Kalplata Vivek - Book Summary | JainGPT

This is a summary of the Jain text "Kalpalata Vivek," a work on Sanskrit poetics, edited by Murari Lal Nagar and Harishankar Shastry, and published by L D Indology, Ahmedabad.

Book Title: Kalpalata Vivek Author(s): Murari Lal Nagar, Harishankar Shastry (Editors); Anonymous Author (Original Work) Publisher: L D Indology, Ahmedabad Series: Lalbhai Dalpatbhai Series No. 17

I. Introduction and Authorship:

Anonymity: The "Kalpalata Vivek" is authored by an anonymous writer. The editors acknowledge that the original work, "Kalpalata," and its commentary, "Kalpapallava" (or "Pallava"), are lost or irretrievably lost.
Kalpalata and Pallava Authorship: Internal evidence from "Kalpalata Vivek" and external sources (like Vadi Devasuri's "Syadvadaratnakara" and Prabhacandra Acharya's "Prabhavakacarita") strongly suggest that Ambaprasada was the author of "Kalpalata" and its commentary "Kalpapallava."
Ambaprasada's Identity: Ambaprasada is identified as a minister (Sacchiva Pravara or Mahamatya) of Siddharaja Jaisimha of Patan, who reigned from 1094 to 1143 A.D. Inscriptions and Jain historical accounts corroborate his position and likely Jain affiliation. He was likely a scholar of poetics, influenced by Hemacandra Acharya.
Date of Kalpalata: Kalpalata likely flourished in the first half of the 12th century A.D., with its composition preceding the writing of "Syadvadaratnakara" (around 1137 A.D.) and the earliest manuscript of "Kalpalata-viveka" (dated 1148 A.D.). It also borrows from Mammata's "Kavyaprakasa" and Hemacandra's "Kavyanusasana."
Authorship of Viveka: The author of "Kalpalata-viveka" is distinct from Ambaprasada. While the work's introductory verses offer an apology for its composition, suggesting it's a supplement to "Pallava," it does not reveal the author's name. A conjecture from the "Jinaratnakosa" suggests Vibudhamandiragani as a potential author, but this is not definitively confirmed. The author of Viveka is likely Jain, given the inclusion of a Prakrit verse extolling Jainism.

II. Scope and Structure of the Works:

Kalpalata: This original work on Sanskrit Poetics is believed to be divided into four sections (paricchedas):
1. Dosa-darsana: Blemishes of Poetry.
2. Guna-vivecana: Excellences of Poetry.
3. Sabdalankara-darsana: Figures of Sound.
4. Arthalamkara-nirnaya: Figures of Sense. It appears to have covered most major topics of Alamkarasastra, aiming for a syncretic reconciliation of different views. It likely contained original Karikas (verses) as well as those culled from other writers, and possibly brief explanations and illustrations.
Pallava (Kalpapallava): This was an auto-commentary on Kalpalata, intended to elaborate and explain what Kalpalata itself did not elucidate. It might have been terse, referred to as a "Sanketa" by Vadi Devasuri.
Kalpalata-viveka: This is a sub-commentary or supplement to Pallava, aiming to explain parts of Kalpalata that Pallava did not cover or that remained incomprehensible. It is critical and discerning, and it also incorporates detailed discussions on various poetics topics, often by directly importing passages from other significant works.

III. Survey of Contents (Detailed breakdown of Kalpalata as presented in Viveka):

The text is organized into four main sections, covering various aspects of Sanskrit poetics:

