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

XXX INTRODUCTION. forefathers.¹ Akālajalada his great-grandfather was famous for his poetical gems.² His verses were plagiarized by Kādambarīrāma in his drama.³ Surānanda, Tarala and Kavirāja also belonged to this family. Surānanda seems to have been famous at the court of Chedi.⁴ It appears from his opinion quoted in the Kāvya- mīmāṁsā that he had written some work on poetics. ⁵Tarala was also a poet of some eminence. Nothing is known about Kavirāja. Rājaśekhara's father Durduka or Duhika was a great minister (Mahāmantrī), and his mother's name was Śīlavatī. Rājaśekhara's caste. We have seen that Rājaśekhara belonged to the Yāyāvara family, but it is not clear whether he was a Brāhmaṇa or a Kshatriya. His position as the Upādhyāya of King Mahendrapāla speaks in favour of his being a Brāhmaṇa; while the name Rājaśekhara and the fact that his wife was of the Chahuāna⁶ family may lead one to think that he was a Kshatriya. Rājaśekhara not a Sectarian. As the author of the Haravilāsa, Rājaśekhara might be regarded to have been a staunch Śaiva, but from the quotations in the Kāvyamīmāṁsā⁷ in praise of Vishṇu, it seems that he was not a sectarian. On the other hand, from the Maṅgala verse of the Haravilāsa, it is clear that he believed जडेन तेनोदयसुन्दरीति कथा दुरालोकिनि काव्यमार्गे । सारस्वतालोकलबैकदृष्ट्या सृष्टा कविम्मन्यमनोरथेन ॥ सा चात्र देवीभवने निवृत्तशापार्तिना बाणकवीश्वरेण । कविश्रमोद्धूतकृपेण सम्यक् श्रुता धृता हृद्यभिनन्दिता च ॥ वागीश्वरं हन्त भजेऽभिनन्दमर्थेश्वरं वाक्पतिराजमीडे । रसेश्वरं स्तौमि च कालिदासं बाणं तु सर्वेश्वरमानतोऽस्मि ॥ 8th Uchchhvāsa. 1 स मूर्तो यत्रासीद्गुणगण इवाकालजलदः सुरानन्दः सोऽपि श्रवणपुटपेयेन वचसा । न चान्ये गण्यन्ते तरलकविराजप्रभृतयो महाभागस्तस्मिन्नयमजनि यायावरकुले ॥ Bālarāmāyaṇa I, 13. 2 अकालजलदेन्दोः सा हृद्या वचनचन्द्रिका । नित्यं कविचकोरैर्य्या पीयते न च हीयते ॥ Rājaśekhara quoted in the Sūktimuktāvalī. 3 अकालजलदश्लोकैश्चित्रमात्मकृतैरिव । जातः कादम्बरीरामो नाटके प्रवरः कविः ॥ Ibid. 4 नदीनां मेकलसुता नृपाणां रणविग्रहः । कवीनां च सुरानन्दश्चेदिमण्डलमण्डनम् ॥ Ibid. 5 यायावरकुलश्रेणेर्हारस्यैष मण्डनम् । सुवर्णवर्णरुचिरस्तरुलस्तरलो यथा ॥ Ibid. 6 चाहुआणकुलमोलिमालिआ राजसेहरइन्दगेहिणी । भत्तुणो कइमवन्दिसुन्दरी सा पउञ्जयिदुमेअमिच्छइ ॥ Karp. 1, 11. 7 pp. 42, 43.

INTRODUCTION. XXXI in the unity of the three godheads. It appears from the ¹Yaśas- tilaka Champū of Somadeva that in Rājaśekhara's works honour was done even to Jinās when occasion arose. His wife an accomplished lady. Rājaśekhara quotes thrice² in the Kāvyamīmāṁsā the opinion of his wife Avantīsundarī. It would thus appear that she had composed some work on rhetorics. The Karpūramañjarī was also first acted at her desire. Rājaś'ekhara's date. It is understood from the prologues of Rājaśekhara's dramas that he was the Upādhyāya of Mahēndra- pāla, king of Kanouj, and was also patronized by his son and successor Mahīpāla. The Siydoni inscription tells us that king Mahēndrapāla was reigning in 903 and 907 A. D. and Mahīpāla in 917 A. D. (Epigraphia Indica Vol. I, p. 171). Independent of his references to king Mahēndrapāla of Kanouj in his works, we can fix his date from other sources too. He quotes in the Kāvyamīmāṁsā Vākpatirāja,³ the author of Gauḍavaho, and also Udbhaṭa⁴ who was the Sabhāpati of Jayāpīḍa, king of Kashmir, who reigned from 779 to 813 A. D., and quotes Ānandavardhana⁵ who flourished in the reign of Avantivarmā of Kashmir (857-884 A. D.). Rāja- śekhara is also referred to by Somadēva in the Yaśastilaka Champū which was completed in 960 A. D. and praised by Soṭṭala who flourished about 990 A. D. From this we can conclude that Rājaśekhara lived about 880-920 A. D. 1 तथा उर्व्वभारविभवभूतिभर्तृहरिभर्तृमेण्ठकण्ठगुणाढ्यव्यासभासवासोस्कालिदासबाणमयूरनारायण- कुमारमाधराजशेखरप्रदिमहाकविकाव्येषु, तत्र तत्रावसरे भरतप्रणीते काव्याध्याये, सर्वजनप्रसिद्धेषु तेषु तेषूपाख्यानेषु च कथं, तद्विषया महती प्रसिद्धिः । ( 4th Ās'vāsa, pt. II, p. 113. 2 "इयमशक्तिर्न पुनः पाकः" इत्यवन्तिसुन्दरी । p. 20 "विदग्धभणितिनिवेशं वस्तुनो रूपं न नियतस्वभावम्" इति अवन्तिसुन्दरी । तदाह- 'वस्तुस्वभावोऽत्र कवेरतन्त्रो गुणागुणावुक्तिवशेन काव्ये । स्तुवन्निबध्नात्यमृतांशुमिन्दुं निन्दंस्तु दोषाकरमाह धूर्तः ॥' p. 46. "अयमप्रसिद्धः प्रसिद्धिम्रानहम्, अयमप्रतिष्ठः प्रतिष्ठावानहम्, अप्रक्रान्तमिदमस्य संविधानकं प्रक्रान्तं मम, गुडूचीवचनोऽयं मृद्वीकावचनोऽहम्, अनादृतभाषाविशेषोऽयम् अहमादृतभाषाविशेषः, प्रशान्तशातृकमिदम्, देशान्तरितकर्तृकमिदम्' उत्सन्ननिबन्धनमूलमिदम्, म्लेच्छितकथानिबन्धनमिदमित्येवमादिभिः कारणैः शब्दहरणे अर्थहरणे चाभिरमेत" इति अवन्तिसुन्दरी । p. 57 3 "न" इति बाक्पतिराजः p. 62. 4 "तस्य च त्रिधाऽभिधाव्यापारः" इत्यौद्भटः pp. 22 and 44. 5 "प्रतिभाम्युत्पत्त्योः प्रतिभा श्रेयसी" इत्यानन्दः p. 16.

