Kavyanushasanam

Here's a comprehensive summary of the Jain text "Kavyanushasanam" by Hemchandracharya, based on the provided information:

Title: Kavyanushasanam (The Discipline of Poetry) Author: Acarya Hemachandracharya Editors/Contributors: Dr. T. S. Nandi (Editor), Dr. Jitendra B. Shah (General Editor) Publisher: L. D. Institute of Indology, Ahmedabad Series: L. D. Series No. 123 First Edition: June 2000 ISBN: 81-85857-05-9 Price: Rs. 480/-

Overview:

"Kavyanushasanam" by the renowned Jain scholar Acarya Hemachandracharya is a seminal work in Sanskrit poetics. This specific publication, brought out by the L. D. Institute of Indology, Ahmedabad, is significant for including a critical introduction and a Gujarati translation of the text, making it accessible to a wider audience. The book is a detailed treatise on the principles and practices of poetry, covering a vast spectrum of topics related to Kavya (poetry) and Natya (drama).

Key Contents and Structure:

The text is structured into eight chapters, meticulously detailing the various aspects of Sanskrit literary theory. It is composed in a sutra-vritti (aphorism-commentary) style, further elaborated by Hemachandracharya's own commentary called "Vivek." The "Kavyanushasanam" is also known by the name "Alankar Chudamani" found in the colophons of the chapters. The work comprises a total of 208 sutras.

The main topics covered across the eight chapters include:

• Chapter 1: Kavya Lakshana (Characteristics of Poetry):

  • Kavya Prayojana (Purpose of Poetry): Hemachandra discusses the purposes of poetry, including deriving pleasure, achieving fame, and providing instruction like a beloved wife. He deviates from Mammata's view of wealth, worldly wisdom, and cessation of evil as direct purposes, emphasizing delight and instruction.
  • Kavya Hetu (Causes of Poetry): The primary cause for poetry, according to Hemachandra, is 'Pratibha' (genius or creative inspiration). He distinguishes this from 'Vyuṭpatti' (erudition) and 'Abhyasa' (practice), considering them as enhancers of Pratibha rather than independent causes.
  • Kavi Shiksha (Guidance for Poets): This section delves into aspects like plagiarism (Kavya Haran) and poetic conventions (Kavi Samaya), drawing heavily on the work of Rajasekhara, though Hemachandra's arrangement and presentation are noted as sometimes less systematic.
  • Kavya Lakshana (Definition of Poetry): Poetry is defined as "Shabdartha" (word and meaning) that is free from defects, possesses qualities, and is adorned with ornaments.
  • General Characteristics of Qualities (Guna) and Defects (Dosha): These are defined in relation to their impact on Rasa (aesthetic experience), stating that qualities enhance Rasa while defects diminish it.
  • General Characteristics of Ornaments (Alankara): Alankaras are described as attributes dependent on the 'body' of poetry, which are the Shabda and Artha (word and meaning).
  • Nature of Word and Meaning: Hemachandra discusses the primary, secondary, indicated (lakshyartha), and suggested (vyan-gyartha/dhvani) meanings, largely following the Dhvani school of Anandavardhana and Abhinavagupta.
  • Word Powers (Shabda Shakti): The discussion covers Abhidha (denotation), Guni (secondary meaning), Lakshana (indication), and Vyanjana (suggestion).
  • Dhvani (Suggestion): Hemachandra explains Dhvani as the suggested meaning, differentiating between word-power-based and meaning-power-based Dhvani.

• Chapter 2: Rasa Vichar (Theory of Aesthetic Emotion):

  • Rasa Lakshana (Definition of Rasa): Following the Kashmirian tradition (Anandavardhana, Abhinavagupta, Mammata), Hemachandra defines Rasa as the expressive Sthayi Bhava (permanent emotion) conveyed through Vibhavas (determinants), Anubhavas (consequents), and Vyabhichari Bhavas (transient emotions).
  • Nature of Rasa: Rasa is described as an transcendental, blissful experience, akin to Brahmananda, accessible only to the Sahṛdaya (appreciative critic) through the process of 'Abhivyakti' (manifestation).
  • Number of Rasas: Hemachandra accepts the traditional nine Rasas: Shringara (Erotic), Hasya (Humorous), Karuna (Pathos), Raudra (Terrible/Furious), Vira (Heroic), Bhayanaka (Fearful), Bibhatsa (Disgusting), Adbhuta (Wonderful), and Shanta (Peaceful). He discusses their respective Sthayi Bhavas and Vyabhichari Bhavas.
  • Abhinavabharati's Influence: A significant aspect highlighted is Hemachandra's incorporation of extensive discussions from Abhinavabharati (Abhinavagupta's commentary on Bharata's Natyashastra) into his Viveka commentary, particularly on the theory of Rasa, underscoring his scholarly depth and the importance of his work in preserving and transmitting this philosophical understanding.
  • Kavya Bhedas (Types of Poetry): The chapter classifies poetry based on the prominence of suggestion (Vyanjya), categorizing it into Uttama (Dhvani), Madhyama (Guni-bhuta-Vyanjya), and Adhama (Chitra) Kavya.

• Chapter 3: Dosha Vichar (Poetic Defects):

  • This chapter meticulously details various poetic defects, categorized broadly into Doshas related to Rasa, Pada (word), Vakya (sentence), Ubhaya (both word and sentence), and Artha (meaning).
  • Hemachandra draws extensively from previous Alamkarikas like Bhamaha, Rudrata, Vamana, Anandavardhana, Abhinavagupta, Mahimabhatta, and Mammata, critically examining their views. His work is noted for its scholarly rigor and ability to synthesize the diverse traditions of Indian poetics.
  • The editor, Dr. Nandi, points out Hemachandra's unique critical approach, sometimes offering different interpretations or classifications than his predecessors, and his judicious use of citations, often without explicit attribution, which has made the reconstruction of earlier texts possible.
  • The chapter covers a wide array of doshas, including those affecting Rasa (like inappropriate description), word-level defects (like inappropriate word choice, ungrammaticality), sentence-level defects (like visandhi, nyunapada), and meaning-level defects (like artha-dosha).

