The aim of this article is to reconstruct the classical Sāṁkhya view on the relationship between a word and its meaning. The study embraces all the extant texts of classical Sāṁkhya, but it is based mainly on the Yuktidīpikā, since this commentary contains most of the fragments which are directly related to the topic of our research. The textual analysis has led me to the following conclusion. It is possible to reconstruct two different and conflicting views on the relationship between (...) a word and its meaning from the classical Sāṁkhya texts. The first view, the source of which is the Yuktidīpikā, is that all words are conventional in their origin. It resembles the Nyāya-Vaiśeṣika theory of the primary linguistic convention and the conventional origin of all words. The second view, which is the implication of the Sāṁkhya idea of the authorless Vedas we can reconstruct on the basis of the majority of the classical Sāṁkhya commentaries, is that the relationship between a word and its meaning is natural. This view is probably influenced by Mīmāṁsā. Both of these views are hardly compatible with the Sāṁkhya teaching. It seems like classical Sāṁkhya, not having created its own detailed theory, oscillated between different conceptions. (shrink)

Recognizing newness is a difficult task in any intellectual history, and different cultures have gauged and evaluated novelty in different ways. In this paper we ponder the status of innovation in the context of the somewhat unusual history of one Sanskrit knowledge system, that of poetics, and try to define what in the methodology, views, style, and self-awareness of Sanskrit literary theorists in the early modern period was new. The paper focuses primarily on one thinker, Jagannātha Paṇḍitarāja, the most famous (...) and influential author on poetics in the seventeenth century, and his relationship with his important sixteenth-century predecessor, Appayya Dīkṣita. We discuss Jagannātha’s complex system of labeling of ideas as “new” and “old,” the new essay style that he used to chart the evolution of ideas in his tradition, his notion of himself as an independent thinker capable of improving the system created by his predecessors in order to protect its essential assets, and the reasons his critique of Appayya was so harsh. For both scholars what emerges as new is not so much their opinions on particular topics as the new ways in which they position themselves in relation to their system. (shrink)

From the fourteenth to the eighteenth centuries, Indian intellectuals produced numerous Sanskrit–Persian bilingual lexicons and Sanskrit grammatical accounts of Persian. However, these language analyses have been largely unexplored in modern scholarship. Select works have occasionally been noticed, but the majority of such texts languish unpublished. Furthermore, these works remain untheorized as a sustained, in-depth response on the part of India’s traditional elite to tremendous political and cultural changes. These bilingual grammars and lexicons are one of the few direct, written ways (...) that Sanskrit intellectuals attempted to make sense of Indo-Persian culture in premodern and early modern India. Here I provide the most comprehensive account to date of the texts that constitute this analytical tradition according to three major categories: general lexicons, full grammars, and specialized glossaries. I further draw out the insights offered by these materials into how early modern thinkers used language analysis to try to understand the growth of Persian on the subcontinent. (shrink)

This study accounts for disparate portrayals of divine destroyer Śiva in the normative Rāmāyaṇa and Mahābhārata as opposed to Kālidāsa’s amatory Kumārasaṃbhava and Raghuvaṃśa by contrasting the primary and secondary Sanskrit epic authors’ respective reliances on the Mānavadharmaśāstra and the Kāmasūtra. By arguing, per Richard Johnson’s postpoststructuralism, that these mythological and philosophical differences deliberately reflect those poets’ specific sociohistorical contexts, this inquiry accounts more accurately for Śiva’s classical-epic depictions than do Stella Kramrisch’s and Wendy Doniger [O’Flaherty]’s investigations informed by Claude (...) Lévi-Strauss’s structuralism and Don Handelman and David Shulman’s researches influenced by Gilles Deleuze and Félix Guattari’s poststructuralism. The present work, in revising such prevailing Indological notions as Romila Thapar’s traditional construal of the “classical,” Donald R. Davis Jr.’s anthropocentric definition of puruṣārtha (human aim), and Sheldon Pollock’s unvarying characterization of śāstras (treatises), models a historically aware approach that appreciates the interrelationship of mythological philosophy and philosophical mythology. (shrink)

This inquiry explores the terms yogakshema, sampradaya, and manodharma sangita, as well as theories and practices of improvisation and innovation in music and other fields of Hindu culture. It considers the ways Hindu traditions play out the human contradiction—that life must always combine both old and new; the ways improvising is part of the Hindu frameworks in Vedic chanting, and the performance of ragas and other cultural activities in India. Both set patterns and nuanced interpretations in literary and musical works (...) present processes which suggest models of progress and renewal in various fields of human endeavor. I am unpacking the scholar V. Raghavan’s ideas about how traditions in Indian culture can adapt creatively in time. (shrink)

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)

This paper argues that the grammarians Bhaṭṭoji Dīkṣita and Kauṇḍa Bhaṭṭa did innovate in the realm of grammatical philosophy, without however admitting or perhaps even knowing it. Their most important innovation is the reinterpretation of the sphoṭa. For reasons linked to new developments in sentence interpretation (śābdabodha), in their hands the sphoṭa became a semantic rather that an ontological entity.

This essay introduces a special issue on the history of kāmaśāstra in medieval India. It briefly reviews the secondary scholarship on the subject from the publication of the first translations of the genre at the end of the nineteenth century. It highlights the relatively unexplored history of later kāmaśāstra, and stresses the need for contexualized and detailed studies of the many kāmaśāstra treatises produced in the second millennium CE. The introduction, and the essays that follow, also argue for an expanded (...) interpretive framework for the genre, moving beyond ‘sex’ and ‘sexuality,’ to a more widely defined notion of a ‘kāma world’, in which sensual pleasure is understood as being deeply enmeshed with aesthetic, ethical and cosmopolitan cultures. (shrink)