Reviews

The account of his work on The Hindu is, understandably, a lot more detailed. So are his experiences with his numerous colleagues in the editorial department. A notable point he mentions is that he left the news-room less chaotic than he found it. The book is full of pen-pictures of all those he had worked with and come to know closely, including some well worth-mentioning, others not quite; not at such length, at any rate. The place of priority naturally goes to the late Editor, Kasturi Srinivasan, patriarchial, generous, impulsive, changeable; N. Raghunatha Aiyar, long-time Chief leader-writer comes next–brilliant, learned, orthodox, uncompromising. Due credit is given to the present Editor, Mr. G. Kasturi, competent, observant, single-minded, unsparing, who is responsible for professionalising the news service and modernising the paper.

“Efficient Baxter” is the sobriquet, earned by the author from his senior colleagues, including Mr. K. Balaraman, known for his brilliance and wit, who contributes a foreword to the book.

From the news desk to the reporters’ field Ramachandra Aiyar is a seasoned newsman who had served The Indian Express for four decades and more as a reporter, including the last as Chief Reporter. He had also gained experience as a teacher of journalism, by his association with the University Department of Journalism and the Bhavan’s School of Communication.

In this neatly produced paper, titled Quest for News the author draws upon his wide and varied experience in the field to present a compact account of all aspects of the reporter’s job from covering public meetings tocrime stories, from Legislature reporting to human interest stories, frompolitical interviews to science news. He prefaces these sections with introductory notes on journalism in general, attributes of a reporter and sources of news and coverage strategy. The five ‘W’s and one ‘H’ are worth remembering by every reporter, old or new–” Who, what,When, Where, Why and How?”

What is particularly valuable in this well-planned guide-buok is that every general statement or principle is illustrated by an example or two and every observation is reinforced by personal experience.

Of the twenty odd brief chapters of this book, the concluding one on the “Ethics of Reporting” is particularly valuable. Among other things, the author says: “Do not misquote or give wrong reports; if your colleague happens to come late to a meeting or a function, help him. Helpthe juniors. Tell them the news stories, Treat colleagues with courtesy. Be a real profession.”

If more reporters follow this advice, the job will be not only professional, but more pleasant and civilised. The author is certainly one of the pleasanter and more civilized members of the reporting corps. His example is worth emulation by the young and old alike.

–DR. D. ANJANEYULU

The Poems of Shakespeare’s Dark Lady (Salve Deus Rex Judaeorum): By Emilia Lanier. Jonathan Cape. Indian Distributors: B. I. publications, Bombay-23. Price: Rs. 83-65.

The 1590’s were the golden age of sonneteering in Elizabethan England. The most phosphorescent and profoundly disturbing sequence of course came from Shakespeare whose Sonnets were published by T. T. and dedicated to Mr. W. H. The personality of the ‘Dark Lady’ referred to in many of them has teased, if not demoralised, some of the finest critical brains into Sherlock Holmesian sleuthery for the last three centuries and more. Who was she? Was she no more than a strumpet? Was she really Lady Rich, the Earl of Pembroke’s flame? Was she a “married woman...(and) no common courtesan “as Dover Wilson says?

The well-known Elizabethan historian and critic, Dr. A. L. Rowse said less than two decades ago: “In fact, we do not know, and are never likely to know, who she (the Dark Lady) was.” But having wormed assiduously among the treasures of the Bodleian, Huntington and other libraries, he now sings a very different tune. The Dark Lady was Emili Lanier. And the Dark Lady was a poet too, “the second best woman poet of the age!” And here is the whole body of the poems, preceded by Dr. Rowse’s own enthusiastic thesis on Shakespeare’s Dark Lady.

