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

SECOND ADHYĀYA 131 ll. 18-22. अपौरुषेयम्। A Śāstra is considered Apauruṣeya when it cannot be attributed to any author by tradition, and Pauruṣeya when it can be traditionally attributed to a particular author. This kind of Apauruṣeyabhāva has been predicated with reference to the Vedas by the authors of the Pūrvamīmāṁsā but the Naiyāyikas do not consider the Vedas to be Apauruṣeya. The authorship of the Vedas is attributed by them to Īśvara who represents a Puruṣa. सा च etc. Though there are several definitions of the Vedas, the one given here as मन्त्रब्राह्मणे—seems to be the earliest. Āpa- stamba, one of the early Sūtrakāras of the Yajurveda gave the same definition in a somewhat different wording, as 'मन्त्रब्राह्मणयो- र्वेदनामधेयम्। (Āpas. śrau. sūtra. 24. 1–31). विवृत etc. This is a definition of Mantra. The chief function of the Mantra is to remind the performers of the different ceremonies to be performed. विवृतं ज्ञापितं क्रियातन्त्रं क्रियाप्रयोगः यैस्ते । There are three kinds of Mantras used in Vedic rites, namely, स्मारक, क्रियमाणानुवादि and अनुमन्त्रणमन्त्राः, and these Mantras remind the priests of the rites to be performed, already performed and of those things that are connected with ceremonies they are performing. Mīmāṁsakas, therefore, define Mantras as प्रयोगसमवेतार्थस्मारका मन्त्राः । Jaimini, however, in one of his Sūtras defines the Mantra as तच्चोदकेषु मन्त्राख्या (II–1–32), meaning that those portions of the Vedas only are called Mantras which are traditionally known by that name. Āpastamba's definition of Mantra is ब्राह्मणादन्ये मन्त्राः । Ibid 24–1–84). मन्त्राणां etc. The Brāhmaṇa portion of the Vedas chiefly shows the connection of the Mantras with different rites according to the injunction of the Vedas, and each such injunction is always accompanied by some explanation either for praising or denouncing the particular ceremony. These explanations are called Arthavādas. Āpastamba defines the Brāhmaṇa portion of the Vedas as कर्मचोदना ब्राह्मणानि. Ibid 24–1–32. स्तुतिनिन्दाव्याख्यान is the function of the Arthavādas. For the definition and classification of the Arthavāda cf. ब्राह्मणशेषोऽर्थवादः । निन्दा प्रशंसा परकृतिः पुराकल्पश्च । Ibid 24–1–33. त्रयी। This order of the three Vedas is found generally, in early Vedic works. Cf. Āpastambaśrautasūtra 24-1-4. But

132 EXPLANATORY NOTES the order differs in the Arthaśāstra of Kauṭilya where the Sāmaveda is mentioned first as: सामर्ग्यजुर्वेदास्त्रय्यी. (1-3-1). अथर्वणवेद is mentioned along with the इतिहासवेद by Kauṭilya while the present author takes इतिहास amongst the उपवेदs and अथर्वण as the fourth Veda. अर्थव्यवस्थित etc. The versified portions of the Vedas are called Ṛks where each Pāda or one-fourth part is required to convey a definite sense. In this respect Rājaśekhara follows the definition of Jaimini. cf. तेषामृग्यत्रार्थवशेन पादव्यवस्था। II-1-35. ताः सगीतयः। Sāma is represented by Rājaśekhara to be the same as the Ṛks sung in different tones. But Jaimini defines Sāma in his Sūtra 'गीतिषु सामाख्या' (II-1-36) as nothing but the Gīti or song. According to him not Ṛks but Gītis only can be called Sāmas. Yajus is defined by both Rājaśekhara and Jaimini in the same manner. According to them Yajus is a portion of the Vedas having no metre or Gīti. Jaimini defines Yajus as: शेषे यजुः शब्दः ( II-1-37 ). l. 23. त इमे etc. The words, ऋचः यजूंषि etc. refer to the Mantras and not the Brāhmaṇa portion of each Veda according to the definitions cited above. Here, however, the same words are used with reference to the whole Veda including both the Mantra and Brāhmaṇa portions, on the strength of लक्षणावृत्ति ।

• [ l. 24. सार्ववर्णिकः cf. "तस्मात्सृजापरं वेदं पञ्चमं सार्ववर्णिकम्"। नाट्यशास्त्र ( 1-12 ). ] l. 24. उपवेदाः। गान्धर्व means here the science of music. These four Upavedas are attached to the four different Vedas as they represent the additional requirements of the four Vedas. l. 25. द्रौहिणिः। Music is included by Rājaśekhara amongst the Upavedas. He states, however, on the authority of Drauhiṇi that the science of music which is both a Upaveda and a part of the Sāmaveda, and which is accessible to all castes alike should be called the fifth Veda. Nothing whatever is known of this Drauhiṇi. He is named after Druhiṇa or Brahman which shows that he is the son of Brahman. His views are quoted by Rājaśe- khara once again on page 42 with reference to the division of the

