Acharya Rajshekhar Krut Kavyamimansa Ka Aalochanatmaka Adhyayan

Here's a comprehensive summary of the Jain text "Acharya Rajshekhar krut Kavyamimansa ka Aalochanatmaka Adhyayan" by Kiran Srivastav, based on the provided pages:

This doctoral thesis, submitted to Allahabad University, presents a critical study of Acharya Rajashekhara's "Kavyamimansa." The author, Kiran Srivastav, highlights the profound significance of this work, describing it as a "sea containing pearls" of Sanskrit poetics, encapsulating the ideas from Bharata Muni to Anandavardhana. Rajashekhara, benefiting from the rich tradition of Sanskrit literature, synthesized various viewpoints with his original insights to create "Kavyamimansa" for the edification of poetry students. The book's title, "Kavyamimansa," signifies its importance, comparable to treatises on other philosophical subjects. Rajashekhara posits that understanding poetry and literature leads not only to worldly pleasures but also to the ultimate spiritual goal of liberation (moksha).

The thesis is structured into eight chapters, exploring various facets of Rajashekhara's life and work:

Chapter 1: Introduction (Significance of Kavyamimansa) and Acharya Rajashekhara's Personality and Works This chapter establishes Rajashekhara's scholarly reputation, earned through his Sanskrit and Prakrit dramas and especially "Kavyamimansa." It traces the history of Sanskrit poetics from Bharata Muni onwards, listing prominent scholars. Rajashekhara's temporal placement is established as the 9th-10th centuries CE, based on evidence from his patrons like the Gurjara-Pratihara rulers Mahendrapala and Mahipala, and the Kalachuri ruler Yuvarajadeva I. His intellectual prowess is evident in his knowledge of grammar, Puranas, Arthashastra, and Kamasutra. His geographical and chronological insights are also noted. Rajashekhara's emphasis on "Kavishiksha" (poet training) is highlighted as a pioneering contribution. The chapter details his family background, his association with the Kannauj court, and his various literary works, including dramas like "Balramayana," "Balabharata," "Viddhashal bhanjika," and the "Sattaka" "Karpuryamanjari," alongside the magnum opus "Kavyamimansa."

Chapter t: Various Interesting Aspects of Kavyamimansa This chapter delves into key concepts discussed in "Kavyamimansa":

• Rajashekhara's concept of the "Kavya Purusha": Presented as Sarasvati's son, the Kavya Purusha embodies the essence of poetry, starting with Ushanas and culminating with Valmiki. The chapter details the allegorical narrative of the Kavya Purusha's journey, symbolizing the development of poetic styles, including the refinement of speech and the eventual excellence of the Vaidarbhi style.
• Kavya and Sahitya: Rajashekhara defines poetry as a "sentence equipped with qualities and decorations," elaborating on the significance of words, meanings, and their meaningful arrangement in a sentence. The concept of "Sahitya" is explained as the harmonious coexistence of words and meanings, essential for conveying beauty and meaning.
• Riti, Vritti, and Pravritti: These concepts are explored in relation to the development of poetic styles and their geographical influences. Riti, or poetic style, is analyzed through the evolution from the Gauḍi style (characterized by lengthy compounds and heavy ornamentation) to the Pañchali style (with moderate use of compounds and ornamentation) and finally to the Vaidarbhi style (known for its naturalness, clarity, and elegance). These styles are linked to the "Pravrittis" (regional characteristics) and "Vritti" (expressive techniques) that contribute to the overall aesthetic appeal of poetry.
• Kaku and Kavyapath: The importance of pronunciation and intonation ("Kaku") in delivering poetry is discussed, linking it to the emotional expression ("Bhava") and aesthetic appeal ("Rasa"). Rajashekhara emphasizes proper vocalization and modulation in poetry recitation for its effective delivery.

Chapter 3: Poetic Cause and Poet's Training in Kavyamimansa This chapter focuses on the crucial aspects of what makes a poet and how they are trained.

