Sahitya Darpan Nam Alankar Sandarbh - Book Summary

Here is a comprehensive summary of the Jain text "Sahitya Darpan Nam Alankar Sandarbh," based on the provided pages:

Book Title: Sahitya Darpan Nam Alankar Sandarbh (साहित्यदर्पण नाम अलङ्कार सन्दर्भः) Author(s): Vishvanathak Viraj (विश्वनाथकविराज) and Shivdutta Kavi (शिवदत्तकवि) Publisher: Kshemraj Krushnadas Shreshthi (खेमराजकृष्णदास श्रेष्ठि) Catalog Link: https://jainqq.org/explore/023033/1

Overall Context: The provided text is a commentary (व्याख्या) on the "Sahitya Darpan" (साहित्यदर्पण), a significant work on Indian poetics (Alankara Shastra) by Vishvanath Kaviraj. This specific commentary is titled "Ruchira" (रुचिरा) and has been authored by Shivdutta Kavi (शिवदत्तकवि). The publication details indicate it was printed and published by Kshemraj Krushnadas Shreshthi in Mumbai in Samvat 1973 (1916 CE), corresponding to Shakabda 1838. The commentary aims to clarify and simplify the original text, making it accessible to students.

Key Features and Content:

Commentary by Shivdutta Kavi: The text explicitly states that this commentary is by Shivdutta Kavi, who received his education under the inspiration of his father, Shri Devi Sahay Shastri, and resided inpatan (Patna) and later in Calcutta.
Publisher and Publication Details: The book was printed at the "Shri Venkatesh" Steam Printing Press in Mumbai and published by Kshemraj Krushnadas Shreshthi. The copyright is reserved by the publisher as per Act XXV of 1867.
Subject Matter (Alankar Sandarbh): The title and the content confirm that this part of the commentary specifically deals with the topic of Alankara (ornaments or figures of speech) within the broader context of Sahitya Darpan, starting from the sixth chapter (षष्ठपरिच्छेदावधि).
Introduction (Nivedanpatra / Prastavana):
- Invocation: The commentary begins with invocations to Goddess Lakshmi and Saraswati, and then to Devi Sahay, the grandfather and teacher of the author.
- Purpose of Commentary: Shivdutta Kavi states that the Sahitya Darpan is a jewel adorning the goddess of literature. He notes that while other commentaries exist, they often fail to satisfy readers, either by being too obscure or unnecessarily pedantic in simple places. His commentary aims to clarify difficult passages and make the text easily understandable for students with simple intellects. He also emphasizes the importance of the Sahitya Shastra for the propagation of Sanskrit and the understanding of its nuances.
- Publisher's Introduction: Kshemraj Krishnadas, the publisher, also introduces the work, highlighting its importance and the difficulty of the subject matter. He expresses his pleasure in printing Shivdutta Kavi's lucid commentary, expecting it to greatly benefit students and teachers alike. He acknowledges Shivdutta Kavi for his contribution to making the "beautiful Sahitya Darpan" more accessible.
Detailed Table of Contents (Vishayanukramanika / Anukramanika):
- The table of contents is extensive, covering nearly all aspects of Indian poetics as presented in the Sahitya Darpan. This includes:
  - Mangalacharan (Invocation): Page 13
  - Kavya Phala (Results of Poetry): Pages 15-20 (discussing the attainment of Dharma, Artha, Kama, and Moksha through poetry)
  - Kavya Lakshana (Definition of Poetry): Pages 15-26 (critiquing various definitions, including those by Prakashkar, Vamana, and others)
  - Dosha (Flaws in Poetry): Pages 20-24 (critiquing the definition of poetry as being free from flaws, discussing the nature of doshas and their relation to Rasa)
  - Guna (Qualities): Pages 26-28 (discussing qualities like Madhurya, Ojas, Prasada and their relation to Rasa)
  - Alankara (Figures of Speech): Pages 28-40 (discussing various figures of speech, including Virodhabhasa, Sandeha, Sankara, and others, critiquing definitions and examples, particularly the verse "Nyakkaro hyayam...")
  - Riti (Style): Pages 40-41 (briefly discussing Riti, its relation to Rasa, and its place in poetry)
  - Vakya (Sentence): Pages 13-28 (discussing the definition and constituents of a sentence, including concepts like Yogyata, Akanksha, and Asatti)
  - Mahavakya (Compound Sentence): Page 44
  - Artha (Meaning): Pages 45-51 (discussing Vachya, Lakshya, and Vyanjya meanings, and the three powers of words: Abhidha, Lakshana, and Vyanjana)
  - Rasa (Aesthetic Experience): Pages 51-69 (a significant portion detailing the concept of Rasa, its constituents like Vibhava, Anubhava, Vyabhichari Bhava, and the discussion around the nature of Rasa, its relation to Brahmananda, and the debate on whether it is experienced directly or inferentially. It covers various types of Rasa like Shringara, Hasya, Karuna, etc.)
  - The text also covers: Kavya types (Drushya, Shravya), Dasavastha (ten states of love), various types of plays (Nataka, Prakarana, Vyayoga, Bham, etc.), Vrittis (Kausiki, Sāttvati, Ārabhati, Bhārati), and much more.
First Chapter (Prathama Parichchheda): The initial pages focus on the introductory elements, including the invocation, the purpose of the commentary, and the definition of poetry itself. It begins with an analysis of the definition of poetry (Kavya Lakshana) and the philosophical underpinnings of enjoying poetry, particularly the concept of 'Rasa' (aesthetic experience).
Detailed Analysis of Key Concepts:
- Definition of Poetry: The commentary delves into the definitions of poetry, critiquing and explaining various schools of thought, especially regarding the role of flaws (doshas), qualities (gunas), and ornaments (alankaras).
- Rasa Theory: A significant portion discusses the Rasa theory, the emotional essence of poetry, its constituents (Vibhava, Anubhava, Vyabhichari Bhava), and the debate on its experience.
- Figures of Speech (Alankaras): While this section specifically mentions Alankara in its title, the provided pages are heavily focused on the foundational aspects of poetics like definition, Rasa, and sentence structure, with Alankara likely being discussed in subsequent chapters or sections not included here.
- Word Powers (Shakti): The text touches upon the three powers of words: Abhidha (literal meaning), Lakshana (indicative meaning), and Vyanjana (suggestive meaning), emphasizing the importance of Vyanjana in conveying deeper aesthetic experience.
- Character Types: The text begins to outline character types, specifically mentioning the different classifications of Nayakas (heroes) like Dhirodatta, Dhiroddhata, Dhiralalita, and Dhirashanta, and their sub-classifications. It also starts discussing Nayikas (heroines) like Mugdha, Madhya, and Pragahla.
Explanatory Style: Shivdutta Kavi's commentary is described as "Ruchira" (रुचिरया), meaning beautiful, clear, and pleasing. It aims to resolve textual difficulties and provide clarity.

Significance: This work is valuable for understanding the Sahitya Darpan, offering a detailed and accessible interpretation. It reflects the tradition of Indian scholarship in thoroughly analyzing literary texts and providing comprehensive explanations for pedagogical purposes. The extensive table of contents suggests a complete treatise on Indian poetics.