Kavyamimamsa of Rajasekhara (Study)
by Debabrata Barai | 2014 | 105,667 words
This page relates ‘Kavyadarsha of Dandin� 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).
Part 5 - Kāvyādarśa of ٲṇḍ
[Full title: Pre-dhvani theory of Sanskrit poetics (4): The Kāvyādarśa of ٲṇḍ (8th century A.D.)
The next available work on Sanskrit literary criticism is ٲṇḍ’s Kāvyādarśa. He is known as the author of three works: 屹岹ś, ٲśܳٲ and ԳīܲԻ岹첹ٳ, but he also says in his Kāvyādarśa that another work name is chandaviciti:
�chandovicityā� sakalastatprāpañco Ծ岹śٲ�|
Բܲپīṣaṇāṃ ī� 屹ⲹgara� || �- Kāvyādarśa of ٲṇḍ: I/ 12
Meaning is: in my ٲṇḍ own treatise on metre named chandaviciti all about metres have been shown. And this knowledge of metres is like a raft to cross over the deep sea of 屹ⲹ (poetry). He was a poet, a critic and pioneer of Sanskrit poetics with regard to his predecessors 峾 in many respects. ٲṇḍ�s criticism of the distinction made by 峾 between ٳ and Ā⾱, preference of the Vaidarbha etc. ٲṇḍ’s importance in the field of Sanskrit literary theory for the more systematic presentation of ṃk theory and he was the earliest theorist who devote attention to the īپ-ҳṇa aspects of poetry. The Kāvyādarśa is divided into three prarecchedas, where he exponent of the both īپ School and ṃk School of poetics.
ٲṇḍ does not seem to make the clear distinction between ṃks and ҳṇas and according to him ṃk and ҳṇa both are the causing main factor to embellish of poetry.
�屹ⲹśobhākarān dharmmānalaṅkārān pracakṣate |
te cādyāpi vikalpyante kastān kātsraryena vakṣyati || �- Kāvyādarśa of ٲṇḍ: II/ 1
However, he does not attempt to build the poetic theory on the concepts of īپ but he try to introduce īپ and explain its nature in the term of ҳṇas. So we can see that his aim was to present a critic of poetry with incorporating ritis, ҳṇas, ṃks and ٴṣa. The main contribution of ٲṇḍ is the concepts of -rīti, regional variations of poetic languages and the description of the Ҳḍa and Vaidarbha verities of literary diction.