SECOND ADHYĀYA 133 themes of poetry or काव्यार्थ. It can only be said here that he must have been the author of some treatises on Music and Dramaturgy, as a quotation under his name is also found in the Bhāvaprakāśana p. 239. 1 which relates to the subject of Dramaturgy. Page. 3. * [l. 1. अङ्गानि=अङ्ग्यन्ते ज्ञायन्तेऽमीभिरित्यङ्गानि उपकारकाणि. Rhetorics also helps in correctly interpreting the Vedic texts; so it is called the seventh Aṅga. ] l. 1. सप्तममङ्गम् । cf. यत् क्षेमं त्रिदिवाय वर्त्म निगमस्याङ्गं च यत्सप्तमं स्वादिष्ठं च यदैक्षवादपि रसाच्चक्षुश्च यद्वाङ्मयम् । तद्यस्मिन् मधुरं प्रसादि रसवत कान्तं च काव्यामृतं सोयं सुभ्रु पुरो विदर्भविषयः सारस्वतीजन्मभूः ॥ Bālarāmāyaṇa, 10. 74. Here the whole theme of poetry and not Alaṅkāra alone is stated by Rājaśekhara as the 7th Aṅga for the Vedas. * [l. 3. द्वा सुपर्णा ( श्वेताश्वतर 4-6 ). ] l. 3. द्वा सुपर्णा. etc. ( मुण्डक. 3. 1. 1. ). Śaṅkarācārya's commen- tary on this Mantra runs as follows :—द्वा=द्वौ । विज्ञानपरमात्मानौ सुपर्णा=सुपर्णौ शोभनपतनौ शोभनगमनौ सुपर्णा पक्षिसामान्याद्वा सुपर्णौ । सयुजा=सयुजौ सर्वदा संयुक्तौ । सखाया= सखायौ समानाख्यानौ समानाभिव्यक्तिकारणौ । एवं भूतौ सन्तौ समानं वृक्षं=वृक्षमिवोच्छेदसामा- न्याद्वृक्षं शरीरं परिषस्वजाते परिष्वक्तवन्तौ । तयोरन्यः=अविद्याकामवासनाश्रयलिङ्गोपाधिः विज्ञानात्मा पिप्पलं=कर्मफलं । स्वादु=अनेकचित्रवेदनास्वरूपम् । अत्युपभुङ्क्तेऽविवेकतः । अनश्नन्नन्योऽभिचाकशीति । नित्यशुद्धबुद्धमुक्तस्वभावः परमेश्वरः सर्वमपि पश्यन्नास्ते इति । ( श्वेताश्वतर. 4-6 ). Here two figures of speech are combined and these are the Rūpaka and the Vyatireka. The human body is the repository of two souls, Jīva and Īśvara; they exist in the body simultaneously. This idea has been metaphorically expressed in this Mantra by means of such things as trees, birds etc. In the second half Vyatireka may be explained in the following manner : though the two Ātmans are quite similar, one sustains itself by means of sweet fruits of the tree and the other shines even without taking anything. By this the superiority of Īśvara is clearly brought out. In this way the knowledge of Alaṅkāra helps in correctly interpreting the Vedic texts.

134 EXPLANATORY NOTES

• [ l. 9. शब्दानामन्वाख्यानम् । cf. प्रकृतिप्रत्ययोपाधिनिपातादिविभागशः । पदान्वाख्यानकरणं शास्त्रं व्याकरणं विदुः ॥ ( अभिधानचिन्तामणिटीका ). ] l. 11. पुरस्तात् । In the first chapter, Rājaśekhara has already intimated that the Alaṅkāras will be treated of in nine Adhika- raṇas (4-12) of the Kāvyamīmāṁsā. This word पुरस्तात् now indicates that Rājaśekhara had already planned the further Adhī- karaṇas of this work. l. 15. This śloka is more commonly read as:— सर्गश्च प्रतिसर्गश्च वंशो मन्वन्तराणि च । वंशानुचरितं चैव पुराणं पञ्चलक्षणम् ॥ l. 17. Rājaśekhara's view regarding Itihāsa has already been mentioned; he includes it among the Upavedas. ( p. 2. l. 23. ). Itihāsa is of two kinds: परक्रिया and पुराकल्प । All MSS. read here as परिक्रिया but the correct reading seems to be परक्रिया. The Arthavādas of four classes: निन्दा, प्रशंसा, परकृति and पुराकल्प, are known as parts of the Vedic injunctions, विधि or निषेध । The last two divisions of the Arthavāda are considered as Itihāsa. For the four divisions including परकृति and पुराकल्प, see the Āpastambaśrauta- sūtra, 24-1-33, Gautama's Nyāyasūtra 2-1-64, Śābarabhāṣya on II-1-33, Vāyupurāṇa 59, 136-137, and Jaimini 6-7-26. l. 20. These two classes of Itihāsa can be distinguished by their names alone as they forcibly bring out the characteristics of each. Rājaśekhara seems to have defined the two classes in accor- dance with the Vedic illustrations of the two kinds of Arthavāda. These are:—इति ह स्माह बद्रुकुवार्णिर्माषान्मे पचत न वा एतेषां हविर्गृह्णन्ति for परकृति, and उल्मुकैर्ह स्म पूर्वे समाजग्मुस्तानह असुरा रक्षांसि निर्जघ्नुः for पुराकल्प । l. 22. सहस्रेण । This word should not be taken as literally true because the Brahmamīmāṁsā does not consist of a thousand Nyāyas; the word may, however, refer to the Dharmamīmāṁsā where a thousand Nyāyas are treated of. l. 24. The fourteen Vidyāsthānas are enumerated by Yājña- valkya in his Smṛti ( 1-3 ) in the following verse : पुराणन्यायमीमांसाधर्मशास्त्राङ्गमिश्रिताः । वेदाः स्थानानि विद्यानां धर्मस्य च चतुर्दश ॥

SECOND ADHYĀYA 135 l. 26. भूर्भुवः स्वः । विद्या or knowledge acquired through these fourteen sources pertain to all things existing in the three worlds, earth, sky and heaven. l. 27. In this verse Rājaśekhara expresses his inability to supply a complete list of works and subjects included in each Vidyāsthāna as it will be too long and will occupy much space. Page. 4.

• [ ll. 6-13. Cf. अर्थशास्त्र 1-2. and for ll. 22-24 Cf. Ibid 1-4. ] l. 3. After stating the traditional division of the S'āstras, the author expresses here the opinion that Kāvya which is the second main division of literature should be classed as another Vidyāsthāna as it follows the other Vidyāsthānas in many respects and that its position should be the 15th in the list of the Vidyāsthānas. l. 4. गद्यपद्यमयत्वात् etc. These are the three reasons to show how poetry follows in the foot-steps of the S'āstras. The reading तद्धि शास्त्राणि etc. in C Ms. is preferred to that of A and B, as the same idea finds an expression earlier on page 2. l. 17. l. 6. All the eighteen sources of Vidyā or knowledge are said to be absolutely necessary for every person in his daily observance of Dharma, Artha, Kāma and Mokṣa which together constitute the Lokayātrā or worldy existence. ll. 14-15. Here the method of treatment of Vidyās is generally in keeping with the Arthaśāstra of Kauṭilya. According to the definition of Vidyā : आभिर्धर्मार्थौ यद्विद्यात्तद्विद्यानां विद्यात्वम्, it is clear that only those sciences are considered here as Vidyās through which Dharma and Artha can be gained. On the strength of this definition of Vidyā, Sāhitya also is included as the fifth Vidyā. ll. 16-21. Kauṭilya defines आन्वीक्षिकी thus: बलाबले चैतासां (त्रयीवार्तादण्डनीतीनां) हेतुभिरन्वीक्षमाणा आन्वीक्षिकी, and includes the three philosophical systems सांख्य, योग and लोकायत under the main head of आन्वीक्षिकी. But Vātsyāyana, in his commentary on the Nyāyasūtra of Gautama defines it as प्रत्यक्षागमाभ्यामीक्षितस्यान्वीक्षण- मन्वीक्षा । तया प्रवर्तत इत्यान्वीक्षिकी न्यायविद्या न्यायशास्त्रम् । (1-1-1). Thus the four systems of philosophy are considered as आन्वीक्षिकी. Rājaśekhara augments the number of the आन्वीक्षिकीs by adding

