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

१०४ काव्यमीमांसायाम् पुष्पक्रिया मरुबके जलकेलिनिन्दा कुन्दान्यशेषकुसुमेषु धुरि स्थितानि । सौभाग्यमेणतिलकाद्ब्रजतेऽर्कबिम्बं काले तुषारिणि दहन्ति च चन्दनानि ॥ ५ सिद्धार्थयष्टिषु यथोत्तरहीयमान- सन्तानभिन्नघनसूचिपरम्परासु । द्वित्रावशेषकुसुमासु जनिक्रमेण पाकक्रमः कपिशिमानमुपादधाति ॥ उदीच्यचण्डानिलताडितासु १० १सुलीनमीनासु जलस्य मूले । नालावशेषाब्जलतास्विदानीं विलासवापीषु न याति दृष्टिः ॥ माद्यन्मतङ्गः पृषतैकतोषी २पुष्यद्द्वराहो धृतिमल्लुलायः । १५ दरिद्रनिन्द्यः ३सधनैकवन्द्यः स एष कालः शिशिरः करालः ॥ अभिनववधूरोषस्वादुः करीषतनूनपा- दसरलजनाश्लेषक्रूरस्तुषारसमीरणः । गलितविभवस्याज्ञेवाद्य द्युतिर्मसृणा रखे- २० र्विरहिवनितावक्त्रौपम्यं बिभर्त्ति निशाकरः ॥ स्त्रियः प्रकृतिपित्तलाः क्वथितकुङ्कुमालेपनै- र्नितम्बफलकस्तनस्थलभुजोरुमूलादिभिः । इहाभिनवयौवनाः सकलरात्रिसंश्लेषितै- र्हरन्ति शिशिरज्वरारतिमतीव पृथ्वीमपि ॥” २५ शिशिरः ॥ “चैत्रे मदद्धिः शुकसारिकाणां हारीतदात्यूहमधुव्रतानाम् । १ V निलीनमीनासु. २ V B & V C पुष्यद्दराहा. ३ V C सधनैकमन्यः.

कवि रहस्ये अष्टादशोऽध्यायः । १०५ पुंस्कोकिलानां सहकारबन्धुः मदस्य कालः पुनरेष एव ॥ मनोऽधिकं चात्र विलासलासैः प्रेङ्खासु दोलासु च सुन्दरीणाम् । गीते च गौरीचरितावतंसे पूजाप्रपञ्चे च मनोभवस्य ॥ पुंस्कोकिलः कूजति पञ्चमेन बलाद्विलासा युवतौ स्फुरन्ति । स्मरो वसन्तेऽत्र नवैः प्रसूनैः स्वचापयष्टेर्घटनां करोति ॥ पिनद्धमाहारजनांशुकानां सीमन्तसिन्दूरजुषां वसन्ते । स्मरीकृते प्रेयसि भक्तिभाजां विशेषवेषः स्वदते वधूनाम् ॥ अयं प्रसूनेाद्धुरकर्णिकारः पुष्पप्रपञ्चार्चितकाञ्चनारः । विजृम्भणाकोविदकोविदारः कालो विकाशोद्यतसिन्दुवारः ॥ रोहीतकास्रातककिङ्किराता मधूकमोचाः सह माधवीभिः । जयन्ति शोभाञ्जनकश्च शाखी सकेसरैः पुष्पभरैर्वसन्ते ॥ यो माधवीमुकुलदृष्टिषु वेणिबन्धो यः कोकिलाकलारुते कथने च लाभः । पूजाविधिर्दमनकेन च यः स्मरस्य तस्मिन्मधुः स भगवान्गुरुरङ्गनानाम् ॥ १. V रजतां. २ V शेखरः. ३ V रुतेः. १४

१०६ काव्यमीमांसायाम् नालिङ्गितः कुरबकस्तिलको न दृष्टो नो ताडितश्च चरणैः सुदृशामशोकः । सिक्तो न वक्त्रमधुना बकुलश्च चैत्रे चित्रं तथापि भवति प्रसवावकीर्णः ॥ चैत्रे चित्रौ रक्तनीलावशोकौ स्वर्णाशोकस्तत्तृतीयश्च पीतः । जैत्रं तन्त्रं तत्प्रसूनैर्नरेभ्यः चेतोयोनेः भूर्भुवःस्वस्त्रयेऽपि ॥ गूवाकानां नालिकेरद्रुमाणां हिन्तालानां पाटलीकिंशुकानाम् । खर्जूराणां ताडताडीतरूणां पुष्पापीडन्यासहेतुर्वसन्तः ॥ वसन्तः ॥ विकाशकारी नवमल्लिकानां दलच्छिरीषप्रसवाभिरामः । पुष्पप्रदः काञ्चनकेतकीनां ग्रीष्मोऽयमुल्लासितधातकीकः ॥ खर्जूरजम्बूपनसाग्रमोच- प्रियालपूगीफलनालिकेरैः । द्वन्द्वानि खेदालसताँमु(म)पास्य रतानुसन्धानमिहाद्रियन्ते ॥ स्रोतांस्यनम्भांसि सकूपकानि प्रपाः कठोरेऽहनि पान्थपूर्णाः । शुचौ सँमभ्यर्थि(र्धि)तसक्तुपाने प्रगे च सायं च वहन्ति मार्गाः ॥ यत्कायमानेषु दिनार्द्धनिद्रा यत्स्नानकेलिर्दिवसावसाने । १ V द्रुमाणां. २ V मालिकानां. ३ V ०मपास्य. ४ V समभ्यर्चितसक्तुधाने०.

