Kavyanushasana Critical Study - Book Summary

Here's a comprehensive summary of "Kāvyānuśāsana: A Critical Study" by Dr. A. M. Upadhyay, based on the provided text:

Overview:

Dr. A. M. Upadhyay's "Kāvyānuśāsana: A Critical Study" is a detailed and analytical examination of Acharya Hemachandra's seminal work on Sanskrit poetics and dramaturgy, the Kāvyānuśāsana. The book aims to provide a comprehensive understanding of Hemachandra's magnum opus, which is presented in three tiers: the aphorisms (sūtras), the commentary (vṛtti/Alamkāracūḍāmaṇi), and the super-commentary (viveka). The study critically analyzes Hemachandra's work within the broader context of Indian literary traditions, highlighting its unique contributions and its indebtedness to earlier scholars.

Key Focus and Argument:

The central thesis of Upadhyay's study is to rehabilitate the scholarly standing of Hemachandra's Kāvyānuśāsana, which had been unfairly criticized by earlier historians of Sanskrit literature for lacking originality. Upadhyay argues that while Hemachandra's work is a compilation, it is a masterly and scholarly compendium that deserves recognition for its comprehensive scope, systematic organization, lucid exposition, and its significant contribution to the Kashmirian tradition of Sanskrit poetics, particularly the Dhvani school. The study emphasizes Hemachandra's role in systematizing and coordinating the ideas of his predecessors, presenting them in their original form for future generations.

Structure and Content:

The book is structured into eleven chapters, each delving into specific aspects of the Kāvyānuśāsana:

