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Kavyamimamsa of Rajasekhara (Study)

by Debabrata Barai | 2014 | 105,667 words

This page relates ‘Alamkara theory and position of the Kavyamimamsa� 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).

Go directly to: Footnotes.

Part 2 - ṃk theory and position of the Kāvyamīmāṃsā

ṃk School is coming after the Rasa School and this ṃk School is propounded by the ṃk첹 . However Āⲹ ṭa, ٲṇḍ, ܻṭa also counted under this school. They all are the ṃk첹s of under ṃk School accepted the rasa but they are gives the most prominent place of ṃks then the rasa and established ṃks as the soul of the poetry.

Āⲹ Bharatamuni though does not give them any definition of ṃks but he also defines the , ū貹첹, ī貹첹 and Yamaka in his ṭyśٰ Āⲹ

realized that ṃks as the essential things of poetry and Vakrokti as the ṃk by the saying:

'ṅk'Բ

- 屹ṃk (of 峾) of 峾: II/ 85

Because thinks that, without any ornament no one can see the more beautiful, so ornament is very must essential for the more beautifying poetry and says:

na kāntamapi nirbhuṣa� vibhāti vanitānanam

- 屹ṃk (of 峾) of 峾: I/ 13

In this same way the poetry without ṃk is not charming full by the readers. Āⲹ ٲṇḍ gives the importance of پśǰپ and Śṣa ṃk and he also supported the 峾’s treatment about ṃks by the recognizing ṃks as the 屹ⲹ-dharma. ٲṇḍ accepted that ṃks is the beautifying element of poetry. Though ’s vakrokti and ٲṇḍ’s پśǰپ highlighted the same treatment about the poetry but there ٲṇḍ’s concepts of پśǰپ is found more important than 峾’s treatment of vakrokti for the definition of ṃks.

Then Āⲹ 峾Բ in his 屹ṃksūṭra-ṛtپ define ṃks as the two ways i.e. traditional ṃks and dzܲԻ岹ṃk. In the beginning of his work he wrote:

屹ⲹṃgrāhyamalaṅkāra

- 屹ṃksūṭra-ṛtپ of 峾Բ: I/1/1

Means:

屹ⲹ (poetry) is accepted for the ṃks.�

And another type is dzܲԻ岹ṃk, where ҳṇa are the beautifying element of poetry and there ṃks are the most beautifying the ṇa. In this way some ancient rhetoricians not only gives the prominent place of ṃks in 屹ⲹ (poetry) but they also established it one and only major portion in 屹ⲹ (poetry). Then the Ѳ󾱳ṭṭ in his Vyaktiviveka used the word �ܳٱ� for the alaṃk and says that by the �bicchiti� combination of Ś岹 (word) and Artha (meaning) is the developed the (poetry).

Further Āⲹ Kuntaka, the author of Vakroktijīvita realized ṃks as �Svarūpādhāyaka dharma� in (poetry). And Jayadeva, in his 䲹Իǰ첹 criticizes the Ѳṭa’s concepts of (poetry) in the Kāvyaprakāśa as: �alaṃṛtī puna� kvāpi’|[1] and says that sometimes (poetry) will be consists of Ś岹 and Āٳ without ṃks.

C.f.

alaṃkaroti ya� 屹ⲹ� śٳ屹Բṃkṛt |
asau na manyate kasmādanuṣṇamanala� ṛtī || �

- Candraloka of Jaydeva:

Means:

Ѳṭa accepted the (poetry) without ṃks so to whom fire will be present without spark.�

In this way we can notice that the Āⲹs of ṃk School accepted irrelevant the ’s than the ṃks in 屹ⲹ (poetry) and rasa is the under of Rasavat ṃks.

C.f

rasavaddarśitaspaṣṭa śṛṅgārādirasa� yathā

- 屹ṃk (of 峾) of 峾: III/ 6

And, �

madhura� rasavadvāci vastunyapi rasasthiti || �

- Kāvyādarśa of ٲṇḍ: III/51

So before the Ჹś󲹰’s time we can see that the ṃk School was fully developed and he was fully aware about absolute of ṃk theory.