• Shakti and Pratibha: Rajashekhara identifies "Pratibha" (talent/imagination) and "Shakti" (innate potential) as the primary causes of poetry, with "Pratibha" being the most important. He categorizes poets based on their manifestation of "Pratibha" into "Sarasvata" (innately talented), "Abhyasika" (developed through practice), and "Aupadesika" (developed through guidance and tutelage).
• Vyutpatti and Abhyasa: While innate talent is paramount, Rajashekhara stresses the equal importance of "Vyutpatti" (erudition/learning) and "Abhyasa" (practice) in developing a poet. He emphasizes the need for poets to possess extensive knowledge of various disciplines, arts, and sciences.
• Poet's Training (Kavishiksha): This section details the poet's educational journey, including their student phase, different types of disciples, the developmental stages of a poet, their daily routines, habits, health, cleanliness, entourage, relationships, and writing materials. The thesis highlights Rajashekhara's systematic approach to training poets, covering all essential aspects from the foundational stages to mastery.

Chapter 4: Kavismaya (Traditional Conventions in the World of Poets) This chapter defines "Kavismaya" as traditional, non-scriptural, and often supernatural conventions followed by poets. It discusses whether these conventions relate to words, meanings, or both. Rajashekhara's classification of "Kavismaya" into "Bhauma" (earthly), "Swargya" (heavenly), and "Pataliya" (underworld) categories is analyzed. The chapter explores the aesthetic value inherent in "Kavismaya" and its historical development in Indian poetics. Examples of various "Kavismaya" in different Mahakavyas are also presented, illustrating their usage in enriching poetry.

Chapter 5: Theft in Poetry - Appropriateness and Necessity This chapter critically examines the concept of "harana" (borrowing or appropriation) in poetry. Rajashekhara's analysis of this practice is traced back to earlier scholars, and his views are compared with subsequent ones. The chapter discusses the justification and necessity of "harana" in poetry, particularly in the context of poetic training and originality. It delves into the types of verbal and semantic borrowing and their acceptability in poetic composition, exploring the expectation of constant learning from others' works ("paraprabandhanushilan"). The chapter questions whether Anandavardhana's concept of semantic similarity forms the basis of "harana" discussions and analyzes the various categories and merits of borrowing.

Chapter 6: Poet and Appreciator in Kavyamimansa

• (a) Poet and Appreciator: This section elaborates on Rajashekhara's descriptions of poets, categorizing them based on their talent and the nature of their inspiration (e.g., "Sarasvata," "Abhyasika," "Aupadesika"). It also details the role and characteristics of the "Bhavaka" (appreciator or reader) who experiences the "Rasa" (aesthetic sentiment) evoked by the poem.
• (b) Vidagoshthi and Rajcharya in Kavyamimansa: The significance of "Vidagoshthi" (gatherings of learned people or literary salons) and "Rajcharya" (royal patronage of arts and literature) in Rajashekhara's time is discussed. The importance of these gatherings for the dissemination of poetry, critical evaluation, and the encouragement of poets is highlighted. The role of kings in fostering a vibrant literary environment is also explored.

Chapter 7: Discussion of Place and Time in Kavyamimansa This chapter provides a detailed geographical and chronological framework as presented in "Kavyamimansa."

• Place (Desha): Rajashekhara's description of India is analyzed, dividing it into five regions: Purvadesha (Eastern India), Dakshinapatha (Southern India), Pashchimadesha (Western India), Uttarapatha (Northern India), and Madhyadesha (Central India), with Kannauj as the central point. The description includes major geographical features like mountains and rivers, and the products of various regions. The identification of ancient geographical names with modern locations is also attempted.
• Time (Kala): The chapter discusses Rajashekhara's chronological framework, including concepts of time measurement, solar and lunar calculations, the cycle of seasons, and the influence of time on natural phenomena and human activities. The cyclical nature of time and its impact on poetic descriptions are explored.

Chapter 8: Conclusion The concluding chapter summarizes the findings of the thesis, reiterating the unique contribution of "Kavyamimansa" to Sanskrit poetics, particularly its emphasis on practical poet training and its comprehensive coverage of various literary aspects. It reaffirms Rajashekhara's place as a seminal figure in shaping the study of poetry.

The thesis acknowledges the invaluable guidance of Dr. Gyan Devi Srivastava and expresses gratitude to the faculty of Allahabad University's Sanskrit department. It also recognizes the support of family members. The bibliography lists a wide range of Sanskrit and Hindi texts consulted, indicating the thoroughness of the research.

In essence, this thesis presents "Kavyamimansa" as a foundational text that goes beyond theoretical poetics to offer practical guidance for aspiring poets, covering everything from the very nature of poetry and the poet's disposition to the specific techniques of composition, appreciation, and even the practicalities of poetic life and the societal context of literature.