4. Poetical thoughts in Somesvara’s Manasollasa

Somesvara is hailed as the Prince among Indian Poets. Individuals may equal or excel him in one or other aspects of art of composing poems. But collectively taken, in all aspects, he is unequalled. His uniformly high excellence of style is all his own, not to be found elsewhere in his period. The perfect balance of sound and sense is incomparable. The ease with which he uses words that literally flow from his brilliant mind (Pratibha Sakti) is bewildering. He is a close observer of all kinds of men and their nature. His insight into the human mind is deep and characterisation life-like. As a poet of human nature he is very famous for his dazzling descriptions, sharing the joys and griefs, feelings and emotions of humanity, charming Svabhavoktis etc. He has a keen sense of humour and a very healthy optimistic outlook and zeal for life. From the analysis of the contents of the Manasollasa it is seen that Somesvara deals with

405 almost all the topics of the Alamkara Sastra in his work. The Alamkara Sastra had been developing for more than a He carefully studied thousand years before Somesvara. the works of his predecessors and wrote his Manasollasa, wherein he embodied all the important theories and doctrines propounded by the rhetoricians that flourished before him. Though a great critic, Somesvara was also a poet. Critical acumen and poetic genius are generally not found together. But critical scholarship and poetical faculty are combined in the Manasollasa. It is a well-known fact that the expression of our thoughts is preceded by certain clearly defined mental processes. As figures of speech are the various modes of expressing our thoughts, they are closely connected with psychology. Rudrata is the first rhetorician who gives a scientific classification of the figures of sense. Perhaps the most important question which the Alamkara Sastra discusses is 'what is the essence or soul of Poetry'? On the answer which a rhetorician gives to this question, depends his definition of poetry. The discussion regarding the essence of poetry gave rise to five schools in Sanskrit poetics. They are: (1) The Rasa School, (2) The Alankara School, (3) The Riti School, (4) The Vakrokti School and (5) The Dhvani School.

406 It is not possible to say which of these five schools Somesvara follows. From his definition of poetry it would appear that he is an adherent of the Sabda, Artha, Alamkara, Rasa, Chandas, and Vakrokti (Sabdavidya). It is seen from this that Somesvara is not the follower offany school to the exclusion of others, But that he depends upon them all in the treatment of the different topics in his work Manasollasa. • In Manasollasa chapter four, Somesvara tells about Sastra Vinoda. Here he gives a description of Kavya. Sabda is the Sarira of Kavya, Artha is the Prana of the Kavya, Alamkaras are the Akara and Rasa, Bhava are the Cesta of the Kavya. Thus the meaning of the Kavya is the most important among the factors. Further, Somesvara refers to all the factors like Prasada, Madhurya, Audarya, in 84 ༣ 84. sabdah sariramh kavyasya prano'rthah parikirtitah | alakarastadakarah rasa bhavasca cestitam || 8-474-462-41 et chandodasya padasacaro nanaprakrtayastatha | sabdavidyasya marmemtaih kavyadevasya ramyata || 4.2.205-206.

407 Ojas, 85 86 and he deals also with Riti, Chandas and so on. Further Somesvara tells about the meaning of Mahakavya and its characteristics etc (4.2.320-326). He explains the nature of Campu also. Campu is a compound of Gadya and and Padya. 87 In the fourth chapter we have already noted various types of Ragas such as Suddha Raga, Bhinnaraga etc. and Bhavas such as vibhava, Anubhava etc. In Gita-vinoda, 85. mahapranaksaram slistam mithaca slistavarnakam | prasidvarthapadakhyatam prasada iti kathyate || prarabdhamarganirvahah samata parikirtita | sabdarthi karnasukhada madhuryam tatpravaksyate || aksaranam ca lalityam saukumarya vidurbudhah | nirapeksarthava citvamarthavyaktirudahrta || sastai visesanairyuktedidaryamabhidhiyate | ojah samasabahulyam vikataksarasandhi va || 4.2.207-2100 86. samastaisrbhataih sabdairojah kantigunanvitaih | gaudiya nama sa prokta ritih kavyavicaksanaih || 4.2.213. sakrtyatikrti syatamutkrtiscarama bhavet | iti samjnah samakhyatasyandasam purvasuribhih || 4.2.221. 87. gadhaih pathaih samayuktametadvarnanakairyutam | campunasna samakhyatam susruseta mahipatih || 4.2.328.

