Alankar Kaustubh - Book Summary

Here's a comprehensive summary of the Jain text "Alankara Kaustubha" by Kavi Karnapura, edited by Ravishankar Nagar, based on the provided information:

Title: Alankara Kaustubha Author: Kavi Karnapura (also known as Parmananda-dasa Sena) Editor: Dr. Ravishankar Nagar Publisher: Parimal Publications Series: Parimala Sanskrit Series No. 3 Publication Year: 1993

Overview:

The "Alankara Kaustubha" is a significant and highly regarded work in the Vaishanava tradition, particularly within the Alaṁkāra Shastra (the science of poetics and rhetoric). It is also recognized as a fine specimen of elegant Sanskrit poetry. Kavi Karnapura, a prominent Vaiṣṇava author from Bengal belonging to the Gaudiya sect and an ardent follower of Chaitanya Mahaprabhu, authored this comprehensive treatise. He is known for his deep devotion to Lord Sri Krishna and his attempt to integrate Vaiṣṇava philosophy into the general themes of poetic Rasa (aesthetic relish) and to establish Bhakti (devotion) as the supreme relishable sentiment.

Structure and Content:

The work is comprehensive and meticulously structured into ten "Kiranas" (sections), covering all the major topics of Sanskrit poetics, with the exception of dramaturgy. These ten Kiranas are:

Kavya Samagri (Elements of Poetry): This section delves into the general aspects of poetry, including its purpose, causal factors (hetu), classification, and nature. Kavi Karnapura critically examines the definitions of poetry provided by Mammaṭa, Vāmana, and Viśvanātha, ultimately proposing his own definition. He also discusses the "Kavya Puruṣa" (the personification of poetry), with Sabda (word) and Artha (meaning) forming the body, Dhvani (suggestion) as the vital breath, Rasa as the soul, Guṇas (excellences) as qualities, Alaṁkāras (figures of speech) as ornaments, Rītis (styles) as the organic structure, and Doṣas (blemishes) as physical defects.
Sabdartha (Word and Meaning): This section focuses on the nature of words and their meanings, which form the very body of poetry. Kavi Karnapura is influenced by the semantic speculations of grammarians, particularly Bhartrhari. He explores the concept of Sabda Brahman in its subtlest form and discusses the grammarians' concept of 'sphota' (the indivisible unit of sound that conveys meaning). He also examines the connotation of words, presenting the views of grammarians and Mimāṁsakas on how words denote individuals and universals.
Dhvani (Suggestion): This is a pivotal section that elaborates on the concept of Dhvani, a central tenet of Sanskrit poetics established by Ānandavardhana. Kavi Karnapura meticulously outlines the classifications and varieties of Dhvani, adhering to the established Dhvani school. The term Dhvani here is broad, encompassing suggestive elements in words and meanings, and the function of Vyañjanā (suggestion).
Guṇibhutavyaṅgya (Subordinated Suggestion): This section deals with poetry of the second grade, where the expressed sense is more prominent than the suggested sense. Kavi Karnapura details the factors and circumstances under which the suggested meaning (vyaṅgyārtha) loses its prominence and becomes subordinate.
Rasa-Bhavatadbheda (Aesthetic Relish and Emotions): This is a crucial section where Kavi Karnapura, as a staunch Vaiṣṇava, establishes the supremacy of Bhakti Rasa. He adds "Prema Rasa" (love rasa) as an outcome of the divine love between Sri Krishna and Radha, considering it the most important rasa in which all other rasas are subsumed. He explains the general concept of Rasa, the role of Vibhāvas (causes), Anubhavas (consequents), and Saṁcāris (accessory feelings), and emphasizes that the locus of Rasa is the Sāmājika (audience). He also discusses the progression of Rati (love) through various stages and proposes wonder (Camatkāra) as a pervasive feeling in the aesthetic experience of all Rasas.
Guņas (Excellences): This section focuses on the excellences in poetry, adhering to the theories of Ānandavardhana, Abhinavagupta, and Mammaṭa. Kavi Karnapura argues that Guṇas are qualities of Rasa, not of Sabda (word) and Artha (meaning). He critiques Vāmana's theory of Guṇas and aligns with Mammaṭa's classification, explaining the three main Guṇas: Mādhūrya (sweetness), Ojas (vigor), and Prasāda (clarity).
Sabdālaṁkāras (Figures of Sound): This section defines and classifies figures of sound, including Vakrokti, Anuprāsa, Yamaka, Śleṣa, Citra, and Punaruktavadābhāsa.
Arthālaṁkāras (Figures of Sense): This section defines and illustrates figures of sense, beginning with Upamā (simile) and its various types, followed by other figures based on similarity (like Utprekṣā, Rūpaka, Samdeha) and those based on different principles (like contrast, enumeration, presumption). Kavi Karnapura follows the pattern established by Mammaṭa and his followers in his treatment of these figures.
Rīti (Style): This section is dedicated to the concept of Rīti, as elaborated by Vāmana. Kavi Karnapura acknowledges the evolution of this concept in the hands of the followers of the Rasa Dhvani system. He recognizes four Rītis: Vaidarbhi, Gauḍī, Pāñcālī, and Lāṭī, influenced by Bhoja's inclusion of the fourth. He also touches upon the concept of Pāka (maturity of poetry).
Doṣa (Blemishes): This final section treats poetic blemishes. Kavi Karnapura explains that with the advent of the Dhvani system, Doṣas, like Guṇas, became associated with Rasa. They are viewed as hindrances to aesthetic relish rather than absolute defects. He defines Doṣas as those that detract from the relish of Rasa and classifies them into Śabda (sound), Artha (meaning), and Rasa doṣas, further subdividing them into various categories based on Mammaṭa's framework and the principles of Dhvani Vādins.

Key Features and Originality:

While largely following the established framework of Sanskrit poetics, particularly the Rasa Dhvani system and Mammaṭa's "Kavya Prakasha," Kavi Karnapura's "Alankara Kaustubha" displays originality in several aspects:

Integration of Vaiṣṇava Philosophy: The work uniquely blends the principles of poetics with Vaiṣṇava theology, notably establishing the supremacy of Bhakti Rasa and elaborating on the divine love between Radha and Krishna.
Comprehensive Analysis of Dhvani: The detailed exploration of Dhvani and its numerous varieties demonstrates a deep understanding and original contribution to this aspect of poetics.
Refined Definitions: Kavi Karnapura's critical engagement with existing definitions of poetry and his own propositions showcase his analytical prowess.
Emphasis on Sound and Sense: His work highlights the importance of the charm of sound and sense in poetry, a factor that was sometimes neglected by pure Dhvani theorists.
Influence: The work's comprehensive and nuanced treatment of poetics has influenced subsequent critics, including the renowned Pandita Raja Jagannātha.

Commentaries and Editions:

The text is presented with a Sanskrit commentary by Lokanatha Chakravartin and various notes by Shivaprasad Bhattacharya, edited with an introduction by Dr. R. S. Nagar. The catalog link provided indicates its availability through Parimal Publications.

In essence, "Alankara Kaustubha" is a masterful synthesis of Sanskrit poetics and Vaiṣṇava devotional sentiment, offering a rich and detailed exploration of poetic elements through the lens of divine love.