कविरहस्ये अष्टादशोऽध्यायः । १०७

यद्रात्रिशेषे सुरतावतारः स मुष्टियोगो घनघर्ममाथी ॥ या चन्द्रिका चन्दनपङ्कहृद्या या जालमार्गानिलवीचिमाला । या तालवृन्तैरुदबिन्दुवृष्टि- र्जलाञ्जलिं सा शुचये ददाति ॥ कर्पूरचूर्णं सहकारभङ्ग- स्ताम्बूलमार्द्रक्रमूकोपक्लृप्तम् । हाराश्च तारास्तनुवस्त्रमेत- न्महारहस्यं शिशिरक्रियायाः ॥ मुक्तालताश्चन्दनपङ्कदिग्धा मृणालहारानुसृता जलार्द्राः । स्रजश्च मौलौ स्सि(सि)तचम्पकानां ग्रीष्मेऽपि सोऽयं शिशिरावतारः ॥” अत्र हि—“पच्यन्त इव भूतानि ताप्यन्त इव पांसवः । कथ्यन्त इव तोयानि ध्मायन्त इव चाद्रयः ॥ ऐणाः स्थलीषु मृगतृष्णिकया हियन्ते स्रोतस्तनुत्वजनिता जलवेणिबन्धाः । ताम्यत्तिमीनि च सरांसि जलस्य शोषा- दुद्धारघट्टघटिकावलयाश्च कूपाः ॥ करभाः शरभाः सरासभा मदमायान्ति भजन्ति विक्रियाम् । करवीरकरीरपुष्पिणीः स्थलभूमिरधिरुह्य चासते ॥ सहकाररसार्चिता रसाला जलभक्तं फलपानकानि मन्थाः ।

१ V चूर्णः. २ V एण्यः. ३ A ०दुद्धारघट०.

१०८ काव्यमीमांसायाम्

मृगलावरसाः शृतं च दुग्धं सरसञ्जीवनमौषधं निदाघे ॥ जडचन्दनचारुवस्तरुण्यः सजलार्द्राः सहतारहारमालाः । कदलीदलतल्पकल्पनस्थाः स्मरमाहूय निवेशयन्ति पार्श्वे ॥ ग्रीष्मे चीरीनादवन्तो वनान्ताः पङ्काभ्यक्ताः सैरिभाः सेभकोलाः । लोलजिह्वाः सर्पसारङ्गवर्गा मूलस्रस्तैः पत्रिणश्चांसदेशैः ॥ हर्म्यं रम्यं चन्द्रिकाधौतपृष्ठं कान्तोच्छिष्टा वारुणी वारिमिश्रा । मालाः कण्ठे पाटलामल्लिकानां सद्यो ग्रीष्मं हन्त हेमन्तयन्ति ॥ ग्रीष्मः ॥ चतुरवस्थश्च ऋतुरुपनिबन्धनीयः। तद्यथा—सन्धिः, शैशवं, प्रौ- ढिः, अनुवृत्तिश्च। ऋतुद्वयमध्यं सन्धिः। शिशिरवसन्तसन्धिर्यथा— “च्युतसुमनसः कुन्दाः पुष्पोद्गमेष्वलसा द्रुमा मनसि च गिरं गृह्णन्तीमे गिरन्ति न कोकिलाः। अथ च सवितुः शीतोल्लासं लुनन्ति मरीचयो न च जरठतामालम्बन्ते क्लमोदयदायिनीम् ॥” वसन्तशैशवम्— “गर्भग्रन्थिषु वीरुधां सुमनसो मध्येऽङ्कुरं पल्लवा वाञ्छामात्रपरिग्रहः पिकवधूकण्ठोदरे पञ्चमः । किं च त्रीणि जगन्ति जिष्णु दिवसैर्द्वित्रैर्मनोजन्मनो देवस्यापि चिरोज्झितं यदि भवेदभ्यासवश्यं धनुः ॥”

१ V सर्वसारङ्ग०. २ V किरन्ति.

कविरहस्ये अष्टादशोऽध्यायः । १०९ वसन्तप्रौढिः— “साम्यं सम्प्रति सेवते विचकिलं षाण्मासिकैर्मौक्तिकैः कान्तिं कर्षति काञ्चनारकुसुमं माञ्जिष्ठधौतातपात् । हूनीनां कुरुते मधूकमुकुलं लावण्यलुण्टाकतां लाटीनाभिनिभं चकास्ति च पतद्वृन्ताग्रतः केसरम् ॥” अतिक्रान्तर्तुलिङ्गं यत्कुसुमाद्यनुवर्त्तते । लिङ्गानुवृत्तिं तामाहुः सा ज्ञेया काव्यलोकतः ॥ वर्षासु ग्रीष्मलिङ्गाब्जविकासानुवृत्तिः । यथा—“खं वस्ते कलविङ्ककण्ठमलिनं कादम्बिनीकम्बलं चर्चां पारयतीव दर्दुरकुलं कोलाहलैरून्मदम् । गन्धं मुञ्चति सिक्तलाजसदृशं वर्षेण दग्धा स्थली दुर्लक्ष्योऽपि विभाव्यते कमलिनीहासेन भासां पतिः ॥” एवमन्येऽपि । किञ्च—ग्रैष्मिकसमयविकासी कथितो धूलीकदम्ब इति लोके । जलधरसमयप्राप्तौ स एव धाराकदम्बः स्यात् ॥ यथा— “धूलीकदम्बपरिधूसरदिङ्मुखस्य रक्तच्छटासुरशरासनमण्डनस्य । दीप्तायुधाशनिमुचो ननु नीलकण्ठ नोत्कण्ठसे समरवारिधरागमस्य ॥” जलसमयजायमानां जातिं यां काईमीति निगदन्ति । सा शरदि महोत्सविनी गन्धान्वितषट्पदा भवति ॥ यथा—“स्थूलावश्यायबिन्दुद्यु(द्रु)तिदलितबृहत्कोरकग्रन्थिभाजो जात्या जालं लतानां जरठपरिमलप्लावितानां जजृम्भे । नानाहंसोपधानं सपदि जलनिधेश्चोत्ससर्पापरस्य ज्योत्स्नाशुक्लोपधानं शयनमिव शशी नागभोगाङ्कमूर्तेः ॥ स्तोकानुवृत्तिं केतक्या अपि केचिदिच्छन्ति । १ V कर्दमेन जनयन्ति. २ CB ॰मुक्तोपधानं.

