Kuvayalanand

This is a comprehensive summary of the Jain text "Kuvalayananda" by Appayadikshita, with a Hindi commentary by Dr. Bholashankar Vyas, published by Chowkhamba Vidyabhawan. The text is primarily a treatise on Sanskrit poetics, specifically focusing on alamkara (figures of speech).

Here's a breakdown of the summary:

1. Introduction and Author's Background:

• The book is the third major work by the commentator Dr. Bholashankar Vyas in the field of Indian literary criticism, following his works on Dhananjaya's "Dasharupa" and the "Dhwani Sampradaya" (school of suggestion).
• Appayadikshita is identified as a prominent rhetorician, a versatile scholar in Vedanta, Mimamsa, Grammar, and Poetics, whose works are believed to span from 1549 CE to 1613 CE. He is credited with bringing together almost all the alamkaras known until his time in "Kuvalayananda."
• While acknowledging the greater originality and scholarship of later rhetoricians like Panditraj Jagannath and Vishweshwar Pandit, the text emphasizes AppayadikshSita's significant contribution in compiling and systematizing alamkaras.
• Appayadikshita's prolific output is noted, with a list of his works across various disciplines, including 3 on alamkara (Vrttivartika, Chitramimansa, and Kuvalayananda).
• The commentary by Dr. Vyas aims for stylistic consistency with his previous work ("Hindi Dasharupa") and adds a unique feature: comparative criticism of Dikshita's views alongside those of Mammata, Ruyyaka, and Panditraj Jagannath, incorporating insights from two other known commentaries (Rasikaranjini and Alankarachandrika).

2. Appayadikshita's Contribution to Alamkara Shastra:

• Compilation of Alamkaras: "Kuvalayananda" is significant for its comprehensive compilation of alamkaras known until Appayadikshita's time, covering approximately 133 figures of speech, including all the arthalamkaras (semantic figures of speech) discussed by Jayadeva in his "Chandraloka."
• New Alamkaras: Appayadikshita is credited with conceiving 17 new alamkaras not found in "Chandraloka," though the commentary notes that some of these might have precursors in the works of earlier rhetoricians like Bhoja and Shobhakara Misra. Some of these novel figures are discussed in detail, including their comparison with existing ones.
• Critique of Earlier Works: Dikshita critically analyzed and often refined the alamkara definitions of earlier scholars like Vidyānātha and Bhoja, proposing his own nuanced definitions for figures like Upama, Rupaka, and Nidarshana.
• Classification of Poetry: Following earlier theorists, Dikshita classified poetry into three types: Dhvani (suggestive), Gunibhutavyangya (qualified suggestion), and Chitra (picture-like poetry, based on word or meaning figures). He discusses their characteristics with examples, though his interpretations of certain verses are critiqued by later scholars like Panditraj Jagannath.
• Inclusion of Rasavadadi and Pramana Alamkaras: In the appendix of "Kuvalayananda," Dikshita included seven Rasavadadi figures of speech and ten Pramana (epistemological) figures of speech as alamkaras. While Rasavadadi figures were acknowledged by many, the inclusion of Pramana figures as alamkaras was a point of discussion, with Bhoja being a notable predecessor.

3. Key Alamkaras Discussed and Critiqued: The commentary provides detailed explanations and critiques of numerous alamkaras. Some of the prominent ones discussed include:

• Upama (Simile): Dikshita's detailed analysis in "Chitramimansa," including critiques of earlier definitions and discussions on various aspects like puranam (complete) and lupta (elided) upamas, sadharana dharma (common attribute) types, and upama doshas (defects in simile). He emphasizes Upama as the basis for all figures of speech related to similarity.
• Ananvaya: The concept of self-comparison.
• Upameyo-upama: Mutual comparison between two entities.
• Pratipa: Inversion of the usual simile where the similed becomes the object of comparison for the similant.
• Rupaka (Metaphor): Dikshita's meticulous definition and classification of Rupaka, including critiques of earlier definitions and a detailed analysis of its subtypes (abheda-rupaka and tadrupya-rupaka).
• Parinama: Transformation.
• Sandeha: Doubt.
• Bhranti: Mistake or illusion.
• Utpreksha: Poetic fancy or conjecture.
• Atishayokti: Hyperbole.
• Vyajokti: Deception.
• Vakrokti: Indirect speech or figure of speech involving a twist in meaning.
• Swabhavokti: Natural description.
• Bhāvika: Representation of the past or future as present.
• Udātta: Exalted or noble description.
• Vishama, Sama: Contrast.
• Parivṛtti: Exchange.
• Parisankhya: Exclusion.
• Samuccaya: Collection.
• Samadhi: Coincidence or opportune occurrence.
• Pratyaniika: Counteraction.
• Arthāntaranyāsa: General statement supporting a specific one.
• Vikswara: Exaggerated description.
• Nidharshana: Illustration or example.
• Vyathireka: Contrast.
• Sahokti: Concurrence.
• Vinokti: Exception.
• Samasokti: Description of hidden meaning through common characteristics.
• Parikara and Parikrankura: Figures involving significant epithets or nouns.
• Shlesha: Pun or double entendre.
• Aprastutaprasamsa: Praise of the irrelevant (indirect praise).
• Prastutankura: Emergence from the present.
• Paryayokti: Indirect statement.
• Vyajastuti and Vyajaninda: Praise through censure and censure through praise.
• Akshcpa: Objection or protest.
• Virodhabhasa: Paradox or contradiction in terms.
• Vibhavana: Cause without effect.
• Visheshokti: Effect without cause.
• Asamgati: Incongruity.
• Dipaaka: Lamp figure.
• Maladipaaka: Garland of lamps.
• Kārakadipaaka: Lamp figure with agency.
• Āvr̥tti dīpa: Repeated lamp.
• Prativastūpamā: Simile of substance for substance.
• Dr̥ṣṭānta: Exemplification.
• Nidarshanā: Illustration.
• Ākshepa: Retraction or objection.
• Mithyādhyavasiti: False assumption.
• Lalita: Graceful.
• Anujna: Permission.
• Mudra: Seal or impression.
• Ratnavali: String of jewels.
• Visheshaka: Distinction.
• Gūḍhokti: Hidden speech.
• Vivṛtokti: Revealed speech.
• Yukti: Reason or argument.
• Lokokti: Proverbial saying.
• Chhekokti: Clever speech.
• Bākrokti: Crooked speech.
• Swabhāvokti: Natural description.
• Bhāvika: Affecting.
• Udatta: Noble.
• Samsṛṣṭi and Sankara: Combination and mixture of figures.

4. Commentary's Approach:

• The commentary highlights the critical approach of Dr. Vyas, who not only explains the text but also engages in comparative analysis, placing Dikshita's theories within the broader context of Indian alamkara scholarship.
• The author's deep engagement with primary and secondary sources, including the original text and its commentaries, is evident in the comprehensive discussion of various alamkaras.
• The commentary also addresses criticisms leveled against Appayadikshita by later scholars like Panditraj Jagannath, offering explanations and counter-arguments.

5. Overall Significance:

• "Kuvalayananda" is presented as a foundational text in Sanskrit poetics, and Dr. Vyas's commentary makes this complex subject accessible, offering not just translations and explanations but also historical and critical insights.
• The work is a valuable resource for students and scholars of Indian literature and aesthetics, providing a detailed exploration of the conceptual framework of alamkaras.

This summary encapsulates the key aspects of the provided text, highlighting its author, the commentator's contribution, the core subject matter, and the critical engagement with the topic of Sanskrit figures of speech.