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Kavyamimamsa of Rajasekhara (Study)

by Debabrata Barai | 2014 | 105,667 words

This page relates ‘Meaning of Kavy-paka (maturity in poetic expression)� 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 3.8 - Meaning of Kāvy-첹 (maturity in poetic expression)

In the 屹ⲹmīmāṃsā, Ჹś󲹰’s discussion on 屹ⲹ- starts with the asking of meaning of 屹ⲹ-첹 of ancient 峦ⲹ’s. Than Ѳṅg replies, it is 貹ṇām (maturity) of composing poetry.

Then he also gives the meaning of 屹ⲹ-첹 as:

supā� tiṅāṃ ca ś� ⲹṣ� ܳٱ貹ٳپ�� iti ṅg�

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Means:

“it is the skill in the appropriate use of nouns and verbs.�

There Āⲹ also uses the similar views on this 屹ⲹ-첹 and says:

supā� tiṅāṃ ca ܳٱ貹ٳپ� 峦� ñ󲹲Գٲⲹṃkṛt |
tadetadāhu� sauśabdya� nārthavyutpattirīdṛś� || �

- 屹ṃk (of 峾) of 峾: Ch-1/ 13

Means:

“The proper disposition of nouns and verbs constitutes the real ornaments of speech. That types śⲹ (𲹳ܳٲ).�

In the Sarasvatīkaṇṭhāvarana Āⲹ Bhoja says similar views.

C.f.

ܳٱ貹ٳپ� suptiṅāṃ yā tu procyate sā suśabdatā

- Sarasvatīkaṇthābharaṇa of Bhoja

But the Āⲹs opinion is differing from Ѳṅg and defines 屹ⲹ-첹 is nothing but śⲹ (correct and appropriate use of words); it is the unchangeability or inevitability of words.

This is competency of a kavi (poet) to select suitable words and put them into the appropriate places.

C.f.

貹岹ԾśԾṣk貹 첹�� ityācāryā

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

This concept of Āⲹs about 屹ⲹ-첹 also rejected by the 峾Բ in his 屹ṃksūṭra-ṛtپ and says:

āgrahaparigrāhādapi padaistharyaparyavasāyastasmātpadānā� pariṛtپvaimukhya� 첹ḥ� iti vāmanīyā�

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Means:

“Insertion and deletion of words ultimately lead to the fixity of words. So the 屹ⲹ-첹 is a version of words (actually used) to interchangeably by means of their synonyms.�

Thus the experts or learned scholar defines in the appropriate use of words designate that as Ś岹-첹 in which the words (actually used) are impossible to be substituted by their synonyms.

C.f.

yatpadāni tyajantyeva pariṛtپsahiṣṇutā� |
ta� śabdanyāyaniṣṇātā� śabda첹� pracakṣate || �

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Furthermore, ԳīܲԻ岹ī ridicules the views of 峾Բ’s and extends the shape of 屹ⲹ-첹 as:

‘iyamaśaktirna puna� 첹ḥ� ityavantisundarī | yadekasminvastuni mahākavīnāmaneko'pi ṻ� pari첹vānbhavati | tasmādrasocitaśabdārthasūktinibandhana� 첹� |

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

To ԳīܲԻ岹ī, this is nothing but پ -lack of پ and not . In the 屹ⲹ (poetry) of Ѳ첹 (eminent poets) the varied expressions in relation to one and the same thing attain perfect Maturity, the 屹ⲹ-첹, really speaking, consists in the arrangement or composition of words and senses proper to the development of rasa. There she including the modes of weaving or stringing together word and sense in consonance with appropriate propriety of ҳṇa (excellence), ṃk (figure of words), īپ (style) and Ukti (striking expression) is enjoyed or relished by connoisseurs of taste.

C.f.

ṇālṅkīٲܰپśٳ󲹲ٳ󲹲Բ� |
svadate sudhiyā� yena vākya첹� sa mā� prati || �

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Āⲹ ĀԲԻ岹󲹲Բ in his Dhvanyāloka and ṣmԻ in his ܳٲⲹ use the term �Aucitya� or ‘propriety� in the position of 屹ⲹ-첹.

C.f.

aucityasya camatkārakāriṇaścārūcarvaṇe |
īٲūٲⲹ ku rūte'ܲ || �

- ܳٲⲹ of ṣmԻ: Ch- 1/3

There 峾Բ also define 屹ⲹ-첹 in his 屹ṃksūṭra-ṛtپ as:

guṇasphu ṭatvasākalye 屹ⲹ첹� pracakṣate |
cūtasya pariṇāmina sa cāyamupamīyate || �

- 屹ṃksūṭra-ṛtپ of 峾Բ: Ch- 3/2/14

Means:

“Poetry is said to be ripe only when all the gunas are fully manifest; then it may be compared to the ripening of the mango.�

Ჹś󲹰 support the views of ԳīܲԻ岹ī and quote a well-known verse in its favors.

C.f.

sati vaktari satyarthe śabde sati rase sati |
asti tanna binā yena parisravati vāṅmadhu || �

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Means:

“The aesthetic charm inherent in literature does not arise out of the presence of words and meanings; it requires (maturity of expression). The 屹ⲹ-첹 (maturity of poetic expression) adds perfections to a poetic composition.�

Thus Ჹś󲹰 identifies the definition of 屹ⲹ-첹 as:

tasmādrasocitaśabdārthasūktinibandhana� (na�) 첹�

- 屹ⲹmīmāṃsā of Ჹś󲹰: Ch-V, Pp- 20

Means:

“To use Ś岹 (words) for aesthetic essence and for their quotable and epigrammatic density, while composing is (maturity of expression).�

It is still subject to usage of what is establishes by the sanction of the ṛdⲹ.

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