Section I: Dosa-darsanam (Blemishes of Poetry)
- This section discusses various poetic blemishes (dosas) categorized into four types:
  - Pada-dosas (Word-level Blemishes): Discusses concepts like Sruti-katu (unpleasant sounds), Asamartha (words failing to convey intended sense due to various reasons like prefix-induced meaning change, unconventional usage, etymological vs. conventional meaning), Asadhu-pada-dosa (ungrammatical forms), Nirarthaka (purposeless words), Avacaka (words not directly current in the sought-after sense), Anyartha (words used with a meaning different from established convention), Aslila (indecorous words), Apratita (doubtful words), and Gramya (improper words for context, including vaktr-gramya and vastu-gramya). It also touches upon Neyartha (meaning derived without proper convention or motive) and Klista (meaning apprehended indirectly).
  - Vakya-dosas (Sentence-level Blemishes): Covers Nihatartha (words used in archaic senses), Gudha-sabdabhidhana (esoteric words for names), Anucitartha (words suggesting a contrary import), Aslila (indecorous sentences), Sandigdha (dubious meanings), Neyartha (meaning superimposed without warrant), Klista (hindered apprehension of sentence meaning), Avimysta-vidheyamsa (reversed subject-predicate order), Viruddha-matikyt (contrary meaning understood), Visandhi (awkward junction of letters), Hata-vytta (harsh meter), Bhinna-vytta (incorrect syllable count in meter), Anabhihita-vacya (necessary word not mentioned), Asarira-dosa (absence of predicate), Adhika-pada (redundant words), and Akrama/Asthanastha-pada (wrong word placement/order).
  - Artha-dosas (Sense-level Blemishes): Details numerous dosas related to meaning, including Apustartha (unnecessary words), Kastartha (meaning apprehended with difficulty), Vyartha (self-contradictory meaning), Ekartha (redundant meaning), Apakrama (reversed natural order of incidents), Desa-virodhi (contradiction with place), Kala-virodhi (contradiction with time), Loka-virodhi (contradiction with general experience), Ayuktimat (improper use of speechless entities as messengers), and others.
  - Rasa-dosas (Sentiment-level Blemishes): Discusses blemishes pertaining to sentiment, often drawing from Dhvanyaloka, Locana, Mammata, and Hemacandra. These include Svasabda-vacyata (mentioning sentiment by name), Kasta-kalpana (unrecognizable vibhavas/anubhavas), Pratikula-vibhavadi-grahah (contrary excitants), and exceptions where these might not be blemishes.
Section II: Guna-vivecana (Excellences of Poetry)
- This section explores the qualities (gunas) that enhance poetry. It discusses the distinction between gunas and alamkaras, with gunas seen as intrinsic qualities of Rasa, while alamkaras are extrinsic adornments.
- The text discusses various classifications of gunas by different rhetoricians (Bharata, Dandi, Bhamaha, Vamana, Dhvanyaloka, Mammata, Hemacandra, Bhoja).
- It focuses on three primary gunas as per Bhamaha, Dhvanyaloka, and Mammata:
  - Madhurya (Sweetness): Agreeable to the ears, not having many compounded words or compact sense.
  - Ojas (Floridity): Compactness of composition, abundance of compounds.
  - Prasada (Perspicuity): Meaning comprehended easily upon hearing the words, common to all rasas and styles.
- It also touches upon concepts like Riti (style) and its relation to gunas.
Section III: Sabdalamkara-darsana (Figures of Sound)
- This section covers figures of speech related to sound, detailing various types like:
  - Jati: The basic description of nature.
  - Vakrokti: Indirect speech, with sub-types like Kaku-vakrokti (intonation) and Slesa-vakrokti (pun).
  - Lalanuprasa: A type of Anuprasa where words are repeated in the same sense but different contexts.
  - Punarukta: Repetition, considered a blemish by some but with exceptions when used for emphasis, different meanings, continuity, or convention.
  - Yamaka: Rhyming words or feet, with detailed discussion of its numerous varieties based on Padavytti (foot repetition) and Tadbhagavytti (part repetition), including Asthana Yamaka (unregulated repetition).
  - Citra: A figure of speech characterized by visual patterns in text, discussed with various types like Varna-citra, Sthana-citra, Svara-citra, Akara-citra, Gati-citra, and Bandha-citra (arranged verses).
  - Slesa: Primarily an arthalamkara, but its discussion here is under Sabdalamkaras.
Section IV: Arthalamkara-nirnaya (Figures of Sense)
