Kavyanushasanam

Here is a comprehensive summary of the Jain text "Kavyanushasanam" by Prashamrativijay, based on the provided pages:

Book Title: Kavyanushasanam (The Discipline of Poetry) Author: Vāgbhaṭṭa (with commentary by Prashamrativijay) Publisher: Pravachan Prakashan, Pune Catalog Link: https://jainqq.org/explore/009507/1

This publication is the sixteenth in the Shri Viyayamahodayasuri Granthamala series. It is a re-edition and compilation by Muni Prashamrativijay of the Kavyanushasanam by the renowned poet Vāgbhaṭṭa, which also includes his own commentary, Alankaralilaka.

Foreword/Editorial Note (Page 2):

The editorial note highlights that this edition of Kavyanushasanam is distinct from the one authored by Shri Hemachandra Suri, which Pravachan Prakashan had previously published. The author of this work is Vāgbhaṭṭa. The book was previously out of print and scarce, preserved in old libraries. This re-publication aims to make it accessible again.

The editorial expresses joy at the positive reception of Sanskrit and Prakrit works compiled by the disciples of Acharya Shrimad Vijayramchandrasurishwarji Maharaj, Muni Viragyrati Vijayji and Muni Prashamrativijay. Muni Prashamranidhi Shri Ji provided significant assistance in proofreading. The publication is a benefit to the Shri Chintamani Parshvanath Maharaj Jain Shvetamber Murtipujak Sangh, Nashik, inspired by Acharya Shrimad Vijay Hemabhushansurishwarji Maharaj.

The note references an observation by the eminent scholar of Indian literary criticism, Shri Durga Prasad Dwivedi, about Jain literary works. Dwivedi notes that Hemachandra's Kavyanushasanam is his original work with commentary, while Vāgbhaṭṭa also has a Kavyanushasanam. Dwivedi describes Vāgbhaṭṭa's work as being in an "ancient style."

The editorial contrasts the common assumption that all works on poetics are similar, emphasizing that there are traditions and schools of thought within these texts. It traces the lineage of works on Alankara (poetic figures) from Bhamaha's Kavyalankara, mentioning others like Kavyadarsha and Chandraloka. It notes the establishment of schools of thought like Anandavardhana's Dhvani school, and the comprehensive discussions on drama in texts like Natya Shastra. Later works like Vyakarana, Sahityadarpan, and Rasagangadhara are described as comprehensive treatises delving into all aspects of poetry, particularly focusing on the concept of Shabda Shakti (word power) within the framework of the Dhvani school, considered a "modern style" due to its philosophical depth.

Vāgbhaṭṭa's Kavyanushasanam is characterized as being in an "ancient style" specifically because it does not delve into the discussion of Shabda Shakti. However, it provides a comprehensive analysis of poetic essence.

Key improvements in this re-edition include:

• Expanded Page Count: From 68 pages in the old edition to 164 pages in this one, covering the same work.
• Paragraph Separation: Quotations (Uddharana) are presented in separate paragraphs, unlike the continuous flow in the older edition which resembled manuscripts.
• Typeface Distinction: Quotations are printed in bold typeface for clarity, differentiating them from the main text.
• Numbered Sutras: Original sutras are now numbered per chapter.
• Improved Typography: The print quality is modernized for better readability.
• Inclusion of Illustrations: Page illustrations for Shabda Chitra (word pictures) are added on pages 108-119.
• Alphabetical Index of Quotations: An index of quoted words in alphabetical order is provided on pages 165-174.

Areas for future improvement identified by the editor:

• Tracing the original sources of all quotations and providing notes.
• Correcting textual variations in quotations (e.g., suggesting "Shiva" instead of "Nila" in a specific Bhartrihari quote).
• Correcting any remaining inaccuracies found in manuscripts.

The editorial concludes by appreciating the effort of a layperson in creating such a beautiful work and expresses hope that the study of this book will be beneficial for appreciating and composing poetry.

Table of Contents (Page 4):

• First Chapter: (Prathamo'dhyāyah)
• Second Chapter: (Dvitīyo'dhyāyah)
• Third Chapter: (Tr̥tīyo'dhyāyah)
• Fourth Chapter: (Caturtho'dhyāyah)
• Fifth Chapter: (Pañcamo'dhyāyah)
• Appendix: Alphabetical Index of Quoted Words (Uddhr̥tapadānāmākārādikramah)

Content Summary (based on Chapter 1 - Page 5 onwards):

The Kavyanushasanam begins with an invocation and introduces the text as a guide to poetry. It outlines the purposes of poetry: pleasure (Pramoda), avoidance of unwanted outcomes (Anartha Parihara), practical knowledge (Vyavahara), attainment of the three aims of life (Trivarga Phala), instruction akin to a beloved wife (Kantatulya Upadesha), and fame (Kirti).

