Part 5 - Foundation of Kavi-śikṣā school

Rājaśekhara’s Kāvyamīmāṃsā is a more a work on kavi-śikṣā (education of the poet), it is also the science of applied poetics on making literature. Education is a novel profession. The meaning of education has a very wide connotation. There are no single objectives which can cover the life with its various manifestations. In the boundless course of Kāvya (poetry) the poet alone is the creator; all the changes in the way he likes.

Kavi (poet) comes down his own world of imagination and becomes a citizen of the materialistic world.

“apāre kāvyasaṃsāre kavire ka prajājatiḥ |
yathāsmai rocate viśvaṃ tathedaṃ parivartate || ”

- Agni-Purāṇa: Ch- 339/ 9

Because, if the poet is actuated by the Sentiment of Love in his poetry, the world becomes pervaded with Sentiment; if the poet is bereft of attachment, it becomes manifested as devoid of Sentiment indeed.

“śṛṅgārī cet kaviḥ kāvye jātaṃ rasamayaṃ jagat |
sa cet kavirvītarāgo nīrasaṃ vyaktameva tat || ”

- Agni-Purāṇa: Ch- 339/ 10

There kavi-śikśā (creation of a poet) is a unique and novel profession because:

“naratvaṃ durlabhaṃ loke vidyā tatra ca durlabhā |
kavitvaṃ durlabhaṃ tatra śaktistatra ca durlabhā || ”

- Agni-Purāṇa: Ch- 337/ 3

Means:

“In the world human birth is difficult; so is learning difficult to attain therein. Poetic faculty is again rare therein (in learning); so is power greatly rare in poetic faculty.”

Since the period of Ācārya Bhāmaha to Rājaśekhara, there are various Ālaṃkārikas flourished but no one can be touches the matter of kavi-śikṣā (creation of the poet). However Yāyāvarīya Rājaśekhara is the first prominent Ālaṃkārika who has systematically feel and elaborately discussed about the matter or theory of kavi-śikṣā

(creation of the poet) in his magnum-opus Kāvyamīmāṃsā In this way Rājaśekhara has placed as the founder of the kavi-śikṣā School in the domain of Sanskrit poetics.

Now we can glimpses about the some concepts of Rajsekhara’s view on kavi-śikṣā theory–

1. kavi-caryā (Routine and Duties)
2. kavi-sammelan (Poetic Symposia)
3. Kāvya-pātha (Learning of Poetry)

1) Kavi-carcā (routine and duties of a poet):

The imagination of the kavi (poet), fires up the artistic generous; but it is quite impossible without either an image, personified form or a factitive figure and conceptual shape. However the former school of Rājaśekhara of Sanskrit poetics aesthetically beautified supernatural things, with an extraordinary creative genius. But they are not trying to discuss about the matter of daily routine and duties of the poet. They are always focuses on the absolute of the poetry but they are silence about its creator kavi (poet) and their lifestyle. But Rājaśekhara first time described the poet’s culture, dress-up, residence, food and drinks and also everything of their livelihood, which is based on the Vātsāyaṇa’s Kāmasūtra.

There Rājaśekhara advices to the inspiration of the poets by the word:

“gṛhītavidyopavidyaḥ kāvyakriyāyai prayateta |
nāmadhātupārāyaṇe, abhidhānakośaḥ

chandovicitiḥ, alaṅkāratantraṃ ca kāvyavidyāḥ| kalāstu catuḥṣaṣṭhirupavidyāḥ| sujanopajīvyakavisannidhiḥ, deśavārtā, vidagdhavādo, lokayātrā, vidvadgoṣṭhacañca kāvyamātaraḥ purātanakavinivandhāśca |”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 49

Means:

“Pupil of the discipline of Poetics should study the Vidyās (the important branches of knowledge for poet) and Upavidyās (the sixty-four accessory branches of knowledge) for learning the art of poetic composition. In addition to these there are other subjects which are a source of inspiration for poet. Acquaintance with poets who are patronized by good men (deśa-vārttā) knowledge for geographical regions (vidagdha-vāda) speeches and saying of learned men and popular local beliefs (loka-yātra) dramatic composition or assemblies (vidvad-goṣṭhī) and ancient literary compositions (purātana-kavi-nibandha).”

