Kavya Meemamsa
(Bharatheeya Kavyasastra: Part VIII)
- V S Bhaskara
Panicker
C/o e-mail:
jayraj@darpana.com
November 21,
2006
(This is
the eighth part of the research paper that Mr. V S Bhaskara Panicker would
like to share with narthaki readers)
Rajasekhara
(880 - 920 AD)
Rajasekhara
was a poet, playwright and critic. Hailing from Vidarbha, he was the Guru
to the kings of Kannauj. He led an itinerant life. His wife Avanthisundari
was also a poetess. The four Natakas by him are Balaramayanam, Bala
Bharatham, Vidhasala Bhanjika, and Karpoora Manjari (last in Prakrith).
Kavya Meemamsa was his last book on poetics. He had given a new orientation
to the study of poetics, and it came to be known as Kavi Siksha Sampradaya.
The later poets and critics followed the Sampradaya enunciated by him.
Kavya Meemamsa
Origin
of Kavya
His critique
starts with an invocation to Siva, from whom Kavya is believed to have
originated. He compares the various aspects of Kavya to the different
organs of Sivaroopa. Sabda and artha constitute his body (trunk).
Language (Samskrit) is his face, Prakrith his arms, Apabhramsa his waist,
Pisachabhasha his feet. The mixed (Misra) languages are his chest. He is
sweet, graceful, equanimous (sama), forceful (Ojas) as also liberal. His
voice is noble. Rasa is his soul and Vritha his hair. His verbal quirks
are dialogues (questions and repartees, riddles (Prahelikas) and Samasya
(problems). He is decorated with alliterations and Upama (sabda, artha,
alankaras). He is admired even by Sruthis, which indicate the meanings
yet to occur.
He has four
tusks, three legs, and seven hands. He is tied with three ropes, and is
always vociferous.
The subject
matter or theme for the composition of Kavya is derived from the following
twelve sources. Veda, Smrithi, Ithihasa Purana, Rajasidhantha Thrayi (Arthasasthra,
Natya Sasthra, Kamasasthra), Pramanavidya (Meemamsa, Darsana etc.) Loka
(happenings in the common life around), Virachana (Kavyas by other poets),
Prakeeranaka (art forms - 64 Ayurveda, Jyothisha, Vrishavijnana, Aswagandhi
Lakshana). Adding four more, Rajasekhara had fixed the number as 16. He
had fixed four characteristics for Kavya. 1) Appropriate construction 2)Yokthru
Samyoga, Uthpadya Samyoga and Samyoga Vikara.
Siksha
Those who
desire to gain experience in the art of writing poetry should in the first
instance learn well all the important factors connected with it as also
the subsidiary branches of learning concerned with poetry. The subjects
are grammar, Sabdakosha, Chandass, and Alankaras. The subsidiary factors
(Upavidya) are the sixty four art forms. Apart from these there are
other subjects (Jeevanothsam).
1) A general
knowledge of all great and noble branches of learning.
2) State of
affairs within the country and abroad.
3) Sayings
of great scholars.
4) World experience.
5) Assembly
of scholars and deep contemplation (Manana).
The following
eight conditions actually generate the poetical mood (mother of poetry).
1) Swasthya
(peace of mind)
2) Prathibha
(imaginative intelligence)
3) Endeavour
(Abhyas)
4) Bhakthi
(devotional approach)
5) Vidyut
Katha (life story of scholars)
6) Bahusruthatha
(deep learning)
7) Smrithidritatha
(strong memory power)
8) Utsaha
(enterprising nature).
Sabda means
the combined form of Prakrthi and Prathyaya according to the rules of grammar.
The object
which is signified by a particular word according to Niruktha, Nikhandu,
Kosha, and usage is the Abhidheyartha of the word. The combination of Sabda
and Artha is Pada. Vakya is the culmination of the combination of Artha
derived through the Abhidhartha.