408 Somesvara shows his poetical ability. 88 He had studied Bharata-natyasastra also. He mentions only eight Rasas in drama, namely, Hasya, Karuna, Srigara, Raudra, Bibhatsa, 89 Bhayanaka, Adbhuta and vara. Somesvara was the follower of his ancestors, and also added his new and scholarly thoughts. He explains various styles of different languages. Somesvara knew the art of composing poetry in various 10 91 93 languages such as Kannada, Marathi, Lata, 92 prakxta"etc. 88. idrgvidhah pravandho'sau natakairapi giyate | bharatoktaprakarena nanarasasamudbhavah || 4. 16.298. 89. hasyam kasmasrngarau raudrabibhatsasamjnakau | bhayanakadbhutau vira ityastau natako rasah || 4.2.372. 90. gadanadi turagana maideca rnigaladiptih | gede gomdatamasvicaratiyaso dirgala pole | patu lugadato liho viska iti kena mamgisvasamsiddhiya || 4. 16.288. yogyah kannada pathah evam vartate | dododens 1 kevala 4 9 s 1 gedegondu tavarigetu varatiya 1 nadargala pele pa 1 onio406 1 kudutike namagis‌ sansid'dhiya 1 kannada padyagalu ☑ 1971) 6.30-34. 1 da 'em 'em. kalaburgi, 'manasollasadalli (canahaba na938 907 + 0lah 56, o. 1, I 91. jene rasatalaunu mastyasye veda aniyale manusivakavaniyale to samsarasagaratarana (nu ) moham to rakhe narayanu || 4.16.340. 92. govinayanahajorasvaijo kamsakhyakalu | so amha duriaivaharau kanhabharadavalu || 4.16.77. 93. yo sutorasta (dva ) ja alamlacchinahassanamahabhanniye | jam sumariumna yacaha (padu ) bhonsvasiraih samnimatsvovirayo || 4. 16.257.

409 Here is given an interesting verse that appears in the fourth Prakarana, which gives one-word answer for five 94 questions. The questions are: (1) who is to be served? (2) What is drunk in a sacrifice? (3) which is stable? (4) who protects the beloved? (5) Who is truthful now? The answers for all these questions given by him in his verse is only one word that is 'Srimat-soma-mall-patih'. The answers are as follows: 1) Srimat a rich man, 2) Soma Rasa, 3) Mahl the earth, 4) Pati husband, 5) Srimatsomamahipatih rich King Soma (i.e. Somesvara). the This shows the cream of his intelligence and mastery over the language and subject. The easy flow of language, the simple and straight-forward method of narration and the complete absence of tendency to sacrifice matter for form are some of the characteristics which deserve our admiration. 94. 5: 704: 5: hat da: a fert orfa 5: fyrNE | Partyd acuazu: : Aturatquelyfa: || 4.16.73. "

410 Further Somesvara mentions about Riti. He opines 95 that Vaidharbhi-Riti is the best for hearing. riti, Pancali-riti are also mentioned. GoudayaHe says that metrical scientists classify the three Vrttas into three types namely Visama Vrtta, Sama Vrtta, and Ardhasama Vrtta, --- 96 Next he tells about Chandas. In Manasollasa vedic metres are also mentioned, namely Brhati, Tristup, 97 Jagati, Ati jagati, Sakvari etc. Then he deals with Alarhkara Sastra. In brief, we can see Somesvara's knowledge of Alamkara sastra, as follows: 98 Simily or Upama : A striking or beautiful comparison between two things is Upama. Sadrsya means similitude i.e. the state of having a commmon property . Upamana is 95. dosaleberasamsprsta gunaih sarvairalankrta | vaidarbhi kathita ritih sravanasravyakarini || 4.2.212. 96. visamam ca samam caiva tathaivardhasamam bhavet | 97. evam trividhamakhyatam vrttam chando visaradaih || 4.2.215. brhati ca tathapakistisup ca jagati para | tathati jagati sakvaryanya syadatisakvari || 34.2.219. 98. ekadesana sahasyam bahusahasyameva va | yatra pratiyate kavye sopameti nigadyate || 4.2.225.

411 the standard of comparison, and Upameya is the object of comparison. The purpose of Upama is to exalt the greatness or excellence of the Upameya. Somesvara gives an example 99 also. Here Indubimba is the Upamana, Vadana is the sense. Upameya, Samana is the sadrsya vacaka. An Alamkara is that which heightens an existing Rasa though word and Therefore if Rasa is absent, there is nothing. in the stanza which the so-called figure therein can heighten. The use of various ingredients of a figure in such a stanza would be like putting an ornament on a dead body. Metaphor or Rupakalamkara: 100 Here Somesvara says that he was the follower of his ancestors. Metaphor is This the identification of the Upamana and the Upameya. identification must spring from extreme resemblance between the two. He gives an example. 101 Here Tanvangi 11 . indubimbasamanena vadanena krsodari | ahladayati cittam me kumbhikumbhonnatastani || 4.2.227. 100. upameye samaropya kathyate yatra vastuni | upamanam tada khyatam rupakam purvasuribhih || 4.2.229. 101. puspacapasya tanvangi paramastram jagajjaye | mano harati lokasya lavanyarasadirghika || 4.2.230,