Emilia was the illegitimate daughter of one of the Queen’s Italian musicians, Baptista Bassano. She was orphaned when quite young and became the mistress of old Lord Hunsdon, the Lord Chamberlain. When she became pregnant, she was married off to one of the Queen’s musicians, Alphonso Lanier, and was then largely left to her own devices. Her morals were understandably loose, and she was a naughty witch as well, if we are to believe: the jottings of Simon Forman (one of her many lovers). The Dark Lady of Shakespeare’s Sonnets must also have been a betwitcher in her own right. But Dr. Rowse’s emphatic equation that Shakespeare’s Dark Lady was the same as Hunsdon’s, Lanier’s and Forman’s seems to be a wild leap at guessing rather than a sober demonstration.

As a poetess, Emilia was too facile and too fluent; “She wrote too much, and she padded out what she had to say–it would have been more effective if shorter.” Salve Deus Rex Judaeorum (1611)–published two years after Shakespeare’s Sonnets–comes to us today as a frayed item out of an old curiosity shop. It is dull, though it may tickle the specialist in Elizabethan verse. The inset prose item is perhaps rather more lively and pepperish than the formal rhymed and stanzaed exercises. And indeed Dr. Rowse, apt is usual to be carried away by his enthusiasms, hears in the prose piece the first ‘feminine’ voice that carries the debate to apple-eating Adam himself! But why should we assume, as Dr. Rowse does, that the prose piece is Emilia’s lash rebutting the defamatory portrait of herself in the Sonnets?

After Dr. Dowse’s 37-page discursive introduction that rouses our expectations about this second best woman poet of the Elizabethan age, the poetry itself comes as an anti-climax. Several dedications to the queen and the society ladies of the time come first. The prose 2-page effort is addressed to ‘the virtuous reader’ to assure him that the fair sex is far superior to the male counterpart. The main poem, Salve Deus, is worthily devoted to the Passion of Christ. There are occasional flashes to relieve the monotony, but after all the exhibit is important as a historical footnote rather than as a flower of poesy.

–DR. PREMA NANDAKUMAR

Marx and Gandhi: Madhu Dandavate. Popular Prakashan, Bombay. Price Rs. 28.

Comparing the ideas of two of the greatest men of modern times, that too men of such different grounds, could be a hazardous exercise. Usually there are two types of people who venture such comparisons–those who are “committed” to either of the two streams of thought and who are bent upon proving the superiority of their theme, and the scholarly and academic persons who pack their works with quotations, arguments and tautological observations. Madhu Dandavate’s small book is an exception to this rule and is indeed a thought-provoking work in this regard.

Dandavate, one of the most articulate and honest men in our public life, has a sparkling mind. He is a physicist and a teacher with a distinguished record of service. A versatile man with some excellent books to his credit, Dandavate makes here a sincere effort to compare the ideas of Marx with those of Gandhi and find out their relevance to our troubled times. As Dandavate says in the early pages of the book, the work of Marx or Gandhi must be tested on the touchstone of experiences and realities. History is the judge. The author’s goal is to “explore a system which will combine the early liberating influence of Marx with the humane and democratic methodology and institutions urged by Gandhi with the emphasis on the initiative of man and flowering of human personality.”

The shortcomings of both Marx and Gandhi in their understanding and interpretation of events also come in for a critical examination. The chapter entitled “Divergence in Perspectives” is a refreshing contribution in this regard. For example, Dandavate says that the dogmatic assertion of the inevitability of violence is not borne out by history. Another remark that compels the reader’s attention is “Marx over-emphasised collective entity at the expense of the individual while Gandhi did the opposite.” The author recalls the Gandhian commitment to the promotion of the interests of the rural population. The peasant is the architect of new order not the barrier according to the Mahatma. Dandavate cautions the present rulers to take care of the growing chasm between the rural masses and urban elites and pleads for bridging this gap harmoniously.

The observation that no individual’s thoughts or actions can ever have the sole frame of reference for the science of transforming human society reveals the author’s pragmatic outlook. Obsession with certain ideologies and doctrines has been the bane of our society. And in making an effort to steer clear of such obsessions Dandavate’s well-written work deserves high praise.