Then Rājaśekhara told about the eight mothers of poetic creation for the poet:

“svāsthyaṃ pratibhābhyāso bhaktirvidvatkathā vahuśrutatā |
smṛtidāṭharcamanirvedaśca mātaro'ṣṭau kavitvasya || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 49

Means:

“Health, Pratibhā, (innate faculty), Abhyāsa (Practice), Bhakti (Devotion), Vidvad (Assemblies of learned scholars) Commerce with the learned knowledge of various subjects, retentive memory and enthusiasm are the eight mother of poetic-composition, which always remember to aspirant poet.”

2) Kavi-sammelan (poetic symposia):

However in any literature not discussed about the matter of Kāvya-gosthī [kāvyagoṣṭhī?] (poetic symposia) though Yāyāvarīya Rājaśekhara also elaborately narrates about this matter from his own inner literary genius.

Yāyāvarīya Rājaśekhara is the first Ālaṃkārika who realized that:

“rājā kaviḥ kavisamājaṃ vidadhīta| rājāni kavau sarvo lokaḥ kaviḥ syāt | sa kāvyaparīkṣāyai sabhāṃ kārayet |”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 54

Means:

“If any king himself is a poet, he can establish a poetic community. If a king is a poet, his people are also being expected to turn into poet.”

By the president of the king, arrangement of this Kāvya-goṣṭhī (poetic symposia) we can clearly said that Rājaśekhara’s ambition was the establishment and world-wide honor to the kavi (poet).

Rājaśekhara also advice the king, he should organize an assemblies hall of Brāhmaṇas and learned scholars of Vedas, where they examine and evaluating poetic-compositions in famous cites of learning:

“mahānagare ṣu ca kāvyaśāstraparīkṣārtha vrahmasabhāḥ kārayet |
tatra parīkṣottīrṇānāṃ brahmarathayāṃ paṭṭabandhaśca || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 55

This assembly hall should be for the particular purpose with sixteen columns (pillars) and there should be four well-decorated entrances inside. The poet-king should take his own seat in a one and half high alter in the middle of the assembly by last four columns (pillars). Rājaśekhara also clearly indicated the arrangement four side on where which type of scholars should be sited and there extra ordinary poet and poetess should be appreciated by befitting honors.

Associated to the literary assembly there should also be a scientific assembly (court).

“madhyesabhaṃ catuḥstambhāntarā hastamātrotsedhā samaṇibhūmikā vedikā | yasyāṃ rājāsanam | tasya cottarataḥ saṃskṛtāḥ kavayo niviśeran | pūrveṇa prākṛtāḥ, kavayaḥ, paścimenāpabhraṃśinaḥ kavayaḥ, dakṣiṇato bhūtabhāṣākavayayaḥ |”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 54

Means:

“In the centre of the assembly hall and in between four pillars should stand a raised platform studded with precious stones, the King’s throne should be placed on this. The Sanskrit poets should sit to the north of the king’s throne. The poets of Prākṛta languages should sit on the east of the king’s throne. The poets of the Apabhraṃśa languages should sit towards the west of the king’s throne. And the poets of Paiśācī or Bhūta-bhāṣā should sit to the right of the king’s throne.”

There Rājaśekhara clearly mentions and giving extra honor for prolific poets and says, the poet who has an equal right on a number of languages may sit wherever he so desires.

“yastvanekatra pravīṇaḥ sa saṅkramya tatra tatropaviśet |”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-X, Pp- 54

These types of description of Sanskrit poetics are the first time introduced by the Yāyāvarīya Rājaśekhara. This is his pure concept about creation of the poetic environment. There used to honors the learned scholars with money and prestige is the more increasing for the aspirant poet.