११२ अष्टादशोऽध्यायः। लकुचाद्यन्तर्व्याजं तथा बहिर्व्याजमत्र मोचादि । आम्राद्युभयव्याजं सर्वव्याजं च ककुभादि ॥ पनसादि बहुव्याजं नीलकपित्थादि भवति निर्व्याजम् । सकलफलानां षोढा ज्ञातव्यः कविभिरिति भेदः ॥ एकद्वित्र्यादिभेदेन सामस्त्येनाथवा ऋतून् । प्रबन्धेषु निबध्नीयात्क्रमेण व्युत्क्रमेण वा ॥ न च व्युत्क्रमदोषोऽस्ति कवेरर्थपथस्पृशः । तथा कथा कापि भवेद् व्युत्क्रमो भूषणं यथा ॥ अनुसन्धानशून्यस्य भूषणं दूषणायते । सावधानस्य च कवेर्दूषणं भूषणायते ॥ इति कालविभागस्य दर्शिता वृत्तिरीदृशी । कवेरिह महान्मोह इह सिद्धो महाकविः ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे कालविभागो नाम अष्टादशोऽध्यायः ॥ समाप्तमिदं प्रथममधिकरणं कविरहस्यं काव्यमीमांसायाम् ॥ १ V कपिच्छादि.

EXPLANATORY NOTES. Notes enclosed within square brackets [ ] belong to preveious Editions. Page 1

• [ l. 1. अथातः काव्यं मीमांसिष्यामहे. Hemacandra has named his work on Nyāya as प्रमाणमीमांसा. The first sūtra of his work is “अथ प्रमाणमीमांसा”. For the propriety of the words अथ and मीमांसा cf. Hemacandra’s vṛtti on the same. “अथेत्यस्याधिकारार्थत्वाच्छास्त्रेणाधिक्रियमाणस्य प्रस्तूयमानस्य प्रमाणस्याभिधानात्सकल- शास्त्रतात्पर्यव्याख्यानेन प्रेक्षावन्तो बोधिताः प्रवर्तिताश्च भवन्ति । आनन्तर्यार्थो वाऽथशब्दः । शब्द- काव्यच्छन्दोनुशासनेभ्योऽनन्तरं प्रमाणं मीमांस्यत इत्यर्थः । अनेन शब्दानुशासनादिभिरस्यैककर्तृ- कत्वमाह । अधिकारार्थस्य चाथशब्दस्यान्यार्थनीयमानकुसुमदामजलकुम्भादेर्दर्शनमिव श्रवणं मङ्गलायापि कल्पत इति । मङ्गले च सति परिपन्थिविघ्नविघातादक्षेपेण शास्त्रसिद्धिरायुष्मच्छ्रोतृकता च भवति । परमेष्ठिनमस्कारादिकं तु मङ्गलं कृतमपि न निवेशितं लाघवार्थिना शास्त्रकारेणेति । प्रकर्षेण संशयादिव्यवच्छेदेन मीयते परिच्छिद्यते वस्तुतत्त्वं येन तत्प्रमाणम् । प्रमायां साधक- तमम् । तस्य मीमांसोद्देशादिरूपेण पर्यालोचनम् । त्रयी हि शास्त्रस्य प्रवृत्तिरुद्देशो लक्षणं परीक्षा च । तत्र नामधेयमात्रकीर्तनमुद्देशः यथेदमेव सूत्रम् । उद्दिष्टस्यासाधारणधर्मवचनं लक्षणम् । तद्द्वेधा सामान्यलक्षणं विशेषलक्षणं च । सामान्यलक्षणमनन्तरमेव सूत्रम् । विशेषलक्षणं विशदः प्रत्यक्षमिति । विभागस्तु विशेषलक्षणस्यैवाङ्गमिति न पृथगुच्यते । लक्षितस्येदमित्थं भवति नेत्थमिति न्यायतः परीक्षणं परीक्षा यथा तृतीयसूत्रम् । पूजितविचारवचनश्च मीमांसाशब्दस्तेन न प्रमाणमात्रस्यैव विचारोऽत्राधिकृतः । किन्तु तदेकदेशभूतानां दुर्नयनिराकरणद्वारेण परिशोधितमार्गाणां नयानामपि । “प्रमाणनयैरधिगमः” इति हि वाचकमुख्यः । सकलपुरुषार्थेषु मूर्धाभिषिक्तस्य सोपायस्य सप्रतिपक्षस्य मोक्षस्य च । एवं हि पूजितो विचारो भवति । प्रमाणमात्रविचारस्तु प्रतिपक्षनिराकरणपर्यवसायी वाक्छलमात्रं स्यात् । तद्विवक्षायां तु अथ प्रमाणपरीक्षेत्येव क्रियेत । तत् स्थितमेतत् प्रमाणनयपरिशोधितप्रमेयमार्गं सोपायं सप्रतिपक्षमोक्षं विवक्षितुं मीमांसाग्रहणमकार्याचार्येणेति ॥ १ ॥” For अथातः cf. also “अथातो ब्रह्मजिज्ञासा” ब्र. सू. 1-1-1 and the Bhāṣya. ] l. 1. अथातः । Generally original writers in the sūtra style begin their treatises with the words either अथातः or अथ. Āpastamba, Kaṇāda, Jaimini and Bādarāyaṇa in their respective sūtra works use the words अथातः in the beginning, while Patañjali begins with अथ in his works on Yoga and Grammar. Eminent Bhāṣyakāras such as S'abarasvāmin, S'aṅkarācārya and Patañjali interpret the word अथ generally in two senses, i. e. आनन्तर्य and अधिकार. आनन्तर्य is meant when अथ is followed by the word अतः and in all other cases अधिकार. Others believe that the words अथातः joined together in the beginning of a work, mean nothing but आनन्तर्य. This view, held १५

