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

ELEVENTH ADHYĀYA 217 It may be remembered here that the Rāmasetupradīpa, the commentary on the Setubandha, records an interesting fact in this connection that Kālidāsa composed the Setubandha-Kāvya at the request of Vikramāditya, but published the same under the name of king Pravarasena. The relevent passages from the commentary are quoted below : धीराणां काव्यचर्चाचतुरिमविधये विक्रमादित्यवाचा यं चक्रे कालिदासः कविकुमुदविधुः सेतुनामप्रबन्धम् । etc. इह तावन्महाराजप्रवरसेननिमित्तं महाराजाधिराजविक्रमादित्येनाज्ञप्तः निखिलकविचक्र- चूडामणिः कालिदासमहाशयः सेतुबन्धप्रबन्धं चिकीर्षुः etc. These passages make it abundantly clear that these three persons : Vikramāditya, Kālidāsa and Pravarasena were intimately connected and had some hand in the composition of the Setubandha. It may be suggested here that Kuntaleśvara, mentioned in the verse : असकलहसितत्वात् etc. and referred to by Bhoja and Kṣemendra in their works, must be no other than king Pṛthvīṣeṇa I, of the Vākāṭaka dynasty. Pravarasena, to whom the Setubandha Kāvya is generally attributed, is his grand-son being the son of Rudrasena II and Prabhāvatīguptā, the daughter of Candragupta II. It may be remembered in this connection that both Daṇḍin (Kāvyādarśa, 1-34) and Hemacandra (Book VIII. Grammar) consider the style of the Setubandha as the best available in the Mahārāṣṭrī dialect. These two references, also prove that among the two Pravarasenas of Kashmir none can be the author of this Setubandha because being Kashmirians they are not expected to write excellently in the Mahārāṣṭrī dialect. Another reason for not considering any of the two Pravarasenas of Kashmir as the author of the Setu- bandha, is that they are not contemporaries of either Vikrama or Kālidāsa since they ruled over Kashmir in the first and second centuries A. D. according to the Rājataraṅgiṇī. The Kuntala country being a part of Mahārāṣṭra, the authorship of the Setu- bandha may well be attributed to the Vākāṭaka Pravarasena II, who ruled over this part of the Mahārāṣṭra country in the beginning of the fifth century A. D. as suggested by Mr. K. P. Jayaswal in his 'History of India cir. 150 to 350 A. D.' (J. B. O. R. S. vol. XIX 1933. Pt. I. II.); and General Cunningham (Archaeological Reports Vol. XI. p. 123), and confirmed by Dr. G. Bühler (Indian Antiquary Vol. XII. p. 239). In this case, Pravarasena II of the Vākāṭaka dynasty who ruled over a tract

218 EXPLANATORY NOTES of land to the south of the Narmadā becomes a junior contem- porary of Candragupta Vikramāditya who belonged to the same period, and in whose court poet Kālidāsa flourished as is commonly supposed. Another support for this suggestion regarding the authorship of the Setubandha comes from the Bharatacaritakāvya of Kṛṣṇakavi in which the Setubandha is attributed to the king of Kuntala. The verse in question is: जलाशयस्यान्तरगाढमार्गमलब्धबन्धं गिरिचौर्यवृत्त्या । लोकेष्वलङ्कान्तमपूर्वसेतुं बबन्ध कीर्त्या सह कुन्तलेशः ॥ Trivandrum Series No. 86 (1. 4) Under these circumstances, it is possible that Pravarasena II ruled over the two countries Vidarbha and Kuntala in the beginning of the fifth century A. D. The verse : असकलहसितत्वात् etc., the original of Kālidāsa is borrowed with slight modifications in two words पिबति and त्वयि as पिबतु and मयि by Vikramāditya in order to provide an answer to the request of Kuntaleśvara conveyed through Kālidāsa. *[ l. 6. सुभ्रू त्वं कुपिते. attributed to विद्यापति. Cf. स्वरेण (पठितिः) यथा सुभ्रूः etc. अत्र दृष्टे इत्यत्र प्लुतस्वरकरणात् कुपितकान्ताप्रसादनपरमपीदं वाक्यमुत्कुपितदृष्टि- प्रसादनपरतां प्रतिपद्यते । सरस्वतीकण्ठाभरण. II ] ll. 23-26. Cf. सन्ति श्वान इवासंख्या जातिभाजो गृहे गृहे । उत्पादका न बहवः कवयः शरभा इव ॥ अन्यवर्णपरावृत्त्या बन्धचिह्ननिगूहनैः । अनाख्यातः सतां मध्ये कविश्चौरो विभाव्यते ॥ Harṣacarita 1. 6-7. Adhyāya XII. Page. 62. *[ l. 10 वाक्पतिराज the author of the Gauḍavadha. Cf. दृष्ट्वा वाक्पतिराजस्य शक्तिं गौडवधोद्धुराम् । बुद्धिः साध्वसरुद्वेव वाचं न प्रतिपद्यते ॥ तिलकमञ्जरी. 31. सामन्तजन्माऽपि कवीश्वराणां महत्तमो वाक्पतिराजसूरिः । यः स्थापयाप्यन्यमपीडयच्छ्रुतागदम्यर्थमनन्यदृष्टम् ॥ ( ? ) उदयसुन्दरी ॥ ]