136 EXPLANATORY NOTES two more systems of philosophy and by distributing them into two groups पूर्वपक्ष and उत्तरपक्ष. The philosophy of the Jains, Buddhists and Cārvākas is included in the former while that of the Sāṅkhya, Nyāya and Vaiśeṣika is taken up in the latter. These six schools are called by the single name of Tarka. Gautama defines Tarka in his Nyāyasūtra as अविज्ञाततत्त्वेऽर्थे कारणोपपत्तितः तत्त्वज्ञानार्थमूहस्तर्कः । (1-1-40.). As these six schools of philosophy try to discover the real nature of the universe, soul, body and other connected objects, they are collectively known as Tarka. This Tarka is based on three varieties of arguments in order to decide the truth or otherwise of a statement. These arguments are commonly known as Kathā which consists of three members: वाद, जल्प and वितण्डा । (see Vātsyāyanabhāṣya on Gautama (1. 2. 1-3) for the definitions of Vāda, etc.) l. 25. Here the author while generally defining the S'āstras shows also the correct method of their composition. In the course of his definition, he mentions that the S'āstras were originally composed in the form of Sūtras; commentaries and explanations then followed, and the S'āstras expanded just as the rivers expand in the course of their progress. Page. 5. l. 1. सूत्रणात् । The root sūtra means वेष्टन or that which encircles. A Sūtra, indeed, encircles or includes many things within a short space. Similarly, S'āstric Sūtras also are concise technical sentences which express the maximum idea in the minimum of space. l. 2. The well-known and the most popular definition of Sūtra is given in this verse. Cf. Vāyupurāṇa 59, 142. There is another definition which also deserves to be cited in this connection :— लघूनि सूचितार्थानि स्वल्पाक्षरपदानि च । सर्वतः सारभूतानि सूत्राण्याहुर्मनीषिणः ॥ l. 3. अस्तोभम् । The word स्तोभ signifies a letter, or a group of letters which serves no purpose in making out the sense of a sentence and is, therefore, considered redundant. Such words are very common in the Sāmaveda. The letters हुं, फट् etc. are examples of स्तोभ. In Sūtras all redundant letters should be eschewed.

SECOND ADHYĀYA 137 l. 4. Vṛtti is the first concise commentary on the Sūtras. In all Darśanas, or sciences, for instance, the Vṛttis generally precede the more comprehensive Bhāṣyas. l. 5. In the Bhāṣyas, the authors spontaneously raise points of objection in the succeeding portions which seem to militate against the views expressed in the preceding portions of their own text. This is what is known as आक्षिप्य भाषणाद्भाष्यम् । समीक्षा । This word seems to have been used here in the sense of परीक्षा. Generally there are three divisions in the Bhāṣyas i. e. उद्देश, लक्षण and परीक्षा. The Nyāyasūtra and its Bhāṣya deal with the परीक्षा portion in a more comprehensive manner than the other philosophical works. l. 6. A concise commentary on Sūtras or Bhāṣyas is called a टीका. The टुप्टीका of Kumārilabhaṭṭa may be cited as an instance where the commentator only touches the very important points of the Sūtra and the Bhāṣya of the Mīmāṁsāśāstra. Brevity of this टीका will be apparent when it is compared with the other works of his, which are designated by him as the Vārttikas, on the Śābara- bhāṣya. l. 9. After describing the different divisions of the Śāstras, the author here relates the function of a poet who endeavours to compose verses on Śāstric subjects. The Ślokavārttika of Kumā- rila, the Saṅgraha of Vyāḍi and the Vākyapadīya of Bhartṛhari may be taken as illustrative of the qualities of a Śāstrakavi. For further information regarding the Śāstrakavi and his abilities when compared to those of a Kāvyakavi, see p. 17. ll. 5-17 of this work. l. 11. The treatises dealt with above follow the methods of the original Sūtra works and commentaries thereon. But the Prakaraṇa works which appear to be independent treatises introduce only the chief subjects of a Śāstra in order to make the student better fitted for prosecuting higher studies in that Śāstra. l. 13. Sāhitya which is the fifth Vidyā in the Rājaśekhara's scheme of enumeration is defined in this sentence. For the explanation of the phrase यथावत् सहभाव see Bhoja's definition of १८

133 EXPLANATORY NOTES Sāhitya in his S'ṛṅgāraprakāśa ( VII ) where it is explained in the following words:— तत्राभिधाविवक्षातात्पर्यप्रविभागव्यपेक्षासामर्थ्यान्वयैकार्थीभावदोषहानगुणोपादानालङ्कारयोगर- सावियोगरूपाः शब्दार्थयोर्द्वादश संबन्धाः साहित्यमित्युच्यते ॥ Following this statement of Bhoja, S'āradātanaya in his Bhāvaprakāśana ( p. 145. ll. 6–12 ) defines Sāhitya and gives several illustrations. The twelve varieties of relation between the S'abda and its Artha as described in the above quotation from Bhoja are probably indicated by Rājaśekhara in the phrase, यथावत्सहभावेन विद्या. It may also be remembered here that Kālidāsa makes a mention of this Sāhitya of S'abda and Artha in the beginning of his Raghuvamśa. * [ l. 14 For the 64 kalās see कामसूत्र 1-3-16 ] l. 14. 64 Upavidyās are enumerated by Vātsyāyana in his Kāmasūtra 1-3-16. Another set of 64 Aṅgas of the Pāñcālas also is mentioned in the above work to complete the सांप्रयोगिकाधिकरण of the Kāmasūtra. Vātsyāyana himself calls these Upavidyās by the common name of Kalā in his Kāmasūtra ( 2-2-3. ) आजीवः=livelihood. These Kalās are introduced as a matter of necessity in the best Kāvyas, and, therefore, it is necessary that poets should be well conversant with these subjects. l. 15. The last Adhikaraṇa of the Kāvyamīmāṁsā is called औपनिषदिक where directions are given for obtaining poetical excellance through magical practices, such as the practice of Mantras and Tāntric rites. This statement also indicates that Rājaśekhara wanted to complete the present work in eighteen Adhikaraṇas. Adhyāya. III. l. 20 काव्यपुरुषोत्पत्तिः । In this chapter the author traces the origin of metrical composition, gives an account of its sub- sequent developments in a chronological order, and makes an endeavour to connect them with the customs and manners prevalent in the different parts of India. And in doing so, he travels beyond the range of history to mythology and traces the origin of poetry from an imaginery Kāvyapuruṣa who is supposed to be the embodiment of the whole classical literature.

