be recited publicly in the assemblies of cultured men of literary taste (st. 14) according to their desire i e. as directed by them (eftener qf, st. 794). Such cultured men alone are able to fathom and appreciate the subtle hidden beauty of poetry and not only to put their finger unerringly on the faults if any, but also to show how the faults can be got over by removing the faulty words and using flawless ones in their place (st. 26).
Effective and pleasing recitation of Prakrit poetry demands a high level of education and refinement on the part of the reciter. Reciters of Prakrit poetry must be learred men acquainted with the sciences of prosody and grammar and with the technicue cf recitation, of which last we get some idea from st. 27, which mentions the faults to be avoided in the recitation of poetry. These are: (i) failure to pause at the proper place (cæsura), (ii) failure to convey the proper emotional atmosphere and appeal, (ii) disregard for propriety regarding the place and time of recitation, (iv) unwarranted nasalisation of scurds, (v) hasty recitation, (vi) facial distortions and (vii) viclation of the laws of melody.
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