–Dr. A. Prasanna Kumar

Comparative Ethics in Hindu and Buddhist Traditions: By Roderick Hindery. Motilal Banarsidass, Delhi-7. Price: Rs. 65.

This work as the author himself has stated is primarily intend to those with moral and political interests, but will be highly useful to students, teachers and others interested in literatures, philosophies and religions of other cultures also. In the very first chapter the method and mechanics to be adapted for a comparative study of ethics are explained clearly. Questions that a student of comparative ethics has to bear in mind are also pointed out.

This chapter thus gives basic guidance to fresh researchers in this field. The next seven chapters are devoted to a historical, comparative and critical study and estimate of the ethics in the Rigveda; Upanishads, Manu Samhita, Ramayana, Bhagavadgita, popular classics of poetry and drama, and philosophers and reformers. In all these, searching questions are answered and many of the previous critics answered or approved. A comparative ethical summary of pluralistic Hindu tradition, and relativism and motivation in ethical judgement form the subject matter of the ninth chapter which also contains an epilogue wherein the author states his preferences. Tenth chapter is an introduction to ethical thought in Mahayana Buddhist texts. Appendix one is a study of critical textual matters in the Ramayana and the Mahabharata. Appendix two contains a diagram of topical parallels. All these chapters are individually annexed by detailed notes. Select bibliography and index makes the volume a model for modern research work. Some of the observations may be called in for comments, but the author, it can be said, is sincerely objective in his study. Many of his statements are noteworthy. “This transmoral world of the Upanishads did not exclude morality from its purview (P. 67).” Though critical of the ethics in the Manu Samhita, he is cautious and plainly states as follows: “A process view of cultural evolution forbids one to judge the laws of Manu by the standards of the declaration of Human Rights or by modern national constitution including that of India” (P. 89). He is all appreciation for Sita’s character. “Sita is more clearly a moral heroine than is Rama a moral saint” (P. 100). The following statement sums up the conclusions arrived at: “As an alternative to the positive but merely germinal ethics of the Vedas, the upanishadic morality of asceticism and other-worldly liberation, Manu’s ethics of control and the Gita’s non-attached action, the Ramayana like other popular Indian classics points a unique moral ethos” (P. 123). Different views about Sankara’s Advaita are pointed out briefly. This book is a fascinating and thought-provoking study opening our eyes to modern thinking on the subject and is richly rewarding also though, because of its technical and terse verbology where necessary, requires a patient study. The publishers are doing great service to Indology by their valuable publications like this one.

–B. KUTUMBA RAO

The Visions of Sri Ramakrishna: Compiled by Swami Yogeshananda. Sri Ramakrishna Math, 11 Ramakrishna Math Road, Madras-4. Price: Rs. 4-50.

Neat and compact, this little book under review is a welcome addition to the existing stock of books relating to the life and teachings of Sri Ramakrishna Paramahamsa. It is not an original composition, but a compilation of a number of super-sensuous experiences of the great Master, more or less in the order of their occurrence in his life. It had originally appeared as a series of articles in The Vedanta Kesari during1967-’69 by Brahmachari Buddha Chaitanya, who, now, has become a Sannyasin and assumed the name of Swami Yogeshananda.

The book is an attempt at the exploration of the mind of Sri Ramakrishna when in Samadhi with a view to find out if there exists a pattern behind the bewildering number and variety of super-sensory experiences of the great saint. Sri Yogeshananda had taken pains to collect almost all the recorded visions of the Master and subject them to skilful analysis in the fashion of a psychologist. The book assumes the air of a case-book.

–Dr. G. SRIRAMAMURTY

Brahma Sutras: Sri Bhashya of Ramanuja: English translation by Swami Vireswarananda (Part I) and Swami Adidevananda (Part II). Advaita Ashram, 5 Delhi Entally Road, Calcutta-l4. Price: Rs. 19.

