Kavyamimamsa of Rajasekhara (Study)

by Debabrata Barai | 2014 | 105,667 words

This page relates ‘Anyayoni (2): Alekhyaprakhya’ of the study on the Kavyamimamsa of Rajasekhara: a poetical encyclopedia from the 9th century dealing with the ancient Indian science of poetics and rhetoric (also know as alankara-shastra). The Kavya-mimamsa is written in eighteen chapters representing an educational framework for the poet (kavi) and instructs him in the science of applied poetics for the sake of making literature and poetry (kavya).

About the Ālekhyaprakhya-haraṇa Rājaśekhara says that:

kiyatā'pi yatra saṃskārakarmaṇā vastu bhinnavadbhāti |
tatkathitamarthacaturairālekhyaprakhyamiti kāvyam || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XII, Pp- 68

Means:

“In a poetic composition when treatment of one and same subject, polishing is given to the ancient idea with the result that the subject appears as though it is a different one, thus claver [clever?] people says it by the name Ālekhyaprakhya types of haraṇa.”

However, Rājaśekhara admits the adoptability of Ālekhyaprakhya-arthaharaṇa but Ānandavardhana denounced these types of haraṇa.

He even condemns it as the part of poets as ‘tucchātma’ and says:

tadanantaramālekhyaprakhyamanyatyāmyaṃ śarīrāntarayuktamapi tucchātmatvena tvaktavyam |”

- Dhvanyāloka of Ānandavardhana: IV/ 16

Ālekhyaprakhya-haraṇa is differing from Pratibimbakalpa-haraṇa, because in the pratibimbakalpa-haraṇa the theme remains the same but sentence is changed whereas in Ālekhyaprakhya even though the theme is the same it seems to be anew by the touch of poetic skill.

In this causes Rājaśekhara accepted it and gives an example as:

te pāntu vaḥ paśupateralinīlabhāsaḥ kaṇṭhapradeśaghaṭitāḥ phaṇinaḥ sphu rantaḥ |
candrāmṛtāmbukaṇasekasukhaprarūṭhairyairaṅkairariva virājati kālūkaṭaḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XII, Pp- 63

And,

jayanti dhavalavyālāḥ śambhorjūṭāvalamvabanaḥ |
galadgaṅgāmbusaṃsiktacandrakandāṅku rā iva || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XII, Pp- 63

Here the second śloka is a pratibimbakalpa of the first śloka, where the idea is the same entirely but the expressions used are different. In the first śloka the word ‘candrāmṛtāmbu’ is changed to second śloka as ‘galadgaṅgāmba’ु . And also the serpents are

described as white, instead of black in the second śloka. There the ideas remains same, thus it is an example of Ālekhyaprakhya types of haraṇa.

This Ālekhyaprakhya haraṇa is divided into eight types i.e.

  1. Samakrama,
  2. Vibhūṣaṇamoṣa,
  3. Vyutkrama,
  4. Viśeṣokti,
  5. Uttaṃsa,
  6. Naṭanepathya,
  7. Ekaparikārya and
  8. Pratyāpatti.

(a) Samakrama:

sadṛśasañcāraṇaṃ samakramaḥ|”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Means:

“In a poetic composition when there is transference of similar description to another śloka, thus it is called Samakrama Ālekhyaprakhya haraṇa.”

For example as:

astādriveśmani diśo varuṇapriyāyāstiryakkathañcidapayanttaṇamāsthitāyāḥ |
gaiṇḍakapārśvamiva ku ṅku mapaṅkacumbi bimbaṃ rucāmadhipateraruṇaṃ rarāja || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

And also:

prāgdiśaḥ pratikalaṃ vilasantyāḥ ku ṅku māruṇakapolatalena |
sāmyameti kalitodayarāgaḥ paśya sundari tuṣāramayūkhaḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Here the first śloka the setting moon has been described but the second śloka it is transferred to the rising moon. Thus it is one types of Samakrama haraṇa. However it is bears a close resemblance with the Samkrantaka type of Pratimbakalpa haraṇa.

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(b) Vibhūṣaṇamoṣa:

alaṅkṛtamanalaṅkṛtyābhidhīyata iti vibhūṣaṇamoṣaḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Means:

“In a poetic composition when the ideas endowed with figures of speech and expatiated as without figure of speech thus it is called Vibhūṣaṇamoṣa Ālekhyaprakhya haraṇa.”