TWELFTH ADHYĀYA 219 ll. 9–12. The views of the Ācāryas and Vākpatirāja, as stated here, are found in the work Gauḍavaho of Vākpatirāja. Cf. कालगुणा पढमकईहिं भमिअमपरिग्गहेसु मग्गेसु । इहरा मईहिं हीरन्ति दुक्करं के वि काणंपि ॥ कत्तो णाम न इंट्ठं सच्चं कविसेविएसु मग्गेसु । सीमन्ते उण सुकब्बि तम्मि सव्वं नवं चेअ ॥ अत्यालोअणतरला इअरकईणं भमन्ति बुद्धीओ । अत्यञ्चेश्र निरारंभमेन्ति हिअअं कइन्दाणम् ॥ आसंसारं कहपुंगवेहिं तद्दिअहगहिअसारो वि । अज्ज वि अभिण्णमुद्दो व्व जअइ वाआपारप्फन्दो ॥ Gauḍavaho-84-87. Here, it may be noted that the last verse of Vākpatirāja आसंसारं etc. has been sanskritized by Rājaśekhara with a few changes and quoted under his name. ll. 13–16. The views of some thinkers regarding the necessity of a careful study of the early poetical works on the part of a poet, are to be linked with the view of the Ācāryas on the point, and not with that of Vākpatirāja above stated. ll. 17–24. Rājaśekhara disagrees with the views of the other thinkers on this subject. The explanation given by him is more or less based on the statement made by Vākpatirāja on the same subject in verses 88–92 of his Gauḍavaho. The views expressed by Vākpatirāja and quoted by Rājaśekhara are already mentioned by Ānandavardhana in his Dhvanyāloka. Cf. वाचस्पतिसहस्राणां सहस्रैरपि यत्नतः । निबद्धाऽपि क्षयं नैति प्रकृतिर्जगतामिव ॥ इयं काव्यस्थितिरनन्ताभिः कविमतिभिरुपभुक्ताऽपि नेदानीं परिहीयते । प्रत्युत नवनवाभिव्यु- त्पत्तिभिः परिवर्धते । and संवादास्तु भवन्त्येव बाहुल्येन सुमेधसाम् । स्थितं ह्येतत् । संवादिन्यो मेधाविनां बुद्धयः । नैकरूपतया सर्वे ते मन्तव्या विपश्चिता ॥ 4,10-11 The statement तदाहुः etc. quoted by Rājaśekhara is traceable in the work of Ānandavardhana with the same context:—

220 EXPLANATORY NOTES Cf. तदित्थं स्थिते— प्रतायन्तां वाचो निमितविविधार्थामृतरसा न वादः कर्तव्यः कविभिरनवद्ये स्वविषये । परस्वादानेच्छाविरतमनसो वस्तु सुकवेः सरस्वत्यैवैषा घटयति यथेष्टं भगवती ॥ Dhvani. 4. 17. Page. 63. **[ ll. 2-5. The portion dealing with प्रतिबिम्बकल्प, आलेख्यप्रख्य, तुल्य- देहितुल्य and परपुरप्रवेशसदृश is borrowed by Hemacandra. cf. also अर्थो द्विविधोऽयोनिरन्यच्छायायोनिश्च । (वामन. III. 2-7.) अयोनिर अकारणः अवधानमात्र- कारण इत्यर्थः । अन्यस्य काव्यस्य च्छाया अन्यच्छाया तयोनिः । Read एकादृश । ] ll. 2-5. Rājaśekhara approves of all the above mentioned views as correct. Vāmana seems to have analyzed अर्थ in poetry for the first time, and discovered that there are three distinct divisions of it. Cf. अर्थो द्विविधोऽयोनिरन्यच्छायायोनिश्च । व्यक्तः सूक्ष्मश्च । सूक्ष्मो भाव्यो वासनीयश्च । Kāvyālaṅkārasūtra III. 2, 7-9. Ānandavardhana, further developed this idea of three divisions of Artha and, therefore, his is a definite improvement on the older theory. This is found in the Dhvanyāloka 4-12. Cf. संवादा ह्यन्यसादृश्यं तत्पुनः प्रतिबिम्बवत् । आलेख्यप्रख्यवत्तुल्यदेहिवच्च शरीरिणाम् ॥ Taking advantage of the already existing theories, Rājaśekhara develops upon them, puts the whole on a more scientific basis, and illustrates his points by a number of verses in these two chapters. The word अध्यगीष्महि also shows that Rājaśekhara here alludes to the views of some earlier writers on this subject. The examples of निन्हुतयोनि and परपुरप्रवेशसदृश are an improvement on Vāmana and Ānandavardhana. The word एकादृश may be read as एकादृत् as अयोनिर is used by only one author. Hemacandra incorporated all these four divisions as recorded by Rājaśekhara along with their definitions and illustra- tions in his Kāvyānuśāsanaviveka. p. 8. ll. 7-14. प्रतिबिम्बकल्पार्थ is defined by Ānandavardhana as अनन्य्यात्म and explained by him as तात्त्विकशरीरशून्यम् । see. Dhvani 4-13. The