114 EXPLANATORY NOTES by Bhavadāsa and other Vṛttikāras on Jaimini earlier than S'abara (cir. 500 A. D.), has been cited and refuted in the S'lokavārttika by Kumārila (see Kārikās 1. 33, 34, 63). Prabhākarabhaṭṭa also, while commenting on S'abarasvāmin introduces this view of Bhavadāsa and refutes it in his work entitled the Bṛhatī, saying: 'लोके' इत्यादिभाष्यस्याथातः शब्दस्यालौकिकार्थाशङ्का- निवृत्तिः प्रयोजनम् । (1. 1. 1.) Some Vṛttikāras, such as Rudradatta and others while commenting on the first sūtra अथातो दर्शपूर्णमासौ व्याख्यास्यामः of the Āpastambaśrauta, take the two words अथातः to mean only आनन्तर्य following Bhavadāsa. S'abarasvāmin, however, refutes this view of Bhavadāsa with care and establishes the meanings of आनन्तर्य for अथ and हेतुभाव for the word अतः in the sūtra अथातो धर्मजिज्ञासा of Jaimini. Other commentators such as Dhūrtasvāmin, S'aṅkara- miśra and others, in their works on Āpastamba and Kaṇāda, take the word अथ to indicate 'Maṅgala'. But S'aṅkarācārya in his Bhāṣya on Bādarāyaṇa sūtra disapproves of this and takes अथ to mean only आनन्तर्य, saying: अर्थान्तरप्रयुक्त एव ह्यथशब्दः श्रुत्या मङ्गलप्रयोजनो भवति । For other meanings of the word अथ reference may be made to the verses:— मङ्गलानन्तरारम्भप्रश्नकात्स्न्र्येष्वथो अथ । (Amarakośa 3. 246.) and ओङ्कारश्चाथशब्दश्च द्वावेतौ ब्रह्मणः पुरा । कण्ठं भित्त्वा विनिर्यातौ तस्मान्माङ्गलिकावुभौ ॥ Rājaśekhara also begins his work with the words अथातः and this shows that he intends to write his Kāvyamīmāṁsā in the sūtra style. Here अथ cannot mean अधिकार because of the finite verb मीमांसिष्यामहे, as also because it is followed by the word अतः. आनन्तर्य alone, therefore, is better fitted here than अधिकार and हेतुभाव for the word अतः। आनन्तर्य obviously connects two events and, therefore, requires a previous event after which the Kāvya- mīmāṁsā may be composed by him. What then is that event after which Rājaśekhara composed the Kāvyamīmāṁsā? The previous event or circumstance in this case can only be suggested as the author himself did not mention it. Many circumstances such as शिष्यप्रश्न, देवताराधन, रसायनादिक्रिया, गुरुपर्वक्रम, etc. are suggested by the commentators of the sūtras of Kaṇāda, Āpastamba and others after which, they thought the work was composed by their respective authors.

FIRST ADHYĀYA 115 It may be suggested here that गुरुपर्वक्रम is to be taken as the previous event required by the word अथ, as Rājaśekhara himself enumerates the teachers of the Kāvyamīmāṁsā in the sentence beginning with यथोपदिदेश श्रीकण्ठः, etc. In this case, therefore, the word अथ suggests that Rājaśekhara composed the Kāvyamīmāṁsā after having been taught by his own Guru who was the last in the list of teachers beginning with Śrīkaṇṭha. This is what is called गुरुपर्वक्रम. A suggestion of this kind is also made by Kumārilabhaṭṭa while explaining the word अथ in the sūtra अथातो धर्मजिज्ञासा of Jaimini, and subsequently, the same is rejected by him on the ground that the knowledge of this गुरुपर्वक्रम does not help the reader in any way, and that the list of teachers also cannot be taken as entirely accurate. In this connection Pārthasārathi's commentary on Kumārila is noteworthy :— “पर्वे अवच्छेदः । गुरुपर्वेणां क्रमः गुरुपर्वक्रमः । तद्यथा ‘ब्रह्मा प्रजापतये मीमांसां प्रोवाच । सोऽपीन्द्राय । सोऽप्यादित्याय । स च वसिष्ठाय । सोऽपि पराशराय । पराशरः कृष्णद्वैपायनाय । सोऽपि जैमिनये । स च स्वोपदेशानन्तरमिमं न्यायं ग्रन्थे निबद्धवान्’ इति । सोऽयमेवंविधः संबन्धो निष्फलो निर्हेतुकश्च । नह्यस्मिन् संबन्धे किंचित्प्रमाणमस्ति’ । इति । (Nyāyaratnākara, p. 8). It is necessary, therefore, to find out a reasonable circum- stance which may have preceded the composition of the Kāvya- mīmāṁsā. That circumstance seems to be the composition of other earlier Kāvyas. Here the word अथ seems to indicate that after composing the Kāvyas and Nāṭakas, the author begins composing the Kāvyamīmāṁsā. It is easy now to understand the meaning of the word अतः. This word indicates वृत्तस्य हेतुभाव. Here वृत्त is काव्यनाटककरण. This is the exact event that precedes the composition of the Kāvyamīmāṁsā. To explain the necessities of a poet and the method of composition which are treated of in the Kāvyamīmāṁsā, a writer should first gain experience as a poet and compose several works on different subjects. The words अथ and अतः, therefore, indicate as follows :— अथ=बालरामायणहरविलासादिदृश्यश्रव्यकाव्यकरणानन्तरम् । अतः=काव्यविचारात्मकमीमांसाशास्त्रस्य काव्यकरणानन्तरमेव सुकरत्वाद्धेतोः । The word अतः can, however, be explained from a different stand- point. This word being derived from a सर्वनाम, is used here to mean the desired object (बुद्धिस्थपरामर्शी). In that case अतः means श्रीकण्ठमारभ्य प्रवृत्तस्य काव्यमीमांसाशास्त्रस्योच्छिन्नत्वाद्धेतोः । Therefore, the construc-

116 EXPLANATORY NOTES tion of the further text from यथोपदिदेश to the end of the sentence इत्थङ्कारं च प्रकीर्णत्वात् (P. 1. l. 14.) with this प्रतिज्ञावाक्य appears quite logical and coherent. l. 1. काव्यम्। This word denotes the purpose of this Mīmāṁsā- śāstra. It is necessary that in the beginning of every work or śāstra the result obtained from such work or śāstra should be stated in order that those who read may readily be interested in it. This practice is observed by all Sūtrakāras. Kumārilabhaṭṭa explains this in the following Kārikā :- सर्वस्यैव हि शास्त्रस्य कर्मणो वापि कस्यचित्। यावत्प्रयोजनं नोक्तं तावत्तत् केन गृह्यते ॥ (S'lokavārttika I. 12.) l. 1. मीमांसिष्यामहे। This verb also indicates that Rājaśekhara wrote his work in the sūtra style in the same way as other S'rauta, Gṛhya and Dharmasūtras were written. Basing on one of the two roots माङ् or मान, सन् प्रत्यय takes place according to the rule of Pāṇini 3-1-6. and the meaning of the word मीमांसा is to be taken as पूजितविचार. The result obtained from this Mīmāṁsā is काव्यविद्यासिद्धि, just as धर्मज्ञान and ब्रह्मज्ञान are obtained from the पूर्वोत्तरमीमांसा। l. 1. श्रीकण्ठः etc. Here Rājaśekhara intends to record the गुरुपरम्परा of this Mīmāṁsāśāstra in order to impress that he is not the sole originator of this S'āstra, as also to show the reason why he had to compose this work while the Science had already been well-established by his predecessors. S'rīkaṇṭha and Brahman are considered by the author as the originators of this Mīmāṁsāśāstra in the same way as Pāṇini and Kaṇāda are said to have obtained the knowledge of their śāstras from Mahādeva, or as Dharma- mīmāṁsā and Bharata's Nāṭyaśāstra are said to have originated from Brahman. l. 1. परमेष्ठि. S'rīkaṇṭha delivered lectures on Kāvyamīmāṁsā or criticisms on Kāvyas to his 64 students headed by Brahman and he, the self-born, also taught the same to his disciples who were born from his mind. These disciples are the sages Bhṛgu and others according to the Vāyupurāṇa (Adh. 65.) and the same statement is made by Rājaśekhara following the same Purāṇa on p. 28. l. 14 of the Kāvyamīmāṁsā.