Kavya Lakshana
Kavya is Vakya
blended with Guna and Alankara. A few hold the view that Alamkaras being
untrue decorations should be eschewed in Kavya.
Kavyas may
be direct or indirect in character. Some Kavyas are made with the eloquent
imagination of the poet concerned. Certain others are concocted like the
grandma tales. Some are based on Sasthras and certain others on poetical
talents. Its flow is continuous. Unlike precious stones, the production
of this gem does not take place in the depth of the sea or on the top of
Mount Rohana.
A Kavya is
not to be rejected though at times it is replete with exaggerations, i.e,
description of untruth. Such verbosity and concepts would not make it inappropriate.
Such meaningful descriptions occur in Vedas, Sasthras as in social dealings.
Kavya Hethu
Budhi has
got three aspects, smrithi, mathi, and pragna. Smrithi is remembering the
past experiences. Mathi is the ability to contemplate on the situations
present. Pragna is the budhi for foresightedness, or far sightedness. The
poet should possess all the three types of intellectual faculties.
Samadhi is
a precondition to compose poetry. Concentration of the mind enables a person
to contemplate vividly on any subject. Mind should be filled with knowledge.
Constant effort (abhyasa) is an important factor. The inherent faculties
reach the supreme heights with efforts. Samadhi, i.e, contemplation
is the internal effort and Abhyasa (endeavour) the external effort of the
mind.
Prathibha
and Vyuthpathi
Sakthi (force)
is different from Prathibha and Vyuthpathi (intelligence and knowledge).
Force is the subject and intelligence and knowledge is the object achieved.
Sakthiyuktha (man with force) acquires Prathibha and Vyuthpathi. The arrays
of Sabda /Artha, Alankaras, graceful phrases, and other ingredients of
poetry are made reflected in the mind by Prathibha.
Vyuthpathi
is widespread knowledge. The words of the poet flow out in all directions.
Knowledge on varied subjects is inevitable for a good poet. A balanced
stand between propriety and impropriety is the sign of scholarliness, which
is superior to intellectual talents. The lack of erudition is overshadowed
by Prathibha (intellectual talents).
Prathibha
Prathibha
has two aspects – Karayithri & Bhavayithri. Karayithri Prathibha renders
immense help to the poet. It has got three subdivisions - Sahaja,
Aharya, and Oupadesika. Sahaja is the inborn one, and that which
is acquired through the study of Sasthras and Kavyas is Aharya. Prathibha
that is attained through the blessings of Guru or divine sources is Oupadesika
Karayithri.
Poets who are
blessed with these three types of Karayithri Prathibha are again classified
into three groups, namely Saraswatha, Abhyasika and Oupadesika. Saraswatha
is that poet who is intelligent, gifted with original talents, and who
is motivated by inborn poetical impulses. He who by virtue of his own intelligence
has unfolded and developed the poetical talents is called Abhyasika. Those
in whom these talents had developed with Manthropadesa and ritualistic
practices are Oupadesika. Rajasekhara's summing up is that Saraswathikas
are talented in making free-flowing poetry, the scope for Abhyasikas is
limited, and Oupadesikas make poetry, though beautiful but not with much
substance. It is very rare that intelligence, Vyuthpathi, divine blessings
are combined in one.
Having explained
the Karayithri Prathibha, he proceeds with the Bhavayithri Prathibha.
This comes to the help of the spectator / listener. Actually this makes
the efforts of the poet fruitful. Before the floodlight of this Prathibha,
separate identities of the poet and Bhavaka are lost, both merged into
one. But Kalidasa holds a different view. One (poet) concentrates on Sabdartha
and the other (bhavaka) enjoys the Rasa.
Bhavaka
Sameeksha Bheda
Bhavakas are
of two types: Arochaki and Sathrinabhyavahari according to earlier Acharyas.
Rajasekhara classifies them into four groups:-
1) Arochaki
2) Sathrinbhyavahari
3) Mathsari
4) Thathuabhinivesi.
