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In the K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补 discusses about the different types of kavi-samaya (poetic convention) and gives plausible status in Sanskrit poetics.

He at first classifies the kavi-samaya (poetic convention) into three ways i.e.

1. 厂惫补谤驳墨测补 (heavenly),
2. Bhauma (earthly), and
3. 笔腻迟腻濒墨测补 (infernal).

C.f.

鈥�sa ca 迟谤颈诲丑腻 svargo 产丑补耻尘补岣� p膩t膩l墨ya艣ca [ iti ] 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 78-79

Further he divides the earthly conventions in four grammatical divisions of:

1. 箩腻迟颈,
2. dravya,
3. 驳耻峁嘺 and
4. 办谤颈测腻.

C.f.

鈥�sa ca caturddh膩 箩腻迟颈dravya驳耻峁嘺ktiy膩r奴p膩rthatay膩 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 79

However, most of the other rhetoricians of Sanskrit literature were quiet against this division of kavi-samaya. They argued that there are no such conventions which should be termed as 厂惫补谤驳墨测补 and 笔腻迟腻濒墨测补^[1]. Thus, they are thinking that all the poetic conventions under the Bhauma Kavi-samaya. 搁腻箩补艣别办丑补谤补鈥檚 most of successors had not accepted this divisions and thinks that these types of divisions are baseless in the strict sense.

There 搁腻箩补艣别办丑补谤补 also admits the prominence and greater of Bhauma Kavi-samaya (poetic convention) among all kavi-samaya;

C.f.

鈥�svargyap膩t膩l墨yayo产丑补耻尘补岣� 辫谤补诲丑腻苍补岣�触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 79

In generally poetic conventions are three types i.e.

1. Asatonibandhana (Employment of non-existing matter),
2. Satopyanibandhana (Non-employment of existing matter) and
3. Niyamata (Restrictied matter).

C.f.

鈥�te'pi pratyeka峁� 迟谤颈诲丑腻 asatonibandhan膩t, satopyanibandhan膩t, niyamata艣ca 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 79

(1) Asatonibandhana (employment of non-existing matters):

This Kavi-samaya (poetic convention) is that, every river is possessed of lotuses and every reservoir of water has swans in it, gold and gems on any mountain, darkness as capable of being held in a first or of being pierced with a needle, moonlight as capable of being carried in a pitcher, the separated 颁补办谤补惫腻办补-pair resorting to opposite banks of a river during night, Cakoras drinking in moonlight, whiteness of glory and smile, darkness of infamy and sin, redness of wrath and love, dwelling of a hare or a dear in the moon, the God of Love being bodiless or possessing a handsome form. These types of attribution of qualities are a good example of poetic convention on non-existing matter.

(2) Satopyanibandhana (non-employment of existing matters):

In poetry, certain things that really exist in a certain place or in a particular time are supposed to be described as non-existing matter of poetic conventions. 惭腻濒补迟墨 not blooming during spring, a sandal-tree not yielding flower and fruit, 础艣辞办补 tree not giving fruit, no moonlight in the dark-half of a month and no darkness in the bright-half of a month, no blooming of blue lotuses and no falling down of 艢别辫丑腻濒颈办腻 flowers during day, no red colour of Kunda-buds, no green colour of lotus-buds and no yellow colour of 笔谤颈测腻峁単耻 flowers.

(3) Niyamata鈥擭iyamenanibandhana (restricted matters):

In poetic conventions the description of certain things are restricted to certain places. Even though sharks are found in rivers and oceans, pearls found at the bottom of the river 罢腻尘谤补辫补谤峁嚹� only, sandal growing on the mountain 贬颈尘腻濒腻测补 only, the cooing of a cuckoo heard in the spring only and the dance of the peacocks described in the rainy season only.

These are the twelve types of Bhaumya (terrestrial) poetic conventions according to 搁腻箩补艣别办丑补谤补鈥檚 K膩vyam墨m膩峁僺膩 Beside those there are described the celestial conventions by 搁腻箩补艣别办丑补谤补 i.e. Oneness is attributed to moon born out of the eyes of Atri and of the Ocean. Oneness is described in the shark and the fish which are found in the banner of cupid. The crescent moon, on the head of Lord 艢颈惫补 though born long ago, is ever green or youth. Cupid, the God of sex is both corporeal and non-corporeal. The identity is attributed to twelve suns and 狈腻谤腻测补峁嘺 and 惭腻诲丑补惫补 are described as one. 顿腻尘辞诲补谤补, 艢别峁�a and 碍奴谤尘补, the different 础惫补迟腻谤补 (incarnations) of Lord 痴颈峁ａ箛耻 are described as one. Oneness is portrayed between 尝补办峁�m墨 and Wealth. There are also described an example of 笔腻迟腻濒墨测补 (infernal) poetic conventions i.e. Description of oneness between 狈腻驳补 and Sarpa. There the poets should also used to attribute the oneness to Daitya, 顿腻苍补惫补 and Asura. Now we can illustration the 搁腻箩补艣别办丑补谤补 described three types of kavi-samaya (poetic conventions).

Footnotes and references:

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[1]:

V. M. Kulkarni, Studies in Sanskrit 厂腻丑颈迟测补 艢腻蝉迟谤补, B.L, Institute of Indology, Patan, 1983, Pp- 26