• [ l. 2. चतुःषष्टये शिष्येभ्यः। Cf. ब्रह्मविष्णुरुद्रगुहबृहस्पतिभार्गवादिशिष्येषु चतुः- षष्टाबुद्धिदं वचः पारमेश्वरम्। (Kāvyamīmāṁsā p. 29 ) ]

FIRST ADHYĀYA 117 l. 2. चतुःषष्टये। Here the number 64 is exceedingly interesting. The Pāñcālas used the number 64 in their classifications. Ṛgveda has been divided into 64 Adhyāyas comprising 8 Aṣṭakas of 8 Adhyāyas each. Vātsyāyana in his Kāmasūtra mentions 64 Upavidyās of his own and 64 Kalās of the Pāñcālas and divides the whole s'āstra into 64 Prakaraṇas (V. S. 1. 3. 14-17 and 2. 2. 3-4) Bharata in his Nāṭyaśāstra enumerates 64 Nāṭyāṅgās and S'āradā- tanaya divides countries in the Bhāratavarṣa into 64 in his Bhāvaprakāśana. It seems to be a remnant of an old custom to divide a subject into eight just as Pāṇini did in his Aṣṭādhyāyī. In giving the number 64 to the disciples of S'rīkaṇṭha, it appears that Rājaśekhara also followed the same tradition. His eight kinds of poets and 32 kinds of Kāvyārthaharaṇas or plagiarisms (p. 65) also show his leaning towards the same tradition. l. 3. सारस्वतेयः etc. The story of Sārasvateya—Kāvyapuruṣa, as one of the originators of the Kāvyamīmāṁsā, seems to have been borrowed by Rājaśekhara from the Harṣacarita of Bāṇa. Bāṇa, in his auto-biography found a Sārasvateya the son of Sarasvatī and Dadhīca Bhārgava, through whom Vatsa, the first male representative of his family, got the knowledge of all sciences and the Vedas. The origin of this story of Sārasvateya is traceable in many Purāṇas. But they differ from one another in many respects. Bāṇa and Rājaśekhara seem to have mainly followed the Vāyu- purāṇa for this idea of Sārasvateya as the version preserved in this Purāṇa agrees mainly with that given in their works. The special leaning of Rājaśekhara towards the Vāyupurāṇa is also demonstrated by his references to that Purāṇa later on on page 28 l. 12. According to the Vāyupurāṇa Bhṛgu or Kavi, the first son of Brahman, had Cyavana as his son through Paulomī, and this Cyavana also had two sons Dadhīca and Ātmavāna through Sukanyā. Dadhīca married Sarasvatī and got a Sārasvateya as his son who was learned in all S'āstras through the blessings of his mother, but was childless. Ātmavāna, the brother of Dadhīca, on the other hand, got the sons Aurva and others and through them the family of Bhṛgu expanded. In this family was born Vatsa the Mūlapuruṣa of the Vātsyāyana Gotra to which Bāṇa also belonged (vide, Vāyu. Adh. 65). Bāṇa followed the same succession list as found in the Vāyupurāṇa in the 1st chap-

118 EXPLANATORY NOTES ter of the Harṣacarita and adduced some reasons to explain why Sarasvatī had to marry Dadhīca and how Vatsa, Bāṇa's Gotraguru, was connected with Sārasvateya. The Vāyupurāṇa and the Harṣacarita seem to have offered materials to Rājaśekhara who while describing the story of Kāvyapuruṣa, the son of Sarasvatī, makes him one of the earliest exponents of the Kāvyamīmāṁsā. For a complete description and origin of Sārasvateya a reference may be made to the 3rd chapter of the present work. l. 3. वृन्दीयसाम्:—more important gods. The word वृन्दारक means divine beings or Devas and it transforms itself into वृन्दीयस् in comparative (vide Pāṇini 6-4-157). l. 4. काव्यपुरुषः—Bhṛgu and S'ukra are known as Kavi. Sārasvateya the descendent of their family is, therefore, called Kāvyapuruṣa (vide Pāṇini 4. 1. 151). l. 4. दिव्येन चक्षुषा:—through divine power. This accounts for his knowledge of सर्वसमय and भविष्यदर्थ. l. 6. काव्यविद्या:—science of poetical composition. l. 6. अष्टादशाधिकरणी:—the collection of 18 Adhikaraṇas or topics. The word Adhikaraṇa is interpreted in several ways, but the following three may be said to be appropriate for the present application of the word. (1) Each discussion regarding Dharma and Brahma introduced by Jaimini and Bādarāyaṇa in their Mīmāṁsāśāstras, is called an Adhikaraṇa. This technical dis- cussion is defined as:— विषयो विशयश्चैव पूर्वपक्षस्तथोत्तरः । प्रयोजनं च (संगतिश्चेति) पञ्चाङ्गं प्राञ्चोऽधिकरणं विदुः ॥ According to this definition an Adhikaraṇa must consist of five limbs, namely, विषय etc., which constitute the actual discussion. Though Rājaśekhara is not entirely in accord with this definition in his Adhikaraṇa of Kavirahasya, his discussions have five limbs such as विषय etc., particularly in respect of the nature of poets, origin of poetry, etc. (2) Secondly, the word Adhikaraṇa means the court of justice. Here Rājaśekhara records his own judgment on several topics pertaining to Kavirahasya after stating the different schools of thought started by the Ācāryas, Surānanda, S'yāmadeva and others which he ultimately rejects. The division into Adhikaraṇas found in the Arthaśāstra and the Kāmaśāstra

