My ancestor Turavur Narayana Sastri named in 21st century books & journal as 1915 Sanskrit transcriber of ancient Tapatisamvarana-dhvani & Subhadradhananjaya-dhvani (Vyangyavyakhya) Kerala drama commentaries related to Kutiyattam
Last updated on 19th Apr. 2023
Copied with link update from ravisiyer.blogspot.com on 14 Apr. 2023, first published there on May 23, 2020
In K.G. Paulose's book, Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre published in 2013, my great-grandfather Turavur (Thuravoor) Narayana Sastri (TNS) has been mentioned as 1915 Sanskrit transcriber from Malayalam palm leaf manuscripts of originally 9th/10th century possibly, commentaries (dhvanis) - Tapatīsaṃvaraṇa-dhvani and Subhadrādhanañjaya-dhvani - on two dramas - Tapatīsaṃvaraṇa and Subhadrādhanañjaya - of same time period, all of which were created in ancient Kerala. Note that the plot of both the two dramas (not commentaries/dhvanis) are said to be taken from associated stories in the Mahabharata epic. There seems to be just one mention of TNS name in Dr. Paulose's above book.
This reference to TNS has been, in turn, referenced by an article by Christophe Vielle in 2017 Cracow Indological Studies, Theatrical and Ritual Boundaries in South Asia journal, and two seemingly similar articles by Manu V. Devadevan in 2019 book titled, Two Masterpieces of Kutiyattam : Mantrankam and Anguliyankam, edited by David Shulman and Heike Oberlin, and book authored by Manu V. Devadevan titled, The ‘Early Medieval’ Origins of India, published in 2020. All these three articles mention the name: Turavur Narayana Sastri.
Hmm. This is a happy result of my rather intense Internet based search work on TNS, over the past few weeks. I had not anticipated 21st century books and a journal referring to my great-grandfather by name, even if the reference is limited (typically only once) and as a Sanskrit transcriber. I am really glad to see TNS name in these 21st century books! [For more details about TNS please visit my post: My great-grandfather Thuravoor Narayana Sasthrigal, noted Sanskrit scholar in grammar, and principal of Govt. Sanskrit College, Thiruvananthapuram (Trivandrum) from 1909-1911, https://tnarayanasasthri.blogspot.com/2023/04/my-great-grandfather-thuravoor-narayana.html .]
The sections below give the details of the references to TNS in these books and a journal.
K.G. Paulose book: Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre
From https://en.wikipedia.org/wiki/K._G._Paulose, "K. G. Paulose is a Sanskrit scholar specialized in the dramaturgy of the Natya Shastra and Kooditaatam." He was born in 1946 and currently seems to be editor in charge of publication division of Arya Vaidya Sala, Kottakal.
From https://en.wikipedia.org/wiki/Koodiyattam, "Koodiyattam, also transliterated as kutiyattam, is a traditional performing art form in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of koothu, an ancient performing art from the Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity."
K.G. Paulose authored the book titled "Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre", published by Rashtriya Sanskrit Sansthan and D.K. Printworld in 2013, https://books.google.co.in/books?id=LzCNzSTekCEC, https://www.amazon.in/Vyangyavyakhya-Aesthetics-K-G-Paulose/dp/8124606994.
This book refers to my great-grandfather Turavur (Thuravoor) Narayana Sastri (referred to as TNS hereafter). On page 67 of the book (as per Google Books), we have the following paragraph:
The only Ms available to us of these text is the one owned by Kailasapurathu Govinda Pisharoti in the palace library (No. 67) in Thiruvananthapuram. This palm-leaf Ms, in early Malayalam script is very old and is worn-out in many places. Turavur Narayana Sastri, an eminent traditional scholar of the last century transcribed this in paper in Devanāgari script for the Oriental Manuscript Library Thiruvanantapuram in 1915 CE (ME 1090).
--- end paragraph from Paulose book ---
Given below are two pics from Google Books search related to the above.
[To open pic in larger resolution, right-click on pic followed by open link (NOT image) in new tab/window. In new tab/window you may have to click on pic to zoom in.]
[Update on 26th May 2020. Dr. Christophe Vielle has confirmed to me that the book has Sanskrit text transcribed by TNS. He also clarified that the earlier palm-leaf manuscript had Sanskrit words written in Malayalam script, and therefore TNS's work was transcription of that to Devanagari script without any translation. For more on this, please see my post dated 26th May 2020: Dr. Christophe Vielle of UCLouvain - Institut orientaliste, Belgium, provides key answers to my questions on my ancestor Turavur Narayana Sastrigal's Sanskrit transcription work on Vyangyavyakhya, https://tnarayanasasthri.blogspot.com/2023/04/dr-christophe-vielle-of-uclouvain.html .]