same definition is given here in this verse by Rājaśekhara as अपरमार्थविभेदम्. It is worthy of note here that the two verses cited here as examples will express identical meaning in case the reading in the second verse is changed as चन्दामृतांबु instead of गङ्गाह्रदांबु । ll. 15–19. Ānandavardhana defines this division as तुच्छातम, and advises poets not to take recourse to this method of writing. But Rājaśekhara does not agree with him, and defines this kind of poetry in a better manner than the प्रतिबिम्बकल्प and shows good artistic taste in the verse illustrating this class. The fact that he differs from Ānandavardhana in this respect becomes manifest by the word अर्थचतुरैः in this definition and by the passage सोऽयमनुग्राह्यो मार्गः on p. 71 l. 12. ll. 20–25. The third variety is approved of by Ānandavar- dhana as suitable for adoption, and is defined by him as प्रसिद्धातम । Cf. तत्त्वस्यान्यस्य सद्भावे पूर्वस्थित्यनुयाय्यपि । वस्तु भातितरां तन्व्याः शशिच्छायमिवाननम् ॥ Dhvanyāloka. 4–14. That the same view of Ānandavardhana is adopted by Rājaśekhara is evident from the word सुधियोऽपि mentioned in this definition. Page. 64. ll. 1–4. This method of description of the jewels is similar to that of the elephants adopted in the preceding verse. This kind of borrowing alone is permitted by Ānandavardhana. ll. 5–14. This fourth division is not mentioned by any early writer. मूलैक्यम्=sameness of basic principles. In the following two verses, the appearence of the Kadamba flower, the sign of the rainy season, becomes a source of enjoyment to the queens, because kings do not undertake war during that season and remain at home. Relying on this fact, two poets have composed two different verses where the second excels the first in description. l. 16 अयस्कान्तवत् । Four kinds of poets who have special fondness for the use of these four kinds of Artha in their descriptions are named after these four Arthas in the same way as अयस्कान्त (magnet) which attracts iron and is called by that name.

222 EXPLANATORY NOTES पञ्चमः । The poet is said to belong to the fifth variety when his attention is always drawn to the अयोन्यर्थ or the method of description not adopted by any earlier poet. ll. 18-25. Here Rājaśekhara quotes a set of anonymous verses giving definitions of five classes of poets who are named differently as : भ्रामक, चुम्बक, कर्षक, द्रावक, and चिन्तामणि. Page. 65. l. 7. कोशकार=a kind of sugarcane. This description is called लौकिक as it is concerned with terrestrial things. *[ l. 11. देवीपुत्रमसूत attributed to योगेश्वर in सदुक्तिकर्णामृत ]. ll. 11-14. It is called अलौकिक since it is concerned with celestial beings. This verse is quoted once before while describing an Arthakavi ( p. 18 ). ll. 15-18. मिश्रः because it pertains to both celestial and terrestrial beings. ll. 19-23. अर्थानां should be connected with प्रत्येकमष्टत्ववशात्. Each of these four Arthas is subdivided into eight and, therefore, the total number of sub-divisions is thirty-two. Page. 66. ll. 1-8. Here, the समर्थ्यसमर्थकभाव required for the figure of speech known as अर्थान्तरन्यास, is shown in the first half of the second verse, and this is quite contrary to that shown in the last line of the first verse . It is, therefore, called व्यत्यस्तक. *[ l. 10. पुरा पाण्डुप्रायम् Vide. Vāmanālaṅkāra III. 2. 2. ] ll. 9-17. It is called खण्डप्रतिबिम्बकल्प because the three stages पाण्डुप्रायं, कपिशिन्ना कृतपर्व and वीतामोदं are not stated in the second verse, though all the other stages are adopted as given in the first verse. Read आपादितस्फुटसंस्थिति शोषपोषाम् । ll. 18-24. तन्त्र denotes here an army. The same idea ex- pressed in the first verse, is developed upon, and enlarged in the second verse.

TWELFTH ADHYĀYA 223 l. 25. नटनेपथ्यम्। When a later poet borrows an idea from earlier writing, but deviates totally from the original language, he is compared here to an actor who appears in a different dress from his original one. l. 26. नेच्छइ पासासंकी is read as पाशाशंकी काओ णेच्छइ in the Gāthā- saptatātī. (3-5.) Page. 67. ll. 2-5. The same idea, embodied originally in the Prākṛta language in the first verse, is expressed in Sanskrit in the subse- quent verse. *[ l. 7. कान्ते (अमरु 101;) l. 11. धन्यास्तु attributed to Vijjākā ; l. 16. ततोऽरुण० attributed to Vālmīki; l. 18. समं कुसुम० cf. ततः कुमुदनाथेन गर्भणीगण्डपाण्डुना । उदयाद्रिशिरःसीम्नि निहितं पदमिन्दुना ॥ द्रोणपर्व. ] ll. 15-19. In these two verses, the brightness of the moon is described as similar to the paleness of a lady's cheek. But the cause for the paleness of a lady's cheek, is mentioned in the first verse as emaciation due to the influence of passion, and, in the next, due to her being in a delicate condition. This is what is called हेतुव्यत्यय. ll. 20-26. The behaviour of the swans described in the first verse, is transferred in the second verse to the deer. Page. 68. ll. 3-15. Combining in a concise manner, the imports of two different sentences belonging to early writers, is called सम्पुट. The river Narmadā is called here a नदी, but, in fact, it should be called a नद as it flows towards the west. शकुल=a kind of fish. सरिताम् may be construed with अम्भः.

224. EXPLANATORY NOTES Adhyāya XIII. Page. 69. ll. 1–10. It should be noted here that Dhvaṇikāra denounced this borrowing tendency on the part of poets as तुच्छात्म, saying तदनन्तरमालेख्यप्रख्यमन्यत्साम्यं शरीरान्तरयुक्तमपि तुच्छात्मत्वेन त्यक्तव्यम् । But Rājaśekhara thinks that this practice is not unsuitable for poets. It is worthy of note that समक्रम, the first division of आलेख्यप्रख्य is almost the same as the seventh division सङ्क्रमिति of the प्रतिबिम्बकल्प. An example of समक्रम is then given. The glorious aspects of he setting sun described in the first verse are transferred to the rising moon in the second verse. This gives rise to संकमिति. ll. 11–19. The author of the first verse describes the flame of a lamp, and this description is accompanied with several similés ; while in the second verse only the nature of the flame is described with all similés omitted. This kind of borrowing is not very different from the second variety known as खण्ड of the प्रतिबिम्बकल्प where also the borrowing of a portion of the complete description is illustrated. ll. 20–24. The third variety व्युत्क्रम of this section does not seem to be different from the व्यत्यस्तक of the प्रतिबिम्बकल्प. l. 25. विशेषोक्ति also does not differ from the तैलविन्दु, the third division of the previous section. The examples of these divisions also show an exact similarity, because in both the forms, things described in a concise form in the first verse, are explained in detail in the second verse. *[ l. 26. इत्युद्धृते found in दशरूपकावलोक II. ] Page. 70. *[ L. 8. दीपयन्नथ ( किरात. IX. 23. ) ] ll. 7–15. In the first verse, the similé comparing the moon with the breast of a lady is mentioned as subsidiary to the principal similé comparing the moon with the golden pot. In the second verse, however, the subsidiary similé of the first verse has been adopted as the principal similé. It is, therefore, called उत्तंस.