Rājaśekhara a Kavirāja. Rājaśekhara calls himself not a Mahākavi, but a Kavirāja.¹ According to the Kāvyamīmāṁsā there are ten² stages of poetical skill. The sixth is that of a Mahākavi³ and the seventh that of a Kavirāja. Kavirāja is defined⁴ as one who is unrestrained in various languages, various sorts of poetical compositions and various sentiments. Thus a Kavirāja is one stage further than a Mahākavi and Kavirājas are rare.⁵ The sequence of Rājaśekhara's known works and his undiscovered works. From the Karpūramañjarī 1-9, it is understood that Rājaśekhara began his literary career as a Bāla- kavi, so called from his Bālarāmāyaṇa and Bālabhārata. It is thus evident that these two dramas are his early productions; so also Viddhaśālabhañjikā. The Karpūramañjarī and the Kāvya- mīmāṁsā are his later productions, as by this time he had achieved fame as a Kavirāja. Verses from his three Saṁskṛita dramas are found quoted in the Kāvyamīmāṁsā. Hemachandra in his ⁶Kāvyānuśāsanaviveka (page 335) gives the example of Rājaśekhara's Haravilāsa as a poem bearing the name of its author. The same author quotes two verses from Haravilāsa both evidently from the first canto. The first⁷ is the benedictory verse of the poem, while the second⁸ pertains to the description of the bad and the good. ⁹Ujjvaladatta also quotes one half of a verse from the Haravilāsa. This Haravilāsa, a Mahāprabandha, must have been his 1 बालकई कइराओ ( Karpūramañjarī I. 9 ). 2 दश च कवेरवस्था भवन्ति ( p. 19 ). 3 योऽन्यतमप्रवीणः स महाकविः ( p. 19 ). 4 यस्तु तत्र तत्र भाषाविशेषेषु, तेषु तेषु प्रबन्धेषु, तस्मिंस्तस्मिंश्च रसे स्वतन्त्रः स कविराजः ( p. 19 ). 5 ते यदि जगत्यपि कतिपये ( p. 19 ). 6 स्वनामाङ्किता यथा राजशेखरस्य हरविलासे 7 आशीर्यथा हरविलासे— ओमित्येकाक्षरं ब्रह्म श्रुतीनां मुखमक्षरम् । प्रसीदतु सतां स्वान्तेष्वेकं त्रिपुरुषीमयम् ॥ 8 सुजनदुर्जनस्वरूपं यथा हरविलासे— इतस्ततो भषन्भूरि न पतेत्पिशुनः शुनः । अवदाततया किञ्च न भेदो हंसतः सतः ॥ 9 दशाननक्षिप्तखुरप्रखण्डितः कचिद्गतार्धो हरदीधितिर्यथा । इति हरविलासे. ii-28.

mature production as a Kavirāja. Here either in the first or the last canto, but most probably in the first, may be found apprecia- tory verses about poets (Viśeshakavipraśaṁsā) quoted in Jahlaṇa's Sūktimuktāvalī. Generally the poet's family-history and praise of old poets are given in Ākhyāyikās and Kathās such as the Harsha- charitra, the Tilakamañjarī and the Udayasundarī; but references to old poets are also made in the Mahākāvyas. Maṅkhaka in his Śrīkaṇṭhacharita refers to old and contemporary poets and Some- śvara in the first canto of his Kīrtikaumudī eulogizes old poets. This practice of eulogizing the old poets in the beginning of a poem is also found in Prākṛita poems of the 12th century e. g. in the Śāntināthacharita of Devachandra, Guru of the great Hema- chandra. Some say that Rājaśekhara wrote a work named Kavi- vimarśa, wherein are to be found the appreciatory verses attributed to him in the Sūktimuktāvalī; but it does not seem probable that Rājaśekhara, should ever have written any such work when he had composed such a large work as the Kāvyamīmāṁsā with 18 Adhi- karaṇas. It was conjectured that the appreciatory verses may occur in the Kāvyamīmāṁsā; but these verses do not occur in the first Adhikaraṇa, nor is there possibility of their being found in other Adhikaraṇas, as the first Adhikaraṇa alone, judging from the contents of the whole work, seems to contain such matter. Besides the Haravilāsa, Rājaśekhara composed a work, named Bhuvanakośa, on the world's geography. At the end of the 17th chapter of the Kāvyamīmāṁsā he refers the reader to this work¹ for detailed in- formation about the world's geography. Ujjvaladatta quotes a line from Rājaśekhara about synonyms² of Śiva. This may be found either in the Haravilāsa or in some unknown lexicon of Rājaśekhara. It will thus appear that Rājaśekhara was an extensive writer and might have written more works than those hitherto known. The present work only the first part of the Kāvya- mīmāṁsā. From the first chapter Śāstrasaṁgraha, we understand 1 इत्थं देशविभागो मुद्रामात्रेण सूत्रितः सुधियाम् । यस्तु जिगीषत्यधिकं पश्यतु मद्भूवनकोशमसौ । p. 98. 2 चण्डीकान्तो भगोली च लेलिहानो वृषध्वजः । ( ii-76 ) 5

XXIV INTRODUCTOIN. that the author planned a very large work; but unfortunately only the first Adhikaraṇa is hitherto available. From remarks like रीतयस्तु तिस्रस्तास्तु पुरस्तात् (p. 10, l. 5), तमौपनिषदिके वक्ष्यामः (p. 11, l. 10), it is clear that he had in his mind the execution of the whole work planned out in the first chapter. Whether he succeeded in this and composed the whole work, we have no sufficient data to determine. Alaṅkāraśekhara¹, however, has quoted 2 verses from Rājaśekhara. The verses, if they really belong to our author, may have been taken from the उभयालंकारिक Adhikaraṇa of the Kāvya- mīmāṁsā. The same work also quotes another verse² which seems to be in the वैनोदिक Adhikaraṇa. The style of the Kāvyamīmāṁsā. As the work is some- what on the lines of a Sūtra-work, like Kauṭilya's Arthaśāstra and Vātsyāyana's Kāmasūtra, its style is also more or less aphorism- like; and it is no wonder that it is terse and vigorous, charming and pleasing to the ears. The passages and phrases borrowed from the Arthaśāstra and the Kāmasūtra will be referred to in the notes. The Kāvyamīmāṁsā and later writers on rhetorics. It will be easily seen that Hemachandra has borrowed about one fourth of the present work in his Kāvyānuśāsanaviveka. Chapter 17th and 18th are verbally copied with slight changes in the order. Vāgbhaṭa, son of Nemikumāra, has also borrowed the same por- tion in the 1st and 5th chapter of his Kāvyānuśāsana from Hemachandra with some changes, substituting his own verses in some places. Later writers of Kaviśikṣās, like Kshemendra, Amara, Vinayachandra and Deveśvara, seem to have been indebt- ed to the Kāvyamīmāṁsā for some of the topics treated in their 1 तदाह राजशेखरः— समानमधिकं न्यूनं सजातीयं विरोधि च । सकुल्यं सोदरं कल्पमित्याद्याः साम्यवाचकाः ॥ अलङ्कारशिरोरत्नं सर्वस्वं काव्यसम्पदाम् । उपमा कविवंशस्य मातैवेति मतिर्मम ॥ अलङ्कारशेखरे—एकादशे मरीचौ. 2 उत्पाटितैर्नभोभीतैः शैलैरामूलबन्धनात् । तांस्तानर्थान् समालोक्य समस्यां पूरयेत्कविः ॥ अलङ्कारशेखरे—एकोनविंशे मरीचौ.