I think if the book contains pictures of Sanskrit text transcribed by TNS on paper OR even has typed Sanskrit text copied from Sanskrit text transcribed/translated by TNS on paper, then it will certainly be worth buying and treasuring as a family heirloom, for me and perhaps other descendants of TNS, as we currently are not able to find any document of TNS in the family. As the grandchildren of TNS (my parents' generation) migrated to Bombay/Mumbai from Kerala, and also faced financial challenges, and later as their children (my generation) moved residence, TNS related written material/records/documentation has sadly disappeared from the family. I have captured the oral information about TNS that was available/orally handed down in the family, when I did some digging up on the matter over the past few years, in posts on this blog (see https://tnarayanasasthri.blogspot.com/2023/04/my-great-grandfather-thuravoor-narayana.html and links mentioned in it).
Note that later on in this post, we see that Christophe Vielle writes that this K.G. Paulose book has the complete text of what seems to be the Sanskrit transcript written by TNS! If that is the case (if my understanding of Vielle's words is right), then I will surely buy the hardcover book!
The Hindu article: Art of theatre, https://www.thehindu.com/features/friday-review/theatre/art-of-theatre/article5170444.ece, 26th Sept. 2013, updated on 10th Oct. 2013, has the sub-title: "K.G. Paulose explains why Vyangyavyakhya: The Aesthetics of Dhvani in Theatre, a book on theatre edited by him, is important to understand theatre forms of Kerala." The article also has a pic of Paulose with the book.
Review of K.G. Paulose book by Christophe Vielle in 2017 Cracow Indological Studies, Theatrical and Ritual Boundaries in South Asia journal
In page 142 (pdf page 183) of Cracow Indological Studies, Theatrical and Ritual Boundaries in South Asia. Part I, VOL. XIX, No. 1, Edited by Elisa Ganser and Ewa Dębicka-Borek, KRAKÓW 2017, https://www.zora.uzh.ch/id/eprint/150340/1/29bddf3eca7aa95cc523668afca0b607.pdf, there is a reference to TNS as Turavur Narayana Sastri. [Note that Cracow is in Poland.]
This reference comes in the chapter/article titled, "The So-called Vyaṅgyavyākhyā: Selected Remarks for Reading It Philologically—A Review of K. G. Paulose (ed.).Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre. pp. xvi + 546. New Delhi: Rashtriya Sanskrit Sansthan–D.K. Printworld. 2013.—By Christophe Vielle (Oriental Institute, Louvain-la-Neuve)."
In the above mentioned chapter, Vielle refers to two distinct commentaries (vyakhyas) - Tapatīsaṃvaraṇa-dhvani and Subhadrādhanañjaya-dhvani - by an unnamed Brahmin Pandit (scholar) on the plays Tapatīsaṃvaraṇa and Subhadrādhanañjaya composed by the Kerala king and dramatist Kulasekara, with both the king and Pandit being contemporaries (perhaps in 9th or 10th century CE).
First let us understand what are the above two plays, before we proceed to the commentaries (vyakhyas) on them.
1) Tapathisamvaranam of Kulashekharavarma (King of Mahodayapura, from dynasty of rulers of ancient Kerala, 9th/10th CE perhaps), https://archive.org/stream/Trivandrum_Sanskrit_Series_TSS/TSS-011_Tapathisamvaranam_of_Kulasekharavarma_-_TG_Sastri_1911 [published in 1911]
From the preface by T. Ganapati Sastri (Editor of Trivandrum Sanskrit Series, https://en.wikipedia.org/wiki/T._Ganapati_Sastri): "The play Tapatisamvarana derives its name from Tapati and Samvarana, the heroine and the hero. The plot of the play is taken from the story of Samvarana, the father of Kuru and husband of Tapati described in chapters 171-173 of the Adiparva of the Mahabharata. The edition of the drama is based on four manuscripts 2 or 3 centuries old obtained from the Palace Library."
2) Subhadradhananjayam of Kulashekharavarma (King of Mahodayapura, from dynasty of rulers of ancient Kerala, 9th/10th CE perhaps), https://archive.org/stream/Trivandrum_Sanskrit_Series_TSS/TSS-013_Subhadradhananjayam_-_TG_Sastri_1912 [published in 1912]
From the preface by T. Ganapati Sastri: "The book which is now published as its name correctly indicates, narrates in dramatical form, the romance of Subhadra and Dhananjaya described in the celebrated epic, the Mahabharata".
