Kavyamimamsa of Rajasekhara (Study)
by Debabrata Barai | 2014 | 105,667 words
This page relates 鈥楰avyalamkara of Bhamaha鈥� of the English study on the Kavyamimamsa of Rajasekhara: a poetical encyclopedia from the 9th century dealing with the ancient Indian science of poetics and rhetoric (also know as alankara-shastra). The Kavya-mimamsa is written in eighteen chapters representing an educational framework for the poet (kavi) and instructs him in the science of applied poetics for the sake of making literature and poetry (kavya).
Go directly to: Footnotes.
Part 3 - 碍腻惫测腻濒补峁僰腻谤补 of 叠丑腻尘补丑补
[Full title: Pre-dhvani theory of Sanskrit poetics (2): The 碍腻惫测腻濒补峁僰腻谤补 of 叠丑腻尘补丑补 (7th century A.D.)]
叠丑腻尘补丑补, is well for his poetical work 碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补), who was formulated the different topics of poetics and his work represents a major landmark of Sanskrit literary criticism. 鈥楾his is the first attempt to deal with poetics separate from dramatic theory; and hence in other words, this can be considered the earliest extant work on Sanskrit Poetics proper鈥�. [1] The 碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) is divided into six paricchedas and contains about 400 verses (exactly in all 398 verses). In this work 叠丑腻尘补丑补 highlighted as the most important element in poetry is 础濒补峁僰腻谤补 or the poetic figure. Then he counted as the earliest exponent of the 础濒补峁僰腻谤补 School in Sanskrit Poetics and his treatise marks the beginning of influential literary theory. He points out the poetic figure as the factor constituting the cause i.e. as the face of the lady though beautiful does not appear as charming when bereft of embellishments, similarly the poetic texture though complete does not look charming when devoid of the instruments of decoration.
叠丑腻尘补丑补 also recognizes but does not define Vakrokti, he practically identifies with 础迟颈艣补测辞办迟颈, which is the principle underlying of all figures of speech.
鈥�sarupavar峁嘺viny膩samanupr膩sa峁� pracak峁te |
ki峁� tay膩 cintay膩 k膩nte nit膩nteti yathoditam || 鈥�- 碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) of 叠丑腻尘补丑补: II/ 5
To him, Vakrokti signified a kind of heightened turn given to expression which distinguishes poetic expression from common place speech where facts are presented directly. 叠丑腻尘补丑补 first time introduces the relative strength of the 艢补产诲腻濒补峁僰腻谤补 and the 础谤迟丑腻濒补峁僰腻谤补 and throw a controversy. Then he asserts that neither is adored in poetry the verbal figure nor is the ideational figure, a combination of the verbal and the ideational figures accepted.
鈥�rupak膩dimala峁卥膩ra峁� b膩hyam膩cak峁te pare |
sup膩峁� ti峁吥佱箖 ca vyutpatti峁� v膩c膩峁� v膩cchantyala峁卥峁泃im || 鈥�- 碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) of 叠丑腻尘补丑补: I/ 14
鈥�tadetad膩hu岣� sau艣abda峁� n膩rthavyutpattir墨d峁浥浤� |
艣abd膩bhidhey膩la峁卥膩rabhed膩di峁ａ弓a峁� dvaya峁� tu na岣� || 鈥�-碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) of 叠丑腻尘补丑补: I/ 15
叠丑腻尘补丑补 does not agree with the Bharata鈥檚 ten 骋耻峁嘺蝉 scheme and he casually mentions only three 骋耻峁嘺蝉 i.e. 惭腻诲丑耻谤测补, Ojas and 笔谤补蝉腻诲补. He also criticizes the distinction made by the 搁墨迟颈 theorists of Vaidarbha and 骋补耻岣峚 尘腻谤驳补蝉 in poetry.
Footnotes and references:
[1]:
G, Vijay. Outlines of Sanskrit Poetics. Chaukhamba Snskrit Series, 1970. Pp- 13