THIRD ADHYĀYA 139 He is the son of Sarasvatī, the goddess of learning, and is brought up in the hermitage of Kavi. The author describes his marriage with Aumeyī the embodiment of Sāhityavidyā or the science of poetry. This Kāvyapuruṣa is described in the first chapter as the earliest teacher of the Kāvyamīmāṁsā and as a divine being from whom poetry took its origin. l. 23. गुरुः । Kāvyapuruṣa was the preceptor of Dhiṣaṇa or Bṛhaspati because he received instructions on the Kāvyamīmāṁsā from Sārasvateya, and composed a chapter on it dealing with the Doṣas (see p. 1. l. 12.) बृहतां पतिः । The word Bṛhaspati is formed according to the rule of Pāṇini ( 6-1-157 ) and thus it denotes a divine being. l. 24. पुत्रीयन्ती=being desirous of a son. तुषारगिरौ=mountain of snow i. e. the Himālayas. Page. 6. l. 1. To complete the quotation ‘पुत्रं ते सृजामि’ the word इति is to be added at the end. But as in many places Rājaśekhara overlooks this dictum, इति has been added in the present edition wherever found necessary. l. 2. छन्दस्वतीं वाचम्=metrical composition. In the mythologi- cal story related by Rājaśekhara, the reason why Sarasvatī was desirous of obtaining a son is not clearly explained. Moreover, Brahmā is here mentioned as the creator of Sārasvateya. But the story of the birth of Sārasvateya as recorded in such earlier works as the Vāyupurāṇa, Mahābhārata and Harṣacarita differs in some important points from the story recorded in the present work by Rājaśekhara. Bāṇa in his Harṣacarita gives adequate reasons why Sarasvatī came down to earth, married Dadhīca, the son of Cyavana, and gave birth to Sārasvateya. These reasons are not found in any of the Purāṇas. In the Vāyu- purāṇa also, only the story of the marriage of Sarasvatī with Dadhīca, son of Cyavana, and of the birth of Sārasvata who became a master of all sciences through her blessings, is recorded, mostly on the model of Bāṇa (see Vāyu-Adh. 65). The fact that in this respect Vāyupurāṇa was followed by Bāṇa is clearly apparent not only because that a number of

133 EXPLANATORY NOTES Sāhitya in his S'ṛṅgāraprakāśa ( VII ) where it is explained in the following words:— तत्राभिधाविवक्षातात्पर्यप्रविभागव्यपेक्षासामर्थ्यान्वयैकार्थीभावदोषहानगुणोपादानालङ्कारयोगर- सावियोगरूपाः शब्दार्थयोर्द्वादश संबन्धाः साहित्यमित्युच्यते ॥ Following this statement of Bhoja, S'āradātanaya in his Bhāvaprakāśana ( p. 145. ll. 6-12) defines Sāhitya and gives several illustrations. The twelve varieties of relation between the S'abda and its Artha as described in the above quotation from Bhoja are probably indicated by Rājaśekhara in the phrase, यथावत्सहभावेन विद्या. It may also be remembered here that Kālidāsa makes a mention of this Sāhitya of S'abda and Artha in the beginning of his Raghuvamśa.

• [ l. 14 For the 64 kalās see कामसूत्र 1-3-16 ] l. 14. 64 Upavidyās are enumerated by Vātsyāyana in his Kāmasūtra 1-3-16. Another set of 64 Aṅgas of the Pāñcālas also is mentioned in the above work to complete the सांप्रयोगिकाधिकरण of the Kāmasūtra. Vātsyāyana himself calls these Upavidyās by the common name of Kalā in his Kāmasūtra ( 2-2-3. ) आजीव:=livelihood. These Kalās are introduced as a matter of necessity in the best Kāvyas, and, therefore, it is necessary that poets should be well conversant with these subjects. l. 15. The last Adhikaraṇa of the Kāvyamīmāṁsā is called औपनिषदिक where directions are given for obtaining poetical excellance through magical practices, such as the practice of Mantras and Tāntric rites. This statement also indicates that Rājaśekhara wanted to complete the present work in eighteen Adhikaraṇas. Adhyāya. III. l. 20 काव्यपुरुषोत्पत्तिः । In this chapter the author traces the origin of metrical composition, gives an account of its sub- sequent developments in a chronological order, and makes an endeavour to connect them with the customs and manners prevalent in the different parts of India. And in doing so, he travels beyond the range of history to mythology and traces the origin of poetry from an imaginary Kāvyapuruṣa who is supposed to be the embodiment of the whole classical literature.