FIRST ADHYĀYA 119 is also planned according to this method where in the same manner, the respective authors, while discussing the different topics, state the views of earlier authors and ultimately reject them. (3) Thirdly, the word Adhikaraṇa is used in a popular sense signifying a full discussion of a particular topic (अधिक्रियन्ते प्रस्तूयन्ते अर्थाः अस्मिन्निति अधिकरणम्). This explanation, of course, covers the Adhikaraṇa division of the Artha and Kāma śāstras which are divided respectively into 15 and 7 Adhikaraṇas, each having several Adhyāyas. In the case the word is synonymous with the word अध्याय or अधिकार, and does not include the technical Adhikaraṇa of five factors: विषय, संशय etc. l. 7. स्नातकेभ्यः. Snātakas are those who after studying the Vedas, take the final bath or स्नान, live the life of a householder and observe some rules for cleanliness as prescribed in the Dharma- śāstras. (For the rules of a Snātaka, see for instance, Gautama's Dharmasūtra, chapter 9). They belong to the order of a house- holder and not of a Brahmacārin. Here Rājaśekhara points to the divine Snātakas who after finishing the study of Kāvyavidyā take a bath to follow the rules of a Snātaka. In this connection it is to be remembered that Dharmamīmāṁsā is to be studied after studying the Vedavidyā and before one becomes a Snātaka. (See Jaimini's sūtra अथातो धर्मजिज्ञासा। 1-1-1). In order that greater respect may be shown to his Mīmāṁsā, Rājaśekhara mentions that the Kāvyamīmāṁsa was taught to Kāvyavidyā-Snātakas. The reason for this digression seems to be to indicate that discussion on poetics is appreciated only by those who lead the life of a householder. The words अष्टादशाधिकरणीं and स्नातकेभ्यः show that Kāvyapuruṣa taught all the 18 Adhikaraṇas to a corsiderable number of divine Snātakas.

• [l. 8. 'सुवर्णनाभः। This name occurs also in the Kāmasūtra; “सुवर्णनाभः सांप्रयोगिकम् ।” (काम. सू. 1. 1-13).] l. 8. समाम्नासीत्. Out of those divine Snātakas who studied the Kāvyamīmāṁsā of 18 sections from Kāvyapuruṣa, Sahasrākṣa composed a treatise on the Kavirahasya only. The root म्ना preceded by सम् and आ indicates that the Snātakas separately composed different treatises dealing with each section of the Kāvya- mīmāṁsā; but it is not reasonable to infer from this use of the verb that Sahasrākṣa studied the Kavirahasya-section only under the guidance of Kāvyapuruṣa. This is supported by the passage at the end of this sentence, namely: इति ततस्ते पृथक् पृथक् स्वशास्त्राणि विरचयाञ्चक्रुः। l. 13.

120 EXPLANATORY NOTES Subjects dealt with in these 18 sections are more or less well known in the history of poetics. But the authors such as Sahasrākṣa and others are entirely new in the field of Alaṅkāra literature. Though some early writers on poetics, rhetoric and dramaturgy such as S'ilāli, Kṛśāśva, Kāśyapa, Vararuci and Medhāvin are known through the writings of Pāṇini, Bhāmaha and Daṇḍin, none of them, however, is mentioned here as the author of any subject. Rājaśekhara, indeed, mentions a few names such as Bharata, Kucamāra, Suvarṇanābha and Nan- dikeśvara who are fairly known, but the names of Sahasrākṣa and others mentioned by him are entirely unknown. It is not proper to say that these names are entirely imaginary, but it is very probable that he recorded here a forgotten tradition handed down from a source which remains yet unknown. But then, it has to be explained how Bhāmaha, Daṇḍin, Vāmana, Udbhaṭa, Ānandavar- dhana and Rudraṭa who were earlier than Rājaśekhara and dealt with the same subjects with a special interest, did not care to mention any of the earliest writers on these subjects. In this connection, another point also is worthy of note that Rājaśekhara has made a good use of the figure of speech known as Anuprāsa in selecting the names of the authors of these chapters, and as such the names may as well represent purely imaginary persons. This is borne out by such combinations as :—कविरहस्यं सहस्राक्षः, औक्तिकमुक्तिगर्भः, निर्णयं सुवर्णनाभः, चित्रं चित्राङ्गदः, श्लेषं शेषः, औपम्यमौपकायनः, etc. Of course, we find mention in the Artha and the Kāma sāstras of Kauṭilya and Vātsyāyana, of similar names of authors such as Bhāradvāja, Bṛhaspati, Viśālākṣa, Parāśara and others whose works are either summarised or referred to in them. But we cannot doubt the authenticity of the statements of Kauṭilya and Vātsyā- yana because there are no works on Artha and Kāma earlier than Kauṭilya and Vātsyāyana available to-day, as it is in the case of the Kāvyamīmāṁsā. On the contrary, the existence of the works of such authors as Bṛhaspati and Viśālākṣa can be proved from quotations found in later works under their names (see Intro. of the Arthaśāstra, Trivandrum edi. p. 6.). l. 8. औक्तिकम्:—'different methods of expression from the sentences'. They are वाच्य, लक्ष्य, गौण and व्यङ्ग्य of अर्थ, and वाचक, लक्षक, गौण and व्यञ्जक of the शब्द. It is natural for Rājaśekhara to explain