C.f.

ku valayasiti bhūle bālacandrāṅku rābhaṃ tadanu khalu tato'gre pākapītā_mra_pītam |
abhinavaravirocirddhūmadhūmraṃ śikhāyāmiti vividhavikāraṃ didyute daipamarciḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

And also another sense:

manāṅbhūle nīlaṃ tadanu kapiśonmeṣamudare
  tataḥ pāṇḍu stokaṃ sphu radaruṇalekhaṃ ca tadanu
|
śikhāyāmādhūmraṃ dhṛtavividhavarṇakramamiti
  kṣaṇādārcirdaipaṃ dalayati tamaḥ puñjitamapi
|| ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Here, in the first śloka the flame of a lamp is described with a number of similes. In the second śloka all the similes are omitted. Thus it is an example for Vibhūṣaṇamoṣa Ālekhyaprakhya haraṇa.

(c) Vyutkrama:

krameṇābhihitasyārthasya viparītābhidhānaṃ vyutkramaḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Means:

“In a poetic composition when there is an inversion of the arder which a particular thing is described, thus it is called Vyutkrama Ālekhyaprakhya haraṇa.”

For an example the first śloka in the former example is recomposed as:

śyāmaṃ śikhābhuvi manāgaruṇaṃ tato'dhaḥ stokāvapāṇḍu raghanaṃ ca tato'pyadhastāt |
āpiñjaraṃ tadanu tasya tale ca nīlamandhaṃ tamaḥpaṭalamardṛti daipamarciḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Here, the description in this śloka where the colours of the flame have been described from top to the bottom the order but here it has been reversed in that the coloured flame has been described from bottom to the top. Thus it is an example of Vyutkramaha types of Ālekhyaprakhya haraṇa. This type of haraṇa also similar with Vyastaka type of pratibimbakalpa artha haraṇa.

(d) Viśeṣokti:

sāmānyanibandhe viśeṣābhidhānaṃ viśeṣoktiḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69

Means:

“In a poetic composition when a description of an as particular one, but where it is to be described as general thus it is called Viśeṣokti types of Ālekhyaprakhya haraṇa.”

C.f.

ityudgate śaśini peśalakāntadūtīsaṃlāpasañcalitalocanamānasābhiḥ |
agrāhi maṇḍanavidhirviparītabhūṣā vinyāsahāsitasakhījanamaṅganābhiḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 69-70

And also in another sense:

cakāra kācitsitacandanāṅke kāñcīkalāpaṃ stanabhārapṛṣṭhe |
priyaṃ prati preṃṣitacittavṛttirnitambabimbe ca babandha hāram || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Here, in the second śloka, a specific instance of a particular maiden has described but in the first śloka is a general description of maidens has been give. So it is an example of Viśeṣokti types of Ālekhyaprakhya haraṇa.

(e) Uttaṃsa:

upasarjanasyārthasya pradhānatāyāmuttaṃsaḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Means:

“In a poetic composition when adopting any secondary meaning as the major or principal meaning thus it is known as Uttamsa Ālekhyaprakhya haraṇa.”

C.f.

dīpayannatha nabhaḥkiraṇaughaiḥku ṅku māruṇapayodharagauraḥ |
hemaku mbha iva pūrvapayodherunmamajja śanaikastuhināṃśu || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Another example with same sense:

tatastamaḥśyāmalapaṭṭakañcukaṃ vipāṭayatkiñcidadṛśyatāntarā |
niśātaruṇyāḥ sthitaśeṣaku ṅku mastanābhirāmaṃ sa(śa)kalaṃ kalāvataḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Here, in the first śloka composition of the moon with the barest of lady is subsidiary to the main simile comparing the moon with the golden spot. However, in the second śloka the subsidiary simile of the first śloka has been adopted as the principle simile. Thus it is an example of Uttamsa Ālekhyaprakhya haraṇa.

(f) Naṭanepathya:

tadeva vastūktivaśādanyathā kriyata iti navanepattham |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Means:

“In the Naṭanepathya haraṇa, where the same thing is expressed in another way by means of changing the mode of expression.”