Arochakis are
not fully satisfied, no matter how good the compositions are. This too
has two aspects:
1) Swabhaviki:
They are so, by virtue of their very nature and there is no remedy for
it.
2) Gnanayoni:
If the dissatisfaction is based on discrimination, really graceful and
profound composition would remove the discontentment.
The second
type (Sathrinabhyavahari) are those who eulogise indiscriminately, without
understanding the real values. They are mostly newcomers. They cannot help
passing some comments. They are talented, but lacking adequate discriminatory
faculty. They cannot differentiate good and the bad.
Mathsari types
refuse to appreciate the good aspects.
Sameekshakas
express their opinion, by words or movement of body organs.
Classification
of poets
Poets are
of three types.
1) Sasthrakavi
2) Kavyakavi
and
3) Ubhayakavi.
Of these,
Sasthra and Kavya ones are of mutually dependent types. Knowledge of Kavya
principles helps Sasthra matters to be expressed in a clear and graceful
manner.
Sasthra kavis
are
1) Compilers
of Sasthra principles,
2) Those who
interlude poetics in Sasthra compilations,
3) In the
reverse, those who mix up Sasthra and poetry.
The sub divisions
of Kavyakavi
1) Rachanakavi:
Style with embellished Sabda, with sparse meaning contents.
2) Sabda Kavi:
a) Those who prefer to use nouns (subandhas) in abundance (namakavi) b)
Those who use verbs (Thigantha) in large numbers are Akhyatha Kavi. c)
Those who use nouns and verbs evenly are Namakhyatha Kavi.
3) Arthakavi:
Words are used with the primary aim to produce profound Artha.
4) Alamkarakavi:
Those who give importance to the use of Alankaras are Alamkarakavi.
Of them, some are keen on the use of Sabdalankara and the others on Arthalankara.
5) Ukthi Kavi:
Their usage of words and style of presentation would be graceful in the
way special to them.
6) Rasa Kavi:
They give more importance to Rasa content, and ensure that the Vakyas
are impregnated with Rasa
7) Marga (Rithi)
Kavi: Those who are strict in following the styles (Vaidarbhi etc) in the
prescribed manner alone.
8) Sasthrartha
Kavi: The poet uses appropriately in Kavya sense, the technical words in
other Sasthras (say Yoga etc)
A poet who
possesses two or three of the above mentioned qualities could be reckoned
as a great poet. He who is endowed with at least five Gunas
is Mahakavi.
Kavya status
A Kavi is
included in one of the ten categories on the basis of his activities.
1. Kavya Vidya
Snathaka: He is a snathaka, a student who resides in Gurukula for acquiring
knowledge on different aspects of Kavya making, say Alamkara, Vritha etc.
2. Hridayakavi:
A Hridayakavi is one who composes poetry for being kept secluded in his
mind for fear of doshas that such verses might contain.
3. Annyapadesa
Kavi: Fearing criticism from others, they attribute the authorship to some
one else.
4. Sevitha:
After continuing for some time, he who takes some old masters as ideal
and follows his style is Sevitha.
5. Khatamana
Kavi: A person who composes small poems on varied subjects and refrains
from doing a pretty large composition.
6. Mahakavi:
A poet who writes a complete Mahakavya.
7. Kaviraja:
A poet who possesses talents to make Prabandhas in different languages
and also proficient enough to handle different Rasas.
8. Avesika:
A person who has acquired poetic talents through Manthra or other ritualistic
process.
9. Avischedi:
A poet who is capable of composing poetry on any subject at any time and
also endowed with talents for free and torrential flow of poetry instantaneously
on any subject.
10. Samkramayitha:
One who is capable of making unmarried boy or girl spellbound by the force
of Manthra and instill in them poetic impulse and make them compose poetry.