THIRTEENTH ADHYĀYA 225 ll. 16-24. This नवनेपथ्य is exactly similar to the नटनेपथ्य of the प्रतिबिंबकल्प class. In the नटनेपथ्य the same import of the first stanza is expressed in the second verse in a different language by a different poet. But, here, the same description of a thing adopted in the first verse, is reproduced in the second in a slightly modified style. It is described in the first stanza that तिलक on a woman's cheek which resembled the dark spot in the moon, is removed by the drops of her tear when she wept at the delay of her lover. But, in the second verse, the same idea is represented in a mo- dified style and पत्रलताs or leaves and creepers in the cheeks of the ladies are said to have been destroyed by the hot tears coming from the eyes of the खण्डिता नायिकाs. l. 25. एकपरिकार्य is said to take place when a later writer borrows a method of description from an earlier poet and changes the prin- cipal object of description. The first verse is exploited while the second shows the exploitation. In both the verses, cited as an illustration of this class of borrowing, the elephant's trunk of Gaṇeśa is described as similar to the stalk of a lotus when it is raised up by him. But the author of the first verse makes the sun resemble a lotus to which Gaṇeśa's trunk is said as the stalk ; while the author of the second verse represents the tip of the elephant's trunk as the lotus. *[l. 26. अव्याद्गजेन्द्रवदनः. No. 80 of सुभाषितावली, attributed to गणपति whom Rājaśekhara praises as under:— अथो गणपतिं वन्दे महामोदविधायिनम् । विद्याधरगणैर्यस्य पूज्यते कण्ठगर्जितम् ॥ This is attributed by some to विद्यापति.] Page. 71. *[l. 6. रविसङ्क्रान्त. in ध्वन्यालोक II ; attributed to Vālmīki.] ll. 6-11. The author of the first verse, compares the winter- moon to a mirror which is made dirty by the sighings of on-lookers. The same idea has been borrowed by the author of the next verse where he describes the happy countenance of a lady as similar to a mirror which becomes natural when the dirt due to the tears and sighings of the on-lookers, is cleared off. This borrowing is, there- fore, called प्रत्यापत्तिः । २९

ll. 12-14. सोऽयमनुग्राह्यो etc. Rājaśekhara approves of this kind of borrowing on the part of poets, while he denounces the other kind of plagiarism already described by the name of प्रतिबिंबकल्प. He quotes in support of his view, a verse सोयं etc. *[l. 14. अन्यथात्वमिवाच्छेति, आर्च्छति from आ ऋ. l. 17. ये सीमन्तित. (बालभारत. 1-2). Page. 72. *[l. 3. दिश्याद्धूर्जटिजूटकोटि. found in सरस्वतीकण्ठाभरण. l. 8. कपाले मार्जारः attributed to भास.] l. 17. नमन्नारायण etc. The purport of this verse seems to be that the ten nails of God Rudra's feet, by the reflection of black colour of Nārāyaṇa who bowed before Rudra, resembled the ten moons on the heads of the ten Rudras and they seemed to have come to worship the moon which is on the head of the eleventh Rudra. Construction in this case may be made thus:—नमन्नारायणच्छाया- च्छुरिताः पादयोः नखाः दश रुद्रेन्दवो (भूत्वा) रुद्र त्वच्चन्द्रं सेवन्त इव। The reading suggested as रुद्रेन्दवः in the text makes a slight change in the purport. In that case it may be construed thus:— नमन्नारायणच्छायाच्छुरिताः (अत एव) रुद्रेन्दवः पादयोः दश नखाः हे रुद्र त्वच्चन्द्रं सेवन्त इव. If the word Nārāyaṇa is changed to Nārāyaṇī, then this verse will give quite a different sense. The face or the moon on the head of नारायणी or पार्वती who bowed before Rudra, being reflected on the ten nails of his feet resembled the ten moons worshipping the moon on the head of Rudra. The purport of the next verse उमैक etc. is, however, quite clear, where it is said that the moon on the crown of Rudra seems to have taken six forms on being reflected on the five nails of उमा when he bowed before one of her feet. *[l. 25. अङ्गुणे, सैकते शशिमरीचिलेपने (जानकीहरण 8. 85). Page. 73. *[l. 10 कुरबक कुचाघातक्रीडारसेन attributed to रत्नाकर (सुभाषितावलि. No. 2564). l. 25. संविधातुमभिषेकमुदासे (किरात. IX. 32.)]