THIRD ADHYĀYA 139 He is the son of Sarasvatī, the goddess of learning, and is brought up in the hermitage of Kavi. The author describes his marriage with Aumeyī the embodiment of Sāhityavidyā or the science of poetry. This Kāvyapuruṣa is described in the first chapter as the earliest teacher of the Kāvyamīmāṁsā and as a divine being from whom poetry took its origin. l. 23. गुरुः। Kāvyapuruṣa was the preceptor of Dhiṣaṇa or Bṛhaspati because he received instructions on the Kāvyamīmāṁsā from Sārasvateya, and composed a chapter on it dealing with the Doṣas (see p. 1. l. 12.) बृहतां पतिः। The word Bṛhaspati is formed according to the rule of Pāṇini (6-1-157) and thus it denotes a divine being. l. 24. पुत्रीयन्ती=being desirous of a son. तुषारगिरौ=mountain of snow i. e. the Himālayas. Page. 6. l. 1. To complete the quotation 'पुत्रं ते सृजामि' the word इति is to be added at the end. But as in many places Rājaśekhara overlooks this dictum, इति has been added in the present edition wherever found necessary. l. 2. छन्दस्वतीं वाचम्=metrical composition. In the mythologi- cal story related by Rājaśekhara, the reason why Sarasvatī was desirous of obtaining a son is not clearly explained. Moreover, Brahmā is here mentioned as the creator of Sārasvateya. But the story of the birth of Sārasvateya as recorded in such earlier works as the Vāyupurāṇa, Mahābhārata and Harṣacarita differs in some important points from the story recorded in the present work by Rājaśekhara. Bāṇa in his Harṣacarita gives adequate reasons why Sarasvatī came down to earth, married Dadhīca, the son of Cyavana, and gave birth to Sārasvateya. These reasons are not found in any of the Purāṇas. In the Vāyu- purāṇa also, only the story of the marriage of Sarasvatī with Dadhīca, son of Cyavana, and of the birth of Sārasvata who became a master of all sciences through her blessings, is recorded, mostly on the model of Bāṇa (see Vāyu-Adh. 65). The fact that in this respect Vāyupurāṇa was followed by Bāṇa is clearly apparent not only because that a number of

140 EXPLANATORY NOTES

quotations from that Purāṇa is to be found in the Harṣacarita, but also because the name of that Purāṇa is definitely mentioned by Bāṇa as पवमानप्रोक्तपुराण in the 3rd chapter. The case of the Mahābhārata is altogether different. Here various stories are recorded concerning the birth of Sārasvateya, the son of Sarasvatī. All these authorities, however, are unanimous in holding that he was vastly learned in the Vedas and that he transmitted his knowledge to others. (see S'āntiparvan, Adh. 359 and S'alyaparvan Adh. 52. of the Mahābhārata). It is said in the S'āntiparvan of the Mahābhārata that God created a Sārasvata through Sarasvatī and asked him to learn the Vedas himself and transmit his learning to others. This Sārasvata was also known by the names of Vyāsa and Apāntaratamas, and he in accordance with the above instruction, spread the knowledge of the Vedas in the world. A similar story is also found in the S'alyaparvan where it is said that the creative energy of the sage Dadhīci was transmitted to the river Sarasvatī when he was overpowered by passion on seeing Alambuṣā a divine dancing girl. As a result, the river Sarasvatī, obtained a son and he was carried by her to Dadhīci, his father. This Sārasvateya taught the Vedas to the sages when they forgot them owing to a severe famine which lasted for 12 years. Aśvaghoṣa, in the first century A. D. also records the same story regarding Sārasvateya in his Buddha- carita (1-47.)

1. 3. यदेतत् etc. In the first half of this verse a clear exposition of the S'abdabrahmavāda as developed by Bhartṛhari in his Vākyapadīya, has been made. According to this school of philosophy, the S'abdabrahma or Nāda, which came out from God when he desired to create the world, is the cause of the universe which is enveloped in Vivarta or the illusory form of existence. When this illusion is removed by means of Vidyā or true knowledge there remains only the Nāda or S'abdabrahma. This Nāda is also called Parāvāk. From this Parāvāk, Paśyantī, Madhyamā and Vaikharī, the three other kinds of speech, are produced. Here Madhyamāvāk has the property of Sphoṭa which reveals the knowledge of Artha from

THIRD ADHYĀYA 141 the S'abda. The things that are known or meant by the words have also no separate existence from the words, though they appear to exist separately. In support of this theory, the following verses appear in Bhartṛhari's Vākyapadīya:— अनादिनिधनं ब्रह्म शब्दतत्त्वं यदक्षरम् । विवर्ततेऽर्थभावेन प्रक्रिया जगतो यतः ॥ यो वाऽर्थो बुद्धिविषयोऽबाह्यवस्तुनिबन्धनः । स बाह्यं वस्त्विति ज्ञातः शब्दार्थः सम्यगिष्यते ॥ शब्दोपहितरूपांश्च बुद्धेर्विषयतां गतान् । प्रत्यक्षामिव कंसादीन् साधनत्वेन मन्यते ॥ न सोऽस्ति प्रत्ययो लोके यः शब्दानुगमादृते । अनुविद्धमिव ज्ञानं सर्वं शब्देन भासते ॥ अत्यन्तासत्यपि ह्यर्थे ज्ञानं शब्दः करोति हि । etc. For further information regarding the S'abdabrahma and Vivartavāda a reference may be made to the Laghumañjūṣā of Nāgeśabhaṭṭa. विवर्तते । Vivarta is the illusory existence of a thing; for example, as the illusory existence of a serpent in the rope when it is mistaken for a snake. l. 4. अस्मि। This is an indeclinable particle meaning 'I'—or अहम्. l. 9. त्वदुपज्ञम् । etc. So long Vālmīki was considered to be the first to write in the classical śloka metre, and the first composition attributed to him is the verse: मा निषाद, etc. (See Rāmāyaṇa, 1–2.) According to Rājaśekhara, however, this verse of Vālmīki is much later than the compositions of Kāvyapuruṣa and Uśanas who were the two earliest inventors of the śloka metre. l. 12. रस आत्मा । Rasa is the soul of the Kāvya. There are several standards of literary criticism in the history of Sanskrit poetics, and amongst them the theory of Rasa as the soul of poetry may be considered to be the pre-eminent. This theory was first conceived and developed by Bharata in his Nāṭyaśāstra for the purpose of dramatic composition. The importance of Rasa, however, was not fully recognized by later critics such as Bhāmaha, Daṇḍin, and Vāmana as a standard of literary criticism with reference to compositions other than the drama. But the later critics advocated different theories of Alaṅkāra, Guṇa,