The English translation of Sri Bhashya by the Ramakrishna Mission has filled up a gap among the English-reading Hindu public, who are interested in knowing the Visishtadvaita view regarding the Brahtna Sutras of Vedavyas. Tradition says that Ramanuja took a vow to write three books on (1) Brahma Sutras (2) Draavida Veda and (3) Parasara Sathagopa Namakaranams, whereupon the curved three fingers of Yaamunacharya (who was on death-bed) became released. Perhaps there was then a prevailing practice that any creed could be regarded as “standard” only when the founder writes Bhashyams (commentaries) on Upanishads, Bhagavad Gita and Brahma Sutras, canvassing his new creed. In fulfilment of the said vow, and also to standardise his pet creed, the Sri Bhashya was written on Brahma Sutra.

The creed of Ramanuja in brief is that Brahma (the highest being), the Jagat (cosmos) and Jiva (individual souls) are all eternal. As Bandha (bondage) is also real, liberation (Mukti) must be secured through devotion to Lord (Narayana). The Vedic rituals are a must and the grace of Lord shall be secured through rituals and meditation. Ramanuja’s godhead is one with infinite beneficial attributes (Anant Kalyan Guna), and he can be invoked through devotion (Bhakti).” The entire Cosmos (consisting the animate and inanimate) is the body (Upaadhi) of the Lord. Thus, the creed is fully theistic, and is based upon the text of Veda primarily and Vedanta secondarily. Regarding ‘Jeeva’ there is eternality, and there are as many Atmans (souls) as there are ‘Jeevas’ in the Cosmos. Liberation means the Jeeva after death, secures the prescience of Narayana and takes pleasure in His service. As the Cosmos is the physical body of the Lord, it is eternal, though it may undergo a change at Pralaya (final annihilation). The Sage Ramanuja leans in favour of Parinaama Vaada (Evolution), when explaining the existence of Cosmos and Jeeva.

The Sri Bhashyam, excluding the portion of attacks on Advaita creed, is useful for the beginners and lovers of personal God, and Bhakti-worship. Sankara also lauds all Bhaktas, and recommends Aparaa Bhakti at early stages arid Paraa Bhakti in the final stages. Sankara’s creed for the layman is not at variance with Ramanuja’s preachings, though not vice versa. Sankara is a Jagatguru and his Bhashyam does not dwell in open criticism of any one creed. He respected all creeds, but postulated Vedanta as the final creed.

The book of Sri Bhashya helps for a full understanding of Ramanuja’s creed, and his views on Advaita, though critical, will help the spiritualists to be on their guard, Books of this type must be welcomed by one and all.
–SRI VIMALANANDA BHARATHI(Jr.)

The Amaravati Mode of Sculpture: By C. Sivaramamurti. The Madras Government Museum, Madras. Price: Rs. 19-20.

The sculptures on the Amaravati Stupa are among the finest creations of the Indian genius. The Stupa might have been founded in the second century B. C., probably at the instance of Asoka. It was enlarged in the second century A. D. A great deal of the sculptures has perished. Of those that survived the tooth of time and the ignorance or vandalism of man, a large number were taken to the British Museum in London. Even so, a substantial number is now in the Madras Government Museum. Mr. Sivaramamurti who about half a century ago produced a masterly catalogue of these sculptures, examines the art of the sculptor in the present work.

The sculptures tell stories from the Buddhist scriptures. Their makers were influenced primarily by their heritage of art, as in Sanchi and Bharhut, and also to some extent by some foreign motifs. But, while these influences must be admitted, what made the sculptures was the sculptural genius of the Andhra people in the second century A. D. It evoked elegant beauty, svelte grace and ease of lyrical movement so much so that the Amaravati idiom is one of the finest in the history of world sculpture. Many South-East Asian countries copied the style and many works from Amaravati were taken to them.

