Kavyamimamsa of Rajasekhara (Study)
by Debabrata Barai | 2014 | 105,667 words
This page relates ‘Originality in Alamkaras (poetic figures)� 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 4 - Originality in ṃk (poetic figures)
Āⲹ Bharatamuni in his ṭyśٰ, defines ṃk (poetic figure) as a accompanying way in the chapter six, seven and sixteen. However, he does not define there any definition of ṃk but his ascertainment about the matter of four ṃk i.e. 貹, ū貹첹, ī貹첹 and Yamaka. Then ٲܲԾ’s following rhetoricians Bhamaha, Vāmaṇa, Dandin, Rudrata was accepted the ṃk as the beautifying elements of poetry. He is also elaborately defining the position and importance of ṃk� in Sanskrit poetics. But Ჹś, the author of 屹ⲹmīmāṃsā is the one and only Āṃk첹 in the history of Sanskrit poetics who first time introduces ṃk with their demonstrations names.
Ჹś also posits the ṃk are the important elements in the 屹ⲹ (poetry) and which presence 屹ⲹ (poetry) is more beautifying, it is very essential for charming poetry (ṃkṛt).
Ჹś defines ṃk in the 屹ⲹ as:
�guṇavadalaṅkṛtañca vākyameva kāvyam �
-屹ⲹmīmāṃsā of Ჹś: Ch-VI, Pp- 24
Means:
�屹ⲹ (poetry) is declared to be a sentence endowed with ṇa and ṃk (ھܰ).�
In this definition he gives importance of ṃk in the 屹ⲹ (poetry). There sometimes Ჹś uses ṃk for expressing the matter of ṇa and action with ignite of the emotions.