412 (a beautiful lady) is the Upameya and the Upamana is the Puspacapa are identified on account of their extreme resemblance. It is called Rupakalamkara. Poetical fancy or Utpreksa Alamkara: There is always a certain fact, on which a fancy is built. The fancy must proceed from similarity and the fancy should be volitional. These are the essentials of Utpreksalamkara. Here he gives an example. This stanza contains a flattering address by a lover to his beloved. 'Oh beautiful lady, my enemy, the moon, is defeated by the beauty of your face. ' Thinking thus, as it were, the beauty of lotus serves the feet 102 of the deer-eyed lady. Paralipsis or Aksepa: The figure Aksepa arises when there is a denial of something, which is intended to be said, with a view to express some speciality or special meaning. The denial, being improper under the circumstances, 102. samadaya ca sadrsyamanyasyanyatra bhavanat | utpreksyate hi yadvastu tamutpreksam pracaksate || yudet fayzata caut addu falua: 1 itiva sevate padau padmakanti mrgidrsah || 4.2.231-232.

↑ 413 is only apparent. Some special meaning is conveyed by this apparent denial. Here Somesvara gives an example 103 also. Description of Nature or Svabhavokti Svabhavokti or Natural Description consists in the description of the peculiar Rupa, Sabda, Gandha, Rasa, Sparsa, Kriya and Guna of things. 104 In connection with this figure two points are to be mentioned: 1) The peculiar action or movement, colour, posture, and characteristics that form the object of description in this figure, must be such as are not observed by the ordinary people. But they attract the attention of men of poetical tendencies alone. 2) Strikingness or charm, which is a common characteristic of all figures of speech, is especially required for this figure. description would be uninteresting. Otherwise, the The name Svabhavokti is significant, because in this figure we have the 103. aayi fofagygtu fadu: sa azu q: 1 utkarsapadanayasavaksepah kathito budhaih || azureaa fautatzi and grunadi g na vaksye tvam dayahinah paraduhkhasukhi yatah || 4.2.233-234. 104. rupam sabdasca gandhasca rasah sparsakriyagunah | dravyam ca varnyate yattu svabhavoktirasau mata || 4.2.237.

414 description of the nature of various entities, or because we have here natural description as opposed to artificial which we find in other figures. > Somesvara gives many examples of this Svabhavokti It contains a very 105 Alamkara. He gives an example. 106 striking description of various characteristic movements of a swan. Another example is the movements of women. Svabhavokti is really an important figure. It is a good test of a poet's powers of observation and expression as against his power of imagination. Illuminator or Dipaka Alamkara When the common property, such as action of the relevant and irrelevant objects, i.e. of course of the standards of comparison and objects of comparison is mentioned only once, that is Dipaka because the property mentioned only once in the sentence illumines all entities. 107 105. sarvangapanduraih picchaisca bhva ca kanakavisa | haridrapinjaraih padai rajahamso virajate | 4. 2.338. 106. pinavrttaghanottungastanasparsa karotpalam | 107. tanvangaya manasam yunai lajjadhairyavivarjitam || 4.2.242. gunajati - kriyadravyavacyekatra sthitam padam | sarvaih sambadhyate va kyairdipakam tatpracacate || 11 4.2.246.

415 7 Somesvara gives an example of this Dipakalahkara. 108 This stanza enumerates certain things, which are white. Here the King's fame is the Prakrta. Hence it is Upameya and the whiteness of a conch, milky ocean, moon and the tusks of quarter-elephant are Aprkrta and hence Upamanas. The common property Svetima is mentioned only once. It is connected with both Prakrta and Aprkrta. the stanza is an example of Dipakalamkara. Therefore, Corroboration or Arthantaranyasa Alamkara 109 When a general proposition is supported or strengthened by a particular, or a particular by a general, either through similarity or through dissimilarity this alamkara arises. 110 In this stanza, the first part gives an illustration and the second part gives the generalisation on the 108. svetimah drsyate (sakha srirambhodhau sudhakare | digdantidasane kundre yasah su tava bhupate || 4.2.247. 109. vidheyarthasya sidhyartham samyadanyarthabhasanam | so'yamarthantaranyasah kathitah somabhubhuja || 4.2.255. 07 110. pakvamrakadalidraksaphaladhaye 'pi vane vasan | karabhah kantakanvanchatyadhamo yadhamapriyah || 4.2.256.