• Chapter 4: Guna Vichar (Poetic Qualities):

  • Hemachandra primarily advocates for the three major qualities: Madhurya (Sweetness), Ojas (Vigor), and Prasada (Clarity/Luminosity), following the Kashmirian tradition.
  • He critically analyzes and rejects the theories of other scholars who proposed ten or five qualities, arguing that these are either subsumed within the primary three, are mere absence of defects, or are context-dependent manifestations.
  • He elaborates on the nature of these qualities and their respective characteristic sounds (varna) and compositional styles (vritti/riti), emphasizing their role in enhancing Rasa.

• Chapter 5: Shabdalankaras (Figures of Speech related to Sound):

  • This chapter discusses figures of speech primarily based on sound, such as Anupras (alliteration), Yamaka (rhyme), Shlesha (pun), and Vakrokti (indirect speech).

• Chapter 6: Arthālankaras (Figures of Speech related to Meaning):

  • This chapter covers a wide range of figures of speech based on meaning, including Upama (simile), Utpreksha (metaphorical projection), Rupaka (metaphor), Nidarsana (illustration), Dipaka (lamp), Anyokti (indirect statement), Atishayokti (hyperbole), Virōdha (paradox), Sahokti (co-ordination), Samasokti (condensation), Jati (class characteristic), Vyajastuti (ironical praise/blame), and many others, totaling 29 discussed types. Hemachandra's presentation and classification of these are noted for their attempt at systematization, though some argue for a lack of strict logical ordering compared to later theorists like Appayya Dikshita or Jagannatha.

• Chapter 7: Natya Mimamsa (Principles of Drama):

  • This chapter transitions to the principles of dramatic literature.
  • Nāyaka and Nāyikā (Hero and Heroine): Hemachandra describes the classification of heroes (Nayaka) based on their nature (Dhira-dattata, Dhira-lalita, Dhira-shanta, Dhira-uddhatata) and their emotional disposition (Dakshina, Dhṛṣṭa, Anukūla, Shaṭha). He also classifies heroines (Nayika) based on their marital status (Svakiya, Parakiya, Samanya) and emotional states (Avasthas) like Svadhinapatika, Proshitapatika, Khandita, etc.
  • Pratinayaka (Villain): Briefly mentioned as the antagonist.
  • Natya Alamkaras (Dramatic Ornaments): Discusses classifications of physical expressions (Abhinaya) and graces (Hava, Bhava).
  • Types of Plays (Rupakas): Hemachandra outlines the ten principal types of Sanskrit drama (Rupakas) like Nataka, Prakarana, Nadika, Samavakara, etc., drawing primarily from Bharata Muni's Natyashastra.
  • Uprupakas (Minor Dramatic Forms): He also touches upon minor dramatic forms, though the classification and naming are noted to be somewhat inconsistent or influenced by various traditions.

• Chapter 8: Kavya Bhedas (Types of Poetry):

  • Classification of Poetry: Poetry is broadly divided into Prekshya (Performable/Dramatic) and Shravya (Audible/Literary).
  • Prekshya Kavyas: These are further divided into Pathya (recitable) and Geeya (singable). Pathya includes the major dramatic forms like Nataka, Prakarana, Nadika, Samavakara, etc., with their definitions and characteristics largely based on Bharata's Natyashastra.
  • Geeya Kavyas (Dramas based on Music/Dance): This section lists forms like Dombika, Bhana, Prasthana, Shringaka, Bhanaika, Prerana, Ramakrida, Hallisaka, Rasaka, Gosthi, Shrigadita, and Ragakavya, reflecting the influence of various musical and performance traditions, including those from the Jain tradition, as discussed by scholars like Raghavan.
  • Shravya Kavyas (Audible Poetry): This covers Mahakavya (Epic poetry), Akhyayika (Romance narrative), Katha (Story), Campu (Mixed prose and poetry), and Muktaka (Ghate). Hemachandra defines the characteristics of each, including their constituent elements like Sargabhandha (sectioning), Sandhis (connective segments), and literary devices.

Significance and Critical Assessment:

• Comprehensiveness: Hemachandracharya's "Kavyanushasanam" is lauded for its comprehensive coverage of Sanskrit poetics, synthesizing various earlier traditions and offering his own critical insights.
• Influence: It has been highly influential in the study of Sanskrit literature and literary criticism, shaping the discourse for subsequent scholars.
• Preservation of Earlier Texts: Hemachandra's meticulous citation and discussion of previous authorities have been invaluable for scholars attempting to reconstruct lost or fragmented works from earlier Alamkarikas.
• Jain Perspective: While rooted in broader Indian poetics, as a Jain text, it reflects the philosophical underpinnings and values of Jainism, particularly in its emphasis on non-violence and ethical conduct, subtly woven into the discussion of poetic principles.
• Critical Introduction (Gujarati): The publication by L. D. Institute of Indology is particularly valuable for the critical introduction and Gujarati translation provided by Dr. T. S. Nandi, making this complex work accessible to Gujarati readers and scholars. Dr. Nandi's detailed "Bhumika" (Introduction) critically evaluates Hemachandra's contribution, comparing his theories with those of other prominent Alamkarikas and highlighting his strengths and occasional deviations or areas for further research.

In essence, "Kavyanushasanam" remains a cornerstone text for understanding the sophisticated and multifaceted world of classical Indian poetry and drama, and this edition enhances its accessibility and critical appreciation.