Now let us move back to Vielle's article.
Vielle refers to above mentioned Dr. K.G. Paulose's book, Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre, published in 2013, which, Vielle states, for the first time provides the complete text of both commentaries which have been "copied from the codex T.281 of the Oriental Research Institute & Manuscripts Library of the University of Kerala". Vielle then writes, "This devanāgarī transcript on paper was made by a pandit of the Department for the publication of Sanskrit manuscripts/Curator’s Office Library, Trivandrum, in 1915 (date given by Paulose p. 67, supposedly from the transcriber-notice usually found at the end of such codices)."
Note that the text in Paulose's book are the commentaries (dhvanis/vyakhas) on the plays and not the plays themselves.
Vielle writes, "It is the T.281 transcription that has combined the two texts, which were separate in the original manuscripts, and presented them with a common title (dhanañjayasaṃvaraṇadhvaniḥ written on the first page of the transcript reproduced by Paulose p. 68), as if they were forming a single work. The transcriber (viz. the pandit Turavur Narayana Sastri according to Paulose) would have been encouraged to do so following the use of the singular Vyaṅgyavyākhyā as a common title, created by T. Gaṇapati Śāstrī to designate both works in the introduction to his edition of the Tapatīsaṃvaraṇa published in 1911 (Trivandrum Sanskrit Series no. 11)." [Ravi: This seems to be the same Tapatisamvarana book whose archive.org link has been provided earlier in this post.]
From the above, we can understand that TNS transcribed the palm leaf Malayalam script version of the two commentaries (vyakhyas/dhvanis), to paper Sanskrit version, and he combined the two commentaries into one single vyakhya/dhvani. But did this transcription also involve translation from Malayalam into Sanskrit? In which case, why is TNS referred to as transcriber and NOT translator? Note that https://en.wikipedia.org/wiki/Transcription_(linguistics) states, "Transcription in the linguistic sense is the systematic representation of language in written form. The source can either be utterances (speech or sign language) or preexisting text in another writing system. Transcription should not be confused with translation, which means representing the meaning of a source-language text in a target language (e.g. Los Angeles into City of Angels) or with transliteration which means representing the spelling of a text from one script to another."
But what exactly is dhvani in this context? An extract from https://en.wikipedia.org/wiki/Anandavardhana is given below
Ānandavardhana (c. 820–890 CE) was the author of Dhvanyāloka, or A Light on Suggestion (dhvani), a work articulating the philosophy of "aesthetic suggestion" (dhvani, vyañjanā). The philosopher Abhinavagupta (c. 950 – 1016 CE) wrote an important commentary on it, the Locana, or The Eye.
Ānandavardhana is credited with creating the dhvani theory. He wrote that dhvani (meaning sound, or resonance) is the "soul" or "essence" (ātman) of poetry (kavya)."[1] "When the poet writes," said Ānandavardhana, "he creates a resonant field of emotions." To understand the poetry, the reader or hearer must be on the same "wavelength." The method requires sensitivity on the parts of the writer and the reader.[1] The complete Dhvanyāloka together with Abhinavagupta's commentary on it has been translated into English by the eminent Sanskritist Daniel H.H. Ingalls and his collaborators.[2]
[References:
1. Premnath, Devadasan; Foskett (Ed.), Mary; Kuan (Ed.), Kah-Jin (15 November 2006), Ways of Being, Ways of Reading: Asian American Biblical Interpretation, Chalice Press, p. 11, ISBN 978-0-8272-4254-8
2. Anandavardhana; Abhinavagupta; Daniel H.H. Ingalls; J.M. Masson; M.V.Patwardhan, The Dhvanyaloka of Ānandavardhana with the Locana of Abhinavagupta, Harvard Oriental Series]
--- end extract from wikipedia ---
This dhvani (aesthetic resonance/suggestion) was applied to the two dramas Tapatīsaṃvaraṇa and Subhadrādhanañjaya in the commentary works Tapatīsaṃvaraṇa-dhvani and Subhadrādhanañjaya-dhvani, with the dramas and the dhvanis dated by some scholars as 9th/10th century CE.
Vielle writes, "Hence, even if the title Vyaṅgyavyākhyā (henceforth VV) is artificial, the way according to which the two texts have been put together by the ‘pre-editor’/transcriber is not at all meaningless". [Ravi: The combined dhvani text in Sanskrit was named, as mentioned earlier, dhanañjayasaṃvaraṇadhvaniḥ, probably by TNS. This is also referred to as Vyaṅgyavyākhyā (name used by T. Ganapati Sastri), and is now better known with this Vyaṅgyavyākhyā name.]