The Amaravati bibliography is a considerable one. But most of it is devoted, on the one hand, to the history of the Stupa and, on the other, to an attempt to reconstruct it in the mind’s eye, studying what may be called the mechanics of its constituent parts. There has also been some examination of the aesthetics. But, here in this book, Mr. Sivaramamurti examines how in actual practice the sculptors set to work in translatingtheir ideas into practice.

The author has long believed that literature has influenced, even made, Indian art. He has found “echoes” of some great authors in later art. He may be right, but it is a question to be considered whether, in fact, it was true that the ancient Indian artists were so well read in literature that they were impelled to illustrate episodes in their sculpture. But if that premise is granted nothing can be more admirable than the percipient skill with which Mr. Sivaramamurti has identified the episodes.

Here he considers how, in illustrating the incidents, the Amaravati sculptors set about their task. A favourite device (this word is, strangely enough, spelt “devise” in this work) is the synoptic method, so splendidly illustrated in the medallion of the subjugation of Nalagiri, the mad elephant. But there are many other devices. The most important relates to the depiction of Buddha symbolically in view of the canonical Hinayana ban on personal representation.

What is important is that the sculptures often depict psychological situations subtly. The characteristic Amaravati sculpture is not only elegant to look at but it is also a faithful portrayal of emotion. This is what has carried it to the first rank in the history of world sculpture.

The author writes not only with knowledge but also with loving concern. Himself an artist, he knows how brethren of the craft function. He examines many of the sculptures in relation to other representations of the theme in other schools like Nagarjunakonda.

The plates have been carefully chosen. But the reproductions of a few of them are rather poor.
–N. S. RAMASWAMI

TAMIL

Puyal Nilaippadillai (Storms Never Last): By Dr Prema Nandakumal. Tamil Writers’ Co-operative Society Ltd., 107, Big Street, Madras-5. Price: Rs. 7.

Dr. Prema Nandakumar is a familiar name in print in the English language. Her contributions to various magazines range from articles, stories, reviews, etc. She has also a number of literary works to her credit. She wields a pen with a singular command and equal felicity of expression in English. She has lately chosen to try her genius in Tamil also. Her long and short stories enrich the annual and special numbers of the weeklies and monthlies in
Tamil.

Here is a collection of eight stories from her pen. Her fertile imagination finds in the all-absorbing devotion to God of the Alwars, the theme, which provides the silken thread for weaving the fine fabric of her story.

The first story in the collection depicts the universal aspect of motherhood and the mother’s love for all beings high and low, old and young, sick and suffering in the most glowing language full of compassion from Andal, the Divine mother. In the fourth, a prize-winning story, the author makes a sarcastic remark on the deplorable effect of foreign influence on our younger generation. Nothing is more pitiable in the eye of the author, than the fact, a young man nurtured in the western way of life, should be so ignorant, on that account, of the culture and tradition of his own religion, though born and bred in it, while the young foreigner has made a deep study of the Hindu scriptures and the lives of the Alwars. The author makes clear her conviction and justification in the story, that a young couple of different faiths with cultural understanding can rise above caste, creed and colour and be united in happy wedlock. Even the most orthodox old lady in the story approves of the match and blessed them with her whole heart. The last story, the title of the book, shows the author leaving her idealistic view of life to the more realistic one. She describes the fine instincts and sensibilities of a noble woman who gives up the age-long custom, by dropping the veil and going to meet her creditors and clear the debts to save the honour of the family.

On the whole, the eight stories in the collection easily establish the attempt of Dr. Prema Nandakumar, with success in the field of Tamil literature.
–K. SAVITHRI AMMAL

TELUGU

Srinathuni Sahitya Prasthanamu: By Dr. J. Jayakrishna Bapuji. Kalyana Bharati, Ravindranagar, Guntur-6. Price: Rs. 30.