3) Kāvya-pātha (learning of poetry):

Yāyāvarīya Rājaśekhara’s another ideal contribution to Sanskrit poetics is the discussion about the various types of learning of poetry in different countries. Rājaśekhara observe that, the poets who are good composers may be creating poetic composition but a good recite is the one who has attained Sarasvatī:

“karoti kāvyaṃ prāyeṇa saṃskṛtātmā yathā tathā |
paṭhituṃ vetti sa paraṃ yasya siddhā sarasvatī || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

So the aspirant recite that is endowed with sweet voice from birth is due to Saṃskāra (traces) from the previous generation and becomes a good recite of poetry by generation of practice.

“yathā janmāntarābhyāsātkaṇṭhe kasyāpi raktatā |
tathaiva pāṭhasaundaryaṃ naikajanmavinirmitam || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

Then he advocated the recite that, the Sanskrit and Apbhramsa poetry should be ready with charm and grace. The prākrṭa and Bhūt-bhāṣā should be read with everincreasing beauty.

“sasaṃskṛtamapabhraṃśaṃ lālityā liṃgitaṃ paṭhet |
prākṛtaṃ bhūtabhāṣāṃ ca sauṣṭhavottaramudrire t || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

Then he say the poetry with Prasāda (a guṇa or a quality)^[1] would be read seriously and with depth while the possessing, Ojas^[2] poetry would be read at a high pitch. Therefore, the poetry with Ubhaya-guṇa would be read appropriately (at times a low pitch or depth and others a high pitch would be adopted):

“prasanne mandrayedvācaṃ tārayettavdirodhini |
mandratārau ca racayennirvāhiṇi yathottaram || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

Then Rājaśekhara also watchful to the recite of poetry and says some of the features to be avoided while reading:

“atitūrṇamativilamvitamulvaṇanādaṃ ca nādahīnaṃ ca |
apadacchinnamanāvṛtamatimadṛुparuṣaṃ ca nindanti || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

Means:

“To read poetry quickly or haltingly, very loudly or too softly, without stressing at the correct places and either too sweetly or too harshly is to be censured.”

Furthermore, Yāyāvarīya Rājaśekhara divided the reader or the recite in four divisions according to their quality and says:

“gambhīratvamanaiśva(ṣṭu)ryaṃ nirvyūṭistāramandrayoḥ |
saṃyuktavarṇalāvaṇyamiti pāṭhaguṇāḥ smṛtāḥ || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

Means:

“The letters should be uttered in such a fashion just as a tigress holds cubes tenderly in her teeth but without allowing them to get hurt or fall down.”

In this way Rājaśekhara remarks the reading in which the cases are clearly marked, compounds appear distinctly and Sandhis are apparent is deemed to be an excellent one.

“vibhaktayaḥ sphu ṭā yatra samāsaścākadarthitaḥ |
amlānaḥ padasandhiśca tatra pāṭhaḥ pratiṣṭhitaḥ || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

He also wise to the learned scholars that they should not read words which are meant to be separate together; one should not read compounds separately and should utter the verbs clearly.

“na vyastapadayoraikyaṃ na bhidāṃ tu samastayoḥ |
na cākhyātapadamlāniṃ vidadhīta sudhīḥ paṭhan || ”

-Kāvyamīmāṃsā of Rājaśekhara: Ch-VII, Pp- 33

The description of different kinds of learning system in different regions in country, is his mind-blowing contribution for Sanskrit literary criticism. The pāthapronālī (learning system) of Vārānasī [Vārāṇasī?], Magadha, Gauḍa, Karnata, Drāviḍa, Lāta [Lāṭa?], Sauraṣṭra [Saurāṣṭra?], Gurjara, Travana [Travaṇa?], Kāśmīra, Uttarapath [Uttarāpatha?] and Pāñcāla etc. modulation and analytic description are the new contribution to the Sanskrit poetics.

Footnotes and references:

[1]:

Prasāda is an excellence, lucidity arising from carefully selected words which leads to the intended sense at one. De, S. K. History of Sanskrit Poetics. II vol. Firma KLM, Kol, 1960, Pp-238

[2]:

Ojas is a guṇa which refers to strength due to the presence of compounds. Ibid 71