In the Kāvyamīmāṃsā, 屹īⲹ Ჹś󲹰 says that:

śṣ�, kalpo, 첹ṇa�, Ծܰٲ� , chandoviciti�, jya�, ṣaḍaṅgāni� ityācāryā�| ‘upakārakatvādalaṅkāra� saptamaṅgam� iti 屹īⲹ� |

- Kāvyamīmāṃsā of Ჹś󲹰: Ch-II, Pp- 3

Meaning is,

“AԳԳ Āⲹs posits that Śṣ� (science of proper articulation and pronounciation or Phonetics), Kalpa (Rituls), ղ첹ṇa (Grammer), Nirukta (Explanation Difficult Vedic words), Chanda (The Science of Prosody or Metrics) and dzپṣa (Astronomy), are the six auxiliaries to the study of Vedas.�

But 屹īⲹ Ჹś󲹰 added with them another one �ṃkśāstra� as the seventh ձṅg (discipline auxiliary to the Vedas).

Then he also says: comprehension of the Vedas remains incomplete without an auxiliary knowledge of rhetorical figures.

ṛte ca tatsarupapariñjānādvedārthānavagate�

- Kāvyamīmāṃsā of Ჹś󲹰: Ch-II, Pp- 6

In this way, Ჹś󲹰 gives the importance of ṃkśāstra not only in 屹ⲹ (poetry) but Śٰ’s (science of Scripture) also. However 峾, ٲṇḍ, ṭa and ܻṭa most of the rhetoricians� gives the importance of ṃkśāstras but their perplexes limited under the 屹ⲹ (poetry).

Hence, Ჹś󲹰 gives the essentiality of ṃks in whole of the literature and defines the 屹ⲹ (poetry) consists as combined with ṇa and ṃks by saying:

‘guṇavadalaṅkṛtañca vākyameva 屹ⲹm� |

- Kāvyamīmāṃsā of Ჹś󲹰: Ch-VI, Pp-24

In other respects, Ჹś󲹰 gives the importance of ṃks and says: the ṃks (figures of speech) Գܱś (alliteration) and ܱ貹 (simile) etc. are the ornament of the 屹ⲹ (poetry).

C.f.

anuprāsopamādayaśca tvāmalaṅku rvanti

- Kāvyamīmāṃsā of Ჹś󲹰: Ch-III, Pp- 6

In the first chapter Kavirahasya of Kāvyamīmāṃsā of Ჹś󲹰, indicated the some ṃks and their profounder� names:

ānuprāsika� pracetāyana�, yamo yamakāni, ٰ� ٰṅg岹�,
śavdaśle ṣa� śṣa�, vāstava� pulasta�, aupamyamaupakāyana�,
parāśara�, arthaśle ṣamutathya�, ubhayālaṅkārika� ku vera�

- Kāvyamīmāṃsā of Ჹś󲹰: Ch-I, Pp- 1

In this way various ṃk첹s from Bharata to Ჹś󲹰 only the 屹īⲹ Ჹś󲹰 who dealt with ṃks with their propounded names. There it may be seems that Ჹś󲹰 very much influenced by ܻṭa because there he (Ჹś󲹰) borrowed the name ٲ or 屹ǰپ ṃk, 貹laṃkāra, پśDZṃk and ٳ-śṣa as it is. There is an only difference is that ܻṭa uses the vakrokti as the ṃks but there Ჹś󲹰 does not agree with him and posit it as ٳ-dharma.

In the description of eighteen 󾱰첹ṇa (section) of Ჹś󲹰’s Kāvyamīmāṃsā, there are only one 󾱰첹ṇa (section) for each īپ, ҳṇa, Rasa, ٴṣa and ū貹첹, but there are dedicated nine chapters for Śṃk and Arthālaṃk. It also seems the majesty of ṃk concepts on Ჹś󲹰.

Footnotes and references:

[back to top]

[1]:

Kāvyaprakāśa of Ѳṭa: I/ 3

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