FIRST ADHYĀYA 121 the nature of Dhvani in this chapter of औक्तिक which, as he says, was composed by उक्तिगर्भ; but he does not expressly mention the school of Dhvani as the subject of any one of his Adhikaraņas, probably because it had recent origin in his time and also because he belonged to the Rasa school of Bharata. He knew, however, the view of Ānandavardhana, the chief exponent of the Dhvani school, as he quoted a verse from his Dhvanyāloka (See p. 16. of this work). Vakrokti which is included by Rudrața as a Śabdālaṅkāra must have also been treated in this chapter of औक्तिक along with different kinds of उक्तिs as explained by Bhojadeva in his Sarasvatīkaṇṭhā- bharaṇa. (2. 39). l. 8. रीतिनिर्णयम्। Discussions regarding the nature of the Rītis are current from the very early stages of the science of poetics as both Bhāmaha and Daṇḍin, the earliest writers on this subject, mention them as already existing since a very long time (see Bhāmaha's, K. A. 31-33 and Daṇḍin's K. A. 1-40). Vāmana, the author of the Kāvyālaṅkārasūtra, improved upon them and stated that Rīti alone is the soul of the Kāvya. (रीतिरात्मा काव्यस्य। 1. 2. 6.). l. 9. प्रचेतायनः। The earliest authors on poetics accept अनुप्रास as one of the Alaṅkāras or figure of speech. Bhāmaha treats this at the very outset while dealing with Alaṅkāras and divides it into two kinds as Grāmya and Lāṭīya. Daṇḍin characterizes Anuprāsa as an inferior method of writing which he attributes to the writers in the Gauḍa country (see K. A. 1. 44-60). But the followers of Bhāmaha have been able to discover several varieties of it in their works. The original writer on अनुप्रास, as Rājaśekhara mentions, is प्रचेतायन, very probably a member in the family of Pracetas, one of the ten Prajāpatis. But the word प्रचेतायन does not seem to be grammatically correct according to the rules of Pāṇini. Vālmīki, the author of the Rāmāyaṇa, also is a Prācetasa. Rājaśekhara perhaps means that Vālmīki was the original writer on Anuprāsa as we frequently come across examples of this figure of speech in his Rāmāyaṇa. It is curious, however, that Pracetas does not find any place among the gotras and pravaras of the Brāhmins. l. 9. यमकानि। The name of the original inventor of यमक is omitted in all MSS. of the Kāvyamīmāṁsā. Citrāṅgada cannot be taken as the teacher of both the Yamaka and Citra. Firstly because, the name is not in keeping with the Anuprāsa which १६

122 EXPLANATORY NOTES is strictly observed here in mentioning the subject and the author. Under this Anuprāsa principle, Citrāṅgada can be the originator of the Citra alone. Secondly because, Rājaśekhara subsequently states that 18 chapters were separately composed by eighteen authors : इति ततस्ते पृथक्पृथक् स्वशास्त्राणि विरचयाञ्चक्रुः । (p. 1. l. 13.) Some scholars, however, suggest here a reading different from the present one as आनुप्रासिकं प्रचेताः । यमो यमकानि । But this reading is not warranted by the MS material available at present. The form प्रचेतायन also does not seem to be grammatically correct as the grammatical form in this case ought to be प्राचेतायन or प्रचेतयनिः. Yamakas are very freely used in the Sanskrit literature even from the time of the Rāmāyaṇa and the Mahābhārata. Kālidāsa also in the 9th sarga of the Raghuvaṁśa uses Yamaka frequently but with care so as not to give rise to a feeling of disgust in the mind of his readers. It is one of the four Alaṅkāras mentioned with several varieties by Bharata, the earliest writer on the science of poetics (see N. S. ed. 16th Chapter). Amongst later writers, Bhāmaha was not satisfied with the classification of Bharata, and he acknowledged only five varieties instead. Though Daṇḍin has no special fondness for Yamakas in the Kāvya, he, nevertheless, deals with the subject with its various sub-divisions in a separate chapter (see K. A. 1. 61). It is, therefore, clear that Yamakas had quite an early origin. Yama, who is considered to be the original teacher of the Yamaka in the emended reading given above is quite in keeping with the scheme of Anuprāsa followed by Rājaśekhara in mentioning the subjects and their teachers. l. 9. चित्रं चित्राङ्गदः । Later writers on literary criticism use the word चित्र to mean an inferior kind of poetry possessing Guṇa and Alaṅkāra only, without any vestige of Dhvani. (see Dhvanyāloka 3. 42 and Kāvyaprakāśa, 1. 5.). Rājaśekhara, here does not refer to the चित्रकाव्य but to चित्र which is recognized as one of the Śabdālaṅkāras by the early writers on Alaṅkāra. Here by the word चित्र, is meant such peculiar combination of words in poetry as to make up Bandhas such as चक्र, खङ्ग, मुरज, etc. and other arrangements of words such as मात्राच्युतक, प्रहेलिका etc. Rudraṭa is the first writer to include this kind of combination of words in his list of Śabdālaṅkāras (2-13.) with the name चित्र, and to deal with its various forms in the 5th chapter of

his Kāvyālaṅkāra although Bhāmaha and Daṇḍin mention this kind only as another variety of Yamaka. It is curious that the subjects of several Adhikaraṇas in the Kāvyamīmāṁsā, should be so arranged by Rājaśekhara as to appear as an imitation of the system adopted by Rudraṭa. Rudraṭa gives in his Kāvyā- laṅkāra the list of the S'abdālaṅkāras in the following verse:— वक्रोक्तिरनुप्रासो यमकं श्लेषस्तथाऽपरं चित्रम् । शब्दस्यालंकाराः श्लेषोऽर्थस्यापि सोऽन्योऽस्तु ॥ (2. 13). and treats of these Alaṅkāras in chapters 2-5 following the same order. In the first and second chapters, Rudraṭa deals with Kavirahasya and Rītinirṇaya. Now, it will be evident that the order of subjects adopted by Rājaśekhara in the first 7 Adhikaraṇas is substantially the same as found in the work of Rudraṭa. That Rājaśekhara also followed Rudraṭa in many im- portant points will be shown in sequel. l. 9. शब्दश्लेषम् । Following Rudraṭa's classification here शब्दश्लेष is included among the शब्दालंकारs and अर्थश्लेष among the अर्थालंकारs. Earlier writers such as Bhāmaha, Udbhaṭa and Vāmana make no such distinction between these two varieties of the S'leṣa but include them both amongst the अर्थालंकारs. Rudraṭa for the first time treats of these two separately in two different chap- ters. Regarding the attribution of the original authorship of the S'leṣa to S'eṣa no authority exists, and the word S'eṣa is probably used since it is in accordance with the author's scheme of Anuprāsa already referred to. ll. 9–10. वास्तव, औपम्य, अतिशय and अर्थश्लेष । Here Rājaśekhara begins his list of Arthālaṅkāras. This classification of the Arthā- laṅkāras into the groups Vāstava etc. is found only in the Kāvyā- laṅkāra of Rudraṭa; but the early writers on Alaṅkāra preceding Rudraṭa do not seem to be aware of this system of grouping. Rudraṭa classifies them in the following verse :— अर्थस्यालंकारा वास्तवमौपम्यमतिशयः श्लेषः । एषामेव विशेषाः अन्ये तु भवन्ति निःशेषाः ॥ (K. A. 7. 9). and deals with them in four chapters 7-10. Under the heads वास्तव, etc. Rudraṭa includes respectively 23, 21, 12 and 10 figures of speech as based upon the four definite principles, वास्तव, etc. This shows that Rājaśekhara generally followed Rudraṭa in his

