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JMK 219E - SELECTED WORKS OF CLASSICAL ASIAN LITERATURE

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Assignment Based on any two texts in the course, elaborate with clear examples the special characteristics of Asian Classical Literature. Instructions: i) Your assignment should be about 1,800 to 2,000 words. ii) Your assignment must be submitted by 31 January 2014. Requests for extension of deadline will not be entertained. Late submission can result in Grade F being given automatically. iii) Please ensure your assignment is original. Plagiarism will be severely dealt with.

Special Characteristics of Asian Classical Literature Based on Shakuntala and The Bustan of Saadi Literature

Classical Asian literature is like the literature of other cultures too. Ethics, morality, and principles of proper human conduct portrays in every cultures literature. From the writings of Confucius from China to the Noh plays of Japan to the epic Ramayana in India, we can see such doctrines illustrated in their literature writing functioning as guidance to help human beings living harmony and peaceful in virtue.

Classical Asian literature is a concise expression of ideas where the culture, belief, religion, and values collide. These reflected from the different classical writers such as Kalidasa, a Classical Sanskrit writer widely regarded as the greatest poet and dramatist in the Sanskrit language who wrote the story of Shakuntala, to Abu Muhammad Muslih al-Din bin Abdallah Shirazi, Saadi Shirazi, that was one of the major Persian poets of the medieval period who wrote The Bustan of Saadi, who share their views, ides, emotion through different literary pieces.

In the Asian classical literature, the literature somehow possesses some special characteristics that might be different compared to other classical writings in other parts of the world such as the incorporation of religious entity. Just as ancient Greek drama was part of a religious ritual honoring Dionysus, there is a religious aspect to classical Hindu literature. In Shakuntala, the earliest version of this story is told in the Mahabharata by Kalidasa. The play begins with a hymn of blessing which would have been sung rather than recited (Brians, P., 2002). The play would have been improved by the presence of songs and dances. The hymn of blessing is addressed to Lord Siva. The Creator is Brahma, who otherwise plays little role in Hindu devotions. For the devout Hindu, this play is more than a captivating love story. It is a religious drama that teaches the doctrine of karma, telling that people experiences are influenced by their own acts earlier in their life and in past lives. It is also an allegory of the relationship between the Gods and the worshiper.

The religion of Kalidasa, as a classical Asian literature author is always a matter of interest, especially for the Hindus who have been a creative and deeply religious people. Somehow, Kalidasa moved among the jarring sects. He conveyed to be unbiased to which he tried to indicate sympathy for all and fanaticism for none in the the writing. The prayers in his drama introduction are addressed to Shiva. This is hardly more than a convention, for Shiva is the patron of literature as such nor are the Yoga doctrine and Buddhism would omit sympathetic elements. Therefore in Kalidasas literature can be justified as religious oriented yet not a dogmatist.

In contrast to Kalidasas works, Saadi Shirazi had also incorporated religious entity into his literature. His best known works are Bustan, The Orchard, completed in 1257. Bustan is entirely in verse and consists of stories illustrating the standard virtues recommended to Muslims such as liberality, justice, contentment, and modesty, as well as reflections on the behaviour of dervishes practices (Mirrazavi F., 2012) or called the Sufi.

In the Bustan of Saadi literature, the language and structure of his literature is not straight-forward and obscure. The Bustan is written by verse which makes it difficult to translate. Like every other Persian poet, Saadi Shirazi sacrifices his writing structures for the sense of the exigencies for rhyme and metre. The meaning in some of the verses were quite confusing that even the native ingenuity commentators have been compelled to pass over numerous couplets through sheer inability to unravel their intricacies and the abstruse ideas of the poet (Edward, H. A., 1911). The construction of sentences follows no rule. The word order is simply adopt by the individual poet to which and how they want to adopt with the idea of time for past, present, and future is ignored. Nevertheless from those mentioned, the Bustan is written in a style that is delightfully genuine and commendably adapted to the subject. Likewise, Saadi biography could also be characterized and revealed throughout in every page of his writings. Saadi's prose writing style is described as "simple but impossible to imitate" flows effortlessly and naturally. Its simplicity is grounded in a semantic web consisting of homophony, oxymoron, and synonymy fortified by the internal rhythm and external rhyme.

Juxtapose to the language of in Shakuntala, it is characterised by the blending of classical Sanskrit with local Prakrit languages. Different societal hierarchy uses different language. For example the royal and Brahman priests, and high officials use Sanskrit, while women, children from all the low-caste characters speak Prakrit. Thus Shakuntala has a clear reflection to elucidate social and gender hierarchies from which the literature were written. This intermingling of languages may also have been intended to make the plays understandable for those spectators who did not understand Sanskrit (Asian Traditional Theatre & Dance, 2010.). Another characteristic of the Shakuntala is the commingling of verse and prose. The verses were written in Sanskrit though least in Prakrit. This language alternation in the prose and verse extend the degree of linguistic expression that is from high to low, from noble to vulgar and anything in between.

Other special characteristics of classical Asian literature found in Shakuntala is that the literature conveyed the story with a certain set of attitudes and emotions called rasa. There are only two possible rasas in Shakuntala play, the erotic and the heroic (Gerow, E., 1984). Shakuntala sometimes being said combines both to form heroic romance (Stoler Miller, Barbara., 1984). Thus, in Shakuntala, the rasa is composed of various forms of eroticism and love. When these emotional details are properly relished, rasa abolishes the mundane distinctions between audience, actor, and author. Rasa integrates the intention of the playwright to produce a particular aestheticized emotion through the details of the play while remarkably making all the three groups work themselves to achieve rasa.

