The Poetics of Anumana and the Poetry of W. B. Yeats and T. S. Eliot
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Artistic situation owes its strength to the comprehensibility it brings about and in turn such a comprehensibility is illustrated through ‘precise’ and concrete modals which themselves are the instruments of transformation. In this regard we can make mention of Mahimbhatta (7th century Indian theoretician) and his theorization in relation to Anumana (Inference) It is his particular opinion and a great extent part of the general truth that the object and subject enter into transformation when they are joined together by the uncontradicted universal relationship (vyapti) which remains continuous in nature. In the second place, Mahimbhatta makes out that the artistry becomes universal only in view of the fact that it progresses from ordinary to significant as necessitated by the law of deduction which, in turn, puts up a definition for all the different stages of the evolution of an artistic experience from ordinary to significant. Based on these two extraordinarily brilliant premises, it becomes possible to bring about concomitance and exposition of ‘qua’ artistry. The poetry of W.B. Yeats and T.S. Eliot would merit elucidation by offering them to the conceptual structures developed in Mahimbhatta’s Anumana theory. In W.B. Yeats for example, it is found that the body and soul emerge as two terms entailing significance on being minor and the other being major respectively and both are brought together by decadence and liberation which ultimately become Universal Concomitance (vyapti). Similarly in Eliot, it is the suffering, infertility and death which bear upon body, and truth and knowledge are terms Eliot would employ to mean the soul. It could be seen that at the lower level there is the body and at the higher level there is the inherence of soul. Yet in between, one understands that there is the vyapti (uncontradicted universal experience) while body evolves into soul. It is, of necessity, that entire fact yields to deduction established in Anumana of Mahimbhatta.
Abstract
Artistic situation owes its strength to the comprehensibility it brings about and in turn such a comprehensibility is illustrated through ‘precise’ and concrete modals which themselves are the instruments of transformation. In this regard we can make mention of Mahimbhatta (7th century Indian theoretician) and his theorization in relation to Anumana (Inference) It is his particular opinion and a great extent part of the general truth that the object and subject enter into transformation when they are joined together by the uncontradicted universal relationship (vyapti) which remains continuous in nature. In the second place, Mahimbhatta makes out that the artistry becomes universal only in view of the fact that it progresses from ordinary to significant as necessitated by the law of deduction which, in turn, puts up a definition for all the different stages of the evolution of an artistic experience from ordinary to significant. Based on these two extraordinarily brilliant premises, it becomes possible to bring about concomitance and exposition of ‘qua’ artistry. The poetry of W.B. Yeats and T.S. Eliot would merit elucidation by offering them to the conceptual structures developed in Mahimbhatta’s Anumana theory. In W.B. Yeats for example, it is found that the body and soul emerge as two terms entailing significance on being minor and the other being major respectively and both are brought together by decadence and liberation which ultimately become Universal Concomitance (vyapti). Similarly in Eliot, it is the suffering, infertility and death which bear upon body, and truth and knowledge are terms Eliot would employ to mean the soul. It could be seen that at the lower level there is the body and at the higher level there is the inherence of soul. Yet in between, one understands that there is the vyapti (uncontradicted universal experience) while body evolves into soul. It is, of necessity, that entire fact yields to deduction established in Anumana of Mahimbhatta.
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