Kavya Paka
As a result
of constant practice and continuous effort, the poet attains maturity in
his Vakyas. What exactly is Paka or ripening? It is the transformation
that takes place in him through Abhyasa. This Parinama (evolution) is the
outflow of Sabda (nouns-subandha and verbs-Thigantha) pleasing to the ears
(means the usage of graceful words). Meaning (artha) is the final result.
That Parinama is the quality of fearlessness and unequivocal
precision in the use of words.
The poet's
mind remains immature till the time he is equivocal in the use of words.
When he becomes firm and decides on the application of words, it can be
assumed that he has attained maturity. Sabdapaka is that stage, when the
word once used would not require replacement. The graceful arrangement
of suitable words is Vakyapaka. The main life force of Kavya is Paka.
Paka Bheda
- Kavi Siksha
There are
nine Pakas for the poets who endeavour to gain experience in Kavya making.
They are:-
1. Pichumanda
(neem): The beginning and ending are distasteful.
2. Badara
(gooseberry): Tasteless in the beginning and pleasing in the end.
3. Mridvika:
Dull in the beginning and pleasing in the end.
4. Varthaka:
Sweet in the beginning but towards the end totally sour.
5. Thinthidika
(tamarind): Medium taste in the beginning and in the end.
6. Sahakar:
Mildly pleasing in the beginning and tastier in the middle and end.
7. Kramuka
(arecanut): Graceful in the beginning but dull and insipid towards the
end.
8. Thrapusa
(cucumber): Tasteful in the beginning and average in the end.
9. Narikela:
Sweet from the beginning to the end.
Of these, Pichumanda,
Varthaka, and Kramuka are to be rejected totally. Effort should be made
to improve Badara, Thinthidika, and Thrapusa. Mridvika, Sahakara
and Narikela are acceptable.
Kavyartha
There is no
limit to the meaning conceived by the poet through his Prathibha. The process
of attributing meanings also is without any end. Arthas and the totality
of Arthas are both without limits. This concept of meanings can be applied
in two ways.
1) Vicharitha
Sustha (A meaning is established by the thinking process, and on Manana
it becomes more clear)
2) Avicharitha
Ramaneeyam (though not sustainable in the thinking process, it remains
attractive and tasteful in the Kavya sense). Knowing fully well that the
phenomena or semblance are not real objects, it is seen that in Kavya and
Sasthra the objects are described in phenomenal sense, because the Avicharitha
Ramaneeya effect is produced.
Varnana
Rasavatha
The descriptions
in Kavya (varnana) should not be excessive. Further it should not be opposed
to the context and the related Rasa. The purpose of the efforts made by
the poets in this respect is often found to be the tendency to exhibit
his poetical talents. But care should be taken to ensure that it is gracefully
poetical.
Kavyartha
Bheda
The seven
Kavyabhedas can be broadly classified into two.
1) Mukthaka
Kavya Gatha.
2) Prabandha
Kavya Gatha
Mukthakas are
clear and free poems. Prabandha is Mahakavya. Mukthakas are of five types.
1) Sudha:
where there is no story or Ithihasa.
2) When the
Artha is elaborately described it is Chithra
3) Kathotham:
The artha when it relates to old tales or Ithihasa is Kathotham.
4) Samvidhanakabhu:
Incidents that are likely to occur, and
5) Akhyana:
That with an Ithihasa concept.
Marga: Kavya
making in different languages
In Prakrith
and other languages also, the poet has to do the composition of Kavya in
agreement with his own outlook as also on the lines of his taste and talents
as is being done in Sanskrit. Care should be taken to apply the full mind
in the profundity of the Vachya-Vachaka connection of Sabda and Artha.
When handling
more than one language, the process of analytical stipulation of Artha
has to be done with meticulous care, and the poetry that flows from such
trained mind-set would tread on through any difficult road.
V S Bhaskara
Panicker has been writing mainly in Malayalam language. Some of his literary
expulsions have seen light and many are still left unpublished. He
has offered his research paper on Bharatheeya Kavyasastra to narthaki.com
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