INTRODUCTION, XXXV works. The author of the Sarasvatī-kaṇṭhābharaṇa has quoted a few verses, which are found only in the Kāvyamīmāṁsā, and the commentator, Ratneśvara, refers one verse to the Kāvyamīmāṁsā. By the bye, it may be mentioned that the name of the Kāvya- mīmāṁsākāra occurs in Śaṅkara's commentary (Rasachandrikā) on the Śākuntala. The origin and the promulgation of poetics. Like other Śāstrakārās our author attributes the origin of poetics to the Supreme Being and the celestials. Śrīkaṇṭha taught this science to Parameshṭhi, Vaikuṇṭha and others of his sixty-four pupils. The self-born God imparted it to His will-born pupils. Among these was Kāvyapurusha, born of Sarasvatī. Prajāpati set him to promulgate this science in the three worlds. He taught this to his divine pupils in 18 Adhikaraṇas. Of these, Sahasrāksha and other 17 pupils composed separate treatises on the portions learnt by them. On account of these separate treatises, the science was to some extent lost. The whole, therefore, has been abridged by our author and set forth in one book in 18 Adhikaraṇas. The position of poetics in literature. Our author claims a high position for poetical science both in sacred and in profane literature. Rhetorics, says Rājaśekhara, is the seventh Aṅga, as without it the meanings¹ of the Vedic texts cannot be grasped. In another place he puts literature by the side of the four profane sciences, saying that it is the fifth² lore, and makes it the fifteenth division of learning embodying all others. The Kāvyapurusha. The idea of the Kāvyapurusha and his bride Sāhityavidyāvadhū is quite novel in Saṁskṛita literature. It seems to have been suggested by the Vedapurusha in the Ṛig- veda, and the Vedic text "चत्वारि शृङ्गाः—" has been made to praise the Kāvyapurusha. The Goddess of Learning was practising penance 1 “उपकारकत्वादलङ्कारः सप्तममङ्गम्” इति यायावरीयः। ऋते च तत्स्वरूपपरिज्ञानाद्वेदार्थानव- गतिः ॥ p. 3. 2 “पञ्चमी साहित्यविद्या” इति यायावरीयः । “सकलविद्यास्थानैकायतनं पञ्चदशं काव्यं विद्या- स्थानम्” इति यायावरीयः । p. 4.

XXXIV INTRODUCTOIN. that the author planned a very large work; but unfortunately only the first Adhikaraṇa is hitherto available. From remarks like रीतयस्तु तिस्रस्तास्तु पुरस्तात् (p. 10, l. 5), तमौपनिषदिके वक्ष्यामः (p. 11, l. 10), it is clear that he had in his mind the execution of the whole work planned out in the first chapter. Whether he succeeded in this and composed the whole work, we have no sufficient data to determine. Alaṅkāraśekhara¹, however, has quoted 2 verses from Rājaśekhara. The verses, if they really belong to our author, may have been taken from the उभयालंकारिक Adhikaraṇa of the Kāvya- mīmāṁsā. The same work also quotes another verse² which seems to be in the वैनोदिक Adhikaraṇa. The style of the Kāvyamīmāṁsā. As the work is some- what on the lines of a Sūtra-work, like Kautilya's Arthaśāstra and Vātsyāyana's Kāmasūtra, its style is also more or less aphorism- like; and it is no wonder that it is terse and vigorous, charming and pleasing to the ears. The passages and phrases borrowed from the Arthaśāstra and the Kāmasūtra will be referred to in the notes. The Kāvyamīmāṁsā and later writers on rhetorics. It will be easily seen that Hemachandra has borrowed about one fourth of the present work in his Kāvyānuśāsanaviveka. Chapter 17th and 18th are verbally copied with slight changes in the order. Vāgbhaṭa, son of Nemikumāra, has also borrowed the same por- tion in the 1st and 5th chapter of his Kāvyānuśāsana from Hemachandra with some changes, substituting his own verses in some places. Later writers of Kaviśikshās, like Kshemendra, Amara, Vinayachandra and Deveśvara, seem to have been indebt- ed to the Kāvyamīmāṁsā for some of the topics treated in their 1 तदाह राजशेखरः— समानमधिकं न्यूनं सजातीयं विरोधि च । सकुल्यं सोदरं कल्पमित्याद्याः साम्यवाचकाः ॥ अलङ्कारशिरोरत्नं सर्वस्वं काव्यसम्पदाम् । उपमा कविवंशस्य मातैवेति मतिर्मम ॥ अलङ्कारशेखरे—एकादशे मरीचौ. 2 उत्पादितैर्नभोभीतैः शैलैरामूलबन्धनात् । तांस्तानर्थान् समालोक्य समस्यां पूरयेत्कविः ॥ अलङ्कारशेखरे—एकोनविंशे मरीचौ.

INTRODUCTION. XXXV works. The author of the Sarasvatī-kaṇṭhābharaṇa has quoted a few verses, which are found only in the Kāvyamīmāṁsā, and the commentator, Ratneśvara, refers one verse to the Kāvyamīmāṁsā. By the bye, it may be mentioned that the name of the Kāvya- mīmāṁsākāra occurs in Śaṅkara's commentary (Rasachandrikā) on the Śākuntala. The origin and the promulgation of poetics. Like other Śāstrakārās our author attributes the origin of poetics to the Supreme Being and the celestials. Śrīkaṇṭha taught this science to Parameshṭhi, Vaikuṇṭha and others of his sixty-four pupils. The self-born God imparted it to His will-born pupils. Among these was Kāvyapurusha, born of Sarasvatī. Prajāpati set him to promulgate this science in the three worlds. He taught this to his divine pupils in 18 Adhikaraṇas. Of these, Sahasrāksha and other 17 pupils composed separate treatises on the portions learnt by them. On account of these separate treatises, the science was to some extent lost. The whole, therefore, has been abridged by our author and set forth in one book in 18 Adhikaraṇas. The position of poetics in literature. Our author claims a high position for poetical science both in sacred and in profane literature. Rhetorics, says Rājaśekhara, is the seventh Aṅga, as without it the meanings¹ of the Vedic texts cannot be grasped. In another place he puts literature by the side of the four profane sciences, saying that it is the fifth² lore, and makes it the fifteenth division of learning embodying all others. The Kāvyapurusha. The idea of the Kāvyapurusha and his bride Sāhityavidyāvadhū is quite novel in Saṁskṛita literature. It seems to have been suggested by the Vedapurusha in the Rig- veda, and the Vedic text "चत्वारि शृङ्गाः—" has been made to praise the Kāvyapurusha. The Goddess of Learning was practising penance 1 "उपकारकत्वादलङ्कारः सप्तममङ्गम्" इति यायावरीयः । ऋते च तत्स्वरूपपरिज्ञानाद्वेदार्थानव- गतिः ॥ p. 3. 2 "पञ्चमी साहित्यविद्या" इति यायावरीयः । "सकलविद्यास्थानैकायतं पञ्चदशं काव्यं विद्या- स्थानम्" इति यायावरीयः । p. 4.