142 EXPLANATORY NOTES Rīti, Dhvani, Vakrokti, Anumiti and Aucitya, and were of opinion that these principles were the essential factors in the best form of poetical composition other than the drama. During this period, the theory of Rasa underwent many changes and modifications in the hands of those who belonged to the other schools of literary criticism. In the middle of the 9th century Ānandavardhana revived the theory of Rasa and held that Rasa Dhvani is the chief principle in all poetical compositions including the drama. This theory of Dhvani though well established by Ānanda did not meet with general approval amongst a large number of critics during the period from 850 to 950 A. D. as they were content with the original Rasa school of thought started by Bharata and applied the same principle to both classes of the literature. Prominent among them were Rudraṭa, Bhaṭṭanāyaka, Dhanañjaya, and Dhanika. Rājaśekhara flourished during this period (cir 900 A. D.) and he was led to adopt the trend of literary criticism as was prevalent in his days. Thus, he held that the Rasa and not Dhvani is the soul of the Kāvyapuruṣa. Again, at the end of the 10th century A. D. the theory of Rasadhvani was revived once more by the great Kashmirian scholar Abhinavagupta following in the foot-steps of Ānandavardhana. Rājaśekhara did not even mention Dhvani as a part of the Kāvyapuruṣa or as the subject-matter of any of his eighteen chapters because in his time even the existence of Dhvani in poetry was not recognised by critics. For further information regarding the history of the Rasa school see the introduction to the Bhāvaprakāśana (G.O.S. No. 45). *[ l. 15 च॒त्वारि॒ शृङ्गा॒ त्रयो॑ अस्य॒ पादा॒ द्वे शी॒र्षे स॒प्त हस्ता॑सो अस्य । त्रिधा॑ ब॒द्धो वृ॑ष॒भो रो॑रवीति म॒हो दे॒वो मर्त्यां२॒ आव॑िवेश ॥ ( ऋग्वेद 3-8-10-3 ). For the different interpretations of this Ṛk see Sāyaṇa's Bhāṣya, Yâska's Nirukta 13-18 and Patañjali's Mahābhāṣya पस्पशा. Both the MSS. of the Kāvyamīmāṁsā read शृङ्गास्त्रयो and मर्त्यमा- विवेश. cf. सप्त स्वराः, त्रीणि स्थानानि, चत्वारो वर्णाः, द्विविधा काकुः, षडलङ्काराः, षडङ्गानि इति । भरतनाट्यशास्त्र chapt. 17 ] l. 20. उशना परिवृत्ते etc. The fact that Sārasvateya Kāvyapu- ruṣa was brought up by Uśanas or Kavi, as mentioned by

THIRD ADHYĀYA 143

Rājaśekhara, not only shows that no rule of grammar (Pāṇini 4-1-151), is violated in the derivation of the word Kāvyapuruṣa (the son of Kavi) but also proves the propriety of using the famous name of S'ukra as Kavi (see. नामलिङ्गानुशासन. 1-3-25). *[ll. 23-24. या दुग्धाऽपि न दुग्धेव found in some MSS. of दमयन्तीचम्पू of त्रिविक्रम as मङ्गलश्लोक]. l. 25. तत्पूर्वकम्=after repeating this verse composed by Uśanas. ततः प्रभृति । After this event Uśanas is called Kavi because of his paternal affection towards the young Kāvyapuruṣa and also because he himself composed a verse या दुग्धापि न दुग्धेव etc. l. 26. तदुपचारात् । Due to the secondary capacity of the words (लक्षणा). Poets are called Kavīs because they are also engaged in the composition of verses as Uśanas or Kavi did in olden days.

Page. 7.

l. 1. कवृ वर्णे । Pāṇinīyas take the word वर्ण here to represent colour and derive words such as कर्बुर, कबरी etc. from this root कवृ. The word Kavi is generally derived by them from the root कुङ् शब्दे; इकार being added in accordance with the Uṇādi rule अच इः (4-138). Ujjvaladatta in his Uṇādisūtravṛtti derives the word Kavi from the roots कु वर्णे or कु शब्दे (sec. 4-138). But the Dhātupāṭha of Pāṇini reads two roots कुङ् and कु and states शब्द only as their meaning. Rājaśekhara, however, seems to derive the word Kavi from the root कवृ वर्णे which is not possible according to the Uṇādi rule अच इः and seems to take the word वर्ण to mean वर्णन or description. Following the derivation of Ujjvaladatta on 4-138 of Uṇādisūtra, the reading कवृ वर्णे may be changed here as कुङ् वर्णे. l. 2. भक्त्या । भक्ति is the secondary capacity of the word called the लक्षणा or गौणी. The word Kāvya signifies poetry through the primary capacity known as शक्ति aud Sārasvateya through the secondary capacity (लक्षणा) as he is the personification of poetry. l. 4. वाल्मीकिः । Vālmīki also is brought here by Rājaśekhara to play his role because the epithet of Kavi applies to both S'ukra and Vālmīki (कविर्वाल्मीकिशुक्रयोः-मेदिनी) and particularly to Vālmīki as he is designated by all poets as the आदिकवि.

144 EXPLANATORY NOTES l. 5. भृगुसूनोः = of Śukra. Bhṛgu is the son of Brahman and Śukra is Bhṛgu's son. This shows the source Vāyupurāṇa from which the author conceived the idea underlying the story of Sārasvateya. The Vāyupurāṇa and the Harṣacarita mention that Bhṛgu's grandson Dadhīci obtained a son Sārasvateya through his wife Sarasvatī. Sec. Vāyu. 65, 88-91. and Harṣacarita. I. l. 7. अनुप्रेक्षितः = blessed by Sarasvatī. l. 8. निषादनिहतसहचरीकं क्रौञ्चयुवानम्। Here Rājaśekhara states that the female Krauñca was hit by the Niṣāda and the male Krauñca was lamenting in the presence of Vālmīki. But this statement goes against the description of the event recorded in the Rāmāyaṇa. Cf. तस्याभ्याशे तु मिथुनं चरन्तमपगायिनम् । ददर्श भगवांस्तत्र क्रौञ्चयोश्चारुनिःस्वनम् ॥ तस्मात्तु मिथुनादेकं पुमांसं पापनिश्चयः । जघान वैरनिलयो निषादस्तस्य पश्यतः ॥ तं शोणितपरीतांगं वेपमानं महीतले । भार्या तु निहतं दृष्ट्वा रुराव करुणां गिरम् ॥ Rāmāyaṇa 1. 2. 9-11. There is a similar statement made by Ānandavardhana in his Dhvanyāloka (p. 27) as under : संनिहि(ह)तसहचरीविरहकातरक्रौञ्चाक्रन्दजनितः शोक एव श्लोकतया परिणतः । which also seems to go against the Rāmāyaṇa of Vālmīki. Probably this passage of Ānandavardhana may be at the back of Rājaśekhara's statement because the word संनिहित or संनिहत construed with the word सहचरी gives a different meaning as stated by him in the passage निषादनिहतसहचरीकम् । But Abhinavagupta subsequently in his Locanā got over the dis- crepancy by mending the passage of the Dhvanyāloka in the following manner : संनिहतसहचरीविरहकातरक्रौञ्चेन आक्रन्देन च जनितः शोकः । In this emendation, the word संनिहत is construed not with सहचरी but with क्रौञ्च who represents the विभाव, whereas the आक्रन्द of the female क्रौञ्च is अनुभाव for the शोक of Vālmīki. Cf. Locanā : संनिहतसहचरीति विभाव उक्तः । आक्रन्दितशब्देनानुभावः । (p. 28. l. 8.) *[ l. 10. मानिषाद etc. Cf. ध्वन्यालोक 1-5. et. seq. ]

