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

TENTH ADHYĀYA 201 l. 17. आदर्शः=copy. A poet should prepare several copies of his composition. l. 25. एकावली=a single string of pearls. Page. 54. l. 3. For the definitions of मुक्तक, see notes on page 46, l. 22. सङ्घातः । The definitions of सङ्घात are given as:— एकप्रघट्टकेनैव निबद्धो वाक्यविस्तरः । स संघातो भवेत् Bhāvaprakāśana. p. 151–16. and यत्र श्लोककृतो युक्तिसमुदायो रसान्वितः । एकप्रघट्टके सोऽयं सङ्घात इति कथ्यते ॥ Ibid. p. 282–20. Daṇḍin mentions सङ्घात as a sub-division of सर्गबन्ध and his com- mentator Taruṇavācaspati defines it as follows:— सङ्घातः एकार्थविषयः एककर्तृकः पद्यसंघातः । शरत्सङ्घातद्रविडसंघातादिवत् ॥ Kāvyādarśa. 1–13. Mahāprabandha has been defined by all earlier writers on poetics, but Abhinavagupta's definition, as given below, seems to be the best: महाकाव्यरूपः पुरुषार्थफलः समस्तवस्तुवर्णनाप्रबन्धः सर्गबन्धः संस्कृत एव ॥ (Locana on 3, 7 of the Dhvani) *[ l. 5. बह्वपि स्वेच्छया ( माघ II. 73 ) ] ll. 5–6. This is a verse quoted from the second canto of the Śiśupālavadha where Uddhava gives counsel to Kṛṣṇa and differs from the views expressed by Baladeva. It may also be suggested here, as Rājaśekhara interprets, that Māgha, the author of the Kāvya, being proud of his composition or प्रबन्ध, criticises in this verse the attempts of other poets in order to humiliate them. ll. 7–10. The fundamental principles of poetry are recorded here on the lines indicated by Vāmana. Vāmana thinks that Rītis, Guṇas and Sūktimudrās only are the most important factors for the composition of poetry, but he does not consider the Alaṅkāras to be so important. See Kāvyālaṅkārasūtra 3, 1, 1–3 and the verses quoted there:— २६