The author, Vāgbhaṭṭa, identifies talent (Pratibha), cultivated by erudition (Vyutpatti) and practice (Abhyasa), as the cause of poetic creation.

Erudition (Vyutpatti) is defined as expertise in various fields, including:

• Lokavishaya (worldly matters): Knowledge of the world, encompassing its structure (e.g., the fourteen realms, the arrangement of continents and oceans like Jambudvipa, Pushkaradvipa), people, and geography. This includes descriptions of India (Bharatavarsha) with its various regions, mountains (e.g., Vindhya, Malaya), and rivers (e.g., Tamraparni).
• Shastra Nipunata (expertise in disciplines): This covers a wide range of subjects:
  • Lakshana (definition/grammar):
  • Tarka (logic): Mentioning the six schools of Indian philosophy (Jain, Sankhya, Shaiva, Bhatta, Bauddha, Lokayata).
  • Sahitya (literature): Knowledge of epics, romances, narratives, etc.
  • Chhanda (prosody): Understanding meters.
  • Alankara (poetic figures):
  • Shruti (Vedas), Smriti (sacred traditions), Purana (ancient lore), Itihasa (history), Agama (scriptures):
  • Natya (drama):
  • Abhidhana Kosha (lexicon/dictionaries): For word certainty.
  • Kama Shastra (erotics):
  • Artha Shastra (political economy):
  • Yoga Shastra (philosophy of Yoga):
  • Jyotisha Shastra (astrology):
  • Gaja Lakshana (characteristics of elephants):
  • Ashva Lakshana (characteristics of horses):
  • Ratna Pariksha (gemology):
  • Dyuta Shastra (science of gambling):
  • Dhanurveda (science of archery):
  • And other related disciplines.

Practice (Abhyasa) is defined as learning through observation and study.

Kavisamaya (Conventions of Poets): The text then details various conventions of poets, which involve the poetic license to describe things in ways not found in reality or to attribute characteristics that are not natural. These include:

• Describing the flowering of Jasmine in spring, even if it's not the season.
• Describing sandalwood trees bearing fruit, or Ashoka trees bearing sweet fruits.
• Describing moonlight in the dark fortnight (Krishna Paksha) and darkness in the bright fortnight (Shukla Paksha).
• Describing Kundal flowers as white teeth and unripe lotus buds as green.
• Describing Priyangu flowers as yellow.
• Describing blue lotuses blooming during the day, and Shefali flowers falling during the day.
• Describing the presence of nonexistent things, like blue lotuses in rivers or swans only in lakes, or elephants adorned with gold and gems in mountains.
• Describing darkness as tangible or moonlight as portable in pitchers.
• Describing the moon as young or the comparison of Yashas (fame) and Hāsa (laughter) as white.
• Describing misfortune and sin as actions.
• Describing anger and affection as red.
• Describing Chakravaka birds being separated at night.
• Describing the uniqueness of certain things (e.g., pearls only in Tāmrāparnī river, sandalwood on Malayagiri).
• Describing the blooming of Kunda flowers in spring, the dance and cry of peacocks in monsoon.
• Describing the color of sapphires as blue, of rubies as red, of gold and white as white/fair, and of flesh and blood as red.
• Describing the marks of a rabbit and deer on the moon.
• Describing Makara (mythical sea creature) in oceans and similar creatures in Kamadeva's banner.
• Describing the sun and moon as born from Shiva's eyes and the sea respectively.
• Describing the twelve Adityas (sun gods).
• Describing the characteristics of oceans like Kṣīra sāgara (ocean of milk) and lavaṇasāgara (ocean of salt).
• Describing Daityas, Danavas, and Asuras.
• Describing Kamadeva as both embodied and disembodied.
• Describing various colors associated with the eyes, etc.

The text continues to elaborate on various aspects of poetic diction, usage, and the different types of poetic compositions (e.g., Mahakavya, Gadya, Padya, Mishra) and dramatic forms (Nataka, Prakarana, Bhana, etc.), referencing the Natya Shastra and other established works. It also delves into the nuances of sound and meaning, detailing poetic defects (doshas) and qualities (gunas) in subsequent chapters.

The overall aim of Kavyanushasanam is to provide a systematic and comprehensive guide to the art and science of poetry, adhering to established traditions while also offering critical analysis and specific conventions followed by poets.