THIRTEENTH ADHYĀYA 227 Page. 74. l. 4. The word त्वक्षीर may be read as त्वक्सार which means ‘bamboo’. The metaphor or रूपक in this verse is between the moon and the चूडामणि and in support of it, a simile or उपमा comparing the broken pieces of bamboos with the rays of the moon, is given. The word त्वक्षीर. may also be read as तवक्षीर which means arrow-root and is known in vernacular as तव्खीर. l. 9. The reading भासिनि may be preferred here as the stars are similar to the कुमुद flowers and they provide themselves as signs to determine the position of the tank. *[l. 10. रजनिपुरन्ध्रि ( वामनालङ्कार. IV. 3. 32.) ] l. 16. विशिखामुखेषु=at the commencement of public roads in the `cities. *[l. 18. वियति विसर्पतीव quoted in काव्यानुशासन of हेमचन्द्र. There we find जरठशरकाण्डविपाण्डुषु and हसतीव.] l. 22. Three ślokas from स्फटिकमणिघट इवेन्दुः etc. explain the portion शशिकलशपरिस्रुता ज्योत्स्ना which is the last part of the verse विशिखामुखेषु विसरति etc. आमपिधानम्=raw lid. Page. 75. ll. 3-8. The poet Surānanda, on this point, seems to follow Ānandavardhana whose views are already stated. This Surā- nanda belonged to the Yāyāvaragôtra to which Rājaśekhara belonged, as can be inferred from the verse contained in the Bāla- rāmāyaṇa and cited below. स मूर्तो यत्रासीद्गुणगण इवाकालजलदः सुरानन्दः सोऽपि श्रवणपुटपेयेन वचसा । नचान्ये गण्यन्ते तरलकविराजप्रभृतयः महाभागस्तस्मिन्नयमजनि यायावरकुले ॥ 1-13. He was in the court of the rulers of the Cedi country, and was probably a contemporary of king Raṇavigraha of Cedi (cir. 875-911 A. D. see Bhandārkar Report VI. p. xix.) There is a verse bearing on this point, in the Sūktimuktāvali and is attributed to Rājaśekhara :— नदीनां मेकलसुता नृपाणां रणविग्रहः । कवीनां च सुरानन्दश्चेदिमण्डलमण्डनम् ॥ p. 47. ( G. O. S. edition ).

228 EXPLANATORY NOTES The preamble 'तदाह' shows that the verse सरस्वती etc. is quoted from the work of Surānanda. Similar sentiments are also expressed in the Dhvanyāloka. cf. सरस्वती स्वादु तदर्थवस्तु निःष्यन्दमाना महतां कवीनाम् । अलोकसामान्यमभिव्यनक्ति प्रतिस्फुरन्तं प्रतिभाविशेषम् ॥ 1-6. Page. 76. *[ l. 4. अविरलमिव. ( मालतीमाधव III ) ]. l. 12. Anuprāsa and Atiśayokti are the two Alaṅkāras illus- trated in the two subsequent verses. *[ l. 13. जयन्ति बाणासुर ( कादम्बरी 2. )]. Page. 77. l. 3. In the first verse, the moon, reflected on several limbs of a lady, is described as adorning her with ornaments, while in the second verse the same moon, reflecting on her, is described as wor- shipping her because he was inferior to the beauty of her face. *[ l. 10. Read चन्द्रेण भाति रमणी रमणीय. l. 13. ताम्बूलवल्ली. (रघु. VI. 64)]. l. 17. युक्तयोगद:=one who is able to connect things appropriately. Page. 78. l. 4. Translate:—It seems to me that the poetical skill lies in the exact knowledge of the practices either to be given up or adopted from among the 32 kinds enumerated. *[ l. 7. शब्दार्थशासनविदः कति नो कवन्ते. cf. ध्वन्यालोक. 1. 7.] Adhyāya. XIV. Page. 78. ll. 14-25. Bhāmaha, Daṇḍin and Vāmana include the descriptions of अशास्त्रीय and अलौकिक things amongst the Doṣas or blemishes of a composition. Cf. देशकालकलालोकन्यायागमविरोधि च । प्रतिज्ञाहेतुदृष्टान्तहीनं दुष्टञ्च नेष्यते ॥ Bhāmaha. 4–2.

FOURTEENTH ADHYĀYA 229 देशकालकलालोकन्यायागमविरोधि च। इति दोषा दशैवैते वर्ज्याः काव्येषु सूरिभिः ॥ Daṇḍin. 4-3. देशकालस्वभावविरुद्धार्थानि लोकविरुद्धानि । कलाचतुर्वर्गशास्त्रविरुद्धार्थानि विद्याविरुद्धानि ॥ Vāmana. 2. 23, 24. Rājaśekhara, however, permits the use of अलौकिक and अशास्त्रीय descriptions, which he deals with in these three chapters and calls them as कविसमय. These varieties are, however, quite distinct from those included in the Doṣas by such earlier writers as Bhāmaha and others. Vāmana, for the first time, uses the word काव्यसमय in his 5-1 of the Kāvyālaṅkārasūtra and under this heading he instructs poets to observe certain rules in order that errors relating to grammar, metre and gender may not creep into their composition. The कविसमय explained by Rājaśekhara in these chapters seems to be different from Vāmana’s काव्यसमय also. Rājaśekhara seems here to indicate that though all the कविसमयs are generally against the Śāstras as well as usage, there are certain varieties which are worthy of being adopted; while there are others which are to be totally avoided. He intends saying that though his कविसमय seems to be लोकशास्त्रविरुद्ध, it is worthy of adoption in poetical composition because such things had actually existed either in early ages or in different parts of the world and also because earlier poets have adopted such descriptions in their works. Yet, another kind of descriptiou which is included amongst the Doṣas by Bhāmaha and others as अशास्त्रीय and अलौकिक should necessarily be avoided by poets, because in such cases the things described are purely imaginary and they neither existed at any time or at any place, nor such method as this was followed by any of the early poets. This is the real sense of the term Kavisamaya. Some dishonest poets, however, have used the same term in different ways so as to suit their own selfish ends. Rājaśekhara appears to be the first writer to deal with this subject exhaustively, and the later writers such as Hemacandra and others have borrowed freely from him; and in doing so they merely added some new verses as illustrations. Page. 79. *[The chapters XIV to XVIII are borrowed in काव्यानुशासनविवेक; दीर्घीकुर्वन् (मेघदूत 1. 30)].