However, reflecting to Saadis work in his Bustan, Saadi demonstrates a profound awareness of the absurdity of human existence (Mirrazavi F., 2012). He wrote based on real life experiences especially based on what he has gone through in his life journey. He contrasted the fate of those who depend on the changeable moods of the monarch with the freedom of dervishes or the Sufi. Saadi is also remembered as an outstanding lyricist and panegyrist. He is the author of many of masterly odes portraying human experiences and also on the memorable lament for the fall of Baghdad after the Mongol invasion in 1258. In Saadis works displayed clearly the unusual commingle of human cynicism and kindness, resignation and

humor, with the tendency to avoid the dilemmas making him the most typical and lovable writer in the classic Asian literature.

Further discussion on the special characteristics on classical Asian literature, the themes chosen for both literature shares of the same domain that specified on real life experiences. Though, these literature are differed in sense of the incorporation of myth and Goddess as the crucial role in the Shakuntala that juxtapose to the theme brought in the Bustan of containing Saadis judgements upon life. It was Saadi's first work, and its title means "the fruit orchard". The book contains the fruits of Saadi's long experience in life. The book is illustrated by a collection of anecdotes include accounts of Saadi's travels and his analysis of human psychology with often mentioned his writings with fervour and advice similar to Aesop's fables. Whereas in Shakuntala, the literature is meant to be presented, not just by the pleasure of reading and comprehending the text but to orally and verbally putting it into presentation or sort of performance with the incorporation of the audience, actor, and author work themselves to achieve rasa. The tension inherent in Shakuntala is between the aims of man for duty, desire, wealth, and freedom. Just as Dusyanta is a symbol of both royalty and passion, so is Shakuntala a symbol of both asceticism and passion (Krishnamoorthy, K., 1972). As been told in the story, after the sages curse makes known, negative consequences can come of suppress between ones passion or to ones other responsibilities. On the other hand, the presence of the ring points out toward the possibility of the integration of both love and duty.

Final discussion on the special characteristics of the classical Asian literature is on the impact, the capacity to have an effect on the piece of writing and on the development. Saadis writings are held to be among the greatest Sufi classics. He wrote The Orchard (Bostan) in 1257 and has been translated by a number Western poets. Andre du Ryer was the first European to present Saadi to the West. Followed by Adam Olearius with a complete translation of the Bustan into German in 1654. Ralph Waldo Emerson was also an avid fan of Sadis writings, contributing to some translated editions himself (Poetseers.org, n. d.). Many of his famous poem focuses on the kinship of all humans. One of his poem used to grace the entrance to the Hall of Nations of the UN building in New York with this message calling for unity:

Of one Essence is the human race, thus has Creation put the Base; One Limb impacted is sufficient, For all Others to feel the Mace. Saadi (11841283) In contrast, of all Sanskrit dramas, Shakuntala is the most well-known literature outside India. A Shakuntala manuscript was found in a monastery in coastal China, indicating close cultural ties between China and India (Asian Traditional Theatre & Dance, 2010). There is a possibility that the Sanskrit dramas, especially Shakuntala has influenced the development of the Chinese theatre or Opera during the particular period. Futhermore, Shakuntala is the first Asian drama and the very first Sanskrit works translated into English. The first translation was done by Sir William Jones in 1789. The translation publication was an impact. It gone through five editions of publication in just two decades. It was translated into German in 1791 and into French in 1803. Shakuntala became an icon of the 19th century orientalistic movement and became the most frequently performed Asian play in the West. Sanskrit dramas and their acting technique are now actively studied both in the East and in the West.

In conclusion, Asian classical literature has its very own identity and impact towards the world literature history as well as the world literature movement. They hold the sufficiently great or important to be worthy of attention, giving an abiding impact towards the world literature. It is proven by the West intellectual, approving the significant role of the Asian literature on the expression of ideas where the culture, belief, religion, values, even language shared internationally. !

Bibliography

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Asian Traditional Theatre & Dance (2010). Languages, Sanskrit Drama. ISBN 978-952-9765-56-0 Brians, P. (2002). Study Guide for Kalidasa: The Recognition of Sakuntala. Retrieved from http://public.wsu.edu/~brians/love-in-the-arts/sakuntala.html Edwards, H. A. (1911). The Bustan of Sadi. Sacred-texts.com. Retrieved in 2014, from http://www.sacred-texts.com/isl/bus/bus04.htm Gerow, Edwin (1984). Sanskrit Dramatic Theory and Kalidasas Plays. Theater of Memory: The Plays of Kalidasa. Ed. Barbara Stoler Miller. New York: Columbia University Press

! Krishnamoorthy, K.. Kalidasa. New York: Twayne, 1972. pp. 43-48 ! ! ! ! ! ! ! ! ! !

Mirrazavi F. (2012). Saadi, The Eminent Iranian Poet. Retrieved from http:// www.payvand.com/news/12/apr/1203.html Poet Seers (n. d.). Poet: Saadi. Retrieved from http://www.poetseers.org/spiritualand-devotional-poets/sufi-poets/saadi/ Stoler Miller, Barbara (1984). Kalidasas World and His Plays. Theater of Memory: The Plays of Kalidasa. Ed. Barbara Stoler Miller. New York: Columbia University Press