Kavyanushasana Part 2

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Kavyanushasana Part 2: A Summary

Kavyanushasana Part 2 is a significant work on Sanskrit poetics, authored by Acharya Hemachandracharya, and critically edited and annotated by Rasiklal C. Parikh and Ramchandra B. Athavale. Published by Shri Mahavir Jain Vidyalaya, this volume is a scholarly endeavor to present Hemachandracharya's seminal work on the science of poetry to a wider audience, particularly for university curricula and research.

The volume is divided into two main parts:

Part 1: Introduction

This extensive introductory section, authored by Rasiklal C. Parikh, provides a critical account of the manuscripts used, a detailed history of Gujarat as a backdrop to Hemachandracharya's life and times, and a review of his works.

• Critical Account of Manuscripts: This section meticulously details the various manuscripts of Kavyanushasana that were consulted, including palm-leaf and paper manuscripts from different libraries. It describes their age, provenance, physical characteristics, and the specific sections they contain (Sutras, Alamkarachudamani, Viveka, and Tippana). The text also discusses the challenges in establishing a definitive text due to variations and the editor's approach to correcting and presenting the readings.
• Introduction to the History of Gujarat: This is a substantial portion of the introduction, aiming to provide a comprehensive historical context for Hemachandracharya's life. It traces the history of Gujarat from ancient times, drawing upon Puranic traditions, inscriptions, coins, foreign accounts, and semi-historical literary works. Key periods and dynasties covered include:
  • Early History: Anartta, Lata, Saurashtra, and the influence of the Puranas.
  • Maurya and Bactrian-Greek Rule: The inscriptions of Ashoka and Rudradaman on the Girnar rock, and the Bactrian-Greek influence.
  • Kshatrapa Period: The dynasties of Nahapana and Chashtana, and rulers like Rudradaman.
  • Traikutaka and Gupta Rule: The impact of these powers on Gujarat.
  • Kingdom of Valabhi: The history of the Maitraka dynasty, their administrative and religious policies, and the city of Valabhi as a center of learning and trade. This section includes detailed discussions of rulers like Bhatarka, Dharasena IV, Siladitya, Dhruvasena II, and the fall of Valabhi.
  • Kingdom of Bhinnamala (Shrimala): The importance of Bhinnamala as the first capital of the Gurjaras, its description by Yuan Chwang, its historical and legendary origins, and its cultural and literary significance.
  • Kingdom of Anahillapura: The history of the Chavada rulers, Vanaraja, and the founding of Anahillapura. It then delves into the Chalukya rulers from Mulraja to Karna, detailing their political and cultural contributions, wars, and significant personages.
  • Jayasimha Siddharaja and Kumarpala: The reigns of these prominent kings are extensively covered, highlighting their political achievements, patronage of arts and learning, and their interactions with learned men and religious sects. The text notes the cultural and intellectual vibrancy of Anahillapura during their rule.
  • Learned Men Contemporary to Hemachandra: This section introduces various scholars, poets, and dialecticians of Hemachandra's time, providing insights into the intellectual milieu of Gujarat, including figures like Vadi Simha, Vadi Devasuri, Sripala, Devabodha, and Bhava Brihaspati.
• The Life and Works of Hemachandra: This section focuses on the biography of Hemachandracharya, critically examining the sources and attempting to establish a chronology of his life and works. It discusses his birth, initiation, education, his relationship with Jayasimha Siddharaja and Kumarpala, and his influence on them. It also provides a detailed overview of his literary output, categorizing them into Sastric (grammatical, lexicographical, poetic, logical works) and literary/poetic works. The section critically analyzes the historical accounts of his life, often contrasting traditional narratives with more contemporary evidence.
• Chronology of Hemachandra's Works: This part aims to date Hemachandra's various compositions, drawing upon internal references and external evidence, and offering a revised chronology based on recent scholarship.

Part 2: Notes

Authored by Ramchandra B. Athavale, this section provides detailed explanations and annotations for the Kavyanushasana text itself.

• Preface: The preface highlights the comprehensiveness of Kavyanushasana and the scholarly effort behind the notes, aiming to assist students of Sanskrit poetics by clarifying textual difficulties with references to the Viveka commentary.
• Notes on Adhyayas I-VIII: This section systematically goes through each Adhyaya (chapter) of Kavyanushasana, providing verse-by-verse explanations of the Sutras and commentary.
  • Adhyaya I: Discusses the purpose of poetry, its aims (joy, fame, advice), the cause of poetry (pratibha/genius), poetic conventions, and the definition of poetry. It critiques various views on these topics and offers Hemachandra's perspective.
  • Adhyaya II: Focuses on Rasa (aesthetic sentiment), Bhava (emotions), and their classification. It delves into the complex philosophical underpinnings of Rasa in Indian aesthetics, drawing heavily from Natyashastra and Abhinavagupta. The notes clarify the concepts of Vibhava, Anubhava, Vyabhichari Bhava, and the subjective experience of Rasa by the audience. It also discusses the classification of poetry into Uttama, Madhyama, and Adhama based on poetic excellence.
  • Adhyaya III: Deals with Doshas (defects) in poetry, enumerating and illustrating various types of faults in words, sentences, and sentiments, meticulously referencing Hemachandra's own explanations and contrasting them with other rhetoricians.
  • Adhyaya IV: Explains Gun as (poetic excellences), classifying them into three main types: Madhurya (sweetness), Ojas (vigor), and Prasada (clarity). It discusses the characteristics and conditions for each Guna, providing numerous illustrations.
  • Adhyaya V: Focuses on Shabda-alamkaras (figures of speech based on sound), detailing Anuprasa (alliteration) and its various types, including Laty-anuprasa, and Yamaka (rhyme). It also addresses Chitrakavya (picturesque poetry) and its varieties, like Punaruktābhāsa, Gathita, and Vakrakti, critically examining Hemachandra's approach and comparing it with other scholars.
  • Adhyaya VI: Explores Arthalamkaras (figures of speech based on sense). This is a major section, covering Upama (simile) and its numerous varieties, Rūpaka (metaphor), Nidarsana, Dipaka, Anyokti, Paryayokti, Atishayokti, Akshepa, Virodha, Sahokti, Samasokti, Jati, Vyajastuti, Slesha, Vyatireka, Arthantanyasa, Samsaya, Apahuti, Parivritti, Anumana, Smriti, Bhranti, Vishama, Sama, Samuchchaya, Parishankhya, Karanmala, and Sankara. The notes meticulously explain each figure, its definition, sub-types, and provide illustrations, often referencing Hemachandra's commentary and contrasting it with the views of earlier scholars like Mammata, Bhoja, and Dandin.
  • Adhyaya VII: Discusses characters in literary works, defining the Nayaka (hero) and Nayika (heroine), their types (Dhirodatta, Dhiroddhata, Dhira-lalita, Dhirodhatya), their qualities, and the eight Avasthas (states) of the heroine. It draws heavily from the Natyashastra.
  • Adhyaya VIII: Covers different types of poetic compositions, classifying them into Prekṣya (dramas, to be seen) and Śravya (to be heard/read). It details various types of Pathya (recitable) and Geya (singable) forms, and elaborates on Mahakavya, Akhyanika, Katha, Champu, and Anibaddha. The notes highlight the influences from earlier works like the Natyashastra and Kavyadarsha.

In essence, Kavyanushasana Part 2 is a scholarly work that not only presents Hemachandracharya's analysis of Sanskrit poetics but also situates it within the rich historical and intellectual landscape of Gujarat, making it an invaluable resource for understanding both the literary tradition and the era of its creation.