सुदंसणचरिउ उदात्त की दृष्टि से

Summary

The text explores the concept of the sublime (udātta) in literature and aesthetics, drawing from both Western and Indian perspectives. It begins by defining the sublime as that which elevates the heart to its highest plane, citing examples like the sacred syllable 'Om', the descent of the Ganges, and the roar of Niagara Falls. The discussion references Western thinkers such as Longinus, Burke, Kant, Hegel, Bradley, and others. Longinus, in his work 'On the Sublime', emphasized wonder and extraordinary principles as the soul of the sublime, identifying five key elements: great thoughts, strong emotion, figures of speech, noble diction, and dignified composition. Burke located the sublime in terror and pain, while Kant distinguished the sublime from the beautiful, associating it with magnitude and power rather than harmony. Hegel focused on external vastness, and Bradley included fear, thrill, and inner joy. The text then shifts to Indian scholarship, particularly the work of Acharya Jagdish Pandey, who defined the sublime as the perception of excellence combined with transcendence. He categorized it into four types: Sūkṣmodātta (existential sublime), Mūlyodātta (value sublime), Parodātta (altruistic sublime), and Vistārodātta (extensionistic sublime). The discussion concludes by applying these concepts to the Jain epic 'Sudaṃsaṇacariu' by poet Nayanandi, portraying it as a narrative of spiritual elevation. The epic contrasts worldly indulgence with ascetic discipline, depicting the protagonist Sudarśana's journey from a life of pleasure to one of renunciation and self-realization. The text emphasizes that the sublime in this work lies in its transformation of desire into duty, presenting a life-philosophy that values dharma, self-control, and the ultimate liberation of the soul.