230 EXPLANATORY NOTES l. 4. The words पद्म, उत्पल etc. are common nouns and, therefore, the meanings of these words are included in the group of जाति or genus. l. 6. Kālidāsa alludes here to the existence of lotus flowers in the river Śiprā. l. 10. In this verse, नीलोत्पल or the blue water-lily is described as blossoming in the river Ganges. *[ll. 11-13. मृदुभिरनिलवारैः, चारैः would be better; read व्यक्त- दत्ताङ्गपालीम्.] ll. 15-18. In this verse, one Keśava probably a king or a rich man, is eulogised as having done some wonderful thing for the Kuḍuṅgeśvara the presiding deity of Ujjaini. Here the river near Ujjaini is said to be full with swans and Sārasa birds. *[l. 16. For कुडुङ्गेश्वर in Ujjaini see प्रबन्धचिन्तामणि-सिद्धसेनप्रबन्ध. l. 20. स्वर्णस्फीति. स्फाति is the correct grammatical form]. ll. 19-22. नाग=serpents or elephants. चित्रपोत=young animals or boats. स्वर्ण=water or gold. जीमूतभर्ता=feeder of clouds or bearer of clouds. All these words having two meanings apply to both the ocean and the mountain described in this verse, which is in double entendre. Page. 80. ll. 3-4. The words मालती and जाति are synonyms. *[l. 5. यद्यपि चन्दनविटपी also is in शार्ङ्गधरपद्धति]. l. 12. खनाममुद्रा=सकरालयः. *[l. 21. तनुलग्ना (विद्धशालभञ्जिका. III. 6.)] ll. 21-22. The reading of this verse here, seems to be better than the reading of the printed edition of the Viddhasālabhañjikā as चरणचारपात्रमिव and वियदपि चालिकदघ्नम्. But the commentator of that work, adopted the readings as obtained in the printed edition while commenting upon this verse. *[l. 25. यच्छ्रादावित. Ibid III. 14; Mss. of काव्यानुशासनविवेक read शङ्कदावित.]

FOURTEENTH ADHYĀYA 231 ll. 25–26. The reading adopted in the Sarasvatīkaṇṭhābharaṇa is सद्यो द्रावित for यन्त्रद्रावित found here, and Bhoja commented upon that reading in the following manner. सद्यो द्रावितकेतकोदरदलस्रोतःसादृश्यादिसंभवादियं संभवभणितिः. But Nārāyaṇa, the commentator on the Viddhasālabhañjikā, commented upon this reading somewhat differently as: यन्त्रेण तैलेक्षुरस- निष्कासनार्थे सम्पादितदारुशिलादिनिर्मितोपकरणविशेषेण द्रावितानि etc. Page. 81. *[ l. 1. उत्सेच्या. उत्सेक्या is the correct grammatical form. ] l. 1. Read उत्सेक्या instead of उत्सेच्या. *[ l. 13. न्यस्ताक्षरा. (कुमार. I) ] l. 17. प्रकीर्णकद्रव्यकविसमय=the Kavisamaya under the misce- llaneous section. *[ l. 19. In शेतां हरिः read विवदामहे instead of विविदामहे and दूरदूरस-पयाः for दूर दूर सपयास्तृषितस्य. ] ll. 19–22. The first half of this verse alludes to the ocean of milk, while the second refers to the ocean of salt. It is, therefore, evident that poets do not differentiate generally between the two oceans. The word दूर means अत्यन्त just as दूरविलम्बिनो घनाः । दूरदूरसपयाः=दूरं अत्यन्तं, दूरसं नीरसं पयः यस्य सः The last line of the verse may be construed as :— स त्वं कूपपयसः मरोः ( पञ्चमी ) किं न जघन्यः ? । and translated thus : "Are you not inferior to the desert where the wells supply water for drinking purposes." Page. 82. l. 8. Reading अवस्रंसः may be adopted here in consonance with the statement contained in the verse त्वद्विप्रयोगे किरणैस्तथा etc. There it is said that the S'ephālikā trees let fall their flowers in the presence of the moon, as if to complain to the moon with drops of tears against the cruel treatment of the sun they receive during the day. The line सतोऽपि कियार्थस्यानिबन्धनम् may be interpreted in the following manner :—

