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Index
Cover
Half title
Series Page
Title
Copyright
Dedication
Epigraph
Contents
Figures and Tables
Acknowledgments
1. Introduction
1.1 Ślesa: A Brief Overview of the Mechanisms of Simultaneity
1.2 The Many Manifestations of Ślesa: A Brief Sketch
1.3 What (Little) Is Known About Ślesa
1.4 The Anti-Ślesa Bias: Romanticism, Orientalism, Nationalism
1.5 Is Ślesa “Natural” to Sanskrit?
1.6 Toward a History and Theory of Ślesa
2. Experimenting With Ślesa in Subandhu’s Prose Lab
2.1 The Birth of a New Kind of Literature
2.2 The Paintbrush of Imagination: Plot and Description in the Vāsavadattā
2.3 Amplifying the World: Subandhu’s Alliterative Compounds
2.4 Showcasing Ślesa: The Opening Lines of the Vāsavadattā
2.5 Teasing the Convention: The Targets of Subandhu’s Ślesa
2.6 Bāna’s Laughter and the Response to Subandhu
2.7 Conclusion
3. The Disguise of Language: Ślesa Enters the Plot
3.1 Kīcakavadha (Killing Kīcaka) by Nītivarman
3.2 The Elephant in the (Assembly) Room: Nītivarman’s Buildup
3.3 From Smoldering to Eruption: Draupadī’s Ślesa and Its Implications
3.4 Embracing the Subject: Ślesa and Selfing
3.5 Embracing Twin Episodes: Ślesa and the Refinement of the Epic
3.6 Flowers and Arrows, Milk and Water: Responses to Ntīvarman’s Ślesa
3.7 Sarasvatī’s Ślesa: Disguise and Identity in Śrīharsa’s Naisadhacarita
3.8 Conclusion
4. Aiming At Two Targets: The Early Attempts
4.1 The Mahabalipuram Relief as a Visual Ślesa
4.2 Dandin: A Lost Work and Its Relic
4.3 Dhanañjaya: The Poet of Two Targets
4.4 Lineages Ornamented and Tainted: On Ślesa’s Contrastive Capacities
4.5 What Gets Conarrated? Dhanañjaya’s Matching Scheme
4.6 Ślesa and the Aesthetics of Simultaneity
4.7 Why Conarrate the Epics?
5. Bringing the Ganges to the Ocean: Kavirāja and The Apex of Bitextuality
5.1 The Boom of a Ślesa Movement
5.2 The Bitextual Movement and The Lexicographical Boom
5.3 Sanskrit Bitextuality in a Vernacular World
5.4 Kavirāja’s Matching of the Sanskrit Epics
5.5 Amplifying Epic Echoes
5.6 Conclusion
6. Ślesa As Reading Practice
6.1 The Imagined Ślesa Reader: Representations and Instructions
6.2 Things That Can Go Wrong with Ślesa: The Theoreticians’ Warning
6.3 Seeing Shapes in Clouds: Different Readings of Meghadūta 1.14
6.4 Old Texts, New Reading Methods: The Commentaries on Subandhu
6.5 Ślesa and Allegory in The Commentaries on The Epic
6.6 Double-Bodied Poet, Double-Bodied Poem: Ravicandra’s Reading of Amaru
6.7 The Ślesa Paradox
7. Theories of Ślesa In Sanskrit Poetics
7.1 Theorizing Ornaments: An Overview of Alamkāraśāstra
7.2 Ślesa as a Theoretical Problem
7.3 Speaking Crookedly and Speaking in Puns: Ślesa’s Role in Dandin’s Poetics
7.4 Dandin’s Discovery in Its Context
8. Toward a Theory of Ślesa
8.1 A Concise History of the Experiments with Ślesa
8.2 Ślesa as a Literary Movement
8.3 Ślesa and Sheer Virtuosity
8.4 Ślesa and the Registers of the Self
8.5 Ślesa and the Refinement of the Epic
8.6 Playing with the Convention: Ślesa and Deep Intertextuality
8.7 Ślesa and Kāvya’s Subversive Edge
8.8 Extreme Poetry and Middle-Ground Theory: The Challenges Posed by Ślesa
Appendix 1: Bitextual and Multitextual Works in Sanskrit
Appendix 2: Bitextual and Multitextual Works in Telugu
Notes
References
Index
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