THIRD ADHYĀYA 145 l. 10. By introducing here this verse and the story of Vālmīki, Rājaśekhara reminds us of a similar narrative found in the beginning of the Rāmāyaṇa. It is said there that Brahman induced Sarasvatī to bless Vālmīki with poetical skill. After obtaining her blessings Vālmīki began his compositions, and this verse मा निषाद etc. was his first metrical composition. Cf. मच्छन्दादेव ते ब्रह्मन् प्रवृत्तेयं सरस्वती । रामस्य चरितं कृत्स्नं कुरु त्वमृषिसत्तम ॥ Rāmāyaṇa 1. 2. 31. As Rājaśekhara wanted to trace the earliest history of metrical composition in this chapter, it is but natural that he should bring Vālmīki's composition after that of Kāvyapuruṣa and S'ukra. According to Rājaśekhara, therefore, the first Kavi or author of metrical composition is Kāvyapuruṣa ; the second is S'ukra who brought up Kāvyapuruṣa in his hermitage and composed a verse ; while the third is Vālmīki who led Sarasvatī to the place of her son and began composing verses. l. 21. कुमारः। Kārtikeya the son of Gaurī was a friend of Kāvyapuruṣa and he felt very uncomfortable when the latter made an attempt to run away. l. 23. नान्यत्। In this connection, the verse occurring in this work on page 66, is noteworthy :— दृष्ट्वाऽप्येनं छेदमुत्पाद्य रज्वा यन्तुर्वाचं मन्यमानस्तृणाय । गच्छन्नग्रे नागराजः करिण्या प्रेम्णा तुल्यं बन्धनं नास्ति जन्तोः ॥ l. 25. अनुवर्तस्वैनं निवर्तय च। Sāhityavidyā is the realisation of the connections that exist between the S'abda and the Artha. By this statement, Rājaśekhara wants to convey that Sāhityavidyā alone is able to revive the creative faculty in poets even when poetry is extinct. l. 26. काव्यविद्यास्नातकाः। Kāvyavidyāsnātakas are those who after studying the Kāvyavidyā begin to compose poems. Pages. 8-9. *[ Read तत्राभियुञ्जाना तमौमेयी यं वेषं यथेष्टमसेविष्ट स तत्रत्याभिः स्त्रीभिरन्वक्रियत। सा प्रवृत्तिरौड्रमागधी etc. This portion seems to have been based on भरतनाट्यशास्त्र chapter. 13. cf. चतुर्विधा प्रवृत्तिश्च प्रोक्ता नाट्यप्रयोक्तृभिः। आवन्ती दाक्षिणात्या च पाञ्चाली चौड्रमागधी ॥ १९

146 EXPLANATORY NOTES अत्राह—प्रवृत्तिरिति कस्मात् । उच्यते—पृथिव्यां नानादेशवेषभाषाचारवार्ताः ख्यापयतीति प्रवृत्तिः । प्रवृत्तिश्च निवेदने । अत्राह—यदा पृथिव्यां नानादेशाः सन्ति, कथमासां चतुर्विधत्व- मुपपन्नम् । समानलक्षणांश्चासां प्रयोग उच्यते । एवमेष समानलक्षणप्रयोगः । किंतु नानादेशवेष- भाषाचारो लोक इति कृत्वा लोकानुमतेऽनुवृत्तिसंश्रितस्य नाट्यस्य मया चतुर्विधत्वमभिहितं भारत्यारभटी सात्वती कैशिकी चेति । वृत्तिसंश्रितैश्च प्रयोगैरभिरता देशाः । यतः प्रवृत्तिचतुष्टयमभिनिर्वृत्तं प्रयोगश्चोत्पादितः । तत्र दाक्षिणात्या भवेत् बहुगीतनृत्यवाद्या कैशिकीप्राया चतुरमधुर- ललिताङ्गाभिनया । यथा— महेन्द्रो मलयः सह्यो मेकलः पलपिञ्जरः । एतेषु संश्रिता देशाः स ज्ञेयो दक्षिणापथः ॥ कोशलास्तोशलाश्चैव कलिङ्गा एव गोशलाः । द्रविडान्ध्रमहाराष्ट्रा वैण्या वै वानवासजाः ॥ दक्षिणस्य समुद्रस्य तथा विन्ध्यस्य चान्तरे । ये देशास्तेषु युञ्जीत दाक्षिणात्यां तु नित्यशः ॥ आवन्तिका वैदिशिकाः सौराष्ट्रा मालवास्तथा । सैन्धवास्त्वथ सौवीराः आनर्तास्त्वार्बुदेयकाः ॥ दशार्णाश्चैपुराश्चैव तथा वै मार्तिका मताः । कुर्वन्त्यावन्तिमेते प्रवृत्तिं नित्यमेव तु ॥ सात्त्वतीं कैशिकीं चैव वृत्तिमेषा समाश्रिता । भवेत्प्रयोगो नान्यत्र स च कार्यः प्रयोक्तृभिः ॥ अङ्गा वङ्गाः कलिङ्गाश्च वत्साश्चैवोड्रमागधाः । पौण्ड्रनैपालिकाश्चैव अन्तर्गिरिबहिर्गिराः ॥ तत्र वङ्गसमा ज्ञेया मलदा मल्लवर्तकाः । ब्रह्मोत्तरप्रभृतयो भार्गवा मार्गवास्तथा ॥ प्राग्ज्योतिषाः पुलिन्दाश्च वैदेहास्ताम्रलिप्तकाः । प्राङ्गाः प्रावृत्तयाश्चैव युञ्जन्ति ह्यौड्रमागधीम् ॥ अन्येऽपि देशा एभ्योपि ये पुराणे प्रकीर्तिताः । तेषु प्रयुज्यते ह्येषा प्रवृत्तिस्त्वोड्रमागधी ॥ पाञ्चालमध्यमायां तु सात्त्वत्यारभटी स्मृता । प्रयोगस्त्वल्पगीतार्थ आविद्धगतिविभ्रमः । पाञ्चालाश्शौरसेनाश्च काश्मीरा हास्तिनापुराः ॥ बाह्लीकाः शाकलाश्चैव मद्रकौशीनरस्तथा । हिमवत्संश्रिता ये च गङ्गायाश्चोत्तरां दिशम् ॥ ये श्रिता वै जनपदास्तेषु पाञ्चालमध्यमा । The verses आर्द्रार्द्रचन्दन and आ मूलतो are quoted in सदुक्तिकर्णामृत (II–86 and 99) under Rājaśekhara. P. 8. l. 23. A reads परिमण्डलितान्तरीयम् instead of परिमण्डलितोत्तरीयम्. P. 9. l. 26. Read "अनन्तानपि हि देशांश्चतुर्धैवैकल्य कल्पयन्ति चक्रवर्तिक्षेत्रं समासेन । तदवान्तरविशेषैः पुनरनन्ता एव" इति यायावरीयः । ]