XXXVI INTRODUCTION. on the Himālayas with the desire of having a son. Pleased with her penance, Brahmā gave her a son, afterwards called the Kāvya- purusha. It was from him that metrical speech first originated. Word and meaning make up his body, the different languages his limbs. Sentiment is his soul, and figures of speech are his orna- ments. Once upon a time, while Sarasvatī was going to the celes- tial assembly as a judge, the Kāvyapurusha persisted in following her. In order to prevent him, Bhavānī created Sāhityavidyā- vadhū as his bride and asked her to follow him. The bride had to adopt various sorts of dress and dramatic devices to win him. The Kāvyapurusha was gradually captivated by her, and at the end of the journey, he was wholly won over. The pair was then married in Vatsagulma by the Gāndharva marriage. The different kinds of dress and the dramatic modes adopted by Sāhityavidyāvadhū in different countries are imitated by the people of those parts. The literary court of a king-poet.¹ The king-poet should have a special chamber for testing literary compositions. The chamber should have sixteen pillars, four doors and eight turrets. The pleasure-house should be attached to this chamber. In the middle of the chamber there should be an altar one hand high with four pillars and jewelled floor. Here the king should take his seat. On its northern side should be seated Sanskrit poets and behind them Vaidikās, logicians, Paurānikās, Smārtās, physicians, astrologers and such others ; on the eastern side the Prākṛita poets, and behind them actors, dancers, singers musicians, bards and such others ; on the western side the vernacular poets and behind them painters, jewel-setters, jewellers, goldsmiths, carpenters, blacksmiths and such others ; and on the southern side Paiśācha 1 राजा कविः कविसमाजं विदधीत । राजनि कवौ सर्वो लोकः कविः स्यात् । स काव्यपरीक्षायै सभां कारयेत् । सा षोडशभिः स्तम्भैश्चतुर्भिर्द्वारैरष्टभिर्मत्तवारणीभिरुपेता स्यात् । तदनुलग्नं राज्ञः केलिगृहम् । मध्येसभां चतुःस्तम्भान्तरा हस्तमात्रोत्सेधा समणिभूमिका वेदिका । तस्यां राजासनम् । तस्य चोत्तरतः संस्कृताः कवयो निविशेरन् । बहुभाषाकवित्वे यो यत्राधिकं प्रवीणः स तेन व्यपदिश्यते । यस्त्वनेकत्र प्रवीणः स सङ्क्रम्य तत्र तत्रोपविशेत् । ततः परं वेदविद्याविदः प्रामाणिकाः पौराणिकाः स्मार्त्ता भिषजो मौहूर्तिका अन्येऽपि तथा- विधाः । पूर्वेण प्राकृताः कवयः; ततः परं नटनर्तकगायनवादकवाग्जीवनकुशीलवतालान्वचरा अन्येऽपि तथा- विधाः । पश्चिमेनापभ्रंशिनः कवयः; ततः परं चित्रलेप्यकृतो माणिक्यबन्धका वैकटिकाः स्वर्णकारवर्धकिलोहकारा अन्येऽपि तथाविधाः । दक्षिणतो भूतभाषाकवयः; ततः परं भुजङ्गगणिकाः प्लवकशौभिकजम्भकमल्लाः शस्त्रोप- जीविनोऽन्येऽपि तथाविधाः । तत्र यथासुखमासीनः काव्यगोष्ठीं प्रवर्तयेत् भावयेत् परीक्षेत च । p. p. 54-55.

INTRODUCTION. XXXVII poets, and behind them paramours, courtezans, rope-dancers, jugglers, wrestlers and professional soldiers. ¹Literary Examinations. After giving a very glowing picture of what an ideal poet should be and how he should daily conduct himself, Rājaśekhara says that a king should hold assem- blies for the examination of the works of poets. He should patro- nize poets, become the Sabhāpati (President) like the ancient kings Vāsudeva, Sātavāhana, S'ūdraka, and Sāhasāṅka, honour and give donations to the poets, whose works stand the test. Assemblies of learned men (Brahmasabhās) should be held in big cities for examining poetical and scientific works; and the successful should be conveyed in a special chariot (Brahmaratha) and should be crowned with a fillet. Such assemblies for examining in poetry were held in Ujjaini. Kālidāsa, Meṇṭha, Amara, Rūpa, Sūra, Bhāravi, Harichandra and Chandragupta were examined here. Pāṭaliputra was the centre for examinations in sciences. It was after passing from here that ²Upavarsha, Varsha, Pāṇini, Piṅgala, Vyāḍi, Vararuchi, and Patañjali got fame as S'āstrakāras. Literary traditions noted in the Kāvyamīmāṁsā. Rāja- śekhara has noted several traditions which are important in the history of Saṁskṛita literature. ³Medhāvirudra and Kumāradāsa were born blind. ⁴S'iśunāga, king of Magadha, had prohibited 1 वासुदेवसातवाहनशूद्रकसाहसाङ्कादीन् सकलान् सभापतीन् दानमानाभ्यामनुकुर्यात् । महा- नगरेषु च काव्यशास्त्रपरीक्षार्थं ब्रह्मसभाः कारयेत् । तत्र परीक्षोत्तीर्णानां ब्रह्मरथयानं पट्टबन्धश्च । श्रूयते चोज्जयिन्यां काव्यकारपरीक्षा— “इह कालिदासमेण्ठावत्रामररूपसूरभारवयः । हरिचन्द्रचन्द्रगुप्तौ परीक्षिताविह विशालायाम् ॥ श्रूयते च पाटलिपुत्रे शास्त्रकारपरीक्षा— “अत्रोपवर्षवर्षाविह पाणिनिपिङ्गलाविह व्याडिः । वररुचिपतञ्जली इह परीक्षिताः ख्यातिमुपजग्मुः ॥” p. 55. 2 It may be noted that these names are in strict chronological order. This shows also that Pāṇini flourished in a period after the transference of the capital of Magadha from Rajagraha to Pataliputra.—B. B. 3 मेधाविरुद्रकुमारदासादयो जात्यन्धाः कवयः श्रूयन्ते । p. 12. 4 श्रूयते हि मगधेषु शिशुनागो नाम राजा; तेन दुरुच्चारानष्टौ वर्णानपास्य स्वान्तःपुर एव प्रवर्तितो नियमः; टकारादयश्चत्वारो मूर्धन्यास्तृतीयवर्जमूष्माणस्त्रयः क्षकारश्चेति । श्रूयते च शूरसेनेषु कुविन्दो नाम राजा, तेन परुषसंयोगाक्षरवर्जमन्तःपुर एवेति समानं पूर्वेण । श्रूयते च कुन्तलेषु सातवाहनो नाम राजा; तेन प्राकृतभाषात्मकमन्तःपुर एवेति समानं पूर्वेण । श्रूयते चोज्जयिन्यां साहसाङ्को नाम राजा; तेन च संस्कृतभाषात्मकमन्तःपुर एवेति समानं पूर्वेण । p. 50.

