Kavyamimamsa of Rajasekhara (Study)
by Debabrata Barai | 2014 | 105,667 words
This page relates ‘Poetic conventions regarding to the Birds� 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 7.7 - Poetic conventions regarding to the Birds
In poetic conventions there are the famous one convention regarding to the birds. There are numerous types of birds are found i.e.
(1) Poetic conventions relating to the ṃs birds:
In poetic description there are three types of conventions are related with Hamsa birds i.e.
- The Ჹṃss (swans) go to the Բ lake in ղṣ�-,
- The Ჹṃss (swans) are seen as a reservoirs and
- The description of Ჹṃss quality of separating milk from the mixture of water and milk.
(a) In this description of poetic convention, the Ჹṃss are connected with the Բa Lake or Brahmasaras in the top of ᾱⲹ Mountain.
There the Ჹṃss are go to the Բa lake in Varsā-. viz.
�prāleyādrerupataṭamatikramya tāṃstānviśeṣānṃsdvāra� bhṛgapatiśayovartma yatkrauñcaradhram |
tanodīrcī diśamanusare stiryagāyāmaśobhī ś峾� pādo baliniyamanābhyudyatasteva viṣṇo� || �- ѱūٲ of : 1/60
Therefore, also depicted the Rājaṃss to Բa Lake as:
�kartu� yacca prabhavati īܳīԻ峾Ի�
tacchrutvā te śravaṇasubhaga� garjita� sānasoktā� |
ā kailāsādbisakisalayacchedapātheyavanta�
saṃpatsyante nabhasi bhavati rājapaṃyā� sahāyā� || �- ѱūٲ of :1/ 11
In the ղṣ�- the water-reservoirs, tanks and rivers are full of fresh rainwater. Thus Ჹṃss are going to the lake for fresh-water. This may be the causes for in this type poetic convention.
(b) In this convention Ჹṃss (swans) are describe to live in the water reservoirs only.
In the description of 峾ⲹṇa we see that the beauty in the presence of Ѳūs and Ჹṃs birds as:
�dzī� ⲹپⲹ 岵� śī� |
mayūrahaṃsābhiruta� tatāra syanadikā� nadīm || �- 峾ⲹṇa of ī쾱: II/ 19 /2
Therefore in the Kāvyamīmāṃsā it is illustrated by the Ჹś in following śǰ첹:
�āsīdasti bhaviṣyatīha sa jano dhanyo ī 첹�
ya� śrīke śavavatkariṣyati puna� śrīmatku ḍuṅgeśvaram |
helāndolitaṃssārasaku lakre ṅkārasammūrcachitairityāghoṣayatīva
tannavanī yacceṣṭita� vīcibhi� || �- Kāvyamīmāṃsā of Ჹś: Ch-XIV, Pp- 79
(c) In the type of Ჹṃs’s quality of separating milk from the mixture of water and milk convention is illustrated by the śǰ첹. viz.
�ṃs� śٴ 첹� śٴ ko bhedo vakaṃsyo� |
nīrakṣīravibhāge tu haṃso ṃs� vako 첹� || �- Subhāṣitaratnabhāṇḍāgāra, p-231
(2) Poetic conventions relating to the ū (peacocks):
In poetic compositions the Ѳū’s (peacocks) are described to dancing in ղṣ�- (rainy season). It is a lovely bird remembered for the beauty, sonorous cries and the graceful dance. In poetry poets are describes the overwhelming beauty of Ѳū in ղṣ�-, but this is also seen in other times also thus it is under the poetic convention. In the ṣa, the name �Meghanadanulasi� of Ჹṃs’s (peacocks) is very much significant for this convention. In the works of ī쾱 and described about this conventions.
In the 峾ⲹṇa says:
�Բ� samīkṣyāmbudhairarvimukta� vimuktabarhābharaṇ� Աṣu |
priyāsvaraktā vinivṛttaśobhā gatotsavā dhyānaparā mayūrā� || �- 峾ⲹṇa of ī쾱: IV/ 30/ 33
In the ܲīⲹ, Ѳ첹 described it as:
�vihāya vāñchāmudite madātyayādaraktakaṇḍhasya rute śṇḍԲ� |
śrutiḥśrayatyunmadaṃsni� Բ� ṇāḥ priyatve'dhikṛtā na ṃsٲ� || �- ܲīⲹ of : IV/ 25
Ჹś explain about this convention by the śǰ첹 as:
�drāgga (kta)rjayantī vimadānmayūrānpragalbhayantī ku raradvire phān |
śaratsamabhabhyeti vikāsa padmānunmīlayantī ku mudotpalāni || �- Kāvyamīmāṃsā of Ჹś: Ch-XVIII, Pp- 101
Therefore in the works of , ūپ and described the Ѳū in excited with �Muraja� sound hearing. i.e.