1. 3. अथ etc. After tracing the origin and history of metrical composition, the author in the next two pages (8-9) seeks to explain the varieties of poetical composition in accordance with the natural surroundings, and customs and manners of the different people. These are called styles and Rājaśekhara classifies them into four distinct groups. These four groups, each consisting of Pravṛtti, Rīti and Vṛtti, are already mentioned by Bharata in chapter 13 of his Nāṭyaśāstra. Rāja- śekhara adds to the description of the four groups, four verses of his own, describing women's dress in four parts of India with the preamble—तां ते मुनयोऽभितुष्टुवुः and seeks in these pages to discover scientific explanations for the different styles of writings which existed in early Sanskrit compositions. Incidentally, he mentions also the four Pravṛttis or वेषविन्यास, Vṛttis or विलास‌विन्यास and Rītis or वचनविन्यास adopted by the people living in the four divisions of India. In the eastern part of India, there are: Audramāgadhī Pravṛtti, Bhāratī Vṛtti and Gauḍīyā Rīti. In the Pāñcāla country, there exist: Pāñcālamadhyamā Pravṛtti, Sāttvatī and Ārabhaṭī Vṛttis and Pāñcālī Rīti. The countries of Avanti etc. have: Āvantī Pravṛtti, Sāttvatī and Kaiśikī Vṛttis. The Southern part of India has: Dākṣiṇātyā Pravṛtti, Kaiśikī Vṛtti and Vaidarbhī Rīti. Among the Pravṛttis, Vṛttis and Rītis mentioned above Rājaśekhara seems to attach a relative superiority to the Vaidarbhī, Kaiśikī and Dākṣiṇātyā style of the southern India; because he states that Kāvyapuruṣa was pleased and brought under control by Sāhityavidyāvadhū only through the style current in South India. It seems, however, strange that he failed to recognize the Lāṭīyā Rīti of the dialects of the countries Avanti etc. though the whole of the Avanti or Lāṭa country had been frequently described by him in his works. (See Kāvyamīmāṁsā p. 34. l. 7 and Bāla- rāmāyaṇa, act X). The reason for this, seems to be that he did not favour the idea of creating a new Rīti of Lāṭīyā as proposed for the first time by Rudraṭa, because there is not much difference between the two Rītis, Pāñcālī and Lāṭīyā. In the history of the development of Rītis, Bhāmaha did not acknowledge the existence

148 EXPLANATORY NOTES of distinct classes of Rīti such as Gauḍīyā and Vaidarbhī; while Daṇḍin in his work established the relative superiority of the Vaidarbhī style over that of the Gauḍī. To these two, Vāmana added a third, the Pāñcālī, and Rudraṭa a fourth, the Lāṭīyā. Thus four Rītis were acknowledged by critics in the period when Rājaśekhara flourished; but he recognized only three Rītis after omitting the Lāṭīyā. This fact he again mentions on p. 10, l. 5. Page 10. l. 2. For the complete description of the Cakravartikṣetra, see p. 92 of the Kāvyamīmāṁsā. l. 3. Beyond the Cakravartikṣetra, there are the lands called Harivarṣa and Kimpuruṣavarṣa which are the abodes of divine beings. l. 5. तिस्रः। Rudraṭa who flourished before Rājaśekhara and who is often quoted in this work, had acknowledged four Rītis including the Lāṭīyā in his Kāvyālaṅkāra (2. 4-6.). The reason why Rājaśekhara did not recognise the fourth Rīti is already mentioned. पुरस्तात् । Rītis are proposed to be treated of in the third Adhi- karaṇa 'Rītinirṇaya' as enumerated on the first page of the Kāvya- mīmāṁsā. This statement also clearly shows that Rājaśekhara wanted to complete this work in eighteen Adhikaraṇas. For the three Rītis see p. 31. l. 6. of the Kāvyamīmāṁsā.

• [ l. 6. वत्सगुल्मम् । cf. अभूतां दाक्षिणात्यस्य द्विजातेः सोमशर्मणः । वत्सगुल्माभिधौ पुत्रौ...... ॥ (बृहत्कथामञ्जरी. 1. 3. 4.) ] दक्षिणापथे सोदर्यौ राजपुत्रौ वत्सगुल्मौ । ताभ्यामध्यासितो देशो वत्सगुल्मक इति प्रतीतः । ( Jayamangalā on Kāmasūtra 5. 6. 36. ) (?) ] l. 6. वत्सगुल्मम् । Rājaśekhara thinks that Vatsagulma is a city in the country of Vidarbha. This Vatsagulma may be identified with the Vaṁśagulma which is situated near the source or first fall of the river Narmadā. Cf. Mahābhārata, Vana. cha. 83. 9. But Vātsyāyana in his Kāmasūtra (5. 6.) mentions Vatsagulma and Vidarbha as two distinct countries. Cf. प्रेष्याभिः सह तद्देशाच्चागरकपुत्रान् प्रवेशयन्ति वात्सगुल्मकानाम् । ३५ । स्वैरेव पुत्रैरन्तःपुराणि कामचारैर्जननीवर्जमुपभुज्यन्ते वैदर्भकाणाम् । ३६ । This Vatsagulma of Kāmasūtra may represent the kingdom of Udayana Vatsarāja.