- This extensive section critically analyzes various figures of speech related to sense, drawing heavily from earlier works like Rudrata, Bhoja, and Mammata.
- Broad Divisions: Rudrata's division into Vastava (Literal), Aupamya (Simile), Atisaya (Exaggeration), and Slesa (Pun) is mentioned.
- Key Figures Discussed:
  - Upama (Simile): Detailed discussion of its definition, varieties (Purna, Lupta), and criticisms of different perspectives (Bhoja, Vamana, Udbhata, Rudrata, Mammata).
  - Ananvaya & Upameyopama: When a thing becomes both the Upamana and Upameya.
  - Utpreksa (Metaphor/Fancy): Discussion on its definition, how 'iva' can lead to Upama rather than Utpreksa, and the inclusion of various types of Utpreksa.
  - Sasandeha (Doubt): Discussed with examples.
  - Rupaka (Metaphor): Distinguishing it from Upama and discussing its varieties like Ekadesa-vivarti Rupaka, Vakya-Rupaka, and Samasa-Rupaka.
  - Apahnuti (Concealment): Discussed with examples and its distinction from other figures.
  - Slesa (Pun): Discussed as both a sabdalamkara and arthalamkara, with various classifications and interpretations from different scholars.
  - Citra: Presented as an alamkara, with an extensive treatment of its numerous varieties based on Bhoja's "Sarasvati-kanthabharana," including Dhenu-slokas (verses generating many other verses through permutation).
  - Paryayokti & Parivrtti: Discussed with definitions and examples, distinguishing them and noting differing opinions.
  - Anumana: Discussed in relation to its definition and fallacies, drawing from Nyaya and Buddhist logic.
  - Hetu: Discussed as a figure of speech, though not accepted by all rhetoricians.
  - Dristanta (Example): Discussed with definitions and classifications.
  - Arthantaranyasa: Discussed in relation to Aprastuta-prasansa and Dristanta.
  - Virodha: Discussed with various classifications like Guna-virodha, Kriya-virodha, and Asangati-virodha.
  - Svabhavokti (Natural Description): Discussed as Jati, with its various types.
  - Vyaja-stuti: Praise disguised as censure and vice-versa.
  - Sahokti: Simultaneous mention.
  - Samahita & Samadhi: Discussed in relation to Rasa and their Guna status.
  - Rasavat, Preyas, Urjasvi: Discussed as figures accepted by Kalpalata but not by later commentators like Mammata.
  - Bhava: Discussed with its varieties and relation to Rasa.
  - Samuccaya: Discussed with its various classifications and the concept of Dhenu-slokas.
  - Parivytti: Exchange of qualities.
  - Arthapatti: Implied meaning.
  - Abhava: Absence.
  - Aprastuta-prasansa: Description of the unstated through the stated.
  - Atisayokti: Exaggeration.
  - Prativastupama: Simile of contrast.
  - Dipaka: Linking clauses or sentences.
  - Mala-dipaka: Chain of Dipaka.
  - Tulyayogita: Similar mention.
  - Vyatireka: Contrast.
  - Visama: Unevenness.
  - Adhika: Redundancy.
  - Pratyannika: Contrary.
  - Militam & Ekavali: Figures related to combining elements.
  - Bhrantiman & other illusions.
  - Pratipa: Inverted simile.
  - Samanya: Generalization.
  - Vitarka: Argumentative reasoning.
  - Pramanas (Pratyaksa, Anumana, etc.): Discussed in the context of logic and their relation to poetic description.

III. Contribution and Usefulness:

Extensive Borrowing: The work, and its original "Kalpalata," are noted for extensive borrowing from earlier works on poetics. However, the editors and introducer emphasize that this is not mere plagiarism but a necessary and scientific approach to synthesizing and critiquing existing knowledge.
Critical Acumen: The author of "Kalpalata" demonstrated profound knowledge of various sastras and a critical aptitude by undertaking the synthesis and harmonizing of divergent opinions.
Originality in Arthalamkaras: The author shows more originality in the treatment of figures of sense (Arthalamkaras).
Unique Contributions: The work is valuable for its detailed analysis of various dosas and alamkaras, its comprehensive survey of scholarly opinions, and its offering of valuable textual variants for works like "Dhvanyaloka" and "Locana," which are crucial for editing corrupt texts.
Mathematical Precision: The "Viveka" author's detailed calculations of "Prastara" (metrical arrangements) highlight a deep interest and skill in mathematics.
Overall Value: Despite borrowings, "Kalpalata-viveka" is considered an important and useful work for scholars of Sanskrit poetics due to its lucid explanations, critical discussions, and textual contributions.