Prelude: Introduces Acharya Hemachandra, his versatile scholarship, the significance of his Anuśāsana series (Śabdānuśāsana, Kāvyānuśāsana, Chando'nuśāsana), and the Kāvyānuśāsana's place within Sanskrit poetics, comparing it with works like Mammaṭa's Kāvyaprakāśa and Bhoja's Śṛngāraprakāśa. It highlights the Kashmirian tradition's influence, particularly the Dhvani theory.
Chapter 1: The Poetic Universe: Examines the foundational concepts of poetry, including its purpose (delight, fame, advice), the grounds of poetry (Pratibhā), the poet's training (Vyutpatti and Abhyasa), poetic conventions (Kavisamaya), plagiarism, the definition of poetry, and the relationship between excellences (Gunas), blemishes (Dosas), and figures of speech (Alamkāras) in relation to Rasa and Dhvani.
Chapter 2: The Poetic Meaning: Focuses on Hemachandra's detailed analysis of various types of meaning: the expressed (Abhidhā), metaphorical (Gauņi), indicated (Lakṣaṇā), and suggested (Vyañjanā or Dhvani). It explores Hemachandra's classification of words and senses, his engagement with different theories of Sanketa (convention), and his extensive discussion of the Dhvani theory, including its different types (Vastu, Alamkāra, Rasa) and the factors influencing it.
Chapter 3: The Aesthetic Experience: Delves into the theory of Rasa, starting with Bharata's Rasa-sūtra. It critically examines the interpretations of Lollata, Śankuka, Bhaṭṭanayaka, and Abhinavagupta, with Hemachandra largely adhering to Abhinavagupta's sophisticated theory of Rasa as 'suggested' (Vyangya) and experienced through a unique aesthetic process. It discusses the number and types of Rasas (nine) and the process of Rasa-realization, emphasizing the transcendental nature of aesthetic bliss.
Chapter 4: The Conception and Treatment of Poetic Blemishes (Doṣas): Analyzes Hemachandra's detailed classification of blemishes, including Rasadosas, Padadosas, Vakyadosas, Ubhayadosas, and Arthadosas. It highlights the central criterion of blemish being detrimental to Rasa and examines Hemachandra's adherence to Mammaṭa's codification while also noting his critical engagement with earlier theorists like Mahimabhatta and Vāmana.
Chapter 5: The Poetic Excellences or the Guņas: Discusses Hemachandra's acceptance of the three comprehensive Guņas (Madhurya, Ojas, Prasāda) as defined by Anandavardhana and Mammaṭa, and his critique and rejection of the ten traditional Guņas of earlier theorists like Bharata, Dandin, and Vāmana. It emphasizes that for Hemachandra, Guņas are primarily attributes of Rasa.
Chapter 6: The Poetic Embellishment (Alamkāras): Details Hemachandra's classification of figures of speech into Sabdalamkāras (six) and Arthālaṁkāras (twenty-nine). The study highlights Hemachandra's critical approach to reducing the number of figures by subsuming minor ones under major categories and his emphasis on their subservience to Rasa. It also notes his rejection of Kākuvakrokti and his nuanced treatment of Śleṣa.
Chapter 7: Dramatis Personae: Examines Hemachandra's treatment of the characteristics of the Hero (Nayaka) and the Heroine (Nayikā), tracing their classification back to Bharata, Dhananjaya, and Rudrata. It discusses the seventeen types of Nayakas and the various classifications of Nayikās, noting Hemachandra's adherence to traditional conventions.
Chapter 8: Types of Literary Compositions or Forms of Literature: Outlines Hemachandra's classification of literature into Prekṣya (Dramatic) and Sravya (Poetic). It details the twelve types of Rūpakas (dramas) and twelve types of Geya Rūpakas (musical compositions), and then describes the five main types of Sravyakavya: Mahākāvya, Ākhyāyikā, Kathā, Campū, and Anibaddha. The study highlights Hemachandra's synthesis of various traditions and his pragmatic approach to classifying literary forms.
Chapter 9: Hemachandra's Theory of Literature: Synthesizes Hemachandra's overall perspective on literature, emphasizing the centrality of Pratibhā (poetic genius) as the cause of poetry, the importance of aesthetic experience (Rasa) as the ultimate purpose, and the 'frame of reference' created by poetic language. It highlights Hemachandra's integration of Jain philosophy into his understanding of Pratibhā.
Chapter 10: Conclusion - A Critical Review of Hemachandra's Achievement: Offers an evaluation of Hemachandra's Kāvyānuśāsana, acknowledging its comprehensive nature and systematic presentation while also addressing criticisms regarding originality. It reiterates the study's argument that Hemachandra's work is a vital systematization and elucidation of existing theories, crucial for understanding the development of Sanskrit poetics.
Chapter 11: A Synoptic View of the Life and Works of Hemachandra: Provides a brief biographical sketch of Acharya Hemachandra and lists his significant literary contributions, with a particular focus on his poetic works.

Key Themes and Contributions Highlighted:

Rehabilitation of Hemachandra's Kāvyānuśāsana: The study aims to correct the historical underestimation of Hemachandra's work.
Systematization and Synthesis: Emphasizes Hemachandra's skill in systematizing and coordinating the vast body of knowledge from earlier poetic traditions.
Adherence to the Dhvani School: Positions Hemachandra as a key proponent of the Dhvani theory, prioritizing Rasa as the soul of poetry.
Critical Analysis and Independent Thought: While acknowledging Hemachandra's reliance on earlier authorities, the study points out instances where Hemachandra deviates or offers improvements, particularly in his treatment of Gauņi, rejection of Rūḍha Lakṣaṇā, and critique of the number of Guņas.
Comprehensive Coverage: Demonstrates the Kāvyānuśāsana's exhaustive treatment of major and minor topics in poetics and dramaturgy, enriched by extensive illustrations and critical commentary.
Methodological Rigor: Commends the author's scholarly approach, which involves critical analysis, comparative study, and tracing the lineage of ideas.

Overall Significance:

Dr. A. M. Upadhyay's study is a valuable contribution to the field of Sanskrit poetics, offering a balanced and in-depth appreciation of Acharya Hemachandra's Kāvyānuśāsana. It highlights the work's importance not just as a historical document but as a living repository of aesthetic principles that continue to inform literary criticism and appreciation. The book serves as an authoritative introduction for scholars and students seeking to understand the nuances and brilliance of Hemachandra's theoretical framework within the rich tapestry of Indian literary traditions.