Kutiyattam article by Manu V. Devadevan in 2019 and 2020 books
The following books have similar articles by Manu V. Devadevan with one book's article titled: Knowing and Being: Kutiyattam and Its Semantic Universe.
1) Two Masterpieces of Kutiyattam : Mantrankam and Anguliyankam
Edited by David Shulman and Heike Oberlin
published by Oxford University Press, 11th September 2019.
https://global.oup.com/academic/product/two-masterpieces-of-kutiyattam-9780199483594
2) The ‘Early Medieval’ Origins of India
By Manu V. Devadevan
Cambridge University Press, published in May 2020
https://www.cambridge.org/core/books/early-medieval-origins-of-india/8E935BD91FEECD81CD48537B5A678BC7#
A draft version of the article is available here (full text is available): https://www.academia.edu/29536350/Knowing_and_Being_-_Ku_t_iya_t_t_am_and_Its_Semantic_Universe.pdf.
Both the articles/chapters in above books refer (in reference/notes section of a page), to Dhanañjayasamvaranadhvanih (also called Vyangyavyakhya), being transcribed in Sanskrit by TNS from Malayalam palm leaf manuscript in 2015.
-------------------
Notes
1. Browsed the net for Christophe Vielle and found that he is a Professor at "UCLouvain - Institut orientaliste" in Belgium, http://www.cbs.ugent.be/node/553. Hmm. Interesting!
I found a youtube video of Dr. Vielle inaugurating a November 2018 conference on science and technology in Sanskrit organized by Research Forum Sahitya and Department of Sanskrit Sahitya in Sree Sankaracharya University of Sanskrit, Kalady, Kerala: https://www.youtube.com/watch?v=kAgqCRCS6cU, 12 min. 21 secs.
2. https://uni-tuebingen.de/en/faculties/faculty-of-humanities/departments/aoi/indology-and-comparative-religion/mitarbeiter/heike-oberlin-moser/ is the faculty page for Prof. Heike Oberlin (Moser) from "Institute for Indology and Comparative Religion", Tübingen University, Germany. She has published an online book in 2011 titled, "Bibliography of Kūṭiyāṭṭam" which can be viewed & downloaded from https://www.academia.edu/26631385/Bibliography_of_K%C5%AB%E1%B9%ADiy%C4%81%E1%B9%AD%E1%B9%ADam.
Her above faculty page states, "From 1995 to 2001 she studied and performed Kūṭiyāṭṭam and Naṅṅyār-Kūttu with P.N. Girija and Painkulam Rama Chakyar at Kerala Kalamandalam in India. Since then she is also involved in studying and teaching the Malayalam language."
3. Manu V. Devadevan is faculty in the School of Humanities and Social Sciences, IIT Mandi, Himachal Pradesh, India. More about him can be seen on his faculty page: http://faculty.iitmandi.ac.in/~manu/.
================================
In response to a comment on my Facebook post, https://www.facebook.com/ravi.s.iyer.7/posts/2851089081774317, associated with this blog post, that my family are educated and scholarly, I wrote:
Well, I think it is only my great-grandfather TNS who, in the immediate past generations of my family, was a scholar. Most others (males usually as in my parents' generation and earlier generations about whom we have some idea, females played more of a home maker and family nurturing role with one clear exception of a lady who was a school teacher) were educated either in traditional Hindu Vedic education systems or later in modern Indian education systems, but I think had to focus on earning a livelihood in non-scholarly occupations, to maintain their families. Note that some may have been teachers but not scholars who wrote/composed scholarly articles, books, plays and/or poems. And so TNS stands out as the only ancestor of my family that I (or our larger family) know of, as far as I know, as having been a scholar with some compositions to his credit but about which not much is known now in the family, due to any family records about his works that may have been there, having been lost.
----
[I thank Wikipedia, publishers and authors of Vyangyavyakhya, Cracow Indological Studies and CONTEMPORARY INDIAN LITERATURE - A SYMPOSIUM, and have presumed that they will not have any objections to me sharing the above extract(s) from their website (small extracts from Vyangyavyakhya, Cracow Indological Studies and CONTEMPORARY INDIAN LITERATURE - A SYMPOSIUM) on this post which is freely viewable by all, and does not have any financial profit motive whatsoever.]
Comments
Post a Comment