Example as:

ānenanduśaśalakṣsa kapole sādaraṃ viracitaṃ tilakaṃ yat |
tatpiye viracitāvadhibhaṅge dhautamīkṣaṇajalaistaralākṣyāḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Another example with same meaning:

śokāśrubhirvāsarakhaṇḍitānāṃ siktāḥ kapoleṣu vilāsinīnām |
kānteṣu kālātyayamācaratyu khalpāyuṣaḥ patralatā babhūvuḥ || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

Here, the first śloka is reproduced with slight modification thus it is an example of Naṭanepathya types of Ālekhyaprakhya haraṇa. It is also resemblance with the Naṭanepathya Pratimbakalpa, because it the idea is reproduced in different language. Here we see that, the tīlaka on the cheeks of the women, were removed by the tears that arose out of the grief of their separation from the lovers. In second śloka instead of tīlaka, the patralatas are said to be destroyed by the tears.

(g) Ekaparikārya:

parikarasāmye satyapi parikāryasthānyathātvādekaparikāryaḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70

 

Means:

“In a poetic composition where is similarity in figures of speech but different in relevant objects, thus it is called as Ekaparikārya Ālekhyaprakhya haraṇa.”

For example as:

avyādgajendravadanaḥ sa imāṃ trilokīṃ yasyodbhatena gagane mahatā kareṇa |
mūlaprarūḍhasitadantabisāṅkureṇa nālāyitaṃ tapanabimbasaroruhasya || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 70-71

Another example with the same meaning:

saralakaradaṇḍanālaṃ gajavapuṣaḥ puṣkaraṃ vibhorjayati |
mūlabisakāṇḍabhūmau yatrābhūdekadaṃṣṭraiva || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Here, in the first śloka Lord Gaṇeśa’s trunk is described as the lotus stalk which is the support of the sun, which resembles a lotus. But in the second śloka the tip of the trunk of Lord Gaṇeśa itself is conceived as a lotus. In this way we found here similarly in the figures of speech while the objects are different. Thus it is an example of Ekaparikarya Ālekhyaprakhya haraṇa.

(h) Pratyāpatti:

vikṛteḥ prakṛtiprāpaṇaṃ pratyāpattiḥ|”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Means:

“In a poetic composition where irrelevant object is brought to relevance thus it is called as Pratyātti types of Ālekhyaprakhya haraṇa.”

For an example as:

ravisaṅkrāntasaubhāgyastuṣārāvilamaṇḍalaḥ|
niḥśvāsāndha ivādarśaścandramā na prakāśate || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Another example with same meaning:

tasyāḥ pratidvandibhavādviṣādātsadyo vimuktaṃ mukhamābabhāse |
niḥśvāsabāṣpāpagame prapannaḥ prasādamātsīyamivātsadarśa || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Here, in the first śloka the author compares the winter-moon to a mirror which is made dirty by sighs. But in the second śloka is described the happy face of a lady, which becomes clear by the removal of the dirt of tear and sight that resembled a mirror. In this way the first śloka described the vikūti of the mirror, while the second śloka described the prakūti of the mirror. Thus it is an example of Pratyāpatti types of Ālekhyaprakhya haraṇa.

It is the classification of both pratibimbakalpa and Ālekhyaprakhya are two sub-types of haraṇa of Anyayoni Artha. However Ānandavardhana was condemns both of those two varieties. But Yāyāvarīya Rājaśekhara condemns only the first pratibimbakalpa-artha-haraṇa and adopts the second Ālekhyaprakhya-artha-haraṇa. In this way it can seems that the charge of plagiarism is slighted in the second type, however there is considerable overlapping in the subdivision of the Ālekhyaprakhya-Artha-haraṇa.

Thus Yāyāvarīya Rājaśekhara recognizes the adoptability of Ālekhyaprakhya Artha-haraṇa by the saying:

tā imā ālekhyaprakhyasya bhidāḥ | so'yamanugrāhyo mārgaḥ |”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Thus it is also has been saying that:

so'yaṃ bhaṇitivaicitryātsamasto vastuvistaraḥ |
naṭavadvārṇikāyogādanyathātvamivārccha ti || ”

- Kāvyamīmāṃsā of Rājaśekhara: Ch-XIII, Pp- 71

Means:

“In a kāvya (poetry) when expressed in a fresh light using varied striking expression acquires a new look like an actor, whose appearance changes with every new character that he depicts.”

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