232 EXPLANATORY NOTES सतोऽपि क्रियार्थस्य=though S'ephālikā flowers do fall during the day also; अनिबन्धनम्=they are not, however, described as falling during the day. Cf. :—पतितसुमनसः सन्ति शेफालिकाश्च Kāvyamīmāṁsā p. 41, l. 17. and न विना चन्द्रं शेफालिकाया विकसन्ति कुसुमानि । Viddhasālabhañjikā 2. 19. Hemacandra’s Kāvyānuśāsana reads : (p. 11.) क्रियाया यथा—दिवा नीलोत्पलानां विकासस्य, निशानिमित्तस्य शेफालिकाकुसुमानां विस्रंसस्य. Here the word दिवा may be construed with विकास and विस्रंस. During the day both नीलोत्पलविकास and शेफालिकाविस्रंस are not described. *[l. 21. मण्डलीकृत्य attributed to दण्डि ]. l. 21. मण्डलीकृत्य etc. see Kāvyādarśa. (1-70). Adhyāya XV. Page. 83. *[ l. 13. MSS. of काव्यानुशासनविवेक read प्रतिदिशमिव; ] l. 13. The reading प्रतिदिशमिव is better than प्रतिदिनमिव. *[ l. 14. उत्खातनिर्मल० seems to be from हयग्रीववध of मेण्ठ. ] l. 20. भौम=Narakāsura, the son of the earth-goddess. Page. 84. *[ l. 2. द्योतितान्तःसभैः (माघ. II. 7.) l. 17. पुष्पं प्रवालोपहितं (कुमार. 1. 44.) l. 27. Read उभयतटचलाबद्धवानीरहाराम् । ] l. 27. वर्णा may be read as वेण्णाम्. Page. 85. l. 3. कृष्णहरितयोरैक्य is explained here in the line : मरकतसदृशं च यामुनम् । The colour of मरकत is हरित and the colour of the water of the river Yamunā is said to be black or कृष्ण. l. 7. The similarity of कृष्ण and श्याम colours, is shown by the word श्यामनिशासु । l. 12. The word विमलविद्रुमभासा explains the similarity between पीत and रक्त.

SIXTEENTH ADHYĀYA 283 *[ l. 13. लेखया (किरात. IX. 22.). l. 15. कैलासगौरम् (रघु. II. 25.) ] l. 15. The word कैलासगौरम् illustrates here the similarity between शुक्ल and गौर. l. 22. Both the words वीङ्खा and प्रेङ्खा mean 'moving'. वीङ्खां मुहु प्रेङ्खति may be considered as a better reading. *[ l. 25. अथ पथि (रघु. IX. 93.). Page. 86. *[ l. 1. पादन्यास. मेघदूत. 1. 36. l. 5. तामुत्तीर्य (मेघदूत. 1. 47.) ] Adhyāya XVI. l. 12. The varieties of Kavisamaya mentioned above relating to the terrestrial things may equally be applied to celestial things. But some special features of स्वर्ग्यकविसमय are treated in this chapter. *[ l. 18. अङ्काधिरोपित. (माघ. II. 53.). l. 14. मा भै: in वामनीयालङ्कार. 3. 2. 7. ] ll. 14–19. In the first verse, a lady is represented as speaking to the quivering image of the moon reflected in the glass of wine held in her hand. Here, the moon is called शशाङ्क or one having a black spot resembling the form of a hare. In the second verse the same black spot of the moon is compared to a deer. l. 26. केलिप्रकाश seems to be a proper name. It may also be taken to mean as केलिषु प्रकाश='brilliant in sports.' Page. 87. ll. 1–4. In this verse, the army of Yādavas is said to carry banners with the fish-sign because प्रद्युम्न, the son of Kṛṣṇa and the chief of the Yādava army, was an incarnation of मन्मथ and therefore is known as मत्स्यकेतन. This verse seems to be the reply of a warrior, very probably भीमसेन, who was asked to enter the army of the Kauravas in the Mahābhārata war where the Yādavas and Droṇa were protecting the Sindhunātha alias Jayadratha.

234 EXPLANATORY NOTES Construe:—आपातमारुतविलोड़ितसिन्धुनाथः हात्कारभीतपरिवर्तितमत्स्यचिह्नं याद- वमहोदधिभीमवेलामुल्लङ्घ्य पवनसूनुरिव द्रोणाचलमुद्धरामि। Here the two words सिन्धुनाथः and द्रोणाचलम् have double signi- fication. *[l. 6. After the verse वन्ध्या, MSS. of काव्यानुशासनविवेक add— यथाच-यदिन्दोरन्वेति व्यसनमुदयं वा निधिरपा- मुपाधिस्तत्रायं जयति जनिकर्तुः प्रकृतिता । अयं कस्संबन्धो यदनुहरते तस्य कुमुदः विशुद्धाः शुद्धानां ध्रुवमनभिसन्धिप्रणयिनः ॥ ] ll. 5–13. All MSS of this work cite only the first verse वन्ध्या विश्वसृजः etc. to illustrate this Kavisamaya. Hemacandra who borrows all these chapters in the same order as found here in his Kāvyānuśāsanaviveka, includes the second verse यदिन्दोरन्वेति etc. also. This verse is quoted from the Anargharāghava of Murāri. It appears from this that Murāri, the author of the Anargha- rāghava may be placed before Rājaśekhara (cir. 900 A. D.) on the strength of this quotation from his work. It is worth remembering in this connection that Murāri is supposed to have flourished before 850 A. D. on the doubtful testimony of a verse in the Haravijaya of Ratnākara. The verse in question runs thus :— अङ्के कुनाटक इवोत्तमनायकस्य नाशं कविर्व्यधित यस्य मुरारिरित्थम् । आक्रान्तकृत्स्नभुवनः क्व गतः स दैत्य- नाथो हिरण्यकशिपुः सह बन्धुवर्गैः ॥ 38-68. Although the words मुरारि, नाटक, कविः etc. do clearly refer to the poet Murāri the author of the Anargharāghava drama, yet the event mentioned in the verse does not agree with the theme as found in the drama Anargharāghava, because Rāma, the hero is not stated there as being killed in any of the Aṅkas as required by this verse. It is, therefore, difficult to take the words मुरारि etc. in the verse to represent the author of the Anargharāghava. The construction of this verse of Ratnākara may, therefore, be taken thus :— कविः कुनाटके अङ्के उत्तमनायकस्य नाशमिव मुरारिरित्थं यस्य नाशं व्यधित सः आक्रान्त- कृत्स्नभुवनः दैत्यनाथः हिरण्यकशिपुः सह बन्धुवर्गैः क्व गतः ॥