�athārdharātro stimitapradīpo śृgahe supatajane ܻ� |
ku śa� pravāsasthakalatraveṣāmadṛṣṭāpūrvā� vanitāmapaśyat || �- Raghuvaṃśa of : Canto-XVI/ 4
And in the ī:
�ԲԻ岹� ԲԻ徱ٲܰᲹܳٲ첹ٰܳԲ岵Ի�
viśati phaṇipatau bhogasaṃkocabhāji || �- ī of Bhavabhūtī:1/ 1
In the Kirātārjuniya Ѳ첹 says:
�varorubhirvāraṇahastapīvairaścirāya khinnānnavapallavaśriya� |
same'pi yātu� caraṇānanīśvarānmadādiva praskhalata� pade pade || �- ܲīⲹ of : VIII/ 22
Then Ჹś illustrated about this convention in his Kāvyamīmāṃsā as:
�maṇḍalīkṛtya bahārṇi kaiṇṭharmadhuragītibhi� |
kalāpina� pranṛtyanti kāle jīmūtamālini || �- Kāvyamīmāṃsā of Ჹś: Ch-XV, Pp- 82
(3) Poetic conventions relating to the kokila birds:
The birds Kokila (cuckoo) and 첹 (crows) seems similar in structure form and becomes attractive through its sweet music.
In poetic convention prohibited the illustrates this as:
�vasante śītabhītena kokilena vane rutam |
ԳٲᲹ� 貹峾� śrotukāmā ivotthitā || �- Kāvyamīmāṃsā of Ჹś: Ch-XV, Pp- 82
In this śǰ첹, describes the warbling of cuckoo in spring season. Ჹś think that the singing of cuckoo occurs in seasons like winter but it not is described in poetry.
In the Kāvyamīmāṃsā, 屹īⲹ Ჹś discusses the junction between autumn and spring cuckoos used to rustle in mind[1] and says in the ñԲśܲԳٲ as:
�karka ndhūnām upari tuhina� rañjayatyayasandhā
dārbha� muñcatyuṭajapaṭala� vītanidro mayūra� |
vediprāntāt khuravilikhitād utthitaiścaṣa ⲹ�
padyād uccairbhavati hariṇa� khāṅgam āyacchamāna� || �- ñԲśܲԳٲ of : IV/4
Therefore, in Vasanta- (spring season) says in ܳṃb about cuckoo gets intoxicated with mango shoots and sing sweet song:
�cutāṅku rāsvādakaṣāyakaṇṭha� puṃskokilo yanmudhara� cuूkaja |
manasvinīmānavighātadakṣa� tadeva ٲ� Բ� smarasya || �- Kāvyānuśāsana (of Hemacandra) of : Canto-III/ 32
Here the śǰ첹 says that the male cuckoo gets infatuated and indulges in live sports with his pair. Thus, to attract its pair sings sweet voice, which is endowed with the sense of lust.
(4) Poetic conventions relating to the 첹 birds:
The 䲹첹 birds generally lives on the banks of rivers and reservoirs. They are suffering separation from their couple during night or searching for food. This is the fact of this type’s convention. In poetic description the 䲹첹 pairs are as the ideal couples. They are also comparing with the breast of women. It may be the indication of the inseparableness of these couples.
In the ܳṃb, says about the cry of separated 䲹첹s as:
�nināya sātyantapimotkarānilā� sahasyarātrīrudavāsatatparā |
parasparākrandini 첹yo� puro viyukta mithune ṛp屹ī || �- Kumarasambhava of : Canto-II/ 23
Ჹś illustrated this in his Kāvyamīmāṃsā as:
�saṅkhipatā yāmavatīstaṭinīnā� tanayatā payaḥpūrān |
rathacaraṇāृhayavayasā� ki� nopakṛta� nidādhona || �- Kāvyamīmāṃsā of Ჹś: Ch-XV, Pp- 82
(5) Poetic conventions relating to the cakora (partridge) birds:
In the poetic convention attributes the quality of drinking moonbeams to the Cakara. However there is another convention relating to Cakara, where it swallows blazing Coal.
In the Kāvyamīmāṃsā illustrate that the Cakara birds drink the moon-beams raising its neck as:
�etāstā malayopakaṇṭhasaritāmeṇākṣi rodhobhuvaścāpābhyāsanike
tana� bhagavata� preyo manojanmana� |
yāsu śyāmaniśāsu pītatamaso muktāmayīścandrikā�
pīyante vivṛtordhvacañcu vicalatkaṇṭha� cakorāṅganā� || �- Kāvyamīmāṃsā of Ჹś: Ch-XV, Pp- 82
(6) Poetic conventions relating to the ٲ첹 (hawk cuckoo) birds:
In poetic description the ٲ첹 birds are connected with rain drop thus the ٲ첹’s love for clouds. In poetry the voice of ٲ첹 is very much appreciated.
In the ѱūٲ says:
�ī貹� dṛṣ� vā haritakapiśa� kesarairardharūṭhairāvirbhūtaprathamuku
lā� kandalīścānukaccham |
jagdhvā'raṇyeṣvadhikasurabhi� gandhamāghrāya corvyā�
sāraṅgāste jalalavamuca� sūcayiṣyanti mārgam || �- ѱūٲ of : -Purvamegha/ 21
Here describe the ardent desire to the ٲ첹 very cleverly and beautifully.
Thereafter in the Ṛiٳܲṃh he says about thirsty ٲ첹 begging the cloud for water in the rainy season description as:
�tṛṣāku laiśٲ첹pakṣiṇāṃ ku lai� prayācitāstoyabharāvalambina� |
Գپ Ի岹� bahudhāravarṣiṇo valāhakā� śrītramanoharasvanā� || �- Ṛtusaṃhāra of : II/ 3
Footnotes and references:
[1]:
Kāvyamīmāṃsā of Ჹś: Ch-XVIII, Pp- 108