XL INTRODUCTION. sitions, and the works of its poets are well constructed and the mode of their recitation is, as it were, pouring honey in ears. Rajas'ekhara and the Lāṭades'a. Rājasekhara seems to have come much in contact with the Lāṭadeśa, probably through his royal patron. He has made Karpūramañjarī, the heroine of his play Karpūramañjarī, the daughter of the king of the Lāṭadeśa. The Viddhasālabhañjikā also belongs to the king of the same country. In the Bālarāmāyaṇa, it is described as the crest¹ of the earth. The elegance of speech and beauty of its ladies are much dilated upon by him in the ²Kāvyamīmāṁsā and the ³Bālarāmāyaṇa. Ancient Indian Geography according to the Kāvya- mīmāṁsā. Rājaśekhara seems to have been very fond of and much acquainted with the geography of India. In the tenth act of his Bālarāmāyaṇa, he describes the countries lying on the way from Ceylon to Ayodhyā. Comprehensive knowledge of the various countries of India is obtained from the 17th chapter of the Kāvyamīmāṁsā. Hemachandra and Vāgbhaṭa have borrowed this whole-sale in their works. The information given in this chapter, however, is in brief, as he refers one who wants further information on the subject, to his Bhuvana-Kos'a. Rājaśekhara divides आर्यावर्त into five parts 1 पूर्वदेशः, 2 दक्षिणापथः, 3 पश्चाद्देशः, 4 उत्तरापथः and 5 मध्यदेशः. 1 अयमसावितो विश्वम्भराशिरःशेखर इव लाटदेशः। Act X. 2 पठन्ति लटभं लाटाः प्राकृतं संस्कृतद्विषः । जिह्वया ललितोल्लापलब्धसौन्दर्यमुद्रया ॥ Kāvyamīmāṁsā, p. 34. 3 यद्योनिः किल संस्कृतस्य सुदृशां जिह्वासु यन्मोदते यत्र श्रोत्रपथावतारिणि कटुर्माषाक्षराणां रसः । गद्यं चूर्णपदं पदं रतिपतेस्तत्प्राकृतं यद्वचस्तांस्तांस्तांललितानि पश्य नुदती दृष्टेर्निमेषव्रतम् ॥ किंच— लक्षीकर्तुं प्रवृत्तोऽपि लाटीलडङ्गीक्षितैः । लक्षीभवति कन्दर्पः स्वेषामेवात्र पत्रिणाम् ॥ Bālarāmāyaṇa, Act x, 48-49.

INTRODUCTION. XLI पूर्वदेश is the part lying east of Benāres. It contains:— Countries. Mountains. Rivers. Products. 1 अङ्ग 9 नेपाल 1 बृहद्गृह 1 शोण 1 लवली 2 कलिङ्ग. 10 पुण्ड्र 2 लोहितगिरि 2 लौहित्य 2 ग्रन्थिपर्णक 3 कोसल 11 प्राग्ज्योतिष 3 चकोर 3 गङ्गा 3 अगरु 4 तोसल 12 ताम्रलिप्तक 4 दर्दुर 4 करतोया 4 द्राक्षा 5 उत्कल 13 मलद 5 नेपाल 5 कपिशा 5 कस्तूरिका 6 मगध 14 मल्लवर्तक 6 कामरूप etc. 7 मुद्गर 15 सुह्म etc. 8 विदेह 16 ब्रह्मोत्तर etc. The portion lying beyond माहिष्मती is दक्षिणापथ. It consists of:— Countries. Mountains. Rivers. Products. 1 महाराष्ट्र 14 चोड 1 विन्ध्यदक्षिणपाद 1 नर्मदा Same as 2 माहिषक 15 दण्डक 2 महेन्द्र 2 तापी those of the 3 अश्मक 16 पाण्ड्य 3 मलय 3 पयोष्णी Malayas. 4 विदर्भ 17 पल्लव 4 मेकल 4 गोदावरी 5 कुन्तल 18 गाङ्ग 5 पाल 5 कावेरी 6 क्रथकैशिक 19 नाशिक्य 6 मञ्जर 6 भैमरथी 7 सूर्पारक 20 कोङ्कण 7 सह्य 7 वेणा 8 काञ्ची 21 कोल्लगिरि 8 श्रीपर्वत 8 कृष्णवेणा 9 केरल 22 वल्लार etc. 9 वञ्जुरा 10 कावेर etc. 10 तुङ्गभद्रा 11 सुरल 11 ताम्रपर्णी 12 वानवासक 12 उत्पलावती 13 सिंहल 13 रावणगङ्गा etc.

XLII INTRODUCTION. The portion lying beyond देवसभा is पश्चाद्देश. It contains :— Countries. Mountains. Rivers. Products. 1 देवसभ 6 कच्छीय 1 गोवर्धन 1 सरस्वती 1 करीर 2 सुराष्ट्र 7 आनर्त 2 गिरिनगर 2 श्वभ्रवती 2 पीलु 3 दशेरक 8 अर्बुद 3 देवसभ 3 वार्तघ्नी 3 गुग्गुलु 4 त्रवण 9 ब्राह्मणवाह 4 माल्यशिखर 4 मही 4 खर्जूर 5 भृगुकच्छ 10 यवन 5 अर्बुद 5 हिडिम्बा 5 करभ etc. etc. etc. etc. The portion lying beyond पृथूदक is उत्तरापथ. It comprises:— Countries. Mountains. Rivers. Products. 1 शक 12 तङ्गण 1 हिमालय 1 गङ्गा 1 सरल 2 केकय 13 तुषार 2 कलिन्द 2 सिन्धु 2 देवदारु 3 वोक्काण 14 तुरुष्क 3 इन्द्रकील 3 सरस्वती 3 द्राक्षा 4 हूण 15 बर्बर 4 चन्द्राचल 4 शतद्रु 4 कुङ्कुम 5 वाणायुज 16 हरहूर etc. 5 चन्द्रभागा 5 चमर 6 काम्बोज 17 ह्रूहुक 6 यमुना 6 अजिन 7 बाह्लीक 18 सहुड 7 इरावती 7 सौवीर 8 वह्लव 19 हंसमार्ग 8 वितस्ता 8 स्रोतोञ्जन 9 लिम्पाक 20 रमठ 9 विपाशा 9 सैन्धव 10 कुलूत 21 करकण्ठ 10 कुहू 10 वैडूर्य 11 कीर etc. 11 देविका 11 तुरङ्ग etc. etc. Between these lies the मध्यदेश. Dialects of different parts of India. From the Kāvya- mīmāṁsā we gain some knowledge as to what particular dialects were spoken in different parts of India. ¹Gauḍas and other people spoke Sanskrit, Lāṭās were fond of Prākrit, those living in Mārwār, 1 गौडाद्याः संस्कृतस्थाः परिचितरुचयः प्राकृते लाटदेश्याः सापभ्रंशप्रयोगाः सकलमरुभुवष्टक्कभादानकाश्च । आवन्त्याः पारियात्राः सह दशपुरजैर्भूतभाषां भजन्ते यो मध्येमध्यदेशं निवसति स कविः सर्वभाषानिषण्णः ॥ p. 51.