416 basis of the illustration referred. To illustrate the general by giving a particular or to justify a particular by giving the general is Arthantaray sasalamkara. Hyperbole or Atisayokti Alamkara It would appear that according to the original conception of Atisayokti, this figure consisted in some startling, extra-ordinary hyperbolic statement. Here Atisayokti means a statement of excellence. The figure is so called because here the excellence of the Upameya is brought out on account of its complete indentification with the Upamana. 111 Somesvara says that this alankara shows the Utkarsa of the Upameya and it is loved by the poets. Here, he gives an example. In the absence of the beloved, even one day appears like ten thousand years to the lover. He imagines that the separation is like a Rasayana which 112 makes a man live long. 111. arthasya pratipadyasya yah sambhavyah pradarsyata | utkarso'tisayoktih syat so'lakkarah kavipriyah || 4.2.264. 112. mama priyaviyogo'yam rasayanamivabhavat | nayami divasam tvekam varsanamayutaih samam || 4.2.265.

417 113 Circumlocation or Paryayokti 114 It is defined as the statement of a certain thing without the relation of Vacya and Vacaka existing between it and the words which convey it. In this alamkara there is a certain idea which is intended to be expressed or conveyed. Paryaya means a different mode. As the intended sense is here conveyed by a different mode, the figure is called Paryayokti. Somesvara gives an example' of Paryayokti alamkara. He says that the other kings have run away in fear to the forest along with their wives. They are drinking water using their palms indicating that they do not have any vessels with them. Apart from this they are drinking water of new areas every day. This shows that these kings are afraid of the supreme bravery of the strong king, and they do not stay at one place even in the forest. as the intended sense is So, conveyed here by means of a different mode without the words which express that meaning, this stanza is an example of Paryayokti-alamkara. || 3. tadvacakaih padaih sacadanukta tasya siddhaye | bhavagyantarena kathanam paryayoktarudahrta || 2.4.285. 114. Regarder 24 TAT: AGTRT: OTPORE: 1 pibantyaranyamasadya nityam navanavam jalam || 4.2.286.

418 Irrelevant description or Aprastutaprasamsa Indirect description is that which consists in the matter in hand. 115 description of the irrelevant, based on or leading to the When there is a description of some irrelevant matter which leads to the description of the relevant one, Aprastutaprasamsa occurs. Prasamsa is derived from pra + sams to tell or declare and means mention, statement or description (and not praise). The title Aprastutaprasamsa is significant, because here we have a statement of the irrelevant, from which the relevant is implied or suggested. Somesvara gives an example for this alamkara. 116 It is difficult to get the shadow of a tree, a leaf, a root, a fruit and pure water even if searched for thousands of years in the desert land. The Prastuta meaning in this refers to a person who is extremely stingy and from whom it is impossible to get any help. This is an example of Aprastutaprasamsa. 115. nirvedadaya santosadanyadeva prasasyate | aprastutaprasamsayamakhyata kavibhih pura || 4.2.303. 116. api varsasahastani bhrantva no labhyate marau | tarucchaya dalam mulam phlam jalamanavilam || 4.2.3040

419 Artful Praise or Wajastuti This alamkara occurs when there is censure or praise on the face or surface, but when the conclusion or ultimate purpose is otherwise i.e. praise or censure respectively. There is censure on the surface, but praise in the end i.e. where/from apparent censure praise is underThere is praise on the surface, but censure in the end i.e. where from apparent praise censure is conveyed. Somesvara gives definition Artful praise occurs when there is censure or praise on the face but 117 He gives an stood. the ultimate purpose is otherwise. This stanza exemplifies Vyajastuti i.e. 118 example. Vyajena Stutih. Here a king is charged for being exceedingly indifferent towards Pratapa or Valour (heroism). The seven oceans are not dried even in spite of king's Pratapagni. Thus we have apparent censure or dispraise. But this apparent dispraise ultimately leads to praise. Thus this stanza is an example of Vyajastuti. In this way Somesvara explains poetry and t 117. nindavyajena yatkincastuyate savisesanan | vyajastutiriti khyata nagaroktivisaradaih || 4.2.306. 118. adhunapi na susyanti samudrah sapta bhupate | mahatapi kimetena tvatpratapagnina krtam || 4.2.307.

420 its factors. Lastly Somesvara suggests to the Kings that they must give sufficient wealth to the good poets and 119 logicians. Somesvara knew the importance of the words and their meaning very well. Hence he has been able to bring up a better elaboration of different figures easily. Also notable in his Kavya are the different styles and the striking expressions.