Sahityadarpanam

Here's a comprehensive summary of the Jain text, based on the provided pages:

Book Title: Sahityadarpanam Author: Vishwanatha Kaviraja (as the original author) / Sheshraj Sharma Negmi (as the editor/commentator) Publisher: Krishnadas Academy, Varanasi Series: Krishnadas Sanskrit Series

Overall Summary:

The provided text is an excerpt from the Sahityadarpanam of Vishwanatha Kaviraja, edited and explained with Sanskrit and Hindi commentaries titled "Chandrakala" by Acharya Sheshraj Sharma Regmi. The publication is from Krishnadas Academy, Varanasi, and it is the third edition. The catalog link provided is for jainqq.org, suggesting the potential for this text or similar works to be available in a Jain context or digital archive.

The excerpt primarily focuses on Chapter 1 of the Sahityadarpanam, which deals with the definition, purpose, and scope of literature (Sahitya/Kavya) and then delves into a comprehensive discussion of various definitions of 'Kavya' (poetry/literature) provided by numerous ancient Indian scholars. It also touches upon the nature of "Sahitya" and "Alankara Shastra" (Rhetoric/Poetics).

Key Themes and Content:

1. Definition of Sahitya: The text begins by exploring the etymology and meaning of the word "Sahitya," linking it to the concept of "togetherness" and ultimately defining it as synonymous with "Kavya" (poetry/literature) in the context of Sanskrit literature. It cites examples from texts like Nitisataka by Bhartrihari and Vikramadevcharita by Bilhana to illustrate this usage.

2. The Role of Sahityadarpanam: The author, Vishwanatha Kaviraja, is described as providing a complete "view" of Kavya through his Sahityadarpanam. This includes its definition, the structure of poetry (word and meaning), the means of understanding meaning (like Abhidha), poetic qualities (Prasad etc. for Rasa), the soul of poetry (Dhvani), poetic faults (Shrutikatu etc.), literary styles (Vaidarbhi etc.), and the constituents of poetic beauty (sound and sense ornaments). It is also referred to as Alankara Shastra or Kavya Shastra.

3. The Meaning of Kavya: A significant portion of the excerpt is dedicated to presenting and briefly discussing the definitions of "Kavya" proposed by 27 different Indian scholars. This highlights the diverse perspectives on what constitutes poetry. Some notable definitions include:

   • Vyasa Muni (Agni Purana): Kavya is a composition of words that expresses desired meanings, is adorned with clear ornaments, and is free from defects.
   • Bhamaha: Kavya is the combination of words and meanings.
   • Dandi (Kavyadarsha): Kavya is a string of words that defines an desired meaning.
   • Vamana: Kavya is that which is acceptable due to its ornaments.
   • Anandavardhana (Dhvanyaloka): The soul of Kavya is Dhvani (suggestion/resonance). He also defines Kavya as that which delights the hearts of the sahṛdaya (connoisseurs) through words and meanings.
   • Kuntaka (Vakroktijeevita): Kavya is the combination of words and meanings that are characterized by the vakra (indirect or stylized) expression of the poet.
   • Mahim Bhatta (Vyakti Viveka): Kavya is the poet's activity which manifests rasa through the combination of causes like Vibhava etc.
   • Bhoja Deva (Sarasvatikanthabharana): Kavya is faultless, possessed of qualities, adorned with ornaments, and imbued with rasa.
   • Kshemendra (Aucitya Vichara Charcha): Aucitya (propriety) is the life of Kavya.
   • Mammata Bhatta (Kavya Prakasha): Kavya is words and meanings that are faultless, possess qualities, and are adorned with ornaments.
   • Vishwanath Kaviraja (Sahityadarpanam): Kavya is a sentence that is imbued with Rasa (Vakyam Rasatmakam Kavyam).
   • Jagannatha Pandit (Rasaganga Dhar): Kavya is a word that expresses a beautiful meaning.

4. Purpose of Kavya: The text discusses the purposes of Kavya, citing Mammata Bhatta's view that it brings fame, wealth, knowledge of worldly conduct, welfare, and immediate delight through its pleasant, counsel-giving nature, akin to that of a beloved wife. Vishwanatha Kaviraja also emphasizes that Kavya leads to the attainment of the fourfold goals of life (Chaturvarga) for even those with limited intellect.