INTRODUCTION. XLIII Ṭakka and Bhādānaka were fond of Apabhraṁśa, those living in Avanti, Pāriyātra and Daśapura used Bhūtabhāshā, while those living in the Madhyadeśa were well-versed in all languages. Rājas'ekhara’s love for Prākrita languages. It is said in the prologue of the Bālarāmāyaṇa that Rājaśekhara was well- versed in all languages.¹ His definition of a Kavirāja also re- quires that he should be proficient in various languages. To him all the languages should be equal.² His Karpūramañjarī would seem to be an illustration of this. In another place, he says that a³ good poet should pay attention to all the languages according to his ability, taste and curiosity. ⁴One and the same idea assumes, different forms of beauty according to the language in which it is expressed. A poet, whose intellect is thus ready in all the languages acquires fame all throughout the world. In the Bāla- rāmāyaṇa, he describes ⁵Prākrita as elegant and possessing natural sweetness, Apabhraṁśa as very elegant, and Bhūtabhāshā as well-formed. ⁶In the Karpūramañjarī, it is said that Sanskrit compositions are harsh, while those in Prākrit are smooth. The modes of speech and recitation of ancient Indians. Much interesting information about the modes of speech and recital of peoples of different countries of ancient India can be derived from the 7th chapter of the Kāvyamīmāṁsā. ⁷Māgadhās and some others living east of Benares speak Sanskrit well, but are 1 सर्वभाषाविचक्षणश्च स एवमाह। 2 स्वतन्त्रस्य पुनरेकवत् सर्वा अपि भाषाः स्युः। काव्यमीमांसा p. 51. 3 संस्कृतवत् सर्वासपि भाषासु यथासामर्थ्यं यथारुचि यथाकौतुकं चावहितः स्यात्। Ibid. p. 48. 4 एकोऽर्थः संस्कृतोक्त्या ससुकविरचनः प्राकृतेनापरोऽस्मिन् अन्योऽपभ्रंशगीर्भिः किमपरमपरो भूतभाषाक्रमेण। द्वित्राभिः कोऽपि वाग्भिर्भवति चतसृभिः किञ्च कश्चिद्विवेक्तुं यस्येत्थं धीः प्रपन्ना रूपयति सुकवेस्तस्य कीर्तिर्जगन्ति॥ Ibid. pp. 48 and 49. 5 गिरः श्रव्या दिव्याः प्रकृतिमधुराः प्राकृतधुरः सुभव्योऽपभ्रंशः सरसरचनं भूतवचनम्। विभिन्नाः पन्थानः किमपि कमनीयाश्च त इमे निबद्धा यस्त्वेषां स खलु निखिलेऽस्मिन् कविवृषा॥ Bālarāmāyaṇa, Act. I, 10. 6 परुसा सक्कअबन्धा पाउअबन्धो वि होइ सुउमारो। पुरिसमहिलाणं जेत्तिअमिहन्तरं तेत्तिअमिमाणं॥ Karpūramañjarī, Act, I, 4. 7 “पठन्ति संस्कृतं सुष्ठु कुण्ठाः प्राकृतवाचि ते। वाराणसीतः पूर्वेण ये केचिन्मगधादयः॥” p. 33.

XLIV. INTRODUCTION. blunt in Prākrit. ¹A Gauḍa cannot speak Prākrit well. Either he should give up the attempt or the Prākrit language should be otherwise. A Gauḍa Brāhman is neither a very clear nor a con- fused, neither a harsh nor a very soft, neither a deep nor a very loud speaker. ²Whatever may be the sentiment, style or quality, all the Karṇāṭas recite proudly making a twangling sound at the end. ³Drāviḍas, without any exception, recite either prose, poetry or mixture of both in a musical way. ⁴The Lāṭas who have hatred for Sanskrit, speak beautiful Prākrit with their warbling tongue. ⁵The people of Surāshṭra and Travaṇa, etc., speak Sanskrita, stimulating it with an admixture of Apabhraṁśa, so as to impart beauty to their speech. ⁶The Kashmirians are good poets through the favour of Sarasvatī; yet their mode of reciting sounds to the ear like a mouthful of Guḍūchī (cocculus cordifolius). ⁷The poets of the Uttarāpatha, though refined, recite with a nasal sound. ⁸Rich in properties, with the voice corresponding to the style and the perfection of arrangement of words, and divided into cæsuras, the sweet recitation of the Pānchāla poets is, as it were, a flow of honey in ears. Female education in Rājaśekhara's time. Rājaśekhara's views in this connection were very forward and liberal. He says 1 आह स—"ब्रह्मन्विज्ञापयामि त्वां स्वाधिकारजिहासया । गौडस्त्यजतु वा गाथामन्या वाऽस्तु सरस्वती ॥ नातिस्पष्टो न चाश्लिष्टो न रूक्षो नातिकोमलः । न मन्द्रो नातितारश्च पाठी गौडेषु बाडवः ॥ 2 रसः कोऽप्यस्तु काप्यस्तु रीतिः कोप्यस्तु वा गुणः । सगर्वं सर्वकर्णाटाष्टंकारोत्तरपाठिनः ॥ 3 गद्ये पद्येऽथवा मिश्रे काव्ये काव्यमना अपि । गेयगर्भः स्थितः पाठे सर्वोऽपि द्रविडः कविः ॥ 4 पठन्ति लटभं लाटाः प्राकृतं संस्कृतद्विषः । जिह्वया ललितोलापलब्धसौन्दर्यमुद्रया ॥ 5 सुराष्ट्रत्रवणाद्या ये पठन्त्यर्पितसौष्ठवम् । अपभ्रंशावदंशानि ते संस्कृतवचांस्यपि ॥ 6 शारदायाः प्रसादेन काश्मीरः सुकविर्जनः । कर्णे गुडूचीगण्डूषस्तेषां पाठक्रमः किमु ! ॥ 7 ततः पुरस्तात्कवयः ये भवन्त्युत्तरापथे । ते महत्यपि संस्कारे सानुनासिकपाठिनः ॥ 8 मार्गानुगेन निनदेन निधिर्गुणानां सम्पूर्णवर्णरचनो यतिभिर्विभक्तः । पाञ्चालमण्डलभुवां सुभगः कवीनां श्रोत्रे मधु क्षरति किञ्चन काव्यपाठः ॥ pp. 33 & 34.

