Circular Causality: Social Aesthetic and Sanskrit Literary Tradition

The word ‘impinge’ is of some synchronistic value to me, having made a pivotal appearance in a Jungian course I took last year; thus I could not resist but pick up on Sheldon Pollock’s use of this pregnant word in his article. “The social,” he says, “impinges on Sanskrit literature and literary theory at every possible level” (223). However, this road of influence is not a one-way street. Rather, this literary theory is the foundation of, and inspiration for the very social structures that it gains its rasa from! As Pollock asserts, “aesthetic sentiment becomes intelligible only against a broader discourse of social sentiment” (223).

The importance of dhvani and rasa surface once more in Pollock’s writings. In this case, he argues that Sanskrit acts as a connector between the preceptor and the aesthetic experience. Furthermore, the religious aspects of the Sanskrit language adds a dimension of morality to the literary tradition that might not exist anywhere other than in Indian social circles. Pollock equates the concept of dhvani with the social aspects of literary tradition. He argues that it is important to comprehend the social context of the author’s writings in order to grasp the dhvani of the situation. Furthermore, Pollock equates rasa with the overarching moral compass that guides the social contextualization of the writings themselves. When literature portrays an instance that goes against the grain of societal norms, one experiences false feelings – he calls these ‘false bhavas’ and relates them directly to moral discourse. He asserts that true bhava (passion) only is rasa. False passion does not rasa create.

For instance, as amply discussed in the Dhvanyaloka and by Pollock, the Ramayana is a work of true bhava and is worthy of invoking rasa. The morality eschewed by its story and the characteristics embodied by Rama (as well as many of the other ‘good’ characters who fulfill dutifully their roles in society) are what makes the story a moral one – one that incites true bhava (passion), and by extension, one that fosters true rasa. The ideal of good triumphing over bad in a just society is promoted through the juxtapositioned characters of Rama versus Ravana. The audience is automatically called to revere Rama and revile Ravana. By mirroring the character of Rama, one is able to experience the true rasa of the Ramayana. In this illustration, societal values of good over evil are reflected in this literary masterpiece, and in turn this work of literature works to promote an uphold the moral scaffolding of the society in which it finds itself.

This brings me back full circle to the topic of ‘impingement’. The quote I have special Jung-like reverence for is from James Joyce’s ‘The Dubliners’: “I heard the rain impinge upon the Earth…” – that is, the rain struck the earth with a force and a collision ensued. Perhaps in such a forceful manner, literary tradition is like the dry earth, waiting to be imbued with the raindrops that impregnate society with morality.