5. Literary Works (Examples): The excerpt provides an extensive list and brief descriptions of various influential literary works in Sanskrit, categorizing them into:

   • Epic Poems (Padya Kavya): Mentioning works like Ramayana, Jambavati Vijaya (by Panini), Svargarohana (by Katyayana), and then detailing the "Laghu Trayi" (Kumarasambhava, Meghaduta, Raghuvamsha by Kalidasa) and "Brihat Trayi" (Kiratarjuniya by Bharavi, Shishupalavadha by Magha, Naishadhiya Charita by Sriharsha). It also mentions works like Buddha Charita and Saundarananda by Ashvaghosha, Haravijaya by Ratnakara, Vikramadevit Charita by Bilhana, and Stuti Kusumanjali by Jagaddhara Bhatta.
   • Prose Works (Gadya Kavya): Discussing Dashakumaracharita by Dandi, Vasavadatta by Subandhu, Harshacharita by Bana Bhatta, and Kadambari by Bana Bhatta.
   • Dramas and Rupakas: Listing plays by Bhasa (Swapnavasavadatta etc.), Kalidasa (Abhijnanashakuntalam, Malavikagnimitram, Vikramorvashi), Sriharsha (Ratanavali, Priyadarshika, Nagananda), Bhavabhuti (Mahaviracharita, Uttararamacharita, Maltimadhava), Murari (Anargharaghava), Vishakhadatta (Mudrarakshasa), Jayadeva (Prasannaraghava), and Shudraka (Mṛcchakatika).
   • Champu Kavyas: Mentioning works like Nalachampu by Trivikrama Bhatta, Ramayana Champu by Bhoja, Vishyagundarsha Champu by Venkata Adhvri, and Bharata Champu by Ananta.
   • Alankara Shastra Granthas (Works on Poetics/Rhetoric): This is a very extensive section, listing and briefly describing numerous key texts and their authors, including: Agni Purana (literature chapters), Natya Shastra by Bharata Muni, Kavyalankara by Bhamaha, Kavyadarsha by Dandi, Alankara Sarasangraha by Udbhata, Kavyalankara Sutra by Vamana, Kavyalankara by Rudrata, Dhvanyaloka by Anandavardhana, Kavya Mimansa by Rajshekhara, Abhidhavritti Matrika by Mukulabhatta, Kavya Kautuka by Bhatta Tauta, Hridaya Darpana by Bhattanayaka, Vakroktijeevita by Kuntaka, Dasharupa by Dhananjaya, Vyakti Viveka by Mahimabhatta, Sarasvatikanthabharana and Shrringara Prakasha by Bhoja, Aucitya Vichara Charcha and Kavi Kanthabharana by Kshemendra, Kavya Prakasha by Mammața Bhatta, Alankara Sarvasva by Ruyyaka, Vagbhatalankara by Vagbhata, Kavyanusasana by Hemachandra, Chandraloka by Jayadeva, Ekavali by Vidyadhara, Pratapudrudiya by Vidyanta, Kavya Mimansa by Rajasekhara, Sahityadarpanam by Vishvanatha Kaviraja, Rasa Tarangini and Rasa Manjari by Bhanudatta, Ujjvala Nilamani by Rupa Goswami, Alankara Shekhara by Keshavamishra, Vritti Vartika, Chitra Mimamsa, and Kuvalayananda by Appayya Dikshita, Rasa Gangadhara by Jagannatha Pandit, and Alankara Kaustubha by Kavikarnapura and Visvesvara Parvatiya.

Role of the Commentator (Sheshraj Sharma Regmi): Acharya Sheshraj Sharma Regmi provides the "Chandrakala" commentaries in both Sanskrit and Hindi. His introduction discusses the meaning of "Sahitya" and "Alankara Shastra" and emphasizes the comprehensive nature of Vishwanatha Kaviraja's Sahityadarpanam. The commentary likely explains the verses, discusses the various theories, and provides context for the scholars and works mentioned. His academic background as a former professor at Banaras Hindu University and Tribhuvan University in Nepal is highlighted.

Jain Context: The presence of "JAIN EDUCATION INTERNATIONAL FOR PRIVATE AND PERSONAL USE ONLY" and the catalog link to jainqq.org suggest that this specific edition or the text itself might be of interest or use within Jain educational circles, perhaps for its commentary on literary principles or as a broad survey of Indian poetics that may include Jain authors or perspectives in a larger context, though the provided excerpt doesn't explicitly detail Jain philosophical aspects.

In essence, this is a foundational text in Indian poetics, presented with a detailed commentary, serving as a comprehensive guide to understanding the nuances of Sanskrit literature and its theoretical underp9inngs, with a notable emphasis on the diverse definitions and classifications provided by various scholars throughout history.