Chapter 337 - Description of the characteristics of a kāvya (kāvylakṣaṇa)

[Sanskrit text for this chapter is available]

Fire-god said:

1. I shall describe the embellishments of poetry [i.e., kāvya] and drama and the like. The constituents of speech are sound, word, letters and sentence.

2. Whereas the three are obtained in the sentences of the treatises (śāstra) and epics, word is predominant in the treatises and the meaning is dominant in the epics.

3-5a. Kāvya is different from these two because the power of denotation is dominant (there). It is difficult to be born as a man in this world and (acquiring) knowledge is more difficult. Being a poet is still difficult. Poetic genius, originality of ideas and power of discrimination are still more difficult. The entire śāstra sought by people who are not learned does not materialise.

5b-6. The collection of letters falls into groups such as primary letters, secondary, the aspirated and the fourth. Words (are divided into two) on the basis of distinction as nouns and verbs. Sentence in brief is a series of words possessing a delightful sense.

7. Kāvya is that where literary embellishments are displayed and which possesses literary merits and is free from blemishes. The sources of (poetry) are the Vedas and the world. A kāvya not originated from the above sources could be understood from the import of the words.

8. Saṃskṛta (laṅguage) is for the gods and others. There are three varieties of Prākṛta for men. Kāvya etc. are known to be of three kinds—prose, poetry and mixed.

9. Prose is (defined as) unmetrical combination of words. It is divided into three: Cūrṇaka, Utkalikā and Gandhivṛtta.

10. What is known as Cūrṇaka has short compounds and does not have very soft words. (The same) with long compounds would be Utkalikā.

11. Gandhivṛtta would have medium arrangement of words and absence of very difficult compounds. (It possesses) semblance of metrical form.

12. The prose kāvya is said to be divided into five—Ākhyāyikā, Kathā, Khaṇḍakathā, Parikathā and Kathānikā.

13-15a. It is known to be Ākhyāyikā where there is an eulogistic account of the ancestors of the author, a detailed description of the abduction of maidens, fight, separation and other calamities. It should be replete with rīti (diction), vṛtti (style) and pravṛtti (power of words). Its story is divided into Ucchvāsas (chapters). It should contain Cūrṇaka type of prose at the end. It may (employ) Vaktra or Aparavaktra (metre).

15b-17. It is designated as Kathā where the poet briefly praises his ancestors in metrical composition, where there is another episode while introducing the main theme. There would not be any division. Sometimes there would be (divisions called) lambakas. Khaṇḍakathā is contained in Kathā in catuṣpadī (verses in four lines). Parikathā (is a combination of the characteristics of the two (Kathā and Ākhyāyikā).

18-19. The hero is known to be a minister, merchant or a brahmin. Pathos should be known (to be the sentiment) of the two. Love in separation is of four kinds. The first one is not obtained (here). It follows the story. Parikathā is known so because of its mixed characteristics of Kathā and Ākhyāyikā.

20. Kathānikā (is defined as beginning with) the (sentiment of) terror embodying sentiment of love and (sentiment of) wonder at the end. It is accomplished with good sense and is free from bombastic (expressions).

21-23a. Padya is (a metrical composition) of four lines. It is divided into two—Vṛtta and Jāti. Vṛtta beginning with Ukthā and ending with Utkṛti is regulated by the number of letters. Jāti is that where the syllabic instants are counted according to Kāśyapa. According to Piṅgala Vṛttas (are divided) into three—equal (quarters), half-equal and unequal. It is the ship of knowledge for those desirous of crossing the deep ocean of Kāvya.

23b-27. The family of poetry (consists of) Mahākāvya, Kalāpa, Paryābandha, Viśeṣaka, Kulaka, Muktaka, and Kośa. A Mahākāvya is divided into sargas (cantos) and is begun with Sanskrit and those of similar nature are not avoided. The equivalent (Prākṛta) does not become a blemish. The theme has its origin from historical incidents or other real incidents. It may describe council of states, sending of emissaries and marching (of soldiers) in battle-array. It should not be very elaborate. It should be composed in equal (sama) (metres) such as Śakvarī, Atijagatī, Atiśakvarī, Triṣṭubh, Puṣpitāgrā and Vaktra. Muktā describes different incidents not having short cantos.

28-29a. (One canto may be composed) in the Atiśakvarī and Aṣṭi (metres), another in mixed metres, whereas some other canto (may be composed) in the Mātrā. The last canto (may be employed) for praiseworthy (matter). This optional rule is very much condemned. Hence good people do not respect it especially.

29b-32. (Poetry) should be adorned with description of cities, seas, mountains, seasons, (the rise of) the moon and sun, hermitages, trees, gardens, sports in the water, drinking bouts and amorous dalliances, sending of female emissaries, the accounts of unchaste women, darkness, pleasant breeze and delineation of other vibhāvas (condition that produces a state of mind). It should contain all styles, power of words, bhāvas (states of mind), dictions, sentiments, qualities and embellishments. That is why (it is called) a Mahākāvya and its composer a great poet.

33. The sentiment is its very life even though verbal ingenuity may be predominant here. (It gains) a body from the sentiments in the eloquent expressions being accomplished with special efforts.

34-36. The fruit of the all-pervading fourfold object of human existence has been explained through the medium of the hero. Kalāpa is composed in the same metre throughout and is soft on account of the Kaiśikī vṛtti (style). Here the sentiment is incipient love and sojourn abroad. It is Viśeṣaka when it contains (mention of) attainment etc. and (is composed) in Sanskrit or any other (language). Kulaka would have many couplets. It (is also known as) chained. Muktaka consists of single verses and is capable of gaining the admiration of good people.

37-38. Kośa is full of elegant verses of great poets. It is divided into (sections called) Vrajyās^[1] pleasing to the learned men. Where there is power comparable to splendour and in which there is a difference of the metre in a canto, (it is known as) the mixed. It is known to be (divided into) two—Vapu and Prakīrṇaka. Prakīrṇaka can be heard (read) and represented on the stage by all kinds of expressions.

Footnotes and references:

[1]:

The text wrongly reads Brahmā.