INTRODUCTION. XLV that ¹women too may become poetesses like men. Accomplish- ment is intimately connected with the soul, but does not depend upon the distinction of the sex. In his time daughters of princes and prime ministers, courtezans and wives of jesters were found well-versed in sciences, and poetesses too. Foreign travel and the dress question. It appears from the Kāvyamīmāṁsā that ²ancient poets used to travel to foreign countries and islands, and utilized their experience in those coun- tries in their works. As regards the ³dress to be worn, it is said that divine and other beings should be represented as putting on the dress of the country where they live for the time being. In one’s own country, however, one may adopt any dress one likes. The Colour question of Indians. From the ⁴Kavisamaya, we get some idea of the colours of Indians. The colour of the easterners has been described as brown, that of southerners as dark, that of westerners as white, that of northerners as fair, while that of persons living in the Madhyadeśa as dark, brown and white.

1 पुरुषवद् योषितोऽपि कवीभवेयुः। संस्कारो ह्यात्मनि समवैति। न स्त्रैणं पौरुषं वा विभागमपेक्षते। श्रूयन्ते दृश्यन्ते च राजपुत्र्यो महामात्रदुहितरो गणिकाः कौतुकिभार्याश्च शास्त्रप्रहतबुद्धयः कवयश्च ॥ p. 53. 2 किञ्चन महाकवयोऽपि देशद्वीपान्तरकथापुरुषादिदर्शनेन तत्रत्यां व्यवहृतिं निबध्नन्ति स्म। p. 12. पूर्वे हि विद्वांसः सहस्रशाखं साङ्गं च वेदमवगाह्य शास्त्राणि चावबुध्य देशान्तराणि द्वीपान्तराणि च परिभ्रम्य p. 78. 3 ततः परं दिव्याद्या अपि यं देशमधिवसेयुस्तद्देश्यं वेषमाश्रयन्तो निबन्धनीयाः। स्वभूमौ तु कामचारः। p. 10. 4 तत्र पौरस्त्यानां श्यामो वर्णः, दाक्षिणात्यानां कृष्णः, पाश्चात्यानां पाण्डुः, उदीच्यानां गौरः, मध्यदेश्यानां कृष्णः, श्यामो गौरश्च। p. 96.

ABBREVIATIONS. A—the palm-leaf MS. of काव्यमीमांसा deposited in the Fofalia Wada Bhandār at Pattan. B—the paper MS. comprising काव्यमीमांसा and कविरहस्यवृत्ति depo- sited in the Wādi Pārśvanātha Bhandar at Pattan. C—the palm-leaf MS. in the Bhandar at Jaisalmere dated Saṁv. 1216 from which B was copied. K—काव्यानुशासन of हेमचन्द्र printed in the ‘Kāvyamālā’ Series. V—काव्यानुशासनविवेक of हेमचन्द्र printed in the same Series. VA—the first MS. of काव्यानुशासनविवेक. VB—the second MS. of the same work dated Saṁv. 1668. VC—the third MS. of the same work dated as above. (Of the three MSS. of विवेक two are in the Central Library and the third cannot be traced).

SUMMARY. प्रथमोऽध्यायः श्रीकण्ठस्य परमेष्ठिवैकुण्ठादिभ्यश्चतुःषष्टये शिष्येभ्यः काव्यशास्त्रोपदेशः । सार- स्वतकाव्यपुरुषात्काव्यविद्याप्रवृत्तिः । सहस्राक्षादिभ्यो दिव्येभ्यः काव्यविद्यास्नात- केभ्यः काव्यविद्याया अष्टादशाधिकरणोप्रवचनम् । तेषां पृथक्पृथक् स्वशास्त्रविरचनम् । प्रकीर्णत्वात्तेषां किञ्चिदुच्छेदेन ग्रन्थकर्त्रा सङ्क्षेपेणास्य ग्रन्थस्य प्रणयनम्, एतद्ग्रन्था- ध्यायनिर्देशश्च । p. 2 द्वितीयोऽध्यायः शास्त्रं काव्यं चेति वाङ्मयं द्विधा । शास्त्राणां परिसंख्यानं, लक्षणं, सूत्रादि- भिश्चैषां प्रणयनम् । वृत्तिपद्धतिभाष्यसमीक्षाटीकापञ्जिकाकारिकावार्तिकानीति शास्त्रभेदाः, तेषां व्याख्याश्च । साहित्यविद्याया व्याख्या । p. 5 तृतीयोऽध्यायः सरस्वत्याः पुत्रेच्छा । स्वयम्भूवरदानम् । सरस्वत्याः काव्यपुरुषोत्पत्तिः । तस्य छन्दस्त्वागुच्चारणम् । काव्यपुरुषस्य स्तुतिर्वर्णनं च । सारस्वतेयस्य उशनसे बाल्मी- कये च छन्दस्त्वाक्सञ्चारणम् । काव्यपुरुषस्य सरस्वत्या ब्रह्मलोकेऽनुगमनम् । तन्निवर्तनाय तद्वशीकरणार्थं साहित्यविद्यावधूत्पादनं, तस्यै काव्यपुरुषानुवर्तनाय, का- व्यविद्यास्नातकेभ्यश्चैतयोः चरितस्तवनायादेशः । प्रथमं प्राचीं प्रति चलनम् । तत्र काव्यपुरुषमभियुञ्जाना सा औमेयी यं वेषं यथेष्टमसेविष्ट स तत्रत्याभिः स्त्रीभिरनुकृतः । सा औड्रमागधीप्रवृत्तिः । गौडाङ्गनावेषवर्णनम् । तयोरनुसारेण भारतीवृत्तिगौडीरीत्योः प्रादुर्भावः । ततः पाञ्चालान् प्रति चलनम् । पाञ्चालमध्य- मप्रवृत्तिसात्वतीवृत्तिपाञ्चालीरीतीनां प्रादुर्भावः । ततोऽवन्तीं प्रति चलनम् । तद्वेषध्यानानुसारेण आवन्तीप्रवृत्तिसात्वतीकैशिकीवृत्तीनां प्रादुर्भावः । ततो दक्षिणां प्रति चलनम् । तत्र दाक्षिणात्याप्रवृत्तिकैशिकीवृत्तिवैदर्भीरीतीनां प्रादुर्भावः । सम्पू- र्णतया च काव्यपुरुषस्य वशीकरणम् । विदर्भेषु वत्सगुल्मे तयोर्गान्धर्ववत्परि- णयनम् । ततो विनिवृत्य तेषु प्रदेशेषु विहृत्य तुषारगिरिर्गमनम् । गौरीसरस्वतीभ्यां वन्दनम् । तयोराशीर्वादेन कविमानसनिवासकरणं कविलोकस्वर्गसर्गश्च । p. 10

XLVIII SUMMARY.