124 EXPLANATORY NOTES classification of subjects. But the attribution of these four groups of Alaṅkāras to four authors पुलस्त्य, औपकायन, पराशर and उतथ्य must be an original contribution of Rājaśekhara. It is also possible that Rājaśekhara and Rudraṭa followed a common source for their materials which unfortunately does not exist now. In any case it can safely be asserted that Rājaśekhara in the first 11 sections of the Kāvyamīmāṁsā closely follows the arrangement of topics as found in the first 10 chapters of Rudraṭa's Kāvya- laṅkāra. That Rājaśekhara was well acquainted with Rudraṭa's work, is borne out by the fact that he quoted from Rudraṭa's work in several places in his Kāvyamīmāṁsā. (Cf. p. 16. l. 5 and p. 31. l. 9 of K. M. with Rudraṭa 1. 18 and 2. 16). l. 11. उभयालंकारिकम्। Two kinds of उभयालंकार seem to have been treated in this chapter. The two Alaṅkāras संकर and संसृष्टि with their varieties may be called उभयालंकारs, because they are known when there is a combination of two or more Alaṅkāras belonging either to Śabda or Artha. Rudraṭa deals with these अलंकारs in the 10th chapter of his Kāvyālaṅkāra after अर्थश्लेष. Rājaśekhara also takes up this subject in the same order after अर्थश्लेष. Another kind of उभयालंकार which may form the subject matter of this chapter includes those Alaṅkāras which beautify the poetry belonging to both Śabda and Artha. Alaṅkāras such as Upamā, Punaru- ktavadābhāsa, Samuccaya, Sahokti, Śleṣa, Vyatireka, Rūpaka, Virodha, etc. come under this category. Cf. Rudraṭa's, K. A. 4. 32-34 and Udbhaṭa's, K. A. S. S. (gos. ed.) pp. 37-40. There is another kind consisting of 24 उभयालंकारs which is dealt with by Bhojadeva in the 4th chapter of his Sarasvatī- kaṇṭhābharaṇa. These Alaṅkāras do not, however, form the subject matter of this chapter because Bhoja's उभयालंकार includes only Upamā, Rūpaka etc. which are already included in the Aupamya group under the authorship of औपकायन in the previous chapter of this work. l. 11. वैनोदिकम्। Kāmadeva is mentioned as the author of this chapter which deals with the Vinodas. Vātsyāyana in his Kāmasūtra (1-4) gives a list of Vinodas for an accomplished citizen or Nāgaraka who is required to indulge in these Vinodas in the company of their ladies or dancing girls. The treatises Kandar- pacūḍāmaṇi, etc. dealing with the subject Kāma also explain the nature of these Vinodas for romantic couples. They are:—

FIRST ADHYĀYA 125

आपानकविधिः, उद्यानजलक्रीडा, कुक्कुटलावमेषयुद्धम्, द्यूतम्, यक्षरात्रिः, कौमुदीजागरः, सुवसन्तकः etc. Bhojadeva in his Sarasvatīkaṇṭhābharaṇa gives a similar list of Vinodas of lovers to be described by poets while dealing with love affairs in their poetry. Cf. अष्टमीचन्द्रकः कुन्दचतुर्थी सुवसन्तकः । आन्दोलनचतुर्थ्येकशाल्मली मदनोत्सवः ॥ etc. Sarasvatīkaṇṭhābharaṇa 5, 93-96. These Vinodas are classified according to the different seasons or Ṛtus by Śāradātanaya in his Bhāvaprakāśana as under:— अष्टमीचन्द्रशक्राचवसन्तमदनोत्सवाः । बकुलाशाकविहतिः शाल्मलीमूलखेलनम् ॥ एते वासन्तिकाः प्रायो विनोदा रसिकोचिताः । उद्यानयात्रा सलिलक्रीडा पुष्पापचायिका । नवाग्रखादिका चूतमाधवीनवसंगमः । एते प्रायो विनोदाः स्युः निदाघे सुखभोगिनाम् ॥ etc. pp. 137-138. In the Ratnāvalī, Śākuntala, etc. we find that Vinodas such as the Kaumudīmahotsava, Manmathapūjā Vasantotsava, etc. are introduced and prescribed for lovers. This chapter on Vinodas is attributed by Rājaśekhara to Kāmadeva because these are concerned with pure love. l. 11. रूपकनिरूपणीयम्। The chapter where the different varieties of Dramas or Rūpakas are explained, is attributed to Bharata the author of the Nāṭyaśāstra. Here the word Rūpaka stands for Nāṭya according to the definition of Śāradātanaya which is as follows:— रामादितादात्म्यापत्तिर्नटे या नाट्यमुच्यते । रूपकं तद्भवेद्रूपं दृश्यत्वात्प्रेक्षकैरिदम् ॥ रूपकत्वं तदारोपात्कमलारोपवन्मुखे । Bhāvaprakāśana p. 180 The fanciful identity of Naṭas on the stage with Rāma etc. is known as Rūpaka because it is so witnessed by the audience. This Nāṭya or Rūpaka is based on eleven fundamental principles as stated by Bharata in the 6th chapter of his work. The relevant quotation is given below:— रसा भावा ह्यभिनया धर्मा वृत्तित्रवृत्तयः । सिद्धिः स्वरास्तथाऽऽतोद्यं गानं रङ्गश्च सङ्ग्रहः ॥