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Kavyamimamsa of Rajasekhara (Study)

by Debabrata Barai | 2014 | 105,667 words

This page relates ‘Divisions of Kavi (poets)� 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).

After giving the molecule differences of ʰپ and Vyutpatti, Ჹś󲹰 try to attempt about the matter of various kind of kavi (poet) with their various types.

There he firstly gives a definition of kavi (poets) as:

پ屹ܳٱ貹ٳپṃśc 첹� kavirityucyate

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

Means:

“A true poet is formed by a union of the both two ʰپ and Vyutpatti.�

Then he defines poets as three types: Śٰ-kavi, 屹ⲹ-kavi and Ubhaya-kavi.

C.f.

sā ca ٰ | śāstra첹� 屹ⲹkavirubhayakaviśca

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

Further, he cited Āⲹ Ś峾𱹲’s opinion and posits that Ubhaya-kavi is the most superior followed by 屹ⲹ-kavi and then by Śٰ-kavi:

‘tṣāmܳٳٲdzٳٲī (ro) garīyān� iti ś峾𱹲� |

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

But Ჹś󲹰 does not agree about the views of Ś峾𱹲 and refutes this by saying that each kind if poet is distinct in his own way.

na� iti 屹īⲹ� | yathā svaviṣaye sarvo garīyān |

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

There Śٰ-kavi with his seriousness composes 屹ⲹ (poetry) suffused with rasa and dhvani (suggestion). And 屹ⲹ-kavi throws an aesthetic charm over harsh, logical and technical subjects also.

C.f.

yacchāstra첹� kāvye rasasampada� vicchinatti |
yat屹ⲹ첹� śāstre tarka karka śamapyarthamuktivaicitryeṇa ślathayati

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

But, the Ubhaya-kavi beings adept at both kinds of expression should be considered superior.

Thus, Śٰ-kavi and 屹ⲹ-kavi may be considered to be a similar level.

ubhayakavistūbhayorapi varīyānyadyubhayatra 貹� īṇa�

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

Śٰ-kavi and 屹ⲹ-kavi are mutually associative and beneficial to each other. If a poet is proficient in Śٰ, so his compositions become marked with seriousness and excellence. Only knowledge of Śٰ one cannot become a poet. A profound study of 屹ⲹ (poetry) also helps to attain a perfect understanding of technical literature. With only knowledge of 屹ⲹ (poetry), a poet lacks in seriousness.

Ჹś󲹰 divided Śٰ-kavi as three classes and says:

tatra ٰ śāstra첹� |
ⲹ� śٰ� vidhatte, yaśca śāstre 屹ⲹ� saṃvidhatte, yo'pi kāvye śٰٳ� nidhatte

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

Means:

Śٰ-kavi’s are divided into three kinds�(i) composer of Śٰ, (ii) Using 屹ⲹ in Śٰ and (iii) Using Śٰ tenets in 屹ⲹ (DZٰ).�

Then he divided 屹ⲹ-kavi are eight verities�

  1. -kavi (poet, whose composition reflect craftsmanship of poets),
  2. Ś岹-kavi (poet, whose composition are distinguished by the use of language),
  3. Artha-kavi (poet, whose composition are distinguished by ides or meaning),
  4. ṃk-kavi (rhetorical poets),
  5. Uktikavi (quotable poets),
  6. Rasa-kavi (aesthetic poets),
  7. -kavi (poets of verbal style) and
  8. Śٰrtha-kavi (poets of rational discourses).

C.f.

屹ⲹ첹� punaraṣṭadhā | tadyathā racanā첹�, śabda첹�, artha첹�,
alaṃkārakavi, ukti첹�, rasa첹�, mārga첹�, śāstrārthakaviriti

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

Kavi (Poet)

Kavi (poet); Śٰ-kavi; 屹ⲹ-kavi; Ubhaya-kavi; Entry of 屹ⲹ in Śٰ; Composer of Śٰ; Using Śٰ Tenets in 屹ⲹ; 鲹-kavi; Artha-kavi; Ukti-kavi; -kavi; Ś岹-kavi; ṃk-kavi; Rasa-kavi; -kavi (Using Subanta in 屹ⲹ); ٲ-kavi (Using Tiṅganta words in 屹ⲹ); 峾ٲ-첹 (Using both words in 屹ⲹ); Śٰtha-kavi; Śṃk-첹; ٳṃk-첹.

There Ჹś󲹰 gives the three sub-division of Ś岹-kavi and two subdivision of ṃk-첹. The Ś岹-kavi is-峾-kavi, Āٲ-kavi and 峾ٲ-첹.

C.f.

ٰ ca śavdakavirnāmākhyātārthabhedena

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 17

峾-kavi preponderance of names, nouns or subanta words. Āٲ-kavi discourse verbs or پṅgԳٲ words abound and 峾ٲ-첹 uses languages preponderance of both kinds of words.

The two-types of ṃk-kavi are the�

  1. Śṃk-첹 and
  2. ٳṃk-첹.

C.f.

'laṃkāra첹� śabdārthabhedena

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 18

After discussing the nature of ʰپ, Vyutpatti and different kind of kavi (poet), Ჹś󲹰 introduced on the discussion in order to determine the nature of the 屹ⲹ- with the views on his ancient rhetoricians. There Ჹś󲹰 whole discussion of the theory of 屹ⲹ-첹 in 屹ⲹ (poetry) means ‘maturity� and it is originates from the constant study of 屹ⲹ (poetry) a good poet’s expression attains immutability, un-changageability, un-alterability or inevitability.

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