Srinatha, who flourished between 1360-1450 A. D., is a celebrated name in the field of classical Telugu literature. He was not a mere poet. He was a linguist proficient in the traditional eight languages and a thorough scholar in Vyakarana, Nyaya, Mimamsa, etc., besides his mastery of Vedic and Puranic lore. It is this all-round mastery that made him defeat Arunagirinatha Dindima Bhatta.

Though seventeen poetical works are attributed to him, ten are not extant. Among the remaining seven Sringara Naishadha (a translation of “Naishadheeya charita” of Bhatta Harsha from Sanskrit), Haravilasa, Bheemeswara purana, Kaseekhanda, Sivaratri Maahaatmya, Kreedabhiraama and Palnaati Veera charitra are justly famous for his poetic art, though the authorship of the last two was first questioned but later accepted by critics and scholars.

It is from these extant works, many Caatus that Srinatha composed in his chequered career and the inscriptions that he authored that Jaya Krishna Bapuji draws his material for his work. The work is a Doctoral thesis submitted to the Andhra University resulting in the award of Ph. D. to the author.

The work is divided into seven major chapters each containing one part devoted to a succinct exposition of the theory and the other to applied criticism. Thus the first chapter Rasa Prasthaana contains the exposition of Rasa school in the first part and in an applied way examples are cited and explained for all the rasa-s, rasa-abhasa-s, rasa-sankaras. Under Sringara the various sub-divisions vibhavas, anubhaavaas, saatvikabhaavas and sancaris are considered. The second chapter deals with Alamkaara Prasthaana. This is a ticklish ground and very often even seasoned scholars are not sure of themselves in deciding an Alamkaara. Yet the author has ably dealt with his material. One hundred arthaalamkaaraa-s and five sabda-alamkaaras are cited and explained from Srinatha’s works thus confirming his mastery. The chapter on reeti prasthaana is rewarding Guna-s, Vritti-s and Pravritti-s are rightly dealt with in this chapter. The author is to be congratulated for his correct configuration and exposition of the concept of reeti in general and Vaidarbhi in particular.

The last is the camatkaara prasthaana. This school was given shape by Visveswara who was in the court of Sarvajna Singabhupala and a contemporary of Srinatha himself. From the Alapaadu copper plate inscription of S. S. 1334 (1412 A. D.) it is known that a scholar by name Visveswara was the recipient of Alapaadu Agrahaara from Peda Komati Vemabhupala who was the patron of Srinatha. In allprobability this Visveswara must be Visveswara of the above cited camatkaara prasthaana. In this chapter the ten types of Camatkaara enumerated earlier by Kshemendra in his Kavikanthabharana as also those propounded by Visveswara are dealt with; nay even a few more.

The book delineates Srinatha’s genius and poetic callisthemics from the point of view of all the seven schools of criticism. The author’s grasp of the various schools is commendable and his exposition and interpretation pellucid. However, one or two observations. The predominant characteristic of Srinatha’s compositions is his Sayyaasnubhaagya admired by one and all. The author has dealt with it under camatkaara. Surely sayya in Srinatha deserves a better and deeper discussion. Alamkaarikas define it as non-inter-changeability or mutual affinity of words. But what is the criterion to decide either of these? These definitions go only half-way to tell us about sayya. The correct way of understanding it seems to be that sayya should contribute to or result in artha-vyakti. The posturing of words should help the intended meaning display itself to its best advantage. Reeti and sayya are both connected with the mode of composition; rather the ‘texture’ of composition. There is much in modern English criticism written about this ‘texture.’ While an author has to be judged by the standards of his time, application of a fresh point of view is no sin, for it is for discovering new pleasures that we do it and not to derogate.

The book contains at least four useful appendices regarding Srinatha’s idioms, sayings, usages, etc. A concordance of example verses cited in the book would have enriched the value of the book.

The work is educative and highly satisfying. A must for all serious students of Telugu literature and more so for the fans of Srinatha.

–PROF. SALVA KRISHNAMURTHI