चतुर्थोऽध्यायः शिष्यो द्विविधः बुद्धिमानाहार्यबुद्धिश्च । ताभ्यामन्यथाबुद्धिर्दुर्बुद्धिः । समा- ध्यभ्यासयोर्व्याख्ये । तयोः शक्त्युद्भासनम् । शक्तिकर्तृके प्रतिभाव्युत्पत्तिकर्मणी । प्रतिभाव्याख्या । तस्याः कारयित्रीभावयित्रीभेदेन द्वैविध्यम् । सहजाहार्यौपदे- शिकीति त्रिविधा कारयित्री । तासां व्याख्याः । तदनुसारेण सारस्वतः, आभ्या- सिकः, औपदेशिक इति त्रिविधाः कवयः । तेषां लक्षणानि । भावयित्रीव्याख्या । भावकत्वकवित्वयोः पृथक्त्वम् । अरोचकिनः, सतृणाभ्यवहारिणः, मत्सरिणः, तत्त्वाभिनिवेशिनश्चेति चत्वारः भावकाः । तेषां लक्षणानि । तत्त्वाभिनिवेशिनः विर- लत्वम् । भावकविषये सङ्ग्रहश्लोकाः । p. 15

पञ्चमोऽध्यायः व्युत्पत्तिप्रतिभयोर्व्याख्ये । तयोः कतरा श्रेयसीति विचारः । उभययोगः श्रेयानिति यायावरीयमतम् । शास्त्रकविः, काव्यकविः, उभयकविश्चेति कवयस्त्रिधा । तेषां स्वस्वविषये गरीयस्त्वमिति यायावरीयमतम् । त्रिधा शास्त्रकविः, यः शास्त्रं विधत्ते, यश्च शास्त्रे काव्यं विधत्ते, योऽपि काव्ये शास्त्रार्थं निधत्ते । काव्यकविः पुनरष्टधा रचनाकविः, शब्दकविः, अर्थकविः, अलङ्कारकविः, उक्तिकविः, रस- कविः, मार्गकविः, शास्त्रार्थकविरिति । रचनाकवेरुदाहरणम् । त्रिधा शब्दकविर्ना- माख्यातार्थभेदेन । तेषामुदाहरणानि । अर्थकवेरुदाहरणम् । द्विधाऽलङ्कारकविः शब्दार्थभेदेन । तयोरुदाहरणे । उक्तकविरसकविमार्गकविशास्त्रार्थकवीनामुदा- हरणानि । दश च कवेरवस्थाः । बुद्धिमदाहार्यबुद्ध्योः सप्त, तिस्रश्चौपदेशिकस्य । तद्यथा काव्यविद्यास्नातको, हृदयकविः, अन्यापदेशी, सेविता, घटमानो, महाकविः, कविराजः, आवेशिकः, अविच्छेदी, सङ्क्रामयिता च । तेषां लक्षणानि । पाकविवेकः । पिचुमन्दपाकं, बदरपाकं, मृद्वीकापाकं, वार्ताकपाकं, तिन्तिडीकपाकं, सहकारपाकं, क्रमुकपाकं, त्रपुसपाकं, नालिकेरपाकमिति नवधा काव्यम् । तेषां त्रिकत्रये आद्यानां हेयता इतरेषाञ्चोपादेयता । अनवस्थितपाकस्य कपित्थपाकता । p. 21

षष्ठोऽध्यायः पदस्य व्याख्या । तस्य सुब्वृत्तिः, समासवृत्तिः, तद्धितवृत्तिः, कृद्वृत्तिः, तिङ्- वृत्तिश्चेति पञ्च वृत्तयः । पदजातस्यानन्त्यम् । वाक्यस्य व्याख्या। तस्य त्रिधाऽभिधा-

SUMMARY. XLIX व्यापारः वैभक्तः, शाक्तः, शक्तिविभक्तिमयश्चेति । तेषां व्याख्या उदाहरणानि च । एकाख्यातम्, अनेकाख्यातम् (सान्तरं निरन्तरञ्च), आवृत्ताख्यातम्, एकाभिधेया- ख्यातम्, परिणताख्यातम्, अनुवृत्ताख्यातम्, समुच्चिताख्यातम्, अध्याहृताख्यातम्, क्षुदभिहिताख्यातम्, अनपेक्षिताख्यातमिति वाक्यं दशधा । गुणवदलङ्कृतञ्च वाक्य- मेव काव्यम् । असत्यार्थाभिधायित्वान्नोपदेष्टव्यं काव्यमिति मतनिरासः । असदुप- देशकत्वान्नोपदेष्टव्यमिति मतनिरासः । असभ्यार्थाभिधायित्वान्नोपदेष्टव्यं काव्य- मिति मतस्य श्रुतौ च शास्त्रे चैतदर्थस्योपलब्धेर्निरासः । p. 28 सप्तमोऽध्यायः ब्राह्मं, शैवं, वैष्णवमिति प्रणेतृभेदेन पुराणादिमतेन वाक्यं त्रिधा । स्वायम्भुवं, ऐश्वरं, आर्षम्, आर्षिकम्, आर्षिपुत्रकं चेति ब्राह्मं वचः पञ्चधा तेषां व्याख्याः । सारस्वतकवीनां मते तु ब्रह्मविष्णुवादिशिष्येषु चतुःषष्टावुपदिष्टं वचः पारमेश्वरम् । क्रमेण चैतस्य देवैर्देवयोनिभिश्च यथामत्युपजीव्यमानत्वादिव्यत्वेन व्यपदेशः । तच्च वैबुधं, वैद्याधरं, गान्धर्वं, योगिनीगतं चेति चतुर्धा । तेषां सव्याख्योदाहरणानि । वैष्ण- वस्य मानुषत्वेन व्यपदेशः । तच्च वैदर्भी, गौडीया पाञ्चाली चेति रीतित्रयभेदेन त्रिधा । काकुर्वक्रोक्तिर्नाम शब्दालङ्कारोऽयमिति रुद्रटमतस्य निरासः । काकोः पाठधर्मत्वम् । साकाङ्क्षा निराकाङ्क्षा, चेति तस्या द्वैविध्यम् । आक्षेपगर्भा, प्रश्नगर्भा, वितर्कगर्भा, चेति त्रिधा साकाङ्क्षा । निराकाङ्क्षाऽपि विधिरूपा, उत्तररूपा, निर्णयरूपेति त्रिविधा । तासामुदाहरणानि । अभ्युपगमानुनयकाकूदाहरणम् । अभ्यनुज्ञोपहासकाकूदा- हरणम् । त्रिचतुरकाकुयोगोदाहरणे । काकुकलनायां सामान्यपाठप्रतिष्ठायां च सङ्ग्रहश्लोकाः । मगधगौडकर्णाटद्रविडलाटसुराष्ट्रकाश्मीरोत्तरापथपाञ्चालोद्भवानां कवीनां पाठप्रतिष्ठायां परिकरश्लोकाः । p. 34 अष्टमोऽध्यायः श्रुतिः, स्मृतिः, इतिहासः, पुराणं, प्रमाणविद्या, समयविद्या, राजसिद्धान्तत्रयी, लोको, विरचना, प्रकीर्णकं, उचितसंयोगः, योक्तृसंयोगः, उत्पाद्यसंयोगः, संयो- गविकारः इत्येताः काव्यार्थानां षोडश योनयः । श्रौत-स्मार्त-ऐतिहासिक-पौराणिक- मैमांसिक-सांख्यीय-न्यायवैशेषिकीय-बौद्धीय-लौकायतिक-आर्हत-शैवसिद्धान्तीय-पा- ञ्चरात्र-बौद्धसिद्धान्तीय-नाट्यशास्त्रीय-कामसूत्रीय-लौकिक-विरचनाविषयक-हस्तिशि- 7