काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

150 EXPLANATORY NOTES Kāvyamīmāṁsā. This statement also indicates that Rājaśekhara wanted to complete the work in eighteen Adhikaraṇas.

• [ l. 13. Cf. 'चित्तैकाग्र्यमवधानम्। अवहितं हि चित्तमर्थान् पश्यति।' वामनीया- लङ्कार 1. 3. 17 ]. l. 15. यद्गोचरे च विदुषां निपुणैकसेव्यम्। Construe:—विदुषां गोचरे यत् निपुणैक- सेव्यम्। The words विदुषां गोचरे refer to the subjects to be mastered by scholars. Among the subjects to be learnt by scholars, the literary secrets should be attempted only by the most clever persons. Śyāmadeva who is represented here by Rājaśekhara as laying a special stress on the doctrine of Samādhi as the main factor in poetical composition, may be identified with Śyāmilaka, the author of the Pādatāḍitakabhāṇa. For the view of Śyāmilaka on this subject, see the following verse: इदमिह पदं मा भूदेवं भवत्विदमन्यथा कृतमिदमयं ग्रन्थेनार्थो महानुपपादितः। इति मनसि यः काव्यारम्भे कवेर्भवति श्रमः सनयनजलो रोमोद्भेदः सतां तमपोहति॥ ३॥ Śyāmilaka’s Pādatāḍitaka.
• [ l. 18. Cf. अभ्यासो हि कर्मणां निरतिशयं कौशलमाधत्ते। Ibid. 1-3-24 ]. ll. 19–23. This distinction between समाधि and अभ्यास as inward and outward activities, does not appear to be quite clear. For both are mental activities according to the definitions मनस एकाग्रता and अविच्छेदेन शीलनम्. But the author seems to indicate that समाधि relates to the thinking mind while अभ्यास is constant practice. Yāyāvarīya thinks that these two faculties only strengthen the literary power or शक्ति which alone can create poetry. This power is different from प्रतिभा and व्युत्पत्ति; because they are the effects of the same power. Here Rājaśekhara follows the view of Rudraṭa. Cf. मनसि सदा सुसमाधिनि विस्फुरणमनेकधामिधेयस्य । अक्लिष्टानि पदानि च विभान्ति यस्यामसौ शक्तिः॥ ( K. A. 1-15. ) Rudraṭa differs in this respect from Daṇḍin and Vāmana both of whom hold that प्रतिभा is the chief requisite in poetical compositions. Cf. नैसर्गिकी च प्रतिभा. (Daṇḍin 1–103.) कवित्वबीजं प्रतिभानम्. (Vāmana. 1-3-16.) l. 25. प्रतिभा is another mental faculty by which those things that are not even perceived by poets are easily conceived and expressed. This is called mental perception or मानसप्रत्यक्ष.