ABSTRACT

This paper explores the role of emotion in relation to the medium of expression. Starting with an investigation as to what feelings are named and foregrounded, the paper looks for shifts in affect as the medium changes from cosmopolitan to vernacular. It studies scenarios of evoking and cultivating emotions to determine to what end they are mobilized and how this stimulates the formation of new emotional communities through songs of ecstasy. This broader frame is approached through case studies of songs in ‘Early Hindi-Urdu’ with earliest evidence datable from the 15th and 16th century. The first section provides analysis of ‘yogi songs’ that feature the affect of satire and spiritual awakening (śānti), exemplified by the fifteenth-century Kabīr. The second section revisits the question of why the vernacular is used for Sufi songs, foregrounding the rhetorical device of familiarization. The example here is Abdul Quddus Gangohī, whose Early Hindi-Urdu poems are sometimes interpreted as translations from Persian. Next follows an analysis of transcreations of Sanskrit scripture in the Braj devotional milieus of the first half of the sixteenth century, foregrounding synaesthetics. Examples here are the songs of intimacy of Harirām Vyās. Songs by that same author also provide evidence for the next section on devotional community formation, complemented with the hagiographical literature of the eighteenth-century Nāgarīdās. The final section analyzes sentiments that run the range from embarrassment and complaint to shameless surrender in adaptations of folk genres (focusing on the theme of ‘the woman at the well’) in diverse Hindu and Sufi contexts.

摘要

本文探讨了情感与表达媒介的关系。从调查什么是命名和前景的调查开始，本文寻找随着媒介从世界性到本土性变化而产生的情感变化。它研究了激发和培养情绪的场景，以确定它们的运动目的以及如何通过摇头丸来激发新的情绪共同体的形成。通过对“早期北印度语－乌尔都语”中的歌曲进行个案研究，可以找到更广泛的框架，最早的证据可以追溯到15世纪和16世纪。第一部分对具有讽刺意味和精神觉醒（śānti），例如15世纪的卡比尔（Kabīr）。第二部分重新审视了为什么将白话语用于Sufi歌曲，并重点介绍了熟悉性的修辞手法。这里的例子是阿卜杜勒·库杜斯·冈戈希（Abdul QuddusGangohī），他的早期北印度语-乌尔都语诗歌有时被解释为波斯语的翻译。接下来是对16世纪上半叶Braj虔诚环境中梵文经文的转译的分析，并提出了通感。这里的例子是HarirāmVyās亲密的歌曲。同一位作者的歌曲也为下一节关于虔诚的社区形成提供了证据，并辅以18世纪的纳加里达斯（Nāgarīdās）的地理学文献。