Sound & Sense: More evidence that I’m right
In Sanskrit literature, “sound effects” of the kind I discussed in an earlier post seem to be characteristic not so much of poetry as of the revolutionary prose of Subandhu and his followers: “it is in his prose that, free from metrical constraints, Subandhu systematically explores the potentials of reverberation.”(1)
Of course, Sanskrit literature also names gives names to their meters iconically — e.g., there’s one called śārdūlavikrīḍita, “the play of the tiger,” because apparently it sounds like the play of the tiger,(2) and my prof did a funny little dance the other day to illustrate how the māndakrānta (“slow-advancing”) meter mirrors the hesitant gait of a maiden when she’s going to see her lover for the first time.
I guess you can’t be right about everything.
1. Yigal Bronner Extreme Poetry: The South Asian Movement of Simultaneous Narration (2010), p. 33,
2. Whatever that sounds like — Ibid., p. 32. But seriously, go check out Bronner’s book. It’s flippin’ excellent.