SIXTEENTH ADHYĀYA 235 It may also be pointed out, here, that the present context is not complete unless this verse is accepted as a genuine part of the Kāvyamīmāmsā. Because the verse वन्द्या विश्वसृजः etc. relates only to the moon born from the eye of अत्रि and not to the moon born from the ocean as required by the statement अत्रिनेत्रसमुद्रोत्पन्नयोरैक्यम्. But the second verse यदिन्दोरन्वेति etc. refers to the moon born from the ocean and thus both the verses together illustrate this कविसमय. The verse यदिन्दोः etc., therefore, is a genuine part of the work. Relying upon the accuracy of Hemacandra in quoting these chapters of the Kāvyamīmāmsā which is amply borne out by other instances such as in line 19 of this page as कामस्य मूर्तत्वममूर्तत्वञ्च, this verse also may be taken as a genuine quotation made by Rājaśekhara from the Anargharāghava of Murāri. *[ l. 14. Read बहुकालजन्मनोऽपि शिवचन्द्रमसो बालत्वम् । l. 19. MSS of काव्यानुशासन read कामस्य मूर्तत्वममूर्तत्वञ्च यथा । l. 20. अयं स found in प्रबन्धचिन्तामणि; l. 24. धनुर्माला attributed to घण्टक in सुभाषितावलि; separate मनो and मेयम्; शब्दप्रभृतयः seems better reading. ] l. 25. Construe as :—अबलामनः भेयं लक्ष्यम्. Page. 88. *[ l. 2. यस्याधोधः attributed to राजशेखर in कवीन्द्रवचनसमुच्चय and in सदुक्तिकर्णामृत; and to चन्द्रक in सूक्तिमुक्तावली. l. 7. येन ध्वस्तमनोभवेन attributed to भारवि. For the meaning see ध्वन्यालोक; ] ll. 7–10. For the meaning of the verse येन ध्वस्तमनोभवेन etc. see also Sarasvatīkaṇṭhābharaṇa. p. 166 ( N. S. edition ). Reading सोव्यादिष्टभुजङ्गहारवलयः as found in C. MS. is correct. In the case of उमाधव construe as :—इष्टानि भुजङ्गा एव हारा वलयानि च यस्य सः । In the case of माधव, इष्टः भुजङ्गहा (गरुडः) यस्य सः; रवे शब्दब्रह्मणि लयो यस्य सः. Here Nārāyaṇa and Mādhava are described as one and the same. ll. 12–15. Construe as :—दोर्भ्यां मन्दं ईरितः मन्दरः येन सः । In the first half of this verse दामोदर and कूर्म are described as identical, and in the second half the identity of Lakṣmī with wealth and earth is described.

236 EXPLANATORY NOTES l. 17. Sarasvatīkaṇṭhābharaṇa reads त्वं नागराज instead of हे नागराज. *[ l. 19. Read सोढाऽविषह्यवृषवाहनयोगलीलापर्यङ्कबन्धनविधेस्तव । quoted in सरस्वतीकण्ठाभरण II. l. 24. जयन्ति बाणासुर. कादम्बरी. 2.] Page. 89.

• [ अस्ति दैत्यो. first verse of हयग्रीववध of भर्तृमेण्ठ, दानवाधिपते and महासु- रसमाजेऽस्मिन् seem to be from the same work. One more verse विनिर्गतं मानद. is quoted in काव्यप्रकाश. कविसमय of वामन is different from that of राजशेखर. The following quotations will explain the कविसमय and show how far the later writers of कविशिक्षा were indebted to राजशेखर for this. कवीनां समयस्त्रेधा निबन्धोऽप्यसतस्सतः । अनिबन्धस्स जात्यादेर्नियमेन समासतः ॥ असतोऽपि निबन्धो यथा— गिरौ रत्नादि हंसादि स्तोकपद्माकरादिषु । नीरेभार्थं खगङ्गायां जलजाद्यं नदीष्वपि ॥ तमसः सूचिभेद्यत्वं मुष्टिग्राह्यत्वमुच्यते । अञ्जलिग्राह्यता चन्द्रत्विषः कुम्भोपवाह्यता ॥ प्रतापे रक्ततोष्णत्वे कीर्त्तौ हंसादिशुभ्रता । कृष्णत्वमपकीर्त्यादौ रक्तत्वं कोपरागयोः ॥ चतुष्ट(ष्क)त्वं समुद्रस्य वियोगः कोकयोर्निशि । चकोराणां सुराणां च ज्योत्स्नावासो निगद्यते ॥ रमायाः पद्मवासित्वं राज्ञो वक्षसि च स्थितिः । समुद्रमथनं तत्र सुरेन्ध्रीसमुद्भवः ॥ सतोऽप्यनिबन्धो यथा— चन्दने फलपुष्पे च सुरभौ मालतीसुमम् । शुक्ले पक्षे तमोऽशुक्ले ज्योत्स्ना फलमशोकके ॥ रक्तिमा कामिदन्तेषु हरितत्वं च कुन्दके । दिवा निशोत्पलाब्जानां विकासित्वं न वर्ण्यताम् ॥ नियमेन निबन्धो यथा— सामान्येन तु धावल्यं पत्रपुष्पाम्बुवाससाम् । चन्दनं मलयेष्वेव मधावेव पिकध्वनिम् ॥ अम्बुदाम्बुधिकाकाहिकेशभृङ्गेषु कृष्णताम् । बिम्बबन्धूकनीरेषु सूर्यबिम्बे च रक्तताम् ॥